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American Bottle Auction - Vintage Bottles

Braunschweiger Sample Salesman Bags Turn up in Idaho

December 20th, 2011

Whiskey Salesman, check out the bag.

 

The Chests with Sample Bottles

Wholesale Liquor Dealer Leaves Bags of Memories

A pair of leather salesman sample bags with proof that whoever was using it was selling spirits advertised by and for the Braunschweiger Company was found recently in Idaho Falls, Idaho. Whether Braunschweiger himself used one of the bags or his salesmen used them is still up in the air but direct ties to some of his most popular brands are unarguably Braunschweiger. Brands like Beargrass, Old Pioneer, Golden Anchor, Civilian White Rye, Golden Rule XXXX, California Club and other sample vials were found, labeled and ready to be tasted by potential customers were neatly fitted into these leather satchels.

Different Strokes for Different Folks

That's One Old Bag

Each sample vial had a label reading Braunschweigher Co. San Francisco with the address 6&7 Drumm Street or the name of their liquor wholesaler, Oak Valley Distilling Company.  A couple had dates, one read 1895.   It is believed Herman Braunschweiger began his wholesale liquor business around 1878 in tandem with Amedeus Fenkhausen out of San Francisco. According to John Thomas in Whiskey Bottles of the Old West, he joined Fenkhausen at the corner of Front and Sacramento Streets in San Francisco. Fenkhausen had been in the business since 1861 disappeared and re-established himself again and it’s thought that in 1878 he entered into a partnership with Braunschweiger. By 1881, Braunschweiger was gone and by 1883 had formed a partnership with Edward Bumstead.


The first and apparently only brand the two marketed, at least with embossing on the bottle, was their heralded Bear Grass Bourbon, thought to have been sold for only a year or so.  Interestingly, Braunschweiger made sure that there was a bear embossed on the front of the bottle.  Just the head this time but on a nicely embossed bottle that is quite rare and very collectible today.  Working from 223 California Street in San Francisco, Bumstead left in 1884 to join Wolters Bros. & Co.  The name of the company was changed to Braunschweiger & Co.   Bumstead’s name is on only one other bottle, the Hibernia Bitters.  Both bottles have his name misspelled as Bumsted. So as Thomas points out, the Bear Grass Bourbon bottle is quite rare and in fact nearly half of the examples known were found in Idaho.  Lewiston, Idaho to be exact.  Which brings us full circle to the bags and their owners and how they got there.  It was known that Braunschweiger traveled, a lot.

 

 

It was Jeff Lawrence, the gentleman who purchased the original case, and eventually another very similar example, from a gentleman in Idaho Falls. Lawrence talked at length with the person who had the two cases and who was indeed a relative of the owner of at least one of the leather satchels, the purported salesman. Lawrence was told the salesman was an older gentleman who had them in Idaho but traveled throughout much of Idaho to sell the whiskey. The seller of the bags also told him a story about his great-grandfather who was really quite a man.” Lawrence explained, “The great-grandfather immigrated from Germany around 1860,” Lawrence explained. “He fought in the Civil War for the Union, then fought against the Apache Indians in Arizona and even received the Medal of Honor for his actions.”

Bear Grass and Golden Anchor Bourbon Whiskey

So whoever owned the bags, whether it was the relative of the owner of the bags that were purchased by Lawrence or Braunschweiger himself, is not really that important. It would be neat to know that Braunschweigher used them to sell his whiskey, he had to use some bag. It’s just something I guess we’ll never know. Most assuredly Braunschweiger had something to do with the “gear” he gave his salesmen and therefore had the bags assembled.  It appears that at least one bag was made by the Covington Distilling Co.  Their name, Oak Valley is richly embroidered in gold against a purple background in the fold down top.  On the bottom it reads Braunschweigher Company 228 California Street Oiffices, San Francisco, Cal.   

But as history speaks volumes about the old west, the traveling salesmen and whiskey dealers, one name that comes up which will surely be heard above the rest is Herman Braunschweiger. He was a traveler, a true salesman, the evidence is in the bags, the products he sold and the places he visited. The bags explain the man in a way, his ideas and visions. Never wavering, his calling brought him countless stories and products like Bear Grass and Golden Rule. I’m asked occasionally what the difference is between collecting western and eastern bottles. I can’t think of a better explanation than the story of Herman Braunschweiger. A man with boundless energy, making a life in a mostly barren, ever-evolving world. San Francisco was hardly Philadelphia and one not depend on a lawman when traveling from town to town. A quick hand and trusty revolver were more much more dependable. The need for whiskey in the mining camps and lumber mills throughout the west was not lost on Braunschweiger. The little towns along the way provided him with places to stay and strangers to befriend. He saw an opportunity and went for it. At a time when most men lived to 46, he rode straight into the abyss, his own man. He was trying to conquer a world that still needed decades to get sorted out, like the whiskey he sold, to mellow. It was a world that today, we call the old west. To Herman Braunschweiger, it was simply known as home.



Clubhouse Gins Hit Auburn Show

December 15th, 2011
Clubhouse Gins in Different Colors, What a Group!
The Clubhouse Gin Gang.

 

James and Tom Quinn. The Father/Son Clubhouse Gin Duo.

The Wister’s Were in Force

The Auburn Bottle Show run by the 49er bottle club was a roaring success this past weekend (December 2nd and 3rd).  Beyond the usual cadence of friends, food and a vast and wonderful offering of bottles, some invited guests,  namely Jockey Club and Wister,  showed up and the fireworks took off.�   For those of you who are still scratching their heads, the club did a wonderful display this year headed up by longtime club member, Max Bell.  He arranged to have as many Wister’s and Jockey Club gin bottles as could possibly be mustered; and from all accounts he succeeded with aplomb. 

