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The Nell Shipman Collection
MSS
81
The Nell Shipman collection documents the life and work of Nell Shipman
(1892-1970), actress, filmmaker, and author.
It contains letters written and received by Nell Shipman; typescripts of
numerous novels, plays, stories, magazine articles, and film proposals that she
wrote; press clippings about her activities; photos; and tape recordings. The
collection was donated to Boise State University by her son, Barry Shipman,
between 1988 and 1993, with additions made by Barry’s widow, Beulah Shipman,
and her daughter, Nina Shipman Bremer, in later years.
Nell Shipman lost most of her early papers when she abandoned Priest
Lake, Idaho in 1924. Consequently,
her early career as an actress and silent filmmaker is not well documented in
this collection. The strength of
the collection lies in its documentation of her life and work after she left
Idaho in 1924. Her correspondence,
in particular, reveals her many attempts to gain financing for proposed film
projects, particularly after 1935, when she met Amerigo Serrao.
Nell Shipman wrote until the very end of her life, and the collection
contains typescripts of more than 100 stories and other works.
Few, if any, of these were ever published; she seems not to have retained
typescripts of her works that appeared in print.
The collection also contains approximately 400 photos of Nell Shipman and
her work. Many of these are stills
from her films; these photos are the only significant body of materials in the
collection dating before 1924.
Nell Shipman wrote many of her letters on acidic paper that is now quite
brittle. Preservation photocopies have been made for research use.
Researchers should also consult the papers of Professor Tom Trusky (MSS
99), for more significant material about Nell Shipman, including copies of
newspaper clippings about her from the 1910s and 1920s that he found in
newspapers in California and the Pacific Northwest.
Boise State University also holds the paper of Nell Shipman’s son,
Barry Shipman (MSS 90). For
copies of Nell Shipman’s published books and videos of her films, consult the
library catalog..
Collection
number: MSS 81
Inclusive dates: 1892-1970
Collection size: ca. 15 ft.
Processed by: Susan Kormylo, 1990-1991, and Alan Virta, 1990-2002
The Nell Shipman collection is divided into
the following series:
This series contains a variety of miscellaneous papers documenting Nell
Shipman’s life and work. They
include her baptismal and death certificates, a list of film and publishing
credits she compiled, press clippings, and her obituaries.
The press clippings are in two forms: loose photocopies in Box 1, Folders
17-28, and originals pasted in her Pressbook (see Box 19). Folders 17-28 also contain clippings not found in the
Pressbook. The clippings in
this series are clippings Nell Shipman saved or collected herself and date
mainly from 1925 to 1938. Another
collection of newspaper clippings about her, compiled by Professor Tom Trusky,
can be found in his papers (MSS 99). The Trusky collection contains older
material, including clippings from the Priest River newspaper in the 1920s.
Folders 11 and 12 in Box 1, called “Keepsakes,” contain papers Nell
Shipman kept in a shoebox, separate from the rest of her files.
Folder 11 contains items from the 1930s relating to her interest in
mysticism and the occult, including letters from her friend Dorothy Yost and her
son Barry Shipman. Folder 12
consists of personal papers, such as a 1925 Christmas card from her Idaho
friend, Belle Angstadt, tributes to Amelia Earhart, drawings by her son Charles
Douglas Ayers and others, and poetry she collected. A typewritten document in Folder 12 entitled “Accompanying
Script: A Thorough, Personal, Descriptive Typewritten Analysis” (1951) is a
500-word psychological/character analysis of a “woman who has been forcibly
developed and matured by work.…” Written
by Nell, about Nell?
Nell Shipman’s commonplace book (Box 18) was a daily planner into which
she pasted a few clippings and made scattered notes.
Among the loose items removed from the book and placed in Box 1, Folder
15 are a poetic eulogy to Amerigo Serrao and a homemade birthday card presented
to her by her production company in 1920. A
photo of the birthday party is print number 1016 in the photo collection.
The accounts and correspondence relating to the Barham-Jevons estates
(Box 1, Folders 34-35) contain information about inheritances from Barham and
Jevons relatives in England. She
seems to have received distributions in 1936 and in 1958.
Barry Shipman recalls that she used her 1936 inheritance to support her
unsuccessful Florida venture with Sir John Brunton. Letters in Folder 35 reveal that she planned to use the 1958
distributions for a Florida venture as well.
Among the other items in this series are her 1929 California drivers
license (Box 1, Folder 5), a mailing envelope (postmarked 1920) with the logo of
Nell Shipman Productions (Folder 33), reminiscences of Charles A. Taylor (with
whom she toured in Alaska, Folder 41), and biographical material about Charles
Austin Ayers, Ernest Shipman, and Amerigo Serrao,
Perhaps the most poignant item in this series is a 1963 letter from the
Motion Picture Relief Fund rejecting her application for a pension (Box 1,
Folder 7). “The major part of
your writing since 1929 has not been used by the studios,” was the brutal but
accurate conclusion of the relief board, disqualifying her from consideration.
