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Meet the Staff: Megan Lewis, Processing Archivist for the Sallie Bingham Center for Women’s History and Culture

Bingham Center News - Fri, 12/02/2016 - 18:46

Megan Lewis joined the Rubenstein staff in 2002 as a rare book cataloger. In 2009, she became the Technical Services Archivist for the Sallie Bingham Center for Women’s History and Culture.

Tell us about your academic background and interests.

My B.A. is in English, so I’m particularly interested in our literature collections. It’s fascinating to make connections between the materiality of what we collect with the published product. I’m also interested in popular culture. Show me your popular culture, and I’ll show you who you are. Since I started working at the Bingham Center, I’ve become interested in the ways we as archivists can serve various activist communities by documenting their work.

What led you to working in libraries? How did you know you wanted to be an archivist?

I was genetically destined to work in libraries, since my mom was a librarian and I loved to shadow her at work when I was a kid. After working at my college library as an undergrad, I was lucky to get my first job in special collections at the Library Company of Philadelphia. Once I started learning about rare books there, there was no turning back.

I never actually planned to become an archivist, but fell into it at Duke after working as a rare book cataloger. A position opened at the Bingham Center, and I applied for it. I’d first heard about the Bingham Center when its director visited my class in library school. She gave an inspiring talk about how the Bingham Center “saves women’s lives,” and as a lifelong feminist, I thought it would be a dream job to work there. I was right.

What are the main projects you work on at the Rubenstein and Bingham Center?

I process and catalog manuscript collections. That means that I arrange them in a coherent fashion and create collection guides, as well as a catalog record, so people can find what we have. I’ve worked almost exclusively with large modern collections, but lately I’ve also been cataloging small, older manuscripts from the Lisa Unger Baskin Collection. As a Bingham Center staff member, I also participate in events, outreach, and donor relations.

How do you describe what you do to people you meet at a party?  To fellow librarians and library staff?

I tell laypeople that I’m a women’s history archivist. Usually, they say “cool!” and that’s it, but sometimes they want to know details.

To fellow library folks, I say that I’m a technical services archivist at the Rubenstein, because that gives them an idea of where I fit into Duke Libraries’ organizational structure.

What does an average day look like for you?

On an average day, I might check in with my library school intern and my undergraduate student assistant. I’m lucky to have an intern who also processes collections.  My student assistant helps me rebox and folder incoming new materials, and creates boxlists that are part of the collection guide. Much of my job entails moving materials along so we don’t get backed up. Right now my shelves are almost full, which means that it’s time to send as many boxes as possible to our Library Service Center. I also meet weekly with my Bingham Center cohorts so we can discuss our work with each other.

What do you like best about your job? What excites you most?

I love that I get to help document women’s history. It’s a privilege to work with our donors, many of whom are tremendously accomplished women whose work has changed the world for the better in palpable ways.

I get excited when I see young women, who might not consider themselves feminists, use our collections and be able to connect their present-day struggles with the work done by activists who came before them.

What might people find surprising about your job?

It’s not always quiet, and it’s not without stress. When I tell people I work in a library, they often say, “Oh, that must be nice and quiet and calm.”

What is the most challenging aspect of your job?

Trying to keep up with new acquisitions and increase our processing capacity. Some donors like to send us things on a frequent basis, which has a mushroom effect.  Sometimes I feel like the Sorcerer’s Apprentice trying to beat back the water.

Do you have a favorite piece or collection at The Rubenstein? Why?

Right now, I’d have to say the Lisa Unger Baskin Collection, which has been transformative for the Rubenstein. It’s an amazingly rich and deep collection based around the theme of working women. Each small manuscript collection I catalog is a mini history lesson.

Where can you be found when you’re not working?

Walking my dog and consuming culture in and around Durham.

What book is on your nightstand/in your carryall right now?

Leslie Feinberg’s Stone Butch Blues (1993). Leslie was a transgender activist ahead of her time, and was also the partner of writer/activist Minnie Bruce Pratt, whose papers are held by the Bingham Center.

