AAW Stock: No. 112 "Ioneta"

General
We need to set the record straight that the proper title for this design is Ioneta with an “I”, not Joneta with a “J.” Between the font style and the design (and probably minor condition issues on various example) it’s easy to see why some (including Hager) may have interpreted it as Joneta. We do not find Ioneta as a proper name; however, it appears to be a diminutive of Ione, an ancient Greek name meaning violet. So Ioneta would be “little violet.” In Greek mythology, Iona was a sea nymph although we can’t seem to find much in the way of a story related to her. Ione has been used as a name in the English speaking world since the 19th century.

The design carries the signature of Raphael Beck (November 16, 1858 – May 29, 1947), an American artist born in Lancaster, Pennsylvania. He is best known for his work related to the Pan-American Exposition. Named after the famous painter (high Renaissance painter Raphael), Beck was the oldest of the eight children of J. Augustus Beck, an accomplished artist who designed the bas relief at the foot of the Washington Monument. After studying with his father, he traveled to Europe for two years to study in Munich with the famous landscape artist, Paul Weber, and then at the Académie Julian in Paris.

After his return to the States, Beck began his first major commissioned work, a series of murals for the capitol building in Harrisburg, Pennsylvania. Around this time, he also settled in Lockport, New York and established a studio in Buffalo. Beck produced a wide variety of artworks including stained glass windows, life size masks, etchings, oils, watercolors, and large murals, including a mural of the opening of the Erie Canal, an oil painting of the pilgrims landing at Plymouth, Massachusetts, and a portrait of General Lafayette among others.

With regard to the 1901 Pan American Exposition (or World’s Fair), Beck's design was chosen as the official logo from over 400 entries; Beck was awarded $100 for his work. The logo of two women in the shape of North and South America, holding hands through Central America came to be the most recognizable symbol of the Pan-American Exposition and was copyrighted in 1899. His design appeared on a variety of souvenirs ranging from paperweights, pins, and postcards to decks of cards, toothpick holders, and clocks, although the Exposition's executive committee had originally planned to use the Beck design "only for dignified purposes". Realizing its popularity, however, the committee decided to profit from the design as much as possible by selling it to manufacturers. As a result, the use of the logo was so prevalent that it was on "everything that didn't move and some things that did.” Tray collectors will likely recognize the tray version that was produced <insert image here>.

Sahling has no entry for this design.

Shape & Rim and Advertising Placement
Known tray examples are all small oblongs (11x14) with black rims and gold advertising text. We’ve also encounter several rectangular TOC sign versions.

Hager & Price
Hager does discuss this design under “The Question Marks” subsection, noting that “Joneta <sic> falls in the same number range” as Evangeline which he projects as 108, 109,110 or 112 which usually carry a 1910 copyright. He further notes that “Joneta <sic> from Chicago’s BULLFROG BEER is one of the most beautiful and elusive Chicago trays!” Although he does not include No. 112 in his date introduction table, he was correct about the copyright date and that No. 112 was a potential stock number for this design (he was incorrect about Evangaline). Prices for both brewers and non-brewers tend to run on the high side compared to other designs. Brewers tend to run in the strong three figures with several examples over a $1000. This is one of the few designs where we’ve encountered non-brewery examples achieving four figures (a very nice Pocahantas Fuel Co tray).