Patron’s choice: Eliza Keating’s letters to her publisher T. H. Lacy, Fall 1855

This week we are pleased to feature a guest post from U.Va. English Department doctoral candidate Ann Mazur. Ann contacted us earlier this year with a purchase request and we happily obliged. Here, she tells us how this purchase has contributed to her dissertation. Thanks, Ann!

As a Ph.D. student in English literature, I am currently completing my dissertation, The Nineteenth-Century Home Theatre: Women and Material Space. My project aims to recover the nineteenth-century parlour play, an important dramatic outlet to Victorian middle-class women. The parlour play, or home theatrical, was a dramatic performance staged most often within the home, though sometimes plays were also performed at schools or at other venues to raise funds for charities. As the nineteenth century progressed, home theatricals largely replaced earlier forms of home entertainment such as tableaux vivants (“moving pictures”) and charades. Most theatricals lasted around fifteen to thirty minutes, though occasionally they are lengthier.

I argue that in the years from 1860 to1900, the parlour play became more popular among the middle-classes and was especially significant for women. Other literary scholars have shown that women who wrote for the public stage faced immense obstacles and prejudice. Likewise, Victorian public stage actresses had to battle an association with prostitutes. In contrast, the parlour play permitted women to both write and act freely.

One of the difficulties of my project—though this has simultaneously made it more exciting—is tracking down the ephemeral parlour play. Home theatricals were often printed in book collections of plays and in fragile pamphlets. Many libraries have not thought to save this popular entertainment, and I’ve often had to turn to the tireless services of Interlibrary Loan to find plays on microfilm, microcards, and less often, in the form of the real physical pamphlet or book. I have found some items only in the listings of rare booksellers, and as a result have built my own personal collection of parlour plays. In searching AbeBooks.com, I made an exciting find: a set of three letters written by mid-century parlour playwright Eliza Keating to her publisher T. H. Lacy, concerning the publication of her Acting Charades. All evidence in my research pointed to women having an easier time writing for home theatre, but here was a woman’s actual voice offering real details about this process.

Eliza Keating's signature on one of the 1855 letters (MSS ****)

Eliza Keating’s signature on one of the 1855 letters (MSS 15628. Image by Elizabeth Ott)

The letters date from the early stage of Keating’s home theatre writing career, as most of her plays date from the 1860s. They are not long, but they reveal her often thoughtful, shrewd, and persuasive business sense in dealing with her publisher. In the first and third letters, she offers suggestions to Lacy about the printing process and pricing. In the first, she writes, “I was thinking that three shillings might repay – particularly if it were stitched in a pretty cover of fancy paper – binding we might dispense with.” In the third letter she states, “I think you do quite right to make the volume of Charades as cheap as you can – for people now like to have a great deal for their money[.] My copies I can sell at the price you mention.” In this letter she includes a postscript noting her further hopes for the timing and color of publication, evidently persuaded by Lacy that binding rather than stitching would suit her work: “Would it be possible to get the volume published by Christmas – I hope they will be bound in bright-colours – as they sell better – Can you give me an idea of the price – perhaps half a crown would pay.” While Keating from the start appears eager to engage in discussions of design and pricing, the continued correspondence suggests that Lacy was an encouraging correspondent.

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This passage from the letter dated October 10, 1855 includes the only underlinings that appear in Keating’s letters to Lacy (Image by Elizabeth Ott).

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A passage from the letter dated November 29, 1855 (Image by Elizabeth Ott)

The letters also disclose the role of actual parlour performance in Keating’s own life. Often, her friends are cited as performing her own work. In the first letter she writes: “I shall be enabled to have many copies subscribed for among my own friends – as the Charades were all got up by them – and people are fond of seeing in print – the nonsense they perpetrated in private.” In the third letter, discussing the appropriate order for her plays in the table of contents, she explains that her own personal copy of her plays “is briefly among my private friends.” Having no copy before her, she writes: “I presume the names of the Charade [sic] are very evident – Blue-Beard – Phaeton – Cataline / Guy Fawkes – I forget the order in which they come.” While copies of Blue-Beard exist, I have yet to find any of the other three plays tantalizingly listed here.

Keating’s second letter makes one curious about other details of her life. She acknowledges having received the “100 copies” forwarded by Lacy, and writes she “should have acknowledged the receipt of them ere this had I not met with an accident which for some time incapacitated me from writing.” To this letter, she adds: “P.S. I directed my friend Mr. Thirlwall to call in Wellingborough for a copy of my Charades – which you will add if you please to my account –.” I suspect she is referring to Connop Thirlwall (1797-1875), who, according to the Dictionary of National Biography was “historian and bishop of St. David’s,” just thirteen miles from Wellingborough. While Keating so kindly offers to add Thirlwall’s book to her own account, I also wonder whether a sort of name-dropping might have come into play here.

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Keating alludes, somewhat mysteriously, to an “accident” in this undated letter [1855] (Image by Elizabeth Ott).

If you are interested in learning more about Eliza Keating, stay tuned for the full dissertation-turned-book. Keating is featured in Chapter Two, “A Parlour Education: Reworking Gender and Domestic Space in Ladies’ and Children’s Theatricals,” where I compare her fairy-tale theatricals written for adult performers with Florence Bell’s later 1890s fairy-tale plays written for children. My introductory chapter, the last of my dissertation to be written, discusses Keating’s letters to T. H. Lacy. Thanks to the Small Special Collections Library for making this possible!

This Just In: Rotunda Redivivus

Right now U.Va.’s iconic Rotunda—the centerpiece of Thomas Jefferson’s “Academical Village” and the U.Va. Library’s original home—is undergoing a multi-year, $50 million restoration. These have been interesting times for sidewalk supervisors and armchair architects as the restoration work reveals hitherto unknown details about the Rotunda’s design and construction.  It has also been an interesting time Under Grounds, for we have fortuitously acquired two early images of the Rotunda previously lacking from our collection.  Although these images do not advance our understanding of the Rotunda’s architecture, they do enhance our knowledge of its early iconography.

The Lawn, as it appeared in Roux de Rochelle, Stati Uniti d'America (Venice, 1839)   (E178 .R8216 1839).