The post Meet the Staff: Megan Lewis, Processing Archivist for the Sallie Bingham Center for Women’s History and Culture appeared first on The Devil's Tale.

Heures nouuelles dédiées a Monseigneur Dauphin

Baskin Collection Additions - Fri, 12/02/2016 - 00:00

Author: Catholic Church.
Published: A Paris : Chez l'autheur, rue du Petie Lion, Chez Mr. Frontié au Fauxbour St. Germain, et chez Claude de Hansy sur le Pont au change a l'image St. Nicolas, [approximately 1685]

Currently held at: DUKE

Vanguard.

Baskin Collection Additions - Thu, 12/01/2016 - 00:00

Published: New York : Vanguard Group

Currently held at: DUKE

... Report of the Young Ladies' Association of the New-Hampton Female Seminary for the promotion of Literature and Missions, with the constitution, etc.

Baskin Collection Additions - Thu, 12/01/2016 - 00:00

Author: New Hampton Female Seminary.
Published: New-Hampton : New-Hampton Female Seminary

Currently held at: DUKE

Have You Driven a Ford Advertisement Lately?

Baskin Test - Wed, 11/30/2016 - 21:53

One of the heaviest circulating collections in the John W. Hartman Center for Sales, Advertising & Marketing History is the Domestic Advertisements collection in the J. Walter Thompson Co. (JWT) advertising agency archives.  The collection documents the print advertisements designed for magazines and newspapers for the agency’s clients in the United States.  One of the most popular clients represented in the collection is the Ford Motor Company.

https://repository.duke.edu/dc/jwtfordmotorads/jwtad010020030

JWT and the Ford Motor Company have a long standing agency/client relationship, one still active today.  The agency officially added Ford to its roster of clients in 1943 and launched the now iconic “There’s a Ford in Your Future,” campaign the following year.  In the ensuing decades, JWT helped Ford launch many new automobile models including the Thunderbird, Mustang, Pinto, Taurus, Explorer, Ranger, and Escort.  The agency crafted several well-known Ford campaigns including the first advertising “roadblock” announcing the launch of the Mustang in 1964; “Have You Driven a Ford Lately?”; the Falcon campaign incorporating Charles Schulz’s Peanuts characters; and “No Boundaries.”

https://repository.duke.edu/dc/jwtfordmotorads/jwtad250050020

Thanks to the work of the Duke University Libraries’ Technical Services, Conservation Department, Digital Production Center, and Enterprise Services, nearly 12,000 Ford Motor Co. advertisements documenting JWT’s seven decades of creative work for Ford Motor Company are now available to students, scholars, and gearheads in our new digital collection.

https://repository.duke.edu/dc/jwtfordmotorads/jwtad300030050

In addition to advertisements for cars, trucks, vans and SUVs, the collection also includes ads for the company’s farm implement division, Ford Farm, Ford Motorsports, taxi cabs, school buses, and police vehicles.  Advertisements for the Ford line of genuine replacement parts, Motorcraft, Ford automotive services, promotional literature, outdoor advertising, and insertion schedules are also among the materials represented in the collection.  All ads are keyword searchable and browsable by model, vehicle category, and multiple subjects and ad formats.

Post contributed by Josh Larkin Rowley, Reference Archivist for the John W. Hartman Center for Sales, Advertising & Marketing History.

The post Have You Driven a Ford Advertisement Lately? appeared first on The Devil's Tale.

Have You Driven a Ford Advertisement Lately?

