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Manuscript Document

Manuscript Document, Signed, October 26, 1799

[African-Americana] Allen, Richard Philadelphia, 1799. 4 3/4 x 8 1/4 in. (121 x 212 mm). Scattered spotting, light to moderate horizontal center crease. In frame with modern bust portrait of Allen. An incidental but highly suggestive document from the life of Richard Allen, whom historian Richard Newman has argued should be recognized as being numbered among "the broader pantheon of American founders" (Newman, 14). Born into slavery, Allen taught himself to read and write. Performing extra work for pay, he was able to buy his freedom in 1780. Inspired by circuit-riding ministers, Allen joined the Methodists in 1777, and was qualified as a preacher in 1784. Repudiating their second-class status at St. George's Methodist Episcopal Church, which segregated white and black congregants, Allen and his colleague Absalom Jones (1746-1818) formed the Free African Society in 1787. In 1794, this was reorganized as the Bethel African Methodist Episcopal Church, which after years of legal struggle gave rise to the AME Church, the first independent African-American denomination. In addition to his revolutionary religious leadership, Allen would serve the black community in other ways as well, though his efforts on behalf of the causes of abolition and African colonization. Allen's came to prominence as a mediator between Philadelphia's power elite and the black community through his leadership during the yellow fever epidemic of 1793. The epidemic hit the city of 50,000 residents in August 1793. By November, one out of ten Philadelphians had succumbed to the disease, and almost 20,000 people had fled the city. Benjamin Rush, a physician, abolitionist, and signer of the Declaration of Independence, established camps to tend to the sick. Believing that people of color were resistant to yellow fever as they were to malaria, Rush turned to the black community for help. Richard Allen and Absalom Jones stepped forward, "sensible that it was our duty to do all the good we could to our suffering fellow mortals" (Jones & Allen, 3). The work included heavy labor such as hauling away the dead as well as delicate operations, such as bleeding infected patients - the remedy recommended by the College of Physicians. Writing to his wife, Rush expressed gratitude to his "African brethren" who "furnish nurses to most of my patients." (Butterfield, 654) As Newman argues, Richard Allen's leadership during the yellow fever epidemic provided the foundations for his establishment of the AME Church and his political activities. Allen funded his religious and political activities through economic enterprises. His various businesses included laboring as a whitewasher, dry goods dealer and cobbler, as well as a master chimney sweep. As Newman notes: Allen's chimney-sweeping business was particularly profitable. Ever known as a dangerous trade, chimney sweeps stuffed themselves into the narrowest possible fireplace chutes, danced on top of sharply slanted roofs, and spent their days face-to-face with ashes and soot. (Newman, 56) Because the work was both necessary and dangerous, Newman continues, "Philadelphians had established a price index that paid chimney sweepers according to risk - the higher the chimney, the greater the wages" (Newman, 56). Chimney sweeping was also one of the few lucrative avenues of employment open to young men of color, for whom other positions of mastery in labor were closed off. Allen started his business in 1789, and hired apprentices to help him, offering employment opportunities "to black men and women transiting from slavery to freedom." (Newman, 57). The work also exposed him to powerful white leaders. In the winters of 1797 and 1798, the customers for Allen's chimney sweeping service included George Washington's presidential mansion at Sixth and Market. His biographer speculates that Allen's interaction with the president, who was certainly aware of his leadership during the epidemic, may have influenced Washington's increasingly abolitionist sentiments (Newman, 127, 140-42). Dated October 26, 1799, the present document is a receipt in the amount of £1 12s. for work Allen performed sweeping the chimneys at the Pennsylvania Hospital, whose staff - including Benjamin Rush -- had striven on the front lines with Allen during the yellow fever epidemic several years earlier. Manuscript material by Richard Allen is very rare. His business activities are known from Washington's account books, from newspaper advertisements, and from reports of the Pennsylvania Abolition Society, but we have not located other receipts akin to this example. A wonderful survival documenting a subtle and important relationship between one of America's founders and the communities he served. Works Cited: Butterfield, Lyman Henry, editor, Letters of Benjamin Rush, Volume II: 1793-1813 (Princeton, 1951). Jones, Absalom and Richard Allen, A Narrative of the Proceedings of the Black People During the Late Awful Calamity in Philadelphia... (Philadelphia, 1794). Newman, Richard, Freedom's Prophet: Bishop Richard Allen, the AME Church, and the Black Founding Fathers (New York, 2008). Offered in partnership with Carpe Librum.
An Important Correspondence Archive Relating Primarily to Latin American Trade and Politics during the Wars of Independence from Spain

An Important Correspondence Archive Relating Primarily to Latin American Trade and Politics during the Wars of Independence from Spain, as well as Trade with China, with Allied Documents, 1809-1838

