New-York Historical Society

Requesting the pleasure of your company: Artists’ receptions and the Tenth Street Studio Building’s legacy

Autographed artist reception invitations AHMC - Tenth Street Studio Building

Autographed artist reception invitations
AHMC – Tenth Street Studio Building

This post is written by Joe Festa, Manuscript Reference Librarian

Unlike today’s art market, American artists of the early 19th century had few galleries to represent them. While many art dealers were setting up shop in Manhattan’s wealthier areas, their focus was on representing elite European artists and serving the privileged social classes. As such, early American artists maintained a living through self-promotion and their personal networks.

All of this changed drastically during the middle of the century, when New Yorkers saw the construction of 15 West Tenth Street in 1857, which was later renumbered as 51, but is most commonly known as the Tenth Street Studio Building.

Cocktail party & fundraiser invite. Tenth Street Studio Building Collection, MS 619

Cocktail party & fundraiser invite. Tenth Street Studio Building Collection, MS 619

The first of its kind in the City, the Tenth Street Studio Building was conceptualized by architect Richard Morris Hunt and built by James Boorman Johnston. It provided artists with large, clean work areas and plenty of natural light, a vast improvement over the poorly-lit and disorganized spaces artists had grown accustomed to.

What made the Studio Building unique was the deliberate inclusion of a central exhibition room two stories high; surrounding the exhibition area were artist studios that were each interconnected by doorways. The Studio Building’s exhibition space provided artists with the opportunity to show their work and, more importantly, schedule regular artist receptions where visitors could find entertainment and view art. These lavish receptions impacted an artist’s social network greatly and added to the Studio Building’s desirability, which ultimately helped define Greenwich Village as the foremost bohemian locale.

William H. Beard in his Tenth Street Studio, oil on canvas n.d.Museum Division, #1992.8

William H. Beard in his Tenth Street Studio, oil on canvas n.d.
Museum Division, #1992.8

As styles and tastes changed, the Tenth Street Studio Building began to attract more modern artists, and the building remained a vital artistic center in New York City until its demolition in the 1950s, nearly a full century after it was built. A number of important artists would come to share space here, either concurrently or in succession; they included Albert Beirstadt, John LaFarge, and Alexander Calder to name but a few.

Inquiry regarding living quarters at Studio Building Tenth Street Studio Collection, MS 619

Inquiry regarding living quarters at Studio Building
Tenth Street Studio Collection, MS 619

Today, Manhattan’s creative hubs mirror current real estate trends, and as such, these areas are in rapid flux. Nonetheless, one is able to draw many parallels between the groundbreaking Tenth Street Studio Building and the receptions held there with the way current artists work in shared loft spaces and the open studio events and gallery walks that art admirers continue to enjoy today.

MGs, Fords, Bugattis, Austins, Willys and Maserati: Early Photos of American Car Racing

This post was written by Alison Barr, Manuscript Department volunteer

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A logo of The Automobile Racing Club of America. MS 168, William Thompson Dewart Collection of Frank A. Munsey and New York Sun Papers

With the advent and popularity of NASCAR in America, long forgotten is New York’s road racing circuit in the tradition of the European Grand Prix. Between the two wars, in 1934, the Collier Brothers (Barron, Samuel and Miles) and Thomas Dewart founded The Automobile Racing Club of America (ARCA).  Besides driving in these events, Thomas Dewart (who would go on to become the president and publisher of the New York Sun) also photographed many of them. The negatives are held within the William Thompson Dewart Collection of Frank A. Munsey and New York Sun Papers here at the New-York Historical Society. It is clear from the negatives that Thomas Dewart loved the cars which are photographed.

Unidentified race, showing car numbers 53,3, 58 and 34. MS 168, Dewart Collection

Unidentified race, showing car numbers 53,3, 58 and 34. MS 168, Dewart Collection

As the lore goes, Barron received a British MG from his fiancée and, with that car, began the young men’s racing careers in the driveway of the Collier’s sprawling home, Overlook, in Pocantico Hills, New York.  They invited their friends, primarily from St. Paul’s School, Harvard, and Yale, to join their club of gentlemen racing drivers.  Although there were social and avocational aspects to the club, these young men were quite serious about the cars and driving. 

Miles and Sam Collier became the first American MG import agents so that they could supply cars and parts.  Another ARCA founding member, George Rand, ran a garage in New York City where the MGs and other European imported cars could be serviced and parked. Member William L. Mitchell who designed the “ARCA” badge and sketched the cars during the races joined General Motors styling team and later became head of design at GM. 

