The Beer Stein Magazine PR SIT

PR SITVOL. 2, No. 63 September 2007Stein Collectors International

The Beer Stein Magazine

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Prosit, September 2007

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Prosit (ISSN 0147-5274)This bulletin is the official publication of SteinCollectors International (SCI), a non-profit organ-ization devoted to the study of beer steins andother drinking vessels. Prosit is published inMarch, June, September, and December for SCIat 1155 Northland Dr., St. Paul, MN 55120. Peri-odicals postage paid (011-582) at St. Paul, MN,and additional mailing offices. Dues are $35 peryear ($45 for overseas addresses, of which $40 isused for a one year subscription to Prosit).

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Articles for publication in Prosit are activelysought. Please submit both text and illustrationselectronically on diskette, CD or by email. If youcan’t submit material electronically, articlesshould be typewritten, double-spaced, on plain8½ x 11 inch paper. Photographs should havehigh contrast and an uncluttered background. Donot close-crop photos. Please follow the formatof previously published articles, or send for acopy of “Notes to Contributors,” which containsdetailed information on editorial needs, require-ments and policies.

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Prosit’s Editorial Advisory BoardRon Fox - Editor Louis FosterSue Fox - Asst. Editor David HarrWalt Vogdes - Asst. Editor Ron HeiligensteinGinger Gehres - SCI Artist Eddy LindtClaire Hill - SCI Artist Les PaulMartin Estep - SCI Photographer John McGregor

Bob Wilson

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Organizational news.......................................Whites Utica - Ron Fox and David Roche....Dual Alliance/Mettlach 1502 - Terry Hill........Washington Crossing the Del. - W. Vogdes.My First Stein - John Piet...............................HMY Hohenzollern - Dr. Roy DeSelms..........More Ludwig Foltz II - Dr. Roy DeSelms.......A-A-A-O - Louis Foster...................................A Lost Stein Returns - G. Schamberger.......Sarreguemines Stoneware - Peter Zirpke....2007 SCI Convention Auction - G. Kirsner...The Diesinger “Big Boys” - Walt Vogdes.....2007 SCI Convention Photos - John Mertz..Photos From the Road - Ron Fox.................Little Red Riding Hood - Stephen Smith......A Handel Stein - Frank Pociadlo...................Homer Simpson and the Biker Hog..............Affordable “Go-Withs” - Marie Stevenson...Turkenlouis - John Harrell.............................Infantry Regiment #111 - John Harrell..........“Trink was klar ist” - Jerry Berg....................An August Saeltzer Stein - Chris Wheeler....The Clown Duo - David Harr..........................Stein Exchange...............................................

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Charlotte Whitham receiving the Editor’s Award from Ron Fox

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September 2007

Whites Uticaby Ron Fox & Dave Roche

This article is based on an article written by RonFox in an auction catalog for Fox-Terry Steins,Inc. (May 15, 1985). It was subsequently up-dated and supplemented with additional photo-graphs for The Beer Stein Journal (August1995). It is further extended and more photos areprovided in this article.

Whenever we notice a blue stoneware beermug or stein, we automatically assume thatit was produced in Germany. In most caseswe would be correct, with one noticeableexception: those made by Whites of Utica.Whites was started in 1839 by Noah Whitewho was a barge pilot on the Erie Canalwhich ran from Albany to Buffalo, New York.Because of its prime geographical location,Utica was obviously an ideal spot for astoneware factory. The waterway could beused to transport clay northward from theclay-rich areas of New Jersey and to returnthe finished products to major urban mar-kets such as New York City, Boston andPhiladelphia. Noah White eventually settledin Utica where he bought a pottery busi-ness owned by Samuel Addington and re-named it Whites of Utica. In 1849 Noah andhis two sons, Nicholas and William, formeda partnership. The mark used on theirwares at that time was simply Whites Uticaor White’s Utica. In 1863 Noah’s grandson,William N. White, joined the firm and thename was changed to Noah White, Son &Co. William took over the firm’s manage-ment upon Noah’s death in 1865.

In the 1870s a new building was added, ex-panding the operation, which both modern-ized and improved production processes. A65-horsepower steam engine was alsoadded. Whites’ major production items in-cluded jugs, churns, chamber pots, pre-serve jars, beer bottles, and fire bricks. In1887 William’s son, Charles N. White, tookover the management. The pottery ceasedproduction in 1910 after 71 years of unin-terrupted stoneware manufacture. Towardthe end of the 19th century, competitionfrom stoneware factories in Ohio and theuse of glass containers created seriousproblems for New York potteries. The com-petition forced Whites to expand its rangeof products considerably and cupola brick,gas and oven tile, and beer steins wereadded. Production of beer mugs and steinswas first introduced in 1885. In 1894, a Ger-man artist named Hugo Billhardt was hired.He was responsible for mold designing andintroducing the German designs we oftensee. He worked there until 1901.

During their heyday Whites employed be-tween 20 and 25 workers. They used therich New Jersey clay in two of their threekilns which were geared for stoneware fir-ing. The third kiln was used for bricks. Thetwo stoneware kilns were fired with slabwood, mostly spruce, which took approxi-mately six to eight days for the saltglazeditems and approximately forty-eight hoursfor the Bristol glaze pieces.

Styles

Because of the obvious attempt to copyGerman styles, many collectors who ownbeer steins made by Whites are not awarethat they were actually manufactured in thiscountry. It is our belief that Whites pur-posely sold their steins as German-made.We notice that they purposely omitted theiridentifying marks and often used Germanscenes and verses. They chose popularGerman themes such as tavern scenes,hunting scenes, Bavarian dress, etc. Theyeven copied the popular Mettlach jeweledbase body on some of their steins (figure 1).Even the three character steins they made

were copies of German made steins of thattime. This held true until the 1901 PanAmerican Exhibition in Buffalo, NY, whereWhites displayed its wares. At that time thecompany tried to capture the Americanmarket and capitalize on its own name.From then on we find steins and mugs fea-turing American themes such as Washing-ton Crossing the Delaware, Pan Am Expo,St. Augustine, and advertising pieces forbreweries, restaurants, etc. (figures 2 - 4).

figure 1

figure2

figure 3

figure 4

September 2007

The rarest type of decoration is the customhand-scratched pieces. These steins (orother hand-scratched forms) would have adetailed scene scratched into thestoneware body while it was in the unfiredgreenware state. This took their most tal-ented artists as there was no room forerror. It took great care to get clean lineswithout creating jagged edges or obviousmistakes. These pieces always have ascratched number on the base and not theusual impressed number. These are highlysought after by the advanced collectors.Figure 10 is an example of such a piece.

Types of Steins

All of Whites’ beer mugs and steins can bebroken down into five major categories: re-lief, etched, reverse-etched, character andhand-scratched. The most widely usedbodies were those with relief scenes (fig-ure 5). The etched steins just featured thescene’s outline incised onto the stein’sbody (figure 6). In reverse-etched,(threaded relief) the scene’s outline wasraised rather than incised (figure 7). Theircharacter steins were extremely limited.We know of only the Owl, Bismarck’s headand the Keg, so far (figure 8). All of thisstyle of stein were basically a monochro-matic gray with cobalt. Yellow acre, greenand brown glazed colors were rare andhigh priced (figure 9).

How They Were Manufactured

Most beer steins made by Whites werecast-molded rather than spun on a wheel.Liquid clay or slip was poured into a plastermold thus creating the scene. These weredone as a two-part mold or sometimesthree-part mold with the mold seam rightdown the center of the stein rather than hid-ing them on the sides. This was done be-cause the decorations were mainlydisplayed in the English style – on the sidesof the piece – rather than the German stylewhich utilized the front of the stein for thecenter of the scene. I must point out thatsome of the early saltglazed pieces werehand-thrown. Because no molds wereused, no mold seams would be visible. Thedesigns were usually impressed onto thepiece by using special tools.

During different periods Whites used differ-ent types of interior and exterior glazes.

figure 5

figure 6

figure 7

figure 8

figure 9

figure 10

September 2007

From approximately 1885-1897 a saltglazeexterior with a clear silica glaze interior wasused. From approximately 1895-1899 thesaltglaze exterior was still in use but oftena white Bristol glaze was employed on theinterior. From approximately 1896-1900 aclear silica glaze was sometimes applied tothe stein’s exterior while using a white in-terior. From approximately 1898-1907Whites often used a Bristol exterior glazewhile again keeping a white interior.

Numbering System

When we examine the base of a numberedpiece by Whites, we notice a 1- or 2-digit,tall and elongated impressed number (fig-ures 11a & b). For many years, like its Ger-man counterparts, we believed that thisnumber identified the mold. But this is def-initely not the case. This base numberidentifies the size of the stein or mug bodyminus the lid. These mold numbers re-ferred to a corresponding price list forWhites wares. As the number increases thestein body becomes larger. As an example,the steins in figure 12 represent the samebody shape and the steins are numberfrom 35 on the left, through 39 to the right.Another sequence starts with a low of 43and a high of 46 (figure 13). We also find anumber series starting with 27 as the small-est and going up to 34 (figure 14). And fi-nally, figure 15 is numbers 40 - 42. Allpieces bearing base numbers from 35 to46 carry relief decorations. Also, all piecescarrying base numbers from 27 through 34carry designs that are impressed via a spe-cial tool.

figure 11a

figure 12

figure 13

figure 14

figure 15

figure 11b

September 2007

Whites was never able to master the reliefwork that they copied from the German ar-tisans. Their relief work was not as well-de-fined and was lacking in detail, as you cansee when you compare a closeup of aWhites piece (figure 17) to a typical Ger-man stein (figure 18). They were also neverable to master the cobalt, green or brownglazing application, often running outsideof the lines.

As is customary with American-madesteins, the liter capacity marking normallyfound on German steins is omitted. Whilethis is also true on some pre-war Germanbeer steins, most carry a capacity mark.This lack of a capacity mark on Americanbeer steins is normal and expected. We didnot follow the metric system, so liter markswould have been meaningless here.

Other products

The Whites stoneware firm was the mostactive and successful of its day. They didtheir best to provide a product that wouldbe desirable to the masses. Besides theirline of beer steins, they made many otherstoneware forms such as bean pots, vases,crocks, butter dishes, beakers, water cool-ers, umbrella stands, canteens, etc. Thefollowing photos are but a glimpse of thevariety of their wares.

Much has been learned about these Amer-ican-made but German-looking steins andmugs, but there is still much to discover.

Pewter Lids and Mounts

The pewter lids and attachments wereprobably made either at the factory ornearby. They were not as fancy or detailedas the lids made in Germany. Whites lidswere most often silver-plated but it waspoorly done and wore off easily. They usedhalf a dozen or so thumblifts, but one wasused most often. For some unknown rea-son Whites almost always used a criss-crossed pattern cut into the front part of thetang (figure 16). This criss-crossed patternwas the pewtersmiths signature of markinghis work.

figure 16

figure 17

figure 18

September 2007

Here are some more Whites Utica steinsfor your enjoyment.

Several years ago I approached stein col-lecting comrade Bob Wilson about creatingan article for Prosit concerning a set ofVilleroy & Boch steins that pictured WorldWar I military leaders from the allied Ger-manic and Austro-Hungarian empires (fig-ure 1). Bob had eight of these steins/mugsat that time and pledged to complete thegroup. When I began the research for thearticle, I consulted numerous Mettlach cat-alogs, their supplements, and other piecesof Villeroy & Boch literature. I soon realizedwhat a difficult task this was to be, as therewas no mention of the set. We couldn’t de-fine our objective; neither in regard to thepersonalities involved and their number, norin answer to the question, “Are we doneyet?” Each of the pieces in the set wasmarked in the standard fashion: a 1526mold number, a date code of 15 or 16(1915/1916), a stamped Mettlach abbeymark, a size number 2 or 3 designating .5or .4 liter capacity, and the print number of1502. The same print number 1502 ap-peared on all the members of the set (figure2). There were no letters or other clues thatwould shed some light as to identities andtheir number. Occasionally the steins are

marked with the individual’s name on thestein’s front, but those occurrences arerare. In the months ahead Bob added twomore items, I had a rough year health-wise,and until this month our project wasshelved.

This past year Chris Wheeler wrote a finearticle,”The Dual Alliance of 1879” for ourSCI journal. This piece brought to mind theproject that Bob and I had been putting to-gether earlier. I blew the dust off thosepages and in the issues ahead will sharethat information with our Prosit readership.

The subject of Wheeler’s article was a .5liter stein that pictured a pair of handshak-ing soldiers from the German Austro-Hun-garian Alliance framed by flags andsymbols from their respective homelands.At the outbreak of World War I, patrioticsteins like this were commonplace. In addi-tion to the steins, there were wall plaques,dinnerware, posters, post cards, banners,jewelry, and any other object that couldcarry images of this type of propaganda.This effort was a product of the times, andall the contesting countries that were en-gaged in this World War were doing like-wise.

In these days of martial fervor, the favoreditems were those portraying the militaryleaders of the contending countries. Knownas the “Heerführen“ in the Dual Alliance

First installmentThe Dual Alliance Military Leaders As Depicted on Mettlach Set #1502by Terry Hill

Figure 2

Figure 1 - Collection of Villeroy & Boch 1502 stein series: Top Row l to r. Franz Joseph, Von Hötzendorf, Kronprinz Wilhelm, Von Kluck, Kron prinz Rupprecht. Bottom Row l to r: Von Emmich, Von Hindenburg, Dual Alliance, Wilhelm II, Von Mackensen.

countries, this group included the Kaisers,Crown Princes, other war-going membersof the nobility, as well as the professionalmilitary and its field marshals, generals,and admirals. Gift shops and souvenirstands in 1914/15 had ready supplies ofthese war mementos available for pur-chase and a patriotic population decoratedtheir homes with their favored Heerführen.

Villeroy & Boch’s #1502 set contains thefollowing subjects: the Dual Alliance stein,Kaiser Wilhelm II of Germany, Kaiser FranzJoseph of Austria-Hungary, Crown PrinceWilhelm of Germany, Crown Prince Rup-precht of Bavaria, General Conrad vonHötzendorf of Austria, and German gener-als: Paul von Hindenburg, August vonMackensen, Alexander von Kluck, Otto vonEmmich, and Karl von Bulow. This last list-ing is a stein not in the Bob Wilson collec-tion and is not shown in the group photo.Bob hopes to add this item to his collectionshortly.

This essay on V & B’s 1502 set and theircontribution to the war effort will be a largeundertaking and will be spread over a num-ber of Prosit issues. I plan to provide shortbiographies of the members of this groupas well as to illustrate the installments withphotos and artwork of the military person-ages. Additionally I will explore the artisticcontributions of artists Fritz Quidenus, KarlBauer, Ludwig Hohlwein, and Franz Ringer.Because of the unknown number of steinsin this 1502 set, I would like to hear fromyou if you have or have seen one of themembers of this set that I haven’t men-tioned. This request will hopefully lead to anadditional installment. Now, in this intro-ductory article, I will provide short biogra-phies on each of the Kaisers as well asadding a few words about the 1502 V & Bversion of a Dual Alliance stein.