[Latin America] [Revolutionary Period] [Canton Trade] [United States / Latin-American Relations] Smith, Captain Eliphalet Jr., et al. Most Latin America, 1838. Mostly Latin America, 1809 - 1838. Over 150 pieces, comprising over 280 pages, .5 linear feet. The Massachusetts merchant Captain Eliphalet Smith Jr. (1780-1838) was a merchant trading primarily in Latin America during the Revolutionary Period. Described by the Chilean historian Diego Barros Arana as "an unscrupulous adventurer who saw in the countries struggling for independence nothing more than a field for his speculations," Smith bore witness to many seminal events in the continent's political history. These letters offer first-hand accounts of such events as the Sieges of Cadiz and Montevideo, Admiral William Brown's victories in the Argentinian Independence War, the Peruvian silver trade, Simon Bolivar's arrival in Guayaquil, and the battles of Real Felipe Fortress. Smith's business correspondence from the period sheds light on the pro-Regency networks active in the Americas during the period, as his loyalties - like most merchants - were based on the Spanish Armada's control of trade. The tensions between Smith and the nascent Chilean government came to a head when goods from Smith's ship, the Brig Macedonian were seized by Lord Cochrane, Vice Admiral of the Chilean Squadron in two separate incidents in 1818 and 1821. The ensuing legal disputes would cast a long shadow over relations between the United States and Chile until the cases were resolved by international tribunal. The collection includes several original documents relating to the episodes, including Smith's recollections of the events and several letters to investors describing the confiscated goods. Smith's efforts and their tacit support by the U.S. government make him a key figure in early relations between the United States and the new Latin American regimes. In 1822, an agent of the United States State Department acknowledged that "the Brigs Canton and Macedonian were for more than three years constantly violating blockades, neutral and belligerent rights, and supplying the royalists and flew the Spanish flag." Likewise, historian Patricia Marks writes that Smith had business connections with Spanish merchants in Peru, and refers to a quote from Viceroy to Peru, Joaquín de la Pezuela: "Smith and the Macedonian became anathemas to the patriots. San Martín is reputed to have said that he did more damage to the cause of liberty than any other man." Historian Joseph Byrne Lockey points out that Smith's actions had greater implications regarding the perception of the United States in revolutionary-era Latin America: "The conduct of Captain Smith, supported in so far as it was legal, by the government at Washington, contributed, together with other incidents of a similar sort, not a little to the dimming of the earlier impression of the Patriots that the United States would be, in the struggle, their friend and ally." The collection here consists of 153 documents from Smith's estate, including letters received by Smith, mercantile inventories, and holograph copies of letters sent by Smith during the period. Correspondents include Smith's contacts in Latin America and his creditors in the United States. As a collection the documents relay scarce firsthand accounts of several seminal political events, and map an extensive network of mercantile contacts and inventories. They are worthy of further research by scholars of the political history of Latin America and Spain and of early United States / Latin American relations, as well as scholars of trade between China and Latin America. Overall the collection presents an uncommon opportunity to acquire primary source material from Latin America's Revolutionary Period. We find records from the Macedonian and Smith in the Forbes family collection at Harvard, as well as some later documents relating to Smith's claims at the University of Virginia Special Collections. We find no publicly held examples of Smith's personal correspondence or papers prior to 1820. A full write-up and inventory is available in our PDF catalog.
A Collection of Photographs of the Construction of the Panama Canal and of Panama

A Collection of Photographs of the Construction of the Panama Canal and of Panama, Likely Taken by an Electrical Engineer Working for the American Bridge Company, c. 1912.

[Panama Canal] [Photography] [American Bridge Company] Hailes, W.D. The Panama Canal, and the Gatun locks in particular, were marvels of engineering at the time of their construction, far exceeding the largest concrete dams built to that point. The American Bridge Company - the conglomerate created by J.P. Morgan in 1900 and headquartered in Pennsylvania - built the steel spans for the locks at Gatun at the Pencoyd factory on the Schuylkill River in Pennsylvania. Collected here are thirty-three photographs, taken by W.D. Hailes, of the canal's construction. Hailes was likely an electrical engineer working for the American Bridge Company, as we find reference to a W.D. Hailes who worked as an electrical engineer in Rochester in the 1940s, and the versos of the photographs contain notations specific to the American Bridge Company and to the engineers working on the project. The photographs show the construction of the locks at Gatun and varied views of Panama. The fifteen photographs of the construction at Gatun are particularly impressive, and include photographs taken at both the Atlantic and lake sides. One photograph, described on the verso as "Quitting time at the locks at Gatun," shows workers evenly spaced on an enormous ladder leading into the lock, giving a sense of the size of each of the locks. Another photograph shows concrete mixers, noted on the verso as being "the largest in the world." Fifteen photographs show scenes around Panama, with two taken aboard a steam ship, several in Panama City, and many in the wilderness surrounding the canal. Overall a well preserved collection with excellent contrast and some occasional silvering, very good condition overall. An uncommon private look into the construction of the canal.
Pennant for the National Half Century Anniversary Exposition and Lincoln Jubilee

Pennant for the National Half Century Anniversary Exposition and Lincoln Jubilee, 1915.

[African-Americana] [Emancipation] [Chicago] In celebration of the fiftieth anniversary of Lincoln's death, the city of Chicago hosted the National Half Century Anniversary Exposition and Lincoln Jubilee, to celebrate emancipation and the cultural achievements of African-Americans. The event was held at the Coliseum on August 23 - September 22, 1915. The Illinois legislature appropriated $75,000 for the month-long celebration. Seventeen states appointed African American delegates to attend the event as representatives. Delegates from other countries participated as well. Bishop Samuel Fallows, the English-born clergyman and Union Army Colonel, spent a decade promoting and organizing the event, urging states such as New York to appoint representatives, and encouraging Chicago's religious leaders to attend. Several hundred pastors from African-American churches did attend, along with members of their congregations, and most contemporary accounts of the jubilee advertise speeches by African-American religious leaders. Charles F. Gunther, a local candy manufacturer and collector of Lincoln memorabilia, lent his collection to the event (it was later purchased by the Chicago Historical Society). The event's organizers anticipated close to half a million attendees. Though we find no record of actual attendance, contemporary reports show crowds of tens of thousands attending at a time. Despite the large undertaking and historical significance of the event, few relics of the exhibition have survived. OCLC lists two copies of the official program for the event. The official report of the event, History and Report of the Exhibition and Celebration to Commemorate the Fiftieth Anniversary of the Emancipation of the Negro, has around 20 holdings. We find no other record of this commemorative pennant, an unusual survival. Condition is very good, with some light wear.
Archive of Photographs

Archive of Photographs, Correspondence and Ephemera from a Student at the Battle Creek Sanitarium School of Nursing, Most 1925-1926.

