Volume 15
Collector’s Magazine - Written by Collectors for Collectors Articles by Collectors Sharing their Passions on... Flashlights Nippon Porcelain Pepsi Cola Perfume Bottles N.Y. Street Furniture Spray Paint
ILLUMINATING THE WORLD WITH TECHNOLOGY Imagine your only light source in the black of night being a candle or oil-burning lamp? For centuries that was the source available to most people. Brilliantly, in 1896 Thomas Edison’s incandescent light bulb (created in 1879) and George Leclanche’s battery (created in 1866) were put to use in a portable, hand held devise known as the FLASHLIGHT. The name FLASHLIGHT originates from the early weak carbon filament and weak batteries these devises held. Early lights would only “flash” light briefly and only had a ring or tab switch which had to be pressed against the metal to make the electrical connection. Later, flashlights would see improvements in the batteries and bulbs and could illuminate for up to two straight hours.
replaced which generated impressive sales for the company. These high sales rocketed the company, now known as EVEREADY, to the most successful flashlight company in the world.
Everready Display
Assortment of Early Winchester Flashlights
The American Electrical Novelty and Manufacturing Company was one of the first and most successful companies to make these early flashlights. A large part of their success came from the realization that they could not just make the flashlight as a stand-alone product, therefore, they invested heavily in making their own batteries. Flashlight batteries would have to constantly be
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My passion for collecting these illuminating beauties may have sprouted during my youth growing up in the north woods of Michigan…no street lights, no yard lights. Of course, my father had several flashlights for us to use when we would venture out into the darkness. They were not the best flashlights, however, as a kid I would have fun using them to cut a bright hole into the darkness and find my way. My father and I would often go hunting, fishing and camping. For all of these journeys our trusty flashlights were right by our side. Since those early childhood days, I have become an addicted antique collector. My focus has been antique soda advertising, early bottles, vintage perfume bottles, antique oak furniture and Winchester items.
Collecting Continues to be a Link to the Past
ILLUMINATING THE WORLD WITH TECHNOLOGY Approximately two years ago, I purchased my first Winchester flashlight and as any addiction goes, I have been trying to amass a first class flashlight collection since. Those fun childhood memories of cutting through the darkness with a trusty flashlight came flooding back. The older and more unique the flashlight…the better for me. I have been fortunate to acquire some of the earliest flashlights ever made. I have also been lucky enough to find early electric candlesticks. These were the perfect devise to help people transition from carrying candles to utilizing this new, much safer technology.
A wagon full of Winchester Flashlights and other Winchester Collectibles
Case full of solid copper, brass and bronze Winchester Flashlights.
Assortment of Different Early Flashlights
After acquiring a large and varied collection of flashlights, I’ve now decided to focus on early Winchester and Eveready items. Pictured is a portion of my flashlight collection. One of the most fascinating things about collecting flashlights is the incredible variety of different designs that have been created such as bicycle lights, vest lights, table top lights, penlights, projector lights, mini lanterns, toy gun lights, purse lights, and the list goes on and on. There is a light for every need in every size.
Equally enticing is the incredible amount of flashlight advertising, which is extremely collectable and beautiful. Even the old batteries are now collectable and can be worth quite a bit of money. It has been a fun and illuminating experience searching out these useful and often beautiful pieces of history. There is nothing like holding a solid copper flashlight in the palm of your hand, flipping the switch and having it brighten the room. They just don’t make them like they used to. Antique flashlights are truly little works of functional art. Kevin Kissel kkissel@triad.rr.com
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BOTTLED BEAUTIES – ORIGINAL PACKAGING PRESENTATIONS – PART II Continued from Antique Back Roads Volume 14 As a Personal Care Product Development Chemist I have formulated perfume products for nearly 50 years, and I can tell you with certainty that more expense and effort is invested in the bottle and packaging then the actual perfume liquid. That investment is very apparent in the packaging presentations of so many perfumes, and that is the focus of this Part II of Bottled Beauties. And, as in Part I, we focus on that glorious design period of about 1925-1950. From glass domed covers to velvet lined cases, to perfumes perched prominently on pedestals, we find a myriad of dazzling packaging designs, all designed to provoke a pricey purchase. Enjoy these original perfume packaging presentations.
