(Note from Winnie:  Our guest blogger today is Janét Vincent Lee - an actress, singer, costumer, western re-enactor and most importantly, my friend.  She and I go way back (I won’t say how many years :) ) to our high school days and have just recently reconnected via facebook.  She very generously agreed to cover for me today while I am away attending a writers’ conference.  In honor of her visit and as a thank you to all of you who I know are going to make her feel right at home, I am going to giveaway a book (choice of any book from my backlist) to one person randomly selected from those who post comments for Janét.)

There is no finer way of relieving stress in a marriage than shooting your husband with a shotgun.  At least once a week!

I don’t think there was any wife in our re-enactment troupe who didn’t enjoy opening up with both barrels on her spouse now and then.  Fortunately, the audiences’ favorite shootout skits were always those where the bad guys created havoc, the sheriff and his deputies either were killed or ran away (depending on whether it was a drama or a comedy), and the ladies of the town had to take down the villains on their own.

In the 1990s my then-husband and I managed a troupe of re-enactors known as the Cross Creek Cowboys, based in San Juan Capistrano, California.  The group began with a handful of members from the Living History group at the fabled Mission San Juan Capistrano.  Some of our members were actors but most were not.  Our roster included a physics teacher, a professional cook, an entrepreneur, a bird rescuer, a graphic designer, a mechanic, and diverse others, with our common denominators being a passionate love of the Old West and a burning desire to keep its memory alive. 

Over the course of several years, we had expanded to 22 members and had done hundreds of performances at festivals, parades, fund-raisers and civic events.  We made numerous television appearances, were featured in a number of newspapers and magazines, and amassed a collection of awards and honors for performance and costume authenticity.  Ultimately we produced a half-hour film, shot on a western set in the high desert, featuring all of our members.  But most of all, we had a lot of fun. 

We acquired and constructed enough sets, props, costumes, weapons and supplies to fill a two-car garage and a storage trailer.  We spent untold hours loading and unloading trucks, traveling, pitching and striking tents, designing and sewing costumes, repairing gear, cleaning guns, reloading blanks, doing safety training, researching, writing and rehearsing skits, and, always, looking for more indispensable old goodies.  Most of our free time was spent together.  While performing was undeniably fun, the best part of re-enactment was camaraderie with hundreds of other Old West enthusiasts.  Re-enactment is more than a hobby, it becomes a way of life.

Our troupe were all members of the Single Action Shooting Society, an international organization which formerly held its annual shooting championship in Norco, California before relocating to New Mexico.  The last of these Norco events drew 2500 competitors and over 20,000 members of the public to a five-day encampment.  In addition to wild-west shows, television and movie stars, vendors, artisans, cowboy poets, western musicians, chuck wagon cooks and suffragettes on parade, there was a rambling town set where our troupe and others performed re-enactment skits several times a day.

At the end of the day the gates would close to the public, all weapons would be stowed, lanterns would be lit, and friends would gather around campfires to share a cup of hospitality and rehash the events of the day.  These were the finest times of all.  After dinner there would be music, dancing and socializing in the main tent or the saloon tent, but the campfire visits stretched on into the night until weariness finally dictated that we all retire to our tents, trucks or trailers for the night.

Though some of these multi-day encampments such as End of Trail and Marching Through History no longer take place, the San Bernardino Harvest Fair is still held every November.  Many local troupes of cowboys, townies, mountain men, 7^th Cavalry, native American scouts, Buffalo Soldiers, Civil War re-enactors and musicians perform throughout two weekends.

Several excellent annual events are also still held in Tombstone, Arizona, including  Wyatt Earp Days in May, and Helldorado in October, which commemorates the infamous shootout at the O.K. Corral.  Re-enactors and tourists from throughout the western states gather to bring Tombstone alive with the sounds of spur jinglebobs on boardwalks and gunfire in the streets.  Although carefully coordinated and approved by a safety committee, gunfights appear to break out spontaneously, and tourists gather on the boardwalks to watch. 

The bad part of doing shootouts in Tombstone is “dying” on the street that is, literally, hot enough to cook an egg, and can raise blisters on any unexposed skin that happens to touch it.  Fortunately, our troupe was often invited to perform in the town’s amphitheater, where horned toads skitter across the dirt stage and hide in the shade of the wood-plank bleachers.  The famous Bird Cage Theater is not used for performances but is a museum and legitimate time capsule from the 19^th Century, having been sealed for 50 years before reopening as a museum. 

A favorite memory of mine is of standing alone on the deserted street in front of the Bird Cage, with yellow lamplight in the street and a full moon above.  I heard faint music and laughter from Big Nose Kate’s Saloon a block away, and the clip-clop of hooves of a lone horse walking unhurriedly into town.  It whinnied several times before coming into view at the corner of Allen Street, and the cowboy rode it up to the saloon, tied it to the hitching post and went inside.  It was a magical moment, frozen in time.

There are things I don’t miss about re-enactment.  I don’t miss setting and striking tents in the rain, or dodging horse apples while “dying” in a shooting show on a parade route.  I don’t miss having the police called by neighbors who heard gunfire and hadn’t been informed that there would be a shootout show (“Oh, it’s you guys!  Call off the other car; it’s the Cross Creek bunch again.”).   I don’t miss performing all day in corset, bustle and petticoats in 110-degree heat in Cucamonga.  I don’t miss loading and unloading truckloads of gear as if I were in training as a carnie.  But, as life will do, it parted us and we drifted in different directions, and I miss the countless hours spent with my comrades in arms, bringing the Old West back to life and stepping through the veil of time to live there for a while.  Because, basically, everyone enjoys dressing up and playing cowboy with our friends.

