Image Collections Online

The AAAMC Black Radio Collections consist of a number of collections documenting the history of Black radio. Many of these collections also contain print and audiovisual materials. If you would like to access the collection finding aids, contact the AAAMC staff.

Jack "The Rapper" Gibson Collection (SC 14)

Documents the activities of Black radio pioneer "Jockey Jack" Gibson and other radio personalities with stations across the country as well as Gibson's Family Affair conventions. Also includes publicity photographs of R&B artists. Accompanied by an interview transcript with Gibson's descriptions of each photograph.

Katherine Lewis Collection (SC 86)

Documents radio station WERD in Atlanta, including the interior and exterior of the studio as well as photographic images of several WERD publications and advertisements.

Ed Castleberry Collection (SC 87)

Documents the career of Ed Castleberry and includes publicity shots of disc jockeys, radio stations, and events sponsored by black radio stations, including WKVO (Columbus, OH), WMBM (Miami, FL), and WEDR (Birmingham, AL).

Rick Roberts Collection (SC 88)

Documents the career of Houston deejay Rick Roberts and includes publicity shots of disc jockeys, musicians, and events sponsored by Black radio stations, primarily KYOK in Houston. Accompanied by an interview cassette and transcript with Robert’s descriptions of each photograph.

George Nelson (SC 89)

Documents the career of Houston deejay George Nelson and includes publicity shots of disc jockeys, musicians, and events sponsored by KYOK in Houston.

Skipper Lee Frazier Collection (SC 95)

Documents the career of well-known Houston deejay Skipper Lee Frazier at KCOH in Houston. Accompanied by an interview transcript with Fraziers’s descriptions of each photograph.

Travis Gardner (SC 96)

Documents events and personnel at Houston radio station KCOH from the 1960s-1970s. Accompanied by an interview transcript with Gardner’s descriptions of each photograph.

Explore the lab’s archaeological photograph collection. Images depict historic excavations through modern day field work, historic and prehistoric artifact collections housed at the museum, as well as the people and research work of the Glenn Black Lab over the years. This collection will continue to expand as additional materials are digitized. For more information, visit the Glenn A. Black Laboratory of Archaeology.

Established in 1947, The Kinsey Institute, Indiana University, works towards advancing sexual health and knowledge worldwide. For nearly 70 years, the Institute has been investigating and informing the world about critical issues in sex, gender and reproduction. The Kinsey Institute Library and Special Collections house extensive art, photography, and archival collections including the papers and correspondence of Dr. Alfred Kinsey, the Institute research data and codebooks, and the media response to The Kinsey Report. Other archival collections include materials of well-known scholars and organizations such as Alex Comfort, Harry Benjamin, Robert Latou Dickinson, Havelock Ellis, Magnus Hirschfeld, William Masters, Virginia Masters-Johnson, Carney Landis, John Money, Leah Schaefer, Society for Scientific Study of Sexuality, and International Academy of Sex Research. The art collection contains fine art prints, drawings, paintings, sculpture, photographs, novelty items, and sexual health artifacts.

The Kinsey Institute photography collection contains more than 75,000 photographs dating from the 1840s to the present and produced primarily in the United States and Europe. Though many of these prints were produced by anonymous commercial and amateur photographers, the collection also contains works by fine art photographers such as Judy Dater, Wilhelm von Gloeden, George Platt Lynes, Arnold Newman, Robert Mapplethorpe, Irving Penn, Herb Ritts, and Joel-Peter Witkin.

All images and photographs held in IU’s Image Collections Online represents a portion of the Kinsey Institute collections. Inquiries about obtaining research access or requesting reproductions should be directed to libknsy@indiana.edu. Onsite use of the Kinsey Institute Collections is by appointment only. For more information, please visit http://www.kinseyinstitute.org/library/.

The Gugler collection contains a variety of formats such as posters, handbills, flyers, lobby and window cards, and postcards used to promote films created by and featuring African and Middle Eastern filmmakers and artists. The items represent a wide range of countries throughout these regions and include nearly 1200 posters and 12 boxes of smaller sized promotional items representing over 500 unique works by approximately 350 filmmakers. French and German releases of films are particularly well represented, but a large number of items are also in Polish, Arabic, Hebrew, Japanese, and various other languages. More information on the Gugler collection is available at: http://purl.dlib.indiana.edu/iudl/findingaids/bfca/VAD5484.

