Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. / Disc PCF074 Session, April 24, 1993, 11:30-12:30 p.m.: Summative panel of invited guests /moderated by Raymond Federman
Recorded at the Poetry Collection, University at Buffalo, April 22-24, 1993 on nine 90 minute Maxell sound cassettes.
Recording of the Samuel Beckett conference held at the Poetry Collection, University at Buffalo. Conference was sponsored by the Department of Comparative Literature with support from the English Department.
The Poetry Collection of the University Libraries. Digital conversion was made possible through a 2009 National Endowment for the Humanities grant.
IN COPYRIGHT. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Contact the Poetry Collection for more information.
Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. /Disc PCF073. Session 1: Going to Bethickett on the way to heaven: the post-modern politics of self-reflection /Marcel Cornis-Pope.
Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. /Disc PCF072 Session 4, April 23, 1993: An evening of readings in French and English in various voices of works by Beckett.
Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. / Disc PCF071 Session 3, April 23, 1993, 1:30-2:45 p.m.: Da Capo: Paleo-Beckett and post-modern Proust /Richard Macksey.
Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. / Disc PCF070 Session 2, April 23, 1993, 10:30-11:45 a.m.: Unwording beyond negations, erasures, and repetitions: Samuel Beckett's committed silence /Carla Locatelli.
Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. / Disc PCF069 Session 1, April 23, 1993, 9:00-10:15 a.m.: Beckett and the politics of the void /Christian Prigent.
Engagement and indifference: Beckett and the political : conference at the University at Buffalo, April 22-April 24, 1993. / Disc PCF068 April 22, 1993: Conference welcome /Kerry Grant --Introduction /Henry Sussman --[The end] (Beckett) /Raymond Federman --Session 1, April 22, 1993, 3 p.m.: The politics of small differences /Gabriele Schwab.
Dr. Martin Luther King Jr. speaking at Kleinhans Music Hall
An audio recording of Dr. Martin Luther King Jr. speaking at Kleinhans Music Hall.
State University of New York at Buffalo. University Archives
State University of New York at Buffalo. University Libraries
COPYRIGHT NOT EVALUATED. The copyright and related rights status of this Item has not been evaluated. Please refer to the organization that has made the Item available for more information. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. This digital collection is made available for research and educational purposes. Researchers are responsible for determining copyright status, and securing permissions for use and publication of any material. Copyright for items in this collection may be held by the creators, their heirs, or assigns. Researchers are required to obtain written permission from copyright holders and the University Archives prior to reproducing or publishing materials, including images and quotations. For inquiries about reproduction requests and permissions, please contact the University Archives. If you believe material in our digital collections infringes copyright or other rights, please review our Notice and Takedown Policy for information on how to report your concern.
The desire for knowledge or the phantasms of knowledge n French literature in the nineteenth and twentieth centuries
Sound recording of the remainder of the 1970 opening lecture from Michel Foucault's course on "The desire for knowledge or the phantasms of knowledge [désir de savoir ou les fantasmes du savoir] in French literature in the nineteenth and twentieth centuries." Also includes lecture on the Marquis de Sade (00:50:00), followed by discussion (01:41:00).
Sound recording of the tenth lecture from Michel Foucault's course, "Histoire de la verité" or "The History of Truth." Lecture covers medieval penal systems including confession, followed by discussion. Lecture eleven (01:40:00) covers the relation between proof and inquiry and torture. Brief discussion follows, ending the course. Also includes a recording of the beginning of the first lecture of Foucault's 1970 course on "The desire for knowledge or the phantasms of knowledge [désir de savoir ou les fantasmes du savoir] in French literature in the nineteenth and twentieth centuries" (02:44:00).
Sound recording of the end of the eighth lecture from Michel Foucault's course, "Histoire de la verité" or "The History of Truth." Lecture nine follows (00:03:00) on war, money and justice in the Middle Ages.
Sound recording of the seventh lecture from Michel Foucault's course, "Histoire de la verité" or "The History of Truth." Lecture on Oedipus followed by discussion (01:00:35). The eighth lecture follows (02:02:00), beginning the second half of the course. Foucault reviews themes from the previous lecture, then speaks about the Middle Ages. Tape ends partway through lecture.
Sound recording of the sixth lecture from Michel Foucault's course, "Histoire de la verité" or "The History of Truth." Lecture reviews themes covered to this point in this course and includes discussion of method, including on Marxism and ideology. Foucault discusses Oedipus, Homer and tragedy. Lecture followed by discussion.
Sound recording of the fourth lecture from Michel Foucault's course, "Histoire de la verité" or "The History of Truth." Lecture on money followed by discussion, ending at 01:45:00. Fifth lecture on nomos begins at 01:46:00.
