Bathing suits and policing decency have often been a topic of discussion and contention, as noted in a previous Chronicles post. However, while looking through reels of newspapers from 1916-17, we became intrigued by the affect of World War One on the loosening of gendered fashion restrictions, especially as exemplified by the bathing suit. Here we look through articles, illustrations, photographs, and advertisements at the ways Hoosier women reacted to trends in the context of WWI when bathing suits had become shorter and sleeveless, but fabrics were still thick and heavy, a holdover from an older era.
The Victorian bathing gowns of the previous century were floor-length and made of dark heavy fabric that wouldn’t float up or become transparent. According to the Smithsonian Magazine, some women even sewed lead weights into the hems to prevent exposure of the calf. By the early 1900s bathing costumes became knee-length dresses or tunics and were paired with bloomers or tights, “all of which were made from heavy, flannel or wool fabric that would weigh down the wearer, not quite convenient for negotiation the surf,” according to the same article.
World War One changed fashion dramatically in large part because women’s roles changed in wartime as they took on physical jobs such as factory and farm work, in addition to nursing. Manufacturing jobs also made shorter hair more practical and the corset impossible. Gendered fashion rules relaxed in general to the point where it was even acceptable for women to wear pants for manual labor activities — though it would be decades before they were acceptable beyond certain activities, according to Nina Edwards’ Dressed for War: Uniform, Civilian Clothing & Trappings, 1914 to 1918.
The rules of decorum were also relaxing in the world of sports as women took up tennis, skiing, and swimming in greater numbers. Pants were allowed on the tennis court and slopes. While bathing suits generally maintained their dress-like appearance for the average beach goer, athletic and competitive swimmers opted for suits that didn’t impede their sport. These swimsuits that allowed for actual swimming eventually infiltrated the mass market as well.
These images accessed through Indiana Memory show how Hoosier women, following the general bathing suit trends, shifted from dresses layered over tights or bloomers to more formfitting tunics.
Hoosier women found out about these trends and where to purchase their beach attire through newspaper articles and advertisements. Indiana newspapers regularly ran illustrated articles about the newest fashions from the east coast beaches, such as this snippet from the Richmond Palladium Sun-Telegram:
Articles could be more extensive as well, taking up almost an entire page such as this 1917 article from the South Bend News-Times with the intriguing headline:
The article notes the relationship between sportswear trends and swim wear:
This season sees the bathing suits carrying out the same colorful note that predominates in all sports clothes and in materials there is also a similarity, namely, in the use of one of the most favored of fabrics — wool jersey. This versatile material seems to make itself at home in any sphere. After having made its importance felt in sports clothes, one-piece frocks and semi-informal suits, the bathing suit has been lately added to its conquests.
The article continues to describe and illustrate the season’s other popular fabrics:
Yet, other materials compare very favorably with jersey cloth at the fashionable beaches. Black satin has lost none of its usual charms; taffeta, mohair, alpaca and poplin still retain their popularity; and the rubberized cloths are likewise favored to a great extent.
In the summer of 1917, the Lion Store in Hammond, Indiana, encouraged its neighbors to “spend Sunday in the cool, refreshing waters of Lake Michigan” through this advertisement in the Hammond Times [below]. And what is more cool and refreshing on the skin than dark-colored wool? The women’s “All-Wool Bathing Suits” were available with a fitted waist, wing sleeves, and “piping and trimmings in contrasting colors” for the low price of $3.98. However, one would still need the appropriate matching rubber “Swim Kap” ($.50) and “Beach of Swim Shoes, made of sateen with canvas covered soles” ($.25). For just a bit more, however, one could purchase one of “The New ‘Liberty’ Swim Caps, made of all rubber, red crow, blue band with white stars, finished with rubber rosette. As the South Bend News-Times reported:
A complete bathing outfit by no means ends with the selection of the suit. Beach wraps, hats and caps, shoes and stockings, are quite as important.
Also in the summer of 1917, the nearby competing department store, the E. C. Minas Company, advertised that they could beat the Lion Store’s prices! As advertised also in the Hammond Times, some of their suits were only $2.00 and they offered Bathing Tights. Bathing tights were usually dark in color and meant to compensate for the shorter hemlines and sleeveless styles of the era’s new suits. They could be worn instead of the looser bloomers. If you weren’t quite ready for such a propriety-challenging costume, however, they also offered the “bathing corset.”
E. C. Minas also had the gentleman bather covered. They could choose between the “all-worsted,” aka wool, one-piece suit pictured in this advertisement in the Hammond Times [also below] or a two-piece version with flannel pants. The straw hat was a must as well, apparently.
Besides loosening rules for women (and to a lesser extent) men to keep pace with changes in work and sport, the war changed the outlook of those affected by it and, in turn, the way they dressed. The horrors of war and personal loss contributed to a greater consciousness mortality and feeling that anything could happen at any time. For some, this meant that they should live for today and in the moment, thus setting the stage for the fashions and attitudes of the Jazz Age, when fashion would “decree” much different aesthetic rules. Search Hoosier State Chronicles for more articles on bathing suits! Combine terms “beach” and “bathing” with “suit,” “outfit,” and “costume.” Let us know what you find on Twitter: @in_bureau
On Valentine’s Day, we thought it would be a great time to share a different side of Indiana culture during the tumultuous years of World War I, in the form of valentine cartoons. John T. McCutcheon was one of Indiana’s most celebrated cartoonists from the era, and his “wartime valentines” help us understand how the home front viewed this integral time in world history.
John T. McCutcheon was a Pulitzer-Prize winning cartoonist for the Chicago Tribune, where he worked for 43 years. Born in South Raub, Tippecanoe County, Indiana on May 6, 1870, McCutcheon grew up “in the rural areas surrounding Lafayette.” He attended Purdue University where he was “a founding member of the University’s first fraternity, Sigma Chi” and the “co-editor of the University’s first yearbook, the Debris.” After graduating college in 1889, he worked as a cartoonist for the Chicago Morning News andRecord-Herald until he moved to the Tribune in 1903. His artistic style mirrored his experiences growing up the Midwest; he developed a character called “A Boy in Springtime” who would appear in front-page pieces having small-town fun with friends and his dog (the dog first appeared in a William McKinley presidential campaign cartoon, and became much beloved by readers). As R. C. Harvey of the Comics Journal noted, McCutcheon’s cartoons were “the first to throw the slow ball in cartooning, to draw the human interest picture that was not produced to change votes or to amend morals but solely to amuse or to sympathize.”
Paralleling his more personable cartoons, McCutcheon partnered with another Hoosier author, George Ade, to create a series of valentines for charity during World War I. The idea originated from the Indianapolis Branch of the American Fund for French Wounded and its contributors were a who’s who of Indiana arts, including Ade and McCutcheon as well as Meredith Nicholson, Kin Hubbard, and William Herschell. As reported in the South Bend News-Times on January 28, 1918, “Prominent Indiana artists and authors this year have been making comic valentines . . . and are guaranteed by those who have seen them to send grins and cheer to soldiers at home and abroad.” The article also outlined the American Fund for French Wounded, noting that “the proceeds will go for furthering the work in France among wounded soldiers and destitute families, which is the committee looking after the funds is carrying on.” Ads even ran in the Indianapolis News to promote the Valentines, published by Charles Mayer & Company, once they were available.
The first valentine in the digital collection, entitled “From Her Mother”, shows a concerned mother writing to a “Mr. Soldier Man” while a variant of McCutcheon’s iconic dog looks on in the background. The photos on and above the desk in the cartoon are important to context, as the photos of the mother’s daughter and her soldier beau face each other longingly, while a portrait of the mother sternly oversees over both of the photos. In the cartoon, the mother’s letter reads:
Mr. Soldier Man.
I can not send what my daughter wrote,
It might set fire to the darned old boat.
– The Night Watch.
The mother’s face shows a concern not only for her daughter’s overly passionate words. McCutcheon’s style of strong lines and warm, humane features also comes through in this valentine.
Another great valentine in the collection entitled, “Her Choice This Year”, ties the romantic love normally associated with Valentine’s Day with love of country. Ade’s poem reads:
Columbia wants you to know,
That you’re her particular beau.
She’s likewise “particular.” So
That’s why you’ve been picked as her beau.
The young woman, aptly named Columbia, holds the hand of her uniformed soldier as he looks at her lovingly. She’s also dressed in a shirt and skirt of the red, white, and blue with a pair of roman sandals. And of course, McCutcheon’s iconic dog looks up at them in the foreground. This valentine exhibits the strong patriotic fervor during the period, but in a charming, homespun way.
The next valentine captures a woman’s longing for her partner who is off at war. Named “Some One Has Not Forgotten,” it depicts a young woman knitting in a chair while thinking of her partner trekking across Europe in a snowstorm. Here’s Ade’s text with the valentine:
My heart to-day
Is far away
Across the rolling brine.
So while I sit
And knit and knit
You’re still my valentine.
This depiction of men and women evokes a more traditional assumption of gender during the period than say “Columbia” and her beau above. The woman’s thoughts of her partner, floating above her head and colorless, attempt to convey the arduous and grim task of war. In contrast, McCutcheon’s drawing of the young woman is clear and with beautiful coloring. Ade and McCutcheon’s valentine cleverly renders the feelings of many young women while their partners were at war.
The final valentine in the digital collection is called, “To You Somewhere,” and it depicts one of Valentine’s Day’s most enduring symbols, Cupid. In this version, a nude Cupid braves the cold weather to deliver a valentine to a soldier in the snow. The message reads:
I don’t know just where you are to-day,
I don’t know how many miles away;
Whether you’re out where the bullets fly,
Or safe and sounds at the good old “Y.” [Y.M.C.A]
I have no message from o’er the sea
To let me know that you think of me,
But I’ll make an oath and my name I’ll sign,
That you are my only Valentine.
The soldier’s delight at receiving the message from a saluting cupid is evident. He even has his gun down and his hands up, perhaps in surprise that the symbol of love is in a war zone, or perhaps the soldier is in the act of accepting the valentine from Cupid. Of the four digitized valentines, this is the only one without a female main subject, despite the text being from the soldier’s love. It shows the perspective of the soldier receiving a valentine, rather than a woman creating or imagining one.
Today, we drive over rivers and creeks in a few seconds and barely know their names. But before modern transportation severed so much of our connection to waterways, human contact with rivers practically defined life in water-rich Indiana.
One lost industry that had a brief “boom and bust” over most of the eastern U.S. a century ago was closely tied to the life of the rivers. If you’re keeping a list of industries (like steel and auto manufacturing) that have declined and even vanished from the Midwest, add one more: pearl button making.
Consumers today rarely give a thought to where buttons come from. How synthetic goods are made (i.e., the zippers, plastic buttons, and Velcro that partly replaced shell around 1950) may seem less “romantic” than the work of pearl fishermen hauling shiny treasures out of Midwestern streams in johnboats. Yet in spite of its nostalgic appeal, the pearl button industry also wreaked havoc on the environment and on workers in factories.
