SUMMER 2014
INSIDE: VANISHED BIRDS OF NORTH AMERICA
CONNECTSMITHSONIAN LIBRARIES
CONTENTS
DIRECTOR’S CORNER ...... 4 FEATURES ...... 5 !e Importance of Conserving Books ...... 5 Brilliant Watercolors Light Up the Dibner Library ...... 6 18th Dibner Library Lecture Manuscript Published ...... 7 Artwork Culled From the Collections Proves !at No One Will Ever Be As Fashionable As the French ...... 8 EXHIBITIONS ...... 10 Once !ere Were Billions: A New Exhibit Puts Martha, the Last Passenger Pigeon, on Display ...... 10 !e Feather Trade and the American Conservation Movement ...... 12 A Chat with the Libraries’ Exhibitions Guru ...... 13 !e Lost Bird Project ...... 14 Fold the Flock ...... 15 WOMEN OF THE SMITHSONIAN: HISTORICAL CONTRIBUTIONS ...... 16 Jane Wadden Turner, Smithsonian Librarian and Pioneer ...... 16 Women in Research ...... 17 TRADE LITERATURE ...... 18 Trade Lit: 100+ Years of American Sales, Marketing, and Manufacturing History ...... 18 STAFF ON THE MOVE ...... 20 Founding Librarian Appointed at the National Museum of African American History and Culture ...... 20 Polly Khater Named Assistant Director for Discovery Services ...... 20 A Fond Farewell! ...... 21 Libraries Shares Research ...... 21 Passing of the Torch ...... 21 EVENTS ...... 22 FROM OUR LIBRARIES ...... 24 National Postal Museum Library: Philatelic Literature Review ...... 24 Biodiversity Heritage Library ...... 25 GIFTS ...... 26 !e Rollyn Osterweis Krichbaum Memorial Program Fund for the Public Understanding of African Art and Culture ...... 26 Notable Gi"s ...... 26
Cover: Martha, the last passenger pigeon (Donald E. Hurlbert). Page 2: Passenger pigeons from John James Audu- bon’s The Birds of America (1840-44). Page 4: Passenger pigeon from Mark Catesby’s The Natural History of Carolina, Florida, and the Bahama Islands (1754). Page 27: Carolina parrots from John James Audubon’s The Birds of America (1840-44). Book images courtesy of the Biodiversity Heritage Library (biodiversitylibrary.org).
3 DIRECTOR’S CORNER
At the center of research across the Smithsonian are the specialized branches and librarians of the Smithsonian Libraries. The contents and staff of the Li- braries play a key role in helping the Smithsonian’s research and curatorial staff make sense of the museums’ almost innumerable, often unique, objects and their cultural and histori- cal contexts. The Smithsonian Libraries is a national treasure, where experts come to test and expand knowledge and where America and the world can turn for authentic answers. %HKLQGWKHDPD]LQJPXVHXPH[KLELWVDQGGH¿QLWLYHZULWLQJVRIWKH6PLWKVRQLDQ,QVWLWXWLRQ WKHUHDUHRYHUUHVHDUFKDQGFXUDWRULDOVWDIIPDQ\RIZKRPDUHOHDGLQJDXWKRULWLHVLQWKHLU ¿HOGVRIVFLHQFHKLVWRU\FXOWXUHDQGWKHDUWV%HKLQGWKHZDOOVDQGZHEVLWHVRIWKH6PLWKVRQ- LDQ¶VPXVHXPVWKHVHUHVHDUFKHUVDQGFXUDWRUVKDYHDFFHVVWRWKHVSHFLDOL]HGUHVRXUFHVWKH\QHHG WRHQVXUHWKHDFFXUDF\RIWKHLUZRUNDQGWRDGYDQFHNQRZOHGJHLQWKHLU¿HOGV7KHVHHVVHQWLDO resources are embodied in the collections and staff of the Smithsonian Libraries. 7KH6PLWKVRQLDQ/LEUDULHVDUHDQHWZRUNRIVSHFLDOL]HGUHVHDUFKOLEUDULHVVXSSRUWLQJHDFKRI WKH,QVWLWXWLRQ¶VPXVHXPVDQGLQLWLDWLYHV7KHVXEMHFWVFRPSUHKHQGHGE\WKLVJOREDOO\XQLTXH FRPSOH[RIOLEUDULHVDQGOLEUDULDQVDUHDVGLYHUVHDQGGHHSDVWKHFROOHFWLRQVH[KLELWVDQGVFKRO- DUVKLSWKH\VXSSRUW7KH\WUXO\VSDQWKHUDQJHRIVFLHQWL¿FDQGFXOWXUDOSXUVXLWVRIKXPDQLW\ from aerospace, anthropology, astronomy, astrophysics and art history to biology and botany, to cultural history, portraiture, philately, zoology and much, much more. :KLOHVKDULQJWKHYDOXHVPHWKRGVDQGHI¿FLHQFLHVRIDXQL¿HGQHWZRUNHDFKOLEUDU\LQWKHV\V- tem nonetheless is unique in itself. Each one supports the work of its own community of interest FRPSULVLQJVSHFLDOL]HGUHVHDUFKHUVDQGFXUDWRUVRIWKHPXVHXPVDVZHOODVYLVLWLQJVFKRODUV HGXFDWRUVVWXGHQWVDQGRWKHUVSXUVXLQJRUDGYDQFLQJNQRZOHGJHLQWKHLU¿HOGV 7KH6PLWKVRQLDQ/LEUDULHVDQGLWVKLJKO\TXDOL¿HGOLEUDULDQVKHOSHDFKRIWKHLUFRPPXQLWLHVE\ FROOHFWLQJSUHVHUYLQJDQGVKDULQJWKHRIWHQRULJLQDOPDWHULDOVQHHGHGWRVRXUFHDQGYHULI\IDFWV 7KH\DOVRSURYLGHYDOXDEOHJXLGDQFHDQGVXSSRUWGLUHFWLQJXVHUVWRWKHPRVWUHOHYDQWRQVLWHRU RQOLQHVRXUFHVDQGKHOSLQJWKHPIUDPHDQGH[HFXWHSURGXFWLYHUHVHDUFKVWUDWHJLHV ,QGLYLGXDOO\HDFKRIWKHVHOLEUDULHVLVDPRQJWKHZRUOG¶VJUHDWHVWUHSRVLWRULHVRINQRZOHGJHIRU WKHVSHFLDOL]HG¿HOGVWKH\VXSSRUW&ROOHFWLYHO\WKH\DUHDPRQJ$PHULFD¶VJUHDWHVWVFLHQWL¿F and cultural treasures. They belong to the nation, and through their expanding on-line presence DQGGLJLWL]DWLRQLQLWLDWLYHVPRUHDQGPRUHSHRSOHIURPDFURVVWKHFRXQWU\DQGDURXQGWKHZRUOG DUHDEOHWRDFFHVVWKHLUYDVWUHVRXUFHV As information technologies compound the ability and need to share knowledge, the demands RQWKLVXQLTXHDQGYDOXDEOHVRXUFHRINQRZOHGJHDUHFRQVWDQWO\JURZLQJ+RZHYHUWKH¿QDQFLDO resources required to meet these demands are increasingly constrained. :HLQYLWH\RXWRJHWLQYROYHGDQGWRVXSSRUWWKH6PLWKVRQLDQ/LEUDULHVFRQWULEXWLQJZLWKLQ\RXU FDSDFLWLHVHLWKHUWRWKHFHQWUDOLQLWLDWLYHVRIWKH/LEUDULHVRUWRDVSHFL¿FOLEUDU\ZKRVHFROOHFWLRQV and work aligns with your own interests and curiosity. &RPHGLVFRYHUDQGH[SORUHWKHDPD]LQJUHVRXUFHVRIWKH6PLWKVRQLDQ/LEUDULHVDQGVXSSRUWWKH LPSRUWDQWUROHWKH\SOD\LQPDLQWDLQLQJDQGH[WHQGLQJ$PHULFD¶VSODFHLQWKHZRUOG¶VVFLHQWL¿F and cultural forums.
Nancy E. Gwinn, Director, Smithsonian Libraries
4 FEATURES
Richard examines First Lady Michelle Obama’s 2009 inaugural gown in the costumes/ textiles preservation lab. (Liz O’Brien)
Using high-tech technology, Richard inspects the condition of the sequins on the ruby slippers worn by Dorothy (Judy Garland) from the 1939 MGM movie The Wizard of Oz. (Liz O’Brien) 7KH,PSRUWDQFHRI&RQVHUYLQJ%RRNV 5LFKDUG%DUGHQ0DQDJHU3UHVHUYDWLRQ6HUYLFHV| National Museum of American History ,RYHUVHHDQGGLUHFWWKHZRUNRIWKH1DWLRQDO0XVHXPRI$PHULFDQ+LVWRU\¶VWKUHHFRQVHUYDWLRQODERUDWR- ULHV &RVWXPHV7H[WLOHV2EMHFWVDQG3DSHU DQGGLUHFWWKHSUHVHUYDWLRQDFWLYLWLHVRIWKHPXVHXP7KLV \HDU,ZDVVHOHFWHGWRSDUWLFLSDWHLQWKH6PLWKVRQLDQ,QVWLWXWLRQ¶V3DOPHU/HDGHUVKLS'HYHORSPHQW3UR- gram. As part of the program, I was required to work at another Smithsonian museum or research center IRUWRGD\VZKLOHSHUIRUPLQJP\QRUPDOGXWLHV One of my goals is to raise dedicated for me. So I asked myself, “Why do we (YHU\WKLQJFKDQJHVDQGIDGHV QRWKLQJ IXQGVIRU3UHVHUYDWLRQ6HUYLFHVDWWKH VDYHERRNV"´ ODVWVIRUHYHUDQGWKDWLQFOXGHVERRNV Museum of American History. As I Libraries hold our thoughts, the way The materials that books are made searched around the Smithsonian for a ZHWKLQNKRZZHH[SUHVVRXUVHOYHV IURPGHWHULRUDWH OHDWKHUSDSHULQN rotation in fundraising, I was fortunate our knowledge, feelings, our art and glue, and the media that make up the to learn that the Smithsonian Libraries’ VFLHQFHKRZDQGZK\ZHORYH0RUH words and images face a myriad of 2I¿FHRI$GYDQFHPHQWZDVORRNLQJ than any other artifacts, books and factors causing them to crumble. IRUDVVLVWDQFHLQGHYHORSLQJPDWHULDOV GRFXPHQWV H[SOLFLWO\ UHYHDO RXU /HDWKHUFDQEHFRPHEULWWOHRUKDYHUHG to further their fundraising efforts for thoughts. They disclose who we were, URW SDSHUEHFRPHVZHDNWHDUVDQG FRQVHUYDWLRQ$SHUIHFW¿W what we did and why. Books are the GLVFRORUV PHGLDFDQVHSDUDWHIURPLWV 2QHRIP\¿UVWDVVLJQHGWDVNVZDVWR VXUYLYLQJDQGWDQJLEOHHYLGHQFHRIRXU SDSHUVXSSRUWDQGÀDNHDZD\ DQGWKH write about the importance of funding past thoughts. As author Bettina Drew glue of bindings dries out, shrinks, and FRQVHUYDWLRQ DW WKH /LEUDULHV $IWHU has written: “The past reminds us of becomes stiff and brittle. more than twenty years of working in timeless human truths ……and is the