Sound recording of a lecture by Michel Foucault, circa 1972. Assumed to be a continuation of discussion from the second lecture from Foucault's course, "Histoire de la verité" or "The History of Truth." Discussion ends at 00:33:00 and a third lecture on dikaion begins, followed by class discussion.
Sound recording of introductory session of Michel Foucault's 1972 course, "Histoire de la verité" or "The History of Truth." Includes material delivered by Foucault in Paris as "Lectures on the Will to Know." Lecture followed by discussion. Session ends at 01:58:00, then transitions to a recording of a second lecture.
Printed manuscript commenting on Robert Frost's poem "Stopping by Woods on a Snowy Evening."
State University of New York at Buffalo. Poetry Collection
IN COPYRIGHT. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Bernhard Frank
Printed manuscript commenting on Robert Herrick's poem "Upon Julia's Clothes" and William Shakespeare's Sonnet 29.
The composition features three elegantly dressed women set against a rich green background. The central figure, with long golden hair and a serene expression, sits or stands with her hands delicately raised to her chest. Her gown, decorated with gold detailing and flowing white fabric, emphasizes her prominence. On either side, two women in matching green dresses hold bunches of white flowers and face slightly toward the center. The symmetrical composition and floral motifs lend a sense of ritual or symbolic reverence. Signed “Margaret Macdonald 1897” in the lower left.
Pencil, watercolor, gold and silver paint on vellum
Mackintosh, Margaret Macdonald, 1864-1933
State University of New York at Buffalo. Rare Books Collection
'A Ship with Shields Before the Sun', from 'Near Avalon'
A stylized composition featuring a long, dark ship at the center of the foreground, its side decorated with a row of round oarlocks. Several figures, adorned with shields stand in the ship with hands seemingly clasped in prayer. In the background sits a white ship with an angelic figurehead. A group of tall, ethereal figures with long hair and golden circlets gather in a ritualistic stance on the right of the white ship. Above them, flowing golden lines and arcs evoke sunlight or celestial presence. Ahead of them, to the left, a large sail features a portrait with a serene expression. The background is filled with purple and muted tones. The painting is signed “Frances E. Macdonald 1897” and inscribed with the title at the bottom: “A SHIP WITH SHIELDS BEFORE THE SUN.”
Two figures, clothed in flowing garments, face one another in an embrace under a luminous full moon. Red roses and stylized lines frame the figures in the upper background. The lower portion of the composition features the gold-lettered inscription: “TWO RED ROSES ACROSS THE MOON.” Signed “Margaret Macdonald 1897” in the lower right.
A kneeling figure in a richly detailed, floor-length gown bends forward, reaching out to gently touch the face of a reclining figure. The kneeling figure wears a decorated headdress atop long, flowing hair. The lower part of the composition features dark, swirling patterns resembling water or shadow. The background includes arched and abstract forms. Signed "Frances E. Macdonald, 1897" in the lower left.
'The Death of Jehane, from 'Golden Wings'
A central figure lies motionless in a boat, dressed in an ornate robe and positioned horizontally with eyes closed. Several black swans with red beaks surround the boat, and others floating nearby. The water is dark and reflective, and the background fades into deep shadow. Subtle architectural or natural forms appear faintly in the distance. Signed "Frances E. Macdonald, 1897" in the lower left.
'Jehane and the Golden Cup, from 'Golden Wings'
A central figure in a long, flowing, semi-transparent gown decorated with gold accents holds a golden chalice aloft. The figure's arm is extended toward a row of stylized, expressive faces arranged in a horizontal panel at the top of the composition; several appear to be singing or chanting, with open mouths and visible gestures. The figure's gown features heart and crescent motifs and trails behind in soft curves. The overall palette is muted, with touches of gold and pale lavender. Signed “Frances E. Macdonald 1897” in the lower left.
A delicate figure with long hair and a patterned gown stands at the front of a boat with a curved green prow and decorative elements. Several white swans glide in the water nearby. There is a raised structure at the stern of the boat, over which hangs a sheet, creating a covered space from which to control the rudder. The background is dark and textured, with indistinct elements suggesting a shoreline or enclosure. The composition has a dreamlike, ethereal quality. Signed “Frances E. Macdonald 1897” in the lower left corner.
Three pale, elongated figures appear with downward-tilted heads, positioned in a row among vertical elements that resemble stylized tree trunks or architectural columns. The background is a mix of browns and purples with faint circular shapes and rectangular blocks, creating a somber, layered effect. The central figure leans slightly forward, and all figures are rendered with soft, translucent outlines. The painting is signed "Margaret Macdonald 1897" in the bottom right corner.
