{"links":{"self":"https://arclight.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026page=5\u0026view=list","prev":"https://arclight.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026page=4\u0026view=list","last":"https://arclight.lyrasistechnology.org/catalog.json?f%5Blevel%5D%5B%5D=Collection\u0026page=5\u0026view=list"},"meta":{"pages":{"current_page":5,"next_page":null,"prev_page":4,"total_pages":5,"limit_value":10,"offset_value":40,"total_count":47,"first_page?":false,"last_page?":true}},"data":[{"id":"f13c9055d04251dd9dc6564d","type":"collection","attributes":{"title":"Tulip Festival Scrapbook Collection, 2016","breadcrumbs":{"id":"https://arclight.lyrasistechnology.org/catalog/f13c9055d04251dd9dc6564d#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"f13c9055d04251dd9dc6564d","title_filing_ssi":"Tulip Festival Scrapbook Collection","title_ssm":["Tulip Festival Scrapbook Collection"],"title_tesim":["Tulip Festival Scrapbook Collection"],"ead_ssi":"f13c9055d04251dd9dc6564d","unitdate_ssm":["2016"],"unitdate_other_ssim":["2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RA1.3.1","/repositories/2/resources/100"],"text":["RA1.3.1","/repositories/2/resources/100","Tulip Festival Scrapbook Collection, 2016","Historical Notes (adapted from Orange City, by Doug Anderson et al.)\nOrange City was founded by Dutch American colonists from Pella, Iowa in 1870. It was not until the 1930s, however, that the town began what became the Orange City Tulip Festival (OCTF).","Local clubs sponsored an annual tulip show starting in 1933. The newly organized Orange City Chamber of Commerce in 1935 supported expanded tulip plantings in town, and in 1936 they led in creating the Spring or May Festival. Over a single day (May 14), the festival featured (besides tulips) a parade, a costume contest, window displays, and an evening concert by the Sioux City Symphony Orchestra. Some 3,500 visitors reportedly came for the day.","With hearty public support, the festival was staged again in 1937 with the addition of not only more tulips but also a festival queen. In 1938, the OCTF became a two-day event, with a locally produced musical program presented in the evening. World War II demands cut the 1942 festival back to one day, and the event was put on hold between1943 and 1946. When the OCTF resumed in 1947, the celebrations soon grew to three days on the third weekend in May. Regular\nevents include parades, street inspection and scrubbing, Dutch folk dancing, ceremonies with the festival queen and court, and an evening musical.","Orange City is not the only Dutch American town to offer such a festival. The two Dutch colonies of 1847 each launched a tulip festival before Orange City: Holland, Michigan, in 1929, and Pella, Iowa, in 1935. Orange City's festival has become a way for the town's citizens to celebrate a Dutch identity that is intended to be inclusive and unifying.","Leona Vander Stoep created these scrapbooks. She donated them to the\nNorthwestern College Archives and Special Collections in January, 1993.","The Tulip Festival Scrapbook Collection documents the Orange City Tulip Festival. The scrapbooks consist largely of newspaper clippings, but also include various brochures, programs, photographs, notes, and other documents. Collectively, these scrapbooks provide evidence for the origins and development of the Orange City Tulip Festival (OCTF) from the mid- to late twentieth century. Indirectly, the scrapbooks suggest how a Midwestern town adapted its ethnic origins for twentieth-century uses for local identity and economic vitality.","There are other OCTF materials under the RA 1.3 numbering, such as the William Kalsbeek Research Collection (see finding aid).","For online photographs and documents representative of the holdings of the Northwestern College and Special Collections, see the Orange City Tulip Festival digital collection on NWCommons: http://nwcommons.nwciowa.edu/tulipfestivalcollection/.","For studies of Orange City, the OCTF, and other Dutch American festivals, see these items:\n - Anderson, Doug, Tim Schlak, Greta Grond, and Sarah Kaltenbach. Orange City. Charleston, SC: Arcadia Publishing, 2014. - Kalsbeek, William D. Celebrating our Dutch Heritage: The Story of the Orange City Tulip Festival. [Orange City, IA:] Friends of the Festival Foundation, 2015. - Schoone-Jongen, Terence G. The Dutch American Identity: Staging Memory and Ethnicity in Community Celebrations. Amherst, NY: Cambria Press, 2008. - Vander Stoep, Arie. History of the Orange City Tulip Festival. [Orange City: typescript by author, 1973?].","Copying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library.","Lyrasis Special Collections","English"],"unitid_tesim":["RA1.3.1","/repositories/2/resources/100"],"normalized_date_ssm":["2016"],"normalized_title_ssm":["Tulip Festival Scrapbook Collection, 2016"],"collection_title_tesim":["Tulip Festival Scrapbook Collection, 2016"],"collection_ssim":["Tulip Festival Scrapbook Collection, 2016"],"repository_ssm":["Lyrasis Special Collections"],"repository_ssim":["Lyrasis Special Collections"],"access_terms_ssm":["Copying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library."],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear feet"],"extent_tesim":["1 Linear feet"],"dimensions_tesim":["1.98 m"],"bioghist_html_tesm":["\u003cp\u003eHistorical Notes (adapted from Orange City, by Doug Anderson et al.)\nOrange City was founded by Dutch American colonists from Pella, Iowa in 1870. It was not until the 1930s, however, that the town began what became the Orange City Tulip Festival (OCTF).\u003c/p\u003e\n","\u003cp\u003eLocal clubs sponsored an annual tulip show starting in 1933. The newly organized Orange City Chamber of Commerce in 1935 supported expanded tulip plantings in town, and in 1936 they led in creating the Spring or May Festival. Over a single day (May 14), the festival featured (besides tulips) a parade, a costume contest, window displays, and an evening concert by the Sioux City Symphony Orchestra. Some 3,500 visitors reportedly came for the day.\u003c/p\u003e\n","\u003cp\u003eWith hearty public support, the festival was staged again in 1937 with the addition of not only more tulips but also a festival queen. In 1938, the OCTF became a two-day event, with a locally produced musical program presented in the evening. World War II demands cut the 1942 festival back to one day, and the event was put on hold between1943 and 1946. When the OCTF resumed in 1947, the celebrations soon grew to three days on the third weekend in May. Regular\nevents include parades, street inspection and scrubbing, Dutch folk dancing, ceremonies with the festival queen and court, and an evening musical.\u003c/p\u003e\n","\u003cp\u003eOrange City is not the only Dutch American town to offer such a festival. The two Dutch colonies of 1847 each launched a tulip festival before Orange City: Holland, Michigan, in 1929, and Pella, Iowa, in 1935. Orange City's festival has become a way for the town's citizens to celebrate a Dutch identity that is intended to be inclusive and unifying.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Historical Notes (adapted from Orange City, by Doug Anderson et al.)\nOrange City was founded by Dutch American colonists from Pella, Iowa in 1870. It was not until the 1930s, however, that the town began what became the Orange City Tulip Festival (OCTF).","Local clubs sponsored an annual tulip show starting in 1933. The newly organized Orange City Chamber of Commerce in 1935 supported expanded tulip plantings in town, and in 1936 they led in creating the Spring or May Festival. Over a single day (May 14), the festival featured (besides tulips) a parade, a costume contest, window displays, and an evening concert by the Sioux City Symphony Orchestra. Some 3,500 visitors reportedly came for the day.","With hearty public support, the festival was staged again in 1937 with the addition of not only more tulips but also a festival queen. In 1938, the OCTF became a two-day event, with a locally produced musical program presented in the evening. World War II demands cut the 1942 festival back to one day, and the event was put on hold between1943 and 1946. When the OCTF resumed in 1947, the celebrations soon grew to three days on the third weekend in May. Regular\nevents include parades, street inspection and scrubbing, Dutch folk dancing, ceremonies with the festival queen and court, and an evening musical.","Orange City is not the only Dutch American town to offer such a festival. The two Dutch colonies of 1847 each launched a tulip festival before Orange City: Holland, Michigan, in 1929, and Pella, Iowa, in 1935. Orange City's festival has become a way for the town's citizens to celebrate a Dutch identity that is intended to be inclusive and unifying."],"custodhist_html_tesm":["\u003cp\u003eLeona Vander Stoep created these scrapbooks. She donated them to the\nNorthwestern College Archives and Special Collections in January, 1993.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Leona Vander Stoep created these scrapbooks. She donated them to the\nNorthwestern College Archives and Special Collections in January, 1993."],"odd_html_tesm":["\u003cp\u003eThe Tulip Festival Scrapbook Collection documents the Orange City Tulip Festival. The scrapbooks consist largely of newspaper clippings, but also include various brochures, programs, photographs, notes, and other documents. Collectively, these scrapbooks provide evidence for the origins and development of the Orange City Tulip Festival (OCTF) from the mid- to late twentieth century. Indirectly, the scrapbooks suggest how a Midwestern town adapted its ethnic origins for twentieth-century uses for local identity and economic vitality.