Manuscripts
Manila envelopes
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Gunsmoke collection
Manuscripts
The collection consists of 317 radio scripts and 60 television scripts from 1953 to 1975, for the long-running series Gunsmoke. The material includes preliminary drafts, working notes, and finished scripts. Scriptwriters include, among others: Jim Byrnes, Marian Clark, John Dunkel, Les Crutchfield, Kathleen Hite, Norman Macdonnell, John Meston, Vic Perrin, and Paul Savage.
mssGunsmoke
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Empty envelopes, [1940s]
Manuscripts
Primarily letters from Aiko Alice (Kuromi) Ito to Arthur T. Ito were contained in these envelopes
mssIto
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C -- Miscellaneous
Manuscripts
Calexico Engineering Works (1); California Institute of Technology [re Edna Carter] (2); John William Campbell [includes letter from Ernest Sydney Keeping to E.P.] (3); Leon Campbell (8); Robert M. Campbell [a.k.a. Roupert Rivierre] (5); Carnegie Institution of Washington [includes letters re Exhibit Committee & from V. Bush] (7); Tommy Cave (2); Alvan Clark & Sons Co. (1); Columbia Broadcasting System (1); Consolidated Book Publishers (1); Heber Doust Curtis [copy letter to G. V. Krishnaswami] (1)
mssPettit papers
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Undated. Negatives of the moon. With a note and envelope. 10 items
Manuscripts
This collection contains material ranging from correspondence to various types of research materials to clippings and reprints of articles of newspapers, magazines, and academic journals. The majority of the collection deals with the history of science and Wright's research of the physical features of the moon. The collection is composed of four sections in accordance with the types of sources: correspondence, manuscripts, research materials, and ephemera. The correspondence is contained in Box 1, while the manuscripts are housed in Boxes 1 and 2. Research materials occupy Boxes 2-5, divided into five sub-sections: unbound research materials, research materials in folders, bound research materials, photographs, including some taken by Charles A. Lindbergh, and negatives. The Ephemera section is contained in Boxes 5 and 6. The items in each section and sub-section are placed in chronological order. Correspondence indicates the ways in which Wright advanced the research project of the Committee on Study of Surface Feature of Moon as well as in which he shaped his ideas and conducted his research in relation to other scholars; he asked other scholars research questions and was asked by them. Wright regularly corresponded with administrators at the Carnegie Institution, such as W. M. Gilbert and John Merriam, and the committee members in California, updating each other on the project. Also he communicated with other scholars in the field including R. A. Daly at Harvard, W. H. Pickering at an observatory in Jamaica, George Hale at the California Institute of Technology, Harlow Shapley at the Harvard College Observatory, C. P. Oliver at the University of Pennsylvania, Ernest Brown at Yale, Jesse L. Greenstein at the Harvard College Observatory, Otto Struve at the University of California, Berkeley, and Henry Norris Russell at Princeton. Manuscripts and research materials tell us exactly what Wright thought and did in terms of his research project. Manuscripts include the reports of the committee and drafts of talks he gave to various audiences. Research materials are a nice collection of research data (graphs and tables), research notes, and visual sources such as photographs and negatives. The ephemera section also contributes to tracing the trajectory of Wright's ideas, composed of clippings of articles regarding the moon from newspapers and magazines and reprints of his own published papers.
