Help us celebrate the Robert A. Hill Collection. For close to forty years, Professor Robert A. Hill has researched and collected materials on Garvey and served as editor of the 13-volume Marcus Garvey and Universal Negro Improvement Association Papers Project (University of California Press, Duke University Press). His collection now joins the archive of the John Hope Franklin Research Center in the David. M. Rubenstein Rare Book & Manuscript Library.
“The Remains of the Name: The Origin of the Harlem Renaissance in the Discourse of Egyptomania”
Public Lecture by Prof. Robert A. Hill
Date: October 17, 2017
Location: Holsti-Anderson Family Assembly Room, Rubenstein Library
“Chronicling Marcus Garvey and the UNIA: The Process of Research and Writing the African Diaspora”
A Conversation with Profs. Robert A. Hill and Michaeline A. Crichlow
Date: October 18
Location: Ahmadieh Family Conference Hall, John Hope Franklin Center for Interdisciplinary and International Studies
All events are free and open to the public. Refreshments will be served.
These events are co-sponsored by the Center for Latin American and Caribbean Studies, Department of African & African American Studies, and the Department of History
Selections from the Robert A. Hill Collection are also on display in the Stone Family Gallery, located in the Mary Duke Biddle Room of the Rubenstein Rare Book & Manuscript Library
Post contributed by Patrick Stawski, curator, Human Rights Archive
The Human Rights Archive recently acquired a copy of Petra Barth’s photobook “Los Mochileros” which is on exhibit in the Mary Duke Biddle exhibit suite through October 2017.
Through a series of piercing black and white portraits, Barth tells an intimate, visual story of people moving across the US-Mexico border. As with much of Barth’s portrait work, her collaborators capture the gaze of the camera, rather than be caught by it. Their pride, their strength, and their history challenge the camera and seem to confront us who stand behind it.
“Los Mochileros” (The Backpackers) has received critical praise in Lenscutlure.com and the Huffingtonpost.com. The photobook is part of larger project undertaken by Barth which includes a traveling exhibit of the prints featured in the book. “Los Mochileros” joins a large body of Barth’s prints currently part of the Human Rights Archive collections which documents her long relationship with Latin America and more generally her interest in the human condition. Eventually, the prints from “Los Mochileros” will be added to Petra’s collection at the Rubenstein.
I reached out to Petra to delve a little deeper into the origin of “Los Mochileros”.
Q: What was the history and motivation for “Los Mochileros”?
A: The ‘Mochileros” has been a ‘bi-product’ of The Americas. Traveling from South to North, it was natural to cross and stop at the border, being a point of discussion in politics on both sides of the border. Originally, I enrolled in a workshop in AZ, which did not happen after all. Nevertheless, I did go and decided to explore the region on my own. I did not know at the time that I would return and the impact the story would have on my work.
Q: Your work at the US/Mexican border has involved both portrait and landscape. How do you feel each of these contributes to the visual representation of the border? How do these add to the dialogue around immigration?
A: I feel that my work is quite different than most of the work done in that area, which was my original intention. Despite the fact that it had a more journalistic starting point, I see my work at the border as pure documentary, quiet and not involved in people’s daily life. I wanted to document the border strip as how I experienced it myself, pure in its identity, as a boundary dividing two countries with barriers, walls and sometimes only barbwire. The display in Venice ties both portraits and landscapes together, as all these people crossed the border somewhere.
Q: Who were some of the important partners that contributed to “Los Mochileros”, directly or indirectly?
A: The project was made possible with the help and support of the Juan Bosco Shelter in Nogales, FESAC Fundacion del Empresariado Sonorense, A.C., BCA Border Community Alliance and all the migrants, of course, who passed through the shelter.
Q: Is there one particular story or moment in the project that stands out in your mind?
