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Photo of the Willam C. Wonders Map Collection as the sun returns to the space. Sun is alighting a globe and some 3D relief models.

Photo of the Willam C. Wonders Map Collection as the sun returns to the space. Sun is alighting a globe and some 3D relief models.

Morning light seeping back upon the spatials
#WCWMC

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A display of various William C. Wonders Map Collection atlas and map reproductions.

A display of various William C. Wonders Map Collection atlas and map reproductions.

Table covered in donated maps that are being processed for the William C. Wonders Map Collection.

Table covered in donated maps that are being processed for the William C. Wonders Map Collection.

The #map table.
November - a display setting for a collection #facsimile tour. December - a working environment for processing donations. #WCWMC #MapLibrarianship

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A display of various William C. Wonders Map Collection atlas and map reproductions.

A display of various William C. Wonders Map Collection atlas and map reproductions.

cover of Theatrum orbis terrarum--corpus of old atlases in facsimile by Theatrum Orbis Terrarum Ltd.

cover of Theatrum orbis terrarum--corpus of old atlases in facsimile by Theatrum Orbis Terrarum Ltd.

reproductions/facsimiles are important artifacts for prairie fringe map collections a mini display for some guests last week #WCWMC
Browse the Theatrum orbis terrarum--corpus of old atlases in facsimile by Theatrum Orbis Terrarum Ltd.
archive.org/details/WCWd...
including a "performative" cover

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[Thumbnail] North America, British Possessions. Published by V. H. Nelson, London. [1826]
On Internet Archive https://archive.org/details/bp_6506/

[Thumbnail] North America, British Possessions. Published by V. H. Nelson, London. [1826] On Internet Archive https://archive.org/details/bp_6506/

[portion] North America, British Possessions. Published by V. H. Nelson, London. [1826]

Showing Edmonton House, both branches of the Saskatchewan River that empties in Lake Winnipeg.
On Internet Archive https://archive.org/details/bp_6506/

[portion] North America, British Possessions. Published by V. H. Nelson, London. [1826] Showing Edmonton House, both branches of the Saskatchewan River that empties in Lake Winnipeg. On Internet Archive https://archive.org/details/bp_6506/

[portion] of Origins of Naming in Edmonton (City of Edmonton Archives) https://tinyurl.com/2p9n3uje

Before it was Edmonton
This place had names long before Europeans and other settlers arrived. People have lived in this area for thousands of years. The Cree called the area Beaver Hills (Amiskwaciy). The North Saskatchewan River was called Omaka-ty by the Blackfoot meaning Big River, and French maps from the 1790s called it Rivière Bourbon after the French royal family. We now call it the North Saskatchewan, based on the Cree word kis-is-ska-tche-wan meaning “swift current”. It was first documented as the Saskatchiwine River in 1793 by Alexander Mackenzie, and was an early example of how some names we use today are the result of misinterpretations or misunderstandings of Indigenous words. Other examples of this include Blackmud Creek (first noted in 1882) , which is a translation of the creek’s original Cree name kaskitewâw asiskîy, and Kinokamau Lake (first noted in 1895), which takes its name from the Cree word kinokamâw, meaning “long lake”.
Naming Edmonton 1795
Place names are a reflection of colonialism, and for evidence you need look no further than the name of this city. The name Edmonton was first given to Fort Edmonton, a Hudson’s Bay Company (HBC) fur trading post on the North Saskatchewan River, in 1795. It was named after Edmonton, England, the birthplace of Sir James Winter Lake, who was at the meeting of the governors of the HBC when the fort was established. The fort was moved a number of times until finally, in 1830, it was built on the banks of the river where the south lawn of the Legislature sits today.

[portion] of Origins of Naming in Edmonton (City of Edmonton Archives) https://tinyurl.com/2p9n3uje Before it was Edmonton This place had names long before Europeans and other settlers arrived. People have lived in this area for thousands of years. The Cree called the area Beaver Hills (Amiskwaciy). The North Saskatchewan River was called Omaka-ty by the Blackfoot meaning Big River, and French maps from the 1790s called it Rivière Bourbon after the French royal family. We now call it the North Saskatchewan, based on the Cree word kis-is-ska-tche-wan meaning “swift current”. It was first documented as the Saskatchiwine River in 1793 by Alexander Mackenzie, and was an early example of how some names we use today are the result of misinterpretations or misunderstandings of Indigenous words. Other examples of this include Blackmud Creek (first noted in 1882) , which is a translation of the creek’s original Cree name kaskitewâw asiskîy, and Kinokamau Lake (first noted in 1895), which takes its name from the Cree word kinokamâw, meaning “long lake”. Naming Edmonton 1795 Place names are a reflection of colonialism, and for evidence you need look no further than the name of this city. The name Edmonton was first given to Fort Edmonton, a Hudson’s Bay Company (HBC) fur trading post on the North Saskatchewan River, in 1795. It was named after Edmonton, England, the birthplace of Sir James Winter Lake, who was at the meeting of the governors of the HBC when the fort was established. The fort was moved a number of times until finally, in 1830, it was built on the banks of the river where the south lawn of the Legislature sits today.

For the 200th post from #WCWMC let’s #rotary dial it back two-hundred years [1825] or [73000 Days]

North America, #British #Possessions. Published by V. H. Nelson, London. archive.org/details/bp_6... #NorthAmerica #Map #Cartography #Colonialism #EdmontonHouse #LakeWinnipeg
tinyurl.com/2p9n3uje

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Western Canada railway map Mundy Map Co. 1955 (Revised 1987)
by G.A. Lester.
B &W map, 66 x 231.5 cm. ozalid reproduction.
Insets: [Lower Mainland of British Columbia]; Extension to Nipigon-Longlac, Ontario; [Edmonton]; [Winnipeg].
Outset: [The rival lines of the Grand Trunk Pacific and the Canadian Northern from the vicinity of Edmonton to Mt. Robson.

Earlier map: Mundy Map Co. Western Canada routing map 1923
https://archive.org/details/WCW_M000425

Western Canada railway map Mundy Map Co. 1955 (Revised 1987) by G.A. Lester. B &W map, 66 x 231.5 cm. ozalid reproduction. Insets: [Lower Mainland of British Columbia]; Extension to Nipigon-Longlac, Ontario; [Edmonton]; [Winnipeg]. Outset: [The rival lines of the Grand Trunk Pacific and the Canadian Northern from the vicinity of Edmonton to Mt. Robson. Earlier map: Mundy Map Co. Western Canada routing map 1923 https://archive.org/details/WCW_M000425

[pano view] of the original 4 sheets of the 1955 Mundy Map Co. "Western Canada Routing Map. This mounted map is what cartographer G.A. Lester would have worked off of to create their revised 1987 map.

[pano view] of the original 4 sheets of the 1955 Mundy Map Co. "Western Canada Routing Map. This mounted map is what cartographer G.A. Lester would have worked off of to create their revised 1987 map.

Western Canada routing map by C. G. Mundy; Mundy Map Co. 1923.
https://archive.org/details/WCW_M000425

Shows railway lines and the towns along them in British Columbia, Alberta, and Saskatchewan. Photocopy of a map in the National Map Collection.

Western Canada routing map by C. G. Mundy; Mundy Map Co. 1923. https://archive.org/details/WCW_M000425 Shows railway lines and the towns along them in British Columbia, Alberta, and Saskatchewan. Photocopy of a map in the National Map Collection.

1987 revision of Mundy Map Co. Western Canada #Railway #map tinyurl.com/4kb48jkm originally published in 1955. This explains why the 4 sheets of the Mundy 1955 map were mounted on foam core. So the #cartographer (G.A. Lester) could work off of it. #WCWMC also has a b/w 1923 copy tinyurl.com/4kb48jkm

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The Elephant Map Project https://www.elephantmap.art/ 
This map won't save our elephants, but it will help. Here’s to a unique insight into an elephant's world, our interconnectedness, new ways of creating hope and getting restless about protecting what we love.

Brown, Connie, Nighswander, T., & Suozzi, M. (2017). Elephant map project. Redstone Studios

The Elephant Map Project https://www.elephantmap.art/ This map won't save our elephants, but it will help. Here’s to a unique insight into an elephant's world, our interconnectedness, new ways of creating hope and getting restless about protecting what we love. Brown, Connie, Nighswander, T., & Suozzi, M. (2017). Elephant map project. Redstone Studios

#WorldElephantDay

Constance Brown #ElephantMapProject For more info/links: tinyurl.com/34hn54c3 #WCWMC

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[portion] of an Official Alberta highway map published in 1957 displaying a "Pink Card" inset which reads:

FOR YOUR PROTECTION
Drivers involved in accidents where any person is injured or killed or where property damage exceeds $100 must produce a "Pink — Card" to show financial responsibility or the vehicle will be impounded.

"Pink Cards " are supplied to Insurance Companies by the Province of Alberta. 

It is recommended you arrange with your insurance agent to ensure you are properly covered.

[portion] of an Official Alberta highway map published in 1957 displaying a "Pink Card" inset which reads: FOR YOUR PROTECTION Drivers involved in accidents where any person is injured or killed or where property damage exceeds $100 must produce a "Pink — Card" to show financial responsibility or the vehicle will be impounded. "Pink Cards " are supplied to Insurance Companies by the Province of Alberta. It is recommended you arrange with your insurance agent to ensure you are properly covered.

"Pink Card" Inset from an Official Alberta highway map published in 1957.  The inset it reads:

FOR YOUR PROTECTION
Drivers involved in accidents where any person is injured or killed or where property damage exceeds $100 must produce a "Pink — Card" to show financial responsibility or the vehicle will be impounded.

"Pink Cards " are supplied to Insurance Companies by the Province of Alberta. 

It is recommended you arrange with your insurance agent to ensure you are properly covered.

"Pink Card" Inset from an Official Alberta highway map published in 1957. The inset it reads: FOR YOUR PROTECTION Drivers involved in accidents where any person is injured or killed or where property damage exceeds $100 must produce a "Pink — Card" to show financial responsibility or the vehicle will be impounded. "Pink Cards " are supplied to Insurance Companies by the Province of Alberta. It is recommended you arrange with your insurance agent to ensure you are properly covered.

At the expense of Sheep, Nose, Copton creeks & Muddywater, Jackpine, Muskeg rivers a "Pink Card" inset was added to the 1957 Alberta highway map. archive.org/details/972_...

The one, and only, time is was done.

If you like Official Alberta Road maps #WCWMC has swath...
archive.org/details/wcw_...

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View of the William C. Wonders Map Collection in the morning before the lights are turned on.

View of the William C. Wonders Map Collection in the morning before the lights are turned on.

The map collection “spoke so softly in accordance to the growing of the dim” *

An iridescent joy, soon to be washed out in an overburdened flash of fluorescents.

* #TragicallyHip – Three Pistols
#wcwmc

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L’Isle, J. N. de. (1745). The Russian atlas containing nineteen special maps, showing the All-Russian Empire and adjacent territories. [cartographic material] ([1st ed.]). Typis Academiae Imperialis Scientiarum.

Th cover of the Atlas has a "thoroughly besmoked indefinite, half-attained, unimaginable sublimity about it" ... it could be hung at the entrance to the Spouter Inn.

L’Isle, J. N. de. (1745). The Russian atlas containing nineteen special maps, showing the All-Russian Empire and adjacent territories. [cartographic material] ([1st ed.]). Typis Academiae Imperialis Scientiarum. Th cover of the Atlas has a "thoroughly besmoked indefinite, half-attained, unimaginable sublimity about it" ... it could be hung at the entrance to the Spouter Inn.

[Plate 1] L’Isle, J. N. de. (1745). The Russian atlas containing nineteen special maps, showing the All-Russian Empire and adjacent territories. [cartographic material] ([1st ed.]). Typis Academiae Imperialis Scientiarum.

Titled: Lapponia Russica cum Adjacentibus Regionibus

Information: Outline color map in Latin. The title cartouche features the wild life and cherubs blowing frost and snow. Shows boundaries, rivers, roads, forests and settlements. Relief shown pictorially.

[Plate 1] L’Isle, J. N. de. (1745). The Russian atlas containing nineteen special maps, showing the All-Russian Empire and adjacent territories. [cartographic material] ([1st ed.]). Typis Academiae Imperialis Scientiarum. Titled: Lapponia Russica cum Adjacentibus Regionibus Information: Outline color map in Latin. The title cartouche features the wild life and cherubs blowing frost and snow. Shows boundaries, rivers, roads, forests and settlements. Relief shown pictorially.

[Plate 7] L’Isle, J. N. de. (1745). The Russian atlas containing nineteen special maps, showing the All-Russian Empire and adjacent territories. [cartographic material] ([1st ed.]). Typis Academiae Imperialis Scientiarum.

Titled: Tataria Minor cum Adiacentibus Kioviensi et Belgorodensi Guberniis.

Information: Map. Showing the detail of the administrative divisions, include roads, rivers, canals and many place names. With elegant title cartouche in Latin. Relief shown pictorially.

[Plate 7] L’Isle, J. N. de. (1745). The Russian atlas containing nineteen special maps, showing the All-Russian Empire and adjacent territories. [cartographic material] ([1st ed.]). Typis Academiae Imperialis Scientiarum. Titled: Tataria Minor cum Adiacentibus Kioviensi et Belgorodensi Guberniis. Information: Map. Showing the detail of the administrative divisions, include roads, rivers, canals and many place names. With elegant title cartouche in Latin. Relief shown pictorially.

Reference questions - the best part of the profession.
A researcher from Saskatchewan wants to take a look at a 1745 Russian atlas showing the Russian Empire and adjacent territories - that is not colour highlighted like the David Rumsey version: tinyurl.com/mtej9kkw
#WCWMC has the b/w version.

