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)

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

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 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...

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 & 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.

Map a-day-in May (a thirty-one cabinet display)
Geographic Information Systems #MapDayMay25

This post originally was to focus on GIS. It became apparent that the term GIS is too narrow to capture all of the fascinating & courageous research/visualization work going in the spatial fields. 1/3

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.

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"

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

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 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.

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

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. (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 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

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 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

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

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 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 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

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). 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

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

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

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

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

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 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 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

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 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 - 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

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). 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/

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

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 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

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.

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 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

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 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

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.

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

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

Map a-day-in May (a thirty-one cabinet display) Louise E. Jefferson Louise Jefferson represents the intersection of two neglected cartographic cultures, women and African Americans, in the mid-twentieth century. Louise Jefferson’s journey through sexism and racism to become a leading member of the artistic and publishing scene gives visibility to the disadvantaged communities from which they emerged and maps this conversion. Their work as an artist, illustrator, photographer, and cartographer demonstrates that maps are more than the objects or things we have conventionally defined them to be. Rather, they are practices and representational images as well as systems of ordering social and spatial identity that connect and empower a people through time and space, and allow African American women to “talk back” against their oppression” From: Yessler, R., & Alderman, D. H. (2021). Art as “talking back”: Louise Jefferson’s life and legacy of counter-mapping. Cartographica, 56(2), 137-150–150.

Map a-day-in May (a thirty-one cabinet display) Louise E. Jefferson A collection of maps from the David Rumsey Map Collection https://tinyurl.com/yeywn6sc Includes: (1945). Africa. (1945). Arica. A Friendship Map. (1946). Americans of negro lineage. (1943) Makers Of The U.S.A. (1948) China : a friendship map. (1944) Indians of the U.S.A. (1944) Southeast Asia and the Southwest Pacific.

Map a-day-in May (a thirty-one cabinet display) Louise E. Jefferson Illustrations by Louise E. Jefferson. In: Jefferson, Louise. E. (1974). The decorative arts of Africa. Collins. Illustrations (b/w) show Africa's Topography, sketch of an individual hands raised standing atop Africa, a globe view with Africa shaded, and Chapter 5 titled Europe Discovers Africa: The colonial conquest with an illustration of the pyramids.

Map a-day-in May (a thirty-one cabinet display) Louise E. Jefferson [portion] of a map showing the lower left edge and includes the title and a cartouche that includes plants, an elephant and a zebra. From: Jefferson, Louise E. (1945). Arica. A Friendship Map. Friendship Press, Inc. [David Rumsey Map Collection]. This is a pictorial map promoting peaceful relations with Africa and advocating for African self-determination, independence, and self-rule as the era of colonization approached its conclusion.

Map a-day-in May (a thirty-one cabinet display)
Louise E. Jefferson Represents the intersection of two neglected cartographies, Women and African Americans. More info/links: #cartobibliography tinyurl.com/34hn54c3 #LouiseJefferson #PictorialMaps #AfricanAmerican #CounterMapping #MapDayMay25 #WCWMC

Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff This “top-o’-the-map cabinet collage” is comprised of Sixty-three setting-squares compiled from Joyce Kozloff’s bodies of work (1993-2002). Mapping Works. (1998-2000). Knowledge: Frescoes and Globes. (2000-2003). Targets & Rocking the Cradle. (2004). American History. (2008-2010). Navigational Triangles. (2010). China Is Near. (2024). Collateral Damage. From https://www.joycekozloff.net/ Collage: Most collagists draw upon images and textures from the past in their work. This dialogue with the past, indeed, is part of what gives the very medium of collage its power. Centuries of mechanical reproduction have supplied artists with a deep collection of images to engage with. The array of available visual material that has accreted over this timescale is unspeakably vast – a “megacorpus” which is impossible to fully conceptualize. There have been no shortage of curators, however, who have attempted to chart routes via which to approach it. It is our claim that every collage, ultimately, can be seen as an attempt to bind the “fourth dimension” of time into the two-dimensional space of the fine art picture plane – a practice that shares kinship with the cartographer’s struggle to capture three-dimensional space in a two-dimensional medium. morphic rooms (2023). Passing things i-v (a collage can be a map). you are here the journal of creative geography (Special issue ) 24, Vol. 2023.

Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff [portion] showing globe gores from Targets (2000) Acrylic on canvas with wood frame. Diameter: 108 in. Targets is a 9’ walk-in globe constructed in 24 sections, each of which is painted with an aerial map of a place that was bombed by the US between 1945 and 2000. It was conceived during a yearlong residency at the American Academy in Rome. Its physical form was inspired by the oculus of the Pantheon and the dome of Bramante’s Tempietto. The aerial maps that line the interior are copied from official tactical pilotage charts issued by the National Oceanic and Atmospheric Administration and the US Department of Commerce and are used by all pilots, civilian and military. These painted charts incorporate the instructions on the government documents including no-fly zones and the presence of oil fields. Some of the sections are inverted, laid sideways or upside down, forcing the viewer to twist to read place names, reflecting the way airplanes swoop above the earth. There is a disorienting echo inside the globe, so that visitors’ voices are amplified if they speak to one another from within, creating a kind of claustrophobia. The selection of sites is based on Killing Hope by historian William Blum (Monroe, ME: Common Courage Press, 1995). “Targets” speaks of the artist’s concern about the barbarity of aerial warfare. We are constantly told that our air force has incurred no casualties while dropping bombs on the enemy, but we hear very little about the victims, often referred to as “collateral damage.” As the idea evolved, it became clear that it wasn’t about a particular war, but fifty-five years of US aerial bombardment. From: https://www.joycekozloff.net/2000-2003-targets-rocking-the-cradle/

Map a-day-in May (a thirty-one cabinet display) Joyce Kozloff Image showing the entrance of the "walk-in globe" from Targets (2000) Acrylic on canvas with wood frame. Diameter: 108 in. Targets is a 9’ walk-in globe constructed in 24 sections, each of which is painted with an aerial map of a place that was bombed by the US between 1945 and 2000. It was conceived during a yearlong residency at the American Academy in Rome. Its physical form was inspired by the oculus of the Pantheon and the dome of Bramante’s Tempietto. The aerial maps that line the interior are copied from official tactical pilotage charts issued by the National Oceanic and Atmospheric Administration and the US Department of Commerce and are used by all pilots, civilian and military. These painted charts incorporate the instructions on the government documents including no-fly zones and the presence of oil fields. Some of the sections are inverted, laid sideways or upside down, forcing the viewer to twist to read place names, reflecting the way airplanes swoop above the earth. There is a disorienting echo inside the globe, so that visitors’ voices are amplified if they speak to one another from within, creating a kind of claustrophobia. The selection of sites is based on Killing Hope by historian William Blum (Monroe, ME: Common Courage Press, 1995). “Targets” speaks of the artist’s concern about the barbarity of aerial warfare. We are constantly told that our air force has incurred no casualties while dropping bombs on the enemy, but we hear very little about the victims, often referred to as “collateral damage.” As the idea evolved, it became clear that it wasn’t about a particular war, but fifty-five years of US aerial bombardment. From: https://www.joycekozloff.net/2000-2003-targets-rocking-the-cradle/

Map a-day-in May (a thirty-one cabinet display)
Joyce Kozloff Mapping as a structure for history, geography, arts & culture. For more info/links: #cartobibliography tinyurl.com/34hn54c3 #JoyceKozloff #MapArt #Collage #Painting #Murals #MapDayMay25
William C. Wonders Map Collection #WCWMC

Map a-day-in May (a thirty-one cabinet display) Connie (Constance) Brown For nearly thirty years, Connie Brown has created hand-painted, illustrated thematic maps on canvas for individuals, non-profits, institutions, and companies. She’s mapped trips and treks, properties, genealogical migrations, biographies, campuses, historical districts, and environmental regions. (National Geographic)

Map a-day-in May (a thirty-one cabinet display) Connie (Constance) Brown. 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

Map a-day-in May (a thirty-one cabinet display) Connie (Constance) Brown. Brown, Constance. (2023). New Haven Apizza. Redstone Studios, Constance Brown Maps. From the David Rumsey Map Collection https://tinyurl.com/hnmhpy5a

Map a-day-in May (a thirty-one cabinet display)
Connie (Constance) Brown - creating hand-painted, illustrated thematic maps . For more info/links: #cartobibliography tinyurl.com/34hn54c3 #ConnieBrown #MapArt #IllustratedMaps #ElephantMapProject #MapDayMay25 William C. Wonders Map Collection #WCWMC

