Tech Services Feed
Every visitor to Technical Services likes to peek down the accessioning shelves and see what new collection materials have recently arrived. One of the most unusual accessions we’ve ever received is a birdhouse, which arrived this spring as part of an addition to the Evans Family Papers. It is a nearly identical miniature of the family’s Durham house, which is still standing (and occupied) on Dacian Avenue. According to the family, the original house was modeled on the style of Le Corbusier. It was built in 1938, making it one of the first examples of “modern architecture” in Durham.
The family moved away from Durham in 1950, and kept the birdhouse as a fond token of their former home. We were relieved to learn upon intake that no birds ever took up residence. (That would have made for some interesting conservation concerns!)
Post contributed by Meghan Lyon, Technical Services Archivist.
Anyone who’s ever been to a doctor’s office or clinic has encountered a vast array of items: calendars, pens, coffee mugs, Post-Its, paperweights, tent signs and other items promoting some brand of medicine. This kind of material is routinely distributed along with free samples by traveling route salespersons and representatives for pharmaceutical companies, medical equipment manufacturers and laboratory service providers; doctors and health professionals also encounter a regular stream of this kind of stuff at conferences, meetings and trade shows—as do professionals in a number of other occupations. Swag constitutes an important form of direct marketing but its ubiquity means that it is frequently taken for granted, willfully ignored and drifts into a kind of background invisibility.
One of the most eclectic collections to come to the John W. Hartman Center for Sales, Advertising & Marketing History was donated by the family of Albert Cornell, MD, former head of the gastrointestinal clinic at Mt. Sinai Hospital. Nearly 90 years of medical promotional materials are included beginning in the early 20th century, everything from note pads to mugs, beakers, pamphlets, even three-dimensional models of the colon, and personal items including keychains, golf balls, nail files, pins, and a tie clasp featuring the gastrointestinal tract in miniature.
Men’s and women’s health are covered, such as peptic ulcers, STDs, reproductive wellness and diabetes. Companies like Kellogg’s and Knox produced cookbooks for weight loss, convalescent care and diabetic patients. Pharmaceutical companies promoted new ulcer medications and delivery systems. Other companies advertised clinical equipment, food supplements, even orthopedic shoes for children. Professional organizations like the AMA and the American Dental Association published pamphlets on their organizations, or current health campaigns. In all the Collection of Albert Cornell MD highlights an important niche in both pharmaceutical and health care advertising as well as in health-related direct marketing.
Post contributed by Richard Collier, Technical Services Archivist for the John W. Hartman Center for Sales, Advertising & Marketing History
Today the Abraham Joshua Heschel papers are officially opened and available for use. Having just finished processing the collection with a crack team of interns (thank you Adrienne Krone, Sam Kessler, Annegret Oehme, and Emanuel Fiano!), I can attest to the richness of the collection and am thrilled that patrons will be able to explore Heschel’s personal, academic, and public life. In total, 16 languages are represented. Materials related to all of Heschel’s published books, along with 145 published articles are also in the collection. Some of the more unique and unexpected items in the collection include an audio reel of the broadcasted radio show “Way to Go” with host Ormond Drake in which Heschel speaks about his personal life, an original typed document of Heschel’s deportation from Frankfurt in 1938, and a telegram from President John F. Kennedy requesting Heschel’s presence at the White House.
Look for an opening event sometime in October that will feature Susannah Heschel!
Post contributed by Mary Samouelian, Project Archivist
This marks my last contribution to the Devil’s Tale blog, as I’m moving on to another position at a different institution. I’ve enjoyed my time working for the Rubenstein Library, helping to arrange and describe the rich material housed within the Duke University Archives. Over the past several years, I’ve become quite fond of several of Duke’s early 20th century administrators, such as Robert Flowers. I’ve wanted to recall and survey his personal papers for quite a while now and decided to do so as my last day drew near.
To my surprise, the bulk of the collection actually pertains to his son-in-law and daughter, Dr. Lenox and Virginia Baker. According to our records, Dr. Baker gifted the University Archives with the bulk of this collection, including the numerous letters he wrote to Virginia, letters she received while in school at Wilson College in Pennsylvania, letters to/from Robert Flowers and his wife, Lily, as well as photographs and diplomas.
As I poured through the letters, I kept coming across small, handwritten love notes. It soon became apparent that the notes were usually written by Dr. Baker to Virginia, with others written by her to him. There’s no doubt that they were very much in love. He was her “Doc,” and she was his “Doe.” The death of Virginia hit Dr. Baker hard, as evidenced by the note he wrote on the back of her Durham High School diploma. It’s not often I’m brought to tears by a collection, but this one did just that.