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The Race Around the Houses, 1938, showing Miles Collier in the number 5 car, an MG nicknamed “Leonidis,” trailing, the number 2 car a Ford. MS 168, Dewart Collection

The rudimentary racing that began in the driveway of Overlook quickly flourished into a circuit that staged events in Sleepy Hollow, N.Y., Briarcliff Manor, N.Y., Roosevelt Raceway, N.Y., Montauk Point, N.Y., Alexandria Bay, N.Y., Wayland, MA., Marston’s Mills, MA., Mount Washington, N.H., and Memphis, TN.  The courses varied from dirt or sand tracks to paved village roads.  The races themselves were as charming as their names: the contests at Overlook were the Sleepy Hollow Ring, the event in Memphis was the Cotton Carnival Race, and the ones at Marston’s Mills were the Cape Challenge.   The Race Around the Houses consisted of 50 laps of a 1.4 mile circuit around the picturesque village of Alexandria Bay where Thomas Dewart had a summer home.  And, it was a race indeed with the cars reaching speeds of over 60 miles per hour.

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Car number 35, an Austin, in 1938. MS 168, Dewart Collection

 The events staged at  Mount Washington were dubbed the Climb to the Clouds.  (In fact, Mount Washington was the site of the first American auto race in 1904, and the Climb to the Clouds is still held today.) This course ran from the bottom of the Mount Washington Carriage Road (later, the Mount Washington Auto Road) to the top, about an eight-mile climb from 1,500 feet to 6,000 feet above sea level.  In the 1937 Climb to the Clouds, Barron and Sam Collier finished first and second, with their brother Miles coming in fifth, driving an Alfa Romeo, an Auburn V-12, and a Willys 77, respectively.

Although the MG was the predominant make, especially in the early years, the automobile makes varied from Bugatti to Austin to Willys to Ford to Alfa Romeo and Maserati. There were also many so-called “specials”, cars that combined the chassis of one make with the body of another.

Another aim of ARCA was to represent America in European racing.  In 1939, Miles Collier and his team entered his rebuilt MG “Leonidis”, into the premier European road race – Le Mans – with Miles as the driver.  While the Leonidis had been victorious at the 1938 Race Around the Houses, it did not finish at the Le Mans.

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A victorious Miles Collier kissing the hood of his Leonidis. MS 168, Dewart Collection

On the brink of World War II, ARCA staged its last event at the World’s Fair in New York on October 6, 1940, and ARCA dissolved officially on December 9, 1941.  The Collier Brothers and most of the other young club members served in the war.  In 1944, the Sports Car Club of America (SCCA) formed with many of the former members of ARCA.  Watkins Glen, N.Y. was the first race venue for SCCA in 1948 and happily Miles and Sam Collier joined the race.  Sadly, two years later in 1950, Sam Collier would die on this same racecourse, as did a young spectator in 1952, putting an end to road racing on village roads in New York State.

The First Christmas Tree at Rockefeller Center

This post was written by Marybeth Kavanagh, Reference Librarian for the Department of Prints, Photographs and Architectural Collections.

Tonight, thousands of people will gather to celebrate the lighting of the Rockefeller Center Christmas tree, a spectacle that’s been a holiday tradition in New York City for over 70 years. Though the first official ceremony was held in 1933, the tradition actually began on Christmas Eve 1931, when workers on the site put up a 20 ft balsam tree and decorated it with paper garlands, strings of cranberries, and a few ornaments. The workers then lined up to receive their paychecks, distributed by  a foreman standing behind a wooden crate.

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“December 24, 1931 — Our first Christmas Tree on the site of the French and British Buildings.” PR 2-456.

The construction of Rockefeller Center,  begun on May 17, 1930, took place during the worst years of the Great Depression, a time when 64 percent of building trade workers in NYC were unemployed.  It’s estimated that it provided employment for 40,000 to 60,000 people. It was a project of unprecedented scale which ultimately transformed the cityscape.

A photograph album in the N-YHS collections, which once belonged to Hugh Robertson, the first executive manager of Rockefeller Center, documents the change in the 22-acre site between 48th and 51st Streets and 5th and 6th Avenues.   To kick off the holiday season, here are a few images from that album, with original captions.   Happy Holidays!

“Before it all began . . . a few were speakeasies.” Album File, PR 2-456.

“The last full-front view of St. Patricks Cathedral. George Atwells shovels are already scooping out the foundation for the International Buildings.” Album File, PR 2-456.

“Time out for a snapshot. Raymond Hood, Wallace K. Harrison and Andrew Reinhard inspect one of the early models.” Album File, PR 2-456.

“Mussolini inspected this model for comparison between Rockefeller Center and the Pantheon (left), and the Marcus Aurelius column and statue (right).” Album File, PR 2-456.

