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Letter archivist to his son, Christmas Day, 1993.

This is the letter which prefaced the large binder of 1935 letters, their stamped covers, and their associated photographs depicting places and people Ned Scott encountered in his Arizona travels in that year. During the building of this binder for a Christmas gift to his son, this archivist discovered many unknown things about Ned Scott's photographic history, and most important, he discovered a man he never knew while growing up as a child in La Canada, California. It was a stunning revelation to encounter such a different and unknown persona in these 1935 letters, and the question arises as to what happened to this intensely creative and connected photographer. Where did he go? By the time this writer was four years of age, Ned Scott had put down his cameras for good in 1948.

Here is the set of the United States Winged Globe series of air mail stamps from the 1930's which became part of the Christmas Gift to the archivist's son in 1993.

Mexico Museum

Letters and faxes dated July and August, 1994 between E. Norman Scott and Victoria Blasco, Curator of Photographs at the Centro Cultural / Arte Contemporaneo in Mexico City. These pieces of correspondence discuss those actions which quickly developed into permanent placement of Ned Scott's photography in this esteemed collection in Mexico. Ned Scott's prints were exhibited in this museum and later included in the catalog of their permanent collection, "Luz Y Tiempo". This fortuitous outcome would not have come to pass had the Ned Scott Archive not been created just weeks earlier.

Letter Ned Scott Archive to Victoria Blasco, Curator of Photographs, dated July 20, 1994

Letter Victoria Blasco, Curator of Photographs to the Ned Scott Archive dated August 4, 1994. Approval and acknowldegement Faxes between Victoria Blasco and the Ned Scott Archive follow.

The Centro Cultural / Arte Contemporaneo published their permanent catalog of photographs in their collection in 1995. They titled the catalog "Luz Y Tiempo". Ned Scott's two "Wave" photographs appeared on pages 106 and 107 of the third book in the catalog. These are reproduced here for the record. Though initially acquired by Manuel Alvarex Bravo as Paul Strand prints, these two images were printed by Augustin Chavez in the early 1980's, sold most likely at auction. Manuel Alvarez Bravo, an extraordinary gentleman and fine photographer, never knew he had been duped and swindled by his old compadre, Augustin Chavez.

Letter from E. Norman Scott to Naomi Rosenblaum

Intro to go here

Letters from E. Norman Scott to Fred Zinnemann, 1995-1996

It was by great good fortune that research located Fred Zinnemann in London in the latter half of 1995.  Mr. Zinnemann, it will be seen, was receptive to correspondence about his old friend, Ned Scott, from the "Wave" days in Mexico 1934.  A series of letters was exchanged during the last half of 1995 and the early part of 1996, and these letters focused on many forces surrounding both Ned and Fred in those days.  It was this key discussion which opened the door to a wider understanding of Ned Scott's career in Hollywood.  These letters also record several foundation developments within the Ned Scott Archive which were occurring during the months of correspondence.  Toward the end of this period, Fred Zinnemann decided to donate to the Archive his original "Wave" prints which Ned Scott made for him in Mexico City prior to departure from Mexico in December 1934.  These letters were machine made copies of ones this author had sent to Mr. Zinnemann.  Mr. Zinnemann's written responses, along with his phone calls to the Archive, are not represented here out of respect for the Fred's surviving family members whose permission has not yet been requested.

Letter from Louise Platt in 2002.

"In 2003-2003 the Ned Scott Archive collaborated with the Cowboy and Western Heritage Museum to mount an exhibit honoring the making of the movie Stagecoach in 1939. Among the many interesting features in the exhibit was an edited excerpt from a letter written by cast member Louise Platt in 2002. In her letter, Louise reminisces about the process of filming the movie. She recounts tales about John Wayne, Claire Trevor, Thomas Mitchell, John Ford, John Carradine and other key members of the production. Her letter stands alone as an artifact by itself, offering a brief glimpse into the inner workings of film production. Readers may view a transcribed version of this letter here.