Box 1: Biographical and Personal Papers
Folder 1
Obituaries (1970)
Folder 2
Biographical statements and credits
Folder 3
Baptism and death certificates
Folder 4
Passport affidavit (1956)
Folder 5
Cards and licenses
Folder 6
Copyright notices, Miscellaneous
Folder 7
Pension application: Motion Picture Relief Fund (1963)
Folder 8
Social Security papers (1966)
Folder 9
Funeral papers (1970)
Folder 10
Memorial book (1970)
Folder 11 Keepsakes I
Folder 12 Keepsakes II
Folder 13
“Seeds”
Folder 14 Miscellaneous jottings and clippings (1960s)
Folder 15 Commonplace book (1959-1960): Loose items
Folder 16 Note and address book (ca. 1962-1966): Loose items
Folder 17 Press clippings: Motion pictures (1919-1931)
Folder 18 Press clippings: Book reviews and ads (1930-1932)
Folder 19 Press clippings: Visit to Great Britain (1926)
Folder 20 Press clippings: Fort Myers, Florida (1926-1927)
Folder 21 Press clippings: Sarasota, Florida, from Audrey Ayers (1927-1928)
Folder 22 Press clippings: Sarasota, Florida, from Pressbook (1927-1928)
Folder 23 Press clippings: Sarasota pageant (1928)
Folder 24 Press clippings: Tamiami Trail (1928)
Folder 25 Press clippings: Miami, Florida: Are Screen Stars Dumb? (1928)
Folder 26
Press clippings: Virginia (1948)
Folder 27 Press clippings: Lionhead Lodge (1968)
Folder 28 Press clippings: Miscellaneous
Folder 29 Biographical material: Ernest Shipman
Folder 30 Biographical material: Shipman family
Folder 31
Biographical material: Charles H. Austin Ayers
Folder 32 Biographical material: Amerigo Serrao
Folder 33 Nell Shipman Productions: Envelope (1920)
Folder 34 Barham-Jevons estate: Accounts (1925-1936)
Folder 35
Barham-Jevons estate: Correspondence (1956-1958)
Folder 36 Grant application: Eugene F. Saxton Memorial Trust (1963)
Folder 37
Research notes: Anti-Communism
Folder 38 Research notes: Cabazon / The Golden Pass (1967-1968)
Folder 39
Research notes: Cabazon research notebook
(1967-1968)
Folder 40 Research notes: Lola Montez (ca. 1937)
Folder 41
Research notes: Taylor Stock Company – Alaska (1942, 1968)
Folder 42 Poetry, Collected (1930s)
Box 18: Biographical and
Personal Papers
Note pad
Commonplace book (1959-1960) [Union Bank of Switzerland weekly planner, 1958)
Note and address book (ca. 1962-1966) [AFIA daily planner,
1956]
Original envelopes containing Nell Shipman’s letters,
1938, 1941-44, 1949, 1962
(4
packets)
Box 19: Biographical and Personal Papers
Pressbook, 1925-1938 [Photocopy]
Mainly
clippings from Florida and California, and reviews of her books
(Original
pressbook in fragile condition is located in Box 25)
Series
II: General Correspondence
Both business and personal letters are represented in Nell Shipman’s general
correspondence files. Most of the
letters date from either the 1930s or 1960s; very few date from any other time.
Most of the letters from the 1930s are of a business nature; the
correspondents include agents and publishers and they pertain mainly to her
writing projects. The letters from
the 1960s are more varied, a mixture of personal and business. Among the
correspondents in the 1960s are friends whom she enlisted to help in her writing
and promotional projects, relatives, literary agents, and, in the last few years
of her life, silent film buffs who discovered her in Cabazon, California. Letters to and from her children, spanning the dates
1933-1969, are found in Series III.
Among the notable items in the correspondence is
a telegram from Amelia Earhart (1937) asking Nell to telephone her.
Also present are approximately 25 letters between Nell and Earhart’s
husband, George Palmer Putnam, written between 1930 and 1939.
Putnam and Shipman collaborated on several projects (including the novel Hot
Oil), and their letters discuss their work.
(Shipman also discusses her work with Putnam in many letters to Barry
Shipman in Series III.) Another
prominent figure represented by a file of correspondence is literary agent Ann
Watkins, who represented Shipman between 1929 and 1934.
In the miscellaneous business file (Box 3, Folder 34) there is a letter
from Louella Parsons dated 1931 inviting Nell to drop by her office and visit.
The correspondence with Dial Press (mainly with Lincoln MacVeagh and
Grenville Vernon) chronicles the history behind the publication of Shipman’s
books Get the Woman (1930), Abandoned Trails (1932), and Kurly
Kew and the Tree Princess (1930). Letters
from J.K.Gordon Magee and Frank Ibbotson in the Fall of 1931 document their
attempt to see Get the Woman translated to the big screen.
Correspondence with McCall’s Magazine and Good Housekeeping
reveal objections to some of Nell’s story lines.
After serializing Get the Woman (as “M’sieu Sweetheart”) in
1930, McCall’s considered another Shipman story called “The Snow
Mother,” but found part of the story line objectionable.
McCall’s editor Otto Wiese did not mind that the protagonist’s
husband ran a gambling show, “but the fact that he was running women, and sold
his wife into the trade, is quite a little too bald for us.”
Good Housekeeping had similar problems when considering Abandoned
Trails for serialization in 1931. Their
editorial policy would not allow a lead character to “live in sin.”
There is only one original letter in the collection that dates from Nell
Shipman’s silent film career. It
is a letter from James Oliver Curwood dated 1919 in which he calls her decision
to sever her contracts with him the biggest mistake of her life. This letter was presented to Boise State University in 1989
by Mildred Stobie, who discovered it as a child among the ruins of Nell’s
movie camp in north Idaho.
Nell’s various writing and promotional projects between 1935 and 1960,
when she lived with Amerigo Serrao, are best documented in her correspondence
with Barry Shipman (Series III). However,
there is one small file of letters in this series written by Serrao in 1937 in
his unofficial capacity as her agent. This
series also contains quite a few letters Serrao sent to Nell in the last few
months of his life, while he was in New York trying to arrange financing for
another of their unfulfilled projects, and a special file of tributes and
letters of sympathy Nell received after he died in November 1960 (Box 13, Folder
12).
Aside from her children (Series III), the largest files of correspondence
in the 1960s belong to Archibald Stone McColl, a young Army officer Nell
befriended in Washington, D.C.; Georgia Burre McManis, a typist who acted as a
literary agent for her; Vincent Sorey, a composer and concert violinist with
whom she collaborated on several projects; and Thomas Fulbright, a silent film
historian.
During the last few years of her life, Nell Shipman renewed contacts with
old friends and acquaintances from her days in Idaho.
Those represented by letters in this series include Russell Bankson,
Sylvia Gumaer Burwell, Jim Parsons, Lloyd Peters, and Loie Pierson.
Lloyd Peters’ work on Lionhead Lodge (1967), a book about his
youthful experiences working with Nell Shipman at Priest Lake, helped spur Nell
along in the writing of her own autobiography.
In the 1960s Nell also corresponded with a number of film buffs and
historians. Those include Canadians
Hye Bossin and Gordon Sparling and Americans Murray Summers, Roi Uselton, and
Thomas Fulbright. Fulbright became
a frequent correspondent; Nell’s daughter Daphne once suggested that Nell
marry him.
Nell Shipman kept letters about some of her plays, novels, and stories,
in files along with her typescripts rather than in her general correspondence
files. Those letters have been kept
with the typescripts in Series V and VI and are generally filed in folders
labeled Research, Related Material, or Correspondence
Box 2: Correspondence
Folder 1
Atlantic Monthly (1927-1964)
Folder 2
Ayers, Charles H. Austin and mother (1925-1931)
Folder 3
This number not used
Folder 4
Bankson, Russell A.
