PENNY BANK POST
Still Bank Collectors Club of America
President
Charles Meeks
Vice-President
Harold Blau
Secretary Harry Ward
Treasurer Dick Soukup
Past President & Member of the Board of Directors
Bob Brady 2004
Board of Directors
Ulrike Riegraf-Blank 2005
Ken Russell 2005
John Bennett 2004
Doug Harman 2004
Fritz Kokesh 2004
Historian
Jeanie Egelhoff
Membership Chairman
Larry Egelhoff
Editor, Penny Bank Post
Tony Neilson
Webmaster
Greg Dean
Ethics Committee
Chairman
Matt Medeiros
Committee Members
Don Heim
Joe Wilkinson
Jim Yeager
FRONT COVER
The year is 2003, and Harley-Davidson celebrates their 100th anniversary. This bank however was made so long ago that they have no record of it.
From The Editor’s Desk
My sincere thanks are extended to all those that contributed to making this issue possible.
Harold & Rona Blau, Dr. Edward A. Brown III, Tom Hagan, Adrianne & John Haley, Gail Hammer, Elliotte & Liz Harold, Fritz Kokesh, Charles Meeks, Susan Moore, Lynn Neilson, Nancy Pickle, Lin Pickle, Bob & Shirley Pierce, Bill Robison, Chrystal Ruszenas, Guy Williams, Greg Zemenick, and also our thanks go out to Lee & Karen Roesner at Paradigm Graphic Design in Northbrook, Il, and Dave Giddens & the team at Heritage Quality Printing in Brookfield, WI for turning out a first class magazine.
In 1903, the same year that Henry Ford incorporated the Ford Motor Company and the Wright brothers flew at Kitty Hawk, William Harley and his friends Arthur and Walter Davidson launched the Harley-Davidson Company. They gave their bike a quality engine, so it could prove itself in races, but planned to manufacture it as a transport vehicle. That same year the merchant C.H. Lange sold the first officially distributed Harley-Davidson in Chicago, a city given to motor racing and auto-touring. Those of you that are motorcycle aficionados don’t need to be told that Harley-Davidson celebrated their 100th anniversary this year so how timely to receive an article from Dr. Z. featuring a bank put out by the firm, albeit many years ago.
Many neat articles this month including the thought-provoking Proposal for Identifying Variations of Cast Iron Still Banks submitted by Fritz Kokesh. Another of my favorites, and all of them are my favorites, is the story about the exhibition put on by Elliotte and Liz Harold in the Search for Still Bank Collectors. I realize that many of the articles we publish require a great deal of your time and effort but I urge each of you to help in supporting the SBCCA and the Post with your own contributions.
I had mentioned in September that we’d be carrying the text and pictures from Mike Goldstein’s talk at the June convention. It’s not ready yet (my own fault), and I really must get out of the habit of making hard promises. You’ll get to see it in the fullness of time.
Remember to check in on our web site, from time to time; at www.stillbankclub.com Greg Dean periodically adds new material and photos, and if you don’t find what you’re looking for, consider contributing material (pictures and text) to Greg for addition to the site. Remember to use, member and, chicago to enter the members’ only area.
Please accept my sincere thanks for your submissions, your feedback, and I hope that you’ll keep those cards and letters coming.
Send your contributions to: Tony Neilson
18 – 15th. STREET, Roxboro, QC, H8Y 1N5, Canada E-mail to lynntony@videotron.ca
The Penny Bank Post is published by the SBCCA three times per year for distribution to the members. All rights reserved.
The Post - Classified Advertising
Cast iron building banks, safes, figural, tin and pottery banks. Visit our web site at www.marklynantiques.com for photos and information. We also have additional banks for sale not on our web Mark Suozzi marklyn@valinet.com
New - Original Still Banks in Limited Editions. SBCCA Convention Banks, and others see my web site at www. reynoldstoys.com
Thanks, Charlie Reynolds reynoldstoys@erols.com
2003 Edition Banthrico Building with full text CD-ROM! The most compre -
For Sale. Penny Banks & Related
hensive, up-to-date book available. $25.95 plus postage ($4.00 priority) plus tax ($2.21 for WA state residents). Available without CD-ROM for $18.95 plus postage & applicable tax.
Lance G. Oldham klg97@tscnet.com
Wanted Building Banks, early English copper series, coronation M1319 or “our empire” M1321, banks by Harper. Buy, sell or trade. Visit my web to view others. www.deantiques.com Greg Dean marlin10@comcast.net
Wanted: Hubley Mascot, painted buildings (including Palace), Mechanical banks, wooden bank boxes, bank pictures and advertising. Individual items or whole collections will be considered. “Condition is more important than the price” Bob Brady bobbra@comcast.net
Wanted Tower Bank (Moore #1173) & Elephant Bank (Moore #447) - Size 3 1/2” H, 43/4” Long only Fred Eads efeads@logan.net
Wanted: Connecting Rod for villa Bank (Moore #1179). Mark Williamson markl.williamson@verizon.net
Wanted: Banks with Working Clocks in
Coin Banks by Banthrico
• Hardcover in full color by Schiffer Publishing Co.
• 15 chapters, 256 pages
• 900 different banks
• 1135 pictures
• price & rarity guide, index
• 500 transpotation and architechtural banks
• Special Price $40 + $5 SH
Personalized & autographed by Jim Redwine
6940 Lake Valley Dr. Florissant, MO 63033 Tel # 314-741-6940
Wanted
Penny Banks & Related
them. The clock does not necessarily need to still work. Please contact me if you have any for sale. Thanks, Dan Collins Dan Collins nu2u@adelphia.net
Safe Banks Wanted: Iron, tin, wood, glass, ceramic. Any type, any style. I have several for sale. Larry Egelhoff egelhoffl@juno.com
Wanted: Rehberger building banks in excellent condition. Also interested in building shaped banks made by Art Metal Works. Please e-mail with description and price. Thanks! Gordon Steimle Steim98@aol.com
Seeking the rare building banks, especially multi-colored buildings, State Banks and unusual variations. Also have banks for sale or trade. Please e-mail or call Tom Kellogg Ironbanks@aol.com
Looking for a supply source of oblong
bank plugs Glenn Langford glang@gate.net
Wanted. Still banks with baseball themes, (players, balls, etc.) pre WWII. Condition matters but no reasonable offer will be ignored. Barry I. Deutsch barryid@pobox.com
Wanted - Chein Banks. Particular ones with advertising on them. Also I am looking for a Snub Nose Shell, Epiphany Pence Barrel, Save & See 1939 W.F. globe.
Ted Targosz Teds_toys@hotmail.com
Wanted- Any Glass Bank not in the Glass Bank Book. Also, Fish Bowl. See What You Save. Bubble BanksColumbian Missions, Reddy Kilowatt, I Like Ike, Magic of Television, Schoeneman For Fall, Penny a Drill. Charlie Reynolds reynoldstoys@erols. com
Please note that your ad will appear next year only if I receive your email/letter requesting continuence.
President’s Message...