\u003c/p\u003e"],"odd_heading_ssm":["Introduction"],"odd_tesim":["The Tulip Festival Scrapbook Collection documents the Orange City Tulip Festival. The scrapbooks consist largely of newspaper clippings, but also include various brochures, programs, photographs, notes, and other documents. Collectively, these scrapbooks provide evidence for the origins and development of the Orange City Tulip Festival (OCTF) from the mid- to late twentieth century. Indirectly, the scrapbooks suggest how a Midwestern town adapted its ethnic origins for twentieth-century uses for local identity and economic vitality."],"prefercite_html_tesm":["\u003cp\u003ePermission to Publish and Citations: Written permission to publish material in these archives must be requested of the Director of the Library. Citations should include the following information and acknowledgements:\n[Identification of items]; [volume dates]; Tulip Festival Scrapbook Collection, [carton number];\nRA 1.3.1; Northwestern College Archives and Special Collections\u003c/p\u003e"],"prefercite_tesim":["Permission to Publish and Citations: Written permission to publish material in these archives must be requested of the Director of the Library. Citations should include the following information and acknowledgements:\n[Identification of items]; [volume dates]; Tulip Festival Scrapbook Collection, [carton number];\nRA 1.3.1; Northwestern College Archives and Special Collections"],"relatedmaterial_html_tesm":["\u003cp\u003eThere are other OCTF materials under the RA 1.3 numbering, such as the William Kalsbeek Research Collection (see finding aid).\u003c/p\u003e\n","\u003cp\u003eFor online photographs and documents representative of the holdings of the Northwestern College and Special Collections, see the Orange City Tulip Festival digital collection on NWCommons: http://nwcommons.nwciowa.edu/tulipfestivalcollection/.\u003c/p\u003e\n","\u003cp\u003eFor studies of Orange City, the OCTF, and other Dutch American festivals, see these items:\n\u003cblockquote\u003e- Anderson, Doug, Tim Schlak, Greta Grond, and Sarah Kaltenbach. Orange City. Charleston, SC: Arcadia Publishing, 2014.\u003c/blockquote\u003e\n\u003cblockquote\u003e- Kalsbeek, William D. Celebrating our Dutch Heritage: The Story of the Orange City Tulip Festival. [Orange City, IA:] Friends of the Festival Foundation, 2015.\u003c/blockquote\u003e\n\u003cblockquote\u003e- Schoone-Jongen, Terence G. The Dutch American Identity: Staging Memory and Ethnicity in Community Celebrations. Amherst, NY: Cambria Press, 2008.\u003c/blockquote\u003e\n\u003cblockquote\u003e- Vander Stoep, Arie. History of the Orange City Tulip Festival. [Orange City: typescript by author, 1973?].\u003c/blockquote\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["There are other OCTF materials under the RA 1.3 numbering, such as the William Kalsbeek Research Collection (see finding aid).","For online photographs and documents representative of the holdings of the Northwestern College and Special Collections, see the Orange City Tulip Festival digital collection on NWCommons: http://nwcommons.nwciowa.edu/tulipfestivalcollection/.","For studies of Orange City, the OCTF, and other Dutch American festivals, see these items:\n - Anderson, Doug, Tim Schlak, Greta Grond, and Sarah Kaltenbach. Orange City. Charleston, SC: Arcadia Publishing, 2014. - Kalsbeek, William D. Celebrating our Dutch Heritage: The Story of the Orange City Tulip Festival. [Orange City, IA:] Friends of the Festival Foundation, 2015. - Schoone-Jongen, Terence G. The Dutch American Identity: Staging Memory and Ethnicity in Community Celebrations. Amherst, NY: Cambria Press, 2008. - Vander Stoep, Arie. History of the Orange City Tulip Festival. [Orange City: typescript by author, 1973?]."],"userestrict_html_tesm":["\u003cp\u003eCopying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library."],"names_ssim":["Lyrasis Special Collections"],"corpname_ssim":["Lyrasis Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":11,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f13c9055d04251dd9dc6564d","timestamp":"2026-04-04T01:11:42.577Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"f13c9055d04251dd9dc6564d","title_filing_ssi":"Tulip Festival Scrapbook Collection","title_ssm":["Tulip Festival Scrapbook Collection"],"title_tesim":["Tulip Festival Scrapbook Collection"],"ead_ssi":"f13c9055d04251dd9dc6564d","unitdate_ssm":["2016"],"unitdate_other_ssim":["2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RA1.3.1","/repositories/2/resources/100"],"text":["RA1.3.1","/repositories/2/resources/100","Tulip Festival Scrapbook Collection, 2016","Historical Notes (adapted from Orange City, by Doug Anderson et al.)\nOrange City was founded by Dutch American colonists from Pella, Iowa in 1870. It was not until the 1930s, however, that the town began what became the Orange City Tulip Festival (OCTF).","Local clubs sponsored an annual tulip show starting in 1933. The newly organized Orange City Chamber of Commerce in 1935 supported expanded tulip plantings in town, and in 1936 they led in creating the Spring or May Festival. Over a single day (May 14), the festival featured (besides tulips) a parade, a costume contest, window displays, and an evening concert by the Sioux City Symphony Orchestra. Some 3,500 visitors reportedly came for the day.","With hearty public support, the festival was staged again in 1937 with the addition of not only more tulips but also a festival queen. In 1938, the OCTF became a two-day event, with a locally produced musical program presented in the evening. World War II demands cut the 1942 festival back to one day, and the event was put on hold between1943 and 1946. When the OCTF resumed in 1947, the celebrations soon grew to three days on the third weekend in May. Regular\nevents include parades, street inspection and scrubbing, Dutch folk dancing, ceremonies with the festival queen and court, and an evening musical.","Orange City is not the only Dutch American town to offer such a festival. The two Dutch colonies of 1847 each launched a tulip festival before Orange City: Holland, Michigan, in 1929, and Pella, Iowa, in 1935. Orange City's festival has become a way for the town's citizens to celebrate a Dutch identity that is intended to be inclusive and unifying.","Leona Vander Stoep created these scrapbooks. She donated them to the\nNorthwestern College Archives and Special Collections in January, 1993.","The Tulip Festival Scrapbook Collection documents the Orange City Tulip Festival. The scrapbooks consist largely of newspaper clippings, but also include various brochures, programs, photographs, notes, and other documents. Collectively, these scrapbooks provide evidence for the origins and development of the Orange City Tulip Festival (OCTF) from the mid- to late twentieth century. Indirectly, the scrapbooks suggest how a Midwestern town adapted its ethnic origins for twentieth-century uses for local identity and economic vitality.","There are other OCTF materials under the RA 1.3 numbering, such as the William Kalsbeek Research Collection (see finding aid).","For online photographs and documents representative of the holdings of the Northwestern College and Special Collections, see the Orange City Tulip Festival digital collection on NWCommons: http://nwcommons.nwciowa.edu/tulipfestivalcollection/.","For studies of Orange City, the OCTF, and other Dutch American festivals, see these items:\n - Anderson, Doug, Tim Schlak, Greta Grond, and Sarah Kaltenbach. Orange City. Charleston, SC: Arcadia Publishing, 2014. - Kalsbeek, William D. Celebrating our Dutch Heritage: The Story of the Orange City Tulip Festival. [Orange City, IA:] Friends of the Festival Foundation, 2015. - Schoone-Jongen, Terence G. The Dutch American Identity: Staging Memory and Ethnicity in Community Celebrations. Amherst, NY: Cambria Press, 2008. - Vander Stoep, Arie. History of the Orange City Tulip Festival. [Orange City: typescript by author, 1973?].","Copying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library.","Lyrasis Special Collections","English"],"unitid_tesim":["RA1.3.1","/repositories/2/resources/100"],"normalized_date_ssm":["2016"],"normalized_title_ssm":["Tulip Festival Scrapbook Collection, 2016"],"collection_title_tesim":["Tulip Festival Scrapbook Collection, 2016"],"collection_ssim":["Tulip Festival Scrapbook Collection, 2016"],"repository_ssm":["Lyrasis Special Collections"],"repository_ssim":["Lyrasis Special Collections"],"access_terms_ssm":["Copying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library."],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear feet"],"extent_tesim":["1 Linear feet"],"dimensions_tesim":["1.98 m"],"bioghist_html_tesm":["\u003cp\u003eHistorical Notes (adapted from Orange City, by Doug Anderson et al.)\nOrange City was founded by Dutch American colonists from Pella, Iowa in 1870. It was not until the 1930s, however, that the town began what became the Orange City Tulip Festival (OCTF).\u003c/p\u003e\n","\u003cp\u003eLocal clubs sponsored an annual tulip show starting in 1933. The newly organized Orange City Chamber of Commerce in 1935 supported expanded tulip plantings in town, and in 1936 they led in creating the Spring or May Festival. Over a single day (May 14), the festival featured (besides tulips) a parade, a costume contest, window displays, and an evening concert by the Sioux City Symphony Orchestra. Some 3,500 visitors reportedly came for the day.