(Greenham Common Women's Peace Camp) | Women's Peace Camp zine
A rare zine-style newsletter published in February 1983, early in the history of the Greenham Common Peace Camp. It contains camp news and information, including upcoming events, a map of the airfield, diagrams of Holloway and Drake Hall prisons, and who to contact to arrange Non-Violent Direct Action training. There are letters and essays reflecting on the methods and philosophy of the protest, and first-hand accounts of recent actions, the most interesting of which is a graphic-novel style retelling of an attempt to enter the base in snake costumes during the visit of Secretary of State for Defense Michael Heseltine at the beginning of February. The rest of the zine is heavily illustrated, including photographs taken by both activists and professionals (including several famous photos by journalist Raiasa Page) as well as drawings by camp members. Greenham Common zines, particularly from so early in the movement, seem to be rare in trade. We cannot locate any copies of this or similar issues in WorldCat, at auction, or with other booksellers.
The Greenham Common protest was established in September of 1981 by the Welsh group Women for Life on Earth, who were opposed to the deployment of nuclear tipped cruise missiles at the site. What was initially planned as a single march became a permanent protest camp, one of the most significant and longest lasting women’s protests of the 20th century. In February 1982, for political reasons, the camp was made women only, and the following month they engaged in their first blockade of the base.
The Greenham Common camp had no hierarchy, and its nature was defined by the thousands of individual women who visited when they could or lived permanently onsite for years. The activists engaged in non-violent resistance by disrupting movement in and out of the gates, cutting down portions of the fence, and trespassing on military property, and they endured frequent police raids, arrests, and evictions. A large number of the protesters were middle aged and older; they considered themselves ordinary mothers and working women, and made a point of the fact that they were opposed to nuclear weapons for deeply personal reasons. Their gender was crucial to their message: “a woman’s place was not in the home, but at a protest. Women could use their identity as carers and mothers to say, this is about the future safety of our children. We weaponised traditional notions of femininity” (Suzanne Moore, “How the Greenham Common Protest Changed Lives”, The Guardian, March 20th, 2017).
February 1983. 1983.
32 page photocopied magazine (293 x 210 mm). Original black and white wrappers, the upper decorated with snakes and the lower with a printed poem. Some of the text in typescript and some reproduced from manuscript. Illustrations from photographs and drawings throughout. 40p price sticker to the upper cover. Wrappers very lightly rubbed, minor creasing to the upper corner and head of spine, contents toned as expected. Excellent condition.
Bowman, Martie | Calendar for 1936 depicting pilot Martie Bowman in her WACO INF biplane.
A remarkable piece of early aviation ephemera, this calendar was produced as a Christmas greeting by the early female aviator Marguerite (Martie) Bowman (1901-1985) and her husband Leslie, also a pilot. It depicts Bowman flying in her WACO INF biplane, registration number NC625Y, in formation with two others, and includes portraits of Bowman, her husband, and their daughter Larnie Bowman Allen. We have learned from one of the Bowmans’ grandchildren that Larnie joined the family profession, becoming a wing-walker at eight and soloing at twelve.
The Bowmans established an aviation business together and, during the 1920s, 30s and 40s, Martie Bowman ferried planes from factories and regularly participated in air races. She competed in the 1930 Women’s Dixie Air Derby from Washington D. C. to Chicago, and won the Women’s International Air Derby of 1934 and the two-day women’s championship Shell Trophy Cup at Long Beach, California. In her biography of fellow pilot Phoebie Omlie, Janann Sherman recounts that during the Dixie Derby Bowman selflessly assisted Omlie, who had an injury, by waking up each hour during the night to apply medicated drops to her eyes (Sherman, Walking on Air, p. 65).
The Bowman’s papers are held at the Smithsonian Air and Space Museum, and as of 2001 two of Martie Bowman’s planes were still registered as flight-worthy with the FAA.
[Olympia, WA], 1935.
Silver gelatin composite photograph (250 x 200 mm) with small tear-off monthly calendar for 1936. Inscribed “Merry Christmas, The Bowmans”. A few minor nicks and spots at the edges. Excellent, unused condition.