A: There were two moments, which had an impact on the story. The first was during my second visit in the shelter when I realized that I wanted to change the focus of the story. Initially, I had planned to focus on the broader border issue. After meeting and talking to many of the migrants, I decided to make a portrait story and focus on their faces and memories. The second moment was when I edited the pictures for the book, realizing that the people were not only a part of the story. They were a story themselves.
Q: What are your hopes for “Los Mochileros”?
A: I hope that the exhibit which is currently shown in Venice can travel to the US and become a travel exhibit – especially under the current political circumstances and can evoke interest and discussion for the subject. Hopefully through a broader distribution of the book, attention can be brought upon this issue. I hope we can display/exhibit the project in Nogales, so the population living on both sides of the border as well as passing migrants can see it.
Post contributed by Jacqueline Reid Wachholz, Director, John W. Hartman Center for Sales, Advertising & Marketing History
In response to the Civil Rights movement of the mid-20th century, many advertisers began to see the African American market in a new, and profitable, light. Advertising campaigns were developed over the next few decades celebrating African and African American heritage as a method of advertising products to this demographic. The Rubenstein Library’s Hartman Center for Sales, Advertising & Marketing History and John Hope Franklin Research Center for African and African American History and Culture jointly acquired this collection of 48 items showcasing black Americans through advertisements and political campaigns aimed at African Americans from the 1970s through the 1990s. Collected by a former public relations associated with the NAACP, this collection represents some NAACP marketing work and advertising images depicting notable African Americans and significant moments in African American history. These posters include biographical sketches of African American writers, scientists, professional athletes, soldiers, civil rights workers, entertainers, and other historical figures. Included are also a number of posters produced by and for the NAACP that the organization’s campaigns to reduce poverty and school dropout rates and increase voter registration and membership in the NAACP. Notable advertising campaigns include Budweiser’s “Great Kings of Africa” Series, Pepsi Cola’s “The Black Presence” Series, and the CIBA-GEIGY Corporation’s “Exceptional Black Scientists” Series.
Great Kings of Africa. A marketing campaign started in 1975 by the Anheuser-Busch Corporation designed to appeal to an African American audience while at the same time promoting African History. During its over 25-year campaign and with a total of 30 different images, it has been either celebrated as a means of showcasing and promoting African history or criticized for, as Rev Michael Pfleger of South Side Chicago’s St. Sabina Catholic Church puts it “one more attempt by the alcohol and tobacco industries to buy a reputation in the African-American community.” The campaign consisted of a series of paintings done by African-American artists commissioned by Anheuser-Busch that were accompanied by a short history of the subject being portrayed
Exceptional Black Scientists, CIBA-GEIGY, 1980-1984: These posters are meant to celebrate current scientific leaders of African American descent and inspire minority students to pursue careers in science. Each individual selected had recently made a substantial scientific discovery in their respective field. The posters are derived from portraits done by noted black artist and illustrator Ernest Chrichlow. This series was advertised directly to teachers, and was meant to be placed in the classroom, science fairs, or community centers.
Black Presences, PepsiCo, circa 1980s: A series of posters, that celebrated the African American ‘presence’ in America’s history and culture. Each poster features a portrait of the individual selected, a short biography, and is entitled by the category of culture (arts, sports, history, etc.) that the individual belongs to.
These posters are available to researchers in the Rubenstein Library.
Post contributed by Rachel Ingold, Curator, History of Medicine Collections
In the sixteenth century, printed works depicting early museums and personal collections of physical objects began to emerge. Such collections were curated overwhelmingly by men of a certain standing in society, including a number of physicians. Personal collections included items such as shells, gems and minerals, coins, sculptures, fossils and animals, and more. Rooms showcasing such objects were stuffed with as much as could be displayed, including mounting crocodiles on ceilings and finding a place for the unicorn horn (or rather, the tooth of the narwhal, an arctic whale).
