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Collection comprises twenty-five 16x20 inch color inkjet prints from a body of work titled "New Beach" by artist Leah Dyjak. The images, taken by Dyjak on the Atlantic coast, show ocean and sand encroaching on and destroying human-made barriers and boundaries - roads, jetties, and groins - with people looking on, stretching out, and strolling the beaches, evoking the nature of human existence at the liminal boundaries of water and land. This work received the 2018 ADA Collection Award for Documentarians of Environmental Change. Acquired as part of the Archive of Documentary Arts at Duke University.

Thomas C. McCollom was a resident of Cambridge, Mass., b. May 9, 1847. Collection comprises the journal (104 pgs.) McCollom maintained daily while voyaging to and from the West Indies, Feb 21-May 18, 1865, when he was between the ages of 17 and 18. The ship was the schooner D. L. Sturgis; with five crew members and its captain, Daniel Deasy. It appears McCollom undertook the journey for the improvement of his health, and the majority of his entries detailed the depression, homesickness, and boredom he experienced during the trip, "I can't tell why but I feel homesick and blue. I have such days now quite often though not so often as formerly. I shan't be sorry to get home I know. I don't know what to do with myself when I feel so. I find that writing home or in this journal is about as good a cure as anything. I feel better to express my feeling somehow if only to write them down here (pp. 25-26)." McCollom also described crew members' activities (including one man's drowning after an accident, p. 5), the weather and wind patterns, the difficulties of the Atlantic Ocean crossing and vagaries of the Caribbean Sea, and any birds and animals seen. He also identified any ships encountered, usually with their nationality, destination, and any cargo being transported.

"Stewardess" aboard the ship; resident of Grimsby[?], England Collection comprises a manuscript journal and log book (59 pgs+ blanks) authored by Thompson while on a voyage between England and Jamaica from March 25 to April 28, 1935. However, the journal actually closes with a description of her train trip home on April 29. Includes Thompson's 33 black-and-white photographs, 2 telegrams she received from a Captain Greenhill, her certificate of discharge, and an Irish sweepstakes ticket for the Derby syndicate (dated June 5) that she purchased during the voyage. In addition, Thompson copied into the journal a 3-pg informational article on bananas, written by H.C. Bower, and kept a record of the ship's log for the trip. The S.S. Tetela was a cargo and occasional passenger ship that belonged to the banana-importing firm Elders & Fyffes, a wholly owned subsidiary of the United Fruit Company.

Mary Gorham Paine (b. 1843) of Yarmouth, Massachusetts, was married to Eben W. Paine (1835-1904) of Brewster, Massachusetts, a merchant ship captain in the trade between Boston and Zanzibar. They had one son, Allan Thatcher Paine (b. 1882). The collection consists of a single diary kept by Mary Gorham Paine as she traveled twice by ship from Boston to islands near Madagascar. Forty-six manuscript pages provide both a day-by-day account of her trip aboard the Sarah Hobart to Nossi-Be (present day Nosy Be) from December 25, 1879 to May 4, 1880, and a three-page, mid-journey synopsis of the passage with her young son to Reunion Island, begun on December 13, 1883. As is made clear by the text, the intent of both voyages was to join her husband who was probably located in Zanzibar at the time. Newspaper clippings chiefly concerned with literary topics, news and issues relating to Africa, and obituaries for her husband and others are pasted into 18 pages following the narrative portion of the diary together with a photograph of a man and another of a baby, most likely her husband and son. The diary as a whole provides some insight into the life of a sea captain's wife and a description of long-distance ocean travel aboard a barque such as the Sarah Hobart.

