If you visit any decent department-store or online retailer, watch-shop or jewelry shop, there’s no end of variety when it comes to boxes, cabinets and cases in which to store your jewels, cufflinks, earrings, necklaces…and watches!
For the avid watch-collector, a watch-winder or watch cabinet to store your wristwatches in, becomes an absolute necessity when your collection grows to beyond three pieces. If nothing else, the empty spaces in the cabinet serve as incentives to buy more watches!!
Back when it was common for men to carry pocketwatches, jewelers and retailers, watchmakers and tobacconists used to sell all kinds of pocketwatch accessories. Fobs, chains, cabinets, and cases. They also used to sell individual pocketwatch stands where you could put your watch when you weren’t wearing it. These might sit on your desk, so that your watch could double as a desk-clock, or else, on your bedside table, where you would place your watch before going to sleep each night.
Pocketwatch stands are still manufactured today, and you can buy them easily online, but for an antique pocketwatch, the best thing to store it in when you’re not wearing it is an antique pocketwatch stand!…and that’s precisely what this posting will be about.
The Watch-Stand: A Closer Look
The stand was made by the Birmingham firm of Syner & Beddowes in the early 1900s, making it well over 110 years old. It’s made of wood, clad in a paper-thin leather veneer. The interior was originally bright green silk and felt, padded out with panels of wood and cardboard. The front of the stand is faced with a panel of sterling silver.
Stands such as this were common in the late 1800s and early 1900s. They came from huge ones for massive, eight-day “goliath” pocketwatches, all the way down to tiny dinky little ones, for ladies’ pocketwatches. They would’ve been purchased from any watch-shop or jeweler’s shop which catered to a discerning clientele.
Why Restore the Case?
I wanted to try and restore the stand for a number of reasons. First, they’re getting pretty rare these days, so throwing it out wasn’t an option. Two, it wasn’t too badly damaged, and it looked repairable. Three, I wanted somewhere to put my watch when I wasn’t wearing it!
Nobody makes watch stands like this anymore, and sure as hell, nobody is making a living out of restoring them, so the only option if I wanted to use the stand, was to fix it myself.
Restoring the Watch Stand…
After deciding to take the plunge, I went to get all the tools I needed: Files, sandpaper, a chisel, pocketknife, glue, etc, etc. And then, the first stage began.
Step ONE: The Teardown
A ‘teardown’ is restorers’ jargon for the disassembly process. It’s usually called a ‘teardown’ because that’s literally what you’re doing – ripping the item apart, and getting rid of any old pieces that can’t be used anymore. While it is fun to rip things apart, you do have to exercise caution. On an object this small and this old and fragile, any overexertion or undue eagerness could destroy the stand forever, and render it irretrievably damaged.
The first step was to remove the ring inside the base of the stand, which holds the pocketwatch in place. This had at least two big rips in it, which meant that it no longer held its shape (and therefore, was unable to hold a watch). The ring was simply glued in place, so it was pretty easy to just grab it and carefully peel it out. When I removed it, I was surprised to find that it was comprised of exactly one piece of green felt which had simply been folded over a stiff, cardboard ring…and simply glued in place! No wonder it didn’t last!
The next step was to remove the circular pad of green felt underneath the ring. This also, was pretty easy. Underneath this, I found several cardboard discs, which had been used to pad out the watch-stand, and to stop any watch housed inside, from rattling around. for something so small and narrow, there were a surprisingly large number of these cardboard discs inside! Up to half a dozen or more!
The next thing to remove was the felt-covered wooden base which the ring, the cardboard discs and the felt liner, all rested on, or in. This was somewhat more difficult, as it was glued very firmly into the back of the watch stand! If I exerted too much force, then the whole thing would break apart. Using my pocketknife, I slowly jemmied away the base from the back of the stand, cutting and levering up, slicing away the glued-down cardboard and crusted glue and wood, until the whole piece finally popped out as one.
Step TWO: Building a New Base.
Using the old base as a guide, I cut out a panel of plywood, chiseled and sanded it to the right size, and then covered it in blue cotton fabric which I glued down over the wood. I folded everything over, trimmed off the excess, covered the raw edges with another piece of the same fabric, and then glued it on.
Putting the new base into the stand was surprisingly easy – just shove it in. The friction alone will hold everything in place! Before doing this, however, I took advantage of the stand’s now relative lack of structural integrity to replace the ribbon strap that originally ran from the inside of the back of the stand, out the back of the case, and which attached to the backside of the prop-stand that juts out from behind the stand. This strap allows the watch stand to…stand up…and lean back at a slight angle. Without it, the prop just slides open and the whole thing topples over. This was a very easy fix, using some ribbon and glue.
Once that was done, I started rebuilding the ring that fits on top of the new, blue base!
Step THREE: Replacing the Ring.
Replacing the ring was of paramount importance. It had to hold the watch in place, and it had to stop it rattling around (something that the old ring couldn’t do because of its poor condition and flimsy construction). So for this ring to last, it had to be made of the most solid materials possible.
I used a piece of PVC drainpipe.
Our house had been renovated fairly recently, and the builders had left behind several sections of unused drainpipe. One of these was precisely the diameter that I needed for the watch-stand. Now, it was simply a matter of measuring the right dimensions, cutting off a section, sanding it to the right size, and fitting it in.
To hide the fact that I used a plumbing fixture to fix a 115-year-old antique, (“We found a witch! May we burn him!?“) I wrapped it in the same blue fabric I’d used for the base. I glued it all in place, trimmed off the excess, and then simply folded in the raw edges. To secure all this to the base, I dropped in one of the cardboard liner-discs from earlier (see step one, above), which I had also covered with the blue fabric.
Because the pipe was precisely the right diameter, the cardboard disc dropped in exactly as I wanted it to. I deliberately used the thickest, most structurally intact disc I could find. Then it was simply a matter of covering it all in glue, putting it together, positioning it very carefully over the center of the base, and sticking it all down!
Step FOUR: Replacing the Strap
The stand originally had a silk ribbon strap that ran from inside the back of the stand, and which attached to the back of the prop that holds the stand upright when it’s in use. You could still see the little slots and grooves where the ribbon used to fit in. Finding some thin, black ribbon to replace this was pretty easy. It was just a matter of measuring out the right length, and sticking it down.
Step FIVE: Tidying Up
The final step was gluing down all the loose bits and pieces, polishing the silver and the leather exterior, and then putting in the watch! The results speak for themselves:
Not a bad result for trying to fix something that’s over a hundred years old, and especially for being as fragile as it is!
I purchased this last week, as a slightly late birthday treat for myself – it’s been a long time coming, but it’s finally arrived – a piece that I’ve been trying to find for nearly a decade to add to my collection! With its addition, I can finally say that one part of my pen collection has finally been completed!
The Backstory – And a Very Long Wait
Writing has been my greatest hobby for as long as I can remember. In one form or another, I’ve been writing for nearly 30 years. I find it fun, and relaxing. I love the freedom to literally create whatever I want – characters, settings, scenarios and ideas, story-arcs and adventures of almost any possible…or even impossible…description. Nobody can tell me that it’s impossible, or ridiculous, or stupid, or that it can’t be done, and you’re only held back by your own imagination.
My deep love of writing meant that, from a very young age, I always had a great interest in fine writing instruments. Fountain pens have been my weapon of choice when it came to the physical act of writing, ever since I was seven, and ever since then, I have barely touched a ballpoint.
Along with writing came my equally fetishistic love of history and antiques! This meant that, alongside fountain pens and dip pens, I soon developed a fascination with writing accessories and desk accessories – inkwells, blotters, letter-openers, bill-spikes, pen-cleaners, and any other strange, weird, whimsical doohickeys which I could use to make my writing experience more enjoyable.
I don’t remember exactly when I started getting interested in the famous Montblanc No.149. I was a teenager when I first spotted it, and decided that I wanted one! It was my dream throughout my schooldays to have one. That said, anything Montblanc is expensive, and being a simple student meant that there was no way I could afford one – certainly not at retail prices!
I spent years reading and researching, looking at photos and watching videos and auctions. Even when one did show up, I was always outbid, so I never thought that I’d be able to own one.
The Montblanc Meisterstuck No.149 “Diplomat”. Arguably the most famous fountain pen in the world.
That is until last year, when I scored a Montblanc 149 in a box lot of other pens (all of which I’ve now sold). Out of this treasure trove, I kept the 149 as my prize! While the price for the box of pens was fairly high, it was still less than half the price of a brand new 149, so you can imagine how cheap the pen was, once you averaged out the cost among all the pens in the box!
Being no fool, naturally I examined the pen on an almost atomic level before bidding on it, to make sure that it was real. Montblanc products are among the most faked items in the world, alongside luxury handbags and Rolex watches!
The Montblanc No.149 Matching Desk Set
During all my years of looking at what fellow collectors have jokingly described as “pen porn” on the internet, I was made aware of the fact that the Montblanc No.149, as famous as it is, was only one part of a larger set of items! This was when I discovered that there was actually an entire set of desk accessories that went along with the pen, and that they were all designed to match.
Given how long it took to buy the pen, I didn’t have any great hopes that I’d also be able to buy the set that goes with it. However, I managed to score both the inkwell, and the desk-pen base relatively easily – not something that I was ever expecting! They were being sold secondhand, and I was able to get them for a good price.
The Meisterstuck Inkwell
The next piece to add was the blotter. Or, at least, I could dream about adding the blotter, because even a cursory glance at all the various eBay listings told me that it would cost a small fortune! Even at its cheapest, it would still be several, several, several hundreds of dollars, and many times, it was well over $1,000!…and that didn’t include extremely high postage-costs due to overseas shipping! Not even a secondhand No.149 cost that much! The more I looked at it, the more I began to think that perhaps this was a piece that I’d never be able to get – the chances of buying one for under $1,000, or even under $500, seemed impossible!
As my latest birthday approached, I started browsing eBay rather absent-mindedly, wistfully looking at all the stuff on sale, and typing in just random combinations of words to see what would pop up on the screen – stuck in lockdown over the coronavirus, I didn’t have much else to do! And it’s fun to see what kinds of things you’d like to have as a birthday treat, even if you can’t afford them, right?
The Meisterstuck desk-pen stand for the Montblanc No.149 fountain pen.
That was when I spotted, by pure chance, a group-lot of vintage Montblanc items up for sale. For some reason, the wording of the listing meant that it had never popped up in any other search until now. I clicked on it just out of curiosity. The opening image in the listing was very misleading, which is probably why I never noticed it before, but when I realised that part of the lot was the blotter that I’d wanted for so long, I started paying much more attention! The asking price was fairly high, but pretty reasonable, for a group-lot of Montblanc things! Just one of the items in that lot sells for $1,000 brand new! Out came the calculator, and I started number-crunching to see just how much of a bargain all this stuff might be, and whether it was really worth it!
It took me all of half an hour to decide that it was a worthwhile price. When I realised how many other people were checking out the listing alongside me, I decided not to wait! I knew that it’d be years before another chance like this ever came along again, so I bought it, as a birthday treat for myself!
Yes, the price was fairly high, but I consoled myself in the fact that I could sell the other items in the lot for a healthy profit, and keep the blotter for my collection.
How Old is the Montblanc Meisterstuck Desk Set?
Honestly, I don’t know. I haven’t found any solid documentation giving me start and end-dates. I believe that this particular style of desk set was manufactured in the 1990s, based on what little information I could find, but that’s about it.
Is this the only type of Montblanc desk set out there?
Oh, certainly not! There’s at least five, which I’ve been able to identify. Their details are below:
First, there is the solid glass “Lalique” set, with inkwell, blotter, and pen stand, made of beautiful cut glass, and which is named after the famed French glassware designer, Rene Lalique.
Next comes the black resin and acrylic “Meisterstuck” set with goldtone trim, which is designed to match the look, styling, and materials of Montblanc’s most famous pen – the Meisterstuck No.149. This is the set that I’ve been collecting.
The third set which I’ve identified is the sterling silver “Solitaire” set, with an inkwell, pen-stand and blotter, which is identical to mine, but with one major difference – that the trim is sterling silver and gold, instead of black resin and gold. It’s quite striking, actually!
There’s a black resin and polished brass set from, I believe, the 1960s or 70s, which I’ve seen at various places online, and finally, there’s also a set covered in black leather, which is Montblanc’s latest offering when it comes to desk accessories. The various elements for this set are currently available from the Montblanc website (and other, Montblanc-affiliated dealers and stockists).
The sets are not all consistent, and there are minor differences between each one, in terms of what’s included in them, the finishes, and shapes and styles. These are all the Montblanc desktop accessories sets which I’ve been able to identify. There may be others out there which I’m yet to see, but those are all the ones which I’ve been able to definitively identify.
So, is your set complete?
Believe it or not – but – no! The full set is actually five pieces, not four!
The last piece is a matching paper-knife or letter-opener, again in black resin, clear acrylic and gold-plate. However, in all my years of hunting and searching, I’ve never seen it! I’ve never seen it on eBay, I’ve never seen it at auction, at flea markets, pen shows, pen shops…I don’t even know anybody who owns one!
The only reason I know it exists is because I saw it included in a photograph of the full and complete desk set in a very old auction listing online somewhere, but I’ve never seen it for sale. It seems to be something so rare that nobody has one, “not even for ready money!”, as they said in ‘The Importance of Being Earnest‘.
The last time I saw a Montblanc-branded paper-knife of any description for sale on eBay, the asking price was over $1,000…for a paper-knife…and it wasn’t even the one that goes with my set! So, I don’t think I’ll ever be adding one to my collection…not that I’d use it, even if I could, so it’s probably just as well!
The Montblanc Meisterstuck Rocker Blotter – A Closer Look
Since the blotter is such a rare item, I thought it’d be good to write about it in detail, and try and give as much information on it as I can, for anybody else out there who might be trying to buy one! I’ve never been able to find very many detailed photographs of the blotter, and like I said earlier, there’s almost no information about it online anywhere!
I guess that’s what happens when something’s as rare as this. But first…
What is a Rocker Blotter?
If you watch a lot of period dramas, old movies, or if perhaps you’ve visited the museum-homes of famous authors, then you might’ve seen one of these things sitting on a desk somewhere. They used to be extremely common.
The glossy, black resin upper section of the blotter.
