From the Collections

Articles, artefacts, images, and other items of interest from publications and historical collections of the American Institute of the History of Pharmacy (AIHP). Authored by Greg Bond.

Points Interview: Philipp Rühr, Archival Researcher Network participant.

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Following on from my recent post on the emergence of the non-profit psychedelic prior art library Porta Sophia, and its Archival Researcher Network (ARN), this post features an interview with ARN-participant Philipp Rühr.

Philipp is an aspiring psychotherapist with a background in video art, filmmaking and translation. His videos and films have been shown internationally. Based in Berlin, he is currently completing his studies in Psychotherapy Sciences at the Sigmund Freud Universität where he is also working at the outpatient clinic. He has recently received Porta Sophia’s ARN-Research Grant for his research on psychedelic prior art. Philipp’s current focus are clinical trials with psychedelic compounds in children and adolescents, and he is dreaming of compiling and translating a compendium of historic German psychedelic study reports which haven’t previously been translated into English.

Through the interview here, it becomes clear how Rühr’s work with the ARN has dovetailed with his own research interests and career to ultimately support Porta Sophia’s goal to intervene in the psychedelic patent landscape and ensure psychedelic therapies can one day be available at scale to the people who need them. Rühr was one of the first recipients of a Porta Sophia research grant and, to date, he has submitted 30 pieces of prior art in response to the archival prior art targets. 

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Introducing the Archival Researcher Network

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Editor’s Note: Amanda Pratt returns to the Pharmaceutical Inequalities series to introduce the Archival Researcher Network by Porta Sophia. Points’ Pharmaceutical Inequalities feature is funded by the Holtz Center and the Evjue Foundation.

At a time when the nonprofit psychedelic prior art library Porta Sophia is generating significant buzz for successful interventions on overly-broad psychedelic patent applications (see for example, coverage in this recent New York Times article), it’s worth reflecting on how a network of archival researchers is working behind the scenes to help shape the future landscape of psychedelic research and make these potential pharmaceuticals more equitably accessible. In the next two posts, I will be profiling Archival Researcher Network (ARN) participants to illustrate how their work supports Porta Sophia’s mission. Here, I’ll discuss the exigence of the ARN and its continued development. 

In a June 2021 Points post, Chris Elcock wrote about the emergence of Porta Sophia in the face of ever-growing pressures to patent psychedelic-related technologies. In the 18 months since, Porta Sophia has not only built a library of nearly 800 curated prior art sources (as of November 2022), but has also established itself as an important watchdog in the psychedelic patenting space. The team has directly intervened with sixteen overly-broad patents by submitting evidence of unpatentability to the USPTO and international patent offices, several of which have resulted in applicants canceling and/or amending claims and in one case, a rejection of claims from the USPTO. 

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When the Medicine Man Comes Knocking: The Push for Modernization of Pharmaceutical Safety

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Camille King returns with Part Two of ‘When the Medicine Man Comes Knocking’. She picks up where Part One left off, with an understanding of how some patent medicines were marketed misleadingly based on their alleged ability to cure a range of physiological symptoms. In this post she considers how greater awareness was created regarding the content of patent medicines and their implications for public health.

When the Medicine Man Comes Knocking: A History of the Marketing of Patent Medicines

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Editor’s Note: Camille King followed her curiosity regarding a beautiful family collection of vintage medicine bottles to conduct archival research and literature review on the marketing of patent medicines. Over a two-part post, Camille discusses the marketing strategies deployed to sell particular patented medicines (Part One), and subsequently considers factors that led to greater awareness regarding the content of patent medicines and their implications for public health (Part Two – forthcoming).

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“Ethical Displays”: AIHP’s Frank Pinchak Poster Collection & the History of Public Health Information

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Editor’s Note: From the Collections highlights articles, artifacts, images, and other items of interest from publications and historical collections of the American Institute of the History of Pharmacy (AIHP). In this post, Points Managing Editor and AIHP Head Archivist Greg Bond describes the Institute’s Frank Pinchak Poster Collection.

