DOCSLIB.ORG

The William Randolph Hearst Archive in the Digital Initiatives and Art Image Library Long Island University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The William Randolph Hearst Archive in the Digital Initiatives and Art Image Library Long Island University The William Randolph Hearst Archive in the Digital Initiatives and Art Image Library Long Island University Finding aid written by Alexandra Janvey using DACS, 2013. William Randolph Hearst (1863 – 1951) Photograph. Library of Congress, Prints and Photographs Division. ca. 1906 Overview of the Collection Creator: Hearst, William Randolph, 1863-1951 Title: William Randolph Hearst Archive Dates: 1884-1975 Extent: approximately 425 linear feet of auction catalogs, albums, documents, photographs, aperture cards, and books. Repository: Digital Initiatives and Art Image Library Long Island University 720 Northern Boulevard, Brookville, New York 11548 Language(s) of material: English, French, and German Abstract: The William Randolph Hearst Archive consists of auction catalogs, albums, paper records, photographs, aperture cards, and books that document the immense size and range of art items acquired by Hearst during his lifetime. 1 Biographical Note William Randolph Hearst was a prominent publisher, art collector, politician, and film industry entrepreneur. During his lifetime, he was an influential figure in American journalism and amassed one of the world’s largest media empires. This empire included several newspapers such as The San Francisco Examiner and New York Morning Journal, as well as renowned magazines including Cosmopolitan, Country Living, Esquire, Good Housekeeping, Harper’s Bazaar, and Town and Country. Today, the Hearst Corporation’s assets have grown to include ownership in the leading cable networks: A&E, Lifetime, History, The Biography Channel, and ESPN. William Hearst was born on April 29, 1863 in San Francisco, California, to father, George, and mother, Phoebe Apperson Hearst. George was a self-made millionaire who earned his fortune in the mining industry. Phoebe was a former schoolteacher who coddled her only child. She had an enduring interest in art and anthropology, amassing an extensive collection of her own. Hearst also enjoyed all the benefits that a wealthy upbringing afforded him. These benefits included learning different languages, visiting museums, attending the opera, and taking lavish trips that exposed him to other cultures. In fact, it was on his first grand tour of Europe that ten-year-old Hearst began to demonstrate a desire to collect things. This trip planted the seed of what would eventually lead to Hearst’s obsessive collecting of art, antiquities, and anthropological treasures. William Hearst married a 21-year-old showgirl named Millicient Willson (1882- 1974) in 1903. They had five sons together – George Sr., William Jr., John, Randolph, and David (formerly known as Elbert Willson). All five boys would follow their father’s footsteps into the media business. Hearst’s third son, William Randolph Hearst, Jr., would become a Pulitzer prize-winning newspaper reporter. Shortly after the birth of their fourth and fifth sons, twins, Hearst first encountered Marion Davies (1897-1961). Marion was performing in the production “Ziegfield Follies” on Broadway in New York City. Although Hearst was already married, he was infatuated with Marion and the pair developed a romantic relationship in 1916. He gave Marion favorable publicity for her performances in his papers and launched Goldwyn-Cosmopolitan Productions to promote her career. While Hearst’s intentions were altruistic, he had Marion play dramatic roles when she had natural talent for comedy, which ended up hampering her success. William Hearst’s interest in publishing was sparked during his second year of Harvard (class of 1885) when he was elected the business manager of the Harvard Lampoon. Given the challenging task of turning things around for this failing magazine, Hearst’s work with the magazine proved to be an enormous success. The Lampoon’s circulation expanded by 50 percent, advertising revenue increased by 300 percent, and Hearst was able to transform a deficit of $200 into a surplus of $650. 2 In 1887, at the age of 24, an ambitious Hearst convinced his father to let him take over the San Francisco Examiner, a failing newspaper that his father purchased seven years earlier (various sources indicate that it was given to George Hearst in place of a gambling debt). Hearst changed the course of the San Francisco Examiner by upgrading all the equipment and hiring the most talented writers of that time. Within the San Francisco Examiner’s first year with Hearst, circulation doubled. Following the death of his father, Hearst bought his second newspaper, the New York Journal. The New York Journal was a competitor of Joseph Pulitzer’s New York World and the two men became embroiled in a fierce rivalry. Hearst is also attributed with the creation of “yellow journalism,” a reporting style that utilized eye-catching headlines and embellished stories, many of which were based on speculation. The use of “yellow journalism” attracted readers and increased the sale of