Sometimes, if you’re paying close at- FRQVHUYDWLRQDWWKH0XVHXPRI$PHUL- EDVLVIRUVHOIXQGHUVWDQGLQJ´ tention you might notice these almost can History, I thought this would be LPSHUFHSWLEOHFKDQJHV WLQ\ÀDNHVRI HDV\,QWUXWKLWSURYHGPXFKPRUHGLI- loss from a word or image, the slow ¿FXOWWKDQ,LPDJLQHG,QHYHUJDYH stiffening of paper as you turn a page, much thought to the larger reasons of the change of color as paper ages, or ZK\ZHVDYHDUWLIDFWV,¶YHDOZD\VDS- the sound of the binding glue cracking preciated historic objects and art and DV\RXRSHQDERRNWKDW\RXKDYHQ¶W LQQDWHO\ZDQWHGWRNHHSDQGVDYHWKHP YLVLWHGLQDZKLOH Since almost all of my work at the mu- &RQVHUYLQJERRNVLVVDYLQJWKHSDVW VHXP LQYROYHV WKH FRQVHUYDWLRQ DQG who we were, where we came from, SUHVHUYDWLRQRIWKUHHGLPHQVLRQDORE- KRZZHOLYHGZKDWZHGLGDQGKRZ jects, costumes, textiles, and paper- ZHGLGLW:HVKRXOGQRWIRUJHW ZH based artifacts, to concentrate only on Richard poses with a Jim Henson trifecta (L-R): Uncle Traveling Matt (Fraggle Rock), Elmo (Sesame Street), should not lose the past. This is why it books and manuscripts was different and J.P. Grosse (The Muppets). (Liz O’Brien) LVVRLPSRUWDQWWKDWZHFRQVHUYHERRNV 5 From Über die Fortschritte der Technik in den Vereins-Staaten von Nord-Amerika in Bezug auf einige Einrichtungen bei der Armee und Flotte. (Liz O’Brien) Brilliant Watercolors Light Up the Dibner Library Lilla Vekerdy, Head | Special Collections
The Dibner Library of the History of Science and Technology has acquired a nineteenth-century manu- VFULSWZLWKDUWLVWLFDOO\DQGVFLHQWL¿FDOO\RXWVWDQGLQJZDWHUFRORULOOXVWUDWLRQV
Karl Möring’s Über die Fortschritte der Technik in den Vereins- PLOLWDU\EDVHVDQGDUPVIDFWRULHVKHUHFRUGHGKLVREVHUYD- Staaten von Nord-Amerika in Bezug auf einige Einrichtungen WLRQVRIWHFKQRORJLFDOLQQRYDWLRQVLQWKHSUHVHQWPDQXVFULSW bei der Armee und Flotte [On technological progress in the Unit- 7KHFRQWHQWRIWKLVZRUNZDVDOVRSXEOLVKHGLQSULQWLQ ed States of North America with regard to some mechanisms in under the same title. WKHDUP\DQGQDY\@LVDVLJQHGKDQGZULWWHQERRNLQ*HUPDQ 'XULQJWKHUHYROXWLRQLQ9LHQQD0|ULQJZURWHVHYHUDO FUHDWHGLQ,WFRQWDLQVQXPEHUHGSDJHVDQGODUJH SDPSKOHWVXQGHUWKHSVHXGRQ\P³&DPHR´DQGSXEOLVKHGKLV folding and exquisitely colored watercolor and ink engineering EHVWNQRZQZRUNWKHWZRYROXPHSybillinische Bücher aus GUDZLQJV$FFRUGLQJWRDQRWHLQWKHDXWKRU¶VKDQGRQWKHÀ\OHDI Oesterreich LQZKLFKKHDWWDFNHGWKH0HWWHUQLFKJRY- this is one of two extant copies of this extraordinary manuscript ernment and called for the formation of a new Austria. An- (the other, which Möring donated to Archduke Ludwig of Aus- other two political writings were published with the titles Ent- WULDLVQRZLQ$XVWULD¶V.ULHJVDUFKLY weder - oder! DQGOffener Brief an das Wiener $Q$XVWULDQOLHXWHQDQW¿HOGPDUVKDOGLSORPDWDQGMRXUQDO- Minsterium LVW.DUO0|ULQJ SOD\HGDVLJQL¿FDQWUROHLQWKH 5HYROXWLRQRIDVLWSOD\HGRXWLQWKH+DEVEXUJ(PSLUH and the neighboring countries. He graduated at the Ingenieur- $NDGHPLHLQ9LHQQDLQ DQGZDVDPHPEHURIWKH$XV- trian army’s engineering corps, participating in military building projects in Milan, Split, Venice, and Vienna. Möring DOVRSDUWRRNLQWKH$XVWULDQLQYDVLRQRI6\ULD:KLOHVHUYLQJ in the army, he became increasingly disenchanted with the Austrian Empire’s corrupt and reactionary regime, headed de IDFWRE\3ULQFH0HWWHUQLFKDQGULVNHGWKHGLVDSSURYDORIKLV superiors by expressing his liberal ideas on the political, so- cial, and economic questions of his day. ,Q0|ULQJZDVVHQWRQDWRXURI:HVWHUQ(XURSHDQG North America in order to learn about engineering and tech- QRORJLFDODGYDQFHVLQWKHVHUHJLRQV:KLOHYLVLWLQJ$PHULFDQ From Über die Fortschritte der Technik in den Vereins-Staaten von Nord-Amerika in Bezug auf einige Einrichtungen bei der Armee und Flotte. (Liz O’Brien)
6 0|ULQJDOVRVHUYHGEULHÀ\DVDGHOHJDWHWRWKH)UDQNIXUWQD- WLRQDODVVHPEO\$IWHUWKHFROODSVHRIWKHUHYROXWLRQDQGWKH UHVWRUDWLRQRIWKHPRQDUFK\0|ULQJFRQWLQXHGWRVHUYHLQWKH DUP\HQJLQHHULQJFRUSV,QWZR\HDUVEHIRUHKLVGHDWK KHZDVDSSRLQWHGDJRYHUQRURI7ULHVWH The remarkable colored drawings in Möring’s manuscript FRQWDLQVHYHUDOGHWDLOVEULQJLQJWKHWRWDOQXPEHURILOOXVWUD- tions to more than sixty, most with captions. According to Möring’s foreword in his manuscript, most of the drawings of WKHRULJLQDOHTXLSPHQWRUPDFKLQHU\ZHUHPDGHRQVLWH)LYH RIWKHLPDJHVGHSLFWLQQRYDWLRQVPDGHE\WKH8QLWHG6WDWHV 1DY\ (ULFVVRQ¶VVWHDPHQJLQHDQGVKLS¶VSURSHOOHUDQG:: +XQWHU¶VVWHDPIULJDWH³8QLRQ´ 7KHUHPDLQLQJVHYHQVKRZ WHFKQRORJLFDOLPSURYHPHQWVPDGHE\WKH$PHULFDQ$UP\ From Über die Fortschritte der Technik in den Vereins-Staaten von Nord-Amerika in 7KHSUHFLVLRQDQGKLJKDUWLVWLFYDOXHRIWKHVHLOOXVWUDWLRQVSXOOV Bezug auf einige Einrichtungen bei der Armee und Flotte. (Liz O’Brien) WRJHWKHUVFLHQFHDQGDUWLQDZRQGHUIXOPHUJHUSURYLGLQJD IHUWLOHUHVHDUFKUHVRXUFHIRUVFKRODUVRIGLYHUVHGLVFLSOLQHV 7KH0|ULQJPDQXVFULSWZLOOEHFRPHDSUL]HGLWHPLQ'LEQHU/LEUDU\¶VXQSDUDOOHOHGVFLHQWL¿FPDQXVFULSWFROOHFWLRQZKLFKZDV GRQDWHGWRWKH6PLWKVRQLDQE\'U%HUQ'LEQHU QRWHGHQJLQHHUVFLHQFHKLVWRULDQDQGERRNFROOHFWRULQ Thanks to Jeremy Norman for providing information for this article.
18th Dibner Library Lecture Manuscript Published In March, the Smithsonian Libraries published a new Dibner Library Lecture manu- script, The Philosophical Breakfast Club and the Invention of the Scientist, by au- thor Laura J. Snyder, associate professor of philosophy at St. John’s University in New York City. Begun in 1992, the Dibner Library Lectures feature a distinguished VFKRODUZKRKDVPDGHVLJQL¿FDQWFRQWULEXWLRQVWRKLVRUKHU¿HOGRIVWXG\6LQFH 2000, the Dibner Library Lecture has become available in published form and on- line. The lecture series and its publication are made possible by the support of the Dibner family. In 1833, when the poet S.T. Coleridge stood up at a meeting of the British Associa- tion for the Advancement of Science and demanded that its members stop calling themselves “natural philosophers,” one man was ready with an alternative title: “sci- The Philosophical Breakfast Club entist.” In inventing the name for the modern man of science, William Whewell was continuing a task he and three of his friends had set for themselves two decades earlier. After meeting at Cambridge University in 1812, Whewell, Charles Babbage, John Herschel and Richard Jones discussed the sorry state of science at “philo- sophical breakfasts” held on Sundays after the compulsory college chapel services. 7KH\YRZHGWREULQJDERXWDQHZVFLHQWL¿FUHYROXWLRQ Each of the four would go on to accomplish great things: Babbage invented the ¿UVWFRPSXWHU+HUVFKHOZDVDJUHDWDVWURQRPHUZKRDOVRFRLQYHQWHGSKRWRJUD- SK\-RQHVEHFDPHDQHFRQRPLVWRIQRWHZKRLQÀXHQFHG.DUO0DU[DQG:KHZHOO VSHDUKHDGHGLQWHUQDWLRQDOUHVHDUFKRQWKHWLGHV%XWWKHLULQÀXHQFHJRHVIDUWKHU E\ the end of their lives these four had succeeded, even beyond their wildest dreams, in transforming science. The amateur natural philosopher—the country curate col- OHFWLQJEHHWOHVLQKLVVSDUHKRXUVRUWKHLQGXVWULDOLVWVWXG\LQJWKHFKHPLVWU\RIÀD[ bleaching—became the professional scientist, who was trained at the university, EHORQJHGWRVSHFLDOL]HGVRFLHWLHVSXEOLVKHGLQVFLHQWL¿FMRXUQDOVDQGHYHQWXDOO\ Laura Snyder. (Byba Sepit) FRXOGHDUQDOLYLQJE\VFLHQWL¿FZRUN7KHLQYHQWLRQRIWKHPRGHUQVFLHQWLVWZDV brought about through the decades-long friendship of four remarkable men. To download a free copy of The Philosophical Breakfast Club or earlier issues of the Dibner Library Lecture manuscripts, visit library.si.edu/libraries/dibner. 7 Costumes Parisiens from Journal des dames et des modes, 1912-14.
