Tag: advertising

Philadelphia on the String: How We Took Up the Telephone

Philadelphia on the String: How We Took Up the Telephone

Philadelphia Inquirer, 11 April 1877; Leisure Hours, November 1888

It was here, during the Centennial, that the telephone was introduced to the public. A sensation, no doubt, but what could one do with it? The Wasp, a satirical magazine from San Francisco, suggested in April 1877 that telephones would permit commanders to direct battles remotely, with feet up and uniforms clean and tidy, and allow transmission of live musical performances. In fact, that month saw a number of “telephone concerts” using a combination of telegraph and telephone technology. All the concerts had Philadelphia at one end or the other.


For the first time, people could experience, in real time, a distant event. Space had been “annihilated,” as the Bell company would later say. Still, the concerts seemed to dwindle into a novelty. As a novelty, the telephone was slow to realize its practical as well as its profound possibilities. An invention that could alter daily life in a hundred ways was used for entertainment, as electricity had been used for parlor games, or for electrocuting the occasional turkey.


Telephones would become part of daily life, but slowly and starting at the top. A new surgical procedure or improved stove benefits individuals immediately, one by one, but a single telephone is useless. Add another one, and you have begun to add value that increases with each new user as networks develop. The late 1870s saw not only the concerts, but also the leasing and installation of phones connecting buildings two by two in initially self-contained links, like speaking tubes or tin-can “telephones”: a business and the owner’s residence; a courthouse and a law office; two buildings in a factory complex. The phone was no longer a novelty. It became a convenience for professional people. But at this early stage, most people had no one to call.


The advertisement on the right shows that by 1888, a dozen years after the Centennial, talking with a machine was so common that it might shame forward-thinking people into writing with a machine (though they apparently can’t phone for further information).

For a snappier endorsement, we can sneak up to Boston for the 1885 lyrics of H. W. Durand’s “The Telephone.” It is full of slang–for example, “on the string.” Also, unlike the countless songs about love on the wire, it takes a broad view of telephone use. Church services could now be enjoyed by the homebound–very worthy. And–not so worthy–they could “skip the deacon with the contribution box.”


But back to the story. In the early 1880s, some businesses began to advertise their telephone connections to the public. Clearly, the networks were expanding.

advertisement, coal, Philadelphia, telephone
Official Programme of the Bi-Centennial Celebration of the Founding of Pennsylvania by Wm. Penn, 1882
advertisement, Philadelphia, Philadelphia Metal Cornice Works, architecture, skylights, ventilators, ceiling, roofing
Boyd’s Co-Partnership and Residence Business Directory of Philadelphia City, 1900

Many continued with older means of communication, with or without the telephone: calling (that is, in-person visits; see advertisements from Gara, McGinley & Co. and T. J. McCartney), “postals,” mail order catalogues, and the telegraph. The more ways to reach the customer, the better. Eventually the teletype joined the list.