I’m right proud to be here at the Junction. Thank you for having me.

I’ve been writing romance since 1984, and I’ve been fortunate to have several books published. I love what I do. I also love to share with other writers what expertise I have learned about this crazy business. 

Most people have heard the saying, clothes make the man. Through history that has certainly proven true. One can’t think of a knight in medieval times without picturing a man ironclad from head to toe. Even his horse carried protective armor. A mace could smash a horse’s bones if not protected similar to his ride.

Fast forward to the 1800’s and a man still made a living on horseback, but his clothes changed to what we think of as a cowboy. Cowboys’ clothes were nothing if not serviceable, from their hats right down to their boots.

Cowboys wore all types of hats from bowlers to boaters, but for service on the range, broad brims kept the sun off faces and necks. When times really got tough, a cowboy could pour water from a canteen into the crown as a handy trough to water his horse. Low-brimmed hats worked well on the plains when wind kicked up. As you can see, there were different styles worn in different parts of the West.

Cowboys wore what they owned, including long-johns unless it was hotter’ern billy-blue-blazes. They might have one change of shirt and pants; wash one set while wearing the other, and the clean set carried in saddlebags. Flannel shirts were the norm, and few wore belts because they’d chaffed around the waist. Some stitched leather over the seat of their pants and down the inside seam, to prolonged the life of the pants.

Before I forget, another piece of vital gear was the bandanna. If the cowboy drew the drag spot on a drive, rather than eat dust all day long he’d cover his nose and mouth with the bandanna. He could also soak it in cool water and wad it in his hat’s crown, which worked like insulation against the merciless sun. Of course, strips of leather could be used in an emergency, but a bandanna worked just as well as a tourniquet.  

Many cowboys wore chaps. And if you please, that’s pronounced “shaps,” not chaps.

 Shotguns             Batwings            Woolies

Made of leather, chaps protected men’s legs in dense brush. In winter, especially in Northern climes, men pulled on woolies. Rather than remove his spurs and boots, some chaps tied or buckled around the leg. Actually, cowboys of today still wear chaps, and some zipper up the outside of the leg hidden beneath fringe. There’s another shorter style chaps that’s call chinks, which comes from the Spanish chincadera, meaning sawed off. Both styles worn today by rodeo performers may have longer fringe or flashy inlay.

When I see folks today working around horses in tennis shoes, or worse, flip-flops, I want to smack ‘em! Okay, I don’t actually follow through on that urge, but who in his right mind would work close to a six or eight hundred pound animal that could shatter fragile foot bones with one misstep? Sure, boots of old may not have stood up to all that weight, but they were better than nothing, and many boots manufactured today have steel toes.

  Early      Cowboy heel      Mule ear    Fancy

The early boots were worn home following the Civil War. That boot was plain with rounded toe and flat heeled. In the 1860s boot-makers added a reinforced arch and a higher heel. That higher heel serves another purpose. Hooked against the stirrup, it keeps the foot from slipping through. Try that in tennis shoes! The mule ear got its name from the leather flaps added to aid in pulling on higher boots. In brush country, that added height coupled with chaps was pretty good protection. And of course, today’s urban cowboy just loves the fancy stitching and colors added to dress-up his/her feet. Some say it adds to a better, closer fit, too.  

The working cowboy wore spurs. And more often than not, didn’t take them off when entering the house. This spur shows the leather strap that crosses the instep and attaches to spur buttons. Below that is a chain that circles beneath the instep of the boot. The rowel is attached to the heel shank, and of special interest…jinglebobs. Clint Eastwood usually wore jinglebobs on his spurs in his movies.

American cowboys preferred more blunt rowels which were less apt to scour his horse’s barrel. Did you see Mercedes Mc Cambridge’s scene in Giant where she raked Elizabeth Taylor’s black thoroughbred with spurs? As I recall, she wore the longer-rowels like a Spanish colonial pair. These spurs on the right depicted here are fancy silver. Sometimes a cowboy of yesteryear was flush enough in the purse to afford a pair.

This fairly well covers a cowboy’s clothes. His uniform of choice, if you will.

Many moons ago I’m astride the first horse we owned. We suspected Duke was born and bred in cold country. Every year he grew a winter coat, even in Southern California. He was only 14 hands, but he was a joy to ride and moved like a shot, whipping around barrels or turning in the keyhole race to carry one of us across the finish line, often times ahead of other riders.

There’ll be a drawing from the names of those who’ve slogged through this entire blog and leave a comment. I’ll be happy to give a print copy of my latest book from The Wild Rose Press to one lucky winner. The winner will be announced by one of the fillies in the Junction. She’ll explain how the winner should let me know where to send the copy.

And now for an excerpt from Capture an Eagle:

“Where in tarnation is she?”

Dandy pranced, responding to Tanner’s rising tension. The gelding turned in a slow circle as Tanner scanned the vast, lonesome prairie.

Well, fuming at his sister wouldn’t find her. And if Ma and Pa found out, fuming wouldn’t let him escape the tongue-lashing they’d give him for allowing Mariah to ride off on her own. Boy, howdy!

