Collection includes articles, brochures, clippings, correspondence, memorabilia, newsletters, photographs and other materials. Materials touch on business acquisition, company events, employee policies, retirements, staff promotions, stock and other issues. Individuals and companies represented in the collection include ACMA, Emhart, John Thomas Dalton, John L. Moorhead, Rexham, Richard Harvey Wright, Richard Harvey Wright II, and Sperry Rand.
Collection consists of 85 color prints, ranging in size from 11x14 inches to 20x24 inches, as well as two 30x30 color transparencies. These images were all part of the National Building Museum's 2009 Vergara exhibit, "Storefront Churches," and many are also featured in his recent book, How the Other Half Worships (2005).
Subjects include urban churches in cities throughout the United States, in particular New York City and its neighborhoods (such as Harlem, Brooklyn, and the Bronx), Detroit, Chicago, Los Angeles, Gary, and Camden. Vergara's photographs vary in what part of each church is highlighted: some are simply the church's exterior, offering a glimpse of the neighborhood and condition of the building; other images are taken inside the church, whether it be an abandoned sanctuary or an active praise service. The collection also contains, to a lesser extent, photographs of religious and spiritually-inspired murals and artwork from different urban environments; cemeteries and outdoor worship spaces; and some portraits of different pastors and preachers, including street preachers. Most of the churches represented in the collection are Pentecostal, Baptist, or some other branch of Evangelical Protestant Christianity.
The collection documents the evolution of church structures, such as the series of rephotography of a Chicago building that evolved from the Holy Raiders Revival Church in 1981 to the Mt. Zion Missionary Baptist Church in 2009. Vergara rephotographed the building six times during that period, and each time the building's facade and surroundings had changed significantly. Vergara's photographs also offer one-time glimpses of abandoned and decaying buildings, as well as documentation of reclaimed and re-used urban structures, such as the former Kentucky Fried Chicken restaurant that is now a worship center in Newark.
1842 W. Vernon, Los Angeles, California
1004 Whitemarsh at Raymond, Compton, California
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."
11x4 inch prints 22 photographs
16x20 inch prints 6 photographs
20x24 inch prints 8 photographs
Collection comprises 274 black-and-white photographs and 46 oral history recordings by Jesse Pyrant Andrews documenting rural and small-town life in the Piedmont plateau of central southern Virginia and northern North Carolina. Most of the images are portraits of local people, along with scenes from homesteads, small towns, farms, and grave sites. Major themes include tobacco cultivation; the lives of farmers, migrant workers, war veterans, small business owners, and laid-off textile workers; regional architecture; historic sites; and traditional activities such as music-making, constructing handmade firearms, and working with leather. Together, the images and interviews speak to significant changes in this rural Piedmont region's cultures and economies as it has transitioned into the 20th and then the 21st centuries.
The Veterans series documents through portraits and in-depth audio interviews the experiences of U.S. military veterans, primarily during the Vietnam and Gulf Wars, but also in World War II. The series includes a Vietnam War veteran's manuscript memoir and a tribute essay to one veteran, written by Andrews. Some of these resources may contain disturbing content.
The Carter-Wooding Project, also comprising photographs and several oral histories, documents two Halifax County, Virginia families, the Carters and the Woodings, and their rural property dating back to an 18th-century Huguenot land grant. This project forms part of the Portraits series in this collection. Interior and exterior shots of a former plantation, "Mountain View," are featured in the series Life At Large.
Photographs from the series 13-Month Crop, documenting tobacco farming, were featured in a solo exhibit of Andrews' work hosted by the Rubenstein Library at Duke University in 2002. Portraits and oral histories in the Burlington Mills series document the experiences of former southern Virginia textile workers. Other images document a trip on an Amtrak train, and street life and people in New York City, California, and Massachusetts.
Most of the photographs are accompanied by captions written by the photographer, commenting on the individuals, their life experiences, and aspects of local culture and society. Captions for the Veterans series include biographies as well as historical details related to several wars in which the U.S. was involved.
A large selection of photographs from the Andrews collection has been digitized and is available on the Duke Digital Collections website.
13-Month Crop: One Year in the Life of a Piedmont Virginia Tobacco Farm, 2000-2001 1.5 Linear Feet — 38 photographic prints
Series contains 38 11x14 inch black-and-white (gelatin silver) prints by photographer Jesse Pyrant Andrews, featured in a solo exhibit at Duke University's Perkins Library in 2002. Andrews spent one tobacco farming season, April 2000 to April 2001, using a traditional film camera to document the lives of the people who cultivate tobacco on the Moore family farm in Pittsylvania County, Virginia. Images portray the white farm family members as well as seasonal migrant farmworkers. Tobacco farming is so labor-intensive that it is often called a "13-month crop."
