The Case of the Missing Photographs: Finding Images from Historical Newspapers

Thanks to the copyright laws relating to public domain, it’s fairly easy to find newspaper articles relating to World War I on the internet.  While researching the impact of World War I on Greenwich Village, for example, I found many resources in the New York Times digital archive.  However, while almost all of the paper’s articles since 1851 are available online, there are very few pictures available to accompany the text.  In many cases, older editions of the New York Times didn’t feature many pictures, but in some cases, they were just not included when the article was clipped and scanned.  Line after line of printed words does not make for a very exciting digital archive or web exhibit, though, so I set out to find the missing newspaper photographs.

The first resource I’d like to share is one that was recommended by a classmate of mine: the ProQuest Historical Newspapers Database.  This database contains scanned copies of 25 newspapers, dating back as far as the 1700s.  The New York Times archives from 1851 to 2009 can be found here, just as they can on the New York Times website.  Much like the New York Times archive, ProQuest allows you to view whatever pictures were clipped along with the article.  However, ProQuest also gives you the option to view the article in “Page View.”  This allows you to see the article in context, with all of the articles and pictures that would have surrounded it.  In the regular article view there is no way to know whether an article has pictures or not without doing a lot of “guess and check.”  Sometimes one article on a topic will have no pictures, while a related article right next to it on the page will have accompanying photographs.  Article view, which the New York Times uses exclusively, forces you to look through every article on a given topic to find photographs.  ProQuest’s page view, though, allows you to flip through the pages of a newspaper to find related articles and photos you might have missed with a simple keyword search.

This is article view: clicking the circled words will access page view instead

Viewing the same article as above, this time in page view

There is one major disadvantage to ProQuest Historical Newspapers, though.  The database is available by subscription only, which means that grad students like me can enjoy the opportunity to flip through hundreds of years of digitized newspapers, but an independent researcher would have to pay to access this collection.  Also, while the pictures are easier to find than they are on the New York Times website, I still felt that there had to be a better way to find good newspaper photographs from the early 1900s.

One of the best resources that I found for these photographs is the newspaper pictorials collection in the Library of Congress’ American Memory Project.  American Memory is a digital archive of items from the Library of Congress that aims to document the “nation’s memory.”  It includes over 5 million photographs, documents, sound recordings and videos from colonial times through the 20^th century.  Some of these items are only available online through the Library of Congress and not through their creators.

The American Memory homepage

The American Memory site can be browsed by topic, collection or time period, or by doing a general keyword search.  In my case, it was the keyword search that turned up the best results.  I searched for “27^th Division,” a unit in the US Army in WWI that was welcomed home with a large parade up Fifth Avenue.  The results were extensive, and very helpful.  Among the long list of articles from the Army’s “Stars and Stripes” newspaper for troops, I found a New York Times result from an entire collection of newspaper pictorials.  Feeling intrigued, I clicked the link to the question and a found a wealth of photographic knowledge at my fingertips!

Search results for “27th Division”- Newspaper Pictorials results are fourth, sixth and seventh on the list

Pictorial sections became popular features of American newspapers during WWI.  A new process of photoengraving, known as rotogravure, meant that newspapers could produce high quality images on cheap quality paper.  With Americans taking part in their first European war, rotogravure pictorials became a useful way to show the American people on the homefront the harsh realities of the war abroad.  Each Sunday, the New York Times and the New York Tribune would feature a full section of rotogravure images.  The New York Times also published a pictorial section in the middle of the week, and later compiled images from these sections into a book entitled The War of the Nations: Portfolio in Rotogravure Etchings.  This volume included images from the mid-week pictorials published from the start of World War One in 1914 until the signing of the armistice in 1919.

A sample (partial) PDF page from a newspaper pictorial

The Newspaper Pictorials collection in the American Memory Project includes images from this book, as well as those from the Sunday pictorials in the New York Times and the New York Tribune.  The Tribune features a number of hand-drawn images, but the Times has pages of photographs from the war and the homecoming of the troops.  While the newspapers themselves are available online or on microfilm, the difficulty of properly scanning the rotogravure sections has made them difficult to obtain until now.  Thanks to American Memory, though, the images can be clearly viewed online or downloaded as a PDF.  Finally, I had found my missing photographs.

