Mark Stoneman Profile Photo

Mark R. Stoneman

Historian, editor, and translator for hire (German to English). Longtime resident of Washington, DC, now in Conway, NH, as a caregiver (he/him).

  Historical Images

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    📽️ This evening I saw “Secret Agent,” dir. Alfred Hitchcock (UK, 1936). It was a box office hit in its time, but for me it’s less compelling than “The Thirty-Nine Steps” (1936) and “The Man Who Knew Too Much” (1934). The cinematography and moments of suspense were nonetheless entertaining and characteristically Hitchcock.

    Unlike the protagonists in the other two movies, who become involved in espionage by chance and are clearly the good guys, the protagonists in this film play morally ambiguous roles. Their mission is to locate an enemy agent in Switzerland and assassinate him before he can carry British military secrets to the Ottomans. Only the playful, but dark character played by Peter Lorre enjoys the necessary close-up work of killing.

    Silhouettes of hanged spies out a train window on the way through enemy territory underline the ultimate personal price during war, if caught. A Swiss hotel and casino serves as a glamorous counterpoint, with social banter, dress, and flirting more in line with the 1930s than 1916. That means viewers are treated to Madeleine Carroll’s bare shoulders while she is wrapped in a towel that covers the rest of her body in a scene with two men in full dress.

    Black and white illustration of a woman in an elegant dress pointing a pistol at someone. Background color of full page ad is magenta.

    Distributor advertisement targeting cinema owners in The Film Daily, June 23, 1936, p. 3, via Internet Archive.

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    Black and white photo postcard of a man driving a flatbed horse-drawn wagon carrying a pig more than twice the size of the horses pulling it. A farm house is partly in frame too. 'Photo by Tinsley' is hand-written.

    My son sent me a picture of a blurry coywolf running in front of his house this afternoon. This evening he had my young granddaughter say “April Fools!” during our video chat. The photo was a product of AI.

    Our fascination with such fakes doesn’t just go back to Photoshop and before that photocopiers. There were plenty of joke postcards in the early twentieth century, many of them agricultural. There were ears of corn as long as hay wagons, onions that took two men to roll up a ramp into a truck or wagon, a Maine potato that filled a whole flatbed rail car, and so on. The jackalope was also popular.

    Image via Bill Lende collection of tall tale postcards, The Newberry Digital Collections, id NL12843G.

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    Black and whitephoto of a young woman teacher and six children of varying ages, four of them girls and two of them boys. More details in the caption.

    New York World-Telegram photograph by Fred Palumbo, 1964:

    Miss April Lou, teacher at PS 1, Manhattan, with six Chinese children, recent arrivals from Hong Kong and Formosa [aka Taiwan], who are holding up placards giving his or her Chinese name (both in ideographs and in transliteration) and the [American English] name to be entered upon the official school records.

    Library of Congress, New York World-Telegram & Sun Collection, www.loc.gov/pictures/item/94512334/.

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    Yellow poster with blue and black text showing a young woman in white with a blue cap reaching out from a blue triangle, symbol of War Work Council relief efforts. The text reads 'REMEMBER THE GIRL BEHIND THE MAN BEHIND THE GUN' and 'Y.W.C.A.' At the very bottom in small letters: 'WAR WORK COUNCIL'.

    YWCA War Work Council poster, ca. 1917 (United States)

     

    Library of Congress, www.loc.gov/pictures/item/2002707403

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    Color print of a stylish African American woman with blue hair, a small hat, and blue accents on her clothing. Her partial shadow on the brown striped wallpaper is also blue.

    "Girl with Blue Hair" by Blanche Grambs. Lithograph signed by artist, ca. 1935–43.

    Works Progress Administration (WPA) Art Collection, NYPL Digital Collections, image id 5181000.

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    Photograph of two women and a child exiting a building with pots hanging on the outside wall. Maybe this was a place the Hungarian woman was considering?

    “Mexican miner’s wife and child are visited by another miner’s wife (Hungarian) who is interested in starting a maternal health clinic there. Scotts Run, Bertha Hill, West Virginia” by Marion Post Walcott for the Farm Security Administration, 1938. NYPL Digital Collections, image id 58749987.