Espoir by Paquin in exquisite leatherette presentation
“Voulez Vous (Do You?) by D’Orsay
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Forever Yours by Babs Creations this heart is in good hands
Number Nine by Bergdorf Goodman
Quadrille & Le Dix duo by Balenciaga
Odalisque by Nettie Rosenstein
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BOTTLED BEAUTIES – ORIGINAL PACKAGING PRESENTATIONS – PART II Schiaparelli by Elsa Schiaparelli noted Italian Fashion Designer
Satin setting fit for a Prince
Yesteryears by Babs Creations
20 Carats by Dana
Aphrodisia by Faberge
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BOTTLED BEAUTIES – ORIGINAL PACKAGING PRESENTATIONS – PART II
Fabulous Fragrance Flacon by Jean Albret worn around the neck as a Medallion
Sintillation Set in reflective foil
White Hyacinth by Mary Dunhilll
So In Love by Edith Rehnborg Muguet by Nicole Altair
Gilded and faceted Essence Rare by Houbigant nestled in velvet
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BOTTLED BEAUTIES – ORIGINAL PACKAGING PRESENTATIONS – PART II A Trio of Jewels In Glass by Duvinne
Very Rare Directoire Urn by Charles of the Ritz
Article by Chuck Friedman
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Collecting Continues to be a Link to the Past
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WHAT MAKES A PEPSI COLA COLLECTOR? What makes a collector? Is it genetic or is it learned? Neither of my parents collected, but my grandpop (on my mother’s side) taught himself to repair clocks and had several clocks throughout our house. The best part was the bedroom filled with wall clocks. From time to time he would take me “dump digging” and in to junk shops. From an early age, I collected many things from bottle caps to empty shells collected at a nearly police range. I collected coins and built car models (some of which won trophies). When I joined the Army, my mother got rid of everything. Fortunately I married a collector. Her father would take her to auctions where she learned to collect. The first thing that we collected was blue Royal Lace depression glass and 1939 World’s Fair items. In the mid 1990’s we would set up at shows, selling cookie jars, Holly Hobbie and anything else that we could sell. We traveled through PA, NJ, Del and VA. At some point she observed that all you ever saw was Coke items. She said, “Why don’t we collect Pepsi-Cola stuff?” This was in 1997. We knew the difference between “dot” and “double dot” Pepsi. We found books on Pepsi collecting, by Bob Stoddard and learned that there was a Pepsi-Cola Collectors Club, which we joined. The club meets once a year in Indianapolis, Indiana in March and smaller regional clubs. In 1998 they hosted a meeting in New Bern, NC to celebrate the 100th anniversary of Pepsi-Cola.
Post Card of Pepsi-Cola Plant in New Bern, NC
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This was the first time that we saw so many old Pepsi Cola items that people had collected. From that point we were hooked. Our house now has two rooms of Peps-Cola collectables and a garage full of Pepsi-Cola signs.
I have been blessed with a wife who enjoys collecting and the hunt. It has paid off several times. Most notable, we were at a flea market and I saw a dealer setting his table. He laid down a cardboard Pepsi sign from 1952. It offered a teddy bear for $2.98 and 24 bottle caps. When I ask the price, he said $20.00. I replied, “Would you take $15.00?” He said NO. My wife had moved a couple booths ahead, so I told her to go back and look at the sign and see if she thought it worth $20.
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WHAT MAKES A PEPSI COLA COLLECTOR? A short time later she came back with the sign. She said “You are not going to believe this”. When she asked the price, he said $15.00. She asked if he would take $10.00 and he said YES!
Another time she found a Pepsi sled in a booth that had automotive items in a mall. When she likes “neat stuff”, I lean towards bottles and related items. I am always looking for old and odd bottles. The oldest one is from New Bern, N.C. This is one of the first Pepsi bottles from 1905 only seven years after Pepsi was started. Rare bottles can often be found cheap because dealers think only Coke bottles are worth anything. I was able to pick up a 16 oz. green bottle from 1983 for $15.00 that Jim Ayers has listed in his second book for $300.
Once I was asked if I thought I would be able to recover what I had spent on collecting Pepsi? I noticed that the question came from a guy displaying several tattoos on his arms and neck. I then ask him if he could recover the money he had spent on his tattoos?