 

The Jockey Club and Wister’s Clubhouse Gin bottles are considered scarce, the Wister’s even rarer and the bevy of colors and variants of the Jockey Clubs was astounding.  Of course the recent find by local digger, Bob Kaiser of both bottles didn’t exactly hurt the proceedings.  We have put a number of pictures of the bottles and the people who brought them posted.  We’ve even included a group shot.  Needless to say, these wonderful bottles were the highlight of the show and a lot of thanks go out to the 49’er Bottle Club and all the members, especially Max Bell, who made it possible.

Max Bell Made it All Possible.

 
 
 
 

 

 


To Return a Bottle or Not…that is the question.

May 25th, 2011

I recently got a call from an unhappy bidder. He bid on lot 43 of our last auction and despite a left bid of $1,000 won it for $600. The bottle was paid for and sent out. We thought that would be the end of it but we thought wrong.

The bidder who we’ll simply call Joe, said the bottle had been “dug.” In other words, the bottle was dug, it was not revealed in our description and in his mind he felt it was an outrage not to reveal the fact that it was a “dug,” bottle. Joe claimed the bottle had some iridescence and light haze that plainly showed it to be a dug bottle and it was highly unacceptable. I explained to him that we often will describe a bottle that is cleaned and certainly give the bottle as much description as necessary but whether it’s dug or not is something we don’t talk much about. Since most bottles are dug, especially out west, we talk mainly about the condition of the piece and any problems or existing detractions or highlights the bottle may have. This did not suit him as he claimed that knowing whether the bottle had been dug was paramount in his decision to bid on the bottle (we aren’t sure why he simply didn’t ask). He also felt we misrepresented the item by not revealing its terra firma ancestry. I explained once again that on a great many pieces, whether it is dug or not is irrelevant. I said we’ve seen bottles that were stone cold mint that no one could ever say for sure whether it had been dug unless they witnessed it being pulled from the ground. We’ve also seen bottles found under a house or even in an attic that had surface problems or some type of distraction that might prevent someone from buying it. Western glass is often made from very pure sand and often they come out of the ground and shine like a jewel with simply some soap and water.

At any rate, I thought I would ask you, the customer and reader whether you feel that our description was fair or not. We showed two large photos along with the streaming video that describes some light haze but generally a mint bottle, we graded it a 9.7 which is quite high. So, if you can look at the pictures, maybe view the video and respond to us on whether in fact you think it was inaccurately described it would be very much appreciated. Below is a copy of our return policy. Any feedback would be of help.

Return Policy: American Bottle Auctions has a no questions asked return policy. That is, we guarantee that any bottle we sell is what we say it is. Every effort will be made to depict the bottle as near to the true condition as possible. If there is any variance or discrepancy from our description, an item can be returned within three days of receipt of the bottle for a full refund including postage and insurance both ways. We just ask that you please notify us before returning a bottle via email or a phone call. We will not refund a bottle if an invoice is paid after 21 days of receipt of invoice. Invoices are emailed and sent out generally the day following the auction. We will void the return policy under these circumstances unless it has been previously discussed with the auction. As we will make every effort to present a bottle as to its true condition, we also ask that you as a bidder make every effort to know exactly what you are bidding on. With our updated grading system, multiple full-sized color photographs, streaming video and ability to see it in person, we feel it is as much your responsibility to know what you are buying as much as it is our responsibility to present it.

To Return a Bottle or Not…



Collector Profiles: Sandor Fuss-A New Breed of Collector?

March 15th, 2011

 Even his name is different, Sandor Fuss, not your average Bill Smith or Bob Jones next door. “It’s German,” Sandor says proudly.   Although relatively new to the bottle-collecting hobby, in the three or so years he’s collected antique bottles, Sandor Fuss has put together a collection that makes even the most ardent and longtime collector blush.   “I learned through my other endeavors in the past that all paths lead to the same conclusion, buy the very best you can afford and you will never regret it,” he explains. 

Bottles aren’t the only thing Sandor relishes in his life, although only 41 years of age, Sandor has spent many years honing his expertise in some pretty lofty areas of collecting and just plain learning.  “I am a professional high end mineral dealer,” he points out. “I am also  a life long collector of all kinds of things.”  Sandor goes on, “I found my first rock at age 5 and by the 7th grade I knew I wanted to be involved in minerals the rest of my life.”  I was to find out that Sandor wasn’t just a mineral collector and dealer, he was considered one of the top experts in the world of high end mineral collecting.  Sandor also owns a 3,000 square foot laboratory devoted to  cleaning,  trimming, repairing and restoring minerals.  It is one of the two largest cleaning labs in the world.  “I am a natural born collector,” he likes to say, in addition to his vast knowledge and years of studying minerals and gems, Sandor has also spent a great deal of time in dealing and collecting 19th Century mineralogical scientific instruments, 19th Century porcelain and Himalayan Art.  

But antique bottles are the topic of our Collector Profile and that brings us to the collection of Sandor Fuss.  No time in recent history has an individual acquired so many one-of-a-kind, drop dead and just plain gorgeous examples of antique bottles in the amount of time he’s collected.  I talked to the very candid and outspoken Fuss about his quest for the best and his experiences and how it all came about.  As a young boy he discovered the beauty of minerals and gems.  His earlier experiences in collecting these natural wonders has made him a legend in the rare mineral world but why now bottles?  “I had been collecting and dealing with the minerals and rare scientific instruments, along with Buddhist Bronzes for so many years, I wanted to get into something that was although somewhat related, a new subject,” he says.  “I looked at different areas of collecting and couldn’t help but notice bottles,” Sandor points out.  So bottles were entirely new to you?  I asked. “No, I had seen bottles at a younger age and they seemed like something that would be neat to own, but I wasn’t a collector or anything,” he explains.

