The Current State of the Bottle Hobby

The Current State of the Bottle Hobby

As Stated in a Speech given by Jeff Wichmann of American Bottle Auctions, August 7, 2010.

Click here for our podcast with Jeff.

At the FOHBC conference in Wilmington, Ohio.

Did you know that in the 1970’s bottle collecting was one of the most popular hobbies in America? Yep. Right up there with stamps and coins. But of course bottle collecting started much earlier than that.  Let’s take a look.

Did you know that Andrew Carnegie and Henry Ford collected old bottles? As early as 1900, Edwin A. Barber wrote American Glassware.  To our knowledge it is the first reference that dealt solely with the subject of American Glass.  By 1914 Frederick William Hunter wrote Stiegel Glass which also looked at the Wistars and their association with glass in America. In 1920 American Bottles Old & New by William S. Walbridge was published out of Toledo, Ohio.  His book was interesting, Walbridge’s idea of new was the invention of the fifteen-arm bottle making machine.  He points out it weighed 100,000 pounds and had an increased production capacity over the first commercial machine of 202%.  A picture of this new fangled equipment reminds one more of a Terminator movie than bottles. He also points out that in the year 1916, the production of the entire Owens owned plants for the year amounted to 613,959,696 bottles.  A lofty number even by today’s standards.

Soon came Early American Bottles and Flasks by Stephen Van Rensselaer in 1921 and a Revised Version in 1926. Here was a book that set a new level for books on the subject for years to come. Van Rensselaer was the first to chronicle bottles by category. He had 26 groups, which were divided into definitive categories based on their embossed patterns. It was a boon to collectors of the day, and the fuel that would fire what was to come. Van Rensselaer was considered the leading expert on glass as his exhaustive efforts not only cataloged most of the known examples, but also showed pictures of each one.  It was a Herculean effort that was to be the mainstay of the bottle-collecting world.

Another early contributor was a man named Harry Hall White who wrote a series of articles on Kentucky Glass Works and early Pittsburgh glasshouses in a magazine called Antiques in 1926. He was to write articles for Antique over the next 15 years on everything from excavations at Mantua to Coventry Glass Works in Connecticut. When talking American glass, one must not forget a woman named Rhea Mansfield Knittle who in 1924 wrote an article named Muskingham County, Ohio, Glass, which was two years before the contributions of White. She delivered another five articles for Antique and then a very popular book called Early American Glass, published in 1927.  Interestingly, another book written by a woman named Mary Harrod Northend entitled, American Glass, was published a year earlier.  In it, she discussed everything from Sandwich to Wistarberg.  It contained plates of some very rare pieces including what she calls “The Famous “Booz” Bottle,” in light green no less. Although her name is not mentioned in many of the books I’ve researched, surely she was a major contributor in her day. In her preface she writes, “The story of glass is in reality one that has never been fully told, but it has been my endeavor to keep close to the spirit of the times so that he who reads may learn of its evolution which finally ended in acknowledged success.” Boy, if she were around today.  What Northend would ultimately find out is how plastic is now largely the future of glass.

Glass by the Metropolitan Museum of Art came out in 1936.  It was a compilation of the history of glass making throughout the world.  It starts in Egypt with the first recorded evidence of glass making in 3200 B.C.   Meanwhile Ruth Webb Lee’s Sandwich Glass Handbook done in 1939 began her lifelong love affair with Sandwich Glass. The series of Barlow/Kaiser books on the Boston and Sandwich Glass Company in Massachusetts was to come later and although Lee’s efforts were groundbreaking, the new contributions of Barlow/Kaiser included beautiful photographs and an incredible source of information for those interested in Sandwich glass.  Early American Glass-the Magnificent Collection Formed by the late William T.H. Howe of Cincinnati, Ohio was published in 1940 and was one of the first published auction catalogs of strictly bottles and glass.  It included “so-called Stiegel and Ohio techniques in all of the available colors,” and “Blown Three-Mold technique in pressed glass are also to be found in a rich assortment of patterns and colors. Furthermore, the group of historical flasks contains many of the most highly prized specimens.” This collection came with much help from George S. McKearin, generally thought to be one of the founding fathers of the hobby.  Today an offering such as the Howe collection would be considered an almost impossible task. Outside of the very top collectors in the world, few could offer such an amazing array of early bottles and flasks.

Early American Bottles and Flasks Collected by the Late Alfred B. Maclay written in 1945 came next, offering an amazing display of bottles for auction. The catalog is hard bound and contains mostly historical flasks. Many are extremely rare and no doubt some are on collector’s shelves today.  In 1947 a book about a specific area of collecting appeared in the form of Bitters Bottles by J.H. Thompson. He choose to concentrate on one area and even as early as the 1947, you could see a pattern evolving, the rare and valuable versus the more common examples we still differentiate today.  American Glass by Valentine VanTassel appeared in 1950. His attempt at chronicling the history of glass in the United States was worthy of any research collection and as I’ve seen numerous copies of the book, it must have been fairly well received.  It includes a number of black and white prints including a picture of the Harrison Hard Cider flask produced in 1840.  American Historical Flasks by Helen McKearin was the first of her hobby changing efforts in 1953 with more, much more to come. Arlene Palmer’s Glass in Early America started using full-color along with black and white pictures which brought the photography of bottles and glass to a new level.  The remarkable photographs are still right up there with some of the finest ever done. Palmer’s book is regarded as one of the most concise and well-written books ever published on early American glass and is still a mainstay in the collecting world.

Bitters Bottles by Richard Watson appeared in 1965, another important addition which focused on one particular area of this newly evolving hobby. While Thompson had the first book on bitters, Watson was able to expand the category with newly found information.  A Treasury of American Bottles by William Ketchum in 1975 was again one of the first books to fully utilize full-color pictures and with the presentation of much of the Burt Spiller collection, is still considered a major addition to the hobby. In 1978 the bottle and glass world was soon to change forever with the publishing of the newest and most up to date version of American Bottles and Flasks and Their Ancestry by Helen McKearin and Kenneth M. Wilson.  Together, Wilson and McKearin produced not only the most thorough and concise assemblage of information ever seen in one book; they also developed the classification system for flasks and bottles that is still in use today.  The book originally appeared in 1948 and was reprinted again as late as 1989.  By our estimations it is the most reprinted book of it’s type ever written. So from Edwin Barber’s American Glassware to the bible of bottles and glass in the McKearin/Wilson effort, collectors had a much larger volume of information and form of reference than ever before.   There are many other books out there we fail to mention here due to space, but it’s estimated by our count that there are over 500 books that have been written on the subject.

So if one were to look at the books printed up to this point, especially the early contributions, they all had one thing in common, the words “Early,” and “American.” But one needed only to glance westward as the hobby had already gained a head of steam on the Pacific Coast.  The first recognized bottle club was actually started in Sacramento, California by John Tibbitts during the mid 1960’s. It was called The Antique Bottle Collectors Association, which later became the Federation of Historic Bottle Collectors or FOHBC. Tibbits had been writing a newsletter he called Chips from the Pontil and eventually it turned into a book in 1967 called John Doe Bottle Collector. Chips from the Pontil was published from 1959 to 68.  Tibbits also wrote a book, How To Collect Antique Bottles in 1969.  By the 1970’s, the bottle fever had started out west in a big way.  Collecting Bottles by Cecil Munsey came out in 1970.  This 308-page effort contained loads of great photographs and drawings with a well-constructed history of bottles and glass. The Muncie work was one of the firsts to lay out the history from beginning to end and it is still a terrific book for anyone interested in the hobby.  Grace Kendrick had already written a book called The Antique Bottle Collector in 1963 out of Nevada. Bob and Pat Ferraro, also from Nevada wrote A Bottle Collectors Book in 1966 along with The Past in Glass soon thereafter.  Both Kendrick and the Ferraro’s were from Nevada which was picking up a great deal of steam in it’s own right. Many, many bottles were shipped to Nevada from San Francisco and it became a breeding ground for collectors eager to find western glass.

Peck and his wife Audie Markota wrote Western Blob Top Soda and Mineral Water Bottles in the 1970’s. Still the definitive reference on western blob sodas. John Thomas wrote Whiskey Bottles of the Old West in 1969 and he also wrote a number of other related books in the years that followed.  Thomas virtually created the demand for western whiskey fifths and flasks.  His efforts started an excitement among collectors that still lives on today.  His expertise in bottle hunting and ability to write and draw pictures of virtually every western whiskey bottle and flask was monumental in securing the future of whiskey collectors in the west. You could say he gave spirit to those who collected spirit bottles.  Betty (Wilson) Zumwalt wrote Spirit Bottles of the Old West in 1968 along with Western Bitters 1n 1969 and 19th Century Medicine in Glass in 1971.  Zumwalt was soon to write the definitive book on pickle and sauce bottles in an aptly named book, Ketchup, Pickles and Sauces 19th Century Food In Glass. Her work was along with Thomas and Markota the foundation for the huge upsurge in collecting western bottles.  Byron and Vicky Martin wrote Here’s to Beers, still the bible for beer bottle collectors despite the efforts of a number of other beer collectors writings, many of which are valuable contributions. The Martin book was primarily on western beer bottles. Doug Leybourne wrote The Red Book of Fruit Jars which is also considered the bible for fruit jar collectors. Bitters Bottles by Carolyn Ring and later in conjunction with Bill Ham would be considered the must have of bitters bottles books along with it’s supplement. Ring especially, developed the reference system used for bitters bottles today. A specific bitters book focusing on just western bitters bottles also appeared in the form of Antique Western Bitters Bottles written by this author in 1999.  Like the Thomas whiskey book or the Zumwalt medicine book, here was a bitters book dealing with a particular geographical area of collecting a particular type of bottle. It was just one of the many books written for a specific type of western made or distributed bottles to come.

So at this point, we had almost as many books written for the western bottle scene as we did for the east.  Granted, the works of  Ferraro or Tibbits may not have been the masterpieces of Arlene Palmer or Helen McKearin, but there weren’t the number of bottles to discuss in a western book not to mention the glasshouses and overall history.  The first glasshouse in the west didn’t occur until 1859, however in the east that would have been just a few years too late.  It is believed the first glass made in America was by the Wistarburgh Glass Manufactory in 1738.  Established by Caspar Wistar in Southern New Jersey, it lasted for 40 years. So you had quite a jump on western glass production in the east and you had a lot more people that needed bottles. So lots more production, earlier bottles and hence the classic “Early American” glass, collectors strive so hard to find.  That doesn’t mean that bottles made in the west or for the west can’t compete in their own right.  When I say in the west or for the west, there are a couple schools of thought regarding this.  If a bottle was made after 1859 out west specifically San Francisco, it was without question a western bottle.  But some bottles were made in Ohio, New York and other eastern glasshouses that were made specifically for the west.  They were only distributed in the west and are generally considered western.

Soda or mineral water bottles are a good example.  The earliest and most prized examples were made in the east during the 1850’s and 60’s.  Since many have the name San Francisco, Sacramento or even Shasta on them, they are collected by western collectors as western bottles.  Even bottles that don’t have a town name but are only found in the west are considered western.  Some of these include the Catawba Wine Bitters, the Wister’s Club House Gin, and the Bryant’s Bitters.  Bottle collecting then is pretty much divided up into east and west, some collect western bottles and some collect eastern bottles.   Sometime a collector will go after both.  But generally we’ve found that western and eastern collectors are pretty much into the bottles made on which side of the country they live in. Bitters bottles could be the one exception.

So we now had a very well thought out, bevy of bottle books that were giving people new insight into the hobby in a way that hadn’t happened before.  For good reason, the 1970’s ushered in a new era of bottle collecting.  It was a nationwide event when Charles Gardner, a well-known collector of his day sold his collection in 1975. Of course the popularity of bottles meant one more thing, just what were these bottles worth?

In the late 1950’s, early 60’s, there was a guy named Bruce Scott who collected lunch boxes.  He had a house full of them and decided to write a book about lunch boxes and he entitled it simply enough, The 50’s and 60’s Lunchbox.  In it, he included prices based on the number of particular boxes he had seen and pretty much had his way creating a book which essentially was written about his own collection.  How did it go?  Well, once people discovered a lunch box was actually collectible, there was really only one place to turn to get more information. The Bruce Scott book took off and soon people were digging through their garages and basements looking for their hidden treasure.  Lunch boxes began to become popular, his modest investment in lunch boxes was soon worth a fortune and he’s still selling books today.  The point of the story is that here we have a guy who just happened to like collecting lunch boxes.  He then went on to not only write a book, but also created a whole new area of collecting.  He was the lunch box market and he could put any price he wanted on any lunch box.  So he took what was essentially nothing and virtually created a new hobby.

So now we move on to the 1980’s. In the 1960’s bottles were easier to get; their appeal was based mainly on their looks.  As time went on, books came out and the hobby established prices.  Rarity became clearer, we were able to create a base on which to value bottles. I hear many stories of people trading a valuable bottle for a common one, not knowing the Tippecano they traded for a green Old Sachem’s bitters would later turned out to be a disaster. Collectors in the early years were simply basing their decision on pure aesthetics. Minor chips, dings?  They didn’t become a big deal until people started putting out big money for them. As a friend of mine, Ken Salazar recently said, “when I started digging for bottles I didn’t know they were even worth money.”  In addition, we were soon to learn about the so-called 20-year cycle in collecting.  So what happened in the 80’s?  Well, although we had a load of collectors, they didn’t have a real means to talk to each other. Oh there were telephones, people bought and sold bottles through the mail. There were guys like Bob Barnett who wrote a price guide on whiskey bottles called Western Whiskey Bottles.  He sent out a monthly list of bottles for sale.  There were bottle shows but they were scattered and infrequent and in essence there wasn’t the ability to converse with other collectors in a national way.  There was no real highway of information. No way in which collectors could easily share their finds and discuss bottles in general.  Sure, bottles were still very popular, there was a bottle magazine, you could write letters and call people but it wasn’t like the burst of enthusiasm we saw in the 60’s and 70’s. So we had the excitement, discovery and all-out interest from the 70’s waning in the 1980’s.  Was Bottle collecting beginning to suffer from the 20-year cycle?