Charles Meeks
As we prepare for the holidays and reflect back on the past year, I hope that each one of you has had a great year. Members that were able to attend the SBCCA convention in Chicago, I know, have some good memories. It was a wonderful time spent with fellow collectors who share a common interest.
I hope that all members were able to add a bank or two to their collection during the past year. If you enjoy arranging them on a shelf or a table to enjoy, we tend to get that feeling that the last bank we bought was the best. What a great hobby we have!
I want to thank all the Officers and the Board of Directors for their help in working to make the SBCCA club one in which the members enjoy and continue to promote educational and philanthropic endeavors through collecting banks. A special thanks to our Editor, Tony Neilson, whom I feel is doing a GREAT job as Editor of the Penny Bank Post. I feel the color pages add a lot to the publication. Also thank you to our Web Master, Greg Dean, who has put together an informative and classy web site that the members can enjoy.
If you have not visited the web site at www. stillbankclub.com I encourage you to do so as it has changed. Greg has worked to improve the web site, and is open to new ideas and information that you have and feel the members would value. We hope our web page can bring some new members to our club.
A lot of the members have contributed with articles and pictures for our Editor to use in future publications. We, as a club, wish to thank all the members for sharing their knowledge and support. I had some new members tell me at the convention how helpful other members were to them. We do share our knowledge with others, which is what helps to make the membership in the SBCCA such a value. The conventions are great as it is hard to put into writing all the information that is talked about during the conventions. The point being - if you miss the convention, you miss a memorable, and valuable experience!
Next you need to mark your calendar for the 2004 convention in Alexandria, Virginia. Those of you that attend most of the SBCCA conventions
need no convincing. New members and other members not regularly at the conventions need to plan on being in Alexandria, Virginia June 23 - June 27, 2004. By extending your stay on either side of the core convention days - Thursday through Saturday, you’ll have an opportunity to combine your passion for still banks with that of seeing the Capital City of the United States of America. They have the largest concentration of museums to be found anywhere on earth. The Smithsonian alone is worth the trip. Take an afternoon and visit the National Zoo: the giant panda bears are there to see and there is no admission fee.
Plans are being made for the 2005 SBCCA convention to be held in Lancaster, PA., only minutes south of the antique capital of the United States, Adamstown, PA, and the 2006 SBCCA convention to be in New Orleans, La. If you would like to host a SBCCA convention or have a city or town you feel would make a great site for a SBCCA convention, talk to one of the officers or board members. This is your club and we want to work with you.
Speaking of the SBCCA, we have three directors going off the board in 2004. If you know someone that you feel would be good for the club talk to our Vice President, Harold Blau. He is the Chairman of the nomination committee for club officers and directors.
My very best wishes to each one of you for a safe and enjoyable holiday season.
HAPPY NEW YEAR!
Regards, Charles Meeks
PS Dick Soukup, our treasurer, is sending out the dues notices for 2004. Please support the SBCCA and help make his job easier by responding to Dick as early as possible.
JUNE 2004
Mark your calendar for next year’s convention in Alexandria, VA today.
Pocket Bank - for a Small Pocket Submitted by Tom Hagan
Recently I found this very small pocket bank, which has the capacity of holding eight dimes.
The ninth dime will open the bank.
(Pictures not to scale.)
The bank is designed in the shape of a horseshoe - the front features raised lettering reading, “Good Luck.” The reverse reveals the name of the maker, Victor M. Grab & Company Chicago U.S.A.
The
Post - Classified Advertising
SBCCA Banks For Sale
1978 Pig, 1979 Suitcase, 1980 Green Frog, Flags Bank, with info, Club Rocking Horse serial #73, & also a Smile and Save Richard Brizendine, 940-668-6614 or alm@ntin.net
The NORCO Pig
Submitted by Tony Neilson with help from my friends
Our friend Dave lives near Reading, and is a prolific seller on Ebay, going by the moniker of, hooterrooter. He gathers many items in his travels, and in August he sent me a cast iron pig as a gift, and asked if it was an old bank.
The dimensions are six inches long by two and three-quarter inches high. The bank has raised lettering on each side. The right side reads:
The left side reads:
The name NORCO is quite common in the Pottstown area, and Dave indicated that the Norco Foundry was the name of a company that has subsequently become Norco Welding.
An initial review suggested that it was an old bank. The casting appeared to be fine quality with a good fit between the halves. The pig was cast in a walking stance, as opposed to just standing still, indicating more than the usual artistry in the design
graphics. Last but not least, the advertising theme alone suggested to me that it was an old bank.
On the other hand, the bank had suffered a lot of paint loss due to oxidization (rust), and it has always seemed to me that old banks seldom exhibit signs of rust (or maybe I’ve been hanging out in Donal’s room too much). Another observation was that the pig didn’t quite stand level on all four feet.
I next checked Moore’s book to see if the NORCO pig appeared there - it did not. In and of itself, the absence of an example in the Susan and Andy Moore book isn’t that significant but it’s always instructive when an example of any given can be found in the book.
So I got in touch with Bob Peirce because of his vast knowledge of advertising banks. Bob stated that he had been seeing this bank in the flea markets since the mid-seventies or so, adding that he’d seen it in a variety of colors including black, gold, pink (the most common), silver, and white. He further stated that to best of his knowledge, there had not been any old original version of this bank.
I then conducted a search of the web for the NORCO pig, which resulted in three finds:
1. A pink pig for sale in Independence, Oregon at a price of $70.
2. An example (color pink or white) for sale in Jupiter, Florida at a price of $125.
3. A site for Antique Hardware and Home at www.antiquehardware.com selling the “Little piggy bank” (NORCO pig) as a reproduction under the category, Gift items under $50, for $19.95 + shipping.
A picture of the “Little piggy bank” offered for sale at $19.95 (seen on page 7)
The obvious conclusion therefore is that the NORCO pig is a modern bank, but not one that is being manufactured with any intent to trick collectors.
I showed the pig to Al James, and Harry Ward at the Mid-Atlantic convention, and both guessed that it was a post-WWII bank, but thought it was
Continued from page 6
The Norco Pig
probably circa 50’s or 60’s, as I expect many collectors would. The fact that it carries advertising is very persuasive, and influences one to think that it’s older.
On a final note, I asked Charlie Reynolds his opinion of the reason that the modern cast iron cast-
ings tend to rust quickly as opposed to the old toys. Charlie proposed two explanations:
1. No primer paint is used on the modern banks.
2. Modern castings are sandblasted, which results in pitting of the cast iron surfaces and provides numerous sites for oxidation to get started. The old banks were tumbled, smoothing the cast iron surfaces, and making the banks less susceptible to rust.
All in all, the NORCO pig proved to be a rather interesting subject for an article with the added benefit of reminding us that it does pay to be careful at the flea markets.
Obituary Notices
The members will be very saddened to learn of the deaths of Elaine Werbell, the wife of our founder, William Werbell, and Susan Trowbridge, the wife of Rudd Trowbridge.
Herb Schriner
Bruce Croteau wrote:
Herb Schriner, a long time former member of the SBCCA, passed away August 18th in a nursing home. He had been ill for several years and, as a result, had not kept up his membership. I was able to purchase most of his collection four years ago, which started me on my way.
