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                <text>This photo provided by the Carl Hansen Collection directly proves the issue of democratic representation that Carole Blair Neil Michel raised in their article. This photo and collection directly proves the existence of these two boys on the estate. From the Sarah Winchester at San Jose History page,  they "spent their formative years living on Sarah Winchester’s estate in San Jose, as children of John and Nellie Hansen. John was the ranch foreman from the late 1890s until Winchester’s death in 1922" (History San Jose). The only evidence of these two boys having lived on this estate being the photograph and not an actual material representation on the estate highlights the key issue of the house as a site of public memory. This is not necessarily placing blame on the Winchester Investments LLC which currently owns the house, but demonstrates the limitation of the house because of the lack of representation of other people who lived on the estate with Sarah Winchester when she was alive. Public memory then continues to perpetuate the synecdoche of the Winchester House as being only about Sarah Winchester and not about the other inhabitants that had their own trajectories interwoven into the space, but forgotten through time. &#13;
&#13;
Sources:&#13;
Photo: Carl Hansen Collection, "Hansen Collection Materials". Historysanjose.org. https://historysanjose.pastperfectonline.com/photo/4A68D44B-DC0C-4D95-B3F0-578446696576&#13;
Quote: "Sarah Winchester at History San Jose". http://historysanjose.org/wp/research-collection/research-library/sarah-winchester-at-history-san-jose/</text>
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                <text>This item was a photo taken during our house tour and it demonstrates how the house can still be interpreted as a place of abundant wealth. This stained glass window was Sarah Winchester's most expensive one and it remains intact as part of the house. Because of Sarah Winchester relieving all of her fortunes and property to her heiress niece Daisy, very few original pieces still remain at the house that was not either sold or kept by Daisy. This stained glass window still remaining there signifies an importance to the authenticity of the house tour because it helps build onto the rhetorical accretion of the public perception of Sarah Winchester's wealth. The public memory of Sarah Winchester's wealth is crucial in keeping the house financially stable since it is one of the key marketing points of the house. This rhetorical accretion on material wealth perpetuates the perceived public interest on Sarah Winchester while excluding the other existences that worked and lived on her estate. &#13;
&#13;
Source: &#13;
Personal photo by Kevin Thich during the house tour.</text>
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                <text>Kevin Thich,&#13;
Dominick Ott</text>
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                <text>Syverson, Larry;&#13;
Keel, Thomas</text>
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                <text>These two images are specifically from two different brochures as one is from the 1940s and the other is from 1981. They are specifically included in this exhibit to demonstrate the amount of wealth that the Winchester Mystery House was viewed in public memory with. The first brochure is the 1980 one and you can see how they tried to appeal to the general audience by describing the overall value of the property at $5,500,000 in the larger image with the overhead shot.  The second brochure is the 1940s where they also describe the value of the house to appeal to their audience. It is obvious from these tow brochures to see how the rhetoric to attract new audiences is to give describe the material wealth that the Winchester Mystery House still has on display in their house tour. This rhetoric to attach the value to the material wealth explains why the synecdoche is attached to describe the Winchester Mystery House as representative of Sarah Winchester and vice versa with how what she did is supposedly all encapsulated within the house.&#13;
&#13;
Sources:&#13;
Keel, Thomas. "Most Haunted". Pinterest. https://www.pinterest.com/pin/243264817347506983/&#13;
&#13;
Syverson, Larry. "1980 Winchester Mystery House Brochure". Flickr. https://www.flickr.com/photos/124651729@N04/23684298848</text>
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Dominick Ott</text>
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                <text>These two images demonstrate how the specific technology used by her servants would deliver food to her. Her servants would first cook food and then place them in the device of the second picture to send them up to Sarah Winchester. Then, it would be accessible to Sarah Winchester or her servant to serve it to her from the device in the first picture. Again, similar to the laundry patent, this particular aspect of the house can be interpreted as abundant wealth because of her ability to fund anything that would be of convenience for her or her servants. Not only does this item exhibit the issues of democratization that is raised in the laundry patent item, but it also relates to public memory by highlighting specifically what the "place at the table" means that Dickinson refers to when he discusses about restaurants. This particular food transportation device certainly must have made her servants' jobs easier, but it also reinforces their relationship as servant and master. Sarah Winchester's supposedly "place at the table" is no longer just being at the seat of the head house at a table, but also physically above her servants as her bedroom would be a floor above their kitchen. Therefore, manifesting again their difference in class. &#13;
&#13;
Source:&#13;
Personal photo by Kevin Thich during the house tour.</text>
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                <text>These are two images of a record of a financial transaction between Pierce-Arrow Motor Car Company and Sarah Winchester for an automobile provided by the Samuel Leib Collection. This transaction is also mapped visually from her estate in San Jose to the Pierce-Arrow headquarters that used to be in Buffalo, New York. I believe this automobile is even referenced to by Ralph Rambo as he wrote, "In later years came a French Renault, a buick 'town-car' and finally two Pierce-Arrows, one done in stunning lavender and gold" (Rambo 13). I would not be surprised if these Pierce-Arrow automobiles were kept by Sarah Winchester's heiress Daisy, therefore excluding possibly one of the most fascinating items to be seen at the house tour if it was there. These items relate to public memory because it highlights the importance of materiality. Without these financial records and even Rambo's evidence of these automobiles, then this aspect of Sarah Winchester's life would have been forgotten. &#13;
