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Collection
"Bill" Burk, retired, botany librarian at the John N. Couch Biology Library, University of North Carolina, Chapel Hill. Collection comprises three folders of letters written to Burk by botanist Sherwin Carlquist. The majority of the letters are accompanied by examples of Carlquist's black-and-white 8"x10" landscape photographs, including seven photographic prints on enlarging paper, as well as scanned copies printed on a laser printer. There are also advertisements for Carlquist's books of landscape photographs featuring male nudes. The letters are most often general holiday greetings Carlquist mailed to all his friends, usually annotated with specific notes to Burk; others are personal letters to Burk. Carlquist's letters mainly provide information regarding the accompanying photographs and his artistic approach to photography, especially the male nudes; there is additional commentary on the history of botany; his writing, publication, and research projects; the work of other scientists; and his personal life. Other topics include gay fiction and culture, the challenges of being gay in academe, and circumcision. Books mentioned include: HAWAII, OUTSIDERS, COMPARATIVE WOOD ANATOMY, TARWEEDS AND SILVERSWORDS, THE NATURAL MALE, MAN/NATURE, NATURAL MANSCAPES, MEN IN NATURE, UNCUT, and NATURAL OBJECTS.

Collection comprises three folders of letters written to Burk by botanist Sherwin Carlquist. The majority of the letters are accompanied by examples of Carlquist's black-and-white 8"x10" landscape photographs, including seven photographic prints on enlarging paper, as well as scanned copies printed on a laser printer. There are also advertisements for Carlquist's books of landscape photographs featuring male nudes. The letters are most often general holiday greetings Carlquist mailed to all his friends, usually annotated with specific notes to Burk; others are personal letters to Burk. Carlquist's letters mainly provide information regarding the accompanying photographs and his artistic approach to photography, especially the male nudes; there is additional commentary on the history of botany; his writing, publication, and research projects; the work of other scientists; and his personal life. Other topics include gay fiction and culture, the challenges of being gay in academe, and circumcision. Books mentioned include: HAWAII, OUTSIDERS, COMPARATIVE WOOD ANATOMY, TARWEEDS AND SILVERSWORDS, THE NATURAL MALE, MAN/NATURE, NATURAL MANSCAPES, MEN IN NATURE, UNCUT, and NATURAL OBJECTS.

Collection

Bruce Davidson photographs, 1955-2008 6 Linear Feet — 4 boxes — 229 photographic prints

Bruce Davidson (b. 1933) is an American-born photographer, and a member of the Magnum Photo cooperative agency. Collection consists of 229 photographic prints, mostly black-and-white, with color work present in several series. Subjects range widely, with a focus on human interactions, minority and disenfranchised communities, urban street photography, and landscapes influenced by human activity. Locations include Chicago; Paris; England, Wales, and Scotland; Sicily and Venice; Los Angeles and the California Pacific Coast Highway; and New York City, including East Harlem, Central Park, the subway, and other locations. Also included is a large series of portraits chiefly of celebrities, and images deriving from commercial assignments. Several portraits of African Americans from Mississippi, South Carolina, and New York City were taken in 1962 while Davidson was documenting civil rights actions. Other short series feature nude female studies, French fashion shows, and scenes from the film production of Zabriskie Point by Antonioni. Sizes range from approximately 6x9 to 20x24 inches. Acquired as part of the Archive of Documentary Arts at Duke University.

The images in this collection were taken by photographer Bruce Davidson over the course of his career, from 1955 to 2008. Genres include street photography, interiors, landscapes, and portraits, all offering a complex view into interactions between people, and between humans and natural and built environments. Most were shot in black-and-white with a large-format camera, though there are also chromogenic and dye transfer color prints in several series. Most of the series in the collection house a small selection of prints from each project; the largest series, Portraits, contains almost 50 prints.

