We are excited to announce the donation of a full run of books and ephemera from No Reply Press, a distinctive private press founded by Griffin Gonzales, operating out of Portland, Oregon. This collection offers a truly unique addition to our stacks, and we are thrilled to share.

No Reply Press is known for its dedication to the art of bookmaking, utilizing centuries-old techniques to create books that are more than just reading material—they are works of craftsmanship. Each title in the collection is printed letterpress on a hand-operated machine, a process that ensures every page is imbued with the character and tradition of print history. These books are then bound by hand, with nothing in the workshop relying on electricity or modern machinery. As a result, every book you hold is not just a product of words, but an object made entirely by human hands.

This labor-intensive process may take hours of work, but the result is nothing short of extraordinary. No Reply Press books have a distinct soul to them, the product of years of hard-won craftsmanship and a deep passion for the printed word. Whether you are an admirer of fine press books or someone who appreciates the beauty of traditional crafts, this collection offers a rare opportunity to experience the tactile, aesthetic joy of books made with such care and skill.

From Enūma eliš (an abridged text of the Babylonian creation epic printed in Akkadian (cuneiform) and English) to Sagoyewatha’s address to Jacob Cram, the No Reply collection is as eclectic as it is beautiful and offers patrons the opportunity to reflect on content as well as craft. Check out all the holdings here.

We are incredibly grateful to Griffin Gonzales and No Replyfor their generous donation and are excited to make this stunning collection available to students and the wider public.

Thank you once again to No Reply Press for this incredible gift!

This year the Jordan Schnitzer Museum of Art, Native American Student Union (NASU), UO Libraries/Special Collections, and artist Steph Littlebird came together to honor Indigenous Peoples’ Day.  The day was full of diverse and unique offerings, from a campus art walk celebrating Indigenous art and Steph Littlebird’s recent campus installations, to a “landback through art making” event, and ending with an exhibition and reception in Special Collections & University Archives curated by student and NASU co-director, Marisol Peters.

 

The genesis for the partnership started with the inaugural Museum of Natural and Cultural History’s visiting Indigenous artist program, of which Steph Littlebird (Kalapuyan/Grand Ronde) was the first recipient. Emily Hartlerode of the Oregon Folklife Network and Lauren Willis of MNCH, who both helped spearhead the program, reached out to staff at the JSMA and SCUA to consider ways to expand the impact of the residency through strategic campus partnerships.  This resulted in commissioned work by Steph Littlebird from the JSMA, MNCH, and Knight Library.

The project expanded when former Design Librarian, Morning Star Padilla, was able to procure a Thomas Internship for student Marisol Peters (Karuk).  When Morning Star left the library in June of 2024, Marisol transferred to Special Collections and mentored with curator Danielle Mericle on creating her own exhibition to be held in Special Collections in 2024/2025.  The resulting exhibition, The Land We Have Always Known, explores the intersections of land, art, culture, and Indigenous histories, and will be on view through spring of 2025. The exhibition invites the audience to cultivate a deeper relationship with the place where they live, regardless of cultural heritage, and to learn to listen to our more-than-human relatives and engage the profound teachings of the people who have lived here for thousands of years.  

The day’s festivities began with the campus art walk led by Steph Littlebird and JSMA McCosh Curator Danielle Knapp.  Site visits included JSMA, Design Library, MNCH, the Ford Alumni Center and the Many Nations Long House. After the tour, SCUA hosted an art event wherein participants could activate the landback movement through drawing over colonial maps.  Inspired by the work of the Raven Gallery’s Homeland Collection, students, staff, and visitors took time to remap their connection to the land through art.

The day concluded with an exhibition reception and story telling event with NASU co-chairs Tiera Garrety and Marisol Peters. Peters spoke about her curatorial experience and Garrety told a creation story from her home tribe, the Chehalis People of the Sands, located in central-western Washington.

