Drawings:

A typescript of an unpublished book, Randolph Edmond's "definitive history of the Negro in the theatre." In the brief Acknowledgements section, Edmonds references a grant-in-aid by a Research Committee at Florida A College where he was teaching. A Forward was to have been written by Allardyce Nicoll, then a Professor of the History of Drama at the University of Birmingham in England. Some of the chapters include, "White Playwrights and Negro Characters," "White Actors in Blackface," "The Negroes Own Efforts," "Negro Stereotypes," "Negro Bands and Jazz," "The Negro Little Theatre Movement," and other chapters on radio, motion pictures, and music and dance in theatre.

Consists of a large panoramic photograph of the Manzanar War Relocation Center, a concentration camp in Manzanar, California, where the United States government incarcerated Japanese Americans during World War II. The image was taken from a tower along the fence line of the camp, likely by an outside photographer, as incarcerated people were not allowed to have cameras. The photograph is copyrighted by Manzanar Cooperative Enterprises, Inc., an organization owned, operated, and managed by the Japanese Americans incarcerated in the concentration camp, per an agreement with the War Relocation Authority dated March 1, 1943. It was likely commissioned by the cooperative and printed by a Japanese American photographic developer, probably Tōyō Miyatake.

Consists of 11 photographs of the Manzanar War Relocation Center taken by Tōyō Miyatake while he was incarcerated there during World War II. Subjects include camp buildings, the camp entrance sign, and fellow incarcerees. Miyatake and Ansel Adams included several of these images in a collaborative exhibit and a book published in 1978. These images were printed after the war and stamped with the name of the studio Miyatake opened in 1947.

The Association of Hiroshima University for Sending Atomic-bombed Roof Tiles distributes the tiles in an effort to perpetuate awareness of the bombings of Hiroshima and Nagasaki and to oppose the use and proliferation of nuclear weapons. The collection includes seven atomic-bombed roof tiles; photographs of the location where the roof tiles were recovered; booklets and pamphlets on the bombings of Hiroshima and Nagasaki; and information and correspondence from Hiroshima University.

This folder contains photographs of victims of the atomic bomb.

Includes photographs and portaits of Kimon Friar and Nikos Kazantzakis; an oversized photogrpah of Kimon Friar along with Nikos Kazantzakis has been removed to Box 127 (Miscellaneous and Oversized material).

Includes typed manuscripts (carbon copies) of several versions of Dekavalles' poems both in Greek and in English with handwritten corrections by Friar; and several signed poems by Dekavalles.

Includes signed, autograph poems by Vrettakos in Greek: "Akoma tout' he anoixē", Takēs Lioumas", Etsi mou stathēke ho Taygetos", "Margarita", "To salparisma tou karaviou"; typescript drafts (carbon copies) of poems translated from Greek by Friar bearing his autograph corrections; typescripts of the poems in Greek; poet's explanatory notes on his poems; biographical statement and "Credo"; business correspondence with Friar relating to the selection, translation,and publication of some of Vrettakos' poems in Modern Greek Poetry (additional correspondence has been placed in Box 151, folder 4).

These folders contain undated letters that were later identified and given approximate dates. Folder 1 contains the following groupings: seventeen letters, circa 1945-1949 (all letters beginning with "Chère Violette Leduc"); twenty-three "rendez-vous" Letters, circa 1949-1971 (beginning "Chère Violette" and "Ma chère Violette"), which are short letters making appointments to meet at cafes or at Beauvoir's home; and two undated letters. Folder 2 contains a letter from Gary, Indiana (circa August 11th, 1950) discussing Nelson Algren's new house in Michigan; a letter from Norway (circa July 1951); two letters about Ravages (May 1954); a letter from England (circa 1959) mentioning "Coriolan;" a letter and prière d'insérer (circa 1960) related to Leduc's Tresors à Prendre; a letter from Cuba (circa March 4, 1960); four letters (circa 1964) about La Batarde ; one letter (circa 1965) with a title suggestion for La Femme au (petit) renard; thirteen letters from Italy (circa 1952-1963); and thirteen letters to Faucon (circa 1961-1972).

Most correspondence is undated, but in many cases, dates can be found on envelopes.

Consists of nearly 300 letters from Simone de Beauvoir to Violette Leduc documenting their literary friendship spanning four decades, along with 23 notebooks containing manuscript drafts of Leduc's autobiography, La Bâtarde (1964).

Image number: 13525. Folder or item number: 9. Additional information: At the Plasma Physics Laboratory, Princeton University.

Image number: 419. Folder or item number: 17.

Image number: 418. Folder or item number: 13.

Includes obituaries, memorials, newspaper clippings, issue of the Princeton Alumni Weekly, vol. XXIII. no. 24 (1923), and four copies of Erwin Panofksy's printed biography.

Contour drawing in ink of Charles Rufus Morey, date and artist unknown. Signed by American ambassador James Clement Dunn "Rome, 1949."

Consists of typed drafts of "The Cross in the Nimbus of Christ," "Scholarship in the Arts: Past and Future," "Medieval Culture: Ecclesiastical or Secular," "A Mediaevalist looks at Modern Art," "The Maid-Servant in the Annunciation and in the Visitation," "Maplewood Lectures: I II," "Early Christian Art," "The Reliquary of St. Adrian."

Includes Keeley's notes on American literature (background for senior thesis and final exams), his general Princeton University reading notes, and his notes on Constantine P. Cavafy.

Includes a beaded child's vest, a wallet, a handkerchief, six small framed drawings of women in Greek costume, a small amount of Syrian currency, a Class of 1948 P-rade button, and other small objects and momentos that Edmund Keeley collected.

Photocopies.