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Letterforms: From Presidents to Pizza Boxes (in 30 Years)

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Join us Wednesday, June 25, at 6:00pm, in the Latino-Hispanic Community Meeting Room, Main Library, for an illustrated talk by John Stevens, an internationally acclaimed master calligrapher, designer of logotypes and illustrator of expressive letterforms. He is the author of a recent monograph about his art and philosophy, Scribe: Artist of the Written Word (2013).

A transplanted New Yorker, John lives, works, and teaches in North Carolina. San Francisco Public Library holds many examples of Stevens' original calligraphy in the Harrison Collection of Calligraphy and Lettering. A sampling of his commercial work can be seen on his website: johnstevensdesign.com.


Sponsored by the Book Arts and Special Collections Center and the Friends of Calligraphy.


And to Think I Saw it on Gough Street

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House number, 194 Gough Street


The email arrived at 3:30pm on Thursday afternoon: "Go see this today!" The message included a link to a short piece from the San Francisco Chronicle and a video. The article announced an open house at 194 Gough Street in Hayes Valley, the flat where Reuben Lucius Goldberg (1883-1970), aka Rube Goldberg--contraption king, Pulitzer Prize winning cartoonist (creator of comic strip characters Bobo Baxter, Boob McNutt, Mike and Ike, Professor Butts, and Lala Palooza), author of such notable works as Foolish Questions, How to Remove Cotton from a Bottle of Aspirin, The Rube Goldberg Plan for the Post-War World, and sometime sewer worker--once hung his hat while visiting his father Max in the city.

Reuben Lucius Goldberg was born in San Francisco on July 4, 1883 to Max and Hannah Goldberg. He was one of three boys and a girl. Rube graduated from Lowell High School in 1900, and the University of California, Berkeley in 1904 with a degree in Mining and Engineering (he cartooned for the Pelican while a student there). After graduation he was hired by Thomas P. Woodward, the Engineer for the City of San Francisco, where he "mapped sewer pipes and water mains." (Peter C. Marzio, Rube Goldberg: His Life and Work). He was a cartoonist for the San Francisco Chronicle and The Bulletin, eventually leaving San Francisco forNew York and success as one of America's greatest humorists.

But Rube always remembered his roots. According to the San Francisco Call, Rube purchased a lot on the southeast corner of Oak and Gough Streets from Johanna F. Lutz, sometime around November 19, 1910. Architect Bernard J. Joseph designed the building with shop space on the ground level, and two flats on the second floor. It was completed in 1911, and subsequently named the R.L. Goldberg Building.
Entry 6053, Building Contract for R.L. Goldberg



It is described by the San Francisco Planning Department as "A two part commercial block with a glass base and upper story with angled pilasters and doubled brackets supporting the simple cornice; the parapet above the bays rises in gentle peaks. The windows between the bays have handsome molded surrounds with peaked keystone ornament. This building was owned by the celebrated cartoonist and "inventor" Rube Goldberg as income property." The building style is described as "Eclectic."



R.L. Goldberg Building, 182-198 Gough Street







Picture Snapping Machine, Inventions! (1996)
With less than an hour and a half  before closing, I grabbed my picture snapping machine and a cartoon enthusiast/San Francisco History Center colleague and the two of us ran down the street and up the stairs to 194 Gough Street, where we met Rube's granddaughter Jennifer George, along with Jacqui Naylor, resident for the last twenty-five years of Rube's old flat. Exploration was encouraged: we rambled through the front rooms, with their original wavy glass windows and remnants of Goldberg-era wallpaper. We were told that Rube drew his cartoons in the corner front room, where the light was just right. We wandered down the hallway with its original lighting fixtures and front door opener (a Goldberg-esque contraption itself), the bathroom with wonderful free-standing bathtub, and finally the kitchen, from where we spied the old tin roof.

Up the stairs to Rube Goldberg's flat
Rube Goldberg era wallpaper in a front room





The front room where Rube drew his cartoons



Original hallway light fixture
How to open the front door from the top of the stairs

Our chance to take a peek at possibly the last residence in San Francisco connected with the great Rube Goldberg was over in an hour. We were grateful to see many of its original fixtures still intact and preserved, and to learn some of its history from family and friends. Here now, but for how long?

Detail, The Art of Rube Goldberg (2013)


For historical information about the city's buildings, readers can start with "How to Research a San Francisco Building," and visit the San Francisco History Center, especially for in-depth research. The department is also the City Archives for the City and County of San Francisco, and includes the San Francisco Historical Photograph Collection, The collection has at least two photos of Rube Goldberg, which may be viewed in the digital photo collection.

The Schmulowitz Collection of  Wit & Humor holds a number of books by and about the marvelous Rube Goldberg. All materials are accessible through our online catalog.


The Bancroft Library at the University of California, Berkeley houses Rube Goldberg's papers.

In addition, Rube's granddaughter Jennifer George has published The Art of Rube Goldberg: (A) Inventive (B) Cartoon (C) Genius (2013).




Rube Goldberg, [1914]





Thanks to Jennifer George, Jacqui Naylor, and Beverly Upton.


Celebrating 50 Years Spotlight: Grabhorn Collection

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While Edwin Grabhorn was still printing in Indiana under the press name The Studio Press, he began using a pressmark featuring a horn and dolphin which was designed by Mark Harvey Liddell. It wasn’t until 1924—several years after the move to San Francisco and after Robert had joined Edwin in the venture--that they began referring to themselves as The Grabhorn Press. The Grabhorn Press used many different pressmarks over the years and various versions of the horn and dolphin theme--this featured image is just one example. It is from The Discovery of Florida printed in 1946 for The Book Club of California with type set by Robert and Jane Grabhorn, press work by Edwin Grabhorn and Sherwood Grover, and initials and decorations by Malette Dean. This book is part of the Robert Grabhorn Collection on the History of Printing and the Development of the Book on the 6th floor of the Main Library.



