Views from North Cecil

Steiff Pianos 1842-1951

2012-01-24T19:17:00.002-05:00

'Charles M Stieff was a 19th-century American industrialist and piano manufacturer, based in Baltimore, Maryland. To this date, Stieff pianos still exist in the Washington/Baltimore area. To change from teaching music and languages to dealing in pianos, and finally to become the founder of one of the largest and most respected piano manufacturing firms, was the career of Charles Maximilian Stieff. Born in Württemberg on July 19, 1805, Stieff was educated at Stuttgart. In 1831 he emigrated to America and settled at Baltimore, where he took the chair in Haspart's school as professor of languages and also acted as leader of a church choir. In 1842 he imported his first pianos from Germany, and opened regular piano ware-rooms on Liberty Street in 1843. Observing the success of the various piano manufacturers in Baltimore, Stieff undertook an extensive trip to Europe in 1852, studying the methods of the best piano manufacturers there. Upon his return he admitted his sons into partnership and started the manufacture of the "Stieff" piano, entrusting the management of the factory to Jacob Gross, an expert piano maker of the old school. Born in Württemberg on July 26, 1819, Gross learned his trade in Stuttgart and afterward worked in some of the leading factories of Germany, Switzerland, Spain and Paris. Coming to America in 1848, he familiarized himself with the methods prevailing here, working in Troy, New York then going to Baltimore. He had worked for the Stieff Piano Factory from 1856, and on Christmas Day, 1860 he had married Catharina Christiana Stieff (1833–1906), daughter of Charles Maximilian Stieff, owner. His joining the Stieff family business was an excellent combination, the professional musician and businessman, Stieff, supported by the artistic piano maker and factory expert, Gross. The product of the firm was at once accepted as of superior merit and received distinguished awards wherever exhibited.

The founder of the firm having passed to the unknown beyond, the business was carried on most successfully by his sons, Charles and Frederick P. Stieff, the technical management of the factories being in the hands of Charles J. Gross, who was educated by his father, Jacob Gross. It was remarkable that the great fire which destroyed nearly the entire business portion of the city of Baltimore in 1904 should stop short in its northward flight on the wall of the Stieff building, on North Liberty Street, just as if it had had respect for this landmark where the Stieffs had sold pianos for 63 years. The firm of Chas M. Stieff used to distribute its products almost entirely through its own stores, which were found in every prominent city of the southern States, as well as at Boston and elsewhere. During the 20th Century, many dealers sold the Stieff Piano alongside of some of the most expensive piano lines as an affordable alternative. Stieff pianos are commonly referred to as 'the poor man's Steinway', and were often sold as a second line in higher end Steinway dealerships throughout the 20th Century. Charles M. Stieff pianos are consistently some of the finest pianos we see come through restoration shops today. Sadly, Stieff closed operations and was liquidated in 1951.'

-=Late 1880's Ericsson Telegraph Instrument=-

2012-01-24T08:44:00.001-05:00

L.M.Ericsson Postal Morse Telegraph Register c.1885 Antique Brass/Mahogany

'Technique (creation media)	Mahogany wood, brass, steel
Creation period	1885-1895
Culture/Origin	/Sweden
Style and motive	Industrial
Artist/Maker/Creator	Swedish manufacture Ericsson & Co, Stockholm
Any inscription/marks	Serial (1?) 893; service sticker dated 1938
Overall Condition	Very good
Imperfections/defects (see pics first of all)	Usage wear minor; missing very simple spring (marked on photo)
Restoration if any	No
Measurements metric ()	38 cm long 42 cm high
Measurements inches ()	14,57 in long
Net weight	5 kg
App. Gross weight /dimensional	10 kg

Notes:

Model JL 4030. Rare Long version – extended on right for additional switch contacts. Rare spring trigger/stopper at back side. Amazing object for collection, the must!'

The History of the Flashlight: 1896 to about 1922

2012-01-22T19:47:00.001-05:00

'In 1896, the first dry cell battery was invented. Unlike previous batteries, it used a paste electrolyte instead of a liquid. This was the first battery suitable for portable electrical devices, as it did not spill or break easily and worked in any orientation. Portable hand-held electric lights offered advantages in convenience and safety over (combustion) torches, candles and lanterns. The electric lamp was odorless, smokeless, and emitted less heat than combustion-powered lighting. It could be instantly turned on and off, and avoided fire risk.

On January 10, 1899, American Electrical Novelty and Manufacturing Company obtained U.S. Patent No. 617,592 (filed 12 March 1898) from David Misell, its English inventor. This "electric device" designed by Misell was powered by "D" batteries laid front to back in a paper tube with the light bulb and a rough brass reflector at the end. The company donated some of these devices to the New York City police, who responded favorably to them.These early flashlights ran on zinc–carbon batteries, which could not provide a steady electric current and required periodic 'rest' to continue functioning. Because these early flashlights also used energy-inefficient carbon-filament bulbs, "resting" occurred at short intervals. Consequently, they could be used only in brief flashes, hence the popular name flashlight.

Carbon-filament bulbs and fairly crude dry cells made early flashlights an expensive novelty with low sales and low manufacturer interest. Development of the tungsten-filament lamp around 1906, with three times the efficacy of carbon filament types, and improved batteries, made flashlights more useful and popular. The advantage of instant control, and the lack of flame, heat, smoke and odor, meant that hand-held electric lights began to replace combustion-based lamps such as the hurricane lantern. By 1922 several types were available; the tubular hand-held variety, a lantern style that could be set down for extended use, pocket size lamps for close work, and large reflector searchlight-type lamps for lighting distant objects. In 1922 there were an estimated 10 million flashlight users in the United States, with annual sales of renewal batteries and flashlights at $20 million, comparable to sales of many line-operated electrical appliances. Miniature lamps developed for flashlight and automotive uses became an important sector of the incandescent lamp manufacturing business.'

A Quick History of the Peanut Butter & Jelly Sandwich

2012-01-22T15:31:00.000-05:00

'Food historians do not know exactly when the peanut butter and jelly sandwich was first

prepared, and there have been no advertisements or mentions of Peanut Butter &Jelly before the 1940s.
Peanut butter wasn't invented until 1890, and it became a hit at the 1904 World's Fair in
St. Louis. During the 1920s and 1930s, commercial brands of peanut butter such as Peter
Pan and Skippy were introduced. Around the same time, pre-sliced bread became
common in the U.S. However, there's no mention of peanut butter and jelly sandwiches
before the 1940s.

It is known, however, that both peanut butter and jelly were on the U.S. Military ration
menus in World War II, and some have suggested that the GIs added jelly to their peanut
butter to make it taste better. It was an instant hit and returning GIs made peanut butter
and jelly sales soar in the U.S.'

-=Tupperware History=-

2012-01-21T14:23:00.000-05:00

'Brownie Wise was a pioneering American saleswoman largely responsible for the success of Tupperware through her development of the "party plan" system of marketing. A former sales representative for Stanley Home Products, Wise found Tupperware to be a product with broad appeal and soon began selling it at home parties. In 1950 she moved to Florida and created a social networking marketing system through dealers and sellers that quickly outsold Tupperware's store sales. This caught the attention of Earl Tupper, Tupperware inventor, who invited her to be vice president of Tupperware Home Parties in 1951. She insisted that he market his products exclusively through party plans, where women invited friends and neighbors to a combination social event/sales presentation. Wise ran the sales division, Tupperware Home Parties, Inc, from Kissimmee, Florida and had the freedom to implement her marketing strategies. Her methods were extremely successful. Her ability to tap into popular culture, the desire for happiness helped recruit thousands of women into a career at a time when a woman's role was conventionally tied to the home. Her noted TV appearances, magazine and newspaper articles made her a household name. In 1954 she became the first woman to appear on the cover of Business Week.

Wise invented much of the corporate culture of Tupperware and, by extension, other party-plan marketing organizations. She was especially keen on incentives, one of the chief ones being trips to Florida to the annual 'Jubilee' at company's sales headquarters for motivational meetings and socializing with other successful representatives. Top sellers would be presented with exotic gifts such as speedboats, trips and appliances carefully planned in the company of their husbands. She created idioms and rituals such as pilgrimage to a specially designed well in the Tupperware grounds for sellers to cast their wishes, "Brownie Wings" and costumed graduation ceremonies. Dealers would go on treasure hunts where prizes would be buried in the ground. Extravagant shows, parties and motivational talks comprised the four day convention. Wise was presented to the company's representatives as something of an idealized 1950s woman. Her marketing skill in leveraging the social networking model and motivating thousands of women to come together in their homes to sell Tupperware was unrivaled. The essential liberation of many women through earning their own salary in the context of male-driven post-World War II, pre-feminist culture of the 1950s created many challenges. Her own relationship with Earl Tupper was in constant flux. Soon the private face of Tupper and the public one eventually headed towards irreconcilable differences as Wise's success turned her into a celebrity. In 1958 Tupper forced Wise out. Soon after every reference to her was removed from company literature; it was as if she had never existed. She owned no stock and left with one year's salary. Wise attempted to form her own party-plan cosmetics company, Cinderella, but was unsuccessful; after this she largely faded from view and died in relative obscurity in 1992. Soon after he parted ways with Wise, Tupper sold the Tupperware organization to Dart Industries for US$16 million.'

1907 Wilkinson Slag Glass Table Lamp

2012-01-18T09:55:00.001-05:00

'This is a fabulous slag glass lamp by Wilkinson. These guys made some of the heaviest and most detailed slag lamps out there, and this one is no exception. Take a look at the workmanship....and the glass!! The six panel shade has a heavy overlay design of wreaths and bows and is fitted with mottled granite backed, amber and green glass.

When lit it gives off a terrific glow. I see no chips or cracks in the glass and all of the filigree is there. The shade measures 18 1/2" in diameter and is 9" deep. It rests on a very nice Wilkinson square footed base, and as displayed measures 26" tall.

The base is actually stamped with the design number "109-2" on the underside, and the base plate even has the "WILKINSON CO. BROOKLYN, NY" stamp on it (as pictured). It has its old and orignal porcelain lined sockets with Bryant labeled shells. It has been wired and is ready to use and enjoy. I am offering this great example of Wilkinson's work.'

The 1773 "Empress" Harpsichord of Burkhart Shudi

2012-01-16T05:41:00.001-05:00

A harpsichord of the largest size is this, the culmination of an instrument that had remained in use for nearly three hundred years, but, at the time this one was made, was about to be replaced by the pianoforte. This fine harpsichord bears the joint name of Shudi and Broadwood, London. The instrument is numbered 691, and the books of the original firm show that it was made for the Empress Maria Theresa, and shipped on the 20th of August, 1773, Shudi's final year of life. Shudi had established his business as a harpsichord-maker about 1732. Through Handel’s friendship he became patronized by Frederick, Prince of Wales, father of George III, and was permitted to use the sign of “The Plume of Feathers” for his house. He was honored with a commission from Maria Theresa’s old enemy, Frederick the Great, to make two harpsichords for the “Neues Palais” at Potsdam, where they are still to be seen.

It may be said of Shudi and Jacob Kirkman, once fellow apprentices, and afterwards competitors, that they left the harpsichords a more powerful instrument, and more varied in effect, by means of stops and registers, than it had ever been before. Shudi was the inventor of the Venetian swell (patented 1769), which he intended for the harpsichords. When the patent expired this contrivance was generally adopted in England, and becoming transferred to the organ, has remained, ever since, an important means of effect in that instrument. The figure in the plate shows the Venetian swell open, as it would be when the right pedal is put down. There are four registers and six stops in this instrument. Taking them in their order from left to right, we find on the left-hand side, the “lute,” the plectra of which pluck the first unison string, near the wrest-plank bridge, and give a more reedy sound than is obtained from the usual striking-places; the “octave,” which, as its name indicates, acts upon strings tuned an octave higher, which are of shorter length, ad lie below the others; and the “buff” (sometimes called “harp”) stop, which partly mutes the second unison strings throughout, by the contact of small pads of leather. On the right-hand side are the first and second rows of unison strings. The upper key-board has the first unison and lute only, while all the registers come under the player’s control on the lower key-board. The machine stop, at the left hand of the key-boards, permits an agreeable change to lute and buff (harp) by using the left pedal and both sets of keys. Kirkman appears to have arranged his left-hand stops differently—buff, lute, & octave. The dimensions of the harpsichord here drawn are 8 feet 9¾ inches in extreme length, and 3 feet 4 inches in width at the key-boards. The great width of this key-board of the modern pianoforte renders it impossible, in designing one, to reproduce the special grace of the harpsichord.

Among composers, those who have best understood the genius of the harpsichord have been Handel and Scarlatti. The former, which his famous Air with variations in D Minor and the Presto following it, summed up the history and techniques of the instrument, as far as it was then known. Scarlatti found such new features to display in technical contrivance and effect, that we are still attracted by an individuality, the originality of which is, as yet, untouched by time. The only parallel instance, although resembling in no other way, is that of Frédéric Chopin as a composer and performer on the pianoforte.

With the harpsichord went out the figured bass accompaniment, or through-bass, that, for two hundred years, had been the foundation of a correct musical education. By degrees the training for technique and memory came to occupy that attention with pianoforte players which had been devoted to developing the fluency of improvisation expected from the harpsichord player.'

1929 Oval Window Model A Business Coupe

2012-01-09T12:26:00.001-05:00

'A historic 1929 Ford Model A Oval Window Business Coupe. This particular Oval Window style coupe (also called Businessman’s Coupe) was a rare one year production. In fact, it is actually believed to be offered for sale by Ford during only a two month period in the summer of 1929. It has also been stated that Ford “believes” up to 800 were made in conjunction with a large business fair that was being held in Los Angeles.

This car has been preserved by a single owner since his purchase as the third owner in the summer of 1957. It was his first car and he paid $74 for it, which was a ton of money to him at the time. Yes, it is fully paid for now. He kept this and all of the cars in his collection in excellent condition and always stored them inside with climate control.

The engine is a flat 4 with approximately 2,500 miles on it since it was completely rebuilt and balanced. A genuine and period correct Ford manifold heater was added. This car has a 3 speed manual gearbox. The engine runs properly and shifts through all gears as it should. The steering and mechanical drum brakes are also up to par. It is not ready for the Grand Prix, but, will get you around where you need to go with confidence.

The original gas tank in front of the windshield rusted and is part of the dash. The new gas tank has been discreetly installed at the feet of the rumble seat and without close inspection appears like luggage. This old car has a rear mounted spare. The body and fender paint is good with minor weathering and a chip in the driver’s side rear.

The top is in excellent condition both inside and outside. The interior is also very presentable and well preserved. There is a marble shift knob, fire extinguisher, and manual choke in dash. The two levers are idle speed and timing advance well.

