This digital collections represents six volumes from Bebe Gow's scrapbook collection spanning the years 1927 to 1961. Bebe Lord Gow was born Barbara Jane Lord to Andrew James Lord and Evelyn Wiggins Lord in New Vernon, New Jersey, on May 21, 1927. The scrapbooks were started by Bebe as a family keepsake to her four sons -- Andrew Lord Johnston, Henry Rust Johnston, Peter Wright Johnston, and Douglas Earl Johnston Jr. -- in order to chronicle her and her family's history in both New Vernon and Houston.
Bebe and her first husband, Douglas E. Johnston, were married on October 12, 1946. They would relocate to Houston in 1948 in order for her husband to pursue his career as a stockbroker specializing in oil & gas and natural resources. Settling in Houston, Bebe and her husband would raise their four sons at #5 West Oaks Drive in west Houston, and they became active in Houston's social, civic, and Republican Party political circles during the 1960s and 70s. Bebe and her husband lived near and were longtime friends to President George H.W. Bush and First Lady Barbara Bush. She and Barbara Bush both attended Smith College together during the 1940s. With her father's encouragement Bebe was interested in politics and was an early campaigner and fundraiser for the former President as he ran for political office, as well as for John Tower when he ran for the US Senate.
In addition to her involvement in politics, Bebe has also been an entrepreneur with her second husband, Robert Gow, whom she married in 1972. She has a lifelong belief in healthy eating and promoting healthy eating. As a result, she and her husband started a honey business, maintaining beehives in the backyard of their home and harvesting the honey to be used in food products such as honey mustard, honey chutney, and Asian food sauces. At one point during the early 70s she was approached by Procter and Gamble for her honey mustard sauce at the Fancy Food Show in New York, and they ended up taking over the honey mustard business. She was also an accomplished tennis player, winning the singles and doubles championship with George H.W. Bush and James Baker at the Houston Country Club, and teaching tennis to boys and girls in the community through her tennis camp.
Within the Houston community, Bebe has been actively involved in the Junior League of Houston, Museum of Fine Arts, Houston (MFAH), and the Contemporary Arts Museum. She's the author of two books, "Seeking Hakka Baka" and "A Bright Yellow Yoyo."
Before the advent of smartphones, social media, and Instagram, Bebe would snap photos of her four sons with a simple Kodak camera, capturing various moments in their lives, along with photos of family gatherings, vacations, and outings. An all-around accomplished athlete, Bebe is pictured on horseback, boating, golfing, and playing tennis. There are also many photos of the family together during the holidays. Her scrapbooks provide researchers an intimate view of family life, leisure, and activities both in New Vernon, New Jersey, and Houston during the early and mid-part of the 20th century.
The original materials were loaned by Bebe Gow to UH Special Collections for digitization.
This collection contains photographs documenting the life and times of Blanche Espy Chenoweth, a lecturer, writer, and voice on the radio who covered topics related to women’s social customs, homemaking, and general well-being. The photographs of Chenoweth, her family and friends, and her travels give a glimpse of American life during the late 19th and early 20th centuries. The digital collection includes 67 photographs and a 48-page scrapbook.
The photographs, including those found in the scrapbook, include formal portraits and snapshots. Many of the portraits provide examples of formal dress and photographic customs from the time period, including dresses worn for graduations and weddings. In contrast, the snapshots show life unscripted. These snapshots include groups of friends and colleagues, travels across the American Southwest, and picnics, sports, and other social outings. Much of the information about the photographs comes from notes included in the archival collection that houses the materials, the Blanche Espy Chenoweth Papers.
Chenoweth was born in Iowa in 1875 and spent the last 25 years of her life in Houston, prior to her death in 1960. Throughout her adult life she lived and travelled in various cities giving lectures on women’s dress and grooming and their importance in a happy life. In the 1920s, she lectured and wrote on the problems of women at the Chautauqua Institute in New York, and in the 1930s she had a radio program in Chicago which gave advice on women’s personal problems. During this time she also wrote an advice column for a newspaper.
Burdette Keeland, Jr. was an influential Houston architect who left a legacy as a designer, an educator, and a member of the Houston Planning Commission. At the peak of his practice, from 1950 to 1980, Keeland produced some of the city’s best modernist architectural design. Yet he will also be remembered for his four decades on the faculty of the University of Houston, where he dedicated himself to mentoring the next generation of architects. This digital collection provides a sample of five of his imaginative works, including architectural drawings and renderings, photographs, clippings, and audio interviews.
