>> From the Library of Congress, in Washington, D.C. ^M00:00:04 ^M00:00:21 >> Pamela Jackson: Good afternoon. I'm Pam Jackson. I'm Director for the Center for the Book here at the Library of Congress. I'd like to welcome you to this afternoon's Books and Beyond talk. And thank you so much for being with us. We at the Center for the Book, are part of the national and international outreach unit of the Library of Congress, and it's our mission here at the library as the nation's first, cultural institution, to provide a rich, enduring source of knowledge, one that can be relied upon for endeavoring. Endeavoring intellectually and creatively. And that's definitely what our author has done with his project today. So, we're excited to talk about that project shortly. At the Center for the Book, we promote reading and literacy, books, and libraries, poetry, and literature, and we do so to promote and sustain informed, and engaged societies, knowing that they're the best defenders of democracy. And we hold that as our mission, and have talks like these for the purpose of engaging one another and sharing ideas and points of views that may be ones that we don't always have access to. So, we like to have the opportunity for unique and interesting discussions and access to diverse knowledge and research. And we have that with today's author as well. Our mission at the Center for the Book is carried out nationwide. We have a Center for the Book in every state, including the -- and, the District of Columbia and the Virgin Islands. And we also administer the Library of Congress Literacy Awards Program which allows us to have a national and international network of partners and organizations around the world, who are promoting reading and literacy in very innovative and interesting ways, which helps us fulfill on what we're here to do at the Library of Congress. Just quick housekeeping before we get started. If you'd take a moment to make sure your devices are on silent or vibrate. And that is in part so that it isn't distraction for our speaker today, but also, we are recording today's event, so the webcast is -- will be available online, and you can visit our webcasts at Read.gov. Please also know that if during the Q and A portion you are asking questions, you are recorded and part of our recording. So, please know that. And then finally, one item to mention as we begin, the author will make a presentation today. As I mentioned, there'll be an opportunity for question and answer after that. And then his book is available for signing out in the lobby at the end of our hour talk this afternoon. So, the chief criteria for the Books and Beyond Series is that the books that we share about here, are either about the Library of Congress or published by the Library of Congress, or researched here at the Library of Congress. And using our collections, most of them maps in the book that we'll learn about today, are from the library's collections. And today's author has published the book in partnership with the Library of Congress publishing office. So, we're very excited about the project. And here is Stephen Hornsby. He's the Director of the Canadian-American Center, and a professor of geography in Canadian studies at the University of Maine. He's the author and coeditor of several books, including the prize winning historical "Atlas of Maine." So, his new book, "Picturing America," and I have it, "The Golden Age of Pictorial Maps" which is lavishly illustrated and available as I mentioned for sale out front. And the note I saw on it, that there were more than 150 pictorial jewels in this book. So, we're very excited to see some of them in today's presentation. Please welcome, Stephen Hornsby. ^M00:04:11 [ Applause ] ^M00:04:14 >> Stephen Hornsby: Well, thank you Pam, for that very kind introduction, and thank you for all -- to all of you for coming today, giving up your lunch break to hear something about pictorial maps, a passion of mine as you will see. Before I get started, I really do want to recognize and reiterate what Pam had said about the central importance of the Library of Congress. This project and the resulting book, simply could not have happened without the Library of Congress. It began with a chance and fortuitous meeting with Ralph Ehrenberg, Chief of Geography and Map Division. I was just starting the project, met Ralph, and right from the word "Go," he was supportive and put me in touch with the publishing office, with Peggy Wagner [phonetic] - delighted to see her here today - who was -- I'm sure, those of you who know Peggy, will know that she's extremely enthusiastic and she really ran with this project and gave me all the support that I could wish for. And Susan Rayburn [phonetic], also of the publishing office was a delight to work with during the copy editing of the manuscript, and helping in other ways as well. Pam mentioned that this is a co-publication with the University of Chicago Press, and I want to recognize also Mary Lauer [phonetic] who was the editor I worked with and it was a very pleasant experience. In fact, for an author, this project went remarkably smoothly and quickly. So, hence the big grin on my face. It's been a joy to put together. Well, like many things in life, the origins of this project and book, really go back to my childhood as so many things do in one's life. And when I was very young, I spent about a year with my family in the Island of Ceylon, now Sri Lanka, and my mother who