The Johnny Otis photographs are part of the Johnny Otis archival collection at the Archives of African American Music and Culture. The photographs include images, both candid and promotional, from Otis's professional life as a performer, band leader, and artist manager. Also included are photographs from Otis's personal life, showing a more intimate side of the artist spending time with family and band members off-stage.

The Archive of Tikas represents the personal business documents from ancient Egypt of a woman named Tikas. Tikas inherited a significant piece of property from her parents and later used that property as collateral for a series of financial transactions. The documents all date from the time frame of 200-180 BC in the Ptolemaic era in Egypt. This time period was the Egypt after the Greeks assumed control of Egypt after Alexander’s conquest in 332 BC and is mostly known as the time when traditional Egyptian culture was placed under significant pressures as the Greek language and customs were being systematically not being used in business and administrative procedures in favor of Greek forms and practices. The archive consists of 44 complete and fragmentary documents all written in the Egyptian script known as Demotic. Demotic Egyptian was used in Egypt from around 700 BC up through AD 300. For business purposes, the Ptolemaic period is the last phase where widespread use of Demotic is found until it is supplanted by Greek. This process began in the Ptolemaic period and was completed during the Roman period. The Egyptian language (written in Demotic) did survive and this archive is a classic example of that. The archive contains further significance as it shows that women in Egypt did have the right to own property outright and were legally capable of disposing and using that property in any manner that they wished.

These plates form the photographic record for the publication: The Archive of Tikas. A Woman’s Archive of Demotic Papyri from Philadelphia in the Fayum by Eugene Cruz-Uribe & Charles Nims, Demotische Studien 15 (Sommerhausen, Gisella Zauzich Verlag, 2015, ISBN 9783924151089). For access to high resolution images, click here: https://iu.box.com/ArchiveTikas.

Robert Coughlan, 1914-1992, was a journalist and author, notably publishing articles in LIFE and Fortune prior to ghostwriting Rose Fitzgerald Kennedy’s memoir, Times to Remember. A native of Kokomo, Indiana, Coughlan was awarded an honorary Doctorate of Humane Letters by Indiana University in 1988. This collection documents Coughlan’s personal and professional life, including his international reporting in Italy, France, Russia, Egypt, and Kenya. These photographs were gathered and captioned by Patricia Coughlan, Coughlan’s wife, upon donation in 1994.

Francis (Frank) Xavier McCloskey served as mayor of Bloomington, Indiana, from 1971 until his election in 1982 to represent the 8th district of Indiana in the U.S. House of Representatives. The 610 photos in the collection document his mayoral and legislative careers, including his extensive involvement in resolving the conflicts in Bosnia and Croatia from 1992 until his death in 2003.

For the full archival collection finding aid, please visit: http://purl.dlib.indiana.edu/iudl/findingaids/politicalpapers/VAB8234

Robert D. Garton represented the 41st district in the Indiana Senate from 1970-2006, and served as president pro tempore from 1980-2006, the longest such tenure in Indiana history. The 593 photos in the collection document his legislative career, including extensive photos from trade missions to Japan, Taiwan, and China, and his political campaigns.

For the full archival collection finding aid, please visit: http://purl.dlib.indiana.edu/iudl/findingaids/politicalpapers/VAD4502

Birch Bayh served in the Indiana House of Representatives from 1955 to 1962 and in the U.S. Senate from 1963 to 1980. Over 2800 photos in this collection document his early family life and the development of his political career from Indiana Speaker of the House to a national figure in possible contention for the Presidency in the 1972 and 1976 elections.

For the full archival collection finding aid, please visit: http://purl.dlib.indiana.edu/iudl/findingaids/politicalpapers/VAA1235

The Midwest Migrant Farm Worker Photographs Collection contains 132 photographs donated by David R. Cormier, former assistant coordinator for Labor Studies at Indiana University Kokomo. These photographs are part of the larger Midwest Migrant Farm Worker Collection, described by Cormier as follows: “The primary focus is on materials from the first grape and lettuce boycotts, the volunteer boycott support committees which were set up in northern and central Indiana, the activity with migrant workers during that period here in the Midwest, and related information from the UFW from that period.” These photographs document Cormier’s experiences with these boycotts and notably include candid photographs with Cesar Chavez, Dolores Huerta, and fellow labor organizers.