This collector piece would be perfect for driving whenever the mood or event appears. '

1888 Calendar Works for 2012

2011-12-16T19:18:00.000-05:00

-=1888=-

.::1928 Calendar & 1716 Calendar.::.For Use in 2012::.

2011-12-16T18:53:00.000-05:00

~1716~

~1928~

1928 Locomobile 8-70 Touring Auto

2011-12-11T19:43:00.001-05:00

'Originally a steam car builder founded by the Stanley brothers, Locomobile became America's premier luxury car builder under the guidance of S.T. Davis, Jr., son-in-law of asphalt magnate Amzi Lorenzo Barber, who commissioned Andrew Riker's design for a gasoline automobile in 1902. In the following years Locomobile built an impeccable reputation for quality, reliability, power and luxury, maintaining its quality control by manufacturing nearly every component in its Bridgeport, Connecticut factory. The success of "Old 16" driven by George Robertson in the 1908 Vanderbilt Cup firmly established Locomobile's competition legacy while J. Frank de Causse's talented coachwork designs provided the visual distinction which made Locomobile the favorite of the wealthy. After Davis's untimely death the company struggled, entering receivership after over-expanding in the post-WWI recession. It was acquired in succession by Emlen Hare, then by Billy Durant who broadened the company's line.

This 1928 Locomobile 8-70 5-passenger sedan has an exceptional history. It was delivered new on January 24, 1928 to Lee F. King in Santa Ana, California and was owned by the King family until 1987 when it was acquired by the second owner, Bill Thompson who undertook a complete body-off the frame restoration, with a photo documentation file that accompanies the car, in 1997. Thompson was told by the King family that the odometer reading reflects the actual miles driven. Since the restoration it has been driven only about 1,000 miles and remains in fine overall condition, epitomizing the conservative design and high standards of Locomobile.

Built only a year before the company's demise, it is finished in dark burgundy with cream coachlining and equipped to very high standards including beautiful burl wood interior trim, comfortable brown and beige broadcloth upholstery, a subtle grey headliner, chrome headlamps, bumpers and step plates, whitewall tires on wood spoke artillery wheels, attractive interior wood trim and a hefty wood rim and spoke steering wheel that conveys to the driver's hands the power and performance of the substantial Locomobile chassis. Power comes from a 247 cubic inch Continental 10S L-head inline eight good for 70 brake horsepower at 3,000 rpm, plenty of power and torque to keep up with modern traffic.

Four-wheel three-shoe Bendix Perrot-type brakes were standard and an electric fuel pump has been added for reliability and easy starting. Locomobiles would be built for only one more year, making this one of the penultimate examples of this legendary American marque. Only about 21 eight-cylinder 1928 Locomobiles are known to the Locomobile Society, attesting to its rarity.'

1910 Lamb Brothers Electric Table Lamp

2011-12-06T12:03:00.000-05:00

Great antique Lamb Brothers leaded glass lamp of about the year 1910 in excellent condition with no cracked or damaged glass and the base has been rewired and ready to use. The shade is 16" in diameter and the lamp is 22" tall to the top of the finial. The double socket cluster has Hubble sockets with acorn pull chains. This really is a great antique lamp in excellent condition!

Early circa 1805 French Ormolu Mounted Recamier Day-Bed

2011-11-16T16:35:00.001-05:00

'A Very Fine 19th Century French Empire Style Mahogany Gilt Bronze Mounted Day Bed.

The out-swept sides using bronze swan molded figures.
The legs in empire style with winged lion bronze clasps and paw feet above a drop in seat and an anthem.

Overall Dimensions: H: 34" W: 24" D: 72"

Condition: Overall good condition, just a few small dents in wood (due to age) fabric in good condition.'

1907 Dolson Model F Touring Car

2011-11-15T19:44:00.000-05:00

'The Dolsons were successful wagon builders in Charlotte, Michigan -- southwest of Lansing -- in the late nineteenth century, reputedly building 5,000 units a year when one of John Dolson's sons, D. Elmore Dolson, became infatuated with the automobile. The company built its first car in 1902 and began production in 1904. The name was changed to Dolson Automobile Company in 1906, signifying the shift in its emphasis which by now included large four-cylinder automobiles from 22 to 45 horsepower. The automobiles were highly regarded not only mechanically but also for their unusually early adoption of galvanized steel and copper sheet panels over wood frameworks for bodywork. In common with many contemporaries, however, the Dolson reach exceed its grasp and soon after acquiring the St. Anne Kerosine Motor Company ran out of capital, entering receivership in late 1907 and liquidating in 1908.

This 1907 Dolson is therefore one of the last produced and is the ultimate model, the 55/60hp L-head four-cylinder Model F. It is finished in dark green with black accent and mudguards over a bright red-orange frame and black pinstriped undercarriage with matching wood spoke wheels carrying white tires. Righthand drive, it has shaft drive and is fully equipped with a folding soft top, black diamond-tufted leather upholstery, E&J acetylene headlights, E&J kerosene cowl lamps, a firewall-mounted Solar acetylene generator, dual spares on the righthand running board, a Rubes-style bulb horn, brass radiator, kerosene taillight and a gorgeous brass spoke, wood rim steering wheel.

The tall body has separate steps above the running board so the rear tonneau passengers can more easily access their compartment. It has received a particularly sympathetic restoration which importantly retains the original leather upholstery. The paint and brass are very attractive and the crack-free bodywork endorses Dolson's reputation for quality, durable metal sheathed coachwork.. A rare and very usable high horsepower Brass Era automobile it promises to a unique entrant on brass and gas tours with its combination of imposing presence, vigorous performance and thorough and attractive presentation.'

Gentleman's Silk Coat with Matching Waistcoat 1770-1780's

2011-11-13T12:06:00.002-05:00

Baroque Elegance for a Gentleman

'Gentleman's coat in sage green silk faille, tambour embroidered with delicate flowers and leaves. Ivory faille waistcoat tambour embroidered with scattered flowers in soft palette (matching the coat), a wonderful woodland scene with two figures below each side pocket. It is possible that this was embroidered in India, due to the tambour work and dark skinned figures wearing turbans depicted on the waistcoat.

To achieve such incredible
designs often required a workshop of artisans, who embroidered the fabric before the coat pieces were cut - such a shop is illustrated in Diderot's 1751 Encyclopedie, which can be viewed here. Once the pieces were embroidered, the customer could make his selection and have it sent to his tailor, to be cut out and made up into a perfectly fitted, custom-made suit in a matter of days.

The coat is an absolutely lovely example of its period, with thin wool padding on the shoulders and upper chest to fill out the man "where nature hath failed him," and it is interlined in linen as most are, but (unusually) also lined in a lightweight silk for extra luxury and comfort. The waistcoat, with its tiny, industrious natives, is quite unusual - the most common motifs typically found in these garments are flowers, plants, even insects, but rarely people or animals.

Also rare is the preservation here of two associated pieces, quite unusual since these garments were often worn well
after they fell out of fashion, for fancy dress balls or theatrical costumes.

The outer silk of the coat and its embroidery are excellent. The lining has some minor splitting at the collar seam and pin sized holes throughout (normal for a garment of this age).

The waistcoat is good, with only minor discoloration due to some dye bleed on the right pocket flap, from some water damage in the same area (see photographs).

Tailoring in the 18th century was a closely guarded art. It required an apprenticeship of 7 years, during which time the aspiring tailor began by performing menial tasks, gradually progressing up through the ranks until he was ready to cut and fit the complex 3-piece suits of his day. Each customer's measurements would be kept on file on long strips of paper, marked with lines corresponding to the necessary cuts and seams, however what measurements each represented was kept quite secret, so no other tailor could steal a customer without first laying all new groundwork.'

Studebaker 1920 Model EH Tourer

2011-11-07T12:26:00.001-05:00

'This model Studebaker is a five passenger touring car on the 119" wheelbase with
the 288 cubic inch 6 cylinder motor.
It was designed to compete with the Buick, Hudson,
Nash class of upper middle priced cars.
It drives extremely well with lots good handling and power -
it devours hills without downshifting and with lots of torque!
The front end and the steering gear are very tight; and the brakes
and clutch are both excellent.

An excellent car for family touring and driving. All wheels, rims,
and hubcaps are in excellent condition;
and all tires and tubes are also excellent and match.

This car is in overall excellent condition; and does not
appear to have ever been damaged, rusted,
rotted or repaired.
It was correctly repainted and reupholstered about
twenty-five years ago,
and still shows very well.
The paint, interior, and top are still in very nice condition.
The car is extremely
correct and has never been altered.

The car still has its original combination switch key.
All lights, dash, handles,

and rear windows in the top, as an example,
are all correct. All of the lights work and the electrical
and charging system is in excellent condition.
The dash instruments are all correct and have been re-calibrated,
and the dash repainted and appropriate parts re-plated
in nickel. I do not have the side cutains nor the side curtain hardware for the car.

This is an example of a nice antique auto that one rarely sees.'

Ellie the Cat is Now at Home

2011-10-28T12:09:00.000-04:00

She travels in time & this is her in a moment that she could be caught stopped just between visits to here & the past.

1915 Reo Five-Passenger Touring Car

2011-10-23T21:00:00.001-04:00

'Ransom Olds introduced “REO the Fifth,” his version of the REO automobile in 1912. At that time he initiated a center gearshift control, thus eliminating the previously cumbersome side lever and making the REO easy to drive. The REO had become popular, but Ransom Olds was unusual in the industry in not producing as many cars as he could sell.

The REO was known to be well made and dependable. This model has a 4 cylinder 35 hp engine with an electric starter. It is sharp with a fresh restoration, finished stunningly in red with gold accents; it sports a tan top and tan interior. The headlights and taillight work well, as the car is ready to be driven and enjoyed.'

.::Ellie the Cat Enters My Life::.

2011-10-07T20:26:00.001-04:00

[cupcake fantasy]

Paradise & the Buddhist

2011-09-27T00:32:00.000-04:00

A very faithful Buddhist died and found himself in a place of paradise having a great moment with many of other great faiths, the Hindu,

the Zen, the Aborigine, the Eskimo, the Baha'i, and many others. Great Gabriel was there to help those disoriented and at that, the new

Buddhist heard noise and walked over to a very tall wall that curved away to both directions from the place he stood, yet he could clearly

hear voices and what he thought was possibly some sort of singing. The Buddhist inquired: "Great Gabriel, what is beyond this wall as I

can not see what is there?" Gabriel answered, "Ah, those are the Christians, they think that they are up here all alone..."

R.I.P. Phyllis the Cat July 30, 2005--September 20, 2011

2011-09-21T08:34:00.000-04:00

I miss you, I will always love you & Know you loved me.

Bradley & Hubbard Metal Overlay Table Lamp circa 1910

2011-09-12T10:14:00.001-04:00

'The only thing that has not been on this lamp for 100 plus years is the lamp cord.

The shade consists of 8 ribbed, molded panels in a shade measuring 17 ¼ inches in diameter. The outside of the panels is shiny, while the inside is frosted. No cleaning has been done to the inside of the lamp so as not to potentially ruin the frosted finish, and to maintain the lamp’s aged charm. Copper strips hold the panels onto the metal shade. There are no cracks or visible chips on any of the panels. One of the panels has a minor, manufacturing flaw that looks and feels like a raised ridge (pictured), but is undetectable on the inside of the shade and is clearly not a crack.

The base, nearly 23 inches tall, maintains the original bronze-colored patina, only slightly showing a century of wear and exposure. The fixture consists of 3 original, copper sockets, each bearing the mark “BRYANT, PAT’D November 26, 1907.

At the top of the base is a Bradley and Hubbard triangular mark, as well as “PAT APPD FOR”. The socket pulls are the highly-desirable, stylized ball chains, which pull very smoothly. The base also appears to have the original felt plate on the bottom.'

1904 Stollwerck Chocolate Company Phonograph

2011-08-25T22:46:00.002-04:00

'Founded in 1839 in Cologne, Germany, the Stollwerck chocolate company is still in business today. Stollwerck has long been considered one of the world’s foremost chocolate manufacturers, however for a brief period in the early 20th century the company dabbled in an unusual sideline -- phonographs.
Ludwig Stollwerck, director of the company in that era, co-founded a phonograph import company in Germany, the Deutsche Edison-Phonographen-Gesellschaft, and in early 1903 Stollwerck visited Thomas Edison at his Orange, New Jersey lab and obtained exclusive rights to market Edison phonographs in Germany.

However, Stollwerck’s role as an Edison importer was merely an unprofitable sideline (he lost half a million German Marks during their association). Among modern phonograph collectors Stollwerck is best known for his own phonographs, made to promote his chocolate business.
In 1903 Stollwerck began to envision making a disc record molded out of chocolate. To play these unique records Stollwerck contracted to produce small lithographed tin phonographs These were tiny phonographs, measuring barely 2-3/4" tall. The first ones reached the market at the end of October, 1903, too late for effective promotion for the Christmas retailing season. However, initial response was very enthusiastic.
However, this initial enthusiasm was short-lived. They were extremely delicate little machines with noisy, underpowered clock motors and mediocre sound quality. They were far too fragile to withstand rough handling by children, who were (not surprisingly) the main market for chocolate records. Most phonographs were likely broken beyond repair in a matter of days. (The big advantage was the records themselves. As explained in a contemporary magazine, "when a song no longer pleases, oh well! just savor the disc like you would a simple snack, and eat it.")

In early 1904 Stollwerck came out with an improved, slightly more substantial model, which is being offered here. This phonograph had an elegant wooden case only 2" tall and 6" long, a stronger motor with a separate speed control, more solidly constructed support arm, and a horn with brass bell and a lithographed woodgrain pattern on the body. The turntable and most other metal parts were brass, and a plaque on the base carried both the Stollwerck and Junghans logos (the clock motor was manufactured by Junghans). The winding key fit through a hole in the turntable, making it easier to use than the earlier model. The fragile and easily broken glass stylus of the tin model was replaced by a sapphire point in the improved machine.
At the same time Stollwerck offered new, larger records (4-3/4" rather than 3" in diameter), made of a pressed wood composition with a very thin coating of a wax-like material into which the sound was impressed. Unlike those made of chocolate these new records were unbreakable. However the recorded surface tended to crack or delaminate, destroying the recording.
This attempt at making a more 'serious' phonograph was a costly failure, which Stollwerck soon abandoned to return to what he knew best -- chocolate. Only 5,000 of these wooden phonographs were sold, most of which have been destroyed over the past century. Today these phonographs and records are highly coveted by collectors but due to their very fragile construction their survival rate is extremely low.

