Category Archives: Students and Interns

Controversy vs. Benefits: Vivisection Items in the History of Medicine Collections

As a volunteer for the History of Medicine (HOM) Collections, one of my projects was to create subject guides for several of the Collections’ strengths. I focused on collection strengths in areas of anesthesia, human sexuality, materia medica, pediatrics, psychiatry, vivisection, and yellow fever. I spent the past few weeks gathering sources and images to highlight the HOM’s interesting collection of vivisection materials, many of which come from the large vivisection pamphlet collection.

A significant amount of the collection features philosophical debates between those who regard surgery on live animals for experimental purposes as cruelty and those who support vivisection for benefits stemming from progress and advancements in medical science (e.g., creation of immunizations and vaccines).

Many photographs and drawings in the vivisection pamphlet collection show how dogs were used as test subjects for medical experiments. In one photograph, it is evident from its posture that a dog that had its pituitary gland removed is undergoing discomfort; the image was taken hours before its death. In another drawing, a dog appears to have had its hind legs bound and one of its forelegs sealed. The caption underneath reads, “They who know the pain of a limb even a short time in a cramped position can imagine the sufferings of this dog.”

 

On the other hand, animal experimentation has played a crucial role in helping to develop immunizations against infectious diseases, such as polio and diphtheria. The photographs below feature children whose lives were saved by antitoxin discovered through medical research using animals. In an attempt to appeal to people’s emotions and gain acceptance for animal experimentation, one of the captions contains a suggestion for others to imagine their own child as one of the pictured victims of infantile paralysis. The question is asked, “Would you hesitate to sacrifice under ether one or more animals if through the knowledge gained the disease could have been prevented, or your child could have recovered without being crippled?”

 

 

 

 

 

 

 

 

The vivisection controversy brings up other provocative questions: Is animal experimentation justifiable if it results in the possibility of a cure/immunization/vaccine for a disease (e.g., cancer, HIV/AIDS)? Do the benefits of eradicating diseases for humans outweigh the suffering and pain caused to animals in medical research? Does the use of anesthesia make vivisection more acceptable? Are there parallels between animal vivisection and human vivisection as historically conducted by the Nazi and Imperial Japanese armies? Come examine the materials in the History of Medicine Collections and develop your own conclusions.

Post contributed by Christine Cheng, former volunteer for the History of Medicine Collections. Christine is now the Research Services Coordinator for George Mason University Libraries Special Collections & Archives.

Digitizing the LCRM: Duke’s Dept. of African & African-American Studies

In this month’s update of the CCC Project at Duke University, we are happy to announce the publication online of the records of Duke’s Department of African and African-American Studies.  The items included in this collection document the beginnings of the department, the research and teaching of its faculty members, and the various social and cultural movements occurring within the African-American community during the 1970s and later.  We encourage researchers to peruse the digitized documents, accessible from the collection inventory, to find a host of items sure to add to the scholarship of the long civil rights movement.

Our document spotlight for the month highlights the struggles that the African and African-American Studies Department, then known as the Black Studies Program, experienced in its earliest days.  From its inception in 1969, the Black Studies Program had been offering several courses through adjunct faculty.  Still, the Program lacked a director and its course slate remained minimal, although the Program did offer a major.

In addition, members of the African-American community at Duke contended that the university’s administration did not implement programs to encourage “black cultural representation.”  The document shown below is a draft petition from late 1979 written by members of the African-American community at Duke asking the administration to ameliorate both the academic and cultural issues that hampered the growth of the African-American community at the university.

Draft Petition to Duke Administration Regarding Cultural Representation of the Black Community, 1979
Draft Petition to Duke Administration Regarding Cultural Representation of the Black Community. Department of African and African-American Studies Records, Box 1, folder 30 (File ID daams01030169)

Although we do not have a completed petition in the Department’s records, the goals of the document did eventually become Duke’s policy.  University administration would create new standards to recruit more African-American faculty members.  In addition, the Program would soon become a fully-staffed Department.  In terms of cultural engagement, the establishment of the Mary Lou Williams Center for Black Culture in 1983 helped to fulfill the demands listed in the petition.  Researchers will now have the opportunity to learn even more about the beginnings of African-American Studies at Duke and how struggles for recognition led to a strong academic and cultural presence on campus.

