Guide to the William Gedney Photographs and Writings, 1940s-1989
William Gedney was a documentary photographer based in New York, N.Y.
Collection consists of negatives, contact sheets, proofs, prints, slides, indexes, handmade illustrated books, journals and diaries, and photographer's notebooks, documenting Gedney's work as a photographer over several decades until his death in 1989. Taken together, the proof, work, and finished prints, all in black-and-white, number over twenty thousand. The images document society and culture in the United States, particularly in New York, rural Kentucky, and San Francisco; scenes from India, primarily in Benares and Calcutta; scenes in England, Ireland, and Paris; and urban and rural landscapes across the United States. Three other major thematic bodies of work are a series of images taken at night, a series of nudes, and a large group of portraits of American composers. Handmade books in the collection were designed and made by Gedney and are illustrated with his photographic prints. More than half of the collection's series house photographic materials, and include the Negatives, Contact Sheets, Proofs, Prints, Film Development Tests, and Slides (transparencies) Series. Other formats are represented in the Indexes, Writings and Notebooks, Miscellaneous, Print Material, and Book Projects Series.
- William Gedney photographs and writings, 1940s-1989
- Gedney, William, d. 1989
- 60.3 Linear Feet, approximately 50,000 items
- Duke University. David M. Rubenstein Rare Book & Manuscript Library
- For current information on the location of these materials, please consult the Library's online catalog.
- Negatives Series, 1950s-1987 and undated [CLOSED]
- Contact Sheets Series, 1950s-1987, undated
- Proofs Series, 1950s-1987, undated
- Prints Series, 1950s-1987 and undated
- Indexes Series, 1954-1980s
- Slides Series, 1950s-1980s and undated
- Film Development Tests Series, 1950s-1987, undated
- Book Projects Series, 1964-1970s, undated
- Writings and Notebooks Series, 1950s-1984, undated
- Printed Material Series, 1982
- Miscellaneous Series, 1940s-1994 and undated
- Accession (1998-0508)
- Accession (1997-0061)
- Accession (1998-0197), 1950s-1970s
- Accession (1998-0282)
- Accession (1998-0345), 1986-1987
- Accession (1999-0124), 1970-1971
The William Gedney Photographs and Writings collection dates from the 1940s to 1989 and includes negatives, contact sheets, proofs, prints, slides, indexes, book proofs, handmade illustrated books, journals and diaries, personal papers, and photographer's notebooks, documenting Gedney's work as a photographer and writer over several decades until his death in 1989. Taken together, the photographs (in the form of proofs, work prints, and finished prints), number over twenty thousand items. The black-and-white images document society and culture in the United States, particularly in New York, rural Kentucky, and San Francisco; scenes from India, primarily in Benares and Calcutta; and urban and rural landscapes across the United States. Three other major thematic bodies of work are a series of images taken at night, a series of nudes, and a large series consisting of portraits of American composers. The "Night" series was created throughout most of Gedney's career and spanned all geographic locations. The nudes were primarily photographed at the Pratt Institute where Gedney taught. A body of handmade books in the collection were designed and made by Gedney and are illustrated with his photographic prints.
More than half of the collection's series houses photographic materials, and includes the Negatives, Contact Sheets, Proofs, Prints, Film Development Tests, and Slides Series. The collection currently follows Gedney's arrangement by photographic format rather than by body of work, thus images from a particular theme typically will be located in each format series. Other formats are represented in the Indexes, Writings and Notebooks, Print Material, Book Projects, and Miscellaneous Series.
A predominant subject in the collection, one that appears in most of the series, is New York, especially Brooklyn. Subjects include religious festivals, such as the Italian-American feast of San Gennaro, Sunday School parades, first communion parades, and Good Friday processions; gospel revivals; the Washington Market; a bar named O'Rourke's; the Brooklyn Bridge; Coney Island; the subway and "the El"; St. Joseph's School for the Deaf; and the Salvation Army. Gedney lived on Myrtle Avenue, and many of his New York street scenes were made there. Gedney also documented early gay rallies and marches in New York City, and the dates of these events usually coincide with the anniversary dates of the Stonewall riots. Other events Gedney photographed include car shows, flower shows, and body building exhibitions. There are photographs of Diane Arbus, a photographer, at the body building exhibitions. Some of Gedney's earliest images were taken at The "Farm," located in Norton Hill, N.Y. Gedney also photographed in Rochester, Albany, and his hometown of Greenville, N.Y. Photographs of friends and family, as well of Gedney, are found throughout the collection. His notebooks and writings also document life in New York; some of them are titled "Myrtle Avenue."
