Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-1998. Archives of American Art, Smithsonian Institution.
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.
Scope and Content Note:
The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).
The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.
Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.
Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.
Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.
Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.
Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.
The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.
To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."
The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.
Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.
The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.
The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.
Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)
Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)
Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)
Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)
Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)
Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)
Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)
Cuban born independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.
Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.
Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.
1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.
1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.
1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.
1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.
1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.
1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.
1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.
1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.
1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.
1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.
1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.
1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.
1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.
1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.
1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.
1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.
1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.
1995 -- Dies at the age of forty of AIDS related complications.
Papers of Giulio V. Blanc, 1930-1982, are also located at the University of Miami Archival Collections.
Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Alan Harwood is a Professor Emeritus at University of Massachusetts, Boston in the Anthropology Department. Trained in social anthropology he has studied illness and healing in Tanzania and communities in New York City and Boston. Harwood was the founding editor of Medical Anthropology Quarterly (new series, 1986-1991) and series editor of Cambridge Studies in Medical Anthropology (1999-2004) The bulk of this collection is composed of Alan Harwood's 1962-1964 ethnographic research among the Safwa in Tanzania (then known as Tanganyika); his research on health beliefs and medical practices of residents in a low-income area of the Bronx, New York (1967-1970); and his research in Boston, Massachusetts on different ethnic groups' conceptions of health (1994-1995). Also among his papers are materials from his involvement in the Centers for Disease Control and American Anthropological Association (AAA) Workgroup on "The Use of Race & Ethnicity as Scientific Categories" at the 1994 AAA meeting.
Scope and Contents:
The bulk of the collection is composed of Alan Harwood's ethnographic research among the Safwa in Tanzania (then known as Tanganyika); his research on health beliefs and medical practices of residents in a low-income area of the Bronx, New York; and his research in Boston, Massachusetts on different ethnic groups' conceptions of health. The few photographs in the collection are aerial views of Isyesye, where he conducted his Safwa research, and images from Utengule taken by White Fathers and dating from the 1940s. The collection also contains Harwood's linguistic recordings of Kimalila and of Kisafwa and Kinyiha spoken in various dialects. In addition, the collection contains sound recordings of Safwa ceremonies and an audio letter from Harold Conklin, Mario Bick, Georgeda Buchbinder Bick, and Michiko Takaki. Also among his papers are his correspondence as the editor of Medical Anthropology Quarterly and of Ethnicity and Medical Care; materials from his involvement in the Centers for Disease Control and American Anthropological Association (AAA) Workgroup on "The Use of Race & Ethnicity as Scientific Categories" at the 1994 AAA meeting; and letters of recommendation (restricted until 2056) that Harwood wrote for students and colleagues. In addition, the collection contains Harwood's course notes as an undergraduate student at Harvard and as a graduate student at University of Michigan and Columbia University. The collection also contains Harwood's research notes on North Luzon as Conklin's student research assistant at Columbia University. Harwood's correspondence is spread throughout the collection and filed by project. Among his notable correspondents are Harold Conklin and Joseph Greenberg. Their letters can be found with the Safwa materials.
Arranged into 8 series: (1) Safwa Research, 1961-1970; (2) Bronx Research, 1957-1986; (3) Boston Research, 1993-1996; (4) Professional Activities, 1975-2001; (5) Student Files, 1953-1962; (6) Microfilm; (7) Photographs, circa 1940s & 1963; (8) Sound Recordings, 1962-1964
Alan Harwood was born on March 20, 1935 in Tarrytown, New York. He earned his undergraduate degree, magna cum laude, in Social Relations from Harvard University in 1957 and attended the London School of Economics on a one year fellowship the following year. When he returned to the United States, he began his graduate studies in anthropology at the University of Michigan, earning his M.A. in 1960. He went on to Columbia University for his doctorate, which he was awarded in 1967.
Under a pre-doctoral fellowship funded by the Social Science Research Council, Harwood conducted ethnographic research on the Safwa of the southwestern region of Tanganyika (now known as Tanzania). From September 1962 to 1964, Harwood carried out his research mainly in the village of Isyesye, near Mbeya, Southern Highlands Region. At the time, witchcraft accusations were common, and it thus became the subject of his dissertation, Witchcraft, Sorcery, and Social Categories among the Safwa, later published in 1970.