 50 years of special collections

Celebrating 50 Years: Spotlight on the Schmulowitz Collection of Wit & Humor

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Nat Schmulowitz reading in the Rare Book Room,
Old Main Library, circa 1960s

This week the spotlight is on the Schmulowitz Collection of Wit &Humor (SCOWAH), which is actually sixty-seven years old! One of the earliest special collections to be included in the newly formed Department of Rare Books and Special Collections in 1964, SCOWAH began with ninety-three jest books, presented to the Library on April 1, 1947 by attorney and Library trustee Nat Schmulowitz, as a measure of his interest in the library and the people of San Francisco. His bibliophilic activities began considerably earlier, though, perhaps by chance. In a letter to the Saturday Review's Jerome Beatty (2 June 1958), Nat wrote: “You have asked how I happened to get involved in ‘this business of humor.’ It started with a reading excursion in which I was engaged about thirty years ago, when I happened to note in Much Ado About Nothing that Beatrice said “I had my good wit out of the Hundred Merry Tales.” --(Act II, Scene I).

 
Nat Schmulowitz letter to Jerome Beatty, June 2, 1958







"I became curious about the reference and decided to discover whether Shakespeare was engaged in an inventive literary allusion or whether there really was a book of anecdotes entitled Hundred Merry Tales.”  


Indeed there was, and so the Hundred Merry Tales was practically the first book in Nat’s collection and among the first to be presented to the San Francisco Public Library. Throughout his lifetime, Nat took a lively interest in the collection, acquiring for the Library more than 13,000 books on the many facets of wit and humor. By the end of 2013, the collection numbered more than 23,600 items, and is considered the largest collection of its kind in the world.
Comedian Phyllis Diller and Nat Schmulowitz, circa 1962

50 years of special collections

It Came From the (Photo) Morgue!: Happy Valentines Day!

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Looking for something big for your sweetheart? How about the "Largest Candy Box Ever Made"

October 1, 1928 -- New York -- Photo shows left to right Melba Alter and Helen Bishop of "White Lilacs" lifting the cover of the largest candy box ever constructed which holds 500 pounds of chocolates. This was exhibited at the National Exposition of the Candy, Ice Cream and Allied Industries at Grand Central Palace.
[P11 ALTE-- ALTG--]

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The San Francisco Public Library owns the photo morgue of the San Francisco News-Call Bulletin, a daily newspaper that covered the time period from the 1920s to 1965. Much of the San Francisco Historical Photograph Collection comes from theSan Francisco News-Call Bulletin Photo Morgue. However, the morgue also includes statewide, national, and international subjects and people that have not been digitized or cataloged. When researchers order scans from the San Francisco News-Call Bulletin Photo Morgue,selections are cataloged and added to the online database.

Looking for a historical photograph of San Francisco? Try our online database first. Not there? Come visit us at the Photo Desk of the San Francisco History Center, located on the sixth floor at the Main Library. The Photo Desk hours are Tuesdays and Thursdays 1 p.m. to 5 p.m., and Saturdays 10 a.m. to noon, 1 p.m. to 5 p.m. You may also request photographs from the San Francisco News-Call Bulletin Photo Morgue.

Celebrating 50 Years Spotlight: SF History Center Maps

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Maps of San Francisco form a substantial part of the San Francisco History Center collections. Formerly the town of Yerba Buena, the city blossomed from a single residence built by William Richardson in 1835 to a population of over 825,000 sharing 49 square miles. The Center’s map collection is a rich source for historians, artists, and others curious about the development of San Francisco.

While street maps predominate, the collection includes topographic maps, fanciful picture maps, and property maps. Sanborn fire insurance maps and various “block books” complement property maps formerly held by the City Recorder. Views of the entire city, as well as distinct neighborhoods and aspects, can be found here. Maps are stored in various ways: rolled, folded, flattened and encapsulated, or framed. Some are still bound into the books in which they were originally published.

The Commercial, Pictorial and Tourist Map of San Francisco, created by lithographer August Chevalier and printed by Galloway Litho in 1904, is one of the special maps which are located in the San Francisco History Center. The map combines a fairly accurate representation of streets, but highlights significant landmark buildings of the time, as well; in 1904, high-rises were new to the landscape.


Chevalier followed up this map with the Chevalier Illustrated Map Guide of San Francisco, “The Exposition City” in 1913, in preparation for the Panama-Pacific International Exposition, to be held two years later.

San Francisco History Center librarians can help patrons locate these and other materials, including specific maps, whether searching by date, subject or publisher. Many of the materials in the Center are rare or fragile and most are kept in closed stacks. Not all items are catalogued, so please ask for help if you are unable to find a specific item.



50 years of special collections

History Expo at the Old Mint: We’ll Be There!

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Two women in bathing suits at Sutro Baths, n.d.
If you plan to attend the 4th Annual San Francisco History Expo at the Old Mint, stop by our tables to visit. If you don’t plan on attending you should think again because this is the most lively and interesting history event in town—for all ages!

Staff from the San Francisco History Center will, as usual, be meeting and greeting and sharing a few artifacts to pique your interest in local history. In addition, you will have the unique opportunity to snap a photo of yourself as one of Sutro’s Bathing Beauties.