“Records indicate that over 90 MILLION AMERICANS still need to be vaccinated,” blares the 26-inch by 42-inch professionally printed cardboard poster. “Epidemics start in neighborhoods where there are large concentrations of unvaccinated people,” the text screams. This disease “has not been controlled,” the poster alarmingly concludes, “because the public has been lax about being inoculated.”

These messages appear not in a current COVID-19 pandemic public service announcement. Instead, this poster was part of a three-piece educational pharmacy window display from sixty years ago titled, “1960 Polio Report from your Pharmacist.” The poster noted that “infants and children under five are victims” and sought to educate the public about the dangerous and, then still circulating, poliovirus and the available Salk vaccine.

This poster set is one of about 40 public health education pharmacy window display sets in the Frank Pinchak Poster Collection at the American Institute of the History of Pharmacy. Pinchak, a registered pharmacist from Paterson, New Jersey, produced and marketed such educational displays from the 1950s through the 1970s.

Pinchak Poster Polio Report 1960
Section of “1960 Polio Report From Your Pharmacist” pharmacy window display poster set from the AIHP Pinchak Poster Collection. Image courtesy of AIHP. Please click on any photo in this post to see a larger image.

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“Buried Alive in a Chemical Tomb”: The Story of the “Trip or Trap” Anti-Drug Playing Card Deck

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Editor’s Note: From the Collections highlights articles, artifacts, images, and other items of interest from publications and historical collections of the American Institute of the History of Pharmacy (AIHP). In this post, Points Managing Editor and AIHP Head Archivist Greg Bond investigates the story behind the unique “Trip or Trap” anti-drug playing card deck from 1970.

Trip or Trap Decl Cards
Playing cards from the “Trip or Trap” deck. Images courtesy of the Brodeur Playing Card Collection, American Institute of the History of Pharmacy.

“This Trip or Trap Card Deck is an attempt to educate through facts and ridicule,” wrote public health advocate Dr. Wayman Rutherford Spence about his anti-drug set of novelty playing cards. Published in 1970 by his business, the Spenco Medical Company, the “Trip or Trap” deck was one of many quirky Spenco products that combined humor with pop culture ephemera to educate the public about the dangers of drugs, alcohol, tobacco, and other intoxicants.

The “Trip or Trap” deck adopted a prohibitionist attitude towards drugs, demonized the recreational use of intoxicating substances, and denied the legitimate medical or pharmaceutical use of drugs like cannabis. On an informational card accompanying the deck, Spence explained that “drug abuse has many faces.” Using a common gendered understanding of substance abuse, he wrote that “it is the lady starting her day with a diet pill for a pick-up and ending it with a sedative for sleep, [and] it is the man habitually unwinding with several drinks.” He also linked together “the chain smoker unable to quit… the twelve-year-old experimenting with glue sniffing… the teenager smoking pot… and the hard-core addict shooting heroin.”

Despite the substantial variations among these very different drug-use scenarios, he wrote that each case represented “a threatened person retreating from reality.” Concluding dramatically, Spence informed users of the “Trip or Track” deck that “drug abusers are not blissfully composed, rather they are often deadened, deprived of personality, and all but buried alive in a chemical tomb.”

The “Trip or Trap” playing card deck is one of several hundred pharmacy-themed playing cards in the Donald Brodeur Playing Card Collection at the American Institute of the History of Pharmacy. This post is a short investigation into the story behind the “Trip or Trap” deck and its creator Wayman R. Spence, a now mostly forgotten drug warrior and public heath advocate.

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The Misappropriation of Native/Indigenous Imagery in Pharmaceutical Advertising

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Editor’s Note: From the Collections highlights articles, artifacts, images, and other items of interest from publications and historical collections of the American Institute of the History of Pharmacy (AIHP). Points Managing Editor and AIHP Head Archivist Greg Bond writes about a recent AIHP online historical exhibit.

Burroughs Wellcome exhibit 1893
Burroughs, Wellcome, and Company Exhibit at the 1893 Columbian Exhibition in Chicago featuring several Native Americans. Henry Wellcome stands at the left wearing a hat. Image courtesy of the Wellcome Library.

At the 1893 Columbian Exposition in Chicago, British multinational pharmaceutical firm Burroughs, Wellcome, and Company constructed an elaborate exhibit featuring the company’s drugs, medicines, and pharmaceutical products. Company co-founder Henry Wellcome was on site for the Exposition, and, during the event, he posed for a picture at his company’s exhibit along with several unnamed and unidentified Native Americans.