The purpose of a blotter is to soak up or absorb excess ink on a written page by a fountain pen or dip pen. Since these pens use liquid, water-based ink, it may take some time to dry – especially if the paper is not especially absorbent, or if the line laid down is particularly wet or broad (for example, in various styles of calligraphy). In instances where you can’t, or don’t want to wait for the ink to dry naturally, you rock the blotter back and forth across the wet ink to dry it faster. The excess ink is absorbed by the sheet of blotting-paper affixed to the underside of the curved blotter base, and the writing on the page is now dry.
The underside of the blotter (without paper inserted), showing the transparent, acrylic base.
Blotters were extremely common throughout the Victorian era, and lasted well into the 20th century. The heyday of the blotter ended in the 1950s when ballpoint pens started replacing fountain pens, but there are still plenty of companies out there which manufacture blotters, and there are many craftemen and woodworkers who produce them for people looking for brand-new rocker blotters for their desks. Apart from modern luxury blotters like those made by Montblanc, the J. Herbin ink company also manufactures blotters and blotting paper.
Anyway, back to the Montblanc blotter…
The blotter, like the inkwell and pen stand, is covered in Montblanc’s well-known, glossy black resin – the same substance used to make its famous pens. The edges are trimmed in gold plate, and the main body, or base of the blotter is smooth, transparent acrylic, much like the pen stand, and inkwell.
A side-view of the blotter, showing the acrylic base, the resin top, and the two, raised, gold-tone decorative lines that run along the sides.
The slip of blotting paper that fits underneath the blotter is cut to size, and then folded and slipped into the two tabs or ridges on the ends of the underside of the blotter, and are simply held in by friction. In this instance, it’s better to use thicker, or double-folded blotting paper, rather than thinner paper, since thicker paper will hold more securely.
The blotter, with paper inserted. The folded ends of the paper simply tuck inside the tabs at each end.
I want one! Where to Buy!?
Oh boy…
Getting a set like this is not easy. And not just because of the potentially, very high prices involved.
No.
The reasons why it’s not easy (difficult, but not impossible) are because of the following:
One – the set was a limited edition. My research says that they were only made for about 10, maybe 15 years. So that means there’s a limited number out there. This set is no longer manufactured by Montblanc.
Another reason is that this roughly ten-year gap was at least twenty years ago, in the mid to late 80s, up to the late 1990s. So if you want to buy the set, you have to buy the pieces individually, and they’ll all be secondhand.
Thirdly – because the set is vintage, and a limited edition, the prices could be extremely high. I’ve seen asking-prices on eBay for the various elements of the black resin and clear acrylic desk-set, of over a thousand dollars…for EACH piece. And while I don’t doubt that they might possibly be worth that (or something close to it), due to their age and relative scarcity, it’s a lot of money for most people to cough up, and that also makes them tricky to find.
The one good thing about these desk accessories is that, unlike the pens – nobody is faking these. They’re so rare that the chances of finding a genuine one to use as a model from which to make fakes, is very difficult, so, given their rarity, you can be sure that if you find one on eBay, or elsewhere, that it will be the real deal. Provided that the price is something you’re willing to pay, you can buy them with confidence, which is not always the case with Montblanc pens, which are among the most faked items in the world.
The glamour-shot with all the pens and trinkets lined up!
I love antique whistles. They’re such fascinating little devices, and they’re proof that just because something is an antique, doesn’t mean that it has to cost a fortune.
I’ve been collecting antique whistles for years, and have a small collection of whistles at home, which range in age from anywhere from 70 or 80 years old, up to over 100 years old. I’ve never been an active collector, but if I see one lying around that I don’t have, and which is in good condition for a good price, I tend to add it to my collection if the opportunity presents itself.
The latest addition to this small area of my much larger, overall collection, is the subject of today’s posting.
Why Collect Whistles?
Antique whistles are infinitely fascinating. They’re symbols of how times have changed, how work has changed, how technology has changed and how manufacturing has changed, over the last few hundred years. They come in an almost endless variety of styles and finishes, and all these variations tell their own little stories – they are pocket-sized pieces of social history…that you can play around with…and unlike most antiques…are so robust that you almost never have to worry about breaking them!
Before the days of mobile phones, portable radios, walkie-talkies, megaphones and all the other handy dandy electronic communications devices that we take for granted nowadays – whistles were the only way that people had to communicate over long distances, or under adverse or busy conditions. This is why they were so incredibly common, and popular.
Whistles were common in a wide range of occupations and professions. Ship’s officers carried whistles to pass orders. Railroad workers carried whistles to signal to other staff and locomotives. Cyclists used to carry whistles on them to warn pedestrians when they were coming through. Policemen carried whistles to call for backup, postmen carried whistles to alert people when they had mail to collect, prison guards carried whistles to maintain order inside prisons, and orderlies in mental hospitals carried whistles to warn of patient riots. During World War Two, ARP wardens carried whistles during air-raids, and during both world wars, army officers carried whistles for issuing commands on the open fields of battle.
In many occupations, there were strict regulations regarding the use and care of whistles. For example in many police forces, whistles had to be clipped to the uniform by a chain so that it could be easily retrieved. In the postal services, whistles that were handed in when a postal-worker retired, had to be sterilised in boiling water before they could be re-issued to new staff. How whistles were used in these various professions were also regulated – how many whistle-blasts were used, what they signified, and under what circumstances they had to be used.
It’s all these varied uses that make whistles so collectible, and manufacturers produced whistles with all kinds of markings, stamps and labels on them as a result. That means that just one standard type of whistle might have dozens, or even hundreds of different markings, depending on which company or entity had ordered the whistle. It might be marked for police use. Or army use. Or postal use. Or use in a hospital, or prison. Or for any other myriad of purposes. Whistles with rare or unique stamps or marks on their barrels are more valuable, and they’re a useful way of trying to determine a whistle’s age.
How old is This Whistle?
This whistle dates to the turn of the last century, which makes it roughly 120 years old. It’s solid brass, and was once plated in nickel. It’s marked:
“THE CITY WHISTLE – PATENT”.
Underneath, is the additional marking:
“ARMY STORES – MELBOURNE”
And finally, it has the country-of-origin markings:
“MADE IN ENGLAND”
Antique whistles are usually extensively marked, and this is good, because it means that they’re very easy to research. Every major manufacturer had their own marks, stamps and trademarks, which were all used at various times throughout history. These variations – which can be something as simple as the formatting, the style of lettering, the size of lettering, or even the orientation of the lettering – can all be used to identify the whistle’s age and manufacturer.
In this case, “THE CITY WHISTLE” with the first two words curved, and ‘WHISTLE’ straight, with “PATENT” underneath – indicates that the whistle was made by the Birmingham firm of Alfred DeCourcy & Company, which was the main competitor for much of the 1800s and early 1900s, to the more famous Joseph Hudson & Co whistle manufactury…or it was, until Hudson & Co bought them out in the 1930s.
Changes in manufacturing processes and little style details also indicate the whistle’s age. Concave cap-loops, and variations in how the mouthpieces were formed, are further indications of the whistle’s age. This whistle was made between 1900 – 1910.
Is it a Rare Whistle?
Probably, yes! It was made by a lesser-known manufacturer, and for a small client, in a far-off country. On top of that, it’s over a hundred years old. All these factors would increase the whistle’s rarity, and presumably, it’s collectible desirability – it’s the rare whistles with uncommon markings that ardent whistle-collectors really want, due to the sheer uniqueness of them.
So…does it work?
Yes! Yes it does. Or it did, once I tweaked it a bit and got it working again.
Despite their apparently simple, tubular construction, these old whistles were very carefully manufactured. Inside the barrel is a flat diaphragm which splits the barrel lengthwise into two chambers. At the mouthpiece-end of the diaphragm is a circular endpiece that stops just below the bottom of the two sound-slots at the bottom of the barrel. There are two tiny semicircular gaps between the edges of the round endpiece inside the barrel, and the interior of the barrel and sound-slots.
It’s through these two gaps that the air passes when you blow on the whistle. Air passes through the mouthpiece and through these two gaps. It’s the passage of air which creates the trill, rippling, warbling, two-toned sound of the whistle.
…which won’t be produced if these two gaps are clogged or sealed up in some way! To fix it was a simple case of clearing out the gunk inside the mouthpiece and around the vent-holes using a pin, and levering out any dents around the slots using a flathead screwdriver and gentle pressure. Once the sound-slots near the holes had been opened and cleared sufficiently, the air could flow smoothly through the whistle, which meant that it could sound exactly like how it should!
Despite restrictions and lockdowns, quarantine orders and masking-up, it is nice to still be able to attend auctions…even if, nowadays, they have to be done at home…through a screen…and online…instead of going out in-person to view the items you want to buy.
Nevertheless, it is still possible to score some amazing stuff online – like the latest addition to my fleet of Montblanc paraphernalia!
If you’re a regular reader of this blog, then you’ll know that one of my longest-lasting loves has always been for fountain pens and fine writing accessories. It was to this collection that, just before all this virus-stuff started, I added the Montblanc inkwell, and about which I had created a post of, just a couple of months ago:
Well, today we celebrate the recent (a few weeks is ‘recent’, right?) addition of the second piece of that collection: the matching desk-pen base!
What is a ‘Desk Pen’?
A desk pen (which can be either a ballpoint or a fountain pen), is a type of writing instrument which, instead of having a cap to protect the writing point, has a base or stand, into which the pen is placed. The base is kept on the user’s desktop, where it will always be available for use at a moment’s notice. Usually, such stands and pens exist to serve decorative purposes – they show off the owner’s taste in writing instruments, as well as displaying the quality of the writing instruments which they can afford.
Desk pens have a long history, and date back as far as the 1910s and 1920s, when fountain pens were first entering the mainstream consumer consciousness. Pen companies such as Parker, Sheaffer, Wahl-Eversharp, Pelikan, etc, manufactured desk-pen sets for executive types – CEOs, business-owners, lawyers and high-flying professionals, so that they could place them on their desks in pride of place in front of their customers and clients.
100 years later, and not much has changed, really! Desk pen sets are still manufactured (although in smaller quantities, and at much higher prices), and they’re still being sold, and people still buy them for exactly the same reasons as they were purchased in the 1920s and 30s – to show off, and to have a pen conveniently at-hand whenever one was needed. You know, for signing that big fancy contract, business-deal, or legal document, and all that jazz!
The Montblanc Meisterstuck Executive Desk-Pen Set
Naturally, a company such as Montblanc has to have at least something to offer, when it comes to desk-pen sets…and so they do!…or rather, did!
Made of clear acrylic and polished, black resin, the Montblanc Meisterstuck desk-pen stand, or base, is designed to match the resin and acrylic body and the gold detailing of the similarly square-shaped Montblanc inkwell, in the same line. It’s also designed to match the classic, black and gold styling of the Montblanc Meisterstuck 149 fountain pen – which the sconce at the top of the stand is designed to hold; the sconce even has “MONTBLANC-MEISTERSTUCK-149” on the gold banding. It’s basically a 149 cap with the finial removed, and replaced with the ball-and-socket swivel joint to attach it to the heavy, acrylic base beneath it.
Maintaining an angle of 45 degrees, the stand holds the 149 up loud and proud for everybody to see. The pen can simply be rested inside the cap, and rely on gravity to hold it in place, or it can be screwed in, like an ordinary pen-cap, for added security.
Here, we see the base, along with the pen that’s designed to fit into it. It’s a convenient place for a 149-owner to park their pen on their desk, without worrying that the pen is going to roll off the side of the table when you’re not looking – while also having the pen near-at-hand when you need it, without having to dig through your briefcase, desk-drawers, or your coat or jacket pockets to find it.
One thing I didn’t know about the stand before I bid on it was the fact that while the sconce swivels around on the base from side to side, it doesn’t have a full range of movement – for example, you can’t adjust it so that it sticks straight up, nor lies down flat – it always remains at an angle of 45 degrees. While this doesn’t really bother me, it was a surprise, in as much as it would make the stand more tricky to pack or store, if for whatever reason, I ever had to put it away somewhere, or box it up. It also means that it’s more susceptible to damage. It’s a bit of a design-flaw, if you ask me, but that quibble aside, I’m still glad that it’s the latest addition to my collection of Montblancs.
I stumbled across these on an online auction site while bidding on some antique silverware. I’d never seen anything like them before, they were in very good condition for their age, and the price seemed reasonable, so I bid on them. I was very excited to win them and add them to my trove of treasures, and they now form part of my collection of antique cufflinks!
The silver cufflinks with the Scotch coat of arms on the front.
These antique ‘torpedo-style’ chained cufflinks, typical of the 1920s and 30s, are sterling silver with blue enamel on the front.
Normally, I don’t collect silver cufflinks, but I made an exception for these, because the face of the cufflinks depicts the crest of Scotch College, in Melbourne – my old highschool. Since I went there for so long, I decided that it’d be a nice little touch to buy them as a memento of my school-days.
The Coat of Arms on the Cufflinks
The coat of arms on the cufflinks is for Scotch College, a private boys’ school in Melbourne. Established in 1851, it’s the oldest school in the state, and, I think something like the…third oldest…school in the entire country.
The coat of arms is quartered by the Scottish Cross of St. Andrew on a background of blue. The quarters depict the Royal Crown representing Australia’s links to the British Empire, the Torch of Enlightenment and Education, the Southern Cross constellation, the Olympiad rowboat with its sails furled to indicate determination, and the Burning Bush (above the crown) to symbolise the school’s religious background.
The blue banner at the top has the Latin motto “DEO – PATRIAE – LITTERIS” (For God, for Country, for Letters). When the school was founded in 1851, the original motto was “DEO et LITTERIS” (“God and Learning”). This was ‘updated’ in 1914 with the start of the First World War, when the motto was changed to the current version, with the addition of “PATRIAE” during such a momentous time in international history.
The complete coat of arms, with the three-word motto and the quartered shield and bush were finally joined together and became the new school coat of arms in 1924.
What is ‘DAMMAN’S’?
Damman’s Tobacconists and Jewelers. Cnr Swanston & Collins Streets, Melbourne. 1954. (Image from SLV)
“Damman’s” was the name of a tobacconist’s shop and jeweler’s on the corner of Collins Street and Swanston street in Melbourne. Established in 1854, at the height of the Melbourne gold-mining boom, the shop lasted for at least 100 years, and was operated by at least two generations of the Damman family. Doing bulk custom-orders for specialised clients (such as these cufflinks for the school) must’ve been a big part of their business, because these aren’t the only Damman’s branded Scotch-related memorabilia which I have in my collection.