$UWZRUN&XOOHG)URPWKH&ROOHFWLRQV3URYHV7KDW1R 2QH:LOO(YHU%H$V)DVKLRQDEOH$VWKH)UHQFK Amy Henderson, Curator and Cultural Historian | National Portrait Gallery
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Fashion and identity are inextricably While haute couture, as depicted in Museum, these plates were originally HQWZLQHG$WWKHWXUQRIWKHWKFHQ- WKHVH FKDUPLQJ IDVKLRQ SODWHV ÀRXU- SXEOLVKHGEHWZHHQ DQG LQWKH tury, fashion in America took shape as ished in Paris until the outbreak of war French Journal des Dames et des Modes a democratic art with the rise of the LQ LQ$PHULFDZRPHQ¶VULVLQJ DQGKDYHUHFHQWO\EHHQPDGHDYDLODEOH ³UHDG\WRZHDU´LQGXVWU\$WWKHVDPH ability to create their own identity took online. The journal was a compendium time, Paris in the Belle Époque was the on a wholly different shape. Drawn to RISRHPVIDVKLRQUHSRUWVDQGUHYLHZV birthplace for a fashion industry that cities by economic opportunity, Ameri- RIERWKWKHDWHUDQGOLWHUDWXUH7KHYLYLG VHUYHGDQHVWDEOLVKHGVRFLDOKLHUDUFK\ FD¶V³1HZ:RPDQ´ZRUNHGOLYHGDQG VWHQFLOSULQWVRIGUDPDWLFFRXWXUHRXW¿WV )RUWKHXSSHUHFKHORQVWKHDGYHQWRI shopped with increasing independence. of the era, many drawn by the artist and Parisian fashion magazines in the ear- 7KH DGYHQW RI GHSDUWPHQW VWRUHV² foremost fashion illustrator of the time O\ WK FHQWXU\ DI¿UPHG WKH LPSRU- ³SDODFHVRIDEXQGDQFH´²DOORZHGWKHP *HRUJH%DUELHU GHSLFWWKH tance of appearance. to select clothes that expressed their opulent fabrics, bold patterns, and rich “If it were simply a matter of clothing QHZO\DFKLHYHG LQGHSHQGHQFH ,Q- embroidery in crepes, and silks, and ex- oneself, fashion would certainly not ex- creased economic empowerment sped RWLFSOXPDJHDQGSURYLGHDYLYLGUHFRUG LVW´ ZURWH RQH FULWLF LQ WKH 3DULVLDQ WKH¿JKWIRUZRPDQ¶VVXIIUDJHFXOPL- of high fashion in the Paris prior to the Journal des Dames et des Modes in QDWLQJZLWKWKHUDWL¿FDWLRQRIWKH WK outbreak of World War I. ³%XWLWLVDERYHDOODPDWWHURIDW- DPHQGPHQWLQ WKDWVHFXUHGZRP- Originally published on WLULQJRQHVHOIDQGZKRHYHUVD\VRUQD- HQ¶VULJKWWRYRWH Smithsonian.com. ment says art…So, ladies, be stylish. It Culled from the library collections of the LVDJUHDWFLYLFGXW\´ Cooper Hewitt, Smithsonian Design
8 9 EXHIBITIONS Once There Were Billions: A New Exhibit Puts Martha, the Last Passenger Pigeon, on Display +HOHQ-DPHV&XUDWRU'LYLVLRQRI%LUGV| National Museum of Natural History
0DUWKDWKHODVWSDVVHQJHUSLJHRQLVEDFNRQSXEOLFGLVSOD\IRUWKH¿UVWWLPHVLQFH WKLVWLPHLQDQ exhibition titled Once There Were Billions: Vanished Birds of North America that opened in the Smithson- LDQ/LEUDULHV([KLELWLRQ*DOOHU\RIWKH1DWLRQDO0XVHXPRI1DWXUDO+LVWRU\RQ-XQH0DUWKDGLHGRQ 6HSWHPEHU LQWKH&LQFLQQDWL=RR VKHZDVLPPHGLDWHO\IUR]HQLQWRDSRXQGEORFNRILFHDQG VKLSSHGE\IDVWWUDLQWRWKH6PLWKVRQLDQLQ:DVKLQJWRQ7KHUHKHUERG\ZDVFDUHIXOO\SUHVHUYHGDVDWD[L- dermy mount and an anatomical specimen. She had been recognized in the last years of her life as the only VXUYLYLQJLQGLYLGXDORIDVSHFLHVWKDWZDVWKHPRVWDEXQGDQWELUGLQ1RUWK$PHULFDRQO\GHFDGHVHDUOLHU In death, she has become one of the Smithsonian’s most treasured specimens. Martha’s story was a wake- XSFDOOIRURXUQDWLRQUHJDUGLQJLWVXQUHJXODWHGKDUYHVWLQJRIQDWXUDOUHVRXUFHVDQGFRQWULEXWHGWRWKHGH- YHORSPHQWRIRXUPRGHUQFRQVHUYDWLRQHWKLFDQGODZVSURWHFWLQJZLOGOLIH
Martha was taken off display when our Birds of the World Hall was displaced by the new Beh- ULQJ)DPLO\+DOORI0DPPDOV$VWKH&XUDWRULQ&KDUJHRIWKH6PLWKVRQLDQ¶VVFLHQWL¿FFRO- OHFWLRQRIELUGV,NQHZWKDWZHKDGWRJHWKHUEDFNEHIRUHWKHSXEOLFLQWKHFHQWHQDU\RI KHUGHDWK%XWZKHUHWRSXWKHU"7KDQNIXOO\6XVDQ)UDPSWRQRIWKH6PLWKVRQLDQ/LEUDULHVDQG *LOEHUW%RUUHJRRIWKH%LRGLYHUVLW\+HULWDJH/LEUDU\ %+/ UHFRJQL]HGWKHRSSRUWXQLW\ for public education about recent extinctions that Martha’s centenary represents. They proposed to integrate the story of the passenger pigeon and other recently H[WLQFWVSHFLHVLQWRDQH[KLELWLRQDERXW%+/7KLVZDVDQDWXUDO¿WEHFDXVHWKH extinct birds featured in the exhibition had all been well described and illus- WUDWHGLQQDWXUDOKLVWRU\ERRNVEHIRUHWKHLUUHVSHFWLYHH[WLQFWLRQV$QGWKRVH books are aged enough not to be protected by copyright any longer. The exhibition features beautiful, rare natural history books dating back to the VWKHVFDQVRIZKLFKKDYHEHHQPDGHIUHHO\DFFHVVLEOHRQWKH%+/
ZHEVLWH ELRGLYHUVLW\OLEUDU\RUJ :HZHUHDEOHWRLQWHUZHDYHWKHVWRU\ Martha, the last DERXWELUGH[WLQFWLRQVZLWKWKHUHYHODWLRQWKDWWKHROGNQRZOHGJHLQQDW- passenger pigeon. (Donald E. Hurlbert) XUDOKLVWRU\ERRNVLVQRZUHDGLO\DYDLODEOHRQOLQH We settled on four iconic species of extinct birds from eastern North $PHULFDWRIHDWXUHLQWKHH[KLELW WKHJUHDWDXN H[WLQFWLQWKHVRU V SDVVHQJHUSLJHRQ H[WLQFWLQ KHDWKKHQ DFWXDOO\DGLV- WLQFWLYHVXEVSHFLHVRIWKH*UHDWHU3UDLULH&KLFNHQH[WLQFWLQ DQGWKH&DUROLQDSDUDNHHW H[WLQFWLQWKH VRUV $ORQJZLWK ZULWWHQDFFRXQWVDQGLOOXVWUDWLRQVRIWKHVHELUGVIURP¿UVWKDQGRE- VHUYDWLRQVEHIRUHWKH\EHFDPHH[WLQFWZHGLVSOD\HGUDUHVSHFL- PHQVRIWKHPIURPWKH6PLWKVRQLDQ¶VVFLHQWL¿FFROOHFWLRQ$ theme of the exhibition is that extinction doesn’t just affect far- DZD\WURSLFDOVSHFLHVEXWKDVUHPRYHGVSHFLHVWKDWRXUIRUH- bears took for granted, right in this region. Another theme is that extinction can happen to widespread, abundant species, not just rare ones with limited rang- es. Accounts of these species in life made by luminar- ies like the artist and naturalist John James Audubon VHUYHZHOOWRGULYHKRPHWKRVHWKHPHV$XGXERQ
10 Helen James opens the container storing Martha, the last passenger pigeon, and male Great auk in the exhibition. (Donald E. Hurlbert) passenger pigeon George. (Liz O’Brien) ZURWHWKDWLQKHREVHUYHGDGD\ORQJÀLJKWRIPLJUDWLQJSDVVHQJHUSL- geons in Kentucky that obscured the light of the noonday sun as if there was an eclipse. Although he judged that the passenger pigeon could not become H[WLQFWRZLQJWRLWVYDVWQXPEHUVDQGDVKHSHUFHLYHGLWKLJKUHSURGXFWLYH rate, he did issue an early warning about the Carolina parakeets, which tended to disappear soon after Western settlement of new regions. $UFKLYHVRIKXPDQHQFRXQWHUVZLWKWKHVHH[WLQFWELUGVDUHQRWOLPLWHGWRQDWX- ral history books. As examples, ships logs recorded sightings of great auks, newspapers reported large nestings or roostings of the pigeons, early explor- HUVUHSRUWHGVHHLQJÀRFNVRIFRORUIXOSDUURWVLQWKHVRXWKHDVWDQGKXQWHUVNHSW journals recording their annual take of heath hens on Martha’s Vineyard. To show some of the ways that people depleted the populations of these birds, Once There Were Billions features illustrations of great auk and passenger pigeon hunts and a photograph of a parrot adorning a lady’s hat. It also dis- plays Mrs. Rorer’s Philadelphia Cook Book by Sarah Tyson Heston Rorer DQGMrs. Lincoln’s Boston Cook BookE\0DU\-/LQFROQ WKH Carolina parakeets in the exhibition. (Liz O’Brien) two cookbooks contain pigeon recipes. :KHQLWEHFDPHFOHDUDURXQG WKDWSDVVHQJHUSLJHRQVZHUHQR ORQJHUQHVWLQJLQWKHZLOGDIHYHUHGFRUUHVSRQGHQFHWRRNSODFHDPRQJRUQL- WKRORJLVWVDQGSLJHRQIDQFLHUVWU\LQJWRORFDWHDQ\ELUGVVXUYLYLQJLQFDSWLYLW\ DQGXQLWHWKHPLQKRSHVWKDWWKH\ZRXOGEUHHG7KHVHDUFKWXUQHGXSYHU\IHZ VXUYLYLQJELUGVDQGVRRQDVPDOOÀRFNDWWKH&LQFLQQDWL=RRFRQWDLQHGWKH only ones left. For a time Martha had two male companions, but they passed DZD\LQ 6KHOLYHGRQIRUIRXUPRUH\HDUVDVDORQHVRPHFHOHEULW\DWWKH ]RRWKHODVWNQRZQLQGLYLGXDORIKHUVSHFLHV Once There Were Billions ZLOOEHRQGLVSOD\WKURXJK2FWREHU5HDG more about the exhibition and associated programs at library.si.edu/OTWB.
