American ephemera the metropolitan museum of art bulletin v 34 no 1 spring 1976 by alfonse K

1 -7 --

M]ufateturer

-*--

rof

d ...TruckHames *-o-K-1W

TYORK

^^^^pyEz*eut

I -

/1 7b. li

.I;i% L ; -,.i"

l~ . I- 1'

ILV

_,,_,,_ _?

'i.

.." . *

I^'r .4 '.

c~*r~lWrH~e, lw

l wy,

'@' .

t1. .1 .

0a~tff~

I -I

HU :ICHLY CARVED EAT FREE STREE I

tMlul I

YORK j

Ii The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

?:~

~~~~~~~~~~~~~~'. 'm

, i~'~%_-jB~~~~~~~~~~~~~~~~~~~~~~~~~i~~" ...... -i?~.-?IBpp~~~~lq~ ~ ~ ~~,., ~ ...... ~`""'?~ ?WIP~~t~ZR~~C.~;. ~~

~. ......

:~i~"~~-~~e~Sb,raa~~b:~-s~~;r?~,:~~~B;~ 63i?I~ i!

.,."?~~~~~~~~~~~r:

T~ ~a*~ ~~g~~~e~~ ;

THE METROPOLITAN

MUSEUM

OF ART

cAMER EPHEM by JANET

S. BYRNE Curator,Prints and Photographs The Metropolitan Museum of Art

Frontispiece: Bookplate used by George Washington. Although strictly English in its design, this bookplate, with its stars and bars, is said to have provided the inspiration for the American flag. Bookplate Collection of William E. Baillie, 1920

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

l:.. ~

Il~~~~~~i: ~ ~

I _

Advertising probably comprises more than half of all American paper ephemera, and while sales techniques do not change as fast as one might wish, the late nineteenth century saw many developments, mainly due to the tremendous volume of tobacco advertising after the Civil War. From billboards to posters to handbills to trade cards, from newspapers to magazines to all sorts of objects that could be printed upon-fans, calendars, paper dolls -copywriters used them all. Gimmicks (tastefully called "sales included collectable inserts, lures") like playing cards or pictures of celebrities or race horses- especially in large sets to encourage repeat buying- and redeemable coupons. Perhaps the greatest lure, aside from the product itself, is that of an eye-catching package or handsomely printed label.

Speculation about the first package makes one wonder whether Eve's second apple was wrapped in grape leaves tied with a vine. Certainly, without pockets, she needed a wrapper for her pins and needles, thread, and playing cards. Packages that hide the contents need to be labeled, and matter-of-fact or decorated, labels are usually so much a part of the container that they are destroyed with it. Occasionally someone saves them: the strawberry jam label of 1868 was probably torn and then trimmed when some child soaked it from a jar for a picture scrapbook. Two of the labels that have remained in good shape are for paper collars and cuffs-items themselves meant to be ephemeral -which started a whole rage for paper disposables in the 1870s: waistcoats, bonnets, aprons, hats, tapestries, curtains, carpets, cuspi-

.... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.....

:r n'~'~. ......

~..~:L ,_:~,:,:..~',.'."~ . .. ..

~.?~~~~~~~~~~~ ? " r~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~i~

Pt:

"' ,"'~''"::""'" ....... ....... ~~~~~~~~~ :rl~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'.......''~""'' .............

.~-'o t.?z :~:'!! J~-~'~ ~~,~ I?.:.. :'~?: -~~~~~~~~~~~~~~~~~~~~~~~~~c

?~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~:

-4

'~? t,1

'1 "~.

:~ ~~.:.

':'

~' ~~? : ~ ~ iI ~ ~ ~~ ~ -'--. II~~~~~~~~~~~~~~~~JPJ1~ i

+~~~~~~~'' , ~-ii

...

~ ~ ~ ~~~~~ ~ ~ ~ ~ ::..::::...:.,,....~....,

:,~

~~'.~

~~~-" Ri...:'""'

dors, and coffins. Printers' samples of labels, cigar bands, calling cards, greeting cards, and even posters have survived to give us pristine examples, but much of America's most attractive ephemera was really used and shows signs of wear and tear. Packaging tended to be conservative for nineteenth-century American hardware and sewing supplies (pins, needles, thread, hooks and eyes) because of the competition with established, and superior, English brands. The chap at the right

with the sword, a yard-goods ticket, may indeed be English, but the others only look English: two of them - wrappers for thread- were folded and fastened with paper seals. For these products, the customer did not want the "New, Improved" model but an old reliable brand in a package that could be recognized. Another established product, British card games were still being played in Massachusetts in the early nineteenth century. The wrapper at the far right for Highlander cards also advertises those for Harry the Eighth and Merry Andrew.

/zzz.

Of *

'^wI*;. One Dozen

II i "It :

Six .p?d , _d e:.,k

?; t

So?--"

-a

Yds

't -

/ '. q

'a,

3::

asr r !Is 1' ?gti-1

:?? ,, d ,,

't -i k i

r,,

XIREST'

S:10L4

" .rs; *BhL?

..~~~~~~~~~~~~~~~~~~~~~~ (DRDI(

OTTON

(Z -

;

c? a; 1";

::_ ":?? ?:

?1:r s

,i,

"P2b:i

r. -T-*:? i*:

,1.

":,: ..?,?,

i .,

r?*-i?

.6.

"-t

i ?,

D rCiE

s Lt

9i*J Pvv ?c i' r

I 1

EA.GLE,HARRY tlie EIGTHi, lryafauBAND^RoEWtCfBIGLANDER cS CAiRDMt,e by ORDNC MILTON. MisAS,AUCsUS_ETT$.

NATHl:F

RIANTED . YARDS.

CILM-

- - -

pN.F. --.

.. lmmm

Bandboxes (so called in the seventeenth century because they were intended for bands and ruffs) were adapted in nineteenth-century America for hats and millinery trimmings of all sorts. Closets were lacking in houses built before the end of the nineteenth century, so many boxes were made; but as frail as they were, a good number have survived. Originally decorated with leftover wallpaper, they were soon covered with paper manufactured especially for them. This box, probably made about 1845, has a drapery-swag pattern covering the top, a wallpaper border completely unsuitable for a box top. The continuous design on the sides, of buildings reminiscent of Harvard, Yale, or Princeton in the eighteenth century, has been found on other boxes of the 1840s. Anonymous gift, 58.575

ea~~~~~~~~^ ~::

09as 0xrtteb*34

, I

~,~_

S~~~~~~~~~~~~~~~~~ ?fk#E

nlf . 1

:,:'

X :ws \% J

-~~~~~~~~~~~~~~~~~~~~~~~~~

.m.,

t&X -,'

4.1pir dP,, , I-, ja i;~. 11'

e i; " /

P 40-10AV,

8'9

, .

THIS Certtfie, That : /A, . _ A.-r punctual attendance, diligence, and gooj Is4 tion of X?Friends and Instruct\t \^UA I N

(

*.),, 4I

s4;4-

4>L{.~r,<!<<e< ,9/' //

Personal memorabilia-tickets, invitations, report cards, often found in family scrapbooks and valentines-are and attics, having been kept mainly for sentimental reasons. The woodcut reward of merit (at the top) given to Mary Dickenson in about 1825 imitated an engraved banknote in its ornament and official, almost legal, language. Elias Dickerman's Sunday school report (right) shows that from April to October 1829 he was never late and learned 331 verses of Scripture. A season ticket (above) to the dances of the Alexandria Assembly, issued to Nancy Galbreathin December 1784, displays an ace of clubs on the back. The American valentine (opposite) of about 1830 has lace printed by woodblock framing a pair of blatantly symbolic lovers: the young reaper with a scythe and his "Sweet Bud" holding ripe grain.

Report card: The Elisha Whittelsey Fund, 51.607.2(90). Ticket: Gift of Barrett P. Smith, 28.66.1. Valentine: Bella C. Landauer Collection

rets s.

re2.,/

k aif,h.a

.,rri/..t.r

a mernIer

)a.i

piuw/i?ti

. i ,A//A/w.?; /e /./~A~

Ae J,/fo,I/22nAfA efzi;/

//i/.f /-rri

cv//C.&,t/it:

tit

attendance i/

jn/?4 f

MARCH

-...... .

MAY

8 "i5

_ I__ ___...'_ R

L; ,/.

'-^-

-__

. _

___

_ ..-._ I

.__A..

---

_........ -

NE?4T4tE NIl __-JliZN (('T>lE,

..-

. -

. 1 SETI:MBE ..1 1:1,ia__(I'OUER ....... _

"...-.

l X.rr^

re-

cOf1f.imi.i

.JANtIAR!Y

._ .ir..