Some of Davidson's earliest photographs were shot in Montmartre, Paris in the 1950s, where he documented the solitary life of the widow of an Impressionist painter. He later returned to Paris in 1962, 1999, and 2005. He traveled the streets of New York City in the 1960s, exploring life in the Lower East Side, East Harlem, and Central Park, and continued this work from the 1970s into the 2000s. There are several series exploring Los Angeles, dating from the 1960s to the 2000s, as well as a series of images taken in Chicago during a visit in 1989. A few images are from Venice and Sicily.

Also present is a large series featuring portraits of U.S. actors, authors, politicians, artists, a conductor, and a rock musician. This series contains the earliest work in the collection, several portraits taken in 1955 of an aging couple in Arizona. A separate series, Time of Change, contains three portraits of African American rural and urban citizens in Mississippi, South Carolina, and New York City, taken in 1962 while Davidson documented the civil rights and suffrage movements in those locations.

Other series in this collection feature images of people, animals, and landscapes in England, Scotland, and coal mining communities in Wales; portraits of passengers on the New York subways; and photographs taken at fashion shoots and at filming locations for Zabriskie Point. Also included is a series of images from commercial assignments and commissions (1983-1997).

Image titles were taken from the prints or from the Magnum Photos website; a few other titles and captions derive from donor notes. Prints with no known titles are noted as such. Significant markings on the prints are also noted, as are legacy identifiers, which include various alphanumberic codes assigned by Davidson, the Magnum cooperative, and a private collector.

The prints are unmounted and were created with traditional processes, chiefly silver gelatin (black-and-white) on paper, with large-format color work present in the Chicago and Subway series, and a few smaller color prints scattered in the Commercial and California series. Print sheet dimensions are given to the nearest 1/8 inch and include variations on 8x10, 8 1/2 x 11, 11x14, 16x20, and 20x24 sizes.

Many of the images in this collection were published in photobooks and in journalistic publications, and have been exhibited widely.

Collection

Farm Security Administration photographs, 1939-1942, 1939-1942 1.0 Linear Foot — 1 box — 18 photographic prints — 11 x 14 inches

The U.S. Farm Security Administration (FSA) was formed in 1937 as part of social and economic reforms following the Great Depression. Collection comprises 18 color photographs taken from 1939 to 1942 by FSA photographers Jack Delano (8 prints), Russell Lee (7) and Marion Post Wolcott (3). Between 1937 and 1946, FSA/OWI photographers created over 175,000 black-and-white images, and only about 1600 color images using Kodachrome chromogenic film. Subjects in this collection are diverse and include sawmills in Georgia and Maine; a wheat field in Washington State, socializing at a rural fair in Pie Town, New Mexico; tobacco cultivation and a federal housing project in Puerto Rico; and a group of African Americans fishing near a cotton plantation in Mississippi. The prints are sized 10x13 and 11x14 inches, and were created in the 1980s by photograph collector Tennyson Schad using the dye transfer process. Acquired as part of the Archive of Documentary Arts at Duke University.

Collection comprises 18 color photographs taken from 1939 to 1942 by Farm Security Administration (FSA) photographers Jack Delano (8 prints), Russell Lee (7) and Marion Post Wolcott (3). The prints are sized 10 x 13 and 11 x 14 inches, with image sizes ranging from 6 1/2 x 9 3/4 to 10 x 13 inches. They were printed by photograph collector and gallery owner Tennyson Schad in the 1980s from original transparencies in the Library of Congress, using the dye transfer process.

Subjects include industrial settings such as a Pennsylvania steel mill and a sawmills in Georgia and Maine; rural settings such as a wheat field in Washington State and grain elevators in Idaho; and photographs of people, including a group of African Americans fishing near a cotton plantation in Mississippi, and a gathering of white men in a rural Kentucky town. One sequence documents people mingling, saying grace, and serving food at a rural fair in New Mexico. There are several photographs of tobacco cultivation and a federal housing project taken in Puerto Rico, where photographer Jack Delano settled shortly after his FSA assignment.