It’s known that in collecting, there is a period where something will become very popular and then lose that popularity.  Beanie Babies are a good example, but it happens with almost every area of collecting.  A generation is considered 40 years but it takes time and experience to appreciate some collectibles.  So let’s say you collected stamps at age 30 and you eagerly sought out better and better examples and went to stamp shows and basically immersed yourself in stamps for 20 years and now you’re 50.  You decide that stamps are neat, but you just can’t devote the time you once did and decide to sell them. So Bill decides to sell his collection and another stamp collector named Fred does the same.  They’ve gone up in value and it’s time to take a break, sell the collection and even possibly start collecting something else.  When a number of people do this, you do two things, you lose a buyer and you make the availability of stamps more plentiful. If you have 10 collectors of something and five decide to sell, you are left with a huge influx of those items and less people to buy them.  A number of factors begin to occur, more stamps, less interest, less buyers.  This 20-year rule or cycle isn’t in stone, it can change in both time and duration, sometimes it’s 30 years or like the Beanie Babies craze in 1995 through 2000, just five years. But as you look through the history of collecting, lulls in the hobby happen in just about every area of collecting.

From experience we know that people collect things that other people want.  It’s rare that you find the lone lunch box collector but rather more often people who collect things that are more mainstream, allowing them to meet and share their collections.  In our auctions for instance, a piece may sit there for a week in a 10-day auction.  Finally someone puts in a bid and next thing you know there are five people bidding on the item. It’s that, “if he wants it I want it,” syndrome.  Have you ever noticed that when maybe you’re at a bottle show and there’s a bottle you want and you walk around thinking about it and you finally decide to go back and make an offer and it’s gone?  Now you really want it and most likely so do a few other people that couldn’t pull the trigger.  The “I want it if you want it” syndrome also works the other way.  Sometimes we’ll have a person buy a bottle and return it or simply not pay for it.  We will call the underbidder who just a week before had to have it but was outbid at the last minute.  We explain to them that their bid is now the top bid and the item is theirs.  “No thanks,” we hear more often than not.  “I’ve purchased something else,” or “well, I think I’ve changed my mind,” is the general mindset.  If they don’t want it why would I want it?  It’s the “if he doesn’t want it, I don’t want it,” syndrome.

So as people were spreading the word about bottles in the 60’s and 70’s, towards the end of the 70’s and into the early 80’s we saw a bit of a lull.  If you look around, you don’t see many books being published on bottles in the 80’s, there was that communication problem and interest slowed. It wasn’t earth shattering, it rarely is, but it’s a sign that there just wasn’t the interest that there was 10 years prior. Looking back, it was a great time to load up.  Some collectors did and are smiling all the way to the bank. Others sold off their collections, only to wish later they’d sat on their green Sachem’s or yellow Indian Queen. Bottles were still a fairly strong collectible, you just didn’t have the enthusiasm you saw earlier.  Of course there are other factors that can affect certain areas of collecting.  Economic unrest, a lack of items in that collecting circle, infighting among the leading collectors, there is a myriad of reasons for the checks and balance system in collecting.  For Beanie Babies it was over production, it was the same with baseball cards in the late 1980’s and 90’s.  In addition, with Beanie Babies they were new, they had no real history to speak of, they were just a phenomena.  Ty Warner, the company that gave birth to these babies knew the magic words in collecting, people want what others want.  Their main strategy was to offer their products in very limited editions. People ate it up. Collectors wanted Beanie Babies and it was only because others did also.  Once people looked around and came to their senses, they realized how ridiculous it was paying hundreds of dollars for a brand new toy just because it was one of only five hundred made.  Try selling a dark blue Peanut the Elephant these days.  A recent search on Ebay revealed hundreds of the Ty Warner Beanie Babies offered for as low as 25 cents apiece with no bids.

As the new decade arrived, so did the ability to spread the word about bottles. Websites sprang up and there was the beginning of national auctions like Skinners and Glass Works Auctions.  Out west we had Western Glass Auctions, these were auctions that were selling specifically antique bottles and glass. Also, people like Ralph and Terry Kovel had been publishing a newsletter and were now producing books on bottles along with other numerous books on antiques.  They even had their own television show.  Terry Kovel still is an internationally known syndicated columnist with her Kovel’s Corner appearing in newspapers across the country and around the world.  Terry and her late husband’s contribution to collecting in America has led the way in fulfilling generations of Americans thirst for collecting.  The American version of The Antiques Roadshow, which began in 1996, generated a new interest in antiques. But maybe the most important event was Ebay, which started in 1995.  Ebay was now a major player in the selling of everything from buttons to bottles. So out from the closets came the current collectors but in addition you had new people taking a look at bottles as a collectible.  The beauty of antique bottles was again gaining momentum. Bottle had become more definitive.  We now knew that particular bottles were rare and others weren’t.  As time went on, we saw more books. The hobby was back on track and as we headed into the new century, bottle collecting was very strong.  We had a way to convey our information.  The computer was making the hobby more accessible to everyone.  The hobby seemed secure and strong.  But just how strong was it?

Today we have collectors from all over the world collecting bottles and glass. Collectors are learning more and more about bottles everyday.  There are now hundreds of websites devoted to bottle collecting. With self-publishing there are a number of books being written on very specific areas of collecting. I counted close to 30 books that I have on my shelf that have been written in the last few years alone. More auction houses have sprung up. Ironically, Ebay, who some could argue really got the thing started has now taken a back seat to live auctions.  It would seem however, that by all accounts, bottle collecting is now thriving.  But for every step forward the hobby makes, it seems to take a step back.  We have a federation, which meets on a regular basis, but just what they actually accomplish is more of a question mark than brick and mortar.  A series of fakes appeared years ago and seem to pop up now and again.  Bottle shows just aren’t what they used to be.  People used to spend days preparing their displays in anticipation of winning a blue ribbon.  These days it’s a much less eager effort accomplished by the few who still care to spend the time to present bottles in grand fashion.  Why travel to a bottle show in Keene, New Hampshire when you could sit in your pajamas at home and purchase bottles online?  In my mind there is nothing that compares to attending a bottle show.  You can’t replace the personal examination of a bottle and the excitement of meeting friends old and new at a bottle show with cruising the Internet.  You can’t go to all the shows but it’s really the best way to learn more.  With the ammunition you’ve gleaned from books and the Internet, a bottle show is the final piece of the puzzle, a wonderland of glass, all there for your inspection.  For more information on shows in your area, check out our website or the FOHBC site.  There are numerous online sites that will give you the information you need.

As in any hobby, once categories are defined, rarity established and collectors become knowledgeable about the hobby, the prices are going to escalate.  The important word here is knowledge. Like the lunch box phenomena, we now have a roadmap of what is what. With the present day bottle collector, what they are learning or have the capacity to learn has never been greater. So where is the hobby today in terms of popularity in comparison to other hobbies?  Is this the beginning of the end or the beginning of the beginning?   Are we heading into a new 20-year down or up cycle? The last 20 years haven’t been all butterflies and jelly beans. We’ve had some ups and downs but a somewhat steady progression in general.  Certainly some areas of collecting has slowed, others hastened but it seems in just the last few years, or more specifically this year, we’ve seen some staggering prices paid for some bottles. Is this current year of 2010 the signal of the beginning?  The start of the beginning of a new age in bottle collecting?

The year 2010 was and is a great year for the bottle-collecting hobby.  As I write this in September, I look back at some of the transactions that occurred and see a new perspective creeping in on the horizon. Consider these bargains; a blue Homestead Bitters sold privately for $200,000, a blue firecracker GI-14 flask set a new world’s auction record selling for $100,000 at a Norm Heckler sale.  A purple Masonic GIV-1 brought  $75,000 in a private sale.  A Druids Bitters in green, $50,000.  A GII-69 yellow and olive Eagle/Cornucopia, brought $44,850.  These are just a few of the bottles that sold at never before seen prices. A recent article printed in Maine Antique Digest included some observations on the state of the bottle hobby from the Norman Heckler camp.  It read, “In the end, it is not simply the record prices but the overall strength of the bottle and flask market that is most impressive.  While other categories have floundered in the so-called downturn, bottle and flask prices have never wavered, and with an ever-increasing crop of buyers, the future for the category is rosy.” When asked the reason for the resurgence, Heckler pointed out simply, “new blood.”

When you think about bottles compared to art for instance, what is the difference?  In many cases they’re both old, they are beautiful to look at and often both have historical significance. Neither of them will drive you to work or cook you dinner, but really, there’s not a lot of difference; except in price. Not value, price. If an Andy Warhol self-portrait sells for $32.56 million dollars as it did in a recent Sotheby’s auction, what is so darn crazy about $200,000 for a one known Homestead Bitters in blue? A Jasper Johns painting of a flag entitled oddly enough “Flag” sold for $28.6 million recently at a Christie’s auction.  And $100,000 is too much for a blue GI-14 firecracker? A mechanical bank called “Breadwinnners,” just brought $94,000 in a RSL auction in Maryland. Baseball cards and memorabilia?  A Mickey Mantle game used jersey just sold for $125,000 in a recent SCP auction in Southern California. One of a number of Mantle jerseys.  To obtain the truly rare Honus Wagner T-206 baseball card in a grade 8, plan on paying around $2.8 million, if you can find one.  A bargain for sure. But you can buy a much lesser grade example for around a million. As far as practical collecting, there’s some to be found.  But people generally collect things that give them visceral entertainment or possibly memories of the past. Cars you can at least drive. A Boston and Sandwich candlestick can light your room with a candle in it. Guns you can target practice with or an old book you can read. Photography gives us insight into the past, memories again, with records you can listen to music. With furniture you can sit down and eat dinner at an old Stickley dining table. A collectible watch will tell you the time. Many of these collectibles fit into the “memory” category. But most of the collectibles today that bring the highest dollar value have beauty, which lies in the eye of the collector. Art is the most expensive, stamps and jewelry can get up there, too. A Batman comic book just did $400,000 at auction. Coins, they can be made of gold but you will most likely be paying a lot more than the real gold value of the coin.

When you think about it, it’s the beauty of the world, those alluring, captivating images, textures and charmingly presented items that light up our eyes, that strike a nerve in the beauty center of our brain that captures our greatest attention. Whether it be a Monet painting or a green Fish Bitters.  $75,000 for a purple Masonic GIV-1 might seem like a ton of money but it’s one of only a few known.  Show me a stamp or coin that costs the same amount and there might be 50 known. So clearly the comparison to rare bottles and rare stamps or coins and many other collectibles just hasn’t caught up yet. And of course art has no bounds.  As you’ve seen, art is in a category of it’s own.

So, the current state of the bottle hobby is in good shape from what I’ve seen.  Average bottles sell for average prices, probably more than ten years ago. But they sell. Certain bottles have increased in price.  Some areas of bottle collecting has slowed, but generally across the board it’s been pretty strong.  It’s the rarest of the rare however that has taken a huge upswing over the past year or two. It’s difficult to ascertain the value of bottles; it’s almost a little depressing.  What’s it worth I am constantly asked.  I have friends that feel the hobby is becoming a money hobby, the innocence lost.  Why does everything have to have a price tag?  Well, I ask them, what’s the one question they ask you on the Antiques Roadshow when they’re through looking at the object?  What’s it worth?  Like it or not, there’s always going to be the price element in collecting, anything.  From old cigar boxes to Rolex watches. You can’t get away from it.  Some bottles don’t cost a lot and that’s great.  You can put together a wonderful, colorful collection for a relatively cheap amount.  But like most collecting, as you continue to learn, knowledge and experience brings you to understand the finer examples and it becomes a lot about money.  Remember that it’s the knowledge and experience. That isn’t to say you can’t collect beautiful average valued bottles your whole life, but experience tells me as one grows, a Volkswagen bug just ain’t gonna cut it anymore when you see your friends moving up to a new Audi or Mercedes.

You can only hope to predict the future by learning from the past. If we are nearing the end you’ll know it. The end starts with a decline in interest.  For whatever reason, the number of people involved in the hobby declines, people start selling their collections and there is a flood of sellers and prices begin to decline. Try selling even the rarest of the Beanie Babies today. Good luck.  It can also happen gradually like after the 1970’s.  Don’t forget the 20-year rule.  You need that new influx of collectors to sustain a hobby.  Most likely what’s going to happen isn’t any different than what happens with any area of collecting.  Things will ebb and flow.  Some bottles will go up and some will come down.  But overall, it’s all up to us to keep the hobby growing.  People don’t live forever and new blood is essential.

Click here for American Bottle Auctions’ website. Click here for our podcast with Jeff.

My Ten Rules For Buying Art At Auction

My Ten Rules For Buying Art At Auction

by Dr. J. Darragh M. Elliott, M.Sc., Ph.D.

“AN INSATIABLE COLLECTOR – Part Three”

There are all types of auctions. The most famous being those of Sothebys and Christies. Other auctions include, auctions held in arenas, hotel ball rooms, homes, farms, stores, and so on. Not every auctioneer has the luxury of having his own auction house. Some only have a warehouse and a office, and others may not even have a warehouse.

