Annette Smith Burgess: Ophthalmological Illustrator

By Arlene Shaner, Historical Collections Librarian

An earlier blog post of ours highlighted the work of Gladys McHugh, a medical illustrator who used transparent acetate sheets to create her illustrations for The Human Eye in Anatomical Transparencies and The Human Ear in Anatomical Transparencies.  McHugh studied medical illustration with Max Brödel at Johns Hopkins in the Department of Art as Applied to Medicine, one of a significant number of women who trained with him to become well-known medical illustrators.

Annette Smith Burgess (1899-1962), was another of Brödel’s students.  Burgess studied with Brödel for three years starting in 1923 before becoming the first ophthalmic illustrator for the Wilmer Eye Institute, a position she held for the next 35 years, until her retirement in 1961.  Beginning in 1946 (and more officially in 1948), she took on an additional role as an instructor in the Art as Applied to Medicine program.

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Portrait of Annette Smith Burgess.[1]

In 1934, William Holland Wilmer published his Atlas Fundus Oculi, illustrated with one hundred color plates, all of which were reproduced from paintings made by Burgess.  These lushly colored lithographs took quite a bit of work to make.  As Wilmer states in his foreword to the atlas, “The accurate printing of fundus drawings in colour is a very laborious and costly undertaking; sometimes in offset-lithography from eight to sixteen impressions (one mat for every colour) are required to produce one plate.  The cheaper processes are far from satisfactory…”[2]

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“Papillo-retinitis, with Papilledema, Toxic and Mechanical” (plate 30), from Atlas Fundus Oculi (1934).

Burgess was more than qualified to take on this challenge.  To make her paintings, she became a skilled user of the ophthalmoscope and the slit lamp.  Writing about the process by which she created her illustrations, Dr Alan C. Woods explained that to show the ocular lesions related to a particular disease “she would make six drawings from different eyes depicting the various lesions and gradations thereof, rather than paint and sign her name to any drawing which was not a faithful portrayal of the lesions actually present in the eye under study.”[3]  This meticulous work increased the value of the illustrations for users of the atlas, as their level of accuracy was extraordinary, rendering the experience of looking at the illustrations very close to that of looking through an ophthalmoscope itself.  Some of Wilmer’s descriptions also include detailed half-tone illustrations of particular features he wanted to highlight; these, too, were drawn by Burgess.

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“Choroiditis, Diffuse, with Ascending Perineuritis” (plate 34) from Atlas Fundus Oculi (1934).

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“Choroiditis, Diffuse, with Ascending Perineuritis” (plate 34) halftones from Atlas Fundus Oculi (1934).

Burgess also collaborated with Woods, providing the illustrations for Endogenous Uveitis (1956) and Endogenous Inflammations of the Uveal Tract (1961), although in both of those volumes her paintings were reproduced using photographic processes rather than lithography, and reduced in size.  While still extraordinarily beautiful, the texture found in the earlier lithographs disappears in the reproductions in these later publications.

Plates XXVII and XXVIII (left) and plates XXIX and XXX (right), from Endogenous Uveitis (1956).[4]

For decades after her death, the Department of Art as Applied to Medicine at Hopkins continued to celebrate Annette Burgess’s legacy with an award to honor excellence in ophthalmological illustration.

References:
[1] Davis RW. Annette Smith Burgess (1899-1962).  Journal of the Association of Medical Illustrators. 1963; 14:25-28.
[2] Wilmer WH. Atlas Fundus Oculi. New York: MacMillan; 1934, p. 7.
[3] Woods AC.  Obituary in “News and Comment.” Archives of Ophthalmology. 1962; 68(6): 880.
[4] Woods AC. Endogenous Uveitis. Baltimore: Wiliams & Wilkins, 1956.

The “Best” Tonic: Pabst Malt Extract Pamphlets in the Academy Library

By Anne Garner, Curator, Rare Books and Manuscripts

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Girl in yellow embracing a Pabst Malt Extract bottle. Click to Enlarge.

Guinness enthusiasts are well familiar with the brewery’s famous tagline “Guinness Is Good for You.”  But did you know that the American company Pabst staged a successful marketing campaign in the late nineteenth and early twentieth centuries built on the idea that their own Milwaukee-based malt extract could cure a range of ailments?  A series of pamphlets produced by the Pabst Brewing Company tells the story.

Pabst has its origins in Milwaukee, Wisconsin, a city well-situated for a brewery with its harbor, its caves (nature’s coolers, before refrigeration), and its large population of German immigrants.[1]

An 1897 edition of Henriette Davidis’ Praktisches Kochbuch, published in Milwaukee in both German and English for an audience of German-Americans, includes some fourteen recipes using the beverage, including beer soup, beer with raisins, and beer eggs.

