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Barbaralee Diamonstein-Spielvogel collection, 1876-2020 and undated, bulk 1950-2020 651 boxes — 651 boxes; 8 oversize folders; 2 tubes; 2 frames.

Barbaralee Diamonstein-Spielvogel is an advocate for the arts, interviewer, documentarian, teacher, political organizer, and resident of New York City. Her collection comprises research files, correspondence, audio and video recordings, printed materials, photographs, scrapbooks, artifacts, and artwork, all deriving from Barbaralee Diamonstein-Spielvogel's books, educational programming, interviews, public art installations, and exhibits centering on the arts, architecture, and historic preservation in the United States. 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. Topics include: art and architecture in the 20th century; gender and society; historic preservation; media and society; social conditions in Slovakia during her husband's ambassadorship there; U.S. politics and public policy, particularly related to the Democratic Party; women and the arts; women's rights; and many others. Early materials dating from 1929 to 1965 document her family history and early personal life. The collection also includes some materials concerning her husband, Carl Spielvogel, whose papers are also in the Rubenstein Library. 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 and are available online.

Spanning 1876 to 2020, with the bulk of the materials dating from 1950 to 2019, 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.

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Darrin Zammit Lupi photojournalism archive, 2004-2017 3.0 Linear Feet — 2 boxes — 40 photographic prints — 20x24 inches — 29.3 Gigabytes — 5031 files — 40 color photographic prints; 5033 digital files (4681 jpeg, 257 tiff, 68 png, 11 mp4, 10 pdf, 2 doc, 1 xls, 1 VLC, 2 txt)

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Darrin Zammit Lupi is a photojournalist based in Malta. This archive comprises two bodies of documentary work. The earlier project, "Malta Detention", consists of color photographs, taken by Lupi from 2004-2013, of African migrants and asylum seekers in Malta detention camps. In these camps, the migrants faced many months in limbo, waiting for the outcome of their journey and holding protests about their treatment. This series includes over 1800 digital files containing low-resolution images, contact sheets, and a group of news articles. The second project, "On Board the MV Aquarius", comprises color photographs and supporting image files, documents, data, videos, news stories, and interviews compiled by Lupi in December, 2017, while on board the Aquarius, a migrant search and rescue ship operated by the non-profit organizations SOS Méditerranée and Médecins sans frontières; while there, he documented the rescue of 320 migrants in the Mediterranean Sea, and their safe arrival in Pozzallo, Sicily. All prints measure 20x24 inches. Acquired as part of the Human Rights Archive at Duke University.

The Darrin Zammit Lupi photojournalism archive comprises two bodies of documentary work. The earlier project, "Malta Detention", consists of color photographs, taken by Zammit Lupi from 2004-2013, of African migrants and asylum seekers in Malta detention camps. In these camps, the migrants faced many months in limbo, waiting for the outcome of their journey and holding protests about their treatment. This series includes over 1800 digital files containing low-resolution images, contact sheets, and a group of news articles. The second project, "On Board the MV Aquarius", comprises 20 color photographs and over 4000 supporting image files, documents, data, videos, news stories, and interviews compiled by Lupi in December, 2017, while on board the Aquarius, a migrant search and rescue ship operated by the non-profit organizations SOS Méditerranée and Médecins sans frontières; while there, he documented the rescue of 320 migrants on boats in the Mediterranean Sea, and their safe arrival in Pozzallo, Sicily. All prints measure 20x24 inches.

Electronic resources related to these two projects include almost 5000 born-digital image files in tiff, jpeg, and png formats. These include digital contact sheets and low-resolution files, as well as full color tiffs from which images were chosen for printing. Note: Tiff images from the "On Board the Aquarius" project are available through links in this collection guide. All other electronic files must be requested in advance and are accessible only onsite in the library reading room.

The 2017 Aquarius migrant rescue project include many additional related digital files: these include nine videos in mp4 format, taken by Darrin Zammit Lupi. Five document the MV Aquarius rescue and a transfer of refugees from another ship; three are interviews with an Italian rescuer and two migrants; and one is a news report video narrated by Lupi. The interviews describe conditions in detention centers in Libya and on board the escape boats.

