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BrownTown and Traces of the Past

March 1, 2013 by rness | Comments Off on BrownTown and Traces of the Past

BrownTown with Marvel Gymnasium in background, c.1947

Historic photographs of a particular place often depict a community no longer present, while exhibiting architectural and geographic traces that we can recognize. It is these traces that connect us to the past, and which also distance us from it. The work that I did preparing digital images for Images of Brown, allowed me an often nostalgic, and sometimes surprising view, into a place that I have called home for nearly 30 years, the East Side of Providence, Rhode Island. The area is an historic one, much of the architecture and terrain today is similar to as it was a over a century ago, and very familiar to me. Which is why, I stopped and took notice when I was reviewing several images which were captioned BrownTown. What was this BrownTown? I recognized surrounding buildings, but never knew that a BrownTown existed. I crossed the street to the Brown University Archives and began consulting the folders of material on the construction, maintenance, and eventual destruction of BrownTown, Providence, Rhode Island.

The corner of Elmgrove Ave. and Sessions St., 1946

Cement posts being installed on the corner of
Elmgrove Ave. and Sessions St., c.1946

After the end of World War II, The G.I. Bill encouraged many World War II veterans to seek a college education. Brown reacted by opening The Veterans Extension Program in the fall of 1946, bringing the University into the national spotlight as a leader in assuring veterans education. From 1,400 applicants, 486 WWII veterans were accepted to the University through a streamlined application process. Over 100 of these students were married and either had children or were expecting. There was a critical housing shortage nationwide, including Providence. Where would they live?

The problem was uniquely solved when the U.S. Government War Surplus Division donated a dozen former Navy barracks to the University, and the city offered to lease to Brown, the Sessions Street Playground at the Corner of Elmgrove Avenue and Sessions Street. (Currently, the site of the Jewish Community Center of Rhode Island). Eight barracks would fit on the lot. They were brought in sections from the Coddington Point site in Newport, and set up on cement posts. This temporary emergency housing was given the name, BrownTown, and on December 9^th, 1946, 100 families moved in to the furnished apartments.

Brown Town, Joe Schaefer’s room

Each of the units had an icebox, hotplate, and a tiny iron sink. Flower pots and flower beds distinguished the different residences, as did the informal naming of the “streets”, or rows, between the barracks after wartime locales, Guadalcanal, Normandy, Pearl Harbor, etc. In local newspapers, Brown is described as being a good landlord, pets were allowed, and rent was low at $26-$42 a month. BrownTown’s population exploded. At one time, the hundred families in Brown Town had a total of 120 children. Fifty babies were born during the summer of 1947. Student residents juggled academics with family life, attending baby caring clinics, forming babysitting pools, and building play pens, to keep children out of Elmgrove Avenue, described at the time as a speedway for motorists.

Brown Town was a thriving community for four years, but it was erected as a temporary community, and in 1950, after the inaugural class graduated, half of the buildings were removed. BrownTown was fully razed on June 1951. The fleeting phenomena of BrownTown is summed up in a student essay titled The Suburban History of BrownTown 1946-51, as a “quick life and death of a suburban suburbia.”

Illuminating Postcards

February 13, 2013 by lelgin | 2 Comments

While I generally work with objects and texts from Brown’s Special Collections, I also work with images for the instructional image collection with Karen Bouchard, the Scholarly Resources Librarian for Art and Architecture (she has a Twitter feed for the Brown Imaging Blog). These are images scanned for faculty members (primarily in History of Art and Architecture and Visual Art). For this project, I was digitizing postcards in the personal collection of Brown alumnus Seth Cohen, lent to Professor Dietrich Neumann for use in his lectures. These postcards – representing a range of locations and time periods – look at first like ordinary postcards, but illuminate in specific areas in the card when backlit. Sometimes, the backlighting shines through windows and doors in a bright, copper color; other times, the light brings forth a part of the image unseen when viewing normally.

The following are two animations of illuminated postcards: they start with the postcard lit normally, then move to two different strengths of backlight.

While it’s relatively easy to view one of these postcards – holding them up to a window or to a bright indoor light does the trick – capturing that in a photograph is much more challenging. After some trial and error, I devised a simple system to backlight the postcards with a light strong enough to show the layers of information, while still providing enough ambient light to read the information on the front of the card. I set up our Leaf Aptus II-12 digital back on its medium format camera, attached it to a tripod set to shoot straight down, and did tethered capturing into Capture One (the software we use to capture using our Leaf digital back). I used two Canon 580EXII flash units; one mounted on the hot shoe of the camera, and one functioning as a synched flash on the floor with a Gary Fong Lightsphere diffuser. I used an acrylic box to lay the postcards on, and put that on some boxes so that there would be some room between the flash on the floor and the postcards. I bounced the flash on the camera off the ceiling, so that it would provide a diffused ambient light that would neither overpower the postcards, nor cancel out the backlighting.

