Manuscript on vellum, written in Italy, in the Dominican use, containing musical notation.
Liturgy and ritual
Psalter
Selected pages digitized due to condition of item.
Catholic Church
Rare Book Room of B&ECPL (repository)
Digital image copyright 2024 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
Original leaves from famous Bibles, nine centuries 1121-1935 A.D. ... Collected and annotated by Otto F. Ege ...
Bibles
Ege, Otto F.
Manuscript leaves from a 15th century Psalter
Catholic Church--Liturgy--Texts--Manuscripts
Manuscripts, Latin (Medieval and modern)
Psalters
Described by Seymour De Ricci, Census of Medieval and Renaissance Manuscripts (1937), v. 2, p. (1208), Buffalo Public Library, no. 2.
Rare Book Room copy: Each leaf mounted; illuminated, with miniatures in color and gold leaf; missing pages 27-28.
Antiphonal and prayer book. Written in Germany for a chapel under the patronage of St. Cassius, St. Florentius, and St. Mallusius.
Antiphonaries
Prayer Books
Manuscript, on paper; initials and captions in red.
Identification from Ricci, Seymour de. Census of medieval and renaissance manuscripts in the U.S. and Canada.
Bound in elaborately gold-tooled Morocco over wooden boards: very large centerpiece formed of 4 large quasi-circles, touching each other at their center back point; the quasi-circles enclose flowers, leaves and scrolls; at the bottom of each quasi-circle, another set of stamps that include a crown over an elaborately formed letter M (for Maria?); in each of the 4 corners of the cover, complex scrollwork of 4 swirling branches, each terminating in a profile of a flower; all parts of the gold-tooled design with single-stem offshoots pointing away from the design itself and into the otherwise blank areas; scattered gold dots; edges gilt; pastedowns of the so-designated 'Dutch gilt paper' (made in Germany during the 18th century); two fore edge clasps closing from the back to the front cover.
1) f. 1r-v. Asperges me Domine hysopo et mundabor . . . (antiphon at mass in all seasons except Easter), followed by vers., resp, and prayer, Praesta quaesumus omnipotens Deus per huius aspersionem aquae sanitatem mentis, integritatem corporis 2) ff. 2-3, Three benedictions: Benedictio in ambitu ad portam, Domine Iesu Christe qui introitum Portarum Ierusalem salvans sanctificasti dum spendore gemmarum duodecim totidem Apostolorum nomina persignasti ? [including saints Cassius, Florentius, Mallusius and companions]; Benedictio super scriptorium, Benedicere digneris Domine hoc famulorum Scriptorium et omnes habitantes in eo, ut quidquid hic divinarum Scripturarum ab eis Lectum vel scriptum fuit, sense capiant, ore perficiant per Christum Dominum nostrum; Benedictio ad cellam, Omnipotens et misericors Deus qui ubique praesens es, majestatem tuam suppliciter exoramus ut huius promptuario gratia tua adesse dignetur atque cunta ab eo adversa repellat et abudantiam benedicitionis tuae largiter infundat per Christum Dominum nostrum, Amen. 3) ff. 3-4v; f. 5, torn out Dominicis diebus quando servatur nocturn<um?> ad processionem sequens Antiphona, Sanctifica nos Domine signaculo sanctae crucis ut fiat nobis obstaculum contra saeva jacula inimicorum, defende nos Domine per lignum sanctum 5) ff. 7-37v, Antiphons and responses for the liturgical year from Advent through Palm Sunday; note in particular those designated on ff. 28v-30, "Apud portam coloniensem," on f. 30r-v, "In porta stellae," and on ff. 31-32, "In curia dominorum."
