Overview of the Collection
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Repository Name:
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University of Oregon Libraries
Special Collections & University Archives
1299 University of Oregon Eugene, OR 97403-1299 URL: http://libweb.uoregon.edu/speccoll/index.html
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Collection Number:
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Coll. 263
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Creator:
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Corinne, Tee, 1943-
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Title:
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Tee A. Corinne Papers
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Dates:
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1966-2003 (inclusive)
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Quantity:
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48.25 linear feet 118 containers
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Languages:
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Collection materials are in
English.
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Summary:
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Tee A. Corinne (1943- ) is a photographer, artist, writer, and lesbian activist. The collection includes correspondence, literary manuscripts, artwork, photographs,
artifacts, and other documents that reflect Corinne's life and work.
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Biographical Note
Prolific artist, writer and lesbian activist Tee A. Corinne was born in 1943 in
St. Petersburg, Florida. She grew up in the South, living in Florida and North Carolina
until moving to New Orleans as a young woman. In 1968 she received an MFA from Pratt
Institute, but although she was already exhibiting her work throughout the U.S., it wasn't
until the early 1970s that Corinne began to explore the feminist and sexual content for which
she is best known.
Corinne had a turbulent childhood. Her mother and stepfather were alcoholics. At age
three-and-a-half, she was diagnosed with tuberculosis. She spent three months recovering in
a nursing home and nineteen months with her grandparents in Yankeetown, Florida, where she grew
to love country living. She was not permitted to resume normal activity until age eight.
As a teenager, Corinne became aware that she was attracted to both men and women. At boarding school
in Ft. Lauderdale, Florida, she discovered that she thrived in an academically and artistically rigorous
environment. At graduation, she won the school’s art award and a National Journalism award for work on the school newspaper.
Early in 1965 in Florida, Corinne became involved with Robert Kamen, a folk musician from Queens.
In December she moved to New York City with him and they married ten months later. Corinne worked as an
editorial assistant for a trade magazine and attended graduate school at Pratt Institute where she earned
her Master of Fine Arts degree in 1968.
Interested in sexual imagery by “great masters” of art history since first seeing it in New Orleans,
Corinne began around 1968 to locate books containing these images. Such books had previously been censored
by the United States government. She experimented with sexual imagery in her own art, beginning with photographs
of heterosexual couples kissing and moving on to drawings of her own genitals, a subject for which she could find no other models.
In 1969, having finished a year of postgraduate work in sculpture, Corinne and Kamen moved to Connecticut
where he attended graduate school and she taught college art, made life-size figure sculptures, and became
increasingly depressed. Corinne stopped making art when the couple moved to San Francisco in 1972 and separated
in 1973. Work with acclaimed therapists Bob and Mary Goulding brought an end to the depression.
Over the next year and a half, Corinne came out as a lesbian. She began making art again, this time boldly
committed to using explicit sexual imagery. Recognizing that her sexual art could not be exhibited in traditional
art galleries, Corinne sought out alternative venues such as women’s coffeehouses, bookstores, and lesbian bars.
Her images were frequently published in the emerging feminist press.
In San Francisco, Corinne began to work in sex education, ultimately joining the training staff of San Francisco
Sex Education Switchboard. In 1975, she photographed women kissing, hugging, and making love. Many of these images
were used as the basis for Victoria Hammond’s illustrations in Loving Women, one of
the first lesbian “sex manuals.”
Out of her work in sex education, she became aware of the need for accessible images of female genitalia. In November
of 1975, she self published The Cunt Coloring Book, a collection of line drawings of vulvas that is still in print.
In that same year, Corinne entered her first long term relationship with a woman, photographer Honey Lee Cottrell, with whom she often collaborated on imagery and shows. They remained together until 1977.
After the well-known photographer Ruth Bernhard counseled her to photograph famous people or, “You will have a
basement full of [photographs of] your friends,” Corinne began a series of portraits of lesbian writers and artists.
