Collecting area: Visual culture

A miscellaneous collection, primarily of scenic stereocards by major publishers such as Underwood and Underwood.

A visionary of modern wind power, Forrest “Woody” Stoddard was a graduate in aeronautics from MIT (BS, 1966; MS 1968) and an early member of the UMass Amherst “wind power mafia.” After service with the Air Force, Stoddard returned home to Amherst, Mass., in 1972 to pursue a doctorate in Ocean Engineering and to take part in the emerging field of alternate energy. Joining the vibrant, interdisciplinary group at UMass gathered around William Heronemus, he began a dissertation in wind turbine dynamic analysis (1979), earning selection as lead developer of the famed 25kW Wind Furnace 1 (WF-1) turbine. To carry research into practice, Heronemus, Stoddard, and other UMass graduates joined US Windpower (later Kenetech), the country’s first producer of large wind turbines and promoter of early wind farms. A tireless advocate for wind power and alternative energy, Stoddard was highly regarded as a researcher but also as a teacher and mentor of a generation of engineers who populate the industry. Nearly coincident with his untimely death on Jan. 25, 2007, the American Wind Energy Association awarded Stoddard its Lifetime Achievement Award.

As a participant in the early years of the wind power group at UMass, Stoddard’s papers offer insight into an engineer’s experiences in the fitful growth of the wind power industry. The collection is rich in engineering data on turbine dynamics and other aspects of wind power and the extension of academic research into the nascent wind power industry, and it includes an interesting array of both personal and professional photographs and correspondence.

Ann Stokes with Nanette the dog, 1972

Ann Richardson Stokes (1931-2016) was an activist, artist, and community builder across such issues as progressive politics, women’s and lesbian/gay rights, and the environmental and antinuclear movements. Stokes was born and educated in New Jersey, the daughter of Dr. Emlen Stokes and Lydia Babbott Stokes, and the great grand-daughter of Charles Pratt. A lifelong Quaker and longtime member of Putney Friends Meeting, Ann moved to Welcome Hill in West Chesterfield, NH in 1959. She helped build and run the studio retreat for women artists, Welcome Hill Studios, which has been inspiring and nurturing artists since the 1970s, and in 1985 Stokes published an account of the all-woman-built first studio in “A Studio Of One’s Own.” Ann purchased a large parcel of land in West Chesterfield with stone ruins left by Madame Sherri, a vaudeville costume designer known for her entertaining, and carried on her party tradition by hosting Nina Simone, Odetta, the Arthur Hall African-American Dance Troupe and many others. Ann eventually donated the parcel now known as the Madame Sherri Forest with many sites and trails, including the Ann Stokes Loop named in her honor. A talented writer and painter, Ann penned numerous thoughtful letters to editors across the country, but was happy to engage personally in social action as well, such as when she was jailed for two weeks for protesting the Seabrook Station nuclear power plant in 1977 or when she ran, unsuccessfully, for Sheriff in West Chesterfield.

The Ann R. Stokes Papers document Ann’s varied and passionate life of art, community building, Quakerism, and activism. The building and story of Welcome Hill Studios, as well as Ann’s famous parties, are well documented with scrapbooks, photographs, and posters. Her engagement with the Putney Friends Meeting is evident through numerous records and correspondence. Family photo albums and scrapbooks document the Stokes extended family history, and Ann’s own writing, photographs, and art (mostly original paintings and prints) make up a bulk of the collection. Ann’s collection of women/lesbian organization’s newsletters, mostly from the 1980s-2000s, with titles such as Lezzie Fair, Open Closet, Lesbian Connection, the Revolutionary & Radical Feminist Newsletter, show her engagement with local and national women’s issues.

Children and nurse in isolation ward in hospital. ca.1915

45 4×6 and 5×7 glass plate negatives of photos of buildings, homes, farms, animals, nature scenes in and around the Worcester, MA area. Locations include a children’s isolation ward, Jersey Stock Farm, Bordon Robertson’s farm, cold storage building, Bordon Robertson’s house, Baldwin Apple Blossoms Charlie Fosters (Corrs Reservoir), Oakdale Brook, Otis Davis house, Oakdale in West Boylston, Hadley Furniture Company Building in downtown Worcester, MA, and the Fogg Library in South Weymouth, MA.

The photos were discovered by the parents of Stuart Barlow in 1960 upon the acquisition of their home outside of Worcester. The photographer’s are unknown.

For many years, Sovfoto, a stock photograph agency based in New York City, was the sole source in the United States for the best work in contemporary Soviet photojournalism. Founded in 1932, the company carried photographers for Tass and, later, other news agencies from throughout the Soviet republics, Eastern Europe, and China.

The Tass Sovfoto Collection depicts Soviet life, primarily in the 1950s and early 1960s. Typically rendered in heroic Soviet style, the photographs are relatively varied in subject, documenting political events (e.g., Communist Party meetings, the meeting of Kennedy and Khrushchev); generals, politicians, and celebrities (Lenin, Khrushchev, Shostakovich); and athletic and cultural events. A few images appear to be parts of photo essays aimed at a popular audience, including images of Jewish life in Russia and the life of a Soviet worker, while others are stock images of Soviet troops during the Second World War.

Long-time residents of Berkeley, California, Thomas W. Tenney and his wife Margaret took up photography in a serious way in the early 1960s. Photographing the Bay Area scene and publishing in the New York Times and elsewhere, Thomas Tenney became a full-time photographer by about 1960. His photographic interests ranged from urban landscapes and advertising signs to the popular culture of the 1960s and 1970s. Margaret Tenney, also a photographer, was a visual artist who worked in collage and monoprint. For over a decade, the couple took summer trips to New England to photograph colonial and early national gravestones, culminating in a public exhibition of their work in 1972 at the Bolles Gallery in San Francisco.

