Friday, March 27, 2015

Pogo Goes to Dartmouth

A cartoon figure in a Dartmouth jacket yelling "Vox clamantis in desert!"
A few weeks ago a researcher was in trying to track down an article from Look Magazine about Dartmouth. He knew it was by John Lardner (son of Ring Lardner, Jr.) and an approximate date, but not much more.  We found the article individually cataloged by one of our intrepid archivists of yore. The real thrill was the illustrations by Walt Kelly featuring his legendary character, Pogo.

The article, "The Young Stay Young at Dartmouth," appeared in the June 2, 1953, issue and was unexpectedly timely. As Dartmouth moves to ban hard alcohol from campus, we read that:
The fact is, though, that no one gets very shaky at Dartmouth, on drink. In and out of the fraternities, it is a beer school, not a hard liquor school. To get hard liquor in bottles--New Hampshire being a non-package state--you have to go three miles down the pike and across the Connecticut River into White River Junction, Vt. Few Dartmouth men have the ready cash or the inclination to make this run often, for that purpose.
A cartoon showing a bustling Dartmouth campus, with two animals-like figures looking on.
 To see the article and all of Walt Kelly's illustrations, ask for DC History LD1441.L373.

Tuesday, March 24, 2015

A Girl's Best Friend

Three color illustrations of small jewelry pieces.We recently received a set of jewelry design drawings by Donald Claflin. Claflin, after whom the jewelry design studio in the Hopkins Center is named, was a designer at Tiffany & Co. from 1965 to 1977. During that time, he became known for his artistry and use of such unusual materials as leather and ivory in combination with the finest gemstones. His designs were both intricate and bold and quite expensive to produce. However, his tenure at Tiffany's coincided with the reestablishment of Tiffany's standard of quality under its new CEO, Walter Hoving.

A color drawing of a necklace.Founded in 1837 by Charles Lewis Tiffany and John F. Young, Tiffany's beginnings were humble. The store sold stationery and a variety of fancy goods, including costume jewelry. In 1841, Tiffany's began selling real jewelry, adding silverware to their inventory in 1847. By that time, Tiffany and Young had distinguished themselves from other stores by clearly displaying prices for their items, thereby avoiding the practice of haggling, and accepting only cash for their wares. During the Civil War, Tiffany's became an emporium for military supplies. After the war, they returned to their staples of jewelry and silverware, as well as other higher profile items. From the 1860s to 1929, Tiffany's sales grew exponentially. They opened a store in London and Paris and a factory in New Jersey. However, after the financial crash of 1929, the company's profits sank. There was a brief resurgence during World War II, when the factory in New Jersey supplied military products, but by 1955, the real estate under the company's flagship New York building was more valuable than the company itself.

A color drawing of a jewelry piece featuring a cluster of jeweled flowers, leaves, and ladybugs.

A drawn set of earrings or brooches in blue and white.Claflin, along with top designers Jean Schlumberger and Thomas Hoving, whose stained glass lamps have become synonymous with the Tiffany name, were given almost free reign under Hoving. Among Claflin's most memorable designs, were the whimsical pieces he created based on children's stories, including Alice in Wonderland and Stuart Little, as well as less extravagant pieces, including the popular criss-cross ring. He was also the first designer to use and create an entire collection out of the rare blue gemstone Tanzanite. Claflin left Tiffany's in 1977 and was hired by Bulgari where his designs became sleeker and more abstract.

A page of drawn jewelry pieces, including a three-strand necklace.Claflin's designs were little pieces of art, expressions of his individuality as an artist. He felt that there was more to jewelry design than just the setting of expensive stones. Claflin was not unique in that thought, and he was certainly not the first jewelry designer to think so. More than one hundred years before Claflin another jewelry designer got his start at Tiffany's. Herman Marcus had emigrated from Dresden, Germany, in 1849, and started to work for the company in 1850. He struck out on his own in 1864, when he opened a store with Theodore B. Starr. Starr and Marcus dissolved in 1877, and Marcus returned to Tiffany's where he stayed until 1884. Giving entrepreneurship another try, Marcus opened Jaques & Marcus with George Jaques that same year. After Jaques retired in 1892, the company became Marcus & Co. Marcus and his family loved and lived for jewels, spending a lot of their time traveling to the far corners of the earth for gemstones. They were particularly interested in neglected gems such as zircons, chrysoberyls, tourmalines, opals, garnets, beryls, spinels, and peridots. Like Tiffany's, Marcus' clientele were the wealthy for whom he designed individual pieces that were never reproduced. The style of designs ranged from intricate filigree punctuated designs that used many colored gemstones, diamonds and pearls during the Edwardian period (1900-1910), to French Art Nouveau, Egyptian and Renaissance revival influenced designs in the 1920s and 30s. In 1899, the company had added a silversmithing department, as well as an appraisal service and began to buy old jewelry for cash. They also offered their premises for jewelry storage during the summers when the wealthy left the City. In 1941, the company was sold to Gimbel Brother's department store, and in 1963 merged with Black, Star & Frost.
A page of three sketches for ornate necklaces.
To see scrapbooks of Jaques & Marcus designs, created at the time of their manufacture ask for
MS-674. To see the more than 300 drawings by Donald Claflin ask for MS