C A L I F O R N I A S T A T E L I B R A R Y F O U N D A T I O N

N u m b e r 1 1 92 0 1 7

b u l l e t i n 1 1 9 1

EDITORGary F. Kurutz

EDITORIAL ASSISTANTSKathleen Correia & Brittney Cook

COPY EDITORM. Patricia Morris

BOARD OF DIRECTORS

Kenneth B. Noack, Jr. President

Donald J. Hagerty Vice-President

Thomas E. Vinson Treasurer

Marilyn Snider Secretary

Greg Lucas State Librarian of California

JoAnn Levy Marilyn Snider Phillip L. Isenberg Thomas W. Stallard Mead B. Kibbey Phyllis Smith Gary Noy Angelo A. Williams

Jeff Volberg

Gary F. Kurutz Brittney Cook Executive Director Foundation Administrator

Shelley Ford Bookkeeper

The California State Library Foundation Bulletin is published when we are able. © 2004-2017.

Opinions of the authors are their own and do not necessarily reflect the opinions of their institutions,

the California State Library or the Foundation.

The Bulletin is included as a membership benefit to Foundation members and those

individuals contributing $40.00 or more annually to Foundation Programs. Membership rates are:

Associate: $40-$99 Contributor: $100-249 Sponsor: $250-$499 Patron: $500-$999 Institutional: $500 Corporate: $750 Lifetime Member: $1,000 Pioneer: $5,000 Subscription to Libraries: $30/year

C A L I F O R N I A S T A T E L I B R A R Y F O U N D A T I O N

Number 1192017

2������“PublicLibrariesAreUnsungHeroes”:AConversationwithLibraryDevelopmentServicesBureauChiefWendyHopkinsBy M. Patricia Morris

8 ������TheEarlCecilPayneandMurielHopkinsPayneCollectionofTwentiethCenturyCaliforniaNaturePhotographyDonatedtotheStateLibraryBy Burt Thompson

16�����BrailleandTalkingBookDirectorVisitstheNationalLibraryinEgypt,LibraryofAlexanderandHistoricSitesBy Michael Marlin

20 �����GeorgeWashington’sWritings,BroughtbyForty-NinerstoCaliforniaToAidThemas“CitizensofaNewCommunity&aRisingState”By Nick Aretakis

23�����Extra-Illustration:FromMarginaliatoScrapbooks�HighlightsfromtheSutroLibraryBy Diana Kohnke

26 �����TheLoveGeneration:Music&ArtfromtheSummerof67By Sariah Groff

30 �����HiddenTreasures—JurisprudenceEditionBy Gary Noy

32�����FoundationNotes

AlfredA�HartGraniteMonumentDedicatedbyMeadB�KibbeyBy Gary F. Kurutz

ANewFoundationAdministratorIsHiredtoReplaceDepartingMartaKnightBy Gary F. Kurutz

35�����RecentContributors

Front Cover: A full moon and firefall at Glacier Point, Yosemite Valley. Digital scan made from a 2 1/4 x 2 1/4 color negative by Earl Payne. See article by Burt Thompson, pages 8-15.

Back Cover: “El Capitan Grandeur” by Earl Payne. Digital scan made from 35mm color slide.

Illustrations and Photo Credits: The editor extends his gratitude to Brittney Cook, Vincent Beiderbecke and Matt Bartok for their expertise in creating digital scans and photographs. Michael Marlin and Diana Kohnke supplied the images for their respective articles.

Design: Angela Tannehill, Tannehill Design | www.angelatannehill.com

California State Library Foundation 1225 8th Street, Suite 345, Sacramento, CA 95814 tel: 916.447.6331 | web: www.cslfdn.org | email: info@cslfdn.org

2 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Away from the demands of the Library Development Services Bureau, Wendy Hopkins is photographed in the calm of the State Library’s rare book room.

EDITOR’S NOTE

Patricia Morris is the Foundation’s copy editor. In addition, she has contributed several superb

articles to the Bulletin. Morris is active in two Toastmasters Clubs, the Capital Communicators

and Capitol Captivators. This year Morris received the Distinguished Toastmaster award.

AConversationwithLibraryDevelopmentServicesBureauChiefWendyHopkinsBy M. Patricia Morris

b u l l e t i n 1 1 9 3

he California State Library has

a connection to virtually every

public library in the state through

the programs of its Library Development

Services Bureau. On August 12, 2017, I

met with Bureau Chief Wendy Hopkins

in her office at the Library to talk about

the bureau’s recent activities. During an

hour-long interview, she shared many

stories that spoke to the creativity and

innovation taking place both at the State

Library and in the field aimed at improv-

ing public library services.

State Librarian Greg Lucas chose Wendy

Hopkins two and one-half years ago to

head the bureau. Her background is not in

librarianship, but in media and communi-

cations. In the 1990s, she served as Gover-

nor Pete Wilson’s media relations director.

Then for many years she ran the California

State Legislature’s broadcast services. Fol-

Public Libraries Are Unsung Heroes

lowing that she worked for a variety of orga-

nizations including the Federal Emergency

Management Agency (FEMA) before being

hired at the California Department of Pub-

lic Health, where she was responsible for

the department’s communications relating

to high risk situations such as earthquakes

and pandemics.

During the course of our conversation,

Hopkins likened her role to that of an

“orchestra conductor of an incredibly tal-

ented team.”

When the bureau is at full strength,

as chief, Hopkins heads a staff of twelve.

Hopkins likened her role to

that of an orchestra conductor

of an incredibly talented team.

4 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

During the downturn, the bureau lost half

its staff requiring the remaining members

to cover the same workload.

She said, the principal work of the team

is to “oversee, administer, and monitor

approximately $10 million dollars in fed-

eral and state grants.” “What we do,” she

added, “is create grant programs that go

out to public libraries, so they can create

programs that are beneficial to their com-

munity, things like teen programs and

summer reading programs.”

The largest source of library funding

administered by the Library Development

Services Bureau comes from the federal

government through the Library Services

and Technology Act (LSTA). The Institute

for Museum and Library Services (IMLS)

is the federal agency responsible for dis-

tributing LSTA grant and operational

funds to the fifty states.

How do libraries compete for these

grants? Hopkins said, “There are several

different ways, because we have different

levels of grant programs.” She proceeded

to describe how one State Library LSTA

program came into being.

STATE LIBRARY’S MENTAL

HEALTH INITIATIVE

“Over a year ago,” she said, “we saw the

mental health crisis escalating when there

was the San Bernardino shooting. The

poor people of San Bernardino were so

affected. A lot of people raced to the library

because they wanted resources to find out

how to get help, how to get mental health

help, what to do about gun control. So the

point was to provide, first of all, San Ber-

nardino with materials to help the people

of San Bernardino, and the local library to

help meet those needs. And obviously it

can happen anywhere, so we developed it

into a statewide program.

“State Librarian Greg Lucas, the

E-Team,1 and a lot of members of my staff

felt the need for a grant to be created, a $1

million grant, to go out for mental health

resources for public libraries. For mental

health, we felt it beneficial to train librari-

ans on how to deal effectively and compas-

sionately with any patron suffering with

mental illness, so that not only would the

librarian staff feel safe and secure in their

work environment but other patrons in

the library won’t be disturbed by, or fearful

of, individuals affected by mental illness.

“We teamed up with the National Coun-

cil of Behavioral Health, and they provided

five-day training classes for thirty people

each. Each of these thirty people, by taking

that training, had to agree to conduct three

eight-hour classes of their own. Approxi-

mately 600 librarians and community

partners, like police and fire and other

agencies that encounter people affected by

mental health, have been trained.

“There is one component where we are

creating a series of eight videos of the dif-

ferent things that librarians can do for

people with mental health issues. Like

when someone becomes violent or aggres-

sive, or how to deal with teens with men-

tal health issues and that type of thing. Of

course any library in the nation can bring

these videos up on YouTube and benefit

from the information that we are sharing.

So that is just one example of the type of

grants that we can do,” Hopkins said.

