stevescollectibles.com Blog

The Fifties and Sixties…Ah

I remember many things from the 1960s but the 1950s are JUST before my time. I was born in 1960. 1960 was the year that the Howdy Doody show ended after 13 years on the air with Buffalo Bob, Howdy Doody, Clarabell Clown, Princess Summer Fall Winter Spring, Mr. Bluster, Dilly Dally, Flub-A-Dub and many more. Kids would wait for TV to start airing in the late afternoon, yes START airing. They would watch the off-the-air bulls eye on the screen for hours waiting to here Buffalo Bob say to the Peanut Gallery, “Kids, What time is it?”

Cowboys were REALLY big in the fifties and still are today (the 50s cowboys, that is). Hopalong Cassidy, Roy Rogers, Gene Autry, Lone Ranger…the list is long and very nostalgic for a lot of now grown little cowboys and cowgirls.

Many things started in the fifties and lasted into the sixties. I have developed a great fondness for both periods because I started an online Nostalgic Collectibles business in 1996 based upon ONLY Howdy Doody memorabilia and branched out to everything else. Many really cool and “maybe never to be seen again” items have passed through our business. I have learned A LOT about the period just before when I was born and the period that I was too small to recognize anything (the Early 60s) by learning about the pop culture of the time in the last 10 years.

It has always been fun for me to research and collect the toys I had in the late 1960s. My favorite was always Matchbox Toys (Hot Wheels came a little later) and BOY did I have a lot of them. I was out in the backyard “road system” more than I was inside the house.

I missed many great TV series’ during that period ‘cause I was out in the mud. So when I got to see some of the most famous, they were re-peats for most, but to me, “brand new” episodes. Some included: The Munsters, Andy Griffith, I Love Lucy, The Addams Family, zillions of REALLY popular cartoons, Batman, Superman, Bewitched, on and on. I’ve revisited them in the memorabilia we’ve sold over the years and I always tend to hang on to the most memorable to me for a while, displaying them in our studio. Its fun to have this stuff around and the conversations it creates are amazing.

Its fun to reminisce…

Presented by stevescollectibles.com and stevescollectibles.net

One Christmas Eve long ago, a mother busily cleaned her house in preparation for the next day’s celebration. The cleaning, of course, included dusting for cobwebs so the spiders living in the house were banished to the far corners of the attic. The Christmas tree was to be a surprise, so after the children of the house were asleep, the mother carefully decorated the tree which was placed where the children would see it first thing in the morning. When the house was dark for the night, the spiders left their hiding places, and when they saw the beautiful tree, they began creeping from one branch to the other, spinning their webs, until the entire tree was covered. When Santa Claus arrived in the morning and saw what had happened, he was afraid the mother would be disappointed after she had worked so hard to decorate the tree, so he used his magic to turn the webs to shimmering silver and gold. Thus the tradition began to decorate the tree with glittering silver and gold, and to include a spider for good luck.


This Christmas legend has been recreated from the Hoover Library Christmas Legends Exhibit...

This Vintage Holiday Moment has been brought to you by the 15% OFF Holiday Sale at Steve's Collectibles Vintage Store

American toys were originally made in the home, but by 1750, artisans who specialized in making toys were established in Boston, New York, Philadelphia, Baltimore, Charleston, and other cities. From the 1830s onward, commercial mass production of toys was a flourishing industry in the United States.

The National Gallery of Art is running an online exhibition: Toys From The Index of American Design... The Index of American Design consists of approximately 18,000 watercolor renderings of American decorative arts objects from the colonial period through the nineteenth century. Produced between 1935 and 1942, this visual archive reflects the expanding interest in American material culture that began to emerge at that time. The following tours of the Index of American Design also are available as free loan slide programs.

This toy moment in history was brought to you by Steve's Collectibles at Tias where we have many toy related vintage pieces that you will find NO PLACE ELSE for your holiday giving and stuffing stockings...

http://www.stevescollectibles.net (over 30,000 vintage & eclectic choices for gift giving...

Halloween

The Fantasy and Folklore of All Hallows

Excerpt By Jack Santino

Halloween had its beginnings in an ancient, pre-Christian Celtic festival of the dead. The Celtic peoples, who were once found all over Europe, divided the year by four major holidays. According to their calendar, the year began on a day corresponding to November 1st on our present calendar. The date marked the beginning of winter. Since they were pastoral people, it was a time when cattle and sheep had to be moved to closer pastures and all livestock had to be secured for the winter months. Crops were harvested and stored. The date marked both an ending and a beginning in an eternal cycle.

The festival observed at this time was called Samhain (pronounced Sah-ween). It was the biggest and most significant holiday of the Celtic year. The Celts believed that at the time of Samhain, more so than any other time of the year, the ghosts of the dead were able to mingle with the living, because at Samhain the souls of those who had died during the year traveled into the otherworld. People gathered to sacrifice animals, fruits, and vegetables. They also lit bonfires in honor of the dead, to aid them on their journey, and to keep them away from the living. On that day all manner of beings were abroad: ghosts, fairies, and demons--all part of the dark and dread.

Samhain became the Halloween we are familiar with when Christian missionaries attempted to change the religious practices of the Celtic people. In the early centuries of the first millennium A.D., before missionaries such as St. Patrick and St. Columcille converted them to Christianity, the Celts practiced an elaborate religion through their priestly caste, the Druids, who were priests, poets, scientists and scholars all at once. As religious leaders, ritual specialists, and bearers of learning, the Druids were not unlike the very missionaries and monks who were to Christianize their people and brand them evil devil worshippers.