The Academical Village, as it appeared in Roux de Rochelle, Stati Uniti d’America (Venice, 1839) (E178 .R8216 1839).

The two newly acquired images are engraved plates in the Italian (Venice, 1839) and Spanish (Barcelona, 1841) translations of Jean Baptiste Gaspard Roux de Rochelle’s États-Unis d’Amérique. This history and description of the United States, first issued in 1837 as part of the series, L’univers, histoire et description de tous les peuples, proved popular and was reprinted several times. Perhaps its major selling point was the 96 engraved plates depicting historical personages and events, as well as numerous contemporary American views. Plate 87 is of special interest, as it depicts U.Va.’s Academical Village as it looked in the mid-1820s, after the Rotunda, faculty pavilions, and student rooms had been completed.

U.Va. has long held copies of the Paris, 1837 and 1838 editions, and the Stuttgart, 1838 German translation.  That we lacked the Italian and Spanish translations was brought to our attention this fall, when a collector offered to donate copies: “I should tell you that I’ve removed the U.Va. plates, but perhaps you could use the books anyway?”  We politely declined the gift, choosing instead to purchase complete copies on the antiquarian market.  To our knowledge, only the Mexico [City], 1841 Spanish edition still eludes our dragnet.

The Academical Village as it appeared in Roux de Rochelle, États-Unis de’Amérique (Paris, 1837) (E178 .R82 1837)

The Academical Village as it appeared in Roux de Rochelle, États-Unis de’Amérique (Paris, 1837) (E178 .R82 1837)

Although the text mentions U.Va. only in passing, it was through the engraving in Roux de Rochelle’s work that many Europeans first learned of U.Va. and its distinctive architecture. What few readers probably realized is that Roux de Rochelle’s knowledge of U.Va. was by no means first-hand. Born in 1762, Roux de Rochelle had served as French consul in New York during the early 1820s, returning as French Minister to the U.S. from 1830 to 1833. Perhaps it was then that he saw a copy of John Howard Hinton’s two-volume History and topography of the United States, published in London, New York, and Philadelphia from 1830-1832. Roux de Rochelle evidently decided to write a similar work for a French audience, and though the text is quite different, its many engraved plates are largely copies of those prepared for Hinton’s work. Indeed, Hinton’s plate 81 is an identical view of U.Va.’s Academical Village.

Plate 81 from John Howard Hinton, The history and topography of the United States (London & New York, 1830-1832) (E178 .H691 1830)

Plate 81 from John Howard Hinton, The history and topography of the United States (London & New York, 1830-1832) (E178 .H691 1830)

But even Hinton’s plate is derivative, for its immediate source was the highly detailed view of U.Va., engraved by Benjamin Tanner, that appears on the top left sheet of Herman Böÿe’s famous 1826 wall map of Virginia. For Hinton’s work, Tanner’s engraving was copied in New York by landscape artist William Goodacre, whose drawing was sent to London to be engraved on steel by artists in the employ of Fenner Sears & Co. The Hinton engraving is smaller in size and less detailed than Tanner’s view, though some effort was made to render the architectural elements relatively faithfully.

Benjamin Tanner's 1826 engraved view of the newly opened University of Virginia.

Benjamin Tanner’s 1826 engraved view of the newly opened University of Virginia.

In preparing Roux de Rochelle’s work for the press, the Paris publisher commissioned 96 full-page engraved reproductions of existing artworks. Some of the sources are credited in the text, though the liberal copying of plates from Hinton’s work goes unmentioned. In the Roux de Rochelle plate—signed by “Arnoult” as designer [sic] and “Traversier” as engraver—the Hinton view is reduced still further in size and the architectural details muddied somewhat. One wonders whether the book’s European readers could derive from this view an informed appreciation of Jefferson’s architectural vision.

The Academical Village reinterpreted for the German translation of Roux de Rochelle: Vereinigte Staaten von Nord-Amerika (Stuttgart, 1838)  (G115 .W4 1838)

The Academical Village reinterpreted for the German translation of Roux de Rochelle: Vereinigte Staaten von Nord-Amerika (Stuttgart, 1838) (G115 .W4 1838)

A year after Roux de Rochelle’s work first appeared in Paris, a German translation was published in Stuttgart. The Stuttgart publisher did not have access to the engraved plates used for the Paris edition—indeed, per the custom of these pre-copyright days, he likely did not bother to obtain permission to translate and republish the work—so it was necessary to commission German artists to re-engrave the 96 plates. The U.Va. view is a very close copy, albeit a less careful rendering; and while the engraver dutifully reproduced the buildings, he took a bit of artistic license with the human figures on the Lawn.

The following year, the Venice publisher of the Italian translation faced an identical problem and solved it in the same way, by commissioning copies of the 96 plates. And once again, various architectural details have been lost or distorted when re-engraved, and minor liberties taken with the human figures.

The French plate reused, with added captions in Spanish, in Roux de Rochelle, Historia de los Estados-Unidos de América (Barcelona, 1841)  (E178 .R8218 1841)

The French plate reused, with added captions in Spanish, in Roux de Rochelle, Historia de los Estados-Unidos de América (Barcelona, 1841) (E178 .R8218 1841)

Not so with the Spanish translation published in Barcelona in 1841, however. Here the publisher evidently sought and obtained permission to illustrate the edition with the Paris engravings, to which an additional caption in Spanish has been added. (Presumably the Mexico City edition is a reissue of the Barcelona printing and also contains the Paris engravings, but perhaps not.)

The Hinton plate reappeared in the 4th edition (London & New york, 1850?) with an added decorative border (E178 .H691 1850)

The Hinton plate reappeared in the 4th edition of The history and topography of the United States of America (London & New York, 1850?) with an added decorative border (E178 .H691 1850)

And what, finally, of the Hinton plate? Although absent from the second edition of Hinton’s work (Boston, 1846), it reappears in the third and fourth editions (London and New York, 1849 and [1850?]), but with a new caption and an added decorative border.