So, as I say good-bye to Duke, please allow me to share with you but a small example of the love shared between Doc and Doe.
Post contributed by Kimberly Sims, outgoing Technical Services Archivist for University Archives
A group of three uniformed men stand together in silence and black-and-white, engaged in what one imagines is small talk. They are outside, others like them mill about, the mood one of dulled anticipation. The men are obviously enjoying the extended gaze of the camera but not certain what to do with it. One of them is Hermann Gӧring.
The scene comes from a film so long on the shelves at Duke no one could say where it came from. It was simply titled “Hitler Youth Rally, 1936, Nuremberg.” I was attempting to provide a student with a primary source for a paper he was writing on Nazi propaganda, and hoped this film could help. But I needed better description. Our electronic catalog yielded a brief record listing the same title and nothing else, only that it was cataloged from an accession record. But the paper files we keep on our collections had nothing under “Hitler,” “Nazi,” or “Nuremberg.” I emailed some colleagues to see if they could help my search, and in the meantime began to analyze the film for clues as to its origins.
The film’s most immediate message was that it was a 31-minute, 16mm, black-and-white newsreel printed on Agfa stock and bearing the Agfa logo, silent but with descriptive intertitles. Gӧring’s was the first face I recognized. The two other men with him were mysteries but I thought had to be of similar high position — definitely Nazis, but Hitler Youth, no — and within a few minutes googling I found one of them was Ernst Rӧhm, head of Hitler’s dreaded street gang, the Sturmabteilung (aka Brownshirts). Rӧhm was close to Hitler but, homosexual, an ardent socialist, and holding that the German army should be absorbed under the S.A., was increasingly considered a liability by the Nazi command. In 1934 Heinrich Himmler falsely told Hitler that Rӧhm was plotting an overthrow, and Hitler had Rӧhm executed, during the purge known as the Night of the Long Knives. I was fascinated, taking one step forward and moving one step back. There was a story in this film, but neither was it about Hitler Youth nor did it date to 1936. So what did we really have here?
As the film unfolded it was clear the setting was the Zeppelinfeld at Nuremberg, where the Nazis held their annual rallies. I thought if I had a point of comparison, it might be possible to place the year the film was made. The most obvious choice was to see if Leni Riefenstahl, the image maker of Hitler and the Nazis in the early 30s, had shot a Nuremberg rally prior to her stylistic landmark, Triumph of the Will, which documented the 1934 rally and which, importantly, did NOT include the recently expired Ernst Rӧhm. And indeed, Riefenstahl had made a film of the rally in 1933, the year in which the Nazi propaganda machine was officially established under Joseph Goebbels. However, all copies of the 61-minute Der Sieg Des Glaubens (Victory of Faith) had been destroyed following the purge, in an effort to expunge Rӧhm from Nazi history. All but one. And that copy, conveniently, had been digitized and published to the Internet Archive. I downloaded the Riefenstahl film, set up two video playback windows on my computer, and began a comparison.
What you’ll find as you look through films of the Nuremberg rallies is that a standard narrative tends to be followed: there are preparations on the Zeppelinfeld as crowds pack the town of Nuremberg proper, followed by the arrival of the high command and Hitler and their international guests – in the early 30s this included England as well as Spain, Italy, and Japan. Then the speeches and incessant marching, perhaps an interlude where the Hitler Youth are shown setting up their tents and camping out as if at a boy scout jamboree, and ending with a speech where Hitler delivers his menacing vision of German supremacy.
It was when Hitler stepped off his plane in Riefenstahl’s film that I found my first clue. I remembered a similar spot in our newsreel, and when I lined the scenes up and ran through them several times, I realized it was exactly the same moment, shot from different angles. Marvelously, the films’ respective cameramen could be seen in the others’ shots. Confirmed: this was 1933, the year before Rӧhm was killed and all traces of him destroyed. I ran through the film trying to find similar points and discovered that in several places our photographer and Riefenstahl’s photographer probably stood shoulder-to-shoulder.
I began to wonder about the rarity of our film, and as I started to reach out to other archives I also prepared the filmfor presentation, creating a finding aid and uploading the movie to YouTube, at first as an unlisted resource so I could share it with other archivists who could help with its identification. Lauren Reno, our rare materials cataloger, began refashioning the catalog record, while Sarah Carrier, our Research Services Coordinator and a fluent German speaker, accepted the challenge of translating the titles. During this process Sarah echoed Hannah Arendt when we talked about what these rallies were actually like, commenting that the film really brings home the banality of evil – “There must’ve been a lot of sitting around and waiting at this thing.”