How old are these Cufflinks?
My guess is that they were made between the mid-1920s to the late 1930s. There’s a number of clues and indicators that point towards this.
The back of the cufflinks, showing the ‘torpedo’ toggles and the chain links.
First, the school coat of arms was adopted in 1924. So they can’t be any older than that. Second, I know that Damman’s was still producing Scotch-badged memorabilia in the mid-1930s (the cigarette lighter in my collection is from 1932). Thirdly, the cufflinks are chained cufflinks – very common in the Victorian era and the early 20th century…but which started to decline heavily in popularity in the decades after the Second World War.
Such cufflinks would have been unlikely to have been made during the war, and look too old-fashioned for postwar, 1950s construction, leaving a small window of about 15 years in which they could’ve been manufactured.
Does the School Still Sell Stuff like This?
Most definitely! Mugs, shot-glasses, tea-towels, books, clothing, and – yes, even cufflinks – are still sold by the school. They’re purchased from the school’s campus shop, or are offered to students for purchase as part of their graduation-memorabilia package, when they leave school at the age of eighteen.
As winter starts to bite down south, and the rain and wind and snow starts to increase dramatically, it’s time to start breaking out your winter wardrobe and trying to decide what to wear…or if you don’t have anything to wear…then trying to decide what to buy, so that you can wear it!
In this posting, we’ll be looking at the history behind various coats, overcoats and jackets which have been worn by men throughout history, and which have entered popular fashion as wardrobe must-haves, even in the 21st century. We’ll be looking at where they came from, what features they have, and what to look for if you want to buy one, and what sets them apart from each other.
I won’t be covering this in any particular order, so you might need to scroll around a bit, if you want to find the jacket or coat that you’re really interested to know more about. That said…let’s start!
The Peacoat
The peacoat is one of the most common types of short overcoats that exist on the market today. They’re thick, fluffy, warm, stylish, and they’ve been around for centuries! So…what is a peacoat?
Peacoats were created in the Netherlands in the late 1600s or early 1700s. The original Dutch name was the “Pijjekker” – where ‘Pij’ (pronounced ‘pea’) referred to the thick, water-repellent wool cloth from which the ‘jekker’ (‘jacket’ or ‘coat’), was made. This original Dutch spelling and pronunciation eventually entered the English language as Pea-jacket or, as is more common today – peacoat.
Peacoats were created by the Dutch specifically for seafarers. The coat’s thick, soft woolen fabric kept rain and sea-spray off the body, kept the under-clothes dry, and kept the sailor warm. Because of these properties, the peacoat was adopted by the English for use in the Royal Navy in the 1800s, and later on by the American Navy in the late 1800s-to-early-1900s.
As a result…there’s MILLIONS of military-surplus peacoats out there!
So, what does a peacoat look like?
A classic, eight-button peacoat with slash pockets and epaulettes. The eighth button is hidden under the fold of the lapel, and would’ve been used to button up the ulster collar when required.
Traditionally, a peacoat is…of course!…navy blue. You can also find them in black (and some navies did make them in black, because the blue tended to fade over time), or even in grey, but navy blue is the most traditional colour.
A peacoat is a short to medium-length overcoat. The skirt or hem stops at upper-or-mid thigh level, and typically goes no lower. It features double-breasted button closure, usually, with eight buttons.
Today, it’s really common to find peacoats with six button closures…but traditional models always had at least eight, sometimes even ten, buttons. In my opinion – a peacoat that doesn’t have at least eight buttons is not a peacoat – for reasons that I’ll get to in a minute.
Along with the buttons, the peacoat also had a lot of pockets. Most peacoats will have four pockets – two inner liner-pockets, and two outer ‘slash’ or ‘storm’ pockets – diagonal or vertical hand-warmer pockets in the sides of the coat. Some REALLY old versions of the peacoat, dating back to Edwardian, or even Victorian times, had even MORE pockets. These aren’t as common today, but if you hunt around, you can find versions of the peacoat which have SIX pockets – the two inner liner ones, the two slash pockets, and then underneath them – two extra flap-pockets. They’re a nice touch, but they’re not very common today.
Peacoats also have sleeve-cinchers, to tighten the sleeve-holes to stop wind and rain getting inside, and (sometimes), epaulettes on the shoulders. Traditionally, epaulettes were used for affixing rank insignia, so some ‘civilian’ versions may not have them, but if you can get one with epaulettes…hey, they’re cool, OK?
Another distinctive feature of the peacoat is what’s called the ‘Ulster’ collar, which comes from the Ulster district of northern Ireland…where it’s cold…and wet…and windy. The ulster collar is a collar that can be popped up and wrapped around your neck and chest, and buttoned into place!
…you can’t do this if you only have six buttons on your peacoat. They simply don’t reach up high enough.
See what I mean?
It’s because of the ulster collar that peacoats always had at least eight buttons, because you needed them to reach high up enough that you could button the collar across your chest and neck in really inclement, wet, cold or windy weather.
This photograph shows, possibly, the most traditional peacoat style of all – with ten button closure, and the six pockets. Two inside, and four outside. Like I said, they’re hardly ever made today, so if you want one, you’ll either have to hunt really hard, buy it vintage, or get someone to make it for you.
Another variation of the peacoat which is hardly ever seen today (except vintage), is the so-called “bridge coat”. Peacoats were issued to the ordinary seamen. Bridge-coats were issued to the officers. The main difference is that a bridge-coat is knee-length.
Why? Because officers often spent hours standing on the bridge-deck of a ship – which in times past – could be an open deck with no shelter, fully exposed to the elements – so the coats were cut longer to cover more of their bodies. Seamen weren’t given the same cut of coat because they were were required to climb masts and rigging – impossible to do, if you can’t move your knees around because you’re wearing a thick, heavy long coat! So they were given the shorter peacoat instead.
Peacoats are great for when you need a medium-sized, but warm overcoat for bad weather. If they’re made of quality materials, then you don’t have to worry about getting them wet or anything – remember, they were designed to go to sea!
Buying a Peacoat
Finding an original, vintage-style peacoat can be a bit of a challenge today. Your best bet for real vintage styling is to buy an actual military-surplus vintage peacoat. Since they were built for harsh, seafaring environments, they’re very long-lasting. Most modern styled peacoats only have six buttons…which kind of defeats the whole purpose of the peacoat – the reason I like them is because you can button it right up to your chin if you want to – and if you want to be able to do that because it’s rainy or windy or snowing, then the more traditional eight or even ten-button variety, is best.
They should be made of wool fabric (traditionally a style of fabric called “Melton”). The best are 100% wool, but anything that’s majority-wool blend should be fine, too.
The Greatcoat
Another popular style of overcoat is the greatcoat. Originally created for the army, greatcoats are long, heavy, double-breasted, knee-length overcoats. They typically have four pockets (two inside, two outside), and six button closure down the front. Designed to be worn by officers in the field, greatcoats were cut longer so that they would keep their wearers warm during long days and nights out in the open, while on active military campaigns.
You can easily buy army-surplus greatcoats secondhand, and they cost next to nothing. My greatcoat is a dark green, Canadian army surplus from the 1980s and it’s fantastic in cold weather! The wool is thick and VERY heavy, but then, it was designed to deal with a Canadian winter – and it does that very well!
A classic, army greatcoat. As with the peacoat, you may find that yours has epaulettes on the shoulders, again for holding rank-insignia badges.
Buying a Greatcoat
Greatcoats are VERY easy to find. Any decent military-surplus or army-supplies or secondhand store, is likely to have loads of them! Just be prepared for how HEAVY they are! Since they were designed to be worn outdoors for long periods of time, greatcoats are made from very heavy wool fabric, and since they reach down to knee-length or even lower, they might be a bit cumbersome. But they work amazingly for keeping you warm!
The Trenchcoat
Aah, the trenchcoat! Arguably one of the most famous articles of menswear ever created! Rugged, stylish, sophisticated, mysterious, sexy, practical…everything that a man…or an overcoat!…should be!
The exact origins of the trenchcoat are not clear. Two companies claim to be the originator of the trenchcoat – Aquascutum, and Burberry (yes, that Burberry). While it is true that both companies did create, and manufacture rainproof overcoats, exactly who started doing it first, is unclear. Partially because rainproof overcoats actually predate both of these companies!
What is clear, however, is that the classic trenchcoat that we know and love, was being manufactured by at least the 1890s, and first saw military action in the Boer War. However, as a small, colonial war, the Trench didn’t receive much press. That would all change, ten years later, when the Great War began. Although it was designed before the Great War, it was its heavy use in the trenches of that conflict, that gave the new garment its name: The trenchcoat.
By the 1910s, how wars were fought, and the clothes they were fought in, had changed dramatically. Gone were the fancy bright scarlet ‘redcoat’ uniforms of the 1800s, and in came army-brown uniforms and khaki in the 1890s and 1900s. As the British Army prepared to invade France and bolster up their allies in the fight against Germany and Austria, a new type of garment was required for the new fighting conditions.
So, companies like Burberry (the most famous manufacturer) started cranking out a new type of coat.
The trenchcoat is iconic. You know what one is the moment you see it. But what makes a coat a trenchcoat?
To find out – let’s take the most famous trenchcoat of them all, as an example:
Worn by Humprhey Bogart in the 1941 classic “Casablanca”, this is the actual garment used in the film, as sold by Bonham’s auction house.
Trenchcoats were cut long – knee-length at least. They were double-breasted, with, like the peacoat – eight-button closure. They had epaulettes and cuff-adjustors, like the peacoat, and diagonal or vertical storm-pockets, like the peacoat. They had interior liner-pockets, like the peacoat…but that’s where the similarities end.
The trenchcoat was designed as a raincoat which could be worn by army officers on the Western front. The water-table in northeastern France and Belgium, near the German border was notoriously shallow. After digging just four or five feet, you’d hit ground-water…which was terrible news for soldiers who were expected to dig trenches at least six or seven feet deep! Combine this with heavy rain, and the conditions that many soldiers and officers had to fight in were absolutely appalling.
Because of this, the trenchcoat was designed to repel water. To do this, it was made of a waterproof cotton fabric known as Gaberdine (which trenchcoats are still made of today). For warmth, the coats were given interior liners of wool, which were buttoned into place. Since officers had to move quickly through the trenches and across the fields, the coats were made lightweight, to facilitate movement. To deal with the heavy rain, the coats were given cuff-cinches, ulster collars, buttoned back-vents, full-shoulder yokes to keep water off the wearer’s back…and a curious flap of fabric across the right chest, known as a storm-flap.
The exact purpose of the storm-flap has been lost to history, and there are two competing theories. The first is that the flap is a ‘gun-flap’ – it’s where you rest the butt of your rifle while firing, and the flap provided padding against the recoil of the rifle. The other – more likely explanation – is that the flap – which buttons across the collar and top of the coat – prevents rain from running down in between the buttons, and getting your clothes wet!…which is why it’s called a storm-flap.
The storm-flap is always on the right chest – and you can see in the trenchcoat worn by Bogart, just behind the right lapel.
Another of the trenchcoat’s most famous features is the belted back and front. Like with almost everything else on the coat – this was added for purely practical reasons – the belted closure was designed to give officers (and trenchcoats were originally sold only to officers) somewhere to hang things, stuff like whistles, grenades, spare ammunition, and so on. For this reason, brass D-rings were often sewn into the belts to provide dedicated anchoring points, and to stop things from sliding around. Not all trenchies have this feature anymore, but they’re an interesting throwback to the coat’s military history.
Last but not least, the trenchcoat always had a buttoned vent. The ‘vent’ is the split or open flap at the back of the coat or jacket. A hidden buttonhole and button were sewn into the back of the trenchcoat so that you could, if you desired – keep the vent buttoned. Like with almost everything else on this coat – it was designed to keep off rain and snow.
That said – the trenchcoat is not really a cold-winter coat. It’s primarily a raincoat. If your winters aren’t excessively biting, you could quite easily get away with wearing a trenchcoat as a winter overcoat, but for anything involving snow, you’ll probably want something heavier, since the cotton construction (designed to shed rain), won’t be thick enough to deal with sub-zero temperatures, in most cases.
The Popularity of the Trenchcoat
More than almost any other garment on this list, the trenchcoat is iconic. It conjures up images of warfare, bravery, fighting tooth-and-claw. It also makes you think of the Golden Age of Hollywood, between the 1920s to the 1950s, of private detectives and shady characters, of guys who go around with watches hidden inside their coats, and sinister gangsters hiding shotguns inside the linings!
The coat proved so popular that, even before WWI was even over, Burberry started selling civilian versions of the trenchcoat directly to the public. American soldiers arriving in France in 1918 fell in love with the coat, and brought it back with them stateside, which led to its adoption in Hollywood…and anything big in Hollywood spreads around the world!
Buying a Trenchcoat
The trenchcoat is so iconic that almost every major fashion-house has produced a version of it at one point or another. If you want to be REAL traditional, you can buy one from Burberry, or Aquascutum…but be warned that they are EXTREMELY expensive, and that retail-prices of $1,800 – $2,500+, are not uncommon!
This being the case, it’s probably better to buy one either vintage or secondhand, from a decent vintage clothing store, or to buy a trenchie from another manufacturer – making sure, of course, that they have all the necessary details that make it stand out as a trenchcoat…otherwise, what’s the point?
Trenchcoats come – broadly speaking – in four colours: Black, navy blue, grey, and tan. Tan, camel, or khaki, is the most traditional colour for a trenchcoat, since it was designed to go with the original colour of the British field-dress uniform of the First World War. If something like that is a bit too stand-outy for you, however, then navy blue, or grey variations are also available. There are also black trenchcoats, but black is rather overrated as a trenchcoat colour sometimes.
The Chesterfield Coat
Available in both single and double-breasted varieties, the Chesterfield is a formal, knee-length overcoat, with slash, or flapped pockets, and is characterised by the contrasting, dark velvet collar across the back and sides, and the breast-pocket below the left lapel.
Not all modern Chesterfield coats have the contrasting velvet collars, but if you’re going for the traditional look, then try and find one with such a collar. Despite its current status as a rather formal overcoat style, the Chesterfield was originally considered to be a more casual option! When it was created in the 1800s, it was largely worn as an alternative to a coat that has almost completely fallen out of fashion – The Frock Coat!
