Collection consists of a set of seven mounted photographs, apparently intended for exhibition, and a set of five pro-choice pamphlets created by the Abortion Rights Association of New York (later known as Abortion Rights Association, Inc.). The photographs include coroner's office photographs of deceased women following self-inflicted abortions; morgue photographs of infanticides; equipment and tools used in self-inflicted abortions; and fetuses in utero, one with deformed brain. Author of the included captions is unknown. The pamphlets, written to assist New York physicians and practioners implementing the Supreme Court Roe v. Wade ruling, address women's rights to clinical abortions, abortion laws, counseling and guidance on policies, and references to New York abortion clinics and practitioners.
The Dorothy Allison Papers include drafts and manuscripts of her writings (including Bastard Out of Carolina, Trash, Cavedweller, and other works). All of Allison's unpublished works are RESTRICTED and require permission from the creator prior to use. Personal and professional correspondence, including exchanges with her publishers and other authors, are held in the chronological and work files. The collection also contains Allison's research materials and subject files, covering topics on feminism, lesbianism, sexuality, pornography, writing, and other related files. Allison's journals, dating from 1985 through the 2000s, consist of both handwritten and electronic formats, with all of the electronic journals printed for the archive. All of Allison's journals are RESTRICTED and require permission from the creator prior to use. Also included are materials from her speaking engagements, workshops, and other professional activities. There are a variety of special formats within the collection, including some photographs, electronic files, audio tapes, video cassettes, DVDs, and oversize posters.
Collection was acquired as part of the Sallie Bingham Center for Women's History and Culture.
Collection consists of two documentary photography series by Melanie Dornier taken in India. "Mahila Thana: All Women Police Station" is comprised of 56 color digital prints. The photographs - taken during 2016 - record daily life inside the walls of the All Women Police Station of Gurugram, Haryana. The 54 color digital prints in "Punch My Face: Women's Boxing in India, document the experiences of Meena Kumari, a wife, mother, buffalo owner, police officer, and boxer, between 2013 and 2016.
In an artist's statement Dornier describes that in 2012, "...the safety issues of the Indian women and gender violence were brought to the fore by the news of the gang rape and death of a young student in New Delhi, India. Since then funding and action plans have been implemented all around the country. In Gurugram, the millennium city in the state of Haryana, it was decided to open an All Women Police Station (AWPS) as in each of Haryana's districts and this was completed in August 2015. The project 'Mahila Thana,' which is 'All Women Police Station' in Hindi, documents the daily life inside the walls of the AWPS of Gurugram."
On "Punch My Face," Dornier reflects that, "Meena Kumari was born in December 1982 to a modest rural family. Now she is reaching the end of her boxing career and she hopes to soon become a police inspector. In 2001, Meena was one of the first Indian women to become a boxer and enjoyed visibility on the international scene. Her first major fight was confronting her father who believed boxing was not a respectable activity for a woman. Despite this Meena worked harder and harder and quickly reached the national and international stage in the flyweight category (51KG). Back then, female boxers were trained with young boys due to the shortage of women in the ring...at the end of 2016 and at the end of this photo documentary, we see Meena in the first months of her third pregnancy."
Dornier is the winner of the 2017 Bettye Lane Award for Feminist Photography, sponsored by the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture.
Acquired as part of the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture at Duke University.
Melanie Dornier photographs, 2013-2016 1.0 Linear Foot — 2 boxes — 110 color inkjet prints — 11 3/4 x 8 inches
The collection consists of correspondence, writings, and other ephemeral materials relating to the Fox and Backhouse families, along with materials relating to nineteenth century Quaker communities and families in England. The bulk of the collection is correspondence between different members of the Backhouse family, including Jonathan and Hannah Chapman Backhouse, their son Edmund Backhouse and his wife Juliet Fox, and their grandson Jonathan Edmund (Jed) Backhouse. Caroline Fox is also a routine correspondant. The letters discuss family news, personal activities and travel, religious sentiments.
There are two excerpts of diaries which appear to be by different authors and may relate to Hannah Chapman Backhouse's travels to the United States in the 1830s, or to another family member's travels in Europe or the Middle East. The handwriting of these pages is challenging and the excerpts are unattributed and appear to be undated, so more research would be helpful.
