Connecticut River Watershed Survey Reports, 1949-1950.
1 box (0.5 linear feet). Call no.: MS 067
The US Department of Agriculture was already actively engaged in water control and management issues prior to the enactment of the Flood Control Acts of 1936 and 1944. Pursuant to the 1936 Act, and the extensive flooding of 1936 and 1938, the USDA conducted an extensive survey of the Connecticut River Watershed.
Issued by the U.S. Department of Agriculture in 1950 in compliance with the Flood Control Act of 1936, these flood reports present the results of a survey and the outline of a program of land use and management developed to alleviate flood and sediment problems in Connecticut River Watershed. The collection includes both a preliminary draft (in typescript) and completed report and appendix of the survey, with the final reports marked “Confidential. For Departmental review only.”
Operator of a general store in Cambridgeport, Vermont, as well as a postmaster and a deacon of the Congregational Church. Daybook includes lists of stock, how he acquired his goods, and method and form of payment (cash or exchange of goods and services).
Cambridgeport (Vt.)--Economic conditions--19th century
Freight and freightage--Rates--Vermont--History--19th century
Born in Middleborough, Mass., in 1781, Artemas Cushman relocated to the central Vermont town of Braintree as a young man and spent decades as a carpenter and house joiner. He and his wife Phebe Spear raised a family of nine, one of whom (Artemas’ namesake) rose to local prominence as a officer in the state militia and representative in the state house and senate. Cushman died in Braintree in 1864.
Cushman’s small ledger is a fine record of the day-to-day work of an antebellum carpenter in rural Vermont. Part daybook and part account book, and often lacking in detail, Cushman’s entries document the work of a skilled artisan engaged in constructing or repairing houses, windmills, cider mills, bake houses, sheds, and barns, and at least one school. Occasionally, he applied his skills to smaller projects such as mending a wheel or making a wagon body or coffin, and less frequently he was compensated for manual labor (haying or planting). In a cash-poor economy, Cushman was typically repaid through an exchange of labor, or through commodities such as brandy, grain, or pork.
Braintree (Vt.)--Economic conditions--19th century
Famous Long Ago launched the literary career of Raymond Mungo with a splash, but even before the book had reached the shelves, he turned to his next project. In October 1969, Mungo began planning for a memoir of his life at the Packer Corners commune. Soon entitled Total Loss Farm, the book would become a classic in the literature of the 1960s counterculture. Signing a contract in November with E.P. Dutton, he worked with a young and sympathetic editor, Susan Stern (later Susan Dalsimer).
This small, but rich collection consists of a series of letters between Raymond Mungo and his editor at E.P. Dutton, Susan Stern, regarding his ideas on writing and life. Beginning in October 1969 with editorial commentary on Famous Long Ago and Mungo’s additions, the Dalsimer Papers offer insight into the development of Total Loss Farm from concept to printed page.
A wave of experimentation in communal living in New England reached a peak in the late 1960s and early 1970s, with dozens of communities spread across the landscape of western Massachusetts and Vermont. Nina Finestone joined the Johnson Pastures in Guilford , Vermont, in 1969, however after the main house there went up in flames on April 16, 1970, killing four people, she joined a number of its residents who moved to the nearby Montague Farm in Montague, Massachusetts. Nina married a fellow Montague farmer, Daniel Keller, and the couple moved to Wendell in 1980.
Providing exceptional visual documentation of life at Johnson Pasture, the Montague Farm, and Wendell Farm between 1969 and 1990, the Finestone collection is centered on the lives and family of Daniel and Nina Keller. All images were taken by Roy Finestone, Nina’s father, with a medium format camera using color transparency film.
Owner of a general store and a woolen factory, postmaster, town clerk, and state senator from Gaysville in Stockbridge, Vermont. Daybooks document accounts and transactions with individuals, businesses, Town of Stockbridge, and Narrows School District, method and form of payment (cash and goods), and Gay’s purchases, including labor costs for hauling his freight.
Blanchard, Solomon, b. ca. 1816
Claremont Manufacturing Company--History
Freight and freightage--Rates--Vermont--History--19th century
Gaysville (Vt.)--Economic conditions--19th century
Gaysville (Vt.)--Rural conditions--19th century
Gaysville Forge Company--History
Gaysville Manufacturing Company--History
Narrows School District--History
Stockbridge (Vt.)--Economic conditions--19th century
Late in the nineteenth century, George and Kent was one among many firms in Barre, Vt., specializing in the supply of granite for grave markers and monuments. Under senior partner William L. George, the firm was located on Seminary Street in the 1880s, supplying a clientele that reached as far away as Iowa. Although the firm was listed in city directories from at least 1883 to 1890, further details are scant.
This small collection consists of receipts and correspondence relating to George and Kent’s trade in granite memorials. Concentrated in a narrow window, mostly 1887-1888, the collection includes three sketches for memorials to be produced by the firm.
An organizer, consultant, and educator in the alternative agriculture movement, Grace Gershuny has been active in the field since the 1970s when she worked for the Northeast Organic Farming Association (NOFA), developing its first organic certification program. As a leader in the movement, Gershuny helped to establish both the Organic Trade Association and the Organic Farmer: The Digest of Sustainable Agriculture. Today she continues to write and teach on the subject, serving as a faculty member at a number of colleges, most recently Green Mountain College.
The collection consists chiefly of printed material from a run of the Organic Farmer to Appropriate Technology Transfer for Rural Areas (ATTRA) publications and organizational newsletters, such as the Rural Education Center. Amongst these publications are a few small but significant groups of materials including notes from Gershuny’s role as the NOFA VT coordinator in 1979 and her drafts and notes for the second editions of The Soul of Soil.
William E. Harding Collection, 1972-2003 (Bulk: 1972-1981).
2 boxes (1 linear feet). Call no.: MS 843
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.
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.