A 1950 graduate of the University of Houston, Keeland quickly developed a successful architectural practice. As with many architects of the period, his work of the 1950s reflected the influence of Ludwig Mies van der Rohe and Philip Johnson. Keeland’s innovative design for the Fred Winchell Studio and Apartments (with Harwood Taylor, 1953) combined a professional office with rental apartments on a small city lot. Two years later he produced his best-known work, a steel-frame residence for homebuilder W. K. King, featured in the 1955 Meyerland Parade of Homes.
In the 1960s Keeland’s work expressed other trends in architectural design. He interpreted the Brutalist aesthetic in the Essex-Houck Office Building (with Herman F. Goeters, 1962), where his tight grouping of masonry towers gave this small office building a sense of the monumental. In the Williams Beach House of 1967 (with Alan Rice), his crisp, shed-roofed volumes evoked the barnlike structures of California’s iconic Sea Ranch development.
Keeland experimented with new ideas in his own house on Ferndale Street. In 1976 he transformed a modest 1930s house into an urban retreat for his family. He made further changes in the 1980s and 1990s, but the rear courtyard received the most attention. He showed his flair for artistic and whimsical details in the over-scaled metal column that supports a second floor overhang; a few feet away a vine-covered spiral staircase offered access to a roof-top office and observation deck.
This collection highlights the career of Donald Barthelme (1907–1996), the first Houston architect to gain national prominence in the years after World War II. These 57 items illustrate his work through pencil sketches, photographs, and the detailed working drawings used to construct his buildings.
Barthelme first gained attention in 1936 as the lead designer for the Hall of State, the principal building of the Texas Centennial Exposition in Dallas. In 1948 he won an award from the American Institute of Architects for Houston’s St. Rose of Lima Catholic Church, applauded for its simple Scandinavian modern forms. Yet he made his reputation with the West Columbia Elementary School of 1951, which won many awards and was published internationally. Its innovative design departed from the traditional practice of placing classrooms along both sides of a long corridor. Instead, Barthelme arranged the building around two large courtyards; classrooms opened to the courts through floor-to-ceiling glass walls. This flooded the rooms with light while providing a sheltered environment for the students. At the main entrance a flamboyant scalloped canopy greeted visitors.
In addition to the St. Rose and West Columbia buildings, the collection includes Barthelme’s own residence. He built this small modernist house for his family about 1939. The original drawings are lost, but he enlarged it slightly a decade later, and the collection preserves his 1949 drawings for this remodeling.
Of particular interest, and rarely seen, are a few of his studies for the Adams Petroleum Center (1954–58), his largest and most ambitious project. The Ada Oil Company, owned by K.S. "Bud" Adams Jr., wanted to develop its large site as an office park. Barthelme planned to build the complex in four phases, beginning with the client’s own building. He spent hundreds of hours studying different designs for the APC tower and preparing a dramatic aerial view. The company later abandoned the scheme and constructed only a modest building without the tower.
Barthelme helped shaped the look of Houston during its postwar boom. Today only the church buildings still stand, but the West Columbia school district has preserved his entrance canopy at the original site of the elementary school.
Several of Barthelme’s children became prominent writers, and the works of his eldest son, Donald Barthelme, Jr., are preserved in the Donald Barthelme Literary Papers.
The original materials are available in the UH Libraries' Special Collections in the Donald Barthelme, Sr. Architectural Papers.
This digital collection provides insight into Houston’s music history, particularly into the genres of blues, rhythm and blues, gospel, and soul. Publicity photographs from the Duke and Peacock record labels depict artists, musical groups, and performances, while master books from Houston’s Audio Company of America document recordings that took place at ACA Studios. In all, the collection contains 90 photographs and 4 master books.
Most of the publicity photographs feature artists on the Duke and/or Peacock labels, both of which were owned by Don Robey, a Houston nightclub owner and businessman. These photographs date from the 1950s and 1960s, and feature artists including Clarence “Gatemouth” Brown, B.B. King, Bobby “Blue” Bland, and many others. Most are headshots or posed group photos, but several capture artists as they perform. A small number of photographs contain handwritten inscriptions by the artist.