Even though it meant losing distance already covered, he’d have to head south on the west side of the cedar break to find her. “You better not have gotten yourself in trouble, sis,” he groused as he kneed Dandy into a lope.

About the same time he caught sight of them, Tanner smelled smoke. It made sense that Silver Eagle would’ve made a small camp for himself, including a cook fire.

The closer he got, the more perplexed he became. What in tarnation were they doin’? He yanked back on the reins when realization dawned.

Dandy plunged his head down and came close to hunching his back into a stiff-legged buck. Instead, he snorted his displeasure at the rough treatment on his mouth, tossing his head.

Tanner ignored it, so shocked was he. Kissin’? Mariah and Silver Eagle? He shook his head and rubbed his eyes to clear both. And still they remained snuggled together like wire wrapped around a fence post.  

Vaguely, he recalled that day he and Sil had found Mariah senseless at the river. Yeah, he’d noticed…somethin’. Okay, more than somethin’, but he’d chosen not to examine Sil’s

expression too closely. And then forgot about it.

“Damn you,” he seethed. “Damn the both of you!”

Dandy leaped forward when the unaccustomed spurs dug his sides.

Silver Eagle, attention snagged by pounding hoof beats, glanced north. He and Mariah merely held hands by the time Tanner closed in enough to leap from the saddle. Hat sailing off, his body hit Sil’s, sending him to the dirt, to sprawl on his back.

“Damn you! Damn you to hell!” He dealt a knuckle-buster to the jaw, snapping his friend’s head sideways. Knees planted on either side of Silver Eagle’s prone body, he continued yelling, “Damn you!” And put even more weight into his left. Sil’s head whipped the other direction.

“Stop it!”

He dimly heard Mariah’s shouts.

“Are you crazy, Tanner? Stop!”

The next instant her weight slammed against his back.

“Stop! He’s not fighting back! Tanner, for God’s sake, you’ll kill him!” She pummeled his head and shoulders with each desperate word.

More sorrow than his body and mind could tolerate helped him finally see that Mariah was right. Sil lay motionless, absorbing each blow. He hadn’t even tried to protect his face. One blow had split his lower lip. Bruising already evident on his cheek, he’d have a shiner so severe, he wouldn’t see out of that eye for a week.

When Sil slowly turned his head, Tanner saw swelling beginning around the other eye as well. But what made his own vision blur with tears was Sil’s eyes, mirroring the same heartbreak that sliced his own heart. Sil knew as well as he that their friendship, their brotherhood would never be the same.

Could Sil even work on the Broken Spur after this?

“Dammit, Tanner, move. Let him up.” Mariah tugged on his arm as if she could lift his weight.

He jerked out of her grasp and pushed to his feet. As he extended a hand to help Sil rise, Mariah shoved him aside. Falling to her knees, she brushed trembling fingers over Sil’s forehead.

“Look what he’s done to you,” she cried.

Thanks again to the fillies for having me.

You may find Capture an Eagle at The Wild Rose Press or at Amazon: In print,

ISBN: 1-60154-630-0, or Digital

And be sure to visit my web site: www.joycehendersonauthor.com

Stop in and say, howdy. Visiting with readers via cyberspace is one of the greatest privileges of my life as a writer.

There’ll be a drawing from the names of those who’ve slogged through this entire blog and leave a comment. I’ll be happy to give a print copy of my latest book from The Wild Rose Press to one lucky winner. The winner will be announced by one of the fillies in the Junction. She’ll explain how the winner should let me know where to send the copy.

When I wrote my first novel, my love for Gone With the Wind (both book and movie) led me to set my story in the Civil War South. Over the course of the next ten years, I explored many other settings: Medieval England, Regency England, Victorian England, the high seas (pirate books), the Titanic, the Old West. I had a lot of fun and learned a lot of historical facts that I hadn’t known before.

But in the early 1990’s I discovered my historical “sweet spot” when I wrote my first Americana romance. I realized how much I loved writing about ordinary people who had the courage to live and work in the American West, people who had the courage to build new towns and begin new lives, no matter the hardships that came their way.

I particularly love to set my books in Idaho. My home state is a beautiful place, full of rugged mountains and high country deserts and amazing rivers and lakes, and I love sharing all of it with my readers.

My most recent series, the Sisters of Bethlehem Springs (a fictional Idaho town), got its start with the question: “Who says a woman can’t do a man’s job?” I wanted my heroines to have unusual occupations for their day. So what would be “their day?” I immediately knew I would return to the early 1900’s. It’s such a perfect example of the old mixing with the new. Some people rode in buggies pulled by horses. Others puttered along in their Model T Fords. Most people still had to use outhouses while some homes had fancy new plumbing. Electricity illuminated some buildings while the majority used oil lamps. If you wanted to go across the country, you went by train –– unless you were a pilot of one of those new flying machines.

In the third and final book of the Sisters of Bethlehem Springs series, A Matter of Character (which takes place in 1918), my heroine is a dime novelist, writing under a male pseudonym. Her occupation is a secret, even from members of her family. But with the arrival of newspaperman Joshua Crawford in Bethlehem Springs, her secret is about to come out.