At the time of European settlement, midwestern rivers abounded in mussels. As many as 400 species probably lived in the Ohio Valley in 1800. The Mound Builder cultures that once occupied the American heartland found many ways to use mussels and left behind enormous refuse piles — what archaeologists call “middens” — in their towns, which almost always sat beside creeks and rivers. They were large towns, too. In the year 1200, Cahokia, across the Mississippi River from the future site of St. Louis, was bigger than medieval London.
Among Indiana’s early settlers, “diving” for pearls hidden in freshwater mussels dates back to at least 1846, when farmers at Winamac founded a small stockholders association to try to market shells taken from the Tippecanoe River. They sent a man to St. Louis and Cincinnati to ask about the value of freshwater pearls. Prices were low at the time and the “Pulaski County Pearl Diver Association” went bust.
Though a few button factories existed in Indiana before the Civil War — relying on shell, horn, and bone — the American freshwater pearl boom didn’t really gain momentum until 1900. In that year, a pearl frenzy erupted along the Black and White Rivers near Newport, Arkansas. Arkansas’ pearl boom had all the hallmarks of an old-time gold rush. A writer for the Indianapolis Journal reported in 1903:
Within the past three years more than $3,000,000 worth of pearls have been taken from the Mississippi Valley. . . The excitement spread from the land to the river steamboats. Their crews deserted them, and sometimes their captains, and the Black River was the scene of the wildest excitement. New towns were built and old ones were increased to the size of cities. Streets were laid out, banks and mercantile establishments were started, mortgages were lifted, money was plenty and times were prosperous. . . New York pearl dealers flocked there in great numbers.
The writer tells a story, perhaps exaggerated like much of his account, that an African American family who had lived in poverty made enough money pearling to build a large house and hire white servants. He also mentions that New York dealers were often ripped off by sellers masquerading Arkansas pearls as Asian.
Arkansas’ rivers were quickly “pearled out,” but the pearl boom spread and reached its peak around 1905-1910. Southwestern Indiana is almost as close to Arkansas as it is to Cincinnati. When the Southern boom died down, the hunt for pearls came north. The Jasper Weekly Courier reported in October 1903 that pearls had been found in the Wabash River at Maunie, Illinois, just south of New Harmony. “The river is a veritable bee hive and scores are at work securing mussel shells. The price of shells has risen from $4 to $15 a ton and an experienced man can secure a ton in a day. Farmers find it difficult to get farm hands.”
“Musselers” found an estimated $7000 worth of pearls in the Wabash in the first week of June 1909. Charles Williams, a “poor musseler,” found a “perfect specimen of the lustrous black pearl and has sold it for $1250. Black pearls are seldom found in freshwater shells.”
Vincennes experienced an explosion of musseling in 1905, as pearl hunters converged on the Wabash River’s shell banks. Eastern buyers came out to Indiana and frequently offered $500-$1000 for a pearl, which they polished into jewelry in cities like New York. A thousand dollars was a lot amount of money at a time when factory workers typically made about $8.00 a week. But with several hundred people eagerly scouring the riverbanks, the best pearls were quickly snatched up. For about a decade afterwards, “mussel men” and their families focused on providing shells for button manufacturers.
Interestingly, the shell craze caused a squatters’ village to spring up in Vincennes. A shanty town called Pearl City, made up of shacks and houseboats, sat along the river from 1907 to 1936, when as part of a WPA deal, its residents were resettled in Sunset Court, Vincennes’ first public housing.
At Logansport on the Wabash, patients from the Northern Indiana Insane Hospital spent part of the summer of 1908 hunting for pearl-bearing mussels. “One old man has been lucky, finding several pearls valued at $200 each. Local jewelers have tried to buy them but the old man hoards them like a miser does his gold. He keeps them in a bottle, and his chief delight is to hold the bottle so that he can see his prizes as the sun strikes the gems.” In and around Indianapolis, hunters discovered pearls in Fall Creek and the White River, especially around Waverly, southwest of the city.
Though every fisherman sought to find a high-value pearl and make a tiny fortune, the boom’s more prosaic side — button-making — eventually won out. From the 1890s to the 1940s, hundreds of small factories across the Midwest turned out glossy “mother-of-pearl” buttons. The industry especially flourished along a stretch of the Mississippi near Muscatine, Iowa, called the “button capital of the world.” Muscatine’s button industry was founded by John Boepple, a master craftsman from Hamburg, Germany, who immigrated to Iowa around 1887. Muscatine’s factories turned out a staggering 1.5 billion buttons in 1905 alone. About 10,000 workers were employed by button factories in the Midwestern states.
John Boepple lived to see the industry’s impact on rivers like the Mississippi. In 1910, the industrialist turned conservationist began work at a biological station established by Congress at Fairport, Iowa, to help repopulate mussels by reseeding riverbeds. Congress’ role was simply to preserve the industry, not to save decimated species. In 1912, the embattled mussels had their revenge: Boepple cut his foot on a shell and died of a resulting infection.
Although Iowa dominated the American button industry, numerous tiny factories popped up in small Indiana towns, including Mishawaka, Lawrenceburg, Leavenworth, Madison, and Shoals. (Shoals was named for its founder, Frederick Shulz, not for the mussel shoals on the White River.) Taylor Z. Richey, writing from Cannelton, Indiana, described how the work was done along the Ohio River in 1904. Many factories did not create the actual buttons, merely the “blanks” that were shipped out to Iowa.
Working in the button industry was far from quaint and actually proved a hazardous job. Exposure to hydrochloric acid and poor ventilation took a big toll on workers. Author Jeffrey Copeland notes that. there were more cases of pneumonia, typhus and gangrene among button factory laborers than in any other industry. Children as young as eight worked sixty-hour weeks carrying buckets of shells and acid to soften the material up. Eye injuries and loss of fingers often occurred as workers “stamped” the buttons out of shells or operated lathes. Even before the industry reached its turn-of-the-century heyday, gory accidents (such as this one, reported in the Jasper Weekly Courier in 1874) made it into the newspapers:
A French girl, sixteen years old, was caught by her long hair in a revolving shaft at a button factory in Kankakee, Ill., the other day, and the left side of her head was completely scalped. A severe concussion of the brain was also sustained. Her condition was considered critical.
Partly under the leadership of a young activist named Pearl McGill, labor unions in Iowa battled it out with factory owners, culminating in Muscatine’s “Button War” of 1911, a fight that involved arson and the killing of police. In Vincennes in 1903, however, the usual pattern of Progressive-era labor politics seemed to go the other way around. The Indianapolis Journal reported that Eugene Aubrey, owner of a pearl-button factory at Vincennes and allegedly a member of the Socialist Party, fired worker Charles Higginbottom for serving in the militia during Evansville’s bloody July 1903 race riot, when many African Americans were gunned down. The Journal went on to accuse Aubrey of being a secret anarchist.
In his semi-fictional Tales of Leavenworth, Rush Warren Carter described a small-town Indiana button factory in those years. A boy named Palmer Dotson quits school at 16 and gets a job working under superintendent “Badeye” Williams. (Factory workers often lost eyes.) “Cutting buttons was not a business that developed one’s mind or elevated his thoughts,” Carter wrote. “The cutting process was a dull routine to a background of everything but enlightened conversation. Talk about your ladies’ sewing circles. When it came to gossip, [women] were not in the same league with the men in the button factory, who chewed and rechewed every real or imagined bit of gossip until it had been ground to a fine pulp.” Dotson died of tuberculosis at 21. A co-worker decided that opening a saloon would be preferable to stamping buttons.
Although Iowa’s factories were still running in 1946 (the year actor Ronald Reagan chose Muscatine’s Pearl Queen), exhaustion of shell banks all over the Midwest was killing the industry fast. Japanese innovations increased competition after World War II. Synthetic plastics — which were cheap and could withstand washing machines better than shell — were pioneered in the 1920s and eventually took over the industry in the mid-1950s. Instead of smelly buckets of shells, workers handled tubs of polyester syrup. Then, two snazzy new inventions, zippers and Velcro, even cut into the demand for buttons outright.
Indiana’s factories, which had been shipping blanks to Iowa for years, had all gone out of business by the end of World War II. The last independent buttonworks in the U.S., the Wilbur E. Boyd Factory at Meredosia on the Illinois River, closed in 1948. Iowa’s button industry hung on until the mid-1990s, when Chinese innovations in pearl cultivation finally caused it to collapse.
Purdue’s “World’s Largest Drum”, made by Indianapolis’ Leedy Manufacturing Company in 1921, has been involved in many rivalries over its size. Learn more about its unique history from our latest video.
Music: “Regimented Instinct” by Teknoaxe, “Jumpin’ Boogie Woogie” by Audionautix, “Anchors Aweigh” by US Marine Corps Band, “National Emblem” by US Naval Academy Band, “Low Tide” by Silent Partner, “Jazz Bar” by Doug Maxwell, Media Right Productions, “Hail, Purdue” by Purdue All-American Marching Band
This year, the federal government undertook the all-encompassing task of completing the U.S. Census, a project instituted every ten years. The census is a national count of everyone living in the United States, providing policymakers with essential demographic information that they use to map congressional districts and allocate federal funds. However, the COVID-19 pandemic created difficulties for its completion, specifically in counting those who did not complete the census form by mail or online. As the New York Times reported earlier this year:
Already, a multi-day nationwide count of roughly a half-million homeless people has been put off. Processing of mailed-in census forms has slowed because the bureau shaved its staff at regional centers in Jeffersonville, Ind., and Tucson, Ariz. And social-distancing cuts in the bureau’s call center work force have slowed down responses to people who want to complete the census by phone or need other kinds of help.
These kinds of obstacles are not new to census-takers. In fact, a similar problem occurred in South Bend during the 1920 Census, where a small, but powerful Influenza epidemic stunted the city’s completion of the census.
In South Bend, the work of the 14th decennial census started on January 3, 1920, with seventy-one initial enumerators (census takers) tasked with counting the city’s population. Initially, weather proved a more formidable foe. “The enumerators were somewhat handicapped owing to the severe weather encountered on the first day,” the South Bend News-Times noted. Despite the weather slowing down progress, enumerators succeeded in getting citizens to cooperate and answer all their questions. Inspector for the local district, attorney Edwin H. Sommerer, anticipated a count of the city population in fifteen days and the rural population in thirty.
Within a few weeks, this task was complicated by an outbreak of Influenza, a lingering problem possibly stemming from the widespread Spanish Influenza epidemic a year prior. The city downplayed the outbreak’s potential to become another epidemic on January 16, when Dr. Emil G. Freyermuth, secretary of the city’s board of health, reported that no cases had been noted by physicians and that a chance of an epidemic was an “exaggeration,” as recounted in the News-Times. Freyermuth seemed to be contradicted by the South Bend News-Times itself, which published a notice in the January 17 edition that “the ranks of the [paper] carriers are sorely depleted at the present time on account of the mild form of influenza prevalent in the city.”
