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an online forum for early American discovery, discussion, and diversion from the American Antiquarian Society

March 9, 1870 Wednesday, In the Life of a Blacksmith: Blacksmithing again.  On our big wagon.  I drilled and bolted the wheels today.  In the eve I read [C-- C--] and then wrote a letter to Simon.

What caption would you write?

March 8th, 2010, by Elizabeth Watts Pope

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slate_naughty_boy
This is for all the historical comedians out there …

Seeing the illustration above, titled “The Naughty Boy,” in Lauren’s post Slate, Before the Hype started me wondering what led up to this scene. There has to be a good story here. The sulky pout. The curls and the dress (which to modern eyes appear gender-bending). This scene cries out for creative description.

Wow us with your best tag lines and the readers of Past is Present will vote for their favorite (I’ve added a thumbs-up function to the comments section). Keep coming back to vote! Next week we’ll announce the winner of another of our antiquarian-glory-only prizes. And who knows? Maybe we’ll post a few other fun images that have come across our desks recently.


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Cataloger Uncovers Scandal: “It was Unrequited Love”

March 3rd, 2010, by Christine Graham-Ward

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Like the other catalogers here at AAS, part of my job as the Graphic Arts cataloger is to figure out the artists, sitters, publishers and others who contributed to the works in the collection. So when I catalogued a large color lithograph view of Portland, Oregon from 1891, I noticed that the copyright holders were not listed in our catalog. And although I usually check the Library of Congress’s authority file to see if the firm is established, I went right to Google. When I found nothing solid there, I went to the newspapers. For the record, they are already established at LC, but it did prove an interesting distraction from cataloging. And it turns out the lithograph had a Worcester connection.

The Map of Portland, Oregon

The Map of Portland, Oregon

The view of Portland was copyrighted by the firm of Clohessy & Stengele (i.e. Strengele). So I checked the names America’s Historical Newspapers database (a wonderful research tool containing full-text searchable, digital versions of many of the newspapers at AAS). I searched for Stengele and Clohessy in any paper and any publishing date. The first result that came up was from the September 17, 1894 issue of the Morning Olympian. The headline read:

Portland’s tragedy. A murder and suicide of prominent people. It was unrequited love. A civil engineer shoots a woman.

John W. Strengele was a thirty-something well known civil engineer from a wealthy family in Chicago, who had moved to Portland about 1889. He had been dating a woman, Mrs. Mabel Colvin of Worcester. Yes, Mrs. Pretty scandalous I thought. According to the first news report on September 17th, 1894, Mr. Strengele and Mrs. Colvin had been dating for some time and had decided to be married, once she obtained a divorce from her husband in Worcester. Even more insight into this tragedy was given in the reprint of Strengele’s suicide note addressed to his business parter:

Portland Hotel, September 16, 1894. My dear Clohessy: Could anyone overlook the fact that I am mad? I have done a lot of worrying, and you can now see why I am not well and why I do not eat and sleep as I used to. You know we were to be married as soon as Mabel got her divorce, and you know of our intimacy for the past year or more. I found to my sorrow after watching her that I was not the only man in the case. We had a row once before, but then I was not as positive as now, and we made up. You have proved the only friend I have ever had. I hope you will never make such a d— f— of yourself as I have made of myself. I cannot stand life any longer, although I have been fairly successful all along. There is enough money in my pocket to pay for burial, etc. I am not particular how I am put away. Mabel is the only woman I really love. I cannot live without her, and if you knew how I have been treated of late you would not blame me.

It is almost impossible for me to write I am so nervous. I realize what I am about to do perfectly, and I cannot for the life of me check myself. This desire to kill her and then myself came over me a few days ago. I cannot live any longer. Best wishes. Jack.