was a teacher, had this map by the English graphic artist MacDonald Gill and she I think, used it in classrooms. Hence, its rather battered appearance. And the map kicked around our house for many years and it's now in my collection of pictorial maps. And I think it was this map that really sparked my interest. And I should say that many pictorial maps were created for children in an educational role, as we shall see in a minute. And this map with the elephants, the galleons, the sun, the jungle, sparked my imagination. But we grow up, of course, and I went off to school and was interested in geography. And went through the English school system, and then a university in Scotland. And it was quite clear that if you were going to be a professional geographer, one could not take such maps as this seriously. What one had to focus on was a scientific map, in England, the ordinate survey one inch to one-mile map. Here in the United States, it would be the USGS topographic quad which may be familiar to you. Of course, the younger members of the audience know nothing about such paper maps, because they find all their cartography off the internet, particularly Google Maps. But in the old days, when we looked at paper maps, it would be the USGS quads here and the ordinate survey topo maps in the UK. And it was not until much later in my career, when I was involved co-editing and contributing to the historical atlas of Maine, which has been mentioned, that I began to think again about the use of pictorial imagery in cartography. The atlas is in many ways, a standard cartographic production, presenting information in a very objective way, which can get a bit tedious, map after map of sort of bar graphs and pie charts and so forth, and proportional circles. And so, I try to leaven the graphic imagery by bringing in pictorial elements. On one of the maps that we did this was on Portland, Maine -- the land use of Portland, Maine. I'm not going to get into the sort of triangle that you can see here, but just draw your attention to the images of buildings around the central graphic. These were from a map published I think in the 1840s or 1850. And we had them digitally removed and scattered around on this map to try and give a sort of three-dimensional sense to the Portland landscape. And then almost, one of the last maps I was working on for the atlas, was tourism and thought about tourist maps. And these are often pictorial. And so, we've got two examples here. One on the right is a gas map from I think the 1940s. The one on the left is an artistic map that was produced a series of state maps, in fact for the country. And it was while bringing these maps -- researching these maps and putting them in the atlas, that got me interested in graphic presentation, and the way different types of information are presented. USGS and ordinate survey maps do certain things very well, but other things they don't do. And pictorial maps are excellent at presenting perhaps softer, more cultural features, such as landscape, history, memory, emotion. Many pictorial maps are great fun. They have humor in them. ^M00:10:14 They show pride of place or pride of state or pride of region, and they also show that rather nebulous sense of place, which is often talked about, particularly in literature and art. And it's that cultural sense of particular places and states and regions that I think pictorial maps present so well. And these kind of cultural elements, just were not being captured in the USGS topo maps. So, I began to think about this and particularly having worked so closely on this atlas for more than a decade, about how we convey information, pictorial graphic information, to the reader. And once the atlas was finished, I was somewhat intellectually exhausted and thought, "I really need to do something fun." And it seemed that pictorial maps was an obvious outlet and a sort of recreational project almost. And when I started to look into it, I realized that you know, scholars had looked at it. It had simply not been treated seriously at all. There were maybe one article I think, or one of two articles about the genre of pictorial maps. So, I thought, this is excellent. There's a big gap here in the literature and our cartographic knowledge. I'm going to explore the topic. And that led me of course here to the Library of Congress. Now, pictorial images are maps, and not a phenomenon of 20th Century American. They go right back to Medieval Map of Mundi and through the Great Age of Dutch Cartography as shown here. This map by Lynn Showton [phonetic], and you can see galleons and various beasts I think in Africa, and the very elaborate toniquolin [phonetic] and cartouche with the inset of the islands below. So, not a new phenomenon, but the pictorial elements start to drop out through the 18th Century with the enlightenment and a push towards a more scientific type of cartography. There is a revival, particularly here in the United States, in the late 19th Century and early 20th century, with the rise of bird's eye views. And the United States was really a great producer of bird's eye views of towns and cities. And here we have a map from the early the early 1920s, which is a bird's eye view of Fresno County amid California's Garden of the Sun, which is called a pictorial map. And I think you can start to see a bit of a shift from that sort of classic, bird's eye, into a more consciously pictorial map. And you can see around the borders, these