Halloween and The Pinup Witch

Wicked Witch of the West by Denslow
Wicked Witch of the West illustration by William Wallace Denslow. 1900.

The image of the Wicked Witch of the West in both Frank Baum’s The Wonderful Wizard of Oz (1900) — and the arguably more famous 1939 MGM film of similar name — is what most people associate with the witch in popular culture: a creepy old crone wearing a pointed hat that may or may not be sitting on a broomstick. But for a time in the mid-twentieth century, a decidly different witch gained popularity, melding the trappings of witchery and Halloween with the then ubiquitous pinup girls that graced calendars and magazines during World War II… and well into the nineteen fifties and sixties.

Halloween Witch postcard
Halloween Witch depicted on a Tuck postcard. 1908.

The transformation, however, wasn’t so much a sudden shift from a prim and proper nineteenth century into a more sexually permissive twentieth. It was a gradual transformation from centuries’ old suspicion to modern fascination.

Depictions of witches in Fin de Siècle and early twentieth century popular culture  — perhaps best studied in picture postcards (which became quite popular as a result of their 1893 Columbian Exposition) — mostly show the crone.

Halloween postcard, circa 1910.
Halloween postcard (circa 1910). Publisher unknown.

In fact, in the years that sending picture postcards through the mail were at their most popular (“The Golden Age of Postcards” from 1907 to 1915), the majority of those meant for Halloween showed the witch as an old woman.

An example of a young woman as witch
An example of a young woman as witch. Circa 1910. Publisher unknown.

There were exceptions, of course. The witch postcard at left, for example (circa 1910) shows a young woman.  And a cursory examination of many online postcard libraries online* reveals that, in addition to young woman and old crone, there are also children depicted in witch costumes. So postcards obviously do not tell the whole story. While we do not have the massive Halloween industry of today that cranks out hundreds of styles of plastic, paper and metal decorative items, there is evidence in ephemera other than postcards that fills some gaps in the history of depiction of witches.

FIN DE SIECLE CULTURE, ART NOUVEAU, AND THE NEW WOMAN
Pears Soap ad. 1889.
Pears Soap ad. 1889.

An ad for Pears Soap from 1889, for example, shows a naked witch riding a broomstick, with very little context for why she was there beyond being “a fair maiden” in the sky. Other ephemera from the 1880s and 90s similarly depicted young, attractive witches (see, for example, this Sapolio ad in Collier’s Magazine from 1899 [again, a soap ad!].

It was a time of Art Nouveau, when depictions of women were becoming more sexualized, but also the time of the “New Woman” (a term which entered the language in 1894) who was beginning to influence art, politics, and culture — as she was more confident, had more disposable income, and was… well… just more.

Over a few short decades, this New Woman was being described (at least in this excerpt from “Feminine Values” in the March 1930 issue of The Chicago Tribune) as “[getting] what she wants. The vote. Slim sheaths of silk to replace voluminous petticoats. Glassware in sapphire blue or glowing amber. The right to a career. Soap to match her bathroom’s color scheme…” [again with the soap!] …and this odd mix of liberation and materialism suited the times: a period of American history known for its focus on glamour, leisure, and yes, sexuality. It was a time of the flapper, the Ziegfield Girls, and, curiously, the Ipswitch Hosiery witch.

THE “MODERN WITCH” AND IPSWICH HOSIERY
Ipswich Hosiery logo
Often used Ipswich Hosiery advertising and product logo.

Founded in 1868, Ipswich Hosiery** became one of the largest hosiery makers in the world between 1916 and 1919. The company name — taken from the town in Massachusetts where their mills were located … a town where a woman was hanged for witchcraft in 1692 — inspired their logo. A silhouette of a witch riding on a stocking instead of a broomstick, it was used in some advertisements and on some product packagaing in the nineteen twenties.

Ipswich DeLuxe Hosiery Ad
Costume? Or an almost old-fashioned depiction of a woman’s proper dress is evident in this Ipswich Hosiery ad.

Some ads from Ipswich Hosiery touted “The Modern Witch,” and they are curious as some of the art harkens back to a Victorian sensibility while others show the “New Woman,” free of her petticoats. It was as if the history of the company and its advertising ran along a parallel track with both the depiction of women AND of the witch in the nineteen tens and twenties.