Intern Jae Ra Lee poses next to the National Mall billboard sign she created for Once There Were Billions. (Liz O’Brien) 11 The Feather Trade and the American &RQVHUYDWLRQ0RYHPHQW Joan Boudreau, Curator, Graphic Arts Collection | National Museum of American History 7KHRGRUH5RRVHYHOWZURWHDXWKRU+HUEHUW.-REDIHOORZ+DUYDUGJUDGXDWHLQ DERXW VD\LQJ³,GHVLUHWRH[SUHVV«P\VHQVHRIWKHJRRGZKLFKFRPHV from such books as yours and from the substitution of the camera for the gun. The ROGHU,JURZWKHOHVV,FDUHWRVKRRWDQ\WKLQJH[FHSWµYDUPLQWV¶,GRQRWWKLQNLWDW DOODGYLVDEOHWKDWWKHJXQVKRXOGEHJLYHQXS«EXWWKHUHLVDOWRJHWKHUWRRPXFK VKRRWLQJDQGLIZHFDQRQO\JHWWKHFDPHUDLQSODFHRIWKHJXQDQGKDYHWKHVSRUWV- PDQVXQNVRPHZKDWLQWKHQDWXUDOLVWDQGORYHURIZLOGWKLQJVWKHQH[WJHQHUDWLRQ ZLOOVHHDQLPPHQVHFKDQJHIRUWKHEHWWHULQWKHOLIHRIRXUZRRGVDQGZDWHUV´ ,WLVQRZPRUHWKDQRQHKXQGUHG\HDUVVLQFH5RRVHYHOW¶VWLPHLQRI¿FHDQGKLVVXS- SRUWRIWKHUHYROXWLRQDU\ZD\VRIWKLQNLQJDERXWQDWXUH+LVHIIRUWVDVVLVWHGPRUH than a few pieces of legislation enacted through the years pertaining to the protec- tion of the natural world. “Theodore Roosevelt,” wood engraving, ca 1920 by N.J. Quirk after a photograph by Moffett Studios, Chicago, 2QHUHDFWLRQWRRYHUKXQWLQJZKLFKSUREDEO\LQÀXHQFHG5RRVHYHOW¶VWKLQNLQJZDV Illinois. (Courtesy of the Graphic Arts Collection, National Museum of American History, Smithsonian Institution) WKHPRYHPHQWWRHVWDEOLVKSULYDWHFRQVHUYDWLRQRUJDQL]DWLRQV7KHLQFHSWLRQRI RQHRIWKH¿UVWRIWKHVHRUJDQL]DWLRQVWKH0DVVDFKXVHWWV$XGXERQ6RFLHW\ZDV SURPRWHGLQWKHODWH WKFHQWXU\E\%RVWRQVRFLDOLWHVZKRREMHFWHGWRWKHIDVK- ionable use of bird feathers as adornments on ladies’ hats. These women had be- come aware that the fashion and millinery industries had at that time already caused the wholesale slaughter of thousands of birds for that purpose. The use of bird and animal parts as clothing decoration had dated back centuries and was traditionally associated with wealth. The contemporary fashion statement presumably allowed an entry into or status in a high social circle which interest- ingly and ironically commented on a tradition of admiration for the beauty and intangible qualities of nature. 7KHHDUO\0DVVDFKXVHWWV$XGXERQ6RFLHW\DGYRFDWHVKHOGWHDSDUWLHVWRVXFFHVV- IXOO\SURPRWHWKHLUFRQVHUYDWLRQDQGHGXFDWLRQPLVVLRQDQGWRSHUVXDGHWKHLU peers to use ribbons instead of feathers for their own hat decoration. This work DOVRLQVSLUHGWKHIRXQGDWLRQRIRWKHUSULYDWH$XGXERQVRFLHWLHVDFURVVWKHFRXQWU\ 7KH/DFH\$FWRI DQGVXEVHTXHQWODZVLQFOXGLQJWKH(QGDQJHUHG6SHFLHV $FWRI EHFDPHLPSRUWDQWDQLPDOFRQVHUYDWLRQOHJLVODWLRQODQGPDUNV7RGD\ the hunting, transporting, selling, and possession of any animal species, or their parts or products, considered to be endangered, threatened, or migratory – except for allowed game animals – is illegal, and national parks, refuges, and other public ODQGVKDYHEHHQVHWDVLGHIRUWKHPDLQWHQDQFHDQGSURWHFWLRQRIQDWXUDOHQYLURQ- Fancy Feathers, a millinery supply catalog, 1901 New York Millinery and Supply Company, Inc., New York. PHQWVDQGQDWLYHVSHFLHV (Courtesy of the Smithsonian Libraries)
The Normal School Bird Class, about 1900, Audubon Society of the District Stereoview from about 1870, by J. Gurney & Son, New York (1860-74). of Columbia (now the Audubon Naturalist Society). Photograph by the B. F. (Courtesy of the author) Johnson Publishing Company, Richmond, Virginia. (Courtesy of the author)
12 A Chat with the Libraries’ Exhibitions Guru Liz O’Brien, Public Affairs Specialist | 2I¿FHRI$GYDQFHPHQW 3XEOLF$IIDLUV When asked about her role as the Smithsonian Librar- ies’ program coordinator, Susan Frampton humorously retorts, “Well, this week I’ve chased down old photos of women with dead birds on their hats.” The truth is, there is no ordinary day for Susan; she’s like a cook who has many pots on the burner at once, and it’s a lucky day ZKHQ WKHUH DUH QR VWUD\ ¿UHV WR H[WLQJXLVK 6KH UHJX- larly collaborates with Libraries staff, as well as with col- leagues around the Institution and beyond. Susan thoughtfully pauses when I ask her about why she likes working in exhibitions. “I like the organizational aspect,” she replies. “I like the design and physical con- struction, going behind-the-scenes to look at and select VSHFLPHQVDQGREMHFWVDQGIRUPLQJORQJODVWLQJUHODWLRQ- ships with curators. My work allows me to move within the museums and see more, do more, and take in more than I would otherwise.” Putting together an exhibition is no small feat. The Li- braries maintains rotating exhibitions in the Museum of Natural History and the Museum of American History and Susan Frampton, program coordinator, sports her 1920s feathered loans books and manuscripts for exhibitions in many oth- hat near the Once There Were Billions cases. (Liz O’Brien) er Smithsonian museums, including the Cooper Hewitt, Smithsonian Design Museum, the Air & Space Museum, At the heart of every exhibition are the people we want to the American Art Museum, and the Smithsonian Castle reach: visitors, both in person and online. “Our exhibitions Building, and external venues. Additionally, Susan orga- provoke the visitor, encourage them to explore more, and nizes special exhibition opportunities (such as the recent KDYHMXVWHQRXJKRIWKHXQH[SHFWHGWRGHOLJKW´HPSKD- collaboration with Smithsonian Gardens to bring The Lost sizes Susan. “Our goal is to give museum and virtual visi- %LUG3URMHFWWRWKH1DWLRQDO0DOO DQGRYHUVHHVWUDYHOLQJ tors a chance to step outside their everyday life, to see exhibitions, online exhibitions, and public programming something new, and to be inspired.” for the exhibitions. Susan earned her B.A. and M.L.S. degrees from the Uni- A typical exhibition starts three years in advance. Susan versity of Pittsburgh. In her free time, she enjoys yoga sends out a call for proposals, library and museum staff and spending time with her dog, Annie, a cairn terrier mix. assemble submissions, and a review panel selects the Susan did eventually receive permission from The Metro- proposal based on three criteria: context, how library politan Museum of Art to use an image of a woman with materials will be used, and the potential for fundraising a deceased bird on her hat; come visit Once There Were (Smithsonian exhibitions require 100% external fund- Billions to see it! ing to produce). Once the proposal is selected, Susan sets up meetings with the curatorial team. They discuss DQGGHYHORSWKH³ELJLGHD´WKHWKHPHVDQGWKHREMHFWV specimens, books, and images to be used. All of this ma- terial is then used to create a script, a hefty document containing the written text of the exhibition with thumb- nails of all the materials and images (the toughest part of the process, says Susan). When the script is complete, LWDGYDQFHVWRWKH6PLWKVRQLDQ¶V2I¿FHRI([KLELWV&HQ- tral, who ultimately designs, edits, fabricates, installs, and eventually de-installs the exhibition.
One of the Once There Were Billions cases. (Donald E. Hurlbert)
13 Great auk (Donald E. Hurlbert)
,VRRQIHOWFRPSHOOHGWRWUDYHOWRWKH VLWHVZKHUHWKHODVWRIWKHVH¿YHVVSH- cies were seen in the wild. With me on WKHVHDGYHQWXUHVZDVP\EURWKHULQ law and friend, Andrew Stern. A neu- rologist by profession, Andy’s intel- OHFWXDO DJLOLW\ IRUZDUGPRYLQJ energy, and good humor made him the SHUIHFWSDUWQHU+LVUHÀHFWLRQVRQWKH nature of our task cast a light of under- VWDQGLQJRYHUDOORXUH[SHULHQFHVDQG I am grateful for his enthusiastic and Carolina parakeet (Donald E. Hurlbert) thoughtful companionship. It was in FRQYHUVDWLRQZLWK$QG\WKDWP\FRP- shifting habitat to which it belonged. mitment to place the memorial sculp- The Lost What they came to share was the trage- tures permanently at sites directly re- Bird Project dy of extinction. As time passes, they ODWHGWRWKHELUGV¶GHFOLQH¿UVWFDPH slip further into a darkening past, be- into focus. Together we realized that 7RGG0F*UDLQ$XWKRU6FXOSWRUDQG&UHDWLYH yond the reach of memory. Director of The Lost Bird Project my work would not be complete and It is from direct experience that we that the sculptures would not mean The Smithsonian Libraries and Smith- learn to identify the birds around us. what I intended until they were in- sonian Gardens present The Lost Bird :HEHJLQZLWKFDUHIXOREVHUYDWLRQV stalled at those places haunted by what Project, an exhibition by artist Todd VL]H VKDSH FRORU WHOOWDOH EHKDYLRUV is missing. McGrain, open through March 15, DQGGLVWLQFWLYHFDOOV2XU¿HOGJXLGHV Finding the most suitable location for 2015. This project recognizes the trag- KHOSXVRUJDQL]HWKHVHREVHUYDWLRQV each memorial meant identifying sites edy of modern extinction by immortal- 7KURXJKWKLVFRPELQDWLRQRIREVHUYD- ZLWKSHUWLQHQWKLVWRULFVLJQL¿FDQFH,Q izing North American birds that have tion and systematic categorization, we some cases this meant simply locating been driven to extinction. It features learn to recognize each new bird and the documented sites where the last large-scale bronze sculptures of the hold it in our memory. But how can we wild birds were shot. When the history Carolina parakeet, the Labrador duck, FRPHWRNQRZDELUGZHFDQQHYHUVHH" ZDVQRWVRGH¿QLWLYHDGLIIHUHQWNLQGRI the great auk, the heath hen, and the My relationship with the Lost Birds compass was needed, and we had to passenger pigeon. Four of the sculp- EHJDQE\JLQJHUO\SUHVVLQJD¿VWIXOORI ¿QGSODFHVWKDWVHHPHGWRFDOOIRUWKH tures are located in the Enid A. Haupt clay into the shape of a small preening birds. I looked for sites that resonated Garden, a 4.2-acre public rooftop gar- GXFN0\LQLWLDOHIIRUWVWR¿QGDQDS- with absence. Not that a sculpture can den between the Smithsonian Castle propriate sculptural form for the Lab- HYHU¿OOVXFKDYRLG7KHPHPRULDOVFDQ DQG ,QGHSHQGHQFH$YHQXH 7KH ¿IWK rador duck were hampered by a lack of only point to what is missing – to re- sculpture, the passenger pigeon, is in knowledge of this bird’s true propor- mind us of what we are not seeing – so the Urban Habitat Garden at the Na- tions. I shortly found myself leaning that we may simultaneously feel the ab- tional Museum of Natural History. RYHUWUD\VRISUHVHUYHGVSHFLPHQVLQ sence and presence of these lost birds. The passenger pigeon, the Carolina par- the back rooms of natural history mu- In my efforts to place the sculptures, I akeet, the Labrador duck, the great auk, seums from California to Newfound- ZDVDOVRKRSLQJWR¿QGVLWHVZKHUHD and the heath hen: each of these North land studying each of the extinct birds memorial could point to some of the American birds was distinct, unique in of North America that would become SRVLWLYHZRUNFXUUHQWO\XQGHUZD\WR character and lifecycle. Each had a par- the Lost Bird memorials. SUHYHQWIXUWKHUVSHFLHVORVV7KLVVHF- ticular relationship to the complex and
14 RQGFULWHULRQLWWXUQHGRXWZDVQRWQHDUO\VRKDUGWRVDWLVI\(YHU\ZKHUHZHZHQW ZHPHWVFLHQWLVWVDQGDFWLYLVWVFRPPLWWHGWRSUHYHQWLQJIXUWKHUH[WLQFWLRQ7KRXJK their tasks at times looked daunting, their disciplined efforts were a constant inspi- UDWLRQ+RZRIWHQ,KDYHOHDUQHGWKDWVWRULHVRIORVVDQGVRUURZ¿QGQHZPHDQLQJ DQGSXUSRVHZKHQUHODWHGE\DVWRU\WHOOHUFKDUJHGZLWKKRSHFRQYLFWLRQDQGWKH ZLOOLQJQHVVWRGHGLFDWHKLVRUKHUOLIHWRFUHDWLQJSRVLWLYHODVWLQJFKDQJH 3ODFLQJ¿QLVKHGVFXOSWXUHVDWWKHVLWHVLJQL¿FDQWWRWKHPHPRU\RIDELUGHQGHGWKH ¿UVWSKDVHRI7KH/RVW%LUG3URMHFW7KHQH[WFKDOOHQJHZDVWRFDVWDQHGLWLRQRIWKH VFXOSWXUHVWKDWZRXOGDFWDVWUDYHOLQJPHPRULDOV7KLVVHFRQGFDVWLQJLVWKHHGLWLRQ Heath hen (Donald E. Hurlbert) that is currently on display in the Smithsonian Gardens. This exhibition marks a true milestone for the project. Washington, D.C. is a WUXO\XQLTXHWRXULVWGHVWLQDWLRQ9LVLWRUVÀRFNWR'&WROHDUQDERXWWKLVQDWLRQ¶V heritage with itineraries that include science, history, and art. It is the array of museum experiences offered by the Smithsonian complex that make this cross- GLVFLSOLQDU\LQTXLU\SRVVLEOH7KLVEUHDGWKRILQWHUHVWVDOVRPDNHVWKH'&YLVL- WRUWKHLGHDODXGLHQFHIRU7KH/RVW%LUG3URMHFWDVWKHPHPRULDOVLQYLWHDFRP- plex and layered interpretation. Labrador duck (Donald E. Hurlbert) 2YHUWKHSDVWPRQWK,KDYHPDGHVHYHUDOWULSVWRYLVLWWKH/RVW%LUGPHPRULDOVFXU- UHQWO\LQVWDOOHGDWWKH6PLWKVRQLDQ,DPLQVSLUHGWRVHHWKHPYLHZHGSKRWR- JUDSKHGDQGHQMR\HGE\VRPDQ\YLVLWRUV0\KRSHLVWKDWWKRVHZKRHQFRXQWHU these memorials experience something similar to what occurs when one sees an unfamiliar bird: a heightened awareness of stirred curiosity. The Lost Bird memo- ULDOVDUHDQLQYLWDWLRQWRH[SORUHDSDUWRIRXUQDWXUDOKHULWDJHDQGWRMRLQWKHHIIRUW to help fend off the callousness of forgetting. The Smithsonian Gardens are the LGHDOVLWHIRUWKLVWKRXJKWIXOUHÀHFWLRQ,DPJUDWHIXOWR6XVDQ)UDPSWRQRIWKH
Smithsonian Libraries for initiating and supporting this exhibition and to Barbara Passenger pigeon (Donald E. Hurlbert) )DXVWDQGHYHU\RQHDW6PLWKVRQLDQ*DUGHQVIRUWKHLURSHQQHVVDQGVXSSRUW
The Smithsonian Libraries will screen The Lost Bird Project documentary at the National Museum of Natural History 1RY,WWHOOVWKHVWRU\RIWKH¿YHELUGVSHFLHVDQGIROORZV0F*UDLQ¶VHIIRUWVWRLQVWDOOKLVVFXOSWXUHVLQORFDWLRQVZKHUH WKHELUGVZHUHODVWVHHQ7KH¿OPVKRZLQJLVIUHHDQGRSHQWRWKHSXEOLFDQGZLOOEHIROORZHGE\DEULHIWDONE\WKHDUWLVW and a book signing. For more information, visit library.si.edu/events/upcoming. Read more about The Lost Bird Project at lostbirdproject.org.
