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The Society for the Anthoropology of Europe was founded as a section of the American Anthropological Association in 1986 to promote study of European cultures and to encourage scholarly connection between scholars working in Europe. The meetings and publications of the Society provide an important forum for discussion of issues in the discipline and raising the visibility of the field, and they recognize scholarly achievement at all levels of the profession through awarding a best book prize in Europeanist anthropology, pre-dissertation fellowships, and prizes for best student paper.

This small collections contains official records of the SAE from its founding, including organizational and administrative materials and records of officials of the Society.

The European Field Studies Program has played a critical role in graduate and undergradute training in the UMass Amherst Department of Anthropology since its inception in the late 1960s. The program provides opportunities for graduate students and honors undergraduates to gain practical experience in fieldwork by taking part in intensive projects at selected sites in Europe. The program is designed to assist students in developing concrete research plans and to begin to put their plans into effect.

The EFS collection contains correspondence between faculty and students about fieldwork, student research proposals and final reports, publications and data on the distinguished lecturers, departmental memos and meeting minutes, and range of other miscellaneous and financial material.

Living in Keswick, England, at the start of the second world war, parents Jack D. and Audrey S. Monro were separated from their children, Elspeth and Robin, for nearly six years. Throughout this time they each wrote letters fairly consistently, detailing the war itself and personal news. Elspeth and Robin traveled from England to the United States in the summer of 1940, aged 8 and 10, as fears of bombings and violence from Germany dominated the news in Europe. They moved in with the family’s close friends to a house in Baltimore, Maryland. By moving to the United States, they left behind a whole life in England: a majority of their family, their friends, and a culture with which they were familiar with.

The collection details civilian life via letters written in England during the second world war from the perspective of parents separated from their children. Spanning from 1938 through 1946, they document the general instability that was faced during this time, including personal family news, everyday life during a time of war, issues regarding divorce, and issues relating ot the separation with their children.

Klaus Postler was a visual artist and curator who lived and worked in New England. Born Michael Edward Postler on March 23, 1951, he grew up in Yonkers, New York, and Connecticut. He was an avid collector of paper ephemera, which he included in his large-scale paintings and collages. From the late 1970s he was an enthusiastic participant in the international mail art movement, labelling his enterprise the Social Artists Reality Empire (S.A.R.E.). One of the exhibitions he curated was the Ray Johnson Memorial Mail Art Show at UMass Amherst, in 1996, for which he put out an open call and received mailed responses from around the world. Postler traveled in Europe and forged relationships with artists there, especially in Germany. In addition to his art practice, he worked for many years picking apples and pruning trees at New England orchards. Postler pursued his education at a number of institutions, with some difficulty due to his dyslexia, and completed his bachelor’s degree in 1998 through the University Without Walls program at UMass Amherst. He was a MacDowell Colony fellow in 2000, and returned to UMass to earn his MFA in studio art in 2005. Late in his life he cared for the estate of the artist Robert Mallary. He died on January 6, 2013, at his studio in Conway, Massachusetts.

The Klaus Postler collection contains a variety of sketchbooks that also functioned as diaries, as well as daybooks and dream journals; slides of his work; and photographic prints. Also included is an assortment of mail art, some created by Postler but mostly work sent to him by other artists, which Postler included in exhibitions he curated in Brattleboro, Vermont, and at UMass Amherst. Thomas Jahn, known as Horsefeathers, is a prolific contributor of mail art. The collection also includes documentation from posthumous gallery shows and a commemorative book about his work published by his partner, Eileen Claveloux.

The human geographer, Richard Wilkie received his doctorate from the University of Washington in 1968, the same year he joined the faculty at UMass Amherst. His research has included a long-term longitudinal study of the assimilation of Argentine migrants, a study of the periodic market system in the Guatemalan highlands, and other projects that range from the European Mediterranean to Hawaii, Malaysia, and Ecuador. Beginning in the 1990s, he turned increasingly to analyzing the concept of attachment to place and the importance of place in the lives of people. Wilkie retired in 2009, but has remained active in teaching, mentoring graduate students, travel, and photography.

This collection consists of town maps excised from mid-nineteenth century atlases, including Smith’s Map of Hartford County (1855), Clark and Tackabury’s New geographical map of the State of Connecticut (1860), and F.W. Beer’ Atlas of Litchfield County (1874).