Advertisement, McCalla & Stavely, printers and publishers, Philadelphia, telephone, post office box
Official Programme of the Bi-Centennial Celebration of the Founding of Pennsylvania by Wm. Penn, 1882
Advertisement, Geo. W. Pride & Son, steam towing, Philadelphia, telegram, telephone
The Commercial Manual of Philadelphia, 1886
Philadelphia, commerce, shipping, 101 Walnut, cable, Lloyds
The Commercial Manual of Philadelphia, 1886
Philadelphia, stationery, novelties, 1888, paper fasteners
American Stationer 21, 1887
Wm. B. Burk & Co., importing, sponges, chamois, Arch and N 6th, cable 1893
The City of Philadelphia as It Appears in the Year 1893
advertisement, Philadelphia, Philadelphia Engineering Works, 1893, cable, rules, formulae, blast furnaces, equipment, steel plants, iron works,
Catalogue of the Manufactures of Philadelphia Engineering Works, Limited, 1893
advertisement, Philadelphia, 1893, Rutter, funeral directory, telegraph, West Philadelphia
Philadelphia Blue Book, 1893
advertisement, Philadelphia, William Penn Laundry, 1509 Stillman, postal, pick-up, 1896, Oak Lane Presbyterian
The Cook and the Cupboard, Oak Lane Presbyterian Church, 1896
advertisement, Philadelphia, 1897, architectural sheet metal, roof, cornice, skylight, ceiling, building front, 23 S 17th, telephone
Philadelphia Blue Book, 1897
advertisement, Philadelphia, McGlenn, funeral monuments, marble, granite, Kensington, 1900
Boyd’s Co-Partnership and Residence Business Directory of Philadelphia City, 1900
advertisement, Philadelphia, detective, 1220 Filbert, 1903, Bell and Keystone, commercial and criminal
Boyd’s Elite List, 1903
advertisement, Philadelphia, L. C. Gad, awning, wagon cover, tent maker, repairing, 1601 N. 12th, phone, mail order, linen to hire
Boyd’s Elite List, 1903
advertisement, clock repair, Philadelphia, Carl Hieke, 2813 Jefferson, postal, 1903
Boyd’s Elite List, 1903
advertisement, Philadelphia, 5344 Germantown Avenue, Germantown, laundry, pick-up, telephone, postal, Main Street, 1903
Boyd’s Elite List, 1903: “The telephone makes us neighbors.”
advertisement, Philadelphia, 1917, T. J. McCartney, roofing, tin, gravel slag, slate, phone, postal
Boyd’s Business Directory, 1917
advertisement, Philadelphia, Ryerson Steels, Joseph T. Ryerson & Son, 5200 Grays Avenue, telephone, teletype
Ryerson Steels, Catalogue and Price Guide, 1941-42; teletype connection


New technology, new vocabulary. One writer apologized in 1877 (Kate Field, ed., The History of Bell’s Telephone [1878], p. 25) for using “telephone” as a verb (not to worry–Shakespeare was fond of verbing; also note “postal us” in the Manheim Laundry ad above), but soon “telephone” and “telephonic connections” (see McCalla & Stavely 1882 above) were joined by “‘phone.” The equipment used gave rise to expressions like “get on the horn,” “ring us up” (Manheim Laundry again), and “wire” (as in telegraphy; see the Heinemann advertisement below, which could refer to the telephone: “Wire for us and we’ll Wire for you”) or “wires,” on which the Nurses’ League operators were available night and day.

advertisement, Philadelphia, Bradley's New Great Western Meat Market, Market and 21st NW, 1887, Chicago beef, public institution discount, hotels, restaurants, ships
Official Programme of the Constitutional Centennial Celebration, 1887. “Call”–that would be in person.
advertisement, Philadelphia, Lombard Investment Company, 21 23 South 6th, 1887, explanatory pamphlets
Philadelphia and Its Environs, 1887. Ditto, probably.

advertisement, Philadelphia, Thos. H. McCollin & Co., 1030 Arch, 1896, cameras, film processing and finishing, Kodaks Bulls Eyes, Cycle Pocos, cyclists, wheelmen, tourists, 'phone
The Reporter’s Nosegay, 1896
advertisement, Philadelphia, Rouillot & Co., grain stock brokers, 1204 Chestnut, formerly 125 South 3rd, 1898, elevator, ladies' accommodationentrance, pamphlet, mail order, 'phone, wires
Philadelphia Inquirer Almanac, 1898
advertisement, Philadelphia, National Housecleaning and Disinfecting Co., 908 Walnut, whitewash, ashes removed, vermin removed, guarantee, estimates, 'phone, 1903, N. M. Veale
Boyd’s Elite List, 1903
advertisement, Philadelphia, Geo. Heinemann & Co., 500 Girard, electrical engineers and contractors, electrical supplies, dynamo and motor repair, Convention Hall, phones
Official Pictorial and Descriptive Souvenir Book of the Historical Pageant . . . , 1912
advertisement, Edward Trust's Professional Directory, Philadelphia, nurse directory, Nurses' League Corporation, 134 N. 18th, grades and rates, operators night and day, phones
Edward Trust’s Professional Directory of . . . Philadelphia . . . , 1918-19

New technology, new accessories. Telephone nooks or niches became standard wall features in the days of stick phones. The nooks might have looked like shrines, but sometimes the instruments were hidden under, or behind, dolls (note the apparently disemboweled “telephone girl” below), or behind flower-garlanded crepe paper stands (top row) unlikely to turn up in an image search for “phone screen.”

advertisement, Dennison Mfg., party book, 1917, Easter gifts, telephone screen, telephone girl, crafts, crepe paper, screen, box, waste basket, frame, phone girl
Dennison Manufacturing Co., 1917 Party Book. The company was based in Massachusetts, but had stores in Philadelphia.

