Confessions of a Mechanical Bank Collector
The Edwin Mosler Mechanical Bank Sale
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1982 

     When I was first approached to write an article on the dubious distinction of being first in line for the June 2nd sale of the Edwin H. Mosley collection of mechanical banks at the Statler Hilton, my first thoughts were to deny the entire experience. However, after some contemplation, I couldn't resist relating the tale of a man obsessed in his desire to own a bank belonging to one of the most prestigious collectors of all time — the late Edwin Mosler.
     The fact that Ed had taken great pleasure in the ownership of one of my favorite mechanicals gave impetus to my desire to acquire it. The purchase of this treasure involved the planning of how far in advance of the sale must one begin standing in line. A month? Two weeks? A day? After all, the ad announcing the bank sale did state "choice of banks would be handled on a first come-first served basis."
     I began wondering if anyone else was already standing in line. The sale was, after all, only six weeks away. I immediately took a discreet stroll up to the sixth floor of the Statler Hilton. Whew! No one standing in front of Suite 600A, the office housing the Mosley collection. I still had time to station a human body in front of the Mosler suite to insure my number one position in line. I found this desperate soul on an unemployment line in Brooklyn, and coincidentally he was in the number one position there. This individual was perfect — a recent graduate from college in need of a job and possessing unquestioning patience. After introductions and discussion of mechanical banks, I was convinced that my search need not continue. I had found "Ira."
     On Friday, May 28, at noon. both Ira and I met in front of Suite 600A. What luck. Only five days before the sale and still no one had arrived. Ira didn't know what to make of the situation, but he didn't object since I had given him his first payment in advance; however, I did catch him eyeing me suspiciously for the next few days.
     I proceeded to rent a room on the sixth floor, not more than twenty feet from the infamous Suite 600A, where I slept the next five nights as Ira stood vigil — a beer in one hand and a book in the other.
     Saturday approaches: I'm still number one, and Ira is second. We discuss the uneasy feeling that, perhaps, we are wasting our time and have arrived too far in advance. As doubt creeps in, Ira glibly reassures me that" the early bird catches the worm," and asks for his next day's pay.
     Secure in the knowledge that my new found friend will hold the numbers one and two spots in line. I remain free to spend my nights dreaming of that "one great bank" — the reason I am willing to "vacation" at the Statler. The alarm rings; seven hours have passed, and it is time for me to take over for Ira. He informs me that overnight, he had made friends with all of the security guards. In fact, he has convinced them, as well as the hotel guests of the sixth floor, that he is, indeed, one of the security guards!
     As day four approaches. I notice that my protégé is getting caught up in the passions of bank collecting. He actually begins to think he's there to add banks to his collection. Ira rambles on about owning the Mikado, the Bread Winners, the Shoot the Chute. Too bad the Freedmans has already been sold off. With some trepidation, I must burst his bubble. Ira is informed of the prices of the banks of his fantasy. A momentary depression follows, but he immediately bounces back when I tell that we're having his favorite for dinner this evening — Chinese food.
     Day five: another standee shows up. Sent by a Mr. S.S. from Chicago, this person stakes out the number three spot in line. Soon afterwards, Mr. I.A.M., another Chicagoan appears on the scene. He is a bit disappointed at the realization that others are ahead of him, but graciously accepts the number four position on the line. It is somewhat reassuring to see other people waiting, proving that there are other obsessed persons in this world of bank collecting.
     Before long, who should appear but the famous toy dealer, Mr. F.W. from Baltimore, Maryland. A look of frustration and dissatisfaction appears upon his face as he sees that there are four people ahead of him. It is difficult for someone as determined as F.W. to realize that others are possessed with equal determination.
     As additional people began arriving, I realized that my first bank choice was also the first choice of 90% of the other collectors. Within three hours, the hallway in front of 600A becomes crowded with people. Suddenly, security guards and the manager of the Statler are upon us. We are told to disperse or "be removed bodily." In an attempt to retain our positions in line, the standees already there form a numbered list as more people show up for the sale, they are assigned a place on that list. Mr. I.A.M. from Chicago graciously allows his room to serve as the registration center and Ira is called upon to register the new arrivals.
     The day of the sale approaches; there is electricity in the warm, stuffy hotel air. People are frantically offering both Ira and myself large sums of money for our places in line. I stand firm, but will Ira submit? No way! Ira can't wait to enter that forbidden room housing 600 of Edwin Mosler’s mechanical banks. He will actually see and touch many of those elusive objects we so passionately pursue.
     The moment we have all been waiting for arrives — 10 a.m., Wednesday, June 2nd. Lines are formed once again outside of Suite 600A according to the numbers on our unofficial list. At that time we are offered official numbered tags that are to be used as admission places for the sale, which will begin at 1 p.m. sharp. As I am handed the small yellow tag with the number "ONE" written on it, I may now be assured of that one prized bank which I've been waiting in line for all of these days. Ira is handed the number two tag, Mr. S.S. the number three, Mr. I.A.M. number four. Mr. F.W. number five, and so on, and so on....
     At last, 1 p.m. — "Sale Time." The doors of 600A are flung open and the line of people enter in an orderly fashion (after having been advised if they should become disorderly, they'll be ejected on their butts). As I enter Ed's office —the same room in which I've spent so many memorable hours engaged in friendly bank conversation with Ed — a sadness passes over me. Ed's banks, which had meant so much to him, are in evidence, but Ed is no longer here to enjoy them. The outward appearance of the office remains unchanged, but it now lacks the warmth and friendliness imparted by its former occupant. It is with difficulty that I glance at his chair as I pass the large walnut desk. Reluctantly I proceeded to remove my number one bank from its place on the shelf, as well as thirty-seven others for various collector friends.
     After payment is made, my friend Ira bids me farewell. I am thanked for this unbelievable experience and for the new world which has been opened to him.
     As I leave Suite 600A for the last time, carrying many of the great Mosler rarities, I notice another collector friend has been eyeing me enviously. Not being able to resist the impulse. I stop and ask him whether he thought it was a crazy idea to endure the tedium of waiting just for that number one tag. The collector looks at me, shakes his head, and replies, "Yeah, crazy like a fox."

The Girl Skipping Rope Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1982 

     This article will deal with "The Girl Skipping Rope." which I believe to be possibly one of the most esthetically pleasing mechanical penny banks ever manufactured. Other mechanical banks may have as their subject matter unsavory depictions of ethnic and racial groups, clowns, animals and bizarre creatures represented oftentimes in peculiar situations, beings having their heads battered, whacked and cracked, and grotesque greedy gargoyles gobbling coins. However, in the Girl Skipping Rope, we see a young beauty who possesses the most delicate of facial and bodily proportions — a bank that truly reflects the innocence and naivety of childhood.
     Wind up this mechanical bank, deposit a penny and the little girl will skip rope just for your entertainment. Her head gracefully turns from left to right and. as her legs swing back and forth the braided golden rope she holds in her hands passes over her head and under her feet.
     Patent papers (figure 2) attest to the fact that the bank was patented on May 20. 1890 by James H. Bowen of Philadelphia, Pennsylvania, and assigned U.S. Pat, No. 428,450. (An interesting observation was the fact that the patent papers depict a Negro girl rather than a Caucasian.) The Girl Skipping Rope was manufactured by the Stevens Company, an iron foundry, located in Cromwell, Connecticut. Incidentally, an early Stevens' catalog identified this mechanical as "The Jumping Rope Bank."
     It can be said that much of the rarity of this bank is attributed to the difficulty the Stevens Company had in casting the delicate open floral designs of the external casing that houses the bank's gears, spring and fly wheel. Because of the complexity of the casting process, few banks were successfully produced unflawed, and this was reflected in its high price to consumers (approximately four times that of other mechanical banks produced and sold in those years).
     As to the colors which the bank was painted, variations were limited to the girl's dress. On some, the colors are combinations of red, blue, white and beige; others are found painted in pale yellow, cream, white and light blue, while still others dress the little girl in pastel green, cream, white and pale yellow. Her cap may be either red or light blue, with both variations sporting a gold star design. Her tights are always beige-colored, and the high button shoes are light brown and black. The girl's delicate face and hands are always a natural pink flesh color and her hair is blond.
     At the end of the cap there appears an eyelet. Originally, this supported a multi-colored thread tassel. The example of this bank pictured in Figure I shows a tiny antique bell attached to the eyelet. This was apparently a replacement for the tassel by the original owner. Because of the historical charm which I feel it lends to the bank. I chose to leave the bell intact.
     The cage for the fly wheel, which is to the left side of the girl, is red and yellow with blue trim, while the major housing has sides that are red and green. A gray squirrel huddles just under the winder key. The base of the bank is green with gold trim and the support bar that holds the girl is blue.
     Last, but by no means least, the braided jump rope is gold. It is interesting to note that the rope was made from iron in some examples of the bank and of brass in others. Cast iron is brittle and resulted in numerous breakages. Thus, in order to alleviate the problem, the less fragile metal, brass, was incorporated into its design.
     The Girl Skipping Rope came with a detachable nickel plated crank-like winding key. To find a bank with the original key is a rare feat in itself.
     This particular mechanical bank, to my knowledge, has never been reproduced. However, if some unscrupulous person should take it upon himself to bless us with several of his private castings. I have included a base diagram identifying the bank's size and proportions (Figure 3). Unless cast from an original pattern, the dimensions of the Girl Skipping Rope will be approximately 1/8 inch smaller than the original bank. This is due to the shrinkage of the molten cast iron after it cools.
     The value of a good, all-original Girl Skipping Rope bank has increased over 300% in the past few years — quite an investment when one considers today's economy.
     In conclusion, I caution purchasers of any antique mechanical banks to be wary of reproductions and recasts, as they persistently haunt many unsuspecting dealers and collectors. 

The Acrobats Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1983 

     The Acrobats Bank, in my opinion, is unrivaled in capturing the excitement, thrills, and wonderment of the Big Top. Examples of other mechanical banks which represent circus gymnastic performers and balancing acts are the Clown on Globe, Boy on Trapeze, and the Tin on Bar. But these only portray solitary Figures and do not even approach the precision of movement and action of the Acrobats bank.
     In order to operate the bank, first place a coin in the slot to the right of the clown figure standing on the raised platform. Then press the lever behind the acrobat's heels, and this agile gymnast will execute a perfect hand stand on the bar above his head. Simultaneously, the tips of his toes will sharply kick a spur on the clown's chest, provoking a somersault that causes the clown's head to strike a lever which is responsible for the deposition of the coin. Quite a complex action!
     The Acrobats bank was patented on April 3, 1883, by Edward L. Morris of Boston, Massachusetts, and assigned U.S. Patent Number 275,068. It was interesting to note that the patent designates the coin slot be located between the clown's legs. However, the bank was manufactured with the coin slot on the outside, adjacent to his right leg (fig. 1).
     The Acrobats bank is fastened together entirely with rivets and riveted tabs; no screws are used. Thus, it is quite easy to tell whether any repairs have been made or a part has been replaced. One part, in particular, which usually shows up broken, is the hands of the gymnast. It is an extremely delicate casting and, because of the bank's strong spring, usually fails when placed tinder great stress and shock.
     The Acrobats was produced in two color schemes. However, variations in color are limited to parts of the bank other than the figures themselves. On all banks, the clown has pink skin, black eyes and eyebrows, and red mouth. His shirt is blue with a yellow collar. He sports red knickers, white stockings and shiny black shoes. Perched upon his head is a bright red and orange hat. The acrobat wears a white leotard top and tights, and these are outlined in dark blue. His trunks and boots are red and he has a wide, black belt. His face and hands are pink, while his hair, eyebrows, eyes and suave, handlebar moustache are black. The color variations are: one type has a dark blue base, tan support posts and a blue top with yellow stripes. The raised platform is red with a tan sawtooth design at the lower half.
     The banks also vary mechanically. Some have a small raised stop just behind the left heel of the clown. The purpose was to prevent the heel of the figure from accidentally hitting the lever and depositing the coin prematurely.
     The Acrobats bank has been reproduced and, because of this fact, I have included a base diagram indicating its exact size (fig. 2). A reproduction will measure approximately 1/8 inch smaller along the base than the original bank. This is due to the shrinkage of the molten iron after it cools.
     The Acrobats is extremely difficult to locate in all-original, unbroken condition, and is to be considered quite rare when found with superb paint.
     In conclusion, I once again caution purchasers of antique mechanical banks to be wary of reproductions. Knowledge and awareness of their existence are probably the collector’s greatest assets in avoiding frustrating and costly purchasing errors.

The Zig Zag Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1983 

     Countless collectors have spent numerous hours speculating about it: few have actually known about it; five have seen it: only one owns it. And now — presented to the mechanical bank collecting public — we have the legendary Zig Zag mechanical bank.
     Here we see a bank of such fragile construction and delicacy of casting that it is truly a wonder one, has survived the ravages of time, let alone children. To my knowledge, this is the only example of the Zig Zag in existence.
     The bank is operated by placing a coin in a slot atop of St. Nicholas' hat (Fig 1). The coin then rolls, by its own volition, first to the left, and then to the right, down a zig zag track behind the decorative front plate. This action takes place in full view of the depositor. As soon as the coin drops past the last zig, or zag, as the case may be, it hits a lever which releases a lid, and up pops a Jack in the box (Fig 2). Quite a pleasant reward from Father Christmas to little children who exhibit the admirable quality of thrift.
     The Zig Zag bank was patented October 22, 1889, by Moses Newman and George Henry Bennett of New York, and assigned Patent Number 413,204. An interesting note about the patent papers (Fig. 3) is that the face of St. Nicholas does not appear to be a part of the original design. It was, perhaps, an afterthought of the manufacturer — a seasonal improvement to possibly enhance sales as an item for Christmas.
     The colors of the Zig Zag bank are as follows: St Nicholas, as the classic jolly Christmas spirit of the 1800s, sports a gray cap with a blue brim and a red tassel. His face is a pink flesh color with red cheeks and a rosy, bulbous nose. His hair, eyebrows, moustache and heard are white. The internal zig zag track and stars, that can be seen through the front plate, are white, orange and light blue.
     The front plate and the container that houses the Jack in the box, as well as the back and bottom of the bank, are all painted a glossy, royal blue enamel. The words "Zig Zag Bank" are stenciled in gold letters on the front of the box. The words "Pat'd Oct, 22nd 1889" appear, in raised gold letters, on the cast iron front of the bank just above the lid of the box. Jack has a cloth cap and body with red, blue, yellow and white floral designs. His face is gesso-covered, finely molded papier-mâché and is painted white with black eyes, rosy red cheeks, red lips, and white teeth outlined in red. There is a jingle bell inside Jack's body so that, whenever he is activated, his jump is joined with the sounds of jingling. This, coupled with the face of St. Nicholas, adds much to the magic and ambiance of Christmas.
     The entire bank is fastened together with bent pins and a type of flat head rivet. These unique details, coupled with the Zig Zag's finely detailed casting and glossy, blue enamel paint, lead me to believe that the bank might have been manufactured by the Keyser and Rex Company of Philadelphia.
     The dimensions of the bank are 12-1/4 inches high by 4 inches wide.
     The Zig Zag bank now resides in the fine collection of the prominent mechanical bank collector, Mr. Al Davidson of Long Island. I am most pleased to have been instrumental in its acquisition, which came about two weeks prior to this Christmas of 1982.
     Yes, Al, there really is a Santa Claus!

The Two Frogs Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1983 

     Frogs, and toads, have been the subjects of many mechanical banks and are, therefore, no strangers to the world of the mechanical bank collector. Among the many fine representations of this subject matter are "Professor Pug Frog's Great Bicycle Feat," "Chief Big Moon, "Frog on Rock," "Toad on Stump," "Frog on Round Base," "Snake and Frog in Pond," "Frog on Arched Track, " "Goat, Frog and Old Man," and "Initiating First Degree."
     The topic for this month's article will be the "Two Frogs" bank, which, in my opinion, is not just one of a family of mechanical banks, but the most artistic and unique of the group. This mechanical not only displays more than one frog but also possesses an almost bronze-like, nature study quality in both design and decoration.
     Unfortunately, the feeding habits of frogs are not accurately depicted, as evidenced by the operation of the bank. Place a coin on the front legs of the small frog, and press the lever behind the large frog: the baby frogs flipper then kicks the coin into "mama's" gaping mouth. Because of a poorly designed casting, this flipper has not fared too well under constant and harsh usage, and has become the bank's "weak spot." Most often, the "Two Frogs" bank is found sans flipper or with one that has been repaired.
     James H. Bowen was the inventor of the bank, and was granted Patent Number 262,361 on August 8. 1882 (Fig. 1). In researching the history of the "Two Frogs", I discovered two interesting facts regarding the aforementioned patent papers. The first is that the specific patent number represents and protects four totally different mechanical banks designed by James Bowen, three of which are completely unrelated to the subject of frogs. Those three are "Reclining Chinaman," "Paddy and the Pig", and "Elephant and Three Clowns."
     The second fact is that the drawings show an internal gear-activated device that, as Bowen stated, "is supposed to produce sounds or tones in imitation of the croaking of frogs." Unfortunately, this device was never actually incorporated into the mechanism, although it certainly would have been a most charming addition to this fine bank.
     The "Two Frogs" has a design variation which pertains to a coin baffle in the large frog's throat. The purpose of the baffle was to prevent deposited coins from being shaken out of the bank through the mouth. Some banks incorporate this baffle device while others do not.
     The "Two Frogs" paint scheme is extremely attractive and quite realistic. The large frog is a light yellow-green, overpainted with a transparent brown japanned glaze. She has a red mouth and brown glass eyes with black pupils. The baby frog is dark green with a red mouth and black glass eyes rimmed in yellow. Both mom and baby have a lemon-yellow underbelly, and both recline on a light colored aqua blue base with dark aqua blue pond grass designs.  
     The base plate is embossed with the words, "Eng Pat July 28. 1882, U.S. Pat Aug. 8. 1882", and is made to accept the round Stephens type of coin trap.
     In view of the fact that the "Two Frogs" bank has been reproduced, I am including a base diagram (Fig. 2) indicating the size of an original bank. A reproduction will measure approximately one-eighth of an inch smaller along the base than the original.
     The "Two Frogs" is extremely difficult to acquire in all-original, unbroken condition because of the aforementioned fragile flipper. Thus, a word of caution: be wary of "Two Frogs" banks bearing false flippers.

The Reclining Chinaman Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1983

     Historically, minority groups in this country have borne the brunt of hostility and ridicule. During the mid-to-late-1800s, the United States underwent a dramatic growth change due to immigration. A new racial element entered the American scene with the arrival of persons of Oriental background. Their presence posed serious problems for 19th century America. Although economic factors were important considerations, the major problems were difficulty in assimilation and the attitudes which prevail towards minorities. This article will deal with a creation of those times, the "Reclining Chinaman", a mechanical bank which is representative of the prejudice and stereotyping that was directed specifically against the Chinese people.
     The bank portrays the Chinese as having a "sardonic" smile, a penchant for gambling, shrewdness in money matters, using logs instead of chairs or beds, and living with, and using rodents for sustenance. Unlike banks such as the" Girl Skipping Rope" which offers esthetic value in its grace and beauty, the" Reclining Chinaman's" value lies in its historical and anti-racial theme.
     The smiling" Chinaman" holds his concealed poker cards in his right hand, while left hand is extended. His gestures tempt one to see his bet in order to be shown the cards. A penny is placed in the pocket of his tunic, and the lever at the far end of the log is pressed. At that moment his left hand moves towards his mouth as if to cover a victorious snicker. The "Chinaman" then displays his hand of four aces. Simultaneously, the money is deposited into the bank. At this point, I must offer a word of caution. The arms and hands are the "weak spots" due to their delicate casting, sharp action and precarious position. When a "Reclining Chinaman" bank is found, the chances are great that either one or both of the arms and/or hands will be broken.
     The "Reclining Chinaman" bank was invented by James H. Bowen of Philadelphia and was granted Patent number 262,361 on August 8, 1882. While researching this particular patent, an interesting fact emerged. The same patent papers that protect the "Reclining Chinaman" also apply to the "Two Frogs", "Paddy and the Pig", and the "Elephant and Three Clowns" mechanical banks. However, the patent papers make no reference to any figure other than the "Two Frogs" shown in its drawings (Fig. 1).
     The "Reclining Chinaman" was produced with two color variations but these pertain mainly to the clothing of the "Chinaman" and the drape upon which he leans. All other parts of the bank are painted in a standardized color scheme. The base and log area reddish brown; the two ends of the log are pale orange. The rodent under the subject's leg is gray with black eyes. The "Chinaman's" face, hands and arms are a natural pink flesh color. He has black hair, queue and eyebrows. His eyes are painted white with black pupils, and his lips are red. The cards in his right hand have reddish brown backs, while the other side has a white ground with a red heart painted on one card, a black club on the second, a black spade on the third, and a red diamond on the fourth card.
     The color variations previously mentioned are as follows: on some banks the drape which the "Chinaman" rests upon is dark purple with a yellow fringe; on others, it's painted light blue with a yellow fringe. On the banks with the purple drape, the "Chinaman's" tunic is dark blue with yellow piping, collar and buttons. He has pale yellow pants, white socks and black shoes with white soles. On the banks which have the light blue drape, the "Chinaman" dons a dark purple tunic with yellow piping, collar and buttons. He wears light blue pants, white socks and black shoes with white soles.
     The base of the bank accepts the round Stephens coin trap, indicating it was manufactured by the Stephens Foundry of Cromwell, Connecticut. The words "ENG. PAT. JULY 1882. U.S. PAT. AUG 8, 1882" are embossed into the base plate.
     To the best of my knowledge, the" Reclining Chinaman" bank has never been reproduced commercially. Nevertheless, I am including a base diagram (Fig. 2) to better acquaint you with its size and scale.
     On a final note — the "Reclining Chinaman" is a bank of extraordinarily fine casting and design. Combined with its odd subject matter and historical significance it has not only become one of my favorites, but one which most serious mechanical bank collectors take great pride in owning.

The Elephant and Three Clowns
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1983

     The Elephant and Three Clowns is a tiny gem of a bank encompassing all of the charm and excitement of the circus. Although it is one of the smallest of the mechanicals, its size does not detract from its desirability.
     The bank is one of a large family, portraying that most amusing and entertaining denizen of the Big Top: the beloved clown. Other mechanicals in this group are: Acrobats; Bill-E-Grin; Circus; Clown and Dog; Clown Bust; Clown on Bar; Clown on Globe; Hoopla; Humpty Dumpty; Jolly Joe; Clown and Harlequin; Professor Pug Frog; Punch and Judy; Trick Dog; and the Zig-Zag Bank.
     The Elephant and Three Clowns was patented on July 28, 1882, by James H. Bowen of Philadelphia PA, and was assigned U.S. Pat. 262,361. It was manufactured by the Stephens Foundry of Cromwell, Connecticut. Of interest is the fact that the same patent papers that protect the Two Frogs Bank, the reclining Chinaman, and Paddy and the Pig, also protect the Elephant and Three Clowns. And, further, these patent papers illustrate only the Two Frogs Bank and its internal mechanism (see Fig. 1). It is these patented levers, pivots, and springs which are responsible for the fascinating actions of both the Two Frogs Bank and the Elephant and Three Clowns.
     The operation of the Elephant and Three Clowns is most interesting and worthy of special mention. First, a coin is placed between the two gold rings under the elephant's head, and then the legs of the clown who is balancing the ball are pulled back. The top clown pivots at the waist; simultaneously, the elephant's trunk sways to the right, depositing the coin into the bank.
     The Elephant and Three Clowns bank is extremely delicate and quite intricate in design. It is for these reasons that, when one does show up, many times parts are either broken or missing. One cannot truly appreciate the full charm or beauty of this bank until it is seen with most, or all, of its original paint. Thus, when one is found in perfect condition with superb paint, it commands a premium price.
     The Elephant and Three Clowns does not have any design variations that I am aware of, but it was decorated in several COLOR variations. These variations pertain only to the tub on which the elephant stands and the blanket; the remainder of the bank, including its figures, remain constant in its color scheme.
     The elephant is gray; he has a red mouth, white tusks, white eyes with black pupils and the tip of his trunk is red. The clown riding on his back has a red, yellow, and blue cap, red shorts a red shirt which displays a blue star, and he sports black shoes. His face is pink with brown decorative markings and he has black eyes with a red mouth.
     The figure holding the gold rings has a blue tunic with a red sash. He has black hair, eyes, and moustache. The figure balancing the gold ball also has a blue tunic with a red belt; his eyes and hair are black and he has a red mouth.
     The tub was painted either in tan with gold trim and a red top, or, blue with gold trim and a red top. The elephant's blanket is painted either red, or blue, with yellow fringe.
     The base plate is embossed with the words: "U.S. Pat, Aug. 8,1882, Eng. Pat July 28, 1882", and is made to accept the round Stephens' type coin trap.
     I have not seen or heard of any reproductions of the Elephant and Three Clowns bank; nevertheless, since the possibility may exist I am including a base diagram (Fig. 2).
     Just a final word about paint variations: sometimes a bank that is authentic and all original will show up deviating from its traditional color scheme. This might reflect either the foundry artist's mood, expressions of individuality, or a special presentations bank (i.e., specific banks designed and hand-painted by the great mechanical bank designer, Charles A. Bailey). One can distinguish authentic old paint either by age crazing, patina, or general appearance. If there is any doubt as to paint or authenticity, an authority should be consulted before making a costly error.

The Peg Leg Beggar Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1983

     When it was advertised in the Summer edition of Ehrichs Fashion Quarterly of 1880, it sold for only fifty cents apiece, and was called "The Beggar Bank." Today, mechanical bank collectors refer to it as the "Peg Leg Beggar," and a fine specimen may sell for more than twenty-five hundred times the original price.
     The Peg Leg Beggar is one of those banks which, due to its simple casting and vague background has made it susceptible to an over-abundance of unauthorized reproductions.
     Some forty-odd years ago, two brothers who were living in the Philadelphia, PA, area took it upon themselves to honor the collecting community with several recasts of the Peg Leg Beggar bank and its related counterpart, the Circus Ticket Collector bank (subject of a subsequent article). These reproductive castings were not of exceptional quality, by most standards; however, many a defrauded collector will testify to the fact that, for the past forty years, these banks did, and still do, elude detection. I do caution the collector to be wary when purchasing either of these banks. An understanding of the casting process and a feeling for paint quality are mandatory in discerning the originals from the recasts.
     A few things to look for when determining the Peg Leg Beggar's authenticity include: 1. the smooth quality of the cast iron, both inside and out; 2. how well the two sections of the castings fit (there should be no wide gaps between halves); 3. the front coat buttons should be well-defined (Fig. 1) (in the reproductions, these buttons are practically non-existent); 4. the head should be a two-piece casting, not solid; and 5. the paint should have a smooth patina.
     The original Peg Leg Beggar bank was painted in two color variations. The face and hands maybe either black or a pale pink color. Both variations have white eyes with black pupils, black hair, and a red mouth.
     The bodies also may be painted differently. One is painted an overall copper color with a white shirt and red V-shaped tie. His hat, shoe, peg leg, and buttons are black. The other color variation shows the body to be an overall brown, japanning-type finish with a white shirt and red V-shaped tie. His hat shoe, peg leg, and buttons are also black.
     The bank is operated by placing a coin into the slot in the hat. This tips a balance lever connected to the Beggar's head, which then nods in acknowledgement of your generous gift.
     For many years any background information in regard to the manufacturer of the Peg Leg Beggar had been sadly lacking. Then, several years ago, correspondence surfaced that exposed a legal confrontation between the Judd Manufacturing Company of Wallingford, Connecticut, and the Stephens Foundry of Cromwell, Connecticut The Stephens Company contended that the Peg Leg Beggar bank infringed upon their patent of the Tammany Bank (Fig. 2). The Judd Manufacturing Company acquiesced and ceased production of both their Beggar bank and the Circus Ticket Collector bank (the factor contributing to their rarity today).
     For some unknown reason, the Judd Manufacturing Company never patented any of their banks, and. if it had not been for the above-mentioned correspondence, the manufacturer of both the Beggar bank and the Circus Ticket Collector might still be unknown.
     Other banks manufactured by the Judd Company are: Circus Ticket Collector, Boy and Bulldog: Bucking Mule; Butting Goat; Bulldog; Standing; Bear with Paws Around Tree Stump; Dog on Turntable; Snap-It; Gem; Mosque; and the very rare Giant bank.
     Because of their simplicity, many of the Judd banks have fallen easy prey to recasting. And, as stated previously, one must exercise caution in the purchase of these mechanical banks.
I have included a base diagram (Fig. 3) to facilitate recognition of an original Peg Leg Beggar. The recast version is approximately one-sixteenth of an inch smaller, length and width.
     In conclusion, the odd subject matter of this bank, as well as its enigmatic background, contribute to the Peg Leg Beggar's charisma.

The Circus Ticket Collector Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1983

     For the first sixty years of its existence, the Circus Ticket Collector bank was referred to as the "Money Barrel Bank." It was advertised as such in the 1870's edition of Ehrichs Fashion Quarterly (a New York City-based mail order firm). However, the name "Money Barrel Bank" became obsolete; why and when this happened still remains a mystery. The first recorded usage of the name "Circus Ticket Collector" appeared in Ina Hayward Bellows' book, Old Mechanical Banks published in 1940.
     Both Ina Bellows, and twelve years later, in 1952, pioneer collector John D. Meyers, in his book Mechanical Penny Banks, make reference to a variation specifically pertaining to the face of the Circus Ticket Collector. The variation was that the man was bearded. Other than these references, I have never seen nor heard of a bearded variety. (If readers of this article have seen a bank so described. I would appreciate your advising me of it.) My contention is that quite possibly the white paint flaking off the cheeks, chin, and upper lip of the face exposed the black underpaint, thus giving the illusion of the beard.
     The fragility of the facial paint was due to the fact that, instead of a primer, a hard glossy black paint was used as an undercoat, causing an adhesion problem with the white paint that was applied over it This problem resulted in extensive flaking of the face (Fig. 1). There are other mechanical banks which share in the same faulty use of glossy black underpaint. They are: "Hold the Fort," (Eight Sided Building), and "John Bull's Moneybox," (of English manufacture). These banks, including the Circus Ticket Collector, are extremely difficult to locate in fine paint condition, and, if found, do command a premium price.
     The Circus Ticket Collector was produced in two color variations that applied only to the body of the man and his money barrel. His face is consistent in its color scheme, in that the hair, eyebrows, and eyes are black; the face is an off-white, and the mouth is red (all painted over the glossy black undercoat).
     The color variations are: on one, the man's body and the barrel are painted a copper-bronze color. He sports a white shirt with a red V-shaped necktie. His coat buttons and shoes, as well as the barrel hoops, are black. The second variation has the man's body and the barrel painted with a brown japanning. He wears a yellow-ochre shirt with a white collar. His coat buttons and shoes are black. The barrel hoops on this variation are red.
     The bank is operated by placing a coin into the slot atop the barrel. This tips a balance lever connected to the Ticket Collector's head, which then nods in acknowledgement of your contribution.
     For many years, background information regarding the manufacture of the Circus Ticket Collector had been sadly lacking. Then, several years ago, correspondence surfaced that exposed a legal confrontation between the Judd Manufacturing Company of Wallingford, Connecticut, and the Stevens Foundry of Cromwell, Connecticut. The Stevens Foundry contended that the Peg Leg Beggar Bank along with the Money Barrel Bank, infringed upon the patent of their Tammany Bank (Fig. 2). The Judd Company acquiesced and ceased production of both their Beggar Bank and the Money Barrel Bank (the factor contributing to their rarity today).
     Unfortunately, the Circus Ticket Collectors simple design led to the creation of numerous unauthorized reproductions, This fact is all the more understandable when considering that the bank originally sold for fifty cents apiece, and today, a fine, original specimen may be purchased for a price that reflects over a three thousand percent increase.
     As I have cautioned in previous articles, one should be wary when purchasing any mechanical bank. A thorough understanding of the iron casting process, and a sensitive feeling for paint quality and patina are mandatory in discerning an original from a recast.
     A few things to look for when determining the authenticity of an original Circus Ticket Collector Bank include: (1) the smooth quality of the cast iron, both inside and out: (2) how well the two sections of the castings fit (there should be no wide gaps between halves); (3) the front coat buttons must be well-defined (Fig. 3); (4) the man's head should be a two-piece casting; and (5) the paint should have a smooth patina.
     Because of the numerous recasts in circulation today, I am including a base diagram (Fig. 4) to facilitate identification of an original Circus Ticket Collector. A recast will be approximately one-sixteenth of an inch smaller in length than the original.
     I must conclude with the paradoxical statement that the Circus Ticket Collectors charisma lies in its lack of historical significance, lack of intriguing subject matter, lack of color, its small size, and finally, its unimposing presence.

Little Jocko Musical Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1983

     The colorful figure of the organ grinder accompanied by his monkey was commonplace on the streets of New York City during the late 19th and early 20th centuries. Providing entertainment to the people was his objective — and so he did — particularly to the youngsters. His lilting ethnic melodies, so reminiscent of his native land, beckoned to the children to gather pennies from their mothers to feed the tiny paw of Jocko, the organ grinder's greedy monkey.
     The popularity of this comical duo became, not by mere coincidence alone, the subject matter of many a toy savings bank. During the 1880's, the Ives, Blakeslee and Williams Company of Bridgeport, Connecticut, produced various organ banks. Some portrayed monkeys; others, cats and dogs; and still others, children.
     In 1882, the Kyser and Rex Company of Frankford, Pennsylvania, also manufactured an organ bank, but this one featured an organ grinder and dancing bear.
     In the early 1900's, the Hubley Mfg. Company of Lancaster, Pennsylvania, produced still another organ grinder and monkey bank.
     And then some time around the year 1912, the Strauss Company of New York City produced the "Little Jocko Musical Bank" a mechanical bank that is regarded by many collectors to be the most desirable organ bank ever manufactured (and the subject of this article).
     This bank and the "Thrifty Tom" were the only two mechanical banks known to be produced by the Strauss Mfg. Company. Unfortunately, to this date, no patent papers have been located for the Little Jocko, thus depriving the collector of valuable background information regarding this fine mechanical.
     The Strauss Company not only manufactured mechanical and tin registering banks, but many sheet metal toys of the period, as well as various other metal products.
     Much of the charm of the Jocko Musical lies not only in its subject matter, colorful appearance, and fascinating action, but also in the primitive plink plank, plunk of its musical mechanism.
     Printed on each side of the bank is the ditty:
          "Drop a penny in the cup
          Then turn the crank around
          You will see the monkey dance
          And hear the music sound."
which fully describes the Little Jocko's action.
     First a coin is inserted into the coin slot within the monkey's cup (Fig. 1). The crank is then turned, causing the monkey to rotate clockwise, as a nondescript plink plank, plunk tune emanates from within the bank Only one tune is played for a single coin. Otherwise, the crank rotates freely, causing no further action or music to take place.
     The Little Jocko is considered quite a rare bank and, upon close examination, one will gain insight into just why this is so. The crank is extremely delicate and prone to breakage, as is the small tin cup atop the bank The little monkey, made from soft lead, is removable and easily lost or dropped and broken.
     Also, a key is required to open the bank for removal of its coins. If the key was lost, one can just imagine a child feverishly applying a screwdriver or sharp object trying to break open the lock in order to gain access to the pennies stored within.
     Lastly, Jocko's one-dollar price tag (Fig. 2), quite high for those years, might have proven quite prohibitive and may have limited sales to a fortunate few. All of these factors contribute to the bank's scarcity today.
     The colors and design of the Little Jocko are most attractive. The organ is red-orange. The name, "Little Jocko Musical Bank," is gold, as is the frame around the scene of Venice on the front of the bank. The two harp designs and the scrollwork decorations on the front, top, sides, and back of the bank are also gold.
     The scene of Venice is executed in delicate pastel shades of white, blue, pink and brown. The tin cup is gold with a white stripe circumscribing its base.
     The monkey's face, hands, feet and tail are cocoa brown. His cap and pants are painted bright transparent blue, and he sports a bright transparent red shirt.
     I am not alone in my feelings that much of the charm of this bank lies in the graphics depicted on its backside (Fig. 3). Here we see a caricature of a pipe organ, with the pipes depicting comical human faces. Their colors are bright yellow with red tones. All of the facial features are drawn in dark blue. The entire organ is outlined in gold.
     Because of the Jocko Musical's complicated mechanism and the fact that it is manufactured largely from lithographed tin, the chances of its being reproduced are extremely remote. But that does not preclude the possibility of a recast lead monkey or a recreated tin cup or crank. Therefore, these parts should be closely scrutinized before contemplating purchase of this bank. Fig. 4 is a base diagram to better help you determine the bank's size and scale.
     In conclusion, the rarity of the "Little Jocko Musical Bank" not only lies in the scarcity of its examples, but in the fact that most of those that do exist have either replaced monkeys, cups, or inoperable musical mechanisms. And, finding a fine one, complete and in perfect working condition, offers a monumental challenge to the collector.
     CORRECTION: (from October, 1984) In the August, 1983 issue of Antique Toy World, the "Little Jocko Musical Bank" article erroneously stated that: "the Ives Blakeslee and Williams Company manufactured the Organ Bank with Monkey, Cat and Dog and the Organ Bank with Monkey, Boy and Girl."
     The manufacturer should have correctly been listed as the Kyser and Rex Company of Frankford, Pennsylvania. My sincerest apologies to both Louis and Alfred C.

The Chimpanzee Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1983

     Monkeys have been the subject of many a mechanical bank. However, only one mechanical represents a member of the family of Great Apes– that bank being the "Chimpanzee" (Other members of this family, but never depicted in a mechanical bank, include the Gorilla and the Orangutan, with the Gibbon sometimes included in the group.)
     On September 21, 1880, Louis Kyser and Alfred C. Rex of Philadelphia, Pennsylvania, were granted Patent Number 232,511 for their design of the Chimpanzee Bank. As evident by the patent drawings (Fig. 1), the bank, as it was eventually manufactured, follows those drawings quite faithfully. Of importance and interest is the fact that not only did Kyser and Rex design and patent the Chimpanzee bank, but they also manufactured it.
     The action of this mechanical is both amusing and quite realistic. The Chimpanzee, representing an accountant with his ledger, sits behind a desk pen poised and ready to enter the deposited coin into his record book. In order to make a deposit, the slide in front of the ledger is pushed back exposing the coin slot, thus allowing a coin to be placed into the bank. Simultaneously, the Chimpanzees head tilts forward, his left arm lowers, and the pen touches the ledger as if to record the deposit; a bell chimes once from within the bank.
     The deposited coins are removed by way of a small square locking coin trap underneath the bank.
     Close examination of the Chimpanzee bank will reveal that great care and attention has been given to fine detail. This was the case with most banks manufactured by Kyser and Rex. Examples of other mechanical banks manufactured by these gentlemen are: Bowling Alley, Butting Buffalo, Confectionery, Dog Tray, Hindu. Lion and Two Monkeys, Mammy and Baby, Mikado, Motor Bank, Organ and Monkey, Organ and Monkey with Boy and Girl, Organ and Monkey with Cat and Dog, Organ Grinder and Dancing Bear, Tiny Organ and Monkey, Uncle Tom, and possibly, the Zig Zag Bank (see A. T. W., January, 1983).
     The Chimpanzee is not considered a rare bank; however, it is quite difficult to acquire one that is complete and in fine condition. When a Chimpanzee bank is found, it is very likely that either the roof will be cracked, the finial missing, the head and/or the arm of the Chimpanzee broken or missing, the base plate missing, and, most often, the paint will be in extremely poor condition. Find one complete, working, and in fine paint condition, and you have a true rarity . . . a mechanical well worth the premium price you most likely will have to pay for it.
     An interesting fact pertaining to the construction of this bank is that no screws were used as fasteners. The entire bank is secured with either rivets or bent-over iron lugs.
     The Chimpanzee bank does come painted in several color variations. The colors of the bank pictured in this article are: a red building, light green finial, base, window frames and archway over the chimpanzee. The chimpanzee's head and paws are brown; his mouth is red; his jacket is red with yellow piping; his eyes, shirt and ledger book are white. The edges of the ledger book, as well as the word "Chimpanzee," the tin window inserts, and various other decorations are finished in gold. The desk is bright blue and the inside of his cupola is lilac.
     Other paint variations of this bank reverse the red and green color combinations, and the Chimpanzee's jacket may be either red, green, blue, or yellow. Also, still another basic color variation of this bank utilizes predominantly red and blue, rather than red and green.
     Because of Kyser and Rex's penchant for unusual color schemes, I would caution against the hasty declaration that a Chimpanzee bank may be a misrepresentation if it fails to conform to any of the aforementioned color schemes. The possibility of still another color combination cannot be ruled out. As I have emphasized in other articles, if you are uncertain as to the authenticity of a bank, an expert in this field should be consulted.
     The Chimpanzee bank has been reproduced, and, therefore, I am including a base diagram showing its exact dimensions. A reproduced bank will be approximately one-eighth inch smaller than indicated (Fig. 2).
     The Chimpanzee has several design variations of which I am aware, but these do not add or detract from its value. Two relate to the tin inserts behind the lower arched windows: in one, the tin covers the windows fully, and in the other, the tin provides only partial concealment, with the arches exposed. Also, in one variation, the Chimpanzee's shoulders are quite wide and give the appearance of a triangular shape, while the other portrays the Chimpanzee with narrow shoulders.
     In closing, I feel the "Chimpanzee" is an extremely well-designed bank and makes an attractive addition to the Monkey and Great Ape group. Also, the collector who possesses a fine example of one should consider himself quite fortunate.

The Billy Goat Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1983

     This article will be devoted to a mechanical bank which is considered to be quite rare, although underrated and undervalued. The "Billy Goat" bank is small in size, monochromatic, and lacks exciting action - factors which have contributed to its underestimation. However, I am of the opinion that this tiny bank is one to be appreciated, and especially for its simplicity and graceful design.
     The Billy Goat's simple, graceful proportions and delicate floral designs pay tribute to the most prestigious of all mechanical bank designers - Charles A. Bailey. This innovative gentleman, who, as assignor to Charles B. Frisbie (both of Cromwell, Connecticut), patented the Billy Goat bank on July 26. 1910. tinder U.S. Patent number 965,842.
     As evidence by the patent papers, the Billy Goat bank appears to have faithfully followed the patent drawing (Fig. 1). The bank was manufactured by the J. and E. Stephens Foundry of Cromwell. Connecticut.
     Charles A. Bailey started his practice as a portrait bust designer and sculptor during the late 19th century. He them embarked upon pattern and toy design. His first patented mechanical bank was the" Baby Elephant Opens at X O'Clock," which was produced in a lead alloy material. This was one of Bailey's favorite media since it allowed for the casting of minute and delicate detail into his toys and mechanical banks. Several of his earlier banks were executed in this same lead alloy. However, the material proved too fragile for mass production, and subsequently, all of his later banks were manufactured out of the more durable metal - cast iron.
     Charles A. Bailey produced over thirty mechanical banks during his lifetime, thus giving him the unique distinction of being the most prolific mechanical bank designer of all time.
     Besides the Billy Goat, some of the other mechanical banks which incorporate the Bailey trademark of gracefully executed floral designs include: The Darkey and Watermelon; Milking Cow: Lion Hunter; Boy Scout Camp; Perfection Registering; Bad Accident; Hen and Chick; Boy Robbing Bird's Nest; and Chute the 'Chute.
     The operation of the Billy Goat bank is simple but effective. A coin is placed into the slot (Fig. 2) and the wire lever (Fig.3) is pulled toward the depositor. The goat then pivots up and over, striking the coin with his forehead, simultaneously depositing the coin into the bank The coins are removed by way of a round Stephens-type coin trap in the underside of the base.
     Simplicity also dominates the coloration of the Billy Goat bank: the base is painted silver with a raised red flower on each side. The goat is black with a large white marking on each of his sides: his eyes are white with black pupils.
     There are two casting variations of which I am aware: neither of these add to nor detract from the bank's value. In one, the name "BILLY GOAT BANK" is incised into one of its sides. In the other variation, no incised name is in evidence.
     In reference to the variation with the incised name, it is interesting to note that the letter "N" which appears in the word "bank" is reversed (Fig. 4), and one is reminded of the mistake a child is likely to make when first learning to print the alphabet. It has not been determined why this "error" had never been corrected at the foundry.
     As previously stated, the Billy Goat bank is quite rare, and I can only venture a guess as to the reasons for this. Coupled with its small, lackluster appearance, and the decline of mechanical bank popularity that occurred during a period of economic instability, few were purchased. And, most probably, of those that were purchased, many may have been broken, owing to the bank's delicate casting, and ultimately discarded.
     The scarcity in number and the rarity of the Billy Goat becomes evident when one discovers that many of the banks residing on collectors' shelves appear to be reproductions. The reasons for reproducing the Billy Goat are, as mentioned previously, the simplicity of casting and the great monetary value placed upon an original specimen. It is unfortunate that, several years ago, an unscrupulous individual reproduced a number of Billy Goat banks and sold them to unsuspecting collectors. These banks are still in circulation today.
     Some of the things one should be aware of in order to distinguish between an authentic Billy Goat and a recast are: the overall paint quality should be smooth and have that unmistakable aged patina. The entire bank should be underpainted with a creamy tan color that will show through under any worn spots, including the underside base plate. The quality of the iron should be very smooth, both inside and out: the designs, detail, and lettering should be sharp and clear.
     All parts of the bank including the pull wire, are made of iron and these should respond to it magnet. And. finally, both halves of the bank are riveted together. No screws or other fasteners were used in the manufacture of the Billy Goat bank.
     I am including it base diagram to further help determine the size and authenticity of a Billy Goat bank (Fig. 5). The recast will appear approximately 1/16" shorter from end to end.
     In conclusion, it becomes apparent that one should be especially wary and exercise extreme caution when contemplating purchase of this particular bank.

The Confectionery Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1983 

     The subject of this month's article is quite a unique mechanical bank Not only does it have the distinction of being American-made, and constructed from cast iron, but, upon the deposition of a coin, vends an actual object – a small flat round confectionery: hence, the name "Confectionery Bank"
     On June 14, 1981, Rudolph M. Hunter of Philadelphia, Pennsylvania, was granted Patent number 243,048 for his design and invention of the Confectionery bank (Figure A). The bank, as it was eventually manufactured by the Kyser and Rex Company of Philadelphia, follows those drawings quite faithfully.
     The operation of this mechanical is not only interesting, but very rewarding to the depositor. A stack of small, flat round candies is inserted into a compartment at the back of the bank (see Figures 3 and 4 of the patent drawings). A coin is placed into the slot on the counter top. The plunger on the front of the bank is then pressed. Simultaneously, the girl holding the tray pivots left a small door marked "LOZENGE" opens, a bell rings, and the confectionery is deposited into her tray. The girl returns to her original position (Figure B) with her sweet reward.
     The deposited coins are removed by way of a locking coin trap underneath the base of the bank.
     The detail and coloration of the Confectionery bank are extremely attractive, as is the case with most mechanical banks manufactured by Kyser and Rex (i.e.. the Bowling Alley; Butting Buffalo; Lion and Monkeys: Mammy and Baby; Mikado; Organ Grinder and Dancing Bear; and others).
     I am not aware of any design variations in the Confectionery bank, but there are several color variations. One has the curved front panel painted in shades of dark and light green. trimmed in gold. The molding at the base and the counter top rim is red. The counter top itself is yellow with brown wood graining. The back panel is gray with gold lettering, and the top finial is red with the words, "Confectionery Bank" in gold. The little girl has a yellow dress with a red bow and red buttons. Her face is pink with blue eyes, a red mouth, brown eyebrows, and brown hair. The tray she is holding is painted gold.
     Another color variation has the curved front panel painted red and blue with gold trim. The flat back section is yellow with red lettering. The little girl has a red dress with a yellow bow and buttons. Her face also is pink with a red mouth, blue eyes, brown eyebrows and brown hair. And her tray is also painted gold.
     There have been several theories expressed as to what types of candies were originally intended for use in the Confectionery bank. One of the earliest speculations was that the goods were either gum or foil-wrapped chocolates. However, I feel certain that these would have proven too messy or sticky for usage in such an intricate mechanical bank Another suggestion was that perhaps candy wafers were utilized. Mr. Bill Norman, a most knowledgeable and advanced bank collector, did some research into this matter and uncovered some very interesting information. It is quite possible, according to Mr. Norman, that NECCO candy wafers were originally intended for use in the Confectionery bank. Not only do these small, flat, round candy wafers fit perfectly into the compartment in the back of the bank but they also fit the small round tray carried by the little girl.
     "NECCO" (New England Confectionery Company) was a candy manufacturer that operated during the same period of time that the Confectionery bank was produced. And both companies existed in the same general northeast part of the country. In addition, early (1880) literature bears out the fact that NECCO candies were referred to as "LOZENGES," the very word which appears upon the Confectionery bank's small door that dispenses the candies into the little girl's tray.
     The price of the Confectionery bank in the 1880's was a modest seventy-five cents apiece, or eight dollars fifty-five cents per dozen. Included in this article is a reprint of an advertisement that ran in the 1886 edition of the Montgomery Ward Catalog (Figure C).
     Some of the "weak spots" or fragile areas to be wary of when contemplating the purchase of the Confectionery bank are: the figure of the girl, the small door marked "LOZENGE" where the candies are ejected into the tray, and the tray are either missing or replaced. The locking coin trap in the base or the square door in the back of the bank that conceals the candies (see Figure 4 of the patent drawings) is missing. And, finally, the small flower on top of the finial might be broken off Quite possibly, these fragilities, as well as other factors, have led to the rarity of the Confectionery bank.
It is interesting to note that on the curved front section of this mechanical is a raised circle circumscribing the words "PAT JUNE 1881." This date facilitated locating the patent papers shown in this article.
     I am not aware if any reproductions of the Confectionery bank exist Nevertheless, I am including a base diagram to show an original's configuration and scale (Figure D).
     To conclude, the Confectionery is highly prized and a favorite amongst most collectors. This is easily understood especially when one has had the opportunity to view, hold, and perhaps operate this delightful mechanical. 
     Correction: (from September, 1985) In the article entitled "The Confectionary Bank," which appeared in the November 1983 issue of Antique Toy World, it was erroneously stated: "the Kyser and Rex Company of Philadelphia"; it should have read; "the Kyser and Rex Company of Frankford."

The Jolly Nigger Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1983 

     The year 1619 is infamous as the (date of the arrival of the first slave ships in Jamestown, Virginia. Accompanying the shame and degradation of human bondage was the introduction to American society of anti-black art literature, music, and various objects, including children's playthings.
     The world of mechanical penny banks was not to be left unaffected by these hostile and irrational racist attitudes. Examples may be cited of banks which portray black persons hitting their heads, falling, having their teeth yanked, mouths slammed, eating, kicking, and stealing watermelons and chickens, as well as involvement in a plethora of other humiliating situations.
     — Which leads us to the subject of this article: a mechanical penny bank with its humiliating stamp boldly emblazoned on its back – "THE JOLLY NIGGER BANK"
     On March 14, 1882, both Charles G. Shepard and Peter Adams, Jr., of Buffalo, New York were granted Patent Number 255,090 for their invention of the Jolly Nigger bank. This bank was eventually manufactured by the Shepard Hardware Company of Buffalo, New York and later, when the Shepard Company ceased production, by the J. and E. Stevens Company of Cromwell. Connecticut. As evidenced by the patent drawings, the final production bank follows the patent papers faithfully (Figure 1).
     The operation of the Jolly Nigger bank is quite simple. A coin is placed in the right hand; the lever in his back is pressed down. Simultaneously, his eyes roll up, his tongue recedes, and his right arm raises the coin, whereby it is flipped into his gaping mouth and deposited within the bank.
     The bank which was produced by the Shepard Company allows for coin removal by unscrewing the entire base plate. In the Stevens variation, the coins are removed by opening the small round Stevens-type coin trap in the base. Both Shepard's and Stevens' castings of the head, arm, and body are identical. The only major casting differences are in the base plates.
     With the exceptions of some color variations which will be discussed later in this article, both Shepard and Stevens painted their Jolly Nigger banks exactly the same colors: the man's face, hair, and hand are black; his lips, nostrils, jacket, tongue, and spaces between his teeth are red. He has a black tie and buttons. His eyes are white with brown irises outlined in black and the pupils are black. The base plate of the Shepard bank is japanned with a brown lacquer and has the words, "MADE BY SHEPARD HARDWARE CO. BUFFALO N.Y. Pat'd in Canada Mar. 22, 1883." The Stevens' base plate is painted with a creamy whitewash and has the following words printed in raised lettering "Manufactured by the J and E Stevens Co. Cromwell Conn. U.S.A."
     The paint variations that show up occasionally, particularly in the Shepard Jolly Nigger, have, in some, the coat painted a bright ultra-marine blue, and in others, the face and hand painted in cocoa brown rather than black. Many collectors (myself included) feel both of these variations are extremely attractive.
     The Jolly Nigger bank gained great popularity during the period of its manufacture This possibly was due in part to its reasonable price of sixty cents apiece (see Figure 2, Montgomery Ward and Co. ad. circa 1889), the bank's sturdy construction, and, perhaps, because of its racist subject matter. This mechanical's anti-black theme has transcended the boundaries of our own country, and Jolly Nigger-type banks have been manufactured in England, France, Germany, Spain, South America, the Near East, and Canada. Some other names they are known by are: Jolly Nigger High Hat, Little Hi-Hat, Little Moe Little Joe, Sambo, Greedy Nigger Boy, Darky Bust, African Native – and the list goes on.
     I would venture to say this particular design was the most popular and imitated of any mechanical bank ever produced. I am not aware if any reproductions of the Jolly Nigger bank exist; nevertheless, Figure 3, a base diagram, shows its scale.
     Many collectors, including myself, find little, if any, charm or endearing qualities in the Jolly Nigger bank other than its historical significance. Rather, it reflects a period in our history of which I am certain this country is not particularly proud.

The Mamma Katzenjammer Bank
(a unique paint variation)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1984 

    Mama, the Captain, Hans, Fritz, and the Inspector were the cast of characters of a popular turn-of-the-century comic strip called "The Katzenjammer Kids." "Katzenjammer," a word in German slang meaning "hangover," was exactly what the mischievous Hans and Fritz gave to their doting mama.
     The Katzenjammer Kids cartoon strip was created by Rudolph Dirks* (Figure 2) and appeared under his pen and authorship from 1897 until 1912, in a newspaper entitled the New York Journal. Then, when Dirks tried to take a year's vacation during the time the strip was enjoying its heyday, the Journal terminated the artist's employment Dirks still retained the rights to draw his characters, which he did, under the title, "The Captain and the Kids," for another newspaper, the World. Meanwhile, the Journal retained the name, "Katzenjammer Kids" and commissioned another artist, Harold Knerr, to recreate Dirks' comic strip for them. These two comic strips ran simultaneously for more than thirty years.
     Mama, one of the strip's leading characters, was the inspiration for the creation of a mechanical banks which is the subject of this month's article. The Mama Katzenjammer bank depicts this perplexed character desperately trying to separate her bickering sons, Hans and Fritz (Figure 1) — and the action of the bank punctuates her frustration. A coin is deposited into a slot in her back. This causes her large eyes to roll upwards in despair. As the coin falls into the bank, her eyes return to their normal position. The coins are removed by way of a large round Stevens'-type coin trap.
     The Kenton Hardware Company of Kenton, Ohio, manufactured this nostalgic piece of whimsy some time between 1890 and 1920. Although it was the only mechanical bank that they ever produced, Kenton was one of the most prolific iron toy manufacturers of the period. They, and other toy companies, created several other toys and banks utilizing the Katzenjammer characters. There is a bell toy that depicts a spread-eagle Captain with Hans and Fritz riding upon his back. Another bell toy shows Hans and Fritz on a see-saw. And still another has Mama spanking both Hans and Fritz. Finally, there are two small roly-poly-type tin still banks of European manufacture, one of Mama, the other of the Captain.
     The Mama Katzenjammer mechanical bank is one of limited action, but its subject matter and colorful appearance more than make up for that deficiency.
     The bank pictured in this article is unique by not being painted in the conventional manner, and because of this, has the distinction of being considered a rarity. One should take note that antique cast iron mechanical banks were hand painted by workers, who, for the most part, maintained a high degree of creativity and artistry. This creativity occasionally resulted in banks which expressed individuality by deviating from the normal color scheme, and, thus, many have become coveted prizes for the collector.
     The coloration of a Mama Katzenjammer bank usually has Mama wearing a high necked ultramarine blue dress with black shoes. She has black hair. Her teeth are large and white. Fritz, the fellow on her right, has a yellow shirt with a white collar, red trousers, white socks, and black shoes. He has blonde hair. Hans, to Mama's left, sports a red shirt, with a white collar and a large black bow tie with white polka dots. He has yellow trousers, white socks, and black shoes. His hair is black. All three figures have pink skin, dark pink mouths, and blue eyes (portraying a strong family resemblance).
     The Mama Katzenjammer bank pictured in this article is painted in almost the same colors as the one previously described, except for the omission and change of several articles of clothing. Fritz is naked, except for his brown shoes; and Hans is not wearing pants. Mama's gown is low-cut and trimmed in white lace.
     The two halves of Mama are secured by a large single rivet passing through the front and back of her waist.
     An original Katzenjammer bank is quite rare, and its scarcity becomes even more evident when one discovers how few original examples exist. For fear of being redundant, I must once again caution the collector of mechanical banks, and especially this particular one, to be extremely wary when contemplating a purchase. One of the keys in discerning an original from a fake is paint quality and vividness. An original Mama Katzenjammer's colors are extremely bright and pure. The recasts were painted in dull hues, to have the banks appear old and dirty.
     I am also including a base diagram of an original bank (Figure 3). A recast will be approximately 3/32 of an inch smaller than the size indicated.
     Knowledge, awareness, and detection of reproductions are the collector's greatest assets in ultimately avoiding frustrating and costly errors.
*Figure 2 shows a caricature of the Captain, Mama, the Inspector, Hans, Fritz, and Rudolph Dirks, drawn by Dirks himself.
     Note: (from March, 1984) It has been brought to my attention that the article concerning the "Mamma Katzenjammer" mechanical bank (Jan. 1984 issue of Antique Toy World) incorrectly stated that the Kenton Hardware Company manufactured only this particular mechanical bank. The fact is that Kenton also produced the "Standing Bear" (slot in chest) mechanical bank.

