Please join us for our four June lectures. All lectures are free but registration is necessary. Information and links are below.
June 9, 2021, 7pm GMT - The Malcolm Young Lecture, Daniel Crouch, A Protestant Wind or Hot Air? A study of the Astor Armada drawings, TO REGISTER: https://www.eventbrite.co.uk/e/153323088485
June 16, 2021, 2pm GMT - Peter Geldart, Mapping the British Occupation of Manila 1762–64, TO REGISTER: https://www.eventbrite.co.uk/e/152104628037
June 23, 2021, 7pm GMT - Paula van Gestel, Wall maps published in the Netherlands between c.1550 and 1850, TO REGISTER: https://www.eventbrite.co.uk/e/152108419377
June 30, 2021, 7pm GMT - Wes Brown, Alzate y Ramirez and the mapping of New Spain, TO REGISTER: https://www.eventbrite.co.uk/e/152109701211
California Map Society - webpage
California Map Society - YouTube channel
Chat for May 1, 2021 meeting is here
The California Map Society 2021 Spring Conference is happening May 1st and May 15th. To register for the May 1st Zoom session, click https://bit.ly/2O5d8a9. To register for the May 15th Zoom session, click https://bit.ly/3fxPT3I. Both sessions are free and open to the public.
May 1, 2021
May 15, 2021
Twelve key maps describing the history of San Francisco. Presented to the California Map Society, May 15, 2021, by Jim Schein and Tom Paper.
Welcome to The Digital Gallery’s exhibit of the Brittania Depicta, a road atlas of Britain published in 1720 by John Owen and engraved by Emanuel Bowen. This atlas was based on the Britannia atlas of 1675 created by John Ogilby.
Video 2 can be found here or in curated text of 1st image in exhibit.
2nd introductory video by Tom Paper here.Images of Visscher Atlas from David Rumsey.Google doc of introductory remarks by Tom Paper here.See TDG exhibit of the Ferraris Atlas of 1775 here.
During the 19th and 20th centuries, cities’ local chambers of commerce and other civic organizations prepared and sponsored their own maps as ways to advertise the existing commercial activity. Pictorial maps are also known as "illustrated maps, panoramic maps, perspective maps, bird's-eye view maps, and geopictorial maps." This style of map commonly uses a 3-D perspective and heightened angle, typically not drawn to scale. Wikipedia
"Somewhat like the websites of their time, every town sought to have one [panoramic map] to remain competitive in attracting industry and the immigrant trade. Sometimes artistic exaggeration bordered on the fraudulent, as some travelers were drawn by images of idyllic, bustling towns with humming factories only to find a sad little bunch of mud-soaked shacks when they got there." Wikipedia
Five main artists/cartographers created over 55% of the Library of Congress’ panoramic map collection, likely due to the long process of creating each map. Artists would walk city streets, sketching notable trees, buildings, and landmarks, later combining the sketches and raising the visual angle to accurately depict the landscape.
Advancements in artistic technologies (lithography, engraving, etc.) allowed for expedited pictorial map recreation. Popular, and heavily detailed, city maps functioned in local homes as wall decor, promoting personal civic pride. Hosts were able to point out to visitors exactly where they lived, worked, and socialized, heightening the relationship between identity and locale. While production occurred throughout the country, the demand for city promotion was higher north of the Mason-Dixon line.
Many of these maps (both originals and modern recreations) are still popular today for their detail and visual appeal. Panoramic pictorial maps serve as the main way that the “vitality of America’s urban centers” was graphically documented.
For Minnesota specifically, these maps showcase the state's history and growth through mining, milling, timber, and railroads. Minnesota is also notorious for its plethora of lakes and associated recreational activities. The cities showcased in this exhibit represent the metropolitan growth of both Minnesota, and the Midwest as a whole.
Minnesota Wikipedia Page
Library of Congress, Panoramic Mapping
Our ten presenters are a mix - famous names and new faces - whether collector, dealer, enthusiast or academic, each is passionate about what they will be bringing before us. The contributed items are an equal mix - maps, a globe, an atlas, and town plans. The significance of these contributions ranges from the historical and topographical to the cultural and the linguistic. The items range from the 16th to the 20th Centuries.Speaker Video Playlist on Youtubehttps://www.imcos.org/
This exhibit has been created by Peter Hiller, Curator of The Jo Mora Trust and Nancy Grossman. Here by author and researcher Nancy W. Grossman shares with Digital Gallery viewers her introduction to Jo Mora as found in her book Jo Mora's Carte of Los Angeles: A Trail Guide published in December 2019.
Further in the digital exhibit, the dots found on the map correspond to a few of the sections in her book each of which articulates the significance of those vignettes found on Jo Mora's carte...