I won’t cover frock-coats here as a separate entry, but it was the main type of overcoat worn between the Regency era of the 1810s, up until the Edwardian era, of the 1910s, a span of roughly 100 years.
Edwardian-era, double-breasted frock coats
The frock coat was heavy, and long, reaching knee-length, or even below! It was seen as cumbersome, old-fashioned, and impractical. This was largely due to its flaring, full skirted hem. The excessive fabric used to make it just wasn’t fashionable anymore!
Overall, the Chesterfield was just more practical. It had more pockets, and it had a straighter, less flamboyant cut, which didn’t use so much fabric. It basically did everything that the frock coat did, but with less fabric, and more options!
Buying a Chesterfield
Chesterfield coats are basically the quintessential look, when most people think of an ‘overcoat’ – as such, any decent outfitter or retail store is likely to stock them. Keep in mind that chesterfields are designed to be long-draping, however. A hem that doesn’t reach at least the knee, can’t really be called a chesterfield. On some older chesterfields (like, if you buy vintage), can drop right down to the ankle, although this is rare on most modern coats.
Flight Jackets
A relative newcomer to the menswear scene is the fighter jacket and bomber jacket, which first appeared in the 1910s. These are typically gathered under the overall title of ‘flight jackets’.
The First World War was the first major conflict to see heavy use of aircraft. Early fighter, bomber and reconnaissance aircraft, used by the German Imperial Airforce, and the Royal Flying Corps (RFC, later the RAF), often featured open cockpits. Flying at heights of several thousand meters, windchill, exposure and cold temperatures were a big problem for early aviators.
To stop pilots from dying of exposure, or from getting frostbite, tailors started creating new types of jackets and coats for them, which were specially designed to take into account the peculiarities of this new occupation.
Bomber jackets were typically made of leather. Windproof and extremely durable, leather was unlikely to rip, it would repel water, and since leather doesn’t have any weave – it was the most effective way to block wind.
The flight-jacket of a WWI-era RFC pilot. The diagonal, cross-chest pocket was added in specifically so that pilots had somewhere secure to stow documents such as maps, mission-orders, pencils and identity-cards, without having to reach into lower pockets, while sitting in the confined spaces of the cockpit.
The only problem is that raw leather is rather uncomfortable against the skin. To combat this, bomber jackets were given soft sheepskin, fur, or wool linings inside. This prevented the pilots and bombers of WWI and WWII from freezing to death while on long-range missions.
Since pilots spent most of their time seated, with their jackets zippered or buttoned shut, bomber jackets were designed with pockets on the outside – usually two breast-pockets, with buttoned flaps to stop things falling out – and two lower flapped pockets, or even just simple slash pockets.
When the first flight-jackets were created, open cockpits were the norm. Because of this, flight-jackets were designed with cinched-in waists, cuffs, and even collars! Elasticated, gathered-in hems and cuffs were common. Wind-flaps or storm-flaps (such as on the relatively-recently-invented trenchcoat!) were also used.
By buttoning over the gaps in a jacket or coat that existed near the collar or around the chest, the storm-flap prevented wind and rain from getting inside a pilot’s uniform. To further improve things, in WWII, flight-jackets were made with zipper, to ensure an even more windproof closure.
Another common accessory used to reduce the wind and cold was the humble white, silk scarf. It’s an iconic part of the uniform of a WWI-era aviator! The scarves were used to keep the neck and chest warm, and to stop wind from blowing down inside your clothes.
The soft, silk fabric also prevented the fur or sheepskin lining of your jacket from scratching, rubbing and chafing your neck – which could happen a lot to WWI pilots, because without RADAR on their aircraft, they were constantly turning their heads left, right, up and down, to scan the skies for enemy aircraft.
When you probably had gloves on to keep your fingers from freezing off, the last thing you wanted to do was to have to remove them every few minutes to scratch an annoying itch on your neck!…the scarf prevented this from happening.
Flight-jackets became immensely popular after WWII, and greasers and bikers in the 1950s and 60s adopted the flight-jackets that their fathers wore during the War as part of their ‘look’, for purely practical purposes – the close-fitting cuts, convenient pockets, leather construction and windproof designs made them the ideal garments for motorcycle-attire!
Buying a Flight-Jacket
Due to their rugged, modern appearance, flight-jackets are still widely available, either at vintage stores, or at modern retailers who produce their own variations on them. That said, flight-jackets have kind of morphed into motorcycle-clothing, so the two may be used interchangeably. Flight-jackets are typically wool or sheepskin-lined, for warmth, and with elasticated or belted waists and cuffs, to hold back the wind.
Partially due to the price of their products, Montblanc tends to be a very polarising manufacturer of writing instruments and accessories. They’re either a company that you love, or a company that you love to hate, or a company that you have a love-hate relationship with.
Personally, I like Montblanc products. I’m not so sure that I LOVE them – certainly not for the retail prices – but I do like them, for the styling and the designs that they come up with for their various products, and their simple elegance, which has stood the test of time. Not for nothing, after all, is Montblanc one of THE most faked brands in the world, right up there with Rolex, and Louis Vuitton – after all, you don’t fake something that isn’t worth faking.
In this posting, I’ll be talking about another addition which I made to my humble Montblanc collection, shortly before all this coronavirus malarkey started going off around the world – and that addition isn’t a pen, it isn’t a watch, or even a piece of jewelry – but rather – an inkwell!
The inkwell is square in shape, and is surprisingly (and reassuringly) heavy
Montblanc has been making inkwells to go with their pens for many years, and if you search Google Images, there’s a surprisingly wide range of Montblanc inkwells out there, made of crystal, glass, brass and, if you can find one to buy – even solid silver! But the one in this posting is the one Montblanc inkwell that I’ve always wanted to own.
I won this particular inkwell at auction shortly after the start of the year, and just a handful of weeks before everything went into lockdown over the coronavirus. I’d been chasing an inkwell like this for years, ever since I’d seen photographs of it online, and I finally had my chance to grab it!
I wanted this inkwell specifically because of its design and styling. I liked the fact that it was big, black and chunky – substantial – heavy – and decidedly executive-looking – like it belonged on the power-desk of some sort of high-ranking CEO or something like that. I also liked the black and gold detailing, which was clearly designed to match the black and gold detailing of Montblanc’s classic flagship pen – the infamous No. 149. The two items – the inkwell, and the pen – were clearly designed to go together – and for that reason alone (among perhaps…a few other reasons!), I just had to have it!
The inkwell is not a standalone piece, however. It was originally sold as part of a four-piece set. The complete set included a paper-knife, a desk-stand for the 149 fountain pen, a rocker-blotter, and finally – the inkwell. All four pieces had the same basic design – black and gold, with clear resin in between to break up the colours.
As for how old the inkwell is, I’m honestly not sure. My research suggests a manufacture-date of the late 80s or early 90s, but that’s all I’ve been able to figure out. I believe that the inkwell (and the matching blotter, pen-stand, etc) all came out at the same time, as a sort of limited-edition thing, specifically designed to tie-in with the styling of the famous Montblanc No. 149, but that’s all I’ve been able to surmise. That being the case, they are relatively scarce.
Cool Inkwell! I Want One!!
Having seen the inkwell, you might be wondering – how much do they go for? The price varies. I’ve seen everything from $550, to $900, to $1,000+, on eBay. I’m glad to say I didn’t pay anywhere NEAR that for my inkwell. Despite that, I was lucky enough to buy the whole set, with the box, and everything that went along with it! As far as I’m aware, they’re no longer sold by Montblanc directly, (and aren’t mentioned anywhere on the company website), so if you decide that you do want one of these inkwells, then you will have to buy one secondhand.
So, if you CAN only buy these beautiful black and gold inkwells secondhand – what should you be looking out for?
The inkwell, with the three main sizes of Montblanc fountain pens next to it, for comparison. From L-R: the 149 Diplomat, the 146 Le Grand, and the 145 Classique
Given that the inkwell isn’t nearly as well-known as the fountain pen which uses it, it’s unlikely that you’ll ever see a fake Montblanc inkwell, but even so, it’s nice to know what the inkwell comes with, so that you’ll know whether or not you’ve got the full set.
Originally, it came in a black and white MONTBLANC cardboard box, with foam lining and the obligatory Montblanc user-manual. It also comes with a fascinating little gadget which I’ve never seen before…or since. It’s a little black plastic spout or funnel, with a detachable screw-on ring, which goes over it. After a bit of umming-and-aahing, because its function was not explained in any paperwork that I could find, I realised that this screw-down funnel or spout is designed to screw onto the neck of a Montblanc ink bottle! The contents of the bottle can then be decanted into the inkwell through the spout, thereby minimising the risk of spilling any ink!…Pretty nifty!
The inkwell also comes with a removable, round-bottomed, clear plastic inkwell liner-cup – this is to stop any ink that you put into the inkwell from staining the clear resin midsection of the inkwell – possibly permanently – depending on the ink you like to use! Given that this is the function of this clear plastic liner-cup, it’s probably a good idea to check that your inkwell has this, before you bid on it at auction or buy it online. Otherwise, you could end up with an inkwell full of ink-stains, which would be irritating, to say the least!
The Montblanc Meisterstuck executive inkwell alongside the Montblanc flagship fountain pen: The Meisterstuck No. 149
In this posting, we’ll be looking at the birth of the ‘Golden Age of Travel’, and exploring how the changes and innovations made to transport and communications during the 19th century, gave birth to the first great age of travel and tourism. We’ll be looking at what tourism and travel was like when it first became available to ordinary people, how the tourist experience differed between then and now, and what we might have lost and gained during the journey.
‘The Golden Age of
Travel’ is defined as the era from the second half of the 1800s up to the
early 1940s, when cheap international travel and the tourist trade really
started taking off, thanks to technological and transport advances made during
the Industrial Revolution. It was an age of wonder and excitement, and was the
first time that ordinary people were able to travel in style, speed, safety,
and comfort. It was also the first time when people could travel strictly for
pleasure at reasonable prices.
The Second World War, and the subsequent geographical,
technological and political changes which it forced, irreversibly changed the tourist
landscape, making the difference in the travel-experience between the first and
second half of the 20th century almost as different as night and
day.
The changes brought about by the War made it impossible to
return to the elegance, excitement, wonder and grandeur of the pre-war travel experience
– it’s something which exists only as a ghost, which lingers in old
photographs, antique luggage, hotel and steamship-tickets and the stamp marks
found in fading passports. So what was it really like? What was travel and tourism
like before and after the War? How did pre-war travel differ from post-war
travel, and how did post-war travel morph into what we know today? In this
issue, we’ll find out together, on our very own tour through history!
So stamp your passport and clip your tickets. Strap down
your trunks and hold onto your Baedekers. We’re about to take a trip back into
history. Our ancestors may not have been jetsetters, but they were
globetrotters, who still managed to explore the world in a haze of smoke, steam
and gasoline. A flag waves, a whistle blows. It’s time now to depart! All
aboard!
Before the Golden Age of Travel
For much of history, travel was slow, boring, painful,
expensive and dangerous. People rarely travelled any great distance unless it
was absolutely necessary, and almost never for pleasure. It was not uncommon
for people to be born, live, and die all within the confines of the communities
of their birth, or within a very few miles thereof. Travel meant days and weeks
on the road. It meant needing money to pay for bed and board, it meant having
to guard yourself against those who would wish you harm in any number of ways. Thieves
and robbers on the public roads also meant that you were restricted in your
travel, largely to daylight hours when it was easier to protect yourself. This
limited your travel-time each day, and made travel even slower. And this if you
were poor. If you were rich, travel was slightly easier, but still not without
considerable risks.
Even if you had the money to allow for travels, and even if
you did travel for pleasure, the journey was still slow, costly and potentially
dangerous. Money had to be paid for coachmen, horses, carriages, food and
lodgings, and servants. And there was the constant danger of being attacked
during your journey. Travelling ‘in style’ told every highwayman along your
route that you were rich, and that attacking and robbing you would likely gain
a highwayman rich rewards for his efforts. This put you in just as much danger
of assault and even death, as someone who had almost no money at all. And the
manner of your travel did not change these odds at all.
For most people, travel meant walking. And walking was
slow. Walking made you vulnerable. Walking along a country road, or through a
town, city or village left you open to all manner of dangers – cutpurses,
footpads, pickpockets, muggers, rapists, beggars, robbers and thieves who would
all do their level best to relieve you of your worldly possessions. But for
most people, this was the only way to travel from A to B – horses were
expensive to keep, feed and maintain. And only the wealthy could afford
carriages. And even those were not as safe as one might think.
Travelling in the relative speed and comfort of a private carriage or stagecoach did not guarantee you protection. Coaches or carriages which ran regular routes, and even private carriages running along busy Highways, risked being held up. Highwaymen created roadblocks to hold up coaches and force them to stop. Once a carriage was stopped, they could rob its passengers of their valuables and money, and even kill them if they wished. Famous highwaymen made names for themselves, like Dick Turpin, who was a notorious outlaw in Georgian-era England.
Before railroads, one of the fastest ways to move around was by mail-coach, which ran regular overland routes between major cities, delivering mail.
If you wanted protection on long journeys, you had to
either bring your own weapons and know how to use them, or else pay for armed
coach guards, who protected you with swords and loaded blunderbusses, or later,
shotguns. To this day, sitting in the front passenger-seat of a motor-vehicle
is still called “riding shotgun” – an allusion to the armed coach guard who
would sit next to the driver of a stagecoach, to provide armed protection in
the event of a holdup.
For all these reasons and more, for much of history, most
people did not travel great distances. And if they did, it was rarely for
pleasure, but mostly out of necessity – to escape disease, danger, poverty, a
troubled home life, or to find employment or other business related reasons.
What were the changes that happened in society and technology that allowed
people – ordinary people – to travel for pleasure for the first time in their
lives? And what was it like to travel and go on a vacation during this first
great age of travel? What allowed this to happen?
The Birth of Mass Transport
Widespread travel for pleasure would not be possible
without a corresponding development of means of cost-effective mass transport.