6) ff. 38-39v, In Coena Domini absolutis vesperis dans benedictionem cum calice incipit Antiphona sequentem [sic], Hoc Corpus, Hoc corpus quod pro vobis tradetur, hic calix novi testament est in meo sanguine, dicit Dominus, hoc facite quotiescunque sumitis in meam commemorationem. Antiphona finita, portatur venerabile sacramentum ad cryptam cantando Pange Lingua fol. [space left blank] submissa voce et redeundo ex crypta itur ad lavandum altaria cantando per ordinem sequentes Antiphonas cum versu et collecta; functionem autem Presbiter iunior habet; incipitur autem ab Altari summo De Sanctis Patronis nostris Cassio, Florentio Antiphona sequens: Milites Christi hanc Domino dicaverunt concordiam. . . , vers., resp. and prayer, Propitiare quaesumus Domine nobis famulis tuis per Sanctorum Martyrum Cassii, Florentii, Mallusii Sociorumque eorum . . .services for Ash Wednesday, including washing of the altar, citing the high altar as that of 'our patrons' Cassius and Florentius, and with a prayer invoking Cassius, Florentius, Mallusius and their companions. 7) ff. 39v-53v, Prayers to twenty-six saints in what seems an ad hoc order, but which presumably reflects the order of the altars or reliquaries that belonged to this church: Holy Cross; Servatius; John of Nepomuk; Joseph; 'De Domina nostra in crypta'; Nicholas; Lambert of Maastricht; Helen of Constantinople; James the Greater; John the Evangelist; Andrew apostle; Cyriacus and companions; Agatha; "Domina in pasculo"; Urban pope; the Three Kings; Michael archangel; Peter apostle; 11,000 Virgins; Catherine of Alexandria; the Holy Trinity; Mary Magdalene; Stephen protomartyr; Barbara; Clement pope; All Saints. 8) ff. 54-72v, Services for the Triduum at Easter from Good Friday through Easter Sunday. 9) ff. 73-81v, Antiphons to sing at the altar to saints, with feasts from December through February: Barbara (4 December), Nicholas of Bari (5 or 6 Dec.), Stephen protomartyr (26 Dec.), John the Evangelist (27 Dec.), Holy Name of Jesus (1 or 15 Jan.), Sebastian (20 Jan.), Agnes (21 and 28 Jan.), Agatha (5 Feb.), Paul apostle (10 February), with this last possibly ending incomplete: . . . Gloria Patri et Filio et Spiritui Sancto Inter<cede pro nobis ad Deum qui te elegit ut digni efficiamur gratia Dei> (although the full text is cited on the preceding recto). 10) ff. 82; f. 82v blank, Ownership notes for Engelthal and for Andreas Velten. 11) ff. 83-85; f. 85v blank Index huius Libelli, A, Alma Redemptoris, 42; Ambulans Iesus, 46; Ante sex dies, 29 . . . Videte miraculum, 13, [crossed out and without page number: Vir iste in populo], Vox Tonitrui, 76. Alphabetical index of the 70 hymns in this book, with notes in the appropriate place that there are no hymns beginning with the letters F, K and R; the saints mentioned by name in the index are Barbara (f. 52), Joseph (f. 22), Michael archangel (f. 49), Paul (f. 81). Stephen (f.75)
Paper (no watermark found); ff. iii + 85 + ii; 115 x 113 mm in an almost square shape; on the leaves with text alone: 17 long lines with a 'catchword' to the next page at the bottom of every page; when music is present, 6 lines of text and music per page with the music on 4-line staves. Written in a script imitative of Roman font, e.g. "ae" diphthong present; straight letter d; tall s at the beginning of and internal to words (but with a round s at the end or words); very few abbreviations. Music in Hufnagelschrift on 4-line staves. Rubrics and initials (the height of one line of text and its accompanying music) in red. Written in Germany, almost certainly in Bonn at Engelthal, for if not at the house of the Augustinian nuns who were there from at least 1324 (existing documentation); in 1460, they joined the Windesheim Reformation; the house was secularized in 1802. This ownership information derives directly from the modern note in pencil on f. 82: "Aus dem Kloster Engelthal im Bonn." The book was copied in or after 1729, since it includes on f. 40v a prayer to St. John Nepomucene (c. 1345 - 20 March 1393), who was canonized on 19 March 1729. The saints who are repeatedly cited in this book are the three members of the Theban Legion: Cassius and Florentius , who were martyred at Bonn on the Rhine; they were declared Principal Patrons of Bonn in 1643; the third and other members of this group are Mallusius and their Companions; the feast of these saints is on 10 October, with translation of their relics on 2 May (it occurred in 1166). Designations of the persons performing the various services are for men, not women: f. 32, "Decanus et duo seniores"; f. 33, "Duo Vicarii Refectoriales"; f. 38, "presbyter iunior"; f. 54, "Diaconi"; f. 63, "duo Chorales" (this last direction could technically have been for women). Another note in pencil, also in German and quite possibly by the same person who identified the book as coming from Engelthal, at the bottom of the same leaf, f. 82: "Hern Andr. Velten geschenkt." Andreas Velten (1794-1870) was a carpenter and music collector in Bonn; see Kalliope-Verbund under Velten's name for a list of some 100 pieces relating to music; see also his book, authored by "a citizen of Bonn," (standing for Andreas Velten), Beitr̃ge zur Geschichte der s̃mmtlichen fr eren und jetzigen Kirchen und Kl̲ster der Stadt Bonn und ñchsten Umgebung (Bonn: Carthaus, 1861) pp. 100-103 for a history of the convent of Engelthal (this manuscript not mentioned). *
On f. i recto (facing the front pastedown): bookplate of the Grosvenor Library; the handwritten modern call number, "B. C. 2. 1. 17"; and the oval book number inscribed "No. 34, Elson collection." Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.). The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grovesnor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 34 in the Elson collection. Present call number: RBR MUSIC 1600.C3.