The grant-funded CCC Project is designed to digitize selected manuscripts and photographs relating to the long civil rights movement. For more about Rubenstein Library materials being digitized through the CCC Project, check out previous progress updates posted here at The Devil’s Tale

Post contributed by Josh Hager, CCC Graduate Assistant.

North Korean Propaganda in the Selig Harrison Papers

The Selig Harrison Papers is a recent accession to the Center for International Policy (CIP) Records. Selig Harrison, the director of the CIP’s Asia Project, has specialized in South Asia and East Asia for fifty years as a journalist and scholar. These papers comprise a broad survey of the political and economic relations throughout Asia and between the U.S. and Asia, providing the birds-eye view from which Harrison’s research was conducted. They are concerned with public men and women – leaders and governments, the structures and organizations that most visibly influence the course of history. Likewise, these papers are very much bound up in the problem of representation, not only because they examine the institutions that are most often represented in the media and in political discourse, but because the project of the Center for International Policy is to shape the way such institutions get represented in the media and in political discourse. The Selig Harrison Papers offer a sense of the high stakes of the practice of representation, and at stake for Harrison is international policy and the course of history itself.  Thus, one aspect of these papers that struck me was the degree to which Harrison was and is invested in anticipating the behavior of political actors and the consequences of that behavior so as to affect it. Some of his original files were even labeled as questions (e.g. “Should Pakistan survive?” or “Is Musharraf backing down?”).

The Selig Harrison Papers most heavily focus on the Korean Peninsula, especially North Korea. The majority of these papers are dated from within the last 20 years, though the series contains a few documents as early as 1960. Particularly notable are some North Korean materials from 1965-1972 on women and children (see “Women and children in the DPRK” folder in the Geographic Subseries) and two North Korean children’s books from 1987 (see “Children’s tales – Pyongyang” folder in the Geographic Subseries).

“Statue of Premier Kim Il Sung,” from a North Korean pamphlet in the Selig Harrison Papers, Center for International Policy Records.

The material on women and children includes some fascinating propaganda from 1965, promoting Kim Il Sung’s affinity for and fostering of North Korea’s children. Kim Il Sung saw in children the continuance of revolutionary politics given that they were raised as revolutionaries (hence the importance of women in the DPRK).  The particular chapter, called “Give the Children the Best,” from this 1965 text begins,  “Children, to Comrade Kim Il Sung, are irreplaceable objects of love, for whom it is his basic and inviolable principle that they must have the best. His warm heart and deep care for the children are unlimited.” The sentimental language of love and the valorization of a particular politics of care that is often seen as distinguishing of communist governments (which should be further distinguished from communism as a political theory) is manifest in this passage and throughout the text. The child is representative because it comes to stand for the general relationship of the government to its people. This text asks us to think of love not as a private emotion but as a political concept, as an essential element for transforming the objectified child into a fully formed political subject, which is to say, a subject educated in the “revolutionary ideology and the indomitable fighting spirit of the working class.”

This propaganda reveals, more specifically, the orphan to be the national symbol of North Korea, the figure, it seems, most capable of being revolutionary.  After all, just as the orphan is a broken link in a chain, so revolutions seek to create a radical break with history. “None can call them orphans any longer,” the text reads. “Comrade Kim Il Sung is in truth a father to all those children who have lost their fathers and mothers.”

Children’s Palace and School, Pyongyang, from a North Korean pamphlet in the Selig Harrison Papers, Center for International Policy Records.

Kim Il Sung named the child “king of the land” and in 1963 built the Children’s Palace and School in Pyongyang. The Palace offers, according to the pamphlet from which the above photographs were borrowed, an education that incorporates the arts and crafts, such as sculpture, embroidery and drawing, history (according to the ideology of the Worker’s Party) and the sciences, as well as and perhaps most importantly engineering for the production of a population capable of (re)building a nation.

Reading about the palace in Pyongyang raised a few questions for me – what work is the language of sovereignty (the children as kings who attend school in a palace) doing within a communist regime devoted to the Workers’ Party? In other words, what valences does such language have within this seemingly counter ideology? The language of sovereignty seems as if it should be opposed to, not aligned with, the way the text writes of the child as not yet fully formed subjects but rather as objects of love and care. Instead, it is as if the language of the sovereign, here, is meant to denote the potential itself for a being objectified by care to become revolutionary and to care, finally not as kings but as political subjects, in turn.