This is the finest wooden Stollwerck, complete right down to the original turntable felt and original key. The horn has a brass bell with woodgrain lithographed body, and gilt Stollwerck name at the neck. There is one very small dent on the side of the horn, as seen in the photos, but overall this is an exceptional example of this very rare, early, and unusual phonograph.
It comes with one original record, #548, titled "Steinmetz Marsch." The surface is intact, though like all 1904 Stollwerck records the surface shows some cracking. It is playable, but don't expect perfection! This is no Victor VI; there's a good reason it was such a failure in the marketplace. '

The History of Duffner & Kimberley Lamps

2011-08-25T13:34:00.002-04:00

'The advent of electricity as a form of illumination was
one of the epiphanies of the last millenium.

*Duffner & Kimberly Wisteria floor lamp 25" x 90".*

The fact that this discovery coincided with the new art (art nouveau) allowed an artistic expression in lighting as never before. For the first time, the light source could be inverted and directed downward. Smoke bells and chimneys could be eliminated and lamps made more portable, expanding the artistic expression of the shade designers. The newly rediscovered popularity of stained glass windows was already manifesting itself into lighting. The electric bulb accelerated this adaptation quickly.
It is easy to see why the use of stained glass to diffuse and beautify the harshness of the electric light was employed for home use. It is also not surprising that some of the earliest designers of stained glass windows and/or art glass would embrace, nurture and essentially assimilate this ideal. The most famous of these makers includes Tiffany Studios, Galle, Handel, Unique, Chicago Glass Co., Pairpoint and The Duffner and Kimberly Co. of New York.
Most companies were eclectic in their production of lamps. There certainly was a greater number of potential sales in the lower end of the marketplace. However, as with most antiques treasured today, the lamps produced at the turn of the century which used better materials, had more elaborate design, and were better crafted are the most coveted. What was better then is better now.
The Duffner and Kimberly Co. proposed, in 1905, to compete with

*Louis XV table lamp, 20"*

Tiffany Studios. Their ambition was to produce high end mosaic glass lighting for the “carriage trade.” The fact that they succeeded is noted in a catalogue from the Chicago Electric Company Store, in 1906, suggesting retail prices for a Duffner and Kimberly Wisteria floor lamp at $550. It is noted that a Tiffany Studio Wisteria table lamp, available at Marshall Field and Company, then retailed for $480. So why then has Duffner and Kimberly products been largely forgotten while Tiffany Studio lamps have undergone a tremendous revival?

The Duffner and Kimberly Co. started as a combination of efforts by Frank Duffner, a manager with Plume and Atwood, a maker of kerosene lighting and Oliver Kimberly, a young stained glass window designer. They manufactured lamps in New York with outlets throughout the United States. Their initial designer was H. Howell, who was enormously

*Nasturtium hanging lamp, 29" Bottom: 2 part stained glass window, signed. 6' x 3'.*

talented. He designed elaborate lamps that were to be used in specific secular settings. The Duffner and Kimberly Companies philosophy, as outlined in their sales catalogue of 1905, was to “Offer lighting fixtures in the purest period styles for the finest residences." Duffner and Kimberly chose to market directly against Tiffany Studios in matters of craftsmanship and decorative taste.

If you did not know which lamp was appropriate for your setting, Duffner and Kimberly was prepared to tell you. They had available a Louis XV lamp for a Louis XV interior. They also made lamps for most other periods and settings. Perhaps their most beautiful lamps were those of Howell lineage which were made the earliest and advertised the most aggressively. These include the French and Italian Renaissance, the Louis XIII, XIV, XV, and XVI, the Viking, Roman and opulent floral models. These creations were finely made, used the best glass and bronze materials, and were frightfully expensive.
Why then is so little known about them? It is because Duffner and Kimberly existed for a relatively brief period of time. They initially incorporated in 1905 but by 1913 were in bankruptcy. The recession of 1908 obviously did not help sales for opulent, expensive items. Also the changing tastes in the decorative arts and less glamorous competition affected all but the most affluent of manufacturers, of which Louis Comfort Tiffany was one. The number of exquisite Duffner and Kimberly lamps that were produced and still exist are much fewer than Tiffany Studio models. Ironically, there is no evidence that the very expensive mosaic lamps made by any company, including Tiffany Studios, ever generated a profit for the manufacturer.
Today, the value of Duffner and Kimberly lamps is based on the same properties that make a Tiffany and Company lamp special. The most ornate, most intricate and most original lamps all command a premium. It is no coincidence that, as with all Victorian collectibles, the accent is on “most.” Prices of Duffner and Kimberly lamps are escalating as an appreciation of the workmanship and quality of all American mosaic glass makers at the turn of the last century is burgeoning.

The result is a renewed interest in the legacy of these manufacturers. Their artistic endeavors enrich our historical cultural inheritance. We are fortunate to have the opportunity to enjoy the efforts of our predecessors. We can once again experience the chiaroscuro glow from these lamps just by turning them on and, by so doing, share something of the last century and one half and bring their beauty into the future.'

Here Is Our Country, Here Is Our Story

2011-08-14T13:38:00.001-04:00

"A Republican gets up at 6 a.m. and fills his coffeepot with water to prepare his morning coffee. The water is clean and good because some tree-h...ugging liberal fought for minimum water-quality standards. With his first swallow of water, he takes his daily medication. His medications are safe to take because some stupid commie liberal fought to ensure their safety and that they work as advertised. All but $10 of his medications are paid for by his employer's medical plan because some liberal union workers fought their employers for paid medical insurance - now Joe gets it too.
He prepares his morning breakfast, bacon and eggs. Joe's bacon is safe to eat because some girly-man liberal fought for laws to regulate the meat packing industry. In the morning shower, Joe reaches for his shampoo. His bottle is properly labeled with each ingredient and its amount in the total contents because some crybaby liberal fought for his right to know what he was putting on his body and how much it contained.
Joe dresses, walks outside and takes a deep breath. The air he breathes is clean because some environmentalist wacko liberal fought for the laws to stop industries from polluting our air. He walks on the government-provided sidewalk to subway station for his government-subsidized ride to work. It saves him considerable money in parking and transportation fees because some fancy-pants liberal fought for affordable public transportation, which gives everyone the opportunity to be a contributor.
Joe begins his work day. He has a good job with excellent pay, medical benefits, retirement, paid holidays and vacation because some lazy liberal union members fought and died for these working standards. Joe's employer pays these standards because Joe's employer doesn't want his employees to call the union. If Joe is hurt on the job or becomes unemployed, he'll get a worker compensation or unemployment check because some stupid liberal didn't think he should lose his home because of his temporary misfortune.
Joe likes to email his friends. He likes to talk on the phone. He is secure in his knowledge that everything he says in the email and on the phone is secure and that no one is listening in or reading his mail because those commie liberal constitution framers believed that Joe had the right to privacy. It is noontime and Joe needs to make a bank deposit so he can pay some bills.
Joe's deposit is federally insured by the FSLIC because some godless liberal wanted to protect Joe's money from unscrupulous bankers who ruined the banking system before the Great Depression. Joe has to pay his financial institution underwritten mortgage and his below-market federal student loan because some elitist liberal decided that Joe and the government would be better off if he was educated and earned more money over his lifetime. Joe also forgets that his in addition to his federally subsidized student loans, he attended a state funded university.
Joe is secure in his walk to the bank with the knowledge that no police agency has the right to arrest and jail him without due process and probable cause. He has the right to an attorney, a jury of his peers and to be brought before a magistrate in a timely fashion. His family has the right to know he has been arrested. Again Joe can thank those commie constitution framers.
Joe is home from work. He plans to visit his father this evening at his farm home in the country. He gets in his car for the drive. His car is among the safest in the world because some America-hating liberal fought for car safety standards to go along with the tax-payer funded roads. He arrives at his boyhood home. His was the third generation to live in the house financed by Farmers' Home Administration because bankers didn't want to make rural loans. The house didn't have electricity until some big-government liberal stuck his nose where it didn't belong and demanded rural electrification.
He is happy to see his father, who is now retired. His father lives on Social Security and a union pension because some wine-drinking, cheese-eating liberal made sure he could take care of himself so Joe wouldn't have to.
Joe gets back in his car for the ride home, and turns on a radio talk show. The radio host keeps saying that liberals are bad and conservatives are good. He doesn't mention that the beloved Republicans have fought against every protection and benefit Joe enjoys throughout his day. Joe agrees: "We don't need those big-government liberals ruining our lives! After all, I'm a self-made man who believes everyone should take care of themselves, just like I have."

Rick Perry : Absolute Loser for President

2011-08-12T15:28:00.002-04:00

AUSTIN, TX: "Former Chairman of the Texas for Al Gore presidential campaign, Rick Perry, is scheduled to announce his bid for the republicrat presidential nomination tomorrow. Perry, a close friend of the corrupt communist Lena Guerrero, who was convicted of theft and corruption several years ago, has straddled the political fence long enough to be the poster boy for proof there is not a fragment of difference if there is an R or a D behind the name. Another interesting fact about Perry is he was a cheerleader for the Texas A&M Aggies. NWN searched for a photo of him and his pom poms, but was unable to locate one. We also couldn't find one with he and Gore together, though, as the state chair of the campaign, we are sure they exist. Curious development, at the least. It almost seems that one of them are ashamed of the other and had the net scrubbed. Other faqctoids are he received a degree in what appears to be animal husbandry at A&M, which many Longhorns would say is relatively redundant! He was a very average student. He also engaged in cruelty to animals by placing chickens in upper classmen's closets, and constitutional abuse by setting up firecrackers in the toilets to scare the crap out of folks while they were taking their morning constitutionals.
Since becoming governor of Texas, the state has run pretty much on cruise control, and now enjoys an 8.8% unemployment rate, which is roughly .3 percent lower than the national rate, so he has a feather proudly displayed in his hat for that number.[These jobs were created not by Perry but because of the growing oil companies & military jobs]. Although being governor since G.W. Bush resigned to be the presidebt, Perry has only noticed an illegal alien problem in the state this year. He has done nothing about it but offer lip service, since making the discovery. A couple of years ago, he was a coveted guest and speaker at the Bilderberg meeting, which is a group of glowbullists that meet annually to concoct the one world government they want to force upon the people. They love Rick Perry. He also tried to force young girls to get a highly controversial, and potentially dangerous vaccine provided by his friends at Merck, attempted to create a super corridor by abusing the imminent domain laws, and more recently oversaw the transfer of 25 million dollars to one of the richest men in the world to encourage him to bring Formula One racing to Austin. So, when Rick Perry (R) or (D) throws that cowboy hat into the ring tomorrow, keep in mind his chameleon character, and friendship with Al Gore. That, is all you need to know about Rick. Yee haw!! !"

Regards: Nitwitness News on Face Book

The REAL Michelle Bachmann

2011-08-10T00:33:00.000-04:00

Here She Is !! Would You Actually Vote for This ?

1922 Riviere Studios Table Lamp

2011-08-09T16:21:00.000-04:00

'The Riviere Brass & Bronze Works marketed etched metal art glass lamps and desk accessories under the name “Riviere Studios”. Paul Riviere, for whom the company is named, was a master metal smith. Mr. Riviere worked for a number of lighting companies before opening The Riviere Brass & Bronze Works in New York in 1904. The Riviere Brass & Bronze Works was open until 1931, when the company was finally forced to close due to The Great Depression.

Riviere Studios, as the company is known in the antique world, did very little advertising and was only rarely mentioned in the trade journals. Most of the details about the day-to-day operations of Riviere Studios come from Paul Riviere’s son’s diary. Paul Jr. started working for Riviere Studios in 1906.

Riviere Studios is most well-known for its etched metal overlay lamps, but the company also made leaded glass mosaic lamps. Unlike the matching desk accessories, the metal overlay lamps are frequently not signed. Attribution of lamps to Riviere Studios is problematic because Mr. Riviere frequently copied the designs of others and did not use distinctive hardware in his lamps. Therefore, most Riviere Studios lamps are identified from their bases.'

The History Of the English-Style Beach Hut

2011-08-08T10:04:00.003-04:00

'The first wheeled bathing machines soon arrived after the 1752 Dr Richard Russell publishing of a Dissertation on the "Use of Sea Water in the Diseases of the Glands," particularly scurvy, jaundice, leprosy and consumption. He is seen as one of the people who built up a passion, based on science, for beach culture in the early 19th century. Georgian bathing machines, which might have used as far back as the 1730s, were horse- or human-drawn devices. Then, according to Jane Austen's World, Benjamin Beale’s Invention for Bathing Machines was formalised in 1750.
There seemed to have been two reasons why people would use these bathing machines. Firstly they protected the modesty of fashionable bathers, especially women. Secondly they may well have enabled frail or sick visitors to the health-giving sun and sea water to make their way to the water's edge.

Originally used in the late 19th & early 20th centuries, beach huts had started out as bathing machines during the Victorian era where bathing was a cumbersome and expensive affair. The luxuries of the beach were stifled by the notion of Victorian modesty, and men and women bathed on separate beaches. To hide the indecent act, bathing machines, which were essentially sentry boxes carted out to sea, were 6ft high wooden boxes where mainly women would change into their swim-dresses. Uncomfortable and dark, they gave the Victorians the privacy society demanded to bathe in peace, as it was deemed unacceptable to see the opposite gender in bathing clothes.

Victorian bathing machine

By the C19th Queen Victoria made sea bathing even MORE fashionable with her machine on wheels at Osborne Bay on the Isle of Wight. So these machines enabled queens and ordinary women to roll the machine down to the water’s edge, without having to run immodestly across the open sand in their bathing suits.
In Sydney Australia, the Woolloomooloo baths looked after women carefully; see Sydney City and Suburbs blog. Between 1833-1955 this area of the Bay was the site of 4 separate ladies’ bathing facilities: Mrs Biggs’ Ladies Baths, Robertson's Ladies Floating Baths, the Corporation Ladies Baths and the Domain Baths for Ladies.
Beach huts came next. They were small wooden buildings located on the foreshore and fixed to the ground, unlike the horse-drawn bathing machines. They were still responding to the bathers’ need for modesty and privacy, just as the bathing machines had done.

Once mixed gender bathing became socially acceptable, during the Edwardian era and First World War, the days of the bathing machine were numbered. Changing in public however was still considered indecent and would often result in a fine. It was then that people would use the abandoned bathing machines, take off their wheels and turn them into the beginnings of the beach huts we know today. From then on, beach huts were available to rent for the day or week, and even contained a boiling stove and kettle for the all-important English afternoon tea.