As a result of their efforts to wipe out "pagan" holidays, such as Samhain, the Christians succeeded in effecting major transformations in it. In 601 A.D. Pope Gregory the First issued a now famous edict to his missionaries concerning the native beliefs and customs of the peoples he hoped to convert. Rather than try to obliterate native peoples' customs and beliefs, the pope instructed his missionaries to use them: if a group of people worshipped a tree, rather than cut it down, he advised them to consecrate it to Christ and allow its continued worship.

In terms of spreading Christianity, this was a brilliant concept and it became a basic approach used in Catholic missionary work. Church holy days were purposely set to coincide with native holy days. Christmas, for instance, was assigned the arbitrary date of December 25th because it corresponded with the mid-winter celebration of many peoples. Likewise, St. John's Day was set on the summer solstice.

Samhain, with its emphasis on the supernatural, was decidedly pagan. While missionaries identified their holy days with those observed by the Celts, they branded the earlier religion's supernatural deities as evil, and associated them with the devil. As representatives of the rival religion, Druids were considered evil worshippers of devilish or demonic gods and spirits. The Celtic underworld inevitably became identified with the Christian Hell.

The effects of this policy were to diminish but not totally eradicate the beliefs in the traditional gods. Celtic belief in supernatural creatures persisted, while the church made deliberate attempts to define them as being not merely dangerous, but malicious. Followers of the old religion went into hiding and were branded as witches.

The Christian feast of All Saints was assigned to November 1st. The day honored every Christian saint, especially those that did not otherwise have a special day devoted to them. This feast day was meant to substitute for Samhain, to draw the devotion of the Celtic peoples, and, finally, to replace it forever. That did not happen, but the traditional Celtic deities diminished in status, becoming fairies or leprechauns of more recent traditions.

The old beliefs associated with Samhain never died out entirely. The powerful symbolism of the traveling dead was too strong, and perhaps too basic to the human psyche, to be satisfied with the new, more abstract Catholic feast honoring saints. Recognizing that something that would subsume the original energy of Samhain was necessary, the church tried again to supplant it with a Christian feast day in the 9th century. This time it established November 2nd as All Souls Day--a day when the living prayed for the souls of all the dead. But, once again, the practice of retaining traditional customs while attempting to redefine them had a sustaining effect: the traditional beliefs and customs lived on, in new guises.

All Saints Day, otherwise known as All Hallows (hallowed means sanctified or holy), continued the ancient Celtic traditions. The evening prior to the day was the time of the most intense activity, both human and supernatural. People continued to celebrate All Hallows Eve as a time of the wandering dead, but the supernatural beings were now thought to be evil. The folk continued to propitiate those spirits (and their masked impersonators) by setting out gifts of food and drink. Subsequently, All Hallows Eve became Hallow Evening, which became Hallowe'en--an ancient Celtic, pre-Christian New Year's Day in contemporary dress.

Many supernatural creatures became associated with All Hallows. In Ireland fairies were numbered among the legendary creatures who roamed on Halloween. An old folk ballad called "Allison Gross" tells the story of how the fairy queen saved a man from a witch's spell on Halloween.

O Allison Gross, that lives in yon tower
the ugliest witch int he North Country...
She's turned me into an ugly worm
and gard me toddle around a tree...

But as it fell out last Hallow even
When the seely [fairy] court was riding by,
the Queen lighted down on a gowany bank
Not far from the tree where I wont to lie...
She's change me again to my own proper shape
And I no more toddle about the tree.

In old England cakes were made for the wandering souls, and people went "a' soulin'" for these "soul cakes." Halloween, a time of magic, also became a day of divination, with a host of magical beliefs: for instance, if persons hold a mirror on Halloween and walk backwards down the stairs to the basement, the face that appears in the mirror will be their next lover.

Virtually all present Halloween traditions can be traced to the ancient Celtic day of the dead. Halloween is a holiday of many mysterious customs, but each one has a history, or at least a story behind it. The wearing of costumes, for instance, and roaming from door to door demanding treats can be traced to the Celtic period and the first few centuries of the Christian era, when it was thought that the souls of the dead were out and around, along with fairies, witches, and demons. Offerings of food and drink were left out to placate them. As the centuries wore on, people began dressing like these dreadful creatures, performing antics in exchange for food and drink. This practice is called mumming, from which the practice of trick-or-treating evolved. To this day, witches, ghosts, and skeleton figures of the dead are among the favorite disguises. Halloween also retains some features that harken back to the original harvest holiday of Samhain, such as the customs of bobbing for apples and carving vegetables, as well as the fruits, nuts, and spices cider associated with the day.

Today Halloween is becoming once again and adult holiday or masquerade, like mardi Gras. Men and women in every disguise imaginable are taking to the streets of big American cities and parading past grinningly carved, candlelit jack o'lanterns, re- enacting customs with a lengthy pedigree. Their masked antics challenge, mock, tease, and appease the dread forces of the night, of the soul, and of the otherworld that becomes our world on this night of reversible possibilities, inverted roles, and transcendency. In so doing, they are reaffirming death and its place as a part of life in an exhilarating celebration of a holy and magic evening.

This Halloween Moment is presented by The Halloween Store at www.stevescollectibles.com AND Halloween Jewelry at Tias.com

Since its publication in September 1900, L. Frank Baum's The Wonderful Wizard of Oz has become America's greatest and best-loved homegrown fairytale. The first totally American fantasy for children, it is one of the most-read children's books. It has also engendered a long series of sequels, stage plays and musicals, movies and television shows, biographies of Baum, scholarly studies of the significance of the book and film, advertisements, and toys, games, and other Oz-related products.