In 1976 Corinne and Cottrell met Ruth and Jean Mountaingrove, publishers and editors of WomanSpirit
magazine. That summer they visited the Mountaingroves at Golden, a gay owned, communal, rural land in Southern Oregon.
On this trip, Corinne realized it was possible to live close to the land without sacrificing contact with a vibrant artistic community.
In 1977, with publication on the front cover of Sinister Wisdom magazine, Corinne’s lesbian
sexual graphics reached an international lesbian audience. The erotically-charged image, enlarged into a poster, was a bestseller in women’s bookstores into the early 1980s.
Around 1977, Corinne began formally researching the history of lesbian imagery in the fine arts. Of the need for lesbian
scholarship, Corinne says, “The lack of a publicly accessible history is a devastating form of oppression. Lesbians face it constantly.”
Her sexual imagery was published in the ground-breaking collections I Am My Lover (1978) and
A Woman’s Touch (1979). The latter included a solarized image of a nude woman in a wheelchair
kissing her able-bodied lover and a fat couple embracing.
During the later 1970s and early 1980s, Corinne gave presentations about lesbian sexual imagery in art and about her
own art, traveling with a slide show around the U.S., to Canada, and to Mexico. In 1979, she became lovers with Caroline
Overman, one of the editors of WomanSpirit magazine, a relationship which continued, with breaks, until 1984.
Corinne spent a year and a half in Brooklyn (1979-1981) where she participated in art shows in Manhattan. In the summer of 1981,
she relocated to Southern Oregon. Between 1979 and 1981, Corinne co-facilitated Feminist Photography Ovulars, low-tech workshops
held at Rootworks, Southern Oregon women’s land. With Ruth and Jean Mountaingrove, Caroline Overman, and others, she co-founded
The Blatant Image: A Magazine of Feminist Photography (1981 to 1983).
In 1980, Corinne was one of ten openly lesbian artists to be honored in The Great American Lesbian Art Show (GALAS) at the
Women’s Building in Los Angeles. Two years later, her book of stylized lovemaking images, Yantras of Womanlove
came out. The structure of the imagery, collaging explicit pictures into forms that made pattern more dominant than subject matter,
gave a degree of safety for viewing still-taboo activities.
Between 1984 and 1988, her companion was author Lee Lynch. Encouraged by Lynch, Corinne completed a collection of erotic stories,
Dreams of the Woman Who Loved Sex, in 1987; its first print run sold out in six weeks. In 1984, Corinne
began to make art out of her experiences growing up in an alcoholic family. Exhibited as “Family,” the mixed media paintings received regional acclaim.
In 1989 Corinne began a relationship with author and rural activist Beverly A. Brown, founding editor of Maize
magazine, a relationship which would continue for the next sixteen years.
Corinne won a Lambda Literary Award in 1990 as editor of the erotic anthology, Intricate Passions. This was followed
by three other anthologies and two books of her own short stories, Courting Pleasure (1994) and Lovers
(1989). She was instrumental in founding the Gay and Lesbian Caucus, an affiliated society of the College Art Association, a caucus for which she also
served as co-chair. Her novel, The Sparkling Lavender Dust of Lust was published in 1991, the same year she was chosen by
Lambda Book Report as one of the “50 most influential lesbians and gay men of the decade.”
Since 1991, Corinne has continued to make art, publish essays, book reviews, and encyclopedia entries, and write and edit books of short stories
and poetry. Her documentary essay, “Lesbian Photography on the U.S. West Coast, 1972-1997,” appears on Purdue University’s Women Artists of the
American West website (http://www.sla.purdue.edu/waaw/). Her 2002 book, Intimacies, Photos by Tee A. Corinne,
was a Lambda Literary Award finalist. She won the Women’s Caucus for Art President’s Award 1997 and the Abdill-Ellis Lambda Lifetime Achievement
Award in 2000. Completely Queer: The Gay and Lesbian Encyclopedia, calls Tee A. Corinne “one of the most visible
and accessible lesbian artists in the world.”