“Here’s the deal,” Sandor begins, “I went to the internet and found and ultimately talked with Ed Gray regarding the hobby.  “ He pointed out that the finest bottles as far as price and potential sustained value were in the bitters and historical flask categories, with the latter having a slight edge.” Sandor continues, “ so knowing I could never get the top flasks, I by default became a figural bitters collector but along the way I also collected historical flasks and other fine random glass.”  “I have some great flasks but they pale in comparison to some of my figural bitters,” he explains.   “My collection is important because of the 14 or so figural bitters that I have.”   “My collection is by volume, mostly historical flasks with a few wonderful miscellaneous bottles and I really love all of the different categories of glass collecting,” he points out.  “I honestly went for the super figural bitters because I think that they are wonderful and because Ed Gray said that I have an opportunity to amass a good group of the top figural bitters and so I decided to take Ed’s advice,” he continues.  As far as the current market is it just bitters and flasks, I asked? “I was fortunte enough to be able to capitalize on a once in a generation opportunity with the figural bitters and I did,” he says.  “However, I would also encourage people to buy historical flasks; the two categories are equally desireable in my mind, but with that being said, there is so much more to glass collecting than just figural bitters and flasks,” he continues.  “I’ve also discovered that things like pattern molded glass, figural whiskies, pontiled medicines, pickle jars, they all have great potential,” he continues.  “There’s an opportunity for the collector today to put together the best of those areas,” Sandor says.

Of course a few extra bucks don’t hurt.  While his keen eye for the finest has made him front page news in many of the top collecting circles, it has also allowed him to amass a fairly lenient bank account which over the last couple years has been replaced by some of the finest bottles every sold.  “I’m broke,” he laughs, not totally of course but I’ve definitely taken a hit.” “Who needs money when you’re surrounded by this kind of beauty,” he proudly smiles.     

I asked Sandor about his narrow window of time collecting old bottles, in other words how did you learn so much so fast?  “In my own professional opinion, to amass a collection of anything you have to find someone you can trust,” he begins.  “They have to be the most knowledgeable and honest people you can find, in my case I was lucky to have found two, Jeff  Noordsy and Ed Gray.”  “You simply must find a mentor, it can be through an auction house or it can be a dealer and I went with Noordsy and Gray,” he says.  “In the beginning I called them every day for a year and drove them crazy, I literally drove them out of their minds,” he admits.  “I got every single back issue of the various auction catalogs I could find, and got all the books on the subject, went to as many bottle shows as I could get to and I have traveled extensively looking at private collections,” he points out.  “The trick is you must find an expert in the field that you can put your faith in them,” he says,  “this is the single most important thing that you can do if you want a world class collection,” he says.  “An expert in the field or someone who can share the information you need to truly understand the hobby,” he concludes.                     

What was your mindset going into the bottle hobby, I asked Sandor? “To build a mind blowing assemblage of bitters along with other incredible pieces of glass,” he responded.  “I set a bunch of world records for crazy prices and after I did, I noticed that others started doing the same thing,” he points out.  “The old guard began doing the same thing.”  “I wasn’t even involved in some of those amazing prices being realized at auction lately,” Sandor says.

Who other than Ed and Jeff were responsible for your collecting tirade?  “Ferdinand Meyer was the one person who pushed me off the cliff in collecting bitters,” he says.  “I was kind of at the edge of the cliff and he was the one who really pushed me over.”  “It wasn’t really supposed to happen. I had original intentions of just putting together a dozen or so bottles but then Ferdinand came along,” he laughs.  “When I saw the picture of him standing there with his wife holding that blue Fish Bitters, it just hit me.”  

Any other collectors you’ve met or talked with since you’ve begun?  “As a general rule I am delighted with the different collectors, dealers and auction houses out there today,” he says. “The generosity of different collectors like Ferdinand Meyer, Mark Vuono, John Feldman, Richard Tucker, Norm Heckler, Eric Schmetterling, Terry Gillis and Bob Ferraro and many others has been overwhelming.”  “They invited me to look at their collections and I learned a great deal about collecting bottles.”

So what’s in the future for Sandor Fuss, I asked?  “Well, I’m buying new bottles but not at the feverish pace I was,” he says.  I wanted to know if his passion for antique bottles was partly fueled as an investment venture.  “Absolutely not, look, this whole process has been about the joy of collecting, period,” he emphasizes. “Yes, I am certainly concerned about the money I have spent, but my life long collecting experience has led me to the position as follows; buy quality and the best that you can afford and over time your collection will become more valuable,” he explains. “The investment takes care of itself.”  “I’m blessed and consider myself lucky to be a curator of such beautiful objects for however long it may be,” he says.   I wanted to know what he thinks of the hobby in the future, where are we going, I asked?  “I believe the hobby is in its infancy,” he says. “We haven’t even begun to see prices go up for the best of the best, that’s exactly where the mineral market was years ago.”  “I can’t even touch some of the pieces I owned in minerals now,” he admits. 

For Sandor Fuss it’s the love of collecting, collecting the best of the best.  Start at the top and work your way down.  For him it’s not the money, obviously it doesn’t hurt if his collectibles go up in value but he collects for the love of collecting.  Sandor isn’t your everyday type collector but his interests are so varied it’s refreshing to see new blood in the hobby of bottle collecting.  Sandor Fuss, not your average name and not your average person, truly a new breed of collector.



