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17 posts categorized "Americas"

25 September 2017

Following Sarah Royce

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In 1849, Sarah Royce left her Iowa home and set off with her husband and daughter for California. Reading Royce’s stoic memoir, A Frontier Lady (New Haven: Yale University Press, 1932; shelfmark: 010409.ee.40) I wondered how she really felt as she crossed America in pursuit of her husband’s dreams. My curiosity evolved in my second novel, which follows two women from Chicago to California during the Gold Rush.

HannahRoycebook 4jpg

 Sarah Royce. A Frontier Lady: Recollections of the Gold Rush and Early California. New Haven: Yale University Press, 1932. (Shelfmark: 010409.ee.40) 

I’ve been studying first-hand accounts of other women who made that very journey—from the good-natured letters of Mary-Jane Megquier to the pessimistic journal of Mary Bailey. But though these accounts are often vivid, I’ve struggled to imagine the landscapes they describe—the blankness of the plains, the bitter waste of the desert, the steep green relief of the Sierras. So, with the support of the Eccles Centre, I decided to make the journey myself.

The California Zephyr train travels the 2,438 miles from Chicago to San Francisco. It broadly follows Royce’s route; but where Royce’s journey took six months, the train takes fifty-two hours. It was a thrill to watch scenery I’d previously encountered only in books—the lonely prairies, the great bloody sunsets, the strange sunken rivers of the high desert.

Hannahprairie

The prairies of Iowa. Image, author's own.

Seeing the landscape first-hand made a journey that was previously only an idea, a reality. And while I often encountered the unexpected—I hadn’t grasped that the trail was continuously flanked by mountains from the onset of the Rockies, nor had I anticipated that the Utah desert would look so like the moon—much of the landscape was as I had pictured it in the library.

Hannahsunkenriver

A sunken river in Utah. Image, author's own.

The trip was revelatory; but it also gave me confidence to write what I’d already imagined. For me, confidence is one of the most important outputs of researching fiction. As Zadie Smith said, “It’s such a confidence trick, writing a novel. The main person you have to trick into confidence is yourself.”

Hannah Kohler

Hannah is a joint winner of this year's Eccles British Library Writer's Award. More information about this Award, and all of the Eccles Centre's activities, can be found at www.bl.uk/eccles-centre 

Sources: Apron Full of Gold: The Letters of Mary Jane Megquier from San Francisco, 1849-1856, edited with an introduction by Polly Welts Kaufman. Albuquerque: University of New Mexico Press, 1994 (shelfmark: YA.1995.a.22660); Ho for California!: Women's Overland Diaries from the Huntington Library, edited and annotated by Sandra L Myres. San Marino: Huntington Library, 1980 (shelfmark: Document Supply 80/24701).

 

20 September 2017

‘Stealing Signs’: Baseball, Past and Present

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Cheating in baseball is as old as the game itself. Whether a pitcher doctors the ball with saliva making it difficult to hit, a runner deliberately spikes an opposing fielder as he slides into base, or a batter uses a ‘corked’ bat to get extra propulsion on the ball, underhand practices are part and parcel of America’s national pastime. But recent allegations that the Boston Red Sox unlawfully used high-tech Apple watches to gain an advantage over their biggest rivals, the New York Yankees (New York Times, 5 September 2017), has reignited the debate about the blurred line between gamesmanship (bending the rules) and outright cheating.

The case against the Red Sox centres on allegations of ‘stealing signs’ from their opponents – spotting the coded gestures made by the fielding team which indicate what type of pitch is likely to be thrown - and relaying them to the batter via an Apple watch worn by one of the Red Sox coaches. In baseball’s complex code of honour ‘stealing signs’ is acceptable, but using electronic aids to help you do so is officially foul play.

While the baseball authorities ponder what punishment, if any, to impose on the Red Sox, they may find themselves considering a remarkably similar case of technology and cheating, which made headlines more than a century ago. The story involves a Philadelphia Phillies coach called Pearce ‘Petie’ Chiles and an electronic buzzer buried beneath his feet.

Pearce_Chiles

Pearce Chiles. Wikimedia Commons.

It is recalled in detail by Joe Dittmar in the 1991 edition of The Baseball Research Journal, one of multiple volumes of the annual Historical and Statistical Review of the Society for American Baseball Research held in the British Library’s Mike Ross Collection of baseball books and memorabilia.

The scheme to ‘steal signs’ deployed by Chiles back in 1900 was ingenious and surprisingly sophisticated: a co-conspirator sat in the stands equipped with a spyglass to spot the signs made by the opposing catcher. He then sent a signal to an electronic buzzer in a wooden box buried beneath the spot where Chiles stood to coach on the third base line. Each sequence of buzzes represented a certain type of pitch and Chiles would tell the Phillies batter what pitch to expect next. The subterfuge was only uncovered when an opposing fielder’s suspicions were aroused by the strange jerking movements made by Chiles each time the buzzer went off. The fielder dug up the ground with his spikes and struck the outside of the buried box, revealing a mass of wiring. The Phillies had been caught red-handed, but there was no admission of guilt and no official reprimand. Today’s Red Sox will be hoping for similar leniency.

