The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.
Scope and Content Note:
The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.
Biographical material consists of awards, biographical notes, membership and identification cards, passports, a will, and a sound recording of a 1945 interview with Liebes.
Correspondence is personal with family and friends, and general with friends and colleagues including artists, and fellow weavers and designers. Notable correspondents include Dorr Bothwell, Daren Pierce, Beatrice Wood, and Frank and Olgivanna Lloyd Wright.
Diaries and calendars record Liebes's busy professional and personal life, with notations on daily activities and, beginning in 1952, detailed notes by staff recording activities at the studio on days when Liebes was absent.
Writings by Dorothy Liebes include notes, drafts, and manuscripts of published and unpublished writings, including an autobiography, speeches, and drafts for an unpublished book on weaving.
Subject files contain correspondence, printed material, photographs, and miscellaneous items in varying combinations, and focus heavily on Liebes's consulting work for businesses in the textile industry, including her work with DuPont, Bigelow-Sanford, Goodall, Dow, and others. The files document the importance of her work as a colorist and show how she successfully adapted craft weaving to machine methods. Furthermore, they record how Liebes used her marketing instincts and broad media appeal to rebrand the image of companies such as DuPont from one of chemistry and utility, to one that represented high style and glamor in durable and practical fabrics that were affordable and desirable in home furnishings. Other subject files document organizations, individuals, and topics of interest to Liebes, including files recording her involvement with arts and crafts organizations, her role as director for the Decorative Arts Display at the Golden Gate Exposition in 1939, her work as director of the Red Cross's Arts and Skills workshop, scattered exhibition records, and files on weavers and weaving. Files on Liebes's extensive promotional work for multiple clients are also included here, as are files documenting Liebes's relationship with Relman Morin, such as correspondence and scattered records of Morin's career as a Pullitzer Prize winning journalist.
Financial and legal records are comprised of accounting records from the 1930s-1940s, financial summaries, investment statements, personal and business inventories, personal and business tax returns, and some legal records.
Printed material includes advertisements, articles, and exhibition announcements and catalogs, recording Liebes's career. This material is supplemented by thirty-three bound scrapbooks of printed publicity material, photographs, and documents recording Liebes's career in substantial depth.
Artwork by Dorothy Liebes consists of designs, feather weavings, a small hooked composition, and tapestry samples. Artwork by others includes prints by Dorr Bothwell, designs by Lawrence J. Colwell, and painted sketches of clothing designs by Daren Pierce. Two linear feet of samples consist primarily of textile swatches primarily designed by Dorothy Liebes Studio, Inc.
Photographic material includes professional portraits of Liebes and others, photos of Liebes at events and parties, with staff and other weavers, at work in her studio, and traveling. Of note are a series of pictures taken at Taliesin West with Frank and Olgivanna Wright, Relman Morin, and others. Photographic material also provides examples of Liebes's design work in homes, hotels, offices, and elsewhere, and shows her work pictured in exhibitions and showrooms. Photographs of other subjects include portraits of unidentified women by Man Ray and Consuela Canaga.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, circa 1934-circa 1970 (Box 1, OV 23; 0.28 linear feet)
Series 2: Correspondence, 1922-1973 (Boxes 1-2; 1.5 linear feet)
Series 3: Diaries and Calendars, 1948-1971 (Boxes 2-4; 1.5 linear feet)
Series 4: Writings, 1920-circa 1971 (Boxes 4-5; 1.05 linear feet)
Series 5: Subject Files, circa 1933-1971 (Boxes 5-13, 20, OVs 23, 59; 8.43 linear feet)
Series 6: Financial and Legal Records, circa 1935-1972 (Box 13, 20; 0.6 linear feet)
Series 7: Printed Material, 1897-1971 (Boxes 14, 20-21, OV 38; 1.1 linear feet)
Series 8: Scrapbooks, 1933-1972 (Box 21-22, 24-36; 5 linear feet)
Series 9: Artwork, circa 1920s-circa 1960s (Boxes 14, 22, OVs 23, 39, 42, RD 37; 1.24 linear feet)
Series 10: Samples, circa 1850-1855, circa 1930s-circa 1970 (Boxes 15-16; 2.0 linear feet)
Series 11: Photographic Material, circa 1875, circa 1897-circa 1970 (Boxes 17-19, 36, OVs 38, 40-41; 2.0 linear feet)
Biographical Note:
California and New York weaver, textile designer, and consultant Dorothy Wright Liebes (1899-1972) was known for distinctive textiles featuring bold color combinations and unusual textures achieved through the use of materials such as glass rods, sequins, bamboo, grass, leather, ribbon, wire, and ticker tape. Her work with companies in the synthetic fiber industry to make craft weaving compatible with man-made fabrics and machine looms, produced an innovative and exciting new aesthetic in interior design that was both functional and affordable, and made Liebes a mid-century household name.
