Digital Collections for Remote Research

By Stepanie Milne-Lane, Processing Archivist and Records Manager smilnelane@willamette.edu

Since the ongoing public health crisis forced the Hatfield Library to transition its services in March, the Willamette University (WU) Archives & Special Collections has missed the students, staff, faculty, and community members that frequently walked through our door.

We know that remote research comes with challenges — Not everything is digitized and there is something satisfying about opening a box and systematically going through archival folders. Over the years, the WU Archives & Special Collections has made steady progress in creating digital collections. Each of our four collecting areas boasts digital collections that are ripe for research.

Parsons Sketch

Eunice Parsons, “Sketchbook 1, Image 5,” Willamette University Archives

The WU University Archives & Records has numerous digitized collections that are keyword searchable and hold the key to WU’s history. Popular digitized collections include The Wallulah, 1903-2006 (student yearbook), The Collegian, 1875-2020 (student newspaper), WU Student Handbooks, 1892-2020, and Catalogs and Bulletins, 1860-2007. Also available are materials relating to Freshman Glee, one of Willamette’s longest running – and most beloved – traditions.

A collaborative project of the WU Archives & Special Collections and the Hallie Ford Museum of Art, the Pacific Northwest Artists Archive (PNAA) is a collection of materials related to the careers of artists who are or were active in Oregon and Washington. Digitized PNAA collections include an Eunice Parsons online exhibit that explores and considers the development of Parsons’ more popular style through the lens of her personal sketchbooks.

People exercising in an empty Sparks Pool.

Exercise Class in Sparks Pool, Undated, Campus Photograph Collection.

WU’s extensive Political Papers contain photographs, memorabilia and audiovisual materials of elected individuals representing Oregon at the state and national level. The digitized Norma Paulus Scrapbooks offers a glimpse into Paulus’s campaigns and legislative work.

Rounding our holdings are the Personal Papers, which include manuscript collections, diaries, and the correspondence with a focus on individuals involved in regional missionary work, settling Salem, and developing Willamette University. The digitized Suffrage Era Scrapbook is worth exploring, as it contains poetry, comedic articles and satire, cartoons, articles about women’s suffrage — which celebrates its 100th anniversary in August — and news bulletins about the 1918 Influenza pandemic.

Hatfield Library in 1986

Hatfield Library in 1986

Although our door hasn’t opened and closed as frequently over the past four months, the Archives is anything but quiet. Susan Irwin joined the Hatfield Library team and is spearheading the processing of Senator Mark O. Hatfield’s papers. Staff also completed processing associated with the NHPRC and LSTA grants. We can’t wait to see you, but in the meantime, we hope that our digital collections might come in useful. We are always here to assist with any and all questions you might have. We look forward to having you walk through our door again in the future!


Chuck Williams Collection Update

By Rosie Yanosko, Processing Archivist, ryanosko@willamette.edu

This spring, the Chuck Williams Collection will open for research. Charles Otis “Chuck” Williams was an environmental activist and professional photographer who was of Cascade Chinook descent and a member of the Confederated Tribes of Grand Ronde. His collection, which primarily document his activism, careers, and writings, are held in the Willamette University Archives & Special Collections, while his photographs, which document a plethora of tribal communities, cultural celebrations, and landscapes in the Pacific Northwest, are held in the Oregon Multicultural Archives at the Oregon State University Special Collections & Archives Research Center. This LSTA grant-funded project seeks to preserve and make accessible his papers and photographs.