mssWright
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Merrymount Press Records
Manuscripts
This collection contains of the business records of the Merrymount Press and the related papers of its founder Daniel Berkeley Updike (1860-1941). The bulk of the collection consists of financial volumes; correspondence with customers, publishers, illustrators, craftsmen, and suppliers; bills; estimates; and scrapbooks with specimens of work. While the majority of the correspondence is comprised of letters, there are occasionally proofs, specimens, and cloth, paper, fabric samples, etc., found with the correspondence. The records reflect Updike's involvement with printing across the United States and in Europe, though much of his work was produced for clients in Massachusetts, Rhode Island, and New York City. Some of the correspondence reflects Updike's personal interests including Rhode Island history and churches and charitable work with poor children as well as prison inmates. Correspondence, 1893-1906 Incoming correspondence for 1893 to 1906 is arranged chronologically in boxes and there is currently no name index. Consequently, a researcher searching for correspondence by a specific individual or company needs to look in all folders within an applicable date range. Copies of outgoing correspondence are held in chronological letter books (Volumes 1-31), each with a front alphabetical index. There is also one letter book containing miscellaneous personal correspondence of Updike dating from December 1903-January 1907 (Volume 32). Much of the correspondence in Volume 32 relates to Updike's involvement in various plans to develop a press for Harvard University. Correspondence, 1907-1952 For 1906-1952, original incoming letters, carbon copies of outgoing correspondence, bills, and estimates are grouped in correspondent files arranged according to the year in which the first communication was received by the Press. This filing system was created to work with an alphabetical card catalog (Boxes 321-322) that contains correspondent names, addresses, and group numbers. In some cases the cards also have cross references to related groups. The origin of this organizational schema remains unclear, but its idiosyncrasies impact the ability to find material. There are over 2000 entities assigned individual group numbers in this system. The group numbers were presumably assigned before the material was transferred to the Huntington Library in 1958, and the group numbers were written in blue pencil at the top of each piece of paper along with a sequential item number. (Note: in some cases, items were misfiled or sequential item numbers were incorrectly assigned; consequently the blue handwritten numbers may not be entirely accurate.) This finding aid provides the group number, correspondent name, and the date range of included documents. It does not provide an indication of piece count, and it should be noted that a file may contain only letter or it may contain hundreds of pieces. In addition, the group name typically reflects the main correspondent represented in the file, but in some cases there is related correspondence with other individuals, companies, or organizations. Most of the entities represented are customers of the Press, but numbers were also assigned for individuals and companies doing business with the Merrymount Press or its owner Daniel Updike (such as the Edison Electric Company, tax offices, and investment firms); or for individuals with whom Updike had personal communication. Updike, Bianchi, and Bianchi's son Daniel Berkeley Bianchi also have correspondence files that provides information about the activities of the business. Daniel Bianchi (Group 2214) worked as a representative for the Press in New York beginning in the late 1930s, as did Vrest Orton in 1934-1935 (Group 2176), and their files provide reports of meetings with customers. While most groups are named for individuals or organizations, some materials are filed by type including: Group 125 (Boxes 75-76): Updike, Daniel B. Personal miscellaneous correspondence Group 246 (Box 95): Miscellaneous Business Papers, 1906-1917 Group 549 (Boxes 126-128): Applications for employment Group 737 (Boxes 144-145): Foreign booksellers Group 847 (Boxes 152-153): Miscellaneous correspondence, 1907-1919 arranged alphabetically Group 847 (Boxes 154-160): Miscellaneous correspondence, 1920-1929 arranged alphabetically Group 847 (Boxes 161-172): Miscellaneous correspondence, 1930-1948 arranged alphabetically Group 1089 (Box 217): Religious Documents Printed by the Merrymount Press, 1908 Group 2275 (Box 318): Victory Tax, ca. 1943-1949 (includes W-2 withholding receipts for employees) Note: Groups are also referred to as folders on the physical boxes. Financial volumes The financial volumes include day-books, journals, cash books, invoice books, sales books, ledgers, and job books (Volumes 33-141). In addition there are books of copies of receipts generated by the Merrymount Press to customers (Volumes 197-200), as well as volumes recording cash receipts/disbursements related to the estate and trust of Edward Perry Warren (Volume 201-203). Updike was a trustee of the Warren trust, and these volumes are complemented by files found in the correspondence series. There is also what appears to be a personal cash book for Updike, 1902-1903 (Volume 205) Specimen books The collection also includes an extensive set of scrapbooks of minor printing done by the Press containing specimens of small jobs such as bookplates, envelopes, pamphlets, and programs (Volumes 142-180). There is also a scrapbook of small advertising jobs produced by Houghton-Mifflin Co. while D. B. Updike worked for them in the 1880s and early 1890s (Volume 184). In addition there are scrapbooks of minor printing, design examples, and type specimens maintained by the Press (Volumes 185-196). Additional materials The collection also contains other materials created by or owned by the Merrymount Press. This includes 30 publishing dummies, mostly for books printed by the Pres (Volumes 206-234), including The Book of Common Prayer; decorative and marbled endpaper samples (Box 327); two volumes containing clipped press notices from newspapers about the Press (Volumes 235-236); some publications/articles about Updike and the Press (Box 328); and 17 catalogs, chiefly bookseller sales catalogs, which are primarily related to printing and typography (most of these catalogs contain the Merrymount Press bookplate). There are also miscellaneous typescript manuscripts (Boxes 325-326) consisting of: "Memoirs of Mary Baker Eddy" by Adam H. Dickey [typescript manuscript with pencil corrections and annotations], 1927; a translation from the German of Music Printing with movable type in the 16th century. Leipzig, 1892 [typescript manuscript]; "Humanistic Script" (Chapter III) by Stanley Morison [typescript manuscript]; and "Printing Types" manuscript and notes by D. B. Updike, 1937.
