DOCSLIB.ORG

Bulletinn U M B E R 8 6 2 0 0 7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bulletinn U M B E R 8 6 2 0 0 7 California State Library Foundation BulletinN u m b e r 8 6 2 0 0 7 California State Library Foundation N u m b e r 8 6 2 0 0 7 EDITOR Bulletin Gary F. Kurutz EDITORIAL ASSISTANT Table of Con T e n T s Kathleen Correia COPY EDITORS 2-11 . Meeting Mr . Hearst’s Deadlines: M. Patricia Morris The newspaper and Magazine BOARD OF DIRecTORS Illustrations of Maynard Dixon Kenneth B. Noack, Jr. President By Donald J. Hagerty George Basye Vice-President 12-17 . Rare Photographic book Donated Thomas E. Vinson by the foundation By Gary F. Kurutz Treasurer Barbara Campbell 18-20 . one book in a Million: Harriet eddy’s County library Secretary organizing in California, 1909–1918 By Lawrence Clark Powell Robert Dickover Virginia Livingston Allan Forbes Thomas Miller 21-22 . foundation notes Donald J. Hagerty Sue T. Noack Herbert Hunn Marilyn Snider California Library Association Annual Meeting Mead B. Kibbey Sandra Swafford A Taste of History 23-24 . Recent Contributors Gary F. Kurutz Julia Schaw Executive Director Administrative Assistant Susan Hildreth Front Cover: One of the many stunning magazine covers designed State Librarian of California by Maynard Dixon for Sunset. 1904. The California State Library Foundation Bulletin is Inside Front Cover: Navajo Indian from Life. Sunset magazine published when we are able. © 2004-2006. cover, 1903. Illustration by Maynard Dixon. Opinions of the authors are their own and do not Inside Back Cover: “Gold on the Hoof” is one of several striking necessarily reflect the opinions of their institutions, the California State Library or the Foundation. covers Dixon created for the Five Star Weekly in 1936. The Bulletin is included as a membership benefit Back Cover: “Guard of the Cornfield,” 1921. Illustration by to Foundation members and those individuals Maynard Dixon for the Standard Oil Bulletin. contributing $40.00 or more annually to Foundation Programs. Membership rates are: Illustrations/Photos: All images are from the collections of the Associate: $40-$99 California State Library. Sarah Dalton, Communications Director Contributor: $100-249 of the State Library provided the excellent photos on pages 21-22. Sponsor: $250-$499 Patron: $500-$999 Design: Angela Tannehill, Tannehill Design Institutional: $500 Corporate: $750 California State Library Foundation Lifetime Member: $1,000 1225 8th Street, Suite 345, Sacramento, CA 95814 Pioneer: $5,000 tel: 916.447.6331 Subscription to Libraries: $30/year web: www.cslfdn.org email: [email protected] Bulletin Number 86 Meeting Mr . Hearst’s Deadlines: The newspaper and Magazine Illustrations of Maynard Dixon by Donald J. Hagerty Three illusrations made by Dixon to promote CocaCola. (Right) The corruption that beset San Francisco is captured by Dixon for this magazine cover entitled “Frisco Pals.” Abe Ruef is pictured in the middle. Note Dixon’s hand-written annotations. n November 16, 1939, artist Maynard Dixon sent a Street studio in San Francisco for their move to a new home letter to Mabel Gillis, State Librarian of California in in Tucson, Arizona. Gillis did not “fumble,” for a note on the Sacramento. It reads in part, “Pawing around amongst corner of the letter reads “Rec’d portfolios Nov. 27, 1939.”2 The the junk of ages I came across 3 portfolios of reproductions of portfolios, now organized into seven volumes and augmented my illustrations for newspapers and magazines (covering the with some additional material, are housed in special collections years 1898 to 1922). These will be some day as much a record of at the California State Library in Sacramento. their times as (Charles) Nahl’s drawings now are of the 1850s. Maynard Dixon cherished a lengthy relationship with the Question: would you consider it valuable enough to accept California State Library, strengthened after spending several it…and give it a home in your California department? A quick months in Sacramento during 1928 painting his monumen- answer may prevent a fumble.”1 In late 1939, Dixon and his tal mural, The Pageant of California, located on the third floor wife, Edith Hamlin, were clearing out his 728 Montgomery reading room in the Library and Courts Building I, across 2 California State Library Foundation newspapers; the Call, Examiner, Chronicle, and the Bulletin. The earliest illustrations in the port- folios appear in a November, 1895 issue of the San Francisco Examiner (when Dixon was only twenty years old), used to support a story about his recent solo horseback ride and experi- ences with vaqueros along El Pais Grande de Sur, California’s wild and remote Big Sur coast- line. Wells Drury, who made his reputation as a reporter and editor on Nevada’s Comstock Lode, and the paper’s manag- ing editor, gave Dixon this first newspaper illustration opportu- nity. Dixon already claimed two years of experience, starting in 1893 when he began submit- ting his illustrations for western adventure stories to the vener- able Overland Monthly, founded