Wilhelm IIOn January 27, 1859, Wilhelm II of Prussiawas born in Berlin to Crown PrinceFriedrich and his wife Victoria. The birthwas traumatic for the eighteen year oldmother as one complication after anothercompromised the success of the event. Along arduous labor, the use of the new andrisky drug chloroform, and a non-breathinginfant who needed revival were factors inthis birthing. Later it was realized that Wil-helm had suffered nerve damage due to theaggressive handling by the physicians andwas left with a deformed left arm and a per-manent disability.

Even though Wilhelm’s parents were ratherliberal in their social leanings, their idealswere at odds with the manner of his tutoredand militaristic education. Victoria was thedaughter of Queen Victoria of England andwas a keen believer in the progressive

views of her uncle Edward VII. Wilhelmwasn’t about to embrace those ideals andas he got older he became more and moreestranged from his mother. Otto von Bis-mark encouraged the youth’s conservativeand militaristic training as he was groominghim to become an opponent to the liberal-ism of Wilhelm’s father, Friedrich III. TheChancellor’s grand scheme ran afoulthough as Friedrich died of throat canceronly four months after becoming Kaiser. Inthe final days of Friedrich’s reign, the ambi-tious Wilhelm virtually imprisoned his dyingfather and his mother in the Royal Palace.Two years later, Kaiser Wilhelm II dis-missed Bismark as Chancellor and as-sumed total control of the German Empirewith the use of massive powers that wereto shape the destiny of Germany and itsEuropean neighbors.

Wilhelm was consumed with militarism andPrussian discipline and was happiest whenhe was with his Heerführen (figure 3). Pa-rades, exotic uniforms and trappings, troopinspections, and elaborate deliberationswith his advisors were the activities thatfilled his life. He was the Supreme Com-mander in Chief and was in charge ofeverything. While this was his official posi-tion, he was in reality only a figurehead andit was his staff that made the meaningfuldecisions. By the time war was imminent,Wilhelm was apprehensive and doubtedthat such an engagement was to be suc-cessful. The Generals pushed ahead withtheir plans and after a series of events filledwith intrigue World War I had begun. As theWar wore on, Wilhelm frequently foundhimself in opposition to decisions advancedby his staff. He was against the replace-ment of Erich Falkenhayn as the GeneralChief of Staff with the popular Paul von Hin-denburg. Nevertheless, the generals hadtheir way.

By 1918, with a collapsing economy andshortages everywhere, and with the tri-umphant entry of the United States into thebattle, the once invincible German war ma-chine was crumbling. With riots in theircities, the German Army marched home torestore order. Kaiser Wilhelm had beennamed on the list of war criminals wantedfor the suffering and death of countless sol-diers and citizens, but he fled Germany forsanctuary in nearby Holland. Never ac-cepting responsibility for the war nor thefact that Germany had been defeated,Kaiser Wilhelm II announced his abdicationon November 9, 1918. Holland refused toextradite Wilhelm and shortly thereafter hepurchased an estate in Doorn. It was therethat he spent his final years until his deathin 1941. He is buried on the grounds of theestate.

Francis Joseph IFranz Joseph, a Hapsburg, was born in1830 to Archduke Franz Karl and PrincessSophie of Bavaria. It became apparentearly on that Franz would one day ascendto the emperorship of Austria as his fatherhad renounced his own right to the throne.Archduke Franz had begun his training inthe Austrian Army with the rank of Colonelas a lad of 13 years. During the Revolutionof 1848 “Franzl” was given a field assign-ment in Italy under the guidance of FieldMarshal Radetsky and performed ad-mirably under fire. By the end of the year,Emperor Ferdinand I had abdicated andArchduke Franz Joseph became the newruler of Austria. The use of the double nameof Franz Joseph was to bring to mind thestability of the empire under an ancestor(Joseph II) of the newly crowned emperor.

Initially a number of concessions weremade to quell the revolutionary activitiesand the army helped to bring a calm to therealm. Hungary was granted autonomy anda dual monarchy was created. In 1867Franz Joseph in addition to his Emperor-ship of Austria was declared King of Hun-gary. The Hungarians were allowed toconduct their internal affairs without inter-ference while in foreign matters the twomonarchies acted in concert.

During a match-making encounterarranged by his mother Sophie and muchto her chagrin, Franz Joseph turned his at-tentions away from the chosen Helene andinstead fell in love with her 16 year oldyounger sister Elizabeth. The girls werenieces to Sophie and members of the Wit-telsbach family of Bavaria. Elizabeth was acousin and close confidant to Ludwig II.Franz Joseph and Elizabeth married in

Page 2239September 2007

Figure 3 - Kaiser Wilhelm II of Germany

1854 and endured a rather unhappy union.While Franz Joseph adored his beautiful“Sisi,” she had constant difficulties withmembers of the royal family. Two of the fourchildren of this union suffered tragic deathsas Sophie died as an infant and their onlyson Crown Prince Rudolph committed sui-cide under mysterious circumstances withhis young mistress Baroness Vetsera atMayerling. Empress Elizabeth also met atragic end - while vacationing in Geneva,Switzerland in 1898 she was assassinatedby an Italian anarchist.

Years earlier, in 1853, the young Emperorhimself was the victim of an assassinationattempt by a Hungarian nationalist and onlythe stiff collar of his military tunic and thesaber of one of his officers foiled the knifewielding attacker. The stark ending for otherHapsburgs included the 1867 firing squadexecution of the Emperor’s younger brotherMaxmillian in Mexico after serving thatcountry for three years as its Emperor; an-other younger brother, Karl Ludwig died in1896 from foul water that he drank while ona pilgrimage to the Holy Lands; and yet an-other assassination, this time in 1914 toArchduke Franz Ferdinand, the heir to thethrone. This last death was at the hands ofa Serbian nationalist in Sarajevo and led tothe greatest of all tragedies, World War I.

During these difficult times Franz Josephdid find some peace while spending timewith the Viennese actress, KatherinaSchratt. The young thespian was a light-hearted creature who provided the emperorwith the emotional care he needed. Thelongstanding affair was not a secret to Eliz-

abeth or the public. In fact Katherina andElizabeth had a civil relationship and ex-changed correspondence. The emperorhad a villa constructed in Bad Ischl for hismistress at which place they met until hisdeath in 1916.

Emperor Franz Joseph (figure 4) was 86years old at the time of his passing and hadserved his country for 68 years as itsleader. This was the third longest reign ofany monarch in European history. He failed,however, in seeing World War I come to itsend.

Dual Alliance Stein:This 1/2 liter V & B stein/mug features animage of two land soldiers in their full com-bat uniforms complete with weapons andpacks. The two allies hands are clasped ina warm handshake (figure 5). The centralview is bordered with a garland of oakleaves decorated with colored ribbons rep-resenting their countries (yellow and blackfor Austria-Hungary, and red, white, andblack signifying Germany), and colorfulflowers. The garland wraps around eachcountry’s symbolic shield (figures 6 and 7).The slogan “Wie sich auch mag die Zeitgestalten wir werden treu zusammen hal-ten“ is displayed under each of the sideshields. Loosely translated it proclaims“Even though the times may change, wewill remain faithful (true) to one another.” Inan earlier paragraph there is a descriptionof the base markings. The stein also carriesthe traditional Christmas remembrancefrom Mettlach. In the next issue of Prosit Iwill feature biographies of the CrownPrinces Wilhelm of Germany and Rup-precht of Bavaria, as well as accounts ofthe lives of German Field Marshals VonHindenburg and Von Mackensen.

Bibliography:

Cowles, Virginia. The Kaiser. New York:Harper & Row, Publishers. 1963.

Crankshaw, Edward. The Habsburgs: Por-trait of a Dynasty. New York: The VikingPress. 1971.

Marek, George R. The Eagles Die: FranzJoseph, Elizabeth and Their Austria. NewYork: Harper & Row, Publishers. 1974.

Sulzberger, C. L. The Fall of Eagles. NewYork: Crown Publishers, Inc. 1977.

Various. Der Krieg 1914/16 in Wort undBild. Berlin: Deutsches Verlagshaus Vong& Co. 1916.

Wheeler, Chris. “The Dual Alliance of1879”. Prosit. March, 2006.


Figure 5 - The Dual Alliance stein

Figure 6 - The German Shield

Figure 7 - The Austrian Shield

Fig. 4 - Emperor Franz Joseph of Austria

The American Revolution Depicted on a SteinWashington Crossing the Delaware

by Walt Vogdes

“These are the times that try men’s souls; the summer soldierand the sunshine patriot will, in this crisis, shrink from the serv-ice of his country; but he that stands it now, deserves the loveand thanks of man and woman. Tyranny, like hell, is not easilyconquered; yet we have this consolation with us, that theharder the conflict, the more glorious the triumph.”

Thomas Paine, revolutionary, radical, intellectual, and an outspokenadvocate of independence for the American Colonies, penned thesewords in 1776 in his new pamphlet, The American Crisis. At the time,the American Revolutionary troops under George Washington werein retreat, having suffered heavylosses of men and materials in theirfailed attempts to secure New Yorkcity from the British. Washington’stroops made their way southwardthrough New Jersey, with the Britishin pursuit. Crossing the DelawareRiver by boat at McConkey’s Ferryon December 7, the army foundrefuge from attack in Bucks County,PA.

Washington realized that his movehad made the British vulnerable byextending their forward lines oversuch a range that they could not bereinforced from New York. Withmorale at a low point and enlistmentcontracts due to expire on December31st, Washington planned a boldcounter-attack against British forcesin Trenton, NJ. Spurred on by thewords of Thomas Paine, Washing-ton assembled his force of 2,400men and provided the password forthe day: “Victory or Death.” Thecrossing back across the Delawarebegan at nightfall, but was ham-pered by snowfall, and the Americantroops did not complete the crossinguntil 3 AM on December 26th. Fight-ing began around 8 AM, and wasover in an hour as the surprised Hes-sian troops garrisoned in Trentonwere quickly overrun.

This important victory gave both thepublic and the Continental Congressrenewed confidence in the Americanforces in general, and improved thegeneral perception of the state of thewar.

In 1851 German-American artistEmanuel Luetze depicted Washing-ton leading his troops in their fatefulcrossing. Although there are manycopies of this painting, Luetze’s orig-inal work is in the permanent collec-tion of the Metropolitan Museum of

Art, New York. Of course, most schoolboys are quite familiar with thisscene, and when I saw the stein shown at the bottom of this page Irecognized it immediately.

The stein was consigned to the member’s auction at the 2007 SCIconvention in Louisville. It is a typical blue-grey saltglazed relief stein,made by White’s Pottery of Utica, NY.

References:Washington’s Crossing of the Delaware; wikipedia.com

Above, Washington Crossing the Delaware, an 1851 oil-on-canvas painting by German-Americanartist, Emanuel Luetze (Metropolitan Museum of Art.) Below, Luetze’s inspiirational artwork is recre-ated on a large, salt-glazed stein (without lid) manufactured by White’s Pottery of Utica.


My First Stein

by John Piet

My first stein was actually the set of steinsshown in figure 1. My father was an armyofficer and our family went to Germany withhim in 1950. This was only a short timeafter the end of the Second World War andtimes were still tough for many Germans. Ican remember seeing people living inbombed-out buildings and searchingthrough garbage cans. We were living in asmall town outside of Stuttgart, and my par-ents befriended our German neighbors,helping them out by getting items for themat the PX and commissary. When wemoved away, they gave this set of steins tomy parents as a farewell gift in gratitude forall the help my parents had given them.

As a child, I loved those steins. The coats-of-arms conjured up images of knights andnobility. I would take the steins to my deskand try to copy the coats-of-arms. One ofthe steins had two different coats-of-arms,and I thought that it might signify a marriagebetween two noble houses.

In 2001 the “Antiques Road Show” came toTucson, Arizona. Feeling that this would bea good opportunity to determine the sourceand value of these steins, I packed them upand took them to the show. The appraisersloved the steins and even put me on cam-era, but it soon became apparent that theyreally didn’t know what the steins were. Idecided to do some research on my own tosee if I could find out what my steins repre-sented.

After a week of plodding through dozens ofheraldry sites on the internet with no suc-cess, I had an inspiration to look for infor-mation on steins. It didn’t take long to findthe Stein Collectors International (SCI) website, and once there it didn’t take long todiscover that my steins were what areknown as “student association steins.”Needless to say I was very disappointed.My dreams of royalty and wealth weregone, but I found myself fascinated by thevariety, beauty, and the history found insteins I saw on the SCI web site. I decidedto join SCI and soon after was invited to jointhe local chapter, the Desert Steiners.

At a meeting one day I showed a picture ofmy set of steins and instantly becameknown as a collector of student associationsteins. Not only that, I was assumed to bean expert on the subject and was asked tobring my steins to the next meeting and talk

about student association steins. The moreI studied for my talk, the less disappointedI became that my steins had no royal her-itage. Collecting student association steins,like collecting regimental steins, is like col-lecting bits of history. I found that the inde-cipherable writing on the backs of the steinswas a type of code, and could in fact be de-ciphered. The coats-of-arms, or Wappen inGerman, are unique to a student associa-tion and contain a lot of information aboutthe association.

There are two different Wappen depictedon the steins in my set, representing twodifferent student associations. Identifyingthe society associated with a student asso-ciation stein is not always easy. Often thename of the society is on the stein, usuallyin the phrase “Xxxx Sei’s Panier” (“Xxxxshall be our banner”), where Xxxx is thename of the society. However, this is only apartial identification since there were manyassociations with the same name, and like-named societies had no connection withone another. A complete identificationwould also include the name of the univer-sity or town where the society was located.Because none of my steins have the nameof the society on them, discovering their ori-gins was not easy, but I was able to identifythem with some help from Walt Vogdes,one of SCI’s experts on student associationsteins.

The Wappen shown in figure 2 is that ofCorps Starkenburgia at the university lo-cated in the town of Giessen. The Corps iscommonly referred to as Corps Starken-burgia Giessen. This society takes its name

from the fortress Starkenburg (“strongfortress”) located near the town of Heppen-heim an der Bergstrasse. An image of thefortress is shown on the center shield in theWappen. Starkenburgia is an active societyand their Corpshaus has a tower to remindthem of their heritage. The crossed swordsin the lower left quadrant of the Wappensignify that this was a dueling society. Thisfact is reinforced by the letters G U N withinthe swords. This is an acronym for the Latinphrase “Gladius Ultor Noster” whichroughly translates in English to “The Swordis our Avenger.” Also inscribed within theswords is the Zirkel of the society. Zirkel isGerman for circle, and is a hand drawn ci-pher which almost always uniquely identi-fies a student association. The Zirkel canbe found on many of a student’s personalbelongings and is usually written behind the

Page 2242September 2007 figure 1

figure 2

student’s signature or name. In the upperright quadrant is the Hessian lion, the sym-bol of the state of Hessen, the origin of thissociety. The other two quadrants containthe colors of the society.