Pabst was first established as the Empire Brewery in Milwaukee in 1844 by German immigrant Jacob Best.  In 1872, Frederick Pabst, married to Best’s granddaughter, became president of the company.  It was renamed after Pabst in 1889.

Henriette Davidis’ Praktisches Kochbuch (1897). Click to Enlarge.

Milwaukee from “Wedding Secrets,” Page 33. Click to Enlarge.

Beginning in 1876, Pabst won awards for its formula.  The company began to tie blue ribbons around the necks of their bottles to mark its first place status. The name stuck, and was later incorporated into their brand in 1895).[2]

By the 1890’s, many American breweries were manufacturing malt extract for medicinal purposes.  This thick, syrupy liquid derived from barley and grains certainly contained sugar and may have contained some nutrients.  Malt Extracts were widely used as a digestive aid, and for the recovery of convalescents.

Convalescent double-page spread from “Heart Darts” (ca.1908). Click to Enlarge.

But they also contained alcohol.  In 1896 at a meeting of the Boston Society of Medical Sciences, Dr. Charles Harrington shared his findings after a study of the ingredients of these preparations:

“Twenty-one different brands of liquid malt extract were obtained and analyzed. That they were not true malt extracts is shown by the fact that in no one was there the slightest diastatic power; all were alcoholic, some being stronger than beer, ale, or even porter. In a number of specimens a large amount of salicylic acid was detected.”[3]

Pabst promotes their Malt extract in a series of pamphlets in our collection.  In the earliest of those here at the library, “More Secrets,” (1889), the text asserts that their tonic is:

“a simple extract of Malt and Hops, precisely similar in nutrition and medicinal value to those hitherto so extensively prescribed by the entire medical profession.  It is not a patent medicine.”

Two years earlier, a paper given by author and researcher S.P. Sharples, showed that Pabst’s malt extract contained 5.16 cubic centimeters of alcohol in a 100 cubic centimeters of the liquid.[4]  Like many patent medicines, a full list of the formula’s ingredients is not given in the advertising material.

The pamphlets also suggest use for ailments similar to those treated by patent medicines.  A pamphlet called “Heart Darts” (ca. 1908) recommends Pabst Extract for the overworked, the nervous, the dyspepsic and the old aged, and includes charming illustrations of the afflicted:

Dyspepsia, insomnia, nervousness and overworked, all from “Health Darts” (1908).

Pabst also claimed to cure insomnia.  “100 Points of Perfection” (ca. 1894) argues against taking drugs for sleep, but recognizes the necessity of sleep to produce calm nerves. How to sleep?  According to “100 Points,” choose Pabst, and “Take a bottle a day, for two weeks.”  Zzzzzzzzzzzzzzzzzzzz.

Ghosts and sleep from “100 Points of Perfection” (ca. 1894). Click to Enlarge.

During the 1890’s, Pabst ran a series of ads in women’s medical journals to target nursing mothers.

Ad from Women’s Medical Journal (1895). Click to Enlarge.

As their pamphlet “Baby Secrets” explains, the extract is “an ideal preparation for nursing mothers, giving them abundant nourishment to resist the extra drain upon the system” and aids in sleep. Harried mothers are also promised that a bottle a day for 24 days will restore beauty.

The back cover of “Baby Secrets” (1897) features a conspiring Cupid whispering into a stork’s ear. Click to Enlarge.

“Baby Secrets” is one in a series of “Secrets” pamphlets produced in the 1890’s, available by mail order for free.  The Academy Library has eight in total. Click on images to enlarge.

“More Secrets” (ca. 1889) opens with the assertion that Pabst malt liquor is not a patent medicine, but “a simple extract of Malt and Hops, precisely similar in nutrition and medicinal value to those hitherto so extensively prescribed by the entire medical profession.”

“Still More Secrets” (1890) offers guidance for nursing mothers: Do nurse him, do help him,/ Throw bottles away;/ You take the “Best” Tonic,” / He’ll come here to stay.”

“Untold Secrets” (ca. 1892) emphasizes the importance of sleep.

“Ominous Secrets” (1894) which contains stories of mysteries and omens, journeys and old world luxuries, shows an old man kneeling in front of the Sphinx.

“Wedding Secrets” (1895) features a sheepish Cupid, next to the discarded flowers and shoes belonging to the bride and groom.

“Home Secrets” (1898) features a smiling woman with her head resting languidly on her hand, waving an empty teacup.

“Open Secrets,” (ca. 1895) recommends Pabst malt extract as a meal and as a remedy to young mothers, whose children have “almost drained their young lives away.” It closes with a plug for their beer– “we will see that you get [it] without difficulty.”