Other supporting documents and digital content for the 2017 Aquarius migrant project comprise press releases in English, French, Spanish, Italian, Korean, and other languages; shot lists; demographic data summarizing the makeup of the migrants on board the rescue ship; screen shots of Reuters social media posts relating to this story, featuring Zammit Lupi's images; and scans of a 17-page journal kept by Zammit Lupi while aboard the rescue ship.

All image titles, captions, and other descriptions have been taken from the originals.

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David Cutrell photographs, 1969-1977 and undated 0.5 Linear Feet — Approx. 335 items

American-born missionary and photographer who lived in Haiti during the 1970s. 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, 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.

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.

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Deena Stryker photographs, 1963-1964 and undated 6.5 Linear Feet — 2579 Items

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Journalist and photographer. The Deena Stryker photographs collection contains photographs, negatives, and contact sheets generated by the journalist then known as Deena Boyer during two trips to Cuba between July 1963 and July 1964, as well as exhibit prints produced in 2010. During her second trip to the island, Stryker interviewed and photographed Fidel and Raúl Castro as well as other major figures in the Cuban Revolution such as Che Guevara and Vilma Espín. Topics and photographic subjects include key members of the revolutionary government at work and relaxing; and life in Havana and in rural Cuba, focusing on shops, street scenes, rallies, farms, development projects, and schools. There is a draft of the book prepared for publication in Italian by Stryker about her Cuba trips. Stryker's original negatives were processed in Cuba by Alberto Korda, Fidel Castro's personal photographer. All of Stryker's negatives have been digitized and are available online. Acquired by the Archive of Documentary Arts at Duke University.

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.

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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, negatives, slides, and 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. Duke Photography is a department of the Office of Public Affairs and Government Relations. Chris Hildreth is the current director; the department also includes assistant director Les Todd and six other staff photographers.

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.

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Frank Espada photographs and papers, 1946-2010, bulk 1964-2000 56.2 Linear Feet — 76 boxes; 3 oversize folders — approximately 14,500 items

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Frank Espada was a political activist and documentary photographer of Puerto Rican extraction based in New York and California. His photographic archives comprise thousands of black-and-white photographs and negatives as well as supporting papers and recordings, chiefly dating from the mid-1960s through 2000. The materials relate to Espada's lifelong work documenting the Puerto Rican diaspora, civil and economic rights movements, indigenous Chamorro communities in Micronesia, and HIV/AIDS outreach in San Francisco. The Puerto Rican Diaspora series includes over 150 oral history recordings. The Civil Rights series documents voter registration drives and school desegregation rallies in New York City, 1964-1970, as well as discriminatory housing and anti-poverty movements, primarily in California. The professional papers provide supporting documentation of his life and work as a photographer, activist, community organizer, and teacher, and include files related to research and writings, exhibits, teaching, and publicity. The earliest dated item is a 1946 essay by Espada, "What democracy means to me." Acquired as part of the Archive of Documentary Arts at Duke University.

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 Espada's Puerto Rican diaspora around the world; 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 housing rights movements, primarily in New York City and San Francisco. Espada was not only an observant photographer, but was also deeply involved in all of his projects as an activist, social worker, and humanitarian.

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 also contains research files on documentary and research topics; preparation for his many photography projects and related exhibits; a few videocassettes; teaching 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, derives from Espada's work with Puerto Rican communities in the U.S. and in Puerto Rico.

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 and 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.

