The New York Times began publishing the “Mid-Week Pictorial War Extra” in September1914, three months after the beginning of the First World War, as a Wednesday photographic supplement to its main publication. This weekly circular provided the American public with up-close views of the front long before smart phones, live-streaming and the internet. Click here to see more from this week, 99 years ago.
Despite the number of prominent men on the walls of the Redwood, there are also some key female figures that have figured into the history of not only the library, but the early formation of our country. Follow the link to read our last installment of the Ladies of the Library series.
With the recent attention that famous women, past and present, have been generating lately – from Hilary Clinton to Harriet Tubman – we thought it appropriate to discuss the women in the Redwood Library’s portrait collection. Most of the ladies pictured were wives of prominent men, and as such there is little to no recorded information about their personal lives. However, women have a way of making their mark on history whether or not any men are paying attention. Read more here.
Sarah Chauncey Woolsey, pen name Susan Coolidge, was a Newport resident and Civil War nurse. We recently rediscovered some early editions of her work in our Children's Library. Click here to read more!
Henry Collins, once called the Lorenzo di Medici of Rhode Island, died a pauper and is buried in an unmarked grave in the Common Burial Ground. How could such an influential man meet such an end? Click here to find out!
“The ballot, the most perfect weapon yet devised of moral and intellectual power. We do not wish to take it from the hands of any man; we would put it into the hands of every woman.” Click here to read more about Julia Ward Howe and the Women's Suffrage Movement.
We are loving this spring weather! Click here to see some beautiful examples of 18th century flower prints and get in the spring mindset.
“The appeal of the flower print is through that elusive quality which may be described as ‘charm.’ It is a compound of process techniques, draftsmanship, arrangement or design and color, mellowed and tempered by time. It speaks of an art which is simple, natural, graceful as the sunlight or the rain. It knows neither contortion nor distortion for in the flower world these are blights and very evil. It is both technique and something more than technique which makes the flower print distinctive in the field of graphic arts.” - Gordon Dunthorne, 1938