Rare Schnapp’s Turns Up on Ebay

March 10th, 2011

For Tom Doligale just a new color or slight variant example of the Udolpho Wolfe’s to add to his collection is an event. What he recently purchased on Ebay must have been a life changing experience for him, and the many people who treasure these multi-colored, often very crude schnapps. What Tom found was possibly the only known example of an Udolpho Wolfe’s Aromatic Schnapps in a quart size with the words “NI” embossed on the bottle. Tom said he’s seen a green pint, which is still very rare, but this one is beyond words. ” I have collected these for 20 years and have never seen this or anything even close,” Tom says. “Yes, there are the NI green pints with the NI on the Schiedam panel, but this NI on the amber quart, Aromatic Schnapps panel is unique. Only one known…as of yet??!! The fact that it’s a rare bottle and possibly unique is one thing. However it goes beyond that as if you look at the pictures, it is a gorgeous amber with about as much whittle as you can fit on a bottle, quite a looker. So for Tom, he’s found the Holy Grail and I don’t think it’s going anywhere soon. No doubt it won’t be the last Wolfe’s Schnapp’s Tom will add to his vast collection either. Congratulation Tom on a very beautiful find. 



Photographing Bottles and Glass

January 30th, 2011
 
Same Bottle-Different Colors Makes for a Challange

Taking photographs of bottles is something I’ve done for almost 20 years now, I have learned a lot of things but continue to learn more each time I continue the endeavor.  Bottles are an interesting subject because unlike an apple or a chair, they are transparent.  That presents a new challenge for anyone considering taking photographs of bottles or glass.   When I first started, I used a small diaphanous plastic tent.  You can buy them from specialty photograph companies; I have purchased almost all of my equipment through a company called Calumet.  My camera or I should say cameras I’ve used continue to improve in quality and with the new digital era in full swing, taking and comprising an image has never been easier.  That’s not to say taking pictures of bottles is easy, but rather the most important part of the operation has been made easier with the use of a good digital camera.  It is the window to the soul of the bottle. When I first started I took slides of all my bottles.  This was a tedious task for sure, as I had to bring the film in for processing and most often less than half were usable.  That meant I had to stick to a process and hope that what I was doing was going to come out right.  I never knew what I had until I picked the slides up and went through them, finally settling on the ones I thought were worthy and scanning them with a slide scanner and transferring them to my computer.  It was a daunting task that now seems prehistoric.  I still have thousands of slides as I photographed bottles for my book and auctions. I believe I can say that between my digital images and the mountain of slides I still have, along with pictures that are sent to me from collectors, I have many thousands of bottle pictures.  I have over 10,000 on my Ipad alone.  I’ll even go out on a limb and say that I probably have a picture of almost every type of collectible bottle made.  Many in different colors and variants.  Once I get my slides digitized, I will have all my photographs available at any given time. With the amount of hard drive space on computers today, the sky’s the limit.   I  hope to compile and categorize every picture to put together a library that will be second to none.  Someday.          

I use a Sony Cyber-shot model DSC H50 currently for all my studio photos.  I also have an earlier version, the F717 which is basically the same camera without some of the necessary adjustments I need so it sits in a drawer. I also have a large format film camera, a movie camera and others.  Through trial and error I have found the ISO setting the best for stills.  This setting is for shooting without flash in low light settings.  Although I use a lot of light, it seems to give me the sharpest images and allows me to adjust the light levels to get the best possible image.  There are other settings, obviously automatic, something they call EASY which is for your basic amateur photographer who doesn’t want to mess with settings.  As a photographer you want to have as many options as you can when shooting anything.  One very important factor is the white balance setting.  With the Cyper-shot and most cameras you can choose numerous white balance settings which make a huge difference in what you’re trying to accomplish.  I use halogen hot lights and I simply choose the incandescent setting and it captures everything in the perfect light. The camera sits on a tripod and you can choose between the finder or LCD image on the screen.  Once I’m satisfied with my adjustments and angles, I simply start shooting using the LCD image, unless it’s a special picture where I really want to get a good look at it.  Maybe a cover shot or just starting a series of bottles with the same density or color.  My Cyber-shot can shoot pictures up to 9.1 mega pixels which is what I do.  The bigger the better so when they appear in the catalog you really get amazing detail.  Start big because you can always make them smaller.  Shoot small and you’re stuck with what you have. The memory stick holds four gigabytes so you always have plenty of room to just keep shooting.  The images are shot at 72 dpi in jpeg RGB form but adjusted to 300 dpi in a PDF CMYK for publishing. Once again, you are eating up pixels but it’s fine because you have the room.  For publication on the website or online auction, they stay at 72 dpi and we size them according to how they look on the page. We tend to have larger pictures than most auctions so people can get a really good look at what they are considering bidding on. Often the image on the monitor is much bigger than the bottle; inks are a good example.  We usually do two of each bottle but on the higher priced bottles we can throw in a couple extra, just to make sure people can get a better view of the bottle.  We also do extreme close-ups sometimes, which is accomplished by setting the camera to macro. We include a streaming video of almost all the bottles in a particular sale so we just switch the camera to movie mode and away you go. With the streaming video you have to make sure you aren’t using a super high-resolution setting.  Most computers aren’t equipped to display high definition videos so we find a common ground that virtually every computer can display.             

