Object of the Day: The Chicago Fair

Click on image to be scandalized.

One might think that this comic trade card is advertising the Chicago World’s Fair of 1893—The World’s Columbian Exposition. But, nope. It’s not. The card actually advertises a Wisconsin shop of the same era which called itself “Chicago Fair” in order to capitalize on all the press the exposition was getting and to make their wares sound more glamorous. This stock trade card also makes use of imagery of new contemporary technology—the telephone—for that extra feeling of excitement.

The card’s front shows a split-scene of a man and a pinched-face spinster—each at their respective telephones.

It reads:

Fond Dad: Darling How-s Baby? Bless Her 
Dear Little Tutsy-Putsy 



Maiden Lady: Good Gracious! 



And the punch-line?

THEY RUNG HIM UP THE WRONG NUMBER 

Ha! See, she was scandalized by his filthy, filthy, dirty, nasty talk. The cad! Ain’t technology scary?

And, then, in red script…

Chicago Fair 

What’s sold at Chicago Fair? Corny dogs? Prize pigs? Pies? Fried butter?

Nah.

FOR 

GREAT BARGAINS 

IN 

Dry Goods, Fancy Goods, 

CARPETS, 

Tinware, Glassware, 

Crockery, 

and all kinds of Notions, 

GO TO 

THE CHICAGO FAIR 

I. GORDON, Prop. 

NORTH MAIN ST., near 1st Nat’l Bank 

FORT ATKINSON, WIS.

Drawing of the Day: Whoa! The Animals, c. 1898

Whoa!  The Animals
Francis, Day & Hunter, c. 1898
The Victoria and Albert Museum

Here we see a sheet music cover for “Whoa! The Animals.” The song was written and composed by A.J. Mills (1872-1919) with Frank W. Carter. This printing was published by Francis, Day & Hunter, circa 1898. The company, on the reverse, lists other comic songs in their catalog.


The front piece is printed with a background of pale blues and greens with the title a gold oval with a gold border. From behind this, a group of animals, including: a pig, a lion, a tiger, a hippo and a nasty snake, look out. The snake’s tongue reaches for the tall hat of a gent who is most likely meant to represent the singer of the song, one Frank Coyne.

Unusual Artifacts: The George Robey Toby, c. 1930

Toby Jug
Royal Doulton, 1930
The Victoria & Albert Museum

This earthenware Toby Jug features a bowler hat as a lid. This is among a popular line of Toby Jugs which was manufactured in the 1930s and based on music hall performers.  This example is modeled on George Robey (1869–1954), who is considered one of Britain’s most successful music hall comedians--a master of comic songs, caricatures and sketches, who became known as “the Prime Minister of Mirth.”

George Robey was known for his trademark stage appearance, a costume which is captured in this jug - a long collarless frock coat, a semi-clerical bowler hat, a walking stick and enormous black eyebrows which he raised quizzically to “great comic effect.”

This glazed earthenware jug  boasts a pale green handle and base, and depicts George Robey, dressed in his usual black suit, a white shirt and a red spotted handkerchief, and carrying a cane under his left arm. His nose is glazed in a reddish hue and he has his trademark crescent-shaped eyebrows. The plinth of the toby bears the incised inscription “GEORGE ROBEY” and the initials “AHCH.F.F.RA.”  It was made in Stoke-on-Trent, England by Royal Doulton.

And, yes, for the last twenty minutes I've been muttering "Robey Toby, Robey Toby, Robey Toby..."

Drawing of the Day: Capsize -- To Upset or Turn Over Everything, Eighteenth Century

"Capsize -- To Upset or Turn Over Anything"
Eighteenth Century
The George Speaight Archive
The Victoria & Albert Museum

This comic illustration from the Eighteenth Century is entitled “Capsize: - To Upset or Turn Over Anything.”

Now part of the George Speaight Archive at the V&A, this illustration depicts a fit-up which has been overturned as the puppeteer is being attacked by a clearly disgruntled audience member.

