THANKSGIVING AND ITS LOGO THE CORNUCOPIA

Turkey, dressing, cranberries, sweet potatoes and pumpkin pie are to Americans iconic symbols of Thanksgiving, our national holiday. It was, and still is, a day of taking stock of our blessings and giving thanks to family, friends and God for all we have. In 1825, the editor of the Salem Observer noted, “the anniversary of this good old festival will ever be greeted with hearty welcome.” Thanksgiving had, by then, already been celebrated for more than a century.

Palampore, Coromandel Coast, 1750-55, painted and dyed cotton.
The Victoria and Albert Museum, gift of G.P. Baker

Detail of Palampore

Costume Design Sketch, London, 1946, by Oliver Messel (1904-1978)
Charcoal, pencil, gouache, paint, watercolor on paper.
The Victoria and Albert Museum, gift of Heritage Lottery Fund, The Art Fund and Friends of the V & A. Messel was the leading theatre designer in London during the 1930s through the middle 50s. This sketch was for The Sleeping Beauty which was performed by the Sadler Wells Ballet in 1946.

Sarah Josepha Hale, novelist and editor (she became editor in 1832) of Godey’s Lady’s Book used her influence to make Thanksgiving a national holiday. After years of lobbying for it through the pages of her publication, Abraham Lincoln finally made it official in 1863. In the mean time, many states had already adopted it as an official state holiday. The governor of Maryland made it official in November 1853. Margaret School Hood and Jacob Englebrecht, local Maryland diarists, both noted the news from the governors office in their diaries that year. Margaret celebrated it quietly, going to church with her mother then visiting friends. In fact, in subsequent years she spent the day exactly as she always had-in church and visiting friends. No feast or lively dinner party was ever mentioned.

Printed Cotton, late 18th-early 19th centuries.

Jouy, France, copperplate printed

The Victoria and Albert Museum

Dish, Rouen, France
1755-1770
Tin-glazed earthenware
The Victoria and Albert Museum

Jane Nylander writes in her book, Our Own Snug Fireside: Images of the New England Home about the various ways New Englanders celebrated the holiday. They were by far more enthusiastic about the holiday than their Maryland counterparts. And, like today, many families traveled to be with loved ones, kind-hearted people took in the sick, elderly, and lonely, and young married couples tipped toed around each other’s feelings while trying to decide where and with whom to spend the holiday.

Plate, England, c. 1927
Glazed and painted earthenware, designed by Dora M. Billington
and manufactured by J and G Meakin
The Victoria and Albert Museum, gift of the designer Hanley

Cup and Saucer, c. 1927
Glazed and painted earthenware, designed by Dora M. Billington
and manufactured by J and G Meakin
The Victoria and Albert Museum, gift of the designer Hanley

It is not surprising that the cornucopia or horn of plenty became part of the classical design vocabulary during the early and middle 19th century, the years that Thanksgiving was settling into the American consciousness. Thanksgiving had met its logo!

Hanukkah Lamp
16th century, Italy
Gilt and bronze
The Victoria and Albert Museum, gift of the Dr. W.L. Hildburgh Bequest

The cornucopia was used in design as a symbol of abundance since the Greek and Roman periods, but, never was it so popular in western culture as during the first half of the 19th century. It was used as a motif on ceramics, glass, furniture, furnishing textiles and silver, as well as many other household items. Today, we readily identify it with the Greek Revival period and Thanksgiving. Following are images of the cornucopia on objects being sold on VandM.com, as well as in several museums.