The creation of the Mental Health Initia-

tive was so compelling, I was curious about

other LSTA grants the bureau had worked

on. “The list is so long,” Hopkins said. But

she accommodated me by describing the

Career Online High School program that

had its start as a pilot program.

GETTING A HIGH SCHOOL

DIPLOMA AT YOUR LIBRARY

“In Career Online High School,” Hopkins

said, “anybody of any age can work with

the libraries that have this program and get

their diploma. It is not a GED. It is an actual

high school diploma. You can pick up at

whatever point you are at.

“Say a young person who is three quar-

ters away from a high school diploma had

to drop out in their junior year for whatever

The creativity in these

libraries is astonishing,” she

said. “I think public libraries

are unsung heroes of

communities. I think people

would be truly shocked to walk

into a library and find out how

vibrant it is. How much there

is to offer. It is not just books,

just audio, just CDs.”

b u l l e t i n 1 1 9 5

reason. They had to support their family,

or had to go to work. They can come back

and pick up where they left off and com-

plete their credits and complete their high

school diploma, which gives them a better

position in the community to get a better

job and hopefully to go on and get a better

education and become a better contributing

member of society.”

I asked about the State Legislature’s

involvement. “The Legislature is incred-

ibly enthused about this program,” she

said. Hopkins went on to explain that “this

program is supported by a combination of

state and federal funds along with match-

ing funds from participating libraries.”

IN PRAISE OF PUBLIC LIBRARIES

In mid-interview Hopkins paused from

reporting on specific LSTA programs to

laud the innovation coming from Califor-

nia’s public libraries. “I want to emphasize

this,” she said. “We work very closely and

have a great partnerships with the public

libraries. They look to us for advice. They

look to us for training, but also to create

new ideas, so we can keep libraries alive

and vital in today’s society. We want to

hear from them. What is going on in your

world? What needs do you have so that we

can answer and meet those needs?

“The creativity in these libraries is

astonishing,” she said. “I think public

libraries are unsung heroes of communi-

ties. I think people would be truly shocked

to walk into a library and find out how

vibrant it is. How much there is to offer.

It is not just books, just audio, just CDs.”

She described three programs in pub-

lic libraries specifically designed for kids.

Teen advisory groups were the first. “There

are teen advisory groups,” she said, “that

act as peers and mentors to other teens

that work on the issues that affect teens

today like bullying, social media, and par-

ent issues.”

The second type of creative public library

program she mentioned was summer read-

ing. “Some summer reading programs,”

she said, “help stop the summer slide when

kids get out of school. They stop and have a

fun summer and they lose so much of what

they learned in the school year, so they sort

of have to start over again to a degree in the

next school year. So the summer reading

programs are designed to stop that summer

slide so that kids stay engaged and active

and still retain and use what they learned

in the school year so they are prepared to go

into the next school year.”

The third program explores a new

technology. “Public libraries,” she said,

“have these things called ‘maker spaces’

through one of the grants we have pro-

vided for 3D printers so the kids can learn

about science and technology and math.

Sure they can go and create something

fun in the maker spaces. They don’t even

know that they are learning these core

fundamentals. They are having an abso-

lutely great time.”

“The incredibly great work that librar-

ies are doing and anchoring the commu-

nity is a wonderful thing to see. It is a

wonderful thing to be a part of,” she said.

PITCH AN IDEA PROPOSALS

LSTA grants are awarded in a variety of

ways. Some are statewide programs that

the State Library itself created. Others are

projects resulting from ideas submitted by

public libraries and which are evaluated

on a competitive basis. The Pitch An Idea

Proposals, though, are Hopkins’s favorite

type. About a million dollars a year is allot-

ted for these grants awarded at a minimum

of $5,000 to a maximum of $100,000.

This is what they tell the libraries she

said, “You come up with your best idea for

a program that would benefit your com-

munity and you fill out an application, and

then we will do a phone call, and you give a

ten minute sales pitch on why this is such

a great program and why we should do

it. A ten minute pitch and then Q and A.

Some of the most amazing ideas come out

of these Pitch An Idea proposals.” She told

me about one of them.

NAPA’S BIKE BRANCH

To extend outreach to their communi-

ties, a number of libraries in California

are turning to bike bookmobiles. Hopkins

told how Napa Public Library succeeded

this year in getting a Pitch An Idea grant

to buy a motorized bike to enable its staff

to attend more community events.

“The bike is basically a three-wheeler

that is partially electric,” she said, “so any

staff member of any size or physical abil-

ity could use it without overexerting or

hurting themselves. On the back is a really

appealing little cab.”

The bike is currently being custom

built. The plan is that when they to go to

the farmer’s market on the bike, they will

carry various materials on gardening and

things like that in the cab. Later on in the

day, when someone else is going to take the

Bike Branch to a concert in the park, they

will switch out the boxes and put in music

and art related information. Back at home,

the Napa Bike Branch will be parked in

front of the library, so when people see it in

front of the library, they will recognize it in

the field and gravitate toward it.

“What a brilliant strategy,” Hopkins

enthused. “It brings the library materials to

the public reminding them that they have a

fantastic library right in their community.”

INNOVATION STATIONS

Hopkins had been talking about a smaller

library. “But the huge libraries do phenom-

enal things too,” she said. She proceeded

to explain how Chula Vista Public Library

partnered two years ago with Qualcomm,

the multinational semiconductor and tele-

communications company, to install a

Thinkabit Lab™ at the library. Since Qual-

comm copyrighted the name, they are

called “Innovation Stations.”

“It was Qualcomm’s idea,” she said.

“Chula Vista Library Director Betty Waz-

nis had a storage area about as dreary

and gloomy a place as you could possible

want.” Qualcomm said, ‘Tell you what.

6 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

We’ll come in and help you renovate this

space. We’ll put these really cool Thinkabit

Labs™ in there.’”

The storage area is now in Hopkins’s

words, “colorful, vibrant, painted, alive.

There are stations where kids can go and

build their own little robots. And again it

is teaching these kids these core principles

of science, technology, math. They think

they are having fun, but they are learning.”

“This project became so popular,” she said,

“the city backed it one hundred percent.”

The one thing that remained to be done

with this project was to do something about

the “very dreary and drab stairway leading

down to it” as Hopkins described it. A local

utility company, San Diego Gas and Elec-

tric, stepped in and painted the staircase

adding a mural on how to conserve energy.

Reflecting on the successful outcome of

this venture, Hopkins said, “Betty Waznis

recognized the value of creating community

partnerships. I think public libraries are

getting very adept in making those connec-

tions with the right community partners. I

could go on and on with story after story.”

And she did go on. She had one more story

to tell on this sunny August afternoon.

COMPTON TURNS THE TABLES

Hopkins asked me if I was familiar with

the movie Straight Outta Compton. The

title was familiar, but “I hadn’t seen it.” “It

was based,” she said, “on a significant part

of the music industry that has come out

of Compton. Well, in one of these Pitch

An Idea grants, Compton Library came to

us and said they wanted to do Compton

Turns the Tables. What they asked for was

funding for four DJ stations, so kids could

learn how to be DJs. “Being a DJ these

days,” Hopkins pointed out, “is a viable

full-time career.”

She went on to explain that Compton

Library, a branch of Los Angeles County

Library, wanted this program not only

as a way for the kids to have fun, but

also as a way for them to learn business

skills including writing pitch letters and

People in the audience started dancing.

It was so exciting. And there was a buzz.

All I could hear was did the library do

that? The library? Really?

This empty stage is set up and ready for the performance of five young DJs who trained in Compton Public Library’s Turns the Tables program.

Actress Melanie Eke interviewed each of the DJs as they walked the red carpet as well as celebrity guests. Here she is pictured talking with pop singer Kay Dee.

Turns the Tables attendees gather to photograph two of the events’ many guest celebrity participants—Rapper Lee Laamaj and pop singer Kay Dee.