These cabinets of curiosities, or wunderkammer, provided a space for visitors to see objects from the world within one room – objects that were both natural as well as man-made. In many ways, these cabinets of curiosities were precursors to modern day museums, and printed works from the sixteenth through eighteenth centuries provide text as well as stunning images of the legacy of wunderkammer.
The History of Medicine Collections has recently acquired a magnificent work of wunderkammer, a work by German physician Michael Bernhard Valentini (1657-1729), titled Museum Museorum, printed in 1714. This three volume set, printed in two volumes, includes catalogs from other such curiosity collections as well as a list of all known museums at the time (of which he notes are around 159). Numerous copper engravings are found throughout the text, including six extra-illustrated engravings printed on blue paper. Along with providing a survey of museums and details on collecting, Valentini also covers topics including animals, plants, minerals, and their medicinal use, along with shells, fossils, physics, and natural philosophy.
These volumes and other printed books related to cabinets of curiosities are available for researchers in the Rubenstein Library.
Post contributed by Lisa McCarty, Curator, Archive of Documentary Arts
Over the past three years the Archive of Documentary Arts (ADA) has focused on building its collection of photobooks. The ADA is most interested in photobooks in which images are the primary content, or are considered co-equal with a text. Much like artists’ books, photobooks are conceived as artworks in their own right and can be considered art objects. Photobooks are often the primary medium for a series of photographs and as such, attention to the interaction between form and content, as well as the relationship between text and image, are central concerns to the artist.
Photobooks first emerged soon after the advent of photography in the 1840’s. Anna Atkins’ handmade book Photographs of British Algae: Cyanotype Impressions from 1843 is credited as the first book illustrated with photographs and William Henry Fox Talbot’s Pencil of Nature followed soon after in 1844. Since the nineteenth century, photobooks have proliferated as a medium which allows for artistic exploration and as means to circulate photographs to a wider audience. Today artists continue to make photobooks both in small editions by hand or using print-on-demand services, and at a large scale, most often through partnerships with academic and independent publishers.
In the 2016-2017 academic year the ADA welcomed over 100 photobooks to the collection. This included historic and contemporary photobooks by individual artists such as Zalmaï Ahad, Barbara Bosworth, Alvin Langdon Coburn, Petra Barth, Andre Bradley, William Christenberry, Masahisa Fukase, Juan Giraldo, Meg Griffiths, Gregory Halpern, Justine Kurland, Susan Lipper, Mary Ellen Mark, Paula McCartney, Cristina de Middel, Nancy Rexroth, Alec Soth, Matjaz Tancic, Mickalene Thomas, Alex Webb and Rebecca Norris Webb.
Post contributed by Liz Adams, Special Collections Cataloger
When I open books, one of my favorite things to do is look for small signs of its previous owners, its provenance: Was the book a gift, with a thoughtful note to the recipient? Did the owner write her name, big and bold, on a flyleaf? Sometimes there are so many signs that a separate story, that of the owner, begins to emerge. This was the case with Una Vincenzo, Lady Troubridge and her copy of Knight Asrael: and Other Stories, written by her aunt Una Ashworth Taylor.
Una Vincenzo, Lady Troubridge was born in 1887 to a family steeped in literary culture. Not only did her aunt Una write Knight Asrael, but her other aunt Ida wrote several novels, contributed regularly to 19th century magazines, and published biographies on Lady Jane Gray, Queen Hortense, and Madame Roland (Palumbo-De Simone, 2004). Her grandfather, Sir Henry Taylor, was a well-known dramatist and poet (Reger, 2004). This literary heritage is felt early on in Una Vincenzo’s copy of Knight Asrael. Una Ashworth Taylor wrote a deeply personal inscription to her nieces, one explicitly connecting baby Una and her older sister Violet to literature, to the power of reading: “Here are your stories, Violet, for you to listen to now, to read to yourself soon, & to tell to baby when she is old enough to hear them. September-1889.”