According to more newspaper reports from Portland and Worcester, Mabel Forehand Colvin was the daughter of Sullivan Colvin, owner of the Forehand Arms Company in Worcester. Mabel had married another prominent Worcesterite, Mr. C. Henry Colvin, a bookkeeper at the Colvin Iron Foundry, sometime around 1885. According to some reports, Mabel was an alcoholic and moved to Portland about 1892 to flee her unhappy marriage. Other reports stated that Mr. Colvin was at fault and had verbally abused and abandoned his wife. She left and moved in with her cousins, the Jewetts, on Yamhill Street in Portland. Her brother Charles also lived in Portland. Soon after, Mabel met and fell for John Strengele, a prominent civil engineer. They later became engaged and Mabel had filed for divorce just days before her death. In some reports, and in the suicide note, it seemed Mabel had cooled on the relationship and was seen with other men, which obviously upset Strengele. The account in Worcester’s Daily Spy of September 18, gives the gruesome account of exactly what happened on Sunday, September 16, 1894:

Detail of the area where the murder occurred

Detail of the area where the murder occurred

Sunday Mrs. Colvin attended church as usual and taught her class at the Unitarian Church. After Sunday school she took a walk with her brother, Chas. E. Forehand, who recently went to Oregon. After enjoying an hour’s pleasant chat with her brother, Mrs. Colvin boarded a streetcar to go to her home at 472 Yamhill Street [near Thirteenth Street], where she lived with her cousin, C.F. Jewett. From the car to Mr. Jewett’s house, the distance is not above 200 feet, and, after alighting from the car the unfortunate woman started to walk toward the home she was never destined to reach.

Stanegels [sic] was lying in wait for his victim. He rushed to her side, caught her by the arm and spoke excitedly and hurriedly. A man who stood on the opposite side of the street saw Stanegels and heard the excited tones of his voice but could not distinguish his words. Mrs. Colvin exclaimed sharply ‘Let go of me. I do not care to be molested by you; I will not go with you.’

These were the last words she ever uttered, for Stanegels pulled out a revolver and fired. Mrs. Colvin fell to the ground with a moan and the crazed murderer, while the woman was lying prostrate on the street with the blood streaming from the wound caused by the first bullet crashing through the brain of Mrs. Colvin, the bullet entering the left temple and passing out through the right ear. Stanegels then looked closely at his victim, apparently to make sure that he had accomplished his murderous purpose, placed the pistol muzzle to his own right temple and sent a bullet through his own head, literally blowing out his brains. He fell dead to the ground within five feet of his victim.

Images of the deceased from the 9/17/1894 issue of the Morning Oregonian

Images of the deceased from the 9/17/1894 issue of the Morning Oregonian

Once Mabel’s Portland family learned of the murder, they sent the following telegram to her father, Sullivan Forehand, who had never heard of Mr. Strengele (Sullivan and his wife had visited her months before her death, and the vacation had been written about in the local paper):

Mabel accidentally killed. Will be prepared suitably for shipment. Details by mail. Wire me instructions.

Mabel was shipped back to Worcester, given a proper funeral, and is buried at the Rural Cemetery on Grove Street in Worcester. Her brother, Frederic, had a relationship with the American Antiquarian Society and donated and sold several manuscript collections to us in the 1920s. So, even though I should have checked the authority file first, I’m glad I didn’t, since establishing authorities is rarely as interesting as this story was. I’m just upset I didn’t get to include this information in their file!


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In the Bleak Mid-winter

February 24th, 2010, by Lauren Hewes

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In the cold of a New England winter, it is easy to feel sorry for one’s self as the grey clouds of January barely dissipate in the low light of February’s early gloam. Some believe that the best way to tackle winter is to embrace it, and so the Graphic Arts department offers for your enjoyment selections from the collection that reflect how our ancestors dealt with the snow and ice of winter by singing, sleighing and skating. We chose optimistic images on purpose – leaving the broadsides and songs about blizzards and frostbite and lost cattle for another day!

