In New York City – Horace Greeley Statue

According to Tulane University:

“Horace Greeley, the son of a New England farmer and day laborer, was born in Amherst, New Hampshire in February 1811. The economic struggles of his family meant that Greeley received only irregular schooling, which ended when he was fourteen. He then apprenticed to a newspaper editor in Vermont, and found employment as a printer in New York and Pennsylvania. Seeking to improve his prospects, he gathered his possessions and a small amount of money, and in 1831, set out for New York City. The twenty year old Greeley found various jobs, which provided some capital, and in 1834, he founded a weekly literary and news journal, the New Yorker.
An omnivorous reader, eager to write as well as edit, Greeley contributed to the journal. It gained an increasing audience and gave him a wide reputation. However, it failed to make money, and Greeley supplemented his income by writing, especially in support of the Whig Party. His connections with Thurlow Weed, William H. Seward, and other Whigs led, in 1840, to his editorship of the campaign weekly, the Log Cabin. The paper’s circulation rose to about 90,000, and contributed significantly both to William Henry Harrison’s victory and Greeley’s influence. Greeley also directly participated in the Whig campaign by giving speeches, sitting on committees, and helping to manage the state campaign.

In April 1841, Greeley set himself on the path to national prominence and power when he launched the New York Tribune. The Tribune was multifaceted, devoting space to politics, social reform, literary and intellectual endeavors, and news. It was very much Greeley’s personal vehicle. An egalitarian and idealist, Greeley espoused a variety of causes. He popularized the communitarian ideas of Fourier, and invested in a Fourier utopian community at Red Bank, New Jersey. He advocated the homestead principle of distributing free government land to settlers, attacked the exploitation of wage labor, denounced monopolies, and opposed capital punishment.

Assisted by a talented and versatile staff, a number of whom were identified with the Transcendentalist movement, Greeley made the Tribune an enormous success. It merged with the Log Cabin and New Yorker, expanded its staff and circulation throughout the 1840s and 1850s, and by the eve of the Civil War had a total circulation of more than a quarter of a million. This number, however, vastly understated the paper’s influence, as each copy often had more than one reader. The weekly Tribune was the preeminent journal in the rural North.

Greeley opposed slavery as morally deficient and economically regressive, and during the 1850s, he supported the movement to prevent its extension. He opposed the Mexican War, approved the Wilmot Proviso, which called for the restriction of slavery in territories gained as a result of that war, and denounced the Kansas-Nebraska Act. Greeley’s free-soil sentiments brought him quickly into the Republican Party’s camp, and he attended the national organization meeting of the party at Pittsburgh in February 1856. He supported the Republican candidate in the presidential contest of 185 6, and four years later, he attended the Republican national convention in Chicago. Initially supporting Edward Bates, he turned to Lincoln on the eve of the balloting.

The secession crisis found Greeley strongly opposed to making concessions to slavery. He denounced the Crittenden proposals, and while he argued that succession should be allowed if a majority of southerners truly wanted it, he made clear his belief t hat the rebellion was, in fact, the work of an unscrupulous minority.

Once war came, Greeley joined the radical antislavery faction of the Republican Party and demanded the early end of slavery. He denounced more conservative Republicans, like Francis and Montgomery Blair, and criticized Lincoln for proceeding too cautiously to eradicate the institution. When Lincoln finally announced his Emancipation Proclamation, Greeley applauded the decision.

During and after the Civil War, Greeley’s political course proved highly controversial. His reluctance to support Lincoln’s renomination in 1864 lost him some popular support, as did his premature efforts to bring about an armistice and peace negotiations. After the war, he joined the Congressional Radicals in supporting equality for the freedmen. The Tribune also advocated the impeachment of President Andrew Johnson. At the same time, Greeley favored measures to restore relations with the South. In 1867, he recommended Jefferson Davis’s release from prison, and he signed Davis’s bond. He gradually grew disaffected with the Grant administration because of its corruption and indifference to civil service reform, and also because of its continued enforcement of Reconstruction measures in the South.

While much admired, Greeley was also regarded as eccentric and odd, in both his personal appearance and his reformist ideas. His behavior during and after the war raised widespread doubts about his judgment. When in 1872, the anti-Grant Liberal Republicans and the Democrats nominated Greeley to challenge Grant, Greeley was attacked as a fool and a crank. So merciless was the assault that Greeley commented later that he sometimes wondered whether he was run ning for the presidency or the penitentiary. He suffered a tremendous defeat in the election, carrying only six border and southern states.

During the period following the Civil War, Greeley’s association with the Tribune underwent significant change. The era of personal editorship was ending, and as the Tribune increased in size, Greeley’s influence diminished. Following his defeat in t he election of 1872, Greeley found that control of the paper had passed out of his hands. Shocked by his electoral repudiation, the recent death of his wife, and the effective loss of his editorship, Greeley suffered a breakdown of both mind and body, and died on November 29, 1872.”

The outdoor bronze sculpture of Horace Greeley by Alexander Doyle stands in Greeley Square Park, New York City. It was cast in 1892, dedicated on May 30, 1894 and sits atop a Quincy granite pedestal. It contains the following inscription:

THIS STATUE OF THE FIRST PRESIDENT
NEW YORK TYPOGRAPHICAL UNION NO. 6
WAS PRESENTED TO THE CITY OF NEW YORK BY
HORACE GREELEY·POST NO. 577 G.A.R.
NEW YORK TYPOGRAPHICAL UNION NO. 6 AND
BROOKLYN TYPOGRAPHICAL UNION NO. 98

GIVEN TO THE CITY OF NEW YORK IN 1890

Horace Greeley is also major figure in the history of Chappaqua, a town five miles away from where I live. The town’s high school is name after him. He lived in Chappaqua in what is now known as The Greeley House:

“The Greeley House is located at King (New York State Route 120) and Senter streets in downtown Chappaqua, New York, United States. It was built about 1820 and served as the home of newspaper editor and later presidential candidate Horace Greeley from 1864 to his death in 1872. In 1979 it was listed on the National Register of Historic Places along with several other properties nearby related to Greeley and his family.

