Search Results
Film transparency of a ghost town, Delamar, Nevada, 1956
Date
1956
Archival Collection
Description
A view of some of the abandonded buildings in Delamar, Nevada, taken from a nearby hill. Delamar, Nevada, nicknamed The Widowmaker, is a ghost town in central eastern Nevada, USA along the east side of the Delamar Valley. During its heyday, primarily between 1895 and 1900, it produced $13.5 million in gold. In 1889, prospectors John Ferguson and Joseph Sharp discovered gold around Monkeywrench Wash. A mining camp was then born west of the Monkeywrench Mine. It was called Ferguson. In April 1894, Captain Joseph Raphael De Lamar bought most of the important mines in the area and renamed the Ferguson camp as Delamar. In the same year, a newspaper called the Delamar Lode began publication and a post office was opened. Soon, the new settlement boasted more than 1,500 residents, a hospital, an opera house, churches, a school, several businesses and saloons. Most buildings were made of native rock. By 1896, the Delamar mill was handling up to 260 tons of ore daily. Water for the camp was pumped from a well in Meadow Valley Wash, some twelve miles away. Supplies and materials traveled even further, by mule team over mountainous terrain from the railroad head at Milford, Utah, which was 150 miles from Delamar. Silicosis The gold in the Delamar mines was embedded in quartzite which when crushed created a fine dust. Miners breathing the dust often developed silicosis and the town became known as a "widow-maker." Many ruins now stand semi-intact in the Delamar ghost town region. Foundations can easily be seen from adjacent hills. There are two graveyards, which have been vandalized. The area is honeycombed with mines and mineshafts, but in recent years the main shaft has been blasted closed. Wild horses roam the area. The nearby dry lake is known to pilots as Texas Lake because its outline resembles the state of Texas.
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Film transparency of a ghost town, Delamar, Nevada, 1956
Date
1956
Archival Collection
Description
Some of the abandonded buildings in Delamar, Nevada. A tailing pile from one of the mines is visible in the center of the photograph. A stone structure is visible on the right side of the photograph. Delamar, Nevada, nicknamed The Widowmaker, is a ghost town in central eastern Nevada, USA along the east side of the Delamar Valley. During its heyday, primarily between 1895 and 1900, it produced $13.5 million in gold. In 1889, prospectors John Ferguson and Joseph Sharp discovered gold around Monkeywrench Wash. A mining camp was then born west of the Monkeywrench Mine. It was called Ferguson. In April 1894, Captain Joseph Raphael De Lamar bought most of the important mines in the area and renamed the Ferguson camp as Delamar. In the same year, a newspaper called the Delamar Lode began publication and a post office was opened. Soon, the new settlement boasted more than 1,500 residents, a hospital, an opera house, churches, a school, several businesses and saloons. Most buildings were made of native rock. By 1896, the Delamar mill was handling up to 260 tons of ore daily. Water for the camp was pumped from a well in Meadow Valley Wash, some twelve miles away. Supplies and materials traveled even further, by mule team over mountainous terrain from the railroad head at Milford, Utah, which was 150 miles from Delamar. Silicosis The gold in the Delamar mines was embedded in quartzite which when crushed created a fine dust. Miners breathing the dust often developed silicosis and the town became known as a "widow-maker." Many ruins now stand semi-intact in the Delamar ghost town region. Foundations can easily be seen from adjacent hills. There are two graveyards, which have been vandalized. The area is honeycombed with mines and mineshafts, but in recent years the main shaft has been blasted closed. Wild horses roam the area. The nearby dry lake is known to pilots as Texas Lake because its outline resembles the state of Texas.
