Collection consists of 174 postcards with photographs and mechanical prints, featuring scenes and landscapes from locations in what has historically been defined as the Balkans region of Southeastern Europe. Cities represented include: Varna, Bulgaria; Ruse/Rustchuk, Bulgaria; Sofia, Bulgaria; Bitola/Monastir, Macedonia; Negotin, Serbia; Skopje, North Macedonia; Sarajevo; Belgrade, Serbia; Oradea, Romania; Thessaloniki, Greece; Constanta, Romania; Sulina, Romania; Scutari, Albania; and Szegard, Hungary. The assorted postcards contains images of buildings, hotels, shops, government buildings, houses, monasteries, landmarks, and geographic features, as well as scenes of people walking on the street, swimming, sunbathing, shopping, and eating.

Collection consists of 174 postcards with photographs and mechanical prints, featuring scenes and landscapes from locations in what has historically been defined as the Balkans region of Southeastern Europe. Cities represented include: Varna, Bulgaria; Ruse/Rustchuk, Bulgaria; Sofia, Bulgaria; Bitola/Monastir, Macedonia; Negotin, Serbia; Skoptje, North Macedonia; Sarajevo; Belgrade, Serbia; Oradea, Romania; Thessaloniki, Greece; Constanta, Romania; Sulina, Romania; Scutari, Albania; and Szegard, Hunfary. The assorted postcards contains images of buildings, hotels, shops, government buildings, houses, monasteries, landmarks, and geographic features, as well as scenes of people walking on the street, swimming, sunbathing, shopping, and eating.

Earl Garfield Cunningham (1911-1983) was an African American U.S. Army Lieutenant who served with the 371st Infantry in Italy from October 1944 to the end of 1945. While in Italy, he participated in the campaigns of North Apennines and Po Valley. collection includes 12 scrapbook pages containing more than 150 amateur corner-mounted photographs taken primarily in Italy, together with postcards of Italian sights; military appointment certificates and news clippings; military records; military awards including the Bronze Star Medal; and additional photographs that collectively document the military career and experiences of African American soldier Earl G. Cunningham. Locations documented in Garfield's photographs include Genova, Pisa, Viareggio, Massa, Pietrasanta, and Savona, Images include city streets, rural landscapes, coastal views, damaged buildings and destroyed tanks, Italian citizens, American soldiers, and partisan cemeteries. Many of the photographs have brief captions. Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture.

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.

This collection contains 163 assorted postcards with photographs and mechanically printed images of Egypt, dating from the 1880s through the 1930s.

This collection contains 163 assorted postcards with photographs and mechanically printed images of Egypt, dating from the 1880s through the 1930s. There are both black-and-white and color printed postcards. The postcards include landscapes and scenes of Egyptian life during British colonial occupation, with images featuring temples, tombs, pyramids, mosques, harbors, monuments, street stalls, bazaars, markets, hotels, cafes, boats, camels, and carts. There are a range of portraits of anonymous individuals, including vendors, shopkeepers, dancers, nomadic travelers, and musicians. Sites represented in the collection include: Cairo, Giza, Alexandria, Suez, Port-Said, Luxor (Thebes), Aswan, the Sahara desert, and the Nile River. Some of the postcards have been used, and include correspondence, postage, or postmarks. Most are blank.

Harriet Root was a white American nurse who served with the Army Nurse Corps at U.S. Army Base Hospital No. 14 in Mars sur Allier, France, and later at Vannes Camp Hospital 91, France. This collection consists largely of her letters home to her family as well as some letters her family received from her friends and fellow nurses. Also contains incomplete run (scattered issues 1918-1919) of The Martian, a newspaper published by Hospital Base 14; Root collected and sent these issues to her family.

This collection contains correspondence from Harriet I. Root to her family, particularly her mother, while Root was stationed in France as part of the Army Nurse Corps between 1918 and 1919, during and immediately following World War I.

Root's letters describe her life and work at U.S. Army Base Hospital No. 14 in Mars sur Allier, which was still in the process of being established when she first arrived in August 1918. She writes of her work as a nurse treating soldiers arriving by hospital train from the front, as well as of her leisure time, living conditions, and news from family and friends. Letters from late 1918 record the steady infrastructure improvements for the hospital. Some letters have been censored, and most indicate that they have been reviewed by the Army's censor. Root also discusses her homesickness and some of the injuries and other trauma she witnessed when receiving and caring for wounded soldiers. She describes celebrating Halloween and Christmas with some camp parties and caroling. She also discusses the 1918 influenza pandemic which hit the camp but which she said was "light" compared to what was happening in the United States. Root was transferred to Vannes Camp Hospital 91 in spring of 1919, and was stationed there and at the Embarkation Center in France until summer 1919. She traveled home to Chicago via London and Edinburgh in July 1919.

