THE BRITISH LIBRARY

American Collections blog

What's on the mind of Team America?

Introduction

Find out more about our Americas Studies collections on the Americas blog, written by our curatorial team and guest posts from the Eccles Centre writers in residence. Our collections cover both North and South America, as well as the Caribbean. Read more

27 July 2017

Indian into Scotsman

Outside the Segar & Snuff Parlour in London’s Covent Garden you can see a Scotsman advertising tobacco.

Segar and snuff
Credit: Segar & Snuff

Not very suitable?

The inscription says that a Highlander sculpture was traditionally used by tobacconists to indicate that they had Scottish snuff.  An act of 1762  forbade signs overhead because of damage to passing traffic, hence the use of such figures.  It says the Highlander went out of use around 1845.

I wonder if he’s a Europeanised version of the Indian, sporting a headdress and skirt of tobacco leaves.

As we see in Joannes de Laet’s Novus orbus seu Descriptiones Indiae Occidentalis (Leiden, 1633) (BL, 146.g.10).  This belongs to a time when the Dutch were building an empire in Brazil.

Indian 2

Here we see a personified Hollandia receiving tribute from an Indian, accompanied by his armadillo and dressed in tobacco leaves.  He greets the Dutch: ‘Veniste tandem’ (You’re here at last).

The Portuguese defeated the Dutch at the Second Battle of Guarapes in 1649; Holland held on to Surinam until it gained full independence in 1975.

The iconography of the tobacco-wearing Indian goes back to the early days of the Portuguese in Brazil.  Indians are pressed into service as devils in a painting in the Museu Nacional de Arte Antiga in Lisbon.

And in York he’s employed in selling tobacco.

Indian 3
Tobacconist sign on Petergate, York Credit: York Civic Trust http://yorkcivictrust.co.uk

His tobacco skirt was easily transformed into a kilt.

 

- Barry Taylor, Curator Romance Collections

 

Further reading

Yobenj Aucardo Chicangana-Bayona, ‘Os Tupis e os Tapuias de Eckhout: o declínio da imagem renascentista do índio’, Varia historia,  vol. 24, no.40 (Belo Horizonte July/Dec. 2008)

http://dx.doi.org/10.1590/S0104-87752008000200016 

13 July 2017

Russia, Brazil and Concrete?

Our current Russian Revolution Exhibition and today’s conference focused on Russia in American literature got me thinking about the ‘50s and what a bad rep the decade has suffered from in many ways. Rather than the stereotypical white nuclear family image that has so long dominated mainstream narratives about the 1950s it is clear that the 1950s in the U.S. were actually dynamic times, filled with civil rights struggles, and musical and artistic experimentation. Significantly this is not just true for the U.S. but many other countries in the Americas, take Cuba for example whose revolution in 1959 changed the political and social landscape of the globe forever. And in Brazil artistic experimentation reached new heights just as the U.S. attempted to strengthen its grip on the region in the post WWII era. One movement in particular that has had a lasting and far reaching impact on the world of poetry, social criticism and the visual arts is the “Concrete Poetry” movement of Brazil. One of the fundamental tenets of the movement was that revolutionary poetry must also revolutionise the form of poetry.

De campos

 (BL Shelfmark X.909/5645)

 The British Library has a strong collection of concrete poetry materials from Brazil, including original publications by Augusto de Campos. The below example of de Campos’ work was an entry in the very first Brighton Arts Festival held in 1967.

 

De campos david 2

(BL Shelfmark YD.2006.a.9165)

To come full circle, you can see echoes/traces/ghosts of the radical and experimental Russian poets of the early 20th century, such as Vasily Kamensky, in the works of Augusto de Campos and others. The concrete poets were part of a long line of artists who asked the world and themselves about the relationship among form, content and social critique. And these questions live on of course, perhaps now more than ever, in the age of social media.

 Elizabeth Cooper

10 July 2017

Australasia in the Americas blog

The Americas blog is delighted to host the first of series of posts on our Australian collections by Joanne Pilcher, who is currently carrying out a PhD placement project at the British Library, exploring contemporary publishing in Australia. If you would like to know more about placement opportunities at the Library for doctoral students please click here.

