DOCSLIB.ORG

National Register of Historic Places Inventory -- Nomination Form Date Entered

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Register of Historic Places Inventory -- Nomination Form Date Entered fV.'1~o ' IO . 306IR.v 10· 141 UNITEOS1 1\1 LS OL!',\ IHMLI\: 1 01· rilL INI EKIOR FOR NPS USE ONLY NATI ONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES RECEIVED INVENTORY -- NOMINATION FORM DATE ENTERED fOR FEDERAL PKOPERTIES SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS ONAME Four Building Act of 1926 Post Offices and Thirty-Two Public ~Jol'ks HISTORIC Administration ' Post Offices 'Thematic Resources ANDI OR COMMON DLOCATION STREET & NUMBER See i ndi vi dua 1 inventory forms NOT FOR PUBLICATION CITY, TOWN CONGRESSIONAL DISTRI CT VICINITY OF STATE CODE COUNTY CODE DCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _DISTRICT ~PUBLIC .xOCCUPIED _AGRICULTURE _MUSEUM _ BUILDINGI SI _PRIVATE _UNOCCUPIED _COMMERCIAL _PARK _STRUCTURE _BOTH _WORK IN PROGRESS _EDUCATIONAL _ PR IVA TE RESIDEN CE _SITE PUBLIC ACQUISITION ACCESSIBLE _ENTERTAI NMENT _RE LIG IOUS _ OBJECT _ IN PROCESS .x YES : RESTRICTED iLGOVERNMENT _SCIENTIFIC (X) Thematic _BEING CONSIDERED _ YES : UNRESTRICTED _INDUSTRIAL _l RANSPOR TATI ON Group _ NO _MILITARY _ OTHER [I AGENCY REGIONAL HEADOU A RTERS (If .p{)lic~bI~J ____-,--><O-'-':w'-:'-n:-::e.!....r ...... : --:,U ,-,-,n i teU_t.aJes_ Posta 1 Servi ce STREET & NUMBEA r ~ eiT1phis Field Real Estate and Buildings Office Agency: 1 North Front Street CITY. TOWN STATE -_ VICINITY OF TN 3810 3 DLOCATION OF LEGAL DESCRIPTION COURTHOUSE REGISTR Y OF DEEDS, ETC STREET & NUMBER See individual inventory forms CITY . TOWN STATE o REPRESENTATION IN EXISTING SURVEYS TITLE Survey work carried out as an integral part of this thematic nomination DATE _FEDERAL _STATE _COUNTY _ LOCAL DEPOSITOR Y FO R SU RVEY RECORD S CIT Y, TOWN STATF .. - fJ DESCRIPTION CONDITION CHECK ONE CI _EXCELLENT _DETERIORATED _UNALTERED _GOOD _RUINS _ ALTERED .~ .1 _FAIR _ UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL A Note: See individual inventory forms for specific descriptio s. All of the Post Offi~es included in thi~ thematicnominatio are located in Mi ssissi 1I and were constructed in the late 1930's and ·earl 1940'su ~er the Public Buildina i Act of 1926 or the Public Works Administration of the Fe~ ral Govern me nt, set u in 1933. i I The sites and their architects and builders if known re as follows: I -i GoooS'b u ~e.d unde ~b-t i Bu 'hling AG of 9'~ Site Architect Bu il der - Crysta 1 Springs f(~O -4 ~ Office of the Super- Dye-Mullins Const. Co. ~ vising Architect (OSA) Columbus, MS ! I Eu pora (t7Jt /) OSA Algernon-Blair i I Montgomery, AL ~1acon ("'1«0) OSA Unknown 11 Popl arvi 11 e(tCflfl) OSA H. D. Wh ite 8! Co. -.J Chicago, IL Constructed under Public Works Administration Site Architect Builder Amory (1~37) Unknown Pittma.n Brothers New Orleans, LA Bay St. Louis (1«3 5 ) Office of the Super­ Dye-Mullins Const. Co. vising Architect (OSA) Co 1 umbu s, ~1S Ba tesvill e _(nqo) OSA'~ H.D. White & Co. Chi cago, IL Belzoni (I~.37) OSA James C. Mi 11 er 1'1 Campbellsville, KY I .1 Boonevi 11 e (IP'f) Leroy Barton Murphy Pound Carthage (('(3 1) Shelby Olvy Yarborough Unknown 11 Charl eston (IQ3t'f) OSA . ' Unknown · ! I