The Lost Birds are installed on March 27. (James Gagliardi/Smithsonian Gardens)
Fold the Flock 2014 marks the centennial anniversary of the extinction of the passenger pigeon. To help remember the passenger pigeon, we are folding origami pigeons to symboli- FDOO\UHFUHDWHWKHJUHDWÀRFNVRI\HDUVDJR$QRULJDPLSDWWHUQIRUWKHSDVVHQJHU pigeon is available in printed and downloadable formats. Participants fold origami passenger pigeons and are encouraged to add their birds to an ever-growing virtual ÀRFNFor a free origami passenger pigeon, stop by the Smithsonian Libraries’ Direc- WRU¶V2I¿FHRU4"ULXVRQWKHJURXQGÀRRURIWKH1DWLRQDO0XVHXPRI1DWXUDO+LVWRU\ or download a free version online: IROGWKHÀRFNRUJGRZQORDG. Don’t forget to add your folded pigeon to the online count! Joel Richard, lead web developer, and Mary Augusta Thomas, deputy director, fold origami pigeons at a staff event. (Liz O’Brien) 15 WOMEN OF THE SMITHSONIAN: HISTORICAL CONTRIBUTIONS Jane Wadden Turner, Smithsonian Librarian and Pioneer 3DPHOD+HQVRQ6XSHUYLVRU\+LVWRULDQ| 6PLWKVRQLDQ,QVWLWXWLRQ$UFKLYHV
'LG\RXNQRZWKDWWKH¿UVWZRPDQWRVHFXUHDSDLGSRVLWLRQDWWKH6PLWKVRQLDQ ZDVDOLEUDULDQ"-DQH:DGGHQ7XUQHU ZDVDSSRLQWHGDOLEUDU\FOHUN LQDIWHUEHLQJWUDLQHGE\KHUEURWKHU7KH5REHUW:DGGHQDQG(OL]DEHWK -DPHVRQ7XUQHUIDPLO\LPPLJUDWHGIURP(QJODQGLQZLWKWKUHHFKLOGUHQ Library in the Smithsonian Castle, 1857. (Artist unknown, engraving, Smithsonian Institution Archives, Record Unit 6XVDQWKHQWHQ :LOOLDP:DGGHQWKHQVHYHQ DQG-DQH:DGGHQRQO\WKUHH 95, Box 31A, Folder: 22, negative # SIA2011-2392) PRQWKVROG7KHIDPLO\KDGVRPHUHVRXUFHVEXWWKHLUIDWKHUGLHGLQRI\HOORZ
family spent their Sundays and holidays $IWHUDGHYDVWDWLQJ¿UHLQWKH6PLWKVR- with Spencer and Mary Churchill QLDQ&DVWOHLQ+HQU\WUDQVIHUUHG Baird, part of the warm network of the Smithsonian Library to the Library young scholars that the Baird’s created RI&RQJUHVVLQ-DQH7XUQHUWKHQ LQWKHLUKRPH$WWKH3DWHQW2I¿FH:LO- VHUYHGDVDVVLVWDQWWR$56SRIIRUG liam amassed the most complete tech- Librarian of Congress. She also was QLFDO OLEUDU\ LQ WKH ZRUOG ,Q clerk in charge of the Smithsonian’s Baird asked William to assume respon- ,QWHUQDWLRQDO([FKDQJH6HUYLFHIURP sibility for the Smithsonian library, and WR 7XUQHURYHUVDZWKHGLV- William delegated the task of preparing WULEXWLRQ DQG H[FKDQJH RI VFLHQWL¿F the catalog to his sister Jane. SXEOLFDWLRQVZLWKLQVWLWXWLRQVLQ Library in the U.S. National Museum, c. 1890. twenty-six countries. Turner’s posi- (Photographer unknown, photographic print, Smithson- William Wadden WLRQKRZHYHUGLGQRWHQWDLOVXSHUYLV- ian Institution Archives, Record Unit 95, Box 32, Folder: Turner, c. 1850s. 18, negative # mah-3666) (Photograph by T. W. ing men. When the Institution recruit- Smillie, photographic print, Smithsonian HGDQRWKHUSHUVRQWRKDQGOHWKHHYHU Institution Archives, IHYHU DQG WKHLU PRWKHU GLHG LQ Record Unit 95, Box growing International Exchange Ser- OHDYLQJWKHFKLOGUHQWRIHQGIRUWKHP- 27E, Folder: Turner, YLFHLQRQH6PLWKVRQLDQDGPLQ- William Wadden, VHOYHV 'HVSLWH WKH FKDOOHQJHV WKH negative # LVWUDWRUZURWH ³,KDYHDIXOODSSUHFLD- close-knit family stayed together and SIA2014-01823) tion of the merits, business capacity, PDGHDUHPDUNDEOHOLIHIRUWKHPVHOYHV DQGHI¿FLHQF\RIZRPHQDVLVVKRZQ in their new home. Susan, the oldest at by the fact that our present librarian is DOZD\V VWD\HG DW KRPH DQG NHSW Family connections were one of the DµIHPDOHRIWKDWVH[¶ EXWWKHSODFH, KRXVHIRUKHUWZR\RXQJHUVLEOLQJVJLY- ways women were able to enter profes- refer to may grow to be a controlling ing them the freedom to pursue intellec- VLRQDOSRVLWLRQVLQWKH WKFHQWXU\DQG WXDOFDUHHUVDQGDOLIHGHYRWHGWRERRNV Jane Turner is a great example of that :LOOLDP :DGGHQ 7XUQHU pattern. She was appointed a library became a noted philologist and was FOHUNLQ)HEUXDU\DQGDIWHUKHU trained as a librarian at Columbia Col- EURWKHU¶V HDUO\ GHDWK LQ ZDV lege in New York City. After his par- placed in charge of the library. She was ents’ deaths, he became a printer be- known for the accuracy and clarity of cause this work would allow him to be KHUOLEUDU\UHFRUGVKHUGHYRWLRQWRDV- around books and feed his intellectual sisting researchers, and a quiet sense of FXULRVLW\,Q:LOOLDPPRYHGWR humor. Secretary Joseph Henry wrote A group of young women at Spencer and Mary Churchill Baird’s home at 1445 Massachusetts Avenue in Washington, D.C. to organize the li- RIKHUWKDWVKH³YLQGLFDWHVE\KHUDFFX- Washington, c. 1870s. (Photograph by Alexander UDF\DQGHI¿FLHQF\WKHSURSULHW\RIHP- Gardner, photographic print, Smithsonian Institution EUDU\RIWKH863DWHQW2I¿FHDQGVRRQ Archives, Record Unit 95, Box 26, Folder: 4A, negative # became a close friend of the Smithson- ploying her sex in some of the depart- SA259) ian’s Assistant Secretary Spencer F. PHQWVRIWKHJRYHUQPHQW´ Baird. His sisters soon followed and Citations:,Q0HPRULDP6XVDQ:DGGHQ7XUQHU3URIHVVRU:LOOLDP:DGGHQ7XUQHU/LEUDULDQRIWKH3DWHQW2I¿FH :DVKLQJWRQ'&-DQH:DGGHQ7XUQHU5HFRUGHURI6FLHQWL¿F&ROOHFWLRQVDQG([FKDQJHVDWWKH6PLWKVRQLDQ William married Mary Meade Ran- Institution for thirty years and for twenty years Assistant Librarian to the Library of Congress, by Caroline Healey Dall, GROSK LQ 7KH JURZLQJ 7XUQHU November 1896, privately printed. See DUFKLYHRUJVWUHDPLQPHPRULDPVXVDQZGDOOSDJHQPRGHXS. 16 RQHFRYHULQJVHYHUDOH[WHQVLYHGHSDUWPHQWVZKLFKFRXOGQRWZHOOEHVXERUGLQDWHGWRDZRPDQ´7KHJODVVFHLOLQJZDV clearly put up early in Smithsonian history. $IWHU+HQU\¶VGHDWKLQWKH,QVWLWXWLRQ¶VOLEUDU\EHJDQWRJURZDJDLQDQG0V7XUQHUUHVXPHGWKHGXWLHVRI6PLWKVRQLDQ /LEUDULDQLQXQWLOZKHQVKHUHVLJQHGDIWHUDUHRUJDQL]DWLRQRIWKH/LEUDU\E\WKHQHZ6HFUHWDU\6DPXHO3/DQJOH\ ,WKDVEHHQUHSRUWHGWKDWVKHQHYHUWRRNDVLQJOHVLFNGD\GXULQJKHU\HDUVRIHPSOR\PHQW$IWHU7XUQHU¶VUHWLUHPHQWDZRPDQ ZDVQRWDSSRLQWHG&KLHIRIWKH6PLWKVRQLDQ/LEUDU\XQWLO GXULQJ:RUOG:DU,,ZKHQ/HLOD*D\)RUEHV&ODUNZDV placed in charge.