Orig. print number: JA/13MCA 1-34
Orig. print number: JA/13MCA 1-20
Short subject film whose sequence of still images encapsulates the evolution of medical knowledge and practices from Neolithic times to the 20th century. The style is sixties psychedelic, with fast-moving sequences and vivid colors. The still images consist of historical scenes, procedures, and individuals significant to the history of medicine, chiefly Western, but there are a few images from Eastern practices. The only sound is music from "Mass in F Minor" by the Electric Prunes rock group (1968). Produced by staff in the Audio Visual Resources at the School of Medicine at Wake Forest University for educational purposes as well as for photographic research. Although the original 16 mm film is restricted, there are digital use copies for viewing. Acquired as part of the History of Medicine Collections at Duke University.
16mm, color, optical sound Color fading. 150 film feet, 0:04:09
The Kenneth Hubbard Collection of Presidential Campaign Ephemera consists of printed and artifactual memorabilia from assorted presidential campaigns, dating largely from the late nineteenth century through the present. Items are chiefly relating to the Democratic and Republican political parties, with some materials from the U.S. Socialist Party and the Prohibitionist Party. The majority of the collection consists of buttons, pins, and campaign literature such as pamphlets, newsletters, flyers, and platforms. There are also speech transcripts from appearances by John F. Kennedy and Adlai Stevenson during their presidential campaigns.
Principally a map of the towns of Harrisonburg and New Market west to the Shenandoah Mountains showing roads, waterways, churches, and topography. Pencil and colored ink on paper. Scale, 4:10. 42 x 43 cm.
"This is a Map of Portsmouth, Norfolk City and surrounding vicinity by A. M. Thornton" [verso] showing the Dismal Swamp, waterways and the Cheasepeake Bay, military and naval sites, and the location of fleets, with notations. Pencil and ink on paper. Scale,1:? 24 x 20 cm.
Map of the region between the Potomac and Rappahanock Rivers showing Caroline, Stafford, King George, Richmond, Essex, and Westmoreland counties. Roads and waterways are shown in detail. Colored ink on paper. 41 x 26 cm.
William Henry Jackson (1843-1942), photographer, artist, and explorer had a long and distinguished career as one of America's earliest and most important photographers, and to this day he has remained one of the best known of the western expeditionary photographers. During the years 1869-1878, Jackson was the official photographer for the U.S. Geological Survey of the Territories conducted by Ferdinand Vandiveer Hayden. This collection includes 130 photographs, albumen prints, almost all of which Jackson made while employed by the Survey. Of these 130 photographs, 68 are unbound, and 62 are bound into an album. The states represented in the collection are Colorado, Idaho, Montana, Utah, and Wyoming. The photographs form a number of series: 1869 Series (3), 1870 Series (20),1871 Series (5), 1872 Series (1), 1873 Series (3), 1874 Series (18), Yellowstone National Park Series (2), Indians Series (11), Not Identified in the Catalogue Series (5), and Album: Photographic Views Of the Yellow Stone National Park Series (62). The photographs of the area now known as Yellowstone National Park may have in part led to the foundation of the of park. A selection of Jackson's photographs were shown to Congress prior to their vote to establish Yellowstone the first National Park.
The series of 1869-1873 are described in: William Henry Jackson, Descriptive Catalogue of the Photographs of the United States Geological Survey of the Territories, for the Years 1869 to 1873, Inclusive, U.S. Geological Survey of the Territories, Miscellaneous Publications, No. 5 (Washington: G.P.O., 1874). The information folders contain copies of the pertinent pages from the Catalogue. The unbound photographs are listed below with abbreviated descriptions. They are arranged first by series and then numerically within each series. The photographs supplied original numbers but not titles, so the Catalogue provided the titles used below. The images for the Series 1869-1872 vary from 4-7 inches x 7-9 inches mounted on 11 x 14 in boards. The images for Series 1873 are approximately 8 or 9 x 13 inches mounted upon 16 x 20 inch boards. The particulars of the unbound and bound photographs from Yellowstone National Park are given with their listings below.
Each photograph bears an original number and title. These titles are listed below within quotation marks. The descriptive catalogue contains fuller descriptions.
Collection consists of individual postcards and photographs of İzmir (Smyrna), dating from the late 1800s through the 1960s. Some postcards are blank; others have been mailed and contain correspondence most often in French, Greek, or Ottoman-Turkish. Images depicted vary but include markets, mosques, streets and houses, harbor scenes, piers, monuments, ruins, the clock tower. A subset of images depicts the Great Fire of 1922 from the Greco-Turkish War, Greek refugees fleeing by boat, and a floating corpse. There are images of both people and methods of transportation.
The Desmond F. Anderson diaries comprise 4 volumes (approximately 650 pages) of corrected typescript, accompanied by maps, sketches, postcards, photo postcards, and a few printed items tipped in, all detailing Anderson's service in China and India between 1927 and 1930. Entries are marked by date and location; locations include mainly Tientsin, China, and Lucknow, India, although there are also entries for travel to and from other locations. The majority of entries are written by Desmond, with a few by his wife, Hope. Anderson also quotes her letters. Anderson routinely records his regimental duties, including office work, discipline, planning tactical exercises and trainings, promotion exercises, and reconnaissance. He then describes his freetime activities, including sports, dining, excursions, and entertaining visitors. Anderson comments at length on Westerners and their views of the Chinese and Indians.