Cleveland (1'13'1) OSA Unknovtn I ! ~ Columbia ~q"/XpeA'U) Shourds & Bean Dye-t·1ull i ns Co 1umbus ( I~ 3~) R. Stanley Brown Murphy Pound Durant ( 13"1) OSA B.L. Knost II Pass Christian, MS I I Fores t (113Sj OSA Algernon-Blair } Montgomery, AL Hattiesburg ~'P3··3'1) Juan G. Landry & Mathew Rauen Const. Co. I, Rathbone Oepuys Chicago, IL I _ Hazlehurst ((1'18) . OSA Algernon-Blair Houston (".,0) OSA Charles Davis, Inc. Jacksonville, FL Indianola (I'~5) OSA Unkno v: n "* Kosciusko (It:t31.XPS P.'Z4) OSA Algernon-Blair ~ Leland (1'131,) ) . OSA Unknown ! j Lexi ngton ( lq ~1 Unknown Algernon-Blair I . Lou; svi1l e (1'1'3'5) OSA Dye-Mull ins I I , I, ; 1 __- ,m No ,:6 JOO~ 0. 11 10· 741 UN 1.1 L [) ST" II.S 1)1 1' .\ IU i\.ll 1'< 1 0 I· 1111 . 1 N 11 .1\ 1U I{ FOR NPS USE ONLY NATIONAL PARK SERVICE RECEIVED NA TlONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMI,NATION FORM·-< DATE EIHERED Description of Physical Appearance--tontinued (2) CONTI NUATION SHEET 11 EM NUMBCfl PAGr: t Lumberton (('1~XP6A'2b) OSA Algernon-Blair Magno 1 i a (i'?'1<1--3 -r) OSA Pi ttman ·Bros. NeVi Albany (tOr-) OSA Unknovm Newton (1t:{.3(.) OSA ~~urphy Pound Okolona (lft37) OSA Unknown Philadel phia ~1'H5"-j") CSA Unknown Picayune (1'138 OSA Henry I. Flynn Const. Co. Pontotoc (,'t~.? - OSA Unknovm Ripley ((,)8) OSA Algernon-Blair Tyl ertovln ( .~()) OS.A. Dye-t~ull ins Waynesboro (lq~'1) OSA Chandler Const. Co. Springfield, IL * ~' /inona (l'132.X.PI3A'21.) OSA UnknO\vn Four themes are interwoven in this research group: 1) the circumstances of con­ struction involving the Public Building Act of 1926 and the Public Horks Administra­ tion, 2) commonalities of architectural style, 3) artworks contained within tv!enty-eight of the thirty-six buildings, 4) small town settings. Together these structures represent a significant government response to public need at a difficult time in this country's development, follO\ving the most severe de­ pression in its history_ The first Public Buildings Act of 1913 and the second Public Building Act of 1926 were supplemented in 1933 by Congress, on the urging of Franklin Delano Roosevelt, with the Federal Emergency Administration of Public Works. Between 1933 and 1941 a tremendous amount of construction resulted in the United States, includ­ ing four post offices in Mississippi construct~d under the 1926 Act and thirty-two post offices in Mississippi constructed under 1933 PWA legislation. See the accompany­ ing document entitled "Federal Construction I'Jork, 1913-1941," for a more complete dis­ cussion of such work carried out across the country under various legislative programs. Stylistic analysis and evaluation of architectural quality may be subdivided as follows. An initial group of six buildings shows outstanding architectural qualities; Columbus, Leland, ~~inona and Lumberton exemplify the Colonial Revival Style. They share such features as hipped or gabled roofs with cupolas, brickwork articulated by such details as quoins, classically inspired wooden and limestone cornices, and by other limestone elements such as belt courses and water tables, decorative window lintels, and especially entry way elements ranging from frontispieces to retilinear and curvilinear, projecting porticoes. The Columbia structure, on the other hand, is a lone--but excel­ lent--example of Beaux Arts Classicism 'within the group. Finally the Carthage site co~­ bines Colonial Revival and Style Moderne qualities with an exceptional result, and at Hattiesburg a truly extraordinary Style Moderne structure was built including exceptional interior and exterior lighting fixtures and interior furniture and wall finishes as we ll as the typically massive, prismatic body of the building itself . .. .