In April 1865, a young man named Ansil T. Bartlett was in Farmville, Virginia (or, as he put it, Farmsville). From what we know, Bartlett enlisted with Company D of the 58th Regiment, Massachusetts Infantry in early 1864. Although he spent less than 18 months in service during the war, his regiment was involved in action at Spottsylvania, Cold Harbor, and the fall of Petersburg, among other places. On April 15, 1865, he wrote a letter home to his father.
58th in camp at Farmsville
April 15th 1865
I now seat myself to write you a few lines top let you know that I am alive and well and hope to find you enjoying the same pleasure it is a very hard place here. Sheridan’s Cavalry has made havoc in and about the houses. they took all that they had to eat and in some places all of the women’s clothing. that taking clothing I don’t think was just right they took everything even to the babies clothes. it looked rather hard. I am on guard at a house now while I am writing these few lines to you. give my love to all and take care of yourself and not get sick for I want you to live and see your son when he gets home and then we will try to live and enjoy our self for the rest of our life. it is a very pleasant country around here it is planting time but the niggers are all leaving for the north. I heard that General Curtain was giving no discharge all of his boys in 4 months. and I heard that Grant said that the volunteers army would all be discharged in 6 weeks but you cannot believe all that you hear this is all that I can think of now this is from your son good bye yours truly
Ansil T Bartlett
Co D 58thRegt Mass. Vet. Vols
give my love to all and tell them that I expect to be at home by the 4th of July there is a good time coming
Written only days after Lee’s surrender, Bartlett cautions his father against believing any rumors about when he might be discharged, though his own post script suggests he thought 2 months wasn’t unreasonable. His letter is not uncommon in many senses: he reports on his current activities, recounts what he has witnessed around him recently, and looks forward to a life after the war. (Bartlett was actually discharged in late July of 1865.)
What really struck me about this letter the first time I saw it, though, was what came at the end–Bartlett’s drawing of a bird. 152 years later, we don’t have any clue as to why he drew it or what it symbolized to him. He doesn’t comment on it and it looks almost like an afterthought, tacked on to the close of his letter. But, it’s also write on the heels of his final reminder: “there is a good time coming.” Perhaps it was a reminder of that, and an image that represents a good future. Perhaps is meant to be an eagle, a bird used by many regiments on their flags and, at the time, at least part of the country. Perhaps it meant something specific to his father. Or maybe it’s just something he drew to fill the space at the close of his note. Whatever the case, it certainly makes Bartlett’s letter something unique.
The finding aid for this collection is available online. In addition, it has been digitized. You can see these two pages, as well as the third (which includes an addresses and some calculations) online.
Just a quick announcement from our staff: Newman Library will be closing early at 4pm on Friday, November 17, 2017, for a donor appreciation event. This includes Special Collections. We will open at 8am, as usual, but we be closing an hour early. We will re-open at our usual time on the following Monday morning (November 20, 2017).
Last week, I was listening to the Stuff You Missed in History Class podcast’s recent episode on Edward Gorey, and I wondered if Virginia Tech University Libraries had any of his work. Fortune looked brightly on me – not only does the Libraries have numerous texts, but Special Collections actually has three rare books illustrated by Gorey! And since it’s Halloween, I decided to make this week’s post about a modern master of the macabre, author and illustrator Edward Gorey!
My first exposure to the work of Edward Gorey (1925-2000) was from the opening sequence of PBS’s Masterpiece Mystery!, which has been used since 1980, but he may be best known for his book, The Gashlycrumb Tinies (1963), an alphabetical book about the deaths of 26 children. Gorey studied at the Art Institute of Chicago, before joining the U.S. Army during World War II and eventually graduating from Harvard in 1950, where he befriended the poet Frank O’Hara. They, along with other Harvard friends, founded the Poets’ Theatre in Cambridge. In 1953, Gorey began working at the Art Department of Doubleday, illustrating numerous classics, and that same year Brown and Company published his first book The Unstrung Harp. He published his first anthology Amphigorey in 1972, and the next designed a set and costumes for a Nantucket production of Dracula (see more below). In 1979, Gorey moved to Cape Cod and became involved in local productions, even writing his own plays and musicals, and he lived there until his death in 2000.