various photographs and artistic renderings of the Sierras and Yosemite. Perhaps the greatest influence on the genre, actually comes from the UK, and it's the map on the left, again done by MacDonald Gill. It's the Wonderground map of London. It was produced in 1914 for the London Underground. Frank Pick, a very innovative general manager of the London Underground, wanted to publicize the system, and hired various artists to produce maps and among them was MacDonald Gill, who produced this spectacular map that was put up in Underground railway stations, and then was produced for retail to the general public, it was so popular. So, this is 1914, the beginnings of the First World War, at least in Europe. And it must have come across to the United States in the late teens, early twenties, because the map on the right is by two American commercial artists, Olsen and Blake, who were based in Boston. And this is a map of Boston, published by Houghton Mifflin, again a Boston publishing firm, a very famous firm. And it shows Boston. And I think by pairing them, you can see that really the direct influence from MacDonald Gill, across the Atlantic to this map of Boston and the way the map is created, I think the yellow roads is a dead giveaway. Blake and Olsen denied, or said they had not, looked at other artistic maps, but I think they must have known MacDonald Gill maps. And certainly, Gill's map is being retailed over here by the 1930s. I found advertisements for Gill's map. But I suspect copies were circulating here earlier. So, that is an influence. Bird's eye views are an influence. And then 1925 is the Great Exposition in Paris that becomes known as art deco. And art deco comes across the Atlantic, to the United States, and really influences everything from jewelry to skyscrapers. Think of the great Manhattan skyscrapers, many of them art deco pieces of architecture. And it comes into the graphic arts. This is just a publicity folder for Reno, trying to intercept tourists on the way to San Francisco, and the Pageant of the Pacific Exhibition there on Treasure Island. And it has the various art deco motifs which I'm sure many of you are familiar with. The United States in the 20s, we think of it as the Roaring 20s. The country is booming. Companies have -- are flush with income. They have large advertising budgets. They can hire innovative commercial artists to sell products as, I think you can see in this illustration here. And so, everything is really set for an explosion of genre of pictorial maps. A great interest in graphics and advertising. And from really 1926, we start to see just a massive outpouring of pictorial maps. There's one or two, 1925, a bit earlier, but really 1926 is the key year, just after that Paris exhibition, and a number of the exhibits from Paris were brought over and exhibited in major museums here in the United States. So, avant-garde commercial artists, could go to, say, the Boston Museum of Fine Arts, and see the latest work coming out of Paris, and could use it for their own work here in the states. This is really a genre pushed by commercial artists. We're not dealing with the Great American Artist at the 20s and 30s. I think Rockwell Kent did a few commissions of estates in a pictorial map genre, but almost overwhelmingly, these maps were produced by commercial artists such as here, George Annand in his studio, in his apartment, in Manhattan, in the 1930s. He's just actually got a commission and he's smoking a cigar. I had the great pleasure of meeting his daughter who's now in her 80s. She lives in Brookline, Mass., and she could tell me about this picture and the context for it. In fact, supplied me with the photograph. And I love it because he's at his drafting desk and he was a -- perhaps a very typical commercial artist who did pictorial maps. He did commissions of -- for wealthy New Yorkers, of their estates there on Long Island and in Connecticut. But he was also working with major companies like Nabisco to advertise products. And I think that's a more general point, is that many of the artists who produced pictorial maps, are turning their hands to many types of product. Book jackets, book illustrations, etcetera, etcetera. In fact, George Annand may well have produced the first pictorial map as a book jacket. This is the period where we're shifting from embossed book -- book covers, to the paper wraparound jacket. And so, that's gives opportunity to people like Annand to produce colorful book jackets. Th major American map publishers gets involved in pushing these maps and commissioning maps, selling maps, and hear is Hagstrom's catalog of what they call Decorative and Historical Maps. But you can see, two pictorial maps are framed in this room. This is basically showing how you can use pictorial maps to decorate your house. So, by the late 20s, 30s, into the 50s, the major map producers, map publishers in the United States, are behind the genre. I should say that the United States is really the leader in pictorial map production, although I've mentioned MacDonald Gill. He was almost a lone artist in the UK, producing this type of map. Produced superb maps, but really, he's one of a kind. And it's here in the United States that we see the explosion of the genre. And perhaps that's not surprising given the prosperity of the US in the 20s, and even the 30s and then post-Second World War. ^M00:20:34 And the great attention to advertising. And of course, the importance of American