Small-edition books by Corinne include The Little Houses on Women’s Land (2002), Drawing as a
Problem-Solving Activity (2002), Wild Lesbian Roses: Essays on Art, Rural Living, and Creativity, 1986-1994 (1997),
What Difference Does Poetry Make? (1996), Family (1990), Lesbian Muse
(1989), and Women Who Loved Women (1984).
Sources:
Corinne, Tee A. The Sex Lives of Daffodils: Growing Up as an Artist Who Also Writes. Wolf Creek, OR : Pearlchild, c1997
Sherman, Phillip and Samuel Bernstein, eds. Uncommon Heroes. Fletcher Press, c1994
Queer arts.org. "Obscurely Famous," an interview with Tee Corinne. September 1998. (August 27, 2003). Online at http://www.queer arts.org/archive/9809/corinne/corinne.html
Content Description
The Tee A. Corinne papers comprise an extensive and profound array of personal papers
and works of art (both literary and visual) created by Corinne and her contemporaries.
This collection reflects the life and work of one of America’s most important and influential
photographers and artists, bringing together approximately thirty years of literary manuscripts,
correspondence, photographs, and original artwork.
The Corinne collection is unique both in terms of its scope and content.
Reflective of this diversity, the collection has been divided into
twenty series—and subsequently into subseries—in order to aid researchers
as they navigate the collection.
The Corinne collection consists primarily of correspondence and literary
materials but it includes other documents and documentary formats.
The literary manuscripts are a substantial group and offer insights into
both her commercially published, self-published, and unpublished works.
Researchers will find typed manuscripts or publishers’ mock-ups and galleys
for works such as The Poetry of Sex
and Dreams of the Woman Who Loved Sex.
The collection houses several drafts of works such
as The Sex Lives of Daffodils.
Some manuscripts of published works include related correspondence, as is the
case with Intricate Passions
and Riding Desire: An Anthology of Erotic Writing.
The extensive collection of self-published and unpublished manuscripts provides
researchers with insights into the vast literary and artistic projects that
Corinne took up, including her support for Western and specifically Oregon,
feminist and lesbian artists. Examples of unpublished works
include Lesbian Photography,
Northwest Artists,
and Picturing Ourselves: Self-Portraits in Words and Images.
Researchers should note that some works are in foreign languages including
French and German.
Corinne’s correspondence is also extensive and insightful. The letters to and
from Corinne demonstrate the vast network of artists, activists, publishers, and
patrons that Corinne contributed to and drew from. The number of individuals and
organizations with which she worked are quite numerous. Currently, the earliest
correspondence dates back to approximately 1969 and goes through approximately
1996. Most of the correspondence in the collection is clustered around two periods,
one from 1979 to 1983 and the other from 1988 to 1993.
The Corinne collection contains other documents and documentary formats as
well as artifacts. Included in this collection are personal papers and ephemera
such as scrapbooks (including artwork), date books, resumes, Rolodex cards,
financial papers, and newspaper clippings. The collection offers visual and
audio sources as well. It includes videos like that of the “Dynamics of Color
Art Exhibit” in San Francisco. Audio materials consist of copies of radio
interviews with Corinne, a 1985 slide show narration, and a music album of
“Musica Femina,” a flute/guitar duo based in Portland that plays music
composed by women (Corinne’s photographs were used for the covers of two
of their albums). The Corinne collection also contains a handful of artifacts
such as art show awards; “anatomically-correct” dolls used in a Sappho-centric
love story, an animated slide show; and a saltshaker Corinne used for the cover
design of the Naiad Press edition (1984) of The Price of Salt.
The visual art housed in the Corinne collection currently is not as vast as the
literary art or other documentation associated with the artist’s life; nevertheless,
the visual art is as spectacular. This portion of the collection offers researchers
a look into some of Corinne’s best-known works. The collection comprises a vast
array of her artwork in a variety of mediums; it includes photographs, drawings,
prints, multimedia portraits, and abstract works.