Together, these rare color images reveal the diverse subject and stylistic choices made by these notable photographers commissioned for the FSA project.

Collection

Gjon Mili photographs, circa 1939-1949 0.25 Linear Feet — 1 flat box — 20 prints — 20 prints

Collection comprises 20 gelatin silver prints of images taken during the 1930s and 1940s by photographer Gjon Milin. Through new tecniques of strobe lighting and electronic flash which Mili developed at MIT, the black-and-white images, some of which were used by Life magazine, portray human locomotion and the movements of other physical phenomena such as cascading water, frozen in time. Human subjects include two African American children playing with paddleballs, a man in the shower, a man aiming a racket at a shuttlecock, and female nudes. One image is of the photographer Mili photographing a stream of water with his camera. Acquired as part of the Archive of Documentary Arts at Duke University.

Collection comprises 20 gelatin silver prints taken during the 1930s and 1940s by photographer Gjon Mili. Using new techniques of strobe lighting and electronic flash that he developed at MIT, Mili created stop-action and multi-image frames portraying the movement of the human body (reminiscent of the more scientific locomotion studies of Étienne Jules Marey and Eadward Muybridge) and of objects such as an egg breaking in a pan, a jet from a siphon bottle, and a cascade of water. Human subjects in the collection include two African American children playing with paddleballs, a man in the shower, a man aiming a racket at a shuttlecock, and female nudes. One image is of Mili photographing a stream of water with his camera.

The prints range in size from 8x10 to 11x14 inches. Most are vintage prints, created from the 1930s to the 1940s; only one bears a date - 1943. A few are mounted on thin board, but the majority are unmounted paper prints. All are stamped with the photographer's name and "From the Richard Checani Collection." One print bears the stamp "Life Photo, to use" referring to Mili's work for the magazine. A few bear penciled captions such as "cartwheel" and "nude descending a staircase," and one penciled notation explains the genesis of the image: "Full frame (35 mm) shot by Wallace Kirkland, who was at my side, G [jon]." Acquired as part of the Archive of Documentary Arts at Duke University.

Collection

International history of photography collection, 1885-1951 3 Linear Feet — 3 boxes — 11 prints — 11 Items

Collection dates from 1885-1951 and comprises eleven vintage photographic prints by individuals considered to be master photographers. The prints are intended to represent major formats, techniques, and genres of the 19th and 20th centuries. Photographers whose prints are in the collection hail from Europe, the United States, and Mexico: Eugène Atget (printed by Berenice Abbot), Henri Cartier-Bresson, Alvin Langdon Coburn, Manuel Alvarez Bravo, F. Holland Day, Peter Henry Emerson, Lewis Hine, Aaron Siskind, Ralph Steiner, Alfred Stieglitz, and Minor White. Formats range from photogravures to gelatin silver prints, with the latter predominating; all are black-and-white and matted. Subjects include rural landscapes, individual and group portraits, and urban streetscapes. Acquired as part of the Archive for Documentary Arts at Duke University.

The International History of Photography collection dates from 1885-1951 and comprises eleven vintage photographic prints by individuals considered to be master photographers. The prints in this collection were acquired and assembled by the Rubenstein library staff, in part to provide students the opportunity to view and study original works from the world's foremost photographers as well as to learn about the major formats, techniques, and genres of the 19th and 20th centuries.

Photographers whose prints are in the collection hail from Europe, Mexico, and the United States: Eugène Atget (printed by American photographer Berenice Abbot), Henri Cartier-Bresson, Alvin Langdon Coburn, Manuel Alvarez Bravo, F. Holland Day, Peter Henry Emerson, Lewis Hine, Aaron Siskind, Ralph Steiner, Alfred Stieglitz, and Minor White. The print by Eugène Atget, "Flower Man," was printed by well-known American photographer Berenice Abbot, who purchased part of Atget's negative archive in 1928.