in 1868. The magazine’s edi- tors quickly sized up his drafts- man skills and elevated him to one of their leading freelance illustrators. Careful examination of Dixon’s drawings from 1895 to the time he left newspaper illustration shows the remarkable growth in his talent. Dixon, with his uncom- promising discipline and energy learned quickly that an illustrator needed to compress into its size from the state capitol. The portfolios Dixon donated to the limits, an image that conveys simple, direct meaning to a mass State Library are an unparalled collection, their contents audience. In those days, a sketch for a newspaper or periodi- bearing witness not only to his early career, but insight into cal was created with the distinct intention to narrate a specific issues and events of the times in San Francisco, California, story dictated by an editor or author, in a style that supported the West, and the world beyond. Of particular interest is the the written word. Like most newspaper illustrators at that rich mine of newspaper clippings with their staggering array time, Dixon’s illustrations for a story might emerge through of illustrations. Virtually unknown, they are of vital impor- tance to the understanding of Dixon’s early growth as an Donald J. Hagerty is a member of the Foundation’s Board of Direc- illustrator and ultimately as a painter and muralist.3 tor and is the biographer of Maynard Dixon. Mr. Hagerty has been The majority of the clippings reflect Dixon’s over a instrumental in developing the Library’s Dixon collection. In addi- decade-long tenure as an artist for San Francisco’s leading tion, he has been a regular contributor to the Bulletin. Bulletin Number 86 Dixon created these two exquisite dustjacket covers for A. C. McClurg & Co. California State Library Foundation his accompanying a reporter to the Chronicle, and the Call were morning story’s site, where he would make dailies, while the Bulletin published an a quick sketch. When first-hand evening edition. Over time, Dixon sup- inspection was not possible, he might plied countless illustrations for all four use photographs, visual memories, publications. Sin, crime, corruption, or draw upon clipping files to cre- politics, the public’s growing inter- ate illustrations. Finally, when direct est in Western outlaws, cowboys, and observation or visual aids were not Indians, or for that matter, anything feasible, he tapped his imagination that smacked of sensationalism drove to develop what he thought should editorial decisions. Journalism and be appropriate pictures in support the illustration arts flourished in fin- of the assignment. Most important, de-siecle San Francisco, and the city’s Dixon excelled in his sense of the newspapers fiercely competed with illustrator’s goals and methods, able one another for the leading writers to tackle any subject with appropriate and illustrators, and any story that anatomy, perspective, costume, and would give them an edge. background scenery. Dorothea Lange, Sometime in 1896, Dixon met Dixon’s second wife who became a San Francisco Call editor W.S. Leake legendary photographer of the Great through an introduction by his Depression, recalled, “He came to San cousin, Will S. Green, editor at the Francisco as a quite young man, with Colusa Sun. Aware of Dixon’s grow- a remarkable facility and an extraordi- ing reputation as an illustrator, Leake nary visual memory, beyond anything offered Dixon his first full-time posi- I’ve ever encountered. He could cap- tion as a newspaper artist. Working ture anything, anything. That very at the 315 foot-high, steel frame Call narrow, flexible hand of his could put building at Third and Market Streets, anything he wanted it to on a piece Dixon created illustrations for full- of paper.”4 page Sunday feature stories along In the early 1900s, William Ran- with assignments to the “morgue dolph Hearst’s Examiner boasted detail,” covering court trials, society the largest circulation, often rec- events, prizefights, and the violence ognized as the most energetic and among the bars and brothels of the brazen of the San Francisco news- city’s waterfront, known as the Barbary papers. Hearst sensationalized Coast. A sampling of features Dixon the news with the introduction illustrated between 1896 and 1899 for of banner headlines and lavish the Call reveals an account of the first illustrations, and, like the other missionaries to enter Tibet, tumultu- newspapers, practiced aggressive ous events in the Klondike Gold Rush, if not sometimes unsavory jour- archaeological discoveries in Mexico, to nalism. On their heels was the more conservative an unveiling of the Navy’s newest submarine. The but rapidly growing Chronicle, owned by Michael de San Francisco public’s fascination with Chinatown’s Young. Third place was claimed by the Morning Call, The artist created noisy, crowded streets resulted in several Dixon-illus- (changed to the Call in 1895), owned by the rich beautiful covers trated stories about tong wars, opium use, slavery, for that great and powerful Spreckels family.