Another form of telephone screen:

advertisement, Philadelphia, Hygienic Phone Disc Co., 100 N. 3rd, 1906, advertising novelty, telephone, antiseptic shield,
American Business: A Review for Executives, 1906

Meanwhile, telephone use became increasingly sophisticated: round the clock service (as noted); shopping by phone; long distance; public phones, often found in telephone offices, where the staff could assist and accept payment; and pay stations (pay phones) that were sometimes free. Pay phones started to move outdoors during the early 1900s. Special telephone numbers for animal ambulance service were offered (see below, from 1900 and 1907).

advertisement, Philadelphia, Colonnade Hotel, Chestnut and 15th, restaurant, cafe, telegraph, long-distance telephone, public stenographer, H. J. and G. R., Crump
The Mask and Wig Club, “King Arthur,” 1894
advertisement, Philadelphia, Upperman Bros., 1205 Filbert, 1898, fish, lobster, green turtles, snapper, hard and soft shell crabs, long-distance telephone
The Cook and the Cupboard, Oak Lane Presbyterian Church, 1896
advertisement, Philadelphia, Bell Telephone, Market above 4th, public telephone facilities, 1896
The Reporter’s Nosegay, 1896
advertisement, Philadelphia, F. A. Black & Son, 620 S. Washington Square, Stogdale Building, Philadelphia, house painting, decorating, paper hanging, ivory white gold finishing, hardwood polishing, estimates for repairs, long-distance telephone, Francis A. Black
Catalogue of the T Square Club Exhibition, and Architectural Annual for the Year 1898
advertisement, Philadelphia, Jacob Myers & Sons, carpenters and builders, Juniper and Sansom NE, 1898, long distance telephone, J. Walter Myers, William H. Meyers, Bell telephone symbol
Catalogue of the T Square Club Exhibition, and Architectural Annual for the Year 1898
advertisement, Philadelphia, J. J. Maher Veterinary Hospital, 1336 1340 Marshall Street, horses, dogs, small animals, ambulance service
Boyd’s Co-Partnership and Residence Business Directory of Philadelphia City, 1900
advertisement, Philadelphia, Philadelphia Engineering Works, Mifflin E of S. Front, 1905, Philadelphia Corliss Engine, air-pumps, condensers, heaters, compressor, boilers, chimneys, tanks, stand pipes, steel buildings, catalogues, long-distance telephone
Catalogue of the Manufactures of Philadelphia Engineering Works, Limited, 1905
advertisement, Philadelphia, Pennsylvania Society for the Prevention of Cruelty to Animals, 1627 Chestnut, 1907, officers, donations, telephone numbers, ambulance telephones, Keystone and Bell
Philadelphia Blue Book, 1907
advertisement, Philadelphia, Pullman Taxicab Co., "Green Taxis," Wood and N. 16th,
Official Pictorial and Descriptive Souvenir Book of the Historical Pageant . . . , 1912
advertisement, Philadelphia, Baessler's Drug Store, Market and 53rd, Melba Face Powder, day and night phones
The Torch, West Philadelphia High School for Girls, June 1917
advertisement, Philadelphia, Stiteler's Meat Market, 6148 Lansdowne Ave, 1917, telephone orders
The Torch, West Philadelphia High School for Girls, June 1917
advertisement, Philadelphia, Quaker City Cab Company, 1921, taxicabs, Keystone Pay Stations no charge, Hotels, Pennsylvania RR Stations, ferries
American Federationist 21, January 1921

A new phrase, and complication, arose around the turn of the century: “both phones.” Rivals to the Bell system turn up in directories at the end of the nineteenth century. Then a serious contender appeared: the Keystone Company. Keystone was marketed as a local firm, a smaller system with faster service, and a friend of commerce: “When the Keystone rings, It’s BUSINESS.”

