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 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.
Afghan Wars photographs, circa 1897 1.5 Linear Feet — 45 Items
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.
African American soldier's Korean War photograph album, circa 1950-1953 .5 Linear Feet — 1 box — 2 items
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 Vietnam War photograph album, circa 1965-1973 1.5 Linear Feet — 1 box; 1 album
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 World War II photograph album of India, circa 1942-1945 0.2 Linear Feet — 1 box — 16 pages
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 Munich, Germany, 1945 August 1 item — 1 box — 1 volume; 35 photograph
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.
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.
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.
Alex Harris photographs and papers, 1970-2015 55.6 Linear Feet — 86 boxes; 2 oversize folders — 667 photographic prints; approximately 16,062 other items
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.
Allan H. Gilbert papers, 1926-1976 12.56 Linear Feet — 11,525 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.
Alliance for Guidance of Rural Youth records, 1887-1963 and undated, bulk 1914-1946 21.5 Linear Feet — Approximately 15,900 items
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.
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
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.
Amber Arthun Warburton papers, 1917-1976 and undated 35 Linear Feet — circa 31,400 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.
American Catalin Corporation salesman's sample book, 1928-1930 0.25 Linear Feet — 1 item
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.
American Economic Association records, 1886-2008 and undated 420.5 Linear Feet — 346,763 Items
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.
American Expeditionary Forces Vladivostok photograph album, 1918-1920 0.25 Linear Feet — 1 item
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.
Americans For Immigrant Justice records, 1982-2020; 1982-ongoing 103 Linear Feet — 23625 Items
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.
Amy Ashwood Garvey photographs, 1940s-1950s 0.1 Linear Feet — 1 box
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.
André Kertész photographs, 1919-1984 1.0 Linear Foot — 2 boxes — 31 photographic prints — 8x10 and 11x14 inches
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.
Anne Noggle photographs of Soviet airwomen, 1990-1992 2.0 Linear Feet — 2 boxes — 36 prints — 11x14; 16x20; 20x24 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."
Arthur H. Lyons papers, 1891-1933 3 Linear Feet — 15 Items
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)
Arthur Sperry Pearse papers, 1904-1960 18 Linear Feet — 16 boxes
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.
Art Libraries Society of North America Southeast Chapter records, 1975-2017 and undated 6.6 Linear Feet — 3023 Items
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.
Azel Hull Fish lantern slide lecture sets and photographs, 1890s-1940s 9 Linear Feet — 6 boxes — approximately 2300 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.
Barbaralee Diamonstein-Spielvogel collection, 1876-2020 and undated, bulk 1950-2020 654 boxes — 654 boxes; 8 oversize folders; 2 tubes; 2 frames.
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.
Barbara Shor papers, 1953-2000 and undated, bulk 1970s-1998 21 Linear Feet — 5159 Items
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.
Bettye Lane photographs, 1959-2007, bulk 1970s-1980s 2.5 Linear Feet — 947 items
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.
Bitch: Feminist Response to Pop Culture records, 1996-2008 11.5 Linear Feet — 6000 Items
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.
Blackwell family papers, 1845-1976 and undated 1.6 Linear Feet — 136 items
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.
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
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.
Bullock family papers, 1784-1940s and undated 1.5 Linear Feet — 3 boxes — Approximately 1200 items — Approximately 1200 items
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.
BUST Magazine records, 1993-2015 43.2 Linear Feet — 29625 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.
Carl Mydans photographs, 1935-1968 2 Linear Feet — 3 boxes — 66 items — 66 Items
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.
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
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.
Caroline Vaughan photographs, 1977-1992 6 Linear Feet — 5 boxes; 64 items — 63 prints; one brochure
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.
Cedric N. Chatterley photographs, 1983-2013 and undated 15 Linear Feet — 29 boxes
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.
Center for Documentary Studies DoubleTake exhibition collection, 1906-1996, bulk 1990-1996 5 Linear Feet — 8 boxes; 51 items — 51 Items
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 student projects collection, 1980-2011 and undated 40 Linear Feet — Approx. 10,00 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.
Charles Bailey Reed scrapbooks and photographs, 1914-1924 and undated, bulk 1918-1919 3.0 Linear Feet — 7 boxes — approx. 1000 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.
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.
Charles L. Abernethy Sr. papers, 1713-1972, bulk 1907-1959 85 Linear Feet — 160 boxes; 2 oversize folders — Approximately 60,855 items
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 Leonard Van Noppen papers, 1881-1935 9 Linear Feet
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.
Chris Johnson farmworker photographs, 1990s 1.5 Linear Feet — 2 boxes
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.
Civil Rights Movement and Wayside Theatre photographs, 1960s 0.2 Linear Feet — 1 box — 18 prints
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.
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 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.
Cochrane Family papers, 1777-1957 and undated 5.5 Linear Feet — 4125 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.
Daniel A. Collins papers, 1942-1986 and undated 0.2 Linear Feet — Approximately 100 Items
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.
Danny Wilcox Frazier photographs, 2003-2006 3 Linear Feet — 2 boxes; 25 items
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.
D'Arcy Masius Benton & Bowles Archives, 1929-1995 and undated 152 Linear Feet — 30,220 Items
The D'Arcy Masius Benton & Bowles (DMB&B) Archives consists of advertising agency records spanning the years 1929 to 1995. The bulk of the material dates from the 1950s to the mid-1980s. The Archives includes material that documents aspects of three advertising agencies: D'Arcy Masius Benton & Bowles (DMB&B), Benton & Bowles (B&B), and D'Arcy-MacManus & Masius (D-MM).
The Archives as a whole provides a comprehensive overview of Benton & Bowles advertisements (1932-1995) and commercials (1950s-1980s), primarily those created by the agency's New York office. Other major topics include the advertising careers of William B. Benton and Atherton W. Hobler; research and publication about the history of Benton & Bowles by Gordon Webber and Frank Smith; television programs created by B&B in the 1950s; aspects of employee training, recruitment, and management; and marketing research. The Archives also documents the merger of the D'Arcy-MacManus & Masius agency with Benton & Bowles to form DMB&B in 1985. There is very little information in the Archives about the D'Arcy-MacManus & Masius agency prior to the merger. Also, material about Benton & Bowles offices other than New York is limited, and found mostly in B&B house organs.
The D'Arcy-MacManus Masius Files comprise a very small amount of materials in the Archives. Although the D'Arcy agency had its roots in 1906, the Items gathered here date only from 1972-1985, mainly 1981 to 1985. They consist of corporate publications, notes, and clippings. The 75th Anniversary edition of "Between Us" contains an overview of the history of D'Arcy-MacManus & Masius, especially of the D'Arcy Advertising Company, and its clients. Profiles, a resource book, provides information on all of the divisions of the D'Arcy -MacManus Masius Worldwide group of advertising agencies.
The Benton and Bowles Files are by far the largest part of the Archives. They include primarily print advertisements (the largest series in the Archives), but also over 500 films, significant documents relating to the work of the agency, photographs, and corporate publications. The Benton & Bowles Files span the years 1929 to 1985, although most of the material dates from 1950s and after. Item types in the collection include internal memoranda; reports; speeches; printed material (manuals, leaflets, pamphlets, and house organs); photographs; research notes; credentials; employee training material; press releases and clippings; book manuscripts; audio tapes of oral history interviews; and financial papers. The Benton & Bowles Files provide documentation of the history of print and television advertising; television programming; the history of the B&B agency and its corporate culture; corporate communications; marketing research; and advertising executives.
The earliest Items in the B&B Files are two small bank books recording account activity of the fledgling agency from 1929 to 1935 and copies of William ("Billie") Benton's long letters to his mother, 1929-1938, in which he confides details of his new advertising agency as well as family matters. A small number of other Items date from the 1930s and 1940s and illustrate isolated aspects of the agency's business in that period.
Long series of various agency house organs begin in 1947 and provide the most complete and continuous views of Benton & Bowles, its clients, advertising campaigns, personnel, and various offices in the U.S. and abroad.
The Advertisements Series is the largest section of the Archives and contains comprehensive files of print advertising campaigns developed mainly by Benton & Bowles from 1932-1980. The series includes primarily proofs, along with some tearsheets, of consumer and trade advertisements, most from U.S. magazines and newspapers. Files for a few clients include unusual material, such as packaging or client newsletters. Most of the advertisements were removed from large scrapbooks into which B&B employees had pasted them; many have suffered glue damage, but they remain an invaluable source for studying the development of a number of advertising campaigns over long periods of time. Longtime clients of B&B included Procter & Gamble and General Foods, among many others. Neither the Advertisements Series nor any other part of the Archives contains substantial documentation of the creative processes behind the advertisements and advertising campaigns.
For additional information about the Advertisements Series, see the data collection sheets in the Information Folders about the DMB&B Archives. The data collection sheets provide notes about: languages, other than English, used in the advertisements; countries, other than the United States, for which advertisements were produced; the use of celebrities in the advertisements; themes or social and political issues that can be studied in the advertisements; and the use of comic illustrations. The data collection sheets also note the existence of collateral literature for certain advertising campaigns. The Information Folders also contain a list of Benton & Bowles clients and the dates of agency-client relationships.
The Audiovisual Series (RESTRICTED) contains over 500 reels of 16mm film varying in lengths from 200' to 1600'. The majority of the films are compilations of commercials created mainly by Benton & Bowles for many different clients. Also included are several dozen reels of vintage television programs (shows created or sponsored by B&B), several stockholders' meetings, speeches, new business presentations, and outtakes. At the time of this writing, most of the films have not been viewed in their entirety, indexed, or reformatted. However, a selection of films has been reformatted for research use.
Addition (accession #2001-0103) (554 items, 7.5 linear ft.; dated [ca. 1950s]-[1980s]) comprises 16-mm film reels of commercials. Brand names and clients include Crest, Post cereals, Scope, Yardley, Hardees, Grape Nuts, Hasbro, and Pampers. Viewing of commercials is restricted until videocassette use copies are made. For a container list, contact Research Services.
David Cutrell photographs, 1969-1977 and undated 0.5 Linear Feet — Approx. 335 items
The black and white and color images in the David Cutrell Photographs portray life in the village of La Hatte Cadet in Haiti in the 1970s. Missionary David Cutrell lived in La Hatte Cadet and documented daily life with a Roliflex camera. Images include landscapes, portraits and snapshots of everyday life including family groups, children, adults, dwellings, villages, gardening, livestock, house repair, market day, and religious ceremonies and artifacts. Collection includes negatives, contact sheets, prints, and 35mm and 2" color slides. Arranged in order by format and roll number. Acquired as part of the Archive of Documentary Arts.
David Goldblatt photographs and films, 1960-1976 3.6 Linear Feet — 5 boxes; 3 film reels — 257 Items
Collection comprises 251 silver bromide black-and-white photographic prints taken by David Goldblatt in South Africa during the late 1960s. Accompanying the photographs are also three 16 mm films, Soweto, On the Mines, and Some Afrikaners, created in 1976 from his still images; DVD viewing copies are available for these films. Goldblatt captured these images of gold miners and Afrikaaner people in different regions of South Africa, traveling from his hometown west of Johannesburg to the Western Cape province and the Karoo.
The photographs in this collection were published in Goldblatt's first two books: On The Mines (1973, with Nadine Gordimer) and Some Afrikaners Photographed (1975).
The On the Mines series features images from the late 1960s of both white and black South African gold miners, in groups and individually, both inside and outside the mines. The images in the Some Afrikaners series, shot from 1961 to 1968, depict the everyday life of the white South Africans known as Afrikaners, and the environment in which they lived. Subjects include school, recreation, mealtimes, buildings, decorum and dress; there are group pictures as well as individual portraits.