Also present in the collection are some writings, including essays and poetry, typically spiritual or relating to prayer, as well as some honorifics for Edmund Backhouse and a copy of his obituary. There are some manuscript riddles, some watercolors, and some sketches of scenes and still lifes. The collection also includes some ceremonial documents, including a letter from the Society of Friends declaring support for Hannah and Jonathan Backhouse's travels to the United States.
Collection assembled by Lisa Unger Baskin containing printed ephemera, receipts, manuscripts, handbills, catalogs, decorative trade cards, prospectuses, circulars, political campaign materials, and other advertisements from the United Kingdom, Western Europe, and the United States. The bulk of the collection's materials advertise businesses or services offered by women or for women, including millinery, fancy goods, hair work, tea, painting, teaching, music, bricklaying, gardening, dressmaking, apothecaries, and a clairvoyant. Also includes calling cards and bookplates with women's names, and assorted ephemera relating to women's pay, income, or work, including a penioner's card for a firefighter's widow and pamphlets about life insurance for women. Some receipts, contracts, and statistics record rates of pay or income for women employees, or rates charged by women proprietors. Contains some advertisements for health-related retreats or vacations; circulars seeking to hire saleswomen or other women into different occupations; and some lending library slips. Includes examples of some Lippincott seed catalogs from the early 1900s, art samples and calligraphy by women, and some materials related to domestic arts and homemaking, including advertisements for patterns, sewing, cooking, and landscaping or interior decoration. Some materials relate to women's courtesy and conduct in public spaces, or to their appearance and clothing.
"Woman: the World Over": a lecture to accompany a series of 54 photographic transparencies for the optical lantern, 1901
Collection consists of a nearly complete lecture set of 48 hand-colored glass lantern slides published in England. The original printed booklet accompanying the set bears the full title, "Woman: the world over. A lecture to accompany a series of 54 photographic transparencies for the optical lantern." The price appearing on the booklet is sixpence.
The booklet lists 53 slides in this set, and contains detailed lecture-format captions which would be read aloud as the slides were projected. The series is incomplete: numbers 28, 47, 48, 51, 53, and 54 are not present. Titles are also printed along the mount edges of each slide but are obscured in a few cases by black repair tape. All titles are original, as is the slide order. The titles and lecture script contain historical terms and language that may be offensive to modern-day audiences. The slides measure 3 1/4 inches square (83 x 83 mm).
The slides and lecture notes were originally arranged in six series, retained in this description: Woman in Society; The Domestic Woman; Woman in Subjection; Emancipated Woman; Woman the Breadwinner; and Angelic Woman.
The women in the portraits represent races, cultures and nations around the world, among which British Guiana, China, Iceland, India, Japan, Netherlands, the Philippines, Russia, Switzerland, Tonga, Tunisia, and the U.S. There are portraits of women with high social status, married women, and women in courtship; there are women depicted in their homes, women with children, and in roles of subjugation which the lecture suggests are little more than slaves. A few images include men.
The series "Woman the Breadwinner" includes agricultural, craft, and industrial scenes, and a slide of women nurses attending to patients. The "Emancipated Woman" series includes an actress, a group of nurses, and women mountaineering. There is one slide of the Women's Temple in Chigago, headquarters for the Women's Christian Temperance Union from 1892 to 1926. Titles are present on the edges of most of the glass slide mounts, and are listed in full in the booklet.
The booklet's lecture notes refer to problematic social conditions for women, particularly regarding marriage, as well as changing social norms as the 20th century begins. The series ends with romantic images of ideal women, chiefly through the lens of courtship and beauty. Most of the missing slides are from this group.
The set held by the Rubenstein is numbered 1239 in the lecture booklet. There is no date on either the slides or the booklet, but the Women's Temple in Chigago, completed in 1892, provides the earliest date. A slide entitled "Wife of the Khedive" helps provide the latest date: the Egyptian title "Khedive" was last used in 1914. The Lucerna Magic Lantern Web Resource (viewed online November 8 2017) gives the publisher as the Riley Brothers of Bradford, Yorkshire, England, and the publication date as 1901.
Acquired as part of the Sallie Bingham Center for Women's History and Culture and the Lisa Unger Baskin Collection at Duke University.
"Woman: the World Over": a lecture to accompany a series of 54 photographic transparencies for the optical lantern, 1901 49 items — 1 box; 1 pamphlet binder — 48 glass lantern slides; one printed booklet — Slides measure 3 1/4 x 3 1/4 inches — 48 glass slides; 1 printed booklet.