Born on July 20, 1943, in Portland, Oregon, Williams and his family moved to Petaluma, California several years later. Williams was interested in animals and nature from an early age, and his collection includes a charming childhood scrapbook titled “The Nature Part of the World”. After graduating high school, he took engineering classes at a community college and worked full time as a draftsman/technician, eventually landing a job at Johnson Controls and working on projects for NASA and Boeing. Despite his success, Williams realized he wasn’t cut out for this career path and went on to serve with the Peace Corps in the Dominican Republic and AmeriCorps VISTA in El Paso, Texas. In 1973, he earned a BA in Art from Sonoma State University. Soon after, he began travelling the U.S. extensively, ultimately spending seven years touring the National Parks System (he managed to visit every park in the contiguous U.S.) in his camper van while honing his writing and photography skills. As he travelled, he sent notes to the environmental organization Friends of the Earth (FOE), informing them of issues he noticed while exploring the parks. This caught the attention of FOE’s founder, David Brower, who offered him a position as the organization’s National Parks Representative. While serving in this position, Williams lobbied for stronger protections for national parks and helped establish the Golden Gate and Santa Monica Mountains National Recreation Areas. He also wrote articles for FOE’s’s journal, Not Man Apart. His papers from this period contain a manuscript for a book he was writing on the National Parks, as well as research files on the U.S. National Parks Service, and research gathered while writing his article “The Park Rebellion” for Not Man Apart. In the late 1970s, Williams moved back to his native Oregon to take care of his ailing father, and became involved with the fight to preserve the Columbia River Gorge.

salmon fishery

In the early 1980s, Williams co-founded the Columbia Gorge Coalition, a grassroots environmental group that started the campaign for the Columbia River Gorge National Scenic Area. In an article for Earthwatch Oregon in February 1979, Williams summed up the conflict in the Gorge: “Most conservationists agree that strong federal action will be needed to preserve the Gorge. Like Lake Tahoe, the Gorge is shared by two states that seldom see eye to eye, and nearly fifty local jurisdictions spread up and down both sides of the river have never been known to agree on anything. A national scenic area managed by the National Park Service is the most likely proposal.” While Williams and the Coalition wanted the Gorge to be protected from development and managed by the National Park Service, affluent activist groups in Portland favored fewer restrictions on development and thought the land should be managed by the U.S. Forest Service. To help bring attention to the cause, Williams wrote, photographed, and largely self-financed the publication of his book, Bridge of the Gods, Mountains of Fire: A Return to the Columbia River Gorge. After years of contention, the Columbia River Gorge National Scenic Area Act was passed in 1986. Williams did not think the National Scenic Area (NSA) provided necessary protections and considered the legislation a failure, but continued to fight for stronger protections. He worked with his family to preserve their land allotment in the Columbia Gorge, ultimately establishing the land as the Franz Lake National Wildlife Refuge.

Williams went on to serve as the Public Information Office Manager and Publications Editor for the Columbia River Inter-Tribal Fishing Alliance (CRITFC), an organization that coordinates management policy and provides fisheries technical services for the Yakama, Warm Springs, Umatilla, and Nez Perce tribes. Williams’ position at CRITFC led him to begin photographically documenting various tribal and cultural celebrations throughout the Pacific Northwest. In the mid-1990s, he co-founded and managed the Salmon Corps, an AmeriCorps program that worked with Native American youth to restore salmon habitats and riparian areas in Oregon, Washington, and Idaho. After leaving the Salmon Corps, Williams was able to devote more time to his photography and writing. He continued to photograph cultural festivals and celebrations in the Pacific Northwest and exhibited them in the Columbia Gorge Gallery, which he operated out of his home in The Dalles. Proceeds from prints sold were shared with the subjects of his photographs–a testament to the depth of his care for his community. Williams also designed calendars commemorating Celilo Falls and offered slideshows and presentations on the histories of Native American Tribes in the Pacific Northwest. In 2013, Williams, along with David G. Lewis and Eirik Thorsgard, co-authored the chapter “Honoring our Tilixam: Chinookan People of Grand Ronde” in the book Chinookan Peoples of the Lower Columbia.