popular culture. These maps are a form of American popular culture. And I think because of that, they're not being treated very seriously until perhaps I got going with them. Maybe they still won't be treated seriously, who knows? I've not had any scullery reviews of the book yet, but they haven't been treated seriously. And I think that perhaps reflects their embodiment of an aspect of American popular culture, but as I think, we all are aware, American popular culture just takes over much of the western world. From the 20s onwards, think of Hollywood and as we shall see, Disney. And it is still very dominant today. So, I think no surprise to find this genre so well developed here in the U.S. Now, I've mentioned that these maps were not taken seriously by the academics and scholars. I certainly never came across some in my geographical training. And it's really thanks to these two women about whom I know very little. Ethel Fair on the left. Muriel Parry on the right. And these two ladies, both librarians, collected maps - these pictorial maps - when they were really I think, unfashionable. Ethel Fair, remarkably was collecting back in the 30s. She actually has an article in the Wilson Journal for Librarians from the 1930s, about her collection. So, even then, it was recognized that she put together an extraordinary collection of these maps. Muriel Parry is more Second World War, post-war. You see her here in the map library of the American Geographical Society when it was headquartered at that time in the 1940s, in Manhattan. And then she later worked as a map librarian in the State Department here in Washington. And these two women, for whatever reason, become interested in the genre, they collect them, and then they donate them to the Library of Congress. And it was Ralph Ehrenberg who told me about these two collections. I think in total, about 2,000 maps. And in a mad three days, I went through those 2,000 maps, looking at what they'd collected. And they really have, not only a representative collection, but many of the great stars of the genre. And most of the maps are in immaculate condition because they were buying them as they were being published. For those of us, like myself, who try to pick up some of these maps today, they're often in a rather battered state. So, the collections we've got down in the Geography and Map Division here in the Madison Building, in outstanding quality. So, these two collections formed the basis of the book, at least 90% I think of the maps in the book, are based on the Fair and Parry collections. As you well know, the Library of Congress is a copywrite library, however many of these maps, because they were ephemera essentially, were not copywrited. And so, the Library of Congress does not have a comprehensive collection of pictorial maps. Certainly, the Fair and Parry collections are outstanding. But the Library of Congress, unlike perhaps books, does not have everything that was published. And so, I looked elsewhere, the American Geographical Society Library in Milwaukee, the Los Angeles Public Library, the Boston Public Library, the Newberry Library in Chicago, and found a few maps that, and don't appear to be in the LOC collection, but as I say, the foundation of the research was here in the Geography and Map Collection. And I'm most grateful that these two women put these collections together. Another point to make here is that women play a very important role as creators, as graphic designers in this genre. And I'll mention one or two women as I go through examples. And that's perhaps not surprising, given we're talking about the 20s, 30s, 40s, even into the 50s, where a traditional employment for women was as teachers and as librarians. And so, they would be interested in communication and educating, particularly to children. And so, naturally I think, they found the pictorial map format of great interest and become creators of pictorial maps. Well, as I say, there were 2,000 maps in the two collections and many more maps I found elsewhere. And so, the challenge was to create some kind of order. So, I essentially created five categories which I'm going to go through rapidly, to give you a sense of the breadth and the creativity and the vitality of the pictorial map genre. I've mentioned Disney and Disney, Walt Disney, gets into the genre very early with this Mickey Mouse map of the United States that was produced as a map that was folded up in a pencil case, that was distributed to school children across the United States. So, you can imagine the millions of boxes of pencils with this map rolled up and what an extraordinary way to get Mickey and Goofy and Donald into children's minds. They didn't even need to see the cartoons. They could just see it on a pictorial map. And this is just the beginnings of Disney's involvement. So, this is what I call "Maps to Amuse." So, this is one example. The Lindgren Family of Spokane, Washington State, during The Depression, decided to create smiles on people's faces and also perhaps make a bit of money, by creating pictorial maps of western national parks. They were very successful. There's an example here of Yellowstone and Jackson Hole, and after the end of the Second World War, they got into the decal market and produced -- I think they became the leading decal manufacturer and producer. And so, we've got a decal on the right showing the simplification of the map on the left. And so, if you were a tourist to one of those