Four elongated, stylized figures occupy a shadowed, mystical environment. One figure near the center bends forward with arms outstretched, facing a taller figure who stands opposite. Two additional figures appear behind the central figure, with faint outlines and soft green and pink tones. A long stem with two red flowers rises from the ground between the main figures. Above them is a large circular form resembling a celestial body or dome, possibly the underside of a large bell, painted in dark blue and gray tones. The artwork is signed "Margaret Macdonald 1897" in the lower left corner.
A standing figure in a long, softly draped gown occupies the center of the composition, with stylized yellow flowers flowing around their body and hair. Their expression is neutral, and the gown features shades of white, pink, and violet. Beside them, a second figure is bent forward, partially crouched or kneeling, with hands covering their face. The background is rendered in muted tones with minimal detail. The work is signed "Margaret Macdonald 1897" in the lower left corner.
A kneeling figure in a long, pale gown leans against a bedside or low surface, clasping their hands in front of them. The fabric of the garment flows outward in soft curves, decorated with small heart shapes and a delicate belt. Another figure lies back on the surface, unclothed from the waist up, with one arm extended across the edge. In the background, two figures are shown from the waist up, draped in veils and facing forward with neutral expressions. The scene is signed "Frances E. Macdonald 1897" in the lower left corner.
A softly rendered figure faces left in profile, with a gentle tilt of the head and closed eyes. The figure wears a decorative white cap with green accents and appears to hold a stalk of small orange flowers. The figure's body is subtly outlined and mostly blends into the subdued brown background. Near the bottom left is the signature “MARGARET MACDONALD 1897–” written in black ink. The style is ethereal and minimal, with restrained color and fine detailing.
'And Even Now a Harsh Voice', from 'Rapunzel'
A central figure with long light-colored hair stands in a voluminous red-toned dress adorned with delicate gold patterns and a heart-shaped pendant. The figure’s hands are raised to its head. Four semi-transparent forms appear, two on either side. The background is dark and atmospheric, and gold text at the bottom reads: “AND EVEN NOW A HARSH VOICE SEEMED TO HANG ABOUT MY HAIR,”. The piece is signed “FRANCES E. MACDONALD 1897–” in the lower left corner.
'Guendolen and the Prince, from 'Rapunzel'
Two stylized figures are shown reaching toward each other. The figure on the right wears a long, flowing garment adorned with green circular accents. Their hair is long and surrounds both figures, enveloping much of the composition. Both figures are framed by soft, rounded floral motifs in the background. The artwork is signed “FRANCES E. MACDONALD 1897” in the bottom right corner.
'Ozana Shall I Pray for Thee?', from 'The Chapel in Lyoness'
Two figures recline closely in an embrace against a dark background. The figure on the left has long, sweeping hair that curves around both figures, enclosing them in a circular form. The other figure is partially covered by a dark garment marked with light-colored crosses. A red object, possibly a flower, is held between them. Gold text appears along the bottom edge reading, “OZANA, SHALL I PRAY FOR THEE? HER CHEEK IS PRESSED TO THINE!” The work is signed “FRANCES E. MACDONALD 1897.”
'Alas Alas I Know Not What To Do', from 'King Arthur's Tomb'
Two elongated, stylized figures stand in close proximity against a dark background. The figure on the right wears a flowing gown adorned with dangling gold heart shapes and a headdress with golden lines. One hand is raised to touch the forehead of the figure on the left. The other figure, dressed in decorated garments, holds their hands crossed at their chest and bows their head somberly. A third figure lying in repose, with arms across their chest, appears near the center between the two standing figures. At the bottom, gold lettering reads, “ALAS! ALAS! I KNOW NOT WHAT TO DO.” The piece is signed “FRANCES E. MACDONALD.”
'Yet am I Very Sorry for my Sin', from 'King Arthur's Tomb'
A central figure in a voluminous, dark purple gown kneels beneath a crucifixion scene. The gown is adorned with dotted gold accents, and the figure's hair extends long down the back. Above is a depiction of a figure on a cross with a halo-like circle around the head, rendered in a simplified, stylized form. The background is dark with subtle purples and reds, and the bottom edge features gold text reading, “YET AM I VERY SORRY FOR MY SIN.” The artwork is signed “MARGARET MACDONALD 1897.”
'Long Ago in the Old Garden Life', from 'King Arthur's Tomb'
A stylized seated figure in a long, layered gown is shown in profile, facing left. The figure wears a headdress or veil and a garment with purple and gold detailing. Behind the head is a circular form resembling a halo. The bottom hem of the gown is decorated with small purple heart shapes. Along the lower edge, gold text reads: “LONG AGO IN THE OLD GARDEN LIFE.” The work is signed “MARGARET MACDONALD 1897.”