Many guest celebrities participated in the Turns the Tables event. Rapper Lee Laamaj and pop singer Kay Dee are having some fun posing in front of an event backdrop.

b u l l e t i n 1 1 9 7

ENDNOTES1 The E-Team is comprised of the state

librarian, deputy state librarian and bureau chiefs from each department: Library Development Services, State Library Ser-vices Information Technology, Adminis-tration/Business Services, and the Califor-nia Research Bureau.

resumes to market themselves. The plan

was to have thirty people go through

the program for two hours a week for

ten weeks. The California State Library

awarded them a grant of $50,000 to go

ahead with the project. At the conclusion

of the program, Compton Library put on

a free city concert for the kids to showcase

their skills. Anthony Lewis, Kay Dee and

many other prominent personalities par-

ticipated in the event.

Hopkins went down for this concert

held on May 6, 2017 and reported on what

took place. “Compton did it right with their

community partners,” she said. “It was

phenomenal. The library grounds were all

abuzz. They were doing it like a big Hol-

lywood media event. They had this celebrity

room for the kids with popcorn, hot dogs,

and sodas. The kids were loving it.”

“Then outside, Compton Public Library

is situated next to their county government

building so that they had this big open

pavilion. They had put up a stage. They had

three-hundred white seats and a red carpet

running along side, so that the kids coming

out walked the red carpet.” Indeed, some

of the kids were interviewed on the red car-

pet before they went on stage.

Hopkins went on to talk about how the

event was publicized. The Director of Los

Angeles County Public Library Skye Patrick

appeared on two morning radio shows and

two morning television shows. “Each of

those shows,” Hopkins said, “had a mini-

mum audience of 3, 4, 5 million people.

Already, you are talking 20 million people

are getting the buzz that this is happening.”

Hopkins had told them they should get

hold of someone from the Grammy’s to

be a guest judge and cheer these kids on.

Instead she said, “They did far better than

that.” Compton Library enlisted four celeb-

rity guest judges from the entertainment

industry. “The guest judges,” Hopkins said,

“gave positive critiques to all these DJs.”

Hopkins estimated that they had prob-

ably between 400 and 450 people from

the public show up and listen to these

kids. There were little kids doing the hip

hop dance thing,” she said. “People in the

audience started dancing. It was so excit-

ing. And there was a buzz. All I could

hear was ‘Did the library do that?’ ‘The

library?’ ‘Really?’”

With the 400 people showing up, the

two morning radio shows, two morning

TV shows, media coverage,” Hopkins

said, they probably had a minimum of 20

to 25 million people having heard about

the event. For an investment of $50,000

that is a return on investment that is just

priceless. So there are at least 20 million

people in the LA area who know there is

a library that can do these things, so with

any luck, they are saying ‘I wonder what

my library is doing?’”

JUST THE BEGINNING

There isn’t space in this article to report on

other Library Development Services Bureau

programs, such as the California Library

Services Act (CLSA), which promotes

resource sharing among public libraries in

the state, or the popular California Library

Literacy Services in which adult, English

speakers can learn to read and use library

services at a local library. Neither was there

time to describe the unit’s work to extend

broadband services to libraries in need of

access to high speed Internet.

Our thanks to Wendy Hopkins for giv-

ing us some insights into the work of the

Library Development Services Bureau. But

it was just a beginning.

8 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

EDITOR’S NOTE

Burt Thompson is a long-time supporter of

the California State Library Foundation

from Granite Bay. He knew the Paynes for

many years and encouraged Mrs. Payne to

donate her husband’s archive to the Founda-

tion and Library.

he California State Library Founda-

tion received a generous bequest

from the estate of Mrs. Earl Cecil

(Muriel) Payne recently. Mrs. Payne had

donated a large collection of private photo-

graphic work created by her late husband

to the California State Library Foundation

several years ago. The collection consisted

of both black and white and color photo-

graphs of California and its natural beauty

from the last half of the twentieth century.

They complement the library’s collection

of photographic work by C. E. Watkins,

Eadweard Muybridge, Edward Weston

and Ansel Adams. Approximately 2,000

individual images are currently available

online in 161 files (records) in the Library’s

picture catalog.1

As a serious avocation, Earl Payne spent

many years creating magnificent landscape

The Earl Cecil Payne and Muriel Hopkins Payne Collection

ofTwentiethCenturyCaliforniaNaturePhotographyBy Burt Thompson

Muriel Ann Payne. Mrs. Payne accompanied her husband on many of his photographic trips into the High Sierra and desert.

The Earl Cecil Payne and Muriel Hopkins Payne Collection

ofTwentiethCenturyCaliforniaNaturePhotographyBy Burt Thompson

Landscape photographer Earl Payne checks his light meter in

the California desert. Mrs. Payne donated his camera to the Library.

b u l l e t i n 1 1 9 9

1 0 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Vanishing Fields. views and close-ups of natural wonders.

He spent years hiking the High Sierra,

and California’s deserts and coast. Many

of these excursions took place before

paved roads and other developments.

Payne’s favorite subjects include bristle-

cone pines, wildflowers, the Alabama

Hills, and Death Valley. Many of Payne’s

views have been exhibited in museums

and commercial galleries.

Earl Cecil Payne was born in San Fran-

cisco in 1921 but grew up in the Encini-

tas area of San Diego County when it was

still largely undeveloped. Payne was inter-

ested in art and photography when he was

in high school. During World War II he

served in the U.S. Navy and became an

Moonrise over the Alabama Hills, Owens Valley, Inyo County.

b u l l e t i n 1 1 9 1 11 1 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Monarch Flight.

Cactus Surprise.

El Capitan Grandeur.

1 2 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

b u l l e t i n 1 1 9 1 3

Bristlecone pines in the White Mountains of the eastern California were a favorite subject of Payne’s.

aerial photographer. He received his basic

photographic training at the Naval School

of Photography in Pensacola, Florida. He

was then assigned to Guam in 1944 in the

Pacific to do aerial photography to evalu-

ate bombing results. His work was all in

black and white with all negatives pro-

cessed in the darkroom. It was excellent

hands-on training for him in camera and

darkroom techniques. The quality of these

photographs was very important since the

photos were used to select the next mis-

sion targets. After the end of the war Earl

Payne moved to Sacramento where his Showing a playful side, Payne took this shadowy self-portrait on the desert floor.

Navy friend and aerial photographer, Vern

Cartwright was working.2

Payne became a commercial photogra-

pher, and did school photography most of

his commercial career. He continued to

develop his photographic skills by taking

courses in figure photography from Wil-

liam Mortensen in Southern California.

His personal interest was in nature pho-

tography similar to that of Ansel Adams.

He began to photograph Yosemite in all

its seasons to record views under various

lighting conditions. Typical of that era,

his early nature photography consisted

1 4 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Earl Payne, World War II Photographer. During the war he was stationed in Guam and his main duty was as an aerial photographer.

In between aerial photography missions during the war, Payne became intrigued by the nose art of the planes he flew on. Shown here is one example. Muriel Payne created a self-published book appropriately titled, Wow Fantasies.

almost entirely of black and white images

since color film was still evolving and the

more stable black and white negatives

could be enhanced in the darkroom to

create large prints.

One of his special interests in nature was

the bristlecone pines, the world’s oldest liv-

ing trees located in the White Mountains

of Eastern California. He made many trips

there before the area was developed. He

made large prints in black and white show-

ing the beautiful texture of the tree bark

and the grotesque shapes of the trees after

centuries of wind and harsh winters. Later

he also photographed them in color. The

library has a magnificent portfolio of his

bristlecone views. In addition to his Sierra

views, Payne enjoyed the desert region of

Southern California and created breathtak-

ing photographs of Death Valley, the Ala-

bama Hills, and the Anza-Borrego Desert.

California’s wildflowers greatly inter-

ested Payne and he took both scenic and

close-up shots of dozens of different speci-

mens. Wishing to share his enthusiasm

and knowledge, he taught a night class in

wildflower photography every spring for El

Camino High School in Sacramento and

led field trips on the weekends. Using the

best possible camera equipment, Payne

photographed the wildflowers with his

Hasselblad with close-up attachments. It

could take hours to set up and take a per-

fect close-up shot without motion and with

good depth of field and perfect lighting.

