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Monthly Archives: August 2019

Searching for one’s Revolutionary War ancestors

31 Saturday Aug 2019

Posted by Keith Muchowski in American Revolutionary War, Genealogy, Libraries, Memory, Museums, Washington, D.C.

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These genealogy pamphlets produced by the Daughters of the American Revolution are testament to the ethnic complexity of the American Revolution.

I went today as a tourist to the Daughters of the American Revolution headquarters in Washington. The museum and library are in Memorial Continental Hall, which are connected by a hallway to Constitution Hall, which I did not see. The museum is really something, as is the library. There were many things to see; among the things that struck me the most were these genealogy pamphlets about how to research one’s Revolutionary War ancestor by ethnicity. It’s a small reminder of how complicated the Revolutionary War period was. There are handouts for French, Jewish, Native American, and Spanish ancestry. And this is just touching the surface. The Dutch, for instance, are another category all their own. Then there are the Portuguese, and so on and so forth. New York City alone was a babel of languages and dialects.

I had a great talk with several young staffers during my excursion about the museum and its historical mission and memory. If you are ever in D.C. and are looking for something to see right near the mall, the DAR headquarters is not a bad choice.

 

The ubiquitous Lincoln cent

30 Friday Aug 2019

Posted by Keith Muchowski in Abraham Lincoln, Federal Hall National Memorial

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People line up outside the Pine Street entrance of the NYC Sub-Treasury to buy the newly released Lincoln penny, August 2, 1909

The Lincoln penny is one of the most common, perhaps the most common, examples of American material cultural. It is so ubiquitous, such a part of our everyday lives, that we think nothing of it. The Lincoln one cent coin replaced the Indian Head, which had been in circulation for sixty years, from 1859, just prior to the Civil War, until 1909, the centennial of Lincoln’s birth. In the words of one observer writing in the Brooklyn Daily Eagle in August 1909 during the coin’s rollout: “The new cent is a dignified and handsome coin, the head of Lincoln being particularly good and free from suggestion of caricature, which attended so many of the earlier attempts to picture the great but homely President.”

There had been a move for several years under Theodore Roosevelt to improve America’s coinage. Roosevelt believed the United States needed a more dignified, aesthetically pleasing metal currency in line with the nation’s increasing role in world affairs. Roosevelt hired Augustus Saint-Gaudens and others to carry that out. Saint-Gardens created such masterpieces as the Double Eagle. The Lincoln penny was designed by Victor David Brenner, like Saint-Gaudens an immigrant who contributed greatly to our culture. The public demand for the Lincoln penny when it was first issued in August 1909 was intense.

This was the scene at the New York Sub-Treasury (Federal Hall) on August 2, 1909 as people lined up on the steps of the Pine Street entrance. The coins were rationed in New York City and elsewhere as people turned out to get the new issue. The U.S. Mint issued 25 million of the coins, but demand still outstripped supply. In mid-September someone broke into a Long Island post office and stole $5 worth of Lincoln heads. That doesn’t sounds like much but comes to 500 coins. Such stories were, if not common, not exactly unprecedented. Rumors were rampant of people selling them on the black market, if that’s what one wanted to call it, at above face value.

(image/National Park Service)

 

W. E. B. Du Bois, 1868 – 1963

27 Tuesday Aug 2019

Posted by Keith Muchowski in Great War centennial, Those we remember, W. E. B. Du Bois, Washington, D.C.

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This past weekend I purchased David Levering Lewis’s W. E. B. Du Bois: Biography of a Race, 1868-1919, volume one of Lewis’s two-part narrative of the life and times of the historian and sociologist. It’s part of a wider plan I have for a few projects that I intend to work on this academic year. I don’t want to go too into detail now, but I will say that I intend to take an international perspective on certain issues that often are interpreted through a domestic lens. Biography of a Race was released in 1993, the year I graduated and took a class on twentieth century Black Protest as an undergraduate. For that course we had to read The Souls of Black Folk, which I was too young at the time to fully comprehend and appreciate. I might delve in again this autumn. Du Bois has never been more relevant than he is today.

