Laura de Force Gordon, Pioneering Newspaper Publisher, Lawyer, and Suffragist

Photo Illustration Mental Floss. Portrait: Paul Fearn, Alamy. Background images: iStock
Photo Illustration Mental Floss. Portrait: Paul Fearn, Alamy. Background images: iStock

Laura de Force Gordon's life was filled with firsts. A dedicated writer and reporter, she was the first woman to publish a daily newspaper in the United States. She was also one of the nation's first female attorneys—although it took several determined campaigns for her to earn the right to practice. She's also credited with launching the women’s suffrage movement in California. Yet her legacy is not without controversy, and an intriguing discovery long after her death has led to speculation about her personal life.

Born Laura de Force in Erie County, Pennsylvania, on August 17, 1838, she was a Spiritualist before she was a feminist. The 19th century religious movement focused on communication with spirits and ghosts of the deceased, and de Force gained a following as a trance speaker—someone who could channel a spirit. She spent her early adulthood traveling through her native Pennsylvania and New England, giving lectures on a variety of topics including Spiritualism, temperance, and women’s suffrage.

She met her husband, Dr. Charles H. Gordon, while working as a trance speaker, and the couple decided to move to Nevada, and then California, in the late 1860s. She continued to give lectures on Spiritualism, the abolition of alcohol, and women’s rights along the way, although not without some pushback: Occasionally, men in the audience would stand up and try to debate her, but “she would turn it on them every time and the audience would roar,” according to the Lodi Historian.

Like a number of women—including Victoria Woodhull, often credited as the first woman to run for president of the United States—Gordon used her platform as a trance speaker and medium as a launching pad for a career as a women’s rights campaigner. She gave California’s first recorded speech on women and the vote in San Francisco in 1868, then helped found the California Woman’s Suffrage Society in 1870, often speaking before the state legislature on the society’s behalf. She would later serve as its president from 1884 to 1894.

Her career as a newspaperwoman began as a side effect of a failed campaign for a state senate seat. In 1871, just a year after she settled in California, the Independent Party of San Joaquin nominated her as their candidate. Women couldn’t yet vote, making a win highly unlikely, but the run was meant to make a point. Yet the male-dominated newspapers of the region didn’t take her campaign—or her work for women’s rights—seriously. Most just ignored it.

Gordon's solution was to purchase her own newspaper, the Stockton Leader. Her career as a newspaperwoman didn't end there: She converted the Stockton Leader to a daily in 1874 (in the process becoming the first woman to publish a daily paper in the nation); edited the Daily Democrat in Oakland, California; helped her sister Gertie found a weekly newspaper of her own; and served as a regular contributor to several California newspapers as well as the New Northwest of Portland, Oregon. Her status as a reporter and publisher granted her entry into a number of venues that would otherwise be closed to her as a woman, such as the State Assembly, where she had a press desk as a correspondent for the Sacramento Bee.

"LADY LAWYERS"

But Gordon wasn’t content to remain a journalist. She wanted a career in the courtroom. In order to make that happen, though, a number of things needed to change—starting with a California law that barred anyone but white males from being admitted to the state bar. Gordon teamed up with fellow writer and activist Clara Shortridge Foltz, and the pair worked together with state lawmakers to change the rule. Their work culminated in the Woman Lawyer’s Bill in March 1878, which went beyond its name to allow admission of “any citizen or person” to the bar.

That was just the first hurdle Gordon and Foltz had to leap over to begin their law careers. Although they were now technically permitted to work as attorneys, and no specific rule prevented their law training, law schools could still prevent them—in practice, if not in theory—from getting the education they needed for successful careers.

The saga began when Foltz registered to attend classes at Hastings College of the Law, one of the first law schools in California. Her first day was full of disruptions, as the male students imitated her every move as part of a hazing ritual. On the second day, she was blocked from classes by a janitor and had to get a note from the dean before she was allowed in.

On the third day, Gordon joined her friend, and the two vowed to support each other in their attempts to get a legal education. This lasted only a day before the school’s Board of Directors asked them not to return. “There was no written explanation for the exclusion, but Dean Hastings told [Foltz] and Gordon that their presence, particularly their rustling skirts, was bothering the other scholars,” writes Barbara Babcock in her book Woman Lawyer: The Trials of Clara Foltz.