Family papers documenting the Lefroy, Caperton, and Montague familes, representing the families in Sallie Bingham's matrilineal line. These materials belonged to Sallie Bingham's mother, Mary Caperton Bingham, until her death, when they went to Sallie; her sister, Eleanor Bingham Miller; and their niece, Emily Bingham. Two figures documented in these papers, Helena Lefroy Caperton and Sallie Montague Lefroy, are the focus, along with her mother, of Sallie Bingham’s 2014 book, The Blue Box. Includes genealogies, letters, wills, a bill of sale, short stories and other writing, speeches, a prayer book, list, a few clippings, and Irish and English postcards. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
Collection consists of some examples of correspondence sent by Rosa Bonheur, to friends and admirers. The letters tend to be brief and routine, typically conveying her thanks for the correspondent's initial letter.
Consists of a single typescript letter from Brittain to the critic and editor John Middleton Murry dated September 13, 1946. Single-page, with text on front and back written on letterhead reading "2 Cheyne Walk, Chelsea S.W.3." Brittain comments on the revival of Murry's The Adelphi, and on strategies to finance such literary magazines. The second part of the letter discusses her opinions on methods of pacifist activism, particuarly as related to nuclear war. The postscript discusses the forthcoming publication of John Hersey's 1946 book Hiroshima. She comments, "If only the world could read it, the 'next war' would move much further off." It is signed "Vera."
This collection includes examples of Camp Fire Girls and Blue Birds membership cards and forms, catalogs, programming materials, crafting projects, songs, educational resources, administrative records and notes, correspondence, scrapbooks, homemade yearbooks, and some ephemera including a ceremonial dress and charter. Includes some materials from Camp Fire Girls in New England, New Mexico, Indiana, and other unidentified places. Includes extensive programming and planning materials from Mrs. Marion Hunt who served as a Camp Fire Girls guardian in the Arlington and Boston, Mass. area in the 1940s.
The Betsy Gamble Hansen papers are organized into two series. The Writings series includes drafts of Hansen's 2003 novel Portals, iterations of which existed under the titles A Communion of Saints, A Gathering of Saints and Sinners, The Hawk and the Myna Bird, and Tapestry Tales. Also included in this series are papers related to the publication of the book, including publishing contracts, typeface samples, prospectuses, copyright forms, and estimates. The Menzies Family correspondence and other papers series contains letters received by Hansen's grandmother, E.B. Menzies, of Hickory, North Carolina, and her immediate family, clippings, and other papers. The bulk of the correspondence in this series was written by Menzies's sons, Bruce, George, and Tom Menzies, and her daughters Mary Stuart Menzies Tarrant and Jane Menzies Gamble (Betsy Gamble Hansen's mother). Other frequent correspondents include Tom's wife, Frances Menzies, and George's wife, Betty Menzies. Also included are birthday cards, Christmas cards, and letters for E.B. Menzies from friends. Two folders labeled "Family Correspondence" consist of correspondence between E.B. Menzies's children and their spouses. Peppered throughout these folders are letters from E.B. Menzie's grandchildren, including Betsy Gamble Hansen.
Mrs. E. B. Menzies was born Reesie Tipton Warren in 1880 in Emory, Virignia and died in 1961. She lived most of her life in Hickory, NC. She married Edward Bruce Menzies in 1902, and they remained together until Edward died in 1924. Most of the pre-1930 correspondence in the collection consists of letters from E.B. Menzies's extended family and a few letters from her children while away at camp. The children wrote infrequently in the 1930s. During this time Tom, George, and Bruce traveled across the country from their hometown of Hickory, North Carolina, in search of work, while Jane and Mary Stuart remained at home. From 1932-1935, the three men each attended the Colorado School of Mines and performed construction work for the Works Progress Administration (WPA) project to build the Hoover Dam, then held temporary jobs in several different cities before settling in California. Tom and Bruce attended college while George appears to have continued working.
During World War II, each of E.B. Menzies's sons enlisted as United States Navy Seabees in the Pacific Theater, and began to write home much more frequently. Tom graduated in 1942 and was immediately subject to the draft, while Bruce and George began service several months later. None of the three men appear to have seen much conflict, and each survived the war unharmed, although Bruce did stay in a Navy Hospital for some time, apparently due to a stomach illness. Jane and Mary Stuart kept in frequent contact with their brothers throughout the war. All three men were discharged by 1945.