Stories of deceit, dishonesty and playing fast-and-loose with the rules are woven into baseball folklore and recounted in numerous items held at the Library: from John McCallum’s account of the legendary Ty Cobb sharpening the spikes on his boots just to inflict injury on opponents in The Tiger Wore Spikes: An Informal Biography of Ty Cobb (New York,  1956; shelfmark General Reference Collection, Mike Ross 144) to Eliot Asinof’s classic narrative of the ‘fixed’ 1919 World Series, Eight Men Out: The Black Sox and the 1919 World Series (New York, 1963; shelf mark DSC W55/1273).

1919_blacksox

Chicago White Sox, 1919. Image in Wikimedia Commons. PD-US

While the Commissioner of Baseball and president of Yale, Bart Giamatti, loftily pronounced baseball ‘a living memory of what American culture at its best wishes to be,’ perhaps Dan Gutman’s compilation of stories about baseball’s shadier side captures the essence of the sport’s moral ambiguity rather better: It Ain’t Cheatin’ if You Don’t Get Caught (New York, 1990; shelfmark General Reference Collection, Mike Ross 304).

Baseball ain't cheatin

 Dan Gutman. It Ain't Cheatin' If You Don't Get Caught. New York: Penguin Books, 1990. Shelfmark: General Reference Collection, Mike Ross 304.

Chris Birkett is undertaking postgraduate research on the Clinton Presidency at King's College London, where he is a Professor Sir Richard Trainor Scholar, supported by the Eccles Centre at the British Library.

 

25 August 2017

Miniature books: a Lilliputian world - Part two

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From 18th century to our days

Undoubtedly philosophers are in right, when they tell us that nothing is great or little otherwise than by comparison… [1].

A detail from the book Gulliver’s Travels, illustrated by Rex Whistler (London: The Cresset Press, 1930), vol. I, p. 87 [Shelfmark: C.100.l.14.]

 

As I continued my research on miniature books, I felt as Gulliver arriving at Brobdingnag, a little creature discovering a gigantic world, and assuming that the books world itself is a vice-versa dimension depending on how you look at it: what is a book but a tiny object in comparison to what it can actually contain?

In the first part of the journey, the leitmotif of the narration was to investigate the origins and meaning of the miniature books world, discovering that they were not only as old as their standard size counterpart, but were also responding to practical necessities.

Coming closer to our times, there has been a decisive peak in the production chart of Lilliputian books between the 18th and 19th century, when a profound love for small books is registered amid American and European publishers.

Some of the most prolific printers and publisher, for example, were Mein and Fleming in Boston, Isaiah Thomas in Worcester, Mass., Mahlon Day and Samuel Wood in New York, with a substantial counterpart in United Kingdom with Elizabeth Newbery and her successors and imitators in London, and in France with the Parisian J. B. Fournier. During this period, miniature books became increasingly popular in America, a historical moment also known as the “Golden Age” of minute print production [2], particularly thanks to a fruitful market demand of miniature chapbooks and almanacs [3]. The invention of lithography, the industrial revolution, and the improvement of railways and postal services have played a decisive role in increasing the production and distribution of miniature books [4].

The American Ladies & Gentlemens Pocket Almanac and Belles Lettres Repository for 1802 (New York: David Longworth, 1801), measures 4 5/8” x 2 3/4” [in cataloguing process]

 

The same rise in circulation is ascribable to the many series editions of Children’s books. At the end of the 18th century, the editorial production for children was strongly fuelled by the theories of Jean Jacques Rousseau, who argued that the main aim of education was to develop the natural man, which promoted the study of natural science. Therefore a proliferation of miniature books dedicated to biology, astronomy, geography, ethnology, and political economy, is recorded in the last quarter of the century.

At the start of the 19th century, there is a marked decrease of publications following this didactic trend, with a move towards works influenced by the theories of Friedrich Fröbel, a German pedagogue who claimed that the education of tender minds also needs to contemplate imagination and daydream. As a result, fairy tales and fables were produced for young public in the miniature form [5].

An example of this latest educational trend is offered by two miniature chapbooks belonging to the American Collection. The first, Pretty Stories for Pretty Children is one of the fruits of the long life stationary store in Newark, New Jersey, of Benjamin Olds. Active from 1816 to 1865, Olds’ workshop published three series of the twelve-book set Cobb’s Toys (8, 10, 11), making the 1835 edition the first miniature series produced in New Jersey, followed by a successful second series [6].

Lyman Cobb, Pretty Stories for Pretty Children (Newark, N. J.: Benjamin Olds, 1835), measures 3 3/4” x 2 1/4” [in cataloguing process]

 

The second sample, The Christmas Dream of Little Charles, is the product of the Kiggings and Kellog’s stationary, a very well established firm specialised in children’s books with two prolific printing presses active in New York from 1849 to 1866 at 88 John Street, and at 123 and 125 William Street [7].