My Monstrosity

  

 The lighting technique is really the most important aspect of shooting bottle pictures. Looking at my entire setup, you’d think I had lost my mind.  It’s definitely an ongoing project. But looks have little to do with getting the perfect shot and through trial and error my monstrosity seems to work well.  I have a table with a cut out center of which I place two layers of clear plastic, each one a quarter inch thick.  I put a sheet of diffusion cloth in between the two layers and place a 500-watt halogen light below it.  The sides of the table also have diffusion cloth as well as the seamless background. From above I have a 500 watt diffused boom light. In other words, as the bottle sits on the table, it’s getting hit from every angle with diffused halogen light.  Why hot halogen lights?  We’ve tried using the flash or strobe type lights but once again, you are kind of guessing with that technique.  With hot lights you see right in front of you what you’re going to end up with. With a strobe setup, you get one flash and you don’t really know what you’re getting until you bring it up on the computer.  There is a slight problem with heat on the bottle but generally if everything is set up right, it’s really only under hot lights for no more than a ten seconds or so.  So, imagine a bottle sitting on a table being bombarded from every angle with 500 and 1000 watt halogen lights, that’s what we do.  Next comes the angle from which you shoot.  Every photographer has his or her own idea of what looks good.  When I first started I would shoot everything straight on.  I don’t know why, it just seemed to make sense.  Now I turn everything at an angle. It gives you more of a three dimensional image. Also, with that much light you get blind spots, using a Polaroid filter helps with that but you don’t want to have a picture where one side of the bottle is white from reflection.  So you turn the bottle until there are no blind white spots and you’ve got the right angle.  I like to shoot pretty much level or a little higher than the midpoint of the bottle.             

One of the most important things to consider when you’re using that much light is the degree of light you’re using from each angle.  I see a lot of  bottle photographs that use way too much overhead light.  This gives them an oily look, like they’ve been dipped in Crisco.  You have to find a happy medium between the transparency of the bottle and the surface.  Depending on the bottle, I will adjust the light taking the bottle into consideration.  For instance if you have an amber whiskey bottle with a ton of whittle and bubbles, you want the customer to see that.  Bouncing a ton of light off the front is not going to bring that out.  So you back off on the overhead and presto, you still see the surface but more importantly you see the myriad of bubbles and crudity. I also learned that a bottle doesn’t have to just sit there.  When I look at some old photographs I’ve taken everything is just sitting there.  That’s okay but why not pick it up and hold it close to the camera and show the surface detail?  Then it’s okay to bring the overhead light closer and really show the texture, embossing and other attributes of the piece. Then you’ve got a more transparent shot and a highly detailed picture of the bottle. To really show a bottle off, you have to have more than one picture.     

USA Hospital Bottles In a Myriad of Colors

  

So, now you’ve got your picture and you bring it up on your screen.  Using PhotoShop or any numerous applications for adjusting photographs, you hold the bottle up into a window with natural sunlight. You want to make sure your monitor is adjusted properly, too.  While you’re doing that you adjust the photo for color and density.  Sometimes they’re perfect but more often they need some adjustment.  You can lighten it, adjust the color and take the background out so all that remains is a clear picture of the bottle. Some bottle photographs look great just leaving the background in.  If it’s a seamless background it can still look great. There are two schools of thought, if the background is non obtrusive, let it be. We take the background out because we get a slight edge on color reproduction. It’s amazing when you think you have the perfect picture and then you lose the background, suddenly the bottle looks a little dull. Believe me, these days when you have a green fish bitters or some odd colored bottle, getting the color right is so important.  It can mean the difference between someone thinking it’s a brilliant green when in fact it’s got some amber in it and isn’t really an exact reproduction.  The difference is staggering when you think about how much some off color bottles are selling for these days. When the color is misrepresented, the bottle is usually returned and that’s an auctioneer’s worst nightmare.  Some colors like puce or some of these strange mixes of colors on barrel bitters are very hard to reproduce.  I personally struggle mightily with some colors; I can spend an hour trying to get it right.  Some are almost impossible. With puce we often take them outside and shoot them in natural sunlight. So by trial and error you eventually get the right adjustment and hopefully show the bottle as close to the true color as possible.  Using PhotoShop, you use the level adjustment, hue, curves, color balance, brightness, contrast, saturation and other little tricks to get the perfect picture. Each bottle has their own balancing act and you can’t expect to just shoot a bottle and have it perfect, there’s generally much to do after the picture is taken.      

  

Clear or aqua bottles also present their own challenge. For straight clear bottles, you want to almost eliminate the overhead light entirely.  There will be plenty of light to see the embossing and if you have the other lights adjusted correctly you should, and can get a good image. The angle generally changes with clear bottles, I might bring the camera up and shoot down on the piece. This brings out the embossing a little better.  Aqua is pretty much the same, although I do use some overhead light to bring out the surface.  Most of the time I do all the clear bottles at one time.  This eliminates me from having to reset all the lighting for each bottle.  We will shoot sodas all at once, then move onto the different categories.  Some photographers like to use a black background to shoot clear bottles.  That’s fine although we rarely do it.  It looks a little strange in the catalog and you can still get a fine photograph with the lighting you have.  For Benicia or bottles with an iridescent sheen to them you want to hit them real hard from the top.  This last auction we had a Pocahontas Bitters covered in a Benicia film.  For that we shot it both with a black background and without.  We included one of each shot on the website but used the white background for the catalog.  For those of you who want to shoot good bottle photos, the easiest thing is to just take it outside and place it on a table, use a diffused background like an old sheet or order some diffusion cloth and place it behind the bottle.  With the sun coming through the sheet, you’re bound to get a pretty good picture without using 5,000 watts of light.  Or forget the sheet and just shoot it with the sun at an angle where it doesn’t interfere with the picture. There is no substitute for natural sunlight however we are not allowed that privilege bringing hundreds of valuable bottles outside. Cloudy days are the best, natures own diffusion cloth. Trial and error, that’s the trick and before you know it, you’ll be taking photographs just like a pro.                      