Earl Payne married Muriel Hopkins

in 1971. They traveled all over California

and the West on photographic trips for

the next thirty-five years until Earl’s death

in 2006 at the age of eighty-four. Muriel

Hopkins Payne was an artist by training

and was a great scout for finding dra-

matic photographic opportunities for her

husband. Muriel was born in Sacramento

and graduated from Stanford University

in 1946. She also graduated from Sacra-

mento State University with a degree in

education. She taught at Sacramento High

School for many years. She developed a

pilot program for the teaching of visual

and performing arts for the entire state

of California under a grant from the state

Department of Education. Her program in

art education is still used in high schools

across the state.

The once famous road stop Nut Tree in

Vacaville hosted several exhibits of Payne’s

work featuring his landscape views. Payne’s

work provides a unique view of California

natural wonders in the late twentieth cen-

tury. He worked with large format film

cameras and performed darkroom magic

to produce magnificent photographs. All of

his work was done before the digital camera

was developed. Many of his subjects have

been destroyed by recent developments in

California. Payne’s work provides a vast and

varied collection of California nature. The

Library has the most extensive collection

of his work in existence. It is a great trea-

sure for the State Library and a resource for

future generations of Californians.

b u l l e t i n 1 1 9 1 5

Payne returned to the states following the war and became a highly acclaimed photographer. As demonstrated in this photograph, he gave many public presentations.

ENDNOTES

1 The Earl Payne photographs may be accessed on the State Library’s picture catalog via its web site at http://www.library.ca.gov. Click on catalogs and then click on picture catalog and type in the name Earl Payne.

2 Vern Cartwright in 1984 donated to the State Library an immense collection of over 4,000 aerial photographs of North-ern California. In World War II, he was stationed in Guam and there met Earl Payne. He owned and operated one of the largest aerial photography businesses in the western U.S. For more informa-tion on Cartwright see Issue Number 17 (October 1986) of the California State

Library Foundation Bulletin.

Working out of Sacramento, Payne emerged as a very successful commercial photographer. In his darkroom, he prepares a negative for printing.

1 6 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Braille and Talking Book Director Visits the National Library in Egypt, Library of

Alexandria and Historic Sites

By Michael Marlin

BTBL Director Michael Marlin in front of the

Bibliotheca Alexandrina.

b u l l e t i n 1 1 9 1 7

s a member of the Library

Services to Persons with

Print Disabilities interna-

tional committee of IFLA (International

Federation of Library Associations and

Institutions), I have traveled to some very

interesting countries. My experience in

February 2017 in Egypt, first at the Bib-

liotheca Alexandrina (BA)—or Library

of Alexandria—and National Library

of Egypt in Cairo, not to mention some

cultural explorations after business was

concluded, was absolutely astounding,

fascinating, and wonderful.

Alexandria is located along the south-

ern coast of the Mediterranean Sea about

223 kilometers or 140 miles by car north

of Cairo. The current Bibliotheca opened

in the year 2000, over two millennia after

its original complex of buildings was

destroyed by a fire set by the army of Julius

Caesar in 48 BC, although there may have

been several fires and other attacks or

incursions before and after that date. The

BA is a very sleekly designed, set of mod-

ern buildings with a main library, confer-

ence center, planetarium, and museums.

Our committee meetings were held in the

fourth floor “floating room,” an architec-

turally suspended room overlooking the

grand reading room on the first floor and

four levels beneath it constituting various

public library sections. According to my

sighted peers, one could spy the Mediter-

ranean beyond these stepped levels too.

Housed within the BA, the Taha Hus-

sein Library for the Blind is the national

library for the blind for Egypt, and it

produces braille, text-to-speech, and nar-

rated books for its patrons. The difference

between it and other worldwide librar-

Shown here is the beautiful and massive interior of part of this Bibliotheca Alexandrina. The photographer is looking down on the main reading room and lower levels from the fourth-floor floating meeting room.

EDITOR’S NOTE.

Michael Marlin is Director of the California State Library’s Braille and Talking Book Library.

At one of the Foundation’s board meetings, Marlin made a fascinating presentation on his trip

to Egypt and I thought our membership would enjoy his written account as well as the photo-

graphs he kindly provided that accompany his narrative.

ies for the blind is that, due to copyright

restrictions, patrons are unable to physi-

cally borrow, receive by mail, or download

the materials. Instead, patrons must use

braille and audio materials in the library

only. While negotiations with publishers

proceed to hopefully alleviate this situa-

tion in the future, the dedicated staff of

Taha Hussein diligently produce braille

and talking books and magazines and cre-

ate special presentations and programs

for Egypt’s print disabled community. In

2016 the library celebrated the 400th anni-

versary of the birth of Shakespeare, and in

honor of the bard they produced a print/

braille version of Shakespeare’s Famous

Yasmine Youssef, Digital Books Specialist at the Taha Hussein Library within the Bibliotheca Alexandrina, welcomes her colleagues at the recording studio who also serve the print disabled community.

1 8 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

on the seawall, and directed us to many

delicious restaurants featuring all sorts of

delicacies I cannot properly pronounce!

For our last full day in the country, the

BA staff arranged a tour of several his-

torical sites in Cairo, including a tactile

and sighted tour of the Pyramids of Giza

and the Sphinx, the Egyptian Museum

with many ancient artifacts, the Egyptian

National Library with a private viewing

and lecture of restored scrolls and ancient

manuscripts, and as the title of the article

spells out, a very short trip down the Nile

River on a falooka (sailboat). All the Egyp-

tian colleagues and citizens I met along

the way were incredibly kind and helpful,

and especially interested in the NLS net-

work libraries in California and how we

serve our readers. And since, alas, I was

not able to have him accompany me, my

guide dog Vivaldi was very happy to see

me when I returned, although he was dis-

appointed that the bookmarks and tactile

items I brought home were not edible!

Quotations in English and Arabic, a tac-

tile drawing of the poet’s face, head, and

distinctive curls, and an Arabic version of

Much Ado About Nothing with voices pro-

vided by library staff members.

After a well-attended symposium about

the Way Forward for the Marrakesh Treaty

in Egypt and several days of meetings,

our Alexandrian hosts did provide a day

of sightseeing and listening, visiting cata-

combs (ancient burial tombs), a Roman

coliseum, a citadel from the 600s AD built

Marlin and Jane Glasby, Program Manager for the San Francisco Library for the Blind

and Print Disabled, pose for this striking photograph of the

sphinx and pyramid at Giza.

b u l l e t i n 1 1 9 1 9

Marlin and his colleagues happily stand in front of the

Great Pyramid at Giza during an unusually cold day.

Enjoying a tactile experience, Marlin touches one of the massive carved stones of the pyramid.

2 0 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Each volume (save for volume

two), bears the bookplate of Edward

Everett on the front pastedown

and a manuscript note at the top

of the bookplate reading “Library

of the Boston and California Mining

and Trading Company.” Below Everett’s printed

name at the bottom of the bookplate in

the first volume are written the words “to the California

Mining Company.”

b u l l e t i n 1 1 9 2 1

his remarkable twelve-volume set

titled The Writings of George

Washington: Being His Correspon-

dence, Addresses, Messages and Other Papers

(Boston: [1833]–1837) was presented to the

Boston and California Mining and Trading

Company by the noted Massachusetts poli-

tician Edward Everett. It was the first regu-

larly organized Gold Rush company to set

sail for California from Boston, consisting

of men who hoped not only to find wealth

in California, but also to bring American

“civilization” to a distant land of infinite

promise. The fact that the men of the com-

pany carried with them a set of the first col-

lected edition of the writings of the nation’s

founding father, George Washington, is

highly emblematic of that desire. The fact

that this set of books, carried around Cape

Horn in 1849 and taken into the mining

camps later that year, still survives intact is

nothing short of amazing.