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Transcript of interview with Dr. Tony Miranda by Claytee D. White, July 24, 2006
Date
2006-07-24
Archival Collection
Description
Dr. Tony Miranda grew up in Santa Maria and Santa Barbara, California. His father was a chef at the Santa Maria Inn, and the rest of the family spent summers picking strawberries in the surrounding fields. He has a sister who earned a degree in psychology from UCLA, and he credits her voracious early reading habits for inspiring him to continue with his education. Dr. Miranda married and worked as a postman for a while, then began taking night school classes in order to obtain his high school diploma. He liked school so much that he continued at Long Beach City College, then Cal State Long Beach to earn his bachelor's degree. He was offered several fellowships and chose SC on a Teacher Corps fellowship. A friend informed him of an NIMH doctoral fellowship at UCLA, and he chose to take it. In 1976, before he finished the doctoral program, Tony applied for a teaching position at UNLV. He was accepted provisionally, meaning he had to complete his doctoral dissertation in one year. He successfully completed his doctorate and was offered a tenured track position. Dr. Miranda taught Introduction to Chicano Literature for a year, and then took a post-doctoral ethnic studies course at UC Santa Barbara. He returned to UNLV to teach, served as faculty senator, and held the position of chair of the anthropology and ethnic studies department from 1993 until 2004. Today he is revising his book on Hispanics of Southern Nevada and teaching three classes. His second wife has been retired since 1995, having spent 16 years with SIIS. When he retires, they will continue to make Las Vegas their home.
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Transcript of interview with Robert L. Skaggs by Dr. David Emerson, May 06, 2006
Date
2006-05-06
Archival Collection
Description
Dr. Robert Skaggs grew up around the St. Louis area. His father was a teamster with a milk delivery route, tried his hand at the restaurant business, and during WWII worked tor U.S. Cartridge. Several members of Dr. Skaggs's family were teachers, including his grandmother and a couple of aunts. Robert graduated trom Normandy High School and afterwards attended the Missouri School of Mines and majored in metallurgical engineering. He graduated in 1954 and went to work tor DuPont tor two years. He went to graduate school at Iowa State on an Atomic Energy Commission scholarship, and afterwards was hired by Standard Oil of California. During this time he met and married Anna Pedersen (1961) and moved to Minneapolis to work for Honeywell. Around 1966, Bob started teaching at the University of Kentucky. After a couple of years, he got wind of teaching opportunities at the Southern Division of the University of Nevada (now UNLV), and interviewed with Herb Wells. He and his family moved to Boulder City (1969) and he began teaching at what is now UNLV. He was involved in the work bringing accreditation to the engineering department, establishing a chapter for Tau Beta Pi, the Engineering Honor Society, and building a master's and a PhD program. After a heart attack in 1975, Dr. Skaggs took a sabbatical from UNLV and did some team teaching at University of Arizona in Tucson with Ray Sierka. He returned to UNLV on a half time teaching basis, and also worked for the Bureau of Mines. He was again involved in accreditation preparations and stayed to graduate a PhD student in engineering. He looks upon his experiences at UNLV as very positive and delightful.
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Photographs of Dino's Lounge sign, Las Vegas (Nev.), February 19, 2017
Date
2017-02-19
2017-08-11
Archival Collection
Description
Dino's Lounge sits at 1516 South Las Vegas Boulevard. The dive bar has been in operation since 1962. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 1516 S Las Vegas Blvd
Sign owner: Kristin Bartolo
Sign details: This location was originally constructed in 1957. Opened as Ringside Liquors by Eddie Trascher. Trascher sold the property to Rinaldo Dean "Dino" Bartolomucci in 1962. Bartolomucci Renamed it "Dino's". Bartolomucci sold cars in california, moved to Las Vegas in the 1950's. "Dino's" is now owned by his granddaughter Kristin Bartolo.
Sign condition: 4 out of 5, it still lights up brightly at night and has bright paint colors.
Sign form: Pylon as well as signage on the building.
Sign-specific description: Sign on building green cover filtered neon, with a script style design for the name. Road pylon contains skeletal neon with red and white design also stating their name "Dino's" in the same font as the sign on the building. This pylon has a white base that extends out of the main red rectangle portion of the sign. Also below their logo is a back lit plastic sign.