“Placing the last piece of limestone on the topmost unit of the RCA Building where more than 14,000 tons of limestone were used.” PR 2-456.

“The skating pond was here to stay.” Album File, PR 2-456.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“The same spot a decade later . . . organ music and candles.” PR 2-456.

 

 

 

 

 

 

 

Gobbling Up Thanksgiving in New York!

This post was written by Tammy Kiter, Manuscript Reference Librarian.

This time of year has become synonymous with the Macy’s Thanksgiving Day Parade.  As we revel in the excitement of watching our favorite characters float larger than life down Central Park West, let’s celebrate three of the key ingredients for a fantastic holiday in the Big Apple: Family, Food and Fun! Oh yeah… and history!

Daguerreotype of Macy’s Thanksgiving Day Parade, 2000. PR 157, Jerry Spagnoli Photograph Collection

Daguerreotype of Macy’s Thanksgiving Day Parade, 2000. PR 157, Jerry Spagnoli Photograph Collection

The image above is from a daguerreotype taken by photographer Jerry Spagnoli. Daguerreotypes are made using a very early photographic process that utilizes an iodine-sensitized silver plate and mercury vapor, which is then exposed to light. In the foreground, the New-York Historical Society stands proudly along the parade route.  Just behind it is the American Museum of Natural History. The first Macy’s Thanksgiving Day Parade was held in 1924 and it is the second oldest Thanksgiving Day parade in the United States. It has run every year since 1924, with the exception of 1941 – 1944, when materials were needed for the war effort.

Advertisement for Thurber & Co. roast turkey, late 19th century. PR 31, Bella Landauer Collection of Business and Advertising Ephemera

Advertisement for Thurber & Co. roast turkey, late 19th century. PR 31, Bella Landauer Collection of Business and Advertising Ephemera

What Turkey Day dinner would be complete without, well, a turkey? This colorful advertisement from Thurber & Co. features a promotion for roast turkey. Thurber & Co. was founded by Horace K. and Francis B. Thurber in 1875. In the late 19th century, their firm was one of the largest wholesale grocery houses in the country and their corporate headquarters occupied an entire city block.

Recipe for “Mrs. Gallagher’s Pumpkin Pie”, dated pre-1940. BV Cookery , MS 1127.

Recipe for “Mrs. Gallagher’s Pumpkin Pie”, dated pre-1940. BV Cookery , MS 1127.

For those of us  who are vegetarians, please pass the mashed potatoes! Better yet, how about a nice piece of pumpkin pie. If you’re feeling adventurous, you can attempt to make one yourself. Here is a recipe from an early 20th century recipe book kept by an unidentified home cook. No oven temperature, cooking time or detailed instructions are included with the recipe. I imagine the woman who kept this book was familiar enough with her kitchen and comfortable enough with her baking skills to make a delicious pie sans such modern necessities. One also has to assume  she was able to make a pie crust from scratch (perhaps w/o the aid of a recipe), since those handy ready-made pie crusts were not available at the time.

Thanksgiving dinner menu from the Oliver Cromwell Hotel, 1948. N-YHS Menu Collection

Thanksgiving dinner menu from the Oliver Cromwell Hotel, 1948. N-YHS Menu Collection

If the thought of spending hours engrossed in food preparation does not appeal to you, why not head out to one of the countless wonderful restaurants here in the city? Let’s see what was on the menu at the Oliver Cromwell Hotel in November 1948. If you look closely, you can spot the gravy stains on the menu. The Oliver Cromwell was designed by influential architect, Emery Roth, whose outstanding designs can be seen among numerous NYC landmarks including The San Remo, The El Dorado and the Warwick Hotel. Note the powerful message of PEACE at the top of the menu, a reminder that WWII had ended just a few years earlier.

The Children’s Aid Society, founded in 1853 by Charles Loring Brace, is a charitable organization that has been providing assistance to children and families in New York for over 160 years. Throughout the seventy-five year span of the Orphan Train Movement, Children’s Aid Society, along with New York Foundling Hospital and several other orphan asylums, placed at least 200,000 children into new homes; many located out west and in the Midwest. Representing the importance of family and friends, these beautiful children at the Society’s West Side School enjoy their Thanksgiving dinner in 1915.

Thanksgiving dinner at the West Side School. The Victor Remer Historical Archives of the Children’s Aid Society, MS 111. Photo by A. Tennyson Beals, 1915.

Thanksgiving dinner at the West Side School. The Victor Remer Historical Archives of the Children’s Aid Society, MS 111. Photo by A. Tennyson Beals, 1915.