The Christmas Dream of Little Charles (New York: Kiggins & Kellogg, 1860), measures 3 5/8” x 2 1/4” [in cataloguing process]

 

In the early years of the 20th, century the interest in miniature books has continued, offering new available subjects for renewed demands. The Bible, the Child’s Bible and the Koran were generously printed by Americans and Europeans to be spread all around the world. However, the new trend was surely a mass distribution of travel books and dictionaries. For example the edition of thousands of tiny dictionaries, in all possible combinations of European languages, published by Schmidt and Gunther of Leipzig in the series Lilliput-Dictionaries, or their prolific Lilliput Bibliothek, proposing a complete reading of German classics such as Heine, Lessing, Goethe, Schiller and others. Both editions measure only 2 x 1 ¼ inches [8].

The mid-20th century continued on the track of the accurate production of proclamations, addresses, and presidential campaigns of the previous century. In this respect, particularly touching has been learning of the history of the Abraham Lincoln’s Emancipation Proclamation miniature edition. A million copies of the first complete book were produced with the intent to be distributed to Union soldiers and Southern slaves. Declaring freedom from slavery, it also invited “the free colored inhabitants of Louisiana” to join the Armed Forces against the Southern States [9].

Abraham Lincoln, The Proclamation of Emancipation by the President of the United States (Boston: John Murray Forbes, 1863), measures 3 1/4 x 2 1/8. Photographic reproduction of an illustration taken from Miniature books: 4000 years of tiny treasures, by Anne C. Bromer, Julian I. Edison (New York: Abrams; New York: The Grolier Club, 2007), p. 156 [Shelfmark: LC.31.a.5071]

 

Acclaimed as one of the most outstanding contributors and dedicated amateur, Achille J. St. Onge has been a prolific producer of this refined genre. Starting his career as publisher of sophisticated editions of the inaugural addresses of American Presidents, beginning with Thomas Jefferson in 1943, he has also dedicated beautiful editions to Her Majesty Queen Elizabeth II [10].

The American Collection holds a very prestigious St. Onge sample edition, and one of his last creations. The addresses of her Majesty Queen Elizabeth II, delivered at Westminster Hall and Guildhall on the occasion of Her Silver Jubilee 1952-1977 (Worcester, Mass.: Achile J. St. Onge, 1977).

The addresses of her Majesty Queen Elizabeth II, delivered at Westminster Hall and Guildhall on the occasion of Her Silver Jubilee 1952-1977 (Worcester, Mass.: Achile J. St. Onge, 1977). “One special copy illuminated by Margaret Adams for presentation to Her Majesty the Queen”--Colophon. Measures 2 3/4 x 1 7/8 [in cataloguing process]

 

As we get more close to our days, the small but significant collection I am working on within the North American Collections, has also offered the occasion to explore modern manufacturing processes of the minute prints. Starting from the 1870s, the definition of miniature artists’ books began to have wider recognition. The art of book crafting together with poetry and design masterfully flow into a miniature container [11].

A Dog’s Tail, printed by Anicka and Gaylor Schanilec, (United States: Midnight Paper Sales & Flaming Cat Press, 2004), measures 1 1/2” x 1 1/8” [in cataloguing process]

 

The latest decades are definitely witnessing a revival of the ancient art of book craft. A brilliant example of the art of making books by hand is offered by two of the most important contemporary miniature book-artists [12]. Peter and Donna Thomas met each other at an Elizabethan-themed market town in California where they were crafting books following the late Middle Ages typographical techniques, from handmade paper preparation to illustrations and bindings. Since the 1970s, the couple has documented the art of papermaking, and book crafting producing exquisite artist’s books containing fascinating historical topics [13].



Peter Thomas, Donna Thomas, Train Depots (Santa Cruz: Peter and Donna Thomas, 2008), measures 3” x 2 1/8” [in cataloguing process]

 

Very few other private presses have accomplished to the challenge of putting together the whole process of book creation (writing the text, preparing the colour illustrations, hand cutting and setting the types, hand making the paper, letterpress printing, and binding), “none have published more books that the Thomases”, which described their first years of art working as a learning experience involving a lot of practice [14].



Donna Thomas, Bathed in Such Beauty: A pictorial Ramble on the John Muir Trail; with a quote by John Muir (Santa Cruz : Peter & Donna Thomas, 2016), measures 4 x 3 1/4 [in cataloguing process]



Miniature books: a Lilliputian world - Part one


Annalisa Ricciardi is currently working as Cataloguer of the American Studies Collections. She is working on a heterogeneous collection of extraordinary interest and artistic value of American fine press and artists’ books, such as limited, numbered, and rare editions chronologically placed between 18th and 21st century.


