Little Japanese Treasures

 

QUESTION: While most people go to antique shows looking for items to add to their collections, I go to see what I can discover that I’ve never seen before. And though the larger items dominate the show, I prefer to look in the glass cases of smalls—objects too small to display on the table by themselves. At a recent show, I was looking intensely in one of these display cases and discovered several small sculptures of figures and animals. Some seemed to be made of ivory or bone while others had been carved from various types of exotic hardwoods. The dealer referred to them as “netsuke” and added that they usually hung on the strings of an inro, a small wooden purse worn by men in traditional Japanese dress. What can you tell me about these intriguing items? They weren’t cheap, so I’m guessing that they’re pretty valuable.

ANSWER: Antique Japanese netsuke (pronounced "netski") have been prized by collectors since the late 19th century for their beauty and aesthetic appeal. From the 17th through mid-19th century, Japanese citizens wore the kimono, a simple T-shaped robe wrapped around the body and held in place with an obi sash. In order to carry small items such as tobacco, medicine, and seals, ingeniously made sagemono, meaning  “hanging things,”) hung on cords from the obi sash

Netsuke served as anchors or counterweights for stacked, nested containers, known as inrô and sagemono which held personal seals and medicine. Eventually, craftsmen divided the inro into sections to hold money, perfume, and tobacco. The wearer threaded a single cord through a cord channel on one side of the suspended container, through two holes in the netsuke, then through the other side of the container, and knotted on the underside of the container. A decorative bead, or ojime, slid along the cord between the netsuke and sagemono, allowing the user to open and close the container.

The wearer would slip the netsuke under and dangle it over the obi, allowing the sagemono to hang suspended between waist and hip. In order to access the contents of the sagemono, the wearer slipped the netsuke behind the obi sash, liberating the ensemble. By sliding the ojime toward the netsuke, the contents of the container could easily be accessed.

Originally worn as part of a male kimono ensemble by men of the warrior class, inro and netsuke evolved into a mark of class, with warriors at the top, followed by farmers who tilled the land, artisans who crafted material goods, and merchants at the bottom.

Because merchants were economically better off than many members of the socially superior military class, inro and netsuke also allowed merchants to display their wealth.  Inro and netsuke, often made of expensive, rare materials and bearing the signature and seal of the carver, were an indication of wealth. 

Sculptors most often carved netsuke from wood or ivory, but as their popularity and status increased, they made them of richer materials, such as mother of pearl, porcelain, lacquer, amber, and semi-precious stones. If a collector finds a netsuke made of two materials, it's probably from a later period. Ranging in size from one to three inches, sculptors carved these tiny treasures in a wide variety of forms, including shells, animals, vegetables, and favorite characters from Oriental folklore and religion.

Netsuke carvers preferred boxwood for its fine grain and durability. They also used various types of native Japanese wood—cypress, cherry, black persimmon, yew, camphor, zelkova, and camellia. However, one of the most popular materials for netsuke was elephant tusk ivory. 

These little sculptures came in many forms, such as badgers, known for their mischievous pranks, or carp, the symbol for courage. Some took the shape of a  baku, a mythic, elephant-like creature believed to eat the nightmares of those who sleep on a piece of paper bearing its name.

Netsuke carvers worked with general subjects but in an often lighthearted, humorous way. Originally, they created netsuke of wood to be worn, and eventually discarded after daily use. Carvers also made sure their netsuke had no sharp edges and balanced them so they hung correctly on the man’s sash. A netsuke’s size depended on the weight of the inro and the proportions of the owner.

Carvers used the tusks of walrus or narwhal or the teeth of a sperm whale, as well as woods such as mahogany and ebony, to carve the best netsuke. Most of the best netsuke sculptors at the peak of fancy netsuke lived near where marine ivory was more plentiful. They began using this material because they knew how to carve it. It’s not only the subject of each netsuke, rather than the material used, but the extraordinary workmanship that gives each one its special artistic appeal.

