Category Archives: Paper

Salem 1897

Salem 1897: William McKinley was President of the United States, Roger Wolcott was Governor of Massachusetts, and the Salem Evening News published an Illustrated History of Salem and its Environs, which includes photographs of many mustachioed men, their residences and places of business, and some of the city’s more notable public landmarks. Despite its title, it’s not really a guide to historic Salem (although there is a little narrative history of the city from its founding) but rather a visual “state of the city” in that very year, from a decidedly commercial point of view. Sometimes it is interesting to just swoop in and look at the lay of the land of a particular place and time, so that’s what I’m doing today. I don’t believe that there is a single featured woman in the entire publication: one would think the city was made up of white men except for sights of women and children in the distance: waiting for a train or the beach. And while we see many exterior views of factories—particularly tanneries—we don’t get to peer inside and see any work being done, by men or women.  Even with these limitations, it’s an interesting book, especially for one (such as myself) who is interested in built history: it allows us to see Lafayette Street before the Fire, a very busy Bridge Street, and many lost churches—and the engraved illustrations are particularly nice.

Salem 1897 Cover

Salem 1897 Courthouses

Salem 1897 Derby

Salem 1897 Jail

Lost Churches

Salem 1897 Illustrated_History_of_Salem_and_Environs_1897_0032 Y

Salem 1897 Mercantile National Bank 225 Essex @ 225 Essex Street.

It’s always interesting to see anachronistic trades and businesses in publications such as this as well: anything to do with horses, all those tanneries and factories, lead works, house movers (moving houses rather than the contents of houses): there were two in Salem!  This was a city full of houses of worship and work, many stores, and many banks–and not so many restaurants. The usual public institutions are featured as well: I think we’ve all seen enough old photographs of the Salem Public Library, the Essex Institute and Peabody Museum, various schools, and our famous, beloved Gothic fortress of a train station, so I have foregone those images in favor of less-broadcast ones here. Salem appears to have been thriving in 1897, though somewhat sparsely-populated in this (re)presentation—except for all those mustachioed men!

Salem 1897 37 Bridge Street

Salem 1897 Parker

Salem 1897 Store

Salem 1897 Almys

Salem 1897 Storage

Salem 1897 Lynch on Skerry

Salem 1897 Forest River

Salem 1897 Illustrated_History_of_Salem_and_Environs_1897_0129

Salem 1897 Fairmount Street

Salem 1897 Gorman

Just a few of the businessmen featured: Messers Almy, Bigelow, Washburn & the three Vaughn brothers.

Mustache Men


Reverence for Ruzicka

I’ve long admired the prints of Bohemian-born Rudolph Ruzicka (1883–1978), both pictures and fonts—both are characterized by the “optical ease” which he sought for all of his work. Ruzicka migrated to the United States as a child, and received his art training in Chicago and New York City before launching his career as an engraver and designer: he operated his own shop but also worked for the Mergenthaler Linotype Company for his entire professional life, as well as for Merrymount Press in Boston. His body of work includes several portfolios of prints of New York City, Newark and Boston, at least four typefaces (including the classic Fairfield which I use a lot), and a beautiful book of calligraphic fonts titled Studies in Typeface Design (1968). Ruzicka’s pictorial work looks to my untrained eye like the perfect combination of early to mid-twentieth-century central European and American aesthetics (they have that WPA look before the WPA!), and I love that he obviously loved New England: he moved to Massachusetts in 1948 and then to a farm in Brattleboro, Vermont. While he portrays an obvious appreciation for the “pictorial aspects” of New York (and Newark as well) his scenes of greater Boston are beautiful. And as a bonus, the series of greeting cards designed by Ruzicka and produced by the Merrymount Press from 1911-1941 include several prints of notable Salem landmarks, which you can see below.

ruzicka louisberg square carnegie

ruzicka beacon hill gardens carnegie

ruzicka beacon hill view

ruzicka charles street church

ruzicka cornhill boston

ruzicka granary burying ground

ruzicka washington monument

ruzicka frog pond carnegieRuzicka’s views of Boston (including the old Cornhill and swimming in Frog Pond) above, and of greater Boston (including Peacefields in Quincy, Walden Pond in Concord, McIntire’s Gore Place in Waltham and Derby summer house in Danvers, and the House of the Seven Gables and Old Town Hall in Salem) below.

ruzicka carnegie 3

ruzicka quincy

ruzicka walden pond

ruzicka gore place

ruzicka glen magna carnegie

ruzicka gables carnegie

ruzicka market house carnegieAll images from the collection of the Carnegie Museum of Art; the Harvard Museums also have a large collection of Ruzicka prints.


