Box 112, Folder 5
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Box 87, Folder 1
Correspondence and records, bulk 1961-1963.
This subseries contains notebooks, transcripts, syllabi, correspondence, a yearbook, papers and projects corresponding to Segal's education at P.S. 70 in the Bronx and at Stuyvesant High School in Manhattan from 1930 to 1941, Cooper Union School of Art from 1941 to 1942, Rutgers University (part-time) from 1942 to 1946, Pratt Institute of Design from 1947 to 1948, New York University from 1948 to 1949, and Rutgers University (Master of Fine Arts) from 1961 to 1963. The bulk of the material dates to Segal's time at New York University from 1948 to 1949.
This subseries consists of materials that are related to Segal's education and early career, but not directly to the subject matter he was studying or the application of that knowledge. Instead, these materials were collected by Segal as ephemera or as source materials for assignments and projects.
Series 7: Education and Early Career, 1937-1964 3.0 linear feet 5 boxes
This series contains material related to Segal's formative years as a student and an educator at a number of New York and New Jersey institutions. Materials include assignments, syllabi, projects, lesson plans, transcripts and ephemera accumulated over the course of Segal's primary, secondary, college-level and post-graduate studies as well as his experiences teaching from 1958 to 1964.
Cane, Melville, 1927-1980 1 folder
Box b-000011, Folder 6
Includes a group of photocopied correspondence with Sidney Cox from 1927 to 1951, along with a eulogy for Cane written by Jovanovich.
Jones, Howard Mumford, 1940-1982 1 folder
Box b-000016, Folder 4
Box b-000022, Folder 1-2
Series 1: Author and Publisher Files, 1927-2001 (mostly 1940-1993) 20 boxes
SOME ONLINE CONTENT
This series consists of William Jovanovich's files on nearly two hundred authors and publishers with whom he worked. Author files consist of correspondence with authors, their agents, and Harcourt Brace Jovanovich editors, as well as originals and copies of early manuscripts and drafts of writings, press clippings, book jacket proofs, recordings, and other editorial materials, although not all files contain both correspondence and writings. While author files primarily exist for authors whose work was published by Harcourt Brace Jovanovich, there are also files on authors whose works Jovanovich was considering publishing before a contract fell through, those like Ambrose Bierce and Hart Crane whose works he was interested in reprinting, and authors he did not publish but to whom he otherwise provided guidance or kept up correspondence. Publisher files consist largely of correspondence and include a significant amount of material related to Helen Wolff, of the Kurt and Helen Wolff Book imprint of Harcourt Brace Jovanovich, a collaboration that began in 1961. Author files on Edward Dahlberg, T. S. Eliot, Vane Ivanović, Marshall McLuhan, and Carl Sandburg are particularly extensive.
Box b-000042, Folder 7
Includes one negative.
The bulk of this subseries consists of William Jovanovich's editorial drafts of chapters for Charles Lindbergh's Autobiography of Values, including several working versions of each chapter, along with setting copies, outlines, and plans for the book, notes, page proofs, and galley proofs. These materials document the transformation of Lindbergh's fragments into a completed whole heavily mediated by Jovanovich. A much smaller group of drafts, book jacket proofs, notes, and photographs related to the 1970 publication of The Wartime Journals of Charles A. Lindbergh is also present, as are long essays Lindbergh wrote in response to Kenneth Davis and Walter Ross's books about him and his corrections on John Nance's draft for The Gentle Tasaday, for which he also wrote the forward.
This subseries consists of several typescript drafts of writings by Anne Morrow Lindbergh, a photocopied narrative of a trip through the Florida Everglades, and a commercially produced recording of "An African Essay."
Box b-000050, Folder 5
Primarily 4x5" negatives, with several positive prints.
Box b-000050, Folder 8-10
Includes various photographs of Charles Lindbergh with his family during World War II and in his later life. Although most are not captioned, many are likely reproductions for use in Autobiography of Values and The Wartime Journals of Charles A. Lindbergh.
Box b-000050, Folder 11-12
This subseries includes photographs of Charles A. Lindbergh, his family, and his home in Hawaii, including images collected by William Jovanovich and his staff in preparation for the publication of Autobiography of Values and The Wartime Journals of Charles A. Lindbergh. Many of the older photographic materials are reproductions from originals held by Yale University or negatives made from Lindbergh family photographs by Harcourt Brace Jovanovich staff.