By January 20, the outbreak had worsened, leaving factories in South Bend short on labor as a result. Four were reported dead the next day, including a student at Notre Dame, and the illness reached epidemic proportions at local Army camps. Despite continued assurances about the mildness of this outbreak by Dr. Freyermuth, the situation worsened to such an extent that the Salvation Army volunteered to assist in combating it.
On January 26, the South Bend News-Times officially declared an epidemic, after 1,800 cases were reported around the city (250 at Notre Dame alone) and twenty-two deaths over the prior weekend. Dr. M. V. Ziegler of the State Board of Health confirmed these numbers, but Notre Dame physician, Dr. F. J. Powers, denied the high level of cases, “stating that the majority was afflicted with colds and la-grippe [another name for the flu].” Regardless of the disputes, the city reeled from the disease.
The epidemic devastated census-taking, incapacitating forty-five of the eighty-five-member staff and crippling those still healthy enough to continue. Census district chief Edwin H. Sommerer told the News-Times, “the enumerators working find it difficult to complete their task because of the sickness in the homes.” The News-Times doesn’t mention whether enumerators took any preventative precautions to avoid infection, other than just staying home. By contrast, mail carriers only experienced a loss of five workers during the outbreak, which was attributed to them being more acclimated to the intense winter weather.
By January 27, the epidemic began to subside, with only one death reported on the Monday after the weekend in which twenty-two people died. Employees in factories, stores, and offices also started returning to work. Even though this news was positive, the News-Times encouraged its readers to remain vigilant, noting “This marked decline does not mean, however, that all danger is past . . . the public is warned by the health department to exercise the greatest precaution in avoiding colds.”
Despite delays, South Bend’s census enumeration continued, with some staff returning to duty starting on Wednesday, January 28 and over the subsequent days. By the end of January, the team completed half of the districts, most of which were cities, but still needed to complete the rural populations. On April 9, the News-Times reported that Sommerer and his team finished South Bend’s census, with only one-hundred names not accounted for. The city’s final count was sent to LaPorte for a larger district tabulation and then on to Washington, D.C. for inclusion in the federal count. In all, South Bend’s population increased by 32.2%, from 53,684 in the 1910 Census to 70,983 people in the 1920 Census. As the The city’s population increase “can be credited almost entirely to the industrial development of South Bend,” the News-Times wrote. Additionally, residents’ land valuation almost doubled, from $26,000,000 in 1910 to $43,000,000 in 1920. Months of bad weather, a flu outbreak, and some uncooperative citizens never stopped Sommerer and his crew of enumerators from obtaining the final figures and providing a demographic portrait of South Bend.
South Bend’s 1920 Census, and the flu outbreak that nearly derailed it, can inform modern census analysis. The COVID-19 pandemic has already affected the completion of the 2020 Census, with the deadline to to be counted extended to October 31. However, if Indiana’s enumerators are as dedicated to their roles as Sommerer’s team was 100 years ago, there is no doubt that an accurate count of our state will be completed.
Beckley: I’m Lindsey Beckley and this is Giving Voice. For this installment of Giving Voice, I’m joined by Kera Lovell, professor of American History at the University of Utah Asia Campus and the author of a forthcoming book about people’s parks. If you haven’t listened to our most recent episode discussing the Black Market Firebombing and the people’s park erected in its place, I recommend you go do so now, as it gives you the context needed to better understand our conversation.
And now, Giving Voice.
[Talking Hoosier History Theme Song]
Beckley: I am here today with Kera Lovell, who is at the University of Utah Asia Campus. She’s a professor of American History there, and she’s currently working on a book about people’s parks. Thank you so much for being here today, Kera.
Lovell: Absolutely, thank you for having me.
Beckley: So, when I was doing my primary research into the Black Market and the people’s park that kind of came out of the Black Market tragedy, I was trying to look into people’s parks a little bit more and came across your work and as soon as I saw it, I knew we needed to have you on the show, so I really appreciate you making the time here in this kind of crazy time of ours to come on the show and kind of chat a little bit.
Lovell: Absolutely, I would love to spend this crazy moment with you that we are having in the world. So absolutely, whatever questions you have.
Beckley: Well, I think that we should probably start at the beginning. Could you give us a little bit of a background lesson about the origins of people’s parks and where the movement kind of got its founding?
Lovell: Yes, absolutely. I think that’s a great question because they’re not the same thing. So, people’s parks, the reason that we know that phrase, and honestly, probably 99% of your listeners are confused about what that even means. People’s parks is a phrase – a “people’s park” is a phrase that we use in the 1960s and, I say “we” meaning “me,” so it’s a phrase that I use to describe a type of protest in the late ‘60s and ‘70s, honestly some examples came through the ‘80s, in which activists took over vacant lots and converted them into parks. And they called them people’s parks and that’s why I call them people’s parks.
So, the first famous one is in Berkeley in 1969; however, that’s actually not the first one. And so my research covers not only that there were people’s parks, because my research is much more interested in what they were saying through protest, about the visual, the material, the performative culture, like how is the act of protest a form of communication, but also how can we embed these protests in their particular cities and contexts.
So, if you actually go to the first one that we know of, the first one that I know of is in San Francisco in 1968, and it’s actually this environmental action group called Ecological Action in 1968. They are planning a movement to protest a landlord that’s buying up housing, and so what they want to do is, in response, is protest it at city council meetings and whatnot. Well, one member of the group is actually killed in this really sad car accident, and so instead, in this act of mourning, in protest of this landlord that’s buying up land, they take over a vacant lot and they turn it into a park. And they do this, performatively, visually, materially – in which they plant trees, they make art, they have these performances in the park. And that’s the first one that we know of that’s not just a garden or a gathering spot, but it’s actually a performance protest piece. And it doesn’t last that long – it’s only a few weeks, but that one, which is super interesting, is at the same spot in which more than a year later is the most famous one, which is Berkeley’s People’s Park. Essentially, we had spectators at that one that was like, “Oh, wow, that’s interesting. I see what they’re doing.” And more than a year later, students at the University of California Berkeley do the same thing in which they’re protesting how landlords are buying up affordable housing from students, and so they’re going to take over this vacant lot and turn it into a park. The only difference is that with the first one, it’s very quiet, and so they just bulldoze over the spot. With the second one, they fence it up and bring in the National Guard, and it’s this terrible standoff in which the National Guard troops kill bystanders, and it’s just this horrible public relations campaign that makes it into national news that then sparks this national movement of students and other people that are taking over vacant lots and turning them into parks. So that’s what I study, not only that they did it and where they did it, but how they did it and what it meant to them in this moment of time.
Beckley: Wow, that’s really interesting. I had never dug deep enough, I guess, to find the actual roots of it. I thought that it started at Berkeley. I guess that was kind of where the national movement started, would you say that’s right?
Lovell: For sure, for sure. Absolutely. And I think that’s the difference. Because with the Berkeley’s People’s Park, and again I say Berkeley’s People’s Park, but there’s more than a dozen of them actually in Berkeley, because they’re so good at their campaign that even around the city, there’s many different people’s parks that are started at this time. But I would say that that park is so successful in its campaign, not necessarily successful in its long term campaign, we can actually see other spaces, and I’m happy to talk about them, in which they’re more successful in being culturally accepted or socially accepted, but Berkeley’s People’s Park that’s right next to the university is the most famous because it’s able to utilize the underground press in campaigning for the idea that it’s unjust, what has happened to them, and really capitalize on tens of thousands of readers in a couple of days’ time span and sort of catalyze them into a protest movement against this.
Beckley: So, when you talk about other parks being more successful in being socially accepted, I know that some parks, like Bloomington’s Peoples Park, was later legally sanctioned – do you see a correlation between a park being socially accepted, or, I guess, the movement behind a park being social accepted, and a later legal sanction?
Lovell: I think that’s a great question. So, yes and no, and I think Bloomington’s a great example because, while it becomes legal, it doesn’t become socially accepted. So, in a lot of these different cases, what you find is that because the historical context changes from protest movements in the ‘60s and ‘70s to the demand for space by the late ‘80s and ‘90s, which, if I’m going to refer you to a historian, there’s a great cultural geographer by the name of Don Mitchell, and he writes a really interesting book about the right to space and about how by the late ‘80s and ‘90s, there’s a push for the homeless, because there is an increasingly white homeless population, and their demand for public space, and how a lot of these different spaces like Berkeley’s People’s Park become an issue over free speech and right to public space become an issue of homelessness and how we’re not actually addressing the needs of that. So, I say that all to mean that most of these spaces become socially, culturally tainted of, like, the people that occupy those spaces are no longer the people that are interested in free speech and politics, but are interested in homeless encampments. And I don’t necessarily have a problem with it – I’m not trying to put my speech one way or the other, I’m just saying that the context has changed from the ‘70s to the ‘80s to the ‘90s, in which we’re much more interested in are people poor, and do they have a right to that space, rather than are they students and more political and in the ‘70s, they were much more interested in are you political, should you be in public space, whereas not it’s are you homeless and should you be in public space.
But one positive example that I give, which is, I think, if we’re looking at ranking these parks, the best example of a people’s park I would argue, is Chicano Park in San Diego. And that begins as an illegal park, and that is because it is park – ok, so let me back it up. So, actually, it’s this group of Mexican Americans in San Diego in Barrio Logan, so what they are campaigning the city council for is a park, for years. And so what happens is that they’re campaigning for a park, campaigning for a park, and they never get it. And so what happens is the area where they had been told was going to be their park, actually one day, the state brings in bulldozers to build police headquarters there by the highway. And so they flip out, and they are, justly, very angry at this, and it actually coalesces with the first Earth Day, April 22, 1970, in which they take over the lot that they’re actually – the state has decided they’re going to convert into police headquarters and they’re like, “No, no, no, no, no, no. We’re going to make this into a park.” So they take over the bulldozers. They start planting their own things. They start having food. Like, they literally take it over and they start an encampment and they’re like, “We deserve a park for our community, because we’re being run out of town.” And so, what’s important is that, because it happens in 1970, about a year later, after Berkeley’s People’s Park, plus they’re interested in legalizing it in a way that they want it institutionalized. They want a park for their community. So they stick with it for the long haul in a way that I don’t know if other spots in other cities are interested in. So, I say that in meaning that what happens is that in San Diego, they get it legalized. They get it institutionalized as that takeover as a park. And what’s really cool is that, not only is it successful in the takeover, but that the people who created the park were much more interested in, “how do we evolve the park? And how do we push it? And how do we create it as part of, embedded in the community?” Which is more than a political symbol of a takeover of a space. Like, Chicano Park, which you can visit today, is involved in local parades. It’s involved in local festivities. It’s involved in local celebrations of Mexican American culture, in a way that it’s institutionalized in not only a protest over, “We want to claim space,” but it’s also an important part of the local culture of San Diego in a way that I don’t see in a lot of other people’s parks otherwise.
Beckley: Do you think that the People’s Park Movement – I know that you had mentioned, the park right before Berkeley’s park, sorry I’m blanking on the name, but that that one was the first that wasn’t just a garden. Now, I know today, or at least a few years ago, guerilla gardening was kind of a big thing. Do you see a influence from the People’s Park Movement in the guerilla gardener movement?