Spurred on by the Industrial Revolution, the second half of the 19th
century, saw efficient, cheap mass-transport becoming a reality, and for the 19th
century, and the first half of the 20th century, efficient, cheap
transport was symbolized by two great new inventions of the age: The
steam-powered locomotive, and the steam-powered, ocean-going passenger-ship –
the ocean liner! Where did these machines come from, and how did they change
the world?
Steam Boats & Steam
Trains
The two vehicles which would allow for the movement of
large numbers of people with ease and economy were both invented in the early
1800s. By the start of the Victorian era, the first passenger ships and
locomotives powered entirely by steam were plying trade around the world.
Locomotives and steamships both originated in England, and it was this steam-powered
transport technology that gave birth to the modern travel industry.
Conflicts during the 19th century such as the
Crimean War, the Chinese Opium Wars, the American Civil War, and the Franco-Prussian
War of the 1870s were the conflicts that laid the groundwork for the expansion
and improvement of steam technology. Expansion of railroad networks caused by
the need for rapid troop movements now allowed for swift, efficient movement of
civilian passengers.
Advances in steamship technology for wartime uses now
allowed for faster, safer and more comfortable ocean travel in peacetime. No
more was it about sleeping in hammocks on rocky, creaky, cramped sailing ships
that relied on the wind and weather. Now you could steam across the Atlantic or
the Pacific in a berth, or a cabin of your own, in comfort and style, lulled to
sleep by the throbbing of the powerful steam-pistons deep beneath the ship,
that turned paddle-wheels, and later, screw-propellers, which drove great
vessels across the ocean at speed.
No more was travelling by train a smoky, dusty, sooty
experience, full of coughing and gasping for air in uncomfortable, windswept,
open-topped carriages; now you could travel on a train with enclosed, corridor
carriages with separate day-compartments, or if the journey was an overnight
ride, in the relative comfort of a sleeper-car. If you found yourself hungry or
thirsty, dining-cars and kitchen-cars provided you with food. If you wanted
somewhere to relax, the lounge-car provided you with comfortable seating and
bright lights to read, write, smoke, or chat with friends on the journey.
By the late 1800s, travel was safer, faster, cheaper and
far more comfortable than lurching around inside a horse-drawn carriage with
little suspension. It was also open to a wider range of people. You paid a
ticket according to your means. First Class, Second Class, Third Class, or on
ocean crossings – Steerage. ‘Steerage Class’ on ocean liners got its name from
the fact that third-class passengers were often housed at the back of the ship,
and deep in the hull, in the smallest cabins, the closest to the ship’s
engines, power generators and steerage mechanisms. First- and Second-Class
passengers got cabins on the upper decks, with the bright sea-views, away from
the throb and rumble of the engines.
Motorised Transport
Along with steam-powered transport, the rise of cheap,
personal and public motor-vehicles in the early 1900s also contributed to the
Golden Age of Travel. Vehicles like motorcars, motorcycles and buses freed
people from the restrictions of train and streetcar timetables, allowing them
to make the best and most use of their free time. Planning trips and holidays
around the country or continent became much easier and faster when each person
or family had their own vehicle with which to travel in, which was not
dependent on such variables as horses, timetables or weather, and which was
much faster and more comfortable than previous methods of transport.
Cheap cars for the ordinary middle-class worker such as the
Model T and Model A Fords in the United States, the Austin 7 in England, and
the Volkswagen ‘Beetle’ in Germany meant that more people could go more places,
and weekend drives to explore locations previously impractically far from home
could now be accomplished in a few hours. Trips to the country or to other
cities and towns were now easy and simple. And a car was easier to maintain and
faster to start than a horse and carriage!
The Birth of the Golden Age of Travel
Along with steam-powered transport, the rise of more
personal transport also contributed to the birth of the Golden Age of Travel.
Starting in 1885, you had the world’s first modern bicycles, and increasingly
as the Victorian era came to an end, the rise of the motorcar. Able to take
people places that the railroads could not reach, these two inventions further
improved people’s ability to travel and explore. This led to an increase and
improvement of road networks.
Travelling around the country and going from city to city –
road-trips – became popular. Rest stops, motels and diners popped up around the
United States. The famous “Route 66”
in the United States stretched from Chicago, Illinois all the way to Los
Angeles, California, passing through many cities and states on the way, making
it a popular road-trip and an easy way to visit many famous cities and towns
along your tour of the American interior.
With the infrastructure for safe, speedy, comfortable and cost-effective mass transport now in place, and social changes such as the rise of the five-day working week, it was now possible for people to take time off, and time away from home and work, and to start travelling and go on holiday for the first time in history. The Golden Age of Travel had begun!
The Cunard Line advertising travel to all parts of the world! The ship illustrated in the poster is the RMS Aquitania.
Now, it was easy to travel to such places as the
countryside, the beach, the bay, or to take day trips into town to go window shopping,
to buy gifts, necessities for the house, or to explore cities and towns far
from home. It was possible to live far from the city in a new, quiet suburb and
commute into town. Journeys that might once have taken days or weeks could now
be done in hours or minutes. The amount of free time available to people was
beginning to grow. Holidays became popular, with more people getting time off
work. People with time off work and money to spend wanted to go travelling, and
the number of exciting destinations to visit was growing, catering to all
levels of tourist, as were the ways to get there, and places to stay, once you
arrived.
As the 20th century progressed, travel became faster still. With the opening of the Suez (1869) and Panama (1914) Canals, long detours around the horns of Africa and South America were eliminated for all but the largest of ships, slicing days off of voyages to Asia, the Middle East, the Mediterranean and the coastal cities of the United States.
The White Star Line advertising travel to the New World on its two most famous ocean liners, The Olympic and the Titanic, ca. 1911.
To lure people away from their homes to far flung
destinations, travel agencies, railroad companies and shipping lines produced
vivid, colourful posters advertising luxurious travel to the edges of the world
in fast, sumptuously appointed ocean liners and railroad-carriages, fast
connecting trains and short crossings; anything to part a potential traveler
from his living-room, and the money from his wallet.
Steamships of all sizes now plied the oceans, seas and
rivers of the world. No longer was sailing from England to the Continent
(Europe) a dangerous, costly endeavor. Now, you could buy a ticket. You could
get on a ferry and in steam-powered speed and comfort, take a trip across the
English Channel to France. With rail-links around Europe, cities like Paris,
Berlin, Rome, Milan, Venice and Pompeii became great tourist attractions which
were easily accessible thanks to efficient public transport services from the
port cities of France, Denmark, Germany and Italy. People could travel all over
Europe, America, and Asia, in speed, comfort and safety for the first time in
history. All this was what contributed to the birth of the Golden Age of
Travel.
Packing for a New Age
As the 19th century progressed into the 20th
century, travel became cheaper still. After the hell of the First World War,
the United States of America tightened its once open door policy on
immigration. No longer were shiploads of poor European refugees allowed to be
dumped on Ellis Island for large-scale processing. The ending of this policy in
1924, and the subsequent introduction of immigration quotas (which allowed only
a set number of people from different countries or backgrounds to migrate each
year to specific countries) meant that steamship companies, which had once made
thousands of pounds and dollars a year in the immigrant trade, suddenly had
their main passenger base swept out from under them!
In the new, optimistic age of the “Roaring” 1920s, a
solution had to be found! The answer was ‘Tourist
Class’. Ships no longer transported human cargo from A to B. They now
transported fare-paying passengers, or ‘tourists’
in comfort, from their home ports to destinations far and wide around the
world, for a reasonable price. Cheap tickets were snapped up by eager
holidaymakers with free time on their hands, and international, ocean going
travel began!
Travelling by ocean liner to cities and countries all over
the world often meant long sea-voyages! Very long! London to Paris might take half
a day by steamer and rail. London to New York might take a week or more.
Melbourne to Singapore might take three or four days. But it was for the
mammoth, long-haul voyages, such as those from Naples to Shanghai (eight weeks
by steamer!) for which a whole new kind of luggage was required!
These days, we have check-in luggage and carry-on luggage,
and it’s all weighed and measured and assessed and tagged. You can only have
10kg carry-on and 40kg check-in and if you want more you have to pay for more,
and you have to repack, redistribute and reorganize everything over and over
again, so that the plane doesn’t crash into the ocean and sometimes you wonder
whether going on holiday is even worth it?
Packing for a long voyage during the Golden Age of Travel
was just as challenging, although those challenges were of a rather different
nature. One benefit of travelling by steamship was that there weren’t really
any luggage weight restrictions. So long as it fit in the hold, or in your
cabin or suite on board ship, you were fine. But even for short holidays, you
often brought mountains of luggage. Remember that you did not go on ‘holiday’
or ‘vacation’, you went on ‘tour’ –
hence ‘tourist’.
You expected to be away from home for days and weeks at a
time – and that might be just the ocean voyage, before you even reached your
destination! And having spent days and weeks at sea, you weren’t going to spend
just a couple of weeks at your destination and then sail for days and weeks,
all the way back home again! You expected to be away for a long, long time. A
month or more, at least! So the kind of luggage that our grandparents and
great-grandparents brought with them on their epic journeys was significantly
different from what we would pack and carry today. So, exactly what kind of luggage
would you expect to bring on a long ocean voyage?
The Steamer Trunk
The mainstay of luggage for most of the 20th century, and indeed, for most of history, was the trunk – large, wooden boxes into which everything you might require for a long voyage was packed. Considering that an ocean voyage to any destination could take anywhere from a few days to a few months, such large personal storage space was deemed necessary to fit in all the clothing, accessories and other related travel paraphernalia that might be required for a long time spent at sea.
Antique steamer trunk, complete with brass hardware and locks
Trunks were designed to be tough. They had to withstand being hoisted by cranes, roped up in nets, and being stacked up, lashed down, and rocked around at sea. They had to put up with rough train rides, carriage journeys, motor trips, being dragged around and shunted from place to place by porters, bellhops and stewards. To protect against damage, they were reinforced with wooden ribs and braces. This was to prevent cracking and warping from the weight of extra luggage stacked on top.
Rivets and studs were hammered into corners and joints to
strengthen them. Exposed wooden parts of trunks were varnished to prevent
wood-rot, or were lined on their exteriors with leather or canvas to provide a
weatherproof finish. Corners were again reinforced with brass plates which were
again, riveted on, to prevent damage from abrasion and rough handling. Catches,
locks and clasps were made of brass. This made the trunks all pretty and
attractive, but it also came with an added bonus – unlike steel, brass does not
rust, so provided further protection against the moisture and corrosion of
seawater.
The Suitcase
These days, most people pack their clothes and belongings into roll-on cabin-baggage when they go travelling. The days of the actual ‘suitcase’ are steadily disappearing. But there was a time when people who went on holiday carried suitcases, and these cases actually contained the suits which provided them with their names.
A typical suitcase of the Golden Age of Travel, from the
late 1800s through the early 20th century was made of leather or
canvas. It came with two lockable clasps to hold it shut, and depending on the
style, may or may not have come with additional leather belts that were
strapped over the suitcase. These belts provided a failsafe mechanism if the
clasps were broken, but the belts (which wrapped around the entire suitcase)
could also be removed from the belt loops around the suitcase and linked
together. They could then be used to strap the suitcase on top of other
suitcases or luggage, to keep them together, or to secure them to the roof or
luggage-rack of a motorcar or horse-carriage during transport, if other storage
space was not available.
The Gladstone Bag
Sturdy, of large capacity, secure and easy to carry,
Gladstone bags were the backpacks of their day. Everyone who travelled anywhere
on a regular basis was likely to have at least one of these, and like
backpacks, the humble Gladstone was used to carry as wide a range of items as
you could possibly imagine.
The Gladstone was invented by a London bag-maker in the 1800s and named after globetrotting British prime-minister William Ewart Gladstone. It was immediately popular because of its large capacity, and secure, gate-mouth opening. Reinforced with a metal frame, the bag could be opened, and remain open while it was packed. This made it ideal as an overnight-bag into which anything could be packed with haste.
Vintage leather gladstone bag
Once packed, the bag was closed, locked, and then simply
carried away. No consideration had to be given to how the bag’s contents might
shift upon movement, since it did not have to be tipped onto its side to grasp
the handle, unlike a suitcase.
This was likely the reason why this style of bag was so
popular with physicians, who commonly carried sharp, dangerous and breakable
objects in their medical-kits, which were likely to be broken if they shifted
unexpectedly inside a backpack or other type of luggage. The gate-mouth opening
also meant that a doctor’s hands were free to dive in and out of the bag to
retrieve whatever instruments and medicines might be required in an emergency,
without having to constantly pull the bag open over and over again.
The Portmanteau
‘Portmanteau’ is a French loanword for a type of luggage which has all but disappeared from travel in the 21st century. You never see these things anymore unless they’re in museums or in period movies and TV-shows.
A Louis Vuitton portmanteau, or wardrobe trunk
Literally meaning “Coat-Carrier” (‘porte’ as in ‘portable’, and ‘manteau’ meaning ‘coat’), or also called a ‘wardrobe trunk’, this style of trunk was used for carrying your more expensive clothes – your best dresses, favourite suits, your dinner suit or your white tie and tails. It was stood on one end, and then opened up, looking for all intents and purposes, like a portable closet, complete with hanger-rack and separate drawers and compartments for shoes, shirts, trousers, socks, underwear and space for coats, trousers and jackets so that they wouldn’t get crushed during long journeys.
Portable
Word-Processing – Vintage Style
Then, just as now, our globetrotting forebears often wished
to keep some sort of record of their travels, or wished to inform others of
their travels. Or had a need to communicate and write to others during their
travels.
If we had to do this today, we’d bring along an iPad or a
laptop computer and seek out the nearest establishment boasting free WIFI. And
in their own way, our grandparents and great-grandparents had their own methods
for keeping in touch and connected with others.
The Writing Slope
The reservoir pen which could be carried around in your pocket, and used anytime, anyplace, anywhere, at a second’s notice, is a relatively recent invention. If you went travelling any time before 1900 and you needed to write while away from your desk, chances are that you probably had one of these things packed in amongst your trunks, boxes and cases:
Antique writing-slope manufactured by Toulmin & Gale of London, ca. 1863
Writing-slopes were the laptop computers of their day. They
carried everything that you required for on-the-move communications: Ink, pens,
paper, stamps, sealing-wax, seals, spare nibs, matches, envelopes, pencils,
paper-knife, eraser, paper-folder, and storage for money, letters, important
documents and valuables. The writing box or writing-slope shown here is typical
of the more expensive, up-market writing-slopes of the 1800s. It comes complete
with desk accessories in elephant-tusk ivory, inset matchbox and inkwell, and an
automatic deadlock security system (and the original key!).
