ArteFACTS: The Mini Christmas Carol

By Lisa Terech, Community Engagement

Everyone has their own holiday traditions – for some, it’s making holiday treats, for others, it might be putting up seasonal decorations on a certain day, or by a certain time.

Me, I try to read A Christmas Carol, by Charles Dickens, every year. The short novella makes for the perfect seasonal read at some point in December. Because of this, it is understandable why this particular artefact caught my attention.

In the Oshawa Museum collection is this book, A Christmas Carol.  What makes this artefact unique is its size – it measures 5.5cm by 4cm.

Miniature book: A Christmas Carol; from the Oshawa Museum Collection (X998.91.1)

According to the Miniature Book Society, there are several reasons for producing miniature books, although convenience seems to be a popular reason. Mini books could be easily carried in waistcoats or in reticules. The MBS asserts the standard for a miniature book “is no more than three inches in height, width, or thickness,” and by this measure, our book can be classified as ‘Miniature.’

Our mini was published in 1904 and contains the text of Charles Dickens’ classic ghost story of Ebeneezer Scrooge and how his entire life was changed one Christmas Eve through visiting his past, present, and future. The book is 350 pages, printed on India paper (or bible paper) and contains seven illustrations that appear in the original publication.

A Christmas Carol was written in 1843.  It was Dickens’ novella that helped Americans embrace the Christmas holiday by associating children and good will with the holiday, in essence changing Christmas from the rowdy city celebrations to private family matters.  He wrote the story after a visit to a Ragged School.  Dickens hoped the story would raise the profile of London’s poor and generate some much needed cash for him. He finished the manuscript in six weeks, and within five days, the entire first printing (6000 copies) sold out.

Marley’s Ghost. Ebenezer Scrooge visited by a ghost, illustration by John Leech. From the British Museum collection (public domain)

In today’s culture, the time for ghosts and spirits is long past, with Halloween taking place almost two months ago, but in the Victorian era, Christmas was the time to tell ghost stories, and perhaps Dickens’ tale is one of the most prolific and enduring. The story opens as follows,

“Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it: and Scrooge’s name was good upon ‘Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.”

Dickens let his reader know right off the bat what tone his story was going to take, and the reader was immediately drawn in, wanting to know more about Marley and why the fact of his certain death was so important. The ghostly story unfolds, and readers follow Scrooge along on his journey of self reflection and change.

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References

https://mbs.org/

https://www.theguardian.com/books/2019/jan/03/why-we-are-fascinated-by-miniature-books

The Timelessness of the Music Box

By Kes Murray, Registrar

Over the summer, I had the pleasure of leading tours. While in Henry House, I had multiple visitors, on different tours, ask about the music box in the parlour. Besides providing basic information that the object was a music box, I was left feeling that there was more to this music box than its appearance.

Henry House Music Box

The music box in Henry House is a pinned cylinder music box made by Langdorff & Fils. Langdorff & Fils were music box makers located in Geneva, Switzerland and active between 1850-1870. They made cylinder music boxes with their signature harp and music sheet decorated on top.

995.1.1 Top view. You can see the signature Langdorff & Fils stamp, although ours has wind instruments instead of a harp.

Cylinder music boxes, like ours, were the first music boxes to be widely used in homes in the mid to late 1800s. The first music box appeared in the late 1700s in Switzerland and is credited to Swiss watchmaker, Antoine Favre. Based off the advancements made in mechanical watches, early music boxes used the same movements: notes produced by a revolving disc with teeth around the edges.

Author Gilbert Bahl says, “The [cylinder] music box is actually based on a very simple principle: metal teeth which are tuned to scale in a variety of ways are plucked by pins projecting from a revolving cylinder. These pins are set in the cylinder in such a way that they pluck the teeth of the comb at precisely the right moment.”

The popularity of music boxes over the next fifty years led to many improvements, including its incorporation into decorative household items, longer and larger cylinders to play more music, and further mechanization that allowed simply pushing a button to play instead of having to hand crank the player.

Our music box is powered by hand, with a crank for the cylinder on the left side. On the right side of the box, you can see two switches. One is the stop and play switch, while the other is to repeat or change songs. As well, our music box is within a very stylish box that can be set up in any room, ours being in the parlour. The label inside the music box says the cylinder plays twelve songs, including waltzes, polka, and some opera songs, all in either French or German.