I would like to believe that most auction houses would prefer any potential customer to think that all of the items that the auctioneer has to be auctioned have been consigned to the auction house for that purpose. Therefore, my first rule for buying at auction is to not be naive enough to believe that all auction houses, all the time, only sell consigned items. In many instances right from a large auction house down to a one or two man farm auction, is to understand that some of the items that are going to be auctioned, are indeed owned by the auctioneer.

Consequently, in these cases the auctioneer is selling for his or her own profit, and not a commission. No auctioneer is going to tell you the he owns a certain item but, it is worthwhile remembering, as I will discuss later on.

The hardest part of an auctioneer’s job is the finding of good quality items to sell, not the actual selling of the items. Fortunately, for the large auction houses many of these items become available to them because, of their reputation. But even the largest of auction houses do not sit back on their laurels and wait for people to offer items for them to sell. They are continually out looking and advertising.

Other than on consignment, there are a number of ways that a auction house can acquire its merchandise to sell at auction, although the consignment method is the most preferred because, the auction house does not have to tie up its own money in merchandise. Some of these are to purchase a complete estate or estates, and there are various methods that a auction house will go about finding this type of merchandise. It is important to note that a auction house may purchase a complete estate for just one item, such as a rare painting. The balance of the estate may be sold at a lesser advertised or quality auction, or to people that sell items at flea markets etc. I will discuss this further in another article on selling at auction.

Other methods are to acquire end runs, over runs, merchandise from bankrupt stores, or companies, excess, or unsold inventory from manufacturers, or stores, and so on.

My second rule for purchasing at auction is to be aware as to where the item or items that you are interested in have come from. In some cases this can be easy to tell that they have been brought in for the auction. For example, if you are attending a auction of the contents of a house, and contained within that auction are a few pieces of furniture or jewelry that you know that the owner either could not have afforded, or did not fit in with the rest of the merchandise, then it is a pretty good bet that they have been brought in for that particular auction, and most likely by the auctioneer. The simplest of reasons may be that the contents of the house were not enough to support having a auction at the house and therefore, the auctioneer brought in some of his own merchandise.

Therefore, my third rule for buying at auction is to be realistic. If there are two or more complete dining room sets for sale at a house or farm auction, or if there are three antique back to the walls, hutches, or more items than the house of this type could, or would normally contain, then it is a very good bet that a lot of fillers have been brought in to sell at the auction. It is quite possibly done because, of the location of the auction. Which, if the location is a prominent one, then from the auctioneers point of view, why not?

My fourth rule of buying at auction is, if you can, always attend the preview, or to send someone on your behalf at the very least. That is assuming that there is a preview, which if there is not, you can always arrive early, and generally you will be allowed to inspect the merchandise being offered for sale at auction. Depending on the type of auction, and where it is being held etc. If it is a major auction, and you have registered, or purchased items from the auctioneer before, no doubt you will be on his mailing list, and you will have been sent a flier or a catalog, if you subscribe for them, of the up coming sale.

The earlier that you can inspect the item(s) that you are interested in the better because, this allows you more time to do your homework, or research.

Remember, it is not always what you have to pay for the item but, the what the cost of restoration is afterwards, which can exceed the purchase price, to put the item in pristine condition as, discussed in my previous article.

Therefore, my fifth rule for buying at auction is, to know as much as you can about what it is that you are interested in buying. As discussed in previous articles, is again to do your homework or research. Purchase the catalog, and purchase, and use your reference books. Research price guides, and previous sales indexes. Obtain other opinions, talk to the auctioneer and so on. Obtain as much knowledge as you can about the item(s) before the auction.

Now that you have seen the items being offered for sale at the auction, it is extremely important that you look up in the catalog the items that you are interested in and make note of the numbers, and any remarks about the item, such as damage, beside its notation in the catalog. With any auction, you have to know that what you are looking at with a number on it is the same item as, described in the catalog. In catalogs most major auction houses have many disclaimers printed in the inside covers or elsewhere, within the catalog. It is very important to read these so you know exactly what the rules are because, they can differ from one auction to the next.

Now that you have done this, read the description very slowly and very carefully. Note, the little words such as after, style, similar, etc. All of these mean that the item is not original but, a copy. Note, and compare the dates. Sometimes mistakes are made, and the catalog states a certain date or circa, and the item was not of that time period. With the hundreds of items that have to be cataloged, unintentional mistakes turn up here and there, and at a auction you have to remember that it is, (cravat emptor) buyer beware. You should also read carefully the descriptions “that in the auctioneer’s considered opinion”, that this states or means that etc.

I have spent up to two solid weeks of work just researching one painting. I found out all about the artist, why this painting was being sold where it was, and why not in New York, or Europe, where this painting had been before, if, when, and by whom, had sold it at auction before, and all of the other recent sales made, at a major auction house, of any works by this artist, anywhere in the world. Who had sold them, the size, the subject, the medium, and the price that the works had sold for, and when. The result was, that when I arrived at the auction to bid on this particular painting, I knew exactly what it was worth to me. This was a fully authenticated painting, and I ended up the lucky buyer at less than twenty five percent of what a painting, by the same artist, and of a similar subject, size, and medium but, and here is a big but, that the other painting had recently sold, in New York, by a major auction house, and that the painting had only been attributed, to the same artist, and was not fully authenticated. A big difference. I was told afterwards by the auctioneer that they had been given the whole estate to sell, and that they agreed with me that the painting should have been sold in New York, or Europe. Further, that they had even contacted some other auction houses about it, and that the other auction houses wanted the painting but, they had not been able to come to a deal within the time period that they had.

No auction house is going to risk loosing possibly of all, or most of an estate by telling its executors that they would obtain more money for only one painting elsewhere. They want to make their commission because, that is why they are in business.

Not all times am I so lucky but, it has happened to me on a number of occasions, to the point that while I am an acquisitionist of fine art, other collectors and dealers have asked me, and pay me to buy for them.

This then brings on my sixth rule for buying at auction. It is important that you get to know the auctioneer, and that he get to know you. Depending on what you are purchasing and where, a number of regular purchasers have worked out with the auctioneer certain signals that they are bidding. The reason for this is, if a well known person, or a large dealer attends a auction and bids on a certain item, it can tell other people that this is an important item, and that they should make a try for it as well. This can result in driving up the price to a point higher than it normally would have gone, or that to which the large dealer was prepared to pay, and therefore, he did not, or could not, purchase the item so as to make a profit on it at the time of resale to his customer. As a result, a lot of people who attend a preview never show up at the auction but, either have someone there to bid for them, have left a bid with the auctioneer, or are on the telephone with the auctioneer at the time the item is on the block.

My seventh rule for buying at auction is, the strategy of bidding. By this time, I have arrived at the auction, have my catalog in hand, and have registered with the auctioneer to obtain a bidding number or a “paddle”. I never tell anyone at the auction that I am going to bid on this or that item. The strategy here is to out fox the foxes without being outfoxed yourself. Much of this is to have, as stated again, “done your homework”. The first thing here is to set a limit on what you are prepared to pay for the item, and no matter what happens, don’t catch “auction fever”, and go over your previously set limit with your bidding. My eighth rule for buying at auction is, to decide on how you are going to bid on the item. Are you going to start of bidding at the beginning, or come in at the middle, or wait to the end. The catch here is, not to let the auctioneer control your bidding but, you control the amount that you are prepared to pay, which is as little as possible. So here we go. Let’s assume that you want the next item up for bid, you have done your homework, and set the limit on the amount that you are prepared to pay. You have read the catalog and noted the auctioneer’s estimates of what he feels that the item will sell for. Now to determine the reserve bid, note the lower of the two estimates, and deduct ten percent. This will usually be very close to the “reserve” bid which is either held by the auction house, or a consignor as previously discussed. The reserve means that the auctioneer will not sell the item unless the price being paid equals, or is higher than the reserved amount. The main point here is to remember that the auctioneer also, has strategies too, these are designed to make you pay more for an item than you normally would. At auction, you should remember that you are buying at the wholesale level, and not at the retail. How many times I have seen people become caught up with “auction fever” and end up paying a way more for the item than even the retail price. Because, they simply have to had it at that moment.

Not all of the following examples of various strategies always work, all of the time, and it is fun to vary them, just to see what other people do. And by no means are these all of the strategies used, however, these are some of the more effective and simpler one’s.

One way is, to sit or stand at the front of the auction audience, and that on every item that you want, that you just hold up your card or “paddle” high in the air, so everyone at the auction can see it. Keep it there until the bidding against you stops, and you have bought the item. This may sound silly but, it becomes very effective as, you may start off paying a higher price for, say the less expensive items that you are bidding on but, after a few purchases everyone attending the auction knows that no matter what, that you are going to end up buying the item.

When the items that you really want come up, and perhaps they are now the more expensive one’s, as soon as, the other people see your card up in the air, they quit bidding against you because, they suspect that you will out bid them anyway, so what’s the use. On the other hand, if they really want the item, then they think that they are going to have to pay the retail or higher price for it. Maybe, in some instances you force them to do it, and then they realize too late that they overpaid. Another strategy is, having decided in your mind what the item is worth to you, is let’s say the auctioneer asks one thousand dollars for the item. No one bids. Then he reduces the asking price to the point that either there are no bids or the item is withdrawn, or the item is bought in by the auctioneer. This is accomplished in a number of ways. One is that he just points to the back of the room and says thank you, and sold to number 123. This number being the house number. Another way is that he actually has an employee(s) in the audience bidding up to the reserve price and then quits. If you are bidding against this kind of situation, it is important for you to know that the auctioneer will try to have your bid land on the reserve bid so he sells the item to you. A gutsy way to bid is, that first you really have to know what the item is really worth by doing your homework in great detail first. Now let’s say that the item starts out again at one thousand dollars and the auctioneer reduces the price down to say five hundred dollars when the first bid is taken. Now he asks seven hundred and fifty dollars. You can either come in here or wait but, I think that the sooner that you come in is better. Now instead of raising your hand or card to acknowledge that you are prepared to pay seven hundred and fifty dollars, you yell out, and I mean yell out, one thousand dollars. The auctioneer just hates this because, he has to accept your bid because, it is higher than what he is asking. So now the auctioneer tries to get control back again and asks twelve hundred and fifty dollars, and let’s suppose someone bids twelve hundred and fifty dollars, now you again yell out, loud enough, so that everyone in the room can hear you, two thousand dollars. Now what you have done is thrown your competition off base. They obviously know that you want the item but, at first the incremental increase started at two hundred and fifty dollars, and you changed it to five hundred dollars. Now on the next time around the asked increment was two hundred and fifty dollars, and you have pushed it up by seven hundred and fifty dollars. If it comes back to you again, your competition now realizes that you are going to push them up by at least a thousand dollars or more, so they quit. They also quit because, they can’t think fast enough to know whether to bid again or not, or what is going to happen. They just say that it isn’t worth it, let him have it. What you then have accomplished is that you have bought the item for two thousand dollars, that if the auctioneer had his way, he would have been able to run it up to five thousand dollars, or more. It can become really exciting if the increments go into the tens of thousands of dollars.

Another piece of strategy here is to sometimes bid against your competition in such a manner that you stop short, and he is left in such a manner that your competition is paying more than he would have otherwise. Let’s say that the incremental increase is one hundred dollars, and the estimates are twenty five hundred to three thousand dollars. By deducting ten percent from twenty five hundred dollars, you know that the reserve price is approximately twenty two hundred and fifty dollars. You can either jump bid as I just outlined, or you follow up with the incremental increases. Now if the auctioneer is smart, he will know that when you make a back and forth slash motion with your hand, that you are telling him that you are prepared to pay a further half of the incremental increase. Now you run this up in such a way that you land on lets say twenty six hundred dollars. Your competition says twenty seven hundred dollars, you make the slash motion, meaning twenty seven hundred and fifty dollars, your competition comes in at twenty eight hundred and fifty dollars, and you stop bidding. Your competition has bought the item for twenty eight hundred and fifty dollars plus ten or fifteen percent buyers premium, plus taxes, and he is a way over the estimated amount, and he knows that you have forced him to overpay for the item. Do this a few times, and your competition won’t bid against you anymore, or if they do, by only the merest of margins.

This will work against absentee buyers too. Now because, you are there, and he is not there, and you can pick up the other items that you want at very good prices because, you have intimidated your competition. They want no part in bidding against you.

Coming in, in the middle, usually creates a three way split. Here again the bidding can sort of go around in a circle. Make sure that you are going to be the person who will land on the reserve bid, and even jump the bid a bit to do this. This can create enough of a pause that the auctioneer may just bring the hammer down soon enough to allow you to buy the item at the reserve price. The auctioneer doesn’t know whether or not anyone else will bid as, everything has stopped. It is better to sell it now, and have a sure sale, rather than take the risk that you may withdraw your bid. This works especially well, if it is the auction house who is the owner of the item. They have made their profit, and want to move on, as quickly as, possible.

A good point to note here is that the auctioneer wants to sell as many items as quickly as possible because, if the auction drags out, people will get tired or bored or both and leave. This he does not want to happen.

Coming in at the end is another good way to not only confuse but, disappoint your competition. Especially, if you have bought previous items. The bidding has come to a halt and the auctioneer is saying “going once, going twice, last call”, and then you come in with your bid. Your competition is almost rejoicing that they have bought the item, and then you step in. Now what do they do?