telephone directory, Philadelphia, Spring 1939, Keystone Telephone, special numbers: weather, time, police, information, long distance, complaint, "When the Keystone rings, It's BUSINESS"
Cover detail, Keystone Telephone Directory, Spring 1939, with dial and exchanges

Advertising had to make room for “both phones.” An earlier post (“Marks, Manicules, and Markland: Street Signage in Nineteenth-Century Philadelphia”)

https://philadelphiaasadvertised.com/2021/04/14/marks-manicules-and-markland-street-signage-in-nineteenth-century-philadelphia/

showed how much advertising space was devoted, before street numbering reform, to telling customers how to find businesses that did not have the good fortune to be on street corners. The physical addresses got sorted out, and then came “virtual” addresses: cable and telephone. In addition to a simple “both phones,” the ads might say “Bell and Keystone”; or give single, or multiple, numbers from one provider, or from both; or list a number or two with no mention of providers (customers could identify exchanges as belonging to Bell or to Keystone; in the Woodington ad, Locust is Bell and Race is Keystone). Note (Quaker City Stencil & Stamp Works) that the Keystone directory would list Bell numbers.

advertisement, Philadelphia, Ellwood Heacock, undertaker, 2027 N. College, both telephones, Society of Friends
Friends’ Intelligencer 67, 1910
advertising, Philadelphia, McMullin-Weber, Inc., 157 159 N. 3rd Street, Philadelphia, chrome zinc, nickel zinc, etc., undated, gauge and table weight chart, Bell and Keystone telephone numbers
McMullin-Weber, Inc., 157-59 N. Third Street, undated advertising notice. Call=telephone!
Eighteenth Annual Report of the National Farm School, 1915
advertisement, Philadelphia, Shoemaker & Smith, Delaware Odorless Excavating Co., Callowhill and N. 4th NE, 3626 Frankford, 1226 W. Lehigh, 1917, Bell and Keystone phones, mail orders
Boyd’s Business Directory, 1917
advertisement, Philadelphia, Woodington Mail Advertising Service, Colonial Trust Building, Market and 13th, personalized letters and envelopes, delivery, 1926, telephones
The Philadelphia Forum Magazine, October 1926
Thirtieth Annual Report of the National Farm School, 1927
advertisement, Philadelphia, Clarence L. Meyers, Inc., Somerset and N. 2nd, yarns, Bell and Keystone telephones
Thirtieth Annual Report of the National Farm School, 1927
advertisement, Philadelphia, Quaker City Stencil and Stamp Works, 234 Arch St., rubber stamps, brass and steel dies, metal checks and badges, 1939, Bell and Keystone phones
Keystone Telephone Directory, Spring 1939

The advertisement below seems strange for the late 1920s, when direct dialing was coming into use. With an operator, the customer can provide a number or a name. Without an operator, the customer must have the number. “Telephone connection” offers little help.

Thirtieth Annual Report of the National Farm School, 1927

Bell did not, of course, agree that Keystone owned the business community; a full-page 1908 advertisement asserted that “Philadelphia is practically all Belltelephoned” (verbing is not always a good idea), and that Bell was the “beaten path” for business.

detail of advertisement, Philadelphia, Bell Telephone, 1908, "What the Bell Telephone Company has done for Philadelphia," "USE THE BELL"
Official Historical Souvenir: Philadelphia, Its Founding and Development, 1683-1908, 1908, detail of full-page advertisement

Here we find a claim that Bell had “annihilated space and time,” so that “every city and town of importance within a thousand miles” could be reached “at a moment’s notice.” Competitors are not mentioned. Despite the bravado, it’s odd that Bell gave the feeble command “Use the Bell,” while its rival got away with “when the Keystone rings.”