* We are grateful to Dr. Christine Glassner of the Österreichische Akademie der Wissenschaften who read the inscription at the bottom of the page and who then identified Andreas Velten as well as the book that he authored and the musical texts that he wrote and owned.
lat
Manuscripts, French--Specimens
Manuscripts, Dutch--Specimens
Breviary
Book of hours
Contents: France. Breviary leaf on vellum (ca. 1250) -- Rouen, France. Service leaf (ca. 1480) -- Book of hours (ca. 1500).
Title and date for each leaf from penciled notation on folder.
Each leaf mounted in mat board folder; in portfolio.
Leaves 1 and 2 in Latin, in double columns; leaf 3 perhaps in Dutch.
[Book of hours of the Blessed Virgin Mary]
Manuscripts, Latin--New York (State)--Buffalo
1) Parchment; 1. ff. 38-44v, The Gospel pericopes (beginning with the standard text from John 1:1-14), missing the opening leaf, followed by the usual prayers (Protector in te sperantium; Ecclesiam tuam quesumus domine benignus illustra), and then the usual extracts from Luke (1:26-38), Matthew (2:1-12) and Mark (16: 14-20). Misbound in the present position; the pericopes usually occur after the calendar and before the prayers, Obsecro te and O Intemerata (or before the beginning of the Hours of the Virgin).
2) ff. 42-43v, f. 37r-v, ff. 1-5; f. 5v blank//et leticie, fons consolationis et indulgencie Per illam sanctam ineffabiliter leticiam qua exultavit spiritus tuus in illa hora quando tibi per gabrielem archangelum annunciatus et conceptus filius dei fuit . . . [f. 43v] et michi famulo tuo impetres a dilecto filio tuo complementum omni misericordia et consolation, omni consilio, omni auxilio et [f. 37r-v:] adiutorio, omni benedictione et sanctificatione, omni salvatione, pace, prosperitate, omni gaudio et alacritate. Eciam habundanciam . . . tenere me faciat et a septem peccatis crimina- [ff. 1-5] -libus me liberet et deffendat usque in finem vite mee. Et in novissimis diebus meis ostende michi faciem tuam . . . . et exaudi me dulcissima virgo maria mater dei et misericordia. Amen. Oratio beate marie virginis, O Intemerata et in eternum benedicta . . . [f. 2v] et esto michi miserrimo peccatori propicia in omnibus auxiliatrix . . .
3) ff. 6-29, 47-52v -- //psalmis iubilemus ei. Ave maria gratia plena dominus tecum. Quoniam deus magnus dominus et rex magnus super omnes deos . . . Hours of the Virgin (at matins), opening defectively, probably use of Rouen; the office of prime occupies ff 47-52v, and the antiphon and capitulum at prime are: Ant., Maria virgo assumpta est ad ethereum thalamum; Cap., Per te dei genitrix est nobis vita perdita; the service at nones is no longer in the book, as only parts of matins, lauds and prime remain, with all miniatures cut out. Following the remaining part of lauds are, on ff. 25-27v, suffrages of the Holy Spirit, John the Baptist, Nicholas, Martin of Tours, Anthony of Padua, Maurus, and Lupus (here spelled "Luppus," in whose suffrage the text breaks); on ff. 28-29 (f. 29v, blank) is the end of a suffrage of Catherine of Alexandria, here remaining are 27 verses in French in 6-line stanzas ([aa]baab ccdccd eefeef gghggh etc.) plus an irregular final stanza.
4) ff. 30-35vShort hours of the Cross, opening miniature cut out, but containing the rest of the text, through compline -- 5) f. 35v, f. 36r-v, ff. 43-46v, Short hours of the Holy Spirit, opening miniature cut out after f. 35r-v (rubric is on f. 35v, Les heures du saint esperit). -- 6) f. 46v, Rubric in French at the bottom of the page to signal the beginning of the Office of the Dead, which would have followed the Short hours of the Holy Spirit, but which is no longer in this book: Les vespres des mors.Parchment; ff. 52, much misbound and with all illumination removed, as well as easily half of the text leaves, including all of the calendar, the second half of the Hours of the Virgin, the Penitential Psalms, and the Office of the Dead. 175 x 125 mm. Written in a formal gothic book hand in 2 sizes (the smaller is for versicles and responses), on 15 pale red lines to the page. No catchwords or signatures remain.
Illuminated initials and floriated borders.
Written in France, probably in Rouen, given the liturgical use of the Hours of the Virgin (at Prime; Nones no longer remains in the manuscript), during the middle of the 15th century. Probably during the 18th to 19th century, the book belonged to the family residing in Milton Hall, near Peterborough, given the book label on the front pastedown (but this attribution is made with some caution, since the shell of the binding might have belonged to another book).