The master books contain handwritten logs of recordings cut at the Audio Company of America Studios, with entries that often include songs titles, artists, record labels, and dates. Many Duke and Peacock artists recorded at ACA Studios, and this is reflected in the master books. Three of the books contain entries from the 1950s only, while the fourth begins in the 1950s and continues all the way up through the 1990s.
The original materials are available in UH Libraries' Special Collections in the Texas Music Collection.
These 124 photographs capture the devastation wrought by the hurricane that hit Galveston Island on August 17, 1915. The collection features black-and-white and sepia-toned images of destroyed buildings, streets, railroads, causeway, and beachfront, taken by Rex Dunbar Frazier in the immediate aftermath of the storm.
Frazier, a representative of Stone & Webster Engineering, was called in to collect storm damage data and document the scene. Most of the photographs date from August 18, 1915, although many are undated. Some later photographs show repairs underway a month or two later. The photos were removed from a scrapbook for preservation purposes, but the text from the original captions has been retained.
The Galveston Hurricane of 1900 is well known for having killed over 10,000 people on the island, but less well known is the fact that in 1915, Galveston was again hit by a devastating hurricane. This one caused $50 million worth of property damage, yet resulted in only 275 deaths. The low loss of life has been attributed to the protection offered by the seawall, which was constructed following the 1900 hurricane.
Some information for this description was drawn from the Handbook of Texas Online.
The extensive digital collection contains 753 images taken from the Harry Walker photographic negatives, covering the early 1900s to the 1940s. The pictures include snapshots of domestic life and leisure activities in Beaumont and Houston during that time, views of notable Houston landmarks, and historic images of pioneering aviatrix Katherine Stinson flying a Wright Brothers biplane.
The Harry Walker photographic negatives come from the architectural papers of Burdette Keeland. Through his wife Keeland acquired a collection of negatives owned by Harry Walker (the presumed photographer), who was married to Mrs. Keeland’s aunt. The negatives record Walker’s life growing up in Beaumont, Texas and his adult life after his move to Houston in the late 1910s.
Of particular interest are photographs of Walker’s home at 1914 Bissonnet in Houston, with views of the area that includes Poe Elementary School when the neighborhood was new in 1929. Historical shots of Houston show Rice University, Hermann Hospital, the Houston Ship Channel, the San Jacinto Monument, the San Jacinto Trust Company, and downtown Houston in the snow in 1925.
Viewers of the collection can also get a thorough immersion in the daily life of the era through scores of photographs of babies, children, families, laborers, and sailors in uniform. The images highlight the time period’s dress and furniture, interiors and exteriors of homes, and modes of transportation such as horse-drawn wagons, cars, ships, tractors, and trains. Examples of leisure activities captured on film include horseback riding, baseball, poker, swimming, fishing, bingo, hunting, picnics, and many other outdoor gatherings.
This collection contains scrapbooks, photographs, and correspondence documenting the World War II experience of Herman George Eiden, who served in the Pacific while in the United States Navy. Eiden was a Fireman First Class assigned to the U.S.S. Houston (CA-30), where he recorded his time at sea and in the Pacific theater with photographs and film. The digital collection includes three scrapbooks containing over 600 photographs and clippings.
Items in Eiden’s scrapbooks include magazine clippings of U.S. Navy cruisers, aircraft carriers, planes, and comic strips, as well as many photographs documenting his time spent in Naval training and in locations like Panama, Hawaii, Guam, the Philippines, and China. Eiden spent several months in the Philippines, and his snapshots include street scenes and other depictions of local culture, natural landmarks such as Pagsanjan Falls and Pasig River, and the architecture and residents of Manila.
Eiden was born in 1922 to Clara and Peter H. Eiden. Growing up in Louisville, Kentucky, Eiden graduated from du Pont Manual Training High School. Shortly after graduation, Eiden joined the U.S. Navy, and he completed his Naval training at the Great Lakes Training Station in Great Lakes, Illinois. While Eiden was stationed on the U.S.S. Houston in the Pacific, on March 1, 1942, the Houston was attacked by Japanese war ships in the Battle of Sunda Strait and was sunk. Many perished in the attack, including Eiden, while those that survived were sent to Japanese POW camps.