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The George Arthur Roberts Family Papers span the years from 1884 until the late 1970s (primarily the first half of the twentieth century), and consist largely of visual documents, including photographs, photograph albums, slides, and negatives; a collection of postcards and a small amount of printed material are also included. While the majority of the images are unidentified, they provide a rich and extensive pictorial record of the activities of pioneer Methodist missionaries, the early missions they established, and the personal experience and growth of one missionary family in this setting. George Arthur Roberts' memoir Let Me Tell You a Story..., copies of which are included in the collection, describes life as lived by these early missionaries and contrasts them with conditions in 1964, the time of its writing. In addition to documenting aspects of missionary history, the Roberts papers also depict the landscapes and peoples of Rhodesia (Zimbabwe) and surrounding areas, particularly the Umtali region (now Mutare), at a time when they remained relatively untouched by western influence. The Papers are organized into the following series based on format: the Photographic Prints Series, Postcards Series, Printed Material Series, Negatives Series, Slides Series, and the Photograph Albums Series.

The Photographic Prints Series and the Slides Series comprise the bulk of the collection. Both series have been organized into the following subseries: People, Mission Activities, and African Scenes/Landscapes. The People Subseries contains numerous portraits of African men, women, and children; missionaries; and primarily the Roberts family themselves, including photos likely taken on various trips both within Africa and to other locations including the United States, Europe, and Asia. Of particular note in the People Subseries are a group of prints of the visit of the British Queen Mother and Elizabeth II to Melsetter Junction in 1948. The Mission Activities Subseries contains images of such school- and church-related events as conferences and gatherings, construction of mission buildings, agriculture, and animal husbandry. Some of the original prints used to illustrate Roberts' Let Me Tell You A Story... can also be found. There is little overlap, in terms of identical images, between the prints and slides series.

The Negatives Series contains 27 rolls of 35mm film, likely dating from the 1950s, from which contact sheets have been made. While the contact sheets are open for research, the master negative rolls themselves are closed to patron use. The series also includes some cut 35mm negative frames and a few medium-format negatives which are open for research. The subject matter of the negatives is similar to that of the Photographic Prints Series and the Slides Series. The majority of the images in this series do not appear to duplicate images found in previous series.

The Photograph Album Series consists of three bound photograph albums, containing a rich variety of images. The collection also includes an extensive Postcards Series, 1918-1965 and undated, from locations largely within Africa but also in Europe, Asia, and North America. The Printed Materials Series contains two copies of Let Me Tell You A Story..., George Arthur Roberts' memoir, and other mission-related material.

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Hugh Mangum photographs, circa 1890-1922 10 Linear Feet — 38 boxes; 2 oversize folders — 1141 items

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Hugh Mangum was a commercial portrait photographer from Durham, North Carolina. Collection contains 937 glass plate negatives and printed black-and-white photographs taken by Mangum from about 1890 to 1922 as he traveled a rail circuit through North Carolina, Virginia, and West Virginia and in photography studios he and partners established in Roanoke, Pulaski, and East Radford, Virginia. The images are chiefly individual and group portraits of residents in those areas - women, children, and men, either in a studio setting or outdoors. The majority are white men and women, but there are also many African Americans. Some people have been identified; Mangum and his wife are present in several images. There are several street scenes from Radford, as well as Warrenton (probably N.C.), and Christiansburg, Virginia. Of the photographic prints, there are 55 prints made from selected negatives, and 50 inkjet digital prints from a 2012 exhibit. Acquired as part of the Archive of Documentary Arts at Duke University.

The Hugh Mangum Photographs collection dates from approximately 1890 through 1922, and contains 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. There are buildings such as barns, schools, and houses often present in the group portraits, and in many cases there are dogs, chickens, cats, and horses. 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. Often numbers are 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 below 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.

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James H. Karales photographs, 1953-2006 and undated 18 Linear Feet — Approximately 15,000 items

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Noted American photojournalist who worked for LOOK magazine; resident of New York, N.Y. The collection spans the years 1953 to 2006 and houses a nearly-complete photographic archive of photojournalist James Karales, active from the 1950s to the 1980s. The majority of the images in the collection originated from Karales' documentary work for Look magazine during the 1960s. His major projects include images from Rendville, Ohio, a coal mining town and one of the first racially integrated towns in Appalachia; Vietnam during the war; New York's Lower East Side; Oregon logging; and individuals and events of the Civil Rights movement during the 1960s, housed in three inter-related groups - the Martin Luther King, Student Nonviolent Coordinating Committee (SNCC), and Civil Rights Series. Other smaller projects include images of California, New Mexico, and other subjects. Formats in the collection include contact sheets, which serve as a thumbnail guide to almost all of the prints and negatives in the collection; black-and-white proof prints and finished prints ranging from 8.5x14 to 16x20 inches; original negatives (closed to research use); and over 1100 color slides. There are also many print materials and some correspondence and audiovisual materials. Acquired by the Center of Documentary Arts at Duke University.