Collecting anything can be fun and educational. It can keep families together and you meet some of the neatest people. One thing that I had learned from colletcing coins, always buy the best condition that you can afford. Some collectors will collect anything Pepsi while others narrow their collections to paper items or bottles or signs or even patches. They never buy thinking of what can I sell it for. They collect for the love of collecting, learning or genetic. Bill Evens Pepsinow43@comcast.net
I also found a dark brown bottle from the same period that is not in the book. Jim Ayers has written two books on collecting Pepsi bottles which are a must for anyone who collects Pepsi bottles.
Check out our website for a list of clubs – www.AntiqueBackRoads.com
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WHEN COLLECTING NIPPON PORCELAIN, VARIETY IS THE SPICE OF LIFE In porcelain and china-ware the Japanese present a variety which is simply endless and inexhaustible. The multitude of designs and processes which Japanese artists turn out every year is perfectly bewildering…They go in more extensively for decorative work on the porcelain, and it is becoming an open secret that for variety of design, grace, and delicate manipulation of colors, there is not another nation which can, figuratively speaking, hold a candle to them. W. B. Harte, Detroit Free Press (from Current Opinion, December 1889) There was a time when no home was complete without decorative porcelain vases, plaques, baskets, and ferners that one displayed in the public areas of the house such as the hallway, parlor, and library, or a huge variety of utilitarian items for use in the dining room. These items were designed to give the home a certain aesthetic and were meant to impress both family and friends. A few well-placed decorative pieces would show that the lady of the house had style and culture. Besides the European countries, no country was more adept at meeting the demand for decorative porcelain than the Japanese. After being a closed country for more than 200 years (from 1638 – 1853), when the Japanese did open up to the West, they did so with much enthusiasm. Their new contact with the West exposed them to the latest European goods and art ware. From that point on the Japanese became a leader in producing decorative and utilitarian porcelain. To make sure that they produced what
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the West wanted, they hired foreign experts to come to Japan to train their people in European techniques. The Japanese were quick learners, very skilled, and had a famous capacity for imitation; they copied many of the European porcelain products including Limoges, R. S. Prussia, Royal Bayreuth and Wedgwood.
Vase and wall plaque with hand painted Egyptian scenes; exotic scenes were a popular decor during the Nippon era
Beginning in 1891 with the enactment of the McKinley Tariff Act, all products coming into the U.S. had to be marked with the country of origin. The Japanese chose to use ‘Nippon,’ the Japanese word for Japan, to mark their porcelain wares, thus signifying the start of the Nippon era. Nippon porcelain was made specifically to be exported to the West with designs and patterns that suited American tastes, not the more reserved Japanese tastes of the day. And Nippon porcelain had one major distinction from its European counterparts – their products were all hand painted and many, especially those items produced during the late Victorian era, were decorated with lavish amounts of gold and decorative ‘jewelling.’ In fact, the heavy use of gold decoration really became their ‘signature.’ During this time they also utilized vibrant colors such as peacock blue, garnet red, and cobalt blue as well as lots of roses and flowers, all of which appealed to the Victorian housewife who could have a beautifully and highly decorated item at a minimal cost. They were
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WHEN COLLECTING NIPPON PORCELAIN, VARIETY IS THE SPICE OF LIFE on a cake. This is a true Japanese technique and was very popular with American consumers:
Cobalt vases with heavy gold detailing; the Nippon artisans were known for their heavy use of gold. All three vases are hand-painted but the portrait on the middle vase is a decal.
A beautiful decoration is seen in the Moriage ware… Its characteristics reside in raised flower, butterfly, bird and fantastic decorations in colors on white and tinted Tokio porcelain. This is one of the newest creations in Japanese porcelain, and is more than ordinarily attractive and artistic. This decoration… has already proven quite popular. The Jewelers’ Circular and Horological Review, 1893
able to offer their wares at a reasonable price because they had a large workforce that received minimum wages. The Japanese used a variety of techniques when decorating their porcelain including tapestry where surfaces appeared textured by fabric, which was, in fact, applied to the clay when it was still damp before being burned away in the kiln; decals which they obtained from Germany for their portrait pieces; and coralene where glass beads were applied to form a raised design. Another decorative technique was Moriage, in which clay was applied to a piece like icing
Moriage decorated basket vase; moriage is a true Japanese decoration, not done by the European porcelain manufacturers. It was extremely popular with American consumers.