Sherar Fall, Oregon

During his storied career, Chuck Williams was a tireless advocate for the protection of countless rivers, forests, parks, and animals, earning him the nickname “Wild and Scenic Chuck” (in Chinook Wawa, “chuck” means river). He consistently placed environmental causes before his own well being, and this took a toll on his health and finances. In 2015, Williams was diagnosed with lung cancer, and on April 24, 2016 he passed away. Williams was a diligent record keeper and his collection contains a wealth of materials pertaining to grassroots environmental activism, the histories of Native American Tribes in the Pacific Northwest, the U.S. National Parks Service, tribal fisheries, and other subject areas. His collection also provides a crucial counter-narrative to the prevalent discourse surrounding the creation, passage, and effects of the Columbia River Gorge National Scenic Area Act. Willamette University Archives & Special Collections will open the Chuck Williams Collection for research in the coming months–please stay tuned for updates.


Rick Bartow Papers Open for Research

By Jenny Gehringer
PNAA Processing Archivist

Rick Bartow was a prolific Native American artist and blues and rock musician who lived and worked primarily in Newport, Oregon. He was a member of the Mad River Band of Wiyot Indians, an indigenous tribe of northern California, and maintained close ties with the Siletz tribe. The Rick Bartow papers are open for research as part of the Pacific Northwest Artists Archive of the Willamette University Archives and Special Collections. This collection documents Bartow’s life and art career from 1955 to 2016. It contains gallery exhibition fliers, CDs and posters for Bartow’s bands, clothing and glasses, an extensive collection of Bartow’s art supplies and tools, personal correspondence with family, friends, and other artists including D. E. May, Tom Cramer, and John Bevan Ford, photographs, and various books and magazines that represent Bartow’s personal library.

Rick Bartow and son in art studioBartow’s art career began with exhibitions at galleries in Newport, Oregon. In 1985 he was selected for a solo exhibition at Jamison/Thomas Gallery in Portland, Oregon. He exhibited at Jamison’s galleries in Portland and New York until Jamison’s death in 1995. Bartow was then represented by Charles Froelick of Froelick Gallery in Portland, Oregon. Bartow’s work can be found in museum collections throughout the United States including the Brooklyn Museum in Brooklyn, New York; the Peabody Essex Museum in Salem, Massachusetts; the Eiteljorg Museum of American Indians and Western Art in Indianapolis, Indiana; the National Museum of the American Indian in Washington, DC; the Hallie Ford Museum of Art at Willamette University in Salem, Oregon; the Heard Museum in Phoenix, Arizona; the Portland Art Museum in Portland, Oregon; and the Jordan Schnitzer Museum of Art at the University of Oregon. Bartow’s 35-year career as an artist was celebrated through the retrospective exhibition “Things You Know But Cannot Explain,” which traveled through various museums in the United States from 2015 to 2019.

Bartow’s art was often influenced by his traumatic military service experiences during the Vietnam War. He worked in a variety of media and created small and large scale art. His 26-foot tall carving The Cedar Mill Pole was displayed in the Jacqueline Kennedy Garden at the White House in 1997. Bartow’s pair of 20-foot tall cedar sculptures We Were Always Here was commissioned by the Smithsonian’s National Museum of the American Indian. Dedicated on September 21, 2012, the sculptures are on display on the northwest corner of the museum overlooking the National Mall, across from the Washington Monument.

For more information about this amazing collection, please see the finding aid. The Rick Bartow papers were processed thanks to the National Historical Publications and Records Commission (NHPRC) grant Willamette University received to increase accessibility to the Pacific Northwest Artists Archive.


Women’s Suffrage

Image of Iron Jawed Angels promotional poster

Image source from Wikipedia

By Stephanie Milne-Lane,
Processing Archivist and Records Manager

The ushering in of a new year brings with it thoughts of what the future might bring. But 2020 is unique in that it likewise offers an opportunity to reflect and commemorate. 2020 marks the 100th anniversary of the passage of the 19th amendment, which guaranteed and protected a woman’s constitutional right to vote. While many western states, including Washington (1910) and Oregon (1912), had secured voting rights for white women (at this time in Oregon, Native women and first generation Asian female immigrants were not naturalized citizens and therefore could not vote), it would take several more years and a concerted effort for a national equal suffrage amendment to come to fruition. 