This is the collection of anthropologist Fred McEvoy’s photographs from his 1967-1968 research among Sabo labor migrants in southeastern Liberia. McEvoy's major research sites were the Sabo home area in Webbo District of Grand Gedeh County (now in River Gee County) and the Firestone Company's Cavalla Plantation in Maryland County.

The Archives of African American Music and Culture Collections consists of the AAAMC's general photograph collection, as well as a number of smaller archival collections. The general photograph collection is almost entirely publicity photographs. The smaller archival collections contain images covering a variety of subjects. Please see the descriptions below for more information about these collections.

Information about the AAAMC, its collections, and programs is available on its website at http://www.indiana.edu/~aaamc.

Blondell Hill Gospel Music Collection (SC 158)

Photographs and postcards related to Hill's life in Michigan and participation in the Petoskey, Michigan Volunteer Gospel Choir. The Blondell Hill Gospel Music Collection consists of gospel song books and sheet music, song texts, photographs, and other ephemeral material related to Blondell Hill’s participation with choirs in Richmond, Indiana, Petoskey, Michigan, and Harbor Springs, Michigan. For the full archival collection finding aid, please visit: http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAD4793

Charles Coleman Papers (SC 9)

A portrait photograph of Charles Coleman. The Charles Coleman Papers collection consists of printed and manuscript scores of music by Charles Coleman, including sacred and secular choral works, as well as ephemeral materials related to the composer. For the full archival collection finding aid, please visit: http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAD4977

Vy Higginsen Collection (SC 28)

Two publicity photographs from a press kit for Mama, I Want to Sing, a musical written by Higginsen. The Vy Higginsen Collection consists primarily of materials related to the gospel musicals Mama, I Want to Sing; Mama, I Want to Sing II; and Born to Sing! Mama 3. It includes scripts, programs, promotional materials, posters, photographs, videos, and sound recordings. Records of the Mama Foundation include programs, press clippings, publicity, and posters. For the full archival collection finding aid, please visit: http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAD7619

Indiana Historic Maps provides images of a small portion of maps that focus on Indiana. The majority of this collection focuses on maps produced prior to 1923 unless known to be in the public domain as state or federal documents. In addition, Indiana University Bloomington holds an outstanding collection of print maps by and about geographic areas covering the state of Indiana. Most well known of these are the Sanborn Fire Insurance maps which have been digitized through 1923 and now available at: https://libraries.indiana.edu/union-list-sanborn-maps. In addition we own many maps produced by Indiana State government agencies including state and county highway maps, IGS geologic maps and DNR park maps; U.S. Federal agencies such as the USGS topographic maps, Congressional survey maps and AMS maps from the 1940s; as well as privately produced maps for the state but also cities and counties.

Roy W. Howard’s first entry into journalism was as a paperboy delivering The Indianapolis Star each morning and The Indianapolis News each afternoon. By high school he was selling his own stories, initiating a lifetime of news gathering and reporting that would take him around the world, meeting and writing about global figures. While leading Scripps Howard Newspapers for four decades, Howard was an innovator who protected the rights of free and independent press. The Media School oversees hundreds of images taken from the early 1900s through the 1960s, documenting Roy W. Howard’s life through world travel, relationships with world leaders, and his long career as a news reporter.

Lee H. Hamilton served in the U.S. House of Representatives from 1964 to 1999, representing the 9th District of Indiana. The 1696 photographs in the collection document his legislative career, work with constituents, and international work as chair of the Committee on Foreign Affairs Subcommittee on Europe and the Middle East.

Explore historical prints from the collections of the Lilly Library. Our online images will expand over time to include other intriguing images including works of original art and a wide range of photographs.

Information about the Lilly Library, its collections, and programs is available on its web site, http://www.indiana.edu/~liblilly/.

The Phyl Garland Collection consists primarily of personal papers, including original typescripts for Garland's columns in Ebony and Stereo Review, and related research and photographs. The bulk of the collection consists of over 900 files, including photographs and/or press releases and clippings, on individual artists in all genres, though the bulk represents jazz and rhythm and blues musicians. The photographs from these files are represented here in Image Collections Online.

