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Melanie Dornier photographs, 2013-2016 1.0 Linear Foot — 2 boxes — 110 color inkjet prints — 11 3/4 x 8 inches

Collection consists of two documentary photography series taken in India by Melanie Dornier. "Mahila Thana: All Women Police Station" is comprised of 56 color digital photographs, taken in 2016, recording daily life inside the walls of the All Women Police Station of Gurugram, Haryana. The images convey the human impacts of woman-specific crimes and social justice, and the role of the police station and its female officers as a safe haven for distressed and abused women. The 54 color digital prints in "Punch My Face: Women's Boxing in India" document the daily life and experiences of Meena Kumari, a wife, mother, daughter, police officer, and boxer, 2013-2016. All prints measure 11 3/4 x 8 inches. Acquired as part of the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture at Duke University.

Collection consists of two documentary photography series by Melanie Dornier taken in India. "Mahila Thana: All Women Police Station" is comprised of 56 color digital prints. The photographs - taken during 2016 - record daily life inside the walls of the All Women Police Station of Gurugram, Haryana. The 54 color digital prints in "Punch My Face: Women's Boxing in India, document the experiences of Meena Kumari, a wife, mother, buffalo owner, police officer, and boxer, between 2013 and 2016.

In an artist's statement Dornier describes that in 2012, "...the safety issues of the Indian women and gender violence were brought to the fore by the news of the gang rape and death of a young student in New Delhi, India. Since then funding and action plans have been implemented all around the country. In Gurugram, the millennium city in the state of Haryana, it was decided to open an All Women Police Station (AWPS) as in each of Haryana's districts and this was completed in August 2015. The project 'Mahila Thana,' which is 'All Women Police Station' in Hindi, documents the daily life inside the walls of the AWPS of Gurugram."

On "Punch My Face," Dornier reflects that, "Meena Kumari was born in December 1982 to a modest rural family. Now she is reaching the end of her boxing career and she hopes to soon become a police inspector. In 2001, Meena was one of the first Indian women to become a boxer and enjoyed visibility on the international scene. Her first major fight was confronting her father who believed boxing was not a respectable activity for a woman. Despite this Meena worked harder and harder and quickly reached the national and international stage in the flyweight category (51KG). Back then, female boxers were trained with young boys due to the shortage of women in the ring...at the end of 2016 and at the end of this photo documentary, we see Meena in the first months of her third pregnancy."

Dornier is the winner of the 2017 Bettye Lane Award for Feminist Photography, sponsored by the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture.

Acquired as part of the Archive of Documentary Arts and the Sallie Bingham Center for Women's History and Culture at Duke University.

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Samuel Bourne photographs, circa 1861-circa 1889 21 Linear Feet — 26 boxes — 646 items

Collection consists of 19th century albumen photographs taken by commercial photographer Samuel Bourne and other partners as they traveled to sites in modern-day India, Bangladesh, Pakistan, and Burma. Of the 646 prints in the collection, 200 are mounted in three large bound commercial photograph albums, while the remaining 446 are single, loose prints; all were published by the firm Bourne & Shepherd. The majority of the prints range in size from roughly 6x9 to 10x12 inches. Subjects include the vast landscapes of nothern India; landmarks such as temples, rivers and canals, monuments, mountain hostels, and European-built cathedrals and civic structures; rural scenes from villages and tea plantations; and scenes from the cities of Delhi, Bombay (Mumbai), and Calcutta (Kolkata). There are also several dozen ethnic portraits of native inhabitants and group portraits of English officials and Indian counterparts. A number of images have been attributed to Bourne's partners Charles Shepherd and Colin Murray.

Collection consists of mid- to late 19th century albumen photographs taken by commercial photographer Samuel Bourne and other partners in the Bourne & Shepherd as they traveled to sites in modern-day India, Bangladesh, Pakistan, and Burma. Some of the early images in the collection, circa 1861, may be the work of a predecessor studio, Shepherd & Robertson. Most Bourne & Shepherd studio negative numbers after 2200 are considered the work of studio photographers following Bourne's departure in 1871; in particular, Colin Murray is considered Bourne's successor.

Of the 646 prints in the collection, 200 are mounted in three large, fine photograph albums published by the studio Bourne & Shepherd, while the remaining 446 loose prints are either loose or mounted on thin board.

Subjects in the collection include the vast landscapes of northern India; landmarks such as Hindu temples, bridges, rivers and canals, monuments, forts, mountain hostels, and European-built cathedrals and civic structures; rural scenes of villages and newly-established tea plantations; newly constructed railroads; and scenes from the cities of Delhi, Bombay (Mumbai), and Calcutta (Kolkata). Nearly every scene features a few human figures carefully posed for scale or atmosphere. Also present are a series of group portraits of English officials with their Indian counterparts, and group portraits of Indian royalty. There are also several dozen portraits of native inhabitants produced as part of the ethnic studies common to the late 19th century; most have been attributed to Bourne's partner Charles Shepherd. Many of these group studies were published in the eight-volume "People of India" (1868-1875), and indeed most of the portraits in this collection are on pages taken from these volumes.

The majority of the prints range in size from roughly 6x9 to 11x14 inches, with most around 10x12 inches, but a handful are smaller cartes-de-visite sizes. The images were secured in the field, often under extreme conditions, using the wet-collodion process to produce glass plate negatives, typically 10x12 inches. Some of the prints were cropped as ovals or in other shapes, but most are rectangular in form. Judging from their backings, many were previously mounted in albums or books.