Votes for Women: The 19th Amendment

The Awakening 1915

 Loretta reports:

In a few days, we mark a milestone in women’s rights.  On 18 August 1920, the state of Tennessee ratified the Nineteenth Amendment to the U.S. constitution, providing the three-quarters majority needed for adoption.

Here’s what it says:
  

"The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.

 "Congress shall have power to enforce this article by appropriate legislation."

It Doesn't Unsex Her

Senator Aaron A. Sargent of California, whose wife, Ellen Clark Sargent, was a suffragist, first introduced the amendment to Congress in 1878. Yes, it took only forty-two years. And the women’s fight for the right to vote had begun decades earlier. But long, long fights have been the case with a great many other milestones in legislation, like abolishing slavery.

We all know the suffragists were ridiculed and abused all the way to the ballot box, but you might want to look at samples of what some people found hilarious, here (let's also ridicule women's fashion while we're at it), here, here, here, here, and here. Note that suffragists are always unattractive, sometimes monstrous. Elderly spinsters appear frequently. Wearing eyeglasses.

Yet a few years later we find images mocking the anti-suffrage side, here, here, here, here, here, and this powerful (and surprising, given the date) image of native American women.

You'll notice that Puck, which had published some of the more infuriating images in this collection, either couldn't make up its mind or finally changed its tune.

I Did Not Raise My Girl To Be a Voter

Images: Hy Mayer, The Awakening, 20 February 1915, courtesy Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA; Milhouse, Katherine, It Doesn't Unsex Her, 1915, via Wikipedia;  "I did not raise my girl to be a voter." Soprano solo with vociferous supporting chorus of male voices, 1915, courtesy Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA .
Clicking on the image will enlarge it.  Clicking on the caption will take you to the source, where you can learn more and enlarge images as needed.

Friday Video: A Moving Panorama of the Mississippi Valley

Loretta reports:

Many of the 1830s magazines I peruse include reviews of recently installed panoramas (please scroll down for the review about Niagara Falls). The moving panorama is also a large painting, but where the panorama requires the viewer to move around a room, the moving panorama is an early "moving picture." Using spools, it scrolls across a stage, creating the illusion of traveling along a scenic route.

Before photography and movies, both the still and the moving paintings offered Londoners as well as Americans views of distant locales. Since the Londoners seem to have been especially curious about the U.S. and its wildernesses, I’m sure they would have enjoyed John J. Egan’s “Panorama of the Monumental Grandeur of the Mississippi Valley”—all 348 feet of it, and a very rare survivor.


Video: John J. Egan's "Panorama of the Monumental Grandeur of the Mississippi Valley"

Credits Animation: Paul Caro Photography: Saint Louis Art Museum © 2015 The Metropolitan Museum of Art. Image is a still from the video.
Readers who receive our blog via email might see a rectangle, square, or nothing where the video ought to be. To watch the video, please click on the title to this post or the title of the video.

Rediscovering an American Community of Color in Worcester

Martha (Patsy) Perkins, 1901

Loretta reports:

A little over a hundred years ago, a white photographer took hundreds of pictures of people in central Massachusetts. Among these were more than 230 portraits of people of color who lived within easy walking distance of my home. I had no idea this community existed until I went to see Rediscovering an American Community of Color: The Photographs of William Bullard at the Worcester Art Museum.

There are several amazing things about this exhibition. First, the glass negatives survived for over a century and ended in the hands of a collector who was also a devoted Worcester historian.* Second, the photographer’s logbook also survived, and stayed with the photographs. Third, thanks to his granddaughter’s making the connection between tiny numbers on the negatives and the logbook, it became possible to identify the people in the photographs. Thus, the Clark University students who researched the photographs were able to contact many of their subjects’ descendants. Also, during my third visit to the exhibition (yes, it’s that good, that moving), I got to meet one of those descendants.

The Beaver Brook neighborhood became a new home when the Ku Klux Klan and white backlash, combined with a national depression and the end of Reconstruction, destroyed the lives that former slaves had been making for themselves in the South. They came north, and some came to Worcester, “a city with a deep abolitionist tradition and influential white residents sympathetic to their plight.”**

Thomas A. and Margaret Dillon Family, about 1904

Since it’s impossible to do the show justice in a blog post, I offer links.