A landscape architect and extension horticulturist, Hal Mosher was born in Sterling, Mass., in August 1920. Mosher started his undergraduate studies at Mass. State College in the fall of 1942, but after an interruption while he fulfilled his military obligations, he completed his bachelor’s and master’s degrees after the war. Beginning his academic career at the University of Missouri, Mosher returned home to Massachusetts in 1960 as an associate Extension Professor of Horticulture, joining the Department of Landscape Architecture in 1969. He was an enormously popular instructor, known particularly for his introduction to landscape ecology, nicknamed by students ‘Hiking with Hal.’ Mosher retired to emeritus status in 1987 and remained in Amherst until his death on October 3, 2019, aged 99.

Documenting the career of a popular faculty member and distinguished landscape architect, this collection contains materials from throughout Mosher’s career, with an emphasis on the years 1960 through 1987. Volumetrically, almost half of the collection consists of 35mm slides taken during Mosher’s numerous travel throughout the United States and Europe, but there is a good cross-section of materials relating to his teaching, landscape projects, and research, and small number of photographs and ephemeral items from his undergraduate years.

An accomplished concert pianist and composer, Howard Miles Lebow earned both a BA and MFA at the at the Julliard School of Music. Under the tutelage of Edward Steuermann, a pupil of composer Ferruccio Busoni, Lebow exceled as a pianist, performing throughout Europe and the Americas. Joining the rapidly expanding Music faculty at the University of Massachusetts in September 1965, Lebow mixed lecturing and performing until 1968, when he died in an automobile crash at the age of 32. The Howard M. Lebow Scholarship Fund was established in his name in 1968.

The Lebow Collection contains concert programs of many of Lebow’s performances, copy manuscripts, manuscripts of his own compositions, performance notes, and newspapers clippings about and concert programs of other performers. There are also materials that were interleaved within his extensive sheet music collection, now separated and organized by composition. An extensive collection of sheet music has been added to the Libraries’ general collections.

John Merrall Whitcomb was an architect, researcher, and life-long scholar. Born in New York City in July 1907, Whitcomb earned an undergraduate degree at Yale (1930) and a degree in architecture from the University of Pennsylvania (1934) and began working his way up the ranks of the architectural profession in Boston. After wartime service in the Air Force, he resumed his career, establishing his own firm in Cambridge, Johnson and Whitcomb. He died in 1998.

Part of a large collection of books amassed over a lifetime, this collection focuses largely on Whitcomb’s interest in “seditionist” literature, including works on Anglo-American Socialism and Communism, as well as topics ranging from American labor to political and social history, the rise of fascism in Europe, Soviet studies, the Vietnam War, and political theory. The bulk of the material dates from the 1930s through early 1960s.

The Quaboag Seminary was founded in Warren, Mass., in 1842 by two of Amherst College’s early graduates, and was incorporated eight years later. During its relatively brief period of operation, its best-known student may have bene the abolitionist and feminist Lucy Stone, who enrolled in 1841 to prepare for entrance examinations at Oberlin College. In 1856, the school was purchased by the town to serve as the local high school.

This small collection consists primarily of printed materials associated with the short-lived Quaboag Seminary of Warren, Mass. In addition to a school catalogue for 1847, the collection includes two issues — apparently all that were printed — of the student literary periodical, the Quaboag Quarterly Offering (1845); eight programs for school exhibitions (1842-1854); a flier announcing the spring term 1848; and two writing exercise books kept by Mary Ann Moore (later Richardson) while a student at the Seminary.

Founded in 1067, the Benedictine convent of San Pier Maggiore was an ecclesiastical center of medieval Florence, and socially one the city’s most prestigious religious houses for women. A Gothic church was completed at the convent in 1352, featuring an elaborate multi-paneled altarpiece by Jacopo di Cione. The convent remained active until its razing in 1784.

A utilitarian, but ritually significant work, this manuscript contains the text and music used in celebrating the consecration of nuns at the Benedictine convent of San Pier Maggiore. The acanthus border on the first folio suggests a mid-fourteenth century date of origin, though likely prior to the commissioning of Cione’s Coronation of the Virgin altarpiece.