Du Bois as he was when attending college in the late 1880s

It is difficult to believe it was twelve years ago, but 2007 a colleague and I ordered The Oxford W. E. B. Du Bois, a 19-volume set of the scholar’s complete works, for our library in our capacity as subject specialists. Du Bois is really always there. Two years ago during the Great War centennial students in a module I co-taught read him and others to gain different perspectives on the First World War. Sadly but not surprisingly some students had no idea who he was, though thankfully we changed that in our own small way. Du Bois lived in Brooklyn for a time, in a house he purchased from Arthur Miller no less.

I say all this because it had not occurred to me until reading about it on the social media platform of a journalist I follow that today, August 27, is the anniversary of W.E.B. Du Bois’s death. Much like Adams and Jefferson’s passing on July 4, 1826, the fiftieth anniversary of the signing of the Declaration of Independence, Du Bois’s death had a poetic aspect: the 1963 March on Washington took place the following day. It was there on the National Mall that many heard news. Du Bois was far away in both body and spirit; he was ninety-five years old at the time of his death and had long since left America. Du Bois must have found the independence movements invigorating in the winter of his life. He died in Accra, Ghana.

(image/NYPL)

Giving George a facelift

25 Sunday Aug 2019

Posted by Keith Muchowski in Federal Hall National Memorial, George Washington, National Park Service

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This was the scene at Federal Hall yesterday as the NPS cultural resources staff cleaned the 1883 John Quincy Adams Ward statue of George Washington. Today they return to wax the bronze art work, which is stunning in detail.

 

Remembering the Molotov & Ribbentrop Pact

23 Friday Aug 2019

Posted by Keith Muchowski in WW2

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Today is the 80th anniversary of one of the most significant events of the twentieth century: Molotov and Ribbentrop’s signing of the Non-agression Pact between Germany and the Soviet Union. This newspaper extra pretty much captures the story, which came as a surprise to much of the world. One of the most shaken constituencies was the International Left, many of whom had spent the past two decades unwisely admiring Stalin and Lenin. To them it seemed impossible that Soviet Russia could sign such a deal with Fascist Germany, but there it was. I’ll leave it to you to find the images of the principals signing the agreement, smiling all the while like the cat that ate the canary. There are no heroes in this story. Just a week later the two nations invaded Poland.

It is often lost on us for how long Hitler’s Germany and Stalin’s Soviet Union remained allies. Their pact held until late June 1941, almost two years. They shared all kinds of resources while committing all kinds of cruelties, looking the other way at each others’ atrocities. How things might have gone were in not for Operation Barbarossa is one of the great counterfactuals of the Second World War. There are just so many contingencies when it comes to World War 2.

The 1619 Project

18 Sunday Aug 2019

Posted by Keith Muchowski in Federal Hall National Memorial

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Even before I moved to New York City one of my weekly rituals was buying the Sunday New York Times. I very rarely if ever purchase the hard copy any more because I have a digital subscription via my institution. Still, this morning I went to the local bodega after putting a load in at the laundromat to buy today’s edition. Since starting at Federal Hall in early June I have been reading the social media feeds of certain historians with whom I was unfamiliar until late spring. I have had to do so to expand my knowledge base. This week a few of them have been posting about having articles in today’s Times special section “The 1619 Project.” The special section, actually two sections, chronicles the various ways slavery and its aftermath have touched American society since 1619, the year of the founding of the Jamestown Colony in Virginia. The short answer is that it touched essentially every aspect of American life, in ways one is probably not even always aware. The articles are a place to begin and hardly the last word. They will undoubtedly lead to discussion and further exploration from historians, educators, and those working in fields related to public history.