I am in the second year of my PhD in the School of Architecture and Design at University of Brighton. My research is into textile design and printing conducted by Aboriginal Australians in the Northern Territory from 1988 to present.[1] Some Aboriginal art centres have been producing printed or woven textile designs since the 1940s, yet these textiles are often overshadowed by the more widely publicised (and stereotyped by outsiders) Western Desert Style paintings by Aboriginal artists. I am interested in how textile design and production provides a different opportunity for exploration of culture and identity in comparison to the paintings; this is particularly interesting in relation to how the textiles are increasingly turned into clothing. Clothing is often the first signifier of an individual’s identity. As Aboriginal textiles increasingly become wearable expressions of identity accessible to all races and nationalities, I am interested to learn how (or if) this sharing of visual culture can provide the designers with agency either through monetary gain, growing cultural awareness or political representation. This is important as there is still a significant gap in wealth and political representation between Aboriginal and Torres Strait Islander Australians verses settler Australians.

DSC_0240 (2)

It is with this background that I have approached my three month placement at the British Library. As with most PhD projects, my work is rather specific in that is only discusses textile design and only in relation to Aboriginal groups in one specific area of Australia. This placement has provided me with the opportunity to ‘widen my horizon’ and engage with the cultural outputs and representations of knowledges of Aboriginal and Torres Strait Islander groups across Australia. Generally, I have been surprised at how comprehensive the British Library’s collection on Indigenous Australian writing is. I have learnt about an array of talented Indigenous Australian novelists, playwrights and poets, such as Andrea James, Daisy Utemorrah and Oodgeroo Noonuccal.[2] I have also learnt a lot about the challenges of collecting and writing about Aboriginal and Torres Strait Islander knowledges, a topic I hope to write about in a future blog post. I am now constantly on the look out for exciting new publications in this field that I can add to my growing list of suggestions of books for the library to collect. I am particularly interested in activist or grass roots publications such as zines that relate to current discussions on Constitutional Recognition of Aboriginal and Torres Strait Islander groups in Australian politics.[3]

As a non-Indigenous dual nationality British/Australian scholar, I have taken the role as an ‘informed outsider’ in both my PhD research and the British Library placement. In my PhD work I hope to use oral history interviews in order to put the voices and experiences of Aboriginal Australian textile designers and printers at the centre of my research. I have reflected upon this during the British Library placement where I have focused on written material created by, or in collaboration with, Aboriginal, Torres Strait Islander and Maori people of Australia and New Zealand. I have paid most attention to attempts to share cultures and histories with a wider audience; one area I have been particularly interested in is children’s stories and comic books as they provide visually stimulating texts that can be widely disseminated. From the 1980s onwards, there have been quite a few Aboriginal comic book characters but, as Luke Pearson outlines in his article for Indigenous X, ‘very few [characters] have been designed by Aboriginal artists, or written by Aboriginal authors.’ Some of these are represented in the British Library collections, such as the Reg Saunders comic by Hugh Donlan and Adrian Threlfal which depicts the true story of the Indigenous war hero Reg Saunders.[4] I hope to compliment this existing collection with other comics, such as the newly released Cleverman comic which accompanies the television series of the same name by Ryan Griffen who created it so his son could have Aboriginal super heroes to look up to.

After spending four weeks of the placement looking at the Australian collections, I have now turned my attention to the New Zealand collections. This is a new area of research for me and I am excited to learn more about postcolonial politics and culture within Māori groups in New Zealand. I will be interested to compare how the representations of the Indigenous groups of Australia and New Zealand differ in a contemporary context. I welcome any feedback and advice on this project, please feel free to tweet me: @JoannePilcher1

DSC_0237 (2)

All of the works I have been looking at are available on the British Library  Explore Catalogue

I would like to thank the Arts and Humanities Research Council, Design Star Student Development Fund whose financial support has enabled me to undertake this placement.

DSC_0231

 

By Joanne Pilcher 

[1] As my research focuses on Indigenous Australian groups in the Northern Territory, I have used only ‘Aboriginal’, when I am referring to Indigenous Australians across Australia I will use ‘Aboriginal and Torres Strait Islander’.

[2] James, A., Playbox Theatre Company, & Melbourne Workers Theatre. (2003). Yanagai! Yanagai! (Current theatre series). Sydney: Currency Press in association with Playbox Theatre, Melbourne. [Shelfmark: Asia, Pacific & Africa YD.2004.a.5544]

Utemorrah, D., & Torres, Pat. (1992). Do Not go Around The Edges Broome: Magabala. [Shelfmark: General Reference Collection LB.31.a.4409 General Reference Collection LB.31.a.4409]

Oodgeroo Noonuccal. (2008). My People. (4th ed.). Milton, Qld.: John Wiley & Sons Australia. [Shelfmark General Reference Collection: YK.2012.a.29602 General Reference Collection YK.2012.a.29602]

[3] This article from the Guardian’s Indigenous Australians blog gives some of the context behind recognition. https://www.theguardian.com/australia-news/2017/may/25/constitutional-recognition-and-why-the-uluru-talks-matter-explainer