Lovell: That is an excellent question, and I am – the only reason, I am both excited and hesitant to answer, but only because I‘m excited in that you made a connection, but also hesitant in that I also don’t know the exact origin. For example, there are historians in African American history, for example, that have been able to pinpoint guerilla gardening way before Berkeley’s People’s Park.
Lovell: Yea, and so there’s excellent research on, say, if you have poor people that move to a new neighborhood, they create gardens. If you look at immigrants who move to a new neighborhood, they create gardens. And those are inherently guerilla gardens in they’re not on property that they own. So, does Berkeley’s People’s Park make it more fashionable with young college students? I would say yes, because they have a greater handle on popular culture and especially the underground press to push it to become popular. And to be popular meaning that they are trying to make it a political statement. Is guerilla gardening a political statement before Berkeley’s People’s Park? I don’t know if it is. Again, there are historians that will argue that guerilla gardening, for example, during World War I or World War II is a political statement in arguing that it is very much important as a part of a resistance to an “other” identity beyond our country. However, I can’t be a good person to say that, but I’m so glad that you said that, and I think that if you think it’s because, since the late 1960s and ‘70s, Berkeley’s People’s Park has been associated with this leftist political identity of we should take over public space and make it into gardens. However, people have been doing that since there has been land to grow food on.
Beckley: So, I’ve just – my mind’s kind of working now, and I’m thinking of another, I don’t know if I would classify it as a movement, but something that’s happening in, I believe San Francisco, people are grafting fruit tree limbs onto decorative trees in the middle of medians and things like that in order to – ‘cuz those limbs will then produce fruit still – they’re doing that in the hopes of providing a free source of food for the homeless population – do you, especially it being in California, I just, I can’t get past that there might be a connection there but then it just might be that it seems like a good idea and I’m just making connections where there aren’t any.
Lovell: No, I think you’re right on track. I think that the only difference is that in my research, what I can see, is that when this movement starts, and I say movement meaning that there is a huge source of these parks that start in the late ‘60s and early ‘70s, they don’t use the word homeless. So, they use the word street people. They use the word, like, “It’s parks for the people.” And so, they’re interested in, like, “it’s free, because it’s for the people.” So it’s really not until we go to the late ‘70s, early ‘80s, in which we begin to use the word homeless that it begins, that people start to talk about, like, “we need a space for the homeless.” And it’s not because we don’t have people living on the streets beforehand, it’s just, it’s not necessarily part of their identity as, like, a social ill. And again, that’s even problematic to say because if you looked at Reagan, he would definitely say that street people in the late ‘60s and early ‘70s was a social problem and an identity, but they themselves wouldn’t see it. And so, to me, the answer to that question is best explored in the history of Berkeley’s People’s Park, because there’s actually so many archival sources on this one park, because you can go through and see its design over the years and how through the early ‘80s, in which they’re actually thinking about homelessness, and they’re actually thinking about access to people with disabilities, and we have new activist groups that are trying to redesign the park to make it more accessible and to make it more accessible not only for people in wheelchairs but for people that are homeless. And how, it’s never easy, like, they’re constantly struggling with, “how do we design it? And how will people accept it?” And I think it reveals more about how people are more increasingly trying to situate themselves within the context and be better, and yet they’re struggling with the issues that are going on within society.
Beckley: I’m wondering, what do you see as some of the direct legacies of the movement that are still seen in society today?
Lovell: Ohh, that is an excellent question. I think that, if we were fresh on the Occupy Wall Street movement, it would be really easy, because that was such an easy time to be able to say that people are interested in the relationship between space and power. And understanding the idea that if you take over a space in public and you claim it as your own illegally, it is a form of power, and how do people negotiate that? And so, I think that that parallel to what we see in the late ‘60s and ‘70s in which people are much more interested in the performative, symbolic act of, we’re not necessarily going to grow a field and it last for 20 years, but, like, we are going to take this over and see how people react and see how we can bring communities together. So I think that’s one thing that I think people find – it’s confusing for people nowadays that want to have their backyard and find it difficult, the idea that someone would go to a vacant lot and take it over as a symbol of protest – it’s very confusing, and I totally understand that. So I think that, if you take that away and we’re not just looking at symbolism and protest, one thing that I think would be very important is that Berkeley’s People’s Park is this really famous symbol at the very beginning of the environmental movement, so we have a lot of other environmental issues that are going on in America, and yet the human factor of Berkeley’s People’s Park, the fact that, if we’re just looking at symbolism at the end of the day, it’s a lot of people that are planting flowers in this vacant lot and they are shot for that. And for understanding of very different ways. But the fact that people are shot for gardening, it catalyzes this national – even international – movement in which people are interested in planting flowers and are interested in bettering the environment. And we actually see for many years after that in different environmental actions in which they refer to Berkeley’s People’s Park as this moment in which we can see people just trying to care for public space. And so, I think that’s very important that at the time, it was a catalyst for we should take care of the environment and care about it and care about the people that are tending to the environment. And I think that it’s only later because of public relations that we’ve kind of gotten confused on that issue, but at the time that was the number one thing that comes about was that we have environmental action campaigns in Berkeley, nationally, and in other cities that are really important.*
Beckley: I love speaking with you because every time you kind of bring up a new facet of the People’s Parks Movement, I kind of see it reflected in Bloomington’s Peoples Park as small scale as it was. I found a lot of newspaper clippings talking about people experiencing homelessness being there and then being kicked out of there and then camping on sidewalks and being allowed back there with increased police presence. And just everything you say kind of brings me back to Bloomington’s Peoples Park, which is something I love about history -just all of the little connections between such a big national and international movement and something that happened here in Bloomington, Indiana.
Lovell: It’s true! And I didn’t even mention racism, which is such a critical component of Bloomington’s Peoples Park, and which often doesn’t get talked about with the early people’s parks in the Bay Area, but it absolutely was like the first people’s park in San Francisco, which is about ecological, created by ecological action, but what they do is they’re very much interested in how can we create these parks and neighborhoods in which we can bring white people and Black people together? And even with Berkeley’s People’s Park, in which it becomes national news, they’re very much interested in how can we create a space in which we can get the Black Panthers involved? Or we can get anti-racist activists involved. And they’re very interested in how we can use these parks as coalitional issues, which I think is so beautiful about the Bloomington’s Peoples Park, in which it is, even though symbolic, a beautiful moment of coalition for people in that community.
Beckley: Well, I think that is a beautiful place for us to end today. Thank you so much for being on the show. I think that this is one of our best conversations to date, and I cannot wait for people to hear it.
Lovell: Yay! I’m so glad. Thank you so much, Lindsey.
Beckley: Thank you.
[Talking Hoosier History Theme Music]
Beckley: Once again, I want to thank Dr. Lovell for taking the time to talk with me for this episode. We’ll be back soon with another new episode, but in the meantime, follow the Indiana Historical Bureau on Facebook and Twitter for daily doses of Indiana History tidbits. Subscribe, rate, and review Talking Hoosier History wherever you get your podcasts.
Thanks for listening!
*Note: This Giving Voice episode was recorded in May 2020, before the widespread Civil Rights protests began in reaction to the killing of George Floyd and other instances of police brutality across the nation. During the recent protests, some interesting parallels with the People’s Parks Movement have emerged, the most striking of which is Seattle’s Capitol Hill Autonomous Zone. The Autonomous Zone, alternately called the Capitol Hill Occupied Protest (CHOP), is a section of Seattle’s Capitol Hill neighborhood which has been occupied by protesters and labeled as a “no-police zone.” It is meant to be a place to live out the ideals behind the Black Lives Matter movement, an experiment in decreased policing and communal living. The parallels between CHOP and the People’s Park Movement are very clear – a group of people have illegally taken over public spaces visually, materially, and performatively in order to demand action. As of June 23, 2020 the CHOP is still active, although Seattle Mayor Jenny Durkan has announced that the city will be working with Black community organizers to clear the encampment after three shootings occurred in the area.
Since at least the late-19th century, art galleries and critics have focused most of their attention on young, emerging artists. This strategy has paid off for savvy dealers and galleries, as these rising stars of the art world have brought in large amounts of money and produced blockbuster shows. The downside of this trend for the artists themselves, is that it can be difficult to find places to exhibit and sell their work as they get older. This is especially disappointing, as many artists peak later in life and produce their best work in their golden years. In this way, an artist’s best work might go largely unappreciated. 
There are signs that this reign of young artists may be coming to an end. For example, the Tate announced that artists over the age of 50 would now be eligible for the coveted Turner Prize, awarded to a British artist each year for innovation in the arts. This shift recognizes that older artists can also be innovators. 
Meanwhile, the Museum of Modern Art [MoMA] recently featured an exhibition titled The Long Run, which featured artists who were at least 45 years old when they made the exhibited piece of artwork. Most were much older, like Georgia O’Keeffe, who painted From a Day with Juan II at 90. The MOMA explained:
Innovation in art is often characterized as a singular event—a bolt of lightning that strikes once and forever changes what follows. The Long Run provides another view: by chronicling the continued experimentation of artists long after their breakthrough moments, it suggests that invention results from sustained critical thinking, persistent observation, and countless hours in the studio. 
The Carter Burden Gallery, which like other New York City spaces sells its artists’ works for thousands of dollars, is different in one significant way. All of its exhibited artists are 60 or older. The gallery’s director Marlena Vaccaro told NPR:
Older adults do not stop being who they are because they hit a particular age. Professional artists never stop doing what we do, and in many cases we get better at it as we go along. 
Simply put, some artists get better with age. This was true for Indiana artist Will Vawter. He began his artistic career in the 1890s as a talented but unremarkable illustrator for his local newspaper. He gained popularity mid-career for his drawings that brought the children’s books of James Whitcomb Riley to life. Vawter peaked, later in his life, as one of the finest landscape artists ever to work in Indiana. As the current art world shifts to include older artists, it’s worth examining one Hoosier painter who produced his best work in his late 60s. Will Vawter’s late-blooming reminds us to give exhibit space to older artists, not for the sake of inclusion only, but because we don’t want to miss out on the best work of their careers.
The Early Years of Will Vawter
John William “Will” Vawter was born in West Virginia in 1871 and moved with his family to Greenfield, Hancock County, Indiana, by 1880.  He worked as an illustrator for the (Greenfield) Hancock Democrat before becoming an illustrator at the Indianapolis Sentinel and the Indianapolis News in 1891.  In 1893, Vawter got his big break. The Indianapolis Journal dedicated a full page to an exclusive new poem by James Whitcomb Riley.  The Journaldescribed the special edition, produced to coincide with a large national Grand Army of the Republic meeting, as “by far the most expensive and delightful feature ever offered its readers by an Indianapolis newspaper.” The newspaper prominently featured Vawter’s illustrations of the poem.