Research for this series took me in all kinds of directions. For A Vote of Confidence (1915), I researched, among other things, politics and health spas. For Fit To Be Tied (1916), my focus was on cattle ranching, horses, and the war in Europe, especially its impact on England. For A Matter of Character, in addition to research on dime novels, I needed to know all about the Spanish Flu pandemic of 1918.

I hope readers will enjoy reading A Matter of Character (which should begin arriving in stores within the next week or so) as much as I enjoyed telling Daphne’s and Joshua’s story. I also hope they will miss the people of Bethlehem Springs as much as I miss them now that I’ve moved on to writing about other characters.

Before I go, I’d like to invite readers of Petticoats & Pistols to join me for a Facebook launch party on my Novelist Page on Friday, May 21st, from 6 to 8 PM. I’ll be giving away several copies of A Matter of Character to participants that night. Also, Zondervan and I are hosting a contest with three really fabulous giveaways. The contest will kick off on Monday, May 24th. Trust me, you don’t want to miss this. Be sure to visit my web site, www.robinleehatcher.com on the 24th and follow the contest link (located on the Home page).

Robin is giving away one copy of her brand-new release, A Matter of Character, to a very lucky commenter. Join in the discussion and be sure to include your email address so we can contact you.

We’re going to start and end this week with research books. On Monday, Winnie gave us a wonderful look at a book containing information and recipes from San Francisco in the late 1800s. Now I want to share a really cool book I discovered a couple of years ago. I mentioned it during our fun week of recipes back in September, but I didn’t get into what a truly great research resource this is.

THE ORIGINAL WHITE HOUSE COOKBOOK

A Comprehensive Cyclopedia of Information for the Home,

Mrs. P.L. Gillette & Steward of the White House Mr. Hugo Ziemann, 1887 Edition

To the

Wives of Our Presidents,

Those Noble Women who have

Graced the White House,

And whose Names and Memories

Are dear to all Americans,

This Volume

 Is affectionately dedicated

The Original White House Cook Book has a wealth of information that isn’t restricted to a single locale, a single setting in our history. There are complete menus showing family dinners or how a fancy dinner was put together in the late nineteenth century in America; dyeing or coloring cloth–and eyebrows; how to repair a hole in a silk gown; even table etiquette.

Here’s an example. General Grant’s Birthday Dinner started with clams, went to Consomme Imperatrice Bisque de Crabes (crab bisque), then to a variety of hors d’oeuvres, followed by trout, mushrooms, filet of beef… and then they got to the entrees! They served chicken and veal with green beans and asparagus, followed by sorbet to cleanse the pallet. Next came squab and salad, then fruits and pastries. The meal ended with glace, or glazed fruit, petit fours and coffee.

I feel stuffed just reading about it.

The book includes the seating arrangements for a dinner when the President was in attendance, how glassware should arranged on the tables, even what to put in the ladies’ corsages and the men’s boutonnieres.

Toward the back of the volume is a section dedicated to caring for those who visit the White House; how colds are caught; how to clean black lace; and how to render muslin clothing less likely to catch fire. In the author’s words: “Remember this and save the lives of your children.”

You can even learn how to make Rose Water or Bay Rum, Cold Cream or Hair Invigorator. Or my particular favorite, how to remove freckles. And no, I haven’t tried it yet – but I might.

This is a fun book with a wealth of helpful information. For example, if your heroine is a mail-order bride who grew up working in a wealthy household, you can find what kinds of skills she might have learned in this book.

THE ORIGINAL WHITE HOUSE COOKBOOK 1887 Edition, Mrs. P.L. Gillette & Steward of the White House Mr. Hugo Ziemann [I located it on Amazon.com and BarnesandNoble.com; Borders.com has a different edition available]

Have you discovered a research book that you feel is exceptional? Share it, please.

Linore Rose Burkard

Those who enjoy the excitement of a western romance, with all its shoot-em-out
pistols and gunsmoke, may not realize that regency romances might also feature a
fair amount of weaponry. While the rules of engagement (for fighting, that is, not matrimony)
were vastly different than those in operation during the years of the “Wild, Wild, West,”
duelling was a real part of regency society, and war was all around. Both required weapons.

It’s impossible to give a good overview of weapons and their uses in any sense of the word
in one short blog-post, but for a few  great pictures of vintage weapons, subscribe to my newsletter.
Regency weapons will be featured in an upcoming issue, including actual photos of weapons in the collection of Vonnie Hughes, a
regency romance writer. Subscribe HERE–it only takes a minute, and one new subscriber during the month
of November will win a free copy of one of my books! It could be YOU.

Beginning with the American Revolution, British and Hessian muskets and rifles were in abundance
not only in the army, but in British society. The guard and coachman on a carriage, stage coach
or the mail would carry a blunderbuss. Even some elements of the famous Red Coat–the
costume of the British soldier–became fashionable for civilians, such as the bicorne (or tricorne),
and Hessian boots. But most civilians did not cart around a heavy, awkward rifle or musket. Instead,
they favored pistols, which could fit in a coat pocket, or sit snugly inside a box made just for that
purpose, in a carriage or coach.  Travelers in particular would keep a pistol tucked inside
a pocket or luggage, and the ever present threat of highwaymen, particularly at night, made this
a practical, necessary precaution.

