The 'Stock' Exchange
Haeusermann Litho. Co. 'Monarch of the Glen'
Haeusermann Litho. Co. 'Monarch of the Glen'
Click the Picture to return to Haeusermann Litho Co. Stock Catalog Page
Date: Pre-pro
Size: 16.5" x 13.5"
Style: Inverted Pie
Scarcity: Uncommon
Value: $$$ to $$$$
Condition & Brewer Dependent
Size: 16.5" x 13.5"
Style: Inverted Pie
Scarcity: Uncommon
Value: $$$ to $$$$
Condition & Brewer Dependent
Confirmed Brewer used Stock Trays
Non-Beer Related & Non-Tray Uses
General
Undoubtedly the most prolific and well know stock design by Haeuserman, but also mired in confusing provenance as to manufacturing. While the majority of examples we've seen of "the Stag" have been marked Haeusermann, there are some that carry the names of Shonk, Metallograph and even Donaldson Bros. The Shonk versions have more of a muralistic feel to them, less crisp and distinct. The Donaldson example we've encountered turned out to be a sort of paper mache'. And although we have not found definitive proof, we believe that Metallograph may have been a successor company to Haeusermann. Sources indicate various ending dates for Haeusermann ranging from 1917 to 1921. We find evidence of Metallograph from as early as 1918 from a couple of legal actions they were engaged in in the New York court system And we find a listing in White-Orr's Reference Register: A Compendium of General Business References, Comprising the Financial, Commercial, Industrial and Legal Interests of the Cities of New York, Philadelphia, Baltimore, Boston, and Newark, NJ 1920 edition which uses the same address, 1100 Brook Avenue in New York that Haeusermann used.
Undoubtedly the most prolific and well know stock design by Haeuserman, but also mired in confusing provenance as to manufacturing. While the majority of examples we've seen of "the Stag" have been marked Haeusermann, there are some that carry the names of Shonk, Metallograph and even Donaldson Bros. The Shonk versions have more of a muralistic feel to them, less crisp and distinct. The Donaldson example we've encountered turned out to be a sort of paper mache'. And although we have not found definitive proof, we believe that Metallograph may have been a successor company to Haeusermann. Sources indicate various ending dates for Haeusermann ranging from 1917 to 1921. We find evidence of Metallograph from as early as 1918 from a couple of legal actions they were engaged in in the New York court system And we find a listing in White-Orr's Reference Register: A Compendium of General Business References, Comprising the Financial, Commercial, Industrial and Legal Interests of the Cities of New York, Philadelphia, Baltimore, Boston, and Newark, NJ 1920 edition which uses the same address, 1100 Brook Avenue in New York that Haeusermann used.
The Monarach of the Glen
Oil on canvas 1851
Oil on canvas 1851
As for the image itself, it is based on an oil painting by Sir Edwin Henry Landseer (1802-1873), an English painter who was a member of the Royal Academy. Landseer drew inspiration for the stag image from a poem in the collection known as "The Legends of Glenorchy."
"When first the day-star's clear cool light
Chasing night's shadows grey,
With silver touched each rocky height
That girded wild Glen-Strae,
Uprose the Monarch of the Glen
Majestic from his lair,
Surveyed the scene with piercing ken,
And snuffed the fragrant air."
Chasing night's shadows grey,
With silver touched each rocky height
That girded wild Glen-Strae,
Uprose the Monarch of the Glen
Majestic from his lair,
Surveyed the scene with piercing ken,
And snuffed the fragrant air."
Though we can’t be sure of the precise location, nobody is in any doubt that it depicts a Highland setting. Landseer was indeed an English painter, but from 1824 he made annual trips to the Highlands and painted the magnificent wildlife and landscapes of the region. The setting chosen for The Monarch of the Glen does look specific; it features steep rock faces at the left, with the mountains behind defined in grays and pinks, with billowing clouds and mist rising from the glen. The forests of Glenorchay are on the Blackmount estate in north Argyllshire, which belonged to Lord Breadalbane, and which Landseer had often visited. However, it’s also been suggested that the rocks look like a formation in Glen Quoich in Aberdeenshire. A claim has also been made for Glen Affric, a glen south-west of the village of Cannich in the Highland region.