Bell had not yet vanquished Keystone, but “both phones,” which lasted longer in Philadelphia than in any other major city, did seem to duplicate, not enhance, services. For example, a newspaper soliciting want ads had to have operators for Bell and for Keystone customers. In the advertisement below, note the plural form in the phrase “private branch exchanges.” As I understand the term, the exchanges created a private system within a business, independent of the public system, for the sake of efficiency and economy. It could not have seemed efficient to set up and operate two of those exchanges.

advertisement, Philadelphia, Milden & White, 1207 1212 Filbert, poultry, game, terrapin, fish, sea foods, 1917, established 1874, Bell and Keystone private branch exchanges, W. H. White, R. W. Crouse
Program, Lu Lu Temple Stock Company, “The Amulet” and “Scheherazade,” at the Metropolitan Opera House, April and May 1919

At last Keystone was absorbed, and ended service in September 1945. “Both phones” has a monument: on the southeast corner of Filbert and Preston is a former Keystone building (note the keystone windows), now Philadanco headquarters. Across Preston Street, as though recalling the Manheim Laundry’s claim that “the telephone makes us neighbors,” is a former Bell Telephone building.

photograph, Philadelphia, Filbert and Preston looking south 2023, former Keystone Telephone building on SE corner, now Philadanco; former Bell Telephone building to SW
Filbert and Preston Streets, looking south toward Market Street, 2023: former Keystone Telephone building, now Philadanco, on the SE corner; former Bell Telephone building below the SW corner. It’s the one with the fire escape and–a bit awkward for my concluding flourish–keystone windows.

Destroyer of Souls, Preserver of Bodies: Two Faces of Alcohol

Destroyer of Souls, Preserver of Bodies: Two Faces of Alcohol

During the late nineteenth century, temperance became a mass movement, moving as a progressive cause toward the Eighteenth Amendment. In 1917 the American Medical Association voted in favor of prohibition, a year after whiskey and brandy were removed from the list of scientifically approved medicines.

That ran against a long and respectable tradition of medicinal alcohol. The pre-Prohibition advertisements below do not speak of alcohol as, in the words of Carrie A. Nation, the “destroyer of men’s souls.” The first glass does not lead to the grave, as in the popular print “The Drunkard’s Progress,” but, when used in moderation, keeps users, young as well as old, out of the grave. Through sacramental use, alcohol benefits the soul as well. Medicinal and sacramental uses of alcohol are often paired in advertisements.

No matter what you think about drink and health, you might be startled by the rosy view of alcohol, especially hard liquor, in these advertisements. We may be reminded of old cigarette advertisements when we read of “leading doctors” who recommend one brand of whiskey for their patients. Advertisers sometimes allowed a hint of hedonism. For example, the 1903 mascot of Huey & Christ seems to be a combination of Puck, Cupid, and Peck’s Bad Boy, unlikely to “try in moderation and grow old gracefully.” But the firm’s advertising repeatedly linked Bailey’s Pure Rye with dignified aging, medical care (a nurse is shown ministering to a hospitalized man), and refined conviviality.

The advertisements for widely used bitters, bitter cordials, and bitter wine of iron, on the other hand, did not directly promote this cheerful view, because their sometimes hefty alcohol content was not acknowledged (the products were recommended for women and for children, who were said to cry for Snyder’s Celebrated Bitter Cordial). But it seems that most of these remedies contained alcohol, based on the manufacturing process and on independent tests, and that many people knew it.

 

“The objectionable column”: The Rise, Fall, and Imprisonment of the Canted-Corner Column

“The objectionable column”: The Rise, Fall, and Imprisonment of the Canted-Corner Column

In the 1895 advertisement above, Mathew Schmid offers to relieve customers of a feature common in cities like Philadelphia. He does not have to explain that the classic up-to-the sidewalk rowhouse blocks of the late nineteenth century typically featured canted or diagonal first-story entrances at each end. The businesses that usually occupied canted-corner buildings could be seen from either side of the corner, and more readily seen as one approached them on either side–good for business. Dozens of of intersections still feature canted entrances on all corners. Very often an elaborate cast-iron column stood in the place of the lost corner. Schmid says that such “objectionable” columns were used almost universally. To this I would respond, first, that his invention must have transformed the construction of canted corners, because, to make a guess, fewer than half of the old canted corners in Philadelphia feature columns. Second, I would respond that the columns are not objectionable (though perhaps inconvenient on moving or delivery day), but attractive and even informative.

Here are some photographs of columns that display the names of their manufacturers, getting them under the bar as advertisements, and some advertisements for companies that made columns. (Unfortunately, the two groups don’t mesh as well as one would like.)