(1925-1926; 1966-1970)
Folder 5
Barham, Maurice and Lucia (1952-1957)
Folder 6
Bonn, Louis A. (1960-1962)
Folder 7
Bossin, Hye (1963)
Folder 8
Brown, Jesse H. (1955-1967)
Folder 9
Brown, Sam E. (1967-1968)
Folder 10
Brown, William G. (1961)
Folder 11
Burwell, Sylvia Gumaer (1969)
Folder 12
Coombs, Diane McColl Kellogg (1962-1969)
Folder 13
Curwood, James Oliver (1918-1919)
Folder 14
Dial Press (1929-1939)
Folder 15
Dial Press: Lincoln MacVeagh (1929-1933)
Folder 16
Dial Press: Edward J. Vass (1930)
Folder 17
Dial Press: Grenville Vernon (1930-1932)
Folder 18
Diaz, Dick and Pat (1960-1969)
Folder 19
Disney Studios (1961)
Folder 20
Doubleday (1962-1965)
Folder 21
Earhart, Amelia (1937)
Folder 22 Fulbright, Thomas (1968)
Folder 23
Fulbright, Thomas (1969-1970)
Folder 24
Gillin, Don (1960-1964)
Folder 25
Gilmore, Mary (“Scally”) (1963-1964)
Folder 26
Gilmore, William E. (1962)
Folder 27
Good Housekeeping (1930-1931)
Folder 28
Gurney, William John (1967-1968)
Folder 29
Hodgkinson, Frank (1934)
Folder 30
Houghton Mifflin Company (1964)
Folder 31
Hyde, Geoffrey and Sally (1960-1963)
Folder 32
Ibbotson, Frank (1931)
Folder 33
Klausner, Bertha (1969-1970)
Folder 34
Ladies Home Journal (1927-1929, 1959)
Folder 35
Living Screen, Inc. (1962-1966)
Folder 36
Magee, J.K. Gordon (1931)
Folder 37
Martin, William E. (1960-1968)
Folder 38
McCall’s Magazine (1930)
Folder 39
McCall’s Magazine: Otis Wiese (1930)
Folder 40
McColl, Archibald Stone (1961-1969)
Folder 41
McColl, Archibald Stone (undated)
Folder 42
McManis, Georgia Burre (1966-1968)
Box 3: Correspondence
Folder 1
Parsons, Jim (1966)
Folder 2
Peters, Lloyd (1924, 1967-1969)
Folder 3
Pierson, Loie (1966-1968, 1986)
Folder 4
Putnam, George Palmer (1930-1939)
Folder 5
Republic Pictures (1937-1943)
Folder 6
Riesenberg, Felix (1938)
Folder 7
Saturday Evening Post (1928-1933)
Folder 8
Scott, Warren P. and Terry (1967-1968)
Folder 9
Serrao, Amerigo (1960)
Folder 10
Serrao, Amerigo: Correspondence with Robert Lewis, Jr./ H.N. Swanson,
Inc. (1938-1939)
Folder 11
Serrao, Amerigo Miscellaneous: 1937
Folder 12
Serrao, Amerigo: Letters concerning his death (1960-1961)
Folder 13
Shipman, Nina (1955-1968)
Folder 14
Shipman, Noel (1965)
Folder 15
Shipman relatives (1968-1969)
Folder 16
Sorey, Vincent (1961-1968)
Folder 17
Sorey, Vincent
Folder 18
Sparling, Gordon (1966-1969)
Folder 19
Stapler, C.A. (1960-1961)
Folder 20
Story, Ralph (1967)
Folder 21
Summers, Murray P. (1967-1970)
Folder 22
Susskind, David / Talent Associates-Paramount (1963)
Folder 23
Thayer, John E. (1967-1968)
Folder 24
Uselton, Roi A. (1967-1968)
Folder 25
Valentine, Spencer (1934-1936)
Folder 26
Variety: Abel Green (1963)
Folder 27
Von der Au, C.L. (1968)
Folder 28
Walker, Joseph (1962-1963)
Folder 29
Ward, John (1961-1962)
Folder 30
Watkins, Ann (1929-1933, 1962)
Folder 31
Williams, Annie Laurie (1964-1965)
Folder 32
Wolfe, Harlen W. (1969)
Folder 33
Yost, Dorothy (1933)
Folder 34
Miscellaneous business correspondence (1929-1967)
Folder 35
Miscellaneous personal correspondence (1928-1970)
Folder 36
Sympathy letters (1970)
Series
III: Correspondence with Barry Shipman and
Charles and Daphne Ayers
This series contains letters exchanged between Nell Shipman and her
children, Barry Shipman, Charles Douglas Ayers, and Daphne Ayers Feldman, from
1933 to 1969. Because so many of
the letters were written on paper that is now very brittle, researchers are
asked to consult photocopies, which have been arranged in chronological order
and placed in eight notebooks.
By far the largest body of correspondence is between Nell Shipman and her
oldest son, Barry Shipman (1912-1984). The
earliest surviving letters between them date from 1933, when Barry lived in the
mountains at Big Bear, California. Nell
at that time still lived in California, too, but she soon left for New York,
where she went to work as a writer and story developer for George Palmer Putnam,
who recently had become head of Paramount Pictures’ editorial board.
Some of Nell’s and Barry’s earliest letters discuss mysticism (to
which Barry was much attracted at the time), but for the most part, the letters
discuss Nell’s writing projects, her promotional ideas, plans for making
movies herself, and family and personal affairs over the course of four decades.
There are many more letters in the file written by Nell than by Barry.
A few letters between Barry Shipman and Amerigo Serrao are also included in
these files, in their appropriate chronological order.
The letters chronicle Nell’s gradual separation from Charles Austin
Ayers, her life with Amerigo Serrao in New York, Florida, California, and
Washington, D.C., and her final years in Cabazon, California.
They also reflect her often-precarious financial situation and the
difficulties in providing a settled home life for the twins Charles and Daphne
when they were children. Occasional
letters to Barry Shipman from Charles Austin Ayers, Amerigo Serrao, and others
are also included with the photocopies, as well as a few letters by Nell’s
eldest granddaughter, Nina Shipman, and her children’s spouses.
When Barry Shipman turned forty years old (in 1952), he wrote a long
letter to Nell chronicling the decades of his life.
Though written in a terse, breezy style, the letter is invaluable in
tracing Nell and Barry’s movements from 1912 to 1952.