I have noticed too that “The 1619 Project” has drawn the ire of certain officials and commentators. Personally I have never understood that. One should never look away from the truth, whatever it may be. There is a great deal in various places online about this initiative but if one is interested in a place to start, begin here.

 

“The poems surprised me.”

14 Wednesday Aug 2019

Posted by Keith Muchowski in Brooklyn, Interviews, Museums, Writing

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was I received an email last week from artist Robert Gould, who introduced himself and invited me out to see his current art exhibit, which he did in collaboration with poet Gerald Wagoner. Tis past Sunday I ventured out to the Gowanus, where I met Rob and Jerry. We had a great conversation. They sat down and answered some questions about their current installation.

The Strawfoot: Robert Gould, tell us about “On the Tides of Time.” What inspired the series?

Robert Gould: I am an artist who draws inspiration from historical events. Over the years I have created a body of work about the Battle of Brooklyn, and this year I was offered a month long residency at Gowanus Dredgers boathouse. The month of August was chosen because it marks the anniversary of the battle. As part of the residency I created an exhibit that includes my paintings and the poetry of my good friend Gerald Wagoner who shares my passion for history. His poems have a different approach to the passage of time and add his personal observations. He also came up with the title, “On the Tides of Time,” which he pulled from Shakespeare’s Julius Caesar.

My painting series is a continuation of a piece I made a couple of years ago, “Maryland Willow of the Gowanus.” It includes the names of the Maryland soldiers written on willow leaves. I combined these leaves with a photograph I had taken of the Old Stone House using a primitive camera.

For this new series I expanded the theme by incorporating natural elements from the fields of battle. For example, the picture titled “Black Eyed Susan of the Gowanus” features actual river marsh grass with collaged paper black eyed Susan flowers (the Maryland state flower).

Who were the Maryland 400?

RG: The “Maryland 400” was a nickname the Maryland Militia earned during the Battle of Brooklyn. They were under the command of William Alexander also known as Lord Stirling, although his Scottish earldom was rejected by the House of Lords. They were one of General Washington’s most competent troops at the battle. They repeatedly counter-attacked and fought a delaying action to allow other militia troops to cross the difficult terrain of the Gowanus marsh lands thus saving a number of other units from capture and destruction.

The state of Maryland is meaningful to me because I was born there. I moved to NYC to attend college and have remained ever since. My family is originally from eastern Ohio. The first Robert Gould, in our family records, settled what was then the frontier of Ohio after his services in the War of 1812.

The Gowanus Dodgers Canoe Club Boathouse is an ideal venue for the exhibit. How does the site, being where it is, relate to the art works?

RG: I agree it’s an ideal venue for this exhibit! It is located on the exact spot of the Battle of Brooklyn. I have included a painting by Alonzo Chapple, a 19thCentury American painter. His image of the battle from Brouwer Mill pond was within a hundred yards of the boathouse site. The interior of the boathouse space is also ideal because it has long, high, unfinished walls. Because my work uses natural materials the scale of the materials dictates the finished size of the paintings. For example “Hessian Bayonets” incorporates steel bayonets that I fabricated along with rubbings of real tree bark. The resulting painting ended up being 8×15 feet. Thus the scale of the works needs a larger forum than most local gallery spaces.

Is place a recurring theme in your work?

RG: Yes, place is a recurring theme. I strive to find novel ways to describe “place”. The various materials that I use to create the paintings become the subject matter. It is this curated use of materials that reference the place of the battle. I keep coming back to this quote from Gen. Joshua L. Chamberlain taken from his dedcation speech to the 20th Maine Monument at Gettysburg in 1888:

“In great deeds, something abides. On great fields, something stays. Forms change and pass; bodies disappear; but spirits linger, to consecrate ground for the vision-place of souls. And reverent men and women from afar, and generations that know us not and that we know not of, heart-drawn to see where and by whom great things were suffered and done for them, shall come to this deathless field, to ponder and dream; and lo! the shadow of a mighty presence shall wrap them in its bosom, and the power of the vision pass into their souls.

