Posing for Posterity: Photographic Portraiture and the Invention of the Time Capsule, 1876–89
2014; Taylor & Francis; Volume: 38; Issue: 4 Linguagem: Inglês
10.1080/03087298.2014.949050
ISSN2150-7295
Autores Tópico(s)Visual Culture and Art Theory
ResumoAbstractIn response to scholars’ recent preoccupation with the circulation of photographs, this article advocates greater attention to instances in which they have been withdrawn from circulation or reserved for future use. The focus here is on the most extreme of these closed collections, namely the time capsule, which was conceived in Philadelphia in 1876. The article shows how photography played a crucial role in the earliest time capsules – not just as their principal content, but also as a medium associated with fantasies of time travel, conceptions of posterity, and practices of storage. It then recovers the complex and contradictory political meanings of these photographic collections, thereby challenging the rhetoric of altruism and neutrality that has accompanied so many efforts to preserve photographs for future viewers and historians.Keywords: portraituretime capsulesposterityGilded Agecelebrity and fameauraphotography and mediaphotography and historyphotographic conservationphotographic displayalbumsCentennial ExpositionMathew Brady (ca. 1822–96)Charles D. Mosher (1829–97)Anna Deihm (1834–1911) Notes1 On Deihm’s exhibit, see J. S. Ingram, The Centennial Exposition, Described and Illustrated, Philadelphia: Hubbard Bros. 1876, 620; on Mosher’s exhibit, see ‘Photography in the Great Exhibition’, Philadelphia Photographer, 13:150 (1876), 184. The only secondary source on Mosher is Larry A. Viskochil, ‘Chicago’s Bicentennial Photographer: Charles D. Mosher’, Chicago History, 5 (Summer 1976), 95–104. The library studies scholar William E. Jarvis traces the time capsule’s antecedents back to antiquity. William E. Jarvis, Time Capsules: A Cultural History, Jefferson, NC: McFarland 2003, 82–137.2 Anna Deihm, standardised printed letter, 15 December 1876, in Centennial Safe Collection, Office of the Curator, Architect of the Capitol (AOC), Washington, DC.3 Estimates of the total number of photographs in Mosher’s safe vary; this figure from ‘To be Opened A.D. 1976’, Chicago Tribune (19 May 1889), 11.4 The technical approach is best represented by Helmut Gernsheim and Alison Gernsheim, The History of Photography From the Camera Obscura to the Beginning of the Modern Era, London: Thames & Hudson 1969; the aesthetic approach by Beaumont Newhall, The History of Photography: From 1839 to the Present, 5th edn, New York: Museum of Modern Art 1982; and textualist approaches are critiqued in John Tagg, The Burden of Representation: Essays on Photographies and Histories, Amherst: University of Massachusetts Press 1988, 29.5 See, for example, Tagg, Burden of Representation; Allan Sekula, ‘The Body and the Archive’, October, 39 (Winter 1986), 3–64; Jonathan Mathew Finn, Capturing the Criminal Image: From Mug Shot to Surveillance Society, Minneapolis: University of Minnesota Press 2009; Anne Maxwell, Colonial Photography and Exhibitions: Representations of the Native and the Making of European Identities, London and New York: Continuum 2000; Elspeth H. Brown, The Corporate Eye: Photography and the Rationalization of American Commercial Culture, 1884–1929, Baltimore, MD: Johns Hopkins University Press 2008; and Suren Lalvani, Photography, Vision, and the Production of Modern Bodies, Stony Brook, NY: SUNY Press 1996.6 See, for example, Locating Memory: Photographic Acts, ed. Annette Kuhn and Kirsten McAllister, New York and Oxford: Berghahn Books 2006; and Rob Kroes, Photographic Memories: Private Pictures, Public Images, and American History, Lebanon, NH: University Press of New England 2007.7 On some of these forms of distribution, see Simone Natale, ‘Photography and Communication Media in the Nineteenth Century’, History