[4] Dolan, H., & Threlfall, Adrian. (2015). Reg Saunders : An Indigenous War Hero. Sydney, Newsouth Publishing [Shelfmark: General Reference Collection YKL.2017.b.766]

04 July 2017

Franklin and Jefferson – An Understanding that Crossed the Generations

I was fortunate that April was the chosen month for my recent Fellowship at the Thomas Jefferson Foundation, because 13 April is the day when Mr Jefferson’s birthday is warmly celebrated at his home at Monticello. There are speeches, awards, a marching band and even a vast birthday cake.  Monticello is open every day of the year bar Christmas Day and runs a host of public events.  Two days though are particularly special: 13 April, known as Founder’s Day as it also marks Jefferson’s foundation of the University of Virginia; and, twelve weeks’ later, the Independence Day celebration of 4 July.  

1

Marching band at Monticello celebrating Thomas Jefferson’s birthday, 13 April 2017

Jefferson has long been recognised as the chief and near total author of the Declaration of Independence. It was not always thus. The committee given responsibility for drafting the Declaration was one of five people: John Adams of Massachusetts, Benjamin Franklin of Pennsylvania, Thomas Jefferson of Virginia, Robert Livingston of New York, and Roger Sherman of Connecticut.  The resulting Declaration was deemed, at the time, to be a collaborative effort of the five men and Jefferson’s true role was not recognised until the 1790s. It was then revealed that the other four  had delegated the drafting to Jefferson and that Adams and Franklin had only seen his work at its final stage. As to their comments, Adams later wrote that ‘I do not now remember that I made or suggested a single alteration’[1] and  Franklin proposed the substitution of  just a few alternative words and phrases, although one of these was to prove extremely consequential.     

 

2

3

The 1823 William Stone Facsimile version of the Declaration of Independence and the full-size statue of Thomas Jefferson at Monticello (photographed on Jefferson’s birthday)

The multi-talented Benjamin Franklin liked to describe himself as, first and foremost, a printer.  That description preceded all others in his last will and testament.[2]   Part of Franklin’s success as a printer was that he was his own, brilliant, writer and editor.  That brilliance was common  knowledge and thus, when Common Sense was first published, it was assumed – as Thomas Jefferson  later attested – that ‘Thomas Paine’ was a pseudonym for Benjamin Franklin. Some might therefore wonder why the authorial role for the Declaration was not given to the prestigious Dr Franklin, bearing in mind that he was then the most famous American in the world and a man of extraordinary intellectual ability.  It certainly was not because he was debarred from writing the Declaration because others feared he might include a joke!  That asinine schoolboy ‘myth’ was not ‘created’ until 1896 and was the result of a humorous article in Harper’s magazine. Franklin himself chose not to take the lead,  partly because Jefferson was a Virginian and Franklin believed that a representative from that colony should take charge, but also, more mundanely, because Franklin was not in the best of health. Most importantly, though, it was because Franklin had already seen the quality of Jefferson’s writing in publications such as A Summary View of the Rights of British America.

Like Franklin, Jefferson was not an orator but a master of the written word.  Franklin, recognising this, merely suggested a few deft editorial tweaks to the Declaration.  One of these small changes was, however, to prove exceptionally significant.  Franklin proposed  that ‘We hold these truths to be sacred and undeniable’ should be replaced by ‘We hold these truths to be self-evident’, and with a remarkable sleight of hand he instantly created the Declaration’s most important and best-known element. This substitution neatly took God out of the equation and created the basis for a secular state based on rationalism rather than religious justification.[3]   It was a fundamental change with immediate consequence for America and with future ramifications for the entire world.

Jefferson did not hesitate to take up Franklin’s suggestion.   There was a great deal of respect between the two men who had much in common.  The age gap of thirty-seven years was easily bridged. Their written reflections of each other show that their mutual admiration was bolstered by affection.[4]   Each was an autodidact who had been fascinated from an early age by philosophy and science.  As well as being men who had a brilliant command of the written word, they were both inventors, with Franklin, in particular, renowned for the electrical experiments and invention of the lightning conductor that had led Immanuel Kant to describe him as ‘The Prometheus of Modern Times’.  Amongst the greatest influences on the young Franklin were Francis Bacon, Isaac Newton and John Locke and he took inspiration from them into his adult life.  Indeed, such was Franklin’s respect for Newton that the bust in David Martin’s 1766/7 portrait of Franklin (below) is of Newton.