Malt Tonic from “100 Points” back cover (ca. 1894).

When Prohibition went into effect in 1920, Pabst had the manufacture of malt extract to fall back on (as well as another Wisconsin no-brainer of a product: cheese).  That same year, Pabst began to market it for its cooking properties, as a sugar substitute and to leaven bread.  But it really came in handy for bootleg home-brews.  The newspaper of Lima, Ohio reported in 1929 that the weekly sales of malt there could produce the equivalent of 400,000 pints of beer.[5] 

McGuiness menu cover and beer list.

When the Volstead Act was repealed, Pabst reprises their production of their Blue Ribbon brand with a vengeance.  This New York menu, probably from the 1940’s from the midtown New York Irish bar McGinnis shows a range of beers available, including both Guinness and Pabst.  We’re wondering if the 5 cents price difference implies that while Guinness might be good for you, Pabst was banking on an audience that thought it might be even better.

References:
[1] Smith, Gregg.  Beer in America:  The Early Years – 1587-1840.  Boulder:  Brewer’s Publications, 1998.
[2] From “The Whole Story.”  Accessed March 2, 2017 at http://pabstblueribbon.com/pbr-history/.
[3] See Martha Meir Allen’s Alcohol:  A Dangerous and Unnecessary Medicine.  Marcellus, N.Y. : National Woman’s Christian Temperance Union, c1900. P. 316.
[4] Allen, p. 317.
[5] Lima News, March 31, 1929.

“Feminist Futures” Class Review

By Audrey Sage Lorberfeld, Digital Technical Specialist

For three hours each Monday evening, January 30 through February 20, the Academy hosted a Brooklyn Institute for Social Research class called Feminist Futures, for which I was lucky enough to be the staff liaison. My classmates ran the gamut from PhD students to artists to professors to web developers to librarians and archivists. Our professor, Danya Glabau, guided us through the intellectual history of the intersection of science studies and feminist theory. Professor Glabau’s syllabus included the writings of such luminaries as Donna Haraway, Bruno Latour, Evelyn Fox Keller, and Emily Martin. To complement these readings, the Academy was able to provide some of its own treasures as well.

One such item was the Traité d’osteologié, published in 1759 with text by the Scottish anatomist Alexander Monro and illustrations supervised by Marie Geneviève Charlotte Thiroux D’Arconville.  D’Arconville studied anatomy at the Jardin Du Roi and translated Monro’s earlier text into French for this volume. Although her name does not appear anywhere in the text (her plates were published under the protection of Jean-Jacques Sue, a member of the French Royal Academy), it is generally accepted that d’Arconville is the hand behind the gorgeous images. Among her plates are incredible depictions of male and female skeletons that display features associated with each gender. She renders the male skeleton as large and statuesque and places him in front of a backdrop of Classical architecture. Her female skeleton, on the other hand, is more petite and stands in a less assertive position. Noticeably, her rib cage is extremely narrow while her wide hips and pelvis are very emphasized. There is speculation that the image of a narrow rib cage is meant to associate the skeleton with upper class women who usually wore corsets.

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Female skeleton from Traité d’osteologié (1759)

Paired with this item for a unit titled “Feminist Objectivity” were Donna Haraway’s “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” Karen Barad’s “Meeting the Universe Halfway: Realism and Social Constructivism Without Contradiction,” and Michelle Murphy’s “Immodest Witnessing: The Epistemology of Vaginal Self-Examination in the U.S. Feminist Self-Help Movement.” Among other topics, we guessed at what our authors might have thought of today’s quantified-self movement and whether or not data about the self could be categorized as an extension of that self. Further, we asked: what happens to this paradigm when you engage with its exponential commodification? Could self-awareness excuse the self from the ‘wrong type’ of objectification? We also spent a significant part of the class analyzing what Haraway’s idea of “seeing from below” might mean in our current political climate.[1] We queried, is it possible to adopt Haraway’s type of situated knowledge and avoid being ableist?

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“Feminist Futures” class taking place at the Academy.Image source: Suzanne Schneider, Director of Operations and Core Faculty at Brooklyn Institute for Social Research.

One of my favorite quotes from this part of the course was “rational knowledge does not pretend to disengagement.”[2] I took this to mean that pushing for a type of feminist objectivity that highlights seeing from below and/or something Barad calls “agential realism” does not mean that you are disengaging from your subject.[3] Rather, it means that you are striving towards a feminist typology of embodiment that focuses its recuperative energies on welcoming emotions and relationships as data, all the while keeping in mind that “no knowledge is innocent.”[4] This was a very powerful idea to me as a woman working at the Academy in a nexus of technology, history, and public service.