 

 

 

 

As you can see, many of the columns have been freshly painted. They clearly formed, and form, part of the decorative scheme of their buildings. But many columns were lost to the revenge of the rectilinear, when owners decided to favor one street over another, or wanted the building to be a house without a canted living room. To judge from surviving buildings, many of the restored corners never featured columns at all. Many of them are so heavily paneled or resurfaced that only old photographs can tell us whether there might be a column imprisoned inside. But sometimes we see columns that have survived the change from a diagonal entrance. Sometimes the old doorway is blocked and the column remains, no longer objectionable because it has no activity to block. Then it becomes abstracted, like a piece of stage scenery. (See the photograph below.) Or the column may be imprisoned in the new corner, sometimes with a little breathing space, and sometimes mashed into the new construction like Ariel in the cloven pine. I like to find these “captive canted-corner columns.” You can find screen captures of both varieties in the albums of my Facebook page Philadelphia Particulars:

https://www.facebook.com/screenscavenger/

I urge you to look at the gallery, which has had several additions. If you cannot, here is a list of the intersections where imprisoned columns can be found (as of the 13th of February 2018): Addison and South 60th/Annin and South 8th/Brown and North Newkirk/Carpenter and South 5th/Carpenter and South 6th/Catharine and South 24th/Cayuga and North 19th/C. B. Moore and North Taney/Chester and South Alden/Chestnut and South 8th/Cumberland and North Bancroft/Fairmount and North 3rd/Fleming and Roxborough/Huntingdon and North 23rd/Kater and South 6th/Loudon and North Mascher/Luzerne and North 7th/Moore and South 21st/Moore and South Cleveland/Olney and North American/Pacific and North 19th/Pierce and South 21st/Poplar and North 30th/Price and Crittenden near 65th Avenue/Snyder and South Chadwick/St. Luke and North 5th/Tasker and South 24th/Tioga and North Water/Venango and North Percy/Waverly and South 24th/Wharton and South 22nd/Wilder and South 22nd/Wilt and North 19th/York and North 6th.

ffcambriavan-pelt-ne22-oct-2017-photo_164723926-e1515362920675.jpg
Cambria and North Van Pelt NE, Philadelphia

 

 

 

The Fictional Life and the Afterlife of TOWN CRIER OF PHILADELPHIA

The Fictional Life and the Afterlife of TOWN CRIER OF PHILADELPHIA

The romance of Kitty Foyle and Wyn Strafford intensified as they worked together on Wyn’s Philly magazine project. (Please see my page on the novel: https://philadelphiaasadvertised.com/kitty-foyle-and-philadelphia-the-grand-homey-old-town/) Philly was to be “something like” the New Yorker, full of “wisecracking stuff about football, and hunting, and cricket, and the Orchestra, and famous food and drink, and little articles about picturesque history.” It seemed sure to be a hit with students at the many colleges in the area. But Kitty had her doubts, and so did her friend Molly, who did not believe that Philadelphia shared New York’s passion for “being In the Know.” The upper classes were serenely indifferent to innovation, and the lower classes knew that an appearance of sophistication would not lead to acceptance. Kitty knew that “Sankatown” wanted above all to be comfortable, not to be bothered, and saw in the magazine’s few issues a demonstration that the Main Line could not make fun of itself; that required an outsider. Even Wyn’s mother was aware that Philadelphia did not enjoy “that sort of persiflage” and was happy when her son gave up “that dreadful magazine.” To be fair, we should note that the first issue of the magazine was published just as the stock market crashed, causing his father to cut off his support of the project.

What might Philly have looked like? There is a ready answer in Town Crier of Philadelphia, “Philadelphia’s smart, new, humorous weekly,” as it was called in the issue of May 19, 1930. Here are some pages from that issue. Is the style familiar?

The magazine, appealing to “the cream of the Philadelphia market,” was to present “outstanding work . . . in a fresh and telling manner,” providing “smart Philadelphians” with “an amusing reflection of their tastes.” That sounds a bit like the build-up for Philly. And Morley must have been familiar with Town Crier. It was familiar with him, predicting that he would write a book “containing a whimsical loveliness and a description of the smell of doughnuts.” (This prediction itself may be nothing but whimsy, but, for what it is worth, in both Travels in Philadelphia and Kitty Foyle Morley seems to be drawn to doughnuts.)