[1] Gulliver’s Travels, illustrated by Rex Whistler (London: The Cresset Press, 1930), vol. I, p. 91 [Shelfmark: C.100.l.14.]
[2] Doris V. Welsh, The history of miniature books (Albany, New York: Fort Orange Press, 1987), pp. 41, and 41-45 [Shelfmark: 2708.e.1550].
[3] Robert C. Bradbury, Antique United States miniature books, 1690-1900 (No. Clarendon, Vermont, The Microbibliophile, 2001), pp. 3-7, and 7-14 [Shelfmark: YD.2005.a.4829]. For a complete reading, see by the same author also: Twentieth century United States miniature books (No. Clarendon, Vermont, The Microbibliophile, 2000) [Shelfmark: YD.2006.a2436], and Miniature Almanac, in Welsh, The history of miniature books, pp. 77-81; English Almanacs and calendars of the 18th and 19th centuries, and French, German, Austrian, and other European almanacs, in Louis W. Bondy, Miniature books: their history from the beginnings to the present day (London: Sheppard Press, 1981), pp. 39-47; 48-56 [Shelfmark: 2708.e.223].
[4] The 19th century, the supreme age of miniature books, in Bondy, Miniature books, pp. 57-58 [Shelfmark: 2708.e.223].
[5] Welsh, The history of miniature books, pp. 74.
[6] Bradbury, Antique United States miniature books, pp.123-124.
[7] Ibidem, pp. 159-161.
[8] Welsh, The history of miniature books, pp. 47, and Newsletter of the LXIVmos, no. 11 (October 15, 1928), pp. 3-4 [Shelfmark: P.P.6491.cae.].
[9] Presidents, politics, and propaganda, in Anne C. Bromer, Julian I. Edison, Miniature books: 4000 years of tiny treasures (New York: Abrams; New York: The Grolier Club, 2007), p. 156 [Shelfmark: LC.31.a.5071].
[10] The miniature books of today and tomorrow, in Bondy, Miniature books, pp. 169-171, and Presidents, politics, and propaganda, in Bromer and Edison, Miniature books, pp. 156-158.
[11] On the consolidation of the artist's books as an autonomous genre, see: Stefan Klima, Artists books: a critical survey of the literature (New York: Granary Book, 1997) [Shelfmark: YD.2015.a.1556].
[12] On the art of making miniature books, see: Peter and Donna Thomas, More making books by hand: exploring miniature books, alternative structures and found objects (Hove: Apple Press, 2004) [Shelfmark: LC.31.a.3315].
[13] The art of the book, in Bromer and Edison, Miniature books, pp. 42-43, 196-197; Twentieth century United States miniature books, pp. 302-308.
[14] Twentieth century United States miniature books, pp. 302-303.

 

09 August 2017

Miniature books: a Lilliputian world - Part one

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Since when and why

In a little time I felt something alive moving on my left leg, which advancing gently forward over my breast, came almost up to my chin; when, bending my eyes downwards as much as I could, I perceived it to be a human creature not six inches high, with a bow and arrow in his hands, and quiver at his back… [1].


A particular from the book: Gulliver’s travels, illustrated by Rex Whistler (London: The Cresset Press, 1930), vol. I, p. 15 [Shelfmark: C.100.I.14]

 

I like to report on my first encounter with the miniature books world as a moment that was like waking up from my ordinary library day of submersion in beautiful American artists’ books, and discovering an exciting alternative reality made of miniature items. I perceived that these objects almost animated, approximately three or four inches tall, kindly throwing darts of curiosity at me with their bows loaded with charm. I immediately fell enamoured with them, and it did not take long before my desk was busy with library materials on miniature books.

“For those of us who have been bitten by this particular bug” [2] there is nothing left to follow the appeal of the beauty offered by the small miniature art masterpieces.


Some of the books consulted for my research, and on top the little: A dog’s tail, printed by Anicka and Gaylor Schanilec, (United States: Midnight Paper Sales & Flaming Cat Press, 2004), measures 1 1/2” x 1 1/8” [in cataloguing process]

 

Wondering ‘why’, and ‘since when’ have been the guideline of my innocent journey into the history of the little items. One of the first things I learned is that as old as the discovering of the written world is its counterpart in the miniature form. Secondly, I acknowledged that this world is regulated by laws, and for that, you will define as miniature books only those which respect the standard of being possibly even less than three inches but no more than four, and almost as it was heresy, five.

Defecting from the established rules in fact, an item of four inches or little more would only be a pain for a purist, and a joke for all artisans involved, printers, binders, papermakers, illustrators, illuminators, and engravers who would give all the very best of their art under more challenging and extreme circumstances from one to three inches.

It is said that to reach the completion of the 1878 Dante’s Divina Commedia edition (Padua: Salmin), also known as the “Dantino”, many artisans were injured: the necessary operations of preparing and cutting the types caused a serious injury “to the eyesight of both the compositor and corrector. It took one month to print thirty pages, and new types were necessary for every new form.”. Around the 70’s of the 19th century, two brothers from Padua, Italy, together with a small team of professionals such as casters, compositors, and correctors, developed an unprecedented minuscule typefaces, which they named carattere a occhio di mosca (fly’s eye type), and that was firstly used for the micro Dante’s masterpiece. The measures of the book are 1 1/4” x 1 3/4”, and it is only readable trough a magnifying glass [3].