The Library's Golding Official, Boston, 1880
This year, staff from Book Arts & Special Collections will be co-hosting a table with members of the American Printing History Association’s NorCal chapter. We’re bringing our little Golding Official printing press so you can try your hand at letterpress printing.

Step back in time at the Old Mint and enjoy experiencing this historic building, attending the many interesting programs, and visiting with like-minded folk. If you’ve attended in previous years, you will understand why. See you there!



Celebrating 50 Years Spotlight: Hormel Center Archives

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It is unlikely that there was any expectation of GLBT archives at the library in 1964 when the San Francisco History and the Book Arts & Special Collections departments were established. However, the library’s commitment to recording and celebrating the events and people of the City anticipated that additional kinds of archives would be acquired eventually.


The James C. Hormel Center was founded in 1991 to document the GLBT experience, especially here in the San Francisco Bay Area. The Center includes books, recordings, periodicals, and archives. While the bulk of the Hormel Center’s book holdings areavailable on the 3rdfloor of the Main Library, the GLBT archival collections call the 6thfloor their home.


The first archival collection, the Peter Adair Papers, was accessioned in 1991. Since that time, the GLBT archives has grown with the addition of dozens of collections, such as the Harvey Milk Archives—Scott Smith Collection, and the Barbara Grier—Naiad Press Collection.


The newspaper clipping pictured here is from the Evander Smith—California Hall Papers (GLC 46). It documents an event that will soon mark its own 50th anniversary: police harassment at the January 1965 New Year’s dance hosted by the Council on Religion and the Homosexual. This incident served as a rallying point for San Francisco’s emerging GLBT community. It’s worth noting that this was four years before New York’s more well-known Stonewall riots.

These rich and exciting archival collections are used on a daily basis by researchers, filmmakers, authors, students, and the general public from the Bay Area and beyond. They add immeasurably to our understanding of the City’s diverse communities, and to the Library’s Special Collections.


50 years of special collections


Special Guests for Special Collections for All of Us

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You may have noticed from our "Celebrating 50 Years Spotlight" series of blog posts that the San Francisco History Center and Book Arts & Special Collections are turning 50 this year. Just like early Gen-Xers, really.

Our blog is only 5. Put differently, our oldest social media presence is in kindergarten (albeit a precocious kindergarten), while our collections and services have been growing for half a century. We have type specimens. Hand-drawn calligraphy. Coroner's records. Funny books in 35 languages. Mug books. Maps. Card files. Photographs. Posters. Diaries and letters. Zines. One wonders how many books, articles, documentaries, exhibits, dissertations, high school term papers, novels, urban planning reports, posts, plaints, art projects, tweets, and just plain gossip and speculation have come from people all over the world perusing our "special collections." What's special about them is that anyone can come in and use them, regardless of their rarity or uniqueness.

Kevin Starr, as City Librarian in the 1970s
Kevin Starr, as City Librarian in the 1970s
To celebrate our youth and our age (in archives and special collections, it's all about historical perspective, after all), we'll be hosting two special guests on Tuesday October 21 at 6:00 p.m. Join us in the Koret Auditorium here at the Main Library, where scholar and former City and State Librarian Kevin Starr will speak about the role of special collections in public libraries, particularly here at the San Francisco Public Library. Where have we been, and what's in store for us? We'll also honor our former City Archivist Gladys Hansen with a screening of a new short documentary, Counting the Dead: One former city librarian's 50 year-long quest to account for the names of those who died in the 1906 San Francisco Earthquake and Fire by Catharine Axley.

http://sflib1.sfpl.org:82/record=b1027718~S0
Gladys Hansen, as City Archivist, undated


After the talk, there will be an informal walk-through of Celebrating 50 Years: 1964-2014: An Exhibition of Works from the Marjorie G. and Carl W. Stern Book Arts & Special Collections Center and the Daniel E. Koshland San Francisco History Centerin the Skylight Gallery-South, on the sixth floor. All are warmly invited to attend as we celebrate the 50th anniversary of this remarkable public resource.

We hope to see you there!







Celebrating 50 Years: Spotlight on the Harrison Collection of Calligraphy and Lettering

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Harrison Collection bookplate designed 
by James Hayes, 1982




In the world of calligraphy one public collection stands out: The Richard Harrison Collection of Calligraphy and Lettering. Located in the Book Arts & Special Collections Center, the Harrison Collection is one of the most remarkable collections of its kind, a storehouse of original calligraphic manuscripts, as well as fine prints, broadsides, roughs, drawings and sketches. While the focus is on contemporary calligraphy, a look back at the development of bookhands is represented in a selection of medieval through seventeenth century leaves.

San Francisco resident Richard Harrison (1909-1990) loved and practiced calligraphy; he corresponded with scribes whose work he commissioned and later gave to the San Francisco Public Library. Harrison’s gift coincided with the opening of the Special Collections Department, becoming a cornerstone collection that would include the Grabhorn Collection on the History of Printing and the Development of the Book, and the Schmulowitz Collection of Wit and Humor.

Thomas Ingmire, Saucy Jacks, 1993

Included in the collection are original works by English calligrapher and watercolor artist Marie Angel and San Francisco calligrapher Thomas Ingmire, both of whom are a special focus of the collection. Recent acquisitions include the work of world-renowned local calligrapher Georgia Deaver, teacher and artist Arne Wolf, as well as calligraphy by Carl Rohrs, Monica Dengo, Luca Barcellona, Massimo Pollelo, Christopher Haanes, and Judy Detrick.

