Thursday, August 1, 2013

Pauline Trigère papers

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Brandeis University Archives & Special Collections recently received a wonderful donation of the papers of Pauline Trigère, given by her family. A French Jew of Russian descent who immigrated to the United States just before World War II, Trigère was an acclaimed fashion designer who made an indelible mark on the industry for well over fifty years. Ranging from her 1908 birth certificate to a clipping of her 2002 New York Times obituary, the materials at Brandeis give an intimate look at the life and work of the woman once described as “the grande dame of American fashion.”(1) This collection of .5 linear feet includes a mixture of correspondence, both personal and professional—aptly mirroring her life, as, for Trigère, these worlds were inextricably linked.


With a tailor father and a dressmaker mother, Trigère had fashion in her blood. She grew up in Paris assisting her parents and trained as a cutter at Martial and Armand in Place Vendôme before marrying Lazar Radley, also of Russian-Jewish extraction. In 1937, she, Radley, and their sons, Jean-Pierre and Philippe, left a Europe that had become increasingly unsafe for Jews and settled in New York. Having fallen in love with Manhattan, Trigère, her husband, and her brother (Robert, often called Sioma) opened a tailoring shop. When she and Radley separated in 1941, Trigère assisted at Hattie Carnegie while working with Sioma to build the Pauline Trigère line. In 1942, she created a collection of eleven looks, and, with her brother by her side, took the fashion world by storm. Within a few years, Pauline Trigère designs were the thing to be seen in. Sioma continued as her business partner, and, soon, Jean-Pierre also came to play a key role in his mother’s fashion house.



Appropriate to this intertwining world of family and work, the collection is largely made up of letters, memos, and notes to, from, and amongst her two sons, her brother, her (ex-)husband, and her longtime friend Julio Werthein. Written in French and English, they detail the life of a woman who was a trendsetter not just in fabric, draping, and cut, but in social issues as well. Among the many industry accolades bestowed upon her, she thrice won the coveted Coty American Fashion Critics' Award and, in 1993, was granted the Council of Fashion Designers of America lifetime achievement award. One of Trigère’s most lasting achievements, though, came without ceremony. In 1961, she was the first major designer to ever send an African American model—Beverly Valdes—down the runway. Unafraid of antagonizing patrons, Trigère said: “[w]e only lost one customer, in Birmingham, Ala. We didn’t miss her.”(2)


This collection draws an intriguing portrait of a fascinating woman, and it will be of interest to scholars in a number of fields.


(1) Morris, Bernadine, “Honoring Trigère, at a ‘Family’ Reunion,” New York Times, October 1, 1992.
(2) Morris, Bernadine, “The Black Models—Success is Beautiful,” New York Times, January 18, 1974.

description by Surella Evanor Seelig, Archives & Special Collections Coordinator

Friday, June 28, 2013

Joan Crawford awards

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Joan Crawford opening the Joan Crawford Dance Studio in Spingold in 1965

Joan Crawford, best known for over eighty film roles in the course of an acting career spanning more than four decades, was also a philanthropist with a connection to Brandeis University. The Joan Crawford Awards collection held at the Robert D. Farber University Archives & Special Collections Department contains twenty-four awards from theatre, community, and business groups, given to Crawford between 1948 and 1965. The collection was donated to Brandeis in three gifts during Crawford’s lifetime (1966, 1968, and 1973).

Crawford’s launch into the business world came when she married Alfred Steele, chairman and CEO of Pepsi-Cola Corporation, in 1955. Crawford served on the board of the company and worked as a publicity executive. Even after Steele's death, in 1959, Crawford continued to travel and promote the company, well into the 1970s.


Crawford came to Brandeis in the 1960s in support of the arts program. The Joan Crawford Dance Studio was dedicated within the Spingold Theater Arts Center in 1965, to foster dance education at the university. The awards in this collection were put on display in the studio. In the late 1960s, Crawford was elected as a Brandeis University Fellow. A letter of invitation to her induction dinner states that Crawford was elected as a Brandeis Fellow “given her interest, time and service to a host of civic and philanthropic causes which has endeared her to a large public that goes well beyond the pale of the entertainment industry.”