We rounded out the class with a viewing of Crania America, a book published in 1889 by Samuel George Morton, a famed phrenologist. Included in his tome are illustrations of different race’s skulls along with commentary on their corresponding mental abilities. He describes his project as demonstrating that  “a particular size and form of brain is the invariable concomitant of particular dispositions and talents, and that this fact holds good in the case of nations as well as of individuals.”[5] He goes onto say that:

A knowledge of the size of the brain, and the proportions of its different parts, in the different varieties of the human race, will be the key to a correct appreciation of the differences in their natural mental endowments, on which external circumstances act only as modifying influences….[5]

As you can imagine, this item generated a passionate conversation. Highlights included discovering that the roots of cybernetics (a field which began in WWII) come from the ancient Greek adjective κυβερνητικός, meaning ‘good at steering’ (n.b. the militaristic and authoritative implications); the theory behind Chela Sandoval’s term “US third-world feminist”; and the layered irony within our assigned texts regarding authority and boundaries.

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Skull from Crania America (1889)

While this course was challenging, we made sure to keep the conversation approachable and friendly. This litmus test of a Brooklyn Institute for Social Research-The New York Academy of Medicine Library collaboration solidified our belief that:

Together [our two institutions] can make the histories, presents, and futures of science and technology relevant to the lives of work adults, supporting the development of knowledge and interest in these crucial aspects of our complex and ever-changing society. (Professor Glabau)

We hope you join us next time!

References:

[1] Haraway D. Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies. 1988; 14(3): 575-599. (Quote on p.583).
[2] Haraway D. Simians, cyborgs, and women: the reinvention of nature. New York: Routledge;1991. (Quote on p. 196).
[3] Barad K. Meeting the Universe Halfway: Realism and Social Constructivism without Contradiction. Feminism, Science, and the Philosophy of Science. 1996;256: 161-194. (Quote on p.179).
[4] Warren K, Cheney J. Ecological Feminism and Ecosystem Ecology. Hypatia. 1991;6(1): 179-197. (Quote on p. 191).
[5] Morton S. Crania americana. Philadelphia: London, J. Dobson; Simpkin, Marshall & Co;1839. (Quote on p. 274).

Charles Bell: Artistry and Anatomy

By Anne Garner, Curator, Rare Books and Manuscripts

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Close-up of plate 1 showing the heart, from Charles Bell’s Engravings of the Arteries, 1801.

Imagine you’re a medical student, and inside your go-to study text is this astonishing, hand-colored image of the heart (above). Twenty-first century medical students should be so lucky!

Engravings of the Arteries by the Scottish anatomist, Charles Bell (1774-1842), was first published in 1801, some 57 years before the first edition of Henry Gray’s Anatomy. Devised for medical students, it aimed to offer accurate and simply-rendered illustrations of the arteries to “present to the student at one glance the general distribution of the vessels and to fix them in his memory.”  The book was used by students as a preparatory text for surgical study and practice.

The ten beautifully-rendered engravings in this volume were delicately colored by hand, and labelled with letters corresponding to explanatory descriptions of the arteries on the opposite page.  In the preface to this work, Bell is explicit in his instructions on how the book was to be used:

In studying the arteries, or any part of anatomy, we should, in the first place, run the eye over the corresponding plate, then read the general description in the text; and lastly, proceed to study more closely, step by step.

For Bell, true anatomical understanding was aided in pairing accurate drawing with thorough description.  Bell also believed that a variety of bodies should be used as subjects, and that the artist must choose the most typical anatomical examples to copy accurately. Any deviation from usual forms would be preserved in the illustration, but noted and explained in the description.

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Plate 3, showing the carotid artery, the lower thyroid artery and the upper thyroid artery in Charles Bell’s Engravings of the Arteries, 1801.

Engravings of the Arteries was the second volume of two; Charles’ brother, John Bell, an eminent surgeon, had written the first volume of this companion set, Engravings, Explaining the Anatomy of the Bones, Muscles, and Joints, in 1794. The elder brother mentored the younger in medicine, though Charles’s formal training occurred at Edinburgh University (he earned his medical degree there in 1798.)  Both Charles and John taught anatomy at the Royal College of Surgeons, until 1804, when the brothers were banned from practicing medicine in Edinburgh by the faculty there, jealous of the success of their anatomy classes.  They moved to London that year and established a new anatomy school, as well as a thriving surgical practice.

On the left: Plate 6, showing the arteries of the arm, and on the right, plate 9, showing the arteries of the lower extremity, both from Charles Bell’s Engravings of the Arteries, 1801.