Herb’s wife Jackie accompanied him on many trips to the National conventions. She still resides in Huron, Ohio.
Marvin Seymour Weinstein
10/15/1925 - 9/16/2003
Member since 1982
Died at his home after a long valiant battle with cancer. He was born in Brooklyn, NY, entered Brooklyn College at sixteen years, and enlisted in the U.S. Army a year and a half later. He served with the 347th infantry in Europe and was injured.
After the war ended, Marvin returned to college
and received a Ph.D. in Clinical Psychology from Case Western Reserve University. He spent most of his long career with the Veterans Administration in Cleveland, Phoenix, and San Francisco. Following retirement in 1981 he volunteered at the HaightAshbury Free Clinic, and for a time served as an ombudsman for nursing home patients.
Marvin enjoyed playing bridge and going to garage sales. He liked sports too; he was an avid tennis player, hiker, and runner, completing five marathons after age fifty. Traveling abroad with his wife was still another interest.
Marvin is survived by Joan, his loving wife of fifty-two years, his children Mary Helen (Bill) Connor, Michael (Gail Hall), Peter, Wendy, and grandson Forrest Connor.
The foregoing obituary was sent in by Don Curran who stated that, “It does not include one thing I know he would have liked, an inveterate still bank collector.”
The Penny Bank Post extends the sympathies of the SBCCA members to the families and friends of Elaine Werbell, Susan Trowbridge, Herb Schriner, and Marvin Weinstein.
Searching for Still Bank Collectors
By Elliotte & Liz Harold
A hot topic of conversation at our recent convention, as it has been at others, was recruitment. A quick scan of our latest roster indicates that less than 10% of our members joined within the last five years.
That same review will show that there are relatively few members from the Deep South. It is our impression that there are few collectors of still banks down here in Louisiana, and therefore not a lot of potential members. We hope to write a future article on the reasons for the lack of collectors.
Fully aware of the futility of trying to find fellow collectors and potential new members we nevertheless recently tried something that might bear fruit if tried in the more fertile fields of New York, Pennsylvania, Ohio, etc. As Mickey Rooney said in more than one movie of the thirties and forties, “Let’s put on a show!” Deciding to follow his advice, we put together a month long exhibit of approximately 200 banks from our collection. The exhibit was almost entirely comprised of cast iron banks because the vast majority of banks in our collection are of cast iron.
The site of the exhibit was the headquarters branch of our local parish (county to the rest of you) library. It has a number of secure display cabinets, and welcomes offers of exhibits to keep them filled.
played some of our convention banks and a copy of the Penny Bank Post. Prominent here were directions to the Club’s website.
In the other display cases we grouped the banks by theme – two shelves of vehicles such as ships and cars, two shelves of animals, two shelves of figural banks, a shelf of safes, and so on. We also had a shelf displaying banks made of materials other than cast iron including wood, glass, lead, and papier-mache.
Unlike a home visitation during a convention, we felt we had to tell viewers what they were looking at. After all, one of the purposes of a library is education. Conversely, we felt we could not burden the audience with too much to read. Therefore, we prepared the first cabinet to catch folks’ attention and explain the exhibit. For the explanation we used short, one page, large print write-ups. These defined still banks, described the club, and told the viewers about the manufacturers – where they were located, when they were active, and what items they produced other than banks. We displayed three or four banks from each of three of the major manufacturers, Arcade, Hubley, and A. C. Williams. In this “introductory” case we also dis-
Bill and Pam Shepardson were kind enough to lend us banks constructed of materials that are not represented in our collection.
There was one large case in the children’s room. In this one we showed banks that children could identify with. First, there was a “farm” shelf. The “Sharecropper” bank was labeled “Farmer Brown”. He was surrounded by animals typically to be found on a farm – cow, horse, lamb, chicken (and the Knerr “Chicken Feed” bank), pig, dog, and cat. The second shelf had wild animals such as the seal, elephant, buffalo, lion, and pelican. A shelf of stoves, refrigerators, and other household appliances rounded out the children’s case. (See pictures on page 13.)
Each bank was identified by name, the name of the maker, and date of manufacture, if known. We also included a copy of the introductory write-up, and directions to other cases. There was one flat display case available, which we utilized to display reference books. After all, it was a library, and this allowed us to show a connection between collecting and knowledge.
Finally, a word on sponsorship. We may be a little paranoid but we preferred not to have our names connected with the exhibit both from security and privacy standpoints. Therefore, we showed the exhibit as being presented by “Members of the Still Bank Collectors Club of America”. Anyone really interested could visit the website and get all the information he or she needed.
The people we talked with were fascinated with the display except for one fellow who wanted to know where
Continued from page 8
Searching for Still Bank Collectors
the piggy banks were. Did we recruit any members? We doubt it but we did generate some interest and provide some entertainment and education. The project took a bit of work and some planning but we enjoyed it and hope that some of you in other areas might try something similar. It’s possible you might find some of those crypto collectors we hear about and produce a few new members
for the Club.
You Missed Out
Submitted by Nancy Pickle
The Mid Atlantic Penny Bank Club convention was held in Lancaster, PA September 25, 26 & 27th, and was hosted by Sonia & Al James. Held the same weekend as the Extravaganza for the antique areas in Adamstown and Denver, PA, it was great with all the antique markets open for extended hours, and the endless malls, many with great sales.
The number of banks we saw was unlimited in all styles and materials, and the club auction offered many great banks. Lin and I added 10 pottery type banks to our collection during the weekend.
Helen Grinton, with her usual humorous delivery, presented a slide show about Alms Boxes of all types assisted by husband Joe operating the projector.
How Sweet It Is: The Fiume Chocolate Elephant Bank
Submitted by Harold & Rona Blau
Fiume is a city and surrounding area on the Adriatic Sea. It is an area of just 8 square miles, and was claimed by both Yugoslavia and Italy following World War I. At the time of the international conference to settle this issue, the poet Gabriele D'Anunzio organized his legionnaires, seized Fiume, and the islands of Arbe, Carnaro and Veglia in the name of Italy. Yugoslavia recognized Italy's claim, and the city was annexed in January 1924.
FANTASTIC FACTS OF FIUME’S HISTORY
Gabriele D'Anunzio was at various times described as a “decadent poet, artist, musician, womanizer, pioneer daredevil, aeronautist, black magician, genius, and cad.” He emerged from World War I as a hero with a small army at his command. Merely in the spirit of adventure he decided to capture the city, of Fiume from Yugoslavia, and give it to Italy! After a necromantic ceremony with his mistress in a cemetery in Venice, he set out to conquer Fiume, and succeeded without any further trouble. At first Italy turned down his generous offer, and he was called a fool by the Prime Minister.
In a huff, DIAnunzio decided to declare independence for Fiume, and see how long he could get away with it. He and his friends wrote a constitution, which proclaimed music as the central principle of the State. His modern day pirates preyed upon Venetian and Ottoman ships, and turned the money over to the coffers of DIAnunzio's Fiume.