Ate

abbt,h,

/ ieCreS

, X-"'I

/ *' * I'?

411

???

-Bi i-:.*

qit I irzr

7, ", Ps

iY,v

<'--iS;

,61

;,-f j" -Z b' - clp: ..r r r# ^ n I *': I ILb?l?I+*j i Cr ?. I-, -pv

?..,

I" Ari

:,7I

-A'

A"ls

yli n

sicli

lti

111W.! k "t..

7*?.`f'

*L,.i' (CI *:?I? ;??

'"'?

4;?

if* -, c

t?'???--':: rk ,-':ji?s ?r-,? a?'

?;- -.:?? F?Li?iII C:,liR - c CLSr'.Ol rrl t,;U1, 3 -,- ;?t=r -"*d-_ c:tr , a"

IA?

P- "? r C??p?

bl p-p:

1^ 1>

4As ?

-*4

":'":,2??.x. 4

-" ?`-" I ?, I

rl$? , i -i?.: ? r

-'v-Al~k,i?

I??~r~~ ~

?I ?b a?? Ir I ? .?? - ??b i? r ?r,l?? ??? ?? ?,?. ?? ??? ???"I .1,

4/'m?

r ?

I, I

??? ?. ?" 6 a

..-.

'" ~ *;,P i?

.? .. :?

v;. 6?:. ': ta ??; ,.-

'VI -

r a

,--";? " f

:Aa h z

; .^-... '

sa :'s

,. :

;

-. f}

'I[ A)

4r~~~~~

in0z;e.Ss+s*sv si{w 4

s>>'-' * *

I ;

(8i

1 ^i ,. - a.; pa.

i, .acth t)fhought 4 thine,

l1K.n1i< my truth, thy hart seou1a, M, dxer y ,ung Valatine,

S :'* $to lR..

1?: -

A-

..T' V

All

Designed for an American market, this valentine car was produced in Germany, where printing is traditionally of the highest quality. A mechanical novelty, the car has wheels (attached by metal grommets) that actually spin, and can be made to stand up and look threedimensional if the tabs on the ends are pulled to expand a honeycomb of red tissue paper. The honeycomb device is used on the more conventional valentine of Cupid delivering a box with a blue bow, heart, and letter. Its back is stamped "Made in America," the language of export, but predates the worldwide takeover of the greeting-card industry by the United States.

-x. .......

.... ....

J:.f^o- ha *

-. :

'.^l

I'.

~~SSr

) Jli s/

IUPFP&~t

rty S

i .** INE ANNE&' I

a""

-sf1

''"t-'

^MICAL' WORKS' R U M PFF & LUTZ

? f

r; Y 1 1 i

#r1 :

^*.I,

?, I

8,I

im-Fi~

\i :

'4?

-,:

k'"

,:-r61"':?c ";1?:Sr"i

' 4 ^(s1j

i'-'!

.4,.

k~v

NEW lubtlished

ERNST

YORK. REINKING

217 East

6'. St.

NEAR COOPER INSTITUTE. 'vii ,/* 4 '^,:. 'OAmA,; h i :' . t

1.'; w1,m:,>,+s *,> .ii

C CC,?:';

? o64(

S i[

Sales of nineteenth-century sheet music often depended upon the attractiveness of the cover, and that of the "Aniline Polka-Mazurka"- in full color and rustic lettering-is today more appealing than the music itself. The rearing horse (right) appears on an American edition of Auber's "Le Cheval de Bronze," produced at the Paris Opera-

A ' .- C.' 7/W

NA-R ;i;v,.

;(7 ,

hY ) '

*A T'e-</Gx'-(i A^rs

.L'RTC.or.t .. Vrcs.tD.a.i _. ..~H _. A .

f.t.

Comique in 1835, and was copied from the white charger in David's famous painting of Napoleon crossing the Alps. (The American lithographer put David's name beneath the horse.) Bronze Horse: Bequest 50.602.193

of Glenn Tilley Morse,

lr?r

S."

Wil~

ita.~~ '*

j, pr

^ _? H1:

ALA

_y)

-s L_i,y a\

o'1

In 1895, when the firm of Buchanan & Lyall used this poster to advertise their chewing tobacco, big-city fire equipment included wagons with steam-pressured pumps and wagons with ladders. Fire engines of all sorts, red or not, have always intrigued Americans, and they have taken a great deal of pleasure in designing, decorating, and caring for them, ultimately retiring obsolete vehicles into historical collections. One of the ways to decorate fire engines was to apply transfer ornaments like the gold foliage above. Made by B. J. Warden of Philadelphia in the 1870s, these two are part of a book of sheets of decalcomania patterns. Decalcomania: The Elisha Whittelsey Fund, 61.545

B A C .f

,,..

FIX IMEI

PLANET.

w~~dC~

A-Z fc V

WT TNEtP ij?i jjllyfia I^"'U Ia^^^a

1"'I.

pi:? I .:~

t.Oi

i&-?'

' r,-"~?i I1

, U DaTeA PAS to Da.te

"Up

L;e,

State and county fairs have changed so little over the years that the fair poster above, except for the 1880s costume on the lady at the right, could be dated anywhere from 1870 to 1920. Cattle, horses, biggest pumpkin, best apple pie, and most colorful quilt: may fairs never change. Today it seems inconceivable that male adults, to whom the sales pitch at the right was directed, would buy ten dollars' worth of chewing tobacco at ten cents a plug in order to acquire a complete set of these naughty ladies endowed with such mature charms. Opposite: A double-featured entertainment for 1860 was offered by Yankee Robinson's troupe of acrobats, impersonators, dancers, and actors. Their "Moral Exhibition" took place in an "Improved Style Tent" and included tableaux of George Washington's exploits, the Revolution, and the Battle of Buena Vista. Pettijohn's 1892 slogan, "I eat wheat, my horse eats oats," raises the question of whether a reversal in the diet would produce prettier horses and faster women. Although the earnest young man inthe goggles seems to be clearlyderived from such Toulouse-Lautrec posters as Aristide Bruant, he is true-blue American. With steady gaze and steely grip, he gets ready to advance the spark on his steering wheel and set out for speedy derring-do in his automobile. Robinson's show: The Elisha Whittelsey Fund, 53.653.7. Goggles: Gift of Calkins & Holden, 57.627.10

4jjt a

1R4P>B

*'iTAlN

TilE"K 1

F.r .........

. .

Tent STYLE.

AMPHITHEATRE

rnTf

..........

Style

Improved

%A I STA.(E. t'!PEiIoF(RMit

1p pFl h.MS.ng. trd

EXHISITiQi!

AREN8

SHOW

DOIBLE Mi1

'1..

r Fr..

o0 , ,rt,

'.be ( 4ono

Are,.s

,t r)rrhe-tr*

ler.dej'

t[IlP,

4t 4 -tir-..-r..r w

Ai Iln V.j-rl

>N \i ! t. .It. J' o;, rrti . . ,? ,d . At 130 A3nd 97.30 P M ............. ..... ............ . ........ .... ............... ....... .............. 1 ' &1- 1.\t4'. tN

;

*m-e.

ISS |iiRRIL k,!iiiJl. >'

Yankee Miller, DAYS OF '76! IU'kEE ROBIOISit Battleor Buena 'sIta I, IFtt.

,nh Itarl,h>o

b. ilt

"I I

...

?--

M'lle Megtie DIuen. MBim Oomrce K Eigh. Worcester. Mrsr. Dao:i Wo-cster

Mr 3 A PerTy. W. H. Dav,lee .

' ,,": :: :;::: B

' r Frank Phelps and Ppils---Six in Number .. ... . '' " . ,?... ...* THE bAINCIN$SisTERs tSAORE & CVTORIA, .Waft. (hk*rIey. the Jui^,cl . Itosit,rtionim. ..... . > .r

I TIEI

TOMMY, i

. I'ID U:\ E

:t t

)

;?a-:,? ??? : ...Y..i :if?iXr;;B1 :

*8:'':

'MlastersEugene & Johnny, the precociousGymiasts.

INkEl

Illit. 1O1IN'SONIXI) FIT

Baittleot liieiia

i?:r!ga,

ista i l:;~?Ni?a-ap. Wl

t:e, a .i. , ....HI

' ||"

PETTI

OHN'S

^E?>7o\?~~~~~~~~

r^A4:?~A"^^I

-I-

F i6l

0/ .'

