CALIFORNIA S T A T E LIBRARY FOUNDATION Number 121 2018 CALIFORNIA S T A T E LIBRARY FOUNDATION Number 121 2018
EDITOR Gary F. Kurutz
EDITORIAL ASSISTANTS Kathleen Correia & Brittney Cook 2 �����������Pony Express Historian Joe Nardone’s Gifts from the Trail
COPY EDITOR By M. Patricia Morris M. Patricia Morris
BOARD OF DIRECTORS 10 ����������Cutler Mail Chutes: Rare, Beautiful, and Still in Use After a Century Kenneth B. Noack, Jr. By Laura Kellen President Donald J. Hagerty Vice-President 14 ����������Symbols and Icons: Creating Maynard Dixon’s “A Pageant Thomas E. Vinson of Traditions” Mural Treasurer By Donald J. Hagerty Marilyn Snider Secretary 24 ��������Foundation Notes Greg Lucas State Librarian of California Celebrating Adolph Sutro’s 188th Birthday By Diana Kohnke JoAnn Levy Phillip L. Isenberg Thomas W. Stallard Mead B. Kibbey Striking Wood Engraved Holiday Cards by Leon Gilmour Phyllis Smith Gary Noy Donated by Victoria Dailey Angelo A. Williams Jeff Volberg By Gary F. Kurutz
Gary F. Kurutz Brittney Cook Two Illustrious Board Members Retire Executive Director Foundation Administrator Mead Kibbey’s Generosity Continues Shelley Ford The Mead B. Kibbey California State Library Foundation Bookkeeper Fellowship Established The California State Library Foundation Bulletin is published when we are able. © 2004-2018. Katherine Weedmam-Cox Joins the Board
Opinions of the authors are their own and do not necessarily reflect the opinions of their institutions, the California State Library or the Foundation. Front Cover: A Young Californio woman, poised and regal, represents a short-live and romanticized era in California History. See Donald J. Hagerty’s article on the library’s The Bulletin is included as a membership Maynard Dixon mural, pages 14-23. benefit to Foundation members and those individuals contributing $40.00 or more annually Back Cover: One of the many details from Dixon’s great mural, “A Pageant of to Foundation Programs. Membership rates are: Traditions.” It depicts an Aztec leader.
Associate:$40-$99 Illustrations and Photo Credits: The editor extends his gratitude to Brittney Cook, Contributor:$100-249 Marianne Leach, Vincent Beiderbecke and Matt Bartok for their expertise in creating Sponsor:$250-$499 digital scans and photographs for this issue. All images are from the collections of the Patron:$500-$999 State Library’s California History Section and the Sutro Library. Institutional:$500 Corporate:$750 Design: Angela Tannehill, Tannehill Design | www.angelatannehill.com Lifetime Member:$1,000 Pioneer:$5,000 California State Library Foundation Subscription to Libraries: $30/year 1225 8th Street, Suite 345, Sacramento, CA 95814 tel: 916.447.6331 | web: www.cslfdn.org | email: [email protected]
bulletin 121 1 Pony Express Historian Joe Nardone’s Gifts from the Trail
By M. Patricia Morris
2 California State Library Foundation Wells, Fargo & Co. issued these two 25 cent stamps for its Pony Express route between Placerville, California, and Virginia City, Nevada Territory. The route was in operation between 1862 and 1865.
This is one of three statues in Joe Nardone’s donation to the State Library. It replicates a larger-than-life sculpture created by artist Tom Holland and placed in Old Sacramento, California, to honor the western stopping point for the Pony Express.
INTRODUCTION
ne hundred fifty-eight years ago, on April 3, 1860 at 7:15 history of this nineteen-month period in which the Pony Express OP.M., the first Pony Express rider mounted his horse existed, Nardone set the record straight with amazing precision and set out westbound from St. Joseph, Missouri, to begin the telling me that on April 3rd, 1860, at 3:45 p.m., the Pony Express mission of this new enterprise to transport mail by the fastest rider in San Francisco arrives the mail, rides from that office means possible via a central route across America. It just to the river steamer, The New World, and comes up the river to happened, I scheduled an interview with Pony Express Historian Sacramento. The steamer gets here at 2 o’clock in the morning Joe Nardone in the State Library’s California History Room on of April 4th. On April 4th, Hamilton (the rider) gets the mail and April 4, 2018. Did we miss the auspicious date by one day, the takes off. day when the first Pony Express rider would have headed east There you have it, our meeting took place on April 4, 2018, the from Sacramento? 158th anniversary of the first Pony Express rider’s departure on As one who has made a quest of finding the truth about the horseback eastbound from Sacramento.
bulletin 121 3 ABOUT JOE NARDONE
repository for the donation? Mr. Nardone oe Nardone’s study of the of from coast to coast. Going through their replied that it was his relationship with Pony Express began not long archives and reading all their newspapers former Principal Librarian for Special Col- after his retirement in 1982. in print in the 1860s.” It is the California lections and current Foundation Executive He was looking to write about State Library, though, where most of his Director Gary Kurutz. Kurutz came down one of America’s western trails or a branch research has taken place. He came to the to Joe’s home in Southern California, and of one of the trails when a National Park Library for its extensive materials covering they talked about what the Library might Service employee and friend asked him a 1860–1861, and in particular its California like to have. “Can we do this, Joe?” Gary question about accuracy of the 1,966 mile newspaper resources. asked. Joe said, “We’ll figure out how to length of the Pony Express Trail from St. make it happen.” Joseph, Missouri, to Sacramento. It was A GIFT FOR ALL TO SEE When visitors step into the California a question that piqued his curiosity and Unlike so many days spent in the rare History Section’s Rare Materials Read- set in motion his 36-year fascination with book room or at a microfilm reader, Joe the “Pony.” He has traveled the trail by Nardone was not in the in the California seven different modes of transportation: History Section’s Rare Materials Reading EDITOR’S NOTE horseback, airplane, hiking, 4-wheel drive, Room this day to conduct research, but to M. Patricia Morris is the Bulletin’s long-time mountain bicycle, dual-sport motorcycle talk about a major gift he is making to the copy editor and a frequent contributor. She and recreational vehicle.1 He has partici- State Library. When complete, the dona- has specialized in interviewing and writing pated in the marking of Pony Express sta- tion will include statues, artifacts, books, profiles of staff, board members, and donors tions along the trail and mapped every Pony maps, and pamphlets, all illustrative of to the Library’s collections. To date, she has Express mile. Over the years, Joe visited, in Pony Express history. written twenty-two articles of which eleven his words, “every repository you can think Why did he choose the State Library as a were profiles.
