Collection includes the political and legal correspondence of Armistead Burt (1802-1883), South Carolina planter and member of U.S. Congress.
The political correspondence deals largely with the policies of John C. Calhoun and the question of secession. After 1860 the material relates chiefly to Burt's law practice, especially to the management of estates of Confederate soldiers, and the Calhoun estate. Other matters referred to include the political corruption and economic conditions in postwar South Carolina. Among the correspondents are Armistead Burt, Pierce M. Butler, Henry Toole Clark, Thomas Green Clemson, T. L. Deveaux, James H. Hammond, A. P. Hayne, Reverdy Johnson, Hugh S. Legare, Augustus B. Longstreet, W. N. Meriwether, James L. Petigru, Francis W. Pickens, Robert Barnwell Rhett, Richard Rush, Waddy Thompson, and Louis T. Wigfall.
Collection consists of 28 black-and-white photographs taken during the earliest years of Aaron Siskind's career, documenting life and conditions in New York City's Harlem neighborhoods from about 1933 to 1941. The majority of the images feature portraits of African American men, women, and children in various settings: on the street; in the Apollo and Lafayette theaters; in a night club; taking part in a church service; playing around abandoned houses; and posing in bedrooms, kitchens, and other interior rooms of tenement buildings. A few images focus only on buildings or outdoor settings.
Siskind included these and other images in two photo projects in which he played a central role: "Harlem document" and "The most crowded block in the world." "Harlem document" was sponsored by the Photo League of New York. The second project unfolded from about 1939 to 1941 after Siskind left the Photo League; to a large extent, this project carried on his work of documenting street life in Harlem.
The gelatin silver prints in this collection are all signed by Siskind. They all measure 11x14 inches, with the image dimensions ranging from 9 1/8 x 8 3/4 to 11 3/4 x 9 7/5 inches. The year these particular prints were created is unknown. Some of the images have two copies in the collection, resulting in 23 unique images represented by 28 prints. Library staff assigned titles and original negative dates according to original negatives donated by Siskind to the Eastman House; some titles are not known. Titles assigned by a former collector, sometimes present on the back of the prints, are also given in a note field in the entry for each print.
Aaron Siskind photographs of Harlem, circa 1933-1941 1.0 Linear Foot — 1 box — 28 photographic prints — Print versos are marked with legacy identifiers, titles and dates assigned by former owners, and other notes.
Collection of glossy black and white photographic prints of Afghanistan, taken by an anonymous photographer during the Afghan Wars, most likely in summer and fall 1897 during which there was a major outbreak of hostilities. The images consist of 24 8.125" x 5.75" prints, and 21 smaller 4.125" x 5.75" prints, all affixed to cardstock, three or four per page, often on both sides of the board. There is also a panoramic shot of the Tungai Pass made up of three sequenced prints. Pasted-down typed captions are also present for some images, while others carry handwritten captions; a few are dated 1897. The set was originally housed in an unmarked cloth and board portfolio, which has also been conserved. Resembling to some degree in subject matter the Afghanistan images of military photographer R. B. Holmes, the majority of the images in this collection depict British military camps and landscapes. The landscape views include the Mamund Valley, Tangi Pass, Agrah, Chakdara, Malakand, and Ambeyla Pass, and a few captions describe events taking place in that location. Military camps, many taken at a distance with fine detail, include Buner, Inayat Killa, Kindergali, and Malakand. A few scenes show bridges, including a boat bridge over the Indus. Some prints feature groups of officers in posed and casual scenarios, including one image of the First Royal West Kent Regiment. One image shows the gravesite of 2nd Lieutenant W. C. Browne-Clayton, dated Sept. 30, 1897, killed at the battle of Agrah. Acquired as part of the Archive of Documentary Arts.
Album contains 106 black-and-white and color photographs carefully arranged and mounted in a black-leaf photograph album, bound in Japanese-style lacquered covers inlaid with mother-of-pearl. Photographer may be an African American soldier named Tommy, who served in the U.S. Army's 511th Operation and Maintenance Service (OM SVC) Company during the Korean War. It is unclear whether the photographs are from Japan or Korea, as the latter was strongly influenced by Japanese culture until the end of World War II.
The images depict soldiers in and out of uniform and often engaged in recreational pursuits. Many photographs depict both white and African American soldiers together. Other subjects include local women and children; women with servicemen; the countryside and Japanese-style buildings; and family members and others back home. Included with the album is an early 20th century 10 1/2 x 14 inch portrait of four African American children.
Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture at Duke University.
African American soldier's Korean War photograph album, circa 1950-1953 .5 Linear Feet — 1 box — 2 items
Collection comprises a photograph album likely created by an unidentified African American soldier serving in Vietnam. There are 268 uncaptioned black-and-white and several color photographs ranging in size from 2 3/4 x 3 1/2 to 3 1/2 x 5 inches, along with 15 souvenir postcards, all carefully arranged and mounted in a large decorative travel scrapbook.
Images primarily feature off-duty African American and white servicemen in camp and off base, although few show white and black soldiers mingling. There is also a series of well-executed portraits of individual soldiers, white and black. Scenes from the streets of Saigon and perhaps other large cities abound, showing the diversity of vehicles and pedestrians; there are also some taken in smaller, unidentified towns and villages, presumably in Vietnam. The photographer took many images of markets, bars, pharmacies, and other buildings, almost always from the exteriors, as well as numerous snapshots of local citizens, chiefly women and children, often in groups, and some who appear to be frequently associated with the U.S. military base or camp.
Military locations and scenes include an air base, helicopters in flight, a crashed helicopter, military bases and personnel, Army vehicles along the roads, military police (including one African American), and what appear to be checkpoints. There are a handful of shots showing bombing raids and cleared or destroyed jungle areas.
Overall, the images in this photograph album offer a wealth of details about the Vietnam War from a variety of viewpoints.
Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture.
African American soldier's Vietnam War photograph album, circa 1965-1973 1.5 Linear Feet — 1 box; 1 album
Collection comprises a 16-page, 8 1/2 x 11 inch photograph album belonging to an unidentified member of the 45th Engineer General Service Regiment, one of at least four segregated units of African American soldiers active, stationed in Ledo, India beginning in 1942. Their charge was to build a portion of the Stilwell Road, a military supply route from Ledo in Assam, India, through Burma, to Kunming, China.
The album's original binder is no longer present. Mounted on the loose pages are 44 black-and-white snapshot photographs, most measuring 3 x 4 1/2 inches, some with brief captions in ink. The images include posed and candid snapshots of individuals and groups of African American soldiers, at work on the base and during periods of rest. Soldiers identified in the captions include Charley Woodard, Clarence Benson, Charles J. Greene, and Cain Walker. There are also photographs of buildings on the base, including Battalion Chapel, headquarters (labeled "The Gateway to Hell"), Harmony Church, a large Stilwell Road sign, along with varied shots of military equipment, a "Coolie Camp," the "laundry man," and the Taj Mahal. There are a number of blank pages, and there are some photographs missing.
Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture.
African American soldier's World War II photograph album of India, circa 1942-1945 0.2 Linear Feet — 1 box — 16 pages
Small photograph album (6x8 inches) housing 35 loosely mounted photographs of U.S. Army African American soldiers in Munich, Germany, August 1945. Comprises 34 black-and-white snapshots measuring approximately 2 1/2 x 3 3/4 inches, and one black-and-white photographic postcard portrait (3x5 inches) of a Corporal Jack Taylor, to whom the album may have belonged. The caption on the back of the postcard bears the name of the 3909th Quartermaster Truck Company. The only dates in the album are found on one page and refer to August 16-19th, 1945, but the other photographs may have been taken before or after this period.
The snapshots are of individuals and groups, and chiefly show the men enjoying some leisure time during the last months of World War II. Most of the images have handwritten captions with last names, nicknames, and commentary. Scenes include the men posing in their bathing suits in what appears to be an un-segregated pool facility, posing with Army trucks, standing in front of a bombed-out building (the only city scene), and waiting in line at mealtime. Among the last names are: Sergeant Carney, Sergeant Riley, Sergeant Ousley, "McKnight," Louis Allen, Sergeant Edward Johnson and Private Robert Johnson ("the fat boys"), First Sergeant Brown, "Mule" Crawford, Homer Magee, "Blind" Knight, J. Martin, Jenkins ("the jive man from New Jersey"), and Corporal Jack Taylor.
Acquired as part of the John Hope Franklin Research Center of African and African American History at Duke University.
African American soldier's World War II photograph album of Munich, Germany, 1945 August 1 item — 1 box — 1 volume; 35 photograph
Collection comprises fourteen black-and-white inkjet prints of photographs taken in Ireland by Alen MacWeeney, chiefly in 1965. Locations include counties Donegal, Galway, Kerry, Limerick, and Sligo, and the city of Dublin. Portraits of individuals, including an old man in a field, a Benedictine monk, a woman in a doorway, and a farming family, coexist with depopulated, dramatic landscapes.
The black-and-white inkjet prints are printed on uncoated textured art paper, and measure 13x18 inches. Image sizes range from 6 1/8 x 10 1/4 to 11 1/2 x 10 1/4 inches.
A photobook titled UNDER THE INFLUENCE (2011) which includes these images and others, accompanied by excerpts of poetry by William B. Yeats, is also held by the Rubenstein Library.
Acquired as part of the Archive of Documentary Arts at Duke University.
Alen MacWeeney photographs, 1962-1986, bulk 1965 .5 Linear Feet — 1 box — 14 prints — The prints all measure approximately 13x18 inches; image sizes vary and are given in the inventory. All sizes given are rounded up to the nearest 1/8 of an inch.
The over 600 black-and-white and color photographs in the collection date from Harris's earliest photographic work as a graduate student at Yale University, to his more recent work documenting the American South. The subjects range widely, and include the landscapes and peoples of Alaska, the American South and New Mexico, and Cuba; they also include portraits of older reading volunteers and students in Philadelphia, students on strike at Yale University, counter-culture people at a Rainbow Gathering in Arizona, a boy going about his day, tethered to electronic technology, elderly people living on their own in central North Carolina, and views of the art-filled interiors of author Reynolds Price's home. The gelatin silver and inkjet prints range in size from 8x10 inch reference prints to 24x36 inch exhibit prints; for large prints there are smaller viewing copies to facilitate research access.
