When you think of a beer bottle, this is what comes to mind. It’s amber, cylindrical, long necked… Nothing about it should strike you as bizarre. It’s just a normal bottle. But that in and of itself is interesting, isn’t it? Why is this bottle the bottle? This particular example is from a time when this type of bottle was becoming the commonplace style. It is one of the first fully automatic machine made glass bottles. Based on the embossed mark on the bottom of this bottle, it was made my the F. E. Reed glass company, headquartered in Rochester NY, between 1924 and 1929. This is not to say that the bottle was manufactured in Western NY, though that would be a fun coincidence,
The bottom of the bottle reveals an Owen’s Scar- a telltale mark left by the machine that made it
as the F. E. Reed company had manufacturing plants throughout the United States, supplying breweries nationwide with bottles for their beers. The advent of the fully automatic Owen’s Machine likely helped perpetuate this style of bottle as the dominant beer bottle design, as the same exact bottle could be mass produced at each plant throughout the country. Just like beer bottles of today, the only difference between bottles around the country would be the label that was glued upon them, as time has torn away the label that was once affixed to this particular bottle, there is no way of knowing its true origin, but the magic of this bottle is not in its uniqueness but in its ubiquity.
Dark olive green with a blob top and only remnants of a color paper label, this historic glass bottle was once a common household product in the US. The remains of the label and the boldly embossed base identify the bottle as a Hunyadi Janos brand Bitterquelle (aperient water), produced by the Andreas Saxlehner Mineral Spring Water Company out of Budapest, Hungary. Saxlehner used the name of the storied 15th century Hungarian general Hunyadi Janos to market his all-curing water, advertised as “unsurpassed” when it comes to “constipation, dyspepsia, biliousness, and headache arising from overloading the stomach.”
Base and Label details for Artifact 45K1765/P17-1 from Burke Museum’s collections.
Though this type of soda bottle also resembles what the Illinois Glass Company referred to as a druggist’s packing bottle, the trademarked Hunyadi Janos product was so popular that the bottle shape became synonymous with the brand. The Illinois Glass Company actually offered the “Hunyadi Janos” style bottle for sale in its catalog in 1906. Primarily imported from Hungary to the US from about the 1870s to 1920s, the Bitterquelle’s success inspired a variety of copycat products. At a time when copyright and intellectual property were flagrantly ignored, the Saxlehner Company took its trademark infringement lawsuits all the way to the US Supreme Court in 1900 and won.
Saxlehner’s Hunyadi Janos Bitterquelle advertisement (image from Society for Historical Archaeology’s Historic Glass Bottle Guide)
Though ubiquitous in American homes at the turn of the century, Saxlehner’s Hunyadi Janos Bitterquelle faded from popular consumption by the time the the Great Depression took hold. Back in Hungary where the product had been manufactured, growing political unrest before WWII compelled the Saxlehner family to emigrate in 1938. Documentary evidence like advertisements, manufacturer catalogs, and legal records shed light on the historical contexts surrounding the material record.
More than just an old green bottle, this artifact reflects cultural, social, economic, and international political scenes of the early 1900s.
In examining my bottle, the first inclination was to examine the bottle for a makers mark.
This was somewhat helpful. From the makers mark, I was able to determine this was a Whitall and Company bottle produced somewhere between 1901 and 1924. Whittal and Company made this pharmacy bottle for pharmacies across the United States and opperated between 1806-1938 in Millville, New Jersey The real clue to the bottles age however was the embossing on the side of the bottle. The side of the bottle reads, “Lee’s Parmacy Alaska Building Seattle Wash.”. Subsequent investigations led me to conclude the Mr. Lee operated his pharmacy from 1889 to 1914.
So that led me to investigate the Alaska Building. The Alaska Building was Seattle’s first skyscraper. At the time of it’s construction, it was Seattle’s first steel framed building and opened in the year 1904. The Alaska Building was constructed around the Seattle boom around the time of the gold rush in Alaska. The building can be directly tied to the Seattle gold rush, which makes this bottle an important object from this period in time.
Photo by Asahel Curtis of the Alaska Building 1908
Taking this into account, this bottle was then ordered either before the pharmacy’s opening in the Alaska Building… say an early date of 1903, to the closing of the pharmacy in 1914. I have thus narrowed the dating of the bottle from a 23 year period to an 11 year period taking into account the multiple lines of evidence that this bottle has to offer.