Among the names mentioned frequently in Nell’s letters are George
Palmer Putnam; Putnam’s wife Amelia Earhart; literary agents Ann Watkins, Jean
Wick, and Nan Blair; Nell’s friends Shelly Johnson and his ex-wife, Thelma
Robertson; Billy and Marion Colvin, old friends from Nell’s repertory days who
also worked with her in Florida; adventure novelist Felix Riesenberg; writer and
collaborator Philip Hurn (“Fippi”); movie producers Emanuel Cohen (of
Paramount), Larry (J. Laurence) Wickland, Charles Glett, and Sir John Brunton;
Captain George A. Baynes, of Eastern Service Studios; screenwriter Rex Taylor
and cinematographer Joseph Walker (old friends from moviemaking days); niece Pat
Shipman and her husband Dick Diaz; and the sculptor Luella Varney Serrao (Amerigo
Serrao’s mother). She lived in
New York in the 1930s, too, and Nell and Amerigo helped look after her in her
declining years.
Box 4-A: Correspondence
with Barry Shipman and Charles and Daphne Ayers
Book 1
1933-1934
Book 2
1935
Book 3
1936-1938
Book 4
1939
Box 4-B: Correspondence with
Barry Shipman and Charles and Daphne Ayers
Book 5
1940-1941
Book 6
1942-1945 [no letters for 1946-47]
Book 7
1947-1960
Book 8
1961-1969
Series IV: Autobiographical Writings and Non-Fiction
This series contains autobiographical writings and fragments by Nell
Shipman, both published and unpublished, and some non-fiction essays.
The two typescripts of Nell’s autobiography, The Silent Screen and
My Talking Heart, vary little from the text published by Boise State
University. These are relatively
clean typescripts, made after the writing was done. The first was apparently
typed by Nell Shipman herself; the second by her daughter-in-law, Beulah Shipman
(“Bool”). The typescripts are
accompanied by letters Nell wrote in search of publishers, as well as letters to
libraries and other places in her attempts to pin down details of fact. Also in the file is a two-page fragment of a possible sequel
(Folder 19), recounting an incident involving Barry Shipman at the Mission Play
in San Gabriel, California, sometime in the late 1920s.
“A Call to Arms for the Scenario Writers” (1912) is the earliest
composition in the series, followed by “Me” (1919), a short autobiographical
sketch. “A Call to Arms” was published in West Coast Magazine and
“Me” was published in Photoplay. Both are represented only by
photocopies of the published articles (Folder 22 and 3, respectively).
So too is “This Little Bear Went Hollywood,” a memoir of her bear
Brownie, published in Good Housekeeping in 1931 (Folder 15).
There is also a published version of “The Movie That Couldn’t Be
Screened” (Atlantic Monthly, 1925) as well as a second photocopy of
part of it, annotated by Nell Shipman in her own hand, naming individuals only
vaguely identified in the original text (Folder 5).
Nell Shipman wrote at least four versions of the story of her sojourn in
Spain, 1926-27. There is a
typescript journal covering the dates January 1, 1927 through March 24, 1927
(Folder 12) and three other reminiscences entitled “Borrowed Castles”
(Folder 10), “Galicia Goes By (Folder 11), and “Memoirs of Spain” (Folders
13 and 14).
In 1930 Nell, Barry, and Charles Austin Ayers drove from Taos, New
Mexico, to Yellowstone National Park, where Nell and Charles caught a train to
Seattle. The story of their
difficult auto trip across Wyoming’s Continental Divide and their visit to
Yellowstone is recounted in “Red Gate” (Folder 7).
Nell and Charles’ subsequent cruise from Seattle to Juneau is told in
“Sentimental Journey” (Folder 8).
“Fade In” (Folder 1), written in 1962, is a rambling reminiscence of
several incidents during the filming of Girl From God’s Country,
God’s Country and the Woman, and Back To God’s Country, and
mentions William Clune, Louis B. Mayer, Charles A. Taylor, Rollin Sturgeon, and
her bears Big Bessie and Brownie, among others.
“Sleep Deep” (Folder 9) is a poetic eulogy of Amerigo Serrao, and
“Guess Who’s Grateful” (Folder 2) is a Thanksgiving Day prayer Nell
composed in 1967. “I am thankful
for what has been bestowed upon me through association with the Lively Arts,
even if in small portions,” she wrote. “To
work on the fringe of the magic world of make-believe is reason for sincere
thanksgiving.”
Box 5: Autobiographical writings and Non-fiction
Folder 1
Fade In (1962)
Folder 2
Guess Who’s Grateful (Thanksgiving Prayer) (1967)
Folder 3
Me: Photoplay (1919)
Folder 4
The Movie That Couldn’t Be Screened : Typescript (1924)
Folder 5
The Movie That Couldn’t Be Screened:
Atlantic Monthly (1925)
Folder 6
The Movie That Couldn’t Be Screened:
Annotated (1968)
Folder 7
Red Gate (1930)
Folder 8
Sentimental Journey (1930)
Folder 9
Sleep Deep (To Amerigo Serrao) (1960)
Folder 10
Spain: Borrowed Castles (excerpts)
Folder 11
Spain: Galicia Goes By
Folder 12
Spain: Journal (1927)
Folder 13
Spain: Memories of Spain (pp. 1-69)
Folder 14
Spain: Memories of Spain (pp. 70-137)
Folder 15
This Little Bear Went to Hollywood: Good Housekeeping (1931)
Folder 16
The Silent Screen and My Talking Heart: Typescript, pp. 1-114 (1968)
Folder 17
The Silent Screen and My Talking Heart: Typescript, pp. 115-225 (1968)
Folder 18
The Silent Screen and My Talking Heart: Correspondence (1968-1969)
Folder 19
The Silent Screen and My Talking Heart: Sequel fragment (ca. 1969)
Folder 20
The Silent Screen and My Talking Heart: Retype, pp. 1-119
Folder 21
The Silent Screen and My Talking Heart: Retype, pp. 120-259
Folder 22
A Call to Arms for the Scenario Writers: West Coast Magazine
(1912)
Folder 23
Fight Fair: Field & Stream (1922)
Series V contains typescripts and drafts of ten novels, representing work
Nell Shipman did between 1925 and 1966. These
are all unpublished works; apparently she did not retain typescripts of those
that were published. Many of
the stories contained within these novels also appear as short stories in Series
VI.
The earliest typescript in the series is called Pirate Girl.
According to Barry Shipman, Nell wrote it at Old Lyme, Connecticut,
during the summer of 1925, her first summer in the East with Charles Austin
Ayers. Pirate Girl is a
swashbuckling story of the Spanish Main, foreshadowing her imminent move to
Florida and then Spain itself.