Ralph Lea

The pair decided to fight. They continued to attend lectures until physically barred from the classrooms by their male classmates. Babcock writes that "they came to class one day to find the men blocking their entrance, staring at them in silent hostility."

In February 1879, they took the fight to the courts and the state legislature. Gordon and Foltz devised a single-line amendment to the state constitution, which Gordon sent to her allies at the second California constitutional convention, then in progress at the time. It read, “No person shall, on account of sex, be disqualified from entering upon or pursuing any lawful business, vocation or profession.” It was soon adopted by the convention.

At the same time, with advice from Gordon’s friend David Terry, a legal expert from Stockton, California, each woman filed a lawsuit against the college’s Board of Directors. The lawsuits relied on the fact that the law school was part of the state’s coeducational, taxpayer-funded public university system and should be required to admit the pair under those conditions. Gordon filed in the California Supreme Court, while Foltz filed in the state’s trial court. When the Supreme Court declined to take up the case, Gordon joined Foltz in the trial court.

By many accounts, the pair argued their case eloquently and skillfully. At the end of the trial, even Delos Lake, one of the attorneys representing the law school’s board, was convinced that they would be good attorneys. “If fair ladies were to be lawyers, [I] would rather have them as associates than opponents,” he said—apparently meaning he didn't ever want to be on the other side of the dock from them again. The judge ruled in their favor, as did the California Supreme Court on appeal, and they were admitted to the college.

For both, it was an enormous victory, and they became the first two women admitted to the bar of the Supreme Court of California.

Once she obtained admission to the bar, Gordon gave up publishing newspapers to practice law (though she remained active in reporting on suffrage). She was especially known for her murder trial defenses, and was made an honorary member of the Royal Italian Literary Society of Rome after her successful defense of an Italian immigrant facing execution in one particular trial. Legend says the Southern Pacific Railroad gave her a lifetime pass after she did some exceptional legal work for the company. She even faced off against her friend and law school ally Foltz, who worked as a prosecutor, in the trial of confessed murderer George Wheeler—one of the few trials Gordon lost. Six years after being admitted to the California bar, she was admitted to the Bar of the U.S. Supreme Court, becoming only the second woman in the U.S., after Belva Lockwood of Washington D.C., to gain that qualification.

"A LOVER OF HER OWN SEX"

Around 1880, Gordon suffered a devastating blow in her personal life. She found out that her husband had lied to her for nearly two decades: He had never divorced his first wife, who he had abandoned in Scotland when he traveled to the U.S. When Gordon found out about her husband’s transgressions—supposedly after detectives hired by his first wife tracked him down—she divorced him, referring to herself as a widow for the remainder of her life.

Congress of Women, Wikimedia // Public Domain

In 1979, more than 70 years after her death, Gordon turned heads again, this time when a 100-year-old time capsule buried in San Francisco’s Washington Square was opened. In it was a copy of a travel book Gordon had written, The Great Geysers of California and How to Reach Them, which she had donated for the time capsule in 1879, around the same time as her divorce. On the book she had written, “If this little book should see the light after its 100 years of entombment, I would like its readers to know that the author was a lover of her own sex and devoted the best years of her life in striving for the political equality and social and moral elevation of women.”

The inscription has inspired debate. Some have interpreted this to be a declaration that she was a lesbian, while others interpret her words as a more platonic statement in favor of women’s rights. Gordon’s life offers few clues; although she never married again after her divorce, there is no surviving evidence that she had any romantic relationships with other women, either.

Gordon was not a perfect champion of rights for all. Like other members of the Democratic Party in the late 1800s, she spoke out against Chinese immigrants to the West Coast, who she said were taking jobs and opportunities from white American citizens. Gordon gave a number of anti-Chinese lectures, and also made comments—including during the lawsuit against Hastings—condemning the idea that Chinese men should be allowed to do anything white women were barred from. The extent to which these attitudes were a matter of personal conviction or political expediency remains a source of debate.

In 1901, Gordon retired to Lodi, but her retirement was short-lived. She went back on the lecture circuit again in 1906, traveling until she caught a cold in Los Angeles. She died on April 5, 1907, after a brief battle with pneumonia, at the age of 68. Women in California gained the right to vote in 1911—just four years after her death.