By the time Vawter started his illustrations for Riley, the “Hoosier Poet” had achieved national renown, and several of his volumes of poetry were best-sellers.  Riley was known for using “Hoosier dialect” to create poems “infused with the very spirit of the Hoosier soil from which they sprung.”  Likewise, Vawter honed his artistic skills observing life around him for local newspapers. Both men were Greenfield natives and keen observers of the local culture that colored Hoosier life. In this way, Vawter was uniquely positioned to interpret Riley’s work. Thus, the Riley-Vawter pairing, initiated by the Indianapolis Journal, was the beginning of a long creative partnership.
The Riley Years
In 1898, Indianapolis publisher Bowen-Merrill Company reissued a collection of Riley poems as Riley Child-Rhymes. Vawter’s illustrations were heavily featured in the book. In an extensive interview with the Indianapolis News, Riley described Vawter’s innate ability to capture the spirit of the folks depicted in the poems. Riley stated:
It is a very gratifying thing to find an artist who is unconsciously aware of the exact situation and who understands his own intimate surroundings. Will Vawter is such an artist. There is no vagueness in his interpretation of the poems of this book. He is a Greenfield boy, and natively an artist . . . He depicted people and things in no patronizing way. They are taken in a realistic spirit; he is of them. 
Riley went on to describe the importance of understanding the subtlety of local dialect when dealing with characters like the “town gossip,” for instance. He continued on Vawter’s ability to capture these individuals:
All these characteristics have been unconsciously observed by young Vawter. Now that he comes to sit down and illustrate these scenes and people, he knows his material and surroundings perfectly . . . While he may be criticized for lack of technical finish, it would be dangerous to equip him with an exacting technical art knowledge . . . This would be to the absolute loss of native feeling, of the tone and direct blood relationship that is needed in his work. 
Riley’s comments are a mixed bag. He praised Vawter for his talent, but noted his unpolished rendering skills. He admired the way Vawter captured in ink the very people Riley depicted in words, but implied that the artist did so out of naiveté. Vawter captured their essence only because they were just the kind of folks that the simple young man knew and understood. At this early point in his career, Riley did not see Vawter as an artist with a vision of his own. Vawter would prove this assumption wrong much later in his career.
The fact that Riley’s appreciation for Vawter grew over the following years is evidenced by the sheer number of times the author paired with the artist on lushly-illustrated volumes of poetry. Vawter illustrated:
Riley Farm-Rhymes (1901, 1905 editions), The Book of Joyous Children (1902), His Pa’s Romance (1903), A Defective Santa Claus (1904), Riley Songs O’ Cheer (1905 edition), The Boys of the Old Glee Club (1907), Riley Songs of Summer (1908), Riley Songs of Home (1910), Riley Songs of Friendship (1921 edition).
Vawter also created front pieces for Riley’s A Child-World (1897) and Home Folks (1900), and illustrations for short Riley volumes Down Around the River and Other Poems (1911) and Knee Deep in June and Other Poems (1912). 
A Golden Age for Greenfield
Vawter illustrated a children’s book for another Greenfield author: his sister, Clara Vawter. “Miss Clara” as the local newspapers called her, was a rising star of the Indiana literary scene. She was writing for “several publications of prominence,” her work was read aloud and praised by the Western Writers’ Association, and publishers had written her “offering to pay her handsomely for her literary work.” The illustrated book by the Vawter siblings, Of Such Is the Kingdomof Heaven (1899, later published as The Rabbit’s Ransom) was widely praised not only for stimulating the imaginations of children, but also for appealing to the nostalgia of older people. Unfortunately, every article that mentioned Miss Clara’s promise as a writer, also noted her “delicate health” and she died in 1900. Of Such Is the Kingdom was her only published work. 
Vawter contributed art to other Greenfield authors. He illustrated historian and poet John Clark Ridpath’s Epic of Life (1893) and contributed engravings to William H. English’s two-volume history Conquest of the Country Northwest of the River Ohio, 1778-1783 (1897). And he illustrated a children’s book by Greenfield author Adelia Pope Branham called Grandma Tales and Others (1899) and poet Barton Rees Pogue’s work Fortunes in Friendship (1926).  He made art for numerous other Indiana authors outside of Hancock County.  And by the turn of the twentieth century, his original book illustrations were exhibited around the country. 
The Rise of American Impressionism
By this time, Vawter was an accomplished illustrator, working in a popular style, and highly demanded by publishers. With the drastic increase in number and circulation of illustrated journals across the country, an illustrator like Vawter could stay gainfully employed in that medium. At the same time, American artists were hungry for an artistic style they could call their own. American painters educated in Europe were returning with the influence of French impressionism – broad, quick strokes, a bright palette, an eye for capturing the effects of light, and a desire to paint en plein air, or outside the walls of the studio. For example, Indiana-born painter William Merritt Chase shifted from the darker tones of the Munich school where he was trained as a young man, to the bright, impressionist style of the era’s avante garde painters during his mid and late career. Working out of his studio in New York, Chase and his colleagues helped to define this style of American Impressionism. These artists remained at home, painting scenes of life and landscape in the United States, as opposed to expatriating to European art capitals like their predecessors. While they drew on artistic elements from European styles as they saw fit, their goal was to create a uniquely American style of art. 
The Aesthetic Pull of Brown County
Another Hoosier painter took this localism further, pushing his cohorts to not just remain in the U.S., but to paint the beauty of their home state. T. C. Steele followed in Chase’s footsteps, studying in Munich before returning to live and work in Indianapolis. Steele found his calling in the Indiana landscape and his muse in the hills of Brown County. Steele’s plein air paintings captured the light and natural beauty of the region and helped establish the reputation of the Hoosier Group, painters of the Indiana landscape that achieved international recognition by 1900. 
Someone of Vawter’s artistic sensibilities could not help but be influenced by this aesthetic shift, as well as the renown of the Hoosier Group. By 1909, Will and his wife Mary moved to Brown County, Indiana, just south of Nashville on a scenic farm they jokingly called “Rattlesnake Terrace” after some of the local fauna. Vawter set up a studio in an “old clapboard-roofed log cabin” with an expansive view of the property. Reportedly he kept a cow grazing on the property, despite the fact that it gave very little milk, because it added “picturesque interest to the landscape.”  While Vawter continued to derive his income from newspaper and magazine illustration, he too was enraptured by the Brown County landscape and began to work in an impressionist style influenced by the Hoosier Group. 
Vawter was known to be kind and became popular with the locals. A 1917 Indianapolis News article reported on a little girl who came to visit him in his studio, carrying a well-loved doll. Noticing that the doll’s painted face had faded, Vawter “painted a new face with the rosiest cheeks and a beautiful pair of unwinking blue eyes.” The little girl left “bubbling over with gratitude.” Vawter went back to his work, but only for a few minutes. He was interrupted by another little girl holding her doll, and a half hour later, he had a dozen little fans gathered outside the studio. He quit trying to work and “gave up the day to making faces for all kids of dolls, from the old-fashioned rag baby to the most pretentious efforts in wax.” After fixing everyone’s toy over the course of a day, he joked that “this beauty parlor has closed.” 
Vawter was just as generous with his fellow artists. After becoming interested in etching in 1919, he opened up the small studio he had moved to in downtown Nashville, Indiana, to his peers. The modest room stood over a grocery store and still displayed the sign of the previous occupant, a realtor. It housed a copper plate printing press, cans of ink, cheesecloth for wiping the plates, a table, and a stove.
The Brown County Democrat reported:
It is understood between the few members of a little community etching and printing club that any member is free to use the press, stove, table, etc, but no member must be guilty of using any other member’s printing rags. 
In September 1919, Vawter exhibited some of these etchings at the H. Lieber Company art store in downtown Indianapolis, along with oil paintings by Steele and others.  While his work gained popularity across the state, Vawter worked to enhance the art scene in Brown County.
By August of 1920, Vawter and fellow artist Adolph R. Shulz, were working to establish an art museum. They found support in unlikely places, both with artists and locals hoping that such an art center would preserve the “nature wonders of a country that is fast losing its old-fashioned atmosphere,” and local businessmen who saw it as a means to increase tourism.  Their dream became a reality in 1926 with the opening of a gallery on the public square. The artists and locals supporting the gallery formed the Brown County Art Gallery Association in order to open quality exhibitions to the public. 
In 1925, the work of Vawter and his fellow Brown County artists was exhibited at the art galleries of Marshall Field & Co. in Chicago. This exhibit, known as the “Hoosier Salon,” was popular and well-covered by the press, thus establishing Vawter permanently in the canon of great Indiana artists. For his oil painting Our Alley, which depicted a winter scene in Brown County, he won the Frank Cunningham prize and one hundred dollars. He continued to exhibit regularly at the H. Lieber gallery in Indianapolis and the Hoosier Salon in Chicago into the 1930s. 
The Late-Blooming of Vawter
But it was in the last years of his life that Vawter created his finest work. No one was better poised to observe this development than Lucille E. Morehouse, an insightful art critic whose popular column “In The World of Art” ran for decades in the Indianapolis Star.  In 1936, she covered the Annual Brown County Exhibit at the H. Lieber Company galleries, as she did every year. Morehouse clearly had a fondness for the Brown County artists but also a certain weariness of their subject matter, the landscapes of the county in various seasons, which had become standard fare by the 1930s. Nonetheless, she covered the show in her usual energetic and descriptive manner, because it was still in demand by the public. She explained that the show’s popularity was owed to Indianapolis residents, who vacationed in Brown County and looked to the paintings as reminders of their scenic vacations.
She explained that the public appreciated that Brown County Artists hadn’t changed their style, that they resisted modernism, and made pictures that could “smooth away the cares of the day.”  On the other hand, Morehouse wrote: “Sometimes we wish they would paint new subjects or would interpret the old ones in a different angle.” Vawter did just that. Unlike his colleagues, Vawter began to travel in his later years and it refreshed his work. Morehouse especially praised Vawter’s recent painting Blue Pool, which was “one of the fine things from the group of New England coast scenes and Marines.” 
Besides exhibiting his reinvigorated work alongside the Brown County artists, Vawter showed his marine paintings in a one-man show at the H. Lieber Company gallery. Morehouse praised his bold paintings in a lengthy article.  Comparing his marinescapes with an earlier, popular Brown County fall landscape, she wrote:
When a Hoosier from the Brown county woods goes East to paint New England coast scener[y], one might expect him to go about it timidly. Not so Will Vawter. He makes his brush slash into the ocean just as if it were putting “the glory of autumn” on canvas. 
For Morehouse, who had long been familiar with Vawter’s work, these paintings of coastal scenes were like seeing his work fresh for the first time. She wrote:
But I never have been able to throw off my early feeling of wonder when I back away from a broadly-painted canvas and see form emerging from massively-painted surfaces over which the brush had evidently moved with more or less of inspiration. 
She continued to praise the spontaneity of the work and the “striking evidence of genius” in his mastery of form and “expression of light and atmosphere.”  The works were vigorous, alive, and fresh, proving the innovative spirit of the older artist.
In 1938, Vawter again held a solo show. This time he combined his seascapes with other scenes from his travels, including hilly landscapes painted on the East Coast. In a show of maturity as an artist, he also included new, but traditional views of Brown County. He could both try new things and showcase his mastery of the light and scenery of his home county. Morehouse took note:
What a heritage Will Vawter will leave to Hoosierdom! The longer he paints, the more beauty he captures from nature and transfers to canvas. Because the present exhibit is so all-inclusive, representing every phase of his work. 