Ipswich Hosiery Ad
An Ipswich Hosiery ad showing the modern woman, eroticized and idealized and in the style of Art Deco.

The two Ipswitch witches shown here reveal a push and pull of artistic sensibilities — perhaps reflecting the company’s perception of the wide range of styles (and expectations of representation) among customers themselves. How did the women of the nineteen tens and twenties see themselves? Which version most appealed to these women? And which versions appealed to men… for these ads, designed for women, were almost certainly done by men — with their conflicting desires to depict both the “girl next door” and a highly eroticized woman.

It is, perhaps, in those conflicts that the pinup girl finds her origins.

THE HOLIDAY CALENDAR

Although some might argue that the Gibson Girl of the turn of the century is the first of the pinups, “Petty Girls” and “Varga Girls” are perhaps the best known and truest form of holiday pinup art. The term “pinup girl” entered the language in 1941***, and the witch was pretty much there from the beginning in many calendars and advertisements produced from the nineteen forties onward.

A pinup witch from George Petty. True Magazine Calendar. 1947.
A pinup witch from George Petty. True Magazine Calendar. 1947.

George Petty — of the “Petty Girls” — began work Esquire in the 1930s. His early work would be more cartoonish, featuring scantily clad women and a character called “the old codger” (or “old duffer”) but as people begain responding positiviely more and more just to the illustrations of women, Esquire commissioned Petty to work almost exclusively on pinups — with their annual pinup calendar of the 1940s selling particularly well. Petty’s work was so popular in the thirties and forties that he was in high demand in the world of advertising — which paid better than magazines.  Eventually, he began to want more money from Esquire. Although he continued to do work on and off for the magazine until 1956, Esquire often turned to his unofficial successor, Alberto Vargas, for pinup illustrations instead (as Vargas would often work for less).

Esquire Calendar. July. 1940. Alberto Vargas.
Esquire Calendar. July. 1940. Alberto Vargas.

Vargas’ career began with illustrations for the Ziegfield Follies and Hollywood posters (like Sin of Norma Moran). By 1939, blacklisted by Hollywood for “walking off the job” in solidarity with union advocates at Warner Brothers, Vargas found himself in need of work. He would turn to pure pinup art, and  especially became known for his work on the “Esquire Girl” calendar. The first was in 1940. Each month would feature a different girl, dressed for that month’s most prominent holiday.

Gil Elvgren. Witch. 1958.
Gil Elvgren. “Riding High” Witch. 1958. Blotter card, used to blot excess ink and prevent smearing when using fountain pens.

Gil Elvgren also worked during the same period. In 1937, Elvgren began his pinup career for Louis F. Dow, one of the U.S.’ biggest publishing companies at the time. His pinup witch from 1958**** is still used today on many a Halloween decoration that one can easily find on Etsy. Online and available for sale, Elvgren’s witch is just one of a variety of pieces one can find (apparently out of copyright) by so many other pinup artists of the period (Earl Moran, Michael Silver, and Harry Ekman, just to name a few).

It is in Vargas’ work for the Halloween holiday, however, that the evolution of the depiction of the witch in popular culture is perhaps best seen. His illustration of a witch for a deck of playing cards, for example (below), reflects how Art Nouveau, Art Deco, and even the Gibson, Ipswich, and Ziegfield girls all come together in an illustration that is equal parts ethereal and earthy.

Alberto Vargas. Jack of Hearts. Bewitched. 1953.
Alberto Vargas. “Bewitched.” Playing card. Back of Jack of Hearts. 1953.
BEYOND ILLUSTRATION
Halloween Pinup Gale Robbins
Gale Robbins — an actress and singer who gained her greatest fame as a popular World War II pinup girl — as a witch for Halloween. 1945.

But it’s not just the painted pinup that became popular in the forties and fifties. It could be said that Hollywood had already perfected the pinup in the famous photo of Betty Grable from 1943.***** And the pinup witch? From the nineteen forties through the nineteen fifties in Hollywood cheesecake photography, she found her heyday, replete with fishnet stockings and a pointy hat.

