Edward O'Reilly

Staff

The Center for Women’s History highlights exhibitions, programs, and education while promoting women’s history through original research, interviews, and guest posts.

Eugene Gordon. The Women’s Strike for Equality on August 26, 1970. 

Women at the Center

The Center for Women’s History is thrilled to present The Salem Witch Trials: Reckoning and Reclaiming in our Joyce B. Cowin Women’s History Gallery through January 22, 2023. Originally organized by the Peabody Essex Museum in Salem, MA, the exhibition features original objects from individuals impacted by the witch trials of 1692, when false accusations led to the deaths of 25 innocent women, men, and children. Over a hundred others suffered damaging legal accusations, with women bearing the greatest burden of suspicion and violence. The exhibition also features artistic responses by contemporary artists who are Salem descendants: fashion designer Alexander McQueen and portrait photographer Frances F. Denny. In this post, the curators reveal some of our favorite objects, including additions from New-York Historical’s collections.

The title page of Malleus Maleficarum by Heinrich Institoris (1430-1505), 1669, Patricia D. Klingenstein Library, New-York Historical Society

Malleus Maleficarum by Heinrich Institoris

Salem’s infamous witch trials were part of a larger European and North American trend of witch hunts from roughly 1400 to 1775. Christian ideology of the time period posited that witches made pacts with Satan, gaining the ability to unleash maleficia—harmful magic—causing sickness, misery, and death. Accusations were overwhelmingly hurled at women, particularly those who were poor or older. Trials engaged the entire community as a form of popular entertainment and social control over women’s behavior, fertility, or knowledge.

This notorious text by German Inquisitor Heinrich Institoris contains instructions for finding and legally prosecuting witches. This included torturing the accused to obtain confessions and executing them as punishment. It singles out poor, elderly, unmarried women as the most likely threats to Christian society. Originally published in 1486, Malleus Maleficarum was a bestseller and reprinted numerous times, powerfully influencing religious and legal authorities debating how to approach charges of witchcraft. This edition, printed nearly two centuries later, would have been in circulation at the time of the Salem trials.

A tape loom decorated with folkloric symbols such as a human a heart, pinwheels or daisy wheels, and crosses, owned by Rebecca Putnam, 1690–1710, Oak, Peabody Essex Museum purchase, made possible by an anonymous donor, 138181

This is one of the most fascinating objects in the exhibition. It is a tape loom owned by Rebecca Putnam, a member of an influential and prominent landowning family that actively accused and testified against their neighbors during the trials. Rebecca’s cousin, Ann Putnam Jr., was one of the first girls to experience afflictions and accuse others of witchcraft. Rebecca’s uncle, Thomas Putnam Jr., served as a secretary for the trials while her father, John Putnam Jr., was a constable. All together, the Putnams accused dozens of victims; Ann Jr. alone accused 62 people of witchcraft, including 17 who were executed. 

However, this seemingly utilitarian household object reveals how folkloric and Puritan beliefs could coexist in tension. Carved into the handle of this loom are symbols: a heart, crosses, pinwheels or daisy wheels, and a human face. While some may be emblems of Christian belief, others relate to folk magic practices for warding off evil. These protective marks, hidden as decoration, show a countercurrent even within the Puritan Putnam household. 

A handwritten document detailing the preliminary examination of Elizabeth How, May 31, 1692, Phillips Library, on deposit from the Massachusetts Supreme Judicial Court Archives

The Preliminary Examination of Elizabeth How

People of the era commonly interpreted odd animal incidents and injuries as marks of witchcraft. Elizabeth How, who lived outside of Salem on a nearby Ipswich farm with her husband and children, fell prey to this phenomenon in 1692. Her suspicious and vengeful neighbors, Samuel and Ruth Perley, mined a decade-long conflict with her for evidence of witchcraft. Following a dispute between their families 10 years earlier, the Perleys had accused How of bewitching their 10-year-old daughter, who died of a mysterious illness. In 1692, members of the Perley family and others raised these charges again, this time accusing How of harming livestock. How had also been denied membership in the Ipswich church due to a related campaign against her.