The remaining series house Harris's papers, which document collaborations with other photographers and writers, including Gertrude Duby Blom and E.O. Wilson, and South Africa photographers; they also document his career at Duke University as a teacher, author, and co-founder of the Center for Documentary Studies (CDS) and its serial publication, DoubleTake. The Publicity and Audiovisual Materials Series contains recordings of lectures as well as publicity for exhibits and publications. The Correspondence Series includes not only Harris's exchanges with other photographers, friends, and professionals, but also grant applications, research notes, drafts and proofs, print materials, and some photographs. The DoubleTake files consist mainly of materials generated during the planning stages and early years of the magazine's existence. Materials on Harris's extensive collaborations on other publications, documentary projects, and related exhibitions make up the large Project Files Series, which includes many oral histories and interviews related to his projects, mostly on cassette tapes (use copies must be made for access). The Teaching Materials Series comprises syllabi, student writings and slides, and other materials from classes taught by Harris mainly through the CDS at Duke University. Finally, the Proof Prints Series contains a small number of proof prints related to various projects.
Alex Harris photographs and papers, 1970-2015 55.6 Linear Feet — 86 boxes; 2 oversize folders — 667 photographic prints; approximately 16,062 other items
Manuscripts, research files, correspondence, approximately 1287 black-and-white photographs and photostats of documents from various repositories and used in his research, and 3 reels of microfilm. Subjects of the research files and manuscripts include: Dante, Machiavelli, Milton, Jonson, and Aristotle (his POETICS).
Addition (2007-0141; 400 items, 0.5 lin. ft.) contains index files documenting the Gilbert's book collection. Many of these books are now in the collection at the Rare Book, Manuscript and Sepcial Collections Library at Duke University.
The records of the Alliance for Guidance of Rural Youth (AGRY) span the years 1887 to 1963, although the bulk of the collection begins in 1914 with the creation of the organization and ends in 1946 with the death of founder and president, Orie Latham Hatcher. Additional records for the Alliance from 1947 to 1963 can be found in the Amber Arthun Warburton papers, also located in the Rubenstein Library.
The records comprise an extensive set of organizational records for AGRY and its predecessors, the Virginia Bureau of Vocations for Women (VBVW) and the Southern Woman's Educational Alliance (SWEA), and document the organization's evolution from its early focus on increasing vocational opportunities for educated southern women and rural high school girls to its later activities in providing county-wide vocational programming for rural youth. Series include correspondence, administrative files, project files, conference files, subject files, writings and speeches, publications, clippings, press releases, and photographic materials, which include prints and nitrate negatives.
Early materials in the Correspondence, Administrative Files, and Clippings and Press Releases series document the Bureau's projects, such as the speaker's bureau and the scholarship program, as well as the Bureau's relationship with other women's organizations such as the Virginia Association of Colleges and Schools for Girls, Southern Collegiate Women (later the American Association of University Women), the National Federation of Business and Professional Women Clubs (BPW), and the National Council of Women.
Strong ties were developed between the Bureau and these organizations during its formative years: Hatcher chaired national and local committees in most of these organizations, and early correspondence and administrative files center on her work with these organizations particularly concerning educational standards and vocational training in women's colleges. In these early records it is often unclear which of these activities were officially adopted by the Bureau or if they were solely Hatcher's activities.
The AGRY's activities documented in the Branch Files Series include benefits, forums, exhibits, and festivals. The New York Branch sponsored several opera benefits to help raise funds during the 1920s. The Rural Mountain Festival, sponsored by the Richmond Branch, was held in 1938. In 1932, the Alliance commissioned noted New York portrait photographer, Doris Ulmann, to photograph rural youth and other individuals in Kentucky. The photographs were subsequently exhibited by several of the branches and were used to promote discussion of vocational issues and the work of the Alliance. Forty-two of these original platinum prints are located in the Photographic Materials Series.
Organizational changes reflected modifications in the organization's goals. Although SWEA continued many of the projects started by the Virginia Bureau, emphasis shifted away from lobbying efforts aimed to open new careers for women and more towards research on women's occupational trends and model guidance counseling programs based on that research. Correspondence during the early 1920s contains letters from faculty and administrators from women's colleges throughout the Northeast and South which describe various approaches (or lack thereof) to providing vocational guidance to students. Administrative files contain information on surveys and on a vocational guidance course for college women which was developed at Goucher College under the auspices of SWEA and tested at Duke University (then Trinity College) and the College of William and Mary. The Publications and Clippings and Press Releases series also contain considerable information regarding Alliance research and activities during this time.
During the mid to late 1920s, SWEA sponsored several research projects through its Rural Guidance Project which examined vocational trends of rural girls in North Carolina and Virginia. While the Correspondence and Administrative Files series document how the projects were organized, the comprehensive data collected during these projects is extant only in resulting SWEA publications such as Rural Girls in the City for Work and the unpublished manuscript "Fifty Rural High School Girls."
Alliance projects in the late 1920s and 1930s consisted of experimental and demonstration guidance programs in rural schools. These projects were located at the Konnarock Training School (Virginia), elementary schools in Albemarle Co., Virginia, Farm Life School (Craven Co., N.C.), and elementary and secondary schools in Breathitt Co., Kentucky, among others. Each of these demonstration projects also resulted in substantial Alliance publications which in most cases represent the bulk of extant documentation of each project. The Photographic Materials series contains many snapshots taken in these various communities, although most are of poor quality and unidentified; there are also negatives in this series. Additional information may also appear scattered throughout Correspondence, Clippings, and Administrative Files series.
The Breathitt County Project Files Series, provides the most comprehensive documentation of the demonstration project which grew to become the Alliance's main research activity from about 1934 to 1942. The project encompassed a wide range of activities including data collection on students' home life, teacher training workshops, vocational guidance programming through the county's Planning Council, and a visit by Eleanor Roosevelt in 1938. Particularly noteworthy in these materials are the extensive raw data files consisting of approximately 2500 autobiographical surveys of students. Additional files contain charts of data compilations and teacher reports which identify trends in students' educational behavior. Photographs of Breathitt County schools, students, and home life, chiefly taken by noted photographer Doris Ullman, are contained in the Photographic Materials Series.
SWEA and AGRY's emphasis on research and dissemination of information was reflected in the increase of published materials produced by the organization. Much of this material is contained in the Publications Series. Clippings of book reviews document the wide-spread acceptance of these publications in a newly emerging field. Several unpublished manuscripts resulting from Alliance research projects are extant in the Writings and Speeches Series and include "Occupations for Educated Women in Durham, Raleigh, and Winston-Salem, North Carolina" (1926), a bound copy of "Fifty Rural High School Girls'' (1930), and final drafts of "When Our Young Folks Come Home to the Smaller Communities" (1945).
Another strategy for publicizing the work of the Alliance was through local and national radio broadcasts. Shows were broadcast from Richmond, New York, and Washington, D.C., and gave information on specific occupations and discussed vocational guidance issues. Broadcast scripts contained in the Writings and Speeches Series feature youths interviewing each other and Orie Hatcher about career goals, a dialogue between Eleanor Roosevelt and Hatcher on the future of rural youth (1938), and a presentation by Amelia Earhart on women in aviation (1931).
The Correspondence, Clippings and Press Releases, and Subject Files series demonstrate the Alliance's shift away from relationships with women's organizations in the late 1920s and towards guidance and educational organizations such as the American Council for Guidance and Personnel Associations (CGPA), National Vocational Guidance Association (NVGA), National Occupational Conference (NOC), National Education Association (NEA), and the U.S. Department of Education in the 1930s. In many of these organizations, Hatcher chaired committees on rural youth, and representatives from these groups served on AGRY's Board of Trustees.
Numerous regional and national conference activities are reflected in the Conference Files Series, with a complete set of conference proceedings and findings contained in the Publications Series. Information on pre-1930s conferences is slim, but additional information on all conferences can be gleaned from the Correspondence and Clippings and Press Releases series. Copies of papers delivered by Alliance members and others are located in the Writings and Speeches Series.
Materials dating past Hatcher's tenure in the Alliance consist mainly of routine administrative correspondence. A more complete set of AGRY organizational records dating from 1947-1963 is located in the papers of Amber Arthun Warburton, her successor. These records continue several series started in the AGRY records such as executive board minutes, publications, project files, and correspondence.
Alliance for Guidance of Rural Youth records, 1887-1963 and undated, bulk 1914-1946 21.5 Linear Feet — Approximately 15,900 items
Collection comprises 167 early to mid-20th century black-and-white photographs of the city and people of Durham, North Carolina. The majority of the images were taken by Alvin T. Parnell, a commercial photographer with a studio in downtown Durham, from about 1920 to 1950; prints from 1898 to 1919 likely were from the Cole-Holladay studio, which Parnell took over around 1920. Formats include a few vintage mounted albumen and gelatin silver prints, unmounted vintage and modern gelatin silver prints, and small contact prints made from original nitrate negatives. There are also twelve safety film negatives present, from which some copy prints were made. Includes an information folder with Parnell's 1986 obituary and collection information.
The largest group of photographs, taken from the late 1910s through the early 1950s, features views of Durham's growing downtown, often commissioned by Parnell's business and City Hall clients. In the background of the many street scenes one can see the progression of small storefront businesses that made up life on Main Street in a 20th century Southern Piedmont city. Given Durham's role as a birthplace for the post-Civil War tobacco manufacturing industry, it is not surprising that there are numerous photographs of buildings and industrial sites belonging to American Tobacco, Blackwell Tobacco, and Liggett Myers. Parnell also photographed buses, trolleys, and other scenes for an early Durham power and transportation company, Durham Public Services.
Other images focus on people, and range widely in subject matter: men posed at a Trinity College (later Duke University) reunion, war veterans at gatherings, fraternities, children on a playground, and a minstrel band. A few are of African American tobacco workers posed in the field and female factory workers ending their shift. There are also portraits of prominent individuals and families: an elderly Bennehan Cameron with family members; John Ruffin Green (one of Durham's earliest tobacco entrepreneurs); Washington Duke and sons with associates at a barbeque; the Rosenstein family (optometrists from New York who came to Durham in 1904); William Umstead (U.S. Senator from northern Durham County); and various police chiefs and businessmen. There are also a few portraits of women, some with captions and some unidentified.
There are also twelve safety film negatives in the collection, sized 8x10 and 4x5 inches, from which a selection of copy prints were made after the collection was acquired. A few have no existing prints – these are noted in the collection guide.
In addition to photographs in this collection, some if not most of the earlier images of Durham in the Durham Chamber of Commerce collection in the Rubenstein Library are likely to have been taken by Parnell. His work is also likely to be found in other collections related to Durham residents containing photographs.