Image from North Korean children’s book in the Selig Harrison Papers, Center for International Policy Records.

A second and related set of materials are the two childrens’ books, published by the Foreign Languages Publishing House in Pyongyang in 1989, titled A Tale of Two Generals and A Winged Horse. These books, fairy tales “told by the great leader Comrade Kim Il Sung,” are illustrated and were translated from North Korean. Both of these fairy tales are stories of militarization about defending the land from foreign invaders. Indeed, within both of these books there exists a constant threat of the foreign. The lessons of these books are consistent with those expressed in Kim Il Sung’s vision of the Children’s Palace and School – strength and courage for one’s country only bear value if matched by intelligence and a sentimental identification with the land. In A Winged Horse, the youngest son who has cultivated himself most roundly is the only son able to ride the winged horse that allows him to save his village from foreign invaders.

There isn’t anything exceptional in these lessons themselves; they are similar to the lessons many of us were given as children. But what interests me in both the propaganda material and the children’s stories is, first, that they are all highly invested in the problem and, more importantly, the stakes of self-representation, which seems to be essentially what Selig Harrison studies as a journalist and scholar.  Second, in both sets of materials the pervasive devastation of North Korea during the Korean War always shadows the representational figure of the child – the redeemer. Because the child is conceived of as the one who can redeem North Korea, Kim Il Sung wanted to call attention to his investments in children’s schools even in the midst of the wreckage of the Fatherland Liberation War (Korean War). These materials thus juxtapose the reality of famine and large-scale devastation with what is rendered as the comfort and even the luxuries provided to North Korean children as the nation anticipates the time of reconstruction.

Post contributed by Clare Callahan, graduate student assistant in Rubenstein Technical Services and the Human Rights Archive.

Get a Group (Number)!

What is one way to become an expert in all things Duke? Go through all of its records!

Ashley Brown, the University Archives' King Intern, reviews Duke organizational charts.
Ashley Brown, the University Archives’ King Intern, reviews Duke organizational charts.

OK, claiming to be an expert in all things Duke may be a little ambitious, but I was able to learn a lot as the William E. King intern at the Duke University Archives. My name is Ashley and this summer I was tasked with creating a records group system for the University Archives.

A record group is “a collection of records that share the same provenance and are of a convenient size for administration.”  To simplify this definition from the Society of American Archivists, a record group numbering system is one way for archivists to show how records originate within one entity such as Duke University. Each record group can be broken down into a subgroup, which corresponds to an organizational subdivision; and then the individual record makes up the smallest unit known as a series.  Each record, subgroup, and series is given a number and the combination of those three numbers gives each record its unique identifier.  Sound complicated? Here’s an example:

Let’s take this record: Dept. of Zoology records, 1905-1997.

First, each college within the University is assigned its own record group and each department within each college is assigned its own subgroup.  So, my first step for this record is to determine which college the Department of Zoology resides in.  After a little research, I discover that Zoology no longer exists as a formal department but has been combined with Botany inside the Biology Department at Trinity College of Arts and Science.   Therefore, this record would fall under the Trinity College record group, which happens to be record group 25, and the Biology subgroup (.11).

So, the record group identifier for this record would be: 25.11.001.  The first number tells you the record group; the second number tells you the subgroup; and the third number is the individual series number.

Now let’s take the Botany records: Dept. of Botany records, 1932-1978 and assign it a number.  It, too, is in Trinity College under Biology. So it would also begin 25.11 but its series number would be different to distinguish it as a separate collection.  Its number is 25.11.002.

It is important to note that each record group will include the records of its current organizational structure and any forms of that organization or department’s predecessors.  For example, prior to the 1960s, the Provost position was titled “Vice President of Education.”  Any records pertaining to the Vice President of Education or individuals who held that title will fall under the Office of the Provost Records Group (RG 5).