~ , '..: . ,. _ ,' J • . ' . ' . "' . " ~ 'm.Nu:'O · JqOJ tfe_ 10··74) UN.lll.IJSIAIl.SDII':\\(1;>..11 t'.l OIIIII . I i'. llIUUI{ FOR NPS USE ONLY NATIONAL PARK SERVICE RECEIVED NATIONAL REGISTER OF HISTORIC PLACES DATE ENTERED INVENTOR Y -- NOMl,NATION FORM·_.I.: Descrip.tion of Physical Appearance--Continued (3) CONTI NUATION SHEET ITeM NUMBEfl Pi\G[ A second group of twenty-five buildings represents less extraordinary but stil l ski ll­ fully conceived Colonial Revival Style structures (Lexington and Eupora also show som e Style Moderne qualities). This group may be divided into three sub-groups arranged in order of merit: Amory, Belzoni, Booneville, Crystal Springs, Forest, Hazlehurst, Hou s ­ ton, Magnolia, New Albany, Tylertown; and Cleveland, Durant, Eupora, Kosciusko , Le xing­ ton, Louisville, Newton, Pontotoc, Waynesboro; and Batesville, Bay St. Louis, Charleston, Macon, Picayune, Ripley. These buildings share similar, though less developed features with the first group. A third group shows limited )rchitectura1 merit but displays occasional Colonial Revival Style features. This group includes Indianola, Okolona, Philadelphia, Pop1ar- vi 11 e'. 1 These post office buildings were often designed, according to Karel Vasko, in col­ lective studios or ateliers in Washington, D.C., often under the guidance of well-known practitioners; George Howe, for instance, participated in this unique process which grew out of post-depression attempts by the Federal Government to give work to unemployed architects. Although ma ny of these post offices have architects' names associated with them, even to specific designations on cornerstones, they often cannot be precisely at­ tributed to anyone hand; Mr. Vasko emphasized this point. The same designs were often repeatedly constructed, both in Mississippi and across the country. Names of"architects and builders are shown in the preceding list, but attribution of designer must often si m­ ply be made to the Office of the Supervising Architect. Many of ~he buildings contain mural paintings and sculpture completed under the Department of the Treasury's Section of the Fine Arts Program. These sites and the artists responsible are as follows: Town Artist Art ~/ork Ti t1 e Amory* John ncCrady Amory, ~lississippi--1889 Batesville Eve Kottgon Cotton Plantation Bay St. Louis Louis Raynaud Li~e on the Coast Biloxi Bill of Rights U.S. Constitution Declaration of Independence (documents in a case) *Mura1 painting unless otherwise indicated. 1 Karel Vasko is the Counselor for Fine Arts and Historic Preservation, Public Build­ ings Service, \~ashington, D.C. ~lr. Vasko conducted the Fine P.rts Inventory for the United States which included post offices and post office mural paintings. I1r. Vasko ,. is the country's 1eadi ng authori ty on Pl-IA pos t offi ces and thei r art "'Iork.