Formats range from photogravures to gelatin silver prints, with the latter predominating; all are black-and-white and are matted. Subjects include rural landscapes, individual and group portraits, architecture, and urban streetscapes. The prints are sized from 4.5 x 6.5 inches to approximately 9.5 x 13.5 inches, and are all matted.

Researchers must wear gloves when handling the prints. Prints should always be picked up and supported with two hands. The prints cannot be removed from the mats, but researchers may open the window mat to see the full print. The Archive of Documentary Arts Curator must be consulted prior to any display of the photographs.

Acquired as part of the Archive for Documentary Arts at Duke University.

Collection
Jessie Vanderbilt McNamee was born in 1874 to a wealthy family residing in Staten Island, New York (Richmond County). In 1901 she married Charles Dewar Simons(1874-1922) and they had one child, Charles Dewar, Jr. Ms. Simons served as a volunteer ambulance driver with the Dongan Hills Motor Corps; helped found and served as the ranking member of the Richmond County chapter of the Red Cross Motor Corps during World War I; served as Vice President of the National Federated Workers for Disabled Soldiers; and was an active member of the Veteran Association of Women War Workers. Her travels throughout Europe during the 1920s and 1930s are documented in diaries, correspondence, and other materials in this collection. Ms. Simons was a friend and neighbor of Alice Austen, a noted photographer who also served in the Richmond County Motor Corps. The Jessie Vanderbilt Simons papers contain materials dating from 1870 to 1936, with the bulk of the collection dating from 1890 to 1936. Materials in the collection primarily document Simons' travels through Europe during the 1920s and 1930s and her work with the Richmond County chapter of the American Red Cross Motor Corps. Twenty-nine yearly diaries detail daily life, family life, travel, participation in the Motor Corps, and other philanthropic activities. Correspondence with her son, family, and friends is also included; as are receipts, invoices, and other financial materials, primarily from travel to Europe; correspondence, printed materials, a scrapbook, and other items documenting Simons' service with the American Red Cross Motor Corps; material relating to friend, photographer, and fellow Motor Corps member Alice Austen; and photographs.

The Jessie Vanderbilt Simons papers contain materials dating from 1870 to 1936, with the bulk of the collection dating from 1890 to 1936. Materials in the collection primarily document Simons' travels through Europe during the 1920s and 1930s and her work with the Richmond County chapter of the American Red Cross Motor Corps. Twenty-nine yearly diaries detail daily life, family life, travel, participation in the Motor Corps, and other philanthropic activities. Correspondence with her son, family, and friends is also included; as are receipts, invoices, and other financial materials, primarily from travel to Europe; correspondence, printed materials, a scrapbook, and other items documenting Simons' service with the American Red Cross Motor Corps; material relating to friend, photographer, and fellow Motor Corps member Alice Austen; and photographs.

Collection

Jim Dow photographs, circa 1966-2020 114 Linear Feet — 138 boxes — 2847 photographic items — 10 Terabytes — 2 hard drives (HDD) — The majority of the negative sheets measure 8x10 inches, with the remainder measuring 4x5 inches. Photographic prints were created in two sizes: 8 x 11 1/2 and 13 x 19 inches.

Jim Dow (1942- ) is an American photographer based in Massachusetts. The core of the collection consists of 942 photographic prints and approximately 1905 sheet negatives, representing black-and-white and color images taken by Dow from 1966 to 2020. The photographs represent four long-term projects: 20th century U.S. vernacular culture, roadside architecture, commercial interiors, and landscapes; panoramas of stadiums and athletic fields; interiors of private clubs, libraries, and churches and museums in cities around the world; and a series on food trucks, chiefly in the U.S. and Mexico. His U.S. work focuses mainly on New England, the South, and the West; with a single-state project on North Dakota. Other significant images are from England, Argentina, and Uruguay. Dow's travel photographs often include outdoor advertising and cultural expressions such as murals, bar decor, and graffiti. Also included is a series of commercial work in negative format. Within the teaching materials are a large set of slides, course readers, printed syllabi, and digital files, all used in support of Dow's art courses. Acquired as part of the Archive of Documentary Arts at Duke University.