995.1.1 Inside top view.

A lasting history

As I researched music boxes, I realised that I, too, had music boxes in my parents’ house. Something that spoke to me that Bahl wrote was the timelessness of the music box. I was reminded of the ballerina music box my mom had as a child and still has today and, as Bahl explores, how hearing the music from a music box connects us to the past. We realise that we are listening to music that was also listened to and enjoyed by people many years ago. Mine are not that old, but I still adore them and think that maybe someone in some future will listen to them too.

A hand crank music box within a plastic piano. I am not sure what song it plays

A simple hand crank music box. This one plays ‘Let it be’ by the Beatles.

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Sources consulted

Bahl, G. (1993). Music Boxes: The Collector’s Guide to Selecting, Restoring, and Enjoying New and Vintage Music Boxes. Running Press Book Publishers.

https://www.britannica.com/art/music-box

https://obsoletemedia.org/music-box-cylinder/

Summer Reflections from Sara and Sarah

By Sara H. & Sarah P.

This article was originally published in Fall 2022 Historical Happenings, the quarterly newsletter of the Oshawa Historical Society. Subscriptions to Historical Happenings are available for Oshawa Historical Society members. To learn more about membership, see the OHS website: https://oshawahistoricalsociety.org/become-a-member/

Hi! We are Sarah and Sara, two of the students who were at the museum this summer. One of the main projects we worked on was a partial inventory of artefacts stored in the Robinson attic. This was a great introduction to the collection as we were able to really immerse ourselves in the artefacts, learn more about the museum, and the history of Oshawa. When we were first introduced to the attic, it was a bit daunting as neither of us had done an inventory before, and there are a lot of artefacts in our section of the attic. But, being this close to artefacts and having a “behind the scenes”’ look at the collection was a great way for us to become comfortable with the inventory process and learn about collections care and management. We also learned about the deaccession process and made some recommendations for deaccession. From the Canadian Museum Association, “deaccessioning is the formal process of removal of an object from the collection of an institution.”

The inventory and deaccessions gives us more room and more opportunities to expand our collection and represent more of Oshawa’s history.

We started by mapping out the attic and labelling everything according to its row and shelf. We went through each row and labelled them with ‘super professional’ sticky notes that had their row and shelf number. We then organized our Excel spreadsheet in the same sections so that if someone else had to find an artefact it would be easy for them to look through and figure out what section of the attic it lives in. We started going through the rows that were easiest to access, the end rows 1 and 3. These rows contained a lot of farm and yard care equipment, such as rakes, shovels and even an interesting looking baby stroller!

Baby stroller purchased in Oshawa c. 1917 (977.018-500.1)

The middle row was more challenging to access; we had to move shelves around so we could access the objects that lived on each one. It was very EXCITING to see and work with objects made from different types of materials, from wicker baskets and suitcases, to tiny ceramic figurines, and even all sorts of metal tools. Working with this collection has opened our eyes to how large and different museum collections can be. There were many artefacts, especially in the farming sections, that neither of us had seen before, but we were able to understand their importance within the collection. Even though the Oshawa Museum is a smaller community museum, the collection tells such a big and important story about our community. As we immersed ourselves in this environment, we realized that we had our favourite artefacts in the attic that we hope will someday be displayed in future exhibits at Oshawa Museum. We were particularly intrigued by our discovery of a typewriter on the bottom shelf of row 1 as it was in fantastic condition!

Small duck and bird figurines found in the Robinson Attic

The photograph shows the typewriter that immediately captured Sarah P.’s attention, a Remington Noiseless 6 from 1925. Prior to this artefact’s home in our lovely attic in Robinson House, this typewriter was located at Landers Coal, which later became Landers Stark Coal and Company. Like many of the artefacts in the attic, this typewriter inspires a sense of curiosity within us concerning the people who have used this object over the years. Sarah in particular has always wanted to own an old-fashioned typewriter, as she believed it would make her a great writer. Sadly, she must continue her writing pursuits using modern technology!

Remington Noiseless 6 typewriter (004.18.1)

Before we began this project, we usually only considered how museums acquire and exhibit their artefacts. Still, as we end the inventory process, we have been participating in recommending objects for deaccession. At first, we thought it would be difficult to consider which artefacts could be removed from the museum’s collection. However, once we were comfortable with these artefacts, we began to analyze how particular objects may no longer be relevant to the mandate and collection’s policy, or if the condition had deteriorated to the point that it was not fit for display. We also noticed numerous repeats of artefacts that often had us looking at each other, wondering how many spigots were necessary for our museum to possess. Even though we are not the individuals to make the final decision about what is removed from the collection, it was beneficial for us to learn about this critical aspect of working in a museum that is often forgotten by the general public.