Trained as an artist, Charles Bell’s skill in this respect is a landmark of his considerable body of anatomical work.  In 1806, Bell wrote an important book, Essays on the Anatomy of Expression in Painting, combining his interest in art and medicine in a book rich in information.  This new book, for an audience of visual artists, advanced ideas he’d first voiced in Engravings, arguing for great attention to anatomy to render the human body accurately (this time, for art’s sake.)

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Bell argued in Essays on the Anatomy of Expression in Painting (1806) that the ancient models often imitated by painters did not accurately reflect anatomical realities.

During his career, Bell also made important inroads in determining the sensory functions of the nervous system.  He was an early advocate of the idea that different parts of the brain controlled different functions; his pioneering work on the brain and cranial nerves influenced the work of other important brain researchers for decades[1].  Bell’s palsy, or facial paralysis caused by nerve dysfunction, is named after him.

For art lovers–and heart lovers too, on our minds this National Heart Month of February–Bell’s gossamer drawings have a special place in the history of anatomical illustration.  Bell understood that image and text could work in concert to save laborious use of words to convey anatomy.  But he also understood the added value of drawing the body with attention, skill, and reverence.  Bell knew that accurate and clear drawings could dramatize with nuance the systems of the body, in all their astonishing perfection. That idea is very much on display in this beautiful book.

Reference:

[1] Bell C. On the nerves; giving an account of some experiments on their structure and functions, which lead to a new arrangement of the system. Philosophical Transactions of the Royal Society of London. 1821 Jan 1;111:398-424.

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Celebrate Valentine’s Day with 19th-century Medical Trade Cards

By Becky Filner, Head of Cataloging

During the last two decades of the 19th century, the United States witnessed an explosion of mass-market advertising in the form of trade cards. A combination of factors contributed. Lithography, first invented in the late 1700s, made it practical to print large runs of images relatively inexpensively. Heavy paper became less expensive because it was being made from bleached wood pulp instead of cloth. The invention of the camera supplied endless images for reproduction. Advances in high-speed steam presses made it practical to mass produce trade cards, and new modes of transportation made it possible to distribute them throughout the country.[1]

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This medical trade card for Pond’s Bitters (“cures constipation, headache, indigestion, biliousness, malaria, dyspepsia”) encourages the couple depicted to focus on each other and “let the dog have the lunch!”[2]

The cards pictured here are all from an extraordinary new collection. Late last year, the Academy library received The Bingham Patent Medicine Collection as a bequest. This rich collection – a complement to our William Helfand Collection of trade cards – contains approximately 4,900 trade cards produced by pharmaceutical manufacturers in the 19th century.

These cards advertising “El Tricofero de Barry” and “Pildoritas de Reuter” were printed in New York by Barclay & Co., but the text is in Spanish. Click to enlarge.

The late Walker Bingham was a completist, and his carefully assembled collection reflects years of assiduous collecting and research. An announcement will be made when the collection is available to the public. Meanwhile, have a look at Bingham’s book, The Snake-Oil Syndrome: Patent Medicine Advertising, for more of his cards and an excellent overview of pharmaceutical advertising. Here he writes of patent medicine:

It is probable that most of the nineteenth century patent medicines had no effect at all on the diseases that they were sold to cure. They were not even palliatives. Some sufferers may have been misled into taking patent medicines instead of more effective (and possibly more expensive) drugs prescribed by a doctor, but generally speaking, at that stage of medical learning there was often little that any doctor could do for a patient with a serious disease except give emotional support.[3]

The medicines that did have more than a placebo effect often relied on ingredients like morphine, cocaine, heroin, opium, chloroform, and alcohol. These drugs were especially dangerous when given to children or self-administered in large doses. The patent medicine business was booming in the late 19th century, and it relied heavily on advertising to attract customers since the medicines were ineffectual at best. In addition to trade cards, patent medicine companies produced millions of newspaper ads, almanacs, show cards, and other mailing pieces.

Most trade cards were designed to appeal to women and children, with sentimental images of animals, flowers, babies, families, and scenery.[4] The Valentine’s Day images below fall into this category, with roses, doves, and cherubs promoting Brown’s Iron Bitters (“Cures Malaria, Dyspepsia, Weakness, &c.”), Burdock Blood Bitters (“It makes pure, healthy blood, and regulates all the organs to a proper action, cures constipation, liver and kidney complaint, female weakness, nervous and general debility, and all the distressing miseries from which two-thirds of the women in American are suffering”), Boschee’s German Syrup (“No person suffering with consumption, coughs, colds, croup, bronchitis, asthma, or any disease of the throat, lungs or chest can take it without getting immediate relief”), and Wilson’s Popular Corn Salve (we are not told what this product does, but “every box [is] guaranteed or money refunded.”)

Most trade cards were designed to appeal to women and children, with sentimental images of animals, flowers, babies, families, and scenery. Click to enlarge.