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    The rivers are full to bursting with melted snow and ice where I live, but there’s still snow, especially at higher elevations, and I felt like sharing something fun.

    Postcard: Color drawing of a woman on her belly on a sled headed downhill. Nearby are three women and two men seated on a long toboggan with a steering wheel headed downhill. They are all in fashionable woolens and sweaters, two with fur coats, etc. In the background are skiers, one fallen down, some horse drawn sleighs, and so on.

    Postcard by Xavier Sander. Publisher: B.M., Paris. Early 20th century. Repository: John L. Monroe Collection, The Newberry Library, NL1267WV.

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    A 1943 Photo of Welders for Women's History Month

    Four African American women welders employed to work on the Liberty ship SS George Washington Carver, kneeling and holding welding equipment. Bits of the port and shipyard are also visible, as are three men, two black and one white.

    “Skilled women workers helped build SS George Washington Carver.” Photo by E. F. Joseph for the Office of War Information, Kaiser Shipyards, Richmond, California, ca. 1943.

    With nearly 1,000 Negro women employed as burners, welders, scalers and in other capacities at the Kaiser Shipyards in Richmond, Calif., women war workers played an important part in the construction of the Liberty Ship, SS George Washington Carver, launched on May 7, 1943. Welders Alivia Scott, Hattie Carpenter and Flossie Burtos await an opportunity to weld their first piece of steel on the ship.

    Repository: Schomburg Center for Research in Black Culture, NYPL Digital Collections, image id 1206635.

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    Poster from an Antiwar, Lesbian, Feminist Fugitive, ca. 1970

    Black and white poster showing a drawing of Susan Saxe and the following message from her: 'First, a greeting to all my sisters. Courage, especially to all of my sisters underground in America, stay free, stay strong. I intend to fight on in every way as a lesbian, a feminist and an Amazon. The love I share with my sisters is a far more formidable weapon than the police state can bring against us. Keep growing, keep strong. I am a free woman, and I can keep strong. Pass the word. I am unafraid.'

    Poster with a message by Susan Saxe, depicted in the drawing.1 Based on the text, the poster is probably from around 1970, when its author, a Brandeis senior and antiwar activist, went on the lam after robbing a bank and a National Guard Armory. On the FBI’s most wanted list, she was captured in 1975 and did seven years in prison.2 Her roommate, Katherine Ann Power, surrendered in 1980.3

    1. Via Library of Congress, Yanker Poster Collection, https://www.loc.gov/pictures/item/2016648550/. ↩︎

    2. Susan Saxe has a sparse Wikipedia entry. She was Nancy Gertner’s first case, which the latter writes about in In Defense of Women: Memoirs of an Unrepentant Advocate Beacon Press, 2011), chap. 1 (sample with salient details). ↩︎

    3. Lucinda Franks, “Return of the Fugitive,” The New Yorker, June 5, 1994, https://archive.ph/5mJ5P. ↩︎

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    Four women in a row with their backs to the camera dressed in indigenous Pueblo dress with a large United States Army seal in the middle of their backs and related service patches.

    Photo by Carol M. Highsmith, July 18, 2015:

    Members of the Native American Women Warriors, a Pueblo, Colorado-based association of active and retired American Indians in U.S. military service, at a Colorado Springs Native American Inter Tribal Powwow and festival in that central Colorado city.

    Credit: Gates Frontiers Fund Colorado Collection within the Carol M. Highsmith Archive, Library of Congress, Prints and Photographs Division. Further details, including names and ranks, at https://www.loc.gov/pictures/item/2015633463/.

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    Orange, white, black, brown, and tan poster depicting nine women of various backgrounds engaged in different activities, including arts, activism, and blue-collar work. The accompanying text reads: 'Radical Women Annual Conference – 1976'. 'A New Era for Women Workers, Minority Women and Lesbians': 'Women in the Labor Movement', 'Feminism and the Minority Woman', 'Gays and the Class Struggle.' 'Panels; Workshops; Role Playing; Dinner & Party, Saturday.' Held on Sat. and Sun., October 9–10, University of Washington, Seattle, WA, along with addresses, phone numbers, and a few more details.