Chappuis, Paul Emile | Carte de visite depicting the Crystal Palace in Sydenham
A lovely carte de visite depicting the Crystal Palace in its permanent home at Sydenham sometime after 1856, when the Brunel water towers, one of which is visible in the photo, were erected. The structure was originally built to house the Exhibition of the Industry of all Nations (the Great Exhibition) in Hyde Park in 1851. Popular acclaim saw it preserved and reopened in Sydenham in 1854, but it was destroyed by a fire in 1936. This card bears the ticket of photographer Paul Emile Chappuis (1816-1887), whose Fleet Street studio operated between 1859 and 1871. Chappuis was also an inventor who held several patents on reflectors that would allow light into buildings that would otherwise require gaslights during the day. The firm that he set up to manufacture them was in operation until the Second World War.
London: Chappuis, [between 1859 and 1871].
Cabinet card (103 x 62 mm). Photographer’s ticket to the verso. Just a couple of tiny spots. Excellent condition.
Hingston & Company | Trade card of Hingston & Company, Chemists and Druggists
An attractive trade card for the chemists Hingston & Company of Cheltenham, “opposite the Plough Hotel. Prescriptions accurately prepared with drugs and Chemicals from Apothecaries Hall”. The text is elaborately engraved and the card features a well-executed bust of Hippocrates and staff of Asclepius. The Science Museum in London has a copy of the same trade card, and the National Archives hold the company’s day book and bankruptcy papers from 1837-1839.
Cheltenhem, c. 1837. Trade card (90 x 61 mm). Elaborate copperplate engraved text and illustrations of a bust Hippocrates and staff of Asclepius. A few tiny, light spots, adhesive marks to verso.
Mason, A. | Cabinet card depicting a female cyclist.
Cabinet card depicting a female cyclist.
The cabinet card, essentially a larger version of the carte de visite, was a popular format for portraiture from the 1860s until the early years of the 20th century, when Brownies and other affordable cameras made it possible for people to take their own photographs. Meanwhile, the introduction of the safety bicycle in the 1890s had created a wave of interest in the sport, and women were especially keen on the freedom and power they offered. Some suffragettes argued that they could help upend traditional gender relations, and they contributed significantly to the reform of women’s dress. Suffragettes or not, cabinet cards photographs of women posing with their bicycles - usually dressed to the nines as in this example - became popular. The photographer who created this example, A. Mason, is not recorded, but his studio was in Herne Hill, and one wonders if he did a good trade with the cyclists using the velodrome. A charming record of women’s cycling history.
Herne Hill, London: A. Mason, c. 1900-1910.
Cabinet card (165 x 108 mm). Gold bevelled edges. Remnants of an old sticker or ticket next to the photographer’s address. A few tiny spots and a minor scratch. Very good condition.
Max Rigo Selling Company | International Aviation Meet. Grant Park Chicago. Panoramic Post Card.
A striking, oversized panoramic postcard photomontage depicting one of the most important aviation events prior to the First World War, the August 1911 International Aviation Meet at Grant Park in Chicago.
The Chicago meet was the largest airshow held up to that time, only eight years after the first powered flight by the Wright Brothers. Over the course of nine days thirty-three amateur and professional aviators competed for cash prizes totalling just over $100,000, watched by an estimated 300,000 spectators. Lincoln Beachey, the world’s premiere stunt pilot, set a world altitude record of 11,642 feet and two pilots, William R. Badger and St. Croix Johnstone, died in crashes.
This postcard is a fantastical composite image depicting the airshow, incorporating photographs of the lakefront buildings, Grant Park, railway tracks, and crowd shots, and all merging into painted backdrops and “crowds”. Fourteen planes are visible in the sky, and while most are painted, a few may have originally have been photographs. Another three are depicted on the ground or taking off, surrounded by people. This copy of the card was posted by “Laurie” of 1859 Sedgwick St, which is adjacent to Lincoln Park on the north side of town, and the recipient was “Miss Florence Ort” of Defiance Ohio. Laurie has additionally annotated the image, labelling for her friend Michigan Avenue, the famous Blackstone Hotel, opened just two years previously, the Auditorium theatre, and the Art Institute of Chicago.
Chicago, IL: Max Rigo, 1911.