Among Gedney's other American subjects are 100 composers who he photographed between 1965 and 1969. The composer series forms a significant body of work, although the photographs are scattered throughout the collection. A partial list of the composers is in the collection's Information Folder in the inventory drawer. The San Francisco photographic work, also a substantive series, focused on hippies and youth from 1966 to 1967. Another significant body of American work in the collection is Gedney's extensive photographic studies of rural Eastern Kentucky in 1964 and 1972. The Kentucky works were created in the Blue Diamond Mining Company camp, Grassy Branch Holler, Two Forks Holler, and in Hazard; the Couch family in Leatherwood, Ky., and the Cornett family in Big Rock, Ky., were the central characters in the images.
Gedney made one or two trips across the United States by car during the years 1965 to 1967. During his travels he photographed "Night" scenes in various towns. He also photographed Indian reservations, a monastery, farm workers, and various cities, forming the "Cross Country" series. One of six photographers hired to document the work of the Social Security Administration in 1968, Gedney was assigned to the Hays, Kansas Bureau. Kansas subjects include the Norton County Hospital, Hadley Hospital, Social Security client interviews, and Fort Hays College.
Gedney produced a large body of photographs during several trips to India in the 1970s. Subjects include street scenes; ritual wrestlers; temple scenes and activities; bathing in the Ganges; festivals such as Holi; a Krishna festival; a monkey temple festival; Yantra and Shiva pujas; wall paintings; a wedding; actors, acrobats, and other entertainers; artisans, such as painters, sculptors, and photographers; merchants and markets; and religious men. The Slides Series primarily reference the Indian wall paintings, which were created by the Kumbhar caste. The slides are the only color images in the collection. Other subjects or locations photographed by Gedney include England, Ireland, and Paris.
The Writings and Notebooks Series is a source for information about Gedney's interests; his personal reflections, including his thoughts about the subjects he was photographing; and technical information about his camera work and darkroom procedures. Gedney copied quotes and kept clippings about subjects in which he was interested, and often photographing, in handmade notebooks. Different notebooks dating from the same period often complement each other, one giving a more diary-like narrative and the other offering more factual information.
The Indexes Series consists of small prints attached to 5x7 cards or to 8.5x11 sheets that contain notes about the subject and printing specifications. They appear to have been created by Gedney to serve as references to his prints.
Finally, the Exhibit Prints, a subseries of the Prints Series, houses a collection of 11x14 prints in 16x20 mats, which formed the 2000 San Francisco retrospective exhibition of Gedney's work.
Accession (1998-0508) (7 boxes, 1 oversize folder) consists chiefly of William Gedney's personal papers, which include: medical papers, financial and legal papers, correspondence, grants and work related files, writings and notebooks, sketches, and paintings.
Accession (1997-0061) includes seven 10" x 16" copy prints of images by Gedney printed by Julie Stovall of the Duke University Center for Documentary Studies from negatives in the collection.
Accession (1998-0197) (1 box, dated 1950s-1970s) contains handmade scrapbooks, photographs, and book dummies.
Accession (1998-0282) (interfiled in box 116) contains legal papers, including a copy of Gedney's will and other documents and correspondence related to the settlement of his estate. It also includes a set of cassette tapes that seem to contain interviews recorded by Gedney with various individuals.
Accession (1998-0345) (1 box, dated 1986-1987) contains one large black and white photograph of Gedney and his dog by Lee Friedlander; and one illustrated, humorous thank-you letter from Gedney to Mr. and Mrs. Friedlander.
Accession (1999-0124) (1 box, dated 1970-1971) contains photocopies of letters from Gedney to Lili Fabilli Osborne, written from India (1970-1971) and New York (undated), together with 1998 cover letters from Osborne to Sandra Phillips and Maria Friedlander.
User's Pathfinder Note
The best places to begin research in the collection are the Contact Sheets and Proofs series because they provide the most documentation for the images. The Contact Sheets in particular have notes about the subjects. The following information will aid users in moving from one photographs series to another in the collection.
Contact Sheets Series
For the numbered contact sheets, there are three parts to the number system used to identify photographic images on the contact sheets:
1. The first number is the contact sheet number, which is written on the top right hand corner of the contact sheet. Contact sheets are boxed in numerical order based on the contact sheet number. The contact sheet number should be used to find the corresponding numbered negative sleeve in the negative series. All of the negatives from a particular contact sheet are housed in the same negative sleeve. For the bulk of the Contact Sheet Series, contact sheet numbers run consecutively from 1 to 80 and then from 1000 to 2140. There are several separate runs of contact sheet numbers that apply to various bodies of work on single subjects, such as Benares, India; Calcutta, India; and England and Ireland.
