Collecting area: Photographs

A member of the English and Folklore faculty at Western Oregon University, Richard E. Meyer studied at Northwestern University and the Universities of Washington and Oregon. A prolific author, he has published on topics ranging from British and American literature to American folklore, but particularly on the culture and history of the American cemetery and gravemarkers. A founder of the Cemeteries and Gravemarkers section of the American Culture Association (1986) and longtime member of the Association for Gravestone Studies, serving as editor of its journal, Markers, for twelve years, Meyer has delivered dozens of talks on the subject, is co-author (with Peggy McDowell) of The Revival Styles in American Memorial Art (1994), and editor of Cemeteries and Gravemarkers: Voices of American Culture (1989) and Ethnicity and the American Cemetery (1993).

During the course of his extensive research in cemeteries throughout the United States and Europe, Meyer documented over 20,000 grave monuments. His collection consists of over 16,000 color slides and 200 black and white photographs, all meticulously well-identified, of gravestones and cemeteries. Meyer also collected ephemera and realia relating to the Tomb of the Unknown Soldier and to commemoration of the dead of the First World War.

Four generations of the Miller family from Roxbury and Hull, Massachusetts. Includes photographs mounted on twenty-eight sheets of posterboard and 158 slides stored in two slide trays that are comprised of formal and informal family portraits; family businesses; church and business gatherings; a wedding announcement; and postcards from the early 1900s depicting public recreation sites. More recent photographs reveal how the public recreation sites have changed over the years. Robert Parker Miller, a graduate of the University of Massachusetts Amherst and a member of the Miller family, displayed these images in an exhibit entitled “Trying to Live the American Dream” (1986, Wheeler Gallery).

Bob Morey photographed the folk scene in New England during the late 1960s and early 1970s, concentrating especially on Club 47 and other venues in Cambridge and Boston.

Consisting primarily of images of musicians in performance, the Morey collection contains prints of Eric Anderson, Chuck Berry, Donovan, Bob Dylan, Joni Mitchell, and Frank Zappa, among others, along with a few contact sheets. Also included are an issue of Broadside and a run of monthly calendars from Club 47 dating between September 1966 and the summer 1967.

A fixture of the Boston Jazz scene, Bernie Moss began taking photographs in the early 1960s, capturing musicians on stage and after hours in the clubs he frequented. Musicians that Moss would meet at Connelly’s, the Savoy Cafe, Lennie’s on the Turnpike, and later the Jazz Workshop, would often come to Moss’s apartment at 11 Queensberry Street where he would give them a place to stay and a meal. His generosity and love of the music and musicians was renown among the top artists of the era; inspiring Dexter Gordon to compose the song “Boston” Bernie Moss in his honor. Moss was born on Christmas day in 1908 and grew up in a Jewish household. He played trombone as a member of the Massachusetts National Guard 241st Coast Artillery Regiment from 1929 to approximately 1939 but spent the remainder of his life looking after the Boston apartment buildings he inherited from his father, known as the Moss Realty Co. According to Nat Hentoff in his memoir Boston Boy, “he took care that none of his tenants ever knew him as a landlord. His brother collected the rent, and the janitor received all the complaints about services. Bernie just showed up to talk about jazz.” Moss died on February 13th, 1988.

The Bernie Moss Photograph Collection primarily consists of Moss’s color photographs taken at Boston Jazz clubs in the 1960s and early 1970s. The photographs include musicians Alan Dawson, Roy Haynes, John Coltrane, Ben Webster, Dizzy Gillespie, Yusef Lateef, Herbie Hancock, Art Blakey, and many more. Moss’s amateur style brings life to some of the most important years of modern Jazz, showing Jazz greats at the height of their powers, often in informal settings. Many photographs were mounted and catalogued as part of a traveling exhibit curated by the Boston Jazz Society.

A popular tourist destination during the post-Civil War years, the Mountain House hotel was built on the summit of Sugar Loaf Mountain, in South Deerfield, Mass., by Granville Wardwell in 1864 on property owned by his father-in-law Dwight Jewett. Positioned near the southern end of the mountain, the hotel provided tourists with a stunning panoramic vista of the Connecticut River Valley.

