Magic Lantern Shows

“Magic Lantern” or optical lantern is the popular term for 19th and early 20th century slide projectors. The principle of projecting light and the use of crude lenses goes at least as far back as the ancient Greeks. Leonardo da Vinci, in the 16th century, experimented with projection. Magicians and entertainers were probably the first to find practical uses for projection devices as objects to create fantastic illusions in their performances. Using an artificial light source and a combination of lenses, these devices enlarged small transparency images or miniature models and projected them onto a wall or screen. Originally the lanterns were illuminated with oil lamps or candles. In the 19th century newer technologies like carbon arc, acetylene, and incandescent lamps were adapted for use in magic lanterns.

Showmen and lecturers traveled regional circuits presenting images of scientific miracles and geographic wonders never before seen by their enthusiastic audiences. Clergymen often used lantern slides to sow the “wages of sin” to congregations eager for a night of educational education.

Between 1850 and 1940 many technical innovations were made to the lanterns. Projector and lens design improved rapidly, and light sources brightened significantly. Professional lanterns with large glass slides were used until the 1940’s when 35mm slide and film format came into use.

Prior to 1950, most magic lantern slides were hand-painted on glass, or created using a transfer method to reproduce many copies of a single etching or print. In the middle of the 19th century, the development of photographic slides created entirely new uses for the magic lantern. It then became popular for audiences from university lectures to amateur family photo shows.

By the end of the 19th century, the magic lantern was overtaken by the cinematograph, which projected so-called “living pictures.” Magic lanterns just couldn’t compete with these moving pictures. Magic lanterns were soon relegated to being the warm-up act for movies, used to project advertisements before the real shows began. Eventually the apparatus evolved into the automatic photo slide projector, which still remains popular.

This magic lantern in our collection was donated in 1982 by Don Phillips, whose family owned theaters in Colby for many decades. The lantern was manufactured by Best Device Company in Cleveland, Ohio. It features an enclosed metal light box with an incandescent bulb and primary lens. Another large magnifying lens mounted on rails allows adjusting the lens for focus. Attached to the front of the light box is a wooden slide carrier with space for two 3” x 4” transparencies side by side. One transparency can be projected while the other one is being changed out with another one. The unit is mounted on a green painted 1" x 8" board 37” long. On the front of the board is a hinge and on the other end is a short length of light weight chain. Apparently it was hinge-mounted to the projection room wall and made to drop down out of the way when not in use.

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In the last several months, our multi-talented maintenance guy (Larry Dilts) has taken the time to carefully scan the many glass slides and glass negatives in our photo archives. We are grateful to Larry for taking on this tedious task since the slides are very delicate and could be damaged with improper care and handling. Many of the glass slides in our collection show damage caused by abrasion, high humidity or moisture as a result of careless handling and improper storage. Blistering of the emulsion, paint, or dye caused by the high heat of the projector is another source of damage. And the most obvious damage - breakage or chipping. The examples of transparencies from our collection shown below are all on 3" x 4" glass plates and are of the best quality.

Below are examples of slides used at the Colby theaters for advertising businesses and services.

Theaters also used glass slides provided by movie distributors to promote coming attractions. A blank space was usually left on the transparency for the theater manager to add the show dates.

Our photo collection also contains many glass photographic negatives. Larry also scanned those and converted them to "positive" images which are much easier to view. We are currently in the process of cataloging those into our computer database. I will share some of those in a future post.

Cartfidge Boxes & Pinbacks

Our February temporary lobby exhibit comes to us from Frank Vacca, a Colby, Kansas collector of cartridge boxes, pinbacks, and other interesting items. Frank has collected many things over the years. He has sold some of his collections and started new ones as his interests and the market have changed.

Cartridge blocks and boxes were created as a means of keeping track of the number of shots individuals fired at a target during competitions. Shooting supply companies picked up on this idea as a way to advertise their business, usually on the lid of the box. Frank's collection includes a wide variety of styles of these boxes and also includes reproductions of catalogs from the supply companies. Some are simply blocks with holes drilled to hold the cartridges, while others are quite ornate. Boxes were drilled with different size holes to accommodate different cartridge calibers.