Explain broadly the piece in the series. What materials did you use? What inspired them?

RG: I’ll include what I’ve written about each painting:

“Maryland Willow of the Gowanus” (2016)

I was inspired to create this work from a photograph that I saw in a book about the Old Stone House, called The Stone House of Gowanus by Georgia Fraser (1909). The house was the center of the fighting during the Battle of Long Island in 1776. Near the end of her book there is a photograph of a lone willow tree in the vacant lot where the house once stood. (pp.129) The author claimed that it is the same willow that is depicted in old paintings of the house. I am not so sure of that, however, I became fascinated by the idea of an old Willow tree that links us back to the times of 1776.  So my creative idea was to inscribe the names of the Maryland soldiers onto willow leaves. The leaves are then arranged in long hanging branches that represent the different fighting units that the soldiers were with. For example all the soldiers from the Second Company are represented by leaves on one branch that hangs down in the image.

“Elements of Gun Powder 75%, 15%, 10%” (2019)

Rock Salt, Charcoal, Paper Mache, Sulfur, Acrylic Paint, Marsh Grass.

A graphic representation of the ratio of the three elements that compose gunpowder (known today as black powder). Various armies used slightly different ratios of these essential elements to create explosive powder. This is the ratio of the British army: 75 % saltpeter or potassium nitrate, 15% charcoal, 10% sulfur.

In the painting, the different elements are displayed as horizontal bands. The thickness of the bands represents the ratio of that element as present in the British formulation. This is overlaid on marsh grass that has been sourced in Brooklyn. Marsh grass was plentiful in the Gowanus area during the time of the Battle of Long Island.

Black-Eyed Susan of the Gowanus (2019)

Marsh Grass, Acrylic House Paint, Powdered Pigment, Natural Dyes, Rock Salt, Iron Powder, Paper College, mounted on Paper Shopping Bags.

This painting references the Maryland state flower, the black-eyed Susan, and uses marsh grass as a form of requiem. The Gowanus area was a barrier for the retreating American army. It was the sacrifice and repeated attacks of the Maryland troops that allowed other American soldiers to retreat to the safety of downtown Brooklyn. The development of the Gowanus area has been built over the unknown graves of the Maryland soldiers.

Hessian Bayonets (2019)

Welded Steel, Canvas, Oil Stick, Acrylic House Paint, Powder Pigment, Iron Powder, Paper collage, Paper Shopping Bags Mounted on wood frame.

This painting has evolved from local folklore. Hessian soldiers were German mercenary, “solders for hire”.  They were used by the British army to supplement their own troops. During the Battle of Long Island Hessian troops acted as a diversion to deceive the American army into thinking the main British attack was happening in what today is known as Prospect Park. Meanwhile the true British attack was able to cut off and isolate the American troops facing the Hessians. The Americans, upon realizing this, fled towards what today is downtown Brooklyn. The Hessian troops, perhaps because of language barriers, or perhaps because of British propaganda, did not take prisoners. Instead they used bayonets mounted at the end of their muskets to kill any surrendering American solider they came across.

The painting was created using rubbings of actual tree trunks from the “Battle Pass” area of Prospect Park. Oil stick was used to transfer the bark pattern from the trees to the canvas strips. These strips of canvas were mounted to the substrate of paper shopping bags and hand forged steel bayonets were impaled into the tree bark.

Gun Powder Sky (2019)

Acrylic House paint, Powder pigment, Iron Powder, Rock Salt, Marsh Grass, Charcoal, Sulfur on Paper Shopping Bag.

This work references the painting “Battle of Long Island”by Alonzo Chappel (1828-1887)That painting depicts the retreat of the “Maryland 400” across Brouwer’s Mill Pond which was located across the canal from this site.