The Boston and California Joint Stock

Mining and Trading Company was orga-

nized in mid-December 1848 by Boston

merchant Timothy Rix. Numbering 150

men, the company represented twenty-

four trades and fifteen professions, and

one-third of the members were men of

property. Historian Donald Dale Jackson

George Washington’s Writings, Brought by

Forty-Niners to California

ToAidThemas“CitizensofaNewCommunity&aRisingState”

By Nick Aretakis

notes that 120 members of the company

were under thirty, and that they were the

“best organized and best equipped of the

early companies.” Each member paid $300

to join the company, and they elected the

experienced seaman, Henry Smith as their

president. The company purchased a ship,

called the Edward Everett, which departed

Boston on January 13, 1849, arriving in

San Francisco on July 6, after a voyage of

174 days. At 700 tons, it was the largest

of the Gold Rush company vessels sailing

from Massachusetts in 1849, and its cargo

holds contained a small steamboat and

four steam engines. Among the members

EDITOR’S NOTE.

This incredible set of volumes of The Writings of George Washington was offered to the

Foundation for purchase. The description by antiquarian bookseller Nick Aretakis made the

acquisition irresistible as he told such an incredible story about bringing books to Gold Rush

California and their connection to Reverend Joseph A. Benton whose manuscript diary is in

the California State Library’s collections. Aretakis gave the Foundation permission to publish

his sparkling essay.

Mr. Aretakis is a son of California and was born and raised in the Central Valley. He

received a degree in American History from the University of California, Berkeley, and then

moved east to pursue graduate studies at George Washington University and the University

of Virginia. For fourteen years, he was an associate in the Americana Department at the

William Reese Company, New Haven, Connecticut. In 2014 he and his family moved back to

California, and he established his own firm dealing in Americana books, manuscripts, photo-

graphs, prints, and maps of all regions and all periods.

of the company was the Revered Joseph A.

Benton, who would gain renown in Califor-

nia for his sermons. The California State

Library owns the manuscript diary kept by

Benton on the voyage. Another account of

the journey, by company Secretary Willard

B. Farwell, was published in the August

1891 edition of The Century Magazine under

the title “Cape Horn and Cooperative Min-

ing in ‘49.” A third journal, kept by com-

pany member Amos Gove, is held by the

University of California’s Bancroft Library,

and journals were also kept by William H.

Thomes and Mahlon D. Spalding.

Author Dale Walker calls the Boston and

2 2 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

California Mining and Trading Company

“among the most impressive and ambitious

of the New England outfits” that sailed for

California in 1849. “In the party were mer-

chants, manufacturers, artisans, medical

and divinity students, no less than eight sea

captains, a mineralogist, a geologist, and

four physicians. Among them were also

a sufficient number of musicians to give

nightly band concerts, and plenty of learned

men for lectures. They set up a dispensary

and library on board, stocked the ship with

trade goods, enough foodstuffs and cloth-

ing to last two years, enough lumber to

build two houses, and all manner of min-

ing equipment.” They produced a weekly

handwritten newspaper aboard ship, called

the Barometer, read from manuscript every

Saturday to the assembled ship’s company.

The company dissolved within two months

of reaching California, and many members

found nothing but frustration in the gold

mines. Thirty members of the company

would eventually remain and become resi-

dents of California.

An indicator of the well-heeled nature

of the company was the fact that they were

able to purchase the ship Edward Everett,

named for one of the most prominent men

in Massachusetts. In early 1849, Everett

(1794–1865) was just completing a term as

the president of Harvard, his alma mater.

In a long career in public service, he was

United States secretary of state, a U.S. sena-

tor and congressman, governor of Massa-

chusetts, and ambassador to the United

Kingdom. He is probably best known today

as the main speaker at the dedication of the

Civil War cemetery at Gettysburg, his long

speech overshadowed by President Abra-

ham Lincoln’s brief but immortal address.

Everett was no doubt flattered to be the

namesake of the vessel carrying the Boston

and California Mining and Trading Com-

pany, and he exhorted them to “take your

Bible in one hand and your New England

civilization in the other, and make your

mark on that country.”1 Everett showed his

good wishes for the company’s success by

providing them with a collection of some

one hundred books from his personal

library, writing Captain Henry Smith of his

intentions in a letter of January 6, 1849: “I

am desirous of offering a few books to the

company over which you preside & which

is about to sail for California in a vessel

which bears my name, in the hope that they

may furnish some amusement & instruc-

tion to the members of the company, on

their long voyage & after their arrival. Allow

me to ask what will be the latest time at

which the books can be sent to the vessel,

without inconvenience?” Two days later

Everett wrote Smith again, remarking fur-

ther on the intention behind his gift: “I ven-

ture to hope that a portion of the volumes

will afford you some entertainment on the

voyage & that others will prove useful to

you in entering upon the discharge of the

duties which may devolve upon you of citi-

zens of a new community & a rising state.”

Willard Farwell, secretary of the company,

described the books given by Everett as “a

well-selected library of historical, biographi-

cal, and scientific works” suited to aid men

who “would take in the social and political

organization of the new State which they

doubtless would help to found.”

In the short window between his letters

to Smith and the departure of the ship,

Everett set to work. He contacted a crafts-

man, James Brown, on January 8, instruct-

ing him to build cases for the books he was

donating to the company, and writes that “I

send you some of my book plates to have

them pasted into them & when they are

ready I will come & write under my name

the words ‘to the California Mining Com-

pany’.” Thinking that the company would

be sailing on January 10, Everett added that

“there is not time to be lost.” Later on Janu-

ary 8, Everett wrote Brown again, explain-

ing that he would not be able to come to his

shop to sign the books as he had hoped, and

instructing Brown on what to do: “I cannot

come into town this afternoon. I must get

you to let [lend] me one of your young men

who write [sic] a neat hand (if you have not

time to do it yourself) write the words ‘to

the California Mining Company’ under my

name on the book plate or immediately

below.” The following day, January 9, Ever-

ett wrote Brown again, mentioning that he

would “not be able to come in & see the

books, & I leave every thing to you.”

We can see from the set-in hand that

James Brown followed Edward Everett’s

wishes. Each volume (save for volume

two), bears the bookplate of Edward Ever-

ett on the front pastedown and a manu-

script note at the top of the bookplate

reading “Library of the Boston and Califor-

nia Mining and Trading Company.” Below

Everett’s printed name at the bottom of

the bookplate in the first volume are writ-

ten the words “to the California Mining

Company.” Each volume is also sequen-

tially numbered in manuscript on the

bookplate and also on the front free end-

paper with the numbers 37 to 48, almost

certainly indicating their numerical place

within Everett’s bequest. Each volume is

also stamped in gilt at the foot of the spine

“California Mining Company.”

For many years, this was the standard

set of George Washington’s writings, with

Jared Sparks utilizing Washington’s letter-

books in the compilation. The first volume

of the set is a biography of Washington.

The Writings of George Washington is

a marvelous artifact of the Gold Rush,

emblematic of the spreading of American

civilization from the Atlantic seaboard to

California, and connecting the era of the

founding of the United States to the era

when the world rushed in to California.

SOURCES CONSULTED

Octavius T. Howe, Argonauts of ’49 (Cam-bridge: Harvard University Press, 1923): pp.47-57, 189; Edward Everett Papers (Mas-sachusetts Historical Society, microfilm edi-tion). Dale L. Walker Eldorado: The California

Gold Rush (New York: Forge, 2003): pp.143-144; Donald Dale Jackson, Gold Dust (New York: Knopf, 1980): pp.76, 95-96,

b u l l e t i n 1 1 9 2 3

Extra-Illustration

FromMarginaliatoScrapbooksBy Diana Kohnke

individual unbinding a book then rebind-

ing it, inserting illustrations, maps, engrav-

ings, watercolors, etc., in order to visualize

a particular subject. Often blank pages were

bound into the volumes so that various

prints could be added, or pasted in, at a

later time. Some went further by custom

binding books with artwork on a variety of

different subjects and interests. Often these

books became repositories of art collections

as well as uniquely constructed books.