Traditionally, netsuke carvers worked in specific formats. Three-dimensional figures, or katabori, account for the most of them. Carved in the round and often referred to as miniature sculptures, the undersides of which were also completely carved. Rounded forms, named after the round sweet bean cakes they resemble, were also quite popular. Another conventional netsuke shape is the kagami, or mirror, consisting of a round, bowl-shaped base and a lid fashioned of a flat disk of metal. Craftsmen employed a variety of metals, such as brass, bronze, copper, gold, iron, pewter, and silver. Carvers favored two alloys, shakudo, made by combining copper and gold,  and shibuichi, combining copper and silver, for their range of colors and patina.

Carvers drew on varied themes for these accessories—nature, mythical tales, historical figures, masks used in theatrical performances, and gods and demons. Other themes included h erotica, the grotesque, or parodies and satirical depictions of elite culture. 

Some of the best Japanese artists, such as Yamada Hojitsu and Shuzan, carved netsuke. But it’s those who specialized in making them that collectors prefer.

Eventually, netsuke represented the fashions, fancies, and fables of Japanese society. After the reopening of Japan to the West in 1853, Japanese gentlemen soon took to wearing western style suits with pockets, and the need for carrying an inro with its accompanying netsuke quickly disappeared.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Coffee--The Brew of Life" in the 2023 Summer Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Just a Bit of Whimsy

 

QUESTION: Recently, while browsing the booths at an antiques coop, I came across several kitschy ceramic planters. One had the form a sadiron, another had the form of a decorated rolling pin. Neither one had a mark. Do you have any idea which pottery produced these funky pieces?

ANSWER: It looks like you found some pieces of Cameo China ware. Cameo China, of Wellsville, Ohio, is one of the least known of the many novelty potteries that once operated along the Ohio River during the late 1940s and early 1950s. Because few of its products had marks, they’re difficult to recognize.

The Cameo China Company, an outgrowth of the Chic Pottery Company, operated in a portion of Wellsville's old United States Pottery Co., side by side with the better known Purinton Pottery, before the latter moved to Shippingsville, Pennsylvania in 1940, and Chic moved to Zanesvifle, Ohio. The United States Pottery Company, a manufacturer of semivitreous toilet and table wares from 1898 until 1932, fell victim to the Great Depression.

John Purinton purchased the pottery in 1936 and began producing colorful, hand-painted "peasantware" and fruit decorated kitchenware. He allowed Dana K. Harvey to use the southern portion of the factory for the Chic Pottery Company Harvey operated Chic Pottery in Wellsville and later in Zanesville, Ohio.

Both Hugh Garee, the mold maker for Chic Pottery, and Sam Corsello, who had  worked for the old United States Pottery, worked for both Chic and Purinton Pottery  during those early years. Corsello did just about everything at Chic's pottery, from pouring slip to firing gold, and Garee designed molds for both Chic and Purinton

Hugh Garee was born in Toronto, Ohio, in1875, the son of Albert and Eathenorah Burchfield Garee. His father, Albert, was a "pottery hand" in New Cumberland, West Viriginia, in 1880. Garre moved to Ontario, Canada, in 1897, and in 1900 worked  in Mimico, Ontario, as a brancher, making "branched" sewer tile at the Ontario Sewer Pipe Co.  He continued to work at various potteries in eastern Ohio and western Pennsylvania.

Garre worked for a number of potteries, including Salem China, Bedford China, Sebring China, Selo Pottery, Homer Laughlin, and Shenango China as a mold maker and/or designer. In 1929, he moved to Minerva, Ohio, where he worked for Owen China. 

In 1946, Hugh Garee and Sam Corsello continued to operate the Cameo China Company while Corsello worked for Acme Craft Ware. Garee, his son Mac, and J.Lee Pickering incorporated the business on October 9, 1948. Cameo operations included a small, 40-foot-long tunnel kiln but were sufficient to keep 21 women employed. 

Mac Garee sold Cameo China pieces at the Garee Scott Clothing Store in Minerva, Ohio, while at the same time advertising Cameo wares in American Home and similar decorating magazines. Particularly popular were Cameo's rolling pin and flatiron planters, usually decorated with a rose decal, and various salt and pepper shakers.

Among Cameo’s known designs are a pair of salt and pepper shakers representing a coal stove and coal bucket, male and female torsos in old-fashioned undergarments, two sizes of a standing alligator, a pair of clasped hands, and a pair of bare feet with brightly colored toenails and a definite orthopedic problem involving the big toe—the best known pieces. The smiling alligator, the most appealing, appeared several years before the Disney movie version of "Peter Pan:" As for the painfully if humorously disjointed feet, Japanese and American copies are far more common than the Cameo originals. Cameo China had the foresight to copyright them, although most potteries paid little attention to copyright laws.