Let’s take a look at the earliest book we have, Son of the Martini Cookbook by Jane Trahey and Daren Pierce, illustrated by Edward Gorey and published by Clovis Press, 1967. The book includes a handful of food recipes, ordered by how many martinis you’ve had and thus of increasing simplicity. (However, I recommend cooking before you drink, to be safe!) The authors include fictional biographies, but are likely advertising executive and author Jane Trahey (1923-2000), who’s book Life with Mother Superior was adapted into Ida Lupino’s film The Trouble with Angels, starring Rosalind Russell and Hayley Mills, and author and interior designer Daren Pierce (1922-1984), who founded a store dedicated to needlepoint designs, according to the New York Times. Clovis Press was a bookstore in New York, which closed its doors in 2006.
The Rats of Rutland Grange by Edmund Wilson and drawings by Edward Gorey (Gotham Book Mart, 1974), cover
The Rats of Rutland Grange by Edmund Wilson and drawings by Edward Gorey (Gotham Book Mart, 1974), title page
The Rats of Rutland Grange by Edmund Wilson and drawings by Edward Gorey (Gotham Book Mart, 1974), section 1
The Rats of Rutland Grange by Edmund Wilson and drawings by Edward Gorey (Gotham Book Mart, 1974), section 2
Next is The Rats of Rutland Grange by Edmund Wilson with drawings by Edward Gorey and published by Gotham Book Mart, 1974 (original in Esquire Magazine, December 1961). A long poem of rhyming couplets by Wilson, the story is about rats who steal the family’s food and destroy their things. On Christmas eve to kill the rats, the children of Rutland Grange put out poisoned chocolate, which bodes poorly for dear, old Santa (spoiler: don’t worry, Santa survives to live another Christmas!) The book indicates only 1,000 copies were printed, including 100 signed by the authors and 26 specifically for Gorey and Gotham Book Mart. (Sadly, our copy is not signed.) Edmund Wilson (1895-1972) was a literary critic and author. The Gotham Book Mart was a New York City bookstore, owned by Gorey’s friend Andreas Brown, who heavily advertised Gorey’s work and published several monograph, according to the New York Times.
Son of a Martini Cookbook by Jane Trahey and Daren Pierce and drawings by Edward Gorey, cover
Son of a Martini Cookbook by Jane Trahey and Daren Pierce and drawings by Edward Gorey, back cover
Son of a Martini Cookbook by Jane Trahey and Daren Pierce and drawings by Edward Gorey, title page 1
Son of a Martini Cookbook by Jane Trahey and Daren Pierce and drawings by Edward Gorey, title page 2
Son of a Martini Cookbook by Jane Trahey and Daren Pierce and drawings by Edward Gorey, recipe page 1
Son of a Martini Cookbook by Jane Trahey and Daren Pierce and drawings by Edward Gorey, recipe page 2
Finally, we have Dracula: A Toy Theatre, sets and costumes designed by Edward Gorey (Charles Scribner’s Sons, 1979). This books contains drawings based on Gorey’s designs from the 1979 Broadway production of Dracula, a revival of the play by Hamilton Deane and John L. Balderston and based on Bram Stoker’s novel. The intention is for the book owner to produce the play by cutting out the costumes and sets, using the book as the backdrop for the set. It also lays out a synopsis of the play and cast. According to the Internet Broadway Database, this production of Dracula ran from 1977 to 1980 and earned Gorey the 1978 Tony Award for Best Costume Design and was nominated for Best Scenic Design. Frank Langella portrayed Dracula, earning his own Tony nomination for the 1978 Best Actor in a Play award.
Dracula: A Toy Theatre by Edward Gorey (1979), cover
Dracula: A Toy Theatre by Edward Gorey (1979), back cover
Dracula: A Toy Theatre by Edward Gorey (1979), instructions and dolls
Dracula: A Toy Theatre by Edward Gorey (1979), part of set
I hope you enjoyed this look into the works of Edward Gorey, and remember that you never know what awesome, spooky works may be in Special Collections!
When taking part in Frank Lloyd Wright’s preeminent architectural school known as the Taliesin Fellowship, Lois Gottlieb came to understand architecture as a kind of Lebensphilosophie, in that she came to consider it a mode of living that touched on and derived inspiration from all aspects of life. Hence the title of her account of her apprenticeship A Way of Life, which deftly highlights the interplay of the rarefied and the mundane, the interdependence of humans and their natural surroundings, and the fluidity between the concreteness of day-to-day living and abstract worldview. Furthermore, it presents art as an act of cultivation and sustained effort, rather than a quasi-mysterious realization of personal genius.