Coalition building and unrelenting hard work eventually led to the United States Congress passing the 19th Amendment on June 4, 1919. However, in order to place the amendment into the Constitution 36 state legislatures had to ratify the amendment. On August 26, 1920, Tennessee became the 36th state to ratify the amendment thereby securing equal voting rights for eligible women. Despite the 19th amendment maintaining “the right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex,” barriers stood between women of color and the ballot box. Voter discrimination at the federal and state level prevented Native, Asian, and African American women from voting in elections for decades. It wouldn’t be until the passage of The Voting Rights Act of 1965 — some 45 years after the ratification of the 19th Amendment — that states were forbidden from imposing discriminatory polling laws. With this in mind, as we recognize the importance of the 19th amendment throughout 2020, it is equally important that we understand its limitations. 

Image courtesy of Willamette University’s Archives, Suffrage Era Scrapbook

Opportunities abound to immerse yourself in the suffrage centennial year. There are a plethora of state and local exhibits you can explore online or in person. In Salem, the Oregon State Archives has the Woman Suffrage Centennial Web Exhibit where you can explore memorabilia and documents that relate to the woman suffrage movement in Oregon. The Hatfield Library also has resources relating to the suffrage movement, including the HBO movie Iron Jawed Angels as well as numerous print resources. Additionally, Willamette’s Archives & Special Collections is home to a Suffrage Era Scrapbook that has been digitized. 

Whether you choose to commemorate the 100th anniversary of the 19th Amendment with an exhibit, movie, or book, we encourage you to remember the women leaders who lobbied, marched, and protested for the right — before and after 1920 — to enter the voting booth. 

 

Bibliography: 

Aljazeera. n.d. “Who got the right to vote when? A history of voting rights in America.” Accessed on January 8, 2020. https://interactive.aljazeera.com/aje/2016/us-elections-2016-who-can-vote/index.html

Graham, Sara Hunter. 1996. Woman Suffrage and the New Democracy. New Haven: Yale University Press.

Nineteenth Amendment to the United States Constitution, Series: Enrolled Acts and Resolutions of Congress, 1789 – 2013, Record Group 11: General Records of the United States Government, 1778 – 2006, U.S. National Archives. Accessed January 8, 2020. https://catalog.archives.gov/id/596314 

Oregon Secretary of State.n.d. “Origins of the Woman Suffrage Movement in Oregon.” Accessed January 6, 2020. https://sos.oregon.gov/blue-book/Pages/explore/exhibits/woman-intro.aspx

Sneider, Allison L. 2006. Suffragists in an Imperial Age: U.S. Expansion and the Woman Question, 1870-1929. New York: Oxford University Press.

The Oregon Encyclopedia. 2019. “Woman Suffrage in Oregon (essay).” Last updated July 10, 2019. Accessed January 6, 2020. https://oregonencyclopedia.org/articles/woman_suffrage_in_oregon/#.XhTWUxdKii4.

Wheeler, Marjorie Spruill. 1995. “A Short History of the Woman Suffrage Movement in America.” In One Woman, One Vote, edited by Marjorie Pruill Wheeler, 9-20. Troutdale, Oregon: NewSage Press. 

 


Additions to the Betty LaDuke Papers

By Jenny Gehringer
PNAA Processing Archivist

LaDuke painting women and birds Additional materials for the Betty LaDuke papers have been processed and are open to researchers. This collection documents Betty LaDuke’s prolific career as a painter from 1950 to 2018. It includes her photography and sketchbooks from various international and domestic travels as well as materials that document her advocacy and representation of cultural traditions and women artists around the world. This collection also contains personal documents concerning her family and friends.

LaDuke has completed several large-scale projects, including multi-panel exhibitions and murals. Her creative process involves developing a series of sketchbooks and taking numerous photographs during her travels which then form the basis for her larger works and exhibitions. Other thematic elements in her work include animals, rituals, and celebrations, which she uses to illustrate similarities among geographically and traditionally disparate cultures.