Load more

Recommended publications
  • The Federal Art Project and the Creation of Middlebrow Culture by Victoria Grieve (Urbana: University of Illinois Press, 2009
    REVIEWS 279 within a few years of reaching its previously excluded sectors of socie - height. McVeigh finds that infighting, ty. Their work is harder, as the popu - bad press, and political missteps prior lations they represent are usually to the 1924 presidential election all oppressed and thus have less access contributed to the Klan’s decline. By to financial and other resources to 1928, only a few hundred thousand fund their battles. These clear differ - members remained in the group. ences argue strongly for separate In a larger context, McVeigh’s analyses of social movements from work makes a strong case for why the right and the left. conservative and liberal social move - ments should be treated differently. HEIDI BEIRICH , who graduated from McVeigh rightly points out that con - Purdue University with a Ph.D. in servative social movements offer political science, is director of remedies for populations that have research for the Southern Poverty Law power, but believe they are being Center. She is the co-editor of Neo- challenged by changes in society. Confederacy: A Critical Introduction Because of this established power, (2008). social movements from the right tend to bring greater resources to bear on KEVIN HICKS , who graduated from their causes. Liberal social move - Purdue University with a Ph.D. in ments, on the other hand, look to English, is associate professor of Eng - expand opportunities and rights to lish at Alabama State University. The Federal Art Project and the Creation of Middlebrow Culture By Victoria Grieve (Urbana: University of Illinois Press, 2009. Pp. x, 299.
    [Show full text]
  • Marion Greenwood in Tennessee (Exhibition Catalogue)
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Ewing Gallery of Art & Architecture Art 2014 Marion Greenwood in Tennessee (Exhibition Catalogue) Sam Yates The University of Tennessee, Knoxville, [email protected] Frederick Moffatt The University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_ewing Part of the American Art and Architecture Commons, Fine Arts Commons, and the Painting Commons Recommended Citation Yates, Sam and Moffatt, Frederick, "Marion Greenwood in Tennessee (Exhibition Catalogue)" (2014). Ewing Gallery of Art & Architecture. https://trace.tennessee.edu/utk_ewing/1 This Publication is brought to you for free and open access by the Art at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Ewing Gallery of Art & Architecture by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. MARION GREENWOOD in TENNESSEE MARION GREENWOOD in TENNESSEE This catalogue is produced on the occasion of Marion Greenwood in Tennessee at the UT Downtown Gallery, Knoxville, TN, June 6 - August 9, 2014. © Copyright of the Ewing Gallery of Art and Architecture, 2014. UT Downtown Gallery Director and Curator: Sam Yates Manager: Mike C. Berry Catalogue editor: Sam Yates foreword by: Sam Yates Catalogue design and copy editing: Sarah McFalls essay by: Dr. Frederick C. Moffatt Printed by UT Graphic Arts Services Photography credits: Detail images of The History of Tennessee (p. 2-6), image of The History of Tennessee (p. 1 and 10-11) installation photographs, preparatory sketches (p. 20) Haitian Nights (p 22) Haitian Work Song in the Jungle (p.
    [Show full text]
  • December 2020 Vol. 1/No. 6
    The Newsletter of the Lincoln County Historical Association 2020 V1•N5 Letters pg. 02 Leroy Magness and His Thoughts on the Election pg. 03 A County Divided! pg. 06 James McLean became a leader in the Federal Art Project of President Franklin Delano Roosevelt’s Works Progress Administration of the mid-1930s. In 1941, the citizens of Welcome Cabarrus County unveiled a massive mural for Concord’s Community Center Building. New Board This photo depicts his work on a mural for Cannon Memorial Library in Kannapolis. Photo Members courtesy of the State Archives of North Carolina pg. 07 A Native Son’s Art Comes Home Thanks to a generous donor, 12 paintings by from Harry Bradley,” said Carole Howell, artist James Augustus McLean, arguably the LCHA president. “It’s an incredibly generous father of art education in North Carolina, have gift, and it’s our pleasure to receive and share it made their way back to Lincolnton, the place and the story of James McLean.” where he was born. James Augustus McLean was born in 1904, the “I’ve been trying to present portions of my col- youngest child of John Thomas McLean and lection to organizations and museums touched Lillian Lee Haynes (Bowles). He would mature by McLean,” says Harry Bradley, who first met to become a prolific and seemingly never tiring McLean when he was a student in the School of artist who spent his entire life promoting art Design at North Carolina State University, and and art education. who has long studied and collected his work. McLean’s father, Lincolnton’s local stonecutter, Bradley knew that Lincolnton was the birth- died when McLean was still in his teens, and place where the seed of his dream was planted.