Morehouse described his Brown County landscapes as “lusciously painted,” his flower still lifes as “vigorously alive,” and again praised his adventuring beyond his home state for new subject matter.  She concluded that Vawter’s 1938 exhibit “surpasses all previous showings by this gifted Hoosier painter of landscape.”  At 67 years old, Vawter was reaching his artistic peak.
In 1940, just two months before his death, Vawter held what would be his last one-man exhibition. It surpassed all previous exhibitions, even the acclaimed 1938 show. Vawter showed nineteen paintings, including tranquil seascapes, the Great Smoky Mountains in early fall, the New England coast in spring, and Brown County landscapes from all seasons. For Morehouse, even his paintings of traditional flower still lifes felt fresh and vibrant. She explained that Vawter didn’t just reproduce the appearance of the plants, but that “he interprets the souls of flowers, makes us feel their personality.” In fact, Morehouse regretted that she couldn’t do Vawter justice by describing his paintings; you just had to see them. She wrote that he depicted something “spiritual that can be expressed only in terms of paint, and not in words.”
Vawter passed away in 1941 after a forty-eight year long art career. But before he died, he mastered not just the technical aspect of art, but found in the heart of his life’s work a spiritual connection to nature so powerful it could be sensed secondhand by the viewer. Will Vawter remains an example to artists everywhere to keep working, despite obstacles the art world places before older artists. By considering the long career of a late-blooming artist, we see that artists can do their best work in their autumn years. Hopefully, art museums and galleries will continue to make more space for this mature, yet still innovative and evolving work.
Notes: All newspapers accessed Newspapers.com unless otherwise noted.
 Susan Stamberg, “This New York Gallery Has an Unusual Age Limit: No Artists Younger Than 60,” Morning Edition, January 11, 2018, NPR.
 The Long Run, MoMA, November 11, 2017-May 5, 2019.
 Stamberg, “This New York Gallery . . .,” NPR.
“The Eclectics,” Indianapolis News, May 14, 1879, 4, accessed Hoosier State Chronicles; “Seriously Hurt,” (Greenfield) Hancock Democrat, July 24, 1879, 3; 1880 United States Census (Schedule 1), Enumeration District 194, Greenfield, Hancock County, Indiana, Page 15, Line 27, June 5, 1880, accessed AncestryLibrary.com; “Eclectic Physicians in Council,” Indianapolis News, November 17, 1880, 3. Newspapers and the 1880 census show Will Vawter’s father Lewis working as a physician in Greenfield by 1879. The 1880 census confirms the family’s move.
 (Greenfield) Hancock Democrat, March 5, 1891, 1; (Greenfield) Hancock Democrat, April 9, 1891, 1; “Notes of Newspaper Men,” Indianapolis News, December 5, 1891, 7.
 James Whitcomb Riley,“Armazindy: A Borned Soldier and Hero,” Indianapolis Journal, September 5, 1893, 13, accessed Hoosier State Chronicles.
 “That Girl Wuz, and Is, I know, A Borned Soldier and Hero,” Indianapolis Journal, August 30, 1893, 4, accessed Hoosier State Chronicles.
 Advertisement, Indianapolis News, October 14, 1893, 9, accessed Hoosier State Chronicles.
“A Co-Worker with Riley,” Indianapolis News, reprinted (Greenfield) Hancock Democrat, December 8, 1898, 5.
 Most of Riley’s books featuring Vawter’s illustrations are accessible via Livin’ the Life of Riley Digital Collection, IUPUI University Library. Most other Riley books are accessible via Hathi Trust. First editions are accessible through the Indiana State Library. Vawter’s illustrations for Riley Songs of Cheer are accessed through Newfields.
 “New Authoress Rapidly Coming to the Front,” Hancock Democrat, September 21, 1899, 5; “Of Such Is the Kingdom,” Indianapolis Journal, December 11, 1899, 4; Book Buyer 19: 2 (September 1899), 83, accessed HathiTrust; “Miss Clara Vawter Dead,” Indianapolis News, October 12, 1900, 14.
 John Clark Ridpath, Epic of Life (New York: Hunt & Eaton, 1893), accessed HathiTrust; “Mr. English’s New Book,” Indianapolis News, December 14, 1895, 5; William Hayden English, Conquest of the Country Northwest of the River Ohio, 1778-1783 and, Life of Gen. George Rogers Clark (Indianapolis: Bowen-Merrill Company, 1897), accessed Archive.org; Advertisement, (Greenfield) Hancock Democrat, June 1, 1899, 1; “Greenfield Genius,” Hancock Democrat, June 8, 1899, 8; Adelia Pope-Branham, Grandma Tales and Others, (Greenfield, Indiana: Harold Pub. Co. Press, 1899), accessed Archive.org; “Greenfield Now at the 5,000 Mark,” Indianapolis News, November 30, 1901, 3; Charles H. Bartlett, Tales of Kankakee Land (New York: Charles Scribner’s Sons, 1904), accessed HathiTrust; “C. H. Bartlett’s New Book,” South Bend Tribune, April 9, 1904, 6; John William Vawter, Sheet of 15 Illustrations to Barton Rees Pogue’s ‘Fortunes and Friendship,’ pen and ink over pencil on paper, n.d., Prints, Drawings, and Photographs Collection, Indianapolis Museum of Art.
 Robert J. Burdette, Smiles Yoked with Sighs (Indianapolis: Bowen-Merrill, 1900), accessed HathiTrust; “Recent Literature,” St. Louis Globe-Democrat, June 30, 1900, 13; Advertisement, Indianapolis News, November 14, 1903, 6, accessed Hoosier State Chronicles; Wallace Bruce Amsbary, The Ballad of Bourbonnais (Indianapolis: Bobbs-Merrill Company, 1904); “The Ballads of Bourbonnais,” Indianapolis News, May 7, 1904, 16; “Among the Books,” Topeka State Journal, June 4, 1904, 13.
 Advertisement, (Rochester, New York) Democrat and Chronicle, October 29, 1898, 8; “Exhibit of Paintings by Indiana Artists,” Indianapolis Journal, April 24, 1904, 16, accessed Hoosier State Chronicles; “Exhibit of Original Drawings for Novels,” Indianapolis News, March 20, 1905, 8. Vawter’s illustrations from Riley’s Child Rhymes were exhibited in Rochester, New York in 1898. In 1904, his original illustrations were exhibited at the H. Lieber Art Gallery in Indianapolis and the St. Louis Exposition; in 1905, at the Indianapolis “city library.”
 (Greenfield ) Daily Reporter, October 9, 1908, 2; (Greenfield) Daily Reporter, April 7, 1909, 2; (Greenfield) Daily Reporter, May 11, 1909, 1; (Greenfield) Hancock Democrat, May 13, 1909, 1; “Vawter’s Brown County Home,” (Greenfield) Daily Reporter, August 8, 1909, 1; “Rattlesnake Terrace, the Vawter Home,” (Greenfield) Hancock Democrat, August 12, 1909, 6, accessed Newspapers.com; N. L., “A Day in the Artists’ Arcadia in Brown County,” (Muncie) Star Press, September 5, 1909, 14; (Greenfield) Hancock Democrat, October 28, 1909, 8.
 William Forsyth, “Art in Indiana,” Indianapolis News, September 27, 1916, 12, accessed Hoosier State Chronicles; “Paintings of Local Artists Exhibited,” Indianapolis News reprinted (Greenfield) Hancock Democrat, December 27, 1917, 4; “Brown County Pictures,” Indianapolis News, September 17, 1919, 26, accessed Hoosier State Chronicles; William Herschell, “Will Vawter’s Home in Brown County,” (Greenfield) Daily Reporter, August 5, 1920, 1; “Art Notes,” Indianapolis News, December 4, 1920, 5; John William Vawter, Barnes Cabin on Owl Creek, Brown County, circa 1920, Oil on Canvas, Indianapolis Museum of Art; Will Vawter, Sunshine and Hollyhocks, 1925, Oil on Canvas, Private Collection, published in Lyn Letsinger-Miller, Artists of Brown County (Bloomington and Indianapolis: Indiana University Press, 1994), 41.
 “Little Stories of Daily Life,” Indianapolis News, May 3, 1917, 24, accessed Hoosier State Chronicles.
 “Produced in Brown County Etching Club Shop,” Indianapolis News, June 7, 1919, 18, accessed Hoosier State Chronicles; “Brown County Etchers’ Club,” Brown County Democrat, June 12, 1919, 5.
 Ibid.; “Brown County Pictures,” Indianapolis News, September 17, 1919, 26, accessed Hoosier State Chronicles.
 “Will Vawter’s Home in Brown County,” (Greenfield) Daily Reporter, August 5, 1920, 1; “Urge a Museum to Keep Romance of Hoosier Art,” South Bend News-Times, August 12, 1920, 7, accessed Hoosier State Chronicles.
 “Brown County Art Gallery at Nashville,” Brown County Democrat, September 2, 1926, 1; “Brown County Art Gallery Is Assured,” Brown County Democrat, September 9, 1926, 1; “New Art Gallery,” Huntington Herald, September 8, 1926, 8; “Artists in Brown County Organize,” Indianapolis Star, September 8, 1926, 1; “Art Gallery Association Grows Rapidly,” Brown County Democrat, September 16, 1926, 1; “Open Art Gallery in Brown County,” Indianapolis Star, October 9, 1926, 5; “Vawter Heads Local Artists’ Association,” October 23, 1930, 1.
 “Brown County Artists at Exhibit in Chicago,” Brown County Democrat, March 5, 1925, 1; “Winter Scene Wins Prize for Artist,” Indianapolis Star, March 14, 1925, 11; “Richmond Man Wins Art Prize,” Richmond Item, March 7, 1926, 1; “46 Paintings by Brown County Artists Put on Display at Lieber’s Galleries,” Indianapolis Star, November 16, 1927, 24; “Vawter’s Landscape Wins Prize in Exhibit at Hoosier Salon in Chicago Galleries,” Indianapolis News, January 31, 1928, 7; “Eighth Hoosier Salon Will Be Held in Field Galleries Jan. 23 to Feb. 6,” Indianapolis Star, December 20, 1931, 50. Other newspaper articles on Vawter’s exhibitions available in the IHB marker file.
 “Miss Morehouse Dies; Ex-Art Critic,” Indianapolis Star, February 19, 1961, 27.
 Lucille E. Morehouse, “In The World of Art: Local Art Exhibitions Scheduled for December Are Distinctly Inviting and of Unusual Character,” Indianapolis Star, December 6, 1936, 75.
 Lucille E. Morehouse,”In The World of Art: Brown County Landscapist Turns Marine Painter; One-Man Show at Lieber Gallery for Another Week,” Indianapolis Star, November 22, 1936, 65.
[33 – 35] Ibid.