    A New Era for Women Workers, Minority Women and Lesbians. 1976 poster by a Seattle organization called Radical Women.

    Via Library of Congress, Yanker Poster Collection, https://www.loc.gov/pictures/item/2016649885/.

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    Knock-Out Blow to the Russian Bear: Postcard from 1904–05

    Man in a red Japanese outfit talking to the Russian Bear in green army trousers and brown army boots as he sits on the ground and holds his head. Stars over his head indicate the hits he took. There is ocean behind them and then the sun, indicating the far east. On the horizon, four warships have been blown into the sky.

    “Your size and weight don’t count in my style of wrestling.”

    This was the last in a series of six postcards that marked the Russo-Japanese War (1904–05).1 I chose it because its caption speaks to Russia’s current war against Ukraine. The Russian Bear’s smaller opponent says, “Your size and weight don’t count in my style of wrestling.” Unlike today, Japan, not Russia, began this war with a surprise attack. Still, observers assumed the Russian Bear would prevail. It did not, and the Tsar faced revolution at home. The bigger the beast, the harder the fall.

    The war in Ukraine is different, but there, too, Russia is running up against the limits of its strength. It is facing economic collapse and worse. Rather strangely, the new-old U.S. president wants to throw his weight behind the corrupt old Russian Bear. Doing so will cost more Ukrainian lives and the United States its reputation and influence. But Ukraine will come up with new ways to stop Russia. Meanwhile, the political cartoonists will continue to do their thing, if not on postcards.

    1. Written in ink partly over the English caption are some words in French I can’t quite make out. Source: The Newberry Library, John I. Monroe collection of artist-signed postcards, https://collections.newberry.org/asset-management/2KXJ8ZS64D8UI. ↩︎

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    Two Suffragettes

    Black and white photo: Fay Hubbard full-length, standing, showing publication to young man, bag labeled 'American Suffragette' slung over her shoulder.
    Black and white photograph: full-length portrait of elderly woman, standing, facing slightly right, holding an umbrella and wearing a top hat and tails. She's got chains suggesting a pocket watch and wallet of some kind, but also a rose. She's also wearing a medal of some kind, probably the Congressional Medal of Honor.

    1. “Fay Hubbard, 13-year Old Suffragette” in New York on February 9, 1910.

      “Suffragette! Suffragette!” This is the cry of little Fay Hubbard as she goes through the crowd at the suffragette meetings in New York selling copies of the paper… Miss Hubbard is a niece of Mrs. E. Ida Williams, the recording secretary of the Suffragette…

    2. Mary Edwards Walker (1832–1919). Dr. Walker served as a surgeon in the U.S. Army during the Civil War. She was a Medal of Honor recipient, a suffragette, and a dress reformer.

    Images via Library of Congress, PPOC, https://www.loc.gov/pictures/item/92510578/ and https://www.loc.gov/pictures/item/2005684835/.

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    Poster encouraging purchase of war stamps and bonds to support the war effort, showing faces of Hitler, Mussolini, and Hirohito.

    “Stamp ‘em out! Buy U.S. stamps and bonds.” Poster by Thomas A. Byrne. WPA War Services of La., circa 1941–43.

    Via Library of Congress, https://www.loc.gov/pictures/item/98518290/.

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    Gladys is a tired Black woman. She is sitting in a wooden chair, her side to the back, leaning on her arm on the back. The floor of the room is wooden. There appears to be natural light coming from a window just out of sight. A desk or dresser is in the corner with a lot of books on top between bookends.

    “Gladys” by Will Barnet, 1936, for the Federal Art Project NYC WPA. Signed, dated, and stamped print from engraving.

    Via the Schomburg Center for Research in Black Culture, Art and Artifacts Division, NYPL Digital Collections, image 5179795.

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    Black and white sketch of Black men and women in their Sunday best singing under the guidance of a choir director.

    “Spirituals” by Lillien Richter for the Works Progress Administration, ca. 1935–43. Print from engraving, signed by artist, via NYPL Digital Collections, image 5179325.

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    Pre–World War Two Pictures from the Schomburg Collection of Negro Literature

    A man at his desk and a woman typist next to him on a small typing work station, so to speak. Heavy wooden book cases with glass fronts are visible, as are modern metal filing cabinets, books, and art. A window allows natural light in.