J.Henry Whittemore, composer, Footprints on the Snow, Detroit: Calvert & Co. Lithographers, 1866. The first stanza of this song records a young man stepping out after a snowfall and finding a woman’s footprints in the snow outside his door. Naturally, true love ensues! He sings: “I gazed with admiration on the trim and tiny marks, and felt within my bosom kindling love’s bewitching sparks,”

J.Henry Whittemore, composer, Footprints on the Snow, Detroit: Calvert & Co. Lithographers, 1866. The first stanza of this song records a young man stepping out after a snowfall and finding a woman’s footprints in the snow outside his door. Naturally, true love ensues! He sings: “I gazed with admiration on the trim and tiny marks, and felt within my bosom kindling love’s bewitching sparks,”

skating photo

Tintype of skaters, three unidentified women on ice skates in the studio, no photographer given, c. 1875. These three women thought an ice skating scene would make for an amusing photographic memento. Not so cold as shooting it outside on the real ice!

Scene of Boston Commons in the snow, no photographer given, albumen on card, carte de visite, c. 1860. The city of Boston frequently trucked snow from the city streets to the Common. Here horses pull carts loaded with snow through the gates of the park.

Scene of Boston Commons in the snow, no photographer given, albumen on card, carte de visite, c. 1860. The city of Boston frequently trucked snow from the city streets to the Common. Here horses pull carts loaded with snow through the gates of the park.

StopThief

Stop Thief. For Aquila Cook of Bellingham, Massachusetts. Woonsocket, Rhode Island: Patriot Press, 1848. Question: Who would steal a sleigh, horse, harness and blankets in the middle of February? Answer: Someone with really bad cabin fever, perhaps!

Locomotive in a drift, March 29, 1881, stereophotograph. Winona, Minnesota: Elmer & Tenney. The upper Mid-West trumps New England when it comes to snow fall totals, but western-themed stereocards such as this one were very popular in New England homes. Schadenfreude, perhaps?

Locomotive in a drift, March 29, 1881, stereophotograph. Winona, Minnesota: Elmer & Tenney. The upper Mid-West trumps New England (or maybe this year we should say it trumps even the mid-Atlantic) when it comes to snow fall totals, but western-themed stereocards such as this one were very popular in New England homes. Schadenfreude, perhaps?

Ice crystals, c. 1870, stereophotograph. Littleton, N.H.: Kilburn Brothers.  Scientists used cameras to study ice, snow and frost patterns starting in the early 1850s.

Ice crystals, c. 1870, stereophotograph. Littleton, N.H.: Kilburn Brothers. Scientists used cameras to study ice, snow and frost patterns starting in the early 1850s.

A Winter Scene, reward of merit for Miss Lucy Draper, engraving, c. 1840. This reward of merit was found in an 1837 grammar book.

A Winter Scene, reward of merit for Miss Lucy Draper, engraving, c. 1840. This reward of merit was found in an 1837 grammar book.


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Canines at the American Antiquarian Society

February 15th, 2010, by Lauren Hewes

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ball_carte-de-visiteDogs. Some people love them, others hate them. Regardless, there is just no getting around the fact that the lives of humans and dogs have long been intertwined. Depictions of dogs were painted on cave walls by early man and just last week images of “First Dog” Bo (the Obama’s Portuguese water dog) playing in Washington D.C.’s record snow fall were sent around the world via the Associated Press.

This week, the city of New York hosts the 134th Westminster Dog Show, bringing together an international selection of canines and their breeders and handlers. Westminster started in 1877, just at the tail-end (sorry!) of the American Antiquarian Society’s collecting range. However, the presence of dogs in many pre-1877 graphic materials in our collection shows American interest in man’s best friend indisputably pre-dates the invention of the formal dog show.

Dogs have long held symbolic meaning in prints, representing fidelity in wedding or patriotic images, or showing cowardice with tail betwjohnson_pancea_croppedeen the legs in political cartoons. Once you start looking for them, you see them everywhere. Dogs deficate, urinate and vomit in dozens of political cartoons and social sartires ( such as David Claypool Johnston’s Panacea Mania detail at right). Capitalizing on the cuteness or hero factor, dogs_tregear they also often appear in advertising material, helping American merchants sell everything from sewing needles to hats (see the trade card at left for Boston hatter H.D. Tregear where a dog bravely attempts to rescue his owner’s chapeau).