Veronica Lake in a promotional still for 1942's I MARRIED A WITCH
Looking very much the pinup, Veronica Lake in a promotional still for 1942’s I MARRIED A WITCH

Film and television would further influence the public perception of the witch. 1942’s I MARRIED A WITCH saw Veronica Lake looking very much the pinup in promotional materials for the film. And while 1958’s BELL BOOK AND CANDLE eschewed the trappings of witch, it and I MARRIED A WITCH heavily influenced “Bewitched,” the beloved television series which ran from 1964 to 1972.

But the printed pinup calendar and witchy women in Hollywood photos, film, and TV fell out of favor by the nineteen seventies. Images of the highly sexualized witch would continue in men’s adult magazines. Playboy, for example — for whom Vargas also worked (through the late sixties) — found continued success through to the eighties and nineties, even while the traditional pinup girl (now downright innocent by comparison) would ultimately go into decline.

But the early 21st century would find yet another change: as print images and other traditional forms of media were pretty much becoming a thing of the past, social media and smartphones would democratize the taking and sharing of digital “pinup” photos. Say what you will about their proliferation, today’s Instagram photos put much of the power over the image directly into women’s hands. Many of these women have discovered the “retro” pinup look. What’s old is new again.

As for the witch? One could find in the history of depictions of the witch in popular culture a thread that finds its source in the neopaganist, Jungian archetype of the Triple Goddess (Maiden, Mother, and Crone). But that’s a blog entry of a completely different kind. For now, it is best to end here with a simple observation: popular culture of the last one-hundred-and-fifty odd years turned what was once wild, supernatural and usually repulsive into something tamed, earthy and societally attractive. The Pinup Witch had arrived, and she remains a staple of Halloween to this day.

 

NOTES:

* For those interested in holiday postcards, here’s just one example of the online libraries you can browse: New York Public Library.

** Click here for a detailed history of Ipswich Hosiery.

*** Movers and shakers : a chronology of words that shaped our age. Alto. 2006. Oxford University Press.

**** Gil Elvgren’s model for “Riding High” is rarely credited. She’s model and actress Marilyn Hanold. Click here for photo.

***** Vargas actually drew Grable for the poster for 1941’s MOON OVER MIAMI.

Interested in Alberto Vargas’ art? Visit www.vargaspinupart.com, a site representing artwork of the Alberto Vargas Family Archive.

On the Wings of Blood: Instances of The Bat-Like Dracula

LAST VOYAGE OF THE DEMETER (Vietnamese poster)

With the upcoming release of André Øvredal’s THE LAST VOYAGE OF THE DEMETER — an adaptation of Chapter 7 of Bram Stoker’s DRACULA and its “Captain’s Log” from a doomed ship carrying the Count from Transylvania (well, Varna, in Bulgaria) to England — Dracula is seen (in the trailers at least) as a bat-like man. Complete with leathery skin, pointy ears, and tremendous wings, this Dracula is less of a man and more of a monster. But was he such in Stoker’s novel? And if not, where did the Dracula as man-like bat (or bat-like man) come from?

In the novel, Dracula can command bats, and even turns into one on occasion, but his form is that of a slightly larger than normal bat, and one that flies in a straight-line more than flutters about. Nowhere does he appear as he does on the posters of DEMETER. In fact, a concordance of the novel shows that the word “bat” is only used 11 times in a book of over 160,000 words — and none of those occurs in the Captain’s log from the Demeter.

October 24, 1885 issue of Punch Magazine with anthropomorphized bat representing the Irish National League.

Regardless, Stoker may at least have been aware of man-bat / bat-man imagery. He most likely read Sir Richard Burton’s VIKRAM AND THE VAMPIRE (1870) with its mention of “The Baital-Pachisi, or Twenty-five Tales of a Baital… the history of a huge Bat, Vampire, or Evil Spirit” from its Preface.  Stoker, an Irishman, may also have seen an 1885 issue of Punch magazine that used the vampire as symbolic of the Irish National League; there, a human face is given to a huge bat. Regardless, Stoker’s bats are just that: bats. Even when Dracula takes to the air as one.

Films more likely influenced (and evolved) the depiction of Dracula as man-bat / bat-man. What many consider the first horror film, 1896’s THE HOUSE OF THE DEVIL shows Satan transforming into a bat. Not a vampire. But close.