The awards in the collection range from a bronzed shoe with a plaque declaring it to be “The First Tap Shoe to Feel the Touch of ‘Our Dancing Lady’” to the 1964 Honorary Hoosier Award, “in recognition of her distinguished contributions to the arts and the business world and for her great devotion to humanitarian causes.” Crawford was also honored as the first USO Woman of the Year, in 1965, for her accomplishments as an actress, executive, and humanitarian; her medal was presented by the New York City USO Committee. Other awards include a testimonial presented to Crawford by the Carbonated Beverage Syrup and Allied Trades Division of the United Jewish Appeal of Greater New York on May 18, 1960, describing Crawford as "an almost legendary figure in the motion picture world."

The United Jewish Appeal also presented Crawford with a Hebrew-English Bible in 1959. Crawford received the first Golden Shutter Award on January 31, 1955, presented at Universal-International Studios by the Los Angeles Press Photographers Association; the award named Crawford as "the ideal photographic subject, perfectly developed and always in focus." In 1954, Crawford was named Fur Fashion Woman of the Year by the Master Furriers Guild of America "in recognition of her contribution to fashions in furs.” Of greatest note, perhaps, is the Academy of Motion Picture Arts and Sciences Certificate of Nomination for Best Actress, for Sudden Fear, in 1952. This was Crawford’s third Academy Award nomination. She received the honor once, for her role in the 1946 Mildred Pierce.


Joan Crawford’s success in the film and business worlds and her work on behalf of various charities earned her the appreciation of countless fans and beneficiaries. Her role as a Brandeis Fellow demonstrates her commitment to the university. The eclectic awards represented in this collection illuminate an aspect of Joan Crawford’s work that is often eclipsed by her acting career and her complicated personal legacy.


Finding aid to Joan Crawford awards
Online exhibit of Joan Crawford awards at Brandeis

Tuesday, May 28, 2013

Max Nomad papers

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Few radical revolutionaries live long lives, and even fewer live long enough to reflect upon their revolutions. Max Nomad (1881-1973), born Max Nacht, was a rare exception. The radical anarchist from Poland and Austria who immigrated to the United States following the Bolshevik Revolution became well known in anarchist circles as an influential theorist and a biographer. Nomad was a prolific writer, establishing himself with works such as Apostles of Revolution (1939), Rebels and Renegades (1932), Aspects of Revolt (1959, 1961) Political Heretics, From Plato to Mao Tse-Tung (1963), The Anarchist Tradition and Other Essays (1967), and Footnotes to History; Reflections of a Radical Dissenter (1970). Brandeis University’s collection of Max Nomad papers includes manuscript drafts, reviews, and notes pertaining to his theories. The vast majority of these materials date from later in Nomad’s life, in the 1960s and 1970s, as he sought to preserve his legacy.

Starting out as a writer of short articles and pamphlets for a variety of publications, Nomad did not write books until later in life, well after his revolutionary experience. Deeply influenced by the likes of Karl Marx, Jan Waclaw Machajski, and Mikhail Bakunin, Max Nomad developed his own theories on the causes of social inequality and the revolutionary response needed to address it. In his younger days, he espoused a program of radical anarchism that was deeply rooted in socialism, yet he identified with libertarian movements around the world as readily as with Marxist movements. Named a Guggenheim fellow in 1937, Nomad taught at New York University, The New School, and other New York institutions. Based on the documents in the collection at Brandeis, he chose to recant his position to a less extreme view later in life (accepting a more libertarian view, with a contradictory splash of socialism involved), possibly leading to conflict within the movement. In a coordinated attempt to spread his ideas, in the last years of his life Nomad spent more time sending copies of his works than creating new ones, largely due to a protracted illness; his own collected works did not initially do well financially, however. He remained in communication with some of the most well-known anarchist/libertarian scholars throughout his life, discussing the finer points of historical events in a great back-and-forth of letters. By the time he died, he was one of the few figures left from the early-twentieth-century revolutions.

