This article is an overview from the standpoint of a writer in 1900.
Along with the reaching out for trade beyond the limits of the home city came first the increasing size and prominence of the catalogue, and soon after a more attractive method of advertising. Seed catalogues were offered at least as early as 1805, but these were mere lists and were not intended for general distribution. For forty years most of them remained essentially price lists, and were offered only as an afterthought in an advertisement.
Grant Thorburn's catalogue is, so far as the writer knows, the only one issued in pamphlet form as early as 1823.
In 1825 his little book of about 4 by 7 inches in size contained 87 pages. Besides the usual retail price list, there was a wholesale list, and catalogues of bulbs, of flowering plants, and of tools. Brief directions for planting were given, and there were some longer articles on the culture of special grasses.
Shortly before the civil war the catalogue became more prominent. It was increased in size and issued in pamphlet form. The varieties offered were more or less carefully described, cultural directions were given, and an almanac and calendar of gardening operations was a frequent and prominent feature.
A few illustrations appeared before 1867, but after that date their number steadily increased, and before 1870 colored plates were introduced.
There have been changes in the advertisements in some respects similar to, and in others quite different from, those which have taken place in the catalogue.
The old advertisements contained long lists of varieties, with prices, and differed little in type and style from the body of the paper, though sometimes more striking headlines were used. Gradually the advertisement was decreased in size, but was made more striking to the eye, and the announcement of the new catalogue occupied a prominent place.
About 1870 the advertisements began to be more fully illustrated with cuts of those vegetables and flowers to which special attention was called. From this time on the style of advertising changed rapidly, always tending toward larger headlines, more illustrations, and such devices of the printer's art as would most surely catch and hold the reader's attention.
The early garden calendars were designed largely for distribution by the country dealers, who bought the seeds at wholesale. There was as yet but little direct contact with the distant consumer, as the mail trade was in its infancy. But with the increase of the postal facilities dealers began to depend more upon their catalogues. The offer to send catalogues free became a prominent part of a seed advertisement, and every effort was made to render the catalogue attractive. Year by year the illustrations increased in number and quality, and pages of useful information gave it some title to rank as a garden guide.
DEVELOPMENT OF THE SEED CATALOGUE.
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| View entire catalog |
In 1825 his little book of about 4 by 7 inches in size contained 87 pages. Besides the usual retail price list, there was a wholesale list, and catalogues of bulbs, of flowering plants, and of tools. Brief directions for planting were given, and there were some longer articles on the culture of special grasses.
Shortly before the civil war the catalogue became more prominent. It was increased in size and issued in pamphlet form. The varieties offered were more or less carefully described, cultural directions were given, and an almanac and calendar of gardening operations was a frequent and prominent feature.
A few illustrations appeared before 1867, but after that date their number steadily increased, and before 1870 colored plates were introduced.
There have been changes in the advertisements in some respects similar to, and in others quite different from, those which have taken place in the catalogue.
The old advertisements contained long lists of varieties, with prices, and differed little in type and style from the body of the paper, though sometimes more striking headlines were used. Gradually the advertisement was decreased in size, but was made more striking to the eye, and the announcement of the new catalogue occupied a prominent place.
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| 1863 - old style |
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| 1871 - "new" style |
About 1870 the advertisements began to be more fully illustrated with cuts of those vegetables and flowers to which special attention was called. From this time on the style of advertising changed rapidly, always tending toward larger headlines, more illustrations, and such devices of the printer's art as would most surely catch and hold the reader's attention.
The early garden calendars were designed largely for distribution by the country dealers, who bought the seeds at wholesale. There was as yet but little direct contact with the distant consumer, as the mail trade was in its infancy. But with the increase of the postal facilities dealers began to depend more upon their catalogues. The offer to send catalogues free became a prominent part of a seed advertisement, and every effort was made to render the catalogue attractive. Year by year the illustrations increased in number and quality, and pages of useful information gave it some title to rank as a garden guide.
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| 1890s ad from Success with Flowers, a Floral Magazine |
Novelties were not so numerous twenty years ago, and they did not receive the prominence the modern catalogue accords them. Before 1880 a special place in the seed catalogue was not generally given to novelties.
Some firms gave prominence to new varieties, but many of the leading houses either ignored them or simply added to their regular list such as they found worthy. To-day, however, there is not an important catalogue but gives more or less space to novelties, and the descriptions of these are frequently printed on tinted paper or made attractive by devices of the printer's art.