'The Kiss Wherewith We Kissed in Meeting that Spring Day', from 'The Defence of Guenevere'
A central figure stands facing forward, wearing a long flowing gown with pink and gold accents. Two long braids extend down the front of the figure. The background features a dotted, textured pattern with another faint, sketch-like figure facing the central one. At the top, gold text reads: “THE KISS WHEREWITH WE KISSED IN MEETING THAT SPRING
'A Great God's Angel', from 'The Defence of Guenevere'
A stylized figure stands front-facing within a vertically elongated almond-shaped mandorla. The figure has a circular halo and wears a long, ornate robe with symmetrical white and gold designs, and dark maroon elements extending from the shoulders to the feet. The background is gold-toned with delicate linear accents. The inscription at the bottom reads "A GREAT GOD’S ANGEL." The artwork is signed “Margaret Macdonald 1897” in the lower left corner.
'Guenevere and the Knights, from 'The Defence of Guenevere'
A stylized drawing depicts a central figure seen from behind, dressed in an elaborate gown with long flowing fabric and decorative patterns in red, gold, and pale tones. The figure has long braided hair and is facing a group of five bowed figures, each holding a single long-stemmed flower near their face. The background is dark and softly textured. The piece is signed "Frances E. Macdonald 1897" at the bottom right.
Pan-American Emergency Hospital with staff in front of entrance
Pan-American Exposition (1901 : Buffalo, N.Y.)
Group of people standing on the front steps of a building labeled "Emergency Hospital." The group consists of medical staff dressed in dark jackets with light trousers and others in light-colored uniforms. They are arranged in several rows with some standing on the steps and others just below the entrance. The building features a large arched doorway and is partially covered with climbing plants. Two large planters flank the steps.
Robert L. Brown History of Medicine Collection
Notes on the Autopsy on President McKinley, September 14, 1901.
A six page typed document covering the autopsy of President William McKinley following his death on September 14, 1901.
Matzinger, Herman G. (Herman Gustavus), 1860-1931
Medical and Surgical Report of the case of the Late President of the United States. Special Appendix
Medical and Surgical Report of the Case of the Late President of the United States. Special Appendix. Extracted from the Report of the Surgeon-General, U.S. Navy by Dr. Preley M. Rixey, Medical Inspector, United States Navy (24 pages).
"Funeral: McKinley's body seen by thousands of mourners," The Buffalo News.
Newspaper clipping from the Buffalo News of an article titled, "Aging Ledger preserves details of McKinley funeral preparations", continued.
"Aging ledger preserves details of McKinley funeral preparations, by Karen Brady," The Buffalo News.
Newspaper clipping from the Buffalo News of an article titled, "Aging Ledger preserves details of McKinley funeral preparations".
"Jim Bishop: Reporter. Assassination in Buffalo," Buffalo Courier Express.
A newspaper article from the Buffalo Courier Express titled "Assassination in Buffalo".
"William McKinley. Certificate of the Coroner. Formal Record of McKinley's Death for Bureau of Vital Statistics." page 6630
United States -- Politics and government
Printed page of a publication covering the death and autopsy of President William McKinley, page 6630.
Messages and Papers of the Presidents. William McKinley, Volume 10, pages 6623-6624.
Printed publication covering the death and autopsy of President William McKinley (2 pages).
La Exposición Pan Americana Buffalo 1901
A Spanish-language program for the Pan-American Exposition, printed in color by The Courier Co. Litho, Buffalo (42 pages)
Official Daily Program of the Pan-American Exposition, Railroad Day
A daily program of the 1901 Pan-American Exposition, Railroad Day, with a map and index to the midway (11 pages)
Dr. Matzigner's Notes on President McKinley's Case
Notebook of Dr. Matzinger's handwritten notes and observations regarding President McKinley's autopsy (17 pages)
Report on the bacteriological examination in the case of the late President McKinley
Typewritten draft of a report on the bacteriological examination of President William McKinley, in case the president was killed by some sort of bacterial infection (1 page).
Early Draft of Dr. Matzinger's Bacteriologic Examination, 1901.
A typed and hand-annotated draft report of the examination of President McKinley, carried out in case the president was killed by a bacterial infection, not the gunshot wound.
Postcard from Mrs. G. Dorsch to Mrs. I. Farnsworth
Pan-American postcard, illustrating building where President McKinley was shot. The letter does not contain information pertaining to President McKinley nor Dr. Matzinger.