Print sizes vary: there are 8x10 inch prints; uncropped work prints of custom sizes and shapes on paper no larger than approximately 12 1/2 x 12 1/2 inches; and prints mounted on 12 1/2 x 13 inch tan mat boards. Most have notes with printing instructions, with occasional captions on backs of prints or beneath prints on mat boards. Acquired as part of the Archive of Documentary Arts at Duke University.
Deena Stryker photographs, 1963-1964 and undated 6.5 Linear Feet — 2579 Items
The Deena Stryker Photographs collection spans the dates 1963-1964 and contains photographs and related material from Stryker's time in Cuba as a journalist for Paris Match. During her stay, she interviewed and photographed Fidel and Raúl Castro as well as other male and female leaders in the Cuban Revolution, including Ernesto "Ché" Guevara, Juan Almeida, Luis Crespo, Armando Acosta, Armando Hart Dávalos, Efigenio Ameijeiras Delgado, Faustino Pérez, Manuel Fajardo Sotomayor, César Escalante, Jesus Montane, Antonio Núñez Jímenez, Guillermo García Frías, Celia Sánchez, Ramiro Valdes Menendez, and René Vallejo.
The Photographic Materials Series contains Stryker's contact sheets, prints, and negatives created during the one-year period; all the photographic material processed by Alberto Korda, Fidel Castro's personal photographer. Topics and photographic subjects include key members of the revolutionary government, male and female, at work and relaxing with family members; life in Havana, including neighborhood and street scenes, and post-revolution housing projects; political rallies and meetings; and daily life and work in rural Cuba, particularly farms, agricultural workers, development projects, and schools. There are also images of Afro Cubans, religious life, and photos of major events such as the Havana trial of accused Batista collaborator Marcos Alfonso in March 1964, and the capture of Cuban fishing vessels by the U.S. Coast Guard in Feb. 1964.
The Correspondence Series contains letters of introduction to Fidel Castro from Stryker as well as one written by Sánchez and a diagram drawn by Raúl Castro. Stryker's analysis of the complexities of nascent post-revolution Cuba is captured in an Italian manuscript draft of the book she prepared for publication in Italy, housed in the Manuscript Materials Series.
An addition to the collection consists of prints produced from the original negatives by documentary photographer Cedric Chatterley for a 2010 exhibit on Deena Stryker's work, with a few other prints used in the exhibit created by Alberto Korda in the 1960s.
All of Stryker's negatives have been digitized and these images are available in their digital form. There are some prints and contact sheet images not represented digitally. Digital images and captions created by the photographer have been transferred to a library server.
Acquired by the Archive of Documentary Arts at Duke University.
Dese, Ethiopia photographs, 1935-1936 0.6 Linear Feet
Doris Thompson journal and log book of voyage aboard the S.S. Tetela, 1935 Mar. 25-Jun. 5 0.2 Linear Feet — 1 v.
Collection comprises a manuscript journal and log book (59 pgs+ blanks) authored by Thompson while on a voyage between England and Jamaica from March 25 to April 28, 1935. However, the journal actually closes with a description of her train trip home on April 29. Includes Thompson's 33 black-and-white photographs, 2 telegrams she received from a Captain Greenhill, her certificate of discharge, and an Irish sweepstakes ticket for the Derby syndicate (dated June 5) that she purchased during the voyage. In addition, Thompson copied into the journal a 3-pg informational article on bananas, written by H.C. Bower, and kept a record of the ship's log for the trip. The S.S. Tetela was a cargo and occasional passenger ship that belonged to the banana-importing firm Elders & Fyffes, a wholly owned subsidiary of the United Fruit Company.
All the entries in the piece indicate that Thompson was an experienced sailor and had navigational training, "Started work this morning. The ship's Log Book had been filled up last trip, and they couldn't get a new one at Rotterdam, so the entries for the last few days had been made on odd sheets of paper. I re-wrote these on official paper and.... Continued making all entries during the trip (pgs. 1-2)." The Tetela sailed from Southampton and arrived at Port Antonio, Jamaica, a fortnight later. Over the next week, the ship took on a large cargo of bananas at Montego Bay, Bowden, and Kingston, where five passengers joined the ship for the homeward voyage. The ship birthed at Garston Docks, Liverpool, two weeks later. In the journal, Thompson does not record what duties she carried out as stewardess. Instead, she recorded weather, passing ships, as well as sea life, but mainly focused on describing, with an active sense of humor, staff activities, meals, gossip, recreation, and teasing aboard ship. She also detailed a day trip she took to Port Antonio, the loading of bananas as cargo, as well as her contacts with officials of the United Fruit Company and family members of the ship's staff. The photographs document much of her description, but include several images of Thompson taken by the Tetela's captain.
Duke Endowment Archives, 1902-2018 and undated, bulk 1925-2006 330.5 Linear Feet
The Duke Endowment Archives span the years 1902 to 2018, although the bulk of the material dates from 1925 through 2006. The collection consists of correspondence; minutes of meetings; financial records; applications for assistance from hospitals, child care institutions, and churches; statistics; publications; oral history tapes and transcripts; architectural drawings and blueprints; photographs; audio cassettes; and miscellaneous records and papers. The collection documents the administration of the corpus of the trust and the charitable contributions made to the categories of recipients named in the Indenture and Deed of Trust establishing The Duke Endowment. Records are arranged to reflect the responsibilities and operations of the Endowment's trustees, officers, and divisions, with major series including: the Board of Trustees, Treasurer's Office, Controller's Office, Investment Office, Education Division and Committee on Communications, Health Care and Child Care Divisions, and Rural Church Division. Smaller series, documenting such other activities as record-keeping, publications, and the Endowment's history, include: Central Files, Oral History Project, Trust Under Will, Publications, Miscellaneous, Photographic Materials, and Audiovisual Materials. Subject areas represented in the collection include: the history of foundations, hospital and child care demographics and other statistics, rural church buildings and activities, the construction of Duke University, and the life of James Buchanan Duke. The geographic focus is primarily North Carolina and South Carolina.
When James Buchanan Duke established The Duke Endowment as a perpetual charitable trust in 1924, he formalized a tradition of philanthropy that he and other members of the Duke family had practiced for many years, especially with regard to Duke University (formerly Trinity College). The life of James B. Duke, including his philanthropic interests, is documented in the Oral History Project Series (RESTRICTED) and Miscellaneous Series (RESTRICTED), and, to a lesser extent, the Health Care and Child Care Divisions Series' (RESTRICTED) Feasibility Study and Rural Church Division Series (RESTRICTED), Correspondence Subseries. The 100th Anniversary of James B. Duke's birth and interest in Mr. Duke's home in Charlotte, N.C., are documented in the Miscellaneous Series.
The Indenture and Deed of Trust establishing The Duke Endowment delineates the type of beneficiaries eligible for its support. These include non-profit hospitals and child care institutions; educational institutions; and rural churches of the Conference of the Methodist Episcopal Church, South (now the United Methodist Church), including retired ministers and widows and orphans of deceased ministers. Beneficiaries usually reside within North Carolina and South Carolina, i.e., generally the areas served by the water power facilities established by Mr. Duke, although under certain conditions other states may be served. The textile mills served by hydroelectric power were of special interest to Mr. Duke. A statistical study of cotton mills that he requested is in the Miscellaneous Series. The Indenture and Deed of Trust specifies that hospitals and child care institutions for Whites and African Americans should be supported. The Duke Endowment provides technical assistance as well as funding. Specific educational institutions were named in the Indenture: Davidson College, Davidson, N.C.; Duke University, Durham, N.C.; Furman University, Greenville, S.C.; and Johnson C. Smith University, Charlotte, N.C.
For the original corpus of The Endowment, James B. Duke assigned shares of stock from Duke Power Company, British-American Tobacco Company, R.J. Reynolds Tobacco Company, George W. Helme Company, Republic Cotton Mills, and Judson Mills. The Indenture stipulates how income and capital from the corpus should be managed and includes specific directives for handling the stock of Duke Power Company. Continuous records for the financial management of the assets of The Duke Endowment are in the Treasurer's Office (RESTRICTED), Controller's Office (RESTRICTED), and Investment Office Series (RESTRICTED). The volumes in the Controller's Office Series include records of payments made and management of the corpus as well as The Endowment's general operating expenses, such as salaries, rents, furniture, and supplies. The Investment Office Series contains records pertaining to companies in which The Duke Endowment invested. The Treasurer's Office Series includes an historical overview of The Endowment's expenditures and includes the minutes of the Finance Committee, which was established in 1975. The Treasurer's Office Series includes Beneficiary Information System reports, which provide geographic breakdowns of payments to institutions from the inception of The Duke Endowment to the present, and a summary that lists each institution or beneficiary group and how it used funds from The Endowment. The Treasurer's Office and Investment Office records do not reflect the overall financial management of The Duke Endowment.
The first members of the Board of Trustees of The Duke Endowment--Nanaline H. Duke, George G. Allen, William R. Perkins, William B. Bell, Anthony J. Drexel Biddle, Walter C. Parker, Alexander H. Sands, Jr., William S. Lee, Charles I. Burkholder, Norman A. Cocke, Edward C. Marshall, and Bennette C. Geer--were named in the Indenture as parties of the second part. As stipulated by the Indenture, the trustees were required to meet at least ten times a year and the minutes of the meetings were to be recorded. The minutes are located in the Board of Trustees Series (RESTRICTED). Miscellaneous papers and pictures of some trustees, especially of Watson S. Rankin, a physician, who was also head of the Hospital and Child Care Divisions for many years, are in the Miscellaneous Series. Rankin was an early proponent of rural hospitals as a way to make health care available to greater numbers of citizens. The related correspondence of Graham L. Davis, assistant to Watson S. Rankin, is in the Health Care and Child Care Division Series (RESTRICTED), Health Care Subseries. The Publications Series includes material by or about several trustees.
The Indenture directed the trustees to expend funds for the establishment of Duke University. Designated by Mr. Duke "as one of the principal objects of this trust," a percentage of The Duke Endowment's corpus was to be applied annually for its support. Duke Construction Company was organized by the Board of Trustees to build the university (now known as the West Campus). The architect Horace Trumbauer designed the campus buildings and plant, and the landscape was designed by Olmstead Brothers. Financial records for the construction of Duke University, including the operation of Duke Construction Company, are in the Controller's Office Series (RESTRICTED) and architectural drawings for the buildings, campus plot, and landscaping are in the Miscellaneous Series. Documentation of The Endowment's support of the other educational institutions named in the Indenture, including disbursements and income generated, is in the volumes in the Controller's Office Series.
Non-profit hospitals receive support from The Duke Endowment for free days of care for individuals unable to pay the costs of hospitalization. If all the funds designated for free days of care are not spent in any given year, excess funds may be used for support of hospital construction, maintenance, and equipment. Medical education is also supported, and technical assistance for administrative functions is provided through published manuals. A similar arrangement was established for societies, agencies, or institutions that cared for orphans and half-orphans. The Health Care and Child Care Divisions, Central Files (RESTRICTED), and Publications Series provide detailed documentation for institutions and programs that receive assistance from The Duke Endowment.
The history of hospital services and statistics for the types of admissions in North Carolina and South Carolina, especially rural areas, can be studied in the Health Care and Child Care Divisions Series, Health Care Division Subseries [NOTE: Formerly known as the Hospital and Child Care Divisions Series and the Hospital Division Subseries, respectively]. The applications from individual hospitals, as well as summaries and statistics that group institutions into comparable categories, provide important documentation about the various types of hospitals and their clients in North Carolina and South Carolina, including hospitals' economic statuses, physical plants, and in-patient and out-patient demographics. Most of the earlier statistics include breakdowns for the number of African American and White patients served and their medical profiles.
