Collecting area: Arts & literature

Judy Polan, ca. 1984

Judy Polan was a folk musician who performed primarily throughout Western Mass and New England in the 1980s and 1990s. Born in 1948 in Albany, New York, she graduated from Barnard College in 1970 with a degree in Russian. She worked as a translator in Cambridge, Massachusetts and taught guitar lessons part-time before eventually moving to teaching and performing full time. She married Michael Schonbach in 1975 and moved to Western Mass two years later, living first in Northampton and then Chesterfield. During this period, her music career blossomed. She quickly became a favorite at local coffeehouses and other venues such as the Iron Horse Music Hall in Northampton the Sounding Board Coffeehouse in West Hartford, and Passim in Cambridge, playing both original songs and covers from a wide variety of genres. She was a four-time recipient of the “favorite musician” award in the Valley Advocate Reader’s Poll in 1985, 1993, 1994, and 1995. She was frequently played on radio stations throughout New England and Upstate New York. Polan also performed at weddings and children’s events. Her husband, Michael Schonbach often accompanied her on violin.

She released her first album, Judy, Judy, Judy in 1984 on her own record label, Ruby Slippers Records. The name was an homage to her love of the Wizard of Oz, songs from which would often feature in her shows. She was known by her fans as the “Folk Glitter Queen of New England”, due to her eclectic style of both music and costume, which often featured glittery red high heels fashioned after Dorothy’s ruby slippers from the Wizard of Oz. Over the course of her career she released two more full-length albums and one EP, Look to the Starsin 1986, Dream Dances in 1992 and Daffodils in 1996. Also in 1996, she released a musical interpretation of the poem “I Wandered Lonely as a Cloud” by William Wordsworth, which was used in a tourism campaign for the Lake District in Northwest England. During the early 2000s, Polan’s career shifted to writing, and she worked as an editor and writer for magazines such as Style 1900, Modernism and Jewish Ledger. She mainly wrote about design and travel and maintained a website and blog, Mad for Mod, throughout the 2010s. She also wrote humorous audio memoir essays that were featured on the Albany, NY NPR affiliate, WAMC. She also published a book of poetry, Glasgow Colours at a Decorative Arts Programme at the University of Glasgow. Her husband Michael passed away on June 16, 2022.

The Judy Polan Papers contain material from throughout Polan’s career as a working musician. This includes promotional materials such as concert flyers, profiles in local publications, business and personal correspondence, sheet music, and lyrics. It also contains several dozen recordings contained on different formats such as reels, cassette tapes, records and CDs. These consist of commercial releases, live shows, radio appearances, demo recordings, and master tapes. Polan’s ruby slippers, that she wore during performances, are also part of the collection.

234 photographs taken by Marian Pokropek and others of a variety of subjects in Poland, including homes, farms, buildings, churches, businesses, wood carvings, ceramics, corn dollies, friezes, metalwork, sculptors, paintings, textiles, ceremonies, and a Jewish graveyard. Many of these images were published in Pokropek’s books.

Includes booklets containing parish and community histories, photographs, and local advertisements celebrating Jubilee, other anniversaries, and events in over twenty Massachusetts Polish American parishes; booklets furnishing histories and names associated with Polish American groups (such as the Brotherly Aid Society and Polish American Veterans); an historical paper on the Chicopee Polish Community; a pamphlet including songs and recipes; photographs; a booklet; and two books.

When Antonio Politella emigrated from Italy to Lawrence, Mass., in 1910, he joined an older half-brother Walter Pollano, but left behind his wife and infant son. Working as a pharmacist under Pollano, Politella was successful enough to reunite his family in 1919, and eventually raised a family of three, all of whom went on to earn undergraduate degrees at Massachusetts State College and dedicate their lives to education. The eldest child, Joseph (’33), served in the Army Air Corps during the Second World War, earned a PhD in philosophy at the University of Pennsylvania, and taught in eastern religions at Kent State University. Lillian (’42) became a French teacher, while Dario (’47), an aviator during the war, earned his doctorate at Syracuse and taught journalism at UMass Amherst for many years.

The Politella family collection contains correspondence received primarily by Lillian Politella (’42), the bulk of which reflects the impact on the war on both her family and college. Among the letters are dozens written by her brothers Joseph (’33) and Dario (’47) and friend Donald W. Cadigan (’39) while in the service, which are joined by an evocative series from their teacher and mentor, Ray Ethan Torrey. Torrey’s letters in particular offer insight into Mass. State College during and after the war and are replete with news about acquaintances and complaints about liberals and current events.

Brought together by Robert J. Pollock, this collection of souvenirs consists chiefly of playbills from New England and New York productions, and includes programs from ice skating shows, circuses, and musical revues.

The Porter-Phelps-Huntington Family Papers document the history of one extended family
over 270 years (or eight complete generations) and the family’s connection to its ancestral
home, “Forty Acres,” in Hadley, Massachusetts. Forty Acres was a working farm, its name not a
true description of the land under cultivation, which consisted of six hundred acres acquired
by its first owner, Moses Porter, and a significant growth in acreage under his son-in-law,
Charles Phelps. Subsequent generations produced a number of clergy, lawyers, a sea captain,
merchants, factory owners, army officers and doctors. There were artists, writers, publishers,
an actress, and numerous housewives, of necessity, multi-skilled.