Maybe, they will bid against you a bit. They have to think fast, usually too fast. What if you just push them up, and stop? How much more should they pay? Do they just let the item go, and try for another one? All of these questions are whirling around in their mind, all at once, all at the same time. Now, if they have done their homework as you have, you may have a battle, and therefore, you go to your preset limit again, and stop bidding. You have a fifty -fifty chance of buying the item at your price. But, if they haven’t done their homework, guess who has the advantage now?

My ninth rule for buying at auction is, to know what is going on, and what is going to go on beforehand. Some auctioneers try to make the sale a fun time, while others are extremely serious. The fun sale, usually is the better one. But you have to be on your guard at all times. Here is an example of what can happen. At certain auctions, the auctioneer can have two or three of his employees “working the crowd”. This means that at the preview, or perhaps just before the auction, they have been talking to or watching who is interested in what. They may carry a rolled up catalog with them, and just as your item comes up they get you to bid, they point their rolled up catalog at you, and they yell out your bid or say yeah, or here, or some other word, indicating to everyone, that you are bidding. As the bidding starts to wane they are on you saying look only another fifty dollars, and it’s yours. You are very tempted to go that extra fifty. Especially, with all of the hype going on around you, and everyone in the room watching you. They may intimidate you to go that extra fifty but, when you do, then someone else is trying to get another person to go that further extra fifty too. This way they run you up an extra two or three hundred dollars that you wouldn’t otherwise have paid. But, no one should think badly of this because, this is their business. The only thing is to remain calm, and stick to your limit. I personally think that this is a wonderful way to hold a charitable auction. But then it is for charity and not business.

My tenth rule for buying at auction is, listen to every word that the auctioneer says. Sometimes things go so fast you have to be on your toe’s. Like three items being sold every minute. On the other hand the auctioneer may say ” he really wants it”. This is simply doing a customer a favor by telling him that he knows that you are going to end up buying the item. This has happened to me, exactly in this way. The auction house’s estimate on a painting was twelve to sixteen hundred dollars. I ended up paying sixty six hundred dollars for this painting. Why? Because, I had done my homework. Obviously, someone else had too! But, when the auction records came out the next year, I looked up what the sales had been for the previous year for this artist, and guess what? This was the lowest of all of the sales of this artists works. The average sale including mine was fourteen thousand dollars.

The auctioneer’s strategy may be to try to intimidate you too. To make it look as if you are almost stealing the item. He might say “you mean only X dollars for this wonderful gem of a work by so and so? Will not someone at least give fifty dollars more”?

Further, the auctioneer may move the bid up very fast, and it is extremely important to listen, and to hear every word that he or she is saying. Because, this is what can happen. If the increments are one hundred dollar amounts, when the item reaches one or two thousand dollars, the auctioneer may not ask one thousand one hundred dollars, or two thousand one hundred dollars, or eleven hundred dollars, or twenty one hundred dollars. He can just say one, or one hundred. He is implying that the one or two thousand mark has already been met, and that he is asking for one hundred dollars more. If you haven’t been paying strict attention, you could end up bidding twenty one hundred dollars while thinking that you are bidding eleven hundred dollars. The auctioneer’s reason for this is purely psychological. He wants you to be thinking in terms of hundreds of dollars, rather than in the thousands of dollars.

This way he wants you and others to bid more without realizing it. It could end up being very embarrassing for you, if you were the buyer when the hammer fell at one or two thousand dollars more than what you thought that you were going to pay. The auctioneer further, has the advantage here as, if you do not take the item, you have embarrassed yourself in front of everyone at the auction, so to avoid this you end up overpaying for the item, or if you do not take the item, he then asks the next lower bid to take the item, and that person generally will because, they do not want to be embarrassed also. Using this strategy, the auctioneer has sold the item, possibly for a far greater price than anyone at the auction ever intended to pay for it.

Now that you have bought those items that you wanted and have them home, check them out again, and compare them with your catalog. If you have bought your items from a major auction, and paid a lot of money, it really pays to check them out. With fine art, take the painting out of the frame, see if it is really that oil on canvas, or is it a print glued to canvas and overpainted? Take a ultra violet light and in a dark room run it all over the painting. Any repaired areas will come up black. Therefore, is the signature black? If it is, the painting more than likely is a fake. Now you have approximately two weeks to return it to the auction house together with the proof that the item is not that as exactly stated in the catalog to obtain a refund of your money. Check your furniture for replaced wood, rugs for repairs, glass for cracks, chips, verify that jewelry, and so on. After everything checks out then display, and appreciate it.

Now, let’s suppose that a item did not sell, and was bought in by the house. It may be owned by the auction house, or consigned. Usually, not all items sell at auction but, the auction house by buying them in during the auction wants to make it look as if every item sold. If you have the suspicion, or are still interested, there is nothing to be lost by telephoning the auctioneer the next day to ascertain if the item was actually sold or not. If it hasn’t sold, and you still want the item, make an offer. Sometimes you will be lucky and get the item at a even lower price because, the auction house wants to be rid of it as, they need fresh merchandise for their next auction.

In closing, I want to leave you with a good extra rule that my father taught me, which also pertains to anything, and this is, if you really want something, and you don’t get it, it means that the Good Lord, God, Allah, Buddha etc., has something better in store for you. This has always proven to be correct without exception. It’s also known by a better name called “FAITH”. Believe me; it will always happen for the better, no matter what the situation. So now you know beforehand that you are not going to be successful with everything that you try. However, at auctions, and everywhere else, with “FAITH”, the law of averages will always look after you.

Tips for Cleaning Cloudy Glass By Reyne Haines

Tips for Cleaning Cloudy Glass By Reyne Haines

We decided that our weekly blogs are going to be informational. You will be seeing a lot of “How To” in regards to antiques, art and auctions. Your input for ideas is always welcome, just send us a message on our Contact Us page. Also, if you want an expert’s opinion, there are a number on our Community message board. You can sign up for free and post a picture under What Is It Worth?

There are many things to consider when collecting glass.  First, we decide why we are collecting it.  Is it because we saw something at a friends that caught our eye, or did we inherit a set of dishes when grandma passed away?  Did we read in a magazine about the increase in value of art glass over the years and decide that while the stock market is down, we will park our money in a different type of “investment”.

Once we have chosen a style of glass we like and can afford, we look to educate ourselves further about when it was made, what the company made and where we might find more.  Fortunately, your local bookstore offers an abundance of books on collecting all patterns and periods of glassware to help you.  These books often provide background information and history of the manufacturer, patterns and pieces that were made by the company and during what time period.  Many of these books, depending on the type of glass, offer a price guide of sorts to help you get a basic idea of what to pay for additional pieces you find in your travels.

The one thing the books might not mention is condition.  Condition can be a major factor in the value of any piece of glassware.  Most collectors are purist.  By that, we mean they want things in mint condition, as if they just came off the showroom floor.  No chips, cracks, roughness or sickness.  The only exception to this rule is extremely rare pieces.  Condition is still of importance, but because of a crack or chip, collectors are still interested in the piece because of its rarity.

Chips sometimes can be repaired if they are not too large or too deep.  A local glass repairman (or glass grinder) can polish them smooth.  As for cracks, there is little that can be done.  Roughness many times is found in Depression glass, or other mass-produced glassware made from a mold.  Mass produced glass is often poor quality and has flaws that were overlooked when finishing.

Sick glass, or cloudy glass as it is often called can sometimes be remedied.

Cloudy glass is an industry word describing glass that has calcium deposits which causes a light “foggy” type appearance in glassware.  The water that held the flowers in the vase or the repetitive washing of the tumbler is the culprit.  They need not stay in this condition.  There are several ways to bring that vase back to its original lustre.

Over the years collectors have reported a number of household products that they have found cleaned the lightest, to the heaviest hard water stains.  Below are just a few of them.

  1. Fill the object with a mix of ammonia and water.  A few hours should do the trick if the stain is not too thick.
  1. Vaseline or petroleum jelly can sometimes remove light calcium build-up.  Let it sit for 4-5 days before removing.
  1. Fill with luke warm water and drop in a denture cleaner tablet.
  1. Pearl Drops Toothpaste has been recommended for light calcium stains. Dab a little on your index finger and lightly rub.  Wash with water.
  1. Dow Tub and Tile cleaner.  Spray on, let sit, then rinse.
  1. There is a product in the supermarkets called Krazy Kloth. It is highly recommended for the toughest hard water stain.  Follow the directions on the packaging, and wash with luke warm water.
  1. Lime Away. The same product you use on your tub and shower doors.  Always remember for products that require rubbing to do it lightly and in small circles.

Remember, never wash glassware with cold or hot water. Extreme temperature changes can cause glass to crack or shatter.  Also, glassware should not be placed in the dishwasher.  Again, hard water stains will eventually appear, and there is also the possibility the vibration of the dishwasher can cause a piece to shatter.  The best way to clean your glass is to wash by hand, always with luke warm water and mild dishwashing soap (liquid), and towel dry.

Often, great pieces of glass are passed upon at shows and shops because of their cloudy appearance.  If the price the piece is being offered to you is reasonable, don’t pass it by!

39. Collectible Antique Advertisements Podcast & Blog

39. Collectible Antique Advertisements Podcast & Blog

An Informative Narrative by Phelps Fullerton

Our Podcast with Phelps on the subject: Click Here

I think to get a better understanding of the antique advertising market you need to get some background on how product branding came about, and some insight into the actual processes used to produce the advertising signs themselves.

So I’ll start off by briefly mentioning some background on product branding.

Branding

After the Civil War, companies that manufactured everything from tobacco to soap and flour to shoe polish began to see branding their products as a way to increase sales. A national consumer base could now be accessed by expanding train routes that offered low cost transportation. The transcontinental railroad was completed in 1869 and provided a vital link for commerce, trade and travel between the East and West.  No longer did merchandise have to be shipped by boat or wagon.

Factories created during the industrial revolution were now mass-producing products and by branding their products with easily identifiable trade-marks, they were able to make them stand out from the competition. Consumers gained confidence that product quality could be expected to remain the same from one box of Fairbanks “Fairy Soap” to the next for example.

The idea of pre-packaging products in boxes of similar size, weight and price was a leap in marketing strategy from the bulk bins of the general store. It was Henry Crowell president of the American Cereal Co. that eventually came up with the concept. He bought the bankrupt Quaker Mill in 1881 and in the process acquired the registered Quaker Oats trademark described in the 1877 U.S. patent office registration as “a figure of a man in Quaker garb”. The next year he launched an all-out advertising campaign using the trademark jovial Quaker gent to promote his Quaker Oats cereal line. The concept quickly gained popularity among consumers.

An interesting aside – some 18 years ago I consulted for an auction house that was consigned a fabulous advertising poster from Quaker Oats. It was a fanciful image printed as an 8-sheet stone lithograph ca. 1890’s that featured the Quaker Oats man emerging from a gigantic pink morning glory holding a box of oats. It had a gold border printed to simulate an ogee gilt frame. Just awesome- and huge. At 7’ wide x 9’ tall it would have been intended to be pasted outdoors on the side of a building. I thought at the time it was very likely the only copy to have survived intact.

I contacted Quaker Oats thinking that this would be a remarkable piece to hang in their corporate offices, but nobody there that I spoke with had the slightest interest in it. A shame really. But it put my fascination with early advertising signs into perspective at the time, as I realized there was a slim group of folks similarly intrigued with them as I was. (Recently I’ve notice giclee reproductions of it on-line.)

Some of the more memorable trademarks that connected consumers to the product include:

1. Aunt Jemima pancake flour – the Davis Mill Co. of St. Joseph, MO had a booth at the 1893 Columbian Exposition in Chicago. They hired a well-known pancake cook by the name of Nancy Green to cook and serve pancakes to the Expo attendees. I read somewhere that she served about a million of them. She was dressed in traditional southern garb and made such a personable impression that she became the “Aunt Jemima” spokesperson. In 1917 the Aunt Jemima advertising logo was revised in her likeness.

2. Buster Brown Shoes – John Bush of the Brown Shoe Co. in St. Louis, MO (named after the founder George Brown and not “Buster”) bought the rights to the popular Buster Brown comic strip drawn by Richard Fenton Outcault. The Buster Brown brand shoes made their debut at the 1904 World’s Fair in St. Louis, now endorsed by the Buster Brown caricature and his dog Tige.

3. RCA (Radio Corporation of America) “Nipper” – London artist Francis Berroud saw his fox terrier “Nipper” looking into the horn of a Gramophone which inspired him to re-create the scene in a painting titled “His Master’s Voice”. Nipper became the trademark for the Victor Talking Machine Company in 1901 which was laterpurchased by RCA during the Great Depression.

4. Planters Nut & Chocolate Co. – the company was founded in 1906, but the monocled

Mr. Peanut wasn’t used until 1916 after a 13 year old girl came up with the idea in a company sponsored competition.

5. Heinz Pickle – Henry Heinz was 16 yrs. old when he began selling vegetables to Pittsburg grocers. His 1st business venture selling bottled horseradish went bankrupt, but in 1876 he had successfully launched a new business venture introducing bottled pickles and ketchup. The Heinz pickle was featured on much of their early advertising, and later he introduced the “Heinz 57 Varieties” trademark that remains today.

6. Campbell’s Soup – in 1897 a chemist at the Joseph Campbell Preserves Co. discovered a way to condense and can soup and in 1900 the familiar red and white can was introduced. Their 1901 embossed tin sign of soup cans arranged to simulate the American flag remains an icon among all early advertising signs, and the highest ever sold at auction at $93,500. Unfortunately for Campbells, public sentiment toward the blatant use of the American flag to hawk your soup wasn’t well received. The company soon afterwards recalled what signs they could and had them destroyed.

