Number 73 Summer/Fall 2002 Summer/Fall 2002 Number 73

Editor GARY F. KURUTZ Associate Editor VICKIE J. LOCKHART Copy Editor PATRICIA MORRIS “A PAINTING’S LIFE: MAYNARD DIXON AND ALLEGORY” Board of Directors By Donald J. Hagerty ...... 2 GEORGE BASYE President “MAYNARD DIXON IN BRONZE” SUE T. NOACK Vice-President By Donald J. Hagerty ...... 5 KENNETH B. NOACK, JR. Treasurer “TRACKING DOWN HISTORY: FOUNDATION HELPS BARBARA CAMPBELL LIBRARY ACQUIRE DAGUERREOTYPE OF THEODORE JUDAH” Secretary By Dixie Reid ...... 8 ROBERT DICKOVER ALLAN FORBES LOIS GORDON HILDREN OF NCARCERATED OTHERS J.S. HOLLIDAY “C I M ” HERBERT HUNN By Dr. Charlene Wear Simmons ...... 11 MEAD B. KIBBEY VIRGINIA LIVINGSTON THOMAS MILLER “COMMEMORATIVE STATE SEALS PROJECT: MARILYN SNIDER HONORING CALIFORNIA’S NATIVE AMERICAN GARY E. STRONG, EMERITUS SANDRA SWAFFORD AND HISPANIC HERITAGE” ...... 14

DR. KEVIN STARR FOUNDATION NOTES State Librarian Daguerreian Society Meets at State Library ...... 23 GARY F. KURUTZ Executive Director Library Treasures on Display in the State Capitol ...... 23 JULIA SCHAW Foundation at CLA Annual Meeting ...... 24 Administrative Assistant The California State Library Foundation Zazzle.Com to Market Library Images ...... 24 Bulletin is published quarterly in Winter, Spring, Summer and Fall©2002. Mexican War Bibliography to Be Published ...... 24 Opinions of the authors are their own and do not necessarily reflect the opin- Bill & Melinda Gates Foundation Grant ...... 24 ions of their institutions, the California State Library, or the Foundation. The Bulletin is included as a member- RECENT CONTRIBUTORS ...... 25 ship benefit to Foundation members and those individuals contributing $40.00 or more annually to Foundation Programs. Membership rates are: FRONT COVER: Associate: $40-99 CALIFORNIA SEEDS. Chromolithograph poster by Mutual Label & Lithograph of San Francisco. Contributor: $100-249 BACK COVER: Sponsor: $250-499 CALIFORNIA BEACHES. A Southern Pacific Railroad poster based on a painting by Maurice Patron: $500-999 Institutional: $500 Logan. Both posters are recent additions to the Library’s extensive collection. Corporate $750 PHOTO CREDITS: Lifetime Member: $1,000 Art Foundry Gallery 22-23 Pioneer: $5,000 Subscription Sheryl Gonzalez 16, 18-19 to Libraries: $30.00 / year. Don Hagerty, 5- 6 California State Library Foundation California State Library 4-5, 7, 9-10, 24-25 1225 8th Street, Suite 345 Sacramento, CA 95814 DESIGN: Tel: 916 . 447 . 6331 Lisette McConnell, McConnell & Associates Web: www.cslfdn.org 3 Email: [email protected] The B ULLETIN is indexed in L IBRARY L ITERATURE . ISSN 0741-0344 C ALIFORNIA S TATE L IBRARY F OUNDATION : B ULLETIN

“A Painting’s Life: Maynard Dixon and Allegory” By Donald J. Hagerty

n the summer of 1929, Maynard Dixon, soul. As before, Dixon turned to images of the his wife, photographer Dorothea Native American to express his conviction that the Lange, and their two sons went to West was spiritually important to Americans. He California’s Owens Valley. There he recalled that he actually in some way welcomed sketched and painted around Lone Pine, the depression. “Integrity,” he wrote, “is the one explored the Panamint Mountains, and visited thing on which social life can be built. I have Shoshone and Paiute settlements. But to Dixon, tried to paint on that basis and people who come “tin-front” progress interfered—radios blaring, from other lands say that they find a genuinely auto tourists, auto camps, and realtors seemed American art in my work.” everywhere, destroying the landscape’s physical Thus Dixon’s concerns about the depression beauty and eroding the social structure of the and his reservations about what he considered small towns. Alarmed, Dixon sensed ominous a culturally and spiritually impotent American forces gathering. society led to Allegory. The concept started with The Dixon family returned to San Francisco in several small pencil sketches, ideas revealed on September. On October 24, 1929 the stock market paper. A highly finished conte crayon drawing collapsed with an enormous rumble, signaling the of the central female figure, which he did in late onset of the Great Depression. In the next four 1930, completed the vision. In the final canvas, years Dixon would create 112 easel paintings and which measures 40 x 36 inches, a mature Native an equal number of oil sketches—but sold only American woman, a daughter of the earth, stands twenty-four. American artists, like Dixon, found revealed, a spiritual guide gazing out over the themselves flattened by harsh economic times, landscape. She is a continuation of life’s link and only the WPA projects in the middle thirties in time. Behind her hovers a faceless, blanketed would partially revive them. figure, filled with mystery and perhaps the shadow of death. Dixon, aware of what he considered new undercurrents that threatened American life, Over time Dixon had evolved a technique that created several symbolic paintings in the early centered on the silhouette, a bold line that endowed 1930s, responses to his anxieties about the the composition with strength by projecting stark depression. In his mind they might reaffirm that figures against a low, empty horizon. With the sense of mystical relationship between the people empty blue background and carefully modeled of the West and the land. Among them is Allegory, forms the painting is nearly sculptural in quality. which he painted in 1932 though he tinkered with Dixon’s other trademarks—flat, designed the composition for the next several years, finally composition, smooth surfaces, limited colors, finishing it in 1935. This iconic image springs and reduction of unnecessary details to maximize from the deepest depths of the artist’s heart and the larger effect of forms—bestow Allegory with stark power. Dixon tried to find his way in Allegory, Donald J. Hagerty of Davis, California is a devoted attempting to map his own consciousness and supporter of the Library’s California History Section perhaps ours, through the use of shamanistic and author of Desert Dreams: The Art and Life of figures posed against a somber, earth-tone Maynard Dixon (1998). background. They are aboriginal translators who

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Allegory by Maynard Dixon. Oil on canvas painting. It was painted by Dixon between 1932 and 1935. offer subtle spiritual perceptions lost in the where those moralizing themes he considered contemporary society of that time. The image, important in its historical development could while a fantasized construction, is endowed with inform and renew contemporary society ravaged the concepts of living close to the earth and to by depression-era ailments. The painting’s ancient beliefs, which Dixon believed served as inspiration derived from his many years of antidotes to the depression then tearing the West’s close observations of Native American cultural social fabric apart. practices and religion. Both ancient and American at the same time, Dixon felt these beliefs, in Allegory is an intense, personal work, seemingly effect symbols of counterculture, could confront haunted by a spectral presence, a result of Dixon’s the fast-paced, impersonal forces of machine- search for the American West’s usable past, age America.