Different Colors and Shapes, Some Colors Set Off Others

  

 
 

        

 

             

 

             

 

             

 

             

 

            



The Current State of the Bottle Hobby

October 3rd, 2010

 As Stated in a Speech given by Jeff Wichmann August 7, 2010
At the FOHBC conference in Wilmington, Ohio.
       

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

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

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

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

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

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

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

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

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

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

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

 So we now had a very well thought out, bevy of bottle books that were giving people new insight into the hobby in a way that hadn’t happened before.  For good reason, the 1970’s ushered in a new era of bottle collecting.  It was a nationwide event when Charles Gardner, a well-known collector of his day sold his collection in 1975. Of course the popularity of bottles meant one more thing, just what were these bottles worth?    Ferol Austen wrote a book in 1971 entitled Poor Man’s Guide to Bottle Collecting and on the cover he explains that this is “an illustrated guide to America’s newest hobby.  Well it wasn’t the newest, but it was possibly the most up and coming.    

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

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

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

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

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

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

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

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

The year 2010 was and is a great year for the bottle collecting hobby.  As I write this in September, I look back at some of the transactions that occurred and see a new perspective creeping in on the horizon. Consider these bargains; a blue Homestead Bitters sold privately for $200,000, a blue firecracker GI-14 flask set a new world’s auction record selling for $100,000 at a Norm Heckler sale.  A purple Masonic GIV-1 brought  $75,000 in a private sale.  A Druids Bitters in green, $50,000.  A GII-69 yellow and olive Eagle/Cornucopia, brought $44,850.  These are just a few of the bottles that sold at never before seen prices. A recent article printed in Maine Antique Digest included some observations on the state of the bottle hobby from the Norman Heckler camp.  It read, “In the end, it is not simply the record prices but the overall strength of the bottle and flask market that is most impressive.  While other categories have floundered in the so-called downturn, bottle and flask prices have never wavered, and with an ever-increasing crop of buyers, the future for the category is rosy.” When asked the reason for the resurgence, Heckler pointed out simply, “new blood.”When you think about bottles compared to art for instance, what is the difference?  In many cases they’re both old, they are beautiful to look at and often both have historical significance. Neither of them will drive you to work or cook you dinner, but really, there’s not a lot of difference; except in price. Not value, price. If an Andy Warhol self-portrait sells for $32.56 million dollars as it did in a recent Sotheby’s auction, what is so darn crazy about $200,000 for a one known Homestead Bitters in blue? A Jasper Johns painting of a flag entitled oddly enough “Flag” sold for $28.6 million recently at a Christie’s auction.  And $100,000 is too much for a blue GI-14 firecracker? A mechanical bank called “Breadwinnners,” just brought $94,000 in a RSL auction in Maryland. Baseball cards and memorabilia?  A Mickey Mantle game used jersey just sold for $125,000 in a recent SCP auction in Southern California. One of a number of Mantle jerseys.  To obtain the truly rare Honus Wagner T-206 baseball card in a grade 8, plan on paying around $2.8 million, if you can find one.  A bargain for sure. But you can buy a much lesser grade example for around a million. As far as practical collecting, there’s some to be found.  But people generally collect things that give them visceral entertainment or possibly memories of the past. Cars you can at least drive. A Boston and Sandwich candlestick can light your room with a candle in it. Guns you can target practice with or an old book you can read. Photography gives us insight into the past, memories again, with records you can listen to music. With furniture you can sit down and eat dinner at an old Stickley dining table. A collectible watch will tell you the time. Many of these collectibles fit into the “memory” category. But most of the collectibles today that bring the highest dollar value have beauty, which lies in the eye of the collector. Art is the most expensive, stamps and jewelry can get up there, too. A Batman comic book just did $400,000 at auction. Coins, they can be made of gold but you will most likely be paying a lot more than the real gold value of the coin.     

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

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

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

 

    



The Antique Auction Podcast with Jeff Wichmann and Chi Chi Anyanwu.

September 8th, 2010

Jeff and Chi Chi of American Bottle Auctions

American Bottle Auctions recently did an interview with Martin Willis, who runs the Antique Auction Podcast.  This veteran  has gone to great lengths to search out and do interviews with some of the most well known auctioneers and other interesting personalities in the business.  To our surprise Martin wanted to talk with Chi Chi and Jeff about the antique bottle business and we were happy to oblige.  So click on the link below and sit back for an in-depth discussion on the bottle market as it is today.  Also, there are videos of the office and some of the items coming up for our next sale.

Click here to go to The Antique Auction Podcast;  http://www.antiqueauctionpodcast.com/



The Success (and failures) of Auction 50…and other assorted love songs

June 14th, 2010
 
The Bryant’s Bitters
The Favorite Bitters

Our long awaited auction 50 ended last week and I have to say it ended with quite a bang. It was the final lot that stopped our hearts for a moment and showered us in an auspicious feeling of wonderment. A Favorite Bitters was the subject of a fierce battle with two collecting combatants delivering blow after blow. When the dust settled it hammered down at $58,000, with the juice, a hair off of $65,000.  

  But that was not all. In the waning minutes a Bryant’s Bitters, one that had been found not too long ago and was repaired by Marty Hall sold for a bit over $40,000, another nice sale. We also managed almost $9,000 for a beautiful Lovegood’s Bitters, another $15,680 for a very rare and intact W&B Shasta soda, $9500 for a Washington/Bridgeton amber pint flask and some fine prices for a number of rare and beautiful pieces; all in all we were a satisfied group. The bidders seemed happy, consignors, too. I awoke the next day to a large article in our local paper, The Sacramento Bee, announcing the presence of the largest bottle auction house in the country, American Bottle Auctions. True or not, it was icing on the cake.    