The other Wappen (figure 3) is that ofCorps Saxo-Borussia Heidelberg, also acurrently active association. The name ofthe Corps,”Saxo-Borussia,” incorporatestwo German states, Saxony and Prussia.This is evident when looking at the Wap-pen. In the upper left quadrant is the coat-of-arms for the free state of Sachsen, orSaxony. In the upper right quadrant is thePrussian eagle. The Corps was founded in1820, five years after Prussia had annexeda good portion of Saxony. The foundingmembers evidently wished to preserve partof their heritage. The colors for this societyare unusual. Most student societies havethree colors, but Saxo-Borussia Heidelberghas four: white and green, the colors ofSaxony, and black and white, the colors ofPrussia. These are shown in the plumageand in the lower right quadrant. The lowerleft quadrant shows that this is also a duel-ing society. The Zirkel of the society isshown in the center shield. You may recallthis society as the aristocratic Corps fea-tured prominently and fairly accurately inSigmund Romberg’s operetta, The StudentPrince. To this day the society is quiteproud of its aristocratic enrollment.

Traditionally, student association steinswere given as an exchange of gifts be-tween friends. My steins comprise what isknown as a presentation set. They weregiven as a group to one P. Hartmann fromseveral of his friends to celebrate some oc-casion, possibly his finishing his studiesand leaving the university. The large stein iscalled the master stein. It has a three-litercapacity and a pouring spout. All of theother steins are three-tenths of a liter. All ofthe steins are clear, blown glass steins with

enameled student association decorations.The bodies are faceted, and the panels al-ternate clear and frosted.

Glass student presentation steins typicallyhave a white-enameled dedication in Frak-tur lettering appearing between the upperand lower handle attachments. The dedi-cations tell us something about the partieswho were involved in the exchange, andsince these steins were all owned by thesame person, we can draw some infer-ences about him and his friends. The in-scription for the large stein is reproducedbelow. Note that each name in the dedica-tion is followed by the Zirkel for the society(or societies) to which the man belonged.

Roughly translated and decoded, this in-scription tells us that G. Buchinger, W.Goebel, and C. Kochendorffer, all membersof Starkenburgia Giessen, gave this steinto their dear Leibbursch P. Hartmann, amember and former secretary of Starken-burgia Giessen, in friendly remembrance ofLudov for the winter semester of 1897-1898.

Ludov is an abbreviation for Ludoviciana,the name of the university at Giessen upuntil 1946. Herr Hartmann must have beenan important and respected member ofStarkenburgia, having held the rank of sec-

retary and being addressed as a Leib-bursch, a senior member serving as a men-tor. It is unusual for more than one personto present a stein, but since the masterstein obviously cost quite a bit more thanthe smaller steins, the three students prob-ably chipped in to share the cost of the fullset. The dedications on the two smallersteins with the Starkenburgia Wappen aresimilar, but were given by only one person.

In this set are steins from two different stu-dent associations from two different univer-sities located in two different towns. Look atfigure 4. When the steins are placed in thisorder, the stein with the double Wappenprovides a natural link from StarkenburgiaGiessen to Saxo-Borussia Heidelberg. Tobetter understand how this came about, welook at the inscription on the back of thestein with the double Wappen.

This roughly tells us that C. Selck, a formerFux Major (person in charge of first yearstudents) at Starkenburgia Giessen, andcurrent fencing master at Saxo-BorussiaHeidelberg, gives this stein to his dear P.Hartmann, former and current fencing mas-ter at Starkenburgia Giessen, in friendly re-membrance of Ludov in the wintersemester of 1897-1898.”

Steins with double Wappen are rare, usu-ally occurring when the presenter is a mem-ber of more than one student society. Onejoins a student association for life and, un-

G. Buchinger xxxW. Goebel xxx

C. Kochendorffer xxxi/l

Lbb. P. Hartmann xxx(xxx) z. fr. Erg.

Ludov. W. 1897/98 S.

C. Selck xxxx(F.M.) xxxxx s/l

P. Hartmann xxx(xx)xx z. fr. Erg.

Ludov. W 1897/98 S.

figure 3

figure 4

like American fraternities which have chap-ters at many different schools, a Germanstudent association is unique to a givenschool. If a student changed universitiesand wanted to enjoy the life of a student so-ciety, he would have to join another society.Herr Selck was a former fencing masterwith Starkenburgia and was currently afencing master with Saxo-Borussia, so hemost likely transferred from Giessen to Hei-delberg and joined Saxo-Borussia when hegot there. Starkenburgia and Saxo-Borus-sia were united in a pact of some kind andit would have been easy for Herr Selck tobecome a member of Saxo-Borussia. Hav-ing been friends with Herr Hartmann atGiessen, he would most likely have wantedto participate in Hartmann’s celebration.

Now we just have to figure out how a Saxo-Borussian Wappen got into this set. Con-sider the inscription on this stein -

All of the other steins are given in remem-brance of the winter semester of 1897-1898at Ludov. This stein is given “in memory ofthe beautiful February days of 1898,” a veryunusual remembrance for a student asso-ciation stein. H. v. Armin was never a stu-dent in Giessen, so naturally he couldn’task Herr Hartmann to remember their timetogether there. Obviously they spent sometime together in February of 1898. PerhapsHerr Hartmann journeyed to Heidelberg tovisit his friend and society brother, HerrSelck, and while there, struck up a friend-ship with Herr von Armin, or perhaps theyhad been close friends before they entereddifferent universities. Who knows?

My interpretation of the story behind this setof steins may not be completely accurate,but it really doesn’t matter. Now when I lookat this set of steins I feel that I understandsome of the history behind them. Theyhave become more than just beautifulpieces of glass sitting on a shelf. In someways they seem to have life in them, andthat gives me a greater appreciation ofthem.

Although I have become fascinated by thearea of student association steins, it wasn’tmy intent to make this article a lesson onthe subject. Anyone interested in a greaterexplanation of things, terms, and traditionsassociated with student associationsshould read the fine articles on them on theSCI web site. I recommend starting with theStein of the Month article for January 2005by Ronald Gray.

H. v. Arnim xxxs/l

P. Hartmann xxx(xx)xxz. fr. Erg.

an die schoenen Februartage 1898

Welome New Members!New members of SCI since the last issue of Prosit are listed below:

Jonathon and Nancy KretzerNorthport, NYvia the Internet

Janet HendrixWorthington, MNcredit to Linda Cress

Richard and Carrol GrossGranite Bay, CATSACO catalog

Gordon and Adele SullivanPalm Beach Gardens, FLTSACO catalog

George FeltyFairbanks, AKvia the Internet

Ron DavisMatthews, NCvia the Internet

Paul and Mitzi HoffmannChattanooga, TNvia the Internet

Jack WhiteYorba Linda, CAvia the Internet

Beau and Mindy WoodsWaldorf, MDcredit to Martin and Carolyn Estep

Karel ShannonBollmfield, NMdirect mail

Richard TurcotteWoonsocket, RIvia the Internet

David TownsendGreat Britainvia the Internet

William and Donna FraleyLenoir City, TNvia the Internet

Frank and Barbara HeldChicago, ILcredit to Robert Groebner

V. Kay HafnerVacaville, CAcredit to Gary Kirsner

Daniel and Chris McKinneyPort Richey, FLStein Book

Chris and Catherine HansonSolvang, CAcredit to Cornell Imports

Edward EgringSebastian, FLvia the Internet

We’d like to see your name here, not as a new member, but as a successful recruiter!When you are at an antique show or mall, or even in your own home, when you meetsomeone who is interested in steins, make sure they know about SCI. Use the card ineach issue of Prosit as a means of getting them to join.

The 2007 SCI convention will return to BadSchussenried, Germany, which so many ofour members will remember fondly from2002. Attendees will assemble in Munich inthe days prior to the convention, then de-part on July 30 for Bad Schussenried. Thislittle village lies about 50 km south of thecathedral city of Ulm, or approximately 135km WSW of Munich. Always a popular op-tion, there will again be a post-conventiontour lasting from August 3-10.

What is there to see and do in BadSchussenreid?● The Bierkrüge Museum (see below)● Schussenrieder Brauerei, which will be

convention central (great beer, hospital-ity and Gemütlichkeit)

● Stein sales● German Breweriana Club swap meet

● Excursions to Friederichshafen and theZeppelin Museum

● Optional excursions to Ulm (Ulm’s Gothiccathedral is the tallest in the world) andthe Hohenzollern Castle

● A commercial stein auction conducted byJohannes Vogt

When the convention ends on August 3rd,the post-convention party starts! Plans cur-rently include stops in Mettlach and Co logne,a cruise on the Rhine, visits to the Heidel-berg castle and Nurnberg. The tour is beingplanned by SCI Master Steinologist Dr. Beat-rix Adler and will cater to the interests of steincollecting tourists. More detailed informationwill be published in Prosit in December, butin the meantime watch for developments atthe SCI web site.

Let’s Get Together in Bad Schussenried in 2008!Munich’s Marienplatz and the Frauenkirche

Steins in the Bierkrüge Museum

Reservist Arp Onboardthe Imperial Yacht Hohenzollern 1911-14

by Dr. Roy C. De Selms

When Kaiser Wilhelm IIcame to power in1888, he commissioned a new royal yachtto be built to replace his grandfather’s agingyacht the S.M.Y. (Sein Majestäts Yacht) Ho-h en zollern Ibuilt in 1867 (fig. 1).

The S.M.Y. Hohenzollern IIwas launchedon June 27, 1892 from the Vulcan shipyardat Stettin, Germany (fig. 2). The impressiveHohenzollern IIwas 116 meters (381 ft.)long, 14 meters (46 ft.) wide and had acrew of 295. It did a modest 21.5 knotsunder steam power and was armed with 3rapid-fire 105 mm. cannon and 12 rapid-fire50 mm. cannon. This was a showpiece ofKaiser Wilhelm IIand symbolized his am-bitions to build a world-class navy. To be se-lected to serve in any capacity on theImperial Yacht was a great honor indeed.Reservist Arp was one of those so honored

as can be seen by the inscription on his re-servist stein in figure 3. The roster lists 34total personnel including Arp in his unit.This basic stein body and decoration isseen for some other navy reservist steinsand has the usual scenes and sayings.However there is a major difference; on thefront of this stein over the depiction of theImperial Yacht is the personal standard ofKaiser Wilhelm II (at right). Steins for otherships prefixed by “S.M.S.” (Sein MajistätSchiff, or, His Majesty’s Ship) will usuallyhave the naval war flag at this site.

Things get a little more interesting whenArp’s service time is taken into considera-tion. The inscription under the scene with asailor fondling a native girl reads “an Bord

S.M.Y. Hohenzollern 11-14“. This meansthat Reservist Arp was on board the Ho-henzollern when Germany was preparingto go into World War I and might have beenrequested to serve further into the war.From documents we have seen, the mus-tering out date for naval personnel was thesame as that for other branches of the Ger-

man service, i.e., in early October of thefinal reserve year. This therefore meansthat Reservist Arp was on board whenKaiser Wilhelm IItook his annual summercruise in Norwegian waters from July 6 toJuly 27, 1914.

To put this into perspective Archduke Fran-cis Ferdinand of Austria-Hungary was mur-dered allegedly by Serbs at Sarajevo,Bosnia (now Yugoslavia), on June 28,

1914. Kaiser Wilhelm was notified on thatday while racing his yacht Meteor on KielBay. After assuring the Austrians that Ger-many would support them in action against

the Serbs, the Kaiser embarked on his an-nual summer cruise to Norwegian waterson July 6, 1914. During that cruise muchmaneuvering of various European coun-tries which were to become involved in thecoming war was taking place. On July 23,1914 Austria-Hungary issued an ultimatumto Serbia served at Belgrade demandingjustice for the transgressions and assur-ances that they would not continue. Thenext day the Kaiser saw the ultimatum in aNorwegian newspaper and immediately or-dered the German Fleet home. The Kaiserwas back in Potsdam on July 27, 1914, andthe next day with some trepidation the Aus-trian Emperor Franz Joseph declared waron Serbia. Within a few days almost all ofEurope was at war and the rest is history.

Figures:1. S.M.Y. Hohenzollern I(launched 1867)2. S.M.Y. Hohenzollern II(launched 1892)3. German Naval Reservist Stein Named toRes. Arp 1911-144. Personal ensign of Kaiser Wilhelm II

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Ludwig Foltz IIPremiere Designer ofMettlach Steins

Part IIIa. More Examples ofFoltz-Designed Drinking Vessels

by Roy C. De Selms & Robert VBMWilson

In previous articles (ref. 1) on Mettlachdrinking vessels designed by Ludwig FoltzII, we have introduced you to examples ofwhat we called Proto-Mettlach drinking ves-sels. These vessels were made from the1840’s probably thru the 1860’s when Foltzwas active in this arena. The examples wefound do not have the interior white glazewhich was developed in the 1840’s and areextremely rare. Although the Ludwig Foltzsignature has been found on only five ex-amples of Mettlach drinking vessels, it hasbeen found on examples from the ErnstMarch Söhne of Berlin-Charlottenburg, andon design drawings by Foltz. Although theMettlach directors at the time apparentlydecided to eliminate Foltz’s signature frompieces he designed, Foltz saw this comingand used other devices to identify hisworks: the Humpenburg Wappen (gobleton shield), animated steins (without arms),and the Pilgrim’s Hat.

The Mettlach steins designed by Foltz iden-tified thus far are #6, 32, 202, 328, 762 and1037; beaker #33 (Cologne Cathedral); andpokals #179 and 454. Please note thatthere are not many mold numbers over1000 attributed to Foltz since these wereamong the very first designs used by Mett-lach. It is now possible to add more exam-ples of Foltz’s designs to the list.

Mettlach pokal #168 (fig. 1) was designedby Foltz and an example with his signatureproduced by March was identified by theEndres’s (ref. 2). They also have indicatedthat the first example could be dated to be-fore 1849 since the pokal appears in adated painting by G. Gensler. The early ex-amples of this pokal produced by Mettlachdo not have the Foltz Mason signature, butdo have the applied Humpenburg Wappen(goblet on shield) (fig. 2) that also was re-moved by the time this hit the catalog of1885.

This pokal has some interesting featuresthat are worth considering. First, the struc-ture is a double helix, i.e. one helix (spiral)has the figures and the other has thearches with text. Foltz could not have

known this, but the double helix would bemade famous in 1953 by Crick and Watsonas a fundamental structure of DNA - thestuff of life. Second, columns or pillars withhelical decorations have religious connota-tions. The many helical columns inchurches all over the world, including theVatican, are thought to represent ascent toheaven. The Tower of Babel was similar,but is thought to have looked more like apyramid surrounded by an ascending heli-cal stairway.