Born Dorothy Wright in Santa Rosa, California, Liebes was the daughter of chemistry professor Frederick L. Wright and teacher Bessie Calderwood Wright. She studied art, education, and anthropology at San Jose State Teachers College and the University of California, Berkeley. During her college years, a teacher encouraged her to experiment with weaving and textile design since many of her paintings resembled textiles.
Liebes was a teacher for several years before deciding to pursue a career in textile design. She then studied weaving at Hull House in Chicago and traveled to France, Italy, Guatemala, and Mexico to learn the traditional weaving forms of those cultures. Upon her return to the United States, Liebes opened her first professional studio for weaving and textile design on Powell Street in San Francisco; Dorothy Liebes Design, Inc. was established in 1934, and eventually employed a staff of weavers. Liebes moved her studio to 545 Sutter Street in 1942.
Her first client in the industry was Goodall-Sanford Mills, with whom Liebes worked as a consultant for more than a decade. As her client base expanded, she decided to open a New York studio and maintained both studios until 1948 when she closed her San Francisco operation and relocated to New York City.
Liebes became a color and design consultant to corporations such as DuPont, Dow, and Bigelow-Sanford and tested and promoted newly developed synthetic fibers. She advised textile chemists in the development of fibers that were versatile enough to produce many different textures and worked with engineers and technicians to develop new machines that could reproduce the irregularities of hand-loomed fabrics. Liebes became a sought-after speaker by textile industry and consumer groups, and sometimes taught workshops on color and design.
Liebes's commissions included the United Nations Delegates Dining Room, the Persian Room at the Plaza Hotel and the King of Saudi Arabia's traveling royal throne room. Between 1937 and 1970, Liebes participated in more than thirty solo and group exhibitions at the San Francisco Museum of Art, Museum of Modern Art, de Young Museum, Cranbrook Museum, Detroit Institute of Art, Massachusetts Institute of Technology, Museum of Contemporary Crafts, and other venues. She received prizes and awards from institutions and corporations such as Lord and Taylor, Neiman-Marcus, the Paris Exposition, the American Institute of Decorators, the American Institute of Architects and the Architectural League. She was also awarded the Elsie de Wolfe Award and an honorary degree from Mills College in 1948.
Liebes's other notable activities included her work a director of the Decorative Arts Display for the 1939 San Francisco World's Fair, which she credited with establishing her as an authority in the field, and her work as organizer and director of "Arts and Skills," a Red Cross occupational therapy project that included training in weaving for soldiers injured in World War II. In the 1950s, she worked with the Bureau of Indian Affairs, journeying though the southwest to study Indian schools and weaving techniques.
Liebes was married to businessman Leon Liebes from 1928 until their divorce in 1940 and continued to use the name Liebes for the remainder of her life. In 1948, she married Pulitzer prize winning Associated Press special correspondent Relman "Pat" Morin.
During the last year of her life, Dorothy Liebes was semi-retired due to a heart ailment. She died in New York City on 10 September 1972.
Provenance:
Gift of the Estate of Dorothy Liebes through Relman Morin, 1972, and Ralph Higbee, 1973-1974.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Textile designers -- California -- San Francisco Search this
Textile designers -- New York (State) -- New York Search this
Weavers -- California -- San Francisco Search this
Weavers -- New York (State) -- New York Search this
Art consultants -- New York (State) -- New York Search this
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
Researchers interested in accessing audiovisual recordings in this series must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.