2wD"

1 A^s

't.1

iLi-k P

.i K

L ,

_,, I1 _

^ L, 7 GUTW0 $TBABCXT .r(iGHMONII j I,~~~~~~~~~~~~~~~~~~~~~~ ll?^ ^/HM^jOW^TW^ S-?W^W^1W^fOTinfl'TT^^ <\ TrT^~~~~~~~~~~~~~~IT^f^r p .~~~~~~fWI

V AIRGEgA

R6We

(Avt

r,3

-L

Her golden curls just unwrapped from curling papers and her nightie neatly arranged, this little miss was offered as a premium to sell tea, coffee, and baking powder by the Great American Tea Company. Based on a photograph by George Rockwood and lithographed by Donaldson Brothers, she was acby a poem by Ella companied Wheeler Wilcox: A Golden sun beam stole its way From Heaven, for Earth's adorning, And from the threshold of life's day, It smiles a sweet "good morning." The undated tobacco-shop banner (opposite) displays a complete set of "Racing Colors of the World," cards inserted by Allen & Ginter in Richmond Straight Cut No. 1 Tobacco and Virginia Brights Cigarette packages. Besides being an extraordinary example of chromolithography, it shows us that the idea of lady jockeys is not new.

tk^~~ ~ ' ^^~ ~

\^~i

~'11 ~'

l'._

A WWiP SNAP y

E~/ l, ;

GINGER SNAP -P

Jackstraws and tiddlywinks, old maid and parcheesi are descendants of ancient games not always played by children. Children's games, especially those dependent upon paper, began to be manufactured in Europe in the eighteenth century: printed paper gameboards, geography and history playing cards, peep shows, and coloring books were available if not common. Generations later - and further away from the puritanical concept of all card games as sinful - nineteenth-century American children had a large choice of modestly priced games. In spite of the quantity produced, this kind of paper ephemera tended to disappear easily, having been held in sticky hands or left in the summer rain near the playhouse. Snap (left) was advertised as "A card game printed in colors. Put up very neatly in paper box with colored label." It would seem as though its cover owed something to Rudyard Kipling's Elephant Child of 1900: "Led go! You are hurtig be!" Advertised as an "Amusing Pastime," the game of Comical Converse (opposite) consists of fourteen question cards and fourteen answer cards, the questions always by men and the answers by women. The game, credited to Solomon Splitsides, was played by shuffling the two kinds separately and turning up first the question pile and then the answer pile, the amusement being provided by the disassociation and relativity of the two. Snap: Published by E. G. Selchow & Co., New York, 1917. Comical Converse: Published by W. & S. B. Ives, Salem, Massachusetts; Gift of Lincoln Kirstein, 64.629.33

1(t ql,,

(I{,//i/i

/ ///?

ii.y s/ ..e.

ItfS' inuits

u m IuI/'I., I/e e ?

.eh./'ntLv

"1 j _,

.)\ e

e I.IY

Oh .

'lt s. S rl/,pr 'kV.if I ( . k..

yuti Xh.ULtd

to nmve

hI'as'1.

your ye/llie

If women's work is ever done, leftover time and energy go into handmade decorations. For the last fifty years, ladies with time and old chairs or tin trays to make beautiful have learned how to stencil fruit and flower patterns with metallic paint. In the 1830s to 50s, when Hitchcock chairs were the latest fashion, ladies were more apt to acquire their furniture already decorated, so did their stenciling with watercolors on velvet (right) or silk to frame and hang on the wall; they called it "theorem painting." Their colors did not always stand the test of time and light, but their assemblages of flat patterns often resulted in naive but attractive images.

.. ,

~: 4.' !

:~~~~~~~~~~~~~~~~~?.??

Stencil on velvet, by Collata Holcomb (1807-1887). Gift of Mrs. Elizabeth Peck Sheff, 47.103.2 t,

9999.9999 Ir

ot" P" . . F.

I 9 9, 9

1 .I I

? ',r.,

lh))l).r,l:

I99

r?)?tr

?;~~~~~~~~~~~~~~~~~~~

ddl

,I .

. . . . . .

hrhhn Rn h a

hn()I?nk?,

IF0 0 0

..,r;,

.nc???

????.~h

.......~~~~~~~~~~~~~~~~~~~~~~~~~~~~~=: = ~.???;.l:) . ?~(i ?~:??~hCI~ I

ol *I 0- 1- . #I 11 ri r?rr)l)?

~~~~~~....... .."

I.:: '11?1 r'~~~~~~~~~~~~~~~~~~~:~5:..?..'.~~~..... r? -r ............. . r.r?,,~..).??~!?r\hh A~~~~~~~~~~~~~? h

RZI!~~~~~~~~~~~~~~~~~~~" ?I!

F,r

n0,

.~** . .

I..

1`1r*I,CI) *?rr* II-alIaa It" *A**rrh

~ ~

Cu~~~(l~~knl

III

C n

3 a

1 aa

a N

;.~l1?tkk

I?C1

.. II . . *I .

It cr. rt

I)L

~~~~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~~~~n.?t(rrthC

n,r

11 11 h 11 h 11 11 II?*

Sg hrt

,9.99

. . . II . . .;*Ci

I h

?rnhn

hll.

1,1 .,.,?,?I", 'h,Ca

IF l,rr,, or 1h ck n R )?

~ ~~~~~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Ft P-11P

.**

'?,

a??a

**?I

??0,

$1.

1*)f:E~I-F~ts~==:

