Nailed It: Chicago Commons Map, 1910

September 11th, 2014by Peter Alter Filed under: Collections, Stories

DePaul University students Burton Cann, Bristol Cave, Kristen Gayer, Hannah Woodford, and Elise Zerega researched an unusual map from 1910 for this entry in the Museum’s People and Places blog series. They were students of the Museum’s archivist, Peter T. Alter, as part of DePaul’s public history program.

During the late 1800s and early 1900s, community leaders in major cities sought to resolve many social, political, and economic problems associated with urban living. Their efforts came to be known as the Progressive Movement. Some Progressive reformers addressed social justice issues by settling in struggling urban areas and establishing social settlement houses in those neighborhoods, as Jane Addams did with Hull-House on Chicago’s Near West Side.  From these community centers, the reformers worked with their neighbors to address unemployment, poor public education, poor sanitation, domestic violence, and many other issues.

Graham Taylor, a colleague and friend of Addams, founded the Chicago Commons settlement house in 1894, about a mile northwest of the Loop. Taylor and the Chicago Commons staff worked with the people of this industrial and immigrant neighborhood, now known as the River West and Noble Square neighborhoods. To understand a neighborhood and its needs, reformers like Taylor strove to learn their surroundings, which often led to mapping a lot of districts. In 1910, the Commons staff crafted a unique map of wood, small nails, and paper. This cartographic creation has survived over a century and is part of the Chicago Commons Association Records in the Museum’s archival collection.

Chicago Commons nail map, 1910
Chicago Commons nail map, 1910. All photographs by DePaul University students.

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Jack Delano’s Homefront Photography

August 28th, 2014by Gary Johnson Filed under: Exhibitions, Stories

In his Author! Author! blog series, Museum president Gary T. Johnson highlights works that draw on our collection.


John Gruber, editor. Railroaders: Jack Delano’s Homefront Photography. Madison, Wisconsin: Center for Railroad Photography & Art (2014).

The exhibition of the same title was prepared by the Center for Railroad Photography & Art and the Chicago History Museum. Under Franklin Roosevelt’s administration, the Office of War Information commissioned the original photographs to shine a light on a very vital home front industry during World War II. The project focused on the community of railroad workers from different parts of the Chicago, as documented by photographer Jack Delano. Seventy years later, the Center took the project a step further and carefully examined the biographies of the people in the photographs—and even their descendants. Yes, the book is the catalogue of the exhibition, but really it is far more than that because it takes a much deeper dive into those lives than was possible in the exhibition.

> Read more about and purchase this book

> Visit the Railroaders exhibition at the Museum

> See more of Jack Delano’s photography

> Learn more about railroad workers in Chicago

Court Presentation Gowns of the 1920s

August 14th, 2014by Katy Werlin Filed under: Collections, Stories

Being presented at the Court of St. James in London, England was a pivotal moment in the social life of a debutante—it marked her entrance into adult society. Naturally, such an auspicious occasion required a truly spectacular gown. We are fortunate to have several court presentation gowns in our collection. Here are two particularly beautiful ones.

A young lady’s court presentation gown was one of the most lavish and important gowns she would ever own, perhaps even more important than her wedding dress. Court presentation gowns were traditionally white, but by the 1920s all colors were allowed. The entire ensemble was regulated strictly, as can be seen from these rules published in The Times in 1923:

  • Ladies attending their Majesties’ Courts will wear Court trains, while veils with ostrich feathers will be worn on the head.
  • Three small white feathers mounted as a Prince of Wales’s plume, the center feather being a little higher than the two side ones, to be worn slightly on the left-hand side of the head, with the tulle veil attached to the base of the feathers.
  • The veil should not be longer than 45in.
  • Lace lappets may be worn.
  • Coloured feathers are inadmissible, but in cases of deep mourning black feathers may be worn.
  • The train, which should not exceed two yards in length, should not extend more than 18in. from the heel of the wearer when standing.
  • There are no restrictions with regard to the colour of the dresses or gloves for either debutantes or those who have already been presented.
  • Bouquets and fans are optional.


Court presentation gown and train, Jacques Doucet, 1926. Gift of Miss Mary Dudley Kenna. 1965.380a-e.

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Arts & Crafts, Metalwork & Jewelry

August 12th, 2014by Gary Johnson Filed under: Stories

In his Author! Author! blog series, Museum president Gary T. Johnson highlights works that draw on our collection.

Evon book cover[1]

Darcy L. Evon. Hand Wrought Arts & Crafts, Metalwork & Jewelry: 1890–1940. Atglen, Pennsylvania: Schiffer Publishing, Ltd. (2014).

This extraordinary work can be read on many levels. As a picture book of metalwork and jewelry with 749 photos, it is unsurpassed. As a reference book about artists, workshops, and hallmarks, it is indispensable. For new insights on major figures such as Jane Addams and Bertha Honoré Palmer, it offers color. At its deepest level, this is the story of a social movement, one that was spurred by the Progressive movement and reached into hearth and home, studio and the workplace, changing the lives of those with the skills to make hand–wrought masterpieces and winning support from a wider public. The scope is breathtaking and the work is meticulous.

> Read more about and purchase this book 

> Learn more about the Arts and Crafts movement

> Learn more about the Progressive Era

Bold Style for a Bold Woman

July 7th, 2014by Joy Bivins Filed under: Collections, Exhibitions, Stories

Etta Moten Barnett’s leopard-print hat and matching handbag, c. 1960
Gift of Sue Barnett Ish, ICHi-68439

Etta Moten Barnett (1901–2004) was a groundbreaking performer and activist who spent her long life making statements. She undoubtedly accomplished one with this leopard-print topper and matching handbag. Her daughter Sue Ish, who donated many of Barnett’s garments to the Museum, thinks the set matched a cape made from fabric purchased during one of her mother’s many trips to Africa. In the late 1950s, Barnett and her husband, Claude Barnett, founder of the Chicago-based Associated Negro Press, traveled to that continent often to support newly independent nations.

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