The book of the world, by Irene Chan (Baltimore?: Ch'An Press, 2000), measures 1” x 1” (box). The text of this miniature book consists of an excerpt of John Dalton's 1808 Atomic Theory. The illustration is an image of Dalton's elastic fluids drawing that looks like the eye [in cataloguing process]

 

Indulging in more technical details, you would call a miniature book a 64mo. A single leaf of paper folded 64 times, originally printed with 64 pages on each side of it, and then scrupulously folded in order to bring up the correct sequence of the pages. The size of the pages are obviously determined by the size of the original master sheet, but a 64mo would inevitable be around 3 to 5 inches [4].

The purpose of creating, producing and collecting miniature books is two-fold: firstly, the practicality and secondly, personal pleasure, and the sense of beauty in small objects. Before Gutenberg, for matters European, miniature manuscripts were periodically produced completed with illuminations. Subsequently, the production of miniature books has continued to reflect the latest progresses of print machines and processes. There were miniature books printed in early Gothic and incunabula type characters, or in the earliest Greek types, Hebrew and so on. As in a shrinking mirror they were reflecting all new type acquisitions and binding progress [5].

Little books were simultaneously produced in the centuries alongside regular standard, so that men and women of faith could easily bring with them their collection of psalms and devotional books, students could carry their small library in a pocket, smugglers of ideas could easily hide tiny booklets in a secret bottom of their cape, merchants could quickly retrieve from their belt a tiny but complete guide on the equivalence of grains prices, scales, measures and conversion, and foreign currencies value meanwhile closing a deal, or that sharp businessmen could brilliantly define a legal contract.

It has been for that purpose that some of the earliest examples of books on miniature support were produced during the Babylonian Empire, as for the case of two small cuneiform tablets of Ancient Mesopotamia which preserve an antique writing system and concern trade and administrative issues. One of them, a clay tablet dated back to the 7th year of the reign of Bur-Sin, circa 2325 B.C., comes from the region of Ur, today Iraq, and measure only 1 5/8” x 1 1/2”. It contains extremely useful information while dealing with barley and bran for sheep (1), and the other, a Babylonian clay tablet from Senkereh, now Iraq, is dated 2200 B.C., and measure 1 7/8” x 1 1/4”, it was also used in the trading of animals and provisions (2).


(1), and (2). Photographic reproduction of an illustration taken from Miniature books: 4000 years of tiny treasures, by Anne C. Bromer, Julian I. Edison (New York: Abrams ; New York: The Grolier Club, 2007), pp. 11-12 [Shelfmark: LC.31.a.5071]

 

Another beautiful miniature object is the world’s first printing on paper. A very tiny scroll 23/8” tall obtained from wood blocks, is dated back to 770 A. D. and is well known as the D’harani prayer. Only the story of its origins is as enchanting as the scroll itself. With the aim of spreading awareness on Buddhism, the Japanese Empress Shotoku, gave order to print a million copy of these prayer-scrolls encased in charming wooden pagodas, then asked they be distributed all over the country divided among ten Japanese temples, a project which required over six years of continuous work [6].


A rare example of the D’harani prayer (23/8” tall) as illustrate by the Library of Congress Asian Collection



Miniature books: a Lilliputian world - Part two


Annalisa Ricciardi is currently working as Cataloguer of the American Studies Collections. She is working on a heterogeneous collection of extraordinary interest and artistic value of American fine press and artists’ books, such as limited, numbered, and rare editions chronologically placed between 18th and 21st century.


[1] Gulliver’s travels, illustrated by Rex Whistler (London: The Cresset Press, 1930), vol. I, p. 18 [Shelfmark: C.100.I.14].
[2] Louis W. Bondy, Miniature books: their history from the beginnings to the present day (London: Sheppard Press, 1981), p. 3 [Shelfmark: 2708.e.223].
[3] Louis W. Bondy, Miniature books, pp. 93-95; and Anne C. Bromer, Julian I. Edison, Miniature books: 4000 years of tiny treasures, (New York: Abrams ; New York: The Grolier Club, 2007), pp. 47-49, 114 [Shelfmark: LC.31.a.5071].
[4] Doris V. Welsh, The history of miniature books (Albany, New York: Fort Orange Press, 1987), pp. 5-11 [Shelfmark: 2708.e.1550].
[5] Welsh, The history of miniature books, p. 2.
[6] Miniature books from the collection of Julian I. Edison (St. Louis, Missouri: Washington University), pp. 1-2 [Shelfmark: Cup.406.j.11]. See a rare example of the D’harani prayer as illustrate by the Library of Congress Asian Collection page: https://www.loc.gov/rr/asian/guide/guide-japanese.html

 

30 June 2017

Stamp for Independence: A brief philatelic tour of the Declaration of Independence

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With the 4 July holiday fast approaching, it is timely to review some of the British Library’s Philatelic Collections relating to the Declaration of Independence and its commemoration.