The full collection finding aid is accessible at: http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAC2130

Logan H. Westbrooks is widely recognized as one of the central figures responsible for opening the doors of the music industry to black artists and executives. In addition to his pioneering role as the Director of Special Markets at CBS Records in the 1970s, Westbrooks is known for his work as an educator, international business consultant, author, real estate entrepreneur, pastor and philanthropist. The photographs in this collection primarily document Westbrooks’ work in the music industry from the mid-1960s on, including his interactions with other top-level executives, artists, and radio personalities affiliated with WVON (Chicago), WDIA (Memphis), Capitol Records, CBS, Mercury, MCA, Stax, Philadelphia International Records, Soul Train Records, and Westbrooks’ own company, Source Records. Events include sales and NATRA conventions, receptions, concerts, lectures, award presentations, PUSH Expos, Black Caucus meetings, and Westbrooks’ business trips to West Africa. Also represented are political figures from the United States, Senegal, and Nigeria; religious leaders from the early history of the Church of God in Christ; and events at the Helping Hands Home for Boys in Los Angeles, founded by Westbrooks. The collection also contains a number of artifacts, including posters and music industry awards received by Westbrooks. Extensive manuscript and print materials are also available as part of Westbrooks’ collection. For more information about this collection or a copy of the full finding aid, contact the Archives of African American Music and Culture.

Information about the AAAMC, its collections, and programs is available on its website at http://www.indiana.edu/~aaamc.

William C. Siegmann (1943-2011) was a leading expert on the arts of Liberia and Sierra Leone and was particularly associated with West African masking traditions and performance. His interest was not only in their aesthetics, but in understanding the cultural meanings and context of these arts, including their relationship with cosmology, music and dance. During his career, Siegmann served as a curator at the Africana and National Museums in Liberia, Museum of the Society of African Missions African Art (NJ), Fine Arts Museums of San Francisco, and the Brooklyn Museum. He wrote and lectured extensively on the art of masquerades in Liberia and Sierra Leone, as well as on issues in museology, collecting, interpretation and connoisseurship. Siegmann shared his skills in collections development broadly, conducting frequent seminars on museum management and curatorial training in Europe, Africa, and South America. Both Siegmann’s papers and photographs are held by the Indiana University Liberian Collections.

The photographs in the Nelson George Collection consist primarily of materials collected during research for Nelson George's book Where Did Our Love Go?: The Rise and Fall of the Motown Sound (St. Martin's Press, 1985). Other materials in this collection include interviews (audiocassettes and transcripts), newspaper clippings, magazines, photocopies of legal documents, manuscripts, and correspondence. The full collection finding aid is accessible at: http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAD5161.

Dress is a vehicle for personal expression, a reflection of society, an art form. The clothing that people have worn throughout history provides insight into their lives and customs. In The Sage Collection at Indiana University—which includes clothing, accessories, and related items from the past as well as the present—our social history comes to life. Overseen by the School of Art, Architecture + Design, the collection serves as a resource for students, professionals, and the public.

George List was an ethnomusicologist who made significant contributions to the field of ethnomusicology through his research and work on ethnographic sound archiving, ethnomusicological theory, folk music in Indiana, the music and folklore of Colombia, music in Ecuador, and the music of Hopi people. Trained as a classical musician, conductor, and educator, he started attending the Indiana University School of Music in 1950 for graduate work in composition and conducting. In 1954, he became a faculty member in the Folklore Institute and he took over the management of the Archives of Folk and Primitive Music (now the Archives of Traditional Music) from George Herzog. George List served as Director of the Archives of Traditional Music until his retirement in 1976. The photographs in this collection are associated with four different field collections of audio recordings he made as part of his research into music in Colombia between 1964 and 1970 (65-291-F, 68-063-F, 69-145-F, and 71-407-F). His photographs include images of musicians and their instruments, as well as dancers and storytellers.