This document is a preliminary examination of How, meant to determine whether the accusations had enough merit to present the case to a grand jury. It notes that several accusers suffered fits, pinching, and pricking in the presence of How, but miraculously became well when she touched them. How unequivocally states her ignorance of witchcraft and innocence, and stating, “If it was the last moment I was to live, God knows I am innocent of any thing in this nature.” In total, 24 people accused or testified against How in 1692. Thirteen spoke up in her defense, describing her as honest, faithful, and fair. Sadly, their words and support were in vain. How was hanged in July 1692 alongside Sarah Good, Susannah Martin, Rebecca (Towne) Nurse, and Sarah Wilds.

In 2006, the British designer Alexander McQueen learned that he was a descendant of Elizabeth How. He made a research trip to Salem with his assistant Sarah Burton (now creative director for the fashion house) and Vogue critic Sarah Mower to consult with local historians and institutions. His archival discoveries became a catalyst for an entire ready-to-wear collection in 2007, In Memory of Elizabeth How, Salem 1692. It explores the injustice of her execution through symbols and imagery associated with witchcraft and the occult. Our exhibition includes a velvet beaded dress from the collection, alongside oversized reproductions of additional ensembles from the runway show which debuted in Paris. The clothing design, models’ styling, and set design–including a pentagram-shaped runway–evoked witchcraft, paganism, the occult, and religious persecution across time periods, from ancient Egypt and Puritan New England to Victorian England. McQueen also integrated his signature elements such as oversized jewelry and armor-like bodices of leather and metal. 

An image on a historical tarot card of "justice" sitting on a throne holding scales in one hand and a sword in the other, Schaffhouse Tarrocchini, 1860, Switzerland, Patricia D. Klingenstein Library, New-York Historical Society

The phrase “Major Arcana” refers to the 22 central cards of the Tarot deck. Many present-day practitioners of witchcraft cite the visually rich, symbolic, pictorial divination cards as a portal to their craft. Since the emergence of Tarot in early-Renaissance Italy, the playing cards have featured distinct figures such as the Devil, Death, The Lovers, Strength, The Emperor, The Empress, and Justice. It wasn’t until the 18th century that Tarot, also known as Tarocchini or Trionfi, were imbued with occult and esoteric meaning, morphing from a leisure game into the fortune-telling version we are more familiar with today. New-York Historical’s Patricia D. Klingenstein Library holds several European decks ranging from the mid-18th century to late-19th century in its collection. Although each has its unique stylistic expression, most elements in the Major Arcana have remained fairly unchanged. 

Frances F. Denny, a photo-based artist based in New York, drew inspiration from tarot card decks such as the one pictured, after learning she was descended from one of the Salem witch trial judges, Samuel Sewall. Denny embarked on a photographic journey to document modern-day practitioners of witchcraft. The resulting book, Major Arcana: Portraits of Witches in America, includes 75 portraits of individuals who reclaim “witch” on their own terms and in varying forms. Our exhibition includes thirteen of these portraits, alongside audio recordings that play in the gallery, allowing these practitioners to express what “witch” means to them in their own words and voices.  

A handwritten Emily Dickinson poem titled "Witchcraft was hung, in History," undated, Amherst College Digital Archives

"Witchcraft was hung, in History" by Emily Dickinson

Over the past 330 years, the Salem witch trials have inspired countless artistic and pop culture responses, reflecting the hold that Salem has on our collective consciousness. Each version tells the story anew for its own moment, with the interpretation reflecting the creators’—and society’s—perceptions of women’s knowledge and power. This handwritten poem by Emily Dickinson is one of several examples featured in our exhibition. While many of these responses vilify witchcraft, the reclusive poet has a different approach. Her text reads:


Dickinson’s words paint witchcraft not as an evil force, but as a necessity—and part of everyday life. Her words, though written over a century earlier, seem strikingly similar to how some of Frances F. Denny’s portrait subjects—all modern witchcraft practitioners—describe how they define magic. M. Macha NightMare explains, “A Witch is a mover and shaper who draws power from the natural world and from within herself. She attunes her life to the natural cycles of the world and tries to live a life in harmony with them.” Melissa Jayne Madara writes, “To be a kitchen witch is to reject mundanity— to see the divine and wondrous possibilities inordinary things.”

To see these objects and more, visit  The Salem Witch Trials: Reckoning and Reclaiming on view through January 22 and stay tuned to Women at the Center for more blog posts.

—Keren Ben-Horin, Curatorial Scholar in Women’s History, and Anna Danziger Halperin, Associate Director of the Center for Women’s History

Image on a historical tarot card showing cupid shooting an arrow on people below, Schaffhouse Tarrocchini, 1860, Switzerland, Patricia D. Klingenstein Library, New-York Historical Society

Reclaiming Salem: Our Favorite Objects From the New Exhibition

Explore the stories and programs from the country’s first and only children’s history museum. From toddlers to tweens, we have something for everyone!

History Detectives

Reading into History: Interview with Tim Tingle, Author of How I Became a Ghost

A detail from the frontispiece of An Essay on Indian Corn by Peter Browne, published in 1837. Patricia D. Klingenstein Library, New-York Historical Society.

How Have Indigenous Women Contributed to the Food Sovereignty Movement?

Little New-Yorkers @ Home: Make A Gratitude Cake

Holiday Express: How to Make Your Pop-Up Diorama

On Sunday, November 13, the 4th floor of the Museum—including The Salem Witch Trials—will be closed.

The Museum and Library will be closed for Thanksgiving on Wednesday and Thursday, November 23 and 24.

Banner Announcements

Blog Social Share

Your subscription to our list has been confirmed.

Stay in touch! Subscribe now for Education updates:

Education programs are made possible through endowments established by
National Endowment for the Humanities
The Hearst Foundations
The Peter Jay Sharp Foundation

Public funds are provided by
Institute of Museum and Library Services
New York City Department of Cultural Affairs in partnership with the City Council
New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature

Education programs at New-York Historical receive generous support from
The Achelis and Bodman Foundation
The Edith and Frances Mulhall Achilles Memorial Fund
Acorn Hill Foundation
Altman Foundation
Amazon
Barker Welfare Foundation
Carnegie Corporation of New York
Con Edison
Deutsche Bank
Robert and Mercedes Eichholz Foundation
Henry Nias Foundation
Alan Shuch and Leslie Himmel
JPMorgan Chase Foundation
Keith Haring Foundation
IBM
Caroline Lowndes Foundation
Alice Lawrence Foundation

The Michael Tuch Foundation
Mellon Foundation
Sandra and Lowell Mintz
Consulate General of the Netherlands
New York Community Trust
Heidi and Richard Ong
Pine Tree Foundation of New York
The Pinkerton Foundation
Jean Reid
Richard Reiss
Rice Family Foundation
The Scripps Family Fund for Education and the Arts
Stavros Niarchos Foundation
Gillian V. and Robert Steel
Dorothy Tapper Goldman Foundation
Dr. Agnes Hsu-Tang and Oscar Tang
Thompson Family Foundation
Tiger Baron Foundation
The Waterfall Family Foundation
Whiting Foundation
Winston Foundation
Marie and John Zimmermann Fund

School Programs

Teacher Resources

Teen Programs

Citizenship Project

Homeschool Resources

Higher Education

Exhibitions

Installations

Upcoming

Browse a round-up of upcoming exhibitions from the New-York Historical Society

Exhibition Category Page – UPCOMING

Online

Explore our online exhibitions that cover such a wide array of topics as the Black American experience, the environmental history of the Hudson River, and the history of the presidency.