mssMerrymount
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Automobile Club of Southern California collection of photographs and negatives
Visual Materials
The collection consists of 6240 black-and-white and color photographs, pen and ink drawings, and postcards, 1412 black-and-white and color negatives, 2606 black-and-white and color slides, and ephemeral materials, 1898-1982 (bulk 1920s-1930s). The Automobile Club of Southern California collected the materials, and they form a general photographic reference collection as well as a broad visual survey of topics of interest to California motorists. Included are images of sites in North and Central America (with an emphasis on California), Europe, the Pacific Islands, and portraits, as well as images related to other subjects of interest to the Club's membership. Many of the images were published as illustrations for articles in the Club's first member magazine, Touring Topics. The collection is divided into three sections: a reference section, forming the bulk of the collection; images from the Club's cross-country expeditions; and slides. The reference section consists of both geographic and "subject" photographs. The bulk of the geographic images are devoted to California. These include, but are not limited to, sites in the city of Los Angeles and environs; Imperial, Kern, Orange, Riverside, San Bernardino, San Diego, and Santa Barbara Counties; the San Bernardino, San Jacinto, San Gabriel and Sierra Nevada Mountains; the Mojave and Colorado Deserts; national parks located in California (Lassen Volcanic National Park, Lava Beds National Park, Sequoia National Park, and Yosemite National Park); the Sacramento River; the Saint Francis Dam (after the disaster); San Francisco; and the California coastline (including Santa Catalina Island, Big Sur, and the Monterey Peninsula). The reference section also contains images related to California Motorgraphs and Rotogravures, pull-out supplements published in Touring Topics. The Rotogravures sections contained scenic views of sites in California, and the published images were often toned. The Motorgraphs feature focused on touring in California. Both the Motorgraphs and Rotogravures include images of especial interest to California motorists, specifically landscapes and sites in the western United States and Mexico, many of which are documented in other sections of the collection. Locations outside of California documented in the reference section include a number of images of surrounding states, such as Arizona (with a large number of images of the Grand Canyon), Colorado, Nevada, New Mexico, Utah, and Washington. These include miscellaneous desert scenes; national parks and monuments (including Glacier National Park, Grand Teton National Park, Yellowstone National Park, Bryce Canyon, Zion National Park, and the Olympic Mountains); Native Americans and Native American sites (with an emphasis on Arizona, the Navajo, and New Mexico, but also including Indians of Central and Latin America); and missions (in Arizona, California, Mexico and New Mexico). Other locations include western Canada (primarily British Columbia); Guatemala; and a large section devoted to Mexico. A substantial portion of the Mexican images document the First and Second International Pacific Highway Expeditions. Other Mexican images concentrate on the states of Baja California, Sonora, and Sinaloa. Other non-California locations include images of European cities and sites; New Zealand; and islands in the Pacific (including the Fiji islands and Tahiti). The non-geographic subjects in the reference section include such diverse topics as astronomy; automobile accessories; gift suggestions; highways and bridges; mining camps and ghost cities; paintings and prints (copies of paintings, prints, maps, and earlier photographs depicting a wide variety of subjects); road signs; transportation (including many images of the Butterfield stagecoach station and line); and western fauna and flora. The portraits in the reference section were used to illustrate general articles as well as editorial statements, and include portraits of the era's important cultural, literary, and artistic figures in California and the American West. The