"A rose is a rose is a rose" by Gertrude Stein. Calligraphy by Georgia Deaver, circa 1980s.
A key feature of the Harrison Collection is its accessibility. The collection is open to anyone with an interest in calligraphy, without appointment. Because of its visual qualities and grounding in the handwritten letter, the collection merits study by students, artists, and practitioners from around the world. We look forward to another 50 years of calligraphic pleasures in the Library’s Special Collections.

50 years of special collections

Celebrating 50 Years Spotlight: Little Magazines

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SPECIAL COLLECTIONS: THE STORY CONTINUES

When City Librarian William Holman organized the Library’s special collections into one department in 1964, librarians in the Literature, Philosophy & Religion Department were doing their part by actively acquiring books and little magazines representing the Beat and San Francisco Renaissance writers. As Special Collections Librarian Jack Coll reported in January 1966, “The Library is seeking to collect this material as a record of intellectual life within the city.” In an effort to move beyond standard ordering procedures, librarians in both departments scoured  book dealers’ catalogues, visited antiquarian and independent book shops (City Lights and The Tenth Muse, amongst others), and pored over alternative press reading lists. The Special Collections Department acquired the published works of local writers and poets, while the Literature Department went a step further assembling a core collection of forty little magazines (avant-garde poetry magazines). 

The collection opened in 1967 with titles including: Wild Dog, Avalanche, Despite Everything, Magdalene Syndrome Gazette, Black Dialogue, Beatitude, Hollow Orange, Soulbook, Kayak, Change, the Movement, and the Journal for the Protection of All Beings. By the early 1980s, the collection had grown to 500 titles.





Zines (self-published, independent, mostly handmade and done for the love of it) first made their appearance in the collection in 1991, giving new energy to the Little Maga/Zine Collection. A proposal to transfer the collection to Special Collections due to its literary and historical research value was approved in 1993, with the reinvigorated collection now receiving full archival preservation. Soon the collection would be cataloged for complete public access; cataloging still continues, as does the acquisition of zines and little magazines.


The Little Maga/Zine Collection documents the underground/alternative press of the San Francisco Bay Area, and its influence on the cultural, literary, and political life of San Francisco. Little magazines representing almost every literary movement from the 1940s onward, political little mags, and self-published zines on a wide variety of topics form the core collection, which now numbers over 1,200 titles (more than 4,000 issues). A growing collection of print reference materials, electronic media, and ephemera adds critical documentation on the history and study of little magazines and zines.


The Little Maga/Zine Collection may be found in the Book Arts & Special Collections Center, open to the public without appointment. Our new hours are Monday: 10am-6pm; Tuesday-Thursday: 9am-8pm; Friday: 12 noon-6pm; Saturday: 10am-6pm; and Sunday: 12 noon-5pm. Celebrate our department’s 50th anniversary by visiting us on the Sixth Floor, where we can show you the many treasures of Special Collections.

50 years of special collections

Guest Blogger Christopher Lowen Agee: A Preview to His Talk This Saturday

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The San Francisco History Center is pleased to present historian Christopher Lowen Agee speaking about his book, The Streets of San Francisco: Policing and the Creation of a Cosmopolitan Liberal Politics, 1950-1972, this Saturday, November 15th at 11:00 a.m. in the Latino/Hispanic Community Meeting Room at the Main Library. Dr. Agee has written a guest blog post for "What's On the 6th Floor" about doing reserach for his book in the public library.
 

flier for SFPL program





During the 1960s, the nation turned it eyes to San Francisco as the city's police force clashed with movements for free speech, civil rights, and sexual liberation. These conflicts on the street forced Americans to reconsider the role of the police officer in a democracy. In The Streets of San Francisco, I explore the surprising and influential ways in which San Francisco liberals answered that question, ultimately turning to the police as partners, and reshaping understandings of crime, policing, and democracy.

author photo of Christopher Lowen Agee
Author photo
In my research, I faced the challenge of uncovering the internal histories of City Hall, the San Francisco Police Department (SFPD), and neighborhood movements from across the city.  The San Francisco Public Library – particularly the Mainand Bayview branches – provided invaluable windows into these various segments of San Francisco.

For scholars interested in the history of policing and crime in San Francisco, the SFPL has digitized the SFPD's Annual Reports.  These documents chart arrest statistics and changes in departmental organization and thus show how the SFPD's understanding of its mission and of crime itself transformed over the twentieth century.

Scholars exploring the inner workings of San Francisco's City Hall can avail themselves of the SFPL's Mayoral Papers. The Joseph L. Alioto Papers included drafts of speeches and debate notes with Alioto's handwritten margin revisions. These drafts helped me understand the ways in which Alioto was directly shaping the message of his administration.  The various pieces of ephemera that the his office kept (e.g., cartoons sketched by members of the Black Panther Party and the San Francisco Police Officers' Association) helped me gauge how the administration understood the city and its divisions. 

Finally, the library's collections of neighborhood and institutional newspapers helped me understand the issues driving and dividing the city's neighborhood movements.  The library has collected past issues of The Spokesman, a War on Poverty-funded newspaper in Hunters Point, and the San Francisco History Center's San Francisco Ephemera Collection includes clippings from at least five Haight-Ashbury newspapers. The Ephemera Collection also includes News and Views, a newsletter written by community activists involved with the SFPD's Community Relations Unit.