Built in the 1820s as a typical small farmhouse, it was expanded in the mid-19th century. Greeley, editor of the New-York Tribune, settled in Chappaqua shortly before the Civil War in the mid-19th century, living there with his family primarily during the summer. After a mob of citizens opposed to Greeley’s abolitionist editorial stance threatened his wife at their earlier “House in the Woods,” Greeley bought the farmhouse and moved his family there, near the hundred acres (40 ha) where he ran a small farm and practiced experimental agricultural techniques.

After the war, Greeley built a mansion called “Hillside House” to live in, but died along with his wife shortly after the 1872 presidential election, where he ran on the Liberal Republican line against incumbent Ulysses S. Grant, so his children lived there instead, pioneering the suburban lifestyle that was later to define Chappaqua and its neighboring communities. Both of Greeley’s other houses burned down later in the 19th century, leaving the Greeley House the only one extant.

It, too, was almost demolished after falling into serious neglect in the early 20th century. After its restoration in 1940, it was used as a restaurant and gift shop. Following another restoration effort in the early 21st century, it is now the offices of the New Castle Historical Society.” (The Greeley House)

Taken with a Fuji X-E3 and Fuji XC 16-50mm f3.5-5.6 OSS II

A Postcard

A while ago a friend of mine gave me a set up cards, each one with a different example of his wildlife photography. I was impressed by this and for some time have wanted to try something similar myself.

I came up with the idea of a collection of postcards, each one showing something related to my village. These could be either a number of postcards all with the same picture, or each with a different picture.

This is my first attempt. Generally I’m quite pleased with it – except for the dotted lines on the rear. If I were to do it again I’d go with solid lines instead.

After I’d finished with this I asked myself: “Does anyone actually send postcards anymore”? I raised this with another friend and he suggested notecards rather than postcards. He may be right. I’ll give it a try.

Last night I dreamt I went to Manderley again

My friend, Antonio, is an Art Director and and Graphic Artist who likes to create concept art (posters, CD covers etc.) by blending photographs and other graphic elements. He usually gets the photographs from friends and then builds the graphics around them himself.

Lasts night I got a message from him which read:

Howard think of story, novel or poem you have read, and pick one of your images from your Instagram that you think reflects the words. And once you do I will make a design with the image you pick and the title you choose. Take your time it’s a fun project and you act like the art director and I am your graphic designer

My initial reaction was that I would find this difficult. I usually take photographs because there was something about the subject that caught my attention. I don’t think “Oh, that would look nice on a Vogue cover”.

I quickly realized, however, that I did have something that might fit the bill.

The other day, while browsing YouTube videos I’d come across an audio book or Daphne du Maurier’s Rebecca. I’d read the book and seen the 1940s Hitchcock movie (A 2020 Netflix version is available. I watched it last night and didn’t like it much) several times and liked them both. While browsing YouTube recently I came across an audiobook version of the Novel. I thought I might like to hear someone reading the book aloud so I watched the video. I was really enjoying myself when the video suddenly came to an end. I quickly realized that the audio book covered only one Chapter. This left me feeling frustrated that I hadn’t been able to listen until the end. I found other audio books that contained the full text, but by then I was feeling annoyed and didn’t want to watch any of them.

Over the next few days the haunting words of the first sentence of the book: “Last night I dreamt I went to Manderley again” kept going round and round in my head so when I got Antonio’s message I immediately thought of “Rebecca”.

Now, did I have a photograph that I could use. I quickly realized that I did: the photograph above. While far from being my best work I thought it would do. For those who don’t know it “Rebecca” is a Gothic novel, much of which takes place in a spooky old house in England, the “Manderley” of the first line. The house above is not in England, but it is suitably spooky. It’s the former Jay Gould Mansion, Lyndhurst in Tarrytown, NY and it was used It was used for the exterior shots in the two early Dark Shadows movies, House of Dark Shadows (1970) and Night of Dark Shadows (1971).

I’m now keen to see what he does with the concept and the image.

Picture taken with a Konica C35 film camera.

Trying out my newly acquired Pentax K10

After charging the battery I decided to take my newly acquired Pentax to nearby Sleepy Hollow Cemetery in Sleepy Hollow, NY to confirm that it was working and see how it handled.

So how did things go. Well, the pictures weren’t bad for essentially quick snapshots. I even quite like a few of them. It was a very dull day and the camera/lens combination was not the best for those conditions: old sensor (2006 vintage) that’s not good in low light combined with a old, slow zoom lens (18-55mm SMC Pentax DA f3.5-f5.6). Added to that I made a stupid mistake: of course the camera was used and in my enthusiasm to try it out I forgot to check out how the previous owner had set it up. Turns out he’d set it up in a way that practically guaranteed slow shutter speeds. I thought they were ok for hand holding, but it seems that they weren’t and this led to soft and in some cases, blurry pictures. Still I enjoyed the 1 1/2 hour walk, the camera was fun to use and I learned a lot about it. I’ll do better next time.


















Taken with a Pentax K10 and 18-55mm SMC Pentax DA f3.5-f5.6