Box b-000051, Folder 2
Box b-000051, Folder 10-13
This subseries consists of clippings, magazines, articles, bibliographies, inventories, reports, and recordings related to Charles A. Lindbergh, likely consulted by William Jovanovich in the process of his work on Autobiography of Values and other Lindbergh projects and publications.
This series consists of editorial correspondence, writings by and about Charles A. Lindbergh and Anne Morrow Lindbergh, photographs, clippings, and other research materials. The contents reflect William Jovanovich's role as the primary editor and compiler of Charles Lindbergh's Autobiography of Values, as well as his role as the executor of Lindbergh's literary estate. Shortly before Charles Lindbergh died in 1974, he called William Jovanovich to his hospital room, handed over a suitcase containing almost 3,000 pages of drafts written over three decades, and asked Jovanovich to shape them into a publishable autobiography. With the help of Judith A. Schiff, an archivist at Yale University, Harcourt Brace Jovanovich published the heavily edited Autobiography of Values in 1978. While Lindbergh's original drafts reside at Yale, this series includes Jovanovich's working drafts for Autobiography of Values throughout the editorial process, as well as related correspondence, photographs, and research materials. Some drafts, notes, and other editorial materials pertaining to The Wartime Journals of Charles A. Lindbergh, which Harcourt Brace Jovanovich published in 1970, are also present.
This subseries consists of correspondence that Jovanovich filed chronologically, including both personal and business correspondence. For the years 1948 to 1952, correspondence consists of photocopies rather than the original letters, and there is a gap in correspondence during the mid-1950s. Correspondence for the late 1990s and 2000s is increasingly personal in nature.
This series contains William Jovanovich's general correspondence, with the exception of author and publisher correspondence, which can be found in Series 1: Author and Publisher Files and Series 2: Charles A. and Anne Morrow Lindbergh Files. Correspondence in this series spans personal and professional topics, following three different original filing systems: alphabetical by correspondent name, chronological, and topical. Correspondence regards Harcourt Brace Jovanovich's publishing activities, Jovanovich's own writings, and personal relationships with fellow professionals and former employees, among other subjects.
Box 51, Folder 18
Also includes some correspondence from the 1940s with George Reynolds.
This series consists of drafts, proofs, notes, research files, and source materials for Jovanovich's own writings and lectures, along with related correspondence, reviews, and clippings. Materials span his written works in nonfiction and fiction, as well as lectures and speeches on various topics related to publishing and writing, although some works are documented much more thoroughly than others. Jovanovich's nonfiction books, essays, and speeches largely revolve around the publishing industry, textbook publishing, the value of education, Serbian history, and creative writing. Writings represented in this series include Jovanovich's novels Madmen Must (1978), The Last Place (1978) and The World's Last Night (1990), his collection of essays Now, Barabbas (1964), and his memoir The Temper of the West (2003). While major works comprise their own files, there is also an alphabetical run of shorter essays and speeches, containing typescripts and clippings. Also included are several files regarding lectures Jovanovich gave at various colleges and universities, as well as some related correspondence.
Box 56, Folder 14
Box 56, Folder 16
Box 56, Folder 20
World War II Service, 1939-1955 2 folders
Box 57, Folder 6-7
This subseries consists of clippings, photographs, correspondence, printed materials, and legal documents regarding personal and family matters. Contents include correspondence with Jovanovich's immediate family, as well as with distant relatives in Yugoslavia and Poland, documents about his father's estate, family photographs, a collection of materials from Serbia and Montenegro and from Jovanovich's service during World War II. Of note is a small group of manuscripts collected by Jovanovich regarding the Vivian family and the Battle of Waterloo.
This series documents William Jovanovich's personal and family life and career history. Transcriptions and recordings of interviews with Jovanovich, articles focusing on his biography and career trajectory, publicity materials, and correspondence related to his many honorary degrees and awards reflect Jovanovich's public life, while personal and family memorabilia, correspondence, and a collection of materials related to Serbia and Montenegro document his private interests, collecting habits, and family history.