The Oz story has become a classic because it blends elements of traditional magic, such as witches, with ones from early twentieth-century American reality, such as a Kansas cyclone, a scarecrow, and a man made of tin. And, despite its many particularly American attributes, including a wizard from Omaha, The Wonderful Wizard of Oz has universal appeal, demonstrated by numerous non-American translations and dramatizations.

This Wizard of Oz Moment provided to you by www.stevescollectibles.com where you can search for childhood memories and find them. VISIT our Wizard of Oz Collection. AND we have OZ Waterglobes!

Log cabins are as American as Fourth of July fireworks, baseball, and the bald eagle. Think of a pioneer and chances are you think of a log cabin: could Daniel Boone or Davy Crockett have lived in any other kind of house? Can you imagine the 1840 election--"Tippecanoe and Tyler, Too!"--without remembering the log-cabin-and-cider campaign? Would we be so impressed with Abe Lincoln if he had learned his letters under a crystal chandelier in a brick, Georgian-style house? Is it conceivable that Laura Ingalls Wilder's little house on the prairie was anything but a snug log structure? Assuredly, log cabins are enmeshed in American history, folklore, and myth.

The origin of the log structure is uncertain. It is probable that it began in northern Europe sometime in the Bronze Age (c. 3,500 B.C.). By the time Europeans began to settle in America, there was a long tradition of using logs for houses, barns, and other outbuildings in the Scandinavian countries, Germany, and Northern Russia. These regions had vast stands of softwood timber that could easily be worked with simple hand tools. According to C. A. Weslager, whose book on log cabins is considered a classic, the Finns, as well as the Swedes, had a "close attunement" with the forests, and both groups had well-developed forest industries. Weslager goes on to say:

The Finns were accomplished in building several forms of log housing, having different methods of corner timbering, and they utilized both round and hewn logs. Their log building had undergone an evolutionary process from the crude "pirtii"...a small gabled-roof cabin of round logs with an opening in the roof to vent smoke, to more sophisticated squared logs with interlocking double-notch joints, the timber extending beyond the corners. Log saunas or bathhouses of this type are still found in rural Finland.

When the Finns and the Swedes began to arrive in New Sweden (along both banks of the Delaware River into modern Delaware, New Jersey, Pennsylvania and Maryland), they brought their knowledge of such wood construction with them. So did later immigrants from Germany. The Scots, Irish, and Scots-Irish had no tradition of building with logs, but they quickly adopted the technique. The log cabin suited early settlers and later pioneers. It would have been nearly impossible to carry building materials across the ocean in the small sailing ships of the time. It would have been equally difficult to transport building materials on horseback or even in the wagons or river barges pioneers used to cross mountains and valleys in their search for their own land. So, wherever there were forested areas, the log cabin became the preferred type of initial dwelling. Log cabins did not even need nails or spikes to hold them together. Until the 19th century nails were made by hand by blacksmiths, which meant they were quite expensive, and like lumber, they were also heavy.

Log cabins were relatively easy to build. Weslager reports that a record was set by three men who cut down trees, trimmed them, dragged the logs to the building site, notched the logs, and built a one-room cabin with chimney and fireplace in two days. For most people it took a bit longer, but it was possible for a man working alone to build a cabin in one to two weeks. However, a man alone faced some problems. Because it is physically difficult to lift a heavy log above one's head, most men could build cabins only six to eight logs high. With help, it was possible to build several logs higher--even two-story log houses were possible. First, skids of two logs were placed against the wall at an angle to serve as an inclined plane. Then forked sticks or ropes were used to position the logs.

Most log cabins had a single room, or "pen," some 12 to 16 feet square. There was one door, and usually no windows. If windows were cut into the walls, animal skins or boards fixed to slide across the openings were used. Some builders used paper greased with animal fat, which made it both translucent and waterproof. Most log cabin builders placed the fireplace at one end of the cabin and built the chimney of wattle. Stone or clay was used for the hearth and the interior of the fireplace. As these were not very safe constructions, later builders used brick or stone if they could be obtained. Fireplaces provided warmth, light, and fuel for cooking. Back bars and cranes made of forged iron were used to hold cooking pots. Not until the 1840s were cast-iron ranges available that would burn wood or coal, so cooking over a fireplace did not seem a hardship.

Inside walls were often chinked with clay or cloth. Most floors were simply beaten earth, although some cabins had floors of puncheons--logs split lengthwise and laid close together with the flat sides up. A family often built a sleeping loft if the roof were high enough. The loft could be reached by pegs pounded into the walls or by a ladder built from tree limbs. The loft also was used to store foodstuffs.

Log cabins were never meant to be permanent, but many log houses were. The difference between the two was primarily one of size and attention to detail. Most pioneers preferred "flat" walls to rounded log walls, and so most used hewn logs for building. These not only made the houses look (from a distance) more "real," but also withstood the elements much better, since the bark and the decay-prone outside wood were removed from the logs. When milled lumber became available either from a local sawmill or by railroad transport, most people chose it for their homes.

It seemed that as the frontier disappeared, so would the log cabin. However, at about the same time the Finnish homesteaders were, of necessity, building their first homes of logs, Easterners were rediscovering the log structure. William A. Durant, land developer and president of the Adirondack Railroad, pushed the idea of Great Camps in the Adirondacks. These camps were enclaves where the very wealthy could escape the summer heat of the cities and retreat to the "simple life" of log-cabin living in the country. Such "cabins" were hardly simple. Designed by architects, they were huge structures with many rooms and fireplaces and porches. But their log exteriors recalled the "good old days". National park structures also fueled the revival of log cabin living. Many park lodges were made of logs so they would fit their surroundings. The Old Faithful Inn at Yellowstone National Park is a prime example. Built in 1904, the inn has an eight-story lobby some 185 feet high. There are 140 guest rooms and three sets of balconies.