 Lucille E. Morehouse,”In The World of Art: Will Vawter’s Exhibition Tops Previous Shows,” Indianapolis Star, December 18, 1938, 69.
As you’re likely in your second or third week of social isolation, you’ve probably done everything you can think of to occupy yourself. You’ve exercised at home, binged all your favorite shows, cleaned and dusted, and reread your favorite books. What else is there to do?
Puzzles!—a longtime mainstay of home-bodied folks. Whether it’s crosswords or word searches, tabletop jigsaw puzzles or drawing games, puzzles can be a welcome pastime. These three stories from Hoosier State Chronicles, our freely-accessible digital repository of nearly a million pages of historic newspapers, will challenge your mind and warm your heart. The first item comes to us from nearly 100 years ago, in the August 28, 1920 issue of the Richmond Palladium and Sun-Telegram. This puzzle, known as “Pencil Twister,” was printed in the Junior Palladium section of the paper, a four-page insert published on Saturdays.
Do you think you can complete the picture? (You can view the answer here.) You would copy the object shown onto a blank piece of paper and then turn it 90-degrees counterclockwise.From there, you would attempt to complete the drawing based on a clue, which for this puzzle is “Can you change Santa into an Apricot Sundae?” I hope that you got it! This drawing puzzle is a bit different than most of your average brain games.
Next up is an inspiring story from the October 29, 1983 issue of the Indianapolis Recorder. It centers on the life of Bertie Miller, a retired nurse’s aide and secretary who devoted her golden years to jigsaw puzzles—using only one hand to complete them. Years before, Miller lost her right hand to an amputation following a stroke, but that didn’t stop her. Her passion for puzzles started around that time, when her friend asked her to help finish one. “By having use of only one hand,” Miller shared, “I didn’t think I would be much help—I looked past my handicap and helped her.” After that, she was hooked. Over the next seven years, she completed roughly 200 jigsaw puzzles, many of which she had framed for display in her room at the Central Healthcare Center where she lived. She even won a blue-ribbon award at the Indianapolis Black Expo for one of her puzzles.
Alongside her jigsaw joys, Miller kept herself busy with distributing mail to her fellow residents at the Central Healthcare Center, playing bingo, chatting with other residents who were room bound, and attending church. She was also a grandmother to seven and great grandmother to another seven, all of whom she would regularly visit with. The Recorder called her a “truly remarkable and independent lady.”
Mary Jane Allen, activity director for the center, remarked on Miller’s love for puzzle craft. “Among Mrs. Miller’s favorite puzzles to work have been The Lord’s Supper, the Changing of the Guards, animals, flowers, antique cars and a large puzzle of kinds of jellybean candies.” Allen also reflected on how this hobby improved Miller’s life for the better. “She has rehabilitated herself with this hobby and is learning to use her good hand,” Allen said. Miller loved sharing her hobby with others; her completed puzzles adorned the walls of the center and were given to fellow residents as gifts. Bertie Miller “hasn’t let her handicap prevent her from living and [bringing] happiness to others,” the Recorder noted. During your time at home, dust off your puzzles and finish one in Bertie’s honor.
Our final story comes from a May 4, 2001 article in the Indianapolis Recorder that also reports on jigsaw puzzles but focuses this time on their educational value. W. Bruce Adams, an entrepreneur who worked as a salesman for iconic game company Parker Brothers, started his own venture creating African American history themed jigsaw puzzles. “I couldn’t believe that 10 years after I left Parker Brothers there were still no puzzles with African-American themed images on them,” he said. This inspired Adams to develop his own line of African American themed puzzles. “I looked all over and couldn’t find any,” he remembered. “I said ‘this is a perfect opportunity for me to start a business, doing something no one else is doing.’”
Adams’s passion for culturally-relevant products may have started when he worked as an intern for the trailblazing congresswoman and presidential candidate, Shirley Chisholm. Realizing law wasn’t for him during his work with Chisholm, Adams found his calling in sales and worked for Parker Brothers, as well as Gabriel Toys and Bristol-Myers. It was at Parker Brothers that he first discovered there were no African American themed games, so he started developing prototypes in his spare time that he sold at flea markets, yard sales, and trade fairs.
Adams began his own game company around 1998, with his first two puzzles centered around African American history. The first, “Portrait of African American History,” highlighted important figures such as Harriet Tubman, Frederick Douglass, and Dr. Martin Luther King, Jr. The puzzle “The Dream, Martin Luther King, Jr.” focused exclusively on the civil rights leader and orator. Later, he created puzzles focusing on Kwanzaa and Kenyan culture. Adams developed these puzzles and others with African American artists, such as Brenda Joysmith, Synthia St. James, Charles Bibbs, and Paul Goodnight. His roster grew to 20 puzzles by 2001.
Customers at flea markets and trade shows were thrilled with Adams’s puzzles, citing their educational value. Adams recalled:
When I was doing flea markets, African American parents would always come up to me and ask, ‘Do you have any African-American educational puzzles?’ Puzzles are very educational because they teach eye hand coordination skills, they help your memory, and I noticed that a lot of African Americans bought puzzles.
His success with the company led to retailers like Walmart and Toys “R” Us carrying his products, which sometimes sold out too quickly for his small sales staff to keep up with. In an effort to meet demand, the company used telemarketing and the internet to get the word out about his puzzles.
Alongside puzzles, Adams developed educational CD-ROM games with Lady Sala Shabazz, a nationally-syndicated radio host and independent children’s book author. He also developed puzzles with food entrepreneur and television personality Wally “Famous” Amos. Adams’s dedication to fun games with a message should encourage you to take advantage of the time you have at home, to perhaps finish a puzzle with a historical or educational theme. If you have kids, bring them in on the fun!
We hope these stories of puzzles, games, and community have helped uplift you. It’s through all of our actions that we can extend our sense of Hoosier kindness to ourselves and others. Now, get to puzzling!
The Wiggler. The Pikie. The Darter. The Injured Minnow. These are just a few of the popular lures crafted by the Creek Chub Bait Company during the twentieth century. Established in Garrett, DeKalb County, Indiana in 1916, the Creek Chub Bait Company became one of the country’s leading manufacturers of artificial fishing lures.
Each lure was a work of art, featuring the finest craftsmanship and attention to detail. From the company’s onset, owners Henry Dills, Carl Heinzerling, and George Schulthess placed an emphasis on quality for their products. Dills wanted the lures to be attractive to fishermen and fish alike, and worked alongside others within the company to ensure that they had a lifelike appearance and motion to help attract fish.
As early as December 1915, before the company officially began producing lures, Dills filed an application to patent new improvements in fish baits by adding a metal lip, or mouthpiece, attached to the front of the lure. According to the patent, the addition would help produce ripples, throw spray, wriggle, and dive similar to the way a minnow would, thereby attracting fish. The patent (1,352,054) was approved September 7, 1920.
Creek Chub’s Wiggler, introduced in 1916, was among the first to feature the metal lip. According to Dr. Harold E. Smith in his Collector’s Encyclopedia of Creek Chub Lures & Collectibles, the company’s 1922 catalog advertised the Wiggler as “‘three baits in one.’ With the lip in the standard position, it was a diving, wiggling bait. In the reversed position, it became a water-splashing surface lure. Take the lip off and it was a darting surface lure.” Dixie Carroll also described the added movement to the lure in “Fishing, Tackle and Kits” in 1919, noting: “A small metal plate in the mouth of the chub gives a fine bunch of wiggles and wobbles and by moving the plate and reversing it you have a surface splatter lure . . .”
In July 1918, Dills filed another patent application to improve the lures by adding a scale-like appearance on their surface that would imitate a natural minnow. According to the patent (Patent 1,323,458), the lures would feature “a cigar-shaped wooden body, to which various coatings of coloring material are applied.” Employees used a non-lustrous color for the background body of the lure and then proceeded to wrap a cloth netting around it and spray a lustrous coloring material through the netting to form the scale-like pattern.
The scale finish evolved over time and helped revolutionize the industry by resembling natural food for fish. Advertisements in popular publications like Outing praised the lures, noting: “Accurately represents a minnow down to the silvery scales. Wonderful lifelike movements. Convertible.” Fishermen from around the country agreed, often writing to the company to boast of the record-size fish they caught using these lures.
By the time a Creek Chub lure was completed and ready to ship to a customer, it often featured as many as fourteen or fifteen coats of primer, paint, and lacquer. Even the wood used early on for the bodies – white cedar – was of the highest quality. Over time, the designs and range of colors expanded greatly. The company also made specialty colors and custom orders upon request. In 1936, the Garrett Clipper noted that the patents for the natural scale finish and the mouthpiece were among the most important patents ever issued in the tackle industry.
From its earliest years, Creek Chub featured a largely female workforce. Some attributed this to the delicate nature of the lures and the work they entailed, which they believed women were better suited to perform. Dr. Harold E. Smith writes that “women were selected preferentially over men because management felt they were . . . ‘endowed with a better appreciation of color and detail.’”
Wanted ads in the Garrett Clipper frequently promoted jobs for girls and young ladies at the company, and articles often referenced the “girls” employed in the finishing departments, and sanding and dipping rooms.
By the 1920s, Creek Chub was shipping its lures all over the United States and Europe. Between January and July 1925, the Garrett Clipper published several pieces on international sales. For example, on March 19, 1925, it reported that Creek Chub had recently received orders for 180 dozen bait from Stockholm, Sweden, 178 dozen from Finland, and 31 dozen from Toronto, Canada. In April, the paper recorded orders from Waines, Hawaii (Hawaii did not become a U.S. state until 1959) and Bombay, India, and in July, it reported that the company had shipped 24 dozen lures to Reddich, England.
On January 20, 1936, the Garrett Clipper provided a summary of the company and described its continued growth since its founding in 1916:
Since then sales have increased from year to year and are made not only in this country and Canada, but lures are sent to 48 foreign countries, France and Sweden receiving the largest shipments. The sales demand in Canada is so large that a Canadian branch has been established, the work being conducted by Allcock, Laight & Westwood company, Toronto, Ont. Although in its infancy, the plant has been doing a large business and the prospects for its growth are fine.
In 1939, as war clouds gathered over Europe, business at Creek Chub Bait Co. reached a new peak. Production and sales were up and employment remained steady. Despite its success though, the company was already beginning to feel the effects of the conflict abroad. Finland and England had been Creek Chub’s top buyers prior to the war, but both markets quickly closed as each country became engaged in the conflict. The company also purchased many of its treble hooks, which it used on its lures, from Norway and England.
By August 1941, Creek Chub experienced great difficulty acquiring the necessary hooks and other supplies for its famous lures, as materials were reserved for defense industries. Supply markets from Norway were shut off and an embargo on trade between the United States and Japan stopped the shipments of hooks from that country as well. On August 21, 1941, the Clipper warned about the future of Creek Chub, writing:
. . . unless there is some early change in the world situation the business of the company will be greatly restricted, if not entirely stopped.