In the late 1940s and 1950s, each of E.B. Menzies's sons settled in California with their wives and children. George began working for a rail line, Tom took a job at a mill, and Bruce sold insurance. E.B. Menzies moved to California to teach for two years before moving back to North Carolina. Each of her children kept in regular correspondence with her throughout the 1950s, but the letters stop in 1961, when E.B. Menzies died.
In addition to the correspondence in this series, this series contains clippings and other papers compiled by E.B. Menzies, including a small amount of financial papers, prescriptions, and materials relating to her children.
The collection is composed of 33 pocket diaries Parker Pillsbury kept for the years 1864 to 1896. The diaries contain a consistent, uninterrupted record of Pillsbury's life during these years.
Pillsbury wrote daily or nearly daily about the details of his life recording both the mundane and the profound. A typical entry begins with the weather and his location before providing the names of those with whom he met or correspondeded that day, events he attended, lectures he gave, or work he did. Pillsbury writes about his interactions with William Lloyd Garrison, Frederick Douglass, Abby Kelley and Stephen S. Foster, Gerrit Smith, Wendell Phillips, Elizabeth Cady Stanton, Susan B. Anthony, Lucretia Mott, the Allcott family, Robert Ingersoll, Charles Sumner, Henry Ward Beecher, Theodore Tilton and many other leading social reformers of the nineteenth century. His entries are occasionally accompanied by tipped in newspaper clippings about national events.
Due to their consistency and span, the diaries provide a decades' long chronology of Pillsbury's involvement with and importance in the major social reform movements of the late nineteenth century, and in particular, the women's rights movement with which he closely associated during these years. The diaries show him to be a ceaseless traveler, moving up and down the east coast, throughout New England, and through western New York and the Midwest, as he lectured, preached, attended women's suffrage conventions, and otherwise attempted to advance the causes of equal rights for women and African Americans and Free Religion.
The diaries illustrate his close and sustained relationship with major figures in the women's rights movements. He writes of his work as joint editor with Elizabeth Cady Stanton and Susan B. Anthony of the Revolution from 1867 to 1870, and his continued friendship and partnership with Anthony in the following decades. He often visited her in Rochester, they lectured together, and he served as her advisor when she was put on trial in Albany by the State Supreme Court for voting without the right to do so.
This photograph album was compiled by an individual of color identified only as "Maxiña" or in at least one instance, "Maxine," living in Cleveland, Ohio. The black-and-white photographs date from approximately 1947 to the 1950s, and focus on Maxiña, her LGBTQ+ friends, and family. There are several images of men in military uniforms. Her gender as assigned at birth appears to be male; her gender expression in almost all the album images is feminine. There are over fifty images of gender non-conforming individuals, many of those depicting Maxiña.
A set of black-and-white Polaroids seem to be taken inside an unnamed bar which clearly served the Latino or Hispanic, African American, gay men, and gender non-conforming communities. Maxiña is seen in these photos embracing and kissing men of color. There are also photobooth pictures of gender non-conforming people, some with female names. One caption gives a Cleveland address, "Scene from my window/2162 E. 55," and another photograph of an African American man, "Mel," with a "Dr. Szeklay," possibly the Hungarian doctor named Emrick (or "Emerick") Szekely.
Seven portraits, including a formal portrait of Maxiña and a man identified only as Homer, were taken at the studio of William H. Jordan, an African American photographer in Cleveland.
About two-thirds of the 102 photographs have hand-written captions; some of the names and longer captions are in Spanish. A few of the captions on larger images express romantic love: "Before him there was no other."
A news clipping in the album refers to the death of an entertainer from Cleveland, Jess Rodgers, who was a member of the 12 Counts, a society for African Americans in Cleveland founded in 1939.
"Maxiña" photograph album, 1940s-1950s 0.5 Linear Feet — 1 box — Album: 11 1/2 x 10 inches — The album is comb-bound and measures roughly 11 1/2 x 10", and has faux leather covers. The front cover is detached. There are 62 pages, the first 30 containing 102 black-and-white photographs, including seven which are hand-colored. Ten photos are lacking. Most photos range from 2 1/4 x 3 1/4 inches to 5 x 7 inches. Seven studio portraits measure 8 x 10 inches, and 23 are photo booth or a little smaller. Approximately 26 are black-and-white Polaroids that are fading and abraded.