Another factor that kept the tradition of log building alive was the Great Depression of the 1930s. The Civilian Conservation Corps (CCC) worked with the National Park Service and the U.S. Forest Service to build thousands of log structures throughout the national forests and parks. Had it not been for these the log cabin might have disappeared, but because people saw the log structures and liked what they saw, many began to build modern log cabins and log houses. These homes seemed to represent all that a family could want: a sturdy shelter from the elements and a simple, self-sufficient lifestyle. The log cabin remains a popular building style.

This historic discussion on log cabins and rustic design is brought you by The Cabin Store at www.home-decor-marketplace.com

Hundreds and hundreds of cabin, lodge and rustic design for your getaway or main home!! We also have an original 1934 Magazine Article entitled "BUILDING A LOG CABIN" - Click to see...

TRASH, TROLLEYS, CANNONS AND CAROUSELS
Connecticut's Museums Cover an Eclectic Mix of (Sometimes) Curious Topics

HARTFORD --- September 19, 2005 -- Not one but two devoted to trash; several covering almost every form of transportation, from helicopters to trolleys; collections of puppets, dental equipment, locks and vintage radios: Connecticut's museums provide fascinating glimpses into virtually every nook and cranny of history and man's endeavors. Some are decidedly unique.

This is not to say that the state is lacking in major museums dealing with art, natural history and scientific accomplishments. Yale University alone can claim some of the country's most important collections and others can be found throughout the state. But some of the most interesting, and enjoyable, museums are devoted to very particular interests, often the inspiration or obsession of a single individual. There's no better example than the Ballard Institute & Museum of Puppetry at the University of Connecticut in Storrs (860-486-4605), the official museum of puppetry for the State and largely the creation of Frank Ballard, professor of dramatic arts and legendary, passionate puppet master.

Puppets are not the only subject of museums in Connecticut that have particular appeal to the child in everyone. There's the Barnum Museum in Bridgeport, dedicated to P.T. Barnum, the man whose name is synonymous with circuses in America (www.barnum-museum.org). The collection includes a Lilliputian circus of nearly 4,000 pieces as well as an Egyptian mummy and the one-ton wonder, Baby Bridgeport. In a related vein, the Barker Character, Comic & Cartoon Museum in Cheshire (203-699-3822) has over 80,000 toys and characters, cartoon memorabilia, 1,000 lunchboxes and 3,000 Popeye items. It's the official museum of the California Raisin and Gumby. And, the Carousel Museum of New England, in Bristol (860-585-5411) contains some of the finest pieces of antique carousel art in existence.

The subject of transportation, reflecting both Connecticut's history and industry, is well covered. The Golden Age of Trucking Museum in Middlebury (203-577-2181) features over 36 antique trucks; the Connecticut Fire Museum in East Windsor (860-623-4732) has actual fire apparatus dating back to the 1850's as well as models, and the Historic Ship Nautilus & Submarine Force Museum in Groton (860-694-3194) is a nationally renowned repository of the entire history of submarines in America. Nearby, the world-famous Mystic Seaport (860-572-5315) captures the history of America's relationship with the sea, including several full-sized historic vessels, a seaport village and a year-round calendar of special events. And, the Old Lighthouse Museum in Stonington (860-535-1440) is a sterling reminder of the important (and now picturesque) roles played by Connecticut's many coastal lighthouses in marine navigation and safety.

The National Helicopter Museum in Stratford (203-375-5766) reflects the important role that the Sikorsky Company played in developing and building the country's leading helicopters, while the New England Air Museum in Windsor Locks (860-623-3305) is the largest aviation display in the northeast.

Two museums are devoted to trolley cars. The Connecticut Trolley Museum, also in East Windsor (860-627-6540), features a three-mile round trip ride on antique trolleys, and the Shore Line Trolley Museum in East Haven (203-467-6927), has over 100 classic trolleys on display, including the first electric model and the oldest rapid transit car. Not to be outdone, railroading is even better represented, with at least three museums, including the SoNo Switch Tower Museum in Norwalk (203-246-6958 ), a rare 1890's New Haven Railroad switch tower. Among the others are the Railroad Museum of New England/Naugatuck Railroad Company in Thomaston (860-283-RAIL), a 20-mile ride on restored historic tracks along the Naugatuck River; the Connecticut Eastern Railroad Museum in Willimantic (860-456-9999), an entire railroad village with a roundhouse and pump car rides; and, while not strictly a museum, the Essex Steam Train & Riverboat Ride, based in Essex (860-767-0103), which offers excursions in 1920's coaches pulled by authentic steam locomotive dinner cars and on riverboat rides on the Connecticut River.

Moving into the realm of visual arts, Connecticut has more than its share of important collections, among them the Florence Griswold Museum in Old Lyme (860-434-5542), where American Impressionism was born and nurtured. Another is the Lyman Allyn Art Museum in New London (860-443-2545), a collection of 18th and 19th century American decorative arts. But one of the more unusual art displays contains one of the largest collections of WPA murals, in Norwalk's City Hall (203-854-0202). These "Works Progress Administration" pieces were created in the 1930's and 1940's as part of President Franklin Roosevelt's efforts to pull the country out of depression. Connecticut's Native American cultural legacy is also on display in several museums, including the Mashantucket Pequot Museum in Mashantucket (800-411-9671), the world's largest and most comprehensive Native American museum and research center, and the Tantaquidgeon Indian Museum in Uncasville (860-862-6403), filled with lore about the Eastern Woodland Indians.