Exhibition Category Page – ONLINE

Current

What's on view at New-York Historical? Get an up-close look at all of our current exhibitions and installations.

Exhibition Category Page – CURRENT

Traveling

Explore the New-York Historical exhibitions that available as traveling shows.

Exhibition Category Page – TRAVELING

Past

Exhibition Landing Page – PAST

Program Genre – TALKS

Talks

Program Genre - EDUCATION

Education

Program Genre – WOMENS HISTORY

Women's History Salons

Program Genre – MEMBERS

Members

Program Genre – HISTORY AFTER DARK

History After Dark

Program Genre – TOURS

Tours

Program Genre – FAMILY

Family

Free daily tours at 1 pm and 2:30 pm (subject to availability)

Hours (Global)

Due to a private event the Library will be closed Tuesday, November 1. 

Microsite Program Genre – EXTENDED ENGLISH COURSE

Extended English Course

Microsite Program Genre – SPANISH COURSES

Spanish Courses

Microsite Program Genre – IN PERSON MUSEUM COURSE

In-Person Museum Course

Microsite Program Genre – PRACTICE INTERVIEW

Practice Interview

Microsite Program Genre – VIRTUAL COURSE

Virtual Course

Microsite Program Genre – NATURALIZATION ASSISTANCE EVENT

Naturalization Assistance Event

Microsite Program Genre – NATIONAL PARTNER COURSE

National Partner Course

Parallax Images for Backgrounds

For collection image requests that are unrelated to current and upcoming exhibitions, visit our Rights & Reproduction Department.

Please continue in your email application. Feel free to add any additional information, then send the email. If you're email application did not automatically show up please send an email to communications@nyhistory.org.

Press Newsletter

Buy Tickets

Admission is pay-as-you-wish from 6–8 pm on Fridays.

Adults

Seniors, Educators, Active Military

Students

Kids (5–13 years old)

Children Under 5

Get Directions

Subway: Take the B (weekdays only) or C to 81st Street. We're also a 12-minute walk from the 72nd Street station for the 1, 2, and 3 trains at Broadway at 72nd Street. For a complete subway map, visit the MTA website. 

Please note: The 81st Street subway station is  not wheelchair accessible. The closest accessible subway station is the 72nd Street station.

Bus: The M79 bus travels east/west on West 79th Street across Central Park, with a nearby stop on West 81st Street. Other buses also stop at or nearby, including the M7, M10, M11, M86, and M104 buses. For complete bus information, visit the MTA website.

There is a limited amount of street parking on 77th Street, 76th Street and Central Park West.

Nearby parking garages can be found at:
203 W 77th Street, (212) 362-2308
205 W 76th Street, (212) 874-7600 
201 W 75th Street, (212) 874-0581

All garages are between Broadway and Amsterdam Avenue.

All you need to know about conducting research in the Patricia D. Klingenstein Library

Visit the Library

Library Overview Page

By Appointment Only—Learn More

The New-York Historical Society
170 Central Park West
at Richard Gilder Way (77th Street)

Donate now to help New-York Historical continue its mission and join today and enjoy all that the Museum has to offer.

Join & Give

New York City Explorer Pass

The New York Pass

Travelers' Choice 2020

Become a Member

2022-11-17 Floorplan.pdf

Download Museum & Library Map

Sign up for one of our exceptional tours for your group of 10 or more people

Group Tours

10 or More Visitors? Explore Group Tours

Visit Information

New-York Historical's blogs showcase rare finds in our collection, our wide array of exhibitions and upcoming programs, and striking interviews with esteemed scholars, authors, and historians.

Claude Samton's 1986 photo mosaic Canal Street showing a busy intersection on Canal during the day

Blogs

Champion History

Blogs

Champion History

Sign Up for Our Newsletter

Thank you for signing up!