4

Benjamin Franklin by David Martin, 1766/7 (White House Art Collection)

Bacon, Newton and Locke  were also extremely important  influences on Jefferson.  The evidence for this can be seen in one glance in the parlour at Monticello.  There, in pride of place on one side of the door are portraits of these three great men.  They are balanced on the other side by another person who inspired Thomas Jefferson  and who deserved to be among  such exalted company -- that someone being, of course,  none other than Benjamin Franklin.

 

5

© Thomas Jefferson Foundation at Monticello.  Photograph by Bill Moretz

 

By George Goodwin, 2017 Eccles Centre Makin Fellow at the British Library

George Goodwin MA FRHistS FRSA, 2017 Eccles Centre Makin Fellow at the British Library, is a 2017 Peter Nicolaisen International Fellow at the Robert H. Smith Center for Jefferson Studies at Monticello.  He is the author of  Benjamin Franklin in London: The British Life of America’s Founding Father  and  Author in Residence at Benjamin Franklin House in London   

Further Reading at the British Library

David Armitage, The Declaration of Independence: A Global History  (Cambridge, Mass. & London : Harvard University Press, c2007) [YC.2007.a.7862]

Lester J. Cappon, editor, The Adams-Jefferson Letters / the complete correspondence between Thomas Jefferson and Abigail and John Adams (Chapel Hill & London,  University of North Carolina Press, c1988) [YH.1989.b.258]

Jefferson Looney, editor , [et al],  The Papers of Thomas Jefferson. Retirement series / J. Jefferson Looney, editor  (Princeton & Oxford, Princeton University Press, 2014--) [YC.2005.a.1851 vol. 1 etc.]. See also 

Peter S. Onuf,  The Mind of Thomas Jefferson  (Charlottesville & London , University of Virginia Press, 2007) [YC.2007.a.10052]

Andrew O’Shaughnessy, The Men Who Lost America: British Command during the Revolutionary War and the preservation of the empire (London, One World, 2013) [YC.2013.a.14413]  

See also ‘Founders Online’ 

---

[1].  “From John Adams to Timothy Pickering, 6 August 1822,” Founders Online, National Archives, last modified March 30, 2017, http://founders.archives.gov/documents/Adams/99-02-02-7674. 

[2] The Writings of Benjamin Franklin, ed. Albert Henry Smyth, X: 493 (New York, Haskell House, 1970) [BL Document Supply A71/4290 vol. 10]

[3] See the 1823 William Stone Facsimile version here

[4]  e.g.  Jefferson’s amusement at the story of Abbé Raynal, Benjamin Franklin and Miss Polly Baker’.  See:  “The Speech of Miss Polly Baker, 15 April 1747,” Founders Online, National Archives, last modified March 30, 2017, http://founders.archives.gov/documents/Franklin/01-03-02-0057. [Original source: The Papers of Benjamin Franklin, vol. 3, January 1, 1745, through June 30, 1750, ed. Leonard W. Labaree. New Haven: Yale University Press, 1961, pp. 120–125]   

30 June 2017

Stamp for Independence: A brief philatelic tour of the Declaration of Independence

With the 4 July holiday fast approaching, it is timely to review some of the British Library’s Philatelic Collections relating to the Declaration of Independence and its commemoration.

Revenue stamps played a fundamental role in the conditions enabling such an extraordinary historical document to be created and signed. Defending the American Colonies during the Seven Years War (1757-1760) as well as the costs incurred by maintaining a subsequent military presence throughout the region was an expensive undertaking for Britain. Consequently Parliament felt the colonies should contribute towards the cost. In 1765 the Grenville Ministry passed a Stamp Act taxing a wide range of legal documents, playing cards, newspapers and other printed material. Proof of payment of these taxes was demonstrated by the presence of an embossed stamp applied upon the paper prior to use. Opponents to the tax in both Britain and the American Colonies argued that it violated the colonist’s rights as Englishmen to be taxed without their consent. Using the slogan “No taxation without representation” significant political pressure was placed upon Parliament, resulting in the Act being repealed on 18 March 1766. Despite this U-turn in government policy, the relationship between Britain and her American Colonies was permanently damaged and the episode was one of the major grievances outlined in the Indictment of George III within the Declaration of Independence.

All of the embossed revenue stamp dies for the 1765 Stamp Act can be found within the Board of Inland Revenue Stamping Department Archives of the British Library’s Philatelic Collections. They were all engraved in the summer of that year by Thomas Major (1720-1799) employed at the Stamp Office between 1757 and 1799. The IIII PENCE stamp, die letter A (Image 1) attempted to raise revenue from colonial trade by being applied to bills of lading for any goods for exportation, or any cockett or clearance granted within the Colonies and Plantations of America.