Halls Excelsior
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1984

     December 21, 1869 may possibly be the most significant date in the history of the mechanical penny bank. It was on that date that John Hall, of Watertown, Massachusetts, was granted Patent number 98,055 for his invention of the "Halls Excelsior Bank" – the earliest patented, commercially manufactured, cast iron mechanical bank known.
     The patent papers (Fig. 1) bear evidence to the fact that the final production bank follows those drawings quite faithfully. The only deviations are: 1) the head of the mustached man became the head of a monkey, and, 2) the pull wire was attached to the monkey and cupola internally rather than externally.
     During his lifetime John Hall patented many mechanical penny banks, but only four are known to have been manufactured. They are: the Halls Excelsior Bank, the Race Course Bank, the Tammany Bank, and the Liliput Bank. These were all produced by the J. and E. Stevens Foundry of Cromwell, Connecticut.
     Each and every mechanical bank designed by John Hall has one unmistakable characteristic ... a series of weights and counterbalances that perform their action only upon the utilization and weight of a coin. In order to activate the Halls Excelsior Bank, the small glass knob on the front of the bank is pulled. This is connected to an internal wire which lifts the cupola, the wooden monkey, and the desk to the position shown in the photograph (Fig. 2). As the monkey is brought into position, his head swings left to right several times. A coin is then placed upon the desk, the weight of which causes the cupola to close and the coin, desk and monkey drop out of sight. To remove the coins, the bank must first be disassembled by unscrewing a long screw that connects the roof of the bank to its base.
     The Halls Excelsior Bank comes in several color combinations. The one portrayed in this article has white walls, green front steps, a green cupola, a red roof, red lettering, and a red brick base. The windows are outlined in blue, as is the spiral design on the sides. The two x's on each side of the word "HALLS" are also blue. The wooden monkey has a pink face with black hair, eyes, eyebrows and nose. He sports a dark blue jacket and a white shirt with tiny blue buttons. His wooden desk is red. There is a small paper label affixed behind his head that reads, "CASHIER."
     Some other color variations of the Halls Excelsior Bank include tan walls with a blue roof, yellow walls with a maroon roof, maroon walls with a tan roof, etc. The window trim and decorations also vary accordingly, and the monkey may, at times, be attired in a red jacket.
     As discussed in previous articles, patina and paint crazing should help the buyer of this or any antique mechanical bank discern an original from a repaint.
Aside from any paint color variations, there are only two casting variations of which I am aware. One has the patent date, Dec. 21, 1869, stenciled on the roof, and the other has this date actually cast into the roof.
     Some years ago, rumor had it that several original metal heads were found for the figure behind the desk, but these proved to be of modem manufacture. Until proven otherwise, the only authentic figures should be carved totally out of wood.
     I am not aware of any reproductions of the Halls Excelsior Bank: nevertheless, I am including a base diagram (Fig. 3) to indicate size and scale.
     The Halls Excelsior Bank is not considered rare because so many were produced over such a long period of time. But when one discovers how few exist in superb paint condition, with a completely original monkey, desk and cashier's label – only then does this historical bank's true rarity and value become evident.

The Paddy and the Pig Bank
(The Shamrock Bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1984

     The old Irish saying, "As Irish as Paddy's Pig," could not be closer to the truth when describing this month's featured mechanical bank. First manufactured and sold in the 1880's by the J. and E. Stevens Company of Cromwell, Connecticut, under the name, "Shamrock Bank," it was affectionately and more appropriately renamed "Paddy and the Pig" by mechanical bank devotees.
     James H. Bowen of Philadelphia, PA invented the Paddy and the Pig bank and was granted Patent number 262,361 on August 8, 1882. Attesting to this fact, and inscribed into the base plate, is the following information: "Eng. Pat. July 28,1882. U. S Pat. Aug. 8, 1882." Of particular interest is the fact that this same patent which protects the Paddy and Pig bank also protects the Two Frogs bank, the Reclining Chinaman bank, and the Elephant and Three Clowns bank. In addition, these patent drawings protect only the internal mechanism, and not the subject matter. (See Fig. 1)
     The Paddy and the Pig bank reflects a great deal of the same prejudicial attitudes shared by many toys and banks manufactured in the 19th century. The theme of this particular mechanical was centered upon the newly immigrated Irish people fleeing the famine and oppression of their homeland. The Paddy and the Pig bank portrays just about every conceivable stereotype ever concocted about the Irish: a man with the features and proportions of a leprechaun, who is adorned with shamrocks and a clay pipe. He sits with a jug of whiskey jutting from his pocket; his legs straddle a bespeckled pig who kicks pennies from its snout into Paddy's mouth.
     In order to operate the bank, a penny is placed upon the pig's flat nose. The lever in Paddy's back is depressed. Simultaneously, the pig's left leg kicks the coin towards Paddy's mouth, which then opens, extending a long pink tongue. Paddy's eyes roll upward in delight as the coin is deposited within the bank. These coins are removed by way of a round coin trap underneath the base.
     Because of the action the pig's left leg performs, as described above, this fine mechanical is often discovered in a condition where that leg is either broken or missing.
     I am not aware of any casting variations of the Paddy and Pig bank. However, there are three color variations which pertain solely to Paddy's coat. It could either be dark blue, dark brown, or dark green. All other parts of the bank are painted in a somewhat standardized color scheme: the base upon which Paddy sits is bright green; he has a light tan tote bag knotted around a brown shillelagh. A little brown jug juts from his back pocket. His jacket has a black collar and his sleeve buttons are gold. His tie is brown and yellow and the handkerchief in his lapel is tan with red polka dots. His knickers are yellow with black buttons and his knee socks are red. Paddy's shoes are black with gold buckles. His grey hat is adorned with a black band, a green shamrock and a white clay pipe. His face and hands are a pink flesh color, and his hair and eyebrows are black. His eyes are brown with black pupils. He has pink lips, a pink tongue, and his teeth are white. The pig is white with black spots. Its mouth is pink, as are the insides of his ears. Its hoof is tan and the tip of its nose is gold; the rope around its legs is tan.
     In view of the fact that the Paddy and Pig bank has been reproduced, I am including a base diagram (Fig 2) indicating the size of an original bank. A reproduction will measure approximately one-eighth of an inch shorter along the base than an original.
     Paddy and the Pig is not considered rare, but its colorful, attractive appearance and complicated life-like action, coupled with its unusual subject matter, make it an extremely popular and highly sought-after mechanical bank.
     Finally, a cautionary note: because of the fragile nature and sharp action of the pig's leg, many Paddy banks are found with this part recast. You are correct in assuming that this greatly reduces its value to the serious collector.
     Note: It has been brought to my attention that the article concerning the "Mamma Katzenjammer" mechanical bank (Jan. 1984 issue of Antique Toy World) incorrectly stated that the Kenton Hardware Company manufactured only this particular mechanical bank. The fact is that Kenton also produced the "Standing Bear" (slot in chest) mechanical bank.

The Speaking Dog Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1984

     Imagine, if you will, a bank that doesn't humiliate the poor, doesn't ridicule the underprivileged, doesn't advocate violence, isn't anti-racial, and isn't political – a bank that does nothing more than evoke feelings of nostalgia and a sense of what it might have been like to be a child of "the good old days."
     Such is the subject of this month's article: the beautifully proportioned, delicately painted, "Speaking Dog" mechanical bank.
     On October 20, 1885, both Charles G. Shepard and Peter Adams, Jr., of Buffalo, New York, were granted Patent number 328,723 for their design and invention of the Speaking Dog. As evidenced by the patent papers (Fig. 1), the final production bank follows these designs quite faithfully.
     The Shepard Hardware Company of Buffalo, New York started manufacturing the Speaking Dog bank around 1885. Then in 1892, when they discontinued their line of mechanical banks, the J. and E. Stevens Company, of Cromwell, Connecticut, took over production.
     The workings of the Speaking Dog bank are quite complex and intricate, and because of this, a feeling of realism is achieved. A coin is placed upon the girl's round tray. As the lever next to her dog is depressed, the girl's right arm moves back and the tray tilts forward, depositing the coin into the bank. Simultaneously, the chute underneath the tray opens to accept the coin as the dog's jaw moves (hence, the name "Speaking Dog Bank") and its tail wags in contentment.
     The only difference between the bank produced by the Shepard Company and the bank produced by the J. and E. Stevens Company is the means by which the deposited coins are removed. The Shepard bank has a square key-locking coin trap in its base, while the Steven's bank utilizes a round coin trap that is opened without a key.
     Impressed into the base plates of both banks is the following: "Pat July 14, 1855 and Oct. 20, 1885." (This information aided in the location of the patent papers shown in Fig. 1.)
     Other than the coin traps, there are no casting variations of the Speaking Dog bank; however, there is a major color variation. More commonly, the little girl wears a red dress, but occasionally a bank is located that has the dress painted ultramarine blue. Although this is an attractive variant, it does not add to the ultimate rarity or value of the bank.
     The bank pictured in this article (Fig. 2) was manufactured by the J. and E. Stevens Company and the following is its color scheme: the base is reddish-brown with yellow striping. The words, "Speaking Dog Bank," as well as a fancy flourish on the back of the bank, the dog's collar, the fringe on the girl's dress, and the buttons on her shoes, are gold. The top of the bank is light gray. The little girl's face and hands are a natural pink flesh color; her lips are red, and her eyes are blue with black pupils and eyebrows. She has long, wavy blond hair, and sports a red dress with a large white collar and a purple sash around its waist. The bow around her collar is light blue as is the ribbon on her yellow hat. Her stockings are also light blue. The round tray is black, as is the operating lever and the little girl's high button shoes. The dog is mocha brown with white ears and paws. Its eyes are brown with black pupils and it has a red mouth with white teeth.
     Due to its colorful appearance, charming subject matter and intriguing action, the Speaking Dog bank gained great popularity during the period of its manufacture.
     An advertisement that appeared in the 1889 edition of the Montgomery Ward and Co. catalog listed the price of the Speaking Dog bank as a mere 80 cents apiece (Fig. 3) – quite a bargain by today's standards.
     I have not seen nor heard of any reproductions of this bank; nevertheless, since the possibility may exist, I am including a base diagram (Fig. 4) which will indicate an original's size and scale.
     In conclusion, the Speaking Dog is a bank which seems to have endured the ravages of time. For even today, just as when it was first manufactured over one hundred years ago, it still charms, beguiles and entertains young children. Only today, the children are those who lie within all of us.

The Tammany Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1984

     This month's topic of discussion is a mechanical bank that represents a most controversial and colorful episode in American history. Tammany Hall, the popular name of the Democratic Party's executive committee of New York County, was infamous during the nineteenth century for its widespread corruption.
     As early as 1807, Tammany officials were involved in scandals which resulted in their removal from office. Government mismanagement was rampant, especially when "Boss" William M. Tweed, in 1868, completely dominated the Hall. Tweed's corrupt behavior, which single-handedly cost New York City more than $200,000,000, landed him in prison, where he eventually died. His legacy was to link the words, "Tweed" and "Tammany" with graft and corruption.
     On December 23, 1873, John Hall, of Watertown, Massachusetts, was granted Patent number 145,734 for his design and invention of the "Little Fat Man Bank" (Fig. 1), which he later renamed the "Tammany Bank." The bank, as eventually manufactured by the J. and E. Stevens Foundry, of Cromwell, Connecticut, bore little resemblance to John Hall's original patent drawings, other than the fact that the subject was a portly man seated in a chair.
     On June 8, 1875, Russel Frisbie, of Cromwell, Connecticut, assignor to the J. and E. Stevens Co. was granted patent number 164,083 for his invention and redesign of Hall's "Little Fat Man" bank (Fig. 2). Frisbie utilized springs and levers in his bank to perform the action, unlike the weights and counterbalances used by John Hall. (Incidentally, a most interesting fact about the Tammany bank, as well as all mechanical banks invented by John Hall, is that they only perform their action upon the utilization and weight of a single coin.)
     The Frisbie mechanical bank was never produced. Yet, it did bear an uncanny resemblance to Hall's already manufactured Tammany bank.
     On October 9,1877, John Hall was granted a RE-ISSUE for his patent, under number 7,904. These drawings most closely resemble the actual Tammany production bank (Fig. 3). Moreover, it is within these patent papers that Hall, for the first time, actually makes reference to the name, "The Tammany Bank." As to the reason why he did this, I can only offer speculation. Perhaps Boss Tweed's unsavory reputation would have provided an added spark of interest in his "Little Fat Man Bank."
     The Tammany bank has undergone several casting variations that seem to follow the same evolutionary pattern as the previously described sets of patent papers. One variation has only a "half scallop shell" design cast into the sides of the chair, while another has the "half scallop shell" design and the words, "Hall's Pat'd." And yet a third has the "half scallop shell" design and the words, "Tammany Bank" cast into it. There are also three distinctly different cast base plates. One utilizes the round Stevens'-type coin trap for its coin removal; the second utilizes a sliding coin trap; and the third has a rectangular perforated coin trap.
     Besides the above casting variations, there are several color differences. The Tammany Bank pictured in this article has pink, flesh-colored face and hands, black hair, eyebrows and moustache, a white shirt with a blue bow tie, a yellow vest with black buttons, and gray pants with black shoes. He also sports a brown jacket. His chair is light green with red trim. Cast into the back rim of the chair are the words, "Pat'd Dec. 28, 1873."
     In other color variations, the little man's jacket could be painted black and his pants, brown. The chair could be either white or tan with orange trim. Please take note that finding a Tammany bank in still another color combination should not preclude its authenticity.
     As to the action of the bank under discussion, an early J. and E. Stevens Co. advertising flyer (Fig. 4) described it quite succinctly: "Put a coin in his hand and see how promptly he pockets it and how politely he bows his thanks."
     Several years ago, a fellow bank collector offered an interesting interpretation of the "Tammany bank's action: 'Assuming the bank was, in fact, an effigy of the infamous Boss Tweed, the coin placed into his hand might be likened to a bribe and the polite nod of his head, a confirmation of a corrupt deed granted.' "
     The Tammany bank gained great popularity during the period of its manufacture, thus providing the impetus for almost unlimited production. The overabundance of supply in the marketplace resulted in it becoming one of the most common mechanicals. Nevertheless, this has not had any affect on its popularity or desirability with today's bank collectors.
     Because the Tammany bank has been reproduced, I am including a base diagram showing its exact dimensions (Fig. 5). A reproduction will be approximately one-eighth of an inch smaller than indicated.

The Sportsman Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1984

     Avid collectors, as well as the aspiring novice, are acquainted with a category of mechanical banks known as the "shooting banks." This is a group that consists of such familiar names as "Teddy and the Bear," "Lion Hunter," and "Indian Shooting the Bear." Each one portrays a hunter shooting pennies into, or at, the figure of an animal, but never killing it. This month's article, appropriately named the "Sportsman Bank" is totally unique to this fine group of mechanical banks in that it vividly portrays the actual downing of the target.
     On June 14, 1892, Edwin I. Pyle of Bridgeport, Connecticut, was granted Patent number 476,895 for his invention of a toy which depicts a hunter shooting a bird from the air. As evidenced by the patent drawings (Fig. 1), the bank, as it was eventually manufactured, follows these designs quite faithfully, with the exception that it was designed to be a toy and not a mechanical bank. In fact, nowhere in these patent papers are the words "bank" or "toy savings device" mentioned. It appears likely that Edwin Pyle presented his patented toy to the J. and E. Stevens Company, of Cromwell, Connecticut, who felt it would be more saleable as a mechanical bank. Bearing that speculation out is the fact that it was manufactured and sold as a bank under the name, the "Sportsman Bank."
     The action of the Sportsman Bank is extremely realistic: a coin is placed into the slot on top of the base; the catapult spring is then pushed down and set. The pigeon, with its string attached to the bank, is cradled into the catapult (Fig. 2). The gun's hammer is cocked and a paper cup is inserted into the chamber. The lever next to the hunter's right foot is then pressed. Simultaneously, the pigeon springs into the air and hunter turns, as if aiming his rifle. The hammer falls, firing the cap; the bird, reaching the end of its string, is pulled back, and plummets to the ground. The illusion, of course, is that it has been hit by the Sportsman's bullet. The penny is automatically deposited within the bank. These coins are removed by way of a round Stevens' coin trap underneath the base.
     Although I, personally, find the action, as described, and subject matter fascinating, it does seem, in my opinion, an unusual and perhaps inappropriate toy for a young child.
     The casting of the Sportsman Bank deserves special mention; the figure of the hunter is completely devoid of any of the finely cast details for which Stevens' banks are so well known. Under close examination one will find no seams, collars, cuffs, lapels, or buttons cast into the jacket. Instead, they are painted on. This seems to lend a naive simplicity and primitive feeling to the bank.
     The Sportsman Bank has no casting variation, but there are several color variations. These pertain to the hunter, the base, and the pigeon.
     The bank pictured in this article has a yellow base with a red border and a red flourish on one side. The top is green and the lever is red. The catapult is yellow with red trim. The fowler wears a black-brimmed tan hat, which has a red band along its bottom. His jacket is also tan with red trim around the bottom and front. The sleeves, collar, and pockets are also trimmed in red. His pants are red and his shoes are black. His face and hands are a pink flesh color and he has black hair, eyes, and eyebrows. The pigeon is blue.
     Other color schemes include a gold pigeon; the Sportsman's jacket could be red with yellow trim, and his pants could be tan. The base can also be painted red with a yellow border and flourish.
     Inscribed into the top of the catapult are the words, "Pat'd. June 14, 1892" – information which facilitated location of the patent drawings shown in this article.
     The Sportsman Bank is quite rare and this is further substantiated by the fact that few completely original specimens exist in collections. Most often, when one of these banks is found, either the man has been broken off, his gun barrel is missing, or, most often, the pigeon is recast or missing altogether. I would venture a guess that the Sportsman Bank's extreme fragility, combined with its unsuitable subject matter for children, might account for its scarcity. (The bank pictured in this article boasts having two original pigeons; the one in the catapult is painted blue and the other gold.)
     Several years ago, bank collectors began referring to the Sportsman Bank as the "Fowler Bank." This is the name by which it is referred to at present, and one which is certainly more descriptive for this fine mechanical.
     The Sportsman has never been reproduced. However, I am including a base diagram to show an original's configuration and scale (Fig. 3).
     Correction: (from August, 1984) Re: June 1984 issue of Antique Toy World, "The Sportsman Mechanical Bank." Figure 3, illustrating the base diagram, was placed upside down. It should read "9 inches" and not 6 inches.

The Humpty Dumpty Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1984

     On January 29, 1884, Charles G. Shepard and Peter Adams, Jr., of Buffalo, New York, walked into the Patent Office and filed an application for a "new and original design for a toy savings bank." On June 17, 1884 they were issued patent number 15,085 – and thus was born what many believe to be the most attractive of bust banks: The "Humpty Dumpty Bank."
     This patent number protected only the external design of the Humpty Dumpty Bank and not the internal mechanism. Those internal parts are covered by patent number 255,090, also issued to Charles G. Shepard and Peter Adams, Jr. nearly two years earlier, on March 14, 1882 (Fig. 1). These patent papers do not illustrate the configuration of the "Humpty Dumpty Bank," but rather the "Jolly Nigger Bank." (Both the "Humpty Dumpty Bank" and the "Jolly Nigger Bank" were manufactured by the Shepard Hardware Co. of Buffalo, New York.)
     Perhaps the following explanation will shed light upon the reason why a bank in the form of a clown was named after the egg-shaped character of Mother Goose fame. On March 10, 1868, George L. Fox, a pantomime artist, produced the "Humpty Dumpty Circus" – a pantomime show which played to New York City audiences. Fox, the director and star of the "Humpty Dumpty Circus," was the only performer with enough box-office power to keep the art of pantomime alive, especially with the growing popularity of the fresher and more appealing burlesque. He was acclaimed as one of the most gifted performers of the 19th century. The show brought Fox the supreme success of his career – outdrawing and outplaying anything ever presented, shattering all previous box office records.
     The "Humpty Dumpty Circus" ran in New York until approximately 1873, when Fox was suddenly institutionalized and died some months after that.
     After comparing features and decorations in the lithographs of G.L. Fox (Fig. 2) with those of the "Humpty Dumpty Mechanical Bank" (Fig. 3), one should have little doubt that the bank is a representation of this most talented and obscure pantomimist of the 19th century.
     The operation of the "Humpty Dumpty Bank" is quite simple. A coin is placed in its right hand, and the lever in the back is pressed down. Simultaneously, his eyes roll up, his tongue recedes, and his right arm raises the coin, whereby it is flipped into his awaiting mouth and deposited within the bank. Coin removal is achieved by unscrewing the base plate.
     Cast into the back of the bank in raised letters are the words, "THE HUMPTY DUMPTY BANK." The base plate also contains the information: "BUFFALO N.Y. – U.S.A. PAT'D IN U.S. MCH. 14.'82 AND JUNE 17.'84 PAT'D IN CANADA MCH. 27. '83 RD IN ENGLAND NO. 8827."
     The following is its color scheme: The clown's face is white; his hat is red, as are the decorations on his face; his lips are brown, and his tongue is red. The collar is brown, white, yellow and blue. The jacket is red, yellow, white, and blue, and the buttons are brown with white centers. His hand is flesh colored (yellowish-pink) and the base plate is a brown Japan finish.
     There are no color or casting variations.
     As with all banks manufactured by the Shepard Hardware Co., the paint proved quite fragile. This was caused by the omission of a primer before the paint was applied to the cast iron. When one does see a "Humpty Dumpty Bank," more often than not, it is in extremely poor condition. A fine one commands a premium price.
     The "Humpty Dumpty Bank" has been reproduced; therefore, I am including a base diagram (Fig. 4) to show its exact size. A reproduction will be approximately one-eighth of an inch smaller along the base.
     Figure 5 shows an attractive trade card for this fine mechanical, describing the bank as "highly finished in brilliant colors presenting an unusually attractive appearance." It is this sentiment which has made the "Humpty Dumpty Bank" one of the most enduring and endearing mechanical banks to collectors.

The Mason Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1984

     Historically, toys savings banks served as devices which enabled young children to learn the lessons of thrift. With the advent of the mechanical toy savings bank, a most entertaining and unique method of achieving that goal was provided.
     Some mechanical banks were designed to teach the virtues of thrift through analogy. An example of one of these, and the subject of this month's article, is the "Mason Bank." A mason and his hod-carrying helper build a brick wall one brick at a time, just as the child depositor builds his savings one penny at a time. This dramatization of the mason and hod-carrier is executed quite realistically.
     The "Mason Bank" is unique in that it is the only mechanical savings bank which has, as its central theme, workmen engaged in a construction trade.
     On February 8, 1887, Charles G. Shepard and Peter Adams, of Buffalo, New York, were granted Patent number 17,103 for their "design" of the "Mason Bank." This patent protects only the design of the bank and not the internal mechanism. As evidenced by the drawing and patent descriptions, the final production bank follows these quite faithfully (Fig. 1).
     The Shepard Hardware Company, of Buffalo, New York, ultimately produced the "Mason Bank," including it in their "Excelsior Series." Other members of this distinguished "Excelsior" group of Shepard mechanicals include: the "Picture Gallery Bank" and the "Trick Dog Bank."
     As with most Shepard Hardware banks, the paint is usually in extremely poor condition. This is due to the fact that Shepard never used an undercoat primer before they painted their banks. Thus, with any degree of mishandling or adverse atmospheric conditions, the paint would simply flake off the bank. When one of the Shepard banks is found in unusually good paint condition, it is often accompanied by a premium price tag.
     There are no color or casting variations of the "Mason Bank," and the colors of the bank pictured in this article (Fig. 2) are: the mason and the hod-carrier both have pink flesh-colored faces and arms; they have black eyebrows, white eyes with black pupils, and red mouths. The mason has a tan hat with a khaki band, black hair and moustache, a white shirt and a dark blue jacket. His trowel is orange, with light gray cement. The hod-carrier wears a gray hat with a green band and his hair is brown. He wears a red shirt, blue pants with green suspenders and black shoes. His hod has an orange handle and a dark gray scoop filled with light gray cement. The bucket on the ground is tan with black bands. The top of the bank's base is gray with the words, "MASON BANK" in gold. The sides of the base are maroon with a black and gold stripe around the bottom. The brick wall is red with white mortar lines and its base is dark gray with black mortar lines. The back of the bank is maroon with the words, "MASON BANK" in gold.
     The combination of fine details, intricate action, multi-coloration, and unique subject matter make the "Mason Bank" a most highly prized and sought-after mechanical. Much of its scarcity can be attributed to its extreme fragility. Thus, when the collector contemplates purchase of a "Mason Bank," caution should be exercised. Many times, this bank is found with the following defects: the hod may be broken off or replaced; the figure of the hod-carrier might be broken off, or repaired at his feet; one or both of the mason's arms might be missing or replaced; and, because of the frailty of the paint, as discussed earlier, this bank is quite often found either touched up or totally repainted.
     Once again, I must caution the purchaser of antique mechanical banks to consult with an expert if he or she is unsure of its authenticity.
     The "Mason Bank" has been reproduced; therefore, I am including a base diagram to illustrate its exact size (Fig. 3). A reproduction will appear approximately one-eighth inch shorter along the width, due to iron shrinkage during the casting process.
     Correction: Re: June 1984 issue of Antique Toy World, "The Sportsman Mechanical Bank." Figure 3, illustrating the base diagram, was placed upside down. It should read "9 inches" and not 6 inches.
     For the past two years, eight persons involved in the field of mechanical bank collecting, including myself, have been working with Bill Norman on a Mechanical Bank Encyclopedia. This book contains large, full color photos of almost every known mechanical bank with related information. There is also a section of mechanical bank trade cards which are illustrated in full color.
     Appropriately named, The Bank Book by Bill Norman, it is an important addition to the libraries of both the casual and serious bank collector.
     The August issue of Antique Toy World Magazine will contain an order form, for the book; or, you may write to me: Sy Schreckinger, clo Young & Rubicam, Inc., 285 Madison Avenue, New York, NY 10017, for additional information.
     Omissions:  (from November, 1996) (1) Operating instructions for the "Mason Bank" (refer to Antique Toy World, August 1984) were erroneously omitted: A coin is placed into the hod and the lever is then pressed. Simultaneously, the hod tilts forward, the money falls through an opened trap door section behind the brick wall, and the mason raised his trowel and brick. Deposits are retrieved by removing the rectangular, key-lock coin retainer underneath the base.

The Humpty Dumpty Bank
(PART II)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1984

     Additional information which has come to my attention has prompted this addendum to my article (refer to July 1984 issue of Antique Toy World), "The Humpty Dumpty Bank." In it, I discussed how both Charles G. Shepard and Peter Adams, Jr., of Buffalo, New York, were granted Patent number 255,090 for their invention of the "Jolly Nigger" bank, and how they utilized that patent to also protect the inner mechanism of their "Humpty Dumpty" mechanical bank.
     Because those original patent drawings showed only the design of the "Jolly Nigger" bank, both Shepard and Adams applied further for an additional design patent in order to protect the configuration and subject matter of their" Humpty Dumpty" bank. They were subsequently granted Patent number 15,085 on June 17, 1884. This is the design patent (Figure 1) show in this article.
     The final production bank (Figure 2) was manufactured by the Shepard Hardware Co., of Buffalo, New York, and follows the drawing quite faithfully.

The Elephant and 3 Clowns Bank
(PART II)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1984

     In the May 1983 issue of Antique Toy World, the Elephant and Three Clowns Bank article discussed how James H. Bowen, of Philadelphia, was granted Patent 262,361 for his invention of the "Two Frogs" mechanical bank. Bowen utilized that patent to also protect the inner mechanism of his invention of the "Elephant and Three Clowns" mechanical bank. Because those original patent drawings illustrated only the design of the "Two Frogs" bank, James Bowen applied further for an additional patent in order to protect the design and subject matter of his "Elephant and Three Clowns" bank. He was granted Patent number 14,238 on August 28, 1883. This is the design patent (Figure 1) shown in this article.
     The final production bank (Figure 2) was manufactured by the J. and E. Stevens Foundry of Cromwell, Connecticut, and follows the drawing and description quite faithfully.

The Organ Bank with Monkey,
Cat and Dog
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1984

     If the question was posed as to which 19th-century mechanical bank manufacturer incorporated the figure of a monkey into more of their banks than any other manufacturer of the period, the answer would undoubtedly be the Kyser and Rex Company of Frankford, Pennsylvania. Their line included such banks as the "Organ Bank with Monkey;" "Tiny Organ Bank with Monkey;" "Organ Bank with Monkey, Boy and Girl;" "Lion and Two Monkeys;" the "Chimpanzee Bank;" the "Zoo Bank" (which is only speculated to be a Kyser and Rex bank); and the "Organ Bank with Monkey, Cat and Dog" – the subject of this article. Aside from being a most popular and endearing creature with young children, the reason Kyser and Rex may have incorporated the monkey into so many of their banks may have been due to the universal appeal of the commonplace street-strolling organ grinder and his pet monkey.
     On June 13, 1882, Louis Kyser and Alfred C. Rex of Philadelphia, Pennsylvania, received Patent number 259,403 for their design and invention of the Organ Bank with Monkey, Cat and Dog. (The information," Pat. June 13, 1882" is cast into the back of the bank and facilitated location of the patent papers shown in Figure 1 of this article.) The bank, as it was eventually manufactured by the Kyser and Rex Company, follows these patent drawings quite faithfully.
     The action of the Organ Bank is both charming and entertaining. A coin is placed upon the round tray the monkey holds in his outstretched hand. The crank is then turned, causing both the figures of the cat and dog to revolve. Simultaneously, bells start to clang, and the monkey lowers his tray and deposits the coin within the bank, tipping his hat in a polite "thank you" gesture. The deposited coins are removed by way of a square lock coin trap in the underside of the bank. The action is most aptly described in an advertisement which appeared in the 1889 Montgomery Ward and Company Catalog (Fig. 2), which shows the Organ Bank priced at a modest 85 cents apiece.
     There are several casting and design variations of the Organ Bank with Monkey, Cat and Dog. One pertains to the number of bells used to perform the loud chiming sound as the crank is turned. Some banks have two bells, as shown in the patent papers (Fig. 1); others utilize three bells. Another casting variation concerns itself with the position of the crank: the patent drawings show it on the left side of the bank; I have also seen it extending from the right side.
     The disproportionate sizes of the monkey, cat and dog give the bank somewhat of a primitive appearance. This unique aspect, combined with its entertaining action, colorful appearance, and noisy sound, have made this a most popular mechanical bank with yesterday's purchaser and today's collector.
     There are several color variations of the Organ Bank with Monkey, Cat and Dog. The one pictured in Figure 3 has the organ finished in brown japan and the organ pipes painted gold. The sheet music on the front of the bank is white with black markings. The dog is white with black splotches, and the cat is white with reddish-brown splotches. Both have black eyes, eyebrows and noses, and they both have red mouths. The monkey sits upon a square blue base; his head, hands and feet are brown. He has white eyes with black pupils and a red, smiling mouth. His hat is red and yellow, and he has a red jacket with large yellow buttons, and white collar and white cuffs. His trousers are yellow, and the round coin tray he holds is painted gold.
     Other color variations may find the monkey with either a blue, yellow, or green jacket; blue, red, or green pants; and, possibly, a blue and red or a blue and yellow hat. Because of the many color variations, I would caution against the hasty declaration that a bank has been repainted if it fails to comply with the aforementioned color schemes. The possibility of still another color combination cannot be ruled out.
     As with all Kyser and Rex banks, great care has been given to fine details, both in the area of casting and in the painted decorations. Close examination of this fine bank will serve as testimony to the designer's and manufacturer's meticulous and impeccable care for their product.
     The Organ Bank is considered quite common, but locating one in perfect condition with superb paint can prove a real challenge to the collector. More often than not, the bank is found badly in need of repair. The monkey might be missing either one or both arms, while the organ itself, because of its delicate casting, might be cracked or missing the crank.
     The Organ Bank with Monkey, Cat and Dog has been reproduced. Therefore, I am including a base diagram (Fig. 4) to illustrate an original's size. A recast bank will appear approximately one-eighth of an inch smaller, due to shrinking of the cast iron.
     CORRECTION:   In the August 1983 issue of Antique Toy World, the "Little Jocko Musical Bank" article erroneously stated that: "the Ives Blakeslee and Williams Company manufactured the Organ Bank with Monkey, Cat and Dog and the Organ Bank with Monkey, Boy and Girl."
     The manufacturer should have correctly been listed as the Kyser and Rex Company of Frankford, Pennsylvania. My sincerest apologies to both Louis and Alfred C.

 The Bulldog Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1984 

     On the banks of the River Styx, guarding the forbidden gates, stood Cerberus, the Watchdog of Hell. An enormous beast, gigantic in proportion, bristling with rage.
     Hercules cautiously advanced towards the hellish dog, with hand outstretched. And Cerberus, being mad with hunger, sprang forward, greedily accepting his offerings of honey and drugged corn. And the great dog's body became quieted and he fell back to his reclining posture.
               – Virgil's The Aeneid, Greek mythology, 70 to 19 B.C.
 
     On August 13, 1878, Enoch R. Morrison was granted Patent number 206,893 for his design and invention of the Bulldog Savings Bank (Figure 1). The bank, as it was eventually manufactured by the Mechanical Novelty Works of New Britain, Connecticut (Figure 2), closely follows these drawings – with the exception of the addition of a man in coattails, with outstretched hands, holding a forklike object with which to feed coins to the bulldog.
     I am almost certain neither Mr. Morrison (inventor) nor the Mechanical Novelty Works (manufacturer) had Cerberus in mind when they conceived of and manufactured the Bulldog Savings Bank, but one must admit there is an uncanny likeness between Virgil's Greek Myth and Morrison's mechanical bank.
     For several years it had been assumed that the Bulldog Savings Bank was manufactured by the Ives, Blakeslee Company, of Bridgeport, Connecticut. While researching the bank, I noticed a great many similarities between the Bulldog Savings Bank and all of the mechanical banks produced by the Mechanical Novelty Works. These similarities have led me to believe they were all manufactured by the same company.
     The Mechanical Novelty Works was a toy manufacturer owned and operated by Andrew Turnbull, James A. Swanston, and George W. Eddy. Mr. Eddy was the patentee of the Initiating First Degree and the Goat, Frog, and Old Man mechanical banks. Both of these banks, plus the Squirrel and Tree Stump bank, comprise the only mechanicals that are documented to have been manufactured by the Mechanical Novelty Works.
     When a comparison is made between the Bulldog Savings Bank and the Goat, Frog, and Old Man, one can readily see the great similarities between: (1) their base designs and configurations; (2) the use of a dark japan varnish and a muted color scheme; (3) the casting detail; and, most importantly, (4) the pivotal lever action – a feature shared by every mechanical bank manufactured by the Mechanical Novelty Works.
     Nevertheless, the possibility does exist that the Mechanical Novelty Works jobbed out the Bulldog Savings Bank's clockwork mechanism to the Ives, Blakeslee Company, since they were the leading 19th century American toy manufacturer of spring-driven toys and trains.
The coloration of the Bulldog Savings Bank, or rather the lack, adds much to the drama of this intriguing mechanical. The base and figures of both the man and the bulldog are painted in a dark brown, japan finish. The bottom edge of the bank, the raised designs on both sides of the base, and words "BULLDOG SAVINGS BANK PAT. AUG. 13, 1878" (atop the base) are painted gold.
     The first step in operating the Bulldog Savings Bank is to wind the spring mechanism with a key. A coin is then inserted into the fork which the man holds. The lever underneath the man's coattails is then depressed. Simultaneously, the bulldog springs forward, mouth agape. Biting down upon the monetary offering, it swallows the coin and retreats to a reclining position (Figure 2). The coin falls through the dog's body and is deposited into the base of the bank. These coins are removed by way of a square coin trap, which is secured to the bottom of the bank with a single screw.
     (Note: The operating lever, as described above, should be made from a piece of tapered sheet steel – and not from cast iron, as is the rest of the bank.)
     There are no color variations of the Bulldog Savings Bank, but there are two design variations. One, not readily evident, concerns itself with the internal clockwork mechanism. The other variation occurs with the type of fork held by our undaunted coin bearer. This fork could either be of a thick variety, as illustrated in Figure 2, or of a thinner spring steel type. Neither adds to, nor detracts from, the value of the bank.
     The Bulldog Savings Bank is one of an elite group of clockwork mechanical banks which includes such classics as: Professor Pug Frog's Great Bicycle Feat, the Girl Skipping Rope, Organ Grinder and Performing Bear, the Motor Bank, several Weeden's banks, and a number of musical and music box savings banks.
     The Bulldog Savings Bank is quite difficult to add to a collection, especially in fine condition. This may be attributed to possibly three factors:
(1) Price. At a time when mechanical banks were selling for 50 cents to 95 cents apiece, the Bulldog Savings Bank was advertised in the 1882 edition of Ehrichs' Fashion Quarterly for the sum of one dollar and forty-five cents. It may be assumed that few parents were able to afford to purchase one for their child.
(2) Fragility. Even though the bank gives a sturdy appearance, the clockwork mechanism is quite fragile, as are the bulldog, the figure of the man, and the fork. Most banks purchased were ultimately broken and discarded.
(3) Popularity. Selection of a penny bank suitable for a small child may have been directed toward the charming and colorful Professor Pug Frog Bank, or a Magician Bank, or, perhaps, a Speaking Dog Bank. It was unlikely that a parent's choice would center upon the frightening design of the Bulldog Savings Bank – explaining why sales and production of this bank might have been sparse.
     Taking into consideration price, fragility, and popularity, we can readily see why the Bulldog Savings Bank is a rarity today.
     Contrary to the lack of popularity it suffered during its time of manufacture, it has become one of the most popular banks for most collectors.
     The Bulldog Savings Bank has not been reproduced. Nonetheless, I am including a base diagram (Figure 3) to indicate size and scale.

The Bird on Roof Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1984

     Although mechanical penny banks achieved some degree of sophistication during the time of their manufacture, there were those produced that reflected a naive and primitive quality. Examples of the latter include: "The Springing Cat" bank, with its subject expressed in oversimplified detail and painted in the classic primitive style; "The Sportsman" bank, displaying a simplistically-styled uniform; "Jonah and the Whale," with a larger-than life Jonah emerging from the whale's mouth; "Organ, Cat, and Dog" and "Organ, Boy, and Girl" banks, each with a disproportionately large hat-tipping monkey; and "The Bird On Roof"  bank, the subject of this article.
     A comparison of the patent drawing (Fig. 1), the final production bank (Fig. 2), and the patent description of the "Bird On Roof" bank lead one to speculate as to why the patentee would represent what, in the patent papers, is obviously a Gothic church, as a cottage. Possibly, it may have been thought that a religious connotation would limit the sales potential of his bank.
     The design of the "Bird On Roof" bank was patented on March 5, 1878, by Elisha Stevens and assigned number 10,509. The words, "PAT MAR 5 '78" are cast into the underside of the bank.
     The "Bird On Roof" bank possesses a simplicity and arresting tranquility; it reflects an era that was concerned with quality and appreciation for natural beauty. The delicate casting details and subtle coloration simply add to its attractiveness.
     The "Bird On Roof"  bank was manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. The initials "J" and "E" were the initials of John Stevens and Elisha Stevens; Elisha was the designer and patentee of the bank.
     The Stevens' foundry began its business as a manufacturer of cast iron hardware during the early 1800s. It was not until the late 1860s that the foundry began to produce cast iron penny banks. The height of Stevens' prosperity was simultaneous with the heyday of the mechanical bank (1880s). It was at that point that the foundry became the world's leading manufacturer of cast iron penny banks.
     The action of the "Bird On Roof" is extremely simplistic. A coin is placed into a groove atop the bird's head. The wire lever (Fig. 3) is then pressed inward, causing the bird to tilt downward. The coin rolls into a slot in the chimney, thus being deposited into the bank. Removal of the coins requires removal of the base of the bank. This is accomplished by undoing two small screws underneath the base. The bird is reset automatically when it is straightened into the upright position, as shown in Figure 2.
     The "Bird On Roof" is a difficult bank to acquire, particularly for the collector who seeks one that is all-original and unbroken. The complexity of coin removal might account for its rarity. It is easy to imagine a young child attempting to remove the two base plate screws in order to gain access to the bank's contents and having the bank slip from his hands and crash to the floor. Or, perhaps, he may have smashed the entire bank in order to get to its entrapped treasures.
     There are two casting variations and several color combinations for the "Bird On Roof" bank. The mechanical pictured in Figure 2 has a purple japanned roof; the bird has a gold beak, a gold stripe down its back, and gold wings and tail which are over-painted with purple japanning. It also has a black crest on its head. The sides of the house are decorated in gold, silver, and purple japan; the circular design on the chimney is painted gold. I have seen this bank also painted in an overall brown japan finish with gold highlighting on the roof; a bird with gold wings, beak, and tail; and the sides of the house decorated in gold and silver.
     The casting variations are primarily concerned with the pedestal on which the bird is perched. One pedestal is made of thick sheet steel, while the other, besides being made of a thinner material, boasts of a more delicate design. Neither adds to nor detracts from the bank's value.
     An exceptionally fine "Bird On Roof" mechanical bank possessing an attractive color scheme will generally command a premium price.
     Because of the extreme fragility of this bank, the prospective buyer should be wary of repaired, replaced, or re-cast parts. When this bank is finally located, all too frequently it is discovered that the bird, as well as the delicate fretwork in the arched windows, has been repaired or replaced.
     The "Bird On Roof" bank has been reproduced. The base diagram (Fig. 4) may be helpful to the reader in discerning an original from a recast. The recast version will appear approximately one-eighth inch shorter in length.
     As a final note, it is difficult for this writer to resist the temptation to express his personal views: the exceptional casting, graceful lines, and quiet but eloquent coloration truly make the "Bird On Roof" bank a mechanical for the discriminating collector.

The Darktown Battery Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1985 

     The subject of this month's article represents the blend of two incongruous ideas – those of racial prejudice and baseball. The former was the sentiment expressed by slavery, first introduced into Jamestown, Virginia, in 1691; the latter was the brainchild of Abner Doubleday – who, in the summer of 1839, in Cooperstown, N.Y., allegedly conducted the first game of baseball ever played.
     On January 17, 1888, James H. Bowen, of Philadelphia, Pennsylvania, incorporated anti-black sentiment and baseball into the "Darktown Battery" mechanical bank, for which he was granted patent number 376,628 on that date. Production of the Darktown Battery bank was handled by the J. and E. Stevens Company of Cromwell, Connecticut. As evidenced by the photograph in Figure 1, it may be said that Bowen's patent drawings (Figure 2) were adhered to stringently.
     The action, coloration, and design of the Darktown Battery have rarely, if ever, been equaled in the world of mechanical banks. The basic color scheme is standardized, except for particular instances where the ball players' uniforms have some slight color variations.
     There is only one casting variation of which I am aware, and that pertains to a thicker baseball bat than the one pictured in this article. Neither the paint variation, nor the casting variation has any bearing on the bank's ultimate value.
     The color scheme of the Darktown Battery in Figure 1 is as follows: the pitcher has a red shirt, blue pants, red socks, and tan and khaki shoes. He wears a bright yellow scarf with black polka dots; his hat is red and white and has a yellow peak. The batter wears a blue and white striped shirt with the word, "POSSUMS" in red. His pants are yellow with a black belt, and his socks are blue with white stripes. He also has tan and khaki shoes, and his hat is black and white with a yellow peak. His bat is yellow with a red tip. The catcher has a red shirt, blue pants, tan and khaki shoes, and his hat is red and white with a yellow peak. All three ball players have black faces, arms, and hands; red lips; and white eyes with black pupils. The batter sports a pearly white smile. The ground is green, olive, khaki, and brown. The front and back of the bank's base is brown with a dusty pink background, and the words, "DARKTOWN BATTERY" are painted red. The baseballs are gold, the bats are white with red tips, and the bottom edge of the bank is painted black.
     The action of the Darktown Battery is an outstanding combination of realism, imagination, and coordination. A coin is placed between the spring-tensioned thumb and palm of the pitcher's right hand. His arm is then pulled back and cocked into position. The lever (Figure 3) is then pushed down; simultaneously, the pitcher releases the coin as his head snaps back; the batter lifts his bat as his head turns towards the catcher; the catcher's head moves forward as his hand moves aside to allow the penny to be deposited into an opened trap door in his chest. The deposited coins fall through the catcher's body into the base of the bank. These coins are removed by way of a round Stevens' coin trap underneath the base.
     Figure 4 is a copy of a page from the manufacturer's catalog which describes the Darktown Battery bank, and prices it at a modest $1.00 apiece. This proved to be quite an investment when one considers that, recently, a Darktown Battery was auctioned off at a price that exceeds the original J. and E. Stevens catalog price by more than 1,500 percent.
     The Darktown Battery bank was quite prone to breakage, and locating one in superb, all-original, unbroken condition can prove to be quite a challenge to the collector. The pitcher's arm, the batter's arms and bat, the catcher's hand, and the open decorations on both sides and the bottom of the bank are often cracked or broken.
     Close examination of this bank provokes wonderment at how something with such delicate castings could have as many survivors as it does.
     Unfortunately, the great appeal and popularity of the Darktown Battery have inspired many a reproduction and recast. Thus, caution should be exercised when contemplating a purchase. Aside from rough casting and crude paint, a recast can be detected by comparing it to the base diagram (Figure 5) which is included in this article. A recast will appear approximately 1/8 inch shorter in length.
     Several years ago there were authorized reproductions made of the Darktown Battery bank, but these are easy to detect. The name, "Darktown Battery" on the front of the bank was changed to "Hometown Battery," and the ball players are depicted as Caucasians, rather than as blacks. These banks were made by the Book of Knowledge and are so incised underneath the base plate.

The Magician Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1985 

     The wonderment of magic has existed throughout all ages of history. Ancient times produced its demons and sorcerers which called forth the magical powers of man to protect himself against evil influences. Modern society is provided with its palmists, Tarot readers, crystal gazers, and stage magicians to entertain as they open the door to the world of magic and the supernatural.
      And so it was on January 22, 1901, that homage was paid to these magicians with the creation of the "Magician Mechanical Bank." On that date William C. Bull, of Philadelphia, PA, received Patent number 666,612 for his invention (Figure 1). Subsequently, on September 17, 1901, Charles A. Bailey, of Cromwell, CT, was granted Patent number 35,119 for his design of the Magician Mechanical Bank (Figure 2). Both Mr. Bull and Mr. Bailey assigned their patents to Abraham L. Kesner. Besides this "coincidence," other similarities include the same two witnesses and the same patent attorney.
     It is possible, if I may speculate, that William Bull approached the Stevens' Foundry to manufacture his Magician Bank. They, in turn, purchased the rights to his design and Charles A. Bailey (chief designer of the foundry) planned and executed a simpler and more "esthetically" pleasing bank. Bailey then patented his "improved" design. The final production Magician Bank was manufactured by the Stevens' Foundry of Cromwell, Connecticut.
     The William C. Bull design (Figure 1) displays a somewhat more complex action than the Charles A. Bailey design (Figure 2). The former has both arms moving independently, while the latter has both arms attached to the hat and moving as a single unit. Both patents utilized a similar trap door and chute design within the table top, for the disappearing coin illusion.
     The action of the Magician Bank is uncomplicated and impressive. A coin is placed within the circular design on the center of the table. The lever (Figure 3) is then pressed. Simultaneously, as the Magician lowers his hat to cover the coin, the small hinged trap door opens and the coin drops through the chute under the table into the base of the bank. As the lever is released, the Magician raises his hat, and, voila! the coin has mysteriously disappeared. These coins are retrieved by way of a round Stevens-type coin trap underneath the base of the bank.
     To the best of my knowledge, there are no casting variations of the Magician Bank, but there are several color variations. These include the magician's hands and face – which maybe painted either white or a pink flesh color – the steps leading up to the platform – which may be painted with a textured flock paint in either chartreuse, fuchsia, or blue. (A word of caution: A Magician bank with steps that are not coated with the flocked paint most likely has been repainted.) The magician's hair, mustache, beard, eyes, and eyebrows are always painted black, as are his bow tie, hat, coat, trousers, and shoes. The wand in his right hand is painted gold. The table is red with gold-trimmed legs. The front and back of the base of the bank are painted turquoise-blue with black letters. The lever is yellow, as is the saw-tooth design on the top edges of the base.
     The Magician Mechanical Bank is extremely attractive and entertaining, which may help to explain why it is highly sought after by today's collector. Unfortunately, these attributes have contributed to the poor condition in which this bank is generally found, since it was handled and played with a great deal by those children for whom it had originally been purchased and who discovered it to be an intriguing plaything. A superb specimen will command a premium price. At a recent auction, a fine Magician Bank sold for more than a three thousand percent increase above its original selling price (95c in 1913), as shown in a copy of an advertisement by the Fair Company of Chicago, Illinois (Figure 4).
     There are several reproductions of the Magician Bank. Figure 5 indicates a base diagram of the original. A reproduction will appear approximately one-eighth of an inch shorter in length than the original.

Boys Stealing Watermelons Bank
(The Watermelon Bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1985

     As stated in previous articles, many mechanical penny banks served as a platform for anti-black and racist sentiments. The stereotypic viewpoint that the black man would go to great lengths to appease his insatiable appetite for watermelon was the subject of many toys for children, including mechanical banks, and appeared in all forms of media (Figure 1).
     The Boys Stealing Watermelons Bank, or, more accurately, the Watermelon Bank (Figures 2, 3) portrays two black children raiding the proverbial "waddermelon" patch, as the farmer's vigilant watchdog tries in vain to protect his master's property.
     To date, I have not been successful in determining the inventor, the manufacturer, or when this bank was patented. The actual years it was offered for public sale recently came to light with the discovery of a catalog page dated 1894-1895 (Figure 2), which shows the New Watermelon Bank priced at a modest $4.00 per dozen!
     There has been much conjecture over the past years that the Boys Stealing Watermelons Bank might have been manufactured by the Kyser and Rex Company of Philadelphia, Pennsylvania. This was due to many similarities between it and several others produced by the company. These include similar casting details, paint type, coloration, and the common use of square lock coin traps. However, to date there has been no concrete evidence which links this bank to Kyser and Rex.
     There are two other mechanical banks which share many of the same design similarities as the Boys Stealing Watermelons Bank. And, in addition, they also have in common a lack of knowledge of the inventor, manufacturer, and date of patent. They are the Uncle Remus Bank and the Zoo Bank. If one was to examine all three banks, it would be discovered that they share many of the same colorations and paint application technique. All three have one of the following numbers either molded or incised into their backs: 133, 134, 136, leading to the speculation that each may possibly be part of a series. And, they all share as a part of their design, buildings that utilize foreshortened perspective, to give the illusion of greater depth than the banks actually achieve.
     The action of the Boys Stealing Watermelons is simple, effective, and very charming. A coin is placed within the slot in the roof of the dog house. The lever (Figure 3) is then pressed. Simultaneously, the dog emerges from his house, the prone little boy lowers his right arm (as if to shoo the dog away), and the coin is deposited within the bank. These coins are removed by way of a square lock coin trap in the back of the bank.
     There are no casting variations but there are a few color differences, which pertain solely to the colors of the clothing worn by the two boys. They could be any combination of the following description: both boys have black faces, hands, and feet. The one climbing through the fence has white eyes and a red mouth. He wears red pants, a blue shirt and a yellow hat. The boy who is in a prone position wears a red shirt, yellow pants and sports a blue cap. The fence is white. The dog house is yellow ochre with a red roof. The dog is black with silver highlighting, and he has a red mouth. The watermelons are green with white strips and the ground is painted a reddish brown. The wall that makes tip the base of the bank is white with a black stippled effect. The tree above the dog house is bright green, mottled with red and yellow highlights. The lever (Figure 3) is painted gold and the entire back of the bank is painted black.
     Its size, intricate design, colorful appearance, and subject matter make the Boys Stealing Watermelons an attractive addition to a collection.
     This bank has been reproduced; thus, I am including a base diagram (Figure 4). A reproduction will appear approximately one-eighth of an inch shorter in length than an original.

 The Uncle Sam Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1985

     The question of whether there was actually an "Uncle Sam" can be answered by the name, "Samuel Wilson." He was born in Menotomy, Massachusetts, in 1766; when he was 14 years old, he ran away from home to join the Revolutionary Army. After the war, at the age of 23, Mr. Wilson started a meat packing business in Troy, New York. It wasn't long before he became known within the community for hard work, honesty, and a common-sense approach to life.
     It was these qualities that earned Sam Wilson appointment to the post of Inspector of Provisions for the U.S. Army during the War of 1812. The "U.S." stamp he placed upon each barrel of inspected meat inspired the following legend: when asked by a young woman what the "U.S." on each barrel signified, a worker for Samuel Wilson jokingly replied, "Why, those are the initials of "Uncle Sam" Wilson. And so was born our National Symbol. By the end of the War of 1812, the name "Uncle Sam" had become famous for honesty, reliability, and dedicated patriotism.
     Samuel Wilson died on July 3l,1854. It was not until 1961 that Congress adopted a resolution recognizing "Uncle Sam" Wilson of Troy, New York, as "the progenitor of America's national symbol."
     Literally thousands of toys depicting the likeness of Uncle Sam have been manufactured throughout the years. And, the Uncle Sam Mechanical Bank, the subject of this article, is undoubtedly one of the finest.
     On June 8,1886, Design Patent Number 16,728 (Figure 1) was granted to Charles G. Shepard and Peter Adams, of Buffalo, New York This patent protected only the external "design" of the Uncle Sam Bank. Oddly, although the drawing shown is clearly that of Uncle Sam, this name is never mentioned within the patent papers.
     Subsequently, on November 16, 1886, both Shepard and Adams were granted patent number 352,786 (Figure 2) for their invention of the Stump Speaker Mechanical Bank. This time, the patent protected only the internal mechanism. This mechanism is precisely the one which governs and actuates the Uncle Sam Mechanical Bank.
     Operation of the Uncle Sam Bank is effected by placing a coin into his right hand. The lever behind his left foot is then depressed. Simultaneously, the satchel opens and the hand holding the coin lowers, depositing it into the bank. Uncle Sam's goateed chin then wiggles in a gesture of gratitude. These coins are reclaimed by way of a square lock coin trap in the back side of the base.
     The Uncle Sam Bank was manufactured by the Shepard Hardware Company of Buffalo, New York - a company that was extremely prolific in the production of mechanical banks during the late nineteenth century. It should be noted that all of their banks (including Uncle Sam) exhibited fine, meticulous, and delicate paint detail. However, because Shepard Hardware neglected to prime the cast iron before they painted their banks, over the years heat, cold, and moisture have caused deterioration and flaking. For this reason, it is rare to find a Shepard bank in fine paint condition.
     I am not aware of any casting or paint variations of the Uncle Sam Bank. The colors of the bank pictured in this article (Figure 3) are as follows: the bottom edge and four corners of the base are green with yellow striping. The Eagle on the front plate is bronze, and the ribbon in his beak is blue with gold letters. All four sides have red backgrounds; the word, "bank" which appears on two sides, is painted gold. The floor of the base is grey with white lines. Uncle Sam's satchel is tan with dark brown highlights and rimmed with black and yellow. He wears black shoes, red and white striped pants, and a grey vest with silver stars and gold buttons. He has a white bow tie outlined in red, a white collar, and a dark blue jacket with red trim. His face and hands are pink flesh colored; he has brown eyebrows, tan eyes with black pupils, red lips, white teeth, white hair, and a white goatee with faint tan lines. He sports a grey top hat with a dark blue band decorated with silver stars. Finally, his umbrella is green with a yellow handle.
     The Uncle Sam Bank is not considered rare, but, because of its historical appeal, highly attractive paint scheme, fragile nature, and imposing appearance, is one of the most sought after of all mechanicals. This popularity has resulted in an overabundance of reproductions. Therefore, I am including a base diagram (Figure 4) to aid in the detection of an original from a recast. The recast will appear approximately one-eighth inch shorter along the width than an original.