The digital collection contains 236 photographs of Houston dating back to the 1800s and early 1900s, including images of downtown, monumental buildings and landmarks, and daily activities in the lives of citizens. Legendary Houston newspaperman and historian George M. Fuermann gathered these photographs over the course of two decades for his book research; most are copy prints of earlier photographs, but some are originals.
The George Fuermann Texas and Houston Collection is an extensive group of materials amassed by Fuermann between 1950 and 1971. Among the collection’s highlights are over 800 photographic prints that document Houston’s history and enterprise. A small set of images depicts other cities such as Huntsville and San Antonio. The images available in this digital collection represent only a subset of the photographs in the Fuermann Collection - those that are no longer under copyright and are in the public domain.
George Fuermann’s career with Houston daily newspaper the Houston Post spanned 49 years, beginning in 1946 as a general assignment reporter. From 1950 to 1971 he wrote a popular daily column, based on snippets of local history, called “Post Card.” Fuermann continued as Editorial Page editor from 1971 to 1983 and as “Wine Talk” columnist from 1984 to 1995, when the Houston Post closed its doors.
Fuermann also published approximately ten books, mostly on the history and people of the city of Houston. Among his best known books are Houston: Land of the Big Rich, 1951; Reluctant Empire, 1957; The Face of Houston, 1963; and Houston: The Once and Future City, 1971.
Providing a panoramic history of the Houston Fire Department from the late 1800s through the 1980s, the digital collection features images of fire trucks, fire stations, firefighters in action battling blazes, and some of the department’s Fire Chiefs through the decades. The collection contains more than 190 color and black and white photographs.
Among the highlights of the collection is the 96-page Souvenir of Houston, published for the benefit of the Firemen's Relief Fund in 1897. The booklet is an early-day guidebook to the city, complete with photos of downtown streets, buildings, and fire stations in the 1890s; advertisements for local retail, manufacturing, and railroad businesses; and pages of text expounding on the many benefits of life in Houston at that time.
The collection also includes many pictures of groups of firefighters posing with their trucks, helping trace the evolution of firefighting technology over time. The department had about 50 horses to pull its wagons in 1910, but by 1921 all of the horse-drawn fire carriages had been replaced by motorcars and trucks. Action shots, meanwhile, capture firefighters combating infernos at lumber yards, restaurants, apartments, and other buildings.
As Houston grew in size through land annexations, such as that of the Houston Heights in 1918, the fire department incorporated more and more outlying stations. Anchoring the portrait of the city’s fire stations through the years is a pictorial series of 67 fire stations photographed in 1976 – illustrating how big the department had grown from its early days of only a handful of stations in the early 1900s.
The majority of the photos come from the collection of Scott Mellott, a Houston Fire Department retiree who has done extensive research on the department’s history.
John F. Staub (1892-1981) practiced architecture in Houston for nearly sixty years and became one of the region's best-known domestic architects. An MIT graduate from Tennessee, he began his architectural career in New York City under residential architect Harrie T. Lindeberg. In 1921, Staub came to Texas to oversee the construction of three Lindeberg houses in Houston. Staub then decided to settle in Houston and would eventually start his own architectural practice in 1923. He quickly became known for his domestic architecture and substantially contributed to the desirable neighborhoods of River Oaks, Broadacres and others. He designed 31 houses in River Oaks alone, thereby helping to establish the architectural flavor of that neighborhood during its first three decades. He is best known for Bayou Bend, which is now a house museum containing the Museum of Fine Arts, Houston's American decorative arts collection. Staub also designed notable non-residential buildings, including the Junior League Building, the original River Oaks Country Club, the Bayou Club, and the original library at the University of Houston (which is now the blue wing of the M.D. Anderson Library). He remains best known for his residential architecture, however.
Staub amassed a collection of books on architectural types, regions and styles, which he referenced when designing his vernacular-styled houses. In the late seventies he made notes in these books in order to assist scholar and architect Howard Barnstone, who was then engaged in writing The Architecture of John F. Staub: Houston and the South. In these notes, Staub identifies books and images that influenced his own designs. This exhibit allows viewers to compare this marginalia and images from the books with photographs of his finished houses.
Near the end of his life Staub donated his book collection to the University of Houston Libraries. It may be viewed in the Kenneth Franzheim II Rare Books Room of the William R. Jenkins Architecture and Art Library.