Alvin T. Parnell photographs of Durham, North Carolina, circa 1898-1986, bulk 1910-1960 1.5 Linear Feet — 2 boxes; 183 items — 2 boxes; 183 items
The Amber (Arthun) Warburton Papers consist of the personal and professional papers of Warburton from 1917 to 1976. The bulk of the material comes from the organizational files of the Alliance for Guidance of Rural Youth during Warburton's tenure as executive secretary and director of research, 1947-1963. Other organizations and institutions represented include Atlanta University, Brookwood Labor College, Columbia University (where she received her M.A. in 1927), Mount Holyoke College, Spelman College, Institute of Social and Religious Research, Southern Summer School for Women Workers in Industry, Affiliated Schools for Workers, the Federal Emergency Relief Administration, and the U.S. Children's Bureau.
The Warburton Papers contain correspondence, financial statements, writings, interviews, notes, drafts of studies and reports, newspaper clippings, newsletters, printed material, books, magazines, photographs, diaries, and scrapbooks. Most of the papers are printed material. Also includes her diploma from Columbia (1927), and an oversize photograph of the Three Fates Greek scuplture.
The papers are divided into the following thirteen series:
- Brookwood Labor College
- Columbia University
- Mount Holyoke College
- Southern Summer School for Women Workers in Industry
- Institute of Social and Religious Research
- Spelman College and Atlanta University
- Federal Emergency Relief Administration
- Affiliated Schools for Workers
- U.S. Children's Bureau
- Fairfax County
- U.S. House of Representatives Committee on Agriculture
- Alliance for Guidance of Rural Youth
Warburton's connection with these organizations and institutions is noted in the description of each series.
The largest series is the Alliance for Guidance of Rural Youth Series (AGRY). The series is arranged by subject, in keeping with the arrangement pattern of a 1949 office files index. There are three major subjects within the series: Harlan County (Kentucky), Green Sea (South Carolina), and the National Defense Education Act Study. Each subject contains correspondence, notes, drafts of reports and studies, reports and studies, newspaper clippings, and printed material.
There is overlap among series, especially within the AGRY series. For instance, Warburton might correspond with one person in Green Sea about the Green Sea Institute and later about an upcoming guidance convention. Each letter would probably be found in different subjects: the Green Sea letter under Green Sea Institute, and the convention letter under material about guidance conventions.
The Warburton Papers are a rich source of information on the growth and development of the youth guidance movement in America, especially guidance in rural areas. If combined with the Duke Library's collection of early AGRY papers, a researcher could follow the American rural youth guidance movement from inception to maturation. Furthermore, the numerous surveys conducted in Harlan County and Green Sea contain much material on the socio-economic status and attitudes of people in those communities in the 1940's and 1950's, which may be valuable to the sociologist or historian studying Appalachia or the rural South.
Other highlights include considerable information on the creation, growth, and management of workers' schools and federal training centers for unemployed teachers in the 1930's; in-depth studies of industrial home-work in the Northeast and migrant workers in Texas, Arkansas, and Florida; and excellent pictures of schools, houses, and people in Harlan County and Green Sea. There are also photographs in the Personal, Columbia University, Spelman College and Atlanta University, U.S. Children's Bureau, and Fairfax County series.
Specific subjects are discussed in more detail in the inventory.
Collection comprises a salesman's sample book in a black leather album used to provide a visual guide for the company's products. The album contains primarily 34 black-and-white 8x10 photographs (8 photographs are laid in, all but two are linen backed, those not laid-in are stamped on the back with "Johnston & Tunick Commercial Photographers"), as well as 17 typeset pages containing inter-office memos, sales tips, information regarding the company's competition, and customer testimonials. Several of the memos are written to the attention of D. J. Kelly, who was the salesman for whom the sample book was prepared. There is also a two-page key to the main group of 19 photographs, identifying the Bakelite products in each photograph, as well as the item's final producer. Seven of the laid-in photographs show the corporation's factory, including three of factory workers on the job.
Primarily records of the American Economic Review, (Accession 2001-0118) specifically journal office files consisting of correspondence, manuscript, book review, and referee files (1969-1998). There are also records for the organization (1886-1984) and for its Committee on the Status of Women in the Economics Profession (CSWEP 1972-1993), including histories, reports, minutes, statistics, as well as membership, account, conference, board member, miscellaneous, and newsletter or editorial office files. Some CSWEP material is also present as 371 machine-readable records. There is a small set of journal office records for the Journal of Economic Literature (1975, 1984-1994 and undated). In addition, there are 50 black-and-white photographs of former association presidents, a 39"x10" black-and-white group photograph taken at an unidentified meeting, 48 rolls of microfilm from the various journals (mostly AER), 63 microfiche of Journal of Economic Literature correspondence (-1980), and 7 reel-to-reel audiotapes.
Addition (2001-0082) (4000 items, 9.6 linear feet; dated 1998-1999) includes records for the American Economic Review, including correspondence and referee files for rejected and withdrawn articles (1998), accepted articles (1999), and papers and proceedings (1999).
Addition (2002-0215) (21000 items, 33.4 linear feet; dated 1999-2001) contains records for the American Economic Review, including editorial correspondence, referee reports, and manuscripts for rejected articles (1999-2000) and accepted articles (March-December 2001) and papers and proceedings (2000-2001). Also includes 37 electronic documents on one floppy disk.
The collection consists of 15 additional accessions dating from 2003 to 2008 with over 200 additional boxes. These additions have not been processed, but are available for research with permission from the American Economic Association. Please consult the Preliminary Description of Unprocessed Collection (below) for details.
Collection comprises a 7"x10" photograph album, containing 81 black-and-white photographs and photo postcards, documenting the presence of various military forces in Vladivostok, probably taken or collected between 1918 and 1920 by an unidentified soldier in the American Expeditionary Force sent to intervene in the Russian Civil War. Images include street scenes and landscapes, with some portraits and interior scenes; many contain printed or hand-written captions in English. Topics include various modes of military transport, especially ships and trains; military base scenes, particularly those of the Expeditionary Forces; military parades, including Russian and Bolshevik troops; various nationalities represented in the city and among the military forces (e.g., Japanese, Chinese, Czech, French, German, and British), as well as post-battle images of the dead and later funeral processions.
The Americans for Immigrant Justice (AIJ) records, formerly the Florida Immigrant Advocacy Center (FIAC), span the years of 1980-2017. This collection contains extensive documentation of the events and crises surrounding asylum, deportation, detention and abuses that took place within Florida detention centers from the years 1980 to 2017, as well as documentation regarding issues of repatriation. It records the efforts of AIJ to advocate on behalf of immigrant and refugee populations, mainly in Florida, during this time. The majority of material in this collection deals with Haitians seeking asylum in the U.S., but also includes major material on Cuban and Central American refugees, then minor files on Chinese, Middle Eastern, and other immigrant populations. Many files focus on Cheryl Little's work with child refugees and detainees and their asylum claims, and on discrimination against female immigrants. Files also include material on interdiction at sea and related court documents, government immigration policy pre- and post-9/11, documentation on hunger strikes at various facilities, material related to the Haitian Boat crises, and documentation of raids on immigrant populations. The detention facilities of particular concern in this collection include Guantanamo, Krome, and Turner Guilford Knight correctional facilities, as well as Florida's county jails.
The collection contains legal documents related to the activity of AIJ, including affidavits of detainees held in Florida facilities, and other court documents, such as court pleadings and briefings; reports on facility conditions; correspondence, including correspondence between detainees and their families, letters from concerned citizens, and formal correspondence between AIJ and other organizations and officials; case studies and reports on immigration and refugee crises, and reports of abuses and conditions in Florida detention facilities; FBI interviews with detainees; related articles and speeches; restricted material, including medical records; and promotional and educational videos produced by or for AIJ, documentary footage of missions and events, and press conference and news footage.
The series in this collection include the Detention Series, the Immigrant and Refugees Series, the Restricted Series, the General Organizational Records Series, the Audiovisual Series and the Photographic Materials Series. The bulk of the material for this collection belongs to the Detention Series and the Immigrant and Refugees Series.
Acquired as part of the Human Rights Archive at Duke University.
Dating roughly from the 1930s to the 1950s, this collection of 60 small black-and-white photographs belonged to Amy Ashwood Garvey, feminist, activist for African and African American human rights, and first wife of Marcus Garvey. Most of the travel snapshots were likely to have been taken by her, but there are several that were clearly sent to her by individuals, and some that feature Amy Ashwood Garvey and were taken by another person. Although there are some photographs with inscriptions, names, and descriptions of the scenes, most are unlabeled; the few dates that appear are from the late 1940s.
Almost if not all the photographs were taken in Africa, where Garvey traveled and lived after her divorce with Marcus Garvey in 1922. Other locations may include Ghana and Benin. Personal subjects include portraits, candid and formal, of the many male and female friends and acquaintances of Amy Ashwood Garvey, including politicians and heads of state; and native inhabitants, including a portrait of a tribal chief with two women, probably his wives. Most are in Western dress, but some are in traditional clothing. Amy Ashwood Garvey appears in at least three of the prints, and there is a portrait of the President of Liberia, William Tubman, with whom she had a serious long-term relationship. Other images include street and market scenes; school groups; a parade, meetings and ceremonial visits; a public hanging; a funeral gathering; and views of river landings, probably the River Niger.
Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture at Duke University.
Collection of 31 black-and-white prints by noted photographer André Kertész provides a portfolio representing the full range of his compositional styles and topical interests. Taken from 1919 through the 1980s, the end years of his career, the images chiefly feature street scenes from Paris in the 1920s and 1930s and 1980s, with a few street scenes from Budapest (1919 and 1920), and a handful from New York City from his later years in that city, with one from 1939. There are two photographs from the 1930s series "Distortions," featuring female nudes with distortion effects. Several images include cats and dogs. There are a handful of landscapes with no known location, and two still lifes.
The majority of the prints are sized 8x10 inches, with four measuring 11x14 inches. They bear various markings on the backs, including crop marks, dates, and identifying marks by Kertész and others. All but five are marked with the Kertész estate stamp; several bear the photographer's stamp.
Acquired as part of the Archive of Documentary Arts at Duke University.
André Kertész photographs, 1919-1984 1.0 Linear Foot — 2 boxes — 31 photographic prints — 8x10 and 11x14 inches
Collection consists of 36 black-and-white photographic portraits taken by photographer Anne Noggle of former Soviet airwomen who served during World War II as combat pilots, gunners, bombardiers, navigators, and flight crews. The women are seated and standing, most in a studio setting; they are dressed in civilian clothing and many are wearing their wartime medals and military insignia. The gelatin silver photographs were printed by Noggle and are sized 20x24 (8), 16x20 (6), and 11x14 (22) inches. Almost all the images appear in her book A Dance with Death: Soviet Airwomen in World War II, published in 1994, and also held by the library.