The following caption accompanies the scene:

'There, I told you I'de ge you von/ if I cotebed you making game/ o'me agin' 

'Vy they ar'always taking us off'

I’m not sure what this all means from a satirical standpoint, but we get the gist of it.  As Mr. Punch is often the voice of the people and makes his fun of political or social newsmakers, the attacker  here must surely have taken umbrage at being the "punch line."

Drawing of the Day: "Capsize," 18th C.

"Capsize -- To Upset or Turn Over Anything"
Eighteenth Century
The George Speaight Archive
The Victoria & Albert Museum

This comic illustration from the Eighteenth Century is entitled “Capsize: - To Upset or Turn Over Anything.”

Now part of the George Speaight Archive at the V&A, this illustration depicts a fit-up which has been overturned as the puppeteer is being attacked by a clearly disgruntled audience member.

The following caption accompanies the scene:

'There, I told you I'de ge you von/ if I cotebed you making game/ o'me agin' 

'Vy they ar'always taking us off'

I’m not sure what this all means from a satirical standpoint, but we get the gist of it.  As Mr. Punch is often the voice of the people and makes his fun of political or social newsmakers, the attacker  here must surely have taken umbrage at being the "punch line."

Object of the Day: The Chicago Fair

Click on image to be scandalized.

One might think that this comic trade card is advertising the Chicago World’s Fair of 1893—The World’s Columbian Exposition. But, nope. It’s not. The card actually advertises a Wisconsin shop of the same era which called itself “Chicago Fair” in order to capitalize on all the press the exposition was getting and to make their wares sound more glamorous. This stock trade card also makes use of imagery of new contemporary technology—the telephone—for that extra feeling of excitement.

The card’s front shows a split-scene of a man and a pinched-face spinster—each at their respective telephones.

It reads:

Fond Dad: Darling How-s Baby? Bless Her 
Dear Little Tutsy-Putsy 



Maiden Lady: Good Gracious! 



And the punch-line?

THEY RUNG HIM UP THE WRONG NUMBER 

Ha! See, she was scandalized by his filthy, filthy, dirty, nasty talk. The cad! Ain’t technology scary?

And, then, in red script…

Chicago Fair 

What’s sold at Chicago Fair? Corny dogs? Prize pigs? Pies? Fried butter?

Nah.

FOR 

GREAT BARGAINS 

IN 

Dry Goods, Fancy Goods, 

CARPETS, 

Tinware, Glassware, 

Crockery, 

and all kinds of Notions, 

GO TO 

THE CHICAGO FAIR 

I. GORDON, Prop. 

NORTH MAIN ST., near 1st Nat’l Bank 

FORT ATKINSON, WIS.

Object of the Day: Ariosa Coffee

Click on image to meet your chemist.

Well, let’s see what we have here. It’s a simple enough scene. Just a glimpse into a Victorian chemist’s shop. Our friendly local apothecary is receiving an elderly customer. She’s quite unhappy about something. What’s she saying? Let’s find out.

An advertisement for “Baldspots Porous Plaster” hangs prominently on the shelves. Perhaps this woman has purchased some of this. Yes, yes she has. Is she happy? No.

The image is captioned:

MEDICAL ADVICE

     ENRAGED PATRON—“Take back this
porous plaster. You don’t suppose that
I’m going to pay you twenty-five cents
for a plaster that is all full of moth
holes.”

Poor woman. It seems she’s misunderstood what a porous plaster is. I’m sure pharmacists around the world must deal with this sort of silly customer complaint every day—still. How has our friendly neighborhood chemist decided to deal with this enraged patron?

He’s reaching for a large can of morphine. With a sly look on his face, we can see that he clearly intends to poison her with opiates.

That seems reasonable.

This scene of puppet-headed people comes to us, we learn, from “’Judge,’ By Permission.”

So, what does this trade card advertise? Porous Plasters? Umbrellas? Morphine?

None of the above.

ARIOSA COFFEE.

Yes, that’s right. It’s another ad for Ariosa Coffee.

On the reverse, we see the center of manufacture for Arbuckles’ Stores—the producers of Ariosa Coffee.

This is, it appears, the eighty-seventh card of a series.

