The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920-1925
SIGNATURES

Identified individuals are represented by a biographical sketch, a list of connections to other signatures, and, in most cases, an artifact from the Ransom Centers collections. Help us identify more signatures by submitting your suggested identification.

 

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Franklin Abbott

Achmed Abdullah

Mary Aldis

George William Amis

Sherwood Anderson

Egmont Arens

Mary Austin

Eugene S. Bagger

Bardar

Winslow M. Bell

William Rose Benét

Florence Blackstone

Paul J. Blackstone

David William Bone

Albert Boni

Charles Boni

Ernest Augustus Boyd

Will Bradley

Berton Braley

Max M. Breslow

Heywood Broun

Albert Brush

Arthur Caesar

Henry Seidel Canby

Jonathan Cape

Gene Carr

Oscar Edward Cesare

Christine Challenger

Betty Ross Clarke

Helen Louise Cohen

Alta May Coleman

Seward Collins

Frank Conroy

George Cram Cook

John Cournos

Bosworth Crocker

J. Vincent Crowne

Homer Croy

Mary Carolyn Davies

Helena Smith Dayton

Fred Erving Dayton

Floyd Dell

S. A. DeWitt

Roy Dickinson

Charles Divine

Alice Willits Donaldson

John Dos Passos

Theodore Dreiser

Joseph Drum

Robert L. Eaton

Laurie York Erskine

Wilfred Ewart

Henry Guy Fangel

John Chipman Farrar

Hugh Ferriss

Arthur Davison Ficke

John Bernard Flannagan

Dwight Franklin

James Earle Fraser

Joseph Lewis French

Robert Frothingham

Barney Gallant

Porter Garnett

Susan Glaspell

Montague Glass

Joseph Gollomb

Herbert S. Gorman

Stephen Graham

Dorothy L. A. Grant

Harry Wagstaff Gribble

William Gropper

Louise Closser Hale

Harry Hansen

Sadakichi Hartmann

Josephine Herbst

John Herrmann

W. E. Hill

Elisabeth Sanxay Holding

Robert Cortes Holliday

Terence Holliday

Guy Holt

Holland Hudson

Peter Lord Templeton Hunt

Frank Townsend Hutchens

Lewis Jackson

Norman Jacobsen

Rutger Bleecker Jewett

Orrick Johns

Merle De Vore Johnson

Jeanne Judson

Harry Kemp

Bernice Lesbia Kenyon

John G. Kidd

William A. (William Albion) Kittredge

Eastwood Lane

Lawrence Langner

Christian Leden

Courtenay Lemon

Sinclair Lewis

Ludwig Lewisohn

Max Liebermann

Nicholas Vachel Lindsay

Preston Lockwood

Hendrick Willem Van Loon

Lingard Loud

Pierre Loving

Orson Lowell

C. R. Macauley

Kenneth Macgowan

Lawton Mackall

Hector MacQuarrie

John Albert Macy

Jane Mander

Don Marquis

H. A. Mathes

William McFee

Alexander McKay

Hawley McLanahan

Charles M. McLean

Ada Jaffray McVickar

Scudder Middleton

George Middleton

John Mistletoe

Roy Mitchell

Christopher Morley

Robert Nathan

Dudley Nichols

Robert Nichols

Charles Norman

Joseph Jefferson O'Neil

Florence O'Neill

Ivan Opffer

Martha Ostenso

Lou Paley

Edmund Lester Pearson

Basil H. Pillard

Ethel McClellan Plummer

Alexander Popini

William MacLeod Raine

Ben Ray Redman

Charles J. Reed

Lola Ridge

Felix Riesenberg

W. Adolphe Roberts

Edwin Arlington Robinson

Edwin (Ted) Meade Robinson

Bruce Rogers

L. Stuart Rose

Herb Roth

Edward Royce

Tony Sarg

Jacob Salwyn Schapiro

Walter Schnackenberg

Thomas Seltzer

Fern Forrester Shay

Margaret Badollet Caldwell Shotwell

Emil Siebern

Upton Sinclair

John Sloan

Thorne Smith

David Tosh Smith

Robert A. Smith

Charles Somerville

Vincent Starrett

Vilhjalmur Stefansson

Donald Ogden Stewart

Gordon Stiles

Emily Strunsky

Genevieve Taggard

Gardner Teall

Sara Teasdale

Lloyd M. Thomas

Basil Thompson

Paul Thompson

Helen Thurlow

Adolph Treidler

Peter Underhill

Harvey P. Vaughn

Walter Vodges

C. A. Voight

Mary Heaton Vorse

Webb Waldron

J. Leeming Walker

Foster Ware

John V. A. Weaver

Luther E. Widen

Edward Arthur Wilson

Lily Winner

Robert L. Wolf

Cuthbert Wright

Zorach

Theodore F. Zucker

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THE DOOR
Location on door: front, panel 3
CONNECTIONS

Journalists

Photographers

PAUL THOMPSON

The work of documentary photographer Paul Thompson (dates unknown) appeared regularly throughout the 1910s and 1920s in newspapers, popular magazines, and art magazines.  He ran a photography agency in the 1910s, employing other photographers and providing journalists, magazines, and newspapers with images from his photo archive. He travelled to Europe to document the First World War, and his images appear on American propaganda posters of the period.

 

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    Creator: Thompson, Paul

    Title: "This is not a Nevison: Negro Troopers marching up Fifth Avenue on the last lap of their journey from Paris to Harlem" in Playboy

    Imprint: No. 2 (1919)

    Item Date: 1919

    Material Type: Serials

    ADA Caption: "This is not a Nevison: Negro Troopers marching up Fifth Avenue on the last lap of their journey from Paris to Harlem" in Playboy


    Curatorial Department: Book Collection

    Collection Name: Rare Books Collection

    Stack Location: q N 1 P5 no. 2 (1919)

    Copyright Notices: Some of the documents shown here are subject to U. S. copyright law. It is the user's sole responsibility to contact the copyright holder and secure any necessary copyright permission to publish documents, texts, and images from any holders of rights in these materials. As the owner of the physical object (not the underlying copyright), the Ransom Center requires that you also contact us if you wish to reproduce an image shown here in a print publication or electronically.


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Paul Thompson's "This is not a Nevinson: Negro Troopers marching up Fifth Avenue on the last lap of their journey from Paris to Harlem" in Playboy: A Portfolio of Art and Satire 2 (1919)

This image, printed in Egmont Arens's art periodical Playboy, marks an important event of the First World War and of African-American history. The 369th Regiment--known as "The Hellfighters of Harlem"--was one of the most highly decorated American regiments, and served the most days in combat of any American unit. They gained fame at home through newspaper reports of their actions and fame in France through their renowned band, which supposedly helped set off the jazz craze in Europe. When they left for the war as a National Guard unit, they had not been allowed to march with other Guardsmen through New York because they were Black. Their white commander, Colonel William Haywood, ensured that this would not happen upon their return. Arriving in February 1919, they were met by a crowd estimated at one million people, who cheered them as they marched up Fifth Avenue from Madison Square to Harlem.  The title of the photograph takes a jab at the English artist C. R. W. Nevinson, the futurist turned war artist who visited New York in 1919 on a wave of celebrity, only to alienate himself by making condescending public statements about the state of American art.