Sign - type of display: Neon (skeletal on roadside sign and encased on building) and Plastic Backlit sign
Sign - media: Steel and plastic.
Sign - non-neon treatments: Plastic back lit portion
Sign environment: This is located downtown just a few blocks south of Fremont, next to Tod Motor Motel.
Sign - date of installation: 1963
Sign - thematic influences: This sign shows 50's/60's trend with the base of the sign extending out of the main worded portion of the sign. That trend is very common among many other signs across the valley from the same era.
Survey - research locations: Dino's website http://dinoslv.com/new/, Recorder's office, Assessor's office, Dino's site visit and discussion with owner Kristin.
Survey - research notes: This location is .35 acres and was constructed 1957. The Dino's website contains an archive of images of their bar and owners from the last 50 years, and some of the images show older photos of their sign.
Surveyor: Wyatt Currie-Diamond
Survey - date completed: 2017-08-11
Sign keywords: Neon; Plastic; Backlit; Steel; Pole sign
Site address: 1516 S Las Vegas Blvd
Sign owner: Kristin Bartolo
Sign details: This location was originally constructed in 1957. Opened as Ringside Liquors by Eddie Trascher. Trascher sold the property to Rinaldo Dean "Dino" Bartolomucci in 1962. Bartolomucci Renamed it "Dino's". Bartolomucci sold cars in california, moved to Las Vegas in the 1950's. "Dino's" is now owned by his granddaughter Kristin Bartolo.
Sign condition: 4 out of 5, it still lights up brightly at night and has bright paint colors.
Sign form: Pylon as well as signage on the building.
Sign-specific description: Sign on building green cover filtered neon, with a script style design for the name. Road pylon contains skeletal neon with red and white design also stating their name "Dino's" in the same font as the sign on the building. This pylon has a white base that extends out of the main red rectangle portion of the sign. Also below their logo is a back lit plastic sign.
Sign - type of display: Neon (skeletal on roadside sign and encased on building) and Plastic Backlit sign
Sign - media: Steel and plastic.
Sign - non-neon treatments: Plastic back lit portion
Sign environment: This is located downtown just a few blocks south of Fremont, next to Tod Motor Motel.
Sign - date of installation: 1963
Sign - thematic influences: This sign shows 50's/60's trend with the base of the sign extending out of the main worded portion of the sign. That trend is very common among many other signs across the valley from the same era.
Survey - research locations: Dino's website http://dinoslv.com/new/, Recorder's office, Assessor's office, Dino's site visit and discussion with owner Kristin.
Survey - research notes: This location is .35 acres and was constructed 1957. The Dino's website contains an archive of images of their bar and owners from the last 50 years, and some of the images show older photos of their sign.
Surveyor: Wyatt Currie-Diamond
Survey - date completed: 2017-08-11
Sign keywords: Neon; Plastic; Backlit; Steel; Pole sign
Mixed Content
Untitled unpublished manuscript by Roosevelt Fitzgerald
Date
1970 (year approximate) to 1996 (year approximate)
Archival Collection
Description
From the Roosevelt Fitzgerald Professional Papers (MS-01082) -- Unpublished manuscripts file. "Injustice Blacks Have Suffered…" ending with Naomi Long Madgett's poem "Midway."
Text
Astrid Silva oral history interview: transcript
Date
2019-04-22
Archival Collection
Description
Oral history interview with Astrid Silva conducted by Monserrath Hernández and Barbara Tabach on April 22, 2019 for the Latinx Voices of Southern Nevada Oral History Project. Astrid Silva was born in Gomez Palacio, Durango in 1988. She immigrated with her mother to the United States in 1992, where they were met by her father before flying to Los Angeles. She recounts her first impression of the United States and her families eventual move to Las Vegas, where she describes her time living in Las Vegas' west side and struggles she faced being an undocumented student living in Las Vegas. She describes her first meeting with Senator Harry Reid and the friendship that developed afterwards. She has spoken at the Democratic National Convention and has been vocal about her status as a Dreamer. She is currently the Executive Director for DREAM Big Nevada which was established in 2017 in order to provide aid to Nevada's immigrant families. She writes about her hopes for Dreamers and her continued work in expanding the ways that immigrant families can be helped in an always changing political climate. Subjects discussed include: DACA, Dreamers, Immigrant Rights, and Higher Education.