We are informed that:

839,972 POUNDS ROASTED DAILY 

THE ENORMOUS CONSUMPTION OF THIS POPULAR BRAND GIVES PROOF THAT FOR STRENGTH, PURITY AND DELCIOUSNESS IT HAS NO EQUAL. 

I wonder what that has to do with morphine-prescribing chemists.  

Print of the Day: Whoa! The Animals, c. 1898

Whoa!  The Animals
Francis, Day & Hunter, c. 1898
The Victoria and Albert Museum

Here we see a sheet music cover for “Whoa! The Animals.” The song was written and composed by A.J. Mills (1872-1919) with Frank W. Carter. This printing was published by Francis, Day & Hunter, circa 1898. The company, on the reverse, lists other comic songs in their catalog.


The front piece is printed with a background of pale blues and greens with the title a gold oval with a gold border. From behind this, a group of animals, including: a pig, a lion, a tiger, a hippo and a nasty snake, look out. The snake’s tongue reaches for the tall hat of a gent who is most likely meant to represent the singer of the song, one Frank Coyne.

Object of the Day: A Trade Card for Mennen's Corn Killer

“By Mennen!” Yep—that Mennen. The Mennen Company was founded in Newark, New Jersey, in the U.S., in 1878 and began making toiletry products for men. The company moved to Morristown, New Jersey in 1953. After several generations of leadership by the founding Mennen Family, the company was sold to Colgate-Palmolive in 1992. Now, the name is being phased out. But, those of us of a certain age will always remember their catchy slogan.

Advertising was always key to the success of the company. Even in its early years, it was a leader in advertising. Like many company’s of the time, it relied on colorful trade cards to spread the word of their products.

Here’s one from 1885 which I recently acquired with a large job lot of ephemera.

The front of the card features a comic chromolithograph advertising Mennen’s Corn Killer. A fuzzy-faced gent has experienced some rather obvious pain, presumably from his corns—a pain so intense that it has blown off his top hat and caused him to drop his cane as he lunges forward in an animalistic attempt to soothe his aching feeties. A woman in an exaggerated bustle seems unfazed by her companion’s misery. In fact, she’s a bit irritated by it, if anything.

The caption reads:

HE. OUCH!!!!!!!!!! 
SHE. WHY DON’T YOU GET “MENNEN’S SURE CORN KILLER. 

There’s no end quotation mark nor a question mark. Grammar, it seems, was not so terribly important to the Corn Killers.

The reverse says:

MENNEN’S 

Sure Corn Killer

FOR THE SPEEDY, PERMANENT AND 

PAINLESS CURE OF 

Hard and Soft Corns, Bunions, Warts, 

Moles, Callouses, etc. 

This is not a new remedy, but has been long 

and successfully used in the French and German 

armies. Easily applied, causes no pain, and re- 

quires no plaster or bandages. Thousands test- 

ify to its merits. Be sure you get “MENNEN’S,” 

and take no worthless imitation. Warranted to 

give satisfaction. 

PRICE 25 CENTS 

------- 

Dr. Jas. T. Wrightson’s Favorable Opinion. 

     Mr. Mennen—Your Corn Killer has removed a 

very troublesome corn for me. 

                Dr. J.T. Wrightson, Newark, N.J. 

A Prominent Newark Physician recommends it. 

     Newark N.J., Nov. 13, 1884—I can recommend 

Mennen’s Corn Killer to anybody afflicted with Corns 

and Bunions. 

                 Dr. A. Ward. 

What Dr. Kent of Paterson, says 

     Paterson, N.J., Feb. 9, 1885 – Dear Sir – I will 

say that your Corn Killer gives better satisfaction to 

my customers than any other preparation of that kind 

I sell. 

               Yours truly, B. Kent, Druggist 

Recommended and for sale by all Druggists.

Print of the Day: Three Punchinellos, 1751

Three Punchinellos
Giovanni Battista Tiepolo, 1751
The Harry Beard Collection
The Victoria & Albert Museum

Here, we see an etching of three Punchinellos which dates to  1751.  Can you imagine how a trio of Mr. Punch’s might sound, look and smell?  I think it would be simultaneously delightful and frightening. 