Japanese imports quickly spelled the end of Cameo China's prosperity, however. Hugh Garee's sight completely failed in 1951, and son Mac Garee, who had worked with his father since the age of 13, continued to manage the pottery for a time, working day and night to fill orders. The Garees wisely sold their part of Cameo China to Sam Corsello, who continued to operate it for a few more years with his son Russell. 

Garee used a kick wheel for many years. He created his own tools by hand from kitchen utensils and other readily available utensils.

 produced a leaping fish as a hair receiver for Chic, and later made a very similar shape for Cameo. While only slight differences in form distinguish the two, they can easily be identified by differences in decoration—Cameo used airbrushing more often--- but especially by glaze and density. Chic pottery’s pieces weren’t as well fired, causing fine crazing, and was off-white or ivory color. Cameo’s ware was denser, whiter and less subject to crazing.

Cameo China's lady head vase is one of the few pieces clearly identified with an impressed "C.C.Co. U.S.A." mark. (Both Chic and Cameo often used a small, block-letter "U.S.A." in-mold mark along the inside edge of the base.) The lady head vase is distinguished by sponged gold hair, a gold trimmed flower at the neck and a red, cold-painted flower in the hair. A "Cameo China"mark in gold script mark was also used on some pieces.

Cameo's 6-inch-high "Mammy and chef cream and sugar set" been recognized; it was patented Sept. 1, 1949. Finally, a "Golf bag and two clubs" was patented June 11, 1951, undoubtedly one of the last pieces that Hugh Game designed before he lost his sight. Although unmarked, the golf bag planter with two clubs has rather prominent "USA 51" impressed near the bottom. 

 Hugh Garee's distinctive and considerable ability from the pottery novelties produced by Cameo China alone. A much better idea of his skill is gained by examining the wide variety of shapes he designed for Chic Pottery.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Advertising of the Past" in the 2023 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Affordable Italian Majolica

 

QUESTION: Recently, I’ve fallen in love with Italian majolica pottery. While some consider it garish, I find the colorful motifs uplifting. The prices I’ve seen for it online seem to be all over the place. But there are some lovely pieces available for around $50. Is this a good item to collect? The styles also seem quite varied. Can you tell me more about its history and about some of the styles?

ANSWER: Compared to English majolica, the Italian versions, for the most part, are still relatively low in price, so therefore, affordable. And as with any other antique or collectible, you should collect what you like, regardless of what other people think. Italian majolica of one sort or another is still being produced from Tuscany in the north to Sicily in the south. 

Even though the English Victorians displayed the bright colors and fanciful shapes of majolica pottery to give the appearance of wealth, no one made majolica like the Italians.  

So what exactly is majolica ware? Majolica is a soft and porous earthenware with molded designs that artists hand decorate in brilliant colors. It has a thick coat of clear metallic glaze made up of metallic oxides added to clear lead sulfates which produces its vivid colors.

This type of pottery originated over 2,000 years ago in North Africa, where potters introduced the technique of adding an opaque tin glaze to baked clay. During the 8th century, when the Moors joined together to conquer Spain, they brought the secrets of majolica with them.

During the Renaissance, Spaniards exported their version of tin-glazed pottery to Italy from Majorca, an island shipping port in the Mediterranean. The Italians called the colorful pottery “majolica,” as this was how they spelled the Spanish island's name.

From the late 13th century, potters in central Italy, especially in and around Florence, refined production of tin-glazed earthenware. But it wasn’t until the 15th-century that potters began to appreciate the full artistic potential of majolica. Famous 15th-century sculptor Luca della Robbia wanted to add color to his creations, and the new material was perfect. He and his family became renowned for creating large wreaths of naturalistic majolica fruit. The success of their wares encouraged the production of majolica in both Arezzo and Siena.

But by the second half of the 15th century, Florence had lost its pre-eminence as a center of majolica production, and its manufacture scattered out among small communes..