There might not seem to be an obvious connection between Indigenous North Americans and a European pharmaceutical company, but Wellcome strategically utilized the imagery—and the bodies—of Native Americans to exploit a longstanding Euro-American association between Indigenous peoples and the healing power of natural medicinal plants. By arranging for the presence of the uncredited Native Americans at his company’s exhibit space, Wellcome hoped that fair goers would thereby associate his company’s manufactured pharmaceuticals with the therapeutic healing power of traditional medicinal plants.

Indigenous peoples in North America have long used medicinal plants and botanicals to treat illnesses and diseases. White Americans and Europeans quickly adopted some native plants for therapeutic purposes after arriving in North America, and they also came to strongly associate medicinal plants and natural medicines with Indigenous cultures.

Drug companies and pharmaceutical manufacturers—like Burroughs, Wellcome—in turn, capitalized on these beliefs and co-opted Native and Indigenous imagery and iconography to market drugs and medicines containing plants and natural products. Particularly during the nineteenth and twentieth centuries, drug companies often relied on these misrepresentations and misappropriations of Native Americans and Indigenous cultures to brand their products as “natural” and safe for therapeutic purposes.

The American Institute of the History of pharmacy recently unveiled an online exhibit titled, “The Misappropriation of Native/Indigenous Imagery in Pharmaceutical Advertising” that explores some of this complicated history. Drawn mostly from the historical collections of AIHP and the University of Wisconsin–Madison School of Pharmacy, the exhibit interrogates how drug companies and pharmaceutical manufacturers have misappropriated Native and Indigenous imagery, customs, and beliefs to market their products.

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The Complicated Legacy of James E. Brown (c. 1802–1853), Liberian Colonial Apothecary

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Editor’s Note: From the Collections is a new feature at Points that highlights articles, artifacts, images, and other items of interest from AIHP publications and collections. In honor of Black History Month, Points Managing Editor Greg Bond revisits his two-part 2018 Pharmacy in History article about Liberian Colonial Apothecary James E. Brown. Read the full articles (Part 1 and Part 2) at JSTOR.

James Brown Ad
Colonial Apothecary James Brown’s 1834 advertisement in the Liberia Herald as reprinted in The African Repository, September 1834.

In the May 4, 1834, edition of the Liberia Herald, James E. Brown, the newly arrived Colonial Apothecary, placed an advertisement announcing his new business:

“J. Brown, Druggist and Apothecary, late of Washington City, respectfully informs the citizens of Liberia, that he has taken the house formerly occupied by W.L. Weaver, Esq. in Broad Street, where he is now opening an extensive assortment of Drugs and Medicines, imported in brig Argus, from the United States, which he offers for sale on reasonable terms.” [1]

Over the previous two years, Brown had completed a pharmacy apprenticeship under the auspices of the American Colonization Society (ACS), making him one of the earliest known formally trained African American pharmacists or health professionals.

Brown had many friends in the United States who eagerly awaited updates after his departure. Finally, in August 1834, the National Daily Intelligencer, a leading Washington, DC, newspaper reported Brown’s arrival in Africa:

“Many of your city readers will remember James Brown, a colored man, formerly resident here, and universally esteemed as one of the most intelligent and industrious men of color amongst us. He left this city for Liberia in November last… It will, doubtless, gratify his friends, and the friends of the colonization cause to hear of his well-doing. We have to-day seen a letter from him, in which he expressed his great satisfaction with the country and his prospects.” [2]

For the next two decades, Brown tended to the pharmaceutical and medical needs of Liberian colonists, proselytized for his new homeland, and held a series of powerful political positions.

Brown’s remarkable career—and complicated legacy—however have been little remembered. He was one of the first African Americans to receive formal health sciences training in the United States, but he was a vocal life-long supporter of the extremely controversial colonization movement. He strongly advocated for African American freedom, justice, and self-determination, but he failed to extend the same principles to the native Africans he encountered in Liberia. This post provides a brief introduction to the life and times of James E. Brown, Colonial Apothecary.

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