IL*L

IIN

tf I IIr

1,1. I

11 I

V I,

Ir.,~~~~~~~~~~~~t~~)r~~~~h)~~~*k~~)?k**1 , t,t-

I 9B;

~~~~~~~~It

aP****l(rk

*??

III. %k

f~~~~~~~~~~~~99: tl t,

f: w9t9

i11t-V.1999It V 1. t.

~ ~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-,,I 11,I

9M99.9z999.-9

9999.999.9.999.99999999999999

999999999999ov

12Is 99 .991.

;

''t t,t9I0.

9.9.99999.9999999999.999 9 9. 9 I VS,1,V t I t'l .9999999.9 999. . I.9I.I. I9 I....9...9999.99.9999..9.9999.9.999 9999999.99999.9999.9 999.999I99999.99999.9V. 9. .9I .9.r t9'9I99,9I9.9. .9.

9. . . 1 9.

. . .,,. .. 99. 99.9.9.9 9.9999999999

999.9 9 I9I99I

1 1-1 1 1 II 1. 1. 99.I11 9,.9.99.9I.9. 99.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~j99.99999I.9S,.9It.I9., 1...

ftl~~~~~~~~~~~~~~~~~

9I9.I99I.9I9I9.9.99..9.9

.99999999....999

..999.9999

9.999,..999.99 I. I

I I

I~~~~~~~~~~~~~~~~~~~~~~~~9,..99.,.99999

9999

9...99 ..,9... 9.99

99.

r w

Copybooks were developed to teach young ladies and gentlemen the arts " of polite society: i.^~: penmanship, i|s drawing, music, and dancing. For ^-~~-~i^I~il:/J::^ il^^JBlS %-those learning how to do waterZ`Z=t colors, a book like the one above -ll offered a color plate with a black ::.N:,:::^: [*t.-----'.'"-and white duplicate waiting to be k:"""''-:'""~'~:'':'~ painted by the young artist. ........:-..:.;~.S ^ Cheering mottoes like "After . Clouds, Sunshine," "Hail Colum;"'-.~.'~:<~:l~,~ bia," "Be Not Weary in Well,:::-..:: Doing," with suitable emblematic decorations of flowers, songbirds, eagles, flags, etc., were printed on '-"-'-" perforated cardboard. They were intended to be worked in wool, and '?.""'g:~;~:: could be found on the wall in farmhouse parlors over the organ. "What is Home without a Mother" (left) was appropriately framed in rustic ?g....,--.~:~ style, but was hung without ever being worked in wool: Mother was ::-,gtoo busy. .

...:

Copybook: "Examples for Drawing & Colouring Flowers" (Phila& Co., n.d. delphia, Janentzky .. Harris Brisbane 1845]); ...- ~~.[about Dick Fund, 54.524.54. Motto: 18741876; Anonymous gift, 53.570 :::.~a..-}..;

Oc 3L

..4

)

:.v.'L o.-

7WA.

F~~~~~~~I

Unlike other Herpicide posters with the l^IM4^)slogan "Going, going, gone! Too late for Herpicide," this young lady (following) ((4 seems to be not so much in danger of losing her hair as her corset cover. I. E. Palmer's liaCGtUrin(o Royal Social hammock (above) was his most superlative model, coming in a range mnU.1895 of colors. Although not so different from the Indian hamacas Columbus noted on his first voyage, Palmer saw fit to patent it in 1896. Designed by Will Bradley in 1895, the cover (left) for the Columbia Bicycles brochure is a relief to the eyes and mind, with its handsome curvilinear ......- .../ pattern and beautiful lettering, which is kept to the essential minimum. ..~?~ Above: Whenever a new brand name for tobacco was needed, thoughts of Indians were bound to occur; and when it came , to real Indians, the paintings of George J Catlin- well known in the 1840s- were the usual source. None of Catlin's Indians have coy faces like this huntress, searching vi the horizon for anything but buffalo. Currier and Ives produced advertising cards like the race horse on the cover and this one for Noriega cigars; they were usually - of comic subjects or sporting scenes with a space reserved for the client's message.

flV1^

(

~ ~ ~ ~ ~ ( :Jz(?u ~~~~ .

~ ~~

a~~~e~~~ ~ ~~ ?c

?i*-riuub?ll1-P4ll galvi ';&VI.*A~

-:~~~t-

Herpicide: About 1905; The Elisha Whittelsey Fund, 53.679.62. Royal Social hammock: Gift of Lincoln Kirstein, 62.619.53. Columbia Bicycles: Gift of Fern Bradley Dufner, the Will Bradley Collection, 52.625.28

t~~~~~~~~~~~~~~~~~~~."" ".s

GR"R

- ? '"J

I6 ./

This exquisitely chromolithographed little-girl doll in her lacy underwear came equipped with a wardrobe that would have been exactly what every little girl in America would have wanted around 1900: a sailor suit for everyday, an afternoon frock, a "Scottish" outfit with matching tam-o'-shanter, a "Sunday best" with beribboned and befeathered bonnet, and, most delightful of all, a fancy-dress shepherdess costume. The Metropolitan Museum of Art, Gift of Miss Doris V. Reinhard, 41.114.1-9

r-P01 A

tl~

k4,.'. 4--

0 *

C V.-

49 le>P

CA'

I 'A

! '

0 m

K.L.S. CY

EST.1879

|my23 IW

'ii

ln;2

^^c^

(fAMPA.,FWRIDA]

EST1879

TAMPA. FODA

L. z~~~~~~~~~i

'ki t 'l-Litto

r.PA.

p 1-1- .

V,.L

u __

p 3 -o

Ia a

a -

-i.~~~~~~~~~ -

- -

__W__

I -

---

? -

S(0

p In 10

SaotX

411

/ :i .

,1.

' j.X

I I

*;y

I^.

%4. 'N

--l 1

Collectors are a breed apart, whether they covet paintings, books, postage stamps, dolls, buttons, matchbooks, old bottles, or beer cans. Things connected with tobacco seem to have created more collectors than paraphernalia associated with any other commodity. Among the treasured paper items are cigar bands, cigar box-top labels, edgings, inserts, premiums, posters, trade and trading cards, cigarette wrappers, containers, and even billboards. Lovingly sorted and mounted (this is an album page of "K"s), these American cigar bands

1880s. Although the names tend to be uninteresting - some have been glorified with a few Spanish words to imply, usually falsely, a superior Cuban origin - the gorgeously printed bands are evocative eye-catchers. Particularly suitable for an exhibition of ephemera is the paper fan above - an object itself gone with the wind, having lost the competition with air conditioners. This beauty advertises the vertises the Grand Grand Rapids Rapids Dairy. Dairy.

"'l ),ll 1)l)O,t'c,,C o

A F

(.1

Hs -I

TI,

I ri

e /.

A1(I

;^^RHHHR^ :

/I^^^^^^

i^Hi^

as well as Pompously pouter-pigeon-breasted high-heeled, these spectator-sportsmen standing possibly on the shore of the Harlem River serve to remind us that the nineteenth century saw the conjunction of the development of the sewing machine and of paper patterns. Sewing machines made possible the overabundant trimmings of ladies' dresses after the Civil War and the constant production of new fashions. Paper patterns, originally developed for tailors and dressmakers, were first produced in graded sizes by Ebenezer Butterick about ten years before these June 1874 fashions appeared. Below, J. Price of Paterson, New Jersey, advertises "First Class Gents' Furnishing Goods," including evening gloves with embroidered cuffs, dress shirts with embroidered buttonholes, cravats, red and white flannel underwear, leather trunks, and carpetbags.

.. ... MEi,

B, IM

Butterick fashions: Purchase, Joseph Pulitzer Bequest, 65.652.39. J. Price furnishings: Bella C. Landauer Collection

inmer

:tof

22 2 Maurer.

Styx

-2

-E, ;0??SC

S:~ ~

22&24NMWI.t StIT.Y lAthL.otffeppesibuimr&Maurer. Litix-

i:2

264 li

l lael. iit

Street,

d Merino

Paterso.

+N. .1 , inltinlt.a taxis of I inco Dress Shlirts, andtdealer a Goods I; x<'rst Clatss (.eixb.S FatnliThing Fl1annIel. Red\(Marineo 1I1'i\s\ in1Red?anti A'White ~~ 1 nd lKnitted Jackets in t.(1 Knitted , also Flannel ?hirts. great variety.