ABCs of Special Collections: Q is for…

I hope everyone had a Happy Thanksgiving!  We welcome you back to our alphabetical series with selections from the letter

"Q" from the "Cut Roman" font.  From Design of the Roman Letters by L'Harl Copeland, 1966. (Z114 .C75 1966. Gift of Mrs. Oscar Ogg. Image by Petrina Jackson)

“Q” from the “Cut Roman” face in Design of the Roman Letters by L’Harl Copeland, 1966. (Z114 .C75 1966. Gift of Mrs. Oscar Ogg. Image by Petrina Jackson)

Q is for Quadroon

Special Collections has a fascinating array of the many works published on the plight of the quadroon. The term “quadroon” was used historically throughout the Americas to refer to the large number of woman who were one-quarter black. Linked to taboo sex across color lines, the term and subject matter flourished not only in literature, but in American society, long after slavery in America ended.

Contributed by Petrina Jackson, Head of Instruction and Outreach

(Image by Caroline Newcomb)

Frontispiece and title page of Zoe, or The Quadroon’s Triumph by Mrs. Elizabeth D. Livermore, 1855. (PS2248 .L45 Z6 1855. Purchased from the Robert & Virginia Tunstall Trust Fund, 2002/2003. Image by Caroline Newcomb)

(Image by Caroline Newcomb)

First page of the poem, “The Quadroon Girl” by Henry Wadsworth Longfellow from the Leeds Anti-slavery Series, No. 50, ca. 1852. (PS2271. Q82 1852. Image by Caroline Newcomb)

Q is for George Quasha

The American poet and artist, George Quasha is perhaps best known for his “axial stone” sculptures and his  Asian-influenced books of poetry, often published in collaboration with other artists and poets. His performance pieces have been known to incorporate sound, drawing, music, video, poetry and sculpture. A look at our online catalog lists three records related to George Quasha: collaborations with Dan Gerber (1969), Allen Ginsberg (1974), and Jerome Rothenberg (1996).

A link to view some of George Quasha’s axial stone sculptures can be found at: http://www.quasha.com/axial-art/axial-stones.

Contributed by George Riser, Collections and Instruction Assistant

(PS615 .E523 1974. Image by Petrina Jackson)

Shown is a portion of Quasha’s poem, “Shifting Side or Sands of Thought” from Allen Ginsberg’s 8 from Naropa. (PS615 .E523 1974. Purchased from the William & Elizabeth Morris Fund, 2003/2004. Image by Petrina Jackson)

Q is for Queen Charlotte

Her Serene Highness, Princess Sophia Charlotte was born May 19, 1744, the youngest daughter of Duke Charles Louis Frederick of Mecklenburg-Strelitz, a north German duchy in the Holy Roman Empire. She became Queen Consort of the United Kingdom on marrying King George III in 1761. Though she never visited the New World, more than a dozen cities, counties, and geographical features were named in Charlotte’s honor including both the city of Charlottesville and Mecklenburg County in Virginia.

Contributed by Edward Gaynor, Head of Description and Specialist for Virginiana and University Archives

(Image by Digital Curation Services)

Engraving of Queen Charlotte by Sir William Beechey, 1809. (MSS 10213. Image by Digital Curation Services)

 

(Image by Digital Curation Services)

A Plan of the Town of Charlottesville, 1818. (G3884.C4 1818 .P5. Image by Digital Curation Services)

See you in a couple of weeks when we have our last letter of 2013, the letter “R.”

Happy Thanksgiving!

This Thanksgiving Day blog post is written by our very own Heather Riser, Head of Reference and Research Services.

We recently discovered this Thanksgiving gem among the Magruder Family Papers*, a large collection that is currently being sorted, arranged, and described in our processing area in Special Collections.

(Photograph by Petrina Jackson)

“Place Cards for Thanksgiving, Christmas and Turkey Dinners/Conundrums” was published by P.F. Volland & Co. of Chicago, a publisher of children’s books and novelty items from 1908 to 1933. (Photograph by Petrina Jackson)

“Place Cards for Thanksgiving, Christmas and Turkey Dinners/Conundrums” contains twelve turkey-related riddles and an answer key.  Can you guess any of the turkey riddles?

Featured are questions number . The envelope contains 12 cards in total. (Photograph by Petrina Jackson)

Featured are questions number four, six, ten, and eleven. (Photograph by Petrina Jackson)

Answer key (Photograph by Petrina Jackson)

Answer key (Photograph by Petrina Jackson)

Whether or not your Thanksgiving dinner requires fancy place cards, we hope you have a happy Thanksgiving!
*Edward May Magruder was a Charlottesville doctor who established a private sanitarium in 1899 at his house on W. Jefferson St. Along with 6 other local doctors, he was one of the founders of Martha Jefferson Hospital in 1902. Magruder’s daughter, Evalina, was the first woman to graduate from the University of Virginia School of Architecture. The Magruder family papers were donated to the University of Virginia by Eleanor Magruder Harris in 2001 when the Magruder house was purchased by Christ Church for use as offices.

 

This Just In: The UPI Wire, November 22, 1963

The teletype printout of the UPI broadcast wire from Jacksonville, Florida, from just before the first report of Kennedy's shooting to the end of the day. (MSS 15678, Gift of Randolph Pendleton. Photo by Molly Schwartzburg)

The teletype printout of the UPI broadcast wire from Jacksonville, Florida, from just before the first report of Kennedy’s shooting to the end of the day. (MSS 15678, Gift of Randolph Pendleton. Photo by Molly Schwartzburg)

Special Collections recently received an unusual–and remarkable–gift: a roll of paper, over forty feet long, which plunges its reader into the hours following John F. Kennedy’s assassination. It is a teletype machine printout of wire reports received by the United Press International bureau in Jacksonville, Florida, following the shooting, from which local radio stations–and others across the nation–communicated the news to rapt regional audiences.

This section of the scroll reveals the moment at which radio-station employees learned that Kennedy had not survived. (Image by U.Va. Library Digitization Services)

This section of the scroll reveals the moment at which radio-station employees learned that Kennedy had not survived. (Image by U.Va. Library Digitization Services)

The printout was rescued for posterity on November 22, 1963, by UPI’s Jacksonville bureau manager Randolph Pendleton, who now lives in Charlottesville. Mr. Pendleton has kept the printout all these years. With the anniversary drawing near, he decided to donate it to Special Collections so it could be seen by all who are interested. We were thrilled to oblige. The library’s Digital Curation Services division rushed to produce a high-resolution digital facsimile of the entire scroll, which is now available to read in full. This Friday, on the fiftieth anniversary of the assassination, you can follow the broadcasts in real time on twitter at @uvadigserv.