It started in Salem for John Derian

I’ve been a fan of decoupage artist and entrepreneur John Derian forever or what seems like it: since I bought my first piece at a little Marblehead shop named C’est la Vie, which is still very much up and running. And then I bought more glass trays: most from this same shop but I also took pilgrimages to his stores in New York City and Provincetown. Thanks to his collaborations with Target, I was able to obtain even more of Derian’s rediscovered prints, covering utilitarian objects like storage crates, coffee cups, and jewelry boxes. Beautiful stationery that I can’t even bring myself to use. So now there’s probably something Derian in every room in the house (except for those inhabited exclusively by my husband and stepson) but despite his omnipresence in my life I somehow never knew that it all began in Salem for John Derian! I knew he was from Massachusetts, Watertown in particular, but not until I read the forward to an engagement diary which my parents gave me for my birthday last week did I realize that a few colorful prints found at the Canal Street Flea Market in Salem in 1983 inspired his whole brilliant career!

Derian

Derian Collage

Colorful nineteenth-century floral prints found in a box of broken-up antique books and loose papers at a flea market in Salem, Massachusetts. I’m pretty sure this was the Canal Street Flea Market, which was before my time: I checked with Salem’s chronicler of record, Jim McAllister, to see if he had an image but no luck. This was a rather famous flea market though—I can remember hearing about it when I started poking around in markets a bit later than this—so I can understand how it might have drawn Derian up from Watertown. His description of how he was struck by the “power” of these particular images resonates with me completely—I’ve felt that power time and time again on my hunts. How impressive to be able to turn that reaction and appreciation into a decorative arts empire—and how neat that I can add this empire to the increasingly-long list of things that started in Salem.

John Derian around the house–not an exhaustive portfolio!

Derian 10

Darien 7

Darien 6

Darien 5

Darien 3

Darien 11

Darien 12

Darien 9

Darien Sheep


A Souvenir of Salem

Salem has been a tourist city for a very long time, and that identity has inspired the production of countless souvenirs made from every material imaginable: ceramic, metal, cloth, wood, plastic, and a veritable forest of paper. I’ve been a rather casual collector of Salem souvenirs since I moved here many years ago, although I do have my periods of intensity if I come across something I haven’t seen before. I’m a paper girl, and I thought I had seen every bit of ephemera in this genre, but last week a little souvenir book with an embossed red cover popped up on ebay and I pounced. It arrived yesterday, and I was not disappointed: this little souvenir pamphlet contains some of the most beautiful prints of Salem structures I have ever seen. Even with its obvious damage, it is still a gem. There is no title page or publisher–although an advertisement for the Salem stationers Merrill & Mackintire is at the end, so I assume it is their offering. It is also undated, though I can come up with an approximate date just looking at some of the captions, which reflect the work of the tireless historian and “antiquarian” Sidney Perley to get dates and identifications just right at the turn of the last century—and after.

SS 1

SS2

SS3

ss6

ss10

Some historical “facts” are mutable. The site at which the accused and convicted “witches” of Salem were presumed to have been executed was commonly known as “Witch Hill” in the later nineteenth century but evolved into “Gallows Hill” at its end. This is still a Salem neighborhood and park, but from the 1890s Perley identified Proctor’s Ledge below as the site of the executions, and just last year this site was marked with a memorial by the City of Salem. Likewise, Perley confronted the long-held assertion that the small structure on the grounds of the Essex Institute was in fact the seventeenth-century First Church of Salem, and asserted that it was a Quaker Meeting House from later in the century. As you can see, the owner of our little souvenir book, whom I presume is the Charles Heald who signed the back of one of its prints, simply scratched out “First Meeting House” and wrote in “Quaker M.H.” And then Perley took on the “Roger Williams House” and asserted that Roger Williams never actually lived there: it then became the Witch House assertively, though in this first decade of the twentieth century it’s still either/or.

Antiquarian in Arms 1901

Witch House 1903Two Boston Post articles from 1901 and 1903 showing Perley in the midst of two big Salem historical “disputes”:  “Antiquarians are all up in arms again” is one of my favorite headlines ever.

The “Old Turner House” has yet to become the House of the Seven Gables, so I think I can date this souvenir booklet to sometime between 1903 and 1909 pretty comfortably. Yet there is not a car or trolley in sight: the cumulative vision is one of  “Olde Salem” with the exception of a few “modern” municipal buildings. Seaside Salem endures, and the Pickering House remains ever the Pickering House, unchanged from the seventeenth century except for the acquisition of its Gothic trim in the midst of the nineteenth.