"Joseph Jacinto “Jo” Mora. How does one begin to summarize such an
Jo Mora, Renaissance Man of the West, is the phrase I come upon most,
that and Jo Mora, cowboy cartographer. This man is also a writer, a painter, illustrator and muralist, sculptor and photographer, and a cartoonist and
comic artist, which will come as no
surprise to fans of his cartes. He even
designs a 1925 half dollar coin for the
US Mint commemorating the state of
California’s 75th anniversary.
During an insurgency in 1877,
the Mora family flees Uruguay. Jo is
a year old at the time; his brother
Luis is three. They go first to Barcelona, finally arriving in the US in
1880, where they settle in the greater New York area. Both boys are already deep into the making of art; at
the ages of eight and ten respectively, they consider creating a twenty-
foot mural of the Iroquois Indian wars,
though there’s no record of them actually doing so.
Their father Domingo is an accomplished sculptor. Jo and Luis attend
primary school in Perth Amboy and
grammar school in Allston, Massachusetts. At 15, Jo completes the Boston Latin School, and graduates from the Pingry Academy in Elizabeth,
New Jersey in 1894. Both study sculpture under their father, who teaches
art in Perth Amboy, Boston and New York City.
By 1895 Jo’s studying at the Art Students League, the Chase School of
Art in New York and the Cowles Art School in Boston – and, at 19, has
already produced poster murals for the Clermont Skating Rink in Brooklyn. Returning to Boston, Jo goes to work first for the Boston Traveler and
then becomes a member of the Boston Herald art staff for the next four
years, illustrating articles plus various books.
In 1903, he takes a trip west, working as a cowpuncher on
a ranch in Solvang near the Mission Santa Ines, which inspires him to
travel the entire Camino Real and sketch the Missions he saw. In 1904 he
travels by mule-drawn wagon across Yosemite, Kings Canyon, Sequoia
National Park and the Mojave Desert to Needles on his way to the Hopi mesas in Arizona. In Arizona, he is permitted to witness the Hopi Snake Dance, then
sets to both photographing and producing detailed artwork of the
ceremonies of the Hopi and Navaho tribes he’s gotten to know over
two years of living among them.
Upon settling back in California he will marry Grace Needham, of San Jose, CA., at the Mission San Gabriel in 1907 and start to raise his soon to be born children Jo, Jr. and patty.
Mora publishes twelve of his iconic cartes over his lifetime. The first, Monterey Peninsula, his second, The 17 Mile Drive, and the first version of
California all come out in 1927. San Diego appears in 1928. The three
national parks, Yosemite, Yellowstone and Grand Canyon, all come out in
1931. Grace Line Fleet to the Old Spanish Main and Evolution of the Cowboy:
Levi’s Round-Up of Cowboy Lore are published in 1933; the latter is a poster
rather than a map, as is his Indians of North America in 1936. Carmel-by-
the-Sea and Los Angeles are both issued in 1942. A second, smaller version
of California will be his last, in 1945. An unfinished pencil rendering of a
map of Catalina is found after his death.
But cartes are hardly all Jo Mora does. This man’s work is as varied
as it is prolific. Starting out collaborating with his father, he finds himself
working on huge architectural projects. In Los Angeles, at least four
buildings include his work, including the Palace Theatre; he is assisting
his father on four sculpted allegorical panels representing song, dance, music and drama when his father dies while this commission is still in
progress. Mora completes it.
In San Jose, Mora creates two heroic male sphinx figures for the
Scottish Rite Temple [today the San Jose Athletic Club], plus bas-reliefs
over its entrance and throughout the building. He provides decorative
elements for the Monterey County Courthouse, as well as numerous
detailed panels for the King City High School auditorium. In Carmel, he sculpts Father Junipero Serra’s cenotaph, an altar and a cross.
He creates pediments and bas-relief panels for four buildings in San
Francisco; his Miguel de Cervantes looks down on his Don Quixote and
Sancho Panza in the Golden Gate Park.
A marble bench with sculpted bears
by Mora sits in front of the Sather
Tower on the UC Berkeley campus. He
creates the main entrance doorway and
sculptures of bears to support fountains for the Union Wool Building in
Boston. He designs a number of homes himself.
Architectural work is just one facet of Mora’s endless creativity. He designs everything from ordinary scale sculptures, many of cowboys breaking broncs, to “heroic” (larger than life) sculptures, to bronze plaques and
vast murals. He creates fifteen or more dioramas, thirteen for the Will
Rogers Memorial in Claremore, Oklahoma.
One diorama, exhibited at the California State Building at the 1939
Golden Gate International Exposition, is a one-hundred-foot-long depiction of the 1769 Portolá Expedition. Tragically, it is destroyed in a fire six
months after the opening of the fair.
Mora illustrates countless books, both his own and for those of others.
He designs bookends, trophies, coins and scrip certificates for use in Carmel during the Depression. He sculpts his son Jo Jr. at three years of age,
reata in hand, breaking a hobby horse."