[Battle Creek Sanitarium] [Women] [Nursing] [Eugenics] [Seventh Day Adventism] The Battle Creek Sanitarium School of Nursing Battle Creek Sanitarium ran a school of nursing on its campus from 1883 onward when it was started by Dr. Kate Lindsay, following the principles of nursing learned at Bellevue Hospital in New York. The Battle Creek Scooh of Nursing was the first Adventist nursing school in the country. The school was aligned with the Battle Creek Sanitarium, with Dr. John Kellogg's principles of nutrition and self-restraint taught throughout the program. The collection of material here, belonging to the student Ethel Roop, represents a surprisingly intimate portrait of a young woman's life while at the School of Nursing from 1924 to 1926. The large scrapbook mixes intimate portraits of Roop and her student friends with a wide range of ephemera, some printed, some kept, including Halloween decorations, medical paraphernalia, appointment receipts, letters, and other keepsakes. Roop kept her correspondence - acceptance letters, etc. and most interestingly, her correspondence from her fellow students. One smaller well-kept photo album shows scenes from the college including a portrait of Kellogg in the snow with the caption "Dr. Kellogg Himself / Hale and Hearty at 74 / Our Inspiration and Guide," a photograph of three women cleaning produce "Cleaning celery - cleaning lettuce too / In Diet Kitchen there's lots to do," several pictures from the infant ward, one picture of a young boy on the toilet, and other pictures from the grounds. The level of comradery among the students seems quite high, and despite the institution's ideological leanings many of the sentiments seem typical of a student album. Of particular note are several handwritten pages of verse, which relate the difficulties in nursing student life: "I wish I was a surgeon / That's what I'd like to be / On every one that had a grouch / I'd perform an 'ectomy.'" One makeshift card gives a "recipe for making a good nurse," mixing together "equal parts pluck, good health, and well balanced sympathy, stiffen with energy and soften with milk of human kindness." Overall an interesting group, uncommon in its insider look at the Kellogg empire and quite broad as a record of a young woman's life. Good to very good condition, with some staining to larger album, contents generally excellent.
Music in American Vernacular Photography: A Collection of 320+ Cabinet Cards

Music in American Vernacular Photography: A Collection of 320+ Cabinet Cards, Real Photo Postcards, and Photographs from the Analogue Era, 1880-1930

[Music] [Vernacular Photography] Various Places, 1920. First Edition. Various sizes and formats, ranging from large mounted studio albumen prints (9-¼ x 7-⅜ in.) to small unmounted paper prints (3 x 2 in.), including more than 60 cabinet cards (approx. 4-½ x 6-½ in.), 100 real photo postcards (approx. 3-⅜ x 5-⅜ in.), with a few cyanotypes and cartes-de-visite. Many with printed or handwritten captions identifying places, subjects, instruments, or dates. Some with longer gift inscriptions, letters, or signatures. Most ca. 1890-1915. Condition varies, some toning, fading, or discoloration present, wear to edges of mounts and prints, a few prints with remnants of previous mounting verso. Together with approx. 12 international examples from the same period, mostly British. Very Good. Blind musicians, family bands, poised soloists, women's social clubs, sibling groups, drinking buddies, and all kinds of instruments (one-man bands, glass harps, bassoons, banjos, violas, drum kits, trumpets, and clarinets, et al.), are featured in this magnificent, wide-ranging document of vernacular American music before the electronic era. The collection spans a period that witnessed the explosion of popular music in the United States. Contributing to this rapid growth was the proliferation of sheet-music; the influence of African American music, including ragtime, gospel, and the blues; the flourishing of musical theater, popular religious music, dance orchestras, and hybrid regional ethnic genres, including folk and bluegrass, as well as revolutionary methods for recording and distribution. During this seismic shift in the way music was composed, played, and listened to, analog recording technologies granted even the most rural areas of the country unprecedented access to America's changing rhythms. Composer John Philip Sousa predicted that the phonograph would lead to the death of music. "The time is coming when no one will be ready to submit himself to the ennobling discipline of learning music [...] Everyone will have their ready made or ready pirated music in their cupboards." But these fears were overstated, at least until the emergence of electronic recording in the mid-1920s. As musicologist Richard Crawford writes, "Behind [professional] band's like Sousa's lay a vast network of amateur groups [...] that were part of many Americans' musical experience, as both performers and listeners. Nourished by the spread of musical teaching, the growth of the musical instrument business, and an appetite for music [...] the amateur band provided amusement for people in towns and villages ... the[ir] playing [...] reverberated across the land during these years (1865-1915): bearers of a tradition of democratic music making that gradually faded in the twentieth-century." In the cabinet cards and RPPCs of the present collection, local and soon-to-be archaic musical forms and performers remain a vital part of everyday life and self-expression. These "music communities" testify to the importance and diversity of amateur music-making in America through the 1920s. In parallel to the evolution of American music, the photographs chart a dramatic shift in the role of photography in American life. Posed and professional studio photographs of the 1880s give way to intimate and candid amateur shots of the first decades of the twentieth century. Highlights of the collection include close to a hundred images of women musicians, from soloists to women's bands and cabaret acts; images of musical 'special personalities', e.g. a one-armed musician, albino musicians, and an African-American dwarf troubadour, Lynn Lewis White; child musicians, including vaudeville performer L. Wade Ray, "The Boy Wonder Youngest Violin Player in U.S.A.;" a number of examples depicting one-man bands; ten photographs of African-American musicians; two promotional cabinet cards for the American tour of the Till Family Rock Concert, a British group who played a percussive instrument of their own design, made of rocks and admired by John Ruskin; and a Californian cabinet card depicting a music lesson in the mid-1880s. Provenance: The collection was largely assembled by California artist Steve Roden and reflects his idiosyncratic vision. His own writing about the images captures the poetry of his ad-hoc methods: "[you will] see [...] a collision of gathered forgottens: the homespun, the modern, the amateur, the master, the professional, the hobbyist, the hillbilly, the city slicker, the self-taught, the academically inclined, the private, the showman, the natural, the cultural, the backwoods wanderer, [...] the manipulated, the documentary, [...] the focused, the blurred, the scratched, the stained, the anonymous, the famous, the stylist, the authentic, the humble, the big-headed, the lyrical, [...] the melancholy, the joyous, the smitten, the numbed, the cityscape, the landscape, the shouted, the whispered..." (Music in Vernacular Photographs, Roden, p. [23]). Overall an extensive and carefully curated collection. Photographs generally well preserved in good to very good condition, with some stray marks and normal condition issues from age.
Folk Art Memorial Drawing to the 54th Massachusetts Infantry