Folding panoramic postcard (290 x 195 mm). Professionally mounted, glazed, and framed using archival materials. Composite photographic image depicting the Chicago lakefront and early planes. The sender’s and receiver’s details filled out in black ink, and four landmarks noted on the image in the same hand. Marks from stamp, some toning and spotting of the verso, creasing and wear, particularly near the original folds (which are fragile) and at the corners and slightly affecting the image, small tape repair to one corner on the verso. Very good condition.
Mead Cycle Company | Crusader Bicycles advertising booklet
An attractive, early 20th-century advertising booklet for Crusader Bicycles by the Mead Cycle Company of Chicago. It includes two wonderful chromolithographs, including a double page spread depicting the Advance Model Crusader de Luxe for $19.85 and the Crusader Coaster-Brake Special for $17.80. The upper cover advertises their policies, including free shipping, a free 30 day trial, and five year guarantee, and there are also ads for a variety of accessories. “What more do you want in a wheel? What greater assurance could you ask in buying a bicycle? We are putting our priceless reputation behind these two latest Crusader Models and behind the unqualified statement that when you buy one you are making the best bicycle selection and the wisest bicycle investment that anyone could possibly make”. Mead was one of Chicago’s first bicycle manufacturers, beginning operations in 1889 and selling nationally through mail order catalogues such as this one.
Chicago: the Hollister Press for the Mead Cycle Company, [early 20th-century].
12 page advertising booklet, stapled self-wraps. Colour and two-tone chromolithographs. 2 horizontal creases from folding, some spotting and dulling to the cover. Very good condition.
Michael Birk | [Art Nouveau chromolithographic pharmacy catalogue] Katalog No. 4.
A superb, unused Art Nouveau chromolithographic catalogue issued by the German pharmaceutical and medical supply firm Michael Birk, probably in the 1890s.
This remarkable, 320 page catalogue catalogue contains 15 double-sided plates of elaborate chromolithographic, metallic, and embossed designs for product labels, as well as another 290 pages advertising an incredible array of other products. The chromolithographic labels could be ordered in bulk to be used on bottles and jars filled in person by the pharmacist, and some could be personalised with the shop’s name and address. The catalogue was evidently designed for international distribution, as the examples are shown in a variety of languages, including Arabic. Some of the products include lemon and orange syrup, ginger ale, Egyptian nerve tonic, quinine, toothpaste, cod liver oil, antiseptics, a wide variety of alcoholic beverages including wine, port, rum and rum punch, champagne, and gin, and cosmetics products such as eau de cologne, agua de florida and scented waters. Most of the labels are very elaborate, with colourful designs echoing the origins or contents of the products, some with an exotic or Orientalist flavour, and others using historical imagery. Some are plainer, giving only the product name or a number. Nine pages of labels incorporate fine metallic and die-cut and embossed cameo-like decoration - of note are the two pages of delicate perfume bottle labels.
The remainder of the catalogue details a variety of products, all depicted in large and well-executed engravings. They include bottles, pots, boxes, tubes and dispensers, including decorative bottles and perfume atomisers, and display units. For the use of the pharmacist are moulds, rollers, mortars and pestles, scales, laboratory glassware, bunsen burners, alembics, and ovens. And there are sections for medical dressings and devices, generators of therapeutic electricity, and all types of surgical and dental tools, including large items such as chairs, tables and boilers. A superb catalogue encompassing all of late-19th century pharmacy and medicine.
Tuttlingen, Germany: Michael Birk, [c. 1890s].
Quarto. Original limp cloth wrappers blocked in gilt, grey, black, and white, blue endpapers, blue top-stain. 15 double-sided leaves of chromolithographic, metallic-printed, and embossed decoration, of which 6 are folding, engravings throughout the other 290 pages. Minor bumps at the corners. A superb, fresh copy in unused condition with many of the leaves unopened and still delicately adhering to each other at the edges.
Mid-century teaching collection of cooking ingredients
A remarkable, home-made collection of 160 samples of cooking ingredients housed in individual glass vials in a portable case, together with a binder of typed notes on the properties and uses of each ingredient. The collection is in excellent condition, with all the fragile glass vials intact and most of the ingredients in good condition, save for a few with mould and one, the french yeast, which is empty and may have leaked.