In 1875, for venturing into the park, where you could meet your social peers standing about (well, sitting down was not easy), you could still be dressed the way a proper lady should, completeI with bonnet and gloves. An extraordinarily beautiful color lithograph, this dressmakers' poster for E. Butterick & Co. was made by the GermanAmerican Louis Maurer, one of the best artists who ever worked in the shop of Currier & Ives. He left them to go into partnership with Frederick Heppenheimer and concentrate on commercial art: posters, labels, box tops, and advertisements. The freshness of this impression is due to the fact that it was deposited by Heppenheimer & Maurer in the Library of Congress for copyright purposes, and disposed of by the Library in the 1950s as a duplicate. It had been laid away in the dark instead of growing flyspecked and faded in a dusty display window.

Purchase, Joseph Pulitzer Bequest, 65.652.34 Ihdpi.d.....Nhti.AA

tr...r..ithe

y.r

las fO bsKIh.w.k&C..l.th.IOM..

.tt'hlII..A C..(4s. .i-*r*XnW"41hhgm..

'C~~~~~~~~~~~~~~~~~~~~~~" KSW4&W~~~~~~~~~~~~~~~3tWI osL'00AR

v~f~

;?v

0o\

_~I.61

---

I I

t;\'^^ tIkl of-1ip^-i^iiawm ' AA

r^Ls^iaL* StYiM (/7 >

,l -< ;=r/;--

i:XVujm*

:~7... :'Iy:I,,

d../f/, A..

tCAt//t't/z

,/A

!,, ,o/'

v2 ,

/ , i"

-4 .N\W ..4ws<I.,

> CRANDALL'S /00,\

Selected from theFour Quarters oftheGlobe! FROM THF JUNGLE!

THE

PLAIN!

THE

MOUNTAIN!

THE

RIVER!

'I1c W\llole C(omlpan)v on \\lh ccls! A TRAVELING

SHOW

Which is popular everywhere, both with Boys and Girls, for whom it was specially prepared, and with their fathers and mothers, and all other friends.

', -!1,.i'.. :: \n,ml Ti;.i; !.-,-:g. ........... - :I th, i.',rlrKi,'r. , '{ 1. f?il,_ ''iT'1It.th h ll't'c~.t :'id -:,Xrt; " n.Il . tL-l ,i, ii.:i,;. ~' I!, ,.th.1' ' \WhcIcl..d,,Il1. .t-r..d h , i:'i.1:.:t ltc. Al.t.: A

i!ill.L" '

t,;

hi-,tt-'

lt' CA

;,'c

,,-' i-w.

,...-t,: ig. d d' r. ..II d,!L-.. , . .

\v'lWhcn

.l-

tit'

i,C .

*;'

.A'

k"- ch;i,l

'i,'! rl rr

' tt:~e

t: .

,-1 .

-. t

I.. . t

:s' iI,>,-

.' i. to .i*' '. It u.ti i:, ]t,~m. . th1 ;l'Ce t i. .,;Z

. : .I 4 . 1i

..i ,

.,,u i t 1. - ! i-I

.;t

,:-1, .'. I.I..t t

I. .1. . .I .tr tl.

't:' 1'

n. - ,% , n.-

't '. 't, , :

till

't t, *,I

h"t.*.,

ForSalebyToy)ealersgenerally.

A Toy so complete, or so comptehensive of the wants and tastes of Childhood, as this, has never been offered. It is not " only a " Happy Pamily iself, but it carries the spirit of happiness into every family where it goes. filling the heart of its fortunate young possessor with delight

Judd Company, Orange SOLE GENERAL AGENTS, 245 Broadway,

New

York.

> ?' r1

-7$

WHO

i hi. t

Ita)

RhbncrIlsll .-. n.*r?

nl? .-

frle

,I,,, if.. , r, k:e,-

*>trl~li.l:a h,.~ -

................ t...].. ,,' T'n 'e.-,, !,;

xr,

LEFT

THE

An.d ihl, the Gi,aoi the vitlae l'he (,eiKhbnrsrg.g-den- h- ll , d,n,l luiti'l ,,e li,i r:ui',t tu .\ !ii

h.i

rt''.,

It :i

i,gi

BARS

OPEN'

And this is the Lambhd tmril,m.n tfit-tchl -e gainetd dmi.ion, n O,, I.I,. liut . on the('himilantee. a 'y ,'', IIn-rm');' rl),it ,~n

No. Iwre' th.e .. ar.n'n ro Acordi h-'s

i> 1 +~~~~~~~~~~~~~~~~'), )^ [i> >a> '~ ~i,o,oi ng l :.E.

Ao srou rirot 'hi .It,~'liilll')l~

n Min, plan:

leinninR

nes

nnr c.in r, 's [?lle) l

n ,-t ),tat.

.Z.

Probably the most successful toys are those that are miniature reproductions of objects used by adults. children's carNineteenth-century riages were built with the same amount of care by regular carriage builders and described in regular carriage terms: phaetons, buggies, gigs, sulkies, and new patent sleeping coaches. It is a short step to the manufacture of wheeled toys-toy and carts, sedan perambulators, little red wagons. is The circus poster (opposite) so convincing that a second glance is needed to see that Crandall's Happy Family is a circus of toys: fifteen animals selected "From the Jungle! The Plain! The Mountain! The River! - The Whole Company on Wheels!" - complete with a cage and a keeper who wears a turban and striped rompers. The Elisha Whittelsey 60.647.2, 54.509.17

ANNUALCATALOGUE TWENTIETH --OF-

hild

eAND

TOsv

AND

TOYS,

Fund,

i i i

MANUFACTURED

Vermont

Novelty

THE

Works VT.

SPRINGFIELD,

Co.

i i I

Ofgapi,ed

1839.

4 t

PE:CGX FOOT&ABAlL PS

BASlK AL.C RIC,K.ARCmRY&

U^ nt

ijss^

^as

sf*M ^^" U&.

B. V W-

f?H

SHR1T FRONTS FOR AE B ALL., FRLEBN BOATIWG CLUB,-

^N1-0^

-v

AMND

K| ^~~~~~~~~~~~ 9'3L

tTl

^, -, B^y?'<asa

a.mB^

aLISHWOIrSTFI Wre BRLS.

'^lii

> . , ^ , fB^ suC; ^

(B^

SNTDEI

& SHYDRKRSE

CT;~n

: i 5~~

PBK

"^-i-f^s

Iii

Fashions & Dealers J BASB BALL. GYMNASIUM. BOATING. AI THEATRICAL STOCKINGS.

TBATICAL

BOAT!G,

ASIM MMwGOYUMt

___31i~er

;*"lll?2,

-Z,S

I'?`,?'IIC"rTI?:It,*i ;?s

.ls

]Ba

rE3

-"!?;

'*E*I t

5A R r;hhll

;

a 3; ?a Str*rb U. Ir,

k F

S W

il(

~~ a ~~m. l;a

' '. *-I-? -a

. aE

el.

t..L

126

Nassau

New

Street,

York,

PBOK & SNYDER'S ENGLUSH

::~~~~~~~~~~~~t --

hQuc rr h C SIJhtll*IIICI(L*aW)butodhi*ldx u? ??.???,,,,..,,.,..........,.,..... s rr r c. air aL?rr*urld Cu

IaS* Yh?L?wnCo'nrrL Y?a-L a*uauR*........,..,...,,.,...,..,,,..,

wrJ. y htccurll.wr Uuu LY

w4 ra .q rbmb?r2WnrF*S~d~S;Li & II*

SportingGoodsof Every Description. FENCING MASKS, FOILS, GLOVES,&.

?>^-iwo

*i\ V

s S-*

PECK * SNYDER, ManuQtufw%,

NW?

A t!

Su.

*trM*t, N.

i _4

_ _ _ _ PA_ _W1 V** 4? *l =?t1? i?ft 1 4tU* h W, I., ? - rw 1.. ., O -4 w W..ft.4, *s ,r,* Kwu w t Y ...... I Ir.. 1. s --.., e^Fet.,.,,.,,,.,.,......,....,

Breathes there a man with a soul so dead that he remains unmoved at and he sight of the checkered the baseball or stockings :triped )lue, brimmled "Pride of New York" iat made of the very best flannel, ised for baseball, cricket, or boating (also a "very neat Summer hat to vear in the street")? What woman does not breathe a little faster at (he sight of the handsome chaps in the full-dress uniform of the runner. (he trapeze performer. the yachts.man, or the rower? Shades of a summer afternoon! The Elisha 51.597

Whittelsey

Fund.

Be-ri 81

:c I.v

Ithi-rI

_4 f? f-,

rrl i-`j

-zt:

1:t

a, I

-Z-;

F i B

-I?";'

i: r i! ii"i i:,

'' ';", :''':i

b: ?:I 'i

i:;

i;; :i

??;i;

;iia

ritjdil ' .!i a'.

:I ;i,

1..

k~ i_',"?,laiB%.P31 u",

'P.'raF'PPIa755'

::: i 7 ,t rir

i898lxdde8;mFartlar

_:nPBre-

-- -Y?-?????C?? -RIJ" ? r.%$6819i: si---IBmQC/lzCILCY;SraIs4151Ebs

Cb-rs------r ,f

,?..',?r

L3,:

r; i

;iLe

:32? ....

''-9ur *di

ast

ngmi

A sheet-music cover engraved (opposite), between 1817 and 1824, has been turned into a trade card for George E. Blake of Philadelphia, pianoforte maker and binder of music. A lady with the proper classical profile and coiffure for that date is playing, blissfully unaware that in another fifty years washing machines like the one at the left would come to the rescue of "Mothers, Wives, Daughters and all the great army of Washers." Until the advent of the Little Joker, whose name is not explained by the adman, washing machines required a man's muscle to operate. The brochure explains that "A Frail Woman can use it!" thereby saving "labor, doctor's bills, soap, fuel, cross babies, cold blue Mondays, dinners, cross women, sour men, weary aching limbs, sickness, suffering, and death caused by over-work, exposure and colds."