The general theme seems to be one of lifeand morality as one ascends towardheaven. (Keep in mind that life is a two-waystreet that can be a lot easier to descendthan ascend.) The figures starting at thebase of the pokal are mainly lizards, tad-poles, and frogs along with some unhappylooking humans who appear to be holdingthe weight of the world (the pokal) on theirshoulders and then a man wallowing with apig (fig. 3). The intermediate scenes are oflife in general with merrymaking, gettingdown to business, and the top scene with awise man or scholar (fig.4). The lid has the

figure of a saint or maybe even Jesus (fig.5). The band just below the main bodyreads “Wer trinket ohne Noth, zur Kröte fälltin Koth“ (He who drinks without need, willfall into the mud with the toads.). The low-est verse in a cartouche reads “BeimSaufen, Spiel u. Streit, d.Teufel ist Unweit“(When guzzling, gambling and quarreling,the devil is nearby.). The topmost versereads “Seid ihr zusammen gleich u. gleich,so bin ich mitten unter euch“ (When you be-come each other’s equal, then I will beamong you.).


figure 1

figure 2

figure 3

figure 4

Ludwig Foltz II was a sculpture and an ar-chitect who used a mason’s symbol with hisinitials as his signature. This pokal has ar-chitectural significance besides the reli-gious connotations discussed above.Trajan’s column in Rome (113 CE) was thefirst example of a column with low relief hel-ical design with figures representing hisconquests, etc. (figures 6 and 7).

Most pertinent is “The Apprentice Pillar” inthe Rosslyn Castle Chapel, (Roslin, Scot-land) of “Da Vinci Code” fame. The legendgoes that in the 15th century the master ar-chitect (mason) of the castle went to Rometo find out how to construct a helical pillar.By the time he returned, his apprentice hadalready completed one (fig. 8). The masterarchitect was so jealous and outraged thathe killed the apprentice.

Besides the “Apprentice Pillar”, there areother symbols in the castle associated withthe Knights Templar and the Free Masons.It seems quite reasonable that the CatholicVilleroy & Boch families resented any sym-bols that might be representative of FreeMasonry and therefore removed Foltz’s sig-nature. Why the Humpenburg Wappen(goblet on shield) representing the MunichArt Society was removed from most ofFoltz’s works that were cataloged is not ob-vious.

As with many if not all other Foltz designsthat were made by Mettlach, pokal # 168was copied by other manufacturers. Theexample seen in figure 9, bearing the sameverses and decor as the Mettlach original,

has a hand-inscribed 141 on the base, amodel number known to have been usedfor this piece by the firm ot August Hanke inHöhr.

References:1. Roy C. De Selms & Robert Wilson,

Prosit, pg. 1784, 2005 (and previousarticles).

2. Dr. Werner u. Irmgard Endres, Mett-lacher Turm, pg. 1, Juni 1985.

figure 6

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figure 8


figure 5

figure 9

Did You Know...?SCI was founded in 1965 as the brainchild ofTom McClelland. The first issue of a plannedquarterly publication, titled der Gemutlichkeit,consisted of 4 pages. The name was chosento reflect the German spirit of good times andgreat friendships. Within the first year, mem-bership rolls shot past 200. The first nationalconvention was held in New York City in1967, and 31 members participated. Oneyear later in Milwaukee the SCI conventionwas established as an annual event. A groupof California visionaries formed the first localchapter of SCI, appropriately named ErsteGruppe. The current name of our publication,Prosit, was adopted in 1969. In the first 10years a total of 280 pages were enthusiasti-cally snapped up by collector-members. Issue#100 was published in 1990, by which time2068 pages had been published. The firstGlentiques ad - promoting antique show ap-pearances and stein sales by mail - appearedin 1977. The national stein catalog auctionsappeared in 1982. In the last 10 years 1556pages of “stein formation” have been pub-lished. Next year’s convention will be held inBad Schussenried, Germany. We hope youwill be able to attend and to contribute to theGemütlichkeit!

A-A-A-0

by Louis Foster

A recent listing on eBay featured a militarystein with these letters on the lower front(figure 1) but what intrigued me even morewas the Combat Infantryman’s Badge (CIB)depicted on the front (figure 2) arrayedabove13 battle streamers comprising thecentral design of this stein.

The side scenes (figures 3 and 4) werenothing remarkable, consisting of 9th In-fantry Division and 39th Infantry Regimentsymbols, and the finial was an Infantrymanwith his M-1 rifle over his shoulder, poisedto do what the Infantry is known for doing -marching. The thumblift was not pho-tographed well and, frankly, looked like abowling pin.

There was no name or date painted overthe glaze as is normally found on steins ofthis era. This is only the second CIB I haveever seen on a stein (the other was from aViet Nam era soldier made several yearslater when he was stationed in Germany)and I made plans to “win” this auction andwaited for the results and delivery.

Once I “won”, the research began in greaterdetail. I learned that the 39th was stationedin Fürth in 1955. Much of the 9th Divisionwas posted near Ulm and 7th Army Head-quarters. This regiment called itself the“Fighting Falcons” but the meaning of A-A-A-O still eluded me.

Going back in time, I learned that the 39thInfantry is credited as the first US troops to

set foot on enemy territory when they as-saulted Algiers on November 8,1942 aspart of Operation Torch under GeneralEisenhower. This was not the answer Iwanted but it was a start as well as very in-teresting to me.

I continued my research of the 39th to theinvasion of Sicily (Operation Husky – July10 to August 17, 1943) and I found my an-swer. It all goes to Colonel Harry A. “Paddy”Flint, a West Pointer who was given com-mand of the 39th in Sicily when the unit hadnot performed to the demands and expec-tations of a general named George S. Pat-ton. Paddy immediately had the AAA-Oinsignia stenciled on the helmet of everyman in the regiment, explaining that it stoodfor “Anything, Anytime, Anywhere – BarNothing,” a new attitude for the regiment.The men took great pride in the AAA-O in-signia, displaying it not only on their hel-mets but their vehicles and even in combat.When questioned about the soundness ofthe practice, Col. Flint confidently declared,“The enemy who sees our regiment in com-bat, if they live through the battle, will knowto run the next time they see us coming.”

Stenciling this insignia on his soldiers’ hel-mets was against regulations, but it paid offin helping turn the 39th Regiment from alackluster unit into something of a legend.The regiment’s junior officers reflected anew-found sense of pride and invincibilitywith their own interpretation of the insignia,boasting that they could “lick anyone, any-place, anytime, bar none.”

Colonel Harry A. Flint, Commanding Officerof the 39th Infantry Regiment, died inFrance of combat wounds on 24 July 1944.As he was being carried to an aid station,one of his men said this to him “Remember,

figure 1 figure 4

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figure 2

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Paddy, you can’t kill an Irishman—you canonly make him mad.”

This explains “Triple A, bar nothing” but leftthe mystery of the thumb lift. It is obviouslya falcon but it holds what appears to be afive pointed star in its beak (figure 5). The39th crest shows what seems to be a greenleaf and the motto “D’une Vaillance Ad-mirable.” This is taken from the French ci-tation awarding the Croix de Guerre withGilt Star to the regiment for its distinguishedservice in World War I. The motto besttranslates - “Of an Admirable Valiancy” andthis is the result of the five campaignstreamers the regiment earned in WorldWar One. Some sources tell me that the fal-con holds an ivy leaf because in WWI the39th was part of the 4th Infantry Division (IVDivision in Roman numerals, thereforecalled the Ivy Division and adopting an ivyleaf as its symbol) but I think the thumblift isholding a star in its beak, symbolic of theCroix de Guerre.

When the stein finally arrived at “Fort Fos-ter”, I discovered the owner’s name, Lt.Robert J. Krohn M5C, inscribed in thepewter (figure 6). I have yet to discoverwhat M5C stands for.

I speculate that Lt. Krohn was awarded hisCIB for service during the Korean War. Themanner in which his name is added on thelid is unusual but much more unusual is thethumblift. It is the first time I have ever seena thumblift for a specific regiment on anyCold War stein.

Copyright ~ Louis Foster

Ref.: Leadership for the 1980s, Maj GenGeorge B. Pickett, Jr., USA (Ret), Air Uni-versity Review, September-October 1983

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In order to protect the value of the informationdeveloped by SCI members, a restricted ac-cess policy is used on the SCI web site. We willmaintain a balance between free access to thepublic versus members-only access for se-lected areas.

The password will be changed every threemonths, and published in Prosit at the bottom ofthe inside cover page. Visit the web site at

www.steincollectors.orgpassword = utica


Further toSarregueminesStoneware Steins

by Peter Zirpke

I read with great interest the article aboutSarreguemines stoneware steins by JohnLamb in the June issue of Prosit. They aresuch handsome steins and are among myfavorites. I am the proud owner of four one-liter examples: Imperial Eagle, Deer in theForest, Munich Child Scene and one other,which is seen here. As is evident from thephotograph the vine-like design surroundsthe entire body. The incised edges, al-though appearing as a white color on thephoto, are actually in gold leaf. The pro-truding edge around the bottom is identicalto the other steins and so is the liter capac-ity mark near the top of the handle. How-ever, the lid is unlike any of the lids shownin John Lamb’s photos. The intricate sceneon the lid depicts a hunter admiring his lady.The verse below the couple has her speak-ing: “My darling is a hunter, who got himselfa brand new gun, but sorry to say, he is avery poor marksman.”

I bought this stein in Salzburg, Austria, in1982. It is in mint condition.

A Lost Stein Returnsby George Schamberger

A beer stein from the MGV Liederkranz(Männer Gesang Verein Singing Society)went on a long journey, but had a happyconclusion.

Last Fall I noticed in Ron Fox’s auction a 3-liter hand-painted beer stein, dedicated forthe 50 year anniversary in 1899 of theLiederkranz in Tauberbischofsheim, Ger-many, not far from my own hometown. TheSinging Society was established in 1844,and the stein bears the donor’s name - OttoGrön, a business man and in 1894 a mem-ber of the MGV Liederkranz.

I liked the large, very nice stein and I justhad to bid on it - and I was successful! Thebig question in my mind was, “Is this MGVLiederkranz still in existence?” An email tothe town of Tauberbischofsheim answeredmy question by providing the name of thepresident of the Society, Mr. Lothar Ries.When I contacted Mr. Ries he indicated thatno one knew of the existence of this largebeer stein. Mr. Ries and his committeewere very excited and happy about theprospect of bringing this 113-year-oldbeauty back home.

Following is a translated excerpt from aGerman newspaper of this stein’s story:George Schamberger, born in Langenzennnear Nuremberg, lives with his wife inFlorida. An avid beer stein collector, he be-longs to Stein Collectors International andtwo of its chapters, Sunsteiners (in Florida)and Alte Germanen, a German chapter. Hedecided this beautiful stein should go backwhere it belongs. It was a long journey fromCalifornia to Florida and on to Germany.When Mr. Schamberger traveled to Ger-many in late Spring, he carried the stein,like a baby for a safe journey, and both ar-rived safely in Tauberbischofsheim.”

It was a happy occasion when I placed thestein in the hands of president Lothar Ries(at right in the photo). The MGVLiederkranz is thankful to have the steinback after so many years, and the plan todisplay the stein at different public locationsin town. And Gabi and I have made somenew friends in Tauberbischofsheim!

50September 2007

July 3, 2007 - Louisville, KentuckyThe 2007 SCI ConventionAuction

by Gary Kirsner

Many record prices were recorded at theSCI Convention Auction managed by AndreAmmelounx and Gary Kirsner (The SteinAuction Company). Most categories hadsome notable performers, with the featureditem, a Mother-of-Pearl stein made in India,selling for $120,750.00 (including buyer’spremium). With a strong opening wellabove the pre-sale estimate of $12,000.00to $18,000.00, bidders from Germany, Eng-land and New York advanced the bidding toa final hammer price of $105,000.00. [Edi-tor’s note: This stein can be seen as theAugust 2007 Stein of the Month article atthe SCI web site - www.steincollectors.org.]

Most categories had spirited bidding fromabsentee bidders and floor bidders. A verydiversified selection of glass steins was wellreceived. With over ninety percent sold,glass steins formed one of the stronger cat-egories in this auction. Attending bidderswere especially active in buying many ofthe more unusual glass steins. In recentyears there has been a great deal of incon-sistent performance for glass steins in auc-tions. The recent trend toward strongerperformance was quite noticeable in thissale.

Character steins sold very well, with lessthan five percent “no sales”. The strongestprices were recorded for the rarer porcelaincharacter steins such as the “Bag of Cof-fee” and “Hobo”. Many of the more com-mon character steins sold at lower pricesthan were being recorded a few years ago.However, most of the less common char-acter steins in the under $1,000.00 pricerange sold at strong prices. The overall re-sults for character steins were consistentwith trends for auction sales in recentyears.

The category of Mettlach steins was rela-tively weak. This has been the trend for thelast few years. The performance in this auc-tion was consistent with results of otherauctions in the last two years. The strongperformance of some of the Mettlachsteins, such as the Cornell University BookStein, may indicate that the downwardtrend over the last five years has reachedbottom.

Results for this entire auction can beviewed at www.TSACO.com.

Lot 2271Lot 2280

Lot 2285

Lot 2242

Lot 2256

Lot 2273

Photo creditto TSACO

Photo creditto TSACO Photo credit

to TSACO




The “Big Boys”by Adolf Diesinger

by Walt Vogdes

D.R.G.M. 154927 - By the early 1970’s col-lectors had become familiar with this im-pressed mark on relief steins, but knewvirtually nothing about the firm which man-ufactured them.

The steins, referred to simply as “DRGM’s”,were produced with a wide-ranging varietyof motifs featuring dwarfs, historicalscenes, or characters from song or verse.The quality of the steins also varied widely,presumably in an attempt to reach all eco-nomic levels of the marketplace. Althoughthey had a whimsical appeal, less wellmade steins demonstrated sloppy painting,often using only two or three colors on reliefwork with poor definition. In contrast, oth-ers showed exceptional artistry and execu-tion, with highly detailed and crisp relief invibrant colors, sometimes with a radiantgold pebbled background, as seen here onthe large serving stein at the left. This stein

is also embellished with a number of reliefinsects and leafy vines.

SCI Master Steinologist cleared up themystery in his article in Prosit in 1973. Hehad learned that “D.R.G.M.” stands forDeutsches Reichs Gebrauchsmuster,meaning that an article has been protectedagainst copying. This particular patent,#154927, dealt with “machining to the exactand sharp demarcation of colors on porce-lain, ceramic and majolika, etc., consistingof a hand-worked relief of all figures anddecorative representation.” Smith discov-ered that this patent was issued in 1901 toAdolf Diesinger, operator of a Majolikafab-rik (earthenware factory) on Schützen-strasse in the Westerwald village of Höhr.

Curiously, although this firm produced agreat quantity of steins and related objects,only a tiny percentage bear any marks toidentify the maker, other than the patentnumber, and many pieces are totally un-marked.

While collectors have continued to learnmuch about certain artists who designed

these steins, as well as the steins them-selves, there is surprisingly little historicalrecord of the operation of this firm.