of Photography, 36:4 (November 2012), 451–56.8 See, for example, Robert Hariman and John Louis Lucaites, No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy, Chicago: University of Chicago Press 2007.9 Geoffrey Batchen, ‘Ere the Substance Fade: Photography and Hair Jewelry’, in Photographs Objects Histories, ed. Elizabeth Edwards and Janice Hart, New York: Routledge 2004, 32–47.10 Allan Sekula, ‘The Traffic in Photographs’, Art Journal, 41 (1981), 18–19.11 ‘The Pencil of Nature. By Henry Fox Talbot, F.R.S.’, Athenaeum, 904 (1845), 202.12 Martha A. Sandweiss, Print the Legend: Photography and the American West, New Haven, CT: Yale University Press 2004, 207–74; Elizabeth Edwards, The Camera as Historian: Amateur Photographers and Historical Imagination, 1885–1918, Durham, NC: Duke University Press 2012; see also Peter James, ‘Evolution of the Photographic Record and Survey Movement, c. 1890–1910’, History of Photography, 12:3 (July–September 1988), 205–18; The Mexican Suitcase: The Rediscovered Spanish Civil War Negatives of Capa, Chim, and Taro, ed. Cynthia Young, New York: ICP 2010; and Vivian Maier, ed. John Maloof, Brooklyn, NY: powerHouse Books 2011.13 Biographical information from ‘1876 Century Safe Lost in Oblivion’, Washington Post & Times Herald (12 September 1954), Centennial Safe – Correspondence folder, Art and Reference Files (A&RF), AOC.14 ‘Charles D. Mosher: Veteran Photographer Succumbs to Attack of Apoplexy’, [newspaper not cited], Charles D. Mosher Papers, 1876–1915, Chicago History Museum (CHM).15 Requests for copies in Mosher Papers, CHM; prices in Charles D. Mosher, Catalogue of Memorial Photographs of Prominent Persons Whose Likenesses Will Appear in Memorial Halls at the Second Centennial, 1976, Chicago: Mosher 1887, 7, Mosher Papers, CHM; he claimed to provide the memorial portraits ‘without charges’ (ibid., 2).16 National Republican (1879), quoted in President James A. Garfield’s Memorial Journal, ed. C. F. Deihm, New York: Deihm 1882, 198. Mosher was not the only one to receive first prize; see ‘The Centennial Awards’, Philadelphia Photographer, 13:154 (1876), 319.17 Charles D. Mosher, ‘Voices from the Craft’, Philadelphia Photographer, 13:146 (1876), 45.18 ‘Joint Resolution on the Celebration of the Centennial’, in Statutes of the United States of America, 1875–76, Washington, DC: Government Printing Office 1876, 211; quotation from Red Cloud Chief (4 May 1876), 2.19 Quoted in Lynn Spillman, Nation and Commemoration: Creating National Identities in the United States and Australia, Cambridge and New York: Cambridge University Press 1997, 79–80.20 John Durham Peters, Speaking into the Air: A History of the Idea of Communication, Chicago: University of Chicago Press 1999, 94–101 and 142–44; and Jeffrey Sconce, Haunted Media: Electronic Presence from Telegraphy to Television, Durham, NC: Duke University Press 2000, 21–58. The automatic telegraph transmitted messages mechanically and thus at greater speeds than the manual telegraph.21 Ceremony at the Sealing of the Century Box by the Ancient and Honorable Artillery Company in Faneuil Hall, Boston, Boston: Alfred Mudge 1882, 36. Time vessel architects also appropriated the language of the mails, offering for instance to send messages to the future at the postal rate of ‘a dollar for each half ounce’ (‘The Centennial Through Mail’, Observer & Chronicle [8 June 1876]). They thus indicated their equal indebtedness to low-tech innovations such as the manufactured envelope in 1849 and the public postbox in 1858, both of which permitted private, one-to-one communication.22 Jacques Derrida, ‘Différance’, Margins of Philosophy, trans. Alan Bass, Chicago: University of Chicago Press 1982, 1–28. Users of the telephone did of course remain dependent on the operator until the introduction of direct dialling in the 1920s.23 Mosher, Catalogue of Memorial Photographs (1887). On the Exposition’s ‘dual system of classification’, see Bruno Giberti, Designing the Centennial: A History of the 1876 International Exhibition in Philadelphia, Lexington: University Press of Kentucky 2002, x and 1–2.24 On the Exposition’s vitrines, see Giberti, Designing the Centennial, 118–39.25 On the Exposition’s neglect of the past, see ibid., 24. Garfield’s Memorial Journal, ed. Deihm, 197; and Deihm, ‘To the People of these United States’ (handwritten letter), in Safes – Centennial Safe folder, A&RF, AOC. See also Mary Jane Moore, ‘U.S. Capitol’s Queerest Safe Must Be Cracked’ (typed manuscript, 1944), 2, in Centennial Safe – Correspondence folder, A&RF, AOC.26 See Neil Harris, ‘The Gilded Age Revisited: Boston and the Museum Movement’, American Quarterly, 14:4 (1962), 545–66. Boston Public Library’s founders spoke of the ‘need to meet the future no less than the present demands of the public’, in Second Annual Report of the Trustees of the Public Library, Boston: City Document 74 1854, 15.27 ‘Editor’s Table’, Southern Literary Messenger, 24 (May 1857), 394. Frederick Law Olmsted, ‘The Yosemite Valley and the Mariposa Big Tree Grove’ (1865), in America’s National Park System: The Critical Documents, ed. Lary Dilsaver, Lanham, MD: Rowman & Littlefield 1997, 12.28 See, for example, Louis Ehrich, ‘Posteritism’: An Address Delivered at the Dedication Exercises of The Century Chest, Colorado Springs: privately printed 1901, 8.29 Libraries of the City of Chicago, Chicago: Chicago Library Club 1905, 27; and ‘Mosher’s National Photographic Art Gallery’, Chicago Tribune (6 March 1881), 5.30 ‘Shades of the Departed’, Inter-Ocean, n.d., Mosher scrapbook, 148, Box 8, Mosher Papers, CHM.31 ‘Editorial Notes and Gleanings’, National Magazine, 12 (February 1858), 180; and Henry George, Progress and Poverty (1879), New York: Appleton 1886, 484.32 On Deihm’s safe, see Moore, ‘U.S. Capitol’s Queerest Safe’, 2; on Mosher’s, see ‘For Posterity: Ten Thousand Photographs of Prominent Chicagoans Being Prepared for Future Generations’, Chicago Tribune (28 February 1885), 7, in Scrapbook, Box 8, 142, Mosher Papers, CHM; Charles D. Mosher, Catalogue of Memorial Historical Photographs of Prominent Men and Women and Souvenirs for the Second Centennial, Chicago: Mosher 1883, 53, Mosher Papers, CHM.33 Backmark of Mosher cabinet card, CHM; National Republican, quoted in Garfield’s Memorial Journal, ed. Deihm, 198.34 Charles Sanders Peirce, The Essential Peirce: Selected Philosophical Writings, vol. 2 (1893–1913), Bloomington: Indiana University Press 1998, 7–8. On Victorian notions of photography as materially preserving the past, see Stephen Bann, The Clothing of Clio: A Study of the Representation of History in Nineteenth-Century Britain and France, Cambridge and New York: Cambridge University Press 1984, 122–37 and 139.35 Mosher, Catalogue of Memorial Historical Photographs (1883), 23; and Mosher, Catalogue of Memorial Photographs (1887), 6.36 On photography as a medium of communication across space, see Natale, ‘Photography and Communication Media’, 451–56.37 Garfield’s Memorial Journal, ed. Deihm, 196. Signed scroll and protographs in Centennial Safe Collection, AOC. Mosher centennial albums, Mosher Papers, CHM.38 Barbara McCandless, ‘The Portrait Studio and the Celebrity’, in Photography in Nineteenth-Century America, ed. Martha A. Sandweiss, Fort Worth, TX: Amon Carter Museum 1991, 55.39 Ibid., 65. On the arrival of the cabinet card in the United States (from Britain), see ‘The New Size’, Philadelphia Photographer, 3:34 (1866), 311–13.40 See, for example, W. H. Lipton, ‘Anatomy, Phrenology, and Physiognomy, and their Relation to Photography: I’, Philadelphia Photographer, 14:158 (1877), 53–54. Such claims did not entail a literal, mimetic mirroring of the real; see my subsequent discussion of Mosher’s retouching of the negative. Nevertheless, retouching and other interventions were believed