From the Texas A&M Press website for the book: "The women who tell their stories here began the war mostly as inexperienced girls — many of them teenagers. In support of their homeland, they volunteered to serve as bomber and fighter pilots, navigator-bombardiers, gunners, and support crews. Flying against the Luftwaffe, they saw many of their friends — as well as many of their foes — fall to earth in flames. Their three combat Air Force regiments fought as many as one thousand missions during the war... equally courageous were the women's efforts to show the Red Army that they were entirely adequate to the great role they sought. For even though Stalin had decreed equality for both sexes, the women had to grapple initially with deep distrust from male pilots and Red Army officers, against whom they eventually prevailed."
Anne Noggle photographs of Soviet airwomen, 1990-1992 2.0 Linear Feet — 2 boxes — 36 prints — 11x14; 16x20; 20x24 inches
Collection comprises seven bound typescript volumes containing Lyons' daily accounts of his trips. There are postcards, brochures, and other materials related to his travel that were placed in the volumes. Destinations include Washington, D.C.; New York City; Boston; Nashville; Charleston, S.C.; Jacksonville, Fla.; the 1933 World's Fair in Chicago; the White Mountains; and the Adirondacks. Topics include destinations, the people he meets, hotels, train travel, and scenery. The collection also contains a postcard scrapbook; a pamphlet by James M. Gillis entitled, "The Ku-Klux Klan" (1922); and a bound typescript short story entitled "The Irony of Fate," which fictionalizes Lyons' father's participation in and life immediately after the Civil War. Includes 5 black-and-white photographs. (02-046)
The Arthur Sperry Pearse papers include the professional papers and photographs of A. S. Pearse's scholarly career. His professional papers span the length of his academic career and include: correspondence, writings and lectures, lab notes and data, fieldwork notes, teaching materials, clippings and printed materials, many photographs and negatives, book illustrations, and glass slides. Images are of animal and plant life, but also landscapes, people, villages, and social aspects of life from about 1915-1935 in Nigeria and the Yucatán Peninsula, and from other research trip locations in South America and Southeast Asia, 1910s-1930s. Included are snapshots of fellow scientists in the laboratory and in the field. There are also early photographs and materials regarding the Marine Biology Laboratory in Beaufort, N.C. and other marine labs, as well as images of the N.C. coast and people such as fishermen. A large group of images consists of illustrations used in Pearse's textbooks, articles, and teaching lectures.
Prominent subjects throughout the collection include the establishment of and research projects at the Duke University Marine Laboratory, the promotion of forestry as a scientific discipline at Duke, Pearse's role as editor of the journal Ecological Monographs, and his research interests: marine biology, ecology, crustaceans, parasitology and parasitic diseases, microbiology and biological adaptation, and forestry.
Correspondence primarily reflects his role as editor of Ecological Monographs which includes correspondence concerning receipt of drafts for publication, recommended revisions, and future publication dates. Other prominent topics include Pearse's involvement with professional organizations, various symposiums and conferences, publications, research in Nigeria and the Yucatán, and the founding and early operations of the Duke University Marine Laboratory at Beaufort, North Carolina. Also, in 1938-1939, there is a series of correspondence between Pearse and President William Preston Few concerning lack of support for and conditions within the department and Pearse's consequent resignation as departmental chair.
Other materials include research notes, tables, and sketches; graduate student correspondence, plans of work, and dissertation abstracts; manuscripts of various publications authored by Pearse including Animal Ecology and his 1952 autobiography, Adventure: Trying to be an Ecologist; laboratory and field notebooks containing research notes and statistics from Nigeria, the Yucatan, Wisconsin, and various other research locations.
There are many photographic prints, nitrate and safety negatives, and glass-plate lecture slides, all documenting Pearse's research travels, particularly in Nigeria and the Yucatán, but also in Alabama, Florida, and coastal North Carolina, Japan, China, Burma, the Phillippines, Colombia, and Venezuela. Images include local flora, fauna, landscapes, villages, localized crafts and industries, and indigenous peoples, as well as maps, charts, tables, drawings, and photographs used in Pearse's lectures and publications.
The collection includes chapter correspondence, bylaws, annual reports, membership lists, photographs, conference materials, LoPresti Awards (for excellence in art publication), and financial records. Scattered throughout are materials and correspondence related to the national organization. There are 20 electronic files on one floppy disk that have been migrated to the electronic records server. There are 20 black-and-white photographs and two transparencies.
Art Libraries Society of North America Southeast Chapter records, 1975-2017 and undated 6.6 Linear Feet — 3023 Items
The chief component consists of a large collection of lantern slides used by college professor Azel Hull Fish in lectures about the history of California, the Panama-Pacific Exposition, Plymouth Colony, the settling of the American West, social and economic development of the U.S., works of art, and other historical and philosophical subjects. The slides are arranged by subject group and number roughly 2000. Additional materials consist of photographs, some loose, but most mounted in photograph albums. Some of these were souvenir albums with views of California and other Western states by commercial photographers. Also included are some pamphlets, chiefly lecture texts, and a slide projector.
Azel Hull Fish lantern slide lecture sets and photographs, 1890s-1940s 9 Linear Feet — 6 boxes — approximately 2300 items
Spanning 1876 to 2020, with the bulk of the materials dating from 1950 to the 2010s, the Barbaralee Diamonstein-Spielvogel Collection documents the life and career of a pioneering advocate for art, architecture, historical preservation, and public policy. The collection comprises over 650 boxes of research files, correspondence, printed materials, photographs, memorabilia, artifacts, and artwork, all stemming from Diamonstein-Spielvogel's long career and her prolific output of books, educational programming, interviews, public art installations, and exhibits. The materials highlight her work with many arts and political organizations and her appointments to committees such as the Commission for Cultural Affairs and the New York Landmarks Preservation Commission. Over one hundred of her television interviews with notable artists and other figures have been digitized by the Diamonstein-Spielvogel Video Archive at Duke University.
Topics covered by the materials in this collection include broad categories such as art and architecture in the 20th century; historic preservation and the protection of cultural property; media and society; social conditions, women's rights and the arts in Slovakia during her husband's ambassadorship there; U.S. and overseas politics, particularly related to the Democratic Party; U.S. public policy, with a focus on the arts; the built environment; women and the arts; gender issues and women's rights; travel abroad; and many others. Early materials dating from 1929 to 1965 - chiefly correspondence, writings, and photographs - document family history, her education, and her earliest career in teaching. Other early dates in the collection refer to reproductions of 19th century images chiefly found in exhibit and research files.
The collection is divided into series: Correspondence, Writings, Personal Files, Political Files, Professional Files, Art and Architecture Project Files, Art and Design Project Files, Historic Preservation Project Files, Scrapbooks and Visual Arts Materials.
Taken as a whole, the collection offers rich documentation on the evolution of art and architecture in the U.S., the development of adaptive reuse and landmarks legislation, the relationship of public policy to the arts, and the interplay between public policy and the built environment. Materials from Diamonstein-Spielvogel's personal and research files also document the changing roles of men and women in the United States, and the development of U.S. gender studies; not only did she write on the subject, but her own experiences reveal aspects of women in the workforce, in politics and activist movements, and in positions of authority. Additionally, because of her work for the White House and the Democratic Party, the collection offers insights into 20th century U.S. politics, nationally and in her home state of New York.
Barbaralee Diamonstein-Spielvogel collection, 1876-2020 and undated, bulk 1950-2020 654 boxes — 654 boxes; 8 oversize folders; 2 tubes; 2 frames.
Oracles and books on divination (01-045)(28 items, 1.8 linear feet; dated ca. 1970s-1990s and undated), including 17 decks of tarot and other cards, many enclosed in fabric or leather. Shore designed two of the decks, "The Earth Alliance Deck" and "The Earthrise Deck." Also includes sets of runes and I Ching coins, a pendulum, an edition of the I CHING, a rune book edited by Ralph Blum, and other printed material regarding the I CHING and tarot cards.
The addition (01-248) (5131 items, 19.2 linear feet; dated 1953-2000, bulk 1970s-ca. 1998) documents Shor's work on dreams. Includes 41 volumes of meditation and dream journals by Shore (1974-1999); other journals and dream documentation and interpretation by Shor and others; correspondence; and dream-related periodicals, including Dream Network Bulletin. There are also drafts of Shor's poems, short stories, essays, and dream handbooks (ca. 1953-2000), including Unexpected Gifts, Open Channel, Dreaming with Angels, Shared Dreaming, Dream Tool Kit: How to Remember and Encode Your Own Dreams, Small Gifts, and The Swan; records from the Dreamgate Shared Dreaming Project; notes on or from other dream-related workshops; 11 black-and-white and 3 color photographs; and 197 computer disks containing circa 9800 electronic documents.
The Bettye Lane photographs date from 1959 to 2007, with the bulk taken in the 1970s and 1980s. Subjects focus largely on events and individuals. Events include consciousness raising groups, planning meetings, and local women's conferences. Large events include Equal Rights Amendment demonstrations, and International Women's Year and National Organization for Women conferences and marches, in major cities such as New York City, Washington D.C., Mexico City, and Houston. Other events folders document Pro-Choice rallies and protests addressing harassment, sexism, and violence towards women. Another large series documents women involved in the movement, from feminist leaders to event attendees and coordinators. Subject folder photographs are of women at work, women athletes, men for women's rights, and events relating to daycare, feminist slogans and signs, lesbian rights, opposition, women of color, sexist images, and sexual health. Smaller sets of images document protests against war, pornography, and nuclear power. The collection also includes a folder of photographs of Bettye Lane spanning her career.
The photographs are arranged into three series, Events, People, and Subjects, with subdivisions in alphabetical order, and the prints within in date or alphabetical order. The original order as assembled by Lane is for the most part intact, with folder titles deriving from the original headings. Included in each folder are her original annotated inventory sheets, which include dates, photo identification codes, and titles.
Almost all the prints are unmounted black-and-white gelatin silver process prints, with some color photographs scattered throughout, and a few digital prints from the 2000s. The larger prints all have detailed information on the backs, many giving names of individuals present, details on the events, and contextual notes. There are also a few photocopies scattered throughout. There are some duplicate images or cropped versions. The most typical sizes are 8x10 and 6 1/4 x 9 1/4 inches, with some snapshots found in a few folders.
There is some overlap with Bettye Lane images in other U.S. institutional collections, noted below, but many of the images at Duke University are unique.
Acquired as part of the Sallie Bingham Center for Women's History and Culture.
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.
Chiefly production records for magazine issues, including drafts and edited copy for articles, laser printer and resin-coated paper page layouts, and color proofs. Includes editorial correspondence, research files, meeting notes, promotional and subscription material, audio cassette and mini-cassette tapes, VHS tape, mini-disks, color and black-and-white photographs, negatives, and color transparencies. Acquired as part of the Sallie Bingham Center for Women's History and Culture.