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The Galapagos Marine Resources Reserve. Fleming College. 1987.
Caption reads: 
The significance of the Galapagos Islands became apparent in 1835, when Charles Darwin visited the islands and found proof to support his theory of evolution. A unique and isolated environment had developed due to the great distance from the mainland and a complex combination of ocean currents. Several animals that had migrated to the islands were forced to adapt to survive. Over long periods of time, this adaptation became so extreme that entirely new species and sub-species evolved.
Recently, concerns have been raised to preserve and protect this very delicate ecosystem. In May 1986, the Ecuadorian government established the "Galapagos Marine Resources Reserve" in an attempt to manage the archipelago as a whole. This management plan will include the development and control of all the islands' resources but a great emphasis will certainly be placed on the protection of the natural lifeforms.

Designed and Produced by J. Froescul Cartographic Technology Program, 1987. School of Natural Resources, Sir Sandford Fleming College, Lindsay, Ontario, Canada.

The Galapagos Marine Resources Reserve. Fleming College. 1987. Caption reads: The significance of the Galapagos Islands became apparent in 1835, when Charles Darwin visited the islands and found proof to support his theory of evolution. A unique and isolated environment had developed due to the great distance from the mainland and a complex combination of ocean currents. Several animals that had migrated to the islands were forced to adapt to survive. Over long periods of time, this adaptation became so extreme that entirely new species and sub-species evolved. Recently, concerns have been raised to preserve and protect this very delicate ecosystem. In May 1986, the Ecuadorian government established the "Galapagos Marine Resources Reserve" in an attempt to manage the archipelago as a whole. This management plan will include the development and control of all the islands' resources but a great emphasis will certainly be placed on the protection of the natural lifeforms. Designed and Produced by J. Froescul Cartographic Technology Program, 1987. School of Natural Resources, Sir Sandford Fleming College, Lindsay, Ontario, Canada.

Map title: The Galapagos Islands; includes Isla Isabela, Isla San Salvador, Isla Santa Cruz, Isla San Cristobal. Published by Kevin Healey & Hilary Bradt. 1985.

[portion] showing a sketch of the the Green Sea Turtle 9in red) with the caption:

Green Sea Turtle (Chelonia mydas)
Mating green turtles are a common sight in the early months of the year, when their tracks up the beaches can also be seen. The white sand beach on Floreana is popular for egg-laying. Green turtles are not exclusive to the Galapagos but are found throughout the world.

Map title: The Galapagos Islands; includes Isla Isabela, Isla San Salvador, Isla Santa Cruz, Isla San Cristobal. Published by Kevin Healey & Hilary Bradt. 1985. [portion] showing a sketch of the the Green Sea Turtle 9in red) with the caption: Green Sea Turtle (Chelonia mydas) Mating green turtles are a common sight in the early months of the year, when their tracks up the beaches can also be seen. The white sand beach on Floreana is popular for egg-laying. Green turtles are not exclusive to the Galapagos but are found throughout the world.

Picture of a small map cabinet display relating to Sea Turtles including a suspended Galapagos Islands map that can be spun to read both sides.

Picture of a small map cabinet display relating to Sea Turtles including a suspended Galapagos Islands map that can be spun to read both sides.

World Sea Turtle Day. Was curious what maps #wcwmc has relating to sea turtles. Unfortunately, just a couple centered on Galapagos showing the Green Sea Turtle. However, there is the great Online Map & Sea Turtle Database if one wishes to dig a little deeper www.seaturtlestatus.org/online-map-d...

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Map a-day-in May (a thirty-one cabinet display) Pauline Diana Baynes
Pauline Diana Baynes was an English illustrator, author, and commercial artist. She contributed drawings and paintings to more than 200 books, mostly in the children's genre. She was the first illustrator of some of J. R. R. Tolkien's minor works, including Farmer Giles of Ham, Smith of Wootton Major, and The Adventures of Tom Bombadil. She became well known for her cover illustrations for The Hobbit and The Lord of the Rings, and for her poster map with inset illustrations, A Map of Middle-earth. She illustrated all seven volumes of C. S. Lewis's Chronicles of Narnia, from the first book, The Lion, the Witch and the Wardrobe. Gaining a reputation as the "Narnia artist", she illustrated spinoffs like Brian Sibley's The Land of Narnia. In addition to work for other authors, including illustrating Roger Lancelyn Green's The Tales of Troy and Iona and Peter Opie's books of nursery rhymes, Baynes created some 600 illustrations for Grant Uden's A Dictionary of Chivalry, for which she won the Kate Greenaway Medal. Late in her life she began to write and illustrate her own books, with animal or Biblical themes.

Map a-day-in May (a thirty-one cabinet display) Pauline Diana Baynes Pauline Diana Baynes was an English illustrator, author, and commercial artist. She contributed drawings and paintings to more than 200 books, mostly in the children's genre. She was the first illustrator of some of J. R. R. Tolkien's minor works, including Farmer Giles of Ham, Smith of Wootton Major, and The Adventures of Tom Bombadil. She became well known for her cover illustrations for The Hobbit and The Lord of the Rings, and for her poster map with inset illustrations, A Map of Middle-earth. She illustrated all seven volumes of C. S. Lewis's Chronicles of Narnia, from the first book, The Lion, the Witch and the Wardrobe. Gaining a reputation as the "Narnia artist", she illustrated spinoffs like Brian Sibley's The Land of Narnia. In addition to work for other authors, including illustrating Roger Lancelyn Green's The Tales of Troy and Iona and Peter Opie's books of nursery rhymes, Baynes created some 600 illustrations for Grant Uden's A Dictionary of Chivalry, for which she won the Kate Greenaway Medal. Late in her life she began to write and illustrate her own books, with animal or Biblical themes.

ap a-day-in May (a thirty-one cabinet display) Pauline Diana Baynes

From the David Rumsey Map Collection:

Baynes, Pauline. (1970). A Map of Middle-Earth. George Allen & Unwin Ltd. Drawn and Embellished by Pauline Baynes. Based on the cartography of J.R.R. and C.J.R. Tolkien. 

"After successfully conjuring a map for Middle Earth for J.R.R. Tolkien, he was so pleased that he referred her to C.S. Lewis to work the same magic of charting out their fantasy lands. She did it. Here the backdrop for Lewis' Chronicles of Narnia, full of notations and key points of interest, as well as images for each of the books floating throughout. Of course at the top is a piercing glance of Aslan looking out." (Curtis Bird, 2024)

ap a-day-in May (a thirty-one cabinet display) Pauline Diana Baynes From the David Rumsey Map Collection: Baynes, Pauline. (1970). A Map of Middle-Earth. George Allen & Unwin Ltd. Drawn and Embellished by Pauline Baynes. Based on the cartography of J.R.R. and C.J.R. Tolkien. "After successfully conjuring a map for Middle Earth for J.R.R. Tolkien, he was so pleased that he referred her to C.S. Lewis to work the same magic of charting out their fantasy lands. She did it. Here the backdrop for Lewis' Chronicles of Narnia, full of notations and key points of interest, as well as images for each of the books floating throughout. Of course at the top is a piercing glance of Aslan looking out." (Curtis Bird, 2024)

Map a-day-in May (a thirty-one cabinet display) Pauline Diana Baynes Fittingly the last Map a-day-in May can be found in the last drawer (after Antarctic) of the collection labeled 
Universe
Imaginary
Miscellaneous

Map a-day-in May (a thirty-one cabinet display) Pauline Diana Baynes Fittingly the last Map a-day-in May can be found in the last drawer (after Antarctic) of the collection labeled Universe Imaginary Miscellaneous

Map a-day-in May (a thirty-one cabinet display)
Pauline Baynes #FantasyMaps More info #cartobibliography tinyurl.com/y5cv3vuz #MapDayMay25 #WCWMC
Fittingly the last Map a-day-in May is located in the last drawer (after Antarctic) of the collection labeled
Universe
Imaginary Places
Miscellaneous

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Map a-day-in May (a thirty-one cabinet display) Quilt/Textile Maps
A "map quilt" is a quilt design that uses fabric to create a visual representation of a map, such as a city, a country, or the world. These quilts can be either simple, using basic shapes, or intricate, with detailed imagery and textures. They can be used as art pieces, wall hangings, or traditional quilts. Map quilts depict geographical areas, similar to traditional maps, but using fabric instead of paper.  Quilts are made using various fabrics, colors, and textures to create the map's features, like land, water, roads, and cities. Map quilts can be functional (bed covers) or decorative (wall hangings), and they can be used as a creative outlet or to represent personal or cultural significance. From Google AI.

Map a-day-in May (a thirty-one cabinet display) Quilt/Textile Maps A "map quilt" is a quilt design that uses fabric to create a visual representation of a map, such as a city, a country, or the world. These quilts can be either simple, using basic shapes, or intricate, with detailed imagery and textures. They can be used as art pieces, wall hangings, or traditional quilts. Map quilts depict geographical areas, similar to traditional maps, but using fabric instead of paper. Quilts are made using various fabrics, colors, and textures to create the map's features, like land, water, roads, and cities. Map quilts can be functional (bed covers) or decorative (wall hangings), and they can be used as a creative outlet or to represent personal or cultural significance. From Google AI.

Map a-day-in May (a thirty-one cabinet display) Quilt/Textile Maps
Native Women's Trail of Tears (Barn Quilt Trail)
We thank the Longwood’s Barn Quilt Trail for the invitation to tell the story of First Nation women and families during the War of 1812. Drawing on traditional knowledge, quilters representing Anishinaabe, Haudenosaunee and Lenape nations, have created 31 beautiful quilt block designs to capture the spirit, courage and resilience of women facing incredible dangers and uncertain futures at the turn of the 19th century.

https://barnquilttrails.ca/trails/native-womens-trail-tears/

Map a-day-in May (a thirty-one cabinet display) Quilt/Textile Maps Native Women's Trail of Tears (Barn Quilt Trail) We thank the Longwood’s Barn Quilt Trail for the invitation to tell the story of First Nation women and families during the War of 1812. Drawing on traditional knowledge, quilters representing Anishinaabe, Haudenosaunee and Lenape nations, have created 31 beautiful quilt block designs to capture the spirit, courage and resilience of women facing incredible dangers and uncertain futures at the turn of the 19th century. https://barnquilttrails.ca/trails/native-womens-trail-tears/

Map a-day-in May (a thirty-one cabinet display) Quilt/Textile Maps
Legend (quilt code) from:
Stroud, Bettye., & Bennett, Erin Susanne. (2005). The patchwork path : a quilt map to freedom. Candlewick Press. 

Page reads:

Soon after Master sold my sister, Mary, to a far-off plantation, Mama passed away. Papa said it was her heart that broke. Sometimes, when I missed Mama and Mary so hard and my own heart was close to splitting, I remembered Mama's words:

The monkey wrench 
turns the wagon wheel
toward Canada on a bear's paw trail 
to the crossroads.
Once they got to the crossroads, 
they dug a log cabin on the ground.
Shoofly told them to dress up in cotton 
and satin bow ties and go to
the cathedral church, get married, and exchange double rings.
Flying geese stay on 
the drunkard's path and
follow the stars.

That was the quilt code

The Patchwork Path A Quilt Map to Freedom. Read aloud by K.A. Mason as part of a firstie's art project. Posted on YouTube in 2020. https://www.youtube.com/watch?v=y4r-LEutmLk

Map a-day-in May (a thirty-one cabinet display) Quilt/Textile Maps Legend (quilt code) from: Stroud, Bettye., & Bennett, Erin Susanne. (2005). The patchwork path : a quilt map to freedom. Candlewick Press. Page reads: Soon after Master sold my sister, Mary, to a far-off plantation, Mama passed away. Papa said it was her heart that broke. Sometimes, when I missed Mama and Mary so hard and my own heart was close to splitting, I remembered Mama's words: The monkey wrench turns the wagon wheel toward Canada on a bear's paw trail to the crossroads. Once they got to the crossroads, they dug a log cabin on the ground. Shoofly told them to dress up in cotton and satin bow ties and go to the cathedral church, get married, and exchange double rings. Flying geese stay on the drunkard's path and follow the stars. That was the quilt code The Patchwork Path A Quilt Map to Freedom. Read aloud by K.A. Mason as part of a firstie's art project. Posted on YouTube in 2020. https://www.youtube.com/watch?v=y4r-LEutmLk

Map a-day-in May (a thirty-one cabinet display)
Quilt/Textile Maps #Cartography #Mapping #QuiltMaps #TextileMaps #HeatherShillinglaw #ValerieGoodwin
More info #cartobibliography tinyurl.com/y5cv3vuz #MapDayMay25 #WCWMC
bsky.app/search?q=map...
bsky.app/search?q=map...

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Map a-day-in May (a thirty-one cabinet display) 
Escape and Evasion Maps

Evasion charts or escape maps are maps made for servicemembers, and intended to be used when caught behind enemy lines to assist in performing escape and evasion. Such documents were secreted to prisoners of war by various means to aid in escape attempts.
During World War II, these clandestine maps were used by many American, British, and allied servicemen to escape from behind enemy lines. Special material was used for this purpose, due to the need for a material that would be hardier than paper, and would not tear or dissolve in water. From Wikipedia.
These maps are examples of what are commonly referred to as ‘silk’ escape maps. In reality, they were just as likely to be printed on man-made fabrics such as rayon or even tissue paper. These materials were chosen for their ability to be folded into very small sizes for concealment. All aircrew were supplied with such maps in case they were shot down. Many were smuggled into Prisoner of War (POW) camps, through often ingenious methods, in order to aid Allied prisoners in their escape attempts. From McMaster University Libraries.