Revenue stamps played a fundamental role in the conditions enabling such an extraordinary historical document to be created and signed. Defending the American Colonies during the Seven Years War (1757-1760) as well as the costs incurred by maintaining a subsequent military presence throughout the region was an expensive undertaking for Britain. Consequently Parliament felt the colonies should contribute towards the cost. In 1765 the Grenville Ministry passed a Stamp Act taxing a wide range of legal documents, playing cards, newspapers and other printed material. Proof of payment of these taxes was demonstrated by the presence of an embossed stamp applied upon the paper prior to use. Opponents to the tax in both Britain and the American Colonies argued that it violated the colonist’s rights as Englishmen to be taxed without their consent. Using the slogan “No taxation without representation” significant political pressure was placed upon Parliament, resulting in the Act being repealed on 18 March 1766. Despite this U-turn in government policy, the relationship between Britain and her American Colonies was permanently damaged and the episode was one of the major grievances outlined in the Indictment of George III within the Declaration of Independence.

All of the embossed revenue stamp dies for the 1765 Stamp Act can be found within the Board of Inland Revenue Stamping Department Archives of the British Library’s Philatelic Collections. They were all engraved in the summer of that year by Thomas Major (1720-1799) employed at the Stamp Office between 1757 and 1799. The IIII PENCE stamp, die letter A (Image 1) attempted to raise revenue from colonial trade by being applied to bills of lading for any goods for exportation, or any cockett or clearance granted within the Colonies and Plantations of America.

1

 The III PENCE stamp, die letter C (Image 2) aimed to raise revenues from a wide range of legal transactions within the Colonies by being applied to legal documents including declarations, pleas, petitions, bills, claims, grants and deeds.

2

Finally the TEN POUNDS stamp (Image 3) was to be embossed upon licenses, appointments or admissions of counsellors, solicitors or attorneys.

3

While postage stamps were not invented for another sixty four years,  the Declaration of Independence has been widely commemorated upon postage stamps world-wide. The Tapling Collection within the British Library’s Philatelic Collections possesses the world’s first stamp commemorating the Declaration of Independence. The vignette engraved by James Smillie (1807-1843) on the United States of America 1869 Issue, 24 cent stamp is based upon the famous painting by John Trumball (1756-1843). The painting depicts the signing of the declaration of independence and is displayed within the Senate’s Rotunda in Washington DC.

4

The Crown Agent’s Philatelic and Security Printing Archive housed within the British Library’s Philatelic Collections also contain a range of material commemorating the Declaration of Independence.  The original artwork for the St Kitts-Nevis 26 July 1976 Issue designed by John Waddington Security Printers, yet printed by Questa Colour Security Printers, commemorates the bicentenary of the American Revolution. The design for what became the 20 cent stamp (Image 5) displays a portrait of the African American Crispus Attucks (c. 1723-1770) next to a detail depicting the Boston Massacre.

 

5

This was another major event contributing towards the eventual creation and signing of the Declaration of Independence. In 1768 British Soldiers were dispatched to Boston following a spate of attacks upon colonial officials. Instead of quelling discontent, the military’s presence at Boston exacerbated the situation. On the evening of 5 March 1770 a crowd of colonists confronted a sentry who had chastised a boy for complaining that an officer had failed to pay his barber’s bill. Snowballs and debris were hurled by the crowd at the troops. Meanwhile Attucks with some men armed with clubs approached the Old State House, where someone accompanying Attucks struck a soldier with a piece of wood resulting in the troops firing their muskets. The future second President of the United States, John Adams (1735-1826) successfully defended the British Soldiers during their trial, an event memorably acted out by Paul Giamatti for the first episode of the award winning 2008 HBO mini-series John Adams. Nevertheless, as the first of five colonists killed on that night, Crispus Attucks was immortalised as the first martyr for American Independence  being commemorated in songs and popular culture ever since.

6

The original artwork for what became the 45 cent stamp (Image 6) includes a portrait of Thomas Jefferson (1743-1826) the author of the Declaration of Independence. To his left is another rendering of John Trumbull’s painting whilst the background also displays some of the original signatures from the Declaration manuscript.

The Barbados 17 August 1976 Issue designed by George Vasarhelyi and printed by Walsall Security Printers also commemorates the bicentenary of the American Revolution. However it focuses upon the links between Barbados and the United States of America.  The original artwork for the 15 cent stamp displays a map and colonial flag for the British Colony of South Carolina with the statement that it was founded by Barbadians.

7

The 25 cent stamp (Image 8) commemorates George Washington’s (1732-1799) visit to Bridgetown, Barbados as a young man in 1751, depicting a portrait of Washington pointing towards a map of St Michael’s Parish.

8

The 50 cent stamp (Image 9) contains an artistic rendering of the Declaration of Independence manuscript, thereby recognising its centrality in the American Revolution and struggle for independence.

9

Finally the Seychelles Islands were granted independence on 29 June 1976, the same year as the bicentenary of the American Revolution.  The two events were commemorated together upon the Seychelles 12 July 1976 issue designed and printed by John Waddington Security Print Ltd.

10

The 1 rupee stamp (Image 10) depicts the flags of the Seychelles and United States of America besides one another.

11

The 10 rupee stamp (Image 11) juxtaposes images of the Seychelles State House alongside the State House, Philadelphia where the Declaration of Independence was originally signed on 4 July 1776.

 

By Richard Scott Morel

Curator, Philatelic Collections

Related material

The British Library, Philatelic Collections:  Board of Inland Revenue Stamping Department Archive.

