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Collection

Horace Greeley collection, 1847-[1895] (majority within 1847-1875)

18 items

This collection contains 18 items related to Horace Greely, including 11 outgoing letters, 2 incoming letters, 1 receipt for a subscription to the Weekly Tribune, 1 telegram, 1 postcard, and a 2-page offprint from Harper's New Monthly Magazine. The material concerns Greeley's lectures, public appearances, interest in politics and charitable efforts, and his legacy.

This collection contains 18 items related to Horace Greely, including 11 outgoing letters, 2 incoming letters, 1 letter discussing Greeley, 1 receipt for a subscription to the Weekly Tribune, 1 telegram, 1 postcard, and a 2-page offprint from Harper's New Monthly Magazine. The material concerns Greeley's public appearances, lectures, interest in politics and charitable efforts, and his legacy.

Included are 11 letters Greeley wrote between 1838 and 1872, concerning his travel and speaking engagements, and personal advice. He received 2 letters about Irish affairs (February 23, 1847) and a request for his attendance at a Fourth of July celebration (June 6, 1853). The receipt was for a subscription to the Weekly Tribune (May 1, 1858). Other items include a telegram about Greeley's presidential nomination (October 1872); a letter from George A. Beach to his parents, in which he mentions Greeley's charitable pursuits (December 10, 1875); a 2-page offprint from Harper's New Monthly Magazine entitled "Greeley's Handwriting," an editorial by Hayden Carruth, in which he shares an anecdote about Greeley's notoriously illegible handwriting (Volume XC, December 1894- May 1895); and a postcard illustrating Greeley's birthplace (undated). For more information, please see the inventory in the Detailed Box and Folder Listing.

Collection

Providence (R.I.) Pen-and-Ink caricatures, [19th century]

1 volume

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide social commentary especially on race, ethnicity, gender, and class.

This nineteenth-century album contains 46 once-bound pen-and-ink caricatures on heavy card stock, each card with or formerly with metal eyelets on one short edge. A pencil inscription at the back of the volume reads, "Mr. Albert L. Briggs, Providence, RI," and internal references to Providence, Rhode Island, further suggests that either Briggs or another local resident may have produced the artwork. The figures represented in the volume vary widely and some are more sympathetic or more disparaging than others. The illustrator relied heavily on exaggerated features, stereotypes, and jokes directed at people's physical appearance to provide especially social commentary on race, ethnicity, gender, and class.

At least seven of the illustrations relate to women, including drawings referring to women's rights and various women's roles as mothers, performers, physicians, and cooks. One, labelled "What is home without a mother," may be a reference to a song by the same name published in 1854, and it features a woman with a monstrous face. Another titled "HANNAH LONG" depicts a woman peddling "Quaker Bitters" (probably the Providence, Rhode Island, patent medicine by that name) and may be referring to Hannah Longshore (1819-1901), who graduated from the first class of the Women's Medical College of Pennsylvania in 1851.

Many of the caricatures focus on impoverished or working class people, showing individuals in tattered clothing or in lower-paying professions such as a farmer, a shoeshine, and a seeming gravedigger. A number of illustrations depict men in various stages of intoxication or alcoholism. Forms of social disorder are highlighted in caricatures of a convict and of a knife-wielding murderer labelled "THE MAN THAT KILLED JOHN GILPIN." Commentary on physical and mental disability are also represented, in drawings of a mentally ill man labelled "Luny" and a man with unaligned eyes and feet labelled "On exhibition."

Other caricatures reflect racial, ethnic, and religious stereotypes. Two racist caricatures depict African Americans, including one of a Black Congressman and one of an Uncle Remus character. Another caricature depicts a recent immigrant, while two are anti-Semitic (those labeled "The Torturer" and "NAME IT"). Two figures depict high religious figures, from Catholic or Orthodox Christian churches; one wears a robe, a fur-brimmed mitre, and snowshoes. The word "KAMSCHASA" is written near the bottom of the robe, likely referring to the Kamchatka peninsula in Russia.

Other caricatures highlight people based on their height, weight, profession (such as a king, a knight, an editor, a lecturer), or social posturing. For example, attitudes like dignity, contentment, nosiness, and bashfulness are spotlighted. Others appear more innocuous, such as illustrations of someone reading the morning newspaper and another of someone taking "Rush's Pills," but underlying subtexts for many of the images likely have additional meaning.

Collection

Richard E. Byrd collection, 1928-1941 (majority within 1928-1931)

6 items

This collection is made up of 5 letters that Richard E. Byrd wrote to James B. Pond about his lecture tours in 1928 and 1931, and 1 letter that Byrd wrote to John Shuttleworth about speaking engagements related to World War II.

This collection is made up of 5 letters that Richard E. Byrd wrote to James B. Pond about his lecture tours in 1928 and 1931, as well as 1 letter that Byrd wrote to John Shuttleworth about speaking engagements related to World War II. In his first letter to Pond, he discussed the comparative appeal of his lectures about his successful transatlantic flight and his upcoming Antarctic expedition. In 1931, Byrd complained to Pond about low turnout, low-quality film equipment, and faulty loudspeakers at his lectures throughout the South. He blamed a lack of ticket-selling campaigns, rather than economic conditions, for the poor attendance and he expressed dissatisfaction with his contract and financial compensation.

Writing to John Shuttleworth in 1941, Byrd discussed his speaking engagements related to World War II, mentioning the perceived threat of a Nazi invasion of the United States and his speeches addressed to France. See the Detailed Box and Folder Listing for more information about each item.