This small collection consists of three scenic cartes de visite from a larger series featuring views from the Mountain House. The images include No. 6, a view of five persons perched on the southeast promontory of Sugar Loaf with a view to the northeast across the Connecticut River to Mt. Toby; No. 10, Mountain House with a group of nine men and women posed on the lawn with telescope and tripod; No. 18, view of barns at the southern base of Sugar Loaf Mountain.

Born in a “howling blizzard” in February 1946, Raymond Mungo became one of the most evocative writers of the 1960s counterculture. Through more than fifteen books and hundreds of articles, Mungo has brought a wry sense of humor and radical sensibility to explorations of the minds and experiences of the generation that came of age against a backdrop of the struggles for civil rights and economic justice, of student revolts, Black Power, resistance to war, and experimentation in communal living.

Consisting of the original typescripts and manuscripts of ten of Raymond Mungo’s books, along with corrected and uncorrected galleys and a small number of letters from publishers. Among the other materials in the collection are thirteen photographs of Mungo taken by Clif Garboden and Peter Simon during and immediately after his undergraduate years at Boston University; a DVD containing motion pictures of life at Packer Corners in 1969 and 1977; and an irate letter from a writer regarding the status of poems he had submitted to Liberation News Service.

Long-time residents of Hadley, Massachusetts, the Nash and Scott families were united in 1881 when John Nash, a farmer, married Lizzie Scott. Of their seven children, Herman B. Nash, graduated from the Massachusetts Agricultural College in 1917, and immediately enlisted in the army, serving in France at the close of World War I. His youngest sister, Helen, kept the family connected during these years by writing and distributing a family newsletter, the Plainville News.

The Nash-Scott Family Papers contain a number of photographs, including an album capturing a trip to the west coast in 1915 and a canoe trip to Labrador in 1920. Herman B. Nash’s scrapbook documents not only his time as a student at M.A.C., but also his service in France, featuring candid photographs taken by Nash during and after the war as well as identification cards, company rosters, and a German propaganda leaflet picked up near the front. Pamphlets, genealogical notes and postcards complete the collection.

Approximately every twenty years, western New England suffers from devastating ice storms, leaving heavy ice coating on trees and buildings and hazardous conditions. Major storms struck in 1921, 1942, 1961, 1983, 1998, and 2008, with the storm of December 29-30, 1942, disrupting power and closing roads throughout a broad swath of the northeast. In northern New York state, ice depths reached six inches.

The collection includes twenty six of an original thirty eight photographs depicting ice storm damage to power lines in the Pittsfield District (Windsor, Middlefield, Washington Mountain to Becket) resulting from the storm in December 1942. The collection also includes a cover letter pertaining to photos (not included) documenting a similar situation in Northampton, affecting the New England Power Service Co.

Founded as a non-governmental, volunteer organization in 1911, the New York Farm Bureau offers resources to support and enrich rural life and encourages farmers to work collaboratively for better marketing and production.

This small collection of photographs documents inspection tours conducted by the New York Farm Bureau of farms, apparently in the Mohawk River Valley, in 1915-1916. The intent, as the caption of one photograph suggests, was to bring “science into the field.”

Howard Prussack at High Meadows Farm in Putney, VT

A farmer for over thirty years along the Connecticut River in Vermont, John Nopper came to photography later in life. Drawn to the challenge of capturing individuals and environments in his and surrounding communities, Nopper focuses on portraits and landscapes, and specializes in 11”x17” or larger printing, emphasizing the depth of tone in his black and white photography. His photograph projects often focus on the instruments and individuals of a specific industry or place, and frequently document subjects and vocations he feels warrant increased attention, either due to their methods, like his work documenting traditional maple sugaring and printing practices, or due to current events, such as a more recent project as an embedded photographer within a Vermont city police department.

The John Nopper Photograph Collection currently consists of twenty-five, 11”x17”, black and white prints from the exhibit “Plowing Old Ground: Vermont’s Organic Pioneers,” along with the descriptions from the project. In a collaborative effort with interviewer and writer Susan J. Harlow, Nopper photographed the subjects of Harlow’s interviews for an exhibit featuring interview summaries and quotations alongside photographs from six farms and their farmers, all pioneers in the history of organic farm production, marketing, and distribution in Vermont. The collection also includes digital photographs not printed, as well as digital versions of most of the prints.