The Tee A. Corinne Papers offer researchers insights into women’s art and
literature beyond the oeuvre of Corinne herself. It includes visual and literary
art created by individuals within Corinne’s artistic circles along the West and
East Coasts. This aspect adds to the Corinne collection in a remarkable and
insightful way. Not only does the collection present researchers with the breadth
and depth of this influential artist’s work, but it also includes works by artists
within the same artistic milieu—those who were influence by and who influenced
Corinne herself. For this reason, the collection offers rare opportunities for
positioning the artist’s works against those of her contemporaries. The Corinne
collection includes a substantial number of the literary works of Caroline Overman;
literary works by Lee Lynch; an instructional book on self-publishing by Barbara
McFadyen and Marilyn Gayle; collections of music like those by Janna Macauslan or
by Marilyn Gayle; and poetry by poets such as Julie Hopp. Other works include
those by authors Joyce Cheney, Sarah Aldridge, and Robin Jordan, among others.
Many of these documents are housed under the Series “Literary Works by Others”
but researchers should be aware that these documents can be found in various other
places in the collection, as, for example, in the Series containing
“Books with Covers by Tee A. Corinne.”
The artwork, documents, and artifacts brought together in the Corinne collection
provide researchers with a rare glimpse of both the artist and her life.
The materials in this collection constitute an exceptional and important collection
of feminist and lesbian literary and visual artwork by the artist and her
contemporaries. This collection highlights Corinne’s life-long artistic and social
projects that include, among other things, the support and promotion of lesbian
and gay art and artists and of women’s art, particularly in Oregon and the Pacific
Northwest. It demonstrates her commitment to the arts—in literary, visual, and
musical forms.
Arrangement
Collection is organized into the following series:
Series I. Correspondence: Incoming; Subseries A, Personal; Subseries B, Business and organizations;
Subseries C, Miscellaneous.
Series II. Correspondence: Outgoing; Subseries A, Personal; Subseries B, Business and organizations.
Series III. Literary Manuscripts
Series IV. Books and Booklets Written and or Designed
by Tee A. Corinne; Subseries A, Self-published; Subseries B, Published.
Series V. Anthologies, Books, and Other Publications with Writings, Photographs or
Graphics by Tee A. Corinne
Series VI. Books with Covers by Tee A. Corinne;
Subseries A, Books; Subseries B, Book Covers.
Series VII. Book Reviews; Subseries A, Feminist Bookstore News column "Art Books"
by Tee A. Corinne (copies), Subseries B, Miscellaneous.
Series VIII. Artwork; Subseries A, Drawings; Subseries B, Prints; Subseries C, Paintings;
Subseries D, Multimedia portraits based on photographs of famous lesbians,
Subseries E, Presentations/Exhibits/Other visual media; Subseries F, sketchbooks,
Subseries G, Post cards, note cards, business cards; Subseries H, Miscellaneous,
photos/drawings of/by Tee.
Series IX. Photographs; subseries A, Original prints; Subseries B, Slides;
Subseries C, Snapshots and photographs of others; Subseries D, Negatives.
Series X. Literary Works by Others; Subseries A. Books and articles
alphabetically sorted by last name; Subseries B, Manuscripts and poems;
Subseries C, Caroline Overman.
Series XI. Biographical Material. Series XII. Newspaper Clippings.
Series XIII. Videotapes. Series XIV. Audio Recordings. Series XV. Financial Records.
Series XVI. Artifacts. Series XVII. Scrapbook.
Series XVIII. Ephemera; Subseries A, Message, date, and receipt books;
Subseries B, Rolodex address cards; Subseries C, Organizations, conferences
and newsletters; Subseries D, Miscellaneous.
Series XIX. Miscellaneous.