-- Bond, Barbara A. B. (2015). Great escapes : the story of MI9’s Second World War escape and evasion maps. Times Books. [Book]
-- DeLong, Mary E. (2013). Trailblazing and Pioneering Mapmakers: A Case Study of Women Cartographers and Geographers during World War II. A Thesis in the Field of History for the Degree of Master of Liberal Arts in Extension Studies Harvard University. (Thesis)
-- Tyner, J. A., & Tyner, J. A. (2025). Women, Military Mapping, and American Cartography During the Second World War. Geohumanities. [Article]

Map a-day-in May (a thirty-one cabinet display) Escape and Evasion Maps Evasion charts or escape maps are maps made for servicemembers, and intended to be used when caught behind enemy lines to assist in performing escape and evasion. Such documents were secreted to prisoners of war by various means to aid in escape attempts. During World War II, these clandestine maps were used by many American, British, and allied servicemen to escape from behind enemy lines. Special material was used for this purpose, due to the need for a material that would be hardier than paper, and would not tear or dissolve in water. From Wikipedia. These maps are examples of what are commonly referred to as ‘silk’ escape maps. In reality, they were just as likely to be printed on man-made fabrics such as rayon or even tissue paper. These materials were chosen for their ability to be folded into very small sizes for concealment. All aircrew were supplied with such maps in case they were shot down. Many were smuggled into Prisoner of War (POW) camps, through often ingenious methods, in order to aid Allied prisoners in their escape attempts. From McMaster University Libraries. -- Bond, Barbara A. B. (2015). Great escapes : the story of MI9’s Second World War escape and evasion maps. Times Books. [Book] -- DeLong, Mary E. (2013). Trailblazing and Pioneering Mapmakers: A Case Study of Women Cartographers and Geographers during World War II. A Thesis in the Field of History for the Degree of Master of Liberal Arts in Extension Studies Harvard University. (Thesis) -- Tyner, J. A., & Tyner, J. A. (2025). Women, Military Mapping, and American Cartography During the Second World War. Geohumanities. [Article]

Map a-day-in May (a thirty-one cabinet display)
Tactile Braille Mapping
Tactile braille maps are detailed maps produced using a braille embosser to tactually represent topographies along with braille labels to identify key features. The embosser can produce varying textures that can be employed to convey information about the location being depicted. Every element — streets, buildings, parks, bodies of water — is thoughtfully rendered with varied textures, allowing you to trace routes and identify landmarks with your fingertips. The best tactile maps are true works of craftsmanship, requiring skilled hands to accurately translate visual maps into a tactile code. When done with precision, these maps become more than flat representations — they are explorable worlds that can be “seen” and understood through the sensitivity of the fingertips. From GetBraille.

U.S. Dept. of the Interior and Defense Mapping Agency Topographic Center. (1976). Metropolitan Washington, D.C. Braille map on top of topographic map base in colour. Design and production directed by Dr. John C. Sherman. 4 sheets produced on plastic. [Map]

Siekierska, Eva. & McCurdy,  (2008). Internet-Based Mapping for the Blind and People with Visual Impairment. In: Peterson, M. P (ed.). Internet mappingInternational perspectives on maps and the Internet. . Springer. [Chapter]

Cole, H. (2021). Thematic Tactile Cartography: Evaluating Tactile Mapping Techniques for Novel Applications. Abstracts of the ICA, 3, 1–2. [Article]

Almeida, M. D., Martins, L. B., & Lima, F. J. (2015). Analysis of Wayfinding Strategies of Blind People Using Tactile Maps. Procedia Manufacturing, 3, 6020-6027–6027.

Map a-day-in May (a thirty-one cabinet display) Tactile Braille Mapping Tactile braille maps are detailed maps produced using a braille embosser to tactually represent topographies along with braille labels to identify key features. The embosser can produce varying textures that can be employed to convey information about the location being depicted. Every element — streets, buildings, parks, bodies of water — is thoughtfully rendered with varied textures, allowing you to trace routes and identify landmarks with your fingertips. The best tactile maps are true works of craftsmanship, requiring skilled hands to accurately translate visual maps into a tactile code. When done with precision, these maps become more than flat representations — they are explorable worlds that can be “seen” and understood through the sensitivity of the fingertips. From GetBraille. U.S. Dept. of the Interior and Defense Mapping Agency Topographic Center. (1976). Metropolitan Washington, D.C. Braille map on top of topographic map base in colour. Design and production directed by Dr. John C. Sherman. 4 sheets produced on plastic. [Map] Siekierska, Eva. & McCurdy, (2008). Internet-Based Mapping for the Blind and People with Visual Impairment. In: Peterson, M. P (ed.). Internet mappingInternational perspectives on maps and the Internet. . Springer. [Chapter] Cole, H. (2021). Thematic Tactile Cartography: Evaluating Tactile Mapping Techniques for Novel Applications. Abstracts of the ICA, 3, 1–2. [Article] Almeida, M. D., Martins, L. B., & Lima, F. J. (2015). Analysis of Wayfinding Strategies of Blind People Using Tactile Maps. Procedia Manufacturing, 3, 6020-6027–6027.

Map a-day-in May (a thirty-one cabinet display)
Tactile Braille Mapping & Escape and Evasion Maps
#Cartography #Mapping #EscapeMaps #EvasionMaps
#TactileMaps More info #cartobibliography tinyurl.com/y5cv3vuz #MapDayMay25 William C. Wonders Map Collection #WCWMC More info in the alt text.

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Map a-day-in May (a thirty-one cabinet display) Tanya Atwater 
A geophysicist and marine geologist and professor emerita at UC Santa Barbara, played a pivotal role in transforming our understanding of Earth's dynamic surface during the "Tectonic Revolution" of the 1960s. Her groundbreaking research connected magnetic patterns on the ocean floor to the emerging theory of seafloor spreading, providing quantitative evidence that supported the concept of a moving Earth. Atwater’s influential paper, "Implications of Plate Tectonics for the Cenozoic Tectonic Evolution of Western North America," laid the foundational framework for understanding the tectonic development of the region. Beyond her scientific contributions, Atwater is deeply committed to science communication—educating students of all ages and collaborating with media outlets, museums, and educators to make Earth science accessible and inspiring for all.

Map a-day-in May (a thirty-one cabinet display) Tanya Atwater A geophysicist and marine geologist and professor emerita at UC Santa Barbara, played a pivotal role in transforming our understanding of Earth's dynamic surface during the "Tectonic Revolution" of the 1960s. Her groundbreaking research connected magnetic patterns on the ocean floor to the emerging theory of seafloor spreading, providing quantitative evidence that supported the concept of a moving Earth. Atwater’s influential paper, "Implications of Plate Tectonics for the Cenozoic Tectonic Evolution of Western North America," laid the foundational framework for understanding the tectonic development of the region. Beyond her scientific contributions, Atwater is deeply committed to science communication—educating students of all ages and collaborating with media outlets, museums, and educators to make Earth science accessible and inspiring for all.

[portion] Tectonic Map of the East Central Pacific Ocean. In memory of H.W. Menard. Compilation by Tanya Atwater and Jeff Severinghaus. 1988.

[portion] Tectonic Map of the East Central Pacific Ocean. In memory of H.W. Menard. Compilation by Tanya Atwater and Jeff Severinghaus. 1988.

Tectonic Map of the Northeast East Pacific Ocean. In memory of H.W. Menard. Compilation by Tanya Atwater and Jeff Severinghaus. 1988.

Tectonic Map of the Northeast East Pacific Ocean. In memory of H.W. Menard. Compilation by Tanya Atwater and Jeff Severinghaus. 1988.

Tanya Atwater, notable expert in the plate tectonic history of western North America, earned her BA in geophysics from UC Berkeley and PhD in marine geophysics from Scripps Institution of Oceanography at UC San Diego.  As a professor of plate tectonics at UC Santa Barbara (1980-2007), she had a profound impact on geology students with her incredible skill of using various means of communication, including animation technology, to illustrate the mechanisms of tectonic movement.  In 1968, she co-authored a research paper Changes in Direction of Sea Floor Spreading which was published in the journal Nature and identified the faulted nature of ocean floor spreading centers.  She is best known for her research and published papers on propagating rifts near the Galapagos Islands and the history of the San Andreas fault system.  Her research and animation work illustrate her explanation that 40 million years ago, when the Farallon Plate was subducting beneath the North American and Pacific Plates, the lower half was entirely subducted beneath Central and Southern California, but the upper half of the plate did not sink and became the Juan de Fuca plate, with the San Andreas Fault forming a major plate boundary between the Pacific and North American Plates.  The Channel Islands and Santa Ynez mountains rotated due to the northward pull of the Pacific half of the San Andreas fault.  Atwater became a fellow of the American Geophysical Union in 1975, received the AAAS Newcomb Cleveland Prize for top research article in the journal Science in 1980, was elected to the National Academy of Sciences in 1997, received the National Science Foundation Director’s Award for Distinguished Teaching Scholars in 2002 – with which she created the UCSB Educational Multimedia Visualization Center, and the Penrose Medal from GSA in 2019, as well as numerous awards for teaching and mentorship.   From AEG website "Women’s History Month – American Women in the Geosciences"

Tanya Atwater, notable expert in the plate tectonic history of western North America, earned her BA in geophysics from UC Berkeley and PhD in marine geophysics from Scripps Institution of Oceanography at UC San Diego. As a professor of plate tectonics at UC Santa Barbara (1980-2007), she had a profound impact on geology students with her incredible skill of using various means of communication, including animation technology, to illustrate the mechanisms of tectonic movement. In 1968, she co-authored a research paper Changes in Direction of Sea Floor Spreading which was published in the journal Nature and identified the faulted nature of ocean floor spreading centers. She is best known for her research and published papers on propagating rifts near the Galapagos Islands and the history of the San Andreas fault system. Her research and animation work illustrate her explanation that 40 million years ago, when the Farallon Plate was subducting beneath the North American and Pacific Plates, the lower half was entirely subducted beneath Central and Southern California, but the upper half of the plate did not sink and became the Juan de Fuca plate, with the San Andreas Fault forming a major plate boundary between the Pacific and North American Plates. The Channel Islands and Santa Ynez mountains rotated due to the northward pull of the Pacific half of the San Andreas fault. Atwater became a fellow of the American Geophysical Union in 1975, received the AAAS Newcomb Cleveland Prize for top research article in the journal Science in 1980, was elected to the National Academy of Sciences in 1997, received the National Science Foundation Director’s Award for Distinguished Teaching Scholars in 2002 – with which she created the UCSB Educational Multimedia Visualization Center, and the Penrose Medal from GSA in 2019, as well as numerous awards for teaching and mentorship. From AEG website "Women’s History Month – American Women in the Geosciences"

Map a-day-in May (a thirty-one cabinet display)
Tanya Atwater Geophysicist who played a pivotal role in transforming understanding of Earth's surface during the Tectonic Revolution of the 1960s. More info #cartobibliography tinyurl.com/y5cv3vuz #TanyaAtwater #TectonicRevolution #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Marie Catherine & Elizabeth Haussard

Marie Catherine and Elizabeth Haussard were French engravers known for their beautiful engravings on maps and natural history plates. Little is known about the lives of the sisters, and much of their work has been lost or misattributed due to the difficulty of publishing as a woman in the eighteenth century. There are still many beautiful cartouches, however, that can be definitively accredited to the Haussard sisters. They worked on a variety of maps, many of which were included in the famous French Atlas Universel (1757). From their home in Paris along the Rue du Platre, Marie Catherine and Elizabeth produced engravings that graced map cartouches for North America, South America, Egypt, Belgium, and Lorraine. 

Davis, Katie. [2023]. Catherine and Elizabeth Haussard Visual Makers. American Revolutionary Geographies Online (ARGO).

Map a-day-in May (a thirty-one cabinet display) Marie Catherine & Elizabeth Haussard Marie Catherine and Elizabeth Haussard were French engravers known for their beautiful engravings on maps and natural history plates. Little is known about the lives of the sisters, and much of their work has been lost or misattributed due to the difficulty of publishing as a woman in the eighteenth century. There are still many beautiful cartouches, however, that can be definitively accredited to the Haussard sisters. They worked on a variety of maps, many of which were included in the famous French Atlas Universel (1757). From their home in Paris along the Rue du Platre, Marie Catherine and Elizabeth produced engravings that graced map cartouches for North America, South America, Egypt, Belgium, and Lorraine. Davis, Katie. [2023]. Catherine and Elizabeth Haussard Visual Makers. American Revolutionary Geographies Online (ARGO).

Map a-day-in May (a thirty-one cabinet display) Marie Catherine & Elizabeth Haussard

An example of map cartouches by Marie Catherine & Elizabeth Haussard published in the Robert Vaugondy (1757) Atlas Universel. Published by Boudet Les Auteurs and available from the David Rumsey Map Collection at: https://www.davidrumsey.com/luna/servlet/s/54d3bn

Map a-day-in May (a thirty-one cabinet display) Marie Catherine & Elizabeth Haussard An example of map cartouches by Marie Catherine & Elizabeth Haussard published in the Robert Vaugondy (1757) Atlas Universel. Published by Boudet Les Auteurs and available from the David Rumsey Map Collection at: https://www.davidrumsey.com/luna/servlet/s/54d3bn

Map a-day-in May (a thirty-one cabinet display) Marie Catherine & Elizabeth Haussard

Various signature styles by Marie Catherine & Elizabeth Haussard found on many of the cartouches in the Atlas Universel.