William Vacanarat Shadrach Tubman (1895-1971) was Liberia’s longest-serving president, in office from 1944 to 1971. During his presidency Tubman travelled extensively, visiting many African countries both pre- and post-independence, Haiti and Trinidad as well as other Caribbean countries, the United States and many European countries. In turn Liberia received frequent return visits by Heads of State and other high-ranking officials. The William V. S. Tubman Photography collection contains over 5,500 photographs, most documenting official functions such as trips, inspection tours, formal receptions and inaugurations. Tubman family member appear in many of the photographs in an official capacity, but the collection also includes family photographs. Most photographs were taken by official photographers for Liberia or the host governments.

The Willie A. and Lucille S. Whitten Photography Collection contains nearly 700 images reproduced from slides taken during the Whittens’ stays in Liberia in the 1960s and 1970s. A native of Mississippi, Mr. Whitten first traveled to Liberia in 1963 on a United States Agency for International Development (USAID) project while completing his graduate studies in adult education. Whitten conducted research for his doctoral dissertation in Lofa County, receiving a Doctorate in Education from Indiana University in 1966. He continued as a USAID education officer in Liberia during the late 1960s. He returned to Liberia in the late 1970s and early 1980s, before and after the violent overthrow of the William Tolbert presidency in the military coup led by Samuel Doe in 1980. The collection includes photographs of the Liberian towns and schools Whitten visited in his USAID work, photographs of Liberian government and cultural events, and family photographs.

Explore the museum’s historic photograph collection. The collection is comprised of images of Wylie family members, property, and travels. This online image collection will be expanded upon over time, as sketches, property maps, and other materials are digitized.

This collection of Stephanie C. Kane’s ethnographic photographs documents everyday life and holidays among the Emberá people living along the rivers of the Darién tropical forest between 1983 and 1985. This region of riverine forest is known as the Darién Gap, as it is the only gap in the Pan American Highway that runs from Alaska to Tierra del Fuego. The photographs also include images of the Wounaan and Catio (along with the Emberá, the three indigenous groups known collectively as the Chocó) and people of African descent. After coming across the forested mountains by canoe from the Department of Chocó, Colombia, mostly in the 20th century, these groups resettled along the rivers of the Darién and became Panamanian citizens. Kane studied the Emberá’s transition from dispersed settlements to villages, focusing on the ways in which women and men negotiated changes inherent in development and national integration. The Organization of American States and the Institute of Latin American Studies of the University of Texas at Austin funded her field research. The photographs were taken during the years when the Emberá were writing their constitution and establishing their indigenous reserve. For the first time, the Pan American Highway reached as far as the regional town of Yaviza, two to three days travel time downriver by canoe from the villages, while upriver, a large swath of forest became a UNESCO Biosphere Reserve. Between these large scale events, initiated by forces outside their realm, the Emberá, among whom Kane lived, continued to survive principally by hunting, fishing, cultivating staples (plantains, corn, rice, manioc), gathering wild foods and medicines. In addition, they built canoes and open-walled, stilt homes using materials gathered in the forest and healed the sick with plants and shamanic ritual. For stories that will animate these images, see Kane’s book, The Phantom Gringo Boat: Shamanic Discourse and Development in Panama (Smithsonian, 1st ed, 1994; Cybereditions, 2nd ed, 2004).

Photographs of Kumasi Central Market (Ghana), one of the largest marketplaces in West Africa. A 1979 survey found its traders were 70% women and 70% from the locally dominant Asante ethnic group. The images show retail and wholesale areas, street scenes, special events, portraits of traders and their home life in this and other related trading sites in Kumasi and throughout Ghana. Black and white photos by Gracia Clark during ethnographic fieldwork 1978-80. Color images from slides by Gracia Clark and Carmen Paz, date from 1979 to 2006, as noted.

Photographer and newspaperman Frank Hohenberger spent forty-seven years recording the life, customs, and scenes of the hills of Brown County, Indiana, with side trips and hired assignments in other areas of Indiana, Kentucky, South Carolina, and Mexico. Thousands of images taken from 1904-1948 of landscapes, buildings, and people testify to Hohenberger's belief, recorded in his diary, that "pictures speak the only language all mankind can understand."

For more information about the collections, visit the Lilly Library web site: http://www.indiana.edu/~liblilly/collections/overview/hohenberger.shtml

Photographs from IU East’s Richmond Campus. Images in this collection span from the early days of IU East, when it was the Earlham College-Indiana University Extension Center on the Earlham Campus in 1947 to IU East’s own campus in the present day. The types of photos in this collection depict commencement, student activities, faculty portraits, campus construction, buildings, and events.

