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Papers of Harry Crews (1973-1987, undated) documenting the life and literary career of the noted Alma, Georgia-born American novelist, playwright, short story writer, essayist & educator at the University of Florida, where he taught creative writing; including proofs of published materials, photographic prints, loose manuscript items transferred from the Stuart Wright Book Collection, printed materials & oversized materials.
This collection contains Pulse, which relays updates on the School of Nursing.
Correspondence a typescript history of the USS Kitkun Bay, CVE-71, published cruise book (1944-45) for Composite Squadron 63, typescript biographical account entitled "Cruising the Pacific, 1941-1945," photographs, citations, certificates, and miscellany. 15 items.
Papers of R. L. [Russell Lee] Jones (1941) consisting of Happy Days at Hurdle Mills [ca. 1908 – 1941] Typescript & Photographic prints. Bound hard cover. Note: Includes 15 pages of photographic prints tipped in; historical account of the Hurdle Mills Game Club, in Hurdle Mills, North Carolina, which provided winter hunting for northerners; includes photographic prints of local buildings and people; R. L. Jones was elected first vice president of the club (1908); Stuart Wright note inside front cover: "Charles (Charlie) Lawson was my maternal grandmother's brother, Person County, NC."
Ledgers (1799-1861, 1911-1917) of Samuel R. Fowle Company of Washington, N.C.
Mattie Barber Sloan was the bookkeeper and assistant to Thomas Store Winstead for his group Winstead's Mighty Minstrels, a Fayetteville, North Carolina, Black Minstrel group who toured the Eastern United States from 1931 to 1956. This collection contains documents and memorabilia (1927-1956, undated) kept by Mattie Sloan related to Winstead's Mighty Minstrels and other Black Minstrel groups such as Irvin C. Miller's "Brown Skin Models". Included are ledgers (1944, 1951, 1954, undated) recording ticket sales, salaries, and routes for the Winstead group and photographs, work licenses, advertising circulars and cards, and a poster. The strength of the collection is the historical significance that shows the involvement of African Americans as performers and managers that were not often included in standard histories of circuses and vaudeville.
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