The Stump Speaker Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1985

    The Civil War had ended and there were a few educated slaves who had achieved some degree of self-independence. Many of these men, dressed in their finest and touting a carpet bag with their worldly belongings, set out for Washington to champion the black cause. They traveled the back roads and country sides, collecting money and preaching political reform for their newly-freed brothers. Many times, their orations were delivered to the townsfolk by standing on a box, stool, or a flattened tree stump; hence the name, "Stump Speaker." These traveling politicians served as inspiration for a mechanical bank, which is the subject of this article. On November 16, 1886, Charles G. Shepard and Peter Adams, of Buffalo, New York, were granted Patent number 352,786 for their invention of the Stump Speaker Mechanical Bank (Figure 2). Unfortunately, this bank, as it was ultimately produced (Figure 1), ridiculed rather than glorified these brave proclaimers of civil rights.
It portrayed them as comical, dwarf-like caricatures, reflecting the racial prejudice of that era.
     Comparison of the patent drawings (Figure 2) and the final production bank (Figure 1) show several design changes. One example is that the figure of the man was changed from Caucasian to Negro. A cocked top hat was incorporated into the final design, and the umbrella at his feet in the patent drawings was deleted.
     It is interesting to note that Design Patent number 16,728, granted June 8, 1886 to Shepard and Adams for their Uncle Sam Mechanical Bank (Figure 3), also covers the Stump Speaker Mechanical Bank. That date ("Pat'd. June 8, 1886") is so incised into its base plate. It is not coincidental that both banks have great similarities between their designs and internal mechanisms.
     To operate the Stump Speaker Bank, a coin is first placed into the subject's right hand. The lever behind his left foot is then depressed, whereupon the carpet bag opens; the Stump Speaker's right hand lowers, dropping the coin into the open bag; and his jaw wiggles in a gesture of gratitude. The deposited bounty is removed by way of a square locking coin trap built into the backside of the base.
     The Stump Speaker was manufactured by the Shepard Hardware Company of Buffalo, New York, one of the most prolific 19th-century mechanical bank designers and producers. All Shepard banks exhibited extremely fine and meticulous paint detail. Unfortunately, because they neglected to undercoat the banks prior to painting, age, heat cold, and moisture have caused severe paint deterioration and flaking in all of the banks Shepard manufactured (Stump Speaker included). For this reason, it is almost Figure 2 impossible to find a Shepard bank in fine condition. When one does, it is usually accompanied by an appropriately high price tag.
     There are no casting variations of the Stump Speaker Bank, but there are two color variations. These pertain solely to the face, hands, and lips of the man. The bank pictured in this article has chocolate brown hands and a brown face with pink lips. The other variant has black hands and a black face with red lips. All other colors are constant and remain basically the same. They are as follows: his hat is light gray with a black band. He has black hair and black eyebrows. The cornea of each eye is white with brown iris and black pupil; he has white teeth, each separated by a thin red line. Our hero sports a bright green suit, trimmed in red with a red collar. His vest is yellow with black buttons, and he wears a white shirt with a black bow tie, highlighted in gold. His shoes are black. The carpet bag at his side is brown and tan with a black clasp and handle. The platform upon which he stands is dark gray, with thin white lines delineating each board. The four sides of the base are painted red with gold lettering. Each corner and the bottom edge of the bank are painted black with a yellow stripe.
     The popularity of this bank may be attributed to several factors: an attractive and bright color scheme, imposing size, and subject matter that makes this bank appreciated not only by mechanical bank collectors but also collectors of political and black memorabilia. This popularity has led the Stump Speaker Bank to be reproduced. I am, therefore, including a base diagram (Figure 4), to assist in determining an original from a recast. The recast will appear approximately one-eighth inch smaller along the base than an original.

 The Zig Zag Bank (Part II)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1985

     Additional patent information which had come to my attention prompted this addendum to the "Zig Zag Bank" article which appeared in the February 1983 issue of Antique Toy World. In it, I discussed how Moses Newman and George H. Bennett, of New York, received patent number 413,204 on October 22, 1889, for their invention of the Zig Zag Bank.
     The patent drawing did not illustrate the external design of the bank (Figure 1), but only described and protected the internal mechanism. On January 7, 1890, a Design Patent number 19,569 (Figure 2) was also issued to Messrs. Newman and Bennett. This patent protected and depicted the bank as it was ultimately manufactured.
     Unfortunately, that manufacturer remains unknown, although the construction and colors of the Zig Zag Bank lead me to speculate that it might have been produced by the Kyser and Rex Company of Philadelphia, PA.

The Bank Book by Bill Norman
(A BOOK REVIEW)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1985

      The book we've been waiting patiently for is here, at last! And I would like to state that it has been well-worth waiting for. To date, this is the most complete, concise, informative, and attractive book to be written on Mechanical Banks. Each page displays one or more large, clear, full color photograph(s) of a mechanical bank, accompanied by a brief description and numerical price-rarity grading system. The history and manufacturer(s) are discussed in great detail. In addition, there is a special full-color illustrated section which deals with Mechanical Bank Trade Cards.
     The Bank Book should serve as an invaluable aid, not only to the toy and mechanical bank collector, but to anyone interested in antiques. It truly brings to focus how significant these wonderful toys are as a reflection of our history.
     If you would like to order a copy of THE BANK BOOK by Bill Norman, send a check or money order for $45.00 for the regular edition, or $125.00 for the genuine leather bound, limited edition, made out to "THE BANK BOOK", with your name and address and send it to: Sy Schreckinger, c/o Young and Rubicam, Inc., 285 Madison Avenue 7th Floor; New York, N.Y. 10017.

The Lion Hunter Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1985

      Theodore Roosevelt, 26th President of the United States, was a decorated war hero, an explorer, and one of the most renowned big game hunters of his time. It was the concept of "Teddy, the Hunter" that was incorporated into one, and possibly two, mechanical banks designed by Charles A. Bailey.
     The "Teddy and the Bear" bank, patented on February 19, 1907 (Figure 1), was, undoubtedly, an effigy of Theodore Roosevelt, having been designed, patented, manufactured. and named after him during his terms of office in the White House. The reason for hesitation in proclaiming Teddy the subject of the "Lion Hunter" bank is the lack of documentation or mention of Roosevelt in the patent papers shown in Figures 1 and 2. Nor does his name appear on the manufactured bank as it does on the "Teddy and the Bear" bank.
     Perhaps the following conjecture may clarify this issue: Roosevelt's term of office, after re-election in 1904, ended in 1909, whereupon he, his son, Kermit; and a group of scientists set sail for Africa to hunt big game. The expedition was to claim 296 specimens, including nine lions. Riding on the success of his "Teddy and the Bear" bank, perhaps Charles Bailey seized upon the opportunity to make the most of Roosevelt's safari and decision to run, once again, for the presidency in the election of 1912, by designing the "Lion Hunter" bank. Bailey was granted Patent number 41,696 on August 22, 1911 (Figure 2) for this mechanical.
     "Teddy and the Bear" and the "Lion Hunter" were both manufactured by the J. and E. Stevens Foundry of Cromwell, Connecticut.
     The supposition that Bailey had Roosevelt in mind when he designed the "Lion Hunter" bank is supported by the fact that it was conceived and patented at the time of Roosevelt's African game hunt In addition, the face of the hunter bears an uncanny resemblance to the handle-bar mustached Teddy Roosevelt, The omission of Teddy's name, either by Bailey, or J. and E. Stevens, from the manufactured bank may, perhaps, be explained by the fact that Roosevelt lost his bid for the presidency in the 1912 election. Unfortunately, it was his controversial platform that led to a split party vote – resulting in the emergence of a victorious Woodrow Wilson.
     It may be noted that the patent drawing (Figure 2) indicates a blank area where the words, "Lion Hunter" appear on the final production bank. Perhaps Bailey anticipated the outcome of the election before naming the bank.
     The design patent (Figure 2) protects only the external "ornamentation" of the "Lion Hunter' bank. It is the patent for the "Teddy and the Bear" bank (Figure 1) which protects the inner mechanism and workings of the "Lion Hunter" bank.
     The action of the" Lion Hunter" is extremely animated: first, the coin slide atop the rifle's barrel is pulled back, cocking the gun. The hunter's head moves forward as if taking aim. A penny is then placed in front of the slide. (A toy paper gunpowder cap may be inserted in front of the gun's hammer.) The lever is then pressed (Figure 3). Simultaneously, the cap fires and the hunter's head moves back as if from the recoil. The lion rears up, and the penny is propelled forward, being deposited beneath the lion, into the bank.
     (The lion can be made to rear up without cocking the rifle by merely depressing the lever. This "double" action is a unique feature of both the "Lion Hunter" and the "Teddy and the Bear" banks - and is so described in the patent papers. In the "Teddy and the Bear" bank the bear pops up out of the treetop when the lever is pressed.)
     There are no casting or color variations of the "Lion Hunter" bank. The color scheme is also constant, and the one pictured in Figure  is as follows: the hunter's face and hands area pink flesh color; he has a red mouth with white teeth; the corneas of his eyes are white; and the pupils are black, as are his eyebrows and his handle-bar moustache.  He has a red mouth. His uniform is tan with a gold bullet belt. The boots are green with gold buttons and his pith helmet is light beige. The rifle is silver with a reddish brown stock. The lion is brown. The base is dark green with a metallic gold tinge. The floral design, as well as the name. "LION HUNTER," are painted copper. There are flecks of mica applied randomly over the base to give the effect of rock.
     The "Lion Hunter" bank possesses all of the qualities which make it highly desirable: a degree of rarity. good action and color, imposing size and design, and the distinction of having been designed by the most prominent mechanical bank designer of the 19th century, Charles A. Bailey.
     I am not aware of any reproductions of the "Lion Hunter" bank. Nevertheless, included is a base diagram (Figure 4) to indicate size and scale.
     Correction: (from September, 1985) In the article entitled, "The Lion Hunter Bank," Antique Toy World, July 1985, it was erroneously stated that the Hunter has a red mouth with white teeth. That should have been descriptive of the Lion.

The Football Bank — A Calamity
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1985

      The subject of this article depicts a sport which originated in ancient and medieval Britain. The game we recognize as "football" developed from the disorganized, confused, and, often, violent "melees" which attempted to punch, carry, or kick an oval object, usually the inflated bladder of an animal, toward some goal. It was not until the early 19th century that football became more orderly, with the U.S. colleges and universities and the great English public schools adapting variations of the game of kicking or booting a round, inflated ball. The development of modern football, as we know it, was effected between 1906 and 1912.
     With "footballmania" sweeping the United States, it wasn't surprising that a toy mechanical bank reflecting the football theme would be designed (Figure 1) and offered for sale to a receptive public. On August 29, 1905, James H. Bowen, of Philadelphia, Pennsylvania, was granted Patent number 798,491 for his design and invention of the "Calamity" mechanical bank. This patent protects both the design and internal mechanism of the bank (Figure 2).
     Production of the Calamity bank was executed by the J. and E. Stevens Co., of Cromwell, Connecticut, and is pictured in their catalog (Figure 3) at $1.00 each, packed in its own wooden box. As evidenced by the photograph in Figure 1, it may be said that Bowen's patent drawings were stringently adhered to.
     There are no casting variations of which I am aware. The basic color scheme is also standardized, except for some instances where the colors of the players' uniforms have been reversed.
     The colors of the Calamity bank pictured in Figure 1 are as follows: all three players have tan helmets, vests, and knickers; they have olive green shoulder pads and brown shoes, belts, and hair. Their hands and faces are pink flesh-colored, with red mouths and eyes that have white corneas with black pupils. The ball carrier's knee-socks, shirt sleeves, and collar are painted blue-gray. His two opponents' knee-socks, shirt sleeves, and collars are maroon. The football is olive green. The base of the bank is painted red with gold trim, as are its two hind legs. The top of the base is bright green with gold, highlighting the raised floral design as well as the words, "A Calamity."
     The action of the Calamity bank is exciting, surprising, and extremely amusing. To set the bank for its action, both side football players are pulled back, automatically locking into position behind the ball carrier. A coin is placed into the slot on top of the base; the lever is then pressed. Simultaneously, the ball carrier lunges forward; his two opponents swing around in front of him, and all three meet with a sharp crack of their foreheads. The coin then falls into the base. the lack of paint remaining on the faces of almost all Calamity banks gives credence to the harsh treatment these figures experienced.
     It is of further interest to note that the designer of this obviously bold and aggressive bank, James H. Bowen, also designed the delicate "Girl Skipping Rope" bank, an example of grace, serenity, and tranquility.
     The Calamity's violent action, coupled with its delicately designed castings, have resulted in breakage of many of these banks – a factor which accounts for much of its rarity today. This scarcity, as may be expected, has spawned an abundance of recasts. I am, therefore, including a base diagram (Figure 4) to aid in determining an original Calamity bank from a reproduction. The recast will appear approximately one-eighth inch smaller in length than indicated in the diagram.

 The Organ Bank (Miniature)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1985

     Unassuming, diminutive in size, and a relatively colorless appearance may best describe the mechanical bank about to be discussed. However, lest we underestimate the unpretentious Organ Bank (Miniature), may I add that, despite the foregoing description, it has attained a special place in the world of bank collecting.
     The Organ Bank (Miniature) is one of a series of four monkey and organ mechanical banks, designed and manufactured by Louis Kyser and Alfred C. Rex, of Frankford, Pennsylvania. It has the distinction of being the smallest (Figure 1, actual size) and rarest of the four. The others in this series include: the "Organ with Monkey, Boy and Girl," the "Organ with Monkey, Cat and Dog," and a medium-sized organ bank with a single figure of a monkey holding a tambourine.
     The Organ Bank (Miniature) is protected by two separate patents, each of which covers various aspects of the other three in the series. These patents (Figures 2 & 3) were issued to Louis Kyser and Alfred C. Rex on May 31, 1881 and June 13, 1882, respectively; these dates are cast in raised letters underneath the base of the Organ Bank (Miniature). Patent number 242,139 ( Figure 2) protects the concept and design of a single monkey, with articulated, movable arms. sitting atop an organ bank. According to this patent, the musical sound heard while the monkey is performing is produced by a series of pins plucking a musical comb (similar to a music box). This particular method of producing sound was never used in any of the Kyser and Rex organ banks. Rather, patent number 259,403 (Figure 3) covered the sound mechanism actually employed: a crank-activated ratchet which caused a small hammer to strike a bell or series of bells. Patent 259,403 also protected the concept of using a worm gear to rotate the one or more figures on all but the Organ Bank (Medium).
     Aside from its size, the Organ Bank (Miniature) differs from the other three in the respect that its monkey does not have movable arms, and rotates while the crank is turned, while the others portray a stationary monkey.
     The action of the Organ Bank( Miniature) is quite simple: a coin is placed into the recessed slot in front of the monkey; the crank is then turned clockwise Simultaneously, the monkey turns counterclockwise; bells begin to chime, and our little pet sweeps the coin into the bank.
     As with all of Messrs. Kyser and Rex banks, extreme care had been given to casting and painted details. Close examination will bear testimony to the impeccable workmanship of their product.
     I am not aware of any casting variations of the Organ Bank (Miniature), but there are several color modifications. The colors of the bank pictured in Figure 1 are as follows: the organ is painted a brown, japanned finish. The words, "Organ Bank"; the crank handle; the lattice work on both sides; and the frame around the floral design on the front are painted gold. The floral design and the star burst are painted silver. The monkey's face, hands, and lower torso are brown; his eyes are white with black pupils; and he has a red mouth. He sports a red hat with a yellow plume and a blue jacket trimmed in yellow. The tambourine in his right paw is painted gold. I've seen Organ Bank (Miniature) mechanicals that had monkeys wearing a red jacket with yellow trim or a yellow jacket with red trim, and a blue hat with a yellow plume. One should not rule out still other color schemes when attempting to authenticate this bank.
    Of interest is Figure 4, which shows an 1892 Marshall Fields and Company catalog advertisement for the Organ Bank (Miniature). The price – $2.00 per dozen – is certainly a far cry from what one would sell for today.
     As previously mentioned, the Organ Bank (Miniature) is the scarcest of the four Kyser and Rex organ banks. I can only offer conjecture as to the reasons for this: Perhaps, being the smallest and least colorful of the other three it was overlooked by the parent choosing a gift for his/her youngster. Fewer of these banks being sold resulted in fewer being manufactured – hence, a reason for rarity. Another reason might have been a function of its design. In order to remove the deposited coins, the entire bank had to be disassembled. This was accomplished by turning a twist pin which not only freed the top, bottom, and four sides of the bank, but caused them to collapse inward, creating a nighmarish dilemma when attempting to reassemble them. One can imagine the many broken and, ultimately, discarded banks due to the frustration encountered during the reassembly process. This also resulted in great difficulty for the collector finding one in unbroken condition, and, when such a bank is located, it is usually accompanied by an appropriate price tag.
     The Organ Bank (Miniature) has never been reproduced; nevertheless, I am including abase diagram Figure5 which indicates its size and scale.
     Correction: In the article entitled "The Confectionary Bank," which appeared in the November 1983 issue of Antique Toy World, it was erroneously stated: "the Kyser and Rex Company of Philadelphia"; it should have read; "the Kyser and Rex Company of Frankford."
     Correction: In the article entitled, "The Lion Hunter Bank," Antique Toy World, July 1985, it was erroneously stated that the Hunter has a red mouth with white teeth. That should have been descriptive of the Lion.
     Correction: (from November, 1985) Referring to the September 1985 issue of Antique Toy World magazine, the photograph of the Organ Tiny bank was erroneously represented as actual size. The actual bank is smaller than the photograph. Please refer to the base diagram pictured in that article for the correct dimension.
     Correction: (from February, 1986) In the article entitled, "Organ Bank (Miniature)," which appeared in the September 1985 issue of Antique Toy World, it was erroneously stated: "a medium-sized organ bank, with a single figure of a monkey holding a tambourine. " It should have read: "a medium-sized organ bank, with a single figure of a monkey holding a round tray."

The Indian and Bear Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1985

     Many a young man has been fascinated by the intrigue of hunting – if not in reality, then in stories which portray the hero as a fearless wild game hunter. It is not surprising, therefore, that several mechanical banks were designed with just such a theme in mind. One example, the "Indian and Bear" bank, is the subject of this article.
     A most eloquent and illustrative mechanical, as shown in Figure 1, this bank depicts an Indian brave, outfitted in buckskins and eagle feathers, brandishing a rifle at a rearing bear. Unlike many of the mechanical banks which represented minority groups in a degrading manner. The "Indian and Bear" portrays these first Americans with great dignity – in the form of a brave and graceful hunter.
     To date, no patent papers have been discovered. However, underneath the base of the bank, in raised letters, are the words: "PAT PEND'G." And, in the same location, I have seen an "Indian and Bear" bank with the words: "PATD JAN 17 1883." These present the possibility that this bank may be protected by another bank's patent.
     There is evidence which does indicate that the "Indian and Bear" was designed by Charles A. Bailey and manufactured by the J. and E. Stevens Company of Cromwell, Connecticut Figure 2 shows an early 20th-century catalog page from the J. and E. Stevens Company offering the "Bear Hunt" bank at $1.00 apiece, retail.
     The action of the "Indian and Bear" is typical of most "shooting banks," and is most aptly described in the catalog page (Figure 2). Pull the slide atop the rifle all the way back, then "place the coin in proper position on the barrel of the rifle. Press the lever and the rifle shoots the coin into the bear. It is so arranged that a paper cap may be fired at the same time." The deposited coins are removed by way of a round trap underneath the base.
     Aside from being an extremely well designed and graceful bank, the "Indian and Bear" is one of the more colorfully painted mechanicals. There are no casting variations of this bank, but there are two color variation. These pertain solely to the bear. It may be painted either brown or white, the latter being the rarer of the two (Figure 1). In both versions, the rest of the bank remains constant in color scheme.
     The colors are as follows: the Indian's hands and face are light tan with black eyes and eyebrows. His lips are pink, and he has dark brown hair. His shirt is red with yellow fringe on the left sleeve, and the bear tooth necklace around his neck is white. His pants are tan with yellow fringe, and his moccasins are dark brown. The tomahawk tucked into his brown belt has a brown handle with a gold blade. The rifle is black with a dark brown sling. His headdress has tan feathers, highlighted in yellow, orange, and blue. The bear is white with yellow eyes and black pupils. It has brown claws, a red mouth with white teeth, and there is a green vine weaving up its right side. The tree stump is brown with a light tan top. Finally, the base is painted dark green with orange splotches, and the lever is gold.
     Because of the extreme delicacy of the feathers and rifle sling, these parts are usually broken or missing when this bank is found. Thus, even though the "Indian and Bear" is considered a common bank, a fine, all-original example could fetch a not so-common price. Conversely, as with any mechanical bank, a break, recasting, or repainting will lower its monetary value drastically.
     The subject matter, in combination with a colorful and graceful appearance, has made this bank quite popular amongst both the advanced bank collector and the novice. It is precisely this popularity that has inspired many a reproduction. I am, therefore, including a base diagram of an original "Indian and Bear" bank (Figure 3). The reproduction will appear approximately one-eighth inch shorter in the length.

The William Tell Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1985

      The legend of William Tell symbolizes man's quest for individual and political freedom. Tell supposedly existed between the latter part of the 13th century and the early part of the 14th century. As the legend relates, he and his son traveled to the city of Albdorf, Switzerland, which was then occupied by the Austrians under Governor Gessler.
     Gessler, a cruel and power-hungry man, demanded acknowledgment of his sovereignty by proclaiming that each passerby curtsy to his hat, which had been placed upon a stake in the Main Square. William Tell refused to pay homage and was subsequently punished. He was ordered to test his marksmanship by using a crossbow to shoot an apple from his son's head. To Gessler's amazement, Tell succeeded, whereupon he commented that his "next arrow was destined for Gessler's heart," Gessler's response was to have Tell imprisoned. However, William Tell was to escape and eventually, to carry out his threat by slaying Gessler in an ambush. Tell's heroic deeds reached their culmination in Switzerland's liberation from Austria on New Year's Day in 1308.
     Approximately 583 years hence, on June23, 1896, Russle Frisbie, of Cromwell, Connecticut, honored William Tell by designing a mechanical bank in this legendary hero's image. On that date, Frisbie was granted design patent number 25,662 (Figure 1). He assigned the rights to the patent to J. and. E. Stevens, also of Cromwell, Connecticut, who eventually manufactured and marketed the bank. The final production bank (Figure2) follows this patent quite faithfully. Yet it only protects the external configuration and subject matter, and not the internal mechanism. Most likely, the mechanism was covered under a previous bank, possibly one either similar to, or the same as, the Creedmoor Bank. The Creedmoor was patented by James H. Bowen, of Philadelphia, on November 6, 1877 (Figure 3), and was manufactured by the J. and E. Stevens Company.
     The design of the William Tell bank is true to the popular legend except for one distinct difference: Tell brandishes a rifle rather than a crossbow. The action of the bank is aptly described in a 1906 J. and E. Stevens Company catalog (Figure 4): "Place the coin in proper position on the barrel of the rifle Press the right foot and the rifle shoots the apple from the boy's head. As the coin enters the castle, it strikes a gong bell. It is so arranged that a paper cap may be fired at the same time." (Figure 2 shows the bank with the apple shot off the head of Tell's son. The apple is reset by lowering the boy's right arm.)
     There are no major casting or color variations of the William Tell mechanical, other than some banks having the patent date cast underneath the base or some minor color changes pertaining to the boy's costume or the apple.
     The colors of the bank pictured in Figure 2 are as follows: William Tell's hands and face area pink flesh color; the corneas of his eyes are white with black pupils, and he has black hair and eyebrows; his lips are red. Tell's hat is gray with a red plume, and his jacket is black with red trim and a red belt. His sleeves have yellow puffs at the shoulders. The cape is black with a brown collar and red lining. His pantaloons are yellow, and his stockings area pink flesh color. He wears brown boots. The rifle is black with a gold coin pusher. Tell's son has pink flesh-colored arms, legs, and face He has black hair, eyes, and eyebrows. His shirt is red and his kilt and boots are orange. The apple atop his head is yellow. The castle is tan with gold decorations, and the entire base is painted light green, splotched with gold. The underside of the bank is, as are all Stevens' banks, painted with a creamy white protective coat, which was probably used as a rust preventative (another example of the pride and care these early toy manufacturers incorporated into their product).
     There is a rare version of a William Tell bank which was made in Australia and has Tell sporting a crossbow. It is considerably larger than the Stevens' William Tell bank.
     Also, unlike the cast iron bank designed by Frisbie, the Australian version is made of aluminum and pressed steel.
     The William Tell bank pictured in Figure2 is not considered rare. However, its extremely attractive coloration, combined with its glamorous subject matter, has made it quite popular with today's collector.
     This mechanical has been reproduced from the Book of Knowledge collection. I am, therefore, including a base diagram (Figure 5) to aid the collector in determining an original from the recast. The reproduction will appear approximately one-eighth inch smaller in length than an original.
     Correction: Referring to the September 1985 issue of Antique Toy World magazine, the photograph of the Organ Tiny bank was erroneously represented as actual size. The actual bank is smaller than the photograph. Please refer to the base diagram pictured in that article for the correct dimension.

 I Always Did 'Spise a Mule
(Jockey Over)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1985

      Once again, the subject of this month's article portrays man's insensitivity and penchant for racial prejudice towards his fellow man. The "I Always Did 'Spise A Mule" bank embodies 19th-century stereotypic viewpoints directed against the black man. Instead of a stately jockey, attired in fine racing silks, perched upon his sleek Arabian steed, the " 'Spise A Mule" bank reveals a comically-proportioned, shoeless, black jockey, dressed in tattered clothes, atop a balky mule.
     It is difficult to conceive that the same gentleman who designed the sensitive, etheral "Girl Skipping Rope" bank — James H. Bowen of Philadelphia, Pennsylvania – also designed the " 'Spise A Mule," for which he was granted Patent number 214,615 (Figure 1) on April 22, 1879. That date is impressed into the base plate underneath the bank. Oddly enough, this patent designated a mechanical toy and not a mechanical bank. It is quite possible that the idea of converting the toy into a bank was the suggestion of the J. and E. Stevens Co., of Cromwell, Connecticut, manufacturers of both the " 'Spise A Mule" toy and the " 'Spise A Mule" bank. The bank and toy were marketed and displayed in Stevens' Catalog of Iron Toys (Figure 2).
     The patent drawings in Figure 1 indicate a small dog at the hind legs of the mule being flipped heels-over-head as the mule kicks up its legs. Even though this figure of the dog was never incorporated in the" 'Spise A Mule" bank, it might have inspired the action of a second bank, also designed and patented by Bowen and manufactured by the J. and E. Stevens Company: the "I Always Did 'Spise a Mule" bank with Jockey on Bench (Figure 3). Here we see the jockey being throw, heels-over-head, as the mule spins around and kicks up its hind legs.
     The " 'Spise A Mule" bank, as evidenced by the photo in Figure4, follows the patent design for the " 'Spise A Mule" toy quite closely with three exceptions: (1) the raised base, (2) the hat on the man's head, and (3) the small dog.
     The action of both the toy and the bank are unexpected and quite exciting. To operate the bank, a coin is placed in the mouth of the jockey (the toy will not accommodate money). The lever (Figure 4) in front of the mule's hind legs is pressed on both the bank and the toy. Simultaneously, the mule kicks upward and flips the jockey, heels-over-head, whereupon his forehead strikes the log positioned at the front end of the bank. The coin is thus deposited in the appropriate slot within the base. These coins are retrieved by way of a round Stevens' type coin trap, underneath the base of the bank. (It is worthy of mention that the visor of the jockey's cap is spring-cushioned, which absorbs much of the shock caused by the violent blow to his head.)
     There are no casting variations of the " 'Spise A Mule, but there are several color variations. The colors of the bank shown in Figure 4 are as follows: the mule is dark brown, but it may also be tan-colored. The mane, tail, hooves, and harness straps are black. The mule wears a light blue blanket and a red hitch with yellow dots. The corneas of his eyes are painted white with black pupils. The base has dark brown sides, but it may also be painted either red or yellow, and has red and yellow striping along the top and bottom edges, respectively. The top of the base is painted green, splotched with red and yellow, and the log is dark brown with tan edges. The name of the bank is painted white and the lever is red. The jockey sports a red shirt with a white kerchief, which has a black crescent moon. He has blue trousers, and his cap is blue, white, and red. His hands, face, and feet are black and his lips are red. The reins in his hands are tan.
     Although the "I Always Did 'SpiseA Mule" bank may be easily located, an extremely fine example is quite difficult to find. This is due to the fragile nature of the castings and the extreme shock the bank receives during its operation.
     The exciting action, subject matter, coloration, and design of the " 'Spise A Mule" has inspired many a reproduction. Figure 5 is a base diagram of an original bank, which is intended to help the collector discern between it and a recast. The reproduction will appear approximately one-eighth of an inch smaller along the base than an original.

The Punch and Judy Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1986

     A little over one-hundred and fifty years ago, those characters we recognize as Punch and Judy were immortalized by the London artist, George Cruikshank. His inspiration was a puppet show created by Piccini, a 19th-century puppeteer.
     The Punch and Judy theme can be traced to early Greek theatre wherein the zany antics of Punch and Judy were acted out on stage, by live actors. Its puppet theatre origin was with the Italian puppeteer, Pulcinello. He is credited with bringing these two characters to seventeenth-century England. From the onset, the enthusiasm with which Punch and Judy were received by the children of England made it apparent that they were here to stay.
     Seizing upon the opportunity to create a toy bank with such appealing subject matter as to guarantee almost instant success, both Peter Adams, Jr. and Charles G. Shepard, of Buffalo, New York, designed and patented the "Punch and Judy" mechanical bank. On July 15, 1884, they were granted Patent number 302,039 (Figure 1). A subsequent Patent, number 15,155, was granted to Adams and Shepard on July 22, 1884, which changed and protected only the external design of the bank (the way it was finally manufactured), Figure 2. The drawings contained in this patent accurately follow the traditional English Punch and Judy puppet theatre.
     The base plate underneath the bank designates its two American patent dates and an English registry number. Stated, in raised letters, is the following: "BUFFALO, N.Y. – U.S.A. PAID IN U.S. JULY 15, '84 AND JULY 22, '84 RD IN ENGLAND NO. 10423." When one considers the popularity of Punch and Judy in 19th century England, it is understood why Shepard might have wanted to protect the bank both here and abroad.
     The final production bank shown in Figure 3 was manufactured and sold by the Shepard Hardware Co. of Buffalo, New York.
     All of the banks produced by the Shepard Co., including Punch and Judy, reveal great care and attention to find casting and meticulous paint decoration. Unfortunately, this fine paint was eventually to deteriorate and flake from its surface. The reason was that this most conscientious of manufacturers neglected to use a primer undercoat prior to final painting.
     There are no color variations of the Punch and Judy bank, but there are three casting variations. These pertain solely to the letters which form the words "PUNCH AND JUDY BANK" at the peak of each bank. The bank pictured in Figure 3 is referred to as the" Large Letters" variation. The other two have the name "PUNCH AND JUDY BANK" across a raised arched ribbon in "small" and "medium" block letters. These differences neither add to, nor detract from, the bank's ultimate value.
     The colors of the bank pictured in Figure 3 are extremely attractive and are consistent in all three variants. The frame around the entire front of the bank is bright red. The background of the marquee and the square section under the stage is yellow. The curtain rod is blue, as are the drapes on each side of the stage. The curtain rings and ties are orange. The decorative cross design in the center of the base is maroon, blue and red, as are the sunflower decorations in each of the corners of the lower panel. Punch and Judy are both wearing red and yellow hats. Judy's face is natural pink in color, and each eye has a white cornea with a brown iris and black pupil. She has black hair and eyebrows, and red lips. Her dress is blue with yellow buttons and has a white collar with blue stripes. Her coin tray is black. Punch has a tan, flesh-colored face. The color of his hair, eyes, eyebrows and lips are identical to Judy's. The club he so menacingly holds in his left hand is light brown. The backdrop behind Punch and Judy is tan. The draperies are dark blue with light blue highlights, and the tassels are red and yellow. The base plate underneath the bank is coated with a brown, japan varnish, and the entire back of the bank is painted red.
     The action of the Punch and Judy bank is amusing and quite effective. The long, rounded lever on the right side of the bank is pulled out, causing Judy to turn with her tray and face the front of the bank. Simultaneously, Punch turns away from Judy and raises his club in a threatening manner. A coin is then placed into Judy's tray. The small lever under the long, round lever is pressed. Punch then snaps forward, bringing down his club, as if to strike Judy. She quickly turns toward Punch, depositing the coin from her tray into the bank. These coins are removed by unscrewing the base plate from the bank.
     One can only really appreciate the splendor of this bank when viewed with most of its original paint intact. Unfortunately, it is difficult to find such a fine specimen. When one is located, it is accompanied by an equally fine price tag!
     The Punch and Judy bank has been reproduced; therefore, I am including a base diagram to help the collector determine an original from a reproduction (Figure 4). The recast will appear approximately one-eighth inch smaller in width than the original.

The Organ Bank
(With Monkey, Boy and Girl)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1986

     If ever a bank was designed with the thought of entertaining a child, it would certainly be the "Organ Bank With Monkey, Boy and Girl." One of a series of Kyser and Rex mechanicals whose subject is a monkey atop an organ, this one also captures the charm of the nineteenth-century street organ grinders. What parent of that era could resist the adorable antics of the monkey with his outstretched paw, pleading for pennies – insignificant payment for the smiles he brought to the faces of their children. No other toy manufacturer was to equal Kyser and Rex for the array of organ and monkey toy banks which they produced.
     On June 13, 1882, both Louis Kyser and Alfred C. Rex of Philadelphia, Pennsylvania, received Patent number 259,403 for their design and invention of the "Organ Bank With Monkey, Cat and Dog" (Figure 1). These patent papers differ from the "Organ Bank With Monkey, Boy and Girl" in that they display a large monkey with a small dog to its right, and small cat to its left, instead of the boy and girl figures, as shown in the photograph of the bank in Figure 2. The information, "Pat. June 13, 1882," is cast into the rear side of the bank.
     Animation of the "Organ, Monkey, Boy and Girl Bank" is achieved by placing a coin upon the round tray which is held by the monkey's outstretched paw. The crank is then turned; simultaneously, both boy and girl revolve; bells begin to chime, and the monkey lowers his tray to deposit the coin within the bank, tipping his hat in a gesture of courtesy. The coins are removed by way of a square key lock coin trap in the underside of the bank. The action of the "Organ, Monkey, Boy and Girl Bank" is aptly described in an advertisement which appeared in an 1892 Marshall Field and Co. wholesaler's catalog (Figure 3). "It has a very sweet chime of bells, which sound when the handle is turned, and the monkey deposits all coins in the bank, and politely raises his cap, while the figures at his side revolve, producing a pleasing effect. Packed one in a wooden box." Incidentally, in 1892, this particular mechanical bank sold for the price of $8.00 per dozen!
     The "Organ Bank With Monkey, Boy and Girl" has several casting and design variations. One pertains to the number of internal bells used to perform the ringing and chiming sounds. Some banks utilize two bells, while others have three. Another modification involves the crank handle whereby it is located either to the left or right side of the bank. Another, more subtle, difference concerns itself with the small figure of the girl. She may or may not have an open space between her knees. These variations neither add to nor detract from the bank's monetary value.
     There are also several color differences. The bank pictured in Figure 2 has the organ finished in dark brown japan varnish. Painted gold are the organ pipes, the square rectangles above and below the pipes, the lattice work on the left and right sides of the bank, and the round tray the monkey holds in his right paw. The sheet music on the front of the bank is white with black markings. The boy has pink flesh-colored hands and a pink face with black eyes and a red mouth. His hat is blue, as is the round pedestal he stands upon. He sports a yellow shirt and red pants. The bar he's holding above his head is painted gold. The girl has a pink flesh-colored face, hands and legs. Her hair and eyes are black and her mouth is red. She holds a gold tambourine above her head, and she wears a yellow blouse with a red skirt. The pedestal upon which she stands is blue. The monkey sits upon a square red base. His head, paws and feet are painted chocolate brown. The corneas of his eyes are white with black pupils, and his mouth is painted red. His cap is red and yellow, and he sports a blue jacket with yellow buttons, a white collar and white cuffs, and his trousers are painted yellow.
     Other color variations may find the three figures painted in combinations of red, yellow, and blue. Once again, it is the overall condition and rarity of a bank which determines its value and not any one particular paint variation.
     The disproportionate sizes of the monkey, boy, and girl give the bank a primitive appearance, a feature which many collectors, including myself, find quite interesting and appealing. As with all Kyser and Rex banks, meticulous care had been given to both casting detail and paint decoration.
     The "Organ, Monkey, Boy and Girl" is not considered rare, but locating one in "perfect" condition, with superb paint, may prove quite a challenge to the collector. Most often, when this bank is found, it is sadly in need of repair, with parts of figures either missing or broken. The Organ bank has been reproduced; therefore, I am including a base diagram (Figure 4) to illustrate the dimension of an original. A recast bank will appear approximately one-eighth of an inch smaller in size due to shrinkage of the cast iron during the cooling process.
     Correction: In the article entitled, "Organ Bank (Miniature)," which appeared in the September 1985 issue of Antique Toy World, it was erroneously stated: "a medium-sized organ bank, with a single figure of a monkey holding a tambourine. " It should have read: "a medium-sized organ bank, with a single figure of a monkey holding a round tray."

The Boy Scout Camp
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1986

      The largest boys' organization in the world, the Scouts, owes its beginnings to Lieutenant General Sir Robert S. S. Baden-Powell, an English officer serving in South Africa during the Boer War. Finding his troops ill-trained, he wrote a manual to help them overcome some of the problems they might encounter in the field. This manual explained tracking, scouting, survival, and mapmaking.
     After the war, when Baden-Powell returned to England, he rewrote his guide to adapt to the needs of boys interested in acquiring outdoor skills. In 1907, he organized a scouting camp for twenty boys, thus starting the first Boy Scout movement. In 1908, Baden-Powell published the first Boy Scout manual. The organization spread to the United States due to a good deed performed for American businessman, William D. Boyce. A British Boy Scout helped Boyce find his way through a London fog without accepting remuneration. This so impressed Boyce that, when he returned to the United States, he, Ernest Thompson Seton, Daniel Carter Beard, and Sir Robert Baden-Powell founded the Boy Scout movement in America. It officially became the "Boy Scouts of America" in 1910.
     To honor this esteemed organization, the J. and E. Stevens Company of Cromwell, Connecticut, manufactured and sold the "Boy Scout Camp" bank, the subject of this article. The bank first appeared for sale in the 1917 J. and E. Stevens Company catalog.
     Unfortunately, patent information is sadly lacking. Although the words, "PAT APLD FOR" is impressed into the back side of the bank, to date, no patent papers have been located.
     Perhaps the internal mechanism which governs the action of the "Boy Scout Camp" bank was identical, or similar, to another bank under patent protection by the J. and E. Stevens Company. The similarity between the action of the "Boy Scout Camp" and the action of the patented "Lion Hunter" bank (push the lever down and an object is raised; release the lever and the object is lowered) is apparent.
     Despite the lack of patent and design information, it isn't difficult to speculate that the designer of the "Boy Scout Camp" bank was Charles A. Bailey. Aside from the fact that, in 1890, Bailey joined the Stevens Company as chief designer, his personal touch of graceful floral and leaf patterns abound upon the bank's base. He, the most prolific of all mechanical bank designers, left this thematic element on no less than thirty-one creations. Banks such as the "Indian and the Bear", the "Darkey With Watermelon", "Milking Cow", "Bad Accident", "Perfection Registering", "Chief Big Moon", "Hen and Chick", "Boy Robbing Bird's Nest", "Lion Hunter", and others, all utilize this motif of graceful leaf and flori-forms.
     There are several actual and alleged casting variations of the" Boy Scout Camp." One pertains to the words, "PAT APLD FOR" which may, or may not, be cast into the lower back side of the base. Another concerns itself with the boy scout standing within the tent. In the photo (Figure 1) we see him well inside the entrance way. In a variation, he is almost fully emerged, with the tips of his shoes somewhat touching the edge of the base. There is also an alleged variation, which portrays an Indian squaw emerging from the tent. There is great controversy as to the authenticity of this variant and, to date, there has been no concrete evidence to support the supposition that it was ever actually manufactured by the Stevens Foundry.
     The action of the "Boy Scout Camp" is not particularly exciting, although it certainly is quite appropriate. A coin is placed into the slot provided in the tree top. The lever directly beneath the owl is then pressed downward. Simultaneously, the coin drops into the bank and the boy scout raises his flag in tribute to the generous contribution. The coins are removed by way of a round Stevens' coin trap located underneath the base.
     There are no color variations of the "Boy Scout Camp". The colors of the bank pictured in Figure 1 are as follows: the three scouts wear brown uniforms; their knee socks are orange and they have black shoes. Their hands and faces are pink, flesh-color with black eyes, eyebrows, and hair. All three have red mouths. The tree has a light brown trunk with dark green leaves. The entire base is dark green, with gray rocks and bronze-highlighted foliage. The cauldron holder is brown and the cauldron is black with a silver handle. The coffee pot is also painted silver. The flag is white with gold letters and it has a gold mast. The pennant leaning against the teepee is red, and also has a gold mast. The owl is painted white with gold highlighting. The teepee is white and the lever is gold. Finally, the entire underside of the bank is painted with a creamy white protective undercoat – typical of all banks manufactured by Stevens.
     The "Boy Scout Camp" is not a rare bank, but it is quite difficult to acquire one in truly fine condition. This may be due to the fact that it is an extremely fragile bank and many of its parts were subject to breakage and loss.
     This fine mechanical was manufactured for a relatively short period of time, after the "golden" age of mechanical banks, when their popularity as savings devices was drastically waning. This factor, combined with its historical significance, charming subject matter, colorful appearance, and imposing size, all add up to a mechanical bank with great charisma and a challenge for both the new and seasoned collector who has yet to attain one for his shelf. Figure 2 shows an ad from the 1914 Butler Bros. catalog offering the " Boy Scout Camp" at a modest $8.00 per dozen, each in its own box – quite a bargain when one considers the purchase price one brought at a recent auction.
     The "Boy Scout Camp" has been reproduced. I am, therefore, including a base diagram (Figure 3) to show the size of an original. A reproduction will appear approximately one-eighth inch shorter in length.

The Perfection Registering Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1986

     Toy savings banks are categorized as either still, mechanical, or registering. The subject of this article is a bank which fulfills the requirements of two of these categories. The Perfection Registering bank (Figure 1) is not only capable, through coin deposition, of activating the figures of the girl and her dog to perform a specific action, but also registers the total amount of the money which is deposited. These attributes qualify the bank to be classified as "mechanical-registering."
     On January 10, 1893, Charles A. Bailey, of Cromwell, Connecticut, assignor to the J. and E. Stevens Co., was granted Patent number 489,860 (Figure 2) for his design and invention of the Perfection Registering bank. On the underside of the base are the words, "PAT APLD FOR." Charles A. Bailey was probably the most prolific mechanical bank designer of all time. The Perfection Registering, as with most of his creations, bears his unmistakable touch – designs incorporating graceful floral and leaf motifs. It appears as though Bailey was obsessed with the task of translating the flow of nature into the flow of molten metal.
     The action of the Perfection is extremely subtle. In order for the bank to operate, only dimes can be utilized. The dime is inserted into the slot atop the wall the little girl faces. The lever is then pressed downward. Simultaneously, the girl and her dog move backward one-sixteenth of an inch. her pointer registering the total amount of money inserted within the bank. When fifty dimes have been deposited, the girl and her dog reach the end of the bank. The dog then sits up, as if to beg. By pressing him down, a trap door at one end of the bank is released.
     There are neither casting nor color variations of the Perfection Registering bank. The colors of the one pictured in Figure 1 are as follows: the entire bank is painted a cream-tan color; the floral designs, the newspaper boy on the front, the soldier on the top, and the lion's head on the side are painted gold. The little girl has strawberry-blonde hair, black eyes, a white jacket, and an orange waist band. Her dog is white with black eyes and black spots. The platform is painted a dusty rose, and there is an orange flourish on the side wall which the girl faces. The paper label on the back wall is bluish-black with gold printing.
     There has been much speculation regarding the subject matter of the Perfection Registering bank. One hypothesis is that the popular children's classic by Frank Lyman Baum, The Wizard of Oz, was its inspiration. The reasoning behind this view revolves about the symbols which appear upon the bank. On the center of the front panel is the figure of a newspaper boy. During Baum's early years, he worked as an editor for a Midwestern newspaper. The figures of the little girl and her dog could possibly represent Dorothy and Toto of The Wizard of Oz, who, it may be conjectured, stand upon a section of the bank which has a pattern of rectangles cast into it — the yellow brick road??? And, finally, the face of a lion is cast into the right end of the bank, which may possibly be none other than that of the lion in search of courage from the book of Oz. However, the bank was manufactured seven years before The Wizard of Oz was first published, so it seems quite unlikely that it was based upon Baum's story. As stated earlier, the comparisons are merely speculative - and, perhaps, add a bit of intrigue as the collector attempts to discover the source of inspiration.
     The Perfection Registering bank is considered to be quite rare. This may possibly be attributed to fewer banks having been purchased due to the relatively exorbitant amount of money necessary to operate it (ten cents per deposit might have been more than many could afford at a time when earnings amounted to merely ten cents per day.) Another possible explanation for the bank's rarity today might be its fragile design. Not only were there many vulnerable parts that could easily be damaged, but if one desired to remove the coins before the proper number of dimes were deposited, the bank had to be pried open by breaking off the end door, causing irreparable damage.
     The Perfection Registering's charming and attractive appearance, coupled with its rarity, have encouraged its reproduction. Some were recast from actual factory patterns, making detection difficult. To add insult to injury, several years ago an unscrupulous dealer also counterfeited the paper labels. When these bogus labels were affixed to the recast bank, detection became that much more difficult. A true test of this bank's authenticity (as well as any other bank) lies in the quality of its paint. The texture, crazing, and patina of an antique bank are virtually impossible to duplicate.
     I am including a base diagram of the Perfection Registering bank for size and scale only (Figure 3). Please be advised that, because many of these banks were recast from original patterns, they will correspond precisely with the size indicated on the base diagram. Those reproductions which were cast from original production banks will appear approximately one-sixteenth of an inch shorter in length than indicated on the diagram. This is due to the shrinkage of the cast iron as it cools in the mold.
     CORRECTION: (from June, 1986) In the article entitled, "The Perfection Registering Bank, " Antique Toy World April, 1986, it was erroneously stated that the photo of the bank in Figure 1 was "actual size. " The actual bank, in fact, is smaller than indicated by the photo. Please refer to the base diagram for the correct size. The editor of this publication apologizes for the error.

 I Always Did 'Spise A Mule
(Jockey On Bench)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1986

     During the 19th century, a popular outlet for anti-Negro expression was children's toys. Mechanical penny banks manufactured during that period were not excluded from these prejudicial sentiments. The subject of this article, "I Always Did 'Spise A Mule," exemplifies the mood of the era.
     In order to best describe this bank, it is necessary to mention events which took place 18 years prior to the granting of Patent number 581,533 (on April 27, 1897) to James H. Bowen of Philadelphia, Pennsylvania, for his design and invention of the "I Always Did 'Spise A Mule" bank (Figure 1) and the subject of this article. On April 22, 1879, Bowen patented a toy bearing that same name — which was translated into a mechanical bank by the J. and E. Stevens Co. of Cromwell, Connecticut. This particular bank is referred to as the  *" 'Spise A Mule" (Jockey Over), while the mechanical bank whose photograph appears in this article, is referred to as " 'Spise A Mule" (Jockey On Bench).
     The patent pictured in Figure 2 makes reference to a little dog being knocked over by the hind legs of the mule. Although the dog was not to be incorporated into either the earlier or later versions of the banks or toy, the concept was utilized, as evidenced by the action of the " 'Spise A Mule" (Jockey on Bench) bank. This action is graphically demonstrated within the patent paper in Figure 1. A coin is placed into a space underneath the bench upon which the jockey is seated. The lever in front of the mule's rear legs is depressed.
     Simultaneously, the mule spins round, pivoting on its front legs. It kicks upward and out, knocking the jockey heels over-head off the bench, and the coin falls through a slot within the base of the bank. These coins are removed by way of a round Stevens-type coin trap underneath the base.
     The action described is only an illusion. The jockey isn't knocked over by a kick in his head from the mule – but, rather, that impression is conveyed through a series of perfectly-timed levers and springs.
     There are no casting variations of this bank, but there are several color variations. These color differences are helpful in determining the approximate date of manufacture. The banks with yellow bases and white mules, for example, are estimated to have been manufactured in the late 1920s.
     The base of the bank shown in Figure 3 is painted red with a yellow stripe around the top and a yellow and black stripe along the bottom. The grass is green, highlighted with red and yellow. The words, "I Always Did 'Spise a Mule," are painted white. The mule is light brown with a red and yellow blanket. Its mane, tail, hooves, and harness are black. Its eyes are white with black pupils. The jockey's shoes, hands, and face are black; he has white eyes with black pupils, and a red mouth. He holds a black crop highlighted in gold. His hat and trousers are blue and his shirt is orange, but they could also be any combinations of red and yellow.
     No particular color scheme influences the ultimate value of this bank. That determination should be governed by a bank's rarity and overall condition.
     The "I Always Did 'SpiseA Mule" (Jockey on Bench) was quite popular in its day and may boast of sales which spanned over twenty years. Because of the relatively large number of banks manufactured and sold, "'Spise A Mule" is relegated to the "fairly common" category.
     Figure 4 is a page from an early J. and E. Steven's Co. toy catalog, pricing the bank at a modest $1.00 each.
     Figure 5 is a page from an 1894 Selchow and Richter catalog, which advertised the bank for sale at a price of $8.50 per dozen! The price of a mint" 'Spise A Mule" bank purchased today would have paid for one-thousand two hundred of these banks back in 1894!
     Since there have been reproductions over the years, I am including a base diagram (Figure 6) which will indicate the size of an original. A reproduction will appear approximately one-eighth of an inch shorter along the base, due to shrinkage of the molten iron as it cools in the mold.
     *Refer to the December, 1985 issue of Antique Toy World.

The Bad Accident Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1986

     One of my earliest recollections concerning the subject matter of this article centers around a conversation between two gentlemen at a toy show twenty years ago. Although the eavesdropping was unintentional, my ears perked up, and my curiosity became aroused when one of these persons (an avid collector — unbeknownst to me at that time) remarked that he "was desperately seeking a bad accident and felt confident that this was to be his lucky day. That collector was successful in obtaining his Bad Accident — and this collector received his Bad Accident shortly thereafter from a prominent New York City dealer, the late Chic Darrow.
     Despite unappealing racist connotations — so popular with 19th century toy manufacturers — the Bad Accident mechanical bank is, in my humble opinion, one of the most ingenious and intriguing of all mechanicals.
     Unfortunately, to date, no patent information has been located. Therefore, there is no documentation, merely speculation, as to who designed this bank. The Bad Accident bears that unmistakable trademark of one of the great bank designers of all time — Charles A. Bailey. Its base abounds with graceful floral and leaf patterns. This, coupled with the fact that the Bad Accident was advertised for sale in the 1891 toy catalog of the J. and E. Stevens Company (Figure 1), which employed Bailey as their chief mechanical bank designer, leads me to believe that he did, in fact, design the Bad Accident.
     It is also of interest to note that, in this catalog, a Donkey Wheel toy is pictured (Figure 2) which, with one exception, has the same casting as the donkey in the Bad Accident bank. That exception: a small wheel placed between the donkey's front legs.
     The action of the Bad Accident is illustrated and described in Figure 3, a copy of an ad which appeared in the 1890 Marshall Field toy catalog. It graphically depicts the tale from which the bank derives its name: "Place a coin under the feet of the driver, and press the lever. The boy jumps into the road, frightening the donkey, and as he rears, the cart and driver are thrown backward, when the coin falls into the body of the cart and disappears. Price per doz., net, $8.50."
     The coins were removed by way of a round Stevens'-type coin trap underneath the cart.
     There are no color variations of the Bad Accident, but, as shown in Figures 4 and 5, there are two casting variations. The differences pertain solely to the words, "BAD ACCIDENT" cast into the base of each bank. One variation, the more common of the two, is that the letters read upside down (Figure 4). The rarer version, with the letters right side up, is seen in Figure 5.
     To determine the monetary value of the rare variation, twenty percent may be added to the value of the common variety, when the condition of both are equivalent. Thus, it may be said that condition is a most important factor in determining the desirability of this, as well as any mechanical bank.
     The colors of the banks shown in Figures 4 and 5 are as follows: the driver's face, hands and shoes are black. His eyes are white with black pupils and he has pink lips with white teeth. His hat is tan with a blue band. He sports a light blue jacket with a dark blue collar. His shirt is white with a yellow and red bow tie and he is wearing red pants with tan spats. The watermelon wedge he so intently munches is green, white and pink with black pits. The little boy's face is black, as are his hands and feet. His eyes are white with black pupils and he has a red mouth. He sports a red shirt and his pants are light blue. The donkey is light brown with white eyes and a red mouth. Its hooves and harness are black and its collar is red. The cart is yellow with red striping and the seat and top of the cart are dark blue with tan boards. The wheels are red with black decorations. The base depicts a tan dirt road, bordered on both sides by green leaves, with yellow and white flowers. The words, "BAD ACCIDENT" are highlighted in gold. Finally, the underside of the base is coated with a creamy white protective varnish, as are all banks manufactured by the J. and E. Stevens Company.
     The Bad Accident is not considered rare. Nevertheless, its desirability is enhanced by several factors: black subject matter, multi-figural, exciting action, and an extremely colorful appearance. Because of the bank's design, it has proven extremely fragile. Few have survived, completely intact, the ravages of time and children. When a fine specimen is for sale, it generally commands quite a high price.
     In view of the fact that the Bad Accident has been reproduced, I am including a base diagram (Figure 6) to aid in the determination of an original versus a recast. The recast will appear approximately one-eighth of an inch shorter along the base.
     CORRECTION: In the article entitled, "The Perfection Registering Bank, " Antique Toy World April, 1986, it was erroneously stated that the photo of the bank in Figure 1 was "actual size. " The actual bank, in fact, is smaller than indicated by the photo. Please refer to the base diagram for the correct size. The editor of this publication apologizes for the error.

Jonah And The Whale
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1986

     "In the days of Jeroboam the Second, there was a prophet named Jonah. And God bade him to go to Nineveh, and tell its inhabitants that He was going to destroy it for their great wickedness. But Jonah was not willing to go. And, thinking he could escape God's notice, he hastened to Joppa and took a ship for Tarshish.
     God was displeased with Jonah for all this, and caused so violent a storm to arise that the ship was in danger of being wrecked. Then the seamen drew lots to find out for whose wickedness this storm had come upon them, And the lot fell upon Jonah. So he told them all: And said they must take him and throw him into the sea. The sailors were unwilling to do this. So they rowed hard, in hopes of getting to land. But it was of no use, so they hart to throw Jonah over; and immediately the storm ceased.
     But Jonah was not drowned. God had prepared a great fish, that swallowed him up, And at the end of three days and three nights, swam to shore, And vomited him up unhurt.
     Then he went at once, and warned the Ninevites who repented of their sins, so that God spared their city.
             — The Old Testament

     On July 15, 1890, Peter Adams of Buffalo, New York, assignor to Charles G. Shepard and Walter J. Shepard, also of Buffalo, was granted Patent number 20,007 (Figure 1) for a mechanical bank based upon the biblical tale of Jonah the Prophet. The "Jonah and the Whale" bank (Figure 2) was manufactured by the Shepard Hardware Company of Buffalo, New York and is a fine example of the artistic skills they exhibited in their designs and painted decorations. The intricate and delicate quality of Shepard's work remains unchallenged to this day.
     The bank shown in Figure 2 represents the beginning of Jonah's ordeal with God. Here we see a robed and bearded sailor casting Jonah into the cavernous mouth of a "large fish," portrayed as a whale. (How, or when, that interpretation of the fish was made remains a mystery.) The latter portion of Jonah's epic is depicted in another mechanical bank, entitled "Jonah on Pedestal" (Figure 3) which was manufactured by the J. and E. Stevens Co. This bank represents Jonah's ill-fated journey which took place in the belly of the whale. Upon activation of this mechanical, Jonah is expelled from the whale's mouth onto a beach strewn with clams, turtles, and various sea life. Operation of the "Jonah and the Whale" bank in Figure 2, begins with placement of a coin upon the tray atop Jonah's head. The lever at the stern of the boat is then pressed down. Simultaneously, the bearded sailor holding Jonah pivots towards the whale, tilting Jonah downward, thus depositing the coin into its gaping mouth. The whale's lower jaw continues to bob open and closed, in a chewing motion. These coins are removed by way of a square key lock coin trap underneath the base.
     There are no casting or color variations of the "Jonah and the Whale," and the colors of the bank pictured in Figure 2 are as follows: the four sides of the base are painted maroon with gold lettering. They are outlined with yellow and black borders. The ocean is a light sea-green color; the waves are capped in white. The inside of the boat is yellow-ochre, and the outside is painted tan, red, gold, and blue, with black ornamentation. The whale is dark green. It has a red mouth and white teeth, which are delineated with thin red lines. Its eyes have white corneas, brown irises, and black pupils. The sailor is wearing a red robe with a yellow tassel, while Jonah wears a blue robe with a yellow tassel. Both figures have pink flesh-colored hands and faces, white hair and beards, and finely detailed black eyes and eyebrows; both have red mouths.
     Mention should be made of the fact that Shepard paid a great deal of attention to even the minutest details involved in the painting of their banks. The hair and beard of both Jonah and the sailor are streaked with such extremely fine gray lines that most collectors will need a magnifying glass to detect them. Unfortunately, because these banks were not undercoated prior to decorating, much paint was lost due to age, moisture, and excessive handling. Thus, it is understandable why a superb example of any Shepard bank will command a high price in today's market.
     The action, subject matter, and attractive color scheme have made the "Jonah and the Whale" an extremely popular bank with novices and collectors alike – inviting the creation of many a reproduction. Figure 4 is a base diagram showing the size of an original. A copy of a "Jonah and the Whale" bank cast from an original will appear approximately one-eighth inch shorter along the length, due to shrinkage of the cast iron as it cools in the mold.