Nancy's book is an annotated look at all of the details seen on Jo Mora's carte of Los Angeles. To purchase the book:https://jomoratrailguides.com/https://www.nancygrossmanbooks.com/my-publicationsNancy Grossman's emailPeter Hiller's email
These colossi are cartographic curiosities as they were included along with two other images of colossal figures in Matthaus Seutter’s Atlas Novus published in 1728 and 1730. Four additional maps from this atlas are included in the exhibit because of their elaborate and artistic cartouches.
Matthaus Seutter the elder (1678-1757) was an engraver, globe maker and map publisher based in Augsburg, Germany. He apprenticed with Johann Baptist Homann in Nuremberg and was awarded the title of Imperial Geographer by Karl VI in 1731. By 1732, Seutter was one of the most prolific publishers of his time and was honored by the German Emperor Charles VI with the title of “Imperial Geographer”. He continued to publish until his death in 1757.
From the collection of Rich Breiman.
An exhibit about Jo Mora's carte of Carmel-by-the-Sea, California, where Jo lived from 1920 until he passed away in 1947.
Click here to read Peter Hiller's account of Jo's work on this spectacular pictorial map.
This exhibit is of Ortelius, his atlases and his concentration on the Holy Land and its surroundings. From the collection of Leonard and Juliet Rothman, which can be found at Stanford University SearchWorks. Exhibit launched January 2, 2021.
These 17th century maps, while beautiful and informative, are enhanced by vignettes that depict inhabitants in their native costumes from areas included on the maps as well as city maps or biblical scenes. From the collection of Rich Breiman.
During the first two, precarious years of the American Revolution, the outcome was often in doubt. The Digital Gallery is pleased to present the exhibit, “George Washington and the American Revolution, 1775-1776,” to chronicle these critical times through historic maps, iconic paintings, and explanatory text. Here you can explore the maps and images related to both the defeats and eventual victories of these campaigns.
See Ron Gibbs' historical novel about George Washington and the American Revolution, The Long Shot.
See pdf of Ron's October 2020 presentation to San Francisco Map Fair here.
See video of Ron's February 2021 presentation to the Washington Map Society here.
This exhibit describes how to use The Digital Gallery. If you have questions or comments, please don't hesitate to email Tom Paper or Courtney Spikes.
Videos, maps and images from the Bay Area Map Group (BAM) meeting January 16 2021. (Exhibit 117) Speakers were Eliane Dotson, Ron Gibbs, Julie Sweetkind-Singer, Mike Schembri, Ken Habeeb, Susan Powell and Susan Schulten.
Link to chat from the meeting.
The Bay Area Map Group is a part of The California Map Society.
Maps about the American South in the 19th Century, especially about cotton and slavery. Created as a supplement to a class hosted on October 21st, 2020 by my friend, Jan van Eck. The presentation was led by Steven Mintz of the University of Texas at Austin. The first map, however, is of Africa and was featured in a book called "America in 100 Maps" by Susan Schulten; it is a British map highlighting the extreme competition between the British and other countries over slave trading. My other favorite maps are Lincoln's slavery map from 1861 and the Armour map of commodities across the US, as well as the Reynold's 1856 map of the divided nature of the country in 1856, which features telling statistics about population of whites and slaves. Resources:* See stats about slavery and the south here.* Steven Mintz of the University of Texas at Austin. * Interview of Sven Beckert, regarded as "the" author of the book on cotton, by Christopher Lydon on Open Source* Wikipedia entry on "cotton mills"* Episode 2 of the New York Times podcast "1619" starting at around 7:30.* van Eck course outline
Tom Paper 11/1/2020
25 maps from 1775 of Belgium by the Austrian cartographer Ferraris. Incredible cartouches.
See the Visscher Atlas of 1690, click here.
Remarks by Tom Paper in video here.
20 Famous Belgians
Welcome to The Digital Gallery’s exhibit on Levi Walter Yaggy, comprising 30+ images from the late 1800's used to teach kids about geography. When I first saw his maps and images, I imagined that the creator of these fantastic and creative images must have someone like van Gogh, Warhol or Basquiat, because of my notion of what is a creative personality. Well, it turns out, I was significantly wrong. Levi Walter Yaggy, was an entrepreneur, an investor, an inventor and a farmer. He was born in 1848, the tenth of eleven children. His main business was the Western Publishing House, a company he founded when he was 26 and which grew to have over one thousand employees. His inventiveness may explain why his maps and images have flaps, dials, sliders and other mechanical elements.
As a publisher, Yaggy’s company specialized in materials for teachers. His maps came in a kit and were each substantial in size, about 2 feet x 3 feet. Our Yaggy exhibit is composed of two sub-exhibits. The first, from 1893, has nine images that represent geographic terms and climate zones of the world, as well as a relief map of the United States. An unfortunate part of his work is the propagation of the racist idea that temperate zones and their people favor superior cultural development over tropical zones and their people. However, from an information design perspective, his maps and images are exquisitely done because they are "BAZIC" (see Google Slide below). They of their simplicity, their use of color and the overall engagement they foster.