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In some ways, Allegory is an outgrowth of another painting which he called Shapes of Fear, four Indian-like figures, robed, their faces also shrouded from view, and which he painted between 1930 and 1932. This work is another attempt by Dixon at exorcism to expel his anxiety and despondency about the nation’s problems in the early 1930s. The painting won the Henry Ward Ranger Purchase Prize in 1932 from the National Academy of Design, the most prestigious American art award at that time, and was placed in the Brooklyn Museum. Eventually the painting was transferred to the collections of the National Museum of American Art in Washington, D.C. Apparently Dixon intended to sell Allegory. He listed it as #446 in his painting ledger with a price of $900. Due to the restricted economic times and foreboding subject matter, no buyer stepped forward. No doubt Dixon also made efforts to obtain recognition for the painting. One Dixon completed this conte of the first appearances of Allegory in the media crayon drawing for the central appeared in the June 1933 issue of Touring Topics, figure in Allegory in late 1930. a magazine published by the Automobile Club of Southern California. Over the next several years Allegory surfaced in several other magazines and newspapers, with favorable comments from the critics. Dixon exhibited the painting at the Isley Gallery in Los Angeles in 1933, then at the 1934 Los Angeles County Fair. By the late 1930s the painting had receded from public view, sequestered by Dixon in his own personal collection. When Dixon died in 1946, Edith Hamlin, Dixon’s third wife, retained the painting, loaning it occasionally to exhibitions. It hung on one of the walls of her San Francisco home and studio for many years. After Hamlin’s death in 1992, the painting was sold then eventually purchased by Robin and Marsha Williams. In the fall of 2000 the couple decided to donate Allegory to a suitable cultural institution. As the author of a book and numerous articles on Dixon they contacted me for a recommendation, and I referred them to the California State Library in Sacramento as an appropriate custodial organization. Gary F. Kurutz, Curator of Special Collections, then worked diligently to facilitate the transfer, and in late December 2000, Allegory Artist Maynard Dixon at work. 1927. arrived at its new permanent home.

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“Maynard Dixon in Bronze” By Donald J. Hagerty

n 1997 the California State Library Librarian’s office on the second floor of the obtained as a donation four remarkable Library and Courts Building. Below the two large murals painted by Maynard Dixon murals on the south wall stands a striking bronze between 1912 and 1914 for Anokia, the sculpture of Maynard Dixon, created by painter residence of Anita Baldwin McLaughry and sculptor Gary Ernest Smith. in Arcadia, California. They are now installed on both sides of the corridor opposite the State

Painter and sculptor Gary Ernest Smith with his magnificent bronze statue of Dixon.

Mr. Hagerty is the author of Holding Ground: The Art of Gary Ernest Smith (1999). He also put the CSL Foundation in touch with the artist.

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Iowa, Nebraska, and Minnesota in search of that symbiotic relationship between nature and an agrarian way of life. Recently he has explored the Sacramento Valley, documenting on canvas its domesticated landscapes. Equally renowned for his sculpture, Smith has executed a number of major commissions. Among them is the fifteen-foot tall statue of Superman, set in Superman Square in Metropolis, Illinois. Another important work is the larger-than life bronze of Owen Bradley, a legendary figure in Nashville’s music industry, installed in the city park named after Bradley. Smith first encountered the work of Maynard Dixon in the early 1970s while a graduate student at Brigham Young University in Provo, Utah. In 1937 the university acquired a significant collection of Dixon’s paintings and drawings

The bronze on display between two mural paintings by Dixon in the Library & Courts I Building. Foundation member Jack Barrett created the beautiful pedestal for the statue. Note the carved thunderbird symbol of Dixon on the pedestal.

Smith, a resident of Highland, Utah, is considered one of the West’s leading contemporary artists, with numerous gallery and museum exhibitions to his credit. Widely collected from coast to coast, his paintings illustrate that connection between the land and its inhabitants and the strength derived from that relationship. One of the major themes in his paintings are agricultural fields scattered throughout the Midwest and West: humble yet fertile places, transformed earth where human presence is palpable but not explicit, where crops have thrived, died then await an opportunity for rebirth again through seasonal planting. For the past thirty years Smith has traveled extensively throughout Utah, northeast Oregon, Idaho, Detail of the Dixon bronze.

6 NO. 73, SUMMER/FALL 2002 7 C ALIFORNIA S TATE L IBRARY F OUNDATION : B ULLETIN directly from the artist. As he encountered Dixon’s For the first three weeks he worked on creating work displayed around the campus or in frequent a metal armature then began to apply malleable exhibitions, Smith felt drawn to his handling of plastacine clay over the form, stressing structure, forms and colors, particularly his ability to reveal proportion and gesture as the figure began to a subject’s essence in direct, profound terms. emerge. Then over the next several months he As Dixon’s stature grew over the years, Smith revised and refined the sculpture from different decided to commemorate him through a bronze angles. For Smith, the play of light and shadow sculpture. In June 1999 he started his research on on the figure also proved crucial as the sculpture Dixon’s physical characteristics. Smith explains evolved. Smith took numerous photographs of that he started his research on Dixon’s attributes the sculpture as the work progressed then sent by relying heavily on Dixon’s biographer, Donald them to John Dixon and me for our criticism and J. Hagerty and John Dixon, Maynard’s youngest suggestions. Throughout the final process Smith son. Both individuals offered photographs and tried to pare the sculpture much as Dixon created insight into Dixon’s personal looks. Perhaps most a painting, searching for restraint that gives an important, John Dixon remembered his father and image power. supplied critical suggestions about facial features When the preliminary sculpture met Smith’s and physical stature. guidelines, he took it to a foundry for the Smith decided to represent Dixon when the construction of a mold then had it cast in artist was approximately forty years old, dressed bronze. The California State Library Foundation in his distinctive western clothing, including the purchased the work directly from the artist shortly famous thunderbird motif on a watch fob that after its casting. Visitors to the Library and Courts always hung from a pants pocket. Furthermore, Building can now view the image of Maynard Smith desired to portray Dixon as he might stand Dixon replicated in bronze. In the quiet, elegant before an easel outdoors, in a reflective mood, corridor the sculpture projects a feel for Dixon contemplating the task at hand. Moreover, Smith as someone used to looking across wide spaces, wanted to capture the look of his thin, angular searching with intensity those distant horizons for frame, distinctive face, and sensitive hands. the spirit of the American West. As he commenced work on the sculpture, Smith settled on the size of twenty-four inches in height.

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“Tracking Down History: Foundation Helps Library Acquire Daguerreotype of Theodore Judah” By Dixie Reid

Before ordering lunch at the Sutter carefully opened the worn leather case to reveal a Club, Mead Kibbey took a small 154-year-old daguerreotype of a man in an odd- package from the pocket of his sport looking hat. coat, grinning like a smitten schoolboy. He

Quarter-plate daguerreotype of Theodore Judah as a young man.

Editor’s note: The following article is reprinted Kibbey sighed with pride. from The Sacramento Bee with the kind “When I first saw it, my hands shook,” permission of the newspaper. Dixie Reid is a he whispered. feature writer for the Bee and a frequent visitor to the Library. Her article originally appeared Kibbey was the “go-between,” purchasing in the April 4, 2002, issue of the Bee. The the daguerreotype, an image produced on a Foundation received contributions from board silver plate, for the California State Library for members Mead B. Kibbey and the late Dr. Robert $20,000. He considered it a bargain. The asking Gordon to assist the Library in purchasing this price was $30,000. important daguerreotype.