LaDuke has exhibited extensively throughout the United States and is represented in many public collections, including Willamette University’s Hallie Ford Museum of Art (HFMA). You can discover LaDuke’s work on campus through rotating exhibits at the HFMA and a permanent display at the third-floor of the Putnam University Center.LaDuke painting Pear Harvest

For more information about this amazing collection, please see the finding aid. You may also access additional information and resources concerning LaDuke and her art through the libguide Betty LaDuke: Social Justice Revisited. The Betty LaDuke papers were processed thanks to the National Historical Publications and Records Commission (NHPRC) grant Willamette University received to increase accessibility to the Pacific Northwest Artists Archive.


A “New” Chant for Christmastide

By Doreen Simonsen
Humanities and Fine Arts Librarian

Image Comparing 15th Century Chant Manuscripts

Somewhere in Europe in the 15th century, a choir sang an Alleluia followed by an Offertory on the Feast of the Holy Innocents on December 28th. A page from a book that contained parts of these songs was discovered last summer in the Vault of the Mark O. Hatfield Library. We do not know who donated this manuscript page to the library, but through the help of faculty members in the Music and Classical Studies Departments at Willamette University and elsewhere, we have been able to reveal its secrets and show how it relates to the holiday season.

Image of Medieval & Renaissance Manuscripts

Psalter
France, Paris, between 1495 and 1498
MS M.934 fol. 141r
Morgan Library and Museum

This large sheet of vellum (parchment prepared from animal skin) is 20 ⅞ inches high by 15 ⅔ inches wide and has neumatic (plainsong) notation on a four-line staff with texts in Latin. Chants are written in neumes, which are notes sung on a single syllable.

There is a large Illuminated initial in the lower left-hand corner of second page. (To see how this page and illumination was created, please watch this excellent video, Making Manuscripts, from the Getty Museum.) The reason for the large size of this page was that it was meant to be read by several members of a choir at one time. The expense of creating manuscript books meant that it would be more economical to create one large book for several people to use rather than several smaller books for each person in the choir to hold.

Here is an illustration from a Psalter (A book of Psalms) showing a group of clerics singing from a large book with musical notation, similar in size and format to our manuscript.

Image of manuscript fragmentIdentifying the Texts:
Professors Robert Chenault and Ortwin Knorr of Willamette University’s Department of Classical Studies identified the texts found on these two pages.

This first page (or recto page) contains the following words and word fragments:
…tis eius; laudate eum in firmamen-

And the second page (or verso page) contains the rest of the phrase:
to virtutis eius.

These phrases combine to form the end of this Bible Verse:
Alleluia. Laudate Dominum in sanctis eius; laudate eum in firmamento virtutis eius.

 

 

Image of manuscript fragmentPsalm 150, Verse 1 (King James Version) Praise ye the Lord. Praise God in his sanctuary: praise him in the firmament of his power.

At the bottom of the second (verso) page, they identified the words: Anima no- which Dr. Richard Robbins (University of Minnesota-Duluth) identified as belonging to this verse:

Anima nostra sicut passer erepta est de laqueo venantium; laqueus contritus est, et nos liberati
sumus.

Psalm 123, Verse 7 (King James Version) Our soul is escaped as a bird out of the snare of the fowlers: the snare is broken, and we are escaped.

The two texts are separated by a red abbreviation of the word Offertory.

Identifying the Music
Professor Hector Aguëro of the Music Department at Willamette University shared images of our manuscript with his colleague Professor Richard Robbins, Director of Choral Activities at the University of Minnesota-Duluth and a scholar of choral music, especially Italian sacred music of the early Baroque.

Dr. Robbins identified our manuscript as possibly being part of a Gradual, which is a book containing chants used in the Catholic Mass throughout the year. Robbins identified the first text and melody as the end of an alleluia verse, specifically Laudate Deum (mode IV). The second melody is an offertory on the text Anima Nostra (mode II).

Both of these chants can be found in the Liber Usualis, a book of commonly used Gregorian chants in the Catholic tradition.