There are over 1,000 record collections at University Archives that span over 174 years.  Each record collection needed be assigned a record number based on its provenance or origin of creation. This was no easy feat.  So I spent my summer researching Duke history, examining organizational charts that go back over sixty years, and reading the finding aids of each collection.  In doing so, I was introduced to an impressive array of presidents, faculty, staff, alumni, student groups, and others who have transformed Duke into the innovative institution that it is today. I also now have 32 record groups that help tell the story of Duke and its evolution through its records.

Over the next several weeks, I will be working alongside other University Archives and Rubenstein Technical Services staff to unveil the new numbering system.  Stay tuned for my blog post, part two to hear about how we implement this project!

Post contributed by Ashley Brown, William E. King intern at the Duke University Archives.

Haitian Children in Guantanamo

Boy with fish in Guantanamo Camp #9, ca. 1994-95. From the Americans for Immigrant Justice Records.

We recently completed processing the Americans for Immigrant Justice (AIJ) Records. Formerly the Florida Immigrant Advocacy Center (FIAC), AIJ is a not-for profit legal organization that advocates on behalf of immigrants and refugees, including those being held at various detention centers, such as Guantanamo, Krome and Turner Guilford Knight. The majority of the material in this collection deals with the Haitian refugee population in Florida. Two aspects of this collection struck me. First, while this collection contains material that addresses the Haitian refugee crises from a broader political and historical perspective, it is notable for the quantity of material it contains that focuses on the stories and testimonies of individual refugees, in their own words, in documents such as affidavits and correspondence.

The second aspect of this collection that struck me as particularly interesting is the amount of material it contains on children – child refugees and detainees, children seeking asylum, children stranded in Haiti, and especially unaccompanied minors. As I became more familiar with this collection, I became especially interested in the detained child as both a fact and an idea. Sifting through accounts both by and about children of their emotional, mental, and physical experiences in detention, I began to wonder how the search for asylum and subsequent detention is conceived of by children.

The reason why this subject fascinated me is because of the strong incongruity in the idea of the child, on the one hand, and the idea of imprisonment of any kind, on the other, an incongruity that suggested to me that accounts of children in detention might uniquely illuminate how we think about detention and refuge. We often associate children with places of refuge, with a powerful need for and unique faculty to find or construct places of refuge. One example of this faculty is play. As I looked through photographs of and read testimony by children detained at Guantanamo, I began to wonder what place “play” has in detention, in homelessness, and in lack of refuge.

Boy holding guitar in Guantanamo Camp #9, ca. 1994-95. From the Americans for Immigrant Justice Records.

The subset of documents about which I am writing are dated from around the early and mid-1990s, during and following the campaign of terror against Aristide supporters. One must bear in mind that the majority of Haitian refugees held at Guantanamo at this time were forcibly returned to Haiti where their lives were imperiled (5,000 Aristide supporters were estimated to be killed in 1993). In fact, many of the children detained at Guantanamo were unaccompanied for precisely this reason – their parents or caretakers had been killed in Haiti during this period. As the AIJ Records reveal, many of these children, upon repatriation, were thus compelled to eke out a living on the streets.

So, how does the child reconfigure the way we conceive of detention? Three photographs from the Photographic Materials Series caught my attention. After I selected them, I asked myself why I had been drawn to them, and I realized that in each, a child or children were holding some kind of object – a fish, makeshift drums, a guitar.

I considered these photographs against the written testimony about and by children detained at Guantanamo (information packets, emergency action requests related to medical conditions, correspondence, affidavits, reports, etc.). The written documentation described abuses, including rape, that were committed at Guantanamo against women and children. Child detainees, not surprisingly, wrote of their desperation and depression (their own words), and observers of these children offered similar accounts. Yet, these children not only subsist at Guantanamo but also, as the photographs above communicate, find ways to play. It is not difficult to perceive a form of resistance in their play, in their insistence upon occupying places that we cannot envision as inhabitable. I was likewise captivated by the photographs in which children are holding objects because they seem to me to manifest the construction of places of refuge within displacement and dispossession. The subjects in these photographs seek asylum in the objects themselves. There is something about gripping an object, possessing that object, that also solidifies the reality of oneself – and this in a place in which that very reality is relentlessly objected to – in abuse, obscurity, neglect, remaining unheard.

Boys playing drums in Guantanamo Camp #9, ca. 1994-95. From the Americans for Immigrant Justice Records.