Mr. Pendleton contributed a summary of the broadcast’s transmission:

“The broadcast wire, designated 7551 and usually referred to as the radio wire, went to hundreds of radio and television stations across the United States. It was rewritten in broadcast style from the A-wire, which was the main newspaper wire, and thus ran a few seconds behind. It was filed by the Chicago bureau, (call letters HX) and was split for twenty minutes every hour on the half-hour so that local bureaus could file state and local copy. Because this was a teletype in Florida, it was running Florida stories filed by the Miami bureau (call letters MH) when Chicago broke in to reclaim the wire and file the flash, a rarely used priority that is accompanied by ten bells. The Chicago bureau then sought to keep the wire clear by warning bureaus to stay off. This flash was the first word of the shooting that broadcast stations across the country received.

The first news of the shooting appeared in typo-ridden flashes. (Image by Molly Schwartzburg)

The first news of the shooting appeared in  flashes, whose text was sometimes garbled due to the efforts of multiple bureaus to file at once. (Image by Molly Schwartzburg)

Repeated requests from the Chicago bureau for clear lines, in the first minutes of the news breaking. (Image by U.Va. Library Digitization Services)

Repeated requests from the Chicago bureau for clear lines, in the first moments of the news breaking. (Image by Molly Schwartzburg)

“The reporting came from Merriman Smith, the UPI White House reporter and dean of the White House press corps, who was in the front seat of the wire service pool car, riding six cars behind the president’s convertible. He grabbed the car’s phone when he heard three shots and began dictating to the Dallas bureau, fending off attempts by Associated Press reporter Jack Bell to get the phone away from him. On arrival at Parkland Hospital, Smith (who won the Pulitzer Prize for his coverage) was able to grab a Secret Service agent and get confirmation that Kennedy was seriously wounded and then find another phone amid the chaos in the hospital to call in the flash. The bulletin filed from the pool car had said only that three shots had been fired at the motorcade. This ran on the A-wire but came through garbled on the first broadcast wire because Chicago had trouble getting some of the state bureaus to stop filing. The first bulletin after the flash was also garbled and the Los Angeles bureau, (call letters HC) asked for a repeat.

“After that, the story unfolded quickly and within minutes there was a reference to the famous ‘grassy knoll.'”

The first mention of the phrase "grassy knoll." Time stamps at the end of each posting are Central Standard, because the wire was being filed from Chicago.

The broadcast wire’s first use of the phrase “grassy knoll.” Time stamps at the end of each posting are Central Standard, because the wire was being filed from Chicago. (Image by U.Va. Digitization Services)

Thanks to Mr. Pendleton for his generous donation and summary. And thanks also to Digitial Curation Services for the magnificent digital facsimile, which will allow many readers to experience this unique artifact.

We encourage readers to share their memories–particularly if they heard the news on the radio. For more background on the Chicago bureau’s role in the day’s events, see this recent article in the Chicago Sun Times.

 

ABCs of Special Collections: P is for

For your alphabetical pleasure, we present the letter:

P is for Poster Block #2 from (Not yet cataloged. Image by Petrina Jackson)

P is for Poster Block #2 which is one of 75 alphabets represented in Frank H. Atkinson’s Atkinson Sign Painting up to Now: A Complete Manual of Sign Painting. Chicago: Frederick J. Drake & Co., 1915 (not yet cataloged. Gift of Nicholas Curtis. Image by Petrina Jackson)

P is for Ron Padgett

As a high school student in Tulsa, Oklahoma, Ron Pagett co-founded the low budget journal, The White Dove Review, boldly soliciting poems from many of the avant-garde poets of his day. The first issue came out in 1959, featuring Jack Kerouac’s poem, “The Thrashing Doves.” Other contributors included LeRoi Jones, Allen Ginsberg, Ted Berrigan, and e.e. cummings. After graduating high school, Padgett went to New York where he became an influential member of the New York School of poets. An author search of our online catalog shows 27 hits related to Ron Padgett.

Contributed by George Riser, Collections and Instruction Assistant

(Image by Petrina Jackson)

Shown here is the first issue of The White Dove Review. (PS501 .W47 no.1 1959. Marvin Tatum Collection of Contemporary Literature. Image by Petrina Jackson)

 

P is for Peede’s Poe Postage

We can’t cover the letter P without mentioning U.Va.’s favorite dropout, Edgar Allan Poe. Along with significant early editions, manuscripts, and other Poe rarities, we sometimes receive wonderful, unexpected gifts that extend our strengths in new directions. John Peede, publisher of the Virginia Quarterly Review, recently donated this group of postal ephemera marking the first day of issue for a 42-cent Edgar Allan Poe postage stamp on the poet’s 200th birthday, January 16, 2009.

Contributed by Molly Schwartzburg, Curator

(Photograph by Molly Schwartzburg)

Edgar Allan Poe postal ephemera (Gift of John Peede. Photograph by Molly Schwartzburg)

P is for Pen-and-Ink Drawings

Ellen Graham Anderson (1885-1970), a native of Lexington, Virginia, studied art in Richmond, New York, and Paris.  She was known as a painter, caricaturist, and illustrator.  Her “modern” pen-and-ink drawings illustrated many early twentieth-century periodicals including the Post Magazine, The International, The New York Tribune, and The New York Times Book Review and Magazine. Her drawings treat the viewer’s eye to a sense of fluidity and motion in her subjects. Ms. Anderson gave her papers, primarily pen-and-ink drawings, to the University of Virginia Library in 1963.

