Frederik Ruysch’s Anatomical Art

Post contributed by Amelia Holmes, Josiah Charles Trent Intern for the History of Medicine Collections.

Anatomical specimens emerged as an art form near the end of the seventeenth century. Although they may seem morbid today, at the time of creation, they were viewed as striking a balance between the scientific and the artistic. They served to educate people on human anatomy as well as to remind them of the fleeting nature of life.

Illustration from Opera Omnia Anatomico-Medico-Chirurgica, ca. 1737.
Illustration from Opera Omnia Anatomico-Medico-Chirurgica, ca. 1737.

One of the more notable creators of anatomical art is Frederik Ruysch, a Dutch botanist and anatomist who lived from 1638 to 1731—an impressive 93 years in a time when many died young. A capable researcher, Ruysch was the first to describe bronchial blood vessels, the vascular plexus of the heart, and the valves of the lymphatics. However, his real interest lay in anatomical preparations, and he has been described by a recent biographer as “probably the most skilled and knowledgeable preparator in the history of anatomy” (Gould, p. 20). Ruysch served as the chief instructor to midwives and the “legal doctor” to the court of Amsterdam. Through these positions, he had easy (and legal) access to the bodies of stillborns and dead babies.

The preparations were initially created to use in his classes, but they eventually gained an interest from the public. To showcase his vast collection (he created more than 2,000 from 1665 to 1717 alone), he opened his own cabinet of curiosities to the public, which for many marked the first time they were able to see human internal organs. The collection was also noteworthy because of the lengths to which Ruysch went in an effort to make the specimens appear more natural. For example, embalmed children were clothed or held bouquets of preserved flowers. In 1717, Peter the Great, who was an admirer of Ruysch, purchased the entire cabinet of curiosities for 30,000 guilders. The collection was then shipped to St. Petersburg, and along with the cabinet of curiosities formed by Albertus Seba, they became the core of the Kunstkammer—the Academy of Sciences of Russia’s first public museum.

Although a number of Ruysch’s wet preparations still exist today (a fact which he would find unsurprising), none of his dry specimens have been located. He used fetal skeletons and other body parts to create multi-specimen scenes. These scenes served as the centerpieces for each of the literal cabinets within the rooms of his museum. As Gould points out, these tableaux were focused on allegorical themes such as death and the transience of life. The small skeletons are decorated with symbols of death and short life: mayflies rest in hands, skulls weep into handkerchiefs made of mesentery, and snakes made of intestine wine their way through bones. Today, these still-life scenes exist for us only through second-hand descriptions and, fortunately, through a number of engravings.

Fortunately for those interested in seeing these illustrations up close, the History of Medicine Collections has two volumes from the multi-volume Opera omnia anatomico-medico-chirurgica. On October 29, from 2-4 pm, they will be on display as part of Screamfest in the Holsti-Anderson Family Assembly Room.

Recommended Reading:

Congratulations to our 2015 Middlesworth Award Winner!

We are pleased to announce this year’s winner of the Middlesworth Award!

rbmscl-researchThe Middlesworth Award is given annually in recognition of students whose research makes use of the primary sources and rare materials held in 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.

This year’s winner is Michael Sotsky (’15) for “The Fight to End ‘Legalized Lynching’: The Civil Rights Congress’s Rise and Fall in the Southern United States in the Post World War II Era.” He wrote this paper as an independent study under Dr. Nancy MacLean. Sotsky’s primary sources included material on the Civil Rights Congress in the J.B. Matthews Papers and The Daily Worker from the American Newspaper Repository Collection.

We will be celebrating Sotsky and the winners of the library’s other writing and research prizes at an awards reception on Friday, October 30 from 3:30-4:30 in the Holsti-Anderson Family Assembly Room. All are invited for refreshments and the opportunity to honor the recipients.

Lecture – “Marcus Garvey and the Fallen Angel”

Date: November 4, 2015

Time: 4:00PM

Location: Rubenstein Library 153, Holsti-Anderson Family Assembly Room

Speaker: Prof. Robert Hill, Emeritus Professor of History, UCLA

Hill-Garvey3Please join the John Hope Franklin Research Center to celebrate the recent acquisition of the Robert A. Hill Collection of the Marcus Garvey & UNIA Papers Project Archive. Prof. Robert Hill, leading expert on Marcus Garvey and his influence on the African Diaspora will lecture on a new departure in research on the legacy of one of the notable voices of the African Diaspora of the 20th century. For the past thirty-five years, Prof Hill has researched and collected materials on Garvey and served as editor of the 12-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 Franklin Research Center documenting African and African American History and Culture in the David. M. Rubenstein Rare Book & Manuscript Library.