Haussard
C ne Haussard sc.
Haussard sculp.
Haussard sc.
E. Haussard sculp.
M.C. Haussard
E. Haussard sculpcit.
Elisabeth Haussard fecit.
E. Haussard fecit.
Haussard S

Note:
fecit. Latin verb meaning they made it" or "made by" 

sculp. sculpcit. Latin verb '(ex)sculpere "engraved" [plural, means more engravers worked on the same plate]

From: Ad Stijnman : Terms in Print Addresses: Abbreviations and Phrases on Printed Images 1500-1900

Map a-day-in May (a thirty-one cabinet display) Marie Catherine & Elizabeth Haussard Various signature styles by Marie Catherine & Elizabeth Haussard found on many of the cartouches in the Atlas Universel. Haussard C ne Haussard sc. Haussard sculp. Haussard sc. E. Haussard sculp. M.C. Haussard E. Haussard sculpcit. Elisabeth Haussard fecit. E. Haussard fecit. Haussard S Note: fecit. Latin verb meaning they made it" or "made by" sculp. sculpcit. Latin verb '(ex)sculpere "engraved" [plural, means more engravers worked on the same plate] From: Ad Stijnman : Terms in Print Addresses: Abbreviations and Phrases on Printed Images 1500-1900

Van Duzer, C. (2023). Frames that speak : cartouches on early modern maps. Brill. 

This lavishly illustrated book is the first systematic exploration of cartographic cartouches, the decorated frames that surround the title, or other text or imagery, on historic maps. It addresses the history of their development, the sources cartographers used in creating them, and the political, economic, historical, and philosophical messages their symbols convey. Cartouches are the most visually appealing parts of maps, and also spaces where the cartographer uses decoration to express his or her interests—so they are key to interpreting maps. The book discusses thirty-three cartouches in detail, which range from 1569 to 1821, and were chosen for the richness of their imagery. The book will open your eyes to a new way of looking at maps.

Van Duzer, C. (2023). Frames that speak : cartouches on early modern maps. Brill. This lavishly illustrated book is the first systematic exploration of cartographic cartouches, the decorated frames that surround the title, or other text or imagery, on historic maps. It addresses the history of their development, the sources cartographers used in creating them, and the political, economic, historical, and philosophical messages their symbols convey. Cartouches are the most visually appealing parts of maps, and also spaces where the cartographer uses decoration to express his or her interests—so they are key to interpreting maps. The book discusses thirty-three cartouches in detail, which range from 1569 to 1821, and were chosen for the richness of their imagery. The book will open your eyes to a new way of looking at maps.

Map a-day-in May (a thirty-one cabinet display)
Marie Catherine & Elizabeth Haussard French maps & natural history plate engravers. More info #cartobibliography tinyurl.com/y5cv3vuz
#MarieCatherineHaussard #ElizabethHaussard #AtlasUniversel #Cartouche #Cartography #Map #Engraver #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard

Emma Willard was an American woman's education activist who dedicated her life to education. She founded the Troy Female Seminary in Troy, New York which was renamed in her honor as the Emma Willard School in 1895. She wrote several textbooks in her lifetime including "History of the United States, or Republic of America" in 1828. Before GIS, Emma Hart Willard was mapping time and space. Her “Temple of Time” visualized history as geography—teaching students to see knowledge differently. A true cartographic pioneer who believed women deserved both education and vision. (Wikipedia)

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard Emma Willard was an American woman's education activist who dedicated her life to education. She founded the Troy Female Seminary in Troy, New York which was renamed in her honor as the Emma Willard School in 1895. She wrote several textbooks in her lifetime including "History of the United States, or Republic of America" in 1828. Before GIS, Emma Hart Willard was mapping time and space. Her “Temple of Time” visualized history as geography—teaching students to see knowledge differently. A true cartographic pioneer who believed women deserved both education and vision. (Wikipedia)

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard

Willard, Emma. (1829). Locations and Wanderings of the Aboriginal Tribes. In: A series of maps to Willard's History of the United States, or Republic of America : designed for schools and private libraries. White, Gallaher & White. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard Willard, Emma. (1829). Locations and Wanderings of the Aboriginal Tribes. In: A series of maps to Willard's History of the United States, or Republic of America : designed for schools and private libraries. White, Gallaher & White. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard

Willard, Emma. (1839). Atlas to accompany A system of universal history : containing I. a chronological picture of nations, or perspective sketch of the course of empire, II. the progressive geography of the world in a series of maps adapted to the different epochas of the history. F.J. Huntington and Co. From the Library of Congress 
https://www.loc.gov/resource/g3201sm.gct00409/?sp=2&r=-0.068,-0.035,1.136,0.704,0

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard Willard, Emma. (1839). Atlas to accompany A system of universal history : containing I. a chronological picture of nations, or perspective sketch of the course of empire, II. the progressive geography of the world in a series of maps adapted to the different epochas of the history. F.J. Huntington and Co. From the Library of Congress https://www.loc.gov/resource/g3201sm.gct00409/?sp=2&r=-0.068,-0.035,1.136,0.704,0

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard

Note: Color chart of time, 68x96, folded in covers 36x25, putting the course of time in perspective in multiple dimensions. Chart exhibited nations both ethnographically and chronographically. With many of the most celebrated leaders of the world. Includes notes on lower panel.

Full Title: The Temple of Time. Invented by Emma Willard. Published by A.S. Barnes & Co. New York. Entered according to act of Congress, 1846, by Emma Willard. Published by A.S. Barnes & Co. New York. (cover title) Willard's map of time : a companion to the Historic guide. By Emma Willard.

From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display) Emma Hart Willard Note: Color chart of time, 68x96, folded in covers 36x25, putting the course of time in perspective in multiple dimensions. Chart exhibited nations both ethnographically and chronographically. With many of the most celebrated leaders of the world. Includes notes on lower panel. Full Title: The Temple of Time. Invented by Emma Willard. Published by A.S. Barnes & Co. New York. Entered according to act of Congress, 1846, by Emma Willard. Published by A.S. Barnes & Co. New York. (cover title) Willard's map of time : a companion to the Historic guide. By Emma Willard. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display)
Emma Hart Willard Before GIS Willard was mapping time and space. Her “Temple of Time” visualized history as geography. For more info/links: #cartobibliography tinyurl.com/34hn54c3
#EmmaHartWillard #Education #Visualization #Time #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Ellen Eliza Fitz

In 1875, Fitz was given the patent for the globe mounting system of vertical rings. This mounted globe was then known as the ‘Fitz Globe’. The included vertical rings portrayed the change from day to night through all four seasons. Besides this, the actual globes that were used with the Fitz mounting were mid-19th century globes. The purpose of this new mounting system was to facilitate students’ understanding of the Earth’s daily rotation and annual revolution and was a design intended for educators to use in the classroom. The Fitz globe was published as a 12-inch globe by the textbook firm, Ginn and Heath, and was displayed at the 1876 Centennial Exhibition in Philadelphia. To accompany this, Fitz wrote and published a guidebook to the Fitz globe, “Handbook of the Terrestrial Globe or Guide to Fitz’s New Method of Mounting and Operating Globes”, to promote her invention. Within the guidebook, Fitz includes student exercises on the topics of geometry, geography, and astronomy, along with a description of the globe mount. Examples of exercises included in the guidebook: 
1. Find the difference in longitude between New York and San Francisco. 
2. At what rate per hour are the inhabitants of Botany Bay carried from west to east by the rotation of the earth on its axis? 
3. Bring Washington into 9 o’clock A.M. 
4. Find the difference of time between Boston and Rome. 
5. Find the times of sunrise and sunset, and the lengths of the day and the night, at Paris upon May 14. 

After receiving her first patent of the Fitz globe, Fitz continued her intellectual journey and received a second patent. This second patent was granted in 1882, and was another mounting system to indicate the positions of stars above the horizon at any time of the year. From Wikipedia https://wikipedia.nucleos.com/viewer/wikipedia_en_all/A/Ellen_Eliza_Fitz

Map a-day-in May (a thirty-one cabinet display) Ellen Eliza Fitz In 1875, Fitz was given the patent for the globe mounting system of vertical rings. This mounted globe was then known as the ‘Fitz Globe’. The included vertical rings portrayed the change from day to night through all four seasons. Besides this, the actual globes that were used with the Fitz mounting were mid-19th century globes. The purpose of this new mounting system was to facilitate students’ understanding of the Earth’s daily rotation and annual revolution and was a design intended for educators to use in the classroom. The Fitz globe was published as a 12-inch globe by the textbook firm, Ginn and Heath, and was displayed at the 1876 Centennial Exhibition in Philadelphia. To accompany this, Fitz wrote and published a guidebook to the Fitz globe, “Handbook of the Terrestrial Globe or Guide to Fitz’s New Method of Mounting and Operating Globes”, to promote her invention. Within the guidebook, Fitz includes student exercises on the topics of geometry, geography, and astronomy, along with a description of the globe mount. Examples of exercises included in the guidebook: 1. Find the difference in longitude between New York and San Francisco. 2. At what rate per hour are the inhabitants of Botany Bay carried from west to east by the rotation of the earth on its axis? 3. Bring Washington into 9 o’clock A.M. 4. Find the difference of time between Boston and Rome. 5. Find the times of sunrise and sunset, and the lengths of the day and the night, at Paris upon May 14. After receiving her first patent of the Fitz globe, Fitz continued her intellectual journey and received a second patent. This second patent was granted in 1882, and was another mounting system to indicate the positions of stars above the horizon at any time of the year. From Wikipedia https://wikipedia.nucleos.com/viewer/wikipedia_en_all/A/Ellen_Eliza_Fitz

Map a-day-in May (a thirty-one cabinet display) Ellen Eliza Fitz

Fitz, E.E., (1876). Hand-book of the terrestrial globe : or, guide to Fitz's new method of mounting and operating globes, designed for the use of families, schools, and academies. 

From Internet Archive: https://archive.org/details/handbookofterres00fitzrich

Map a-day-in May (a thirty-one cabinet display) Ellen Eliza Fitz Fitz, E.E., (1876). Hand-book of the terrestrial globe : or, guide to Fitz's new method of mounting and operating globes, designed for the use of families, schools, and academies. From Internet Archive: https://archive.org/details/handbookofterres00fitzrich

Map a-day-in May (a thirty-one cabinet display) Ellen Eliza Fitz

Related Information: British Pathé. (1955). Globe Making: How the World is Made. 

A 2:40 min. Youtube video showing how globes were made. 
Link: https://www.youtube.com/watch?v=4RWcWSN4HhI

Map a-day-in May (a thirty-one cabinet display) Ellen Eliza Fitz Related Information: British Pathé. (1955). Globe Making: How the World is Made. A 2:40 min. Youtube video showing how globes were made. Link: https://www.youtube.com/watch?v=4RWcWSN4HhI

Related Material:

Paper mache globe made by Memi von Gaza as part of a "Perceptual Maps" exercise.

"People from all walks of life were given a pen and asked to draw the map of their world onto a papier mached urn prepared by the artist. 
Where their memories were vague or non existent, they were asked to invent. One interpreted "his" world to mean a fantasy world. Common to all globes except this one has been the "boot", "sock", or "leg" of Italy.
Perhaps even more fascinating than the results, have been the comments. Everyone is an expert after the fact, but faced with a blank globe, a pen, and a less than perfect visual memory, we all distort reality. Exactly how and why are, of course, the interesting questions."

Memi von Gaza is an Edmonton artist known for her transitory and event works in the city. Her work encompasses sculpture, lantern based art installation, costume and set design, dance, artistic direction and writing. For over 30 years her artistic contributions have been seen in festivals, theatres, performances and events, public parks and on the streets. She was nominated for a Sterling Award for costume design, and is the recipient of the Mayor’s Award for Excellence in artistic direction. 

From the Edmonton Arts Council https://www.edmontonarts.ca/public-art/broken-families-monument

Related Material: Paper mache globe made by Memi von Gaza as part of a "Perceptual Maps" exercise. "People from all walks of life were given a pen and asked to draw the map of their world onto a papier mached urn prepared by the artist. Where their memories were vague or non existent, they were asked to invent. One interpreted "his" world to mean a fantasy world. Common to all globes except this one has been the "boot", "sock", or "leg" of Italy. Perhaps even more fascinating than the results, have been the comments. Everyone is an expert after the fact, but faced with a blank globe, a pen, and a less than perfect visual memory, we all distort reality. Exactly how and why are, of course, the interesting questions." Memi von Gaza is an Edmonton artist known for her transitory and event works in the city. Her work encompasses sculpture, lantern based art installation, costume and set design, dance, artistic direction and writing. For over 30 years her artistic contributions have been seen in festivals, theatres, performances and events, public parks and on the streets. She was nominated for a Sterling Award for costume design, and is the recipient of the Mayor’s Award for Excellence in artistic direction. From the Edmonton Arts Council https://www.edmontonarts.ca/public-art/broken-families-monument

Map a-day-in May (a thirty-one cabinet display)
Ellen Eliza Fitz In 1875, Fitz patented a globe mounting system of vertical rings, which became known as the ‘Fitz Globe’. For more info/links: #cartobibliography tinyurl.com/34hn54c3 #EllenElizaFitz #GlobeMaking #FitzGlobe #Globes #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni
Phoebe Rose Nahanni was a Slavey-Dene geographer and cartographer. She played a central role in the Dene Nation mapping project, which constructed a map of how the Dene Nation actively used about 450,000 square miles of land. This information was one of the factors in the Mackenzie Valley Pipeline Inquiry's recommendation not to construct a pipeline through the Mackenzie River Valley. Nahanni was also active in the social scientific study of arctic and subarctic communities, and is thought to have been the first Slavey-Dene woman to hold a master's degree. To prepare for the Berger Commission, the Dene conducted a comprehensive study. Phoebe Nahanni, led a team of twenty Dene researchers. Their first decision was to manage the research process themselves, choosing not to rely on external white experts. Using hardcopy maps and audiotapes, they interviewed 546 individuals about their hunting, trapping, and other livelihood practices on the land. They then brought the maps back to the communities for re-verification, ensuring greater accuracy and broadening the collaboration for the overall project. During each of the Hearings, a Dene field worker presented the maps, documenting the historical and current land use in the respective community.
The evidence they provided to the Inquiry directly challenged the colonial narrative of terra nullius—the false belief that the land was uninhabited. As Nahanni stated: "The maps clearly demonstrate what we've always said before your legal institutions—that we've been here for countless generations; this is our land and our way of life. The proposed oil and gas pipeline routes and construction sites interfere with our land-based activities. The impacts of such intrusions not only disrupt our travel routes and trap lines but also harm the animals, fish, lakes, and environment that are integral to our way of life." (Phoebe Nahanni, 1977).