The bathing machine of King Alfonso XIII

In Britain, Bournemouth had beach huts alongside the pier by 1908. However across the British world, beach huts were not widely introduced until WW1 ended. This was about the time when attitudes changed, allowing men and women to swim at the same time. Many seaside councils erected beach huts for people to use, I am assuming because they thought it would attract well heeled holiday makers and because it would keep their beaches respectable. In Britain, the huts were erected on Crown land and owners had to pay council rates and public liability insurance.
It was reported an issue that was relevant for British beaches, but not Australian. WW1 restrictions had put much of the coastline out of bounds, especially in southern England. Elaborate defences against invasion along the beaches usually included coils of barbed wire at the top of the beach head, thereby effectively preventing use of the beach.
Beach huts were constructed from whatever materials were available after the war. Yet beach huts have large retained their original appearance: single room, gabled roof, usually simple timber, next to no windows and a locked double door. On the beach side of some huts, there was a simple porch construction, allowing two adults to sit and watch the children play. Bright colours enabled families to easily identify which, of the dozens of otherwise identical huts all in a row, was theirs. In Britain, as in Australia, there were never any facilities like running water and electricity inside the huts.'

A Short History of Men's Fashion 1840-1940

2011-08-05T13:32:00.008-04:00

From white wing collars to retro-influenced trends, men's fashion has been born, changed, and reborn time and time again. The colors, fabrics and patterns are constantly reappearing as men's positions in society are altered. And men's clothing has always been directly affected by outside factors.

War, world events and eventually the younger generation all impacted the men's world of fashion. Here is a brief timeline of men's styles from the early twentieth century, when clothing was smart and simple, to the new millennium, a melting pot of previous fads that are all meshed together.

During the 1840's men wore trousers that were tight fitting, calf length frock coats and a waistcoat or vest. The vests were single- or triple -breasted, with shawl or notched collars, and might be finished in double points at the lowered waist. For more formal occasions, a cutaway morning coat was worn with light trousers during the daytime, and a dark tail coat and trousers was worn in the evening. The shirts were made of linen or cotton with low collars, occasionally turned down, and were worn with wide cravats or neck ties. Trousers had fly fronts, and breeches were used for formal functions and when horseback riding. Men wore top hats, with wide brims in sunny weather.

During the 1850s, men started wearing shirts with high upstanding or turnover collars and four-in-hand neckties tied in a bow, or tied in a knot with the pointed ends sticking out like "wings". The upper-class continued to wear top hats, and bowler hats were worn by the working class.
In the 1860s, men started wearing wider neckties that were tied in a bow or looped into a loose knot and fastened with a stickpin. Frock coats were shortened to knee-length and were worn for business, while the mid-thigh length sack coat slowly displaced the frock coat for less-formal occasions. Top hats briefly became the very tall "stovepipe" shape, but a variety of other hat shapes were popular.

During the 1870s, three-piece suits grew in popularity along with patterned fabrics for shirts. Neckties were the four-in-hand and, later, the Ascot ties. A narrow ribbon tie was an alternative for tropical climates, especially in the Americas. Both frock coats and sack coats became shorter. Flat straw boaters were worn when boating.

During the 1880s, formal evening dress remained a dark tail coat and trousers with a dark waistcoat, a white bow tie, and a shirt with a winged collar. In mid-decade, the dinner jacket or tuxedo, was used in more relaxed formal occasions. The Norfolk jacket and tweed or woolen breeches were used for rugged outdoor pursuits such as shooting. Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in winter. Men's shoes had higher heels and a narrow toe.

During the 1890s, the blazer was introduced, and was worn for sports, sailing, and other casual activities. Hair was generally worn short, sometimes with a pointed beard and generous mustache.

1920s: It was a time when men still wore distinguishable "daytime" and "evening" attire. Sacque suits were worn with shirts in mellow shades of putty, peach and cedar. The "always-suave" tailcoat, with perfectly starched white shirt underneath, was regularly accompanied by a top hat and black patent leather shoes, and comprised formal evening wear. In 1925, baggy pants were first introduced, and flannel became the fabric of the era. Knickers were also the latest in casual wear for the well-dressed gentleman, and are still worn occasionally today.

1930s: On October 24, 1929, the economic world, including the fashion industry and, for that matter, most industries, were turned completely upside-down. It was the infamous day of the great Wall Street crash, which resulted in cutbacks on the way clothes were both manufactured and purchased. Men's suits were restructured in the hopes of creating the image of a wider torso, and shoulders were squared-off by wadding or pads. The double-breasted suit was steadily growing in popularity, and was often designed in colors that are still considered fashionable today: charcoal, steel, slate, navy, and midnight blue. And blazers were hot in the summertime, especially in unique colors like bottle green and tobacco brown .

1940s: The zoot suit was one of the few exceptions to the strict rationing of that time. Men's style after the war preferred a new look: long, full-cut clothing. The "casual shirt," which was first sported on the beaches along the east and west coasts ~ especially Florida and California ~ was seen on the backs of men everywhere. And for the first time, young people were setting the fashion trends while the older people followed.

The Coming Years & Our Lives 2011

2011-08-04T19:49:00.001-04:00

I wrote this reflection in July of 2008 & it stands as even more valid now in August of 2011:

2008=1929

Everyone everywhere and almost totally without exception tells me that they are petrified of what seems to be happening in America. Prices are rising like they never have in my lifetime, or any one's, and this is really just a slight foretaste of the horror to come this winter. I see the financial disaster of the time when I was moving: March & April as the first equivalent of October 1929... and following that reference, as it is now July 2008, that would be the equivalent of early 1930. Again, just a foretaste...this cold winter to come will be a time when many will die in their homes and apartments-- frozen, probably not discovered for days and possibly weeks They will die with their pets, with their meager food, with everything stone-cold.. This is the state of our nation and its mood. Dysfunctional and xenophobic, a place where neighbors hardly speak and everyone has a chip on their shoulder. I will survive as Charlotte and the weather here has tussled with me before and I know what to do. The poor, the older folks up north, those without and the homeless or home-stressed--Philadelphia, Boston, Chicago-- just imagine how tragic. It will be like a small ice-age of bleak gloom and death.

This has been now complicated & even more dire now in 20011---I fear &; predict the very very worst for America, the World & how we will fare for the rest of these years up to 2020...IF we even make it that far....

My TRUE belief:: There will be a new World War before 2016 that will devastate humanity beyond any devastation before and all destruction will be triply compounded by further politics & unrest in emerging countries, horrible weather events, volcanoes & earthquakes.

This is what I feel in the deepest parts of my soul.

I am SO sorry to say this, but I DO believe it.

1929 Essex Boat-tail Speedabout--One of Three in Existence

2011-08-03T22:07:00.001-04:00

'The Essex Motor car company produced, small affordable automobiles. It had been created by the Hudson motor car company for the purpose of creating a smaller version of its super six.

The first Essex was shown in 1919 after it had been delayed due to World War 1. The vehicle great quality, durability, and vibration free four cylinder motor made an instant success. Over the years sales continued to escalate and propelled the Hudson motor car company in third place in overall sales for 1929.

Essex introduced their first value-priced Essex six in 1924, and for 1927 Essex offered the first 2 passenger speedabout. It had a distant design, interior Leather and special gear ratio. The lightweight construction and aerodynamic design gave the speedabout a top speed in the neighborhood of 70mph.

Essex did not offer the speedabout in 1927 but it did reappear in 1929, with just 5 known examples built. Biddle and Smart coachwork of Amesbury, Mass supplied the aluminum bodies, which include a rumble seat. Special gear ratios were fitted along with overdrive, the speed about was now capable of 80 mph.

The Speedabouts’ were reportedly only built as show cars by Hudson, primarily to test feasibility for eventual volume production.

This speedabout Boat-tail Roadster was given a body off restoration with no expense spared, which the Guild of Automotive restores completed in 2002 for one of its executives. A mechanical rebuild of all its components was part of the process.

The engine is a L-Head 6 Cyl 161cubic inch which produces 55 hp. There is a 3 speed sliding gear transmission plus overdrive and four wheel mechanical brakes.

Only 5 examples are known to be built and only 3 has survived one is in the Ex-Harrahs Collection in Reno, one is in a private collection in Indiana and this one is owned by The San Diego Collection.

For a small wheelbase car to have such a beautiful Boattial design is truly unique, most often you will only find a Boattail in much larger Packard, Auburn,Duesenberg automobiles. Far ahead of the Auburn Boattails, these Hudson show cars led the way for the Elegant take over of the 30's American Cars. This is a rare oprotunity to own a Stunning and Rare Automobile the other 2 are not for sale and this example is in mint condition.'

1931 Auburn Custom Eight Cabriolet

2011-08-03T21:09:00.001-04:00

'Frank & Morris Eckhart of Auburn, Indiana started the Auburn Motor Company in 1903. As their business grew, they acquired more dealerships to stay ahead of the competition, but by the mid-twenties size had caught up with them and they were in need of new leadership.

In 1925 E.L. Cord became general manager and set out to save the company. Under Cord the new Auburn became a very different company, emphasizing style and performance. Body styles were changed every few years to keep sales up.

This exceptional Custom Eight Cabriolet was restored by noted marque expert Randy Ema. Ema treated the car to a full restoration to his exacting standards. Every nut and bolt was redone, no expense spared and no corners cut as in all of his restorations. The car has travelled just 154 miles since restoration and is ready to compete at nearly any level.

This highly restored 1931 Auburn 898-A Cabriolet exhibits the talents of designers Gordon Buehrig and Alan Leamy who inspired some of the most stunning examples offered by Auburn. This car is equpped with its original 268.8cid Lycoming 8-cylinder engine producing 98 h.p., and three-speed synchromesh manual transmission. Recognized as a full classic by the Classic Car Club of America this rare automobile represents an outstanding example 1930's American automotive history.'

1912 Limbert Oval Occasional Table

2011-07-30T00:24:00.000-04:00

'Arts & Crafts collectors naturally focus on the Stickleys: Gustav, L. & J.G., and Stickley Bros. But every collector should aspire to a Limbert piece. This Grand Rapids-based manufacturer successfully brought English and Northern European influences into its designs, and Limbert pieces can have interesting cutouts and subtle curves. An exquisite example is the single-oval occasional table, which adds grace to a room with its canted legs, trapezoidal cutouts, and curved top.

Place an art pottery vase filled with forced forsythia stems on this table, and your room will become an artistic revelation.Expect to pay around $2,000 for a refinished Limbert single-oval occasional table (perhaps subject to too many water stains from flower-filled vases over the years) to $5,000 for one with its original finish.'

1909 Gray Pay Station Telephone

2011-07-29T08:12:00.000-04:00

A very rare Gray Pay Station model 23 in working condition with Rattlesnake cord. This model was made for use in hotel rooms, not for general public use. This has kept many of the parts in pristine condition. You may never find one in this condition again. Coins slide perfectly though slots and make the proper sounds. “plink” for nickels, “ding, ding” for dimes, and “gong” for quarters. They also fall into the coin drawer as they should. The coin drawer has the original tan felt on the bottom (felt is to reduce noise from the coins hitting the bottom of the drawer and confusing the operator). The original wiring and connection block are present. A cloth line cord with a modular plug has been added so the telephone can work on today’s modern telephone network. Just plug it in and you are ready to receive calls. There was no dial on these very early pay phones, but outgoing calls can be made with a portable tone dialer. (There is an i-Phone app that will work believe it or not !!) The receiver shines like new with no chips or cracks and has a very RARE red and blue Rattlesnake cord (made with NOS on an original rattlesnake cord machine). The transmitter has been cleaned and tested, so calls are LOUD and clear. The transmitter mouthpiece has the STAR in the center and is also in beautiful condition. The transmitter has a very rare number card holder mounted behind the mouthpiece (I assume this was so the caller would know what room to tell the operator they were calling from). Both locks are present and turn smoothly. Rare top crab lock has one tooth chipped (still locks perfectly), see photo. Cash drawer lock has two keys (1 spare). The original glass is in the instruction card frame. The paper instruction card may be a reproduction (not sure). It is in very good condition. This beautiful Pay Station has been cleaned and polished to a shine but I have to assume it has been repainted at some point. It is over 100 years old and the finish is absolutely beautiful. None of the screws, pins, locks, wires, or Bakelite parts have any paint on them, so if it ever was repainted, it was a professional job. The finish only has very light wear by the coin slots and where the cash drawer goes in and out. The removable back plate has a couple of paint chips on the corners (pictured). I also noticed there are a couple of weld marks on the back mounting plate. There is one on the side near the bottom and one behind the cash drawer (not visible unless you remove the drawer and look inside. I assume this is from an early attempt to steal the telephone. There is NO damage to the chassis of the Pay Station, just the removable mounting plate.

1929 Chevrolet Six Sport Coupe

2011-07-29T06:29:00.002-04:00

The reasonably priced six-cylinder
Chevrolet Six Sport Coupe was simple and durable.

The "Stovebolt," so named because of the engine's slotted head bolts, cost only a little more to produce than any of the previous four, but offered 11 more horsepower than the 1928's four. The base price of the most popular model, the two-door Coach, increased to $595, a mere $10 over its price in 1928.

The six was simple and durable. It displaced 194 cubic inches and produced 46 bhp at 2,600 rpm. The "Cast-Iron Wonder," as it eventually became known, employed a solid overhead-valve design in a cast-iron block, inexpensive cast-iron pistons maintained by a non-pressurized lubrication system, and a Carter single-barrel carburetor. Power was transferred via a three-speed manual transmission. Fuel mileage averaged 19 mpg.

The Sport Coupe, which was introduced at midyear,
would replace the rear trunk with a rumble seat.

The 1929 Chevrolet Series AC International offered 10 body types, at prices ranging from $525 for the open models to $725 for a sophisticated Imperial Landau, which featured a convertible rear quarter. Styled by young Harley Earl, head of GM's newly organized Art and Colour Section, the 1929 Chevy six was clearly inspired by Earl's sensational LaSalle and looked far more expensive than it cost.

The new engine, developed by the Chevrolet engineering department under the leadership of Ormond E. Hunt and, later, James M. Crawford, developed 46 horsepower from 196 cubic inches, giving it a 15-percent advantage over the four-cylinder Ford Model A. Significant advances included the use of a mechanical fuel pump to replace the time-honored but troublesome vacuum tank, and foot-controlled, twin-beam headlamps.

To build a six-cylinder engine was not, in itself, a particularly difficult assignment. But this one had to have overhead valves, in the Chevrolet tradition, and costs had to be kept down to approximately the same level as the earlier four.

Accomplishing that objective required cutting some corners, such as employing splash lubrication for the connecting rod bearings and cast iron pistons in lieu of 1928's aluminum pistons. The latter prompted the sobriquet "Cast Iron Wonder." Applied in derision initially, that name would eventually be looked upon as a term of endearment. So would the nickname "Stovebolt Six," which referred to the engine's slotted quarter-inch head bolts.