Contact – John B. Gartrell, john.gartrell@duke.edu

This event is co-sponsored by the Department of History, African & African American Studies, and the Center for Latin American and Caribbean Studies.

Reception to follow

Post submitted by John B. Gartrell, Director, John Hope Franklin Research Center

Sometimes it takes a village, especially the first time.

I catalog manuscript and other archival materials, the majority of which are unpublished and not described. They also cover a wide variety in type of material. Among the more exotic finds I have cataloged: a salesmen’s kit with patterns for men’s suits, musical instruments used by a jazz percussionist, feminist t-shirts, John Brown commemorative medals, and envelopes of 19-century bath and other powders.

Last Spring we acquired the Lisa Unger Baskin collection, which features five centuries of women’s history. Among the items is a work of needlepoint, a flower study, completed by Charlotte Brontë around 1840. I had never cataloged a work of needlepoint.

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When faced with an unfamiliar format, a cataloger begins by looking for similar materials cataloged by colleagues nationally, searching in WorldCat. I found only a few pieces of embroidery, usually samplers, and those did not include extensive description of the item. I was determined to provide more detail than a basic record.

Fortunately, our donor had included with the Brontë needlepoint a photocopy from a book on Brontë artwork. The page focused on a flower study Charlotte had completed in watercolors while she was still in school. It offered a description of the piece which provided the level of detail I was seeking, so I based my own approach on it. However, to move forward with this approach I needed to confirm what flowers were depicted in Charlotte’s needlepoint study.

There was no argument that the top flower is a white lily. I felt the bottom left flower was a peony, while others said it was a rose. I had no clue what the bottom right flower might be. Who to consult? I approached a colleague who hails from England, and she offered to forward my photograph of the needlepoint to her father, who is a master gardener. After consulting his references, he agreed that the bottom left flower is a peony, and determined that the unknown flower on the bottom right is probably a carnation.

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I also had to consult with Beth Doyle, head of our Conservation Services Department, regarding whether Charlotte’s needlepoint should be removed from its frame. While answering this question (no) Beth let me know the thread Charlotte used was probably wool. Beth’s mother is a master needleworker who may be able to determine what type of stitch Charlotte used.

Using all of this information, I wrote a description that provided the level of detail I was seeking, to give someone a basic mental image of the piece they would then find in our collection. However, even after I finished my initial work, one more consultation was required. My colleague, Lauren Reno, checked my catalogue record in RDA, the new cataloging standard I am applying to manuscript materials. She made several helpful enhancements.

I am very grateful for the “village” of people I can call upon in support of my work.

You can find the catalog record for the needlework here.

Post contributed by Alice Poffinberger, Archivist/Original Cataloger in the Technical Services Dept.

Franklin Research Center Acquires Robert A. Hill Collection/Marcus Garvey Papers Project Records

The John Hope Franklin Research Center has acquired the Robert A. Hill Collection of the Marcus Garvey and Universal Negro Improvement Association Papers Project Records. Hill is an Emeritus Professor of History at UCLA and a renowned historian and expert on the life and legacy of Garvey and his impact throughout the African Diaspora. The collection includes the research materials and documents collected to compose the twelve-volume Marcus Garvey and Universal Negro Improvement Association (UNIA) Papers (University of California and Duke University Press), which began publication in 1983 focusing on the Garvey and UNIA movement in Africa, America and Caribbean, with Hill serving as editor.

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The Black Man magazine, edited by Marcus Garvey, 1935

Many of the materials compiled by Hill were not able to be included in the published editions and the records of the Garvey and UNIA papers project, one of a handful of academic papers projects on a person of African descent, are one of the largest research collections of documents on Garvey and his followers in the world. The collection, which contains over three hundred boxes, is currently being processed in order to be opened to the public.