"Photograph taken at Parkersburg [West Virginia plant]. Level filament, mostly whie sold to fishing industry. F.E." writen on the back of photograph.
Local Numbers:
AC0007-0000001.tif (AC Scan)
Restrictions:
Photographs must be handled with gloves unless protected by sleeves. Unrestricted research use on site by appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Massachusetts Institute of Technology, vol. 32, no. 8, July 1930; vol. 63, no. 7, May 1961; and vol. 64, no. 1, November 1961.
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.
H. Irving Crane worked as a chemist for Atlantic Research Associates, Inc. (a division of National Dairy Corporation) from 1933-1940s on the production of several products utilizing casein, a protein found in milk. These products include Aralac (a synthetic fiber), Aracide (a fungicide and moth repellent), spray-dried milk, casein paints, and synthetic rubbers. The H. Irving Crane papers document Crane's work as a chemist at Atlantic Research Associates, Inc. and the development of Aralac and Aracide.
Scope and Contents:
The H. Irving Crane papers illuminate the development of casein products in the 1930s-1940s, particularly a fiber and fungicide. The collection is divided into two series:
Series 1, Atlantic Research Associates, Inc., 1927-1950, consists of material relating to Crane's research and experiments while a chemist at ARA. This series is divided into eight subseries:
Subseries 1, Aralac, 1938-1945, illuminates the development, testing, production, and uses of the casein fiber Aralac. Correspondence, memoranda, notes, and reports document the challenges associated with the initial production, dyeing, and adding of chemical washes to Aralac and the use of Aralac in manufacturing of cloth goods. Correspondence between ARA and customers documents the use of Aralac in carpet, military socks, lace, knitting yarn, and hats. Associated fiber samples from the dyeing process and material relating to the treatment of Aralac with Aracide are also included.
Subseries 2, Aracide, 1935-1945, consists of correspondence, memoranda, notes, and reports relating to the anti-fungal agent. Another ARA employee, Laura Adams, produced several reports on Aracide. Correspondence reflects its testing for use in carpets and an attempt to obtain a patent for the fungicide.
Subseries 3, Other products, 1937-1945, contains materials relating to all the products that Crane worked on, including a spray drying process for milk dehydration and casein paints. There is a small amount of documentation of Aralac and Aracide within this subseries.
Subseries 4, Laboratory notebooks, 1937-1945, documents Crane's daily activities on the projects he worked on. Arranged chronologically, test results, notes, graphs, and experimental procedures are recorded within these notebooks. There are significant gaps in the date range listed above.
Subseries 5, Correspondence, memoranda, and reports, 1937-1948, records activities and communication within ARA. Documents written by Crane relate to his work, but many other reports document projects that Crane was not directly involved with. Two letters from F. C. Atwood, the president of ARA, illuminate occurrences within ARA: the potential drafting of Crane into military service for World War II and the reorganization of the company into NARC.
Subseries 6, Reference materials, 1936-1948, is comprised of scientific resources that Crane utilized and created. He reviewed scientific literature, indexed and summarized chemical abstracts, and compiled bibliographies related to the fields of fiber production, casein usage, and anti-fungal agents.
Subseries 7, Photographs, 1937-1941, illustrates ARA company gatherings, staff, and facilities.
Subseries 8, Printed material, 1927-1950, contains advertisements, catalogs, pamphlets, and brochures for assorted chemicals and laboratory equipment that were available to industrial chemists at the time. ARA-produced products represented include Aralac and the paints Aratone, Aralux, and Casein Deep Colors. Additional periodicals and newsletters received by Crane are also included.
Series 2, Biographical Material, 1936-1947, documents Crane's educational background, insurance needs, banking, and time spent at work.
Fiber samples and oversize material have been separated from the collection for preservation concerns. Items separated are identified by folder.
Arrangement:
The collection is arranged into two series.
Series 1: Atlantic Research Associates, Inc., 1927-1950, undated
Series 2: Biographical Material, 1936-1947, undated
Biographical / Historical:
Horace Irving Crane (1912-1984) was born on May 12, 1912. In 1929, he enrolled at the Massachusetts Institute of Technology (MIT) where he earned an undergraduate degree in Chemistry in 1933 and a Ph.D. in Chemistry in 1936.