Potters from Montelupo set up the potteries at Cafaggiolo. In 1490, twenty-three master potters of Montelupo agreed to sell the year's production to Francesco Antinori of Florence. Montelupo provided the experienced potters who the Medici family set up in 1495 at the Villa Medicea di Cafaggiolo.

In the 16th century, potters began to produce majolica at Castel Durante, Urbino, Gubbio, and Pesaro. The early 16th century witnessed the development of istoriato wares on which artists painted historical and mythical scenes in great detail. And by the end of the 16th century, potters in Venice, Padua, and Turin and as far south as  Palermo and Caltagirone in Sicily began producing majolica.

The variety of majolica styles that arose in the 16th century defies classification. Dozens of styles emerged with even more sub-groups, each with its own shapes and decorative motifs. Italian city states encouraged the pottery industry by offering tax relief, citizenship, monopoly rights, and protection from outside imports.

Cipriano Piccolpasso compiled an important mid-16th century document that discussed  the techniques of majolica painting. He noted the work of individual 16th-century masters like Nicola da Urbino, Francesco Xanto Avelli, Guido Durantino and Orazio Fontana of Urbino, Mastro Giorgio of Gubbio and Maestro Domenigo of Venice.

During the 18th century, majolica wares came under increasing competition from porcelain manufacturers. To  face this competition, majolica potters introduced the process of third firing, called  piccolo fuoco in the mid-18th century. After the traditional two firings at 1750°F, potters painted the vitrified glaze with colors that would have degraded at such high temperatures, then fired the pieces a third time at a lower temperature, about 1100 to 1200°F. Potters introduced new vibrant colors, particularly red and various shades of pink obtained from gold chloride. 

Historians believe that one of the first to introduce this technique in Italy was Ferretti in Lodi, in northern Italy. Lodi majolica had already reached high quality in the second quarter of the 18th century. With the introduction of the third firing technique and increasing interest in botany and scientific observation, potters developed a refined production of majolica decorated with naturalistic flowers.

The Ginori family founded a factory to produce majolica in Milan in 1735. The company's head chemist, Giusto Giusti, began experimenting with traditional majolica techniques in the 1840s, and the company began producing outstanding examples of Victorian majolica in the 1850s.

Ginori made monumental display vases and wall plaques to decorate the halls and stairwells of middle class Victorian homes. The company's 's specialty was its “grotesque” decoration. Taken from ancient Roman art, the bizarre creatures were a combination of animal, human and plant forms. Ginori was a very successful majolica producer and enjoyed royal patronage. Most majolica items made by the firm are marked with a crown above the word "GINORI. ".

Ulisse Cantagalli of Florence was another large producer of 19th-century Italian majolica. From the 1870s until 1901, Cantagalli produced a tremendous amount of majolica to be sold at moderate prices. A company catalog dated 1895 lists almost 1,100 majolica pieces. Catagalli's early wares were replicas of the reliefs by della Robbia. His luster glazes showed a strong Spanish-Moorish influence. The company’s pieces bear the mark "CANTAGAL FIRENCE" and an encircled rooster seal.

Production of Italian majolica wares continues today, mainly in reproductions of the historical style. Contemporary majolica looks different from old majolica because its glaze is usually made more opaque with cheaper zircon rather than tin. However, some potteries specialize in making authentic looking Renaissance-style pieces with genuine tin glaze.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Advertising of the Past" in the 2023 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Happy Meals for Happy Kids

 

QUESTION: I was going through some boxes in our attic and discovered one filled with those little toys my kids used to get in McDonald’s Happy Meals. Most people, especially mothers, consider these junk. Do they have any value or should I just toss them?

ANSWER: Believe it or not, some of those little toys are actually little treasures, depending on their condition. McDonald's is famous for its Happy Meals, and kids the world over I have been fattened up on weekly doses of them for over 40 years. Since the early 1980s,  the main hook has been the toy included with the meal. 

Many collectors of McDonald's memorabilia are mostly interested in toys that relate to specific McDonald's characters, but there have also been many tie-ins with established movie, TV and toy lines. Those tie-in items appeal to collectors who are specifically interested in what the Happy Meals promoted.