    [Show full text]
  • 44 Records of the Index of American Design
    Finding Aid for the Records of the Index of American Design, 1929-2018 (bulk 1936-1942) Summary Information Repository National Gallery of Art, Gallery Archives Sixth Street and Constitution Avenue, NW Washington, DC 20565 [email protected] Title Records of the Index of American Design Identifier 44 Creator United States. Works Progress Administration. Index of American Design. Date 1929-2018 (bulk 1936-1942) Extent 290 cubic feet (734 boxes); approximately 29,000 digital files Abstract This collection documents the activities of the Index of American Design, a Federal Art Project to preserve and document the development of American folk and decorative arts from the colonial period through 1900 while providing relief work to unemployed artists, researchers, and photographers during the Great Depression. Materials consist of correspondence, memoranda, reports, lists, data sheets, publications, photograph prints and negatives, color notes. Historical Note Created in 1935, the Index of American Design (Index) was a program in the Fine Arts Divisions of the Federal Art Project (FAP) under the Works Progress Administration (WPA). The Index project had three objectives: to employ and maintain the skills of artists who found themselves unemployed during the depression years; to preserve America’s artistic and cultural heritage by documenting the development of arts and crafts in different parts of the country; and to create a series of portfolios from the Index watercolor renderings that would serve as a permanent guide for artists, scholars, and the public. The initial idea for the Index project began with discussions between Romana Javitz, head of the New York Public Library’s Picture Collection, and artists who were conducting research in the collection for WPA projects.
    [Show full text]
  • News from Around the States for 2010 and Earlier Alabama- WPA
    News From Around the States For 2010 and Earlier Alabama- WPA artist, Conrad Albrizio (1894-1973) became the Souths leading creator of wall paintings, frescos, and mosaics. One of NNDPA corporate members, McKay Lodge conservation Laboratory in Oberlin, OH saved a major mosaic he did in 1959 for the Mobile County Courthouse just prior to the building being demolished. Conservator Robert Lodge reports that the theme of this glass mosaic is the judgment of good from evil, right from wrong and, though originally intended for a courthouse for obvious reasons, its a theme relevant for contemplation in any environment. Removal of this 7 foot tall, 34 foot wide mosaic made of thousands of tiny pieces of thin, brittle glass was described by Conservator Stefan Dedcek as dirty, physically brutal, and requiring a very delicate touch in the use of pneumatic demolition as the primary tools for the job. They were contracted to remove the mosaic glass pieces from the courthouse interior wall and remount it on a portable substrate so that it could be installed in any future location. Alaska- Palmer, Alaska This resettlement community will be holding its annual gathering around the first of June. Last year they had their 70th anniversary celebration which included people from all over Alaska and the lower 48 states. A parade was followed by a showing of a DVD of Colonist interviews. About 400 Colonists and their descendents were present for both the banquet on Saturday night and picnic on Sunday afternoon. There were nine Colonist Parents still alive and living in the valley however three came from Minnesota and one from Kentucky.