The San Francisco Public Library allows researchers to explore the history of San Francisco's institutions, politicians, and social movements. As a result, scholars can use the library's collections to uncover a local past that is at once nuanced and wide-ranging.


Press Clippings of the Panama Pacific International Exposition

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As the City prepares for next year's Centennial Celebration of the Panama Pacific International Exposition (PPIE), the San Francisco History Center is surveying its archival collections for materials to help tell the story. One collection that has emerged out of the stacks is a set of twenty-one giant press clippings scrapbooks. Each volume is typically 12” x 18” x 7,” with 500 pages.

Who created these scrapbooks, and for what purpose, is a matter of conjecture, because there is little documentation remaining with them to tell us. Here is what we've discovered so far:

In 1924, R.B. Hale (one of several Vice Presidents on the PPIE Board of Directors) and George W. Kelham (Chief Architect) donated a large collection of official PPIE news clippings, photographs, documents and ephemera to the San Francisco Public Library. This was long before we had a San Francisco History Center, or even the predecessor Californiana Collection (created in 1964). So, while we don't have an accession record or deed of gift, we do have an announcement in the 1924 San Francisco Municipal Record:

Municipal Record, 1924
San Francisco Municipal Record, Thurs. May 1, 1924 (p. 141)

The 1924 San Francisco Public Library's annual report also mentions it:

San Francisco Public Library Annual Report for 1924, San Francisco Public Library

The hint: "Bound files of newspapers."

Based on this documentation, labels and markings on the scrapbooks themselves, and content of the clippings, we think these scrapbooks are the newsclippings portion of the Hale/Kelham donation.

The earliest clippings date back to Dec. 4, 1909, a few days before the first mass meeting to vet the idea of the PPIE with the public. Held at the Merchants Exchange Building, it was attended by over 500 people. By early January 1910, a 30-member Board of Directors had been established.

The scrapbooks have multiple compilers and more than one numbered series, at least one of which was re-numbered at some point. And there are missing volumes, so sometimes it's difficult to tell which books go in which series, and in what sequence. Because there are two volumes labeled "Lowell Hardy" and one "H. E. Cooley," we can guess that some were compiled by or for the Department of Special Days and Events, of which Hollis E. Cooley was the Chief and Lowell Hardy was Manager. We have a copy of that Department’s final report to the President of the PPIE, Charles C. Moore, in our stacks.

PPIE Special Publicity Scrapbook, Lowell Hardy
Front cover of Lowell Hardy No. 5
A few of the other books appear to have originated in the Division of Exploitation. This wing of the PPIE bureaucracy, located in the Press Building, had a plethora of bureaus and departments: Domestic Exploitation, Multigraphing, Publications, Printing, Tours, Records and Statistics, Art & Illustration, Editorial, Writers, and Hotel. Its charge was, as its Director’s final report puts it, “to secure the participation of the states and publicize the Exposition worldwide.” (A copy of the report is in our
San Francisco Ephemera Collection of PPIE files. We can surmise that many of these subject files, now combined with additional files of and about the PPIE from other sources, were also part of the 1924 accession).

The two Writers Bureau and one Bureau of Records scrapbooks in this collection are physical remnants of that endeavor.
PPIE Press building directory ephemera, San Francisco Public Library
Item from the PPIE subject files. The Writers Bureau was part of the Editorial Bureau.

The Writers Bureau was a corps of 8-10 writers / newspapermen (including two women) hired to publicize the Exposition via journalism rather than paid advertising. According to the aforementioned Director’s report, national and international newspaper advertising would have cost five million dollars; so instead, the Division decided to take the high, writerly road to get the word out. It worked, and their reach was much wider than it might have been otherwise. Many of the articles were syndicated and spread throughout the nation. Small town papers benefited particularly; towns, more than cities, were the main source of PPIE tourists to San Francisco. The Bureau of Records kept track of how many stories were printed in each newspaper; the volume we have consists of entirely San Francisco newspapers. Here's a tally inside:

PPIE Bureau of Records press clippings scrapbook, San Francisco Public LIbrary
Inside the Bureau of Records scrapbook



 Department press clippings scrapbook, San Francisco Public Library
Charles H. Green, Chief of Manufactures

Another volume is labeled "Manufactures Dept." on the cover and focuses on Charles H. Green, Chief of Manufactures and Varied Industries. It is possible that this scrapbook also came from the Writers Bureau, since the writers--according to Frank Morton Todd in his 5-volume opus, The story of the exposition; being the official history of the international celebration held at San Francisco in 1915 to commemorate the discovery of the Pacific Ocean and the construction of the Panama Canal (v. 2 p. 36)-- each were assigned one of four “beats”: grounds and construction, concessions, exhibits, or executive departments. Perhaps this was compiled because one of the writers was assigned to the Manufactures Department. The Manufactures department encompassed exhibits and events pertaining to all manner of industry and “made things.”

These press clippings are one hundred years old, so most of the books are in a fragile physical state: several volumes contain piles of loose clippings tipped in and/or stuffed into envelopes glued to the page. The newspaper is acid-eaten and crumbling. The pages of the books themselves are brittle. For these reasons, access to these books is limited to a case-by-case basis. Please contact the San Francisco History Center directly if you are interested in using these materials. We hope to digitize at least some of them!



This scrapbook (May 18, 1914-March 7, 1915) is about a foot thick! You can see some envelopes peeking out the middle.