Then there was the pistol at home in its elegant wooden box, shiny and lovely to behold, kept
stashed away somewhere until it was needed, say, for a duel. Guns of the day often had finials, silver fittings
on English walnut with intricate lacy inlays of silver wire. Popular during the regency was a British Holster Pistol,
 carried by both soldiers and civilians, and made by John Richards of London. Later in the century,
cylinder engraving became an art which made many antique weapons collector’s objects from the start.

Duelling was not akin to the saloon brawl that escalated into gun shots in the West. Instead, it
was a more formal affair; but this is not to say that duels did not result from hot-headedness.
Any perceived insult against one’s self, one’s honour, one’s wife or sister could result in a duel being arranged.
The injured party would demand “satisfaction,” which in turn had to be answered–accepted by the
principal. Once the duel was agreed upon, both parties had to choose “seconds,” back up men who had
to be present at the event. Their first job was to try and effect a reconciliation, which meant trying to make the
perpetrator apologize for his offence. Failing that, they ensured that the rules were followed; that there was no foul
play; and, in the event that the dueller got cold feet or passed out, the “second” would step
in as his substitute, though in practice, this rarely if ever happened. In the event of great injury or death, the second was also
a witness, and quite possibly the only means of procuring much-needed medical attention to a wounded man.

 Calling for a duel was not to be done lightly, as it could result in death. But once called, it
was a matter of honour, and few men would refuse the challenge without suffering a loss of
respect. If a man was killed as a result of a duel, his killer would be charged with murder. 

Lots of old guns can be seen HERE.

Leave a comment to get your name in the drawing for a copy of you choice of either Before the Season Ends or The
House in Grosvenor Square.

Linore Rose Burkard is the creator of “Inspirational Romance for the Jane Austen Soul.” Her characters take you back in time to experience life and love during the era of Regency England (circa 1811 – 1820). Fans of classic romances, such as Pride & Prejudice, Emma, and Sense & Sensibility, will enjoy meeting Ariana Forsythe, a feisty heroine who finds her heart and beliefs tested by high-society London.

Ms. Burkard’s novels include Before the Seasons Ends and The House in Grosvenor Square (coming April, 2009). Her stories blend Christian faith and romance with well-researched details from the Regency period. Her books and monthly newsletter captivate readers with little-known facts, exciting stories, and historical insights. Experience a romantic age, where timeless lessons still apply to modern life. And, enjoy a romance that reminds you happy endings are possible for everyone.
Linore’s Website HERE

Once again I was trying to come up with some activity or thing the children in my current WIP could use to amuse themselves.  One idea I thought of was paper dolls.  But how common were they in 1894?  So off I went to do some research.  And here is a summary of what I found.

First of all, identifying the date of the appearance of the first paper dolls depends on your definition of what a paper doll is.  As early as AD 900 the Japanese were using paper figurines in purification ceremonies.  In the thirteenth century the Chinese use large stick-mounted figures in their puppet shows.  But most historians agree that paper dolls as we currently think of them originated in the late eighteenth century when French dressmakers employed them as a way to illustrate the latest fashions to their customers.  Today you can find a rare set of  hand painted figures from the 1780s housed in the Winerhur Museum in Delaware.

In Europe, many of the early sets of paper dolls depicted actors and actresses of the stage and there were separately crafted toy stages to go with them.

In Pioneer America, however, paper was a prized resource and any child lucky enough to get paper dolls treasured them greatly.  They were carefully pressed between the pages of books or placed in a sturdy box.

In 1810, S&J Fuller Company of London produced the first commercially popular paper doll.  Named ‘Little Fanny’, the doll was printed in a 15 page book that boasted seven figures.  In addition to the various doll poses and outfits, the book included a moral tale for the edification of the children to whom it was presented.  Two years later, J. Belcher of America printed a similar doll with accompanying moral tale, this one named Little Henry.   Within ten years paper dolls were a popular toy for children in both America and Europe.

In the early days, basic paper dolls were created in various states of dress.  Some came modestly dressed with permanently painted on clothing, while others were attired only in undergarments.  Also, the early versions were missing the tabs for affixing the clothing that are common place today.  Before these came along,  children carefully applied tiny drops of sealing wax to the paper ‘clothes’ as a temporary glue.

Before chroma-lithography came into common usage, paper dolls were colored by hand.  Civil War widows often supplemented depleted incomes by embellishing the printed dolls .  However, even after the advent of lithography, some of the manufacturers continued to print in black and white for children to color themselves.

In 1856, Anson Randolph published the book Paper Dolls and How to Make Them, A Book for Little Girls.  Inside the pages were illustrations of dolls and clothing to cut out and play with.  According to The New York Evangelist   “Paper Dolls and How to Make Them, is a book of a thousand for little girls. It contains instructions how to make those ingenious and beautiful little paper dolls, clothed with every variety of costume, and every style of appearance, which are sometimes sold at the shops. The instructions are so plain, and the plates giving illus­trations so numerous, that every little girl can learn the art, and in learning it, will have a perpetual field for the exercise of taste and ingenuity. The study is exceed­ingly attractive, and will furnish means of enjoyment to the nursery and fireside that may well alternate with books and plays. The author has displayed great tact in giving the descriptions, and a genial loving desire to promote the happiness of children — a trait which we place among the highest virtues, in anybody. As there is nothing of the kind in market, and opens a bound­less field of occupation and enjoyment, the little book must become a favorite.”

(Ah-ha – this is something I can use in my book!)