Collection contains primarily correspondence and printed materials. There are also three unidentified and undated black-and-white photographs, along with a few items representing the Livingston family, including a genealogy developed by Helen Thomas Blackwell. The correspondence contains mostly routine letters to from other family members to Alice Stone Blackwell, Anna M. Blackwell, Elizabeth Blackwell, Emma Blackwell, Helen Blackwell, Henry B. Blackwell, and Lucy Stone. There are also several postcards mailed to the Woman's Journal regarding subscriptions, address changes and other matters related to publication, or the editor's business acquaintances. There are several printed materials written by Blackwell authors, including "Philosophy of Re-Incarnation" by Anna Blackwell, and "Medicine & Morality," "Scientific Method in Biology," and “Erroneous Method in Medical Education" by Elizabeth Blackwell. However, the series primarily features printed items that were maintained in the Blackwell family library. Also contains a corrected typescript (1940s) of Ishbel Ross' Life of Elizabeth Blackwell along with notes from 1958 on the Elizabeth Blackwell award at Smith College.
Bound photograph album contains 51 albumen silver prints dating from 1894-1901, taken in Ceylon (now Sri Lanka), Bellary, India, Constantinople (Istanbul), and Egypt. A few images are from Nice, France, and Monte Carlo. The album bears no owner's name, but likely belonged to an individual in the British Army. Many of the photographs are captioned. Prints range in size from 8 3/4 x 11 to 5 3/4 x 8 inches; most are full-page sizes.
Sri Lanka images predominate, many attributed to William Henry Louis Skeen, a well-known British-born studio photographer based in Sri Lanka; several prints bear his studio's imprint, while others are unmarked but are likely from his studio.
Images from Sri Lanka date from 1894-1895. Colombo views include: Galle Face Green (Colombo); infantry barracks shown from the front and back, with lake, hospital, polo ground and club house; Mount Lavinia Hotel, with infantry barracks room and officers quarters, 1895; and waves crashing over a breakwater during monsoon. Images from other locations include: a panorama of Kandy; Trincomalee from Officers Mess, 1895; Kandy with lake view and Trincomalee street; India rubber trees, Peredinaya Gardens, Kandy; Main Street, Pettah; "A.S.T." (probably the album's owner) in Ceylon, 1894; polo group, Ceylon 1894; Stewards Stand, Colombo Races, 1894; and Nuwara Eliya Races, 1894, "Comewell wins!"
Views of Egypt are from 1898 and include the Great Sphinx; Gizeh, palace of Prince Hussein Kamil Pacha; Alexandria, Palace Mehemed Ali; Alexandria, palace Ras-el-tin; photograph of a print titled, "Birds Eye View of the Battle of El-Teb"; "Old Cairo"; and a city street in Cairo. Views from Constantinople include the interior of Mosque Sainte Sophie; a street scene; panoramic view of the city and old port; view of the Golden Horn and arsenal; Mosque Hamidiye and Yildiz palace; and an Ottoman porter (studio portrait). The Middle Eastern views date from the mid-1890s and are all by commercial studios: the Zangaki brothers (one print), Schroeder & Cie, Zurich (three prints) and Sebah & Joaillier (five prints). Many of these are captioned in the negatives.
India images are dated later and include: the 1st Royal Warwicks, Bellary India, 1899; Indian servants with race horses; and Indian servants and staff outside private residence with two English men in suits. There are six total residential images, undated and without captions.
There are several commercial views from Europe: Nice, France: "Cascade du chateau" and an image from the Promenade des Anglais, 1901; and a view of a Monte Carlo theater, 1901.
Military images include: the hospital ship "Spartan," 1900; C Company of the 4th Royal Warwickshire Reg.t Dublin, 1902; B Company 4th Royal Warwickshire Reg.t Dublin, 1902; and a loosely inserted image captioned "Officers War. R. Peshawar" with names of officers recorded in pencil on verso. The final image is labeled "Camp Marachah," possibly in Afghanistan. Two smaller glossy copies of an image of men with well-bred horses in a desert landscape are laid in the closing pages.
On the first album leaf is pasted a coat of arms with the original Latin motto crossed out, and a different one written below in period ink, "Quocunque jeceris stabit", meaning "Whichever way you throw, it will stand," the motto for the coat of arms of the Isle of Man.
British military photograph album with views of Sri Lanka, Egypt, India, and Istanbul, 1894-1901 0.25 Linear Feet — 1 box — 1 volume, 51 print
Collection houses the papers of several generations of a family of southern Virginia and central North Carolina, including Williamsboro, Granville County (now Vance), and southern Virginia. Fourteen photographs added at a later date represent bi-racial descendants of this family who lived in Nutbush and Manson, NC.
The bulk of the collection is comprised of correspondence, 1820-1920, between John and William H. Bullock, a second John Bullock and his wife, Susan M. (Cobb) Bullock, their sons and daughters, and other children and grandchildren. Topics include family relationships and genealogy; illnesses and deaths; farming; slaves and tenants (including some lists of slave names); campus life at the University of North Carolina, 1850s; plantation management; market prices, 1850s-1860s; secessionist and Union sentiments in Granville County; and religious life. Of interest are 46 letters relating to the Civil War in North Carolina and Virginia, with details on camp life, troop movements, and the Battle of Kinston in 1862 and the siege of Petersburg in late 1864. A few letters are send from Johnson Island, Ohio, and a few give some details on the final months of the war in North Carolina.
Volumes include two ledgers, a travel diary, 1848, from a business trip to Tennessee, and Susan Bullock's diary, 1869-1871. Also included are legal and financial papers dating from 1784-1876, and assorted other papers, including a list of about 40 slave names from 1857, and medical receipts and accounts.
Bullock family papers, 1784-1940s and undated 1.5 Linear Feet — 3 boxes — Approximately 1200 items — Approximately 1200 items
Accession (2001-0009) (1500 items; 2.0 lin. ft.; dated 1993-1998) documents the behind-the-scenes work required to put together BUST. Materials include issues 1-15 of the magazine; layouts and copy-editing material; biographies of contributors; article submissions; column material ("Girls,""Fashions,""The Shit," etc.); advertisement documentation; correspondence (letter and electronic mail); press coverage of BUST; promotional material; material related to the publication and promotion of the book The BUST Guide to the New Girl Order; and a variety of graphic items, including color (9) and black-and-white photographs (6), original black-and-white ink drawings, and color prints (23), as well as color slides (12).
Accession (2009-0082) (24 items; 13.5 lin. ft.; dated 2002-2007) consists of production binders for issues 20-43 of BUST magazine, published from summer 2002 through spring 2007. Each binder contains a copy of the published issue, as well as tabbed sections for each portion of the issue, including features, columns, regulars, sex files, and guides.
Accession (2010-0101) (7875 items; 10.5 lin. ft.; dated 1993-2006) includes production binders, files from the creative director, and files from the Art Department.
Accession (2013-0184) (10125 items; 13.5 lin. ft.; dated 2008-2011) consists of production binders for issues 44-71, published from 2008-2011.
Accession (2015-0040) (1400 items; 3 lin. ft.; dated 2010-2013) consists of production files for issues 64-73, production binders for issues 72-86, and 13 Syquest discs from issues 4-9.
Accession (2015-0097) (1700 items, 4 lin. ft.; dated 1997-2012) consists of production files for issues 10-50, Creative Director Laurie Henzel's notebooks, and graphic materials including original art, color and black and white photographs and color layouts.
Accession (2021-0054) (4.5 lin. ft.; dated 2000-2020) consists of production files for volumes 102-105, 114, 116-117, and 118-119. Also includes issues of BUST magazine (2000-2020).
Collection consists of 65 black-and-white and one color photographs spanning Carl Mydans' career. Images from his early work for the Farm Security Administration include photographs of cowboys and ranchers from Freer, Texas; migrant workers and rural life in Texas and Arkansas during the Great Depression; a photograph of the Capitol building through a Washington, D.C. slum; and political banners from the 1936 presidential election.
The majority of the collection dates from Mydans' time working for Life magazine as a war photographer. Subjects include the Sino-Japanese war beginning in 1941, his time in the Philippines and the battle for Manila, his coverage of the Allies in France and Italy during the liberation of Europe, and his travels with General Douglas MacArthur during MacArthur's return to the Philippines and the subsequent surrender of the Japanese. Mydans' World War II images are fairly evenly split into equal parts combat and street scenes: there seem to be just as many photographs of tea rooms and markets in China as there are photographs of Japanese bombing raids in the Philippines. This portion of the collection also includes some of Mydans' most iconic photographs, including a portrait of General MacArthur with his sunglasses and pipe, a photograph of MacArthur leading the army ashore in the Philippines, and an image of a "collaborator" being shaved following the liberation of France.
Another significant component of the collection is Mydans' post-World War II images, which include Japanese war crimes tribunals, Korean War coverage, portraits of coal miners and politicians in Europe, and photographs taken during the Fukui earthquake. Also included is a self-portrait of Mydans in Vietnam, the only photograph taken in color, from 1968.
Nearly all of the photographs have handwritten captions on the back, which have been transcribed in the Collection Description portion of the finding aid. Some of the handwritten captions have been supplemented by a caption list, available in hard copy in Box 3. Brackets indicate information added by library staff. Some prints are also signed by Mydans.
Acquired as part of the Archive of Documentary Arts at Duke University.
These four bound albums house 92 oversize albumen prints showing images of Venetian architecture and artworks taken by notable photographer Carlo Naya during the 1860s and perhaps into the 1870s. The images were secured using the wet-collodion process on large glass plate negatives.
The cloth-bound albums measure 18 1/2 x 15 1/4 inches and each contains just over 20 prints mounted on hinged boards. The albums bear the English title "Venice" on the spines and covers, and are numbered I-IV. Album four reveals the large signature of a former owner - J.E. (John Edwin) Chase, an art collector and amateur naturalist of Holyoke, Massachusetts.
Subjects favored by Naya for these albums are the churches, palaces, canals, bridges, and piazzas of Venice, along with city monuments and statuary such as the Winged Lion of St. Mark and the equestrian statue of Bartolomeo Colleoni. The photographer's focus is on the elements of design and light; the few small human figures present in most images are included for purposes of scale. Featured sites include: the Palazzo Ducale; Piazza San Marco and the Basilica di San Marco; the Bridge of Sighs (Ponte dei Sospiri); the Gran Canale; and the church of SS. Giovanni and Paolo. Many images show interior details such as tombs (Titian and several Doges of Venice), bas-reliefs, altars, and grand staircases. In short, albums such as these display the subjects most sought-after by a knowledgeable tourist, and may have served as visual encyclopedias for educational institutions.