Load more

Recommended publications
  • Arizona Highways
    CUMULATIVE INDEX· ARIZONA HIGHWAYS VOLUME 1, 1925 through VOLU~IE 27, 1951 ARTICLES appearing in ARIZONA HIGHWAYS from volume 1 in 1925 through volume 27 in 1951 are indexed here under author and subject. Indexing is similar to that found in READERS' GurnE TO PERIODICAL LITERATURE; each article is listed under the heading or headings most closely indicating the general subject matter. This is not a detailed analytical index to contents of articles. The user will find, for instance, those articles which deal with Katchinas, but not the names of various Katchinas discussed in the articles. Very general headings such as DESCRIPTION have been used only where more specific headings were not possible. A series of tall tales which appeared during early years of the magazine have been listed under that heading. Portraits have been indexed wherever there was a clear likeness. Group por­ traits have been incJuded when likenesses were clear and recognizable. There is a special index to color illustrations which have been an outstanding feature of ARIZONA HrGHWAYS for the past 10 years. Generally each picture has been listed under a single subject, the one which in the fallible judgment of the compiler, seemed most appropriate. It is hoped this will be of use to teachers and armchair travelers. ♦ COMPILED BY DONALD M. POWELL Reference Librarian UNIYERSITY OF ARIZONA SPONSORED BY PUBLISHED BY ARIZONA STATE ARIZONA TRADE BINDERY LIBRARY 311 West ;\lonroe ASSOCIATION PHOE:-IIX, ARIZONA $1.00 PER CoPY - ADD 10c FOR PosTAGE CDllYt'lth 1952 r>r a.ld \J ':'owe.I ]JuL 'JjJUlluL /Jt .,) ,)·• ..:-·'' tl!uv,JUL ;J{iq.JwD.ljlL and engineering equipment, asphalt, Rickenbacker THE first issue of ARIZONA HIGHWAYS appeared in cars, Cactus bacon and Armour's Star Hams.
    [Show full text]
  • Gallery, May 8, 2015.Qxp
    THE GALLERY ț THE GALLERY ț THE GALLERY ț THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2015 2 - THE GALLERY May 8, 2015 — Antiques and The Arts Weekly THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY R. Scudder Smith, Executive Publisher & Editor Carol Sims, Gallery Editor Pamela Ashbahian, Production Director Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394 www.AntiquesandTheArts.com email - [email protected] THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 Historic WWI Illustrations At Schoonover Studios BY JOHN SCHOONOVER were selected for the American Expeditionary Force in years, American aviation quickly responded with the CURATOR, SCHOONOVER STUDIOS, LTD Europe: George Harding, Harry Townsend, William formation of the American Expeditionary Force ( AEF As we enter the centennial years of World War I, we Aylward and Harvey Dunn. Of these, Dunn produced ). Although urgent plans called for manufacture of are reminded that many of the pictorial narratives of some of the most compelling illustrations as an imme- several thousand planes, bureaucratic delays hampered the events in Europe, 1914 to 1919, including war- diate observer of combat in the trenches. Ironically, production, forcing many AEF pilots to fly British and fare, appeared in various publications as illustrations. many of his paintings didn’t even reach the War French planes in the face of well-trained and dogged Notable among these illustrators were six students of Department until after the Armistice and initially were German pilots (The Bosche).
