Southwestern Historical Quarterly

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cover image: july 2019
July 2019 Issue

On the cover: A colorized version of a steel engraving depicting Galveston that appeared in Meyer’s Universum in 1856. The panorama was possibly executed by Swiss artist Conrad Caspar Rordorf, who is the subject of James C. Kearney’s “The Murder of Conrad Caspar Rordorf: Art, Violence, and Intrigue on the Texas Frontier,” which appears in the issue of the Southwestern Historical Quarterly. Colorized print courtesy of J. T. Koenig.

Cover image: april 2019
April 2019 Issue

Cover caption: Sculptor Gertrude Vanderbilt Whitney poses with The Scout, her portrait of William F. “Buffalo Bill” Cody. Courtesy of Buffalo Bill Center of the West, Cody, Wyoming, USA: P. 69.0517. In this issue of the Southwestern Historical Quarterly, historian Jacob W. Olmstead details the furor that erupted over the prominent placement of the statue at the Texas Centennial celebration in Dallas in 1936. The battles waged in newspaper editorials and the courtroom revealed some of the changing ways Texans identified themselves and their state in the early decades of the twentieth century.

Cover image
January 2019 Issue

Cover caption: Leonor Villegas de Magnón (left) and Jovita Idar (right). March 17, 1913. 084-0597, General Photograph Collection, University of Texas at San Antonio, Special Collections - Institute of Texan Cultures. In” Por la Raza, Para la Raza: Jovita Idar and Progressive-Era Mexicana Maternalism along the Texas–Mexico Border,” Elizabeth Garner Masarik argues that the work Villegas de Magnón and Idar performed with La Cruz Blanca caring for soldiers wounded during the Mexican Revolution (shown here) is an example of the maternalism that formed a significant part of Idar’s early twentieth-century activism.

October 2018 Issue

This c. 1852 engraving, Union, which portrays several notable American political figures of the mid-nineteenth century, celebrates the Compromise of 1850. The figures pictured here are (front row, left to right): Winfield Scott, Lewis Cass, Henry Clay, John C. Calhoun, Daniel Webster, and (holding a shield) Millard Fillmore. Calhoun and Webster stand with their hands resting on the Constitution, a bust of George Washington between them. Cass holds a document “Protest [illegible] Treaty.” Scott, in uniform, grasps with his right hand a portfolio from which protrude papers and maps recalling his U.S.–Mexico War victories. In the left background are (left to right): Speaker of the House Howell Cobb of Georgia, Virginia representative James McDowell, Thomas Hart Benton of Missouri, and former secretary of state John M. Clayton of Delaware. In the second row at right: Ohio senator Thomas Corwin, James Buchanan, Stephen A. Douglas, attorney general John J. Crittenden, and senators Sam Houston of Texas and Henry Foote of Mississippi. Behind, beneath a genius carrying a laurel branch and liberty staff, are senators Willie P. Mangum of North Carolina and W. R. King of Alabama. At far right, below an eagle, are Daniel S. Dickinson of New York, Supreme Court justice John McLean of Ohio, and senators John Bell of Tennessee and John C. Fremont of California. While the prominent placement of John C. Calhoun in a piece called Union may seem ironic, Sam Houston never wavered in his stance against secession, as Randolph B. Campbell details in “‘A Sea of Blood and Smoking Ruin’: Reflections on Sam Houston and Slavery.” Library of Congress, Prints and Photographs Division, Washington, D.C., http://www.loc. gov/pictures/item/2004665352/ [Accessed July 17, 2018.]

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