The first major tie-in to the action adventure market was with Star Trek. The series  returned from TV limbo in the form of a highly promoted film in 1979, and producers planned a huge promotion. This included Star Trek Happy Meals based on the movie. Six different boxes featured activities. One box encouraged kids to fill in the dots to complete a picture of the Enterprise while another offered a chance to decode a message with Mr. Spock, and so on. Toys and premiums included plastic Video Communicators, iron-on transfers of the characters and the Federation symbol, and "Navigational" wrist bracelets. 

Just as collectible are the items that McDonald’s made available to their restaurants, such as display signs, a cardboard Enterprise, and, rarest of all, a silver smock worn by McDonald's employees, which featured an emblem that combined the Star Trek and McDonald's logos. 

Another heavily merchandised franchise was The Dukes of Hazzard, the campy rural action show that dominated TV in the early 1980s. In the summer of 1982, McDonald’s  test marketed a Dukes of Hazzard promotion in St. Louis. The items included plastic cups with pictures of the various characters, and vacuumed plastic meal containers in the shape of the vehicles from the series, including the General Lee car and Daisy's Jeep.

Hot Wheels came to McDonald's in 1983.The cars were the subject of a national promotion, but there were also certain cars distributed only on the East Coast, and some only on the West Coast. Others appeared nationwide. McDonald’s offered 14 Hot Wheels cars in Happy Meals at any given location. There were "Collect All 14" store displays that included these 14 cars. The cars from this promotion individually sell for  $10 to $15, but the 14-car display unit commands can sell for between $300 and $400.

E.T. was a huge promotion for McDonald's, thanks to the family-friendly appeal of the movie. Although E.T. appeared in theaters in the early 1980s, the first Happy Meal with an ET theme didn’t go on sale until 1985. It offered  two different box designs and a series of four posters depicting scenes from the film.

Hasbro, the toy industry giant, got into Happy Meals with a combined promotion for Transformers and My Little Pony. Transformers, robots that became vehicles and other mechanical devices, were one of the top selling action figure lines of the 1980s. Each original Happy Meal promotion include four different small Transformers. Today, they sell for between $40 and150 each for diehard Transformers collectors and up to $100 if they’re still in their cellophane baggie packs.

Ghostbusters, the cartoon TV show known as the Real Ghostbusters spun off of the hit movie, became the next big craze for kids in the action/adventure genre. Ghostbusters appeared in McDonald's Happy Meals in 1977 with four different boxes and school supplies based on the Marshmallow Man and Slimer ghosts seen in the film and cartoon series. These included a pencil case, ruler, note pad and eraser, pencil and pencil topper, and pencil sharpener. All are difficult to find and highly collectible.

Hot Wheels returned in 1989 with more cars available in different regions. There was a 12-ear display that now sells for $300, followed by repeated promotions, shared by Mattel's other titan, Barbie, throughout the 1990s.

Not to be outdone, Matchbox also had a promotion in 1988, featuring a 16-car counter display and cars that now sell for $8 to $10 each.

The I990s proved to be even mare interesting for action-adventure tie-ins, as several popular super heroes became involved with Happy Meal promotions.

1991 saw McDonald's teaming with Disney to promote Hook, the retelling of Peter Pan with Robin Williams and Dustin Hoffman. The official Hook Happy Meal boxes, which featured striking artwork, contained four Hook floating bathtub toys.

A tie-in with the TV cartoon version of Back To The Future caused some controversy. The assortment consisted of four rolling toys, but Doc's time traveling Delorean car had wheels that small children could remove and swallow. McDonald's issued an advisory to parents, urging them to avoid giving the cars to small children. The next big promotion also had its share of problems.

In 1992, McDonald's was ready to cash in on Batman merchandising and featured a big promotion involving Batman Returns with four vehicle toys, including Catwoman’s car. 

For some reason, Halloween toys are usually big hits. The Ronald and Pals Haunted Halloween McDonald’s Happy Meal set featured a 20-inch display used at McDonald's restaurants in the 1990s. The company ran their 1998 promotion nationally during October. Unfortunately, many store managers trashed most of the displays afterward. The promotion included six toys—I am Hungry, Witch Birdie, Black Cat Grimace, Jack-o-lantern McNugget Buddy, Ghost Ronald, Scarecrow Hamburglar and Ghoul.

The McDonald’s Happy Meal for Disney Toy Story2 in 1999 includes pretty much every recognizable toy from the "Toy Story 2" movie. The complete set included an incredible  20 toys, which doesn’t seem possible for the movie.