Now surviving only on f. 1, a 4-line white-decorated blue initial with both colors on acanthus leaves in the initial, set on a square gold ground with a bar border on the left extending the length of the text space formed of a gold strip and a colored strip (divided, in part blue and in part pink), and with a C-shaped border of flowers (blue 4- and 5-leaf flowers, strawberries and round red berries) and acanthus leaves in blue and gold around the text on three sides. 2-line initials in white-decorated color (alternating blue or pink) with both colors in the acanthus leaves within the initial, set on a squared gold ground, with a spray of mainly gold trilobe leaves with one colored flower at the top and one at the bottom of the spray, and extending into the margin. 1-line gold initials on blue and pink white-decorated grounds; line fillers in the same colors. Initials of the verses in French for St. Catherine, f. 28r-v, touched in yellow. Rubrics in red. Offset of blue paint from decoration on what was the facing page with a full border, now visible on ff. 5v (before the Hours of the Virgin), 15v (before lauds), 30 (before the Short Hours of the Cross), 35v (before the Short Hours of the Holy Spirit), 42 (before the Obsecro te), 47v (before the now-missing Office of the Dead), 52v (before the now-missing terce of the Hours of the Virgin). On f. 22, lower margin, note, s. XVII (?), "En faint mon fils s<?> ne voullez po<?> maine." Foliated, September 2023.Bound, possibly in former days, in limp vellum over boards, to the extent that there is with today's completely unbound book an outer shell of a limp vellum binding, but it is uncertain if this was ever attached to the present book, in that, sitting on the book's "front" and ''back" areas, there is a dark vellum "leaf" that might have been part of this book's binding. The stitching of the book's gatherings is solid, holding the book in its present jumbled state, and placing the book's one leaf with its highest present level of decoration in first position (the opening of the O Intemerata prayer, with a 4-line initial and C-shaped page decoration).
Original leaf from an illuminated manuscript on vellum [manuscript] [ca. 1480]
Manuscripts, Medieval--Specimens
Breviaries--Italy--Specimens
Title from front cover and from presentation letter.
One vellum leaf (24 x 16.5 cm.) in a presentation case, accompanied by an undated presentation letter from Fred Alpers of the General Bookbinding Company.
Leaf taken from an Italian breviary, ca. 1480.
Initials and headings decorated in red and blue. No illuminations.
Music--Manuscripts
Graduals (Chants)
Manuscripts, Latin--Specimens
Parchment; f. 1; 9 lines of text and music; the text written in a formal gothic book hand in a space delineated with dry point (?) ruling at the top and at the bottom of the height of the minims; the music in square notation on 4-line red staves, with a custos at the end of each set of staves. On the verso, a historiated gray initial on a blue ground of the height of 2 lines of text with their staves of music, depicting Mary wrapped in her blue cloak, lying as if dead on her bed, with the apostles surrounding her, while in a cloudburst at the top of the initial, Christ, holding Mary as a small child, looks down upon her in her bed. On this verso, a color and gold bar, with gold balls, runs the length of the text; at the top it breaks in half and swirls off in both directions; at the height of the initial, it includes a grotesque with helmet, sword and shield; below the initial, it includes a grotesque with a human head on a bird?s body; in the lower margin, it includes a grotesque whose human upper part turns backward with ax overhead ready to fight his body?s tail which terminates in a dog?s head. A small squarish piece of parchment is now cut away, at what would have been the lowermost bit of decoration, with what were gold balls at its terminating points (the gold now completely worn away). Other decorated initials, the height of one line of text and ca. 3 lines of musical staves, in either red with blue penwork flourishing, or in blue with red flourishing; smaller initials in 1-line height following the same patterns of colors. In red: the rubrics and the superscript folio numbers for the parts of the mass cited (with red roman numerals from 205 through 231). Foliated in red roman numerals in the center upper margin of the verso: clxxxiiii (= 184); adjacent to his original folio number is a modern number in pencil, ?198.?
Written in France during the 15th century; the use of the word ?officium? to designate the introit suggests that the book from which this leaf was taken had been copied for a church of Carthusian, Dominican or Carmelite rite. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today?s Buffalo and Erie County Public Library. This leaf was n. 9 in the Elson collection. Present call number: RBR PRINT 235. Two leaves from the BECPL (one, a leaf taken from the psalter belonging to the Buffalo Public Library in 1936; and the second, the present leaf from a gradual from the Grosvenor Library MS 9, now RBR PRINT 235) were lent to Colgate University for an exhibition planned and run by Prof. Judith Oliver; the leaves were returned to the BECPL on 5 June 1987.
Both leaves in black ink with illuminated capitals ; 1st leaf is a page with musical notation and lyrics ; 2nd leaf is apparently from a breviary. Both leaves were part of an exhibition at the Picker Art Gallery, Colgate University, Hamilton, New York, in 1987.
Gradual with chants from the end of the feast of St. Lawrence (10 August), the rubrics for the feast of St. Hippolytus and companions (13 August), and the vigil and then the beginning of the feast of the Assumption of the Virgin (14 and then 15 August).