newspapers. Hearst purchased more newspapers on both coasts and in major cities nationwide, as well as in the UK. At the height of his success, he owned about 30 papers, and nearly one in four Americans got their news from a Hearst owned paper. After the death of his beloved mother Phoebe in 1919, Hearst inherited the family fortune. He began to collect works of art with increasing momentum through auction houses and dealers in both the United States and Europe. Hearst’s vast art collection was valued at about $20 million dollars in 1935 (a quarter of a billion dollars today). He was compulsive in his collection and has been characterized as an accumulator lacking self-discipline and discretion. Yet, pieces of his extraordinary art collection are now accessible to researchers and in major museums and private collections worldwide. The collection included huge selections of armor, tapestries, paintings, furniture, and even two Cistercian monasteries that he had crated and shipped across the Atlantic. Art experts are in general agreement that Hearst’s collection was exceptional not only in its scope and breadth, but in its judicial selection of objects. Hearst selected works created by great artists and artisans of cultural and historical significance. He believed that “the end of art was delight” and had a lot of faith in his own taste. He would later use some of these items to furnish his many homes: Hearst Castle in San Simeon, California, Marion Davies’ Beach House in Santa Monica, Wyntoon Castle in Northern California, St. Donat’s Castle in Wales, Joan’s Castle in Sands Point, Long Island, and his Clarendon apartment in New York. Hearst’s empire suffered during the Great Depression and he was forced to sell off some of the newspapers he had acquired, as well as a large portion of his art collection. He died on August 14, 1951, in Beverly Hills, California. Bibliography Nasaw, David (2000). The Chief: The Life of William Randolph Hearst. New York, NY: Houghton Mifflin. 3 Hearst Corporation. “Hearst Newspapers.” Retrieved May 24, 2013 from http://www.hearst.com/newspapers/index.php Hearst Corporation. “Hearst Magazines.” Retrieved on May 24, 2013 from http://www.hearst.com/magazines/index.php Biography. “William Randolph Hearst.” Retrieved on May 24, 2013 from http://www.biography.com/people/william-randolph-hearst- 9332973?page=1 Hearst Castle. “William Randolph Hearst.” Retrieved on May 24, 2013 from http://www.hearstcastle.org/history-behind-hearst-castle/historic- people/profiles/william-randolph-hearst/ Arrangement The collection is arranged in 6 series. All efforts have been made to retain the materials original order. Series I: Catalogs, 1884-1975 Series II: Sales Records Series III: Albums Subseries III.A: Photographic Albums Subseries III.B: Articles Transferred Subseries III.C: Photofiles Subseries III.D: Photo Files Subseries III.E: J.P. Anderson Office Photographs Series IV: Aperture Cards Series V: Books Series VI: Subject Files Scope and Content Note The William Randolph Hearst Archive consists of auction catalogs, albums, paper records, photographs, aperture cards, and books that document the immense size and range of art items acquired by Hearst during his lifetime. The materials originate from a five square block warehouse in the Bronx that Hearst leased in 1919 to serve as a storage space for part of his massive art collection. He created the International Studio Art Corporation (ISAC) to manage the warehouse, purchase art for him, and clear customs when necessary. The ISAC had a full time staff that meticulously photographed and recorded each purchase. They also created an organizational system for the storage of the collection and its archival materials. 4 Series I includes over 10,000 original auction catalogs dating from 1884 to 1975. Included are catalogs published by Parke Bernet, Hammer Galleries, American Art Association and many European galleries. When Hearst was unable to make it to auctions he sent representatives with explicit instructions on what to buy and the amount he was willing to pay. He armed these representatives with auction catalogues that had “Buy these” scrawled in pencil. The catalogs contain margin notes indicating prices paid, directions to buy, and inquiries, including notations such as “Who bought?” Many of the catalogs also contain notations made by Hearst himself. These sales catalogs reveal critical information about art collecting in general and Hearst’s approach to collecting art. They are not only in English, but French and German as well. The catalogs are arranged chronologically and in varying conditions. Series II include 53 boxes of loose sales and shipping records that came from the same Bronx warehouse as the other materials in the collection. The records correspond with the items described in other parts of the collection. They have been kept in there original order, arranged categorically. Series III consists of the various albums that are apart of this collection. Due to the (sometimes minor) differences between the albums, this series has been broken down further into 5 subseries. Subseries III.A consists of the 170 photographic albums that make up a bulk of Series III.