Half-closing the writing-box exposes three,
flat ivory panels, or an ‘Aide Memoir’. Here, simple notes and reminders could
be scrawled on the ivory slates in graphite pencil. They could be erased using
a moist cloth, and the ivory could be reused.
Writing boxes were common travelling companions of the
educated globetrotter or travelling businessman of the 19th century.
They died out at the turn of the century when they were replaced by fountain
pens, and by yet another common piece of luggage which might be brought with
you on a long voyage during the early 20th century.
The Portable Typewriter
Invented in the 1870s, early typewriters were bulky, heavy things. Weighing up to 15-20kg (about 30lbs+), they were impractical as portable writing machines. As travel increased towards the end of the 19th century, and as typewriters became better designed and more commonplace, a market was realized: Portable typewriters would surely prove popular with the travelling public, if only such a machine could be produced!
The first portable, laptop typewriters came out in the first decade of the 1900s, but their golden age started in the 1920s. Portable typewriters were manufactured by Remington, Royal, Underwood, Corona and countless other typewriter companies. They were snapped up by reporters, authors, journalists, travel writers and businessmen who often had to travel as part of their jobs, and needed to be able to correspond swiftly and neatly while on the road.
This Underwood Standard Portable from the second half of
the 1920s was typical of the portable typewriters carried around the world by
tourists and writers during the Golden Age of Travel. Newspaper reports, story drafts,
letters home, business reports and magazine articles were all typed up on
machines like this and sent home across the seas by untold thousands of
writers, eager tourists, journalists and businessmen during the early 20th
century.
Oddments and
Accessories
Along with large pieces of luggage like suitcases,
Gladstone bags, trunks and portmanteaus, our globetrotting predecessors also
brought with them all manner of smaller boxes, bags and cases for holding
almost everything you could imagine. Shoeshine kits, collar-boxes, handbags,
hatboxes, stud-and-link boxes, and toiletry cases carrying everything from
straight-razors to talcum-powder.
Such large amounts of such small luggage were often packed inside trunks and suitcases, to separate and organize one’s belongings on long trips, but also to keep the items most commonly used closer to hand. Until the 1930s, men’s shirts came in general ‘one-size fits all’ style with longer sleeves, and without attached collars and cuffs (called ‘tunic shirts’). The separate collars and cuffs were stored in collar-boxes. The studs and links to attach these to the shirts were stored in jewellery cases.
As it would be impossible to store all of one’s belongings
into a ship’s cabin or berth, or on a railroad-carriage, only the trunks and
cases carrying the most essential items were stored close-at-hand. Clothes and
other belongings that would not be required until the ship or train reached its
destination would be stored in the hold, or in the luggage vans coupled to the
backs of trains.
Classic Luggage
Stickers
Hotel chains as we know them today did not exist in the
early 20th century. Every hotel in town was owned and operated
separately, and competition between them was fierce. Every hotel had to be
grand, classy, have a catchy and elegant sounding name, and have everything
that the guest might desire. Hotels that wanted to stand out had everything
custom made. Everything from the stationery, silverware, glassware, china and
towels were emblazoned with the hotel’s monogram or logo. And of course, every
hotel had to have its own distinct and immediately recognizable set of stylish
and colourful luggage-stickers.
Luggage stickers were once like tattoos – unique,
colourful, and evidence of a varied and well-travelled past. Just like how
sailors who went to sea came back festooned with ink, a steamer-trunk, set of
suitcases or a well-travelled Gladstone bag often returned home plastered from
lid to base in stickers. Stickers came from almost anywhere and everywhere:
from train stations, stickers from shipping companies, and stickers from
hotels.
Stickers contained information such as the name of a
trunk’s owner, his room number, the train which he had taken, or the name of
the ship he had boarded. And if he had boarded a ship, then the sticker might
also have his deck and cabin number. If he was on a long train journey and his luggage
was stored in the goods-van at the back of the train, his trunk sticker might have
his carriage or compartment number.
Today, luggage-stickers are just ugly, black-and-white barcoded,
print-out, rip-off, stick-on-and-done affairs. As soon as you arrive at your
destination, it’s immediately your mission to remove these stickers as soon as
possible, lest their blandness offend the eyes and sensibilities of the
delicate. On the other hand, vintage luggage stickers were works of art. They
often had bold letters in artistic fonts and colours which spelt out the hotel
name, the ship name, the city or port where the sticker was plastered on, and
came with decorative pictures or photographs as part of the design. They were
like miniature travel posters in their own right and passengers often kept the
stickers on their luggage as proof of their travels, and as proof of the extent
of their travel. And also because it gave their luggage ‘character’, with the
various stickers creating a rainbow patchwork of paper on the bland leather
surfaces of their cases and trunks.
Hotels During the Golden Age of Travel
The rise in the frequency of travel from the late 1800s to the start of the Second World War saw a corresponding rise in the number of hotels. A number of the world’s most famous hotels trace their roots back to this first great age of tourism. In the United States, the Stanley Hotel (1909) was opened by Freelan O. Stanley, co-owner of the famous Stanley Motor Carriage Co., which produced the well-known Stanley steam-powered automobiles of the 1900s-1920s. Notoriously haunted, it gave Stephen King the inspiration for one of his most famous horror novels: “The Shining”. Its guests included Titanic survivor Margaret Brown, musician J.P. Sousa, and President Theodore Roosevelt.
In New York City, the famous Plaza Hotel was opened in 1907. In London, the Langham and Grosvenor Hotels were opened in 1865 and 1862 respectively. The Ritz (1907) and the Savoy (1889) in London remain two of the most famous hotels in the world. In Singapore, Raffles Hotel opened in 1887. But as grand and famous as all these structures are, they all owe a debt to one hotel which has sadly faded into history, no longer operating, and which has been overshadowed by the fame of all the other hotels that have come after it.
The Plaza Hotel, New York City (opened 1907)
The Tremont Hotel, in Boston (closed 1895), one of several hotels named Tremont House or Tremont Hotel scattered around the United States (there were five in total) was the first hotel in the world as we would know them today, which offered amenities like lockable bedroom doors, indoor plumbing, indoor heated baths, indoor toilets, a proper reception area, and bellhops to carry the mountains of luggage mentioned earlier on. Opened in 1829, it predated many of the most famous hotels in the world which still operate, and paved the way for standards in hotel amenities and services which we take for granted today.
As the numbers of hotel guests started to climb as more
people found more time and more spare cash with which to travel, hotels started
competing with each other. To lure in more customers, they came up with more
and newer amenities, better service and furnishings, and all kinds of features
and extras which today are considered standards across the hotel industry. In
some respects, the service was also much better than what we might be used to
today.
These days, we arrive at the hotel and check in. Then, we’re
given our key-cards and told our room numbers and left to it, and that’s
basically it. In older times, when hotel competition was fierce, this level of
‘service’ was not always acceptable. Back when even a short journey meant
bringing a small cartload of luggage with you, the front-desk clerk would ring
the counter-bell (similar to the one shown above) to summon a youth who would
take your room key and some or all of your luggage, which he either carried
upstairs, or loaded onto a hotel luggage-trolley and took upstairs in an
elevator. This boy (they were traditionally young men) got his name from the
very bell used to summon him – ‘Bellhop’. Once at your room, he unlocked the
door for you, helped you carry in your luggage, handed you your key and then
left you to your thoughts.
A luxury hotel of the era would’ve come with such amenities
as a lobby, hotel restaurants, lounges, bars, and even a ballroom, where a
house orchestra or jazz-band would provide music which you could dance to, if
you wished. Hotels which had their own house-bands included the St. Francis
Hotel in San Francisco, the Savoy Hotel in London, the Hotel Pennsylvania in
New York, and Raffles Hotel in Singapore. Big names like Glenn Miller and Benny
Goodman would often broadcast live from the Pennsylvania Hotel at set times
each evening, for hotel guests to dance to, and for people at home to listen to
via radio.
Popular Tourist Destinations
During the Golden Age of Travel, from the late 1800s
through to the mid-20th century, a number of countries became
popular, famous, and even infamous destinations for the well-heeled
globetrotter of yesteryear. Countries like Canada, the United States, Cuba,
Mexico, Germany, Italy, Egypt, Spain, France, Scotland, Ireland, England,
Australia, India, the British Straits Settlements, Hong Kong, Japan and China
were all popular tourist spots. If you had the time and money, you might take a
whole year off, and visit all of them, going on a world tour.
Among the most popular travel destinations were those
considered ‘exotic’, such as Egypt, the Middle East, India, the Dutch East
Indies, the Straits Settlements, Japan, and one of the most famous of all: The
International Settlement of Shanghai.
The Shanghai
International Settlement
Shanghai, China’s most famous port city was a free port
from 1843-1943, one of several treaty-ports opened and developed by the British
after the Opium War of 1839. Anyone could go there and free trade was
encouraged, much like Singapore during the same era. Shanghai in the first half
of the 20th century, free from the ravages of war in Europe,
flourished. It was not only famous, it was notorious.
Tales abounded of gambling, prostitution, drug-trafficking
(mostly opium), giddy nightclubs with raucous jazz music, high living,
department stores, the Shanghai racetrack, grand ballrooms and luxurious
hotels. But Shanghai, for all its glitz and glamour, pulsing nightlife and
sheen of neon, also held a seedy underbelly reeking of gangland violence and
crime. The police fought riots, stabbings, shootings, kidnappings, rape and an
endless battle against the fierce underground opium trade. Shanghai was the
original Sin City.
Who wants to go to Shanghai?
Visiting Shanghai in the early 20th century was like visiting Las Vegas today. Its lurid reputation more than anything else, was its biggest draw card. And for the right price, any and all kinds of thrills could be had, if you knew where to look, and who to contact in the crime-infested underworld of the International Settlement.
The Bund of the International Settlement of Shanghai, 1926
One of the first views of Shanghai that you got was The Bund. The Bund, or raised embankment, was the main riverfront thoroughfare of pre-war Shanghai, then called the Shanghai International Settlement. Stretched out along the entire length of the Bund were banking houses, shipping offices, grand hotels, newspaper headquarters, upscale clubs, the Shanghai Customs House, and foreign consulates.
As your ship sailed up the Huangpu River and away from the Yangtze, this was your first view of the city – all its grandeur out on display like some gaudy jewellery-shop window display. The Bund ran the entire width of the British and French Concessions of Shanghai, from Suzhou Creek, and down the west bank of the Huangpu River. And the ships docked right there on the riverside. The moment you got off, you were plunged right into the heart of Old Shanghai. You had your choice of the two best hotels in town: The Palace Hotel, and the Cathay Hotel (which remain there still, along with all the other buildings, which are heritage protected, although the hotels have since been renamed).
The Palace Hotel (left), and the Cathay Hotel (right). Today, they are called the Swatch Art Peace Hotel, and the Fairmont Peace Hotel. In the old days, the Cathay Hotel was also called Sassoon House. Shanghai’s premier retail street, Nanking Road, runs between them.
Shanghai was so popular that in the United States, some
young men joined the United States Marine Corps (USMC) hoping to be posted to
the 4th Marine Regiment, also called the ‘China Marines’, because they were based in Shanghai, a city of
exotic and oriental wonder! Due to the city’s cheap labour and high standards
of living, even humble soldiers lived in relative luxury while deployed to
Shanghai. Here, their main tasks were protecting the boundaries of the city and
the American Concession, and enforcing the laws of the International
Settlement, although this second duty was also carried out by the multi-ethnic
Shanghai Municipal Police, whose job it was to enforce law and order within the
Settlement.
The SMP was originally largely British, but also included
Chinese, Indian, French, and American officers as well. In 1917, famous
American songwriter, Irving Berlin, wrote a now, almost-forgotten song called ‘From Here to Shanghai’, which spoke of
the singer’s longing to experience something more exotic than just a trip to
‘dreamy Chinatown’. 1922 saw the publication of ‘Goodbye, Shanghai’, and in 1924, one of the most famous jazz standards
of the day, ‘Shanghai Shuffle’ was
published, showing how popular this destination was among travelling Europeans
and Americans.
Travelling to Shanghai from Europe, or even America, took
several weeks. Most ships did not sail to most of their destinations directly.
Even the largest ocean liners didn’t do that. There was far more money to be
made by making regular stop-offs along the way, which at any rate, were
necessary to re-coal the ship, drop off mail and passengers, pick up more mail
and more passengers, restock the ship for the next leg of its voyage, and then
carry on. A ship sailing from England to China might stop at Cherbourg,
Casablanca, Marseille, Naples, Port Sa’id, Bombay, Singapore, Hong Kong, and
Tokyo before finally dropping anchor at its final destination: Shanghai. You
can see now, why such a trip would take up to two months to complete!
The Shanghai International Settlement went by many names.
‘The Paris of the East’, and ‘The Whore of the Orient’ were two of the most
common, reflecting both its ritzy, exotic nature, and its Devil-May-Care way of
life.
The Peking Legation
Quarter
For tourists wanting to visit the old capital of China (it
was moved to Nanking in 1927), you either caught a train from Shanghai to
Tientsin, and then to Peking, or else sailed to Tientsin directly and caught a
train from there. And while in Peking, you stayed at the famous Peking Legation
Quarter, at the Grand Hotel de Pekin, or the Grand Hotel Des Wagons Lits. The
Legation Quarter, like the International Settlement to the south, was the Western
expatriate enclave within a larger, Chinese city.
After the famous Siege of the Legations in 1900, the entire
compound was surrounded by walls and gates to protect it against possible
future uprisings, making it look like a walled city. The Grand Hotel Des Wagons
Lits was operated by the same company which ran the famous Orient Express, the
Compagnie Internationale Des Wagons Lits (“International
Sleeping-Car Company”). In Peking, just like in modern Beijing, chief
tourist destinations were the Great Wall, and the Forbidden City. After the end
of the Qing Dynasty in 1911, the Forbidden City was opened to the public as the
Palace Museum in 1925, a position it has held ever since.