CELEBRATING 50 YEARS: Spotlight on San Francisco Ephemera and Posters

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Ticket stubs, programs, menus, schedules, pamphlets, fliers, certificates-- small paper items known as “ephemera” that recall past occasions, activities, and people--hold an intimate place in an archives, particularly that of the San Francisco History Center.
Matchbook from Roundhouse Restaurant, San Francisco History Center, San Francisco Public Library
Matchbook from the Roundhouse Restaurant, undated

They offer glimpses into the daily life of our city across the generations. Their creases and marks and stains suggest the hands that held them at the event they were printed for, be it a bus trip, a performance, an exhibit, a grand opening, a dinner, or a protest.
r Village, San Francisco History Center, San Francisco Public Library

Cocktail napkin from Cable Car Village, undated

Ephemera such as this can be found throughout the San Francisco History Center’s archival collections; however, the bulk of this kind of material may be found in our San Francisco Ephemera Collection. This collection of subject files stored in 153 filing cabinet drawers, is also known as the “vertical file” because items are stored upright in folders rather than bound in a book, covers all sorts of San Francisco topics and entities, dating from 1850 to the present: buildings, businesses, clubs and associations, restaurants, neighborhoods, streets, and more. A guide to the San Francisco Ephemera Collection, which lists the folders we can pull for researchers, can be found here.




 Posters, a kind of super-sized ephemera, are also in the San Francisco History Center. Like ephemera, they are printed for use-in-the-moment. They publicize arts festivals, concerts, rallies, conventions, public services, and political causes. Our poster collection has over 800 posters dating from 1865-present, mostly from the 20th century.

Visit the San Francisco History Center on the 6th floor of the Main Library to explore these collections further. There’s nothing like paper-in-person!

d poster, San Francisco History Center, San Francisco Public Library
Old First Church Concerts poster, 1995


Bringing Special Collections Together at the Digital Public Library of America

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The Marjorie G. and Carl W. Stern Book Arts & Special Collections Center and the San Francisco History Center present Dan Cohen, Executive Director of the Digital Public Library of America (DPLA.) Cohen will speak about this exciting new national project for our annual Holiday Lecture, Wednesday, January 7, 2015, 6pm, in the Koret Auditorium, Main Library. He will address how Special Collections are able to share their collections more widely through DPLA.

Dan Cohen is the Founding Executive Director of the DPLA, where he works to further the DPLA’s mission to make the cultural and scientific heritage of humanity available, free of charge, to all. Prior to his tenure, Dan was a Professor of History and the Director of the Roy Rosenzweig Center for History and New Media at George Mason University. 

His books include Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web, and he most recently edited Hacking the Academy : New Approaches to Scholarship and Teaching From Digital Humanities. 

 RSVP and share on Facebook! 




Celebrating 50 Years: Spotlight on the Schmulowitz Collection of Wit & Humor

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Nat Schmulowitz reading in the Rare Book Room,
Old Main Library, circa 1960s

This week the spotlight is on the Schmulowitz Collection of Wit &Humor (SCOWAH), which is actually sixty-seven years old! One of the earliest special collections to be included in the newly formed Department of Rare Books and Special Collections in 1964, SCOWAH began with ninety-three jest books, presented to the Library on April 1, 1947 by attorney and Library trustee Nat Schmulowitz, as a measure of his interest in the library and the people of San Francisco. His bibliophilic activities began considerably earlier, though, perhaps by chance. In a letter to the Saturday Review's Jerome Beatty (2 June 1958), Nat wrote: “You have asked how I happened to get involved in ‘this business of humor.’ It started with a reading excursion in which I was engaged about thirty years ago, when I happened to note in Much Ado About Nothing that Beatrice said “I had my good wit out of the Hundred Merry Tales.” --(Act II, Scene I).

 
Nat Schmulowitz letter to Jerome Beatty, June 2, 1958







"I became curious about the reference and decided to discover whether Shakespeare was engaged in an inventive literary allusion or whether there really was a book of anecdotes entitled Hundred Merry Tales.”  


Indeed there was, and so the Hundred Merry Tales was practically the first book in Nat’s collection and among the first to be presented to the San Francisco Public Library. Throughout his lifetime, Nat took a lively interest in the collection, acquiring for the Library more than 13,000 books on the many facets of wit and humor. By the end of 2013, the collection numbered more than 23,600 items, and is considered the largest collection of its kind in the world.
Comedian Phyllis Diller and Nat Schmulowitz, circa 1962

50 years of special collections

Cinematic San Francisco: "Big Eyes"

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Living in San Francisco can often feel like living on a movie set. Sometimes it's 9 to 5, other times it's The Invasion of the Body Snatchers. Either way, San Francisco is a backdrop that fills the big screen like no other city can. This post is the first of a new series, Cinematic San Francisco, that will focus on (mostly) current films shot in San Francisco and resources from the San Francisco Public Library that can help you explore each film a little further.

WOODSIDE, CALIF. 1/12/63 "Painters Walter and Margaret Keane get busy with their palettes in "Paint Room" of their home here. In background are some of paintings of children with oversized, brooding eyes that have become Walter's hallmark." UPI (Courtesy of the San Francisco Public Library)  [P 377 KEANE, WALTER]
Tim Burton's biopic Big Eyes tells the story of Margaret Keane, the artist whose portraits of big-eyed children became famous in the 1960s, and her husband, Walter, who started as a sales rep for the paintings and later claimed to have created them himself. Margaret and Walter met in San Francisco in the 1950s. They married soon after and Walter began promoting Margaret's artwork at one of the city's hottest spots, the hungry i nightclub in North Beach. Walter was a successful PR man, and celebrities began buying up the Keane paintings. Jerry Lewis, Kim Novak and Joan Crawford were all fans of the works.