The typescript entitled Abandoned Trails is not the typescript of
the novel as published (1931), but the first third of the original story, which
was cut by the editors. Along with
the typescript is correspondence relating to it and the book as published,
including comments and pre-publication suggestions by those who read the
manuscript.
Edge of Beyond and Heaven Casts a Long Shadow are both
novels with mystical themes. During
the early 1930s, both Nell and Barry became entranced by mysticism and Eastern
spirituality, in part through the influence of their friend, Dorothy Yost, a
prolific Hollywood screenwriter. Nell
wrote several stories with a mystical element, including these novels.
Both are set in territory she knew well, northern Idaho and eastern
Washington. Edge of Beyond
is the older typescript of the two, probably dating back to the 1930s, though it
appears she made changes and additions in later years (including the title
page). Heaven Casts a Long
Shadow dates from the 1960s. It
was Nell’s last major project before she turned to her autobiography.
The typescript is accompanied by research correspondence, including
letters to and from Peter Van Gelder of the Spokane Mountaineers and noted
raptor specialist Morley Nelson. A
typescript entitled High Frontier (Box 6) is closely related to Heaven
Casts a Long Shadow; some of the pages are actually headed with the latter
title. Among the other stories Nell wrote with mystical themes
are her Borderline Tales (Box 17). They
too were set in the same locale and involve many of the same characters.
Bitterroot was also set in the Pacific Northwest.
Nell Shipman seems to have worked on it just before Heaven Casts a
Long Shadow. “It is safe to
say there is not an incident in ‘Bitter’ which was not experienced in real
life or the ‘fiction’ developing from that life,” she wrote to the
publisher Doubleday in 1965. “So,
I am afraid, I must plead guilty of plagiarizing myself and must continue, at
the end of a long and eventful life, to so do.”
Little Lost Lady and The Naked North (also titled Woman
Against the Wilderness) are Alaska novels.
Little Lost Lady appears to be the older of the two, written ca.
1940-1942. Portions of the
typescript have been removed; Nell Shipman appears to have renumbered them and
inserted them into The Naked North.
Both tales involve a stock company actress in early 20th-century
Alaska. The Road to God’s
Country is another Alaska novel, set during World War II and loosely formed
around the building of the Alcan Highway. One
of the protagonists is a young stock company actress, and several of the
characters from Little Lost Lady and The Naked North reappear as
“old timers.”
Feather From the Right Wing is an anti-communist novel, related to
the scripts “Face of the Enemy” and “The Fifth American” (Box 11).
Nell Shipman transformed those 1950s screenplays into a novel in 1961,
largely as a tribute to Amerigo Serrao. The
typescript is accompanied by quite a bit of correspondence documenting her
unsuccessful efforts to get it published.
Box 6: Novels
Folder 1
Abandoned Trails typescript (Unpublished Book I), pp. 1-80 (1931)
Folder 2
Abandoned Trails typescript (Unpublished Book I), pp. 81-150 (1931)
Folder 3
Abandoned Trails: Related material (1932-1960)
Folder 4
Abandoned Trails: Incomplete retype, pp. 1-27 (ca. 1990)
Folder 5
Bitterroot, pp. 4-44, 30-42
Folder 6
Bitterroot, pp. 43-264 incomplete
Folder 7
Bitterroot, pp. 265-478 incomplete
Folder 8
Bitterroot: Research and miscellaneous
Folder 9
High Frontier, pp. 1-143 incomplete
Folder 10 High Frontier, pp. 144-414 incomplete
Folder 11 High Frontier, pp. 415-583 incomplete
Box 7: Novels
Folder 1
Edge of Beyond, pp. 1-109
Folder 2
Edge of Beyond, pp. 110-247
Folder 3
Edge of Beyond: Mystical research
Folder 4
Heaven Casts a Long Shadow: Synopsis
Folder 5
Heaven Casts a Long Shadow, pp. 1-235
Folder 6
Heaven Casts a Long Shadow, pp. 236-443
Folder 7
Heaven Casts a Long Shadow, pp. 444-622
Folder 8
Heaven Casts a Long Shadow: Correspondence (1964-1966)
Folder 9
Heaven Casts a Long Shadow: Research
Box 8: Novels
Folder 1
Feather From the Right Wing, pp. 1-127
Folder 2
Feather From the Right Wing, pp. 128-276
Folder 3
Feather From the Right Wing: Correspondence (1961-1966)
Folder 4
Little Lost Lady, pp. 1-199
Folder 5
Little Lost Lady, pp. 1-21, 46-53, 98-154
Folder 6
The Naked North/Woman Against the Wilderness
Folder 7
Pirate Girl (1925)
Folder 8
The Road to God’s Country (World War II): Synopsis
Folder 9
The Road to God’s Country (World War II): Preface
Folder 10 The Road to God’s Country (World War II)
More than 120 stories, plays, scripts, film scenarios, and film
treatments are found in Series VI. Some
are represented by more than one version, and some are accompanied by
correspondence. With but one
exception, noted below, none of her pre-1925 work is represented here.
The scripts for the films she made in the 1910s and 20s apparently have
all been lost.
The earliest item in the series is a shooting script, with camera
directions, for a proposed silent film entitled “The Last Empire.” Set in Cuba, it is the rare surviving example of Nell
Shipman’s early screenwriting and likely was inspired by a trip to Cuba, ca.
1915-16. Other early works include
a pageant play, “Florida” (1928); an opera libretto also from Florida
entitled “Crown of Conquest;” and two radio plays from 1932, “Mann the
Mystic” and “Your Own Story Hour: My Night of Terror.”
The latest item in the series is a proposal for a Lassie television
program (1967). In between are all
kinds of works, many undated.
North Idaho and the wild country
of the Pacific Northwest feature in a number of stories, notably the
“Borderline Tales” (Box 17). Many
of these stories came out of her novels, particularly Heaven Casts a Long
Shadow. They appear to date
from the 1960s.
Shipman’s fascination with the sea is as evident in this series as her
love of wilderness. “Blow the Man
Down” (1934) is one of her earliest sea stories, a film scenario coauthored in
New York with her friend, the prolific novelist Felix Riesenberg. ”Grand Bahama” (1936) is a proposal, in letter form, she drew up for Sir
John Brunton, who hoped to produced films in Florida and the Bahamas.
(A 1936 magazine profile of Brunton is contained in the Pressbook in
Series I.) “Jungle Ship” was a project about exploration that she
worked on for several years, offering it as a radio play as early as 1937 and
then developing it as a film proposal a few years later. A shooting script is included in the collection.