The Organ Grinder And
Performing Bear
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1986

     Of the several mechanical bank manufacturers existent in 19th-century America, few honored the street-strolling organ grinder as often as the Kyser and Rex Company of Frankford, Pennsylvania. Over a period of less than ten years, this now-extinct street entertainer was the subject for five of their banks. Of the five, four incorporated the figure of a monkey – the more common companion of the organ grinder, while the fifth bank represented an uncommon sight – the organ grinder accompanied by a performing bear. This bank, aptly named, the "Organ Grinder and Performing Bear" is shown in Figure 1.
     The entertainment and action which took place during one of the organ grinder's performances is captured by this most intriguing mechanical. In order to activate the Organ and Bear, the clockwork mechanism must first be wound. This is accomplished by turning the key on the right side of the building. A coin is then placed into the appropriate slot atop the organ. As the small lever in front of the organ grinder is moved to one side, the action commences. The organ grinder's arm starts to crank the organ; the sounds of clacking and ringing bells begin to emanate from within the building. These sounds represent the music of the organ and the growling of the bear. The bear then slowly revolves on its pedestal as the coin drops through the organ, into the bank. These coins are retrieved by way of the square key-lock coin trap underneath the base. Also beneath the base are the debossed letters "PAT JUNE 13 82." This date facilitated location of pertinent patent papers (Figure 2). These papers bear little resemblance to the actual production bank (Figure 1), and, if it were not for the similarities between the small internal worm gear mechanism, the connection between the patent papers and the Organ and Bear bank might have gone unrecognized.
     A brief paragraph within this patent demonstrates the generalities used by Kyser and Rex in an attempt to protect their idea for subsequent use in other mechanical banks: " . .. To combine with said moving figures two or more bells or their idea for subsequent use in other mechanical banks "... To combine with said moving figures two or more bells or their equivalent, which are rung by means of the same mechanism which activates the figures." In addition, and more noticeably, Patent number 259,403 protects three other Monkey and Organ banks: the Organ Bank (Miniature); the Organ, Monkey, Cat and Dog bank; and, the Organ, Monkey, Boy and Girl bank. All were manufactured by the Kyser and Rex Company.
     Louis Kyser and Alfred C. Rex are well-known for the impeccable care and attention they gave to casting, assembly and paint decoration, and the Organ and Bear bank is no exception.
     To my knowledge, there are no casting or color deviations of this bank, although there has been mentioned the possibility of the existence of a variant where the left arm of the organ grinder is also mobile.
     The colors of the bank pictured in Figure 1 are as follows: the base is painted dark green with red and yellow highlights. The bear is brown japan, highlighted with copper; the bar which he holds upon his shoulders is gold. His eyes are black and he has a red mouth. The organ grinder has pink flesh-colored hands and face with black eyes, eyebrows and goatee. His mouth is red. He sports a yellow cap, red shirt and gray pants. The organ is a brown japan finish, outlined in gold. The fence is white and the two figures peering over it have pink flesh-colored hands and faces with black eyes and red mouths. The figure on the left has a blue hat and jacket, and the boy on the right is wearing a blue cap with a yellow shirt. The building is tan with a red roof, and has a red door trimmed in gold. The trim on all windows is also gold.
     The Organ Grinder and Performing Bear bank is extremely fragile. When one is acquired, generally either the fence, the bear, and/or the arm of the organ grinder is damaged or missing. In addition, there may be possible damage to any one of the delicate components comprising the internal clockwork mechanism. The combination of rarity, bright coloration, exciting clockwork action, and multi-sounds have stimulated a great deal of collector interest, resulting in very high purchase prices at two recent antique toy auctions. In contrast, as shown in Figure 3, an advertisement from an 1895 Selchow and Righter toy catalog offers the Organ and Bear bank at $8.50 per dozen!!!
     Although a popular bank, the difficulty in casting and duplicating its clockwork has impeded attempts to reproduce the Organ Grinder and Performing Bear. Nevertheless, I am including a base diagram (Figure 4) to indicate size and scale.
     In addition to this bank, other mechanicals which are activated by a clockwork are: the Freedmans bank (manufactured by Secor); Professor Pug Frog's Great Bicycle Feat (J. and E. Stevens); the Girl Skipping Rope (J. and E. Stevens); and the Motor Trolley bank (Kyser and Rex). Few collectors can boast of having all of these in their collection, but I, for one, will never cease to dream.

The Afghanistan Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1986

     Small, modestly decorated with monochromatic colors, lacking in animation, and commemorating a struggle between England and Russia over an obscure country, appropriately describes the Afghanistan bank. The concept of such a mechanical to be designed for children of the late 19th century appears incongruous, since it would seem highly unlikely that the subject matter would appeal to an eight-year-old.
     "Herat," the name emblazoned across the face of this unpretentious bank, is the city in Afghanistan (Figure 1) which was considered by Great Britain to be the "Key to India." Its great walls guarded their chief trade route south to India and the Arabian Sea. England realized that if Herat fell to the expansionist Russians, eventually English-dominated India would fall under the paw of the "Great Bear." Thus, we can see the significance of the two animal figures positioned upon the Afghanistan mechanical bank, for they represent the mighty English Lion and the great Russian Bear, poised before the massive Gates of Herat.
     Unfortunately, to date, no patent information for this bank has been located, and I, therefore, only offer speculation as to its manufacturer. Various structural and visual similarities exist between it, the " Squirrel and Tree Stump," the "Initiating First Degree," and the "Initiating Second Degree" banks, indicating the possibility that the Afghanistan may have been manufactured by the Mechanical Novelty Works of New Britain, Connecticut. An illustration of the Afghanistan bank does appear in the toy section of a December 1885 sales catalog, which would approximate its date of manufacture.
     There are no casting or color variations. The bank pictured in Figure 2 is painted in the following color scheme: the entire building is a dark black-brown japan finish. The corner stones, archway, lettering on the front door lock, and hinges are painted copper and gold. The figures of the lion and bear are also japanned in dark black-brown. They both have red eyes and a red mouth, and the base is painted bright green, highlighted in gold and copper.
     Operation of the bank is relatively simple, as is the action. A coin is placed into the slot atop the curved section of the roof. There it remains until the lever between the bear and lion is pushed inward, whereupon, simultaneously, the coin drops into the bank and the lion and bear pivot inward, towards the front of the building. These coins are removed by disassembling the bank, which is accomplished by removing a single screw beneath the base.
     The Afghanistan bank can prove quite difficult for the collector to obtain, and I once again offer only speculation as to the reasons for its rarity. Being a lackluster, visually uninteresting bank, it may have suffered poor sales; thus, few were produced. It is also one which requires disassemblement whenever coins were removed. This amount of handling, or mishandling, subjected the bank to possible abuse, resulting in breakage. Most often, when an Afghanistan bank is located, the building may be cracked, and the lever, and/or lion and/or bear may be broken or missing.
     It is surprising that, although the Afghanistan bank is simple in structure, it has never been reproduced. However, with the dramatic increase in auction prices recently for this particular bank, it would seem only a matter of time until duplication is attempted. Figure 3 is a base diagram, indicating the precise size of an original. A bank which exhibits even one-sixteenth of an inch reduction in size should be suspect of being a reproduction.

The Dentist Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1986

     A popular bank representing a most unpopular profession is the paradoxical description befitting the subject of this month's article. The "Dentist" mechanical bank not only portrays its namesake as a buffoon but uses his helpless patient to incorporate 19th-century anti-black sentiments.
     Unfortunately, no pertinent information relating to the bank's manufacturer has been located. However, evidence attesting to the approximate date of marketing, the late 19th century, was based upon an ad from an old Ives, Blakeslee and Williams Company jobber's catalog.
     There is supposition that the Dentist bank was produced by the J. and E. Stevens Company of Cromwell, Connecticut. This is based upon similarities observed between the Dentist bank and several other mechanical banks manufactured by them. Specifically, the "Bad Accident" bank has, as its subject, a black farmer riding atop a donkey cart. This figure is quite similar in casting and attitude to the black patient occupying the dentist's chair. Moreover, in the Stevens"' Milking Cow" bank, the boy sitting beside the cow also bears close resemblance to the casting, attitude, and action of the dentist's patient. Finally, the "Milking Cow" bank stands upon four small legs, as does the Dentist bank.
     Interestingly, the production of the Dentist bank coincided with the 19th-century renaissance of dentistry. Great advances were being made, especially in the area of tooth extraction. An improved forceps allowed for the more careful and scientific removal of teeth, while the advent of general anesthesia provided painless dental treatment for the first time. Unfortunately, this intriguing mechanical bank neglected to recognize these medical developments, but chose, instead, to entertain at the expense of a stereotyped underdog.
     It is of interest to note the large hump-shaped object behind the dentist in Figure 1, since it illustrates the method by which nineteenth century dentists administered anesthesia to their patients. A large animal hide bag was inflated with nitrous oxide; by exerting a slight amount of foot pressure to this gas bag, the dentist was able to control the flow of anesthetic to a mask over his patient's face.
     Animation of this mechanical is achieved through the following: a coin is placed into the dentist's left jacket pocket. The small lever in front of the patient's foot is then pressed downward. Simultaneously, the dentist falls backwards, bloody tooth protruding from the forceps in his hand. The coin from his pocket then falls into the raised slot atop the gas bag. The black patient also tips backwards, heels over head, striking his cranium on the floor of the bank. This violent action accounts for the difficulty most collectors experience in finding a totally intact Dentist bank. The deposited coins are recovered by removal of a single screw which secures the gas bag to the base of the bank.
    The Dentist bank has both minor casting and color variations. For example, the dentist's pocket may either be cast into, or riveted onto his jacket. Also, the floor of the bank may be painted either light grey or medium blue.
     The colors of the bank in Figure 1 are as follows: the dentist's face and hands are a creamy white, and he has a red mouth. His eyes, eyebrows, hair, and mustache are black, as are his coat and shoes. He wears a yellow shirt and light grey pants. His toothless patient has a black face and hands, white corneas with black pupils, and red lips with white teeth. His jacket is yellow and he wears grey pants with black shoes. The tooth in the dentist's forceps is white, tipped with red. The chair is painted maroon and is trimmed in gold. Its arm rests and seat cushions are reddish-orange. The gas bag is chocolate-brown with the raised coin slot painted gold. Finally, the base of the bank is light grey with gold legs.
     Over the years, the Dentist bank has proven to be one of the most popular of mechanicals with collectors, and is the reason for the relatively large number of reproductions on the market. I am, therefore, including a base diagram (Figure 2) which will indicate the exact length of an original (antique) bank. Any deviation in size, no matter how slight, should alert the prospective buyer to be wary.
     Note: The entire contents of these articles, both past and present, are the sole property of the author and cannot be reproduced without his written consent.  

The Initiating Bank Second Degree
(The Goat, Frog and Old Man  —  The Greedy Frog Bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1986

     Antique mechanical banks portray an extensive range of themes, varying from politics, to biblical stories, fairy tales, nature, hunting, everyday occurrences, etc., etc.. There are also those banks which depict images that appear to be created with no particular message intended. The Goat, Frog and Old Man (Figure 1) is representative of just such a bank. Perhaps the inventor's inspiration originated from an old folk tale or from some symbolic or mystical concoction. Or, was it merely the whimsy and imagination of its creator?
     On September 28, 1880, George W. Eddy, of Plainville, Connecticut, assignor to Andrew Turnbull and James A. Swanston, of New Britain, Connecticut, was granted Patent number 232,699 (Figure 2) for the Initiating Bank, First Degree (Goat, Frog and Darkey bank). This patent also protected the Initiating Bank, Second Degree (Goat, Frog and Old Man bank). These patent papers make reference to the fact that various animals, figures and forms may be utilized in the design and action of the bank. Therefore, we see that the mule depicted in the patent drawings in Figure 2 has evolved into a billy goat in the final production bank (Figure 1).
      The Goat, Frog and Old Man bank is referred to by various names, and the following will attempt to serve as an explanation. The bank was first advertised in a 19th-century wholesale toy catalog as the "Initiating Bank Second Degree." Figure 3 portrays an ad from the 1882 edition of Ehrichs' Fashion Quarterly which introduces the mechanical as "The Greedy Frog Bank, 85 cents each, by mail 60 cents extra." Because of the confusion in distinguishing the Initiating Bank, First Degree (Goat Butts Black Man's Butt) from the Initiating Bank, Second Degree, the latter was ultimately referred to as the "Goat, Frog and Old Man."
     Both banks were manufactured by the Mechanical Novelty Works of New Britain, Connecticut, which was owned and operated by Messrs. Eddy, Turnbull and Swanston. Among other mechanical banks which are believed to have been manufactured by this firm are: "Squirrel and Tree Stump," "Afghanistan," and "Bull Dog Savings Bank." The clockworks of the latter were possibly manufactured by the Ives, Blakeslee Company of Bridgeport, Connecticut.
     The action of the Goat, Frog and Old Man is relatively uncomplicated. The goat with the old man astride, is pushed back, enabling it to rest on its haunches. A coin is placed upon the old man's tray. Either the lever in front of the goat can be pressed, or the tail of the goat can be gently nudged upward, causing the goat and its rider to spring forward. Simultaneously, the frog, with its mouth agape, rises upward to catch the coin from the old man's tray. In order to retrieve the deposited coins, the bank must be disassembled. This is accomplished by removing the large screw beneath the base.
     The color scheme of the Goat, Frog and Old Man is quite simple and attractive. The entire surface is coated with a brown, japan-type varnish. The old man is painted a bronze-copper color. The frog has a green head, gold eyes, red mouth, and its underbelly is painted white and yellow. The ribbed design bordering the top, and the bottom edge of the base are painted gold.
     When contemplating purchase of this particular bank, be aware that all four legs of the goat are extremely fragile and these should be examined carefully for breaks or repairs. In addition, abundant reproductions of the Goat, Frog and Old Man bank exist, with many dating as far back as the 1930s. Because of their age, these early recasts can prove difficult for the novice collector to detect. My recommendation is to be guided by the size of the base diagram in Figure 4. A reproduction will appear approximately one-eighth inch shorter along the base than the original.

The Teddy and the Bear Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1986

     Theodore Roosevelt, 26th president of the United States, was a multifaceted individual with interests that ranged beyond the world of politics. He was an ardent sportsman with a love for outdoor living. Amongst the tales told of his sporting ventures was the one in which he spared the life of the great bear he had set his sights upon. The year was 1902 and the event was a big-game hunt. Roosevelt, positioned with rifle on shoulder, taking careful aim at his prey, noticed the animal was trapped and shackled. And, as the story is related, the hunter spared the bear's life.
     Word of this display of sportsmanship spread worldwide, resulting in the production of various "Teddy" hunting memorabilia. Items such as safari-style wearing apparel for children and adults and the newly-conceived stuffed toy "Teddy Bear" catered to the public's insatiable demand for Teddy items. The "Teddy and the Bear" mechanical bank (Figure 1) was a product of that era.
     On February 19, 1907, Charles A. Bailey of Cromwell, Connecticut, was granted Patent number 844,910 for his invention and design of the Teddy and the Bear bank (Figure 2). Final production was executed by the J. and E. Stevens Company of Cromwell, Connecticut.
     Figure 3 represents a full-page advertisement from a 1914 J. and E. Stevens toy catalog in which the Teddy and Bear bank was offered for sale at $1.00 each, retail. This advertisement aided in ascertaining the date of manufacture and sale of the bank. Figure 4 is an advertisement from a 1914 Butler Bros. wholesale catalog, pricing the "Teddy" at $8.00/dozen. The price at which a Teddy and the Bear was sold at a recent toy auction would have purchased 2,428 of these banks wholesale in 1914!
     The action of the Teddy and Bear is quite surprising. The slide atop the rifle is pressed back and cocked, causing Teddy's head to move forward, as if taking aim. A coin is then placed in front of the slide. A toy paper cap may be inserted in front of the hammer if so desired. The lever between Teddy's legs is then pressed. Simultaneously, the coin is shot into the trunk and a bear pops up out of the tree top. Teddy's head snaps backward, as if reacting to the rifle's recoil. The money is removed by way of a round coin trap underneath the base.
     The bear can be made to pop up without actually cocking the rifle and, likewise, the rifle can be fired without pressing the bear down into the tree stump. This double, and independent, action is a unique feature of the bank and is so described within the patent papers.
     There are several color and casting variations of the Teddy and the Bear. The casting differences pertain solely to Teddy's hat. In the common version, a bowler hat is worn, while in the rare version (only two known to exist) Teddy wears a flattop hat. Why, or when, the flattop variety was created remains a mystery.
     The color variations apply to only one portion of the bank – the tree trunk. It may be painted either dark brown or gray. The colors of the bank pictured in Figure 1 are as follows: Teddy's hands and face are a pink-flesh color. He has dark brown hair and moustache. His eyes are black and his mouth is red. Teddy's glasses have gold frames with a white lens. He is outfitted with a tan hat, a tan jacket, and tan pants. His shirt is bluish-gray, and his puttees are dark green with gold buttons. His shoes are black. The rifle is painted silver with a light brown stock. The tree trunk is gray, and the sections where the bark has been stripped away are yellow ochre. The tree lid is green with its underside painted silver. The bear is dark brown. It has white eyes with black pupils, red nostrils, and a red mouth with white teeth. The base is dark green, highlighted with splashes of copper. The rock is gray, and the words, "TEDDY AND THE BEAR," are painted silver. The entire underside of the bank is coated with a creamy white protective undercoat.
     Historical significance, attractive coloration and exciting action have made the Teddy and the Bear an extremely popular bank with collectors and novices alike. Even though the demand for this bank is great, it is still possible to acquire a good example. This is due to the fact that it was manufactured during the early 20th century, at the height of the Roosevelt craze, whereupon thousands were produced and sold over several years.
     The Teddy and the Bear bank has been reproduced. I am, therefore, including a base diagram (Figure 5) to facilitate discernment of an original antique bank from a recast. The recast will appear approximately one-eighth inch shorter along the length.
     I would like to give credit to my wife, Linda, who has helped me to write and edit all of these articles.

The Mammy and Baby Bank
(Baby Mine)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1987

     The parent-offspring relationship is a popular theme depicted in several mechanical banks. These include: "Lion and Monkeys," wherein we see a baby monkey holding tightly onto its mother for dear life, as she wards off the advances of a fierce lion. In the more sedate "Hen and Chick" bank, mama hen blankets and protects her new-born nestling; the "Eagle and Eagletts" portrays a mother eagle feeding her fledglings. In the "Boy Robbing Bird's Nest," two parent birds frantically attempt to dissuade a would-be nest-robbing boy from accomplishing his arduous task. The "Mama Katzenjammer" bank has mama eternally attempting to separate her squabbling siblings, Hans and Fritz. The "Old Woman in the Shoe" illustrates a mother with switch in hand, ominously warning her mischievous children. Last, but certainly not least, is the subject of this month's article and the one example which I feel best extols the virtues of motherhood, the "Mammy and Baby" bank (Figure 1). This particular mechanical portrays a "mammy" cradling her baby girl, as she feeds pennies to the child.
     The "Mammy and Baby" was invented by Alfred C. Rex of Philadelphia, Pennsylvania, for which he was granted Patent number 306,775, on October 21, 1884. The bank was subsequently manufactured by Alfred C. Rex and Company of Frankford, Pennsylvania, previously known as the Kyser and Rex Company. (The name change occurred after 1884, when Louis Kyser and Alfred C. Rex dissolved their partnership.)
     The final production bank follows the patent papers (Figure 2) quite closely, with the exception of the following: Mammy's feeding arm, the position of the baby, the pocket in mammy's apron, and the operating lever are all in reverse positions from the patent drawings. Another interesting feature is that there are two separate mechanically-operated coin slots. The first, and most obvious, is the baby's mouth. The second is mammy's apron pocket. Alfred C. Rex offered an explanation in his patent as to the logic behind the utilization of both coin slots. The mouth, the smaller of the slots, was designed to accept five-cent pieces. The larger opening, the apron pocket, was made to accommodate the larger 25-cent piece.
     The Mammy and Baby bank was originally advertised in toy catalogs and magazines as the "Baby Mine." Its present name, given to it by today's bank collectors, is assumed to be a more illustrative description of this bank.
     Aside from a" Patent Pending" reference cast into the backs of some of the Mammy and Baby banks, there are no known casting variations. However, there are several color combinations. Mammy's bandana, dress, and chair and baby's dress and bonnet could be painted any combination of red, yellow, tan, dark blue, green, olive, and purple. The colors of the bank pictured in Figure 1 are as follows: Mammy's face and hands are brown; she has a red mouth with white teeth and white eyes with black pupils. Her bandana and neckerchief are dark blue with white dots. She is wearing a tan dress that has red cuffs with yellow polka dots. Her apron is white and she has black shoes. Baby's hands, feet and face are lighter shade of brown. She has a red mouth and white eyes with black pupils. Her bonnet is red, as is her dress, which has a white lace hem. Baby rests upon a yellow pillow with red polka dots. Mammy's chair is bright green. Finally, the spoon and operating lever are painted gold.
     The action of the Mammy and Baby is quite amusing. A coin is placed upon the spoon in mammy's right hand. The lever is then depressed. Simultaneously, mammy tilts her head and hand downward; the spoon pivots to drop the coin into baby's mouth, whereupon baby kicks her legs with glee. If a coin was also placed into mammy's apron pocket, an internal baffle would have opened during the operation, allowing this coin to also be deposited within the bank Accumulated coins are removed by way of square key lock underneath the base.
     It is important for the collector to note that the spoon is not produced from cast iron, but rather from sheet metal. Since this is a more fragile material, it was subject to bending and breaking. Many times, when a Mammy and Baby bank is located, the spoon is either missing or replaced with a reproduction. It is my contention that, although an original spoon is important, a fine example of this bank should not be passed up for lack of one.
     Taking into consideration the popularity of Mammy and Baby with collectors, and the high price one would expect to pay for a good example, it is surprising that there are no reproductions of this bank. Nevertheless, I am including a base diagram (Figure 3) which should give the reader an idea of the size and scale of this intriguing mechanical.

The Novelty Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1987

     Insipid, unimaginative, mundane may very well be the adjectives which come to mind when describing a bank building as a subject for a mechanical bank. Surprisingly, this single category may possibly comprise the largest number of both mechanical and still banks. It is interesting to note that the very first commercially-produced cast iron mechanical bank, "Hall's Excelsior," reflected just such a subject.
     It seems likely to have been an unenviable task on the part of the inventor to create a building bank design that improved upon its predecessors. To produce a mechanical bank that was attractive, exciting, and yet distinctly different must have proved to be a great challenge. Obviously, Charles C. Johnson, the inventor of the "Novelty Bank" (Figure 1), met that demand with great success. This may be concluded through the fact that there are a large number of surviving examples of his invention, indicating a public that was quite receptive.
     On October 28, 1873, Mr. Johnson was granted Patent number 144,106 for his design and invention (Figure 2). The dates "PATD JUNE 23, 1872" and "OCT 28, 1873" are cast into the back of the bank and facilitated location of these patent papers. The "Novelty Bank" was ultimately manufactured by the J. and E. Stevens Company of Cromwell, Connecticut, and offered for sale in their toy catalog (Figure 3). As evidenced by the photograph in Figure 1, it may be assumed that Johnson's patent drawings (Figure 2) were adhered to quite stringently.
     It is amusing to note that Johnson obtained a patent on April 29,1879 for another, similar, building bank. This may have been attributed to either dwindling sales, or perhaps, Johnson became enamored with his own design for the "Novelty Bank." This particular bank, shown in Figure 4, accommodates two buildings and two cashiers. Could Johnson have believed that this bank would be twice as successful as his "Novelty Bank"? Unfortunately, no example of this "double your money, double your fun" mechanical has ever come to light, leaving the question unanswered.
     There are several color variants of the "Novelty Bank," but the only casting variation pertains specifically to the earlier production banks. These have square-top dormer windows, the word "JOHNSON" cast in raised letters onto the bottom of the door, and no door knob. Within the color variations we may find the roof, door, and corner trim painted either brown, blue, or red. The sides of the bank could be either tan, white, gray, or yellow. The interior could be any combination of green, yellow, white, or brown. The cashier may have either a tan, brown, dark blue, teal blue, or gray suit, and his tray can be either pink, yellow, tan, white, green, or light blue.
     The colors of the bank pictured in Figure 1 are as follows: the roof, corner trim and door trim are dark brown; the sides of the building and chimneys are painted tan; and the windows are outlined in green. The name "NOVELTY BANK" on the door is white over a green background, and the doorknob is black. The border around the bottom is green. The interior room has a red floor, yellow walls, and a red coin shelf. The cashier's face and hands are pink flesh-colored, with black eyes, eyebrows, mustache, goatee, and hair. His suit is light blue with black lapels and cuffs, and he wears black shoes. Finally, he has a pink coin tray.
     The operation of the "Novelty Bank" is both quick and effective. The door is opened widely enough until it is able to remain open on its own accord. A coin is then placed upon the cashier's tray. A slight nudge to the door causes it to slam shut, whereupon the cashier and coin both disappear within the bank. When the door is once again opened, there stands the cashier sans coin. The money is removed from the bank by unscrewing the single screw which fastens the coin trap underneath the base.
     Figure 5 is an advertisement from the Winter edition of Erich's Fashion Quarterly (1880s) which offered the "NOVELTY CASHIER BANK" for the price of 95 cents each, plus 60 cents postage. The price at which a "Novelty Bank" sold at a recent bank auction would have bought one thousand "Novelty Banks" in 1885!!
     Several crude reproductions of the "Novelty Bank" exist. Although they may easily be detected, I am including a base diagram (Figure 6). A reproduction will appear approximately one-eighth inch smaller along the base than the original.

The Lion and Monkeys Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1987

     Few mechanical banks have, as their subject matter, animals engaged in a life-and-death struggle. Three which readily come to mind are "Snake and Frog in Pond," "Springing Cat," and the subject of this article – "The Lion and Monkeys." Of the aforementioned, it is the Lion and Monkeys which portrays this dire situation in a most lighthearted and whimsical manner. The lively coloration and cartoon-like grin on the adult monkey's face lead us to believe, much to our relief, that these teasing, taunting simians appear to be in complete control of their circumstances.
     The Lion and Monkeys bank was designed by Louis Kyser and Alfred C. Rex, for which they were granted Patent number 281,177 (*see note below, corrected to 281,377) on July 17, 1883 (Figure 1). The bank was ultimately manufactured by the Kyser and Rex Company, located in Frankford, Pennsylvania. As evidenced by the photograph in Figure 2, the patent drawings were closely adhered to.
     The amusing action of the Lion and the Monkeys bank was graphically described in an ad which appeared in an 1880s Winter edition of Ehrichs' Fashion Quarterly (Figure 3) ". . . Place a coin in the monkey's hand, and touch the spring at the root of the tree. The monkey throws the coin at the lion, who opens his mouth, and dexterously catches it, while the young monkey jumps on his mother's shoulders to see the fun." The deposited coins are removed from the bank by way of a key-locking coin trap underneath the base.
     There are two casting variations of the Lion and Monkeys, neither of which detracts from, nor adds to, its value. These variations pertain to a small design on the side of the tree trunk, which represents a scar caused by a severed branch. Some banks portray this scar as a small oval design, while others depict it to be more elongated and peanut-shaped. Also, the tree trunk which bears the peanut-shaped design is taller than its counterpart.
     There are no color variations of the Lion and Monkeys. The bank denoted in Figure 2 is painted in the following manner: the lion is tan, with a mane highlighted in dark brown. His eyes, which are composed of glass, are reddish-brown with black pupils. His nostrils are red, as is his mouth, and he has white teeth. His eyebrows, whiskers, and claws are painted black. The monkeys are brown with pink faces; they both have white eyes with black pupils. Their mouths are red, and mama monkey has white teeth. The tree is blackish-brown, its bark highlighted in light green. The small oval or peanut-shaped design is painted tan. The base is bright green splotched with red and yellow, and the rim around the entire base is painted red.
     It is important to note that, with the exception of the baby monkey's arms, the Lion and Monkeys bank is made of cast iron. The baby's arms are always cast in brass, since it facilitated attachment to its shoulders during the manufacturing process. This is in view of the fact that brass, being an extremely soft metal, could easily be soldered and pressed closed. Unfortunately, its ease of attachment also accounted for its ease of detachment. Most often, when a Lion and Monkeys bank is found, the baby monkey is either missing or replaced with a recast. Since a missing or recast baby monkey most certainly lessens the value of the bank, the prospective purchaser should be well aware of this inherent weakness.
     The Lion and Monkeys is not considered rare, but finding an all-original example, in superb condition, can prove extremely challenging.
     This bank has been reproduced over the years. I am, therefore, including a base diagram (Figure 4) to assist the collector in determination of an original from a recast. The recast will appear approximately one-eighth inch shorter along the base than the size indicated in the diagram.
     Note: (from May, 1987) In the March 1987 issue of Antique Toy World, article entitled, "Lion and Monkeys Bank, " Patent number 281,177 was a typo error and should have read, "Patent number 281,377."

The Horse Race Bank
(The Race Course Bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1987

     On August 15, 1871, John Hall of Watertown, Massachusetts, commemorated the illustrious "Sport of Kings" with his creation of an outstanding mechanical bank. On that date he was granted Patent number 118,011 (Figure 1) for his "Race Course Toy Bank" (Figure 2).
     Horse racing had its humble beginnings in England circa 1174 A.D. The first mention of a formal horse race which involved money occurred during the reign of Richard I (1189-1199) when, at Whitsuntide, a purse of forty pounds in "ready gold" was run over a three-mile course. In 1665, Richard Nicolls, the British Governor of New York, introduced horse racing to the Colonies. It was received with great enthusiasm and enjoyed immediate success. By the late nineteenth century horse racing had firmly entrenched itself as a major pastime in the States.
     It was precisely that sense of chance and excitement indicative of horse racing which John Hall so aptly captured in his "Race Course" mechanical bank. He had created a toy, a game of chance, but most importantly, a savings device. Although one was unable to predict the outcome of a race, no money could be lost!
     The operation of the Horse Race bank was elucidated by printed instructions on a label which was glued to the top of each purchased bank, and positioned in front of the coin slot. The label read: "Pull the cord to set the spring. Place the horses' heads opposite the star; deposit the coin in the opening and the race will begin." A unique feature of all mechanicals invented by John Hall was that a coin was necessary to initiate the action. These include the "Hall's Excelsior," "Hall's Liliput," and "Tammany" banks.
     The Horse Race Bank was manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. Figure 3 is a copy of a page from one of their wholesale toy catalogs. It is interesting to note that the bank illustrated on that page depicts two jockeys riding sulkies. To date, no example of the Horse Race Bank has surfaced incorporating such figures.
     There are two distinct variations of the Horse Race Bank. One is commonly referred to as the "straight base" version, and the other, as the "flanged base." The Patent drawings in Figure 1 illustrate the straight base, while the photo in Figure 2 portrays the flanged base. (The designation "straight" and "flanged" refer to the circular base plate at the bottom of the bank.) Other dissimilarities between the two are the archways and triangular peaks, with each variant utilizing differently-designed castings. In addition, the flanged base bank incorporates a screw-secured, sliding coin trap, while the straight base has no coin trap at all.
     Aside from these casting variations, there are several color combinations. The bases and tops of the banks could be any combination of red, blue, yellow, white, or green. The Negro figure is always painted black with white eyes and a red mouth. The jockeys are always Caucasian and their mounts are reddish-brown and white, respectively.
     The Horse Race Bank is constructed, with the exception of the jockeys and their horses, of cast iron, the aforementioned being composed of painted tin-plate.
     The colors of the bank pictured in Figure 2 are as follows: the round filigree  top plate is painted white with red decorations. The star and words, "PATENTED AUG 15, 1871," are also painted red. The figure standing beside the coin slot is black and has white eyes and a red mouth. His shorts are white with red decorations. The coin slot is green with white and red designs. The archways are white, red, and green. The top side wall of the bank is painted red and green with a thin, curved white stripe. The base is white with red door trim, and the word "BANK" is green. The bottom flange is green and red. One horse is reddish-brown, and other is white. They both have black bridles, manes, tails, hoofs, and eyes. One jockey wears a tan cap and trousers with a green shirt, while the other sports a red shirt with yellow-ochre cap and trousers.
     The Horse Race Bank is quite scarce, especially in superb all-original, unbroken condition. Its fragile castings, delicate tin figures, and intricate construction all pay tribute to its rarity. It is a bank which requires extremely careful examination when contemplating purchase.
     This bank has been crudely reproduced and, therefore, presents no real challenge to detection. Nevertheless, I am including two base diagrams "straight base" (Figure 4), and "flanged base" (Figure 5) to help determine size and scale.

Hall’s Lilliput Bank (Type III)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1987

     Upon first glance, one might describe the Hall's Lilliput bank as dull and inoffensive. Closer examination, however, reveals a mechanical possessing jewel-like elegance and simple dignity. The delicately cast, vividly chromatic building, guarded by a most tastefully attired gentleman, all pay tribute to this tiny bank's significance.
     On May 4, 1875, John Hall of Watertown, MA, was granted Patent number 162,747 for his Lilliput bank (Figure 1). Close adherence to these patent drawings obviously wasn't mandatory, as evidenced by the final production bank which was manufactured by the J. and E. Stevens Company of Cromwell, CT (Figure 2). Subsequently, on July 27, 1875, design Patent number 8,498 was issued to John Hall (Figure 3). These patent papers are of considerable interest since they incorporate an actual photograph of the Lilliput bank, rather than the customary drawing, implying the bank's design waspatented after it was manufactured.
     The words, "PATENTED MAY, 1875;" "Jan 1876;" "PAT DESIGN, JULY 27, 1875" are cast into the sides and back of the bank, which facilitated the location of the patent papers reproduced in this article.
     A unique feature, indicative of all mechanical banks designed by John Hall, was the use of a coin's weight to initiate action. Yet, on April 24, 1877, Hall was granted a patent for an "improvement" on his Lilliput bank (Figure 4). It utilized a lever which, when pressed, resulted in the commencement of action, with or without a coin. To the best of my knowledge, this lever design "improvement" was never incorporated into any manufactured Lilliput bank.
     The action of the Hall's Lilliput is quite simplistic and is described in an 1883 issue of the J. and E. Stevens Company Toy Catalog (Figure 5): "Pretty, tasteful, and simple in construction. Cannot get out of order. The coin laid upon the plate is carried around by the Cashier and placed in the Bank. The figure then returns to its place, ready for another deposit." The coins are removed from the bank by way of a small, round Stevens-type coin trap underneath the base.
     There are several casting variations of the Hall's Lilliput bank. They are designated as types I, II, and III. The building contained within Type I (the earliest in terms of manufacture) is more narrowly designed than types II and III and utilized pressure lugs rather than rivets in order to hold the bank's parts together. Also, there is no tray in the Cashier's hands. The type II Lilliput bank differs from type III (Figure 2) only to the extent that it utilized a cashier similar to the type I bank, with no tray and longer forearms. It is my contention that the incorporation of a tray in the type III Lilliput bank made it more efficient and less likely for the coins to slip off the cashier’s arms prior to deposit.
     The types I, II, and III Lilliput banks were painted in various color schemes. They may be any combination of red, yellow, blue, light green, dark brown, white, or tan. The cashier could have either a blue or black jacket and gray or tan pants. The colors of the bank in Figure 2 are as follows: the four sides of the bank are basically bright yellow and are highlighted with red, blue, and white. The roof is red with a white dome and ribs. The oval depression behind the cashier is painted light green, and the steps are dark brown. The four vertical corners of the bank are painted blue, and the foundation is red. The face and hands of the cashier are a pink flesh color. His hair, eyes, eyebrows, mustache, goatee, and shoes are black. His jacket is dark blue and he sports a red vest, white shirt, and tan pants.
     The Hall's Lilliput bank type III is not considered rare, but finding one in superb paint condition can prove a challenge to the collector – commanding an appropriate price.
     I am not aware of any reproductions of this bank. However, the base diagram (Figure 6) should help determine size and scale.
     Note: In the March 1987 issue of Antique Toy World, article entitled, "Lion and Monkeys Bank, " Patent number 281,177 was a typo error and should have read, "Patent number 281,377."

The Mule Entering Barn
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1987

     The subject of this article is a mechanical bank featuring an obstinate mule, whose actions of refusal to enter a barn evoke doubts as to the appropriateness of its name. Surely, the "Mule Entering Barn" is a misnomer, since the objects which finally gain entry are coins and not mules. Figure I is an advertisement from Ehrichs' Fashion Quar­terly, a nineteenth-century mail-order catalog. In it, this bank is referred to as the "Malicious Don­key Bank," perhaps a more suit­able title. However, to add to the confusion of identifying the bank by its correct name, Figure II represents a page from a catalog of its manufacturer, the J. and E. Stevens Company, who advertised the bank by yet another name — the "Donkey Bank." The origin of the name "Mule Entering Barn" remains a mystery.
     The "Donkey Bank," or the "Malicious Donkey Bank," or the "Mule Entering Barn," was invented by Edward L. Morris, of Boston, Massachusetts, who was granted Patent numbers 223,293 on January 6, 1880, and 230,713 on August 3, 1880 (Figures III and IV). The logic in having two separate patents becomes evident upon close examination of Figures III and IV. The earliest of the patents (indicated in Figure III) utilizes a mule which pivots at the front shoulder. This allows its body to flip hooves over head in order to deposit the coins into the bank. An improvement, as shown in Figure IV, incorporates a one-piece mule, which pivots at the point where its front hooves meet the base of the bank. This amendment to the earlier patent probably allowed for simplicity and greater efficiency in the manufacturing process and was the design reflected in the final production bank pictured in Figure V. The words, "PATD AUG 3D 1880" are incised underneath the base, which assisted in locating the patent papers illustrated in this article.
     It is interesting to note that neither of the patents made reference to the small dog which exits the barn during the height of the bank's action. Perhaps, if one may speculate, its addition was an attempt on the part of the J. and E. Stevens Company to increase the attractiveness and/or appeal of their product. In addition, note Figures I and II. The dog is shown exiting at the opposite side of the barn than the side from which it departs in the final production bank (Figure V).
     The action of the Mule Entering Barn is extremely rapid and quite jarring, and is so described in Figure II: (Place a coin between the donkey's hind legs.) "Touch the knob at the feet of the donkey, and the coin is thrown through the window in the gable of the barn; at the same time the dog springs from his kennel." The deposited coins are removed by way of the round Stevens coin trap underneath the base.
    Edward L. Morris patented two other mechanical banks, both of which incorporate a similar "spring up and over" action. They are the "Darkey Cabin Bank" and the "Acrobats" Bank." These also were manufactured by the J. and E. Stevens Company of Cromwell, Connecticut.
     There are no casting variations of the Mule Entering Barn, but there are two color variations. These pertain solely to the barn itself, which can be painted with light gray sides and a dark gray roof, or light green sides with a brown roof. The bank pictured in Figure V is painted the following color scheme: the mule is dark brown with a black mouth, mane, tail, and hooves. Its eyes are white with black pupils. The sides of the barn are painted light gray, and the roof is dark gray. All of the windows and archways are outlined in bright red. The peak and edges of the roof, as well as the top perimeter of the base are striped with thin red lines. The interior of the barn has yellow-ochre walls and a green grass floor. The base is reddish-brown, and the little dog is white with tiny black spots.
     The Mule Entering Barn is extremely difficult to locate in unbroken condition. Most often, the mule's tail is either missing or has been replaced.
     This bank has been reproduced. I am, therefore, including a base diagram showing the exact dimensions of an original (Figure VI). A reproduction will appear approximately one-eighth inch shorter in length than indicated.

The Toad on Stump Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1987

     If one were to poll mechanical bank collectors to determine their "favorite" or "prize" banks, sadly the Toad on Stump would most likely be omitted from all lists. Its unglamorous subject matter, small size, its fairly common status, lack of exciting action, subdued coloration, and lackluster appearance contribute to its non-impressive image. The Toad on Stump may very well be regarded as "the little bank nobody loves." However, a closer look at this innocuous bank is suggested lest some very desirable characteristics are overlooked. A superb, all-original example of Toad on Stump will reveal the delicate quality of its castings, abounding with graceful flora and fauna, and the chromatic, but tasteful, color scheme with the toad on one variation painted chartreuse, affording it an air of luminescence.
     Through the years, the inventor of this bank has remained a mystery, although similarities do exist between it and a bank patented by Russell Frisbie on August 20, 1872 (Figure 1). These patent papers, combined with an advertisement from an early J. and E. Stevens Company catalog page (Figure 2), support the popular contention that Toad on Stump was designed by Frisbie while employed at the Stevens Foundry of Cromwell, Connecticut.
     The action of Toad on Stump is precisely as described in Frisbie's patent papers for the "Frog on Round Base Bank" (Figure 1), with the exception that a small lever at the rear of the toad's leg is pressed to initiate it, rather than the frog's front foot. The patent goes on to read: ". . . an artificial frog, whose mouth is opened for the reception of a coin by pressing one of its feet, and which drops the coin in the box on releasing it" Unlike the Frog on Round Base, the money deposited into the Toad on Stump is removed from the bank via a round coin trap underneath its base.
     There are no casting variations of the Toad on Stump, but there are two color variations. These pertain solely to the toad, who may be painted either dark green or chartreuse. The colors of the bank pictured in Figure 3 are as follows: the toad is chartreuse with metallic gold highlights. Its mouth is red and it has black eyes with vermillion eyebrows. The operating lever is also painted vermillion. The tree stump and the underside of the bank are painted with a dark brown japan varnish. The floral designs which em­bellish the base are gold with black highlights, and the turtle is reddish-brown with white spots. Finally, there are several representations of severed branches emerging from the stump. These branches are painted yellow ochre.
     I offer apologies for reiterating the qualities of Toad on Stump: its delicate castings, eloquent design, attractive coloration, a minute degree of rarity, and possibly being manufactured by a company widely known for producing toys of impeccable quality. But the question still remains as to why this bank is not more highly esteemed. Perhaps the answer focuses wholly upon its subject matter – a lowly, wart-ridden toad, resting lazily upon a decaying tree Stump.
     Admittedly, the Toad on Stump may lack the charisma of a Professor Pug Frog or Harlequin bank, but it is to be appreciated for the subtle qualities it does possess. Indeed, a foundry based in Taiwan did see merit in the Toad on Stump, for they have taken their time and resources to reproduce it. The casting of this bank is quite crude and easily detectable. Nevertheless, I am including a base diagram of an original Toad on Stump (Figure 4) to discern the bank's size and scale. The reproduction will appear approximately one-sixteenth of an inch smaller across the base.

The Milking Cow Bank
(The Kicking Cow Bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1987

     Humiliating situations involving specific ethnic and racial groups provided a fertile area for nine­teenth-century mechanical bank designers. The Milking Cow bank (Figure I) would seem to deviate from this, since the subject of ridicule is a Caucasian farm boy. However, closer inspection of a bank which appears de­void of any racist intent reveals an uncanny resemblance between the farm boy's face and attitude and those of both Negro men portrayed in the J. and E. Stevens' "Dentist" and "Bad Accident" banks.
     To date, patent information relating to the production and design of the Milking Cow bank is sadly lacking. If, however, the Stevens Company was the manufacturer (as indicated by the research of others over the years), it is curious that a company which was engaged in producing many mechanical banks reflecting racist themes would paint a figure white when it was, in all likelihood, designed to be black.
     To further support the belief that J. and E. Stevens may have manufactured this mechanical, specific elements such as an abundance of leaf and floral designs in­tegrated within the Milking Cow's base reflect the unmistakable trademark of the well-known mechanical bank designer, Charles Bailey. The Stevens Company employed Bailey during the same period of time in which the Milking Cow bank was marketed.
     All early advertisements of the Milking Cow bank refer to it as the "Kicking Cow" bank. Figures II and III illustrate this in advertisements from wholesale toy catalogs circa 1880. Figure II represents a catalog page from Ives, Blakeslee and Company, which offered the "Kicking Cow" for $9.00 per dozen, while its competitor, Selchow and Richter, priced the bank at $8.50 per dozen!! It is uncertain when and why collectors began referring to the "Kicking Cow" as the "Milking Cow" bank.
     "Animated" and "slapstick" are descriptions befitting the action of the "Milking Cow." After placing a coin into a slot in the cow's back, the red, flower-shaped lever beneath its neck is pressed downward. Simultaneously, the coin drops into its body; the tail stands out perpendicular to its rump; and the hind leg kicks upward, hurling the boy off his stool, with the milk pail striking his face.
     Coin removal is no simple matter. The cow is first unbolted from the base, and the screw holding both halves of its body together must then be removed. Completion of these steps would allow the retriever access to the deposited coins.
     Figures II and III include illustrations of the Kicking Cow bank with the cow secured to the fence post by a string. At the time the bank shown in Figure I was purchased, the seller related that it had been in his family for many years. It had been given to his grandfather when the latter was a young boy and did, in fact, include that very string now affixed to the bank (concurring with the illustration in Figures II and III).
     There are several casting variations of the Milking Cow. These pertain solely to the length and thickness of the base. Because of an abnormal amount of breakage during production, the base was ultimately thickened in an attempt to rectify the problem. This "thick base" variation differs in length from the "thinner base" versions (refer to Figures IV and V).
     There is only one color variation, and that concerns the cow. It may be painted either a chocolate-brown or terra cotta. The colors of the bank in Figure I are as follows: the cow is terra cotta; it has white eyes outlined in black with black pupils. The mouth is red and the horns are tipped with gold balls. The udder is yellow with red teats and the hooves are black. The boy's face and hands are a pink-flesh color. His hair, eyes, eyebrows, and shoes are black, and he has red lips. He sports a red shirt with white suspenders and blue trousers. His milk pail is gold and the straw hat lying by his side is tan. The base is bluish-green, with the legs at each corner painted gold. The mound of daisies under the cow's head has white petals with yellow centers. Finally, the flower-shaped operating lever is red, and the fence is painted white.
     Prudence should be exercised when purchasing the Milking Cow bank due to its fragility. Generally, when one is located, it is either broken or missing parts. Those parts which have proven to be most vulnerable are the cow's tail, the tips of her horns, the fence, and each of the four legs hold­ing up the fence.
     Because of the various legitimate base lengths, it could become difficult to discern an original Milking Cow bank from a recast by merely comparing it to a base diagram. In this particular instance, the quality and sharpness of the castings, combined with the patina of the painted surface, should provide sufficient clues to judge an original from a reproduction. Nevertheless, I am including two base diagrams to further aid in the determination of size and scale.
     Figure IV shows the size of the "thin base" variation, and Figure V indicates the size of the "thick base" alteration.

The Dog on Turntable Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1987

     Inanimate objects are not likely to be credited by most persons with possession of that human, intangible characteristic known as personality. The exception may be the collector of mechanical banks when describing specific mechanicals in his or her collection. The subject of this article is not exempt from those attributes normally associated with certain individuals, since this writer tends to describe the Dog on Turntable as "unpretentious," "dependable," "friendly," and, perhaps, "humble."
     I had not, in the past, experienced intense yearning to acquire this particular bank; however, when one found its way into my collection, close inspection revealed a subtle elegance which had not been apparent upon first glance. Although I have beheld rarer and more impressive me­chanicals, this one certainly has managed to assume an important place within my collection.
     Unfortunately, there is little information pertaining to the designer and actual date of manufacture of the Dog on Turntable, since the Judd Manufacturing Company of New Britain, Conn., its producer, had never applied for patents for this, or any other of their banks. However, there are several clues as to the period of time this bank was offered to the public, and these are based upon infor­mation from old toy catalogs. An illustrated advertisement (Figure I) from an early Marshall Fields jobbers cat­alog documents sales of the Dog on Turntable to the year 1893. The ad reads "Copper bronze finish—$6.70 a dozen; maroon finish also $6.70 a dozen; and the ebony and gold finish—$6.55 a dozen." Other finishes which Judd utilized for this particular mechanical included: a "fancy" light brown japan with tiny, gold flecks (Figure R); a light green and medium blue combination; ebony, high­lighted with a green wipe; beige; and a very colorful rendi­tion with blue and white sides and a red roof. The use of additional colors should not be discounted as the Judd Company incorporated many others into their line.
     The action of the Dog on Turntable in incomplex. A coin is placed upon the tray in the dog's mouth. As the crank is turned clockwise, the dog enters the right archway of the building, depositing the coin. It exits the left archway sans money. The coins are removed from the bank by way of a small sheet steel retainer underneath the base.
    There are several casting variations involving both the coin trap and the circular gear train. These differences are revealed when the bank is viewed from its underside. The earlier production banks utilized a small rectangular sheet steel sliding coin trap, while the later version used a riveted, pivoting sheet steel coin trap. The early models also incorporated a lip cast into the base, which concealed the turntable's circular gear train while, in the later version, these gears were exposed.
     It is interesting to note the Dog on Turntable's internal construction. A small, rectangular piece of sheet steel is utilized to fell the coins from the dog's tray as it rotates through the bank. It prevents the money from falling into, and jamming, the rotating gear mechanism. One of the reasons so many of these banks are found with jammed or broken gears is because this small, internal sheet steel piece was either lost or misaligned. In addition, the use of too large a coin resulted in the breakage of the left side of the dog's exit archway. The collector who possesses an example of a bank with this side intact should consider himself, or herself, quite fortunate indeed.
     Recently, several reproductions had been imported into this country from Taiwan. In view of the crude workmanship, it is not difficult to discern between these and a fine, old, original bank. Nevertheless, I am including a base diagram (Figure 111) of an original; any reproduc­tion would appear approximately one-eighth inch smaller in width than indicated.

The Spring Jaw Alligator
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1987

     An interesting and relatively undiscovered group of European antique banks is the "spring jaw" me­chanicals. Figure I represents the "Spring Jaw Alligator," one of a series of seven known "spring jaw" banks. Each of the seven differs in subject matter — i.e., the aforementioned alligator, Bonzo the dog, a mule, a parrot, a gray kitten, a bulldog, and a chimpanzee. Although the Alligator is one of the most common of the series, few collectors can boast of owning one.
     Rather than utilize the alligator as merely a motif, as does the "Baby Elephant Opens At Ten O' Clock," the "Spring Jaw Alligator" is unique since it is the only bank known to incorporate the figure of this reptile into its action. I wish to express my thanks to the renowned collector and expert on European coin-savings devices, Gerhard Riegraf of West Germany, for his response to my inquiry regarding the "spring jaw" series. The following are excerpts from his recent letter:
     "Having gone through all of the toy patents registered in Germany since 1871, I am sorry to report that none were ever issued for a bank incorporating a "spring jaw" mechanism. My patent attorney advised me that this type of device could never have been patented under German law, but would most likely have been issued a "Reichsgebrachsmuster," which translates to "a small patent" or registered design. Unfortunately, the papers for this type of patent are usually destroyed after 15 years, which explains why no patent papers for any of the "spring jaw" series exist today.
     "Both my attorney and myself are also of the opinion that these banks must have been manufactured at the turn of the century (1890-1930) since they were made of a zinc-alloy. This was a popular material utilized in most German still banks manufactured during that period. To further strengthen this date contention, we discovered that all of the "spring jaw" banks employ the same small brass, heart-shaped trick lock to secure the deposited coins, as several zinc-alloy still banks which are documented to date exactly within the 1917-18 period."
     Operation of the "Spring Jaw Alligator" is incomplex and amusing: coin insertion into the alligator's mouth (or slot) activates a thin internal leaf spring attached to its lower jaw. This results in the jaw "wiggling," giving the illusion that the deposited coins are being chewed. The "digested" coins are retrieved by unfastening the "trick lock" and opening the alligator's hinged head.
     The "Spring Jaw Alligator" has neither casting nor color variations. The colors of the bank pictured in Figure I are as follows: the alligator is painted olive green with reddish-brown highlights. Its nose, cheeks, stomach, and paws are splotched with white, and the inside of its mouth and nostrils are pink. Its teeth are white, and its eyes are yellow with black pupils. Attractive coloration, com­bined with finely cast details, are indicative of the entire series of "spring jaw" banks.
     Care should be exercised when handling this, as well as any zinc-alloy bank, since they are extremely fragile and damage quite easily. This inherent weakness probably accounts for the rarity of the entire series.
     To my knowledge, none of the "spring jaw" banks has ever been reproduced. However, Figure II is an outline drawing of the "Spring Jaw Alligator" to aid in the determination of its size and scale.
     Any information which would shed fur­ther light upon this particular mechanical, and/or other "spring jaw" subjects, would be greatly appreciated, and passed along to readers in future articles.

The Clown on Globe Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1987

     Who amongst us has not marveled at the grand spectacle of the Circus? Death-defying and thrilling daredevil acts are performed by acrobats and animal tamers, while the jugglers amaze and delight the audiences. And, in contrast, there are the clowns who weave through these performances, bringing comic relief and laughter through zany and whimsical routines. There are several mechanical banks which attempt to capture the spirit of these stumbling, bumbling buffoons. Included are such favorites as: "Humpty Dumpty"; "Circus"; "Tin Clown and Dog"; "Clown Bust"; "Clown on Bar"; "Hoop-la"; "Jolly Joe"; "Clown and Harlequin"; "Punch and Judy"; "Trick Dog"; "Elephant and Three Clowns"; "Acrobats"; " Bill-E -Grin"; "Zig Zag Bank"; and, the subject of this article, "Clown on Globe."
     The Clown on Globe was patented on May 20, 1890, by James H. Bowen of Philadelphia, Pennsylvania. It was assigned U.S. Patent Number 428,450 (Figure I), which is the identical patent acquired by Bowen for his "Girl Skipping Rope" bank. The words "PATD 428450 & PENDG," are embossed underneath the base plate of the Clown on Globe and facilitated location of the patent papers represented in this article. Examination of these patent drawings will reveal that they protect only the internal mechanism of the Clown on Globe, and not its external design or subject matter.
     Incidentally, James Bowen had the distinction of hav­ing seventeen of his mechanical bank designs commercially produced. He was second only to Charles A. Bailey, who is credited with production of twenty-four designs. The J. and E. Stevens Foundry of Cromwell, Connecticut, manufactured all of the banks designed by Bowen and most of those designed by Bailey. Bailey, in fact, produced most of his own earlier lead-zinc alloy banks.
     Operation of the Clown on Globe is quite unique since it employs two separate and independent actions. First, the elongated operating lever on top of the base is lifted. (This closes the coin slot and sets the ratchet stop for the spring winder.) The globe is then turned one revolution upon the base. A coin is then placed within the slot where it remains undeposited. Upon pressing the lever, the globe, with the clown astride, spins and the coin falls into the base. When the spinning ceases, the small button beneath the clown's backside may then be pressed downward — whereupon the clown performs a hand stand for his audience!
     Coin removal comprises the only casting variation of Clown on Globe. On some banks the coins are removed by way of a round Stevens-type coin trap underneath the base. On others which do not have this coin opening, the base must be unscrewed entirely in order to retrieve the money. Thus far, this writer can offer no plausible explanation for this variation, since it does not provide a more practical or simplified alternative to coin extraction.
     The Clown on Globe had been painted several color combinations. However, these pertain solely to the clown's costume and the base of the bank. The clown's gloves and face are always white with red markings. His lips are painted red, and the color of his eyes are light blue with black pupils; his eyelashes and eyebrows are black. The globe is dark blue with either a wide gold or white band circumscribing its equator.
     The colors of the bank pictured in Figure II are as follows: the clown's hat is tan with a red brim. He has a violet shirt with yellow buttons and a light blue collar. His knickers are orange, and he has white knee socks with black shoes. The support piece between his hands is red with light blue highlights. Finally, the base, its feet, and lever are painted light yellow, highlighted in light blue.
     The clown's costume may vary from the aforemen­tioned colors to being painted entirely red with a yellow collar and tan shoes. This color combination usually accompanies a tan base with reddish-brown highlights.
     Although the Clown on Globe is a fairly sturdy bank, due to the excessive handling required for its operation it is most often found damaged and with much paint wear. Those parts of the bank which are most susceptible to breakage are the clown's wrists, the operating lever, and any or all of the small feet supporting the base. Unfortunately, one cannot truly appreciate the Clown on Globe's true splendor unless seen with most of its paint intact. Thus, when one is offered in superb condition, it is generally accompanied by a premium price tag.
     Figure III represents a page from an early J. and E. Stevens Company toy catalog, advertising the Clown on Globe as the "Funny Clown Bank." The reason for the present name designation was an attempt by twentieth-century mechanical bank collectors to more accurately describe this bank by its physical appearance rather than its subject matter.
     The Clown on Globe has been reproduced several times over the years. Figure IV is a base diagram of an original. A reproduction will appear approximately one-eighth inch smaller across the base than indicated.

The Jumbo Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1987

     Possibly the single greatest attraction the circus world had ever known was Jumbo the elephant (Fig­ure I). Its performances spanned 3-1/2 years and were viewed by literally millions of persons before meeting its untimely and tragic demise. On September 16, 1886, the following obituary appeared in a St. Thomas, Ontario, tabloid: "Last night death came to the giant elephant Jumbo. After the P. T. Barnum Circus had completed its evening performance at St. Thomas, Jumbo and the midget elephant, Tom Thumb, both walking along the railroad tracks, were struck and killed by an oncoming freight train." (Figure II is an early woodcut which attempted to interpret and report that fateful event.)
     During, and subsequent to its lifetime, Jumbo's name became synonymous with anything that was unusually large. Sometime prior to Jumbo's death, the J. and E. Stevens Company, of Cromwell, Connecticut, attempted, as did many entrepreneurs of their day, to capitalize on this gigantic elephant's popularity by incorporating its name and likeness into their product. However, the Stevens' "Jumbo" mechanical bank (Figure III, shown actual size) sharply contrasts with the image of this pachyderm (Figure IV) since it was, and continues to be, one of the smallest mechanicals ever manufactured.
     In addition to "Jumbo," J. and E. Stevens produced two other similar elephant banks. These were "Light of Asia" and "Elephant With Tusks on Wheels." Although both are much scarcer than "Jumbo," the rarity of the latter should not be underestimated.
     To date, no patent papers for the "Jumbo" bank have been located. An explanation (offered only as conjecture by this writer) might be that, in order for the Stevens Company to utilize and protect the Jumbo name and like­ness for their bank, they not only were compelled to seek permission from P. T. Barnum, but also were required to apply for a design patent. Perhaps these would have prov­en too time consuming for such a highly competitive business, where the most important factor was the speed in which a product could be introduced and offered for sale, thus enabling the company to profit before others entered the market.
     Simplistic is the most accurate description of the "Jumbo" bank's action: Insertion of a coin into the slot atop the elephant's back causes its head to nod upward and down. Coin removal, on the other hand, was a bit more difficult. The bank had to be disassembled, which was accomplished by removing the large screw which secured both halves of the elephant's body together.
     As mentioned previously, "Jumbo" is a relatively scarce bank, and the reason is revealed upon examination of an example. Since it was also designed as a pull toy, more than likely it experienced some degree of rough handling. Unfortunately, its small and delicate castings were not intended to withstand this type of treatment and, combined with the complexity of coin removal, it is fortunate any intact example exists today.
     There are no casting variations of the "Jumbo" mechanical, but there are two color differences. These per­tain solely to the figure of the elephant, wherein one is painted gray and the other (Figure III) is painted chocolate-brown. Both have white eyes with black pupils and a red mouth. Their blankets are red with gold trim, and the name, "Jumbo," is highlighted in gold. Finally, the platform and wheels they stand upon are bright green with gold accents.
     I am not aware of any reproductions of the "Jumbo" bank. Nevertheless, Figure V is a wheel diagram which should help determine its size and scale. A reproduction would appear approximately one-sixteenth of an inch smaller than indicated.
     Correction: (from November, 1991) It was erroneously stated in the December 1987 Antique Toy World article, "The Jumbo Bank," that the J. and E. Stevens Co. also manufactured the "Elephant with Tusks on Wheels" bank. Discovery of new evidence indicates the likelihood of Kyser and Rex Co. of Frankford, PA, as its manufacturer. Further elaboration will be contained within a future article in this magazine.