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Universal Negro Improvement Association Minutes of Proceedings, London, England meeting, 1928

A native of Kingston, Jamaica, Hill is currently an emeritus faculty at UCLA and has held appointments at Dartmouth College, the Institute of the Black World, and Northwestern University, Evanston. He began compiling materials related to Garvey in 1970 and subsequently expanded his collecting interests into the history of the African Diaspora throughout the western world. From Nov. 2-6, Professor Hill will be visiting the Rubenstein Library and will officially begin service as Scholarly Consultant & Adviser for the collection; assisting staff with understanding the collection’s organization, participating in an oral history about the genesis and growth of the collection, and delivering a public lecture on campus on November 4, 2015 at 4:00pm in the Holsti-Anderson Family Assembly Room, Rubenstein Library.

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Black Star Line stock certificate, 1919

Post submitted by John B. Gartrell, Director, John Hope Franklin Research Center

2015 Barbaralee Diamonstein-Spielvogel Visiting Visiting Artist: Nate Larson

Reception & Artist’s Talk

Date: November 5

Time: 6:00-8:00 pm

Location: Center for Documentary Studies, 1317 W. Pettigrew St, Durham, NC

Nate_Larson_272x381In October 2015, the David M. Rubenstein Rare Book & Manuscript Library will welcome Nate Larson as the second Barbaralee Diamonstein-Spielvogel Visiting Artist. Named in honor of Dr. Diamonstein-Spielvogel, a prolific author, interviewer, curator, and champion of the arts, this new artist-in-residence program provides an extended opportunity for an artist to study and engage with archival, manuscript and other special collections in support of developing a new body of creative work.

Nate Larson is a contemporary artist working with photographic media, artist books and digital video. His projects have been widely shown across the US and internationally as well as featured in numerous publications and media outlets, including Wired Raw File, The Picture Show from NPR, Slate, CNN, Hyperallergic, Gizmodo, Buzzfeed News, Vice Magazine, the New York Times Lens Blog, Flavorwire, the BBC News Viewfinder, Frieze Magazine, the British Journal of Photography, The Washington Post, and Art Papers. His artwork is included in the collections of Crystal Bridges Museum of American Art, the Orlando Museum of Art, Portland Art Museum, the Museum of Fine Arts Houston, the Center for Photography at Woodstock, and the Museum of Contemporary Photography Chicago. Additionally, Larson holds a full‐time academic appointment in the photography department at Maryland Institute College of Art in Baltimore and chaired the 2014 national conference of the Society for Photographic Education.

Larson will be in residence at the Rubenstein Library October 26-November 22, 2015.  During this time, Larson will meet with scholars, students and staff from across the academic disciplines at Duke and conduct his own research. Larson will give an Artist’s Talk about his work to date at the Center for Documentary Studies on November 5, 2015 from 6:00-8:00pm.

The event is free and open to the public and made possible through the generous support of Dr. Barbaralee Diamonstein-Spielvogel. Larson’s visit is jointly organized and sponsored by the David M. Rubenstein Rare Book & Manuscript Library, the Center for Documentary Studies, and the Master of Fine Arts in Experimental and Documentary Arts Program at Duke University.

Contact – Lisa McCarty, lisa.mccarty@duke.edu

Image below by Nate Larson & Marni Shindelman from the series Geolocation

Tell me I'm not making a mistake. Tell me you’re worth the wait. #fb

 

Post submitted by Lisa McCarty, Curator, Archive of Documentary Arts

Screamfest III: The Cutening

Date: Thursday, October 29, 2015
Time: 2:00-4:00 PM
Location: Holsti-Anderson Family Assembly Room
Contact: Amy McDonald, amy.mcdonald@duke.edu

Y’all, we hear you. The semester is getting more and more intense and sometimes Duke is just so . . . gothic, you know? Sometimes you just need to eat some free candy and look at cute things. And what better time to do that than in celebration of that traditionally cute holiday, Halloween?

Your cuddly Rubenstein librarians would like to invite you to visit us for Screamfest III, an open house featuring creepy ADORABLE things from our collections.

Halloween Postcard
Like this postcard of these sweet black kitty-cats, bringing you Halloween joys in their happy hot air pumpkins.

Illustration from Opera Omnia Anatomico-Medico-Chirurgica, ca. 1737.