Nearly all the prints measure approximately 10 5/8 x 13 7/8 inches, each mounted on card stock with a handwritten caption below, the photographer's blind-stamp from his Riva Schiavoni studio, and the studio's negative number, which appears in the image. The captions are expressed in Italian with some English terms, and have been transcribed exactly as they appear, with a few errors retained. Only one sequence of images bears a date - 1865. There is a handful of prints with no negative numbers - these have been assigned an identification number starting with "UN." A few prints are signed by Naya (or Naija, as it is sometimes written).
Acquired as part of the Archive of Documentary Arts.
Carlo Naya photograph albums of Venice, 1860s-1870s 3 Linear Feet — 4 bound volumes; 92 albumen photographs — Volumes: 18 1/2 x 15 1/4 inches; Prints: 10 5/8 x 13 7/8 inches — 92 albumen prints in four bound volumes
Collection chiefly comprises 63 exhibit-quality black-and-white photographic portraits of Durham, North Carolina citizens of all races, ages, genders, and sexual orientations, taken by Durham photographer Caroline Vaughan from 1989 to 1992 for a Center for Documentary Studies project. Subjects include activists, writers, older people, working class men, gay and straight couples, friends, and families, Many of the individuals were alumni of Duke University who were involved in sixties activism and remained in the area.
There are several photographers featured in the portraits whose work is also in the Rubenstein Library collections: Peter Goin, Alex Harris, Jeeva Rajgopaul, and Margaret Sartor.
Also includes a smaller series of black-and-white palladium/platinotype prints and a bifold brochure from a Duke University exhibit entitled "Home Ground." These prints feature Vaughan's family members posed in the studio and at two family farms in Oxford, N.C. and News Ferry, Virginia, taken from 1977 to 1987 and printed in 1992 and 1993.
The photographs were taken with large-format cameras and an instant camera (Polaroid), and printed and toned by Vaughan chiefly from 1990 to 1993. Formats include gelatin silver, Polaroids (some in color), and palladium/plantinotype prints, along with one hand-pigmented, textured print. The prints range in size from about 8 3/8 x 10 3/4 inches to 11 x 14 inches and are printed on a variety of papers. Some of the palladium prints feature a circular image format. With a few exceptions, the prints are signed, dated, and matted. Titles were taken from original captions inscribed by the photographer on the prints or mats. Some titles for some uncaptioned prints were taken from the photographer's online gallery. Many prints have data on exposure times, shutter, speed, and other data marked on the back.
Acquired as part of the Archive of Documentary Arts at Duke University.
The photographs of Cedric N. Chatterley span the years 1983-2013, and were created throughout his career as a documentary photographer, beginning with his Master in Fine Arts thesis project, "Ambivalent Ecstasies/Converging Energies," on American religious experience. The photographs are primarily black-and-white gelatin silver prints ranging in size from 8x10 to 18x24 inches.
The most prominent themes in Chatterley's work are labor, community, and religious expression. He has photographed chicken slaughterhouse workers in Maine; Cambodian immigrants in North Carolina, a project undertaken with Barbara Lau of the Center for Documentary Studies at Duke University; David "Honeyboy" Edwards and other Southern blues musicians in Mississippi and on tour; a substance abusers' rehabilitation community in Durham, N.C., also with Barbara Lau; tornado survivors in South Dakota who rebuilt their town over a period of ten years; Holy Land USA, an abandoned religious theme park in Connecticut; and a woman sheep rancher's work during lambing season in Montana. Some of the images were taken with Chatterley's hand-built cameras.
A final series consists of materials relating to Barbara Lau's book, From Cambodia to Greensboro, documenting Cambodian immigrants in North Carolina, that includes images taken by Chatterley, and a set of recorded interviews from 2008 in which Chatterley speaks about his career as a documentary photographer. The cassettes have been converted to digital files and use copies are available for access. Original recordings are closed to use.
Series are arranged in chronological order; prints are numbered and captioned by the photographer.
Acquired as part of the Archive of Documentary Arts at Duke University.
The collection contains 51 black-and-white and color photographs that were selected by Center for Documentary Studies staff from portfolios published in DoubleTake magazine or by DoubleTake books from 1995 to 1997; they were were exhibited at the Center for Documentary Studies, Duke University galleries.
Many of the images were taken in the southern United States, but there are also scenes from California, Illinois, Massachusetts, and Pennsylvania, and from countries such as Mexico, Vietnam and Ireland.
The prints range widely in size from 8x10 to 20x24 inches, but the most typical sizes are 11x14 and 16x20 inches. Black-and-white gelatin silver prints predominate, with some color prints present.
Acquired as part of the Archive of Documentary Arts at Duke University.
Center for Documentary Studies DoubleTake exhibition collection, 1906-1996, bulk 1990-1996 5 Linear Feet — 8 boxes; 51 items — 51 Items
Collection houses photographs, interviews, essays, and other documentary works created by students enrolled in courses or thesis projects on documentary studies at Duke University in Durham, North Carolina, and the University of North Carolina at Chapel Hill (UNC), from 1980 to 2011. Most of the student projects focus on the social life and customs of persons living in and around Durham, Chatham, and Orange counties, North Carolina. Themes include life in cities and towns, particularly in Durham; rural life; schools and other institutions such as churches and retirement homes, and charitable organizations such as soup kitchens and orphanages; community centers such as stores, daycares, and laundromats; African American communities and neighborhoods, particularly in Durham; beauty pageants; local music; farmers and their families; immigrant life; migrant workers; midwives; the 9/11 attacks in New York City; and Duke University students and campus life. One series of images portrays the Chuck Davis African American Dance Ensemble in Durham. Oral histories of N.C. civil rights and labor activists, American war veterans, and other individuals are associated with certain courses.
The majority of projects focus on Durham area locales, but other cities and towns in N.C. documented include Chapel Hill, Hillsborough, Raleigh, Seagrove, Wanchese, Cane Creek, Oxford, Carrboro, Orange Factory, Rougemont, Saxapahaw, Salisbury, Northside, Corinth, and Cedar Grove. There are a few projects based in Virginia, and summer projects located in Massachusetts, Tennessee, Tel-Aviv, and France.
The collection also includes a few grant-supported projects by professional documentarians Eric Green, Kate Rhodenbaugh, Carolina Wang, and Donna Lennard, and photographic work by Bill Bamberger, a faculty member at Duke.
Black-and-white prints make up the majority of formats, but there are also many slides. The more recent additions increasingly include oral histories on audio cassettes and CD-ROMS and other project-related digital media. These are marked in the folder descriptions. Original audiovisual and electronic media are closed to use and may require the production of use copies before they can be accessed.
The courses were all sponsored by the Center for Documentary Photography, which in 1989 changed its name to the Center for Documentary Studies. Among the faculty teaching courses for the Center for Documentary Studies are noted documentarians Bill Bamberger, John Biewen, David Cecelski, Alex Harris, and Margaret Sartor, some of whom have contributed their own documentary work to the David M. Rubenstein Rare Book & Manuscript Library.
Acquired as part of the Archive of Documentary Arts at Duke University.
Center for Documentary Studies student projects collection, 1980-2011 and undated 40 Linear Feet — Approx. 10,00 Items
The Charles Bailey Reed scrapbooks and photographs date from 1914-1924, with the bulk dating from Reed's military service in France from 1918-1919. Materials include correspondence, military orders, postcards, newspaper articles, printed matter, photographic prints and negatives, and ephemera collected by Reed during his tour in France. Topics of interest include medical care and field hospitals during World War I; medical transport; cities in France and damages incurred during the war; and the Armistice and related events in France, including the Inter-Allied Games, Paris, summer of 1919, seen through the eyes (and camera) of Captain Reed.
Most of the material was mounted by Reed in two large scrapbooks, but there was also loose material found at the end of the scrapbooks which has been rehoused, and there are also many loose photographic prints and negatives. Materials are arranged in series by format and roughly chronologically within.
Printed materials and ephemeral items include newspapersand clippings; military bulletins and orders; information produced for American soldiers stationed in France; souvenir programs; ration cards, coupons, and receipts; and Reed's military identity papers. The newspapers consist of the front page of the newspapers, with a few containing additional pages. There are also a few items in German - correspondence and military publications - of unknown origins.
There are hundreds of small black-and-white photographs in the collection, both loose and mounted in the scrapbooks, most deriving from Reed's medical service in France from 1918-1919. In a few cases they are accompanied by negatives. There are images probably taken by Reed or a fellow soldier, and a large group of what appear to be commercially-made images with captions in white lettering; some of the latter are dated 1914 and depict the British front in France (Alsace, Verdun), damaged buildings (including churches and cathedrals), battlefields, cemeteries, French and British soldiers in trenches and camps, dead soldiers (many of whom are German), and biplanes (including downed planes).
Reed's personal photographs depict camps, soldiers' quarters, military vessels, ceremonies, tourist sites, and damaged buildings; there is one picture taken at Fort Riley, Kansas. The centerpiece of the photographs is a large series of images from Evacuation Hospital No. 1, Sebastopol Barracks, in Toul, France; these show camp buildings, hospital interiors, wounded soldiers in the surgery, soldiers and officers, and vehicles used for medical transport. There is one image of what appears to be prisoners of war marching in a group. Other place names include Verdun, Alsace, Rheims, Paris, Marseilles, Cannes, and Avignon; there are some images from Alpine regions bordering Italy. One group of earlier photos is labeled "Watkins Glen, N.Y., 1918," and date from before Reed's July embarcation for Europe. Additionally, there are later photos taken in 1924 of Pine Plains military camp in New York State, now part of Fort Drum.
Acquired as part of the History of Medicine Collections at Duke University.
Charles Bailey Reed scrapbooks and photographs, 1914-1924 and undated, bulk 1918-1919 3.0 Linear Feet — 7 boxes — approx. 1000 items
The papers include two letters Jameson wrote to his mother; four diaries, one of which was unused; a 60-page commonplace book mainly filled with handwritten copies of published poetry, and four Japanese lithotints. The rest of the papers comprise eight typescript or published engineering reports authored by Jameson and others on Chinese projects, in English and a few in Chinese, along with two versions of Jameson's typescript description of a trip to Shanxi and Hunan.
There are also seventeen photograph albums, dated 1898 and undated, featuring 1255 black-and-white photographs ranging in size from 2.25 to 5.75 inches. There are albumen and gelatin silver prints. One of the albums is a commercial Japanese album that features hand-tinted photographs. Two albums focus on Shanxi province; three others focus on Beijing. Subjects include waterways and boats, landscapes, groups of Chinese or Westerners, engineering projects, street scenes, rural life, caravans, portraits, missionaries, houses for Westerners, farming and rice crops, and temples and other buildings. Five photographs in photograph album 2 are duplicates of photographs in the William Hillman Shockley photographs collection.