It’s of note that Wright’s teaching style deviated significantly from the norms of his time and tended to subvert the traditional master-apprentice relationship. His radically egalitarian approach to pedagogy came to inform Gottlieb’s own teaching style and her outlook on the ways humans shape and control the environment. Her first major publication, the book Environment and Design in Housing, first workshopped as a series of lectures at UC – Riverside, articulates the effects of design on both the micro- and macro-scale, i.e., the way the “[physical] environment we each create for ourselves and our families does affect every part of our lives”  and the implications of poor design in terms of ecological sustainability and financial cost. In her view, humans have an unrivaled capacity to adapt the environment to their needs – a capacity that is problematic at scale and exacts high tolls, both from the land itself and from people affected by landslides or other natural disasters (see picture below). In light of these concerns, she advocates a more thoughtful approach based on client needs and leveraging the natural assets of building sites rather than the one-size-fits-all attitude of traditional design. (As a side note, Julius Shulman, famed architectural photographer, worked with Gottlieb on this book as photography consultant. The work itself features many of his gorgeous black-and-white photographs, prints of which are available for viewing as part of Gottlieb’s architectural collection here at Virginia Tech. Two copies of Environment and Design in Housing are also available for research as part of Special Collections’ selection of rare books – the captions and broader expositions provide invaluable context for the photographs.)
Design and Gender Norms
A notable feature of this book is its emphasis on practice and its demystification of architectural knowledge. While much of Gottlieb’s approach is informed by cultivating self-knowledge and considering the dwelling as a vehicle for personal expression, it tends to balance this view with injunctions to draw on the specialized knowledge of experts – lending itself to a kind of tempered humanism and recognition of personal limitations. This methodology, I think, can also be traced to Gottlieb’s time spent at Taliesin, which, for the time, was certainly unique in its combination of self-reliance and communal dependencies.
A different, but related, novelty of the school’s social structure was its disregard for gender norms. It is generally recognized these days that, historically, there have been gender-inflected labor divisions in both the public and domestic sphere. At Taliesin, these “traditional” divisions were not enforced – men would often perform tasks like preparing dinner while women would thresh wheat. “Homemaking” was not the strictly circumscribed domain of women, nor was outdoor labor the exclusive domain of men. While her work’s primary focus isn’t on cultural assumptions regarding women, Gottlieb clearly has thoughts on the connections between gender and under-recognized labor. On the subject of domesticity, design, and value, she offers the following observations:
“Another attitude toward the occupation of homemaking is that it is ‘nothing’ or of little importance. An answer to the typical question ‘What does Jane Doe do?’ is ‘Oh, nothing,’ or ‘She doesn’t work, she is just a housewife.’ Yet this housewife is supposed to do most of the buying for the family, keep them all in good physical condition, keep them attractively housed and clothed, see to it that the children are educated, and so on and on.
“In other situations any of these tasks is considered a field of specialized knowledge…But the homemaker is supposed to have absorbed and be all these things at once, a sort of twentieth-century version of the Renaissance man” (without any of the credit for doing so, presumably).
It’s clear that Environment and Design in Housing is at least partially intended to serve as a practical resource for homemakers. It’s also clear that the book is meant to bring analysis to typically underserved segments of society and to address real (if hidden) needs.
1. Lois Davidson Gottlieb, Environment and Design in Housing (New York: Macmillan, 1966), 1.
Robert L. Hughes from Asheville, North Carolina recently gave the University Archives a drum major’s mace that was among the things his father, Ralph Edwards Hughes, kept from his time at Virginia Tech (then commonly called Virginia Polytechnic Institute or V.P.I.). Ralph Hughes, an Electrical Engineering major, was from Ore Bank (now Arvonia), Virginia. Robert Hughes explained that the mace actually belonged to his father’s roommate and close, lifetime friend, Sherman Edmond Seelinger, who was a cheer leader. Both Hughes and Seelinger, an Animal Husbandry major, graduated in 1921.