The Organ Bank (Medium Size)
Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1988

     The popularity and appeal of the long-tailed primate has been demonstrated by a variety of bank designs which utilize the monkey as their subject. Louis Kyser and Alfred C. Rex, both obviously fascinated with this whimsical creature's antics, produced such creations as "Organ Bank Cat and Dog," "Organ Bank Boy and Girl," "Organ Tiny," "Chimpanzee," "Lion and Monkeys," "Zoo" (which is only speculated to have been manufac­tured by Kyser and Rex), and the subject of this article, "Organ Medium Bank" (Figure I). Other turn-of-the-century toy and bank manufacturers also seized upon the opportunity to capitalize on the public's fondness for the comical monkey accompanied by an organ grinder.
     As previously stated, the Organ Medium was designed by Louis Kyser and Alfred Rex of Philadelphia, Pennsylvania. They were granted Patent number 242,139 on May 31, 1881, the date which is cast into the back of the bank and which helped facilitate the location of the accompanying patent papers (Figure II). It was ultimately manufactured by Kyser and Rex at their foundry in Frankford, Pennsylvania.
     It is interesting to note that the mechanism illustrated and described in the patent papers which was designed to create the bank's musical sound was never actually deployed into this or any other Kyser and Rex bank. The patent illustrates the music being produced by a series of internal pins plucking a musical comb (similar to a music box). The final production bank incorporated a sound mechanism which utilized an iron clapper striking a bell or, in some instances, a series of bells.
     The following description from a late nineteenth-century Montgomery and Ward catalog captures the charm, intent, and usage of Organ Medium (Figure III): "This bank is calculated to highly amuse children, as it is a musical toy as well as a savings bank. When the handle is turned, a chime of bells will ring continuously, while at the same time the monkey will deposit in the bank any coins which may be placed on his tambourine, expressing his thanks by lifting his cap. Highly decorated and packaged one in a box. $4.00 per dozen."
     Incidentally, the deposited coins are removed from the bank by way of a square key lock coin trap underneath the base.
     There are several color variations of the Organ Medium bank which pertain solely to the monkey's outfit and its perch. They may be painted any combination of red, yellow, blue, or green. The colors of the bank pictured in Figure I are as follows: the organ is painted an overall red­dish-brown. The words, "ORGAN BANK," the pipes on the front of the bank, the open fretwork on both sides, the crank handle, and the monkey's tambourine are gold. The sheet music is indicated in white, with the inscribed notes painted black. The monkey's hands, feet, and head are light brown; it has white eyes with black pupils, and a red mouth. Its jacket is red with a white collar and cuffs, yellow buttons, and yellow piping down the front. Its pants are yellow, and the cap is blue with a yellow button and peak. The perch upon which the monkey sits is painted green.
     The casting variations relate to a process of manufac­turing. In some banks the two halves of the monkey are secured by a single rivet, while others utilize bent-over iron pins.
     Close examination of the Organ Medium will reveal the expertise that Kyser and Rex exercised in the fine art of iron casting and painted decoration. These alone explain why their toys and banks are so highly sought after by today's collectors.
     The extreme fragility of the Organ Medium bank dictates a limited amount of superb examples. Beware: this bank has been reproduced. Figure IV is a base diagram indicating the size of an original. A reproduction will appear approximately one-eighth of an inch smaller than indicated.

The Artillery Bank
Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1988

     War, with its raging conflicts and ensuing battles, has always fascinated most young boys. This is evi­denced by the popularity and production throughout history of war toys. It is, therefore, not surprising that many nineteenth-century mechanical bank manufacturers chose to design their product with this subject as the theme. Indeed, this category of banks boasts such examples as "Creedmoor," "Grenadier," Tank and Cannon," "Tommy," "Hold the Fort ... "U.S. and Spain," "The Fort Sumpter Bank," "King Aqua," and the "Artillery Bank," the subject of this article (Figure I).
     On May 31, 1892, Charles G. Shepard and Peter Adams, both principals of the Shepard Hardware Company of Buffalo, New York, were granted Design Patent Number 21,594 for their invention of the Artillery Mechanical Bank (Figure II). This patent protected only its external design. Most likely, with the abundance of banks patented and manufactured by the Shepard Company, several, if not all, of the innards of the Artillery Bank had already acquired adequate patent protection.
     The Shepard Hardware Company produced the Artillery Bank for a relatively short period of time (Figure III). All patent rights, patterns, and pertinent production information were then sold to the J. and E. Stevens Company of Cromwell, Connecticut. The bank then realized tremendous popu­larity and success through thirty-nine years of continuous manufacture.
     Operation of the Artillery Bank is initiated by pulling back and cocking the large hammer at the rear of the cannon. This causes the artilleryman to raise his right arm in a "ready, aim" gesture. A coin is then inserted into the open muzzle, and the flat thumb piece behind the letter "K" is pressed. The soldier's arm drops, as if giving the order to fire, and the hammer snaps forward, firing the coin into the fort, or tower. A paper exploding cap may also be placed in front of the hammer to add a more realistic touch to the action.
     The accumulated coins are removed from the bank by release of a coin trap underneath the base. Design of both the Shepard and Stevens Artillery Banks differs only in the coin closures and the various finishes employed by each company. In the Shepard version of the trap, the opening is secured by a square key lock, while the Ste­vens bank uses a patented, round closure.
     As to finishes, Stevens generally relied upon attractively painted decorations, although they did manufacture and sell both bronze and nickel-plated varieties (See Figure IV, an early J. and E. Stevens flyer). Shepard used only the newly developed copper electroplating technique. However, several years ago, a Shepard, silver-painted bank with gold-painted highlights was discovered at a Sotheby's auction sale.
     There are two paint variations of the J. and E. Stevens Artillery Bank. They pertain solely to the artilleryman's uniform, which may be painted in either Civil War Confederate, or Union colors (depending upon the marketing area). In both cases the base, mortar, and fort are painted identically.
     The colors of the bank shown in Figure I (the Union Army version) are as follows: the base is painted light green, highlighted with red and yellow. The fort, or tower, is an overall dark-brown, japan finish. The square top finial, the words "ARTILLERY BANK," and the mortar are painted gold. The cradle within which the mortar sits is reddish brown. The artilleryman's face and hands are pink flesh colored. His eyes, hair, moustache, shoes, and the peak of his cap (kepi) are painted black. His kepi is red with a yellow band. He wears a dark blue jacket with a red collar, yellow belt, and yellow shoulder strap. His pants are of the same red as his cap. The colors of the Confederate soldier's uniform are: red jacket with dark blue collar, and gray pants and kepi.
     Artistic license was taken at the Stevens' factory, sacrificing authenticity during the time these banks were deco­rated. This is especially evident in the colors of the Union artilleryman's uniform, wherein his pants and cap should have been painted dark blue.
     There are two extremely rare and uniquely distinct casting variations of the Artillery Bank. One pertains solely to the name printed on its side. This variant has the words, "THE MORTAR BANK" in place of the "ARTILLERY BANK." The other concerns only the hat of the artilleryman. Here we see him wearing a European-style spiked helmet, rather than the traditional Civil War kepi.
     Historical significance, combined with its many casting variations and color finishes, make the Artillery Bank a desirable addition to a collection. This becomes quite apparent when the fortunate collector is able to display all of the different Stevens and Shepard Artillery Banks simultaneously.
     The Artillery Bank has been reproduced. Figure V is a base diagram of an original. A reproduction will appear approximately one-eighth of an inch smaller across the base than indicated.

 The J. & E. Stevens Co. of Cromwell, Conn.
(Part 1)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1988

     Information pertaining to antique cast iron mechanical banks would be incomplete if it did not include possibly the most prominent of all toy foundries—the J. and E. Stevens Company of Cromwell, CT. In view of the major role it played in the history of American toy manufacture, this and subsequent articles will concern themselves with that foundry.
     Inspiration for these articles was attained through several discussions with noted mechanical bank historian, Mark Haber, former resident of Wethersfield, CT., and the discovery of a hitherto unknown photograph of the Stevens Company, circa 1880. This photograph (figure 1) had originally been in the possession of Russell Frisbee, whose role in the Stevens Company will be discussed shortly. An inscription by a Frisbee descendent on the obverse of the photo attests to its authenticity.
     The foundry began its operations, humbly, in 1843 when John and Elisha Stevens, sons of a Bristol, CT, blacksmith, arrived that year in Cromwell, then known as Upper Middletown. Following the family tradition they established an iron works in a small clearing known as Frog Hollow. Here was the ideal location, between a local water supply which operated the necessary water wheel and the Connecticut Valley Railroad which furnished the needed raw materials for iron production. Soon after the foundry began operating, John and Elisha approached William Keighly, an experienced and talented iron mold maker, to become a partner in the concern.
     During these early years they manufactured principally household hardware, small tools, and some farm implements. The year 1866 is significant in Stevens history, for it was during that time that Russell Frisbee, designer, inventor, master pattern maker, and astute businessman, joined the firm as General Superintendent, assuming a twenty-five percent partnership. It may be said that Frisbee's business acuity and foresight led to the birth of the mechanical bank industry in the United States.
     Imagine Frisbee's excitement as he viewed the patent drawings of John Hall's new invention (Figure II). It was through Frisbee's encouragement and perseverance that these drawings were to evolve into the first patented cast iron mechanical bank, "The Hall's Excelsior." Who would have envisioned that this simplistic bank with its popup monkey would serve as the catalyst for a major industry that would span continents and continue even today!
     To be continued next month.

The J. & E. Stevens Co. of Cromwell, Conn.
(Part 2)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1988

     J. and E. Stevens' introduction of the first patented cast iron mechanical bank, the Hall's Excelsior, resulted in immediate success. It wasn't long before the penny-hoarding public was clamoring for new and novel savings devices. With such incentive John Hall then designed his Race Course bank, followed by the Tammany and the Hall's Liliput. Of interest is the fact that Russell Frisbee, General Superintendent and partner in the J. and E. Stevens Company, autonomously designed the Frog on Round Base bank, utilizing the base design from Hall's Race Course bank. The unauthorized usage of this Hall design caused a major rift between the two men.
     During the period between 1866 and 1900, the "golden age" of mechanical banks, the Stevens foundry produced approximately seventy banks. Most were designed by inventors other than Hall or Frisbee. Classic examples include the Panorama bank designed by James Butler; the Fowler by Edwin Pyle; the Bank Teller and the Preacher in the Pulpit by Arthur Gould; the Novelty bank by C. C. Johnson; Patronize the Blind Man by William Lotz; the Acrobats by Edward L. Morris; Eagle and Eaglets by Charles M. Henn; the Jolly Nigger, Speaking Dog, and Artillery by Peter Adams; Bill-E-Grin by John W. Schmitt; and the Creedmoor, 'Spise A Mule, Two Frogs, Elephant and Three Clowns, Paddy and His Pig, Reclining Chinaman, Darktown Battery, Girl Skipping Rope, Cat and Mouse, and Clown on Globe, all created by James H. Bowen. Charles A. Bailey designed Germania Exchange, Indian and Bear, Professor Pug Frog, Bread Winners bank, Darkey Watermelon, Dentist, Jonah on Pedestal, Milking Cow, Bad Accident, Boy Robbing Bird's Nest, Magician, Hen and Chick, etc. etc. This impressive list contributed to the establishment of J. and E. Stevens as the undisputed worldwide leader in the production of cast iron mechanical banks.
     Several years ago, noted mechanical bank historian, Mark Haber, acquired several volumes of Stevens Company ledgers, foundry records, time books, correspondence and related material. Through these rare documents Mr. Haber envisioned a visit to the Stevens Foundry, circa 1890. The following is his imaginative interpretation of a tour through the foundry.
     Our tour begins by walking along Nooks Hill Road, which affords us a view of the panorama that includes a group of Stevens buildings (Figure I). As we arrive at the plant we are greeted by Mr. E. S. Coe, a nephew of the Stevens brothers and Secretary and Treasurer of the company. As we enter Mr. Coe's office he points out the exhibit of the company's products neatly displayed in glass front cases opposite his desk. Settling into his large, overstuffed swivel chair he leans back and exclaims, "Inasmuch as we are going into production on the Jumping rope bank at this time, I think it may be of interest to you to learn something about its inventor and some of the production problems it presented here at the foundry. It might be well to mention the fact that Mr. Bowen, the bank's inventor, is a rather difficult man to get along with. He is easily irritated and many times misconstrues the intent of my correspondence. While it is true we lean heavily upon him for the introduction of new and novel designs for banks each year and we show him every consideration, we nevertheless must be firm with him, as we must maintain a degree of company policy. From the very beginning Mr. Bowen insisted his Skipping Rope bank be in finished production by holiday time this year. He had only supplied us with a preliminary model a few months earlier and I informed him that, due to its complicated design, final production could not be accomplished before the following year. He became quite irritated and threatened to bring his design to another company. I then assured him we would make every attempt to accommodate his wishes. Production of the Skipping Rope bank has proven quite problematic from start to finish. There was difficulty in casting, assembling, packing, breakage problems and finally, pricing, which unfortunately, proved quite prohibitive in the present toy bank market."
     Continuing with our tour of the plant, we leave the building which houses Mr. Coe's office and enter the pattern casting building. Here we find Mr. William G. Keighley in the process of pouring a mold with white metal for a master pattern. Mr. Coe then introduces us to Sigmund Weirsching and William Ward who perfect and polish these master patterns which are then cast in bronze. They will be finished and polished and, with gates* added, ready to be utilized in the manufacture of the actual production bank.
     Leaving the pattern casting shop we are escorted into the finishing and buffing shop. Here the gates and rough spots are ground off the final iron castings which are then placed in a large, waterwheel-driven tumbler where further smoothing and polishing is accomplished. We are then escorted to the carpentry shop, where we find George Ellis and Charles Zeisler building cases from precut boards in which the banks will be shipped. Across the road we are ushered into the paint shop, where we witness an array of banks in various stages of paint finish. They are placed along a large wooden table that runs the entire length of the room. These dull, gray iron objects seem to come to life at the hands of women such as Kate Ralph and Catherine Bond. At this moment, both women are busy decorating the Skipping Rope bank. Kate is doing the striping and fine details; she is considered the "old pro" and is usually the one consulted when a paint or color problem is encountered by any of her other associates, namely; Amelia David, Lena Goldthorpe, Mary Rempe, and Allena Ralph. All of the women working in the paint shop are paid on a piece-work basis. Their monthly salaries usually average about $20 to $30.
     Leaving the paint shop we are directed to the stock room. Here banks are packaged into individual boxes and then grouped into large wooden crates, ready to be shipped towards their appointed destinations. We are also shown the company grocery store where the employees can purchase foodstuffs and tobacco at Stevens' cost.
     We are now led by Mr. Coe into the foundry building. Here we see molders pounding the fine red sand into the molds with their fists and pouring cast iron into the hollows which will make up the various parts of the Skipping Rope bank. Mr. Coe points out one of his best molders, Ed Brown, also noting Ernest Twenty, Fred Twenty, Emil Swanson, Charles Ehrhardt, Axel Olson, Charles Gustafson, Edward Winkle, Tony Gillette, Nels Peterson, Thomas Shanley, John Rook, William Alquist, Erne Campanelly, Charles Nelson, Arthur Warner, John Gaffney, and Nels Nelson.
     The pig iron bars are then readied for the furnaces. The cupola furnaces had been previously fired up and the flames and heat are intense. As the pig iron is deposited into the cupola, a greyish-blue cloud of smoke belches upward and exits from the several large smoke stacks jutting towards the sky. The molders rush to scoop up the molten iron as it streams from the crucibles, each gathering his ration in a long-handled, clay-lined, iron ladle and depositing it into one of the vacant molds. The average rate of pay for a foundryman is $2.00 per hundred molds; their average capacity is about 75-100 molds per day. A good molder can earn $12-$14 weekly. A foundryman's day ends about 4:30 p.m., at which time we see men and women emerging from the exits knowing they've earned a good day's wages. Everyone well return to their job at 7:00 a.m. the following morning.
     As our tour comes to an end, Mr. Coe bids us a cordial farewell, offering each of us a newly manufactured Skipping Rope bank, gently cradled in its own wooden box.
     * Small, flat tabs which allow the molten iron to flow into all of the impressions made by the pattern as it was pressed onto the sand mold.
     To be concluded next month.

The J. & E. Stevens Co. of Cromwell, Conn.
Part 3: Charles A. Bailey
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May/June, 1988

     A significant factor in the success of the J. and E. Stevens Company was, undoubtedly, the creative genius of designer, Charles A. Bailey. Employed by Stevens for a period of twenty-six years, Bailey is credited with the creation of no less than twenty-five mechanical banks. These include: "Bismark Pig"; "Indian and Bear"; "Bull and Bear"; "Professor Pug Frog"; "Bread Winners"; "Darkey Football"; "Dentist"; "Jonah On Pedestal" (Jonah emerges from the whale's mouth); "Kicking Cow"; "Bad Accident"; "World's Fair"; "Perfection Registering";   "U.S. and Spain"; "Chief Big Moon"; "Hen and Chick"; "Boy Robbing Bird's Nest"; "Magician"; "Shoot the Chute"; "Teddy and the Bear"; "Billy Goat"; "North Pole"; "Lion Hunter"; "Boy Scout Camp"; "Germania Exchange" (which is questionable since it has not been documented as a Bailey bank); and "Called Out" (which is believed to have never been offered for sale).
     Charles A. Bailey was born in Cobalt, Connecticut, in 1848. When a young man, he secured a position as apprentice in a pattern and die shop in Middletown, Connecticut. It was not long before his talent attracted notice and he achieved some measure of acclaim. Returning, to his birthplace, Bailey gained employment in a local coffin hardware design shop. It was here that he was introduced to the graceful floral designs that were to dominate all of his future creations.
     In 1878, Bailey ventured out on his own, working from a small shed in the rear of his Cobalt, Connecticut, home. He initially produced simple pot metal castings, eventually manufacturing a limited number of banks. The first of these was a still bank, marketed as "Bailey's Toy Bank Watch" which was patented on November 25, 1879 (Figure I). His earliest patented mechanical bank was "Baby Elephant Opens at Ten O'clock" (Figure II), followed by "Springing Cat ... "Chinaman in the Boat," and "Darkey Fisherman Bank." In addition to these, Bailey produced two mechanical bank patterns which never went beyond that stage: "Aunt Dinah and the Good Fairy" and the "Wishbone." All of the foregoing illustrate Bailey's unmistakable trademark — the usage of abundant floral motif embellishment.
     In 1889, following up on a lucrative offer from Russell Frisbee, an executive officer at the J. and E. Stevens Foundry, Bailey moved to Cromwell, Connecticut. For the salary of $25 per week and free reign of the foundry, he began the most prolific and celebrated mechanical bank design career in the history of toy manufacturing.
     Charles A. Bailey retired in 1915 at the age of sixty-seven. For his remaining years he devoted his time and energies to photographing flowers — those familiar and beloved objects upon which his toy designs were based. Bailey died on February 14, 1926. Six years later, in 1932, J. and E. Stevens ceased their production of mechanical banks. In the early 1950s the company closed their doors forever.

Penny Lane (a book review)
A History of Antique Mechanical Toy Banks by Al Davidson
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May/June, 1988

     Penny Lane, the book, takes us on a concise journey through the fascinating world of antique mechanical penny banks. It encompasses the full spectrum of old originals, fakes, and handmade (prototype) examples.
     Both the collector and toy historian will be provided with an invaluable reference source. Included are over six hundred full-color photographs, picturing 576 different banks, several of which have never been previously pictured. In addition, there are illustrations of 141 bank patent papers.
     An up-to-date section on grading according to rarity and condition, as well as a guide to determining authenticity, should aid in the prevention of costly mistakes. The chapter on cleaning and preserving painted cast iron may be of interest to collectors of all antique toys.
     Penny Lane is a must for the antique toy enthusiast, as well as anyone who appreciates a truly beautiful book. To order a copy, send a check or money order for $60 (regular edition) or $125 (deluxe, genuine leather-bound edition) made out to Sy Schreckinger, with your name and address to: Sy Schreckinger, Box 104, East Rockaway, New York 11518

The Red Riding Hood
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1988

 ". . . Little Red found the door to her grandma's cottage open.
        "She entered and called, 'Good morning, Grandma.
        ' There was no answer. Then she went to the bed;
        there lay her grandmother with her cap pulled over
        her eyes, so that she looked very odd.
      " 'Oh, Grandma, what big ears you have!' "
      " 'The better to hear you with, my dear!' "
        " 'Oh, Grandma, what big eyes you have!'
        " 'The better to see you with, my dear!'
        " 'Oh, Grandma, what big hands you have!'
        " 'The better to hold you with, my dear!'
        " 'But, Grandma, what big teeth you have!'
        " 'All the better to eat you with, my dear!' " 

     It is at this precise moment, according to the fable, that Little Red Riding Hood first senses imminent danger. And it is that very moment which is captured in the "Red Riding Hood" mechanical bank (Figure I). Insert a coin into the slot located behind the pillow and press the lever. Simultaneously, the coin drops into the bank and grandma's face mask tilts forward, exposing the face of the wicked wolf. Little Red Riding Hood's head jerks backward, as if startled. (The coins are removed via a key lock trap underneath the base.)
     Ludwig and Wilhelm Grimm, two German scholars and collectors of tutonic fables, published their anthology of children's fairy tales, the "Kinder—und Hansmdarchen," around the year 1813. It included the fable of Little Red Riding Hood. Approximately seventy-five years later, around the year 1888, this awesome fairy tale was brought to life through the creation of the "Red Riding Hood" me­chanical bank. Unfortunately, to date, patent and/or printed documentation pertinent to the designer and/or manufacturer has not been found. However, it had been speculated, but cannot be substantiated, that the designer of this mechanical may have been a William S. Reed of Leominster, Massachusetts. Possibly Reed was associated with the "Red Riding Hood" bank, since he had designed and received a patent for the "Old Woman in the Shoe" bank (Figure II), which had been based upon the popular nursery rhyme.
     Another belief is that the J. and E. Stevens Company may have designed and manufactured the bank. This is based upon observed casting detail similarities between “Red Riding Hood” and toys manufactured by Stevens.
     To complicate the matter further, this writer theorizes that, possibly, the Kyser and Rex Company, of Frankford, Pennsylvania, designed and manufactured this bank. Speculation is based upon two factors: (1) similarities between the simplistic style in which Little Red Riding Hood's features were painted, as compared to the faces of the organ grinder in the Kyser and Rex "Organ and Bear" bank and the policeman in their "Uncle Remus" bank; and, (2) J. and E. Stevens Company had never manufactured a mechanical bank with a key-lock coin trap, while almost all of the Kyser and Rex banks utilize such a trap. In addition, the unique shape of the "Little Red Riding Hood" coin trap is remarkably similar in configuration to the coin traps of two other Kyser and Rex banks, namely the "Confectionary" and the "Presto Building" (Figure M). The colors of the bank represented in Figure I are as follows: Little Red's face is a pink flesh color; she has blond hair and eyebrows, black eyes, and a red mouth. Her hat and dress are red and she wears a white sleeveless slipover blouse. The basket held in the crook of her right arm is tan. Grandma's face is a pink flesh color; she has black eyes and eyebrows, red nostrils, and a red mouth. She wears a white, ruffled bed cap on her head. The wolf's face and paw are painted a light brown. He has orange eyes with black pupils and a red mouth. The blanket draped over the bed is light green with gold and copper highlights. The pillow is white and the entire bed frame is japanned a dark brown with gold highlighting. Known paint variations pertain solely to the blanket, whereby it can be painted either dark blue or yellow. A variation in casting concerns itself with the way in which the wolfs paw is holding the mask. The words, "PAT APLD FOR" are impressed into the underside of all known "Red Riding Hood" banks.
     This mechanical is extremely rare. Since it has been reproduced, the base diagram (Figure IV) should help in determining originality, and possibly prevent one from making a costly mistake. A reproduction will appear approximately one-sixteenth to one-eighth of an inch shorter than the size indicated.

The Eagle and Eaglets Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1988

     Motherhood — that sacred and blessed state — has been infinitely glorified. Virtues of maternal affection and tenderness have even been expressed in the design of many a children's plaything. Several early toy manufacturers/designers, such a Kyser and Rex, the J. and E. Stevens Company, and Kenton Hardware, incorporated the maternal instinct into mechanical banks such as "Mammy and Baby," "Lion and Monkeys," "Two Frogs," "Mama Katzenjammer," "Hen and Chicks," and the subject of this article, "Eagle and Eag­lets." (Figure I)
     This novel bank portrays a mother eagle protectively perched above her nestlings. With wings outstretched, she feeds her young. The Eagle and Eaglets was produced and designed by Mr. Charles M. Henn of Chicago, Illinois. Henn was granted Patent number 271,200 (Figure II) on January 23, 1883. This date is indicated by the words, in raised lettering, "PAT JAN 23, 1883" positioned underneath the base. Shortly after receiving his patent, Henn approached the J. and E. Stevens Company, of Cromwell, Connecticut, with his proposal that Stevens manufacture his bank. Upon acceptance of Henn's proposition, Stevens granted him a royalty of approximately four cents per bank over a period of fifteen years. The Stevens Company effected several internal and external modifications to Henn's designs. However, comparison of the bank pictured in Figure I to the patent drawings of Figure II reveals fairly close adherence to the original designs.
          Operation of Eagle and Eaglets is initiated by placing a coin into the spring‑tension beak of the large eagle. This is followed by pressing downward upon the "snake-shaped" lever under the eagle's tail. Simultaneously, she leans forward, spreads her wings and drops the coin into the nest. Both eaglets rise upward, beaks agape as if to receive mama’s offering. This action is accompanied by a chirping sound emitted from within the bank, which is accomplished by a small bellows-activated whistle (refer to "S" in patent drawings, Figure II). The coins are removed by releasing the round Stevens' coin retainer underneath the base.
     Of interest is the fact that an early J. and E. Stevens illustrated trade card advertised Eagle and Eaglets as the "American Eagle" bank (Figure III). However, there was never an attempt on the part of the company to decorate the adult eagle as an American Bald Eagle. Further, the coloration of the eagle actually portrayed in the final production bank (Figure I) is a conglomeration of various eagles, rather than any one specific type. In contrast, the gray color of the eaglets' youthful plumage is a more accurate depiction of nature.
     There are no known casting variations of the Eagle and Eaglets, but there are two color variants. These differences pertain solely to the base of the bank. It may be painted either an overall light green with yellow and red highlights or, as pictured in Figure I, light tannish brown with yellow, red and green highlights.
     The eagle in both variations is painted white, with black markings on her back and wings. Her beak is dark brown with yellow nostrils and she has yellow-ochre feet with black talons. Her eyes are of glass; the corneas are white, and the pupils are black. Both eaglets are painted medium gray with black beaks. The nest is dark brown, highlighted with tan, black, and yellow. The pig-like animal emerging from the side of the base is painted orange with black eyes and a red mouth. The "snake-shaped" lever is brown and the rim around the bottom of the base is painted black.
     The Eagle and Eaglets was extremely popular in its day. (An early J. and E. Stevens Company catalog page is shown in Figure IV.) Hence, many were produced over an extended period of time — a factor which would generally place it in the category of being relatively common. However, due to its fragility, a complete and perfect example of this bank will command a high premium. The fragile parts of this bank are the eagle's wings, her eyes, her tail, the bracket which attaches her legs to the base of the bank, both eaglets, the operating lever, and the internal bellows. When an example of this bank is located, generally any of the aforementioned parts will be either broken or missing. Broken, missing, or replaced parts should always be taken into consideration when negotiating a selling price for this, as well as any antique mechanical bank. However, in the case of the Eagle and Eaglets, a missing or defective bellows is an exception, and should have no bearing on the price.
     In view of the popularity and appeal of the Eagle and Eaglets bank, numerous reproductions are in existence. To protect the collector from making a costly mistake, I am including a base diagram of an original example (Figure V). A reproduction will appear approximately one-eighth of an inch shorter along the base than indicated.
     Inquiries may be addressed to: Sy Schreckinger, Box 104, East Rockaway, New York 11518.

The Butting Buffalo Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1988

     Bizarre, with racist undertones, would perhaps be an apt description of the subject of this month's article, the "Butting Buffalo" mechanical bank. However, prior to its discussion and certainly worthy of mention is its producer, the well-known and esteemed former toy manufacturer, Alfred C. Rex and Company of Frankfort, Pennsylvania. The company was founded in 1879 by Louis Kyser and Alfred C. Rex but experienced a name change in 1884 to Alfred C. Rex and Company subsequent to the departure of Mr. Kyser. During its nineteen years of operation, Kyser and Rex/Alfred C. Rex and Company may be credited with the creation of several of the most beautifully designed, cast and decorated mechanical banks that had ever been produced. Examples of these which, in addition, portray anti-black sentiment are: "Mammy and Baby," "Uncle Tom," "Boy Stealing Watermelons," and "Uncle Remus." With banks such as the aforementioned, it is easily understood why this company takes its place alongside the J. and E. Stevens Co. and Shepard Hardware as the three most distinguished me­chanical bank manufacturers of all time.
     The "Butting Buffalo" was patented on March 2, 1888, by its inventor, Alfred C. Rex, and was granted Patent number 379,607. As evidenced by the Patent drawings in Figure 1, the final production bank (Figure 2) adhered quite closely to the original designs. The following description by Rex (Patent papers, Figure 1) exemplifies the Rube Goldberg-type* lengths to which a toy designer might reach in order to accomplish a racist statement: "In the bank illustrated in the drawings I have shown the casing in the form of a piece of ground and the stump of a tree, from the top of which is pivoted the representation of a raccoon, and to the side of the tree is pivoted the rep­resentation of a boy in the act of climbing up the tree after the raccoon. In the rear of the boy is a horned animal in the act of butting the boy and assisting him up the tree."
     Operation of the "Butting Buffalo" is initiated by placing a coin into the slot atop the tree stump. The lever at the end of the bank is then pushed downward. Simultaneously, the buffalo raises its head, nudging the boy upward; the raccoon withdraws into the top of the tree and the coin falls into the bank. The money is retrieved by removal of a square key-lock coin retainer under the base of the bank.
     There are two known color and casting variants of the "Butting Buffalo" bank. One is painted with an overall dark brown japan finish. This type of finish is always accompanied by the lack of bump cast into the base, just under the boy's legs. This "bump" is evident in the second variant illustrated in Figure 2, whose colors are as follows: the boy's arms, legs and face are painted black. He has white eyes with black pupils and a red mouth. He sports a red shirt, yellow trousers and a blue hat. The buffalo is painted dark brown japan with mane and horns highlighted in silver. It also has white eyes with black pupils and a red mouth. The raccoon is dark brown with white eyes and black pupils. The tree stump is an overall dark brown japan finish with green vines and bronze-colored flowers creeping up its sides. The top of the stump is yellow. Finally, the base is painted bright green, splotched with red and yellow, and the activating lever is gold. Cast into the underside of the base of both variants are the words, "PAT. APLD. FOR."
     The "Butting Buffalo" is quite scarce since it contained, as did most Kyser and Rex/Alfred C. Rex banks, several extremely fragile castings. The possessor of an unbroken, complete, and superb all-original example may consider himself/herself quite fortunate indeed.
     This bank has been reproduced. Thus, I am including a base diagram (Figure 3). A reproduction will appear approximately one-eighth of an inch shorter in length than an original.
     *Rube Goldberg — a world famous cartoonist who concocted fantastic and convoluted contraptions in order to perform an otherwise uncomplicated task (i.e., to turn on a light switch).

The Spring Jaw Bonzo Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1988

     Another in the series of a relatively rare and interesting group of antique German mechanicals referred to as the Spring Jaw banks is the "Bonzo" bank (Figure I). The series is comprised of seven different subjects which, in addition to Bonzo, include a mule, a parrot, a gray kitten, a bulldog, a chimpanzee, and an alligator. Of these, Bonzo is the only one which represents a known comic character.
     The character, Bonzo, was created in the early 1920s by an aspiring British cartoonist, George E. Studdy. Recognized as the most popular cartoonist in the United Kingdom from 1920 to 1930, Studdy's weekly comic strip depicted the antics of several characters which were in the form of dogs (Figure II). One particular character, a pudgy, white bull terrier named Bonzo, continually appeared in Studdy's strip and gained great popularity with its readers. Realizing he had created an appealing and potentially valuable property, Studdy began to merchandise him. It wasn't long before Bonzo appeared on postal cards, cigarette cards, in children's books, as a stuffed doll, on lamps, toys, ashtrays, souvenirs, articles of clothing, and eventually, in the cinema. It was through this medium that Bonzo became the star of the only successful series of animated cartoon films made in England during the silent film era.
     During the 1920s, Bonzo achieved the same degree of popularity in Britain as did Mickey Mouse here in the United States. However, for reasons unknown, Bonzo never did capture the hearts of the American people, and the character and its creator are almost totally forgotten in this country.
     The Bonzo bank discussed in this article is not the sole mechanical to feature a likeness of this comical pooch. Another early German bank had been constructed out of tinplate. However, unlike the Spring Jaw action, the tinplate Bonzo bank is activated by a lever on its side which causes Bonzo to thrust out his large tin tongue in order to accept the monetary offerings.
     To date, the only documentation of the bank's manufacture is the word "Germany," which is stamped onto the underside of the base. It may perhaps be concluded that the lack of information is the result, in part, of the practices of the nineteenth and early twentieth-century Ger­man patent system. Since these banks and their likes were thought of as relatively insignificant, they were assigned the designation "small patents" which mandated destruction of the patent papers within fifteen years of issuance. This, combined with the lack of advertisements or trade catalogs, make accurate dating quite difficult. It is known, however, that several zinc-alloy still banks, which are similar in design to the Spring Jaw banks, have been pictured in several early twentieth-century German trade catalogs, thus placing the Spring Jaws in an approximate time frame.
     The Bonzo bank, as well as the entire Spring Jaw series, are made of a lead-zinc alloy. They are manufactured by a process called slush-mold casting, which entails filling a multi-section hollow mold with a molten solution of lead and zinc. This hot solution remains within the mold just long enough for partial solidification and adherence to the outside surface of the inner cavity of the mold. The remainder of the molten alloy is then poured out, leaving a hollow replica of the mold's interior design. After the various sections of the mold are removed and detached from this final replica, the various parts of the bank are ready to be assembled and decorated.
     All the Spring Jaw banks have hinged heads which are secured to their bodies by a small, brass, heart-shaped "trick lock" (refer to Figure I).
     Operation of the Spring Jaw Bonzo is uncomplicated and amusing: insertion of a coin into its mouth causes a thin internal leaf spring to vibrate. This activates Bonzo's lower jaw, resulting in the appearance of the pup chewing the coins. In order to retrieve the digested currency, the trick lock must first be removed, allowing the hinged head to be opened.
     The Bonzo bank does not vary in casting or color, and the colors of the bank pictured in Figure I are as follows: its entire body is pure white with black markings. Its eyes are yellow with black pupils, and its nose is also black. Finally, it has a wide, pink mouth with a bright red tongue. An attribute of the Spring Jaw banks, as well as all German zinc-alloy banks, is the extremely close attention paid to both casting and painted details.
     To the best of my knowledge the Spring Jaw Bonzo has not been reproduced. However, Figure III is an outline drawing to aid the collector in determining its size and scale.
     Any information which would shed further light upon the Bonzo bank and/or other Spring Jaw subjects would be greatly appreciated and passed along to readers in future articles. Please send replies to Sy Schreckinger, P.O. Box 104, East Rockaway, New York 11518.

The Trick Dog Bank
(Six Part Base)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1988

      Clowns, those marvelous and zany members of the Circus family, are well represented in a sizable number of mechanical banks. Classic examples include "Acrobats," "Bill E. Grin," "Circus," "Hoop-La," "Humpty Dumpty," "Jolly Joe," "Clown and Harlequin," "Professor Pug Frog," "Punch and Judy," "Elephant and Three Clowns," "Clown on Bar," "Clown Bust," and the colorful, attractive subject of this month's article, "The Trick Dog Bank."
     The "Trick Dog Bank" was in­vented by Mr. Daniel Cooke, of Camden, New Jersey. On July 31, 1888, he was granted U.S. "Design" Pat. No. 18,489 (Figure 1). (Note: By designating the invention as a "Design" patent, Mr. Cooke was offered protection on the external features and subject matter of his bank, but not for the internal mechanism.) The words, "PAT. JULY 31, 1888," which are impressed into the underside of the base, facilitated location of the patent drawings in this article. Interestingly, due to a cataloguing error within the Patent Library in Virginia, the patent papers shown in Figure 1 remained misplaced for several years. Historical literature and several recent books relating to mechanical banks state, with perplexity, "Even though the Trick Dog bank is marked with a patent date, no patent papers have ever been found." Thanks to the efforts of a patent searcher, those "lost" papers have been properly filed, enabling them to be published here for the first time.    
     The "Trick Dog" was initially manufactured by the Shepard Hardware Company of Buffalo, New York. Subsequently, two modified designs of this bank were produced by the Hubley Manufacturing Company, of Lancaster, Pennsylvania, and will be discussed later in this article.
     Operation of the "Trick Dog" is amusing and uncomplex, as described in an 1889 Montgomery Ward and Co. catalog advertisement (Figure 2): "The bank represents a clown dressed in full circus colors, holding a hoop; the coin is placed in the dog's mouth, and by touching the le­ver, the dog jumps through the hoop and deposits the coin in the barrel." The money is removed by way of a typical square Shepard lock underneath the base plate.
     There are no casting or color variations of the Shepard "Trick Dog" bank, and the colors of the bank shown in Figure 3 are as follows: the clown has a white face with red markings and a brown mouth. The irises of his eyes are dark blue, and the corneas are painted gray. His hands are a pink flesh color, and he holds a gold hoop. His jacket and tights are a complicated design composed of red, white, blue, yellow, and brown; he sports a yellow and blue hat with a red band, and he wears white boots. The dog is tan, highlighted in a darker tan and white. It has white paws, a red mouth and nostrils, and its eyes have white corneas with black irises. The barrel is composed of alternating vertical light and dark tan staves, ringed by six silver straps. The top of the base is light gray and the four sides are red, framed by yellow borders. The words, "TRICK DOG," are painted gold, and the border around the bottom of the base is black.
     Although all Shepard banks may boast of great care and attention afforded to painted decorations, the company unfortunately never primed their iron prior to painting. Because of this, time and moisture have taken its toll, for it is rare to locate a Shepard bank without much of the original paint flaked off. On occasion, when an exceptionally fine example is found, a premium price tag is its companion.
     At the turn of the century the Hubley Manufacturing Company took over the production of the "Trick Dog" bank. They manufactured a model (Figure 4) which differed from the Shepard version only in its color scheme and the way the six-part base was fastened together. Shepard utilized two threaded screws under the base, while Hubley employed two brass twist pins.
     Several years later (1920s-1930s), Hubley produced a "Trick Dog" bank with a solid nonsectional base (Figure 5), but continued to utilize the clown, dog and barrel of the earlier "six-part base" version. This was probably done to reduce the manufacture and assembly costs of the earlier, more complicated base. (The description "six-part base" in both the Shepard and Hubley versions indicates a base made up of six separate parts which include a top, bottom, two sides, and a front and rear panel.)
     The Shepard "Trick Dog" bank has been reproduced. I am, therefore, including a base diagram (Figure 6) to indicate the size of an original. A reproduction will appear approximately one-eighth inch shorter along the base than indicated.

Patronize the Blind Man and His Dog
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1988

     Charity: "that disposition of heart which inclines men
     to think favorably of their fellow men, and to do them good."
           — Webster's Dictionary
     Defined by Webster and so aptly exemplified by William H. Lotz, of Chicago, Illinois, is the "Pat­ronize the Blind Man and His Dog" mechanical bank. Lotz, creator of the aforementioned, was granted patent number 200,402 for his design and invention on February 19, 1878. The philosophical attributes of charity and thrift were clearly stated in the patent papers (Figure 1) which read: "F, represents the image of a kneeling man stretching forth his hands as if begging charity."
     The assumption of instantaneous success for this representation of so humble and idealistic a subject was not unlikely. However, the relatively few surviving examples of the "Patronize the Blind Man and His Dog" bank appear to contradict the possibility of appealing to parents and children of that era. Perhaps, one may theorize, the depiction of a sightless beggar was too morbid a subject for a toy designed specifically for young children. Or, possibly, since the bank is extremely fragile, most examples may have been broken and discarded. Unfortunately, with the lack of information currently available, we may only speculate as to the reasons for the rarity of this most unusual mechanical.
     The bank was ultimately manufactured by the J. and E. Stevens Company, of Cromwell, Connecticut. By comparing the patent drawing in Figure 1 to the final production bank of Figure 2, it is apparent that the Stevens Company deviated significantly from Lotz's original design. As an example, Lotz's design did not portray the beggar as blind. Several years ago I had the opportunity to examine the original patent model for this bank. Totally constructed from flat sheet brass, it bore little resemblance to the final three-dimensional production bank with which we are familiar.
     The "Patronize the Blind Man and His Dog" was first advertised in a late nineteenth-century J. and E. Stevens toy jobbers catalog as the "Faithful Dog Bank" (Figure 3).
     The action of the bank is ingenious and intriguing: a coin is placed between the beggar's hands; a radial-arm lever on the back of the bank, which is attached to the dog's body, is then pushed forward. The dog automatically opens his mouth in order to accept and grasp the coin. He then travels along the arched track, dropping the money into the circular doorway of the small peaked roof building. These deposited coins are retrieved by removal of a small, round patented Stevens coin retainer underneath the base.
     There are no casting variations of the "Patronize the Blind Man" bank, but there are two color variations. One has a yellow insert with red lettering on the front panel of the bank, and the other has a light blue insert with dark blue letters. The "yellow" variant displays a brown dog with a yellow collar. The peaked roof, arched rail and base are also painted brown. The beggar wears a brown jacket with a blue collar. His pants are blue and he has a brown cap with a yellow bandana covering his eyes.
     The other color version, as shown in Figure 2, has a powder blue insert with dark blue letters. The dog is painted black with a red collar, while the peaked roof, arched rail and base are a dark blue. The figure of the beggar wears a blue jacket with a brown collar and brown pants. His cap is blue, and he has a brown bandana over his eyes. In both variations the beggar has pink flesh-colored hands and face with a red mouth. His shoes are painted black. The facade (with the exception of the insert) and back of the bank are painted brick red, with the addition of white mortar lines appearing only on the front.
     To my knowledge the bank has never been reproduced. Nevertheless, I am including a base diagram (Figure 4) to aid the collector in determining size and scale. In the event a reproduction should surface, it would possibly appear approximately one-eighth inch shorter along the base than indicated in the accompanying diagram.

The Bucking Mule Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1989

      Degradation of the Black Man for the sake of entertainment was not uncommon, and was utilized quite effectively as a theme for mechanical banks. The "Bucking Mule" certainly exemplifies racism in its depiction of a black rider thrown by his mule. However, unlike its contemporaries, the manufacturer of this bank (the Judd Manufacturing Company of Wallingford, Connecticut) did not produce a plethora of mechanicals which focused on bizarre, ridiculous antics of the Negro, or, for that matter, newly immigrated groups to this country. (Specific reference is made to J. & E. Stevens Company of Cromwell, CT, Shepard Hardware Company of Buffalo, NY, and Kyser & Rex Company of Frankford, PA, who, collectively, left few minority groups unscathed. Ex­amples include: "Uncle Tom," "Mammy and Baby," "Butting Buffalo," "Uncle Remus," "Jolly Nigger," "Stump Speaker," "Darktown Battery," "Darky Watermelon," "Dentist," "Bad Accident," "Breadwinners," "Reclining Chinaman," "Cabin," and "Paddy and the Pig."
     Unfortunately, there is a lack of information pertinent to the inventor and date of manufacture of "Bucking Mule." The Judd Company never actually applied for, or patented, any of their banks. However, an approximation of the time period may be deduced by an ad for the sale of the bank which appeared in an 1893 issue of Marshall Field and Company's toy jobbers' catalog (Figure I). The advertisement itself read as follows: "Colors: Copper and Lacquer .. . $3.60 per dozen, Ebony and Gold ... $4.00 per dozen." Meticulously fine casting detail and simplicity are the attributes associated with banks manufactured by the Judd Company. To illustrate, one may observe the carefully delineated hairs on the animals in "Bear with Paws Around Tree" and "Bulldog Standing," while "Dog on Turntable" and "Mosque Bank" bear testimony to the attention paid to each detail of the bricks incised into the sides of the buildings. Simplicity of the banks refers specifically to their method of operation. A single lever, a nodding head, or a simple crank mechanism were all that Judd needed to bring joy to a small child as the coin was deposited into the slot.
     Operation of the "Bucking Mule" is initiated by pulling both the mule and his ill-fated rider back along the length of the base. A coin is then placed into the slot at the front end of the track. A slight lift to the mule's tail results in its jutting forward, causing the darky to fall, head first, over the front of the mule, with his forehead slamming the coin into the bank. These coins may be removed by unscrewing the entire base of the bank from its sides.
     Most of the mechanicals produced by Judd were painted primarily in metallic colors and various japan varnishes. Their palette included a shiny ebony finish, a purple lacquer, a "fancy" brown japan finish, gold and copper metallic, and an occasional touch of white for an eye or red for a mouth. Examples of Judd banks do exist which differ from the aforementioned by use of multi colors. Some might have been factory-painted but most were the whim of an early collector. Multicolored Judd banks should be closely scrutinized when contemplating a purchase.
     The "Bucking Mule" bank pictured in Figure II is painted entirely in a glossy, ebony finish. The man's shirt is red and his pants are yellow. This color scheme, with its "touch" of color, removes the bank from the "ordinary" category and designates it as a rare example.
     Unfortunately, and understandably, the simplicity of the casting and operating mechanism abetted the prac­tice of abundant reproduction. Thus, exceedingly scarce banks such as "Bucking Mule," "Boy and Bulldog," "Circus Ticket Collector," "Peg Leg Beggar," and "Bear and Tree Stump" are regarded as being quite common. In truth, few collections can boast of all-original, complete examples of these banks.
     Reproductions are easily detected since, unlike the original Judd banks, they are crude and pebbly in appearance and lack the fine, sharp detail indicative of the original.
     Figure III is a base diagram of an original "Bucking Mule." A reproduced version would not necessarily appear smaller than the base diagram, since the original patterns were often used to cast many of the "fakes." The most accurate method of detection is the texture of the surface and lack of definition and fine, sharp detail. Needless to say, the scarcity of original examples reflects accordingly on the price of the bank.
     To conclude, it may be of interest to grade the entire line of Judd banks according to their rarity. In descending order are: "Giant Standing," "Circus Ticket Collector," "Peg Leg Beggar," "Bucking Mule," "Boy and Bulldog," "Mosque," "Bear and Tree Stump," "Bulldog Standing," "Butting Goat," "Gem," "Snap-it," and "Dog on Turntable."

The World's Fair Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1989

      October 12th is the date on which the people of the United States traditionally celebrate Columbus's discovery of America. While historians agree that it was the explorer Amerigo Vespucci who first set foot upon the "New World," they do concede that this would not have been possible had Columbus not set sail from Spain in 1492. The first celebration, on a truly grand scale, took place in 1892 (Figure I) and culminated in the Columbian World's Fair Exposition held in Chicago, Illinois, in 1893. The Fair was attended by millions of persons. Manufacturers, recognizing the opportunity to profit, sought licensing from the World's Fair Committee to market their souvenirs. Among the items they produced for the public were clothing, food, pamphlets, toiletries, medals, coins, clocks, watches, china, crystal, silver, toys, and the subject of this article ... the World's Fair Bank (Figure II).
     On April 15, 1893, an application for patent was filed by Charles A. Bailey, of Cromwell, Connecticut, assignor to the J. and E. Stevens Company, also of Cromwell. On October 10th of that year, Patent Number 506,619 was granted to the aforementioned parties. Comparison of patent drawings (Figure III) to final product (Figure II) indi­cates close adherence to original design. Interestingly, no mention is ever made of Christopher Columbus or the World's Fair in the drawings or text of the patent papers.
     The words, "PAT APLD FOR," beneath the figure of Columbus (Figure II) clearly indicate the bank was offered for sale prior to the issuance of a patent. Although perhaps inapplicable to the World's Fair Bank, it appears to have been common practice among early toy manufacturers to first market their toy or bank; if the item became popular, and, therefore, profitable to produce, patent protection was then sought. Utilization of the words, "Pat Apld For" or "Pat Pending" was apparently effective in deterring other manufacturers from imitating designs.
     There are two known casting and color variations of the World's Fair Bank. The casting variant concerns itself only with the words, "WORLD'S FAIR BANK," which may or may not be inscribed in large, raised, block letters across the side of the bank. Those which bear this inscription were obviously sold during the time of the Columbus World's Fair Exposition. When the Fair ended, the J. and E. Stevens Company removed the words, "World's Fair Bank" and continued to market it as the "Columbus Bank" (Figure IV). (Incidentally, the name "Columbus" continued to be impressed into the base plate underneath the bank.) Neither variation influences the bank's actual monetary value for the collector.
     All production World's Fair Banks are painted gold, and highlighted in bronze, silver, and silver with a green tint. A few banks exist that are multicolored. These were hand painted by Charles A. Bailey himself and were given to close friends and relatives on special occasions. Understandably, they are able to command a significantly higher price than the more commonly painted gold version. Caution should be exercised when purchasing one of these unique banks, since several multi-colored forgeries do exist.
     Operation of the World's Fair Bank initiates with placement of a coin into the slot directly in front of Columbus. The lever on the left side of the bank is then pressed downward. Simultaneously, the coin drops into the bank, Columbus raises his right arm in a benevolent gesture, and the log snaps upward, revealing the figure of an Indian bearing a peace pipe. The money is retrieved by removing a round Stevens coin retainer under the base.
     Typical of each Bailey-designed bank was the meticulous attention paid to every facet of its surface. The "World's Fair" was no exception, as revealed by the plethora of floral and leaf patterns utilized throughout. In addition, both the gracefully executed figures of Columbus and the Indian, and the richly sculptured scenes of the buffalo hunt on one side of the bank and the Santa Maria on the other, all pay tribute to the talents of one of the most renowned mechanical bank designers in the history of toy manufacture.
     The World's Fair Bank is quite attractive when in su­perb, complete, and unbroken condition. Unfortunately, due to its fragility, this is not often the case, and, therefore, a fine, all-original example will command a high price. Since several rather crude reproductions do exist, I am including a base diagram (Figure V) to aid in differen­tiating between an original and a recast. The recast will appear approximately one-eighth inch shorter along the base than indicated.

Frog on Round Base
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1989

      "Amusing" and "innocuous" aptly describe particular members of the class of vertebrate referred to as amphibians. Since nature has endowed them with wide-mouthed, voracious appetites, it is not surprising that these creatures had been regarded by mechanical bank manufacturers as worthy subjects to enliven their penny "gobblers." Our amphibious bank friends in­clude: "Frog on Rock," "Toad on Stump," "Frog on Arched Track," "Toad in Den," "Chief Big Moon," "Professor Pug Frog's Great Bicycle Feat ... "Snake and Frog in Pond," "Goat Frog and Old Man," "Initiating Bank First Degree," "Flip the Frog," "Two Frogs," and the subject of this article, "Frog on round Base."
     This unassuming little bank was invented by Russel A. Frisbie, General Superintendent and partner of the J. and E. Stevens Company of Cromwell, Connecticut. Frisbie was granted Patent number 130,575 on August 20, 1872 (Figure I). An unfortunate set of circumstances surrounds the invention and patenting of "Frog on Round Base." During this same period of time, the J. and E. Stevens Company was producing banks designed by Mr. John Hall. These included such classics as "Tammany," "Liliput," "Race Course," and the first patented cast-iron mechanical bank ever manufactured, the "Hall's Excelsior." Then, for no apparent reason, Mr. Frisbie plagiarized the design from the base section of John Hall's "Race Course" bank (Figure II) and utilized it for the base of his "Frog on Round Base" bank. The similarities are most evident when examining the two mechanicals as they appear in an early J. and E. Stevens bank catalog (Figure II). This unauthorized usage of Hall's design resulted in an irreconcilable rift between Mr. Hall and Mr. Frisbie.
     The action of "Frog on Round Base" is simplistic, and is so described in the actual patent: "An artificial frog, whose mouth is opened for the reception of a coin, by pressing one of its feet, and which drops the coin in the box on releasing it .... also the eyes are caused to roll when the foot is pressed." These deposited coins are removed by unscrewing the entire base plate from the bank.
     Although I am not aware of casting variations, there are several color combinations. These pertain solely to the base, which may be any combination of red, green, white, yellow, brown and blue. In contrast, the coloration of the frog never varies. Its head and four legs are painted gold, and its back is green with gold highlighting. The top plate of the bank pictured in Figure III is painted red with a graceful white flourish between the frog's front paws. The round, latticed sides are yellow, with the doorway outlined in blue and the word "bank" painted red. The flanged base is red with a dark blue border circumscribing the entire lower rim. The words, "PAT D AUG 20, 1872" are inscribed across the top of the bank to the right of the frog, and facilitated location of its patent papers.
     I have seen several Taiwanese recasts of the "Frog on Round Base." However, since they are quite crude, it is not too difficult to discern these from an original smooth, sharp casting. Nevertheless, the base diagram in Figure IV should further aid the collector in the recognition of a reproduction. The recast will appear approximately one-eighth inch smaller across the circumference than the dimension indicated.

The Owl Bank, Slot in Head
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1989

      In many parts of the world, and throughout history, the owl has evoked man's curiosity and fascination. This creature has been worshipped by some as a wise and lofty oracle, and feared by others as an evil sorcerer with its ominous screeching and hypnotic eyes. Likenesses have been discovered decorating the walls of caves inhabited by prehistoric man in France. Artists, sculptors, and storytellers have, over the centuries, contributed to the popularity of these nocturnal birds with mystifying and fascinating depictions.
     Within more recent times, the owl has occasionally been incorporated into the design of children's playthings. Such an example is the "Owl Bank" portrayed in Figure I. It is one of a series of four mechanicals designed by Ms. M. Elizabeth Cook, and subsequently manufactured by the Kilgore Manufacturing Company of Westerville, Ohio. Unfortunately, no patent information has been located. Design, production and sales presumably occurred sometime between 1920 and 1926 as determined by original Kilgore packaging, toy catalogs, and advertisements.
     The "Owl Bank" is one of a series of four which was referred to collectively as both "The Thrifty Four" and "The Toytown Workers Group of Animal Banks." The series included "Flop Ears" (the rabbit), "Jug-O-Rum" (the frog), "Pokey" (the turtle), and "Blinky" (the owl), Figure I. "Pokey" (the turtle) has the distinction of being not only the rarest of the series, but one of the rarest mechanicals in the entire category of mechanical banks.
     Two versions of "Blinky" (the owl) were manufactured. These differ only in the respect that one, the earlier version, has the coin slot atop its head (Figure I), while the other, or later and improved version, has the slot in the book under its right wing. Differences in the location of the coin slot resulted from a mechanical malfunction which occurred upon insertion of the coin into the earlier "Owl Slot in Head." This prompted an immediate redesign by Kilgore to the more efficient slot-in-book version. Because of its limited production period, the "Owl Slot in Head" enjoys the status of rarity and, generally, dependent upon mechanical and paint condition, will command a higher price than an "Owl Slot in Book" of equal condition.
     Movement, or action, of both "Owl" banks is initiated by pressing a coin into the slot. The eyes then roll downward, and up, as the coin drops into the bank. Deposits are removed via a small, nickel-plated, key-lock coin retainer underneath the base. (On occasion I have seen original, unplated examples of these locks.)
     The colors of the "Owl Slot in Head" are an overall light tan with dark brown highlights. Its beak is bright orange with a black mouth and nostrils. Its eyes are also orange with large black pupils. Thus, despite its small size and relatively simple design, this mechanical, as well as the other banks in the series, are quite attractively decorated.
     Although I am unaware of the existence of reproductions of "Owl Slot in Head," Figure II is a base diagram to aid the collector in determining size, scale, or originality. Reproductions would appear approximately one-sixteenth of an inch smaller across the base than indicated.

