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This paper aims to present an autobiographical account on the life of Terrence H. Witkowski and his development as a marketing and consumption historian.

This paper is an autobiography and intellectual history.

The author traces his interest in history to childhood travel, to growing up in a home furnished with early American décor and to a lifelong passion for antique collecting. Historical research in marketing and consumption fit his independent personality, and has made the best use of his scholarly skill set.

This essay describes one person’s journey to becoming a marketing and consumption historian.

This paper aims to describe written and visual data sources useful for researching the history of advertising and marketing that are held in the collections of the McCracken Research Library at the Buffalo Bill Center of the West in Cody, Wyoming.

Knowledge of the McCracken collections has been acquired over several years of online searches and subsequent data analyses, communications with Library staff and from a personal visit to Cody in September 2021.

Several digital collections are surveyed. The Roy Marcot Firearms Advertisement Collection visually documents industry practices and also speaks to larger issues in American gun culture. The Winchester Publications provide insights via company magazines into product and management strategies, hardware retailing and visual merchandising tactics during the 1920s. The Schuyler, Hartley and Graham archive of business correspondence illustrate business-to-business marketing from the nineteenth through the early 20th century. The Buffalo Bill Collection reveals how the culturally important Wild West shows were promoted and experienced.

This paper familiarizes advertising and marketing historians with the primary sources in the McCracken Research Library and suggests some potential areas for study.

This article presents a history of the visual merchandising of American firearms from the mid-19th century until the present day. Although the scholarly literature has investigated visual representations of guns in advertising and popular media, it has paid far less attention to how sellers have displayed these objects at or near the point of purchase.

Primary sources include frescoes, engravings and photographs, plus papers, advertising and illustrations in popular newspapers and trade magazines. These and other period visual data are supplemented by secondary sources from a variety of fields, especially retailing and firearms history.

Evidence shows that American firearms were merchandised visually by Samuel Colt at three world expositions in the 1850s, by gunmakers and retailers in the latter 19th century, by Winchester and Remington dealers in the 1920s and 1930s, by high- and low-end retailers in New York in the first half of the 20th century and by gun stores, auctions and shows up to the present day.

The history of visual merchandising generally has focused upon major department stores, their alluring street-front windows and their fancy interior displays. This research explores past and present visual merchandising of firearms by manufacturers and smaller retailers. To the best of the author’s knowledge, it is the first such history of the subject.

This study aims to present a history and critical analysis of arms and armor collecting in America from the late 19th century until the present day.

The research draws from the literature on arms and armor, from primary written, visual and material evidence, and from the author’s long experience as an antique gun and sword collector.

American arms and armor collectors have included men of great wealth, museums and their curators and many enthusiasts of more modest means. Collectors, dealers and curators have created a substantial arms literature. Collectors have organized around various types of artifacts, historical periods and company brands. Dealers, auction houses and manufacturers have provisioned the market with period pieces and reproductions.

The history of antique arms and armor collecting is regarded as a social activity where enthusiasts have pursued “serious leisure” through consumption and brand communities. This history is further analyzed as a cultural practice wherein generations of collectors have interpreted the meaning of antique arms and armor.

This paper aims to investigate the history and distribution of trade ceramics in Southeast Asia over a thousand-year period stretching from the ninth to the early nineteenth century CE.

The study takes a material culture approach to the writing of marketing history by researching the ceramics trade from the starting point of artifacts and their social context. It draws from literatures on Chinese and Southeast Asian ceramics art history and archaeology. It also is informed by first-hand experience inspecting surviving artifacts in shops, talking to dealers and taking in museum displays.

After a brief historical overview of the ceramics trade in Southeast Asia, the research further explores topics in physical distribution (transportation routes, hubs and local marketplaces and ships, cargo and packing) and product assortments, adaptation and globalization of consumer culture.

The art history and archaeological literatures provide a good overview of the ceramics trade and analysis of surviving material artifacts, but only limited information about distribution and consumption. Many questions remain unanswered.