Letter from Eugene Wasdin (for the consulting surgeons) to Dr. Matzinger
Handwritten letter to Dr. Matzinger from a colleague providing updated lab results regarding the ailing President William McKinley, page 2.
Letter from Eugene Wasdin to Dr. Matzinger
Handwritten letter in cursive script to Dr. Matzinger from a colleague providing updated lab results regarding the ailing President William McKinley, page 1 (front).
Letter from Dr. Rixey to Dr. H.G. Metzinger
Typed letter from President McKinley's personal physician to Dr. Matzinger confirming the receipt of the president's death certificate.
Telegram from N.P. Webster, Clerk to Dr. H.Y. Matsinger
Telegram from Dr. Rixey, President McKinley's personal physician, to Dr. Matzinger, requesting he send the updated bacteriological and microscopical reports as soon as possible.
"Admit Bearer," a ticket to the funeral of President McKinley
A printed ticket to the funeral of President William McKinley.
An envelope carrying the invitation to President William McKinley's funeral service
A rectangular card with handwritten cursive text. The card is slightly stained and aged. The writing reads: “Mrs. H. G. Malzuger, 546 Lafayette Avenue.”
"Services in Memory of William McKinley, Late President of the United States"
A printed invitation addressed to Dr. and Mrs. H.G. Matzinger to the funeral service of President William McKinley. The time and names of the addressees is handwritten.
Exterior view of square windows and red-orange ballards at the Carborundum warehouse and offices in Niagara Falls, New York. A powerline and pole is seen in the foreground.
Carborundum Company Warehouse and Office (Niagara Falls, N.Y.)
Wide view of a large brick industrial building with two rows of rectangular windows—one near the top and another closer to the base. Orange cylindrical bollards are evenly spaced in front of the lower windows. Overhead power lines and a wooden utility pole cast shadows on the building’s façade. The ground is paved and the sky is clear and blue.
The description and alternative text may have been partially generated using an AI tool and may contain errors or omissions.
Close-up side view of square windows and red-orange ballards at the Carborundum warehouse and offices in Niagara Falls, New York
Close view of the lower section of a long brick industrial building showing a row of small square windows, each with a light-colored concrete frame and louvred metal panes. In front of each window stands an orange cylindrical bollard. The building wall extends into the distance, and the ground is paved with some scattered debris. Overhead utility lines cast shadows on the brick surface.
Side view of square windows and red-orange ballards at the Carborundum warehouse and offices in Niagara Falls, New York
A long, two-story brick industrial building with a uniform pattern of square windows—one row near the top and another closer to the ground. The windows have louvered or barred panes. A series of evenly spaced orange bollards lines the base of the building. Overhead utility lines cast shadows on the wall, and the ground is paved.
Exterior view of square windows and red-orange ballards at the Carborundum warehouse and offices in Niagara Falls, New York
A brown brick building façade with two rows of square windows, five on the upper level with louvered or barred glass and five on the lower level covered with blue panels. Orange cylindrical bollards are evenly spaced in front of the lower windows. The ground is paved with asphalt.
A brown brick wall with ten square windows arranged in two horizontal rows—five on the upper level with louvered or barred glass, and five on the lower level covered in blue material. A row of short orange cylindrical bollards is evenly spaced along the bottom edge, in front of the lower windows. The ground is paved, and the sky is clear and blue.
Front view of the concrete sunshade at the entrance to the Carborundum warehouse and offices in Niagara Falls, New York. "CARBORUM" sign is seen in the background.
A view of the front of a rectangular brick building featuring four vertical windows with white curtains and a projecting concrete overhang. The structure is surrounded by green lawn and trimmed shrubs. To the left, part of an adjacent wall displays the word "CARBORUNDUM" in large white letters, though partially cut off. A curb-lined driveway runs along the left edge of the image under a clear blue sky.
Front view of the concrete sunshade at the entrance to the Carborundum warehouse and offices in Niagara Falls, New York
A view of the symmetrical front elevation of a one-story brick building with a flat roof. A wide concrete overhang extends across the top of four vertical windows that are partially covered with light-colored curtains. The structure is surrounded by neatly maintained landscaping, including grass, shrubs, and mulch. A portion of another building with the word "CARBORUNDUM" is visible in the background to the left. The sky is clear and blue.
A one-story brick building featuring a flat roof and a deep concrete overhang above a row of five large vertical windows. The windows are framed by brick columns and covered with light-colored curtains. In front of the building is a narrow brick-paved walkway and a landscaped area with grass, shrubs, and small bushes. The sky is clear and blue, and utility lines are visible in the upper left corner.