The Uncle Sam Bust Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1989

     Skepticism and uncertainty have prevailed over the years among "experts" and hobbyists alike pertaining to the authenticity of this month's topic of discussion. Specifically, was the "Uncle Sam Bust" bank, shown in Figure I, a manufactured product offered for retail sale, or was it a "fake" which was created to dupe the unsuspecting and naive collector?
     Several years ago the late Charlie Duff, collector, dealer and esteemed member of the Mechanical Bank Collectors of America, discovered an advertisement from a Butler Brothers toy jobbers catalog, circa 1900. Figure II is a representation of this ad which illustrates the "Uncle Sam" bank and offers it for sale at the price of $1.95 per dozen, proving beyond a doubt that this mechanical had been manufactured and commercially distributed. In addition, recently I had become aware of an early Ives, Blakeslee and Williams Company toy manufacturers catalog which also depicts the "Uncle Sam Bust" bank and attributes its production to this well-known toy manufacturer.
     To date, no patent papers for the "Uncle Sam Bust" bank have been located; hence, its inventor remains a mystery. Unfortunately, due to the passage of time wherein there had been a lack of information relating to this bank and the fact that several recast copies were manufactured, despite the discoveries of the aforementioned advertisements, even original "Uncle Sam Bust" banks continue to bear the stigma of "fake." In fact, the number of recasts of the original probably outnumber the originals themselves. Figure III is a base diagram of an original "Uncle Sam Bust" bank. The reproduction will appear approximately one-eighth of an inch shorter than indicated. Another method of detecting a recast is close examination. This will reveal a crude and pebbly casting lacking in fine detail (i.e., distinct lapels, buttons, hair) and halves that do not fit tightly together.
     The action of the "Uncle Sam Bust" is quite simplistic: upon insertion of a coin into the slot atop the hat, the depositor is rewarded with a wiggle of the goatee. Money is retrieved by undoing the long screw through the shoulders which secure the two halves of the bank. Its color scheme is equally simplistic: there is a red-and-blue band around the base of the high hat; the eyes and eyebrows are black; the mouth and nostrils are red, while the remainder of the entire bank is painted an aluminum color.
     Another and totally different commercially manufactured "Uncle Sam" bank is shown in Figure IV. Invented and patented by Charles G. Shepard and Peter Adams, this particular mechanical was manufactured by the Shepard Hardware Company of Buffalo, New York. It is not quite as rare as "Uncle Sam Bust," but is more highly valued due to its intriguing action, attractive coloration and imposing image of nearly twelve inches tall.
     It would be interesting to discover which of these two "Uncle Sam" banks more accurately reflects its intended effigy. Would it be the more formal Shepard version, as described in the preceding paragraph (Figure IV), or the less eloquent, bulbous-nosed, friendlier version of "Uncle Sam" as seen in Figure I? Perhaps that question can be answered by the name, "Samuel Wilson." This gentleman was born in Menotomy, Massachusetts, in 1766. At the age of fourteen years he ran away from home to join the Revolutionary Army. After the war, and at the age of twenty-three years, he and his younger brother, Ebenezer, founded a meat packing business in Troy, New York. It wasn't long before community members recognized him as a hard-working, honest individual, with a common-sense approach to life. It was these qualities that earned Sam Wilson appointment to the post of Inspector of Provisions for the U.S. Army during the War of 1812. The "U.S." stamp of approval he placed upon each barrel of inspected meat inspired the following legend: when asked by a group of dignitaries what the initials "U.S." signified, a worker for Sam Wilson jokingly replied, "Why, those are the initials of 'Uncle Sam' Wilson." At War's end, the name "Uncle Sam" became synonymous with honesty, reliability, and dedicated patriotism. And so was born our national symbol.
     In conclusion, I feel it appropriate to reiterate that the bank collector should exercise caution when contemplating purchase of an "Uncle Sam Bust" bank, as the recasts outnumber the original by at least twenty to one!

The Boy on Trapeze Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1989

      The characteristics of grace, style and simplicity of form are applicable when describing the "Boy on Trapeze" mechanical bank (Figure I). Originally designated "French's Automatic Toy Bank" (possibly referring to the name of the inventor) when sold in the 1880s, this mechanical is recognized as one of the favorites among present-day collectors.
     Unfortunately, patent dates were not able to be located and other available information is limited in scope. However, the following advertising literature was useful in providing some information pertaining to this superb mechanical. Figure II is an advertising flyer which makes reference to the manufacturer: "The J. Barton Smith Co., Sole Manufacturers, Philadelphia, Pa., U.S.A."
     Another toy catalogue published by Carey Bros. and Grevemeyer from 1888-1889, advertised French's Bank for sale at the price of $12.75 per dozen. In addition to the discovery of the aforementioned flyer is an original wooden packing crate. Both these objects contain the following sentences which describe the operational process: "For one penny dropped in the head the boy revolves once. For a nickel twice. For a quarter dollar three times. For a half dollar six times." Inexplicably, the reverse of the original advertising card (Figure II) contradicts the aforementioned number of revolutions described in the flyer with reference to the insertion of a half dollar. To quote those instructions: "For a half dollar the boy will revolve four times."
     It is interesting to note that if attempts are made to operate the "Boy on Trapeze" with modern, alloy-clad coins, the proper number of revolutions, as described in the flyer, cannot be achieved without altering the shape of the balancing bar. It is advisable to refrain from attempt­ing to adjust the bank by bending this bar or any of its parts to gain the proper number of revolutions with new coins. I would recommend purchasing the appropriate old coinage from a numismatist. This would be less complex and relatively less expensive than the cost of repairing a mutilated, or possibly broken, bank.
     Deposited coins are removed by opening the trap door base plate underneath the bank. This is accomplished by turning the single screw one-quarter turn counterclockwise.
     There are no known casting variations of "Boy on Trapeze." However, the quality of its casting does deserve special mention. Few mechanicals, if any, posses the extremely graceful, finely pierced iron work, as evidenced by the base of this bank.
     There are two color variations of "Boy on Trapeze." These pertain solely to the figure of the boy, since all the bases are similarly decorated with a dark brown, japan finish. Some banks have the colors of the boys' shirt painted red with a ruffled blue collar, blue pants and red socks, as pictured in Figure I, while others have the boy's shirt painted blue with a ruffled red collar, red pants, and blue socks. In both variations his face and hands are painted an orange pink flesh color. The hat perched atop his head is bright red with a bold black stripe down the back. His hair, as well as the counterweight ball attached to his right foot, are a reddish brown. His shoes are painted black.
     It is important to note that all original "Boy on Trapeze" banks were never painted with facial details (i.e., eyes, eyebrows, mouth). Why these were omitted remains a mystery. In my humble opinion, the omission merely adds to the bank's attractiveness and charm.
     To date, there are no known reproductions of the "Boy on Trapeze." Nevertheless, a base diagram (Figure III) will aid the collector in determining the bank's size and scale. If a recast were discovered, its base dimensions would, most likely, be approximately one-eighth inch shorter than indicated.
     CORRECTION: (from May, 1990) In the June 1989 issue of Antique Toy World, "Boy on Trapeze" article, it was mistakenly stated that no reproductions of the bank exist. This bank was indeed reproduced several years ago by the Book of Knowledge Collection, and, more recently, a very crudely reproduced "Boy on Trapeze" had been imported to the United States from Taiwan. Please note that all reproductions are at least one-eighth of an inch smaller than the base diagram in the June 1989 article indicates.

The Boy and Bulldog Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1989

      Threatening and menacing would, perhaps, be apt descriptions of the subject of this month's article, "Boy and Bulldog" mechanical bank (Figure I). Only one other mechanical comes to mind which portrays "man's best friend" in a similarly adversarial position: the "Bulldog Savings Bank," Figure II, a product of the Ives, Blakeslee and Williams Company of Bridgeport, Connecticut. (Refer to the November 1984 issue of Antique Toy World for further discussion of this bank.)
     Information relating to the design and patent date of "Boy and Bulldog" is sparse. This may be attributed to the fact that its producer, the Judd Manufacturing Company, of Wal­lingford, Connecticut, never applied for patents for any of its bank designs. However, an approximation of the time period in which it was marketed may be deduced from an advertisement for the sale of "Boy and Bulldog" which appeared in a 1887 issue of the C.F. Rice Company Toy Jobber's Catalog (Figure III). The ad reads as follows: "No. 3182 Length 4-1/2 in., maroon finish, per doz., $4.25. No. 3187 Length 4-1/2 in., ebony and gold, per doz., $4.50."
     Figure I pictures a bank decorated in the above-mentioned maroon finish. Close examination of this bank reveals attributes which are shared by the entire line of Judd mechanicals: namely, meticulously fine casting details in addition to simplicity of action and coloration. Observe the carefully delineated hair and ribs of the bulldog, the sharply defined collar, lapels and tiny buttons of the boy's rumpled jacket.
     The "Boy and Bulldog" was painted primarily with simple japan varnishes or metallic colors, as were most all mechanicals produced by Judd. Their palette included a shiny ebony finish, maroon lacquer, "fancy" gold-flecked brown japan varnish, gold and copper metallic and an occasional touch of white for an eye or red for a mouth. Examples of Judd banks do exist which differ from the aforementioned by use of multicolors. Some examples might have been factory-painted, but most were the whims of an early owner or bank collector. A word of caution: multicolored Judd banks should be closely scrutinized for paint and/or casting authenticity before contemplating purchase.
     Operation of "Boy and Bulldog" is non-complex. A coin is placed upon the slot between the boy and dog. A slight pull on the lever behind the boy causes him to tilt forward as if reaching for the coin; the bulldog rears backward, as if reacting to the lad's advance. Simultaneously, the coin drops into the base of the bank. These deposits are removed by unscrewing the entire base from its sides.
     Unfortunately, and understandably, the simplicity of the operating mechanism and castings encouraged the practice of abundant reproduction of many of the Judd banks. Thus, exceedingly scarce examples, such as "Bucking Mule," "Boy and Bulldog," "Circus Ticket Collector," "Peg Leg Beggar" and "Bear with Paws Around Tree Stump," are often inaccurately categorized as common. In truth, few collectors can boast of all-original, complete examples of these banks. Reproductions are easily detected since, unlike the original Judd banks, they are crude and pebbly in appearance and lack the fine, sharp details of an original.
     Several bronze examples of "Boy and Bulldog" and "Bucking Mule" do exist. It is my contention that, because of their extremely fine, detailed appearance, they most likely were original Judd foundry patterns which had been assembled by collectors into working banks. There is no known logical explanation as to why a company engaged in manufacturing a line of cast-iron mechanical banks would simultaneously produce the identical banks in bronze.
     Since it may be of interest to readers of this article, the following serves to enumerate and grade the entire repertoire of Judd mechanical banks according to their rarity. In descending order: "Giant," "Circus Ticket Collector," "Peg Leg Beggar," "Bucking Mule," "Boy and Bulldog," "Mosque," "Bear and Tree Stump," "Bulldog Standing," "Butting Goat," "Gem," "Snap-it" and "Dog on Turntable."
     Figure III is a base diagram of an original "Boy and Bulldog." A reproduced version would not necessarily appear smaller than the base diagram, since the original aforementioned patterns were often used to cast the "fakes." The most accurate method of determining a reproduction is the crude texture of the bank's surface and its lack of detail definition. Needless to say, the scarcity of original examples of "Boy and Bulldog" reflects accordingly on its price.

The Bull Dog Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1989

      Endowed by Nature with a cavernous mouth, the bulldog would appear to be a suitable subject for a mechanical bank. Indeed, manufacturers did regard this tenacious and bold breed of canine as a worthy representative for their animated products, as is evidenced by the "Bull Dog Bank" pictured in Figure I.
     An advertisement that appeared in the 1882 Winter edition of Ehrichs' Fashion Quarterly, a wholesale toy jobbers' catalog, is depicted in Figure II. The ad's copy most aptly captures a feeling the designer of this mechanical intended to convey when he chose the bulldog as subject for his design. I quote from the ad: "THE HUNGRY DOG BANK. Made of cast iron, and repre­senting a ferocious bull dog seated in an expectant attitude. Placing a coin upon the dog's nose and touching a spring, the dog immediately throws up the coin, opens his mouth, catches and swallows the coin, and recloses his jaws with a snap. Price 95 cents. (Cannot be sent by mail.)"
     The words "PATD APR 27 1880" inscribed underneath the baseplate facilitated the location of the patent papers (Figure III). They attest to the fact that the Bull Dog Bank was invented by James H. Bowen, of Philadelphia, Pennsylvania, on April 27, 1880, and assigned U.S. Patent Number 226,831. Further, a page from an early J. and E. Stevens Company catalog (Figure IV) identifies this company as the bank's manufacturer.
      Mr. Bowen was a most prolific and successful me­chanical bank designer of his day, working exclusively for the J. and E. Stevens Company. His accomplishments include "Creedmoor," "I Always Did 'Spice a Mule," "Owl Turns Head," "Two Frogs," "Elephant and Three Clowns," "Paddy and the Pig," "Reclining Chinaman," "Monkey and Coconut," "Darktown Battery," "Girl Skipping Rope," "Cat and Mouse, "Clown on Globe," "New Creedmoor," "Calamity" and "Clown and Harlequin."
     At first glance, operation and action of the Bull Dog Bank may appear simplistic; however, closer examination will reveal the action to be fairly complex. A coin is placed upon the flat, striated surface above the dog's nose. Its tail is then pulled downward. This activates the neck to recede into the body, the lower jaw to open and jut forward, and the rear section of the flat, striated surface over the dog's nose to rise up, causing the coin to slide forward and into its mouth. These depos­ited coins fall through the dog's body into the bank's square base, where they remain until retrieved. This is accomplished by removing the patented round Stevens-type coin retainer underneath the base-plate.
     I am not aware of casting variations, but there are two paint/color variations. One portrays the Bull Dog as black with white markings, sitting on a bright red blanket positioned on a black base. The other (Figure I) is painted "Brindle" colors, i.e., a mottled tan-and­brown color with white markings on its back, head, chest and paws. It has, as does the black variant, brown glass eyes with black pupils and a bright red tongue. It sits upon a blue blanket with an alternating blue-and-white border design. The dog's collar is black with spiked gold studs, and the base is dark brown with the words "THE BULL DOG BANK" painted bright red. Finally, there is a thin, white stripe highlighting the top edge of the lower platform of the base.
      It appears evident by the attractive appearance of the Bull Dog Bank, as well as all banks manufactured by the J. and E. Stevens Company, that a great deal of forethought and sensitivity were involved in coloration and artistry.
     Although the Bull Dog Bank is not, generally, considered to be "rare," few superb, unbroken examples exist. This may be due to its fairly complex mechanism which might have resulted in frequent malfunctioning. More than likely, a novice's crude attempts at repair may have caused breakage and irreparable damage. Thus, when a fine, complete example is offered for sale, it usually commands an appropriately high price.
     The Bull Dog Bank has been reproduced. I am, therefore, including a base diagram (Figure V) to indicate its exact size. A recast will appear approximately one-eighth of an inch shorter along the base.

The Cat and Mouse Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1989

      The "GAME" of cat and mouse has, undoubtedly, amused and fascinated children of all ages. The oppositional relationship of these two creatures is, perhaps, best remembered by the animated cartoons which featured that madcap duo, Tom and Jerry (Figure I). Many of us are familiar with the antics of the tiny, yet ingenious, mouse as he eluded the seemingly formidable cat. Children squealed with anticipation as Tom, the buffoon, pursued the quick-witted Jerry. Despite a multitude of precarious situations, Jerry emerged unscathed while Tom was not only unsuccessful, but thoroughly humiliated.
     The "Cat and Mouse" bank (Figure II) may very well be considered the Tom and Jerry of the nineteenth century. Certainly, the similarity can only be attributed to its frolicsome and humorous aspects, with no serious threat intended. However, in sharp contrast with this is the fact that, during the final stages of pattern making at the J. and E. Stevens Company, of Cromwell, Connecticut, the bank's manufacturer, a very different depiction of the bank was proposed. This information came to light many years ago after the closing and during the dismantling of the Stevens' Foundry, at which time several patterns were found. These patterns represented a cat holding a captured mouse in its jaws. Understandably, this gruesome situation was never utilized in the final production stages of the "Cat and Mouse" bank, but rather a cat dressed as a clown standing on its front paws and holding a mouse and ball between its hind paws. Fortuitously, these pattern parts fit quite easily into the tops of actual production "Cat and Mouse" banks (Figure III). Unfortunately, several of these combination pattern banks had been privately assembled and touted as rare original production banks. Nevertheless, these examples are quite valuable and offer historical interest to the mechanical bank historian and collector.
     The "Cat and Mouse" bank, illustrated in Figure II, was designed by James H. Bowen of Philadelphia, Pennsylvania. He was issued Patent number 450,833 on April 21, 1891. The words, "PAT APR 21 91," in raised letters beneath the bank's base plate facilitated location of the patent drawings shown in Figure IV. As evidenced by these patent drawings and the final production bank, the manufac­turer, J. and E. Stevens Company, adhered closely to Bowen's original design. Examination of these drawings does reveal two modifications. One addresses itself to a footed base plate. As shown in the photo of the bank in Figure II, this is omitted from the patent drawings altogether. The other modification is mechanical and relates to the mouse and ball situated between the cat's hind legs. The patent drawings indicate that the mouse and ball are movable, so as to rapidly rotate upon activation of the bank. As the bank appears in Figure II, that part was finally manufactured as a stationary component of the figure's casting.
     The action of the "Cat and Mouse" bank can be described as amusing and quite surprising. It is aptly explained in an 1891 Marshall Field and Company toy jobbers catalog advertisement, Figure V: "Cat and Mouse Bank. Place a coin in front of the mouse over the cat, press the lever, and as the coin disappears into the bank, the kitten, in fancy dress, appears, turning a somersault, holding the mouse and ball. Handsomely ornamented in fancy colors ... per doz. $8.50."
     The deposited coins are retrieved by way of a round Stevens-type coin trap underneath the base. The illustrated bank in Figure V and the photo, Figure II, both represent the "Cat and Mouse" subsequent to operation. In order to activate the bank, the figure of the "balancing cat" must first be pulled downward and snapped into place inside the back of the bank. This will reveal the figure of a mouse crouching upon a small rectangular platform. The coin is placed in front of this mouse prior to activating the bank.
     I am aware of no casting variations of the "Cat and Mouse" bank, but there are several color variants. These pertain to both the main body of the bank and the cat balancing atop it. The large cat's face on the front may be either white, highlighted around its edges in black, with blue eyes and black pupils, or several shades of bluish-grey with orange eyes. The colors of the front, sides and back of the bank can be reddish-brown with tan highlights, or yellow with reddish-brown highlights. The cat balancing atop the bank may also be clothed in a yellow costume having a red collar and red, ruffled cuffs at each paw, with red and blue buttons. This small cat's face should reflect the colors of the large cat's face on the front of the bank. Finally, the kitten may sport a red peaked cap.
     The bank pictured in Figure II presents a third color scheme: the main body is painted a light tan with the side ornamentation high­lighted in reddish-brown. This variant has the large face of the cat painted white surrounded by black. Its eyes are blue with black pupils and a bright red bow adorns its lower jaw. The cat balancing atop this bank is clothed in a red outfit adorned with a yellow collar and yellow ruffled cuffs at each paw, and tiny blue buttons. It sports a blue cap, and the colors of its face reflect the face of the large cat. In all three color variations, the operating lever, the decorative beading around the large cat's face, the floral design at the base and the rounded feet of the base plate are painted gold. The mouse is painted grey, and the ball suspended between the balancing cat's hind legs is white with red stripes.
     With its extremely colorful appearance, imposing size and in­triguing subject matter, it is not surprising that the "Cat and Mouse" bank is highly sought after by most bank collectors. A fine example might very well command a fine price.
     Reproductions of this bank do exist. Included, therefore, is a base diagram of an original (Figure VI) to aid the collector in the detection of a recast. Reproductions will appear approximately one-eighth inch shorter along the base than indicated.
     As a further caution, more often than not, either one or more of the rounded base plate feet might be either repaired or replaced with recasts. In these instances, adjustment to the selling price would be appropriate.

The Rooster Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1989

     The role of leadership among peers would seem unlikely in the world of mechanical banks. However, particular mechanicals are in the enviable position of being favored by collectors. Pondering the characteristics of such "favorites," one might suppose intriguing subject matter, vivid coloration, size and design would be the determining factors. In opposition to this logic is the "Rooster" mechanical bank, pictured in Figure I.
     Despite its modest coloration, subtle action and a height of merely six inches, the "Rooster" has attained popularity with today's collector. Perhaps it is because of pleasant recollections of the "good life" on a farm or, to the city dweller, a fantasy of pleasantries of such a life.
     Unfortunately, very little documentation is available pertaining to either its inventor or manufacturer. It has, however, been the supposition of mechanical bank authorities and historians that the "Rooster" was manufactured by the Kyser and Rex Company, of Frankford, Pennsylvania, one of the leading producers of cast-iron toys and mechanical banks during the period of time referred to as the "Golden Age of Banks" (i.e., late nineteenth century). The basis for this assumption is paint similarity in both color pigmentation and application techniques when compared with other authenticated Kyser and Rex banks, namely "Butting Buffalo," "Lion and Monkeys," "Organ Grinder" and "Performing Bear."
     The action of the "Rooster" bank may best be described as subtle. A coin is placed into the slot atop the tail. The lever at the end of the tail is then pressed downward. Simultaneously, the coin drops into the bank; the rooster's head and comb bob up and down, beak agape, replicating a crowing manner­ism. Retrieval of monies is achieved by unscrewing the two halves of the bank.
     Great care should be exercised when opening or disassembling this bank, since the internal parts are extremely thin and fragile, and easily damaged.
     There are neither casting nor color variations of the "Rooster." The colors of the mechanical (Figure I) are as follows: the body and tail feathers are a blackish-brown japanning, highlighted in silver and bronze. Its head and comb are painted bright red, accented with small, white spots under each eye. Its eyes are white with black pupils and a black eyebrow. Finally, the base is green, splotched with yellow and red.
     The "Rooster" mechanical bank is considered extremely common, and, in fact, numerous examples do exist. However, locating one in superb paint condition, completely original and working properly, can prove a frustrating task for even the most determined mechanical bank collector.
     To my knowledge, the "Rooster" has not been reproduced. Nonetheless, I am including a base dia­gram to aid the collector in determination of size and scale. If a reproduction were to surface, its base would appear approximately one-sixteenth of an inch shorter than the diagram indicated in Figure II.

The Spring Jaw Kitten Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1989

      “Rare,” “colorful and "animated" so aptly describe the series of seven known Spring Jaw banks. Each of the seven represents a member of the animal kingdom, i.e., an English bulldog, a parrot, a mule, a chimpanzee, an alligator (refer to Antique Toy World, October 1987), Bonzo the dog (Antique Toy World, October 1988) and the subject of this article, a kitten.
     The "Spring Jaw Kitten" (seen in Figure I) is one of the most common in the series. However, to emphasize the rarity of these banks, only five or six examples of the kitten are known to exist. The scarcity of the series may, perhaps, be attributed to several factors. For example, the material from which it was composed, a zinc-alloy, is subject to deterioration under adverse conditions, and the result is oxidation with its white, powdery residue. Conversely, under proper conditions and care, these banks will always maintain their beauty and structural soundness. Secondly, castings were eggshell thin and easily broken with even the slightest mishandling. Finally, the difficulty in retrieving deposits due to the bank's small, heart-shaped, brass "trick lock" may have resulted in breakage. The depositor, unaware of the "secret" means to open the lock, had no alter­native but to destroy the bank by breaking the bead from its body.
     Unfortunately, there is no documentation relating to the manufacture of these banks. However, thanks to the imprinting of the name "GERMANY" under the base of each in the series, the country of origin is, at least, no mystery. Interestingly, this information answers the question of why no patent papers exist. Under German law (nineteenth and early twentieth centuries), small, unimportant objects such as these toys banks would have only been issued a Reichsgebrachsmuster, which loosely translates to an unimportant patent, or registered design. These documents, or papers, were filed for a period of fifteen years, after which time they were routinely destroyed.
     Operation of the "Spring Jaw Kitten" is uncomplex: coin insertion into the kitten's mouth (i.e., coin slot) activates an internal steel leaf spring attached to its lower jaw. This results in wiggling of the jaw, creating the illusion of "chewing." The masticated coins are retrieved by unfastening the "trick lock" and lifting the kitten's hinged head. (All of the banks in the spring jaw series have hinged heads secured by a small, brass, heart-shaped "trick lock.")
     The "Spring Jaw Kitten" does not vary in its casting or color. The colors of the bank, as pictured in Figure I, are as follows: both head and body are painted a light cool grey, with white and dark grey highlights. Its eyes are green with black pupils, and it has a tiny pink nose with black whiskers. Its mouth is painted pink, and two small white teeth may be seen protruding from its upper lips. The ribbon and bow around its neck are teal blue.
     The superb casting and painted details of the kitten, as well as the others in the series, are a tribute to the manufacturer. A personal opinion is that they may be likened to the same fine quality of a miniature polychromed Viennese bronze.
     To the best of my knowledge, none in the Spring Jaw series has been reproduced. However, Figure II is an outline drawing of the "Spring Jaw Kitten" to aid in the determination of its size and scale. Readers interested in learning the secret of undoing the "trick lock," lest the series suffer another casualty, should send inquiries with a description of their bank to: Sy Schreckinger, P.O. Box 104, East Rockaway, New York.

Saalheimer and Strauss of Nuremberg, Germany
Two Salesmen’s Flyers
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1989

      The era of Mechanical bank production, known as the "Golden Age," was a period of time in which sev­eral major manufacturers flourished, both in the United States and abroad. During those years, which encompassed the late nineteenth and early twentieth centuries, a wealth of cast-iron and tin gems emerged to delight children with their message of "penny saved, penny earned."
     Most major mechanical-bank-producing countries (i.e., United States, Canada and Great Britain) had retained their patent files, enabling dissemination of pertinent data relative to dates of production, inventors, manufacturers, etc. It is unfortunate, however, that patent laws governing mechanical banks invented in Germany during that period were responsible for the total lack of information available from that country. Those laws stipulated that patents which contributed little, or nothing, to industry or society be designated as Reichsgebrachsmuster, or, "small, insignificant patents." These were filed for a period of fifteen years and then routinely discarded, thus depriving those patented objects of a heritage.
     It is precisely because of this practice that the serious bank collector is pleased when factual information pertaining to these German banks surfaces. Establishment of time and place are important revelations when there is little or no known documentation.
     Recently, two rare, early salesmen's sample flyers from the Saalheimer and Strauss Toy Company*, of Nurnberg, Germany (Figures I and II), have been discovered. These have shed new light on several tin mechanical banks which previously were only presumed to have been produced by that manufacturer. They are: Tin Scotsman, Tin Bonzo, Jolly Joe the Clown, Harold Lloyd, British Lion, Saluting Sailor and Clever Dick. Because of similarity in design, configuration and mechanics to the banks illustrated, this writer feels the following may also be the products of Saalheimer and Strauss: Mickey Mouse, Tin Tiger, Tin English Bulldog, Tin Teddy Bear, African Na­tive and Clown and Dog and Monkey and Parrot. Several years ago, patent papers were located for the Tin Minstrel (See Figure I) and the Tin Sentry (Figure II), thereby offering indisputable proof that these banks were also products of Saalheimer and Strauss.
     It is interesting to note the importance many mechanical bank collectors are now placing on ephemera, such as Figures I and II, which relate to antique banks and their manufacturers. Previously considered valuable only to the historian, collectors have begun to pursue them with intensity. Many such pieces command a higher price than those objects they characterize!
     The Saalheimer and Strauss Company was engaged in the manufacture of tinplate toys and mechanical banks from 1928 to 1936, at which time production ceased and business was terminated.

The Owl Slot in Book Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1990

     Nocturnal habits and ominous hooting sounds are the trademarks of the owl. It is no wonder that, throughout time, this creature became associated with mysticism and the occult.
     Believed by ancient cultures to be a presager of events, the owl mistakenly became a symbol of intelligence, a misconception recently disproved by ornithologists. Its enormous eyes, capable of gathering light in dimly lit or darkened environments, and the attribute of wisdom are most vividly illustrated upon activation of the mechanical bank which is the subject of this article: "Owl Slot In Book" (Figure I). When a coin is inserted into the slot at the front edge of the book, the owl's saucer-like eyes lower, and then raise as the money is deposited.
     The "Owl Slot In Book" bank was one of four mechanicals designed by M. Elizabeth Cook, and subsequently manufactured by the Kilgore Manufacturing Company, of Westerville, Ohio. The four were collectively referred to, in Kilgore catalogs (circa 1920s‑1930s) and original packaging, as "The Thrifty Four" and "The Toytown Workers Group," and were named: "Blinky," the owl; "Flop Ears," the rabbit; "Jug-O-Rum," the frog; and "Pokey," the turtle. Of these, "Pokey" has the distinction of being not only the rarest of the four, but one of the rarest banks in the entire cate­gory of mechanicals.
     Two versions of "Blinky" were manufactured. These differ only in the respect that one, the earlier version, has the coin slot atop its head (Figure II). The other, or later "improved" version, has the slot in its book. The difference in the location of the coin slot resulted from a mechanical malfunction which occurred during its initial manufacture. Upon insertion of the coin into the slot atop the owl's head, jamming of the coin and mechanism were experienced. This prompted an immediate redesign by Kilgore to the more efficient Slot In Book version. It is because of the short duration of its production that the Owl Bank, Slot In Head, is considered the rarer of the two and will generally command a higher price.
     Both Owl banks react identically upon activation: the eyes roll downward and then upward as the coin drops into the bank. All banks in the "Thrifty Four" series utilize a small, oblong key-lock coin retainer underneath their bases. These may be either bright nickel plated or bare iron.
     The colors of the bank pictured in Figure I are as follows: the entire bank is painted an overall light tan, highlighted with reddish-brown. The owl's eyes are bright orange with black pupils, and its beak is also orange with a black mouth and nostrils. There is a color variation which has the book under its right wing painted maroon. Despite their relatively small size and simplistic design, the series makes quite a charming and handsome display. To date, no known reproduction of "Owl Slot In Book" exists. Nevertheless, I am in­cluding a base diagram (Figure III), to aid the collector in determining size and scale.
     If, at a future date, the bank were to be recast from an original, it would appear approximately one-sixteenth of an inch smaller across the base than indicated.

The Bulldog Standing Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1990

      Nature has proven herself, time and again, to be the indisputable inspiration for numerous subjects and ideas pertaining to the creation of toys and mechanical banks. An example is the square-jawed bulldog, possessor of the most sizable and seemingly voracious mouth of its species, the subject of the "Bulldog Standing" bank.
     Pictured in Figure I, this mechanical was manufactured by the Judd Manufacturing Company, of Wallingford, Connecticut. Unfortunately, very little information is available that relates to the patents and designs of any Judd bank. This may be attributed to the company's practice of abstaining from applying for and/or obtaining patents on their wares. Most often, when information does become available, it has been acquired from old catalogs and company correspondence. Figure II represents several pages from a rare 1885 Judd catalog which had recently been discovered by Mr. Mark Suozzi, an antique toy dealer from Ashfield, Massachusetts. Depicted is the "Bulldog Standing" bank, at the cost of $2.95 per dozen. In contrast, a single example, in superb condition, recently changed hands at the cost of $900.00!
     As evidenced by the bank portrayed in Figure I, and characteristic of all Judd banks, is the careful attention paid to the most minute details involved in their castings. Observe the definition of the hairs on the bulldog's body, as well as the collar around its neck. Securitization of other Judd banks, such as "Mosque," "Bear With Paws Around Tree Stump" and "Boy and Bulldog," will also attest to the casting skills of this renowned foundry.
     Other unique characteristics typifying Judd banks are simplicity of operation and painted decoration. A single lever, a nodding head or a simple crank was all that was needed to animate their creations.
     Operation of the "Bulldog Standing" mechanical is initiated by placement of a coin upon its extended tongue. The tail is raised, and the coin is simultaneously drawn into the bulldog's mouth and is thus deposited. Removal of the money is accomplished by undoing the large screw from the side of the dog's body and separating both halves.
     Most mechanicals produced by Judd were decorated with a single metallic or japan color. Their palette included a glossy, ebony finish; a dark purple varnish; a "fancy" brown japan varnish and gold and copper metallic paint. A touch of white or black for an eye and red for a mouth were occasionally utilized for enhancement. There are no casting variations of "Bulldog Standing." However, there are three color variants. The bank has been painted with ebony, brown japan or, as indicated by the bank pictured in Figure I, a copper color. (Note also the two small black dots for eyes.)
     Occasionally, one comes across a colorful example of an otherwise monochromatic Judd bank. Needless to say, close examination is advisable since, although factory-painted, authentic multicolored banks do exist, their rarity and premium price have spawned a plethora of contemporary, polychromatic forgeries. Unfortunately, fraudulence is not limited to the aforementioned. The simplicity of casting and operational parts of most Judd mechanicals have also encouraged the practice of abundant reproductions, thus giving the false impression that a greater amount of examples exist than is actually the case. It is fortunate, however, that these bogus recasts are easily detected. They are quite crude and pebbly in appearance and also lack the finely cast details associated with Judd banks.
     With the exception of "Dog on Turntable," "Gem" and "Snap-It," Judd banks can be classified as quite rare. It is not often that a collector is able to boast of "authentic" examples of "Giant," "Circus Ticket Collector," "Peg Leg Beggar," "Bucking Mule," "Boy and Bulldog," "Bear and Tree Stump," "Mosque," "Butting Goat" or "Bulldog Standing."
     Figure III is a base diagram of an original "Bulldog Standing" bank. A reproduction will appear approximately one-sixteenth of an inch shorter along the base than indicated.

The Atlas Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1990

 Uranus, god of the Heavens, and Ge, goddess of Earth, bore six sons and six daughters. Referred to as the Titans, they were named Oceanus, Cocus, Cirus, Hyperion, Iapetus, Cronus, Thea, Rhea, Themis, Mnemosyne, Phoebe and Tethys. The children intermarried and lived under the rule of Cronus and Rhea. When Cronus was deposed by his son, Zeus, the Titans joined in battle against Zeus, who had taken as his allies the gods of Olympus. Eventually, the Titans were overcome, and Atlas, son of Iapetus, was punished. Zeus condemned him to bear the Heavens upon his shoulders throughout eternity.

     It is the bearer of the Heavens, as depicted in the Greek myth, that was the inspiration for, and subject of, the "Atlas" bank. To date, no patent papers, advertisements or trade catalogs have surfaced which would shed light upon its designer and manufacturer. In addition, no significant physical or mechanical characteristics exist which might link it to its producer. Based solely upon the lack of advertising, it is questionable as to whether the bank was ever commercially produced. It might, perhaps, have been a "giveaway" by a financial institution such as a brokerage house or savings bank. The mechanical may have been manufactured prior to, or at, the turn of the century, since many of the countries depicted upon the globe were in existence during that period of time.
     The "Atlas" bank is quite unique in that its parts are a composite of a multitude of materials. The entire base is constructed of cast iron, the figure of Atlas is zinc-alloy, the globe is a solid wood sphere covered with paper and the operating lever is sheet steel.
     The words, "Money Moves the World," are written in raised letters across the top of the base. This proverb foretells the action which will ensue upon insertion of a coin. To activate the bank, the lever in front of Atlas is moved to the left. A coin is then placed into the exposed slot. As the lever is released, the coin falls into the bank and the globe spins atop the Titan's shoulders. These coins are removed by inserting a thin, bent, single-pronged key into the small hole beneath the base and pressing forward. This releases the entire front panel of the bank, allowing access to the deposits.
     There are no casting or color variations of the "Atlas" bank. The colors, as illustrated in Figure I, are as follows: the entire base is painted silver with all of the raised decorations and the name "ATLAS BANK" highlighted in gold. The top of the base and the figure of Atlas are also painted gold. The globe is covered with lithographed paper. The continents are tinted pink and yellow, and the oceans and seas are a light blue. Although sparse in color, the "Atlas" bank is considered by many to be extremely attractive and desirable. Lacking color, charm, humor and excitement, and stating the adage of economics, "Money Moves the World," it appears to be one of the few me­chanicals designed for adults rather than children.
     The "Atlas" bank is quite rare, especially when found in all-original and superb condition. When one considers the fragility of the various components, i.e., wood, paper and zinc-alloy, it is surprising that any examples have survived the ravages of time.
     To the best of my knowledge, there are no known reproductions. Nevertheless, I am including a base diagram, Figure II, to aid the collector in determining the bank's size and scale.

The Monkey and Cocoanut Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1990

     During the “Golden Age” of mechanical banks (i.e., 1870-1920), the monkey had been utilized as the subject of more than a dozen different examples. Of' these, Monkey and Cocoanut (Figure I), emerges the leader in complexity and precision of coordinated action.
     The genius and ingenuity involved in the mechanics, timing and imaginative design of Monkey and Cocoanut could only be attributed to the accomplished nineteenth-century inventor and toy designer, James H. Bowen, of Philadelphia, Pennsylvania. On March 2, 1886, Bowen received Patent Number 337,125 (Figure II) for his Monkey and Cocoanut Bank. It was eventually manufactured by the J. and E. Stevens Company, of Cromwell, Connecticut, the sole foundry which produced all banks designed by Bowen. These include such notables as Girl Skipping Rope, I Always Did 'Spise A Mule (both versions), Bull Dog (Coin on Nose), Owl Turns Head, Two Frogs, Darktown Battery, Elephant and Three Clowns, Paddy and the Pig, Clown on Globe, Creedmore, A Calamity and Monkey and Cocoanut.
     It is known that several, if not all, of Bowen's bank designs were executed into casting patterns by John Page, of Philadelphia, Pennsylvania. Page was a master pattern maker who worked primarily with hard wax and bronze. This contrasted with other pattern makers of' the day who worked with wood and soft lead-bearing alloys. There are casters who, even today, feel that wax modeling ultimately produces the sharpest pattern.
     Evidently, Bowen supplied the patterns produced by Page to the J. and E. Stevens Company who, in turn, utilized them for the mechanical bank production of his banks. This was a rare practice for Stevens, since the firm had one of the finest and most complete toy pattern-making facilities in the world, managed by the undisputed master bank designer, Charles A. Bailey.
     Correspondence exists between J. and E. Stevens and James Bowen, indicating assemblage difficulties encountered at the foundry pertaining to certain of Bowen's banks. This, undoubtedly, was due to Bowen's penchant towards complicated internal mechanisms and complex externally fitted parts. The collector who may perhaps doubt the quandary J. and E. Stevens experienced might attempt the reassembly of a Reclining Chinaman, Two Frogs, Paddy and the Pig or the Monkey and Cocoanut.
     There are no known casting or color variations of the Monkey and Cocoanut. The colors of the bank, as shown in Figure I, are as follows: the monkey and his cocoanut are a dark cocoa brown. The monkey's face and chest are tan, and gray highlights its eyes as well as the creases in its face. Its lower lip is painted bright red. Its eyes are white with reddish brown irises, and its pupils are black. The foliage upon which the monkey rests is bright green, and the lower square edge of the base is bright red. Finally, the interior of the cocoanut and the underside of the base are painted creamy white.
     Indicative of the meticulous attention James Bowen paid to every detail of his creations, even those hidden from view, is the base plate of Monkey and Cocoanut. Reminiscent of the base plate of his Darktown Battery bank, it is a configuration of' delicate swirls and graceful, pierced openwork designs.
     Operation of the bank is extremely amusing: a coin is inserted between the thumb and forefinger of the monkey's right paw. The lever at the rear of the base is then depressed. Simultaneously, its left forearm rotates to the left, opening the cocoanut, whereupon the coin drops from its right paw into it. The monkey appears to exhibit a smirk upon its face as it opens its mouth. Eyes roll downward, gleefully following the coin's descent through the opened cocoanut and into the base. Upon release of the lever, the cocoanut slams shut, and the bank returns to the position illustrated in Figure I. Deposits are regained by removal of the round Stevens-type coin retainer underneath the base.
     I am not aware of any reproduction of the Monkey and Cocoanut bank. Nevertheless, Figure III is a base diagram to aid the collector in determining size and scale. If a reproduction were to surface, its base would be approximately one-eighth inch shorter than indicated.

The Rabbit in Cabbage Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1990

      “Charming” and “petite” best describe the "Rabbit in Cabbage" mechanical bank. Portraying the classic image of a small rabbit with its nose nestled between the leaves of succulent cabbage, the bank as shown in Figure I, is quite reminiscent of the illustrious Beatrix Potter's Tale of the Flopsy Bunnies and Tales of Peter Rabbit, published in 1909.
     Although there has been no previous mention of the similarities between Ms. Potter's tales of the Flopsy Bunnies and the mischievous Peter Rabbit with his insatiable appetite for Mr. McGregor's cabbages and the "Rabbit in Cabbage" mechanical bank, mere coincidence appears unlikely. Perhaps it was Ms. Potter's delightful illustrations (Figure II) that captivated Ms. M. Elizabeth Cook, a highly acclaimed artist and sculptress in her own right, and prompted her to design "Rabbit in Cabbage."
     Unfortunately, to date, no patent information has been located; however, pertinent data relating to this mechanical, as well as three others designed by Ms. Cook, have been obtained through advertisements and catalogs and place the date of their manufacture sometime between 1920 and 1934.
     Ms. Cook's banks were produced by the Kilgore Manufacturing Company of Westerville, Ohio. The four were collectively referred to, in Kilgore ads and catalogs, as "The Thrifty Four". and "The Toytown Workers Group." They were christened "Blinky," the owl; "Jug-O-Rum," the frog; "Pokey," the turtle; and "Flop Ears," the rabbit. Not only is "Pokey" the rarest of the four, but it has the distinction of being one of the rarest in the entire mechanical bank category. This may be explained by the fact that, at the time of its manufacture, the Kilgore Company was experiencing a great deal of difficulty resolving an internal malfunction. This resulted in the removal of "Pokey" from production, and the few remaining working examples were distributed amongst the employees of Kilgore, free of charge.
     Unlike most mechanical banks of the period which were packaged in individual wooden boxes, each of "The Thrifty Four" were sold in individual cardboard boxes (Figure III). The container designated for "Flop Ears," the rabbit, Figure III, has the following poems inscribed upon its side:
   
          "Flop-Ears the Rabbit hops around
          Lifting his ears for every sound
          He sees Blinky the Owl, high in an Oak
          And hears the Frog, Jug-O-Rum croak,
          And wonders if Pokey, the Turtle, so slow,
          Can catch up with him, if he hops real slow."
               and
          "Flop-Ears the thoughtful Rabbit says,
          'Get the saving habit.' "
   
     Activation of "Flop Ears" is achieved by pressing a coin into the slot behind its ears. This accomplished, the ears will raise slightly and then drop as the coin falls into the bank. The deposited monies are removed by opening the small rectangular key-lock coin retainer underneath the base of the bank. Most often, these coin retainers are nickel plated, but original non-plated examples do exist.
     There are no casting variations of "Rabbit in Cabbage," but there are two color variations. The earlier-produced banks portrayed a light tan rabbit, much closer in coloration to Ms. Potter's Flopsy Rabbit characters. "Rabbit in Cabbage" banks manufactured at a later date had the rabbit painted a creamy white color. In both varieties, the rabbit has dark pink eyes with black pupils. The cabbage is white with an applied bright green texture that strongly defines the leaves. The base is painted a medium yellow-green with dark brown upright paint strokes around the entire perimeter of the base, representing grass or weeds. The jewel-like coloration of "Flop Ears," as well as the other members of "The Thrifty Four," make for an extremely appealing set of mechanicals.
     I am not aware of any reproductions of this series. Nevertheless, as is my custom, I am including a base diagram, Figure IV, to aid the collector in determining size and scale of the bank. If a reproduction were to surface, it most likely would appear approximately one-sixteenth of an inch shorter in length than indicated.
     CORRECTION: In the June 1989 issue of Antique Toy World, "Boy on Trapeze" article, it was mistakenly stated that no reproductions of the bank exist. This bank was indeed reproduced several years ago by the Book of Knowledge Collection, and, more recently, a very crudely reproduced "Boy on Trapeze" had been imported to the United States from Taiwan. Please note that all reproductions are at least one-eighth of an inch smaller than the base diagram in the June 1989 article indicates.

The Spring-Jawed Bulldog
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1990

      The "Spring-Jawed Bulldog" (Figure I) is one of seven subjects which comprise a series of banks known as the "Spring-Jawed" mechanicals. Other members of this unique set include: Bonzo, the dog; an alligator; a mule; a chimpanzee; parrot; and a kitten. Although the entire Spring-Jawed group is scarce, the "Bulldog" is considered one of the rarest. Because only three or four examples are known to exist in collections, it also qualifies for inclusion into the "rare" category for all mechanical banks.
     The entire Spring-Jawed series is composed of a zinc-lead alloy. The low melting point of these metals made it an ideal medium for the slush-metal casting process. This method of production entailed filling a multi-sectioned, hollow mold with a molten solution of the alloy. As the liquefied metal cooled and solidified around the inside walls of the mold, the remaining hot solution was quickly expelled. Once fully cooled, the mold was separated, revealing a perfectly detailed, hollow positive image.
     Needless to say, extreme caution should be exercised when handling any zinc-lead alloy bank. The eggshell-thin casting and fragile nature of the metal makes it susceptible to breakage and may very well account for the rarity of the Spring-Jawed series.
     Operation of the "Spring-Jawed Bull­dog" is uncomplex. A coin is inserted through its mouth, activating a thin, internal steel leaf spring attached to the dog's lower jaw. This creates a wiggling action, giving the illusion of the pup chewing the ingested money. The deposits are removed by first undoing a small, heart-shaped "trick lock" beneath its jaw and then opening its hinged head.
     There are no casting of color variants of the "Spring-Jawed Bulldog." The colors of the bank (Figure I) are as follows: the dog is painted a milk-chocolate brown, with dark brown and gray highlights. It has white eyes with brown irises and black pupils. Its mouth is pink, and it has white teeth with a red tongue. The collar around its neck is tan, and the "trick lock" which is sus­pended from its neck is of unpainted brass. Unfortunately, very little is known about the manufacturer or dates of production of these scarce banks. Had it not been for the word, "GERMANY," printed upon their bases, the country of origin would also have been an enigma.
     It may be assumed, perhaps, that lack of pertinent data relating to the Spring-Jawed series was the result of a practice common to nineteenth-century German patent law. During this period non-essential or insignificant products were given the designation, "Reichsgebrachsmuster." It was, in effect, a registered design rather than a true patent. It was also the unfortunate practice to routinely destroy these registration documents after only fifteen years. This created a void for future mechanical bank collectors and researchers, with no information available other than their country of origin.
     To conclude, one should not underestimate the "Spring-Jawed Bulldog" because of its small size and simplistic action. The slush-metal molded process allows for ex­tremely well-detailed casting. Combined with highly imaginative and skillfully applied coloration, this rare gem is an attrac­tive addition to any mechanical bank collection.
     To the best of my knowledge, none of the Spring-Jawed banks have been reproduced. However, I am including a contour drawing of the "Bulldog," Figure II, to aid the collector in determining size and scale.
     Any further information which would shed light upon this, or other, banks in the Spring-Jawed series would be greatly appreciated and presented in future articles.

The Organ Grinder and Performing Bear
(Part II, An Update)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1990

      Additional information has come to my attention pertaining to the "Organ Grinder and Performing Bear" bank. In my article (refer to the August 1986 issue of Antique Toy World), I had discussed the bank's action and lack of any casting variations. Since its writing, I've become aware of an "Organ Grinder and Bear" bank in which the figure of the organ grinder differs significantly in both casting and animation and may be classified as a variant. The common figure, as described in the August 1986 article and pictured in Figure I, possesses a left hand that is motionless and lies flat atop the organ. Activation of the bank results in rotation of the right hand, as if cranking the instrument. In the newly discovered variation, the organ grinder's left hand is no longer stationary and a fixed part of the casting, but moves independently at the wrist joint. Activation of this mechanical appears to nudge the coin atop the organ into the slot (Figure II), while the action of the right hand remains identical to the aforementioned version.
     Both variations of the "Organ Grinder and Performing Bear" were manufactured by the Kyser and Rex Company, of Frankford, Pennsylvania, in, or around, the year 1882.
     My thanks to Dr. Greg Zemenick for sharing this information, and in whose fine collection the variant resides.

The Perfection Registering Bank
(Part II, An Update)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1990

      A newly discovered color and casting variant of "Perfection Registering" bank has recently come to my attention. Prior to discussion of this "find," I make reference to my article in the April 1986 issue of Antique Toy World in which the "Perfection Registering" mechanical was described as having no known color variations and as follows: "The entire bank is an overall cream color. The floral designs, the newsboy in the front panel, the soldier standing guard and the lion's head embellishing the end panel are painted gold. The little girl has blond hair, black eyes, a white blouse and apron and a bright orange waistband. Her dog is white with black spots and tiny black eyes. The top of the platform she stands upon is colored a dusty rose, and there is a bright orange flourish on the wall facing the girl. The coin registering label is printed on bluish-black paper, with gold lettering. Underneath the base plate are cast the words, " 'PAT APLD FOR.' "
     In contrast, and worthy of mention in view of its extremely attractive appearance, is the aforementioned variant. This version is painted an overall lilac color, highlighted in gold. The top of the platform the little girl stands upon is bright yellow, and the back wall to which the registering label is affixed is painted indigo. The little girl and her dog, as well as the paper label, do not differ from the bank described in the 1986 article, except for a lilac hem at the bottom of her dress.
     Underneath the base plate, and cast into the iron, are the words, "PATD-JAN 10, 1893." With the addition of the patent date, one may conclude that this example of the "Perfection Registering" bank is of later production than the one inscribed "PAT APLD FOR" in the 1986 article.

The Uncle Tom Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1990

      The moral issues of bondage and enslavement divided the peoples of the United States and eventually led to the eruption of the violent and bloody Civil War. A major factor influencing the cause of the War, as many historians are apt to agree, was Harriet Beecher Stowe's novel, Uncle Tom's Cabin, which appeared in book form in 1852. Known also as Life Among the Lowly, the story was originally featured in the National Era, an anti-slavery publication emanating from Washington, D.C. Uncle Tom, the leading character in the Stowe novel, was portrayed as a slave who maintained his dignity and respect despite horrendous acts of cruelty by his white slave masters. His name became associated with, and a synonym for those blacks who exhibit passive or servantile behavior towards white persons. Although the Civil War ended in 1860 and Abraham Lincoln's Emancipation Proclamation freed the slave population, there was no end to the degradation perpetrated against blacks. A plethora of racist literature, music, objects and children's playthings continued to be produced. On January 24, 1882, Louis Kyser and Alfred C. Rex received Patent number 252,607 for their invention of the "Uncle Tom" mechanical bank (Figure I). Subsequent to receipt of the patent, their company, Kyser and Rex Foundry, of Frankford, Pennsylvania, manufactured the toy (Figure II). Other mechanical banks produced by Kyser and Rex which depicted black persons in demeaning situations were "Baby Mine," "Uncle Remus" and "Butting Buffalo."
     Operation of the "Uncle Tom" bank (Figure II) is quite simplistic. The lever located in its back is pressed inward. Held in this manner, the tongue is forced to protrude, and Tom's eyes roll upward. The coin is then placed upon the extended tongue, and the lever is released. The tongue then recedes, drawing the money into the bank, completing the deposit. Coins are removed via a key lock coin retainer underneath the base. (Of interest is the fact that all of the original coin retainers have the initials "U.T." cast into them.)
     There are several color, casting and mechanical variations of the "Uncle Tom" bank. The colors of the bank photographed in Figure II are as follows: Uncle Tom's face is painted chocolate brown, and his hair and eyebrows are glossy black. His eyes are white, outlined with thin, black lines and tiny, black pupils. The corners of each eye are marked with red, as are his nostrils, lips and tongue. Tom sports a blue jacket with a white collared shirt and yellow bow tie, decorated with blue polka dots. The words, "UNCLE TOM" on his lapels and the raised star on his chest are highlighted in gold.
     Other color variations indicative of this particular casting include a jacket that is painted either olive green, grayish-green, yellow or red. Bow ties may be either red or yellow, and the polka dots may be painted red or yellow or blue.
     Casting variations include an example similar to the bank represented in Figure II, except that there is no star on Tom's chest. Another, and more dramatic, variant of the "Uncle Tom" bank is a jacket without lapels. This variety differs also in its mechanics and action. A coin is first placed upon the tongue inside the mouth. Depressing the lever at the rear of the bank causes the eyes to roll downward and the tongue to recede, thus depositing the coin. These lapel-less "Uncle Tom" banks possess either blue or red jackets and polka-dotted red or yellow bow ties. Why Kyser and Rex chose to manufacture several casting and mechanical variations remains a mystery to both historian and bank collector alike.
     Variation, color or casting have no significant bearing on the bank's monetary value or selling price. Factors to consider when appraising this mechanical are overall paint condition and originality. A mechanical in "mint" condition is likely to command as much as five times the price of an average example.
     It is interesting to note an advertisement from the 1886 edition of a Montgomery Ward and Company catalog (Figure III) offering the "Uncle Tom" bank at forty-five cents each. Although not considered rare, a mint example recently changed hands at $2,500!
     I am not aware of any reproductions of the "Uncle Tom" bank. Nevertheless, the base diagram, represented in Figure IV, will aid the collector in determining size and scale. If the bank were reproduced, it would appear ap­proximately one-eighth inch smaller than indicated.
     To conclude, it is truly unfortunate that toys which represented racism were manufactured for the entertainment of children. Possibly, the "Uncle Tom" bank's only redeeming quality is its historical significance, for it reflects a period in our history of which few, if any, are proud.

The Leap-Frog Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1990

      There are those penny banks which reflect a period of time in which life was far less complex a time when children could be delighted and amused with simpler pleasures. One such mechanical, the "Leap-Frog" bank (Figure I) portrayed chil­dren at play. Interestingly, this mechanical is one of only three manufactured antique banks* that utilized this particular subject matter. Considering its appeal to the young, it appears odd that designers of that period did not employ that theme more frequently.
     The "Leap-Frog" bank was invented by Charles G. Shepard and Peter Adams, who were granted Design Patent Number 21,036 (Figure II) on September 15, 1891. Comparison of both the final production bank and the patent drawing with its description, Figures I and II, will reveal that its manufacturer, Shepard Hardware Company, of Buffalo, New York, adhered closely to the patent design. In addition, Shepard Hardware may be commended for craftsmanship and artistic skills, as exhibited in their designs and painted decorations. Examination of any of their banks through a magnifying glass indicates exquisitely executed facial details, enabling one to understand why, to date, Shepard remains unequalled in the art of mechanical bank decoration.
     Unfortunately, this fine paint work cannot always be appreciated. Unlike most other bank manufacturers of the time, Shepard omitted the process of undercoating prior to painting their banks. Inevitably, this resulted in a loss of much of the paint due to heat, moisture and excessive handling.
     The "Leap-Frog" bank has no casting or color variations. The colors of the bank, as pictured in Figure I, are as follows: both boys' hands and faces are a pink flesh color. The corneas of their eyes are white, with black irises, eyelashes and eyebrows. Their hair is also painted black. The figure which stoops over has a red cap, blue shirt with red trim, red pants, a yellow belt, blue socks and black shoes. The standing figure sports a blue cap, a bright yellow shirt with red trim, a red belt, blue trousers, red socks and black shoes. The rear wall of the bank, which suggests a fence, is painted yellow ochre, with white lines separating the boards. The entire base is bright green and the words, "LEAP-FROG BANK" are highlighted in gold. The tree stump is painted grey and dark brown. The areas representing newly-cut wood are yellow, with the age rings and grain finely delineated in brown. Finally, the entire back of the fence is painted red.
     Operation of the "Leap-Frog" bank is quite appropriate to the subject: a coin is placed into the slot atop the tree stump. The standing figure of the boy is first raised over the figure of the boy who stoops, and is then snapped into place behind him. The lever on the backside of the fence is released while, simultaneously, the standing figure leaps forward over his companion’s back. His right hand pushes a square lever that extends from the tree stump, and which, in turn, opens an internal baffle that allows the coin to fall into the bank. Deposits are removed via a square key-lock coin retainer underneath the base.
     The "Leap-Frog" bank is not considered rare. However, it is quite scarce, and particularly in superb paint condition. Such examples usually command a much higher price than those in average condition.
     To date, several reproductions of this fine bank have been manufactured. It is not difficult to discern the original from the recast, since reproductions are extremely crude and lack the Shepard square key-lock coin retainer.
     Figure III is a base diagram of an original "Leap‑Frog" bank. A reproduction will appear approximately one-eighth-inch shorter along the base than indicated.
     * Girl Skipping Rope — manufactured by J. & E. Stevens, Co., Cromwell, Connecticut; Roller-Skating Bank — manufactured by Kyser & Rex Co., Frankford, Pennsylvania.

The Chief Big Moon Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1990

      It may be stated, and appropriately so, that most mechanical banks are charming and quite entertaining. However, few possess the imaginative quality of the subject of this article, the "Chief Big Moon" bank (Figure I).
     It has never been established whether Charles A. Bailey, inventor of the bank, derived the idea for its subject matter from an old American Indian folk tale. Or was it, perhaps, the product of his own fertile imagination? The godlike representation of the frog most certainly imparts a mythical quality to this bank.
     Description of the bank's action might suggest an old Indian legend: a squaw sits at the entrance of her tepee, cooking a freshly caught fish over the glowing embers of a dying fire. Before her lies the serene water of Big Moon Lake. Insertion of a coin into the slot directly under the fish results in the sudden emergence of a large frog from the lake, whose intent is to devour the squaw's meal. She then pulls the fish from the bold amphibian's reach and, simultaneously, the coin drops into the base.
     "Chief Big Moon" has a small operating lever located at the left of the fire pit. This enables the aforementioned action to be initiated without utilization of a coin. Many collectors are of the belief that the bank is activated solely by this lever; however, as stated within the patent papers (Figure II), this was not the inventor's intent.
     In order to reset the bank, the hinged lake is lifted and the frog is returned to its hiding place within the base of the bank. Deposited coins are retrieved by removal of a round, Stevens-type coin retainer underneath the base.
     Invention of this mechanical is attributed to Charles A. Bailey of Cromwell, Connecticut. He was granted Patent Number 630,795 for its design on August 8, 1899 (Figure II). For the sum of $1200, he assigned all rights for its manufacture and even­tual marketing to his employer, the J. and E. Ste­vens Company of Cromwell, Connecticut. As evi­denced by the patent drawings, Figure II, and the final production bank, Figure I, the Stevens Com­pany adhered closely to Bailey's design.
     Figure III represents a page from an early twentieth-century J. and E. Stevens catalog which offered the "Indian Camp" bank for $1.00, each packed in its own wooden box. Quite an investment when one considers the recent selling price of a fine example! To date, no documentation exists as to when collectors began referring to the bank as the "Chief Big Moon" rather than by the manufacturer's designation. Why they did is obvious, as the name "Chief Big Moon" is cast into both sides of the base.
     There are no major casting variations other than a slight wording difference pertaining to a registered patent designation located underneath the base plate. However, there are two color variations. These pertain only to the bases, whereas the colors of the upper platform and top section of the banks remain constant throughout both examples. The colors of the bank pictured in Figure I are as follows: sides of the oval base and the tepee are a deep gold. The Indian symbols, papoose, toma­hawks, the bust of the chief, the name "Chief Big Moon," the wide band along the lower edge of the base and the fish held over the fire by the squaw are painted silver. The entire top platform is yellow-green, highlighted with metallic copper. The lake is light blue. The two ducks are painted white, as is the water lily, with the addition of bright green leaves. The frog is painted dark green, with a yellow-ochre underside. It has yellow corneas with black pupils and a red mouth. The squaw's skin is brown. She has black hair, white corneas with black pupils, and a tan skirt. The glowing embers of the fire pit are painted metallic copper. To the left of the squaw is a blue flower with a white center.
     The colors of the variant are nearly identical to the bank described in the previous paragraph. The exception is the sides of the base, which are painted red and yellow rather than gold and silver. Many collectors place a premium on the red and yellow version. It is my opinion that color combinations are a matter of taste, and the true determination of a bank's value lies in its rarity, originality and paint condition.
     "Chief Big Moon" is scarce, especially with its original fish intact. The collector should be aware that, most often, this part is either missing or replaced with a recast piece.
     The "Chief Big Moon" mechanical bank has been reproduced several times over the years. I am, therefore, including a base diagram, Figure IV, to aid the collector in determining an original from a recast. The reproduction will appear approximately one-eighth inch shorter along the base than indicated.