Folk Art Memorial Drawing to the 54th Massachusetts Infantry, Presented to the Ladies of the G.A.R.

[African-Americana] [Civil War] [54th Massachusetts] Johnson, Alexander Massachusetts, 1926. Ink on paper, 18 ½ x 23 ½ inches. Excellent. Alexander Johnson, an African-American musician from New Bedford, enlisted in the army at age 16 and was believed for some time to be the first African-American musician in the Union Army. He mustered into mustered into Company "C" of the Massachusetts 54th Infantry under Colonel Shaw. The 54th Massachusetts was the second African-American regiment in the Union army, formed only after the 1st Kansas Colored Volunteer Infantry. New Bedford had a large population of escaped slaves, and African-Americans from the city enrolled heavily. Johnson had been orphaned at a young age and his adopted father, William Henry Johnson, strongly advocated for African-American enrollment in the Union army, a factor which most likely played a part in the young Alex's enrollment at age sixteen. Johnson served in the 54th for the duration of the war, including the bloody charge of Fort Wagner on Morris Island on July 18, 1863. The 54th lost 272 of its 600 men on that day, including Colonel Shaw. Johnson's musical acumen was widely acknowledged and he became known - erroneously, it would later turn out - as being the first African-American musician in the Union army. After the conflict ended Johnson settled in Worcester, organizing a band called "Johnson's Drum Corps" and instructing young musicians. Augustus St. Gaudens famously erected a monument to the 54th at the Massachusetts state house. Johnson visited the monument at a G.A.R. event in 1904, and noted to others in attendance the similarity between his own likeness and that of the drummer boy in St. Gaudens monument. This proved to be pure coincidence, as St. Gaudens had based his work on models, but the idea persists to this day that Johnson is the drummer boy pictured. Johnson painted this memorial to the Ladies of the G.A.R. in 1926 at age seventy-nine, four years before his death. The painting shows two birds with banners reading "Friendship" and "Loyalty" over a heart reading "Honor the Boys / of / 1861-1865," with a book open to pages reading "Mrs Elizabeth / Towne / Merry Christmas / and A / Happy New Year," and "President / Of / Gen. / Chas. Deven / Circle / No / 30 / Ladies of the GAR / 1926." Most of his comrades-in-arms were likely dead at this point, and we find no record of Elizabeth Towne. A wonderful folk art memorial to the 54th Massachusetts, well preserved and attractive in very good condition overall with light normal wear. References: Coddington, Ronald. Colonel Shaw's Drummer Boy. New York Times, March 5, 2013.
Farm Map of Gregory County

Farm Map of Gregory County, South Dakota: Including That Part of the Rosebud Reservation to be Opened for Settlement