References: De Ricci. Census, p. 1210, no. 9
Congestion of the brain in cholera : its etiology, diagnosis, and treatment
Cholera--Epidemiology.
Cholera--New York (State)--Buffalo.
Newman, James M., -1860
eng
Sanitary reports of the City of Buffalo for the year 1854
Report concerning the 1854 cholera epidemic in the city of Buffalo.
Buffalo (N.Y.) Board of Health
Spring of Life : Abortion Battleground in Buffalo
Operation Rescue (Organization)
Pro-choice movement--New York (State)--Buffalo
Pro-life movement--New York (State)--Buffalo
Terry, Randall A.
Griffin, James D. (James Donald), 1929-
Slepian, Barnett, 1946-1998
Following Easter Sunday in 1992, the pro-life group Operation Rescue staged its “Spring of Life” demonstrations in front of several Western New York abortion clinics. Anti-abortion activists had been invited by Buffalo mayor Jimmy Griffin to stage their demonstrations in Western New York. New York State abortion law had gone into effect in 1970, allowing abortions during the first 24 weeks of pregnancy. Operation Rescue founder Randall Terry and national director Rev. Keith Tucci made appearances. The campaign was modeled after a 46 day protest a year earlier in Wichita, Kansas. During those “Summer of Mercy” sit-ins and blockades, 2,600 people were arrested. Three abortion clinics were closed for a week. The Buffalo demonstrations lasted two weeks, resulting in more than 620 arrests. Many pro-choice activists showed up, locking arms in front of the clinics, preventing them from closing. During the two weeks of demonstrations, one rear driveway to the Buffalo GYN Womenservices clinic on Main Street was blocked for a few hours. The “Spring of Life” demonstrations attracted national media attention, and served as the lead news story on the nation’s major networks. The Rev. Robert Schenck, an anti-abortion activist, was arrested for disorderly conduct after carrying a 19 week old human fetus and holding it up to abortion-rights demonstrators. His brother Paul, also a minister, was arrested for trespassing after boarding the bus where his brother was being held by the police. Dr. Barnett Slepian, who provided abortions at a women’s clinic Buffalo, was one of five doctors targeted by anti-abortion demonstrators. His house was picketed and he became increasingly concerned about the safety of his family and his own vulnerability. Six years after the Spring of Life demonstrations he was assassinated in his suburban Buffalo home while preparing soup in his kitchen. James Kopp, the man convicted of his murder, had been nicknamed “Atomic Dog” by radical elements in the anti-abortion movement. Originally aired on WIVB-TV.
Newberg, Rich (Reporter)
WIVB (Television Station : Buffalo, N.Y.)
Buffalo & Erie County Public Library (publisher of digital)
Murphy, Kurt (Graphic Arts Director)
Rice, Marie (Reporter)
Walker, Jacquie (Reporter)
Pfeiffer, Rick (Reporter)
Koop, Bob (Reporter)
Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of WIVB-TV and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
The Memory Keepers : Rescuing Western New York’s Moving Image History
Broadcasters--New York (State)--Buffalo--History.
Broadcasting--New York--Buffalo--History.
The Memory Keepers (2021) This feature presents the cornerstone project of the Buffalo Broadcasters Association (BBA). It lays out the goals and challenges in preserving and utilizing Buffalo’s archival TV news film and videotape dating back to the mid-1960s. This piece is the most recent in a series of videos tracing the history of The Archive Project. “The Memory Keepers” was presented at the Buffalo Broadcasters Hall of Fame induction ceremony on November 4, 2021 (Runs: 7:12) The Archive Project History (5 Parts: 2006 - 2011) (Total running time: 22:49) The history of The Archive Project is presented here by Rich Newberg in a series of five features. They document a period of awakening to the value of archival TV news footage, and show how painstaking efforts are underway to preserve the moving images that reflect more than a half century of life on the Buffalo-Niagara Frontier. Rich Newberg is a founding member of the Buffalo Broadcasters Association and former Archive Task Force chairman for the BBA. His five video reports were presented during most of the BBA's Hall of Fame ceremonies between 2006 and 2011.] (Summary of Reports) The Archive Project (2006) Runs: 3:51 *Edison’s historic moving images of Buffalo are presented as well as a vision for The Archive Project *The first meeting with Buffalo television executives is documented *Recommendations are given for saving Buffalo’s TV news film collection The Archive Task Force (2008) Runs: 4:00 *A task force is created to seek grants for digitization of TV news film in the BBA's possession *University at Buffalo senior research scholar Michael Frisch signs on to create a system for categorizing and indexing digitized material *Highlights of major Buffalo news stories from the 1960s and ’70s are referenced (civil rights riots, Blizzard of ’77, Love Canal, Attica uprising, Jack Kemp’s political rise to power) The Journey Begins (2009) Runs: 4:39 *First boxes of TV news film are itemized from the year 1966 *A vision is presented for a museum and resource center to house