Women in Research Richard Naples, Data Manager | 'LJLWDO6HUYLFHV As part of my duties in wrangling data for Smithsonian Research Online, I worked on a project to collect and ingest the his- WRULFOHJDF\RISXEOLVKHGVFKRODUVKLSSURGXFHGE\6PLWKVRQLDQUHVHDUFKHUVVLQFHWKH,QVWLWXWLRQ¶VLQFHSWLRQLQ7KH PDLQIRFXVRIP\SDUWLFLSDWLRQLVFOHDQLQJDQGSUHSDULQJWKHGDWDEXW,¿QGLWKDUGWRUHVLVWQRWSD\LQJDWWHQWLRQWRLWVKLVWRULF VLJQL¿FDQFH+HUHDUHWKUHHUHPDUNDEOHZRPHQ,IRXQGZKLOHSUHSDULQJWKHODVWEDWFKRIFLWDWLRQVIURPWKH8QLWHG 6WDWHV1DWLRQDO0XVHXP¶V QRZWKH1DWLRQDO0XVHXPRI1DWXUDO+LVWRU\ $QQXDO5HSRUWV
Mary Agnes Chase, c. 1960. (Photographer unknown, Mary J. Rathbun, c. 1930s. (Photographer unknown, Harriet Richardson-Searle (Courtesy of the Department Smithsonian Institution Archives, #SIA2009-0712) Smithsonian Institution Archives, #SIA2009-0710) of Invertebrate Zoology, National Museum of Natural History.) Mary Agnes Chase Mary J. Rathbun Harriet Richardson-Searle A botanist whose passions expanded Mary J. Rathbun was curator of crusta- Less well-known is Harriet Richard- beyond the natural world, Mary Agnes ceans at the U.S. National Museum, son-Searle, whose contributions to Chase was not only an expert on grass- ZKHUHVKHGHVFULEHGQHZVSH- isopod systematics are still cited today. es but also a passionate suffragette. FLHVJHQHUDDQGVL[KLJKHUFDWHJR- She graduated from Vassar College in 7KHZRPHQ¶VYRWHZDVDSDVVLRQWKDW ULHV6KHZURWHDWOHDVWDUWLFOHVDQG DQGTXLFNO\VWDUWHGUHVHDUFKLQJ landed her in jail on a number of occa- books, many of which are in our digital LVRSRGVEHJLQQLQJDSUROL¿FLIVKRUW VLRQVDQGHYHQOHGKHUWRJRRQDKXQ- UHSRVLWRU\7KHUHLVHYHQDYRO- career until her marriage to Washing- ger strike. An employee of the U.S. ume collection in our Museum Sup- WRQODZ\HU:LOOLDP'6HDUOHLQ Department of Agriculture (USDA), port Center Library that bears her and the birth of a son with health prob- she came to the Smithsonian when the name. The Mary J. Rathbun Memorial lems. She continued an association Collection of Grasses was transferred /LEUDU\ FRYHUV VKULPSV OREVWHUV ZLWKWKH6PLWKVRQLDQLQWRWKH V here. While retired from the USDA in crabs, and ostracods. Born in Buffalo, VKHFRQWLQXHGDVFXVWRGLDQRI 1<LQ5DWKEXQQHYHUDWWHQGHG the U.S. National Museum’s grass her- college, but was granted an honorary EDULXPXQWLOKHUGHDWKLQ PDVWHU¶VGHJUHHE\WKH8QLYHUVLW\RI 3LWWVEXUJKDQGTXDOL¿HGIRUD3K'DW *HRUJH:DVKLQJWRQ8QLYHUVLW\
Smithsonian Research Online (SRO) is an ever-expanding collection of published research from Smithsonian scholars. The Smithsonian Libraries collaborates with research and curatorial staff from the Smithsonian Institution’s 19 museums and nine research centers to ensure the preservation of this legacy and to provide world-wide access to this intellectual output. To learn more about SRO, visit research.si.edu.
17 TRADE LITERATURE
Selling Tactics That Win Business (1933). .RGDNDGIURPWKHHDUO\WKFHQWXU\ .RGDNDGIURPWKHHDUO\WKFHQWXU\ 7UDGH/LW 19 STAFF ON THE MOVE Founding Librarian Appointed at the National Museum of African American History and Culture Shauna Collier has returned to the Libraries as the founding librarian of the National Museum of African American History and Culture Library. Collier’s new responsibilities include building the library’s collection, developing an archival collection and a genealogy program, and pro- viding research, outreach, and instructional services and programming. Shauna has demonstrated outstanding leadership in her 17 years of OLEUDULDQVKLS3ULRUWRWKLVDSSRLQWPHQW6KDXQDZDVWKH6RQMD+D\HV Stone Center Librarian for Black Culture and History at the University of North Carolina, Chapel Hill, where she developed and maintained the collection with particular focus on African American studies and the African diaspora. Her previous positions include branch librarian for the Smithsonian Libraries’ Anacostia Community Museum Library (Wash- ington, D.C.), reference librarian with the Live Oak Public Library (Sa- Shauna Collier stands at the construction site for the National Museum of African American History and Culture. (Liz O’Brien) vannah, Georgia), records librarian for EPA Region IV (Atlanta, Geor- gia), and archivist for The Herndon Home Museum (Atlanta, Georgia). A Mississippi native, Shauna received her bachelor of arts in marketing from Jackson State University in Jackson, Miss. and a master of information and library studies from the University of Alabama. Her research interests include African American culture, family history, community history, and the history of African American education. The National Museum of African American History and Culture was established by an Act of Congress in 2003 making it the 19th museum of the Smithsonian Institution. Scheduled for completion in late 2015, it is under construction on the National 0DOOLQ:DVKLQJWRQ'&RQD¿YHDFUHWUDFWDGMDFHQWWRWKH:DVKLQJWRQ0RQXPHQW7RYLHZD¿OPLQWHUYLHZRI6KDXQD Collier produced by videographer intern Olivia Pearson, visit \RXWXEHFRP6PLWKVRQLDQ/LEUDULHV. Polly Khater Named Assistant Director for Discovery Services 3ROO\.KDWHULVWKH/LEUDULHV¶QHZ$VVLVWDQW'LUHFWRUIRU'LVFRYHU\6HUYLFHV3ROO\KDVVHUYHG as Discovery Services Manager since 2011 and was the Serials Cataloging Coordinator from 2008 to 2011. ,QKHUQHZSRVLWLRQ.KDWHUZLOOGLUHFWDQGFRRUGLQDWHWKHHIIRUWVRIWKH'LVFRYHU\6HUYLFHV Division. She will provide oversight and support for resource acquisitions and work with her staff to provide access to the Libraries’ rich collections and resources. She will also continue leading the efforts to implement and develop the Libraries’ discovery service, OneSearch. .KDWHU KDV GHPRQVWUDWHG H[FHSWLRQDO PDQDJHPHQW LQ GLVWLQFWLYH OLEUDU\ SRVLWLRQV RYHU WKH FRXUVH RI KHU FDUHHU 3ULRU WR WKH 6PLWKVRQLDQ .KDWHU ZDV WKH 'LUHFWRU RI7HFKQLFDO6HU- vices at George Mason University (Fairfax, Va.), where she won an Outstanding Achievement Award in 2003. Previously, she was the head of cataloging and bindery in the Himmelfarb Library at George Washington University Medical Center (Washington, D.C.), Distance Learn- 3ROO\.KDWHU(Samantha Schubert) LQJ/LEUDULDQIRU%RR]$OOHQ+DPLOWRQ 7\VRQV&RUQHU9D DQGDGMXQFWIDFXOW\DWWKH6FKRRO of Library and Information Science at The Catholic University of America (Washington, D.C.). $3HQQV\OYDQLDQDWLYH.KDWHUUHFHLYHGKHUEDFKHORURIDUWVLQ(QJOLVKIURP/D6DOOH8QLYHU- sity (Philadelphia) and a master of library science from the University of Pittsburgh. She is a member of the American Library Association, the Association of College and Research Librar- ies, the Association for Library Collections and Technical Services and Beta Phi Mu, and has served on the ENDUSER Program Planning Committee, the North American Serials Interest Group and the Virginia Library Association. 20 A Fond Farewell! With warm wishes, we said goodbye to four retiring staff members in the spring of this year: Dave Bartlett, Supervisory Alice Clarke, Library Ron Johnson, Supply Ann Juneau, Department Head, Management Support Specialist, Technician, Smithsonian Technician, Administrative Librarian, National Museum of Administrative Services (Liz O’Brien) American Art Museum & Services (Liz O’Brien) Natural History Library National Portrait Gallery (Liz O’Brien) Library (Liz O’Brien) Libraries Shares Research The Smithsonian Staff Picnic (which occurs on the National Mall every year during the Folklife Festival) gives staff the opportunity to show off their ongo- ing research at the Smithsonian. This year, staff from the Libraries set up three tables displaying some of the great work we do. Richard Naples, data manager, and Erin Rushing, digital image librarian, or- ganized a table which explored the world of bibliometrics and altmetrics. The Libraries records the research output of the Smithsonian Institution, or in other words, we keep track of all the articles, books, chapters, and other scholarly work WKRVHDI¿OLDWHGZLWKWKH6PLWKVRQLDQSXEOLVK,QFDSWXULQJWKDWGDWDZHKDYHDF- cess to metadata that allows us to look at the impact that research is having. As Richard Naples and Erin Rushing speak to visitors at the more things are published online, we can gather a lot more information on how bibliometrics/altmetrics table. (Liz O’Brien) scholarship is being shared and consumed. This new arena is loosely termed “altmetrics.” Our Research Online now includes altmetrics in the results, allowing anyone to see some of these data indicators. 