The collection dates from the mid-20th century, likely the 1950s, and was probably connected with a high school home economics class or a culinary or catering school. Neither the creator nor the institution is named, and it is unclear whether it was designed by a teacher for use in the classroom or compiled by a student as a major project. The largely well-preserved samples include herbs and spices, flours, nuts, beans, grains, infusions, cake decorations, and dried and crystallised fruits and flowers. The accompanying notes have been typed by hand on ruled paper, and are organised by fabric tabs corresponding to the organisational scheme of the samples in the case. The text seems to have been taken largely from reference sources, most notably Margaret Grieve’s A Modern Herbal, originally published in 1931, though none are specifically cited by the creator.
The text emphasises the culinary, practical, and nutritional aspects of the ingredients collected here. The entry for cocoa describes the processing of chocolate nibs into culinary chocolates and lists the constituents of cocoa powder, “Fat 50% (about 30% left in commercial powder), Starch: 16%, Theobromine (an alkaloid): 2-4%, Caffeine, Sugar, Colouring matter and Ash”. Camomile tea is “made from the dried flowers and is reputed to be very good for the complexion. It is so much drunk by American women after lunch instead of coffee that it is now obtainable at most fashionable English hotels. A teaspoonful of the dried flowers is allowed for every cup of water. The boiling water is poured on the flowers, as on tea”. Potato is “useful as a thickening agent for soups, stews, broths, etc. Also for croquettes, rissoles. Can be used for making scones, and potato cakes”.
Medical uses are included where relevant: “Gelatine is known as a protein saver; it has stimulating properties, and helps the flow of gastric juice and thus indirectly aids digestion”, and there are occasional cultural and historical asides. Clary sage “was first brought into use by the German Wine Merchants, who employed it as an adulterant, infusing it with Elder Flowers and then adding the liquid to the Rhenish wine”. “The French use Dill seeds for flavouring sauces, but their use of them does not appeal to us in this country.”
Descriptions are generally at an introductory level, as to be expected from material taken directly from reference works such as encyclopaedias. Ginger, for example, is described as “the underground stems and root of a plant with a hot, spicy flavour. When preserved or crystallised, it is used as a sweetmeat... or as an ingredient of cakes, ginger-bread or biscuits”. Occasionally entries are more technical, such as those for the raising agents. Baking powder “consists of an acid (cream of tartar or tartaric acid) and an alkali (bicarbonate of soda) use (sic) in the proportion of twice the amount of acid to alkali... Immediately it is moistened, the alkali and acid combine to form a salt, and the gas, carbonic acid gas is given off”.
Though most of the samples are fairly standard ingredients found in British kitchens, others are less familiar, or used in unexpected ways. Mate tea, still many decades out from its status as a hip lifestyle drink, is included, the notes merely stating that it is “obtained from a shrum (sic) grown in Paraguay”. Raspberry leaves are “supposed to keep up the strength of the expectant mother”. The “pawpaw melon tree is a native of tropical America but is cultivated in China and other parts of the Tropics. The flavor is that of a bad melon and a white juice exudes from the rind and this juice should not be taken unless under medical supervision.”
Interestingly, the entry for raisins states that, “in latter years there has been a scarcity of this type of dried fruit as it has not been imported in large quantities nor very frequently”, probably due to rationing.
United Kingdom, [c. 1950].
Naugahyde case with handle and steel fittings, containing 160 glass sample bottles sealed with corks and held in place by metal spring clips, typed labels in red and black ink. Accompanied by a Twinlock ring binder of typed notes on the contents and their uses, the leaves on lined paper with fabric tabs at the fore-edge. The original key attached with string to the handle. Steel fittings of the case are rusted, small corroded spot behind one vial (french yeast), possibly where the ingredient has leaked, otherwise all the vials are intact and full. Mild toning of the notes and light rubbing at the tips of the ring binder. Excellent condition.
Société Excelsior | Préservatifs pour Dames
A nice copy of this rare French contraceptives catalogue, first issued around 1907 and decorated in the Art Nouveau style.
At the time this catalogue was published family planning was being championed by French syndicalists as a response to capitalist exploitation, an idea that influenced both Emma Goldman and Margaret Sanger. However, Sanger’s insistence that she was forced to travel to Paris to get information on contraceptives was a clever bit of self-mythologising; despite the passage of the Comstock Act in 1873, resources were available in the United States. It’s therefore interesting to note that the catalogue’s title page advertises “Pessaires Américains”, showing that the exoticising of contraception travelled in both directions across the Atlantic.