to access a deeper truth; see Miles Orvell, The Real Thing: Imitation and Authenticity in American Culture, 1880–1940, Chapel Hill: University of North Carolina Press 1989, 90 and 95.41 Mosher, Catalogue of Memorial Photographs (1887), 2 and back cover.42 Mosher, Catalogue of Memorial Historical Photographs (1883), 10; Mosher, Catalogue of Memorial Photographs (1887), 27; and ‘Shades of the Departed’, n.p. For Mosher’s comparison with the Centennial’s Memorial Hall, see ‘A Gigantic Plan: The Coming Union Memorial Home’, Inter-Ocean, n.d., Mosher scrapbook, 149, Box 8, Mosher Papers, CHM.43 Mosher, Catalogue of Memorial Historical Photographs (1883), 23.44 Ibid., 24. Charles D. Mosher, A Scrap-Book and Half-Hour Chit-Chats with the President and Lawmakers at Washington, upon Subjects of Vital Importance, Chicago: Mosher 1892, Mosher Papers, CHM, 11.45 Through the end of the century, museums viewed (and collected) photographs as a means to document aesthetic, biological, or anthropological specimens, or as contextual backdrops to exhibits, but not as exhibition objects in their own right; Susan A. Crane, ‘The Pictures in the Background: History, Memory, and Photography in the Museum’, in Memory and History: Understanding Memory as Source and Subject, ed. Joan Tumblety, New York: Routledge 2013, 123–28. Photographs, however, gained exhibitionary status much earlier at world’s fairs, and were accorded a Photographic Hall at the Centennial Exposition, where Mosher exhibited his collection.46 Alan Trachtenberg, Reading American Photographs: Images As History, Mathew Brady to Walker Evans, New York: Macmillan 1990, 33–70; comparison with Barnum on 39 and 42, and number of portraits on 43. On the inception of Brady’s collection, see McCandless, ‘Portrait Studio’, 55. On the other Daguerrean galleries of the period, such as those of Edward Anthony and John Plumbe, see ibid., 52–53 and 55–56.47 On Brady’s studio in Washington, DC, and his collecting of portraits of politicians, see Mary Panzer, Mathew Brady and the Image of History, Washington, DC: Smithsonian 2004, 93 and 99. Anthony and Edwards were apparently the first to photograph every member of Congress (1843); see McCandless, ‘Portrait Studio’, 55–56.48 Root quoted in Trachtenberg, Reading American Photographs, 32; see also 43 and 48.49 Ibid., 38.50 Ibid., 37–38; and McCandless, ‘Portrait Studio’, 54–55.51 Trachtenberg, Reading American Photographs, 41; and Panzer, Mathew Brady and the Image of History, 43–45.52 ‘Mosher’s Reception’, untitled newspaper, n.d., and untitled article by ‘Junius’, untitled newspaper, both in Mosher scrapbook, 146, Box 8, Mosher Papers, CHM.53 C. Edwards Lester’s preface to Mathew B. Brady, Gallery of Illustrious Americans, New York: Brady, D’Avignon, Edwards Lester 1850, n.p., New-York Historical Society.54 Ibid., n.p.; and Journal of Commerce, quoted in McCandless, ‘Portrait Studio’, 57.55 ‘Brady’s Gallery’, Harper’s Weekly, 7:359 (1863), 722.56 Oliver Wendell Holmes, ‘The Stereoscope and the Stereograph’, Atlantic Monthly, 3:20 (1859), 748, reprinted in Alan Trachtenberg, Classic Essays on Photography, New Haven, CT: Leete’s Island Books 1980, 71–83.57 ‘A Broadway Valhalla: Opening of Brady’s New Gallery’, New York Times (6 October 1860), 4.58 Walt Whitman, reminiscing in 1889 to his biographer, quoted in Orvell, The Real Thing, 8; and in Trachtenberg, Reading American Photographs, 6.59 Sir David Brewster, The Stereoscope: Its History, Theory, and Construction, London: John Murray 1856, 181.60 Panzer, Mathew Brady and the Image of History, 65.61 On his bankruptcy, see ibid., 20. On the loss of other photographic collections, such as the burning of Edward Anthony’s gallery in 1852, see ibid., 61. Panzer attributes Brady’s failed attempts to sell his collection to the following: copies of his photographs were by then widely available; his Civil War scenes were too recent for