\u003c/p\u003e\n","\u003cp\u003eWith hearty public support, the festival was staged again in 1937 with the addition of not only more tulips but also a festival queen. In 1938, the OCTF became a two-day event, with a locally produced musical program presented in the evening. World War II demands cut the 1942 festival back to one day, and the event was put on hold between1943 and 1946. When the OCTF resumed in 1947, the celebrations soon grew to three days on the third weekend in May. Regular\nevents include parades, street inspection and scrubbing, Dutch folk dancing, ceremonies with the festival queen and court, and an evening musical.\u003c/p\u003e\n","\u003cp\u003eOrange City is not the only Dutch American town to offer such a festival. The two Dutch colonies of 1847 each launched a tulip festival before Orange City: Holland, Michigan, in 1929, and Pella, Iowa, in 1935. Orange City's festival has become a way for the town's citizens to celebrate a Dutch identity that is intended to be inclusive and unifying.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Historical Notes (adapted from Orange City, by Doug Anderson et al.)\nOrange City was founded by Dutch American colonists from Pella, Iowa in 1870. It was not until the 1930s, however, that the town began what became the Orange City Tulip Festival (OCTF).","Local clubs sponsored an annual tulip show starting in 1933. The newly organized Orange City Chamber of Commerce in 1935 supported expanded tulip plantings in town, and in 1936 they led in creating the Spring or May Festival. Over a single day (May 14), the festival featured (besides tulips) a parade, a costume contest, window displays, and an evening concert by the Sioux City Symphony Orchestra. Some 3,500 visitors reportedly came for the day.","With hearty public support, the festival was staged again in 1937 with the addition of not only more tulips but also a festival queen. In 1938, the OCTF became a two-day event, with a locally produced musical program presented in the evening. World War II demands cut the 1942 festival back to one day, and the event was put on hold between1943 and 1946. When the OCTF resumed in 1947, the celebrations soon grew to three days on the third weekend in May. Regular\nevents include parades, street inspection and scrubbing, Dutch folk dancing, ceremonies with the festival queen and court, and an evening musical.","Orange City is not the only Dutch American town to offer such a festival. The two Dutch colonies of 1847 each launched a tulip festival before Orange City: Holland, Michigan, in 1929, and Pella, Iowa, in 1935. Orange City's festival has become a way for the town's citizens to celebrate a Dutch identity that is intended to be inclusive and unifying."],"custodhist_html_tesm":["\u003cp\u003eLeona Vander Stoep created these scrapbooks. She donated them to the\nNorthwestern College Archives and Special Collections in January, 1993.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Leona Vander Stoep created these scrapbooks. She donated them to the\nNorthwestern College Archives and Special Collections in January, 1993."],"odd_html_tesm":["\u003cp\u003eThe Tulip Festival Scrapbook Collection documents the Orange City Tulip Festival. The scrapbooks consist largely of newspaper clippings, but also include various brochures, programs, photographs, notes, and other documents. Collectively, these scrapbooks provide evidence for the origins and development of the Orange City Tulip Festival (OCTF) from the mid- to late twentieth century. Indirectly, the scrapbooks suggest how a Midwestern town adapted its ethnic origins for twentieth-century uses for local identity and economic vitality.\u003c/p\u003e"],"odd_heading_ssm":["Introduction"],"odd_tesim":["The Tulip Festival Scrapbook Collection documents the Orange City Tulip Festival. The scrapbooks consist largely of newspaper clippings, but also include various brochures, programs, photographs, notes, and other documents. Collectively, these scrapbooks provide evidence for the origins and development of the Orange City Tulip Festival (OCTF) from the mid- to late twentieth century. Indirectly, the scrapbooks suggest how a Midwestern town adapted its ethnic origins for twentieth-century uses for local identity and economic vitality."],"prefercite_html_tesm":["\u003cp\u003ePermission to Publish and Citations: Written permission to publish material in these archives must be requested of the Director of the Library. Citations should include the following information and acknowledgements:\n[Identification of items]; [volume dates]; Tulip Festival Scrapbook Collection, [carton number];\nRA 1.3.1; Northwestern College Archives and Special Collections\u003c/p\u003e"],"prefercite_tesim":["Permission to Publish and Citations: Written permission to publish material in these archives must be requested of the Director of the Library. Citations should include the following information and acknowledgements:\n[Identification of items]; [volume dates]; Tulip Festival Scrapbook Collection, [carton number];\nRA 1.3.1; Northwestern College Archives and Special Collections"],"relatedmaterial_html_tesm":["\u003cp\u003eThere are other OCTF materials under the RA 1.3 numbering, such as the William Kalsbeek Research Collection (see finding aid).\u003c/p\u003e\n","\u003cp\u003eFor online photographs and documents representative of the holdings of the Northwestern College and Special Collections, see the Orange City Tulip Festival digital collection on NWCommons: http://nwcommons.nwciowa.edu/tulipfestivalcollection/.\u003c/p\u003e\n","\u003cp\u003eFor studies of Orange City, the OCTF, and other Dutch American festivals, see these items:\n\u003cblockquote\u003e- Anderson, Doug, Tim Schlak, Greta Grond, and Sarah Kaltenbach. Orange City. Charleston, SC: Arcadia Publishing, 2014.\u003c/blockquote\u003e\n\u003cblockquote\u003e- Kalsbeek, William D. Celebrating our Dutch Heritage: The Story of the Orange City Tulip Festival. [Orange City, IA:] Friends of the Festival Foundation, 2015.\u003c/blockquote\u003e\n\u003cblockquote\u003e- Schoone-Jongen, Terence G. The Dutch American Identity: Staging Memory and Ethnicity in Community Celebrations. Amherst, NY: Cambria Press, 2008.\u003c/blockquote\u003e\n\u003cblockquote\u003e- Vander Stoep, Arie. History of the Orange City Tulip Festival. [Orange City: typescript by author, 1973?].\u003c/blockquote\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["There are other OCTF materials under the RA 1.3 numbering, such as the William Kalsbeek Research Collection (see finding aid).","For online photographs and documents representative of the holdings of the Northwestern College and Special Collections, see the Orange City Tulip Festival digital collection on NWCommons: http://nwcommons.nwciowa.edu/tulipfestivalcollection/.","For studies of Orange City, the OCTF, and other Dutch American festivals, see these items:\n - Anderson, Doug, Tim Schlak, Greta Grond, and Sarah Kaltenbach. Orange City. Charleston, SC: Arcadia Publishing, 2014. - Kalsbeek, William D. Celebrating our Dutch Heritage: The Story of the Orange City Tulip Festival. [Orange City, IA:] Friends of the Festival Foundation, 2015. - Schoone-Jongen, Terence G. The Dutch American Identity: Staging Memory and Ethnicity in Community Celebrations. Amherst, NY: Cambria Press, 2008. - Vander Stoep, Arie. History of the Orange City Tulip Festival. [Orange City: typescript by author, 1973?]."],"userestrict_html_tesm":["\u003cp\u003eCopying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copying: Due to the fragility of much of the material, no copying or photography without permission from the Director of the Library."],"names_ssim":["Lyrasis Special Collections"],"corpname_ssim":["Lyrasis Special Collections"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":11,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"f13c9055d04251dd9dc6564d","timestamp":"2026-04-04T01:11:42.577Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://arclight.lyrasistechnology.org/catalog/f13c9055d04251dd9dc6564d"}},{"id":"0eb1bee99e65df8950a8420c","type":"collection","attributes":{"title":"United Artists (New York, N.Y.) Records, 1977-1983","creator":{"id":"https://arclight.lyrasistechnology.org/catalog/0eb1bee99e65df8950a8420c#creator","type":"document_value","attributes":{"value":["United Artists (New York, N.Y.)"],"label":"Creator"}},"abstract_or_scope":{"id":"https://arclight.lyrasistechnology.org/catalog/0eb1bee99e65df8950a8420c#abstract_or_scope","type":"document_value","attributes":{"value":["Records of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977. Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson. Correspondence with these and other United Artist contributors can be found in the collection. Also included are typescripts of works submitted and materials used for production of United Artists publications."],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight.lyrasistechnology.org/catalog/0eb1bee99e65df8950a8420c#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"0eb1bee99e65df8950a8420c","title_filing_ssi":"United Artists (New York, N.Y.) Records","title_ssm":["United Artists (New York, N.Y.) Records,"],"title_tesim":["United Artists (New York, N.Y.) Records,"],"ead_ssi":"0eb1bee99e65df8950a8420c","unitdate_ssm":["1977-1983"],"unitdate_inclusive_ssm":["1977-1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 0012","/repositories/2/resources/4"],"text":["MSS 0012","/repositories/2/resources/4","United Artists (New York, N.Y.) Records, 1977-1983","American poetry -- 20th Century","Publishers and publishing -- New York (State) -- Manuscripts","Access Collection is open for research.