This study contributes to international business and marketing history by documenting a thousand years of trade among China, mainland and insular Southeast Asia, and a long-standing cultural exchange facilitated by seaborne commerce. It also shares a marketing perspective with the fields of Southeast Asian art history and archaeology. Research in marketing history has neglected this region. To fully understand the development of marketing in the pre-industrial era, accounts from civilizations outside the West must be included.

Through an account of the layout, operations, and four main product lines of a small Chicago bookstore between 1938 and 1947, the purpose of this paper is to show how a neighborhood retail establishment reacted to the sweeping events of the Great Depression and World War II.

The research is based upon multiple primary data sources including store financial records, family photographs, representative artifacts and ephemera, oral history interviews, and period retailing literature.

Located in an area of Chicago heavily populated by Polish and Jewish immigrants and their children, General Book Store was a traditional mom and pop operation. The mix of its product lines – books and magazines, model kits, greeting cards, and camera supplies and photo‐finishing – evolved over time while always connecting customers to the national experience. The store afforded its owners a modest, but upwardly mobile middle‐class life style.

Although much has been written on large‐scale retailing, marketing historians have conducted very little research on small‐scale retailing in the USA. This study documents the intermingling of a business and a household economy and how the management of merchandise assortments and maintenance of customer relationships depended upon both owner interests and the opportunities and constraints presented by environmental forces.

This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles.

The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources.

Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes.

Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images.

Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.

This research measured and compared the brand identity of Kentucky Fried Chicken (KFC) in China and the United States. Brand identity was defined as the customer impressions of four different KFC identity elements – properties, products, presentations, and publications. A survey of young consumers in the two countries (n = 795), showed that the Chinese respondents were more apt to eat within KFC restaurants, and spend more time doing so, than the Americans. The Chinese also had much more positive impressions of KFC than their US counterparts. Brand identity impressions were correlated with overall customer satisfaction and with future patronage intentions for both groups, but much more so for the Americans. These findings support a model where differences in cultural frames of reference lead consumers to actively localize the brand identity of this nominally globalized product.

The marketing field established important institutions – college courses, teachable texts, professional associations, and regular conferences – during the first three decades of the twentieth century, but did not fully mature as a scholarly discipline until the first specialized journals were launched in the mid‐1930s. The aim of this paper is to better understand the marketing discipline during this crucial formative period, especially the structure, presentation, and content of marketing knowledge.

The primary sources are The American Marketing Journal and the National Marketing Review, the two predecessor journals that combined to form Journal of Marketing in 1936. They are examined for publishing data and content areas, article format and authorship, and the topics and methods constituting marketing knowledge.

The scholarship published in the first marketing journals was written by single authors who only infrequently cited other works. A wide range of topics were explored with much attention given to issues of marketing and society. Marketing writers considered their field a science and showed confidence in it despite dire environmental conditions.

The primary sources examined have been all but forgotten and deserve to be revisited. The research investigates not only the texts themselves, but the people who wrote them, their professional biographies and associational activities, and the larger academic and social environments of their time.

This chapter fosters understanding of core U.S. gun culture and how it promotes its political ideology through visual means.

The research applies key visual theory concepts to investigate a selection of political representations made by gun rights advocates. The images analyzed include photographs, posters, and other ephemera posted on blogs and commercial websites located through informed keyword searches of Google Images.

Core gun culture in the U.S. aggressively promotes its libertarian and right-wing ideology through tactics of interpellation, intertextuality, and exhibitionism, often in tandem with humor, sarcasm, paranoia, and sex appeals.

Although the findings are preliminary, visual theories and methodologies present a promising direction for further consumer research on American gun culture.

U.S. gun culture produces levels of gun violence that far exceed those in other developed countries. Knowledge of how the core gun culture represents itself visually may deliver insights for mitigating this social problem.

Relatively little consumer culture research has addressed U.S. gun culture and visual theories have not been fully deployed.