Hartman Center News
This week and next, we’ll be celebrating the beginning of a new fiscal year by reviewing some notable items and collections that arrived here at the Rubenstein Library in the past year.
The Hartman Center recently acquired a collection of 16 different trade cards for two brands of soap, all designed by Charlotte Perkins Gilman circa 1880-1884, constituting her first published works. Gilman is better known for writing The Yellow Wall Paper and Women and Economics, published in the 1890s, but in 1880, at age twenty, she partnered with her cousin, Robert Brown, and designed trade cards for several soap companies. She had written some stories at the age of ten or eleven, and was a serious diarist, but had never seen her work published. When her mother moved the family in 1873, they began a long period in which they lived on the brink of poverty in various “cooperative housework” households, with little or no support from her estranged father. By the time she was a teenager she had already shown signs of social and economic independence and this venture into business blended that desire with her artistic ambitions.
These examples, all in very good to fine condition, show a genuine artistic talent, a sense of humor, an appreciation for fantasy and the absurd, literary symbolism, and many depict women working like slaves at their domestic chores. Advertising was a relatively friendly field for women, who often showed talent for illustration and copywriting, and it was also a field that provided some income to up and coming writers and artists. These cards are excellent examples of exactly that scenario for a woman who was destined for fame in other ways.
Post contributed by Jacqueline Reid Wachholz, Director of the Hartman Center for Sales, Advertising & Marketing History
The post New Acquisitions Roundup: Charlotte Perkins Gilman Soap Trade Cards appeared first on The Devil's Tale.
Spring, and a woman’s thoughts turn to…bicycles? Apart from sudden showers and the onslaught of inchworms and allergens, spring is perhaps the finest season to ride. Trees are filling out, flowers are a’bloom and the birds are a’tweet: in short the whole planet has its hormones on fine display. What’s a girl not to like—especially on a bicycle built for her, equal in every way to a man’s?Ad from the Gary and Sandra Baden Collection of Print Advertisements
This 1900 ad for Columbia’s chainless bicycle makes the progressive argument that women are entitled to the same quality bike as a man. The copy goes on to show how the bike’s frame accommodates the latest in women’s biking fashions, and how the chainless design facilitates mounting and dismounting while eliminating the possibility of one’s skirt getting caught in a chain—or soiled by it, a concern that persists among our current-day urbanites rolling along with the right pant-leg rolled-up out of harm’s way. Actually, this basic frame design is still with us, in unisex “Dutch” and townie bike styles like the Breezers that Zagster provides for rent. Not only that, but the “bevel gear” drive system was the precursor to today’s eclectic shaft-driven bicycles (still trumpeted as “innovative.” Hah!). All in all, the Columbia was a triumph of engineering in its day, especially with the available option of a coaster brake, which is also still in use in kids’ bikes and beach cruisers.
Columbia additionally had the marketing vision to realize that the bike and rider formed a single ensemble, where the lines of the frame “Contribute to the Graceful Appearance of the Rider…” That came at a price, though. $75 in 1900 roughly equates to around $2000 today, which would put a modern woman in the market for a top-of-the-line bike from today’s major manufacturers. On the other hand, grace is priceless, and the freedom and autonomy provided by the bicycle was likely well worth the investment. In fact, the bicycle has occasionally been praised as an instrument of liberation, and early feminists such as Susan B. Anthony were also advocates for cycling, as much for gender-political as for its health benefits. Liberate the body and the mind will follow!
Post contributed by Rick Collier, Hartman Center
The Rubenstein Library’s three research center annually award travel grants to undergraduate and graduate students, faculty, and independent scholars through a competitive application process. Congratulations to this year’s recipients, we look forward to working with all of you!
Sallie Bingham Center for Women’s History and Culture
Jason Ezell, Ph.D. candidate, American Studies, University of Maryland, “Queer Shoulders: The Poetics of Radical Faerie Cultural Formation in Appalachia.”
Margaret Galvan, Ph.D. candidate, English, The Graduate Center, CUNY, “Burgeoning zine aesthetics in the 1980s through the censored Conference Diary from the controversial Barnard Sex Conference (1982).”
Kirsten Leng, assistant professor, Women, Gender, Sexuality Studies, University of Massachusetts Amherst, Breaking Up the Truth with Laughter: A Critical History of Feminism, Comedy, and Humor.
Linda Lumsden, associate professor, School of Journalism, University of Arizona, The Ms. Makeover: The survival, evolution, and cultural significance of the venerable feminist magazine.
Mary-Margaret Mahoney and Danielle Dumaine, Ph.D. candidates, history, University of Connecticut, for a documentary film, Hunting W.I.T.C.H.: Feminist Archives and the Politics of Representation (1968-1979, and present).
Jason McBride, independent scholar, for the first, comprehensive and authorized biography of Kathy Acker.
Kristen Proehl, assistant professor, English, SUNY-Brockport, Queer Friendship in Young Adult Literature, 1850-Present.
Yung-Hsing Wu, associate professor, English, University of Louisiana at Lafayette, Closely, Consciously Reading Feminism.
History of Medicine Collections –
Cecilio Cooper, PhD candidate in African American Studies, Northwestern University, for dissertation research on “Phantom Limbs, Fugitive Flesh: Slavery + Colonial Dissection.”