Kim Novak and Walter Keane in San Francisco, 1959
(Courtesy of the San Francisco Public Library) [P377 KEANE, WALTER]
Last year, locals got a chance to see behind the scenes as the film crew transformed parts of North Beach for the movie. The production also used several photos from the San Francisco Historical Photograph Collection at the San Francisco History Center to use as references for scenes in the film. A brief look at the photos in the San Francisco News-Call Bulletin Photo Morgue reveals a bit of Walter Keanes' promotional finesse. Along with images of the Keane artwork, there are family portraits-- Walter, Margaret, and their two daughters-- each with paintbrush in hand, and shots of Walter mingling with celebrities.

Photo with press release sent to the SF News-Call Bulletin from Walter Keane, 1960.
(Courtesy of the San Francisco Public Library) [P377 KEANE, WALTER]
The San Francisco History Center also houses the San Francisco Examiner Newspaper Clippings Morgue, where mentions of the Keanes, especially Walter, are plentiful. Several Examiner columnists refer to Walter Keane as "my friend" and seem to take a certain amount of glee in reporting whatever Walter did or said. The 1958 article "Brawl Gives Artist 'Hungry Eye' Full" tells the tale of a brief bar fight between Keane and hungry i owner Enrico Banducci. In another column, Walter is asked to write a provocative article on one of his favorite subjects... women.
"So let us recognize that women present no threat to us. It's true, I admit, that certain antagonisms are engendered when a woman becomes a wife or a mother-in-law. It seems to bring about organic changes that nobody has been able to figure out. But they can be overcome." (San Francisco Examiner, "Some of My Best Friends Are Women" by Walter Keane, Sept. 4, 1963)
Newspaper clippings from 1965, 1966, and 1970. (San Francisco Public Library.)
Margaret Keane at the "paint-off"
in Union Square. Life magazine
Nov. 20, 1970. (Courtesy of SFPL)
Margaret Keane doesn't appear in headlines until the Keane's divorce in 1965. In 1970 she made the claim against her husband, "He can't paint eyes, he can't even learn to paint."(San Francisco Examiner Oct. 14, 1970) When he cried foul, she challenged him to a paint-off in Union Square. While she displayed her skill to the crowd, Walter didn't bother to show up.

If Big Eyes inspires you to learn more about the Keanes, visit the San Francisco History Center for photos and articles.
Also, check out a recent biography Citizen Keane: The Big Lies Behind the Big Eyes by Adam Parfrey and Cletus Nelson, as well as two art books available for viewing at the Page Desk on the 4th Floor of the Main Library: Walter Keane (1964) and MDH Margaret Keane (1964).



Paste Paper Paradise

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The Main Library subject departments provide an extraordinary array of materials for a lifetime of exploration. For librarians, discovering the mysteries and histories behind the subjects we specialize in furthers our knowledge and expertise, as we guide our patrons in their own explorations. This is part of the joy we derive from working in the library.

One such interest for a certain librarian is the art and application of paste papers. An early form of decorated paper originating sometime in the sixteenth century, paste paper was used in the end papers and covers of books through the eighteenth century. Interest in the craft of paste papermaking resurged again in the twentieth century and continues to be practiced by makers in San Francisco and beyond. 

In her classic book on the subject, historian Rosamond Loring describes two distinct styles of paste papers: “those that were printed and those on which the design was made with freehand brush strokes or drawn with some tool directly on the colored, paste-covered surface of the paper.” (Loring, Decorated Book Papers, 4th edition, 2007, p.65).


Developing an interest in a subject requires examples upon which to learn; a search of the Library collection is not only a requirement, but a serendipitous activity. It was a search of the Grabhorn Collection on the History of Printing & the Development of the Book a few years ago that resulted in the discovery of a lovely red printed paste paper. In an album of eighteenth century Italian decorated papers, this was the first paper to appear, followed by many more samples of paste papers, brocade, Dutch Gilt, and marbled papers. Why did this red printed paste paper stand out? It wasn’t long before the answer revealed itself. 





A faded pattern of this same design was discovered in another area of the library stacks. Probably Italian-made, it was used as the binding for Catalogo degli Ordini Equestri e Military (Rome, 1741), an illustrated catalog of military religious orders, documented by Filippo Buonanni (1638-1725), pupil of Athanasius Kircher, the last of the Renaissance men.  Kircher founded a remarkable collection of curiosities in Rome, recording the contents in published catalogs, two of which may be found in the Grabhorn Collection. After Kircher’s death in 1680, Buonanni became curator, but after his death, the collection declined; eventually it was merged into Rome’s Museo Nazionale. In some instances, Kircher and Buonanni’s books are the only visual evidence of what they collected. 






The eighteenth century album of Italian papers and Buonanni’s illustrated catalog are now on view through January 31, 2015, in the Skylight Gallery, South Salon, part of Celebrating 50 Years of Special Collections.



 

 


The 4th Annual Valentine Broadside Printing Event

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presents the 4th Annual Valentine Broadside Printing Event on 
Saturday, February 14th, 2-4pm, in the San Francisco History Center.

Come experience letterpress printing on the library’s 1909 Albion handpress 
and take home a unique keepsake for your valentine. 
Our co-sponsors, the American Printing History Association’s NorCal Chapter, 
 will provide printing expertise.

Everyone is welcome; broadsides are limited to the first 100 people.