Contributed by Margaret Hrabe, Reference Coordinator

(Image by Petrina Jackson)

Pen-and-Ink drawing of Tallulah Bankhead in “Dark Victor,”  n.d. (MSS 38-96-f. Gift of Ellen Graham Anderson. Image by Petrina Jackson)

Pen-and-Ink drawing of Ira and Edward Millette, Circus. New York, n.d. (Image by Petrina Jackson)

(Image by Petrina Jackson)

Three Pen-and-Ink Scenes, n.d. (MSS 38-96-g. Gift of Ellen Graham Anderson. Image by Petrina Jackson)

(Image by Petrina Jackson)

Newspaper clipping, New York Tribune, July 15, 1917, “An impression of Irene Bordoni, in ‘Hitchy-Koo.” (MSS 38-96-g. Gift of Ellen Graham Anderson. Image by Petrina Jackson)

P is for Picture Album

This is no ordinary scrapbook album; this is an album of vibrant illustrations, hues as if they were applied yesterday!  It is The Fairy Book Picture Album, page after page of chromolithographs (a picture printed in a wide range of colors from a series of lithographic stones or plates).  These were stories so loved and well-known the author didn’t add the written word. All that was required from even the littlest child was their imagination.
Contributed by Donna Stapley, Assistant to the Director

(Photograph by Donna Stapley)

Page from the Fairy Picture Album, published by T. Nelson and Sons, ca. 1850s. (Not yet cataloged. Gift of Martha Orr Davenport. Photograph by Donna Stapley)

(Photograph by Donna Stapley)

Page from the Fairy Picture Album, published by T. Nelson and Sons, ca. 1850s. (Not yet cataloged. Gift of Martha Orr Davenport. Photograph by Donna Stapley)

P is for Pop-Up Books

The art of folding paper to create a book with “movable,” “springing,” and “mechanical” pages has been popular with adults and little ones for over 700 years. Harold Lentz was the first publisher in the United States who coined the term “pop-up.” Leading the resurgence of interest in pop-up books today are paper engineers Robert Sabuda and Michael Reinhart.  Many Pop-up books have evolved into intricate, complicated designs and have become favorite advertising tools of architects, engineers, and artists.

Contributed by Donna Stapley, Assistant to the Director

(Photograph by Donna Stapley)

Botticelli’s Bed and Breakfast by Jan Pienkowski, 1996. (PZ92. F6S65 1996. Brenda Forman Collection of Pop-up and Movable Books. Photograph by Donna Stapley)

Mickey Mouse in King Arthur’s Court with “Pop-Up” Illustrations. (PZ92. F6 M526 1933. Brenda Forman Collection of Pop-up and Movable Books. Photograph by Donna Stapley)

P is for Psalter or Psalterium

A psalter (Psalterium in Latin) is the biblical Book of Psalms and was created especially for liturgical use. Psalters developed in the early 8th century and became widespread in the 11th century. Psalms were recited by the clergy in the liturgy, so Psalters were important in the church.

Various schemes existed for the arrangement of the Psalms. Besides the 150 Psalms, medieval psalters often included a calendar, a litany of saints, canticles from the Old and New Testaments, and other devotional texts. The selection of saints in the calendar and litany varied and can provide clues about original ownership.

There are several Psalters in Special Collections – some handwritten from the Medieval Manuscripts era and other later printed texts.

Contributed by Anne Causey, Public Services Assistant

(Image by Anne Causey)

Psalterium. Written in England, 15th Century. Psalters were popular books in the Medieval Ages, primarily written in Latin, often lavishly decorated. (MSS 382 [M.Ms. I]. Gift of Edward L. Stone. Image by Anne Causey)

Psalterium, Hebreum, Grecum, Arabicum, & Chaldeum: cum tribus Latinus The text of this Psalter is in five languages - Hebrew, Latin, Greek, Arabic, and Aramaic.(Image by Anne Causey)

Psalterium, Hebreum, Grecum, Arabicum, & Chaldeum: cum tribus Latinus
The text of this Psalter is in five languages – Hebrew, Latin, Greek, Arabic, and Aramaic. (Image by Anne Causey)

Examples of initials from the Vespasian Psalter (Image by Anne Causey)

This is a selection of initials from a facsimile of the Vespasian Psalter which is housed in the British Museum. The Vespasian Psalter was produced in England in the 8th century and is the oldest surviving book in the world with historiated initials. Written in Latin, an English gloss was added to it in the 9th Century. (Z115 .E5 E2 1967 v. 14. Image by Anne Causey)

P is for Punishment

The American system of slavery relied heavily on instilling fear in an attempt to cow the enslaved and render them docile. Slave owners disciplined their slaves for reasons such as theft and attempts at flight. The varieties of punishment meted out short of death included whipping, branding, and dismemberment, as shown in a letter dated October 10, 1727, from Robert “King” Carter to his overseer, Mr. Robert Jones:

Ballazore is an incorrigeable rogue nothing less than dismembring will reclaim him. I would have you outlaw him and get an order of the court for taking off his toes I have cured many a negro of running away by this means ….

On occasion, corporal punishment had horrific and unexpected consequences. Thomas Mann Randolph, writing from Monticello on November 22, 1818, describes such an event at a nearby Albemarle County plantation when a trusted slave

… received a few lashes on his bare back for some trifling misdemeanour; leaving his tools in the field, it is said. He hung himself, 30 feet from the ground, in a tree near his Masters door, the same night ….

Contributed by Edward Gaynor, Head of Description and Specialist for Virginiana and University Archives

Detail from Robert "King" Carter's Letterbook, regarding the escaped slave Ballazore. (Image by Petrina Jackson)

Detail from Robert “King” Carter’s Letterbook, regarding the escaped slave Ballazore, 1727. (MSS 3807. Image by Petrina Jackson)

Detail of letter from Randolph to , regarding the beating and consequent suicide of an enslaved man. (Image by Petrina Jackson)

Detail of a Thomas Mann Randolph letter, regarding the beating and consequent suicide of an enslaved man, 1818. (MSS 10487. Jefferson Trust 1982/1983. Image by Petrina Jackson)

See you in a couple of weeks, when we feature the “Q’s!”