In 1945 Nell Shipman recorded portions of “Jungle Ship” onto a
16-inch disc. The recording has
been transferred to a tape cassette for research use (Series VII).
“The Flying Fox” is another version of “Jungle Ship.”
From time to time Shipman promoted the idea she called the “Aquadrome,”
a theater combining motion pictures with live water shows. She floated the idea most enthusiastically in the early 1960s
and enlisted an engineer-friend to help design it.
Another idea from the 1960s was “Center 16,” a chain of small movie
theaters located in shopping centers. Her
proposal went nowhere at the time, but within a decade the idea took root in
suburban shopping malls across America.
Nell Shipman grasped the dramatic possibilities of television early on,
and in 1949, while living in Virginia, wrote several one-act plays intended for
the new medium. Those titles include “Center Door Fancy,” “First One
In,” and “The Girl and the Monster.”
She proposed more television programs in the brochure “Country Beyond
the River” (1952).
Current events and newspaper stories often inspired stories. A classified ad for a diamond ring prompted the story,
“A Great Tomorrow” (1936). “Refugee
Ship” (1939) was based upon the plight of the refugee Jews on the ship St.
Louis, who were denied entry at many ports. “White Ambush” (1940) tells
the story of the Finns who turned back the Soviet invasion of their land in the
Winter War of 1939-40. There are
several other World War II-inspired works as well.
During the 1950s Nell Shipman wrote at least three anti-Communist
screenplays, “Face of the Enemy” (two versions, 1950 and 1952) and “The
Fifth American” (1955). She
transformed them into a novel, Feather from the Right Wing, in 1961.
Wherever she lived, Nell Shipman was quick to absorb the local culture
and feature it in her stories. While
at Provincetown, Massachusetts, she wrote “Cape Cod Beachhead” (1944). A story of tobacco, “The Golden Road,” dates from her
Virginia days (1948). Her stay with
friends in New Jersey in the early 1960s prompted “The Guns of ‘76” and
“Guns on the Delaware,” the latter production to be staged in her Aquadrome.
While in New England during the early 1960s she wrote “Rape of the
Lily,” a play about the siege of Louisbourg at the outset of the French and
Indian War. Quite a few stories
were set on the sidewalks of New York, including “Hurdy Gurdy” (1961) and
“Everything Comes Out Verdi.” She
envisioned the latter as a musical comedy and enlisted the aid of her friend,
composer Vincent Sorey, to write the music.
Shipman and Sorey seem to have collaborated on several projects (as
indicated in their Correspondence file, Box 3), including the song “Nakome,”
which was published in 1961 by Metropolitan Music Company.
And all through the 1960s she promoted a work about the history of wine
called “The Golden Grape” for production in California, possibly in San
Francisco Bay on the Aquadrome.
Nell Shipman’s biggest film credit after the collapse of her own studio
at Priest Lake was as coauthor of the story for the motion picture Wings in
the Dark (1935), starring Myrna Loy and Cary Grant.
A “release dialogue script” is included in this series, even though
Nell Shipman did not write the final script of the film itself.
In a letter after the movie was released, she said it was a “nice
picture and will never hurt anyone’s feelings and the flying is quite
wonderful but there is nothing about it that I can see which relates it to the
original theme, the over-coming of a dreadful handicap through the loving
service of a dog.” This script
was not part of the original collection; it was purchased from a movie
memorabilia dealer and added to the collection.
Box 9: Stories, Scripts, Scenarios, and Treatments
Folder 1
Angels Flight (1938)
Folder 2
Angels Flight: Correspondence (1938, 1964)
Folder 3
Aquadrome (1959-1964)
Folder 4
Aquadrome: Printed proposal (1964)
Folder 5
Aquavista School for Skindivers
Folder 6
Beans Over Boston
Folder 7
Black Ice
Folder 8
Blow the Man Down (1934) (with Felix Riesenberg)
Folder 9
Blue Barriers
Folder 10
Blue Barriers: Research
Folder 11
The Bluevale Boo-Boo
Folder 12
The Bluevale Boo-Boo / A Man About a Horse
Folder 13
The Bluevale Boo-Boo / A Man About a Horse
Folder 14
Cape Cod Beachhead (1944)
Folder 15
The Catnip Mouse: Synopsis
Folder 16
The Catnip Mouse: Treatment (1967)
Folder 17
The Catnip Mouse: Original script “Discarded” (1963)
Folder 18
The Catnip Mouse (1963)
Folder 19
The Catnip Mouse (April 1963)
Folder 20
The Catnip Mouse: Related material
Folder 21
Center Door Fancy (1949)
Folder 22
Center 16 (1962)
Folder 23
Cheap at the Price (ca. 1932)
Folder 24
Cinderella Town (1938)
Folder 25
Cinderella Town (ca. 1948)
Folder 26
Cinderella Town
Folder 27
The Circus Kids (1938)
Folder 28
The Cluck Comes Home
Box 10: Stories, Scripts, Scenarios, and Treatments
Folder 1
Concerto for Tomorrow
Folder 2
Count-Down to Victory
Folder 3
Country Beyond the River (brochure) (1952)
Folder 4
Country Beyond the River, pp. 1-90 (last pages missing)
Folder 5
Cows Don’t Fly (1942)
Folder 6
Crown of Conquest (ca. 1928)
Folder 7
Dark River
Folder 8
Dawn Over Florida: Proposals, Synopses, etc.
Folder 9
Dawn Over Florida: Proposals, Synopses, etc.