The history of institutional child care in North Carolina and South Carolina is documented in the Health Care and Child Care Divisions Series, Child Care Division Subseries. The Child Care Division applications for assistance describe the individual institutions that request support from The Duke Endowment. The applications include information about the physical plant, administration and financial status, population statistics, and the physical care and education of children. The summaries use the information in the applications for assistance and group it by type of institution, e.g., religious, community, county, state, more than 150 beds, under 151 beds with farms, White, African American, etc.
Minutes in the Health Care and Child Care Divisions Series, Health Care and Child Care Committee Subseries document some discussions of how funds would be allocated by The Duke Endowment. The published Annual Reports of the Hospital and Child Care Divisions include substantial statistical information and summary reports about specific institutions served during the year. These reports, located in the Publications Series, are a useful place to begin research about hospital and child care. Reports for these divisions are also in the Year Books.
Between 1915 and 1924, Mr. Duke made systematic contributions to the Methodist Episcopal Church, South, for churches in the North Carolina and Western North Carolina conferences. His contributions were first administered through the Board of Missions of the Methodist Episcopal Church, South. In 1920 Trinity College began to administer the funds. The Church Architect Program files in the Rural Church Division Series (RESTRICTED), Miscellaneous Subseries reflect another arrangement between Duke University and the Rural Church Division. The creation of The Duke Endowment established a formal trust to continue similar support for building and operating rural churches, income for superannuated ministers, and widows and orphans of deceased ministers. The records of the Rural Church Series, Building Grant Files and Church Maintenance Files Subseries document the assistance that individual churches received to build, maintain, and operate churches. Many of these records include oversize blueprints or architectural drawings. There are also records for special projects and other activities supported by The Duke Endowment. The Correspondence Subseries includes information about the concerns of specific churches as well as Methodism and religion in general. Area economic conditions were often described in the correspondence.
The Education Division and the Committee on Communications are currently responsible for publications produced by The Duke Endowment. The Publications Series is a useful starting place for information about The Endowment's activities for a given year or for a historical overview of the foundation. Publications, especially the Annual Reports and Year Books, provide information about the trustees and staff; changes in the organization of The Duke Endowment; and summary information about various divisions, including financial distributions and income, statistics, and specific programs and activities supported by The Endowment at various institutions. Additional publications are in the Miscellaneous Series. Daily operations of The Duke Endowment are documented in the General Correspondence in the Central Files Series. Some general history about The Endowment is located in the Miscellaneous Series, including a signed copy of the Indenture and anniversary celebrations of the 1930s, 1960s, 1970s, and 1990s.
The Oral History Project Series (RESTRICTED), a project initiated in 1963, records the reminiscences of people who were knowledgeable about Duke University, the Duke family, and North Carolina and the region in general. The interviews were conducted by Frank W. Rounds of the Oral History Project of Columbia University. The correspondence includes outlines of the names of interviewees and the subjects they were to discuss.
Two groups of non-print materials and of oversize materials complete the collection. The Photographic Materials Series (RESTRICTED) contains approximately 200 photographs relating mainly to the Rural Church Division Series, especially the Committees on Church Architecture, and to the Miscellaneous Series. Several audio cassette recordings in the Audiovisual Materials Series (RESTRICTED) document miscellaneous meetings and addresses pertaining to the Health Care and Child Care Divisions Series. Although series from throughout the collection are represented in the Oversize Materials (RESTRICTED), this group is particularly rich in blueprints and other architectural drawings that support related materials in the Miscellaneous Series and in the Rural Church Division Series, Building Grant Files Subseries.
The majority of images in the collection are faculty and staff portraits taken by Duke Photography staff; a few pictures of students or of other individuals not affiliated with Duke are included. The collection contains photographic prints of various sizes, both black-and-white and color; contact sheets; negatives, including black-and-white 35mm negatives, positive 35mm color slides, and other sizes; and seven CDs of digital files. Most of the items are undated but appear to be from the 1980s through around 2000. Most items include a job number assigned by Duke Photography, either on the back of photographs or on the plastic sheets housing the negatives.
Duke University Progress Pictures collection, 1925-1932 3.5 Linear Feet — approximately 1000 Items
There is one set of pictures for East Campus and two sets for West, and modern copy prints and copy negatives of some images. One set of the West Campus images (#2) is not accessioned. The other (#1) was received from the estate of W.F. Lee, likely a son of Arthur C. Lee who was the chief engineer for the construction. It is the more complete set (A93-73: five volumes + 25 unbound prints).
Most of the prints are numbered and dated on the front in white ink, and many for West Campus have a number, date, and description of the verso. Some of the prints were made into glass slides; these slides are in the Frank Clyde Brown Papers.
The collection includes approximately 1000 mounted images in two bound sets (copy 1 and copy 2), along several file folders of mounted and unmounted prints. The images range in date from 1925-1932.
The work of at least three photographers is represented in the Progress Pictures. For the East Campus photos, there are prints having the same base number with an A or B suffix, but which were taken on different dates. Some are marked on the verso "from Ramsey Studio, Durham, N.C." and others "Whitney's Camera Craft Shop, 106 1/2 E. Main St., Durham". The "A" and "B" designations are not consistent, and we cannot say that Ramsey was photographer "A and Whitney "B". Ramsey's work predominates in the early photographs and Whitney's in the later. Whitney's work is also represented in the West Campus pictures.
Also in the West Campus mounted prints are pictures marked "C.W. Richardson, Photographer, Duke University" or "Richardson's Photo Serviceâ€¦" According to the Bulletin of Duke University, volume 24, no.7a "The first twenty years" a C.W. Richardson was a member of the staff of the medical art and illustration division, which was started in 1933 (p. 44) and which included photographers. There are also unmounted numbered and unnumbered prints taken by Richardson. Some of these prints are marked News Service or Alumni Affairs. Some mounted West Campus prints are not credited, or if they were stamped by the photographer, the stamp has been covered by the mounting linen. Among the unmounted numbered and unnumbered prints, some are stamped News Service or Alumni Affairs.
The Progress Pictures are offered in jpeg format but are also available as high resolution .tif files.
Earl Garfield Cunningham World War II scrapbook, photographs, and ephemera, 1941-1950 and undated 1.25 Linear Feet — 1 box — 40 Items
The collection includes awards, service records, scrapbook pages, and photographs that collectively document the military career and experiences of African American U.S. Army Lieutenant Earl G. Cunningham. The Scrapbook series contains more than 150 amateur photographs corner-mounted on 12 loose pages that were formerly part of a large scrapbook. The photographs, chiefly 2x3 inches, capture scenes in Allied-occupied Italy, often with Cunningham or his fellow African American soldiers in the foreground. Subjects include city streets, rural landscapes, coastal views, damaged buildings and destroyed tanks, mounds of rubble, Italian citizens, American soldiers, and partisan cemeteries. Brief, handwritten captions identify colleagues or locations including Pisa, Viareggio, Pietrasanta, Massa, Genoa, and Savona. The first few pages in the scrapbook include certificates of appointment demonstrating Cunningham's rise in the military from 1941-1943, along with photographs taken at Camp Williams near Lehi, Utah before his service in Italy.
The remainder of the collection is divided into the following series: Military Awards, Military Records, and Photographs. Military awards and records include transcripts of service, discharge papers, a copy of Cunningham's marriage certificate from Maryland, and a Bronze Star medal. The loose photographs include his portrait and a series of black-and-white commercial photographic postcards from Genova and other cities in Italy, postmarked 1945, with one containing a message to his wife.
Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture.
Edwin Harrison Cady papers, 1858-2000, bulk circa 1961-2000 44.3 Linear Feet — 26,881 items
The papers consist of correspondence from Jay B. Hubbell and John Olin Eidson. The Eidson letters (5 items) discuss the upcoming program of the American Literature Section of the Modern Language Association of America and suggest Richard Armour as the featured speaker. The letters are arranged chronologically.
Accession (1992-0127) (20,000 items, 30.0 lin. ft.) includes correspondence, research and teaching notes, writings, student offprints, card files, photostats, materials relating to the Center for Editions of American Authors, files relating to American Literature, printed matter, clippings, and other miscellaneous items. Correspondence includes letters from Jay B. Hubbell and John O. Eidson; the latter concern the American Literature Section of the Modern Language Association.
Accession (2002-0104), dated 1858-2000 (1251 items; 6.8 linear feet) primarily comprises materials related to writings by Cady and his former student Thomas F. O'Donnell regarding author, editor, and critic William Dean (W.D.) Howells. In 2000, Cady edited and wrote an introduction to a volume of Howells' poetry entitled Pebbles, Monochromes, and Other Modern Poems, 1891-1916, and his collection holds various drafts of this work as well as correspondence between Cady and his publishers concerning the book's publication. Also included is material written by or collected by Cady or O'Donnell while editing or writing other books and articles regarding Howells' poetry; and original correspondence from Howells to his publishers.
Accession (2010-0083) (300 items; 7.5 lin. ft.) includes books by and about William Dean Howells, most with annotations by Edwin Cady and Harry H. Clark, as well as materials (first proofs, drafts, and other Howells publications) that were used by Cady in the preparation of Howells' complete works. Books date from approximately 1881-1981; manuscript materials date from approximately 1879-1992.
Ellis H. Hudson photographs and papers, 1920s-1950s and undated 1.4 Linear Feet — Approx. 390 Items
The Ellis H. Hudson Photographs and Papers date from the 1920s to the late 1950s, and consist of black-and-white photographs and negatives relating to Hudson's research on non-venereal syphilis in Syria in the early twentieth century, as well as galley proofs of maps, charts, graphs, and tables from his book Non-Venereal Syphilis: A Sociological and Medical Study of Bejel (1958). Many of the photographs also appear in this book. Acquired as part of the History of Medicine Collections at Duke University.
Emma Goldman papers, 1909-1941 and undated 0.8 Linear Feet
The Emma Goldman papers feature over 300 letters, primarily written by Emma Goldman, although other anarchists, activists, and thinkers are represented as authors, including Alexander Berkman, Eugene Debs, Harry Kelly, Alexander Shapiro, and the Socialist Party of New England. Many of the letter recipients are unnamed (as "Comrade"), but the majority of the letters were directed to Thomas H. Keell, an English compositor and editor for the anarchist periodical Freedom, in London. Letter topics most often center around requests made of Keell in support of various writing projects as well as speaking engagements and organizing work completed in Europe, the United States, and Canada, but also touch on visa constraints for Goldman and Berkman, the state of the anarchist movement in various countries, the lack of support for anarchist publications, as well as general position statements, especially in regard to Soviet Russia and the Spanish Civil War. There are also papers related to various prominent anarchists. These include typescript drafts of four articles and letters by anarchists; nine handwritten articles on anarchist themes written in Italian by Errico Malatesta; publications; press releases; ephemera, including tickets, brochures, solicitation letters, handbills and flyers; a contract and room layout for speaking engagements; Thomas H. Keell's list of works on anarchism; newspaper clippings; and six black-and-white photographs.
Eric Breitenbach photographs of Florida, 1987-1989 0.5 Linear Feet — 1 box; 10 item — 8 photographic prints; 2 copies of printed catalog
Collection consists of eight black-and-white photographic prints, most of which were taken as part of Breitenbach's work for his Florida Documentary Project, and two copies of the project's exhibit catalog. The gelatin silver prints measure 14 1/8 x 16 7/8 inches, and are almost all portraits of the many types of people living in Florida and the recreation they enjoy or the significant objects and other people in their lives. Individuals include teenagers, college students, deer hunters, Haitian families and other immigrants; and retirees. The prints are all signed, with title, location, and date written on the backs. The catalog includes reproductions of project photographs, with image titles, locations, and dates; a list of planned exhibits; and a summary and timeline of the project. Acquired as part of the Archive of Documentary Arts at Duke University.
