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                <text>An Interview With Mr. and Mrs. Strangelove</text>
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                <text>Maude, MOTIVE Inc.</text>
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                <text>Gender &amp; Women’s Studies</text>
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                <text>A hand-drawn vintage comic, featuring panels about a heterosexual couple being interviewed as though their sexuality is unusual, akin to how queer couples are ridiculed typically. The comic uses exaggerated expressions and satirical dialogue to reverse the stereotypes that are typically applied to queer people to show how unusual and invasive they are. Several panels depict a talk-show setting with awkward questions and playful commentary about relationships and identity, showing just how strange the invasive and inappropriate the questions directed at queer people can be. The overall tone of the comic is comedic and ironic, and those themes are used to be intentionally critical of social norms.&#13;
&#13;
ID:  A vintage comic strip drawn in a caricature style, with panels filled with exaggerated characters in a talk-show format. It is a satire that reverses the stereotypes used towards queer people by depicting a heterosexual couple being interrogated as though their orientation is unusual.&#13;
&#13;
Physical Dimensions: 16” x 11”</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>MOTIVE Inc.</text>
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                <text>Weaver, Sydney</text>
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                <text>A Self-Lathering Brush: The Latest and the Greatest Shaving Aid </text>
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                <text>Full page featuring an ad. The advertisement is about a self-lathering brush in the weekly newspaper. Published at the end of WWI.&#13;
&#13;
Identifier: Three circular images at the top of the page demonstrate the three steps of using the brush. Step one shows a hand dipping the brush in a faucet filled with water. Step two is two hands holding onto the mechanism and indicating to turn the cap of the brush. Step three is a man holding and using the mechanism to his beard that is covered with soap lather. On the sides of the paper, there are two images of the self-lathering brush. The left one shows the inside of the mechanism with callouts and the right one shows the brush with its cover on. Between the two photos are two short columns that provide a detailed description of how to use the brush mechanism. At the bottom of the advertisement, from left to right, is the Legend explaining what every callout means, the logo of the company, and a cutout coupon. &#13;
&#13;
Physical Dimensions: Width: 10 ¾ inches, Length: 14 inches</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>October 12, 1918</text>
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                <text>Tara Zaccagnino</text>
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                <text>La Sac Next Exit</text>
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                <text>Roselyn Salmon </text>
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                <text>Subject: Assault, Masking, History, Art, Poetry</text>
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                <text>A collage of images of a Man and a Women in a car. The women has no eyes, the man is chasing the women beside the car. Underneath a poem says “Reminding us all the while that when driving down the highway with a friend who says he wants to get off at the next exit we should be very careful about the decision we make”.&#13;
&#13;
ID: Collage of people and a vintage car above a poem about making careful decisions when traveling with a friend who wants to take the next highway exit.&#13;
&#13;
Physical Dimensions: 33'' x 44 1/2''</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>March-April 1969</text>
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                <text>Savannah Blalock</text>
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            <description>Information about rights held in and over the resource</description>
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        <name>Men</name>
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        <name>Political Issues</name>
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        <name>Social Issues</name>
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        <name>Stereotypes</name>
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        <name>Women</name>
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        <name>Women’s Rights</name>
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                  <text>Material Culture &amp; Object Studies</text>
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            <description>A name given to the resource</description>
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                <text>T-Square: Precision Made Clear </text>
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                <text>Tech Tools</text>
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            <description>The topic of the resource</description>
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                <text>The 18-inch Acrylic Junior T-Square is made from clear acrylic with a rigid, transparent blade attached perpendicularly to a solid acrylic head. Its smooth surface allows precise measurements and straight edges without visual obstruction. Inch and centimeter markings are engraved along the blade for accuracy. It is lightweight to ensure stability and easy handling during drafting or design work. &#13;
