We love our letterhead here in the processing sections of the Library of Virginia. One can come across such interesting, varied, and colorful examples while processing Governor’s papers, personal letters, or court records. We’ve shared a few examples of our finds in previous blog postings and have happily learned that you love them, too! As a result, we continue to save examples for future Out of the Box installments. It was with that thought that I made a Xerox of the following letterhead, assuming that I’d add it to our growing file to share at a later date. I showed it to a colleague, and she said, “Google those lines and see what you find.” Sure enough, there was more to this letterhead than met the eye.

The image and line refer to a song written during the 1844 presidential campaign for Whig Party nominee Henry Clay. The illustration shows a raccoon holding a document (or stick) labeled “Constitution,” and rolling a large ball after a scurrying fox. Considered to be the first modern national campaign, the 1844 contest pitted the Whig, Clay, against Democrat James K. Polk. This being Clay’s third presidential race, the Democrats pejoratively dubbed him “the same old coon” in reference to his perennial candidacy. In response, the Whigs decided to embrace the moniker, even using the raccoon image on their banners and bringing live raccoons to rallies. The “Old Kentucky Coon” was born.

This cartoon letterhead, topping what is an otherwise mundane piece of Madison County court paperwork, characterizes the nomination fight amongst the Democrats and uses two lines from a ditty that mocks all of the would-be Democratic candidates. The fox running ahead of the ball pushed by the raccoon is meant to symbolize Martin Van Buren, “the red fox of Kinderhook.” The former president was attempting to gain the Democratic nomination in 1844 alongside Polk, Lewis Cass, Richard M. Johnson, James Buchanan, and John C. Calhoun. The ball represents a popular political advertising gimmick of the day. It became popular for proponents of a particular candidate to roll large leather balls bearing a campaign slogan or candidate’s name through towns as part of a rally or procession in order to garner support for their man. I suppose that’s better than today’s non-stop campaign commercials and robo-calls!

The rally song referenced by the two lines under the illustration was set to the tune of “Old Dan Tucker.” Varied lyrics can be found transcribed online from newspapers but all unfavorably characterized the Democratic candidates challenging Clay. Buchanan was “an old wagon horse,” Johnson, a War of 1812 veteran, was “an old war horse” and slayer of “Tecumsey” [Shawnee chief Tecumseh], and “the fiery Southern horse” referred to Calhoun. These depictions were similar to imagery used in political cartoons of the day.

According to Dr. Michael T. Smith, professor at McNeese State University in Lake Charles, Louisiana, nineteenth-century political cartoons “are often dense with references that [are] sort of hard to puzzle out.” These complex and symbolic illustrations used imagery that would have been familiar to the contemporary American in order to convey certain political or social opinions. One in particular that predicts Democratic defeat shows Van Buren, Polk, Andrew Jackson, Thomas Hart Benton, and George M. Dallas in a dinghy being pulled by the steamer Ballot Box up the Salt River. At the stern of the steamer is a large cabbage on a pike, a reference to imagery from the 1840 campaign indicating the Whigs’ desire to retire Van Buren to Kinderhook “to raise cabbages.” (For more on campaign propaganda from the election of 1840, see the earlier blog post, “This is the House that Jack Built.”) Other cartoons portraying the 1844 presidential candidates that I found while researching this one show Polk as an alligator, Van Buren as a rat, and the incumbent, John Tyler, as a rattlesnake. Still other cartoons address the issue of the annexation of Texas, a major issue of the 1844 campaign.

So, out of a very large (1.5 cubic feet), and mostly dull, court case (Madison County Chancery Cause Administrators of Thomas Shirley vs. Heirs of Thomas Shirley and Zachariah Shirley vs. Administrators of Thomas Shirley, 1919-001) came an interesting piece of scrap paper that took me back to the election of 1844.

-Vince Brooks, Senior Local Records Archivist

As promised in a previous post, here’s another look at the plethora of letterheads and stationery found in our archives.  The original text by Vince Brooks is included here for context.

Commercial stationery can offer a fascinating snapshot of a place or time. Scholars of this subject point out that the rich illustrations and elaborate printing of commercial letterheads, billheads, and envelopes correspond with the dramatic rise in industrialization in America. According to one expert, the period 1860 to 1920 represents the heyday of commercial stationery, when Americans could see their growing nation reflected in the artwork on their bills and correspondence. As commercial artists influenced the job printing profession, the illustrations became more detailed and creative.

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Robert Biggert, an authority on commercial stationery, wrote an extensive study of letterhead design for the Ephemera Society of America entitled “Architectural Vignettes on Commercial Stationery” and donated his personal collection of stationery, now known as the Biggert Collection, to the Avery Architectural and Fine Arts Library at Columbia University.

The primary role of these illustrations at the time of their use was publicity. The images showed bustling factories, busy street corners, and sturdy bank buildings–all portraying ideas of solidity, activity, and progress. Other types of symbolism can be found in commercial stationery, the most ubiquitous being “man’s best friend.” Dogs show up on all sorts of stationery, especially that of banks or other financial companies. Often seen is the illustration of the dog lying in front of a vault or safe, the “watch dog” meant to convey the idea of security. This becomes such a well-known image, that eventually only a dog’s head is needed on checks or envelopes to communicate this meaning.

Letterheads found in the various collections at the Library of Virginia, in addition to sometimes being entertaining, offer an excellent example of secondary research value, especially the stationery depicting buildings. These illustrations can often be the only visual representation of a structure now demolished and can be a great aid to architectural historians. Additionally, business historians and students of graphic design can find letterhead useful in their studies.