1

 The III PENCE stamp, die letter C (Image 2) aimed to raise revenues from a wide range of legal transactions within the Colonies by being applied to legal documents including declarations, pleas, petitions, bills, claims, grants and deeds.

2

Finally the TEN POUNDS stamp (Image 3) was to be embossed upon licenses, appointments or admissions of counsellors, solicitors or attorneys.

3

While postage stamps were not invented for another sixty four years,  the Declaration of Independence has been widely commemorated upon postage stamps world-wide. The Tapling Collection within the British Library’s Philatelic Collections possesses the world’s first stamp commemorating the Declaration of Independence. The vignette engraved by James Smillie (1807-1843) on the United States of America 1869 Issue, 24 cent stamp is based upon the famous painting by John Trumball (1756-1843). The painting depicts the signing of the declaration of independence and is displayed within the Senate’s Rotunda in Washington DC.

4

The Crown Agent’s Philatelic and Security Printing Archive housed within the British Library’s Philatelic Collections also contain a range of material commemorating the Declaration of Independence.  The original artwork for the St Kitts-Nevis 26 July 1976 Issue designed by John Waddington Security Printers, yet printed by Questa Colour Security Printers, commemorates the bicentenary of the American Revolution. The design for what became the 20 cent stamp (Image 5) displays a portrait of the African American Crispus Attucks (c. 1723-1770) next to a detail depicting the Boston Massacre.

 

5

This was another major event contributing towards the eventual creation and signing of the Declaration of Independence. In 1768 British Soldiers were dispatched to Boston following a spate of attacks upon colonial officials. Instead of quelling discontent, the military’s presence at Boston exacerbated the situation. On the evening of 5 March 1770 a crowd of colonists confronted a sentry who had chastised a boy for complaining that an officer had failed to pay his barber’s bill. Snowballs and debris were hurled by the crowd at the troops. Meanwhile Attucks with some men armed with clubs approached the Old State House, where someone accompanying Attucks struck a soldier with a piece of wood resulting in the troops firing their muskets. The future second President of the United States, John Adams (1735-1826) successfully defended the British Soldiers during their trial, an event memorably acted out by Paul Giamatti for the first episode of the award winning 2008 HBO mini-series John Adams. Nevertheless, as the first of five colonists killed on that night, Crispus Attucks was immortalised as the first martyr for American Independence  being commemorated in songs and popular culture ever since.

6

The original artwork for what became the 45 cent stamp (Image 6) includes a portrait of Thomas Jefferson (1743-1826) the author of the Declaration of Independence. To his left is another rendering of John Trumbull’s painting whilst the background also displays some of the original signatures from the Declaration manuscript.

The Barbados 17 August 1976 Issue designed by George Vasarhelyi and printed by Walsall Security Printers also commemorates the bicentenary of the American Revolution. However it focuses upon the links between Barbados and the United States of America.  The original artwork for the 15 cent stamp displays a map and colonial flag for the British Colony of South Carolina with the statement that it was founded by Barbadians.

7

The 25 cent stamp (Image 8) commemorates George Washington’s (1732-1799) visit to Bridgetown, Barbados as a young man in 1751, depicting a portrait of Washington pointing towards a map of St Michael’s Parish.

8

The 50 cent stamp (Image 9) contains an artistic rendering of the Declaration of Independence manuscript, thereby recognising its centrality in the American Revolution and struggle for independence.

9

Finally the Seychelles Islands were granted independence on 29 June 1976, the same year as the bicentenary of the American Revolution.  The two events were commemorated together upon the Seychelles 12 July 1976 issue designed and printed by John Waddington Security Print Ltd.

10

The 1 rupee stamp (Image 10) depicts the flags of the Seychelles and United States of America besides one another.

11

The 10 rupee stamp (Image 11) juxtaposes images of the Seychelles State House alongside the State House, Philadelphia where the Declaration of Independence was originally signed on 4 July 1776.

 

By Richard Scott Morel

Curator, Philatelic Collections

Related material

The British Library, Philatelic Collections:  Board of Inland Revenue Stamping Department Archive.

The British Library, Philatelic Collections: The Tapling Collection, United States of America.

The British Library, Philatelic Collections: The Crown Agents Philatelic and Security Printing Archive.