4 California State Library Foundation ing Room now, they will be able to see twenty-five of these statues. He interviewed true. During Joe Nardone’s many years of the physical objects he is presenting to Mr. Holland, who lived in Southern study, he has made it a point to discern fact the Library. They will be housed in and California, before he died. “A really nice from fiction. Before we continue to talk on two display cases. The cases are being guy,” Nardone said. He asked the artist why about his wonderful gift, let’s pause here constructed by Burnett & Sons, a Sacra- the rider wasn’t carrying a gun to which for an educational moment. mento company that is a historic entity in Holland replied, “Well, our governor who The common belief is that Pony Express itself, having been in business since 1869. is now President Reagan, said, “The riders riders leaped on their steeds and galloped The books, pamphlets, maps, and other rode so fast, they didn’t need one.” the 10 or 15 miles to the next station where ephemera will be incorporated into the Nardone found the third and smallest of they changed horses. Indeed all three of State Library’s collections and known as the trio in an antique store in St. Joseph. the young men portrayed in the statues the Joe Nardone Memorial Pony Express Since this statue was made by a company are going, in a phrase I heard Mr. Nardone Research Collection. that specializes in bookends, it was thought use for one of them “hell bent for leather.” to be a bookend replica. “Everyone collects But did they always ride at horse-race THE THREE STATUES something,” Mr. Nardone observed. The speeds? Not according to Nardone. “They Prominently on view will be three statues, little statue was never intended to be a were riding maybe 4 to 5 miles an hour, all depicting Pony Express riders in the bookend. This horse and rider represents maybe 7 in the daytime when they can see. saddle, in full motion, with the intent a larger-than-life Pony Express statue At nighttime, probably 4. You only have to expressed on their faces of moving the mail located in the civic center of St. Joseph, do 6 miles an hour to do the trip in 10 or as fast as the horses can carry it. Pointing Missouri. The artist, sculptor Hermon 11 days.” If they did that, they would meet to the largest of the three statues, Nardone Atkins MacNeil, was commissioned to the goal of the Central Overland California said, “That one knocked my socks off.” The create it to commemorate the eightieth & Pikes Peak Express Company, the parent statue is about three feet high and weighs anniversary of the Pony Express. It was organization of the Pony Express. nearly 200 pounds. It was produced by dedicated in St. Joseph on April 20, 1940. internationally renowned sculptor Avard MOCHILA & SADDLE T. Fairbanks. During his career, Fairbanks AN EDUCATIONAL MOMENT One of the two cases planned for the created more than 100 public monuments The Pony Express, though brief, still stirs California History Room will house a life- portraying historic figures and events. excitement in the American imagination. size saddle and mochila. A mochila is the Four of his statues are in the U.S. Capitol Many myths about the venture have been distinctive pack Pony Express riders used building in Washington D.C.2 repeated so often they are believed to be to carry mail. It could be easily thrown Bill Harrah of hotel and casino fame hired Fairbanks to sculpt two larger-than- life Pony Express statues. One is situated outside Harrah’s in Stateline, Nevada. The other is at Harrah’s in North Kansas City, Missouri. Nardone arranged with the Fair- banks family to create the one-half scale replica that now resides in the California State Library. The middle-sized statue will be familiar to anyone who has spent time walking the streets of Old Sacramento. Thomas Hol- land, an artist who also happened to be a polo player, created the original to honor the stopping point for the Pony Express in Sacramento. Fifteen feet in height, he based the rider’s clothing on a description in Mark Twain’s Roughing It.3
Nardone purchased this replica in an Joe Nardone is showing the construction and uses of this replicated Pony Express antique store in Sacramento. Holland made saddle and mochila (Mo-Chee-La), the saddle cover made for transporting mail.
bulletin 121 5 across a saddle and featured four cantinas, than the rear one for the rider’s legs. That Express Company William H. Russell, or pockets where riders inserted the letters, is how the Hook mochila was made. You Alexander Majors, and William B. Wad- telegrams, and waybills. Looking at the will see in looking at the mochila in the dell were operating a very large freighting three statues in the Library, you will see all Library the differences in size between the business. “They had a big contract with of them are equipped with a mochila. front and rear cantinas. the federal government to supply all the “There is not an original mochila in the Then on to the saddle. Henderson found western forts,” Nardone said. “Russell was world,” Nardone said. The gift mochila a certified 1860 saddle tree which Nardone the president. Waddell was in many ways and saddle he is donating to the Library took to a saddle tree maker in El Paso, the bookkeeper of the company. So Majors are replicas. He has had ten reproduc- Texas, who put one together. They even was the one who hired everyone, and he tions made of them. The Autry Museum used square nuts in the stirrups, because was a devout Christian.” In 1858–1859, of the American West acquired one of the they didn’t have the hexagonal nuts then Majors hired 5,000 men. He had each replicas, and the others were presented to that they use today. new employee take the oath described museums along the Pony Express Trail.4 If above, and then according to Nardone, there are no original Pony Express mochi- 1858 RUSSELL, MAJORS, & “He would hand the men a Bible as a gift.” las, how did Nardone achieve accuracy in WADDELL PONY EXPRESS BIBLE However, it is Nardone’s feeling that the replicas. It’s quite a story? What were these riders like who ventured few, if any, Pony Express riders got one “The earliest mochila that we have on across the wild American countryside to when hired in 1860–1861. Majors con- record,” Nardone said, “is at the Buffalo Bill deliver the mail? It is known that the aver- ducted his business from his farm in Museum in Cody, Wyoming.5 In 1897, Cody age age was over twenty-one according to Nebraska City, Nebraska, 150 miles north hired a man to make a replica mochila for the 1860 U.S. Census. They were expert of the Pony Express Trail, and his original his Wild West Show.” The mochila in the riders and of good character, at least, that’s order of Bibles was insufficient to give possession of the Cody museum had the the kind of men the Overland California copies to everyone of the company’s newly name of the mochila maker, Louis Hook, & Pikes Peak Express Company strived to hired men. Majors did order 300 more and SLC [Salt Lake City] printed on the employ. Indeed, newly hired Pony Express Bibles in 1860 that were received in 1861. back. With assistance from a friend who riders were required to take an oath and “But it is a totally different Bible in size, in is a genealogist, Nardone learned that “not sign it. Nardone said the oath simply text, and in style,” Nardone said.6 only was this saddle maker running his own stated, “You won’t swear, you won’t get In his opinion, Nardone believes Bibles business in 1880 in Salt Lake, but he was drunk, and you will treat animals kindly.” like the one now on view in the State an apprentice saddle maker in 1860 in Salt Among Joe Nardone’s gifts to the Library Library’s California History Room should Lake City when the Pony Express was get- is an original “Pony Express Bible.” It is 5 have been called the “Alexander Majors ting underway. Why wouldn’t he have made 7/8 inches high, 4 inches wide, and 2 1/8 Transportation Bible.” Whatever it is it as similar as he could recall,” he said. inches thick, and exceedingly rare. Two called, this Bible speaks to the nature of Nardone then contacted the Smithso- thousand of these Bibles were ordered the company that distributed it and calls to nian Institution to find out who was the from the American Bible Society in New mind powerful associations with the his- museum’s saddle maker. He was referred York. Today, there are only twenty-two of tory of the period. to an outfit in Kearney, Nebraska, the them known to be in existence. The scroll Henderson Family. The father had passed work on the leather covers as well as the EDUCATIONAL MOMENT away, but his son, Lyle Henderson had lettering are in gold gilt. Printed on the There was so much to learn from this inter- taken over the business. “In fact,” Nar- spine are the words HOLY BIBLE and on view, this seems to be a good time to pause done said, “his father had ridden in the the front cover: again for an educational moment. More 1960 centennial as a Pony Express rider.” often than not, one reads that the Pony Nardone obtained the dimensions. The PRESENTED BY Express started in St. Joseph, Missouri, leather had to be very flexible and they RUSSELL, MAJORS, & WADDELL and ended in Sacramento, California. From were able to obtain it from Australia. Nar- 1858 Mr. Nardone’s studies, his conclusion is done said, “Lyle totally duplicated the one that San Francisco was the true terminus. that was at the Cody Museum.” If the Pony Express wasn’t started until “Eighty percent of the Pony Express mail,” Nardone read a Pony Express rider’s 1860, why does this Bible have the date he said, “was coming into and out of San memoir in which the writer talked about 1858 written on it? The three founders Francisco.” When the Pony Express rider the front cantina being taller and narrower of the Overland California & Pikes Peak got off his horse in Sacramento or the train
6 California State Library Foundation Wells, Fargo & Co. began issuing Pony Express stamps in April of 1861. These stamps ranging in price from one to four dollars were used only for mail heading east to St. Joseph, Missouri. Britton and Rey, the highly-regarded San Francisco lithography company, designed them.