In 1991 Master Steinologists Pat and GeneManusov authored the one and only bookabout this firm, A Collector’s Guide toDiesinger Steins (Bristol Press). By study-ing a large number of steins, the authorswere able to identify a number of identifyingcharacteristics to serve as an aid to collec-tors in identifying unmarked steins. Whilethe photographs and identifying character-istics are helpful to collectors, the scantamount of historical information about op-erations and production, despite the au-thors’ extensive search, underscores themystery surrounding this firm.

The steins seen here, from the Phil Masen-heimer collection, exemplify the best poly-chrome relief they produced.


Photo credit to John Mertz, SCI’s Official Convention Photographer (ret.)

September 2007

Photos From The Roadby Ron Fox

We start off this segment at the home ofSteve and Suzanne Elliott, for their annualSpring Zecher stein club meeting. Steveworks harder looking for items for his col-lection than most everyone else I know. Ifyou look through all of the “Photos FromThe Road” segments, you will have toagree, his time has paid off well.

Steve likes steins marked by Lichtinger, apewtersmith in the Munich area. Thispewter workshop lidded all types of steinsand sold them under their own name. Theirlids were some of the finest to grace a beerstein.

While surfing ebay, Steve found a steinmarked with the “Lichtinger” name. Thephoto was very dark and it was impossibleto tell the maker of the stein body.You couldsee the typical flat plateau pewter lid asso-ciated with Lichtinger and a DeFreggerstyle scene on the front (figures 1 & 2).

Steve was successful in his bidding andwas pleasantly surprised to find it was aMettlach #2140 body with a totally hand-painted DeFregger scene on the front.

Figure 3 is their script mark found on thebase of the stein. You can also see theMettlach #2140 mold number.

It was only a week or so later that Stevefound the HR stein with Lichtinger lid seenin figure 4. Steve was able to add these twosteins to a third piece which he has had forsome time (figure 5). They are all made bydifferent manufactures, but have the ex-pected high quality pewter lid Lichtinger isknown for.

As we shared with you in a previous seg-ment, Steve had purchased the Mettlach#2004 from our good friend John O’Con-nor, who recently passed away. His diggingturned up another one of these steins, thistime a 4/10L size instead of the 1/2L as hisfirst. Believing that there was no real sizedifference between the two, he was readyto sell it when it arrived. When it came andhe opened the box, he was surprised athow much smaller it was. It just looked toogood alongside his 1/2 L sized one (figure6), so he just kept them both. I was disap-pointed as otherwise I would have gottenit. But I sure understood.

figure 1

figure 2

figure 3

figure 4

figure 6

figure 5

September 2007

Figure 8 is a clear glass stein with an allwhite enamel scene of a woman except forthe flesh tones of her face and hands. Nicecut prism inlay lid.

Figure 9 is from the Theresienthal glassfactory. Besides the floral enamel, this steinhas two applied body bands and a nice ruf-fled wriggery applied base rim.

Jim is a singer in his church, which explainshis attraction to steins having anything todo with music. This porcelain lithophanestein was given to a music club memberback in the late 1800’s. As you can see infigure 10, even the thumblift is harpshaped..

Since moving to the west coast, I get tomake the yearly trip back east to the fa-mous Brimfield Antique Flea Market. I flewout several days early, so I could meet andvisit my new granddaughter in Maryland. Atthe time of my visit, she was a bit morethan 9 months old. As many of you know,moments like this are the sweetest times ofour lives. It was two of the nicest days Ispent in a long time. I know she is not astein, but I couldn’t resist sharing this fam-ily photo (figure 7).

I left early on a Sunday morning to be ableto make the almost-weekly breakfast I usedto go to when I lived on Long Island. Thiswas at the home of fellow stein collectorDan Cipriano. His wife Marie, as usual, fedus well. HR stein collector, Marty Camelicame as well and we spent the next sev-eral hours talking steins and other uselesstopics.

Around mid day, I headed to the home ofJim Fredholm who also lives out on LongIsland. His collection is small, but interest-ing. It didn’t take long before I was takingsteins down to photograph.

Figure 11 is a great looking 1L stonewarestein with a very busy and detailed transferscene. As the previous stein of Jim’s, it ismusic related and relates to the city of Mu-nich. Does anyone recognize either ofthese two gentlemen found in the close-upof figure 12? Jim would like some help onidentifying them, so he can further researchthe relevance of one of his favorite steins.If anyone has information or a better ideawhere to look for the answers, please con-tact the editor.

figure 8

figure 7

figure 9

figure 10

figure 11

figure 12

September 2007

Figure 13 is from the firm of van Hauten ofBonn, Germany. This particular scene ismore commonly seen on a glass body in-stead of the Mettlach #1526 body. It musthave been Jim’s Irish background that at-tracted him to those four-leaf clovers. Hegot lucky with this one.......

Jack Strand did an article a couple of yearsago dealing with prohibition steins. I believeI am correct in saying that the slogan onthe stein in figure 14 indicates that it is aprohibition piece.

The last steins from Jim Fredholm’s collec-tion are a pair of 1/2 L stoneware pieceswith matching DeFregger-styled scenesand identical pewter lids (figure 15).

From Jim’s house I drove the three hoursup to Massachusetts, where I was meetingSteve Elliott, Bill Bosworth, Bo Groebner,and Rich Cress. Besides being the homeof one of the more famous outdoors an-tiques gatherings, Brimfield also has anItalian restaurant that in my opinion makesthe best eggplant parmigiana. We all metthere for dinner.

We spent the next four days, Tuesdaythrough Friday, climbing through the moun-tain of dealers setting up on the variousdays. Though we all had a great time, itwas one of the least rewarding Brimfields Ican remember in some time. You alwaysgo to an event like that with such excite-ment and high hopes. On the purchasingside we were let down, but the camaraderiemore than made up for it.

The find of the trip went to Bo Groebnerwith his 1/4L E. Bohne & Söhne snake andapple stein (figure 16). The unusual andoriginal inlay of the monkey coupled withthe porcelain snake and apple thumblift,makes this an exceptional stein. We all hadto tip our hats to him as it was the big fishthat did not get away. The rest of us caughtminnows in comparison.

Knowing that I love the US Cold War mili-tary steins, Bill Bosworth found figure 17 fora very reasonable $50, and like the gentle-man that he is, turned it right over to me forthe same price. Thanks Bill.

Because fellow collector David Harr lives inthe area, we stopped to see what he hadadded to his collection in the years sincewe were all last there.

Figure 18 is a stein David picked up from along time collector in Pennsyvania. ThisBohemian beauty is a stained medium bluecolor with a detailed wheel-cut buildingscene on a faceted body. This tall slenderpiece has a matching glass inlaid lid withfinial. A real eye catcher.

figure 13

figure 14

figure 15

figure 16

figure 17

figure 18

September 2007

Figure 21 is another carved wood stein.Along with it’s diagonal ribbed body, it fea-tures a die balanced on one corner. Crapsanyone?

Here are two unusual Mettlach beakersfrom a set of six (figure 22). Yes, John hasthe entire set.

Figure 23 is a great Bohemian uraniumglass stein. This circa 1850’s piece has del-icate gold tracery around the body and afancy layered brass lid.

David has a real love for glass pieces andhas some great examples. Figure 19 ismold blown with a thick stone-like basewhich has been acid cut to give contrast tothe clear portion of its body. With the enam-eled shield, this one is a real treat.

From Brimfield I made the trek back downto Long Island. I made one stop in New Jer-sey at the home of John Lamb. I needed totake the photos for his article on Sar-reguemines steins which was the cover ar-ticle in the last issue of Prosit. If you havenot read it yet, you should make the time,it’s an excellent article.

John’s collection could fill years of pagesfor this series. Figure 20 is a carved woodbarrel with dwarf finial. Very unique.

Figure 24 is a van Hauten decorated steinon a Mettlach body. John loves sportssteins which explains why he has thisskulling (competitive rowing) stein.

Here is another stein from the decoratingfirm of van Hauten (fig 25). What is mostunusual about this stein is the enameledshield for the state of Pennsyvania.

figure 19

figure 20

figure 21

figure 23

figure 22

figure 24

figure 25

September 2007

I have included figure 26 for just one rea-son. You need to look close to understandwhy. It is a common Bohemian ruby stainedwheel-cut glass stein. Look at the thumblift.It is made of clear faceted glass. I hadnever seen that before. This was on ebayand I was NOT the successful bidder.Someone got a really neat stein.

Well my trip back east came to an end. Ihad a wonderful time.

One day I was at the store and Steve El-liott dropped by. He came in the door car-rying this large early stoneware stein. Hedid not have it wrapped, which allowed himthe reaction he was looking for. My face litup the second I saw it.

At a fast glance it looks like a very niceWesterwald stein with exceptional pewtermounts. Upon closer inspection, it is anearly Muskau piece, circa 1700. It has bothcobalt and maganese glazing, a morebrown cast to the clay, and applied wingedcupids around the body.These cupids hadflint pebbles added to them before the steinwas fired. A much more unusual decorat-ing technique as you can see in the close-up shot in figure 28. Well done Steve.

Convention time was here, so I made theflight to Louisville and the Seelbach Hilton(figure 29). Nice old hotel with a lot of his-tory. I arrived on Tuesday morning to beable to make the executive board meetingthat night. I was shocked to find out thismeeting had already happened a day ear-lier. It seems the usual Tuesday meetingwas moved up a day because of the com-mercial stein auction. I’m still a bit confusedabout why I was never notified. Once Ishook that surprise off, I set my sights onsteins for my collection. Figure 30 is just abeautiful Rudolf Ditmar Majolica Art Neu-veau stein. The striking colors and detailedchildren, topped of with the silver plated lid,helped make this stein one of my more fa-vorites of the more then 40 I have from thisfactory.

Unlike some of the past conventions, thestein sale room was huge and many of theattending members rented table space tosell steins. It was like being at a stein su-permarket. Steins in every category. Nomatter what your stein interest was, therewas something for you. As I walked around,my eye spotted this amber glass stein. As Ipicked it up I knew it was for me (fig 31). Itis amber stained with grape leaf and grapewheel-cut florals around the entire body.The center scene is a cherub holding abeaker of beer. Its tall slender form isgraced with a matching glass inlaid lid. Thisstein went home with me.

figure 26

figure 27figure 29

figure 30

figure 31

September 2007

Figure 34 isn’t an uncommon Mettlach, butthe custom WMF silver plate lid that it issporting sure is.

Figure 35 is an interesting breweriana steinfrom the now defunct Rheingold brewery.What I especially liked was the finial whichof the Statue of Liberty. I would say thisstein was made in the early 1960’s

The third stein I found for my collection isthis August Saeltzer piece with a hunterscene (figure 32). I have about 150 steinsfrom this factory and this makes the fourththat is decorated in a little bit different way.The entire background landscape is donein a thin shear enamel, while the main sub-ject of the hunter, is done in a thick raisedenamel. It gives the scene a more three di-mensional effect.

After I secured my three new additions tomy collection, I walked the room looking forunusual steins for this series. Here aresome of them.

George Schamberger had this copper stein(figure 33) with a hand hammered floraldecoration. I was very tempted to buy thisfor myself.

This next stein is a real cutie. It is heavilycut with a diamond pattern. The centerpanel has a photo transfer of a womanfrom the late 1800’s. What a wonderfulpresent this must have been in its day.

Here is this last stein for this segment. Thebody is made of horn with brass mounts.The handle is in the form of tree branches.The hinge is on the top rim instead of theusual location of the handle. Much more tocome next issue.

figure 32

figure 33

figure 34

figure 35

figure 36

Fairy Tales Depicted on Kinderkrüge(Steins or mugs made in Germany specifi-cally for children)

Little Red Riding Hood(Rotkkäppchen)by the Brothers Grimmand Stephen L. Smith

Once upon a time there was a dear little girlwho was loved by every one who looked ather, but most of all by her grandmother, andthere was nothing that she would not havegiven to the child. Once she gave her a lit-tle cap of red velvet, which suited her sowell that she would never wear anythingelse. So she was always called Rotkäp-pchen (little red-cap).

One day her mother said to her, come,Rotkäppchen, here is a piece of cake and abottle of wine. Take them to your grand-mother, she is ill and weak, and they will doher good. Set out before it gets hot, andwhen you are going, walk nicely and quietlyand do not run off the path, or you may falland break the bottle, and then your grand-mother will get nothing. And when you gointo her room, don’t forget to say, good-morning, and don’t peep into every cornerbefore you do it.

I will take great care, said Rotkäppchen toher mother, and gave her hand on it.

The grandmother lived out in the wood, halfa league from the village, and just asRotkäppchen entered the wood, a wolf mether. Rotkäppchen did not know what awicked creature he was, and was not at allafraid of him.

“Good-day, Rotkäppchen,” said he.

“Thank you kindly, wolf.”

“Whither away so early, Rotkäppchen?”

“To my grandmother’s.”

“What have you got in your apron?”

“Cake and wine. Yesterday was baking-day,so poor sick grandmother is to have some-thing good, to make her stronger.”

“Where does your grandmother live,Rotkäppchen?”

“A good quarter of a league farther on in thewood. Her house stands under the threelarge oak-trees, the nut-trees are justbelow. You surely must know it,” repliedRotkäppchen.

The wolf thought to himself, what a tenderyoung creature. What a nice plump mouth-ful, she will be better to eat than the oldwoman. I must act craftily, so as to catchboth. So he walked for a short time by theside of Rotkäppchen, and then he said, “Isee, Rotkäppchen, how pretty the flowersare about here. Why do you not look round.I believe, too, that you do not hear howsweetly the little birds are singing. You walkgravely along as if you were going toschool, while everything else out here in thewood is merry.”

figure 3Page 2260September 2007

Figure 1 - Little Red Riding Hood(Rotkäppchen) and mother givingher grandmother’s gifts

Figure 2 - Rotkäppchen (Little RedRiding Hood) walking through thewoods to Grandmother’s

Figure 4 - The wolf talking with RedRiding Hood, asking what she hasin her basket

Rotkäppchen raised her eyes, and whenshe saw the sunbeams dancing here andthere through the trees, and pretty flowersgrowing everywhere, she thought, supposeI take grandmother a fresh nosegay. Thatwould please her too. It is so early in theday that I shall still get there in good time.

Figure 5 - The wolf telling Little RedRiding Hood to see how pretty theflowers are

And so she ran from the path into the woodto look for flowers. And whenever she hadpicked one, she fancied that she saw a stillprettier one farther on, and ran after it, andso got deeper and deeper into the wood.

Meanwhile the wolf ran straight to thegrandmother’s house and knocked at thedoor.

“Who is there?”

“Rotkäppchen,” replied the wolf, “bringingcake and wine. Open the door.”

“Lift the latch,” called out the grandmother,“I am too weak, and cannot get up.”

The wolf lifted the latch, the door sprangopen, and without saying a word he wentstraight to the grandmother’s bed, and de-voured her. Then he put on her clothes (fig-ure 6), dressed himself in her cap, laidhimself in bed and drew the curtains.

Rotkäppchen, however, had been runningabout picking flowers, and when she hadgathered so many that she could carry nomore, she remembered her grandmother,and set out on the way to her.