great national parks, you could pick up a decal and put it in your car window. And that of course was very popular for many decades, and perhaps collect these decals as well. And then, the phenomenon of the brag map. You've perhaps all seen that famous New Yorker cover of the view from Manhattan and how the world kind of just falls away beyond Manhattan Island and the center of the universe is Manhattan. And so, showing a very narrow view perhaps or perspective of average New Yorker. Well that type of map, is not just confined to New York City, but is found across the country and the usual suspects here is the Texan view and I hardly need to say anything about it, except Texas, as you can see protrudes into Canada which according to my geographical training is not the case. So, we get this brag maps, being produced to boost particular states or cities, Los Angeles, and Florida, New York, involved in this. So, the various types of maps to amuse, to create a chuckle or put a smile on someone's face. Then there's a second category which are maps with a didactic function. Maps to educate. And here is a publicity blurb for picture history maps from the Graphic History Association based in New York. And notice, designed by Elizabeth Shirtcliff [phonetic]. She produced several wonderful pictorial maps, but I found almost nothing about Elizabeth Shirtcliff. I wish perhaps the family might still have an archive. One of the challenges of this work was not only -- it was one thing to find the maps. The second thing was to find the archives about the artists. I had some strokes of good fortune, but then there are other artists such as Shirtcliff, I could find very little about. But she was interested in producing maps to educate particularly children. And so, we get this kind of map being produced. This is by actually an English ex-patriot, Ernest Clegg, who came to the United States after the end of the First World War. He was a military officer. And his maps are distinguished by a very fine calligraphy. And this is a map produced or published by Washington's National Cathedral in honor of an anniversary of George Washington, and it's -- if you look at, a very splendidly designed map. But clearly, this is not a map to amuse. This is a map to educate about George Washington. And there are a number of maps of American presidents and great men and women as well, that are produced. ^M00:30:26 A map produced by another woman, Emma Bourne, in 1940. America: A Nation of One People from Many Countries, published by the Council Against Intolerance in America. This map, I am fortunate to have a copy of this map, and it was put on an exhibit at the Osher Map Library at the University of Southern Maine, in Portland. And I was told by the curator that this was one of the most popular maps in the exhibition because of course, it resonates so much with our present situation. So, a map in 1940, campaigning against any type of intolerance here in the United States. So, clearly again, a map with a very serious, didactic purpose. And a third example, is I think one of the great literary maps produced. This was produced by Edward Everett-Henry for a printing company in Cleveland, Ohio. This is a map that has had a certain amount of publicity through the Library of Congress's exhibition and book a few years ago, about literary maps. So, this is reasonably well-known, and of course it's showing the voyage of the Pequod in Hermann Melville's "Moby Dick," and I just love the way Everett-Henry merges the sort of two dimensions of the map form. So, we have the outline of the South Atlantic and Indian Ocean into the Pacific, as well as the sort of more three-dimensional imagery of the voyage and the people involved. So, a very powerful map and there's a number of these that he produced in the late 1950s, early 1960s. Then there are maps, a third category of places and regions and states. And indeed, of countries as well. And this is by a Cleveland artist, Arthur Suki [phonetic], of Miami and Miami Beach. Clearly, it's all about sun, down there. This was a map produced as a publicity piece by the Miami Herald. It's I think quite rare to find and this copy is from the Library of Congress. And you get that art deco sense of the radiant sun that he's put in the bottom right corner, illuminating and warming up the scene. This is a map I particularly enjoy. And then out on the west coast, a map by Michael Baltekal Goodman who was at Berkeley and this is again, a 1930's map, showing Berkeley and Oakland and San Francisco Bay, and I think you can see the various art deco tropes. The sort of chevron waves, the electric winds. We often have the winds from the four quarters shown on Medieval maps, often get replicated on pictorial maps of the 20th Century. And you can see in the top left that a rather electric wind there, with the sort of zig zags. And then there's a leaping antelope among the vegetation back here, which is straight out of French art deco. So, a wonderfully art deco piece. This was actually on my first day, looking at the Fair and Parry collections, I had looked at oh, probably 7 or 800 maps. I was exhausted. It was getting towards closing time at 5 o'clock, and the last folder for the day was brought out. And the very last map, was this one. And I thought, "My goodness. This is the highlight of the day. The best has been saved for last." There's a large piece, very colorful. Makes a tremendous impact to see it. And I urge you to see these as