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Audrey Munson, America’s First Supermodel—And First Nude Movie Star

Audrey Munson photographed in 1915.
Audrey Munson photographed in 1915.
Arnold Genthe, Wikimedia Commons // Public Domain

While you might not know Audrey Munson’s name, you’ve almost certainly seen her likeness somewhere. Munson’s figure can be found in bronze, copper, and marble across New York City, and, in fact, all over the country—Missouri and Wisconsin each have a statue of her atop their State Capitol buildings, for example.

The model posed for some 200 artists throughout her brief career, earning her nicknames like “Miss Manhattan” and “the American Venus,” along with a reputation as the most well-known muse of early 20th-century America. But after an attempt at a film career fizzled out, Munson struggled to reclaim her place among New York’s artist elite. Even as Munson’s image lives on in sculptures and other works, her story is an often overlooked part of art history.

An Ideal Chorus Girl

Munson photographed by Arnold Genthe in 1915.Arnold Genthe Collection, Library of Congress // No Known Restrictions on Publication

Audrey Marie Munson was born on June 8, 1891, in Rochester, New York. Her father, Edgar Munson, was a real estate broker who was descended from one of the founders of New Haven, Connecticut, and her mother, Kittie Mahoney, was the daughter of Irish immigrants. Familial bliss, however, was short-lived—the couple separated when Audrey was only 6, after Kittie caught wind of Edgar’s affair. They divorced two years later.

After the split, Kittie and Audrey began a new life in Providence, Rhode Island. Kittie worked as a boarding house keeper, and Audrey eventually attended a Catholic high school called St. Francis Xavier Female Academy. It was there, under the tutelage of the Sisters of Mercy, that the young Munson learned how to sing and play the piano, violin, harp, mandolin, and guitar.

By 1908, a 17-year-old Munson had started performing in small shows like the touring production of the musical Marrying Mary. She and her mother relocated to New York the following year so the teenage performer could pursue a career in show business. On May 31, 1909, at 18 years old, Munson set foot on a Broadway stage for the first time, dressed in drag and playing the part of a footman in a musical comedy called The Boy and the Girl.

Around this time, Florenz Ziegfeld, Jr. was beginning to make waves with The Ziegfeld Follies, a series of extravagant variety shows that often featured large choruses of attractive young women who came to be known as “Ziegfeld girls.” Though Munson never performed in one of Ziegfeld’s revues, her arresting beauty and many musical talents made her an ideal chorus girl. She appeared in the choruses of similar productions, including The Girl and the Wizard, Girlies, and La Belle Paree.

Had Munson continued on this path, it’s possible her name would have faded into anonymity with the hundreds of other Broadway hopefuls whose careers petered out once they aged past their chorus-girl prime. But a chance encounter steered her in a drastically different direction.

From Performing to Posing

In late 1909, Munson was window-shopping on 5th Avenue with her mother when she noticed a man paying unusually close attention to her. After she confronted him, he invited her to pose for him in his photography studio.

“We did not like the idea at all,” Munson later said in a 1913 interview for the New York Sun. “But finding out that he was one of the best photographers in town my mother and I went. He took some photographs, said I had a head almost antique in line, and began to tell his artist friends about me.”

The photographer was Felix Benedict Herzog, who was also an accomplished electrical engineer, patent attorney, and inventor. Though his role in Munson’s career only lasted a few years—he died suddenly in April 1912, after complications from intestinal surgery—he jumpstarted her pivot from performing to posing.

As Munson posed for Herzog and his contemporaries, she used her newfound connections to seek out more work. This streak of industriousness led her to the studio of sculptor Isidore Konti, who asked her to model for her first sculpture, The Three Graces, to be displayed in the main ballroom of New York’s Hotel Astor.

It was an extraordinary opportunity, but it came with a catch: Munson would have to pose nude.

Making It to the Top

Isidore Konti's Three Graces.Isidore Konti, Wikimedia Commons // Public Domain

Though the ever-so-enterprising Munson was open to the idea, her more conservative mother hesitated to endorse it. But after three months of chaperoning her daughter’s (clothed) modeling sessions with Konti, Kittie finally gave Audrey her blessing to bare it all for art’s sake.