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Philip Martiny’s Village Connection

While researching the impact that World War One had on Greenwich Village, I came across the Abingdon Square Doughboy.  This statue, located in Abingdon Square Park near the intersection of 8^th Avenue and Hudson Street, was commissioned by the residents of Greenwich Village in order to memorialize the soldiers from their neighborhood who had lost their lives during World War One.  However, the Doughboy is connected to the Village in more ways than one.  The sculptor who created this particular memorial was a man named Philip Martiny, whose studio was located on MacDougal Alley.

The Abingdon Square Doughboy

Martiny was born in 1858 in France, where he trained under a sculptor by the name of Eugene Dock.  At age 20, he immigrated to America for what was, in his own words, “the most sordid of reasons:” to evade army service in France.  Upon his arrival in America, Martiny began to study with the sculptor Augustus Saint-Gaudens, who was widely considered to be one of the greatest American sculptors of the Beaux Arts movement.   He proved to be an adept student, and by the early 1900’s, Martiny had already received a number of very prominent commissions.

The turn of the 20^th century was a good time to be a sculptor in America, and even more so in New York City.  The Beaux Arts movement, with its goal of beautifying urban environments, was in full swing in New York.  Beautifully decorated classical style buildings were popping up like daisies, and sculptors were in high demand.  Martiny, having been trained by the great Saint-Gaudens, was a highly sought out sculptor for the Beaux Arts projects being erected all over Manhattan.  He created a number of sculptures to be placed on the Chamber of Commerce building on Liberty Street in Manhattan.  These sculptures have disappeared from the side of the building, though, and their current location seems to be a bit of a mystery.  All that remains on the Chamber of Commerce building are empty spaces between the columns where the statues were formerly housed.

The Chamber of Commerce Building with and without Martiny’s statues:

  

However, Martiny’s work is still visible elsewhere in the city.  He, along with other famous sculptors of the day, created sculptures to grace the outside of the Appellate Court on 25^th Street and Madison Avenue.  He also designed the eagles that decorate the famous Greenwich Village Landmark: the Washington Square Arch.

Washington Square Arch (note Martiny’s eagle smack in the middle)

The Arch would have been just a short walk from Martiny’s studio on MacDougal Alley.  The alley was a busy place in the early 1900’s.  A New York Times reporter remarked that the street had “quite as many stables as studios.”  Martiny’s studio, though, was unique.  By 1904, Martiny was receiving so many commissions that he had to hire an office staff of accountants to process them all.

Perhaps Martiny’s status as a local helped him gain one of the last commissions of his career.  The Jefferson Democratic Club selected Martiny to create a World War I memorial across from their headquarters on West 12^th Street. Martiny accepted the commission and in 1921, the Abingdon Square Doughboy was dedicated.   It stands proudly in the park until this day, reminding the Village of their lost sons and the local artist who immortalized them.

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Sources:

New York Times, “A Sculptor Who is Also a Captain of Industry,” March 27, 1904. http://query.nytimes.com/mem/archive-free/pdf?res=F40716FB355F13718DDDAE0A94DB405B848CF1D3 (accessed September 30, 2013).

“Abingdon Square Monuments – Abingdon Square Doughboy : NYC Parks.” New York City Department of Parks & Recreation. http://www.nycgovparks.org/parks/abingdonsquare/monuments/1942 (accessed October 1, 2013).

Cauldwell, William . “Philip Martiny.” The Succesful American, January 1902.

Van Alfen, Peter. “Monuments, Medals, and Metropolis, part I: Beaux Arts Architecture.” ANS Magazine 2, no. 2 (2003): 17-23. http://ansmagazine.com/Summer03/Monuments (accessed September 29, 2013).

“War Memorials in Parks : NYC Parks.” New York City Department of Parks & Recreation. http://www.nycgovparks.org/about/history/veterans#world-war-I (accessed October 1, 2013).

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