&#13;
Source:&#13;
Photo: Samuel Leib Papers. "Leib Family Collection". Historysanjose.org. https://historysanjose.pastperfectonline.com/archive/F814C862-DA7C-4B99-8464-515384070141&#13;
&#13;
Quote: Rambo, Ralph. Lady of Mystery (Sarah Winchester). 1967.</text>
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Dominick Ott</text>
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                <text>This is an image from the Samuel Leib Collection of a notebook recording stock purchases and positions from 1882. This notebook helps provide additional insight to how Sarah Winchester and Samuel Leib would handle her finances. The range of their transaction amounts indicates the amount of abundant wealth that Sarah Winchester had that was disposable. Furthermore, this amount of transactions indicates how difficult it is to visualize her abundance of wealth as well as the limitation of the Winchester Mystery House as an indicator of her wealth. The inability to visualize her abundant wealth contributes to the difficulty in understanding her wealth in terms of public memory because of how difficult it would be to reference her amount of wealth to a material that is not visually seen in the house tour unless converted to present amounts.&#13;
&#13;
Furthermore, this particular item demonstrates the importance of Samuel Leib in aiding to manage her finances. His omission from the house tour despite this item proving how helpful his services were highlights the issue of democratic representation from the material objects during the house tour. Because, particular servants or workers were not mentioned during the house tour, unless their tasks involved materials that were easily observable like the laundry and not more difficult materials to locate such as the financial records. &#13;
&#13;
Source:&#13;
Samuel Leib Papers. "Leib Family Collection". Historysanjose.org. https://historysanjose.pastperfectonline.com/archive/B921DEAA-CB30-41B4-B055-219397202724&#13;
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Dominick Ott</text>
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                <text>This is an image of financial records specifically bank statements from JP Morgan. This image was provided by the Samuel Leib Collection. These financial records are visually mapped out to connect the Winchester Mystery House to JP Morgan in New York to demonstrate how far her wealth actually spread to. These financial receipts again highlights her upper-class status as these transaction amounts would not be available to the lower or even middle-class. For example, the 5,000 dollar receipt in 1915 would equate to $127,214.85 in 2020. &#13;
&#13;
Source:&#13;
Samuel Leib Papers. "Leib Family Collection". Historysanjose.org. https://historysanjose.pastperfectonline.com/archive/9A2F6625-F65E-450D-98CF-013999894943</text>
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Dominick Ott</text>
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                <text>These particular items were not found from the Winchester Mystery House, but they are evidence provided by the Samuel Leib Collection of how Sarah Winchester utilized her wealth. These particular items are visually mapped out to help give some context on where the Sempervirens Club is in relation to the Winchester Mystery House. &#13;
&#13;
The first item is a letter from the Andrew P. Hill asking for donations to the Sempervirens Club.  The second item is a receipt for a donation of $500 to the Sempervirens Club. These items help demonstrate how Sarah Winchester did not just spend her wealth on herself or the house, and instead, helped spread her wealth to others for a good cause. &#13;
&#13;
These particular items demonstrate this particular aspect of Sarah Winchester giving charitable donations to the community that is omitted from public memory. Part of that being her seclusion from the public eyes by staying within her estate as described by the Ignoffo reading from class, but also the nature of this exchange being monetary in the form of a paper receipt and not necessarily a material object to be honored. This omission from public memory also indicates the gap of information that is lost from the synecdoche of Sarah Winchester as primarily seen by the Winchester Mystery House because of how the house draws everyone's attention and not other aspects of her life.&#13;
&#13;
Source: &#13;
Samuel Leib Papers. "Leib Family Collection". Historysanjose.org.&#13;
https://historysanjose.pastperfectonline.com/archive/CCECA791-1945-4D53-9A2C-585406385521&#13;
https://historysanjose.pastperfectonline.com/archive/165E0056-3E79-46E9-AD0B-426062574746</text>
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                <text>Kevin Thich,&#13;
Dominick Ott</text>
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                <text>Sarah Winchester employed many servants and she would incorporate tools to make their tasks easier. One of these tools was centralize all of the laundry into one room so that servants would not have to constantly move to other rooms to complete the laundry. This particular image is from Genevieve Woelfl's book about the Winchester Mystery House. Not included in this image though, is also a device to hang the clothes to dry that was observable during the house tour. &#13;
&#13;
This item demonstrates how Sarah Winchester had not only the ideas to creatively design her rooms and give them a purpose, but also the funds to make her ideas a reality as she patented this unique method of doing laundry. However, this porcelain laundry tub also highlights an issue of democratization of the representation as the only material signs of the servants having been there are in relation to Sarah Winchester. The servants are shown with only a one-dimensional identity as a servant to Sarah Winchester and not a person of lower economic status as we have no way of observing what their lives were like outside of being a servant. &#13;
&#13;
Source:&#13;
Woelfl, Genevie. Sarah Pardee Winchester - A Driven Woman - Her Compelling Story. Redwood Publishers, Brooklyn New York, 1986.</text>
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Dominick Ott</text>
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