\n","Historical Background \nEstablished by Lewis Warsh and Bernadette Mayer in 1977, United Artists press was located in New York City until it went out of business in at the end of the 1980s. Typically, the press published four titles a year, generally with a run of 750 copies each.  While they provided a venue for artists who could not  publish with mainstream presses, Warsh and Mayer also published established writers such as Allen Ginsberg, Robert Creeley, and Gregory Corso, all of whom had secured contracts with trade publishers.\n \nThe forerunner of United Artists was Angel Artist (magazine) and Angel Hair Books, a press which Warsh co-founded and co-edited from 1966 to 1977.  Many of the contributors to United Artists, such as Ted Berrigan and Clark Coolidge, had previously been associated with Angel Hair Books.  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The collection is organized into three series: 1) CORRESPONDENCE; 2) TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS; and 3) TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE.\n \nThe largest portion of the collection is comprised of CORRESPONDENCE from various writers to United Artists editors Mayer and Warsh.  The series is arranged alphabetically by the correspondent's name, and the letters of each correspondent are in chronological order.  Unless the correspondent addressed Mayer or Warsh individually, only the name of the writer is listed.  \n \nThe successive stages of production for each book project can be surveyed in the TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS series.  They are arranged alphabetically by the author's last name.\n \nThe TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE series contains original typescripts of published and unpublished work.  This section includes the work of Gregory Corso, Robert Creeley, and Allen Ginsberg.  It is also arranged alphabetically by the name of the author.\n","Publication Rights   Publication rights are held by the creator of the collection.\n        ","Records of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977.  Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson.  Correspondence with these and other United Artist contributors can be found in the collection.  Also included are typescripts of works submitted and materials used for production of United Artists publications.","Lyrasis Special Collections","United Artists (New York, N.Y.)","Kansas Society of New York","United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette","Alcott, Louisa May, 1832-1888","Collection materials in English"],"unitid_tesim":["MSS 0012","/repositories/2/resources/4"],"normalized_date_ssm":["1977-1983"],"normalized_title_ssm":["United Artists (New York, N.Y.) 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Typically, the press published four titles a year, generally with a run of 750 copies each.  While they provided a venue for artists who could not  publish with mainstream presses, Warsh and Mayer also published established writers such as Allen Ginsberg, Robert Creeley, and Gregory Corso, all of whom had secured contracts with trade publishers.\n\u003c/p\u003e\n         \u003cp\u003e\nThe forerunner of United Artists was Angel Artist (magazine) and Angel Hair Books, a press which Warsh co-founded and co-edited from 1966 to 1977.  Many of the contributors to United Artists, such as Ted Berrigan and Clark Coolidge, had previously been associated with Angel Hair Books.  Both presses were dependent  on sales-generated income combined with the support offered by grants and awards.  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Many of the contributors to United Artists, such as Ted Berrigan and Clark Coolidge, had previously been associated with Angel Hair Books.  Both presses were dependent  on sales-generated income combined with the support offered by grants and awards.  Warsh was a recipient of National Endowment for the Arts grants in 1966 and 1979, and he received a Coordinating Council of Literary Magazines award in 1981.\n"],"prefercite_html_tesm":["\u003cp\u003e\u003chead\u003ePreferred Citation\u003c/head\u003e\n         \u003cp\u003eUnited Artists (New York, N.Y.) Records, MSS 0012. Mandeville Special Collections Library, UCSD.\n        \u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred Citation United Artists (New York, N.Y.) Records, MSS 0012. Mandeville Special Collections Library, UCSD.\n        "],"scopecontent_html_tesm":["\u003cp\u003e\u003chead\u003eScope and Content of Collection\u003c/head\u003e\n         \u003cp\u003e\nAccession Processed in 1988\u003c/p\u003e\n         \u003cp\u003e\nThe papers relate to the professional and personal lives of persons associated with United Artists.  Many of the artists that Warsh and Mayer dealt with were also friends, and, as a result, the correspondence is often a mix of both literary and private matters.  Although a few items date from the middle 1970s, the bulk of the papers date from 1977 to 1983.  The collection is organized into three series: 1) CORRESPONDENCE; 2) TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS; and 3) TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE.\n\u003c/p\u003e\n         \u003cp\u003e\nThe largest portion of the collection is comprised of CORRESPONDENCE from various writers to United Artists editors Mayer and Warsh.  The series is arranged alphabetically by the correspondent's name, and the letters of each correspondent are in chronological order.  Unless the correspondent addressed Mayer or Warsh individually, only the name of the writer is listed.  \n\u003c/p\u003e\n         \u003cp\u003e\nThe successive stages of production for each book project can be surveyed in the TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS series.  They are arranged alphabetically by the author's last name.\n\u003c/p\u003e\n         \u003cp\u003e\nThe TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE series contains original typescripts of published and unpublished work.  This section includes the work of Gregory Corso, Robert Creeley, and Allen Ginsberg.  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The series is arranged alphabetically by the correspondent's name, and the letters of each correspondent are in chronological order.  Unless the correspondent addressed Mayer or Warsh individually, only the name of the writer is listed.  \n \nThe successive stages of production for each book project can be surveyed in the TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS series.  They are arranged alphabetically by the author's last name.\n \nThe TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE series contains original typescripts of published and unpublished work.  This section includes the work of Gregory Corso, Robert Creeley, and Allen Ginsberg.  It is also arranged alphabetically by the name of the author.\n"],"userestrict_html_tesm":["\u003cp\u003e\u003chead\u003ePublication Rights\u003c/head\u003e\n         \u003cp\u003e\u003c/p\u003e\u003cp\u003e  Publication rights are held by the creator of the collection.\n        \u003c/p\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Publication Rights   Publication rights are held by the creator of the collection.\n        "],"abstract_html_tesm":["\u003cabstract id=\"aspace_e2bb7c712bb68f61668e7cf38933bb2c\"\u003eRecords of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977.  Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson.  Correspondence with these and other United Artist contributors can be found in the collection.  Also included are typescripts of works submitted and materials used for production of United Artists publications.\u003c/abstract\u003e"],"abstract_tesim":["Records of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977.  Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson.  Correspondence with these and other United Artist contributors can be found in the collection.  Also included are typescripts of works submitted and materials used for production of United Artists publications."],"names_ssim":["Lyrasis Special Collections","United Artists (New York, N.Y.)","Kansas Society of New York","United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette","Alcott, Louisa May, 1832-1888"],"corpname_ssim":["Lyrasis Special Collections","United Artists (New York, N.Y.)","Kansas Society of New York"],"names_coll_ssim":["United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette"],"persname_ssim":["United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette","Alcott, Louisa May, 1832-1888"],"language_ssim":["Collection materials in English"],"total_component_count_is":203,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"0eb1bee99e65df8950a8420c","timestamp":"2026-04-04T01:12:22.277Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"0eb1bee99e65df8950a8420c","title_filing_ssi":"United Artists (New York, N.Y.) 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While they provided a venue for artists who could not  publish with mainstream presses, Warsh and Mayer also published established writers such as Allen Ginsberg, Robert Creeley, and Gregory Corso, all of whom had secured contracts with trade publishers.\n \nThe forerunner of United Artists was Angel Artist (magazine) and Angel Hair Books, a press which Warsh co-founded and co-edited from 1966 to 1977.  Many of the contributors to United Artists, such as Ted Berrigan and Clark Coolidge, had previously been associated with Angel Hair Books.  Both presses were dependent  on sales-generated income combined with the support offered by grants and awards.  Warsh was a recipient of National Endowment for the Arts grants in 1966 and 1979, and he received a Coordinating Council of Literary Magazines award in 1981.