It was amazing opportunity to work together in community to celebrate our shared dreams for a better world.  We are learning how to de-silo our institutional corners and hope to do similar programming going forward.  Be sure to notice the new Steph Littlebird land acknowledgement banners on the facade and lobby of JSMA, as well as the new Littlebird banners at MNCH.  Come by Special Collections to see The Land We Have Always Known exhibition and Steph’s work on permanent display in our SCUA classroom, and pick up a free coloring book featuring Steph Littlebird’s work.

CREDITS & THANKS:

This event was co-sponsored by JSMA, SCUA, and the Library Diversity Committee. Special thanks to Debbie Williamson and Danielle Knapp for their collaborative spirit.
Thanks to Emily Hartlerode and Lauren Willis (MNCH) for bringing us all together. 

Within the libraries, much appreciation to Emily Moore, Kate Conley, and Mandi Garcia for their work on event planning, outreach and promotion, and Victoria Wong and her student Alaina Kucera for their amazing exhibition preparation and framing. 

Steph Littlebird Knight Library commissions supported by Library Administration.

UO Print services graciously printed our coloring book and a large portion of the exhibition labels in short order. 

Special thanks to Marisol Peters and Tiera Garrety for their amazing contributions, and of course to Steph Littlebird for all her incredible work.

 

“We don’t call a tree a resource. We don’t call the fish a resource. We don’t call the bison a resource. We call them our relatives.”   Onondaga Chief Oren Lyons, UN Summit, 1992

Join Special Collections and University Archives (SCUA) on October 14th, 2024 to celebrate Indigenous Peoples’ Day.  We will be unveiling new artwork for our SCUA classroom by Steph Littlebird, as well as gathering for the opening of our fall exhibit, The Land We Have Always Known. This exhibit, guest-curated by University of Oregon student Marisol Peters (class of 2027, Karuk), explores Indigenous land relationships in Oregon and the Pacific Northwest. Working at the intersections between the land, water, culture and history, The Land We Have Always Known asks us to re-evaluate our beliefs about our more-than-human relatives and consider ways in which we can heal our world by changing the way we relate to the land.  Featured artists include Zig Jackson, Pamela Peters, Joe Whittle, and Julia Arriola, among others.

Our Indigenous Peoples’ Day celebration begins at 1pm with a campus art walk with Steph Littlebird and JSMA curator, Danielle Knapp, and culminates in a catered reception, held in the Special Collections Paulson Reading Room.

1 to 2:30 p.m. Campus Art Walk
Tour begins in the front of the Knight Library (1501 Kincaid Street)

Join featured artist Steph Littlebird (Grand Ronde) and JSMA McCosh Curator Danielle Knapp, for an Art Walk of the UO Campus, highlighting new installations of works by Littlebird at the Knight Library, Museum of Natural and Cultural History, Design Library, and JSMA, and additional public art and architectural points of interest. Please dress for the weather and wear comfortable walking shoes for an hour-and-a-half- long, two-mile walk.

2:30 to 4 p.m. New Cartographies Draw-In
Ken Kesey Classroom (room 201n), Knight Library (1501 Kincaid Street)

Inspired by the work of the Homeland Collective, we will gather to reconnect to the land through art making and cartography. No art making experience necessary and all supplies will be included.

4 to 6 p.m. The Land We Have Always Known Exhibit Opening & Steph Littlebird SCUA Artwork Celebration
Paulson Reading Room (second floor north), Knight Library (1501 Kincaid Street)

The Land We Have Always Known will be on view in the Paulson Reading Room from October 14 to mid-January 2025. Steph Littlebird’s work will be on permanent display in the Special Collections & University Archives classroom.

This event is co-sponsored by UO Special Collections and University Archives,  the Jordan Schnitzer Museum of Art, and the UO Libraries Diversity Committee.

Credits:
Conservation and exhibition preparation: Victoria Wang and Alaina Kucera
Promotion & outreach:  Kate Conley, Mandi Garcia, & Emily Moore
Event coordination & planning: Danielle Mericle
Steph Littlebird’s artwork commission was supported by Library Executive Team.

The Land We Have Always Known exhibition was made possible by a Thomas Internship, which provided a mentorship opportunity between SCUA Visual Materials Curator Danielle Mericle and Marisol Peters on the curation of an exhibition.