Some varieties remain in the novelty pages of one catalogue or another for years, and not infrequently a novelty will reach the age of two or three years in the catalogue of the same firm. Seedsmen are on the alert for novelties; they are the money makers, and, besides, every really good introduction extends the reputation of the introducers.
Many of the new varieties drop out after a year or two, being found wanting in some important particular and unable to make head against the old favorites; but others have intrinsic merit, and it is by the addition of these that our horticulture is enriched. The success of a novelty may be said to depend largely upon the introducers, since reputable firms endeavor to place only approved sorts in their novelty list; and, although even they are sometimes mistaken, the varieties thus introduced are more likely to possess merit than those heralded as possessing all sorts of impossible qualities and overburdened with a profusion of adjectives.
The modern catalogue is the seedsman's agent. It tells the prospective customer of the business it represents, setting forth in an attractive manner the superior merits of the seeds it offers. It must not only attract the eye, but must appeal to the judgment and to the imagination of the buyer.
But the catalogue is more than the seedsman's agent—it is a text-book of horticulture. Millions of these illustrated catalogues find their way every year into rural homes. They are studied and compared, and much of the amateur gardener's knowledge of varieties is obtained from the seed catalogues. It is highly important, therefore, that the catalogue should be honest; it is perhaps too much to ask that it be conservative.
The pictures should be as honest as the text, since the good effects of an accurate description may be ruined by an exaggerated illustration. Nor would honesty in text and figure exclude the proper praise of meritorious varieties; on the contrary, figures that are clearly not overdrawn and descriptions at once terse and complete will do more than the extravagant use of adjectives to inspire confidence, both in the qualities of the variety and in the seedsman's knowledge of them. Fortunately, most of our large houses do not seriously transgress in this matter; but there are some that do, and many irresponsible firms seem to think that they can make up in printer's ink what they lack in experience and reliability.
It would doubtless be difficult to say how many well-edited catalogues are published in the United States. Seedsmen would naturally differ in their judgment. In good catalogues two things are accomplished—the varieties are carefully described and so arranged that the purchaser can readily find what he wants. These catalogues describe in a few words the essential characteristics of the varieties, and in many cases these are grouped, as with cabbages, into first or early, second or summer, and late or autumn sorts; or with lettuce, as heading or not heading, and Cos varieties, for forcing or outdoor culture, and spring and summer varieties. This grouping is of great assistance to purchasers unfamiliar with the varieties described, helping them to select the sorts best suited to their location and needs.
Naturally, many more varieties are offered than are desirable in one garden. Some of these would be better left out, but they are popular in certain places and must be offered to hold that trade. Others, again, do better in one section of the country than in another, while a third class are merely synonyms of other varieties also catalogued. It is the aim of every careful seedsman to weed the synonyms out of his catalogue as much as may be; but with the present total lack of system in horticultural nomenclature it is difficult to arrive at perfection in this matter.
So long as anyone can change a name and thus make new varieties from old ones, or can add his name to that of an established variety, a large number of synonyms must be expected, nor can the student of horticulture ever be sure that varieties of the same name are alike. It is also true that seedsmen often feel compelled to list names they know to be synonyms because the variety is known and called for under that name. It would be better, however, to list the variety under its proper name and add the synonym if necessary.
A tendency in modern catalogue making that promises well for the future is the increase in the use of half-tone illustrations. Many of the leading catalogues are adopting this method of illustrating, and in some it has become a feature.
ALERT: My comments below :-)
The older woodcuts, as well as many of the exaggerated illustrations of to-day, have lost their power to charm and to deceive. The public wishes to know as nearly as possible what the seed will produce under favorable conditions; it is the real, not the ideal, that is wanted. The seedsman may strive for the latter in breeding up his variety, but while this ideal is still unrealized he should hold his imagination in check when deciding on the illustrations for his catalogue.
Summing up catalogue making, a writer a few years ago said:
Some varieties remain in the novelty pages of one catalogue or another for years, and not infrequently a novelty will reach the age of two or three years in the catalogue of the same firm. Seedsmen are on the alert for novelties; they are the money makers, and, besides, every really good introduction extends the reputation of the introducers.