A backlog of orders for the Model A enabled Ford to recapture first place in the sales race for the time being, but more than 600,000 six-cylinder Chevrolets were sold during the first five months following their introduction.

The success of the Chevy Six was such that Henry Ford initiated the hasty development of the 1932 Ford V-8 to compete with it. The original Stovebolt would last through 1936, but a continually improved six would remain as Chevrolet's only power-plant for three decades. In that time Chevrolet would become the major player in the low-price field.

This two-seat Coupe came with most available
options, including a spotlight.

Chevrolet general manager Bill Knudsen and General Motors design director Harley Earl redesigned the Chevy to give the 1929 International Series AC a lower, more modern look. Tire size was reduced from 30 inches to 20 inches. Styling changes also included a more rectangular radiator, fewer louvers on the hood sides, new one-piece crowned fenders, new bullet-shaped headlamps, and a wider single bodyside molding. The restyle rode on a 107-inch chassis, introduced a year earlier on National Series ABs. This chassis was suspiciously long for the small four-cylinder powerplant used in 1928, foreshadowing the introduction of the six.

The AC Coupe was said to get
about 19 miles per gallon of fuel.

The two-passenger Coupe received a new steel rear quarter sans ornamental landau irons. The Sport Coupe model was introduced at midyear; it replaced the Coupe's trunk with a rumble seat.

The featured 1929 Model AC Sport Coupe is owned by Lew Dark of Portage, Michigan. Its original base price was $645. But it sports the most popular option, bumpers; some rare options, wire wheels and a single sidemount spare; as well as running-board step plates, a radiator-cap hood mascot, and a spotlight. Dark purchased his Chevy in 1963 as a "basket case." He restored it himself and put it back on the road in 1971. He has shown and driven the Chevy throughout the United States.

1927 Nash Advanced Six Five-Passenger Touring Car Intact & Unrestored

2011-07-24T21:25:00.001-04:00

SLIDE SHOW:
http://s1005.photobucket.com/albums/af178/valued_user/Nash%20Hi%20Res/?albumview=slideshow

'Exterior

Light gray body with black fenders, as-built

Surface rust, only, under car, in typical areas

Wooden body structure mostly rot-free

Original running boards and supports

Windshield in good condition

Royce MotoMeter radiator cap

Vintage Watson Stabilator badge

Top

Tan canvas top

Believed original

Rear glass window clear and unscratched

Stained with one small tear at front right- see photo

Engine and drivetrain

Starts cold and warm as it should

Does not overheat or leak fluids excessively

Original Series 260 overhead valve inline six

278.4 cubic inches, 69 brake horsepower (claimed 28.4 taxable H.P.)

Electric starter

Vacuum-operated fuel pump in place, bypassed with modern electric pump

Fram oil filter added

Original three-speed transmission shifts as-built

Clutch operates properly

Shaft drive, semi-floating rear axle

Stops straight and as-built with mechanical brakes

Watson Stabilator shocks with canvas straps

Steel disc wheels with vintage Lester tires

Spare wheel with vintage Firestone tire

Recent engine oil change and chassis lube

Recent water pump rebuild and radiator clean

Electrical and Instruments

New 6 volt battery

Charging system operates properly

Speedometer and odometer operate

Ammeter and oil pressure gauge both operate

Both headlights and rear taillight/stoplight operate

Interior

Five passenger seating

Upholstery on seats and doors believed original

Original floor boards

Also included:

1927 Nash Cars Information Book owner’s manual- believed to be reproduction

1928 Nash Advanced Six 360 Information for the Owner, believed original
Nash Motors

Founded 1916 by ex-General Motors president Charles W. Nash.

Took over Thomas B. Jeffery Company, builders of Jeffery and Ramble autos, after Jeffery survived the sinking of the Lusitania in 1915 and decided to retire.

Factory in Kenosha, Wisconsin

Nash became the leading producer of military trucks by the end of World War I.

Nash autos in the 1920’s were best-sellers because of their neat, conservative styling, tidy engineering and competitive pricing

Charles Nash quoted in 1926, “selling for a long time has been 100% a production problem... month after month all the cars that could be produced were sold before they left the factory floor."

Nash would eventually acquire the appliance manufacturer Kelvinator, in 1937.

Hudson Motor Car Company was taken over in 1954 to form American Motors.

American Motors acquired Kaiser Jeep (the descendant of Willys-Overland Motors) in 1970.

In the early 1980s, AMC entered into partnership with Renault.

AMC was absorbed into Chrysler Corporation in 1987, becoming Jeep-Eagle.'

IMPORTANT c1897 TIFFANY STERLING SILVER MONTIETH STYLE PUNCH BOWL; BRILLIANT SHELL MEDALLION AND BALL & CLAW FEET In EXCELLENT CONDITION; 37 OUNCES

2011-07-24T10:49:00.001-04:00

'We are quite pleased to show this important late 19th century Tiffany sterling silver montieth style punch bowl.

One of the most uniquely designed and crafted examples of late 19th century Tiffany we have ever designed.

In a roughly circular form, gently fluted at lower body.

Elegant notched Montieth style rim. Adorned with brilliant leaf and vine centre layered shell medallions. The shell displays united by rolling vine streams.

The bowl supported atop boldly fashioned acanthus cap banded ankle ball and claw feet.

Monogramm "TL + CR" (un-traced) as shown.

This rare c1897 Tiffany sterling Silver Montieth style ball and claw punchbowl is 10 1/2 inches diameter. Exceptionally thick, heavy guage sterling construction it weighs 37 oz.

Hallmarked as shown. The Tiffany pattern number denoting c1897 production.

In excellent condition. Rich, lustreous sterling patina throughout. Stands firm on table or display shelf.

For the discerning collector of the finest 19th century Tiffany. Focused upon the most unique designs and most deservedly this exceptional c1897 Tiffany sterling silver Montieth style punch bowl in excellent condition.

Please feel free to inquire directly about this, or any item we have written about. Whether the item is alone or part of a larger grouping, we very much welcoming your interest. We are collectors first. & as such, we are quite easy to work with & are pleased to answer personal enquiries.'

1912 Titanic Era Hat for A Gentle Lady

2011-07-23T01:18:00.001-04:00

'This antique Edwardian Titanic era black beaver felt fur red feather large brim hat dates from 1912. It is made of a black plush beaver felt fur fabric, with a red feather hatband, feather plumes, red tulle net and a large gold metal red rhinestone bow brooch pin. This gorgeous grand ladies hat has an exaggerated upturned dramatic wide brim front. There is a large round crown, with a smaller inner crown which is lined inside in black silk and would have sat atop a full Gibson Girl style updo hairdo. There is a "Pickering Ladies Hatter Lewiston, Maine" label inside. The hat measures 18 inches wide, 6 1/2 inches tall, 25 inches in circumference on the top crown and 20 inches in circumference inside the inner crown. It is in excellent wearable condition. This is truly a rare and wonderful example of an extravagant opulent Titanic era hat!'

1908 Bradley & Hubbard Bronze Table Lamp in Pristine Condition

2011-07-22T18:30:00.002-04:00

'In November of 1874 the Crockery and Glass Journal reported that "all the factories in Meriden, Connecticut, are running over time. Bradley & Hubbard is especially busy this season with their regular fall trade of gas and kerosene fixtures and bronze ornaments. A large foreign order for gas-chandeliers, to be filled early next year, gives evidence of the advancing reputation of this house. They employ at present over four hundred hands, and preparations have already been made for adding, next year, another four story brick building to their present extensive establishment. Within the past year they have removed their New York show room (Murray and Park Place) to the commodious chambers, Nos. 21 and 23 Barclay Street, where a comprehensive display is made of the wares of their manufacture."

A few months later, in 1875, the final reorganization of Bradley & Hubbard took place. The joint stock company name became Bradley & Hubbard Manufacturing Company, with Walter Hubbard as President and Nathaniel Bradley as Treasurer. This name was retained until 1940 when the Charles Parker Company, part of Union Manufacturing Company, bought out the company. The Charles Parker Company is still manufacturing steel bathroom equipment and building products in Meriden, Connecticut.

This is a totally undamaged bronze table lamp of the year 1908 with particularly French Revival, though with a demure color choice that is handsome on the appliance'

1911 Undamaged J.A. Whaley Stained Glass Table Lamp

2011-07-22T17:35:00.002-04:00

'This one-of-a-kind 1911 leaded floral table lamp depicts pink striated glass tulips with deep green foliage set against a caramel and light green ground. The shade is supported by a 3-socket base with deep brown patina finish and ends with three acorn pulls and top cap.The lamp manufacturer J.A. Whaley & Co. made beautiful leaded mosaic glass lamps to compete with Duffner and Kimberly around the turn of the century. There isn’t a lot of information about the J.A. Whaley & Co. lamps available, but we do know that J. A. Whaley & Co. opened its first lamp store in New York in 1901.

J.A. Whaley & Co. did not aggressively advertise its lamps to the general public. Instead, J.A. Whaley & Co. focused on building partnerships with lighting distributors like Mckenney & Waterbury. Because of the lack of advertisements and catalogs, J.A. Whaley & Co.’s lamp line has not yet been fully discovered.

J.A. Whaley & Co. also did not make it a point to faithfully sign or design its lampshades or bases as unique products. In fact, of the four styles of bases that J.A. Whaley & Co. favored, at least two appear to mimic Duffner and Kimberly bases. Fortunately, some base styles and lampshades were signed, and from those we can determine other J.A. Whaley & Co. pieces.

An original J.A. Whaley & Co. lamp in good condition can be worth anywhere from several hundred dollars to several thousand. A signed lamp by J.A. Whaley & Co. could be worth more.' 22" tall
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1932 CADILLAC 370-B V-12 RUMBLE SEAT CONVERTIBLE COUPE

2011-07-18T19:24:00.001-04:00

'When is the last time you have seen the rarest of the rare, a 1932 Cadillac V12 Convertible Coupe restored to better then new condition? For those that know their classic cars, in the 1930’s Cadillac’s slogan was ‘Standard of the World’. This slogan was not taken lightly by Cadillac, its design and engineering team and when they produced the 1932 Cadillac V-12 convertible coupe it was considered one of the five most beautiful American classic cars ever produced. To top that off, everyone knows that there is the perfect color and color scheme for every car ever produced, in this particular case most classic car judges would agree that the color of this car is absolutely perfectly suited to bring out the classic car lines and show the depths of the mirror like finish. It should be noted that the underside of the car is done for show purposes, the underside was washed, cleaned and polished.

If there was ever a time to see one of the rarest and most beautifully designed and engineered classics from the 30’s, this is it.
This magnificent V-12 Cadillac is one of only 81 convertible coupes produced in 1932, with very few remaining today. This numbers matching Harley Earl designed, Fisher Body, car is all-original and was the 6th vehicle produced in 1932. The frame off restoration was done to the highest of standards approximately 12 years ago and has been very well maintained ever since. The two-tone maroon color combination is enhanced with red pin striping, brown leather interior and chrome spoke wheels with contrasting red rims. The rear mounted spare is very rare and gives the body an extremely sleek look with the long 6-louvered hood. The speedometer shows 72, 091 miles, which is believed to be correct, with very few miles since restoration. The car runs and drives extremely well, and can be shown or toured without hesitation.

The car sits on a 134-inch wheelbase and is powered by its original 368 cubic inch V-12, rated at 135 horsepower.'

Circa 1910 Chicago Mosaic Blossom Lamp with Amber Background

2011-07-15T06:29:00.002-04:00

' 'A magnificent Chicago Mosaic table lamp for your viewing. The shade represents red roses on stems all the way around against an amber background. The lamp stands approximately 26 inches tall with a 9 inch diameter hexagon base, and the shade is approximately 18 inches in diameter. All materials and hardware are original and in perfect working order, and the condition of the shade is excellent, with some cracks to some of the the panels, which is to be expected for the age of the glass, but no missing parts, and no restoration.'

1929 Cadillac Fleetwood Previously Owned by Herbert Hoover

2011-07-12T20:41:00.002-04:00

'Cadillac is currently the second oldest American automobile manufacturer behind Buick and among the oldest automobile brands in the world. Depending on how one chooses to measure, Cadillac is arguably older than Buick. Since GM has discontinued offering Oldsmobile, Buick has the distinction as the oldest American make.

Cadillac was born in 1902, at the dawn of the twentieth century. Its founder, Henry Leland, a master mechanic and entrepreneur, named the company after his ancestor, Antoine de la Mothe Cadillac, born Antoine Laumet, the founder of Detroit. It was purchased in 1909 by General Motors and within six years, Cadillac laid the foundation for the modern mass production of automobiles by demonstrating the complete interchangeability of its precision parts, also establishing itself as America's premier luxury car. This is also the inspiration for the company's crest, which is based on a coat of arms "created" by Detroit's founder, around the time of his marriage in Quebec, in 1687 (there is no ancient "Cadillac" family or coat of arms in France). Cadillac pioneered many accessories in automobiles, including full electrical systems, the clashless manual transmission and the steel roof. The brand developed three engines, one of which (the V8 engine) set the standard for the American automotive industry. Cadillac is the first American car to win the prestigious Dewar Trophy from the Royal Automobile Club of England - having successfully demonstrated the interchangeability of its component parts during a reliability test in 1908; this spawned the firm's slogan

"Standard of the World". It won that trophy a second time, in 1912, for incorporating electric starting and lighting in a production automobile.
Cadillac managed to survive the Great Depression by being part of GM. By 1940 Cadillac sales had risen tenfold compared to 1934.
1934 brought about a revolution in assembly-line technology. Henry F. Phillips introduced the Phillips screw and driver to the market. He entered into talks with General Motors and convinced the Cadillac group that his new screws would speed assembly times and therefore increase profits. Cadillac was the first automaker to use the Phillips technology, which was widely adopted in 1940.

This rare and significant car was owned by President Herbert Hoover for many years. It was in the Imperial Palace collection many years spent some time in the hands of a noted Midwestern Collector who is very good at getting things running well before being passed on to another Museum where it currently resides. It may need some minor recommissioning to be road worthy, although it has obviously been in climate controlled storage, so should wake up pretty easily. The car is largely original although the paint, bright-work, and interior have been redone at some point in its life. Notice the desirable "Pennsylvania" V windshield, flowing beltline from the hood to the cowl and the unique triangular cowl vent, as well as the nice Landau Bars and interesting top arrangement.

The car is the only known Survivor of its body type, a long wheel base version, the body actually sticks out a bit from the rear chassis member. The car has Pilot Rays and Dual Side Mounted Spares. As you can see everything is correct and complete. This is a great piece of history.
This car really has presence in person. It is a very large car and the coachwork is simply stunning...this is Fleetwood at its best, and Fleetwood was second to none during their independant days.