As Sarah worked on the titles, I got an email from our University Archivist, Val Gillispie. Val had found documentation for the film, picking up the trail in our old card catalog, which was recently digitized, and following it to a gift agreement. Donated in 1967 by Duke Divinity graduate John Himes, the film came to us in two reels, and the original description stated, “This is perhaps a movie film with sound tracks. It is a film of a Hitler youth rally in 1936 in Nuremberg.” We have no idea whether Himes or the accessioning archivist described it so, or where Himes got the film, but there was enough information on the agreement to discover a little more about Himes. During World War II he was a chaplain in the 506th Parachute Infantry Regiment, the inspiration for the television film Band of Brothers, so how he came to be in possession of the film spurs the imagination. At some point after his donation, the two reels, neither one a soundtrack, became one, spliced together in the wrong order but otherwise unharmed. Several years ago the film was digitized for preservation but no analysis was done.
While these pieces of the puzzle came together, I was contacted by Leslie Swift at the United States Holocaust Museum, who I had queried about the film. The Museum did not have a copy of it, although they had shorter snippets of other newsreels from the 1933 rally (our film is by far the longest and most detailed after Riefenstahl’s). Leslie is interested in the narratives of these propaganda films, and noted that one scene in our film, where Hitler is touching the Nazi flags with the flag that is being carried next to him, is something she hadn’t seen before in other similar films. I talked with Sarah about this, who in doing her research found out it was a ceremony performed using the Blutfahne, or the “blood flag” that had been used in the failed 1923 Nazi uprising, to “sanctify” other flags. The blood flag, always carried by Jakob Grimminger, was apparently lost after the war, and, grail-like, has its own cult of followers. (It is true that in doing research into materials such as this film, fascination and horror, with the past and present, mix together in equal parts.)
Leslie gave me a contact at the Bundesarchiv, to whom I wrote the next day. According to Karin Kuehn, a film archivist at the Bundesarchiv, the film “seems to be a so called Schmalfilm-Monatsschau. These were compilations of several newsreels for home cinema made by Agfa.” Karin noted that the Bundesarchiv holds some of this type of footage, but only a few might be a match with our film. I’m hoping within the next few months to be able to view some of that footage.
Re-discovering historical resources such as the Nuremberg Rally film is what makes my job such a joy. This film and another film we have – in the Doris Duke Collection, portraying the trial of the 20 July conspirators in 1944 – presents two poles of the Nazi propaganda effort. The process we went through to identify the film, to dig a little deeper, will hopefully inform future research, and create a more complete picture of the past.
Post contributed by Craig Breaden, Audiovisual Archivist
Finding a gem in a jumbled box of papers and images is always a fulfilling feeling, whether it be an arresting photograph, a revealing letter, or even a scrap of someone’s mundane—but relatable—life. Of course, some of these gems are hidden and thus require a bit of searching before their worth can be noticed. Much of this exploring was required with the gem I found in the Arthur F. Burns collection.
Arthur Burns was a notable 20th century economist and diplomat. Among his achievements, he served as chief economic advisor to President Eisenhower; chaired the Federal Reserve under Nixon, Ford, and Carter; and represented the United States as ambassador to Germany under Reagan. Because of his high stature in both academia and public service, Burns corresponded with dozens of notable figures in the mid-twentieth century, from the presidents he served to the economists with whom he worked. This correspondence is a central component of the Arthur Burns papers in the Rubenstein Library, along with copies of Burns’ journals (1969-1974), photographs, and memorabilia.
As I processed an addition to the correspondence series of the collection, I came across some letters from Milton Friedman to Burns. As an economist junkie, any chance to peek inside the mind of Friedman—a Nobel laureate and the father of monetarist economics—was more than worth my time. Nevertheless, I expected only routine correspondence, for most of the letters seemed to comment only on personal matters. But, boy, was I wrong!
Within the second folder, I found what at first appeared to be only a routine letter between pals, dated February 1, 1951. As I was about to put the letter aside, I noticed that near the bottom of the page Friedman jumped into defending his views, point by point, on the quantity theory of money in wartime. After a bit of scrounging around the Internet, I discovered that the comments pertained to Friedman’s draft of “Price, Income, and Monetary Changes in Three Wartime Periods” (1952), which discusses the effects of war on prices and production in the American economy.