The first documented Thanksgiving Day football game took place in Philadelphia, PA, in 1869. In this photo, young athletes huddle together to strategize during a game.  Irving Browning, the photographer, was born and raised in New York City and became an innovator in both photography and cinematography.

Football huddle, circa 1930s. PR 09, Irving Browning Photograph Collection

Football huddle, 1940s. PR 09, Irving Browning Photograph Collection

As you reflect upon what you’re most thankful for this holiday season, please think about those who are less fortunate. Consider donating essential items to a local food bank, winter coat collection or toy drive. Happy Thanksgiving from the New-York Historical Society!

The Last Hours of World War I

This post was created by intern Alison Dundy.

Captain Raymond J. Walsh on the Champagne front, October 1918. His horse was killed the next day. MS 671, World War I Collection

Imagine hearing the war is over, but a time lag in communications means men are still laying on their bellies in trenches while shells whizz overhead and explode around them. Elsewhere in the world, champagne corks are popping and glasses are raised in toasts to peace. Will you make it out alive or will you and the men you lead die senselessly in the seemingly interminable last minutes of this nightmare?

Captain Raymond J. Walsh gave a gripping account of the last hours of World War I in a WEAN radio broadcast on February 25, 1939. The transcript of this broadcast is in the New-York Historical Society World War I Collection. Walsh fought with the 15th Field Artillery Regiment of the Allied Expeditionary Forces, alongside the French Fourth Army in the Meuse-Argonne Offensive of 1918 (also known as the Battle of the Argonne Forest).

Walsh recounts what happened on the morning of November 11, 1918:

“Around 8:00 a.m. I got a call from our Battalion Commander, Major E.H. Brainard of the Marines. He told me that an Armistice had been signed with the Germans and that no firing was to take place after 11:00 A.M. He then gave me the correct time. It was a very dramatic moment, I thought. Three hours to live or die. I went to the gun crews and gave them the news. As I recall it, they received it stolidly—there was no demonstration, but I could see their eyes brighten. I made them all lie down and told them to stay there until I gave the word to get up. Those three hours were the longest I think I’ll ever live. I don’t know how many times I looked at my watch. I certainly smoked my head off. We got little or no shelling the last hour or so. Maybe the Germans were sick of the whole business too. As for Battery C, we never fired a shot after 11:00 P.M. the night before. The war was slowly ticking away from us and most of us were too sodden with fatigue to realize that the horrible nightmare was about to end. As the last few minutes crept by we all got very restless; one of the officers walked up and down in back of our small camp, taking off and putting on his steel helmet; the rest of us fidgeted around and stared ahead like stunned people—unbelieving.

“At 11:00 A.M. the whole affair closed down like the lights being put out at the theatre, like the machinery stopping suddenly in a great factory. The rumble of guns in the distance, the sharp crack of the neighborhing 75s—all ceased. Silence prevailed everywhere—then a French ammunition wagon rattled along the road nearby, the driver trying to whip up his tired horse; there were a few shouts, but only a few—too many of us remembered the men killed the night before. Someone built a fire, then everyone seemed to think that was a good idea—impromptu fires broke out all along the front. From a distance you could hear singing. Our men said it was the Germans across the river. Some of us looked at one another and grasped hands.

“The War was over.”

* * *

"Warring nations invade America for cavlary horses." Underwood & Underwood, 1939.  PR 68, Subject File.

“Warring nations invade America for cavlary horses.” Underwood & Underwood, 1939. PR 68, Subject File.

What about that horse?

Captain Walsh must have cherished the memory of his magnificent horse because he kept the photograph featured above. Horses were beloved companions and heroes in World War I, as related in the novel War Horse, which went on to become a smash hit on  stage as well as a Steven Spielberg-directed Hollywood movie.

Between 1914-1918, the U.S. sent nearly one million horses to the European allies. When the U.S. entered the war, another 182,000 horses were sent overseas with the American Expeditionary Forces.  Twenty days was the average life expectancy for a horse at the front. Their plight led to the establishment of the American Red Star Relief, a welfare service for horses and mules in the U.S. Army, which still exists today as part of the American Humane Association’s emergency services.

“Churl Darling:” The Wartime Letters of Lester and Shirley Halbreich

This blog post was written by Megan Dolan, Archives Intern at N-YHS

As is the case with most areas in New York City, Brooklyn has undergone many transformations. Today Brooklyn has become the ‘new Manhattan’, home to a range of wealthy young professionals, trendy cafes on blocks lined with street art, flea markets, and of course, hipsters. During the 1940s however Brooklyn was the suburban home to many middle class ethnic families.