    [Show full text]
  • New Deal Artwork: GSA's Inventory Project
    Lee Allen. Soil Erosion (sketch for mural). 1938 New Deal Artwork: GSA's Inventory Project New Deal Art Stewardship During the New Deal era, the U.S. governme'lt administered four separate art projects that operated from 1933 to 1943. The projects produced thousands of paintings, sculpture, and works on paper. In 1934, the federal government began loaning or allocating the movable artworks created under the New Deal art programs to public agencies and nonprofit institutions. The U.S. General Services Administration (GSA) is the federal agency that is responsible for inventorying these loaned artworks. Cataloguing Project GSA's Fine Arts Program catalogues movable New Deal artworks housed in nonfederal repositories. In collaboration with repositories, GSA aims to provide a centralized resource of information about New Deal artwork that is readily available to museum professionals, the academic community, art conservators, and the public at large. For more information, please visit our website: www.gsa.gov/finearts. If your institution houses New Deal works of art, please send the information to: Fine Arts Program Office of the Chief Architect U.S. General Services Administration 1800 F Street, NW Washington, DC 20405 [email protected] Front image: Federal Art Project. WPA Poster. circa 1935 I I I I I I I \( \\\ Lr~ Charles T. Henry. Snowy Landscape. 1935 New Deal Artwork: Ownership And Responsibility The U.S. General Services Administration's Fir.e Arts Program Office and the Office of Inspector General (OIG) work together to locate, identify and recover lost portable works of art produced by artists through the New Deal era federal art programs of the 1930s through the mid 1940s.
    [Show full text]
  • Sign.T~~ ~ S' #P0dote J(),/!J.L~
    NPS Form 1Q..900 OMS No. 10024-0018 (Oct. 1990) This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to CcinpJete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property baing documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 1Q..900a). Use a typewriter, word processor, or computer, to complete all items. historic name (former) United States Post Office other names/site number -...::::....:::::....::::..;=....!:..!...:"'-~..l::..,,1~I..6..W.......... - ____________________ street & number 115 Nor t h Ma inS t r e e t N / j[] not for publication city or town ---=--=-=:..:::..:::...:.:..-=------------------------..J.!J...J:......c:1 o viCinity state __N-.:o::::,:· r=-:t~h~C~a.ur~Q.t..l .... l.L..1· D".ua""-- __ code ~ county ----:G~a.,.t;;lswt..dQ.L..nb6._ _____ code -1l1...L zip code 2 8 0 J 2 As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this ~ nomination o request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property [X meets 0 does not meet the National Register criteria.
    [Show full text]
  • Down from the Ivory Tower: American Artists During the Depression
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1982 Down from the ivory tower: American artists during the Depression Susan M. Eltscher College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Eltscher, Susan M., "Down from the ivory tower: American artists during the Depression" (1982). Dissertations, Theses, and Masters Projects. Paper 1539625189. https://dx.doi.org/doi:10.21220/s2-a5rw-c429 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. DOWN FROM THE IVORY TOWER: , 4 ‘ AMERICAN ARTISTS DURING THE DEPRESSION A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Susan M. Eltscher APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts ^jiuu>0ur> H i- fc- bbcJ^U i Author Approved, December 1982 Richard B. Sherman t/QOJUK^r Cam Walker ~~V> Q ' " 9"' Philip J/ Fuiyigiello J DEDICATION / ( \ This work is dedicated, with love and appreciation, to Louis R. Eltscher III, Carolyn S. Eltscher, and Judith R. Eltscher. ( TABLE OF CONTENTS Page ACRONYMS................... .......................... v ACKNOWLEDGEMENTS..........................................
    [Show full text]
  • Tennessee State Library and Archives Works Progress Administration
    State of Tennessee Department of State Tennessee State Library and Archives Works Progress Administration Historical Records Survey, 1935-1943 COLLECTION SUMMARY Creator: Historical Records Survey (U.S.) Inclusive Dates: 1935-1943 Scope & Content: Consists of approximately 106 cubic feet of documents related to the Works Progress Administration Historical Records Survey in Tennessee. The collection contains two series: 1) administrative records and 2) records transcriptions. The material in Series I originally underwent processing in 1987 as RG 107, while the material in Series II remained mostly unprocessed and separated from RG 107. Because the documents in RG 107 were actually federal rather than state records, the record group underwent deaccessioning as a state record group and reaccessioning as Series II of an existing manuscript collection in 2018-2019. The vast majority of the material in Series I consists of daily progress reports submitted by individual employees. Payroll records make up the next largest amount of material. There are also several reports on various WPA projects, including the Historical Records Survey. The reports mostly date from the period when WPA projects shut down due to U.S. involvement in World War II. Series II contains transcriptions of county records from 83 of Tennessee's 95 counties. A few of the transcriptions are typed, but the vast majority are hand- written in pencil. The transcriptions are primarily of county/chancery/circuit court minutes but also include marriage records, wills, deeds, surveyor's records, etc. Box 212 contains information about African American cemeteries located in 17 counties. The records for Davidson County contain very little information.