When Digitization and Ancestry Collide

February 7, 2013 by rness | 1 Comment

There are generally few personal revelations in the review and exportation of digital files. Once a group of materials has been scanned, I export the folder of digitized images into Adobe Lightroom, click through each image, checking that it is properly cropped, aligned, and does not contain any artifacts. It is fairly fast paced work, and does not allow for much reflection on subject matter. However, I did take notice during the review process of a box of Harris Broadsides. I was reviewing digitized images from “The Order of Exercises for Class Day, Monday, July 30, 1860, Bowdoin College.” As the third page appeared on the monitor, the name AMERICUS FULLER jumped out at me.

Americus Fuller is one of those solid and patriotic 19^th-century names that one remembers if it figures in your family ancestry. My first association with Americus Fuller, is in connection to his exotic Turkish leather ottoman, passed down to me in the 1970s. Was the poet named on the broadside I was reviewing, my grandmother’s great uncle Reverend Americus T. Fuller, missionary to Turkey?

Reverend Americus T. Fuller

The fact that the publication was from Bowdoin boded well…my family is from Maine. A quick check on Ancestry.com confirmed that Americus Fuller graduated from Bowdoin in 1859, prior to attending Bangor Theological Seminary. It was clear now that I was reading a poem written by my ancestor, a melancholic farewell for the graduating class of ’59 reflecting on the past toil of study, and looking forward to an unknown future.

Having the new knowledge that Americus was a “published poet”, I did a quick search for Americus Fuller in the Brown Digital Repository and our library catalog to see if perhaps he had penned anything else in our collections. Viola! He had also written a poem for the Freshman Supper at Bowdoin College, July 31, 1856.

In this Ode, Fuller reflects upon freshman year spent in “happy strife”, and looks ahead to becoming a dignified sophomore. Fuller’s life story, albeit interesting, is now known and passed. He was a member of the Christian Commission during the Civil War, and served as a pastor in Maine and Minnesota, until his appointment as a missionary, first at Antitab, Turkey, then Constantinople. In 1880, Fuller became President of the Central Turkey College.

Displayed in my home are 19^th-century Turkish textiles, handiwork, and objets d’art collected by Americus and passed down to me. I have now added copies of two odes from Brown University Library’s Harris Collection of American Poetry and Plays to my collection of Fuller family related items. Yes, archives are full of secrets, and hidden gems are lying dormant in dark stacks waiting to have light shed on them. What a privilege it is to have the type of employment that such genealogical gems can be stumbled upon in the course of daily work.

Bowdoin College Campus, ca. 1860

Digitizing for “The Festive City”

February 1, 2013 by btylr | Comments Off on Digitizing for “The Festive City”

In addition to items from the Brown University Library’s Anne S. K. Brown Military Collection and items from RISD’s collections, “The Festive City” — currently on exhibit at the RISD Museum of Art through July 14, 2013 — features rare 18th-century prints on loan to the RISD Museum from private collector and Brown alumni Vincent J. Buonanno. Many of the prints loaned to the Museum (example), as well as those from Brown University Library collections (example), were recently digitized by Digital Production Services. The reproductions of Buonanno’s loaned prints benefitted from our most recent digital camera reprographic setup (which uses an Aptus-II 12 80-megapixel digital camera back).

Buonanno’s loaned collection of Chinea prints — prints commissioned to document sovereigns offering tributes to the Pope, as yearly Roman festivals — represents the annual festivals in an almost complete set, spanning the 1720s through 1780s. Reviews of the “Festive City” exhibit were recently featured in the Boston Globe and Providence Journal.

Students in Brown Professor Evelyn Lincoln’s Spring 2010 Graduate Practicum in the Department of the History of Art & Architecture curated and produced a collection of related essays, “Reading Ritual: Festival Books from the Anne S. K. Brown Military Collection.”

“Il Parnaso con Apollo e le Muse” (Gori Sassoli title); Giovanni Battista Sintes, 1680-1760 (etcher); Roma: 1733.

Napoleon’s Death Mask

January 23, 2013 by lelgin | 4 Comments

While the bulk of my work involves the digitization of two-dimensional documents, or straightforward photographs of pages from books, I also photograph other types of items – like the 360 degree photography, and the interiors that I have posted about. Every once in a while, I get more unusual requests. Since I am usually the person who handles three-dimensional items, I get to photograph some of the most interesting – and unexpected – items from our collections.

Two years before this shoot, I actually photographed a portrait of Napoleon; an oil painting by Vernet in a gold-colored frame with the familiar bee (a symbol of immortality and resurrection) carved onto the front. It’s a part of the William Henry Hoffman Collection on Napoleon I and it’s absolutely stunning. Actually, the entire collection (of approximately 600 items) is fascinating, so I was excited when I was called over to look at an object that needed digitization. I was a little surprised to find it was not exactly a portrait of Napoleon; it was a plaster cast of his death mask. The request had come internally; we have a series of talks on our Special Collections at Brown, and this image was to help publicize and showcase a talk on the mask, given by Peter Harrington, curator of the Anne S.K. Brown Military Collection.