Series XX. Oversize; Subseries A, Drawings,
subseries B, Prints; Subseries C, Paintings; Subseries D, Multimedia portraits,
subseries E, Presentations, exhibits, other visual media; Subseries F, Sketch
books; Subseries G, Photographs; Subseries H, Audio recordings, and
Subseries I, Miscellaneous.
Administrative Information
Acquisition Information Gift of Tee A. Corinne.
Use of the Collection
Restrictions on Access Collection is open to the public.
Collection must be used in Special Collections & University Archives Reading Room.
Restrictions on Use Property rights reside with Special Collections & University Archives, University of Oregon Libraries.
Copyright resides with the creators of the documents or their heirs.
All requests for permission to publish or quote from manuscripts must be submitted to the
Manuscripts Librarian in Special Collections & University Archives. The
reader must also obtain permission of the copyright holder.
Preferred Citation [Identification of item], Tee A. Corinne Papers, Coll. 263, Special Collections & University Archives, University of Oregon, Eugene, Or.
Subjects
This collection is indexed under the following headings in the online
catalog. Researchers desiring materials about related topics, persons, or
places should search the catalog using these headings.
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| Corinne, Tee, 1943---Archives |
| Corinne, Tee, 1943---Correspondence |
| Alcoholism in art |
| Erotic literature, American--Women authors |
| Erotic stories, American |
| Generative organs, Female--Pictorial works |
| Lesbian artists--United States |
| Lesbian authors--United States--20th century |
| Lesbian erotica--United States--Specimens |
| Lesbianism in art |
| Lesbians' writings, American |
| Lesbians--Literary collections |
| Photography, Erotic |
| Women photographers--United States |
| Coloring books |
| Drawings |
| Erotic stories |
| Paintings |
| Photographs |
| Scrapbooks |
| Sketchbooks |
| Sound recordings |
| Videotapes |
Detailed Description of the Collection
The following section contains a detailed listing of the materials in
the collection.
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Series I:
Correspondence: Incoming
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Container(s)
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Description
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Dates
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Subseries A:
Personal Correspondence
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"A"
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Abbott, Dorothy
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Alaniz, Michal
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Alexander, Tangren [also known as "Pearl" or "Tangren Timeschild"]
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1980-1987 |
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Alexander, Tangren [also known as "Pearl" or "Tangren Timeschild"]
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1987-1997 |
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Allen, Paula Gunn
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1988 |
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Allison, Dorothy
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1990 |
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Allport, Catherine
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1982-1991 |
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Almerez, Robert
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1991- ca. 1993 |
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Ambler, Effie
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1982-1983 |
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Altaraz, I.M
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1969-1973 |
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Amos, Jeanne
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1989-1990 |
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Auderson, Mary
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1991 |
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Anderson, Sharon
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1981-1986 |
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Andrade, Virgia
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1997 |
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Andrade, Yolanda Lopez
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1980 |
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Andruchow, Cheryl
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1995 |
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Arcana, Judith
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1991 |
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Arrosanti, Maria
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1980-1992 |
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Armsttona, Carole- Anne
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1991 |
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Armstroug,Toui
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1990 |
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Arnold, Jeanne
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1994 |
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Arnoud, Corine
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1990 |
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Arobateau, Jordan
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1991 |
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Ashburn, Liz
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1996 |
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Aspen, Kristan
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1983-1987 |
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Aspen, Kristan
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1987-1993 |
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Asprow, Edith
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1987 |
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At-Owl, Warad
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1992 |
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Aylon, Helen
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Ayott, Diane
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1992 |
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Azara, Nancy
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1986-1991 |
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"B"
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Bara, Cory
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1982 |
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Bagilio, Miriam
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1991 |
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Bailey, Diana
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1992 |
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Baker, Jeannine Parrati
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1982 |
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Balmain, Marge
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1990-1995 |
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Banks, Selma
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1979-1981 |
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Barbach, Lonnie
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1984 |
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Barnard, Elizabeth Q.