Sentimental images of couples also sell products, including a trio of kissing couples selling Smith’s Bile Beans (they “cure biliousness”), two different images of couples with umbrellas, one selling Dr. P.O. Baldo’s Blood and Liver Pills and the other selling Wilbor’s Compound of Cod Liver Oil and Phosphates, and a trade card that recommends buying a bottle of Race’s Indian Blood Renovator for your new wife “to prove to her [your] fervent love.”

Sentimental images of couples also sell products. Click to enlarge.

Other more satiric and risqué trade cards are clearly aimed at an adult audience. The card below, “The Five Senses,” is one of the racier examples in the Library’s trade card collection. The back advertises Lash’s Kidney & Liver Bitters, described as “a mild cathartic and sure cure for constipation, indigestion, biliousness, dyspepsia, malaria, chills and fever, nervous or sick headache.” The front of the card shows a series of five images of a woman “seeing” a man, “hearing” him approaching, “smelling” a flower he has given her, and sitting in his lap while he is “feeling” her bottom. The final image, “Tasting,” shows the edge of a bed and the woman’s dress, undergarments, and stockings thrown across a chair. Apparently taking Lash’s Kidney & Liver Bitters will ensure a happy Valentine’s Day!

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“The Five Senses” (above) is one of the racier examples in the Library’s trade card collection.

References:

[1] Summarized from A. Walker Bingham’s account of trade cards in The Snake-Oil Syndrome: Patent Medicine Advertising (Hanover, Massachusetts: The Christopher Publishing House, 1994), p. 117-119.
[2] All trade cards in this post are from The Bingham Patent Medicine Collection in the Library of the New York Academy of Medicine.
[3] Bingham, p. 7.
[4] According to Bingham, mothers used to paste trade cards into albums as birthday or Christmas presents for their children (p. 117.)

#ColorOurCollections: Day 5

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Thank you to all the
institutions that took part in  #ColorOurCollections, and to all the talented artists who colored! We loved seeing your work, and some of our favorites are shared below.

We’re still tallying up participants, but so far 100 institutions have registered on ColorOurCollections.org and contributed to the collection of coloring books located there. Many more participated on social media. Institutions, it’s not too late to register and add your coloring book! The registration page will remain open until next Friday, February 17th at 5PM.

Many of this year’s coloring books featured art, plants, and animals (you can’t go wrong!), but we also saw a few other themes emerge. We saw women’s history in the coloring books of the Brooklyn Public Library, the New York State Library, Frances Willard Memorial Library and Archives, University of Houston Special Collections, and our own coloring sheet. Architecture and buildings were highlighted in Numelyo, Macalester College, DeWitt Wallace Library, Gore Place, the Watson Library at the Metropolitan Museum of Art, and many others. University archives joined in full force this year with participants such as New Mexico State University Library Archives & Special Collections, Loyola University New Orleans Special Collections & Archives, Hunter College Archives & Special Collections, and University of Manitoba Archives & Special Collections

#ColorOurCollections will return February 5-9, 2018! Until then, ColorOurCollections.org is there for all your coloring needs!

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Coloring book: Wangensteen Historical Library of Biology and Medicine, University of Minnesota Libraries

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Coloring book: University of Reading Museums and Collections Coloring Book

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Coloring book: University of Missouri Libraries, Special Collections and Rare Books

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Coloring book: Cambridge University Library

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Coloring book: Smithsonian Libraries

Check out even more beautiful colored pages in the below slideshow.

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Aldrovandi’s Quadrupeds, and #ColorOurCollections: Day 4

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It’s the fourth day of #ColorOurCollections, a week-long special collections coloring fest we’ve organized on social media. Check out all the coloring books at colorourcollections.org.

A set of charming four-footed beasts from the quadrupeds volume of Ulisse Aldrovandi’s (1522-1605) multi-volume  natural history encyclopedia is our choice for today’s coloring sheets.

Aldrovandi grew up in Bologna as the privileged son of a noble family.  His father, Teseo Aldrovandi, served as secretary for the Senate of Bologna and his mother was a first cousin of Pope Gregory XIII.  From an early age, Aldrovandi displayed a restless intelligence, studying mathematics, law and philosophy before finally earning a degree in medicine and philosophy from the University of Padua in 1553.

By the time he earned his degree, Aldrovandi had already developed a passionate interest in natural history.  A popular teacher, he taught philosophy and other subjects at the University of Bologna before he was appointed the first professor of natural sciences in 1561.  Aldrovandi’s interest was sparked by personal encounters with other major figures in the world of 16th century natural history, including the ichthyologist Guillaume Rondelet and the botanist Luca Ghini. While Ghini failed in his attempts to garner support for the establishment of a botanical garden in Bologna, Aldrovandi was successful, founding the garden with the support of the Senate in 1568 and serving as its director for almost 40 years.  He also travelled widely, often with students, to collect plants  and natural history specimens.