    [Show full text]
  • 1916 Preparedness Day Bombing Anarchy and Terrorism in Progressive Era America
    The 1916 Preparedness Day Bombing Anarchy and Terrorism in Progressive Era America Jeffrey A. Johnson 2018 Contents Preface 4 Acknowledgments 5 Timeline 6 Introduction 7 CHAPTER 1. “Perpetuated Hatred and Suspicion”: Labor and Capital at Odds 9 Edward Bellamy ....................................... 15 Marx and Engels ....................................... 18 CHAPTER 2. “The Wrath of Man”: Anarchism Comes to the United States 23 Shusui Kotuku ........................................ 28 CHAPTER 3. “Assassins, Murderers, Conspirators”: The March of Progressive Era Radicalism and Violence 34 Caldwell, Idaho, in 1905 ................................... 37 CHAPTER 4. “The Road to Universal Slaughter” and “This Dastardly Act”:The Preparedness Debate and Bombing 48 Arsenic as a Weapon ..................................... 51 CHAPTER 5. “The Fanatic Demon”: The Manhunt 62 Anarchism and Socialism .................................. 71 CHAPTER 6. “The Act of One Is the Act of All”: The Trials 73 Mysterious Suitcases ..................................... 76 The Mooney Case Abroad .................................. 85 CHAPTER 7. “Fighting Anarchists of America”: The Attacks of 1919 and 1920, and the Mooney Defense Onward 93 The Dreyfus Affair ...................................... 112 Famous Supporters ..................................... 114 Epilogue 115 Documents 119 DOCUMENT 1. The “Pittsburgh Proclamation” . 119 DOCUMENT 2. Preparedness Parades . 122 2 DOCUMENT 3. “Preparedness, the Road to Universal Slaughter,” by Emma Goldman . 123 DOCUMENT
    [Show full text]
  • Norman Rockwell Museum Featured Illustrators, 1993–2008
    Norman Rockwell Museum Featured Illustrators, 1993–2008 Contemporary Artists Jessica Abel John Burgoyne Leon Alaric Shafer Elizabeth Buttler Fahimeh Amiri Chris Calle Robert Alexander Anderson Paul Calle Roy Anderson Eric Carle Margot Apple Alice Carter Marshall Arisman Roz Chast Natalie Asencios Jean Claverie Istvan Banyai Sue Coe James Barkley Raúl Colon Mary Brigid Barrett Ken Condon Gary Baseman Laurie Cormier Leonard Baskin Christin Couture Melinda Beck Kinuko Y. Craft Harry Beckhoff R. Crumb Nnekka Bennett Howard Cruse Jan and Stan Berenstain (deceased) Robert M. Cunningham Michael Berenstain Jerry Dadds John Berkey (deceased) Ken Dallison Jean-Louis Besson Paul Davis Diane Bigda John Dawson Guy Billout Michael Deas Cathie Bleck Etienne Delessert R.O. Blechman Jacques de Loustal Harry Bliss Vincent DiFate Barry Blitt Cora Lynn Deibler Keith Birdsong Diane and Leo Dillon Thomas Blackshear Steve Ditko Higgins Bond Libby Dorsett Thiel William H. Bond Eric Drooker Juliette Borda Walter DuBois Richards Braldt Bralds Michael Dudash Robin Brickman Elaine Duillo Steve Brodner Jane Dyer Steve Buchanan Will Eisner Yvonne Buchanan Dean Ellis Mark English Richard Leech Teresa Fasolino George Lemoine Monique Felix Gary Lippincott Ian Falconer Dennis Lyall Brian Fies Fred Lynch Theodore Fijal David Macaulay Floc’h Matt Madden Bart Forbes Gloria Malcolm Arnold Bernie Fuchs Mariscal Nicholas Gaetano Bob Marstall John Gilmore Marvin Mattelson Julio Granda Lorenzo Mattotti Robert Guisti Sally Mavor Carter Goodrich Bruce McCall Mary GrandPré Robert T. McCall Jim Griffiths Wilson McClean Milt Gross Richard McGuire James Gurney Robert McGinnis Charles Harper James McMullan Marc Hempel Kim Mellema Niko Henrichon David Meltzer Mark Hess Ever Meulen Al Hirschfeld (deceased) Ron Miller John Howe Dean Mitchell Roberto Innocenti Daniel Moore Susan Jeffers Françoise Mouly Frances Jetter Gregory Manchess Stephen T.