Among the articles advertised here are diaphragms (only recently invented), sponges, douches and enemas, belts for sanitary napkins, lubricant (”pommade virginale”), antiseptic creams and artificial breasts, as well as novelties such as chastity belts and intimate perfume. Included are numerous engravings depicting the products, as well as two diagrams of the female reproductive system.
This catalogue is rare; there are no auction records and WorldCat locates no copies with this specific title. Institutionally, there is only one other contraceptives catalogue by the same publisher, at the Bibliothèque Interuniversitaire de Santé, Paris.
...Préservatifs de tous modèles. Insufflateurs de Poudre Anticonceptionnelle. Pessaires Américains. Éponges préservatives. Appareils d’hygiène féminine. Produits et Objets intimes nouveaux. Paris: Société Excelsior, c. 1907.
Duodecimo. 64 page catalogue, original blue wrappers printed in red and black. Orange decorative border to each page, engravings throughout. Wrappers a little rubbed and creased, small white spot to the upper wrapper and a darker spot to the lower, light wear at the spine ends, contents toned and with occasional light spots. Very good condition.
Suryaninov, Ruben. Greenham Common — Peace
A stylish and uncommon Soviet agitprop poster celebrating the Greenham Common Women’s Peace Camp.
During the early 1980s, in response to Soviet arms stockpiling in Eastern Europe, NATO began siting nuclear-tipped American Cruise missiles in Western Europe. In turn, the Soviet Union supported and infiltrated the growing Western anti-nuke movements, and also regularly used peace propaganda at home which positioned the US and NATO as aggressors. This particular poster, depicting two women whose clasped hands smash the perimeter fence at Greenham Common, is a excellent example of the genre and in superb condition. It was designed by the noted poster artist Ruben Suryaninov, who graduated from the Art Academy of Latvia in 1956 and specialised in public health and social subjects.
The Greenham Common protest was established in September of 1981 by the Welsh group Women for Life on Earth, who were opposed to the deployment of nuclear tipped cruise missiles at the site. What was initially planned as a single march became a permanent protest camp, one of the most significant and longest lasting women’s protests of the 20th century. The Greenham Common camp had no hierarchy, and its nature defined by the thousands of individual women who visited when they could or lived permanently onsite for years. The activists engaged in non-violent resistance by disrupting movement in and out of the gates, cutting down portions of the fence, and trespassing on military property, and they endured frequent police raids, arrests, and evictions. A large number of the protesters were middle aged and older; they considered themselves ordinary mothers and working women, and made a point of the fact were opposed to nuclear weapons for deeply personal reasons. Their gender was crucial to their message: “a woman’s place was not in the home, but at a protest. Women could use their identity as carers and mothers to say, this is about the future safety of our children. We weaponised traditional notions of femininity” (Suzanne Moore, “How the Greenham Common Protest Changed Lives”, The Guardian, March 20th, 2017).
Moscow: “Poster”, October 1984.
Mechanically printed poster (480mm x 670mm). Professionally mounted, framed, and glazed using archival materials. Illustration in blue, black and white depicting two female activists. Light rubbing and a little minor creasing at the extremities. Excellent condition.
The American Products Company | Zanol. The Better Way to Buy. Catalog No. 20
A beautiful, 78 page chromolithographic catalogue for the American Products Company’s Zanol line of cosmetics, food products, and home goods, including 16 pages in full colour. A superb example of Art Deco marketing design.
The American Products Company was founded in 1907 by three brothers, Albert, Edgar and Clarence Mihalovitch (Albert later changed his surname to Mills), of Cincinnati, who hoped to capture the growing Midwestern consumer market (see “Cosmetics by the American products Company”, Collecting Vintage Compacts blog, January 2012). This catalogue promotes “Shopping in Your Own Home the Zanol Way”, and explains that “the Zanol plan affords you the opportunity of buying the finest products possible to produce, direct from the maker, delivered right to your home, absolutely fresh, unconditionally guaranteed... The complete Zanol line comprises more than 350 products... all of them made from the choicest ingredients in our sanitary, daylight Pure Food Kitchens and Laboratories, under the direction of skilled chemists, chefs, and dieticians”.