Although it’s unclear if Violet read the chivalric stories in Knight Asrael, Una seems to have, or at the very least, she enjoyed its opening pages. On the front pages of Knight Asrael, there are exuberant blue drawings, signed by their artist: U.T.
While these drawings might be some of the earliest known Una Vincenzo works, they are not the last: Una trained at the Royal College of Art, ultimately focusing on sculptural works (Ormrod, 1984, p. 29). A bust of the famed Russian ballet dancer Vaslav Nijinsky cast by Una now lives at the Victoria and Albert Museum.
Una Vincenzo left one more sign in Knight Asrael, an inscription of her own on the title page: “Radclyffe-Hall & Troubridge, Chip Chase, Hadley Wood, Herts.”
Radclyffe Hall is the author of several novels, most notably The Well of Loneliness, an influential work in lesbian literature. She and Una met in 1915 and moved in together in 1919—after Una formally separated from her husband, Admiral Ernest Troubridge (Ormrod, 2004, p. 65, p.133). Una and Radclyffe (also known as John) were romantic partners for 28 years, living together at Chip Chase and abroad, until Radclyffe’s death in 1943 (Baker, 2004). Una documented their lives together through photography
and a biography published after Radclyffe’s death, The Life and Death of Radclyffe Hall. And even after death, Una continued to write letters to her beloved (Ormrod, 2004, p. 286).
When the provenance in Knight Asrael is taken together, the life and loves of Una Vincenzo, Lady Troubridge begins to break through: her artistic endeavors, her literary nature, and her deep love for Radclyffe Hall. Una ultimately lived to the age of 76, dying in 1963 in Rome, Italy (Ormrod, 2004, p.313).
The Rubenstein Library acquired its copy of Knight Asrael as part of the Lisa Unger Baskin Collection, a transformative collection documenting the lives and work of women across several centuries.
Baker, M. (2004). ‘Hall, Marguerite Antonia Radclyffe- (1880–1943)’, Oxford Dictionary of National Biography, Oxford University Press; online edn, May 2015 [http://www.oxforddnb.com/view/article/37878, accessed 21 July 2017]
Ormrod, R. (1985). Una Troubridge: the friend of Radclyffe Hall. New York: Carroll & Graf.
Palumbo-De Simone, C. (2004). ‘Taylor, Ida Alice Ashworth (1847–1929)’, Oxford Dictionary of National Biography, Oxford University Press; online edn. May 2015 http://www.oxforddnb.com/view/article/46564, accessed 21 July 2017]
Reger, M. (2004). ‘Taylor, Sir Henry (1800–1886)’, Oxford Dictionary of National Biography, Oxford University Press; online edn. May 2015 [http://www.oxforddnb.com/view/article/27030, accessed 21 July 2017]
Post contributed by Thomas Gillan, Rubenstein Library volunteer, PhD candidate, College of William & Mary
The Rubenstein Library has recently acquired an important gift from the Brand Family, descendants from the notable book collector and Duke graduate Harry L. Dalton, class of 1916. This is a French work, Simon de Nantua, written by the French moralist Laurent-Pierre de Jussieu and published in Paris in 1818. It tells the story of its title character, Simon de Nantua, a travelling merchant who trades as much in wisdom as in goods. The book, which was published under the auspices of the Société pour l’instruction élémentaire, was awarded the society’s prize medal in 1818.
The library’s copy would be less remarkable were it not for its noteworthy provenance. Thomas Jefferson received the book in 1819 along with a number of other books from his Paris booksellers DeBures Freres. This is one of the books he purchased after selling much of his library to the Library of Congress in 1815. According to an invoice, Jefferson paid 3 francs for the book, which bears his ownership mark on page 17, signified in this case by the block letter “T” written in ink in front of the publisher’s signature mark “1*.” According to James A. Bear, Jefferson employed this system of ownership marks, with slight variations, over a period of about fifty years.