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni Phoebe Rose Nahanni was a Slavey-Dene geographer and cartographer. She played a central role in the Dene Nation mapping project, which constructed a map of how the Dene Nation actively used about 450,000 square miles of land. This information was one of the factors in the Mackenzie Valley Pipeline Inquiry's recommendation not to construct a pipeline through the Mackenzie River Valley. Nahanni was also active in the social scientific study of arctic and subarctic communities, and is thought to have been the first Slavey-Dene woman to hold a master's degree. To prepare for the Berger Commission, the Dene conducted a comprehensive study. Phoebe Nahanni, led a team of twenty Dene researchers. Their first decision was to manage the research process themselves, choosing not to rely on external white experts. Using hardcopy maps and audiotapes, they interviewed 546 individuals about their hunting, trapping, and other livelihood practices on the land. They then brought the maps back to the communities for re-verification, ensuring greater accuracy and broadening the collaboration for the overall project. During each of the Hearings, a Dene field worker presented the maps, documenting the historical and current land use in the respective community. The evidence they provided to the Inquiry directly challenged the colonial narrative of terra nullius—the false belief that the land was uninhabited. As Nahanni stated: "The maps clearly demonstrate what we've always said before your legal institutions—that we've been here for countless generations; this is our land and our way of life. The proposed oil and gas pipeline routes and construction sites interfere with our land-based activities. The impacts of such intrusions not only disrupt our travel routes and trap lines but also harm the animals, fish, lakes, and environment that are integral to our way of life." (Phoebe Nahanni, 1977).

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni 
Map showing: Sahtu Dene and Metis Traditional Trail Network

Text around the map states: TRADITIONAL TRAVEL
The land itself is of particular importance in transmitting knowledge from one generation to the next. The Sahtu Dene and Métis landscape is known intimately to elders. Trails, used year-round, provide access to a vast harvesting region. The trails link thousands of place names, each with a story, sometimes many, bound to the place. Names and narratives convey knowledge, and in this way Sahtu Dene and Metis culture is tied directly to the landscape. The network of interconnecting trails provides access to a Sahtu land use area encompassing some 300,000 km.
This map shows patterns of land use derived through the Sahtu Dene and Métis trails mapping project. The trails may be water routes or land routes or both depending on the season, and many extend beyond the Sahtu boundary to connect with other major routes of the north. While cutlines and winter roads have opened up further travel routes within the Sahtu, some traditional routes are still used for travel to and from settlements, hunting grounds and camps.

When you put out these maps it brings back memories of long time ago. I remember one time we travelled to town walking, no dogs or skiddoo from Aubry Lake. We camped once. The next day we made it to the Hare Indian River. At that time there were no maps. There were people that were smart that made trail from Colville Lake to Fort Good Hope. (Anonymous, Dene Nation mapping project)

Source: Kershaw, R., & Auld, J. (2005). The Sahtu atlas. Sahtu GIS Project.

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni Map showing: Sahtu Dene and Metis Traditional Trail Network Text around the map states: TRADITIONAL TRAVEL The land itself is of particular importance in transmitting knowledge from one generation to the next. The Sahtu Dene and Métis landscape is known intimately to elders. Trails, used year-round, provide access to a vast harvesting region. The trails link thousands of place names, each with a story, sometimes many, bound to the place. Names and narratives convey knowledge, and in this way Sahtu Dene and Metis culture is tied directly to the landscape. The network of interconnecting trails provides access to a Sahtu land use area encompassing some 300,000 km. This map shows patterns of land use derived through the Sahtu Dene and Métis trails mapping project. The trails may be water routes or land routes or both depending on the season, and many extend beyond the Sahtu boundary to connect with other major routes of the north. While cutlines and winter roads have opened up further travel routes within the Sahtu, some traditional routes are still used for travel to and from settlements, hunting grounds and camps. When you put out these maps it brings back memories of long time ago. I remember one time we travelled to town walking, no dogs or skiddoo from Aubry Lake. We camped once. The next day we made it to the Hare Indian River. At that time there were no maps. There were people that were smart that made trail from Colville Lake to Fort Good Hope. (Anonymous, Dene Nation mapping project) Source: Kershaw, R., & Auld, J. (2005). The Sahtu atlas. Sahtu GIS Project.

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni
A map titled: Denendeh Trails of our Ancestors. 
Map shows trails and is annotated with photo insets.

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni A map titled: Denendeh Trails of our Ancestors. Map shows trails and is annotated with photo insets.

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni
Caption reads: 

ENDURANCE
"The stories I've picked up
From the older men are really,
really incredible.
This long trip up here was done
by Charles Yohin.
He travelled with three or four
families. They stayed at Rabbit Kettle.
They met sone people from Tulita who were travelling
through south Nahanni.
They were hunting or trapping for marten.
Rather than continuing on to Tulita
on their way to North Nahanni, back to Tulita
the men went back to Watson Lake with the families.
Charles Yohin said he spent about ten years in the whole area."
Phoebe Nahanni, Nahanni Butte, 1975

Map a-day-in May (a thirty-one cabinet display) Phoebe Nahanni Caption reads: ENDURANCE "The stories I've picked up From the older men are really, really incredible. This long trip up here was done by Charles Yohin. He travelled with three or four families. They stayed at Rabbit Kettle. They met sone people from Tulita who were travelling through south Nahanni. They were hunting or trapping for marten. Rather than continuing on to Tulita on their way to North Nahanni, back to Tulita the men went back to Watson Lake with the families. Charles Yohin said he spent about ten years in the whole area." Phoebe Nahanni, Nahanni Butte, 1975

Map a-day-in May (a thirty-one cabinet display)
Phoebe Nahanni A Slavey-Dene geographer & cartographer who played a central role in the Dene Nation mapping project
For more info/links: #cartobibliography tinyurl.com/34hn54c3
#PhoebeNahanni #CounterMapping #DeneMapping #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Lilian Lancaster

Lancaster was far from a professional cartographer. In fact, she was a successful Victorian-era actress. Her interest in mapmaking began in her teenage years as a way to entertain her ailing brother. At the age of 15, she created a series of twelve humorous maps depicting various European countries. These imaginative sketches were later compiled and published in Geographical Fun: Humorous Outlines of Various Countries by Hodder & Stoughton in 1868.
Both playful and educational, her anthropomorphic maps captured the attention of children and adults alike. Their whimsical design made it easier for young audiences to remember the shapes of different countries, while also introducing elements of history and geography.
Lancaster also drew inspiration from folklore and mythology. Later in life, using her married name, Tennant, she produced another series of maps to accompany Stories of Old, a collection of popular tales and fables written by Elizabeth Louisa Hoskyn. This volume was published by Adam and Charles Black in 1912. Each of these later maps reflects the theme of a specific story, combining national outlines with historical or mythological figures relevant to that country’s cultural heritage. (Adapted from British Library and Wikipedia)

Map a-day-in May (a thirty-one cabinet display) Lilian Lancaster Lancaster was far from a professional cartographer. In fact, she was a successful Victorian-era actress. Her interest in mapmaking began in her teenage years as a way to entertain her ailing brother. At the age of 15, she created a series of twelve humorous maps depicting various European countries. These imaginative sketches were later compiled and published in Geographical Fun: Humorous Outlines of Various Countries by Hodder & Stoughton in 1868. Both playful and educational, her anthropomorphic maps captured the attention of children and adults alike. Their whimsical design made it easier for young audiences to remember the shapes of different countries, while also introducing elements of history and geography. Lancaster also drew inspiration from folklore and mythology. Later in life, using her married name, Tennant, she produced another series of maps to accompany Stories of Old, a collection of popular tales and fables written by Elizabeth Louisa Hoskyn. This volume was published by Adam and Charles Black in 1912. Each of these later maps reflects the theme of a specific story, combining national outlines with historical or mythological figures relevant to that country’s cultural heritage. (Adapted from British Library and Wikipedia)

Map a-day-in May (a thirty-one cabinet display) Lilian Lancaster

Lancaster (Tennant), Lilian. (1912). 3. Scotland. Robert Bruce Watches the Spider. Adam and Charles Black. Image from the David Rumsey Map Collection

Map a-day-in May (a thirty-one cabinet display) Lilian Lancaster Lancaster (Tennant), Lilian. (1912). 3. Scotland. Robert Bruce Watches the Spider. Adam and Charles Black. Image from the David Rumsey Map Collection

Map a-day-in May (a thirty-one cabinet display) Lilian Lancaster

Lancaster (Tennant), Lilian. (1912). The Raven Guides Floke across the Great Sea. Adam and Charles Black. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display) Lilian Lancaster Lancaster (Tennant), Lilian. (1912). The Raven Guides Floke across the Great Sea. Adam and Charles Black. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display)
Lilian Lancaster At age 15 created twelve humorous maps depicting various European countries.
For more info/links: #cartobibliography tinyurl.com/34hn54c3
#LilianLancaster #AnthropomorphicMaps #MapDayMay25 William C. Wonders Map Collection #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Laura Kurgan

Laura Kurgan teaches architecture at the Graduate School of Architecture, Preservation, and Planning at Columbia University, where she is Director of the Spatial Information Design Lab (SIDL) and the Director of Visual Studies. Her work explores problems ranging from digital location technologies, the ethics and politics of mapping, to new structures of participation in design, and the visualization of urban and global data. Her recent research includes a multi-year SIDL project on “million-dollar blocks” and the urban costs of the American incarceration experiment and an exhibition on global migration and climate change, Native Land: Stop Eject, at the Fondation Cartier in Paris. Her work has appeared at the Venice Architecture Biennale, the Whitney Altria, MACBa Barcelona, the ZKM in Karlsruhe, and the Museum of Modern Art (where it is part of the permanent collection). She was named one of Esquire Magazine’s ‘Best and Brightest’ in 2008, and was awarded a United States Artists Rockefeller Fellowship in 2009. She has published articles and essays in Atlantic Magazine, Volume, Grey Room, Assemblage, and Else/Where Mapping, among other books and journals. From: Columbia University Data Science Institute

Map a-day-in May (a thirty-one cabinet display) Laura Kurgan Laura Kurgan teaches architecture at the Graduate School of Architecture, Preservation, and Planning at Columbia University, where she is Director of the Spatial Information Design Lab (SIDL) and the Director of Visual Studies. Her work explores problems ranging from digital location technologies, the ethics and politics of mapping, to new structures of participation in design, and the visualization of urban and global data. Her recent research includes a multi-year SIDL project on “million-dollar blocks” and the urban costs of the American incarceration experiment and an exhibition on global migration and climate change, Native Land: Stop Eject, at the Fondation Cartier in Paris. Her work has appeared at the Venice Architecture Biennale, the Whitney Altria, MACBa Barcelona, the ZKM in Karlsruhe, and the Museum of Modern Art (where it is part of the permanent collection). She was named one of Esquire Magazine’s ‘Best and Brightest’ in 2008, and was awarded a United States Artists Rockefeller Fellowship in 2009. She has published articles and essays in Atlantic Magazine, Volume, Grey Room, Assemblage, and Else/Where Mapping, among other books and journals. From: Columbia University Data Science Institute

Map a-day-in May (a thirty-one cabinet display)
Laura Kurgan Around Ground Zero. Mapping, Technology, and Politics. More info #cartobibliography tinyurl.com/y5cv3vuz
#LauraKurgan #Cartography #CrisisMapping #HumanitarianOpenStreetMap #GIS #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) 
A selection of University of Alberta Mapping Projects:

Haines, Emily. (2024). Counter-Mapping the Lands and Material Heritage of Nineteenth-Century Métis in amiskwaciy-wâskahikan (Edmonton, Alberta) Using Historical Documents. A thesis submitted in partial fulfillment of the requirements for the degree of  Master of Arts Department of Anthropology University of Alberta. [Thesis]

Howse, Robin. (2020). pîtos-mâmitoneyihtamowin (reimagine) UAlberta (2020). Alternate perspectives on the University of Alberta North Campus. [Map]

Luckert, Erika (2012). Drawings We Have Lived: Mapping Desire Lines in Edmonton. Constellations Vol. 4 Noi. 1 pp. 318-326. [Article]

Martell, Kathryn A., Dammeyer, Henry. (2001) Lost creeks and wetlands of Edmonton. [Map]

McMillan, Bethany. (2023). Conceptions of the Rocky Mountains: A Comparison of Peter Fidler and David Thompson and Their Mapping Strategies. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History. [Thesis]

Map a-day-in May (a thirty-one cabinet display) A selection of University of Alberta Mapping Projects: Haines, Emily. (2024). Counter-Mapping the Lands and Material Heritage of Nineteenth-Century Métis in amiskwaciy-wâskahikan (Edmonton, Alberta) Using Historical Documents. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Anthropology University of Alberta. [Thesis] Howse, Robin. (2020). pîtos-mâmitoneyihtamowin (reimagine) UAlberta (2020). Alternate perspectives on the University of Alberta North Campus. [Map] Luckert, Erika (2012). Drawings We Have Lived: Mapping Desire Lines in Edmonton. Constellations Vol. 4 Noi. 1 pp. 318-326. [Article] Martell, Kathryn A., Dammeyer, Henry. (2001) Lost creeks and wetlands of Edmonton. [Map] McMillan, Bethany. (2023). Conceptions of the Rocky Mountains: A Comparison of Peter Fidler and David Thompson and Their Mapping Strategies. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History. [Thesis]

Map a-day-in May (a thirty-one cabinet display)
With the long weekend unfolding a selection of University of Alberta Mapping Projects
More info #cartobibliography tinyurl.com/y5cv3vuz #Cartography #Mapping #GIS #Indigenous #Geographies #CounterMapping #DesirePaths #LostRivers #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display)
With the long weekend unfolding we are laying out our staff book/atlas picks

Map a-day-in May (a thirty-one cabinet display) With the long weekend unfolding we are laying out our staff book/atlas picks

Map a-day-in May (a thirty-one cabinet display)
With the long weekend unfolding we are laying out our staff book/Atlas picks More info #cartobibliography tinyurl.com/y5cv3vuz
#Cartography #Mapping #GIS #Indigenous #Geographies #Geology #Art #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display)
Staff Picks - ebooks

Dando, Christina E. (2018). Women and cartography in the progressive era. Routledge. 