\n","Scope and Content of Collection \nAccession Processed in 1988 \nThe papers relate to the professional and personal lives of persons associated with United Artists.  Many of the artists that Warsh and Mayer dealt with were also friends, and, as a result, the correspondence is often a mix of both literary and private matters.  Although a few items date from the middle 1970s, the bulk of the papers date from 1977 to 1983.  The collection is organized into three series: 1) CORRESPONDENCE; 2) TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS; and 3) TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE.\n \nThe largest portion of the collection is comprised of CORRESPONDENCE from various writers to United Artists editors Mayer and Warsh.  The series is arranged alphabetically by the correspondent's name, and the letters of each correspondent are in chronological order.  Unless the correspondent addressed Mayer or Warsh individually, only the name of the writer is listed.  \n \nThe successive stages of production for each book project can be surveyed in the TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS series.  They are arranged alphabetically by the author's last name.\n \nThe TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE series contains original typescripts of published and unpublished work.  This section includes the work of Gregory Corso, Robert Creeley, and Allen Ginsberg.  It is also arranged alphabetically by the name of the author.\n","Publication Rights   Publication rights are held by the creator of the collection.\n        ","Records of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977.  Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson.  Correspondence with these and other United Artist contributors can be found in the collection.  Also included are typescripts of works submitted and materials used for production of United Artists publications.","Lyrasis Special Collections","United Artists (New York, N.Y.)","Kansas Society of New York","United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette","Alcott, Louisa May, 1832-1888","Collection materials in English"],"unitid_tesim":["MSS 0012","/repositories/2/resources/4"],"normalized_date_ssm":["1977-1983"],"normalized_title_ssm":["United Artists (New York, N.Y.) 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Typically, the press published four titles a year, generally with a run of 750 copies each.  While they provided a venue for artists who could not  publish with mainstream presses, Warsh and Mayer also published established writers such as Allen Ginsberg, Robert Creeley, and Gregory Corso, all of whom had secured contracts with trade publishers.\n\u003c/p\u003e\n         \u003cp\u003e\nThe forerunner of United Artists was Angel Artist (magazine) and Angel Hair Books, a press which Warsh co-founded and co-edited from 1966 to 1977.  Many of the contributors to United Artists, such as Ted Berrigan and Clark Coolidge, had previously been associated with Angel Hair Books.  Both presses were dependent  on sales-generated income combined with the support offered by grants and awards.  Warsh was a recipient of National Endowment for the Arts grants in 1966 and 1979, and he received a Coordinating Council of Literary Magazines award in 1981.\n\u003c/p\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Background"],"bioghist_tesim":["Historical Background \nEstablished by Lewis Warsh and Bernadette Mayer in 1977, United Artists press was located in New York City until it went out of business in at the end of the 1980s. Typically, the press published four titles a year, generally with a run of 750 copies each.  While they provided a venue for artists who could not  publish with mainstream presses, Warsh and Mayer also published established writers such as Allen Ginsberg, Robert Creeley, and Gregory Corso, all of whom had secured contracts with trade publishers.\n \nThe forerunner of United Artists was Angel Artist (magazine) and Angel Hair Books, a press which Warsh co-founded and co-edited from 1966 to 1977.  Many of the contributors to United Artists, such as Ted Berrigan and Clark Coolidge, had previously been associated with Angel Hair Books.  Both presses were dependent  on sales-generated income combined with the support offered by grants and awards.  Warsh was a recipient of National Endowment for the Arts grants in 1966 and 1979, and he received a Coordinating Council of Literary Magazines award in 1981.\n"],"prefercite_html_tesm":["\u003cp\u003e\u003chead\u003ePreferred Citation\u003c/head\u003e\n         \u003cp\u003eUnited Artists (New York, N.Y.) Records, MSS 0012. Mandeville Special Collections Library, UCSD.\n        \u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred Citation United Artists (New York, N.Y.) Records, MSS 0012. 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The series is arranged alphabetically by the correspondent's name, and the letters of each correspondent are in chronological order.  Unless the correspondent addressed Mayer or Warsh individually, only the name of the writer is listed.  \n\u003c/p\u003e\n         \u003cp\u003e\nThe successive stages of production for each book project can be surveyed in the TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS series.  They are arranged alphabetically by the author's last name.\n\u003c/p\u003e\n         \u003cp\u003e\nThe TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE series contains original typescripts of published and unpublished work.  This section includes the work of Gregory Corso, Robert Creeley, and Allen Ginsberg.  It is also arranged alphabetically by the name of the author.\n\u003c/p\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content of Collection"],"scopecontent_tesim":["Scope and Content of Collection \nAccession Processed in 1988 \nThe papers relate to the professional and personal lives of persons associated with United Artists.  Many of the artists that Warsh and Mayer dealt with were also friends, and, as a result, the correspondence is often a mix of both literary and private matters.  Although a few items date from the middle 1970s, the bulk of the papers date from 1977 to 1983.  The collection is organized into three series: 1) CORRESPONDENCE; 2) TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS; and 3) TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE.\n \nThe largest portion of the collection is comprised of CORRESPONDENCE from various writers to United Artists editors Mayer and Warsh.  The series is arranged alphabetically by the correspondent's name, and the letters of each correspondent are in chronological order.  Unless the correspondent addressed Mayer or Warsh individually, only the name of the writer is listed.  \n \nThe successive stages of production for each book project can be surveyed in the TYPESCRIPTS, GALLEYS, AND PAGE PROOFS OF UNITED ARTISTS BOOKS series.  They are arranged alphabetically by the author's last name.\n \nThe TYPESCRIPTS SUBMITTED TO THE UNITED ARTISTS MAGAZINE series contains original typescripts of published and unpublished work.  This section includes the work of Gregory Corso, Robert Creeley, and Allen Ginsberg.  It is also arranged alphabetically by the name of the author.\n"],"userestrict_html_tesm":["\u003cp\u003e\u003chead\u003ePublication Rights\u003c/head\u003e\n         \u003cp\u003e\u003c/p\u003e\u003cp\u003e  Publication rights are held by the creator of the collection.\n        \u003c/p\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["Publication Rights"],"userestrict_tesim":["Publication Rights   Publication rights are held by the creator of the collection.\n        "],"abstract_html_tesm":["\u003cabstract id=\"aspace_e2bb7c712bb68f61668e7cf38933bb2c\"\u003eRecords of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977.  Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson.  Correspondence with these and other United Artist contributors can be found in the collection.  Also included are typescripts of works submitted and materials used for production of United Artists publications.\u003c/abstract\u003e"],"abstract_tesim":["Records of a publishing company established by poets Lewis Warsh and Bernadette Mayer in 1977.  Successor to Angel Hair magazine and Angel Hair Books, United Artists published works of contemporary poets and writers, including Ted Berrigan, Clark Coolidge, Alan Ginsberg, Gregory Corso, Robert Creeley, and Bill Berkson.  Correspondence with these and other United Artist contributors can be found in the collection.  