Map a-day-in May (a thirty-one cabinet display) Ebstorf Nuns Originally produced around 1300 the Ebstorf map with its enormous dimensions (over 3m x 3m and made up of thirty goatskin parchment sheets) was the largest world map known from the Middle-Ages. It was destroyed (though several color facsimiles survive) in 1943 by Allied bombing of Hanover during World War II. The Ebstorf map was thought to have been created by Gervase of Tilbury, an English priest. Through further analysis, a great majority of sources think the Ebstorf Map was created by the nuns of the Ebstorf Monastery in northern Germany. From: UF x Design (2023) Ebstorf Map. The People's Graphic Design Archive. https://peoplesgdarchive.org/item/10144/ebstorf-map

On the night of 8 October 1943 during an Allied air raid, a fire bomb hit the State Archives of Lower Saxony in Hanover (North Germany). The buildin was compleatly destroyed, including the safe cellars where the Gerans preserved many of thier histrical trasures. Among thes treasures was one of the most astonishing products of medieval cartography known -- a lavishly decorated mappa mundi (late thriteenth century) engraved on thrity peices of goat skin sewn together and extending over more than twelve square meters. Hoogvliet, Margriet. (1996). The Mystery of the Makers, Did Nuns Make the Ebstorf Map?, Mercator’s World, Vol. 1, Num. 6, pp. 16-24.

A collage of "Mercator's World" The magazine of maps, atlases, globes and charts. Published from 1996 to 2003. Published by Aster Publishing, Eugene, OR. Mercator's World magazine was founded by Edward Aster and published 44 issues from 1996-2003. The publication is an authoritative reference resource with many articles and illustrations covering a wide range of topics about antique maps, mapmakers, and exploration as well as modern mapmaking. From: Old World Auctions https://www.oldworldauctions.com/catalog/lot/154/807

Map a-day-in May (a thirty-one cabinet display)
Ebstorf Nuns For more info/links: #cartobibliography tinyurl.com/34hn54c3 #EbstorfNuns #EbstorfMap #MapDayMay25 William C. Wonders Map Collection #WCWMC ... and a shout-out to those who once churned the pages of "Mercator's World (1996-2003)

Map a-day-in May (a thirty-one cabinet display) Marie Tharp the pioneering oceanographer who mapped the ocean floor. “Not too many people can say this about their lives: The whole world was spread out before me (or at least, the 70 percent of it covered by oceans).I had a blank canvas to fill with extraordinary possibilities, a fascinating jigsaw puzzle to piece together: mapping the world’s vast hidden seafloor. It was a once-in-a-lifetime—a once-in-the-history-of-the-world—opportunity for anyone, but especially for a woman in the 1940s. The nature of the times, the state of the science, and events large and small, logical and illogical, combined to make it all happen.” (Marie Tharp via the Woods Hole Oceanographic Institution)

Map a-day-in May (a thirty-one cabinet display) Marie Tharp the pioneering oceanographer who mapped the ocean floor. Three photos of Marie Tharp 1. A very young Marie in her father's surveying truck, early 1920s. (Image courtesy of Robert Brunke) 2. Marie during her university years, mid-1940s. (Image courtesy of the Lamont-Doherty Earth Observatory) 3. posed Marie pretending to work on the physiographic diagram of the North Atlantic Ocean in Lamont Hall. Sounding records are visible to the left of the diagram, one of the globe prototypes that she and Bruce Heezen constructed sits in the middle, and an enlarged version of her six North Atlantic profiles is propped in the corner. Late 1950s. (Image courtesy of the Lamont-Doherty Earth Observatory) From: Felt, H. (2012). Soundings : the story of the remarkable woman who mapped the ocean floor (1st ed.). Henry Holt and Co.

Illustration from: Burleigh, R. (2016). Solving the puzzle under the sea : Marie Tharp maps the ocean floor (R. Colón (ed.)). Simon & Schuster Books for Young Readers. Caption: I'm Marie Tharp, and my love of maps began way back in the 1930s, when I was a girl. My father's job was to make maps that helped farmers understand different kinds of soil and what they could be used for. I liked to watch as Dad drew his maps. Sometimes I held his pads and pencils as he worked, Dad traveled from state to state to make his maps-from Michigan, to Iowa, to Alabama, and beyond-and the whole family moved along with him. I had attended seventeen schools by the time I graduated high school. Try topping that!