There are 5 loose photographs, four black-and-white, and one tinted, ranging in size from 8 x 4.5 inches to 11.5 x 9.5 inches. Three photographs of international locations, including Fingall's Cave, Scotland; a temple in Agra, India, and a scene of Geneva, Switzerland, are all mounted. The subjects of the other two photographs are a Chinese waterway with three boats, and a courtyard with a Western man being waited on by a Chinese servant. An additional five black-and-white photographs feature a Chinese man as an archer, holding a stone, and a wielding a kwan dao. These photographs are generally 6 x 8.25 inches and are mounted on 10 x 12.25-inch card stock.
The collection principally comprises a large series of correspondence and legal records accumulated by North Carolina lawyer and politician Charles L. Abernethy, Sr. during his tenure as U.S. Congressman. There are papers relating to the senior Abernethy's law practice and business dealings in Beaufort and New Bern, N.C. (including legal papers concerning land development in Carteret County, Cape Lookout, and Horse Island maintained by both father and son).
Other materials include deeds and other early papers, political speeches, newspaper clippings and scrapbooks of Abernethy's political career, a diary, and the Abernethy coat-of-arms. There are also papers assembled by Abernethy's son, Charles L. Abernethy, Jr., a lawyer in his father's firm, and a volume of his poetry.
A lare group of photographs and albums includes a photograph album containing snapshots the elder Abernethy took during a congressional trip to Alaska for three months of 1923 (including photographs of President and Mrs. Harding), as well as a typescript of his diary from the trip; and an album containing postcards of Beaufort, N.C, in 1907, featuring a celebration of either the 200th anniversary of the town's founding or the opening of passenger and rail service to the town (or both).
Charles L. Abernethy Sr. papers, 1713-1972, bulk 1907-1959 85 Linear Feet — 160 boxes; 2 oversize folders — Approximately 60,855 items
This collection contains 250 brief unpublished biographical sketches of prominent North Carolinians prepared for use in a projected extension of Samuel A. Ashe's, "Biographical History of North Carolina From Colonial Times to the Present." Other papers in the collection include printed forms returned by persons from whom biographical information had been requested, reviews of Ashe's Biographical History of North Carolina, an album entitled "Platinotypes of English Cathedrals", published in London by Eyre & Spottiswode as well as personal letters and papers of Van Noppen. The collection also includes 356 black and white photographs and engravings almost exclusively 19th Centruy portraits of prominent male North Carolinians.
Collection comprises 124 black-and-white photographic prints taken by North Carolina photographer Chris Johnson, portraying North Carolina farmworkers and migrant laborers in work settings as well as in their field camps and homes, many of which are revealed as dilapidated and unsanitary. Several series document labor organization and protests, including a five-year strike protesting working conditions for Mount Olive Pickle company workers. Other subjects in the images include the children and families of the farmworkers; volunteer teachers and organizers, some of whom are from the organization Student Action with Farmworkers; tobacco and Christmas tree growing in North Carolina; and street scenes from the border crossing areas of Brownsville, Texas and Matamoros, Mexico.
The prints measure 13x19 inches and are unmatted.
Acquired as part of the Archive of Documentary Arts at Duke University.
The Chuck Stone Papers span the years 1931 to 2007. The collection consists of clippings and other print materials, correspondence, writings, scrapbooks, photographs, a videotape, research files, and diplomas and certificates pertaining to the life and career of Chuck Stone. Of the subject areas documented here are Stone's career as a prominent African-American journalist, his political career and relationship with Adam Clayton Powell, Jr. (including Powell's time as head of the Congressional Committee on Education and Labor), his role as a mediator between suspects and the criminal justice system, and his involvement in civil rights struggles in the United States. Also represented, but to a much lesser extent, is his teaching career at the University of Delaware and UNC-Chapel Hill. The collection is divided into nine series, each described below. Of these, the largest by far are the Clippings and the Subject Files series, which document respectively Stone's journalistic writings (especially during his time at the Philadelphia Daily News) and his research interests over the years, including racial politics in the U.S., African-Americans in the media, the criminal justice system, censorship and free speech, and standardized testing. The collection was acquired as part of the John Hope Franklin Collection of African and African-American Documentation.
The Adam Clayton Powell, Jr. Congressional Series documents Stone's time as press secretary and special assistant to Powell. It contains office and business correspondence both to and from Stone; clippings and other printed materials about Powell or the Committee on Education and Labor; office files on individual members of congress (notably Florida Democrat Sam Gibbons, partly responsible for the campaign to remove Powell from his position as head of the Committee); files related to the workings of the Committee; press releases written by Stone; and a number of papers relating to Powell's exclusion from Congress in 1967. This series should be useful both for those interested in the career of Powell, since Stone worked for him during a pivotal time in his career, and for those interested in the workings of the Committee on Education and Labor during that time.
The Clippings Series is made up predominantly of Stone's columns from the Philadelphia Daily News and the NEA Viewpoint (a Newspaper Enterprise Association column syndicated by United Media), as well as articles about Stone from various newspapers, and some writings by Stone appearing in other newspapers. Topics addressed by Stone in his columns include racial politics in the U.S., Philadelphia politics, the media, Ireland, Stone's travels in Africa, women's issues and feminism, the criminal justice system, and standardized testing. Researchers interested in Stone's journalism career prior to 1972 will find some earlier clippings here, but should consult the Scrapbooks Series for more extensive materials and clippings from that period.
The Correspondence Series contains correspondence to and from Stone relating to business and personal matters. The majority of this series is made up of general correspondence or correspondence relating to Stone's position as editor and columnist of the Philadelphia Daily News. The remainder of the series comprises topical folders of correspondence, such as the correspondence between Stone and Edward M. Ryder, an inmate at Graterford Prison. Other such correspondence can be found in the "Criminal justice system" subsection of the Subject Files Series.
The Other Writings Series houses Stone's writings not contained in the Clippings Series, such as speeches, sermons, and television transcripts; business documents and research files pertaining to different projects on which Stone worked, such as his attempts to develop his own life or his writings on Adam Clayton Powell, Jr. into a movie, or various uncompleted book projects; and a small subset of writings by others, including an autobiography of Corinne Huff on which Stone worked. It is divided into three subseries to accommodate the restriction on the collection: the Published Writings by Stone Subseries, the Unpublished Writings by Stone Subseries, and the Writings by Others Subseries. Notably absent from this series are manuscripts of Stone's books. Instead, the series contains either shorter published materials, such as publicly delivered speeches, or working documents assembled for the creation of larger works.
The Scrapbooks Series houses the contents of four scrapbooks assembled by Stone during the 1950s and 1960s. They contain a number of clippings, programs, and some correspondence pertaining to his time at the New York Age, the Washington Afro-American, the Chicago Defender, and working for Adam Clayton Powell, Jr. The series is especially useful for documenting Stone's early career and his position as an outspoken African-American journalist and defender of civil rights. Researchers interested in this period in Stone's life should also consult the Clippings Series for more materials from the period in question that are not present in the scrapbooks.
The St. Louis Series is a small series housing clippings and correspondence related to Stone's brief position as ombudsman for the St. Louis Post-Disptach, overseeing their coverage of the 1997 mayoral election. The series is divided into a Published Materials Subseries, which houses clippings from the Post-Dispatch and related newspapers, and an Unpublished Materials Subseries, in which can be found correspondence, business documents, and responses to several readers polls conducted by Stone.
In the Subject Files Series can be found Stone's research files on different subject areas, arranged alphabetically. The files contain primarily clippings, but also some correspondence and notes. Several subcategories that are heavily represented and should be mentioned are the files on censorship and the first amendment, on the criminal justice system, on standardized testing, and on materials relating to his time at UNC-Chapel Hill. There are also numerous files related to racial politics in the U.S., but these files are less discrete than the categories described above and are to be found throughout the series rather than under a specific subheading.
The Teaching Materials Series contains a small amount of material pertaining to Stone's teaching career. The bulk of this series comes from his time at UNC-Chapel Hill, and includes syllabi, exams, assignments, student papers, and other teaching paperwork. Most heavily represented in this regard is Stone's popular class on censorship, for which there are multiple syllabi and exams from different years and semesters.
Finally, the Audiovisual Materials Series collects photographs touching on all aspects of Stone's life, from press photos of Stone and Adam Clayton Powell, Jr. to family portraits. Also included in this series are a videotape of a documentary about Powell, press passes and identification badges, and an election pin kept by Stone.
Unprocessed Addition 2009-0009 (50 items; .2 lin. ft.; dated 1963-2005) comprises primarily photographs, but also contains a few letters, clippings, awards, and a dvd-r. The original DVD-R is closed to patron use; however, the information on the disk has been migrated to the electronic records server.
Addition 2012-0099 has been processed and included in the original collection's description as boxes 64-66. Some parts of this addition have been interfiled into existing boxes.
Collection comprises 18 black-and-white photographs taken in the 1960s, assembled by a private collector and organized into two distinct groups: nine journalistic photographs documenting civil rights movement events, some credited to Student Nonviolent Coordinating Committee (SNCC) photographers Cliff Vaughs, Danny Lyon, and Rufus Hinton, with others unattributed; and nine prints of an unidentified multi-racial staged production.
The Civil Rights prints typically feature detailed press captions on the backs, and include images of bombed-out churches, injured and jailed demonstrators, police, and portraits of activist Fannie Lou Hamer and Atlanta's Markham Street housing protest leader Willie Williams. Some prints also bear a SNCC photo credit stamp with the organization's Atlanta address.
The second group consists of two contact sheets and seven prints showing an unidentified multi-racial dramatic or musical performance perhaps staged by the Wayside Theatre in Middletown, Virginia, or may possibly be related to the Garrick Players in Washington, D.C. or to the Free Southern Theater founded by SNCC. The time period appears to be the early 1960s.
All the prints except one are roughly 8x10 inches.
Acquired as part of the John Hope Research Center for African and African American History and Culture at Duke University.
The Clarence Louis Frank Gohdes Papers date from 1811 to the 1990s, with the bulk of the collection dating from 1905 to 1981. Collection consists of research materials, correspondence, writings, clippings and other printed materials, and a few photographs, mainly from the latter half of Gohdes's career. The earliest date (1811) refers to reproductions of original materials used in his research. Correspondence with other American Literature teachers and authors, combined with other materials relating to Gohdes's institutional and organizational affiliations, in particular with Duke University, the Modern Language Association (MLA), and the journal AMERICAN LITERATURE, comprise the most substantive aspects of this collection. They provide insight into the bureaucratic and institutional exigencies of American literary scholarship in the early and mid-twentieth century. Noted authors and scholars of the time whose letters and other writings are in the collection include Alexander Blackburn, Oscar Cargill, Lewis Chase, Robert Elias, Norman Foerster, Arthur Rubin, Arthur Quinn, and Upton Sinclair. Original manuscripts by Gohdes, inscribed reprints of writings by his colleagues, and materials relating to many major British and American literary figures, make up the rest of the collection. There is substantial material on Edgar Allen Poe and American humor. The collection also includes papers documenting Gohdes's research and writing for his last book project, a history of the muscadine grape entitled Scuppernong, North Carolina's Grape and Its Wines.