In 1967, Harwood was hired by the Dr. Martin Luther King, Jr. Health Center (formerly called the Neighborhood Medical Care Demonstration) in Bronx, New York. From 1967 to 1970, he directed a study on the health, illness, and medical beliefs and practices of residents in a low-income area of the south Bronx. One of the articles produced from this research was Harwood's "The Hot-Cold Theory of Disease: Implications for Treatment of Puerto Rican Patients" (1971). Harwood also looked at spiritism among the Puerto Rican community, which led to his publication, Rx: Spiritist as Needed: A Study of a Puerto Rican Community Mental Health Resource (1977).
From 1994 to 1995, Harwood was the co-principal investigator of a study conducted under the Tufts New England Medical Center on conceptions of health and well-being among 4 ethnic groups in Boston: African Americans, Mandarin-speaking Chinese Americans, Irish Americans, and Puerto Ricans. Harwood led the group studying Irish Americans.
In addition to his research, Harwood was the founding editor of Medical Anthropology Quarterly (new series, 1986-1991) and series editor of Cambridge Studies in Medical Anthropology (1999-2004) and of Studies in Medical Anthropology (2004-2006). He also edited Ethnicity and Medical Care (1981), a book geared towards health professionals.
In 1971, Harwood spent a year in New Zealand as a visiting senior lecturer at the University of Auckland. From 1972 to 2002, he was a professor of Anthropology at the University of Massachusetts, Boston. During his tenure, he also served as adjunct professor in the Department of Psychology (1993-2002) and as associate dean for Undergraduate Education, College of Arts and Sciences (1998-2001). In addition, he was a lecturer in the Department of Social Medicine at Harvard Medical School (1992-present).
In 1982, Harwood was honored with the Wellcome Medal of the Royal Anthropological Institute of Great Britain and Ireland for Research in Anthropology as Applied to Medical Problems. He is also a Fellow of the American Anthropological Association and of the Society for Applied Anthropology.
Materials that identify the participants in Harwood's Bronx and Boston studies are restricted until 2056.
Smithsonian Institution. Anacostia Community Museum Search this
2 Video recordings (AV000962, AV003327, open reel, 1 inch)
1 Video recording (AV002642, VHS)
3 Sound recordings (AV002679, AV003345, AV003421, open reel, 1/4 inch)
1 Sound recording (AV003336, cartridge, 1/4 inch)
Scope and Contents:
This short documentary provides an overview of the development of church music alongside the growth of African American churches in the eastern United States from the arrival of black Africans in Jamestown in 1619 through 1877 and the Reconstruction era. The evolution of church music within African American churches included the formation of music programs and performances, hymnals, choirs, negro spirituals, and music education as well as the addition of organs to accompany the singing of psalms, hymns, and anthems. During the Great Awakening of the 1730s and 1740s, the Christianization of slaves and Africanization of Protestant hymns swept through the American colonies. European Christianity and the emotionalism of the African homeland were combined during the Second Awakening, which began in the late eighteenth century and lasted until the middle of the nineteenth century. The history of church music created by urban and rural congregations within New England and Southern states is explored.
Short documentary. Part of Climbing Jacob's Ladder Audiovisual Records. Complete production: AV000962, AV003327. Production elements: AV002679 [narration], AV003345 [outtakes - sound], AV003421 [music], AV003336 [music]. AV003421: 6 songs including We Are Climbing Jacob's Ladder [also known as Jacob's Ladder] and Battle Hymn of the Republic [also known as Glory! Glory! Hallelujah!]. AV003336: 2 recordings of We Are Climbing Jacob's Ladder. Dated 19940923 [AV000962]. Undated [all other recordings].
Biographical / Historical:
Church Songs of Black Americans 1740 - 1877 was created alongside the Climbing Jacob's Ladder: The Rise of Black Churches in Eastern American Cities, 1740 - 1877 exhibition which explored the growth and central role of African American churches during the 18th- and 19th-centuries in the eastern United States: Boston, Savannah, New York, Philadelphia, Baltimore, Washington, and Richmond. The exhibition was organized by the Anacostia Museum and held there from October 1987 to October 1988.
Title transcribed from opening credits of video recording.
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at ACMarchives@si.edu.
1 Negatives (photographic) (glass, black-and-white, 6.5 x 8.5 in.)
See also AAG Image #MCF001249. Professor Frank A. Waugh established the Department of Landscape Architecture at the Massachusetts Agricultural College (now the University of Massachusetts at Amherst). It is not clear whether the plan relates to part of the university or some other location. A collection of Waugh's papers are included in the archives at the UMass Amherst Libraries.
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