Image of Alleluia Chant

The notation on the library’s manuscript starts at the red line in the Alleluia above, and it ends at the red line in the Offertory Anima No|stra below.

Image of Anima Nostra Chant

You can hear a performance and follow the texts of both chants here:

Alleluia, Laudate Deum
Offertory: Anima Nostra

The text of our missal differs from that of the Liber Usualis because of its early date. It was likely written in the 15th century, and, as Dr. Robbin explains, that means it was written before the Council of Trent (1545–63) codified the Catholic Mass and the order of the chants. There was a great deal of variety in Missals before the Council of Trent, so one cannot be sure when these melodies were used during the liturgical year. However, according to Dr. Robbins, these tunes match the tunes that appear in the Holy Innocents / Epiphanytide sections in post-Trent missals.

Ornate illuminated letter D shows Jesus riding Donkey colt

Dr. Robbins also pointed out that the illuminated letter A is ornate, which would have also been more appropriate for a Christmas use. The fancy illuminated letter A is probably also the reason we only have just one sheet from this gradual. These pages could contain ornate decorations and for this reason, they were frequently removed from graduals and treated as single artworks. Here you can see similar gradual pages from the Metropolitan Museum of Art. And this page shows the entry of Jesus into Jerusalem on Palm Sunday, all within the large initial D.

Teaching with a 15th Century Manuscript
The best thing about discovering this “new” manuscript in the vault was being able to share it with the students and faculty of Willamette University. In September 2019, as part of his Music History I course, Professor Aguëro had his Music History students transcribe the music written on the library’s Chant manuscript. Here you can see them displaying their work. It was such a delight to have students work with a manuscript from the library’s Rare Books Collection.

Image of Professor Professor Aguëro and his Music History I class

From left to right: Ethan Frank, Matt Elcombe, Professor Aguëro, Sam Strawbridge, Kate Grobey, and Sophie Gourlay

Acknowledgments

Many thanks to Professors Robert Chenault and Ortwin Knorr of the Department of Classical Studies and Professor Hector Aguëro of the Department of Music at Willamette University, and especially to Professor Richard Robbins, Director of Choral Activities at the University of Minnesota-Duluth. Their combined scholarship helped us explicate the text and illuminate the value and beauty of this seasonal manuscript.

 

Bibliography

Abbey of Solesmes. The Liber Usualis 1961. Internet Archive, http://archive.org/details/TheLiberUsualis1961. Accessed 27 Nov. 2019.

Anima Nostra Sicut Passer Erepta Est. YouTube, https://www.youtube.com/watch?v=2UrXb2QUSsI. Accessed 27 Nov. 2019.

“Bartolomeo Di Domenico Di Guido | Manuscript Leaf with Entry into Jerusalem on Palm Sunday in an Initial D, from a Gradual | Italian | The Met.” The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/469046. Accessed 27 Nov. 2019.

Chant Manuscript, ca. 15th Century. https://libmedia.willamette.edu/commons/item/id/163. Accessed 27 Nov. 2019.

Council of Trent. Sacrosancti et œcumenici Concillii Tridentini Pavlo III, Ivlio III, et Pio IV, PP. MM. celebrati canones et decreta. Apud Cornab Egmond et Socios, 1644.

“Council of Trent | Definition, Summary, Significance, Results, & Facts.” Encyclopedia Britannicahttps://www.britannica.com/event/Council-of-Trent. Accessed 27 Nov. 2019.

Gregorian Chant Notation. http://www.lphrc.org/Chant. Accessed 27 Nov. 2019.

Laudate Deum – Gregorian Chant, Catholic Hymns. YouTube, https://www.youtube.com/watch?v=kaVnBFhiwqU. Accessed 27 Nov. 2019.

Making Manuscripts. YouTube, https://www.youtube.com/watch?v=nuNfdHNTv9o&feature=youtu.be. Accessed 27 Nov. 2019.