This is an important car.'

1911 Ford Model T Fire Engine

2011-07-08T17:59:00.001-04:00

'The restoration of this gorgeous Model T Fire Chief's car was started right after the terrorist attacks on 9/11. The car was lettered NYC in honor and memory of those Fire Fighters who lost their lives in service to our country. The chassis was of a 1919 Model T Fire Chief's car purchased near Cleveland, Ohio. The mechanical restoration of the chassis had been completed  it was decided to complete the car as a 1911 because authentic parts from that era were available and it was felt the later electric starter and generator would enhance the utility of the vehicle.  It was to be used in parades as a promotional vehicle for Ashland, Oregon’s Lithia Hot Springs Inn & Gardens and having a later, more dependable running gear was desirable.
In the era of 1911 it was customary for Runabouts to also be outfitted with a removable pickup box for hauling things when you weren't on a picnic, or in this case were't going to a fire.  Such a utility box was fabricated incorporating to match boxes of that era, using the customary brass railings a fire dept would use. [See last two photos with box monted)  The conversation from utility to runabout is quick and easy, as the box was only used for parades
Since it’s restoration, it has only been in one 4^th of July parade and was driven approximately a total of 100 miles.  Due to the owner’s age, it was decided to retire the truck when the owner retired, as no one else wanted to be responsible for the first nick or damage the beautiful restoration.
The body is torch red with black fenders. It has been lettered and trimmed with real 23 Karat Italian Gold Leaf hand applied and pinstriped as it would have been originally. The wood portions of the body have a cherry-wood finish on them. The car has:

A polished brass radiator with Ford Script
Beautifully and accurately reproduced E&J Model 66 Carbide Headlights w/burners
Beautifully and accurately reproduced E&J side and tail lights with burners and wicks
Beautifully and accurately reproduced carbide generator with basket
Beautiful Original Rubes Single Twist Horn
Polished brass Ford Script Monocle windshield
Solid brass step plates
Brass steering quadrant and spider with beautiful wood steering wheel
Restored Demountable wood wheels with all white universal ribbed tires.
Accurately reproduced Heinze Coil box and switch made to hold the later coils. They have been gaped and adjusted to the proper amperage
The car comes with an Oregon certificate of ownership as an assembled vehicle and is a legal driver. If the high bidder would prefer, due to its age a legal 1911 title may be acquired through the use of Broadway Title Co. We will provide the necessary bill of sale and help in the process.

Fire Equipment:

Correct Hose reel with brass finials and springs (rare)
Early restored Sterling hand crank siren with original brass tag
Rare brass 6 volt Electric radiator cap bell with eagle stamped "Liberty Bell Cleveland, Ohio with pat'd dates
Two early copper Badger Fire extinguishers with brass bases beautifully polished
Early Gray and Davis Carbide Search light
Fire Axe and Bucket
Originally restored Fire King Fire Department Lantern with red globe and brass bracket
Ladder has been stripped, metal parts painted and finished with several coats of Spar Varnish
The only item that could not be located was the Copper Chemical Tank. In it's place is a very rare 5 gallon Soda Tank that is very similar in appearance to the original style tank

This may be one of the most beautiful Model T's ever restored & will not find another one like it. It has been in dry storage since it’s restoration and since it’s appearance in the Ashland, Oregon’s 4^th of July Parade in 2010.'

Frederick Collins, Genius of Wireless Telephony--1903-1913

2011-07-03T20:53:00.002-04:00

'It had been two years since Marconi’s successful wireless telegraph transmission across the Atlantic ocean, and another year would pass before the invention of the vacuum tube. Wireless Telegraphy, though still in it’s infancy, held great promise for the future. Men with names like DeForest, Edison, Fessenden, Marconi, and Tesla were working intensely to make wireless a commercially viable alternative to the wired telegraph.

At the same time, a much smaller group was attempting to take wireless to the next logical step – a wireless telephone. In May, 1903, one of these men, A. Frederick Collins, formed the Collins Marine Wireless Telephone Co, and soon after changed the name of the company to Collins Wireless Telephone Co. As he prepared to take the company public, this technical visionary formed partnerships with businessmen of questionable character - men more interested in making a killing in wireless stock speculation than in building a successful company.

His first system was known as the “Inductive System” and featured coils of insulated wire four to five feet in diameter. The transmitting coil carried current modulated by a microphone, which produced amagnetic field that varied with the speech of the speaker. The varying magnetic field produced an electric current in the receiving coil placed nearby, reproducing the speaker’s voice in a telephone receiver.

Collins toured the United States. putting on demonstrations and selling stock in the Collins Wireless Telephone Co. The company madewild claims about his technology and was vocal in predicting the downfall of telegraph stocks such as Marconi. Usually two adjoining hotel rooms were rented for the demonstration, placing the coils on opposite sides of a wall. Celebrities and government officials would be invited to demonstrate the apparatus. These demonstrations were spectacular and resulted in appreciable stock sales. Unfortunately the money received was used by the company to cover the expenses of marketing its stock and to promote further speculation, not for building the assets of the company for the benefit of the stockholders.

From 1900 to 1909 Collins wrote an incredible number of technical articles for science and trade journals, as well as best selling wireless books including "Wireless Telegraphy" (1905), "Manual of Wireless Telephony and Telegraphy" (1909), and "Design and Construction of Induction Coils" (1909.)

In 1908 Collins issued a two part catalogue which described induction and conduction equipment in the first part, a true wireless set in the second part. He used an arc to generate the carrier and modulated it by a carbon microphone. He claimed this unit could span a distance of eighty miles with a power of 2.4 KW.

The company had a small shop in Newark. N.J. where demonstration equipment was built but little apparatus was ever sold. In December, 1909 Collins Wireless Telephone Company became a part of the Continental Wireless Tel. & Tel. Company, with A. Frederick Collins as Technical Director. The stock prospectus promised A Collins wireless telephone was to be installed in each Continental station. None were installed.

Stock Fraud

In December, 1911 four officers

According to the trial records, they were charged with 5 counts in:

1. Selling worthless stock in the Collins Wireless Telephone Co.
2. Persuading owners of Collins stock to buy worthless Continental stock.
3. Selling worthless bonds of the Continental Co.
4. Selling worthless Continental stock.

In addition, A. Frederick Collins was charged with giving a fraudulent demonstration of his wireless telephone on Oct. 14, 1909 at the Electrical Show in Madison Square Garden, New York, for the purpose of selling stock in the Collins Wireless Telephone Co.

It was developed at the trial that the four Collins officers had claimed in their prospectus that the Collins wireless telephone had been perfected to such an extent that in a community equipped with it, any two subscribers could talk to each other with total exclusion of all other subscribers, that the Collins wireless telephone would do away with all central exchanges. the necessity for wire lines, etc, that an automobile so equipped would be in constant touch with a garage so as not to be stranded in case of trouble, that because of the lower cost of the wireless telephone, with no wires needed, the telephone and telegraph systems would soon be put out of business and that the demand for the equipment would increase so rapidly that the stock price would quickly increase. Click here to see an example of these claims.

Four officers were convicted on all five counts. Three were fined and sentenced on January 10. 1913. to prison terms of up to four years. This was the end of the Continental Wireless Tel. & Tel. Co.

A. Frederick Collins was sentenced to three years in jail in Atlanta. After serving one year he was released.. Before his conviction he had been a respected engineer, considered an authority on wireless in general and a specialist in wireless telephony. In his later career he wrote an amazing number of books on a variety of subjects such as electricity, wireless, astronomy and many other topics. He is most well known for “The Radio Amateur’s Handbook," still in print and in it's 82nd edition!

The collapse of Continental was mirrored by the downfall of other companies such as United Wireless and DeForest. The era of bogus stock selling had come to an end.'

1917 Dort Fleur de Lyse Roadster

2011-07-03T17:53:00.000-04:00

RARE 1917 Dort Cloverleaf/Fleur de Lyse Roadster made in Flint Michigan for sale. A Cute Parade Car!
It has a mostly restored body, interior and chassis with the original four-cylinder Lycoming engine. This car was stripped to the frame, dipped and built back up. It travels steadily at 30-35 MPH.

1890 McLoughlin "Fish Pond" Board Game in Original Box

2011-07-02T16:54:00.000-04:00

"While You Sleep" and "January 1981" Two Poems in Recitation

2011-06-25T10:32:00.001-04:00

"Patrick 1993"-=- Miles Gibbson

http://youtu.be/aMERMXJDjuk

1934 Duesenberg JN Rollston SWB Convertible Sedan

2011-06-13T21:24:00.002-04:00

'Fred Duesenberg shocked the automotive industry in 1928 when he announced that his new motorcar, simply called the J, would be powered by a dual overhead cam 420 cubic inch straight-8 engine generating an astounding 265 horsepower. This came at a time when other luxury manufacturers were still struggling to break 100 horsepower in their top-of-the-line cars, and it was nothing less than earth-shattering news to the rest of the industry. In the years that followed, many would chase Duesenberg, but none would catch them, especially because in 1932, the SJ debuted with a supercharged version of the straight-8 engine, now making a mind-boggling 320 horsepower. Even Cadillac's mighty 452 cubic-inch V16 barely made half that number at 175 horsepower. No, there is simply no other manufacturer in American motoring history that can match Duesenberg's legendary combination of brute power, technical sophistication, and all-out luxury.
The Duesenberg story is a long, interesting, and complex saga, and many accurate histories have been written about the brothers Duesenberg, their relationship with brilliant marketer E.L. Cord, and the tragic end of the Auburn-Cord-Duesenberg empire. But the important part of the Duesenberg story to remember is that by the late 1930s, with the Great Depression in full swing, the market for 6000-pound, 120 MPH luxury cars just didn't exist like it had in the late 1920s. E.L. Cord, a fighter to the end, had several short wheelbase J chassis built, added updated features such as skirted fenders and smaller diameter wheels, and called the revised model the "JN," with N standing for "New Style." Sadly, it wasn't enough, and Duesenberg passed away like so many other fabulous small manufacturers during those dark years.
Only ten JN models were manufactured, and they all carried bodies built by Rollston of New York. Of those ten, only three JNs were convertible sedans, and convertible sedan J-570 is unique among all of them as the most original, authentic, complete example. With a sleek, stylish body with tidy proportions on the shortened J chassis, it gives the appearance of a coupe more than a sedan, yet has the convenience of four doors. Purchased new on September 2, 1936 by William H. Dunning of Ft. Worth Texas, president of Sequoia Oil Company. Uncommon in even the rarefied atmosphere of Duesenberg collecting, J-570 remains in original configuration, with its original body, chassis, and engine, most likely due to thoughtful stewardship throughout its life, as well as the unusual and jaw-droppingly gorgeous bodywork for which there is no possible upgrade.
Restored several years ago to concours standards, this car made the show car circuit and won every possible award a car can win at the highest levels. Refinished in highly appealing dark red paint, with a red leather interior and tan canvas top, it remains in spectacular condition today, and as with all Duesenbergs, has a presence that can't be matched by many other vehicles. It is massive, yes, but also elegant, well-proportioned, and sleek, which easily mask its great size. Originally black with a tan top and interior, the current color combination is both elegant and eye-catching, and gives this coach built car a sporty flair. With more than a million dollars spent on the restoration by the Imperial Palace Auto Collection, the finish work is above reproach in every way, with absolutely no signs of sub-standard workmanship anywhere. There is no filler in a car of this caliber, no non-authentic materials used, and the paint is deeper and more lustrous than anything you've seen before. As a hand-built automobile, Rollston's craftsmen were expected to deliver near-perfection, and the restoration only served to correct any remaining flaws—if there were any. The doors open and close with precision (note the wonderfully intricate door hinges), the top fits beautifully and seals up snugly, and all four windows roll up and down easily.
Classics of this era are renowned for their attention to detail, and J-570 doesn't disappoint with its wonderful design elements. From the famous stylized Duesenberg "bird" hood ornament, to the upright Duesenberg grille, to the slender and well-proportioned bumpers, the chrome on this car is excellent. Other unique details include the smaller JN style taillights, the polished aluminum trunk rack, and the unique Duesenberg exhaust, which siameses the dual exhaust pipes together into one stylish tip. The JN continued to use chrome wire wheels when other manufacturers were moving to steel discs and artillery style wheels, and they lend a sporty attitude to the car, accentuating it's long lines. Dual side mounts feature chrome trim bands, while polished rub strips protect the running boards.
The heart of J-570 remains its original 420 cubic inch DOHC straight-8 power plant. A massive casting, the engine itself weighs somewhat north of 1000 pounds and might look more at home powering a tractor trailer. A symphony of Duesenberg green paint and polished aluminum castings, there's clear indication that Fred and Augie Duesenberg, E.L. Cord and the engineers at Lycoming knew that they were building something very, very special. The polished intake manifold is topped by a Stromberg carburetor that has been painted to match the engine. Air filters remained options on many cars of the period, but the Duesenberg came with a standard cast aluminum filter unit with a washable, reusable oil bath element. Polished aluminum covers hide the twin chain-driven camshafts. On the exhaust side, dual manifolds feature individual exhaust pipes that feed the dual exhaust system—necessary thanks to the Duesenberg's advanced cross-flow cylinder head with 32 valves. The polished stainless steel firewall (this car's original piece, by the way) houses items like the Bijur system, which will automatically lubricate several dozen points throughout the chassis every 60 miles or so. Fully detailed and ready for show, no Duesenberg should ever be displayed with its hood closed.
The shortened chassis used in the JN cars mean that there are no numbers stamped into the frame rails as with other J models, but there's no question that this is the car's original frame, thanks to extensive documentation. In addition, J-570 carries its original 3-speed manual transmission, again somewhat of a rarity among Duesenbergs, which have often had components swapped among them, or replaced entirely as using a 4-speed transmission from a truck was a common replacement for damaged Duesenberg gearboxes. From their years of racing experience, the Duesenbreg brothers used hydraulic brakes from the beginning, with massive drums at all four corners and an emergency brake acting on the driveshaft. Front and rear axles are suspended on semi-elliptic leaf springs, a part of the design that E.L. Cord just couldn't modify and which caused many detractors to refer to the Duesenberg as "the world's fastest trucks." Nevertheless, the construction is robust, with a frame strong enough to support a railroad bridge, and axles that are virtually immune to road damage and wear. The comprehensive restoration returned every component and system to as-new condition, and the subsequent years of gentle use have resulted in a reliable, mechanically top-notch Duesenberg that can be toured with pride and is ready to go on a moment's notice.
Like the chassis components, the interior draws heavy influence from racing, with a comprehensive array of gauges in a machine-turned dashboard. Of course, luxury was the name of the game, and there are few other cars that can compete with a Rollston interior. The supple red leather is simply beautiful to look at, and impossible to resist touching. Accurately duplicating the original patterns, the tufted seats show virtually no wear, and along with the beautifully finished matching red leather door panels, make this an incredibly inviting place to be. As I mentioned, the dash is full of gauges, ranging from a large, prominent tachometer, to an altimeter, to a brake pressure gauge, to all the standard gauges such as oil pressure, coolant temperature, fuel level, and speed. There's also a beautifully designed clock that matches the rest of the instruments. Handles and other hardware are expertly restored and have lost none of their crisp detailing during the re-chroming process. Ahead of the steering wheel, you'll find the controls for the adjustable braking system, with settings for Dry, Rain, Snow, and Ice, which allow the driver to fine-tune the brakes to road conditions. You'll also find the traditional Duesenberg shifter, which takes a few bends to clear the dashboard in reverse and second gear. Windowsills are gorgeous wood that has been varnished and polished until they glow. The back seat is nicely appointed, with matching red leather and dark red carpets underfoot, as well as a stylish art-deco clock front and center on the rear of the front seat back. The tan canvas top is without blemishes and fits beautifully. It folds easily and makes a tidy stack behind the back seat that is housed in a matching tan canvas boot. Every seam is straight, every button's placement exact, and the detailing is simply too nice to convey in photographs. It's no wonder that cars like this are often considered art instead of mere transportation.'