    [Show full text]
  • Doctoral Dissertation Template
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By DENISE NEIL-BINION Norman, Oklahoma 2017 REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. Mary Jo Watson, Chair ______________________________ Dr. W. Jackson Rushing III ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Daniel Swan © Copyright by DENISE NEIL-BINION 2017 All Rights Reserved. For the many people who instilled in me a thirst for knowledge. Acknowledgements I wish to extend my sincerest appreciation to my dissertation committee; I am grateful for the guidance, support, and mentorship that you have provided me throughout this process. Dr. Mary Jo Watson, thanks for being a mentor and a friend. I also must thank Thomas Lera, National Postal Museum (retired) and RoseMaria Estevez of the National Museum of the American Indian. The bulk of my inspiration and research developed from working with them on the Indians at the Post Office online exhibition. I am also grateful to the Smithsonian Office of Fellowships and Internships for their financial support of this endeavor. To my friends and colleagues at the University of Oklahoma, your friendship and support are truly appreciated. Tammi Hanawalt, heather ahtone, and America Meredith thank you for your encouragement, advice, and most of all your friendship. To the 99s Museum of Women Pilots, thanks for allowing me so much flexibility while I balanced work, school, and life.
    [Show full text]
  • The Federal Art Project: Intentions, Goals, and Legacy
    Union College Union | Digital Works Honors Theses Student Work 6-2018 The edeF ral Art Project: Intentions, Goals, and Legacy Meghan Bentley Follow this and additional works at: https://digitalworks.union.edu/theses Part of the History Commons Recommended Citation Bentley, Meghan, "The eF deral Art Project: Intentions, Goals, and Legacy" (2018). Honors Theses. 1668. https://digitalworks.union.edu/theses/1668 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. The Federal Art Project: Intentions, Goals, and Legacy By Meghan Bentley Submitted in partial fulfillment of the requirements for Honors in the Department of History June 2018 UNION COLLEGE June, 2018 i ABSTRACT BENTLEY, MEGHAN The Federal Art Project: Intentions, Goals, and Legacy ADVISOR: Professor Andrew Morris Created under the umbrella program called the Works Progress Administration (WPA) during the Great Depression, the Federal Art Project (FAP) was a unique program that attempted to put struggling artists back to work and aimed to preserve artistic skill in American society. This thesis examines the efficacy and legacy of the Federal Art Project by examining the legitimacy of the criticisms levied against the FAP, the effect the FAP was able to have on the American public and arts community, and closes by examining the findings of these claims within the context of a collection of local FAP paintings. While producing an artistic legacy that has become widely appreciated, the program has also been criticized that by paying artists to produce artwork that reinforced proud American themes, the Federal Government was using the Project to mass-produce pro-American propaganda to advance its own agenda.
    [Show full text]
  • A Finding Aid to the Holger Cahill Papers, 1910-1993, Bulk 1910-1960, in the Archives of American Art
    A Finding Aid to the Holger Cahill Papers, 1910-1993, bulk 1910-1960, in the Archives of American Art Jean Fitzgerald Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld. 1998 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material and Personal Papers, 1931-1988........................... 5 Series 2: Correspondence Files, 1922-1979, 1993.................................................. 6 Series 3: Works Progress Administration Federal Art Project, 1934-1970............
    [Show full text]