The Picture File was created and maintained beginning in the 1950s by the Duke University Manuscript Department staff and its institutional successors as a vertical file of pictorial works separated from manuscript collections as well as acquired individually. The collection is large and diverse, with images dating from the 18th through the 20th centuries. Engravings feature prominently, with photographs a close second. The predominant genre is portraits of political and military leaders, authors, artists, physicians, scientists, and others. Members of the Duke family and others from Durham, N.C. are also present. In the Socialist Party Series there are numerous images of leader Eugene Debs. Topics range widely, with a focus on American history, including the Revolutionary and Civil Wars; history and culture of the southern U.S.; and U.S. and European politics. A significant number of individuals in the People Series are African Americans, ranging from individual studio portraits to groups of individuals and racist caricatures and cartoons; a smaller number are of Native Americans.

Collection consists almost entirely of photocopies of documents held in the Public Records Office (London) originally belonging to James Rogers, Bristol, England, a merchant, ship owner, and slave trader who engaged in the Transatlantic Slave Trade. The material, dating from 1768-1794, largely consists of incoming correspondence, bills of sale, receipts, and other items related to ships' voyages and trading activities. Many of these voyages were for the purpose of acquiring and trading enslaved laborers from Africa. A paper guide to the collection created by the donor of the collection and available to researchers includes descriptions of most of the ships' voyages.

Collection consists of thirty color inkjet prints from a body of work titled "Shifting Sands" by photographer John Tully. The images were taken at the North Carolina coast, and include natural areas such as beaches along the Outer Banks and coastal forests in the Alligator River National Wildlife Refuge, and human environments such as coastal highways, piers, abandoned beachfront properties. There are also some portraits of people. The photographs are accompanied by captions written by the photographer and by the artist's statement. Together, photographs and text call out the environmental, economic, and social consequences brought on by natural changes as well as by human-created climate change. The prints measure 17x22 (20) and 11x17 (10) inches. This work received the 2018 ADA Award for Documentarians of Environmental Change. Acquired as part of the Archive of Documentary Arts at Duke University.

The Master of Fine Arts in Experimental and Documentary Art degree program at Duke University has been awarded since 2013. Collection houses MFA/EDA theses submitted by graduates of the program, in the form of typescripts; handmade books; digital video and audio, three-dimensional artwork; photobooks; photographic prints; digital still images; and film of multi-media performances. Subjects range widely and include: U.S. and Southern cultures; world cultures; street photography; childhood; environmental narratives and documentaries; city and rural communities; themes of social justice, memory, and identity; women and spirituality; and abstract constructs. Other places documented include China, Poland, Vietnam, and the Middle East. Acquired as part of the Archive of Documentary Arts at Duke University.

Collection comprises 25 black-and-white and 48 color photographs taken from 2001 to 2012 by Marion Belanger, documenting the intersection of natural and human-built environments. Belanger's series "Everglades," taken in Florida between 2001-2004, presents images of wildlife and natural landscapes affected by the impacts of tourism, agriculture, migrant worker housing, construction, and activities of the U.S. Army Corps of Engineers and the U.S. Army. Her portfolio "Rift/Fault," shot between 2006-2012, documents zones in California and Iceland where the San Andreas Fault and the Mid-Atlantic Rift exist - visibly or invisibly - alongside human environments; subjects in this series include housing developments, monitoring stations, geologic features and landscapes, coastal roads, and geothermal structures such as greenhouses. The digital inkjet prints in both series measure 13 or 13 1/2 x16 inches. Both projects were published as photobooks (2009 and 2012, respectively). Acquired as part of the Archive of Documentary Arts at Duke University.

John Buck was an American, most likely a resident of the New York metropolitan area. The collection consists of a diary in four volumes that chronicles the vacation in Great Britain of a young American named John Buck from August 10 to September 25, 1887. The volumes comprise 249 handwritten pages in total, with commercial prints, menus, receipts, and theater playbills attached to the back of selected pages. The script is elaborate, but legible, and the narrative is remarkably descriptive. Humorous sketches illustrate the first volume in particular and the third volume includes three photographs of the author. The diary provides a detailed account of Buck's voyage on the R.M.S. Britannic and his time in London, where he spent the majority of his vacation socializing and attending the theater. Buck also stayed in Edinburgh, Scotland, with Henry Irving, the famous actor and manager of the Lyceum Theatre, and with the Duke and Duchess of Beaufort at Badminton House.