For this posting, however, we are looking at images of actual dogs, not the more common symbolic or fictional dogs. Therefore, for your viewing pleasure (or if you detest dogs – to your great dismay) and in honor of the biggest dog show in the world, we have selected a handful of photographs and drawings of actual pets from the Graphic Arts department, starting with a nerodaguerreotype of Nero, a dog once owned by the Barton family. A mixed breed, Nero sits attentively on the photographer’s table, isolated from his human owners, but perhaps focused on them (or on a bit of chicken or liver like his counterparts in Madison Square Garden this week). Daguerreotype exposures could be lengthy, so the fact that Nero could hold the pose long enough to stay in focus is impressive. Additionally, the Bartons thought enough of the dog to pay extra to the photographer to have his collar hand-tinted with gold paint.

Carte-de-visite photographs became popular in the 1850s, and several in the Society’s large collection include dogs. A portrait by Bostonsturgis_carte_de_visite photographer John Adams Whipple of Henry H. Sturgis features a terrier mix resting atop a table while his owner leans casually against a pillar. Miss Anna Ball of Worcester took her setter to the studio of Charles Claflin and the dog slept on the floor while Anna posed in an elegant dress (image at top of post). Neither of these photographs include the name of the dog, although the Sturgis card has been annotated to include the name of the human sitter’s future wife (I wonder if she and the dog got along!).

Drawings and paintings of specific pets are also found in the collection. The lithographers johnston_dobermanLouis Maurer and Charles Crehen as well as several members of the Johnston family often included dogs in their more generic hunting and farm scenes. In order to capture the dogginess of these fictional creatures, all of these artists made sketches of their own dogs which are now part of the AAS collection. Scattered across the Society’s drawing and artists collections, these images feature relaxed and tolerant beasts, all of which were probably used to being studied carefully by their owners.

Bringing a pet to a photo studio or making a drawing may not tell us all that much about their specific owners (“Those Bartons, they must have been real dog people!”), but given the visual record, both practices were widespread. This does say something about Americans and their dogs. Historical examination of pets is being undertaken by numerous scholars (see Katherine Grier’s Pets in America, a History, University of North Caroline Press, 2006; or recent papers on animals and children presented by Brett Mizelle of California State University at Long Beach). We’ll let the scholars discuss the social and historical ramifications of owning a dog in America before 1877 – for now, we are happy to mark the opening of the 2010 Westminster Dog Show with this blog post. And in the interest of full disclosure: I’ll be rooting for the poodles but we also have strong feelings about pugs, springers, and greyhounds here in the Graphic Arts department. May the best dog win!


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Sensational Images

October 15th, 2009, by Elizabeth Watts Pope

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faster_girl_cover At parties, when people discover I work at the American Antiquarian Society, they often ask: what’s your favorite item in the collections? To my mind, this is akin to asking a parent to choose his or her favorite child. I’ve heard curators answer this impossible dilemma simply: whatever I received this morning is always my favorite. My own newly crowned favorite item first crossed my path a couple weeks ago when it was called for by one of our recent fellows, Spencer Keralis. The Fastest Girl in New York is a dime novel in the “Love and Romance” series that has been in AAS’s collections since 1970, although this is the first time we’ve met. Apparently I am not alone in my fascination with The Fastest Girl, as it is (self-)described as nothing less than “THE MOST BRILLIANT AND FASCINATING BOOK EVER PUBLISHED.” On the title page we learn that our heroine, Cleo, “rides a fast horse – captivates gay damsels – fascinates fast men – plays billiards like a grand master.” Now this sounds like a girl to know!