The Special Collections and University Archives (SCUA) archivists have been hard at work, making over 150 linear feet of materials available for researchers this summer.

History and Culture

Our newly processed collections include the James C. Mohr collection of presidential ephemera (Coll 960), which features inauguration initiations, President Harding’s funeral memorabilia, first lady calling cards, and a variety of political cartoons and etchings.

Records from the Gardiner Mill Company (Bx 183), highlight the importance of the

local economy in Gardiner, Oregon. As a prominent retail and trade center on the Oregon coast, the store was pivotal in providing manufactured goods and foodstuffs not otherwise readily available to the local population.

The Fred Lockley papers (CB L812) offer a compelling glimpse into the life and work of Lockley (1871-1958), a renowned newspaper columnist, rare book dealer, and author of notable works on Oregon and Pacific Northwest history. Lockley’s career was as varied as it was adventurous: he worked as a field editor for the Pacific Homestead and traveled extensively across Oregon on horseback.

Literature, Art and Architecture

The Brice P. Disque, Jr. papers (Ax 291) chronicle the career of Disque (1904-1960) in the world of radio and theater. Born in Montana and raised across the U.S. and the Philippines, Disque pursued a career in literary works, journalism, and theater. By 1936, Disque had turned his focus to radio, where he became renowned for his work on Gang Busters, a show that dramatized real crime cases and was notable for its authentic partnership with police departments.

The Suzy McKee Charnas’s papers (Coll 486) delve into the life and work of a prominent science fiction and fantasy author. Born in New York City in 1939, Charnas grew up with a rich cultural background, attending arts high school and later Barnard College and New York University. Her career spanned teaching, Peace Corps service, and significant contributions to science fiction, notably her series The Holdfast Chronicles, which earned her the Gaylactic Spectrum Hall of Fame Award. Charnas’s involvement in feminist science fiction and her extensive network of correspondence reflect her prominent role in the genre.

Similarly, the Vonda N. McIntyre papers (Coll 508) offer a comprehensive look at the life of the celebrated science fiction writer. Born in 1948 in Louisville, Kentucky, and later based in Seattle, McIntyre was known for her contributions to science fiction and feminist literature, including works like Dreamsnake and The Moon and the Sun.

The Barry Holstun Lopez papers (Coll 497) provide insight into the literary career of Lopez (1945-2020), whose work focused on naturalism and environmentalism.

Finally, the Justus F. Krumbein papers (Coll 761) document the architectural legacy of Krumbein, who immigrated from Germany to the United States in 1869. After settling in Portland, Oregon, Krumbein designed several notable buildings, including the Jacob Kamm House and the original Oregon State Capitol.

 

Environment and Social Activism

The WomanSpirit records (Coll 346) offer a vibrant glimpse into a unique feminist and spiritual publication. Founded by Jean and Ruth Mountaingrove, WomanSpirit was published from 1974 to 1984 and produced on their land, RootWorks, near Wolf Creek, Oregon. The magazine explored themes at the intersection of spirituality and feminism, addressing topics such as goddess myths, feminist theory, ecology, and divination.

The Timothy Ingalsbee collection of Earth First! (Coll 731) documents the activism of Ingalsbee, a dedicated wildfire firefighter and environmental advocate from Oregon who collected materials related to Earth First!, a radical environmental group founded in 1980.

The David de Lorenzo Disability Ephemera Collection (Coll 961) encompasses a rich array of materials related to disability, such as broadsides, books, pamphlets, cartoons, illustrations, postcards, buttons, photographs, advertisements, and artifacts.

University Records

The State Association of University of Oregon Women records (UA 198) document the history and administrative workings of a prominent organization dedicated to women affiliated with the University of Oregon. Established to serve women associated with the university, the records span from 1923 to 1970 and include a comprehensive array of documents such as treasurer’s books, Board of Trustees records, minutes, constitutions, financial statements, and event clippings.