objects in themselves, rather than digital imagery on the web or in this presentation, because there is a certain physicality and visceral reaction to them when you see them as objects. And then this one by Vernon Farrow, a glorious bird's eye view of Manhattan, 1926, capturing the roaring 20s. And finally, in terms of pride of place, a number of universities, Harvard, Cornell, and in this case Chicago, produced maps for their alums, celebrating their campuses. So, this is the University of Chicago campus -- a particularly colorful campus map. Then industry got into the act, so another category is maps for industry, and industry wants to advertise its services and products. So, here we have the Alaska Shipping Company selling its passenger sailings up to Alaska from Seattle. Notice the cartoon strip at the bottom. Again, a very cartoony map done by Joe Schull [phonetic], a western artist for Great Northern Railway, advertising the Great Northern service to Glacier National Park. I love the bears confronting the tourists in the [inaudible] back there. The airlines got involved in the act. So, this is Pan-Am, the great international airline, advertising its first routes to Latin America. And again, we've got humor here with the birds on the equatorial line there. And there's lots of humor in this particular piece by Thompson [phonetic]. And then a final map for industry is very much industrial. This is a map done to celebrate the opening of the Cleveland Terminal Building in 1929. Some of you may know it, if you're from Ohio. And essentially, the story is, "We've created this skyscraper," I believe at the time the tallest outside of New York. "Come and do your business in Cleveland. We are the center of the industrial Midwest." And area we hear a lot about today, the so-called Rust Belt. But here, it's in all its glory with the steam locomotives, electric trains, the automobiles, the Great Lakes freighters, all focusing in on Cleveland. So, it's a wonderful sort of advertisement for this new, office complex in downtown Cleveland. Then we come to the Second World War. So, this is my fourth category, and we have maps for war. This is actually before Pearl Harbor. The United States feels secure behind its airplanes and battleships and so forth, but I want to draw your attention to this very standard Mercator map here that is used. But we're at the -- on the verge of the so-called Air Age, which is going to change cartography. As you can see here, classic Air Age map, as if we're looking from outer space, or at least from an airplane, looking down on the globe. This is a map by Howard Burke [phonetic], I think for the San Francisco Examiner. He also did work for the Los Angeles newspapers. And you got a very different sense of how the world is shown cartographically. We moved away from the Mercator projection, and we've got these pictorial elements in it. And then I think the sort of the grand finale are the maps produced by the federal government, the U.S. Navy in particular, the Bureau of Naval Personnel. When I was here, I was down in the Navy yard, difficult to get into, but to try and look at the archival papers behind the production of these maps. And I think you can see that it's really an extraordinary image. And there was six of these produced for the -- covering the American war effort, globally. And this really powerful image of, coming across the Atlantic and engaging with Nazi Germany and many types of pictorial element here. And I think you can see sort of Madison Avenue advertising behind this almost sort of cinematic image. And we know that George Annand was working for the federal government as other commercial artists, to produce this kind of imagery as part of the propaganda effort by the United States. So, a splendid wartime image. And then my final category -- oh, I'd like just to contrast this to MacDonald Gill's map, celebrating the Atlantic Charter, the signing of the Atlantic Charter, between Roosevelt and Churchill. And this map gets published in 1944, the same date as the previous map. And I think you can see that Gill is still working with Mercator projection, really a 19th Century image of empire -- British Empire of sea lanes and shipping and so forth. And the U.S. has moved into the Air Age here with a very different way, a very slick way of presenting the world. The final category of the maps for the post-war period is [inaudible] a catch-all. Essentially, the genre's running out of steam by the 1960s, although there is still wonderful pictorial maps being produced to the present. But this is the last flourish, and here is an example of an Air Age map using the polar projection now which used again by another woman, Sally DeLong [phonetic] for a western airline. Again, I think this is 1944, and you can see these strange beasts on the map that hark back to Medieval maps. ^M00:40:27 Oil is of course essential to the booming American economy of the 50s and 60s, and so here General Drafting is producing a map, a pictorial map, of oil in America. Just a -- probably a freebie fold-out map, you could get at gas stations. The tourist agencies in various states were getting involved. So, here we're out in California, pushing the Southland -- the Los Angeles area to tourists. A map produced from the 50s into the 60s. Disney is thinking about Disneyland out in Southern California, and to get the financial backing from the New York bankers, he creates this pictorial map, shown with -- to give the bankers