[Sicangu Lakota, or Rosebud Sioux] [Rosebud Reservation] [South Dakota] Peterson, E. Frank Vermillion: E. Frank Peterson, 1902. 8vo, wraps, with lithograph map printed in red and black, 25 ½ x 32 inches. The Dawes Act of 1889, which greatly reduced the amount of land held in Indian reservations, was passed with two goals in mind: to encourage American Indian assimilation to the Euro-American model of homesteading, and to make reservation land available for white settlement. The Dawes Act would be responsible for conditions that impoverished many American Indians. The Meriam Report of 1928, one of the first independent investigations into American Indian living standards, concluded that "In justice to the Indians it should be said that many of them are living on lands from which a trained and experienced white man could scarcely wrest a reasonable living." Leaders of the Sicangu Oyate (also known Sicangu Lakota or Rosebud Sioux or Brule Sioux) negotiated the sale of a large portion of the Rosebud Reservation with James McLaughlin, the famous U.S. Indian Inspector, in 1901. In exchange for the sale of the unallotted lands, particularly in Gregory County, the U.S. Government agreed to pay the sum of $1,040,000. This map was published soon afterward. This map shows the newly-opened land in South Dakota's Gregory County, and lists homestead parcels by owner. Most interesting are the many American Indian names listed on the map. The map also describes the geography of the region. This copy well preserved with the map appearing unused and some wear and an owner inscription to the wraps. Very good condition overall, map excellent. Quite scarce, with three copies of two separate editions publicly held. OCLC listing copies at Yale and the Missouri Historical Society, with a separate entry listing an additional copy of a revised edition of 1904 at Augustana University.
Carte-de-Visite of Pauline Cushman

Carte-de-Visite of Pauline Cushman

[Civil War] [Women] [Cushman, Pauline] Sutterley & Co Virginia City: Sutterley and Co, 1867. Albumen photograph on mount, 4 x 2 ½ inches. Pauline Cushman was an actress and one of the most successful spies for the Union Army. She ingratiated herself with the Confederate army by toasting Jefferson Davis after one of her performances. She was eventually caught and sentenced to death by hanging. She was spared only due to the arrival of the Union Army. After the war she toured the country giving lectures and performances recounting her experiences as a spy. She eventually headed west, marrying in 1872 in San Francisco and eventually working a range of jobs in Arizona Territory, Texas, and eventually back in San Francisco, where she died in 1893 at age 60 from a morphine overdose. We find no record of this portrait, which was taken by the Sutterley brothers, James and Clement, in their Virginia City, Nevada studio somewhere between 1864 and 1867. The Sutterleys operated out of their studio on the Union block of Virginia City for five years before dissolving their partnership in 1867. It is likely that the portrait was taken during one of Cushman's tours throughout the region during these years. A beautifully preserved example in very good condition with a small chip to upper margin and some fading. Though Cushman ostensibly would have sold cartes-de-visite in support of her touring, few survive on the market today.
Forty-Nine Photographs of the 2nd Massachusetts Volunteer Infantry

Forty-Nine Photographs of the 2nd Massachusetts Volunteer Infantry, Most Identified

[Spanish-American War] [Massachusetts] Second Massachusetts Volunteer Infantry Massachusetts, 1898. The 2nd Massachusetts Volunteers mustered into service in May, 1898, and within a month saw significant action in Cuba at the Battle of El Caney. They were one of three volunteer units from Massachusetts to see action on the Santiago Campaign. The regiment was inexperienced - 55% were untrained recruits. The lack of experience, combined with their rifles giving off a very visible black smoke, led to a heavy casualties in the Battle of El Caney. After an encampment near Santiago de Cuba in which a large number of the soldiers became ill with disease - estimates are as high as 65% - the regiment returned home in August. Historians have noted that soldier demographics changed considerably from the Civil War to the Spanish American war, as the smaller number of troops and the lack of a draft led to a more enthusiastic army with higher morale. The photographs in this group are interesting as a typological grouping of images of untrained soldiers, and also for their historical value, as most contain identifications to versos. The highlight of the group is forty-four uniformly mounted portraits of soldiers, nearly all identified, measuring 3 ¾ x 2 ½ inches each. Other photographs include a large portrait of Captain Frederick E. Pierce, with the blindstamp of Goldsmith Studio, Springfield, Massachusetts and a 3 ¼ x 3 ¼ inch square card of Capt. Pierce in Camp Turner. Also included are two slightly larger photographs on similar mounts. Overall an interesting group. Good condition overall with assorted chips and wear.
Album of Albumen Portraits of Noted Abolitionists

Album of Albumen Portraits of Noted Abolitionists, Cultural Figures and Politicians including an Uncommon Frederick Douglass Image by George Warren, as well as Kodak Model Two Photographs taken in Alaska c. 1890s