Singapore: The
Crossroads of the East
Another popular tourist stop was Singapore. Called ‘The
Crossroads of the East’, Singapore was ideally situated for a quick stopover on
your inspection of the South Pacific. A British colony since the 1810s,
Singapore was widely considered to be one of the nicest, grandest, most exotic,
and safest places in the world to have a holiday. After all, it had one of the
finest military airbases in Asia, as well as some of the best coastal
fortifications. For this reason, it was also proudly touted as the ‘Gibraltar
of the East’, as well.
The place to stay at while in Singapore was of course,
Raffles Hotel. Opened in 1887, Raffles has housed all manner of celebrities,
from Noel Coward to Rudyard Kipling and even British royalty. Raffles’ main
slogan in the early 20th century came from a review given by Kipling
in 1887, months after the hotel opened. Glowing with praise, Kipling had said:
“When in Singapore, feed at Raffles!”
– however, Raffles was careful not to publicise the rest of his review, which
continued: “…and sleep at the Hotel De L’Europe!”
– The Hotel De L’Europe was Raffles’ main competition in Singapore at the
time! Unlike the Hotel De L’Europe, however, Raffles survived the Great
Depression. The De L’Europe, by comparison, closed its doors in the mid-1930s
due to falling guest numbers.
As a free port and main stopover for ships plying the
passenger trade from Europe to Asia, Singapore boasted excellent shopping. A
visit to Orchard Road was almost mandatory, to seek out the latest oriental
wonders brought to the colony by ships sailing back from China and Japan.
Berlin: Cultural Center
of Europe
Despite the scourge of the Franco-Prussian War and the
First World War, during the late 1800s and early part of the 20th
century, the city of Berlin, Germany, was a popular tourist-spot for the
well-to-do. Renowned as a center of culture, art, music and politics, Berlin
attracted writers, journalists, politicians and famous actors.
Hotels like the Adlon became famous as haunts for foreign
newspaper-reporters and visiting VIPs. As the Hotel Adlon in particular was
(and still is) located in the governmental and diplomatic quarter of Berlin, it
was the ideal place to stay for journalists wishing to cover German politics.
Foreign embassies and the Reichstag were all nearby. Even today, the Russian
and British embassies in Berlin are located just a few blocks from this famous
hotel, which was rebuilt in the 1990s on its original location.
Before the scourge of Nazism in the mid-1930s, Berlin was
famous for its café culture, its jazz-music and its contributions to film and
theatre. European cabaret flourished in Germany during this period and
developed its own unique, raunchy humor in the nightclubs and taverns of
Berlin. The center of commercial and social life in Berlin was Potsdamer Platz,
one of the city’s main squares. Originally formed by the intersection of five
different roads, this large, open space was an ideal hub in the center town
from which almost anything could be reached. Grand hotels were built nearby,
the Potsdamer Platz railroad station was built near this location, and in 1897,
the Wetheim department-store was
opened near the square. By the 1920s, it was the largest department-store in
Europe.
The Nazi rise to power spelt the end to almost all of this.
Many of the actors and musicians were at least partially Jewish, and they fled
Germany in droves to escape persecution. Many of the actors in the famous 1942
film “Casablanca” were German,
Austrian or Czech Jewish refugees which had been actors in their
home-countries. They fled to America during the 1930s and reestablished
themselves in Hollywood, when it became clear that they could no-longer act in
Nazi-controlled countries. German cabaret, which had a strong focus on
political and social satire, was all but abolished by the Nazis.
Baedeker Guide Books
Any eager tourist heading off to far-flung destinations
today might consult TripAdvisor, or read up on their Lonely Planet guidebooks.
If you went anywhere during the Golden Age of Travel, most likely, you stopped
off at your local bookshop or travel agency, and asked to be shown their current
stock of ‘Baedekers’.
‘Baedeker’ was a German publishing house established in
1827. Throughout much of the 19th and the first half of the 20th
century, the Baedeker family became famous for printing guidebooks. Published
in German and English, ‘Baedekers’ covered everything from countries around the
world, to counties or states within countries, to cities and towns within
states, and could be remarkably detailed. From the mid-1850s, Baedeker guides,
which were regularly updated, covered countries all around the world. They
started being printed in English in 1861, when company founder, Karl Baedeker,
realized that for their firm to be successful, they had to appeal to as many
languages as possible.
Countries which had Baedeker guidebooks written about them
included: Germany, Belgium, Switzerland, France, Palestine, Syria, Norway,
Sweden, Great Britain, Italy, Greece, Egypt, Mexico, Canada and the United
States! And that’s just from 1861-1900! Other countries that were included in
editions printed in the 20th century included Spain, Portugal,
Austria-Hungary, and Russia. Cities which earned their own guidebooks were
numerous, and extended from London, to Paris to Peking, in China!
Stop and consider for a minute what a challenge it would’ve
been to amass such a stockpile of information in an age before the internet.
Imagine having to write guidebooks on cities and countries thousands of miles
away, and having to rely on steam-post and electric telegraph for
communications. Imagine the effort and time it took to send people thousands of
miles away to far-off countries to research and gather this information.
Far-off countries? In 1914, Baedeker published its first guidebook (in German)
on the South Pacific, covering the British Straits Settlements (Malaya,
Singapore) and the Dutch East Indies (Indonesia). A journey from Germany to
Singapore took over a month by steamship!
An Ongoing Journey
The number of things that a person could say and write about this exciting and romanticised element and era of history are almost endless. I’ll be making another posting soon, about the three most famous vehicles of the Golden Age of Travel – the Hindenburg Airship, the Queen Mary, and the Orient Express!
During the last public holiday long-weekend, I got the chance to visit the Ballarat Antiques Fair. Two hours’ drive outside of town was rewarded with two venues to visit, and dozens of stalls to peruse! A lot of the stuff on offer was fascinating, a great deal of it was extremely expensive ($1,200 for a silver card-case?), and all of it was very beautiful.
The fair had everything. Antique radios, inkwells, pocketwatches, watch chains, rings, silverware, carriage clocks, ceramics, a Victorian-era pudding-basin (why not?), posters, maps, jewelry and even some vintage clothing. But the item that I walked away from the fair with was a tiny little brass antique, small enough to fit into my pocket – and it’s adorable!
A Victorian-era Brass Pen-Cleaner
And here it is!
Made of brass, and filled with…most likely plaster…and topped with a stiff-bristled brush, this Victorian-era paperweight-and-pen-cleaner dates to around 1890-1910. At one time, fuzzy little devices like these could be found on well-appointed desktops all over the world, but while most people today will still know what an inkwell, a pen-tray, a letter-rack or stamp-box are for, and would recognise most of them in sight – the purpose of the pen-cleaner or ‘nib-wiper’, as they’re also called – has been largely lost from the public imagination of what constitutes a well-stocked Victorian-era desk.
What is a Pen Cleaner For?
Along with string-caddies, stamp-moisteners and blotter-pads, pen-cleaners were yet another desktop staple that used to be found on every well-appointed desk back in Victorian times. Their purpose was to remove the excess, or leftover ink from the nib of your pen. This saved you from fishing around for tissues or paper-towels, saving time, and reducing waste.
In the 1800s, the rise of the mass-produced, punch-pressed steel dip-pen made writing much easier and cheaper. Pens could be easily purchased in boxes of dozens each, which would last for weeks between uses. However, to make the pens so cheap, the steel that was used in their manufacture was usually cheap, brittle and prone to rusting. Constant contact with water-based ink caused the nibs to rust easily. In order to prolong the usefulness of their pens, writers had to keep their pens dry and clean between uses.
It’s for this reason that pen-wipers or pen-cleaners were invented. They were a simple, convenient way to remove the ink from the tip of your pen after writing, to stop the pen from rusting, if it had been used hard, and put away wet – since putting away a wet pen would literally cause it to start rusting.
Pen-cleaners ranged from the mundane to the fantastical. Cheap versions could easily be made from scrap cloth, more elaborate ones could be made of brass, or even silver. They came in all kinds of styles – chairs, boxes, animals…they were circular, rectangular…they came as part of desk-sets, along with inkwells and blotters…and their sole function was to remove ink from the tip of your pen.
In the 1890s and 1900s, with the rise of the fountain pen, pen-cleaners remained a popular desktop accessory, since they could still be used to wipe away the excess ink from the nib and feed of a pen, once it had been refilled in an inkwell. Again, this reduced, or even entirely eliminated the need – to find tissues to clean the pen.
Why Did I Buy It?
For one, it was very cheap. For two, it was in good condition, and for three, I’ve always wanted one!
I love collecting weird, whimsical, obscure antiques. Antiques which come with a story, or which require an explanation of some kind. It makes them more interesting if it’s not immediately obvious what they are.
Yet another reason why I bought it was because I’d been chasing after one of these for years, and I was thrilled to finally lay my hands on one. On top of that, I knew that it’d get a lot of good use out of me, and me, out of it, because of my daily use of fountain pens. I still need something to clean my nibs on, after all!
What Happened to Pen-Cleaners?
Pen-cleaners died out in the second half of the 1900s when people started using ballpoint pens. Like rocker-blotters and inkwells, all these other accessories were no-longer required to maintain or use a ballpoint pen, and so the pen-cleaner also saw a decline in use, until they eventually just faded into obscurity. There is a growing community of fountain pen collectors and users in the world today, though, so who knows? Perhaps the pen-cleaner might be due a revival, as a green, and convenient way to clean ink off of pen-nibs, without wasting so much paper?
Once upon a time, it was a common cry across the fairgrounds and carnivals of the world! A suited man in a top-hat and cane, bellowing through a big, shiny brass horn:
“Roll up! Roll up! Ladies and gentlemen, boys and girls! Come on, come all! See the Fat Boy, the Crab Family, the Lion Boy and the smallest man in the world! See the Elephant Man and the Limbless Wonder, the Rubber Man and the Teen Titan! Pay only a penny to gawp and ogle at these wonders of human perversion!”
But what was the reality of life in a circus sideshow? What did being a freak-show entertainer actually entail? In the 21st century, such entertainment is rare, but it still exists in one form or another, and most likely – it will always exist, because humankind has always had a fascination with the bizarre and the abnormal, the strange, the rare and the wonderful!
In modern times, freak shows tend to have an entirely negative perception by the general public, but was this always the case? In this posting, we’ll be exploring the reality of life ‘on the road’ as a traveling showman and as a freak show or sideshow attraction, as well as getting acquainted with some of the most famous sideshow acts in history!
What Is a Sideshow?
A sideshow was the name given to any secondary or side-act performed or exhibited at a fairground which was not part of the main event or main performances being held at the circus during the time of its stay. Sideshows could be anything from someone walking on coals to sword-swallowing, breathing fire or juggling any number or range of strange or even dangerous objects. Or, it could completely depart from the realm of ‘normal’ entertainment – and enter the realm of the freak show!
A ‘freak show’, as the name suggested, was a variety of ‘freaks’ who traveled with the circus as performers and exhibitors, displaying themselves for the amusement, shock, education or sometimes, just the sheer wonderment – of the paying public – and paying public, is the key here – if you wanted to see one of the freaks, or meet them, touch them, ask them questions or take photographs of them – you were obliged to pay them for it – this wasn’t some free exhibition! Displaying themselves to the public was their job, and like all employees, the freaks expected to be paid for their time and effort!
What is a Freak Show?
A freak show is similar to, but not the same as, a sideshow. A sideshow is any type of sideline attraction at a fairground. A freak show is a type of sideshow focusing on ‘freaks of nature’ – human beings which were in one way odd, different, strange or otherwise mentally or physically deformed or handicapped in one way or another.
How Long have Freak Shows Been Around?
Honestly? Probably since the dawn of time.
The modern idea of the ‘freak show’ dates back at least to the 1630s, and by the 18th century, traveling freaks (either individuals, pairs or small groups), who exhibited themselves at shows around Europe, started becoming common. It became common for freaks to entertain royalty and nobility, and from as early as the 1600s, the position of ‘Court Dwarf’ started to spread around Europe.
What is a Court Dwarf?
A court dwarf was a little person, or person who grew up with one of any of the many forms of dwarfism, who were employed by royal and imperial courts throughout Europe in the 17th and 18th centuries, to act as entertainers and companions to the ruling monarch and their family. In a sense, these were the first type of ‘freak show’ to ever officially exist.
Count Jozef Boruwlaski. His walking-stick and hat (on the table) and his suit, are on exhibition at the Durham Town Hall in Durham, England, the town where he died.
Due to their rarity, dwarfs were actively traded among royal and princely families, and a dwarf could be given as a ‘gift’ from one ruler to another, as a sign of goodwill. Their unique appearance made court dwarfs very popular, and dwarfs often attained great wealth from the sizable stipends paid to them by the rulers whom they served. This practice lasted for over two hundred years, and the last official court dwarf was, Josef Boruwlaski, a Pole born in 1739. Although he had no official aristocratic title, his position as a Court Dwarf led to the nickname of ‘Count Jozef’.
Daniel Lambert. Weighing over 700lbs, he was the fattest man in recorded history at the turn of the 19th century.
A musician and entertainer, 3ft 3in ‘Count’ Jozef Boruwlaski died in 1837 at the impressive age of 97. He was most famous, in his day, for his meeting with Daniel Lambert – the 700-pound former prison-guard who was the fattest man in the world up to that point in recorded history. The official meeting of the world’s largest, and smallest men was reported widely in English newspapers at the time.
A statue of Count Jozef Boruwlaski, the ‘Durham Dwarf’ as he became known – the last official Court Dwarf in the world.
The Beginnings of Freak Shows
Count Boruwlaski and his contemporaries, such as Mr. Lambert, did exhibit themselves and did earn money from it. Indeed, ogling at Daniel Lambert’s gigantic obesity was highly fashionable in Georgian-era high-society…so fashionable in fact, that Lambert had to discontinue the practice, because it gave him absolutely no privacy!
However, the days of the court dwarf were numbered, and Boruwlaski is widely considered to be the last of his kind. He lived so long that he outlived all other court dwarfs, and after his death at the dawn of the Victorian era, the practice was discontinued. The death of the ‘Durham Dwarf’ effectively marked the end of one era of freak shows, and the beginning of another era – the professional, commercially-minded and enterprising freak-show operator and performer!
And for this, we must largely thank…one man. And that man is the incredibly flamboyant Mr. Phineas Taylor Barnum!…Better known as P.T. Barnum, arguably the most famous 19th century showman ever!