Fannie B. Rosser papers, circa 1860s-1973, 2012, bulk 1920s-1973 1 Linear Foot — 750 Items
The papers of Fannie B. Rosser document the personal and professional life of a black businesswoman within a fiscally sound African American community in Durham, N.C. Correspondence, legal and financial papers, printed materials, and photographs reflect both her business activities and her relationships with close friends and family members from the turn of the century to the 1970s.
The bulk of the correspondence until the 1950s pertains to Rosser's business ventures, including maintenance of her property, personal loans made to family and friends, and her investments in government stocks and bonds. Letters from her lifelong friend and business partner, Virginia Randolf of Lynchburg, Va., document the process of maintaining Rosser's rental property over the course of thirty years. They highlight, among other things, the apparent ghettoization of the neighborhood in which her houses were situated, and Randolf's personal and financial response to that process.
Friends and family members often deferred financial matters to Rosser, a careful and respected business woman, and were often dependent on her for monetary support. The correspondence illustrates Rosser's financial acumen and demonstrates the extent to which her personal relationships and business activities overlapped. Of particular interest is an exchange with the Wilhoite's, a couple to whom she loaned $1000, during the Depression. Their correspondence illustrates the personal nature of her business dealings and the difficulties Rosser had in balancing finances and friendships.
Later correspondence centers around Rosser's relationships with her foster daughter Mattie Burton Meyers and niece June. There are scattered references to the political climate of the 1960s, and correspondence from Mattie mentions her work with the NAACP. Also, in the printed materials there is a 2012 published biography of Mattie written by her granddaughter Sharon Revis-Green.
The printed materials consist of materials such as news clippings on both family events and local politics, church programs, and obituaries. A large series of financial and legal papers, 1895-1969, provide extensive detail on Rosser's investments, insurance policies, and legal activities. Many of these documents are associated with firms such as the North Carolina Mutual Life Insurance Company, where Rosser was employed.
The photographs in the collection date back to the early 1860s and are mostly individual portraits and group photographs of African American family members and friends. An unidentified ambrotype of an African American woman dated prior to the Civil War indicates that the family might have been free.
F. Norman Phelps scrapbook, 1926-1935 and undated 1 Linear Foot
Collection comprises a scrapbook (about 54 pgs) documenting Phelps' career as a Chevrolet sales executive. Includes primarily newspaper clippings and black-and-white photographs, although there are also such items as letters, telegrams, news releases, programs (including those for national auto exhibits, sales conventions, and other events), menus, song lyric sheets, a medallion name tag, and other ephemera, all housed in a leather "Chevrolet Sales Speeder" three-ring binder. The newspaper clippings and letters document Phelps' various transfers and promotions; other items cover topics such as company-sponsored hunting events, meals, outings, vintage cars, and skits. There is only one unrelated item: a newspaper clipping from 1926 tells of Phelps' escape from a house fire.
Frank A. Fernekes photographs and postcards, 1915-1948 and undated 0.4 Linear Feet — Approx. 100 Items
Collection contains photographs and postcards, chiefly dating from the 1910s through the 1930s, with a few from the 1940s, all assembled or taken by photographer Frank Fernekes. The first folder consists of 15 small contact prints taken in El Paso, Texas in 1915, probably by Fernekes, including views of the city from a higher vantage point, close-ups of buildings and streets, railroad tracks and bridges, and close-up views of what appear to be families and individuals of Mexican descent and their houses. One street scene includes many African American men congregating in front of a building. The snapshots measure about 3x5 inches, and were printed sometime in the 1970s from the original nitrate negatives, which were then discarded from the collection.
A second folder in this group contains 40 snapshots, chiefly taken in Hollywood and Los Angeles, California from 1925-1948. The earliest images were taken in New York City. The only dated image is labeled 1925, and is captioned "Chief Manabozho," who was a Native American actor on Broadway and in Wild West shows. This image is hand-colored and includes Fernekes's NYC address on the back, which is struck out and amended with the year 1927 and his California address. The two undated images show Chief Wanabozho again, and Frank Fernekes shaking hands with a person in Native American costume in front of the Coney Island Luna Fun House, which often held Wild West-themed shows.
The largest set of snapshots in the second folder are of parades in Venice, Los Angeles, and Hollywood, California, chiefly in the 1930s, focusing on individuals in Western or Native American costume; staff and performers at the Cole Bro. and Clyde Beatty Circus, and the Barnes Circus, sometimes featuring Frank Fernekes posing alongside (19302-1940s); and Native Americans in popular culture-inspired costumes and in traditional dress, posting in groups and individually. Named individuals include Hubert Honanie, a well-known Kachina artist in Pasadena, in Native American costume; Joe and Oscar Cody, who were Native American extras early in their film careers (shooting bows and arrows in civilian clothing), circa 1938; Montie Montana (Owen Harlan Mickel, a rodeo star who resided in California, 1948; "Miss Bluebird," a young Native American in costume, taken at the "All-Indian Picnic in Sycamore Grove Park, Los Angeles," 1942, and the Woody Hanley Cowboy Band, 1946. Many of the Native Americans and other individuals may be actors - there was a studio lot adjacent to Sycamore Grove Park. The photographs in this group typically measure 3 1/2 x 5 7/8 inches, and many are captioned, often including the stamped address of Frank Fernekes's photography studio in Hollywood, California.
The second group consists of 11 souvenir postcards, part of a fold-out set probably dating from the 1920s featuring color reproductions of images dating from 1908. Images depict cowboys, cowgirls, and scenes from the "Wild West" as rendered in American popular culture at the turn of the 20th century. There is a lone color postcard of "The only one-tribe Indian band in the West," which is a group shot of a Yuma brass band from about 1930 published by Harry Hertz. There is also an empty souvenir envelope that once contained souvenir postcards from the Buffalo Bill Wild West show, undated; a black-and-white Burlington Route postcard with an image of the Buffalo Bill Museum in Cody, Wyoming, undated; and a black-and-white postcard with "The Fall of the Bronco Buster, Walton's Views, Roswell N.M., Pecos Valley Drug Co.," from the 1920s.
The collection is rounded out by a large decorative cardstock mount, printed sometime between 1908 and 1923, featuring on one side an image of McLeod from Happy Hollow, a well-known photographer who founded this popular amusement park in Hot Springs, Arkansas; the image is accompanied by a publicity verse. The single 6.75x9.25 inch black-and-white photographic print that was apparently once mounted on the other side of this card frame shows a group of men and women, some astride donkeys, posting for the camera. The man on the far right is Frank Fernekes, dating the image closer to 1923.
Frank Baker collection of Wesleyana and British Methodism, 1536-1996 and undated 50 Linear Feet — approximately 18,000 items
The Frank Baker Collection of Wesleyana and British Methodism, 1536-1996 and undated, comprises a vast range of original correspondence, writings, local histories, printed items, engravings, and many other manuscript materials that date from the earliest years of Methodism to its expansion throughout the British Empire during the 18th, 19th, and early 20th centuries. The collection includes the correspondence of two of the most important founders of Methodism, John and Charles Wesley, as well as correspondence from members of the Wesley family, including Samuel Wesley, Sr. (1662-1735), Sarah (Gwynne) Wesley (1726-1822) and the Gwynne family, and the children of Charles and Sarah Wesley: Charles Wesley, Junior (1757-1834), Sarah (Sally) Wesley (1759-1828), and Samuel Wesley (1766-1837).
Additionally, correspondence from many of the key figures in 18th and 19th century history of British Methodism greatly extends the collection's breadth of coverage. Among others, these groups of correspondence include Joseph Benson, Jabez Bunting, Adam Clarke, Thomas Coke, James Everett, John Fletcher, Mary (Bosanquet) Fletcher, Selina Hastings, Countess of Huntingdon, Elizabeth (Ritchie) Mortimer, George Osborn, Hester Ann Rogers, Richard Tabraham, and Thomas Wride.
The collection materials cover many topics, including: the life and training of clergy women correspondence and diaries; the religious life of women; biography; portraiture; spiritual topics; Protestantism as depicted in art; and the debate between Arminianism and Calvinism in the early church. Organizational history in the collection covers several branches of the 18th and 19th century church, including Wesleyan Methodism, Primitive Methodism, missions, and missionary societies.
Formats of materials include church records and registers, account books, autograph albums, broadsides (notices), circular letters, engravings, maps, sermons, scrapbooks, class tickets, photographs, photocopies of original manuscripts, memorabilia, and realia.
Frank Espada photographs and papers, 1946-2010, bulk 1964-2000 56.2 Linear Feet — 76 boxes; 3 oversize folders — approximately 14,500 items
Frank Espada's photographic archives comprise thousands of photographic prints, contact sheets, and negatives, as well as professional papers, spanning the length of Frank Espada's career as a photographer and community activist from the mid-1950s through 2010. The materials document the Puerto Rican diaspora; indigenous Chamorro communities in Micronesia, primarily in Guam, Tinian, and Saipan; drug abuse prevention programs and HIV/AIDS outreach in San Francisco; and civil rights, education, and anti-poverty and housing rights movements, primarily in New York City and San Francisco. Photographic subjects include Puerto Ricans, African Americans, and indigenous peoples, as well as whites and racially mixed people.
A large series of professional papers provides supporting documentation of his life and work as a photographer, activist, community organizer, and teacher. The earliest dated item, an essay Espada wrote in 1946, "What democracy means to me," is found in this series, which contains files on Espada's activism; research topics; photography and exhibits; a few videocassettes; syllabi and notes from his photography courses at U.C. Berkeley; awards and memorabilia; and publicity.
The largest body of materials, which numbers over 12,000 items and includes photographs as well as manuscripts and over 100 recorded oral interviews (digitized use copies available), derives from Espada's grant-funded work documenting Puerto Rican communities across the U.S. and in Puerto Rico, 1979-1981.
Another significant group of materials derives from Espada's activism on behalf of voter registration and school desegregation in New York City from 1962-1970, and later in California in support of anti-poverty, HIV/AIDS, drug abuse prevention and outreach, and housing rights.
Each of the photographic project series includes finished prints ranging in size from 8x10 to 24x30 inches; contact sheets and work prints; and negatives, which are housed in a separate series and are closed to use.
Acquired as part of the Archive of Documentary Arts at Duke University.
Fred Chappell papers, 1944-2019 and undated 158 Linear Feet — 5.9 Gigabytes
The fully processed portion of the Fred Chappell Papers spans the dates 1960-1997, with the bulk being dated after 1970. There are several additions covering the years 1998 through 2015. The collection consists of correspondence; writings by Chappell and other authors; printed material (primarily serials containing stories, poems, and articles by Chappell but also clippings); legal and financial papers; speeches and addresses; interviews; and other material. Documents relate to Chappell's personal life and career, both as a student and writer at Duke University, where he studied under well-known creative writing teacher William Blackburn, and as a writer and professor at the University of North Carolina at Greensboro (UNC-G). The collection documents the entire length and breadth of Chappell's multifaceted career, beginning with the years just after he completed his undergraduate studies at Duke and started his first novel at the urging of Hiram Haydn, an editor to whom Blackburn had introduced him. Letters, manuscripts, and notebooks provide insight into Chappell's developing literary career, his academic activities at UNC-G, and his growing involvement with a large network of writers, including a number of his former students. Many prominent American authors, especially Southern ones, are represented in the collection. Among the most frequent correspondents are Kelly Cherry, Grace DiSanto, George Garrett, Marianne Gingher, Dana Gioia, Donald Hall, Heather Ross Miller, Robert Morgan, Eve Shelnutt, and Dabney Stuart. Notebooks, manuscripts, typescripts, proofs, and printed material document the development of Chappell's career across all the genres in which he writes. Supporting material in non-print media, including photographs and audio and video cassettes of readings, document public aspects of his career.