from Folsom, then an agent continued with STAMPS the Overland Mail Company had carried the mail on a steamer to San Francisco. Letters require postage. Philatelists will mail by stagecoach since 1857 via a south- “Twenty other times,” Nardone said, “when be especially delighted to see eight stamps ern route from St. Louis, Missouri, through this 2 P.M. river steamer was missed, they in the newly installed Pony Express dis- Texas to Fort Yuma, to Los Angeles, and up continued by horse to San Francisco via play cases. But what is this? They are all to San Francisco. The southern route was Benicia, Martinez, and Oakland.” Wells, Fargo & Co. Pony Express stamps. now at risk from the upcoming war. The “It cost a lot to send mail by the Pony In addition to the stamps in the case, there Civil War, in fact began on April 21, 1861. Express. They were mostly businesses is a Wells, Fargo & Co. non-denominated, In March 1861, Russell, Majors, and Wad- that were participating,” Nardone said. franked envelope. How did Wells, Fargo dell, lost the new government mail-delivery He knew of only one personal letter sent become involved with the Pony Express? contract when Congress awarded the Over- to a wife, and that letter was from a rich The answer is in the looming American land Mail Company $1 million to move its businessman who could afford it. Though Civil War, a change in the awarding of operation to the central route. “As of July 1, the price was reduced over time, when the U.S. government mail contracts, and the 1861,” Nardone explained that the Overland Pony Express first started the cost of a half fact that Wells, Fargo & Co. was in both the Mail Company “was to operate a daily stage- ounce letter in an envelope was five dol- banking and express businesses. coach in both directions and a pony express lars. “It was like spending eighty-five dol- While the Pony Express had transported twice a week both ways until the telegraph lars today,” Nardone said. mail across a central transcontinental route, line was finished.”
bulletin 121 7 The belt buckle pictured here was made This handsome medallion by sculptor Tom Holland, who had was issued by Wells Fargo many avocations including that of a & Co. to commemorate the polo player. The image on the buckle first reenactment of the Pony is a reproduction of Holland’s Pony Express in 1923. The company Express statue that can be seen in Old hired Maynard Dixon to design Sacramento, California. it. Dixon’s works found in the Library and Courts Building include the magnificent mural that graces Gillis Hall.
Fascination with the Pony Express has continued long after the last rider delivered his mail in 1861. This U.S. Mint medal was awarded to riders who participated in the National Pony Express Centennial Association Reenactment in 1960.
A day after this contract was signed, them. In addition, there was another type none other than Tom Holland, the sculp- according to Nardone, the Overland Mail of stamp used on westbound mail called a tor mentioned earlier who created the Company made an offer to William Rus- “garter stamp.” statue of the Pony Express rider in Old sell to subcontract a portion of the line. Wells, Fargo & Co. issued three more Sacramento. Indeed, the buckles sport Russell, Majors, and Waddell would con- stamps for a Pony Express route it had the image of this statue on them. One is tinue to deliver mail between the Missouri established between Placerville, Califor- in silver, and the other in bronze. River and Salt Lake City, Utah. This por- nia, and Virginia City, Nevada Territory. In 1902, for example, Wells, Fargo & tion represented over sixty percent of the The route, which was in operation from Co. issued a silver medallion in honor of route. It should be noted that according 1862–1865, had no connection with the the fiftieth anniversary of the company’s to Joe Nardone, “The Overland Mail Com- “Transcontinental Pony Express” except founding. It was the first medallion to dis- pany had two big powerful members on for the name “Pony Express.” Mr. Nar- play a Pony Express rider and scene. One their board: Mr. Wells and Mr. Fargo.” done’s gift includes the three stamps — of these medallions can be seen in the case Wells, Fargo & Co. began issuing Pony a 10 cent brown stamp and two 25 cent along with the even rarer presentation box. Express stamps in April of 1861. The set of stamps, one blue and one red, from this The first reenactment of the Pony five stamps donated by Mr. Nardone were Virginia City line. Express took place from August 31, 1923 issued in two time periods: two stamps in to September 9, 1923. Wells Fargo was the first and three stamps in the second. MEDALLIONS AND BELT BUCKLES also involved in this event. Gold medals These stamps were used only on mail head- Rounding out the display, you will find went to the members of the winning ing east to St. Joseph, Missouri, and later two limited-edition belt buckles and nine team. Bronze replicas were presented to to Atchison, Kansas. Different colors were medallions. They attest to the romance new depositors. Nardone said, “If you used to distinguish the different amounts. and fascination this brief but colorful opened up a savings account in a bank, Britton and Rey, the highly-regarded San period in American history evokes even they gave you one of these medallions.” Mr. Francisco lithography company, designed today. The belt buckles were made by Nardone donated two bronze medals. The
8 California State Library Foundation medals were designed by renowned artist in print in the 1860s, and making Xerox 2022. The paintings will be printed in the Maynard Dixon. Nardone observed, “He is copies of articles.” order of the history of the Pony Express. one of our favorite artists right here in the When you open the book, an illustration Library.” Indeed Maynard Dixon painted A TELLING QUESTION AND will be on the right side and Joe Nardone’s the dramatic mural that stretches the A LASTING LEGACY story of the individual painting will be on length of the Library’s Gillis Hall, as well as Journalist and media producer Kit Tyler the other side with a map indicating where four mural panels that reside on the second was in the room with us filming during the incident took place. It will be filled floor of the Library & Courts Building. the interview. Mr. Tyler had previously with anecdotal stories correcting “the little There are four medallions in the exhibit asked a question, and in reply Nardone errors” Nardone has found in his years of from the 1935 Pony Express Diamond Jubi- said, “nobody has ever really asked me study. Reflecting his insistence on accuracy, lee issued by the American Pioneer Trails and that made me think.” The question he even consulted with an astronomer Association. At this re-ride of the Pony was “after all this time you put in the Pony at the Fleishmann Planetarium on the Express trail, they gave dignitaries a medal what do you want people to think of you? University of Nevada campus in Reno who in 10 karat gold. Nardone said, “There What are you trying to leave?” showed him how to access sun, moon, and were only fifteen of them.” He was able to “What my goal is and has been is to star charts, so that even a comet, an aurora acquire the one now seen in the display case straighten out this adventure,” Nardone borealis, and the stars above will be depicted along with two medals produced in “nickel- said, “because I find it more romantic, as they were when the Pony Express rider silver,” which have the appearance of being more rewarding, more fun than what was coming through. made of silver, without actually having any people used to think it was.” During our silver in them. There is also a 1947 medal two-hour interview, he recounted many that corrects a minor error, removing a line stories about errors he had discovered and ENDNOTES under an “s” in the 1935 issue. corrected in his research with the energy 1 To find out more about Joe Nardone and Included in the exhibit are two U.S. Mint and engagement of one who was just his research discoveries relating to the medallions created for the Pony Express starting out. Unfortunately, there was only Pony Express see “Joe Nardone’s Long Centennial in 1960. One of them, 2 1/4” space to include a fraction of them. He Ride on the Trail of the Pony Express,” by in diameter, the Founders Medal cast in sil- stressed that he is not a revisionist. “I’m M. Patricia Morris, CSLF Bulletin, No. 87, ver, features Russell, Majors, and Waddell, talking a good story,” he said “but I have to 2007, pp. 2–9. the men who initiated the Pony Express. back it up with the facts.” 