In a letter to Philadelphia publisher Mathew Carey, Jefferson praised the “school book” as “undoubtedly one of the best for young learners to read that I have ever known,” and even considered having the book translated into English, “so valuable” would it be “to our Elementary schools.” The book was among those sold at auction in 1829 by Nathaniel Poor and is included in Poor’s catalog of Jefferson’s books. Later in its history, this volume was owned by President William Taft.
Nearly 200 years after its publication it seems that there are only two copies held by libraries in the United States, and both of these copies have a Jefferson connection. The Duke copy is Jefferson’s own copy, and the other copy is held by the University of Virginia. Jefferson in 1825 recommended a number of items to the University of Virginia library of which this was one. This volume is now available in the Rubenstein Library reading room.
Caroline Bartlett Crane (1858-1935) was an American Unitarian minister, suffragist, civic reformer, educator, and journalist. Among the first wave of college-educated women in the U.S., she worked as a teacher, school principal, and newspaper reporter before pursuing the call to ministry she first experienced as a teenager.
Bartlett Crane was accepted as a candidate for the ministry at the Iowa State Unitarian Conference in the 1880s. In 1889, after ordination and completion of her first church assignment, she began work at the Unitarian church in Kalamazoo, Michigan. Within a short time she led the church to open the first free public kindergarten, a school of manual training and domestic science, a gymnasium for women, a day nursery, a cafeteria, and the Frederick Douglass Club for the “young colored people of the city.” The church continued to expand until it outgrew its building. In 1894 a new one was built and renamed “People’s Church.” In 1898, after illness and differences with the board, she resigned her ministry.
The Sallie Bingham Center has recently acquired three rare pamphlets written by Rev. Bartlett Crane between 1896 and 1898. Two are sermons delivered in the People’s Church. Why the People’s Church…, published in 1896, outlines Bartlett Crane’s philosophy regarding opening church membership to “any human being who is willing to join in the work of helping the world.” The second, Is God Responsible?, published in 1898, is a reflection and expression of sympathy and support for her congregants after a tragic fire and explosion in a local chemical plant.
The third pamphlet, If I Were Twenty Again!, also published in 1898, offers the accumulated wisdom of a woman who had already had four successful careers and was about to embark on her fifth and final career. Turning to public health and sanitation reform at the turn of the 20th century, Bartlett Crane successfully campaigned for meat inspection ordinances after discovering unsanitary conditions in local slaughterhouses. She founded the Women’s Civic Improvement League in 1903-4. By 1917 Bartlett Crane had inspected facilities in sixty-two cities in fourteen states. As a result of her work to improve urban sanitation, she was known as “America’s housekeeper.”
A tribute to Caroline Bartlett Crane is a small house in Kalamazoo, Michigan which won first place in the Better Homes in America contest in 1925. Bartlett Crane headed a local committee that designed the house to be functional and affordable for a family of moderate income. Called “Everyman’s House,” it was built by volunteers and received national attention. Almost sixty years later Bartlett Crane’s achievements were recognized by her induction, in 1984, into the Michigan Women’s Hall of Fame. The pamphlets are available for researchers in the Rubenstein Library.
Post contributed by John B. Gartrell, Director, John Hope Franklin Research Center for African and African American History and Culture
This past year the John Hope Franklin Research Center has added to its collections materials that document significant public gatherings of black intellectuals during the 20th century. The first is a publication authored by seminal black scholar W.E.B.DuBois, The Amenia Conference, an Historic Negro Gathering. Published in 1925, DuBois wrote his reflections of a notable meeting held in 1916 in Amenia, NY that was called by the fledgling NAACP, designed to bring black intellectuals who were working to solve, what DuBois referred to in his Souls’ of Black Folk (1910), as the “problem of the color-line.” With close to 60 attendees, this small publication is one of the few, if not only, documents that provides descriptions of the meeting as DuBois noted no record was kept of the conversations. Held one year after the death of Booker T. Washington, in many ways the dean of black leadership at the turn of the 20th century, DuBois stated that “…the Amenia Conference was a symbol. It not only the end of the old things and the old thoughts and the old ways of attacking the race problem, but in addition to this it was the beginning of the new things.”