In one of the more gripping scenes, our cross-dressing heroine is depicted lounging, smoking, drinking, and idly whipping herself while being gazed at by, and gazing upon, the male audience gathering around her:

At one of the tables in the smoking room of the Mr. St. Vincents, sat Cleo, her feet upon the black walnut, her legs crossed, her hat at an angle of forty-five degrees, with the brim resting on her right ear. With all the nonchalance in the world, she sat there, gently whipping her right leg with her inseparable companion, her whip. A small bottle of Widow Clicquot stood at her right hand, the contents partially disposed of; a package of cigarettes lay on the table, and the blue smoke from one of these dainty things, she was expelling from her nostrils with all the gusto of the most inveterate cigarette smoker.

fastest_girl_inside
Twenty pair of eyes looked her over from head to foot, — not all at once, nor with long, rude gaze – her small feet seeming to attract more attention than any other part of her person, though it was evident that the remark of one gentleman, in a low tone, to a friend, to the effect that she was a fine young fellow of good parts and fine points, would have found echo in every breast. And she glanced from one to the other of the gentlemen present, with unabashed, though not bold and brazen gaze, and no doubt expressed herself mentally concerning their parts and points (41).

This week is the perfect time to mention my newest obsession with The Fastest Girl because we are having a free public lecture on a related subject at 6pm tomorrow night, Friday, October 16th. “Catching His Eye: The Sporting Male Pictorial Press in the Gilded Age” is this year’s Wiggins Lecture in the Program of the History of the Book in American Culture and will be given by Joshua Brown, the executive director of the American Social History Project at the Graduate Center of The City University of New York.

2009 CHAViC Conference

2009 CHAViC Conference

The fun continues all this weekend with the Center for Historic American Visual Culture (CHAViC) conference at AAS: “Destined for Men: Visual Materials for Male Audiences, 1750-1880”. The conference will include a visual cornucopia of material, such as mark medals, chamber pots, men’s fashion, drawings, photographs, and the Police Gazette. Should you wish to attend, there is still time to register and pay at the door on Friday.

If Cleo’s story sparked your interest, there are plenty more of these sensational and well-illustrated stories in the AAS stacks for you to explore. Dime novels like The Fastest Girl were cheap publications that became popular starting in the 1860s and initially sold for 10 cents (hence the name). AAS has many more dime novels than are listed in our online catalog, and there are checklists and bibliographies available in the reading room.

The Flash PressOther related collections include our racy newspapers (also called the sporting press or flash press). To learn more about these sources, you can check out a book published in association with AAS: The Flash Press: Sporting Male Weeklies in 1840s New York by Patricia Cohen, Timothy Gilfoyle and Helen Lefkowitz Horowitz (2008). You may also wish to examine our online bibliography of risque literature at AAS created by our president emeritus, Marcus A. McCorison.

More information about the free public lecture is available here or about the CHAViC conference here. We hope you will join us in enjoying these sensational images!


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Try tilting your head just slightly…

October 2nd, 2009, by Diann Benti

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They represent a type of carnage we can’t even imagine. Today they would cause more than a few gasps. And, yet unable to rewrite this tragedy, we feast on the spoils.

Okay, I’m being dramatic. But for archivists and librarians the idea that 600 cartoons were cut from Civil War era newspapers is a little hard to handle. Yet with the dirty work already done, the four boxes of cartoons represent a gold mine for scholars of mid-19th century America.

The secret to so much of scholarship is that it matters how you view primary sources. Historian Forrest McDonald spoke to this issue in a 1999 CSPAN interview

When I first worked at National Archives, they just turned me loose in the stacks. Now you’ve got to go in, and you’ve got to tell them what volume you want or what document you want and so on, and you sit down in a waiting room, and they will bring the stuff down for you, and that’s that… Whereas it would have taken generations to do what I did in the early ‘50s, now it couldn’t be done; it simply could not be done.

Of course, full-text searchable databases have unveiled a new type of researching that changes the game once again and offer possibilities unheard of to McDonald’s generation of scholars. But the fundamental fact remains that how you see impacts what you see: (more…)


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