    [Show full text]
  • Detlef Sammann
    609 DETLEF SAMMANN (1857-1938) was born on February 28th in Westerhever-Eiderstedt, Schleswig-Holstein, Germany, and at the age of fifteen began a four-year apprenticeship with a local painter of interior decoration. Thereafter he traveled for three years in the Dresden area and worked under the court artist Lankau, a renowned muralist. In August of 1881 Sammann arrived in New York City aboard the S.S. Australia and worked for a year as a decorator before returning home.1 He had earned enough money to pay for a course of instruction under Wilhelm Georges Ritter at the Dresden School of Industrial Art.2 Two of his portraits, which were stylistically influenced by Rembrandt, were hung in the municipal museum in Vienna.3 On February 9, 1884 he married Anna Maria Bianka Schmidt, an Austrian native and a resident of Dresden. He returned to New York City with his wife and opened a studio where he created for the leading interior decorators elaborate designs with flowers. Their daughter, Katherine (Katie) Bertha Sammann, was born on September 10, 1884. He became a naturalized citizen of the United States on July 19, 1889 in Jersey City, New Jersey.4 His first American passport was granted October 4, 1889. At that time Sammann visited Dresden and studied tapestry painting in Paris. He returned to New York City in 1891 when he was elected a “manager” of the local Verein für Kunst und Wissenschaft, an organization of immigrant Germans who encouraged art and social reform.5 Later he became a co-founder of New York’s Albrecht Dürer Verein, a society that promoted industrial arts.6 He was also elected a member of the local Society of Art and Science.
    [Show full text]
  • CAC News Flash: His first Work in the Paris Salon
    YYYYYYYYYYYYYYYYY CALIFORNIA ART CLUB NEWSLETTER An American Impressionist: The Art and Life of Alson Skinner Clark by Deborah Epstein Solon, Ph.D. lson Skinner Clark privileged. Musing on Alson’s early Skinner Clark. When he was (1876–1949) is hardly a famil- interest in art, his wife, Medora, nine or ten years old, it made A iar name, even to scholars of would later recollect in a 1956 itself manifest—and obnox- late nineteenth and early twentieth- interview with the Archives of ious as well—to the his century American art. The resuscita- American Art: church-going parents, for dur- tion of Clark’s career is part of the ing the long Sunday sermons ongoing scholarship in the field of I think the desire to draw was he surreptitiously recorded American Impressionism whose always extant with Alson the bonnets and bald pates in scope has broadened significantly within the last ten years to include artists heretofore overlooked. Clark was born in Chicago dur- ing the Centennial year, a decisive and turbulent period in American history when the country, and the national economy, was still in the throes of recovery from the Civil War. Nonetheless, art advanced to new levels during the decade of the 1870s. The period introducing “American Renaissance,” using the Centennial as a point of departure, was rife with social contradictions, but allowed the arts to flourish on a grander scale than ever before. Clark’s father, Alson Ellis, was from an impoverished background. After serving in the Civil War, he moved to Chicago and established a highly successful commodities busi- ness at the Chicago Board of Trade.