an idea of what it's going to look like. So, the power of the pictorial image. And then, a succession of pictorial maps are produced for Disneyland. This is by Sam McKim [phonetic] who was one of his great graphic artists. Was tremendous team of artistic talent working not just on the cartoons and the films, but producing these maps. So, Disneyland, the connection to popular culture, I think it's all here. And them, Time Life is also -- gets in on the act. Dominant American news publisher. And so, we've got the launch of Sputnik and Cold War tension being shown in this map by R.M. Chapin who was the Time Life staff cartographer during the Second World War, and then into the 50s and early 60s. And this is just showing the beginnings of that Cold War tension and the emerging space race. And my final map, to sort of summarize the genre, comes out in 1969 and commemorates the landing on the moon. And there are many fun elements here, but notice the presidents there of Kennedy, Johnson, and Nixon, flying on the eagle. This map was actually produced for Merrill Lynch. I wondered when they gave the commission to this graphic artist, whether they knew what they were getting. But it's a very humorous take on the moon landing. And in a sense, picks up on that sort of 60's counterculture at the time. This is a bit subversive. So, in a sense, getting back to map as -- to amuse a mapper's humor. By this point, the genre is pretty well over. And we're not getting the output that we did in the 20s and 30s, even in the 40s. But still to this day, there are graphic artists producing pictorial maps and -- of cities. I was just down in Charleston, South Carolina last week and produced -- found a wonderful pictorial map produced by a not local architectural firm of the Historic District. So, it must have been hours of work to put it together. So, there are still very creative people producing this kind of map for the general public, and seems to be still alive and well. Thank you. ^M00:44:02 [ Applause ] ^M00:44:07 Very happy to take some questions. Yes? >> You mentioned that most of the pictorial maps were not copywrited, and I was curious if you could tell us a little bit more about -- if you know why that would be the case? Given that they were commercial [inaudible], one might expect them to be [inaudible]. >> Stephen Hornsby: Yes, there was a fee involved. And I've looked at some of the paperwork on this, and two copies had to be sent to the Library of Congress, along with a processing fee. And I imagine that a number of these publications were just so ephemeral and were given out as freebies that the artist just didn't think it was worth paying the processing fee. And so, they're not in the Library of Congress collection. I think it's -- that's the reason. Yes? >> Thank you for a wonderful talk. Most of these maps seem in a way to be unachievable today. They represent degrees of artistry that are not valued or [inaudible]. Are there any practitioners now that you know of who are doing [inaudible]? >> Stephen Hornsby: I can't tell you off the top of my head, but I think there are some very creative artists at work. In fact, I've just reviewed a book by a Boston based artist. I did the review for Margot Mundy, and he goes through step by step, the artistic process. And I'm sorry, I'm embarrassed to say I can't remember the artist's name but he talks about all the types of commercial work he does for university campuses, for business campuses, anyone who needs some sort of pictorial guide to where things are. You can imagine, it could be done here the Hill area, the location of the different buildings. It would be a wonderful way of showing Washington, and in fact, in the 20s and 30s, there were maps, and indeed into the 40s and 50s, there were pictorial maps done of D.C., of the mall area. It was just a natural for a creative artist to show the great landmarks. And in fact, Olsen and Blake who did the map of Boston, did three maps for Houghton Mifflin and their third map was of Washington D.C. that a copy was presented to the White House and Calvin Coolidge replied very graciously or at least his staffer did. And fortunately, the Houghton Mifflin archives are in one of the Harvard libraries. And so, you can see all of this correspondence. But I think there are still very creative people who are producing these maps, but not in the quantity that we saw in the 20s and 30s. >> Thank you. >> Stephen Hornsby: Yes? >> Are you going to see any on Antiques Roadshow that are -- you know, can you think about a collectible-- >> Stephen Hornsby: Yes. >> -realm that you've maybe got your own or [inaudible] for maybe? >> Stephen Hornsby: Yes, that's a great question. Probably the greatest private collection is that of David Rumsey [phonetic] out in San Francisco. He's really given much of his collection to Stanford now. And he -- after I'd really done this book, he started to collect, and within the space of just a few years, got at least 2,000 maps which he then had scanned, are on the David Rumsey map site which is really a go-to place to go, to see maps. So, Rumsey got involved. There are other serious collectors and there are a few map dealers that are specializing in the genre. I was actually giving a presentation on these maps at the Miami International Map Fair back in February of this year, and the comment was, "No one's really interested in the old maps anymore. Everybody wants the 20th Century pictorials." And so, the dealers are