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1987-1993 |
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Barnett, Barbara
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1981-1983 |
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Barnett, Carrie
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1991-1992 |
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Barrington, Judith
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1985-1989 |
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Bart, Pauline
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1980-1991 |
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Basby, Helen
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1982 |
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Basketweaver, Maralee
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1996 |
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Barcher, Sandy
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1986 |
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Baumgardner, Jeri
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1988 |
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Bawser, Gayl
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1985 |
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Beach, Michelle
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1996 |
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Bechdel, Alison
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1991-1994 |
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Bell, Ester L.B.
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Bendersky, Sarah
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1989 |
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Benke, Janet L.
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1985 |
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Bensussen, Henn
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1986 |
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Beppu, Jill
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1994 |
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Berezin, Ronna
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1980 |
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Bernstein, Lois
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1983-1987 |
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Berrill, Kevin
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1992-1993 |
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Berryhill, Susan
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1990 |
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Bersa, Ginny
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1979 |
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Biggerstaff, Nancy
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1982 |
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Billjaldt, Bill
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1981-1991 |
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Biordi, Joan
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1980 |
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Bird, Agnes T.
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1993-1994 |
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Birtha, Becky
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1983-1992 |
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Bishop, Heather
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1987 |
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Bixbu, Shirley-Kaul
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1993-1994 |
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Blackman, Barbara J.
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1987 |
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Blackswan, Gryphon
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1991-1995 |
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Blank, Joani
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1982-1993 |
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Bledsoe, Lucy Jane
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1994 |
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Bloom, Edna
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1981-1989 |
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Blue, Carol
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1980-1989 |
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Boenko, Heidi
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1985 |
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Bottin, Tessa
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1988-1989 |
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Boger, Cliff
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1990 |
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Bogus, Diane S.
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1985-1993 |
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Boojamra, Lee
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1985 |
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Boucher, Sandy
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1981-1990 |
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Bouvier, Libby
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1987 |
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Boyce, Sandrien
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1990 |
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Brantenberg, Gerd
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1986-1992 |
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Brackett, Prilla Smith
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1990 |
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Brady, Irene
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1988 |
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Brady, Maureen
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1991 |
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Breckenridge, Linda
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1984-1989 |
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Brett, Edward
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1983-1995 |
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Briano, Sierra L.
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1990 |
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Bright, Deborah
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1993-1996 |
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Bright, Joyce
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1983-1989 |
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Bright, Susie
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1982-1996 |
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Brizzi, Carol
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1981-1989 |
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Brody, Michal
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1985 |
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Brooks, Linda
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1986 |
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Brooks, Shela
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1981 |
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Broumas, Olga
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1988 |
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Brown, Betsy
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1992-1994 |
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Brown, Beverly
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1995 |
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Brown, Carol Masanee
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1983-1984 |
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Brown, Denise
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1981 |
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Brown, Fern
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1980 |
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Brown, Jayne Relaford
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1992 |
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Brown, Joanne
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1991 |
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Brown, Patti
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1982 |
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Brown, Ron and Sharon
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1993 |
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Brownworth, Victoria
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1992-1997 |
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Bruch, Barbara
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1989-1994 |
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Bruining, Mi Ok Song
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1993 |
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Brumgardt, Karen
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1987 |
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Brunet, Ariane
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1982-1985 |
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Buckalew, Kathleen
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1987-1989 |
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Buckley, Sally
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1981-1982 |
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Buell, Jed and Patti
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1992 |
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Bullard, Tim
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1992 |
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Bunch, Charlotte
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1985 |
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Bunny, Carol, Gloria, and Belle
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Buren, Joan E.
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1980-1987 |
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Burkart, Sherry
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1980 |
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Butler, Susan
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1994 |
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Bye, Harriet
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Byrn, Ruth
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1989 |
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Byrd, Jeffery
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1991-1993 |
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"B" Cards and Postcards [1 of 3]
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"B" Cards and Postcards [2 of 3]
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