Finally, there are what might be described as the truly oddball museums of Connecticut. The Trash Museum in Hartford (860-247-4280) and The Garbage Museum in Stratford (203-381-9571) are actually educational in nature, designed to inform the public about environment and waste removal issues and challenges. But there are also the Vintage Radio & Communications Museum of Connecticut in Windsor (860-673-0518 ), with over 750 rare radios and television sets; the Lock Museum of America in Terryville (860-589-6359), the largest collection of locks, key and ornate hardware in the country; the Old Newgate Prison in East Granby (860-653-3563), the first State Prison in America; the Salisbury Cannon Museum in Lakeville (860-435-2878 ) depicting the history of iron working in the state; the Museum of Fife and Drum in Ivoryton (860-767-2237), the only museum in America devoted to parades, from the Revolution to the present day; and, last but not least, the Menczer Museum of Medicine & Dentistry in Hartford (860-236-5613), displaying medical and dental instruments from the last 300 years. All combined, who needs the Smithsonian Institute in Washington; Connecticut's museums represent a showcase for all of American history and life.

This announcement page of fantastic museums to visit is brought to you by The Vintage Collectibles and Memorabilia Wing at www.stevescollectibles.net

A Local Legacy

Isn't the circus wagon in the photo beautiful? It dates from 1935 and it is part of the Circus Parade in Milwaukee, Wisconsin.

Every year in July more than 100 clowns, 1,000 musicians, 700 horses and lots of animals, including elephants and camels, take part in a re-creation of a circus street parade from the beginning of the 20th century. Before the days of radio and television, "Circus Day" was a time to escape the normal routine and enjoy the entertainment provided by the traveling performers.

The historic circus wagons have elaborate woodcarvings, mirrored surfaces, and colorful wheels. These wagons are brought on the Great Circus Train from the Circus World Museum in Baraboo, Wisconsin, which has a collection of more than 150 wagons. At one time Wisconsin was known as the "Mother of Circuses," and was the home or winter quarters for more than 100 traveling tent shows.

Today, the parade route starts near the shores of Lake Michigan. It winds its way through the streets of downtown Milwaukee. But a few changes must be made along the route. The open metal gratings on Milwaukee's bridges have to be covered so the animals won't be afraid to cross. And the oxen refuse to step on manhole covers. Don't ask why. No one knows.

This historic CIRCUS Moment has been provided by The Circus & Carnival Collection at www.stevescollectibles.net We have many interesting and unusual vintage circus and carnival related collectibles that changes often. VISIT

M.E.H.V.A. is an organization of current and retired King County/METRO employees. They are dedicated to the preservation of Seattle and King County's transit heritage through the restoration and operation of vintage transit vehicles as a working, living museum. Their fleet is comprised of coaches dating back to 1938 and are powered by gas, diesel and overhead electric trolley lines. For more information on who they are and what they do, emailthem at info@mehva.org.



This Historic and Collectible Corner provided by the Transportation Dept. at www.stevescollectibles.net - Steve's Collectibles

We offer many unusual Transit, Transportation, Railroad and Historic Collectibles in our large collection.

We also sell Patent Art, matted for framing in many areas of collectible, antique and historic topics..See the example to the right. VISIT

POSTAL SERVICE'S 'AMERICAN MOTORCYCLE' STAMPS
ROLLED OUT FROM STURGIS MOTORCYCLE RALLY AUG. 7

STURGIS, SD - Come early August, 85 million classic American motorcycles will begin to roll out in mint condition on commemorative postage stamps-each guaranteed to make it across the country for just 39 cents. The first of these stamps, along with the actual cycles the stamps are modeled from, kick-started the 66th Anniversary Sturgis Motorcycle Rally in Sturgis, SD, Mon., Aug. 7. The stamps were available nationwide Tue., Aug. 8.

"Our American Motorcycle stamps evoke America's love affair with freedom, independence and ingenuity that continues to evolve today," explained Sturgis, SD Postmaster Vickie Cartwright during a special unveiling ceremony that took place at the Sturgis Post Office today. "We're honored that the City of Sturgis used the dedication ceremony to launch the world's premier motorcycle rally."

Joining Cartwright in unveiling the stamps was Sturgis Mayor Mark Ziegler.

Three of the stamps feature digital illustrations of a 1918 Cleveland, 1940 Indian Four and a 1965 Harley-Davidson Electra-Glide that are modeled after motorcycles in existence today. The fourth stamp shows a circa 1970 chopper, a computer generated stamp image created by the stamp artist in consultation with professional chopper builders.

A 10 ft. image of the stamps was unveiled as part of the stamp dedication ceremony that took place across the street from the Sturgis Post Office in front of the Community Center on Aug. 7. When not in use during the Rally, the Cleveland, Indian and Harley will be on display at the Sturgis Motorcycle Museum www.sturgismuseum.com.

Cleveland 1918

The single-cylinder Cleveland motorcycle depicted on this stamp was built by the Cleveland Motorcycle Manufacturing Company of Cleveland, OH. Advertisements claimed this motorcycle, which featured a 2.5-horsepower, single-cylinder motor, could travel 75 miles on a single gallon of gasoline and reach speeds of up to 35 to 40 mph. Weighing around 150 pounds and selling for $175, the Cleveland was both lightweight and affordable, making it a popular motorcycle of its time. The Cleveland A2 that modeled for the stamp is owned by Penny Nickerson of Long Island, NY.