Load more

Recommended publications
  • Movie Mirror Book
    WHO’S WHO ON THE SCREEN Edited by C h a r l e s D o n a l d F o x AND M i l t o n L. S i l v e r Published by ROSS PUBLISHING CO., I n c . NEW YORK CITY t y v 3. 67 5 5 . ? i S.06 COPYRIGHT 1920 by ROSS PUBLISHING CO., Inc New York A ll rights reserved | o fit & Vi HA -■ y.t* 2iOi5^ aiblsa TO e host of motion picture “fans” the world ovi a prince among whom is Oswald Swinney Low sley, M. D. this volume is dedicated with high appreciation of their support of the world’s most popular amusement INTRODUCTION N compiling and editing this volume the editors did so feeling that their work would answer a popular demand. I Interest in biographies of stars of the screen has al­ ways been at high pitch, so, in offering these concise his­ tories the thought aimed at by the editors was not literary achievement, but only a desire to present to the Motion Picture Enthusiast a short but interesting resume of the careers of the screen’s most popular players, rather than a detailed story. It is the editors’ earnest hope that this volume, which is a forerunner of a series of motion picture publications, meets with the approval of the Motion Picture “ Fan” to whom it is dedicated. THE EDITORS “ The Maples” Greenwich, Conn., April, 1920. whole world is scene of PARAMOUNT ! PICTURES W ho's Who on the Screcti THE WHOLE WORLD IS SCENE OF PARAMOUNT PICTURES With motion picture productions becoming more masterful each year, with such superb productions as “The Copperhead, “Male and Female, Ireasure Island” and “ On With the Dance” being offered for screen presentation, the public is awakening to a desire to know more of where these and many other of the I ara- mount Pictures are made.
    [Show full text]
  • Y\5$ in History
    THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • LAND-USE CONFLICT at SHASTA DAM, CALIFORNIA a Thesis
    THE ROLE OF CRITICAL CARTOGRAPHY IN ENVIRONMENTAL JUSTICE: LAND-USE CONFLICT AT SHASTA DAM, CALIFORNIA A thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for the Degree Master of Arts In Geography by Anne Kathryn McTavish San Francisco, California January, 2010 Copyright by Anne Kathryn McTavish 2010 CERTIFICATION OF APPROVAL I certify that I have read The Role of Critical Cartography in Environmental Justice: Land-use Conflict at Shasta Dam, California by Anne Kathryn McTavish, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree: Master of Arts in Geography at San Francisco State University. ____________________________________________________ Nancy Lee Wilkinson Professor of Geography ____________________________________________________ Jerry Davis Professor of Geography THE ROLE OF CRITICAL CARTOGRAPHY IN ENVIRONMENTAL JUSTICE: LAND-USE CONFLICT AT SHASTA DAM, CALIFORNIA Anne Kathryn McTavish San Francisco State University 2010 The United States Bureau of Reclamation (USBR) is conducting a feasibility study to increase the height of Shasta Dam. The Winnemem Wintu Indian Tribe contend that any increase in the storage capacity of Shasta Lake would inundate their remaining cultural and historic sites, tribal lands, and current homestead, an act they describe as “cultural genocide.” Critical Cartography plays a valuable role evaluating the Winnemem Wintu claim, revealing how the tribe’s claim to land was mapped, then unmapped, over the past two-hundred years. I certify that the Abstract is a correct representation of the content of this thesis. ___________________________________________ ________________ Chair, Thesis Committee Date ACKNOWLEDGEMENTS I have been amazed, delighted, appalled, and humbled as I learned about the rights, issues, and status of the Winnemem Wintu.