As demand increased for pre-packaged branded products, there was a corresponding boom in advertising companies generated to garner more market share.  Manufacturers began providing store merchants with posters, signs, thermometers, window displays, calendars, display cabinets & shelving, serving & change trays and every conceivable promotional giveaway imaginable that carried their product name and logo.

Outside the store signage could be found just about everywhere. Early 19th century merchants typically had simple wood trade signs displayed above their shops, often painted with gilt lettering against a sand-paint background. Downtown streetscapes had a modest amount of outdoor advertising.

But by the mid to late 19th century more extravagant store signage appeared featuring figural signs that left little doubt to the illiterate what could be found on the shelves inside. A 3-D mortar &  pestle could be found above apothecary shops, jumbo sized bronze spectacles with glass lenses hung outside opticians shops, and oversized shoes or boots identified where cobblers and shoe shops were located. The turn of the 20th century saw some of these 3-D signs being electrified for display at night.

The mid to late 19th century also brought an explosion of advertising on formerly serene streetscapes and landscapes, especially broadsides for circus and theatre productions. Not only were they being plastered on the sides of fences and buildings in cities all over the country, but new posters were often being pasted over the competitions under the cover of nightfall.

Some companies specialized in painting outdoor advertising on everything from barns to trees and rocks.  Bradbury and Houghteling were the largest national outdoor sign painters of the late 1870’s. They were responsible for the message “Use Hood’s Sarsaparilla” appearing on barns, sheds, and fences along railway lines throughout the entire country. Eventually their enormous painted advertisements on the rocks at Niagara Falls for St. Jacob’s Oil, and “Drake’s Plantation Bitters” on the cliffs of the White Mountains in New Hampshire drew enough public outcry to prompt regulation of the industry. The larger cities subsequently passed ordinances restricting and regulating the posting of broadsides and posters.

Printing Techniques for Early Advertising

In many cases, knowledge of the technique used to print the advertisement provides clues as to when it was made or even it’s authenticity. I’ll give a thumbnail sketch of the process and then talk a bit about the different types of vintage advertising products and some of their values.

– Alois Senefelder (1771-1834) was a German actor & playwright credited with the invention of lithography in 1798. In an effort to find a more economical means of publishing his plays, he discovered that greasy ink would act as a resist when drawn on the surface of a block of limestone he had been using to grind his pigments. A mild acid wash slightly etched the surface of the stone, leaving the design in relief which could then be printed onto paper with a press.

He later refined the technique so that the printing could be accomplished using a completely flat stone without etching, which he called “chemical printing” but was more commonly referred to as planographic printing. The principal at work here is that oil and water don’t mix.

The process involves drawing on a flat limestone block with greasy ink or a tusche crayon. Chemicals sensitize the areas of the stone not covered by the drawing so that they absorb water. The original grease or tusche drawing is removed but leaves a film that molecularly bonds to the stone surface that rejects water but readily accepts oily ink. The stone would be dampened with water that would be absorbed by the non-printing areas of the stone. When an oil based ink was applied with a roller, only the areas where the design had been drawn would take the ink, the rest of the stone wet from the water would repel it. Bear in mind that everything drawn on the stone had to a reverse image of the final print, including the lettering.

The process allowed artists to make prints with multiple colors using a separate stone for each color and by careful registration. A technique of “stippling” or creating tiny dots allowed amazing detail to be created on finely honed stone surfaces, while artists like Jules Cheret found that stones with more of a tooth to them provided the perfect surface for drawing broad swaths of color and texture with the tusche crayon.

By the early 1890’s printers were using large 38 ton presses and were embossing relief designs into their advertising signs. The embossing required that the paper fibers be stretched, hence long fibers found in cotton rag paper would be used. This paper was very different from wood pulp papers that contained short fibers and acids that would deteriorate the paper over time. Many of the early heavily embossed cigar labels were manufactured in this manner.

The limestone plates used in this process were extremely heavy and cumbersome. They would be 3”-4” thick and could measure from 6”x6” up to 42”x62” weighing in excess of 500 pounds – and were easily broken. Toward the end of the 19th century stone plates were being replaced by zinc plates that were far easier to handle and store.

However, neither the stone or zinc plates worked well for decorative printing on hard tin plate surfaces. Tin plates used in making signs and cans, were actually thin sheets of rolled steel that were coated by dipping in molten tin.

Two processes emerged in the late 1800’s to solve this problem. Both used an “offset” or transfer process that would transfer the design from the original printing plate to an intermediary medium that would then transfer the printed image onto the metal. This allowed for the original plate image to be drawn as a “positive” with the final print also being a “positive” image.

One process involved using a special paper coated with a rice-starch surface which would act as a “transfer paper”. All the colors of the design would be printed from “positive” plates onto the coated paper surface. The starch coating prevented the ink from soaking through into the paper fibers. When the paper prints were completed – now appearing as a reverse color image – they would be dampened and run through a press face down against a tin sign blank with a chemically sensitized surface. The final step was to dissolve the paper backer as a carrier and release the ink from the starch coating. The image would now appear as a “positive”. The printed metal signs would then be lacquered and often embossed. Edges would be rolled formed by additional steps in the case of printed tin serving trays or “self-framed” signs.

The James D. Julia auction gallery in Fairfield, ME where I work as their antique advertising consultant, recently received about 40 of these transfer printed paper signs.   They’re from the Chas. W. Shonk Litho Co. in Chicago and had been handed down in the family of a gentlemen who had worked for the Shonk firm around the turn of the century. They were printed between 1895-1910, considered by many to be the “Golden Age” of lithography. All the designs would have ultimately wound up as tin advertising signage and trays. Some of these prints used a dozen or more different colors with each color requiring a separate printing plate and run through the press.

The second offset transfer process was introduced into the U.S. from Europe in the late 1800’s. It involved transferring the design from the original flat stone printing plate onto a rubber “blanket” wrapped around a roller. The rubber blanket then printed the design onto the tin surface.

Initially the rubber blankets were used with flatbed stone or zinc plates in steam powered reciprocating presses. Later it was discovered that a thinner version of the metal plate could be made which could be curved and wrapped around a cylinder. The inked metal plate would transfer the image to an intermediary rubber roller and then onto tin. Rotary offset printing was a major advancement in printing technology.

These new offset rotary presses quickly replaced the flatbed presses and became the standard for printing on paper as well. Ira Rubel, a paper manufacturer from Nutley, NJ is credited with producing the first offset rotary press for printing on paper in the U.S. in 1904.

Printers often developed their own closely guarded secret ink formulas, some containing blends of metallic powders that gave the final printed image exceptional color, depth and brilliance. Some of the lithographed paper images that came out of the Louis Prang lithography shop in Boston used up to 25 different colors for one printed image which gave the artist the ability to create richly saturated colorful images that simply can’t be duplicated by today’s modern photo-mechanical offset printing technology. It was an art form that represented the pinnacle of lithographic technology by extremely talented artists who’s highly skilled technique of creating advertising signage has long since disappeared from the American landscape.

The era from 1910-1920 ushered in photo-mechanical offset printing technology that is still in use today. Original images were photographed through “half-tone” screens and broken down into four separate plates, one for each color. This process produces a print that has rows of very fine linear dots that combined together produces a very accurate copy of the original.

With copies now able to be made directly from the original design, the lithographic artist was essentially no longer needed. Large multi-color presses were able to print massive quantities of prints in a relatively short amount of time. As the cost of production dropped dramatically, demand for the inexpensive prints grew.

Lithographers

[One of the best known early lithographers was the NYC shop of Nathanial Currier and Merritt Ives who’s business ran from 1850-1907. Although steam powered presses were available to them at the time, they preferred the quality of pulling their prints by hand.  them to mass produce black and white prints which were then colored by hand, mostly by women for less than a penny apiece. They sold their small hand-colored folio prints at $.20/ea and the large folio prints between $3-5/ea.]

Chas. W. Shonk Litho Co., Chicago (1886-1935) were among the most prolific makers of tin lithographed advertising. Many of their highly skilled artists were Europeans who brought their trade with them when they immigrated. They bought the American Can Co. which was formed in 1901.

Coshocton, OH produced some of the finest tin advertising signs ever made due to the rivalry between two newspaper owners who became major players in the advertising business. Jasper Meek founded the Tuscarora Advertising Co. (1887-1901) and Henry Beach founded the Standard Advertising Co. (1888-1901), who’s company produced the iconic tin Campbell’s Soup American flag tin sign in 1901.They merged in 1901 as the “Meek and Beach Co.” but the partnership didn’t last long. Later that year Henry Beach sold out and formed the “H.D. Beach Co.” In 1905 Jasper Meek renamed his business the “Meek Company” (1905-1909). Soon after Meek’s retirement the company was once again renamed “American Art Works ” (1909-1950).

(It was Henry Beach’s Standard Advertising Co. that produced the iconic embossed tin Campbell’s Soup American flag sign in 1900-1901.)

Calvert Litho Co., Detroit (approx. 1878-1898)

Calvert printed a wide variety of items including circus & theatrical posters, cigar & canning labels, trade cards and produced the early Daisy Air Rifle calendars.

Kaufmann & Strauss Co., NY (1890-1970)

K&S were printers of early paper and tin signs for businesses around the country. They printed some of the early Dr. Pepper cardboard signs and their “El-Bart Dry Gin” tin sign recently brought $60,500 at auction.

Wolf & Co., Philadelphia, PA

Wolf printed the very earliest Coca-Cola calendars and cardboard signs.

Niagara Litho Co., Buffalo, NY

This company printed much of the 1930-40’s Coca-Cola cardboard signs. Other clients included Colgate, Canda Dry, Firestone. They also printed a wide range of WW1 posters.

Strobridge Litho Co.

The Strobridge Litho Co. has roots that go back to 1847 in Cincinnati, OH but it wasn’t until 1880 that it took on the name “Strobridge Lithographing Co.” They were a major national printer for circus, theater and movie posters that included the Ringling Bros. & Barnum & Bailey among their clients.

Donaldson Litho Co., Cincinnati, OH (1863-1987)

The Donaldson Litho Co. was officially founded in 1883 in Cincinnati, OH, moving to Newport, KY in 1898. They specialized in circus and theater poster production.

Advertising Media & Values

The variety of items used for promotional advertising is immense. I’ve attempted to identify some of the more popular forms produced and some examples of prices realized at auction.

It’s important to remember that condition is extremely critical to what an item will fetch on the auction block. A rare Coca-Cola calendar in fair condition might bring $500, whereas in mint condition it might be $5,000.

Subject matter is just as important. Generally speaking, items tend to bring stronger prices when the subject matter includes:

– “Old West” scenes/cowboys/cowgirls/Indians

– saloon images

– attractive women; partially clad women; and did I mention partially clad women?

– strong graphics/colors (Campbell’s Soup sign)

– patriotic imagery (Uncle Sam, Lady Liberty, Stars & Stripes, etc.)

– comical images

– fanciful images (cherub riding a bumblebee; goose powered chariot)

– early sports, especially baseball

Popularity of the product is also important. Early brewery, soda and chewing gum advertising will typically sell higher than advertisements for lumber, cement, or paint for example as they tend to have a larger following of collectors.

Stock images typically bring somewhat less than designs that were custom made for the business, but this is very product driven. If a brewery used a stock image and a cement company paid a premium for custom made artwork, the brewery item will still bring more at auction every time.

The advertising company sales rep carried a binder or book with them that had an extensive selection of “stock” images. (These are known as “salesman sample books” – and can be extremely valuable.) These were far less expensive to purchase as there was only a marginal cost for printing your business name and address and/or product on top of the stock image. It’s relatively common to find the identical image on a sign, calendar or tin serving tray that was used by several different businesses.

Lastly, rarity needs to be factored into the equation. Generally, the fewer that exist, the stronger the prices are at auction. I have a colorful 1903 “Satin Skin Crème” poster that measures 26”x41” and that features an attractive young Victorian woman in fashionable attire, coyly holding a fan in her hand, with the tag line “Don’t you want a Satin Skin?”. It’s in exc. cond. and has everything going for it. But market value is less than it cost me to frame it – somewhere between $100-200 because a large pile of them were found in some warehouse years ago and they’re considered common.

Calendars

Calendars were among the best bang-for-the-buck promotional items a company would distribute. They were cheap to produce and had staying power – they were usually hung on a wall for a year with their name right on the front before being thrown away.

In the years of 1880-1900, calendars were relatively small perhaps 6”or 8” by 10” or 12”. But by the turn of the century, lithographers were producing larger more visible calendars, adorned with beautiful chromolithographed artwork. Some of these calendars were produced in tall elaborately die-cut cardboard shapes and heavily embossed, which added to their aesthetic appeal. These would have been provided by the merchant to his steady, regular customers around Christmas time. A separate paper date pad would be stapled to the bottom.

The De Laval Cream Separator Co. began producing an annual calendar beginning in 1903, that are highly collectible today. The calendar themes essentially revolved around life on the farm and carried images of children playing in bucolic countryside vistas.

– 1904 exc. cond. 2008 – $375

– 1910 exc. cond. 2006 – $1495

– 1917 exc. cond. 2008 – $575

– 1929 exc. cond. 2010 – $115

Coca-Cola’s calendars were the first to make use of celebrity spokeswomen. The famous singer and actress Hilda Clark was shown on some of their calendars and trays from 1899-1903, always enjoying a glass of Coke. She was followed by the American soprano Lillian Nordica who was used in a similar fashion for several years. The early calendars, especially from 1891-1901, are extremely scarce and can bring strong prices at auction.