One of my top 5 overedges of all time - showing Tasmania and New Zealand above and below the water. Great example of physiographic mapping or “diagram” or “landform map” which shows perspective (Raisz., 1956). It is intermediate in style between the old-fashioned hachured topographic map (e.g., see Imhof, 1950) and the modern geomorphologic map. Raisz, E. J., 1956, Landform maps, Petermanns Geogr. Mitt., 100(2), 171–172. Imhof, E., 1950, Gelände und Karte, Erlenbach-Zürich, E. Rentsch Verl., 255pp. From: Tharp, Marie and Heezen, Bruce C. (1971). Physiographic diagram of the western Pacific Ocean. Geological Society of America.

Map a-day-in May (a thirty-one cabinet display)
Marie Tharp the pioneering oceanographer who mapped the ocean floor.
For more info/links: #cartobibliography tinyurl.com/34hn54c3
#MarieTharp #bathymetry #oceanography #platetectonics #overedge #MapDayMay25 William C. Wonders Map Collection #WCWMC

quick preview of tomorrow's
Map a-day-in May (a thirty-one cabinet display)
#MapDayMay25 #WCWMC

Map a-day-in May (a thirty-one cabinet display) Marlena Myles is a self-taught Native American (enrolled Spirit Lake Dakota & also of Mohegan and Muscogee descent) artist located in St Paul, Minnesota. Her art brings modernity to Indigenous history, languages and oral traditions while using the land as a teacher. Minnesota is the traditional homelands of the Dakota people and the Dakota land maps Myles created teach all about the relationships and histories that are embedded as geographical data in the land, by reclaiming the Dakota names to these places. https://marlenamyl.es/ Dakota Land Maps Myles, Marlena. (2020). Dakhóta Thamákhočhe. Mnísota Wakpá Makhósmaka = Minnesota River Valley / illustrated by Marlena Myles ; translations by Dawí. [Map] Myles, Marlena. (2019). Dakhóta Thamákhočhe. Bde Óta Othúŋwe & Imnížaska Othúŋwe = Minneapolis & Saint Paul / illustrated by Marlena Myles ; translations by Dawí. [Map] View (and order) the Dakota land maps at: https://marlenamyl.es/project/dakota-land-map/

Map a-day-in May (a thirty-one cabinet display) Marlena Myles - [portion] Prairie Island • Red Wing (Beautiful Village of the Bluffs-Water-Woods).

Map a-day-in May (a thirty-one cabinet display)
Marlena Myles - Dakota Land Maps marlenamyl.es/project/dako...

For more info/links: #cartobibliography tinyurl.com/34hn54c3
#MarlenaMyles #IndigenousMaps #PlaceNames #DakotaLandMaps #MapDayMay25
William C. Wonders Map Collection #WCWMC

Margaret Pearce Map a-day-in May (a thirty-one cabinet display) Pearce, M. W. (2017). Coming home : to indigenous place names in Canada (S. J. Hornsby (Ed.)). Canadian-American Center. The map honors Indigenous place names in Canada and the assertion of Indigenous authority through place names. Commissioned by Dr. Stephen J. Hornsby, Director of the Canadian-American Center, Coming Home to Indigenous Place Names in Canada was researched and designed by Dr. Margaret Wickens Pearce. The map depicts Indigenous place names across Canada, shared by permission of First Nations, Métis, and Inuit communities and people. The names express territorial rights and describe the shapes, sounds, and stories of sovereign lands. The names mark the locations of the gathering places, the communities, the places of danger and beauty, and the places where treaties were signed. The names are ancient and recent, both in and outside of time, and they express and assert the Indigenous presence across the Canadian landscape in Indigenous languages. The map does not depict all of the Indigenous place names of Canada, nor are all Indigenous Nations and communities represented. Beyond the map’s names are thousands upon thousands more, an ever growing and expanding atlas of intimate, geographical knowledge and experience. The intention of the map is to create respect for Indigenous homelands and sovereignties, and a feeling for and understanding of the place names.

[portion] of "Coming Home (Indigenous place names map). Published in 2007 by Margret Wikens Peirce. On this map Georgian Bay is called Mnidoo-gamii Ojibwe for "Spirit Lake".