She was surprised to find the cottage-doorstanding open, and when she went into theroom, she had such a strange feeling thatshe said to herself, “Oh dear, how uneasy Ifeel today, and at other times I like being

with grandmother so much.” She called out,“Good morning,” but received no answer.So she went to the bed and drew back thecurtains. There lay her grandmother withher cap pulled far over her face, and look-ing very strange.

“Oh, grandmother,” she said, “what big earsyou have.”

“The better to hear you with, my child,” wasthe reply.

“But, grandmother, what big eyes youhave,” she said.

“The better to see you with,” my dear.

“But, grandmother, what large hands youhave.”

“The better to hug you with.”

“Oh, but, grandmother, what a terrible bigmouth you have.”

“The better to eat you with.” And scarcelyhad the wolf said this, than with one boundhe was out of bed and swallowed upRotkäppchen.

When the wolf had appeased his appetite,he lay down again in the bed, fell asleepand began to snore very loud.

A huntsman (figure 7) was just passing thehouse, and thought to himself, “How the oldwoman is snoring. I must just see if shewants anything.”

(An earlier version of this fable says thehunter saw the fox enter the house, as il-lustrated in figure 8.)

So the hunter went into the room, and whenhe came to the bed, he saw that the wolfwas lying in it. “Do I find you here, you oldsinner, said he. I have long sought you.”Then just as he was going to fire at him, it

occurred to him that the wolf might have de-voured the grandmother, and that shemight still be saved, so he did not fire, buttook a pair of scissors, and began to cutopen the stomach of the sleeping wolf.When he had made two snips, he saw thelittle red cap shining, and then he made twosnips more, and the little girl sprang out,crying, ah, how frightened I have been.How dark it was inside the wolf. And afterthat the aged grandmother came out alivealso, but scarcely able to breathe. Rotkäp-

figure 6

figure 7

figure 8


pchen, however, quickly fetched greatstones with which they filled the wolf’s belly,and when he awoke, he wanted to runaway, but the stones were so heavy that he

collapsed at once, and fell dead.

Then all three were delighted. The hunts-man drew off the wolf’s skin and went homewith it (figure 9).

The grandmother ate the cake and drankthe wine which Rotkäppchen had brought,and revived, but Rotkäppchen thought toherself, “As long as I live, I will never by my-self leave the path, to run into the wood,when my mother has forbidden me to doso.”

It is also related that once when Rotkäp-pchen was again taking cakes to the oldgrandmother, another wolf spoke to her,and tried to entice her from the path.Rotkäppchen, however, was on her guard,and went straight forward on her way, andtold her grandmother that she had met thewolf, and that he had said good-morning toher, but with such a wicked look in his eyes,that if they had not been on the public roadshe was certain he would have eaten herup.

Well, said the grandmother, we will shut thedoor, that he may not come in. Soon after-wards the wolf knocked, and cried, “Openthe door, grandmother, I am Rotkäppchen,and am bringing you some cakes.”

But they did not speak, or open the door, sothe grey-beard stole twice or thrice roundthe house, and at last jumped on the roof,intending to wait until Rotkäppchen wenthome in the evening, and then to steal afterher and devour her in the darkness. But the

grandmother saw what was in his thoughts.In front of the house was a great stonetrough, so she said to the child, take thepail, Rotkäppchen. I made some sausagesyesterday, so carry the water in which Iboiled them to the trough. Rotkäppchencarried until the great trough was quite full.Then the smell of the sausages reachedthe wolf, and he sniffed and peeped down,and at last stretched out his neck so far thathe could no longer keep his footing andbegan to slip, and slipped down from theroof straight into the great trough, and wasdrowned. But Rotkäppchen went joyouslyhome, and no one ever did anythingto harm her again.

Photos of “Kinder mugs” are in the StephenSmith collection: “From Which to Drink “

This translation courtesy of Virginia Com-monwealth University, College of Humani-ties and Science, P.O. Box 842021,Richmond Virginia 23284-2021www.fln.vcu.edu/grimm/grimm_menu.html

An American RarityA Handel Stein

by Frank Pociadlo

From 1875 to 1950, the city of Meriden,Connecticut was the home of many artistswho worked for a large number of compa-nies. The vast majority of items producedconsisted of silver and silver plate as over50 companies flourished. The volume ofbusiness generated by these prosperouscompanies in this city of just under 50,000necessitated the establishment of a FederalReserve Bank.

In 1876, Phillip Julius Handel establishedthe Handel Company which specialized inhigh quality reserve painted lamps. Theydeveloped a process known as “chippedice” which set their lamp shades a notchabove competing companies like Pairpointand Jefferson. Water was sprinkled on theshades in the kiln. This caused the glass tochip from the shade. The result of thischipped iced process caused the shadewhen turned off to hide the painted designunderneath. Today, Handel lamps are sec-ond only to Tiffany in value with a pricerange of 15,000 to 80,000 dollars.

The company’s “heyday” followed WorldWar I. However, the Great Depressioncrushed the company’s fortune. A combi-nation of General Electric and the introduc-tion of parchment shades added to thecompany woes. During this time, Handel di-versified its product line to keep its busi-ness going. Unfortunately, all effortsterminated shortly after William Handel(cousin to Phillip) committed suicide.

Handel made a number of items rangingfrom vases to humidors. The characteristicof Handel ware was the use of dark greenand brown colors. To my knowledge theymanufactured 188 mugs/steins. Over thepast 40 years, I have seen only two steinsand three mugs. The hand-painted designson the steins are a far cry from the quality ofthe lamps they first produced. The base ofthe stein was not produced in Meriden.Handel, as well as many of the Meridencompanies outsourced the blanks they dec-orated. C F Monroe (Wavecrest) producedmany hand painted milk glass items thatwere produced in France.

The stein that I was able to purchase de-picts a monk yawning. The bottom of thestein has hand painted numbers #111/188with a number 12 which probably identifiedthe artist. The standard Handel Ware markalso appears on the bottom.

figure 9


September 2007

Stein ReleasesHomer Simpson andThe Biker Hog

introduced by M. Cornell Importers

SCI member Henry Cornell, of M. CornellImporters, has recently brought two inter-esting character steins to the Americanmarket - Homer Simpson and the BikerHog.

The first of this pair is a whimsical stein fea-turing Homer Simpson in his endless pur-suit of what he loves…donuts! Dressed asa leprechaun he savors the moments be-fore consumption as he stares down at hispot full of tasty looking donuts. The handleof the stein is a rainbow and behind Homeris a pint of the finest Duff Beer. Completingthe stein is a four-leaf clover thumblift. Pro-duced by Domex, the stoneware body ofthis stein was made in China, all other com-ponents were made in Germany.

While the term “Hog” is often used to referto a motorcycle, in the case of the secondstein introduced here, it literally refers to therider. With a denim jacket replete with sou-venir patches, a winged death’s headstretched tightly across his chest, baseballcap turned backwards, reflector shades, anappropriate attitude on his face, and astridehis wheels, the Biker Hog is ready for thenext motorcycle rally. The locations of pastrallies - Laconia, Daytona, Sturgis andLaughlin - are noted around the base of thestein. The thumblift is an Eagle. This stein isalso stoneware, body made in China withother components of German origin.

An Affordable “Go-With”Collection

by J .Marie Stevenson

It’s not unusual to visit the home of steincollectors to find that’s not all they collect.We just can’t help ourselves from findingother objects of interest as we searchthrough those antique malls, shows, andauction previews, can we? Such is the caseof Frank and Anna Francese. Their home ischock-a-block full of steins amassed oversome forty years but one can’t help but no-tice their significant display of liquor de-canters and wine bottles, mostly figural indesign. About the same time they started tocollect steins, Frank and Anna found them-selves attracted to decanters representingantique cars. They also picked up a charm-ing leprechaun electrician wielding a lightbulb! Thus another collection was startedon a whim with little thought to researchingthis hobby as they have with their stein col-lecting. That is, until now.

Frank and Anna invited me to their home,plied me with Italian cuisine, and convincedme to contribute an article on their “go-with”collection. As I stared at the packedshelves, I realized that this would be a for-midable task! The decanters and bottleswere displayed in haphazard fashion in noparticular order but I quickly saw that manycould be categorized by subject as well asdistillery. In fact, this extensive collectionrepresents the arts, history, folklore, geog-raphy, sports, technology, animal life,humor, commemoratives, and more! Thevariety is astounding (figure 1).

Clearly some research was needed and Ilocated helpful reference books on the sub-ject. H. F. Montague in his book ModernBottle Identification and Price Guide esti-

mates that since the early 1950’s more than7000 different bottles have been producedrepresenting over 400 brands. Cardonaand Parfitt in their book Figural WhiskeyBottles state that during the mid-70’s over20 companies were producing figural de-canters. Many connect figural bottles withthe James B. Beam Distilling Company,and indeed, Jim Beam whiskey decantersare a prime collectible in this field. MollyHiggins in her book Jim Beam Figural Bot-tles recommends the International Associ-ation of Jim Beam Bottle and SpecialtiesClubs which appears to be quite similar toSCI with annual conventions and local clubgatherings.* However, there are manyother brands producing collectible bottlesincluding Lionstone, McCormick, WildTurkey, Ezra Brooks, and Hoffman to namejust a few. American whiskey producingcompanies are highly represented butmany decanters come from foreign coun-tries promoting wine and liqueurs and theirown whiskey products.

The history of the Jim Beam collectible bot-tle is helpful in tracing the growth and de-velopment of this hobby. According toHiggins, The James Beam Distilling Com-pany decided to promote its whiskey by of-fering it in a glass cocktail shaker forChristmas 1953. The venture was a suc-cess, so in 1955 they approached theRegal China Company outside of Chicagoto design and produce other decanters.David Nissen designed the first examplewhich was in the form of a white china ash-tray. The Regal China bottles were clearlymarked on the bottom with C.Miller, repre-senting Catherine Miller, considered anartistic visionary for Regal. This was incor-porated into the stamp as a symbol of qual-ity. The association between the distilleryand the china company lasted almost 40years until 1992. In 1993, the InternationalAssociation of Jim Beam and SpecialtyClubs asked Wade Ceramics Ltd. of Stokeon Trent, England to produce its 1993 con-vention bottle. Wade continued to producesubsequent convention bottles. PerhapsSCI should note that according to Higgins“In 1996 the International Wade CollectorsClub and the IAJBB&SC pooled their effortsand made membership available to one an-other. For the last few years the conven-tions have coincided….”

In examining the Francese decanters notproduced by Jim Beam, I found very fewwith markings identifying the maker of thecontainer itself. One notable exception isthe Hamm’s Beer Bartender which ismarked Ceramarte Brazil (figure 2) as withsome of the Budweiser mugs. The EzraBrooks 1976 political campaign elephantand donkey are marked Heritage China(figure 3). It would appear that the same ce-ramic manufacturer might produce for more

than one liquor company. For example theConnecticut Governor’s Foot Guard byGrenadier had a similar mold and identicalbase to the George Washington figural butcame from different distilleries (figure 4). Inone instance a bottle produced for Lion-stone is marked Made in Japan. In generalthe books I researched categorized bottlesby the company who produced the contentsand did not identify the ceramic companies.


Frank and Anna demonstrate that bottlelovers can move in many directions inamassing a collection. One could elect tobe a “Beamer” focusing on all types of JimBeam decanters or just those from theyearly conventions. Another choice wouldbe to develop an eclectic display repre-senting many brands. Other options mightinclude collecting a specific category suchas vehicles, telephones, animals, Americanhistory, international figures, and the like.Note that different companies produce sim-ilar categories. For example, Jim Beamproduced the 1931 Model A EmergencyAmbulance in 1985 (figure 5 ), and Aes-thetic Specialties, Inc. produced the ModelT Telephone Truck in 1980 (figure 6). Lion-stone produced the Cavalry Scout and theCcwboy in 1969 (figure 7), while Mc-Cormick sold Daniel Boone, Calamity Jane,

Bat Masterson, and Wild Bill Hickock in themid 1970’s (figure 8).

There are many series available and Hoff-man’s Mr. Lucky would be a prime exam-ple. There are 130 decanters in the series(figure 9). The Jim Beam telephone serieswould be another (figure 10).

Price is always a factor in amassing a col-lection and these decanters are remarkablyaffordable, usually well below one hundreddollars. Most of the bottles are 750ml., oncereferred to as “fifths,” and range in pricefrom $25 to $75. Some are produced as“minis” and are half the price. Cardona andParfitt state that gallon-sized figurals are arare find so one could assume they wouldbe of higher value. Rarity, as with steins,also affects cost. For example, the JimBeam Holiday Nutcrackers of 1989 and1991 in color are valued at $50. If , how-ever, they are in brown or gold and signedby Barry Berrish the price would double(figure 11). The Jim Beam 1930 Model AFire Truck has a book price of $225 or more(figure 12).

As with steins, condition is an importantfactor in determining value. Contrary topopular opinion, broken seals or missingtax stamps do not affect the price of a de-canter because it is expected that the con-tents will have been removed. Leavingliquids in a collectible bottle causes crazingand eventually cracking to say nothing ofthe potential flammability of the alcohol andthe stress of excessive weight on displayshelving. (I noticed that Frank and Annahad a number of unopened bottles andsuggested that our local chapter schedule aparty! However we learned that the corkscan also dry out over time, letting in air andleaving the contents undrinkable.) If pur-chasing a collectible bottle from a liquorstore it is advisable to decant it before dis-play. Obviously decanters purchased at fleamarkets, auctions, estate sales, or throughthe mail must be empty as it is illegal to sellalcohol in these venues.

The question now arises if stein collectorswould be interested in expanding their hori-zons to include the purchase of a figural de-canter. I, myself, have become intriguedwith the notion. If you like regimentals, youcan certainly find bottles with a militarytheme. How about sports? Characters? Na-ture? Souvenirs? The possibilities are end-less and the price is right! Happy hunting!And if you happen to be in Rhode Islandperhaps you can visit Frank and Anna andvolunteer to empty a decanter or two butmake sure the cork is still on tight!

REFERENCES:

Cardona, Melissa and Parfitt, Ginny, FiguralWhiskey Bottles By Hoffman, Potters, Mc-Cormick, Ski country and More.Atglen,Pa.:Schiffer Publishing, Ltd, 2005

Higgins, Molly, Jim Beam Figural Bottles:AnUnauthorized Collector’s Guide, AtglenPa.:Schiffer Publishing, Ltd. 2000

Montague,H.F., Montague’s Modern Bottleand Identification and Price Guide, Over-land Park, Ks: Montague Enterprises, 1984

*International Association of Jim Beam Bot-tle and Speciality Clubs, 2015 BurlingtonAve., Kewanee, Ill. 61443


by John Harrell

The 3. Badischer Inf. Rgt. No. 111 was one of two hundred and fif-teen Imperial German regiments and independent battalions thathad an honorary title. These titles honored members of German orforeign ruling families, senior general officers, living and dead, fam-ilies whose members had rendered significant military service to thestate over many years (Prussia), some cities and a few other hon-ored individuals and offices. Awarding these titles was the preroga-tive of the respective sovereign and were awarded through warministry orders or by royal decree.