Not all McDonald's toys were tiny plastic junk. Some, like It’s Happy Meal Girl Doll from 1997,  were big plastic junk, part of a series of Happy Meal baby dolls. Actually, these dolls were surprisingly well made for something produced by a burger chain.

And while the intention of Happy Meals was to get kids to eat McDonald’s foods and make them happy, those same little toys are making many collectors happy as well. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Advertising of the Past" in the 2023 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Collectibles for Beer Lovers

 

QUESTION: Along with enjoying a variety of beers, I've also started collecting beer-related items. So far, I've collected mostly small items—bottle openers, coasters, glasses, and a variety of cans from various breweries. But there are so many things out there, I'm not sure what to do next. Can you help me get some direction to my collecting?

ANSWER: Collecting beer-related memorabilia is one of the most popular pastimes. But because the number of items varies greatly, collecting beer-related items can be daunting. 

The Chinese have been brewing beer for over 5,000 years. The Greeks and Romans revered it as a healthy beverage. But during the Middle Ages in Europe beer drinking was popular because beer was cleaner than the water.

Beer has been a part of American culture since the first Virginia colonists began brewing ale from corn in 1587. Adrian Block & Hans Christiansen's brewhouse at the southern tip of New Amsterdam, now Manhattan, was the first brewery established in the New World. 

In 1935, the G. Kreuger Brewing Company of Newark, New Jersey, became the first brewery to sell beer in steel cans. That year, only about 25 percent of all beer sold was packaged in bottles and cans. Breweries sold the rest in kegs.

Breweries have always been competitive with each other. To beat the competition, they used everything from distinctive bottle labels, foam scrapers, serving trays, brightly colored cans„ neon signs, tip trays, cups, T-shirts, hats, and countless other items so consumers would remember one brand over another.

Today, the market for vintage brewery collectibles is hot. But there are so many different items. Key categories include beer cans, beer steins, beer trays, beer signs, beer bottle labels, and bottle openers, plus more unusual items such as tap knobs and bar statues. Many collectors also focus on specific brands.

Beer collectibles consist mainly of bottles, cans, and advertising. Advertising comes on coasters, matchbooks, shirts, beer tap knobs and handles, statuettes, labels, and signs.

One of the most popular beer-related collectibles is beer glasses. They include everything from early hand-blown glassware to modern pint glasses covered in  advertising. In the 18th century, people drank beer in glass goblets at meals. Early stemware designed for beer often bore engraved hops-and-barley motifs.

The glass cups and mugs of the 18th century were simple and smaller compared to today’s versions, as the ale was much stronger than modern beer. Beer mugs were generally made in a cylinder or barrel shape with a handle and no foot. Because they were manufactured in glasshouses that produced bottles and windows, early American mugs were almost always made from colored glass.

In the 1820s, the development of a glass-pressing technique by John P. Bakewell allowed glassware patterns to be mass produced, quickly diversifying the shapes and styles of beer glasses. Though glass manufacturers found it difficult to blow even the simplest-looking tumblers with smooth sides and no foot by hand, pressed glass molds made this form commonplace.

During the 1880s, as breweries expanded and pasteurization allowed them to send products longer distances, beer-glass advertising became popular. A few of these early advertising glasses used color-embossed logos, but most relied on an acid-etching silkscreen process. 

And since  the U.S. has never instituted legal restrictions on beer serving size, American bars have used a variety of serving glasses, including tall pilsner glasses, with a slightly indented waist near the base and the goblet or tulip-shaped glass mounted on a short, sturdy stem.

Though people considered these objects "throwaways" in their day, collectors worldwide now vigorously pursue them. Prices for these collectibles vary widely, so focusing a collection is important from the start. To begin, you might build on what you already have or start in a new direction of interest. It's easy to start small, with something inexpensive like coasters. Serving trays, signs, a cans produced after Prohibition are all good places to start.

So what determines pricing for brewery collectibles? As with other antiques and collectibles, it's condition, condition, condition," since most brewery collectibles have been used. Pristine examples can command high prices, and they can be difficult to find. While rarity is important, for collectibles where multiple examples exist, condition rules.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Advertising of the Past" in the 2023 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.