Also included are typescripts of works submitted and materials used for production of United Artists publications."],"names_ssim":["Lyrasis Special Collections","United Artists (New York, N.Y.)","Kansas Society of New York","United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette","Alcott, Louisa May, 1832-1888"],"corpname_ssim":["Lyrasis Special Collections","United Artists (New York, N.Y.)","Kansas Society of New York"],"names_coll_ssim":["United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette"],"persname_ssim":["United Artists (New York, N.Y.) -- Archives","Warsh, Lewis -- Archives","Mayer, Bernadette -- Archives","Berkson, Bill, -- correspondent","Bernstein, Charles, 1950- -- correspondent","Berrigan, Ted, -- correspondent","Brainard, Joe, 1942- -- correspondent","Callahan, Bob, -- correspondent","Coolidge, Clark, 1939- -- correspondent","Corbett, William, -- correspondent","Corso, Gregory, -- correspondent","Creeley, Robert, 1926- -- correspondent","Davies, Alan, -- correspondent","Elmslie, Kenward, -- correspondent","Ginsberg, Allen, 1926- -- correspondent","Howe, Fanny, -- correspondent","Howe, Susan, 1937- -- correspondent","Mac Low, Jackson, -- correspondent","Metcalf, Paul C., -- correspondent","Notley, Alice, 1945- -- correspondent","Palmer, Michael, 1943- -- correspondent","Raworth, Tom, -- correspondent","Waldman, Anne, 1945- -- correspondent","Watten, Barrett, -- correspondent","Warsh, Lewis","Mayer, Bernadette","Alcott, Louisa May, 1832-1888"],"language_ssim":["Collection materials in English"],"total_component_count_is":203,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"_root_":"0eb1bee99e65df8950a8420c","timestamp":"2026-04-04T01:12:22.277Z"}]}}],"label":"Breadcrumbs"}}},"links":{"self":"https://arclight.lyrasistechnology.org/catalog/0eb1bee99e65df8950a8420c"}},{"id":"6a39c0f8d0fa9268049fe249","type":"collection","attributes":{"title":"V - Certificated Staff (Faculty \u0026 Admin), bulk 1900s","breadcrumbs":{"id":"https://arclight.lyrasistechnology.org/catalog/6a39c0f8d0fa9268049fe249#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"6a39c0f8d0fa9268049fe249","title_ssm":["V - Certificated Staff (Faculty \u0026 Admin)"],"title_tesim":["V - Certificated Staff 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Scope"}},"breadcrumbs":{"id":"https://arclight.lyrasistechnology.org/catalog/82b12d821e118af5ae21c468#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"82b12d821e118af5ae21c468","title_ssm":["Visual Resources Association Web Portal"],"title_tesim":["Visual Resources Association Web Portal"],"ead_ssi":"82b12d821e118af5ae21c468","unitdate_ssm":["Accessed 2025-08-14"],"unitdate_other_ssim":["Accessed 2025-08-14"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["vra.001","/repositories/18/resources/141"],"text":["vra.001","/repositories/18/resources/141","Visual Resources Association Web Portal, Accessed 2025-08-14","The public website for the Visual Resources Association, including organizational information (About, History), events and annual conferences, publications and resources such as VRA-L, VRA Bulletin, VRA Core, Cataloging Cultural Objects, and information on groups, opportunities, and affiliated organizations.","Lyrasis Metadata 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collected by variou family members. Document types in the collection include correspondence, diaries, clippings, posters and audio tapes about the Wayward family and their various activities.\u003c/p\u003e\u003cp\u003eSee the scope and content note for each series for more details about the collection contents.\u003c/p\u003e\u003c/p\u003e"],"label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arclight.lyrasistechnology.org/catalog/77c0a9926883bc9b66de078e#breadcrumbs","type":"document_value","attributes":{"value":[{"id":"77c0a9926883bc9b66de078e","title_ssm":["Wayward Family papers"],"title_tesim":["Wayward Family papers"],"ead_ssi":"77c0a9926883bc9b66de078e","unitdate_ssm":["1847-1963"],"unitdate_inclusive_ssm":["1847-1963"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["YNHSC.MSS.1776","/repositories/2/resources/2"],"text":["YNHSC.MSS.1776","/repositories/2/resources/2","Wayward Family papers, 1847-1963","Appraisal note The collection has been appraised by Ernesto Proffitt and Daughters, who notes the primary\n        value of the collection, historical and thus monetary, resides in the 19th century materials\n        diaries of Asa Wellspring Wayward and the journals and correspondence on Sarah Wayward\n        Lewis.","Arrangement note Arranged in four series: 1. Asa Wellspring diaries. 2. Sarah Wayward Lewis materials. 3.\n        Grover Allen Wayward OFF records. 4. Theresa Wayward Auchinclos materials.","Family History The Wayward family emigrated from England with the original settlers of the fertile Lush\n        River valley in Massachusetts. Makepeace and Constance Wayward, along with five children,\n        were among the founders of City on a Hill when they were expelled from the Massachusetts Bay\n        Colony in 1657 for unorthodox religious practices. Significant family members represented in the collection include Asa Wellspring Wayward,\n        Sarah Wayward Lewis, Grover Allen Wayward, and Theresa Wayward Auchincloss, the creator of\n        the collection.","Custodial History note When Theresa Auchincloss died in 1963, the collection was bequeathed to her grandson George\n        Van Buskirk Smithie. Smithie, at the time interested in his family's distinguished history,\n        found himself in dire financial straints by the mid-1960s and apparently sold some of the\n        earliest materials in the collection to a private collector. Some of this material may\n        constitute a 1991 donation of early Wayward family material to the Pittsfield Athenaeum, but\n        the provenance of that material is unclear. The whereabouts of other material sold by\n        Smithie, if there was addiitonal materials, is unknown. Smithie died of mysterious causes in\n        Boston in 1975, at which time the remaining Wayward family material came into the possession\n        of his sister, Elspeth Smithie Bourgeois, an alumna of Carpe Diem University, who donated\n        the collection in 1986.","Processing Information note The collection was inventoried upon accession in 1986, but languished in the Your Name Here\n        Special Collections unprocessed backlog until 2006, when an intern from the Simmons College\n        graduate program processed it. This was done as part of a concerted effort to provide access\n        to the backlog. The 19th century material was refoldered and standard preservation measures\n        were taken. Since several of the letters were deteriorating, all were placed in mylar\n        sleeves to facilitate future use by researchers without further damaging them. The remainder\n        of the collection was processed according to the repository's basic-level processing\n        guidelines: materials were refoldered only when original folders were deteriorating,\n        arrangement work within individual folders was not done, and fasteners were removed only if\n        visibly rusting. Everything was then arranged alphabetically by type of material.","Related Archival Materials note Other additional Wayward family papers are in the custody of the Pittsfield Athenaeum.\n        Those materials may have been part of the collection housed in YNHSC at one time but were\n        possibly sold to the Pittsfield Athenaeum in the mid-1960s by George VAn Buskirk Smithie, a\n        prior owner of the Wayward family papers now in the custody of Carpe Diem University.","Scope and Contents note The Wayward family papers includes material from several Wayward descedents living in the\n        19th and 20th centuries, and was collected by variou family members. Document types in the\n        collection include correspondence, diaries, clippings, posters and audio tapes about the\n        Wayward family and their various activities. See the scope and content note for each series for more details about the collection\n        contents.","IP Rights Intellectual property rights have not been transferred to YNHSC; however, the IP rights for\n        a many of the collection materials have expired and passed to the public domain.","Lyrasis Special Collections","United States. Office of War Information.","Wayward family"," Palmer, Russell","Bourgeois, Elspeth Smithie","Lewis, Sarah Wayward","Smithie, George Van Buskirk","Wayward, Asa Wellspring, d. 1863","Wayward, Frances","Wayward, Grover Allen","Macleish, Archibald, 1892-1982","English","","Collection materials are all in English."],"unitid_tesim":["YNHSC.MSS.1776","/repositories/2/resources/2"],"normalized_date_ssm":["1847-1963"],"normalized_title_ssm":["Wayward Family papers, 1847-1963"],"collection_title_tesim":["Wayward Family papers, 1847-1963"],"collection_ssim":["Wayward Family papers, 1847-1963"],"repository_ssm":["Lyrasis Special Collections"],"repository_ssim":["Lyrasis Special Collections"],"creator_ssm":[" Palmer, Russell","Wayward family"],"creator_ssim":[" Palmer, Russell","Wayward family"],"creator_persname_ssim":[" Palmer, Russell"],"creator_famname_ssim":["Wayward family"],"creators_ssim":[" Palmer, Russell","Wayward family"],"access_terms_ssm":["IP Rights Intellectual property rights have not been transferred to YNHSC; however, the IP rights for\n        a many of the collection materials have expired and passed to the public domain."],"acqinfo_ssim":["Immediate Source of Acquisition note Donated in 1986 by Elspeth Smithie Bourgeois, a graduate of Carpe Diem University."],"has_online_content_ssim":["true"],"digital_objects_ssm":["{\"label\":\"The MOON\",\"href\":\"1\"}"],"extent_ssm":["2.0 Linear Feet","2 Box","2.0 Linear feet","2 record cartons"],"extent_tesim":["2.0 Linear Feet","2 Box","2.0 Linear feet","2 record cartons"],"date_range_isim":[1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963],"appraisal_html_tesm":["\u003cp\u003e\u003chead\u003eAppraisal note\u003c/head\u003e\n      \u003cp\u003eThe collection has been appraised by Ernesto Proffitt and Daughters, who notes the primary\n        value of the collection, historical and thus monetary, resides in the 19th century materials\n        diaries of Asa Wellspring Wayward and the journals and correspondence on Sarah Wayward\n        Lewis.\u003c/p\u003e\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal note"],"appraisal_tesim":["Appraisal note The collection has been appraised by Ernesto Proffitt and Daughters, who notes the primary\n        value of the collection, historical and thus monetary, resides in the 19th century materials\n        diaries of Asa Wellspring Wayward and the journals and correspondence on Sarah Wayward\n        Lewis."],"arrangement_html_tesm":["\u003cp\u003e\u003chead\u003eArrangement note\u003c/head\u003e\n      \u003cp\u003eArranged in four series: 1. 