Collecting area: Arts & literature

Western Massachusetts political leader, publisher, and banker (1881-1960), trustee of the University of Massachusetts (1940-1956), and founder, editor and publisher of the Greenfield Recorder newspaper (1912-1928); political positions included State Representative (1909-1913), State Senator (1913-1915, 1923-1927), and State Treasurer (1929-1930); in 1934, was Republican candidate for Lieutenant Governor, and in 1936, candidate for Governor.

The Haigis collection includes scrapbooks (1903-1936), chiefly of clippings, together with speeches (1936), posters, badges, campaign material, and photographs, mainly from Haigis’s unsuccessful campaigns for lieutenant governor (1934) and governor (1936); and tape of an interview (1974) with Leverett Saltonstall about Haigis, conducted by Craig Wallwork.

Temporarily stored offsite; contact SCUA to request materials from this collection.

An actor and motion picture assistant director and producer, Michael Haley was born in Pittsfield, Mass., in 1942. While an undergraduate student at UMass Amherst, Haley became involved in theater, joining the avant garde Buffalo Meat Company that performed original works in Massachusetts and New York City. Following a chance call from a producer looking for local help in 1969, Haley worked on his first film, the low-budget crime drama Honeymoon Killers. After work on several other film and television productions, Haley was among ten people selected for the Directors Guild of America’s Assistant Directors Training Program. During his forty year career, Haley’s credits have included work with a number of noted directors, including Sidney Lumet, Barry Levinson, and Penny Marshall, and he has enjoyed a particularly long and productive association with Mike Nichols. His films have included The Taking of Pelham One Two Three, The Stepford Wives, Biloxi Blues, True Colors, A League of Their Own, Groundhog Day, Primary Colors, and Closer. He was the recipient of two Humanitas Prizes (for Wit and Angels in America), and among others awards, the Christopher Award (for Wit), the Directors Guild of America award, Producers Guild of America award, and an Emmy (for Angels in America), a Directors Guild of America plaque (Working Girl), and the Berkshire International Film Festival Life-Time Achievement Award. He was named Artist of the Year at UMass and has been selected for a Bateman Fellowship.

Reflecting a diverse career in film, the Haley collection consists of scripts, photographs, memorabilia, and diaries, with a small quantity of notes and correspondence. The scripts, approximately 110 of them, are from films ranging from The Godfather Part II to Charlie Wilson’s War and Angels in America, may include several drafts. The photographs are both numerous and particularly rich, including some particularly interesting candid shots taken on film sets, as well as official shots taken by photographers such as Mary Ellen Mark.

Writer, editor, and educator, Anne Halley was born in Bremerhaven, Germany in 1928. A child during the Holocaust, she relocated with her family to Olean, New York during the late 1930s so that her father, who was Jewish, could resume his practice of medicine. Graduating from Wellesley and the University of Minnesota, Halley married a fellow writer and educator, Jules Chametzky, in 1958. Together they raised three sons in Amherst, Massachusetts where Chametzky was a professor of English at UMass and Halley taught and wrote. It was during the late 1960s through the 1970s that she produced the first two of her three published collections of poetry. The last was published in 2003 the year before she died from complications of multiple myeloma at the age of 75.

Drafts of published and unpublished short stories and poems comprise the bulk of this collection. Letters to and from Halley, in particular those that depict her education at Wellesley and her professional life during the 1960s-1980s, make up another significant portion of her papers. Publisher’s correspondence and a draft of Halley’s afterward document the Chametzkys effort to release a new edition of Mary Doyle Curran’s book, The Parish and the Hill, for which Halley and Chametzky oversaw the literary rights. Photographs of Halley’s childhood in Germany and New York as well as later photographs that illustrate the growth of her own family in Minnesota and Massachusetts offer a visual representation of her remarkable professional and pesonal life.

As an undergraduate at Williams College, William (Bill) Harding undertook a research project on the Bennington Centre Cemetery in Vermont to document its stones, through which he became engaged in a longer-term study of the most important carvers represented there in the years after the American Revolution, Zerubbabel Collins and Samuel Dwight. Harding’s work was an important contribution to understanding the transition from death’s head imagery to the gentler cherubs of the early national period and he unearthed significant detail on the lives of noted carvers. Harding went on to study medicine, but remained active in the early conferences of the Association for Gravestone Studies and as a lecturer on the topic for several years until the demands of his professional life gradually intervened.

Centered on his study of Vermont carvers and early gravestone iconography, the Harding collection includes photographs, research and lecture notes, some correspondence, and a sampling of published material. The collection contains Harding’s bachelor’s thesis, “The graveyard at Old Bennigton, Vermont, and the gravestones of Zerubbabel Collins” (1972) and his later, more comprehensive study “Bennington Gravestones” (1975), and notably, two fine prints of gravestones by his colleague, Daniel Farber.

An inventor, entrepreneur, and corporate executive, Carl C. Harris was the third of four generations of his family to help manage the Rodney Hunt Company, a major manufacturer of waterwheels, turbines, and textile machinery based in Orange, Mass. While still in high school in 1898, Harris already displayed a sharp business and technical eye, establishing the first telephone company in Orange, and he began his career after graduation from Worcester Polytechnical Institute, working as a draftsman for GE and then as a superintendent at Rodney Hunt. After a brief stint at the Simplex Time Recorder Company in Gardner, Harris returned to Rodney Hunt for good in 1912. After acquiring a controlling interest in 1917, he remained with the company in several capacities through the Depression and Second World War, serving as general manager, vice president, and treasurer, and from 1938-1947, as president. Throughout his career, Harris remained active in developing or improving a variety of new products and processes, registering a total of 99 patents, and he regularly used his offices at Rodney Hunt to launch other, smaller enterprises, including the Slencil Company,which manufactured mechanical pencils; Riveto, which produced toys and a paper fastening device; and Speed-Mo, a manufacturer of a moistening pad system. Harris retired in 1956 and died four years later in Orange at the age of 79.