Finbog, Liisa-Rávná. Naviyuk Kane, Joan. Riquet, Johannes. (eds.) (2025). Circumpolar Connections: Creative Indigenous Geographies of the Arctic. Wesleyan University Press. 

Fujikane, Candace. (2021). Mapping abundance for a planetary future : Kanaka Maoli and critical settler cartographies in Hawai’i. Duke University Press.

Goeman, Mishuana. (2013). Mark my words : native women mapping our nations. University of Minnesota Press.

Harjo, Laura. (2019). Spiral to the Stars : Mvskoke Tools of Futurity. The University of Arizona Press. 

Knowles, Anne Kelly, Cole, T., Giordano, A., & Steiner, E. B. (Eds.). (2014). Geographies of the Holocaust. Indiana University Press.

Kurgan, Laura. (2013). Close Up at a Distance : Mapping, Technology, and Politics. MIT Press.

Luciano, Dana. (2024). How the earth feels : geological fantasy in the nineteenth-century United States. Duke University Press.

Reddleman, Claire. (2017). Cartographic abstraction in contemporary art : seeing with maps. Routledge.

Tyner, Judith. A. (2016). Stitching the world : embroidered maps and women’s geographical education. Routledge. 

Tyner, Judith. (2020). Women in American cartography : an invisible social history. Lexington Books.

Ute., Dieckmann. (Ed.). (2021). Mapping the unmappable? : cartographic explorations with indigenous peoples in Africa. Transcript-Verlag.

Wigen, Kären, Winterer, Caroline (eds.). (2020). Time in Maps : From the Age of Discovery to Our Digital Era. University of Chicago Press.

Wigen, Kären. (ed.). (2025). Territorial imaginaries : beyond the sovereign map. The University of Chicago Press.

Yusoff, Kathryn. (2024). Geologic life : inhuman intimacies and the geophysics of race. Duke University Press.

Map a-day-in May (a thirty-one cabinet display) Staff Picks - ebooks Dando, Christina E. (2018). Women and cartography in the progressive era. Routledge. Finbog, Liisa-Rávná. Naviyuk Kane, Joan. Riquet, Johannes. (eds.) (2025). Circumpolar Connections: Creative Indigenous Geographies of the Arctic. Wesleyan University Press. Fujikane, Candace. (2021). Mapping abundance for a planetary future : Kanaka Maoli and critical settler cartographies in Hawai’i. Duke University Press. Goeman, Mishuana. (2013). Mark my words : native women mapping our nations. University of Minnesota Press. Harjo, Laura. (2019). Spiral to the Stars : Mvskoke Tools of Futurity. The University of Arizona Press. Knowles, Anne Kelly, Cole, T., Giordano, A., & Steiner, E. B. (Eds.). (2014). Geographies of the Holocaust. Indiana University Press. Kurgan, Laura. (2013). Close Up at a Distance : Mapping, Technology, and Politics. MIT Press. Luciano, Dana. (2024). How the earth feels : geological fantasy in the nineteenth-century United States. Duke University Press. Reddleman, Claire. (2017). Cartographic abstraction in contemporary art : seeing with maps. Routledge. Tyner, Judith. A. (2016). Stitching the world : embroidered maps and women’s geographical education. Routledge. Tyner, Judith. (2020). Women in American cartography : an invisible social history. Lexington Books. Ute., Dieckmann. (Ed.). (2021). Mapping the unmappable? : cartographic explorations with indigenous peoples in Africa. Transcript-Verlag. Wigen, Kären, Winterer, Caroline (eds.). (2020). Time in Maps : From the Age of Discovery to Our Digital Era. University of Chicago Press. Wigen, Kären. (ed.). (2025). Territorial imaginaries : beyond the sovereign map. The University of Chicago Press. Yusoff, Kathryn. (2024). Geologic life : inhuman intimacies and the geophysics of race. Duke University Press.

Map a-day-in May (a thirty-one cabinet display)
With the long weekend unfolding we are laying out our staff ebook picks (some are open access) More info #cartobibliography tinyurl.com/y5cv3vuz
#Cartography #Mapping #GIS #Indigenous #Geographies #Gerology #Art #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders
Lillian Paradise Johnson Wonders (1925-2023), was born on April 20, 1925 in Portland, Oregon, the eldest of three daughters to Juliette Martin Omohundro (1896-1991) and Franklin Paradise Johnson (1888-1943).
Lillian Wonders attended St. Helen's Hall in Portland, Oregon, and upon graduation pursued post-secondary education at Oregon State College (Corvallis, Oregon) and the University of Washington (Seattle, Washington), obtaining a Bachelor of Arts in Geography in 1946. Wonders then attended Syracuse University to study medical geography where she wrote her thesis on "Geographical Aspects of Schistosoma mansoni in Puerto Rico. Wonders career included teaching geography and cartography at the University of Washington (1948); cartographer with the Map Division of the United Nations Secretariat (1949-1951); lecturer in cartography in the Department of Geography at the University of Toronto; and as a freelance cartographer. Her publications, and contributions, include: Looking at Maps (1960), Land, Water, and People (1961), Dent's Historical and Geographical Atlas (1958), Atlas of Alberta (1969), Junior Atlas of Alberta (1979), the Canadian Encyclopedia (1985), Geographica, the Complete Illustrated Atlas of Canada and the World (1998).
Wonders first learned letterpress printing at age twelve from her father, when he purchased a Chandler and Price Press and founded the Johnson & Co. press in Portland in 1934. Wonders continued printing on the family's small platen press and 1890 Chandler and Price Press throughout her career as a cartographer, and founded Wonder Press in 1965 while living in Edmonton.   
Lillian Wonders married her husband William C. Wonders (a Canadian geographer with a map collection named after him), on June 2, 1951.  Abridged from : University of Victoria Special Collections and University Archives.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders Lillian Paradise Johnson Wonders (1925-2023), was born on April 20, 1925 in Portland, Oregon, the eldest of three daughters to Juliette Martin Omohundro (1896-1991) and Franklin Paradise Johnson (1888-1943). Lillian Wonders attended St. Helen's Hall in Portland, Oregon, and upon graduation pursued post-secondary education at Oregon State College (Corvallis, Oregon) and the University of Washington (Seattle, Washington), obtaining a Bachelor of Arts in Geography in 1946. Wonders then attended Syracuse University to study medical geography where she wrote her thesis on "Geographical Aspects of Schistosoma mansoni in Puerto Rico. Wonders career included teaching geography and cartography at the University of Washington (1948); cartographer with the Map Division of the United Nations Secretariat (1949-1951); lecturer in cartography in the Department of Geography at the University of Toronto; and as a freelance cartographer. Her publications, and contributions, include: Looking at Maps (1960), Land, Water, and People (1961), Dent's Historical and Geographical Atlas (1958), Atlas of Alberta (1969), Junior Atlas of Alberta (1979), the Canadian Encyclopedia (1985), Geographica, the Complete Illustrated Atlas of Canada and the World (1998). Wonders first learned letterpress printing at age twelve from her father, when he purchased a Chandler and Price Press and founded the Johnson & Co. press in Portland in 1934. Wonders continued printing on the family's small platen press and 1890 Chandler and Price Press throughout her career as a cartographer, and founded Wonder Press in 1965 while living in Edmonton. Lillian Wonders married her husband William C. Wonders (a Canadian geographer with a map collection named after him), on June 2, 1951. Abridged from : University of Victoria Special Collections and University Archives.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders

Map by Lillian J. Wonders and Kim Davis
Title: Alberta Writers' Guild [literary map]
Published in 1983

Citation: Wonders, Lillian, Davis, Kim. (1983). Alberta Writers' Guild [literary map]. Alberta Writers' Guild.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders Map by Lillian J. Wonders and Kim Davis Title: Alberta Writers' Guild [literary map] Published in 1983 Citation: Wonders, Lillian, Davis, Kim. (1983). Alberta Writers' Guild [literary map]. Alberta Writers' Guild.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders
Picture of two maps that appeared in the following books:

Luxton, E. G. (1975). Banff: Canada’s first national park. A history and a memory of Rocky Mountains Park. Summerthought.

Lister, R. (1979). The birds and birders of Beaverhills Lake. Edmonton Bird Club.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders Picture of two maps that appeared in the following books: Luxton, E. G. (1975). Banff: Canada’s first national park. A history and a memory of Rocky Mountains Park. Summerthought. Lister, R. (1979). The birds and birders of Beaverhills Lake. Edmonton Bird Club.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders

Cover and three plates 
- Communities
- Looking at Canada
- Albertans

From: Alberta Education. (1979). Junior atlas of Alberta : our place on earth and how we live. Curriculum Branch, Alberta Education.

Item has not been digitized.

Map a-day-in May (a thirty-one cabinet display) Lillian J. Wonders Cover and three plates - Communities - Looking at Canada - Albertans From: Alberta Education. (1979). Junior atlas of Alberta : our place on earth and how we live. Curriculum Branch, Alberta Education. Item has not been digitized.

Map a-day-in May (a thirty-one cabinet display)
Lillian J. Wonders Cartographer, geographer, teacher and founder of "Wonder Press". For more info/links: #cartobibliography tinyurl.com/34hn54c3
#LillianWonders #Cartography #WonderPress #MapDayMay25 William C. Wonders Map Collection #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White
Ruth D. Taylor White was an American pictorial mapmaker, what they liked to call 'carto-graphy'. One of her first published works was a cover of The Stanford Illustrated Review, where her brother Frank attended university. Frank was an accomplished journalist and writer, and Ruth provided the illustrations for two of his books Oh Ranger! A Book About the National Parks and Grand Canyon Country. In the spring of 1930, White traveled to Hawaii, where she received a commission from the Hawaii Tourist Bureau to create pictorial maps of the Hawaiian Islands. White’s most famous work, a pictorial atlas entitled, Our USA: A Gay Geography was published in 1935 and was filled with ‘cartography’ of each state. Adapted from - Geographicus
https://www.geographicus.com/P/ctgy&Category_Code=whiteruthtaylor

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White Ruth D. Taylor White was an American pictorial mapmaker, what they liked to call 'carto-graphy'. One of her first published works was a cover of The Stanford Illustrated Review, where her brother Frank attended university. Frank was an accomplished journalist and writer, and Ruth provided the illustrations for two of his books Oh Ranger! A Book About the National Parks and Grand Canyon Country. In the spring of 1930, White traveled to Hawaii, where she received a commission from the Hawaii Tourist Bureau to create pictorial maps of the Hawaiian Islands. White’s most famous work, a pictorial atlas entitled, Our USA: A Gay Geography was published in 1935 and was filled with ‘cartography’ of each state. Adapted from - Geographicus https://www.geographicus.com/P/ctgy&Category_Code=whiteruthtaylor

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White
Taylor, F. and Taylor,R. (1935). Our U.S.A a gay geography. Little Brown and Company, Boston.

Our Gay Geography was marketed and designed for children as an entertaining and fanciful pictorial illustrated atlas of the United States, which includes a full color map and a page of historical and geographical text for each of the 48 states plus the Territories of Alaska, Hawaii, American Samoa and the Commonwealth of the Philippines, as well as a map of the Caribbean showing Puerto Rico, the Virgin Islands and the Panama Canal Zone as well as the rest of the Antilles (56 maps in total). Numerous small cartoons on the map of each state depict historically significant sites, peoples, activities, crops, animals, populated places, etc. A product of the 1930s, the atlas is rife with stereotypical and often racist caricatures of an individual state's inhabitants, particularly in the South and in the West. In addition to these insensitive depictions of peoples, the atlas also reflects the era in which it was produced in terms of stereotypical gender roles as well as in its portrayals of what was important or noteworthy about states and regions in terms of present-day agricultural and industrial products and social activities. To this end, the atlas consistently presents a whitewashed narrative of local and national history. The cartography and illustrations were done by Ruth Taylor White (1896-1985) who was educated at Stanford, where she majored in English, and at the New York Institute of Art and Design. Throughout her career she referred to her maps as "cartographs." Her brother Frank Taylor, a journalist, authored the text of the atlas. Adapted from the Osher Map Library https://tinyurl.com/3xyexwsz

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White Taylor, F. and Taylor,R. (1935). Our U.S.A a gay geography. Little Brown and Company, Boston. Our Gay Geography was marketed and designed for children as an entertaining and fanciful pictorial illustrated atlas of the United States, which includes a full color map and a page of historical and geographical text for each of the 48 states plus the Territories of Alaska, Hawaii, American Samoa and the Commonwealth of the Philippines, as well as a map of the Caribbean showing Puerto Rico, the Virgin Islands and the Panama Canal Zone as well as the rest of the Antilles (56 maps in total). Numerous small cartoons on the map of each state depict historically significant sites, peoples, activities, crops, animals, populated places, etc. A product of the 1930s, the atlas is rife with stereotypical and often racist caricatures of an individual state's inhabitants, particularly in the South and in the West. In addition to these insensitive depictions of peoples, the atlas also reflects the era in which it was produced in terms of stereotypical gender roles as well as in its portrayals of what was important or noteworthy about states and regions in terms of present-day agricultural and industrial products and social activities. To this end, the atlas consistently presents a whitewashed narrative of local and national history. The cartography and illustrations were done by Ruth Taylor White (1896-1985) who was educated at Stanford, where she majored in English, and at the New York Institute of Art and Design. Throughout her career she referred to her maps as "cartographs." Her brother Frank Taylor, a journalist, authored the text of the atlas. Adapted from the Osher Map Library https://tinyurl.com/3xyexwsz

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White
A large selection of pictorial maps or cartographs by Ruth Taylor White can be found on the David Rumsey Map Collection: https://tinyurl.com/36nts37c

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White A large selection of pictorial maps or cartographs by Ruth Taylor White can be found on the David Rumsey Map Collection: https://tinyurl.com/36nts37c

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White

An aerial panorama view of the exposition grounds, with a portion of San Francisco in the foreground and whimsical sea monsters, whales, planes, and boats in the water around the Treasure Island. Includes legend to exposition buildings, with some items marked.