The mace appears to be made of wood, with a hand-turned top and four Chicago maroon and burnt orange ribbons wrapped around the shaft making diamond-shaped pattern . It is about three feet long and was probably handmade.
The cartoon on Seelinger’s senior Bugle page indicates how important being a cheer leader was to him. Known for his pep, he took a very active part in the promotion of school spirit and in the advancement of athletics and other college activities. He was a member of the Athletic Council and Monogram Club, and he served as manager of the baseball team. According to the 1921 Bugle, “Manager Seelinger has arranged one of the best schedules ever attempted by any Tech team, and we wish to congratulate him upon his efforts.” W. L. “Monk” Younger coached the baseball team and was assistant coach for the football team.
Seelinger had a reputation for being the best dancer in the school. He served as Leader of the Cotillion Club. The opening figure on both nights of the Cotillion Club’s 1921 Easter set of dances was led by Cadet Seelinger dancing with Miss Geneva Edmundson of Radford. The dances were held at the Field House, which was decorated with a large green and yellow interwoven canopy suspended over the center of the floor, from which was strung alternating green and yellow streamers reaching out to the pillars at the sides of the hall. The All Star Six, of Altoona, Pennsylvania provided the music.
Source: Harry Downing Temple, The Bugle’s Echo, vol. 4, pp. 2506-2507.
Marie-Louise Laleyan once wrote in an article for the “Daily Pacific Builder’s” Women in Construction issue of an exchange she had with her father during the opening reception for a public housing project for which she had been the architect. She recounted that upon seeing their nametags a group of happy attendees approached them exclaiming, “Here is the architect” and promptly shook her father’s hand:
“They are congratulating me because of my daughter!” He was almost in tears.
“Well … no. They think you are the architect.”
“Why would they think that?” he wanted to know.
“Oh, it is a long story. I may even write a book about it. Let’s go home.”’
And it is that long story, nestled here into a fond anecdote, that defines a great deal of Laleyan’s work within the broader architectural profession.
I have been encountering—in part through happenstance, but also likely in part because of the particular architectural collections with which I have been most involved as of late—an abundance of materials related to the status and (often) undervaluation of the contributions of women in many professional fields. Apart from archival records, I recently listened to a 2016 episode of the podcast 99% Invisible that showcased the near erasure of photographer Lucia Moholy from the history of the Bauhaus—an institution that owed its reputation at least in part to her astounding (unpaid and uncredited) documentation. Recent books, such as Where are the Women Architects, and excellent articles such as the 2012 piece “The Incredible True Adventures of the Architectress in America,” which appeared in the journal Places, have refocused my attention on how that “long story” that Marie-Louise Laleyan mentioned fits into an ongoing conversation. A call to examine the current state of the architectural field—of nearly any field—also encourages reflection on how past decades of women’s experiences and actions can inform a conversation going forward.
Laleyan had what is likely a common experience for women entering the American architectural scene in the mid-1960s, which is to say that she was often told that firms did not hire women. She noted in an interview years later that, “My reaction of ‘how stupid’ has not changed in 22 years!” To say she defied the barriers to entry is an understatement. She went on, after working her way up in several firms, to found Laleyan Associates, Architects. Her project records, held by the International Archive of Women in Architecture (IAWA), reveal a lot about the constant need to assert her authority as an architect.
From Marie-Louise Laleyan’s project files.
For instance, filed into the general correspondence associated with any project, we find glimmers of the difficulty Laleyan sometimes faced in being taken seriously or authoritatively. Between the contracts, bid documents, cost estimates, schedules of work, invoices, field reports, change orders, specifications, revised plans, and the general back and forth between architects, owners, and contractors, are observations about undercutting. When viewed en masse, these suggest a challenge to the expertise of a woman working in a male-dominated field.
In some of the following examples, Laleyan has to remind contractors and owners of her professional role in a project, ask that they do not undermine her, and note the outright disrespect of her knowledge and expertise.
In the last section Laleyan notes her encounter with a sub-contractor during an inspection. He, among other challenges, asserts that “she doesn’t know what she is talking about.” Laleyan goes on to record that this is a repeated challenge and that she will not tolerate such interactions.