Artists, bohemians, adventurers, fugitives, and stateless refugees began to show up at Fiume in droves!
Every morning D'Anunzio read poetry from his balcony. Every evening there was a concert, and then fireworks. This made up the entire activity of the government. Eighteen months later, when the wine and money had run out, the Italian fleet finally showed up and lobbed a few shells at the Municipal Palace, no one had the energy to resist..
D'Anunzio, like many Italian anarchists, later veered towards fascism- in fact, Mussolini himself encouraged the poet in that direction. By the time DIAnunzio realized his error it was too late: he was too old and sick. But Mussolini
had him killed anyway - pushed off a balcony - and turned him into a martyr. As for Fiume, it was in many ways the last of the Pirate Utopias.
THE BANK
This bank was manufactured at about the same time
as these events were taking place in Fiume. If it were not for the advertising on this bank, this glazed ceramic elephant would not be very remarkable at all. It stands just three inches high, and is only four and a half inches long. It is glazed in a dark grey color with a green blanket, and a one and one quarter inch coin slot at the top. The wording reads:
CACAO- CSOKOLADE Elephant Fiume
and the logo of a white elephant silhouette within a dark six-pointed star is centered on the side of the blanket.
Continued from page 10 How Sweet It Is
To the left of the star we read:
MARQUE DEPOSEE
which means registered trademark. Because of this, we assume that this pottery advertising elephant was made in France. We bought this bank from a dealer in Vienna. Apparently, the company that produced this chocolate in Fiume no longer exists, but the area remains famous for its pure chocolate, and has many tourist outlets
which export their product throughout the world.
The bank dates circa 1920, and is scarce to rare. A discussion with Ulrike Riegraf-Blank indicates that very few are known of in existing European collections. If any other collectors have this item or can add to our knowledge of its background, an email will be appreciated.
Harold & Rona Blau
(See color picture on page 14.)
King Edward VII - Coronation Bank
Submitted by Adrianne Haley
We have been able to add an interesting new bank to our collection this year, one which we have never seen before.
However we knew that the bank existed after finding a picture in an old catalogue produced by John Harper for 1902. We have been looking for this bank for the past 30 years. The reprint of the catalogue page is taken from page 33 of the Moore Book. (See bottom left)
The bank is four and a half inches to the top of the crown and four and a half inches in length at the base. The depth is three inches at the base. It is well detailed with the head of the King back and front. Around the base it says King Edward VII crowned 1902. It is made from cast iron, and was produced for his coronation.
King Edward was the son of Queen Victoria and came to the throne late in life, due to the long reign of Queen Victoria. He was mar-
ried to Alexandra, daughter of Christian of Denmark, and they had six children, three boys and three girls. However this did not stop him from being a womanizer, and Bon Viveur. He died in 1910 at the age of 69.
As far as we know this is the only example known of this bank. lf any other members have one in their collection please let us know.
John found this bank at a large antique fair after we had both been tramping around all day finding nothing. You can imagine his delight. Now the thrill of the chase has sustained him through several early morning starts and not finding very much.
Who knows what treasures may lurk around the next corner.
A color picture of the bank appears on page 14. Adrianne Haley
The Harley Davidson Bank
Submitted by Greg Zemenick
This bank, the Harley-Davidson bank, was found along with a Dinah bank in a small antique shop in Naples Florida. The bank initially came from Missouri, and was in the effects of an estate, purchased by the antique dealer, from an elderly couple that had recently died.
I purchased the Harley-Davidson bank and the Dinah bank after intense negotiations with the dealer for under book price. He had no record as to when the bank was manufactured, and he had no knowledge of how the person acquired it.
I did ask him if he had ever seen any similar banks, and if there were any other banks or toys in the estate - these were the only ones. The people were lifelong residents of a town in Missouri, and they had a sizable estate of mid to
high ticket items.
I tried to find information about this bank's history and date of manufacture with no success, until I wrote to the Harley-Davidson archives. Myself, and those I showed it to, including both Harley-Davidson motorcycle and toy bank collectors, hold it in the highest esteem. I have been offered a high dollar for it, but have always resisted the temptation as I feel its beauty lies in its American roots and the feeling of freedom that the motorcycle on the open road espouses.
The reply received from Harley-Davidson is below (reformatted to fit the available space), and additional pictures appear on the opposite page.
Bernard Bloch “BB” Banks
Submitted by Lin Pickle
I found the following information after fellow SBCCA member James Cox told me that the Bernard Bloch (“BB”) Company made one of my banks. I was then able to find the following information about this manufacturer, and the banks I have.
In the Victorian era, pipe smokers kept their tobacco in a decorative tobacco jar or humidor. Figural tobacco jars were produced mainly in ceramic, typically heads or full figures of people and animals, generally 12 inches or less in height. Most such jars were produced in Bohemia and Germany in the middle to late Victorian era when pipe smoking replaced snuff as the preferred means of using tobacco.
Bernard Bloch of Eichwald, Bohemia (now the town of Dubi, Czech Republic), was one of the top producers of figural tobacco jars, and their fine work is still prized by collectors today. The company was founded in 1871, and operated under the Bernard Bloch name until 1940, when it became Eichwald Porcelain and Stove Factory Bloch & Co. In 1945, the firm was nationalized and combined with other pottery and porcelain makers to form Duchov Porcelain.
I have 9 banks that I believe were made by this company. The colors and subject matter are typical of “BB” Tobacco Jars. I believe the glazed banks come from the 1920/30's. Two of the banks pictured are from the Mike Henry Collection. The “BB” banks with no or little glaze are believed to be from the early 1900's. There are many other “BB” banks known.
* Notes:
A 0.4” Triangle Mark -Flat Bottom no glaze
B See Photo of Bottom - Same as (*), BB, & labels where sold. Note that this bank is the only one with both “BB” & triangle on bottom.
C Recessed glazed bottom -No triangle
D From Mike Henry Collection
E Earlier 1900's production with either no glaze or less glaze, and different material.
Bank # 3 is only one with both triangle & “BB” Color pictures appear on the opposite page.
Proposal for Identifying Variations of Cast Iron Still Banks*
Submitted by Fritz Kokesh
Introduction
In the mechanical bank hobby variations have been of interest for a long time. Indeed, in Norman's catalog of mechanical banks1 nearly half of the American cast iron banks listed are identified as variations. By comparison, in Moore2 a mere twenty-five entries are called variations. Generally speaking, collectors of cast iron still banks have only a budding interest in variations that seems focused on building banks and color variations of common figural banks.
Current interest in still bank variations aside, a significant problem exists: there is no accepted definition of the term. Thus, the mechanical bank variations listed in Norman were identified by a panel of experts whose criteria and selections are not explained. Although it seems generally accepted that variations are banks that closely resemble one another but are not identical, there are no objective criteria that collectors can use to discuss and decide which banks are variations and why.
In the still bank hobby we could follow the same 'selection by experts' path, and without a better idea are doomed to do so. Instead, I propose that variation be defined based on the process used to produce the banks. The production process also can be used to classify variations (that is, to sub-divide them in informative ways). When this approach is followed collectors who understand the production process can identify and classify variations and can form their own opinions about variations identified by others. The approach can be used with cast iron toys, etc., and in addition easily can be extended to banks made using any other production process.