Bottle typology is really interesting, I had no idea how accurately you could date a bottle, and how much information is embedded in it’s manufacturing. The bottle I studied was made by the American Bottling Company. It is an aqua colored beer bottle, made in the export style, which was popular during the late 19th and early 20th century for alcoholic beverages. Export style dates back to the 1870s, and is characterized by a bulge in the neck, a body length that is equal or just a little taller than the height of shoulder, neck and finish all combined, and the shoulder is also short and sharp angled.
This beer bottle is also a 2-piece post mold, and the base has a pontil mark, and is embossed with, “A.B. Co C 6.” Originally, based on it’s shape, color, finish and style, I dated the bottle from 1870s-1890s. However, after doing a little more digging, I found out the C 6 is supposed to have to do with a more specific timeframe in which it was manufactured, but I could not find any more information as to what timeframe that would be for the specific label. I did find however that American Bottling Company changed their labels pretty often, either how they presented their name, including or not including the location where it was manufactured, the location of the label itself on the bottle, having an ‘X’ symbol, and even combining the ‘A’ and ‘B’ into a single symbol. American Bottling Company was represented on this bottle as “A. B. Co C6”. “A. B. Co” as a base mark means that this bottle was manufactured between the dates of 1905-1914.
I was first introduced to the concept of “garbology” on my first year of college, at my Anthropology 101 class in Bellevue College. We read an article of a professor in Arizona who was trying to paint a more complete picture of the population that was crossing the U.S Border at the desert, by analyzing all the items that had been left behind in the bushes, and it immediately opened my eyes to the immense treasure that our disposal means for anybody trying to construct a context of who you are without your presence itself, only through your trail of used materials.
This is what Archaeology really seems to aim at, right? Building a strong context with the multiple layers of realities that compose our human existences. And this is what I’ve seen during this lab exercise. When I started seeing patterns emerging beyond the apparent frenetic disposal of random objects of the individual the case that I analyzed, it really motivated me to keep on trying to discern the micro-fibers of this complex tapestry:
Could I tell if the person was going through more unstable mental periods because of the rate of food disposal and the types of food been consumed? Could I tell if the person is experiencing the collapse of the middle class by the fact that instead of buying food in bulks they had kept buying them individually, even though the number of household members was great enough to qualify for deals found in larger purchases?
This is definitely something I will bring with me, into my practical analysis of material data. That is why it’s so important to seek inter-sectional approaches to such data!
This highly didactic blog is listed as one of the services that the community of archaeologists and paleontologists of Catalonia offers to the wider public and for people of the same field, to share updates on research projects, stream live conferences of the sector and share news on a uniform website.
While it is not immediately apparent who the exact authors of this blog are (since it’s the fruit of a collective work of archaeologists and paleontologists of government of Catalonia), I still believe that the authority they have on the writing of research advancement and news of the filed is still very palpable.
We are talking about a scientific journal that is accessible by everybody. They belong to the government, so of course their objective will be to inform the population of Catalonia on their archaeological records and where they can bring us as a nation. They organize their content through categories such as articles, papers and they also upload their conferences in video format.
The tone is very formal, and I believe it’s more oriented towards people from the same field. That is where I would use more advertising and more media to attract a wider range of readers.
Archaeological Fantasies
https://archyfantasies.com/about/
On the contrary of the previous blog I wrote about, I believe this one is much more oriented to a broader audience, and specifically to an audience that might not necessarily be from the archaeological academic world.
The author doesn’t give away her own name and keeps it as “ArchaeologicalFantasies”, even thou she does identify as female as one of her blog sections is dedicated to women that have had great impact in the field since the late XVIII century, calling them “Mothers of the field”. I am not sure if you can give full authority on the quality of the content based on someone who doesn’t display their real name, but this assumption could be very colonialist of mine. She has a B.A in Anthropology and a Masters of Science certificate in GIS/Remote Sensing focusing in archaeology, and is currently finishing her masters in CRM Archaeology.
Personally, while I believe she does a good job at attracting more people to the field, I find some of her topics based on a much more colonial-classic tone. There is little mention in new decolonizing- feminist methodologies. But interesting to read still!
