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.
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.
The collection documents Humphreys' professional life as an author. It contains correspondence between Humphreys and other writers and editors; business contracts with Viking Press and others for her publications and for movie rights; handwritten and typed manuscripts and proofs for her books Dreams of Sleep, Rich in Love, and Fireman's Fair, as well as typescripts of works by other authors (including Robb Forman Dew and Louise Erdrich); reviews of her own work as well as reviews written by Humphreys of others' works; and information detailing her speaking engagements and interviews. In addition, the collection contains clippings of reviews and interviews, photographs and negatives (16 black-and-white, 4 color, and 23 negatives); audiotapes from a "Women in Literature" series in which Humphreys participated; and 10 electronic files of book manuscripts, especially Dreams of Sleep, originally on computer disks and now migrated to the electronic records server. Also included are books inscribed to Humphreys and seven scrapbooks containing additional correspondence regarding her work as well as reviews.
The Iconographic Collection spans the years 1848-2005 with the bulk of materials dating between 1940 and 1985, and includes black-and-white and color photographs, negatives, slides, contact sheets, photograph albums, and microfiche. It is an artificial collection created to document the facilities, key events, advertising highlights and corporate culture of the J. Walter Thompson Company (JWT). Domestic and international offices are included, with the New York, Chicago and London offices being the most heavily represented. Key executives include James Walter Thompson, Stanley and Helen Landsdowne Resor, Don Johnston, Dan Seymour, Norm Strouse, and E.G. Wilson. Client advertising includes Ford, Kodak, Chesebrough-Pond's, Lever Brothers (Unilever), and Warner-Lambert. Notable photographers whose work appears in the collection include Fabian Bachrach, Ralph Bartholomew, Cecil Beaton, Louise Dahl-Wolfe, Philippe Halsman, Horst P. Horst, George Hurrell, Yousuf Karsh, Baron Adolf de Meyer, Bill Ray, Jean Raeburn, Edward Steichen, Thomas Veres, Brett Weston and Dorothy Wilding.
Restrictions on Access: Reproduction-quality copies of Pond's Advertising Photographs may not be produced for non-JWT users.
J. Walter Thompson Company. Iconographic collection, 1848-2005 and undated 90 Linear Feet — 30,000 Items
Collection chiefly consists of photographs by Peter Goin on the theme of the interactions and the connections between people and the natural world, and the way people manage, perceive, and represent "nature." The exhibit-quality color prints (16x20 inches) and black-and-white work prints (chiefly 8x10) feature images taken Goin from 1991-1992 while he was Artist-In-Residence at the Center for Documentary Studies at Duke University. They depict altered and artificial landscapes such as beaches, canals, farm fields, rivers and dams, managed forests, a scale model of a river, zoos, an abandoned town (Ellenton, S.C.), and other places. In these settings, people can be seen replanting trees, building ditches, hunting, or simply surveying their surroundings. Other formats include negatives, two slides, and book illustration prints. The collection also includes research, correspondence, publicity, and other materials deriving from the book Humanature.
The images were shot in various locations, predominantly in North and South Carolina and Virginia, but also in Alabama, Georgia, central Florida, Arizona, California, and Tennessee. Locations in North Carolina include Durham, the NC Zoological Park, Duke Forest, the Carnivore Preservation Trust, Outer Banks beaches, the Chatooga and Nantahala Rivers, and the Appalachian mountains near Highlands. There is also one image from Nevada. A selection was published in Goin's book, Humanature, published by University of Texas Press in 1996, and the project also generated a traveling exhibit of the same name.
A group of copy prints included in the collection were used illustrate Goin's book. These are historic images from the 1930s through the 1980s, many taken to document the work of state-run programs. As with Goinâs own work, they also show human-altered landscapes such as reforestation sites, canals, beach erosion replanting sites, and others. A few images appear to be from the 1950s and are of schoolchildren in Aiken, South Carolina. Other locations include Durham, N.C.âs Duke Forest, the Colorado River, beaches, and western deserts.
Acquired as part of the Archive of Documentary Arts, Duke University.