    [Show full text]
  • Fremont Older Papers, 1907-1941
    http://oac.cdlib.org/findaid/ark:/13030/tf6n39n8m0 No online items Guide to the Fremont Older papers, 1907-1941 Processed by The Bancroft Library staff The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 1997 The Regents of the University of California. All rights reserved. Note History --History, California --GeneralGeographical (By Place) --CaliforniaArts and Humanities --Fine Arts --Photography Guide to the Fremont Older BANC MSS C-B 376 1 papers, 1907-1941 Guide to the Fremont Older Papers, 1907-1941 Collection number: BANC MSS C-B 376 The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Processed by: The Bancroft Library staff Encoded by: Xiuzhi Zhou © 1997 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Fremont Older Papers, Date (inclusive): 1907-1941 Collection Number: BANC MSS C-B 376 Creator: Older, Fremont, 1856-1935 Extent: Number of containers: 7 boxes and 2 v.Linear feet: 4 Repository: The Bancroft Library. Berkeley, California 94720-6000 Physical Location: For current information on the location of these materials, please consult the Library's online catalog. Languages Represented: English Access Collection is open for research. Publication Rights Copyright has not been assigned to The Bancroft Library. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Public Services.
    [Show full text]
  • Art in America: Colonial Times to the Present
    Art in America: Colonial Times to the Present Gallery 6 ‐ American Origins During the colonial period, the tastes of the prosperous elite of New England created an eager demand for portraits. American artists emulated their English counterparts, and works like Erastus Salisbury Field’s portraits of Mr. and Mrs. Andrew Judson exemplify the deliberate, flatly modeled likenesses characteristic of early American art. Field’s technique sits in marked contrast to the more sophisticated modeling and bold colors of the Neoclassical period, which rose to prominence following the American Revolution. Seeking to create a symbolic link between the origins of democracy and the aspiring American republic, Neoclassicism relied on the art and philosophy of ancient Greece for inspiration. American decorative arts also reflected the new republic’s ideals, as well as its growing economic prosperity. In the eighteenth century, the ornate furniture of the Englishman Thomas Chippendale was in high demand. His influence is reflected in the combination of functionality and intricate detail seen here in the maple and pine chest on chest. Following the Revolution, a more reserved style of spare form and elegant line emerged. Aaron Willard’s tall clock exemplifies the new Federalist style, a counterpart to Neoclassical painting. Often considered the first distinctly American style of painting, the Hudson River School emerged in the mid nineteenth century. Works by painters like Thomas Cole and Thomas Doughty often relayed allegorical narratives about the spirituality of the natural world, as well as growing concerns about the impact of urban life on eastern landscapes. Their implication of divine presence found similarities in the writings of Transcendentalist authors like Ralph Waldo Emerson.
    [Show full text]
  • Maynard Dixon Papers, [Ca
    http://oac.cdlib.org/findaid/ark:/13030/tf8c600741 No online items Guide to the Maynard Dixon Papers, [ca. 1896-1946] Processed by The Bancroft Library staff The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 1996 The Regents of the University of California. All rights reserved. Note Arts and Humanities --Literature --American LiteratureArts and Humanities --Fine Arts --PaintingArts and Humanities --MuseumsSocial Sciences --PublishingHistory --History, California --General Guide to the Maynard Dixon BANC MSS 73/81 c 1 Papers, [ca. 1896-1946] Guide to the Maynard Dixon Papers, [ca. 1896-1946] Collection number: BANC MSS 73/81 c The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Encoded by: Eva Garcelon © 1996 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Maynard Dixon Papers, Date (inclusive): [ca. 1896-1946] Collection Number: BANC MSS 73/81 c Creator: Dixon, Maynard, 1875-1946 Extent: Number of containers: 2 boxes Repository: The Bancroft Library Berkeley, California 94720-6000 Physical Location: For current information on the location of these materials, please consult the Library's online catalog. Abstract: Originals and photocopies of correspondence with artists, museums and publishers; manuscripts of poems by Dixon; articles by and about him; catalog of paintings and drawings; and autobiographical material. Includes correspondence with: Arizona Highways (magazine), the California State Library, the De Young Memorial Museum, Ansel Adams, Merle Armitage, F.