SS7

SS8

SS4

SS5


Rewards of Merit

This is graduation week, when we celebrate achievement and completion with pieces of paper, as we have for hundreds of years. No one wants a digital diploma! Even that avatar of online higher education, Southern New Hampshire University, has a television commercial showing university representatives traveling across the country presenting diplomas to graduates: their educational experience can be impersonal but not its culmination, apparently. Despite a lifetime spent in education, as a student and teacher, I am a late bloomer when it comes to commencements: I skipped both my undergraduate and graduate ceremonies, much to my regret, and once I became a professor I continued to avoid what I perceived as a long, boring, and formulaic ritual. But when I became chair of my department five years ago, I decided that it was my responsibility to attend, and so I dusted off the unused (and very expensive) gown I had purchased years ago and marched out there. I thought I was going for my colleagues—to be with those that went, to be an example to those that didn’t—but it was all about the students. As soon as the (yes, long and boring) ceremony was over, we ran out into the fresh air, and our students ran to us, sometimes even before their parents. Together, we had reached a destination–a place–after completing a long journey. And you really have to show up to realize that you’ve arrived.

I like nineteenth-century American “rewards of merit”, given by teachers to their students in recognition of certain qualities (diligence and deportment above all) as historical expressions of both the personal and the professional relationships that exist in any educational environment. They look formulaic, like a diploma, but they also represent an individual relationship—and achievement. As an ephemeral genre, they can testify to the evolution of printing and production techniques as well as educational objectives. Rewards of merit were produced in Great Britain too, but they really flourished in the United States, especially in the second half of the nineteenth century. I prefer the earlier forms from the first part of the century: written or sparsely printed, just a few images, some “colored in” with watercolors by teachers who wanted to add a more personal touch. Once you get into the later era of polychromatic cards, you lose a lot of the personal connection, and it seems as if they did too.

Reward of Merit 18th century A very early American Reward of Merit, or “conferment of honor” from William Arms to his student Amos Hamilton in Deerfield, Massachusetts, 1795 © Pocumtuck Valley Memorial Association, Deerfield MA. In the larger towns and cities of Massachusetts, printed reward of merit forms were used right from the beginning of the nineteenth-century, but hand-written citations continued in the country: below, Tirza Lampson’s “diligence and virtue” is rewarded in Charlton, Massachusetts, and Azubah Clark is “presented with this honorary emblem, for her being a good scholar and hereby is recommended for her studious attention laudable improvements, and admirable behavior in school, for which, she merits the sincere thanks of her instructress Rebecca Walton Temple”, both in 1811. 

Reward of Merit 1811 Charlton

Reward of Merit 1811 2And then there were the forms, which were personalized by notes and watercoloring by the instructors and “instructresses”.

Reward of Merit ABA3 1815

Reward of Merit Salem 1818

Reward of Merit ABA4 1819

Reward of Merit ABE 6 1828

Reward of Merit collage

Reward of Merit 1842

Reward of Merit East Bridgewater 1851

Reward of Merit 1868 Methuen

Reward of Merit 1876 2

Reward of Merit 1878Rewards of merit for Philip Harman in Boston (1815); Martha Page in Danvers (1818); Martha Barker in Boston (1819); Marietta Bailey in Newburyport (1828); the Misses Fairbanks and Prebble in Taunton (1934); Nancy Fairbanks in Boston (1842); Grace Cobb in East Bridgewater (1851); Leuella Mills in Methuen (1868), and two certificates received by Master Abner Bow in 1876.  All from the American Broadsides and Ephemera database of collections of the American Antiquarian Society.

These last two rewards are charming but they’re getting a bit busy for me (what is that “sea horse”?): the imagery is overwhelming the student-instructor relationship. From this point on, these little slips of paper become more colorful, flowery, sentimental and generic, with one notable–and striking exception, the monotonal, monographic MERIT “badge” of the later nineteenth century. What other sentiment do you need? Well, maybe ONWARD and UPWARD.

Merit Orange

Reward of Merit HNERewards of Merit cards 1880-1993, Historic New England.