[Photography - 19th Century] [Abolition] [Alaska] [Douglass, Frederick] Warren, George, et al. V.p., 1890. Oblong quarto, leatherette, heavy card stock album pages with photographs affixed. Good. This album of photographs, assembled probably during the 1890s, is notable in three ways; for its extensive collection of notable cultural figures in the late nineteenth century including abolitionists, politicians, women's suffrage advocates authors, etc; the inclusion of early Kodak Model Two photographs of Alaska including Inuit subjects; and in particular the scarce portrait of Frederick Douglass, taken by George Warren. We can only guess as to the origins of the album. The first two images show women posed in the landscape of Sugar Hill, New Hampshire, a popular resort that attracted wealthy summer visitors after being made famous by White Mountain artists. The album then proceeds, somewhat mysteriously, as follows: two scenes in France; an 8 x 6 inch view of High Bridge, New York; nine tourist views of Europe; two Kodak Two photographs of Alaska including a glacier; a portrait of Napoleon III; a European view; two views of Muir Glacier, Alaska and Lone Star Geyser, Yellowstone Park; three Kodak Two scenes of California; an albumen view of the Cliff House, San Francisco; a large unidentified view of a mission; fifteen Kodak Two views of Alaska including views of Juneau and one of native basket sellers; an unidentified albumen of a sculpture. The second part of the album is composed of sixty-two portraits of notable cultural and political figures, both American and European, including several abolitionists. The subjects include: Albert Barnes, General Irvin McDowell, General David Hunter, General Gouverneur Warren, Ulysses Grant, General James Barnet Fry, Schuyler Colfax, Abraham Lincoln, Mary Todd Lincoln, James Blaine, Horace Greeley, William Evarts, Roundell Palmer, Sir Alexander Cockburn, James Anthony Froude, Hugh McCulloch, Charles O'Conner, Peter Cooper, Edwin Landseer, Patrice de MacMahon, General William Sherman, General Winfield Scott Hancock, General Philip Sheridan, Henry M. Stanley, David Livingstone, Bayard Taylor (x2), William Gladstone, Cyrus Field, Death Mask of Oliver Cromwell, Adolphe Thiers, Louis Agassy, Victor Hugo, George William Curtis, Harriet Beecher Stowe (x2), Louisa May Alcott, Henry Ward Beecher, Julia Ward Howe, John Albion Andrew, Wendell Phillips, Frederick Douglass, Anna Dickenson, Adelaide Wilson, Alice and Phoebe Cary, Ralph Waldo Emerson, John G. Saxe, Edward Everett, Edgar Allen Poe, Nathaniel Hawthorne, Oliver Wendell Holmes, Adelaide Ristoni as Marie Antoinette, Charlotte Cushman, Henry Wadsworth Longfellow, William Cullen Bryant, and John Greenley Whittier. Taken as a whole the group represents a large swath of political and cultural luminaries. The Douglass portrait, taken by George Warren, is quite uncommon. Most CDV prints from this period show a variant pose from the same shoot. We find a record of this pose in the Library of Congress collections, printed by the New York photographer G.W. Thorne from Warren's image, but no record of this pose published by Warren. The image is in excellent condition with good contrast. We find few examples of Douglass's image in this type of setting, with the Douglass portraits we have encountered rarely included in vernacular albums of the time. The presence of the Kodak Two photographs, which were quite expensive to produce at the time as the entire camera had to be sent to develop the film, suggests that whoever assembled the album was affluent. Overall an interesting and significant document. Front board of album detached, contents excellent.
Three Letters to Thomas Dewing

Three Letters to Thomas Dewing, 1902-1910

[Art] MacMonnies, Frederick V.p., 1910. Ink on paper, each sheet approx. 9 x 7 in., 1-4 sheets each, variously paginated, one with orig. envelope. Celebrated American Beaux-Arts sculptor Frederick MacMonnies (1863-1937) studied with Augustus Saint-Gaudens and many of his best commissions emerged from his relationships with Saint-Gaudens and the architect Stanford White. He lived primarily in France but traveled frequently to New York and was part of a circle of artists that formed around White at Edwin Booth's Players Club in Gramercy Park and the Saint-Gaudens summer colony in New Hampshire. Artist Thomas Dewing was another Saint-Gaudens student and MacMonnies' close friend. Two of the three letters discuss an important commission for the Players Club: a memorial sculpture for famed actor Edwin Booth. The memorial became a flash point for changing American tastes and a harbinger of MacMonnies' declining fortunes. His original proposal was an elaborate and symbolic design at odds with the new fashion for modern and simplified ornament espoused by artists like Dewing. In a lengthy letter here MacMonnies provides a passionate defense for Beaux-Art symbolism in favor of the modernizing taste of many of his colleagues. In an earlier letter from January 1910, MacMonnies attests the commission has left him "nervous" and in "a collapsed state" but grateful for Dewing's "uplifting letter." Then, in May of the same year, MacMonnies provides his lengthy appeal to Dewing to be allowed to continue the commission and asks for help convincing the committee. "Simplicity, when it calls attention to itself, can be as offensive as any other form of pretension... Besides all this, the Theatre and Actors deal in rich costumes, fabulous scenery, richness and riot of color and form... What might naturally appear overloaded or overenriched or complicated in a preliminary sketch in sculpture, may in the finished production appear clear and simple... In making the model for the final work, I should naturally aim by every science of the art I may have acquired, to make the monument imposing, simple and impressive without losing the richness which should go with the subject." Though MacMonnies closes his letter, "I am desperately sickened at the thought of having it fall into the list of things not done," he eventually quit the project and artist Edmond Quinn's simplified Booth monument was chosen (including the actor's representation as Hamlet on a "Morris chair" lamented by MacMonnies in his letter). A well preserved collection in excellent condition.
The Imprint of Timothy Leary (or Timothy Leary Revisited). Exclusive Story and Photos By Joe O'Sullivan. [with] Seven Photographs from the "Man of Visions" Series

The Imprint of Timothy Leary (or Timothy Leary Revisited). Exclusive Story and Photos By Joe O'Sullivan. [with] Seven Photographs from the "Man of Visions" Series