Class Notes: 250 Years of Fairy Tales in Print

Professor Mark Ilsemann recently brought his class, German 3590: Special Topics–Fairy Tales, to Special Collections to see materials related to the European fairy-tale tradition. He asked if we could “give my students an idea about early collections of tales and the formation of ‘fairy tale’ as a genre; teach them about the importance/style of illustrations and other forms of book art; show them how fairy tale collections were ‘framed’ by their respective authors (through frontispieces, opening remarks, etc.); and to demonstrate to students the importance of the book object and of working with historical artifacts.”

Oh yeah, we could do that. Little did he know the extent of the riches at our disposal.

A selection of fairy tales (Photograph by Molly Schwartzburg)

A selection of fairy tale editions, anthologies, recordings, toys, and even finger puppets! (Photograph by Molly Schwartzburg)

Curator Molly Schwartzburg wowed his class with an eclectic selection of some of the fascinating and visually stunning fairy tales that comprise our collections. In turn, Professor Ilsemann provided a great deal of insight on the history of fairy-tale publishing, and his students jumped in with comments based on the knowledge they’ve gained so far this semester. As is often the case, we wondered if we gained even more from the session than our visitors!

Professor Ilsemann explains the likely origins of this unusual and beautiful moveable book. He noticed that the publisher was associated with the Waldorf School movement, based in Stuttgart, where the book was published. The book’s flowing text and images, seem to echo the Waldorf philosophy, which requires that classrooms contain no right angles. (PZ34 .S358 1926. Henry S. Gordon Fund, 2009/2010. Photograph by Petrina Jackson)

Professor Ilsemann explains the likely origins of this unusual and beautiful moveable book. He noticed that the publisher was associated with the Waldorf School movement, based in Stuttgart, where the book was published. The book’s flowing text and images seem to echo the Waldorf philosophy, which requires that classrooms contain no right angles. Hilde Langen, Schneewittchen (Stuttgart: Waldorf-Spielzeug & Verlad G.m.b.H., 1926). (PZ34 .S358 1926. Henry S. Gordon Fund, 2009/2010. Photograph by Petrina Jackson)

Many of the items we discussed were from Special Collections’s remarkable Little Red Riding Hood Collection, generously donated in 2007 by collector Martha Orr Davenport.  The collection comprises approximately 480 books, a hundred pieces of print ephemera, fifty works of art, ten magic lantern slides, and more than a hundred objects, including tableware, figurines, vases, pottery, puppets, recordings, and more.

Detail of items from the Little Red Riding Hood Collection (Gift of Martha Orr Davenport. Photograph by Petrina Jackson)

Just a few of the items in our Little Red Riding Hood Collection. (Gift of Martha Orr Davenport. Photograph by Petrina Jackson)

The students also were drawn in by several fabulous pop-up books from the Brenda Foreman Collection of Pop-Up and Moveable Books.

Molly and the students take a closer look at pop-up books. (Photograph by Petrina Jackson)

Molly and the students take a closer look at pop-up books. (Photograph by Petrina Jackson)

Hansel and Gretel from the "Pop-Up" Cinderella and Other Tales with illustrations by Harold B. Lentz, 1933.  (PZ92 .F6 L46 1933b. Brenda Forman Collection of Pop-Up and Moveable Books. Photograph by Petrina Jackson)

Hansel and Gretel from Harold P. Lentz’s  “Pop-Up” Cinderella and Other Tales, 1933. (PZ92 .F6 L46 1933b. Brenda Forman Collection of Pop-Up and Moveable Books. Photograph by Petrina Jackson)

Perhaps a student paper or two about these magical books will be in hand by the semester’s end, inspired by this wonderful introduction!

On View Now: Harry Fenn and the Picturesque

We are pleased to announce our latest mini-exhibition in the First Floor Gallery just outside the Special Collections reading room: Harry Fenn and the Picturesque, curated by researcher Sue Rainey, who used our collections while working on her recent book, Creating a World on Paper: Harry Fenn’s Career in Art.

Sue Rainey's Creating  a World on Paper: Harry Fenn's Career in Art (University of Massachussetts Press, 2013)

The cover of Sue Rainey’s Creating a World on Paper: Harry Fenn’s Career in Art (University of Massachussetts Press, 2013). (Image by Molly Schwartzburg)

In the latter half of the nineteenth century, Harry Fenn (1837-1911) played a key role in popularizing periodical and book illustration, the primary means of sharing images before photographs could be printed by the half-tone process. His appealing depictions of scenery and cities led to the publication of numerous illustrated books issued by subscription in monthly or bi-monthly parts. This approach had the advantage of securing advance commitments from subscribers to cover the substantial cost of illustrations. Fenn was the primary contributor to three highly successful serial publications of New York’s D. Appleton and Company: Picturesque America (1872-74), Picturesque Europe (1875-79), and Picturesque Palestine, Sinai and Egypt (1881-83).

The exhibition includes six items demonstrating the publication methods through which Fenn’s work was distributed, as well as an original artwork. Thanks to Sue Rainey for all her hard work on this wonderful exhibition. We encourage you to stop by and take a look!

Here’s a sneak peek:

Photo by Molly Schwartzburg

Photo by Molly Schwartzburg

ABCs of Special Collections: O is for…

With more letters behind us than left to go, we now come down to the surprisingly subversive  letter…

The letter "O" from T.C. Williams Co., Virginia, USA Tobacco Manufacturers (Broadside 1900z .W6. Image by Petrina Jackson)

The letter “O” from T.C. Williams Co., Virginia, USA Tobacco Manufacturers (Broadside 1900z .W6. Image by Petrina Jackson)

O is for Octoroon

During the European colonial period and throughout chattel slavery in the Americas, a new terminology sprung up to define race. “Octoroon” was the term for a person with one-eighth African ancestry.  This and similar terms, such as “mulatto” and “quadroon,” flourished in the American literary–and commercial–imagination alike. Today, similar racial signifiers are still used in marketing:  “Uncle Ben” to sell rice and “Aunt Jemima” to sell pancakes.