Detail from the front of the concrete sunshade at the entrance to the Carborundum warehouse and offices in Niagara Falls, New York
A section of a brick building is shown with a wide concrete overhang and tall windows covered with vertical blinds. The sunlight casts angular shadows from the overhang and brick columns onto the windows and wall surface. In the foreground, a paved walkway leads toward a framed rectangular opening in a side wall. A patch of grass and low shrubs is visible at the lower left. The sky is clear and blue.
The view shows the front façade of a brick building featuring two tall, dark-tinted windows partially obscured by vertical blinds. A rectangular concrete overhang spans across the top portion, casting a deep shadow over the windows and brick support column. A large shrub is visible at the bottom right corner of the frame. The sky above is clear and blue.
Detail from below the concrete sunshade at the entrance to the Carborundum warehouse and offices in Niagara Falls, New York
A view looking upward along the side of a brick building, focusing on a deep concrete overhang that stretches overhead. The underside of the overhang shows discoloration and wear. Vertical window blinds are visible behind a large glass window on the left, and multiple vertical brick piers support the overhang. Sunlight casts angular shadows across the structure, and a portion of a second brick wall appears in the lower right.
Detail of the concrete sunshade and window of the Carborundum warehouse and offices in Niagara Falls, New York
A sharply angled view looking up at the corner of a brick building, showing intersecting walls and a concrete beam that casts a strong diagonal shadow. The underside of the beam reveals weathering stains. A portion of a window with vertical blinds is partially visible at the bottom right. The sky above is clear and bright blue, emphasizing the contrast between light and shadow.
Detail of brick wall, window, and concrete sunshade at the Carborundum warehouse and offices in Niagara Falls, New York
View of a section of a modern brick building showing two vertical columns projecting from the wall, creating deep angular shadows across the surface. Behind the columns is a recessed window with vertical blinds partially visible in the upper corner. Strong sunlight emphasizes the texture and geometry of the brickwork and shadows.
Entrance to the concrete sunshade at the Carborundum warehouse and offices in Niagara Falls, New York
Frontal view of a brick architectural element featuring two rectangular cutouts—one near the top and a larger one at ground level—aligned to form a corridor-like visual through the structure. On the left, part of a larger window is visible with reflections of trees. Low shrubs and a manicured lawn surround the structure, with bright daylight and a clear blue sky overhead.
Detail of the concrete sunshade at the entrance to the Carborundum warehouse and offices in Niagara Falls, New York
View of a building's brick façade at a corner, showing a concrete overhang casting shadows above tall, curtain-covered vertical windows. A smaller rectangular window is set into the side wall below a projecting concrete frame. The scene is brightly lit with minimal shadow, under a clear blue sky.
Close-up of the front corner of a brick building, highlighting a projecting concrete overhang above a set of recessed vertical windows. A small window is also visible on the adjacent wall, partially shaded. The structure features sharp angles and deep shadows against a clear blue sky.
A close-up view of the concrete sunshade at the entrance to the Carborundum warehouse and offices in Niagara Falls, New York
Close-up view of the side and front corner of a brick building. The side wall features a repeating pattern of deep vertical recesses, casting sharp shadows. A smaller entry section with a concrete overhang and curtained windows extends from the front. Shrubs and low greenery line the edge of the lawn next to a paved driveway. A red chimney is visible rising from the roof against a clear blue sky.
Exterior of the Carborundum warehouse and offices in Niagara Falls, New York. Two large square windows with white curtains are visible on the right side of the image. The work "CARBORUNDUM" is seen in the background.
A view along the side and partial front of the Carborundum building, characterized by dark brown brick walls and geometric architectural detailing. The building features tall, narrow vertical recesses along one side and a flat-roofed entrance structure with curtained windows. The surrounding area includes a paved driveway, trimmed shrubs, and grassy landscaping. The name "CARBORUNDUM" is displayed prominently in white letters on a distant wall. The sky is clear and blue.
Exterior of the Carborundum warehouse and offices in Niagara Falls, New York. Four large square windows with white curtains covered by a concrete sunshade are in the center of the image. The work "CARBORUNDUM" is seen in the background.
A one-story brick structure with a flat concrete overhang and four large curtained windows on the façade. The building is surrounded by neatly trimmed bushes and a grass lawn. To the left, a partial view of an adjacent wall displays the letters "BORUNDUM," suggesting the presence of industrial facilities. The sky is clear and blue.
A close-up view of the exterior of the Carborundum warehouse and offices in Niagara Falls, New York. A row of red-orange ballards are seen along the side of the building.
View looking upward along a tall brick wall with a repetitive row of small square windows positioned high near the roofline. At ground level, a series of orange cylindrical bollards is evenly spaced along the base of the wall. The wall casts shadows from overhead utility wires, and the area is lit by strong sunlight under a clear blue sky.
