Category Archives: Advertising and product placement

Experience Catalog Shopping in 19th-Century Germany

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This post from 2018 is offered again to get you in the holiday spirit of consumption.  When you need a break clicking your way through the Christmas list on the Amazon website, try browsing this remarkable retail catalog in the Cotsen.

There is quite a selection of catalogs in the Cotsen collection and one of the most spectacular is among the most puzzling–an oblong volume  23 x 35.5 cm bound in scuffy marbled paper with a worn sheep spine.  It has no title page, but there is a ragged stub that suggests there was one once.   It has 149 leaves of hand-colored lithographic plates and the illustrated objects have printed captions in German and many have manuscript notes as well.  There is a description of the volume in two different hands on the front pastedown endpaper: “Album quincaillerie,”  “quincaillerie” being the French word for “hardware.”  Click here to link to the digital facsimile now.  There is also a link at the end of the text.

“Hardware” doesn’t accurately describe all the things this merchant–perhaps based in southern Germany–offered for sale.  Brass tools, candlesticks, and Shabbos lamps.  Cutlery of wood or horn.  Brushes and ornamental hair combs and decorated clay pipes and guns and swords and noodles in different shapes and sizes.  And toys.  Magic lanterns, jigsaw puzzles, minature kitchens, bilboquets, pull toys with wheels, china dolls’ heads, noise makers, bells, magnetic tin toys, papier mache figures of animals and great deal more.

Our mystery merchant could have been in the retail business,  distributing  for products manufactured by a wide range of craftspeople.  Below are leaves showing the materials available for  teaching geography.  The globe in the square box in the lower-left hand corner appears to be a miniature or pocket globe issued with an illustrated panorama attached to the bottom of the box entitled Die Erde und ihre Bewohner.   Here is Cotsen’s copy in a little orange box, with a round, unillustrated title label (the box appears to have been restored). But the panorama spilling out of the box in the plate illustrates  exotic foreign animals and not people from around the world as in the Cotsen copy.  So are they really the same thing?

Luckily the answer was there in the two objects at hand.  The label on the Cotsen copy has “2. Abtheilung” in small lettering below the title, which suggests there were two editions or versions of Die Erde und ihre Bewohner.  In the right-hand corner of the catalog’s plate is shown the second version, a lacquered wood cylindrical case with a slot that the panorama inside is pulled through.   The panorama there shows just the portrait of  the “Neuhollander” or Australian aborigine, but it is the same  “Neuhollander” in the Cotsen set.

The manuscript annotation below notes that there are two versions, one with twenty-eight illustrations and one with fifty-six.  There are fifty-six people represented in the Cotsen set, so presumably the natural history set illustrated twenty-eight animals.  Identifying the makers of the other toys in this catalog would be a wonderful research project, either for a dedicated soul or team of people.

You can see more of the extraordinary variety of materials that were for sale through this retailer here

Cosplay: Making Costumes with Dennison Tissue Paper

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The young lady wearing the stunning paper headdress above might be surprised to learn that elaborate costumes made out of tissue or crepe paper are not a new phenomenon. The dress to the right, from the collection of the FIDM Museum in Los Angeles, is a relic from the 1930s, when the trend was well established.  In fact its popularity increased during the Depression when people had less disposable income.

Around 1892, Dennison Manufacturing, a Massachusetts firm specializing in paper products, began importing crepe tissue paper in a delicious array of colors from England. By 1914 Dennison had established an art department to exploit the products’ uses, launching a stream of  well-illustrated ten cent pamphlets full of detailed instructions for making artificial flowers, home décor like lamp shades, holiday decorations, and fancy costumes for various occasions.  The machine-crinkled paper was surprisingly strong, easy to work with, and much more affordable than woven fabrics, making it possible to create a rather showy ensemble for pennies.  References to tissue paper party dresses begin cropping up in fiction as early as 1900, one example appearing in The Little Colonel’s House Party by the once popular author Annie Fellows Johnson.

In Dennison’s first pamphlet, Tissue Paper Entertainments, which introduced novelty crepe tissue paper to the American public in 1892, the manufacturer claimed that it was a godsend to any organization trying to mount children’s programs with very limited resources. Dennison did more than serve as the source of raw materials, it acted more like an impresario, dramaturg, and a coach. The preface assured adults that they could succeed in producing pageants if they kept the following tips in mind at all times:

  1. Opportunity for many to take part.
  2. No long speeches.
  3. No special talent required to fill the part, such as dramatic power, a powerful voice, etc.
  4. Such alternation of recitation and singing as may secure a pleasing variety.

The buyer could be confident that the product had tested: the pupils of a poor Mission Sunday School had been invited to make the costumes especially designed for the scripts contained in Dennison’s Tissue Paper Entertainments: two for girls, two for boys. The author(s) were not credited anywhere in the publication. Dennison thoughtfully estimated the size of the cast, recommended the best colors for performance in natural and artificial light, and total cost of the paper.  The locations of Dennison’s metropolitan retail outlets below, for convenience in ordering.  A section on gestures and a blocking for the concert recitation was offered to bolster the confidence of inexperienced directors…War and Peace (no connection to Tolstoy’s novel) for 48 boys divided into 8 groups of 6 was surprisingly easy to costume.  The short boys were to be cast as the minor nations in the group comprised of France, Austria, Germany, Italy, England, Russia, and the United States. “Some attention should be paid to complexion,” instructions ran, “the swarthiest for Italy, the fairest for Russia.”  Different options were given for making the military uniforms.  A scarf of cut paper could be draped over the shoulder, paper basted onto a garment, or a uniform entirely of paper lined with cheesecloth.  Stripes down the side of the trousers, epaulets, chevrons, and stripes on the sleeves could all be made with bright yellow paper.  Appropriate flags could be made of tissue paper copying the designs in Webster’s Unabridged Dictionary.  The production ended with the entire cast singing for the advent of world peace.

Dennison outdid itself with three-act The Story of Joseph.   All ten brothers of Joseph had lines to learn, but Reuben, Jacob, Judah and Joseph were given multiple speeches.  Joseph brought down the curtain with a solo. His coat of many colors could easily be fashioned from 6 different colors, so he would stand out from his older brothers in drab, dark robes.  Joseph was also the only character with a costume change–purple for his royal robes and a suitable headdress modeled on something in an illustrated Bible.  Scenery was required for acts 2 and 3: an “oriental” tent and a state apartment, both of which could be furnished with crinkled paper hangings and coverings for the throne.

How successful was this venture?  Until someone makes it their business to find out, we have to assume it never generated the revenue as the market for Halloween, which Dennison masterfully saturated.