Publishing Archaeology
http://publishingarchaeology.blogspot.com/
I believe this blog has a much more academic content and intention, and it includes the opinion of the author, on technical and field methods as well as publications from across the field. The audience could be undergraduate students of his own, as well as colleagues and other publishing researchers from different fields.
On the authority of his writings, he is an archaeologist and university professor since many years ago: His name is Michael E. Smith and he is an archaeologist who works on Aztec sites and Teotihuacan. He is currently a professor in the School of Human Evolution & Social Change at Arizona State University.
He writes in a journalistic style, and I found his dedication to the undergraduate professor that motivated him to research in his field very moving. There are multiple sections where we comments and gives his opinion on main topics and definitions within anthropology such as “are we living in the Anthropocene”? where mostly, he asks of anthropologists and archaeologists to publish in journals of other disciplines to be better critiqued.
I like how instructional the content is, and at first I couldn’t help but think that his research in the big “gory rituals of ancient Meso American societies” was lacking the study of the daily lives of its inhabitants as we talked in class, but he has done some research on urban lives as well.
I probably liked M56 the best. Embossed with Swift’s Pharmacy, this medicine bottle even has the address on 2nd and Pike Street, Seattle Washington, so if I take this bottle’s word for it, it’s obviously a bottle for medicine. Even without the embossing, the flat lip is indicative of a prescription bottle so you can tell based on that right away. On the bottom of the bottle is the maker’s mark of W.T. Co which according to Society for Historical Archaeology’s bottle typology website, dates the bottle from 1901 to 1924. I’m not certain when it was dumped, but it may have been towards the of the dump’s life in 1925
Alas, poor Swift’s Pharmacy
By the seams on the side that run all the way through sides, and what I assume on the shoulders are seams, I can only imagine that this was molded with a 3-piece mold, one for the top, and two halves for the body. But looking at it again with the seam running all the way to the lip, it’s probably more likely a 2-piece mold.
A search of that intersection on the internet will put you a street over from the Gum Wall and right next to Pike Place. Clearly it’s not there anymore and has since been replaced by bigger chain pharmacies like CVS and a Walgreens a block over and around the corner if Target isn’t your fancy.
came here once as a tourist and then never came back for the sake of convenience
By sheer coincidence, while googling the place I happened on an ad and to my dismay, just took me Professor Gonzalez’s blogpost on this same bottle. Since it’s already on the blog you can just read her post here:
Hello! my name is Clàudia Esplugas Masvidal, and I am an (intending) anthropology senior here at the University of Washington, all along with a minor in DXARTS, as well as GWSS. If I were to clarify a couple of things to better explain the so necessary context that surrounds my persona, I would say that:
1) My name is Clàudia with an open accent on the “a” as my parent’s little form of Catalan resilience: I was born in Barcelona, Catalonia, where for a long time we were not allowed to speak our fist language (Catalan). As language was re-incorporated in the academic curriculum when my parents were young, they found it very important to give me that accent as a variation of the Spanish/Latin version (which has no accent.) As a child I wouldn’t really understand such need, but nowadays with our Catalan parliament shut down by a coup from the Spanish government because of our independence referendum, I find it more important than ever.
2) I say “intending” because I have traveled a long road cruising this unexpected world of the undergraduate, with “ups and downs” if we look at my strictly academic record, but ultimately happy to say that I have explored the multiple intersections of those areas of study that I was always passionate about, and that altogether with my finished and in-progress projects and research, by the time I graduate this June I will definitely, most surely know where my passion, skills and values meet, and what activities I should keep on doing so I lead a fulfilling and happy live in this midst of capitalistic-induced climate change-era we have been born to.
Those activities and skills are: Writing poetry, short fiction, investigative journalism, documentary, photo journalism, reading anthropology, contemporary ethnography, social activism, de-colonization, researching what sovereignty means in all its faces, non-violence, civil-disobedience, singing and performing contemporary arts, experimental art film.
On 2016 I transferred to this university thanks to the student disability resources at Bellevue College , The Daily and started following Standing Rock and interviewing AIS faculty and students to understand Settler Colonialism resilience locally as well: Catalonia was about to hold a referendum and I needed to see different forms of resilience to take with me. My favorite anthropology classes were with professor Radhika Govindrajan, never had I seen what contemporary ethnography and anthropology of decolonization look like, and how I can apply them to myself as an individual.
