Tag Archives: advertising

Salem Chests

I’m finishing up my Tudor-Stuart course this week at Salem State, and while doing the course prep for a class on the reign of William and Mary (1689-94/1702) I became bored with the rather mundane political narrative (at least compared with the Tudors!) and turned to the style of the eraThen I became a lot more interested, particularly in following the transmission of material culture traditions and motifs from the Continent to England and ultimately to Salem. 

Like its maritime heritage and architecture, the furniture of colonial and Federal Salem serves as a powerful counterweight to its Witch City reputation.  There seems to be two periods of Salem furniture production that are particularly prized by collectors and scholars:  the late seventeenth-century William & Mary era as represented by the Symonds Shops in Salem (c. 1670-1700) and the Federal era, when Salem had some sixty cabinetmakers working to produce furniture for both the domestic and export markets.

The Symonds business was established by joiner John Symonds (c. 1595-1671) who emigrated to Massachusetts from Norfolk, England in the 1630s and carried on by his sons James and Samuel. A Salem street is named after the family.  Their chests have done very well at auction in the past decade or so, with the Pope  “valuables cabinet” selling for 2.42 million dollars in 2000 (and back to Salem it came, to the Peabody Essex Museum).  This chest is pictured below in a photograph from Christies, along with another Symonds cabinet from the collection of the Metropolitan Museum of Art.  The initials of the married couples who owned these chests (Joseph and Bathsheba Pope of Salem Village and Ephraim and Mary Herrick of Beverly), interwoven with the year (1679) of their creation, is carved on the front in the midst of the characteristic Symonds sunburst.

Another Salem Symonds chest, the “Putnam Family Cupboard”, was photographed by Salem’s famed photographer-entrepreneur Frank Cousins and sketched by Edwin Foley in a fanciful “colonial” environment a century ago.  Both images are below, along with one of a so-called “Witch Bureau”, from the Pageant of America series, with the accompanying caption “from the middle drawer of which one of the witches jumped out who was hung at Gallows Hill in Salem.”

The "Witch Bureau", NYPL Digital Gallery

I’m not quite sure about this piece–very square legs compared to the other examples of the era—(and what a provenance!) although somewhat similar to the most recent Symonds piece to be auctioned off, at Sotheby’s this past January, the 1690 “Trask Chest”.

As I finish up my course with Queen Anne, the last of the Stuarts, I can’t help but dwell on the dramatic change in furniture style (again, because the narrative history is pretty boring, and all about the War of Spanish Succession):  from solid squares to graceful curves.  Edwin Foley, the author-illustrator of The Book of Decorative Furniture (1909-11), made his way right into the Queen’s bedroom so he could capture her colorful bedhangings and “Queen Anne” highboy and one of Frank Cousin’s interior photographs of the Peirce-Nichols house from the 1890s captured a similar chest.

Frank Cousins and the other advocates of Salem and its colonial architecture, furniture, and decorative arts created a brand that was almost as strong as “Witch City” in the early and mid-twentieth century.  As proof, I offer two advertisements for newer models of Salem chests.

 


Bicycles Built for Everyone

While many European countries have had a consistent bicycle culture for a century or so, America’ s relationship with two-wheelers seems to run in cycles (pardon the pun).  I think we want to be a bicycling nation now, but this was certainly not the case twenty years ago and our national obsession with the automobile will never go away.  This weekend, instead of getting out on my bike (one of the few forms of exercise that I really enjoy) I read (or perused) two books on bicycles, both of which made a pretty strong visual case for the existence of a vibrant American bicycling culture at the turn of the last century.  Cyclopedia by William Fotheringham is an illustrated reference book about the history and trivia of bicycles, a pick-up-and-learn-all-sorts-of-little-things type of book, while Wheels of Change:  How Women Rode the Bicycle to Freedom (with a Few Flat Tires along the Way)  by Sue Macy explores the interesting relationship between women’s’  liberation and bicycling, a connection that is easily supported by the print and popular culture of the period.

An editorial cartoon from the June 19, 1895 edition of Puck magazine links the many varieties of the “new woman” (wearing pantaloons!) with bicycles, and a poster advertisement for the New York Ledger from a couple of years later features a woman wearing even shorter bloomers.  It appears that the bicycle aided the progress of dress reform, at the very least.

Actually the famous bicycless (?) Elsa von Blumen was one of the first ladies to blaze this trail, winning races against horses and other women racers on her high-wheel bicycle in the 1880s and marketing photographs of herself in full bicycle dress.  Bicycle racing of all forms seems to have been extremely popular in the two decades on either side of the turn of the twentieth century:  women against women, women against horses, men against men.

Elsa von Blumen in 1889

A very alliterative advertisement for the “Racycle”

The replacement of the high-wheel (penny-farthing) bicycle by the modern “safety” bicycle intensified interest in two-wheelers in general and racing in particular.  Bicycle clubs were very common and there was a brief window of opportunity just after the turn of the century  for bicycles to become the primary means of transportation, particularly in urban areas.  Advertisements and other forms of ephemera were very prevalent; Americans just seemed to like the image  of the bicycle, as the last poster below indicates.

Bicycle Races in 1895, Library of Congress

Library of Congress

After about 1910 or 1920, with the increase in the production of automobiles and the consequential decrease in price, bicycles seem to have lost their appeal as an adult form of transportation.  The advertising of that era onwards clearly indicates that bicycles were now marketed primarily to children.  Here in Salem, Parker Brothers took advantage of the emerging juvenile market by turning out bicyle-themed books and games.

No matter what product or service they were selling, late nineteenth -and early twentieth-century trade cards often featured children, as well as cute and fuzzy little animals.  Add a bicycle motif and you have an even more adorable image, if that’s possible.  The J & P Coats Thread Company’s bunny and kitten cards below, have always been among the most popular cards with ephemera collectors.