The Correspondence Series, arranged chronologically in Incoming and Outgoing subseries, discloses the range of Chappell's interests and activities in the literary community. The letters not only provide a portrait of his development as a poet and novelist but also demonstrate his active roles in supporting the careers of other writers and promoting the literary community. These latter activities are documented by his numerous affirmative responses to a broad range of requests to read drafts of works-in-progress, write recommendations for other writers for grants and awards, write reviews and provide blurbs for new publications, serve as the judge of contests, speak at conferences and workshops, and serve in various advisory and editorial capacities for literary journals. The correspondence also provides much information about his teaching career and his legacy of students who develop successful careers of their own, such as Cherry, Miller, Morgan, and Shelnutt. The bulk of the outgoing correspondence dates to 1990 or after, when, at the request of the Rare Book, Manuscript, and Special Collections Library, Chappell began retaining copies of all outgoing correspondence.
The Writings by Chappell Series is divided into subseries by genres with the exception of one subseries based on format, the Notebooks Subseries. Since Chappell writes with relatively few hand corrections on any particular stage of his work, the development of an individual work is often apparent only by comparing various complete drafts in manuscripts, typescripts, and proofs. The notebooks are particularly valuable in this regard, providing what often appear to be the earliest versions of works. The notebooks also indicate the facility with which Chappell moves from one genre to another, as most of them are not devoted to a single work or genre but rather include poems, stories, novel fragments, essays, reviews, translations, and drafts of correspondence following one after the other. This versatility is further reflected by the Printed Materials Series, which contains extensive serials with Chappell's publications in multiple genres, especially fiction, poetry, and reviews. At the end of this series, the Clippings Subseries documents his public and critical reception with copies of reviews and essays about his work and publicity about it.
The Miscellaneous Series contains a variety of flyers, leaflets, newsletters, and examples of fan mail that further demonstrate his literary career. Prominent here are such items as the proofs for a 1990 symposium about his poetry and newsletters of the Fellowship of Southern Writers. It also contains two small subseries of audio and video cassettes of readings, interviews, and work by other authors.
The Writings by Others Series contains manuscripts from well-known contemporary writers, ex-students, and aspiring writers seeking advice. Chappell's reactions to the manuscripts are written on many of them, often as the first draft of a letter or requested recommendation. Most writers are represented by only one or two items, but Cherry and Shelnutt are both represented by more than a dozen pieces that, together with their frequent correspondence, outline the development of their respective careers.
Later additions to the collection include incoming and outgoing correspondence, drafts and writings of Chappell's poetry, honors and awards, and printed materials and publications featuring Chappell or his work. Most accessions include bound volumes as well as writings and manuscripts by other authors or poets. There are also some oversize materials, audiovisual materials, clippings, and photographs. These additions have been loosely sorted but have not been incorporated physically or intellectually into the originally processed collection. Please consult Research Services with questions about using these materials.
Frederick B. Nightingale stereographs of China, 1920-1921 0.2 Linear Feet — 1 box
Collection of 143 stereographic images of areas in southeastern China, taken by amateur photographer and American lighting engineer Frederick B. (F.B.) Nightingale from 1920 to 1921 while he traveled on business as a representative of General Electric. Nightingale's collection is of value not only for the image content, which includes many street scenes with individuals in addition to well-known sites and landscapes, but also for his lengthy captions on the back of each card, commenting on food customs, architecture, folklore, commerce, and religious beliefs and practices, as seen from a Westerner's perspective.
The majority of the images were taken in Suzhou (referred to in captions as Soochow, 55 images), Hangzhou (Hangchow, 44), Mount Putuo Island (Pu-tu, 14), and Shanghai, China (13), but there are also a few photographs from other cities (Chang'an, Ningbo, Harinen?), and a set of 11 images taken in Japan. There is also one photograph of overgrown land on Nightingale's Pasadena, California property called "Palawoo." Several images feature Nightingale, and one shows the porter carrying his camera equipment. The majority of the images are crisp with little fading. A few are stamped with small identification numbers.
Subjects include numerous temples, pagodas, monasteries, monuments, tombs, and other historic sites, some of which no longer exist. Nightingale was able to capture some images of temple interiors, and he often noted which religious sites allowed entry to women. There are many photos of street life, river traffic, modes of transportation, and Chinese vendors and pedestrians going about their daily business.
Acquired as part of the Archive of Documentary Arts at Duke University.
Friedrich Carl Peetz photographs, 1900. 1 Linear Foot
Collection comprises a photograph album with 127 black-and-white photographs (several are hand tinted; most are 4.5 x 6 in.) mounted on 22 boards. The album probably belonged to Friedrich Carl Peetz, most likely an officer in the German Navy (Kaiserliche Marine) and crew member of the S.M.S. Hertha during the Boxer Rebellion. The images were mostly taken in Tsingtao (Qingdao), Chefoo (Yantai), Hong Kong, Peking (Beijing), and Shanhaiguan during the Boxer Rebellion in 1900. The photographs document the German involvement in the Rebellion and primarily depict damage to the Taku Forts, German ships (all are identified) and crew, and temples and other historic buildings visited by the Germans in Beijing and other locales in China. Photographs have German captions written in pencil.
F. Vester photographs of the Holy Land, approximately 1900 0.7 Linear Feet — 1 box — 1 volume
Garrett Orr papers, circa 1873-1994, bulk 1890s-1914, 1935-1965 18.5 Linear Feet — 11,000 Items
The Garrett Orr Papers document the artistic output and personal files of advertising executive Garrett Orr. Although the collection spans the years circa 1873 to 1994, the bulk of the materials fall within two main periods: the 1890s to 1914, comprising a photographic collection of old poster images; and 1930 to 1965, which approximates the span of Orr's professional life. The collection includes the original drawings, water colors and paintings produced by Orr as designs for the outdoor advertising campaigns of a wide variety of products such as Gillette razors, Ipana toothpaste (Bristol-Myers), Lucky Strikes and Viceroy cigarettes (Brown & Williamson), Mazola corn oil (Corn Products Refining Company), Seagram beverages, Verney fabrics, and White Rose tea. Also included are folders of photographs, slides and negatives of Orr's advertising work for approximately 550 companies (with index). In addition, a collection of almost 200 large-format negatives and photographs document images of 19th- and early 20th-century posters for plays, musicals, minstrel shows, circuses, and hotels. A large set of clippings files contain published examples of the work of over 100 graphic artists and illustrators contemporary with Orr, including Floyd Davis, Ronald McLeod, George Petty, Howard Scott, Ben Stahl, Jon Whitcomb, and J. Walter Wilkinson. The collection is organized into five series--the General Files Series; the Artists and Illustrators Series; the Product Files Series; the Other Photographic Materials Series; and the Sketches Series. Large-format items from the Artists and Illustrators Series and Sketches Series have been relocated to Oversize Materials.
Closely related collections held by the Rubenstein Library include: the Outdoor Advertising Association of America (OAAA) Archives; the Outdoor Advertising Association of America (OAAA) Poster Designs; the Outdoor Advertising Association of America (OAAA) Slide Library; the Duplex Advertising Company Billboard Images and Records; the Strobridge Lithographing Company Advertisements; the R.C. Maxwell Co. Records; the Howard Scott Papers; and the John Paver Papers.
Gary Davis collection of Leon Levinstein photographs, 1950s-1970s 1.5 Linear Feet — 3 boxes — 38 prints
Collection consists of 38 black-and-white photographs taken by Leon Levinstein from the 1950s to the 1970s. The images, usually taken at close range and at unusual angles, portray children, women, and men of all races and backgrounds - many of them marginalized - on New York City streets and on the beach. Locations include Harlem, Manhattan, the Lower East Side, and Coney Island. There are also photographs of people in Haiti. and a few from India and Mexico. Only one scene, a piano in a room, has no people in it.
Levinstein deliberately left his images untitled and undated, thus most prints in this inventory are accompanied by content descriptions created by a collector or dealer, or, in a few cases, by library staff. Almost all the prints bear a photographer's stamp on the back and a few are signed by Levinstein. Most of the prints measure approximately 11x14 inches, with a few larger prints; in the dimensions given, height precedes width.
Acquired as part of the Archive of Documentary Arts at Duke University.
Gary Monroe photographs, 1980-1998 4.5 Linear Feet — 98 items
A collection of 100 16x20 black-and-white gelatin silver prints shot by Gary Monroe from 1980 to 1998 in Haiti, in Haitian neighborhoods in Florida, and in Krome Camp, Florida, where Haitian refugees are detained by the U.S. government. Images depict individuals, families, and groups of Haitians and Haitian-Americans in a wide variety of locations, including city streets in Port Au Prince and Miami, rural locales, marketplaces, religious centers, housing interiors, and other locations. Some images of protests and ceremonies are included. Prints are identified by unique number assigned by photographer and arranged by country and then chronologically by number. Some numbers are incomplete. Images with no location information are identified by "n.p." Acquired as part of the Archive of Documentary Arts.
George Garland Allen papers, 1923-1983 0.5 Linear Feet — 19 Items
Collection of historical documents relating to the Duke family of Durham, North Carolina contains bound copy of poet Plato T. Durham's poem in memory of Angier B. Duke, AVE ATQUE VALE, FRATER!; album of photographs of James B. Duke's funeral; illuminated, leather-bound testimonials to Mr. Allen; album of the dedication of the Allen Plant; college diplomas from Duke, Furman, and Davidson; a manuscript of John W. Jenkins' JAMES B. DUKE, MASTER BUILDER; and a copy of GEORGE GARLAND ALLEN, A LIFE TO BE HONORED, written by Michael Durham and commissioned by Lucy Burwell Allen Fowlkes and Mary Garland Allen Gregg. Includes large photograph of James B. Duke and fellow directors of the Aluminum Company of America at Isle Maligne, July 14, 1925, and a large photograph of a Duke alumni dinner and dance in New York on December 6, 1935.
George Meade Bowers scrapbooks and photograph album, 1898-1917 1.5 Linear Feet — 3 volumes
Collection contains three volumes belonging to George Meade Bowers, Republican politician and government official from West Virginia.
The photograph album, entitled "Photographs, Congressional Party in Hawaii, George Meade Bowers," contains 58 silver gelatin photographs. The album is undated, but the image content establishes its creation from 1916-1917. The delegation's visit in 1917 coincided with the death of Queen Liliuokalani on Nov. 11, 1917 and her funeral; the album includes a photograph of the Queen lying in state. Settings include the islands of Oahu, Hawaii, and Kauai, including Honolulu, Kona, Waimea, Kaimu, Makapuu, and Hilo. Scenes include Hawaii Volcanoes National Park (created a national park in 1916), the delegation, schoolchildren, Japanese, Hawaiians, public officials, and travel.
The scrapbook, also assembled by George Bowers, contains mostly clippings but also a small number of photographs, and dates from 1898-1914. They primarily concern his work as U.S. Commissioner of Fish and Fisheries, 1898-1913. There are a variety of clippings about Bowers, the Fish Commission, the International Fisheries Congress in 1908, oyster; lobsters, various kinds of fish, and the U.S. fishing industry. There are also numerous clipping about politics and elections in West Virginia. A few clippings concern the Bowers family.
The third album contains congratulatory telegrams for Bowers' 1916 election to Congress from the Second District of West Virginia. The telegrams include two from Theodore Roosevelt, one of which is substantive. There is one photograph in the back of the leather volume, of a campaign parade for Bowers.
George S. Pietzcker St. Louis airplane meet photograph album, 1910 0.1 Linear Feet — 1 folder
George Warren and Kate Rumsey Hinman missionary photograph albums, 1892-1900 1.0 Linear Foot — 2 boxes — 2 photograph albums — 7 1/4 x 11 3/4 inches — 2 photograph albums
Two late 19th-century photograph albums primarily documenting George Warren and Kate Rumsey Hinman's travels and missionary work in central China. Most of the photographs were taken in Fuzhou (Foochow) and Shaowu, Fujian Province, where the Hinmans were assigned.