Post contributed by Clare Callahan, graduate student assistant in Rubenstein Technical Services and the Human Rights Archive.

Wooshes, Whistles, Crowd Roars, and Seal Screams

"Footage of Ocean" Reel from the Freewater Films CollectionThe name Freewater Films is perhaps best known for the film series it puts on in the Bryan Center. But in addition to these screenings, it is also responsible for providing workshops and support for amateur film-making by Duke students and community members.

The origins of Freewater Productions Films can be traced to 1969, when the Mary Duke Biddle Foundation gave funds for students from the Duke University Union Visual Arts Committee to make a 16mm film. In November 1970, several students produced an original film (called Dying), using a 16mm Bolex camera borrowed from the Union. Described by the maker as “a woman’s surrealistic encounter on an island,” Dying went on to win first prize at the Association of College Unions’ 1971 International Film Festival.

Over the years, Duke students produced a number of cutting-edge films under the auspices of Freewater, ranging from documentaries on urban Durham to science fiction and horror films set in the Duke Hospital. (The 1984 film A Medical Scutwolf in Durham tells the story of a doctor who becomes a werewolf.)

Sound Effects Reels from the Freewater Films CollectionSaved in a variety of formats—including DVDs, VHS, Betamax, and 16 mm film—the Freewater Productions Films archives are now housed at Duke University Archives. They have recently been arranged in order by date, format, and title. In some cases, “unofficial” titles had to suffice, as in the reel titled “Footage of Ocean,” pictured above. Those that arrived in rusty cans or unstable cardboard boxes were transferred to archival plastic “cans.”

Pictured at left is a group of 21 sound effects from the collection, labeled as: “wooshes, whistles, crowd roars, and seal screams.”

We’re looking forward to the day when these historic films may be screened again!

Post contributed by Jessica Wood, William E. King intern for the 2011-2012 academic year.

Digitizing the LCRM: Update #1

Rencher Nicholas Harris was Durham’s first African-American city councilman as well as a member of the Board of Education and the Secretary for the Board of Directors of Lincoln Hospital. His papers, collected at the Rubenstein Library and now digitized, cover the scope of his civic efforts from public health to transit planning. For example, the document shown below is a budgetary analysis of Durham school cafeterias in 1959—and a prime example of how civic documents demonstrate racial realities.

Rencher Nicholas Harris Document
Click to enlarge.

At first glance, the document lists the budgets of all of the public school cafeterias in Durham, separated into white and “negro” categories. Examine the figures more closely and the depth of racism in the school segregation policy becomes clear. Compare, for example, the operation expenses of white Durham High and African-American Hillside High ($68,475.27 to $39,346.22, respectively). In addition, the white schools show a net income of $6,205.02 versus the net monetary loss of the African-American schools of $4,638.23. It is up to researchers to determine the full explanation and significance of these figures.

Fortunately, this document, along with a host of other records containing information on historic impetuses and efforts for civil equality in North Carolina, will soon become available online. Duke University Libraries’ Digital Production Center is currently participating in the Content, Context, and Capacity Project led by the Triangle Research Libraries Network (Duke, NC State, UNC, and NC Central).

This grant-funded initiative is designed to digitize selected manuscripts and photographs relating to the long civil rights movement. For more information on this project, including updates on the progress of digitization, please check out the CCC website. As part of the outreach efforts of the CCC Project, monthly blog posts to The Devil’s Tale will provide updates on the latest Rubenstein Library collections to be digitized for the project. Stay tuned!

Post contributed by Josh Hager, CCC Graduate Assistant.

Peeking at Paris in 1841: The Private Journal of Thomas R. Spencer

There’s something satisfying about reading a journal, and I don’t think it has much to do with the fact that a lot of journals try to discourage readers from exploring their contents, either. Instead, what I think appeals to me about journals is the familiar and candid tone of an author writing to him or herself. It’s thrilling to feel like the secret confidante of someone whom you’ve never met. There’s a lot of honesty in a journal, and that honesty transcends time to resonate with people totally outside of the context of the author’s life.