Advertised here are a wide array of consumables, with a focus on powders and syrups that could be shipped easily and would appeal to an emerging middle class who were time and money-conscious. For the kitchen there are food flavourings and colours, and numerous instant mixes for soft drinks, jams and jellies, icing, cakes, pies, and puddings. Among them are Ezemade pumpkin pie filling (”it is now possible to serve delicious pumpkin pie throughout the year”); Flakykrust instant pie crust; Mapelade instant maple syrup (”now you can afford delicious maple syrup whenever you want it”); and even Ezemade ice cream powder (”just add to a quart of milk and freeze”). The broad selection of home goods include medications and hygiene products, house cleaning and repair supplies, hot water bottles, paints, insecticide, and even a set of salt and pepper shakers. Perhaps the most appealing section is the beauty line, comprising soaps and toothpaste (”don’t envy pretty teeth - have them”); face and body powders; a variety of lotions including almond, lemon and witch hazel, cucumber and benzoine, and “dermaline of roses” (”keep the alluring charms of radiant youth”); shampoos, pomade, and hair tonics; cosmetics including powder compacts and tubes of lipstick; and perfumes, primarily their three main lines, La Bara (named after the silent film “vamp” Theda Bara, best known for playing Cleopatra), Fleur d’Orient, and Dream Girl. There are also a number of gift sets packaging perfumes, soaps and cosmetics, including a shaving kit for men, sets for new mothers, and an attractive La Barra manicure kit.
Edition A. Cincinnati, OH: The American Products Company, May, 1925.
Perfect bound (355 x 280 mm). Original brown wrappers printed in blue and cream, brown cloth backstrip. 78 pages, of which 16 are in full colour and the rest being uncoloured lithographs on single-colour backgrounds. With the original order form loosely inserted. Light rubbing at the extremities, small chips at the ends of the spine. A fresh copy in excellent condition.
War Manpower Commission | Women in the War—We Can't Win Without Them
An original Second World War poster promoting women in the wartime workforce, produced in 1942 by the War Manpower Commission. At the time, “Women in the War” was one of the most widely distributed images of a woman labouring in war production, unlike the “We Can Do It” poster, which was produced only for Westinghouse plants during a few weeks in 1943 and did not become iconic until the 1980s.
“Among the many agencies President Roosevelt had created during the war was the War Manpower Commission, formed in April 1942 to oversee war labor issues in the military, industrial, and civilian sectors. And in June 1942, the Office of War Information was formed to manage the flows of news and propaganda about the war to the public. By 1943, when the labor shortage was most acute, the two agencies worked together in concerted campaigns, targeting employers to hire women and women to become ‘production soldiers’” (Yellin, Our Mothers’ War, p. 44). Women labouring in factories, even in the service of the war effort, was controversial, with only 30 percent of husbands giving unqualified support to the idea of their wives performing such jobs. “Despite the tide of public opinion against working wives, War Manpower Commission director Paul McNutt had a strategy for quelling opposition: ‘The money appeal will continue strong,’ he said in 1943, but we’ll concentrate on patriotism’. Sure enough, all across the country, the public was bombarded with spirited print and radio ads, magazine articles, and posters with slogans like ‘Do the Job He Left Behind’ or ‘Women in the War—We Can’t Win Without Them’ depicting noble, pretty but serious, female war workers on the job... The campaigns glamorized war work, always showing that women could maintain their femininity and still be useful” (Yellin, pp. 45-46).
Examples of this important poster are held at numerous institutions, including the Library of Congress, Imperial War Museum, MOMA, and the Pritzker Military Museum. Copies in such beautiful, unused condition are uncommon in commerce.
Washington D.C.: US Govt. Printing Office, 1942.
Colour poster (28 x 40 in). Professionally mounted, framed and glazed using archival materials. Original creases from folding, else bright and fresh. Excellent condition. Professionally mounted, glazed and framed using archival materials.
Wickes & Co. | Trade card of Wickes & Co., Chemists and Druggists
An attractive trade card for the chemists Wickes & Co. of Cheltenham, in fine condition and featuring elaborate copperplate engraving including illustrations of an alembic and a mortar and pestle. Both the Science Museum of London and the Society of Apothecaries hold copies of this trade card.