The core of the collection consists of approximately 942 black-and-white and color photographic prints and 1905 film negatives of images taken by Jim Dow from 1966 to 2018. They document Dow's extensive travels chiefly across much of the U.S., and in Argentina, Uruguay, England, and Mexico, and to a lesser extent in Canada, Portugal and Scotland. The black-and-white images represent Dow's earliest work, after which Dow moved to shooting in color with an 8x10 inch view camera.

Dow is best known for his studies of 20th century American vernacular culture, roadside architecture, and landscapes; for his multi-panel panoramas of baseball, football, and soccer stadiums and athletic fields, chiefly in the U.S. and U.K.; and for his images of the architecture and interiors of private clubs, libraries, and large public buildings such as churches, museums, and civic buildings in cities around the world.

The earliest photographs in the collection were taken in almost every region of the lower 48 states, beginning in 1966 and continuing through 2018. Starting out in black-and-white then soon transitioning to color, Dow documented small towns and roadside attractions, well-worn business façades, and gathering places such as barbecue joints, bars, diners, and event halls. North Dakota features prominently, as do California, Louisiana, Massachusetts, North Carolina, Pennsylvania, Texas, Virginia, and Wyoming. There is also a series on barbecue, taco, and other food trucks in the U.S., Mexico, and South America. Regardless of location, many of Dow's photographs include details of outdoor advertising and cultural expressions such as murals, handpainted signs, bar decor, and graffiti; people are rarely present.

Also included is a smaller series of photographic prints representing Dow's commissioned work (1985-2008), chiefly taken at New England universities and private schools such as MIT, Yale, Tufts, Vassar, and Phillips Academy.

The teaching materials assembled by Jim Dow over a long teaching career include: a large set of approximately 120,960 teaching slides and hundreds of electronic files related to Dow's photography and art courses, dating from approximately 1980 to 2019.

These materials form the first two installments of the photographer's archive at Duke University. Additions of photographic prints and professional papers are anticipated.

Collection
John K. Hillers was an important early American photographer and one of the first to photograph the Grand Canyon and the high plateaus of central and southern Utah. Collection contains albumen photographs spanning the years 1871-1889. Most of them are landscapes made in Utah, but there are also landscapes from California and several photographs of Native Americans made in New Mexico. The photographs are organized into six series.

John K. Hillers, one of America's most important early photographers, was one of the first to photograph the Grand Canyon and most of the high plateaus of central and southern Utah. In the fall of 1872, at the request of the Western lands survey, Hillers turned his lens from features of the landscape to its Native American inhabitants and photographed the Zuni and San Juan Pueblos. The 40 single albumen photographs and the 539 prints in the photograph album in this collection span the years 1871-1889.

Of the 40 single photographs in the collection, 33 are landscapes, many of which Hillers made in Utah. Five of the landscapes are from California. Seven photographs portray Native Americans, primarily Pueblo and Zuni in New Mexico. These photographs are organized into six series: Official Identification of the Survey Series, Gold Border Series, Indian Series, 1873 Powell Survey Series, Black Border Series, and the California Series.

The photograph album added to this collection contains 539 original albumen prints, most of which were taken by Hillers on the Second Expedition; others were taken by E. O. Beaman and James Fennemore on the same Expedition. The majority are from the Colorado River region in Colorado and Utah, and feature landscapes and vistas, expedition camps, Paiute Indians, and natural features. The prints may have been assembled by Hillers himself, or by John Powell as a gift for a patron or Congressman.