The title alludes to the great blinding noxious clouds of white smoke that were created by the burning gunpowder. Battles of this time in history were often hard to directly observe because of the tremendous volumes of thick smoke that were generated. Consequently, because the battle was totally obscured, generals of the time had a difficult time controlling the movements of their troops.

The artist has layered the ingredients of gun powder and local marsh grass. White paint covers and obscures that under-structure. The paint is layered in such a way so as to let the chemical reaction of iron and salt stain and penetrate the white painted surface. Rust and decay are modern components that allude to both the past and present environment of the Gowanus canal.

You and Gerald have visited many historic sites over the years. Which ones have meant the most to you?

RG: I will let Gerald speak more about that.

Any ideas for future projects you can tell us about?

RG: Nothing concrete yet, but I can see us doing something on Governor’s Island next summer during one of their art fairs.

Gowanus Canal, August 2019

The Strawfoot: Gerald Wagoner, you have lived in Brooklyn thirty-five year now. What does the borough mean to you?

Gerald Wagoner: I moved to New York because this is where the art is, and the artists are. I ended up in Brooklyn and have never regretted it. A few years ago I decided to express my creative urges in poetic form, and now Brooklyn is a hive of poets, so it is exciting to be part of the conversation.

What was your life like before moving to Brooklyn? Where did you grow up and how did it make you who you are today?

GW: I grew up in Eastern Oregon and in northern Montana on sixty miles east of Glacier National Park. In my poems Montana weather and people are joyless adversaries of mine in a magnificently grand landscape

The West, I think, made my language spare. I was a creative writing major at  the University of MT when the poet Richard Hugo was teaching. He left a lifelong impression on me, as did Richard Stankiewicz when I earned my Sculpture MFA at SUNY Albany.

As I brought up with Robert, the two of you have visited many historic sites. Which would you say have meant the most to you?

GW: I think maybe it was tracing Lee’s retreat from Gettysburg over South Mountain to Falling Waters where the army crossed the Potomac because on that trip we learned things that were totally new and perspective altering.

Your poetry complements Robert’s art works in the exhibit. Tell us about your poems.

GW: The poems surprised me. Which is always a good thing. I had taken pages of notes about the canal, and learned some new things about the Battle of Brooklyn, but it is rare for me to sit down at the table and sketch out three related, but distinct poems like I did one morning. The Gowanus Canal is tidal, so it comes in and goes out, and up and down giving it metaphorical qualities of time and change. The title Tides of Time is from a line in Shakespeare’s Julius Caesar.

I’ve known this canal for twenty-five years and things are changing, and I am lamenting that change partially because I’m older and decaying too. The only other thing I would add regarding my poems is that I revise relentlessly, and I aim for a fluid musicality that is suitable to the poem.

Where and when can people see “On the Tides of Time?”

GW: “On the Tides of Time,” at 165 2nd street in Brooklyn, is on view Saturdays and Sundays in from 1:00-5:00 in August and there will be a poetry reading Wednesday August 14 from 7:00-9:00 pm featuring 12 poets and myself reading original theme related poems.

Sunday morning coffee

11 Sunday Aug 2019

Posted by Keith Muchowski in Federal Hall National Memorial, Genealogy, George Washington, Heritage tourism, National Park Service

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One of the most rewarding things about volunteering with the Park Service, in addition to collaborating alongside the amazing rangers who work there, is meeting the public. Everyone visits a site bringing their own expectations to what they hope to get out of it. For some that means using the bathroom and leaving without saying a word, which is fine. Others however visit on some sort of mission or purpose. We had a few of these yesterday at Federal Hall. Here are two:

Two fellows came in from rural Pennsylvania in mid-afternoon. I showed them around and then got into a longer conversation with one of them. He told me had never thought much about history until earlier this year, when his sister discovered a trove of letters written by an ancestor who had served in New Jersey regiment during the Civil War. One thing led to another and after some digging he discovered that his family roots date back in the New World to the 1640s. This knowledge in turn led him to studying not just the Civil War but the Early American period. Thus he and his friend were making the rounds of various historic sites. They were on their way to Fraunces Tavern after Federal Hall.

