Collection contains assorted examples of ephemeral manuscripts and printed materials collected by Lisa Unger Baskin relating to women's education, largely dating from the 19th and early 20th century. Formats include: school catalogs and prospectuses (for both New England and Parisian institutes for young women); school certificates and merit awards; tuition receipts and other financial ephemera; some images of school buildings; student workbooks, penmanship books, and other classroom exercises; examples of correspondence between female students and their family or friends; and other assorted items including a journal kept by student Sophia Jane Griffith and a student list maintained by penmanship instructor J. P. Webster.

Collection contains examples of printed materials and ephemera documenting women's participation and engagement with different sorts of clubs, organizations, and societies, mainly in the United States and Great Britain in the late nineteenth and early twentieth century. A wide range of materials are present, including peace societies and conventions, labor unions, socialism, entertainment and cultural activities, charities and community work and fundraising, and missionary support.

This collection was acquired and assembled by Lisa Unger Baskin. It contains examples of printed materials and ephemera documenting women's participation and engagement with different sorts of clubs, organizations, and societies, mainly in the United States and Great Britain in the late nineteenth and early twentieth century. A wide range of materials are present, including documents relating to peace societies and conventions, labor unions, socialism, entertainment and cultural activities, charities and community work, fundraising, and missionary support.

There are some manuscript or annotated printed items, such as personalized invitations, but the bulk of the collection consists of formats and items mass printed and distributed.

Anzia Yezierska (1880-1970) was a Polish-American author. Collection consists of materials collected by Lisa Unger Baskin about the publication of "Anzia Yezierska: A Writer's Life," a biography by Yezierska's daughter, Louise Levitas Henriksen, published in 1988. Materials include drafts of a New York Times book review by Helen Yglesias. Acquired as part of the Sallie Bingham Center for Women's History and Culture.

Galley proof, unbound book manuscript, dust jacket, and materials regarding the publication of Anzia Yezierska: A Writer's Life, written by Louise Levitas Henriksen and Jo Ann Boydston in 1988. Includes a typescript draft with manuscript corrections of a review of the book by Helen Yglesias, later published in the New York Times.

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.

Collection consists of single sheet pages or items collected by Baskin which tend to contain an engraved or etched portrait, or at times a photomechanical print, of a woman or feminine person. Many images depict European royalty or other aristocratic figures, or women cultural or literary figures. Most pages include a printed caption with the woman's name. A small portion of the ephemera collection consists of assorted examples of advertisements, caricatures, and comics or cartoon illustrations of women.

Collection consists of single sheet pages or items collected by Baskin which tend to contain an engraved or etched portrait, or at times a photomechanical print, of a woman or feminine person. Many images depict European royalty or other aristocratic figures, or women cultural or literary figures. Most pages include a printed caption with the woman's name. Examples of women depicted include: Mother Damnable, Moll Cutpurse, Catherine de Medici, Hannah More, Mary Wollstonecraft, Martha Hatfield, and Madame de Genlis. One item is a relief sculpture of the bust of Martha Washington. A small portion of the collection consists of assorted examples of advertisements, caricatures, and comics or cartoon illustrations of women. Includes a moveable book-like item which shows a chaste woman before and a party woman after marriage. Also contains an illustrated woman reading with an accompanying poem advising ladies to "Leave reading until you return, It looks so much better at home." Also contains a copy of a comic called "Jane" published by Mick White, 1941, which shows a naked woman at an Royal Air Force decontamination center being ogled by various soldiers. Many of the items in this collection are loose pages which have been copied or removed from bound volumes.

Collection assembled by Lisa Unger Baskin containing printed ephemera, receipts, manuscripts, handbills, catalogs, decorative trade cards, prospectuses, circulars, political campaign materials, and other advertisements from the United Kingdom, Western Europe, and the United States. The bulk of the collection's materials advertise businesses or services offered by women, including millinery, fancy goods, hair work, tea, painting, teaching, music, bricklaying, gardening, dressmaking, apothecaries, and a clairvoyant. Also includes calling cards and bookplates with women's names, and assorted ephemera relating to women's pay, income, or work, including a pensioner's card for a firefighter's widow and a pamphlet about life insurance for women.