With a few exceptions, biographical information on individuals sohonored in the German armies is not available in English languagereferences. Fortunately there are two German language referencesthat between them account for most of those German individualsnamed in the honorary titles listing [1]!

One of the more interesting individuals for whom a regimentwas named was Markgraf Ludwig Wilhelm of Baden, 1655-1707. He was born in Paris 8 April 1655, the son of PrinzFerdinand Maximilian of Baden and his wife, PrincessLuise Christiana of Savoy-Carignan. His godfather wasKing Louis XIV of France, “The Sun King.” He was firstcousin to Prinz Eugene of Savoy, one of history’s greatcaptains. In his youth Ludwig Wilhelm was spirited outof France by his father and grandfather to beraised and educated in Germany.

His military career in the Imperial (Aus-trian) Army began at the age of twenty.He became a general and army com-mander in the Imperial service. He wasappointed Feldmarschall in 1686. Dur-ing his career he fought in the DutchWar, 1675-78, Turkish War, 1683-99, theWar of the Grand Alliance, 1688-97, and theWar of the Spanish Succession, 1701-1714. Hisopponent in all but the Turkish War was the France ofLouis XIV. Ludwig Wilhelm took part in twenty-six campaigns,twenty-five sieges and thirteen battles. At the Ottoman Turkish siegeof Vienna, 1683, he commanded a dragoon brigade with great dis-tinction in the greatly outnumbered Polish-German relief force. Thesiege was broken on 12 September and Western Europe was se-cured from Turkish conquest. He also served with distinction at thesiege and capture of Ofen (Budapest), 1686, commanded the forcesthat defeated numerically superior Turkish forces at Nissa and Der-bend, 1688. He also fought at Mohács (Berg Harsan), 1689, in asubordinate role. His greatest victory was at Salankemen [2] on 19August 1691. In command of a 50,000 man Imperial Army he com-pletely defeated a 100,000 man Turkish Army with 154 cannons.Turkish casualties included 20,000 killed along with its commander,the Vizier, and the loss of all 154 cannons. It was a devastating de-feat for the Turks.

The grateful Holy Roman Emperor Leopold bestowed the Order ofthe Golden Fleece on Ludwig Wilhelm [3]. For his success againstthe Turks he became known throughout Europe as “Turkenlouis“ and“Schild der Reich“ (Shield of the Empire). To the Turks he was knownas the “Red King” from the color of his uniform coat which was eas-ily seen on the battlefield.

In 1693 he commanded the Imperial Army in Germany. Followingthe recapture of Heidelberg in the same year he went to England tovisit King William III and to map out a strategy for the continuing warwith France. He began the 1694 campaign by invading Alsace. In

1697 he returned home to Rastatt following the Peace of Ryswick.Upon the outbreak of the War of the Spanish Succession he was ap-pointed commander of the Imperial Army, a position he held until hisdeath on 4 January 1707. He captured Landau in 1702 after a suc-cessful siege and later Hagenau. On 2 July 1704 Ludwig Wilhelmand the Duke of Marlborough stormed the Schellenberg Heights nextto Donauworth on the Danube (Donau) in Bavaria. The ImperialArmy broke through the left flank of the Bavarian defenders andswung the battle in the Allies favor. The Markgraf was slightlywounded in the foot, a wound that failed to heal, became infectedand eventually caused his death.

He became Markgraf of Baden in 1677 and in between wars andcampaigns he returned to his home in Rastatt. He married SibylleAuguste of Saxe Lauenburg. They had nine children of whom onlythree lived past the age of twenty one.

Kaiser Wilhelm II awarded the honorary title Markgraf Lud-wig Wilhelm to Inf. Rgt. No. 111 on 18 December 1891. Inhis A.K.O. [4] he stated that he wanted to honor the

memory of Markgraf Ludwig Wilhelm and to keep thememory of his outstanding service which he renderedagainst the Osman Turks in the Prussian Army for alltime. The Kaiser also referred to the Markgraf’s

“heroic bravery” in front of Vienna, at Ofen andBerg Harsan (Mohács), and especially on the

“Day of Szlankemen” which destroyed theOsman power, and the Brandenberg sol-

diers who won unfading laurels whileserving under the Markgraf [5].

It was most appropriate for the Kaiserto select the Rastatt-garrisoned 3.Badischer Inf. Regt. No. 111 to bearthe Markgraf’s name. As a further

honor the Kaiser ordered on 24 April 1902that the regimental epaulet bear the mono-

gram “LW”, a change from the regimental num-ber to the monogram. A new nickname was given

to the regiment in addition to “Matchsticks” (Streichholzer). Nowthe regiment’s soldiers were also called “Liver Wurst” (Leber-wurste)[6]. On some regimental steins dated 1910 or later a full colortransfer image of the Markgraf is sometimes found along with that ofGrand Duke Friedrich II of Baden. The Markgraf’s image is very sim-ilar to the one illustrating this article.

Schloss Rastatt today houses government offices and the famousMilitary History Museum (Wehrgeschichtliche Museum). The mu-seum has a wonderful library where the author has spent many en-joyable and rewarding hours.

In the Schloss Museum in Karlsruhe is a magnificent exhibit of Turk-ish trophies captured by forces under Ludwig Wilhelm. Among thesetrophies are the Vizier’s tent, saddles, uniforms, banners, inlaidweapons and various pieces of art, all collected for their skillful work-manship. The Markgraf’s baton, sword, helmet and cuirass are alsoon display. Etched in gold on the cuirass is the collar of the Order ofthe Golden Fleece, Imperial Austria’s highest order awarded to Lud-wig Wilhelm in 1691. The collar of the order is seen across thecuirass in the accompanying photograph.

Türkenlouis is also remembered by a deep red pansy with black sta-mens which is named after him. A more traditional German remem-brance is the “Türkenlouis” beer which is brewed in Rastatt.

“And now,” as Paul Harvey says, “you know the rest of the story.”

Türkenlouis and Infanterie-Regiment Markgraf Ludwig Wilhelm (3. Badischer) No. 111

[1.] Preisdorff, Major Kurt von. SoldatischerFührertum, Band 1-10, Hamburg, 1936-42;and Sprösser, Hauptmann. DeutschlandsHeerführer, 1640-1894. Leipzig, 1895.

[2] Also spelled Slankamen and Szlanke-men.

[3] The Holy Roman Empire’s highest orderestablished in Austria 1478.

[4] A.K.O. 18 December 1891. In the Pruss-ian Army the official designation for ordersoriginating with the Kaiser and war ministryorders were officially “Allerhochst Kabi-nette-Order“ (A.K.O.). These orders werepublished throughout the year and repub-lished in book form early the following year.The A.K.O.’s have a wealth of information.The Library of Congress has a set of Pruss-ian A.K.O.’s 1867-1919.

[5] A loose translation of the A.K.O by theauthor.

[6] von Zobelitz, p. 182.

References:Churchill, Sir Winston S. Marlborough, HisLife and Times, two volumes. Harrap. Lon-don, etc. Reprint 1966.

Chandler, David. The Art of Warfare in theAge of Marlborough. Botsford. London1976.

Chilton. Battlefields of Europe, two vol-umes. Philadelphia and New York 1965.

Dupuy, Trevor N. et al. The Encyclopedia ofMilitary Biography. Castle. Edison, NJ1995.

Hermes, Sabine und Niemeyer, Joachim(ed.). Unter dem Greifen. G. Braun. Karl-sruhe 1984.

Stoye, John. The Siege of Vienna. Holt,Rinehart and Winston. New York etc. 1964.

Voight, Günther. Deutschlands Heer bis1918, Bd. 4. Biblio Verlag. Osnabrück1992.

Von Zobelitz, H.C. Das Alte Heer. HeinrichBienhen. Berlin 1931.

Inf.-Rgt. Markgraf LudwigWilhelm (3. Bad.) No. 1116. Komp. Rastatt 1910-1912Reservist Säubert

by John Harrell

The regiment was raised in the strength oftwo Battalions (eight companies) on 22 Oc-tober 1852 at Mannheim. It was first gar-risoned at Rastatt in 1857, transferred andthen returned in 1868. The entire regimentcalled Rastatt home, 1893-1919. A two-company (Nrs. 13 and 14) battalion wasraised on 11 August 1893 and transferredto Karlsruhe on 31 March 1897 to help formthe II./Batl. Of the new 8. Bad. Inf. Rgt. Nr.169. By the Military Convention with Prus-sia of 25 November 1870 Baden’s contin-gent remained intact as the XIV ArmeeCorps, formed on 18 May 1871. Prussiahad complete authority over the GrandDuchy’s troops including the appointmentof all officers. Certain uniform distinctionsand the use of the Baden state colors wereallowed. Recruiting was within the GrandDuchy boundaries.

Steins from this regiment are common butthe central transfer pattern of an oakleaf

framed oval with epaulet and two portraitimages, introduced in 1909, is rarely seenon Baden steins (figure 1). Only two suchsteins are known by the author and bothare to this regiment. Others undoubtedlyexist. The vast majority of steins with thispattern are Bavarian and a few from Würt-temburg are known.

A Zeppelin flies above the Leopoldsveste,the regimental Kaserne. Left of the epauletis a transfer image identified as GrandDuke Friedrich II of Baden (1857-1928,reigned 1907-1918). He was a career sol-dier and commanded the VIII Armee Korps1897-1902. He was a Colonel General inthe Prussian Army and ranked as a Feld-marschall. Opposite is an image of KaiserWilhelm II (1859-1914, reigned 1888-1918). The order hanging from his throatappears to be the Royal House Order ofHohenzollern (Königlicher hausorder vonHohenzollern, established 1841/51). Thetranslated phrase above the images reads“With God for Prince and Fatherland” (MitGottt für Fürst und Vaterland).

The upper right panel (figure 2) depicts asentry at “Present Arms” as his relief ap-proaches. He challenges them, “Halt, whois there!” (Halt, wer da!). The commanderof the relief responds with the Englishequivalent of “The relief” (Ronde). Note thesentry box painted in perpendicular stripesof Baden yellow and red. Below is a fieldtraining scene entitled “In Combat” (ImGefecht). The left panel scene (figure 3) isan evening bivouac campfire scene, tentsin the near right background. Above, a sol-


figure 1

figure 2

Time to renew?It’s fast and it’s easy to renew your mem-ber ship by credit card at the SCI website.Just visit www.steincollectors.org andclick on RENEW in the navigation bar atthe top of the page. Credit card pay-ments are processed by PayPal withcomplete security and privacy. There’sno reason to delay, do it today!

Baden helmet plate type of griffin andshield above a riband inscribed Mit Gott fürFürst und Vaterland (“With God for princeand fatherland”). This inscription is often in-decipherable on thumblifts. Superimposedon the griffin is the breast star of the seniorBaden Order, the “House order of loyalty”(Hausorder der Treue) established in 1715.The thumblift shown was worn as a helmetplate for the 3. Bad. Leib Grenadier Rgt. Nr.109. The other Baden Inf. Rgts. wore thesame helmet plate without the breast star.The roster lists fifty-eight names under thetitle Reservist.

The combat history of the regiment in-cluded the Austro-Prussian War, 1866,when Baden was allied with Austria. In theFranco-Prussian War the Baden divisionwas initially in the Prussian Crown PrinceFried rich’s Third Army, but was soon de-tached for the siege and capture of Strass-burg. Regimental casualties for the warwere 141 killed, 512 wounded and six miss-ing. In the World War the regiment foughtonly on the Western Front and took part inmany of the biggest battles, suffering veryheavy casualties. On 8 October 1918 theregiment could only muster 7 officers andabout 100 NCO’s and men. Total killed inaction (gefallen) exceeded the mobilizationstrength of 2 August 1914 of nearly 3400

dier attempts to kiss a reluctant waitresswhose apron and skirt are in the Baden col-ors. Since most Gasthaus or Wirthaus werefamily owned, she is probably the owner’sdaughter. In the background a column oftroops marches away in step as a hornistblows his bugle.

The wounded comrade finial on the liddates as early as 1902 (figure 4a). Castseparately on the lid is an eagle’s head. Inits beak is a hanging frame (figure 4b) witha rhyming phrase “Kümmel with Rum, theservice time is over” (Kümmel mit Rum dieDienstzeit is um). Kümmel and Rum wereGerman hard schnapp-type liqueurs, theformer made with caraway seeds.

The thumblift (figure 5) is the typical flat


officers, NCO’s and men. What part Re-servist Säubert played in the war is un-known. He was undoubtedly recalled andprobably served in a reserve infantry regi-ment. His fate is not known.

Special thanks and appreciation to Kurt K.Siemon for permitting the author to use thisstein for this article and to Edward M. Owenfor his photography. Special thanks also toGeorge and Gabi Schamberger for theirtranslating assistance, and to Walt Vogdesfor editing and preparing this article for pub-lication.

ReferencesDeutschland Heere bis 1918, Band 4. Gün-ther Voight, Osnabrück, 1982.

Historische Rang- und Stammliste desdeutschen Heeres. Claus v. Bredow.Krefeld 1974.

Soldatischer Führertum. Kurt von Preis-dorff. Hamburg 1936.

figure 3

figure 4b

figure 5

figure 4a

2006 Financial Reportby Ravi Patel, Treasurer

SCI financial matters are organized intothree accounts: Operating, Museum/Li-brary and Convention Contingency. TheMuseum/Library account, which isfunded by contributions, has a year endbalance of almost $32,000. The Con-vention Contingency account has a bal-ance of over $19,000, versus a targetbalance of $15,000.

The Operating account is funded prima-rily by dues payments, in addition to ad-vertising revenues and interest income.On the expense side, this fund is used topay for publishing Prosit plus the ex-penses of operating the organization.Following several years of escalatingcosts and declining dues income, both ofthose negative trends have been re-versed, and we are now operating in theblack. The two major factors driving thisfinancial turnaround are a reduction inProsit costs of approximately 40%, andan increase in membership over thecourse of 2006 from 1,064 to 1,286. Atthe same time, we have continued toemphasize cost control in all areas.

“Trink was klar ist” (Drink what is clear)by Jerry Berg

Trink was klar ist (or variations of those words), is one of the phraseswe see regularly on beer steins. In some collections, it may perhapsbe the phrase that appears most often. A quick check of the steins in-cluded in “The Beer Stein Library” (thank goodness for search en-gines) shows no less than seven manufacturers using variations ofthat phrase. Additionally, once a manufacturer decided to offer thissound advice, it was not unusual for the same or similar wording tobe used on any number of steins in their catalog. The wording maybe as simple and direct as the title phrase of this article, or offer moreelaborate advice to live by, such as: Trink was klar ist, lieb was rar ist,sprich was wahr ist, iß was gar ist” (drink what is clear, love what israre, speak what is true, eat what is cooked). Numerous stages in be-tween are also represented, such as: Trink was klar ist, lieb was rarist (drink what is clear, love what is rare), and Trink was klar ist, sprichwas wahr ist (drink what is clear, speak what is true).