Munson quickly became one of New York’s most prolific early models, posing for what she estimated was a total of 200 artists, including photographers, illustrators, painters, sculptors, and even a tapestry weaver. If you’ve been to New York, you’ve almost definitely seen at least a few statues bearing Munson’s image, even if you didn’t realize it—many Manhattan neighborhoods have at least one, and the Metropolitan Museum of Art houses another 30 or so. The caryatids supporting the main saloon’s mantelpiece in one of J.P. Morgan’s yachts were carved from Munson’s likeness, and tapestries in George Vanderbilt’s mansion were designed in her image, too. Since some of the pieces Munson modeled for were privately commissioned, it’s not clear where they ended up (or if they’ve even survived various renovations and relocations).

As for those still prominently displayed, perhaps the most striking piece is Civic Fame, a 25-foot gilded copper statue atop the Manhattan Municipal Building that Adolph Alexander Weinman designed in 1913. It’s New York’s second largest statue, dwarfed only by the Statue of Liberty herself.

Adolph Alexander Weinman's Civic Fame atop the Manhattan Municipal Building.CelsoDiniz/iStock via Getty Images

Another gilded version of Munson—bronze, this time—decorates the top of the USS Maine National Monument in Columbus Circle, honoring the 260 sailors who died during the 1898 sinking of the USS Maine in Havana, Cuba. Funded by William Randolph Hearst in 1913, the statue depicts Columbia—the female personification of the United States—riding a seashell chariot pulled by three horse-seahorse hybrid creatures called hippocampi. Sculptor Attilio Piccirilli used metal from the sunken ship for parts of the memorial, which also includes a ship's prow jutting over a fountain and a plaque that lists the victims' names.

Attilio Piccirilli's USS Maine National Monument in New York's Columbus Circle.Elisa Rolle, Attilio Piccirilli, Wikimedia Commons // CC BY-SA 3.0

Munson is also immortalized in marble outside the New York Public Library’s main branch, the Stephen A. Schwarzman Building. Frederick MacMonnies's Beauty depicts a mostly nude Munson looking skyward as she leans against a horse.

Frederick MacMonnies's Beauty, at the New York Public Library's main branch.William de Witt Ward, Frederick MacMonnies, Wikimedia Commons // Public Domain

By mid-1913, Munson-inspired works were so prevalent around the city, the New York Sun published a profile on her titled “All New York Bows to the Real Miss Manhattan” in its June 8 issue.

But despite the hundreds of artworks to which Audrey lent her likeness, her paychecks weren't on par with today's Instagram influencers. The going rate for a model at the time—nude or not—was 50 cents an hour, meaning the Munsons lived a modest life. “It was just enough to pay our rent, grocery bills and buy a few clothes once in a while … Almost nothing for amusements,” Munson said in a 1921 newspaper article.

Between the countless hours of sitting, standing, or lying stock-still for artists, Munson branched out into another industry: film.

A False Start in Film

On November 18, 1915, Thanhouser Company released the silent film Inspiration, and Munson became the first American movie star to appear naked in a non-pornographic film. Loosely based on Munson’s own life, Inspiration tells the story of a young girl discovered in New York by a sculptor in need of a muse; it even features some real-life statues that Munson posed for. Though the film was an overall success, it did stir up some dissent from viewers who balked at the nudity. Local officials actually arrested a theater manager in Ossining, New York, for showing the “improper film,” and the city’s Civic League established a censorship committee to prevent similar calamities from happening in the future. “I saw enough and got all the ‘inspiration’ I wanted,” one member said.

Munson was characteristically undeterred. She and her mother moved to California, where the performer appeared nude again in 1916’s Purity. It was another successful (yet polarizing) motion picture, but it also marked the beginning of the end of Munson’s meteoric rise to fame. Her next film, The Girl O’ Dreams, was never released. The reasons are unknown, but biographer James Bone has speculated it may have been a dispute over film rights—no fault of Munson's.

Struggling to Stay Above the Fray

Munson in Purity, 1916.Apeda Studio, Library of Congress // No Known Restrictions on Publication

The Munsons returned to New York in late 1916. Audrey spent the next two years caught up in the high society circles of New York and Newport, Rhode Island, and allegedly struck up a relationship with shipping heir Hermann Oelrichs, Jr. Her mother claimed the two had actually married, though there’s no record to support this.