[Drugs] [Leary, Timothy] O'Sullivan, Joe New York: UPI Roto Service, 1966. First Edition. Photocopy of a typed manuscript, 8-½ x 11 in., 12 pp., printed recto only, sl. chipping and toning at edges; together with an additional copy of the typed manuscript; a License to Use Your Head order form for Leary's Future History book series, no date; and seven (of eight?) "Man of Visions" silver gelatin prints, 8 x 10 in., each dated May 28, 1966, with caption leaves and UPI Press stamps verso. Near Fine. Journalist Joe O'Sullivan visited Timothy Leary's community in Millbrook, New York twice in 1966. Following these visits he released two interviews with Leary on the UPI Roto Service. This interview, unpublished and unrecorded in Leary's bibliography, is the second of the two interviews. The interview offers detailed descriptions of Leary's daily life and providing an ordinary context for his controversial work. Leary gives laconic answers to O'Sullivan's questions about drugs, the counterculture, free love, Viet Nam [sic], and the communal life at Millbrook, occasionally proffering a bit of unasked for advice, including on the author's children. "Let them turn you on ... Treat them as little gods and goddesses." The photos, taken to accompany the first interview, similarly reflect O'Sullivan's interest in the mundane: e.g. poignant, detailed vignettes of a shrine to Rosemary Woodruff (soon to be Leary's wife) while she was doing jail time for marijuana possession. We find no evidence that either interview was ever published. The first article, "Man of Visions," is referenced in our typescript's caption and was "serviced to UPI Roto Service clients in the package of May 28, 1966," the same date as the present photo-series which presumably accompanied it. Both articles would have appeared before Leary's landmark Playboy interview was published in September 1966, which the annotated Leary bibliography lists as his first published interview [Horowitz, Walls, & Smith D1] . Surprisingly, there is no reference in Horowitz to either of the earlier O'Sullivan UPI articles, though a short, third article, "God and Timothy Leary," was published in Dec. 1966 [Howoritz et al. D3]. Some of the photographs from "Man of Visions" are known from other sources, a few seemingly unpublished. Materials are in excellent condition with minimal wear.
Proud Lady. [With Autograph Letter to the Critic Rebecca Lowrie

Proud Lady. [With Autograph Letter to the Critic Rebecca Lowrie, Signed]

[Women] [Literature] Boyce, Neith New York: Alfred A. Knopf, 1923. First Edition. With an autograph letter, signed, with the envelope affixed to the front pastedown. With the bookplate of John and Rebecca Lowrie on front free endpaper. Lowrie reviewed the work for the New York Post, and her review of the book affixed to the half-title. Very Good. Neith Boyce was an author and theater artist who worked across genres, publishing a range of works and co-founding the Provincetown Players. Boyce and her husband Hutchins Hapgood were at the social center of a large circle of writers and artists including Gertrude Stein, Georgia O'Keefe, and Djuna Barnes. Their papers, held at Yale, provide rich insight into their artistic and literary era. Proud Lady was the second-to-last novel Boyce wrote, and it was apparently her favorite. The novel is the story of Mary Carlin, a woman who seeks spiritual perfection in others, and who because of her pride cannot make herself leave her unfaithful husband. Rebecca Lowrie, in her review written for the New York Post and included here, states, "all the vividness of the setting, the touches which make the people so sure a part of their surroundings, are secondary to the tragic figure of the proud lady and the victims of her pride." Boyce's letter to Lowrie effusively thanks her for her review of the book, which, from her tone, appears to have been misunderstood by other critics. She writes, "I have just seen your review of my novel Proud Lady... It is the most intelligent and best-written review that I have seen so far and I would like to convey to you my appreciation and the pleasure your attitude toward the book has given me." Overall a very nice association and a very good copy of an uncommon book. Some light wear and rubbing, a few faint scuffs to cloth on the front board, slightest bowing to spine, but very good. Letter near fine with minimal wear. $450.
Portrait of Eve Unsell

Portrait of Eve Unsell

[Women] [Film] [Unsell, Eve] Curtis, Edward Los Angeles: Edward Curtis, 1927. Silver Gelatin Print, 5 x 7 inches, with Curtis's Biltmore Hotel address and Unsell's name to verso. Signed by Curtis in ink on recto. Excellent. Eve Unsell was a highly prolific scenarist who wrote for over 95 films during her active period from 1914 to 1933. She first trained for the Kansas City Post before spending a year at Emerson College. Unsell impressed the theatrical agent Beatrice deMille with one of her short stories. Hired by deMille as a play reader, Unsell learned the art of plot construction while reading plays. She met David Belasco through deMille, and after a short career performing, turned her career to writing by 1913. She sold two several scenarios to Pathes Freres and Kalem, getting her big break in 1914 when Kalem produced Unsell's scenario, The Pawnbroker's Daughter. She would go on to enjoy a lengthy career as a writer, oscillating between freelance and contract work. She wrote under her own name, and also used the pseudonym Oliver W. Geoffreys as her name, E. M. Unsell, as was common for women screenwriters at the time. Edward Curtis, best known for his work photographing American Indians, moved to Los Angeles in 1919 with his daughter Beth following a divorce. He opened a studio at the Biltmore Hotel. To finance his field work, Curtis worked for Cecil B. DeMille as a still photographer and cameraman. Curtis lived off and on in Los Angeles until his death in 1952, leaving in 1927 to complete the final volume of his North American Indian series. At some point probably in the early 1920s, whether through the DeMille friend circle or elsewhere, Unsell had her picture taken by Curtis in his Biltmore Hotel studio. The image shows Unsell in the customary style of the time, with Curtis's name etched into the negative. Near fine condition overall with a few slight indentations. Overall a wonderful and scarce image showing an important figure in Hollywood.
Small Archive of Magician George Corrigan's Correspondence with other Magicians

Small Archive of Magician George Corrigan's Correspondence with other Magicians, Circa 1930, Regarding Tricks