On the deck of the Demeter in NOSFERATU (1922)

The unauthorized adaptation of Bram Stoker’s DRACULA that was NOSFERATU (1922), gave actor Max Schreck an animalistic, almost bat-like appearance. Still, his vampire is more rat-than bat, though the image of the vampire on the deck of the Demeter makes for one of the more chilling scenes from any vampire film. Jump to Lon Chaney Jr.’s on-screen transformation into a (normal sized) bat in SON OF DRACULA (1943) and at last we finally see an attempt at the transmogrification itself. But neither Universal Studios nor Hammer would go on to show the Count (or any vampire) as taking on the form of human-sized (or bigger) bat.

Was the bat / rat like Mr. Barlow from SALEM’S LOT (1979) one the inspirations for Dracula in LAST VOAYGE OF THE DEMETER?

Throughout the nineteen seventies and its dozens upon dozens of vampire films, there’s no undead bloodsucker with huge bat wings. Neither Jack Palance as Dracula in the 1974 adaptation, nor Louis Jordan (1977), nor Frank Langela (1979) transform into bat-men / men-bats. There’s an adaptation of Stephen King’s SALEM’S LOT (made for TV) from 1979 that has a nosferatu-ish vampire named Mr. Barlow whose cloak appears much like bat wings, but’s he no full-blown bat.

The vampire bat that is vampire Jerry Dandridge, burning in the sun in 1985’s FRIGHT NIGHT.

In fact, it’s not until the highly original FRIGHT NIGHT (1985) that we see a revelation that within the man, there is large bat — and that, in the case of vampire Jerry Dandridge, his winged, pointy ears form is only revealed once the daylight strikes him and sets him ablaze.

Gary Oldman, in his bat suit, assisted by crew to get into position for a good scare in BRAM STOKER’S DRACULA (1992). A Sony Pictures promotional still.

But Dracula himself? Perhaps one of the first and most memorable transformations of Count Dracula into a bat-man / man-bat is in (Francis Ford Coppola’s) BRAM STOKER’S DRACULA (1992). There, when cornered by the film’s vampire hunters after some alone-time with Mina Harker, Dracula dramatically becomes a true amalgamation of man and bat. It is one of the more fantastic physical forms of Dracula in a film full of them.

Dracula as huge bat in the final fight scene from VAN HELSING (2004)

FROM DUSK TIL DAWN (1996) seemed to borrow from Coppola’s playbook, creating a whole crop of full-sized bat / human hybrids. And by the time we get to the twenty-first century, bat-men and man-bats abound. The most notable being VAN HELSING (2004). Yet this particular film is so far from Stoker’s source material as to not even be worth considering.

That is has taken thirty years to come back to a Dracula based on Stoker’s own words that depicts the titular Count as a bat-man / man-bat is somewhat surprising. And like Coppola’s depiction, DEMETER looks to use mostly practical effects to bring its Dracula to life.

The practical effects and Javier Botet’s performance look to be quite effective in LAST VOYAGE OF THE DEMETER (2023)

Javier Botet is the very talented man behind that mask, but will the bat -man / man-bat approach really work for LAST VOYAGE OF THE DEMETER?  From a Captain’s log that only records the appearance of “a strange man,” and “a tall, thin man” at that, is it a leap to give that man pointy ears and wings? Critics and audiences will decide, but whatever the critical or box-office reaction, the choice is — pun intended — novel.*

*Sunday, August 13: like the Captain’s log itself, my blog post, if found, should tell the whole story. And it’s this: that I saw LAST VOYAGE OF THE DEMETER a few days after I wrote the above essay. The film is atmospheric, claustrophobic, and, at times, even a little unsettling (fans of children and dogs might get upset). It’s not a perfect movie by any means (and depending on how much of a purist you are, the ending might prove disappointing).

Some problems with the script of DEMETER and an often turgid pace prevent it from become more than a b-movie; it’s essentially ALIEN meets MUTINY ON THE BOUNTY, but it’s fun. Judged by its visuals alone — especially Botet’s creepy performance and Øvredal’s adept handling of the careful (and often scary) reveal of the creature — the film is a fine and highly original addition to depictions of Dracula on screen.

By Christopher Michael Davis