Psalter, MS M.934 Fol. 141r – Images from Medieval and Renaissance Manuscripts – The Morgan
Library & Museum. http://ica.themorgan.org/manuscript/page/120/77003. Accessed 27 Nov. 2019

Robbins, Richard. “Re: Newly discovered 15th c. Chant manuscript.” Received by Hector Aguero, 22 Aug. 2019.


It’s a Winter Wonderland at the WU Archives

By Jenny Gehringer, Rosie Yanosko, and Stephanie Milne-Lane
Willamette University Archives and Special Collections

‘Tis the Season to share some wintery materials from the Willamette Archives and Special Collections! Our collections include many unique and fun materials that reflect a variety of winter and holiday traditions. The Archives crew have prepared three images to warm your hearts during these chilly days and long nights!

Blue Christmas invitation Holiday parties are a fantastic way to celebrate this chilly season – and an invitation to a Tom Cramer Christmas party is a coveted item! Tom Cramer, a nationally known Oregon artist, is famous not only for his beautiful paintings and wood carvings but also for his epic parties. The Tom Cramer papers include several of his Christmas party invitations, each designed and drawn by Cramer. This collection is part of the Pacific Northwest Artists Archive and is open for research.

Polar bear water Does the arrival of December have you yearning for snow? Or perhaps you’re looking for some winter fashion inspiration? The Chuck Williams Collection, which will be open for research in early 2020, has you covered on both fronts. Williams’ extensive research materials on national parks and environmental issues offer a wealth of images and information to get you through the winter months.

Star trees with lights While the beloved Star Trees on Willamette’s campus brings joy to students, staff, faculty, and Salem citizens all year long, during the holiday season they seem to shine even brighter — both literally and figuratively. Planted in 1942 to commemorate Willamette’s centennial year, the Star Trees (five Sequoiadendron giganteums) twinkle during the month of December when they are strung with lights. This photograph from December 7, 1997, captures the Start Tree Lighting Ceremony festivities. This year the Star Tree Lighting & Holiday Celebration ceremony takes place on Wednesday, December 4th. Be sure to join the fun!


Digital materials available in PNAA finding aids

By Jenny Gehringer
PNAA Processing Archivist

Claudia Cave sketchbook black ink drawing. Collections of artists’ papers from the Pacific Northwest Artists Archive (PNAA) are currently being processed thanks to the National Historical Publications and Records Commission (NHPRC) grant Willamette University received to increase accessibility to this amazing and unique archive. Part of this processing grant includes an initiative to digitize a selection of materials from each collection that represents the artist’s papers and his or her works. Digitization helps preserve inherently unstable media, such as photographic slides, and increases access to the PNAA collections by making portions of these materials available online.

Over the summer, Madolyn Kelm, our fantastic student assistant, digitized a variety of materials from eight PNAA collections including sketchbooks, correspondence, slides, a diary, publications, and photographs. Sara Amato, our Digital Asset Management Librarian, organized and curated the metadata collected by Madolyn into digital exhibitions that are now accessible in the following finding aids: Claudia Cave papers, Nicholsloy Studio collection, Tom Cramer papers, Nelson and Olive Sandgren papers, Judith and Jan Zach papers, Henk Pander papers, Stella Douglas papers, and Tom Hardy papers.

The Willamette University Archives and Special Collections is excited to share the PNAA digitization efforts with all library patrons and researchers. Throughout the fall and spring semesters, students will continue to digitize selected materials from the eight remaining PNAA collections. Don’t forget to check the Archives Blog for updates on our PNAA digitization project!


It’s American Archives Month!

By Jenny Gehringer, Stephanie Milne-Lane, and Rosie Yanosko
Willamette University Archives and Special Collections

October is American Archives Month! The Willamette University (WU) Archives and Special Collections is celebrating by sharing what our archivists are currently working on through our blog and the Mark O. Hatfield Library Instagram, Twitter, and Facebook pages. We invite you to learn more about our collections and how we provide equitable access to historical documents and materials!

stuffed bearcat sitting at desk The WU Archives and Special Collections collects, preserves, and makes available WU records of enduring value and primary source materials focusing on the Pacific Northwest. We have four main collections categories: University Archives and Records, Political Papers, Personal Papers, and the Pacific Northwest Artists Archive (PNAA). We currently have three archivists on staff who are processing collections and providing reference services for our campus and public communities.