Indian 1940

The motorcycle depicted on this stamp was made by the Indian Motorcycle Company. The 1940 entry in a series of deluxe, four-cylinder motorcycles known as the Four, this streamlined bike featured skirted fenders that partially covered the wheels, a controversial design innovation that soon became an Indian trademark. The model for the illustration featured on this stamp is a motorcycle owned by Michael and Larry Spielfogel of New York City. It is depicted in the deep red color often associated with Indian motorcycles.

Harley-Davidson 1965

With features such as whitewall tires, extensive chrome, large fenders, and spacious fiberglass saddlebags, the Harley-Davidson featured on this stamp is considered by many to be one of the company's most iconic motorcycles. Known as the Electra-Glide, this model was first manufactured in 1965, when its new features included a push-button electric starter. The Harley that posed for the stamp is owned by George Tsunis of Port Jefferson, NY.

Chopper c.1970

The name "chopper" derives from the process of removing, or "chopping," unnecessary or unwanted components from a motorcycle. The term often indicates an extensively customized motorcycle with such features as a stretched frame, stepped seat, and raised handlebars. Typically, the frame has been stretched with an extended-length fork leading to the front wheel.

Especially prominent during the 1960s and 1970s, choppers follow in a tradition of earlier customized motorcycles that were known as "bobbers" for their shortened, or bobbed, fenders.

The circa 1970 chopper featured on this stamp was invented by the stamp artist in consultation with professional chopper builders. Although lacking various safety features such as mirrors and turn signals that are usually required under current laws, this chopper would have been legal to ride circa 1970.

The digital illustrations featured on the American Motorcycles stamps were created by Steve Buchanan of Winsted, CT. The illustrations are based on existing restored motorcycles, reference photographs, and consultation with owners and experts; however, some colors and design features have been altered for artistic purposes or to maintain historical accuracy.

This Collector's Corner was brought to you by www.stevescollectibles.net We have many vintage motorcycle collectibles & memorabilia in our online store.

THE MAN OF STEEL AND OTHER SUPER HEROES TAKE
FLIGHT AS STAMPS AND STAMPED POSTAL CARDS

SAN DIEGO, CA — Superman joined Batman, Wonder Woman and seven other comic book legends in extending their immortality to postage today when the U.S. Postal Service dedicated the “DC Comics Super Heroes” commemorative stamps and stamped postal cards. The ceremony took place at the world’s largest comic book and pop culture show—Comic-Con International 2006 comic-con.org).

The stamps and stamped postal cards were available nationwide July 21.

Comic Book Super Heroes Stamps “We are here to celebrate a moment in time that most of us have shared,” said William Campbell, U.S. Postal Service Judicial Officer, in dedicating the stamps.

“I am talking about that age when the heroes of comic books were our personal friends. When their battles were our battles. When their victories made us cheer and their defeats made us sad. When their values helped strengthen our own understanding of right and wrong. Today, our heroes are back in all their glory and in some of their finest moments.” Joining Campbell in dedicating the stamps was DC Comics Publisher and President Paul Levitz, dccomics.com.

“The DC Comics Super Heroes have been a beloved part of America’s culture for almost seven decades as the most significant characters to emerge from comic books—a true American art form,” said Levitz. “It is both fitting and exciting for these heroes to be commemorated as stamps by the U.S. Postal Service.”

This is the first stamp pane honoring comic book Super Heroes to be issued by the Postal Service. Half of the pane of 20 stamps are portraits of the characters: Aquaman, Batman, The Flash, Green Arrow, Green Lantern, Hawkman, Plastic Man, Supergirl, Superman and Wonder Woman.

The other 10 stamps depict covers of individual comic books devoted to these Super Heroes’ exploits. They include: Plastic Man #4, Summer 1946; The Brave And The Bold #36, June/July 1961; Green Lantern #4, Jan./Feb. 1961; The Flash #111, Feb./Mar. 1960; Wonder Woman #22 (2nd series); Aquaman #5 (of 5), Oct. 1989; The Daring New Adventures of Supergirl #1, Nov. 1982; Superman #11, July/Aug. 1941; and Green Arrow #15, Sept. 2002 (see below).

Ever since Superman was introduced to readers in 1938, Super Heroes have been nearly synonymous with comic books. Their fantastic adventures provide an escape from the everyday, stimulating the imaginations of young—and often, not so young—readers, encouraging them to believe that within each of us are fantastic abilities, ready to help us combat the Lex Luthors and Riddlers of the world. All we need is a phone booth or Batcave to transform ourselves into a Caped Crusader.

Comic books aren’t simply “kid’s stuff.” Adults have always been among their fans, and the form has attracted its share of serious artists and writers. Super Heroes have responded to social and political issues from the start, fighting injustice and corruption during the Depression, and then becoming patriotic defenders of national interests during World War II. Art director Carl T. Herrman worked with the creative staff at DC Comics on the design of this issuance.

Includes DC Comics Super Hero Characters:

Batman
Art by Jim Lee and Scott Williams.
After the brutal murder of his parents, young Bruce Wayne mastered nearly every known form of combat and employed his vast wealth to equip himself with the tools essential to his crime-fighting crusade as Gotham City’s Dark Knight, Batman.

Wonder Woman
Art by Ross Andru and Mike Esposito.
Wonder Woman has been an iconic inspiration for countless women since her debut in All Star Comics #8 in December 1941. The most recognizable female character in comics, created by William Moulton Marston, Wonder Woman remains a figure of strength, beauty and courage.