Hartman Center News - Wed, 11/30/2016 - 21:53

One of the heaviest circulating collections in the John W. Hartman Center for Sales, Advertising & Marketing History is the Domestic Advertisements collection in the J. Walter Thompson Co. (JWT) advertising agency archives.  The collection documents the print advertisements designed for magazines and newspapers for the agency’s clients in the United States.  One of the most popular clients represented in the collection is the Ford Motor Company.

https://repository.duke.edu/dc/jwtfordmotorads/jwtad010020030

JWT and the Ford Motor Company have a long standing agency/client relationship, one still active today.  The agency officially added Ford to its roster of clients in 1943 and launched the now iconic “There’s a Ford in Your Future,” campaign the following year.  In the ensuing decades, JWT helped Ford launch many new automobile models including the Thunderbird, Mustang, Pinto, Taurus, Explorer, Ranger, and Escort.  The agency crafted several well-known Ford campaigns including the first advertising “roadblock” announcing the launch of the Mustang in 1964; “Have You Driven a Ford Lately?”; the Falcon campaign incorporating Charles Schulz’s Peanuts characters; and “No Boundaries.”

https://repository.duke.edu/dc/jwtfordmotorads/jwtad250050020

Thanks to the work of the Duke University Libraries’ Technical Services, Conservation Department, Digital Production Center, and Enterprise Services, nearly 12,000 Ford Motor Co. advertisements documenting JWT’s seven decades of creative work for Ford Motor Company are now available to students, scholars, and gearheads in our new digital collection.

https://repository.duke.edu/dc/jwtfordmotorads/jwtad300030050

In addition to advertisements for cars, trucks, vans and SUVs, the collection also includes ads for the company’s farm implement division, Ford Farm, Ford Motorsports, taxi cabs, school buses, and police vehicles.  Advertisements for the Ford line of genuine replacement parts, Motorcraft, Ford automotive services, promotional literature, outdoor advertising, and insertion schedules are also among the materials represented in the collection.  All ads are keyword searchable and browsable by model, vehicle category, and multiple subjects and ad formats.

Post contributed by Josh Larkin Rowley, Reference Archivist for the John W. Hartman Center for Sales, Advertising & Marketing History.

The post Have You Driven a Ford Advertisement Lately? appeared first on The Devil's Tale.

Have You Driven a Ford Advertisement Lately?

Devil's Tale Posts - Wed, 11/30/2016 - 21:53

One of the heaviest circulating collections in the John W. Hartman Center for Sales, Advertising & Marketing History is the Domestic Advertisements collection in the J. Walter Thompson Co. (JWT) advertising agency archives.  The collection documents the print advertisements designed for magazines and newspapers for the agency’s clients in the United States.  One of the most popular clients represented in the collection is the Ford Motor Company.

https://repository.duke.edu/dc/jwtfordmotorads/jwtad010020030

JWT and the Ford Motor Company have a long standing agency/client relationship, one still active today.  The agency officially added Ford to its roster of clients in 1943 and launched the now iconic “There’s a Ford in Your Future,” campaign the following year.  In the ensuing decades, JWT helped Ford launch many new automobile models including the Thunderbird, Mustang, Pinto, Taurus, Explorer, Ranger, and Escort.  The agency crafted several well-known Ford campaigns including the first advertising “roadblock” announcing the launch of the Mustang in 1964; “Have You Driven a Ford Lately?”; the Falcon campaign incorporating Charles Schulz’s Peanuts characters; and “No Boundaries.”

https://repository.duke.edu/dc/jwtfordmotorads/jwtad250050020

Thanks to the work of the Duke University Libraries’ Technical Services, Conservation Department, Digital Production Center, and Enterprise Services, nearly 12,000 Ford Motor Co. advertisements documenting JWT’s seven decades of creative work for Ford Motor Company are now available to students, scholars, and gearheads in our new digital collection.

https://repository.duke.edu/dc/jwtfordmotorads/jwtad300030050

In addition to advertisements for cars, trucks, vans and SUVs, the collection also includes ads for the company’s farm implement division, Ford Farm, Ford Motorsports, taxi cabs, school buses, and police vehicles.  Advertisements for the Ford line of genuine replacement parts, Motorcraft, Ford automotive services, promotional literature, outdoor advertising, and insertion schedules are also among the materials represented in the collection.  All ads are keyword searchable and browsable by model, vehicle category, and multiple subjects and ad formats.

Post contributed by Josh Larkin Rowley, Reference Archivist for the John W. Hartman Center for Sales, Advertising & Marketing History.