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Judah posing for a formal studio portrait.

This is the earliest known photograph of Library and its supporting foundation (of which Theodore Judah, the civil-engineering wizard Kibbey is a board member) allowed Theodore who figured out how to get the transcontinental Dehone Judah finally to come “home” again. railroad through the Sierra Nevada. The Judah was born in Connecticut and first came to daguerreotype was made in 1848 by an East California in 1854, at age 28, as the chief engineer Coast photographer, a few years before Judah for construction of the Sacramento Valley Rail turned his genius to the West. Road. It was California’s first railroad, running After Kibbey finished his meal that day, he from Sacramento to Folsom. took the tiny treasure down the street to the State Judah’s dearest dream, though, was to see the Library’s Special Collections Branch and put it in far-flung reaches of the United States joined by the hands of Gary Kurutz, director of the branch. rails. He made many trips between California and The purchase of the old photograph by the State the East Coast, where he campaigned in Congress for a transcontinental railroad.

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In a pitch in 1857 in San Francisco, Judah spoke Rydell alerted Kibbey, the Sacramento historian of its importance: “It is an indissoluble bond of to whom he had sold a number of Alfred A. Hart’s union between the populous States of the East, stereoptic photographs a few years earlier. Kibbey and the undeveloped regions of the fruitful West. reproduced them in his 1995 book, The Railroad It is a highway which leads to peace and future Photographs of Alfred A. Hart, Artist, published prosperity. An iron bond for the perpetuation by the California State Library Foundation. of the Union and independence which we Hart’s stereoptic images documented the now enjoy.” construction of the Central Pacific Railroad, the Judah’s lobbying helped lead to passage of western half of the transcontinental railroad, the 1862 Pacific Railroad Bill. That done, he which followed the route surveyed by Judah. went to work surveying a suitable route through Kibbey was thrilled to learn from Rydell of the the difficult terrain of the Sierra Nevada—over existence of the early Judah daguerreotype. So the summit and down along the eastern slopes was Kurutz. into Nevada. “Judah was one of the principal figures in Sadly, Judah never saw a single rail spiked. He California history,” Kurutz said, “and to have contracted yellow fever in 1863, during his final probably the earliest-known image of him is crossing of the Isthmus of Panama, and died a exciting in its own right, considering what he did, week later in New York. He was 37. linking California to the rest of the nation.” When his daguerreotype turned up last year Kurutz called its $20,000 price tag “reasonable, at a Massachusetts photography sale, it was though not a bargain.” considered a gem—but for reasons other than it being Judah. The old photograph was beautifully “This is somebody who means a lot to preserved and is marked with its subject’s name. California,” said Rydell, the previous owner. That’s unusual. Only one in 100 daguerreotypes “I felt great the day I sent it out to Mead, just is identified. knowing that Judah was going back to California. And then there was his hat. Symbolically, I thought it was a nice thing.” “I knew that it was not just a funny hat,” said Richard Rydell, a Maine resident who deals in 19th- and 20th-century photography and bought the daguerreotype from a New York collector. “It’s a specific kind of hat worn from the 1840s to the early 1850s by workers who were professionals but worked outdoors. This really is an occupational portrait of Theodore Judah.” Rydell, in a phone interview, wouldn’t divulge how much he paid for the daguerreotype, but he eventually made the deal that brought it to Sacramento. “The gentleman I bought it from had it in his collection for 20 years,” Rydell said. “He bought it for the same reason: He collects images of people with funny hats. The name Theodore D. Judah didn’t mean anything to him at all.” But it sounded familiar to Rydell’s wife, so they did some research and found the Sacramento connection.

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“Children of Incarcerated Mothers” By Dr. Charlene Wear Simmons

n September 29, 2000 Governor Davis A lot of children have incarcerated mothers. signed legislation calling for the Approximately 11,600 women are incarcerated California State Library’s Research in California state prisons. Eighty percent are Bureau to undertake a study of the parents, with an average of two children each— children of women who are incarcerated nearly 20,000 children. Seventy-five percent of in state prison.1 Secretary of Education Kerry these children are under the age of eighteen, and Mazzoni, who represented Marin County in the nearly one third are under the age of six. A recent Assembly at that time, authored the legislation. national study estimates that 1.5 million children have a parent—mother or father—in prison in the My interest in and concern about these children U.S., and as many as 5 million more may have a began several years before Secretary Mazzoni’s parent on probation or parole. legislative research request, when a friend, who was then the presiding judge of Yolo County’s Family Court, told me stories about children DON’T ASK, DON’T TELL she saw in her court. Some of the children had In a recent California Research Bureau (CRB) been left informally with neighbors when their report, we summarize results of our survey of mothers were arrested. One mother, whose baby California police and sheriffs’ departments which was left with only a diaper bag, was imprisoned found that very few departments have procedures for a number of years. The informal caretaker in place requiring that officers ask at the time of only came to the notice of the Family Court arrest whether a prisoner has children.2 Decisions when the child required immunization shots to about whether to ask, and what to do with the begin school (these medical procedures require children, are generally left to the discretion the formal approval of a parent or guardian). The of the arresting law enforcement officers. judge’s review found that the caretaker’s home Child protective service agencies rarely have was not a healthy environment for a young child. agreements with law enforcement to facilitate I began to notice that the neglected children temporary shelter or to assist with locating featured in newspaper stories often had mothers appropriate temporary caretakers. Sometimes in jail or prison. I wondered who was responsible children, particularly teenagers, are left alone, for ensuring that these children were well taken with no supervision and few resources. These care of when their mothers were incarcerated. children can fall through the cracks, sometimes This is particularly important because about two- with tragic results, as in the recent Modesto case thirds of arrested mothers are the sole caretakers of Megan Mendez, allegedly killed by neighbors for their children before their arrest. In contrast, caring for her after her mother was arrested. about ninety percent of the children of arrested Arrested mothers may not volunteer to tell fathers remain with their mothers. police about their children, because they are concerned about foster care and losing the children to adoption. Under state and federal policy, if a sole caretaker parent is arrested and incarcerated, that parent could have their Dr. Simmons is Assistant Director, General Law parental rights terminated if a child has been in and Government, California Research Bureau foster care fifteen of the last twenty-two months at the California State Library.