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Makepeace and Constance Wayward, along with five children,\n        were among the founders of City on a Hill when they were expelled from the Massachusetts Bay\n        Colony in 1657 for unorthodox religious practices.\u003c/p\u003e\n      \u003cp\u003eSignificant family members represented in the collection include Asa Wellspring Wayward,\n        Sarah Wayward Lewis, Grover Allen Wayward, and Theresa Wayward Auchincloss, the creator of\n        the collection.\u003c/p\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Family History"],"bioghist_tesim":["Family History The Wayward family emigrated from England with the original settlers of the fertile Lush\n        River valley in Massachusetts. Makepeace and Constance Wayward, along with five children,\n        were among the founders of City on a Hill when they were expelled from the Massachusetts Bay\n        Colony in 1657 for unorthodox religious practices. Significant family members represented in the collection include Asa Wellspring Wayward,\n        Sarah Wayward Lewis, Grover Allen Wayward, and Theresa Wayward Auchincloss, the creator of\n        the collection."],"custodhist_html_tesm":["\u003cp\u003e\u003chead\u003eCustodial History note\u003c/head\u003e\n      \u003cp\u003eWhen Theresa Auchincloss died in 1963, the collection was bequeathed to her grandson George\n        Van Buskirk Smithie. Smithie, at the time interested in his family's distinguished history,\n        found himself in dire financial straints by the mid-1960s and apparently sold some of the\n        earliest materials in the collection to a private collector. Some of this material may\n        constitute a 1991 donation of early Wayward family material to the Pittsfield Athenaeum, but\n        the provenance of that material is unclear. The whereabouts of other material sold by\n        Smithie, if there was addiitonal materials, is unknown. Smithie died of mysterious causes in\n        Boston in 1975, at which time the remaining Wayward family material came into the possession\n        of his sister, Elspeth Smithie Bourgeois, an alumna of Carpe Diem University, who donated\n        the collection in 1986.\u003c/p\u003e\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Custodial History note When Theresa Auchincloss died in 1963, the collection was bequeathed to her grandson George\n        Van Buskirk Smithie. Smithie, at the time interested in his family's distinguished history,\n        found himself in dire financial straints by the mid-1960s and apparently sold some of the\n        earliest materials in the collection to a private collector. Some of this material may\n        constitute a 1991 donation of early Wayward family material to the Pittsfield Athenaeum, but\n        the provenance of that material is unclear. The whereabouts of other material sold by\n        Smithie, if there was addiitonal materials, is unknown. Smithie died of mysterious causes in\n        Boston in 1975, at which time the remaining Wayward family material came into the possession\n        of his sister, Elspeth Smithie Bourgeois, an alumna of Carpe Diem University, who donated\n        the collection in 1986."],"prefercite_html_tesm":["\u003cp\u003e\u003chead\u003ePreferred Citation note\u003c/head\u003e\n      \u003cp\u003e[Item title / description; Box \"n\" / Folder \"n\"]. Wayward Family Papers (MSS 1776). Your\n        Name Here Special Collections. Carpe Diem University.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred Citation note [Item title / description; Box \"n\" / Folder \"n\"]. Wayward Family Papers (MSS 1776). Your\n        Name Here Special Collections. Carpe Diem University."],"processinfo_html_tesm":["\u003cp\u003e\u003chead\u003eProcessing Information note\u003c/head\u003e\n      \u003cp\u003eThe collection was inventoried upon accession in 1986, but languished in the Your Name Here\n        Special Collections unprocessed backlog until 2006, when an intern from the Simmons College\n        graduate program processed it. This was done as part of a concerted effort to provide access\n        to the backlog. The 19th century material was refoldered and standard preservation measures\n        were taken. Since several of the letters were deteriorating, all were placed in mylar\n        sleeves to facilitate future use by researchers without further damaging them. The remainder\n        of the collection was processed according to the repository's basic-level processing\n        guidelines: materials were refoldered only when original folders were deteriorating,\n        arrangement work within individual folders was not done, and fasteners were removed only if\n        visibly rusting. Everything was then arranged alphabetically by type of material.\u003c/p\u003e\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information note"],"processinfo_tesim":["Processing Information note The collection was inventoried upon accession in 1986, but languished in the Your Name Here\n        Special Collections unprocessed backlog until 2006, when an intern from the Simmons College\n        graduate program processed it. This was done as part of a concerted effort to provide access\n        to the backlog. The 19th century material was refoldered and standard preservation measures\n        were taken. Since several of the letters were deteriorating, all were placed in mylar\n        sleeves to facilitate future use by researchers without further damaging them. The remainder\n        of the collection was processed according to the repository's basic-level processing\n        guidelines: materials were refoldered only when original folders were deteriorating,\n        arrangement work within individual folders was not done, and fasteners were removed only if\n        visibly rusting. Everything was then arranged alphabetically by type of material."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003chead\u003eRelated Archival Materials note\u003c/head\u003e\n      \u003cp\u003eOther additional Wayward family papers are in the custody of the Pittsfield Athenaeum.\n        Those materials may have been part of the collection housed in YNHSC at one time but were\n        possibly sold to the Pittsfield Athenaeum in the mid-1960s by George VAn Buskirk Smithie, a\n        prior owner of the Wayward family papers now in the custody of Carpe Diem University.\u003c/p\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Materials note"],"relatedmaterial_tesim":["Related Archival Materials note Other additional Wayward family papers are in the custody of the Pittsfield Athenaeum.\n        Those materials may have been part of the collection housed in YNHSC at one time but were\n        possibly sold to the Pittsfield Athenaeum in the mid-1960s by George VAn Buskirk Smithie, a\n        prior owner of the Wayward family papers now in the custody of Carpe Diem University."],"scopecontent_html_tesm":["\u003cp\u003e\u003chead\u003eScope and Contents note\u003c/head\u003e\n      \u003cp\u003eThe Wayward family papers includes material from several Wayward descedents living in the\n        19th and 20th centuries, and was collected by variou family members. Document types in the\n        collection include correspondence, diaries, clippings, posters and audio tapes about the\n        Wayward family and their various activities.\u003c/p\u003e\n      \u003cp\u003eSee the scope and content note for each series for more details about the collection\n        contents.\u003c/p\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents note"],"scopecontent_tesim":["Scope and Contents note The Wayward family papers includes material from several Wayward descedents living in the\n        19th and 20th centuries, and was collected by variou family members. Document types in the\n        collection include correspondence, diaries, clippings, posters and audio tapes about the\n        Wayward family and their various activities. See the scope and content note for each series for more details about the collection\n        contents."],"userestrict_html_tesm":["\u003cp\u003e\u003chead\u003eIP Rights\u003c/head\u003e\n      \u003cp\u003eIntellectual property rights have not been transferred to YNHSC; however, the IP rights for\n        a many of the collection materials have expired and passed to the public domain.\u003c/p\u003e\u003c/p\u003e"],"userestrict_heading_ssm":["IP Rights"],"userestrict_tesim":["IP Rights Intellectual property rights have not been transferred to YNHSC; however, the IP rights for\n        a many of the collection materials have expired and passed to the public domain."],"names_ssim":["Lyrasis Special Collections","United States. Office of War Information.","Wayward family"," Palmer, Russell","Bourgeois, Elspeth Smithie","Lewis, Sarah Wayward","Smithie, George Van Buskirk","Wayward, Asa Wellspring, d. 1863","Wayward, Frances","Wayward, Grover Allen","Macleish, Archibald, 1892-1982"],"corpname_ssim":["Lyrasis Special Collections","United States. 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Asa Wellspring diaries. 2. Sarah Wayward Lewis materials. 3.\n        Grover Allen Wayward OFF records. 