Contributed by Petrina Jackson, Head of Instruction and Outreach

Title page of Adela, the Octoroon by Hezekiah Lord Hosmer, 1860. (PS646 .F53 .H682 A4 1860. Clifton Waller Barrett Library of American Literature. Image by Petrina Jackson)

The title page of Adela, the Octoroon by Hezekiah Lord Hosmer, 1860. (PS646 .F53 .H682 A4 1860. Clifton Waller Barrett Library of American Literature. Image by Petrina Jackson)

Maxwell's Broadway Theatre!...this evening will be presented the great drama of the Octoroom! or Way Down South (Broadside 65. Image by Petrina Jackson)

A broadside advertisement for Maxwell’s Broadway Theatre, undated (Broadside 65. Image by Petrina Jackson)

Tobacco Advertisement. Octoroon, manufactured by T. C. Williams Co., Virginia, 1900. ()

Advertisement for Octoroon tobacco manufactured by T. C. Williams Co., Virginia, 1900. (Broadside 1900z .W6. Image by Petrina Jackson)

O is for Charles Olson

American poet Charles Olson considered himself an “archeologist of morning.” His poems and essays bridged the gap between modernist poets like Ezra Pound and William Carlos Williams and poets of the sixties and seventies, including Robert Duncan, Robert Creeley, and Denise Levertov. He was associated with several major poetry communities, including the New York School, the Black Mountain poets, the Beats, and the San Francisco Renaissance. A search of our online catalog shows 77 entries related to Charles Olson.

Contributed by George Riser, Collections and Instruction Assistant

First printing of Olson's celebrated The Maximus Poems

The front cover of the first printing of Olson’s celebrated The Maximus Poems/1-10,’ published by Jonathan Williams in 1953. (PS3529 .L655M32 1953. Clifton Waller Barrett Library of American Literature. Image by Petrina Jackson)

 

O is for Opium

Opium was introduced to western society from Asia during the Middle Ages. The eighteenth and nineteenth centuries saw the development of tinctures and derivative drugs such as laudanum, morphine, and codeine. Medicinal use of the drug was widespread in both England and the United States as a cure-all for everything from coughs to psychosis. With the influx of Chinese immigrant labor to the United States and other countries in the mid-nineteenth century, recreational use of opium began to be more widespread, especially in major cities where “opium dens” became prolific.  Although global regulation and prohibition of the drug began in the early twentieth century, control of the opium trade still remains an issue today.

Contributed by Margaret Hrabe, Reference Coordinator

(Image by Petrina Jackson)

The first edition of Confessions of an English opium-eater by Thomas De Quincey.  London: Printed for Taylor and Hessey, 1822.   In an 1824 letter, John Randolph of Roanoke wrote, “Have you ever read ‘The Confessions of an English Opium Eater’?  I can vouch for the correctness of the picture there drawn of the pleasures & pain of opium.” (E 1822 .D46. Tracy W. McGregor Library of American History. Image by Petrina Jackson)

(Image by Petrina Jackson)

Sylvanus Cobb, Jr. writes to a friend in great detail about his opium addiction, 1867 October 30. (MSS 7507. Clifton Waller Barrett Library of American Literature. Image by Petrina Jackson)

(Image by Petrina Jackson)

“Opium-Smoking in New York” in  Harper’s Weekly 25.1292 (September 24, 1881) 645.   (AP 2 .H32. Image by Petrina Jackson)

Image by Petrina Jackson

An advertisement for “Compound Syrup of Opium, or, Henkel’s Diarrhoea Cordial.”  [New Market, Va. :Drs. S.P.C. & C.C. Henkel, ca. 1864-1882]. (RM671 .H45 no. 32. Image by Petrina Jackson)


O is for Osawatomie

Osawatomie, Kansas was the site of bloody conflict between abolitionist forces and pro-slavery “Border Ruffians” from neighboring Missouri on August 30, 1856. Although the anti-slavery forces were defeated, the battle brought national attention to their leader, John Brown. This notoriety enabled Brown to raise funds for his plan to incite an uprising and arm slaves across the South. Brown and his forces attacked and seized the Federal armory at Harper’s Ferry, Virginia on October 16, 1859. The raid was ultimately a failure and Brown was captured, tried, and finally hanged on December 2, 1859. The raid sent waves of panic throughout the South, where Brown was reviled as a treasonous lunatic,
and electrified anti-slavery forces in the North where Brown was proclaimed a martyr. Brown’s legacy in the 150 years since his death is still debated and the name “Osawatomie” has been used by groups espousing both peaceful and violent social action.

Contributed by Edward Gaynor, Head of Description and Specialist for Virginiana and University Archives 

(Image by Petrina Jackson)

“Record of the trial of John Brown and his associates,” undated. For November 2, Virginia Circuit Court Judge Richard Parker notes “Verdict guilty of treason as charged in 1st count of indict. – also of advising & conspiring with slaves & others to rebel as charged in 2d count of the indict. & of murder in 1st degree as charged in 3rd and 4th counts–John Brown, led in & it being demanded of him…if any thing for himself he has or knows to say why the court should not proceed to judgment, & execution –but had nothing but what he had before said.  Therefore it is considered that he be hanged by the neck until he is dead.” (MSS 11634. Paul Mellon Bequest. Image by Petrina Jackson)

(Image by Petrina Jackson)

The Mock Auction: Ossawatomie Sold, a Mock Heroic Poem by Mann Satterwhite Valentine, 1860.  (PS586 .Z93 .V355 M6 1860. Clifton Waller Barrett Library of American Literature. Image by Petrina Jackson)

(Image by Petrina Jackson)

Osawatomie, a quarterly magazine published by the Weather Underground Organization, 1975. (HX 1 .O8. Image by Petrina Jackson)

Table of Contents of The Weather Underground Organization's magazine Osawatomie, no. 1, 1975.

Table of Contents of The Weather Underground’s magazine Osawatomie, no. 1, 1975. (HX 1 .O8. Image by Petrina Jackson)

That concludes our edition of the letter “O.”  Don’t miss our next installation, featuring “P!”

This Just In: New McGregor Library Acquisitions

The opening last week of Collecting American Histories: the Tracy W. McGregor Library at 75—the major new exhibition of highlights from our world renowned McGregor Library of American History—prompts us to describe a few of the many acquisitions made for the McGregor Library in recent months.