Most of the collection's letters are from Root to her parents and sister, Constance (Connie). Other letters to Harriet's mother (Mrs. Frank K. Root) are also present in the collection from Harriet's friends and fellow nurses, including her roommate Harriet Liers, as well as a few items from Frank Ayers, who Harriet Root later married.

There are some real photo postcards that Root used for letter-writing, showing the buildings and landscape of the camp and labeled with annotations by Root. There are other printed photograph postcards also used for letters, numbered sequentially and showing scenes from Vannes and other areas of France.

The collection also contains some late 1918 and early 1919 issues of The Martian, an Army newspaper for the U.S. Base 14. Root collected these to send to her family. The Martian discusses camp life, containing soldier and nurse submissions, poetry, jokes, and other articles and anecdotal news items. Some issues contain cartoons or artwork, some of which depict racist stereotypes or which contain exaggerated caricatures. One issue contains an article about "Annamites," referring to Vietnamese from colonial French Indochina who worked in France, including at the base hospital, in support of the Allied war effort. The newspaper discusses the Vietnamese workers in paternalistic and racially derogatory terms.

Correspondence and other items of Isabelle (Perkinson) Williamson, wife of Lee Hoomes Williamson, engineer, and of her mother, Isabelle (Holmes) Perkinson. There are also letters from and items belonging to Lee H. Williamson. Topics include: life in Charlottesville, Virginia; students of the University; Edwin A. Alderman, University president; work in the Navy Department from 1913-1917; the early moving picture industry; life during the Roaring Twenties; and the beginning of the Great Depression. Includes descriptions of the Georgetown Visitation Convent, Washington, D.C., Europe during 1909 and 1910, Virginia, the Panama Canal Zone, Rancagua, Chile, and Puerto Rico. 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. The collection also contains information on early moving pictures; life during the Roaring Twenties; and the beginning of the Great Depression. Photographs - chiefly of family members and views from a Chilean mining settlement - and ephemera such as postcards, calling cards, tickets, and greeting cards round out the collection.

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.

Collection is a set of postcards and photographs from late 19th and early 20th century Turkey, depicting scenes and people in the Üsküdar neighborhood of Istanbul, Turkey, and in other unidentified areas of Istanbul. Materials in the Üsküdar series have been individually numbered and described in English and Turkish. Materials in the Ottoman period postcard series have been translated from French and described in English.

Collection consists of individual postcards and photographs of Istanbul, may in the Üsküdar area of the city, dating from the late 1800s through the 1930s. Some postcards are blank; others have been mailed and contain correspondence. Images depicted vary but include markets, mosques, streets and houses, schools, palaces, harbor scenes, piers, and other geographic landmarks. There are images of both people and methods of transportation. Most people are anonymous, but there are some depictions (illustrations) of Florence Nightingale. Photographs are silver gelatin or photomechanical prints. Some postcards are illustrations, at times hand-colored. Items are described individually.

Lisa Unger Baskin, who assembled this collection of photographs centered on women's history and culture, is a bibliophile, collector, and activist. Collection consists of 514 photographs and other graphic items in a variety of formats typical for the time, chiefly albumen, but also including gelatin silver, cased images, and mechanical prints; there are also small groups of true photographic postcards. Along with titles, dates, and content, data points may include biographies of photographers and subjects, studio addresses, and other notes. Roughly three-quarters of the images were produced by commercial women photographers in the U.S., Canada, and Europe. The great majority date from about 1860 to 1920, and the most common format is studio portraits of white men, women, children, and families. There are also many photographs of well-known women artists, entertainers, intellectuals, and activists of the time, as well as images of women in educational and a variety of work settings, on sports teams, posing with uniforms, guns, and tools, and enjoying leisure activities. Roughly 40 images are portraits of African Americans and other people of color or mixed race. Color images are chiefly limited to hand-tinted images and mechanical prints. Acquired as part of the Lisa Unger Baskin Collection at Duke University.

Collection consists of 514 photographic items, almost all single black-and-white prints, in a variety of formats typical for the 19th and early 20th centuries: largely albumen, with some gelatin silver prints, a few tintypes, daguerreotypes, glass plates, and one cyanotype. There are also some mechanical prints such as Woodburytypes and half-tone prints, and groups of commercially produced postcards, collectible cards, and stereographs. Color images are chiefly limited to hand-tinted images and mechanical prints.