Definitions of “Type” and “Variation”
1 Bill Norman, “The Bank Book: The Encyclopedia of Mechanical Bank Collecting,” p. 15.
2 Andy and Susan Moore, “The Penny Bank Book: Collecting Still Banks,” Schiffer Publishing Ltd., Exton, Pennsylvania.
The production process for cast iron banks is summarized in the Chart at the end of the article. It began with the creation of a design concept and continued through assembly and finishing of banks in large numbers. In this context the following definitions are proposed for the terms Type and Variation (it's not possible to explain Variation without also explaining Type):3
“Type” describes all banks derived from given wood and lead master patterns. If new wood and lead master patterns were made, or one or both existing master pattern were modified, then banks made from these patterns are of a new Type.
“Variation” describes banks of the same Type that are different as a result of a change made during any of the production steps that followed completion of the master patterns.
Basing the definitions of Type and Variation on the production process seems to represent a new approach, although I acknowledge the contribution made by F. H. Griffith. In his “new setup with respect to 'type' mechanical banks”4 he distinguished type and variety. He explained that when banks are separate types the differences “go beyond one (bank) just being a variety of the other.” Griffith seemed to believe that when analyzing differences between banks it is important to consider the need to change patterns.5 However, he did not define type and variety based on the production process and did not equate a change of master patterns with a new type.
3 In this article, when “Type” or “Variation” are capitalized or within quotation marks they are being used as defined here.
4 F. H. Griffith, “Bureau Bank…,” HOBBIES Magazine, November 1967 and “'Type' Mechanical Banks,” April 1968. (These articles can be viewed on the MBCA web site.)
5 For example, in F. H. Griffith, “The Three U.S. Banks,” HOBBIES Magazine, December 1967, he notes: “these variations, while slight in nature, still required a different pattern in each case, and this is where the main importance lies.”
Continued from page 18
Proposal for Identifying Variations of
Cast Iron Still
Banks
Variations, in particular, Finish Variations.
Classification of Variations
Although these definitions are sufficient to identify a Variation, it seems useful to also classify it by specifying where in the production process the change occurred that resulted in the Variation. In the Chart the production steps that followed completion of the master patterns have been grouped under the headings: Tooling, Casting, Assembly, and Finishing. In this way, a Variation of a cast iron bank can be a classified as a Pattern Variation, Casting Variation, Assembly Variation, or Finishing Variation. These terms are not unlike Moore's “paint and casting variations” and Norman's “casting and finish variations,” although, of course, they include additional classifications.
Examples and Discussion
Several examples of differences between banks are given in Table 1. Note that column 5 indicates whether a given difference points to a Variation or Type, and if a Variation, columns 6 to 9 indicate its classification. A few examples will be discussed in order to illustrate how differences can be analyzed.
Examples 1 and 9
Example 1 concerns banks painted different colors. Of course, this difference resulted during the finishing step when the paint color was changed. Therefore, banks that appear identical except for paint color are
Example 9 is about banks made of different metals. This difference resulted when molten aluminum rather than iron was poured into a sand mold. Therefore, banks that are identical except for the metal used to cast them also are Variations, in particular Casting Variations.
Example 17
It is obvious from looking at the “Santa Claus” and “Santa with Tree” that they are related; except for the tree the two banks appear identical. Still, it seems clear that their production required separate master patterns. Therefore, they are Types.
Example 18
Discussion of the first three examples might make it seem that deciding between Variation and Type is trivial. But the next example is quite challenging. Example 18 describes banks that appear identical except for the fastener.
Probably the turn pin came first6, and the switch to screws was made to reduce assembly time. But, regardless which fastener was used first it seems certain that a second lead pattern or changes to the original one had to be made. Therefore the banks with turn pins and screws are separate Types.
Here's how I reached this conclusion. Of course, any
6 Moore dates the “Give Me a Penny” with turn pin, M–167, as circa 1894, and that with screw, M–166, as 19021926. And, Bill Robison has told me that a study of the “Trick Dog” mechanical bank points to the turn pin being used before the screw.
Continued from page 19
Proposal for Identifying Variations of Cast Iron Still Banks
bank with a screw fastener requires a “boss” or post inside the bank that can be drilled and tapped to accept the screw. When I inspected a “Elephant with Howdah (small)” with screw fastener (because I don't have a Small Reindeer with screw fastener) I found the post to be carefully formed and positioned exactly opposite the hole for the screw head. If the lead master pattern were originally made without the boss then the boss had to be added to use the screw fastener. On the other hand, if the master pattern originally had the boss, then the boss had to be removed to use the turn pin. Therefore, regardless which fastener was used first the lead pattern would have had to be modified. If it weren't, each working pattern would have required modification separately and the cast iron parts produced would not all be identical.
Whether the wood master pattern required modification in the change between turn pin and screw fasteners depended on how much detail had been put in the pattern. Potentially, it provided for neither a turn pin nor screw. For example, the wood pattern for the “Lion on Tub” that Bill Robison displayed at the Marietta convention had no holes or even indentations to mark the location of fasteners. On the other hand, Bill has a pattern for a mail box bank with a counter sink for a screw head. (Because the halves of the pattern are glued together it isn't possible to look inside to see if a boss is present.)
It's okay if you're not totally convinced. I can't be 100% certain that the lead master pattern was modified or that the wood pattern wasn't. If I could inspect the patterns for the “Small Reindeer” with turn pin and screw I would know for sure when the changes were made. But I haven't seen them and they may no longer exist. Therefore I have had to consider the information available, weigh the possibilities, and decide which seems most likely.
Examples 13 and 25
Examples 13 and 25 involve pairs of banks in which one is “plain” and the other has an advertising or commemorative message. Although the difference is similar, it seems that the changes necessary to add the messages
occurred at different stages of the production process so that in the first case we're dealing with Variations and in the second with separate Types.
The Mulligan both with the slot in the back and slot between legs is known with various advertising messages.7 Photo 1 shows part of a collection of such banks. Note the unusual raised area that surrounds the lettering. Bill Robison believes that these banks were made by stamping the advertising message onto sheet metal that then was attached to working patterns. When the sand molds were made the message and the impression of the metal itself were transferred to the mold and hence to the
final casting. As Bill notes, when production was finished the message could be removed and the working patterns used again with other messages. I conclude, therefore, that these banks are Variations.
The “GOP” message could have been added to the standard “Art Deco Elephant” in the same way. But it wasn't. Photo 2 shows the wood pattern for the GOP bank, which is in Bill Robison's collection. It is clear in this case that a new wood pattern was made or the existing pattern was modified. So these banks are separate Types. Why were different methods used? Until foundry
7 Ralph D. Dye, Jr., “Super Salesman,” Penny Bank Post, 1984 Summer/Fall, p. 10.
Continued from page 20
Proposal for Identifying Variations of Cast Iron Still Banks
records are found we only can surmise, but two reasons seem likely. The first was that by adding the message to the working pattern the foundry could profitably fill orders for as few as one gross of banks with a given message (see ref. 7). On the other hand the GOP bank must have been made in normal production quantities, as evidenced by its “C” scarcity rating in Moore. In the latter case creating master patterns would have allowed making any number of working patterns and also would have yielded a higher quality product.