Pearce, M. W. (2008). Framing the days: Place and narrative in cartography. Cartography and Geographic Information Science, 35(1), 17-32–32. ABSTRACT: One of the themes of critical cartography is the question of how to map space as it is experienced. The conventions of Western cartographic language—the visual variables and their grammar— are structured to communicate spaces of homogeneity and modernity, not the spaces shaped by human experience. How then can we map place? I review some of the ways in which mapmakers have addressed this question in their visual and written works and propose another technique for uncovering place, using narrativity. Through the example of a historical map project, I consider the dialectic of place and narrative and demonstrate how this dialectic can be encoded in cartographic language. KEYWORDS: Place, narrative, cartographic language, graphic variables. and a passage that is a personal fav. of mine... Voyageurs... structured their landscape with their own unique measures of distance. Their more precise means of estimating distance was temporal, the distance that a canoe could travel in a day and the activities that shaped that day. Each day was broken down into “pipes,” or smoking breaks, granted in regular intervals of about every half hour to hour. A pipe was a break but also the distance between breaks; each leg of the day was expressed in pipe measure. Songs were another temporal unit translated to horizontal movement. North West Company voyageur Alexander Ross bragged, for example, that he could paddle fifty songs in a day.

Margaret Pearce
Coming home to indigenous place names in Canada, 2017.
Map a-day-in May (a thirty-one cabinet display)
For more information/links: #cartobibliography tinyurl.com/34hn54c3
#MargaretPearce #Indigenous #PlaceNames #Narratives #Songs #MapDayMay25
William C. Wonders Map Collection #WCWMC

William C. Wonders Map Collection Map a-day-in May (a thirty one cabinet display) Looking North. A selection of material of Karen Wynn Fonstad's impressive corpus of cartographic work, including a panel that highlights the Atlas of Pern, Atlas of the Land, Forgotten Realms Atlas and the Atlas of Middle-Earth. Each map cabinet top measures 36 x 48 inches. This steel framed surface (despite its electrostatic shock potential) is ideal for displaying cartographic items such as maps, atlases, globes, plastic relief models, articles and/or other images.

William C. Wonders Map Collection Map a-day-in May (a thirty one cabinet display) A Panel of selected maps/legends from the Atlas of Pern (1984), Atlas of the Land (1985), Forgotten Realms Atlas (1990), and the Atlas of Middle-Earth (1991).

William C. Wonders Map Collection Map a-day-in May (a thirty one cabinet display) Designing the Minas Tirith map, from: Fonstad, K. W. (2006). Writing “TO” the Map. Tolkien Studies: An Annual Scholarly Review, 3, 133–136. "As soon as I began on the Minas Tirith map, a whole gamut of questions arose: What was the bedrock? What could have caused the "towering bastion of stone"? What materials might have been available to build the "white city" and "white tower," yet provide the black wall of the first level which was similar to the rock of Orthanc? Elevation was given, but not the shape or diameter of the hill. How could those best be determined? As I sought the answers to these questions, my research took me farther and farther afield, until I finally realized that all the research had to be in place first. The overall patterns had to be established so that I could see howthe piecesfit into the whole. To do this, the text had to be checked for clues such as terrain descriptions, slope, minerals, caves, springs, vegetation, rock color, stream patterns, glaciation, precipitation, temperatures, and more. The maps also provided information about the ways the mountains, hills, rivers, and coastlines were related to each other. Distances had to be cross-checked to be sure that the features appeared where the text placed the characters. Only when the completed 'world" view was analyzed closely, could the small pieces be superimposed on the whole. I had learned in the end what Tolkien had known at the outset: that the overall picture was necessary before the detailed stories could be fitted into place."

William C. Wonders Map Collection Map a-day-in May (a thirty one cabinet display) Cover of the The Forgotten realms atlas by Karen Wynn Fonstad. The atlas is available to borrow on the Internet Archive. To access this atlas (and others) visit the Map a-day-in May (a thirty-one cabinet display) cartobibliography tinyurl.com/34hn54c3

Map a-day-in May (a thirty-one cabinet display)
Karen Wynn Fonstad
For more information/links: #cartobibliography tinyurl.com/34hn54c3
#KarenWynnFonstad #fantasymaps #middleearth #tolkien #MapDayMay25
William C. Wonders Map Collection #WCWMC