    [Show full text]
  • Classy City: Residential Realms of the Bay Region
    Classy City: Residential Realms of the Bay Region Richard Walker Department of Geography University of California Berkeley 94720 USA On-line version Revised 2002 Previous published version: Landscape and city life: four ecologies of residence in the San Francisco Bay Area. Ecumene . 2(1), 1995, pp. 33-64. (Includes photos & maps) ANYONE MAY DOWNLOAD AND USE THIS PAPER WITH THE USUAL COURTESY OF CITATION. COPYRIGHT 2004. The residential areas occupy the largest swath of the built-up portion of cities, and therefore catch the eye of the beholder above all else. Houses, houses, everywhere. Big houses, little houses, apartment houses; sterile new tract houses, picturesque Victorian houses, snug little stucco homes; gargantuan manor houses, houses tucked into leafy hillsides, and clusters of town houses. Such residential zones establish the basic tone of urban life in the metropolis. By looking at residential landscapes around the city, one can begin to capture the character of the place and its people. We can mark out five residential landscapes in the Bay Area. The oldest is the 19th century Victorian townhouse realm. The most extensive is the vast domain of single-family homes in the suburbia of the 20th century. The grandest is the carefully hidden ostentation of the rich in their estates and manor houses. The most telling for the cultural tone of the region is a middle class suburbia of a peculiar sort: the ecotopian middle landscape. The most vital, yet neglected, realms are the hotel and apartment districts, where life spills out on the streets. More than just an assemblage of buildings and styles, the character of these urban realms reflects the occupants and their class origins, the economics and organization of home- building, and larger social purposes and planning.
    [Show full text]
  • William Randolph Hearst and His Impact on American Foreign Policy During the Interwar Period
    CLASH OF TITANS: WILLIAM RANDOLPH HEARST AND HIS IMPACT ON AMERICAN FOREIGN POLICY DURING THE INTERWAR PERIOD A Thesis Presented to the Faculty of California Polytechnic State University San Luis Obispo In Partial Fulfillment Of the Requirements for the Degree Master of Arts in History By Brandon D. Roper March 2010 © 2008 Brandon D. Roper ALL RIGHTS RESERVED - 2 - Committee Membership TITLE: Clash of Titans: William Randolph Hearst and his impact on American Foreign Policy in the Interwar Period AUTHOR: Brandon D. Roper DATE SUBMITTED: March 24, 2010 COMMITTEE CHAIR: Thomas Trice, Professor of History COMMITTEE MEMBER: Robert Detweiler, Professor of History COMMITTEE MEMBER: John Snetsinger, Professor of History - 3 - ABSTRACT Clash of Titans: William Randolph Hearst and his impact on American Foreign Policy in the Interwar Period The purpose of this thesis is to analyze a prominent figure of the 20 th century, William Randolph Hearst and to analyze the influence he was able to exert over American foreign policy through his own personal connections and those of his periodicals. This also includes an analysis between Hearst and Roosevelt, and noting the varying levels of influence between the two. This thesis will demonstrate that William Randolph Hearst is a prominent figure of 20 th century history, but was overshadowed by Roosevelt. Hearst while powerful was always putting his power into ventures that would backfire politically. When his papers declined, his influence over politics plummeted instantly. Keywords: Hearst, American Foreign Policy, Isolationism, Interwar Period - 4 - TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION …………………………………………………….. 6 II. The Historiography of Hearst ..………………………………… 9 III.
    [Show full text]
  • Gloria Swanson
    Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B.
    [Show full text]
  • Camera (1920-1922)
    7 l Page To>o "The Digest of the Motion Picture Industry” CAM ERA A Liberal Privilege of Conversion Besides the safety of enormous assets and large and increasing earnings, besides a substantial and profitable yield, there is a very liberal privilege of conversion in the $3 , 000,000 Carnation Milk Products Company Five-Year Sinking Fund 7 % Convertible Gold Notes notes convertible at option after November I creased in past five years. These are , over 400% 1921, and until ten days prior to maturity or redemption into Total assets after deducting all indebtedness, except this note, 7% Cumulative Sinking Fund Preferred Stock on the basis of amount to more than four times principal of this issue. I 00 for these notes and 95 for the stock. With these notes Net earnings for past ten years have averaged more than four at 96J/2 this is equivalent to buying the stock at 91 /i- and one-half times interest charges, and during the past five Thus you see that at your option you have either a long- years more than seven times. term, high yielding preferred stock or a short-term, high- There is no other bonded or funded indebtedness and at yielding note. Preferred stock is subject to call at 1 1 0 and present no outstanding preferred stock. accrued dividends, and the usual features of safety. You will want to invest your savings and surplus funds in This Company is one of the largest and most successful of its this decidedly good investment. Call, write or phone for kind in America.