collection's second section is composed of photographs taken on some of the Club's cross-country tours in the 1920s. Many of these tours followed the routes of some historic roadways in various parts of the country, and the collection contains images of roadways and historic sites in 31 states, Canada, and Mexico, and including parts of the National Old Trails (in Arizona and New Mexico); the Lincoln Highway (in Iowa, Nebraska, Pennsylvania, and Wyoming); the King of Trails (in Minnesota, Nebraska, Texas, and Winnipeg, Canada); Arrowhead Trail Highway (in Nevada); and various eastern highways and roadways. Also depicted are a "test highway"; road signs in the Midwest and the South; an unidentified trip undertaken in the 1920s (recognizable by the license plate of the Auto Club vehicle); and miscellaneous unidentified roadways and sites. The collection's third section is composed of slides in a variety of formats and sizes that primarily depict landscapes in California, Colorado, Nevada, Oregon, and other western United States locales. These were either sent to the Auto Club, or collected by the Automobile Club's Travel Research and Publications Department from both individuals and public venues throughout California. The pictures depict downtown Los Angeles, museums, theme parks, tourist attractions, state and national parks, and other sites in California. These are accompanied by letters that can be found with the collection's ephemeral materials at the end of box 35. A large portion of the photographs (boxes 1-35) were taken by authors of articles that appeared in Touring Topics; others were commissioned by the Club; and others appear to have been sent to the Club. The majority of the photographs in boxes 1-35 have names and addresses of photographers on the verso. Photographers (and authors) include, but are not limited to, Ansel Adams, Fred Archer, Viroque Baker, George Hugh Banning, Adelbert Bartlett, Virginia S. Bartlett, Andrew R. Boone, Julius Cindrich, Norman Clyde, Will Connell, Loyd Cooper, Imogen Cunningham, Asahel Curtis, Edward Sheriff Curtis, Fred Dapprich, E.H. Davis, E.E. East, John Anson Ford, Frasher, Ewing Galloway, Forman G. Hanna, Phil Townsend Hanna, Hoag and Ford, John Edwin Hoag, Bert W. Huntoon, Philip Johnston, Dr. Frederick Monsen, Dave Packwood, C.C. Pierce, Ernest M. Pratt, Putnam Studios, E. Willard Spurr, and John L. Von Blon. See the Photographer's Index at the end of the Container List for images associated with the aforementioned photographers. A card file in the office of the Curator of Photographs provides a complete list of specific item numbers associated with all photographers. Many of the original articles in which the photographs appeared have been identified; this information is listed on the envelopes. Other photographs appear to have been published, and possess captions or identifying information on the verso. However, a large number of the photographs are unidentified as to location and/or content. The photographs resulting from the cross-country tours (boxes 36-37) seem to have been taken by the participants, engineers and draftsmen who worked for the Auto Club. Original negatives exist for a number of the photographs; these can be found in boxes 41-47 and are housed separately in cold storage. Of these, approximately fifty percent were not printed; this is indicated in the Container List. Some images exist in duplicate. The majority of the slides (boxes 48-58) appear to be taken by the same individual(s) on an unspecified number of trips throughout the western United States. Ephemeral materials accompanying the photographs include captions, brochures, letters, press releases, and original envelopes. The collection is also accompanied by a photographer index compiled by Huntington volunteers. In 1987, 206 prints by photographers generally working in the Pictorialist style were removed from the collection and transferred to the Huntington's Art Division. Information about these prints is not included in this finding aid. For more information about these holdings, contact the Art Division. Some of the prints were reproduced in Pictorialism in California (1994) (see Related Material).
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