a public that wished to forget the carnage; and politicians were now viewed in a less idealised light (ibid., 116–18). It may also be that historical societies were slow to recognise the value of photographs and that taxpayers were unwilling to underwrite such a purchase by Congress.62 Jeana K. Foley, ‘Recollecting the Past: A Collection Chronicle of Mathew Brady’s Photographs’, in Panzer, Mathew Brady and the Image of History, esp. 190–91; McCandless, ‘Portrait Studio’, 62; and Robert Wilson, Mathew Brady: Portraits of a Nation, New York: Bloomsbury 2013, 210–11.63 Elizabeth E. Siegel, ‘“Miss Domestic” and “Miss Enterprise”: Or, How to Keep a Photograph Album’, in The Scrapbook in American Life, ed. Susan Tucker, Katherine Ott, and Patricia P. Buckler, Philadelphia, PA: Temple University Press 2006, 253–55; and Sarah McNair Vosmeier, ‘Picturing Love and Friendship: Photograph Albums and Networks of Affection in the 1860s’, in The Scrapbook in American Life, ed. Tucker, Ott, and Buckler, 208.64 Siegel, ‘“Miss Domestic”’, 255.65 Charles D. Mosher, Half-an-Hour’s Chit-Chat with My Friends, Photography the Subject, Chicago: Mosher 1873, 27–28, CHM. He also urged homeowners to convert their upper floor, through the addition of skylights, into a space for exhibiting those cabinet cards, preserving the family’s ‘relics’ and ‘souvenirs’, and ‘hold[ing] sweet communion’ with deceased relatives and friends. Mosher, Catalogue of Memorial Historical Photographs (1883), 25; and Mosher, Scrap-Book, 46; see also ‘Face to Face’, untitled newspaper, Mosher scrapbook II, 132, Box 8, Mosher Papers, CHM.66 Mosher, Catalogue of Memorial Photographs (1887), 7. Prior to the introduction of the halftone printing process in 1885, which allowed magazines, books, and newspapers to reproduce photographs, these hybrid albums were the primary means for collecting and viewing celebrity images; see Siegel, ‘“Miss Domestic”’, 253.67 Charles D. Mosher, ‘Improvement in photograph-albums’, U.S. Patent 169,186, filed 26 October 1875. An editorial entitled ‘Keep Your Albums Locked’ encouraged ‘owners of albums to save their contents from the grubby hands of domestic servants and the nimble fingers of carte thieves’; quoted in Siegel, ‘“Miss Domestic”’, 257.68 James M. Reilly, The Albumen & Salted Paper Book: The History and Practice of Photographic Printing, 1840–1895, Rochester, NY: Light Impressions Corporation 1980, chapter 11.69 M. Carey Lea, ‘An Examination into the Circumstances under Which Silver is Found in the Whites of Albumen Prints’, Photographic News, 10:415 (1866), 394.70 ‘The Care of Pictures – IV: Photographs’, Cassell’s Household Guide, 1 (1877), 377.71 Walter Benjamin, ‘Little History of Photography’, in Walter Benjamin: Selected Writings, Volume 2: Part 2: 1931–1934, ed. Michael W. Jennings et al., Cambridge, MA: Belknap 2005, 519, 514, 515 and 517; further references cited in text.72 Ibid., 527, 517 and 507.73 Joe Nickell traces rubber-stamped signatures back to the Civil War, and discusses lithographic and halftone facsimiles in Real or Fake: Studies in Authentication, Louisville: University Press of Kentucky 2009, 34 and 36. See also Derrida, ‘Signature Event Context’, in Limited Inc, Evanston, IL: Northwestern University Press 1977, 20.74 Benjamin, ‘Little History of Photography’, 515, 517 and 518.75 Henry Peach Robinson popularised this term and style. Henry Peach Robinson, Pictorial Effect in Photography, London: Piper & Carter 1869.76 Mosher, Half-an-Hour’s Chit-Chat, 30–32.77 Elizabeth Cady Stanton, letter to Charles D. Mosher, Mosher Exhibit Manuscripts, Box 8, Mosher Papers, CHM.78 Mosher, Catalogue of Memorial Photographs (1887), 6.79 W. H. D., ‘How Many More?’, United States Centennial Welcome (15 March 1876), 7, Box 3, Centennial Safe Collection, AOC.80 Garfield’s Memorial Journal, ed. Deihm, 197. On Mosher’s plans, see ‘Shades of the Departed’, n.p. ; and