Here's a peek at the fun we had last year.

celebrating 50 years logo



Cinematic San Francisco: Noir City

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"San Francisco is a town made for noir." -Peter Maravelis, San Francisco Noir 2

The 13th annual festival of film noir hosted by the 'Czar of Noir', Eddie Muller, takes up residence at the Castro Theatre for ten days starting tonight, Friday, January 16. Several of the films featured at this year's Noir City are set in San Francisco, including the opening double-feature of Woman on the Run and Born To Be Bad. And since this year's theme is 'Til Death Do Us Part - A Festival of Unholy Matrimony, we couldn't help but think of the rather perfect union that has been formed between film noir and the city of San Francisco.
Ross Ellott and Ann Sheridan in "Woman on the Run" (1950). San Francisco Public Library.
Caption: "WOMAN ON THE RUN - UNIVERSAL INTERNATIONAL Life-saving medicine is passed to fugitive Frank Johnson (ROSS ELLOTT) by his wife (ANN SHERIDAN) in this scene from Fidelity Pictures'"Woman On The Run," dramatic story of a tottering marriage saved when a mutual peril makes the partners realize their love for one another. Dennis O'Keefe co-stars with Ann in this Universal-International release." Oct. 24, 1950 [P641 SHERIDAN, ANN](Courtesy of the San Francisco Public Library)

What is it about San Francisco and noir? In San Francisco Noir 2: The Classics, editor Peter Maravelis suggests it is the city's siren call to all who want just a little bit more from life than the usual.
Drawn to the romantic landscape by the lure of possibility, millions have flocked here to cast their stakes in the hope for prosperity, pleasure, and a personal freedom seldom dreamed of elsewhere. Following the imperatives of manifest destiny, the city's pioneers engaged in fraud, larceny, kidnapping, and murder. The prospect of gold led many to their demise while establishing a terrain ruled by human passions.
Edmond O'Brien and Ida Lupino in "The Bigamist" 1953. San Francisco Public Library.
Caption: "KEEPS SECRET FROM HER - Edmond O'Brien, in and as "The Bigamist," doesn't tell wife Ida Lupino he has a mate (Joan Fontaine) in San Francisco. The Filmakers' [sic] picture will have its world premiere tomorrow at the St. Francis, with evening stage appearances by the above stars, Miss Fontaine, Edmund Gwenn, Producer Collier Young and Matt Dennis, who sings the film's theme song. All are here today in preparation for the premiere." Nov. 23, 1953.
[P426 LUPINO, IDA (groups, doubles)]
(Courtesy of the San Francisco Public Library)
Nathaniel Rich, author of San Francisco Noir: The City in Film Noir from 1940 to the Present, believes it might have more to do with the weather, specifically, San Francisco fog.
It is a looming, shape-shifting mist that, especially at night, plays tricks of perception on anyone it engulfs. It is eerie not so much for what it conceals [...] but for what one fears it might conceal. More than anything else it is this feeling - dread - that is the subject of film noir.
Whether it is unleashed human desires or natural air-conditioning, San Francisco and noir have been in a long relationship that is still going strong.
Caption: "WILLIAM POWELL AND MYRNA LOY BLOCK TRAFFIC.....When Director W.S. Van Dyke takes the "After the Thin Man" company to San Francisco for scenes of the new Metro-Goldwyn-Mayer picture, sequel to "The Thin Man". Motion picture fans on Market Street had a field day. In the foreground are Van Dyke and Ollie Marsh, cameraman. Hunt Stromberg is the producer." Oct. 28, 1936. [P558 POWELL, WILLIAM] (Courtesy of the San Francisco Public Library)
Books about film noir:
San Francisco Noir: The City in Film Noir from 1940 to the Present by Nathaniel Rich
The Art of Noir: Posters and Graphics from the Classic Film Noir Period by Eddie Muller
Dark City Dames: The Wicked Women of Film Noir by Eddie Muller
Dark City: The Lost World of Film Noir by Eddie Muller
The Gang That Shot Up Hollywood by John Stanley, which features the article "Eddie Muller: Czar of Noir"

Noir stories:
San Francisco Noir edited by Peter Maravelis
San Francisco Noir 2: The Classics edited by Peter Maravelis
All of the city-based titles in the Akashic Noir Series.
The Black Lizard Big Book of Black Mask Stories edited by Otto Penzler
And, of course, anything by one of the San Francisco History Center's favorite authors, Dashiell Hammett.

If you would like to create a San Francisco film noir festival of your own, we suggest these titles:
Lady From Shanghai (1947)
Thieves' Highway (1949)
D.O.A. (1950)
The House on Telegraph Hill (1951)
The Sniper (1952)
The Lineup (1958)
Experiment in Terror (1962)

Photos of some of your favorite noir actors, actresses, and directors can be found in the San Francisco News-Call Bulletin Photo Morgue, accessible through the San Francisco History Center Photo Desk on Tuesdays, Thursdays, and Saturdays.

Caption: "Lieutenants Cody Owen, left and Mel Avery, Naval Reserve pilots from Oakland Naval Air Station, are the lucky two carrying Doris Day beside the F2H Banshee jet... Doris was unanimously chosen the "Sweetheart of the Naval Air Reserve" today, in honor of the tenth anniversary of the Naval Air Reserve this year... She is working in the Arwin Production "Julie", in which she plays an airline hostess. It is presently being filmed on location at Oakland Airport, also the site of NAS Oakland and the "Weekend Warriors". May 9, 1956
[P DAY, DORIS] (Courtesy of the San Francisco Public Library)
Previous "Cinematic San Francisco" posts: Big Eyes
Coming soon: At the Oscars
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