Plastic Man
Art by Dick Giordano.
Eel O’Brian was a small-time gangster before an accident at a chemical plant gave him the uncanny ability to stretch and alter his shape at will. Renouncing his criminal past, O’Brian became Plastic Man, the longest arm of the law.

Superman
Art by Curt Swan and Sheldon Moldoff.
Ever since his debut in the pages of Action Comics #1 ( June 1938 ), the Superman character created by Jerry Siegel and Joe Shuster has been an icon. The big red “S” on his shirt is among the most recognized symbols in American pop culture.

Green Lantern
Art by Neal Adams.
In 1970, writer Dennis O’Neil and artist Neal Adams launched a new era of relevance in comics, crafting stories in which the Green Lantern—accompanied by his friend, Green Arrow—addressed important issues then considered taboo for the typical “comic book.”

The Flash
Art by Carmine Infantino and Murphy Anderson.
An explosive mixture of lightning and laboratory chemicals endowed police scientist Barry Allen with superhuman speed, transforming him into the “Silver Age” Flash, the fastest man alive. The Scarlet Speedster was first set into motion in Showcase #4 (September/October 1956).

Aquaman
Art by Jim Aparo.
The memories of Aquaman’s personal tragedies run deep after he loses his son, his wife, and his monarchy. Nevertheless, the former King of the Seven Seas remains determined to protect both the Atlanteans and surface dwellers from those who endanger them.

Hawkman
Art by Murphy Anderson.
Powered by the mysterious “Nth metal” in his artificial wings, Hawkman soars through the sky above Midway City. When grounding the city’s worst predators, the Winged Wonder relies on his mastery of Earth’s ancient weapons, among them his mace and shield.

Supergirl
Art by Curt Swan and Stan Kaye.
An impressionable teenager when she first arrived on Earth, Supergirl operated as her cousin Superman’s “secret weapon” while adjusting to life on her new planet. Eventually, her existence was revealed to the world, which welcomed the Girl of Steel with open arms.

Green Arrow
Art by Jack Kirby and Mike Royer.
Green Arrow made his debut in More Fun Comics #73 (November 1941). Since then, the Emerald Archer’s most notable escapades were in stories drawn by legendary comics creator Jack Kirby in Adventure Comics #250-256 and World’s Finest Comics #96-99 (spanning 1958-1959).

DC Comic Book Covers
Plastic Man #4, Summer 1946
Art by Jack Cole.
Cartoonist Jack Cole flexed his creative muscles with the always pliable, ever-reliable Plastic Man, who debuted in August 1941. Cole enjoyed a 15-year stretch experimenting with fun, unique story twists and graphics for his expandable protagonist and stout sidekick, Woozy Winks.

Batman #1, Spring 1940
Art by Bob Kane.
Batman made his debut in Detective Comics #27 in May 1939 before swinging into action—with Robin, the Boy Wonder, by his side—in his own series in the spring of 1940. The Dark Knight’s distinguishing characteristics were intellect, skill, and grim determination.

The Brave And The Bold #36, June/July 1961
Art by Joe Kubert.
Hawkman returned in 1960, a reincarnated hero from the earlier “Golden Age” of comics. The new Winged Wonder and his spouse Hawkgirl were intergalactic police officers from a distant planet, meting out justice to the villains terrorizing Midway City.

Green Lantern #4, Jan./Feb. 1961
Art by Gil Kane and Joe Giella.
As readers entered the Space Age, so did comics. Ace test pilot Hal Jordan took flight as Green Lantern, a galactic peace officer with an emerald power ring that could create virtually anything. Willpower and fearlessness marked Jordan as a hero for the times.

The Flash #111, Feb./Mar. 1960
Art by Carmine Infantino and Joe Giella.
The Flash is capable of moving at speeds so great he can make himself invisible or travel through time and between dimensions. His fast-paced adventures highlight pseudo-science while pitting the hero against an extensive rogues’ gallery of villains.

Wonder Woman #22 (2nd series), Nov. 1988
Art by George Pérez.
As a worldwide ambassador of peace, Wonder Woman soared to new heights in the late 1980s. The character returned to her roots as an Amazon warrior from Paradise Island, land of heroic women. Her special powers were gifts from the Olympians.

Aquaman #5 (of 5), Oct. 1989
Art by Curt Swan and Al Vey.
Aquaman defends both land and sea with great strength, speed, and the ability to communicate telepathically with all marine life. His ultimate goal is to help both realms put aside their natural prejudices and unite in peaceful coexistence.

The Daring New Adventures of Supergirl #1, Nov. 1982
Art by Rich Buckler and Dick Giordano.
Moments before the destruction of Argo City, Kara Zor-El was rocketed to Earth and reunited with her cousin Kal-El, the hero known throughout the galaxy as Superman. Developing incredible powers and abilities, Kara chose to follow her cousin’s example and fight for good.

Superman #11, July/Aug. 1941
Art by Fred Ray.
Destiny brought the infant Kal-El from Planet Krypton to Smallville, USA, where he was raised by kindly farmers. Though gifted with extraordinary powers, Kal-El—now Clark Kent—expresses true strength in the compassion and moral responsibility he displays in the guise of Superman.

Green Arrow #15, Sept. 2002
Art by Matt Wagner.
Trapped on a deserted island, billionaire playboy Oliver Queen learned to hunt with a bow and arrow. He escaped and became Green Arrow, a modern-day Robin Hood who uses his unparalleled skill as an archer on behalf of the underprivileged.