It makes one curious about the advice being offered. “Drink what isclear” certainly wouldn’t be a directive to fill our steins with water. Andit is also unlikely that vodka, gin, or clear schnapps is the recom-mended beverage. Rather, we can be safe in assuming that beer isthe liquid being referred to; and by “clear,” the directive refers to alack of sediment and cloudiness in the liquid, not a lack of color. Infact, the desire to be sure that the beverage being drunk was free ofunpleasant surprises was a major reason for the popularity of glassdrinking vessels. Referring to the 1700s, Gary Kirsner writes in TheBeer Stein Book - A 400 Year History, “The use of clear glass wouldseem to support the theory that an important feature of the earlyglass stein was to show off the rare clarity and color of the costliestbeers that were brought from some distance.” Gary also states that,“around 1800, secularization had resulted in the closing of manymonasteries, but there were enough private breweries to assure thatcloudless beer, without dregs, would still be available to the masses.And perhaps pride in the appearance of the clear beer led, in part, toa major influx of glass steins into the marketplace soon after 1800.”

Many of us have heard of the British Navy using press gangs to re-cruit seamen into the ranks of the Royal Navy. Historically, these re-cruiters would prowl the seaside pubs in England and look forable-bodied men; men who were well on their way toward total ine-briation. The recruiter would then wait for an opportune time to slip aShilling into the unsuspecting patron’s tankard. If the patron finishedthe ale without seeing and rejecting the coin, by the “Bounty of OneShilling” he had been signed on, and committed to the service of theRoyal Navy. (The twisted logic of this recruitment practice wouldseem like the stuff of tall tales, however the practice is widely known,and wasn’t abandoned by the British Government until 1879. So, per-haps truth is stranger than fiction!) The inability of the patron to lookthrough a tankard of dark, cloudy ale and spot the coin, led to thedevelopment of the glass bottomed tankard, and to the popularity ofraising one’s glass during friendly toasts. It was much easier to spotthe coin while looking up at the bottom of the tankard, than whilelooking down into the vessel.

So, “drinking what is clear” became a way of avoiding both a mouth-ful of unpleasant surprises and, should you find yourself in the wrongplace, at the wrong time, a way of avoiding unwanted servitude inthe Royal Navy. But what type of surprise ingredients would one tryto avoid? Again, we can look to Gary’s book, where he offers somenightmarish examples of what to avoid while quenching a thirst.“Local brews in many other parts of Europe were still being madewith rotten bread, cabbages, eggs, and anything else at hand.” Onecan only assume that the purpose of such ingredients was to hastenthe fermentation process, while creating a distinctive flavor; and thatpoisoning the consumer was not the intended result.

Certainly, there must have been alternate types of ingredients (otherthan rotten table scraps) which were added to beer, and which wouldhave contributed to a cloudy beverage. For this, we turn to A SipThrough Time – A Collection Of Old Brewing Recipes by Cindy Ren-frow. Cindy’s book includes countless old recipes dating from 1800BC thru the 1920’s. A look at the recipes indicates that, from earliesttimes, the basic ingredients for beer and ale were simply malt, water,hops, and yeast. So far, so good. The problems seemed to stemfrom both a desire to stretch the beer with additional, cheaper in-gredients, and a desire to make one’s brew stand out with a uniquetaste when compared to other local brews. Often the recipes calledfor making basic ale and then personalizing it with additives, sort oflike adding spices to a basic chicken, or vegetable broth. In lookingat some of these added ingredients we find, for example: grapes,dates, oranges, honey, apples, lemons, wheat meal, ground oats,cloves, nutmegs, licorice, ginger root, coriander, and even freshlykilled fowl. (The sex of the fowl would determine if one were making“Capon Ale,” popular in the late 16th and early 17th centuries, or “CockAle,” chiefly brewed in the late 17th to late 18th centuries.) Ultimately,the ingredients included among the various recipes are far more thanI could begin to list here. However, I’m sure we can all appreciatethat a cloudy beer could be an indicator of a rather strange tastingbrew; one which might be considered an ‘acquired taste.’

This certainly gives us a better understanding of the reasons for theGerman Purity Law (limiting the ingredients in German beers to bar-ley, hops, and water), and why “drink what is clear” became the typeof sage advice one could expect any caring guardian to give a youth,and an adage appearing on many a favored stein.

With that, I leave you with my favorite variation of this phrase, “DerTrunk sei klar, das Herz sei wahr, und froh der Mann dann stossean.” (May the drink be clear, may the heart be true, and happily menmay clink their steins.) H&R #137

Reference Sources for this article include:

The Beer Stein Library – by Frank Loevi (www.beerstein.net)

The Beer Stein Book - A 400 Year History, 3rd edition, GlentiquesLtd. 1999 - by Gary Kirsner

The Pewter Collector’s Newsletter – by Stephen Smith ([email protected])

A Sip Through Time – A Collection Of Old Brewing Recipes, 1994 –by Cindy Renfrow

Arvid Frende, who may have the largest single collection of Diesinger steins, was asked if he could provide photos to illustrateJery Berg’s article about the verse “Trink was klar ist.” We thank him for the photos seen here.

A courting scene with the words Klar der Trunk, Wahr der Mund(Clear the drink, True the mouth)

Two pouring steins, in each of them the subjectverse is a lesser part of the overall decoration.

An August Saeltzer Stein

by Chris Wheeler

For a long time I have coveted a stein byAugust Saeltzer! However, every time Ihave seen one for sale there has alwaysbeen a last minute feeding frenzy, takingthe price well beyond my means. When Isaw this piece I knew I had to have it. Iloved everything about it: the highly de-tailed copper casting Katzenjammer sceneinset into the pewter lid, the shell thumb pulland the massive 3-ring hinge. The strongbut simple hand-painted design in a beau-tiful blue with burgundy red detailing re-minded me of peacock feathers. Everydelicate pen & brush mark seemed as if itwas done yesterday and Saeltzer’s ornatemark on the base was one of the best I hadseen. The translation on the front in oldGerman script reads as follows:

The August Saeltzer factory in Eisenachwas in business under various owners from1864 to 1930, producing a mix of earthen-ware table items. Herr Saeltzer himselfpassed on in 1880. They decorated bought-in stoneware only between 1870 and 1908.The guesstimate of the date of my steinwould be c.1880 - 1885.

However, to the auction! There was nomaker’s attribution in the description whichboded well for me; the Saeltzer expertswould have difficulty in finding it. Thisproved correct during the auction as thenumber of “lookers” was a lot lower than Iwould have expected. Never has sevendays gone so slowly. Toward the end of the

auction I placed my bid, which was morethan I wanted to spend, more in despera-tion than expectation. Imagine my elationwhen I won, and at a price one would payfor an old relief Marzi & Remy! It seemedlike I was enjoying seven Sundays in oneweek. A few days later, I opened the parcelcontaining my precious stein to find that itwas absolutely perfect. Just a little soapand water restored it to “as new” condition.

Gazing on my acquisition later thatevening, I could imagine the pride of theoriginal purchaser as they left the shop.Had it been a gift to a loved one, or for apresentation, or just someone treatingthemself? I will never know, but I am grate-ful to whoever it was for starting its even-tual journey to my front door.

References:“The August Saeltzer Factory” by Ron FoxProsit, December 1998“The Stein Reference” by Chris Wheeler

Iss was gar istTrink was klar istSprich was wahr istLieb was rar ist.

Eat what is cookedDrink what is clearSpeak what is trueLove what is rare.

Editor’s note: Quite by coincidence, whileJerry Berg was preparing the article seenon page 2269, Chris Wheeler submittedthis article to be used as the Stein-of-the-Month for September on the SCI web site.This Saeltzer stein shows yet another vari-ation of the same verse.


This article first appeared in the June Prosit, but due to anerror in layout, the text was not fully readable. As a serviceto our readers, and out of respect for the author’s efforts, wehave decided to run it again, in corrected form.

I have wanted to design and produce a contemporary character steinfor some time. I wanted something which was in keeping with thetraditions of character steins, but with a contemporary appeal. Ilooked at old steins and new, and was finally inspired to produce thepair of clowns you see here.

The brightly costumed clown at right is Giuseppe. He is obviously ahappy fellow, enjoying playing with his dog, Lucilla. But we know thatclowns are the masters of external appearance, always happy onthe outside regardless of their inner feelings. His companion, Guido,seen below, has removed his mask to reveal a sorrowful look. Doyou see why? Lucilla! She’s missing! With no one to play with, Guidois ready to cry. Don’t these steins remind you of your younger days,when an affectionate puppy, not an expensive Mettlach or Schierholzstein, was all it took to make you happy?

Once I decided on a pair of clowns, I looked at all the artwork I couldfind to get ideas for how they should appear. Nora Wildgren, an artistwho works with Henry Cornell Importers, drew numerous variations.Once I settled on the design, Tino Schunke, a freelance modeler inGermany, developed the molds and several prototypes, which he thendecorated. The colorful polka-dot costume was an obvious choice, theblue and white version came later.

I continued to work with the artistand the modeler until I got thelook I wanted. At this pointthe molds were turned overto Albert Stahl for production.

The details: The conceptof these porcelain char-acter steins is mine.They are produced in anumbered limited edition inGermany by Albert Stahl,and imported by Henry Cor-nell. Production will be lim-ited to 300 sets, of whichonly 150 sets have beenproduced to date.

The steins will be available on my web site, www.charactersteins.com,for $500 for the set, and $250 for one (either full color or blue andwhite). For SCI members I am offering a 20% discount.

If these don’t make you happy, you will have to get a puppy!


Stein ReleaseThe Clown Duoby David Harr

Peter Kroll Est. 1988

Glasses, Mugs & SteinsLibbey, Cardinal glassware

German developed glassware, mugs and steins

P.O. Box 207Sun Prairie, WI 53590Web Page: www.gmskroll.com

Phone: 608-837-4818Fax: 608-825-4205

Email: [email protected]

David Harr’s

Got Steins!Let me help with your holiday giftsCall me to discuss your interests.

(508) 472-4424 or [email protected]

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Articles, announcements and news releasesfor SCI conventions, mini-conventions andother events will be printed in Prosit at nocharge, subject to the discretion of the Editor.The Editor will determine appropriate space re-strictions on a case-by-case basis.

Rates for InsertsSubject to the policies established in this doc-ument, SCI will accept inserts to be mailed toour membership with Prosit. Insert materialsare expected to be provided in quantity,shipped to our printer and ready for insertion inthe envelope. Prices are based upon the sizeof the insert.

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Ron Fox10086 San Pablo Ave.El Cerrito, CA 94530

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ContentAdvertisements and inserts to be included withProsit shall be accepted insofar as they dealwith the general interests of the membership ofSCI. Specifically allowable are items concern-ing beer steins and similar drinking vessels,plaques, bowls, history of drinking, Germanculture as portrayed on beer steins and auc-tions or sales of beer steins and related items.Advance copies of material to be included withProsit shall be submitted to the editor for ap-proval. The editor of Prosit shall be the solejudge of material suitable for inclusion withProsit.

Prosit reserves the right to reject any adver-tisement or notice submitted for publicationwhich is offensive or which the editorial staffdetermines to be inconsistent with the aims,goals and objectives of SCI, including the rightof all SCI members in good standing to attendand participate in any activity or function so ad-vertised or announced. No advertising of anysort, at all in conflict to any Convention activi-ties, will be put in Prosit. Any advertisement orannouncement which is rejected will be re-turned to the submitter with an explanation forthe rejection.

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Neither the editorial staff of Prosit nor SCI shallbe responsible for the content of advertise-ments or inserts. Disagreements between buy-ers and sellers shall be settled solely betweenthe parties, and shall not involve either SCI, itsofficers or the editorial staff. However, partiesbelieving themselves to be injured because ofdisagreements found in the content of adver-tisements may turn to the Ethics Committee ofSCI, which will try to arbitrate the dispute.

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RatesBoth advertising rates and rates for insertsshall be established and revised periodically bythe editor and the treasurer, and published inProsit one issue prior to the effective date ofnew rates. Rates for inserts will include thecost of labor and additional postage costs.

Stein Exchange

For sale: Several Occupational steins. CallRuss Stadt for details. 616-455-1932 be-tween 11:00 AM and 10:00 PM EST.

Wanted: Diesinger character steins, pleasecontact with details. Phil [email protected], 253-627-2107.

Wanted: 4th, 5th 6th Hussar and 4th Eisen-bahn Regimental steins. Prefer mint. Also,Mettlach Butcher Occupational, #2730.Spencer and Peg Wessling, 503-255-9250.

For sale: Regimental Garde Stars, picturedangles of the Kaiser, Cavalry lancesSpencer Wessling, 503-255-9250.

Wanted: Early glass or stoneware steins,also spa-related steins, beakers, mugs orgoblets. Email [email protected](Norm Paratore)

Wanted: JW Remy steins, steins markedTP or PT, AR or A. Roessler, P. Neu, mini-glass steins, esp. spa glass type. LynAyers, [email protected], 360-693-0025.

Wanted: Faience and early stonewaresteins. William Hamer, 518-399-8364, [email protected].

Wanted: Steins depicting or referring toMartin Luther. Photographs would be wel-come aid to research project. Jody Wyse,337 Fury Dr., Inman, SC 29349, or [email protected].

Wanted: Mettlach Butcher Occupationalstein #2730. Mettlach plaque #2080, “FourKurassiers on Horseback.” Spencer andPeg Wessling, 503-255-9250.

Wanted: HR steins and pigeon steins.Marty Cameli, PO Box 349, Centereach,NY 11720. Ph: 631-467-1413

For sale or trade: SCI Convention steins,1-2-3, $320. Will trade for Diesinger. JohnHataloski, 610-777-6328.

For sale: Matching pair of 18.5” etchedMettlach plaques, #2459 and #2460, Han-nover city and Hannover state, both dated(18)97. 20% gold wear at the rim, otherwisemint. See the article in Prosit, September2002. Kirsner (3rd edition) values at $6000for the pair, offered at $3600. Photos avail-able for interested buyers. Walt Vogdes -360-598-6057, [email protected].

For sale: Several Occupational Steins.Call Ken Etheridge for details. 910- 276-3631 between 9:00 A.M. and 10 P.M. EST.

Wanted: Your membership renewal! Doesyour subscription to Prosit expire in De-cember? Take advantage of the savings of-fered by a three-year renewal. Send yourdues payment to SCI Treasurer, PO Box222076, Newhall, CA 91322


THE STEIN AUCTION COMPANYP.O. Box 136 Palatine, IL 60078

Andre Ammelounx: phone 847-991-5927 - Gary Kirsner: phone 954-344-9856

Licensed and Insured, Illinois Auctioneer 444.000119 & 441.000152; Florida AB394

TSACO . c omYou may view our auction catalogs online.

The online catalog will be available about three to four weeks prior to the auction date.

ONLINE BIDDING will soon be added, check our website for more information.

The Beer Stein Magazine PR SIT

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Transcript of The Beer Stein Magazine PR SIT