&#13;
 &#13;
&#13;
ID: The 18-inch Acrylic Junior T-Square has a long, clear rectangular ruler blade connected at one end to a shorter, flat crosspiece, forming a perfect “T” shape. The blade is transparent with engraved black measurement markings in both inches and centimeters running along its edges. The shorter crosspiece, called the head, is also clear acrylic but slightly thicker. The overall appearance is sleek and simple, with smooth edges, a glossy finish, and a lightweight build made entirely from clear plastic. &#13;
&#13;
Physical Dimensions: Length: 19 3/4" Width: 7 1/2"</text>
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                <text>The Collection of Derick Saenz </text>
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                <text>2025</text>
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&#13;
Physical Dimensions: Size Small; Roughly 17x27 in.&#13;
&#13;
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ID: A 8 1/4 in. in diameter ceramic soup bowl with a mostly circular shape with both a smooth outside and inside. Its outer rim of the bowl has a curved set of ridges that follow a 2-1 pattern, 2 small ridges then 1 big ridge and repeating, and has lines that glide down the bowl towards its bottom. The bottom of the bowl is purely white with its center featuring the Arcopal logo, name, caution details (microwave and dishwasher safe, not oven safe), and its country of origin. The inside of the bowl is lined with a pink shade at the top that slowly fades into white going downwards. Extra details within the bowl's inside include an assortment of wildflowers that branch out from the top of the bowl. There is one large cluster of these flowers, branching out from green stems multiple pink, blue, and yellow flowers. Alongside this, there are three other flowers, two sprouting out into a pink and yellow flower while the third sprouts another set of pink, blue, and yellow.&#13;
&#13;
Physical Dimensions: 8 1/4 in. diameter, 1 1/4 in. height</text>
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ID: Image 1: A close-up front view of an iPad displaying its lock screen with the time “1:24” and a colorful abstract circular wallpaper. Image 2: A side-angle photo of the same iPad turned off, showing its reflective screen and slim profile.&#13;
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ID: The cylinder black handle is engraved with the word BLACKPINK vertically on both sides and is held in its designated pink stand. A pink circular button sits at the center, with a horizontal pink stripe wrapped around the upper part of the handle. The top of it has two heart-shaped silicone ends in pink, each engraved with BLACKPINK horizontally across. A black wrist strap is attached to the bottom with BLACKPINK written on both sides in pink. In the powered-on pictures, the lightstick emits a pink light from the horizontal pink stripe and both heart-shaped ends.&#13;
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                <text>For the set of five Delta Air Lines trading cards commonly given by pilots or flight attendants to passengers, especially kids and aviation enthusiasts. Features a metallic finish photograph of a specific aircraft from Delta’s fleet. The back of each card includes detailed aircraft specifications such as speed, range, engine type, wingspan, tail height, and seating capacity, along with a three-view diagram (top, side, and front). At the bottom of each card, there is a short description of the aircraft’s production, operational history, and general takeoff performance.&#13;
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&#13;
ID:&#13;
&#13;
Five metallic holographic trading cards&#13;
&#13;
Card No. 51 (Airbus A220)&#13;
Card No. 53 (Boeing 737)&#13;
Card No. 55 (Boeing 767)&#13;
Card No. 58 (Airbus A321) &#13;
Card No. 59 (Airbus A330)&#13;
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&#13;
Physical Dimensions: 2.5 inches by 3.5 inches (6.4 cm by 8.9 cm) per card</text>
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&#13;
ID: A beaded necklace using a wire cord and a silver clasp. Beginning with 4 silver beads then a length of cylinder turquoise beads of varying sizes. A pattern of black metallic beads, turquoise stone beads and oval shaped cream-colored ceramic beads begins. The pattern is same on the left and right sides of the necklace. The center part of the necklace contains two cream-colored beads carved in the shape of roses surrounding a cream-colored ceramic bead carved in the shape of a 2-inch bear claw.&#13;
&#13;
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&#13;
The booklet credits co-writers, supporting musicians, engineers, synthesizer programmers, and other production personnel. It also lists studio information and includes extensive acknowledgments, dedications, and messages addressing civil rights and social justice. The final pages provide contact information for Wonder’s official fan club and conclude with a brief humorous anecdote titled “How We Got There.” Together, the LP set and booklet present the album as both a musical work and a curated cultural document, emphasizing Wonder’s collaborative process, community ties, and artistic intentions.&#13;
&#13;
&#13;
ID:&#13;
&#13;