Nostrand Avenue, Crown Heights, Brooklyn, circa 1940's.  Geographic File, PR 20.

Nostrand Avenue, Crown Heights, Brooklyn, circa 1940’s. Geographic File, PR 20.

N-YHS recently acquired a collection of over 600 letters between a newlywed Brooklyn couple Shirley and Lester Halbreich, written while Lester was serving as a dentist in the Navy during World War II. Their correspondence provides an interesting glimpse of Brooklyn life before the onslaught of Etsy and craft beer.

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Letter from Lester to Shirley dated June 19, 1945. Halbreich Papers, MS 2959.

Both Shirley and Lester were born to middle-class Jewish parents and raised in Brooklyn. They married on December 24th 1941, three weeks after the Japanese bombings of Pearl Harbor. Like many young couples of this era, their early years of married life were shadowed by the cloud of WWII. Shirley gave birth to their son, Jeffrey Neal, in July 1944. Three months later Lester departed for the war in the Pacific where he was stationed until November 1945.

While Lester was away at war Shirley and their son resided in her parent’s house at 921 Washington Avenue, Crown Heights, Brooklyn. During this time Lester and Shirley wrote diligently to each other every day. Lester, who adorably always addressed Shirley as “Churl darling,” gave accounts of life on board his ship, the Oxford 189, and Shirley provided accounts of their son and his various stages of infancy. In one letter, Shirley provides a humorous account of how, when grocery shopping, Jeffrey, then aged 8 months, started throwing a tantrum after she left him unattended outside the store in his stroller – apparently a common practice at that time, but one that would likely get you arrested now!

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Halbreich Papers, MS 2959.

In another striking comparison with current times, both Lester and Shirley voice frequent complaints about the level of delays with mail service. This was due to a range of issues such as the censoring of all mail, military invasions, and warfare. For the navy, as Lester frequently outlines, issues such as mail being delivered to the port a ship had just left was a frequent cause of frustration. The importance of mail for morale not just for soldiers but for their family members at home is very evident throughout the collection. It’s hard to imagine in our current era of instantaneous communication via email, iPhone, Facebook and other social media, but Shirley describes waiting for over a month numerous times for a letter from Lester, leaving her wondering if she would ever hear from her husband again.

 

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Card from Shirley Halbreich to Lester Halbreich who was away serving in WWII.

Card from Shirley to Lester. Halbreich Papers, MS 2959.

Even more devastating was what happened to Shirley’s friend Gloria, whose fiancé was also stationed in the Pacific. After first receiving notification that he had been killed in action, Gloria also received, a few weeks later, over 100 letters that she had sent to him. These letters never reached her fiancé due to delays and backed up services. This news deeply upset Shirley, who wrote many letters to Lester about how distressed she felt.

Happily, Lester survived the war, as did his correspondence with Shirley, which is now available to interested researchers at our library.  Their letters serve as a poignant reminder, on this Veterans Day, of the many sacrifices war demands of soldiers and their families.

Who Coined the Phrase ‘United States of America’? You May Never Guess

This post was written by Mariam Touba, Reference Librarian for Printed Collections

Stephen Moylan to Joseph Reed, January 2, 1776. Joseph Reed Papers.

Stephen Moylan to Joseph Reed, January 2, 1776. Joseph Reed Papers.

Take a look.  Dated January 2, 1776, Reed-Moylan1 many months earlier than once thought, this, quite likely, is the first time the name “United States of America” was ever written, or possibly even expressed.

People have indeed tossed around the question, “Who named this country?” for quite some time.  It certainly is amusing that, for all our hubris about our national origins, we haven’t known who came up with the phrase, or even when.   The New-York Historical Society’s collections give us an excellent opportunity to take this moment to glance at the newer documentary evidence.

Portrait of John Dickinson published by R. Wilkinson, May 1783. PR 52 Portrait File

Portrait of John Dickinson published by R. Wilkinson, May 1783. PR 52 Portrait File

The earlier research clustered around the days and weeks just preceding July 4, 1776.  When the late New York Times wordsmith William Safire put himself to the task in 1998, he had a good deal of scholarly help and took some time in concluding that, while the phrase “United States of America” does appear in the Declaration of Independence, it was also bandied about by members of the Continental Congress working on other committees in June 1776.  Pennsylvania delegate John Dickinson could have employed it before Thomas Jefferson in his undated draft of the Articles of Confederation; that is an irony to enjoy since the patriot Dickinson famously refused to vote for or sign the Declaration.