14 June 2017

George Washington’s Legacy of Liberty 

I recently had the great pleasure of spending time at the George Washington Library at Mount Vernon, where I both researched for my new book on Benjamin Franklin –  the subject of my Eccles Centre Makin Fellowship – and contributed some new material to the  George Washington Digital Encyclopaedia.  Another joy of Mount Vernon is the house tour.  This is not just because of the interest of the house itself and the glory of its position overlooking the Potomac, but also due to the warmth of the regard of the American visitors for Mount Vernon’s most distinguished owner. The Americans are proprietorial in the nicest possible way: not nationalistic, but personal.  Stories about Washington abound, as they talk of him as a greatly-admired ancestor.  That of course, as the “Father of his Country”, is what he is.

Washington is seen as part historic figure and part icon.  Emanuel Leutze’s painting ‘Washington Crossing the Delaware’ depicts a general truth above individual details. Certainly, the actual boats used in Washington’s famous river crossing were more steeply sided and higher in the water.  The ice in the river did not resemble arctic icebergs and even the men’s clothing was rather different.  However, the portrait was painted as a propaganda piece, three quarters of a century after the event, by a German American who hoped that the campaigners for reform in  the country of his birth would take inspiration from America’s own liberation.  Yet it is the iconic image of Washington that grabs the attention – and rightly so.

The image is iconic because the Washington characteristic that the Leutze portrait conveys so strongly is his leadership. Washington’s solid stance and foot thrust forward dramatically reflect his  ability to inspire. He is the still calm centre of the painting, anchoring the frenzied activity of all those moving urgently around him, while serving his and his new nation’s purpose in mounting a hazardous raid following a succession of defeats.  

The success of the crossing, and victory in the Battle of Trenton that followed, rekindled belief among the American patriot forces and provided a turning point in the War of Independence. The key to Washington’s success was that he was able to withstand  that run of defeats and to appear steadfast until the tide of the war turned, when Benjamin Franklin secured the support of the French and when the Battle of Yorktown was won.  The authority Washington  gained never left him.  It served him well as President of the Constitutional Convention:  he was crucial in reconciling the substantial differences between the States.  It perhaps latterly served him too well, as he was persuaded to serve a second term as President and reluctantly but dutifully did so. 

It is partly that sense of Washington’s authority that accounts for some of the appreciation of him by those visitors to Mount Vernon, but there is more to it than that. Like the Roman general Cincinnatus, he gave up retirement on his farm to take up arms and return to public service once more.  Unlike Cincinnatus he was unable to return to private life after a season, but had to wait for more than quarter of a century before he could finally, and gratefully, do so.  He thus astounded the   European monarchs who expected him to be like them and to die in kingly state.    The Cincinnatus story was well-known at the time, hence the foundation of the Society of the Cincinnati, an organization for officers who served in the Revolutionary War, with Washington as its first President.  But that was in 1783, well before Washington became President of his nation.     

It is perhaps the fact that Washington was determined to limit his power as President that is responsible for his reputation today. This was made clear by his actions, but the key to his approach is outlined in the most precious book in the George Washington Library -- one acquired by the Library at vast cost and added to their already extensive collection of George Washington’s books.   It is Washington’s own copy of The Acts of Congress including the United States constitution, marked up with his own notes on what he was empowered and not empowered to do.  It is evidence of a very happy conjunction of man and measures and why, both in America and around the world, there are so many statues to Washington and constitutions based on the American model.    It is also, of course, an important ongoing guide to executive action for his successors as President.   

Washington1

George Washington’s  personal copy of The Acts of Congress containing the US Constitution and his own annotations on the extent and limits of presidential power

 

Washington2

The Rare Books Vault at the Fred W. Smith National Library for the Study of George Washington at Mount Vernon with The Acts of Congress in pride of place. The Library, opened in 2013, is centred around the books and legacy of George Washington, every bit as much as the British Library has the Library of George III, Washington’s great opponent, at its centre. 

 

Washington3

George Goodwin sharing George Washington’s view from the porch at Mount Vernon 

--

George Washington’s annotated version of The Acts of Congress  is available online

George Goodwin is the author of Benjamin Franklin in London: The British Life of America’s Founding Father (see British Library catalogue) and 2017 Eccles Centre Makin Fellow at the British Library

Further Reading at the British Library:

Douglas Bradburn, The Citizenship Revolution: Politics and the creation of the American Union, 1774-1804  (Charlottesville & London, University of Virginia Press, 2009) [m09/.28708]

Ron Chernow, Washington:  A Life (New York, Penguin, 2011;  London, Allen Lane, 2010) [YC.2011.a.12554]

Joseph J. Ellis, His Excellency, George Washington (New York, Vintage; London, Faber 2005) [YC.2008.a.3908]

Flora Fraser: George & Martha Washington:  a Revolutionary Marriage  (New York, Knopf; London, Bloomsbury, 2015) [DRT ELD.DS.72252]