March On

The first of March: a notable historical day from my own geographical perspective, as it marks the anniversaries of both the incorporation of the first English “city” in North America, my hometown of York, Maine (in 1642), and the commencement of the most dominant event (unfortunately) in the history of my adopted hometown of Salem, Massachusetts: the Witch Trials of 1692. March is also one of my favorite months, so I always wake up happy on its first day. I am sure that this is a minority opinion among my fellow New Englanders, for whom March is generally perceived as the muddiest monthIt certainly can be muddy here, and cold, snowy, rainy, dark, windy, and raw. But it can also be bright (like today) with a brilliant sun that seems to highlight the material world in stark detail. It is the month of all weather, and also a month of transition. That’s what I like about it:  you are heading somewhere in March (towards spring); you are not already there (like winter or summer). I like to be en route, in transition, looking forward, in the process—and March feels like that to me, all month long. If you look at magazine covers from their turn-of-the-last-century Golden Age, advertising artistry rather than celebrity, many seem to convey that movement, if only to depict the wind. At least those that don’t feature rabbits.

M27740-26 001

March Harpers 1895

March 1896 2

March Inland Printer 1896

March Black Cat

March 1897

M33739-10 001

March Scribners 1905

M33739-1 001

March covers from 1895 (2); 1896 (3);1897; 1900; 1905 & 1907; Swann Auction Galleries, Boston Public Library, and Library of Congress.


A Memorial Map of Olde Salem

The 1920s was a decade of intensive commemoration in Massachusetts, in recognition of the 300th anniversaries of the landing at Plymouth in 1620 and the arrival of John Winthrop here in Salem in 1630, bearing the royal charter that formally recognized the Massachusetts Bay Company. The commemoration culminated with the formation of the Massachusetts Bay Colony Tercentennial Commission in 1929, which oversaw thousands of events, including processions, pageants, historical exercises, old home weeks, exhibitions and expositions, the publication of various commemorative materials like Massachusetts on the Sea and Pathways of the Puritans, and the erection of roadside historical markers across the Commonwealth (the Salem markers are all “missing”—I’m coming to the unfortunate conclusion that there has been a long cumulative campaign to remove as much of Salem’s tangible history as possible, with the relocation of the Phillips Library as the end game! Maybe we are cursed–or maybe I’ve lost my perspective).

Pictorial Stamp.jpg

Smithsonian/National Postal Museum

There was also some sort of map initiative: as I’ve found several pictorial/historical maps–of the commonwealth, various regions, and individual towns–published in this period, often by the Tudor Press and under the auspices (and with the approval) of the Tercentenary Conference of City and Town Committees. Elizabeth Shurtleff’s Map of Massachusetts. The Old Bay State (which is in the Phillips Library but fortunately also in David Rumsey’s vast digital collection) is one such map, and there are others representing Cape Cod, Cape Ann, Boston, and several other Massachusetts towns and cities. As you can see from the cropped images of James Fagan’s map of Shawmut/Boston 1630-1930 and Coulton Waugh’s map of Cape Ann and the North Shore, these maps were “historical” in an extremely subjective way, emphasizing achievements above all. As explicitly stated by Fagan, they pictorialize progress above all. I’m sure that this message was particularly important given the coincidental timing of the Massachusetts Tercentenary and the onset of the Great Depression.

Pictorial Map Shurtleff

Pictorial Map Boston

Pictorial MAP Cape Ann

So far, I’ve seen 1930 pictorial/historical maps of Ipswich, Concord, Nantucket, Martha’s Vineyard, Cambridge, and the other day, while looking for something altogether different in the digital collections of the Leventhal Map Center at the Boston Public Library, I came across of one of Salem! Very exciting–I thought I had chased down every Salem map in existence but no, there was (is) The Port of Salem, Massachusetts by Warren H. Butler, published by the Tudor Press in 1930. This is a perfect Colonial Revival map really, focused on recreating a rather whimsical/historical “olde” Salem rather than tracing the path of progress. I love it, even though my own house seems to have been swallowed up by an extended Hamilton Hall on lower Chestnut Street. It’s hard to date this map: in the accompanying text, Butler says “here are the ancient streets of Salem”, but while the streets depicted seem to be vaguely Colonial, the buildings that line these streets are of varying periods. His Salem is a port city first and foremost, but while he includes ships in both the harbor and North River and Front Street is really Front Street, the massive Gothic Revival train station is here too. Samuel McIntire’s courthouse is located in its historic location on Washington Street, just a few steps from the Greek Revival courthouse that still stands, vacant, in Salem. All of the Derby houses are on the map, including the majestic–and ephemeral—McIntire mansion which once sat in the midst of present-day Derby Square. In fact all of my favorite Salem houses, still-standing and long gone, are on Butler’s map: it’s a historio-fantasy map of non-Witch City, and I want to go there!

Pictorial Port of Salem

Pictorial Salem 2

Pictorial Salem 1

Pictorial Salem 3

Pictorial Salem 4You can zoom in on Salem’s “ancient” streets yourself at the BPL’s Leventhal Map Center.


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