Over the course of his ninety-two-year life, it is perhaps not surprising that Max Nomad changed his views on many subjects. Nomad (then Nacht) was educated at the University of Vienna, where he quickly became familiar with the increasingly radical responses to Karl Marx through his older brother, Siegfried Nacht. Along with Siegfried, he wrote a militant anarchist journal titled Der Weckruf from 1903-1907. However, he soon turned from a militant anarchist to a pro-Soviet mentality.

Nomad’s views on revolution may have tempered with age, but he maintained a deep-seated belief that social and economic inequality is the root of injustice and political strife. In a note dated February 7, 1973, Nomad wrote, “The record of the human race is a mess of lies called history and of butcheries called wars and revolutions with a permanently changing predatory minority using its cunning for dominating the majority.” A dedicated believer with deep concern over the relationship between the majority and the minority, he was a constant advocate for the downtrodden rising up to claim what is rightfully theirs. “It seems that practically every underdog is ready to grant as much justice to those more unfortunate than he is as the world is ready to grant him. Thus the World is not only an equilibrium of injustice. Which should satisfy the sense of justice of every sensitive person (born as a member of a prosperous family).” (Notes, January 24th, 1973). Allegations that Max Nomad was on the Commission of Inquiry into the Charges Made against Leon Trotsky in the Moscow Trials (the Dewey Commission) came in the form of a letter to Brandeis, asking for more information on him. Nomad, pro-Soviet but anti-Stalin, claimed he did not remember, as it was nearly forty years later, although he conceded that he could easily have been involved.

Max Nomad is difficult to trace throughout the years, as he changed his name frequently. A political activist under his birth name, he switched to the appropriate Max Nomad following his emigration to the United States, although for a brief period he used the name Max Norton. His frequent name changes caused confusion for scholars, with several different last names printed on his works. Although by the 1960s he appears to have felt safe from any unwanted repercussions (both in the United States and in his home country), he changed his legal name to Max Nomad, most likely in recognition of his relative fame under that pseudonym. Doubtless, he had enemies around the world due to his radicalism.

Max Nomad stands as a rare example of a radical revolutionary who was active in his revolutionary movement but survived long past his experience to discuss the events and their impact. Although he was involved in a fringe element of the extreme, he showed remorse for his youth in his later writings. “An anarchist romantic who dreamed of dying in a ‘splendor of glory’, may possibly get a flattering obituary, but this won’t help his cause. For the non-romantic masses will vote for the more realistic socialists or communists who promise them material advantage” ("Reflections of a Pessimist," folder 26). Nomad’s surrender in the face of political realities seems a shocking reversal. The above excerpt, taken from an unpublished manuscript titled “Reflections of a Pessimist,” is certainly later in his life, during a period when he rejected anarchism as a viable program. Nomad eventually passed away early in 1973 following a long illness, leaving a variety of projects unfinished. The big project at the end of his life, the spread of his writings, was still in progress by the time he died. In addition to Brandeis’s records, Max Nomad sent papers to New York University, Columbia University, The International Institute of Social History in Amsterdam, and other academic institutions. Knowing that anarchism was becoming increasingly unpopular, Nomad changed his views and adopted a softer view of socialism, rather than the radical anachro-socialism he had professed as a young man. A cursory examination of his work, especially his notes, shows that until his dying day, his heart burned with the beliefs of his younger days, but tempered by the harsh realities of revolution that he struggled against as a radical.


Description by Ben Schmidt, undergraduate history intern in Archives & Special Collections


For a list of contents in the Max Nomad collection, including letters and manuscript drafts, please contact the Archives & Special Collections Department at ascdepartment@brandeis.edu, or call 781-736-4686 to make an appointment.