2. The second number on the contact sheets is the row number. For contact sheet numbers 1 to 80, the row numbers are 1 to 788 consecutively. For contact sheet numbers 1000 to 1943, the row numbers run consecutively from 1000 to 10294, with the exception of a few row numbers which do not exist, such as 2099 to 3000, because Gedney skipped them in the sequence. For each page of contact sheets 1944 to 2140 the row numbers run from 1 to 10.
3. The third number on the contact sheets is the frame number, which is printed under each photographic image and comes directly from the pre-printed numbers on the negatives. These numbers are most often between 1 and 44, sometimes followed by the letter A.
To find a proof from contact sheet numbers 1 to 1943, use the row number and the frame number, example: 4520-26, with 4520 referring to the row number and 26 to the frame number. The number corresponding to the proofs from contact sheets 1 to 1943 usually does not include the contact sheet number. To find a proof from contact sheets 1944 to 2140, use the contact sheet number, the row number, and the frame number, example 1991-4-34, with 1991 referring to the contact sheet number, 4 to the row number, and 34 to the frame number. For many of the proofs corresponding to contact sheets 1615 to 1943, row numbers 7130 to 10294, the contact sheet number plus a 1 to 10 renumbering of the row number and the frame number may have been used to identify the proofs (instead of the row number plus frame number.) One of these proofs may be numbered 9486-21, with 9486 being the original row number, 21 being the frame number; or 1863-1-21, with 1863 being the contact sheet number, and 1 being the renumbered row number.
To find a print from the contact sheet, use the same procedure as used in finding a proof.
Gedney used two different numbering systems to identify proofs.
1. The first numbering system has two parts, the row number plus the frame number. The row numbers refer to the row numbers on the contact sheets and run from row numbers 1 to 788, which are from contact sheets 1 to 80, and from row numbers 1000 to 10294, which are from contact sheets 1000 to 1943. Each of these row numbers refers to a specific row; they are not repeated on any other contact sheets. An example of a proof identified by the row number would be proof 4520-26, with 4520 referring to the row number and 26 to the frame number.
2. The second numbering system has three parts, the contact sheet number plus the row number and frame number. The contact sheet number refers to the number on the top right hand corner of the contact sheet. Contact sheets are arranged according to this number. The row number in this number system will be a number from 1 to 10. The 1 to 10 row number refers to the specific row of images on the contact sheet. For each contact sheet numbered 1944 to 2140, rows are numbered from 1 to 10. An example of a proof identified by the contact sheet number would by proof 1991-4-34, with 1991 referring to the contact sheet number, 4 referring to the row number, and 34 to the frame number.
A word of caution: some of the proofs may be identified by either system, particularly proofs from contact sheet numbers 1615 to 1943, row numbers 7130 to 10294. To determine which number system is being used, see the number of parts to the number on the proof. Parts are separated by dashes. If there are two parts, e.g., 9486-21, the proof is being identified by the row number-frame number. If there are three parts, e.g., 1863-1-21, the proof is being identified by the contact sheet number-row number-frame number. One proof could be identified by its row number 9486-21, or by its contact sheet number 1863-1-21. Sometimes Gedney did not include a frame number on a proof, therefore numbers may be missing on a proof.
To find the negative or contact sheet for a proof, first determine which number system is being used to identify the proof. If it is a two part number system, then the first part of the number refers to the row number on the contact sheets. Find the contact sheet which contains that particular row number. The container list provides row numbers for those contact sheets that have them.
Negatives are arranged by contact sheet number, not row number. To find the negative for a proof that is identified by a row number, first determine the number of the contact sheet which includes that row number. Use the contact sheet number to find the negative sleeve which houses the negatives for that contact sheet. The second part of the number on the proof refers to the frame number on the negative.
If a three part number system is used to identify the proof, then the first part of the number refers to the contact sheet number. Use this number to find the contact sheet or negative that corresponds to the proof. The second part of the proof number refers to the row number (1 to 10) on the corresponding contact sheet. The third part of the number system refers to the frame number on the negative.