Bates Worldwide advertising agency (Bates) was established in 1940 by former executives of the Benton & Bowles agency. It grew to become one of the largest agencies in the U.S. until its demise in 2003. Bates began as a simple proprietorship, but as the company grew its organizational structure took on different forms: a partnership, then a corporation before becoming a publicly traded transnational entity, and finally becoming a subsidiary in a global holding company. From the 1970s on, Bates' growth and international expansion was fueled by a long series of mergers, partnerships and acquisitions that continued until the company was itself acquired, first by the Saatchi & Saatchi and later by the WPP Group. Materials in the collection relate to Bates' permutations into a variety of corporate entities, including Ted Bates & Co., Ted Bates, Inc., Backer Spielvogel Bates, and Bates Worldwide, Inc., along with its subsidiaries (such as Campbell-Mithun and Kobs and Draft) and parent organizations (Cordiant Communications Group, Saatchi & Saatchi). Thus, the collection provides a window into the larger corporate culture of mergers, consolidations, acquisitions and takeovers that led to the formation of giant transnational advertising conglomerates and marked a profound shift in the landscape of the advertising industry during the late 20th century. The Bates Worldwide, Inc. Records spans the years 1934-2003 and includes correspondence, corporate policy manuals, photographs, publications, graphic designs, print advertisements, electronic records and videocassettes that document the activities of this major global advertising agency over the course of its corporate life. Bates built its early reputation as an advertising agency with a particular talent for promoting pharmaceutical products (Carter's Pills, Anacin analgesics) and common household goods (Mars candies, Wonder bread, Palmolive soap, Colgate dental cream). Advertising policies developed around a philosophy Bates called the Unique Selling Proposition (USP), which informed an imperative to identify and promote a single, unique and compelling reason for consumers to use any given product or service. As the company grew into a global business, USP evolved into more complex forms, including the Bates Brand Wheel. Major clients included Brown & Williamson Tobacco Co., Carter-Wallace Corporation, Hyundai America, the Joint Recruiting Advertising Program of the combined U.S. Armed Services, M&M/Mars Inc., Miller Brewing Company, Pfizer, the U.S. Navy and Wendy's International. There is also some information on the company's founder, Ted Bates, as well as on Rosser Reeves, Bates' first copy writer and the chief architect of the USP concept.

Correspondence of Peter Eltinge, an officer in the 156th New York Volunteer Infantry during the Civil War, relating to his service in the Dept. of the Gulf (1863-1864), Maryland and Virginia (1864), and Georgia and the Carolinas (1865), participation in the occupation of Georgia; and operation of a grocery store in Memphis, Tenn., and speculation in cotton after the war. Topics include politics, temperance, economic conditions, Black soldiers in the Union Army, and Black agricultural laborers during Reconstruction. Also, naval records and other papers of George P. Lord of Camden, Del., brother-in-law of Peter Eltinge, chiefly relating to his duty as a navel officer on ironclads of the Mississippi Squadron (1861-1865), including the U.S.S. Chillicothe, U.S.S. Ozark, and U.S.S. Osage. Topics include the Red River Expedition of 1864 and the regulation of commerce on the Mississippi River.

U.S. naval officer and explorer, of Washington, D.C. Family correspondence, chiefly relating to naval cruises of Wilkes and his son, John Wilkes; the U.S. Exploring Expedition, 1838-1842, to Antarctica, the Pacific Islands, and the Northwest Coast of the U.S., including preliminary planning, the voyage itself with detailed descriptions of places visited, and publishing the results; gold mining and milling in North Carolina; the Civil War; and Wilkes family business ventures in North Carolina; together with legal and financial papers, writings, printed material, clippings, and other papers. Includes correspondence, 1848-1849, with James Renwick (1792-1863) and others.