Oblique view of a long brick building featuring a uniform row of small, square, glass-block windows near the roofline. A line of evenly spaced orange cylindrical bollards runs along the base of the wall, parallel to a paved lot or street. Utility wires cast diagonal shadows on the wall, and the scene is lit by clear daylight under a blue sky.
Exterior of the Carborundum warehouse and offices in Niagara Falls, New York. There is a row of red-orange ballards along the bottom of the image and square windows along the top.
Close-up view of a brick exterior wall with a row of seven small, evenly spaced square windows near the top. The windows are filled with green-tinted glass blocks. At ground level, a series of orange cylindrical bollards are arranged in a line, spaced to prevent vehicle access. The surface of the brickwork and the paved ground in front are clearly visible under daylight.
Exterior of the Carborundum warehouse and offices in Niagara Falls, New York. A row of red-orange ballards are seen along the side of the building.
A rectangular brick industrial or warehouse building stretches horizontally across the image. The facade features a row of small, square windows near the roofline, each with green-tinted glass blocks. Orange cylindrical bollards are evenly spaced along the base of the building, separating it from the adjacent asphalt road. Power lines cross the top of the frame, and a utility pole is visible in the foreground. The sky is clear and bright blue.
Laying out reinforcing over framework for slab over return air plenum, looking north, Tribune Review Press Building, Greensburg, Pennsylvania
Tribune Review Press building (Greensburg, P.A.)
Several construction workers are installing steel reinforcement bars and conduit across a section of a building foundation between vertical concrete columns. The area in the foreground is filled with a metal rebar grid, while the background shows a smoother concrete slab section with completed formwork. Some columns are encased in black cylindrical molds. Construction materials and tools are scattered around, and a few workers are seated or crouched while working. A person in light-colored clothing walks across the site in the background.
Whole building on the construction site looking southwest, Tribune Review Press Building, Greensburg, Pennsylvania
A wide, elevated view of a construction site shows early-stage building work with vertical concrete columns and a partially completed concrete slab. A large vertical T-shaped concrete structure stands near the center. In the foreground, a mobile trailer sits among scattered stacks of lumber and wooden formwork. Several vehicles are parked along a road in the background, and residential houses and trees line the wooded area beyond the site.
Formwork over return air plenum, central spine looking south, Tribune Review Press Building, Greensburg, Pennsylvania
The image shows a construction site with several vertical concrete columns and workers installing or inspecting components. In the foreground, there are wooden planks, formwork, and construction materials scattered on the ground. A wooden ramp leans against an elevated platform where one worker stands. Another worker is seen handling a hose or cable further back. Temporary wooden stairs are visible to the right, and the background includes a flat concrete surface and an excavated area against a hillside.
Loading dock for incoming newsprint rolls, Tribune Review Press Building, Greensburg, Pennsylvania
The scene shows a construction site with a row of evenly spaced concrete columns, some of which are wrapped in black material. Several workers are visible, engaged in construction tasks around the columns. A large concrete beam juts out in the foreground, supported by a vertical concrete wall. The ground around the structure is bare soil with visible tire and track marks. In the background, the earlier constructed cantilevered canopy from a central column is visible atop a raised section. Trees and grassy terrain surround the site.
Finishing basement floor, west wing and formwork for main floor in place, east wing, Tribune Review Press Building, Greensburg, Pennsylvania
Two construction workers are working on a reinforced slab section, surrounded by a grid of steel rebar between concrete columns. One worker is standing and another kneels to tie or adjust the reinforcement. To the left, a section of smooth, freshly poured concrete is visible. Scattered construction materials, formwork, and wood planks are in the foreground, with more columns and a small building visible in the background.
Finishing basement floor of the west wing, Tribune Review Press Building, Greensburg, Pennsylvania
Two workers kneel and smooth a large, freshly poured concrete floor slab. The slab is surrounded by multiple round columns, some with black formwork and others partially uncovered. In the background, additional rectangular concrete columns and steel reinforcement are visible, indicating ongoing structural construction. Construction materials and wooden planks are piled in the foreground.
Loading dock canopy for outgoing newspapers, south end, east wing, Tribune Review Press Building, Greensburg, Pennsylvania
A single tall concrete column supports a large cantilevered concrete slab forming a T-shape, part of a building under construction. The structure rises from a flat concrete floor with wooden formwork and stairs at its base. Nearby stacks of lumber and vertical rebar indicate ongoing construction. Trees, houses, and a hill are visible in the background under a partly cloudy sky.