Gedney did not make larger prints of all of his proofs. The container list for the Prints Series includes contact sheet numbers and row numbers where they were available. To see if there is a print for a proof image, first try to use the number that is on the back of the proof and see if is listed in the Prints Series container list. If the number of the proof is in two parts, then this proof is identified by the row number. If the number on the proof is in three parts, then this proof is identified by the contact sheet number. Occasionally the proof and the print have different numbers. In this case, refer to the contact sheet to determine the unknown row number, or use the row number to find the corresponding contact sheet number. Proof 9486-21, identified by its row number, would correspond to print 1863-1-21, identified by its contact sheet number.
Prints are numbered in the same way as the proofs: by row-frame numbers if the number is in two parts, or by contact sheet-row-frame numbers if the number is in three parts. To find the negative or contact sheet for a print, use the same procedure as for a proof. To find a proof from a print use the same number on the print to find the proof.
Sometimes Gedney did not include a frame number on a proof, therefore numbers may be missing on a proof. In addition, occasionally the print and proof will have different numbers. In this case, refer to the contact sheet to determine the unknown row number, or use the row number to find the corresponding contact sheet number. Print 1863-1-21, identified by its contact sheet number (1863) and frame number (21), corresponds to proof 9486-21.
William Gedney developed a detailed system for numbering his photographs that collates negatives, contact sheets, proofs, and prints. However, this system was not in place from the onset of Gedney's photographic work. Early photographs without the number system are arranged in chronological order or by subject and fall at the beginning of each series. Gedney also revised his numbering system at various times or began new numbering sequences for some subjects. The Descriptions of Series point out some of Gedney's revisions. Refer to the Users' Pathfinder Note in this collection inventory to learn how to get from one form of the photograph to another, for example, to find the proofs associated with the images on a contact sheet.
The dates on the prints do not necessary reflect the date that Gedney photographed a subject. Often Gedney made prints several years after he first created the images. For example, he made a trip to Benares, India, from 1969 to 1971 but he made prints of these images in 1971, 1972, 1974, 1977, and 1982. The "Farm" was photographed in 1950s but prints were made in 1950s, 1969, 1971, and 1975.
Gedney indicated the status of his prints by making notations on the backs of them. "Archival" prints are marked in various ways, including "finished," "ap," and "1st," and some are signed by Gedney. Other types of prints include "PP" or poly prints, some of which are archival; "S" probably represents "selects" but may also indicate "seconds" which are usually marked by "2nd;" and "r" represents "rejects."
The bulk of the collection is open for research, however, Accession 1998-0508 is restricted.
Researchers must register and agree to copyright and privacy laws before using this collection.
Note: Collection is currently in process in order to update arrangement, housing, and description. Portions may be unavailable.
All or portions of this collection may be housed off-site in Duke University's Library Service Center. The library may require up to 48 hours to retrieve these materials for research use.
Please contact Research Services staff before visiting the David M. Rubenstein Rare Book & Manuscript Library to use this collection.
The copyright to the collection is owned by the David M. Rubenstein Rare Book & Manuscript Library, Duke University.
Includes negatives from the following size films: 35mm (bulk), 120mm, 4x5 inch, and 8x10 inch. Some of the 35mm negatives were cut into individual frames by Gedney. Boxes 1-4 are in two sets of chronological order. Boxes 5-15 are in order by the numbered contact sheets made from those negatives. Box 16 holds film development tests. Boxes 17-21 are pictures chiefly of India but also of Ireland and England, and are arranged by contact sheet numbers. Box 22 includes rolls of exposed film that were not printed.
[CLOSED: Negatives are closed to public use. Please contact a reference archivist for more information.]
A nearly complete collection of the contact sheets representing Gedney's images. Box 23 and part of Box 24 are in rough chronological order; some of these contact sheets have their own internal numerical or letter identification. Boxes 24-31 are arranged in contact sheet number order with corresponding row numbers listed adjacent to the contact sheet numbers. The second part of Box 29 is a separate sequence of photographs of England and Ireland which are arranged in contact sheet number order (nos. 1-73). Boxes 30-33 are a separate sequence of photographs of India and are arranged in contact sheet number order by city (nos. 1-339 Benares, 1-243 Calcutta). Contact sheest in boxes 32-33 do not have row numbers.
See also Users' Pathfinder Note in this collection guide.
Arranged into two sections: Proofs (boxes 34-60) and Work Prints (boxes 61-63). The proof prints are generally 5x7", and were the first prints created from selected negatives; the work prints were then a further selection from the proof prints, and are typically 8x10".