the collection *First meeting is conducted with Buffalo area colleges and universities *The BBA’s Archive Project is featured at a national conference of the Institute of Museum and Library Services held in Buffalo *Conference presenter Dr. Michael Frisch calls Buffalo “one of the most important media centers in the country, of the evolution of television news.” He references Western New York natives Tim Russert, Wolf Blitzer, and political satirist Mark Russell Buffalo Moments in Time (2010) Runs: 3:52 *A database is created listing the slugs of all 15-hundred WIVB-TV (formerly WBEN-TV) news stories from the year 1966, the first full year of the BBA’s collection *Scene Savers of Covington Kentucky sends representative John Walko to advise BBA leadership on how best to preserve and utilize the archival news film *Dr. Michael Frisch illustrates how his company, Randforce Associates, is able to catalogue and index all the digitized footage for easy access *BBA president Dave Gillen says, “We’ve got all the pieces in place. We just need the money to do it.” The Scene Savers (2011) Runs: 6:00 *The step-by-step digitization process is documented by Scene Savers staffers working on the BBA’s Archive Project. *Mr. Newberg says future projects will range from documentaries, to classroom presentations, to museum exhibits *The project seeks to complete the mission of the BBA to make Buffalo’s moving image history accessible to the public, “so that future generations will know their roots and will appreciate the contributions of Buffalo’s broadcasting pioneers.” Official Launching of The Archive Project (2019) WIVB-TV Report Runs: 3:24 On March 29, 2019, the Buffalo Broadcasters Association (BBA) officially launched The Archive Project. The BBA established written agreements with WIVB-TV (Nexstar/CBS) and WKBW-TV (Scripps/ABC) to digitize their news film and early videotape archives. The moving image archive will be made available for educational use only. Through BBA fundraisers, donations, and grants from the Western New York Library Resources Council, digitized news reports and clips dating back as early as the mid-1960s began being posted on the New York Heritage website. Postings will also appear on the BBA’s own website. This WIVB-TV news report by News 4 anchor Jacquie Walker shows viewers the scope of the project and why the initiative is a valued resource for Western New York and the nation.] Official Launching of The Archive Project (2019) WKBW-TV Report Runs: 2:05 The BBA collection of archival Buffalo TV news film and video tape becomes the first of its kind on the New York Heritage website. Rich Newberg, one of the chief architects of the project, comments that the collection will document “huge stories, huge challenges that faced this community.” He says the archive holds valuable lessons for “seeking better solutions in the future.” He adds, “It’s the journalists, the reporters and photographers, who basically gave their communities the first draft of history. And that’s why we think it’s so vital to bring this back.” Actor Ed Asner Endorses The Archive Project (Recorded: September 20, 2019) Runs: :60 sec. Ed Asner, who played television’s legendary news director Lou Grant on the Mary Tyler Moore Show, endorsed the BBA’s Archive Project in a public service announcement. The endorsement was recorded while Mr. Asner was in Rochester, New York performing a one man show. Asner endorsement: “Hello. I’m Ed Asner. You may remember me as television’s no-nonsense news director, Lou Grant. If you think about it, journalists provide us with our first draft of history. Right here in Buffalo, more than 50 years of TV news coverage is being brought back to life! Local stations are working with the Buffalo Broadcasters Association to bring back the stories that helped define the Niagara Frontier. It’s called The Archive Project, and I support it with all my heart! So should you.”]
Newberg, Rich (Producer, Writer, Host)
Vetter, Tom (Producer, Editor)
Diving with and without armor : containing the submarine exploits of J. B. Green, the celebrated submarine diver
Diving
Scuba diving
Great Lakes (North America)
Green, J. B. (John B.), 1826-
Autobiography and recollections of a pioneer printer : together with sketches of the War of 1812 on the Niagara frontier.
United States--History--War of 1812
Autobiography and memoir of Eber Dudley Howe, newspaper publisher and critic of the Latter Day Saint movement. Born in 1798 in Clifton Park, New York, Howe was a member of the U.S. Army in Batavia during the War of 1812. He would go on to work at the Buffalo Gazette in Buffalo, New York, as well as papers in Erie, Pennsylvania and Cleveland, Ohio. Howe would go on to publish Mormonism Unvailed in 1834, considered the first anti-Mormon book.
Howe, E. D. (Eber D.), 1798-1885
Telegraph Steam Printing House (publish of original)
Manuscript missel on vellum of the XV century [Book of hours]
Manuscripts, Latin--15th century
Liturgy and rituals
Hours
Obsecro te prayer, with masculine forms: . . . [f. 20:] . . . in quibus ego sum facturus, locuturus aut cogitaturus . . . et michi famulo tuo impetres . . . -- 4. ff. 22-38v (in vol. 1) and ff. 39-72 (in vol. 2); f. 72v blank, Hours of the Virgin, use of Rome.