The post Have You Driven a Ford Advertisement Lately? appeared first on The Devil's Tale.

HIV/AIDS and the Health Humanities: A Global Perspective

Rubenstein Library Events - Wed, 11/30/2016 - 20:00
Rubenstein 153 (Holsti-Anderson Family Assembly Room)West Campus

The papers of medical anthropologist Maria de Bruyn, a recent acquisition by the History of Medicine Collections, will be the focus of several events this fall. 

On November 30, the Franklin Humanities Institute Health Humanities Lab will host a special World AIDS Day event featuring a keynote address by de Bruyn and a lecture by poet and writer Kelley Swain.

Students in professor Kearsley Stewart's Duke Global Health Institute seminar on HIV/AIDS will discuss their three-week workshop with Swain and present an exhibit of their work based on materials from the Maria de Bruyn collection.

Reception to follow. Free and open to the public.

For more information, contact:

Kearsley Stewart
919-681-8811
k.stewart@duke.edu 

 

This troubled world

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Author: Roosevelt, Eleanor, 1884-1962, author.
Published: New York : H.C. Kinsey & Company, Inc., 1938

Currently held at: DUKE

A world charter organising the union of states

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Author: Otlet, Paul, 1868-1944, author.
Published: [London] : [Women's Union for Peace], [1917?]

Currently held at: DUKE

Women, world war and permanent peace

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Author: International Conference of Women Workers to Promote Permanent Peace (1915 : San Francisco, Calif.), creator.
Published: San Francisco : John J. Newbegin, 1915.

Currently held at: DUKE

A literary find

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Author: Drukker, Sara Tobias, 1852-1914, author.
Published: Philadelphia : Printed for private circulation by J.B. Lippincott Company, 1914.

Currently held at: DUKE

Suffrage for women.

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Published: Chicago : Published by Miss Ruby I. Gilbert, [between 1895 and 1910]

Currently held at: DUKE

Incidents and appalling trials and treatment of Elizabeth R. Hill from the plotting citizen confederacies in Worcester County, Mass.

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Author: Hill, Elizabeth R., 1826- author.
Published: [New York?] : [Publisher not identified], [1877]

Currently held at: DUKE

La nouvelle conjuration découverte : avec la liste des conjurés.

Baskin Collection Additions - Wed, 11/30/2016 - 00:00

Published: [Paris] : S'imprime rue Mazarine, chez Madame de Bissy, aux dépens des conjurés, octobre 1789.

Currently held at: DUKE

Helen Allingham in the Lisa Unger Baskin Collection

Baskin Collection News - Tue, 11/29/2016 - 17:36

The materials in the Lisa Unger Baskin collection celebrate more than five centuries of women’s work. One of the highlights of describing and cataloging these collections is the remarkable talent that is often showcased by these women.

For example, we received four sketchbooks from English watercolorist and illustrator Helen Paterson Allingham.

Helen Allingham, born near Derbyshire, England in 1848, studied at the Birmingham School of Design and the Royal Academy School in London.  In fact, she was the niece of the first female student at the Royal Academy School, Laura Herford. Allingham began her career as an illustrator, but eventually became well known for her watercolors, usually of cottages. Her renderings often showed so much detail that they have been studied by architects interested in the construction of these buildings.

Following her studies, she supported her widowed mother with her work as an illustrator for publications like The Graphic. She was a founding staff member of the newspaper, and the only woman on staff. Her other work includes the original illustrations for Thomas Harding’s novel Far from the Madding Crowd.

She married William Allingham, an Irish poet and editor, in 1874. After their marriage, Helen shifted her career focus to watercolor painting. Her work was widely praised by the art community in London. She had paintings accepted at the Royal Academy Summer Exhibition, and was eventually the first woman granted full membership to the Royal Watercolour Society. After the family’s move to Surrey in the early 1880s, Allingham began painting the cottages for which she is best known.

The collection includes sketches and drawings made in graphite, watercolor, and pen and ink, dating from 1868-1916.