Sources:* Boston Rare Maps* Open Culture article 2019* National Geographic 2018* Collossal 2019* Yaggy Obituary* Image of Yaggy and ancestry info* Yaggy Plantation for Sale 2016. Also here.* Books by L.W. Yaggy eBay* Google Slide document about Yaggy and "View of Nature in Ascending Regions". Also describes BAZIC criteria for judging quality of a map.
17 images about The Carta Marina of 1516, by Martin Waldseemuller, most famous for a map called "America's Birth Certificate." Based on a talk by Chet Van Duzer from May 2020.
Library of Congress images here.Watch Chet Van Duzer’s entire talk from May 2020 on YouTube here.Read the announcement about Chet Van Duzer’s talk here.Read Tom Paper’s summary of the talk here.Read about Martin Waldseemuller here.
>>>Link here for a November 20, 2020 talk given by Van Duzer about an unstudied map of the world from 1535. Sponsored by NYU.
One map for now, but soon to be an exhibit of historical election maps. Tom Paper 11/4/2020
Appointed by Emperor Napoleon III in 1853, Seine Prefect and city planner Georges-Eugène Haussmann (1809-1891) reconfigured the map of France’s capital into the ‘city of light’ we celebrate today. The Digital Gallery is pleased to offer the exhibit Paris Transformed as part of the California Map Society's annual conference which took place on 25 April 2020. Here you can explore maps and images related to Paris during its transformation under the regimes of the Second Empire (1852-1870) and Third Republic (1870-1940). Curated by C. Spikes.
Various maps and engravings that were among the illustrations included in the publications of Captain Cook's journals that served as a first hand account of the experiences of Cook and the crew on each of his three 18th century voyages. These voyages resulted in monumental discoveries of previous unknown lands, people, animals and plants. They were responsible for changing conceptions off the world, particularly the Pacific Ocean from Australia to North America. The official British Admiralty authorized journal publications in total include 8 volumes of text, maps and engravings (3 volumes for the 1st and 3rd voyages and 2 volumes for the 2nd voyage and an atlas of engravings that accompanied the journal of the 3rd voyage).
An exhibit about Jo Mora's travels in Yosemite and the corresponding map and its variations. This exhibit was created in September 2020 by Peter Hiller, Jo Mora Trust Collection Curator, and Tom Paper and Courtney Spikes. More information about Jo Mora is available at www.jomoratrust.com.
"Vincenzo Maria Coronelli (August 16, 1650 – December 9, 1718) was an Italian Franciscan friar, cosmographer, cartographer, publisher, and encyclopedist known in particular for his atlases and globes. He spent most of his life in Venice. Vincenzo Coronelli was born, probably in Venice, on August 16, 1650, the fifth child of a Venetian tailor named Maffio Coronelli. At ten, young Vincenzo was sent to the city of Ravenna and was apprenticed to a xylographer. In 1663 he was accepted into the Conventual Franciscans, becoming a novice in 1665. At age sixteen he published the first of his one hundred forty separate works. In 1671 he entered the Convent of Saint Maria Gloriosa dei Frari in Venice, and in 1672 Coronelli was sent by the order to the College of Saint Bonaventura and Saints Apostoli in Rome where he earned his doctor’s degree in theology in 1674. He excelled in the study of both astronomy and Euclid. A little before 1678, Coronelli began working as a geographer and was commissioned to make a set of terrestrial and celestial globes for Ranuccio II Farnese, Duke of Parma. Each finely crafted globe was five feet in diameter (c. 175 cm) and so impressed the Duke that he made Coronelli his theologian. Coronelli's renown as a theologian grew and in 1699 he was appointed Father General of the Franciscan order."
Coronelli Globes at the Bibliotheque Nationale, Francois Mitterand Library
Article on Coronelli from Academia.edu
Images from an atlas by one of Britain's most famous cartographers of the 18th century from the David Rumsey Map Collection.
This exhibit was first presented by Jim Schein and Tom Paper on April 18, 2019, at the offices of Webster Pacific in downtown San Francisco. The date, April 18, was the anniversary of the great earthquake and fire of 1906. The exhibit was a pop-up, which meant that it was put up and taken down within a span of six hours. Every image was printed and mounted onto a posterboard and then rested on a portable easel. The exhibit remains available as a popup for venues that have 150 lineal feet of wall-space.
An exhibit of title pages from the collection of Rich Breiman.
A collection of railroad and canal maps from The David Rumsey Center at Stanford University.
A collection of railroad and canal maps from the Library of Congress
Wikipedia - The Great Miseries of War