Box 1, Folder 3
Box 1, Folder 10
Box 1, Folder 24
Book Reference Materials, 1938-1986 1 folder
Box 4, Folder 5
Miscellaneous Letters, Documents, Photographs, and Copies of Letters from Ed Weston, 1938-2002 1 folder
Box 5, Folder 1
Box 5, Folder 4
Includes sleeved slides removed from blue binder.
Miscellaneous Correspondence, Early Photographs of Ruth Bernhard and Others, Articles, Brochures, 1916-2005 4 folders
Box 5, Folder 5-8
Early Life Contact Prints of Ruth Bernhard with Corresponding 4x5 film (43 photos), circa 1910s-1960s 2 folders
Box 5, Folder 10-11
Includes Ed Weston's photograph of Ruth Bernhard.
Box 7, Folder 10
This subseries consists of a file run kept by Ruth Bernhard, primarily including business correspondence related to publishing, permissions, print sales, workshops, teaching engagements, video appearances, interviews, exhibitions, and the sale of her photographic archive, along with some personal correspondence, such as fan mail and birthday cards, as well as occasional snapshots, address books, and articles where Bernhard's work was featured or reviewed.
Box 8, Folder 3
Writings by Ruth Bernhard, 1942-1995 1 folder
Box 8, Folder 11
Exhibition: "Machine Art", 1934-1994 1 folder
Box 10, Folder 6
Exhibition Reviews, 1941-1990 1 folder
Box 10, Folder 43
Box 10, Folder 44
Box 10, Folder 59
Box 11, Folder 15
Box 12, Folder 13
Box 15, Folder 1-2
Box 16, Folder 1-2
Subseries 1B: Princeton University Art Museum Files by and about Ruth Bernhard, 1930-2013 (mostly 1930-2006) 11 boxes
This subseries contains files by and about Ruth Bernhard, organized and maintained by the Princeton University Art Museum until their transfer in 2013. These files contain sorted original correspondence, both business and personal, as well as agreements, publicity materials, and other documents related to Bernhard's exhibitions, publications, appearances, workshops, and auctions, organized chronologically within each category. Materials cover most of Bernhard's career, from her early professional work for the Museum of Modern Art's Machine Art catalog in 1934 through the late 1990s.
Box 7, Folder 22
2 Pamphlets re: "Ruth Bernhard Ten Photographs 1930-1976" portfolio published by Nichol Press, 1930-1976 1 folder
Box 20, Folder 6
This subseries includes unsorted correspondence, along with any related enclosures such as magazine clippings, articles, pamphlets, and snapshots that Bernhard kept loose in boxes. Most correspondence in this series is of a personal nature, including many birthday and holiday cards, thank-you cards, and postcards from friends, students, and fans, along with unsolicited commercial mailings, including brochures, magazines, catalogs, and other mass mailings from various arts and cultural organizations. Also present are drafts and duplicate copies of Bernhard's "Dear Friends" form letters, which she often mailed out to fans and students after gaining widespread recognition in her later life, as well as accompanying print-outs with inspirational quotes, lists, and manifestos.
This series includes three distinct file runs of correspondence and other personal papers and business files, distinguished by their creator and level of organization. The first run contains vertical files kept by Ruth Bernhard, sorted by topic. The second contains artificial files by and about Bernhard, organized chronologically by topic and maintained by the Princeton University Art Museum, including original correspondence as well as correspondence between museum staff and various parties, along with articles by and about Bernhard, exhibition catalogs, workshop materials and advertisements, reproductions of photographs, publishing agreements, and more. The third contains unsorted correspondence and enclosures that Bernhard kept loose in boxes.
Prints were removed from a folder labeled "pix from slides."
This series includes any photographic work and publications produced by Ruth Bernhard that are included with the papers, as well as publicity materials related to her activities as a professional photographer. This series documents the appearance of Bernhard's photographs in her own portfolios and monographs, as well as in major publications, advertisements, and exhibitions, with a single image often appearing and reappearing in these various contexts throughout its lifespan. Some items, such as her publicity folios, provide both evidence of her photographic work in print, as well as her efforts to promote and publicize it. Due to this overlap, and to the fact that Bernhard often stored these materials together, this series includes both works and publicity in order to preserve context.