Town Crier must have folded very quickly. It scarcely appears in online searches, though we learn that a similar magazine, The Chicagoan, lasted from 1926 to 1935. (Kitty says that another such magazine, intended for the “Detroit smart set,” might be willing to buy and adapt material no longer needed by the defunct Philly.)  If Town Crier seems to have left few traces, why not find out what happened to the magazine’s writers and artists? Please see also The TOWN CRIER and the Talkies: Jay Emanuel and Other Reel Fellows.

Kitty did not seem impressed by the staff of Philly magazine, the Main Line youngsters who treated the project as a lark and the legions of “broke cartoonists” (to the magazine’s lawyer, “bohemians sitting on the stairs”) and “newspaper paragraphers”  with material to sell. As for Town Crier, the names of the writers and artists might not leap off the page, and some appear only as initials (E.H.S., S.N.F., T.R.B.), brief names (Meg), or likely pseudonyms (Criton, Mary Scrapple, Philadelphia West). Some names have not been found, or were too generic to be pinned down: Francine von Schneeberg, Inigo Owen, William A. Armstrong. But the Alphonse B. Miller who wrote a biography of Thaddeus Stevens, as well as many book reviews on U.S. history, is probably the man who contributed an article about Hoover. We find a Harry M. Klingsberg who published fiction on legal subjects, a George H. Eckhardt who wrote about television and clocks, and a Harold W. Brecht who wrote novels. Rae Norden Sauder produced nonfiction for magazines and newspapers. Many continued in journalism: at the Evening Ledger, Sidney Lear, Henry T. Murdock (who became the Inquirer drama critic in 1950 and worked long enough to praise Barbra Streisand), and Eric M. Knight (who was also at the Public Ledger). While Knight was at the Town Crier, as we see in the ad below, his beat was “The Talkies.” Later, he wrote Lassie Come-Home.

TOWN CRIER OF PHILADELPHIA, 19 May 1930

Ivan H. “Cy” Peterman continued his sports reporting, at the Evening Bulletin and the Inquirer, and became a respected war correspondent for the Inquirer during World War II. Samuel Lipshutz is likely the writer of the same name, working around that time at the Record, who went to the New York Post, after being induced by his boss to change his last name to the more Anglo-Saxon Grafton, and became a widely syndicated columnist.

As for the artists, Bainton has not been identified, and two others should be identifiable as locally known artists, were it not for differences in styles and signatures: Angelo (perhaps Emidio Angelo) and Russell Henderson Esq. (perhaps Russell S. Henderson). NOTE: In the small print at the bottom of the second page above, we see that Emidio Angelo was the art director of Town Crier–that would seem to settle the matter!) Styles and signatures can change; E. K. Bergey, the cover artist, could well be the man who (using more than one version of his name and signature) went on to specialize in less stylized, more representational (“realistic” is not quite the word) covers for magazines with names like Spicy and Thrilling Wonder Stories. And two of the Town Crier artists, Richard Decker and George Shellhase (see “This Week” above, and the clown on the next featured page), went on to draw for the New Yorker itself.

TOWN CRIER OF PHILADELPHIA, 19 May 1930
The Centennial, OUR SHOW, and the Streets of Philadelphia

The Centennial, OUR SHOW, and the Streets of Philadelphia

The International Exhibition of 1876 can be seen as a Philadelphia story. It went up in West Philadelphia, honored the secular shrines in Old City, and showcased the culture, institutions, and burgeoning industrial might of the city.

But it could be said that Philadelphia was one thing, and the Centennial another. The Exhibition was set apart in a park, though linked by transit to the grid. It was bordered by temporary facilities for housing and amusement, though many visitors stayed in Center City and bought guidebooks that described the city as well as the Centennial. The Exhibition was itself designed to be, for the most part, temporary.