The personal papers from these family members contribute valuable insights into our understanding of the evolution
of American society during the last 250 years. Letters and diaries reveal the significant
impact of major events in American history, beginning with the French and Indian War up
through the twentieth century. These writings provide scholars a glimpse into personal
perspectives on wars, political and economic upheavals, religious revivals, social
developments, family relationships, divisions of labor between men and women, as well as the
day-by-day domestic life of the family, their servants and enslaved people.

Related family collections include:

• Catherine Sargent Huntington Papers
• Gladys Parrish Huntington Papers

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.

A devoted reader of newspaper cartoon strips, Jim Powell began collecting Peanuts cartoon books in the mid-1970s, prompted by obtaining two pure-bred beagles for his son.

The Powell cartoon book collection consists of 419 mass market paperback copies of popular cartoon books, representing the work of well-known cartoonists such as Charles M. Schultz, Johnny Hart, Gary Larson, Garry Trudeau, Jim Davis, and Berke Breathed. The collection has particularly rich runs of Peanuts, Garfield, and Doonesbury.

A pioneer of African dance in the United States and a vital scholarly voice, Pearl Primus burst onto the scene in the early 1940s as a choreographer, performer, composer, and teacher. Born in Trinidad in 1919 and raised in New York City, Primus was introduced to performance through the National Youth Administration and the New Dance Group. Her interest in the dance cultures of Africa and the African diaspora formed the conceptual center of her work throughout her career, drawing upon her deep scholarly research. In addition to her creative work, Primus earned a doctorate in anthropology from NYU and taught at a number of universities, including the Five Colleges. She died in New Rochelle, N.Y., in October 1994.

Conducted with Pearl Primus’ fellow dancers, musicians, friends, and collaborators between 1995 and 2005, the interviews comprising this collection were recorded by Peggy and Murray Schwartz for use in their book, The Dance Claimed Me: A Biography of Pearl Primus (New Haven, 2011). The oral histories provide insights into Primus’s sometimes controversial life career, her performances, teaching, and legacy.

Background

4to, 237 x 170 mm., 53 leaves, the complete Juzʾ (جزء) Qāla ʾalam (قال ألم) (XVI), containing text from the 18th Sūrah, Sūrat al-Kahf (ٱلْكَهْف), beginning with verse 57, up until the 20th Sūrah, Sūrah Ṭāʾ Hāʾ (طه), verse 135. This manuscript was likely part of a 30 volume section, sometimes copied into independent volumes. Each subsection, or Juzʾ, is a complete section of the Qurʾān itself. For manuscripts of this style, the Qurʾān is usually divided into 30 equal-length Juzʾ sections in order to preserve not only the whole work, but to produce a manuscript in a legible font, a manuscript that is not too large, and one that can be illuminated elegantly. This style of division is most popular in North Africa. 

This manuscript is an example of a Baḥrī Mamlūk Sulṭānate (1250-1382 CE/648-784 AH) Qurʾānic Juzʾ. The Baḥrī Mamlūks (al-Mamalik al-Baḥariyyah, المماليك البحرية), sometimes referred to as the Baḥrī dynasty, were the rulers of the Mamlūk Sultanate of Egypt following the earlier Ayyubid dynasty. These rulers were of Kipchaq Turkish origin, and their name, “Mamlūk,” derives from the Arabic word mamlūk (مملوك, plural mamālīk, مماليك), literally meaning “owned person/slave.” The Baḥrī component of their name comes from their connection to the Nile River. Baḥrī literally means “of the river,”  and refers to the location of their original barracks on Roda Island in the Nile (Nahr al-Nīl, نهر النيل) in Cairo, at the citadel of Ar-Rawdah which was built by the Ayyubid sultan aṣ-Ṣaliḥ Ayyūb. This particular manuscript was likely made for a wealthy member of the Baḥrī Mamlūk court.

The chapters (sūwar, سور, sing. sūrah,  سورة) include passages related to Maryam and ʿĪsā (Mary and Jesus), God’s call to Mūsā ibn ʿImrān (Moses), the Exodus of the Israelites and the crossing of the Red Sea. 

Contents of Collection

Text is in a single column throughout the manuscript, with 7 lines of fine scribal muḥaqqaq (محقَّق) script in black. Vocalization marks are in red. As is standard, all ḥarakāt  (حركات), i.e., diacritics, are provided to ensure proper pronunciation. The opening two pages feature text blocks framed with gold borders, each containing rectangular panels at the top with headings in white muḥaqqaq against blue, green, and orange arabesque designs. Likewise, there are three circular floral medallions extending into the margins on each side. Additionally, there is a recto of the first leaf with a large circular device heightened in gold with decorative rays extending outwards. Two of the Sūrah headings are illuminated in the text, each with white thuluth (ثلث) text against gold polychrome banners, with a circular device extending into the outer margins. Verses are marked throughout with gold roundels, each decorated with red and blue. The covers of the manuscript are in leather, with large medallions on each cover. These medallions contain floral imagery, which has been pressed into the leather. The border around each cover is in gold, with a swirling pattern surrounding the medallion. 

Some spotting can be found throughout the text, along with some smudging. Some page corners have been damaged, and wormholes appear on some pages without disrupting the text itself. Some of the paint has faded or scuffed since the manuscript’s creation. On occasion, spacing between words and letters is reduced to fit into the margins of the manuscript. Because of this, reading is ever so slightly impaired for certain verses. Lastly, there is additional commentary or notes toward the end of the manuscript. This text is in much smaller, black handwriting, notably different from the calligraphy of the Qurʾānic text.

Processing Information

Processed by Andrew Bielecki, May 2024.