– 1898 exc. cond. 2007 – $23,000

– 1899 vg cond. 2009 – $15,000

– 1912 exc. cond. 2007 – $19,500

– 1925 exc. cond. 2007 – $750

Early pre-prohibition (pre-pro) brewery calendars are very desirable. The 18th Amendment brought us Prohibition which shut down all the U.S. breweries and distilleries in 1917, until it was repealed by the 21st Amendment in 1933. Many breweries attempted to survive Prohibition by switching productioin to soft drinks or malt beverages, but a many never succeeded.

– 1914 Burkhardt Brewing Co., Akron, OH die-cut exc. cond. 2006 – $767

– 1905 Grand Rapids Brewing Co., Grand Rapids, MI die-cut exc. cond. 2007 – $3300

– 1903 Rainier Brewing Co., Seattle, WA exc. cond. 2008 – $5400

– 1908 Sacramento Brewing Co.’s Ruhstallers Beer exc. cond. – $6800

Early calendars from many of the firearm and ammunition manufactures command strong prices and are in high demand. Pre-1920 calendars from Winchester, Peters, DuPont, Remington, Hopkins & Allen, Harrington & Richardson are all desirable.

– 1908 Peters Ammunition – exc. cond. 2007 – $7,762  (JJ)

– 1898 Winchester Repeating Arms Co. – exc. cond. 2007 – $3120

– 1906 DuPont Powder – exc. cond. 2009 – $6900

– 1904 Harrington & Richardson Arms Co. – exc. cond. 2008 – $8325

– 1907 Harrington & Richardson Arms Co. – exc. cond. 2008 – $1085

And here’s one company that might surprise you as having some of the most desirable of all early firearm calendars – the Daisy Air Rifle Company.

– 1896 Daisy Air Rifle Co. – exc. cond. 2008 – $8050 (JJ)

An interesting historical footnote to the first Daisy BB gun is that it was invented by Clarence Hamilton in 1886 for the Plymouth Iron Windmill Co. of Plymouth, Michigan as a promotional premium given to every farmer who bought a windmill. It was at the time a metal and wire device that fired a lead ball with compressed air. Lewis Hough who was the president of the company at the time gave it a try and after his first shot was quoted as exclaiming in the slang of the day “Boy, that’s a daisy!” Farmers began to want the gun more than the windmill and in 1890 they produced 50,000 to keep up with demand. The gun became such a huge success that in 1895 the nearly insolvent windmill company changed its name to the Daisy Manufacturing Co., stopped making windmills and manufactured the BB guns full time.

Paper Signs & Posters

Paper signs & posters were another inexpensive way for manufacturer’s to get their name and logo into stores to create name brand recognition. The signs & posters would typically illustrate how their product could make life easier or more enjoyable for the consumer.

Some signs were shipped by manufacturers to their retail merchants, rolled up in cardboard tubes and trimmed with metal bands at the top and bottom that kept the poster flat when hung on a wall. These are usually referred to as “roll-downs” by collectors and would measure approx. 12”-15” wide x 20-28” tall.

Smaller cardboard signs would often incorporate a folding “easel” on the back so that they could be displayed on shelves or store countertops. Often these signs would have die-cut shapes to add to the visual appeal of the product. The Adams, Wrigley and Kis-Me gum companies often used die-cut women’s profiles on their easel-back signs.

Two-sided versions of these smaller signs were made intended to be hung by a string from an overhead fan in the store so that the moving air would rotate them and catch the eye of the customer. These are referred to as “fan-hangers”.

Trolley cars provided a captive audience that businesses took advantage of by printing cardboard signs that measured a standard 21” w x 11” h known as “trolley cards”. They would slip into holders located up above the passengers. Shelf life was short and when it came time to put new signs up, it was often relegated to young boys who were paid by the number of signs they replaced. They learned using a stick to push the old ones out to slip the new ones in made the work go much quicker, hence it’s not unusual to find these signs with damage. Coca-Cola was using them as early as 1905. The early ones are pricey – 1907 – $3250 in 2005; 1908 – $9300 in 2006 and 1912 – $6150.

Larger paper or cardboard signs were often framed and “lent” to the store. Salesmen would rotate old signs with new ones as they came to take new orders or re-stock. Coca-Cola developed their own signature gilt wood frames in the 1940’s to accommodate their cardboard signs now being mass produced in standard sizes. The old sign could be discarded and a new one take it’s place.

Early chromo-lithographed posters printed before photo-mechanical offset printing took over, are far more desirable and command a premium. The transition date tends to be somewhere around 1914-1918, but varies from printer to printer. After this date color images were separated into four half-tone dot screens that were combined to create the final image. The new technology resulted in much lower printing costs and faster production runs.

On occasion oversized posters were ordered that were larger than printers had the ability to make at the time on one sheet of paper. Often these would be for a circus or theatrical production and intended for display on the side of a building or billboard. In this case the printer would print the poster in multiple sheets and paste them together.

– a standard sized 1-sheet poster would measure approx. 27” x 41”

– a 2-sheet poster would measure approx. 54” x 41”

– a 4-sheet poster would measure approx. 108”x78”

– a 8-sheet poster would measure approx. 9’x7’

– a 24-sheet poster (billboard size) would measure approx. 20’wide x9’ tall Subject matter, graphics, condition, rarity and desirability drive auction values for paper and cardboard signs same, as most other forms of advertising. A few recent prices realized at auction include:

– 1905-1908 American Seal Paints 2-sheet poster w/ Uncle Sam & Lady Liberty –

42”x55” exc. cond. 2008 – $10,920 (JJ)

–  ca. 1880’s  Canada Southern Railway poster titled “View of Canada Southern Train Passing Niagara Falls” Colorful scene of locomotive and passenger cars in the foreground with Niagara Falls in the background. Vg. cond. 2009 – $11,500 (JJ)

– 1902 Coca-Cola paper sign with Lillian Nordica 15”x19” fair cond. 2008 – $9200

– early Daisy Air Rifles sign boy w/gun 14”x21” gd. Cond. 2009 – $7475

– ca. 1912 Old Virginia Cheroots cigar sign 16”x25” exc. cond. 2009 – $2875

– Allen & Ginter cigarettes American Indians sign 21”x28” exc. cond. 2009 – $6325

– Buffalo Brewing Co., Sacramento, CA – topless Indian maiden riding atop a buffalo 17- 1/2”x24-1/2” exc. cond. 2008 – $47,150

– ca. 1880’s Kendall Mfg. Co., Providence, RI Soapine Soap sign w/whale – 38”x30” exc. cond. 2009 – $17,250

– ca.1890 Dr. Prices Baking Powder, French mountainside vineyard scene of women gathering grapes with castle in background, 18”x26” exc. cond. N/A.  Dr. (Vincent Clarence) Price (1832-1914) is the movie actor Vincent Price’s grandfather who is credited with inventing the first cream of tartar baking powder first manufactured in 1869, sales of which built the family fortune. In my personal collection – only copy known.

Tin signs

Tin signs were often embossed with relief details and die-cut into distinctive shapes. “Flange” signs were produced that had one end bent at 90 degrees to mount to a wall, and extended out into the room with both sides of the sign featuring advertising. The early die-cut versions of these are especially desirable.

– 1900 Coca-Cola sidewalk sign w/Hilda Clark image 20”x28” exc. cond. 2007 – $64,250

(Standard Adv.)

– ca. 1890’s Majestic Range w/ woman 25”x21” exc. cond. 2009 – $7475

– ca. 1905 Brookfield Rye Whiskey w/woman in sheer gown 23”x33” exc. cond. 2008 – $4325

– ca. 1915 Grape-Nuts w/girl & St. Bernard – exc. cond. 2007 – $3025

– ca. 1893 National Brewing Co. die-cut – vg. cond. 2009 – $9750

– ca. 1900 Harvard Brewing Co. aerial factory 40”x52” exc. cond. 2010 – $6900

– 1901 Campbell’s Soup American flag –    exc. cond. 1990 – $93,500 (Standard Adv.)

– 1905 El Bart Dry Gin tin sign w/woman on beach, 33”x45” exc. cond. 2009 – $66,000

– ca. 1910 Sleepy Eye Flour w/ Indian, 20”x24” exc. cond. – $48,000

– 1890-1900 Henry Hunter Whiskey saloon scene w/cowboy 27”x36” exc. cond. 2008 – $42,000

– Buffalo Brewing Co., Sacramento, CA – Bohemian Beer charger 21” dia. exc. 2008 – $63,000.

Another unique form of tin sign found in the country store are what are referred to as “string holders”. These were the overhead holders, as opposed to countertop string holders, that held the storekeepers ball of twine used to wrap the paper parcels for customers. Often die-cut in shape, these signs had a very long shelf life in the store and were highly visible. Notable examples were made by Heinz pickles – in the form of a pickle and Red Goose Shoes – in the form of a red goose.

– ca. 1900-1910 Heinz Pickles 3-D die-cut string holder, 19”x27” vg. cond. 2008 – $8525

– ca. 1900-1910 Dutch Boy White Lead paint die-cut 2-sided string holder, 14”x27” vg. cond. 2007 – $3250

– ca. 1900-1910 Red Goose Shoes die-cut 2-sided string holder, 16”x28” vg. cond. 2007 – $2170

– 1908 Lowney’s Cocoa die-cut 2-sided string holder, 14”x24” exc. cond. 2009 – $4025

– ca. 1900-1910 Eskimo Rubbers die-cut 2-sided string holder, 13”x19” vg. 2010 – $3165

Porcelain signs

Porcelain enamel sign production began in England around 1880. In the U.S. two giants emerged that dominated the business for many years. The Baltimore Enamel Co. began in 1897 which would be the largest producer of porcelain signs in the U.S. The other company was the Enameled Iron Co. located in Beaver Falls, PA which began operations in the 1890’s and later became the Ingram-Richardson Co. in 1901. By 1920 there were hundreds of companies that emerged, with the California Metal Enameling Co., the General Porcelain Enamel & Manufacturing Co. (Veribrite) and the Tennessee Enamel Manufacturing Co. also emerging with sizable factories.

Porcelain signs are made by firing powdered glass onto iron or steel blanks. The glass is known as “frit” and is made by pouring molten glass into cold water where it would shatter into very small pieces. These pieces would then be ground down into a powder. Each color of the sign would be created by melting the appropriate color of powdered frit onto it.

Early signs were made using noticeably thick iron blanks, but were replaced by steel   around 1920. The metal blanks would have holes punched for hanging and then washed in an acid bath to clean them before they were then ready for the firing kiln. All signs would get an initial coat of powdered frit sprayed and fired onto them as a base coat – think of it as a primer coat in painting woodwork.

Generally signs made before 1930 would have the 1st color of powdered frit sprayed over the entire surface, on top of fired base coat. It would adhere via a static electric charge much like that seen in the small pellets that make up Styrafoam. A thin metal template would be placed over the entire sign with cut-outs where the color wasn’t desired. Using a brush, a worker would brush away the powdered frit. The template would be removed and the powdered glass left intact underneath the template would then be fired from 1700-2000 degrees and fused to the sign. This process would be repeated for each color. The end result was a sign that had a noticeable relief at the edges of the colors when felt by hand, a desirable characteristic referred to by collectors as “shelving”.

After 1930, it was discovered that silkscreening the powdered frit onto the sign reduced the amount of time it took for production. The layer of frit was thinner and after firing there was little to almost no “shelving” of the colors. The metal sign blanks themselves became thinner and porcelain gas pump signs of the late 1940’s & 50’s actually have a slight degree of flexability to them.

Early iron signs didn’t use metal grommets at the holes, but were simply punched through, resulting in what are referred to as “volcano holes” where the metal protruded on one side. Manufacturers soon realized using a press-punch and adding metal grommets to the holes would give the sign a more finished appearance and prevent the fired glass surface from chipping when displayed. All the following signs are one-sided unless indicated otherwise.

– ca. 1920-30 Gold Medal Oils automotive sign, 2-sided 30” dia. exc. cond. 2009 – $46,000

– ca. 1920-30 Red Rooster Fruit & Produce, 20” dia. exc. cond. 2007 – $8625

– ca. 1920 Munsing Wear man in unionsuit w/red robe 25”x38” exc. cond. 2004 – $4325

– ca. 1940’s Hood’s Milk w/cow’s face 30” dia. exc. cond. 2008 – $2500

– ca. 1920’s Kelly Tires 30” dia. exc. cond. 2007 – $31,200

– ca. 1930-1940 Oilzum 2-sided w/goggled driver & orange cap 20”x28” exc. 2008 – $5750

– ca. 1930’s Old Dutch Cleanser w/can of product against blue bkgd 14”x20” vg. cond. 2008 – $800 (Graphics were an early commercial design by Georgia O’keefe while living in Chicago)

Window Displays

Often companies provide large window displays to their retail customers that usually have a limited shelf life. They may be seasonal displays or intended for the holidays, but in each case pedestrian traffic notices advertising that they might otherwise not. Because they had such limited shelf life most were discarded after the season or holiday was over, lending to their rarity.

– ca. 1930 Coca-Cola Sonja Henie cardboard window display 40”x36” exc. cond. 2007 – $11,500

– 1928 Lucky Strike cardboard baseball window display with 1928 MVP’s Mickey Cochrane (AL) and Jim Bottomly (NL) found under a stairwell in a bldg. purchased by a church in 2006. Measures 66”w x 42”h exc. cond. 2006 – $34,500.