Many of the new varieties drop out after a year or two, being found wanting in some important particular and unable to make head against the old favorites; but others have intrinsic merit, and it is by the addition of these that our horticulture is enriched. The success of a novelty may be said to depend largely upon the introducers, since reputable firms endeavor to place only approved sorts in their novelty list; and, although even they are sometimes mistaken, the varieties thus introduced are more likely to possess merit than those heralded as possessing all sorts of impossible qualities and overburdened with a profusion of adjectives.
The modern catalogue is the seedsman's agent. It tells the prospective customer of the business it represents, setting forth in an attractive manner the superior merits of the seeds it offers. It must not only attract the eye, but must appeal to the judgment and to the imagination of the buyer.
But the catalogue is more than the seedsman's agent—it is a text-book of horticulture. Millions of these illustrated catalogues find their way every year into rural homes. They are studied and compared, and much of the amateur gardener's knowledge of varieties is obtained from the seed catalogues. It is highly important, therefore, that the catalogue should be honest; it is perhaps too much to ask that it be conservative.
The pictures should be as honest as the text, since the good effects of an accurate description may be ruined by an exaggerated illustration. Nor would honesty in text and figure exclude the proper praise of meritorious varieties; on the contrary, figures that are clearly not overdrawn and descriptions at once terse and complete will do more than the extravagant use of adjectives to inspire confidence, both in the qualities of the variety and in the seedsman's knowledge of them. Fortunately, most of our large houses do not seriously transgress in this matter; but there are some that do, and many irresponsible firms seem to think that they can make up in printer's ink what they lack in experience and reliability.
It would doubtless be difficult to say how many well-edited catalogues are published in the United States. Seedsmen would naturally differ in their judgment. In good catalogues two things are accomplished—the varieties are carefully described and so arranged that the purchaser can readily find what he wants. These catalogues describe in a few words the essential characteristics of the varieties, and in many cases these are grouped, as with cabbages, into first or early, second or summer, and late or autumn sorts; or with lettuce, as heading or not heading, and Cos varieties, for forcing or outdoor culture, and spring and summer varieties. This grouping is of great assistance to purchasers unfamiliar with the varieties described, helping them to select the sorts best suited to their location and needs.
Naturally, many more varieties are offered than are desirable in one garden. Some of these would be better left out, but they are popular in certain places and must be offered to hold that trade. Others, again, do better in one section of the country than in another, while a third class are merely synonyms of other varieties also catalogued. It is the aim of every careful seedsman to weed the synonyms out of his catalogue as much as may be; but with the present total lack of system in horticultural nomenclature it is difficult to arrive at perfection in this matter.
So long as anyone can change a name and thus make new varieties from old ones, or can add his name to that of an established variety, a large number of synonyms must be expected, nor can the student of horticulture ever be sure that varieties of the same name are alike. It is also true that seedsmen often feel compelled to list names they know to be synonyms because the variety is known and called for under that name. It would be better, however, to list the variety under its proper name and add the synonym if necessary.
A tendency in modern catalogue making that promises well for the future is the increase in the use of half-tone illustrations. Many of the leading catalogues are adopting this method of illustrating, and in some it has become a feature.
ALERT: My comments below :-)
Half-tone illustrations may be accurately depicting the plant's shape and size,
but YUCK!! they are awful!! Compare this to the ones below.
but YUCK!! they are awful!! Compare this to the ones below.
The engraving has the most "life" to it! You had to trust the seedsman, then it seems the better illustration. If people didn't know about your business's reliability, I guess photos were reassuring.
OK - back to the article below...
The older woodcuts, as well as many of the exaggerated illustrations of to-day, have lost their power to charm and to deceive. The public wishes to know as nearly as possible what the seed will produce under favorable conditions; it is the real, not the ideal, that is wanted. The seedsman may strive for the latter in breeding up his variety, but while this ideal is still unrealized he should hold his imagination in check when deciding on the illustrations for his catalogue.
Summing up catalogue making, a writer a few years ago said:
"The work of compilation on the modern catalogue is thorough and exhaustive, calling for vast knowledge of every branch of trade and an intimate acquaintance with a fluctuating market. The arrangement for a thorough supply of the stock to be advertised, the ability called into play to gauge what all his rivals are going to push and the prices they will charge, marshaling order out of chaos, writing and telegraphing to every corner of the globe, watching the work on the illustrations, and scores of minor matters to be regulated, call into play faculties of superior order, and make many a man old before his time from the tension on the system in the getting out of the great annual catalogue."
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