Catalogue of Memorial Photographs (1887), 7.81 ‘The Centennial Autograph Album’, United States Centennial Welcome (15 March 1876), 1, Box 3. She also sent loose blank sheets ‘to every State and Territory in the Union’; Garfield’s Memorial Journal, ed. Deihm, 196.82 Mosher, Scrap-Book, 30 and 31; and Mosher, Catalogue of Memorial Photographs (1887), 5.83 ‘The Centennial Autograph Album’, 1.84 Mosher, Catalogue of Memorial Historical Photographs (1883), 5.85 Mosher, Scrap-Book, 11.86 Ibid., 8, 51 and 6–7.87 Mrs. S. H. Stevenson commissioned the album; see her letter to Charles D. Mosher, 24 November 1873, Mosher Exhibit Manuscripts, Box 8, Mosher Papers, CHM. See also T. H. Huxley, ‘On the Geographical Distribution of the Chief Modifications of Mankind’, Journal of the Ethnological Society of London, 2:1 (1870), 404–12. On the 1869 project, see Anne Maxwell, Picture Imperfect: Photography and Eugenics, 1870–1940, Brighton: Sussex Academic Press 2010, 29–34.88 United States Centennial Welcome and Our Second Century, both in Box 3, Centennial Safe Collection; see also Garfield’s Memorial Journal, ed. Deihm, 200. As seen below, Sherman did not end up performing this task.89 Mosher, Catalogue of Memorial Historical Photographs (1883), 33.90 Ibid., 48. On rising militancy in Chicago, see Richard Schneirov, Labor and Urban Politics: Class Conflict and the Origins of Modern Liberalism in Chicago, 1864–97, Urbana: University of Illinois Press 1998; on strikes at the McCormick plant in 1873, see ibid., 45 and note 59; and on a failed strike at Armour’s factory in 1879, see ibid., 107–108.91 Mosher, Catalogue of Memorial Photographs (1887), 25.92 Mosher’s prices (75 cents for one; $1 for half a dozen, etc.) appear on the backmark of some of his cabinet cards, CHM.93 Charles D. Mosher, ‘Specialties’, Philadelphia Photographer, 14:168 (1877), advertising supplement; and Mosher, Half-an-Hour’s Chit-Chat, 26.94 See, for example, Biographical Sketches of the Leading Men of Chicago, Photographically Illustrated by J. Carbuff, Chicago: Wilson & St. Clair 1868.95 Mosher’s photographs of the convention, in Prints and Photographs Division, Library of Congress, Washington, DC; and his political advertisement in scrapbook, Box 8, Mosher Papers, CHM.96 W. H. D., ‘How Many More?’, 7.97 William A. Richardson, Public Debt and National Banking Laws of the United States, Washington, DC: W. H. and O. H. Morrison 1873, in Centennial Safe Collection, AOC.98 Moore, ‘U.S. Capitol’s Queerest Safe’, 3.99 Ibid., 3 and 4; and ‘1876 Century Safe Lost in Oblivion’, 2.100 ‘For Posterity’, 7.101 Garfield’s Memorial Journal, ed. Deihm, 197. See also Elizabeth Thompson’s materials in Box 2, Centennial Safe, AOC. She appears in the photograph album and in a framed photograph.102 Elizabeth Thompson, The Figures Of Hell: Or The Temple Of Bacchus, privately printed 1878, and prospectus for the American Worker’s Alliance, both deposited in the safe. On her funding of utopian colonies, see Richard Trahair, Utopias and Utopians: An Historical Dictionary, Westport, CT: Greenwood 1999, 399.103 Mosher, Catalogue of Memorial Photographs (1887), 23; Mosher, Catalogue of Memorial Historical Photographs (1883), 10, 30, 20 and 22; and Mosher, ‘A Gigantic Plan’, n.p.104 Mosher, Catalogue of Memorial Historical Photographs (1883), 15 and 21.105 Mosher, Scrap-Book, 15–18, 25, 34 and 28.106 McCandless, ‘Portrait Studio’, 58 and 62–63; and Panzer, Mathew Brady and the Image of History, 18.107 Trachtenberg, Reading American Photographs, 30–33.108 Citizen’s Autograph Album, Centennial Safe Collection, AOC.109 Philip Quilibet (pseudonym for George Edward Pond), ‘Safe Celebrity’, Galaxy, 22:1 (1876), 125.110 Mosher, Scrap-Book, 22–24, 28 and 49; see also his portraits of S. P. Gill, S. H. Holland, S. J. Hollensworth, John H. Johnson, John Jones, and H. B. Robinson.111 William B. Tyler, ‘Profiles of the Founders [of the Thomas