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or six months if the child is younger than three. The life histories of incarcerated mothers are The mothers may hope that friends, neighbors also suggestive. Many were abused as children, or relatives will care for their children without have experienced violent partners, and are official involvement. Unfortunately, they do not incarcerated for drug related crimes. Over half always make good choices for their children. have family members who are, or have been, The time of sentencing offers another in prison. A year ago, I testified at one of two opportunity to seek information about a prisoner’s hearings held in California women’s prisons children. In some jurisdictions, information about by the Joint Committee on Prison Construction minor children is included in the probation report and Operations, on the topics of medical care to the court. However trial court judges generally and family issues. These were the first hearings do not inquire about the location and care of a to be held in women’s prisons since 1983. The prisoner’s children. The judges contend that they women’s stories of poor medical care and violent do not have time to become involved in a separate partners were wrenching. civil issue to ensure the safe and appropriate placement of the children. MAYOR CRB STUDY UNDERWAY Secretary Mazzoni’s legislation asked the MATERNAL ARREST CAN PROFOUNDLY CRB to research an important question: what is AFFECT A CHILD’S DEVELOPMENT happening to the children of state prisoners who In an earlier CRB report, we reviewed research are mothers? The CRB study is being conducted findings from small group studies that found that in partnership with the University of California, “. . . the effects of parental arrest and incarceration Berkeley. The study requires the use of data from on a child’s development are profound. The the California Department of Corrections, the children may suffer from multiple psychological California Youth Authority, the Department of problems including trauma, anxiety, guilt, shame, Health Services, and the Department of Social and fear. Negative behavioral manifestations can Services. The research design has been reviewed include sadness, withdrawal, low self-esteem, and approved by both University of California decline in school performance, truancy, and use of and State Human Subjects Protection committees. drugs or alcohol and aggression.”3 Young children Each participant in the study is assigned a number, may be present at the time of their mother’s instead of a name, to ensure confidentiality. arrest, a particularly traumatic event. A survey Linking administrative data with demographic, of jailed mothers in Riverside, California, found family, and criminal data allows us to analyze that one in five had children present at the time of relationships between the mothers’ histories and their arrest, and over half of those children were circumstances and the status and outcomes of between three and six years old. their children. These findings will be compared Multiple parental arrests, and the resulting with data for children and families with similar pattern of repeated parent-child separation, can socio-demographic characteristics, in which be particularly devastating for children, and may the mothers were not incarcerated. These result in severe social consequences, such as comparisons will allow us to identify differences delinquency and intergenerational incarceration. in child outcomes, family experiences, and public According to one study, children of offenders program participation. For example, are rates of are five times more likely than their peers to end termination of parental rights and/or adopting out up in prison themselves. However these findings of children higher for children with incarcerated are tentative, as the information comes from mothers? How many children of incarcerated conversations with parents who are in jail and mothers are in foster care, have received public from studies of small groups of kids. assistance, or are wards of the Youth Authority?

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The final CRB report summarizing all of our 1 Chapter 965, Statutes of 2000. research will be presented to the Legislature in 2 January 2003, and featured in a California Family Marcus Nieto, In Danger of Falling Through the Impact Seminar (CAFIS) in the State Capitol, co- Cracks: Children of Arrested Parents, California sponsored by the Legislative Women’s Caucus. Research Bureau, California State Library, 2002. (The California Family Impact Seminar is a joint http://www.library.ca.gov/crb/02/09/02-009.pdf project of the California State Library Foundation 3 Charlene Wear Simmons, Children of Incarcerated and the California State Library.) The CRB report Parents, Sacramento: California Research Bureau, and CAFIS seminar will include the stories of California State Library, March 2000, page 4. imprisoned women and their children, which are being gathered by a journalist, Nell Bernstein.4 4 We gratefully acknowledge the financial assistance of We will also examine a range of intervention and the Zellerbach Family Foundation, which has made policy strategies. It is our hope and expectation this additional work possible, and most particularly that the research will assist the Legislature and the advice and assistance of Ellen Walker, the Fund’s the governor as they discuss how to best apply program officer on this grant. public policies to assist this highly at-risk group of children.

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“Commemorative State Seals Project: Honoring California’s Native American and Hispanic Heritage”

ART I: THE UNVEILING* Assemblyman Hertzberg, a history enthusiast, agreed to author legislation to create a monument At a ceremony on the west steps honoring the periods of California Indian and of the State Capitol Building held Spanish and Mexican sovereignty in California. on May 28, 2002, Speaker Emeritus of In 1998 the California Legislature passed the California State Assembly Robert M. Assembly Concurrent Resolution 57 establishing Hertzberg officiated at the unveiling of two the Commemorative Seals Project and creating monuments symbolic of the sovereignty of the Commemorative Seal Advisory Committee. Native Americans and Hispanics in California The purpose of the project was to recognize the history. The 600-pound bronze seals were placed contributions of California Indians and Spanish on either side of the Great Seal of the State of and Mexican populations to the state’s history. California. The Foundation served as a fiscal The task of the Committee was to approve two agent and sponsor of the project. State Librarian monuments to be placed on the State Capitol Dr. Kevin Starr played a key role in bringing the grounds that would reflect these contributions. project to completion. Paul Smith, the Library’s general counsel, assisted in raising funds for the The Advisory Committee conducted a statewide project. Patricia de Cos of the Library’s California search to find designers for the seals. The request Research Bureau researched the images that were for proposal stipulated that the designs “must represented in each seal. represent an authentic expression of the cultures being honored, and the vision should reflect The idea to create a California Indian seal this indigenous California imagery.” From the originated with Larry Myers, Executive Secretary applications submitted, the Committee selected of the Native American Heritage Commission. artist Robert Freeman, a Luiseño Indian born Having worked in the downtown area for many on the Rincón Indian Reservation in San Diego years, he had observed groups of school children County, to design the California Indian Seal. It on field trips gathered around the Great Seal of chose Donna Billick and Susan Sheldon, who California. This symbol viewed by thousands reside in the Davis area and have extensive public of visitors each year did not reflect the role art experience, to design the Spanish-Mexican of the Native Americans in California. Myers Seal. The seals were cast in bronze at the Art approached California State Librarian Dr. Kevin Foundry Gallery in Sacramento. Starr with his idea for a Native American seal. They then contacted Assemblyman Robert “Every third grader that walks in the west M. Hertzberg. entrance to their State Capitol,” Larry Myers said at the dedication ceremonies, “will now learn something about our Indian and Hispanic heritage.”

*The Foundation is grateful to Sheryl Gonzalez for supplying the above information. Ms. Gonzales is a publicist for public television in Sacramento (Channel 6, KVIE) and served as the publicist for the Commemorative Seals Project.

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The completed Native American seal in place on the west entrance of the State Capitol Building. Photograph by Sheryl Gonzalez.

PART II: WHAT THE IMAGES MEAN

by Patricia de Cos

CALIFORNIA INDIAN SEAL The Indian Seal portrays the humanity and The woman’s woven hat is typical of the tribes diversity of the indigenous people of California. of the northern part of the state (such as the This seal represents an artistic symmetry and Achomawi, Atsugewi, Hupa, Karok, Tolowa, harmony, which is reflective of Indian culture. and Yurok tribes).

The shape of the state of California depicts the CENTRAL IMAGES embodiment of all tribes within the historic boundary of the State of California. An Indian woman with infant and child represents the importance of unity and The generic design of the basket represents all family. Children provide the continuity of tribes in California. Baskets had a utilitarian new generations to carry on tradition and they function as they were used in gathering and ensure the legacy and heritage of Indian culture. preparing food and in ceremonies. Later,

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baskets became a source of trade. Baskets The dancer has wands in his hands that he moves reflect the artistic skills of the basket weavers. to imitate the sound of bird wings. Indian tribes around the state use other types of instruments. Some are used to make music while others are IMAGE ON THE LEFT used to keep time in the dance such as clappers, A Pomo Indian (Northern/Central Region) with gourds, and rattles. The dance is connected to a headdress and necklace. The yellowhammer ceremony that reaffirms the Indians’ connection band (flicker bird) depicts a dancer’s regalia. with the natural world. Necklaces have a utilitarian, ornamental, and The dancer’s netted skirt is woven of natural symbolic meaning and sometimes reflect status plant fibers. Other skirts were woven of bark or rank within a tribe. The featured necklace or reeds. The men sometimes used netted is made of clamshell, which is typical of the woven bags for gathering. Nets were also used northern and central part of the state. Abalone, for hunting and fishing. The feathers on the dentalia, and olivella were other shells used for skirt are eagle and condor feathers as a way to making necklaces in other parts of the state. further emulate the bird.