This digital collection sheds light on the groundbreaking creation and dedicated running of the first public television station in the country. Hundreds of black and white photographs illustrate the work that went on both in front of the cameras and behind the scenes at KUHT-TV.
Most of the photographs date from the station’s early days in the 1950s, but later decades are also represented. The snapshots capture production staff, cameramen, set designers, and engineers, as well as on-air personalities and sets from Channel 8 News and other shows. Items of note include photos of the figures who were instrumental in getting KUHT up and running, such as University President Dr. Walter W. Kemmerer, faculty member and choral director Dr. John Schwarzwalder, and producer/director George Arms. The collection also includes images of celebrities who appeared on PBS programs through the years: Mister Rogers, Julia Child, Phyllis Diller, Dustin Hoffman, and even Sesame Street’s Big Bird.
Located on the University of Houston campus, KUHT-TV was America's first public television station when it debuted in 1953, and it became one of the founding stations of the Public Broadcasting Service (PBS) in 1969. Today, KUHT-TV/HoustonPBS continues to produce innovative programming while serving not only the students and faculty at UH, but the greater Houston community as a whole.
This digital collection features historic, hand-tinted color photographs depicting the people and culture of Mexico in the 1930s. Subjects include musicians and dancers in traditional dress, vendors displaying their wares, and people posing in colorful settings. Photographer Luis Marquez signed each of the 27 prints in the collection.
Of particular interest is the elaborate clothing worn by performers, including three men demonstrating a native dance, a man in a headpiece displaying maracas, and a woman playing guitar. The richly colorful nature of the collection is further illustrated in photographs of people with painted vases, embroidered dresses, strings of flowers, decorated bowls, and woven blankets.
Titles of the digital pictures are taken directly from inscriptions on the photos themselves. The photographs reside in a 20-1/2 inch by 12-1/2 inch detailed leather album, embossed with the date 8-10-1937 and the name Mrs. S.U. Allred. The album and its contents were given as a gift to Mrs. Allred after she and Texas Governor James V. Allred visited Mexico in 1937.
This digital collection documents the daily life of members of Marine Bombing Squadron 613 (VMB-613) in the Pacific Theater during World War II. Subjects include not only crews with their planes, but also leisure activities, departments posing for photos together, and several views of the home base. In all, the collection contains 141 black and white photographs.
Marine Corps photographer and former Houstonian Clell Thorpe took the squadron’s pictures on a Pacific atoll in the Marshall Islands; the exact location was not identified due to wartime security measures, but it was probably Kwajalein Island. Thorpe served as a Marine Corps photographer documenting the activities of Marines in the South Pacific during World War II.
While a handful of aerial shots capture VMB-613 planes patrolling the skies over a convoy of warships, most of the photos provide a glimpse into the Marines’ everyday lives away from combat. Basketball, ping pong, volleyball, and baseball are just a few of the recreational activities displayed. In addition to finding images of the barracks, the officers’ club, and the mess hall, viewers might be surprised to see that the base was like its own mini-town, complete with a dentist, bakery, barber shop, carpenter shop, library, post office, and even a police shed that doubled as a laundry service. Two photos show classic horror movie star Boris Karloff, on hand to perform with one of the many USO tours.
This collection is comprised of digital versions of 105 photographic prints created by documentary photographer Peter Beste as part of the nine year project that became the book Houston Rap. Hip hop artists depicted include Scarface and Willie D of Geto Boys, Choice, Bun B and Pimp C of UGK, Devin the Dude, Paul Wall, Lil’ Flip, Z-Ro, HAWK, Trae, K-Rino, and many others.
Published in 2013 by Sinecure Press, Houston Rap was the joint creation of Beste and writer Lance Scott Walker. It documented Houston’s hip hop community, particularly rappers, DJs, and others from the Third Ward, Fifth Ward, and South Park neighborhoods. Its subjects are often shown in unguarded moments unlike those typically staged for hip hop videos or publicity photos. It also captures the landscape of Houston’s changing neighborhoods at a particular point in time.
Originally from Houston, Beste is most well-known for photographing subcultures. In 2008, he published the book True Norwegian Black Metal for Vice Books, which focused on Norwegian black metal bands. As he says on his web site, "My work as a documentary photographer covers a range of subcultures which are sometimes viewed as controversial. I have no political axe to grind or agenda to push but rather am interested in photographically documenting unique and visually interesting groups of people… As one who highly values freedom of speech and expression, I seek to portray the various groups documented as they express themselves, without reference to outside opinions or ideologies."