I’ve been privileged to work with the History of Medicine Collection in the Rubenstein Library this semester, and in the course of my project came across the journals of a young American medical student living in Paris, France in the early 1840s. Before I had really been able to familiarize myself with the contents of the journals – barriers mainly being Spencer’s handwriting – I imagined that the writing would be fraught with tales of the revolutions and political upheaval that characterized French politics in the 19th Century. What I found instead, though, was a window into the daily life of a bright, detail-oriented young medical student living in beautiful and romantic Paris, France even before the iconic Eiffel Tower was built.

The first entry in the journal is almost 30 pages long and describes a tour of Parisian monuments. Spencer starts with a jaunt around the grounds of the Palais des Tuileries and ends with a visit to the Arche de Triomphe on the Champs Elysées. When I said detail oriented, I was referring to things like the fact that Spencer recorded in yards the length and breadth of the Palais des Tuileries and described the arrangement and structure of the gardens there, too. The level of attention to detail, while surprising for a modern reader like yours truly, is likely because outside of recording the dimensions himself, Spencer would not easily be able to either recall or discover that information elsewhere. Another thing to remember is that photography hadn’t been really popularized yet, though it existed. 1840 is approximately contemporary with the birth of the Daguerrotype, an early photographic process. In 1840, if you wanted to remember something, you had to take down the facts yourself.

Even though it’s hard to imagine a Paris without the Eiffel Tower, some things in Spencer’s journals make him really accessible. For example, I was happy to find that he had an appreciation for puns; Spencer hearteningly described a fête happening down by the river as the “Seine of the action.” I totally LOL’d in the reading room at Perkins for that one, but then I do love a good pun.

The tidbits that make Spencer seems so contemporary exist right alongside descriptions of things that make his experiences totally foreign. He writes about doing rounds with a physician and watching amputations. As you might imagine, the practice of surgery has changed rather a lot since 1840. From Spencer’s descriptions, amputation was a considerable part of a surgeon’s practice at that time. Spencer also describes a side-show that he saw in Paris in terms of the various medical ailments that were afflicting the performers. Spencer recorded his ideas about what was wrong with the four-legged man and the level of approximate curvature of the spine of a man with dwarfism. I thought it was fascinating to see these people through the lens of his medical training. The journals also hold some botanical specimens that Spencer collected during his time in France. One of them makes an appearance in the image posted here.

The History of Medicine Collection has another later manuscript by Thomas Spencer, too. We learn from it that upon his return to the United States, he took up practice as a pathologist in Philadelphia, PA. The records from Spencer’s practice are taken with the same careful attention to detail and in the same beautiful script as his journals.

The journals tell what Spencer saw. They are his carefully collected memories from the two years he spent based in Paris. His experiences, which are so different from our own, lay out the scope of history, but his personality, humor, and opinions make him seem like a peer.

Nathalie Baudrand was the History of Medicine Collections Intern for Spring 2012 and is a graduate student at UNC’s School of Information and Library Science.

George Cruikshank & Falstaff’s Famous Follies: A Series of Autograph Prints from the Frank Baker Collection

Artist George Cruikshank
Artist George Cruikshank

Among the many fascinating documents, portraits, and letters of early Methodist preachers and missionaries in the Frank Baker Collection of Wesleyana and British Methodism are a variety of woodcut prints, engravings, and other visual sources depicting subjects as varied as social satire and British birds that might be rather unexpected in a collection that is primarily concerned with religious history.  As an art historian, I am particularly drawn to such visual records, and so was especially struck by both the beautiful technique and the relative completeness of a portfolio of etchings by George Cruikshank in which the artist depicts various scenes from the adventures of Shakespeare’s Sir John Falstaff.

Cruikshank, a prominent nineteenth-century British artist who worked primarily in graphic media, is known for his virulent social satires and is frequently discussed alongside similarly comic-minded Brits such as William Hogarth and Thomas Rowlandson.  By the middle of the nineteenth century, Cruikshank’s reputation was well-established and the artist had already completed prints for pamphlets by his friend, William Hone, a series of illustrations of the works of Charles Dickens, and the first English edition of the Grimm Brothers’ fairy tales.  It is around this time that Cruikshank began work on a concept for a collaborative project with Robert B. Brough which, upon its publication in 1858, would be entitled The Life of Sir John Falstaff: A Biography of the Knight from Authentic Sources.