The oak tree produces the acorn, which was BOTTOM IMAGES a staple food for all California Indian tribes, Two figures paddling out to sea represent the and was eaten in many different forms such as Chumash and other coastal Indians (Central bread and soup. and Southern Coastal Region) in a pine tomol. The roundhouse is found in the Northern The Chumash were excellent navigators and and Central regions and is used for sacred understood the tides and currents of the Pacific ceremonies, dances, and special gatherings. Ocean; they developed a form of currency used for bartering; their artwork was multichromatic, and included cave paintings; and they, like other TOP IMAGE

California Indian tribes, had a sophisticated Three military jets rising into the sky represent social network. the continuing participation of Indians in the A cormorant bird in water. Coastal tribes of armed forces of the United States. This image Southern California used these leashed birds to also symbolizes contemporary contributions of dive and retrieve fish. California Indians who work in the aerospace and technological industries of the 21st century. The diversity of bird life in California offered an abundance of color used for feather baskets, blankets, and regalia. BORDER IMAGES

The four cardinal directions that are occupied IMAGES ON THE RIGHT by images of bear, eagle, salmon, and deer carry traditional value. In Indian culture the number A Luiseño/Cahuilla Indian (Southern Region) “four” signifies contact with the universe. The is performing the condor dance. The California animals are respected as being more than just a condor is a venerable and huge animal that source of food, and many California tribes hold represents great nobility for Indians. This traditional dances in their honor. image depicts one of many traditional bird dances around the state such as eagle, goose, The names of sixty-eight California Indian duck, and crane. Dances are also used to honor tribes inscribed along the border represent the other animals such as the bear, white deer, historically significant linguistic and regional “first-run” salmon, and coyote. tribes in California.

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The Spanish-Mexican Seal. Photograph taken by Sheryl Gonzales May 28, 2002 at the dedication ceremony.

SPANISH-MEXICAN SEAL

CENTRAL IMAGE

A Spaniard’s profile and the frontal view of an novel of chivalry, entitled Las Sergas de indigenous person are depicted in the image Esplandián, there existed a mythical island of at the center of the seal. A third face emerges California. It was “located to the right of the when the viewer’s eye combines the Spanish Indies” and was considered the “Terrestrial and indigenous images together. This central Paradise” on Earth. This island was inhabited image contains the meaning of the entire seal by black women, wild animals including as it captures the melding of the two cultures to griffins, and a queen of majestic proportions. form a unique Californian mestizo culture. All The queen, Califía, was not only more beautiful of the other images in the seal follow the first than the rest but also had a brave heart. This novel greatly influenced the European minds encounter of the two cultures and chronicle the th ensuing human evolution. in the early 16 century, and most certainly the Spanish conquistadors in their early ventures in the New World. In a letter Cortés wrote INNER RING-SPANISH PERIOD, 1769–1822 to the King of Spain that he had information Califía—the queen of the mythical island of of “an island of Amazons, or women only, California—possibly inspired the name of abounding in pearls and gold, lying 10 days California. It is believed that in an old Spanish journey from Colima.” When Baja California

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was initially discovered, it was thought to be an ultimately resulted in three sea expeditions (the island; thus, the Spanish explorers considered San Carlos, the San Antonio, and the San José) the northernmost territory as “Alta California.” and two land expeditions. Today, it is known simply as California. A soldier with the San Francisco Presidio in The Viceregal Standard of New Spain the background represents the Spanish military symbolizes the claim and settlement on defense of the province of Alta California from the territory of Alta California on behalf of foreign and native aggressions in the name of the Spanish crown. This was the last royal the Spanish crown. During the Spanish era, four standard. It was used by the Viceroyalty of presidios were established at San Francisco, New Spain until August 24, 1821, the date that Monterey, Santa Barbara, and San Diego. marks the close of the Spanish era. The great An official seal used for the Regulations for virtue of this royal standard is in its simplicity, Governing the Province of the Californias, with the tips of the cross displaying the arms approved by HIS MAJESTY Carlos III by granted by Carlos V to Mexico City. Royal Order, dated October 24, 1781. His The San Carlos packet boat symbolizes the Majesty deigned to decree by Royal Cédula that first sea expedition in the Spanish settlement of these regulations provide the instructions for the Alta California in 1769. Principal credit goes operations of the presidios, the erection of new to the visitador-general of New Spain, José missions, and the promotion of settlement and de Gálvez, for planning the settlement, which extension of the establishments of Monterey.

A detail of the Spanish-Mexican seal designed by Donna Billick and Susan Sheldon.

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A Franciscan friar with the Mission San of these panels convey the freedom of the Diego de Alcalá in the background represents Californios under the Mexican land grant the first permanent Spanish settlement of system, which was pivotal to the economy and Alta California, with its formal ceremonies the essence of early California living. conducted by the first Father President Junípero Serra on July 16, 1769. Today, California’s The fandango dance, which was originally twenty-one missions are characterized by brought to Alta California by the Spaniards, their unique beauty and charm and serve as a portrays the festive ambiance and warm reminder of Spain’s historical role in spreading hospitality of the Californios. Christianity to the northernmost province of New Spain. The immigrants panel captures the image of trappers on foot and traders in ships who entered The mission branding symbols represent the Mexican California in search of adventure, initial Spanish importation of livestock to Alta trade, and land. The Mexican government California (including horses, cattle, burros, offered land grants to these immigrants on the sheep, and goats) as well as the annual rodeo condition that they become Mexican citizens in late summer or early autumn when the stock and Catholics. Many immigrants who came was rounded up and the calves were counted, to California by sea took advantage of this branded, and ear-marked. Each of the twenty- opportunity for legal residence, including such one missions had a unique brand to identify familiar names as Sutter, Marsh, and Larkin. cattle. The six displayed on the seal represent The first overland immigrants were trappers in the missions at Santa Inés, Santa Barbara, search of beaver pelts, initiating a significant Santa Cruz, San Juan Capistrano, San Rafael migration of settlers who rejected Mexican Arcángel, and San Luis Rey de Francia. citizenship. Some of these settlers eventually The carved terra cotta roof tiles form a band Participated in the Bear Flag Revolt and ensuing around the Spanish ring to recognize the war with Mexico. John C. Frémont, a major enduring influence of Spanish architecture in player in Mexico-California history, came with California. the “over-landers” on a mapping expedition.