- Cheltenham, c. 1825-1835. Trade card (98 x 65 mm). Elaborate copperplate engraved text in an architectural border with the British crest, an alembic, and a mortar and pestle. Fine condition.
Willis, J. H. | The World's Time at a Glance. The Willis Indicator.
A delightful world time calculator produced by J. H. Willis & Company, probably during the 1930s to complement the world time clocks that the firm produced between 1929 and 1935. Operation is simple - the user simply turns the dial in the center to the current time for their location and the rest of the numbers line up to indicate the time at each location. Regions within the British Empire are indicated in red, and the half of the globe in darkness is denoted by the black hemisphere on the dial. The red portion of the dial indicates regions broadcasting evening radio programs.
- London: Frank Pitchford & Co. Ltd. [for J. H. Willis and Company, Norwich, early 1930s]. Card world time time calculator (230 x 200 mm). Card printed in red and black, single wheel attached with metal stud. A little rubbing and some slightly discoloured spots, one corner bumped. Very good condition.
[Embrace the Base] Greenham Common Women's Peace Camp Invite Women to Take Part in an International Action
A rare poster advertising Embrace the Base, one of the key mass actions at the Greenham Common Women’s Peace Camp. We have been able to locate only two copies in institutional collections, at the LSE Women’s Library and the Glasgow Women’s Library.
The Greenham Common protest was established in September of 1981 by the Welsh group Women for Life on Earth, who were opposed to the deployment of nuclear tipped cruise missiles at the site. What was initially planned as a single march became a permanent protest camp, one of the most significant and longest lasting women’s protests of the 20th century. In February 1982, for political reasons, the camp was made women only, and the following month they engaged in their first blockade of the base. Embrace the Base was their next major action. Taking place on December 12th & 13th, 1982, it saw 30,000 women from across from across the UK—drawn by chain letter, word of mouth, and posters such as this one—join hands to surround the nine mile perimeter fence. This copy of the poster seems to have been used in Birmingham, and includes instructions for obtaining coach tickets at the “Peace Centre (opp New Street Station)”, as well as local activist contact details, in marker pen.
As well as being an early and rare example of Greenham Common ephemera, this poster is particularly interesting in that is features a spider web, “a frequently reoccurring symbol in Greenham women’s cultural imaginary” because of its mythological and symbolic associations. “The metaphor of ‘building a web’ and being connected to each other in a ‘web-like structure’ populated Greenham women’s speech and writing. Alison Young describes Greenham women’s reclamation of the spider as revolving primarily around the notion of the spider’s web. She writes that the web ‘shows connections between women or between ideas; it can be begun at any point or at any time; each single strand is weak and fragile, yet when interwoven it is strong, beautiful and efficient’ (1990, 38). In line with Young’s reading, Roseneil writes that, ‘the web was a symbol of women's collective power, seemingly fragile, but actually very strong’” (1999, 179, ft39)” (Feigenbaum, Tactics and Technology: Cultural Resistance at the Greenham Women’s Peace Camp, PhD thesis, McGill University, April 2008).
The Greenham Common camp had no hierarchy, and its nature was defined by the thousands of individual women who visited when they could or lived permanently onsite for years. The activists engaged in non-violent resistance by disrupting movement in and out of the gates, cutting down portions of the fence, and trespassing on military property, and they endured frequent police raids, arrests, and evictions. A large number of the protesters were middle aged and older; they considered themselves ordinary mothers and working women, and made a point of the fact were opposed to nuclear weapons for deeply personal reasons. Their gender was crucial to their message: “a woman’s place was not in the home, but at a protest. Women could use their identity as carers and mothers to say, this is about the future safety of our children. We weaponised traditional notions of femininity” (Suzanne Moore, “How the Greenham Common Protest Changed Lives, The Guardian, March 20th, 2017).
“Greenham was powerful. It taught my generation about collective action, about protest as spectacle, a way of life, incredibly hard but sometimes joyous. Still the image of resistance for me is not the famous photograph of a striking miner confronting a policeman at Orgreave, it is the picture of Greenham women dancing in 1982: witchy, unarmed women dancing on a missile silo. This magical, powerful image shows how the peace camp both played on traditional images of the feminine and then subverted them. Greenham created an alternative world of unstoppable women. It changed lives.” (Moore, 2017).