A beautiful example of heavy gold detailing and decorative ‘jeweling.’
As noted in the above quote, Moriage designs are quite varied; they include lacy designs, floral motifs, birds, landscapes, border trimmings, and dragons. Highly decorated Nippon porcelain would remain popular until the early 1900s, then the public’s tastes changed and decorating in general became more simple and subdued. At this time Nippon with a matt finish became popular as did molded-in-relief and figural items. Many of these items are less flowery and have more of a masculine or Arts and Craft feel
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WHEN COLLECTING NIPPON PORCELAIN, VARIETY IS THE SPICE OF LIFE If you are collector of Nippon porcelain or are interested in knowing more about Nippon, consider joining the International Nippon Collectors Club; they produce a three-times-a-year newsletter as well as a bi-monthly E-News, and they host an annual convention and auction. Article by Linda Lau
Closeup of moriage workmanship
to them. However, these are just as popular with collectors as some of the more lavishly decorated items. There is definitely something for every collecting taste.
A large (11-inch) still-life wall plaque, perfect decor for the Edwardian era dining room. In the Nippon era (1891 - 1921) even utilitarian items could be highly decorated - a mustard pot, condensed milk container and a syrup pitcher with underplate.
Nippon porcelain would continue to be produced until 1921 when the U.S. Government changed its position and decreed that all Japanese products must be marked with the word ‘Japan.’ Therefore, porcelain items marked “Nippon” were imported into the U.S. from 1891 – 1921, making them easy to date.
Molded in relief nut bowl with a large figural squirrel; Nippon items of this sort are a rare find today
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Nippon Wedgwoodinspired vase. The lavender background is unusual and more sought after that those with a blue background.
Their website is www.nipponcollectorsclub.com and they are also active on Facebook at www.facebook.com/groups/nipponcollectorsclubgroup
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A MAN’S FASCINATION IN NEW YORK CITY STREET FURNITURE It is true one man’s trash is another man’s treasure. Some people can’t help, but look at me strangely when I tell them I collect traffic signals and street signs as a hobby. What I consider as significant from a collector’s point of view is often overlooked by many people, which is why I honestly believe this particular hobby is unique. I originally grew up on Staten Island in New York City, and it was at an early age I first developed an interest in traffic signals. For me, it was an exciting experience when my father took me along for a ride, and, almost always, I eagerly looked out the car window and gazed at a traffic signal when we stopped at an intersection. To this day, I can’t say for sure what exactly it was in traffic signals that first caught my eye, but I knew, without a doubt, they intrigued me.
The desire to delve further into my fascination was apparent as I grew and became more observant of everything around me. It was later in time as well I began to take a fancy to street signs, and the many designs, shapes, and colors have astonished me. I became so engaged in New York City street furniture that it aroused my curiosity and enthusiasm, and I promised to begin a collection with the Big Apple as the central theme. The opportunity
did not come until 2009 when I acquired my first pedestrian signal; an old 1970s unit formerly from the city. As one may assume, the rest is history. I have been fortunate with time and patience to collect seventeen signal devices, most of which are authentic traffic control equipment from New York City. Nine pedestrian signals (a majority of them display the archaic commands of “DONT WALK” and “WALK”) and six traffic signals. All function properly with the help of two electromechanical controllers that came from two separate intersections in the city. These mechanisms are made up mainly of cams, dials, shafts, and solenoids to operate signal indications at correct intervals. Outdated, electro-mechanical controllers in New York City are few and far between, and the city’s Department of Transportation has been in the process of replacing them with modern solid-state controllers.
As for street signs, I started my collection nearly one year after I acquired my first pedestrian signal, and, in the present, I own nearly fifty in my possession. Many of them reflect the past, some of which are porcelain-over-steel signs versus aluminum signage of the modern day. When in chronological order, all the signs from my collection establish a remarkable time frame of almost a century. The hobby I have has not only brought me enjoyment after seven years, but I also developed an admiration for what I do.