The ear of harvested corn is a symbol of The Pico Oak Tree, also known as the Oak of California’s agricultural abundance, which Peace, is a historic site in Glendale, California. stems from the state’s ideal climate and natural It was at this site that Andrés Pico surrendered resources, and connects us with the historic to John C. Frémont, which signified the end of Spanish settlement of Alta California and the Mexican War in California in 1847. The Meso-America. United States’ possession of a vast territory that included California was formalized with the signing of the treaty of Guadalupe Hidalgo in MIDDLE RING-MEXICAN PERIOD, Mexico on February 2, 1848. 1822–1846

The Mexican Coat of Arms represents the OUTER “FUSION” RING recognition of Mexican sovereignty in The outer ring of the seal is a series of tiles California on April 11, 1822, one year after engraved with icons and enduring aesthetic, Mexico gained its independence from Spain. cultural, and political images—a contemporary The Californio on horseback and the cattle representation of the fusion of the collective panels depict the independent lifestyle of Spanish-Mexican-Californian relationship. The the rancheros during the Mexican era. The Fusion Ring reaches into history, rituals, and Californios were excellent horsemen, and traditions to illustrate visually the connection cattle ranching provided their primary source created between Spain, Mexico, and California of income. The vast open-range landscapes up to the present and into the future. The Fusion

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Ring reads in a clockwise progression from left The calla lilies are a strong image associated to right. with Mexico, Diego Rivera, and California floriculture. These blooms are a poetic and A pair of hands represents the contributions artistic reminder of the beauty of our blend of Latinos in building the State of California, and fusion. figuratively and literally, into the great state it is today. The indigenous musician playing a traditional instrument represents the continuing influence Ballet Folklórico is a popular tradition of of the many tribes and cultures of Mexican regional dances and costumes that brings Indians, not only in Mexico, but also Mexican music and movement into the in California. California heritage. Olives were imported by the Spanish and have Tomatoes or “jitomates,” originated in Mexico, had a Mediterranean influence on the arboreal and are a pillar in the Central Valley economy landscape and cuisine in California. The olive as well as a formidable Mexican dietary branch also represents a universal symbol endowment. of peace. Pottery and folk art represent the enduring The ballot box represents the importance of influence that Spanish and Mexican art forms citizenship and the growing civic participation have had on the California aesthetic. by Latinos in California. This image brings us Grapes came to California from Spain and to the present and leads us into the future, as continue to thrive in the state’s agricultural and Latinos exercise the right to vote, hold public wine industries. office, and shape public policy.

The United Farm Workers’ flag is the emblem Oranges were brought to California by the that represents the union created by César Spanish and have become a symbol for Chávez for field workers, who have played California’s sunshine, health, and abundance.

a crucial role in California’s agricultural La Catrina is a famous popular-culture skeleton industry. etching by a Mexican artist, José Guadalupe The City of Angels (Los Angeles) depicts Posada.This image has become associated with the influence of language and immigration to the Mexican Day of the Dead (El día de los California. The City of Angels is a vibrant Muertos), which is one of the many Mexican example of the tremendous impact that the celebrations that are increasingly embraced Spanish language has had on the names of our by Californians. California cities, rivers, and mountains. La Cocina Mexicana includes the “molcajete,” The piñata represents a historical form of which is a traditional mortar and pestle made celebration in Mexican culture, which has of volcanic rock. This image recognizes the become universally popular in contemporary enormous influence that Mexican cuisine has celebrations in California. had in forming the Californian palate.

The nopal or prickly pear cactus has dual Two Capistrano swallows are a familiar image symbolism: it represents homeland for Mexicans; of renewal, spring, and the enduring presence and it is a plant that blends California landscape of the missions in California. The swallows’ and climate with our southern neighbor. In annual migration bonds our Spanish-Mexican- this way, California and Mexico are joined Californian traditions. physically as well as culturally. La Virgen de Guadalupe, the patron saint of Mexico, with brown skin and indigenous The sun rays and field image is an aesthetic pause between the two halves of the outer features, clearly holds the spirit and hearts of circle. It is a sun burst when viewed from the the working people of Mexico and California. bottom of the seal and becomes a field as the Her presence is essential as a female symbol of viewer circles the ring. hope, faith, strength, and compassion.

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Dave Edwards and Ed Duran pouring bronze.

Dave Edwards checking the bronze that its 2,200◦ degrees Fahrenheit.

Alan Osborn and Andy skimming slag off the top of the bronze.

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Steve Osborn grinding the Indian seal.

Dave Edwards pouring bronze into molds.

The finished sanded Spanish seal. Steve Osborn (bottom right), John Landgraf (top left), Andy Graham (right)

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Foundation Notes

Daguerreian Society Meets at State Library The Foundation, in conjunction with the California State Library, will host the annual symposium of the Daguerreian Society. The meeting will take place from October 17 to October 20, 2002 and will open on the evening of the 17th with a reception in the Mead B. Kibbey Gallery of the Library and Courts II Building. Those attending the reception will see a special exhibit highlighting the Library’s outstanding collection of Gold Rush era daguerreotypes and ambrotypes and other photographic treasures. The exhibit will be supplemented with the loan of daguerreotypes from Northern California members of the Daguerreian Society including Foundation Board Member Mead Kibbey. In addition, the Foundation will publish a keepsake reproducing the best examples of daguerreian art In Auburn Ravine. 1852. Daguerreotype by J. B. Starkweather. from the Library’s California History Section.

The Daguerreian Society, founded in 1988, features a membership of over 900 avid and knowledgeable collectors sharing a common interest in the art, history and practice of the first form of photography. The symposium itself will be held at the theater of the California State Railroad Museum and downtown Holiday Inn. In addition, there will be a trade show of daguerreotypes and other memorabilia at the event. John McWilliams, a local member of the Society, will assist with local arrangements.

Library Treasures on Display in The State Capitol An exhibit of State Library treasures is currently on display in the California State Capitol Museum. It is based on the highly successful and Foundation-sponsored exhibition at the Crocker Art Museum. Highlights include Audubon’s incomparable double elephant folio, Birds of America; Robert Thornton’s The Temple of Flora, the greatest of all flower books, the Nuremberg Chronicle, printed in 1493 and one of the finest examples from the incunabula period; James Marshall’s hand-drawn map showing where he discovered gold; and the only surviving copy of the first newspaper carried across the continent by the Pony Express in 1860. In addition, the display Spanish Flat. 1852. Daguerreotype by J. B. Starkweather includes an array of rare books, fine prints, mammoth

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this enterprising dot.com company. It is anticipated that the Zazzle.Com Web site will be available early this fall.

Mexican War Bibliography to Be Published Later this year the Foundation will publish The War with Mexico, 1846–1849: A Bibliography of the Holdings of the California State Library. The publication will include an extensive annotated bibliography by Dr. W. Michael Mathes of the Spanish language material held by the Sutro Library in San Francisco. Dr. Mathes is the Sutro Library’s honorary curator of Mexicana and a highly acclaimed authority on the history of Mexico. His lucid descriptions of dozens of books, pamphlets, and broadsides represent the first detailed bibliography published in California to emphasize the Mexican side of this momentous conflict. The publication is supplemented by an annotated checklist “Tulips” from Robert Thornton’s The Temple of Flora. of the Library’s extensive collection of nineteenth century

plate photographs from the 1870s, paintings, and posters. Treasures of the California State Library will be on display through December.