The Centennial Planning Council records (UA 087) capture the extensive preparations for the University of Oregon’s Centennial celebrations in 1976, which were notably intertwined with the United States Bicentennial. The planning for the Centennial, which began in the 1960s amidst debates over the correct year to mark, involved a range of committees, including the Bicentennial Commission and the Academic Occasions Committee.

The Women’s Faculty Club records (UA 086) shed light on a pivotal period for women faculty at the University of Oregon. Formed in 1927 by a group of women who sought a formal organization during an era when the male-only Faculty Club excluded them, the Women’s Faculty Club provided a space for social interaction and professional networking. The club, which also encompassed the Newcomers Club to assist new members, played a significant role in the social and professional lives of women faculty, their families, and graduate students through meetings, social gatherings, and interest-based groups.

Visual Collections

The Steph Littlebird Indigenous Resilience and Resistance Collection (PH 409) consists of thirty five prints created by the Portland-based Kalapuyan artist Steph Littlebird. This collection, first exhibited at the University of Oregon’s EMU Gallery in the fall of 2023, captures Littlebird’s powerful exploration of themes central to Indigenous identity and activism.

Photographic Collections

The F.J. Haynes stereographs (PH 194_011) contains fourteen images by Frank Jay Haynes (1853-1921), a photographer known for his role in documenting the early settlement of the western United States, including the Grand Canyon and Yellowstone National Park.

The Jackson Brothers collection (PH 194_012) features ten stereoscopic photographs of Utah landscapes. Founded in 1867 by William Henry Jackson and his brother Edward, the Jackson Brothers company became renowned for its landscape photography.

The E. Schuster stereographs (PH 194_013) includes nine images of the American west, including a notable photograph of San Felipe de Neri in Albuquerque and various scenes from Las Vegas, New Mexico, where Schuster was an active stereo photographer during the 1880s.

The Rosel Schwarzmann photographs (PH 189) document the work of Schwarzmann (1896-1990), a German photographer based in Mainz, Germany, who operated her own studio and acted as the primary documentarian for the Mainz City Theater. The collection includes buildings, statues, and natural scenes in Mainz, Germany.

The Agnes Harris Thornton photographs (PH 027) holds portraits and snapshots of family and friends, including tintypes and carte de visite images. Born and raised in Kings, California, the collection spans from 1870 to 1910.

The Ben Leghorn collection (PH 029) consists of seventy photographs from the 1910s and 1920s, documenting Arlington, Oregon, before and after its relocation due to dam construction. The collection captures river traffic and the aftermath of a town fire, reflecting Leghorn’s work as a local photographer.

Eugene local Jim Newell began his collection (PH 345) in the 1970s. The collection includes eleven 4×5 glass-plate negatives from the 1870s to 1890s that feature scenes from the University of Washington campus, the town of Dawson during a celebration, and various unidentified family members.

The Craig Hickman photograph collection (PH 392), holds images document wooden desktops in classrooms, capturing student artwork and carvings. The collection also includes bound books featuring Hickman’s additional photographic works and artistic representations. Hickman is a retired Professor Emeritus from the University of Oregon and co-founder of the Blue Sky Gallery in Portland.

Larry Smith, a Portland-based photographer active in the 1940s and later decades, is known for his nature and form photography, influenced by his contemporaries Edward Weston and Minor White. His collection (PH 357) consists of black-and-white prints from the 1930s through the 1980s, including portraits of fellow photographers and a selection of nude images.

The Albert A. Reck collection (PH 341) documents the work of Reck (1890-1972), a Portland motorman and amateur photographer. The collection spans from the early 1900s to the 1950s and includes albums filled with snapshots taken throughout his life, including family portraits and travel images.

Finally, the 91st Division U.S. Signal Corps photographs collection (PH 309) documents the “Wild West Division” of the U.S. Army during World War I and World War II. Constituted in 1917, the division fought in major campaigns such as St. Mihiel, Meuse-Argonne, and the Ypres-Lys, playing a significant role in these battles and contributing to the Allied victory in both wars.

None of this work would be possible without the incredible contributions of our hardworking students and fellows including Kaloni Hernandez, Alexa Rose, Lara-Marie Frick, Maya Revell and Maggie Dobson.