The other Congressman who made use of the phrase in these pre-Declaration days was Elbridge Gerry of Massachusetts as he wrote a newsy letter to General Horatio Gates on June 25, 1776.  He reports “I think we are in a fair Way to a speedy Declaration of Independency.”  One can see here that, in further writing of the resolve to “capitally punish” spies, Gerry managed to employ “United Colonies” and “United States of America” in the same sentence.

Elbridge Gerry to Horatio Gates, June 25, 1776; Horatio Gates Papers.

The capitalized UNITED STATES OF AMERICA appears bluntly in print in a Philadelphia newspaper just days before the promulgation of the Declaration of Independence.  There, the writer Republicus states, “as we cannot offer terms of peace to Great-Britain, until we agree to call ourselves by some name, I shall rejoice to hear the title of the UNITED STATES OF AMERICA, in order that we may be on a proper footing to negociate [sic] a peace.”  Republicus could have been one of those members of Congress just getting familiar with the phrase, or someone—pamphleteer Thomas Paine is a good candidate here—who hobnobbed with them in Philadelphia in these heady days.

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[Philadelphia] Pennsylvania Evening Post, June 29, 1776. Newspaper Collection

All of this earlier speculation and research gets steamrolled over with Byron DeLear’s report in the Christian Science Monitor in 2012 that “united states of America” is plain to see in one of the long, anonymous, pro-Independence essays of “A Planter” published in the Williamsburg newspaper, the Virginia Gazette of April 6, 1776.

(Williamsburgh) Virginia Gazette , printed by Dixon and Hunter, April 6, 1776

[Williamsburg] Virginia Gazette , printed by Dixon and Hunter, April 6, 1776. Newspaper Collection

DeLear then trumped his own finding the following year when he brought the letter shown above to our attention.  Here, on January 2, 1776, seven months before the Declaration of Independence and a week before the publication of Paine’s Common Sense, Stephen Moylan, an acting secretary to General George Washington, spells it out, “I should like vastly to go with full and ample powers from the United States of America to Spain” to seek foreign assistance for the cause.

Joseph Reed, Painted by Charles Willson Peale; Engraved by John Sartain, PR 052 Portrait File

Joseph Reed, Painted by Charles Willson Peale; Engraved by John Sartain, PR 052 Portrait File

Stephen Moylan was writing this letter from the Continental Army’s Cambridge, Massachusetts headquarters to Colonel Joseph Reed, Washington’s aide-de-camp who was then on leave in Philadelphia.  The Irish Catholic Moylan did have appropriate European contacts for his proposed Spanish mission since he had established himself in Lisbon as a merchant before settling in 1768 in Philadelphia, where, among other things, he was elected the first president of the Friendly Sons of St. Patrick.  Moylan served in various capacities during the Revolution, including quartermaster-general and cavalry colonel, but not without the vicissitudes—forced resignations, limited supplies, courts-martial—of a Continental officer in the protracted struggle.  In a slim 1909 biography, he is depicted as a true hothead for independence (quite unlike his counterpart Joseph Reed).  Moylan’s “United States of America” letter was published in this biography, as well as in the 1847 published life of Reed, without anyone taking any particular note of it.  Digital technology makes it likely that these phrases will be sought and found in more efficient ways in the future.

Byron DeLear follows up on his discovery with the speculation that Moylan and Reed, as secretaries, would not likely be throwing around the term “United States of America” without the approval of their boss, Commander-in-Chief George Washington. Outside events at the turn of the new year, 1776, may indeed have tipped Washington himself toward independence and toward naming, in conversation at least, the country for which his newly-reformed Continental Army was fighting.

So, George Washington joins a list of figures:  Thomas Jefferson, John Dickinson, Thomas Paine, Elbridge Gerry—household names to history buffs—who were once thought to have named this country.  But it may be appropriate to pause and give credit to Stephen Moylan of Cork, Lisbon, and Philadelphia, a mostly unknown figure for whom no portrait exists.  Moylan remained close to George Washington, was appointed Commissioner of Loans in Philadelphia in 1793, and is the namesake of Moylan, an unincorporated community in southeast Pennsylvania.  But, for us now, he, like the vast majority of veterans, has remained unheralded and forgotten in the centuries-long efforts to secure and maintain American freedom.

Note:  In the comments, it has been brought to our attention that historian Curtis P. Nettels reported the Moylan phrasing in his 1951 volume, George Washington and American Independence (p. 232).  Nettels’s concern was the substance of the letter, seeking foreign aid for the American cause.