He told me his son lives in Brooklyn and therefore he comes to the city frequently. So I quickly jotted the names of further historic sites in various boroughs he might try to see when time permits. I will never know if he follows through. Hopefully he will.

1989 presidential inaugral ticket

Later a man came in with his son and we too got into a conversation. As it turned out for decades, going back to the 1980s, he was a White House correspondent for a major newspaper syndicate. We got to talking about the evolution of the newspaper industry, which in turn led to a discussion of covering various historical events. I mentioned George H.W. Bush having been at Federal Hall in April 1989 to commemorate the 200th anniversary of Washington’s First Inaugural. The man mentioned that the event had been part of a larger project that took place over that year starting in January called “From George to George.” The retired journalist had an extraordinary amount of institutional memory.

Stories like the above are just two examples of the things one only gets from being at the place itself. People, at least some of them, come in reflective and eager to share what led them to come and experience the thing for themselves.

(image/picclick)

My summer Saturday mornings

10 Saturday Aug 2019

Posted by Keith Muchowski in Federal Hall National Memorial

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Every Saturday morning since early June my routine is the same. During my commute I have to come to street level to change trains and when I do I stop quickly to get a few things at the green market. I say a few things because that is really all there is time for. Plus, because I’m on my way to work and then have the reverse commute later in the afternoon, I can’t be lugging too much stuff anyways. Some produce and a half gallon of cider is usually about it. Here are two pictures I took quickly this morning before hopping on the train.

The King Manor of Jamaica, Queens

07 Wednesday Aug 2019

Posted by Keith Muchowski in Federal Hall National Memorial, Founding Fathers, Heritage tourism, Incorporating New York (book manuscript project), Interpretation, John Alsop King (1788-1867), Philip Schuyler, Rufus King

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King Manor, Jamaica Queens

I ventured to Queens today for a visit to the King Manor. It is part of my wider project to visit places affiliated in one manner or another with Federal Hall. The home belonged to Rufus King, one of the lesser known but well-deserving Founding Fathers. King was born in what is now Maine and fought in the Revolutionary War before serving in the Confederation Congress. He helped write the Constitution and then served in the First Congress, where he worked in the upper chamber alongside Philip Schuyler as a New York senator. His son John Alsop King took over the house after his father’s death in 1827. The name John A. King fang faintly familiar and when I got home I checked the draft of “Incorporating New York,” my manuscript about Civil War Era New York City, and realized he was a minor figure in my narrative; King the Younger was defeated by Edwin D. Morgan in the 1858 New York gubernatorial election. Until today though the name John A. King had just been a name in a history book. That’s why place is so important.

King Manor library

King Manor became a historic site in 1900, the house itself owned by the New York City Parks Department and managed by the King Manor Association. As best I can tell, this is still the arrangement 120 years on. A perusal of online newspapers shows the house was used rigorously for various things and by various organizations over the decades. This would make sense. Queens developed later than the other buroughs and there probably much less infrastructure where groups could have gathered. Jamaica was more Long Island than New York City. The Daughters of the American Revolution, for one, created a Rufus King Chapter in 1918 during the Great War that met at the spacious house. The D.A.R. met there for decades. Like much of New York King Manor struggled in the harsh years before gentrification. In 1973 some punk teenagers started a fire on the porch that almost burned down the then-almost 250-year-old house. Thankfully the custodian kept it in check before the firemen arrived and put it out.

The tour was led by an extraordinary young person who incredibly is still in high school. There is no way I could have pulled off something like that when I was that age. I asked the person when they began at the house and the answer was July, just last month. I had to ask again because I thought I’d heard wrong. The is something about watching Interpretation done well. And when it’s done by a person so young and just starting out, it is that much more incredible.

 

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