Example 21
This example, which was provided by Bill Robison, illustrates that sometimes one can be quite certain of what happened although why remains anyone's guess. The two specimens of a unlisted “Bank” building in Photo 3 are both 5 5/8” tall and measured just below the roof they are 4 1/4” wide by 3 3/8” deep. Both appear to be old banks. However, there are many differences between the two specimens. For example, Photo 4 shows how the blocks at the building corners have distinct shapes, and the trim of the windows is detailed differently. In addition, Bill notes that the bank on the right has thinner (finer) lettering, has roof tiles that are shaped differently, and weighs weights 1 lb. 8 ozs., which is 5 ozs. less than the specimen on the left. These facts make it quite clear that different master patterns were used to make the two specimens, and therefore they are separate Types. The detail and weight also suggest that the bank on the right is the original, with that on the left being a contemporary (old) copy that is well made but not quite so refined. What is not clear is why new patterns would have been made, particularly given that this is a scarce bank (and therefore at the time of manufacture apparently was not a wildly popular item in the stores). One possibility is that the original patterns were damaged or lost. Perhaps a reader can suggest a better explanation?
Catalog Descriptions
The examples make it clear that information is crucial to identifying differences between banks and to reaching reasoned conclusions about how these differences occurred. Moore in particular includes a wealth of
information. Therefore, I want to briefly suggest how catalog descriptions might be made more complete and how Type and Variation information could be incorporated into existing catalogs. (The content of descriptions in new catalogs is very important but is too complex a subject to be addressed here.)
For example, in the discussion of Example 18 it was concluded that the Small Reindeer bank with turn pin and with screw fastener are separate Types. Moore has only one listing for a Small Reindeer bank and pictures a bank with screw fastener. In an updated edition it would be possible to add a second listing for the turn pin Type. But it might be more practical to expand the current description as follows:
736. Small Reindeer (Elk). CI; 6 1/4” x 4 7/8” x 2 1/8”; slot along spine.
Type 1: Arcade 1913-1932, turn pin; U.S., A. Finish Variations : painted gold, red, green, blue or orange. Banks by Arcade may have a decal.
Type 2: A.C. Williams 1910-1935, screw fastener, head to right; U.S., A. Finish Variations8: painted gold, red, green, or blue.
In the expanded description dimensions include length, height and depth, the finish is specified, and the slot location is noted. Indication of the two Types is accomplished using the “Type 1” and “Type 2” designations introduced by Griffith (see ref. 4). Finally, known Variations are listed and it is noted that a decal may be found on some banks manufactured by Arcade.
Another situation found in existing catalogs is Variations being listed separately. This can be addressed by adding a note in updated editions. For example, in the
8 Michael Holz, “Animal Bank Color Variations,” Penny Bank Post, December 2002, p. 17. Tom Stoddard, “A Kind Word for A and B Banks,” Penny Bank Post, 1995, No. 2, p. 4.
Continued from page 21
Proposal for Identifying Variations of Cast Iron Still Banks
case of “Bear on Hind Legs AL,” Moore 711: the description would note: “A Casting Variation of No. 710.”
So What?
Perhaps what needs to be addressed now is the question, “So what?” Because the concept of variation is useful in bank collecting and the term is going to be increasingly
important in the still bank hobby, the answer is another question: Will variations be what a few experts pronounce them to be, or will Variations be identified using a process that any knowledgeable collector can apply and understand?
It is understood that this system may not be popular with collectors familiar with mechanical bank variations who believe that the only important differences are those in castings. Perhaps these positions can be bridged if everyone agrees that recognition of a variation isn't an endorsement of its value or a recommendation that it be collected.
What Next?
I will look forward to feedback on this proposal, and am grateful to Bob McCumber, Frank Kidd, and Bill Robison for the input and guidance that they already have provided.
There is much more that could be said about variations and the definitions that have been proposed, and it would be worthwhile to expand on the subject, present new examples, and also to correct errors. The web site www.ToyBanks.info has been established for these purposes.
Descriptions of Photos9
Photo 1: “Mulligan” banks with advertising on backs.
Photo 2: Wood pattern for “Art Deco Elephant ('GOP'),” M–450. (Most letters have detached.)
Photo 3: Two specimens of a “Bank” building, both M–N/L.
Photo 4: Details of the banks in Photo 3.
(Editor’s Note - I take responsibility for the addition of the in-article black & white photos, which are extracted from the Penny Bank Book written by Andy and Susan Moore. They do not form a part of the original copyrighted article prepared by Fritz Kokesh. Tony Neilson)
9 Photos 3 and 4 are used with permission of Bill Robison.
Continued from page 22
Proposal for Identifying Variations of Cast Iron Still Banks10
Chart: Production Process for Cast Iron Banks
Design: The bank's creator conceived of the idea for the bank, prepared drawings, and (if the design was complex) built working models.
Master Patterns: The pattern maker created a wood pattern. If management gave its goahead he replicated the wood pattern in lead (or white metal) and perfected the lead pattern. In some cases details or lettering were added to the lead pattern.
Working Patterns: In preparation for mold making at a manufacturing pace, multiple brass (or bronze) working patterns were made by replicating the lead master pattern. Any casting defects were repaired and the finish was refined on each pattern. Working patterns might be machined to provide for turn-pin or threaded fasteners or have details or lettering attached.
TOOLING
Working Pattern Tree: The parts of the working patterns were soldered to brass rods or bars to create working pattern trees. These facilitated handling the working patterns when making production molds.
Match Mold: Match molds complementary to each pattern tree were made of hardened sand.
Production Molds: Molders used the working pattern tree and complementary match molds to make sand molds and prepared them for casting.
Cast Metal: The cupola foreman prepared the molten cast iron and the cupola crew poured it in each mold.
Shake Out: The shake out crew opened the molds, broke the parts off the castings, and placed each kind of part into a separate barrel.
CASTING
Grinding and Machining: The grinders removed remnants of gate from each cast part and removed flash as necessary. They ground a smooth finish onto parts that were going to be plated. In the machine shop parts were drilled and tapped.
Tumbling (Cleaning): Parts were tumbled with (for example) agate balls or iron stars to clean and lightly polish them in preparation for finishing.
Assembly: Banks were assembled from the cast parts and other parts such as stamped wheels. Assembly might include touching up parts and turn pins in order to achieve desired fit.
Finishing: Each bank would either be painted or plated. Painting involved dipping the bank and also might have included hand brushing to apply details like eyes and mouth. Labels or decals were added. If the bank was painted, finishing occurred last; if the bank was plated, then assembly was last.
10 For more information see: Notes by Fritz Kokesh, “ Patterns and the Molding of Cast Iron Banks, Seminar by Bill Robinson,” Penny Bank Post, April 2003, p.5..