The original materials are available in UH Libraries' Special Collections in the Peter Beste and Lance Scott Walker Houston Rap Collection.
This collection contains 146 photographs and postcards related to Leonor Villegas de Magnón’s personal life, political activism with the international relief service La Cruz Blanca (the White Cross), and the Mexican Revolution. Photographs highlight Magnón’s pioneering work along the Mexico-Texas border as well as her relationships with fellow activists, participants of the Revolution, and friends and family.
Items in the collection are annotated in English and Spanish and include portraits, landscapes, and miscellaneous illustrations dating from 1894 to 1918. Notable individuals in the collection include Venustiano Carranza, Jovita Idar, Porfirio Díaz, Francisco Madero, and Pancho Villa.
Magnón, a Mexican citizen and life-long resident of Laredo, Texas, was a trailblazer and leading force on a variety of issues related to Mexicans and Mexican-Americans. Among her many accomplishments, Magnón founded and financed La Cruz Blanca to provide more organized medical assistance to soldiers wounded in the Mexican Revolution. More details on this work can be found in her autobiography, La Rebelde (the Lady Rebel). In the years after the Revolution, Magnón opened a bilingual school for children and contributed to female civic organizations in the U.S. and Mexico, traveling back and forth from Laredo until her death in 1955.
A civil rights lawyer, diplomat, political leader and soldier, Alonso S. Perales (1898-1960) was one of the most influential Mexican Americans of his time. These photographs and documents, highlighting aspects of his life and career, were part of a larger exhibition, In Defense of My People: Alonso S. Perales and the Development of Mexican-American Public Intellectuals , on view at the M.D. Anderson Library from December 8, 2011 through February 29, 2012.
Perales saw himself as a defender of la raza, or race, especially battling charges that Mexicans and Latin Americans were inferior and a social problem. Perales was one of the founders of the League of United Latin American Citizens (LULAC) in 1929 and helped write LULAC’s constitution. He served as the organization’s second president.
An intellectual who firmly believed in the law, Perales wrote about civil rights, religion and racial discrimination, which he argued “had the approval of the majority.” His work included the pamphlet Are We Good Neighbors? and the two-volume set En defense de mi raza. A member of the American Legion and the San Antonio Chamber of Commerce, Perales was also a columnist for La Prensa and other Spanish-language newspapers.
Highlighting the 2010 acquisition of the Alonso S. Perales Papers by the University of Houston Libraries’ Special Collections Department, courtesy of the Perales Family and the Recovering the U.S. Hispanic Literary Heritage Project,scholars presented their research on this trailblazing public intellectual at a day-long conference (January 13, 2012) bearing the same name as the exhibition. These presentations shed light on Perales’ activism and defense of Latinos, including the chronology and history of Mexican American and Latino civil rights movements, the impact of religion on Latinos, the concept of “race,” and individual versus community action to bring about social and political change.
A modern-day marvel of industry, the Port of Houston is an integral part of the region’s landscape and history. Through almost 150 photographs and documents, this digital collection traces the planning, construction, and ultimate success of the Ship Channel from its opening in 1914 through the 1960s. The collection also contains a handful of items that pre-date the Ship Channel itself.
Dating mostly from the 1950s, the photographs in the collection feature aerial views of the Port of Houston, cranes loading freight onto ships, interiors and exteriors of warehouses, groups of businessmen, and dockworkers in action. The photographs also include nearly 60 ships in port, complete with names (such as SS Java, SS Pygmalion, and SS Jean Lafitte) and descriptions about each ship’s cargo, destination, and/or point of origin.
In addition to the photographs, the collection also includes documents such as magazine articles, letters, pamphlets, and drawings. Among the highlights are maps from as early as 1925, bond certificates for the Houston Ship Channel Navigation District from 1911, and two illustrations of paddle steamers at port from 1859. A laudatory 20-page booklet from 1908 draws on photos and text to tout the city of Houston as a good place for business, and a nine-page pamphlet from 1915 furthers this claim by utilizing charts to compare freight costs with other ports.