-Vincent Brooks, Senior Local Records Archivist

(Editor’s note:  Additional posts featuring letterhead in the collection will go up at some point in the future. Thanks to Vincent Brooks, Sarah Nerney, Bari Helms, Louise Jones, and Ed Jordan for contributing letterhead they found while processing.)

Business letterhead can offer a fascinating snapshot of a place or time. A striking example appeared in the Rockingham County chancery causes recently. In the case of Ridgemont Cement & Manufacturing Company vs. Manly Manufacturing Company, 1900, there is a piece of Manly Manufacturing Company letterhead dated 1 March 1895 featuring an image of stereotypical 19^th-century African American caricature behind bars. Shocking to our 21^st-century sensibilities, this type of advertising was very common beginning in the Victorian era. Caricatured images of African Americans and other minorities were commonly used to sell products because they capitalized on existing beliefs and, ultimately, reinforced existing prejudices.

Manly Manufacturing Company billed itself as “The First and Only Steel Jail Works in THE SOUTH.” Headquartered in Dalton, Georgia, the firm was originally Manly & Cooper, a foundry responsible for casting, amongst other items, the ornamental fence surrounding Thomas Jefferson’s gravesite in Charlottesville. Relocating from Philadelphia to Dalton in 1887, the company developed “Manly Portable Convict Cages,” horse-drawn, steel-wheeled cages to house prisoners working on outdoor projects. The cages became one of its best selling products.

A quick Internet search revealed that Manly Manufacturing is still in business today, 121 years later, as Manly Steel.

The Rockingham County chancery collection contains 534 Hollinger boxes or about 250 cubic feet of records. It is currently being processed for digitization.

-Vince Brooks, Senior Local Records Archivist

As promised in a previous post, here’s another look at the plethora of letterheads and stationery found in our archives.  The original text by Vince Brooks is included here for context.

Commercial stationery can offer a fascinating snapshot of a place or time. Scholars of this subject point out that the rich illustrations and elaborate printing of commercial letterheads, billheads, and envelopes correspond with the dramatic rise in industrialization in America. According to one expert, the period 1860 to 1920 represents the heyday of commercial stationery, when Americans could see their growing nation reflected in the artwork on their bills and correspondence. As commercial artists influenced the job printing profession, the illustrations became more detailed and creative.

12►

Robert Biggert, an authority on commercial stationery, wrote an extensive study of letterhead design for the Ephemera Society of America entitled “Architectural Vignettes on Commercial Stationery” and donated his personal collection of stationery, now known as the Biggert Collection, to the Avery Architectural and Fine Arts Library at Columbia University.

The primary role of these illustrations at the time of their use was publicity. The images showed bustling factories, busy street corners, and sturdy bank buildings–all portraying ideas of solidity, activity, and progress. Other types of symbolism can be found in commercial stationery, the most ubiquitous being “man’s best friend.” Dogs show up on all sorts of stationery, especially that of banks or other financial companies. Often seen is the illustration of the dog lying in front of a vault or safe, the “watch dog” meant to convey the idea of security. This becomes such a well-known image, that eventually only a dog’s head is needed on checks or envelopes to communicate this meaning.

Letterheads found in the various collections at the Library of Virginia, in addition to sometimes being entertaining, offer an excellent example of secondary research value, especially the stationery depicting buildings. These illustrations can often be the only visual representation of a structure now demolished and can be a great aid to architectural historians. Additionally, business historians and students of graphic design can find letterhead useful in their studies.

-Vincent Brooks, Senior Local Records Archivist

(Editor’s note:  A third post featuring letterhead in the collection will go up at some point in the future. Thanks to Vincent Brooks, Sarah Nerney, Renee Savits, Jessie Graham, Mary Dean Carter, Catherine Obrion, and Dale Dulaney for contributing letterhead they found while processing.)

Commercial stationery can offer a fascinating snapshot of a place or time. Scholars of this subject point out that the rich illustrations and elaborate printing of commercial letterheads, billheads, and envelopes correspond with the dramatic rise in industrialization in America. According to one expert, the period 1860 to 1920 represents the heyday of commercial stationery, when Americans could see their growing nation reflected in the artwork on their bills and correspondence. As commercial artists influenced the job printing profession, the illustrations became more detailed and creative.

12►

Robert Biggert, an authority on commercial stationery, wrote an extensive study of letterhead design for the Ephemera Society of America entitled “Architectural Vignettes on Commercial Stationery” and donated his personal collection of stationery, now known as the Biggert Collection, to the Avery Architectural and Fine Arts Library at Columbia University.

 The primary role of these illustrations at the time of their use was publicity. The images showed bustling factories, busy street corners, and sturdy bank buildings– all portraying ideas of solidity, activity, and progress. Other types of symbolism can be found in commercial stationery the most ubiquitous being “man’s best friend.” Dogs show up on all sorts of stationery, especially that of banks or other financial companies. Often seen is the illustration of the dog lying in front of a vault or safe, the “watch dog” meant to convey the idea of security. This becomes such a well-known image, that eventually only a dog’s head is needed on checks or envelopes to communicate this meaning.

Letterheads found in the various collections at The Library of Virginia, in addition to sometimes being entertaining, offer an excellent example of secondary research value, especially the stationery depicting buildings. These illustrations can often be the only visual representation of a structure now demolished and can be a great aid to architectural historians. Additionally, business historians and students of graphic design can find letterhead useful in their studies.

-Vincent Brooks, Senior Local Records Archivist

(Editor’s note:  A second post featuring letterhead in the collection will go up in the near future. Thanks to Vincent Brooks, Sarah Nerney, Renee Savits, Jessie Graham, Mary Dean Carter, Catherine Obrion, and Dale Dulaney for contributing letterhead they found while processing.)