How to Have a Jolly Halloween

This post was written by Marybeth Kavanagh, Reference Librarian for the Department of Prints, Photographs and Architectural Collections.

photoLooking for inspiration to get into the spirit of the season, I found a small, sweet  volume in our Printed Collections called Games For Halloween. In less than 60 pages, author Mary E. Blain lays out a plan that Martha Stewart would envy for the perfect Halloween party circa 1912. Her imaginative, precise instructions cover everything from proper invitations:

“Witches and Choice Spirits of Darkness will hold High Carnival at my house,

October 31st at 8 o’clock. Come prepared to test your fate.”

 to festive decorations:

” The room… should be decorated as grotesquely as possible with Jack-o’-lanterns made from apples, cucumbers, squash and pumpkins”

“Jack-o’-lanterns for the gas jets may be made of pasteboard boxes…cut a hole in the bottom of the box just large enough to fit over the gas jet, turning the gas low enough not to burn the box.”

“An idea for a centerpiece is a large pumpkin, the top cut in large points with small chocolate mice in the notches and scampering down the sides (held in place by long pins or a little glue) and over the table.”

Also included are suggestions for  games and amusements, many of which are divination games meant to predict future happiness, prosperity, and most especially romantic partners.  According to Blain, “[Halloween] is the night when all sorts of charms and spells are invoked for prying into the future.”  To “furnish entertainment” at the party, Blain suggests “[t]he following games and tests of fate and fortune”:

Halloween Souvenir Game: “Suspend apples by means of strings in a doorway or from ceiling at proper height to be caught between the teeth. First successful player receives prize. Prizes should be Halloween souvenirs, such as emery cushions of silk representing tomatoes, radishes, apples, pears or pickles; or pen-wipers representing brooms, bat, cats, witches, etc.”

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Halloween postcard, 1907. PR 54

For the more daring party-goers, Blain suggests a riskier version of this game, called Candle and Apple: “At one end of a stick fasten an apple; at the other end, a short piece of lighted candle. Suspend stick from ceiling…so that stick will balance horizontally; while stick revolves, players try to catch the apple with their teeth.”

Ducking for Apples: “Into one tub half filled with water are placed apples to the stems of which are tied bits of paper containing the names of boys at the party, while across the room is a similar tub in which the names of girls are placed…[players] endeavor to extricate the apples with their teeth, and it is alleged that the name appearing upon the slip fastened to the apple is the patronymic of the future helpmeet of the one securing the fruit from the receptacle.”

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Halloween postcard, 1907. PR 54

Combing Hair before Mirror: “Stand alone before a mirror, and by light of  a candle comb your hair; the face of your future partner will appear, peeping over your shoulder.”

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Halloween postcard, 1907. PR 54

Why not try these yourself this Halloween? As Blain points out, “Of course, prying into the future with these tests at any other time, they may not prove infallible, but on the Eve of All Saint’s Day, when all the elves, goblins and hobgoblins are at large playing pranks and teasing and pleasing, why should they not ‘come true’ ?”

Have a Jolly, Merry Halloween!

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Halloween postcard, 1909. PR 54

What is the Oldest Book in the N-YHS Library?

Written by Maureen Maryanski, Reference Librarian for Printed Collections.

Aristotle. De natura animalium libri novem. De partibus animalium libri quattor. De generatione animalium libri quinque. Venice: Johannes and Gregorius de Gregoriis , de Forlivio, 18 Nov. 1492. N-YHS Printed Collections.

A reasonable assumption would be that the oldest materials in the New-York Historical Society Library relate to Colonial North America or New York. However, in terms of the book collection, the oldest item actually predates the first North American colonies by over a hundred years. Amongst the rare book collection at N-YHS sits a 1492 imprint of three works by Aristotle: De natura animalium libri novem. De partibus animalium libri quattuor. De generatione animalium libri quinque, the oldest book in the collection.

This edition of Aristotle was printed in Venice by Joannes and Gregorius Grigoriis of Forli, brothers who first began printing together in 1482. The Grigoriis brothers specialized in classical texts printed in roman types, as did several other Venetian printers of the period. With the production of numerous classical texts in Latin and Greek, Venetian printers were intricately linked to the renewed interest in classical antiquity characteristic of humanism and the Renaissance, and the city quickly became the most productive center for printing in the 15th century.

Grigoriis brothers' printer's device.

Grigoriis brothers’ printer’s device.

While the content of this 1492 Aristotle imprint reveals its connection to the Renaissance, considering the book as a physical object also provides insight into the changing nature of book production in the late 15th century. Prior to Johann Gutenberg’s production of a bible using moveable type in Mainz around 1455, books were predominantly produced by hand. Gutenberg’s new method of casting type allowed books to be printed more quickly and efficiently, thus leading to a greater dissemination of knowledge throughout Western Europe.

