Pictorial Maps

This early map of North Carolina and Virginia shows pictorially, indigenous peoples rowing in the Sound; ships and sea monsters abound. Art and text convey scientific information to de Bry's readers.

An earlier version of Fort Carolina first appeared in Theodore de Bry's book on Florida (1591); Arnoldus Montanus hired Jacob von Meurs to engrave this view for inclusion in "Unbekante Neue Welt."

This view of a French Huegenot colony is based on the original by artist Jaques Le Moyne. He was hired to map the area and plot the water depths and courses of present-day St. John's River, ca. 1564.

Meurs engraved a panoramic view of the triangular shaped fort, showing soldier's quarters and the commander's house, all thatched with palm trees.

This 1770 map of the Colony of Virginia is a good example of an 18th century map conveying facts and information with little use of pictorial elements. A decorative cartouche houses bibliographical information.

Arbuckle Brothers Coffee Company included advertising cards in coffee cans. In 1889, they distributed maps for each state and U.S. territory; these maps included illustrations of each's economic mainstay.

Maps have always been used as a medium to deliver humor. In the 20th century, maps were also created to entertain. Humorous pictorial maps can rely on ethnic perceptions and regional caricatures. There will be some images in this section, published before World War Two, that 21st century readers might find shocking; the cartoonish style adopted by the artist(s) reflect the cultural biases of the American middle class.

This distorted map captures a "Virginians" perspective of the United States. Contiguous and southern states are expanded while Texas is described as "not so big." There's even an expanded "Area 51."

Lorene Kelly Fagerburg drew this map for her son James. A fantasy map, it includes at least twenty-six fairy tales.

Fagerburg received her Bachelor's degree in fashion illustration; she spent her career working as an advertising fashion illustrator for Marshall Fields Department store and the Zuckerman Service.

Frank Taylor and Ruth Taylor White compiled "Our USA: A Gay Geography" and Little Brown and Company published this school geography book in 1935. It was positively reviewed by the "New York Times."

The NYT review described the atlas as "brilliantly colored pictorial maps of the same order which have been amusing adults for the past decade, show the United States and their Territories as active, picturesque entities."

Virginians are represented by White's signature bobble-headed cartoon characters. While depicting information, this map also relies on stereotypes about the residents of certain areas and includes racist depictions of African Americans.

This was one of a series of maps issued by Greyhound Bus Lines in the 1930s and 1940s. In general, American industry was quick to realize the advertising potential of pictorial maps.

Friendship Press, the publishing arm of the National Council of Churches, issued this large, pictorial map of the United States. It is densely filled with illustrations.

The map's maker, Louise E. Jefferson, highlights the various contributions of peoples across the United States, as well as the nation's natural resources and industries.

Jefferson, a well-known and highly regarded graphic artist and designer, was first hired by Friendship Press in 1942. She served as art director and was the first African-American woman to hold a director position in the publishing industry.

Literary maps emerged as a distinct subgenre of pictorial maps in the 1930s and 1940s. They were very popular. In many cases, the names of authors and book titles were simply printed on a map.

The most successful literary maps combined information with design. This boldly designed literary map of Virginia evokes a sense of "place" in the author's work.

Esso produced this map for classroom use. It was issued in 1960 and focuses on folklore, legends and tall tales unqiue to the American experience.

Oil companies sought ways to maintain a loyal clientele and issuing maps for free to Esso customers and to teachers was one way to encourage continued patronage.

"Pictorial Map of the Vicinity of Smith Sound and Etah, in North Greenland" was published to support the Medic's Society publication of Donald B. McMillan's "Four Years in the White North."

"Four Years in the White North" is about Elisha Kent Kane's adventures as an American Navy physician and Artic explorer. In 1850, Kent led an unsuccessful expedition to northwestern Greenland.

Vibrant colors abound as does art and text that show Virginia's history with insets of "Old Richmond", "Virginia's Historic Rivers" and numerous sketches. Charles W. Smith was a nationally recognized print-maker.

His artwork was published in numerous publications and exhibitions. This is the only known map completed by him and he published it during the height of the Colonial Revival movement.

The colonial revival movement was in "full swing" when the National Cathedral published this to celebrate George Washington's bicentennial birthday.

Ernest Clegg was a prolific illustrator and was known for drawing decorative maps. His artwork is in several Virginia-related publications.

The Educational Service Section hired commercial artists to create maps with dramatic color and montages. The influence of air age maps by these artists are seen in this enormous pictorial map.

In NavWar Maps, symbols are used to show movement of the American and Japanese forces. Pictorial images are often used to "describe" battles like the Battles of Atu and Midway.

Beautifully designed, "We Fight a Global War" provides an explanation of the Navy's role; one of its most important jobs was to protect Allied supply lines.