    African American men and women seated at classic heavy library reading room tables. A large and heavy glass-front wooden book is visible and full of many books. Also visible are art objects of various kinds. The readers are all respectably dressed, that is, era appropriate, if Hollywood movies of middle class Americans can be trusted. Windows allow light in from the outside.

    Top: “The Schomburg Collection of Negro Literature, Books by and about the Negro, Curator: Dr. Lawrence D. Reddick” (ca. 1920–40). Bottom: “135th Street, Schomburg Room, Readers” (1940).

    Via NYPL Digital Collections, images 1253134 and 1252992.

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    'A Bit of War History' – Three Paintings by Thomas Waterman Wood (1865–66)

    Description from The Met: 'This work, painted at the close of the Civil War, forms a narrative triptych … of African American military service. In 'The Contraband' … the self-emancipated man appears in a U.S. Army Provost Marshall General office, eager to enlist.' He is raising his hat, and the U.S. flag is visible behind him.

    "The Contraband"

    'The Recruit' depicts the same man as a proud new soldier wearing union blue with a rifle slung over his shoulder.

    "The Recruit"

    In 'The Veteran,' the same man appears on crutches because he is missing his lower left leg. His clothes are civilian, but he's got a Union army cap on. He is saluting.

    "The Veteran"

    The word “contraband” referred to an enslaved person who had escaped. Given that the term usually indicated illegally imported or exported goods, its dehumanizing quality in the context of someone who has escaped bondage is palpable. Here, however, it stands in contrast to the painting, which shows a man, not a chattel or a caricature.1

    The other two paintings see the same figure transformed into a soldier and a veteran. Both of these images underlined the figure’s manhood. With time, in fact, military service came to be associated with masculinity and citizenship in an age of people’s wars fought in North America and Europe.2

    From this point of view, the paintings represent a message not only of self-emancipation through military service but of modern masculine citizenship shortly before the nineteenth amendment was ratified. In the West, this image of manhood and military service reached its high point in World Wars One and Two.

    1. Digital images via The Met, objects 84.12a, 84.12b, and 84.12c. ↩︎

    2. Mark Stoneman, “War, Gender, and Nation in 19th-Century Europe: A Preliminary Sketch,” blog, June 23, 2017. ↩︎

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    Photo is described in common caption. Ernestine Eckstein can be seen from the side, one Black woman in the midst of white men.

    Photo is described in common caption. In this one Ernestine Eckstein is facing forward and enough of her sign is visible to deduce the rest.
    Photo is described in common caption. In this one Barbara Gittings is facing forward, and her sign reads

    Intersections: three photos of Ernestine Eckstein in a 1965 picket line outside the White House protesting Federal discrimination against gay people in civil and military service and their obtaining security clearances. Her sign reads, “DENIAL OF EQUALITY OF OPPORTUNITY IS IMMORAL.” Eckstein was a Black woman, whereas most of the other picketers appear to have been white men. Another lesbian activist, white, is visible in one photo: Barbara Gittings. The photographer was Gitting’s white partner, Kay Tobin.

    Photos via the Barbara Gittings and Kay Tobin Lahusen Gay History Papers and Photographs Collection, NYPL Digital Collections, images 1605765, 1605764, and 1605766

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    📽️ I had fun watching the pre-Code “This is the Night,” dir. Frank Tuttle (Paramount, 1932). Its primary purpose was to be a bit racy and full of laughs. (Thelma Todd’s character loses her dress more than once, catching it in a car door, in a cabinet drawer, and on a fence…) The story begins in Paris, before moving to Venice. It is free of fascism, despite the Italian setting, but the incorruptible protagonist played by Lili Damita is clearly hungry in an early scene, a Depression-related circumstance to which the wealthy men appear oblivious. The comedy takes enough twists and turns that it’s not clear who will end up with who for much of the time.

    Two-page color advertisement featuring ad copy and stylish sketches of a couple in the dark, cupid taking aim at a woman, an a woman who has lost her dress next to a man.

    Advertisement from The Film Daily (January–June 1932).

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