Subjects in the scrapbooks from the LUB collection are varied, and include English cottages and buildings, architectural features, sailboats and coastal scenes, figures, landscapes, and botanical items. Essentially, Allingham drew or painted anything that she came across during her travels, from a simple pile of rope to a vestry door. Many of the images are only about two inches wide.

Detail of window, with Allingham’s notes on construction. Upton Bales[?] cottage, in graphite. Pile of rope found in Lymm, England, in 1874, graphite. Sailing vessel in watercolor. Fishing basket in St. Andrews, England, graphite. Crab found in St. Andrews, England, graphite. Vestry door at St. Mary’s Church, Leicester, England, graphite.

Stop by and spend some time with these scrapbooks!

Contributed by Alice Poffinberger, Library Specialist.

The post Helen Allingham in the Lisa Unger Baskin Collection appeared first on The Devil's Tale.

Helen Allingham in the Lisa Unger Baskin Collection

Baskin Test - Tue, 11/29/2016 - 17:36

The materials in the Lisa Unger Baskin collection celebrate more than five centuries of women’s work. One of the highlights of describing and cataloging these collections is the remarkable talent that is often showcased by these women.

For example, we received four sketchbooks from English watercolorist and illustrator Helen Paterson Allingham.

Helen Allingham, born near Derbyshire, England in 1848, studied at the Birmingham School of Design and the Royal Academy School in London.  In fact, she was the niece of the first female student at the Royal Academy School, Laura Herford. Allingham began her career as an illustrator, but eventually became well known for her watercolors, usually of cottages. Her renderings often showed so much detail that they have been studied by architects interested in the construction of these buildings.

Following her studies, she supported her widowed mother with her work as an illustrator for publications like The Graphic. She was a founding staff member of the newspaper, and the only woman on staff. Her other work includes the original illustrations for Thomas Harding’s novel Far from the Madding Crowd.

She married William Allingham, an Irish poet and editor, in 1874. After their marriage, Helen shifted her career focus to watercolor painting. Her work was widely praised by the art community in London. She had paintings accepted at the Royal Academy Summer Exhibition, and was eventually the first woman granted full membership to the Royal Watercolour Society. After the family’s move to Surrey in the early 1880s, Allingham began painting the cottages for which she is best known.

The collection includes sketches and drawings made in graphite, watercolor, and pen and ink, dating from 1868-1916.

Subjects in the scrapbooks from the LUB collection are varied, and include English cottages and buildings, architectural features, sailboats and coastal scenes, figures, landscapes, and botanical items. Essentially, Allingham drew or painted anything that she came across during her travels, from a simple pile of rope to a vestry door. Many of the images are only about two inches wide.

Detail of window, with Allingham’s notes on construction. Upton Bales[?] cottage, in graphite. Pile of rope found in Lymm, England, in 1874, graphite. Sailing vessel in watercolor. Fishing basket in St. Andrews, England, graphite. Crab found in St. Andrews, England, graphite. Vestry door at St. Mary’s Church, Leicester, England, graphite.

Stop by and spend some time with these scrapbooks!

Contributed by Alice Poffinberger, Library Specialist.

The post Helen Allingham in the Lisa Unger Baskin Collection appeared first on The Devil's Tale.

Helen Allingham in the Lisa Unger Baskin Collection

Tech Services Feed - Tue, 11/29/2016 - 17:36

The materials in the Lisa Unger Baskin collection celebrate more than five centuries of women’s work. One of the highlights of describing and cataloging these collections is the remarkable talent that is often showcased by these women.

For example, we received four sketchbooks from English watercolorist and illustrator Helen Paterson Allingham.

Helen Allingham, born near Derbyshire, England in 1848, studied at the Birmingham School of Design and the Royal Academy School in London.  In fact, she was the niece of the first female student at the Royal Academy School, Laura Herford. Allingham began her career as an illustrator, but eventually became well known for her watercolors, usually of cottages. Her renderings often showed so much detail that they have been studied by architects interested in the construction of these buildings.

