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Collection includes 20 pieces of collected manuscript sheet music, circa 1830s-1900s. The scores, which cover multiple genres, were most likely copied by hand from other sources.

The Nazi Nuremberg Rally Newsreel, 1933, consists of one black-and-white, silent, 31-minute Agfa newsreel print documenting the Fifth Party Congress of the Nazi Party, Nuremberg, August 30-September 3, 1933.

Collection comprises an original, 7 x 9-inch, black-and-white New York City press photograph, showing judges of the National Fashion Promotion Contest accepting entries from Irene Fogel, national president of Gamma Alpha Chi, the National Professional Advertising Fraternity for Women and sponsor of the contest. Judges pictured include Jack Mintz, treasurer of the New York Dress Institute; Bernice Fitz-Gibbon, advertising director of Gimbel Brothers; and Abbott Kimball, president of Abbott Kimball Advertising Agency. Photographer unknown. The following stamps are on the back of the photo: "NEA;ACME.”

Ledger of an unknown merchant in New Bern, N.C. Transactions appear chronologically by account holder, and reflect the sale of general merchandise, such as cloth and clothing, food, rum, seed, pitch, tar, and turpentine. Accounts were settled with either cash or goods. Formerly known as Anonymous ledger C, 1767-1776.

North Carolina family active in education, law enforcement, farming, and slavery. The bulk of the papers relate to Nathan Carter Newbold and his relatives, including his father William A. Newbold and grandfather William Newbold (Sheriff of Pasquotank County, North Carolina), his first wife Mabel Wooten, and his second wife Eugenia Bradsher. Nathan Carter Newbold was the Director of the Division of Negro Education for the North Carolina State Department of Public Instruction from 1913-1950. The collection includes personal and professional correspondence, photographs, financial and property records dating from the 1840s, and recorded speeches given at Nathan Carter Newbold's retirement dinner. Some photographs have been identified as being of South Carolina during the late 19th century-early 20th century, which include portraits, street scenes (in Charleston), sail boats, as well as a few photographs of people of color, including photographs of "Lascar Sailors."Some photographs are of the U.S. Military Academy at West Point during the 1890s. Many of the legal and financial papers were generated by Nathan Carter Newbold's father and grandfather. The bulk of the correspondence relates to Nathan Carter Newbold's role as an administrator for North Carolina public schools and to his tenure as the Director of the Division of Negro Education during segregation and Jim Crow.

Life Savers are a brand of hard and soft candies first produced in 1912, currently owned by Mars. Collection consists of approximately 150 items: matted advertising, display and promotional designs; black and white photographs; and negatives that depict a variety of campaigns to market Life Savers in early and mid-century United States. Included are photographs of models in various poses; candy displays (including displays of competitors such as Curtiss's Baby Ruth/Butterfinger and Pine Bros. Glycerin Tablets); celebrities posing with the candy in endorsement or other promotional campaign; street vendors (Life Savers Sampler Girls); and images of placements of the candy in film productions. Celebrities include Ann Rutherford, Edgar Bergen, George McManus, George Raft, Jack Benny, Lou Costello, Maggie Jiggs and Virginia Mayo. Images produced by a number of prominent photographers and agencies, including Acme Newspictures, Ewing Galloway, General Outdoor, Guy Gillette, Hyman Fink, Keystone View, McArthur Advertising, Shigeta-Wright, and the Vacuum Candy Machinery Company. Acquired as part of the John W. Hartman Center for Sales, Advertising & Marketing History.

Collection comprises 36 black-and-white photographs, varying in size from about 4x6 to 9.5x11, some with card-stock backing. The images mainly portray women at work, as textile and other industry workers; as scientists, medical professionals, and academics; and as participants in Communist Party education. There are also images that pertain to improvements in women's status, whether for minorities or workers in general. The majority of the photographs bear captions in both Chinese and English. Several have Hsinhua News Agency markings; beyond such markings, the photographer is unidentified. A few have sizing information for reproduction, and many were likely used in an exhibition on the status of women in modern China. Loosely organized according to amount within the following topics, based on the caption provided for the photograph: factory workers, professional women, Communist Party workers, commune and other workers, and minorities.

Correspondence, legal papers, and financial records concerning Edmund Jennings Lee’s law practice, estate settlements, and personal family matters. Subjects include Confederate refugees in Canada, the formation of West Virginia as a state, conditions of Virginia in 1865, and bridge and turnpike construction and management. Includes family writings and diary entries from Henrietta Bedinger Lee, Edmund Jennings Lee III, and Edwin Gray Lee. Also includes bills, receipts, and financial ledgers from Edmund Jennings Lee’s law practice.

Robert Lawson (1748-1805) was an officer in the Revolutionary War who served as Brigadier General of the Virginia Militia. The collection primarily consists of letters to Lawson regarding the raising, reinforcement, and movement of troops in Virginia and North Carolina during the Revolutionary War in 1781.

Collection consists of forty 17x24 inch color inkjet prints from a body of work titled "Color Falls Down" by artist Priya Kambli, who emigrated from India to the U.S. at the age of eighteen. Sometimes resembling diptychs, the images juxtapose and recontextualize family photographs, personal objects such as clothing, spoons, and earrings, and contemporary self-portraits, exploring themes of migration, cross-cultural understanding, women and family, identity, and memory. This work received the 2018 ADA Collection Award for Women Documentarians. Acquired as part of the Archive of Documentary Arts at Duke University.