In 1859 Godey’s Lady’s Book became the first magazine to include a paper doll in its pages.  Other magazines quickly followed suit, including Ladies’ Home Journal, Good Housekeeping and Women’s Home Companion.  These dolls carried such names as Lettie Lane, Polly Pratt, and the famous Kewpie Dolls, and often included figures comprising full families, including servants and pets.   The most popular of these ‘magazine dolls’ came along in 1951 from MacCall’s Magazine – Betsy McCall.

As paper dolls grew in popularity, manufacturers of household goods saw them as a great medium to promote their products.  Some of the products advertised include Pillsbury flour, Singer sewing machines, Hood’s Sarsaparilla, Clark threads and Lyon’s coffee.  These dolls were produced either as die cut items or as printed cards to cut out.  They were produced in large quantities and many examples can still be found today.  J&P Coats company (now Coats and Clark) took this a step farther when they came up with a unique take on the paper doll.  There were five different dolls available to purchasers of Spool and Crochet Cotton.  The unique feature of these dolls were that they had mechanical heads.  The head piece was separate from the body and was actually constructed in a wheel formation that contained three heads painted on both sides, so that the doll could be viewed with any one of six expressions, and even some slight variations on hairstyles.  This head was attached to the body of the doll at the neck with an eyelet,  The clothing for these ‘mechanical paper dolls’ were constructed with a fold and slipped over the head in the same fashion as a ‘real’ dress.

Another group that jumped on the paper doll band wagon were newspapers.  In the 1890s the Boston Herald printed two paper dolls, a blonde and a brunette along with instructions for ordering additional dolls.  They kept the interest alive by printing clothing for the dolls in subsequent issues.  The Boston Globe, not to be outdone, began printing their own series of dolls and clothing.  After the turn of the century a Teddy Bear paper doll series made an appearance in the paper as well.  By 1916 several other papers had begun following suit.  During the Great Depression, newspaper produced paper dolls enjoyed a huge comeback.  Many of the characters were pulled directly from the comic papers, characters such as Dick Tracy, Li’l Abner, the Katzenjammer Kids and Brenda Starr.

The 1940s and 1950s was the advent of America’s romanticized love of the Wild West and this was reflected in paper dolls as well.  Many sets of paper dolls were crafted after characters from western movies and television shows, and of the imagined life at a dude ranch.

By the early 1960s, Barbie had appeared on the paper doll scene and quickly became the most popular paper doll among American children of all time, a title she still holds today.

So what about you?  Did you play with paper dolls as a child?  Do you have a particular set you remember fondly?

As the old cowboy saying goes, ‘It’s the last thing you take off and the first thing that is noticed.’

Top hats, derbys, tams, fedoras, berets, bowlers – hats do more than cover a man’s head. They make a statement about the wearer.

If I say Bogart, can you see him, fedora pulled down low, collar turned up?

Or Charlie Chaplin in his bowler?

How about President Abraham Lincoln?

Or Sean Connery in his Panama?

Hats say a lot about the personality of the man – and some, like President Lincoln’s black stovepipe hat, will be forever linked with the man who wore it.

I believe the most recognizable type of hat, hands down, is the cowboy hat.

Did you see John Wayne in The Quiet Man and wonder where the heck his Stetson was?

There, that’s better.

How about the hat Clint Eastwood wore in Pale Rider?

John Stetson was the creator of what we think of today as the cowboy hat. The son of a master hatter, John made his first cowboy hat as a demonstration to his buddies about making felt from fur. The wide-brimmed hat was so useful in keeping off the sun and rain, his companions wanted one of their own. And an empire was born.

Stetson started his company in 1865. By 1866, the “Hat of the West” or “Boss of the Plains” set the John B. Stetson Company on the path to becoming the most famous hat in the world. Originally sold in one grade (2 ounce felt) and one color (natural), that original Stetson hat sold for five dollars. The equivalent hat today would cost close to $1,000.

Check out these two Montana dudes (1885) in their brand new Stetson ‘Boss of the Plains.’ The guy on the left is wearing Levi’s.

Made of a blend of rabbit, wild hare and beaver fur, today’s Stetson sets the mark for cowboy hats. You can get your Stetson in felt or straw, black, white, grey, tan; choose your style, for casual or dress, for outside wear or for going to church.

If you want to see how these famous hats are made, visit StetsonHats.com and click on the “The Making of a Stetson Hat” from the list on the left.

Stetson isn’t the only hat maker in the U.S. In Dallas in 1927, the Byer-Rolnick company began making the Resistol hats, so named because they were made to “resist all weather.”

But Stetson is the name most associated with the west.

Here’s some eye-candy, just because.

“Even after the wild aspect of the West was somewhat tamed, the cowboy hat never really lost its ability to lend that reckless and rugged aura to its wearer.”

My 96 ½ year old maternal grandmother is a pack rat. We discovered this when, at her insistence, the family began cleaning out her home and readying it to sell.

After three days of sorting, my sister, mother and I sat down to go through her jewelry boxes. The memories were fun – the bird and flower and dragonfly pins she always wore when teaching because her kindergarten and first grade students loved them. [The articulated owl was my favorite.] We found several cameos [see my August 7 post Carved in Stone--or Shell]. And pearls, of all lengths. Seems GGG-Great Grandmother Grace loves pearls.