Foundation at CLA Annual Meeting The Foundation will have a booth in the exhibit area of the annual meeting of the California Library Association. The Association will be meeting in Sacramento on November 16, 17, and 18, 2002 at the Sacramento Convention Center. This will give the Foundation an excellent opportunity to promote its services and products to librarians from throughout the state. In addition to general membership information, the Foundation will have on hand a selection of books, posters, and maps for sale. Mexican [War] Guerrilleros. Lithograph by N. Currier. 1848. Zazzle.com to Market Library Images English language books, pamphlets, manuscripts, prints, and sheet music by Gary F. Kurutz, curator of special For many years, members of the Foundation and Library collections. The latter, of course, emphasizes the American researchers have suggested that we reproduce posters, viewpoint and includes the conquest of California. Three photographs, and other documents from the Library’s hundred copies will be printed and will be sold at $20.00 a historic collections as a means of raising funds. Finally, this copy plus sales tax and shipping. will become a reality. The Foundation has just entered into an agreement with Zazzle.Com in Palo Alto to market some of its most attractive images through the Web. Zazzle.Com Bill and Melinda Gates offers a variety of reproduction services and can create full- Foundation Grant color posters on a variety of papers and in different sizes, assemble customized portfolios of images, produce note The Foundation has been awarded a grant of $181,650 to cards, and create computer mouse pads. In exchange for develop five computer training laboratories in selected rural the rights to market Library images, Zazzle.Com will pay California communities. Mark Parker, chief of the Library the Foundation a royalty. The company will, of course, be Development Services Bureau, wrote the grant proposal. linked to the Library’s Web site (www.cslfdn.org). Several The funds will be turned over to the Peninsula Library other institutions are also entering into agreements with System who will administer the program.

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Recent Contributors

A SSOCIATE Mrs. Patricia Carlson, Turlock Susan Hildreth, El Sobrante Ruth S. Going, Sacramento Marjorie Coffill, Sonora William J. Iracki, San Francisco Hannah Goldstein, Aptos Mr. & Mrs. James M. Day, Jr., Courtland Library of Congress, Washington, DC Frederick L. Grabowski, Jr., Redwood City Donald R. Fleming, Orinda Sheila J. Marsh, Sacramento Glen L. Hammond, West Sacramento Friends of Bellflower Library, Bellflower William M. Roth, Princeton, NJ John D. Hynes, Modesto Friends of Beverly Hills Library, Sandy Schuckett, Los Angeles Robin Imagire, Sacramento Beverly Hills Michael R. Smith, Elk Grove Ethel Klugman, Mill Valley Marcia E. Goodman, Palo Alto Robert & Mary Swisher, Sacramento Robert D. Livingston, Sacramento Charlotte Harriss, Danville Orlene Tschantz, Fremont Mrs. William H. Meyer, San Jose Thomas F. Herzog, Courtland United Way Sacramento, Sacramento Rev. Harold Petroelje, Ripon Margaret C. Hustedt, Burlingame George A. Saunders, Modesto Evelyn Huston, Claremont Evelyn C. Schwartz, Fortuna S PONSOR Dr. G. Fred Lee, El Macero Sigma Alpha Sigma, Sacramento Joann Levy, Sutter Creek Warren J. Abbott, West Covina Mr. & Mrs. Robert L. Stewart, Sacramento Peter A. Love, San Diego Roy Dean Hardy, Sacramento Melinda Wulff, Sacramento Vincent J. Lozito, Sacramento Warren Heckrotte, Oakland In Memory of Jean Butler Kay Mattson, Citrus Heights United Way Sacramento, Sacramento Felix I. Alejo, Fremont Katherine F. Mawdsley, Davis In Honor of Dr. Kevin Starr Allison Harmon, Fremont M. Kay Mowery, Griffin, GA KVIE Channel 6, Sacramento Debbie Humphrey, Hayward James G. Nourse, Half Moon Bay Kathleen A. Lack, San Ramon Kathleen G. Ouye, San Mateo Marcia Nyman, Fremont Beverly M. Pettyjohn, Grass Valley P ATRON Brian O’Donahue, Union City Marilyn Ponting, Glen Ellen Burnett & Mimi Miller, Sacramento Anne T. Protopopoff, Oakland In Honor of William Castro In Honor of Dr. Kevin Starr Robert V. Schwemmer, Santa Clarita Evelyn H. Castro, Woodland All Saints Church, Pasadena Martin E. Thomas, Sacramento In Memory of Dorothy Flannery United Way of San Diego, San Diego Matching Gift for Peter B. Wiley & Valerie Barth John P. Flannery, Concord Edward A. Veit, Sebastopol John Wiley & Sons, Inc., New York, NY In Memory of Edward Forster T. H. Wildenradt, San Francisco Fred D. Forster, Spokane, WA In Memory of Robert B. Gordon, MD Lucile Lewis, Sacramento C ORPORATE Virginia Livingston, Sacramento Mrs. Anna Manzinali, Newcastle Burton Harris Family Foundation, Joe & Linda Rawson, Auburn Anaheim C ONTRIBUTORS In Memory of Raymond Hottle Juanita Bartlett, Vineyard Haven , MA D. Berniece Allen, Paradise B RAILLE & T ALKING Gerald E. Benson, MD, Rancho Mirage Betty Palmer, Biggs B OOK L IBRARY Kathleen L. Bernath, Claremont In Memory of Aline “Scottie” Husser Lucile Anderson, Alameda Robert M. Dickover, Citrus Heights Vern & Rose Ariano, Salinas William B. Boardman, Auburn E. Clampus Vitus Emperor Norton Mr. & Mrs. S. A. Colburn, Salinas Brigade, San Francisco Lee W. Champion, Orangevale Dr. & Mrs. James De Bartolo, Carmel Wendel Robert Flint, Galt Helen Curro, Atwater Bernice M. Gatske, Salinas Clarence Fogelstrom, Washington, DC Ebell Lakeview Woman’s Club, Oakland Peter & Judy Howell, Fresno