5LFKDUGDQG(ULQVSRNHZLWKRYHUSHRSOHWKHPDMRULW\RIZKRPZHUHQHZ IDFHV)URPWKH2I¿FHRI0DQDJHPHQW %XGJHWWRWKH2I¿FHRIWKH,QVSHFWRU General, they helped staff sign up for library cards, offered a sheet exploring all the different services and opportunities at the Libraries, and even helped one volunteer track down a book written by Teddy Roosevelt’s brother. Librarians Janet Stanley (Warren M. Robbins Library, National Museum of Af- rican Art) and Anna Brooke (Hirshhorn Museum & Sculpture Garden Library) displayed a selection of artists’ books from their libraries’ collections spanning two tables. Several curious viewers stopped by, including a grandmother with her grandson, who paged through Nadine Gordmer’s The Ultimate Safari, and a Smithsonian book artist from the Archives of American Art who was intrigued by a pop-up grid book by Stephen Hobbs. Passing of the Torch Four generations of librarians for the National Zoo gathered in the National Museum of Natural History Main Library in April. /5 .D\.HQ\RQ%DUER]D $OYLQ Hutchinson (1997-2005), Polly Lasker (2005- Anna Brooke, Alexandra Reigle, and Janet Stanley engage DQG.ULVWHQ%XOODUG 3UHVHQW (Kay visitors at the art libraries tables. (Liz O’Brien) Kenyon Barboza) 21 EVENTS Best of Both Worlds Lecture Smithsonian Secretary G. Wayne Clough kicked off the Libraries’ new lecture series, The Open Access Future, for a discussion on his book, Best of Both Worlds: Museums, Libraries, and Archives in a Digital Age+LVERRNGUDZVIURPKLVSHUVSHFWLYHDVD PXVHXPOHDGHUHGXFDWRUDQGHQWKXVLDVWWRSURYLGHLQYDOXDEOHLQVLJKWLQWRKRZGLJLWDO technologies will radically alter our existing institutions, make access to their embed- GHGNQRZOHGJHZLGHO\DYDLODEOHDQGHQDEOHOHDUQLQJDQGUHVHDUFKDQ\WLPHDQ\ZKHUH To see the archived lecture, visit library.si.edu/webcasts. Download the Secretary’s Best of Both Worlds Lecture (Liz O’Brien) free ebook here: si.edu/bestofbothworlds. $GRSWD%RRN(YHQW 2XUWKLUGDQQXDO$GRSWD%RRN(YHQWZDVDVXFFHVV2YHUJXHVWVHQMR\HGDOLYHO\ HYHQLQJZKLFKIHDWXUHGRXU*HUPDQUDUHERRNVPDWFKHGZLWK*HUPDQIRRGZLQH DQGEHHUDQGHQWHUWDLQPHQW*XHVWVKDGWKHRSSRUWXQLW\WREURZVHDWURYHRIUHPDUN- DEOHDQGKLVWRULFYROXPHVDQGOHDUQHGPRUHDERXWWKH/LEUDULHV¶VSHFLDOFROOHFWLRQV DQGZK\WKH\PXVWEHSUHVHUYHG/RFDO0F/HDQ+LJK6FKRROSK\VLFVWHDFKHU'HDQ +RZDUWKDQGKLV³/LYLQJ+LVWRU\´FODVVVWXGHQWVSRUWUD\LQJth century scientists, in FRVWXPHDQGFRPSOHWHZLWK³FDELQHWVRIFXULRVLW\´HQWHUWDLQHGJXHVWVDWWKHHYHQW$OO DGRSWLRQVEHQH¿WHGWKH/LEUDULHV¶UDUHERRNVDQGSUHVHUYDWLRQSURJUDPV 2YHUERRNVKDYHEHHQDGRSWHGVLQFHWKHLQFHSWLRQRIRXU$GRSWD%RRN3URJUDP LQ$OOERRNDGRSWHUVLQRXUSURJUDPUHFHLYHDQRQOLQHERRNSODWHDVZHOODVD SK\VLFDOERRNSODWHDQGFDQFRPHYLVLWWKHLU³DGRSWLRQ´DWLWVGHVLJQDWHGOLEUDU\$OVR ZHKRVWVSHFLDOWRXUVIRUERRNDGRSWHUVDWWKH6PLWKVRQLDQ/LEUDULHV%RRN&RQVHUYD- tion Laboratory. For questions about our Adopt-a-Book Program, call us at 202.633.2241. To read more, visit donate.sil.si.edu/v/Adopt-a-book.asp. Adopt -a-Book Event (Liz O’Brien) Copernicus and the Astrologers 7KH/LEUDULHVKHOGWKHWK$QQXDO'LEQHU/LEUDU\/HFWXUHCopernicus and the Astrolo- gers, in the Smithsonian American Art Museum. This year's guest lecturer was Robert S. :HVWPDQDSURIHVVRUDWWKH8QLYHUVLW\RI&DOLIRUQLD6DQ'LHJR:HVWPDQVSHFLDOL]HVLQ WKHFXOWXUDOKLVWRU\RIHDUO\PRGHUQVFLHQFH$JUDGXDWHRIWKH8QLYHUVLW\RI0LFKLJDQ ZLWKD3K'LQWKH+LVWRU\RI6FLHQFHKHWDXJKWDWWKH8QLYHUVLW\RI&DOLIRUQLD /RV$QJHOHVEHIRUHPRYLQJWRWKH8QLYHUVLW\RI&DOLIRUQLD6DQ'LHJRLQ +HKDV published numerous books and articles including his most recent book, The Copernican Copernicus and the Astrologers Lecture Question: Prognostication, Skepticism and Celestial Order (Liz O’Brien) ,VD5DWLRQDO'LVFXVVLRQRI2SHQ$FFHVV3RVVLEOH" We welcomed Rick Anderson for a talk, Is a Rational Discussion of Open Access Pos- sible?, in the Smithsonian’s S. Dillon Ripley Center. He was the second speaker in The Open Access Future series sponsored by the Smithsonian Libraries, Smithsonian Insti- WXWLRQ$UFKLYHVDQGWKH6PLWKVRQLDQ V2I¿FHRIWKH&KLHI,QIRUPDWLRQ2I¿FHU$QGHU- VRQLV$VVRFLDWH'HDQIRU6FKRODUO\5HVRXUFHV &ROOHFWLRQVLQWKH-:LOODUG0DUULRWW /LEUDU\DWWKH8QLYHUVLW\RI8WDK Rational Discussion of Open Access (Liz O’Brien) Echoes of Their Wings Lecture -RHO*UHHQEHUJJDYHDWDONEchoes of Their Wings: The Passenger Pigeon and its Lega- cy, which accompanied the exhibition opening for Once There Were Billions: Vanished Birds of North America. Joel spoke about the passenger pigeons’ propensity to nest, URRVWDQGÀ\WRJHWKHULQYDVWQXPEHUVZKLFKPDGHWKHPYXOQHUDEOHWRDQXQUHPLWWLQJ PDUNHWDQGUHFUHDWLRQDOKXQWLQJ2YHUJXHVWVMRLQHGXVIRUKLVOHFWXUHDQGERRNVLJQ- ing. Greenberg is author of A Feathered River Across the Sky: The Passenger Pigeon's Flight to Extinction. To read more about Joel, visit joelrgreenberg.com. Echoes of Their Wings Lecture (Liz O’Brien) 22 ARLIS Open House 2XUDUWOLEUDULHVLQ:DVKLQJWRQ 6PLWKVRQLDQ$PHULFDQ$UW0XVHXP 1DWLRQDO3RUWUDLW *DOOHU\/LEUDU\)UHHU*DOOHU\RI$UW $UWKXU06DFNOHU*DOOHU\/LEUDU\+LUVKKRUQ0X- VHXP 6FXOSWXUH*DUGHQ/LEUDU\DQGWKH:DUUHQ05REELQV/LEUDU\1DWLRQDO0XVHXP of African Art) hosted open houses for the Art Libraries Society of North American (ARL- IS/NA) Conference in April. Librarians displayed artists’ books and collection highlights at each location, offering attendees an up-close look at their rich, colorful collections. ARLIS Open House (Liz O’Brien) Krichbaum Fund Reception The Libraries hosted a reception and program celebrating the inception and initial use of The Rollyn Osterweis Krichbaum Memorial Endowed Fund for the Public Understanding of African Art and Culture. The Krichbaum Endowment, established E\ORQJWLPH6PLWKVRQLDQHPSOR\HHDQGVXSSRUWHU5XWK6HOLJLQPHPRU\RIKHUWZLQVLVWHU5ROO\QZLOO¿UVWJRWRZDUGIXQGLQJ programming in connection with the upcoming exhibition, Artists’ Books and Africa: Unique VisionsRSHQLQJLQ 5XWKDQG5ROO\Q¶VFORVHIDPLO\DQGIULHQGVZHUHLQYLWHGWRDQH[KLELWLRQSUHYLHZOHDGE\/LEUDULDQ-DQHW6WDQOH\IROORZHGE\ DVHULHVRIUHPDUNVJLYHQE\/LEUDULHV¶'LUHFWRU1DQF\(*ZLQQ6XVDQ5RVVHQ 5ROO\Q¶VIULHQGDQGIRUPHUFROOHDJXH -DQHW 6WDQOH\DQG-RKQQHWWD%HWVFK&ROH'LUHFWRURIWKH1DWLRQDO0XVHXPRI$IULFDQ$UWUHFRJQL]LQJ5ROO\Q¶VVLJQL¿FDQWFRQWUL- EXWLRQVWRWKH$IULFDQDUWFRPPXQLW\GXULQJKHUOLIHWLPHDQG5XWK¶VRQJRLQJGHGLFDWLRQWRWKH¿HOG&ORVLQJDFNQRZOHGJPHQWV ZHUHJLYHQE\6WHYHQ.ULFKEDXP 5ROO\Q¶VVRQ DQG5XWK$ERRNGLVSOD\ZDVDOVRRQYLHZLOOXVWUDWLQJRYHUZRUNVWKDW ZHUHSUHYLRXVO\SXUFKDVHGWKURXJK5XWK¶VJHQHURVLW\DQGFRPPLWPHQWWRWKH6PLWKVRQLDQ¶V:DUUHQ05REELQV/LEUDU\RI $IULFDQDUW7RUHDGPRUHDERXW7KH5ROO\Q2VWHUZHLV.ULFKEDXP0HPRULDO(QGRZHG)XQGSOHDVHVHHWKHDUWLFOHRQSDJH 3LFWXUHG 6WHYHQ.ULFKEDXPDQGKLVZLIH$ULHOOH*ROGPDQ 6WHYHQ VVLVWHU6DUDK.ULFKEDXP9DLQHKHUKXVEDQG0DUN9DLQHDQGGDXJKWHUV$QQDDQG6RSKLH 6WHYHQ VEURWKHU0DWWKHZ .ULFKEDXPDQGKLVZLIH6RQDP 5XWK6HOLJDQG'U-RKQQHWWD%HWVFK&ROH'LUHFWRURIWKH1DWLRQDO0XVHXPRI$IULFDQ$UW (Liz O’Brien) To view and RSVP for our future events, visit library.si.edu/events/upcoming 23 FROM OUR LIBRARIES National Postal Museum Library: 3KLODWHOLF/LWHUDWXUH5HYLHZ Michael O’Connor, Project Cataloger | National Postal Museum Library 'LUHFWO\DFURVVWKHVWUHHWIURP'&¶V8QLRQ6WDWLRQLVWKHVSHFWDFXODU QHRFODVVLFDOVWUXFWXUHWKDWKRXV- HVWKH6PLWKVRQLDQ¶V1DWLRQDO3RVWDO0XVHXP 130 6LQFH-XO\RI,KDYHZRUNHGDVDSURMHFWFDWD- loger on the NPM Library’s Small Journals Project, an effort to catalog thousands of rare periodicals from WKHVWRWKHSUHVHQW 6RIDUDERXWWLWOHVKDYHEHHQFDWDORJHG$VRIWKHODVWDQDO\VLVLQ)HEUXDU\ RYHURIWKHSXEOLFDWLRQVKDGRULJLQDOUHFRUGVPHDQLQJWKDWWKH130/LEUDU\LV the only place where these publications are known to exist. Time is a factor in managing these historic items. Often, newspapers and magazines IURPWKH WKDQGHDUO\WKFHQWXU\DUHYHU\IUDJLOHDQG,DPWDNLQJEDVLFSUHVHUYD- WLRQPHDVXUHVLQDGGLWLRQWRFDWDORJLQJYLWDOSXEOLFDWLRQGHWDLO%HFDXVHVWDPSFROOHF- tors often belong to other circles of collectors and hobbyists, many journals in the 6PDOO-RXUQDOV3URMHFWFRYHUDGLYHUVHDUUD\RIVXEMHFWV)RULQVWDQFHWKLVVVFL- ence collector’s magazine featured striking illustrations of plant and animal species (below, right). 