    [Show full text]
  • The Representation of Tom Mooney, 1916–1939
    ROIPHE AFTER BP 3/2/2009 8:25:58 AM LAWYERING AT THE EXTREMES: THE REPRESENTATION OF TOM MOONEY, 1916–1939 Rebecca Roiphe* INTRODUCTION In 1916, America, unhinged by its own labor disputes, fought bitterly over the question of whether to enter the war in Europe.1 At a prowar rally in San Francisco, the two issues (which were never completely separate) collided when a bomb went off, killing nine people and wounding many others. A detective for hire, Martin Swanson, immediately had a suspect in mind: Thomas J. Mooney, a militant Socialist and labor activist, who had already been charged and acquitted several times of transporting explosives with the purpose of destroying the transmission lines of the Pacific Gas and Electric Company (PG&E). Mooney, along with several others, was arrested, tried, and convicted. Even at the time, observers noted the lack of evidence and the shaky unreliable witnesses, but Mooney was sentenced to death nonetheless. This essay tells the story of the lawyers who represented Mooney during his twenty-three-year fight for freedom. This story, in turn, offers a lens through which to explore the difficulty of representing a client whose views are not only opposed to that of the lawyer but also fundamentally antithetical to all the institutions, laws, and rules the lawyer theoretically must obey. With obvious relevance to contemporary efforts to represent clients detained in Guantánamo Bay, this essay seeks to unearth some of the many ethical issues that arise in that context, with or without solutions. By traveling through this historical representation, this essay poses an even more fundamental question: are there representations that stretch the boundary of what is appropriate for a lawyer in contemporary democracy?2 * Associate Professor of Law, New York Law School; J.D., 2000, Harvard Law School; Ph.D, 2002, University of Chicago.
    [Show full text]
  • Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection
    Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection Hillstrom Museum of Art SEE PAGE 30 Industry, Work, Society, and Travails in the Depression Era: American Paintings and Photographs from the Shogren-Meyer Collection September 9 through November 10, 2019 ABOVE Hillstrom Museum of Art Arthur Rothstein (1915-1985) Dust Storm, Cimarron County, Oklahoma, 1936 Gelatin silver print (printed early 1940s), 3 3 8 ⁄4 x 12 ⁄4 inches See details page 76. ON THE COVER Robert Gilbert (1907-1988) Industrial Composition, 1932 gustavus.edu/finearts/hillstrom Events are free and open to the public. Oil on canvas, 47 x 34 inches Regular Museum hours: 9 a.m.–4 p.m. weekdays, 1–5 p.m. weekends. For more information, visit gustavus.edu/finearts/hillstrom. To be placed on See details page 45. the Museum’s email list, write to [email protected]. INDUSTRY, WORK, SOCIETY, AND TRAVAILS IN THE DEPRESSION ERA DIRECTOR’S NOTES The Hillstrom Museum of Art is pleased to present this extensive exhibition of works from the collection of Daniel Shogren and Susan Meyer. Industry, Work, Society, and Travails in the Depression Era features nearly 100 paintings and photographs by around 60 different artists. Most of the works date from the turbulent 1930s, an era of particular interest to the collectors and one that is also heavily reflected in the Hillstrom Museum of Art’s own collection. Many or all of the artists in this exhibition would be logical choices for the Museum, given the type of collecting done by Museum namesake Richard L.
    [Show full text]
  • Edward Borein, 15
    J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R 22 Books and Prints (and one collection): The Arts of the American West 49 Geary Street, Suite 233, San Francisco, California 94108 (415) 986-5826| [email protected] www.johnwindle.com J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R 1. BODMER, KARL. Wak-Tae-Geli, A Sioux Warrior [Tableau 8 ]. London: Ackermann & Co. 1839. Aquatint engraving with contemporary hand-coloring, 24.6 x 18 inches, with blindstamp “C.Bodmer/Direct”. Fine condition. § First edition, an illustration from the celebrated book, Travels in the Interior of North America, 1832-1834, by Maximilian, Prince of Wied, Germany, after Bodmer’s watercolors. Prince Maximilian was a German explorer and naturalist who hired the Swiss artist Karl Bodmer (1809-1893) for an expedition to examine and describe the wildlife and Indian tribes of the American West. For 13 months, the men travelled up the Missouri River from St. Louis to Montana, recording the people and landscapes they encountered with unprecedented sensitivity and detail, just on the eve of rapid white Western expansion and genocidal conquest. “For over a century Bodmer’s aquatints have been regarded as one of the most significant contributions to the iconography of the western frontier.” In his portraits of American Indians, Bodmer “achieved a level of accuracy and sensitivity that no other artist of the American frontier has ever surpassed.
    [Show full text]