[Magic] [Massachusetts] [Mail Order Businesses] Corrigan, George Massachusetts, 1930. 8 ½ by 11 inch leatherette binder filled with correspondence. An interesting small archive of material from the semi-professional club magician George Corrigan, consisting of letters written by other magicians, most concerning the sale and trade of tricks. Corregan was the managing editor of the Sphinx, published by Boston Assembly No. 9, and wrote a humorous personal interest column. He also, like many magicians of the era, traded tricks. According to Magicpedia, Corregan, "ran a humorous personal-interest column, headed as "Dear Uncle Koko, Esq." It was years before members realized that the initials of the heading spelled out a clue to the unknown author, "D-U-K-E". Corregan contributed his magical ideas to the Sphinx. His Four Ace Trick, published in 1922 was a favorite of Ted Annemann. He also marketed "Be a Human Calendar" and "Unkle Koko's Kloryphyll Kard Trick". He authored a column "Spilling the Beans" in The Seven Circles in the 1930s." Some entertaining material is included here, particularly the effusive letters of Corregan's colleagues trying to upsell their tricks or engage in small time bartering: "Perhaps you think I am trying to pull the wool over your eyes in our transaction regarding my item Cig-o-Jest..." Over 75 unique, some in duplicate, including correspondence, trick want lists, two realphoto postcards and unused stationery. We have kept the material as found, loosely inserted into a leatherette binder. An interesting window into the life of a small time touring magician and magic writer circa 1930. Generally very good, with some normal wear and some mimeographed pages showing normal chipping.
A Collection of Thirty-Four Photographs Relating to the First Broadcasts of NBC Television

A Collection of Thirty-Four Photographs Relating to the First Broadcasts of NBC Television, c. 1937-1940

[Television] Haussler, William; National Broadcasting Company New York: RCA Corporation, 1940. Very Good. In the late 1930s, television was in its experimental phase and radio dominated the American media landscape. RCA and its NBC network directed experimental broadcasts from their studio in Radio City, broadcasting from a transmitter at the top of the Empire State Building. The first large scale exposure the American public had to the new technology was at the 1939 World's Fair. NBC and its parent company, RCA, initiated a schedule of programming the same year to coincide with the exhibition. The onset of war, the expense of the new machines, and the limited geographic range of the broadcast limited the amount of television consumers until after the war. RCA's involvement in the development of television began in 1929, when the inventor Vladimir Zworykin convinced RCA's David Sarnoff to produce a commercial version of his prototype system. Sarnoff and RCA would eventually invest millions of dollars in the project. The present collection shows this development at the tail end, when the technology was near completion and RCA had begun to promote the new technology in earnest. The first broadcasts were on W2XBS, which would later become WNBC Channel 4, broadcasting from the Empire State Building transmitter at the top of the building. RCA began selling its TRK-5 and TRK-9 model televisions at the same point, but the onset of the war and FCC involvement prevented the mass rollout the company had imagined. Of the thirty-six images here, thirty are from the NBC archives, mounted on linen and most with large labels to versos explaining the pictures. Many are credited to NBC staff photographer William Haussler. The NBC photographers tried to capitalize on the look of the modern era with the photos, and the labels direct the conversation as such. One reads: "Modern Art / If this picture appears to be an example of ultra modern photography there is good reason. It has to do with television, most modern of the arts." The photos show the facilities at Radio City and the Empire State Building. The new technology is on full display, with the Iconoscope Camera shown in one image and various transmitters, microphones and other pieces of equipment shown in others. One image at the Radio City studios shows Lanny Ross, another shows the composer Walter Damrosch seated at a piano. The last few photographs - these without the internal NBC markings - show the first series of broadcasts from afar, some showing the United Airlines-equipped Research ship in its journey over Manhattan, another showing the Billy Soose boxing match of 1941 in Madison Square Garden. Another image printed in the 1950s shows the first ever NBC telecast in 1930, a single close-up of a Felix the Cat doll. A scarce collection, and significant documentation of the early television age in America. We find no record of these images in the Getty NBC-Universal archive. Photographs generally well preserved in very good condition with some stray marks on versos, overall quite well preserved.
Portrait of Charlie Parker Playing Table Tennis

Portrait of Charlie Parker Playing Table Tennis, c. Early 1950s

[Music] [Jazz] [Parker, Charlie] Morehead, Howard Los Angeles, 1950. Silver gelatin print, 8 x 10 inches. With Morehead's marks to verso. A scarce and perhaps unrecorded image of Charlie Parker playing table tennis, likely taken in Los Angeles, by the pioneering Los Angeles-based African-American photographer Howard Morehead. Morehead, originally from Topeka, Kansas, served as member of the Tuskegee Airmen in World War II, later studying photography at Los Angeles City College, motion picture photography at USC, before getting a job as the news photographer for the Los Angeles Sentinel in the 1950s. By 1958 he became the first West Coast staff photographer for Johnson Publications, with his work appearing in Jet and Ebony magazines. He would later become the first African-American cameraman to work for a Los Angeles television station. We find specific reference to a party at the Zorthian Ranch in 1952 in which Parker was found in an inebriated state playing table tennis. Parker also performed at the party, and a recording of his performance was recovered and released many years later. This picture was likely taken around this period, when Parker's health was in decline due to drug use, and at the beginning of Morehead's professional career as a still photographer. Overall well preserved in excellent condition with good contrast. We find no examples of Morehead's work on the market. From the collection of Jazz photographer Jack Bradley, with his marks to versos along with Morehead's.