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Photographs of Maxim signs, Las Vegas (Nev.), 2002
Date
2002
Archival Collection
Description
Daytime views of the Maxim Hotel and Casino signs. Information about the sign is available in the Southern Nevada Neon Survey Data Sheet.
Site address: 160 E Flamingo Rd
Sign owner: Premier Interval Resorts
Sign details: The Maxim is located just east of the Bourbon Street, in close proximity to Bally's Hotel Casino. The Maxim is no longer operating, and is fenced off from further inspection. The signage that is seen entails building signs, the original pylon, and the porte cochere
Sign condition: Structure 2 Surface 2
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Building: The tower itself contains the logo and giant text spelling the name of the establishment, on one side of the building. The tower is mirrored and reflective, thus matching the porte cochere and pylon, and reserves to collect its building signage to one end of the tower. The tower, which runs east/west, and faces north/south contains the signs on the east end structure. On the north and south faces of the building, giant red channel letters run vertically along the block surface. The letters look to be lined on the interior of the letters with neon. The logo can be seen on the east face. Pylon: The pylon sign is essentially a giant vertical monolith of a rectangle, divided into several different sub-shapes. The center of the monolith is occupied by cabinets which fill in most of the shape, with a small gap bordering the cabinet. The cabinets are treated the same as the square arch, and flush with the surface. The cabinets are very subtle and create an illusion of one solid object. The entire outer arch shape and interior cabinets are bordered with polished aluminum. The interiors surface of the arch are covered in polished gold aluminum panels. The lining of the incandescent bulbs on the sign is interesting. On the arch the incandescent bulbs are on the interior return width of the aluminum borders. With this configuration, the bulbs sit parallel to the surface instead of perpendicular. The main marquee text is aligned horizontally across the top in gold channel letters with red plastic faces. The letters blend with the gold surface nicely. The interior cabinets are internally lit with plastic faces. There are two cabinets, the larger of the two, occupying the upper part the interior space of the monolith. Incandescent bulbs line the exteriors of the cabinets, sitting back on a recessed edge. Porte Cochere: The porte cochere is unique, opting to rise high above the surface of the pavement. The prismatic design crafted in polished aluminum, interlocks into a pattern suitable to the space which it resides. The recesses in which the decoration resides are separated by a small width of structure. This pattern of giant recesses, matched with the prismatic design in each negative space create a hulking environment high above the head in proud stature. Along the peak edge of the pieces of the prism, rods protrude every foot or so, creating a row of arms holding incandescent spheres.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: chasing, flashing
Sign environment: The Maxim is now closed, and stands in marked contrast to its neighbors a bit to the east--the famous "Four Corners" of Flamingo and the Strip, and next to the trendy Meridian at Hughes Center apartment complex.