A previously unknown collection of over 25,000 black and white architectural photographs were discovered in a dilapidated house owned by the Indiana Limestone Company in Bedford, Indiana. These images of residences, churches, universities, museums, businesses, and public and municipal buildings, many of which were designed by prominent architects, document the use of Indiana limestone throughout the United States from the late 1800s to mid-1900s. Remarkably holistic in scope, these photographs and their accompanying metadata can be studied across major disciplines such as American history, architectural history, history of technology, urban studies, history of photography, historic preservation, labor history, and the history of geology.  The Indiana Geological Survey, the custodian of the Indiana Limestone Photograph Collection, in partnership with the Indiana University Libraries has been cataloging, digitizing, archiving, and publishing online a growing subset of the photographs thanks to funding provided by Indiana University’s Office of the Vice Provost for Research and an LSTA grant awarded by the Institute of Museum and Library Services and administered by the Indiana State Library.

Tax-deductible contributions can be made for the ongoing digitization and preservation of the Indiana Limestone Photograph Collection:

The Jerry Slocum Collection of mechanical puzzles embodies a lifetime pursuit of the intriguing and the perplexing. The result is the largest assemblage of its kind in the world, with over 34,000 puzzles. Unlike word or jigsaw puzzles, mechanical puzzles are hand-held objects that must be manipulated to achieve a specific goal. Popular examples include the Rubik's cube and tangrams. The puzzles in the collection represent centuries of mathematical, social, and recreational history from across five continents. When complete, this database will allow researchers and puzzle enthusiasts to search and browse the entire puzzle collection.

For more information about the Slocum puzzle collection, please visit the Lilly Library web page.

Tom Draper was hired as a salesman by RCA in 1970 while still in business school. He worked his way up to promotions in the company’s newly established black music division and eventually became vice president of A&R. In 1975, he was hired to do marketing and promotion for Warner Bros. Records. During his tenure there, from 1975 to 1987, Warner Bros. Records’ black artist roster not only flourished but surpassed those of all the other major labels. Draper's collection documents the career of an African American music executive and covers his tenures at RCA Records and Warner Bros. Records. The bulk of the collection consists of 80 publicity photographs taken during music industry events. Also included is correspondence, press clippings and programs for concerts produced by Draper.

The full collection finding aid is accessible at: http://purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAD5057.

Karen Shearer began her career as a publicist for Capitol Records before moving to the Westwood One Radio Network circa 1980 where she worked for the next decade as a producer on several popular music programs including Special Edition, a weekly program featuring the music of popular black recording artists. Featured here are photographs from the Special Edition series of Shearer’s collection, which consist primarily of artist publicity portraits of African American musicians from across a range of popular genres (rap, R&B, jazz, soul, rock, funk, etc.). Shearer’s collection also includes additional artist publicity materials as well as radio transcripts for Special Edition, That’s Country Music, Rock Chronicles, My Top Ten, History of Rock ‘n Roll, and various specials, including programs on Elvis Presley, Jimi Hendrix, and the Rolling Stones. The full collection finding aid is accessible at: purl.dlib.indiana.edu/iudl/findingaids/aaamc/VAB9514.

For more information, visit the Archives of African American Music and Culture.

From the late 1960s to the early 1980s, Richard Feingold photographed life on the IU South Bend campus, first for the student newspaper, The Preface, and later as a university employee. He documented many facets of a rapidly expanding campus, from the Electronic Music Lab to the newly created men’s basketball team and cheerleading squad, from poetry readings and student protests to dedication ceremonies for new campus buildings, from commencements to visits by special guests such as Senators Birch Bayh and Dan Quayle. Feingold’s negatives were donated to the Indiana University South Bend Archives in July 2017.

The bulk of Indiana University’s Russian Military Topographic Map Collection is made up of the Soviet Red Army topographic maps, which were produced for defense and economic planning. This collection came to Indiana University from the duplicate map room of the Library of Congress Map Collection in the early 1990s. These maps cover not only parts of Russia and Eastern Europe, but extend as far north as Scandinavia, as far west as Germany and the Netherlands, and as far south as Iran.

