Tag Archives: Graphic Art

History by Hancock

I’m always attracted to mid-century messaging; advertising seems to explode around that time and much of it reflects contemporary society, for better or worse. I came across some “historical” ads by John Hancock Insurance a couple of years ago, and since then have been assembling a small “collection.” These full-page ads ran in national magazines from the 1940s to the early 1960s, and while they start with the traditional founding fathers they also include a range of historical figures representing technology and innovation (first and foremost), sports and entertainment, industry and agriculture, literature, medicine, explorers, presidents. Most of the ads feature real people, but there are also some fictional representatives of certain essential services: roadbuilders, nurses, small shopowners, judges and juries, ministers, teachers, “John Smith,” the minuteman who answered Paul Revere’s call, the oil men who “freed black sunshine from an ancient dungeon,” fallen soldiers and reporters. We can easily ascertain what’s important in terms of values and accomplishments by those featured and their captioned roles, past and present. It’s unfortunate that there are very few women (Clara Barton, Amelia Earhart, an anonymous teacher and nurse), and NO minorities that I could find. Some of the men featured are new-to-me and seem a bit obscure from my perspective. Elizur Wright, Massachusetts insurance commissioner, really? (close to home for the John Hancock, I guess). The captions and stories seem to indicate that all of these people saved democracy in their very different ways: we need them now!

P.S. There are a couple of Salem-related ads: Hawthorne in an early black-and-white variation, Alexander Graham Bell (above) and Nathaniel Bowditch, who is not featured as himself but rather as a salty sea captain who is in debt to him. 


Good Queen Bess

It’s the first week of a new semester, and I’m still working on my Salem book for imminent submission, so I have to admit that I don’t have much time or energy to post here. But it’s also coronation week for Queen Elizabeth I (in 1559) and I’ve come across a lovely children’s book which has captured my teaching imagination—why these scenes? why these stories? Sometimes the blog is a nice break from pressing responsibilities, and that is the case here. Good Queen Bess (1907) is a quarto containing 23 illustrations by the artist John Hassall and text in red by Miss Brenda Girvin. The visuals are striking in their color and context, with some editorial choices immediately apparent (of course we need to see Sir Walter Ralegh’s puddle-covering cloak) while others are a bit more elusive, but all portray the iconic queen as a person first and foremost, beginning with her childhood.

It’s a children’s book, so it might be a bit jarring to depict the young princess alone, as the orphan she was. Instead, she’s with her longtime companion Kat Ashley, cuddling by a fire with dog and toys nearby. Years later, her situation more precarious during her sister Mary’s reign, she is “imprisoned” at Woodstock, with Ashley and more dogs nearby. Not too scary, but still an experience that will shape the young Elizabeth. Somehow her character got her out of that situation, and she is next pictured accompanying Queen Mary at her entrance into London, echoing another entrance image in Parliament. Hassall misses a great opportunity to show the poignancy of the moment in which Elizabeth is informed of her sister’s death and her own ascendance at Hatfield, depicting her in a crowd rather than alone under the venerable oak tree of legend. At this moment, and again at her coronation, Elizabeth’s profile is that of the majestic mature Queen in white (with “wings”) rather than the young woman that she actually was, with her hair down. As Queen, she has to have that majestic look, whether she is stepping on Ralegh’s cloak, dancing (as she loved to do), receiving the famous authors of her reign (Shakespeare and Bacon), refusing the crown/title offered by Dutch emissaries at war with Spain (an odd choice for a children’s book) or addressing her troops at Tilbury with her “heart and stomach of a king” speech.

Elizabeth is defined by her own personal characteristics and experiences but she also represents a “Golden” Age so we must see some scenes without her: a man in stocks represents her policy towards “tramps” (better known as “masterless men” in her own era), reluctant Elizabethans cultivate the potato (perfect, this is my favorite illustration, although cultivation began long after introduction), and then of course we must see the glorious defeat of the Spanish Armada, a fitting finale.