Sign designer: Maxim letter design: Kenneth Young, Porte Cochere; Lighting: Jack Dubois Pylon sign: Marnell Corrao
Sign - date of installation: 1977
Sign - thematic influences: The influence of the Maxim hotel was 70's Vegas design refined to simple geometric forms and curved linear logo's. The pylon was completely sheathed in polished aluminum, as well as the underside of the porte cochere being polished gold aluminum. The use of the popular 70's material is used extensively throughout the design. Letters hung over the main entrance, as well as signage on three sides of the building. Other examples of the material can be seen elsewhere but not as extensively. The only property that comes close is the pylon for usage of the material is the Westward Ho.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Graphics; Paint
Site address: 160 E Flamingo Rd
Sign owner: Premier Interval Resorts
Sign details: The Maxim is located just east of the Bourbon Street, in close proximity to Bally's Hotel Casino. The Maxim is no longer operating, and is fenced off from further inspection. The signage that is seen entails building signs, the original pylon, and the porte cochere
Sign condition: Structure 2 Surface 2
Sign form: Pylon; Fascia; Porte-cochère
Sign-specific description: Building: The tower itself contains the logo and giant text spelling the name of the establishment, on one side of the building. The tower is mirrored and reflective, thus matching the porte cochere and pylon, and reserves to collect its building signage to one end of the tower. The tower, which runs east/west, and faces north/south contains the signs on the east end structure. On the north and south faces of the building, giant red channel letters run vertically along the block surface. The letters look to be lined on the interior of the letters with neon. The logo can be seen on the east face. Pylon: The pylon sign is essentially a giant vertical monolith of a rectangle, divided into several different sub-shapes. The center of the monolith is occupied by cabinets which fill in most of the shape, with a small gap bordering the cabinet. The cabinets are treated the same as the square arch, and flush with the surface. The cabinets are very subtle and create an illusion of one solid object. The entire outer arch shape and interior cabinets are bordered with polished aluminum. The interiors surface of the arch are covered in polished gold aluminum panels. The lining of the incandescent bulbs on the sign is interesting. On the arch the incandescent bulbs are on the interior return width of the aluminum borders. With this configuration, the bulbs sit parallel to the surface instead of perpendicular. The main marquee text is aligned horizontally across the top in gold channel letters with red plastic faces. The letters blend with the gold surface nicely. The interior cabinets are internally lit with plastic faces. There are two cabinets, the larger of the two, occupying the upper part the interior space of the monolith. Incandescent bulbs line the exteriors of the cabinets, sitting back on a recessed edge. Porte Cochere: The porte cochere is unique, opting to rise high above the surface of the pavement. The prismatic design crafted in polished aluminum, interlocks into a pattern suitable to the space which it resides. The recesses in which the decoration resides are separated by a small width of structure. This pattern of giant recesses, matched with the prismatic design in each negative space create a hulking environment high above the head in proud stature. Along the peak edge of the pieces of the prism, rods protrude every foot or so, creating a row of arms holding incandescent spheres.
Sign - type of display: Neon; Incandescent
Sign - media: Steel; Plastic
Sign - non-neon treatments: Graphics; Paint
Sign animation: chasing, flashing
Sign environment: The Maxim is now closed, and stands in marked contrast to its neighbors a bit to the east--the famous "Four Corners" of Flamingo and the Strip, and next to the trendy Meridian at Hughes Center apartment complex.
Sign designer: Maxim letter design: Kenneth Young, Porte Cochere; Lighting: Jack Dubois Pylon sign: Marnell Corrao
Sign - date of installation: 1977
Sign - thematic influences: The influence of the Maxim hotel was 70's Vegas design refined to simple geometric forms and curved linear logo's. The pylon was completely sheathed in polished aluminum, as well as the underside of the porte cochere being polished gold aluminum. The use of the popular 70's material is used extensively throughout the design. Letters hung over the main entrance, as well as signage on three sides of the building. Other examples of the material can be seen elsewhere but not as extensively. The only property that comes close is the pylon for usage of the material is the Westward Ho.
Surveyor: Joshua Cannaday
Survey - date completed: 2002
Sign keywords: Chasing; Flashing; Pylon; Fascia; Porte-cochère; Neon; Incandescent; Steel; Plastic; Graphics; Paint
Mixed Content
Letter and envelope from Nellie Harrison, Mt. Carmel to Mary Etta Syphus, Panaca, Nevada
Date
1895-03-08
Archival Collection
Description
From the Syphus-Bunker Papers (MS-00169). The folder contains an original handwritten letter, a typed transcription of the same letter, the original envelope with the stamp removed, and a copy of the original letter.
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