Stephanie Milne-Lane is the Processing Archivist and Records Manager for our Archives. She provides reference services for all collections in our repository, assists University departments concerning records management, provides educational opportunities to students, and processes University, political, and personal records. In addition to her varied responsibilities, she is currently processing the Rex Amos papers, which is part of the PNAA.

Jenny Gehringer is the Processing Archivist for the Pacific Northwest Artists Archive (PNAA). The PNAA is a collaborative project of the WU Archives and Special Collections and the Hallie Ford Museum of Art and includes materials related to the careers of artists who are or were active in Oregon and Washington for most of their careers. Jenny is tasked with processing 16 PNAA collections during her 18-month tenure and is currently assessing and processing the Rick Bartow papers. Her most recently completed collection is the Betty LaDuke papers.

desk with papers on it Rosie Yanosko is the Processing Archivist for the Chuck Williams Collections. Williams was an environmental activist and professional photographer who was of Cascade Chinook descent and a member of the Grand Ronde Tribe. His activist papers are housed here in the WU Archives, while his photographs are housed at the Oregon State University Special Collections and Archives Research Center. During her 12-month tenure, which is funded through the Library Services and Technology Act (LSTA) Competitive Grant Willamette University received, Rosie is appraising, processing, and developing finding aids for these collections. She is also planning a panel discussion which will highlight Williams’ legacy as an environmental activist.

Please check out our blog and the Mark O. Hatfield Library’s Instagram, Twitter, and Facebook pages throughout October for more information, photographs, and fun facts!


Changes in the Archives

The University Archives, located in the Mark O. Hatfield Library, has had an eventful summer. First, we have a number of personnel updates to share. Mary McRobinson is leaving Willamette after 13 years as University Archivist to pursue an exciting new opportunity at Oregon’s State Archives. In a very real sense, Mary built the Archives program from scratch. Her contributions include maintaining Willamette’s history, building notable collections centered around political and artists’ papers, and ensuring that these collections have a significant impact on teaching and learning at Willamette. The library staff and Willamette will miss Mary terribly, but we have no doubt she will have great success in her new job. Mary is leaving at the end of the summer and we anticipate a national search for a new University Archivist in the fall.

We are pleased to announce some additions to the Archives team.

Stephanie Milne-Lane Image

Stephanie Milne-Lane

Stephanie Milne-Lane joined us this summer in our Processing Archivist and Records Manager position. Stephanie has deep educational and family ties to the Northwest and most recently worked as Archivist for the City of Boise. She is off to a great start and we look forward to her many great contributions to the program in the future. We also welcomed Rosie Yanosko to Willamette.

Rosie Yanosko Image

Rosie Yanosko

Rosie, who joins us most recently from the Oregon Health and Science University Library, is working on a grant-funded (joint LSTA grant with OSU) project to process the papers and slides of Native American artist and activist Chuck Williams.

Jenny Gehringer Image

Jenny Gehringer

Jenny Gehringer, who joined us during the 18-19 academic year, remains with us courtesy of an NHPRC grant; Jenny is processing the collections of the Pacific Northwest Artists Archive.

You can catch up on her progress by accessing the Archives blog.

Finally, while still dedicated to the memory of former Governor and Senator Mark O. Hatfield, the Hatfield Room has been repurposed as the Archives’ reading room. With new furnishings, space will allow the archives to accommodate researchers and hold sessions for Willamette classes in comfort while ensuring the security of our collections.

Hatfield Room Image

Updated Hatfield Room

This shift has allowed the University Archives to dedicate the former reading room space to a much more efficient area for processing our physical collections. These changes will ultimately lead to enhanced access for our users.

When you have a chance, stop by and meet our new archives staff and check out the new reading room!