In 2017 I started experiencing what it means to work and study full-time while having a learning disability in this country. I worked as a legal assistant and Spanish interpreter for an
Immigration Law office downtown Seattle, and I saw with my own eyes the devastating affects of the Trump administration on refugee families being detained at the Tacoma center: I saw how justice is a bureaucratic system invented by the same ones who incarcerate you and who release you by finding loops and wholes, which you can fill with money and your own blood. I feel very identified with Valeria Luiselli’s book Tell Me How it Ends: An Essay in Forty Questions, and would like to write down my experiences as well before I forget them.
I tried to keep up with the research project lead by professor Walter Andrews, the Svoboda Diaries Project where historical transcription and technology meet, and I started a small documentary mentored by Holly Barker, where I followed Pacific Islander students and their events as The Burke museum explores what it means to decolonize its structure and give back materials to their communities so they can use them for their events. It’s still on editing process.
Over the course of this summer, while also working, I have explored my voice, contemporary dance and visual poetry through a video collaboration with several artists, which we showed on our first art show on Capitol Hill early this month, and which I will keep on developing as I present it in future festivals if possible. It has been liberating to find creativity to be the most healing way of living, and as I focus on graduate school and other life adventures, it must keep on being explored.
This year, thanks to family friends and great professors who have supported my journey all these years, I am the director of the Womxn’s Action Commission (ASUW) and I will be incorporating aspects of decolonization, resilience, and will seek to partner with all the other diversity student commissions to put on programs and events that represent all of us and our struggles as womxn on the 21st century. I am partnering with the Intellectual House and with Dr. Luana Ross to put on an Indigenous Feminisms event on Spring, and I cannot wait to see what wonderful fruits come out of our new team, as I seek the intersectionality of my fields of interest, my creativity and our team’s passion.
I have been in love with several archaeological projects all my live, and I’ve been following Professor Gonzalez’s work for some time since I transferred in this university: I can’t wait to see how my view on community based archaeology shape my understanding of the discipline!
Nowadays the majority of our sodas, medicine and water all come in plastic containers. It’s kind of difficult to imagine a world without the widespread use of plastic. Well before the 1950s that’s exactly what the world was like and instead of plastics we used glass.
Pictured to the left are the bases and bodies of two glass bottles recovered during the Atlantic/ Central bus base Expansion Project that took place in Seattle between 2002 and 2006. But how can we possibly learn anything from two jagged and rather dirty looking fragments? Well I can tell you with complete confidence that there is certainly more to these shattered pieces than meets the eye.
Based on the location of seams on the sides and base of the bottles we know that this was produced using a 2 piece post- bottom mold (see diagram). This type of mold was used between the 1840s and the early 1900s. Therefore, we can assume that the bottles were first produced and used within this time period. Embossed on to the front of the bottles are the words “JG Fox & Co.” This provides us with a wealth of information. A quick google search will reveal that JG Fox & Co was a beverage company based out of Seattle that primarily sold mineral water, sodas and beer. Since beer is usually sold in darker bottles I think it’s safe to assume that this was either a soda or mineral water bottle. In comparison to other bottles within the assemblage these ones were relatively heavy. Therefore, I do not think they would have been carried by people in everyday life. Instead, they were more likely used in a domestic setting, i.e. someone’s home, or in a restaurant.
Thats all I have to say about these bottles. If your interested in learning more about bottle identification I highly recommend the Society of Historical Archaeology Historic Glass Bottle Identification & Information Website
An ad for dioxygen from the Oakland Chemical Company circa 1908
This bottle is an amber colored bottle manufactured using a 2-piece with cup mould and has a prescription finish. The seams on the sides of the bottle are indicative of this kind of mould. Embossed onto the bottle is the name “The Oakland Chemical Company” with a chemical symbol in the middle. The bottle likely contained what was known as dioxygen or previously, Oakland hydrogen peroxide. The hydrogen peroxide was marketed as being safe for oral consumption, although today we know it should not be consumed and likely would have burned the throats of people who drank it.
The Oakland Chemical Company bottle
The date of manufacture for this style of bottle (2 piece with cup) is between the 1880s and 1930s, but knowing the company who sold product in the bottle, the date can be further refined to the late 1890s, early 1900s. The headquarters of the Oakland Chemical Company was in the New York City region, moving from Brooklyn to Manhattan and Staten Island. This product most likely would have been found in a household along with other medicines intended to treat ailments.