But auctions are a scary thing. Ask any auctioneer. You’re only as good as your last sale. We sold a Lediard’s Celebrated Bitters for around $1,500 this time around, the last one went for over $5,000. We couldn’t give pickle jars away. We’ve had good luck with them in the past but this was an outright disaster. Inks? About the same as the aforementioned pickles. Green pontiled umbrella inkwells that used to sell in the $1,000 range could barely break $400. Some non-bottle items, which included some U.S. eagle-related pieces we thought would be of interest slowly meandered their way to a few hundred bucks apiece. Surely a sign that bottle collectors want to buy bottles, not bottle-related items. At least in our auctions. When you have pieces you feel should do much more and they don’t, what do you do? The real answer is nothing. If you’re already given your best effort to describe, photograph and promote the auction, you’ve done all you can, some things just don’t sell for what we might think they should.   

 There were a few problems with the auction, some our fault, some the result of consignors or bidders. First off, we screwed up the minimum bids on a few pieces. When I do the catalog with Chi Chi, my office manager and force de elegance, I dictate the description along with the grade and of course the minimum bids and estimate. In a few cases my spoken estimate of three to six became interpreted as hundreds, not thousands; my failure to communicate the accurate price. The streaming videos were adequate; it seems no matter how long I do the videos it’s a whole new learning process every time. It shouldn’t be that hard, hold the bottle still, show the front, back, top and base and move on. We’ll work on it. Other problems began before the auction even started. I had done a couple hundred videos and realized I used the wrong setting on the camera. I quickly realized I had to redo all of them. Then I found I was yet again using the wrong camera, another camera I have delivered a much more viewable result. So I re-shot all of those. By the end I probably did a thousand videos. More than my wandering voice could absorb. I know now what I did wrong but preparation is the key to success and after having to reshoot a couple hundred extra still pictures because of a minor camera adjustment I’m resolute in doing the next one perfect from start to finish. Damn it, why do we have to keep learning things we already know?   

 We also had some problems with the computer server. It worked great through the entire auction but the day after the auction we were having trouble negotiating the site. We had sent out invoices but alas, they didn’t all go out and not knowing who didn’t receive theirs forced us to re-send them all. Something we didn’t want to do because we knew we’d receive a flurry of emails from people did get theirs and in fact had already paid. We did and things turned out fine, a few emails from people who had indeed received theirs but even better emails from bidders who’d won but didn’t know it yet.   

 Some of the problems created by us were surpassed by others, consignors, bidders, people who maybe don’t understand the auction format or just need help. We had one consignor who decided that he wasn’t getting the bids he wanted on two whiskeys he had put in the auction. We had agreed to a reserve price on one and when that wasn’t working he took it upon himself to bump up his own items, the Cassin’s Whiskey and Bird Cutter to be more specific. In our minds it’s not up to a consignor to bump anything. When you consign an item, if you have a reserve price in mind, it’s something you talk to us about. We really don’t like reserves but in some circumstances there’s no reason something can’t be worked out. This was simply a situation in which the consignor felt he wasn’t getting enough and he took it upon himself to create his own value. What’s wrong with that? Well first off, it leaves people thinking that the items sold for way more than they did. Secondly it can alter the landscape of a particular area of collecting. If someone out there has a Cassin’s Golden Plantation Whiskey, what do you think they are going to think it’s worth now? We need to let people know when something like this happens which is why I’m punching these little plastic knobs which in turn puts letters on the page thereby letting people know what happened. In accordance with our consignors agreement we charged the individual a 12% buyer’s fee and he faithfully paid it. No questions asked just paid it and went on his merry way.   

 Also, another area that drive auctioneer’s nuts are consignors who tell you that with one day in the auction to go, they have a reserve on the item. Most unsettling. We say in the Consignor’s Agreement that we aren’t too crazy about reserves but that we accept reserves, that is a minimum amount the consignor will take, if they are reasonable. . We also point out that if a consignor wants a reserve, it has to be reasonable and voiced in advance. A day before the end of the auction is not in advance and the only thing they can do is buy their own bottle back, which we also don’t allow. But we can’t know if they have a friend who’s bidding or they register under a different name. So it’s important for us to know if someone has a specific price in mind and there’s no problem.   

 Another thing that happened is a little irritating and happens to all auctioneers. A bidder will bid on a number of items which in turn affects the way the items are selling and then out of the blue says he can’t afford to pay so he says to pull all his existing bids. This time, at least they did it in the middle of the auction instead of the end. So, there weren’t really any repercussions, we took his bids out and the computer takes care of the rest. A bidder might wonder why his $500 left bid, which was trounced on earlier in the week is now the new top bid but no real harm done. Speaking of left bids…   

 A lot of bidders are very leery of left bids. They are reluctant to leave a top bid which is the highest they will go on an item leaving the bidding essentially up to the auction house. That is very understandable. With all the stories we’ve heard about auctioneers raising bids arbitrarily based on a left bid, it’s no wonder people are afraid to put their bidding in the auctioneer’s hands. We feel that left bids are in a way, a customer’s way of saying they trust us. It’s heartwarming when someone trusts you with his or her hard-earned money. We had 128 left bids totaling over $120,000 that were not used. That’s not all bidding money, in other words only a portion of that is “raise” money, in this case almost $20,000. But for the 128 bids, it speaks volumes to us about the fact that people can leave a bid, sometimes a much larger bid then the current bid, and feel safe in the idea that it will only be used if someone bids them up. No, it’s true, it’s the first sign an auctioneer is becoming successful. Well, it’s either the first or last sign because if you’re just starting out and you abuse a bidders left bid prepare for the worst. If there’s one thing I know about this community, this bottle collecting community, it’s that nothing goes unnoticed. If you think it’s a secret it won’t be for very long. People talk and before you know it, it’s all over the place and there’s nowhere to hide. Auctioneer’s need to realize that without bidders and consignors and people who sell you items, you’re dead in the water. Treat them the way you would want to be treated yourself and you’ll do fine.   