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A pinback or pin-back button is simply a button or badge that can be temporarily attached to a garment with a pin formed from wire. They have been associated with political campaigns since George Washington's inauguration in 1789. A variety of materials have been used for pinbacks including celluloid, metal, and plastic.

Frank collection of pinbacks represent firearm and ammunition companies who used them to promote their products. Pinbacks were produced in different sizes and shapes, but the 7/8" pinback was most common. Pins of 1-1/4" are usually modern reproductions with full metal backs.

Visit Prairie Museum of Art & History during February to see this great collection. As usual, there is no admission to visit the lobby exhibit. If you have items you would like to exhibit in this space please call Ray at 785-460-4590 or e-mail registrar@prairiemuseum.org

 

Skookum Indian Dolls

Mary Dwyer McAboy, the originator of the Skookum Indian doll, was born in 1876 in Fairfield, Maine. Mary spent her childhood days at Red Lake Falls, Minnesota. Mary’s mother was the first to make apple head Indian dolls wrapped in blankets, which she gave to friends and sold at social events. This provided the inspiration for Mary’s Skookum Indian dolls.

Mary began producing Skookum Indian dolls commercially after the death of her husband in 1913. The first Skookum dolls began with the drying of an apple. The apple, used for the head, was pinched into facial features, black pinheads were set in for eyes, and black cotton string was added for hair. These first dolls were formed with a central block of wood as a core. Stuffing was then wrapped around the form and covered with fabric. These were freestanding but had no feet attached to the base. Mary was granted a design patent for her Skookum dolls in 1914 and production began in her father’s garage. At the end of a year Mary was ready to pass part of the production responsibility on to “stronger shoulders”.

By 1920 Mary McAboy moved to Denver, Colorado and merged her business with a large western company. Her dolls had caught the eye of a shrewd businessman named Harry Heye Tammen, creator, owner, and operator of the H. H. Tammen Curio Company of Denver – where Skookum Indian dolls were manufactured and distributed for over 45 years. The Indian dolls were only a part of Tammen’s curio business, and Mary was hired as head of Skookum assembly. She oversaw the production of her dolls for 38 years until her retirement in 1952.

Production techniques and materials changed over the years. Early dolls heads were made of dried apples with the bodies made of wood and filled with either leaves, straw, twigs or grass stuffed in a muslin sack. Later the dolls were made from composition and had mohair wigs. Later dolls were made of plastic and had plastic brown shoes. They have "Indian style" blankets as part of their attire. Some had jewelry such as beaded necklaces or earrings. Some dolls have feathered head dresses. The sizes of the dolls ranged from babies inside of cradle boards to large, human size store display dolls. The general rule of thumb is the larger the doll, the more valuable/rare they are. The most common sizes range from about seven inches to about 12 inches tall. Skookums were widely imitated. Minnetonka, Milbros or Minnehaha dolls are similar but not the same. Skookums do not have arms - they are wrapped with blankets and have the suggestion of arms. Skookums never have gray hair as in "elders". Skookums should have the words "Skookum" either stamped on their brown plastic shoes or a tag with "Skookum" on their foot in the case of the older versions

The word Skookum is an old slang term still used today in the northwest part of the United States. It means “excellent” or “mighty”. Most Skookum dolls were made so they look to the right. According to shamanic healing beliefs it is speculated that right-glancing eyes indicates health and recovery, while left-glancing eyes indicate a path of death or misfortune. The more rare left-glancing dolls were made in fewer numbers.

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"Sorting Out Stereotypes", a traveling exhibit created by Kauffman Museum at North Newton, Kansas will be at Prairie Museum of Art and History during February and March. Major funding has been provided by Kansas Humanities Council. These Skookum Indian dolls and many other items from the Prairie Museum collection will make up a companion exhibit. 

Visit the Kauffman Museum website at: kauffman.bethelks.edu