This Collectible Corner was reprinted in part from usps.com and provided by Super Heroes at www.stevescollectibles.com

Most people probably don't know they can own a vintage piece of memorabilia from the New York City Transit System! At the time of this writing we found Vintage Tokens, Fare Boxes, Plates, Signs and More. Click the logo above to see what is available.

Along with its outgoing fleet of buses and subway cars, Transit has Station Signs and Fixtures, Fareboxes, Vintage Tokens, Lighting Fixtures, and other "collectibles" such as Handholds, Seating and Destination Signs from retired "Redbird" subway cars for sale when available.

Each month, they feature items of interest to buyers, collectors or anyone who shares an interest in NYC Transit's History. Click the image to the left to visit the site.

OR Contact them at: Division of Materiel - Operations - Asset Recovery, 2 Broadway, 18th Floor, Room A18.71, New York, NY 10004. Phone: 1(800) 543-VALU; Fax: 646-252-6209.

This Collectibles Corner is presented by The Travel Bus Department at www.stevescollectibles.net

It does not seem that long ago but, this series of movie monster postage stamps was issued in 1997. (Wow, 32cents!)

The Classic Movie Monsters commemorative stamps featured four Hollywood legends in five classic movie roles: Bela Lugosi as Dracula; Lon Chaney as The Phantom of the Opera; Lon Chaney, Jr., as The Wolf Man; and Boris Karloff as The Mummy and The Frankenstein Monster. These famous ghoulish characters, immortalized in Universal Studios, are a legacy in a genre that continues to attract movie fans today. Like any fine work, the films of these famous monsters are considered "classics" in the truest sense. While the films lack the computerized special effects now used, the actors and their monsters were as convincing to their audiences as any creature created today.

It was a wonderful addition to the United States Postal Service's collection of "Pop Culture" stamps as well.

Some of the Classics also include: Godzilla, The Creature from the Black Lagoon, Quasimodo, Bride of Frankenstein, King Kong, and More.

In Connecticut, Please Mark your calendars:
The 40th Annual Witch's Dungeon House of Wax takes place in Bristol, October 6-8, 13-15, 20- 22, 27-31, 2006 (860-583-8306). The museum is devoted to the actors and make-up artists that created the classic movie monsters and will feature life-size figures based on Lon Chaney, Boris Karloff, Bela Lugosi and Vincent Price.

This Collector's Corner brought to you by: www.scgifts.biz

The 'Antique Toys' Postage Stamps Issued At
World-Renowned Strong Museum

From 2002, you'll remember those wonderful postage stamps issued by the U.S. Postal Service.

ROCHESTER, N.Y. — The U.S. Postal Service issued the four 37-cent definitive stamps depicting antique toys from the world-renowned collections of Strong Museum in Rochester.

Nicholas A. Fabozzi, district manager for the Postal Service's Western New York District, dedicated the stamps at a first day of issue ceremony held in the museum's theater. Joining Fabozzi at the ceremony were G. Rollie Adams, president and CEO, Strong Museum; Patricia Hogan, museum curator; and Rochester Postmaster John A. Montague.

Designed by Derry Noyes of Washington, D.C., the Antique Toys stamps feature photographs taken by Sally Andersen-Bruce, of Milford, Conn., of a cast-iron U.S. Mail panel truck with a spring-wound mechanism, manufactured circa 1912 by Wilkins Toy Co. of Keene, N.H.; a mechanical locomotive, 2-2-0 gauge, made of cast iron and stamped tin, manufactured circa 1880 in the U.S.A.; a cast-iron, red steam pumper with a decorative eagle and two firemen figures, made circa 1925 by Hubley Manufacturing Co., Lancaster, Pa.; and a cast-iron American Yellow Taxi made circa 1925 by Arcade Manufacturing Co. of Freeport, Ill.

Antique cast-iron toys trace technological advances made during the late 19th and early 20th centuries. Mass production of iron toys began during the 1880s when factories, stimulated by the Civil War, manufactured popular goods and toys in place of war materiel. These toys benefited from the sophisticated casting technology that allowed intricate design and realism. Each part was cast separately, then sanded, polished and joined together. These durable, brightly painted toys were popular with children and their parents, and they were sold through mail-order catalogs well into the 20th century. Today cast-iron toys are highly prized by collectors.

We offer some of the patent art from Hubley cast iron toys of the period. They are great for gift giving as they are printed on ivory parchment and matted for framing and come packaged in a clear plastic professional sleeve for giving as purchased. Price is only $12.99 each.

This Collector's Corner brought to you by home-decor-marketplace.com

Raymond Loewy, one of the principal inventors of modern industrial design, redefined the look of everything from logos to locomotives. For many years Loewy served as the principal designer for the Studebaker Corporation, and in 1961 they called upon him to design a new automobile to save the company. These twelve sketches were sent from Loewy's Paris office to help in the effort, which resulted in the "Avanti," a rare instance in which the merits of a product caused it to survive the failure of the company which produced it.
See several Studies of the Avanti by Mr. Loewy

Loewy's relationship with the Pennsylvania Railroad began in the early 1930s, when he approached railway president Martin W. Clement and voiced his desire to design locomotives. The T-1 design was the last steam engine the Pennsylvania Railroad used before switching to diesel-powered engines.

Drawing on his extensive experience in the design and operation of the automobile, Loewy succinctly sketched the basic elements of this "safety car" design for Cornell University, in order to arrive at a design solution that was both attractive and secure.

At Steve's Collectibles, we offer many of Mr. Loewy's designs as Patent Art. Matted for Framing...Click here to see Patent Art

This information is provided by: www.stevescollectibles.net