A cartograph of Treasure Island in San Francisco Bay : Golden Gate International Exposition : Cartograph by Ruth Tylor. (on verso) Exposition buildings and courts. (to accompany) Official Guide Book : Revised edition. Golden Gate International Exposition : World's Fair on San Francisco Bay. Copyright 1939 by San Francisco Bay Exposition. Published by Crocker Company, A Division of H.S. Crocker Co. Inc., 720 Mission Street, San Francisco. Engravings by American Engraving Co. (cover title) Official Guide Book: Revised edition. 25c. Golden Gate International Exposition. Cover by Si Vanderlaan.

White, Ruth Taylor. (1939). A cartograph of Treasure Island in San Francisco Bay. The Crocker Company. From the David Rumsey Map Collection https://tinyurl.com/2nukm6cf

Map a-day-in May (a thirty-one cabinet display) Ruth Taylor White An aerial panorama view of the exposition grounds, with a portion of San Francisco in the foreground and whimsical sea monsters, whales, planes, and boats in the water around the Treasure Island. Includes legend to exposition buildings, with some items marked. A cartograph of Treasure Island in San Francisco Bay : Golden Gate International Exposition : Cartograph by Ruth Tylor. (on verso) Exposition buildings and courts. (to accompany) Official Guide Book : Revised edition. Golden Gate International Exposition : World's Fair on San Francisco Bay. Copyright 1939 by San Francisco Bay Exposition. Published by Crocker Company, A Division of H.S. Crocker Co. Inc., 720 Mission Street, San Francisco. Engravings by American Engraving Co. (cover title) Official Guide Book: Revised edition. 25c. Golden Gate International Exposition. Cover by Si Vanderlaan. White, Ruth Taylor. (1939). A cartograph of Treasure Island in San Francisco Bay. The Crocker Company. From the David Rumsey Map Collection https://tinyurl.com/2nukm6cf

Map a-day-in May (a thirty-one cabinet display)
Ruth Taylor White - Work spans 1928 to 1945 during the golden age of pictorial mapping. More info/links: #cartobibliography tinyurl.com/34hn54c3 #RuthTaylorWhite #Cartograph #PictorialMap #MapDayMay25 William C. Wonders Map Collection #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Agnes Sinclair Holbrook

Agnes Sinclair Holbrook, moved to Hull-House in their early twenties. Alongside other residents, Holbrook applied their college training in science and art to collecting and mapping demographic data from their Near West Side neighborhood. Holbrook designed maps which illustrated the nationalities of immigrants living nearby. Influenced by Charles Booth’s statistical mapping of poverty in London, the maps visualize detailed statistics with remarkable economy. The presentation influenced the research methods and interests of the burgeoning field of sociology, and foreshadowed GIS mapping. From the Norman B. Leventhal Map & Education Center https://www.leventhalmap.org/articles/highlights-from-the-vault-mapped-by-her/

Map a-day-in May (a thirty-one cabinet display) Agnes Sinclair Holbrook Agnes Sinclair Holbrook, moved to Hull-House in their early twenties. Alongside other residents, Holbrook applied their college training in science and art to collecting and mapping demographic data from their Near West Side neighborhood. Holbrook designed maps which illustrated the nationalities of immigrants living nearby. Influenced by Charles Booth’s statistical mapping of poverty in London, the maps visualize detailed statistics with remarkable economy. The presentation influenced the research methods and interests of the burgeoning field of sociology, and foreshadowed GIS mapping. From the Norman B. Leventhal Map & Education Center https://www.leventhalmap.org/articles/highlights-from-the-vault-mapped-by-her/

Map a-day-in May (a thirty-one cabinet display)
Agnes Sinclair Holbrook

Hull-House. Addams, Jane. Kelley, Florence. (1895). Nationalities Map No. 1 Nationalities Map No. 2 Nationalities Map No. 3 Nationalities Map No. 4. Thomas Y. Crowell & Co. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display) Agnes Sinclair Holbrook Hull-House. Addams, Jane. Kelley, Florence. (1895). Nationalities Map No. 1 Nationalities Map No. 2 Nationalities Map No. 3 Nationalities Map No. 4. Thomas Y. Crowell & Co. From the David Rumsey Map Collection.

Map a-day-in May (a thirty-one cabinet display) Agnes Sinclair Holbrook 

Hull-House. Addams, Jane. Kelley, Florence. (1895). Wage Map No. 1 Wage Map No. 2 Wage Map No. 3 Wage Map No. 4. Thomas Y. Crowell & Co. [David Rumsey Map Collection]

Map a-day-in May (a thirty-one cabinet display) Agnes Sinclair Holbrook Hull-House. Addams, Jane. Kelley, Florence. (1895). Wage Map No. 1 Wage Map No. 2 Wage Map No. 3 Wage Map No. 4. Thomas Y. Crowell & Co. [David Rumsey Map Collection]

Hull-House Maps and Papers
A Presentation of Nationalities and Wages in a Congested District of Chicago, together with comments and essays on problems growing out of the social conditions

By Residents of Hull House A social Settlement at 335 South Halsted Street, Chicago, Ill.

New York: 46 East Fourteenth Street Thomas Y. Crowell & Co. Boston: 100 Purchase Street

Available on Internet Archive: https://archive.org/details/hullhousemapsan00unkngoog/

Hull-House Maps and Papers A Presentation of Nationalities and Wages in a Congested District of Chicago, together with comments and essays on problems growing out of the social conditions By Residents of Hull House A social Settlement at 335 South Halsted Street, Chicago, Ill. New York: 46 East Fourteenth Street Thomas Y. Crowell & Co. Boston: 100 Purchase Street Available on Internet Archive: https://archive.org/details/hullhousemapsan00unkngoog/

Map a-day-in May (a thirty-one cabinet display)
Agnes Sinclair Holbrook Applied their college training in science & art to collecting & mapping demographic data.
More info/links: #cartobibliography tinyurl.com/34hn54c3
#AgnesSinclairHolbrook #Chicago #Wages #Nationalities #GIS #MapDayMay25 #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Ruth Belew 

Ruth O'Neal Belew was an American illustrator. They created the rear cover artwork of at least 150 Dell Mapback novels between 1942–1951. Dell's earliest paperbacks featured a map on the back cover depicting some element of the book, whether it was a city block, apartment, or a cattle trail in the old west. This innovative idea has made Dell's "Mapback" books coveted among collectors. In his catalog-index of Dell paperbacks, William Lyles theorized that Ruth Belew drew nearly all of the more than 500 maps that appeared on the back of Dell paperbacks between 1942–1951, though because records of Dell's artists are scarce, he was only able to confirm that she had drawn around 150. (Wikipedia) https://en.wikipedia.org/wiki/Ruth_O%27Neal_Belew

Map a-day-in May (a thirty-one cabinet display) Ruth Belew Ruth O'Neal Belew was an American illustrator. They created the rear cover artwork of at least 150 Dell Mapback novels between 1942–1951. Dell's earliest paperbacks featured a map on the back cover depicting some element of the book, whether it was a city block, apartment, or a cattle trail in the old west. This innovative idea has made Dell's "Mapback" books coveted among collectors. In his catalog-index of Dell paperbacks, William Lyles theorized that Ruth Belew drew nearly all of the more than 500 maps that appeared on the back of Dell paperbacks between 1942–1951, though because records of Dell's artists are scarce, he was only able to confirm that she had drawn around 150. (Wikipedia) https://en.wikipedia.org/wiki/Ruth_O%27Neal_Belew

Map a-day-in May (a thirty-one cabinet display) Ruth Belew
Images that make up the collage were crafted from the following two resources:
swallace99. (2011). Ruth Belew Mapbacks. Flickr https://www.flickr.com/photos/56781833@N06/albums/72157674456392417/ and Dell. (2022). Dell Mapbacks. https://bookscans.com/Publishers/dell/dell.htm

From Boston Rare Maps ... a rare women laboring within the male fraternity of mid-20th-century paperback designers. Biographical information about Belew is sparse, but she was evidently a Chicago illustrator, who—working from clues and descriptions in each book’s narrative—rendered her crime scenes on cardboard, at twice the finished paperback dimensions. She often added nifty identification banners and numbered “keys” to help readers locate rooms or landmarks integral to the plot. Dell editors double-checked the accuracy of her drafts, requested any necessary changes, and then sent them to lithographic colorists who’d fill her compositions with arresting hues. https://bostonraremaps.com/inventory/dell-mapback-collection-1943-to-1951/

Map a-day-in May (a thirty-one cabinet display) Ruth Belew Images that make up the collage were crafted from the following two resources: swallace99. (2011). Ruth Belew Mapbacks. Flickr https://www.flickr.com/photos/56781833@N06/albums/72157674456392417/ and Dell. (2022). Dell Mapbacks. https://bookscans.com/Publishers/dell/dell.htm From Boston Rare Maps ... a rare women laboring within the male fraternity of mid-20th-century paperback designers. Biographical information about Belew is sparse, but she was evidently a Chicago illustrator, who—working from clues and descriptions in each book’s narrative—rendered her crime scenes on cardboard, at twice the finished paperback dimensions. She often added nifty identification banners and numbered “keys” to help readers locate rooms or landmarks integral to the plot. Dell editors double-checked the accuracy of her drafts, requested any necessary changes, and then sent them to lithographic colorists who’d fill her compositions with arresting hues. https://bostonraremaps.com/inventory/dell-mapback-collection-1943-to-1951/

Map a-day-in May (a thirty-one cabinet display) Ruth Belew

Cover page of the article by: 

Heller, S. (1994). Mapbacks: high end of a low art. Print, 48, 48–53. 

With a map titled: Map - Showing Sussex where action takes place in "The Invisible Man"

Map a-day-in May (a thirty-one cabinet display) Ruth Belew Cover page of the article by: Heller, S. (1994). Mapbacks: high end of a low art. Print, 48, 48–53. With a map titled: Map - Showing Sussex where action takes place in "The Invisible Man"

Map a-day-in May (a thirty-one cabinet display)
Ruth Belew Illustrator who created the back cover map artwork of 150 Dell novels from 1942–1951. More info/links: #cartobibliography tinyurl.com/34hn54c3 #RuthBelew #MapBack #Illustrator #DellBooks #MapDayMay25 William C. Wonders Map Collection #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Patricia Bridges

Inspired by the success of the 1960 “Lunar Photographic Atlas” by the astronomer Gerard Peter Kuiper, the U.S. Air Force set out to produce detailed charts, by collecting the scientific data needed in order to put a man on the moon. They combined earth-based telescope observations with existing photographs, sources including the University of Manchester station sponsored by the ACIC at Pic du Midi, the Stony Ridge Observatory in California, the Kwasan Observatory in Kyoto, and their own motion picture films taken at Lowell, in order to create lucid maps, concluding that lunar features could be artistically drawn and airbrushed with India ink on translucent plastic sheets, following the style of lead illustrator Patricia Bridges. From the David Rumsey Map Collection.

The moon was divided into 68 quadrants (although the numbers run from 1 to 144, including the far side), each chart consisting of a topographic map recto and a relief rendition verso. The LAC series remained the most detailed lunar maps at NASA until the photographs were taken on orbital missions. superseded by the results of the later Apollo flights, these historic maps were discarded and many sets destroyed. A milestone of scientific mapmaking and a rare survival." (Antiquariat INLIBRIS, 2021) Note: only 30 of the 44 maps have the relief rendition on the verso. The maps use Mercator and Lambert Conformal Conic projections.

Map a-day-in May (a thirty-one cabinet display) Patricia Bridges Inspired by the success of the 1960 “Lunar Photographic Atlas” by the astronomer Gerard Peter Kuiper, the U.S. Air Force set out to produce detailed charts, by collecting the scientific data needed in order to put a man on the moon. They combined earth-based telescope observations with existing photographs, sources including the University of Manchester station sponsored by the ACIC at Pic du Midi, the Stony Ridge Observatory in California, the Kwasan Observatory in Kyoto, and their own motion picture films taken at Lowell, in order to create lucid maps, concluding that lunar features could be artistically drawn and airbrushed with India ink on translucent plastic sheets, following the style of lead illustrator Patricia Bridges. From the David Rumsey Map Collection. The moon was divided into 68 quadrants (although the numbers run from 1 to 144, including the far side), each chart consisting of a topographic map recto and a relief rendition verso. The LAC series remained the most detailed lunar maps at NASA until the photographs were taken on orbital missions. superseded by the results of the later Apollo flights, these historic maps were discarded and many sets destroyed. A milestone of scientific mapmaking and a rare survival." (Antiquariat INLIBRIS, 2021) Note: only 30 of the 44 maps have the relief rendition on the verso. The maps use Mercator and Lambert Conformal Conic projections.