M8

Noticia certa, e manifesto publico da grande batalha, que tiveraõ os francezes, e inglezes, junto ás ribeiras do Obio em 9 de julho de 1755. Com a noticia individual de todas as acçoens obradas nesta expediçaõ. Morte do celebre General Braddock, e de outros officiaes, e soldados, ficando muitos prisioneiros … Lisbon: Domingos Rodrigues, 1755.     (A 1755 .N67)

The French and Indian War began badly for Britain. Sent to rout the French from western Pennsylvania, General Edward Braddock’s forces suffered a disastrous defeat on July 9, 1755, at the Battle of Monongahela near present-day Pittsburgh.  Braddock was among the hundreds of British casualties before a young junior officer—George Washington—was able to lead an orderly retreat.  The McGregor Library contains some important primary sources concerning the battle—two are included in the 75th anniversary exhibition now on view—and this very rare, ephemeral pamphlet is the latest addition. News of Braddock’s defeat spread quickly by letter, word of mouth, newspapers and other printed accounts. This newsletter conveyed the news to a Portuguese audience. Following a brief description of the battle (no mention is made of Washington, however) and the diplomatic aftermath, it lists the names of British officers who were killed or wounded.

M1[Thomas Cooper, 1759-1839?] Extract of a letter from a gentleman in America to a friend in England, on the subject of emigration. [London?, 1794?]     (A 1792 .G45)

Likely the first edition (of two published in England ca. 1794) of this concise description of the United States. Written from the perspective of an Englishman contemplating emigration, it offers carefully reasoned arguments for and against settling in specific states. Particular consideration is given to the frontier regions of New York and Kentucky, though the anonymous author concludes that Pennsylvania is the better option. Indeed, that is precisely where the probable author, Thomas Cooper, settled later in 1794 after touring the United States; the letter was likely addressed to, and published at the behest of, Joseph Priestley, who also emigrated to Pennsylvania in 1794. An economist and liberal political thinker, Cooper soon developed a thriving Philadelphia law practice which helped to earn him the esteem of Thomas Jefferson. In 1819 Cooper was the first professor appointed to the faculty of the as-yet-unopened University of Virginia, but he resigned in 1820 following controversy over his religious views. Later he served as president of the University of South Carolina.

M5Christian Gottlieb Glauber, 1755-1804.  Peter Hasenclever.  Landeshut, 1794.     (A 1794 .G53)

Privately printed in a small number of copies, this is a biography of Peter Hasenclever, a German entrepreneur who, by establishing several business enterprises in New Jersey, Pennsylvania, and New York between 1764 and 1769, became Colonial America’s leading industrialist. With the coming of peace following the Seven Years’ War, Hasenclever raised over £50,000 from English backers to open a network of iron mines and ironworks and a potash manufactory, and to raise hemp and harvest timber. His enterprises were staffed by the over 500 German workers who heeded his invitation to emigrate. Hasenclever spent lavishly on his businesses, only to be plunged into bankruptcy in 1769 when his English partners withdrew financial support. After returning to Germany, Hasenclever was able to rebuild his fortune in the textile trade. The biography concludes with a lengthy appendix of letters written by Hasenclever during his American sojourn.

M3Hole in the wall; or A peep at the creed-worshippers. [Philadelphia], 1828.     (A 1828 .H65)

This rare and unusual tract was an important salvo in the bitter schism, or “Great Separation,” between orthodox Quakers and their Hicksite adversaries. By the 1820s significant tensions had arisen between Philadelphia’s wealthy Quaker merchants and the Quaker farmers of southeastern Pennsylvania, who were attracted to the teachings of Elias Hicks—tensions comparable to those between New England Congregationalists and Unitarians. Unable to settle their differences at the 1827 Philadelphia Yearly Meeting, the two camps set up competing Meetings, with the orthodox Quakers adopting and enforcing a doctrinal creed. This pamphlet, which vigorously promotes the Hicksite view, is “embellished” with three accomplished satirical engravings by the anonymous author.

M4Frances Wright (1795-1852). Course of popular lectures, historical and political, Vol. II.  As delivered by Frances Wright Darusmont, in various cities, towns and counties of the United States. Philadelphia: Published by the author, 1836.     (A 1836 .W75)

During the 1820s and 1830s, Fanny Wright was perhaps the most notorious woman in the United States. Born in Scotland, Wright visited the United States from 1818-1820, recording her observations in the bestselling Views of society and manners in America (1821). Having befriended Lafayette, Wright accompanied him on much of his 1824-1825 tour of America. She then launched a career as a radical political and social reformer. An ardent feminist, freethinker, and friend of labor, Wright visited Robert Owen’s utopian community at New Harmony, Ind., before setting up her own settlement, Nashoba, near Memphis. The objective of this multi-racial community was to promote the abolition of slavery by preparing slaves for freedom. By 1830 it had failed, and Wright henceforth promoted her views through journalism and a career as America’s first prominent female public speaker. This very rare pamphlet in its original wrappers prints the text of three lectures from Wright’s 1836 lecture tour: two praise Jefferson’s vision of an agrarian republic and condemn the contrasting Hamiltonian vision, and a third outlines her abolitionist views.

M2Robert Hubbard (1782-1840).  Historical sketches of Roswell Franklin and family: drawn up at the request of Stephen Franklin. Dansville, N.Y.: A. Stevens for Stephen Franklin, 1839.     (A 1839 .H85)

A rare and very early work of American local history, published in a small town some 40 miles south of Rochester, N.Y.  Written by the local minister at the behest of the Franklin family, most of the book is a biography of the family patriarch, Roswell Franklin (d. 1791 or 1792), drawn primarily from family oral tradition. Born in Woodbury, Conn., Franklin fought for the British in the West Indies and Cuba before moving his family to northeastern Pennsylvania’s Wyoming Valley in 1770. With the outbreak of revolution, Franklin and his fellow patriots found themselves in a frontier war zone, besieged by British forces and their Iroquois allies. Included here is a vivid account of the 1778 Battle of Wyoming, in which Franklin was one of few patriots to survive. Subsequent chapters describe the family’s role as pioneers, following the expanding frontier northwestward into west central New York, and the tremendous contrasts between Roswell Franklin’s time and America in 1839.