Over the course of his lifetime, Aldrovandi assembled a natural history museum of 18,000 specimens, as well as an extensive herbarium.  Only four of the thirteen volumes of his magisterial Storia Naturale were published during his lifetime; the others appeared posthumously over a period of decades.  He left the museum collections, his library, his unpublished manuscripts, drawings, water colors and the wood blocks that were meant to be used to illustrate the encyclopedia volumes to the city of Bologna when he died.  A portion of the specimen collections can be visited today in the Istituto delle scienze at the Palazzo Poggi, while the manuscripts, watercolors, and wood blocks are available for study in the library at the University of Bologna.

If you like Aldrovandi’s majestic beasts, you’ll love the following coloring pages from our participating institutions.

We’re mesmerized by Dittrick Medical History Center‘s beautiful Anatomy of an Horse (1683) by Andrew Snape.

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Enjoy coloring the many details of University of Strathclyde Glasgow‘s regal lion from Michael Maire’s Atalanta Fugiens (1618).

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Finally, here is the legendary manticore for your coloring delight. The Donald F. and Mildred Topp Othmer Library of Chemical History adds a bit of whimsy with Historie of foure-footed beastes(1658) by Edward Topsell.

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Check back in tomorrow for the last day of #ColorOurCollections!

 

Hebra’s Atlas of Skin Diseases, and #ColorOurCollections: Day 3

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It’s the third day of #ColorOurCollections, a week-long special collections coloring fest organized on social media. Every day on our blog, we will feature #ColorOurCollections coloring sheets from our library, along with content from participants worldwide.

Today’s Academy coloring sheets come from the works of Ferdinand von Hebra  (1816- 1880), a significant figure in the influential Vienna school of dermatology. Dermatology emerged as a clinical specialty in the early to mid-19th century, and in 1849, Hebra was appointed the first German language professor in the subject, at Vienna General Hospital.[i]

Hebra’s Atlas of Skin Diseases (1856 – 76) was a monumental work printed in 10 installments, with mostly life-sized illustrations, using the new technique of chromolithography, which allowed the artist to draw directly onto the lithographic stone and print in color. The illustrations were created by two Viennese painter physicians, Anton Elfinger and Carl Heitzmann. Each issue of the Atlas was dedicated to a group of disorders which affected the skin.

The “tattooed man” is an unusual addition to the Atlas, being presented as of cultural rather than the clinical interest. Unusually, the tattooed man is also identified by name, as Georg Constantin, a circus performer from Albania. Constantin was a well-known circus performer, who traveled extensively in Europe and North America. He spent time with Barnum’s Circus as “Prince Constantine,” where he also sold pamphlets describing his tattoos (which are variously described as Chinese and Burmese in origin).[ii] Constantin’s body was covered with 388 tattoos of animals and symbols in red and blue. As was Hebra’s habit, Constantin was depicted twice in the Atlas, once in full color and once as the outline drawing presented here.[iii]

Itching to color the tattooed man? Some of these intricate patterns from participating institutions may also be your groove.

From University of North Carolina at Chapel Hill’s Health Science Library: Adam Lonicer, Naturalis historiae opus novum (1551).
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From Amguedddfa Cymru – National Museum Wales: Benjamin Wilkes, Twelve new designs of English Butterflies (1742).

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We’re also loving Muhlenberg College Trexler Library‘s maps coloring book.  Check out this detailed world map of Johann Baptist Hormann’s Planiglobii terrestris cum utroq hemisphærio cælesti generalis repræsentatio (1720).muhlenbergcollege_colorourcollections_maps

References:

[i] Holubar, K. (1981), Ferdinand von Hebra 1816–1880: On the Occasion of the Centenary of His Death. International Journal of Dermatology, 20: 291–295. doi:10.1111/j.1365-4362.1981.tb04341.x

[ii] Margo DeMello, Bodies of Inscription: A Cultural History of the Modern Tattoo Community (Duke University press, 2000), p56. DeMello states that Constantin sold pamphlets describing the “Chinese cannibal natives” who had forced his tattooing on him. In Hebra’s Atlas the tattoos are identified as being Burmese. There is also a suggestion that Constantin had himself tattooed with an eye to displaying himself as a circus attraction.

[iii] Mechthild Fend, “Skin portraiture ‘painted from nature’: Ferdinand Hebra’s Atlas of Skin Diseases (1856-76)”, in Hidden Treasure, Michael Sappol (ed), New York: Blast Books, 2012, pp. 122-26.