Derived from the Latin phrase in cunabulis, meaning “in swaddling clothes,” the term incunabula is utilized to describe books printed before 1501, in the “infancy” of printing. Incunabula provide incredible evidence into the trends and experimentation of these early years of printing. Practices from the manuscript era are often evident, such as the presence of rubrics, which are paragraph marks, initial capitals, and underlining in red ink used for emphasis. These markings, as well as any annotations or marginalia, were added by hand after printing by a rubricator or rubrisher. The fascinating thing about the N-YHS copy of Aristotle is that these rubrics were never added. However, comparing this copy to one in Munich that has been digitized, one can visualize the process of 15th century book production.

Un-rubricated page in N-YHS copy.

Un-rubricated page in N-YHS copy.

Rubricated page from Munich copy.

Rubricated page from Munich copy.

In addition to rubricated initial letters, another practice continued from the manuscript era is evident in the N-YHS copy: guide letters. These letters would be printed, very small, in the space left for the painting of initial letters to ensure the correct letter was added. Usually, care was taken when these initial letters were painted to cover the guide letters; however, if the book was never rubricated, as is the case with the N-YHS copy, “the guide letter remains, rather forlornly, in the middle of an empty space” (Carter and Barker, 118).

Guide Letter in N-YHS copy.

Guide Letter in N-YHS copy.

Rubricated initial letter in Munich copy.

Rubricated initial letter in Munich copy. The guide letter is still visible.

In addition to rubricated pages, illuminations, in which initial letters, single words, first lines, or opening pages were decorated by hand with gold, silver, and/or colored paint, were also evident in early printed books – another practice carried over from the manuscript era. Below you can see what a page looked like before illumination and a completed illumination on a page of the Munich copy .

Un-illuminated page in N-YHS copy.

Un-illuminated page in N-YHS copy.

Illuminated page of Munich copy.

Illuminated page of Munich copy.

You can view more images from the Munich copy here. Through comparing these two copies of Aristotle printed in Venice in 1492, the process of book production in the 15th century can be visually examined. The differences between these copies provide insight into how books were printed and decorated, as well as illustrating the value of each unique copy of a printed work.

“Look at them constantly with all your might”: the art education of Edwin Howland Blashfield

This post is written by Joe Festa, Manuscript Reference Librarian.

Edwin Howland Blashfield Papers, Vol. 3 - Manuscript Collections at New-York Historical Society

Edwin Howland Blashfield Papers, Vol. 3 (detail)

Mural artist Edwin Howland Blashfield, born in Brooklyn in 1848, is perhaps best known for adorning the dome of the Library of Congress Main Reading Room in Washington, DC. His work can be characterized by his formal European apprenticeship in the classical arts, which greatly informed his aesthetic and contributed to his success during the American Gilded Age.

In 1867, Blashfield left New York to study under artist Leon Bonnat, who ran an open, independent studio in France. A large part of his classical training included drawing directly from life, and as such, the artist traveled extensively throughout France, Italy, and elsewhere to visit important cultural institutions and civic monuments.

The artist documented his travels at length in scrapbooks, short notes, and memoirs, which are held within the Edwin Howland Blashfield Papers here at New-York Historical Society. These volumes serve as an excellent physical example of the time-honored way many artists, both past and present, work to perfect their craft.

In an open letter published in The Century Illustrated Monthly Magazine in February of 1889, Blashfield reflected on how the French painter and sculptor Jean-Leon Gerome mentored him and influenced his artistic approach. In it, Blashfield recalls Gerome instructing him to “surround yourself with everything you can, – casts, photographs, terra-cottas, vase paintings – and look at them constantly with all your might.”

Edwin Howland Blashfield Papers, Vol. 3; New-York Historical Society Manuscript Collections

Edwin Howland Blashfield Papers, Vol. 3 (detail)

Placing the quote alongside Blashfield’s scrapbooks and travel writings provides unique context for the artist’s fastidious note-taking. By shedding light on the rigorous studies of a nascent artist, these volumes underscore how important close observation, replication of nature, and strong visual analysis skills are to classical arts education. Moreover, they broaden our understanding of how an artist working at the turn of the 20th century might incorporate record keeping and a collection of visual references into his or her practice.

Blashfield returned to Manhattan after he completed his apprenticeship in 1880.  The artist’s deep appreciation for Europe and the classics remained an active and central part throughout his career, and he continued to travel abroad, compiling his experiences into the 20th century.

Edwin Howland Blashfield Papers, Vol. 3; New-York Historical Society Manuscript Collections

Edwin Howland Blashfield Papers, Vol. 3 (detail)

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This is a blog created by staff members in the library to draw attention to the richness and diversity of our collections.

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