It was in 1842 that Landseer began to focus on a single stag in his works, treating it in an emblematic manner. His painting of that year called The Sanctuary shows a stag who has been pursued by hunters and found refuge on an island on Loch Maree in the Highlands. Dramatically silhouetted before the setting sun, it is a memorable image of salvation. The titles of other works by the painter that explore related themes, such as The Stag at Bay, c.1846 (Dublin Castle, on loan from the Guinness family) and The Hunted Stag, c.1859 (The Beaverbrook Art Gallery, Fredericton) convey the elements of pursuit, threat and pathos that characterize them. What distinguished The Monarch of the Glen from such canvases is its euphoric, triumphal quality; it shows an animal in command of its environment.
Initially, the painting was conceived as part of a series of three works to be displayed in the House of Lords. However, the painting was considered inappropriate for this setting and so it was sold to a private collector and then exhibited at the Royal Academy where it was particularly popular. The Royal Academy catalogue gave the painting greater context as it sat alongside a poem called Legends of Glenorchy. Throughout the nineteenth century, the painting was widely reproduced, especially through steel engravings. In England it has regularly been used in marketing campaigns by a range of companies such as Pears Soap, John Dewar & Sons Distillery, Glenfiddich, Nestlé and Baxter’s Soup.
"Monarch of the Glen," is generally recognized as Landseer's chef-d'oeuvre. When it was painted, it was intended to occupy a panel in the Peer's Refreshment Room of the Houses of Parliament. At a sale in 1892 it realized the enormous sum of £7,245, the highest price ever paid for one of the painter's pictures. It passed into the private collection of distiller John Dewar & Sons Ltd., UK before being acquired by the National Gallery of Scotland in 2017. he acquisition was made possible thanks to a range of donations from the public, trusts, foundations and a part gift by previous owners, Diageo Scotland Ltd (who had acquired Dewars).
It was in 1842 that Landseer began to focus on a single stag in his works, treating it in an emblematic manner. His painting of that year called The Sanctuary shows a stag who has been pursued by hunters and found refuge on an island on Loch Maree in the Highlands. Dramatically silhouetted before the setting sun, it is a memorable image of salvation. The titles of other works by the painter that explore related themes, such as The Stag at Bay, c.1846 (Dublin Castle, on loan from the Guinness family) and The Hunted Stag, c.1859 (The Beaverbrook Art Gallery, Fredericton) convey the elements of pursuit, threat and pathos that characterize them. What distinguished The Monarch of the Glen from such canvases is its euphoric, triumphal quality; it shows an animal in command of its environment.
Initially, the painting was conceived as part of a series of three works to be displayed in the House of Lords. However, the painting was considered inappropriate for this setting and so it was sold to a private collector and then exhibited at the Royal Academy where it was particularly popular. The Royal Academy catalogue gave the painting greater context as it sat alongside a poem called Legends of Glenorchy. Throughout the nineteenth century, the painting was widely reproduced, especially through steel engravings. In England it has regularly been used in marketing campaigns by a range of companies such as Pears Soap, John Dewar & Sons Distillery, Glenfiddich, Nestlé and Baxter’s Soup.
"Monarch of the Glen," is generally recognized as Landseer's chef-d'oeuvre. When it was painted, it was intended to occupy a panel in the Peer's Refreshment Room of the Houses of Parliament. At a sale in 1892 it realized the enormous sum of £7,245, the highest price ever paid for one of the painter's pictures. It passed into the private collection of distiller John Dewar & Sons Ltd., UK before being acquired by the National Gallery of Scotland in 2017. he acquisition was made possible thanks to a range of donations from the public, trusts, foundations and a part gift by previous owners, Diageo Scotland Ltd (who had acquired Dewars).
Price
Average examples of stock samples or from small non-brewing concerns generally range in the mid to upper double figures. Average condition brewery examples and better than average examples from non-brewers range from high double figures to low triple figures. Better condition brewery examples and ones from obscure breweries range for the low-mid triple figures into the low four figures.
Average examples of stock samples or from small non-brewing concerns generally range in the mid to upper double figures. Average condition brewery examples and better than average examples from non-brewers range from high double figures to low triple figures. Better condition brewery examples and ones from obscure breweries range for the low-mid triple figures into the low four figures.
Becks Brewing Co.
Alpena, MI
Consumers Brewing Co.
Savannah, GA
Elk Run Brewing Co.
Punxsutawney, PA
Fort Schuyler Brewing Co.
Utica, NY
Hinckel Brewing Co.
Albany, NY
Hinckel Brewing Co.
Albany, NY
Hinckel Brewing Co.
Albany, NY
Independept Brewing Co.