I had to bring it back to my studio at DPS to photograph, as I needed better light than I could get in the room the mask is stored in. I set everything up before bringing the mask out of its box; I was using hot lights, and the less exposure the mask has to the heat and drying nature of the lights, the better. Using a stack of books about the same size and shape of the mask, I set up foam to cushion it on a low table, set up lights equidistant and at the same angle to the object, and utilized the horizontal arm of our tripod so that I could shoot straight down onto the object. I used a color checker card to make sure that my white balance and exposure was correct, I tripled-checked the depth of field and focus, and then was ready to go.

As is often the case when dealing with unique objects, the setup took much longer than the actual photography. I replaced the books very carefully with the mask, took approximately 10 shots at slightly different exposures and focuses at three different angles. I ended up with a high resolution photograph of the death mask, and a great response when people asked me what I was bringing around the library in a box.

Edgar Allan Poe & Sarah Helen Whitman

January 17, 2013 by rness | 10 Comments

1848 daguerreotype by William Hartshorn

1856(?) daguerreotype attributed to J. White

Edgar Allan Poe was born on January 19, 1809, two hundred and four years ago. This anniversary has coincided with my work this week which has involved preparing digitized images of daguerreotypes of Poe and Providence poet Sarah Helen Whitman for publication to the Brown Digital Repository. The daguerreotypes had been found to be suffering some deterioration and were sent to the Northeast Document Conservation Center for treatment. Poe sat for this daguerreotype, known as the Whitman or Hartshorn Daguerreotype, on November 13, 1848 at the Westminster Street studio of Masury and Hartshorn in Providence, Rhode Island, after a tumultuous week which included an overdose of laudanum and a bout of heavy drinking. The daguerreotype was a gift from Poe to Sarah Helen Whitman, given to her after she finally consented to marry him. The engagement did not last long, but Whitman kept the daguerreotype until 1874. In a letter she noted Poe’s “sweet and serene expression” in the image. The daguerreotype was gifted to the Brown University Library in 1905.

Before treatment

Some of the condition problems with the daguerreotype and its case are apparent in before and after treatment images. The leather spine on the case was broken and cracked along the bottom. The case was scuffed and scratched, and the cover glass was beginning to deteriorate. After disassembling the daguerreotype package, preservationists at NEDCC replaced the cover glass with a more stable borosilicate glass, and used a variety of techniques to repair the case, broken edge, and spine. Of the many materials relating to Poe in the Harris Collection holdings, the daguerreotype is perhaps the best known and most frequently requested. The recent preservation treatment along with its housing in a clamshell presentation box will ensure its longevity for future library patrons.

After treatment

Sarah Helen Whitman

The daguerreotype of Sarah Helen Whitman is attributed to Joseph White, another Providence daguerreotypist, and dates from 1856. The daguerreotype plate and brass mat were enclosed in a paper-covered wooden case. The cloth spine on the case had been broken and previously “repaired” usuing black electrical tape. The tape and residual adhesive were mechanically removed, and the spine was repaired using cloth toned with acrylic color. The glass was replaced with borosilicate, and the package reassembled and sealed with Filmoplast P90 and a sheet of Melinex.

After treatment

Before treatment

Sarah Helen Whitman was a poet and essayist and interested in transcendentalism, mesmerism, and spiritualism. She hosted well-known writers at her salon in Providence, and served as vice president of the Rhode Island suffrage association. Poe first set eyes on Whitman as she stood in the rose garden behind her Benefit Street home. The house and garden are much the same as they were nearly two centuries ago.

Rose garden behind Whitman’s house at 88 Benefit Street.
Photo courtesy Will Hart

Digital Production Services in-house photographers recently digitized two photographs of Sarah Helen Whitman, which the author herself inserted into an autographed presentation copy of Whitman’s Hours of Life, and Other Poems. Consult the finding aid for more information on the significant holdings of Sarah Helen Whitman within the Harris Collection of American Poetry and Plays. Brown University also owns a portrait of Whitman painted by John Nelson Arnold in 1869.

Albumen photograph of Sarah Helen Whitman c.1853-78

Albumen photograph of Sarah Helen Whitman as a medium c.1853-78

Professor Smiley and the Mayans

January 9, 2013 by btylr | Comments Off on Professor Smiley and the Mayans

Already noted by Brown anthropology professor Stephen Houston last summer, the long-count Mayan calendar has now also been pragmatically confirmed to be of no grave cataclysmic import. Brown astronomy professor Charles H. Smiley (1903–1977) had contributed detailed work on the Mayan calendar system. He also happened to keep extensive travel scrapbooks throughout his career, several of which have been digitized by the library (as full volumes, per page, and also as individual objects within pages). His scrapbooks preserve miscellaneous travel ephemera — ticket stubs, restaurant menus — as well as personal photographs and letters. Shown below are some items from his winter 1959–1960 visit to Mayan ruins relating to the resulting publication of his cross-calendar correlation research.

Professor Smiley at Mayan site

Mayan hieroglyphs as drawn by Professor Smiley (detail)

Pre-print of Professor Smiley’s calendar research (detail)

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Imaging rare, unusual, and intriguing objects at the Brown University Library

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