* Copyright© 2002, 2003 Fritz Kokesh, Cambridge, Massachusetts. All Rights Reserved.
Banks
Table 1: Examples of Differences When Comparing Cast Iron Still
Var. Classification*
Catalo g References Type or Variation?
Variation X In the Appendix in Moore, M-19 is said to be a "Paint variation. Hard to find."
Variation X
Variation X
Variation XA ccording to Mike Henry, six styles of wheels are seen on the wheeled-animal banks. These wheels were used on various toys, not just these banks.
This is an Assembly Variation if the original master patterns included the wheel for the rubber tire. But, if the steel wheel came first and the master patterns had to be modified to include the wheel rim, then this is a new Type.
Variation? X?
xample No . Differenc eE xamples
1P aint Color Gold and Blue baseball player Donkey, various color s M-18 (gold) & M–19 (blue) M-499
2E xtent of Decoration Multichromed vs. gold lion on tub M-753 (multichromed) & M-746 (gold)
M-754 (gold)
3 Painted vs. Plated Finish Large lion painted gold vs. nickel p lated
4 Nickel plated vs. Electro-oxidized "Children's Safe Deposit" saf eI SB-191 (nickel plated)
5C omponent Replaced: Standard Part Wheeled Lion M-760
X The length of the turn pin also would need to be ad j usted.
If the original design anticipated the bank being made with or without a clock or other insert, then modification of the working pattern might have been as simple as removing an insert. If not, the working pattern for the bank without clock could have been machined to make an opening for the clock. However, it also is possible that there were distinct master p atterns.
Regardless which way the bank was made originally, working patterns easily could be modified to delete or add the cross.
The existence of right and left hand versions is consistent with working patterns being machined to provide for fasterers. The right-to-left change would have occurred when additional working patterns were m ade.
For smaller production runs with banks that had a suitably flat area, advertising probably was added by stamping the message onto sheet metal and attaching it to a working pattern. It also would be possible to solder individual letters onto a working pattern to create a message.
Result of misstamping production pattern? See discussion in PBP 1984 S/F and 1985 No. 1.
Variation
M-1489 (rubber) & M1493 (steel) "Yellow Taxi"
6C omponent Replaced: Part Specific to the Bank Taxis with Rubber Tires vs. Steel Wheels
ISB-300
7C omponent A dded "Japanese Safe" with plain interior vs. with wood dividers
Variation
M-1081 & PBP April 2002
8C omponent Deleted "State Bank" Buildings with and without ca p
Variation X
M-710 (iron) & M-711 (aluminum)
9C ast from Different Metal "Bear on Hind Legs" iron vs. aluminum
Variation X
Norman-1720 (plain) & Norman-1730 (with clock)
10 Addition of a Clock "Chandlers Bank" without and with clock
Variation X
M-986 (without cross)
11 Removal of a Design Feature "New England Church" without cross on steeple vs. with cross
Variation X
M-757 (left) & eBay Lot 1006920023
12 Location of Turn Pin or Screw "Lion, Ears Up" -left vs. right oriented turn pin
Variation X
M-177 (plain) & M-179 (with advertising)
M-1268
Variat ion? X?
ISB-122 (Keyless) & ISB123 (Lumber...)
13 Different Embedded Lettering-addition of advertising "Mulligan" w/o and w/ Advertising "Satchel" "The Keyless" and "Lumberman's" twin dial safes
M-109
14 Different Embedded Lettering-copyright notice misspelling "Taft and Sherman" (also called "Smiling Jim and Peaceful Bill")
Explanatio n
ssuming that both banks are based on the same master patterns, is the small difference a result of a different alloy being used for casting working patterns for the Canadian banks? Or was it because working patterns for the Canadian banks were replicated from a working pattern rather the master pattern ?
S eparate wood and lead master patterns would be used to produce the same design in different sizes. (Note that alignment notches are on different sides for the El e p hant banks.)
Would clearly involve separate master patterns.
Catalo g References Type or Variation? Pa tC as Asm Fin
Var. Classification* E xample No . Differenc eE xamples
Variation
M-517 (U.S.) & M-518 (Canadian)
15 Size--fractional difference "Prancing Horse" vs. "Prancing Horse, C anadian"
Pr obably the lead master pattern was machined to provide for fasteners and had to be modified when fastener st y le was chan g ed.
Undoubtedly the slot position was changed in the master patterns. (Perhaps the slot was moved between the legs to allow more room for advertising messa g es on the back?)
A m odification of the master pattern for the cart would be necessary to widen the horizontal support for a recessed screw. Note that Moore warns against the "wrong cart. "
Both "B ank" buildings are 5 5/8" tall but they differ in numerous details such as the style of corner block and trim around the windows.
Modification of the lead master pattern would be necessary to create or remove the recess.
Because this modification would require considerable labor, it seems likely that the master patterns would be modified rather than each of many working p atterns.
It seems likely that the master pattern would have been modified so each of many working patterns would not have to be.
B ill Robison has the wood master pattern for this bank and it has the lettering.
Type
M-459 (small) & M-474 (large) M-1073 & M-1077
Type
Type
Type
Type
Type
Type
Type
Type
Type
16 Size--obvious difference Elephant with Howdah C olumbia
17 Related but Distinct Designs "Santa Claus" without tree and "Santa with Tree" M-59 (w/o tree) & M-61 (w/ tree)
18 Means of Fastening Parts "Small Reindeer" with turn pin vs. screw M-736 (with screw)
M-177 (slot in back) & M178 (slot between legs)
19 Coin Slot Location Mulligan
20 Parts Attached vs. Loose "White City Barrel #1 on Cart", w/ barrel attached vs. separat e M-907 (barrel attached)
21 Portions of the Main Body S ubstituted "Bank" building Two versions of "Burglarproof Safe " Both M-N/L
ISB-251 (combo and key) & ISB-252 (combo onl y )
ISB-174
22 Change in Body Details White City Safes w/ recess for wing nut
M-624 (KLT) & M-630 (screw)
23 Coins Removed via Trap vs. by Disassemblying Bank Duck
M-875 (Kodak Bank)
24 Different Embedded Lettering--bank nam e "Kodak Bank" and "Coin Bank"
M-449 (plain) & M-450 (with "GOP")
25 Different Embedded Lettering-addition of advertising "Art Deco Elephant" plain and w/ "GOP "
*Variation C lassifications
Pa t = working pattern creation and adjustment
Ca s = casting Asm = assembly Fin = finishing
Do You Know Me? Responses
to the Question from Tony Neilson in the April 2003 PBP
I am very grateful to have received responses to my question concerning the dog bank pictured in the April Post from both Gail Hammer and Chrystal Ruszenas. Each sent me pictures of their examples accompanied by additional information.
There is a cord tied around the sack made of leather with a medallion made of cardboard or chipboard reading -- Bullion, hanging on the cord. The felt on the under-
side of each bulldog is evidently original to the bank, and there is a small gold and red label affixed to the underside reading -Japan. Gail notes that there is a dried up red rubber stopper inside her bank. Crystal wrote, “I cannot read the mark on the bottom of the bank.” Gail’s comment was more candid, stating “I find no sign of any impressed marks on the base.” These comments lead me to suspect that I’ve been mislead by my overactive imagination, again already. Thanks very much for your responses.