John Rhodehamel, George Washington:  The Wonder of the Age (New Haven & London, Yale: 2017)  (Soon available from Explore.bl.uk )

02 May 2017

Women in the California Gold Rush

I’m using my 2017 Eccles British Library Writer’s Award to research and write my second novel, Catspaw, which follows two women from Chicago to the Sierra foothills during the California Gold Rush. Women are largely excluded from the mythic-historic narrative of the Gold Rush. Those that do appear are marginal, stereotypical characters: the long-suffering, godly pioneer mother (Sarah Royce), or the savvy prostitute (Belle Cora). I want to tell a story of two women who don’t conform to these stereotypes.

Helen Carpenter Hannah blog

Portrait of Helen Carpenter (Courtesy of the Edward E. Ayer Collection, the Newberry Library, Chicago), from Ho for California!: Women's Overland Diaries from the Huntington Library, edited and annotated by Sandra L. Myres. San Marino: Huntington Library, 1980 Shelfmark: 80/24701

Women were in the minority in the 1849 migration west; but they were there, and they encountered difficulties and opportunities that were unimaginable back east. I wanted to understand the experiences of these women in their own words. Sarah Royce’s renowned memoir, A Frontier Lady (New Haven: Yale University Press, 1932; shelfmark 010409.ee.40) left me with more questions than answers. Written at the urging of her philosopher son Josiah Royce, it tells the story he wanted her to tell—one of Christian fortitude as foundational to California. It left me wondering how she really felt as she left Iowa with her somewhat hapless husband and toddler daughter, bound for the unknown. John Irving wrote that "all memoir is fiction"; but I wanted to read female first-hand accounts that weren’t so starkly in service of a higher narrative.

Mary Jane Megquier small

Portrait of Mary Jane Megquier, from a daguerreotype about 1853, from Apron Full of Gold: The Letters of Mary Jane Megquier from San Francisco, 1849-1856. Edited by Robert Glass Cleland. San Marino: Huntington Library, 1949. Shelfmark: W.P.9803/40

The Eccles Centre’s bibliographical guide, Women in the Trans-Mississippi West, 1840-1900 (London: British Library, 1999; shelfmark YC.2000.a.575 ), helped me locate these accounts. From the letters of the outspoken Mary Jane Megquier, with her longing for "a line" from home and her good-natured complaints of "jiggers in [her] feet, a small insect that lays its eggs in your flesh"; to the witty journal of Helen Carpenter ("there is nothing in sight to merit the name Rocky Mountains—no rocks"); to the letters of Louise Clappe, with her sheer enchantment with "this solemnly beautiful wilderness"—these first-hand accounts are invaluable in helping me develop the voices of my female protagonists. I can’t imagine writing my novel without them.

Hannah Kohler

References: Apron Full of Gold: The Letters of Mary Jane Megquier from San Francisco, 1849-1856. Edited by Robert Glass Cleland. San Marino: Huntington Library, 1949. (Shelfmark: W.P.9803/40); California in 1851: The Letters of Dame Shirley, introduction and notes by Carl I. Wheat. San Francisco: Grabhorn Press, 1933. 2 vols. (Shelfmark: YD.2004.a.1634 & YD.2004.a.1493); Ho for California! Women's Overland Diaries from the Huntington Library, edited and annotated by Sandra L. Myres. San Marino, CA: Huntington Library Press, 1980. (Shelfmark: 80/24701

25 April 2017

Resources for Film Studies and Movie Merchandising in the British Library

In addition to its enormous social and cultural impact, the American movie industry is big business with its films and associated merchandising generating annual multi-billion dollar revenue streams. Despite its modern pre-eminence however the origins of the movie merchandising industry remains obscure. The British Library may be situated several thousand miles away from the glitz and glamour of Hollywood, yet its varied collections contain significant material for those interested in film studies and the history of movie merchandising.

In nineteenth century Europe the postage stamp medium was adapted for non-postal purposes by businesses to create a new advertising medium known as poster stamps since they are essentially mini advertising posters.  This advertising format spread to America and at its height prior to the First World War, collecting poster stamps actually eclipsed philately as a hobby with hundreds of thousands of them being issued to commemorate events and sell products.  In 1913 designers Oscar Wentz and Winold Reiss emigrated from Germany to New York hoping to make their mark on the American advertising industry.