XuaeileI

ws'

mQI

cover: Sheet-music Harris Brisbane Dick Fund, 38.78. Little Joker: Bella C. Landauer Collection

RaceforL!feof overOneHundredF Desperate "r

At last a Washer

S42_2

is made that women can uses

i 'r"I

au AKI

VI VES, EI Ma)TfI ERSt, W 1, l ),iAUT(rgTR anlt all tlhe grc at army of Washers, take coulrage. There is a Ni.MWwaslier tna(lte, antd it will wash C(.EAN.

It will wash

EA^v.

It is (c:F:A, AIs'Mv,,

It will wash tulIK.

LEt IRAil.E.

trial will convince the most skeptical.

IRY

IT.

_~~~~~~~~~~~~~~~

CLIPPERLINEfor SAN FRANCISCO. GEO.D. SUTTON'S THE

jt, ,

A T.

J e! F-

.. -

", U?.I 1

. ,

EXTREI.I

CLIPPER

*a i

WOIRLD-R-NOWNEVD

v fl

. *

-t

'U " S

i ,

e~ .-

The Ericsson (above), whose rapid : performance attracted "WorldWide attention," took seventeen days to Liverpool from New York and 109 days from Liverpool to San Francisco. Such clipper-ship cards, usually printed in several colors and gold, were tacked up on waterfront bulletin boards, or displayed in saloons and ship chandlers' as sailing announcements. They were seldom dated, as flexible sailing dates meant holds could be loaded until the last minute. Frequently they did not portray the vessel at all but a picture suggested by its name: Robin Hood and even Santa Claus advertised the speed and safety of the ships so named. The small tugboat poster (opposite) offered the services of five tugs, one

CEORCE

Xe-

IIl-'

D. SUTTON, .

Wall I

;

St. .

of which can be seen maneuvering a sailing vessel against the background of San Francisco. Dating from the time when every circus side show had a tattooed lady or gent, the San Juan Hill marine (left) rattling his saber could be one of Teddy Roosevelt's. To have him pricked upon the chest with needles and dyes, along with his cannon and eight-star flag, cost just two dollars. Outlawed in New York only recently, tattoo parlors kept books of colored patterns like this one from which to choose patriotic or sentimental

emblems, or

ART.

About 1900; The Elisha ' Tugboat: Whittelsey Fund, 48.120.258. Tattoo design: About 1900; Harris Brisbane Dick Fund, 46.24.27

-'E

II'

? iTC,

.. :

ORGANIZED.

. **

', I

7 ' . " '

fDI'

ROBERT BALFOUR, ESQ., ,i '.?

OF MESSRS. BALFO"R,GUThW E & Co. ."'

E-

PRES:D

WM. BABCOCK, ESQ. OFM'ESSRS. PARRTT & CO.

A. CHESEBROUGH, ESq..

OF R WSSRS.WIlUAMS,O"l0NOC&U.

C.L.DINGLEY,ESq. .A CRAWFORD. ESQ.

OF MESSRS. A. CRAWFORD & CO

H. L.E. MEYER ESqt.

OF MESSRS. MEYER,WtSO.N &..

SAMUELBLAIR.E::: :E : JOHNJ. McKiNNORE:S::::. OFrMSSRS. PREST.ON.MTo ..t.

.J0SH. REDMOND,ESq.i. .rSE ] 'X::?:=. ,: "P:kn,I:.w . . --

..-

I--I .T:'7 ..1i

itrL:i u

]

r. s-

>f-

MAKER& flIOLSTEILIE r_

Trade cards had * the advantage of being small, easily and widely circulated, and they could -also double as labels pasted on the merchangv^,^ dise itself. The label above belonged to Thomas Smallwood, who started making furniture in 1817. By the 1850s his son advertised "Knockdown Furniture," easily taken apart and distances. shipped long J. Maniort, "Wig Maker," included on his card instructions for . ...~ )..measuring i heads. Pirates do not always sail the Spanish Main. The speed of advertising operations along with BOOSt, i naivete about the necessity for copygeneral LAsoE) d led to thefts like the cards at the right. righting ' They are lithographic copies, slightly prettiedS^^' ,-^ up, of Kate Greenaway's colored wood engravings in "Under the Window, Pictures and for Children," published in 1878. Ob1 Rhymes . ' viously distributed blank, the same card has ........ ..... 0.oTh been used to advertise soap, shoes, patent med---.O icine, and Sunday school.

2Xj)

F. orinC.

Label: Gift of Grahame Thomas Smallwood, 1972.748 Jr., 1972.748

I . f we love one another, God dwelleth

[

That's a ha.mltsoine tea-pot, hlavc yo,u -ot in it?

If it's good tea, then givt to me A cup of it,-this I.,-

-~~~~~~~~~~~~~~~~~~~~~~? SPECIALTIES

vriess V9n?,04S -xANCFACTURBD

BY-

ALPICA MILLS JAMESTOWN WM.HALL&CO.,PROPS,

: .:

, .1 tN

'. e

1 John 4. 12.

[[ [[

W\hat

in us.

^~W7T~

-4

. I

minute.

*eary'resIbanyShoes l It

-K.h-

-r

1 _7

,i-I

1/A

- 11Aso. y*

S *'*"'aB

$Ir

'iC

a V'9

Enameline stove polish, manufactured in New York by J. L. Prescott and Co., used paper dolls during the early 1900s to help sell their product; by continuing to buy the same

brand, one could accumulate a complete set of "College Colors Dolls" such as the ones here, representing Bryn Mawr, Cornell, Yale, and Princeton. The same sales promo-

?ia4jenb IWUOI!lppu ue Joj :oo0s jalAeaq uo pe qaq pIno pue quouj ja,je q:UOU paleadde 'aJn!lujnj puB 'spuUalj 'sailltUJ :'saqoj 's,uVAJIs -pJBMx j1Iaq q4^IMSUOt 'siaoqLo pUB

'aue-I aoa-I'aldtua -tuew

,saipeI

pue

auizeStu

I f.

I r-: 'iz

/ I_J:s

9 -; -T

4*%

I?-"r?-*" Cplpit Lu ?Fi?:? . s.e

rr aa? aiM

,? ,,

'saouz

s,ualplsqo

se sIlop Jaded se josouauwalddns panssi oqx 'sJaqsilqnd JadedsMau

aloCI

ui sasnuoq

Aq pasn

seM

uop

The breezy remarks all so funny when written on post cards are often inspired by the silliness of the cards themselves. At the right in 1909 with the message, "I are "Rah (9 times) Yale!"-mailed guess this is you allright. What do you think." - and one from Buffalo, New York, entitled "Old Bill, Father of the Herd." Views of an inspiring nature like the one of the Metropolitan Museum, front and back in 1905, occasionally lead to more earnest messages: "Interested in art? This is full of nice things." Taken seriously by collectors from the beginning-a cards provided souvenirs of disputed date-post places visited before the advent of cheap portable cameras, and were often not really meant to be posted at all. Still fiercely collected, post cards, especially elderly ones, are of interest to historians of all kinds.

TOL EDO PASSE NGER AIR-SHIIP, FIKRST SUCCESSFUL FLIGHT, MAY 22, 1908.

at the Heim, with Roy Knalwxnshue Aeronlauts Chas. l. Hamiltonand Earl liess, all of TOL.EDO, 0-1IO

A?S 'k

1 i; i7

-? PrBsrPaa: 1 rrlll.sj

i ;?I I i t rr ilFrSk ;r .1

1 4.

1 :

t i ,, '"" d;

:31iri

;: 49 I

r PI ' I f 1 I

I i,.j

Ii-4 r -3ir

t,3$PtBa

1i 7 %

Z4o-

'G,i

L ':?

oCh

A 15349

I.,

(

(apid transit, palm jeach, fla.

'r Ir

1k jCJir

NEW YORK

....R!

~.ah ?

i^ ~-~~,?

.~.

?uh .~...h.....:: '~h! .! -

rah 1:.:. :.,~ .."..-...

...

;.'~i~,~--

:T' ,,N.l.,

nL-)

. i.!

E 5TATC OF

rew YOR J

t,t

4JCaQ, -.

,(A- -tc43&?- -'r7$? t-

I\CN

GH A M'S CD CL?

BEF'O&ELAND) AFTFI L.

I Fr

Note the effect ofone

Incredible,

of our Nobhy

but nvccil hdcss this

is the

sa,,,llc

Hats'

tis true, that

A 13UCHAN-EER

arty-

BEFORE THE

I ELELCTr

PRESIDENTLt.

|BELO,A\