Robert Brough’s The Life of Sir John Falstaff: A Biography of the Knight from Authentic Sources of 1858
Robert Brough’s The Life of Sir John Falstaff: A Biography of the Knight from Authentic Sources of 1858

A copy of Brough’s rather unusual text is available in Rubenstein Library and provides an imaginative biography of the fictional Falstaff, who appears in the Bard’s Henry IV and The Merry Wives of Windsorand who is himself believed to have been a satirical portrayal of one of Shakespeare’s unfortunate contemporaries.

Cruikshank’s etchings appear throughout The Life of Sir John Falstaff, illustrating twenty scenes with expressive lines and an abundance of humorous detail in a compact, approximately 5×8” book-size format.  While processing visual sources in the Baker Collection, I came across a larger set of these same prints; seventeen unbound plates on crisp white paper that are approximately 10×14” in size.  The higher quality of the etched lines and cross-hatching seems to indicate that the Baker portfolio is an earlier edition. Missing only three scenes from the set reproduced in Brough’s text, the Baker Collection series begins with a print that is dated 1857 and bears a handwritten dedication along the bottom of the page, signed lightly in pencil by the artist and brought to my attention by archivist Michael Shumate.

Large-scale printed version of Cruikshank’s etching, next to the printed frontispiece of Robert Brough’s The Life of Sir John Falstaff: A Biography of the Knight from Authentic Sources of 1858.
Large-scale printed version of Cruikshank’s etching, next to the printed frontispiece of Robert Brough’s The Life of Sir John Falstaff: A Biography of the Knight from Authentic Sources of 1858.

The Falstaff print, a smaller copy of which also appears at the start of Brough’s book, depicts the portly title character, perched on a seat wearing pseudo-chivalric garb and staring out at the viewer, his mouth pursed in what can only be described as a mischievous grin. In addition to the volume’s title, publisher, and other documentary information, the print is inscribed with Cruikshank’s inimitable stylized signature which corresponds directly to the dedication, “Richard Ellison Esq. – with the regards of Geo. Cruikshank” scribbled below.

Autograph Signature: George Cruikshank’s signature in a dedication written in pencil along the bottom of the print.
Autograph Signature: George Cruikshank’s signature in a dedication written in pencil along the bottom of the Baker print.

How this unique object came into the possession of Frank Baker, a former professor in Duke’s Religion Department, is a mystery; however the prints themselves invite further study.  Did this 1857 portfolio serve as a kind of prototype for the images included in Brough’s 1858 book?  What was the historical reception of Falstaff, and how would Cruikshank’s prints have been understood by nineteenth-century individuals?  Indeed, these questions and countless other subjects of interest to art historians, British scholars, and literature students emerge in this visual document.  Fortunately for those who, like myself, are intrigued by Cruikshank’s work and would like to learn more, Duke Libraries maintains a number of different sources on the topic, located at both the David M. Rubenstein Rare Book & Manuscript Library and within Lilly Library’s collection.  In addition to the Cruikshank materials, the Baker Collection of Wesleyana contains more than 10,000 visual documents including portraits, landscapes, maps, and many other fascinating scenes.

Elisabeth Narkin is a doctoral student in Duke’s Dept. of Art, Art History and Visual Studies. She is also a student assistant in Rubenstein Technical Services.

Student Writing Prizes! $1,000!

Enter to win one of the Duke Library's research & writing prizes!

The Robert F. Durden Prize and Chester P. Middlesworth Award were established at the Duke Library to reward excellence in research and writing. If you’re a Duke student, consider submitting a paper for one of these prizes!

The Robert F. Durden Prize recognizes undergraduates’ excellence in research, including their analysis, evaluation and synthesis of sources, and encourages students to make use of the general library collections and services at Duke University. Funding for the awards has been provided by Stuart (W.C.,1964) and Bill Buice (L, 1964) and named in honor of Robert “Bob” F. Durden, professor emeritus of history.

The Middlesworth Awards have been established to encourage and recognize excellence of research, analysis, and writing by Duke University students in the use of primary sources and rare materials held by the David M. Rubenstein Rare Book & Manuscript Library. Funding for the awards has been provided by Chester P. Middlesworth (A.B., 1949) of Statesville, North Carolina.

Deadlines are May 15!

Visit our website for more information.