2 This website provides biographical infor- The other U.S. Mint medal — labeled “Rid- Thus, Joe Nardone has provided for mation about sculptor Avard T. Fairbanks: ers Medallion” — is a bronze medallion of patrons and public visitors an exhibit for www.fairbanksartbooks.com/AboutA- the same size awarded to riders who par- their delight of Pony Express artifacts and vard.html. ticipated in the National Pony Express Cen- memorabilia. He has expanded the State 3 This information came from an obituary tennial Association Reenactment. Library’s Pony Express resources, so that in the Los Angeles Times for Mr. Holland Pony Express historians will not have to published on January 21, 2004. See arti- ONE PLACE FOR PONY go farther to find all the information they cles.latimes.com/jan/21/local/me-pass- ings21. EXPRESS RESEARCH require on the subject. No doubt, Mr. Nar- In addition to the physical items we have done’s greatest contribution is discover- 4 Nardone, Joe and Western Trails Enter- described, Joe Nardone recently brought ing and sharing the facts about the Pony prises. Brochure. “Pony Express Saddle and Mochila,” 2016, p. 2. twelve boxes of books, pamphlets, maps Express story. and other ephemera from his personal 5 The Buffalo Bill Center of the West is a library to Sacramento. Six of these boxes IS THIS THE END OF THE PONY complex of five museums located in Cody, Wyoming, one of which is the Buffalo Bill of materials will be added to the Library’s EXPRESS TRAIL FOR JOE NARDONE? Museum. already extensive Pony Express collection. No. It’s not the end! There is something “What I wanted was one place where his- very exciting on the horizon. Joe Nardone 6 Only two of the 300 Bibles Alexander Majors ordered in 1860 are known to torians could go and do all their research has hired Folsom, California artist Stephen exist: One is at the Alexander Majors His- on this subject, instead of what I did W. Ward to create a series of Pony Express torical Museum, Kansas City, Missouri. going to every repository you can think of paintings. Together, they are working on a The other is at the Alexander Majors from coast to coast, going through their pictorial history of the Pony Express in 115 Old Freighters Museum, Nebraska City, archives and reading all their newspapers paintings and are aiming to publish it in Nebraska.
bulletin 121 9 Rare, Beautiful, and Still Cutler in Use after a Century Mail Chutes By Laura Kellen
10 California State Library Foundation f you visit the first floor of must be made of metal, operate on hinges, the California State Library have an elastic cushion at the base to pre- and Courts Building (914 Capi- vent damage to the mail, and be marked tol Mall) or the Foundation office (1225 as a “US Letter Box.” The mail chute also 8th Street), you will find a strange sight to had to be accessible from each floor, and behold. Near the elevators, an elegant box the chute itself had to be made of at least is mounted seamlessly to the wall. A glass three-quarters glass so that USPOD work- chute rises from the top, disappearing into ers could detect, identify, and unplug clogs the ceiling. What is it? Where does it go? in the chute. These boxes would have been familiar to Cutler’s mail chutes were popular in rail- any city dweller in the early twentieth cen- ways, public offices, government buildings, tury. They were called Cutler mail chutes, and skyscrapers. The USPOD, which regu- named after their designer, and they were lated and oversaw the boxes, also allowed a popular building feature during the them to be placed in apartment buildings golden age of skyscrapers. with more than fifty residences and hotels Cutler chutes are distinctive in their that were in excess of five floors. Cutler appearance. The chute is designed to run worked with a team of architects to cus- the length of a building from top to bot- tomize the design of the mail chutes for tom with a mail drop on each floor. Let- the grandest skyscrapers and hotels of his ters could be dropped into a special slot, time. Cutler’s mail chutes became so popu- no matter what floor you worked on. Grav- lar that large buildings installed several as a ity would do the rest! Letters would collect matter of prestige and efficiency. Philadel- in the receiving box at the bottom, ready phia City Hall had seven, McGraw-Hill had for the postman. The box itself was a work four, and the Waldorf-Astoria had three. of art: made of metal (usually bronze), Over time, as mailrooms increased in textured, with decorative scrollwork or popularity, mail chutes faded into obscurity. topped with a brass eagle. The National Fire Protection’s code banned Mail chutes were popular because of them in new construction after 1997, citing their time saving features. Having a mail them as fire hazards. Due to the design, chute accessible on each floor kept employ- the chutes could quickly spread smoke ees from having to leave the office to find throughout a building. Most Cutler chutes a post office box. It also was a time-saving have been permanently sealed. For exam- device for the postman, who could collect ple, the mail chute at the California State hundreds of letters from one convenient Library and Courts Building was removed location. This was important, as the United from floors two to five in the recent restora- States Post Office Department (USPOD) tion, leaving the Cutler box on the first floor was rapidly growing in size, with more operating as a simple mail drop. mail being collected each year. By 1900, USPOD was handling over seven billion pieces of first-class mail a year, and by the EDITOR’S NOTE mid 1920s, they were approaching twenty Laura Kellen is a reference librarian in the seven billion pieces a year. State Library’s Information Services Section. The mail chute was invented by James In addition, she generously trains guide dogs Cutler in 1883, who received patent for the visually impaired. As a hobby, she en- #284,951 for his unique mailing system. joys hunting for historical items at yard sales The patent specified that the mailboxes and swap meets.
bulletin 121 11 For boxes that still have operating chutes, was resolved, and a section of the building clogs have become a serious problem. had to be demolished to remove the mail. When a chute clogs, a letter-box mechanic After the clog was resolved, the McGraw- from the USPOD must attempt to unclog Hill Building sealed off its chutes. the chute by inserting a long metal tool Another interesting example is of a mail from above, or by dropping a weight down chute in a Michigan Veterans hospital that the slot. It is not uncommon for office was unclogged in 1995. The chutes released workers to stick brooms down the chute in twenty one letters that had been trapped an attempt to dislodge the mail. between the fourth and fifth floors for more Clogs can become dramatic events, than fifty years. As a result, a woman in either due to the amount that is clogged or Brooksville, Florida, received a letter from the age of mail. For example, a large mail her husband, who had died nineteen years clog occurred at the fifty-story McGraw- prior! Similarly, another widow received Hill Building in New York. Forty thousand two letters from her deceased husband, who pieces of mail created a forty-foot backup in had been recovering in the hospital during the chute. It took two weeks before the clog World War II. The first letter was written to
12 California State Library Foundation Reference librarian and author Laura Kellen stands next to the mail box and chute in the Foundation’s downtown Sacramento office building. The mail chute is still used by building tenants. Laura is accompanied by “Destiny”, a service dog in training.
her. The second letter was addressed to a girlfriend with whom he had been having an affair at the time! The Cutler mail chute, as it appears today, is a living, operational piece of his- tory. The chute itself is typically sealed or covered up, but the box remains in its original form. The only modern feature you will find on a Cutler receiving box is a colorful USPOD sticker, displaying the daily pickup schedule. Cutler mail chutes can still be found all across the country: New York City, Boston, Chicago, San Fran- cisco, and even Sacramento.