Box 22, Folder 15
Teaching Slides, circa 1930s-1970s 1 folder
Box 22, Folder 22
This series primarily contains props and objects used by Ruth Bernhard for still life photography and teaching, along with some print and audio and visual materials related to her activities as a photography instructor. Some objects, such as the cow skull with embedded rosary pictured in Skull and Rosary (1945) and the Venus murex shell pictured in Venus Comb (1943) can be attributed to specific photographs. Others exemplify the sorts of props Bernhard often photographed and used in student instruction, including doll pieces, animal bones, various seed pods and other plant materials, found objects, and modern decor and kitchen equipment. Insight into Bernhard's use of these objects can be found in pages 87-90 of the draft of Ruth Bernhard: Between Art and Life, a biography written by Margaretta Mitchell in conjunction with the artist (See Box 7, Folder 8-9).
Box 53, Folder 2
Box 53, Folder 18
Box 53, Folder 19
Box 53, Folder 21
Box 54, Folder 2
Box 54, Folder 15
This subseries primarily includes photographs and snapshots of Ruth Bernhard with friends, family, students, and colleagues. Photographic materials vary greatly in size and quality, from fine art portraits of Ruth Bernhard taken by various friends and fellow professional photographers, to early black-and-white photographs from Bernhard's childhood in Germany, to amateur contemporary color snapshots taken at various events and parties. Many photographs of Bernhard in her apartment on Clay Street in San Francisco are present in this subseries, including documentation of her collection of natural objects and props, some of which can be found in Series 3. In snapshots from her later life, which make up the majority of materials in this subseries, Bernhard is frequently pictured with her life partner, Price Rice, and Mary Ann Helmholtz (sometimes abbreviated as "MAH"), her close friend and personal assistant. In addition to large, sometimes mounted, prints stored flat and vertical files containing snapshots and small photographs, photograph albums are also included at the end of the subseries.
Slide Collection, 1910s-1990s 3 folders
Box 56, Folder 12-14
Slides include images of Ruth Bernhard's work, work by other friends and photographers, as well as personal photographs from travels and events.
Subseries 5B: Artwork, Gifts, and Other Materials Collected By Ruth Bernhard, 1910s-2005 (mostly 1962-2005) 23 boxes
This subseries includes fine art photographs and artwork by others, gifts, personal effects, and other memorabilia collected by Ruth Bernhard for sentimental value. The majority of materials in this subseries consist of photographs and artwork given to Bernhard by others, often personally inscribed to her and occasionally accompanied by related correspondence. Prominently featured are photographers Michael Kenna and Saïd Nuseibeh, both of whom worked as printers for Bernhard for many years and whose independent photographic careers she followed. Works by friends and students Abraham Aronow, Norman Jensen, Peter Adams, and Alfonso Malato de Sousa also appear frequently.
This series includes photographs and artwork by others, gifts, personal effects, awards, and other memorabilia collected by Ruth Bernhard throughout her life for personal or sentimental reasons. These materials include snapshots, photographs, and photograph albums documenting Ruth Bernhard's personal and professional life from childhood until her death in 2006, portraying the photographer as a young woman, in the photography studio working with models and students, and during various events, exhibitions, birthday parties, and travels.
Box b-002019, Folder 1
Photograph Albums, 1947 2 folders
Box b-002019, Folder 2-3
In Memoriam, 1946-1947 1 folder
Series 1: Alumni Publications consists of periodicals written by and for graduates of Princeton University. The series consists largely of issues of Prospect Magazine, which was produced by the politically conservative group, the Concerned Alumni of Princeton. The series also includes early issues of the The Alumni Princetonian, which is the precursor to the Princeton Alumni Weekly, and which began as a weekly insert in the The Daily Princetonian in the 1890s.
Series 2: Faculty Publications are those written by current or emeritus faculty.
There are gaps in the run of these publications.
Series 3: Student Publications, 1800-2017 46 boxes 1 website
SOME ONLINE CONTENT
Series 3: Student-generated publications are those documents composed by enrolled undergraduate or graduate students. Several 19th century student publications are present, including some of the earliest known student newspapers, such as The Balance (1802) which provides an account of a Nassau Hall fire, and The Chameleon, written by the Class of 1835. The series also includes special editions and joke issues of the Daily Princetonian, such as The Gaily Printsanything (circa 1920s). In addition, the years 1969 and 1996 saw particular literary flourishing, with the inception of several student-generated magazines consisting of a few issues before the magazines' discontinuation. In a few cases, the records of the creating organization are included with copies of the publications.