A mason, unknown man, Louis Kahn, Dave Mack, unknown man, and Frank Irvin inspecting a second masonry test panel, Tribune Review Press Building, Greensburg, Pennsylvania
A group of six people is gathered around a partially constructed concrete block wall. One person in a dark suit is crouched and pointing to the structure, while others observe or discuss. A person in overalls stands facing the wall. Masonry tools, mortar, and loose blocks are visible around the work area. A blue and red station wagon is parked in the background, and a utility pole stands nearby. The setting is outdoors along a roadside with grass, trees, and houses in the background.
A mason, an unknown man, Dave Mack, an unknown man, Louis Kahn, and Frank Irvin inspecting a second masonry test panel, Tribune Review Press Building, Greensburg, Pennsylvania
A person in overalls and a cap is applying mortar and laying concrete blocks on a sample masonry wall. Five others stand or crouch around the work area, watching closely. The scene takes place outdoors on a dirt patch beside a road. Rubble and extra blocks are scattered on the ground. A blue station wagon is parked in the background, and trees line the roadside.
Louis Kahn, Frank Irvin, and an unknown man inspecting a second masonry test panel, Tribune Review Press Building, Greensburg, Pennsylvania
Three individuals are gathered around a short masonry wall composed of two types of concrete block: plain concrete units on the left and concrete brick units on the right. The person on the left, dressed in a dark suit, appears to be closely inspecting the block surface. The person in the middle wears a white shirt and tie and is engaged in conversation with the person on the right, who is wearing a white t-shirt and trousers. Trees, utility poles, and a house are visible in the background, indicating a semi-rural setting.
Construction site, base of north tower, central spine, Tribune Review Press Building, Greensburg, Pennsylvania
Partially built masonry structure with concrete blocks forming several small chambers or rooms. Black piping runs along and into the structure, and a tall concrete column stands in the foreground. Construction materials such as wood planks, tarps, and a barrel are scattered around the site. The surrounding ground is muddy and uneven, with additional construction equipment and materials visible in the background.
Construction site, basement slab of east wing and Dave Mack in background, Tribune Review Press Building, Greensburg, Pennsylvania
View of a building under construction, showing multiple concrete pillars in place with wooden formwork and scaffolding. The scene includes muddy ground, reinforcing bars, and various tools and materials. Three individuals are present—one standing in the dirt wearing a red shirt, one near the wooden structure to the right, and another in a light coat further down the path holding a camera. A white car is parked in the background near the treeline.
A view of a construction site showing an unfinished concrete structure supported by wooden formwork and scaffolding. Concrete columns and vertical rebar are spaced along a corridor-like pathway. Three individuals are visible: one on the left near the muddy ground, one in the foreground to the right in dark clothing, and another in the background taking a photograph. Construction materials and equipment are scattered throughout, and a white car is parked in the distance.
Construction site, base of south tower, central spine, Tribune Review Press Building, Greensburg, Pennsylvania
The view shows an unfinished construction site with exposed concrete walls and columns surrounding a muddy, debris-filled ground. In the background, a person wearing a white shirt and light-colored pants is climbing a wooden ladder that leans against a concrete wall. Construction materials including planks, pipes, and a cement mixer are scattered throughout the space. The scene is partially shaded and lit by natural daylight.
Construction site, basement slab and basement ceiling form, east wing looking north, Tribune Review Press Building, Greensburg, Pennsylvania
The scene captures a partially constructed concrete structure with extensive wooden formwork in place. Wooden planks and braces span the area, with rebar and red wire ties visible across the site. Elevated concrete platforms supported by temporary posts are under construction. A worker wearing a red shirt and white overalls is partially visible in the lower right portion, holding a tool. A wooden ladder rests against one of the platforms, and various construction materials are scattered throughout the area.
Construction site, reinforcing for main floor, east wing looking north, Tribune Review Press Building, Greensburg, Pennsylvania
A large wooden deck surface is covered with an organized grid of steel rebar in preparation for a concrete pour. Two individuals are seated on the left side of the frame, reviewing construction plans. To the left, a worker stands near a ladder and additional framing materials. Electrical conduit or tensioning ducts run across the rebar grid. In the background, stacks of lumber, construction tools, partially built columns, and parked vehicles are visible, indicating active building activity.
Construction site, all round basement columns and rectangular basement priers in place, partial basement ceiling form, looking northwest, Tribune Review Press Building, Greensburg, Pennsylvania
Two individuals are working on a construction site, assembling wood framing on a concrete slab. The area features exposed reinforcing rods and embedded bolts, likely for securing future structural elements. Multiple concrete columns, some with circular column base plates, are arranged in rows across the site. Wooden formwork and temporary platforms are in place throughout the structure. In the background, additional columns, scattered materials, and a partially graded landscape are visible.