The Worcester Art Museum page on the Bullard exhibition includes several reviews well worth reading as well as a short YouTube video.

This exhibition runs until 25 February—only a few more weeks. However, thanks to Clark University’s collaboration with the museum, we can see many of the images at the website, Rediscovering an American Community of Color: The Photographs of William Bullard, 1897-1917.

There you’ll find not only a gallery of the photos, but also a page about the collection and the photographer, a map of the neighborhood in 1911, essays connected to the images, and a chance to add information and/or comment on individual photos.

I also highly recommend the beautiful exhibition catalog.

*Frank J. Morrill, a retired history teacher and collector, and definitely and delightfully a Nerdy History Person.
**quote from exhibition catalog.

Images: William Bullard, Martha (Patsy) Perkins, 1901  and Thomas A. and Margaret Dillon Family, about 1904, courtesy of Frank Morrill, Clark University and Worcester Art Museum.

Clicking on the image will enlarge it.  Clicking on the caption will take you to the source, where you can learn more and enlarge images as needed.

The Mound House of Estero Island

Loretta reports:

I guess this is the week Susan and I blog about houses.

My subject, in Florida, is by far the younger structure, dating to the early 1900s. Surrounded by a beautiful garden, the Mound House overlooks Estero Bay.

What makes this place remarkable are the ancient foundations on which it’s built: a shell mound 2,000 years old. Native American coastal people known as the Calusa built it between 100 BC and AD 700. Here they lived, fished, worked and played. Then, for reasons unknown, they stopped living here in AD 700. They would come by to the edges to repair nets and clean fish, but otherwise stopped using it. What we know of them indicates that they weren’t driven out—not that early, at any rate, because they were apparently the most powerful people in South Florida, to whom other tribes paid tribute. Centuries later, in 1513, they attacked Ponce de Leon the first time he stopped by, and are believed to have fatally wounded him on his second visit, eight years later.

May I add that every sentence here could easily be expanded into a blog post—and that’s only before 1600. The 20th century alone is filled with Mound House incident. The place, in short, has quite an exciting and not always peaceful history. But let’s stick to the shells, millions of them, in distinctive layers, which archaeologists have used to piece together the site’s history.

Ironically, we wouldn’t know as much as we do (and as archaeologists continue to learn), if one of the house’s owners hadn’t engaged in wanton destruction, bulldozing the site for a swimming pool. When, years later, the Town of Fort Myers Beach acquired the site and the pool was removed, archaeologists could study the mound site in detail.

Searching “Mound House, Estero Island” online will bring you to a number of articles about the site. You may also want to check out their blog, which includes a video of the demise of the swimming pool and what was revealed.

Note: The image of the Calusa is part of an immense mural that covers a wall of the information center.

Clicking on the image will enlarge it.  Clicking on the caption will take you to the source, where you can learn more and enlarge images as needed.

Edward S. Curtis and His Record of Native Peoples

The offering-San Ildefonso

Loretta reports:

Currently I’m in Florida, living around the corner from an ancient Native American site (about which I’ll post later), which has made me conscious of how much has been lost of our history, as native peoples and their cultures were decimated or wiped out entirely, thanks to not only to Europeans, but sometimes, other Native Americans. We’ll never see photos of Southwest Florida’s Calusa tribe members, but thanks to the photographer I’m featuring today, we have thousands of images of other Native Americans.

Edward Sheriff Curtis built his own camera when he was twelve and became a professional photographer in his late teens. In the early 1900s, he embarked on a project of photographing Native Americans that lasted more than 20 years.

Lucille

The Library of Congress has a large collection of his photographic prints. Above and below are examples from the online images. But before searching for Edward S Curtis at the Library of Congress, you might want to take a look at these large- scale images at LightStalking, some of which I found deeply moving as well as breathtaking.

Images all by Edward Sheriff Curtis:

The offering--San Ildefonso c 1927

Lucille c 1907

Cheyenne Belle c 1904

all courtesy Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

Cheyenne Belle

Clicking on the image will enlarge it.  Clicking on the caption will take you to the source, where you can learn more and enlarge images as needed.