The outlook for the company became bleaker throughout 1942 following orders from the War Production Board curtailing the manufacture of fishing lures. On May 8, 1942, the Angola Herald reported that Creek Chub would cease production on May 31, in accordance with government orders. In response, Creek Chub petitioned the War Production
Board to allow it to use the metal it had on hand, which it estimated at approximately six months’ supply. By early June, the War Production Board gave the company permission to continue manufacturing lures during the month, and throughout the summer it granted temporary extensions that allowed Creek Chub to continue production, albeit at a much reduced rate. On January 28, 1943, the Garrett Clipper noted that Creek Chub employed thirty people, two to three times less than it had before the war. Employment decreased again slightly the following year, but the company remained open, using the limited materials it had on hand to produce lures.
By January 1945, employment began to increase as more materials became available and in September 1945, Creek Chub received its first shipment of steel hooks from Norway since the beginning of the war. Business was slowly getting back on track. Wanted ads for female employees began populating the local newspaper’s pages once again as the company sought additional employees to meet production goals and fill the backlog of orders that had accumulated during the war. By late December 1946, Creek Chub announced that it had leased a hotel building in nearby Ashley, north of Garrett, and it soon established a branch factory there to expand operations. The added facilities allowed business to double from 1947 to 1948, and within the next two years the company caught up on its backlog of orders.
Creek Chub continued to look for ways to improve and diversify its product line in the 1950s and 1960s. This included entering the plastic bait field, developing new saltwater lures, and offering new color combinations. The company’s future looked bright, but by the late 1970s declining sales and questions regarding future leadership of the company began to weigh on Creek Chub.
On December 24, 1978, the Des Moines [Iowa] Register reported that Lazy Ike Corp. of Des Moines had purchased the Creek Chub Bait Company. Reporter Bob Barnet confirmed the sale in the [Muncie] Star Press in April 1979, writing “. . . Hoosier-owned Creek Chub Bait Co., one of the nation’s oldest and most respected manufacturers of artificial lures, has been sold.” Lazy Ike, which was also in the lure industry, would continue to manufacture and market Creek Chub lures.
Unfortunately, within just a few months of the purchase, Lazy Ike filed for Chapter 11 bankruptcy. Dura-Pak Corp. of South Sioux City, Nebraska acquired Lazy Ike Corp. and another fishing tackle manufacturer out of Vancouver, Washington in the early 1980s. Today, PRADCO owns the Creek Chub name.
Although the company closed in the late 1970s, Creek Chub lures continue to remain popular among collectors, a testament to their enduring quality.
Susan Swain, host of C-SPAN’s special TV series from 2013-2014 on the lives and influence of the nation’s First Ladies, described Caroline Harrison as “one of the more underrated” First Ladies. Caroline Harrison, wife of Hoosier President Benjamin Harrison, served as First Lady from 1889-1892. Previously cast off as simply a tactful housekeeper, historians now recognize that Caroline did more, including using her influence to advocate for the arts, women’s interests, and the preservation of the White House.
On July 4, 1888, Caroline stood next to her husband Benjamin in the parlor of their home on North Delaware Street in Indianapolis surrounded by guests. Caroline had filled the house with patriotic decorations, including red, white, and blue flags and flowers. However, this was not a normal 4th of July celebration: at the party, Benjamin gave a speech, accepting the Republican nomination for president. For the next four months, their home became the center of Benjamin’s political campaign. Parades marched up and down the street in front of the house Benjamin gave more than 80 speeches on their front porch.
On Election Day, the Harrison family waited anxiously for a telegraph operator set up temporarily in a nearby bay window for election results. The next morning, Caroline and Benjamin discovered they had won. The Harrison family was moving to 1600 Pennsylvania Avenue.
Though the Harrisons had lived in Indianapolis since 1854, the couple’s story began in Ohio. Benjamin had been a student of Caroline’s father at the Farmer’s College in Pleasant Hill, Ohio. Benjamin followed Caroline to Oxford, Ohio. She enrolled in the Oxford Female Institute and he attended Miami University. Soon after they earned degrees, the two got married and moved to Indianapolis.
As Benjamin built up his law practice, Caroline became an integral part of Indianapolis’ charity network. Through membership at the Presbyterian Church, Benjamin and Caroline became active in the Indianapolis Benevolent Society, one of the city’s earliest charity organizations. Members were assigned their own district in the city, serving as “donors, fundraisers, friendly visitors and distributors of aid” in their assigned area. During the Civil War, Caroline expanded her efforts, volunteering with various women’s organizations that aided the war effort, like the Ladies Patriotic Association and the Ladies Sanitary Committee. She also started her 30 year long career with the Indianapolis Orphans Asylum, joining the board of managers in 1862. After the war, she became involved with a new charity, the Home for Friendless Women, created to care for an influx of widowed and transient women who flocked to the city after the war. The home operated until 2003, most recently under the name Indianapolis Retirement Home.
Throughout the 1870s, Caroline’s reputation as a capable organizer for charities grew. She sat on the board of many temporary relief funds and charitable events. When Benjamin served as Senator, she added a number of Washington, D.C. charities to her roster, including the Washington City Orphans Asylum and the Ladies Aid Society for Garfield Hospital. An avid painter, she also found time to make pieces to display at early exhibits for the Indianapolis Art Association, which pioneered formal art education in Indiana and influenced the development of fine arts in the state.
When the Harrisons moved to Washington, D.C. for the Presidency, Caroline worked hard to have impact as a First Lady. Though her predecessor, the young and fashionable Frances Cleveland made Harrison look old and dowdy by comparison in the press, Harrison became a more publicly active figure than Cleveland had by advocating for the arts, women’s interests, and the preservation of the White House.
Four generations of relatives moved into the White House when Benjamin took office, which brought the household total up to 12. After the whole family crowded into the White House, Caroline became “concerned over the condition of the house provided for the Chief Executive and his family.” The private spaces for the family amounted to five bedrooms, one bathroom, and a hallway. The rest of the building was reserved for offices and public functions. In addition to the lack of space, the White House had fallen into disrepair. The threadbare carpets, shabby furniture, unwelcome presence of vermin made the White House unsatisfactory to say the least. Caroline reached out to former First Ladies and discovered that previous administrations had struggled with coming up with enough space to entertain and host important foreign leaders and dignitaries. There had been an embarrassing situation during the Buchanan administration where the Prince of Wales and the rest of the royal family could not all be accommodated because of the lack of space.
Caroline began lobbying for congressional funds to refurbish and expand the White House. She gave interviews with journalists and took Senators and Representatives on personal tours of the White House to plead her case. She told reporters,
We are here four years. I do not look beyond that, as many things occur in that time, but I am anxious to see the family of the President provided for properly, and while I am here I hope to get the present building into good condition.
A few Representatives on the Committee on Public Buildings and Grounds had already kicked around the idea of expanding the White House. The building had remained largely unchanged since its completion in 1800 (though it was rebuilt after the War of 1812 after the British set fire to it). These Representatives had voiced a number of plans, including adding another story to the White House or constructing an exact replica of the building across the lawn. Some even wondered if an entirely new mansion for the President should be built. Caroline, however, recognized the historical significance of the mansion and articulated a new plan that would preserve the structure. Architect Frederick D. Owen drew up her ideas, which included adding wings to either side of the White House. The press widely circulated her plans, which Owen even titled “Mrs. Harrison’s Suggestion for the Extension of the Executive Mansion.”
Despite Caroline’s lobbying, her bill to provide funding to expand the White House did not pass. Though it went through the Senate, it failed in the House because President Harrison had ignored the Speaker of the House’s choice for collectorship of Portland, Maine. However, she did receive approximately $60,000 in appropriations to redecorate and renovate the interior and add the first electric lighting. Throughout her First Ladyship, Harrison directed painting, installing additional private bathrooms, renovating the kitchen, replacing all the dirty and moldy floors, rebuilding the old conservatory, adding greenhouses, and redecorating many of the public parlors.
During the renovations, Caroline had the entire contents of the White House inventoried. The Cleveland Leader reported,
Even the old bits stored away in the attic are to be listed, for Mrs. Harrison is anxious that pieces which have historic value or connection with presidential families of the past shall be preserved.
She stopped the old practice of selling off furniture, china, and silver at the end of each president’s administration, not only to save money, but so the historic mansion would maintain pieces from past presidents. Through this process, Harrison laid the foundation for the celebrated White House China Collection. Harrison’s acquaintance, Harriet Foster wrote “she immediately began a valuable collection to be preserved, in cabinets, of the scattered remnants of the china of former Presidents.” She even designed the Harrison china set, which featured corn ears, stocks, and tassels.
Harrison didn’t stop at the White House, but took on additional causes. As First Lady, Harrison advocated the federal government place more emphasis on fine art. She told the Evening Star,
this government has reached that point where it should give more attention to the fine arts—that is, a judicious expenditure for works of merit.
She made sure to include a large gallery of historical paintings in her plans for the White House expansion and supported the addition of paintings to the White House’s fine arts collection, including the first example of a non-portrait piece purchased for the mansion with federal funds. Her plans and actions set precedent for the introduction of a professional curator to care for the White House’s art collection, a position filled during the Kennedy Administration seventy years later. Lastly, in 1892 she became Honorary President of the National Art Association, joining forces with prominent artists like William Merritt Chase and Albert Bierdstadt, to lobby to exempt imported works of art from taxation. The tariff was eventually lifted.
Harrison lent her name to other organizations that promoted women’s interests. She agreed to head a local Washington, D.C. committee of women dedicated to securing women’s admission to the new Johns Hopkins Medical School. Johns Hopkins trustees promised five Baltimore women connected to the institution if they raised $100,000 (later increased to $500,000), the school would accept women on the same terms as male applicants. These women began recruiting prominent women across the nation to raise money in their own locales. According to historian Kathleen Waters Sanders, Caroline’s agreement to help the cause “was important, lending the campaign credibility and national visibility.” Due to women’s work, the medical school opened in 1893 as the first coeducational, graduate-level medical school in the nation.
Harrison also agreed to become the first President General of a new organization, the Daughters of the American Revolution. The organization formed in 1890 after the Sons of the American Revolution refused to accept female applicants. The DAR’s goals were “the securing and preserving of the historical spots of America and the erection thereon of suitable monuments to perpetuate the memories of the heroic deeds of the men and women who aided the revolution and created constitutional government in America.”
The founders of the organization asked Harrison to lead, hoping her status as First Lady would elevate the DAR, give it credibility, and attract more members. Though she delegated day-to-day operations to other DAR board members, Harrison helped guide the fledgling organization through its early years and helped it become a political force. In 1892, the DAR had grown from a handful to over 1,300 members. Since 1890, the DAR has accepted over 950,000 members and served as an important political lobbying group. It has also restored and maintained numerous historic sites and preserved countless genealogical records and artifacts.
Unfortunately, Caroline’s career as First Lady was cut short. She died in the White House from tuberculosis October 25, 1892. Benjamin lost reelection soon after. However, a new historical marker at the Benjamin Harrison house in downtown Indianapolis will honor Caroline Harrison’s achievements, both in Indiana and as First Lady. Please check our website and Facebook page for more information about the marker dedication ceremony, scheduled to take place in October.