Collection

John Willis photographs, 2009-2011 0.5 Linear Feet — 1 box — 6 prints

John Willis created these six composite color images to articulate and consider the connections between photographic portraits taken by the Khmer Rouge of young people in Tuol Sleng prison in Phnom Penh, where an estimated 14,000-20,000 victims were executed from about 1975-1979, and images of deteriorating mural frescoes at the Emperor's Palace, also in Phnom Penh. The portraits are said to be of prison workers, and were exhibited in 2008 at the prison, now a genocide museum. Five of the historical photographs are portraits; the sixth shows a group of what appears to be Khmer Rouge soldiers in uniform. The photographer's images show that the original photographs on exhibit were defaced with graffiti and other marks by visitors to the museum. The neglected Emperor's Palace frescoes, whose images flank the victim's portraits in Willis' work, depict scenes from the Cambodian epic poem, the Reamker, which speaks to human issues of love, revenge, loyalty, and trust. The color inkjet prints were created from 2009 to 2011. Acquired as part of the Archive of Documentary Arts at Duke University.

American photographer John Willis created these six composite color images to articulate and consider the connections between photographic portraits taken by the Khmer Rouge of young people in Tuol Sleng prison in Phnom Penh, where an estimated 14,000-20,000 victims were executed from about 1975-1979, and images of deteriorating mural frescoes at the Emperor's Palace, also in Phnom Penh.

The portraits are said to be of prison workers, and were exhibited in 2008 at the prison, now a genocide museum. Five of the historical photographs are portraits; the sixth shows a group of what appears to be Khmer Rouge soldiers in uniform. The photographer's images show that the original photographs on exhibit at the genocide museum were defaced with graffiti and other marks by visitors.

Images of the neglected Emperor's Palace frescoes flank the victim's portraits, creating dramatic diptychs and triptychs, and depict scenes from the Cambodian epic poem, the Reamker, which speaks to human issues of love, revenge, loyalty, and trust.

The six color inkjet prints measure approximately 7x15 inches and were created from 2009 to 2011.

Collection
Life Savers are a brand of hard and soft candies first produced in 1912, currently owned by Mars. Collection consists of approximately 150 items: matted advertising, display and promotional designs; black and white photographs; and negatives that depict a variety of campaigns to market Life Savers in early and mid-century United States. Included are photographs of models in various poses; candy displays (including displays of competitors such as Curtiss's Baby Ruth/Butterfinger and Pine Bros. Glycerin Tablets); celebrities posing with the candy in endorsement or other promotional campaign; street vendors (Life Savers Sampler Girls); and images of placements of the candy in film productions. Celebrities include Ann Rutherford, Edgar Bergen, George McManus, George Raft, Jack Benny, Lou Costello, Maggie Jiggs and Virginia Mayo. Images produced by a number of prominent photographers and agencies, including Acme Newspictures, Ewing Galloway, General Outdoor, Guy Gillette, Hyman Fink, Keystone View, McArthur Advertising, Shigeta-Wright, and the Vacuum Candy Machinery Company. Acquired as part of the John W. Hartman Center for Sales, Advertising & Marketing History.

Collection consists of approximately 150 items: matted advertising, display and promotional designs; black and white photographs; and negatives that depict a variety of campaigns to market Life Savers in early and mid-century United States. Included are photographs of models in various poses; candy displays (including displays of competitors such as Curtiss's Baby Ruth/Butterfinger and Pine Bros. Glycerin Tablets); celebrities posing with the candy in endorsement or other promotional campaign; street vendors (Life Savers Sampler Girls); and images of placements of the candy in film productions. Celebrities include Ann Rutherford, Edgar Bergen, George McManus, George Raft, Jack Benny, Lou Costello, Maggie Jiggs and Virginia Mayo. Images produced by a number of prominent photographers and agencies, including Acme Newspictures, Ewing Galloway, General Outdoor, Guy Gillette, Hyman Fink, Keystone View, McArthur Advertising, Shigeta-Wright, and the Vacuum Candy Machinery Company. Acquired as part of the John W. Hartman Center for Sales, Advertising & Marketing History.