Or this illustration of these precious babies from our History of Medicine Collection’s Opera Omnia Anatomico-Medico-Chirurgica by Frederik Ruysch. Yes, fine, they’re skeleton babies, and they’re standing on a pile of human organs, but they’re totally listening to a song by The Wiggles.

Ghost at the Library. From the 1984 Chanticleer.

You can also page through the 1984 Chanticleer to view the photos of this friendly library ghost, who just wants to bring you fuzzy slippers so you can study comfortably.

Demon Miniature from Edwin and Terry Murray Collection of Role-Playing Games.

And sure, scourge and sword-wielding demons are very scary when they’re life-sized. But swing by our open house and you’ll be able to bravely make kissy-faces at this little dude (paperclip for scale) from the Edwin and Terry Murray Collection of Role-Playing Games.

In fact, we promise that there will be so much cuteness (and candy) that, well, you might die. See you there!

Now We Are Six!

Guess what? Today, this blog turns

SIX (in paperclips)
Designed and photographed by Katrina Martin

We figure that blog years are roughly equivalent to dog years, so . . . we’ve been around a while. Around for 826 posts, to be exact.

Armfuls of thanks to our tireless and creative blog editors, our gracefully articulate and fascinating co-workers, and—most of all—our luminous and supportive readers.

And HT to Beth at Preservation Underground (our delightful and beloved partner blog), who always remembers our birthday. We love blogging with you!

Coming Soon! Pop-Up Displays on Student Organization History

With so many meetings, events, exhibits, performances, and games each day, it might seem difficult to set aside time to learn about your Duke student organization’s history. The University Archives, which collects student organization materials, knows how busy you are and we want to help!

Starting on October 20th, we’ll be holding a series of pop-up displays on student organization history, featuring historical materials from our collections. We’re calling this YOLO@UA: Your Organizations Live on @ the University Archives.

Each Tuesday, you’ll find us at a table just outside the Von der Heyden Pavilion from 2-3 PM, ready to show some cool stuff and answer your questions about student organization history.

We’ll be changing the display focus each time, so here’s the schedule:

October 20: Cultural Groups

October 27: Arts Groups

November 3: Student Government & Political Groups (Happy Election Day!)

November 10: Sororities, Fraternities, & Living Groups

November 17: Student Publications

Don’t worry if your organization isn’t covered with this schedule. We’ll plan more pop-up displays with different focuses during the spring semester. And you’re always welcome to get in touch with us to discuss how you can research your organization’s history at the University Archives!

P.S. Do you have student group materials that you’d like to archive at the University Archives? Learn more, and complete a form to let us know about your materials, here!

Cast of "The Womanless Wedding," ca. 1890s
Cast of Theatrical Performance at Trinity College, before 1892

The Noise in the Silence: Radio Haiti During the Coup Years

What can we learn from the gaps, absences, and silences in an archive?  What are the stories that are hidden between the lines?

From September 1991 to October 1994, Haiti was ruled by a military junta that overthrew the democratically-elected government only a few months after it came into power.  The military regime was a particularly unjust and brutal era in Haiti’s unjust and brutal history, in which dissidents, pro-democracy and human rights activists, and journalists were beaten, raped, imprisoned, and killed by military and paramilitary forces.  The politically-engaged poor were especially targeted, and subjected to physical and psychological terror.  The US responded by imposing a trade embargo on the de facto regime, in the hope that economic sanctions would force the coup leaders from power, but the embargo hurt the poorest and most marginalized Haitians the most.  Fearing political persecution and struggling under a suffocated economy, tens of thousands of people fled on boats seeking refuge in the United States.  Much as Reagan had done in the early 1980s, the Bush administration claimed that the Haitian refugees were not victims of human rights violations, and therefore the US would not grant them political asylum.  Many died at sea; others were incarcerated at detention camps at Guantanamo; most were repatriated to Haiti (where some were indeed killed for their politics).

Radio Haiti stopped broadcasting on October 4, 1991, five days after the coup d’état, after the military regime cracked down on independent media.  Soon after, Jean Dominique and Michèle Montas went into exile in New York for the second time.  The station did not open again until 1994.

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Jean Dominique uses his famous pipe to point to the bullet holes in the façade of the Radio Haiti building. Washington Post, October 25, 1991. Radio Haiti Collection, paper archive.