    [Show full text]
  • Selections from the Bancroft Library Portrait Collection
    http://oac.cdlib.org/findaid/ark:/13030/tf4z09p0qg Online items available California Faces: Selections from The Bancroft Library Portrait Collection Processed by California Heritage Digital Image Access Project staff in The Bancroft Library. The Bancroft Library, University of California, Berkeley Berkeley, California 94720-6000 1997 California Faces: Selections from 1 The Bancroft Library Portrait Collection California Faces: Selections from The Bancroft Library Portrait Collection The Bancroft Library University of California Berkeley, California1997 Finding aid and digital representations of archival materials funded in part by a grant from the National Endowment for the Humanities. Processed and encoded by: California Heritage Digital Image Access Project staff in The Bancroft Library and The Library's Electronic Text Unit Digital images processed by: The Library Photographic Service Finding aid completed: April 1997 © 1997 The Regents of the University of California Descriptive Introduction Collection name: California Faces: Selections from The Bancroft Library Portrait Collection Size: 1,232 images selected from The Bancroft Library's Portrait Collection ; various sizes Photographers: Various photographers, including: I. W. Taber, Ansel Adams, Edward Weston, Carleton E. Watkins, Moulin Studios, Thomas Houseworth & Co., Bradley & Rulofson, William Shew, Peter Stackpole, Francis P. Farquhar, Johan Hagemeyer, William Keith, F. Gutekunst, Charles McMillan, Silas Selleck, Thors (San Francisco), Stewart & Skelton Studios, Schumacher Portraits, Ken McLaughlin, Sarony & Co., Hirsch & Kaye (San Francisco), and others. Repository: The Bancroft Library. University of California, Berkeley. Berkeley, California 94720-6000 Language: English. Provenance The portraits were acquired from various sources. Access Restrictions Collection is available for use. Digital Representations Available Digital representations of selected original pictorial materials are available in the list of materials below.
    [Show full text]
  • What Women Wrote: Scenarios, 1912-1929
    A Guide to the Microfilm Edition of WHAT WOMEN WROTE: SCENARIOS, 1912-1929 UNIVERSITY PUBLICATIONS OF AMERICA Jeanie MacPherson in her office at the De Mille Studio, where she is a special scenarist for Cecil B. De Mille (undated) Photo courtesy of Museum of Modem Art/Film Stills Archive A Guide to the Microfilm Edition of CINEMA HISTORY MICROFILM SERIES Series Editor: Ann Martin WHAT WOMEN WROTE: SCENARIOS, 1912-1929 Edited by Ann Martin and Virginia M. Clark A microfilm project of UNIVERSITY PUBLICATIONS OF AMERICA 44 North Market Street • Frederick, MD 21701 Library of Congress Cataloging-in-Publicatioo Data What women wrote [microform] scenarios, 1912-1929/edited by Ann Martin and Virginia M. Clark. microfilm reels. -(Cinema history microfilm series) Scenarios are part of the deposits of the Copyright Office. Accompanied by a printed reel guide. Bibliography: p. x Includes index. ISBN 0-89093-988-8 (microfilm) 1. Motion picture plays-Women authors. 2. American drama-Women authors. 3. American drama-20th century. I. Martin, Ann. II. Clark, Virginia M. (Virginia Martha) III. Schlesinger, Maria, 1965- . IV. University Publications of America. V. Library of Congress. Copyright Office. VI. Series. [PN1997.A1] 812,.03,089287-dcl9 88-17191 CIP Copyright ® 1987 by University Publications of America. All rights reserved. ISBN 0-89093-988-8. TABLE OF CONTENTS Introduction v Selected Bibliography x Reel Index Reel 1, 1912-1920 1 Reel 2, 1920 cont.-1924 10 1927-1929 15 Scenarist Index 19 Title Index 29 INTRODUCTION "Mrs. Beranger [having been selected for a screen test] sought out Jesse Lasky and waved the little notice at him: 'What would you say if I became a movie star?' 'That's out,' Jesse replied.