Most of the items were donated by the daughter of James H. Branard, Jr. Mr. Branard served on the Board of Governors at the Port of Houston and was instrumental in its mid-century success. Several pieces were donated by the Harris County Archives to enrich the collection.
These 21 black and white photographs document the aftermath of the “Texas City Disaster,” an industrial catastrophe that killed well over 500 people on April 16, 1947. Images include aerial views, oil tanks on fire, blown-out freight cars, damaged houses and other buildings, destroyed barges, boat slips strewn with debris, and burned, wrecked cars covered with ashes.
The photographs were taken by an unknown individual between April 16 and April 21, 1947. Each digital image includes a description transcribed directly from the original photo album, complete with any misspellings. The album itself has been disbound and the photographs removed for preservation purposes.
The Texas City Disaster has been called the worst industrial disaster in American history. The SS Grandcamp, carrying ammonium nitrate, caught fire early in the morning and exploded, wiping out the entire dock area, a nearby chemical plant, small businesses, grain warehouses, and many oil and chemical storage tanks. Flying debris ignited several smaller fires and explosions, and a fifteen-foot tidal wave caused by the blast swept the dock area. The docked SS High Flyer, which was also carrying ammonium nitrate, subsequently caught fire, was towed 100 feet out, and exploded that night.
Damage from the Texas City Disaster was devastating. Although the exact number of people killed may never be known, the ship's anchor monument records 576 persons known dead. Property damage was immense, with over 1,000 residences and buildings throughout Texas City damaged or destroyed by the concussion from the explosion.
Information for this description was drawn from the Handbook of Texas Online and the book The Texas City Disaster, 1947 by Hugh Stephens, published by the University of Texas Press.
The heavy cruiser USS Houston (CA-30) traveled the world during peacetime, served as flagship of the Asiatic Fleet during World War II, and was tragically sunk by the Imperial Japanese Navy during the Battle of Sunda Strait. More than 350 black and white photographs from the 1920s to the 1940s tell the incredible story of the Houston and her crew.
Named for the city of Houston, the USS Houston (CA-30) was launched in 1929 in Newport News, Virginia, a celebratory occasion well-represented in the collection. Many photographs depict the new Northampton class cruiser in various ports or at sea during early cruises, including visits to the Houston Ship Channel. Other photographs capture individual officers and crew members and depict life aboard the ship.
The ship’s most famous passenger was President Franklin D. Roosevelt, who took four cruises on the Houston during his presidency to relax and enjoy deep sea fishing. Photographs in the collection show Roosevelt fishing from a smaller vessel, even catching a shark.
In 1942, following the United States’ entry into World War II, the Houston became part of the multi-national American-British-Dutch-Australian (ABDA) force in the Pacific. Led by the able Captain Albert H. Rooks, Houston participated in the Battle of Makassar Strait and the Battle of the Java Sea before being sunk. Due to the wartime need for secrecy, only a few photographs exist from this period.
Of the 1068 crew members on the Houston when it was sunk, 368 survived and became prisoners of the Japanese. Many were forced to work building the Burma-Thai Railway, 79 more dying in the process. Photographs document the POW camps, the deplorable conditions endured by the POWs, and the evacuation of POWs at the end of the war in August 1945.
The original materials are available in UH Libraries' Special Collections in the Cruiser Houston Collection.
This digital collection documents the built environment of the University of Houston campus from the ground up, featuring maps, aerial views, architectural drawings and models, and photographs of buildings both under construction and upon completion. In all, the collection contains 272 photographs and drawings in both color and black and white, dating from the 1930s to the 1990s.
A comparison of campus maps from 1948-1950 and 1965-1969 highlights the rapid, mid-century growth of the university, while several aerial photographs taken from 1937-1980 provide a dramatic overview of the development of the campus and the surrounding city – from acres of untouched fields to miles of urban sprawl.
Dozens of architectural drawings and models illustrate the finely detailed planning process involved in creating the university’s physical appearance. These architectural works comprise both interiors and exteriors of individual buildings, as well as the campus as a whole.
Most of the university’s signature buildings are represented with photographs showing their progress from construction to completion, including Moody Towers, the Ezekiel Cullen and Roy G. Cullen Buildings, the Gerald D. Hines College of Architecture, the M.D. Anderson Library, and many others. Of particular interest are photographs of Veterans Village, which is no longer standing, and the University of Houston at San Jacinto High School, which predated the university’s own campus in the 1930s.