,' T77'/w. who /desi,e /) (/an:/ /'!/c'

.AFT[V A:

f ( /,'f / .r"

lll Ill wi// BL'ACK . 'o/l,1? ash.'i/(d,T /:/,'iI' "BUCKINGHAM'SDYE" !./. ,'/ / I":q a,,,i, lvre handv',beit7 in one ll'P ela,la/onl 1//I1.'I .l' o '(f)l/it' al)//l l l, sae/, /It'l/tfec/ il/ ai' is ump/idlqrow;i'l/miibljhl fl(/or Fih/I7dir,, '//,d/., on eve/', b//olll PREPARED

R. P. HALL& CO, Nashua Sold by all Druggltsl

N H

our

Furnishing

Remember,

(oods

/~~~/

A BU CHAN-EER

After fitting him out from headl t,, f,,,t with one of our EI.EGAN'r S tlI'.s, a(nd a fewt trifles from

/ :

AFTER

I )epartnlent.

we are four poinll' a _caa of all

competitors-

Point No. 1-The FABRIC. Point No. s-The STYLE. Point No. 3-The FIT. Point No. 4-The PRICm

THE

ZLEC'r1O SIDENTLAL. I'iRE ! .....'J

!'.'

,'.'..

'.,.,'.,

3?"? ;..".:'

An old idea, metamorphic or mechanical cards fold and unfold to reveal changing or split images. Sixteenth-century German ones were mainly anticlerical propaganda; for example, pictures of churchmen unfolded into monstrous devils. Late eighteenth-century French mechanical cards were political, either antiNapoleonic or anti-Royalist. Nineteenth-century America produced political metamorphic cards like the one at the left made for the 1856 election campaign of James Buchanan; "Before" and "After" :hange expressions when the tab at

the bottom is pulled. Admen looking for novelties really took over "before-and-afters,"using them here to sell clothing, whisker dye, and trips to the beach. One adman missed a trick: he did not name his product or the maker on the front of his card, and put them on the back, where some avid collector spread paste and mounted the card in a scrapbook, destroying the punch line about Mrs. Brown's figure. Whisker dye, clothing, and steamer cards: Gift of Olivia H. Paine, 53.681

IlrsrlPlm?rslsiiPR----rpr

LLwnrillLP196t

OTIYgmirra-

--a

('iTYO3P'

APIC11?lrrPlglll*IIBRW

-NENvr-Y oKI

h~~~~ At

ER*

~~7 / /6

am?~i- ?-

pI41y/t),/)

1/~~~~/ /00

,rJ

('ash The sample banknote (above) and ornaments (opposite) by Durand, Perkins & Co. represent a long history of mechanical ingenuity directed against counterfeiters. Paul Revere used special "money paper" manufactured by Stephen Crane in 17761778, taking as a warning the English experience of imitation watermarks used for spurious banknotes. Technical tricks to prevent forgery included ruling wavy lines in complicated patterns on banknotes, the use of steel plates instead of copper, and the addition of silk threads to the paper; but no sooner was a deterrent thought of than some forger got

Pre'S', around it. The early proliferation of small banks issuing currency is astounding. People not only needed to be able to detect forgeries, but also had to trust the financial soundness of obscure banks in faraway towns. Asher B. Durand, who designed these vignettes - of great originality in their day - was so extensively admired and imitated that although he gave up banknote engraving for painting about 1835, his influence is still to be seen in the designs on today's bonds and stock certificates. Harris Brisbane Dick Fund, 17.3.3585, 3585(47)

MUSEUM METROPOLITAN

THE OF

ART

BULLETIN

INDEX

A Alabaster.Tutankhamun, 3, 8-9, 17-19,32-33,42-45 Americanart AmericanEphemera,2-52 Two Worldsof AndrewWyeth:KuernersandOlsons, 6-192 AmericanEphemera,JanetS. Byrne,2-52 Annex.Tutankhamun, 42-48,insidebackcover 3-15 Antechamber. Tutankhamun, Anubis.Tutankhamun,17, 28-29

B Bandboxes.AmericanEphemera,6-7 Banknotes.AmericanEphemera,8, 52, insidebackcover Bookplate.AmericanEphemera,insidefrontcover BurialChamber.Tutankhamun,16-27 Byrne,JanetS. AmericanEphemera,2-52

C Campin,Robert,Merodealtarpiece.Two Worldsof Andrew Wyeth:KuernersandOlsons,171 Cigarbands.AmericanEphemera,30-31 Copybooks.AmericanEphemera,23 Cranach,Lucas,Frederickthe Wise.Degas:A Masteramong Masters,11 Currier&Ives. AmericanEphemera,24, 34

D Daumier,Honore.Degas:A MasteramongMasters At the ChampsElysees,31 Laundress,31 Decorativearts.Tutankhamun, 2-48 Degas:A MasteramongMasters,TheodoreReff,2-48 Degas,Edgar.Degas:A MasteramongMasters Absinthe,17 At the Louvre:MaryCassattin the EtruscanGallery,40 At the Milliner's,38-39 Balletfrom"Robertle Diable,"26 Banker,see Sulking BellelliFamily,4-5 studyfor, 5 CafeConcertat Les Ambassadeurs, 30-31

Spring1976 to Spring1977 New Series,VolumeXXXIV

Collectorof Prints,insidefrontcover,14-15 Dancersin the RehearsalRoom,39, backcover Daughterof Jephthah,3 Delacroix'sEntryof the Crusadersinto Constantinople, copyafter,2-3 Delacroix'ssketchfor The Battleof Poitiers,copyafter, 34-35 EstelleMusson,19 FalseStart,23 FourDancersWaitingin the Wings,47 Gentlemen'sRace:Beforethe Start,35 HorseGalloping,37 HorseTrotting,36 Ingres'sApotheosisof Homer,copyafter,32 Ingres'sApotheosisof Homer,parodyof, 32 Interior(The Rape), 20 JamesJacquesJosephTissot, 10-11 JosephTourny(firststate), 44 JosephTourny(VariantC), 44 Landscape,42-43 Le Sueur'sSaintPaulPreachingat Ephesus,copyafter,8 Mantegna'sVirtueVictoriousoverthe Vices,copiesafter, 46-47 MlleFiocrein the Balletfrom"LaSource,"13 studyfor, 12-13 MmeLisle, 18-19 Portraitof EdmondDuranty,studyfor, 32-33 Meissonier'sBattleof Solferino,copyafter,24-25 Menzel'sSupperat the Ball,copyafter,26-27 Muybridge'sAnimalLocomotion,vol. 9, copyafterplate in, 36 Projectfor Portraitsin a Frieze,28-29 RaceHorsesbeforethe ReviewingStands,24 Rape,see Interior Reader,44-45 Schoolgirl,29 Seascape,43 Sebastianodel Piombo'sHoly Family,copyafter,8-9 Singerin Green,cover Sulking(The Banker),22-23 ViolinistandYoungWoman,16-17 Whistler'sSymphonyin White,No. 3, copyafter,12-13 WomanIroning,Seenagainstthe Light,31 Womanwith Chrysanthemums, 6-7 studyfor, 6 Delacroix,Eugene.Degas:A MasteramongMasters Battleof Poitiers,sketchfor, 34-35 Bunchof Flowersin a StoneVase,6-7 Comtede Mornay'sApartment,49 Entryof the Crusadersinto Constantinople,3 Durand,AsherB. AmericanEphemera,52

The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

Diirer,Albrecht.Two Worldsof AndrewWyeth:Kuerners andOlsons LargePiece of Turf, 16-17 YoungHare, 16-17

Homer,Winslow,Gulf Stream.Two Worldsof Andrew Wyeth:KuernersandOlsons, 15 Hoving,Thomas AmericanEphemera,1 Degas:A MasteramongMasters,1 Tutankhamun,1 Two Worldsof AndrewWyeth:KuernersandOlsons,4-5, 9-10, 13, 15, 17, 19,22-24,28, 30-31,36, 39-40,42, 47, 53, 62,67,72,76,84,92,98, 101-102,104,108,110, 113,117,120,126,137-138,141-142,145-146,150, 153-154,157-158,165-166,170-171,175

E Edwards,I.E.S. Tutankhamun,2-48 Egg, Augustus,Past andPresent,No. 1. Degas:A Master amongMasters,20-21 Egyptianart.Tutankhamun,2-48 Eishi,Chobunsai,Eveningunderthe MurmuringPines.Degas: A MasteramongMasters,11 EntrancePassage.Tutankhamun,2-3 Ephemera.AmericanEphemera,2-52 Etruscansarcophagusfrom Cervetri.Degas: A Masteramong Masters,41 Excavation.Tutankhamun,12-13,16, 20-21 Exhibitions AmericanEphemera,1-52 Degasin the Metropolitan,1-48 Treasuresof Tutankhamun,1-48 Two Worldsof AndrewWyeth:KuernersandOlsons, 1-192