We have no tapes from that time, save one – a recording of the July 1993 meeting at Governors Island in New York, where US officials attempted to broker an agreement between deposed president Jean-Bertrand Aristide and junta leader Raoul Cédras.  When Radio Haiti was on the air, the paper materials reflect the audio materials: on-air scripts and journalists’ notes, and printed material from Haitian organizations.  By contrast, the paper archive contains no notes and no scripts from the coup years, except for Jean Dominique’s assiduously detailed handwritten chronology of the Governors Island meeting.

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The first page of Jean Dominique’s notes on the 1993 Governors Island meeting. Radio Haiti collection, paper archive.

But it is not a passive silence; it is a fraught and frustrated silence, an absence that draws attention to itself.  Radio Haiti’s paper archive gives us a glimpse of Jean Dominique’s experience of exile – of a time when he, like the Haitian masses, could not speak freely in his homeland; of a time before the Internet and long before social media, when reliable firsthand information coming from Haiti was scant, terrifying, and tragic.  For a Haitian in exile from Haiti, a journalist exiled from his microphone, the distance must have been unbearable.

The volume of secondary printed material from 1991 to 1994 testifies to an archive passionately and scrupulously amassed.  There are several fat, overstuffed folders filled with tightly-bound news clippings, most of them from American media – the New York Times, Newsweek, the Christian Science Monitor, the Washington Post the Nation.  We have several artifacts from the reliably nuanced and thoughtful New York Post.

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New York Post, October 6, 1991, Radio Haiti collection, paper archive.

There are also clippings from smaller publications, such as college newspapers and newspapers of the Haitian and Caribbean communities in New York.   There are in-depth articles, photo spreads, short op eds, brief marginal asides.  They were cut out of newspapers, mailed by friends and family (often with notes attached).  These articles detail the mounting violence in Haiti, the effects of the embargo, the plight of refugees at sea and incarcerated at Guantanamo, the Bush administration’s refusal to grant asylum, and pro-Aristide demonstrations in New York, Miami, Washington DC, and elsewhere.

The collection features some rather extraordinary documents. There is this acerbic fax from pro-democracy activist Antoine Izméry, dripping with unconcealed disdain, congratulating Bush on his loss in the 1992 presidential election.  “You failed all over,” Izméry declares.  He decries the Bush administration’s racism, hypocrisy, and self-interest and blames the US for engineering the 1991 coup, before wishing the departing president a “peaceful and repentant retirement.”

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Antoine Izméry’s fax to George H.W. Bush, November 4, 1992. Radio Haiti collection, paper archive.

Also in the archive is a copy of this press release from Father Gérard Jean-Juste, a liberation theology priest and prominent Aristide supporter.  Jean-Juste, “in hiding in Haiti,” refers to Bush’s “skinhead policy,” suggests that Bush’s sudden illness at a state dinner in Japan earlier that year was the result of a
“voodoo curse,” and implores him to “BE A GENUINE AMERICAN, Mr. BUSH.  Get your perceived KKK titles off.  Work your way to HEAVEN as being a christian.”

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Gérard Jean-Juste press release, November 3, 1992. Radio Haiti collection, paper archive

Haiti’s beleaguered pro-democracy movement was hopeful that the election of Bill Clinton would lead to more just and humane policies toward Haitian refugees and the restoration of the Aristide government.  But Clinton ultimately did little to improve conditions for Haitian refugees, and Aristide would not return to power until nearly two years later, after armed intervention by the United States.  By then, Antoine Izméry would be dead.  He was dragged from Sacre Coeur church by plainclothes police and shot dead in the street on September 11, 1993 in full view of parishioners and human rights observers attending a commemoration of the 1988 St. Jean Bosco massacre.

In late 1994, after Aristide was restored to power, Radio Haïti reopened.  The three years of radio silence were broken by a new series of jubilant jingles and slogans: Nou tounen!  Nou la pi rèd!  [We’re back!  We’re here stronger than ever!]  But the damage wrought by the coup years and the conditions of Aristide’s return was enduring; the pro-democracy movement would never again possess the same momentum or clear emancipatory promise that it had in 1991.

Post contributed by Laura Wagner, Ph.D.,  Radio Haiti Project Archivist. 

The Voices of Change project was made possible through a generous grant from the National Endowment of the Humanities.

Dispatches from the David M. Rubenstein Rare Book and Manuscript Library at Duke University