In a box marked “Keepsakes” we found hat pins and buttons and old marbles. And a watch fob. The card with it says it belonged to GGG’s father, my Great Grandfather Ole, a Norwegian wheat farmer from North Dakota.

The chain is nothing fancy but there is a bit of bling on it that brought a wonderful surprise. The square gold locket fob hanging from the center held an old photo of my Great Grandmother Julia.

The find got me thinking: what kind of bling would you find on a gentleman’s dressing table in the 1800s?

A fancy button waiting to be sewn back onto a vest. We found a few of those, military coat buttons mostly, carefully pinned to cards identifying the owners.

Cufflinks of gold, perhaps declaring the gentleman’s membership in an organization like the Masons.

The most common bit of bling would likely be a pocket watch and chain, that extra little something that showed a man’s taste, his position, and sometimes offered a glimpse into his life.

The pocket watch has been around since the 1500s. Originally a status symbol only the very rich could afford, by the 19^th century most anyone who wanted one could buy one.

Attached to the pocket watch would be a chain, one end secured to his clothing, the other to the watch. Most commonly, the chain would hook through a button hole on his vest or coat, leaving the chain to drape across his middle to the pocket containing the watch. The chain was functional–it kept his watch attached to his person should it accidentally slip from the pocket–but it could also be jewelry.

My Great Grandfather’s watch chain was made of human hair. I assume the chain was braided by Julia for Ole–perhaps it was a gift for him when they were betrothed. I can imagine him, all spiffed up and looking proud, with that chain and fob adorning his vest.

What is a fob, you ask? Fobs are medallions that would hang from the end of a gentleman’s watch chain. Their purpose was to help pull the watch from their vest pocket.

They could be made of the same material as the chain: gold, silver, hair, etc. Here’s a good example – the fob is the small length of braided hair chain hanging by the button finding.

See the little loop at the end? From there the gentleman could hang almost any bit of bling he wished.

The fob could display the family crest.

Or be covered with gold and jewels.

It could be a locket, like Great Grandfather Ole’s. Or perhaps a cameo.

There were Double Albert chains, named for Queen Victoria’s husband, with a fob hanging from the center.

And the fob wasn’t an exclusively male piece of jewelry. Women commonly wore very ornate little fobs such as decorated balls or baskets of flowers or lockets. 

In Victorian times, garment clip chains were worn by women on the pocket of a blouse or waist band of a skirt and were worn by men clipped directly on the trouser pocket or vest pocket.

Women also wore their watches on long chains, or slides. The slide was a very long chain with a slide in the middle that could be adjusted to the length that looked best with the lady’s garment. The slide itself could be engraved, or decorated with seed pearls or small gemstones.

Or perhaps she preferred to wear a pin.

The possibilities were only limited by the wearer’s taste and financial means.

Does anyone you know wear a pocket watch? What’s the most unusual watch fob you’ve seen?

www.tracygarrett.com  

I have always loved cameos. I received one as a birthday gift years ago, white carving on a brown background set in an antique gold broach, and it’s one of my favorite pieces of jewelry. Not because I wear it all the time, but because of the history of the gift. My history.

Recently my mother, sister and I were sorting through my grandmother’s jewelry. Among the dozens of bird and animal pins—she loved wearing them for her kindergarten students—were several cameos. Some were plastic, others looked to be rather old. Since GGG (she signed her cards this way—stands for Great Grandmother Grace) didn’t collect fine jewelry, the old pieces were probably her mother’s. Looking at those wonderful pieces got me thinking about the history of the cameo.

The cameo is much older than I thought. Though the origins are still under dispute, most think the word “Cameo” comes from the Hebrew word KAMEA, meaning a charm or amulet, or from the Latin CAMMAEUS, meaning “engraved gem”.

Historians believe this carving tradition came from Alexandria, Egypt, nearly three centuries before the birth of Christ. Early Greek and Roman carvings featured images of gods and goddesses, mythological scenes and biblical events. Some immortalized rulers or heroes. During the era of Helen [323BC – 31/30BC], women wore cameos depicting a dancing Eros as an invitation to perspective lovers.

They’ve been used on military uniforms, rings, watch fobs, pins, amulets, vases, cups and dishes. They became a collector’s item during the reign of Queen Elizabeth to demonstrate status and wealth.

Queen Victoria popularized the cameos made of sea shells. Napoleon wore a cameo to his own wedding and founded a school in Paris to teach the art of cameo carving to young apprentices.

Stone, shell and coral are the materials most often used for the carvings. In stones, you’ll find agate and less often, turquoise.

Shell is probably the most commonly used material, because of it’s availability to carvers in all locations and financial situations. Among the shells used are Cornelian, Cassis Madagascariensis, Empire Helmet or Conch, Sardonyx (that’s the material in the pink amulet above), and Strombus Giga.

The cameos we’re most familiar with show a young woman, hair and dress appropriate to the period of the carving, in various colors. 

In the 1840s, the goddess Athena was a popular subject.

They even carved cameos of such things as peacocks and horses. 

Here’s one of my favorites from my research:

I still don’t know the origin of the lovely pieces in my grandmother’s collection, but that doesn’t matter so much. I appreciate them for their beauty and the history they portray—my history.