A vast array of the Tenneys’ photography, artwork, and collection of historic photographs, including thousands of photographs and negatives ranging from the mid-19th century to the early 2000s.

Collection of of 2,500-3,000 glass plate negatives that date back to the 1860s donated by local photographer Terri Cappucci. Cappucci, who received her MFA at UMass Amherst, is a documentary photographer, alternative process printer, and educator who has been producing her own nineteenth century-style photographs using the wet plate collodion process for many years.

Most of the negatives in the collection are undated and have little to no information about where they were taken or who the photographer was. To address this, Cappucci created the “Somebody Photographed This” website and Facebook group. She also utilized her expertise to determine that the photographs in the overall collection were taken by several different photographers. While most of the collection is from Western Massachusetts, specifically Franklin County, there are also images from the coastal towns of Massachusetts. Cappucci then cleaned and digitized some of the most compelling images from the collection and posted them to the “Somebody Photographed This” Facebook page during the pandemic in 2020. Followers left comments to share locations, dates, and additional information about the photos. This led to Cappucci receiving additional glass plate negative collections from people from around the world, as well as articles about the project in the Boston Globe, Greenfield Recorder, Montague Reporter, and UMass Magazine, along with a televised segment on NEPM. Cappucci started a GoFundMe campaign and raised funds for preservation supplies.

In 2023, Cappucci approached SCUA to permanently house the collection amongst our vast holdings of photograph and manuscript collections.

Four local unions located in New Bedford, Massachusetts, that joined in 1939 and became the first affiliates of the New Bedford Joint Board of the Textile Workers Union of America. Includes by-laws, minutes of board of directors and local meetings, correspondence, subject files, photographs, and scrapbooks relating to the administration of the New Bedford Joint Board, documenting its role in addressing grievances filed against individual companies, in facilitating arbitration, and hearing wage stabilization Board cases.

A graduate of Yale, failed schoolmaster, and politically-connected customs collector in eastern Maine during the antebellum period, Stephen Thacher raised a large family with grand intellectual ambitions. Thacher’s sons made the most of their collegiate educations in their careers in law and the ministry, his eldest daughter Mary married Thomas Wentworth Higginson, while a granddaughter Alice Thacher married the Harvard historian Edward Channing, son of William Ellery Channing and nephew of Margaret Fuller.

These relics of a prominent New England family contain nearly 150 letters, dozens of photographs and other visual materials, and a large assortment of books from three generations of Thachers and Channings. The letters are a rich resource for understanding the life of Stephen Thacher from the uncertainty of youth in Connecticut to political and financial success in the ports of eastern Maine. Assembled by Stephen’s son Peter, the collection includes a number of noteworthy items, including an excellent letter from Timothy Goodwin in July 1775, describing his experiences during the failed expedition on Quebec and the retreat to Crown Point, and a series of letters from Congressman Martin Kinsley on the major issues of the day, including the extension of slavery to the territories and formation of the state of Maine.

Tom Gardner, 1966

Born in New Orleans in 1946, Tom Gardner began his involvement in social and political causes as a student at the University of Virginia (UVA) in 1964. He joined the burgeoning civil rights and anti-Vietnam War movements and eventually dropped out of school to become a full time activist. During this time, he was the chairman of the Southern Student Organizing Committee (SSOC), an organization based in the south which opposed the Vietnam War, fought for civil rights for black Americans, and supported the rights of women and workers. He returned to UVA in 1969 and completed his bachelor’s degree in sociology in 1971.

Following UVA, Gardner worked as a staff member at the United Electrical, Radio, and Machine Workers of America (UE) as an organizer. Concurrently, he joined the Southern Conference Education Fund (SCEF) and became a board member. SCEF was active in numerous causes in the south, dedicated in particular to civil rights and electoral reform.

Beginning in the 1970s, Gardner began work on prison issues, working with a number of politically and unfairly convicted prisoners, and advocating for an end to the death penalty. Gardner, and the groups he worked with, challenged the institutional racism of a southern justice system that had existed since the days of Jim Crow. The most prominent of these cases was that of Johnny ‘Imani’ Harris, who was originally sentenced to five life terms for 4 small robberies and an alleged rape in 1970 and eventually given the death penalty under Alabama’s capital offenses law due to an inadequate defense by his court appointed lawyers.

Concurrent to his work as an activist, Gardner has worked as a journalist and photographer, writing articles for a number of commercial publications as well as some independent work. While working for the Montgomery Advertiser, Harvard Divinity Bulletin, and others, he covered local, college, and political news. Gardner has also used journalism to bolster his activism, writing for left-wing publications such as Workers World and The Great Speckled Bird. He used his talents in photography by taking photos of protests and events he attended for use in articles by him and others.

Gardner returned to school several times after originally graduating from UVA in 1971. He received a masters degree in Journalism from the University of Georgia in 1982, a masters in Public Administration from the John F. Kennedy School of Government at Harvard in 1985, and later a Ph.D. in Communication from UMASS Amherst in 2005. Throughout his PhD program and since its completion, Gardner has been a professor of Communication at Westfield State University, using his experience from a life full of activism to continue educating a new generation of students and activists.

This Gardner collection illustrates much of Gardner’s activism and journalism work throughout his life. It contains correspondence, articles, press releases, meeting minutes, photographs, pamphlets, newsletters, publications, notes, and newspapers. The collection documents the full scope of Gardner’s life; from his time as a student activist at the University of Virginia to his more recent achievements as a professor at Westfield State University.

The collection also contains a large amount of material written by Gardner himself, as well as publications, newspapers, and articles that either relate to causes he was directly involved in or the political issues of the day.