Whatever feelings Munson had for her purported beau turned sour by early 1919. That January, she sent a strange letter to the U.S. Department of State insisting the German government’s considerable investment in the film industry was preventing her from booking any roles. She listed Oelrichs, Jr. and other well-known German-Americans as co-conspirators in this plot, arguing that they discriminated against her because she was descended from early British settlers. “As you know the Kaisers [sic] $25,000,000 in the Motion Picture Industry has thrown me out of work as I am an American of English blood dating back to the Mayflower days,” she wrote.

Nothing came of Munson's baseless accusations, but her vilification of “the German” and “the German-Jew” in the letter hinted at a festering anti-Semitic streak both Munson and her mother made evident throughout other correspondence.

Things unraveled further in February, when Munson and her mother were brought in for questioning about Dr. Walter K. Wilkins’s murder of his wife, Julia. The press reported that Wilkins, who owned a boarding house where the Munsons had stayed, had been carrying on an affair with a “pretty young woman” many assumed was Audrey. She denied any relationship and even vouched for his character, but the onslaught of negative publicity certainly didn't help her career.

In 1921, Munson attempted to reclaim control of her reputation by telling her life story in 20 serialized articles entitled The Queen of the Artists’ Studios in Hearst’s New York American newspaper. The series was meant to drum up publicity for her new film, Heedless Moths, also based on Munson’s life. But the filmmakers only used Munson herself for a few shots, and gave the majority of her role to newcomer Jane Thomas. It was another instance of others enjoying and profiting from Munson's image with little regard for the woman behind it—an inescapable theme of her career as a model and muse—and her writing reflected her despondence.

“I am wondering if many of my readers have not stood before a masterpiece of lovely sculpture or a remarkable painting of a young girl, her very abandonment of draperies accentuating rather than diminishing her modesty and purity, and asked themselves the question, 'Where is she now, this model who has been so beautiful?'” she wrote in one article. “'What has been her reward? Is she happy and prosperous, or is she sad and forlorn, her beauty gone, leaving only memories in its wake?'”

Advertisements used Munson's name to drum up interest, but Jane Thomas got to be the star of the actual show.Equity Pictures Corporation, Wikimedia Commons // Public Domain

Not long after that, Munson launched a widely publicized search for “the perfect man.” But Munson had grown up valuing her own English-American beauty above all else, and her idea that marriage should be “for the good of the race” reflected her eugenic, xenophobic, and anti-Semitic tendencies. Though she did choose a husband—Joseph J. Stevenson, a World War I pilot and wealth contractor from Chicago—they never actually pursued their relationship.

By 1922, a dispirited, hapless Munson was living with her mother in Mexico, New York, north of Syracuse. In May of that year, at 28 years old, the former model attempted to swallowed mercury-based poison in an attempt to die by suicide. She survived, but she didn't try to return to the limelight.

A Quiet New Life

For almost a decade, Munson lived with her mother in upstate New York, where her mental health further deteriorated. In 1931, citing depression, delusions, hallucinations, and more, Kittie committed her daughter to an asylum.

Shortly after she turned 40, Munson moved into the St. Lawrence State Hospital in Ogdensburg, New York. Except for a brief stint in a nursing home, she remained at that hospital for the next 65 years, and her mother's death in 1958 marked the beginning of a 26-year period with no visitors. Then, in 1984, Munson's half-brother's daughter, Darlene Bradley, tracked her down and took her father to be reunited with his long-lost sister. Bradley continued to pay regular visits until her elderly aunt died on February 20, 1996, at 104 years old.

Munson was cremated, and her ashes were placed in her father’s grave at New Haven Cemetery in New Haven, New York. The tombstone listed Edgar Munson, his second wife, Cora, and their daughter, Vivian—but for 20 years, there was no mention that the former star was laid to rest there, too.

In 2016, New Haven town clerk Debra Allen and town historian Marie Strong decided it was time to honor Munson’s legacy with a tombstone of her own. Since they couldn’t allocate town funds for that purpose, they entered and won numerous county fair baking contests. The two spent their prize money on a simple, elegant tombstone etched with flowers and the words Actress & Model—the last bit of stone bearing witness to the everlasting legacy of America's first supermodel.