I Ingres,Jean-Auguste-Dominique. Degas:A Masteramong Masters Apotheosisof Homer,32 MmeDelphineIngres,6 MmeLeblanc,49 Portraitof Louis-Francois Bertin,studyfor, 32-33 StamatyFamily,5 Ivory.Tutankhamun,46-48,insidebackcover

F Fan.AmericanEphemera,31 Frenchpainting.Degas:A MasteramongMasters,Theodore Reff, 1-48 Furniture.Tutankhamun,4-5, 8-11,43-44,46-48, inside backcover

Jewelry.Tutankhamun,7, 24-27,38-41

K Kiyonaga,Torii,BathHouse Scene.Degas:A Masteramong Masters,49

Gauguin,Paul.Degas:A MasteramongMasters Dayof the God, 49 Little Parisian,29 Gold.Tutankhamun,cover,18, 22-27, 34-35, 38, 40-41 Greco,El (DomenikosTheotocopoulos),SaintIldefonso. Degas:A MasteramongMasters,49

Labels.AmericanEphemera,2-3, 44 LaFosse,Charlesde, Findingof Moses.Degas:A Master amongMasters,11 Nattier.Degas: LaTour,MauriceQuentinde,Jean-Marc A MasteramongMasters,19 Le Sueur,Eustache,SaintPaulPreachingat Ephesus. Degas:A MasteramongMasters,8

H Harnett,William,MusicandGood Luck.Two Worldsof AndrewWyeth:KuernersandOlsons, 13 Hathor.Tutankhamun,28-29 Herring,JohnFrederick,SteepleChaseCracks.Degas: A MasteramongMasters,23 Hiroshige,Ando,ChangingHorsesandPortersat Fujieda. Degas:A MasteramongMasters,39 Hokusai,Katsushika,StrongWomanof Omi Province. Degas:A MasteramongMasters,41

M Manet,Edouard.Degas:A MasteramongMasters At the Cafe, 17 EmileZola, 14 MusicLesson,16-17 Still Life with Ham,49 Mantegna,Andrea,VirtuesVictoriousoverthe Vices. Degas:A MasteramongMasters,46-47 Maurer,Louis.AmericanEphemera,34-35

Meissonier,Ernest,NapoleonIII at the Battleof Solferino. Degas:A MasteramongMasters,24-25 Menzel,Adolf.Degas:A MasteramongMasters Memoriesof the TheatreGymnase,26 Supperat the Ball,26-27 MetropolitanMuseumof Art. AmericanEphemera,49 Monet,Claude,Dinner.Degas:A MasteramongMasters, 20-21 Muybridge,Eadweard,AnimalLocomotion,platesfrom. Degas:A MasteramongMasters,36-37

N 26-27 Nekhbetvulture.Tutankhamun,

0 Ornaments.AmericanEphemera,insidebackcover

P Paper.AmericanEphemera,2-52 Paperdolls.AmericanEphemera,26-27,46-47 Patterns.AmericanEphemera,14, 22-23,32-33,42 MmeMironde Portioux. Perroneau,Jean-Baptiste, A Master Degas: amongMasters,49 Personalmemorabilia.AmericanEphemera,8-11 Playingcards.AmericanEphemera,4-5, 20-21 Pocketbookcovers.Degas:A MasteramongMasters,14 Politicalcards.AmericanEphemera,50 Post cards.AmericanEphemera,48-49 Posters.AmericanEphemera,14-19,24, 29, 34-39,42-43 Pyle,Howard,"TheSeaRobbersof New York,"illustration for. Two Worldsof AndrewWyeth:Kuernersand Olsons,17

R Reff,Theodore.Degas:A MasteramongMasters,2-48 Rembrandtvan Rijn.Degas:A MasteramongMasters NegressLyingDown, 44-45 Syndicsof the ClothGuild,22-23 YoungManin a Velvet Cap,44

S Sculpture Degas:A MasteramongMasters,29, 36-37,41 insidefrontcover,2, 6, 9, 18, 28-31, Tutankhamun, 35-37,39 Sebastianodel Piombo,Holy Family.Degas:A Master amongMasters,8-9 Selket.Tutankhamun, insidefrontcover,29-31 Sheetmusiccover.AmericanEphemera,12-13,40-41

Shrines.Tutankhamun, 4-5, 14-17,28-29 Shu.Tutankhamun, 47 Silver.Tutankhamun, 45 Tissot,JamesJosephJacques,Luncheonon the Grass. Degas:A MasteramongMasters,11

T Tradecards.AmericanEphemera,2, 24, 31, 40-42,44-47, 50-51 28-41 Treasury.Tutankhamun, Turner,JosephMallordWilliam,NorhamCastle,Sunrise. Degas:A MasteramongMasters,42-43 I.E.S.Edwards,2-48 Tutankhamun, tombof. Tutankhamun, 2-48 Tutankhamun,

U Utamaro,Kitagawa,ArtistKitaoMasanobuRelaxingat a Party.Degas:A MasteramongMasters,39

W Watteau,Jean-Antoine,Headof Mezzetin,studyof. Degas: A MasteramongMasters,19 Whistler,JamesAbbottMcNeill.Degas:A Masteramong Masters Harmonyin Blue andSilver,43 Symphonyin White,No. 3, 12-13 Wrappers.AmericanEphemera,4-5 Wyeth,Andrew,drawings.Two Worldsof AndrewWyeth: KuernersandOlsons,8-9, 11,27,31,50-51, 54, 56, 58, 66-67,72-73,76,79,81,84-86,89,92-95, 102-105,109-110, 112-113,120-121,123,128, 130-131,133-134,137, 140-141,143,145-146,148,150, 157,161,164-166 Wyeth,Andrew,interview.Two Worldsof AndrewWyeth: KuernersandOlsons,3-176 Wyeth,Andrew,majorworks.TwoWorldsof AndrewWyeth: KuernersandOlsons AfterChristmas,181 AfternoonFlight, 191 AiringOut, 190 AlvaroandChristina,148-149 Alvaro'sHayrack,186 AnnaChristina,138-139,141, 158,171 AnnaKuerner,84, 90-91 studyfor, 181 Archie'sCorner,177 BarnandDory, 186 BarnLoft, 186 BeanBasket,187 Belowthe Kitchen,179 BlueBox, 186 BlueDoor, 185 BlueMeasure,166-167

BrownSwiss,44-47 studyfor, 48 Bull Run, 182 Buzzard'sGlory,189 Canada,192 ChimneySmoke,55 ChristinaOlson,42, 124, 126-127,158 Christina'sBedroom,184 Christina'sHead, 183 studyfor, 183 Christina'sTeapot,189 Christina'sWorld,27, 42, 118-119,124,129,131-132 Christinawith Beads,183 CiderBarrel,189 CiderandPork, 178 Cordwood,180 Crows,178 Doorway,183 Downgrade,181 EasterSunday,116-117 EggScale,122-123 Elwell'sSawmill,190 End of Olsons,150, 158, 160 Eveningat Kuerners,62-65 FenceLine,22 Finn, 172-173 FirstSnow, 179 Fromthe Capes,192 FrozenPond,32 Full Bushel,187 Gate Chain,180 GeneralChair,190 Geraniums,170-171 German,108-109 GroundhogDay, 76, 83, 106 GumTree, 179 Hay Ledge,158, 162-163,165 HeavySnow, 180 HickorySmoked,179 Hill Pasture,57 Hogshead,185 IncomingFog, 185 Jimmy,14 JohnOlson'sFuneral,183 Karl,84, 87,171 Karl,studyfor The Kuerners,178 Karl'sRoom,178 KitchenGarden,189 Kuerners,92,95-97 Kuerner'sFarm,181 Kuerner'sHill, 177 Lamplight,41 LoggingScoot,190 MilkRoom, 180 MissOlson, 134-135 MissOlson anda Kitten, 134 MooseHorns, 179 My YoungFriend,191

New England,186 Nicholas,28-29 Nogeeshik,39 Off at Sea, 183 Oil Drum,178 Oil Lamp,120-121 Olsons,187 Olsonsin the Snow, 192 OpenWindowwith Artist'sNotes, 184 Pantry,187 Patrolling,182 PeterHurd,Jr., 189 Pie Berries,165 Pine Baron,110, 113-115 Prowler,182 Quaker,192 RainClouds,191 Revenant,146-147 RichardP. Levine,192 RoomafterRoom,136-137 RumRunner,188 studyfor, 188 SeaFog, 185 SeaSnails,188 SeedCorn,153,158-159 SnowFlurries,23,98-99, 101-102,153 Soaring,177 SpareRoom,182 SpringCleaning,182 SpringFed, 68-71 SpringhouseDoor, 181 SpruceBough,190 Stanchions,164-165 SwimmingGull, 188 Swinger,191 Teel'sIsland,188 Tom'sShed,189 TowardAtwaters,180 Treein Winter, 177 TroddenWeed, 117 Trophy,179 View out an OpenWindow, 184 Virgin,171-176 WeatherSide,35,150-151,153-154, 157-158 studiesfor, 150, 152, 157 Wherethe GermanLives, 181 Wild Dog, 82 Wind fromthe Sea,42, 144 Windowwith BlowingCurtain,184 "Winter1946,"177 Woodshed,177 Wyeth,Andrew,watercolors.Two Worldsof AndrewWyeth: KuernersandOlsons,cover,6, 12, 16, 18-21,25-26,32-33, 37,43, 52-53, 60-61,69,72,74-76,78,80, 88, 100, 104-107, 110-111,113,116-117,133,138,142-143,145-146,150, 152-157,166, 168-169,171,178,184, backcover Wyeth,N. C., "TheBlackArrow,"illustrationfor. Two Worldsof AndrewWyeth:KuernersandOlsons,7

'dtl

. ...AThe Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve, and extend access to The Metropolitan Museum of Art Bulletin 速 www.jstor.org

. I

CLIPPER LINEfor SAN FRANCISC GEO.D. SUTTON'S THE

WORLD-RENOWNED

A 1

XTREME

CLIPPER

8-<i_

I c -.

hoe! %areys lbany

I 1.i S VIAK

\I ~\

I ^MA^^StRs I

...I

I--A

0- i.t;

ON 5 - UISCLOSING A fEW OF THE MA ITS,AND FAIRY LAND TABLEAUX IN THE ','II

I;i

LuiaLq o

- -