SOURCES CONSULTED
Boban Docevski. “The Ingenious Art Deco Mail Chutes Inside Early U.S. Skyscrapers.” Retrieved January 23, 2018 at: https://www. thevintagenews.com/2016/08/05/57368-2-2/ Luke Spencer. “New York City’s Mail Chutes are Lovely, Ingenious and Almost Entirely Ignored.” Retrieved January 23, 2018 at: https://www.atlasobscura.com/articles/new- york-citys-mail-chutes-are-lovely-ingenious- and-almost-entirely-ignored Smithsonian National Postal Museum. “Cut- ler Mail Box & Chute.” Retrieved January 23, 2018 at: https://postalmuseum.si.edu/exhib- its/current/customers-and-communities/ serving-the-cities/overcoming-congestion/ cutler-mailbox-and-chute.html The Wall Street Journal. “Mail Chutes Slide to Obsolescence, With a Few Clogs Along the Way.” Retrieved January 24, 2018 from: https://www.wsj.com/articles/ SB994802266416415567
bulletin 121 13 n late 1927, the artist May- nard Dixon received the news Symbols he had been awarded the con- tract for a major mural in the new Library and Courts Building across from the State Capitol in Sacramento, the largest mural commission awarded up to that time in and Icons 1 California. The mural would be placed on the large south wall of the Library’s James L. Gillis third floor reading room. Creating Maynard Dixon’s The building’s architect, Charles Peter Weeks, had for some time admired Dix- A Pageant of Traditions Mural on’s work and urged him to pursue the bid By Donald J. Hagerty for the commission. By now, Dixon was an accomplished and widely admired mural- ist. He created his first mural in 1907 for the Southern Pacific Railroad’s passenger station in Tucson, Arizona. In 1914–1915,
14 California State Library Foundation Dixon painted four large murals for Anita In the center left part of the mural, Dixon created the Baldwin’s Anoakia, her home in Arcadia, symbolic figure of Beauty, California. They are now installed on the which he thought reflected second floor of the Stanley J. Mosk Library Mexico and California Hispanic and indigenous and Courts Building. people’s arts and culture The 1920s saw Dixon embarking on through time. major mural projects. The first were min- ing scenes in 1921 for the dining room of the S.S. Silver State passenger ship. This was followed the next year by a similar one for the S.S. Sierra, a sister vessel. In 1924, he designed and painted Sunol Water Temple for the offices of San Francisco’s Spring Valley Water Company. Acclaimed designer Kem Weber hired Dixon in 1925 to create two large mural hangers with Hopi mythology motifs for the entrance of the Barker Brothers Building in Los
bulletin 121 15 The union of native peoples and the Spanish produced the mestizos
who became the working class of Mexico.
Angeles. In 1926, Weeks commissioned mural design, since it is the wall that brings Dixon and fellow artist Frank Van Sloun to the decoration into existence (hence MURAL create a mural, Room of the Dons, located painting) the painter can do no less than in San Francisco’s Mark Hopkins Hotel respect it; that he should put his painting on (now the Intercontinental Mark Hopkins). the wall without crowding or obscuring it, Another mural installed in the audito- planning open areas of it as integral parts of rium of Oakland Technical High School his design.2 in June 1927 became his largest project There were other considerations, among at that time. The mural, titled California them Dixon’s concern for the quality and Pais del Sol, spanned the proscenium arch color of surface materials adjoining the and measured sixty-eight by ten feet. This mural space and the quality and direction was followed in 1928 by the Spirit of India of light. Another issue was the general color designed to grace the foyer of Oakland’s and movement of the design as it related West Coast Theater. Once again, Weeks to the theme, in other words, the decora- served as the principal architect for this tive value. The character of the design itself building’s design. should possess clarity and continuity, along Dixon started his work on the State with spacing rhythm. Finally, the design Library mural by making several trips to should have surface quality, be unobtru- Sacramento from his San Francisco stu- sive and lie down on the wall. “And so,” he dio to study the reading room wall and declared, “not only will the integrity of the the surroundings, creating small pen- wall be taken care of, but you stand a rea- cil sketches as thoughts for the design sonable chance of convincing the generally emerged. A thoughtful, thorough plan- skeptical architect-who is harassed by the ner Dixon wanted to produce a mural that necessity of being scholar, artist, engineer, could exist in harmony with the expansive diplomat, financier and even politician– space in the room. Of paramount impor- that you are a worthy friend and brother.”3 tance was the wall itself, and that it be part Dixon avoided ancient symbolism and of the mural decoration, and that the wall allegory themes then popular in American has “breathing space.” mural painting and selected the epic story A lot of dogma has been peddled around of of California for the mural, which became late concerning mural painting–about signif- A Pageant of Traditions. Charles Weeks had icant form, volume, dynamics, golden section, suggested the name, but like most titles, it space division, space-filling and God knows offers little information about the mural’s what. Nothing is apparently ever said about purpose or the images in it.4 Although the the WALL. My own dogma, here offered, is mural space would span seventeen by sev- that the wall itself is essentially an element of enty feet, it was virtually separated in half
EDITOR’S NOTE Donald J. Hagerty is the expert on Maynard Dixon and has produced many books and articles about this noted California artist. His latest book is The Art of Maynard Dixon published by Gibbs-Smith. In addition, he has curated Dixon exhibits for various Western art museums. Over the years, Hagerty has been a generous donor to the Library and has served on the Foundation’s Board of Directors for sixteen years.
16 California State Library Foundation A jaunty gold rush miner celebrates his good fortune, followed by progress as nattily- dressed business entrepreneurs march closely behind.
bulletin 121 17 by the large entrance door to the reading room. In effect, Dixon would paint two murals. After reviewing his series of small preliminary pencil sketches in late spring of 1928, Dixon envisioned the mural’s left panel would embrace the contributions of Native Americans, Spanish, and Mexican participants to California’s history while the right panel documents the American migration to California, a multi-voiced, epic telling of the state’s beginnings. He began work on the mural in July, traveling daily to Sacramento from his Montgom- ery Street studio on the train or staying for extended periods in a small room at a local hotel, completing the mural in early November. Slowly the mural and its mes- sage began to emerge. For Dixon, the mural would incorporate key values in the founding mythology of California: faith, courage, dreams, deter- mination, adventurism, and hard work. The mural had to be realistic and include familiar symbols drawn from history that allowed viewers to believe in the authen- ticity of the images. Both figure groupings move upward toward the peaked entrance door where he placed three open books representing Science, Philosophy, and Art encircled by golden halos. In a talk to
A young Californio woman, poised and regal, represents a short-lived and romantized era in California history.
As they might have looked in the 1700s,
Dixon created the image of a caballero, a skilled
rider often serving as leaders in exploring
expeditions and the founding of settlements.
18 California State Library Foundation Library staff on November 1, 1928, Dixon remarked, “This being a library, an institu- tion of human wisdom and knowledge, I had to put a literary classic in the middle. I just did the best I could with the space; the architect gave me a difficult problem by putting that peaked arrangement over the door. I could not have one big figure at the top. I had to split my idea and I had to have a center. We had to glorify volumes in some way, so the easiest thing was to just put a big volume in the middle and then the two smaller ones.”5 Dixon left the vol- umes blank for the imagination of viewers to decide what they meant. On the left side, Dixon designed the symbolic figure of Beauty swathed in billowing clouds and smoke, which he thought reflective of California’s arts and cultures through history. Just above the right of the door, he created another heroic figure, Power, partially obscured by wheels of machinery showing the influ- ence of modern technology and industry. Arranged in a loose chronological order, although not strictly so, each grouping commences with the 1500s and ends with the 1920s following California’s march through time. The groups on the left are echoed by the design of the figures on the right. Overall, his design reflects a keen insight into the balance needed to achieve success in large-scale mural art. His long career in commercial art illustrating books and magazines and his work designing poster and outdoor advertising billboards between 1916 and 1921 served him well, with their simplified, sculpturally ren- dered images and draftsmanship giving strength to his later murals. Dixon’s orga- nized and structured painting technique would endow A Pageant of Traditions with both ancient and contemporary rhythms. Dixon carefully chose his iconic figures to represent California’s historical prog- Upper class and military Aztec leaders wore brightly ress and pioneering ambitions. Looming large in the background of the left panel colored clothing, their bodies adorned with feathers, are three figures astride horses. The first horseman represents Dixon’s idea of what gold and pendants denoting their rank.