An interactive index map of the collection is located here: http://cdb.io/1ITbIEA

Explore maps from the collections of the Lilly Library. Information about the Lilly Library, its collections, and programs is available on its web site.

This collection consists of the Maps Series of The Great Lakes-Ohio Valley Ethnohistory Collection, 1953-1966, a unique assemblage of primary and secondary resources pertaining to the Native American occupancy of the region. These maps and other items were assembled to support the Great Lakes-Ohio Valley Ethnohistory Project. This U.S. Department of Justice funded research activity was responsible for the preparation of in-depth reports concerning American Indian land use and tenure. These reports were intended to be used in the government's defense against cases involving alleged treaty inequities and which were brought before the Indian Claims Commission, a body and a process authorized by federal legislation signed into law on August 13, 1946.

Malcolm L. Fleming is a retired Indiana University Professor of Education. From 1942-1944 he served in the U.S. Army Signal Corps, and in 1945 he became an Official Army Photographer. During his time as Official Army Photographer, Fleming also used his own personal camera to shoot a small collection of approximately 500 images that he has donated to the Indiana University Office of University Archives and Records Management.

Franchthi Cave is located near the southwestern tip of the Argolid peninsula across the bay from the fishing village of Kiladha, Greece. In 1967, Tom Jacobsen began directing excavations inside the cave, under the sponsorship of Indiana University, Bloomington, on a permit issued through the American School of Classical Studies in Athens. Excavations continued in 1968, 1969, 1971, 1973, 1974, 1976, and 1979, expanding to include the area on the slopes in front of the cave along the shore, called the “Paralia,” underwater exploration of the spring at the very back of the cave, and geophysical soundings and coring in the Bay of Kiladha. The work produced well-stratified remains from the Upper Paleolithic through the end of the Neolithic, with surface finds indicating visits, if not occupation, during most phases of historical times up to the present. Thirteen volumes in the series of specialist reports have appeared to date (later 2012), published by Indiana University Press; four others are in preparation, as is a synthesis of the entire project’s results (by Catherine Perlès). On Jacobsen’s retirement in 1997, K. D. Vitelli took over as Director of the project.

The archives of the Franchthi Project are maintained by the IU Archives, and include, in addition to the color images included here, an extensive collection of black and white negatives and contact prints, copies of the excavation notebooks, the original inventory books for all finds, correspondence related to the project and its symposia held in Bloomington, a few soil samples, copies of the volumes in the Franchthi publication series, copies of many articles by Franchthi staff, and other related documents. The original field notebooks and copies of the inventory books are housed, along with all of the finds from the project, in the Archaeological Museum, and it’s storerooms in the Leonardo, in Nafplio, Greece. Additional copies of notebooks are in the archives of the American School in Athens, and in the Mayor’s office in Kranidhi, the political center for Kiladha.

Queries may be addressed to Brad Cook at bcook@indiana.edu

This collection of photographs represents the results of a long field project to record the numerous Demotic graffiti located on the temple of the goddess Isis located on Philae Island (Aswan, Egypt). These graffiti are written in the Demotic script used in Egypt from around 650 BC through the fifth century AD. Most of these graffiti are the personal prayers of pilgrims who visited the temple from south of Egypt during the third to sixth centuries AD.

Demotic is the fourth of five stages of the ancient Egyptian languages and is known for its extremely difficult script to read. These texts were mainly written by Nubians from south of Egypt when they came up to the temple of Isis to worship. Within the collection of graffiti are the last dated Demotic texts which are known, the last dating to December of AD 452. These are significant because the temple of Isis was the last traditional temple in Egypt which had begun to convert to Christianity mainly during the third century AD. The temple of Isis was kept open by diplomatic treaty between the Roman empire and the Meroitic Kingdom to the south. The temple was not closed until AD 538 during the reign of Justinian. These graffiti provide significant information of the continuation of traditional cults in Egypt long after most Egyptians had converted to Christianity.

The first major work on the graffiti was done by F. Ll. Griffith, who published 450 of the graffiti in his volume Catalogue of the Demotic Graffiti from the Dodecaschoenus (Oxford, 1937). This project recorded an additional 534 graffiti. These photographs serve as a companion to the volume to be published by Lockwood Press (Atlanta) later in 2015.