Our table of proposed deaccessioned objects

We also have to mention how appreciative we are of having this phenomenal experience of working at the Oshawa Museum. All of our co-workers have honestly been amazing, we have learned so much from each of them and have had a great time with them along the way! We both have gathered so many new skills and experiences that have truly helped us grow in our passion for history and pursuing a career in this field.

Wishing the best of luck to Sara and Sarah with their future studies!

The Wedding Dress: A Family Heirloom

By Kes Murray, Registrar

A few month ago, our curator, Melissa, came to me with a research request. She said she had a dress that no one could figure out. No one knew what year it was created or worn in. Some decades were suggested, but nothing concrete could be put with the dress. It was a cream coloured satin dress, supposedly a wedding dress, as that was what it appeared to be. But that was all. As an enthusiast of historic fashions, I was fascinated with this mystery and took on the challenge.

The research itself took some weeks of pouring over wedding dress books and other museums’ online collections. I hit gold on the Metropolitan Museum’s online collection. I came across an almost identical dress. The dress was a 1931-1933 wedding ensemble, created by Best & Co, made of silk, cotton, and wax. It had the same cut on the bodice, and was even in a similar colour. I now knew that our wedding dress was from the 1930s.

My research ended with a fairly good idea of 1930s wedding dresses.

1937 Wedding Ensemble and neck detail (020.8.1 & 020.8.2)

Fashions from the 1930s were a continuation and a contrast to 1920s fashions. In the 1920s, women fashions were quite distinct, with their boxy, figureless silhouettes. Towards the end of the 1920s, silhouettes began to hug the body, emphasizing the curves of the hips. This would flow into the 1930s, with silhouettes hugging the body, emphasizing the natural shape of women’s bodies.

The contrast to 1920s fashions is that of glamour. Many fashion historians call 1930s women’s fashions a more mature, elegant and feminine silhouette when compared to 1920s fashions. The 1930s is the golden era of Hollywood and the ‘silver screen,’ with influential actresses such as Greta Garbo, Mae West, Jean Harlow, and Joan Crawford wearing memorable fashions, and many imitations were made and sold world-wide. New fabrics were used, such as velvet, wool crêpes, silk satins, lames, and many other artificial or “knock off” luxurious fabrics made clothing more elegant looking.

Advertisement in Oshawa Daily Times, May 12, 1931 (A012.2.10)

As for wedding dresses, as with typical 1930s fashion, they were designed to complement the sculptural female body. They draped along the body but had been cut and sewn in certain areas as to emphasize the natural shape. Our wedding dress has a bias cut beneath the bust, which means it has been cut on an angle. This allows the dress to emphasize the bust and to flow down along the hips. It is made of satin or some sort of silk imitation. As well, the dress comes with a floral necklace, which is secured along the collar with a series of clasps. All together, the dress creates a rather elegant image. After all my research had accomplished, it seemed that it may have been in vain, as Melissa found the original information that came in with the dress.

Family Heirlooms

In her book, The Wedding Dress: 300 Years of Bridal Fashions, Edwina Ehrman wrote something that stood out to me. She says: “Wedding dresses were prolonged by tailoring…also passed down within families.” In our dress, I noticed that the dress had been altered. The bust line had been shortened. This got me curious about the things our families keep and pass down. Perhaps the original wearer of the wedding dress gave it to a family member who had it tailored? Of all the possibilities that ran through my head, I kept coming back to my own family and our wedding dresses.

My grandmother’s wedding dress fifty years later. My grandmother, Donna Jean, on her wedding day, with her parents Marion and Harold Lang, December 1957, in St. Mary’s, Ontario.

Some years ago, my grandmother gave me her wedding dress. When I got it, I immediately tried it on. It fit but just barely. If I were to get married in her dress, there are definitely some things that would need adjusting.

Another family wedding dress is that of my great-aunt’s. On June 5, 1954, my great-uncle Ron married Birthe Simonsen. The same dress that Birthe wore was given to my great aunt Shirley when she married on August 20, 1955. Then, the dress was given to Shirley’s daughter Chris when she married on July 2, 1983. I was fascinated and continue to be fascinated by the amount of women in my family who have worn the same wedding dress throughout so many years.

My great aunt Shirley on her wedding day, August 20, 1955. My grandmother, Donna Jean, is on the far right. My great aunt Shirley’s daughter, Chris, in her mother’s wedding dress.