One Punch sits sleeping on a stone—still clutching his cudgel--while the two others stand watching. Now, let’s remember these are Punchinellos.  They’re not just watching their companion Mr. Punch.  They’re clearly plotting something—as one might expect from a band of Punchs.  But, what are they about? The two which remain awake are approaching with a conspiritorial air, one with his arm round his companion's shoulder while he uses a large, pronged fork to steal the unsuspecting sleeper's dinner.  I can only assume that it’s a big, boiling pot of sausages. 

That’s the way to do it.

Printed in 1751, the print was engraved by F.C. Schmidt after a drawing by Giovanni Battista Tiepolo (1696-1770).

Unusual Artifacts: The George Robey Toby, c. 1930

Toby Jug
Royal Doulton, 1930
The Victoria & Albert Museum

This earthenware Toby Jug features a bowler hat as a lid. This is among a popular line of Toby Jugs which was manufactured in the 1930s and based on music hall performers.  This example is modeled on George Robey (1869–1954), who is considered one of Britain’s most successful music hall comedians--a master of comic songs, caricatures and sketches, who became known as “the Prime Minister of Mirth.”

George Robey was known for his trademark stage appearance, a costume which is captured in this jug - a long collarless frock coat, a semi-clerical bowler hat, a walking stick and enormous black eyebrows which he raised quizzically to “great comic effect.”

This glazed earthenware jug  boasts a pale green handle and base, and depicts George Robey, dressed in his usual black suit, a white shirt and a red spotted handkerchief, and carrying a cane under his left arm. His nose is glazed in a reddish hue and he has his trademark crescent-shaped eyebrows. The plinth of the toby bears the incised inscription “GEORGE ROBEY” and the initials “AHCH.F.F.RA.”  It was made in Stoke-on-Trent, England by Royal Doulton.

And, yes, for the last twenty minutes I've been muttering "Robey Toby, Robey Toby, Robey Toby..."

Drawing of the Day: "Capsize," 18th C.

"Capsize -- To Upset or Turn Over Anything"
Eighteenth Century
The George Speaight Archive
The Victoria & Albert Museum

This comic illustration from the Eighteenth Century is entitled “Capsize: - To Upset or Turn Over Anything.”

Now part of the George Speaight Archive at the V&A, this illustration depicts a fit-up which has been overturned as the puppeteer is being attacked by a clearly disgruntled audience member.

The following caption accompanies the scene:

'There, I told you I'de ge you von/ if I cotebed you making game/ o'me agin' 

'Vy they ar'always taking us off'

I’m not sure what this all means exactly, but we get the gist of it.

Object of the Day: "Do I get the feeling there are three of us in this marriage...", 2005

Editorial Drawing
2005
The Victoria and Albert Musem

We’ve looked at a lot of old drawings and caricatures. So, today, let’s look at a more recent one—from 2005. Here, we see the “Charles and Camilla Wedding Stamp.” This cartoon appeared in the “Evening Standard” on March 7, 2005, and is the work of the artist called “Marf.” This is the original drawing that was reproduced for publication. As Marf describes it: “As the debate continues as to where Prince Charles and Camilla, both divorced, will be allowed to marry ... [t]he Queen makes her disapproval clear when she announces that she will not be attending the wedding. The late Princess Diana, in her Panorama interview in November 1995, famously said, ‘There are three of us in this marriage,’ making a thinly veiled reference to her husband's lover, Camilla.”

“Marf” was known for her daily topical/editorial cartoons for the “Evening Standard” between March 2002 and August 2005. The Evening Standard is London's only evening newspaper, and publishes up to five editions a day. In light of that, the cartoonist was called upon to be constantly creative. As Marf herself put it, “The cartoonist needs to keep up with the rapid pace of event.”

In this black and white line drawn cartoon we see a mock first class stamp commemorating the marriage of Prince Charles and Camilla, Duchess of Cornwall who are portrayed as a half length portrait. Camilla shows off her engagement ring and her newly acquired jewels. While the couple smile adoringly at one another, above them are some droplets of perspiration as the Queen gazes down upon them with what can only be described as utter distaste and annoyance.

Evidence of an earlier version of the drawing has been covered over and is still faintly visible.