Girl in Victorian Chair
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1990

      The familiar and so oft used phrase, "Good things come in small packages," most appropriately describes the mechanical bank pictured in Figure I (actual size). Spanning a height of merely four inches, the "Girl in Victorian Chair" humbly resides on the shelves of a few fortunate collectors.
     Little is known of the heritage of this tiny gem. To date, no information has surfaced relating to its designer, manufacturer or its originally designated name. Early bank collectors began referring to this mechanical as "Girl in Victorian Chair" based solely upon its appearance and as a means to distinguish it from other, similar mechanicals.
     One might assume that, because of its small size and subject matter, the bank may have been designed to appeal specifically to young girls. It is not difficult to imagine "Girl in Victorian Chair" being placed into a little girl's doll house.
     Several theories have emerged over the years relating to the designer and manufacturer of this particular mechanical. These have been based primarily upon construc­tion, design and coloration. Some credit its design to Charles A. Bailey, in view of the similarities between it and two cast-iron bell toys (i.e., "Daisy" and "Christmas Morn") which Bailey designed for manufacture by the J. and E. Stevens Company of Cromwell, Connecticut. In both toys the faces of the little children bear a striking resemblance to our little friend seated in her Victorian chair.
     Others attribute its production to the W. S. Reed Toy Company of Leominster, Massachusetts. This assumption is based upon the similar design and painted element of "Girl in Victorian Chair" and the "Little Red Riding Hood" bank. Both have fringes cast into the sides of their bases which are painted a dark brown, japan color, highlighted with gold. In addition, the slot design at the tops of the bed and chair of each bank also bear a striking resemblance to one another. To complicate matters further, it should be noted that there is no conclusive evidence that the "Red Riding Hood" bank was actually manufactured by the W. S. Reed Toy Company. The supposition is based upon similarities between it and the "Old Woman in the Shoe" bank, which has been positively identified as a product of the W. S. Reed Company.
     Operatin of "Girl in Victorian Chair" is quite simplistic. A coin is placed within the appropriate slot atop the chair. The small lever in the back is then moved towards the right side. Simultaneously, the small dog resting on the girl's lap moves forward and the coin falls into the bank. Retrieval of the deposited currency is achieved by disassemblement of the two halves, via a single screw through its back.
     There are no known casting variations. However, there are several color variants which all pertain to the little girl's dress and her dog. The dog could be either light or dark tan, and the child's dress may be blue or red or white. The colors of the bank pictured in Figure I are as follows: the face, arms and legs of the girl are a light pink, flesh color. She has blonde eyebrows and hair. Her eyes are dark blue, as is her dress, and her mouth is painted red. Her little dog is light tan. The chair is japanned an overall dark brown, highlighted in gold.
     The "Girl in Victorian Chair" is scarce, and few collectors can boast of an example in their collection. Rarity, coupled with simplicity of construction, were the factors contributing to replication of this fine mechanical. Figure II is a base diagram of an original "Girl in Victorian Chair" bank. A reproduction would appear approximately one-sixteenth of an inch shorter along the base than the dimension indicated.

The Cross-Legged Minstrel Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1990

      Negro minstrelsy was a popular form of entertainment in England as well as the United States during the nineteenth century. Appearing in gaudy, swallow-tailed coats and striped trousers, faces blackened with burnt cork, minstrel performers delighted audiences with their music, songs and im­personations. The "Cross-Legged Minstrel" bank, shown in Figure I, is a fine example of such a performer and, if it were not for the overt racist verse printed upon its base, one might describe this bank as charming and amusing. I quote from the phrase printed at the base of the minstrel's feet: "Put in a coin, the lever press down tight/Then you will see a Nigger most polite."
     The "Cross-Legged Minstrel" bank was designed by the J. Levy Company, of White Cross Street, London, England, and granted United Kingdom Patent No. 543,231 on June 4, 1909. It is commonly assumed that the bank was manufactured in Germany. This belief is based upon the similarity of material, construction and lithography to several banks known to have been manufactured in Germany during this time. These include: "Royal Trick Elephant," "Monkey With Tray" and "Snake Frog in Pond." Most likely, Levy acted only as the designer and wholesale distributor, jobbing out actual production to foreign manufacturers.
     It is interesting to note that, while most mechanical banks manufactured in the United States during that era were produced from cast iron, almost all of those produced in Germany were fabricated from tin plate.
     The rarity of German tin banks, in contrast to most of the cast-iron banks produced in America, is easily explained. Prior to the First and Second World Wars, German command ordered the voracious and fanatical collection and reclamation of all metal objects for usage in war machinery. This, in addition to the fragility of these tin banks, leads one to wonder how any were able to survive.
     The "Cross-Legged Minstrel" is an extremely attractive mechanical. For the price of a single coin deposited into the minstrel's chest, the nattily attired entertainer tips his top hat in a most genteel manner. He acknowledges your generosity by exposing the words, "Thank You" on the top of his head. Deposits are removed via a small trapdoor-type key-lock coin retainer underneath the base.
     Examples of the "Cross-Legged Minstrel" which contain the previously mentioned racist phrase are extremely rare. Most of the banks located have had the verse deleted. The logical explanation for its removal may possibly be its exportation to countries which might have considered such racial sentiments quite distasteful.
     Examples of this tin mechanical, both with and without verse, account for the only variants known. The colors of the "Cross-Legged Minstrel" are as follows: the minstrel's face and hands are black; his corneas are white, with black pupils; and his lips are red. His jacket is bright red with a yellow flower in its lapel. The shirt is white, and the bow tie is green. The minstrel sports a yellow vest with gold buttons, and a gold watch fob and chain. His pants are blue and white-striped, his shoes are orange and his hat is yellow with a black band. He leans against a tan and green tree stump. Green vines with red flowers creep up at the rear. The base he stands upon simulates green grass with red flowers. A red band circumscribes the entire lower portion of the bank. The prejudicial verse is printed in black, as is the patent number on the reverse: "Rd No 543,231."
     The "Cross-Legged Minstrel" is quite scarce and extremely difficult to find in all-original, unbroken condition. A superb example recently sold for several thousand dollars. This is a sizable sum when we con­sider their cost, as indicated in a 1909 Butler Broth­ers Toy Wholesalers Catalog. The "Automatic Negro Bank," as it was originally designated, was priced at $1.85 per dozen!
     To date, there are no known reproductions of "Cross-Legged Minstrel." Nevertheless, the base dia­gram (Figure II) will aid the collector in determining size and scale.

The Home Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1991

      Comprising possibly the largest single category of mechanical banks is the group referred to as "building banks." These can be classified as mechanicals which either incorporate a building or dwelling into its design (i.e. "Dog on Turntable", Antique Toy World, September 1987) or utilize the building as the subject of the bank. An example of the latter, and the topic of this article, is the "Home Bank" (Figure I) which represents a savings bank building. Oddly, few mechanicals were designed with this particular theme. Both the "Home Bank" and "Hall's Excelsior" (refer to Antique Toy World, February 1984) incorporate printed "Cashier" labels into their designs for the purpose of identifying the figures accepting deposits as bank employees.
     On July 16, 1872, Doras A. Stiles of Middletown, Connecticut, was granted Patent Number 129,615 for the "Home Bank" (Figure II). The final production bank (Fig­ure I), manufactured by the J. and E. Stevens Company of Cromwell, Connecticut, deviated from the patent designs only by its omission of dormer windows. Of considerable interest is the fact the dormer window design is one of several casting variations of the "Home Bank." For example, the figure of the gentleman in the doorway may be identified either with a flat paper "CASHIER" label, or with the word "CASHIER" in raised letters cast into the front of his desk. The figure of the man may also be cast from iron or a lead alloy. A page from an early J. and E. Stevens Company catalog (Figure III) indicates an additional variant of the "Home Bank," one which eliminates the man's figure entirely. I have never seen a factory-produced example of this particular variant, but rather those which have had the figure broken off or removed from the banks after they were purchased.
     Aside from the aforementioned casting variations, the "Home Bank" was offered in several color combinations. There are examples painted red, white and blue or red, yellow and blue. The colors of the bank portrayed in Figure I are as follows: the top of the roof is tan; the chimney has a green, scalloped edge with a thin, brown stripe separating the green from the tan. The lower half of the roof is brown, with a yellow line following the contour of its four edges. The walls of the bank are predominantly tan, and the windows, arches, sills and corner brick designs are painted bright green. The activating knob to the right of the doorway is black, and the entire base, as well as the words "HOME BANK" are brown. The cashier has a pink, flesh-colored face and hands; his hair, eyes, eyebrows, moustache and goatee are black, as is his jacket which has bright gold buttons. His desk is blue with a red and yellow frame enclosing the paper "Cashier" label. The outside door, which is exposed prior to activating the bank, is dark blue; its arches are painted bright yellow, bordered by a white, striped design. (The figure of the man may also be garbed in a red jacket.)
     Activation of the "Home Bank" is aptly described within the catalog page (Figure III): "Pull the knob until it catches; place the penny on its edge in front of the Cashier; push the knob to the right, and the deposit is made in the vault at the rear of the Bank." The deposited coins are removed by unscrewing the long bolt through the center of the chimney and disengaging the roof. This complicated method of coin extraction probably accounts for the many incomplete, poor and damaged examples presently in collections. A superb example will command a price in excess of ten fold that of a merely average "Home Bank."
     To date, I am not aware of the existence of any reproductions. Nevertheless, Figure IV is a base diagram to aid the collector in discerning size and scale. If a reproduction were manufactured, its base would be approximately one-eighth inch smaller in width than indicated.
     Addendum: For years it was erroneously believed that the inventor of the "HOME BANK," Doras A. Stiles, was a woman. This assumption was quite understandable since the name "Doras" might easily be mistaken for a modification of the spelling of the female name "Doris." Several years ago, noted mechanical bank historian, Mark Haber of Wethersfield, Connecticut, related to Bill Norman, author of the Mechanical Bank Book, it was his belief that Doas A. Stiles was, in fact, a man. This was based upon early letters from J. and E. Stevens to Stiles and conversations between Mr. Haber and employees of the J. and E. Stevens Foundry. I personally have not seen any documented proof pertaining to the gender of Doras A. Stiles, but did think the information might be of interest to you, the reader.

 The Spring-Jawed Mule
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1991

      The old adage, "as stubborn as a mule" most appropriately describes the sub­ject of this month's article. The "Spring-Jawed Mule" bank (Figure I) epitomizes the proverbial lazy mule who has flopped itself down on its haunches, appearing to defy anyone to attempt nudging it into movement.
     This stubborn animal is certainly not an uncommon subject for mechanical banks. Collectors are quite familiar with the Judd Manufacturing Company's "Bucking Mule" bank, as well as J. and E. Stevens' "I Always Did 'Spise a Mule" and their "Mule Entering Barn." However, unlike these cast-iron, American-manufactured mechanicals, the "Spring-Jawed Mule" is of European origin and composed of a lead-zinc alloy. Unfortunately, the bank's inventor and manufacturer are unknown, and had it not been for the word, "Germany" printed underneath its base, its country of origin would also have remained an enigma.
     The "Spring-Jawed Mule" is one of the rarest of an extremely scarce series of seven different spring-jawed animal banks. The set is comprised of a grey kitten, a chimpanzee, a parrot, an English bulldog, Bonzo, the dog, an alligator, and our mule. All members of the entire series are composed of the aforemen­tioned zinc-lead alloy. The low melting point of these metals enabled usage of the slush-mold casting process, an inexpensive and relatively easy method of duplication. The process entailed filling a multi-sectional, hollow mold with a molten solution of the alloy, which remained within the mold just long enough to partially cool and solidify to a thin exterior shell. The remainder of the liquid was poured out, leaving an exact hollow replica of the mold's interior design.
     Needless to say, extreme caution should be exercised when handling these banks as their eggshell-thin casting and the fragile nature of their composition render them susceptible to damage. This, undoubtedly, accounts for their extreme rarity today.
     It is assumed the lack of informative data pertaining to the "spring-jawed" series was the result of a practice common to the nineteenth-century German patent law. During this period, relatively insignificant products, including toys, were designated 'Reichsge­brachsmuster," or registered design, rather than true patent. These documents were routinely discarded after only fifteen years, leaving a void for future collectors who sought knowledge of the authors and manufacturers of these designs.
     Operation of the "Spring-Jawed Mule" is initiated by insertion of a coin through a slot in back of the mule's head. This activates a thin, internal leaf spring attached to the animal's lower jaw. Movement is created, in the form of a wiggling action, which gives the illusion of the beast either braying or chewing the coin. Deposits are retrieved by undoing the small, brass, heart-shaped "trick lock" beneath its jaw, and opening its hinged head.
     To my knowledge, there are no casting or color variations of the "Spring-Jawed Mule." The colors of the bank (Figure I) are as follows: the mule is light grey, highlighted with reddish-brown. Its eyes are orange with black pupils, and its nose and lips are light pink. The interior of its mouth and tongue are a dark shade of pink, and it has white teeth. Finally, it's hooves are black.
     The highly imaginative, artistic and skillfully applied coloration of this rare beauty, combined with its extremely well-detailed casting, make it a most attractive and desirable addition to any mechanical bank collection.
     To date, none of the banks in the "spring-jawed" series have been reproduced. However, I am including a contour drawing of the mule (Figure II) to aid the collector in determining size and scale.

First One Hundred Articles — An Index
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1991

      In view of the many requests received from readers, the following is an index of the one hundred articles I've written for Antique Toy World.
 
1.   August 1982-The Edwin H. Mosley Bank Sale
2.   December 1982-Girl Skipping Rope
3.   January 1983-Acrobats
4.   February 1983-Zig Zag
5.   March 1983-Two Frogs
6.   April 1983-Reclining Chinaman
7.   May 1983-Elephant and 3 Clowns
8.   June 1983-Peg Leg Beggar
9.   July 1983-Circus Ticket Collector
10.   August 1983-Little Jocko Musical
11.   September 1983-Chimpanzee
12.   October 1983-Billy Goat
13.   November 1983-Confectionery
14.   December 1983-Jolly Nigger
15.   January 1984-Mama Katzenjammer
16.   February 1984-Hall's Excelsior
17.   March 1984-Paddy and the Pig
18.   April 1984-Speaking Dog
19.   May 1984-Tammany
20.   June 1984-Fowler
21.   July 1984-Humpty Dumpty
22.   August 1984-Mason
23.   September 1984-Humpty Dumpty Part II
        -Elephant and 3 Clowns Part II
24.   October 1984-Organ Bank, Cat and Dog
25.   November 1984-Bulldog Savings
26.   December 1984-Bird on Roof
27.   January 1985-Darktown Battery
28.   February 1985-Magician
29.   March 1985-Boy Stealing Watermelons
30.   April 1985-Uncle Sam
31.   May 1985-Stump Speaker
32.   June 1985-Zig Zag Part II
         -Bill Norman's Bank Book, Review
33.   July 1985-Lion Hunter
34.   August 1985-Calamity
35.   September 1985-Organ Miniature
36.   October 1985-Indian and the Bear
37.   November 1985-William Tell
38.   December 1985-I Always Did 'Spise A Mule (Jockey)
39.   January 1986-Punch and Judy
40.   February 1986-Organ Bank, Boy and Girl
41.   March 1986-Boy Scout Camp
42.   April 1986-Perfection Registering
43.   May 1986-I Always Did 'Spise A Mule (Boy on Bench)
44.   June 1986-Bad Accident
45.   July 1986-Jonah and the Whale
46.   August 1986-Organ Grinder and Performing Bear
47.   September 1986-Afghanistan
48.   October 1986-Dentist
49.   November 1986-Goat, Frog and Old Man
50.   December 1986-Teddy and the Bear
51.   January 1987-Mammy and Baby
52.   February 1987-Novelty
53.   March 1987-Lion and Monkeys
54.   April 1987-Horse Race
55.   May 1987-Hall's Lilliput
56.   June 1987-Mule Entering Barn
57.   July 1987-Toad on Stump
58.   August 1987-Milking Cow
59.   September 1987-Dog on Turntable
60.   October 1987-Spring-Jawed Alligator
61.   November 1987-Clown on Globe
62.   December 1987-Jumbo Elephant
63.   January 1988-Organ Bank with Monkey
64.   February 1988-Artillery
65.   March 1988-Stevens Foundry, Part I
66.   April 1988-Stevens Foundry, Part 11
67.   May 1988-Stevens Foundry, Part III
         -Penny Lane Book Review
68.   June 1988-Stevens Foundry, Part III
          -Penny Lane Book Review
69.   July 1988-Red Riding Hood
70.   August 1988-Eagle and Eagletts
71.   September 1988-Butting Buffalo
72.   October 1988-Spring-Jawed Bonzo
73.   November 1988-Trick Dog, Six Part Base
74.   December 1988-Patronize the Blind Man and His Dog
75.   January 1989-Bucking Mule
76.   February 1989-World's Fair
77.   March 1989-Frog on Round Base
78.   April 1989-Owl, Slot in Head
79.   May 1989-Uncle Sam Bust
80.   June 1989-Boy on Trapeze
81.   July 1989-Boy and Bulldog
82.   August 1989-Bulldog on Square Base
83.   September 1989-Cat and Mouse
84.   October 1989-Rooster
85.   November 1989-Spring-Jawed Kitten
86.   December 1989-Saalheimer and Strauss Toy Catalog
87.   January 1990-Owl, Slot in Book
88.   February 1990-Bulldog Standing
89.   March 1990-Atlas
90.   April 1990-Monkey and Coconut
91.   May 1990-Rabbit in Cabbage
92.   June 1990-Spring-Jawed Bulldog
93.   July 1990-Organ Grinder and Performing Bear, Part 11
         -Perfection Registering, Part 11
94.   August 1990-Uncle Tom
95.   September 1990-Leap Frog
96.   October 1990-Chief Big Moon
97.   November 1990-Girl in Victorian Chair
98.   December 1990-Cross-Legged Minstral
99.   January 1991-The Home Bank
100.   February 1991-Spring-Jawed Mule

The Butting Goat Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1991

      Generally monochromic with uncomplicated mechanism and finely delineated details may best describe mechanical banks produced by the Judd Manufacturing Company of Wallingford, Connecticut. To date, Judd remains unexcelled among other foundries for its fine workmanship.
     The "Butting Goat" bank, as pictured in Figure I, epitomizes the aforementioned characterization of Judd's products. Utilizing a mere single moving part, it reflects the sim­plicity and preciseness of the entire line of mechanicals produced by this esteemed foundry. The "Butting Goat" is activated through the power of a single spring — an idea successfully incorporated into several other Judd banks (i.e. "Bucking Mule" — refer to Antique Toy World article of January 1989; "Gem" bank; and "Snap-It" bank.)
     Unfortunately, historic information relating to design and patent of the "Butting Goat" is sparse. This may be attributed to the fact that the Judd Manufacturing Company never applied for patent protection for any of their designs or mechanisms. However, an approximation of the time period of production and offering to the public may be gleaned from their 1885 toy jobber's catalog. Page 362 of the catalog contains an advertisement for the "Butting Goat" bank (Figure II) which reads as follows: "No. 3336, Finish — Black and Yellow. Three in a box. Per doz. $2.10." Quite a bargain, when compared to today's cost for a fine, single example, which recently changed hands at $1,500.
     Operation of the "Butting Goat" is, as stated previously, simple and effective. To quote, once again, from Judd's 1885 catalog: "Note — Draw the goat to the end of the bridge, then by raising the hind feet, the goat springs forward and butts the penny into the tree." Deposits are removed by twisting the turn pin through the sides of the tree stump and disassembling the bank.
     Most mechanicals produced by Judd were decorated with a single metallic or japan color. Their palette included a glossy black finish, dark purple varnish, a light brown with gold flecks "fancy finish," and a gold or copper metallic paint. Occasionally, a touch of white for an eye, or red, yellow or green (verdigris) was utilized as a subtle enhancement.
     There are no casting variations of the "Butting Goat" bank and only two color variants. They are the yellow stump and black goat described in the Judd catalog, and the copper, metallic-colored stump and black goat shown in Figure I.
     Unfortunately, and understandably, the simplicity of casting and operating mecha­nisms of Judd banks abetted the practice of abundant reproductions. Thus, scarce examples such as "Bucking Mule," "Boy and Bulldog," "Circus Ticket Collector," "Peg Leg Beggar," "Bear and Tree Stump," "Bulldog Standing," and "Butting Goat" are regarded as fairly common. In truth, few collections can boast of all-original, unbroken, complete examples of these banks. It is fortunate, however, that these bogus recasts are easily detected since, unlike the originals, they are fairly crude in appearance and lack the extremely fine, sharp, detailed casting indicative of the original.
     Figure III is a base diagram of an original "Butting Goat" bank. A reproduced version would appear approximately one-sixteenth of an inch shorter in length than indicated. However, there are exceptions to this measurement and are the result of utilization of original factory patterns to cast the "fakes." In these instances, the most accurate method of detection is through close examination of its surface, namely the quality and texture of the painted or japanned finish.
     Needless to say, the scarcity of an original example of a Judd bank will be reflected accordingly in its selling price.

The Elephant Howdah Bank, Man Pops Out
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1991

      Despite the variety and quantity of mechanical banks produced within the nineteenth century, categorization of each is a simple matter. For example, there were those banks which ridiculed the minority or newly immigrated population, such as "Jolly Nigger" and "Reclining Chinaman," those which amused and delighted children, e.g. "Trick Dog," and "Punch and Judy," those banks which encouraged savings and thrift, e.g. "Home" and "Novelty" banks, and those mechanicals which were designed as teaching aids, whether they be the alphabet, e.g. "Picture Gallery," morality e.g. "Boy Robbing Bird's Nest," or the act of charity with the offering of pennies to the "Patronize the Blind Man and His Dog" bank, or even an introduction to the culture and customs of foreign lands, such as "Elephant Howdah" bank, Man Pops Out (Figure I). The strange mode of transportation, whereby one is carried atop a giant beast through the magical and mysterious lands of the Near East, was likely to fascinate and activate the fertile minds of children. The "Elephant Howdah" bank was produced by the Enterprise Manufacturing Company of Philadelphia, Pa. Figure II is a representation of several pages from an 1878 Enterprise Jobbers Catalog. These indicate the foundry was also involved in the manufacture of coffee, spice and drug mills, doorstops, food processing and slicing equipment and cast iron penny banks. In addition to the "Elephant Howdah" bank, Enterprise manufactured only one other mechanical, namely the "Memorial Money Bank." This was sold as a commemorative item during the 1876 Centennial Exposition held in Philadelphia.
     The "Elephant Howdah" bank, Man Pops Out, is one of few mechanicals which are composed of several materials. The body, trunk and lever of the elephant are made of cast iron, while the figure of the mahout, or driver, is wood, and his tunic is fashioned from a piece of cloth.
     Unfortunately, to date, no patent information has been located, despite the words, "PAT APLD FOR" cast into the underside of the howdah's lid. Had it not been for the discovery of several catalogs and advertising materials, the manufacturer of this exciting bank would have remained an enigma.
     The action of "Elephant Howdah" is quite amusing and relevant to its subject. Successfully utilized is an action which most aptly might be described as a "Jack in the Box," or as the case may be, the Mahout in the Howdah. A coin is partially inserted into the mouth of the elephant. Then, either the trunk may be lifted manually until it snaps into place, or the driver can be depressed into the howdah until it snaps into place. (Note: Utilizing the trunk as the means to set the mechanism is advisable since the mahout's figure is made of wood and the possibility of breakage is enhanced if too much pressure is exerted upon it.) The lid to the howdah is then closed over the mahout and the small lever directly behind the howdah is pressed. Simultaneously, the trunk snaps downward, striking the coin into the bank, and the mahout pops up, opening the lid of the howdah (refer to Figure I). Coin deposits are removed by undoing the large screw which secures both halves of the elephant together.
     There are no casting variations of which I am aware but there are several color variants. These pertain mainly to the body of the elephant. The colors of the blanket and the howdah basically remain consistent. The elephant may be either dark brown japan, dark gray or as the one illustrated in Figure I, painted bronze-gold. The blanket on either side of the elephant is bright red and stenciled with an in­tricate gold and blue oriental design. The howdah is painted dark blue with a red lid, and the raised design at the base of the howdah is gold, as are the tassels at the bottom of the blanket. The mahout in this illustration has a blue hat; however, it may also be painted in red. His face is a pink, flesh color and his hair is black. His eyes, nose, eyebrows and moustache are executed in black lines. He has two large, white eyes and a red mouth. Finally, his tunic is fashioned from natural tan colored linen.
     Although I am not aware of any reproductions of "Elephant Howdah" bank, a base diagram (Figure III) is included which indicates an original's configuration and scale. To conclude, the "Elephant Howdah" bank, Man Pops Out, is not considered rare. However, realization of the scarcity of those in superb paint condition, with a completely original mahout and tunic, may give thought to reassessment of this charming bank's rarity and value.

Boy Robbing Bird’s Nest
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1991

      Morality as defined by Webster, is "conformity to ideals of the right human conduct." Illustrating this definition, and created solely for the purpose of teaching youth that lesson, were a unique group of mechanical banks. These emerged during the "golden age" of production of mechanicals (i.e., 1880-1910), with the list including such notables as "Peg Leg Beggar," "Boys Stealing Watermelons," "Uncle Remus," "Patronize the Blind Man and His Dog," and "Boy Robbing Bird's Nest" (Figure I).
     Of these, none is as effective nor as dramatic in teaching the lesson of morality as the latter. "Boy Robbing Bird's Nest" depicts a mischievous lad, cautiously edging his way along the branch of a tree. His intent is to appropriate three tiny birds' eggs lying within a lone nest while both feathered parents frantically attempt to dissuade his rude invasion. Suddenly, the branch breaks away from the trunk of the tree, thrusting the boy who clings to it onto the ground. The moral ... Punishment will be dealt swiftly to those who attempt to steal another's possessions.
     One of the most beautifully cast, decorated, and executed of all mechanical banks, "Boy Robbing Bird's Nest" was a product of the vivid and fertile imagination of the most renowned bank designer of that era, Charles A. Bailey. It bears his unmistakable trademark: prolific usage of graceful floral and leaf motifs. Bailey's fascination with translating the soft, flowing lines of nature into hard, cold, cast iron was an achievement which remains unsurpassed to this date.
     Unfortunately, patent papers for this exquisite mechanical have never been located, leading one to hypothesize that the bank had never been patented. Nevertheless, several sketches and corre­spondence addressed to the J. and E. Stevens Company validate the "Boy Robbing Bird's Nest" bank as Mr. Bailey's creation.
     The J. and E. Stevens Company, of Cromwell, Connecticut, manufactured the bank around the turn of the century. Figure II is a page from their 1906 toy catalog, offering the "Tree Bank" at "$1.00 apiece. Each in a neat wooden box." A bargain indeed, when it is compared to the $18,700 price a mint example fetched at a recent Christie's auction sale.
     The action of "Boy Robbing Bird's Nest" is precise, dramatic and quite relevant to the moral­ity lesson, as previously described. For the price of a penny, the morality playlet that ensues is guaranteed to delight, teach, and amuse the beholder. To quote from the ad in Figure II: "Raise the limb of the tree to position, place a coin in the slot and press the lever. As the boy falls the coin disappears into the tree." Deposits are retrieved by removing the patented, round, Stevens coin re­tainer beneath the base.
     There are neither casting nor color variations of the "Boy Robbing Bird's Nest" bank. The colors of the one pictured in Figure I are as follows: the tree is painted light brown with silvery-green vines interspersed with bright red berries running up the side of its trunk. The cut sections at the top of the tree are yellow-ochre, highlighted with light brown swirls. The base is painted bright green with gold highlights, and the two flowers at the roots of the tree have orange petals with white centers. The boy's hat is painted indigo. The pair of birds have bright yellow feathers highlighted with brown. Their beaks and eyes are also painted brown. The boy's face and hands are a pink, flesh color and he wears an orange shirt with brown suspenders and blue pants. His hair, shoes, eyes, and eyebrows are brown, and he has a small, red mouth. The nest is dark green, surrounded by silvery-green leaves. The three tiny eggs in the nest are painted white.
     The combination of attractive appearance, ac­tion, and scarcity had encouraged the reproduction of "Boy Robbing Bird's Nest" as far back as the 1950s. Many were recast from actual factory patterns, making detection that much more difficult. More recently, reproductions were cast using original banks as patterns. These lack the fine details of the originals, and exhibit a fairly pebbly, crude appearance. They also are smaller in size than the original bank due to shrinkage of the molten iron as it cooled in the mold.
     Figure III is a base diagram of an original "Boy Robbing Bird's Nest." Most reproductions will appear approximately one-eighth inch shorter along the base than indicated.

The Spring-Jawed Parrot
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1991

      Over the past few years I have written several articles which pertain to a group of European, lead-zinc alloy banks. Having referred to them as "relatively undiscovered" by the bank-collecting community, I was quite surprised recently when informed by several sophisticated and advanced collectors of their long-time interest in acquiring these unique gems.
     The specific grouping of alloy banks being referred to were those manufactured in Germany from 1900 to 1930. Subject matter was diverse and included dogs, cats, birds, rabbits, children, trees, flowers, reptiles, elves, monkeys, houses, cameras, radios, chairs, etc., and any combination of these. Produced in the form of mechanical banks, still banks, and decorative items, they served the purpose of supplying the tourist souvenir trade in the United States as well as abroad. Several of the banks in my collection do indeed bear the inscriptions of various vacation spots throughout the world.
     Owing to the delicate nature of zinc alloy, i.e., its fragility and vulnerability to damage, fine examples of banks comprised of this material are scarce. In particular, a group of zinc alloy mechanical banks commonly referred to as the "Spring Jaws" include several of the rarest banks known.
     The "Spring-Jawed Parrot" (Figure I) is one of seven subjects in a category of zinc-alloy mechanicals which display the unique characteristic of a movable jaw, activated by an internal leaf spring. Other members of this group include "Bonzo the Dog," an al­ligator, a bulldog, a chimpanzee, a mule, and a kitten.
     The extremely low melting point of the alloy utilized in the produc­tion of these banks proved an ideal medium for small, inexpensive, highly detailed, intricate castings. The process used in their manufacture was referred to as "slush-molding." This method entailed filling a multi-section, hollow mold with a molten solution of lead and zinc. The hot solution remained within the mold just long enough for its partial solidification and adherence to the cool exterior of the inner cavity of the mold. The remainder of the molten alloy was poured out, leaving a hollow replica of the mold's interior configuration.
     If the entire array of Spring-Jaw banks, both mechanical and still, were to be scrutinized, one may only marvel at their exquisitely delicate form and detail, surpassed only by fine Viennese bronzes.
     Unfortunately, little is known about the manufacturer, inventor, or date of production of these mechanicals. Had it not been for the word "Germany" either printed or cast into their bases, the country of origin would have also remained an enigma. It may be surmised that the lack of information is the result, in part, of a common practice mandated by early twentieth-century German patent law. Since these banks, and their like, were considered relatively unimportant, they were designated "insignificant patents" and routinely destroyed after fifteen years of issuance.
     The "Spring-Jawed Parrot," as well as the entire Spring-Jaw series, have hinged heads which are secured to their bodies by a small, brass, heart-shaped "trick lock" (see Figure I). Operation of the "Spring-Jawed Parrot" is simplistic and initiated by inserting a coin into the slot atop its head, causing the vibration of a thin, internal leaf spring to which the jaw is attached. This results in movement of the lower jaw and the appearance of a chewing action. Of the three known examples of "Spring-Jawed Parrot," none vary in casting, and only slightly in coloration. Two have beaks and feet that are dark brown, whereas the third has these painted black.
     The colors of the bank pictured in Figure I are as follows: the entire parrot is painted an overall yellowish green. The crest atop its head, the tips of its wings and the end of its tail are highlighted in brownish red. Its beak and feet are painted black, and the inside of its mouth is pink. Finally, it has round, yellow eyes with large black pupils.
     There is a zinc-alloy still bank portraying a parrot with a fixed beak. It appears almost identical in casting detail and size to the Spring-Jaw version. Since this bank is not mechanical, coin insertion will not activate its lower jaw. The colors of this still bank are somewhat more vivid than its mechanical cousin.
     To my knowledge, no reproductions of any zinc alloy banks, including those in the Spring-Jaw series have been created. Nevertheless, Figure II is a contour diagram which indicates size and scale.

The Mickey Mouse Tin Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1991

      The legendary tale of  Mickey began with his conception in 1927 aboard a train bound for California. His creator, Walter Elias Disney, had come from New York and a most discouraging meet­ing with the distributor of his Oswald and Alice series. As per Walt's recollections: "Was I down­hearted? Not a bit! I was happy, at heart. For, out of the trouble and confusion stood a mocking, merry little figure. Vague and indefinite at first, but it grew and grew. And finally arrived — a mouse... By the time my train had reached the Middle West, I had dressed my dream mouse in a pair of red velvet pants with two huge pearl buttons." (1) Immediately upon his return to New York, Disney set his small studio to work on a cartoon that had "the mouse" as its star.
     Disney originally named his creation "Mortimer Mouse" — assumedly after a pet mouse which re­sided in his Kansas City studio. The renaming is attributed to Mrs. Disney. She, reportedly, thought "Mortimer" too pretentious and suggested "Mickey" — a less formal and more endearing title for the little fellow.
     Within a few years after his birth, the world was to become infatuated with Mickey Mouse. His image began to appear on clocks, watches, soap, hair brushed, pens, pencils, radiator caps, cereal boxes, clothing and needless to say, dolls and toys.
     It was during these early years that the Saalheimer and Strauss Co. of Nurnberg, Germany, acquired the rights from Walt Disney to utilize a likeness of Mickey Mouse on one of their tin mechanical banks (Figure 1). To date, no patent papers for this bank have been located.
     However, its internal mechanical parts and action so clearly duplicate those of the Saalheimer and Strauss tin "Minstral Bank" (Figure II), which was granted Patent number L-698681 on June 29, 1928, that is generally assumed the "Mickey Mouse" bank was also protected under that patent.
     Figure II is a rare, early Saalheimer and Strauss mechanical bank flyer. Note the similarity between the design of the "Mickey Mouse" bank in Figure I and that of tin "Ministral," "Scotsman," "Bonzo, the Dog," and "Jolly Joe, the Clown."
     There are no mechanical variations of the "Mickey Mouse" bank; however, there are four variants relating to the manner in which Mickey is portrayed. Aside from his gleeful depiction in Figure I, a second variant depicts our little hero dancing a jig as he plays a concertina; a third reveals him singing, with hands clasped before him; lastly, he is observed as an orator, positioned with right hand raised, left hand on his hip.
     Interestingly, the obverse of each bank displays an attractive portrayal of Mickey Mouse standing alongside an old-fashioned tripod portrait camera. The words, "Smile Please!" are visible above his head. Beneath his feet is the inscription: "If you only pull my ear, you will see my tongue appear. Place a coin upon my tongue/ Save your money while you're young."
     To operate the bank, Mickey's right ear is depressed, causing his tongue to protrude and his eyes to raise in glee. A coin is then placed upon his tongue. The depressed ear is then manually raised, causing the tongue to recede into his mouth, along with the secured coin. Deposits are removed by undoing the square key lock coin retainer underneath the base.
     The "Mickey Mouse" bank is lithographed in bright colors, as might be expected. The arched roof, as well as Mickey's pants and tongue, are red. His face, teeth and the buttons on his trousers are white. His ears, eyes, arms, legs and chest are black. Mickey wears yellow gloves and orange shoes. The upper three-quarters of the background is yellow, while the remaining portion is green. Finally, the bottom flanged base is black.
     The "Mickey Mouse" bank is extremely rare and, compounded with the fact that it is considered a "cross collectible" (I.E. not only appeals to bank collectors, but collectors of comic character toys and Mickey Mouse memorabilia), one could expect to pay a hefty sum for the privilege of adding this bank to a collection.
     To the best of my knowledge, none of the Saalheimer and Strauss tin mechanical banks have been reproduced. But, that does not deny the possibility of a broken or missing piece being replaced or repaired with a reproduced part. Needless to say, in such an instance the value of the bank, as with other fine collectibles, would be compromised.
     Despite its size, a mere 6-7/8 inches in height, and 2-7/8 inches in width, the "Mickey Mouse" bank is a charismatic and impressive addition to a bank collection.
     (1) American Heritage Magazine, 1968.

The Dinah Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1991

      History books reveal the anti-black sentiment and racist attitudes which prevailed here in the United States and Europe. In both this country and abroad, hatred and bigotry were the catalysts for the creation of demeaning artwork, literature, and objects, including children's toys. One such example is the "Dinah" mechanical bank represented in Figure I.
     On March 29, 1911, John Harper and Company, Ltd., of Willenhall, England, was granted British Registry Numbers 581,284 and 581,285 for its design of the "Dinah" mechanical bank. This registry protection was extended for five additional years on March 11, 1916, and subsequently for an additional five years on October 5, 1920.
     As evidenced by the Harper catalog page (Figure II) the company engaged in the production of several toy banks reflecting bigotry and racism. These attitudes were expressed, as well, in the United States by Harper's counterparts, namely the J. and E. Stevens Company of Cromwell, Connecticut, and the Shepard Hardware Company of Buffalo, New York. Interestingly, of the many manufactured mechanicals, only one other utilizes the image of a female, namely the "Mammy and Baby" bank (refer to Antique Toy World article dated January 1987) manufactured by the Kyser and Rex Company of Frankford, Pennsylvania.
     "Dinah" is quite graphic and colorful. It is considered by several collectors to be one of the more attractive bust-type mechanical banks. Aside from three color variations of her dress, all Harper "Dinah" banks were painted exactly alike. A yellow, brown, or blue dress would be correct in determining the originality of Dinah's painted surface. The colors of the bank illus­trated in Figure I are as follows: Dinah's face, hair, forearm, and hand are painted black. Her lips, tongue and thin lines between her teeth are bright red. Her teeth are white, as are the corneas of her eyes which have yellow irises outlined in black. Her pupils are black. Dinah sports a bright yellow dress, and her brooch, necklace and earrings are silver.
     Any casting variations apply primarily to Dinah's right arm. It may be manufactured from pressed sheet steel, recognized by its long sleeve which extends to her wrist, or from cast iron (refer to Figure 1) with its short, flared sleeve, terminating at Dinah's elbow. On both variations, the name "DINAH" is cast into her back in large gothic letters and the words "MADE IN ENGLAND" are cast into the base plate underneath the bank.
     Worthy of discussion is the fact that original Dinah "style" banks exist. These banks are made of alumi­num and neither the castings nor the painted surface is as finely executed as the Harper iron "Dinah" banks. To date, there is no information pertaining to their manufacture or circa, but they exhibit the words "MADE IN CANADA" which are cast into their backs.
     Operation of the "Dinah" bank (Figure I) is quite simple and amusing. A coin is placed into her right hand; the lever in her back is pressed downward. Simultaneously, her eyes roll upward, her tongue recedes, and her right arm raised the coin which is flipped into her gaping mouth and deposited within the bank. Coin removal is achieved by unscrewing the base plate from the bank.
     Based upon the amount of banks manufactured and the length of time they were sold, it is reasonable to assume that a substantial quantity of "Dinah" banks still exist. This places it into the "fairly common" category. Nevertheless, as with any mechanical bank, a fine or pristine example will certainly command a significantly higher price than a merely average example.
     Figure III is a base diagram indicating the size of an original "Dinah" bank. I am not aware of reproductions. However, a recast utilizing an original "Dinah" bank for a pattern will appear approximately one-eighth inch smaller than the original bank (refer to Fig­ure III). In all cases, originality can be determined by quality of the painted surface, smoothness of the castings, and overall patina.

The Merry-Go-Round Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1991

      Few mechanical banks express the simplicity and carefree joys of childhood. Counted amongst these are Girl Shipping Rope bank, manufactured by the J. and E. Stevens Company, the Leap Frog bank, a product of Shepard Hardware, and Kyser and Rex's Roller Skating bank. However, none is able to do so with the diversity of form, multicoloration, intricacy, or variety of subjects as the Merry-Go-Round bank (Figure I), subject of this article. Sentiments of innocence and serenity are portrayed in the faces of the children as they ride, endlessly in circles, upon the creatures of their fantasies.
     To date, documentation pertaining to the inventor and/or patent of this mechanical is sparse. And, had it not been for the discovery, several years ago, of an early Alfred C. Rex catalog, circa 1889, which illustrated and offered the Merry-Go-Round bank for sale, the manufacturer of this cast iron masterpiece might still be an enigma. Invention of the Merry-Go-Round is attributed to Rudolph M. Hunter of Philadelphia, PA. This is based upon the similarities between several design aspects of Kyser and Rex's Confectionary bank, an acknowledged Rudolph M. Hunter design and the Merry-Go-Round bank.
     Scrutiny of all twenty-four mechanical banks manufactured by Louis Kyser and Alfred C. Rex (including Merry-Go-Round) reveals design, casting, and painted decoration rivaled only by J. and E. Stevens Company and Shepard Hardware. Knowledgeable bank collectors and antique toy historians alike regard Kyser and Rex with the same high degree of esteem as these other two mechanical bank-producing giants of the nineteenth century.
     To operate the Merry-Go-Round bank, a coin is first placed within the slot adjacent to the coin attendant. As the crank handle in the side of the base is turned, bell chimes begin to sound and the figures revolve around the platform. The attendant, with whip-like object in hand, moves back and forth, as if to acknowledge each depos­ited fare. At the first revolution of the crank, the coin falls through the slot into the bank. These deposits are retrieved by opening a small, square, key lock underneath the base plate. Incidentally, the words, "PAID APLD FOR" are inscribed into this base plate, as well as the number "124", which is cast into the coin retainer.
     There are no obvious external casting variations of the Merry-Go-Round bank, but there are two color variants. These are confined to the panels of the umbrella-shaped canopy. They may be painted red, alternated with yellow, or as indicated in the bank pictured in Figure I, alternate colors of red, white, blue, and white.
     To complete the coloration of the bank illustrated in this article, the finial atop the canopy, as well as the poles to which the animals are attached, are painted gold. The faces and hands of the children and attendant are a pink-flesh color. Their eyes, eyebrows, and hair are black, and their mouths are red. The lone exception is the little girl perched atop the swan. She has hair that has been painted orange. Her dress is blue and her hat is red. The swan she sits upon is white with orange eyes and a red mouth. The figure of the camel is brown, and its rider sports a red outfit and blue hat. The pony is painted black, and its rider wears a blue frock and red hat. The ostrich is painted metallic copper, and the girl nestled upon its back has a red dress and a blue hat. The elephant is gray; its rider wears a blue suit and yellow hat. The attendant sports a blue jacket, yellow hat and pants, and high, black boots. The base is bright red, banded with three gold stripes. The top platform is painted tan and the crank handle is gold.
     The Merry-Go-Round bank is extremely rare and desirable. An 1888 Selchow and Richter toy jobber's catalog offered it at $8.50 per dozen. Any readers wish to place an order?!! Most often, when a Merry-Go-Round bank is located, the finial atop the canopy and/or the crank handle may be missing, or the attendant is broken off. With this bank, as well as with any antique mechanical, a missing, recast, or damaged part should be taken into consideration when making a monetary evaluation.
     To the best of my knowledge, the Merry-Go-Round bank has not been reproduced. Nevertheless, I am including a base dia­gram (Figure II) to aid the collector in determining size and scale. If the bank were to be recast, it would appear approximately one-eighth inch shorter along the base than indicated. This would be due to iron shrinkage as it cooled in the mold.

The Light of Asia Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1991

      The late nineteenth century was a spectacular era for the great American circuses. It was also a period in which fierce rivalry erupted between their owners. Competition ensued between P.T. Barnum, the undisputed giant of all circuses, and Adam Forepaugh an entrepreneur with an enormous ego. Barnum's Circus exhibited "Jumbo," claiming it to be, and in actuality it was, the "Largest Living Quadruped on Earth" (Figure I). This did not daunt Forepaugh, for he proceeded to advertise one of his elephants, namely "Bolivar," as the "Largest and Heaviest Elephant in the World." (Figure II).
     Subsequent to the tragic death of Jumbo on September 16, 1886, P.T. Barnum attempted to recreate the notoriety and glamour formerly surrounding the pachyderm by conception of another enigma of the animal kingdom. His idea took the form of a rare new discovery: Toung Taloung, the "Sacred White Elephant of Burma." Purchased several years earlier at a cost of $75,000., Toung Taloung, the "Pure White" Elephant, proved to be a tremendous flop since, in appearance, it was the same gray color as most elephants except for a few pinkish spots around its ears. Barnum's disappointment turned out to be Forepaugh's opportunity. He secretly whitewashed one of his own elephants a pure white color and billed it as the "Genuine Sacred White Elephant," "Light of Asia" (Figure III). Adding insult to injury, he referred to Barnum's elephant as an outright fraud.
     The notorious "battle of the white elephants" gave J. and E. Stevens Company of Cromwell, CT, an opportunity to capitalize on the situation. The company incorporated the likeness of "Light of Asia" into a mechanical bank, as shown in Figure IV.
     Worthy of mention is the fact that "Light of Asia" mechanical bank and the "Jumbo" me­chanical bank (Antique Toy World article dated December, 1987), both products of the J. and E. Stevens Co., utilize the same exact castings for their heads and their four-wheeled bases. They differ only in the castings of their bodies and the colors in which they were painted. To date, no patent papers for either the "Jumbo" bank or "Light of Asia" have been located. Perhaps the reason Stevens may never have applied for a "regular" patent on either bank is that the action so closely resembled that of the "Tammany" bank, whereby a coin is inserted and the head nods, that no need was felt to further protect the two banks. However, this is merely conjecture in the absence of more plausible, or factual, information.
     The action of the "Light of Asia" bank can only be described as simplistic. Placing a coin into the slot atop the elephant's back causes its head to nod up and down. Coin removal, on the other hand, was more complicated. The bank needed to be disassembled, which was accomplished by removing the large screw securing both halves of its body.
     "Light of Asia" is considered quite scarce, and possibly for the following reasons: since it was also designed as a pull toy, it is likely that the bank experience rough handling. Unfortunately, its small size and delicate casting were not intended to withstand this type of treatment. Combined with the complexity of coin removal, it is fortunate any intact examples exist today. One must also take into account that "Light of Asia" might have enjoyed only a very short period of production, ending when Adam Forepaugh's "faux pas" was exposed.
     There are no casting or color variations of "Light of Asia." The colors of the bank pictured in Figure IV are as follows: the entire elephant is painted light gray. Its ears and portions of its legs are highlighted in pink. It has white eyes with black pupils, and a red mouth. Its blanket is bright red, with a yellow braided border. The words "Light of Asia" and the crescent moon design are painted gold. The platform and wheels upon which the elephant stands are bright green with gold accents.
     I am not aware of any reproductions of the "Light of Asia." Nevertheless, Figure V is a wheel diagram which should help determine the size and scale of the bank. A recast would appear approximately one-sixteenth of an inch smaller than indicated.
     Correction: It was erroneously stated in the December 1987 Antique Toy World article, "The Jumbo Bank," that the J. and E. Stevens Co. also manufactured the "Elephant with Tusks on Wheels" bank. Discovery of new evidence indicates the likelihood of Kyser and Rex Co. of Frankford, PA, as its manufacturer. Further elaboration will be contained within a future article in this magazine.

The Frog on Rock Bank
(Jug-O-Rum)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1991

      Nature in its creative and splendiferous fashion, provided the inspiration for several nineteenth century designers of mechanical banks. Depictions of amphibians are abundant, since obviously, what creature could possess a more appropriate receptacle for coin gobbling than the cavernous-mouthed frog. Among the mechanicals utilizing amphibians are: "Professor Pug Frog's Great Bicycle Feat," "Frog on Round Base," "Chief Big Moon," "Snake, Frog in Pond," "Flip the Frog," "Frog on Arched Track," "Goat, Frog and Old Man," "Initiating Bank, First Degree," "Two Frogs," "Toad on Stump," and the subject of this article, "Frog on Rock" (Figure I).
     The "Frog on Rock" bank is but one of a group of four mechanical banks designed by M. Elizabeth Cook of Ohio. Ms. Cook was a highly-acclaimed artist and sculptress of her time. The sensitivity and simplistic qualities evident in the banks' designs bear testimony to her extraordinary talent. In addition to "Frog on Rock" (originally christened "Jug-O-Rum," the frog), the group of banks included "Pokey," the turtle, "Flop Ears," the rabbit, and "Blinky," the owl. "Blinky" is the only bank of the aforementioned to have had a variation: i.e. the coin slot is located either in its head or the end of the book under its wing. Worthy of mention at this time is the fact that "Pokey," the turtle, is not only the rarest of the four, but it has the distinction of being one of the rarest in the entire category of mechanical banks.
     The banks presently under discussion were produced by the Kilgore Manufacturing Co. of Westerville, OH. They were originally referred to collectively in Kilgore advertisements and catalogs as "The Thrifty Four" and "The Toytown Workers Group." Unfortunately, to date, no patent information has surfaced. However pertinent data obtained through period catalogs suggests manufacture of "The Thrifty Four" occurred sometime between 1920 and 1934.
     Interestingly, most mechanical banks of that era were packaged individually in sturdy wooden boxes due to their size, weight and complexity. The "Thrifty Four" were also packaged individually but, due to their minute size, were placed into small cardboard containers as pictured in Figure II (from the collection of Greg Zemenick).
     The box housing "Frog on Rock" or, as it was originally named, "Jug‑O-Rum," has the following poem inscribed on its side:
 
          Flop-Ears the Rabbit hops around
          Lifting his ears for every sound
          He sees Blinky the Owl, high in an Oak
          And hears the Frog, Jug-O-Rum croak,
          And wonders if Pokey, the turtle, so slow
          Can catch up with him, if he keeps real slow.
 
     The front of the box, beneath the illustration of the frog, contains the following verse: Says old Frog Jug-O-Run/Save money and have some.
     Activation of "Jug-O-Rum" is achieved by pressing the small lever under its chin. This opens its mouth in order to accept de­posits. Upon release of the lever, the jaw closes, securing the coins within. Coin removal is accomplished by removing the cast iron key-lock coin retainer underneath the base. Original coin retainers were man­ufactured both brightly nickel-plated and unplated.
     There are neither casting nor color variations of the "Frog on Rock." The colors of the bank illustrated in Figure I are as follows: its body is dark green. It has black lips and its eyes are painted white, outlined in black with black pupils. The webs of its feet are bright orange, as is its lower jaw. "Jug-O-Rum" is perched upon a black rock, which is highlighted with red.
     When displayed, the gem-like coloration of "Frog on Rock," as well as the other banks in the Kilgore series, are extraordinarily attractive and appealing.
     I am not aware of the existence of reproductions of "Toytown Workers Group." Nevertheless, the base diagram of "Frog on Rock" (Figure III) will aid the collector in determining size and scale. A recast would, most likely, appear approximately one-sixteenth of an inch shorter in length than indicated.

The Spring-Jawed Chimpanzee
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1992

      Members of the primate family, specifically monkeys, were a popular subject, ofttimes utilized by nine­teenth-century manufacturers of banks and toys. Less popular, indeed, was the anthropoid ape of Africa, known as the chimpanzee. Only two mechanical banks represent members of this family of "Great Apes." These are the "Chimpanzee Bank" produced by Kyser and Rex, and the "Spring-Jawed Chimpanzee" (Figure I), subject of this article.
     The "Spring-Jawed Chimpanzee" is one of seven subjects which comprise a series of banks referred to as the Spring-Jawed Mechanicals. Other members of this unique set include an alligator, "Bonzo" the dog, a sleepy mule, a parrot, a grey kitten, and an English bulldog. Although the entire spring-jawed group is scarce, the Chimpanzee is considered one of the rarest, with possibly three or four examples known to exist in collections.
     The entire group of banks is composed of a zinc-lead alloy, commonly referred to as "pot metal." In view of its extremely low melting point, this material lends itself easily to a casting process called "slush mold­ing." This method of production entails filling a multi-sectional hollow mold with a molten solution of the alloy. As the liquefied metal cooled and solidified within the inside walls of the mold, the remaining viscous metal was quickly expelled. Once fully cooled, the mold was separated, revealing a perfectly detailed, hollow, positive image of the interior of the mold.
     This process provided the manufacturer with a two-fold benefit: it is extremely inexpensive, and the cast object is exquisitely smooth, sharp, and highly detailed. The major disadvantage is the resultant fragility of the castings. It is this inherent weakness which, most likely, accounts for the scarcity of the entire category of zinc-alloy banks, whether they be mechanical or still.
     Operation of the "Spring-Jawed Chim­panzee" is incomplex. A coin is inserted through its mouth, activating a thin, internal steel leaf spring attached to the Chimp's lower jaw. This creates a wobbly action to the jaw, which gives the illusion of our Simian friend chewing the ingested coins. The deposits are removed by undoing the small, heart-shaped "trick lock" beneath its jaw, and opening its hinged head.
     There are no casting or color variants of the "Spring-Jawed Chimpanzee." The color of the bank represented in Figure I are as follows: It is painted, overall, a tan color. Its face, hands, feet, and ears are highlighted in pink. Its eyes are orange with black pupils, and it has black eyebrows and a black nose. Its lips and tongue are painted a dark shade of pink.
     The "Chimpanzee Bank," as well as the entire Spring-Jawed series, reflect the caliber and quality of craftsmanship and artistry practiced in German bank and toy production during the turn of the century. Unfortunately, very little is known about the manufacturer or dates of production of these banks. Had it not been for the word "GERMANY" printed underneath their bases, the country of origin would also have remained an enigma. It may be assumed this lack of data pertaining to the banks was the result of a practice common to nineteenth-century German patent law. Insignificant inventions and simple toys were included in the designation of "Registered Designs" rather than true patents. These documents were mandated to be discarded after only fifteen years, sadly leaving a void for future researchers and historians of German alloy mechanical banks.
     To my knowledge, none of the Spring-Jawed series have been reproduced. However, Figure II is a contour drawing of the "Chimpanzee Bank" for the purpose of aiding the collector in determining size and scale.
     Once again, I request readers with further knowledge, and perhaps of other subjects relating to the Spring-Jawed series, to please contact this writer at P.O. Box 104, East Rockaway, New York 11518, to share information through future articles.
     Correction: (from May, 1992) Refer to the article entitled "Spring-Jawed Chim­panzee," January 1992 issue of A.T.W. It was erroneously stated that the Chimp appears as the subject of only two different mechanicals: the cast-iron "Chimpanzee" bank (Kyser and Rex) and the zinc-alloy "Spring-Jawed Chimpanzee" bank (of German manufacture). It have since been informed by a fellow mechanical bank collector, Mr. Tom Stoddard, that he is in possession of yet a third variety in which the chimp is featured. It also has a movable jaw and is composed of zinc-alloy. But since it is larger and heavier and appears to have never been painted, it bears no resemblance whatsoever to the "Spring-Jawed Chimpanzee" bank.