In reference to a letter from a contractor, Laleyan notes in section A that “I do not “challenge” contractors. I administer the construction contract as required by my agreement…” and later notes “occasionally contractors have disagreed with my interpretation of the contract documents, but you are the first who has challenged persistently my authority to interpret those documents and my right to make decisions, based on those interpretations.”
The notes in the last section recount Laleyan’s experience of being yelled at in front of a job superintendent, workers, and others. She goes on to mention that while she did not respond on grounds of professional behavior, she will not tolerate a project development supervisor undermining her authority with the contractor.
Laleyan notes that she would appreciate it if her designs were followed and not “improved upon” by the contractor.
Beyond Laleyan’s success as an architect and owner of her own firm, she had a prominent role in professional organizations and helped to begin actively addressing the challenges that she and other women were facing. She tackled barriers to entry, noting that when she had studied in Bulgaria half of the architectural students were women. She went on to co-found the Organization of Women Architects in 1972, and against the background of 1970s feminist initiatives she contributed a great deal to the conversations and actions that were taking place to encourage a sense of equity within the profession. Apart from participating in organizations that helped to support and encourage other women in the field, Laleyan worked in high-level roles in the American Institute of Architects (AIA), which had a high barrier to participation for professional women. She co-authored the 1975 AIA Affirmative Action Plan and co-chaired the AIA Task Force on Women in Architecture, among other roles. The studies and action plans outlined as part of the AIA initiative helped to move the inclusion of women in the professional activities of the field forward, but as Laleyan noted in her 1980s article for Daily Pacific Builder, “the arguments about the success of the Affirmative Action Plan still go on.” It’s arguable that the core of those recommendations and the issues they address are still relevant today, and are applicable in many fields where women still represent a minority of participants. Still, the increased awareness and forthright conversation about barriers, as well as the existence of toolkits and resources to support women entering the field, likely owe their existence to earlier initiatives such as these.
Looking through a historical lens at Marie-Louise Laleyan’s work provides a microcosm of the experiences of many women architects working at the time (certainly the papers in many of the IAWA Collections attest to similar experiences). But such bridges to the past that examine issues of gender equity, professional practice, and labor issues almost demand to be viewed along a continuum and alongside the work of women in related fields. As Laleyan stated practically with regard to the 1970s AIA Affirmative Action Plan, “What has been achieved in the last ten years is more than I expected. The rest is up to the next generation.”
The OWA still works on behalf of the vision the group outlined in the 1970s. Visit the website for history, newsletters, and current initiatives and projects. Papers from the IAWA Collection are available to view in person in the Virginia Tech Special Collections reading room.
Nestled among our primary collecting areas focused on the American Civil War, the History of Food and Drink, and the History of Women in the Built Environment, there are a few collections on ornithology (the study of birds) and oölogy (the study or collecting of bird eggs). One of those collections has been blogged about here before in Hidden History at Special Collections II: The Harold B. Bailey Autograph Book with a focus on a unique autograph book hidden in a collection about birds. Unlike that previous post, this one is For the Birds!
Today, we’re flying in to take a look at the Bailey-Law Collection 1825-1971 (Ms1982-002). This collection has 32 containers of manuscript material in Special Collections and over 350 monographs (books) in both the main library collection and our rare books collection that can be found in the library catalog by searching “Bailey-Law Collection”. In addition to the holdings that remain here at Newman Library, the collection included numerous bird skins, bird eggs, and mammal skins. These were of particular interest when the collection was originally acquired by the Department of Biology in 1969. When the collection transferred to the library in 1990, they were placed in the Virginia Tech branch of the Virginia Museum of Natural History. They were later transferred to the Virginia Museum of Natural History in Martinsville, VA. In 2014, some of the museum staff came here to look through the papers related to their specimens. You can check out their blog post about the visit here: A Visit to the Bailey-Law Special Collection.
Much of the collection includes personal correspondence and notes from research and field work. What really grabbed my attention when looking through the collection were the two books by Harold H. Bailey: The Birds of Virginia (1913) and The Birds of Florida(1925). Not only do we have copies of these works – we also have the author’s personal correspondence, papers, and research notes from his time writing the books. It’s all pretty swanky. The Birds of Florida is especially thrilling for a bird enthusiast because it is full of lithographs of gorgeous water-color paintings done for the book.