bulletin 121 19 a dashing early Spanish explorer might look like, while the two men in front are from Mexico’s later colonial period. Here he practiced a bit of artistic showman- ship, hinting at only the barest outline of a rider mirroring the contours of the one in front. The perspective he created brings the mounted horsemen an energy which draws the viewers’ attention. Below them he commences with Aztec warriors and a helmeted sixteenth century conquista- dor clad in armor against the backdrop of a stone temple. Rows of corn signify the importance of maize and the bounty of the new land as the Spanish colonized Nueva Espana. Next Dixon included four Native Americans prostrating themselves at the feet of a Jesuit missionary, one of those intrepid explorers who marched north from central Mexico and probed the new lands providing the early mapping of what would be eventually known as California. Jesuit missionaries like Eusebio Kino con- structed missions throughout Mexico’s Sonora borderlands and Baja California and as far north as present-day Tucson. Through his efforts and the efforts of others, lands that were formerly terra incognito now assumed names on maps preparing the way for later migrations to Alta California. As John Steinbeck writes in his 1952 novel, East of Eden, “When the Spaniards came they had to give every- thing they saw a name. This is the first duty of any explorer–a duty and a privi- lege. You must name a thing before you can note it on your hand-drawn map. Of course, they were religious people, and the men who could read and write, who kept When the Spanish arrived in Mexico, some of their soldiers were the records and drew the maps, were the tough untiring priests who traveled with equipped with metal breastplates and uniquely appearing helmets the soldiers.”6 Signifying the dramatic shift in the cultural landscape, Dixon which became the popular image of the Conquistador. next portrays three Mestizos, products of the union between Indian and Spanish peoples. They in turn are preceded by a brown-robed Franciscan missionary signi- fying the arrival of the mission period in California history which lasted from 1769
20 California State Library Foundation until 1833. The Franciscans constructed twenty-one missions from San Diego to Sonoma whose purpose was to evangelize Native Americans and transform them into colonial citizens. In front, trudge a rather somber looking mission-era Indian convert carrying a basket of fruits and veg- etables accompanied by a small boy who looks around with wonder and astonish- ment. The posture of the man seems to reflect Dixon’s subtle criticism of the impact of the missions on California Indi- ans. Before them stride a proud Californio and his female companion wearing a bil- lowing white dress with a crimson shawl, and who looks out of the mural with fierce pride. Slightly behind her is another older, white-bearded Californio wrapped in a col- orful serape. The Californios were persons of Spanish or Mexican descent who were born in California. They are products of a short-lived pastoral life that had its heyday between 1834 and 1849 before being sub- merged by the arrival of the Gold Rush. An era of large ranchos, bullfights, dances, horse races, and families whose names have remained on the land, their life has been vividly documented in such classic books such as Richard Henry Dana’s Two Years Before the Mast and Gertrude Ather- ton’s the Splendid Idle Forties. Behind them is another Californio with one hand raised as if in homage and astride his burro, the utility vehicle of those days. The proces- sion concludes with a 1920s era Hispanic laborer and his spouse who gaze expec- tantly toward the future. On the right panel, Dixon again used mounted horsemen for dramatic effect. The first represents a Revolutionary War Hardened frontiersmen, intrepid Jesuit missionaries probed the officer in full uniform signifying the emer- gence of a new nation–the United States of remote regions of New Spain, serving as mapmakers and geographers America and the start of westward expan- sion culminating in the popular idea of as they founded missions in northern Mexico and into the Southwest. Manifest Destiny during the 1840s. Next is a Plains Indian chieftain with feathered regalia. But why include a Plains Indian in a mural celebrating California? Dixon probably struggled in trying to select an
bulletin 121 21 appropriate representative image of an the Gold Rush gained momentum. Some lively the librarians were, he jazzed it up indigenous Californian that people could were still slaves brought to California by with more color as he completed the proj- readily identify. But Dixon knew that of all their owners and would eventually gain ect in November 1928. Dixon employed the North American groups, Plains Indi- freedom, but most who made the arduous the colors and tones of California’s varied ans came to represent to the American journey were freemen. They became min- landscapes, terra cotta and ochre of the public what an iconic Indian should look ers, storekeepers, entertainers, carpenters, earth, the blue of the sky, and the green- like and thus made the choice for inclu- barbers, and pursued other occupations as grays of plants. A dusty, almost hazy feel- sion, acknowledging the historical inaccu- they slowly entered the fabric of California ing that speaks to California’s special light racy. The figure carries a hide shield, on it society. The next figure represents a Metis, blends the mural with the tonal character the image of a Thunderbird, a mythologi- someone of mixed European and indig- of the reading room. cal creature revered by indigenous people. enous American parentage whose origins For ninety years, A Pageant of Traditions Not coincidentally, Dixon adopted the began in Canada. They expanded through- has been part of the daily life of the Library image in the middle 1890s, modified it, out the American West and into Califor- staff and the patrons who use the library’s and used it as an adjunct signature on his nia, working for the Hudson Bay Company services. Beyond the historical themes and drawings and paintings. The figure lead- and other fur trade outfits as trappers. symbolism in the mural lies something ing the group is Dixon’s interpretation of Many helped discover new routes used by else–Dixon’s goal to create a work of poetic a mountain man in the manner of Kit Car- later explorers and settlers and served as color and form. Shortly after completing son or Jedediah Smith. In an impromptu interpreters in contacts with native tribes. the mural he described his underlying phi- talk to library workers, Dixon observed, The four figures in front of that image losophy: “In looking at this work, people “That old mountain chap is the most illustrate the rise of the mercantile class come here, and they ask, what is the story, essentially American figure we have ever and the coming of the Industrial Age to what does it mean, what is it all about? As developed. I do not think there has ever California. Such individuals as Mark Hop- a matter of cold fact, what the painter tries been a type that meant America as much kins and Charles Crocker, along with oth- to do is to make a beautiful decorative pat- as that one type.”7 Tough as nails, self- ers made their fortunes in mining-related tern on this wall and the historical material reliant and living beyond the outer fringes activities and helped foster the rapid devel- he uses is only incidental–the painter is not of society, mountain men ranged through- opment of the state’s economy from an supposed to be historical. Of course if he out the trackless parts of the American agrarian to an industrial one. They in turn uses historical subject matter, he ought to West and California, discovering passes are preceded by a jaunty ’49er with his be in the main correct, but that is just mate- and routes which were then followed by red flannel shirt and gold pan, an imme- rial which he uses to further his primary government explorers, wagon trains, and diately recognizable symbol of California. object which is to create a rhythmic pattern eventually the railroads. The Gold Rush frenzy attracted large num- of form and color.”8 After completing the At the lower right of this panel, Dixon bers of people from the East and Midwest, mural, Dixon presented his large palette to commences his march of American his- but there were French, German, English, the California State Library as a gift. Only tory with the image of a New England Chileans, Spanish, Mexicans, Chinese, three of the drawings he used to create and pilgrim dressed in a distinctive linen Sandwich Islanders, as Hawaiians were guide the mural’s design have surfaced so shirt with a collar and long-sleeved pad- then called, and countless others from far. The Library, via the Foundation, was ded doublet and a cloak draped over the around the world. They became ’49ers able to acquire one of them several years shoulders. Slightly ahead is a later colonist and the image he created serves as a rep- ago, a pen and ink drawing of the beautiful confronted by two somber, if not skepti- resentation for all of them. Finally, Dixon Californio woman. Dixon would go on to cal, Eastern Woodland Indians. In a nod concluded his story of California with the create other notable murals before his death to symbolism again, Dixon has painted figures of a modern day American work- in November 1946. But of all his murals, A cornstalks next to them. Below and at man, his wife and young son. They too Pageant of Traditions is his greatest legacy the very bottom of the panel, he includes look toward a promising future. and a treasure for all Californians. Through images of African-Americans, their strong At first Dixon used little color in paint- his combination of the Native American, and hardened bodies appearing to indi- ing the mural, almost monochromatic, Spanish and Mexican heritage joined with cate the unshackling of chains and a rise thinking he did not want to disturb people the American contributions and anchored to freedom. There were slightly less than who came to study with flashy hues. But by his aesthetic vision, Dixon illustrates the a thousand African-Americans in Cali- after working on the mural and seeing power of cultural exchanges on California’s fornia by 1849, but their ranks swelled as bright colors among the books and how storied origins.