Chicago, IL
Joplin Brewing Co.
Joplin, MO
Kalispell Brewing & Malting Co.
Kalispell, MT
Keystone Brewing Co.
Dunmore, PA
Mt Clemens Brewing Co.
Mount Clemens, MI
Mount Hood Brewing Co
Portland, OR
New England Brewing Co.
Hartford, CT
- Kauffmann & Strauss -
- Kauffmann & Strauss -
Pontiac Brewing Co.
Ponitac, MI
Port Townsend Brewing Co.
Port Townsend, WA
Record Brewing Co.
Elmira, NY
Royal Brewing Co.
Kansas City, MO
J.G. Schemm Brewing Co.
Saginaw, MI
Schutz & Hilgers Jordan Brewery Inc.
Jordan, MN
Sheridan Brewing Co.
Sheridan, WY
Spokane Brewing & Malting Co.
Spokane, WA
John Wieland Brewery
San Francisco, CA
Aug. Baetzhold
Deer Run Whisky
Buffalo, NY
Buffalo, NY
Aug. Baetzhold
Deer Run Whisky
Buffalo, NY
Buffalo, NY
Deere & Webber Co.
John Deere Farm Impliments
Minneapolis, MN
Minneapolis, MN
B.P.O.E. Philly Elks Convention
Philadelphia, PA
Ullman-Einstein Co.
Elk Ridge Wiskey
Cleveland, OH
Cleveland, OH
U. Botta & Co.
Paterson, NJ
- Metallithograph Corp -
Believed to be Succesor of Haeusermann Litho Co.
- Metallithograph Corp -
Believed to be Succesor of Haeusermann Litho Co.
Painted in 1851, the Monarch of the Glen encapsulates the grandeur and majesty of Scotland’s Highlands and wildlife. It has become emblematic of Scotland and the natural wonders the country embodies. Large in size, the painting depicts a royal stag in fine detail surveying the rugged landscape; gorse and bracken are in the foreground whilst dramatic cliff faces and escarpments form the backdrop. The composition is unified by swirling mist which rises up from the glen and merges with the billowing clouds that mask the mountain tops. There are some minor differences between the original painting and the tray versions of each manufacturer; primarily the landscape features rocky crags, more sky, and less grassy foreground. In addition, Landseer’s stag is slightly more stocky and his “maleness” less prominent.
Later, this image became strongly associated with the Hartford Insurance company. There is an oval tin painted sign of the Hartford Insurance Stag. Measures 19 3/4" wide x 23 3/4" high, which we are not entirely sure was produced by Haeusermann. On the back it reads:
"The Monarch of the Glen, After Sir Edwin Landseer's famous painting. A "hart fording a stream" has been a part of the coat of arms or seal of The Hartford Fire Insurance Company since the corporation was established in 1810. There is a connection between the design and the seal of the city from which the Company took its name. Furthermore the hart or stag, has long been recognized as symbolic of guardianship and watchfulness. In this use, it has long been identified with the printed literature of the "Hartford." Hartford Fire Insurance Company, Hartford, Connecticut. This picture is presented to you with the compliments of the Company in the belief that it will be an ornament to your office."
Size, Shape and Advertising Placement
This design shows up most frequently as a 12" round straight-sided dish, usually with a black rim and gold advertising text on the rim, although there are a few examples with a red rim and gold text. The only example we've seen with text on the face is from U Botta & Co. (olive oil) of Patterson, NJ which is the one example marked Metallograph, New York. As a tray, it also occasionally shows up in oval form with a green marble rim similar to the "Girl with Flowers" and gold text both on the rim and the face of the tray. Finally, in addition to the large oval sign version for Hartford mentioned above, we have encountered a number of 10" plate versions, frequently with advertising on the back. See below to distinguish between Haeusermann, Shonk and Metallograph.
This design shows up most frequently as a 12" round straight-sided dish, usually with a black rim and gold advertising text on the rim, although there are a few examples with a red rim and gold text. The only example we've seen with text on the face is from U Botta & Co. (olive oil) of Patterson, NJ which is the one example marked Metallograph, New York. As a tray, it also occasionally shows up in oval form with a green marble rim similar to the "Girl with Flowers" and gold text both on the rim and the face of the tray. Finally, in addition to the large oval sign version for Hartford mentioned above, we have encountered a number of 10" plate versions, frequently with advertising on the back. See below to distinguish between Haeusermann, Shonk and Metallograph.