Collection assembled by Lisa Unger Baskin containing printed ephemera, receipts, manuscripts, handbills, catalogs, decorative trade cards, prospectuses, circulars, political campaign materials, and other advertisements from the United Kingdom, Western Europe, and the United States. The bulk of the collection's materials advertise businesses or services offered by women or for women, including millinery, fancy goods, hair work, tea, painting, teaching, music, bricklaying, gardening, dressmaking, apothecaries, and a clairvoyant. Also includes calling cards and bookplates with women's names, and assorted ephemera relating to women's pay, income, or work, including a penioner's card for a firefighter's widow and pamphlets about life insurance for women. Some receipts, contracts, and statistics record rates of pay or income for women employees, or rates charged by women proprietors. Contains some advertisements for health-related retreats or vacations; circulars seeking to hire saleswomen or other women into different occupations; and some lending library slips. Includes examples of some Lippincott seed catalogs from the early 1900s, art samples and calligraphy by women, and some materials related to domestic arts and homemaking, including advertisements for patterns, sewing, cooking, and landscaping or interior decoration. Some materials relate to women's courtesy and conduct in public spaces, or to their appearance and clothing.

Aileen Pippett was a British journalist and author who wrote The Moth and the Star (1955), the first full-length biography published about Virginia Woolf. This collection contains letters to Pippett relating to her research and publication of the biography, sent from various acquaintances or "intimates" of Woolf, as well as some letters from other authors responding to Pippett's published reviews of their work. Forms part of the Lisa Unger Baskin Collection.

Collection consists largely of letters received by Aileen Pippett during the course of her research, writing, and post-publication of The Moth and the Star, a biography of Virginia Woolf. The collection's correspondants relayed their opinions (which were mixed) on Pippett's writing a biography of Woolf, and some included general impressions or memories of Woolf as Pippett conducted her research. Other letters are directed to Pippett relating to her printed reviews of other books. There is a letter from Vanessa Bell declining to contribute content to the biography. There are two letters from May Sarton discussing Virginia Woolf along with Pippett's review of Sarton's memoir, I Knew a Phoenix. The collection also includes a copy of Rumer Godden's mixed review of The Moth and the Star, along with letters between Pippett and Godden and their husbands, Roger Pippett and L. Haynes Dixon.

Rosa Bonheur was a nineteenth century French painter and sculptor. The collection consists of examples of Bonheur's correspondence, including one letter referencing her painting and her partner, Nathalie. Acquired as part of the Lisa Unger Baskin Collection in the Sallie Bingham Center for Women's History and Culture.

Collection consists of some examples of correspondence sent by Rosa Bonheur, to friends and admirers. The letters tend to be brief and routine, typically conveying her thanks for the correspondent's initial letter.

Grace Mott Johnson was a white American artist and sculptor in the early 20th century. This collection contains letters to Johnson from her family, including her son Alfred Dasburg, and others in the artist community. Acquired as part of the Lisa Unger Baskin Collection at Duke University.

Collection consists largely of letters sent to Grace Mott Johnson, discussing her artwork, health, and career, as well as personal and family news. Some letters are from her son, Alfred Van Cleve Dasburg, while he lived in Santa Fe, New Mexico, and Johnson lived in New York or New Jersey. There are letters documenting some of the miscommunications (and lack of communication) between Johnson and her former husband Andrew Dasburg, Alfred's father. There are also letters and greetings from other artists, like Rose Bernstein, Mariska Karasz, and Alice Morgan Wright. Some materials between Grace Mott Johnson and Raymond Fuller discuss the terms of their relationship.

Collection was acquired as part of the Lisa Unger Baskin Collection.

Jonathan and Hannah Chapman Backhouse were members of the Society of Friends (Quakers) in England in the mid-1800s. Their son, Edmund Backhouse, married Juliet Fox in 1848. This collection contains personal correspondence between members of the different connected Quaker families based in England, as well as some diaries, genealogical notes, and other printed ephemera from the family. Forms part of the Lisa Unger Baskin Collection in the Sallie Bingham Center for Women's History and Culture.

The collection consists of correspondence, writings, and other ephemeral materials relating to the Fox and Backhouse families, along with materials relating to nineteenth century Quaker communities and families in England. The bulk of the collection is correspondence between different members of the Backhouse family, including Jonathan and Hannah Chapman Backhouse, their son Edmund Backhouse and his wife Juliet Fox, and their grandson Jonathan Edmund (Jed) Backhouse. Caroline Fox is also a routine correspondant. The letters discuss family news, personal activities and travel, religious sentiments.

There are two excerpts of diaries which appear to be by different authors and may relate to Hannah Chapman Backhouse's travels to the United States in the 1830s, or to another family member's travels in Europe or the Middle East. The handwriting of these pages is challenging and the excerpts are unattributed and appear to be undated, so more research would be helpful.

Also present in the collection are some writings, including essays and poetry, typically spiritual or relating to prayer, as well as some honorifics for Edmund Backhouse and a copy of his obituary. There are some manuscript riddles, some watercolors, and some sketches of scenes and still lifes. The collection also includes some ceremonial documents, including a letter from the Society of Friends declaring support for Hannah and Jonathan Backhouse's travels to the United States.