Back to the Future:  Britain’s “Tweed Run” movement (a crusade against bike shorts founded in 2009) spawns American’s “Tweed Ride” movement:


A Strange Sales Pitch

I’m always on the lookout for unusual Salem-related ephemera, but this roofing advertisement from 1920 really stopped me in my tracks.  I think I was looking for something specific, but when I came across this, my search ended. It’s beyond bizarre.

Six years after the Great Salem Fire, one of the nation’s largest manufacturers of asbestos roofing shingles released this advertisement in national publications. Let’s leave asbestos off the table, as its danger was unknown at the time.  The rest of the ad seems outrageous to me on a number of levels, including the metaphorical connection between Salem witches and roofs (isn’t this a stretch?), the fact that Salem’s falsely-accused “witches” were hanged, not burned, and the sheer egregiousness of exploiting Salem’s TWO greatest tragedies for commercial gain. I think it’s the only text that I’ve ever seen that links these two disastrous, iconic events together.

Other contemporary examples of Johns-Manville’s advertising seem pretty mundane in comparison.  There is always a safety theme, which is understandable given the rash of urban fires in the late nineteenth and early twentieth centuries.  Asbestos was the cutting-edge technology that promised security from this threat but ultimately introduced another.  Aesthetics is the other appeal (as opposed to fear), as is evident in these other two advertisements from 1920:

Pretty storybook cottages with red roofs! A far cry from that Salem hag-witch.  To reinforce its safety image, Johns-Manville (now a division of Berkshire Hathaway) was compelled to include the fire threat in its advertising so we see the spectre of fire, like the fire next door in a 1922 advertisement,  but not a specific fire. Ironically, 30 years later the Company produced a special “Salem” shingle, (with a ship slogan rather than a witch!)  pictured below.


The Beginning and After

Last week the Boston Globe ran a story about local responses to the unveiling of Salem’s new logo and slogan, “Still making History” (which I addressed in an earlier post), in which a business owner (dispensing witch wares  and psychic services) professed his “love” for the slogan, “because 319 years later witches are still here”.  So Salem’s falsely-accused “witches”, exonerated by their families’ appeals, the Massachusetts General Court, and a slew of historians, are victimized yet again.

On March 1, 1692 Salem Town magistrates John Hathorne and Jonathan Corwin began their examinations of three Salem Village women–Tituba, Sarah Good, and Sarah Osborne–accused of witchcraft by a couple of  “afflicted” adolescent girls in the household of Reverend Samuel Parris.  This was the beginning of the Salem Witch Trials, a topic which I hope to avoid as much and often as possible based on my belief that all too often Salem’s history and identity are exclusively focused on this one event to the exclusion of everything else.  I am not a colonial American historian and I have nothing of value to add to the thousands of books that have been written on the Trials.  But I do live and work in Salem, and I am writing about Salem, so the topic will not always be easy to avoid.  Like today.

It seems to me that there have been too many narratives of the Salem Witch Trials and not enough discussion of their aftermath.  I am very happy to report that my colleague at Salem State University, Tad Baker, who is a colonial historian, will offer a corrective interpretation in his forthcoming book A Storm of Witchcraft (due out in 2013 from Oxford University Press).  Just a passing glance at the archival record reveals how fervently the families of the 1692 victims sought restitution and the repair of their loved ones’ reputations. This 1710 letter from William Good, husband of Sarah, is a poignant example of what came after.  I included a transcription below, as well as an image of the Massachusetts colonial Assembly’s reversal of the witchcraft convictions and a rather bleak view of the snow-covered tercentenary Witch Trial Memorial, taken yesterday.

To the Honourable Committee

The humble representation of William Good of the Damages sustained by him in the year 1692 by reason of the sufferings of his family upon the account of supposed witchcraft.  My wife Sarah Good was in prison about 4 months and then executed.  A sucking child died in prison before the mother’s execution. A child of 4 or 5 years old in prison 7 or 8 months and being chained in the dungeon was so hardly used and terrified that she hath over time seemed very changeable having little or no reason to govern herself.  And I leave it unto the Honourable Court to judge what damages I have sustained by such a destruction of my poor family.  And so rest.  Your Honours’ Humble Servant William Good.  Salem Sept. 13, 1710

 

Digital Sources for the Salem Witch Trials:  the most comprehensive site is the University of Virginia’s Salem Witch Trial Documentary Archive and Transcription Project.  Cornell University has both American and European sources in their Witchcraft Collection. The Reversal of Attainder broadside is from the Library of Congress’s Digital Collections.


Selling Salem: the Rorschach Test

Salem’s new official logo and slogan were unveiled this week at the annual meeting of Destination Salem, the city’s Office of Tourism and Cultural Affairs.  For some time–at least decades and probably a century–there has been an ongoing debate and dialogue among Salem officials, business owners and residents over the marketing of the city, with the central contentious issue being how much emphasis should be placed on the witch trials relative to Salem’s other history.  It seems to me that the advocates for a witchcraft-focused civic identity won the debate long ago (after all, Salem is “Witch City”; we have witches on our police cars and our high-school sports teams are called witches), yet it continues and the designers of the new logo were apparently trying to craft a bilateral, flexible image.  I see only a witch hat, but the (completely unscientific) survey I conducted with my students yielded mixed results:  about two-thirds saw the hat, and a third a sail(boat).  Quite a few students made the interesting comment that people outside of our region would only see a witch’s hat, because that is the image that they expect to see associated with Salem.

 

Is it a witch’s hat or a sailboat?

 

  Is it a bat or a butterfly?