Tuesday, April 30, 2013

Hugo Oehler collection

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In the 1930s, activists worldwide flocked to Spain to participate in the Spanish Civil War. Many Americans, such as Ernest Hemingway, were drawn to the complex and dramatic crisis and fought for a myriad of causes. Hugo Oehler, an American Communist, was among the many who traveled to Spain to help define and shape the conflict. The Hugo Oehler collection, a gem among the Special Collections at Brandeis University, contains 1 linear foot of Oehler’s documents, including letters, reports, publications, and personal notes. Through this collection, the researcher experiences first-hand the ideas, arguments, and sharp opinions that shaped the pivotal Spanish crisis. The materials in the collection help illuminate one of the many camps in the Spanish Civil War, but also reveal important characteristics of the American Communist movement in the 1930s.





The Spanish Civil War is a complex crisis that involves a complicated web of acronyms; from the POUM to the CNT, FAI, CEDA, and JCI, the conflict is often difficult to understand, label, and define. When Hugo Oehler, an American Communist with success in organizing trade unions in the South and in Colorado, traveled to Spain in 1937, he hoped to steer the convoluted crisis toward his ultimate vision: an international proletarian revolution and the advent of worldwide Communism. Oehler hoped to encourage local radical groups and diagnose the problems of the fractured Spanish Left. In May of 1937, Oehler observed the armed conflict between radical left-wing groups and the Barcelona police. His pamphlet Barricades in Barcelona (which is also available in Special Collections), along with countless letters, reports, and articles, centers around this event, celebrating the passion of the Spanish Left, but urging them to form a unified Marxist party. The collection follows Oehler’s attempts to communicate the developments in Spain to his American comrades, along with the efforts of a group of Americans to define, shape, and direct a crucial moment in Spanish history.
Before diving into the specifics of the progress of the leftist camps in the Spanish Civil War, many documents relay the general upheaval and dire domestic situation in Spain. Oehler’s correspondence with Rosalio Negrete (many sources show that this was probably a pseudonym for fellow RWL member Russell Blackwell) is filled with expressions of frustration that reveal the disorder in Spain. Negrete and Oehler discuss complications with mail, censorship, and border control. In one letter, dated Jan 16, 1937, Negrete writes that Oehler’s letter faced a “delay due to censorship,” and later expresses: “it has been impossible as yet to organize a satisfactory system for mail.” He later warns Oehler of possible complications in entering the country, writing, “You cannot get in here without some political or trade union organization OKing you.” Oehler’s correspondence reveals a war-torn, distressed country. This depiction sets the stage for Oehler’s political involvement that emerges in other documents in the collection.

Many documents in the collection help to illuminate one specific wing in the complicated Spanish Civil War. Oehler and his fellow American Communists focus their observations on the left wing and their efforts to defeat both the Fascist and Republican forces. Many periodicals in the collection relay, first-hand, the ideas and policies of left-wing Spanish groups. For example, the collection contains two major publications of the Worker Party of Marxist Unification (POUM): one in English, The Spanish Revolution, and the other in Spanish, Boletín Interior. The Spanish Revolution brought POUM news to English speakers, describing POUM policies, analyzing the tactics of the Fascists, and weighing international support. Similarly, the Boletín Interior circulated party news and ideas to Spanish-speaking followers.

Although the periodicals in the collection directly relay the voices of the Spanish Left, much of the collection focuses less on Spanish visions of the future and more on an American vision of an international revolution. Oehler observes the developments in Spain through the specific lens of an American Communist. Many of his reports discuss radical developments across the globe and assess the vitality of the international workers’ movement. In countless reports, Oehler’s solution to a fractured Spanish left is a unified Marxist front that will bring about the advent of international Communism. Fourteen folders of Oehler’s recorded observations, sent as reports to his fellow Party members, relay this vision and color the American Communist ideology. While the collection reveals much about the left wing in the Spanish Civil War, it reveals even more about the American Communist movement in the 1930s.

This collection sheds light on a fascinating element of the Spanish Civil War. From descriptions of national instability to reports on armed insurrections and organizations’ treatises, the Hugo Oehler collection illuminates the details of the left wing during the war. The documents also trace Oehler’s efforts to define and shape the vast and complicated crisis. The collection is a valuable find for researchers interested in the details of the Spanish Civil War or in the story of the international efforts of American Communists.


description by Katie Doody, undergraduate history intern in Archives & Special Collections