...to Stop the Siting of Cruise Missiles Anywhere in Europe. December 12th & 13th. Embrace the Base on Sunday. Close the Base on Monday.
Mechanically printed poster (420mm x 580mm). Professionally mounted, framed and glazed using archival materials. White text and illustration of a missile caught in a spider’s web superimposed over a grey and red photograph of the mushroom cloud over Nagasaki. Marker pen notes at the bottom of the poster give contact details and instructions for travelling to the camp by bus from Birmingham. Vertical and horizontal creases from folding, a little light rubbing. Very good condition.
[Woodhead, Joseph] | Catalogue or Guide to the Liverpool Museum of Anatomy.
The rare catalogue of the Liverpool Museum of Anatomy, describing in detail the Museum’s contents and policies, and illustrating its interior by an engraving on the lower cover.
The Liverpool Museum of Anatomy was one of a number of such museums in the UK and US that specialised in wax anatomical models and, unlike many of the museums of professional medical organisations, were open to the public. Though the stated goal was always education, particularly regarding reproduction and the dangers of sexual vice, these museums also traded on the shock or titillation value of their exhibits and some were targeted by the medical establishment as purveyors of vice and quackery.
The proprietor of the Liverpool Museum was the physician Joseph Thornton Woodhead, who describes himself as “having spent thirty years in the study and treatment of diseases affecting the mental and generative organs, nervous and dyspeptic debility, either constitutional or acquired, decline of physical vigor, loss of mental energy, and the numerous concomitants to sexual disorganisation” and writes that those afflicted can consult him “personally at his establishment daily from 11am till 9pm, Sundays excepted”, while those living outside town could write (p. 63).
The Liverpool Museum offered a wide variety of exhibits on the human body, including most of the internal organs; the skeleton; digestion (”articles of human food, and what they are converted into”); common surgical procedures such as the removal of kidney stones; and the usual exhibits on STDs, obstetrics (including a caesarian section model and anatomical venuses), masturbation, circumcision, hermaphrodites, and “freaks of nature”. The admittance of women into such museums was controversial, but defended by many proprietors as an important educational opportunity for women who cared for their families’ health. This booklet advertises the Museum’s hours of admission for ladies as being Tuesdays and Fridays from 2-5pm, and also offers a course of six lectures on midwifery (p. 26). One of the exhibits aimed specifically at women was on the “dreadful effects of tight lacing”, being “a magnificant full-length figure in wax, the model of a young lady... who having from her earliest childhood accustomed herself to the pernicious habit of tight lacing, suddenly dropped down dead in the arms of her partner while dancing” (p. 52).
The Museum’s timeline is difficult to determine from historical sources (and it seems to have moved between Liverpool and Manchester several times), but in this booklet Woodhead claims that it had already been open for forty years. It appears to have been tolerated by the medical establishment until 1874, when Woodhead was prosecuted under the Obscene Publications Act. “To Woodhead's justification ‘that the Royal College of Surgeons possesses, and admits the public to, an exhibition similar to his own”’, the magistrate replied that ‘he could understand museums of the character of the defendant's being connected with the hospitals and medical colleges, but when they came into the hands of private individuals they were likely to produce serious evils’ (Bates, “Indecent and Demoralising Representations: Public Anatomy Museums in mid-Victorian England”, Medical History vol. 52, January 2008). The Museum was closed and the exhibits sold to Louis Tussaud’s waxworks show.
This catalogue is rare. A search on WorldCat locates only four copies, at the Wellcome Library, Harvard, the University of Rochester, and the Getty Research Institute.
Bibliography: Hoolihan, An Annotated Catalogue of the Edward C. Atwater Collection of American Popular Medicine & Health Reform S-741.1
...29, Paradise Street. This superb collection with all the latest additions, comprising upwards of 1000 models and diagrams, procured at the anatomical galleries of Paris, Florence, and Munich. Now forms the largest collection of anatomical preparations in England, with one exception only, namely of the Royal College of Surgeons’ Museum...
Liverpool: Matthews Brothers, Printers, [c. 1870s].
64 page pamphlet. Original light blue wrappers printed in black. Engraving depicting the museum on the lower wrapper, 1 engraving within the text. Wrappers rubbed, dulled, and spotted, minor crease to the upper corner slightly affecting the contents. Very good condition.