This collection of photographs from the larger UH Photographs Collection highlights campus scenes from throughout the history of the university. The photos of people, events, organizations and campus departments show a diverse range of activities and events, including athletic competitions, classroom gatherings, distinguished guests, and special events and exhibits.
The UH Photographs Collection in the University Archives contains photographs all aspects of the university’s history. Other digital collections from the UH Photographs include University of Houston Buildings and University of Houston People.
Featuring images from the heyday of the University of Houston’s annual Frontier Fiesta event, the digital collection captures all the Western-themed revelry surrounding “Fiesta City” in the 1950s. The collection contains more than 50 black and white photographs, 13 programs (1941, 1947, 1949-1959), the contents of a 35-page scrapbook, and one short silent film.
The photographs highlight all aspects of the festivities, from stage performances and students posing in Western costume to parade floats and the wooden structures making up the Wild West town of Fiesta City each year. Programs from the 50s and 60s present the calendar of events and maps of the grounds as well as name event organizers and friends, board of directors, and contest winners. Especially noteworthy are two items: the scrapbook and the silent film. The beautifully crafted cowhide scrapbook was compiled in 1954 and includes 35 pages of colorful illustrations, descriptive narrative, and dozens of photographs of the event. Titled The Great Bank Heist, the black and white silent film depicts an Old West-style bank robbery perpetrated by gunslingers who ride into town on horseback. Complete with title cards in place of dialogue, the two-minute film was recently produced from 1953 Frontier Fiesta footage.
A combination of musical and theatrical performances, cook-offs, carnival booths, and concessions set in a Western frontier-style town, Frontier Fiesta began in 1940 but was almost immediately interrupted by World War II and suspended from 1942-1945. Frontier Fiesta’s second run (from 1946-1959) saw the event grow to its greatest popularity and achieve national acclaim; Life Magazine proclaimed it the “Greatest College Show on Earth.”
The student-run, community-minded festival was revived in 1992. Every year the Frontier Fiesta Association awards 10 scholarships to deserving incoming freshman and current UH students; these scholarships reward both academic achievement and outstanding efforts in community service.
This historical photograph collection features past UH Presidents and Chancellors, members of the Board of Regents, faculty and department chairs, accomplished athletes, famous campus visitors, and distinguished alumni. Most of the photographs date from the 1980s or earlier. Alphabetized by the subjects’ first names, the collection comprises more than 250 people, many represented by more than one image.
Each person’s photograph is accompanied by her or his UH title or a descriptive paragraph. In addition to notable University figures, the collection contains several photographs of Shasta, the live cougar mascot, in different incarnations through the years (Shasta, Shasta III, and Shasta V).
Visiting dignitaries over the decades include U.S. Presidents Harry S. Truman, Dwight D. Eisenhower, Lyndon B. Johnson, and George H.W. Bush; U.S. Representatives and Senators Barbara Jordan, Sheila Jackson Lee, George McGovern, and Phil Gramm; and U.S. Supreme Court Justice Sandra Day O’Connor. State and regional politicians include Texas Governors Price Daniel, Preston Smith, and Ann Richards; Houston Mayors Oscar Holcombe, Louie Welch, Kathy Whitmire, Bob Lanier, and Lee Brown; and San Antonio Mayor Henry Cisneros.
Some of the people representing UH’s rich athletic tradition include football coaches Bill Yeoman and Jack Pardee; Heisman Trophy winner Andre Ware; track stars Jolanda Jones and Carl Lewis; and Hall of Fame basketball players Elvin Hayes, Clyde Drexler, and Hakeem Olajuwon.
Other famous campus visitors highlighted in this collection include actors Olympia Dukakis, Hal Holbrook, and Lynn Redgrave; local philanthropists Carolyn Farb and Dominique de Menil; playwrights Edward Albee, Ntozake Shange, and Tennessee Williams; author John Irving; hotel magnate Conrad N. Hilton; country singer Kenny Rogers; television reporters and personalities Geraldo Rivera and Marvin Zindler; groundbreaking heart surgeon Michael DeBakey; consumer advocate Ralph Nader; and longtime president of the Motion Picture Association of America (and UH alum) Jack Valenti.