Contains 9 illuminations within decorative borders, and 4 illuminated initials.
Parchment; ff. 72, bound in two volumes with the break between the two between f. 38v and f. 39, which opens lauds with a miniature of the Visitation; 155 x 105 (90 x 63) mm; after the 12 leaves of the calendar, the quires are regularly of 8 leaves, with the catchwords written vertically along the text's inner bounding line; the final gathering retains only 4 leaves. 16 long lines ruled in ink for the text; the calendar in 17 ruled lines. Written in a spikey gothic book hand.
Nine major miniatures, above 3 lines of text, and with slightly rounded tops; full border of acanthus and colored leaves and flowers: f. 13 (gospel of John), John the Evangelist seated on the island of Patmos, inscribing his gospel onto a roll which reads "[I]n Pri[ncipio]," while his eagle looks on; f. 22 (matins of the Hours of the Virgin), Annunciation to the Virgin, in an elaborate Renaissance room with column and sculpted balustrade and a gold-embroidered red bedcurtain, as the Virgin turns towards the kneeling angel, and the Holy Spirit descends to her; f. 39 (lauds), Visitation showing Mary and her cousin, Elizabeth; f. 50 (prime), Nativity with the baby Jesus lying on the extended hem of the Virgin's dress, as Joseph, holding a candle (?), enters the foreground; f. 54 (terce), Annunciation to the shepherds; f. 58 (sext), Adoration of the Three Kings, one of them old, one middle-aged and one young; f. 61 (none), Presentation in the temple, as Simeon, his hands covered with a cloth, reaches out to hold the baby Jesus, with Mary holding him and Joseph waiting; f. 64 (vespers), Flight into Egypt; with Joseph leading the donkey that carries the Virgin and the baby Jesus f. 69 (compline), Coronation of the Virgin as she kneels before Jesus, enthroned, who crowns her as blue angels hover behind.
Four large miniatures, 6 lines in height. When the miniature is on a recto: narrow gold bar along the left border of the text, holding in place sprays of acanthus leaves and colored flowers in the upper and lower margins; when the miniature is on a verso: a wide bar border the length of the text of acanthus leaves and colored flowers or strawberries: f. 14v (gospel pericope of Luke), Luke, seat on a wooden chest, inscribing his gospel on a roll, as his ox reclines quietly beside him; f. 15v (gospel pericope of Matthew), Matthew holding up his pen and looking upwards to God, and his angel kneels behind him; f. 17 (gospel pericope of Mark), Mark, seated on a stool, inscribing his gospel on a roll, as his lion reclines quietly beside him; f. 18 (Obsecro te), the enthroned Virgin holding the baby Jesus.
Major initials to open each of the hours of the Virgin, 3-line height, in blue against deep red grounds, decorated in liquid gold; 2-line and 1-line initials in painted gold against deep red or blue grounds, decorated in gold; line fillers in gold-decorated bands of deep red or dark blue. Rubrics in red. Bound in two volumes, the first of 38 leaves, the second of 34 leaves (foliated as ff. 39-72); binding is modern red morocco; each volume with the same statement of provenance lettered on the front cover: at the top: "Manuscript Missel [sic] on Vellum of the XV Century" and at the bottom: "Presented by James Fraser Gluck to the Buffalo Library A.D. 1886."
Written in France during the second half of the 15th century; the calendar includes the feast of the Dominican, Vincent Ferrer who was canonized in 1455. In addition, the dark colors in the backgrounds of the painted initials is typical of work done at the end of the century. A slip from an auction catalogue is glued to the front pastedown of the first volume: it presumably was retained here because it represents this present manuscript, although the book of hours described on the slip is said to have 164 leaves (as opposed to the present ff. 72), with "14 beautifully painted miniatures" (there are 9 in the book as it now stands); in addition, this slip labels the manuscript it describes as n. 959 in its catalogue, suggesting a very large sale; the slip is assumed to come from an auction catalogue (rather than a sales catalogue) because there is no price associated with it (and the very top of the following entry is just barely visible at the bottom of the slip). The manuscript as it now stands, of 72 leaves, belonged to James Fraser Gluck (1852-1897); he had the book bound in its present red morocco, had the inscriptions placed on the front covers, and donated the now-two volumes (along with a large collection of materials relating to British and American authors) to the Buffalo Public Library in 1886, which is a very early date for interest in medieval manuscripts in the United States.
Calendar in red and black--V. 1, leaves [1-12].
Identified in De Ricci as Horae, Roman use, written in France.
Buffalo and Erie County Public Library (publisher of digital)
Gluck, James Fraser, 1852-1897
Latin
Buffalo (N.Y.)--Biography.