1DWLRQDOHPRWLRQVZHUHRIWHQUHÀHFWHGLQVWDPSMRXUQDOVGXULQJWLPHVRIZDUDQG QDWLRQDOHPHUJHQF\,WPD\VHHPDVWUHWFKWRVRPHPRGHUQUHDGHUVKRZHYHUWKLV :RUOG:DU,HUDDUWLFOHLVHDUQHVWLQWDSSLQJWKH³ER\SRZHU´DQG³JLUOSRZHU´ULVLQJ WRPHHWWKHHQHP\RQ(XURSHDQEDWWOH¿HOGVWRVWUHQJWKHQWKHUDQNVRIORFDOVWDPS FOXEV EHORZOHIW 1HDUO\HYHU\FLW\DQGFRXQWU\VHHPVWRKDYHKDGDWOHDVWRQH GHGLFDWHGVWDPSFOXEDQGSXEOLFDWLRQ,KDYHVHHQJUHDWJHRJUDSKLFGLYHUVLW\UHSUH- VHQWHGLQSKLODWHOLFJURXSVIURPWKH0RXQG&LW\6WDPS&OXE DFWLYHLQ6W/RXLVLQ WKH V WRWKH0DXULWLXV6H\FKHOOHV6WXG\*URXS DFWLYHLQWKH VDQGGHGL- cated to studying the stamps of those tiny Indian Ocean island nations). Restored lobby of the National Postal Museum. (Michael O’Connor) There are still many drawers of periodicals at the National Postal Museum Library, and I am looking forward to cataloging these treasures. If you are in D.C., make an ap- pointment to stop by the National Postal Museum Library, check out the museum’s recently opened William H. Gross Stamp Gal- OHU\DQGHQMR\WKHLPSUHVVLYHIDFLOLWLHVRIWKLVVXSHUESKLODWHOLFPXVHXP The National Postal Museum is devoted to presenting the colorful and engaging history of the nation’s mail service and show- casing one of the largest and most comprehensive collections of stamps and philatelic material in the world. The National Philatelic Collection was the basis of the Library when it was established in 1993. Now, with more than 40,000 books, journals, catalogs and archival documents, the National Postal Museum Library is among the world’s largest postal history and phila- telic research facilities. The museum and library are located at 2 Massachusetts Avenue N.E., Washington, D.C. Concord Stamp Club Bulletin of December 1917, invoking WWI patriotism. (Michael O’Connor) Collector’s Science Monthly contained impressive illustrations of nature. (Michael O’Connor) 24 %LRGLYHUVLW\+HULWDJH Library &DURO\Q6KHI¿HOG3URJUDP0DQDJHU|%LRGLYHUVLW\+HULWDJH/LEUDU\ BHL Adds Two New Members 7KH%LRGLYHUVLW\+HULWDJH/LEUDU\ZHOFRPHVWKH8QLYHUVLW\RI,OOLQRLV 8UEDQD&KDPSDLJQ,OO DQG:DVK- LQJWRQ8QLYHUVLW\ 6W/RXLV DVQHZSDUWQHUV7KHWZRLQVWLWXWLRQVZLOOKHOSLGHQWLI\DQGGLJLWL]HKLVWRULFDO science literature from their collections to add to BHL’s online holdings, where all materials may be ac- cessed for free by the public. 7KH8QLYHUVLW\RI,OOLQRLVDW8UEDQD&KDPSDLJQ/LEUDU\LVDFDPSXVZLGHQHWZRUNRIOLEUDULHVVHUYLQJSUR- JUDPVRIOHDUQLQJDQGUHVHDUFKLQPDQ\GLVFLSOLQHVDQGLVWKHODUJHVWSXEOLFXQLYHUVLW\UHVHDUFKOLEUDU\LQWKH FRXQWU\ZLWKPRUHWKDQPLOOLRQYROXPHV7KH%LRORJ\/LEUDU\FROOHFWLRQDORQHFRQWDLQVPRUHWKDQ YROXPHVDQGWKHUHDUHPDQ\PRUHLQUHODWHGGHSDUWPHQWDOOLEUDULHVRQFDPSXVVXFKDVWKHDJULFXOWXUHQDWXUDO KLVWRU\DQGUDUHERRNDQGPDQXVFULSWFROOHFWLRQV)RUPRUHLQIRUPDWLRQDERXWWKH8QLYHUVLW\/LEUDU\YLVLWli- brary.illinois.edu. )RXQGHGLQ:DVKLQJWRQ8QLYHUVLW\LQ6W/RXLVLVDPHGLXPVL]HGLQGHSHQGHQWUHVHDUFKLQVWLWXWLRQ ZLGHO\UHFRJQL]HGIRULWVWHDFKLQJUHVHDUFKSDWLHQWFDUHDQGVHUYLFHWRVRFLHW\:DVKLQJWRQ8QLYHUVLW\ RSHUDWHVVHYHQDFDGHPLFGLYLVLRQV DUWDQGDUFKLWHFWXUHDUWVDQGVFLHQFHVEXVLQHVVHQJLQHHULQJODZPHG- LFLQHDQGVRFLDOZRUNDQGSXEOLFKHDOWK VHUYHGE\OLEUDULHVZKRVHSULQWKROGLQJVQXPEHUQHDUO\ PLOOLRQLQDGGLWLRQWRPLOOLRQVPRUHERRNVDQGMRXUQDOVDYDLODEOHHOHFWURQLFDOO\)RUPRUHLQIRUPDWLRQ DERXW:DVKLQJWRQ8QLYHUVLW\/LEUDULHVYLVLWlibrary.wustl.edu. BHL and EOL Promote Digital Volunteerism Nine Smithsonian Field Books Now in BHL 2Q0D\WKH%LRGLYHUVLW\+HULWDJH/LEUDU\ %+/ DQG BHL is pleased to announce that nine of the Smithsonian WKH(QF\FORSHGLDRI/LIH (2/ FRKRVWHGDQHYHQLQJSUR- field books that were processed as part of the Field JUDPRQGLJLWDOYROXQWHHULVP7KH6PLWKVRQLDQ$VVRFLDWHV %RRN3URMHFWDUHQRZDYDLODEOHWKURXJKWKH%+/SRUWDO 76$ RUJDQL]HGWKHHYHQWZKLFKDWWUDFWHGDQDXGLHQFHRI (biodiversitylibrary.org SHRSOH&DURO\Q6KHI¿HOG.DWMD6FKXO]DQG-HQ+DP- 6FLHQWLVWV¶¿HOGQRWHVDUHLQ mock presented on BHL, EOL, and examples of how people many ways, the precursors could contribute to growing our knowledge of the planet’s to the published literature. ELRGLYHUVLW\3UHVHQWDWLRQVZHUHIROORZHGE\DKDQGVRQ Journals (the unpublished session where attendees could try machine tagging, crop- kind), diaries, collecting ping and rating images, and exploring the iNaturalist plat- lists, photo albums, and oth- IRUP6HYHUDOJXHVWVVDLGWKH\ZHUHGHOLJKWHGWROHDUQDERXW er primary source documen- (2/DQG%+/DQGE\WKHHQGRIWKHGD\ PRUHLPDJHV WDWLRQ RI FROOHFWLQJ HYHQWV Entry from June 6, 1928 of David Crockett in BHL’s Flickr Photostream boasted machine tags. We look Graham’s Diary no. III, May 27, 1928 - Oc- can enhance not only the tober 12, 1928. forward to the continued contributions of these amazing VFLHQWL¿F XQGHUVWDQGLQJ RI 6PLWKVRQLDQ$VVRFLDWHVVHVVLRQDWWHQGHHV ZKDWKDVDOUHDG\EHHQSXEOLVKHGEXWFDQDOVRSURYLGHLQ- VLJKWVLQWRWKHKLVWRULFDOVRPHWLPHVHYHQSHUVRQDOFRQWH[W behind the research. 7KH)LHOG%RRN3URMHFWKDVFDWDORJHGRYHU6PLWKVRQ- LDQ¿HOGERRNVDQGLPDJHGRYHURIWKRVHZKLFKDUH DYDLODEOHWKURXJKWKH6PLWKVRQLDQ&ROOHFWLRQ6HDUFK&HQWHU along with additional contextual information in the form of FROOHFWLRQUHFRUGVDQGDXWKRULW\¿OHV7KH¿UVWQLQH¿HOG ERRNVFKRVHQLQFOXGHLWHPUHFRUGVDQGSDJHVFDQVIRUVHYHQ GLDULHVFUHDWHGE\'DYLG&URFNHWW*UDKDPDQGWZRSKRWR DOEXPVIURPWKH+DUULPDQ$ODVND([SHGLWLRQ IURP WKH FROOHFWLRQV RI WKH 6PLWKVRQLDQ ,QVWLWXWLRQ$UFKLYHV Each item not only tells its own fascinating story of explora- WLRQEXWDOVRSURYLGHVLQIRUPDWLRQDQGLQVLJKWVWKDWFRPSOH- ment materials already in BHL. Jen Hammock presents at the Smithsonian Associates program. &DURO\Q6KHI¿HOG 25 GIFTS The Rollyn Osterweis Krichbaum Memorial Program Fund for the Public Understanding of African Art and Culture Ruth Osterweis Selig, Research Collaborator | National Museum of Natural History Endowments allow the Libraries to invest in print collections to preserve our col- lective past. So much of what the Libraries offers cannot be found elsewhere and named endowments ensure a steady and growing stream of income to acquire and preserve treasures. ,Q,HVWDEOLVKHGWKH5ROO\Q2VWHUZHLV.ULFKEDXP0HPRULDO3URJUDP)XQG for the Public Understanding of African Art and Culture in memory of my identi- FDOWZLQVLVWHU5ROO\Q7KHHQGRZPHQWVHUYHVWKH:DUUHQ05REELQV/LEUDU\DW the National Museum of African Art, supporting scholars-in-residence, public programming, lectures, and exhibitions, as well as book acquisitions. The endowment honors the life and career of Rollyn, who was a museum profes- sional dedicated to education, publications, and museums, working as an editor in the publications department at the Detroit Institute of Arts. Before her untimely 5ROO\Q.ULFKEDXPZLWKKHUVRQ6WHYHQ(Courtesy of Ruth O. Selig) GHDWKLQ 5ROO\QKHOSHGRUJDQL]HDQGHGLWWKHFDWDORJTreasures of Ancient Nigeria (text by Ekpo Eyo and Frank Willett), which accompanied an exhibition Notable Gifts of international importance organized by the Detroit Institute of Arts. It was the ¿UVWFRPSUHKHQVLYHGLVSOD\RI1LJHULDQDUWLQWKH8QLWHG6WDWHVDQGWKH¿UVWWLPH The Washington Art Libraries Re- WKH1LJHULDQJRYHUQPHQWSHUPLWWHGDPDMRUORDQRILWVDUWWUHDVXUHVVSDQQLQJRYHU sources Committee made a gift to \HDUV)HDWXULQJRYHUREMHFWVWKHH[KLELWLRQWUDYHOHGWRWHQPDMRU1RUWK catalog the Hirshhorn Museum & $PHULFDQFLWLHVJDUQHULQJHQWKXVLDVWLFUHYLHZV7KHFDWDORJVROGWHQVRIWKRX- Sculpture Garden Library’s Latino and VDQGVRIFRSLHVDQGKDVEHHQWUDQVODWHGLQWRVHYHUDOODQJXDJHV Latin American exhibition catalogs. 5ROO\QFRQVLGHUHGKHULQYROYHPHQWZLWKTreasures of An- cient Nigeria and especially her collaboration with the es- The Libraries received a planned gift teemed Nigerian art historian Ekpo Eyo (Director of the Ni- from Richard T. Russell to create an gerian National Commission for Museums and Monuments) endowment in honor of his daughter, as the most important work of her entire career. Treasures OLEUDULDQ.DUHQ5XVVHOOWRVXSSRUWWKH ZDVRQDFRQWLQXXPZLWK5ROO\Q¶VFRPPLWPHQWWRFLYLO National Air & Space Museum Library. ULJKWVDIWHUVKHFRIRXQGHGDFLYLOULJKWVJURXSDW:HOOHVOH\ &ROOHJH,QWKHHDUO\ VVKHPDUULHG'DQ.ULFKEDXPD David Gonzales made a generous gift Methodist minister at a large church located in the heart of to support the Libraries Futures Fund. Cover of Treasures of 'HWURLW6KHDQG'DQVKDUHGDFRPPLWPHQWWRLPSURYLQJ Ancient Nigeria. FRPPXQLW\UHODWLRQVLQXUEDQVHWWLQJV'XULQJWKH V The Joseph & Joan Cullman Con- DQG VWKHZRUOGZLWQHVVHGVWUXJJOHVLQERWK$PHULFDDQG$IULFDIRUJUHDWHU servation Foundation made a gift IUHHGRPDQGLQGHSHQGHQFHDQG5ROO\QYLHZHGWKHH[KLELWLRQ¶VLPSRUWDQFHZLWKLQ to the Joseph F. Cullman 3rd Library that dual context. endowment. ,QUHFRJQLWLRQRI5ROO\Q¶VFRPPLWPHQWVYDOXHVDQGHGLWRULDOZRUN,HVWDEOLVKHG DQHQGRZHGSURJUDPIXQGWKURXJKZKLFKP\WZLQ¶VFRQWULEXWLRQWRWKH¿HOGRI The Libraries received a gift from ich- $IULFDQDUWZLOOOLYHRQE\VXSSRUWLQJDFTXLVLWLRQVDQGVSHFLDOSURJUDPPLQJDWWKH thyologist Bruce B. Colette to support Warren M. Robbins Library. his endowment. Ruth Osterweis Selig is a long-time Smithsonian employee and currently a re- search collaborator in the National Museum of Natural History’s Department of James A. Painter made a bequest to Anthropology. Similar to her sister, Ruth has dedicated her professional life to support the Dibner Library of the His- education, publications, and museums. Ruth has made gifts for over 20 years to tory of Science and Technology and help librarian Janet Stanley purchase volumes for the library; it now contains the Libraries Futures Fund. over 300 African art books with memorial bookplates honoring Rollyn, in addi- tion to the new Program Fund. 26 27 Smithsonian Libraries 32%R[05& WK6WUHHW &RQVWLWXWLRQ$YHQXH1: :DVKLQJWRQ'& 2I¿FLDO%XVLQHVV 3HQDOW\IRU3ULYDWH8VH CONNECTSMITHSONIAN LIBRARIES Want to connect with us online? facebook.com/SmithsonianLibraries twitter.com/SILibraries instagram.com/silibraries ÀLFNUFRPVPLWKVRQLDQOLEUDULHV smithsonianlibraries.tumblr.com youtube.com/SmithsonianLibraries blog.library.si.edu Coming soon, a brand new look ....