Map a-day-in May (a thirty-one cabinet display) Patricia Bridges

Patricia Bridges Images (taken from Lowell Observatory's Lunar Legacy).

Unknown. [1962]. Illustrator Pat Bridges and unidentified men looking at lunar maps. Lowell Observatory's Lunar Legacy.
Unknown. [1962]. Pat Bridges at her drawing table. Lowell Observatory's Lunar Legacy.
Unknown. [1961]. Pat Bridges creates a lunar map. Lowell Observatory's Lunar Legacy.
Unknown. [1962[. Illustrator Pat Bridges works on a lunar map in her office at Lowell Observatory. Lowell Observatory's Lunar Legacy.

Map a-day-in May (a thirty-one cabinet display) Patricia Bridges Patricia Bridges Images (taken from Lowell Observatory's Lunar Legacy). Unknown. [1962]. Illustrator Pat Bridges and unidentified men looking at lunar maps. Lowell Observatory's Lunar Legacy. Unknown. [1962]. Pat Bridges at her drawing table. Lowell Observatory's Lunar Legacy. Unknown. [1961]. Pat Bridges creates a lunar map. Lowell Observatory's Lunar Legacy. Unknown. [1962[. Illustrator Pat Bridges works on a lunar map in her office at Lowell Observatory. Lowell Observatory's Lunar Legacy.

On this Flower moon here are some images of Mare Nectaris (Sea of Nectar.

On this Flower moon here are some images of Mare Nectaris (Sea of Nectar.

Map a-day-in May (a thirty-one cabinet display) Patricia Bridges

A USAF Lunar Wall Mosaic reflecting on a map light table.

Map a-day-in May (a thirty-one cabinet display) Patricia Bridges A USAF Lunar Wall Mosaic reflecting on a map light table.

Map a-day-in May (a thirty-one cabinet display)
Patricia Bridges The world's foremost planetary illustrator. For more info/links: #cartobibliography tinyurl.com/34hn54c3
#PatriciaBridges #MoonMaps #LunarCartography #FlowerMoon #MapDayMay25 William C. Wonders Map Collection #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Annette S. Lee 
Annette S. Lee is an American astrophysicist, award-winning artist, and civic engagement leader. Much of Lee's work focuses on Indigenous Knowledge and epistemologies. Lee is the director of Native Skywatchers, a program created to record, map, and share Indigenous star knowledge. Lee is mixed-race Lakota and works with Ojibwe, Dakota and Lakota communities to preserve those cultures' astronomical and ecological knowledge. Lee has worked as an expert consultant for UNESCO, curated prestigious exhibitions, served as a world-class science communicator, and presented keynotes to organizations and at major conferences around the world.

ANNETTE S. LEE | Artist-Astronomer | Indigenous | DSc | PhD | 
https://annettelee.com/

Map a-day-in May (a thirty-one cabinet display) Annette S. Lee Annette S. Lee is an American astrophysicist, award-winning artist, and civic engagement leader. Much of Lee's work focuses on Indigenous Knowledge and epistemologies. Lee is the director of Native Skywatchers, a program created to record, map, and share Indigenous star knowledge. Lee is mixed-race Lakota and works with Ojibwe, Dakota and Lakota communities to preserve those cultures' astronomical and ecological knowledge. Lee has worked as an expert consultant for UNESCO, curated prestigious exhibitions, served as a world-class science communicator, and presented keynotes to organizations and at major conferences around the world. ANNETTE S. LEE | Artist-Astronomer | Indigenous | DSc | PhD | https://annettelee.com/

Map a-day-in May (a thirty-one cabinet display) Annette S. Lee

Cree Star Map

Order a copy from the Manitoba First Nations Education Resource Centre https://mfnerc.org/product/cree-star-map/

Buck, W. (2016). Ininew achakos masinikan = Cree star map-book (A. S. Lee & W. P. (Artist) Wilson (Eds.)). Manitoba First Nations Education Resource Centre Inc.

Map a-day-in May (a thirty-one cabinet display) Annette S. Lee Cree Star Map Order a copy from the Manitoba First Nations Education Resource Centre https://mfnerc.org/product/cree-star-map/ Buck, W. (2016). Ininew achakos masinikan = Cree star map-book (A. S. Lee & W. P. (Artist) Wilson (Eds.)). Manitoba First Nations Education Resource Centre Inc.

Map a-day-in May (a thirty-one cabinet display)
Annette S. Lee

MAP ART 2022
“MNI SOTA MAKOCE – MINNESOTA ICONIC ANIMALS“
Annette S. Lee, Summer Solstice Art, June 21, 2022

Map Art includes both place-based, geographical information and Digital art to communicate a visual style. This work tells the story of how Ojibwe celestial animals or constellations are mirrored or paired with their matching land animal.

The fundamental epistemology (or theory of knowledge) here comes from the Lakota teaching of Kapemni. (English translation ‘As it is Above, It is Below‘ Ref. Albert Whitehat Senior).

This work and art practice is built around a participatory relationship to Sky and Earth.

From Lee ANNETTE S. LEE | Artist-Astronomer | Indigenous | DSc | PhD | MFA | MFA. website https://annettelee.com/index.php/portfolio/anchored-to-earth-by-starlight/

Map a-day-in May (a thirty-one cabinet display) Annette S. Lee MAP ART 2022 “MNI SOTA MAKOCE – MINNESOTA ICONIC ANIMALS“ Annette S. Lee, Summer Solstice Art, June 21, 2022 Map Art includes both place-based, geographical information and Digital art to communicate a visual style. This work tells the story of how Ojibwe celestial animals or constellations are mirrored or paired with their matching land animal. The fundamental epistemology (or theory of knowledge) here comes from the Lakota teaching of Kapemni. (English translation ‘As it is Above, It is Below‘ Ref. Albert Whitehat Senior). This work and art practice is built around a participatory relationship to Sky and Earth. From Lee ANNETTE S. LEE | Artist-Astronomer | Indigenous | DSc | PhD | MFA | MFA. website https://annettelee.com/index.php/portfolio/anchored-to-earth-by-starlight/

Map a-day-in May (a thirty-one cabinet display)
Annette S. Lee American #astrophysicist, artist, who's work focuses on Indigenous Knowledge and epistemologies.
More info/links: #cartobibliography tinyurl.com/34hn54c3
#AnnetteLee #IndigenousMaps #MapDayMay25
William C. Wonders Map Collection #WCWMC

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Map a-day-in May (a thirty-one cabinet display) Shanawthitit

Born in Newfoundland in 1801, Shawnadithit's childhood with her Beothuk tribe was cut short as she witnessed her own people intentionally driven to extinction by the British Marines. She survived against all odds and "eventually became known as the last "full-blooded" member of her tribe, the last Beothuk left to tell her people's stories. In her twenties, Shawnadithit found work as a servant in a white settlement. It was there that the explorer William Cormack, who was working to found a center devoted to Beothuk history, took great anthropological interest in Shawnadithit. After learning English, she recited her tribe's stories to Cormack, however she showed a greater affinity for drawing.

In 1829, Shawnadithit created narrative maps of the lake where her people made camp in central Newfoundland, today the lake is known as Red Indian Lake. Her maps showcase the Beothuk movements and European conflicts from eighteen years prior. The drawings contained incredible geographical accuracy and signified the last accounts of the Beothuk people in Newfoundland. Her stories, maps and beliefs she shared after her devastating childhood have become a symbol of a chapter in Canadian history marked by tragedy.

Map a-day-in May (a thirty-one cabinet display) Shanawthitit Born in Newfoundland in 1801, Shawnadithit's childhood with her Beothuk tribe was cut short as she witnessed her own people intentionally driven to extinction by the British Marines. She survived against all odds and "eventually became known as the last "full-blooded" member of her tribe, the last Beothuk left to tell her people's stories. In her twenties, Shawnadithit found work as a servant in a white settlement. It was there that the explorer William Cormack, who was working to found a center devoted to Beothuk history, took great anthropological interest in Shawnadithit. After learning English, she recited her tribe's stories to Cormack, however she showed a greater affinity for drawing. In 1829, Shawnadithit created narrative maps of the lake where her people made camp in central Newfoundland, today the lake is known as Red Indian Lake. Her maps showcase the Beothuk movements and European conflicts from eighteen years prior. The drawings contained incredible geographical accuracy and signified the last accounts of the Beothuk people in Newfoundland. Her stories, maps and beliefs she shared after her devastating childhood have become a symbol of a chapter in Canadian history marked by tragedy.

Map a-day-in May (a thirty-one cabinet display) Shanawthitit
Title	: Shanawdithit's Drawings 
Creator : Shanawdithit, 1801-1829
Physical Description : negatives

Sketch #4 Last resting place of Beothucks on Badger River.

Negatives of Shanawdithit's drawings in James P. Howley's The Beothucks or Red Indians, the aboriginal inhabitants of Newfoundland. Cambridge: University Press, 1915. The negatives were prepared for the  Centre for Newfoundland Studies, Memorial University of Newfoundland. Title from the section of the same name in Howley's book.

Map a-day-in May (a thirty-one cabinet display) Shanawthitit Title : Shanawdithit's Drawings Creator : Shanawdithit, 1801-1829 Physical Description : negatives Sketch #4 Last resting place of Beothucks on Badger River. Negatives of Shanawdithit's drawings in James P. Howley's The Beothucks or Red Indians, the aboriginal inhabitants of Newfoundland. Cambridge: University Press, 1915. The negatives were prepared for the Centre for Newfoundland Studies, Memorial University of Newfoundland. Title from the section of the same name in Howley's book.

Shanawdithit, The Last of the Beothuk
2003 / Sculpture

In 1823, English furriers captured Demasduit’s niece, Shanawdithit, who lived in St. John’s until her death in 1829 and became legendary as the last of the Beothuk. In Shanawdithit, The Last of the Beothuk, Belmore commemoratively evokes the woman’s presence (and absence) with haunting stone sculptures of her feet and hands, rounded as if worn by water, sensuously connecting her to the land from which she was taken. These objects also suggest traces of ‘primitive’ culture, the artifact-like qualities echoing the anthropological interest Shanawdithit endured.

Heather Anderson, Rebecca Belmore: What Is Said and What Is Done, Carleton University Art Gallery in partnership with
National Gallery of Canada’s Sakahàn: International Indigenous Art, June 2013

Photo credit: Trevor Mills / Vancouver Art Gallery, Justin Wonnacott / CUAG (detail)

Online: https://www.rebeccabelmore.com/shanawdithit-the-last-of-the-beothuk/

Shanawdithit, The Last of the Beothuk 2003 / Sculpture In 1823, English furriers captured Demasduit’s niece, Shanawdithit, who lived in St. John’s until her death in 1829 and became legendary as the last of the Beothuk. In Shanawdithit, The Last of the Beothuk, Belmore commemoratively evokes the woman’s presence (and absence) with haunting stone sculptures of her feet and hands, rounded as if worn by water, sensuously connecting her to the land from which she was taken. These objects also suggest traces of ‘primitive’ culture, the artifact-like qualities echoing the anthropological interest Shanawdithit endured. Heather Anderson, Rebecca Belmore: What Is Said and What Is Done, Carleton University Art Gallery in partnership with National Gallery of Canada’s Sakahàn: International Indigenous Art, June 2013 Photo credit: Trevor Mills / Vancouver Art Gallery, Justin Wonnacott / CUAG (detail) Online: https://www.rebeccabelmore.com/shanawdithit-the-last-of-the-beothuk/

A bronze statue of Shanawdithit, the last known Beothuk woman, is located at Boyd's Cove, near the Beothuk Interpretation Centre in Newfoundland. The statue, titled "The Spirit of the Beothuk," was created by artist Gerald Squires and unveiled in 2000. It stands as a memorial to Shanawdithit, who died in 1829. 

The statue is a life-sized depiction of Shanawdithit, and it is located in the forest surrounding the interpretation center. The unveiling of the statue coincided with Shanawdithit's recognition as a National Historic Person in 2000. In addition to the statue, a plaque commemorating her life was also unveiled at Bannerman Park in St. John's in 2007. 

From: Heritage Newfoundland & Labrador -- Disappearance of the Beothuk https://tinyurl.com/3nvd4p9x

A bronze statue of Shanawdithit, the last known Beothuk woman, is located at Boyd's Cove, near the Beothuk Interpretation Centre in Newfoundland. The statue, titled "The Spirit of the Beothuk," was created by artist Gerald Squires and unveiled in 2000. It stands as a memorial to Shanawdithit, who died in 1829. The statue is a life-sized depiction of Shanawdithit, and it is located in the forest surrounding the interpretation center. The unveiling of the statue coincided with Shanawdithit's recognition as a National Historic Person in 2000. In addition to the statue, a plaque commemorating her life was also unveiled at Bannerman Park in St. John's in 2007. From: Heritage Newfoundland & Labrador -- Disappearance of the Beothuk https://tinyurl.com/3nvd4p9x

Map a-day-in May (a thirty-one cabinet display)
Shanawthitit The last Beothuk left to tell their stories
More info/links: #cartobibliography tinyurl.com/34hn54c3
#Shanawdithit #IndigenousMaps #Beothuk #MapDayMay25
William C. Wonders Map Collection #WCWMC

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