One could also say that Philadelphia was one thing, the Centennial another, and a burlesque like One Hundred Years a Republic or Our Show; A Humorous Account of the International Exposition (Philadelphia, 1876), by Daisy Shortcut, Arry O’Pagus, and A. B. Frost (that is, David Solis Cohen and his illustrator, H. B. Sommer), yet another. Cohen, writing in 1875, had fun with the past, from Columbus to the earnest women who had raised money for the celebration and the officials who had been planning it. But when he moved on to what might happen in 1876, he was free to invent tall tales, the more startling and unlikely the better. In one, the Colosseum is brought over and made the scene of a gladiatorial combat between Bismarck and the pope. And then there is the sad story of the Sphinx.

The fantasies in Our Show can be bizarre, the text and illustrations full of stereotypes we find offensive. It might seem better to stick to the official record, until we think what it must have been like to get dressed up and swelter through a Main Building with eleven miles of aisles and walkways and twelve thousand exhibits (Richard R. Nicolai, Centennial Philadelphia [Bryn Mawr, 1976], 58), and then confront Memorial Hall and its annex, with their thousands of works of art. No wonder C. D. Richardson offered the Centennial Cane and Chair Combined, “Especially Valuable for LADIES, who cannot possibly endure the fatigue without one.”

INQUIRER, 15 June 1876

The solemn Centennial visitors shown in wood engravings look as though they could use a laugh, and the book is often funny—just look at the “reviews” and the running heads.

Another reason to enjoy Our Show is that its fantasies are tethered to the streets of Philadelphia by local references, references that are set off at a slight angle from reality by altered names and strange contexts: the Alms House, Bedford Street Mission (unlikely scene of an “opium banquet”), Broad and Prime [Washington] Station, Cape May Diamonds, Darby, Richard J. Dobbins (a contractor who worked on Centennial buildings; he is given tongue-in-cheek credit for inventing Dobbins’ Electric Soap), lawyer Daniel Dougherty, Doylestown, Cherry Hill (N.J.), the City Troop, Egg Harbor (N.J.), Mrs. [John W.] Forney (the Forneys were a Centennial power couple), the German Hospital, Girard Avenue Bridge, Horticultural Hall on Broad Street, the House of Corrections, Jefferson Medical College, Manayunk, the Market Street Passenger Railway and other lines, former mayor Morton McMichael, rough and tough alderman William McMullin, Media, the Navy Yard, the Pennsylvania Railroad Bridge, Point Breeze Park (a horse-racing site used in Our Show to shelter the family of Brigham Young), Poplar Street Wharf, the Sawyer Observatory at the Exhibition, Schuylkill Falls Park, the Schuylkill Navy, Seybert’s Bell in Independence Hall, the Spring Garden Soup Society, the State Fencibles, Mayor William S. Stokley, the U.S. Mint, Walnut Street Dock, and West Chester.

He also mentioned well-known products and firms. Some, like Herring’s Hay-Making Machine, the Slawson fare box, Spalding’s Glue, and the Phoenix Iron Works, were not from Philadelphia. But many were. These references were not product placements. There are advertisements at the end of the book, but they are not for the firms mentioned in the book. No surprise there—respectable business owners might not have enjoyed being featured in a satire. The skeletal closing image of Alfred Timothy (i.e., Alfred Traber) Goshorn, the director-general of the Exhibition—

please see my page “Dismantling the Centennial” https://philadelphiaasadvertised.com/dismantling-the-centennial/

—was credited to F. Gutekunst, a prominent, award-winning photographer. The most extravagant fantasy involving a Philadelphia firm was the tale of the modern “Sphynx.” The original monument, placed on display on Belmont Avenue, was destroyed by “relic fiends.” A diplomatic crisis was averted when the firm of Robert Wood & Company created a modern version in bronze.

We can well believe that Cohen, a young proofreader and writer for local newspapers, including the Public Ledger, was known for “his successful and brilliant efforts as an interpreter of the main role in comedies and farces produced at the Amateur Drawing Room” and “[h]is rare gifts as a comedian . . . the means of delight to numerous auditors.” By the way, the efforts in the Amateur Drawing Room were made “to assist work in connection with the Centennial Exhibition” (Henry S. Morais, The Jews of Philadelphia [1894], 315).

Our Show has been made available online by the invaluable Internet Archive. The illustration of the Sphynx was improvised to join picture and text.