The earliest images, in Album 1, are of the Rev. George Stillwell of Garden, Michigan and the Rev. E. G. Palmer and family of Oxford, Michigan. A series of images of buildings, staff and students of the Burrell School in Selma, Alabama are also found in Album 1, as well as a few larger images from China. The black-and-white photographs in this album appear to be a mix of albumen and collodion or gelatin prints.
Album 2 contains 57 black-and-white photographs taken in China, Fujian Province, chiefly in Fuzhou (Foochow) and Shaowu, where the Hinmans were assigned. There are portraits of local officials, river scenes, and other landscapes. Other locations seem to be mostly in Fujian Province, and include the Ing Hok River, Ing Tai; Yeng Bing (?), a location near Fuzhou; Guling (Kuliang), a mountain location near Fuzhou, where the Hinmans stayed in a cottage; and landmarks such as monasteries, city gates, and the Bridge of 10,000 Ages in Fuzhou (also found in the Sidney Gamble photographs collection at Duke). The photographs in this album appear to be primarily collodion and gelatin prints.
Gjon Mili photographs, circa 1939-1949 0.25 Linear Feet — 1 flat box — 20 prints — 20 prints
Collection comprises 20 gelatin silver prints taken during the 1930s and 1940s by photographer Gjon Mili. Using new techniques of strobe lighting and electronic flash that he developed at MIT, Mili created stop-action and multi-image frames portraying the movement of the human body (reminiscent of the more scientific locomotion studies of Ã‰tienne Jules Marey and Eadward Muybridge) and of objects such as an egg breaking in a pan, a jet from a siphon bottle, and a cascade of water. Human subjects in the collection include two African American children playing with paddleballs, a man in the shower, a man aiming a racket at a shuttlecock, and female nudes. One image is of Mili photographing a stream of water with his camera.
The prints range in size from 8x10 to 11x14 inches. Most are vintage prints, created from the 1930s to the 1940s; only one bears a date - 1943. A few are mounted on thin board, but the majority are unmounted paper prints. All are stamped with the photographer's name and "From the Richard Checani Collection." One print bears the stamp "Life Photo, to use" referring to Mili's work for the magazine. A few bear penciled captions such as "cartwheel" and "nude descending a staircase," and one penciled notation explains the genesis of the image: "Full frame (35 mm) shot by Wallace Kirkland, who was at my side, G [jon]." Acquired as part of the Archive of Documentary Arts at Duke University.
Glenn Scarboro photographs, 1962-1976 1.5 Linear Feet — 3 boxes — 168 items — 168 items
This collection of 166 13x19 inch black-and-white inkjet prints by Glenn Scarboro explores through street photography, landscapes, and portraits the social life and culture of southern Virginia in the 1960s and 1970s. About half of the photographs were taken in Danville, a small town with industries linked to tobacco, railroads, and textile mills, and the artist's hometown. Other images were taken in Richmond, Blacksburg, Roanoke, and other towns of the region. A dozen or so photographs were taken in other states such as Georgia and North Carolina, and there are a few from Rhode Island and New York.
The street scenes of Danville and other towns include images of white and African American residents of all ages and backgrounds, chiefly from the 1960s; small businesses; people and their cars; house exteriors and interiors; churches; and outdoor advertising and logos. One photograph is of the house of free black craftsman Thomas Day, in Milton, NC.
Rural themes include portraits of country people, barns and tobacco warehouses, livestock, and rural landscapes, with a large series of images particular focused on southern Virginia horse shows and county fairs.
There are no photographs of the social protests and political activities that took place in small towns such as Danville at that time, but the street photographs do speak to social culture and conditions in southern Virginia during the 1960s, and some, as the photographer notes, allude to the sense of social disruption and alienation in small-town Southern society.
The series ends with a series of portraits, chiefly of Scarboro and his immediate family, taken in the 1960s. One portrait of Scarboro in New York City was taken by photographer, instructor, and friend Emmet Gowin.
The collection also includes a 15-page handmade artist's book by Scarboro containing eleven black-and-white photographs taken in 1963 and printed from original negatives in 1965. The book was assembled in 1972 and is number six of a limited edition of seven, and features a unique cover with a pen-and-ink drawing.
A print inventory created by the photographer contains additional biographical narrative and commentary, and is available in the first box. The photographs are arranged in original order as received.
From the artist's statement: "There was a photograph in The Family of Man made by Jerry Cooke (originally published in Life magazine) of a woman sitting quite forlorn on a bench in a very dark place that gave no clues as to time, place, person or situation...which are the four psychiatric attributes of reality. She was alone. The quote under the photograph read, 'I am alone with the beating of my heart.' (Lui Chi) Making photographs in the streets of my hometown in the 60/70s calmed the beating of my unsettled heart and gave a face to the feelings of social alienation endemic to that time. Danville streets were the places of my earliest identity. In the process of becoming a close observer of ordinary lifeâ€¦I had become an artist.
Anxiety is always at the edge of identity."
Acquired as part of the Archive of Documentary Arts at Duke University.
Haiti Tourist Bureau photographs, 1950-1955 0.2 Linear Feet — 1 box — 17 prints — 8x10 inches
Hannah L. Schmitt photograph album, 1920-1922 0.5 Linear Feet
Collection comprises a cloth-bound photograph album maintained by Schmitt when she attended Camp Michigamme, beginning in 1920. The album contains 243 black-and-white photographs, most measuring 4x2.5 inches. Images document camp life, and show Hannah and other young women living in tents, canoeing, swimming, playing sports, cleaning, entertaining themselves, reading and relaxing. Places visited mentioned are Baldy, Pequaming, Sand Island, and Flat Island. Almost all of the images have captions written by Schmitt; several of them were later inked in color. There is also a photograph of the Hebard's Mill at Pequaming, Michigan, the mill that Ford Motor Company purchased in 1923. Photographs on several pages in the back of the album are of Schmitt family members, and were taken outside of the camp. A number of the images were developed by a Michigan company named "Forster's-Calumet." In addition to the photographs, the album contains some manuscript items, including notes, poetry, a Western Union Telegram (regarding Schmitt's relationship with a West Point Cadet), along with a 7-page story that represents each camper and staff member as clouds at dawn.
Harriet Wasserman Literary Agency records, 1940s-2003 and undated (bulk 1978-1995) 190 Linear Feet — 52,755 items
The records of the Harriet Wasserman Literary Agency span the dates 1948-1993, with most of the records dating after 1974. The records dated prior to 1981, when the agency was formed, are those of writers who were Wasserman's clients when she was employed at the Russell and Volkening agency and stayed with her when she formed her own agency. The collection documents the careers of individual writers and in doing so indicates the varied activities of a major literary agency: preparation and submission of manuscripts, negotiation of contracts, handling of foreign and reprint rights, publicity, and the differing ways affairs are handled for lesser known or beginning writers and for major authors. Among the more prominent American fiction writers included are Richard Bausch, Saul Bellow, Frederick Buechner, Oscar Hijuelos, Josephine Humphreys, Ruth Prawer Jhabvala, Alice McDermott, and Reynolds Price. In addition, records about historian George F. Kennan and philosopher and historian Allan Bloom are included. The correspondence is primarily about professional matters, although some sense of the personal relationships between the agent and the more prominent clients can be gleaned.
By far, the Bellow papers comprise the largest group relating to any single author, and cover the longest span of years, from 1948 to 1993. There are relatively few papers from 1948 to 1972, but those present contain a few personal letters to Bellow from his contemporaries such as the novelists Ralph Ellison and Wright Morris. The bulk of the Bellow papers date from 1973, and convey a clear impression of the activity surrounding his increasing fame, particularly with the publication of Humboldt's Gift, the 1975 Pulitzer Prize for that novel, and the Nobel Prize in Literature in 1976. After that date his later career is sketched in detail and follows from inception through publication such works as The Dean's December, More Die of Heartbreak, and It All Adds Up.
The collection includes, in smaller amounts, material about the careers of other authors. In the current accession, the Bausch and Jhabvala papers are particularly rich among the fiction writers. Bausch's career is outlined from his breaking into the profession in the mid-1970s to his establishment as a major author by the late 1980s. Jhabvala's papers pick up in mid-career, when she has already published several novels and won the Booker Prize in England, but prior to her growing fame as a screenwriter for Merchant Ivory Productions. Her correspondence also includes a number of letters from director James Ivory and producer Ismail Merchant, particularly relating to the development of the film The Autobiography of a Princess (1975) and the accompanying photography book of the same name.
Of special note are the records about Reynolds Price and Josephine Humphreys. While the HWLA collection contains some unique items about these writers, especially Price, scholars should be aware that the Library is also the primary repository for the personal papers of these writers. Much more information is available in their respective collections.
Among non-fiction writers in the current (1995) accession, the papers of historian George F. Kennan and philosopher Allan Bloom document their careers in the 1980s. Most of the Bloom papers relate to the publicity surrounding the publication of The Closing of the American Mind, particularly reviews and speaking engagements. The Kennan material is more varied, including not only Wasserman's correspondence on Kennan's behalf, but several dozen lengthy letters from Kennan to Wasserman and others.
The 1999 addition (accession #1999-0275) (19,500 items, 32.5 lin. ft.; dated 1974-1999 and undated) expands on all of the collection series, especially materials related to Saul Bellow.
The 2001 addition (accession #2001-0050) (816 items, 12 lin. ft.; dated 1974-2000 and undated) includes book manuscripts, galley proofs (some inscribed), correspondence, notes, and other materials relating to the authors represented by the literary agency. Other materials include sixty-four black-and-white photographs, one black-and-white negative, four color photographs, and one audiocassette tape. Authors included in this addition are Richard Bausch, Jay Williams, Suzi-Lori Parks, Laurel Lee, Karla Kuskin, Elinore Clark, Perrin Ireland, Frederick Buechner, John Tyler Bonner, Martha Moody, Eugene Walter, Caroline Winthrop, Paul Lussier, Sharon Flake, Reynolds Price, Josephine Humphreys, Saul Bellow, George Dawson and Richard Glaubman, Julia Markus, George F. Kennan, Carole L. Glickfeld, Mark Winegardner, Michael Stewart, Diane Vreuls, Sandra Gould Ford, Charles McPhee, Mark Smith, and Harriet Wasserman herself.
The second 2001 addition (accession #2001-0115) (5 items, .1 linear feet; dated 1978-2001, bulk 1997-2001) contains correspondence between Wasserman and Shelley Gruskin. It also includes a playbill for performances of In Dreams Begin Responsibilities and Gimpel the Fool, signed by actor David Marguiles and a copy of Delmore Schwartz's In Dreams Begin Responsibilities and Other Stories. Both book and playbill are mentioned in the correspondence.
The 2003 addition (accession #2003-0051)(12,500 items, 30 linear feet, dated 1982-2000) consists chiefly of client files (correspondence, contracts, financial records, etc.), manuscripts and proofs of books by clients, published versions of books by clients, and related materials. Includes especially significant material for Saul Bellow and a few other authors, including Oscar Hijuelos and George Frost Kennan.
Addition (08-004) (18,000 items; 24 lin. ft.; dated 1984-2006) consists chiefly of client files (correspondence, contracts, financial records, etc.), manuscripts and proofs of books by clients, published versions clients, and related materials. Includes especially significant material for Saul Bellow and a few other authors, including Oscar Hijuelos and George Frost Kennan.
Addition (08-078) (8 items; .2 lin. ft.; dated 1984-2000) includes writing samples for agency authors, as well as literary award kits and publications.
Addition (12-008) (2250 items; 3.0 lin. ft.; dated 1972-2003) consists of agency files about author Reynolds Price, including general correspondence, contracts, book reviews, and other related materials.