Boxes 34-35 are arranged in rough chronological order. Boxes 36-43 are arranged by contact sheet numbers (nos. 1-2137), or row numbers when listed (nos. 6 to 10294), which roughly coincide with chronological order. Box 44 contains proofs from the "Night" series and are arranged in row number order. Box 45 contains a separate number sequence of proofs of England and Ireland. Boxes 46-60 contain a separate number sequence of proofs of India: Boxes 46 through part of 54 contain images of Benares, India and Boxes 54-60 contain images of Calcutta. See also Users' Pathfinder Note in this collection inventory.
Prints range in size from 5x7 to 8x10 inches.
Work prints are typically 8x10 inches. Arranged by subject and then by contact sheet number (roughly corresponds to chronological order).
Contains larger black-and-white photographic prints, the bulk of which measure 11x14 inches. Gedney designated teh status of the prints in the following ways: finished/archival prints, seconds, rejects, trial prints, and mounted. Some prints were not marked by Gedney and are referred to as undesignated. Boxes 64-65 are in chronological order. Boxes 66-67 contain undated mounted prints from scenes at the St. Joseph's School for the Deaf. Box 68 holds finished archival prints of various subjects arranged by contact sheet numbers and/or row numbers which Gedney had written on the backs of the prints. Boxes 69-70 contain seconds, rejects, trial prints, and undesignated prints of various subjects arranged by contact sheet numbers and/or row numbers which Gedney had written on the backs of the prints.
Boxes 71-72 contain prints in the "Farm" series. The "archival" prints are numbered by Gedney's later system that utilized contact sheet numbers and row numbers that refer to negatives. (Print F432A is also numbered in this system.) For the non-archival prints, the numbering system is not effective; see the contact sheets in Box 24 (the numbering system is not effective for searching these non-archival images.)
Boxes 73-85 are arranged in rough chronological order which coincides with Gedney's arrangement of numbered contact sheets. Boxes 86-92 are images of Benares and Calcutta, India. Gedney gave the Benares images two different number series. The I series numbers refer to row numbers on the contact sheets. The B series refers directly to the contact sheet numbers.
See also the Users' Pathfinder Note in this collection inventory.
The earliest work after the Farm series depicts scenes in Brooklyn and New York City, as well as early photo shoots in Kentucky.
1st, 2nds, rejects: Row nos. 1900-23 to 6248-31, Contact sheets 1092 to 1536 (see box for list of composers).
Houses 11x14 black and white prints in 16x20 mats, featured in retrospective exhibition, "Short Distances and Definite Places: The Photographs of William Gedney" at the San Francisco Museum of Modern Art (SFMoMA), January 20, 2000 - May 16, 2000. Nearly all of these prints are also available in digitized form online in Duke University Library's Digital Collections.
Contains what appear to be files created by Gedney for reference to his prints. In original order.
Arranged in rough chronological order and then by subject. Some images are in color.
150 mounted slides assembled by Gedney as his personal collection. Subjects taken from his labels include: Farm, Brooklyn, Bar, Kentucky, U.S. Trip, San Francisco, Composers, Norton, Kansas, England, Paris, Nudes, Gay Rally, Coney Island
Subjects include: Benares, Night, Kentucky, England, San Francisco, Paris, Detroit, Farm, Nudes, Composers, Gay Rally, Coney Island, New York.
Subjects include: Kentucky, Paris, Night, New York, Bar, Farm, San Francisco, Chicago, Detroit, Composers, England, Norton State Hospital, U.S. trip.
subjects include: Farm, Kentucky, Brooklyn, Detroit, San Francisco, Composers, Norton State Hospital, England, Paris, Night, Nudes, Gay Rally, Coney Island, Bar.
Subjects include: Paris, Kentucky, Night, Richard Lindner, New York, U.S. Trip, San Francisco, Gay Rally, Benares, England, Norton State Hospital, Farm, Composers, Nudes.
Includes prints, proofs, contact sheets, a notebook, and printed material, all related to Gedney's experimentation with various types of techniques, film, papers, and chemicals; he documented much of this work in a notebook. Arranged in original order as received.
Arranged with finished books at the beginning, followed by book dummy materials arranged by subjects, with book making materials at the end.
Contains diaries, journals, and notebooks.
Arranged alphabetically by subject or titles assigned by Gedney.
Contains biographical information on William Gedney; audio cassette tapes of interviews apparently recorded by Gedney, including interviews of Susan Sontag and Diane Arbus; legal papers; snapshots; notes; and clippings.
[Original audiovisual materials are closed to use. Use of these materials may require production of listening or viewing copies. Please contact a reference archivist before coming to use this collection.]