The Harris Papers are centered closely on the entrepreneurial activity of Carl C. Harris, and include a particularly thick set of business records for the Slencil Company (ca.1935-1960) and the Riveto Company (1930s-1940s), and the slender record book of the Home Telephone Company. In addition to these, the collection includes many dozen slencils, including prototypes, speciality models, presentation sets, store displays, and marketing designs; examples of Riveto toys, Simplex inventions, flotation devices, and other oddities invented by Harris, along with the associated patents.

A noted comic illustrator, Irwin Hasen enjoyed a career spanning over five decades, including work as staff artist for a number of classic comic book titles. He is perhaps best remembered as the artist behind Dondi, a strip about a war orphan co-authored with Don Edson, that ran nationally from 1955 to 1986.

Hasen’s Legacy Portfolio includes ten hand-pulled serigraphs signed and numbered by the artist, reflecting artwork from throughout his career. The SCUA portfolio is number 16 of 35 sets in the limited edition, with each print hand separated and printed in collaboration with the master printer Gary Lichtenstein.

Mary Frances Healy, a young schoolteacher from Springfield, Mass., volunteered to serve with the National Catholic War Council in the waning days of the First World War. Stationed for sixth months at the Etoile Club in Paris in 1919, Healy helped provide meals, entertainment, and support for Catholic American serviceman awaiting demobilization. After returning home to Springfield, she resumed her teaching career at the Chestnut Street Junior High School.

This slender photograph album contains 53 photographs from Mary Healy’s time working with at the National Catholic War Council’s Etoile Club in Paris in 1919. Healy included a handful of images of the Club’s interior taken by a professional photographer, but also includes her own images depicting the staff and the area around the Club along with side trips to the scene of American military action at Belleau Wood and Chateau Thierry, the American military cemetery there and the devastation inflicted on the nearby town of Bouresches, and scenes in the streets of Paris, Rheims, and in the Haute Pyrenees.

A multi-talented performer, the African American expatriate Gordon Heath was variously a stage and film actor, musician, director, producer, founder of the Studio Theater of Paris, and co-owner of the Parisian nightclub L’Abbaye. Born in New York City, Heath became involved in acting as a teenager and enjoyed a career that spanned post-World War II Broadway to the Black Arts Movement of the 1970s. In addition to his many roles on film and stage, he and his partner Lee Payant enjoyed success as recording artists in the 1950s and 1960s.

The Heath collection includes personal and professional correspondence, scrapbooks containing photos and clippings from assorted television and film productions in addition to songs, poetry, and reviews of plays or playbills from productions he attended. The Papers also contain art work, sheet music, personal and production photographs, and drafts of his memoirs.

Since his youth in Mexico City, Carlos Heiligmann has traveled with a camera in hand. An industrial engineer by training and documentary photographer by nature, he has captured images throughout his world travels, and recently has concentrated on recording libraries in the small towns of western Massachusetts.

The digital photographs that comprise this collection document nearly four dozen public libraries in Berkshire, Franklin, and Hampshire counties in western Massachusetts.

Recognized for her coverage of historic events and personalities, the photographer Diana Mara Henry took the first steps toward her career in 1967 when she became photo editor for the Harvard Crimson. After winning the Ferguson History Prize and graduating from Harvard with a degree in government in 1969, Henry returned to New York to work as a researcher with NBC News and as a general assignment reporter for the Staten Island Advance, but in 1971 she began to work as a freelance photographer. Among many projects, she covered the Democratic conventions of 1972 and 1976 and was selected as official photographer for both the National Commission on the Observance of International Women’s Year and the First National Women’s Conference in 1977, and while teaching at the International Center for Photography from 1974-1979, she developed the community workshop program and was a leader in a campaign to save the Alice Austen House. Her body of work ranges widely from the fashion scene in 1970s New York and personal assignments for the family of Malcolm Forbes and other socialites to political demonstrations, cultural events, and photoessays on one room schoolhouses in Vermont and everyday life in Brooklyn, France, Nepal, and Bali. Widely published and exhibited, her work is part of permanent collections at institutions including the Schlesinger Library, the Library of Congress, Smithsonian, and the National Archives.

The Henry collection is a rich evocation of four decades of political, social, and cultural change in America beginning in the late 1960s as seen through the life of one photojournalist. This diverse body of work is particularly rich in documenting the women’s movement, second wave feminism, and the political scene in the 1970s. Henry left a remarkable record of women in politics, with dozens of images of Bella Abzug, Elizabeth Holtzman, Shirley Chisholm, Liz Carpenter, Betty Friedan, Jane Fonda, and Gloria Steinem. The collection includes images of politicians at all levels of government, celebrities, writers, and scholars, and coverage of important events including demonstrations by Vietnam Veterans Against the War, the Women’s Pentagon Action, and marches for the ERA. The many hundreds of exhibition and working prints in the collection are accompanied by the complete body of Henry’s photographic negatives and slides, along with an array of ephemera, correspondence, and other materials relating to her career.

See the exhibit Photographer: DMH