Folder 10
Dawn Over Florida: Libretto
Folder 11
Dawn Over Florida
Folder 12
Dawn Over Florida
Folder 13
Dawn Over Florida
Folder 14
Dawn Over Florida: Correspondence (1961-1963)
Folder 15
Desert Rat
Folder 16
Dictated, But Not Red
Folder 17
Everything Comes Out Verdi
Folder 18
Everything Comes Out Verdi: Corrected lyrics
Folder 19
Everything Comes Out Verdi: Research (ca. 1958)
Box 11: Stories, Scripts, Scenarios, and Treatments
Folder 1
Face of the Enemy, pp. 1-120
Folder 2
Face of the Enemy, pp. 121-217
Folder 3
Face of the Enemy: Handbill
Folder 4
Face of the Enemy / The Silver Bridle, pp. 1-86 (1950)
Folder 5
Face of the Enemy / The Silver Bridle, pp. 87-177 (1950)
Folder 6
The Face on the Mountain (1935)
Folder 7
The Fear Market
Folder 8
The Fear Market
Folder 9
The Fifth American, pp. 1-140 (1955)
Folder 10
The Fifth American, pp. 141-271 (1955)
Folder 11
The Fifth American: Chapter 18
Folder 12
The Fifth American: Miscellaneous (1955)
Box 12: Stories, Scripts, Scenarios, and Treatments
Folder 1
First One In (1949)
Folder 2
Flight to Forever (1963)
Folder 3
Florida (1928)
Folder 4
The Flower of Empire (1939) (with George Palmer Putnam)
Folder 5
The Flying Fox
Folder 6
Gentleman of the House
Folder 7
The Gimmick
Folder 8
The Girl and the Monster (1949)
Folder 9
Give Us This Day
Folder 10
God Made the Sea (ca. 1937)
Folder 11
God Made the Sea (Jack London story adaptation)
Folder 12
The Golden Grape
Folder 13
The Golden Grape
Folder 14
The Golden Grape
Folder 15
The Golden Grape: Correspondence, etc. (1961-1963)
Folder 16
The Golden Grape: Correspondence: Louis R. Gomberg (1961-1968)
Folder 17
The Golden Road (booklet)
(1948)
Folder 18
Grand Bahama (proposal) (1936)
Folder 19
The Grass Grows High
Folder 20
The Great Clam Robbery
Folder 21
A Great Tomorrow (1936)
Box 13: Stories, Scripts, Scenarios, and Treatments
Folder 1
Guns of ’76 / Fires of Batsto: Synopses
Folder 2
Guns of ’76: Treatment
Folder 3
Guns of ’76: Treatment
Folder 4
Guns of ’76 / Fires of Batsto: Script
Folder 5
Guns of ’76 / Fires of Batsto: Excerpts
Folder 6
Guns of ’76 / Fires of Batsto: Research notes
Folder 7
Guns on the Delaware: Synopsis
Folder 8
Guns on the Delaware: Bibliography and excerpts
Folder 9
Guns on the Delaware: Correspondence (1963)
Folder 10
Guns on the Delaware: Aquadrome concept
Folder 11
Hamster in the Dishwasher (1963)
Folder 12
Hell Cat (1932)
Folder 13
Honeysuckle on the Moon (poem)
Folder 14
Hot Ice
Folder 15
Hot Scotch (1938)
Folder 16
Hot Scotch (ca. 1948)
Folder 17
Hurdy-Gurdy (1960)
Folder 18
The Interpreter’s Brush (1964)
Folder 19
Jungle Ship: Treatment (1930s)
Folder 20
Jungle Ship: Correspondence (1937-1938)
Box 14: Stories, Scripts, Scenarios, and Treatments
Folder 1
Jungle Ship, pp. 1-85
Folder 2
Jungle Ship, pp. 86-172
Folder 3
Lassie’s People-to People Program (1967)
Folder 4
The Last Empire: Synopses (ca. 1916)
Folder 5
The Last Empire (ca. 1914-1916)
Folder 6
Lidice
Folder 7
Little Lip
Folder 8
Little Lip: Research notebook
Folder 9
Little Lip: Research
Folder 10
Lord of the Lone Land (1938)
Folder 11
Make Like a Murder (ca. 1961)
Folder 12
Make Like an Epic (1960)
Folder 13
The Make-Up Man (1931) (Physical Culture, Nov. 1931)
Folder 14
Mann the Mystic (1932)
Folder 15
Mary Had a Little Wolf (1944)
Folder 16
Mary’s Little Wolf, pp. 1-70
Folder 17
Mary’s Little Wolf, pp. 71-136
Folder 18
Milestone Zero (booklet) (1962)
Box 15: Stories, Scripts, Scenarios, and Treatments
Folder 1
The Moon Was a Dime
Folder 2
Moonshine
Folder 3
Mother Liberty (1939)
Folder 4
Murder in the Stars
Folder 5
Mrs. Casey and the Bat (1950)
Folder 6
Mrs. Casey and the Bat
Folder 7
Nakome (1961)
Folder 8
Nothing Happens in Hollywood
Folder 9
Once in a Blue Moon
Folder 10
One Man’s Venus
Folder 11
One Miami Night (1936)
Folder 12
One Miami Night
Folder 13
The Pack Rat (1963)
Folder 14
Painted Grass (1963)
Folder 15
The Phantom Pack
Folder 16
Profile of a Packman (1961)
Folder 17
The Purple Trail (1938)
Folder 18
Quiet, Please! (1936)
Folder 19
The Rape of the Lily
Folder 20
The Rape of the Lily
Folder 21
The Rape of the Lily: Synopses
Folder 22
The Rape of the Lily: Research
Folder 23
The Rape of the Lily: Research
Folder 24
The Rape of the Lily: Research
Box 16: Stories, Scripts, Scenarios, and Treatments
Folder 1
Refugee Ship (1939)
Folder 2
River of Conquest
Folder 3
Road to God’s Country: Ghost Dog of Desolation Gulch
Folder 4
Road to God’s Country: Mountain That Cracked Down
Folder 5
Road to God’s Country: Uncle Sam and the Sourdough Spirit
Folder 6
Scollay Square Follies
Folder 7
The Secret of Magnolia
Folder 8
Sky Taxi
Folder 9
Spinning Rope, The Will Rogers Song
Folder 10
Star Spangled Cargoes (incomplete)
Folder 11
[This folder number not used]
Folder 12
Star Spangled Song / Wings of Song (1935)
Folder 13
Star Spangled Song / Wings of Song (1935)
Folder 14
Star Spangled Song: Correspondence: Emanuel Cohen (1935)
Folder 15
There Were Giants (ca. 1956)
Folder 16
The Thirtieth Palm
Folder 17
This is America (Series)
Folder 18
Three Straight Women
Folder 19
Thumbs Up (1941)
Folder 20
Thumbs Up (1941)
Folder 21
Tomorrow for Sale: Typescript (1941)
Folder 22
Tomorrow for Sale: Booklet (1941)
Folder 23
Tomorrow for Sale: Related materials (1941)
Folder 24
The Trade Rat
Folder 25
Tree With a Beard (ca. 1964)
Folder 26
A True Story (poem)
Folder 27
Valley’s End
Folder 28
Verdi’s Requiem
Folder 29
Wagon Wheels Wilson
Folder 30
White Ambush (1940)
Folder 31
White Ambush (1940)
Folder 32
Wings in the Dark (1935)
Folder 33
Wings in the Dark: Correspondence (1935)
Box 17: Stories, Scripts, Scenarios, and Treatments
Folder 1
Wings to Paradise
Folder 2
World Without End (1945)
Folder 3
Your Own Story Hour: My Night of Terror (1932)
Folder 4
Your Own Story Hour (brochure) (1932)
Folder 5
Sketches (miscellaneous)
Borderline Tales
Folder 6
Beyond the Border
Folder 7
Black Ice
Folder 8
Cabin at Chimney Rock
Folder 9
Christmas Eve
Folder 10
A Drowned Star
Folder 11
Every Man’s Hand
Folder 12
The Heart is a Hunter
Folder 13
Henry’s Ghost
Folder 14
Hobo Go Home
Folder 15
Mrs. Bye and the Out Beyond
Folder 16
Museum Piece
Folder 17
My Brother’s Keeper
Folder 18
The Phantom Rope
Folder 19
Red Devil Running
Folder 20
Three Brothers Ranch
With the exception of “Jungle Ship” and “The Golden Road,” these
tapes of Nell Shipman reading date from her years at Cabazon, California,
1967-1970. “Doraleen and Fuzzy
Vague” and “The Longest Hour” were fairy tales originally written by Barry
Shipman for his daughter Nina during World War II.