Do any of you own cameos? Do you know where they came from?

www.tracygarrett.com

The Montgomery Ward catalog has been called one of the most influential American books ever published. One such nominating committee, the Grolier Club, stated: “The mail order catalogue has been perhaps the greatest single influence in increasing the standard of American living. It brought the benefit of wholesale prices to city and hamlet, to the crossroads and prairie.”

Aaron Montgomery Ward was born in Chatham, New Jersey in 1844 and his family went west to Niles, Michigan in 1853 where his father took up the cobbler’s trade. Aaron left school at 14 to work in brickyards and a barrel factory where he learned his most valuable lesson: “I learned I was not physically or mentally suited for brick or barrel making.”

After clerking at a shoe store and then a country store, earning $6 a month,
plus board, Ward was then ready to go to the big city. At that time Chicago was home to 30,000 people and known, none too affectionately, as “The Mudhole of the Prairies.” The streets were barely above the level of Lake Michigan and covered with bottomless muck.

But by the late 1860s, Chicago was teeming with post-Civil War energy. Fifteen railroad lines moved 150 trains a day out of the busy terminals. Like thousands of other young men Ward arrived in Chicago in 1866 and began work in various dry goods firms, including one operated by Marshall Field. He became a salesman, his income rising to a whopping $12 a week.

As he made tedious rounds through the mud in his horse and buggy, he took particular notice of the country stores along his route. They were gathering places with potbelly stoves and moonlighted as meeting places for local farmers. However these outlets were far from helpful when the farmers had to actually buy something. Selections were small and prices high. Storekeepers were at the mercy of big-city wholesalers.

After considering how he could help the disadvantaged farmer, Ward decided on a mail order store. He planned to set up in the big city where he could easily reach suppliers and buy in quantity to get the best prices. He could send a catalog listing his prices to farmers who could order and receive their items by mail, cash on delivery. It was not a new idea but the few direct mail firms at the time sold only one or two items. Ward was going to bring the whole store to the farmer.

Ward worked and saved. He talked about his idea with friends and associates. They all agreed he would go broke trying to sell goods sight-unseen to back country folk. He was not dissuaded. By 1871 he finally saved enough money to buy a small amount of goods at wholesale prices. On October 8, 1871 the Great Chicago Fire engulfed the city for 30 hours. Every building in a 4-square mile area was destroyed. So was Ward’s inventory.

Ward went back to work. By August 1872 he scraped up money and convinced a few people to join him, raising $1600 in working capital. He printed up a one-page price list and hand-addressed the first circulars to the Grangers, a co-operative farm supply organization. One of his earliest price lists contained 163 items under the banner Supplied By The Cheapest Cash House In America. Most of the items cost one dollar, including clothing, a 6-view stereoscope, and a backgammon set.

For most of 1873, Ward’s mailbox was bare. His partners wanted out and Ward—who still had his sales job—managed to buy them out of their small investments. The Panic of 1873 quickly sunk even the established traditional retailers.

His business was ridiculed by the Chicago Tribune as a disreputable firm “hidden from public gaze with no merchandise displayed and reachable only through the post office.” Under threat of a lawsuit, the Tribune printed a retraction. The retraction was added to the next flyer and sales increased!

About this time, ready-made clothing began appearing. The accepted belief was that no two people had the same measurements; therefore tailors were needed to make quality garments. But the crunch for uniforms in the Civil War had demonstrated that certain combinations of measurements could be standardized. Ward told his faraway customers: “Give your age and describe your general build and we will nine times out of ten give you a fit.”

Ward wrote all the early copy. He always included a message in his catalogs, often giving money-saving tips. “It is best to make your order around five dollars. Shipping charges on small orders will eat up your savings. Consider joining a buying club with your neighbors.”

Consumers came to trust Ward’s unseen store, and business grew rapidly. He bound his first catalog in 1874, and in 1875 the book expanded to seventy-two pages. Worrying that he might become too big, Ward took an ad in Farmers Voice just to reassure his customers he had not lost touch with their needs.

In 1893 Ward sold controlling interest to George R. Thorne who had come on as a partner late in 1873. Ward remained president, but after a while he stopped attending board meetings. The last twenty years of his life were spent preserving the Chicago waterfront as a park for the people. He spent over two hundred thousand dollars of his own money to defend the public’s right to open space.

His long-time efforts to prevent the erection of buildings along Lake Michigan won him the title of The Watch Dog of the Lake Front. At one time there were forty-six building projects planned in the park, and he fought them all successfully, losing many influential friends along the way. Finally, just before his death in 1913 he won his final legal battle to forever keep the waterfront an open area.

 
The Tribune, no friend of Montgomery Ward, wrote: “We know now that Mr. Ward was right, was farsighted, was public spirited. That he was unjustly criticized as a selfish obstructionist or as a fanatic. Before he died, it is pleasant to think Mr. Ward knew that the community had swung round to his side and was grateful for the service he had performed in spite of misunderstanding and injustice.”

It’s amazing to think he was the forerunner for all the mail order catalogues that would follow, and that shopping by mail would become commonplace. Imagine what Mr. Ward would think of telemarketing or the incredible world of ebay!

Quite honestly, I make most of my book purchases online, plus a great many other things, from toys to cabinet hardware. The most awesome things I’ve purchased online recently are reproduction Jadeite cabinet knobs and glass handles and a really cool neck and shoulder heating pad stuffed with flaxseed. Received any interesting deliveries in the mail lately?

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