moving into it, and cultivating a market. And there are now collectors who are putting together collections. So, it is a very exciting, vibrant area of collection. >> Is there one out there that you know people are looking for? >> Stephen Hornsby: I mean the Farrow map of Manhattan from 1926, is now going for several thousand dollars. There's a map of Peiping [phonetic] as it was then called Peking, and I think because of the Chinese market, that's going for 4 or $5,000. We're still not into the kind of prices you'd get for a -- maybe a very fine 17th Century map. I don't collect those type of maps, but the prices are certainly rising, which is reflecting the market. I actually put together a reasonable collection as a research collection, because there wasn't a library. Being up in Maine, I couldn't get down to the Library of Congress every week to look at the collections. So, I purchased some maps for my own research and I'm glad I did it four or five years ago, and not now. So, yes, it is a growing area of collection. Yes? >> And what criteria do you use to distinguish between-- >> Stephen Hornsby: Great. >> -art and just placemats that we see [inaudible]. >> Stephen Hornsby: Great question. Yes, yes. I resisted putting a placemat in, but maybe I should have done. What I wanted to do with the book, was to give the, in a sense, the greatest highlights, as well as a representation of the variety and diversity of the genre. So, there are maps in the book that are relatively easy to find. Maps produced by the oil companies, for example, or by Disney. These are maps that some of you may well have kicking around at home. ^M00:50:02 So, they've got very little intrinsic value but they are producing and showing a pictorial image of the earth's surface. But I also wanted to show the maps such as the Vernon Farrow map of Manhattan, which are really quite rare and are splendid examples of artistic endeavor. It must have taken hours of work to have created that three-dimensional image of the skyscrapers of Manhattan. So, that's what I wanted to do. Show the -- some of the great maps that are particularly in the Fair and Parry collections, as well as the everyday type of map that you'd have in your car or back home. So, that was the kind of criteria. A lot of it of course, I was dealing with 2,000 maps in the Fair and Parry, and clearly, I had to make a selection and that inevitably comes down to one's eye and interest and what you learn about these maps over time. And you appreciate them the more research you do. You start to realize, "Oh, this is a key map." So, for example, the map of Boston I showed you that Houghton Mifflin produced, that's about as early -- I mean there was one of New York in 1925, but the one of Boston, published by Houghton Mifflin, is really almost the first map. So, that has to kind of go in. And you've got to talk about the Houghton Mifflin maps and there's a number of them in the book. And then other publishers as well. So, there are things you've got to sort of sort out and make part of the narrative. >> So, you really feel that that copied Gill and so that-- >> Stephen Hornsby: Yes. >> -was really the beginning? >> Stephen Hornsby: You can see how clearly. I mean, they're not just making this up out of their heads. They've looked at that Gill Wonderground map. But what happens is that, although Gill might be an impetus, there are many other influences coming in, such as art deco. I wouldn't say that Gill -- I mean there are some art deco elements in later Gill maps, but I mean, it just takes off here in the United States and creates its own momentum. And they don't need -- these commercial artists don't need to look to the U.K. or to a French artist. It becomes an American genre. And this is something I argue strongly in the book, that this is a phenomenon of American popular culture. And the greatest achievements I think, are done here in the United States. Yes? >> Have you done any similar research in the Asian pictorial maps or any comparison of them? >> Stephen Hornsby: Yes, that's a great question. And there are certainly maps coming up out of Japan for example. I am not an Asian specialist. So, and I wanted to keep this restricted to the United States. But there certainly are a woodblock maps coming out of Japan that I'm aware of. And particularly associated with the 1930s and the Second World War. Interestingly, Muriel Parry as I mentioned, was a librarian at the State Department. And she was posted overseas, in fact, to Japan, after the end of the Second World War. And what distinguishes her collection from Ethel Fair's collection -- Ethel Fair's collection is primarily, almost entirely American maps, is that Muriel Parry collected across the globe, so there's maps from every continent, perhaps except Antarctica. But maps from Africa, Australasia, South Asia, etcetera, Latin America, South America. And so, I got a sense looking at her maps, probably about 900 of them, of what other countries were producing. And I think if there was sort of a great group of maps, say from Japan or China, she would probably have got her hands on them. And I think there are some Japanese maps in the collection. And so, it was the sort of the looking at her -- the diversity of her collection that I began to realize that in fact the United States was a leader in this genre. Okay. Thank you. ^M00:54:16 [ Applause ] ^M00:54:21 >> This has been a presentation of the Library of Congress. Visit us at Loc.gov.