– 1940’s “The Pleasantest Place In Town” 4-pc 3-D window display of pedestrians going thru a revolving door into a diner. It was found in a log storage bin at the estate of an Arkansas family who owned the largest soda fountain in town. According to the family it had never been put on display but placed inside the bin as potential fuel. It brought just over $40,000 in 2007-JJ. Litho Niagara Litho Co., Buffalo, NY.

Tin serving & change trays

Most of the lithographed tin serving and change or tip trays were produced by the Chas. W. Shonk Co. in Chicago, IL or from one of the lithography companies in Coshocton, OH.

Serving and change trays were used predominately by breweries to promote their lines of ale and lager beers, and by soft drink companies to promote their flavored beverages.

Beer serving trays were usually 12-13” in diameter and are usually referred to either “pre-prohibition” produced prior to 1917, or “post-pro” meaning they were made after 1933. The smaller change or tip trays typically measure 4” in diameter, with the notable exception of those made for Coca-Cola from 1906 thru 1920 which are 4-1/4”x6” ovals. Coca-Cola made serving trays from 1897-1920 which were produced in a variety of sizes, both round and oval. Overlapping these, Coca-Cola began producing the 10-1/2”x13-1/4” rectangular tray annually from 1910 thru 1943 and then sporadically thereafter.

Here are some auction hammer prices but bear in mind that condition will have a dramatic impact on the prices listed, and will vary from sale to sale.

– 1908 Coca-Cola “topless” serving tray – 12-1/2” dia.  near mint 2008 – $14,000

– 1906 Coca-Cola serving tray – 10.75”x13”  exc. cond. 2008 – $10,500

– 1903 Coca-Cola serving tray – 15”x18-1/2” exc. cond. 2008 – $10,350

– 1900-05 Dr. Pepper serving tray – 13-1/2”x16-1/2” vg. cond. 2007 – $7500

– 1914 Hires Root Beer serving tray 13-1/2” dia. exc. cond. 2007 – $1090

– 1918 Zipps Cherri-O serving tray 12” dia. exc. 2008 – $800

– 1900-05 Seattle Brewing Co. Rainier Beer serving tray w/woman’s face – 13” dia. exc. 2008 – $1495

– 1909-12 National Brewing Co. National Beer serving tray w/cowboy on horse – 12- 1/2”x16” exc. 2005 – $4025

– 1910-15 Old Saratoga Whiskey serving tray w/dogs playing poker 13” dia. vg. cond. 2009 – $920

– Crowell’s Ice Cream serving tray 13-1/2” dia. exc. cond. 2007 – $1035

– 1905 Bromo Seltzer change tray 4” dia. exc. cond. 2009 – $975

– 1905 Baker’s Breakfast Cocoa change tray 6” dia. exc. cond. 2009 – $345

– 1906 De Laval Cream Separators change tray 4” dia. exc. cond. 2009 – $230

Reverse-on-glass signs

Reverse painted glass signs are another advertising medium that was popular from about 1880-1910. Because they were so time consuming to create, and therefore expensive to produce, businesses found cheaper alternatives to advertise after the turn of the century. Some are truly a work of art, incorporating silver and gold leaf or mother-of-pearl into the designs.

– ca. 1900 Buffalo Brewing Co., Sacramento, CA – Buffalo Beer sign – 38-1/2” dia. exc. cond. 2008 $54,000

– ca. 1900 Rock Island Railroad w/mother of pearl – 100”x27” exc. cond. 2009 – $34,500

– ca. 1910 Ashbury Bar corner sign for Jackson Lager, San Francisco, CA 22”x44” exc. cond. 2009 $24,150

– ca. 1900 California Brewing Co. w/bear – 16”x21” exc. 2008 – $27,600

– ca. 1890’s Yale Brewing Co., New Haven, CT w/mother of pearl – 37”x29” exc. 2008 – $2300

Fruit Crate Labels

Citrus growers in California began branding their produce by placing labels on the wooden crates they shipped their fruit in, beginning around 1880 until the pre-printed cardboard box made them obsolete in the 1950’s. Many of these designs are fabulous miniature posters that deserve recognition due to the quality of their artwork, subject matter and evolution of style that reflected trends of the times. It’s estimated that in 70 years of production over 15,000 different labels were designed.

Labels were printed with every conceivable subject matter and some that were exclusive to California history: the old west, cowboys and Indians, gold mining, exotic destinations, animals, flowers, National Parks, art nouveau & deco designs, sports, etc.

When the industry abruptly switched over to the use of pre-printed cardboard boxes for shipping produce, piles of labels were left sitting on the shelves of packing plants. Today many designs, even early lithographed examples, can be bought for a few dollars apiece. Of course rare surviving copies of some of the earliest examples, often discovered in printers archive files and perhaps one of only a few known, command strong prices.

It should be pointed out that packing houses used some brand names for many years running, printing newer versions of the label every few years. Earlier versions are valued more than later ones, and in some cases there are tremendous differences in value.

– ca. 1920’s Bunny Brand orange label – 11”x10” exc. cond. – $2883

– ca. 1920’s Woodlake Nymph orange label – 11”x10” exc. cond. – $2910

– ca. 1890’s Topaz Brand orange label – 11”x10” exc. cond. – $1430

– ca. 1930’s Santa lemon label – 12”x9”” exc. cond. – $10

– ca. 1930’s Tom Cat lemon label – 12”x9” exc. cond. – $85

– ca. 1930’s Bronco orange label – 11”x10” exc. cond. – $10

The definitive reference for anyone who has further interest is the book by Gordon McClelland and Jay Last pub. in 1985 titled “California Orange Box Labels”, Hillcrest Press. It not only is loaded with full color images of rare labels but also walks you through the different phases of artistic styles, discusses different lithography techniques that were used and provides an index of the lithography firms who produced labels.

Also, go on-line to http://content.ci.Pomona.ca.us/ and http://riversideca.gov/library/history_coll_citruslabels.asp to view the respective collections for the Pomona and Riverside, CA public libraries.

Tobacco & Cigar Labels

Just as citrus growers needed to provide brand name recognition, so did the tobacco and cigar companies. Tobacco labels were printed designed to be pasted onto the sides of tin pails that had slip-fit lids and bail handles.

– ca. 1880’s Welcome Nugget – gold miner holding large gold nugget, 7”x14” exc. cond. 2009 – $250

– ca. 1880’s The Old Sport – image of a dog dressed in suit, 10-3/4”x11” exc. cond. 2009 – $225

– ca. 1880’s Golden Eagle – eagle with American flag, 10-1/2”x10-1/4” exc. cond. 2009 – $110

Cigar labels were printed from the 1870’s thru the 1920’s and were intended to be pasted onto cigar boxes. There are two different types of labels on a cigar box. The one pasted on the lid usually measured 4”x4” and is called an “outer” label, while the other was pasted inside the lid measured 9”x6” and is referred to as an “inner” label. Many of these labels were strongly embossed in contrast to the tobacco labels.

– ca. 1880’s First Inning outer label – baseball scene, 4”x4” exc. cond. 2009 – $575

– ca. 1890’s Jack of Hearts inner label – gent w/two damsels on each arm, 8”x4-3/4” exc. cond. 2009 – $620

– ca. 1890’s Leap Frog printer’s proof inner label – woman in bathing suit leaping over frog, 7-1/4”x7” 2008 – $8625

– ca. 1890’s “7-Up” printer’s proof inner label – seven women emerging from Coney Island bathhouse in swimwear, 8”x7” exc. cond. – $4025

Advertising Trade Cards

Among the more popular, inexpensive and commonly found early advertising items today are “trade cards” which were the 19th century equivalent of today’s business cards. They were miniature advertising posters – typically measuring just under 3”x5”, often printed with comical or fanciful scenes on the front – such as frogs riding bicycles or polar bears using parlor stoves – and with advertising printed on the back. Cards were printed for every imaginable product or service.

Soapine Soaps had cards with the tag line “The Dirt Killer” showing a beached whale being scrubbed so clean it removed his color. An “Ayer’s Hair Vigor” card shows a group of mermaids salvaging crates of hair product from a nearby shipwreck.  Literally thousands of different images were produced.

Trade cards surged onto the scene in the 1870’s with the onset of color lithography, peaked in the 1890’s and faded away by the turn of the century when color advertising in magazines became affordable and reached a larger audience.

Advertising salesmen carried a book of stock images which they could overprint with your business name and address for a modest fee, or a custom design could be made for a premium. Product manufacturers also supplied merchants with large quantities of cards printed for their product lines. Some cards were printed in sets from 4 to 12, so to collect them all you were enticed to make multiple trips back to the store as new ones in the series were released.  All these cards were handed out freely and given away with purchases. It became a national pastime in the days long before radio and TV, to collect them and place them in scrapbooks.

Many of these cards can be bought today for a few dollars, but as in all collectibles you can find some that will bring prices in the thousands. Of particular value are mechanical bank cards and clipper ship cards that promoted passenger service from the East to West coasts during the 1850’s-1880’s. Many of these ships were promoting fast passage to the newly discovered California gold fields.

– ca. 1889 “Watch Dog Safe” w/merchant overstamp – exc. cond. 2007 – $10,320

– ca. 1880’s “Darktown Battery” baseball bank w/merchant overstamp – exc. cond. 2007 $6900

– ca. 1880’s “Picture Gallery” mechanical bank w/merchant overstamp – exc. cond. 2007 $6025

– ca. 1850’s “John Tucker” clipper ship card for NY to San Francisco passenger service, 6-1/2”x4” exc. cond. 2009 – $1250

– ca. 1850’s “Eagle Wing” clipper ship card for NY to San Francisco passenger service, 6-1/2”x4” exc. cond. – $1650

– 1849 “Winged Arrow” clipper ship card for Boston to San Francisco passenger service, 3-1/4”x5-1/4” vg. cond. 2005 – $1050

Tins – Tobacco, Coffee, Talcum. Beer & Condom

A large fraternity of collectors are out there who focus just on collecting antique advertising tins.

Some of the larger early tin plate printing companies include Somers Brothers, Brooklyn, NY (1869-1920), Tin Decorating Co. Baltimore, MD (Tindeco – 1901-1944), Continental Can Co., Chicago, IL (1904-present), Norton Brothers, Chicago, IL (1868-1901) organized the American Can Co. in 1901(1901-present) by consolidating 60 tin container companies accounting for 91% of all the tin cans made in the U.S.

From 1870-1879 tins were printed in just one color on a colored base. It wasn’t until around 1882 that chromolithography was successfully used in making tin cans.

In 1935 American Can Co. introduced the first canned beer for Krueger Cream Ale which  arrived in a flat top can. Later than year, Continental Can Co. introduced their “cone top” can for “Schlitz” beer. Beer can collectors are another specialized collecting fraternity that has their share of highly sought after brands and varieties.

– ca. 1910 “Ty Cobb Tobacco” vertical pocket tin, 4-1/2” h, vg. cond. 2005 – $22,500

– ca. 1910-15 “Shogun Mixture” tobacco vertical pocket tin, 4-1/2” h, exc. cond. 2010 – $8625

– ca. 1915 “Scissors Tobacco” vertical pocket tin, 4-1/2” h, exc. cond. 2006 – $6500

– ca. 1920-30’s “Drako Coffee” 1 lb. tin, 4”x6” exc. cond. 2009 – $2300

– ca. 1920-30’s “Kamargo Coffee” 1 lb. tin, 4”x6” exc. cond. 2009 – $1840

– ca. 1920-30’s “Ben-Hur Coffee” 5-1/2”x9-1/2” exc. cond. 2009 – $1725

– ca. 1920’s “Violet Talcum Powder” tin, 4-1/2” h, exc. cond. 2009 – $575

– ca. 1920’s “Ador Me Talcum Powder” tin 5” h, exc. cond. 2005 – $275

– ca. 1920-30’s  “Akron Tourist Tubes” condom tin, 1-3/4”x2-1/4”, exc. cond. 2006 – $1900

– ca. 1920-30’s “Poppy’s” condom tin, 1-3/4”x2-1/4”, exc. cond. 2006 – $1900

– ca. 1920-30’s “3-Pirates” condom tin, 1-3/4”x2-1/4”, exc. cond. 2006 – $950

– 1941 “Clipper Pale Beer” flat top can made by the Grace Brewing Co., Santa Rosa, CA, 12 oz., exc. cond. 2002 – $19,300

– 1935-42 “Royal Finest Lager Beer”  12 oz. cone top made by the Rainier Brewing Co., Seattle, WA exc. cond. 2007 – $37,501

– late 1930’s “Budweiser” crowntainer 12 oz. can, exc. cond. 2008 – $23,000

Cigar Store Indians

Carved wood lifesize Indians were popular trade signs for early tobacco shops. They would stand out front so that customers could readily identify where to go buy their tobacco products.

Most in good condition will sell in the range of $15,000-40,000 but much depends on the quality of the carving and it’s condition. After all, some withstood the elements and weathering for many years which would take it’s toll. If it can be attributed to a well known carver such as the Samuel Robb shop in NYC, it will bring a premium.

An amazing example just sold last month (May 2010) at auction in Texas that brought $203,150. It had been sitting in the basement of a Washington, DC home for the past 20 years. What made it remarkable was not so much the excellence of it’s carving, but that it still had it’s original poly-chromed patina surface and was in pristine condition, whereas most carvings have had multiple layers of re-paint on them with some wear and tear.

Neon Signs

Neon signs were invented in France and displayed at the 1910 Paris Exposition. They made their debut in the U.S. in 1923 at a Packard automobile dealership in Los Angeles when Earle Anthony purchased two that read simply “Packard” for $1250 each.