The first of these volumes is The Birds of Virginia. Published in 1913, it has 362 pages of information about birds that nest in Virginia. The photographs are primarily black-and-white and often depict bird nests filled with eggs. For your viewing pleasure today, we have a picture of the cover, some advertising for this book, an couple interior shots of the book, and scans of three of the plates used to print the photos in the book.
Left: Cover of The Birds of Virginia by Harold H. Bailey (1913) Upper Right: Pages 102-103 of The Birds of Virginia showing images of baby Marsh Hawks and a chapter on Family Buteonidae (Hawks, Eagles, Kites, Etc.) Lower Right: Pages 250-251 of The Birds of Virginia showing part of a chapter on the Summer Redbird and an image of Summer Tangers.
Note the insect damage on page 250-251. This is likely the result of a larval anobium punctatum or similar beetle – one of many insects colloquially referred to as a “book worm”.
Above are some ads from yesteryear. These ads are all extolling the virtues of The Birds of Virginia. Would you have been moved to purchase?
Upper Left: “The Virginia Rail” “At Home” (top) “After Leaving” (bottom). Photos by V. Burtch Lower Left: “A Red-Tailed Hawks’ Nest” Photo by C. F. Stone Right: “The Author in a Heron Rookery” Photo by W. D. Emerson
Finally, for The Birds of Virginia, three plates used in the printing process for the book. Two of nests and one of the author, H. H. Bailey.
Next up: The Birds of Florida(1925). This book was just a few years later but has a very different focus. Where the earlier book was focused on nesting behavior of the various bird species and included photos of nests and eggs; this book is more on par with The Birds of America by John James Audubon — A reprint of the double elephant folio of the Audubon book is on display in our Special Collections reading room. It has gained the nick-name “The Big Book of Birds” thanks to the library’s radio show Stacks on Stacks on WUVT — which depicted what the birds look like in beautiful watercolor. Here for your viewing pleasure are some shots of the different versions of this book we have, advertising, interior shots, and scans of some of the lithographs of the watercolors.
Here are the two copies of this book that are in our rare books collection. The one of the left is a proof and contains all of the original watercolor paintings pasted onto paperboard. The one on the right is an actual published copy.
Left: Ad for The Birds of Florida from Library Journal Middle: Ad for The Birds of Florida Right: Ad for The Birds of Florida
These are some ads for The Birds of Florida. At least one appeared in Library Journal and two are very directly targeted toward librarians. One mentions that the author knows the book came out too late and everyone had already spent their budgets. It asks that people still order the book now and pay for it later.
Left: Original watercolor from proof of The Birds of Florida Right: Lithograph from published copy of The Birds of Florida
Above are two images from The Birds of Florida depicting the Carolina Paroquet (parakeet), Ivory-Billed Woodpecker, and Southern Hairy Woodpecker. The one on the left is from the proof and is the original watercolor painting done for the book. The one on the right is the lithograph that appears in the published copy of the book. I chose this image because I happen to like parrots and the Carolina Parakeet, now extinct, was the only species of parrot native to North America.
There is so much more I could write about this collection but this is already a massively long post. So, I’ll just leave you with a selection of images from The Birds of Florida. If you should wish to see these wonderful books for yourself, there are copies in the Newman Library collection and in Special Collections. To see the additional materials we have from the author, visit the Special Collections reading room anytime Monday-Friday 8 to 5 and request collection Ms1982-002.
Upper Left: The Birds of Florida, Plate 36: Swallow-Tailed Kite, Everglade Kite (Adult & Immature), White-Tailed Kite, Mississippi Kite Upper Middle: The Birds of Florida, Plate 40: Bald Eagle (1st year, 2nd year, Adult), Osprey, Harlan’s Hawk, Red-Tailed Hawk Upper Right: The Birds of Florida, Plate 19: White Ibis (Adult & Immature), Glossy Ibis, Roseate Spoonbill, White-Faced Glossy Ibis, Scarlet Ibis, Wood Ibis Lower Left: The Birds of Florida, Plate 47: Chimney Swift, Whip-poor-will, Chuck-Wills-Widow, Nighthawk Lower Right: The Birds of Florida: Plate 68: Magnolia Warbler (Male & Female), Blackburnian Warbler, Yellow-Throated Warbler, Black-Throated Blue Warbler (Male & Female), Myrtle Warbler