The Gohdes Papers are divided into seven series: Biographical Data, Correspondence, Author Files, Subject Files, Writings and Speeches, Scuppernong , and Clippings.
The Biographical Data Series briefly sketches the major events of Gohdes's life. It consists of only a few items, including a one-page sketch by Gohdes of his career's highlights, and photocopies of Gohdes's obituaries. Further biographical information, especially pertaining to Gohdes's academic life, can be culled from materials in the Correspondence Series.
The Correspondence Series contains letters exchanged with university administrators, publishers, colleagues, librarians, and literary figures. The series is divided into four subseries, American Literature , Lewis Chase, Duke University, and General. The bulk of the correspondence concerns professional and academic affairs, such as appointments, editorships, research and reviews, and publishing. Included are exchanges between Gohdes and Duke University administrators about English Department and American Literature affairs, as well as between Gohdes and contemporary literary critics about the study of American literature. There are also several documents that illuminate Gohdes's political affiliations and social concerns.
Materials on approximately fifty authors, largely major British and American writers, are in the Author Files Series and were originally gathered by Gohdes and his colleague, Lewis Chase. The folders contain a variety of information on the represented authors, in an equally varied mix of formats: clippings, notes, lectures, student papers, photographs, and reproductions or photocopies of original writing.
Included in the Subject Files Series are materials relating to several projects and interests which engaged Gohdes during his career. These include: bibliographies, poetry, travel narratives and the American West, and the United Nations' Educational, Scientific, and Cultural Organization (UNESCO)/American Literature Section's Best American Books List. The bibliographies collected in this series reflect Gohdes's interest in this genre, as he participated in and edited many such projects throughout his career.
The Writings and Speeches Series contains manuscript and printed materials in two subseries: Writings by Gohdes and Writings by Others. The Writings by Gohdes Subseries includes manuscripts of short stories, poetry, and academic essays, as well as notes and notecards. The manuscripts also contain folders pertaining to unfinished projects and writings. The Writings by Gohdes Subseries also contains several folders of printed materials, consisting of reprints and reproductions of as well as advertising and promotional materials for Gohdes's published writings. This subseries consists almost entirely of reprints that are inscribed to Gohdes by the authors.
Materials relating to the writing and research of Gohdes's last published book, Scuppernong, North Carolina's Grape and Its Wines, are in the Scuppernong Series. Three subseries make up this series: Correspondence, Research and Notes, and Publication Materials. Correspondence plus photocopied articles and essays about the grape and agricultural production form the bulk of the series. Also included are Gohdes's many notes and notecards, as well as reviews and materials relating to the book's publication.
The Clippings Series contains the few clippings that are not housed in the Author Files Series. These clippings mostly consist of articles relating to literary figures.
Related collections in the David M. Rubenstein Rare Book & Manuscript Library include the records of American Literature and the Modern Language Association's American Literature Section, as well as the papers of many of Gohdes's colleagues, such as Jay B. Hubbell and Arlin Turner.
Roman numerals and transcribed titles taken from the original folders have been appended to certain folders, such as the Contemporary Poetry Selections.
Acquired as part of the Jay B. Hubbell Center for American Literary Historiography at Duke University.
Clarence Louis Frank Gohdes papers, 1811-1990s and undated, bulk 1905-1981, bulk 1905-1981 6.2 Linear Feet — 11 boxes — Approximately 4650 items — 4650 Items
The Cochrane Family Papers span the years 1777-1957, with the bulk of the papers being dated between 1850 and 1905. The collection consists of correspondence; legal and financial documents; personal, naval, and technical notes and other writings; notebooks, diaries, and almanacs; clippings and other saved print material; and photographs, maps, charts, drawings, diagrams, and other visual materials preserved by the Cochranes. The majority of these documents pertain to two members of the Cochrane family: the brothers Admiral Arthur Auckland Leopold Pedro Cochrane and Admiral Ernest Grey Lambton Cochrane. The bulk of the papers deal with three principal subject areas: the naval careers of the brothers; family matters and finances, particularly the finances of their Redcastle Estate in County Donegal, Ireland; and business papers and correspondence relating to the family estates and the Trinidad Lake Asphalt Company, established by Thomas Cochrane, 10th Earl of Dundonald, and continued by his son Arthur Auckland Leopold Pedro Cochrane. The collection is particularly rich in documenting the beginnings of the asphalt industry in Trinidad and land-use issues in Ireland during the 19th century. In addition, Ernest Grey Lambton Cochrane was stationed off the coast of West Africa during much of the 1850s and 1860s, and the collection contains a number of documents relating to the British attempts during that time to suppress the African slave trade, an effort in which Ernest Grey Lambton Cochrane was active. The collection is divided into three series, the Family Papers Series, the Ernest Grey Lambton Cochrane Series, and the Trinidad Lake Asphalt Series, each of which are divided into subseries by format. This division retains the original division of the collection, but researchers should be aware that there is significant crossover between the subject areas of the Family Papers Series and the Ernest Grey Lambton Cochrane Series, and those interested in one of these series should be aware that there may be pertinent material in the other.
The Family Papers Series, the largest of the three, documents two main subject areas: the naval careers of Ernest Grey Lambton and Arthur Auckland Leopold Pedro Cochrane, and the family finances relating to the Redcastle estate. The former of these is documented primarily in the Correspondence subseries and the Notes and Writings Subseries, while the latter is most heavily represented in the Legal and Financial Documents Subseries, which contains a number of rental and account books pertaining to the Cochrane and Doherty family estates in Ireland. The Cochranes were all active inventors, and the Legal and Financial Documents Subseries also includes patent forms for a number of inventions, including means of laying telegraph wire and ships' boilers and propulsion. The Notebooks and Diaries Subseries is comprised primarily of bound volumes of writings by Arthur Auckland Leopold Pedro Cochrane, documenting his daily activity and travels, although it does contain two notebooks used by Thomas Cochrane for surveying during his travels in the 1850s and an Irish Land Commission notebook belonging to Ernest Grey Lambton Cochrane as well. The two remaining subseries, Print Materials and Visual Materials and Artifacts, are much smaller in size, and contain materials pertaining to both brothers, and to the family more generally.
The Ernest Grey Lambton Cochrane Series contains material accessioned separately from the rest of the collection, which documents Ernest Grey Lambton Cochrane's naval life and activities off the Western coast of Africa; his correspondence with Richard Doherty (whose daughter he later married) about financial and estate matters in County Donegal; and his time spent as a landlord in County Donegal, where he became High Sheriff and a member of the Grand Jury after retiring from the navy. The Correspondence Subseries contains Ernest Grey Lambton Cochrane's correspondence with Samuel W. Blackwall of Sierra Leone; Arthur Auckland Leopold Pedro Cochrane; Thomas Barnes Cochrane; Richard Doherty; and others. Of the other subseries, the Legal and Financial Documents and Visual Materials subseries relate primarily to his life in County Donegal, while the Notebooks and Diaries and Notes and Writings subseries deal more extensively with his earlier naval career and time in West Africa. This series was kept separate from the Family Papers Series to preserve the original order of the documents. As should be clear from this description, however, many of the subject areas of this series overlap with those of the Family Papers Series, and researchers interested in the naval career of Ernest Grey Lambton Cochrane or the Cochranes' role as landlords in Northern Ireland should also consult that series.
Finally, the Trinidad Lake Asphalt Series documents the Cochrane family's involvement in the early asphalt industry in Trinidad. The vast majority of the papers included here are those of Arthur Auckland Leopold Pedro Cochrane, who took over the job of overseeing the Cochrane properties and interests in Trinidad after he was invalided during the China wars. However, there are also materials of Thomas Cochrane, 10th Earl of Dundonald, pertaining to the company. To be found here are business correspondence pertaining to the export of asphalt and bitumen from Trinidad, shipping arrangements, experiments conducted on the potential uses of bitumen from Pitch Lake, and other matters related to the establishment and operation of the business; notes relating to experiments conducted, and to the climate and area; legal documents establishing the company and documenting the extent of the Belle Vue, Mon Plaisir and Esperance Estates in Trinidad; maps and plans of these estates and of Pitch Lake; and two printed volumes and other miscellaneous items pertaining to Trinidad. The material contained in this series should be of interest to those researching the development and early stages of the asphalt industry, and to those interested in colonial business, finance, and resource use during the 19th century.
The Daniel A. Collins Papers span the years 1946-1986 and document aspects of the career and life of Collins, politically active Bay Area resident and the first African American on the faculty of the School of Dental Science at the University of California, San Francisco. The collection is arranged alphabetically by folder title or format group, and consists of a few items of correspondence; newspaper clippings about personal friends and family members; copies of his transcripts from Berkeley; materials on the history of Meharry Medical College in Nashville, Tennessee, Collins' 1981 honors program from the Bay Area Urban League, and a few other miscellaneous documents. The collection also houses records from 1956-1961 from the Cocoa Merchants' Association of America in which Collins was involved through his import business, Beacol Enterprises, Ltd., for which there are also a few records. Color snapshots from his 1978 trip to Indonesia and black and white professional photographs taken from his 1960s trips to Africa complete the collection. Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture.
Collection comprises twenty-five black-and-white gelatin silver 16x20 inch exhibit prints, representing a larger body of work by Danny Wilcox Frazier on contemporary Iowa rural culture. The images portray a changing Midwest of vanishing towns and transformed landscapes. Scenes include cemeteries, slaughterhouses, farms, abandoned grain elevators, and fields. Individuals inhapbiting the scenes include young people at leisure, fishermen on the Mississippi, hunters in fields, veterans on Memorial Day, Amish families, as well as more recent arrivals to Iowa, Lubavitcher Hasidic Jews at prayer and migrant workers in the fields and at home. The prints are arranged in exhibit number order, and are housed in hinged window mats.
The prints were featured in an exhibit entitled "Driftless: Photographs from Iowa" at Duke University in 2007. The term "Driftless" refers to a geological area of the Midwest untouched by glaciers. A recording of the artist's talk is available through the online exhibit.
Acquired as part of the Archive of Documentary Arts at Duke University.