(Now I’m sure I’ve got a piece of leather thong around somewhere, maybe in that storage box of clothes from the sixties, hmmm Ed.)
A Question from Dr. Edward A. Brown,
I have enclosed pictures of a very unusual bank that I have never seen pictured or discussed. The bank is five inches by nine inches, and twelve inched high. It is a ceramic bank in high gloss paint, and the name, “The Sparkle Plenty Savings Bank,” appears on one side of the base. The other side features a raised picture of Dick Tracy, while raised a picture of Father B O Plenty appears on the front, and one of Mother Gravel Gerty on the back. An open hole trap is on the bottom of the bank.
The only information I have been able to learn about the bank is that The Chicago Tribune Newspaper produced it in the early 1930’s to commemorate the start of The Sparkle Plenty Cartoon in their newspaper.
In discussing this bank with Donal Markey, he told me that has seen a Little Orphan Annie Bank that may be a companion bank to this one, but he had never seen The Sparkle Plenty Savings Bank.
We would be interested in any additional information that members may be able to provide, and if anyone has the Orphan Annie Bank mentioned, please send along some color pictures to The Post for publication.
III
My Second Dirty Dozen - The Sequel
Submitted by Guy Williams
Since the appearance of the first dirty dozen pig article printed in the September 2000 issue of the Penny Bank Post, I have been fortunate enough to accumulate a second set of twelve banks and ephemera featuring pigs used in the context of saving for defense, and supporting the ultimate victory in WW II. I would like to share these with the club members in this article, and I hope that you like them. If any of you reading this article have different piggy banks featuring a war slogan that haven’t appeared in either of these articles, I would like to hear from you, and possibly get a photo of the bank.
The first star in this sequel is a short round pig bank with big ears made by the UHL pottery company, it has a large letter “V” surrounding the coin slot, and the statement, “Cents for Defense” written of the top of the hind hips. I included two variations of this bank colored White and Light Blue in the first article. This bank is Dark Blue. It has five white stars, five red stars, and red eyes. It is marked, “Botay K.C. Mo”, on the bottom of the pig. Lloyd Martin had new information as to the manufacture of these pottery pig banks, and their distribution in the article on the UHL Pottery Company published in the December 2002 issue of the Post.
The next two banks are interesting variations of the, “Make him Squeal for Victory”, Hitler composition pig banks. (I originally thought that the only variation to be found would be in color of this bank, but so far I’ve never seen any except for one repainted in red.) The first example has twenty-one war bond serial numbers hand-written in ink all over its body. I believe that these bonds were purchased with the savings from this bank because the text appearing on the original box for the bank states:
“Make “ADOLF-THE PIG” win his service stripes, by inscribing on him the number of every bond you buy.”
The second pig has a paper sign attached to the right side of the bank just behind its ear, which takes up most of the surface on that side. It states it was a gift from the C.E.O of The General Alloys Company of Boston, Mass. I’ll provide more detailed information about these two variations and an original box in future article.
Next is a tiny ceramic pig bank, and one that is common to find in many color combinations. This example is all-white except for two green four leaf clovers, one on each rear hip, a green tie on top in front of the coin slot,
and the best thing for me is that it has a large brown letter “V” for victory on its’ left side.
Following is a small orange and brown cardboard pig. This bank is constructed by folding it together, and would have been destroyed when its owner wanted to retrieve the savings to buy a war bond. Printed on the top of the bank around the coin slot is the following statement, “Sears Lucky Jingle Piggie - Save with me for War Savings Stamps”. This bank is also an unusual cross-collectible as it would appeal to collectors of Sears department store chain advertising. The head and tail are separate flat pieces, which are folded over, and then inserted into cutouts in the pig’s body.
Three more California pigs sitting on their hind legs in the style of Stoddard's #536 are next. I included two of this style in the first dirty dozen, but these examples have slightly different statements. They still feature two fivepetal flowers, one on each shoulder, and the colors are the same. The first has the word, “Victory”, on his belly, the second, “Saving for Defense”, and the third one says, “I am saving for Victory”. This last bank also has a souvenir label stamped on the bottom stating it is from the, “San Jacinto Memorial Monument and Museum”.
The differences between these banks amount to only a couple of printed words, but I’ve seen more than one of each variant, which leads me to wonder - just how many other variations of this patriot exist?
A muscular pig has enlisted next in line, and is similar to Stoddard' s #493, except that it’s all white in color with pink and brown highlights. Written beneath the glazing to the side of the coin slot is the statement, “Victory Bank”. I’ve also seen this bank with a year and a person's name printed on the other side of the coin slot as well - maybe as a gift from an enlisted soldier.
The last three members to round out the second dirty dozen are copies of magazine covers/pages featuring piggy banks pictured in some way to show that they were used to help save for war bonds, stamps or victory.
The Colliers magazine cover on June 2, 1945 shows a young woman getting ready to take a hammer to her smiling pig bank. The letter pinned up behind her reads as follows:
Continued from page 27
My Second Dirty Dozen - The Sequel
“TO THE AMERICAN PEOPLE:
Your sons, husbands and brothers who are standing today upon the battlefronts are fighting for more than victory in war. They are fighting for a new world of freedom and peace.
We, upon whom has been placed the responsibility of leading the American forces, appeal to you with all possible earnestness to invest in war bonds to the fullest extent of your capacity.
Give us not only the needed implements of war, but the assurance and backing of a united people so necessary to hasten the victory and speed the return of your fighting men.”
(Douglas Mac Arthur, Dwight D. Eisenhower, and Chester W. Nimitz are three of the signatories to the letter.)
Next is an advertising page titled, Smart Girl, from Mademoiselle magazine. The ad is for, “Jantzen Foundations”, and depicts a young woman licking a stamp to put in her savings book for United States Defense Savings Bonds. Sitting on the table in the lower part of the picture are the remains of a smashed piggy bank that has been sacrificed for the savings to purchase the defense stamps.
Treasury Department in consultation with the United States Office of Education. On page fifteen in the lower right-hand corner is a comic drawing of a pig bank with the face of Adolph Hitler.
An interesting fact about this picture is that it was drawn by Dr. Seuss who did have a part in the anti-Semitism feelings of the time with his drawings published in the daily tabloid newspaper the, “New York PM”. Some of his artwork of the period can be seen in the book, “Dr Seuss goes to War” by Richard H. Minear. It was published in 1999 by the New Press, New York, ISBN 1-56584-565X. The book includes several pictures of drawings that Dr. Seuss did for the tabloid, most depicting the axis power leaders in a poor light. His drawing of the piggy bank from Junk, however, is not included in the book.
This brings to an end the second installment of the saga of my dirty dozen's. Can we as a club find the stars that will stand proud and be counted for a third and fourth installment?
This fan of sequels certainly hopes so.
The final page comes from the leaflet entitled, Junk, which was issued by The War Savings Staff, United States