4. Theresa Wayward Auchinclos materials.","Family History The Wayward family emigrated from England with the original settlers of the fertile Lush\n        River valley in Massachusetts. Makepeace and Constance Wayward, along with five children,\n        were among the founders of City on a Hill when they were expelled from the Massachusetts Bay\n        Colony in 1657 for unorthodox religious practices. Significant family members represented in the collection include Asa Wellspring Wayward,\n        Sarah Wayward Lewis, Grover Allen Wayward, and Theresa Wayward Auchincloss, the creator of\n        the collection.","Custodial History note When Theresa Auchincloss died in 1963, the collection was bequeathed to her grandson George\n        Van Buskirk Smithie. Smithie, at the time interested in his family's distinguished history,\n        found himself in dire financial straints by the mid-1960s and apparently sold some of the\n        earliest materials in the collection to a private collector. Some of this material may\n        constitute a 1991 donation of early Wayward family material to the Pittsfield Athenaeum, but\n        the provenance of that material is unclear. The whereabouts of other material sold by\n        Smithie, if there was addiitonal materials, is unknown. Smithie died of mysterious causes in\n        Boston in 1975, at which time the remaining Wayward family material came into the possession\n        of his sister, Elspeth Smithie Bourgeois, an alumna of Carpe Diem University, who donated\n        the collection in 1986.","Processing Information note The collection was inventoried upon accession in 1986, but languished in the Your Name Here\n        Special Collections unprocessed backlog until 2006, when an intern from the Simmons College\n        graduate program processed it. This was done as part of a concerted effort to provide access\n        to the backlog. The 19th century material was refoldered and standard preservation measures\n        were taken. Since several of the letters were deteriorating, all were placed in mylar\n        sleeves to facilitate future use by researchers without further damaging them. The remainder\n        of the collection was processed according to the repository's basic-level processing\n        guidelines: materials were refoldered only when original folders were deteriorating,\n        arrangement work within individual folders was not done, and fasteners were removed only if\n        visibly rusting. Everything was then arranged alphabetically by type of material.","Related Archival Materials note Other additional Wayward family papers are in the custody of the Pittsfield Athenaeum.\n        Those materials may have been part of the collection housed in YNHSC at one time but were\n        possibly sold to the Pittsfield Athenaeum in the mid-1960s by George VAn Buskirk Smithie, a\n        prior owner of the Wayward family papers now in the custody of Carpe Diem University.","Scope and Contents note The Wayward family papers includes material from several Wayward descedents living in the\n        19th and 20th centuries, and was collected by variou family members. Document types in the\n        collection include correspondence, diaries, clippings, posters and audio tapes about the\n        Wayward family and their various activities. See the scope and content note for each series for more details about the collection\n        contents.","IP Rights Intellectual property rights have not been transferred to YNHSC; however, the IP rights for\n        a many of the collection materials have expired and passed to the public domain.","Lyrasis Special Collections","United States. Office of War Information.","Wayward family"," Palmer, Russell","Bourgeois, Elspeth Smithie","Lewis, Sarah Wayward","Smithie, George Van Buskirk","Wayward, Asa Wellspring, d. 1863","Wayward, Frances","Wayward, Grover Allen","Macleish, Archibald, 1892-1982","English","","Collection materials are all in English."],"unitid_tesim":["YNHSC.MSS.1776","/repositories/2/resources/2"],"normalized_date_ssm":["1847-1963"],"normalized_title_ssm":["Wayward Family papers, 1847-1963"],"collection_title_tesim":["Wayward Family papers, 1847-1963"],"collection_ssim":["Wayward Family papers, 1847-1963"],"repository_ssm":["Lyrasis Special Collections"],"repository_ssim":["Lyrasis Special Collections"],"creator_ssm":[" Palmer, Russell","Wayward family"],"creator_ssim":[" Palmer, Russell","Wayward family"],"creator_persname_ssim":[" Palmer, Russell"],"creator_famname_ssim":["Wayward family"],"creators_ssim":[" Palmer, Russell","Wayward family"],"access_terms_ssm":["IP Rights Intellectual property rights have not been transferred to YNHSC; however, the IP rights for\n        a many of the collection materials have expired and passed to the public domain."],"acqinfo_ssim":["Immediate Source of Acquisition note Donated in 1986 by Elspeth Smithie Bourgeois, a graduate of Carpe Diem University."],"has_online_content_ssim":["true"],"digital_objects_ssm":["{\"label\":\"The MOON\",\"href\":\"1\"}"],"extent_ssm":["2.0 Linear Feet","2 Box","2.0 Linear feet","2 record cartons"],"extent_tesim":["2.0 Linear Feet","2 Box","2.0 Linear feet","2 record cartons"],"date_range_isim":[1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963],"appraisal_html_tesm":["\u003cp\u003e\u003chead\u003eAppraisal note\u003c/head\u003e\n      \u003cp\u003eThe collection has been appraised by Ernesto Proffitt and Daughters, who notes the primary\n        value of the collection, historical and thus monetary, resides in the 19th century materials\n        diaries of Asa Wellspring Wayward and the journals and correspondence on Sarah Wayward\n        Lewis.\u003c/p\u003e\u003c/p\u003e"],"appraisal_heading_ssm":["Appraisal note"],"appraisal_tesim":["Appraisal note The collection has been appraised by Ernesto Proffitt and Daughters, who notes the primary\n        value of the collection, historical and thus monetary, resides in the 19th century materials\n        diaries of Asa Wellspring Wayward and the journals and correspondence on Sarah Wayward\n        Lewis."],"arrangement_html_tesm":["\u003cp\u003e\u003chead\u003eArrangement note\u003c/head\u003e\n      \u003cp\u003eArranged in four series: 1. 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Significant family members represented in the collection include Asa Wellspring Wayward,\n        Sarah Wayward Lewis, Grover Allen Wayward, and Theresa Wayward Auchincloss, the creator of\n        the collection."],"custodhist_html_tesm":["\u003cp\u003e\u003chead\u003eCustodial History note\u003c/head\u003e\n      \u003cp\u003eWhen Theresa Auchincloss died in 1963, the collection was bequeathed to her grandson George\n        Van Buskirk Smithie. Smithie, at the time interested in his family's distinguished history,\n        found himself in dire financial straints by the mid-1960s and apparently sold some of the\n        earliest materials in the collection to a private collector. Some of this material may\n        constitute a 1991 donation of early Wayward family material to the Pittsfield Athenaeum, but\n        the provenance of that material is unclear. The whereabouts of other material sold by\n        Smithie, if there was addiitonal materials, is unknown. Smithie died of mysterious causes in\n        Boston in 1975, at which time the remaining Wayward family material came into the possession\n        of his sister, Elspeth Smithie Bourgeois, an alumna of Carpe Diem University, who donated\n        the collection in 1986.\u003c/p\u003e\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History note"],"custodhist_tesim":["Custodial History note When Theresa Auchincloss died in 1963, the collection was bequeathed to her grandson George\n        Van Buskirk Smithie. Smithie, at the time interested in his family's distinguished history,\n        found himself in dire financial straints by the mid-1960s and apparently sold some of the\n        earliest materials in the collection to a private collector. Some of this material may\n        constitute a 1991 donation of early Wayward family material to the Pittsfield Athenaeum, but\n        the provenance of that material is unclear. The whereabouts of other material sold by\n        Smithie, if there was addiitonal materials, is unknown. Smithie died of mysterious causes in\n        Boston in 1975, at which time the remaining Wayward family material came into the possession\n        of his sister, Elspeth Smithie Bourgeois, an alumna of Carpe Diem University, who donated\n        the collection in 1986."],"prefercite_html_tesm":["\u003cp\u003e\u003chead\u003ePreferred Citation note\u003c/head\u003e\n      \u003cp\u003e[Item title / description; Box \"n\" / Folder \"n\"]. Wayward Family Papers (MSS 1776). Your\n        Name Here Special Collections. Carpe Diem University.\u003c/p\u003e\u003c/p\u003e"],"prefercite_tesim":["Preferred Citation note [Item title / description; Box \"n\" / Folder \"n\"]. Wayward Family Papers (MSS 1776). Your\n        Name Here Special Collections. Carpe Diem University."],"processinfo_html_tesm":["\u003cp\u003e\u003chead\u003eProcessing Information note\u003c/head\u003e\n      \u003cp\u003eThe collection was inventoried upon accession in 1986, but languished in the Your Name Here\n        Special Collections unprocessed backlog until 2006, when an intern from the Simmons College\n        graduate program processed it. This was done as part of a concerted effort to provide access\n        to the backlog. The 19th century material was refoldered and standard preservation measures\n        were taken. Since several of the letters were deteriorating, all were placed in mylar\n        sleeves to facilitate future use by researchers without further damaging them. 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