    [Show full text]
  • 2012- 13 Executive Brd
    the newsletter of Chicago Women in Architecture promoting the interests an issues of women in architecture since 1973 then and now Julia Morgan, Architect, and her Challenges that Howard was boasting to his colleagues that he had a wonderful The “Have It All” Myth for Women Architects a long way to go in fighting professional prejudices in the tradition- By Susan J. van der Meulen, Architect designer, ‘to whom I have to pay almost nothing, as it is a woman,’ by Ziyuan Wang ally male-dominated profession. Due to this self-conscious struggle to Julia stepped up her search.” In 1904, Julia took the state examina- blend in, it has been an open secret that woman architects, especially the ones with far-reaching prominence, don’t like to be noticed by This year the media has seen a resurgence Julia Morgan (1872-1957) tion for certification as an architect, becoming the first woman to be their gender, and are deeply offended when their designs are recog- of heightened interest on womanhood was a distinguished Califor- licensed as an architect in California; she then moved into a small nized as having “feminine” qualities, not to mention the difficulty in and femininity, imbued with unnerv- nia architect, the first woman office on Montgomery Street in San Francisco. “Many San Francisco raising children with a calendar fully booked for the coming 20 years. trained as an architect at the Bay Area architects called on Julia Morgan in her new office, but not ing tones of post-financial-crisis anxiety. While the controversial Time magazine Some suspect it is illusionary to expect society to see architects as Ecole des Beaux Arts, Paris, John Galen Howard.
    [Show full text]
  • Guide to the Julia Morgan Papers, 1835 – 1958
    Guide to the Julia Morgan Papers, 1835 – 1958 http://www.lib.calpoly.edu/specialcollections/findingaids/ms010/ Julia Morgan Papers, 1835–1958 (bulk 1896–1945) Processed by Nancy Loe and Denise Fourie, 2006, revised October 2008; encoded by Byte Managers, 2007 Special Collections Robert E. Kennedy Library 1 Grand Avenue California Polytechnic State University San Luis Obispo, CA 93407 Phone: 805/756-2305 Fax: 805/756-5770 Email: [email protected] URL: http://www.lib.calpoly.edu/specialcollections/ © 1985, 2007 Trustees of the California State University. All rights reserved. Table of Contents DESCRIPTIVE SUMMARY 5 TITLE: 5 COLLECTION NUMBER: 5 CREATOR: 5 ABSTRACT: 5 EXTENT: 5 LANGUAGES: 5 REPOSITORY: 5 ADMINISTRATIVE INFORMATION 6 PROVENANCE: 6 ACCESS: 6 RESTRICTIONS ON USE AND REPRODUCTION: 6 PREFERRED CITATION: 6 ABBREVIATIONS USED: 6 FUNDING: 6 INDEXING TERMS 7 SUBJECTS: 7 GENRES AND FORMS OF MATERIAL: 7 RELATED MATERIALS 8 MATERIALS CATALOGED SEPARATELY: 8 RELATED COLLECTIONS: 8 BIOGRAPHICAL NOTE 10 SCOPE AND CONTENT NOTE 12 SERIES DESCRIPTIONS/CONTAINER LIST 14 SERIES 1. PERSONAL PAPERS, 1835–1958 14 A. BIOGRAPHICAL INFORMATION 14 B. FAMILY CORRESPONDENCE AND RECORDS 14 C. PERSONAL CORRESPONDENCE 15 D. DIARIES 16 E. EDUCATION/STUDENT WORK 16 F. FINANCIAL RECORDS AND INVESTMENTS 17 G. TRAVEL 18 H. PHOTOGRAPHS 18 - 2 - SERIES 2. PROFESSIONAL PAPERS, 1904–1957 21 A. AWARDS 21 B. ASSOCIATIONS AND COMMITTEES 21 C. CERTIFICATIONS 21 D. PROFESSIONAL CORRESPONDENCE 22 E. RESEARCH NOTES AND PHOTOGRAPHS 22 F. REFERENCE FILES AND PHOTOGRAPHS 23 SERIES 3. OFFICE RECORDS, 1904–1945 26 A. CARD FILES AND LISTS 26 B. CORRESPONDENCE–CLIENTS, COLLEAGUES AND STAFF 27 C.
    [Show full text]