1928 Auburn 8-88 Speedster

2011-06-01T06:11:00.000-04:00

'Auburn was a stylish domestic Automobile produced from 1900 to 1936. It grew out of the Eckhart Carriage Company, founded in Auburn, Indiana, in 1875 by Charles Eckhart (1841–1915). Eckhart's sons, Frank and Morris, began making automobiles on an experimental basis before entering the business in earnest, absorbing two other local carmakers and moving into a larger plant in 1909. The enterprise was modestly successful until materials shortages during WWI forced the plant to close.
In 1919, the Eckhart brothers sold out to a group of Chicago investors. The new owners revived the business but failed to realize the profits that they hoped for. In 1924, they approached Errett Lobban Cord (1894–1974), a highly successful automobile salesman, with an offer to run the company. Cord countered with an offer to take over completely in what amounted to a leveraged buyout. The Chicago group accepted.
Cord aggressively marketed the company's unsold inventory and completed his buyout before the end of 1925. In 1926, he purchased Duesenberg Corporation, famous for its racing cars, and used it as the launching platform for a line of high-priced luxury vehicles. He also put his own name on a front-wheel-drive car, the L-29 Cord.

Employing imaginative designers such as Alan Leamy and Gordon Buehrig, Cord built cars that became famous for their advanced engineering as well as their striking appearance, e.g., the 1928 Auburn Boattail Speedster, the Model J Duesenbergs, the 1935–1937 Auburn Speedsters and the 810/812 Cords.
Styling and engineering failed to overcome the fact that Cord's vehicles were too expensive for the Depression-era market and that Cord's stock manipulations would force him to give up control of his car companies. Under injunction from the SEC to refrain from further violations, Cord sold his shares in his automobile holding company. In 1937, production of Auburns, Cords and Duesenbergs ended.
The company's art deco headquarters in Auburn now houses the Auburn Cord Duesenberg Museum. It was made a National Historic Landmark in 2005. The Auburn Cord Duesenberg Club holds an Annual Renuion every Labor Day at Auburn Indiana, and this has become one of the premier gatherings of collector cars and enthusiasts in the Country.
The Auburn Speedster is an iconic car, one of the most desirable cars of the classic era. Starting in production in 1927, these were halo cars produced to get people into the showroom, and were produced in sparse numbers.'

Retro 1970's Orange 45 RPM & 33 & 1/3 RPM European Turntable

2011-05-26T01:45:00.000-04:00

This is a 100% vintage orange PHILIPS MUSIC 5120 portable record player, type D 5120/00 L. In typical 1970s orange/yellow color. Powered by mains or by batteries, the battery compartment is under the turntable.
This record player is in amazingly good condition, it is new and unused. It has never been used, was stored in its original box. Looks like new. Marginal signs of age on one side of the see-through lid, caused by contact with the power cable, but nothing major. Really sensational condition, immpossible to find in this good condition,these gorgeous pictures really tell its story.

Plays 33 and 45 rpm records, 7 and 12". Very nice 1970s design. NO DAMAGES, no rips or cracks. Tested, fully working. Comes with its original box and manual. One can not but receive an impression of the ultracool design and amazing good condition of this object. A highlight for Retro DJs and all turntable collectors and also the most perfect decoration for every Panton or Eames Modern 70s Design home.
Its dimensions are: 14 x 8 1/2 x 5"///35 x 22 x 12cm.

1926 Stutz Model AA Vertical Eight Touring Roadster Owned by Mr. & Mrs.Cornelius Vanderbilt

2011-05-10T10:53:00.002-04:00

'This 1926 Stutz Model AA Vertical Eight 4-passenger open touring car was originally purchased by Capitalist and Railroad Tycoon Cornelius Vanderbilt III for his wife Grace. (See vintage photo of both Cornelius and Grace in the car.) Cornelius and Grace enjoyed this Stutz so much that they kept it through the Great Depression and for the rest of their life as evidenced in the bill of sale that was signed by their daughter, Grace Vanderbilt Stevens, in 1955 two years after her mother passed away.

This Stutz was later owned by the Imperial Palace Casino in Las Vegas, as evidenced in the title transfer documents that we received prior to it becoming part of the Automotive Road of Dreams Museum collection located at the Orange County Fairgrounds in Costa Mesa, CA.

Cornelius Vanderbilt III (Sept. 5, 1873 - March 1, 1942) was a distinguished general in the military, inventor, engineer, yachtsman and the great-grandson of one of the richest Americans in history, Cornelius Vanderbilt. In 1896, Cornelius III married Grace Graham Wilson (Sept. 3, 1870 - Jan. 7, 1953), the youngest child of New York banker Richard T. Wilson, Sr. Cornelius and Grace remained married for life and had two children, Cornelius IV (born 1898) and Grace (1899 - 1964).

In the early 1920's, Charles Schwab and two other investors gained control of Stutz Motor Company and they were responsible for returning the Stutz brand back into the luxury-performance field by bringing in the experienced automotive executive and engineer, Frederic E. Moskovics.

Moskovics radically redesigned the car in 1926 by featuring a powerful eight-cylinder engine with an overhead camshaft, mounted in a low-slung chassis that could accommodate new stylish bodies, thereby capturing some of the previous magic of the early Stutz Automobiles. The new Stutz Model AA Vertical Eight was in a league all of it's own.

Fitted with the newly designed Vertical 8 engine, a single overhead cam straight eight that displaced 287 cubic inches. With the help of ‘twin ignition' (two spark plugs per cylinder) the engine delivered 92 horsepower. As luxury buyers heard good reports regarding the model AA's performance, along with its sleek looks, sales jumped to 5,000 units. Priced at over $3,000, it seemed that the new investors' investment would pay off.

However, as the great depression hit in 1929, the demand for expensive luxury cars plummeted and the Stutz Motor Company started to have trouble staying afloat.

Unfortunately, the Stutz Motor Company couldn't make it and the last Stutz was manufactured in 1934 after a total of only 35,000 cars being produced in the company’s storied 25-year history.

The Automotive Road of Dreams car collection included numerous prized antique, classic, race, special interest and muscle cars from the early 1900's on... The museum was open to the public for several years and the autos in their collection were on display fulltime and never driven. The museum was housed in a 14,000 square foot building located in the heart of Coastal Southern California at the Orange County Fairgrounds in Costa Mesa. See Chicago Tribune Article (10/11/2001):

http://articles.chicagotribune.com/2001-10-11/business/0110110315_1_car-enthusiasts-coach-builder-vintage

The museum closed a few years ago and part of the collection was sold at that time while several other cars have been stored away until now. This great car is part of the collection and it is being offered at auction on a "As-Is" basis due to the age of the vehicle and because this car has not been driven in many years. The photos were taken in the last few weeks, the car is complete as pictured and it ran well when we moved it to take the photographs . There are only 55,976 Miles on the odometer but we do not know if that is the true miles for this car.'

1910 Locomobile "Old 16" Model 30 Racer Runabout

2011-05-09T00:03:00.001-04:00

'Few would argue the greatest pre-World War I automobile in existence is the 1907 Locomobile "Old Sixteen." This 120hp Loco was the first American car to be victorious in the Vanderbilt Cup race in Long Island, besting a field of the finest factory cars from around the globe. Old Sixteen survives to this day in its original condition and is the rolling epitome of the heroic era of motor racing.
Even without this racing success, Locomobile would still have been regarded as one of the finest cars of the period, made to uncompromising standards of quality and without concern for cost. Locomobile's most famous feature that exemplified the quality of its construction was its solid bronze crankcase.
Locomobile originally rose to prominence producing steam cars to the Stanley brothers' design. These small carriages were the best selling American automobiles of the time. Recognizing that the future would not be paved with steam, Locomobile hired the brilliant designer Andrew Riker to design a new line of gasoline automobiles. A new factory was established in Bridgeport, Connecticut and 1905 saw the first Gasolene (Locomobile's literature used this spelling) range introduced.

Riker's designs were heavily influenced by the European manufacturers of the day. These new gas Locomobiles were designed with performance and speed in mind, taking from Europe the Panhard system of the engine up front, transmission in the middle, and the drive at the rear wheels. Powering these cars was a lovely T-head four-cylinder motor. The T-head engine offered excellent flow characteristics and allowed the builder to use very large valves. All of these early models drove the power through dual chain drive rear ends. By 1908, a new, more advanced mid size offering was needed to fill out the line. This need was answered with the Model 30.
The Model 30 had all the quality and design innovation of the big models but in a lighter, easier to manage size. The idea was to produce a car with a similar power to weight ratio of the large Locomobiles. The 4.5 inch x 4.5 inch, 286 cubic inch T-head engine put out 38.5hp. The square dimensions of the motor, combined with the four-cylinder configuration, made for a smooth free revving engine. New in this model was the driving of the power through a shaft drive rear end. The system was now perfected and suitable for high-powered sporting cars.

Auto Trade Journal reported on the road characteristics of the Model 30 in 1909 with such favorable remarks as "The Locomobile Model 30 Runabout handles to perfection" and "the car can do 55mph with ease." Apparently the Model 30's power was too much for the rainy conditions that day, as Hugh Dolnar reported that "the hind wheels tried to pass the front ones as soon as even half power was applied."
This Locomobile Model 30 is a rare early example of a speedster.
The heavy coachwork has been replaced by the bare essentials: two bucket seats, a large fuel tank, light fenders, and a couple of spare tires strapped to the back. This machine has been adapted to squeeze out as much speed and performance as possible. Obviously the Mercer race-about served as a model for this speedster. The mechanical systems of the two cars are very similar: 4.5 inch x 4.5 inch T-head four cylinder motor, four-speed transmission, bevel shaft drive rear end, oversized brakes, multiple disk clutch, right hand drive with outboard shift and brake.
One big difference between the Mercer and Loco was that the Loco cost almost a third more when new! The small bucket seats and large fuel tank and carefully shaped fender come together in a handsome and well-proportioned car. The admiration of the Mercer is evident even in the artillery wheels' having been changed to the Mercer size – lowering the chassis and improving road handling. The fuel tank, spare tire brackets, and bucket seats are quite obviously very old pieces. These items are high quality pre-war components and potentially indicate that this car had been converted very early in its existence.
This Locomobile has been a known participant in the antique hobby for over 60 years. The car was invited to participate in the 50th anniversary of the running of the Vanderbilt Cup race in Long Island. It was awarded a beautiful engraved and cloisonné plaque for second prize -- the plaque still adorns the car's dashboard. Peter Helck with his Old Sixteen, Henry Austin Clarke, Al Poole, and Joe Tracy attended this high-profile event. The car was listed for sale in the 1960s, with its $7500 asking price nearly triple the price of the Mercedes S listed on the same page!
The chassis is remarkably original and highly correct; even the original muffler is in place and in nice order. The brass work is very fine and fitting of such a quality car. The removable leather upholstery is in excellent order. The car is finished off with fine brass lighting, including a monocle windshield and Rushmore spot lamp.

It is very unusual to find a speedster on such a high quality chassis and one with such long established history. This car is certain to be great fun and a real attention getter at any HCCA touring event. With Mercer race-abouts and Stutz Bearcats trading in the million dollars plus range, this pedigreed speedster represents a great opportunity to acquire a sporting pre WWI example of one of America's greatest cars.'

Mother's Day 2011

2011-05-08T14:10:00.000-04:00

For My Mother: =Capitolie Azile Sutton/Frye March 25, 1928--July 15, 1976=

==I Love You & I Miss You==

1928 Diana Motorcar

2011-05-02T09:12:00.000-04:00

'Diana Motors Company of St. Louis was a wholly owned subsidiary of the Moon Motor Car Company. In Roman mythology Diana is goddess of the moon, which obviously was the reason for the name but, curiously, the company never dwelled on that fact much. It might be said that another goddess was involved as well, since the Diana’s radiator shell was virtual carbon copy of the Belgian Minerva. Diana / Moon did not dwell on that at all. The new company and the new car were announced by Stewart McDonald (president of Moon, who would hold the same position in Diana) in late May of 1925. The Diana itself arrived on June 25th, and was sensationally received. The company referred to it as “the easiest steering car in America,”

”the only car built entirely for balloon tires,” and “a car for women drivers.” In performance testing the Diana reported fuel consumption of 15 to 18 mpg. With maximum speeds up to 70mph. The car’s engine was a 72hp Continental straight-eight. It was as an up market motorcar of high style that the Diana truly shown.

Diana Motors claimed its “Composite Steel Body” to be a first, which is moot, though narrow steel windshield posts effectively enhanced visibility. Hydraulic four –wheel brakes were fitted as well as the Lanchester Vibration Dampener, both progressive features, though the Diana is perhaps better remembered for sporting one of the loveliest radiator mascots ever to appear on an American car.'

1880's Wooten Desk

2011-04-30T12:07:00.000-04:00

'These elaborate desks were designed and patented by William S. Wooton, born in 1835, the 8th of 13 children. In 1870 he formed the Wooton Desk Company after winning a $5 first prize for a school house desk at the Indiana State Fair for which he applied and was granted a U.S. patent in 1868 (#83,896). His most important patent #155,604 was granted on October 6, 1874 for "Wooton's Patent Cabinet Office Secretary". This ingenuity lead to full scale production in Indianapolis, Indiana in 1874 and continued through 1891, although Wooton retired and became a preacher in 1884.