Why do we keep family wedding dresses? While so many reasons come to mind, I can only think of the significance we place on the person who wore the dress. Wearing their dress would be a way to remember them and share a special day with someone who may not be here anymore. As I am sure is the case for many heirloom dresses, after each year or decade, they become more special and highlight that piece of family history.

Special thank you to my family members who helped with the family research: Chris Henderson, Meggen Janes, Suzanne Janes, and Donna Jean Lang.

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Sources Consulted

Ehrman, E. (2011). The Wedding Dress. London: V & A Publishing.

https://www.fashionhistorymuseum.com/tying-the-knot-exhibit

Fiell, C. (2021). 1930s Fashion: The Definitive Sourcebook. Welbeck Publishing Group.

https://www.metmuseum.org/art/collection/search/109791?when=A.D.+1900-present&ft=wedding&offset=80&rpp=40&pos=106

https://www.vam.ac.uk/articles/old-new-borrowed-blue

https://www.vam.ac.uk/articles/the-victoria-connection

Having Fun with Toys or Becoming a Miniature Adult: Victorian Era Children’s Toys

By Sarah P., Summer Student

I have always been fascinated with artefacts from a young age. Now that I am surrounded by them at the Oshawa Museum, I thought it would be valuable to highlight objects that have intrigued me. On my first day on the job, I was shown a portion of the museum’s collection of toys from the Victorian Era. These incredible artefacts led me on a journey to explore children’s toys of this time.  My intention was to gain some perspective of what it was like to be a child during this era. During the Victorian Period, which was from 1837 to 1901, young adolescents were finally being acknowledged as individuals who had to be properly considered, unlike previous generations. Even with greater recognition from society concerning youth, there was still the widely held expectation that children would labour on family farms and conduct chores in their home. Unlike today, where most youth have time for playing, Victorian Era children did not experience a substantial amount of time for levity. In the Victorian Era, society began to recognize the importance of fostering both the mental and physical success of youth, and they realized that could be achieved through playing with toys.

Sepia photograph of Edith Lura Sudgen, holding a doll while another doll is placed in a chair, c. 1895. Oshawa Museum archival collection, A971.32.53

The toys that were in the possession of these children were created with the intention of molding them into adults. This sense of preparation through play was evident in the gendered nature of these playthings. The toys aimed towards young females included dollhouses and dolls. These helped girls practice the skills of mothering by playing house using their dollhouse and caring for their doll as if it was a baby. They also played with items that replicated domestic objects, such as miniature sewing machines and irons. Young girls were playing with these objects for fun, not understanding they reinforced their future roles of wife and mother.

Toys for young boys were focused on cultivating traits of leadership, imagination, and inquisitiveness. There was an expectation placed upon young males to be adept in science and engineering. These playthings reinforced these subjects so that they would pursue these fields when they grew up. Some of the objects that were commonly endorsed for boys to play with were toy soldiers and trains. Toy soldiers in particular were intended to inspire young boys to be interested in the military, learn to follow orders, and to be intrigued in becoming a soldier later in life. Just like young girls, society was influencing these boys through their toys to foster traits that were perceived as the male ideal.

I believe children inherently want to play, and the Victorian Era brought forth the vast variety of toys that we have to this day. One Victorian Era toy that particularly caught my interest was the stereoscope, which reminded me of the viewfinder that I had when I was young. The stereoscope uses a card with two almost identical images that, when viewed by the stereoscope, allows the viewer to see an almost 3D image of the picture. I remember being so fascinated by the images I saw in my viewfinder when I was young. I think it is amazing that I shared this sense of wonder with young children from the Victorian Era who looked at images on their stereoscope. If you want to see a stereoscope, feel free to come to Oshawa Museum where we have one on display in Henry House!

Stereoscope made out of wood and metal; Oshawa Museum collection, 963.14.1abc

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Sources Consulted:

Oshawa Museum Facebook Livestream – January 2022 Sunday Funday LIVE: Toys: https://fb.watch/eA6UmP1mac/

Boston Children’s Museum Article: https://bostonchildrensmuseum.org/about/collections/victorian-era-play-1837-1901

Boston Children’s Museum Photo, Dollhouse furniture, Late Empire c.1875: https://bostonchildrensmuseum.org/about/collections/victorian-era-play-1837-1901

Egham Museum Photo, Victorian toy soldiers: http://eghammuseum.org/toy-soldiers-just-childs-play/