The 'Stock' Exchange
Haeusermann Litho. Co. 'Gentleman with Black Hat'
Haeusermann Litho. Co. 'Gentleman with Black Hat'
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Date: Pre-pro
Size: 13" Inverted Pie
12" SS Dish
Scarcity: Uncommon
Value: $$$ to $$$$
Condition & Brewer Dependent
Size: 13" Inverted Pie
12" SS Dish
Scarcity: Uncommon
Value: $$$ to $$$$
Condition & Brewer Dependent
Confirmed Brewer used Stock Trays
Kelly House
Medina, NY
12" SS Dish
12" SS Dish
Lacawanna Brewing Co.
Scranton, PA
13" Inverted Pie
13" Inverted Pie
Record Brewing Co's
Elmira, NY
12" SS Dish
12" SS Dish
Reichard & Weaver Brewery
Wilkes-Barre, PA
13" Inverted Pie
13" Inverted Pie
Non-Beer Related & Non-Tray Uses
One thing that is oddly noticeable is the gentleman's hands, which seems to be out of proportion to his body but also with each other (note his left hand, which is holding the glass, appears smaller than the right hand). In addition, both hands just seem awkward. It's well known in art circles that hands are one of the most difficult things to draw/paint for an artist given the many different bones and muscles that can result in infinite variations in the shape of the hand. A review of early western art demonstrates this difficulty in many works and if an artist wanted to show off his mastery, he would prominently include the hands in the composition. Michelangelo's painting from the Sistine Chapel of God and Adam is a clear example of the artist showing off his mastery.
General
We've had a tendency to think of this design as Haeusermann's "cavalier" probably influenced by the numerous other "cavalier" type examples from other manufacturers, most notably Shonk. However, a more careful consideration of the gentleman depicted fails to reveal any hints of the martial accoutrements (sword, armor, etc.) one would expect. Instead, we've come to view him as a "gentleman" or perhaps minor noble with clothing that seems more suited to fashion (e.g., the ornate collar and cuffs, the embroidered gold trim) than the functionality necessary for a military occupation.
If this design had been from Meek & Beach, Shonk or one of the other early major manufacturers we would have suspected it was based on an actual portrait that had been purchased on a buying trip to Europe as we know both Jasper Meek and Charles Shonk did. However, that practice had fallen out of favor by the time we believe this design was produced (1910+) and we have been unable to locate any portrait or artwork that might have served as a direct inspiration. There are plenty of 17th and 18th century portraits, especially of Dutch origin, that might have indirectly inspired this design.
Unfortunately, this design is not signed, nor do we know anything about the artists who worked for Haeusermann or with whom they would have commissioned such a work. We lean toward believing the figure is drawn from a Dutch influence based on the collar and his vague "Van Dyke" style facial hair, named after 17th century Flemish painter Anthony Van Dyke.
We've had a tendency to think of this design as Haeusermann's "cavalier" probably influenced by the numerous other "cavalier" type examples from other manufacturers, most notably Shonk. However, a more careful consideration of the gentleman depicted fails to reveal any hints of the martial accoutrements (sword, armor, etc.) one would expect. Instead, we've come to view him as a "gentleman" or perhaps minor noble with clothing that seems more suited to fashion (e.g., the ornate collar and cuffs, the embroidered gold trim) than the functionality necessary for a military occupation.
If this design had been from Meek & Beach, Shonk or one of the other early major manufacturers we would have suspected it was based on an actual portrait that had been purchased on a buying trip to Europe as we know both Jasper Meek and Charles Shonk did. However, that practice had fallen out of favor by the time we believe this design was produced (1910+) and we have been unable to locate any portrait or artwork that might have served as a direct inspiration. There are plenty of 17th and 18th century portraits, especially of Dutch origin, that might have indirectly inspired this design.
Unfortunately, this design is not signed, nor do we know anything about the artists who worked for Haeusermann or with whom they would have commissioned such a work. We lean toward believing the figure is drawn from a Dutch influence based on the collar and his vague "Van Dyke" style facial hair, named after 17th century Flemish painter Anthony Van Dyke.
Aside from the figure himself, the design incorporated a fair amount of "blank space" on the face of the tray, which we believe is an indication of its later date of production. Early designs from other stock manufacturers were more elaborate and artistically interest; however, they often didn't accommodate advertising text so well. If you pay attention, you begin to notice that designs tended to get simpler over time to accommodate such advertising more readily and given Haeusermann's later entry into the tray market they were already aware of this design principle.
Similarly the Haeusermann’s Bulldog design, all known examples are from either New York or Pennsylvania suggesting a limited reach to the company’s sales efforts. Also, both PA examples (Lackawanna and Reichard & Weaver) are members of the Pennsylvania Central Brewing similar to the Bulldog examples from John Arnold and Peter Krantz.
Size, Shape and Advertising Placement
We have only seen 12” straight-sided dishes and 13” convex pie shapes for this design. The limited number of examples we are aware of all only have advertising text on the rim, not the face of the tray. The 12” versions have black rims with red or gold text; the 13” versions feature red rims with white text outlined in either black or gold. We have never seen a plain stock version without advertising.
Price
Unfortunately, we have very limited data on pricing for these trays and what we do have is mostly for less than average examples. Given that most of these breweries are fairly small we expect that decent examples (if they could be found) would command prices starting in the mid-three figures.
Similarly the Haeusermann’s Bulldog design, all known examples are from either New York or Pennsylvania suggesting a limited reach to the company’s sales efforts. Also, both PA examples (Lackawanna and Reichard & Weaver) are members of the Pennsylvania Central Brewing similar to the Bulldog examples from John Arnold and Peter Krantz.
Size, Shape and Advertising Placement
We have only seen 12” straight-sided dishes and 13” convex pie shapes for this design. The limited number of examples we are aware of all only have advertising text on the rim, not the face of the tray. The 12” versions have black rims with red or gold text; the 13” versions feature red rims with white text outlined in either black or gold. We have never seen a plain stock version without advertising.
Price
Unfortunately, we have very limited data on pricing for these trays and what we do have is mostly for less than average examples. Given that most of these breweries are fairly small we expect that decent examples (if they could be found) would command prices starting in the mid-three figures.