The British Library, Philatelic Collections: The Tapling Collection, United States of America.

The British Library, Philatelic Collections: The Crown Agents Philatelic and Security Printing Archive.

02 May 2017

Women in the California Gold Rush

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I’m using my 2017 Eccles British Library Writer’s Award to research and write my second novel, Catspaw, which follows two women from Chicago to the Sierra foothills during the California Gold Rush. Women are largely excluded from the mythic-historic narrative of the Gold Rush. Those that do appear are marginal, stereotypical characters: the long-suffering, godly pioneer mother (Sarah Royce), or the savvy prostitute (Belle Cora). I want to tell a story of two women who don’t conform to these stereotypes.

Helen Carpenter Hannah blog

Portrait of Helen Carpenter (Courtesy of the Edward E. Ayer Collection, the Newberry Library, Chicago), from Ho for California!: Women's Overland Diaries from the Huntington Library, edited and annotated by Sandra L. Myres. San Marino: Huntington Library, 1980 Shelfmark: 80/24701

Women were in the minority in the 1849 migration west; but they were there, and they encountered difficulties and opportunities that were unimaginable back east. I wanted to understand the experiences of these women in their own words. Sarah Royce’s renowned memoir, A Frontier Lady (New Haven: Yale University Press, 1932; shelfmark 010409.ee.40) left me with more questions than answers. Written at the urging of her philosopher son Josiah Royce, it tells the story he wanted her to tell—one of Christian fortitude as foundational to California. It left me wondering how she really felt as she left Iowa with her somewhat hapless husband and toddler daughter, bound for the unknown. John Irving wrote that "all memoir is fiction"; but I wanted to read female first-hand accounts that weren’t so starkly in service of a higher narrative.

Mary Jane Megquier small

Portrait of Mary Jane Megquier, from a daguerreotype about 1853, from Apron Full of Gold: The Letters of Mary Jane Megquier from San Francisco, 1849-1856. Edited by Robert Glass Cleland. San Marino: Huntington Library, 1949. Shelfmark: W.P.9803/40

The Eccles Centre’s bibliographical guide, Women in the Trans-Mississippi West, 1840-1900 (London: British Library, 1999; shelfmark YC.2000.a.575 ), helped me locate these accounts. From the letters of the outspoken Mary Jane Megquier, with her longing for "a line" from home and her good-natured complaints of "jiggers in [her] feet, a small insect that lays its eggs in your flesh"; to the witty journal of Helen Carpenter ("there is nothing in sight to merit the name Rocky Mountains—no rocks"); to the letters of Louise Clappe, with her sheer enchantment with "this solemnly beautiful wilderness"—these first-hand accounts are invaluable in helping me develop the voices of my female protagonists. I can’t imagine writing my novel without them.

Hannah Kohler

References: Apron Full of Gold: The Letters of Mary Jane Megquier from San Francisco, 1849-1856. Edited by Robert Glass Cleland. San Marino: Huntington Library, 1949. (Shelfmark: W.P.9803/40); California in 1851: The Letters of Dame Shirley, introduction and notes by Carl I. Wheat. San Francisco: Grabhorn Press, 1933. 2 vols. (Shelfmark: YD.2004.a.1634 & YD.2004.a.1493); Ho for California! Women's Overland Diaries from the Huntington Library, edited and annotated by Sandra L. Myres. San Marino, CA: Huntington Library Press, 1980. (Shelfmark: 80/24701

08 March 2017

Marking International Women’s Day: The Lowell Offering

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To celebrate International Women’s Day we’re showcasing The Lowell Offering (1840-45), an extraordinary periodical that students from Royal Holloway asked to see when they attended a research training session here last week: and with good reason! In its short life this monthly periodical provided female textile workers in Lowell, Massachusetts – where women comprised 75% of the workforce – with a unique opportunity to see their poetry, ballads, songs, historical and religious essays or works of fiction in print.

Lowell first 12 

The Lowell Offering, Vol. 1, 1840; shelfmark P.P.6242

Perhaps surprisingly – given the ‘dark satanic mills’ of Victorian Britain – many women in New England initially regarded factory work as a well-paid alternative to teaching. The literacy rate amongst the operatives was high, and the creation of self-improvement societies was widespread; indeed, the Offering sprang from one such group. Writing about its origins, Harriet Farley – the Offering’s second editor – recalled that her group met fortnightly to read and listen to the written contributions of its members. Gradually the membership declined, yet the quality of the contributions kept improving and someone suggested compiling the contributions into ‘a little book’. This idea ‘was talked about in whispers’ but was soon supplanted by something even more audacious: a plan to publish a monthly periodical. Farley recalls:

We shall never forget our throb of pleasure when first we saw The Lowell Offering in a tangible form, with its bright yellow cover; nor our flutterings of delight as we perused its pages. True – we had seen or heard the articles before; but they seemed so much better in print. They appeared, to us, as good as any body’s writings. They sounded as if by people who never worked at all. The din and clatter of the mills had not confused the brains of the writers, and no cotton fuzz had obscured the brightness of their ideas… (The Lowell Offering, November 1842: shelfmark P.P.6242)

The Lowell Offering was funded through subscription and undoubtedly proved more successful than its contributors could ever have anticipated. In time, however, it was criticised both by mill-owners, who resented the way in which the women reflected (both directly and indirectly) upon life in the mills, as well as by reformers who believed it should take a far tougher stand against factory conditions. In 1845 it was discontinued, but two years later, Farley started The New England Offering – ‘Written by Females Who Are or Have Been Factory Operatives’ – which ran until 1850.