“Fig Tree John” is an Indian tale Nell was reading for her niece, Pat
Shipman Diaz, who had become blind. The
other tapes from the 1960s are some of Nell Shipman’s “Borderline Tales.”
Barry Shipman made this comment when he gave these tapes to Boise State
University: “Hearing the dramatization of Nell’s words, especially in ‘The
Golden Road,’ is evidence that she wrote words to be performed; Nell’s
writing talent, like poetry, seems better when ‘heard’ than ‘read’”
(June 7, 1990).
Box 20: Sound Recordings
Tape 81.1
Doraleen and Fuzzy Vague (Parts 1 and 2)
Tape 81.2
Doraleen and Fuzzy Vague (Part 3)
Tape 81.3
Mrs. Bye and The Out Beyond
Tape 81.4
Excerpts from Chimney Rock / Christmas Eve (Conclusion)
Tape 81.5
Heart is a Hunter
Tape 81.6
Fig Tree John
Tape 81.7
Christmas Eve (part of introduction missing)
Tape 81.8
The Longest Hour (Parts 1 and 2)
Tape 81.9
The Longest Hour (Conclusion)
Tape 81.10 Hobo Go Home
Tape 81.11 Doraleen and Fuzzy Vague (Parts 1 and 2)
Tape 81.12
Doraleen and Fuzzy Vague (Part 3)
Tape 81.13 Hobo Go Home / Christmas Eve (Part 1)
Tape 81.14 Christmas Eve (Part 2) / Cabin at Chimney Rock
Tape 81.15 The Golden Road (originally recorded 1950) /
Jungle Ship (originally recorded 1945)
Tape 81.16 A March for These States
Box 21 (Oversize): Sound Recordings
Preview Jungle Ship (1945)
16-inch disc at 33-1/3 rpm, one side only
(Rerecorded on Tape 81.15)
The Golden Road, by Nell Shipman (1950) 16-inch
disc at 33-1/3 rpm, one side only
(Rerecorded on Tape 81.15)
The Nell Shipman collection
contains approximately 400 images of Nell Shipman, her family and associates,
and places where she lived and worked, including stills from several of her
movies. Most of them were donated
by Barry Shipman, in the form of 35 mm negatives he made from contemporary
prints in his possession. Also
included in the collection are copy prints that Professor Tom Trusky obtained
from other libraries, archives, and private individuals during his research on
Nell Shipman.
Boise State University can provide
copy prints of those images donated to us by Barry Shipman, however we cannot
make copies of photos that came from other sources. For further information,
consult an archivist in the Special Collections Department.
Each image has been assigned a
photo number. For reference use,
copies of all the images have been arranged in the following ten categories:
Nell
Shipman and her family (portraits)
Associates
and animals
Scenes
at Priest Lake, Idaho
A
Bear, a Boy, and a Dog
Something
New
The
Girl from God’s Country
The
Grubstake
Little
Dramas of the Big Places
Other
films and productions
Shipman-Curwood
Productions album
Some photos relating to Tom
Trusky’s activities both researching and promoting the films of Nell Shipman
can be found in MSS 99, the Tom Trusky collection. Copies of Nell Shipman’s films are available on videotape
and at the Simplot-Micron Instructional Technology Center at Boise State
University.
Manuscripts
Box List, MSS 81
Box 1
Biographical and Personal Papers
Box 2
General Correspondence, A-M
Box 3
General Correspondence, P-Z, Miscellaneous
Box 4-A
Correspondence with her Children [Photocopies]
Box 4-B
Correspondence with her Children [Photocopies]
Box 5
Autobiographical Writings
Box 6
Novels
Box 7
Novels
Box 8
Novels
Box 9
Stories, Scripts, Scenarios, and Treatments
Box 10
Stories, Scripts, Scenarios, and Treatments
Box 11
Stories, Scripts, Scenarios, and Treatments
Box 12
Stories, Scripts, Scenarios, and Treatments
Box 13
Stories, Scripts, Scenarios, and Treatments
Box 14
Stories, Scripts, Scenarios, and Treatments
Box 15
Stories, Scripts, Scenarios, and Treatments
Box 16
Stories, Scripts, Scenarios, and Treatments
Box 17
Stories, Scripts, Scenarios, and Treatments
Box 18
Biographical and Personal Papers
Box 19
Biographical and Personal Papers (Pressbook, Photocopy)
Box 20
Sound recordings
Box 21
Sound recordings
Boxes 22 through 25 contain original letters, scripts,
stories, etc. that are in fragile condition (brittle paper).
Photocopies have been placed in the appropriate files within the main
collection for patron use. Also
contained in these boxes are carbons of certain titles made by Nell Shipman.
Box 22
Fragile originals: Correspondence and “The Last Empire”
Box 23
Fragile originals and carbons (stories and scripts, filed alphabetically)
Box 24
Fragile originals and carbons (stories and scripts, filed alphabetically)
Box 25
Fragile originals: Pressbook
Nell Shipman photo collection
Photo Box 1 Prints 1-150
Photo Box 2 Prints 151-222
Photo Box 3 Prints 224-322
Photo Box 4 Prints 1015-
Photo Box 5 Prints 323- /
Prints
1051-
Photo Box 6 Shipman-Curwood
Productions album
Photo Box 7 Negatives
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This page last changed: 11 May 2005
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