In 1933, Crane began working at Atlantic Research Associates, Inc. (ARA) in Newtonville, Massachusetts as a chemist. ARA was a division of National Dairy Products Corporation, which was later absorbed by Kraft Foods. ARA specialized in the development of products from casein, a protein found in milk. ARA had manufactured casein-based paints since 1927 and continued to produce other casein products such as glues, plastics, films, and paper coatings. Most of these products were given a name beginning with the prefix "Ara-" taken from the company's name.
Crane and other chemists at ARA began research into the production of a casein fiber in 1937. Aralac was first manufactured at a plant in Bristol, Rhode Island. Patents were granted to the president of ARA, Francis Clarke Atwood, for Aralac ("Method of Making Proteinaceous Fibers" US Patent #2,342,994 and "Method of Treating Fibrous Material and Product Resulting Therefrom" US Patent #2,342,634). In 1941, production moved to a larger plant in Taftville, Connecticut. The production of the fiber was as follows:
First the pH value of the milk was lowered using acid. The protein reached its minimum solubility, and with swelling was precipitated out of the milk as curd. This curd was the raw material for the production of Aralac. The casein (curd) was collected in small creameries as well as large ones. One hundred pounds of milk produced 3.7 pounds of casein, which in turn produced 3.7 pounds of fiber. After the casein arrived at the plant, it was carefully blended with casein from other producers and dissolved in water with proper solvents. Adjustments were made to the viscosity in order to produce a uniform base and ensure the complete removal of foreign materials. The solution became syrup-like and was forced through a spinnerette into a coagulating bath and was carried away. It remained in tow form through a succession of hardening and molecular modifying treatments interspersed at times with washing and drying.
Aralac is in the Azlon class of fibers. Fibers in this class are made from regenerated, naturally-occurring proteins such as milk, corn, soybeans, and peanuts. It was hoped that Aralac would be considered a luxury fiber in direct competition with the best grades of wool. It was introduced just as the United States entered World War II; during the war, Aralac was blended with rayon and acetate for use in civilian dress fabric and in felted hats. It was tested for use in carpet, military socks, lace, and knitting yarn, but was not satisfactory. Due to its low strength and the difficulty in dyeing it, Aralac had a short life. Production of the fiber ended in 1948.
Crane also worked on Aracide, a moth and mildew repellant. Aracide was initially developed as a fungicide for casein paints in 1937, but was also used to prevent moths from infesting Aralac. ARA attempted to obtain a patent for Aracide, but was rejected due to similarities with another patented fungicide.
In addition to Aralac and Aracide, Crane worked on a spray drier to evaporate milk and other assorted ARA projects. In 1945, ARA was reorganized and consolidated into a larger company, National Atlantic Research Corporation.
Following his departure from ARA, Crane worked at Sylvania Electric Products, Clevite Transistor, Computer Controls Corporation, and Honeywell. In 1957, Crane received a patent for methods of treating Germanium in relation to semiconductors (US Patent #2,793,146) while at Sylvania Electric Products.
Crane married his ARA lab technician, Laura Soule, and they raised their children in Massachusetts. He retired in 1977 and died in Vermont on April 7, 1984.
Related Materials:
Materials at the National Museum of American History
The Division of Home and Community Life (now Division of Cultural and Community Life)holds artifacts including a suit made from Aralac (Accession #2006.0096A).
Separated Materials:
Material separated for preservation reasons:
Box 9, Folder 1, Casein fiber --dyeing, undated
Box 9, Folder 2, Aratex, Inc. --Bristol, Rhode Island plant, 1940, undated
Box 9, Folder 3, Aratex, Inc. --Bristol, Rhode Island plant and Aralac --customer contacts, 1941, undated
Box 9, Folder 4, Crane --Memoranda, reports, etc. and Reports --from H. I. Crane & others, 1940, undated
Box 9, Folder 5-6, Reports --from H. I. Crane and others, 1940-1941
Box 10, Folder 1, Oversize papers, 1944
Box 10, Folder 2-4, Reports --from H. I. Crane and others, 1941 and undated
The collection was donated by Irving Crane's son, Andrew Crane, in 2007.
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