Following her studies, she supported her widowed mother with her work as an illustrator for publications like The Graphic. She was a founding staff member of the newspaper, and the only woman on staff. Her other work includes the original illustrations for Thomas Harding’s novel Far from the Madding Crowd.

She married William Allingham, an Irish poet and editor, in 1874. After their marriage, Helen shifted her career focus to watercolor painting. Her work was widely praised by the art community in London. She had paintings accepted at the Royal Academy Summer Exhibition, and was eventually the first woman granted full membership to the Royal Watercolour Society. After the family’s move to Surrey in the early 1880s, Allingham began painting the cottages for which she is best known.

The collection includes sketches and drawings made in graphite, watercolor, and pen and ink, dating from 1868-1916.

Subjects in the scrapbooks from the LUB collection are varied, and include English cottages and buildings, architectural features, sailboats and coastal scenes, figures, landscapes, and botanical items. Essentially, Allingham drew or painted anything that she came across during her travels, from a simple pile of rope to a vestry door. Many of the images are only about two inches wide.

Detail of window, with Allingham’s notes on construction. Upton Bales[?] cottage, in graphite. Pile of rope found in Lymm, England, in 1874, graphite. Sailing vessel in watercolor. Fishing basket in St. Andrews, England, graphite. Crab found in St. Andrews, England, graphite. Vestry door at St. Mary’s Church, Leicester, England, graphite.

Stop by and spend some time with these scrapbooks!

Contributed by Alice Poffinberger, Library Specialist.

The post Helen Allingham in the Lisa Unger Baskin Collection appeared first on The Devil's Tale.

Helen Allingham in the Lisa Unger Baskin Collection

Devil's Tale Posts - Tue, 11/29/2016 - 17:36

The materials in the Lisa Unger Baskin collection celebrate more than five centuries of women’s work. One of the highlights of describing and cataloging these collections is the remarkable talent that is often showcased by these women.

For example, we received four sketchbooks from English watercolorist and illustrator Helen Paterson Allingham.

Helen Allingham, born near Derbyshire, England in 1848, studied at the Birmingham School of Design and the Royal Academy School in London.  In fact, she was the niece of the first female student at the Royal Academy School, Laura Herford. Allingham began her career as an illustrator, but eventually became well known for her watercolors, usually of cottages. Her renderings often showed so much detail that they have been studied by architects interested in the construction of these buildings.

Following her studies, she supported her widowed mother with her work as an illustrator for publications like The Graphic. She was a founding staff member of the newspaper, and the only woman on staff. Her other work includes the original illustrations for Thomas Harding’s novel Far from the Madding Crowd.

She married William Allingham, an Irish poet and editor, in 1874. After their marriage, Helen shifted her career focus to watercolor painting. Her work was widely praised by the art community in London. She had paintings accepted at the Royal Academy Summer Exhibition, and was eventually the first woman granted full membership to the Royal Watercolour Society. After the family’s move to Surrey in the early 1880s, Allingham began painting the cottages for which she is best known.

The collection includes sketches and drawings made in graphite, watercolor, and pen and ink, dating from 1868-1916.

Subjects in the scrapbooks from the LUB collection are varied, and include English cottages and buildings, architectural features, sailboats and coastal scenes, figures, landscapes, and botanical items. Essentially, Allingham drew or painted anything that she came across during her travels, from a simple pile of rope to a vestry door. Many of the images are only about two inches wide.

Detail of window, with Allingham’s notes on construction. Upton Bales[?] cottage, in graphite. Pile of rope found in Lymm, England, in 1874, graphite. Sailing vessel in watercolor. Fishing basket in St. Andrews, England, graphite. Crab found in St. Andrews, England, graphite. Vestry door at St. Mary’s Church, Leicester, England, graphite.

Stop by and spend some time with these scrapbooks!

Contributed by Alice Poffinberger, Library Specialist.

The post Helen Allingham in the Lisa Unger Baskin Collection appeared first on The Devil's Tale.

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