It is a peculiar fact that the history of

extra-illustration as a hobby has its origins

in Great Britain with a man who never

imagined, nor even engaged in the practice

himself. This man was James Granger—

idden in the bowels of

libraries across the West-

ern hemisphere, squirreled

away in dusty stacks, and tucked on narrow

shelves in antiquarian book stores, lie hun-

dreds, if not thousands upon thousands,

of books made unique through the largely

defunct art of extra-illustration. Sutro

Library in collaboration with the J. Paul

Leonard Library has revisited this largely

forgotten era of printing and bookbind-

ing history in the new joint exhibit Extra-

Illustration: From Marginalia to Scrapbooks.

Wildly popular from the latter part of the

eighteenth through the late nineteenth cen-

tury, the practice generally consisted of an

EDITOR’S NOTE

Diana Kohnke is the Sutro Library’s rare book

librarian and exhibit curator. She created this

fascinating exhibit with the Special Collections

Department of the J. Paul Leonard Library at

San Francisco State University. The exhibit

ran from late 2016 until May of 2017. Her

superb essay will enable our readers to gain an

appreciation for the Sutro’s extraordinary col-

lection of extra-illustrated volumes.

an eighteenth century British biographer,

collector, and preacher. In 1769, Granger

published A Biographical History of Eng-

land, from Egbert the Great to the Revolution.

The book was a catalog of prints on all the

James Granger’s 1769 A Biographical History of England, from Egbert the Great to the Revolution.

2 4 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

“worthies” listed in the Biographical His-

tory, which was essentially an eighteenth

century Who’s Who. It included all known

prints that were available for purchase on

a particular individual and where to find

them. The first edition of the book was

neither illustrated, nor did it contain blank

pages. One of the ironies of the Biographi-

cal History is the expectation that a book

about illustrations ought to have some,

yet it had none. The book contained mini-

biographies, which prompted individuals

to deliberately unbind the book to insert

portraits. This prompted later owners to

rebind the book with illustrations. As many

prints were available for all the “worthies,”

the original four volume set expanded. A

particular copy now on display in Oxford’s

Ashmolean Museum now has 18,742 por-

traits, a set that was expanded and rebound

into fifty-seven elephant folios. 1

Besides ushering in a new hobby, one

of the unintended consequences was to

increase the demand for portrait prints,

and thus the price. As new portraits

became known, new editions were printed.

A Biographical History of England had some

publishers inserting blank pages for col-

lectors and experts for them to add notes

of new prints, but also with the explicit

intention of adding additional portraits.

Further democratization of printing and

bookbinding allowed individuals with

the means (primarily Victorian upwardly

mobile middle-class) to self-publish. Work-

shops on how to do so were offered. With

the technology accessible, individuals

went beyond rebinding the Biographies to

any number of subjects which interested

them: Botany, Travel, Shakespeare, and

Architecture were just some of the books

people chose to bind with their own illus-

trations, notations, maps, and whatever

else spoke to them through their imagina-

tions. A whole new visual world was now

accessible to a certain social class of men,

and the occasional woman. Imported from

Britain, extra-illustration was a popular

hobby for Victorian America as well.

Sutro’s exhibit has a wide array of these

types of works, works that share many

qualities with books that have written

annotations or marginalia and have a

close relationship to scrapbooks, keep-

sakes, and commonplace books. All con-

tain distinct similarities that demonstrate

the long-standing practice of individuals

interacting with their books as a means

of self-expression—historically, culturally,

and politically.

The extra-illustrated books in Sutro’s

collection contain numerous antique and

rare plates. In terms of cataloging and art

history, extra-illustrations are an untapped

resource as they are seldom catalogued,

thus virtually hidden from researchers.

There are, however, distinct qualities that

can help identify a work, such as custom

bindings, and bulging and uneven pages.

There are also ways to search a catalog

using keywords like “illustrations” or “illus”

while also being on the look-out for certain

genres, like collections of Shakespeare’s

works, biographies, botany, natural his-

tory, county histories, and travel narratives.

Although there is no count on the number

of extra-illustrated books within Sutro’s

collection, so far it appears to be indica-

tive of collections such as the Huntington

Library’s, whose extra-illustrated books

account for a staggering ninety percent of

all of its artwork.2 These books help bring

perspective, in terms of the sheer number

that appear to be extra-illustrated in Sutro’s

collection, to the extent that it shows how

money provided access to a mostly male,

mostly elite group of individuals to images,

commodifying humanity’s most important

sense, our sense of sight.

As just mentioned, the pursuit of extra-

illustration was one enjoyed by the select

few who could afford it, as it required both

wealth and leisure time. One practitioner

explained, “No man can expect to make

a satisfying collection of prints on any

subject in less than two or three years.”3

Within this context extra-illustration was

an important expression of the illustra-

tors’ world, one which involved spending

years in searching for prints, in contacting

agents and in spending considerable capi-

tal. Looked at through this lens, not only do

these books represent their owner’s wealth,

individuality, scholarship, and memories,

as vessels they verify these things as well.

American Civil War-issued envelopes.

b u l l e t i n 1 1 9 2 5

The practice had its detractors nevertheless,

aggravated by the fact that in searching for

a print, an individual might completely

destroy a book to extract a desired illustra-

tion. So egregious a crime, articles were

written decrying the practice as “the very

Ishmaelite of [collecting] . . . against every

man who loves books . . . .”4

Like railroad tycoon Henry E. Hunting-

ton, Sutro’s collection is rich in Elizabethan

drama, works on English and American

culture and history, and now, as this exhibit

has brought to light, extra-illustrated books.5

Sutro’s many fine examples represent a sort

of Golden Age of extra-illustrating, with the

insertion of high quality prints and supe-

rior bindings, roughly dating from the

1810s–1870s. Its demise in the early twen-

tieth century came about largely as a result

of advances in printing technology and

mass production.6 Even in the digital age

in which we live, these artifacts remain rel-

evant, echoing the many ways in which we

now interact with social media, combining

various elements from different sources to

enhance a topic and theme, or give voice to

commentary.7 Extra-illustrated works pro-

vide insight into the cultural interests and

psychology of Victorians during a period of

mass change. The study of them will add

greater depth to the historical narrative.

ENDNOTES

1 H.J. Jackson. Marginalia: Readers Writ-

ing in Books (Yale University Press: New Haven, 2001),190–191.

2 Sharon Mizota. “Everything is Illumi-nated: Extra-Illustrated Books at the Hun-tington”. Retrieved December 2, 2006 at https://www.kcet.org/shows/artbound/everything-is-illuminated-extra-illus-trated-books-at-the-huntington.

3 Ibid.

4 Laurence Hutton. “Extra Illustrating in New York,” The Bookworm. An Illustrated

Treasury of Old-Time Literature. Second Series. New York: A. C. Armstrong & Son, 1890, 180.

A sample/plate/entry from a Japanese photo albums by Felice Beato, 1875.

5 John Hill Burton. “The Book Hunter” from Laurence Hutton, From the Books Of.

New York: Harper and Brothers, 1892. 37.

6 Jackson, Marginalia, 60.

7 Folger Shakespeare Library. “Extending the Book: the Art of Extra-Illustration,” Retrieved November 21, 2016 from http://folgerpedia.edu/Extending the Book: the Art of Extra-Illustration.

2 6 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

uring the Summer of Love, an

estimated 75,000 of America’s

youth flocked to San Francisco,

drawn by psychedelic rock music, the idea

of “doing your own thing,” and the promise

that something unforgettable was happen-

ing. This was the summer of peace, love,

and personal freedom. To celebrate the fifti-

eth anniversary of this event, the California

State Library created an exhibit, The Love

Generation: Music & Art from the Summer of

`67. On display were photographs, prints,

posters, books, and other material related

to the summer of 1967 and the countercul-

ture movement.

Gene Anthony was a professionally

trained photographer living in the Haight-

Ashbury neighborhood, who captured

many of the iconic moments of the Sum-

mer of Love as they happened. The Library

has a portfolio with twenty-two of Antho-

ny’s original signed prints. Included in

the exhibit are three of Anthony’s photo-

graphs with copies of others appearing on

the exhibit’s interpretive panels.