Women--New York (State)--Buffalo--Biography.
“Love is Stronger than Pain” is the title of Michael O’Brien’s book memorializing the legacy of his mother, Irene Corcoran O’Brien. She lived a life of daily sacrifice, tending to the critical needs of two of her children stricken with a rare, debilitating, painful disease which causes blistering of the skin and deformities. Her faith and unconditional love of John and Maureen enabled them to experience joy in life and inspire others to do the same. WIVB-TV’s Rich Newberg covered the O’Brien story for years, capturing the spirit of John, who honored the wish of his late sister and helped raise funds for a play about her life. “Hit Me Again” was in presented in Buffalo in April 1991. John died in 1992 at the age of 39. He was the oldest survivor of dystrophic epidermolysis bullosa. Maureen was 27 when she passed away in 1984. She died as her mother was changing here dressings. Both brother and sister appeared much older than their years. At John’s funeral it was said by his brothers that “he made friends out of strangers and family out of friends.” The series of reports ends with the tribute to Irene. Newberg interviews Michael who recalls Mother Theresa giving Irene her rosary. There is a scene of the brother and sister in the audience during Mother Theresa’s presentation at Niagara University. Speaking of his mother’s spirit, Michael says, “It was genuine humility…” He added, “She just thought that she was fulfilling God’s will and purpose for her life.”
Newberg, Rich (Reporter, Archivist)
Grosvenor Room of B&ECPL (repository)
Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
PS 076 Herman Badillo Bilingual Academy
Journalism, Elementary school
Journalism and education
On September 30, 1997, WIVB-TV created a mentoring program for high school students at the Herman Badillo Bilingual Academy in Buffalo. The goal was to initially expose them to the inner workings of a television newsroom and teach them the basics of broadcast journalism and production. News 4 anchor Rich Newberg and news photographer Tom Vetter conducted workshops with the final goal of creating a TV news magazine program called “The Badillo Beat.” Fernando Correa, an 8th grade student who showed great potential in front of the camera, anchored the program, taking viewers into the heart of Buffalo’s Hispanic community. The purpose was to address important unresolved social issues. The items featured in this compilation include reports on what transpired during the course of the project and the student produced program that was presented to the school on June 23, 1998. Buffalo mayor Anthony Masiello had praised the initiative, telling students at the partnership signing ceremony that they were being given “an opportunity to grow” at a time when “communications is everything.” He said, “We live in an international marketplace. By the time you are adults, we’ll be communicating with all parts of the world every single day visa-a-vis TV and journalism, computers and telecommunications.” The Herman Badillo Bilingual Academy already had facilities and equipment used to videotape important school events. Rich Newberg told them that having entry into a television station and a professional newsroom could be a major step toward a career in broadcast journalism. However, he cautioned them that, “Unless you go for it, unless you want want it badly enough and work for it, it is not going to come to you. All we can offer you is the opportunity to see what television is all about.”
Vetter, Tom (News photographer)
Murphy, Kurt (Graphic artist)
Bert Hyde, First Ward historian and lifelong Resident, curator and co-founder of The Waterfront Memories and More Museum, daughter and sister of Buffalo Grain Workers
Grain elevators--New York (State)--Buffalo--Employees
Grain elevators--New York (State)--Buffalo
Grain trade--New York (State)--Buffalo
“Girls didn't go by the waterfront.” Most women and girls who lived in Buffalo's First Ward -- the waterfront community at the heart of Buffalo's once-pulsating grain industry -- never went close to the waterfront or worked among the grain elevators. But the industry was ever-present in their lives, from the grain that their husbands, fathers and brothers blew off their clothes when they came home for lunch, to the grain they sneaked from railcars, to the flour bags that mothers sewed into girls' dresses. Bert Hyde was interviewed by Kate Kaye in Buffalo in February 2020.
Kaye, Kate
https://redtailmedia.org/spilling-grain/
Hyde, Bert
General Mills, inc.--History
“It's like walking next to a jet, that's how loud they are.... That thing was just whistling and screaming.” Don Dodd got his start at General Mills in 1969 and worked there for decades, taking on all sorts of roles. For a time, he was a gunner - literally shooting Cheerios out of a pressurized chamber that created a deafening sound. In the early days churning out breakfast cereal and cake mixes, there were distinct roles for men and women at the plant. And, even though work there could be hot, noisy and grueling, Don and his coworkers often managed to find time for a break, sometimes dashing across the bridge for a 25 cent "adult beverage" at the nearby Swannie House. Don Dodd was interviewed by Kate Kaye in Buffalo in January 2020.
Dodd, Don
[Bert Hyde pictured outside the Waterfront Memories and More Museum with the Lake and Rail Elevator and Buffalo river in the background]
Bert Hyde is pictured outside The Waterfront Memories and More Museum in February 2020, with the Lake and Rail Elevator in the background.