Roughly three-quarters of the images were taken by women photographers operating or managing studios in all regions of the United States, with a smaller number in England, Sweden, Canada, and a few other countries; some were well-known but the majority were small business operators in smaller cities and towns. Whenever possible, a brief photographer's biography is included with the image entry.

The majority of the images are studio portraits of mostly unidentified North American men, women, children, and families, with a slight focus on New England. Roughly 40 images are portraits of African American or mixed-race individuals young and old, with a few groups of people of color. There are several ethnographic images of northern African women and a few scenes from Southeast Asia.

In addition to portraiture, the collection offers images of women artists, authors, nurses, teachers, and students who appear in early images of graduation and sports teams. Women and girls in boarding house and hotel rooms, at home, on bicycles, at work in factories, large and small offices, mines, and hospitals, wearing uniforms, brandishing guns and tools, and enjoying leisure activities. One hand-sewn booklet of photographs appears to show scenes from a training school for African American women. Also present are many portraits of female actors, entertainers, and wealthy women. There are very few musicians. Of interest are several photographs of light-skinned enslaved children distributed as abolitionist propaganda.

The cataloger transcribed titles and dates when present and indicated the source location; in the absence of a title, the cataloger devised descriptive titles. The great majority of dates are approximate and are based on the format, biographies, geneaologies, and clothing styles. Much information was derived from history of photography websites and photographer indexes, especially the website Langdon's List of 19th & Early 20th Century Photographers.

Michael Francis Blake was one of Charleston, South Carolina's first African American studio photographers. Collection consists of 118 photographs, mostly studio portraits taken by Michael Francis Blake from about 1912 to 1934, with some outdoor settings. There is also a full set of copy prints. The great majority of the subjects appear to be African American; however, there are also individuals who are multi-racial, and possibly white and Asian. Formats comprise 91 photographic postcards and 28 black-and-white prints, many on card mounts but some in the form of more casual snapshots; there are also eight copy negatives. A few of the photographs may be taken by others. Thirty-six individuals in the photographs have been identified, including a portrait of the photographer. Acquired as part of the John Hope Franklin Research Center for African and African American History and Culture at Duke University.

Collection consists of 118 photographs of men, women, and children as single individuals, family groups, and other group shots. There is also a full set of copy prints (preferred for access) and eight copy negatives. The great majority of the subjects appear to be African American; however, there are individuals who are multi-racial, and possibly white and Asian. The photographs were taken by Michael Francis Blake, an African American photographer from Charleston, South Carolina, from about 1912 to 1934, mostly in his studio at 384 West Sumter Street. There are a few that may have been taken by another indiviual. Some of the photographs are stamped with Blake's name and studio addresses.

The majority of the photographs were originally housed in a photograph album entitled "Portraits of Members," also included in the collection, but have been rehoused for preservation purposes. Ninety-one of the photos are photographic postcards and the others are either mounted photographs or snapshots. The predominant style is the formal studio portrait, standing or seated. There are also some informal snapshots that may or may not have been taken by Blake. Some portraits were taken outdoors in front of a backdrop with props such as rugs, chairs and plants to recreate a studio setting. Others were taken on the street; the location of photograph #28 has been identified as just outside of Blake's studio. Some have what appear to be shopping lists and other notations written on the backs, and a few have names, ages, and street addresses, presumably of the sitter or their household.

Through existing captions and public input, thirty-six individuals in the photographs have been identified, including the photographer, Michael Francis Blake, who appears in one portrait.

Each original print has been assigned a unique institutional identifier. All but one have been digitized and are available online through the Duke Digital Collections website.

The Pankhurst family included English political activists and leaders of British women's suffrage movement, Emmeline (1858-1928) and her daughters, Christabel (1880-1958), and Estelle Sylvia (1882-1960). Collection includes letters by Emmeline, Christabel, and Sylvia Pankhurst, as well as photographs of them.

Collection includes letters by Emmeline, Christabel, and Sylvia Pankhurst, as well as photographs of them. Topics in the letters include women's suffrage, opinions of Emmeline in the United States, and Sylvia's running of newspapers, including the Worker's Dreadnought. There is also an autograph for Christabel. Images include photo postcards of Emmeline and Christabel, an albumen photograph of Emmeline and another unidentified woman breaking the flag at Lincoln's Inn House at Christmas Sale (1912), and a silver gelatin photograph of Sylvia attending a luncheon in her honor in Cincinnati.

Collection consists of postcards, with photographs or printed images of tombs, worship places, and cemetery monuments from locations across the Middle East region, including Egypt, Libya, Morocco, Iran, Palestine, Iraq, and India. Some images of Christian, Judaic, and Muslim holy and religious sites.