Helen Smith Bevington papers, 1918-2001 9.75 Linear Feet — 3422 Items
Family and personal papers, primarily Bevington's personal and professional correspondence (1931-2001), which includes letters from Ray Bradbury (1976-1993); typescripts of diary entries (1959-1989); 22 heavily annotated books of modern poetry, and research notes. There are also correspondence and professional records for Bevington's husband, Merle. Other items include one color and 9 black-and-white photographs, a scrapbook, passports, geneology information/records, awards, newspaper clippings, class records, and unpublished manuscripts.
Henry Heyliger photograph album of occupied Japan, 1947 .3 Linear Feet — 1 box — 3 items
Collection comprises a 9 1/4 x 13 inch accordion-bound album containing 158 black-and-white and a few color photographs, belonging to African American soldier Henry Heyliger. His name is found in the album in photograph captions, in an inscription to him on another soldier's portrait, and on a postcard addressed to him.
Most of the photographs document the 610th Port Company based in Yokohama, Japan, 1947, and many are labeled with soldier's names and some locations. In addition to formal portraits, there are many snapshots showing the men around base, marching, working, relaxing, and posing with Japanese women. One image shows a few U.S. soldiers, including Heyliger, visiting and eating with the family household of a young Japanese man, possibly a worker at the base. A large group photograph shows 18 members of the 120th Tng (Training?) Company and Regiment. Also found laid in is a newspaper clipping. A few of the pages are separated from the original bindings.
Included in the album are two snapshots taken in the U.S., showing African Americans enjoying Hamid Pier beach in Atlantic City, as well as an Atlantic City color postcard addressed to Henry Heyliger at a military base in San Francisco (crossed out, with Los Angeles military address added), from "Doris," who is probably the Doris Hensley in a photograph mounted on the same page as a larger color hand-tinted) photograph of Henry Heyliger.
Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture at Duke University.
Henry Horenstein photographs, 1970-2013 7.0 Linear Feet — 9 boxes — 153 prints
Collection comprises 153 black-and-white and color prints from portfolios by photographer Henry Horenstein, taken from 1970 to 2013 over the course of his long career. Subjects range widely, with some emphasis in the collection on images of entertainment and music culture: country and blues musicians, including Nathan Abshire, Loretta Lynn, Del McCoury, Dolly Parton, Stringbean, and Doc Watson, the venues where they perform, and their fans; street musicians, honky tonk bands and barroom dancers and drinkers; and drag and burlesque performers in Los Angeles, New York City, and Caracas and Buenos Aires, Venezuela.
"Wesorts" refers to a project to document small, unique mixed-race communities in and near Marbury, Maryland; the term is said to have been coined from the phrase used by residents to refer to themselves, "we sorts of people."
Other images include early portraits of Horenstein's family and friends; life on the El Malecón waterfront in Havana, Cuba; a highway in Louisiana; a historic theater in Branson, Missouri; close-up images of the human body; and behind the scenes in horse racing, including horses in action and at rest, grooms, owners, bettors, and jockeys, one of whom is Steve Cauthen.
The prints come in sizes ranging from roughly 8x10 to 20x24 inches. Photographic formats include chromogenic, pigment inkjet (giclee), and gelatin silver darkroom prints; they are often marked with edition numbers, printing dates, and other information.
With only a few exceptions, the images in this collection have been published by Horenstein in photobooks throughout his career. They have been exhibited widely and are held in the collections of museums, galleries, and other institutions.
Henry Nathaniel Oakes papers, 1904-1974 9.5 Linear Feet — Approx. 5000 Items
The papers of Henry Nathaniel Oakes chiefly consist of research material for and drafts of Oakes's 1973 Ph.D. dissertation, which focuses on the career of Robert Elijah Jones (1872—1960), the first African American Bishop of the Methodist Episcopal Church, elected in 1920. Jones was born in Greensboro, North Carolina. Oakes's materials document the relationship between Jones and his close friend Booker T. Washington, Jones's accomodationist approach to racial integration, as well as the black struggle for equality in the predominantly white Methodist Episcopal Church in the first half of the twentieth century.
The earliest dates (1904-1940s) derive from photocopied research materials pertaining to the period during which Robert Jones was active, chiefly from Methodist publications, including reports, newsclippings, articles, and correspondence. These materials contain exceprts and notes on comments Jones made from 1905 to 1920 on abolition, African American business, mob violence and lynching, education, and politics. Also among the research papers are typed notes Henry Oakes took on an unidentified work by Robert E. Jones. Typewritten notes are typically annotated with many hand-written comments and underlined passages. Handwritten notes are often found on the backs of re-used elementary school worksheets.
Additional materials in the collection include University of Iowa forms and policies; correspondence between Oakes and members of the Jones family and Univ. of Iowa faculty; a set of typed transcripts of six or seven interviews conducted by Oakes with Jones family members, ministers, and other individuals; a set of black-and-white photographs of Jones, his immediate family, and Church officials; and five microfilm reels.
Mold remediation has been carried out by Conservation staff on selected portions of the collection. To facilitate access to severely damaged items, photocopies are available for use and are housed alongside the originals.
History of Medicine picture file, 1523-2002 and undated 16 Linear Feet — approximately 2400 items
Assembled by the staff of the Duke University Medical Library, the History of Medicine Picture File offers thousands of images of individuals, places, and subjects dating from the 1500s to 2002, with the great majority portraying physicians, scientists, nurses, and other individuals related to the history or practice of medicine. Places featured include hospitals and other institutions of medicine, and scenes related to events in medical history. Subject categories include advertising, anatomy, books, caricature, childbirth, embryology, medical instruments, pediatrics, physicians, and surgery, among many others.
Most of the images measure in size under 10x12 inches, but there are approximately 500 larger pieces. The predominant formats are engravings, lithographs, cartoons, clippings from magazines and newspapers, and modern photographic prints, but there are also albumen photographs and other image formats found throughout the files. Items were acquired by the Duke Medical Library from various sources over many decades and functioned as a vertical file for library students and researchers.
The oversize items range in size from 11x15 to 23x30 inches, and offer a varied assemblage of portraits, caricatures, posters, broadsides, and reproductions of artwork, in black-and-white and in color. Items include portraits and scenes with notable physicians; illustrations of various medical practices, procedures, and instruments; anatomical views, some possibly as early as the 17th century; medical advertisements and promotional literature; depictions of events in medical history in Europe and North America; caricatures; 20th century illustrations for book covers; and many other topics.
Images and prints are often accompanied by reproduction negatives and slides created by Medical Center Library staff. Many of the images in this collection were also scanned by Medical Library staff and are available through the Medical Center Library & Archives Duke Medicine Digital Repository database. For more information, please contact the History of Medicine Curator at the Rubenstein Library.
Acquired as part of the History of Medicine Collections at Duke University.
Howard Kelly Collection of Florence Nightingale prints and photographs, circa 1840-1949 and undated 1 Linear Foot — 60 Items
The Howard Kelly Collection of Florence Nightingale Prints and Photographs represents the collecting efforts of Howard Atwood Kelly, a surgeon, gynecologist, professor, author, collector of medical memorabilia, and founder of the Kensington Hospital in Philadelphia. He served as the first professor of obstetrics and gynecology at Johns Hopkins Hospital and School of Medicine. The collection is composed of images and memorials associated with Florence Nightingale, 19th century nurse, author, and sanitation and healthcare reformer. Image formats include engravings, photographs, lithographs, mezzo tints, prints, postcards, and photographic and slide reproductions of drawings, lithographs, engravings, crayon drawings, paintings, and sculptures. Unless otherwise noted, all images are in black and white. Almost all are mounted on cardstock boards. The images depict Florence Nightingale throughout her adult life; some also portray monuments to Nightingale, and geographical locations associated with her birth, death, and nursing career, including her activities in Scutari (Istanbul) tending to wounded soldiers, the peak of her popularization in the media of the time. Also included are one piece of sheet music (1857) and typed explanatory notes. Reproductions in slide and photograph format accompany many of the images. Arranged chiefly in chronological order by date of publication or creation. Acquired as part of the History of Medicine Collections at Duke University.
Hugh Mangum photographs, circa 1890-1922 10 Linear Feet — 38 boxes; 2 oversize folders — 1141 items
The collection dates from approximately 1890 through 1922, and comprises 937 glass plate negatives and a selection of black-and-white prints, of portraits and scenes taken by Hugh Mangum, a portrait photographer based in Durham, North Carolina. There is also a set of 25 exhibit prints and 25 smaller viewing prints from a 2012 Center for Documentary Studies exhibit curated by a Duke University student.
The images were taken as Mangum traveled a rail circuit through North Carolina, Virginia, and West Virginia. He also likely took some of these images in the photography studios he and partners established in Roanoke, Pulaski, and East Radford, Virginia. Communities marked on a few of the plates include Warrenton (probably North Carolina rather than Virginia), and Christiansburg, Virginia. Localities known to have been visited by Mangum in N.C. include Winston-Salem, High Point, Raleigh, Reidsville, Lexington, Durham, and Greensboro; in Virginia, Martinsville, East Radford, and Pulaski. From an annotated trunk lid found in the collection it seems he also visited Texas but it is unknown if any of the images in the collection were taken there.
The images are chiefly individual and group portraits of local residents, although there are several town scenes with landmark buildings. There are women, children, and men, either in a studio setting or outdoors; the majority are white but there are many African Americans and people who may be multi-racial. There are buildings such as barns, mills, schools, and houses often present in outdoor group portraits, and dogs, chickens, cats, and horses appear. Sometimes the individual poses with a possession such as a bicycle or musical instrument. One image is of a train accident with a large group of bystanders.
Identification numbers are often stamped or written on the plate. The library staff has assigned unique numbers to each image and plate. There are multiple images of Hugh Mangum and the Mangum and Carden families; see the glass plate negative notes for more details. The last dated print in the collection is a mounted print of Mangum's body in an open casket, 1922.
Mangum photographs are distinctive for the level of comfort exhibited by his subjects in front of the camera. This ease in front of the camera is readily noted due to the large quantity of "penny picture camera" negatives in the collection that contain multiple images of numerous subjects. Often the first picture of a subject appears rather stiff and formal as in traditional nineteenth century photographs. In the second and subsequent pictures, the subject often visibly relaxes, assumes different poses, uses props, removes or adds a hat, and may smile broadly at the camera. This progressive transition in poses from formal to very informal is a hallmark of the Mangum collection. The collection may be of particular interest to researchers studying late-nineteenth and early-twentieth-century fashion trends.
The glass plate negatives are closed to use, but researchers may use online digitized images which represent the entirety of the collection of negatives. In addition, the collection also makes available for research use original contact prints, contact sheets, one panoramic print, and print reproductions created for exhibition and other purposes.
Acquired as part of the Archive of Documentary Arts at Duke University.
Hypes family papers, 1700s-2010 4 Linear Feet — 6 boxes; 1 oversize folder; 1 pamphlet binder — Approximately 2250 Items
There is a wide range of material from the Hypes family's many generations present in this collection. Some early material exists from Henry Hypes, including an inventory of his property upon his death, and some correspondence from relatives. Other early materials include family photographs, which are largely unlabeled and undated but include formats such as tintypes, a daguerreotype, cartes de visite, negatives, and others.
The Hypes' attempts to reconstruct their family tree resulted in several letters between extended family members and distant cousins, as well as genealogical maps and notes, dating from the early to mid-twentieth century.