22 California State Library Foundation SOURCES 1 . For biographical information on May- nard Dixon’s art and life see Donald J. Hagerty. The Life of Maynard Dixon. Lay- ton UT: Gibbs Smith, 2010. Also, Donald J. Hagerty. The Art of Maynard Dixon. Lay- ton UT: Gibbs Smith, 2010. 2. Quoted in Donald J. Hagerty. Desert Dreams: The Art and Life of Maynard Dixon. Layton UT: Gibbs Smith, 1993: 130. 3. Quoted in Maynard Dixon: Painter and Poet of the Far West. Edited by Grant Wal- lace. Typescript Abstract for California Art Research. Volume VIII. WPA Proj- ect 2784. O.P. 65-3632. San Francisco, 1937:55. 4. For an overview of the Library and Courts construction see Dorothy Regnery. “The Capitol Extension Group.” California State Library Foundation Bulletin. Fall 2000/Winter 2001: 12–27. Additional extensive information regarding the cre- ation of A Pageant of Traditions and Frank Van Sloun’s mural in the building’s ves- tibule entrance can be found in Donald J. Hagerty. “A Perfect Union: The Library and Courts Building Maynard Dixon and Frank Van Sloun Murals.” California State Library Foundation Bulletin. Number 106. 2013: 14-23. Also see Donald J. Hagerty. “A Drawing and the Making of a Mural.” California State Library Foundation Bulle- tin. November 2014: 28–31. 5. Quoted in “Maynard Dixon Explains His “A Pageant of Traditions” Mural to Art Teachers and Library Staff, 1928.” Cali- fornia State Library Foundation Bulletin. Number 115. November 2016: 8–11. 6. Quoted in Missions to Murals, 1820-1930. Edited by Katherine Manthorne. Laguna Art Museum/University of California Press. 2017: 13. 7. Quoted in “Notes from Talk to Library Staff by Maynard Dixon, November 7, 1928.” California State Library Foundation Bulletin. Number 115. November 2016:11. For Maynard Dixon, the mountain men served as trailblazers for subsequent explorers, gold seekers and settlers becoming one of the most recognizable icons in American and California 8. Quoted in: “Maynard Dixon Explains His history. To represent Native Americans Dixon designed a Plains Indians chieftain resplendent “A Pageant of Traditions” Mural to Art in feathered regalia. Although not directly related to California history, the Plains Indians came Teachers and Library Staff, 1928.” Cali- to be to be viewed as the most iconic of native groups. Sometime in the 1890s he had adopted the thunderbird logo shown on the figures hide shield as a personal totem using it as an fornia State Library Foundation Bulletin. additional signature on his drawings and paintings for many years. Number 115. November 2016:10.
bulletin 121 23 Foundation Notes
Celebrating Adolph Sutro’s 188th Birthday
By Diana Kohnke
n Saturday, May 28, 2018, the Sutro story frames the narrative which focuses on ment of Mayor Sutro was followed by two OLibrary had a fantastic turn-out to cel- Jewish assimilation within the context of San Francisco historians Marian Gregoire ebrate Adolph Sutro’s 188th birthday. The the Gold Rush, which allowed Jews to make and Chelsea Sellin both of whom touched afternoon included stories, exhibits, and inroads as never before. upon the strength and resilience of the cupcakes. Amazing speakers covered dif- The discussion concerning American women who made an impact on Sutro. ferent aspects of Sutro’s fascinating life and Jerusalem was followed by an appear- Gregoire presented “Adolph Sutro: Tales legacy with insight and humor. One of the ance of Adolph Sutro, portrayed by Allan of the Women Who Affected His Life,” highlights was Marc Shaffer, director of Schwartz. Schwartz is a staple at San Fran- while Sellin spoke on “The Forgotten His- the film American Jerusalem. Shaffer’s film cisco history-related events, and stayed tory of the Sutro Family Women.” takes a look at the German Jewish pioneers true to character, rallying against the This event was coordinated by Dvorah who settled in San Francisco in the wake of Southern Pacific Railroad, decrying “The Lewis, Sutro’s genealogy and local history the Gold Rush. Adolph Sutro’s emigration Octopus must be stopped!” This reenact- librarian and the planning goes all the way back to the Fall of 2017 when it was decided that the library would host a gene- alogy event for Sutro’s birthday. Dvorah started researching potential speakers, but was thrown several curve balls! The origi- nal two speakers had to cancel at the last minute. It was “like a scavenger hunt trying to find other speakers. And unfortunately, most who specialize in Adolph Sutro were unavailable; didn’t live in the Bay Area; or had passed away.” In the end Dvorah per- severed and found great speakers who con- tributed to a truly successful event. Special thanks go to volunteers Craig Kel- liher and Pat Munoz and most especially to the California State Library Foundation whose generosity made this event possible. The Sutro Library staff is so grateful!
Diana Kohnke is the Sutro Library’s Rare Book Curator.
San Francisco historian Allan Schwartz portrayed Adolph Sutro rallying against the Southern Pacific Railroad with the slogan “The Octopus must be stopped!”
24 California State Library Foundation Striking Wood-Engraved Holiday Cards by Leon Gilmour Donated by Victoria Dailey
By Gary F. Kurutz
ibrary Foundation supporter and Los LAngeles area cultural historian Victo- ria Dailey has presented the Library with a splendid group of ten original holi- day cards by noted artist Leon Gilmour (1907–1996). The exquisite wood engrav- ings cover the years 1976 to 1985. Each is signed and titled in pencil by Gilmour and presented by both him and his wife Helen. The engravings depict attractive botanical subjects. Victoria has given the cards in memory of her former husband and busi- ness partner, the noted antiquarian book- seller William Dailey who was tragically killed in an accident in December 2017. Born in 1907 in Latvia, Gilmour came to the United States in 1916, and after work- ing at various odd jobs, made his way to Los Angeles. He enrolled at the Otis Art Institute where he met Paul Landacre who introduced him to the fine art of wood engraving. Thereafter, Gilmour flourished and taught art at the University of Southern California. In addition, this talented artist also worked as a designer, illustrator, and art director. His striking wood engravings attracted a national audience in museums and galleries and now have been added to the permanent collections of the Metro- politan Museum of Art in New York City, the Smithsonian Institution and San Jose Museum of Art among others.