 Well, that’s about it. I just wanted to get a few things off my chest. We would like to do more auctions a year but it seems to be coming down to a few. We have also sold target balls in a couple special auctions this year, we’ve got one coming up but to get the ammunition you need to conduct a worthwhile auction even three times a year takes a lot of effort. It also takes luck. Most of all it takes a great customer base and consignors who believe you’ll get the most money for them. We have a niche right off the bat in that we’re the only full-fledged bottle auction house in the entire west. There are others who sell bottles and do a darn good job but as far as a single oriented business that specializes in doing one thing, we’re pretty much it. Thank you for reading, I hope to see you in Ohio at the National Show this year. Good luck and may you stay healthy and happy.   



Our 50th Auction and Going…

May 21st, 2010

This Monday the 24th of May, 2010 we will begin our 50th auction.  It scares me as much as it makes me surprised.  It’s like watching your child grow from a  screaming little munchkin to a college grad and then a father.  It’s scary because never in my wildest dreams did I think we would do this many auctions. So much time has passed, so much of my life.  It surprises me because along with the duration of time, there was the unknown; the feeling of getting into something that you weren’t quite sure you’d finish.  Anyone who has a business and has spent 15 years nurturing it knows what I’m talking about.

They say a business takes 15 years to be successful.  I’ve seen other businesses take off much quicker and of course I’ve seen others go down the tube in the same amount of time. Our business is a little different than many other businesses that sale a product like vacuum cleaners or clothes. We also differ from a service company, someone who fixes your computer or cleans your curtains. In a way we are both. We sell a product and provide a service.  Running an auction is much like real estate, you are only as good as your inventory. For bottles that means a continual search for more items to include in the next auction.  It never ends. Before, during and after an auction, we are always looking for inventory.

People also say that your twenties are for learning, college or self-experience, figuring out the ropes of something you know you want to do or just finding out what you want to do.  The thirties are for nurturing that knowledge, turning it into something tangible and working hard to make it successful.  Your forties are to streamline, excel and make good on the previous two decades work.  It’s that 15-year period where what you’ve started should be beginning to thrive.  Your forties should be good years, starting to enjoy the fruits of your labor.  When you get into your fifties you should be well on your way to a successful business, at the top of the heap, have an identifiable business that has grown into a driving force.  The second half of your fifties should also be for enjoying what you’ve accomplished, taking some time off, spending time with the family and looking back with pride at what you’ve done.  Your sixties?  Well, maybe by now you’ve sold your nest egg, thinking about retiring, having your son or daughter take over.  They should be the best years of your life.

I can’t say I’ve followed the basic concept but I can say I have done probably more than I set out to. We’ve taken an auction that began as one page black and white ads in a bottle magazine and now send out 3,000 color catalogs worldwide, authored a book, upped the customer base by the thousands and sell hundreds of thousands of dollars worth of bottles a year.  We’ve made American Bottle Auctions a recognizable name to collectors across the country, established a useful and worthwhile website and most importantly, met and corresponded with hundreds of great people, many of whom I am lucky enough to call friends. Maybe that’s the important part of the whole thing, that and having fun.  Enjoying what you do.  Still getting excited about a particular bottle and negotiating a deal.  Just being a part of the hobby, enjoying my share of what’s going on in the antique bottle world. 

As we continue to present our auctions, I hope to continue to improve the way we sell bottles and present our product.  Innovation.  We do a streaming video of almost every bottle we sell and I don’t see anyone else doing that.  We’re told people like it.  When we began, color was black and white and that had to end.  After all bottles are all about color.  You can’t sell a puce inkwell in black and white.  While we still have our plunders, we continue to monitor ourselves and try and make the next auction better than the last.  We can only do that with the loyal customers we’ve met over the years and the people who trust us enough with their beautiful bottles to sell.  Trust is so important. It’s not something you make it’s something you earn. It’s also a strong reason that a business takes 15 years to become successful.  With all the competition out there, whether you’re a grocer or car dealer, there’s always someone that is going to compete. Competition is good.  When we started, there was maybe two or three other bottle auctions that I knew of.  Now there are probably at least ten.  That’s a good thing.  It’s good for the customers and good for us.  If a competitor can get someone interested in buying bottles, where do you think they’ll go when they are in between auctions and we’re having one?  Just spreading the word, sharing the beauty of old glass to others…it’s a joy to be able to do.

So after our 50th auction we’ll just keep plugging away.  I swear I’ll never retire, what for?  I can pretty much do whatever I want now and yet I turn down many excursions over putting together my next auction.  Oh I’ll go to places I’ve only read about but I like to work and enjoy talking to customers and waiting for the next email or phone call that brings us something special we can show the world. I’ve learned so much, met so many people and shared so many great moments with the people I’ve met in the bottle world, why would I give it up?  So it’s likely you’ll see us around.  We try and hit as many shows as we can.  Our name is out there in numerous trade publications and we will continue to write articles and spread bottle news like we have been and most importantly we’ll continue to improve on what we do. We’ll do our part, and for those that took the time to read this, I hope your enthusiasm for bottle collecting stays as strong and as fun as the first time you pulled a Lea & Perrins from the ground. Maybe in a nutshell, we’ll simply grow older together.  Happy collecting.