CLIR Grant: Week Three

This last week of packing tear sheets for the CLIR Grant has been a busy one. Thankfully we had a lot of help and were able to pack five pallets of tear sheets from the Walt Reed Illustration Archive. Below are some of the highlights from this final week of packing.

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We had to pull in extra tables in the reading room to accommodate all the staff volunteers.

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Barry and Tyler helped with the sorting, foldering and packing of several illustrator files.

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Irene, Yini and Joy (not pictured) also helped with organizing the tear sheets.

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Ellen Pyle’s folder contained some very eye catching illustrations for the Saturday Evening Post.

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Coles Phillips created illustrations for a number of magazine cover in addition to numerous advertisements. Phillips is known for his use of the fade away technique, pictured in the third photo, where foreground and background fade into the same plane.

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Illustrator J. Pignone’s file contained depictions of futuristic machines.

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Alexis encountered several colorful Life Magazine illustrations in the Garrett Price file.

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Maxfield Parrish and his unique style was discovered during the sorting process.

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Revere F. Wistehuff illustrations circa 1930.

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Sarah sorted the R. Amstel file and uncovered this illustration.

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The illustrations in the Penrhyn Stanlaws file were in excellent condition; the color was very striking and vibrant.

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A fashionable illustration by McClelland Barclay.

Moving Forward

The five pallets will be picked up Monday morning and will be shipped to Atlanta for digitization. The tear sheets will not return to MGHL for two years during the process, but we will start receiving the digitized files on hard drives this spring.

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Now that the sorting and packing is complete, we are starting the process of recording box and folder inventory of the illustrator files sent off for digitization. Before the digital files start arriving in April, we will be working hard on establishing the workflow for storing, uploading, and coding the newly digitized files.

About the author

Andrea Degener is the Visual Materials Processing Archivist in the department of Special Collections at Washington University Libraries.