Thompson Trust]’, http://thomasthompsontrust.org/id1.html, accessed April 2013. On both the History and the memorial association, see Selected Papers of Elizabeth Cady Stanton and Susan B. Anthony, Volume V, ed. Ann D. Gordon, New Brunswick, NJ: Rutgers University Press 2009, 331.112 Stanton, letter to Mosher, n.d.; letter from Susan B. Anthony, 20 April 1895; and transcription of two letters to Mosher from Frances E. Willard, in Mosher Exhibit Manuscripts, Box 8, Mosher Papers, CHM.113 ‘Centennial Safe Closed’, New York Times (23 February 1879), 1; and Mosher, Catalogue of Memorial Historical Photographs (1883), 35.114 Mosher, Scrap-Book, 50 and 24.115 Moore, ‘U.S. Capitol’s Queerest Safe’, 5 and 3; and ‘Washington’s Birthday’, Washington Post (24 February 1879), 2, Centennial Safe folder, A&RF, AOC.116 New York Tribune and Deihm, quoted in Charles E. Fairman, Art and Artists in the Capitol of the United States of America, Washington, DC: GPO 1927, 272.117 ‘Observance of the Day: Arrangements Made for the Celebration of Feb. 22’, Chicago Tribune (22 February 1889), 8.118 ‘To be Opened A.D. 1976’, 11. See also ‘For the Second Centennial: Photographs and Other Relics placed in the Memorial Vault’, Chicago Times (19 May 1889) and Chicago Herald (19 May 1889), n.p., both in Xeroxes of Mosher scrapbook, Box 8, Mosher Papers, CHM.119 Journal of the Senate […] Third Session of the 45th Congress, Washington, DC: GPO 1879, 345.120 ‘14 Years to Glory’ (1962) and ‘1876 Century Safe Lost in Oblivion’, Washington Post & Times Herald (12 September 1954), both in Century Safe – Correspondence folder, A&RF, AOC.121 The Floridian Thomas L. Watts’s letters are in Centennial Safe – Correspondence folder, A&RF, AOC. ‘Concurrent Resolution Accepting the Gift of the Centennial Safe’, H. Con. Res. 84, 93rd Congress, passed 16 October 1974. For Ford’s diary for 1 July 1976, see Daily Diary Collection (Box 82A), Gerald R. Ford Presidential Library, 3.122 Viskochil, ‘Chicago’s Bicentennial Photographer’, 95 and 104; and ‘Old Photographs Arouse Memories’, Chicago Tribune (12 August 1908), 5.123 ‘Ford Bids Nation “Keep Reaching Into the Unknown”’, New York Times (2 July 1976), 35; and ‘History in Capsule Form’, A&RF Display, AOC.124 ‘Mrs. Deihm’s Centennial Safe’, Bicentennial Times (November 1976), A&RF Display, AOC.125 Marie Czach, ‘Time Capsule: “C. D. Mosher’s Bicentennial Gift to Chicago”, at the Chicago Historical Society’, Afterimage, 4:5 (1976), 15–16.126 David Lowenthal, ‘The Bicentennial Landscape: A Mirror Held up to the Past’, Geographical Review, 67:3 (1977), 255.127 John E. Bodnar, Remaking America: Public Memory, Commemoration, and Patriotism in the Twentieth Century, Princeton, NJ: Princeton University Press 1994, 236–37, 241 and 243; Michael Kammen, Mystic Chords of Memory: The Transformation of Tradition in American Culture, New York: Vintage 1991, 572.128 ‘Bicentennial Opens Up New Interest in Time Capsules’, New York Times (21 June 1976), 31 and 62.129 Lowenthal, ‘Bicentennial Landscape’, 263. See also Bodnar, Remaking America, 238.130 Christopher Lasch, The Culture of Narcissism: American Life in an Age of Diminishing Expectations (1978), New York: W. W. Norton 1991, 51; see also Henry Steele Commager, ‘Commitment to Posterity: Where Did it Go?’, American Heritage, 27:5 (1976), 4. On Warhol’s collection of time capsules, which eventually numbered 612, as an ‘archive of the ordinary’, see Arthur C. Danto, ‘Looking at the Future Looking at the Present as Past’, in Mortality Immortality?: The Legacy of 20th-Century Art, ed. Miguel Angel Corzo, Los Angeles: Getty Conservation Institute 1999, 8.131 1876: A Centennial Exhibition, ed. Robert C. Post, Washington, DC: National Museum of History and Technology 1976.132 According to the Registrar of the Curatorial Office, Pam McConnell, who has worked there since 1976.
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