I was holding Friedman’s defense of his own work, a draft of which must have been previously critiqued by Burns. So, as I read Friedman’s article and came up with my own disputes, I could look back at how he would respond. For me, and for any researcher, this is a remarkable opportunity. On top of this, it’s possible that Burns used some of this information to advise President Eisenhower during the Korean War. With the extent of the correspondence between Burns and the President (206 letters in the collection), it’s possible that one may find some remnant of the above letter in Burns’s admonitions to Eisenhower. That may be a hidden gem that requires more exploring!
Posted contributed by Levi Crews, Technical Services Department student assistant and a rising sophomore at Duke.
In 2009, a single-item addition to our Charles Alexander Gore papers turned up in my cataloging queue. The letter surfaced while preparing some collections to move off-site before renovation of the Rubenstein Library began. When I recalled the appropriate box and pulled the folder into which I was going to place the addition, I noticed that the handwriting on my letter did not match that of Charles Alexander Gore.
Using the embossed address at the top of the letter, I determined that the author probably was Rev. Charles Gore (1853-1932), who became an Anglican Bishop not long after he penned it. Because we do not have any other items created by Rev. Gore, the letter needed to be cataloged on its own. The problem in doing that, however, was that I found Gore’s handwriting almost completely illegible.
I determined that the first line of the letter mentioned a war, which likely referred to the 2nd Boer War in South Africa, given the fact that the letter was written in 1901. Other than that, I could only pick out individual words or phrases in the piece. Frustrated, I put the letter back on my shelf. Every once in a while, I would return to it in order to see if I could make progress deciphering it, and even consulted with my British colleague, Mandy Hurt, who also struggled with the penmanship.
I do not know what happened within my brain, but when I recently opened the letter again, I could suddenly distinguish many of Gore’s words! Not all of them, mind you, but enough to catalog the letter with greater confidence regarding its subject matter. I worked through the sentences, and then showed my transcription again to Mandy, who deciphered several more key words and phrases, she tells me, by searching for “typically British turns of phrase.” Here’s our transcription, as it stands:
Oct. 8 ‘01
Dear Mr. McI[___]
My [pri___,] I believe, is that I am not convinced that, if the raid had been properly punished or negotiations decently conducted, there need have been war at all.
But as things were—with much wrong on both sides (& how anyone can exaggerate the guilt of Krüger, I think)—war became inevitable.
In the waging of it, I thankfully believe that we have been as merciful as possible. I expect the good behavior of our common soldiers has been without example.
I think the ‘camps’ are a gigantic mistake from many points of view & that the loss of infant life (especially) has been [____ ____].
But now what can be done? As far as I can ascertain the women are allowed to go now if they have anywhere to go to & [bread?] to go. You say—move the camps to the sea: this will curtail a painful journey. Will it remedy loss of life? I suppose the authorities [___ ___ be ___] to do this, if possible, or foodstuffs are more easily supplied by the sea. One camp (Victoria I think) is going, I see.
I do not think it is the [best] use [___] the clergy. [_____] this have no more power than the [“Good Boer,”] even if they have disposition, to move the people to any better [mind?].
There are moments when I do feel it is my duty to go on [_____, _____] in protest & though I know [it will] do no good. But in this matter it is so difficult to form an opinion—the best men are so much divided—different opinions are so justifiable–& ([on all just showing]) we have taken such pains in most points to be compassionate that I do not feel [inspired?] to idly denounce them [___ ___]. I have some present [___] to propose. Those I have seen who know the [country assure] me the death rate [___] have been as high or higher if they had been left. How can I tell?
A scan of the letter is below. What do you think about our transcription? If you have any suggestions to make as to the words we still find illegible, please do so in the comments section.
Post contributed by Alice Poffinberger, Original Cataloger/Archivist for small manuscript collections. Mandy Hurt is Assistant Librarian for Electronic Resources & Serials Management.
Mary Samouelian, the Doris Duke Collection Archivist here at the Rubenstein Library, has created a short documentary. “The Guardians of History” features seven archivists working in our Technical Services Department and explores why archivists do what we do. In Mary’s words, the documentary “reveals our intimate relationship with the historical materials we work with, why we are drawn to the mission of preserving history, and how our work makes it possible for researchers, historians, writers, and the general public to discover and experience intimate connections between their lives and historical materials.”
Mary enrolled as a student at the CDS in 2011 and this documentary piece is her final project for the Certificate in Documentary Arts. The photographs associated with the documentary will be exhibited on the Student Wall in Perkins Library this coming Friday.
Congratulations to Mary on this wonderful work!