Image 1A horizontal strip of six perforated advertising stamps for Wentz & Co New York-Berlin, c. 1914

 By 1914 Wentz and Company had signed contracts with most of the major movie studios to provide poster stamps depicting actors, actresses and serial movies. Designed by Wentz and Reiss, these were to be sold with accompanying albums by the movie studio to cinema owners, who would sell them or give them away as promotional material to entice audiences back each week. The Campbell-Johnson collection in the British Library’s Philatelic Collections possesses sixty one poster stamps produced by Wentz and Company as well as others depicting prominent actors and actresses from the silent screen.

A particularly attractive poster stamp design depicts Mary Pickford (1893-1979), the first great American movie star and co-founder of United Artists Studio with Charles Chaplin, D.W Griffith and her husband Douglas Fairbank in 1919.

Mary Pickford
Poster stamp depicting Mary Pickford by an unknownmanufacturer c. 1914

Another notable individual depicted in the poster stamps manufactured by Wentz and Company is Mae Marsh (1895-1968) one of the greatest actresses of the silent cinema who received critical acclaim for her role as the little sister wearing a fake ermine dress in D. W. Griffith’s infamous and controversial civil war movie ‘The Birth of a Nation’ released in 1915.

Mae MarshPoster stamp depicting Mae Marsh manufactured by Wentz and Company c. 1915

 Cowboy and Western movie aficionados will also find images of interest including depictions of G. M. Anderson aka ‘Broncho Billy’; (1882-1971) widely considered the first cowboy movie star. Appearing as Broncho Billy in around 400 early films including the Great Train Robbery in 1903 and the Bandit Made Good in 1907, Anderson’s contribution to cinema was recognised by the Academy in 1957 when he was awarded an honorary Oscar.

Broncho Billy
Poster stamp depicting G. M. Anderson aka Broncho Billy manufactured by Wentz and Company c. 1915

The Campbell-Johnson collection also contains twenty seven Wentz and Company poster stamps depicting stills from episodes 5-8 and 11-15 of “The Goddess;” six depicting stills from episodes 14-15 of the adventure serial “The Broken Coin;” and finally thirty six depicting stills from episodes 2-3, 6, 8, 10 and 14 of the detective serial “The Black Box,” all released in 1915 by the Vitagraph Company and Universal Studios. In addition to being examples of early movie merchandising these poster stamps are important since the Black Box and Broken Coin are believed to be lost films, the stamps consequently offering a rare visual insight into these films cinematography and structure.

Broken Coin
Poster stamp depicting a still titled ‘After the battle’ from episode of 15 of the Broken Coin manufactured by Wentz and Company, 1915

 

Black BoxPoster stamp depicting a still titled ‘Professor Ashleigh’s apparent terror at the burning of the shed containing the ape man mystifies Quest’ from Episode 3 of the Black Box manufactured by Wentz and Company, 1915

 

The Goddess
Poster stamp depicting a still titled ‘Freddy saves Celestia from the murderous attack of Mrs. Gundorf’ from Episode 14 of the Goddess manufactured by Wentz and Company, 1915.

In addition to poster stamps, the British Library’s printed book collections also include a range of early twentieth century novels which had been adapted into movies and published to accompany the film.  An excellent example related to the poster stamps just referred to is Edward Phillips Oppenheim’s novel ‘The Black Box’ published in New York in 1915.

Black Box
Cover from Edward Phillips Oppenheim: The Black Box, (New York: Grosset & Dunlap, 1915)

Included within the work are thirty one stills from the film series which along with the text offer further insight into the structure, narrative and cinematography of this lost silent movie. 

Black Box 2
Movie still captioned ‘Quest and Laura change clothes so that Quest may make his escape’ taken from the movie The Black Box and published in the accompanying novel.

Another significant body of material with the library includes song sheets and music books some of which were popularised by famous movies. A notable example from amongst the library’s collections includes the sheet music composed by James Brockman for the 1916 movie series the Girl from Frisco, a twenty-five part series starring the Latina actress Marin Sais (1890-1971) centring around the activities of a cowgirl dispensing justice and humanity in the old west.

Girl from Frisco
Cover for sheet music for the 1916 Kalem Company movie titled ‘The Girl from Frisco’ composed by James Brockman

By Richard Scott Morel

Curator, Philatelic Collections


Sources

The British Library Philatelic Collections: The Campbell-Johnson Collection, Volume 28.

H. Thomas Steele: Lick ‘em, Stick ‘em: The Lost Art of Poster Stamps (Abeville Press, 1989)

Ken Wlaschin: The Silent Cinema in Song, 1896-1929 (McFarland Publishers, 2009).

Robert Whorton: The Master Key Serial: Wentz Master Stamp Set Instalment I in the Cinderella Philatelist, Vol. 54, No. 4 (October 2014)

IMDB Database