Elizabeth Blackwell’s A Curious Herbal, and #ColorOurCollections: Day 2

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Elizabeth Blackwell’s A Curious Herbal has quite a curious publication story.  We’ve transformed six images from this stunning eighteenth-century botanical first published in 1737 in London into coloring sheets.

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Blackwell’s melon, colored by library staff member, Emily Miranker.

Aberdeen-born Elizabeth Blackwell (1700-1758), the daughter of a successful merchant, married her cousin Alexander Blackwell at age 28.  Though trained in reading Greek and Latin, Alexander practiced as a physician in Aberdeen, without appropriate permissions. The couple relocated to London when his right to practice medicine in Aberdeen was challenged.  In London, Blackwell opened a printing shop—again without the proper credentials, and again with less than stellar results.  When he couldn’t pay his business debts, he was installed at the city’s Highgate Prison.

Elizabeth, by then a mother, needed to find a way to support her family.  The printer’s shop she operated with her husband had made her a savvy observer of the book marketplace.  She realized that a new high quality herbal including New World species didn’t yet exist.  She took a room next to the Chelsea Physic Gardens, which exhibited some of the new American plants.  Later, she ferried the finished drawings to the prison at Highgate, where her husband supplied the Latin and Greek names of the plants and their uses. Some American plants, like sassafras, native to Virginia, were given only the English and Latin names.

Alexander also offered counsel on the plants’ medicinal uses.  The text accompanying sweet gum, here, “sweet cistus of candy” attests that it “Stays Vomiting” and that “the Fume of it Comforts the Brain” (we’re hoping that these same effects can be said about the practice of coloring these images).

blackwell_watermarkblackwell3Elizabeth was not only responsible for the drawings themselves, but did the engravings of the drawings on copper plates for printing.  In many copies, she hand-colored every single plate.  The images were first published at a rate of four a week, beginning in 1737, but through her own connections and market-savvy, she soon secured a book deal.  With the profits, Elizabeth was able to secure Alexander’s release from Highgate Prison, though their reunion was temporary (later he was put to death in Sweden for treason, though that is another story).

This week, we’re grateful that our own copy of Blackwell’s Curious Herbal is gloriously pristine so that we could transform them into a bouquet of coloring sheets.

In need of color specifics?  Blackwell’s text gives vivid, precise descriptions of the hues of her selected plants.  Great Bindweed (v.1, plate 38), which blooms in the late summer, has leaves that are “a willow green” with “Flowers white,” while her Female Piony possesses “leaves a grass green and flowers a fire crimson.”

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We leave it to you imaginative colorists to fill in these pages in any range of glorious hues you like!

While we’re on a plant theme, let’s take a look at some beautiful coloring pages from participating institutions.

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New York Botanical Garden includes this lovely sunflower in their coloring book. Source: Basillius Besler, Hortus Eystettensis (1613).

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Williams College Libraries includes this ready-to-color image from Leonhart Fuchs’ De historia stirpium (1542).

Don’t forget to check out more coloring books at colorourcollections.org!

#ColorOurCollections 2017: Day 1

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The second annual #ColorOurCollections week has officially begun! From February 6th through 10th, libraries, archives, and other cultural institutions are showcasing their collections in the form of free coloring sheets. Follow the hashtag on Twitter, Instagram, Facebook, and other social media platforms to be introduced to new library collections, find out more about your favorites, and have some fun. Throughout the week, we will be featuring new coloring books from other institutions on the blog, and be sure to visit the #ColorOurCollections website for the list of participants and a collection of coloring books created for the campaign.

We also plan to showcase the work of the talented colorists out there! Share your filled-in sheets on social media with the hashtag #ColorOurCollections for a chance to get featured on our blog.

Our coloring book this year features hooved creatures from Ulisse Aldrovani’s Qvadrvpedvm omniv bisvlcorv historia, 1621; beautiful botanicals from Elizabeth Blackwell’s A curious herbal, 1739; and a dashing tattooed fellow from Ferdinand Hebra’s Atlas der Hautkrankheiten, 1856-1876. Download our full coloring book and check back throughout the week for background on our sources.

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The coloring content shared by collections so far tell us we are in for an incredible week! We’re particularly taken with Europeana’s Art Nouveau coloring book. The style lends itself beautifully to coloring sheets and we cannot wait to get started on the nasturtium design.

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The Biodiversity Heritage Library’s new coloring book features the work of great naturalists such Pierre Belon, Mark Catesby, and John Gould.

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We’re excited to see some new participants this year! The Rosenbach created several coloring sheets based on bookplates from their exhibition The Art of Ownership.

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Keep following #ColorOurCollections on your favorite social media outlets. Happy coloring!