He died in 1907 at the age of 72. Wooton's patents merged fine hand craftsmanship with the new technologies of the Industrial Revolution. The design of the desks provided an ingenious solution to the businessman's increasing problem of organization to keep up with the rapid expansion and growing complexity of business during this historical period. Wootons list of recorded customers demonstrates his accurate assessment of the businessman's needs and the historical importance these desks played in the formation of American commerce. Presidents Grant, Garfield, Harrison, Queen Victoria, John D. Rockefeller, Joseph Scribner and Jay Gould were but a few of the luminaries who depended upon these desks to organize their daily routine. Even today, the Smithsonian Institution still utilizes its patent secretary, purchased new in 1876 - one hundred and twenty-four years of continuous use. Probably the most recognized piece of the Victorian Era, the Wooton desk is the centerpiece of any 19th century American furniture exhibition. Most museums have " The Desk of the Age " in their collection. A 94 page book, published in 1983, by the Indiana State and Oakland Museums, is devoted solely to the history of the Wooton Desk company and the evolution of 19th Century office.'

William and Catherine April 29, 2011

2011-04-29T06:25:00.000-04:00

1927 Marmon E-75 Model Limousine

2011-04-24T15:44:00.000-04:00

'The Model 32 of 1909 spawned the Wasp, winner of the first Indianapolis 500 motor race. This car featured the world's first rear-view mirror.
The 1913 Model 48 was a left-hand steering tourer with a cast aluminum body and electric headlights and horn, as well as electric courtesy lights for the dash and doors. It used a 573 in3 (9382 cc) (4½×6-inch, 114×152 mm) T-head straight-6 engine of between 48 and 80 hp (36 and 60 kW) with dual-plug ignition[3] and electric starter. It had a 145 in (3683 mm) wheelbase (long for the era) and 36×4½-inch (91×11.4 cm) front/37×5-inch (94×12.7 cm) rear wheels (which would interchange front and rear)[4] and full-elliptic front and ¾-elliptic springs. Like most cars of the era, it came complete with a tool kit; in Marmon's case, it offered jack, power tire pump, chassis oiler, tire patch kit, and trouble light. The 48 came in a variety of models: two-, four-, five-, or seven-passenger tourers at US$5000, seven-passenger limousine at US$6250, seven-passenger landaulette at US$6350, and seven-passenger Berlin limousine at US$6450. (By contrast, a Colt Runabout was US$1500, an Enger 40 US$2000, and American's base model was US$4250.
The 1916 Model 34 used an aluminum straight-6, and used aluminum in the body and chassis to reduce overall weight to just 3295 lb (1495 kg). A Model 34 was driven coast to coast as a publicity stunt, beating Erwin "Cannonball" Baker's record to much fanfare.
New models were introduced for 1924, replacing the long-lived Model 34, but the company was facing financial trouble, and in 1926 was reorganized as the Marmon Motor Car Co.

In 1929, Marmon introduced an under-$1,000 straight-8 car, the Roosevelt, but the stock market crash of 1929 made the company's problems worse. Howard Marmon had begun working on the world's first V16 engine in 1927, but was unable to complete the production Sixteen until 1931. By that time, Cadillac had already introduced their V-16, designed by ex-Marmon engineer Owen Nacker. Peerless, too, was developing a V16 with help from an ex-Marmon engineer, James Bohannon.

The Marmon Sixteen was produced for just three years, with 400 examples made. The engine displaced 491 in³ (8.0 L) and produced 200 hp (149 kW). It was an all-aluminum design with steel cylinder liners and a 45° bank angle.

Marmon discontinued automobile production in 1933, the worst year of the Great Depression.
Marmon was notable as having introduced the rear-view mirror as well as pioneering both the V16 engine and the use of aluminum in auto manufacturing.'

Last Quarter of the 19th Century Egg Cup & Toast Rack

2011-04-19T06:27:00.000-04:00

'This stunning vintage silver plated egg cup/toast rack set comes in excellent condition, the base can be turned by hand when the rack is stationary on a table top, I think its a truely breathtaking design/piece. Its made by Hukin & Heath of Birmingham. The rack is stamped with the Hukin & Heath stamps 21048 Registered.
Hukin & Heath of Birmingham:

The firm was established in Birmingham in 1855 by Jonathan Wilson Hukin and John Thomas Heath. The firm's association with Christopher Dresser began in 1877; the first registered design dates from 1878, and others were entered up to 1881. Dresser's designs were launched at the opening of the firm's showrooms in Charterhouse Street in August 1879. In 1904 the business was converted under the style of Hukin & Heath Ltd. The later company closed in 1953.
The four egg cups aren't stamped and appear to be from a different set as are the teaspoons which are stamped EPNS.
The rack measures approx: 7.75" inches (19.7cm) high by 7" inches (17.7cm) in diameter.
The egg cups measure approx: 2.5 inches (6.3cm) high by 1.8" inches (4.5cm) in diameter.
The teaspoons measure approx: 5" inches (12.7cm) long by 1.1" inches (2.8cm) wide.'

Simon Wing Very Rare Daguerreotype Camera of 1860

2011-04-17T07:24:00.000-04:00

'A very rare original Simon Wing 1860 multiplying view camera, which may be the earliest of its kind still in existence. This early Southworth and Hawes designed studio camera was used for multiple images on a single 5'' x 7'' wet collodion glass plate, and was made by Simon Wing in Charlestown, Massachusetts circa 1860. Originally owned and used by daguerreotypist and photographer, O.W. Detwiler of Canton, Missouri, with his familial provenance included. Also previously on loan to The Museum of Fine Arts in Houston, Texas as part of an exhibition titled ''Turning Light into Silver'' from January 2005 to June 2005. The brass turning knobs are all demarcated with ''S WING'S PAT'' and ''DEC 4 1860.'' Constructed using fine grain wood and brass fittings. The camera consists of the storage box base, the back which is attached to the storage box base, the bellows which are attached to the back and the movable front shadow box where the lens is on a removable lens board that can be placed in one of four slots that are spaced at different distances from the back within the shadow box depending on the focal length of the lens. Viewing of the subject is done while looking at the image which is upside down on the removable ground glass back. Focusing is achieved by turning the brass knob on the lower right side of the storage box base, which moves the front shadow box - forward or back. This movable front shadow box is connected with the back via a square cornered leather bellows. The back of the camera is constructed so that vertical and lateral movements can be adjusted in order that several separate multiple images can be produced on one plate. There is a brass plate on the left side front of the back with measurements engraved to measure how far the holder is moved up or down to assist in the exact placement of the multiple images on the collodion covered glass plate. The back is solidly connected to the base on which the shadow box front is supported. There is a storage area in the base that is accessed via a fold down front door. The shutter was a hinged wood flap, which is now missing but easily replaced, that covered and uncovered the shadow box front. The shadow box front is roughly 10'' x 10''; the storage box base is 14'' x 6''; the back is 19.75'' x 22''; the base board is 14.75'' x 15''. Minor flaws include: lens board is not original to the camera; split in the wood on the right side of the storage box base; hinged shutter is missing; only one brass hinge on the top of the lid and one place in the wood that shows where the other brass hinge was located for the shutter; in the down position the bar does not contact the gear connected to the top knob or wheel on the top back of the camera. Also includes original Simon Wing tripod, one original S. Wing ground glass focusing insert, two original S. Wing wet collodion plate holders and one R. Walzl #670 brass rack with pinion drive waterhouse stop brass lens. Very good condition overall. The camera, lens and backs weigh approximately 50 pounds and the tripod weighs over 60 pounds. A very rare camera, with only one other known to be housed at the Kodak Museum.'

Hound for Heroes Event April 9, 2011

2011-04-08T13:00:00.000-04:00

Noon to 3 P.M. at Dogtopia, Charlotte N.C.

1922 Wizard Microphone in Original Box with Inserts

2011-03-13T05:05:00.001-04:00

'The Wizard Radio Microphone manufactured by Newman-Stern Co., Cleveland, OH was actually a separate microphone that attached to the "detector tube" on your radio. And not to worry, it's "Free of Shocks". Once connected it allowed the user to broadcast their own voice through their radio. For those that follow Jean Shepherd, as I do, one of his 1960's WOR programs involved the "old man" hooking up the Wizard and getting the shock of his life.
The neat thing about it is that it was never used. The cloth covered wiring is still factory coiled. The microphone is a phenol based hard plastic with a copper finished screen on one side and an on/off push button on the other.
Included is a separate envelope containing rubber insulators. It's never been opened!
There's an extremely complicated instruction sheet. I read through the whole thing. Although it's not difficult the chances of making a "small mistake" are great. The sheet itself features a wide panel comic illustration showing the Wizard Radio Microphone in action. It was drawn by golden age comic artist Mel Graff who went on to draw Agent X-9 for daily strips and Big Little Books.
All of this "stuff" comes packed in its original illustrated box. Just looking at the style of text and print on the box "exudes" the 1920's..... and it too, is in mint condition!
Size: Microphone 4" tall. Condition: Microphone is perfect without a single chip, scratch, scuff, rub, or anything else, but of course it's aged and probably brittle. Instructions have yellowed, but they're complete with only original factory folds. The insulator envelope is also aged, but in mint condition. And the box, again, is darkened from age, but still unused and perfect. Doesn't look like it's been handled in a very long time!'

1926 Crosley Jewelbox Radio with Stand

2011-03-07T17:47:00.001-05:00

After some searching on the internet, and I can find quite a few Crosley Type D Musicone Speakers, as well as Crosley Jewelbox Tube Radios, however, I cannot find another example of the original Cast Iron Radio Stand that came along with this radio and speaker. This is not a marriage, but the original stand made by Crosley. This antique, circa 1920s Crosley Radio, Speaker & Stand are in very good original untouched condition. There is some minor surface wear from years of use, however there are no breaks or any repairs. The Crosley Type D Musicone Speaker measures 11 ½” diameter by 12” tall. This speaker is in very good condition, however I have not tested it. The Jewelbox 8-Tube Radio measures 18” long, 12 ½” wide by 6 ½” tall. I have no way of testing the original tubes that are inside this radio,

and you will find an arrow pointing to one missing tube. I guarantee that the rest of this radio is in original, complete condition and that the high bidder will be more than satisfied with its age, quality and condition. ... Along with this antique Crosley Radio comes the 28 ¾” tall, 18 ½” wide and 13” deep Cast Iron Stand you see in my photographs. The Radio fits perfectly on top of this stand it is guaranteed to be made for and by Crosley Radios. This stand is also in perfect original condition and still retains its gold gilded accents.

1929 Ford Model A Woody

2011-02-18T17:02:00.000-05:00

Collectors Dream

ONLY A FEW THOUSAND EXIST IN THE WORLD, AND ONLY A FEW, IF ANY, IN THIS CONDITION.
Absolutely beautiful and meticulously maintained 1929 Ford Model A Woody. This is one of the cleanest and most beautiful examples of a Model A you can get your hands on. I have invested a fortune into this vehicle, but do to moving overseas soon, I am forced to sell her. Starts EVERY time first time. Motor rebuilt with very few miles on it. Wood all band new, garaged for past 7 years in my possession. this is a real head turner where ever you go. You would think you just pulled off the Ford lot in 1929 from it's condition. Introduced in January, 1929 as part of the new Model A line (and named the Model 150-A), the first 'assembly line' station wagon sold for $695 over 80 years ago. It was still linked with Ford's commercial vehicles, but used mostly components from the automotive line. The body is made of maple with birch paneling although this particular one had the wood completely changed and re-done to new condition, originally was specified with an 8-passenger capacity. Shades of today's minivans, you could remove the 2nd and 3rd row of seats for additional cargo capacity.

4,959 of these wagons were produced in 1929. They were assembled at both Murray and at the Baker-Raulang Co. in Cleveland.
Interestingly enough, although Ford was finally producing a wagon 'in-house', various other manufacturer's were still putting wagon bodies on Ford chassis in 1929. Overall its in great condition for being over 80 years old.
OTHER 1929 MODEL A’s!
A: $55,000 http://autos.dir.groups.yahoo.com/group/stationwagon/message/3447

B: $33,000 http://www.hemmings.com/classifieds/dealer/ford/model_a/1183111.html

C: $29,000 http://www.classyauto.com/v/Ford+Model+A/Woody+Station+Wagon/98589 VIDEO:http://www.youtube.com/watch?v=XKeEMIPvdVI

1894 Victoria Overman Wheel Company Ladies Bicycle

2011-02-01T20:25:00.001-05:00

'The bicycle presented here is believed to be the finest example of this machine in regards to its completion and original finish known to exist. It is mechanically complete and ridable and retains approximately 90+ % of its original nickel and enamel making it an ideal candidate for a very superficial conservation. Look at the nuts and bolts and you scarcely notice a mark from a wrench. Just plainly amazing condition. By all indications it was lightly used and well stored to have survived so well.

This bike retains it's original "trap door pneumatic rims" in wonderful condition. The original tires which were proprietary and never survive to this day in usable condition were replaced with solid rubber replacements prior to my acquiring this machine. In many cases, the original trap door rims have been replaced on early Victors because of the inability to secure tires for them. Obviously not in this case though.

The original 1894 owner installed then what today is an excessively rare divided ladies hygienic independent swivel saddle. It retains its original leather in wonderful condition. Grips were at some point replaced with early celluloid grips. The rubber guards are of course not present as the natural rubber could not have survived the intervening 117 years.

The nameplate or head-badge is in amazing condition and bears patent dates no later than May, 1892.

The pedals are in astounding condition retaining even clear patent dates in the original rubber blocks and yet retain the felt dust washers on the outer bearing adjustment.

The original Victor block chain is as near pristine as i have ever seen on a bicycle with only a few small isolated spots of superficial surface oxidation.

The brake and its associated hardware are all present, functional and in amazing condition.

All spokes and nipples are present and perfectly sound which is an important consideration in a machine that uses a non-standard spoke such as these.

Per the Catalog description below, this particular bike is equipped with the optional 28 inch wheels and is geared 16x8.

This is a rather large bike with wide, tall handlebars and those big 28 inch wheels. As pictured, there is 24 inches from the saddle top to the center of the crank axle. The saddle could be either lowered an inch or so, or raised about 5 inches. With the 5 3/4 inch cranks, the reach to the pedals can be therefore adjusted anywhere between about 28 inches to almost 35 inches.

Fine early pneumatic safeties in museum quality condition just do not become available anymore most of them having already been installed into large private collections and traded privately. This particular machine has spent the last 20 years of it's life at a public transportation museum locally.'