New england offering 12

The New England Offering, 1849; shelfmark P.P.6242

For nearly a decade, the Lowell and New England Offerings gave these women a singular creative outlet; for readers today, they provide a unique insight into the women’s inner and professional lives during a period of rapid industrialisation and social change.

References: The Lowell Offering, Lowell. Mass., 1840-45. Shelfmark: P.P.6242; The New England Offering. Lowell, Mass., 1847-1850. Shelfmark: P.P.6242

11 February 2017

The Flint Sit-down Strike, 1936-37

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Eighty years ago today – following a 44-day sit-down strike at their plant in Flint, Michigan – General Motors (GM) formally recognised the United Automobile Workers (UAW) as the sole bargaining authority for the striking workers.

Flint Wikimedia
Wikimedia Commons, provided by Farm Security Administration. LC-USF34-040028-D.

It is almost impossible to over-estimate the impact this recognition had upon both the unionisation of the American automobile industry and the labour movement across the United States.

In the early years of the Great Depression, increased workloads and cuts in pay were commonplace across the auto industry. In 1935, the average auto worker’s income was barely half that deemed by the government to be a minimum for a family of four. The following summer, hundreds of workers died in Michigan auto plants due to the heat wave and on-going poor working conditions. Theoretically, such conditions made these plants ripe for union organisation. However, strikes in 1930 and 1934 had been viciously broken up by the Flint police, aided by company informers; indeed, GM paid $839,000 for detective work in 1934 alone (1).

In 1935, the passage of the National Labor Relations Act – which legalised strikes – invigorated the Congress of Industrial Organizations' efforts to unionize industrial plants across the US. The following summer, UAW officials unaffiliated with existing (GM-infiltrated) locals began organising in Flint – an audacious plan, given it was essentially a company town; yet, they recognised the pay-off could be enormous. To avoid detection, they met with workers in their own homes and encouraged them to join; many did so. General Motors’ reaction was swift. On 29 December union leaders learned that over the New Year’s holiday the company planned to remove the huge and vital ‘dies’ used to make car bodies. If this happened, cars could be made elsewhere, thereby weakening the union’s strategic position. Recognising what was at stake, the workers refused to leave the plant.

The next 44 days were unprecedented in the history of American labour. Inside the plant, the workers organised themselves into committees for cleaning, defence, entertainment and exercise, while supporters outside brought them food and supplies.

  Flint wikimedia meal

Wikimedia Commons, provided by Farm Security Administration (LC-USF34-040031-D).

Finally, on 11 February 1937, GM signed an agreement recognising the UAW, and agreeing not to discriminate against those workers who had struck. The following year, nearly one-hundred sit-down strikes took place in auto plants across the country; UAW membership rose from 50,000 to 300,000; and auto worker wages rose by as much as 300%. This historic sit-down strike presaged a decade of intense union activity across American industry, and an extraordinary improvement in the lives of ordinary workers.

The British Library holds a wide variety of materials documenting the labour movement within the United States, including: reports, newspapers and recruiting pamphlets by individual unions, the CIO and the American Federation of Labor (AFL); Congressional hearings, reports, and federal legislation; publications by political parties, including the Socialist Party and the Communist Party of America; and reports by civil rights organisations. Additionally, the rise and activity of the unions may also be documented through our extensive collection of American newspapers, secondary sources, and electronic databases.

 Witch hunt CIO

George E. Novack, Witch-hunt in Minnesota: the federal prosecution of the Socialist Workers Party and Local 544, CIO. New York: Civil Defense Committee, [1941?]. Shelfmark: YD.2005.a.6863; The CIO: what it is and how it came to be. Washington, DC: Committee for Industrial Organization, 1937. Shelfmark: YD.2009.a.1501

AFL Communist party

Communist Party of the United States. For a Powerful, United A.F. of L. New York: Workers Library, 1936. Shelfmark: YD.2007.a.1654; Communist Party of the United States. Greetings to the American Working People on the Occasion of the First Anniversary of the Great Labor Merger, AFL-CIO! New York: Labor Committee, Communist Party, USA, [195?]. Shelfmark: YD.2009.a.1322

  UAW local

John G. Kruchko, The Birth of a Union Local: the history of UAW Local 674, Norwood, Ohio, 1933 to 1940. Ithaca, NY: New York State School of Industrial and Labor Relations, Cornell University, 1972. Shelfmark: q72/20497

1. "The 1936 - 37 Flint, Michigan Sit-Down Strike," BBC, Retrieved May 18, 2012, from http://www.bbc.co.uk/dna/place-london/A672310 

Jean Petrovic