The outdoor neon sign was often constructed of porcelain enameled steel “cans” that housed the transformer, and could display neon tubing and advertising on one or both sides, depending on how it was being displayed.

– 1930’s Mohawk Gasoline 48” dia. 1-sided exc. 2009 – $30,200

– 1930-40’s Chevrolet 2-sided 42” dia. exc. 2007 – $6000

– 1930-40’s Ford oval 2- sided 3’x6’ exc. cond. 2010 – $4800

– 1930-40’s Ford oval 2-sided 3’x6’ exc. cond. 2009 – $9600

Soda Fountain

Coca-Cola was concocted in 1886 by Atlanta, GA pharmacist John Pemberton. It evolved from modifying his original cordial formula called “Pemberton’s French Wine Coca” which combined kola nut and coca leaf extracts together with alcohol and other ingredients. The rise of the Temperance Movement convinced him to re-formulate the beverage substituting various oil extracts in lieu of the alcohol.

He took the mixture to Jacob’s Pharmacy a few doors down from where he lived, where it was combined with carbonated water and sold for 5 cents a glass as a medicinal “brain tonic” and “nerve tonic”. The name was suggested to him by his bookkeeper who also unwittingly created the flowing Spencerian script logo due to his excellent penmanship.

Pemberton died in 1888 without ever realizing the eventual success of what he had created. Another Atlanta pharmacist and businessman Asa Candler bought Pemberton’s formula in 1888 for $2300, and the rest is history.

It was Asa Candler who launched an aggressive marketing campaign that would make Coca-Cola a household word. He outfitted pharmacy soda fountains with clocks, calendars, ceramic dispensers, posters, tin signage and even leaded glass shades, all bearing the Coca-Cola name brand. They spent more on promotional advertising than any other company had in history. By 1895 he had built syrup plants in Chicago, Dallas and Los Angeles and by the turn of the century the drink was being sold across the U.S. and Canada. Coca-Cola had by this time begun selling their syrup directly to independent bottling companies around the country.

While a smart businessman, Candler never realized the potential of bottling his product for mass distribution. In 1894 a Vicksbury, MI store owner by the name of Joseph Biedenharn began bottling Coca-Cola himself in Hutchinson style bottles and selling them.  He sent a case to Asa Candler who wasn’t impressed. Candler saw the money was in soda fountain sales, not bottling. The opportunity was seized on in 1899 by two attorneys Benjamin Thomas and Joseph Whitehead from Chattanooga who bought the exclusive rights to bottle and sell the beverage throughout most of the country for $1. They in turn sold bottling rights to entrepreneurs across the country. The rest is history.

Did Coca-Cola ever actually contain cocaine as an ingredient? Yes, actually it did. Which wasn’t uncommon for patent medicines of the times. The “Coca” part of the name came from the coca leaf extract, and the “Cola” part of the name was derived from the kola nut which was another principle ingredient. By the mid 1890’s public was turning against cocaine additives. Candler, worried that without any coca leaf extract in his formula he would be unable to protect the right to the name “Coca-Cola” kept a very small amount in the formula. By 1902 he had agreed to reduce the amount to 1/400th of a grain which was a mere trace. Coca-Cola contained a trace amount up until 1929 when it became totally cocaine-free.

Many people don’t realize it but there was also a Coca-Cola Chewing Gum made from 1903-1921. Asa Candler sold the naming rights to Atlanta businessmen David Carson William Clark in 1903. Sales didn’t match expectations, and starting in 1905 the company changed hands several times until Coca-Cola bought back the name and all assets and ended production in 1924.

Coca-Cola gum advertisements rank among the most valuable of all advertising signs based on size. Small cardboard die-cut signs can bring as much as $10-15,000. Even a gum wrapper brought $300 at auction in 2009.

– Leaded glass shade: vg. cond. 2009 – $5200 (JJ); vg. cond. 2008 – $6900 (JJ)

– 1898 calendar, 7”x13” near mint 2007 – $20,000

– 1899 calendar, 7”x13” exc. cond. 2009 – $13,000

– 1900 tin sidewalk sign w/ Hilda Clark, 20”x28” near mint 2007 – $55,000

– 1914-16 chewing gum die-cut cardboard “Dutch Boy”, 5.5”x8” exc. cond. 2007 – $15,000

– 1893-96 Baird clock “Ideal Brain Tonic”, 26” tall exc. cond. 2005 – $12,000; 2006 – $10k;

Pepsi-Cola was invented by another pharmacist Caleb Bradham in NC in 1898 and originally sold as “Brad’s Drink”.

Dr. Pepper was created by pharmacist Charles Alderton in Morrison’s Old Corner Drug Store, Waco, TX in 1885.

Moxie originated in 1876 as a patent medicine called “Moxie Nerve Food” in Lowell, Massachusetts by Dr. Augustin Thompson, but it wasn’t until 1884 that the carbonated version was bottled and distributed.

Hires Root Beer was developed in 1876 by Philadelphia pharmacist Charles Hires and debuted at the 1876 Philadelphia Centennial Exposition. It began to be bottled and distributed in 1893.

– Villeroy & Boch Mettlach stein with Ugly Kid – 4”x8.5” – 2007 – $20,000

– Villeroy & Boch Mettlach urn dispenser – 18” tall – 2007-$26k; $16,000 – 2005; $17,000 -2007

– fan pull early ver. round cardboard  sign w/ “Ugly Kid” pouring drink to parched planet earth with humanized face – 11”x10” exc – 2007 – $45,000

Soda Fountain Syrup Dispensers

At the turn of the century soda fountains sold a wide variety of flavored syrups that would be mixed with carbonated water, usually for around five cents a glass. Syrup manufacturers competed with one another to come up with more eye catching syrup containers to tempt a patron into giving it a try.

– 1900-05 Hires Munimaker soda fountain marble dispenser was very heavy, made with white marble side panels and a beige marble top. A clear or milk glass globe marked with the Hires company name sits atop a silver-plated gooseneck. Measures 17”x17”x27” tall w/o the globe, 2008 – $2990 (JJ); 2008 – $2125 (JJ); 2008 – $4500

– Fan Taz ceramic baseball shaped dispenser with bat graphics, 16”h exc. 2007 – $43,000

– Jim Dandy Root Beer ceramic dispenser, 15” h exc. cond. 2005 – $40,750

– Pepsi-Cola urn shaped ceramic dispenser, 19”h exc. cond. 2005 – $31,750; exc. cond. 2007 – $29,700

– Modox ceramic dispenser w/Indian graphics, 16” h exc. cond. 2005 – $27,000

– California Iron Port ceramic dispenser, vg. cond. 2006 – $11,210

– Coca-Cola ceramic urn shaped dispenser, exc. cond. 2007 – $8,800

Trade Signs

Trade signs were often simple flat wood signs with a moulded border and painted in a two-tone color scheme. More elaborate trade signs were figural and intended to convey what goods the store sold inside.

Tavern signs are among the earliest of all trade signs and often because of their historical significance tend to bring very strong prices. They tended to carry the name of the tavern and/or the name of the proprietor as well.

– ca. 1890 The Alaska Fur Co. carved gilt wood, orig. surface, 2-sided, 53”x55” 2007- $79,000

– ca. 1880’s dentist trade sign – entire carved upper set teeth,  17”x18” – 2007 – $44,000

– 18th century wood tavern sign for “T. Doty”, Canton, MA. 51”x44” 2008 – $28,440

– 1802 wood American tavern sign for “R. Estabrooks” tavern with anchor graphic, 2006

– $81,200

– ca. 1880’s “Acorn Stoves and Ranges” figural 2-sided embossed metal acorn shaped sign, 40”x50” 2009- $7500

– 1890’s apothecary mortar & pestle, 22”x36”leaded glass w/glass “jewels” exc. cond. 2006 – $28,320

Store Display Cabinets

These cabinets would have a hinged front door with an embossed tin lithographed panel insert. The interiors are fitted up with eggcrate shelving for holding product. Some have a tin panel or cardboard insert in a 2nd rear door.

– ca. 1910 Dr. Lesures Veterinary Remedies w/horsehead tin front, 27” h 2005 – $3250; 2009 – $22k mint

– ca. 1900 Dr. Daniels Veterinary Medicines w/Dr. Daniel himself, 20”x29” exc. 2006- $3500; 2006-$3250;

– ca. Pratts Veterinary w/blue tin panel list of remedies,  34” h – 2006 – $1700

– ca. 1890 Diamond Dyes – “Fairy” – 31”h – near mint – 2005 – $3000

– ca. 1910 Diamond Dyes – “Balloon” – 15”w x24” h – $750-1500

– ca. 1910-1914 Diamond Dyes – “Mansion” – 15”w x24” h – $750-1500

– ca. 1906 Diamond Dyes – “Governess” – 30” h – $750-1500

– ca. 1890 Diamond Dyes – “Jester” – 27” h –  $750-1500

Spool Cabinets

There are dozens of different forms from about twenty different manufactures.

– ca. 1890 Corticelli fancy w/ clock – $3200

– ca. 1900 Merricks w/ tambour doors/2-curved glass panels; ave. $2000; $1100

– ca. 1900 Merricks round glass like spool – $2400; $1700; $1300; $1000

– ca. 1910 Brooks – blue glass fronts – $800-1000

– ca. 1890 Belding Bros. – tall w/ gallery & mirror – $2000

– ca. 1910 Clark’s – 6 drwr ruby red drwr fronts – $1000-1500

Salesman Samples

Salesman often went on the road taking with them miniature examples of large or heavy products they were selling to shop merchants. A full size barbershop chair for example simply wasn’t practical to lug around to retail barber establishments, so companies like Koken’s in St. Louis, MO manufactured a 16” tall miniature version. Their miniature is an exact replica of the original, complete in every detail right down to working hydraulics, leather upholstery, porcelain arm rests and nickel plated articulating foot and head rests – no expense was spared.

Because so few salesman’s samples were made and even fewer survived, they are an eagerly sought after collectible. Those examples that have cross-over interest to the antique advertising/country store collector command a premium.

– ca. 1900 Koken’s barber chair, Koken Co., St. Louis, MO – red/brown leather upholstery, white porcelain armrests, nickel plated trim/foot rest/head rest – 16” tall. 1999 exc. cond. – $48,875 (JJ); 2006 exc. cond. – $27,000; 2008 exc. cond. – $11,500 & $29,000

– 1895 Koken’s barber chair, Koken Co., St. Louis, MO – rare carved wood version with black leather trim, working hydraulics, nickel plated trim & foot rests, exc. cond. 1999 – $51,750 (JJ)

– 1929 model Coca-Cola double-Glascock cooler w/miniature crate of bottles, 10.5”wx13”h – $8500

– 1939 model Coca-Cola cooler w/leather case – 9” tall exc. 2007 – $5500

– ca. 1900 collapsing country store wood baker’s shelf, 12” tall exc. cond. 2004 – $4675

– ca. 1909 Hires Root Beer “Munimaker” soda fountain dispenser. The “Holy Grail” of all salesman’s samples. A perfect miniature in marble with silver plated gooseneck and milk glass globe, it came housed in a velvet lined black leather case and stands 12” tall. The Thunell collection 1999, exc. cond. – $77,000 (so if you’ve got a spare one or two of these lying around why don’t you give me a call); also 2007 exc. w/o case – $55,000

1906 Pure Food and Drug Act

In 1906 the Pure Food and Drug Act was enacted to protect consumers from food and drugs that might be potentially dangers and/or addictive. It required disclosure of any alcohol or narcotic ingredients on the packaging and stated that “the label shall embody no statement which shall be false or misleading in any particular”.

The ripple effect on manufacturer’s advertising claims was significant. Coca-Cola no longer mentioned that it “Cure headaches”, “Relieves exhaustion” and was a “Brain tonic” in their advertising. The same was true for many patent medicine companies. Some scrambled to reformulate their products while others didn’t – they simply complied with the new law and listed their ingredients on the label. After all, the law didn’t forbid patent medicines from containing alcohol or narcotics, it merely said the label has to disclose what’s in it. So the odds are pretty good that if the advertising sign you have says that it cures diphtheria, scurvy, malaria is a swell brain tonic, that it was produced prior to 1907.

Heroin was introduced in 1898 as a cure for morphine addiction if you can believe that. In the early 1900’s the philanthropic Saint James Society in the U.S. mounted a campaign to supply free samples of heroin through the mail to morphine addicts who are trying give up their habits. This didn’t quite work out as they had planned.

Here are a few turn of the century products that were popular with consumers:

– Bayer marketed heroin over-the-counter as a cough suppressant from 1898 to 1910. I would think that might work!

– “Ayers Cherry Pectoral” made in Lowell, MA (1841-1945) distributed trade cards and posters that often featured young children. It was hawked as “curing colds, coughs and all diseases”. But depending what year you bought it, it contained either morphine or heroin.

– “Mrs. Winslow’s Soothing Syrup For Children” began production in Bangor, ME in 1849 and was hugely successful perhaps in part because it contained 1 grain (65 mg) of morphine per fluid ounce and alcohol. That should keep the rug-rats quiet for a while.

– Up until the 1914 Harrison Act was passed, cocaine was sold over the counter. Even Pope Leo XIII was endorsing “Vin Mariani Wine Tonic” in their advertising, which was oaded with cocaine at the time. He went as far as awarding Angelo Mariani, the producer, with a Vatican gold medal. “You just know with a name like “Wine of Coca” that it’s got to be good.”

– “Dr. D. Jayne’s Expectorant” descended from a line of clergymen in Philadelphia, PA in the mid-1800’s and contained opium right up until 1919. Praise the Lord!

Click Player below for audio podcast.