Sara Kern, PhD candidate in History & Women’s, Gender, and Sexuality Studies, Penn State University, for dissertation work on “Measuring Bodies, Defining Health: Medicine, Statistics, and Civil War Legacy in the Nineteenth-Century America.”
Professor Kim Nielsen, Disability Studies & History, University of Toledo, for research on her book, The Doctress and the Horsewhip, a biography of Dr. Anna B. Ott (1819-1893).
John Hope Franklin Research Center –
Beatrice Adams, Rutgers University – Why African Americans remained in the American South during the Second Great Migration.
Gretchen Henderson, Georgetown University – A narrative and libretto for an opera rooted in African American slavery and history entitled CRAFTING THE BONDS
Maria Montalvo, Rice University – All Could Be Sold: Making and Selling Enslaved People in the Antebellum South (1813-1865)
Nick Witham, University College London, Institute of the Americas – “The Popular Historians: American Historical Writing and the Politics of the Past, 1945-present”
John W. Hartman Center for Sales, Advertising and Marketing History –
FOARE Fellowship for Outdoor Advertising Research:
Dr. Francisco Mesquita, Fernando Pessoa University, Portugal, “Billboard Graphic Production and Design Analysis”
John Furr Fellowship for JWT Research:
Jeremiah Favara, University of Oregon, “An Army of Some: Recruiting for Difference and Diversity in the U.S. Military”
Alvin Achenbaum Travel Grants:
Megan Elias, Borough of Manhattan Community College, “Be His Guest: Conrad Hilton and the Birth of the Hospitality Industry”
Sarah Elvins, Department of History, University of Manitoba, “Advertising, Processed Foods, and the Changing Notions of Skill in American Home Baking, 1940-1990”
Alison Feser, Anthropology, University of Chicago, “After Analog: Photochemical Life in Rochester, New York”
Spring Greeney, Environmental History, University of Wisconsin-Madison, “Line Dry: And Environmental History of Doing the Wash, 1841-1992”
Elizabeth Castaldo Lunden, Media Studies – Center for Fashion Studies, Stockholm University, “Oscar’s Red Carpet: Celebrity Endorsements from Local to Global (A Media History)”
Eric Martell, History, State University of New York – Albany, “Kodak Advertising in the U.S. and Latin America, 1920-1960”
The post Rubenstein Library 2016-2017 Travel Grant Award Winners appeared first on The Devil's Tale.
The Hartman Center is currently processing the Gary B. and Sandra G. Baden Collection of Print Advertisements, a collection of about 50 linear feet of print ads that cover primarily the first three quarters of the twentieth century. It is notable and was initially attractive to the Hartman Center for its early ads for automobiles, perfume and watches, but it also includes a wide range of corporate ads as well as some travel and tourism literature.
The Badens were avid collectors, and the collection also includes some non-advertising-related materials: issues of international magazines; direct mail materials; packaging; old maps; and some sheet music. There are about eight compositions from the early 1900s-1930s, including Stephen Foster, Irving Berlin as well as some tunes from the Ragtime/Minstrel/Vaudeville era. Of these, two items especially stand out.
The first, a Thomas Allen/William Macauley ragtime tune entitled “M-M-Mazie” from 1904, is fairly well known, but this one has a seemingly rare cover. Most digitized versions, including one held by Duke, features a red cover with a photograph of pianist Joseph A. Callahan. The version found in the Baden collection features a blue cover with a photograph of the African American Vaudeville duo Brandow and Wiley. Brandow and Wiley were quite prominent in their day, one of the few black song-and-dance acts to star in the mainly white Keith-Orpheum circuit of theaters. Russell Brandow was an acrobatic dancer and a specialist in what was known as comedic “grotesque dance.” Stella Wiley was a singer and dancer who was previously married to the notable composer, producer and musician Bob Cole, credited with creating the first all-black musical production, “A Trip to Coontown” (1898), and a creative who worked to break down the minstrel-era racial stereotypes in theater. The history of African American vaudeville, minstrel shows and other performing arts in the early 20th century is still an emerging research field, so it is exciting to find a picture of this pair of performers.
As a side note, March was Disability Awareness Month, and “M-M-Mazie” regularly appears in scholarly work on the exploitation of speech impediments and other disabilities in popular cultural productions like songs and story narratives. The chorus goes “M’m M’m M’m Mazie My d’d d’d daisy You I adore; and everyday that passes by I love you m-m more and more.”
The second piece of sheet music poses a bit more of a mystery. It’s an 1899 piece entitled “Coontown Promenade” or alternatively, “Coontown or Loyola Minstrels Promenade,” a cake-walk and two-step composition. The composer, Johann Schmid, was quite prolific composer of popular music, with nearly 300 known compositions ranging from minstrel tunes to rags and schottisches, but very little is known of him as a person. “Coontown Promenade” does not seem to appear in any library holdings, digital sheet music collections or in the WorldCat database. It also does not appear in online databases of known compositions by Schmid, although it does appear in the register of U.S. copyright applications. The Loyola University Music Club did perform minstrels in the early 1900s but it is unclear whether this was among them. A very exciting find in a very unexpected place.