The image shows a complete copy of Stevie Wonder’s Songs in the Key of Life album, consisting of the main record jacket, two full-size vinyl LPs, one smaller bonus EP, and a printed booklet. The main jacket is positioned on the left side of the image. It displays the album’s iconic cover art: concentric rings of orange, brown, and cream radiating outward from a central circular portrait of Stevie Wonder drawn in thin black linework. The title “Songs In The Key of Life” and the artist’s name “Stevie Wonder” appear in flowing script across the central rings. A small printed sticker in the top left corner reads: “Collector’s Album Includes Two Records, A Something’s Extra Bonus Record, A 24 Page Lyric Booklet.”&#13;
&#13;
To the right of the jacket, three individual discs extend outward in a fanned arrangement. Two of the discs are full-size 12-inch black vinyl LPs, housed in off-white paper inner sleeves. Each sleeve is slightly worn along the edges and shows visible creasing from age and handling. Behind them is a smaller 7-inch black vinyl EP in its own sleeve, distinguishable by its reduced diameter and positioned slightly closer to the booklet.&#13;
&#13;
Further to the right, partially visible behind the discs, is the accompanying booklet. Its visible outer page has a muted gradient of tan and brown tones forming a rectangular frame around a lighter central panel. Only the rightmost edge of the booklet is visible, showing its thickness and the contrast between the darker outer border and the lighter center. The entire set rests on a flat white background, with the lower edge of the image framed by a neutral gray surface.&#13;
&#13;
Physical Dimensions:&#13;
&#13;
Outer sleeve (gatefold): 12.3 × 12.3 in. (closed); 12.3 × 24.6 in. (open)&#13;
&#13;
Inner sleeves (2): 12.3 × 12.3 in.&#13;
&#13;
7-inch sleeve: 7.1 x 7.1 in.</text>
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        <name>Yamaha Electone Polyphonic Synthesizer GX-10</name>
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                <text>Communication, History, Electrical Engineering, Mechanical Engineering Technology, Industrial Engineering Technology</text>
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                <text>This Ericsson telephone model was made in Brazil, it features a heavy Bakelite body, a coiled handset cord, and the iconic circular dial with finger holes used to manually input numbers. The brand Ericsson is originally from Sweden, and over the years, it became known as one of the major names in global telecommunication. Although simple on the surface, this model was known for its durability and became widely used in both homes and government offices around the world. The DBH 1001 was part of Ericsson’s global line of standardized phones, adapted locally depending on the country of manufacture.&#13;
&#13;
ID: Six images of a black Ericsson rotary dial telephone with a matching handset and coiled cord, featuring a gold-toned number dial and a synthetic plastic body. The images show the telephone resting on a plain white surface from multiple angles (front, left, back, and right views). The fifth image shows the handset next to the phone’s body, and the last image shows the metal underside plate with the Ericsson logo.&#13;
&#13;
Physical Dimensions: 5¹⁄₈ in (H) × 6 in (W) ×  7¹⁄₈ in (D)</text>
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                <text>From the Collection of Liliam da Cunha</text>
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                <text>1951</text>
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                <text>Ester Alves Pereira da Cunha</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>The drinking gourd is typically made from the dried shell of a calabash or bottle gourd plant. After hollowing and drying, the gourd becomes a lightweight, durable vessel used for drinking water, palm wine, milk, and other beverages. In many regions, the gourd is polished, dyed, carved, or decorated to reflect local artistry.&#13;
&#13;
ID: The image shows a section of drinking gourds used for various liquids decorated and displayed. They vary from size and length as seen from the left to the right. There are knitted sleeves on the two on the right, this is a common design choice common for gourds. They are displayed from Duke University in North Carolina and originated from West Africa. Drinking gourds were widely used by various African communities as portable containers for water, milk, palm wine, and herbal drinks, especially by farmers, travelers, and herders. They were also used in ceremonial contexts by elders and spiritual leaders, symbolizing tradition, utility, and cultural identity.&#13;
&#13;
Physical Dimension: 10" x 8.5"</text>
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                <text>Oud Burner</text>
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                <text>Unknown (Morocco) </text>
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                <text>Middle eastern and North African studies, Asian Studies, Anthropology, Art History, Religious studies</text>
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                <text>A burner used to heat and burn oud chips or oud wood chips to be able to release their fragrance. They are shaped differently, some are like vases and blend in with your home décor.  This one uses charcoal. You heat the charcoal on the stove and then in the middle of the burner you place the coal and then set the oud on top. It has been used for over 3000 years, many different demographics use it including but not limited to Arabs, Persians, and Indians&#13;
&#13;
ID:  A tall, golden, metallic incense holder with a twisting, hourglass like shape. The texture of the holder is golden sparkles similar to glitter. The top of the opening is curved down like a U and back up where the corners meet.&#13;
&#13;
Physical Dimensions: ~10-14 inches in height, ~4-6 inches in width and the base is about 3 to 4 inches</text>
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