Collecting Continues to be a Link to the Past
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A MAN’S FASCINATION IN NEW YORK CITY STREET FURNITURE
A majority of people that drive on a daily basis take traffic signals and street signs for granted and are unaware there is a history behind them. That said, collecting has been opening up avenues I never encountered, and, aside from passion, one has to have the aspiration to learn and understand what he or she collects. My mind became exposed to a particular area of history no one truly sees in depth, and several years of research led me to publish a book in 2015 regarding the subject matter of my collection. Named “New York City’s red and green lights: a brief look back in time,” the book focuses on the two-color stoplight that was once the norm in New York City and how it helped in the evolution of traffic control in the 20th century. Simple beginnings from over one hundred years ago that slowly helped build a major city’s system of roads with the evolvement of signal devices to make streets safe is what I believe to be noteworthy, and, like traffic signals, street signs play a significant role in transportation. They came in various designs on the streets and engineers have always made improvements to them with time to guide motorists
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to their destinations. These relics of eras gone by may have little value to most people, but, if they were able to speak, then I am sure they would have many interesting stories to share. Being exposed to most of the elements and a city that never sleeps, these items have seen a lot around them throughout time. Frankly, the idea to restore what I have to achieve showroom quality would seem selfish. All in all, history comes practically in all forms, and, though people may sometimes disregard something as they see irrelevant to them, there is bound to be an interesting story behind it that holds importance. Traffic signals and street signs in the city of New York have come a long way within only a century. During that period, people had chances to hone their skills in engineering and establish wellorganized plans to perfect traffic control to benefit the safety of all.
Steven Gembara marbelitem30@yahoo.com
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“WHAT DO YOU DO WITH THEM? ” Spray paint was introduced in the U.S. in 1949. Seymour Paint of Sycamore, Illinois claims to be the first company to put aluminum paint into aerosol containers, after which many other companies soon followed suit. The earliest format of spray paint canister is often referred to as a “soup can” due to their short profile and straight walls. Spray heads or nozzles were problematic for this style however, and this initial design was short-lived. The next era of can design has assumed the moniker of “grenade”. These stout, molded largediameter cans came accompanied by a “magic spray head” nozzle, looked like a hand grenade to some. These cans were produced through the ‘50s and occasionally can still be seen in manufacture to this day.
By the end of the ‘50s yet another spray can design was introduced. This tall can style is very similar to those produced today. Some of these labels advertised “King Size” as this larger can body held more fluid ounces than previous formats. Shortly after this patented design was released it swiftly dominated the market and became the standard of today. Earliest examples had either a 1” stacker top (small overcap), or full-sized metal overcaps to protect the nozzle. Throughout the ‘60s metal tops were very
common but by the end of the decade plastic tops were starting to replace them. By the ‘70s most companies had entirely converted to plastic. Generally the most vibrant and distinctive colors were produced in the late ‘60s and ‘70s. Colors of this time period, often inspired by House & Garden Magazine. A collective of three individuals joined forces in 2009 to form Cap Matches Color (CMC) whose goal was to search, collect and archive vintage spray paint cans and related ephemera. From visiting non-chain hardware stores to private sales and auctions, documenting both the journey and the stories behind collecting have become equally important. Search methods have led to many unfamiliar places and allowed for interactions with some very memorable individuals! Long before “picker” television shows, CMC regularly traveled far and wide across the country in search of vintage spray paint. The scope of the CMC archive encompasses a range of many different items. While physical spray paint cans remain their central focus, their interest also includes original wire rack store displays and topper signs, advertising, posters, color charts, and even dealer ephemera.
Collecting Continues to be a Link to the Past
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“WHAT DO YOU DO WITH THEM? ” Some of their spray paint oddities include promotional oven mitts, golf clubs, toy wagons, key chains, pocket protectors, and large point of sale inflatable prop spray cans. Cap Matches Color are interested to hear from anyone with vintage spray paint related items or leads. You can reach them directly at: admin@capmatchescolor.com A short list of companies of interest are: Krylon, Rust-Oleum, Red Devil (of Mount Vernon NY), Illinois Bronze, NYBCO, Derusto, Plasti-Kote, Tru-Test, Fays, Chase, and Bernzomatic. Original “soup” and “grenade” style spray and decorator cans are also of interest. To learn more on the subject of vintage spray paint collectibles and history you can purchase a copy of Two Decades of Digging, the first definitive guide to the history of spray paint showcasing a vast amount of accumulated material available online at: www.capmatchescolor.bigcartel.com
Buy Vintage From Quality Sellers NO Reproduction or Fantasy
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