Later in the century, after the wave of black activism in the form of the Civil Rights Movement in the US and waves of independence movements in Africa and the Caribbean during the 1960s, the 6th Pan-African Congress (6PAC) was held in Dar es Salaam, Tanzania in 1974. The Courtland Cox Papers document the planning and programs held during the week long meeting that was the first Pan-African Congress held in Africa. Cox himself left Howard University in the early 1960’s to a join the Student Nonviolent Coordinating Committee (SNCC) and organize against disenfranchisement and poverty in America’s Deep South. Coming out of SNCC, he and a number of SNCC activists became involved in organizing around black consciousness and black solidarity on the global level.
Cox spent time in Tanzania in the early 1970’s and served as secretary-general for the 6th Pan-African Congress, a conference whose history dated back to 1900, although it was the first held after World War II. Over the course of the week in Dar es Salaam, sessions were held to discuss everything from economic empowerment in Africa, environmental issues in black communities, and the meaning of black solidarity around the world.
Both collections are open and available to researchers in the Rubenstein Library.
The University Archives recently completed processing of the Jay Carl Anderson Photographs and Papers, a collection with many images of Duke’s campus, students, and athletic events, as well as politicians, scenes of Durham and elsewhere in North Carolina, and many other locations and subjects, mostly dating from the 1970s and 1980s. The collection is a rich new resource for researchers interested in Blue Devils men’s basketball, student life, campus protests, the city of Durham, political campaigning in NC, and photojournalism, and it offers many beautiful and fascinating new views of familiar subjects.
Jay Anderson was a native of New York State who enrolled at Duke in 1974. He first published a photograph in his local newspaper at 16, and by the time he was a Duke student he was working as a freelance photographer submitting images to the New York Times. He took pictures for the Chronicle and then became involved with the Chanticleer, serving as editor for the 1978 Chanticleer during his senior year. He photographed many aspects of life at Duke, taking pictures of students, classes, events, and scenes on campus, as well as representing life off campus, snapping pictures of life in the surrounding neighborhoods, downtown Durham, and elsewhere in the Triangle. He also traveled, spending about six months in Europe and going as far east as Moscow, photographing life in the Soviet Union in 1977. He brought many of these images back to the Duke community, publishing spreads in the Chronicle and showing his work in exhibits and contests.
Anderson also photographed political persons and events, attending and photographing the 1976 Democratic National Convention in New York City and capturing presidential candidates and politicians, both on and off the campaign trail.
A resident of Pegram dormitory, he took a number of photos of friends and residents. New to Durham and the South when he arrived at Duke, he took an interest in life off campus and in the surrounding areas, including residents in nearby neighborhoods, events downtown, and the State Fair in Raleigh. He documented campus protests and performances, including visits from celebrities and politicians. And he lovingly captured athletics, particularly men’s basketball, capturing many of the players and fans mid-action.
Many of the images are not labeled or identified, or have only general topical labels. As with many photographic collections, identifying information can sometimes be found in the image itself. Anderson also kept copies of many publications featuring his work, which include additional description.
After graduation, Jay Anderson remained in Durham for many years, and continued to photograph Duke events, particularly men’s basketball, and he remained involved with the Chanticleer for several years. He became the official photographer for the American Dance Festival and worked as a freelance photographer for a variety of publications as well as for private commercial work (his ADF photographs can be found in the Jay Anderson Papers in the American Dance Festival Archives, also housed here at Duke).
We’re excited to make this collection available to researchers. For anyone with an interest in Duke, politics, photography, or any number of related topics, the Jay Carl Anderson Photographs and Papers offers a lot to explore.
Dispatches from the David M. Rubenstein Rare Book and Manuscript Library at Duke University