Music&ArtfromtheSummerof67By Sariah Groff

The Love Generation

Music was at the heart of the counter-cul-

ture movement. Musicians, experimenting

with LSD, created psychedelic rock, a new

sound based on musical improvisation and

alternative instrumental arrangements.

Indoor concerts and events had accompa-

nying light shows, which helped create a

hallucinogenic atmosphere. Bands popu-

larizing this new style included the Char-

latans, Jefferson Airplane, and the Grateful

Dead. The exhibit featured several concert

posters from 1967 printed by Family Dog

Productions for the Avalon Ballroom.

On display in this exhibit case were broadsides, fliers, and pamphlets published by the Communications Company during the 1960s, with most of the material relating to the Diggers. The Diggers were advocates and practitioners of “life-acting.” the San Francisco Diggers championed the free use of public space.

EDITOR’S NOTE

Sariah Groff, the creator of this exhibit,

is a museum curator III. She oversees the

Library’s Preservation Office. The exhibit was

on display from May through October 2017

in Gillis Hall and the Circulation Room of

the Library & Courts Building. Her eloquent

article is published here to share with our

readers not only the event of fifty years ago

but also the diversity of materials found in the

Library’s California History Section.

b u l l e t i n 1 1 9 2 7

Michael Dolgushkin, California History Section librarian, designed this spectacular poster for the exhibit.

2 8 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Poster art promoting concerts at the Fill-

more Auditorium and the Avalon Ballroom

defined the style and aesthetic of psyche-

delic art, which is known for its rich colors,

symmetrical compositions, and unique

and bizarre iconography. The lettering is

elaborate and often abstract, requiring the

viewer to puzzle out the letters in order to

decipher the information. Concert posters

were created by several artists, including

Wes Wilson, Stanley “Mouse” Miller, Victor

Moscoso, Rick Griffin, and Alton Kelly. Vic-

tor Moscoso created several of the concert

posters on display in the exhibit. Moscoso

studied art at Cooper Union in New York

and at Yale University. He often used vibrat-

ing colors, intricate typography, and photo-

graphic collage in his posters.

In the Library’s collections are broad-

sides, fliers, and pamphlets published by

the Communications Company during the

1960s, with most of the material relating

to the Diggers. The Diggers were advo-

cates and practitioners of “life-acting.”

Their goal was to take theater directly into

the streets, removing all barriers between

performer and audience, between art and

life. Taking their name from seventeenth

century English anarchists who advocated

The Library has a portfolio with twenty-two of Haight-Asbury photographer Gene Anthony’s original signed prints. Displayed here are three of Anthony’s photographs, with copies of others appearing on the exhibit’s interpretive panels.

b u l l e t i n 1 1 9 2 9

The exhibit features several

concert posters from 1967

printed by Family Dog

Productions for the Avalon

Ballroom designed by Victor

Moscoso. The artist often

used vibrating colors, intricate

typography, and photographic

collage in his posters.

free cultivation of public land and an end

to wage labor, the San Francisco Diggers

championed the free use of public space,

a sharing economy, and an end to capi-

talism. Concerned about the lack of food

and housing available for many of the

young people who came to San Francisco

during the summer of `67, the Diggers

organized food drives and provided free

meals in Golden Gate Park. They also

opened a store where all the merchan-

dise was free, and helped establish a free

clinic. On display were fliers printed by

the Diggers advertising free food in the

park, advice for finding shelter or a “crash

pad,” and for interacting with police.

As summer turned to fall, many of

the youth who flocked to San Francisco

returned to school or drifted back home.

Most of the original Haight-Ashbury hip-

pies also left, weary of the numerous young

people and tourists who invaded the neigh-

borhood. In October 1967, the Diggers

staged their last major parade, “The Death

of Hippie.” Costumed pallbearers carried

a coffin to Golden Gate Park, where it was

ceremoniously burned.

The Summer of Love was a unique

moment in time. Decades later multiple

books, articles, and documentaries have

been produced attempting to explain how

the counterculture movement evolved and

its significance to American history. Mem-

oirs and biographies have been written,

offering insight into the movement and

the people who attempted to change society

through music, love, and communal living.

For those interested in learning more about

the Summer of Love, the counterculture

movement, and the 1960s, visit the Califor-

nia State Library’s California History Sec-

tion and explore the collections.

3 0 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Hugh C. Murray was the youngest chief

justice in the history of the California

Supreme Court. A native of Missouri, he

served in the Mexican War of 1846-1848

as a second lieutenant in the 14th Infantry

Regiment. Following legal studies in Illi-

nois, Murray came to California during the

earliest days of the Gold Rush. In Califor-

nia, he quickly achieved distinction in the

courts. At age twenty-four Murray was

named to the San Francisco Superior Court.

In 1851, when Murray was only twenty-six

years old, he became an associate justice of

the California Supreme Court. A year later,

he ascended to the position of Chief Justice.

In 1854, Murray wrote the notoriously

anti-Chinese decision in People v. Hall,

which barred Chinese people from testify-

ing against white people in court. In 1996,

legal scholar Charles McClain noted that

the decision contains “some of the most

offensive racial rhetoric to be found in the

hroughout its history, California has

produced memorable individu-

als, instances and items in the

pursuit of justice. Our legal system has

seen the quirky and the upright, the trail-

blazers and the brutal, the troubling and

the heroic. In this “Jurisprudence Edition”

of Hidden Treasures, we consider a judge

and a lawyer.

EDITOR’S NOTE

Mr. Noy is a dedicated member of the Foun-

dation’s board of directors and a frequent

patron of the Library’s California History

Section. In addition, he is an instructor at

Sierra College in Rocklin and author of the

well-received Gold Rush Stories published

by Heyday and Sierra College Press earlier

this year. Noy is frequently on the road giv-

ing lively lectures on stories about the Sierra

Nevada and the Gold Rush.

Hidden Treasures JurisprudenceEdition

From the Collections of the California State Library, by Gary Noy

Chief Justice Hugh C. MurrayHon. Hugh C. Murray, late Chief Justice of the Supreme Court, State of CaliforniaSan Francisco: Lithograph print by L. Nagel, c. 1857

California History Room: Picture Collection; F-MAP PORTRAITS: MURRAY, HUGH C., 1990 - 1692

In this Bulletin department, we highlight unusual photographs, documents and artifacts from

the California State Library that have been unobserved for years, sometimes even decades.

annals of California appellate jurispru-

dence.” An example from Chief Justice

Murray’s opinion: “[The Chinese] are a race

of people whom nature has marked as infe-

rior, and who are incapable of progress or

intellectual development beyond a certain

point, as their history has shown . . . .”

Hugh C. Murray also possessed a hair-

trigger temper. Upon hearing a critical

comment from prominent Sacramento

merchant Thomas Hill, Chief Justice Mur-

ray assaulted Hill in his store and beat

him senseless with what was described as

a “heavy bludgeon.”

Chief Justice Hugh C. Murray died of

consumption, most likely tuberculosis, in

1857 at age thirty-one. His obituary in the

Sacramento Age concluded that “As a lawyer,

Hugh C. Murray was considered more pro-

found than skillful . . . . As a man, he was

driven by quick impulse, and the mental

vastly predominated over the moral.”

b u l l e t i n 1 1 9 3 1

Esto Bates Broughton was a pioneer-

ing lawyer and politician. Born to

a prominent Modesto family in 1890,

Broughton graduated from the Univer-

sity of California, Berkeley, in 1915, and

received a law degree from the univer-

sity’s Boalt Hall in 1916. Esto Broughton

was the first practicing female attorney in

Stanislaus County. She earned a reputa-

tion as a civic leader and fearless advocate

for Prohibition, and, in 1918, Broughton

was recruited as a candidate for the 46th

District of the California State Assembly,

located in Stanislaus County. She ran as

a Democrat, won and joined three other

women, all Republicans, as the first four

women elected to the State Legislature.