Gary F. Kurutz is the Foundation’s executive director and Bulletin editor.
bulletin 121 25 Foundation Notes
Two Illustrious Board Members Retire
t the April 27 board meeting, President Kenneth B. Noack, Jr. and the Foundation’s board Aof directors expressed its deep appreciation to retiring members Mead B. Kibbey and Donald J. Hagerty. Both were honored with resolutions thanking them for their many years of devoted service and donations to the Foundation for the benefit of the historical collections of the California State Library. The framed resolutions were beautifully created by Bulletin designer Angela Tannehill and decorated in gold leaf by Foundation Administrator Brittney Cook. Executive Director Gary Kurutz wrote the text and President Noack signed each resolu- tion. The resolutions are reproduced herein.
Mead Kibbey’s Generosity Continues
emonstrating his continued benevo- by others who published Hart views under not only local news but also updates on Dlence, Mead Kibbey has recently their own name in an era before copy- the Civil War. The April 22, 1865 issue donated 310 original stereographs docu- right was strictly enforced. A thorough devoted its entire front page to the assas- menting the construction of the Central researcher, Kibbey collected these views sination of President Abraham Lincoln. Pacific Railroad over the High Sierra in over several decades to document how oth- The editor at the time printed that page the 1860s. The Foundation in 1995 pub- ers exploited Hart’s original work. Several with black mourning borders. Kibbey lished his superb book documenting the of the same views carry the imprint of dif- has much fondness for this tiny town stereographs of the railroad by A. A. Hart. ferent photographers. in Sierra County, so much so that he In 2014, this devoted researcher gave the In addition to these rare stereographs, proudly serves as the newspaper’s foreign Foundation the only known complete Kibbey donated two volumes of the correspondent. The paper continues to set of Hart stereographs numbering 364 Downieville Mountain Messenger cover- this day and stands as California’s oldest items. This latest edition consists of views ing the years 1863–1865. They include weekly newspaper.
26 California State Library Foundation The Mead B. Kibbey California State Library Foundation Fellowship Established
ELIGIBILITY FOR AWARDS “A Night at the State Library” lectures sponsored by the California he California State Library Foundation has established a fel- State Library Foundation. Tlowship in honor of longtime benefactor, historian, and pho- tographer Mead B. Kibbey. The fellowship is designed to support SIZE OF AWARD projects at the California State Library by formally enrolled college The Kibbey Fellowship is offered for short term research projects of and university students, regardless of academic degree sought. Spe- two – four weeks. The Award is $3,000. The award may be used to cial consideration will be given to applicants from California State defray travel expenses, living expenses, or research costs. University, Sacramento, enrolled in courses offered by the Photog- raphy Department and/or associated with the Public History Pro- gram of that institution. HOW TO APPLY One Fellowship will be offered annually. The Kibbey Fellow must All awards are made by The California State Library Foundation complete the project within twelve months of notification. Fellowship and Grant Committee. To apply for a Mead B. Kib- Projects will generally be in the area of the history and culture of bey California State Library Foundation Fellowship, please refer the North American West, with preference given to areas of special to application instructions located on the Foundation’s website at interest to Mead B. Kibbey: the cultural and artistic landscapes of www.cslfdn.org and click on Kibbey Fellowship. Sacramento and California, and the history and preservation of pho- The Foundation has received two generous donations to the tography. The Fellowship especially encourages project proposals Mead B. Kibbey Fellowship from board members Marilyn Snider that will utilize the Special Collections of the California State Library and Tom Vinson. The Foundation naturally welcomes contribu- that includes an outstanding collection of historical photographs. tions to this important fellowship program so that it will continue Upon completion of the project, the Kibbey Fellow must write an for many years to come. Please contact the Foundation offices or article on the project for the California State Library Foundation Bul- visit its website and click on “Join or Donate” and click on Mead B. letin and/or make a presentation at one of the regularly scheduled Kibbey Fellowship Fund.
Katherine Weedman-Cox Elected to the Board of Directors
he Foundation’s Board of Directors enthusiastically elected Katherine Weedman-Cox to Tthe board at the May meeting. Cox is vice-president and co-founder of Cox Black and White Lab, Inc. in Rancho Cordova. For many years, her company has been serving museums, archives, galleries, historic preservation organizations, genealogy groups, collectors and exhib- itors by providing custom archival photographic services, using both traditional darkroom pro- cesses and digital technology. She is well connected to the greater Sacramento area community and has served on boards of local historical organizations and given many presentations on the preservation of historical photographs. She knows the State Library very well and will be enormously helpful in promoting our collections and helping with grant projects to preserve and digitize historical photographs and other images.
bulletin 121 27 Recent Contributors
ASSOCIATE Joel Fox, Granada Hills Mary Roberts-Bailey, East Syracuse John E. Allen, Sacramento Pauline Grenbeaux, Sacramento Marilyn P. Sherrard, Clio EBSCO, Birmingham, Alabama Be Davison Herrera, Geraldine Soderlund, Graeagle Corvallis, Oregon Barbara Cady, Sacramento Sandra Swafford, Sacramento William A. Karges Fine Art, Carmel Philip Cardella, Lafayette Michael Whitten, Oakland Stephen C. Klein, Long Beach John Cormode, Mountain View In Memory of Dorothy Killion Leland E. Leisz, Piedmont Laura Svienty, Mill Valley Carson B. Haines, Oakland Michael R. Smith, Elk Grove Eileen Heaser, Sacramento John Studebaker, Sacramento Craig MacDonald, CALIFORNIA HISTORY Huntington Beach David Von Aspern, Sacramento Mr. & Mrs. Michael Bernick, Carolyn Martin, Sacramento In Honor of Gary Kurutz San Francisco Glenn Mason, Portland, Oregon M. Kay Mowery, Clio, Michigan Michael Dolgushkin, Carmichael Susan Norton, Tiburon Sandra Swafford, Sacramento Redwood City Public Library, SPONSOR Barry Cassidy Rare Books, Sacramento Redwood City Ina Coolbrith Circle, Concord In Memory of Ron Lerch San Diego Public Library, San Diego Roy Dean Hardy, Sacramento Gary & K.D. Kurutz, Sacramento Sandy Schuckett, Los Angeles In Memory of Dr. Robert Swisher Carol Roland, Sacramento PATRON Gary & K.D. Kurutz, Sacramento Katherine Weedman-Cox, In Memory of Val Zemitis Rancho Cordova Diane M. Fishburn, Meadow Vista Sibylle Zemitis Warren Heckrotte, Oakland
CONTRIBUTOR SUTRO LIBRARY Nick Aretakis, Manteca BRAILLE & TALKING BOOK LIBRARY John De. Warren, Fremont David Ballard, Carmichael California Library Users of America, Martha Whittaker, Concord Sharon & Robert Balmain, Woodland San Leandro Louise P. Bea, San Francisco Wilma E. Crocker, Rohnert Park OREGON CALIFORNIA James Blaine, Vacaville Leonore Dei Rossi, Redwood City TRAILS ASSOCIATION Forrest E. Boomer, Carmichael Benjamin & Mary Ann Fleming, Donald E. Buck, Sunnyvale Nancy J. Broderick, Santa Rosa Sacramento Frances Petefish, Carmichael John Crichton, San Francisco Hugh and Carol March, Michael Dawson, Los Angeles Bing Provance, Chico Los Altos Hills Betty Riess, Santa Rosa
28 California State Library Foundation