The collection consists of the saved copies of blogposts for various feminist websites run or written by Marshall, some of Marshall's other writings, interviews, as well as miscellaneous administrative and editorial materials for her offline projects and activities. The following blogs from 2000s and 2010s are represented: Feminist Peace Network, Occupy Patriarchy, Reclaiming Medusa, RH Reality Check, and Women's Media Center. There are editorial materials for the special issue "Women Envision Peace" for Off Our Backs journal. In addition, the collection contains Marshalls's working materials for her talk "The Other Terrorism - Militarism and Violence Against Women" presented at the University of Dayton in April 2010. Also included are administrative materials for celebrations of International Women's Day in Louisville, KY in 2004-2007.
Collection includes publications and research files related to human rights, social justice activism, and peace in Latin America and the United States; as well as ephemera, pamphlets, periodicals, and clippings related to youth liberation, sex education, reproductive health, and feminism, primarily dating from the 1970s and 1980s.
Sarah F. Martin illustrated manuscript memoir of Mary Cary Packard, R.N., and manuscript autobiography, 1863-1951, bulk 1863-1936
Collection comprises two items: a 109-page scrapbook memoir of Baltimore-based professional nurse Mary Cary Packard, assembled by her close companion and colleague Sarah F. Martin starting in 1934 and completed shortly after her friend's death in 1936, and a shorter handwritten autobiography by Martin narrating her own life, created around 1940.
The Packard memoir starts with the 1934 dedication, and a 10-page biography of Packard's life and career in public health and nursing, handwritten in ink by Martin. Subsequent album pages abound with news or literary clippings; humorous verses and lyrics (some composed by Packard); memorabilia; postcards, Christmas and Valentine cards, and letters; and professional literature from nursing associations referring to the activities and accomplishments of Mary Cary Packard.
Also found in the scrapbook are 34 pasted-in photographs in the form of well-captioned albumen cartes-de-visite, cyanotypes, and gelatin silver prints. These are numerous portraits and snapshots of Packard, and a few of Martin, and photos of family, friends, nurses and physicians, and patrons of medical institutions such as the Jacobs and Garrett families. Other photographs offer views of hospital buildings, schools, and ancestral homes and towns. In addition, there are a number of photographs taken by Packard and Smith of the medical staff at the Garrett Sanitarium for Children in Mount Airy, Md., and photos of the exterior and interior of their home, "Clovelly," built for Packard in 1912 in the Baltimore suburb of Ten Hills. There are no depictions of the interiors of medical institutions or nursing schools. A handful of photographic postcards depicting hospitals and other locations are also present in the memoir.
The shorter 20-page "Miss Sallie" manuscript is an autobiography written by Sarah F. (Florence) Martin, and consists of a handwritten personal narrative which details her origins in Massachusetts, her nursing training, her career in Baltimore, and her friendship with Mary Cary Packard. Four photographs, one of Martin at six months old and another of her in nursing uniform, and two booklets from a Woman's Club accompany the narrative.
Together, the two manuscripts richly document the lifelong friendship and careers of the two women and their association with friends, neighbors, and colleagues. Topics well-represented in these two memoirs include the early decades of the nursing profession in the United States, the development of Maryland's public health system and children's medical institutions; the genealogies of the Alden, Cary, Packard, and Parker families of eastern Massachusetts; and the history of the Cary family of Clovelly (Devon), England.
Sarah F. Martin illustrated manuscript memoir of Mary Cary Packard, R.N., and manuscript autobiography, 1863-1951, bulk 1863-1936 1.5 Linear Feet — 2 boxes — Album pages: 8 x 10 1/2 inches
The Jeanne Audrey Powers papers span the dates 1924-2015 and contain files documenting her personal and professional lives including correspondence, writings, family history, education, committee work, sermons, travels, and activism.
The collection is arranged into the following series: Professional Papers, Personal Papers, Print Material, and Re-Imagining Movement. The Professional Papers series contains the following subseries: Conferences/Workshops/Schools, Ecumenical and Interreligious Work, Correspondence and Writing, and Activism. A 2015 addition to the collection (2015-0177) is organized into the same four series.
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