P.T. Barnum and the Greatest Show on Earth!
Born in 1810, Barnum’s actions basically gave rise to the world’s first official freak-show, as we might recognise it today. In 1841, Barnum purchased an old exhibition building on the corner of Broadway and Ann Street in New York City. Naming it “Barnum’s American Museum”, it served as a showcase for all the weird and wonderful things that he could find, with which to shock and amaze the paying public!
Not all of Barnum’s exhibits were entirely truthful – for example there was the “Feejee Mermaid” (a monkey and a fish sewn together!) or Joice Heth – purported to be the nursemaid of George Washington. Aged 161, Barnum passed her off as the “oldest living person in the world!”…when she died, an autopsy revealed that her age was closer to 80, rather than 160-odd.
But, in among the frauds and fakes, the half-truths and outright lies, Barnum’s American Museum did host some real and actual human oddities, and some of them became world-famous in their time! From the smallest man in the world to the dog-faced man, the lion boy and the camel woman, Barnum and his collection of freaks and sideshows shocked, wowed and amazed the public. In the 1840s, 50s and 60s, a good day out in the Big Apple was not considered to be complete without a visit to the museum.
Famous Freak Show Acts and Performers
One of the reasons we know so much about Victorian-era freak shows is because they were heavily promoted and advertised. There is a huge wealth of information out there documenting everything about them – photographs, advertising posters, postcards, newspaper articles, diary entries, and even biographies and autobiographies, written by the freaks themselves, or by the people who knew them.
So, who were these people, and what were their histories? Here, we’ll have a look at some of the most famous freak show attractions of all time.
NAME: Charles Sherwood Stratton. BIRTH-DEATH: 1838 – 1885. STAGE NAME: General Tom Thumb. CLAIM TO FAME: Smallest man in the world.
Born on the 4th of January, 1838, Charles S. Stratton is arguably the most famous circus freak who ever lived. He was also related to P.T. Barnum – they were distant cousins. When Barnum heard about his newborn cousin and his diminutive size, he couldn’t help but try to convince the boy’s parents that the child would be perfect for his American Museum. After working out a deal with Stratton’s parents, Barnum taught young Charles the elemental aspects of showbiz! Singing, dancing, how to be witty and smart and funny. Stratton’s father assisted with his son’s adjustment to the world of the circus, and accompanied Charles around, to aid in his adjustment.
Charles Stratton and his wife
Stratton became famous for impersonating famous ‘small people’ from history and mythology such as Napoleon Bonaparte, and Cupid, the baby angel of love. Once he’d started working at Barnum’s Museum, Charles Stratton was just four years old and was barely over two feet tall.
Stratton proved to be a natural comedian, and in 1856, when Stratton was eighteen, Barnum took him on their first European tour. By now, Stratton had attained the nickname of ‘General Tom Thumb’ and used this as his stage-name. Stratton’s popularity was astronomical, and he was soon more famous and more popular than almost any other big-name celebrity of the mid-1800s! He met Queen Victoria and Prince Albert Edward while he was in London. Queen Victoria was at first enraged, but then charmed, by the dwarf’s inability to walk backwards with ease (it was considered impolite to turn your back on the monarch) and she thought that everything about Stratton was adorable and comic, and invited him back to Buckingham Palace a number of times.
Back in America, Stratton’s fame only grew stronger when he met President Lincoln and Stratton notoriety made freak shows and sideshows widely socially-acceptable for the first time in history. People started treating circus freaks as entertainers and people, professionals who deserved respect, and not as oddities to be ogled at and degraded.
In 1863, Stratton married Lavinia Warren. Like everything else about his life, P.T. Barnum hammed this up for the press like it was going out of style. Stratton’s wedding photographs appeared in newspapers and magazines…and you could even gather a collectors’ set of them! His wedding was attended by thousands of people, and to greet all the guests who came to his house afterwards, Charles had to stand on top of a grand piano just to shake all their hands!
Stratton became obscenely rich from his freak-show appearances. He owned two houses, bailed out his cousin P.T. Barnum when the latter hit financial struggles, and even bought himself his own private yacht! Unfortunately, Stratton’s life was all too brief, and he died aged 45, in 1885, shortly after suffering a stroke.
NAME: Wilfred Westwood BIRTH-DEATH: 1897 – 1939. STAGE NAME: N/A CLAIM TO FAME: Circus Fat Boy
A staple of freak shows almost from day one was the classic ‘circus fat boy’ – typically an extremely obese, prepubescent child (usually a boy, although circus fat girls also existed – Wilfred’s older sister Ruby was a circus fat girl), whose job it was to shock and wow audiences with his gigantic size! Numerous sideshow fat boys existed throughout history, but one of the best documented was young Wilfred Westwood.
A native of New Zealand, Wilfred was the second-last child born into a large family, in 1897. Including his parents, there were nine people! Wilfred had an older sister (Ruby, also a circus fat-child), an older sister Eva, three older brothers, and one younger sister, Loyis Westwood. Together, Wilfred and Ruby brought the Westwood family incredible fame, and they toured Australia, New Zealand and several other countries besides. As early as 1900, when Wilfred was just three years old, newspaper articles were being written about him and his sister, as circus-promoters and journalists started trying to publicise the ‘giant children’.
Wilfred Westwood, aged 11, 1908.Weight: 308lbs.
By the age of 11, Wilfred weighed over 300lbs, and yet, despite this, he wasn’t even the largest circus fat-boy in the world…around the same time, John Trunley, the ‘Fat Boy of Peckham’, weighed over 350 pounds!
John Trunley (he’s the one on the right, in case you were wondering).
Trunley and Westwood were far from the only circus fat boys, but they were possibly, the most famous. In the 1800s and early 1900s, when infant and child mortality was as high as 25 or even 30%, and when millions of children were underfed and chronically malnourished (a public health-concern that caused the British government to start free school meals for underprivileged children) – children of incredible obesity were something to be celebrated and admired! At a time when the health-effects of extreme obesity were poorly understood, fatter children were seen as well-fed, healthy children, who were just a little bigger than the others.
Trunley became a watchmaker in later life, and died in 1944. Westwood became a glass-blower, and was killed in a car-crash in 1939.
NAME: Stephan Bibrowski BIRTH-DEATH: 1890 – 1932 STAGE NAME: Lionel the Lion Boy! CLAIM TO FAME: Hypertrichosis.
Born in Poland in 1890, young Stephan was abandoned by his mother almost since birth, when he started exhibiting symptoms of the phenomenally rare genetic condition known today as ‘Hypertrichosis’ or ‘Wolfman syndrome’, where the entire body – save the hands, and feet – are covered in hair!
Stephan’s mother believed that she had been a victim of ‘Maternal Impression’, also known as ‘Monstrous Birth Syndrome’, a popular (but unfounded) medical theory that had existed since at least the 1600s. Never heard of it? Not surprising.
The theory of maternal impression, or the ‘Monstrous Birth’ theory was the belief that if an expectant mother experienced some kind of trauma, her child would bear the marks of that trauma upon birth. In Bibrowski’s case, his father was attacked by a lion, which led his mother to believe that it was life-scarring event that led to her giving birth to a ‘lion’ of her own.
Lionel the Lion Boy!…Aged five, in 1895.
Young Stefan was taken in by the famous Barnum & Bailey Circus (yes, that Barnum), and by the age of 11 in 1901, he was touring Europe and America, billed as “Lionel the Lion Boy!” Apart from appearing as a sideshow, Lionel also performed acrobatic feats to impress the audiences who came to see him.
By the late 1920s, Lionel, or Bibrowski, started getting tired of the circus-life. He retired, and moved to Germany. He died in Berlin in 1932, at the age of 41. Cause of death: Heart attack.
NAME: Chang & Eng Bunker BIRTH-DEATH: 1811-1874 STAGE NAME: The Siamese Twins CLAIM TO FAME: Conjoined Twins
Ever heard the term ‘Siamese Twins’, referring to conjoined twins? Ever wondered where the term came from?
You have P.T. Barnum and Chang and Eng Bunker to thank for that!
Chang and Eng Bunker
Born in Siam (Thailand), Chang and Eng were of mixed American-and-Siamese heritage, and moved to America when they were still children. In later life, they adopted the more English-sounding surname ‘Bunker’ as part of their Americanisation. Chang and Eng started touring in 1829, and toured and exhibited themselves on and off for the rest of their lives, stopping in 1839. They had by this time become fluent in English, and took the time off to build a home for themselves, get married, and even raise children, but ten years later, they found themselves getting bored with ‘retirement’, and in 1849, they returned to the touring circuit through the 1850s and 60s.
The Bunkers were noted slaveholders in the years leading up to the Civil War, and in the period of Reconstruction that followed, much was made of this in the public press, which earned them great public backlash from the audiences who came to witness their performances. Depression and declining health led to the twins’ death within hours of each other, in 1874.
Apart from their fame in giving rise to the term ‘Siamese twins’, Chang and Eng Bunker hold another distinction – they were one of the longest-lived sets of conjoined twins in history – a record not surpassed until 2012!
NAME: Joseph Carey Merrick BIRTH-DEATH: 1862 – 1890 STAGE NAME: The Elephant Man CLAIM TO FAME: Proteus Syndrome (?)
By far the most famous freak show exhibitor in history (apart from Tom Thumb), has to have been Joseph Carey Merrick – better known as the Elephant Man.
Born in 1862, Merrick had a brutally hard and incredibly short life. His mother, one of the few people to care for him, died young, leaving him in the care of his father and stepmother. Repulsed by his appearance, they abandoned him, whereupon, Joseph was taken in by his uncle, a barber and hairdresser.
Joseph Merrick – the ‘Elephant Man’
Numerous attempts to find Joseph meaningful work (from hawking wares to rolling cigars, and even sweeping the floor of his uncle’s barbershop) all ended in failure due to his increasing deformities. Young Merrick ended up in the workhouse at least twice in his life, before finally deciding to turn his attention to the world of the circus freak!
Circus freaks were a world apart from everybody else in polite, straitlaced, and morally-upright Victorian society. They were a society of outcasts and misfits – the perfect place, Merrick reasoned, for someone like himself.
With the assistance of an understanding circus manager, Merrick started out on his career as a circus freak. In this role he remained for a few years, occupying a room behind a shop across the Whitechapel Road from the London Hospital. It was from this hospital that Frederick Treves, a noted surgeon, would come to meet Merrick. He studied his deformities and even had him photographed and examined. Merrick left London and traveled to Europe, where his fortunes took a downturn yet again.
Merrick had made a considerable amount of money from selling copies of his biography, which he sold alongside his freak-show act. The (slightly fictionalised) account of his life detailed his birth and upbringing, and the belief that he was the result of maternal impression. Mugged and robbed while in France, Merrick had lost almost all the money he’d made during his time as a circus-freak and returned to London almost penniless, arriving at Liverpool Street Station in 1886.
Joseph Merrick’s skeleton at the London Hospital
In an incident dramatically recreated in the 1980 film ‘The Elephant Man’, Merrick collapses from exhaustion, and only Dr. Treves’ business-card, in Merrick’s coat-pocket, gives a clue to his identity.
After a great deal of campaigning, fundraising, and philanthropic donations, enough funds were raised for the Elephant Man to live indefinitely in the London Hospital in Whitechapel. ‘The London’ was founded in the 1700s as a charity hospital, providing free healthcare to the impoverished and destitute. It survived entirely on public donations, and the physicians who worked there did so voluntarily, giving up a few days a week from their Harley Street addresses to tend to the sick and dying in the East End. In many respects, the London was the best place for Merrick. It was used to dealing with the very worst of the human condition – attempted suicides, alcoholism, industrial accidents, and infectious disease – which also meant that it was one of the most advanced medical centers in the world at the time. It was to the London Hospital that Jack the Ripper’s victims were taken, in 1888, for their autopsies.
Despite this background, the hospital had a strict policy of not admitting ‘incurables’ – those who had conditions which could not be treated, and which would only be a drain on the hospital’s already limited funds. It took a lot of convincing of the hospital’s board to allow Merrick special dispensation for his unique condition. It was more than obvious that he would not survive without round-the-clock medical care, and once enough funds had been raised, a two-room suite was laid out for him on the ground floor of the hospital. Here he would live for the rest of his life.
Merrick’s health improved, and it was during this time that Treves photographed Merrick once more, and interviewed him extensively about his life. Meeting the ‘Elephant Man’ became highly fashionable, and many of London’s wealthiest residents – including the future Queen Alexandra – would visit him at the hospital.
Joseph Carey Merrick – the Elephant Man – died in 1890. The autopsy on his disfigured body was carried out by the man who had come to know him better than anybody else – Sir Frederick Treves. Treves’ examination and the subsequent certificate he filled out, listed the cause of death as ‘Asphyxiation. It was Treves’ own theory that Merrick – who was unable to sleep lying down due to the contortions of his body, and the weight of his head – had slumped backwards against his bed during the night. This had caused his neck to break, cutting off his airway and resulting in death.
He was 27 years old.
To this day, Joseph Merrick’s skeleton is still held at the London Hospital.
The Public Perception of Freak Shows
The public tolerance of freak shows has waxed and waned over the years, decades, and even centuries and at various times they were celebrated, reviled, condemned and promoted.
The majority of freak-show managers and circus ringmasters looked upon running freak shows as being a social service. They were providing entertainment and education to the masses, as well as ‘shock-value’, indulging mankind’s fascination with the bizarre and unusual. At the same time, they were also providing misfits and people with horrible disfigurements or medical conditions, with a home, a family of sorts, a camaraderie, and a social network which gave them a living, a form of security, and a sense of belonging.
A lot of circus-freaks turned to their chosen occupation, usually as a last resort, to make the most of a bad situation, or simply to wow people with what they were. In an age before social security, government pensions, advocacy groups, effective medical treatment, and the countless other facilities and organisations available to people with severe disabilities today, being a circus-freak was, more or less – the last half-respectable occupation open to people who would otherwise have found themselves on the street.
Freak-shows have never really gone away. They still exist, and in some cases, have simply switched mediums. There’s no shortage, in the 21st century, of TV shows depicting all kinds of modern-day ‘freaks’ from ‘Freaky Eaters’ to ‘Hoarders’ and ‘Most Shocking’, which featured its own ‘circus fat boy’ – Dzhambulat Khatohov.