The majority of the collection dates from William Findlay Hypes and his family. W.F. Hypes' materials include correspondence and clippings about his career with Marshall Fields and Co., as well as news coverage of his world tour on behalf of the Y.M.C.A. from 1924 to 1925. The collection also contains photographic prints, negatives, and postcards from this trip, featuring images from India, China, Japan, Egypt, Ceylon (Sri Lanka), Europe, and other unidentified places. The photographs are largely gelatin silver prints, and many have silvering. The majority of photographs are amateur shots presumably taken by the Hypes family. However, there are several sets of images which were clearly purchased by W.F. Hypes or other family members as travel souvenirs, including a set from India taken by H.R. Ferger and a set from Taormina, Italy. These all appear to date from the early 1900s. Many types of postcards are present, including real photo postcards and tinted color postcards. Several postcard books were purchased as souvenirs. Most postcards have been sorted by location; real photo postcards have also been sleeved to better protect the images. Real photo postcard locations include Norway, Manila, China, Japan, and a set from the Canadian Rockies.
An earlier trip to Europe and the Middle East by W.F. Hypes and his wife is described in letters between them and their daughter Muriel. This trip appears to have been taken in May and June, 1910. Since most of the collection's photographs are undated, some could date from this trip instead of the world tour trip from 1924-1925.
One part of the collection is closed to researchers: there is a small amount of nitrate and safety negatives. These appear to be taken by W.F. Hypes, and include family photographs, scenes from Jamaica, and scenes of a tiger hunt during the Hypes' Y.M.C.A. tour. The tiger hunt images are available as prints in the photographs portion of the materials. All negatives are closed to researchers.
Along with the extensive amount of photographs and postcards, W.F. Hypes' portion of the papers includes souvenir booklets and other collectibles from his travels. Also present are materials from the World's Fair in Chicago in 1893, including a set of tickets as well as a stock certificate. Hypes' political leanings can be inferred from a Republican National Convention ticket for the 1904 election, as well as a small, movable medal that spins and denounces William Jennings Bryan.
Another noteworthy part of the collection comes from Samuel Loomis Hypes, W.F. Hypes' son, who served as a captain in the U.S. Army's 803rd Pioneer Infantry during World War I. This portion of the papers contains 24 black-and-white photographs (18? June-19 July 1919) featuring crowds awaiting the signing of the Treaty of Versailles and the shipping of troops back to the United States. Photographs often have captions in white ink. There are six crowd scenes in Paris and outside Versailles before and after the signing of the treaty. However, the majority of the photographs follow the movement of ships and troops out of Brest Navy yard, including the USS Imperator and the USS Philippine. There are group photos of the 803rd's officers and one photograph of a German submarine. Among the 4,000 troops aboard the Philippine were many African American soldiers, and there are photographs of these men playing in the 803rd's regimental band and of a boxing match they held during the voyage, as well as other photos. The collection also contains two postcards showing group photographs of soldiers [officers?] taken at Plattsburgh, N.Y., in 1916 - probably at the large World War I military training camp there.
Other materials from Samuel Loomis Hypes include his officer's record book, honorary discharge following the war, as well as clippings about Sugar Hollow, a North Carolina development begun by Hypes and his wife in the 1950s.
Finally, the collection also includes several files from William P. Hypes, an officer in the Y.M.C.A. in the 1960s and 1970s, particularly from his work towards the Y.M.C.A. World Action program.
Ida Grady scrapbook, circa 1927-1930 0.5 Linear Feet — 1 box
Scrapbook contains photographs, postcards, calling cards, invitations, programs, poems, and other assorted ephemera and memorabilia. Among the programs are several from church services in Durham and Asheville, theatre productions including performances by the Taurian Players and the YWCA, and several guest lectures at Duke. Also present are exams, quizzes, and study questions from courses at Duke in Bible study, religions of China and Japan, Egypt and Mesopotamia.
The scrapbook has been disassembled and foldered for preservation purposes. Detached clippings and assorted ephemera are housed in envelopes. Nitrate negatives are closed to use; digital scans are available with advance request.
International history of photography collection, 1885-1951 3 Linear Feet — 3 boxes — 11 prints — 11 Items
The International History of Photography collection dates from 1885-1951 and comprises eleven vintage photographic prints by individuals considered to be master photographers. The prints in this collection were acquired and assembled by the Rubenstein library staff, in part to provide students the opportunity to view and study original works from the world's foremost photographers as well as to learn about the major formats, techniques, and genres of the 19th and 20th centuries.
Photographers whose prints are in the collection hail from Europe, Mexico, and the United States: Eugène Atget (printed by American photographer Berenice Abbot), Henri Cartier-Bresson, Alvin Langdon Coburn, Manuel Alvarez Bravo, F. Holland Day, Peter Henry Emerson, Lewis Hine, Aaron Siskind, Ralph Steiner, Alfred Stieglitz, and Minor White. The print by Eugène Atget, "Flower Man," was printed by well-known American photographer Berenice Abbot, who purchased part of Atget's negative archive in 1928.
Formats range from photogravures to gelatin silver prints, with the latter predominating; all are black-and-white and are matted. Subjects include rural landscapes, individual and group portraits, architecture, and urban streetscapes. The prints are sized from 4.5 x 6.5 inches to approximately 9.5 x 13.5 inches, and are all matted.
Researchers must wear gloves when handling the prints. Prints should always be picked up and supported with two hands. The prints cannot be removed from the mats, but researchers may open the window mat to see the full print. The Archive of Documentary Arts Curator must be consulted prior to any display of the photographs.
Acquired as part of the Archive for Documentary Arts at Duke University.
Irvin Family papers, circa 1890s-2016 10.25 Linear Feet — 23 boxes; 2 oversize folders — approximately 5150 Items
Collection consists largely of correspondence between historian Nell Irvin Painter and her parents (1969-2003), documenting various stages of their lives, travels, and Painter's scholarly career. Also includes writings by or about Nell Painter, including reviews of her work; copies and reviews of Dona Irvin's writings; documents related to Frank and Dona's education and careers; Frank irvin's diary (2000-2003); legal papers; and other items.
Photographs also form an important part of the collection. Along with papers and records, Frank and Dona Irvin kept early photos and tintypes (circa 1890s-1910s) of African Americans in Victoria, Texas; together, these materials speak to their early life near Houston, and document aspects of African American history in that area. There are also family photographs from later decades (1930s-1980s).
For preservation purposes, original audiovisual media are closed to use; copies may be available on request.
Isabelle Perkinson Williamson papers, 1827-1930, bulk 1909-1930 2.5 Linear Feet — 4 boxes — approximately 2,520 items
Collection comprises papers of Isabelle (Perkinson) Williamson, wife of Lee Hoomes Williamson, engineer, and of her mother, Isabelle (Holmes) Perkinson. Included are many letters to Isabelle (Holmes) Perkinson from former students of the University of Virginia who had patronized her boardinghouse in Charlottesville, Virginia, letters from Isabelle (Holmes) Perkinson to her daughter describing life in Charlottesville, and commenting on Edwin A. Alderman, President of the University of Virginia, and many notes and bills reflecting frequent financial difficulties. Also included in this collection are letters between Isabelle P. and Lee Hoomes Williamson.
Many of the letters describe travels: letters from Isabelle P. Williamson to her mother were sent while attending the Georgetown Visitation Convent, Washington, D.C., while on a tour of Europe during 1909 and 1910, while visiting in Virginia and in the Panama Canal Zone, while working in the Navy Department in Washington, 1913-1917, and, after her marriage in 1917, while living near Rancagua, Chile, and in Puerto Rico with her husband. Also included in this collection are letters between Isabelle P. Williamson and Lee Hoomes Williamson.
The collection also contains information on the early motion picture industry; life during the Roaring Twenties; and the beginning of the Great Depression.
Papers relating to World War I consist of letters from soldiers and war workers, food cards, and letters from Mary Peyton, who was with a field hospital unit in France.
Sixty-nine photographs - chiefly of family members and views from a Chilean mining settlement - and ephemera such as postcards, calling cards, tickets, greeting cards, and Lee Williamson's WWI military identification card round out the collection.
Much more information on the collection's contents, written up in 1941, can be found in the Rubenstein Library cardfile catalog; please consult with Research Services staff.
Italian soldier's Ethiopian photograph album, 1935-1937 0.6 Linear Feet
James Augustus Thomas papers, 1895-1988, bulk 1914-1940 86 Linear Feet — 65 boxes
The papers of James Augustus Thomas comprise many folders of correspondence, printed material, and other papers (chiefly 1914-1940), related to his commercial and diplomatic dealings in East Asia and the opening of the tobacco market in China and other countries. Correspondents include Herbert Hoover, Robert Lansing, Theodore Roosevelt, William Howard Taft, and Sun Yat-sen. There are also some personal letters.
The materials document U.S.-China foreign and economic relations; the marketing of U.S. cigarettes in Asia; the British-American Tobacco Company; U.S.-Chinese trade; domestic policies and financial development in China; political events in East Asia and Europe; American foreign policy in East Asia (1920s-1930s); and philanthropy in China, including Thomas' efforts to bring Chinese students to Duke University and other North Carolina institutions.
Printed materials in the collection include reports, economic summaries, essays, conference programs, memos, and ephemera such as admission cards, tickets, and pamphlets. Some materials relate to the World's Fair in New York, and a visit by a Chinese delegation to New York in 1915, illustrated with photographs.
Additions to the collection include three letters pertaining or written to son, Jimmy, by his parents, gelatin silver photographs and a few negatives, and three audiocassettes of an oral interview (by Duke Professor Emeritus Richard Watson) with Dorothy Read Thomas, widow of James A. Thomas, which include a typed transcript. Interview topics include her life in China and Petrograd (now St. Petersburg, Russia) where she taught school briefly; and the social life and customs in Bejing and Shanghai after she married Thomas in 1922.
There are also negative microfilm reels of the series "China Through Western Eyes: Part 3, The Papers of J.A. Thomas c.1905-1923." Positive reels have been sent to the microfilm department.
James Van Der Zee photographs, circa 1908-1935 .5 Linear Feet — 1 box — 42 photographic prints
Collection comprises forty gelatin silver exhibit prints and two vintage prints of images taken in the first decades of the 20th century by James Van Der Zee, noted photographer based in Harlem, New York City. Many are portraits of well-known and ordinary African Americans in Harlem. There are fictionalized scenes and poses evoking hopes, dreams, and humorous situations, as well as views of the interior of Van Der Zee's studio, Harlem parades, a Baptist church building and its congregation, and a first-grade Harlem classroom. Included is a self-portrait of the photographer playing the violin, circa 1930. Other subjects include an elegant couple in raccoon coats; a 1923 soldier; the New York Black Giants baseball team; a female impersonator; a man in an open funeral casket with a superimposed poem extolling fatherhood; a group of African American Hebrews in front of the Moorish Zionist Temple; Marcus Garvey in regalia during a parade; a Garveyite with his son; entrepreneurs Madam C.J. Walker and her daughter A'Lelia in their "Dark Tower" salon with a large group of friends; boxer Jack Johnson; and a double exposure portrait of entertainer Bill "Bojangles" Robinson. The photographs evoke the diverse and flourishing society of the Harlem Renaissance; later images exhibit a certain optimism in spite of the looming Great Depression and its effects.
Prints are arranged in chronological order. The earliest images, from 1908, are of Van Der Zee's first wife and daughter, probably taken in Lenox, Massachusetts, Van Der Zee's birthplace, and a blacksmith, probably taken in Virginia, where Van der Zee spent some time before moving to New York.
The exhibit prints were created from original negatives chiefly from 1981-1983, under the supervision of James Van Der Zee until his passing in 1983. Others were printed around 1987 by his widow Donna Mussenden Van Der Zee. All prints bear titles, dates, edition information, and copyright on verso. Most are from runs of 250 limited edition prints created for various exhibits. Some are signed by the photographer.
The majority of the prints measure 10 x 12 inches (sheet dimensions); image sizes range from 10 1/8 x 8 to 10 x 2 5/8 inches.