Only twenty-nine years old when elected,

Esto Broughton was the youngest woman

to serve in the legislature until 2002.

Broughton was reelected to the assem-

bly in 1920, 1922, and 1924. Under the

unique California election practice then

in effect, Esto Broughton “cross-filed,”

or registered as a member of multiple

political parties. When she ran for reelec-

tion, Esto campaigned simultaneously on

several tickets. For instance, in her 1924

bid, Broughton was listed as a Democrat,

Esto Bates BroughtonPhotograph with signature from George H. Tinkham, History of Stanislaus County, California (Los Angeles: Historic Record Company, 1921), p. 485, California History Room, Stacks q979.457 S7a;

Portrait in manuscript collection of Ethel L. Bornefeld, 1906–1986. Research material for book on California’s first women legislators, 1978–1981. Box 1865, Folder 2. California History Room: Picture Collection; MANUSCRIPT, 2010-4923

Republican, Prohibitionist, and Social-

ist. Broughton’s tenure in the assembly

is best remembered for two legislative

actions. She took the lead and introduced

legislation promoting agricultural irriga-

tion projects that could also generate elec-

trical power. The immediate result was

the construction of the hydroelectric facil-

ity associated with the Don Pedro Dam

Project. In 1921, Broughton spearheaded

a consumer campaign to make illegal

the sale of artificially-flavored drinks that

advertised themselves as being made

from “real” orange juice or lemonade.

Esto Bates Broughton left the assembly

in 1927 and returned to the practice of law.

She also served as the publicity director for

the Pasadena Playhouse and as a Sacra-

mento political reporter for several news-

papers. In 1932, Broughton was a delegate

to the 1932 Democratic Party Convention

that nominated Franklin Roosevelt as its

presidential candidate. Although she died

in 1956, Broughton continues to be an

influence on Stanislaus County politics.

Annually, the Stanislaus County Com-

mission on Women sponsors the Esto

Broughton Reception, honoring all elected

women in the county.

3 2 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Foundation Notes

Alfred A. Hart Granite Monument Dedicated by Mead B. KibbeyBy Gary F. Kurutz

On Monday morning, August 21, 2017

Foundation Board Member Mead B.

Kibbey dedicated a beautiful granite monu-

ment to pioneer photographer Alfred A.

Hart. The ceremony took place before an

appreciative audience at Sacramento’s His-

toric Old City Cemetery. The monument

is adjacent to the Kibbey Family Plot. Hart

(1816-1908) was the official photographer

for the Central Pacific Railroad from 1863

to 1869 and photographed with a dual-

lens stereograph camera thousands of

men rushing to build the transcontinental

railroad from Sacramento, over the High

Sierra, and to Promontory, Utah, a distance

of 690 miles. In so doing, Hart created a

series of 364 stereo views documenting

the most challenging construction project

in California history. In 2014, Mr. Kibbey

donated to the Foundation the only known

complete set of Hart’s original views.

Hart had no final resting place. He died

in poverty in the Alameda County Hos-

pital and his body was sold to a medical

school. Mr. Kibbey, long fascinated by

Hart’s stereographs, wrote a superb book

documenting his life. Highly acclaimed,

it was published by the Foundation in

1995. It had been a cherished goal of Mr.

Kibbey to provide a burial monument to

this great photographer. He conceived the

idea of creating a granite monument in

the shape of a stereo camera, similar to

what Hart would have used in the 1860s.

The dark gray stone camera includes on

the front side two lenses, a short biogra-

phy of Hart chiseled in white letters, and

a photographic reproduction of one of the

photographer’s stereographs. Sandwiched

in the middle is a carved camera bellows,

and on the rear, is a photograph of a ste-

reo camera. To create such an extraordi-

nary tribute, Mr. Kibbey commissioned

the Ruhkala Monument Company of Sac-

ramento. The company first moved the

heavy monument, weighing over 2,000

pounds, to the Center for Sacramento His-

tory until the site could be prepared.

On hand at the ceremony were many

Kibbey family members, State Library

employees and Foundation members,

Mead Kibbey, prior to giving his stirring talk, is pictured holding his highly acclaimed book on pioneer photographer A. A. Hart.

Foundation Executive Director Gary Kurutz unveiled the Hart monument at Sacramento’s Historic Old City Cemetery.

b u l l e t i n 1 1 9 3 3

staff from the Center for Sacramento His-

tory, and members of the Old City Cem-

etery Committee. Through Mr. Kibbey’s

effort, Hart’s great-great granddaughter

Sarah Zimmerman, also attended. All

listened with rapt attention as Mr. Kibbey

gave a beautiful account of Hart’s life and

the story behind the creation of the mon-

ument. As the Foundation’s executive

director, I had the privilege of whisking

away the red cloth that covered the stone.

Everyone’s face lit up in awe. Thanks to

Mr. Kibbey’s generosity and imagina-

tion, Alfred A. Hart now has a permanent

memorial recognizing his storied career

as one of California’s premier pioneer

photographers.

Following the unveiling of the granite monument dedicated to A. A. Hart, Mead Kibbey is surrounded by appreciative family members and friends. Kibbey arranged to have the monument located in the Kibbey family plot at the historic cemetery.

Mead Kibbey proudly stands with Sarah Zimmer, Alfred A. Hart’s great-great granddaughter.

3 4 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

Foundation Notes

A New Foundation Administrator Is Hired to Replace Marta Knight

By Gary F. Kurutz, Executive Director

Marta Knight has left the Foundation

to take a new position that is much

closer to home. Over the last four and one-

half years, Marta has done fabulous work

for the Foundation, and she will be dearly

missed. During that time, she applied much

energy to managing the day-to-day affairs

of the Foundation, supporting the board

of directors, upgrading and updating our

website and social media presence, making

contributions to the Bulletin, organizing

special events, and working with various

library departments. As devoted Founda-

tion Board Member and Officer Marilyn

Snider wrote: “It is hard to imagine anyone

could be as good a Foundation Administra-

tor as Marta. She has been wonderful to

work with and has always been on top of

what the board has needed.”

I am very pleased to announce the hir-

ing of Brittney Cook as the new Founda-

tion administrator. She is well qualified to

assume this important position and Marta

has been most generous in showing her

the “ropes.” Brittney has an excellent back-

ground in journalism, digital photography,

preservation of historical photographs, and

office management. Along those lines, she

received a bachelor’s degree in photog-

raphy and journalism from Sacramento

State University. She is currently working

on her master’s degree in library science at

Syracuse University through their online

program. In addition, Brittney already has

done contract work in the State Library’s

special collections digitizing the landscape

photographs of Earl Payne (see article by

Burt Thompson). Consequently, she is

already familiar with the general operation

of the Library. Previously, she worked as a

production assistant for Cox Black & White

Photography in Rancho Cordova and as a

photograph and production assistant for

Cost Plus World Market in Stockton. Her

versatility, energy, attention to detail, schol-

arship, office management skills, and all

around delightful personality will be a real

asset for the Foundation. She is looking for-

ward to promoting our wonderful Founda-

tion and State Library.

b u l l e t i n 1 1 9 3 5

Recent Contributors

T H E F O U N D AT I O N G R AT E F U L LY A C K N O W L E D G E S T H E G E N E R O U S B E Q U E S T

F R O M T H E E S TAT E O F E A R L & M U R I E L P AY N E .

3 6 C a l i f o r n i a S tat e L i b r a r y F o u n d at i o n

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S P O N S O R

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Michael&DonnaBernick,SanFrancisco

JoAnnFujikawa,Montara

KimberlyJohnston-Dodds,Sacramento

PlacerCountyGenealogicalSociety,Auburn

In Memory of Ronald Edward StoneSuzanneGrimshaw,Woodland

In Honor of Gary F. Kurutz ClaudiaSkelton,Seattle,WA

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KathleenLow,Fairfield

SusanPadgett,Davis

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In Memory of Professor Kenneth N. OwensGary&KDKurutz,Sacramento

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