Accession (1998-0508) consists chiefly of William Gedney's personal papers, which include: medical papers, financial and legal papers, correspondence, grants and work related files, writings and notebooks, sketches, and paintings.
Materials in this series are arranged by size within the boxes.
Seven 10" x 16" copy prints of images by Gedney printed by Julie Stovall of the Duke University Center for Documentary Studies from negatives in the William Gedney Photographs and Writings collection.
Accession (1998-0197) contains handmade scrapbooks, photographs, and book dummies.
Accession (1998-0282) contains legal papers, including a copy of Gedney's will and other documents and correspondence related to the settlement of his estate.
Accession interfiled in Box 116
Accession (1998-0345) contains one large black-and-white photograph of Gedney and his dog by Lee Friedlander; and one illustrated, humorous thank-you letter from Gedney to Mr. and Mrs. Friedlander.
Accession (1999-0124) contains photocopies of letters from Gedney to Lili Fabilli Osborne, written from India (1970-1971) and New York (undated), together with 1998 cover letters from Osborne to Sandra Phillips and Maria Friedlander.
|1932, Oct. 29||Born, New York, N.Y.|
|1955||B.F.A., Pratt Institute, Brooklyn, N.Y.|
|1955-1965||Graphic designer for magazine layout and book design|
|1964||Photographed in Eastern Kentucky|
|1965-1969||Photographed American composers|
|1968, Dec.-1969, March||Exhibit: Eastern Kentucky and San Francisco: Photographs by William Gedney, Museum of Modern Art, New York|
|1969, Summer||Documented work of the Social Security Administration, Hays, Kansas|
|1969-1971||Photographed in India|
|1969-1989 (?)||Adjunct Assistant Professor, Cooper Union, New York|
|1971-1989(?)||Assistant Professor, Pratt Institute, New York|
|1972||Photographed in Kentucky|
|1978-1980||Exhibit: Mirrors and Windows: American Photography Since 1960, Museum of Modern Art, New York|
|1980||Photographed in Calcutta, India|
|1989, June 23||Died of AIDS, New York, N.Y.|
|1990||William Gedney's collection of photography books and equipment presented to Chitrabani Center, Calcutta, India|
|2000||Large retrospective exhibition, Short Distances and Definite Places: The Photographs of William Gedney held at the San Francisco Museum of Modern Art|
William Gedney received the following fellowships and grants: a John Simon Guggenheim Memorial Foundation fellowship, 1966-1967; a Fulbright Fellowship for photography in India, 1969-1971; a New York State Creative Artists Public Service Program (C.A.P.S.) grant, 1972-1973; and a National Endowment for the Arts grant, 1975-1976.
Group shows in which Gedney's work was exhibited include Museum of Modern Art shows, Photography Current Report in 1968, Ben Schultz Memorial Collection in 1969, and Recent Acquisitions in 1971; Vision and Expression, George Eastman House, Rochester Institute of Technology, 1972. A major retrospective exhibit was held in the San Francisco Museum of Modern Art in 2000.
- Gedney, William, d. 1989.
- Art and photography--United States.
- Art and photography--India.
- Art and photography--New York (N.Y.).
- Composers--United States--Pictorial works.
- Documentary photography--India.
- Documentary photography--Kentucky.
- Documentary photography--New York (N.Y.)
- Documentary photography--United States.
- Gays--New York (N.Y.)--Pictorial works.
- Hippies--California--San Francisco----Pictorial works.
- Photography--United States.
- Photography of the nude.
- Benares (India)--Pictorial works.
- Brooklyn (New York, N.Y.)--Pictorial works.
- Calcutta (India)--Pictorial works.
- England--Pictorial works.
- Ireland--Pictorial works.
- Kentucky--Pictorial works.
- Myrtle Avenue (New York, N.Y.)--Pictorial works.
- New York (N.Y.)--Pictorial works.
- Paris (France)--Pictorial works.
- Artists' books.
- Black-and-white photographs.
- Contact sheets.
- Gelatin silver prints.
- Proofs (prints by function)
- Slides (transparencies)
The William Gedney Photographs and Writings was a gift from Richard T. Gedney and Lee Friedlander to the David M. Rubenstein Rare Book & Manuscript Library in 1992.
Originally processed by: Donna Longo DiMichele and Phoebe A. Evans
Completed July 26, 1994
Encoded by Stephen D. Miller
Collection is currently in process to update arrangement and description. Portions may be unavailable for public use. Please contact a reference archivist before coming to use the collection.
This finding aid is NCEAD compliant.