The collection spans the years 1953 to 2006 and houses a nearly complete photographic archive of well-known 20th century American photojournalist James Karales. The majority of the images in the collection originated from Karales' documentary work for Look magazine during the 1960s. The collection is organized around the following project series: Rendville, Ohio, a declining coal mining town and one of the first racially integrated towns in Appalachia; Vietnam, where Karales documented many scenes from the Vietnam War - the largest series in the collection; the Lower East Side, featuring street scenes and portraits from that New York City neighborhood; and Logging, where Karales documented the Pacific Northwest logging industry's practices and culture. Finally, Karales also shot many images of individuals and events of the Civil Rights movement during the 1960s, housed in three inter-related groups: the Martin Luther King Series; Student Nonviolent Coordinating Committee (SNCC) Series; and the Civil Rights Series.

There is also a small group of supporting materials in the Manuscript and Printed Materials Series and the Audiovisual Materials Series that includes biographical documents such as Karales' curriculum vitae; Karales' essays on photography and teaching; publicity for exhibits and other events; correspondence with publishers; digitized images of Vietnam photos on a CD; and clippings, magazine layouts, and other materials related to Karales' published work. One recently dated item is an audiocassette of remarks on Karales' life and works made by Sam Stephenson at the opening of an exhibit of Karales' work at the Rubenstein Library at Duke University.

Publications where Karales' works appeared include Look, Life, Saturday Review, Pageant, Coronet, Popular Photography, Time-Life books, and several encyclopedias. Karales also produced commercial work for corporate annual reports. The collection does not include Karales' photojournalistic work from East Germany (1970), or Gheel, Belgium (1961). A number of Karales' images from the U.S. civil rights movement achieved iconographic status, and were - and still are - widely reproduced. His work is represented in the permanent collections of the Museum of Modern Art in New York.

Formats in the collection include contact sheets, which serve as a thumbnail guide to most but not all of the prints and negatives in the collection; black-and-white proof prints and finished prints ranging from 8.5x14 to 16x20 inches; original negatives (closed to research use); and several hundred color slides. Unless otherwise noted, the photographic items are arranged in the following sequence in each series: contact sheets, prints (from smallest to largest), slides, negatives, and finally, duplicates. There are also digital jpeg files for selected images in certain series (Vietnam, Rendville). One print in the Civil Rights series was created by documentary photographer Alex Harris for an exhibit at Duke University and is noted in the collection guide's entry for this print.

Beginning with the contact sheets, researchers using the collection can note any identifying codes for the image, which may include Karales' job number (Karales assigned most of his jobs or photographic projects alpha-numeric codes), roll number, and frame (image) number, in that order. Whenever possible, Rubenstein staff have included these numbers with individual prints and negatives and within the collection's inventory to aid in matching nd discovery. In addition, staff have noted where film rolls are located within folders. For finished prints (typically 11x14 inches and larger), individual descriptions and unique Rubenstein library identifiers (beginning with "RL") have been assigned. There are a few images that have no identifying numbers and could not otherwise be identified from contact sheets or negatives. Such captions appear in brackets.

In order to facilitate the use of the materials, please consult with a Research Services archivist before coming to use this collection.

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

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Founded in 1864, the J. Walter Thompson Company (JWT) is one of the oldest and largest enduring advertising agencies in the United States. 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. Acquired as part of the John W. Hartman Center for Sales, Advertising & Marketing History.

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.