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Kammann School Sunshine Fund, Close Up Foundation, Alexandria, VA C ALIFORNIA C IVIL Salinas Design Craftsmen, Inc., Midland, MI L IBERTIES P UBLIC Kammann School Kindergarten & 1st Grade Teachers, Salinas Detroit Free Press, Inc., Detroit, MI E DUCATION P ROJECT Mr. & Mrs. John Massa, Salinas Michael Hoff Productions, Emeryville Asian American Curriculum Project, Inc., San Mateo Mr. & Mrs. B. A. Pierson, Salinas Richard L. Johnson, MD, Colusa Lorraine K. Bannai, Seattle, WA Dr. & Mrs. Lewis S. Rathbun, KQED Inc., San Francisco Asheville, NC Paul E. Bell, State College, PA Mr. & Mrs. John Richardson, Salinas Karl Kroeber, Brooklyn, NY Mary H. Curtin, Riverside Gary & Donna Steer, Salinas Thomas Lennon Films, Inc., New York, NY East West Players, Inc., Los Angeles In Memory of Russie Jeffers Marshall Cavendish Corporation, Jerry J. Enomoto, Sacramento Charlene Krause, Roseville Tarrytown, NY Kathy J. Gill, Los Alamitos In Memory of Lillian R. Pacini McGraw Hill Companies, San Mateo City Employees Association, Hightstown, NJ Robert Goldfeder, San Diego San Mateo Clare V. McKanna, Jr., San Diego Diane Takei Gotanda, San Francisco In Memory of Robert Rasmussen Peter Mikkelsen, San Francisco Dale Ikeda, Fresno P.E.O. Sisterhood, Chapter WG, Penryn Joseph R. Moreau, Jackson Heights, NY Georgette Imura, Sacramento In Memory of Martin Owen Riser Thomas Nieman, Inc., Wilmette, IL Taeko Joanne Iritani, Sacramento David & Donna Brooks, Jackson, MI The North Point Gallery, San Francisco Japanese American Citizens Donald & Ann Campbell, Hingham, MA Pathway Productions Company, League-Sonoma County, Santa Rosa Indianapolis, IN Pamela J. Franklin, Rocklin Japanese Cultural & Community Center Donald & Catherine Galloway, Pearson, Livonia, MI of Northern California, San Francisco Elk Grove Perfection Learning Corporation, Bruce T. Kaji, Gardena Stuart W. Martin, Sharon, MA Logan, IA James Kelty, Cambria In Memory of Mrs. Miriam E. Self Raymond & Ettamarie Peterson, Petaluma Alice & Charles Carbone, Kearny, NJ Photosearch, Inc., New York, NY Glen R. Kumekawa, Wakefield, RI Cargo System Logistics, Inc., Picture Research Consultants, Inc., May S. Kurka, San Francisco San Ramon Topsfield, MA Ibuki H. Lee, San Francisco Michael & Veronica Chen, Pleasanton Wilma L. Plunkett, Bend, OR Military Intelligence Services Association Victor H. Chow, Dublin, Silver Editions, Inc. New York, NY of Northern California, Walnut Creek Mr. & Mrs. John J. Firman, Alamo Julia Tomiko Nagamoto, Berkeley Rod & Ellen Miller, San Antonio, TX Rebecca Solnit, San Francisco OOCL (USA) Inc. San Ramon, Timber Framers Guild, Becket, MA Reiko Nagumo, Sacramento In Memory of Fred M. Smith Sharon Vandercook, Fresno Una K. Nakamura, La Selva Beach Robert J. O’Sullivan, Vancouver,WA David Von Aspern, Sacramento Nisei Post 8985, Sacramento In Memory of Harry Scott Smith Wells Fargo Bank, San Francisco Dr. Ruth Y. Okimoto, Berkeley Judith O’Leary, Montara Janice M. Wight, St. Helena J. P. Redman, Sacramento Terence Young, Pasadena Barry Saiki, Stockton C ALI FORNIA H ISTORY In Memory of Zella Bleyhl Daisy Satoda, San Francisco S ECTION Sacramento Book Collectors Club, Eucaly Annette Shira, Sacramento Sacramento A & E Television Networks, Esther Taira, Montebello New York, NY In Memory of Ernest Holland James R. Blaine, Vacaville Barbara Taniguchi, Fresno Sacramento Book Collectors Club, Bonnie R. Bliss, San Jose Sacramento Timothy M. Toyama, Los Angeles Boston Productions, Norwood, MA In Honor of Gary Kurutz Priscilla Wegars, Moscow, ID Mrs. Emma Callaghan, Chester Elk Grove Book Club, Elk Grove Linda Wilson, Monterey Park Castle Creek Productions, Santa Monica Ronald Yamada, Sacramento Chinese Heritage Center, Singapore In Memory of C. R. McMillian Citizen Jayne, Inc., Seffner, FL Sacramento Book Collectors Club, James N. Yamazaki, MD, VanNuys Robert Clark, Spokane, WA Sacramento

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C ALIFORNIA C ALIFORNIA R ESEARCH C OMMEMORATIVE B UREAU G RANT S TATE S EALS The California Endowment, C OMMISSION Woodland Hills Agua Caliente Band of Cahuilla California Healthcare Foundation, Indians, Palm Springs Oakland Patricia A. Brattland, El Cajon Zellerbach Family Fund, San Francisco California Historical Society, San Francisco OVERNOR S Cuyapaipe Band of Indians, Alpine G ’ B OOK F UND Discovery Works, Inc., Long Beach City National Bank, Los Angeles Billie E. Elliston, Galt Wal-Mart Foundation, Bentonville, AR Far Western Anthropological Research Group, Davis Fort Mojave Tribe, Needles L IBRARY Harbison Mahony Higgins Builders, Inc., D EVELOPMENT Sacramento S ERVICES Holman & Associates, San Francisco Bill & Melinda Gates Foundation, Hopland Band of Pomo Indians, Seattle, WA Hopland Irvine Community Development Company, Newport Beach R EAD Jackson Rancheria, Jackson C ALIFORNIA Level 3 Communications, Nestle USA Foundation, Glendale Broomfield, CO State Farm Insurance Companies, Lockyer Committee, Sacramento Rohnert Park Mooretown Rancheria, Oroville Verizon Foundation, Princeton, NJ Pacific Gas & Electric, San Francisco Pacific Legacy Inc., Santa Cruz S UTRO Pacific Telesis Group, Sacramento L IBRARY Pechanga Band of Mission Indians, Temecula Claudia E. Bell, Woodland Rumsey Community Fund, Brooks Nicholas Cimino, Walnut Creek San Luis Rey Mission Indian Paula R. Flagg,Watsonville Foundation, Oceanside Moria P. Gardner, Santa Rosa San Manuel Band of Indians, Highland Rev. Fred Merrick, San Francisco Seven Feathers Corporation, Virginia Rood, Walnut Creek Thousand Oaks Mrs. E. G. Schrader, Shingle Springs Sierra Mono Museum, North Fork Susan M. Smith-Bromiley, San Carlos Sierra Native American Council, Ione Mrs. Winifred L. Swanson, Santa Rosa Paul G. Smith, Sacramento Susan Swindell, Martinez Smith River Rancheria, Smith River Soboba Band of Mission Indians, In Memory of Mr. G. Willard Minor San Jacinto Dr. W. Michael Mathes, Plainview, TX Suscol Council, Napa Patricia Yonemura, Sacramento

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Historic Prints of San Francisco Portfolio The Windgate Press of Sausalito has made available to the Foundation copies of its latest publication: San Francisco: Early Prints 1848-1900. The spectacular, limited edition portfolio, published in collaboration with the Foundation, reproduces a number of rare prints from the State Library’s collection. Proceeds from the sale of these copies will benefit the Library’s California History Section. San Francisco Early Prints: 1848-1900 is the result of a collaboration between print collector and dealer Kathleen Manning, the State Library, and Windgate Press. Recogniz- ing that scarce early prints of San Francisco have become so expensive and difficult to obtain at any price, the collabora- tors decided to publish a group of the most desirable prints. The lithographs and engravings selected for the pub- lication are among the most sought-after images of San Francisco. Using cutting-edge technology, Windgate Press reproduced the subtle color nuances and natural aging pres- ent in the original images. The cost of the portfolio is $210.00 per set, plus sales tax and shipping (via UPS).

Foundation Co-Publishes California Poster California Calls You Poster is now available for pur- chase through the Foundation. The 24 x 18 inch poster, reproduced here, features historic pictorial bookbindings extolling California. The images first appeared in the award-winning book by KD and Gary Kurutz California Calls You: The Art of Promoting the Golden State. The Foundation co-published the poster with the Windgate Press of Sausalito. The poster sells for $10.00 including standard shipping charges and sales tax.

To purchase a copy, please contact the Foundation at: Tel: (916) 447-6331 Fax: (916) 447-0125 Email: [email protected]

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