The Elephant with Tusks on Wheels Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1992

      During the mid-to-late nineteenth century, rivalry between entrepreneurs such as P.T. Barnum and Adam Forepaugh led to shenanigans which are believed responsible for elevating the American circus to unparalleled heights. It was this rivalry which also led to the creation of a legend in the form of "Jumbo," the infamous circus phenomenon. This largest of all living creatures on earth exerted a tremendous impact upon the population during that time. As "Jumbo-mania" swept the nation, the elephant's likeness was utilized in conjunction with products such as packaged foods, clothing and toys.
     One of these toys was the "Jumbo" mechanical bank (Figure I) produced by J. and E. Stevens Co. of Cromwell, CT. The success of "Jumbo" is believed to have given the impetus to the manufacture of another bank, and the subject of this article, namely "Elephant with Tusks on Wheels." Figure II represents "Elephant with Tusks," which was produced by the Kyser and Rex Co. of Frankford, PA.
     For several decades, information pertaining to patents, advertisements and catalogs for this mechanical appeared to be quite elusive. For this reason, as well as the remarkable similarities between "Jumbo" and "Elephant with Tusks," antique toy historians conjectured that both banks had been manufactured by J. and E. Stevens. Recently, however, Mr. Anthony Annese, a friend and a collector of antique toy catalogs, brought to my attention an 1882 copy of a Kyser and Rex jobbers catalog illustrating the "Elephant with Tusks on Wheels" as one of their products (Figure III). The following description was contained within the advertisement: "No. 115, Size 3 inches high 4 inches long and 2 wide. The animal moves its head when a coin is deposited. It is a toy as well as a bank. Painted natural color, and packed one-half dozen in a box and two gross in a case."
     The "Elephant with Tusks on Wheels" is handsomely designed and executed. This is typical and consistent with the entire line of toys and banks manufactured by Kyser and Rex. Their finely detailed castings and artistic finishes have placed them alongside J. and E. Stevens and the Shepard Hardware Co. as the three leading nineteenth-century mechanical bank producers.
     The action of "Elephant with Tusks on Wheels" is incomplex (and reminiscent of the "Jumbo" bank in Fig­ure I). A coin is placed into the slot in the elephant's back which causes its head to nod up and down. Deposits are removed by opening the screw which fastens both halves of the body together.
     There are no casting or color variation of "Elephant with Tusks." The colors of the bank shown in Figure II (as well as the "Jumbo" bank in Figure I) are as follows: the entire body and head are painted dark brown. It has white eyes with black pupils and a red mouth. Its blanket is bright red, fringed in yellow. The platform and wheels are bright green.
     Repeated references throughout this article have been to the similarities between "Jumbo" and "Elephant with Tusks." However, they differ significantly in the matter of scarcity. "Elephant with Tusks on Wheels" is considered extremely rare in view of the fact that merely four or five examples are known to exist. Possibly, Kyser and Rex may have infringed upon a design or mechanical patent relating to the J. and E. Steven's "Jumbo" bank. Or, perhaps, their "Elephant with Tusks" bank was too similar in action and appearance to "Jumbo." In either case, Kyser and Rex may have ceased production and sales of their bank voluntarily, or through court order, resulting in the current situation wherein few examples are known to exist.
     Figure IV is an ad from an 1886 Selchow and Richter toy jobbers catalog, offering the Kyser and Rex "Elephant Bank" for the modest sum of $1.75 per dozen!
     I am not aware of any reproductions of "Elephant with Tusks on Wheels." Nevertheless, Figure V is a base diagram which should help determine the bank's size and scale. A recast would appear approximately one-eighth inch smaller than indicated.
     Note: The "Elephant with Tusks on Wheels" bank shown in Figure II is a superb, all-original example from the Steckbeck Collection.

The Bank of Education and Economy
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1992

      The subject of this month's article, represented in Figure I, most aptly fulfills the promise implied by its name. The "Bank of Education and Economy" undisputedly offers educational enrichment through the act of saving money. Unfortunately, the data imparted by this device warrants describing the bank as a fountain of obscure information.
     Contained within is a fairly large roll of paper, upon which are recorded countless questions, as well as quotations and their sources. The following is a sampling: Questions — "What do you consider the greatest work of Justin?"; "What made Archibald Forbes famous as a war correspondent?"; "Name some of the works of Rose Terry Cooke?" Quotations — "Happiness is the natural flower of duty" — Brooks. "The head ever the dupe of the heart" — La Rochefoucauld. "No possession can surpass, or even equal, a good library" — Langford, etc., etc., etc.
     The words "PATENTED APR-30-95" are cast into the front of the bank (Figure I). This facilitated the discovery of the patent information, shown in Figure II.' On April 30, 1895, Mr. James S. Barcus, of Chicago, Illinois, received a patent for his invention of a "coin controlled apparatus for advertising and educational systems." The words "MFG-BY PROCTOR-RAYMOND CO., Buffalo, N.Y." are cast into the underside of the base and aided in establishing the identity of the individuals, as well as the firm involved with the production of this mechanical.
     The advertisement shown in Figure III is copied from the 1896 Buffalo Business Directory.' It depicts the Proctor-Raymond Company as a firm that possessed the technology and capability of manufacturing a cast-iron bank, despite the fact that it had never advertised itself as an iron foundry.
     The "Bank of Education and Economy" is activated by the insertion of a dime (the only coin which can be utilized) within the coin slot atop the bank. This allows the depositor to rotate the round knob clockwise one turn. As the dime is deposited, a slip of paper with a question on one side and a quotation on the other emerges from the top of the bank. Deposited coins build neatly behind a small glass window in the front area of this mechanical. As the stack of coins increase, they raise a lever which extends through the top of the bank. In order to remove the deposits, the lever is manually depressed, releasing an internal spring device. This allows the small, sliding trap door underneath the base to be pushed aside, liberating the coins.
     There are no color variations of the "Bank of Education and Economy." However, there is one casting variant. This provides for a chuted-coin slot designed into the front of the bank.
     The mechanical pictured in Figure I is a delicately cast mass of graceful, free-flowing forms, swirls and curlicues, finely executed in cast iron and brightly nickel plated. I am not aware of any reproductions. Nevertheless, Figure IV is a base diagram indicating size and scale. If it were to be reproduced, more than likely it would appear approximately one-sixteenth of an inch smaller than indicated.
     The "Bank of Education and Economy" is extremely scarce. Combined with its simple, yet elegant, appearance and historical significance, it is a most attractive addition to a collection.
            *****
     1)   My thanks to Mr. Bernard H. Thomas, Technical Information Specialist at the Washington, D.C., Patent Of­fice for supplying the information shown in Figure II.
     2)   Ms. Mary F. Bell, Director of Library and Archives, Buffalo and Erie County Historical Society, was most helpful in providing the advertisement shown in Fig­ure III.
     3)   The excellent example shown in Figure I is from the collection of the College Savings Bank, Princeton, New Jersey, Mr. Peter A. Roberts, Chairman.

Presto Trick Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1992

      The focus of attention and discussion for this month's article centers upon an obscure, under­rated, and seemingly insignificant cast-iron mechanical bank, namely the "Presto Trick Bank." It is only upon close inspection that one can forgive its diminutive size and modest action. For, it is then that its attributes will be revealed: i.e., an architectural grace, enhanced by well-proportioned, finely detailed castings. It is a structure whose facade ap­pears to reflect the strength of a medieval castle, capped by a graceful, twelfth-century Byzantine, cupola-shaped roof.
     The "Presto" bank, Figure 1, was advertised in an 1892 issue of Marshall Fields and Company catalog. It was referred to as the "Presto Trick Bank," Figure II, presumably because of its action: place a coin into the drawer; close the drawer shut; open the drawer once again and, PRESTO, the coin has disappeared!
     To date, the bank's designer and manufacturer remain anonymous. However, similarities in casting, form, key lock coin retainer shape, and painted decoration have led collectors and historians to the belief that the "Presto" bank may have been a product of the Kyser and Rex Company of Frankford, Pennsylvania.
     Interestingly, the "Presto" can be placed into two distinct categories of mechanical banks. One classification is "Building Banks," which comprise the largest number of mechanicals in any one category, and the other, the "Trick Drawer Banks." Examples of the latter variety include the "Chandler Bank," "Ideal Bureau," the "Model Savings-Cash Register Bank," the "Trick Savings Bank," "Serrill's Bureau," and the "Freedman's Bureau."
     The advertisement shown in Figure II states, "the bank contains the novel feature of a trick drawer." Also indicated is a description of the bank's operation: "Press down the button over the front door and the drawer will fly open. Put the coin in and close it. When the button is again pressed, the drawer will fly open, but the coin will have mysteriously disappeared. The money can be removed from the bottom of the bank by means of a lock and key."
     There are no casting or color variations of the "Presto" bank. The colors of the mechanical pic­tured in Figure I are as follows: the entire facades is painted a light brown japanning. The front door and cupola are bright red. The ball atop the cupola, the name "PRESTO," the trim around the bottom of the roof, trick drawer, and the base of the bank are bright gold. Finally, the doors and windows are outlined in silver.
     The "Presto" key lock coin retainer is quite unique in that it is semicircular with a single flat edge. It is similar in appearance to the coin retainer utilized in Kyser and Rex's "Confectionery Bank." In addition, the number "485" is cast into the bank's coin retainer. Referring to Figure II, this number seems to reflect a numerical catalog designation given to "Presto" by its manufacturer.
     Of note, several other manufacturers of cast-iron still banks had blatantly copied the "Presto" bank's design for their own use. This sort of plagiarism can only be explained by the fact that, although the words "PAT APD" are cast into the back of the "Presto" mechanical, assumedly no patent was ever issued. Figures III, IV, and V, respectively, are ads featuring still bank designs similar to the "Presto" mechanical bank. These are the "CASTLE" bank by the Arcade Manufacturing Company, Freeport, Illinois; the "JEWEL" bank by the Kenton Hardware Company, Kenton, Ohio, and the "TOWER TOY" bank by the A. C. Williams Company, Ravenna, Ohio.
     The "Presto" mechanical bank is not considered rare, but acquiring one that is complete and unbroken with superb paint can prove a difficult task. However, its acquisition may be well worth the pur­suit since it is an attractive and fine addition to a bank collection.
     "Presto" has been reproduced. Figure VI is a diagram indicating the base size of an original. A recast will appear approximately one-sixteenth of an inch smaller than indicated.

Professor Pug Frog’s Great Bicycle Feat
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1992

      The year was 1886, and bicycle mania was sweeping the nation. Roads and sidewalks of American cities were teeming with cyclists, perched atop their new­fangled high wheelers (Figure I). It was also a time of unparalleled popularity enjoyed by American circuses. It is no surprise, therefore, that when Charles A. Bailey, master bank and toy designer, approached the J. and E. Stevens Company, of Cromwell, Connecticut, with the opportunity to purchase the rights to produce and market his "Pug Frog Bicycle" bank, acceptance was immediate. Here, indeed, was a mechanical bank that, most assuredly, would appeal to almost everyone, children and adults alike. The charm of an adorable frog, a bicycle, a circus clown and Mother Goose, combined with the practicality of a children's savings device (Figure II), could prove nothing less than a sales bonanza!
     Figure III represents a copy of the original agreement between Charles A. Bailey and the J. and E. Stevens Company. Dated April 12, 1886, it authorized transfer of all rights of production and manufacture of Bailey's "Pug Frog" bank to them.
     An explanation of how, or why, Bailey would have conceived of such an illogical image as that of a frog performing somersaults upon a high-wheeled bicycle, remains a riddle. Perhaps the bank was based upon an obscure Mother Goose nursery tale, or merely a local folk fable. Or, might it have been only a figment of Bailey's fertile imagination? In my quest to answer this puzzle, several days were spent researching children's books at the Library of Congress in Washington, D.C., but to no avail. I did, however, discover a nineteenth-century personalized bookplate featuring the image of our bicycles (Figure IV). The plate had been pasted inside the front cover of an undated copy of Moby Dick. It would be of interest to learn which came first: Bailey's "Pug Frog" bank, or the image in Figure IV.
     To date, neither patent information nor documentation pertaining to the "Pug Frog" bank has surfaced. Had it not been for the agreement (Figure III) and an early 1888 J. and E. Stevens catalog picturing the bank on its front cover, the inventor and manufacturer of this timeless classic may have remained an enigma. The action of "Pug Frog" is both amusing and surprising. The bank must first be wound in order for it to operate properly. This is accomplished by rotating the bicycle pedal clockwise two or three turns. Once wound, a coin is placed upon the flat area above the small rear wheel. The lever in front of Mother Goose's left hand is then tapped. The frog and his bicycle rapidly rotate a full 360 degrees, throwing the coin into the clown's gaping basket. The rear wheel strikes the book held by Mother Goose and that, in turn, strikes her face which causes her tongue to wiggle.
     When a "Pug Frog" bank is discovered, it is frequently with the lower jaw of "Pug" either snapped off or repaired. This was, and is, due to the misconception of the location of coin placement prior to the bank's activation. It does, indeed, appear to be incorrectly obvious that the ideal depository for the coin would be the frog's mouth. Fortunately, an advertisement for the "Professor Pug Frog" bank appearing in an 1882 Marshall Field and Company jobbers catalog (Figure V) elucidated proper placement of the coin prior to operation as directly over the rear wheel. Caution must be exercised, for even a slightly oversized coin jammed into the frog's mouth is likely to result in a fractured lower jaw.
     The "Pug Frog" bank is placed into the unique classifi­cation of cast iron, clockworks mechanical banks. This group is, possibly, one of the single most desirable categories, for it includes such classics as "Girl Skipping Rope," "Organ Grinder and Performing Bear," the "Motor Trolley Bank," and "Bulldog Savings Bank." Although the "Pug Frog" is not considered rare, its charisma, multi-chromatic appearance, subject matter and action dictate a lofty sales price. This is in sharp contrast to the pur­chase price of a "Pug Frog" bank in 1882, when Marshall Field and Company sold each for the sum of 70 cents!
     There are no significant casting variations of the bank, but there are two color variations. These pertain solely to the drapery covering the front center section. It may be either white with red letters (pictured in Figure II), or red with gold letters. The following coloration is consistent throughout both variations: "Pug Frog" is painted an overall dark green. His chest, eyebrows and the rims of his ears are yellow. His lips are red and he has white eyes with black pupils. His bicycle is silver with a brown seat and a light blue pedal. Mother Goose wears a red bonnet, a blue blouse with a yellow collar and a red dress with a yellow hem. She has blue eyes and a red tongue. Her books contain white pages, edged in gold and bound in light blue. The clown sports a yellow-ochre hat with blue decorations. His coat is blue with a red collar and belt. His knickers are red and his socks are painted white. He wears black shoes, each topped with a red pompon. Finally, the basket he embraces is lemon-yellow, as is the platform supporting the Professor and his bicycle.
     "Professor Pug Frog's Great Bicycle Feat" has been reproduced. Figure VI is a base diagram indicating the dimensions of an original example. A recast will appear approximately one-eighth to one-quarter of an inch shorter along the base than indicated.
     Correction: Refer to the article entitled "Spring-Jawed Chimpanzee," January 1992 issue of A.T.W. It was erroneously stated that the Chimp appears as the subject of only two different mechanicals: the cast-iron "Chimpanzee" bank (Kyser and Rex) and the zinc-alloy "Spring-Jawed Chimpanzee" bank (of German manufacture). It have since been informed by a fellow mechanical bank collector, Mr. Tom Stoddard, that he is in possession of yet a third variety in which the chimp is featured. It also has a movable jaw and is composed of zinc-alloy. But since it is larger and heavier and appears to have never been painted, it bears no resemblance whatsoever to the "Spring-Jawed Chimpanzee" bank.

Zoo Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1992

      During the "Golden Age" of mechanical bank production (1870-1910), foundry toy designers incorporated recent and important events, or popular subjects, into their mechanical banks. Well-known examples include "Jumbo Elephant" (A.T.W., December 1987), "Humpty Dumpty" (A.T.W., July 1984), "Darktown Battery" (A.T.W., January 1985), "Boy Scout Camp" (A.T.W., March 1986), and "Calamity" (A.T.W., August 1985). It is not surprising, therefore, that with the successful debut of zoological parks in the United States, at least one bank manufacturer sought to cash in on their popularity with the creation of the "Zoo" Bank.
     The first zoological gardens was founded in Philadelphia, Pennsylvania, in 1859 and opened to the public in 1874. This was followed by the National Zoological Park in Washington, D.C., which was established in 1890 by Congress "for the advancement of science and the education and recreation of the people." The advent of sanctuaries for living wild animals, a custom as old as recorded history but new to this country, was greeted with enthusiasm by a receptive public. It was this atmosphere into which the "Zoo" Bank was born.
     To date, attempts to determine the inventor and/or manufacturer of the "Zoo" Bank (Figure I) have been unsuccessful. Fortunately, the time period in which it was offered for sale came to light with the discovery of an 1894-95 Selchow and Righter toy jobbers catalog. In it was an advertisement for the "NEW 'ZOO' BANK, priced per dozen at $2.00" (Figure II).
     Historians and mechanical bank collectors believe that the bank might have been a product of the Kyser and Rex Company of Frankford, Pennsylvania. Their supposition is based upon the number of similarities between "Zoo" Bank and several other mechanicals produced by the company. These similarities include casting features, paint type, coloration, and the common use of square lock coin traps.
     Two other mechanicals which share the same lack of data pertaining to patent, inventor, and manufacturer are the "Uncle Remus" Bank and "Boy Stealing Watermelons" Bank. These are also believed to have been manufactured by Kyser and Rex since they exhibit many similar design characteristics such as coloration and paint application technique. In addition, all three banks have one of the following numbers molded into their back plates: 133, 134, 136, leading to the assumption that the trio was part of a series. Interestingly, they all share the unique design characteristic of buildings which display severely foreshortened perspective, lending the illusion of greater depth than the banks actually achieve.
     The action of the "Zoo" is simple, effective, and surprising, as described in the advertisement in Figure II: "The money is put in the slot and remains in sight until the monkey's face is pressed, when it falls, the shutters fly open and the lion and tiger put their faces through the windows. The shutters can be snapped shut and the bank is ready for business." (Curiously, the ad describes the animals behind the shutters as a lion and tiger. In actuality, they are a lion and bear.) Coin deposits are retrieved by removing a square, key lock retainer underneath the base.
     There are no casting variations of "Zoo" Bank, and few slight accidental color deviations, which are of no significance. The colors of the bank illustrated in Figure I are as follows: The building is red. The roof is painted grey with gold highlights. The side door and the ground are green, both highlighted with gold. The bear in the left window is black and silver; the lion in the right window is tan and brown, and the monkey peeking through the arched window in the cupola is brown and bronze with a red mouth.
     "Zoo" is an extremely attractive and desirable mechanical, and an asset to a collection. Its colorful appearance, subject matter, and surprise action more than make up for its diminutive size.
     To date, and to the best of my knowledge, no reproductions have been manufactured. In the event that one may exist, it would appear ap­proximately one-sixteenth inch shorter in length than indicated by the base diagram (Figure III) of an original "Zoo" Bank.

The General Butler Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1992

      A most unique and impressive penny bank, and one that deviates from the type usually discussed in this column, is the "General Butler" still bank (Figure I). Its "dual personality" contributes to its desirability and appeal to collectors of both mechanical and still banks. Compared to others in the cast iron, figural, still bank category, it is the largest and most elaborately painted. It also bears an uncanny resemblance to the multifarious family of mechanical banks produced by the J. and E. Stevens Co of Cromwell, CT.
     Unfortunately, there is no mention of the manufacturer of "General Butler" in either catalogs or advertisement of the period, nor in the patent papers shown in Figure II. Furthermore, had it not been for the utilization of a round J. and E. Stevens' coin retainer, its heritage might have remained an enigma.
     The Butler bank was patented by Arnold Seligsberg of New York City on November 12, 1878, and assigned Design number 10,907. Although the patent papers make no mention of the name of its subject, there can be little doubt on the part of the viewer as to the individual's identity. It is a remarkably accurate, albeit cruel, caricature, of the great Civil War statesman, politi­cian, general, and lawyer, Benjamin Franklin Butler (Figure III). In addition, if we were to examine historical records of the period, the idea of his resemblance being merely coincidental would be quickly dispelled.
     The year was 1872 and the country was sliding into a deep depression. An economic phenomenon known as "Greenbackism" was rapidly emerging. Disenchanted farmers and failing businessmen demanded that the government place additional paper money, or "greenbacks," in circulation although they would not be backed by hard gold or silver currency. Benjamin Butler, serving in Congress as an Independent Greenbacker, demanded the government continue the issuance of paper money in lieu of hard currency. Ultimately, the result was uncontrollable inflation and a glut of worthless greenbacks. Mr. Seligsberg's design, Figure II, portrays and describes the character of his penny bank as a green-backed frog "grasping a piece of paper money."
     In 1873, Ben Butler purchased the yacht "America" at a bogus government auction for a mere $5,000. He was the sole bidder, thanks to arrangements by friends in the United States Navy Department.
     As mentioned previously, if there was any question as to who Arnold Seligberg's creature repre­sented, J. and E. Stevens eradicated all doubt. Not only did they refine the bank's facial features to more closely resemble those of Ben Butler (Figure III), they also added the words, "For the masses" on the bank's left arm, "This is $1,000,000" on the package of greenbacks carried in its left paw, and the words "Bonds and yachts for me" on its right arm.
     Created as a still bank, there is, of course, no action which follows the placement of a coin within the general's cavernous mouth. Alas, our green-backed frog remains perpetually unanimated. Deposits are removed by opening the round Stevens' coin retainer underneath the base.
     There are no casting or color variations of the Ben Butler bank. Colors of the bank in Figure I are as follows: the face is painted a pink-flesh tone and the eyes, eyebrows, hair, moustache and claws are black. The belly and back are painted dark green, and both arms and legs are yellow‑green. The paper money in the left paw is bright emerald-green and the base is reddish-brown. Finally, all lettering on both arms and the numbers on the greenback currency  are highlighted in the same pink-flesh tone as the face.
     The Butler bank is considered quite scarce and is sought after by both still and mechanical bank col­lectors alike. A truly superb example was recently purchased at an auction held in New York City. The selling price was that generally realized for a mechanical bank and, not surprisingly, purchased by a collector of mechanical banks.
     To the best of my knowledge, the "General Butler" bank has not, heretofore, been reproduced. Nevertheless, I am including a base diagram (Figure IV). In the even that it had been recast, it would appear approximately one-eighth of an inch shorter along the base than indicated.

The Spring-Jawed Penguin
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1992

      Clumsy, comical, and flightless is the sea bird known as the penguin. This member of the Aptenodytes genus appeared to have been overlooked in favor of other winged denizens chosen to represent the world of mechanical banks. However, a recent discovery within the ranks of the "Spring-Jawed" group of mechanicals has happily remedied that situation.
     The "Penguin," Figure I, is one of eight subjects which comprise the aforementioned grouping. Other members of this unique set had been discussed in previous Antique Toy World articles: i.e., "Alligator" (October 1987), "Bonzo" (October 1988), "Kitten" (November 1989), "Bulldog" (June 1990), "Mule" (February 1991), "Parrot" (July 1991), and "Chimpanzee" (January 1992).
     The "Penguin" bank, as well as the entire series, reflects the quality of craftsmanship and artistry evident in German bank and toy production during the turn of the 20th century. Unfortunately, there is little information pertaining to the manufacturer and/or date of production of these banks. As stated in previous articles, had it not been for the word "GERMANY" printed underneath the bases of several examples, the country of origin would also have remained unknown.
     It may be assumed, perhaps, that lack of pertinent data relating to the "Spring-Jawed" series was the result of a practice common to nineteenth-century German patent law. It was during this time that nonessential products were designated as Deutsches Reichs Ge­brauchs Muster (D.R.G.M.), meaning second-grade patents, and not listed in the Annels Patent Index. This was in contrast to Deutsches Reichs Patent (D.R.P.), meaning the full Ger­man patent. It was the practice to routinely discard second-grade patents after fifteen years. This, of course, resulted in the existent void for collectors and historians who seek further knowledge of these toys.
     Worthy of mention at this time is the reason for the designation "spring-jawed" when referring to this particular group of banks. The lower jaw of each subject is secured internally to the inside back of its head by a thin, steel leaf spring. Upon insertion of a coin through the bank's coin slot the leaf spring is activated, causing the lower jaw to jiggle in a manner of chewing. The deposits are removed by undoing a small, brass, heart-shaped "trick lock" and opening the hinged heads.
     The "Penguin" is the rarest of the group, with only one known example to have surfaced. Nevertheless, the "Parrot," "Mule," "Chimpanzee," and "Bulldog" assume a close second place in terms of scarcity, since there are only three or four examples of each known to have survived. The rarity of the group is attributed to the nature of its composition. A zinc-alloy, commonly referred to as "pot metal," was utilized in its manufacture. This material is extremely fragile and quite prone to breakage at the slightest mishandling. It also rapidly deteriorates under certain adverse conditions, such as high humidity or an acidic environment. Conversely, it is the soft, fragile nature of zinc-alloy that enables castings to be smooth and intricately detailed, as evidenced by the entire "spring-jawed" family.
     The method of manufacture is referred to as the "slush mold" process. It entails filling a multisectional hollow mold with the molten ("pot metal") zinc alloy. As the liquefied metal cooled and solidified within the inside walls of the mold, the remaining viscous metal was quickly expelled. Once fully cooled, the mold was separated, revealing a hollow, smooth, perfectly detailed, eggshell-thin positive image of its interior.
     All examples of the "Spring-Jawed" mechanicals are attractively decorated. The colors of the "Penguin" bank pictured in Figure I are as follows: the entire back, wings, head, and beak are painted black. It has two tiny white eyes with black pupils. The chest is white with an indication of light gray plumage stretching from wing to wing. The "Penguin" has a white jaw with a pink tongue; its two large feet are painted a bright orange. The words, "A Present from Ramsgate," are scrawled across its stomach and are lettered in black.
     To date, none of the "Spring-Jawed" series has been reproduced. However, Figure II is an outline drawing of the "Penguin" for the purpose of providing size and scale of the bank.

The William Tell Bank
Arrow Coin Shooter
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1992

      William Tell, the legendary Swiss figure of a bygone era, acquired his popularity through he­roic deeds. Tell and his son had travelled to Altdorf, Switzerland, a city occupied by the Austrians under the Austrian Governor Gessler. When Tell refused to pay homage to the governor by bowing to a hat which had been placed upon a stake in the main square symbolizing Austria's sovereign power, he was punished. Tell was ordered to shoot an apple with a crossbow from the head of his son. To the governor's amazement, Tell succeeded and followed his act by commenting that his "next arrow was destined for Gessler's heart." Tell was then imprisoned, but later escaped and, eventually, slew Gessler in an ambush. This, as well as other heroic acts, led to Switzerland's rebellion and liberation from Austria on New Year's Day in the year 1308.
     Five hundred eighty-eight years later, the legend of William Tell was captured in Russell Frisbie's design of a mechanical bank in the hero's image (Figure I). Frisbie, of Cromwell, Connecticut, was granted design patent number 25,662 (Figure II) on June 23, 1896. He assigned the patent rights to J. and E. Stevens Company, also of Cromwell, Connecticut, who eventually manufactured and marketed the bank.
     The "William Tell" bank (Figure I) adhered quite faithfully to the patent design and is true to the popular legend, with one major exception: William Tell brandishes a bullet-firing rifle rather than an arrow-propelling crossbow. This discrepancy is responsible for this addendum to my November 1985 article, "William Tell Bank," in Antique Toy World. A coin shooter slide in the shape of an arrow (Figure III) for the "William Tell" bank, heretofore unknown, had been discovered by mechanical bank historian Mr. Mark Haber, now deceased. Haber, who resided in Wethersfield, Connecticut, located this unique part many years ago at the then-defunct Stevens' Foundry pattern assem­bly room. This slide, to my knowledge and puzzlement, had never been incorporated into the actual design of the J. and E. Stevens "William Tell" bank. (If any reader should happen to know, or be in possession, of a "William Tell" bank which was produced utilizing the arrow coin shooter rather than the common example shown in Figure I, your information would be greatly appreciated.)
     The action of the bank in Figure I is aptly described in a 1906 J. and E. Stevens catalog (Figure IV): "Place the coin in proper position on the barrel of the rifle. Press the right foot and the rifle shoots the apple from the boy's head. As the coin enters the castle, it strikes a gong bell. It is so arranged that a paper cap may be fired at the same time." (Figure I represents the bank after the apple has been shot from the head of Tell's son.) The apple is resent by lowering the boy's right arm.
     The colors of the bank pictured in Figure I are as follows: William Tell's hands and face are a pink flesh color; the corneas of his eyes are white with black pupils, and he had black hair and eyebrows; his lips are red. Tell's hat is gray with a red plume, and his jacket is black with red trim and a red belt. His sleeves have yellow pouffes at the shoulders. The cape is black with a brown collar and red lining. His pantaloons are yel­low, and his stockings are a pink flesh color. He wears brown boots. The rifle is black with a gold coin shooter. His son has pink flesh-colored arms, legs and face. He had black hair, eyes and eyebrows. His shirt is red, and the kilt and boots are orange. The apple atop his head is yellow. The castle is tan with gold decoration, and the entire base is painted light green, highlighted with gold.
     The "William Tell" bank is not considered rare. However, its attractive coloration, combined with its legendary subject matter, contribute to its popularity amongst today's collectors.
     Several years ago this mechanical had been reproduced as a promotion incentive to purchase the "Book of Knowledge" Encyclopedia. I am, therefore, including a base diagram (Figure V) to aid the collector in determining an original from a recast. The reproduction will appear approximately one-quarter inch shorter in length than an original.

The Hubley Trick Elephant Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1992

      Of all the animals to inhabit the circus, the elephant may, perhaps, be considered one of the most endearing to both children and adults alike. Few are able to resist its gentleness, so deceptively concealed beneath its huge and powerful exterior.
     It is of no great wonder, therefore, that early toy manufacturers sought to capitalize upon the popularity of the pachyderm by incorporating its image into almost every line of their wares. Encouraged by the, sales of these toys, many of the mechanical bank manufacturers also began to incorporate the circus elephant into their designs. Examples include such notables as "Baby Elephant Opens at X O'Clock," designed by the well-known Charles A., Bailey, "Elephant Howdah Man Pops Up" bank which was introduced by the Enterprise Manufacturing Company, "Elephant and Three Clowns," the "Jumbo Elephant" bank and the "Light of Asia," which were produced by the J. and E. Stevens Co., "Elephant with Tusks on Wheels" bank, sold by Kyser and Rex, and the series of elephant mechanical banks with swinging trunks, issued by the A.C. Williams Co.
     The "Trick Elephant" bank (Fig. I) is believed to be the last of the "antique" elephant mechanical banks to be manufactured. It was produced by one of the major cast iron toy foundries, namely the Hubley Manufacturing Company of Lancaster, PA. The company was founded by John Hubley in 1894 and became one of the leading producers of cast iron toys in the world. Their merchandise included toy automobiles, trucks, trains, airplanes, farm vehicles, animal-drawn wagons and still banks. It was not until the turn of the century that Hubley introduced their line of mechanicals. These included "Trick Dog" — 6-part base (Fig. II), the patent and patterns of which were purchased from the Shepard Hardware Co. of Buffalo, New York. Following this was the "Trick Dog" — solid base version, the "Trick Monkey" bank, and the final in the series, the "Trick Elephant" bank (Fig. III).
     Unfortunately, neither patent papers nor other information pertaining to the banks' inventor(s) or designer(s) has surfaced. Had it not been for Hubley catalogs and advertisements (refer to Figure III), the manufacturer of "Trick Elephant" bank might have remained an enigma.
     There are two minor casting differences and two color variants of the "Trick Elephant" bank. The elephant may either be painted a natural light gray, as were the earlier production models, or a flat white. As to the castings, the tail may be created from either cast iron or aluminum. The colors of the bank illustrated in Figure I are as follows: The entire elephant is painted white. It has yellow tusks, and eyes, the pupils of which are dark blue with red dots in each corner. The mouth and top of the trunk are painted red. The howdah is also red and is bordered with gold decorations. It sits upon a dark blue blanket with gold fringe. Finally, the strap around the elephant's belly is painted red.
     The action of the "Trick Elephant" bank is both simplistic and amusing. To quote from the catalog page in Figure III ... "Coin is placed in trunk, and thrown into body by lifting tail." Coin deposits are removed by unscrewing the large center bolt which secures both halves of the elephant together.
     The "Trick Elephant" bank is considered to be quite common since it had been produced in large quantities over several years. However, in view of its popularity with young children, it is quite un­common to come across an example that is in superb, almost mint condition. Thus, when an exceptional bank is offered for sale, it is usually at a premium price.
     The "Trick Elephant" bank has been reproduced. Figure IV is a base diagram of an original example. Dimensions of recasts will vary from one-quarter to one-half inch shorter in length than indicated.
     I would like to thank Mr. Julian Thomas of Thomas Toys, Inc., Fenton, MI, for his kind assistance in providing the catalog pages and information pertaining to the Hubley Co. mentioned in this article.

The Hubley Trick Monkey Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1992

      Long Gone is the era of the organ grinder who, with his precocious monkey, performed on street corners. My mother would often reminisce about her youth and growing up in an early 20th century America. She would describe, with much nostalgia, the joy and excitement of the neighborhood children who eagerly gathered after hearing those very first notes heralding the appearance of these street corner entertainers. Their small fists, so tightly clenched, concealed a single penny destined to be retrieved by the pleading, outstretched paw of the vendor's greedy monkey.
     Of the numerous antique cast iron mechanical banks which represent the entertaining duo, none is as realistic and accurate in depiction as the "Trick Monkey Bank" (Figure I). This mechanical was patented by Mr. Daniel Cooke of Camden, NJ, on June 2, 1891 (Figure II). However, as evidenced by the final production bank in Figure I, there appears to have been little adherence to Cooke's patent design, other than maintaining its theme and cast of characters. Of interest is the fact that another of Daniel Cooke's patents (Figure III) was utilized solely as a source of animation and activation for the "Trick Monkey Bank," and was designed initially for his "Trick Dog Bank" (refer to "Trick Dog Bank," Antique Toy World, November, 1988).
     The "Trick Monkey Bank" was manufactured by the Hubley Manufacturing Co. of Lancaster, PA. Founded by John Hubley in 1894, the company became one of the leading, and final, cast iron bank manufacturers in the world. It wasn't until the turn of the century that Hubley introduced their line of mechanicals, beginning with "Trick Dog" and "Trick Monkey" banks. This was followed, at a much later date, by their "Trick Elephant Bank." Figure IV is a page from a 1937 Hubley catalog illustrating these three very colorful and animated mechanicals. A separate wholesale price list included with this catalog offered the trio to stores at the price of $7.50 per dozen.
     There are no casting differences of the "Trick Monkey Bank," and only two minor color variants. These pertain solely to its base, which may be painted either dark green or light green. In either case, the remainder of the bank's color scheme is consistent. The colors of the bank shown in Figure I are as follows: the base is light green with the words "MONKEY BANK" highlighted in gold. The flanged edge at the bottom of the base is also painted gold. The organ grinder sports a bright red jacket and hat with a yellow band. His pants are yellow, and he wears black shoes. His hands and face are painted a pink, flesh color. His hair, eyes, eye­brows and moustache are black. The organ is cocoa-brown, with gold bands. The monkey is painted an overall cocoa-brown. It wears a yellow jacket, red pants and a blue hat. Its eyes are black and the mouth is red. The fulcrum to which the monkey is connected to the base is red, and the chain leash joining the monkey to its master is brass.
     The action of the "Trick Monkey Bank" is amusing and uncomplicated. A coin is placed in the monkey's mouth. The lever behind the monkey is then pressed. Simultaneously, the monkey springs forward, depositing the coin into the slot atop the organ. Deposits are removed by opening the large, square key lock coin retainer underneath the base.
     The "Trick Monkey Bank" is considered to be quite common. However, due to its amusing action and attractive appearance, it obviously gained great popularity among children. Therefore, most examples are either well played with and/or broken. When a "Trick Monkey Bank" does surface in extremely fine mechanical and paint condition, it is usually accompanied by a premium price.
     Reproductions do exist. Figure V is a base diagram of an original. Dimensions of a recast will appear one-eighth to one-quarter of an inch shorter in length than indicated.
     Note: My thanks to Mr. Julian Thomas of Thomas Toys, Inc., Fenton, MI, for his help in providing information and catalog pages pertaining to the Hubley Manufacturing Co. 
     Refer to Antique Toy World, November 1992: (from June, 1993) The "Trick Monkey" Bank. I have been informed of yet a third color variation of this bank. It has a reddish brown base, rather than the more usual light or dark green versions. This mechanical resides in the Frank Kidd collection.

The Hubley Trick Dog Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1992

      The appeal and fascination of jesters and clowns are undeniable, as evidenced by their popularity throughout recorded history. It is no wonder, therefore, that their images have been captured for use in children's playthings. Toy manufacturers would surely be remiss if they failed to recognize the desirability of these subjects.
     During the late nineteenth and early twentieth centuries, the circus clown rose to prominence in the world of mechanical banks. Classic examples of banks produced both in the United States and abroad in­clude: "Humpty Dumpty," "Punch and Judy," "Elephant and Three Clowns," "Clown on Bar," "Clown Bust," "Bill-E-Grin," "Clown and Harlequin," "Professor Pug Frog," "Acrobat," "Hoop-La," "Clown and Dog," etc.
     The "Trick Dog" bank (Figure I) was conceived by Mr. Daniel Cooke, an inventor who resided in Camden, New Jersey. On July 31, 1888, he was granted Design Patent Number 18,489 (Figure II). The bank was initially produced by the Shepard Hardware Company, of Buffalo, New York, and is referred to by collectors as "Trick Dog," Six-Part Base (refer to Antique Toy World, November 1988). An early Montgomery and Ward catalog, circa 1889, offered these Shepard banks at 85c apiece (Figure III).
     Sometime around the turn of the century, Shepard Hardware discontinued production of their entire line of mechanical banks, including "Trick Dog." Several years later, Shepard's foundry patterns and patent rights for their "Trick Dog" mechanical bank became the possession of Hubley Manufacturing Company. Initially, Hubley produced the "Trick Dog" bank, Six-Part Base utilizing the original Shepard patterns (Figure IV). These banks differed from those manufactured by Shepard in the style in which they were painted: i.e., usage of a very simplistic color scheme, namely green, yellow, and brown, in contrast to the highly detailed and delicately executed paint work which was the Shepard trademark. In addition, Hubley's base was secured together with brass twist pins instead of the threaded flat-head machine screws utilized by Shepard. Several years later (1920-1930), Hubley ceased production of their "Trick Dog," Six-Part Base. They redesigned the base, utilizing a one-piece casting, which was much less complex and more economical to produce (Figure I).
     Operation of the "Trick Dog" is initiated by placing a coin within the dog's mouth. This is followed by depressing the lever at the end of the bank. Simultaneously, the pup springs upward, through the hoop, dropping the money into the barrel. Deposited coins are retrieved by releasing a square, key-locking coin retainer underneath the base.
     Figure V is a page from a 1937 Hubley wholesale toy catalog illustrating the "Trick Dog" mechanical, along with its counterparts... the "Trick Monkey" bank and the "Trick Elephant" bank. A price list included with the catalog offered the "Trick Dog" at $7.50 per dozen.
     The colors of the bank shown in Figure I are as follows: the clown's face and hands are white; he has black eyes, a red mouth, and red dots on his cheeks, nose, chin, and forehead. His outfit, including the cap, is painted red, yellow, and black. He wears white stockings and black shoes. The dog is black with white spots and a red mouth. The barrel is red and the base of the bank is blue with the words "TRICK DOG" highlighted in gold. The flange at the bottom of the base and the hoop held by the clown are also painted gold. Hubley produced the solid-base "Trick Dog" bank over a period of approximately thirty years. The earliest production models of these solid base banks were decorated with brighter and more garish colors. For example, the clown's garb was painted a bright green which was replaced by later usage of maudlin black. Finally, the base was painted yellow and brown.
     Unfortunately, in 1940, the Hubley Manufacturing Company, by then the world's leading cast-iron toy manu­facturer, ceased all toy production. This was due to government demands for iron to be used for war materials.
     The entire line of Hubley mechanicals (i.e., "Trick Dog," "Trick Monkey," and "Trick Elephant") is ex­tremely attractive, and an important component of many a bank collection.
     The Hubley solid-base "Trick Dog" bank has been reproduced. I am, therefore, including a base diagram (Figure VI), indicating the size of an original. Reproductions will appear approximately one-eighth inch shorter along its length.
     Note: Once again, my thanks to Mr. Julian Thomas, of Thomas Toys, Inc., Fenton, Michigan, for his help in providing pertinent information and catalog pages relative to the Hubley Manufacturing Company.

The Safety Locomotive Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1993

      The legendary locomotive, a symbol of freedom and expansion, has been immortalized in story, folklore, and song. These steam-belching "iron horses" enabled early settlers and industrialists to span vast distances, through prairies, forests, deserts and mountain ranges, with both speed and safety. During the 19th century images of locomotives were seen adorning a great number of products which were utilized in everyday life. Toy manufacturers took full advantage of the trend. Children of the era were offered the fantasy via miniature railroad playthings.
     On November 15, 1887, Edward J. Colby, of Chicago, Illinois, was granted Patent number 373,223 (Fig­ure I) for his "Safety Locomotive" Bank (Figure II). Colby described his invention as having a threefold purpose, namely as a bank, a paperweight, and a toy drawn by a child. The locomotive, indicated in the patent drawings and shown after manufacture (Figure II), represents one of the earliest of the 4-4-0 engines. This numerical classification pertains to the locomotive's wheel arrangement: i.e., four wheels under the front truck, four wheels under the steam boiler, and no wheels under the engineer's cab.
     Interestingly, the "Safety Locomotive" Bank is not considered a true mechanical. This is based upon the fact that no visible action occurs immediately upon insertion of a coin. The bank does, however, open automatically when its cavity is saturated with deposited coins. The "Safety Locomotive" is not unique; several other banks may also be placed in the category of "semi-mechanicals." Among these are the Ives "Time Registering" Bank, Kyser and Rex's "Coin Registering" Bank, Proctor Raymond's "Bank of Education and Economy," J. and E. Stevens's "Perfection Registering," and the "Lighthouse" and "Pump and Bucket" Banks, whose manufacturers are unknown.
     The action of the "Safety Locomotive" Bank is accu­rately described in an early 1887 Montgomery and Ward Toy Jobbers Catalog (Figure III). It reads: "The weight of the money dropped in the slot on top of cab will, after the bank is full (and not before), loosen the smokestack, which can then be lifted out and the money poured from the opening."
     There are two casting and two color variants of the "Safety Locomotive." It may be either nickel-plated or black. The example shown in Figure II is painted glossy black. The cow catcher, front lantern and dome of the rear steam tank are highlighted with gold. The lens of the lantern is painted red.
     The casting variations apply to the word "SAFETY," which may be either cast into the front end of the boiler or under the windows of the engineer's cab. Similarly, the words "PAT. 87," may also be cast underneath the windows of the cab, or into the front end of the boiler.
     It is the later models of the "Safety Locomotive" which have the word "SAFETY" cast underneath the windows of the engineer's cab. This "improved" model also has a removable part under the smokestack, allowing for an easier and more reliable means of emptying the deposited coins.
     The "Safety Locomotive" Bank has never been reproduced. Nevertheless, I am including a base diagram (Figure IV) revealing size and scale. A reproduction, if it were created, might appear approximately one-eighth of an inch shorter in length than indicated.
     The bank in discussion is an extremely desirable and attractive addition to a collection. Unfortunately, its rarity dictates that few bank collectors will actually own one, and especially an example that is complete and original.
     ACKNOWLEDGMENTS: The pristine example of the "Safety Locomotive" shown in Figure II is from the Steckbeck collection of mechanical banks.
     Refer to Antique Toy World, November 1992: The "Trick Monkey" Bank. I have been informed of yet a third color variation of this bank. It has a reddish brown base, rather than the more usual light or dark green versions. This mechanical resides in the Frank Kidd collection.

Hold The Fort Bank
(Five Hole Variation)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1993

      War games and weaponry have always fascinated youngsters. This becomes evident when children, and boys in particular, are observed at play. They delight in brandishing cap pistols, arranging toy soldiers in miniature army formations, and protecting their combatants within the confines of the impenetrable fort.
     Amongst those who recognized the opportunity to capitalize upon these youthful militaristic fantasies were nineteenth-century mechanical bank manufacturers. These entrepreneurs combined the theme of armed conflict with the then-popular thrift-save-a-penny philosophy which was sweeping the nation. Both the Shepard Hardware Company, of Buffalo, New York, and the J. and E. Stevens Company, of Cromwell, Connecticut, prominent bank manufacturers of the era, produced no fewer than five variants of the "Artillery" Bank (Figure I). In addition, Stevens manufactured the "Target" Bank and the "U.S. and Spain" Bank which also incorporate the fort and the cannon theme.
     Two other mechanical banks utilizing a fort and cannon are the "Fort Sumpter" Bank and the subject of this month's article, "Hold the Fort" Bank (Figure II). Unfortunately, there is little known information pertaining to the manufacturers of either of these mechanicals. The "Hold the Fort" Bank was designed and patented by Samuel Clark of Brooklyn, New York. Mr. Clark was granted Patent number 197,250 on November 20, 1877 (Figure III). As indicated by the patent drawings, the manufacturer adhered faithfully to Mr. Clark's original design.
     The action of "Hold the Fort" is appropriately described in an early trade flyer, Figure IV, as follows: "'HOLD THE FORT' AN AMUSING AND INSTRUCTIVE TOY BANK FOR BOYS. Pull back the ring until the rod is held in place by the lever. Tip the Bank, lay the Coin on the Target, and drop the Shot in the Cannon." "The shot generally follows the coin into the Bank and escapes out of the perforated bottom.
     "The coin placed in position forms the target. The ball projected by a spring strikes the coin with sufficient force to carry it into the bank.
     "A percussion wafer can be used to add to the amusement, and will encourage the saving of money." Deposits are removed by unscrewing the coin retainer, which represents an arched doorway at the end of the bank, directly behind the cannon.
     Interestingly, there are not only two casting variations of "Hold the Fort," but a "Hold the Fort" inkstand. The bank variations are referred to as "Hold the Fort" Bank, five holes (Figure II), and "Hold the Fort" Bank, seven holes. The holes refer to the round portholes cast into the sides of each bank. The aforementioned arched door coin retainer resides upon the five‑hole bank. The seven-hole "Hold the Fort" utilizes a screw-on, rectangular coin-retainer which is located underneath its base.
     An advertisement within the Winter 1877 issue of the American Athletic Journal read as follows: " 'Hold the Fort' Bank. Sent by mail, prepaid, $1.25. A few shot and caps and a flag, are packed with each bank." Also offered by the advertiser is the "Hold the Fort" inkstand. It varies somewhat in appearance from the bank in that its walls have a rougher, pebblier texture and is not as attractively painted. In addition, the name "HOLD THE FORT" is cast onto the lower portion of the front edge. Fortunate is the collector who owns both "Hold the Fort" variants and a "Hold the Fort" inkstand. All are extremely scarce, and all make an attractive display.
     The color schemes of both "Hold the Fort" Banks are similar. The top, bottom, and four sides may be either tan or gray. The crenellations and raised decorations on the walls are dark blue and red. The cannon can be either dark blue or black, and the target enclosure is painted bright red.
     Although the previously discussed advertisement had indicated the inclusion of a flag with the "Hold the Fort" Bank, to date, none has materialized. Nevertheless, if an authentic example were to surface, its colors would certainly be that of Old Glory, i.e., red, white, and blue.
     The "Hold the Fort" five and seven-hole Banks, are equally uncommon, and neither one commands a higher price than the other.
     I am not aware of any existent reproductions. Nonetheless, I am including a base diagram of an original example (Figure V). If a recast were produced, it would be approximately one-quarter of an inch shorter along the base than indicated.
     My thanks to Steve Steckbeck for allowing me to include a photograph in this article of his superb "Hold the Fort" (Figure II).

Pig In High Chair Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1993

      "The Duchess was sitting on a three-legged stool nursing a baby, the cook was leaning over a fire stirring a large cauldron which seemed to be full of soup. "There's certainly too much pepper in that soup!" Alice said to herself, as well as she could for sneezing.
     Even the Duchess sneezed occasionally; and for the baby, it was sneezing and howling ... "Here! You may nurse it a bit if you like!" said the Duchess to Alice, flinging the baby at her as she spoke. Alice caught the baby with some difficulty, as it was a queer-shaped little creature ... "Don't grunt," said Alice; to the baby, "that's not at all a proper way of expressing yourself. " The baby grunted again, and Alice looked very anxiously into its face to see what was the matter with it. There could be no doubt that it had a very turned-up nose, much more like a snout than a real nose; also its eyes were extremely small for a baby.
     "If you're going to turn into a pig, my dear," said Alice, "seriously, I'll have nothing more to do with you."
          —Lewis Caroll (from Alice's Adventures in Wonderland)

       The year was 1865 and Charles Lutwidge Dodgson, a.k.a. Lewis Carroll, cre­ated his timeless masterpiece of the absurd and sublime Alice's Adventures in Wonderland. Chapter 6, entitled "Pig and Pepper," describes a ludicrous scene in which a Duchess sits feeding a hysterical baby who gradually metamorphasizes into a piglet (Figure I).
     Thirty-two years later, on August 24, 1897, Peter Adams of Buffalo, NY, appears to have recaptured that nonsensical episode created by Carroll with his patent design for a mechanical bank in the form of a piglet sitting in a highchair.
     Although the patent papers make no mention of the Alice in Wonderland fantasy, the image of a baby pig sitting in a high chair being fed coins appears to be more than coincidental.
     The words, "PAID AUG 24 1897" cast into the underside of the base facilitated location of the patent papers illustrated in Figure II.
     The "Pig in High Chair" bank (Figure III) was subsequently manufactured by the J. and E. Ste­vens Company of Cromwell, CT. Noteworthy is the fact that Peter Adams, inventor of the "Pig in High Chair" bank, initially designed mechanical banks solely for the Shepard Hardware Company of Buffalo, New York. This was at a time when Shepard and J. E. Stevens were leading competi­tors in the manufacture of mechanical banks. However, during the latter part of the nineteenth century, Shephard Hardware experienced great financial difficulties and was ultimately forced to cease its operations. The defunct company sold several of their mechanical bank designs and patents to the J. and E., Stevens Company. Included among these was "Pig in High Chair."
     An early Steven's toy catalog (Figure IV) pictures the "Pig in High Chair," but with the name "Educated Pig" bank. The designation "Pig in High Chair" was created by bank collectors who sought to identify the mechanical by more accurate description of its actual appearance.
     The action of "Pig in High Chair" is appropriately and simply described in a 1903 Montgomery Ward and Company catalog (Figure V); "Place a coin on the tray and press the lever; the pig catches it in his mouth, moves his tongue and swallows it." Deposits are recovered by opening the round Stevens-type coin retainer underneath the base.
     There are neither casting nor color variations of "Pig in High Chair." The example shown in Fig­ure III is nickel-plated cast iron. Sadly, because of its small size, lack of color and limited action, the "Pig in High Chair" bank is not a particularly popular or sought-after mechanical. However, to those bank collectors who have examined its flawless detail, graceful casting, as well as its ridiculous but intriguing subject matter, it has proven to be a worthy and attractive addition to their collections.
     I am not aware of existent reproductions of "Pig in High Chair." Nonetheless, if one were to be recast, it would be approximately one‑eighth of an inch shorter across the base than indicated in Figure VI.
     Acknowledgment: The "Pig in High Chair" bank (Figure III) is from the superb mechanical bank collection of Mr. Barry Seiden.

The Bread Winners Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1993

      The year was 1884. Squalor in the workplace and wage abuse were rampant. The paramount factors resulting in the exploitation of labor in this country were corruption in big business and monopolies. In order to stem these abusive conditions, the Anti-Monopoly Political Party was formed. Championed by Benjamin F. Butler, it suffered a stunning defeat at the hands of Grover Cleveland, with Butler unable to muster even a single electoral vote.
     Two years later, in 1886, the J. and E. Stevens Company, a leading manufacturer of cast-iron toys, located in Cromwell, Connecticut, captured the essence of the still piteous labor situation with its creation of the "Bread Winners" Bank (Figure I). Depicted is "Honest Labor," with sledge hammer in hand, poised to strike at the heavy club of "Monopoly." The recipient of the blow is the corrupt big business "Rascal," appearing in the form of a Semite. Immediately behind the "Rascal" is the head of the crooked politician, his body imprisoned in an overstuffed moneybag. Portrayal of the "Rascal" as a Semite may have been prompted by prejudicial propaganda directed towards the newly immigrated Jews. This practice of discriminatory characterization of minority groups was evident in the design of several mechanical banks which J. and E. Stevens manufactured: i.e., "Bad Accident," "Paddy and the Pig," "Reclining Chinaman," etc.
     To date, there is little information which relates to either patent or design of "Bread Winners." However, the discovery of a letter amongst the Stevens Foundry archives sheds some light upon its history. The correspondence was dated May 6, 1886, and written by mechanical bank designer, Charles A. Bailey, assigning to them "a bank which hits on the labor question and is called the Bread Winners Bank."
     Operation of the mechanical is simple and effective: the "Honest Labor" sledge hammer is raised and set into position. A coin is placed within the slot at the end of the "monopoly" club. The small lever in the back of the laborer is then pressed. This causes the sledge to strike sharply down upon the club, depositing the money into the large loaf of bread and sending the big business "Rascal" up, heels over head! Coins are removed through a round retainer underneath the base.
     To find intended meaning in the fragmented imagery of the "Bread Winners" Bank, we must first take notice of the raised letters placed upon its many segments: across the base are the words, "SEND THE RASCALS UP — THE BREAD WINNERS BANK"; the loaf of bread is worded "HONEST LABOR BREAD"; the moneybag is embellished by the phrase "BOODLE, STEAL, BRIB­ERY," and the coin-slotted club states "MONOPOLY." Thus, upon activation of the bank, its meaning becomes evident. If labor strikes a forceful blow to monopoly, corrupt big business will be forced to relinquish its ill-acquired gain, thereby putting more bread into the mouths of the honest working man. Simultaneously, justice will prevail and the dishonest "Rascal" will be sent up "the river," to prison.
     There are no significant casting variations of the "Bread Winners" Bank, and few color variants. Occasionally, one may see the laborer, the rascal, and the base painted in reversed colors. The colors of the bank shown in Figure I are as follows: the laborer has pink, flesh-colored face and hands. He has black eyes, eyebrows, mustache, hair and shoes. His cap is reddish-brown, and he wears a dark blue shirt, olive green pants and a tan apron. The rascal's hands, face and feet are white. He has a black mustache, beard, eyes, eyebrows, and hair. His jacket is dark blue and he sports bright red pants. The politician emerging from the moneybag also has a white face, black eyes, eyebrows, hair and mustache. The moneybag is light brown with a dark blue drawstring. The "Monopoly" club is olive green, and the loaf of bread is painted shades of light brown and tan. One half of the base is red and the other is dark blue. All of the raised letters are highlighted in gold, as is the head of the sledge hammer and the anvil, upon which the "Monopoly" club rests.
     In view of the extreme rarity of the "Bread Winners" Bank (i.e., a superb example will command a high, five-figure price tag), I have included an early Selchow and Righter toy jobbers catalog advertisement, circa 1886-87, which may be of interest (Figure II). The price of the bank is listed at $8.50 per dozen!!!
     The "Bread Winners" Bank has been reproduced, ergo, Figure III, a base diagram of an original example. A recast example would appear approximately one-quarter of an inch shorter along the base than indicated.

The Presto Bank
(Penny Changes to a Quarter)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1993

      The thrill of  easily-acquired wealth, as well as man's fascination with magic and illusion were, perhaps, the sparks that ignited the idea for the ingenious "PRESTO" Mechanical Bank, Penny Changes to a Quarter, as shown in Figure I. Of all the so-called illusory banks, i.e., "Multiplying," "Smyth X-Ray," and the subject of this article, "Presto," none adheres to the vernacular "presto, chango" as doggedly as the latter.
     An advertisement from an 1884-1886 toy jobbers catalog (Figure II) expresses this con­cept simplistically: "You drop a penny in the PRESTO BANK and it appears to be transformed into a twenty-five cent piece." The primary difference between the aforementioned "Multiplying" and "Smyth X-Ray" Banks and the "Presto" Bank is that the former utilize mirrors in order to achieve their illusory effect while "Presto" employs a series of clear and ground glass plates, combined with a facsimile coin to attain its result.
     Henry C. Hart and James W. Cross, of Detroit, Michigan, were the inventors of "Presto." They were assigned Patent number 296,689 on April 8, 1884 (Figure III). The bank, illustrated in Figure I, was subsequently manufactured by the Henry C. Hart Manufacturing Company of Detroit, Michigan.
     The patent drawings indicate the intricacy of "Presto" Bank with its twenty-six separate and exacting components. This complexity, combined with its fragile, thinly cast, iron walls and glass plates most assuredly accounts, in part, for its extreme rarity. It is puzzling that even a single example of so frail a bank could survive at the hands of youngsters, and the ravages of time. To date, only three "Presto" mechanicals are known to exist in collections. The bank represented in Figure I has the distinction of being one of two totally original and complete examples known. This outstanding specimen resides in the superb collection of Mr. and Mrs. Steve Steckbeck.
     In contrast to other highly imaginative, gloriously colorful mechanical banks produced during the same era, "Presto" conveys a colorless, lackluster, boxey appearance. This may have also contributed to its present-day scarcity, as weak consumer demand might have dictated a limited number of banks manufactured. If drastic price reduction attests to weak or faltering sales, the toy jobbers advertisement (Figure 11) illustrates that concept quite clearly: "PRICE, $2.00 PER DOZEN. FORMER PRICE, $3.00 PER DOZEN."
     Operation of the bank is initiated by placing a penny into the coin slot located above the word "PRESTO!!'' A light source must then be reflected upon the slanted, frosted glass plate. The depositor then peers into the round viewing hole. As the lever is pushed downward, the penny drops into the bank and in its place there appears a twenty-five cent piece. Deposits are removed by unscrewing a rectangular coin retainer underneath the base. The words "PATENT APL'D FOR" are also inscribed upon the base plate.
     There are no casting or color variants of the "Presto." The colors of the example shown in Figure I are as follows: the bank is painted bright red overall; one side has figures climbing a ladder, at the top of which there is a man with a telescope sitting in front of an American flag. At the base, children with musical instruments are seen marching in what appears to be a parade. The other side shows a boy with a sled, a man peering through a telescope and people climbing upwards on a ladder, with the individual at the highest point reaching as if for the sun. Embossed upon the back of the bank are the words "We offer aid to all who strive to make one penny twenty-five." The front end is emblazoned with the word "PRESTO!!' All aforementioned figures and words are highlighted in gold. Finally, the lever, base plate, coin slot border, and the interior of the viewing section are painted black.
     To date, there seems to have been no attempt to reproduce the "Presto" Bank. Nevertheless, Figure IV represents a base diagram of an original example. If a reproduction were manufactured, it would appear approximately one-eighth inch shorter along the base than indicated.

The Turtle Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1993

      Inexhaustible and abundant resources have been Mother Nature's invaluable contribution throughout the ages. This Grand Dame has supplied rich material for the inspiration of man to recreate in her image. Nineteenth and twentieth-century mechanical bank designers and manufacturers were no exception. Their works abounded with birds, rabbits, cats, dogs, frogs, elephants, and the like.
     Sadly, one creature, namely the turtle, seemed almost to have been ignored. Had it not been for the "Turtle Bank," Figure I, this distinguished member of the reptilian class may have remained neglected in the world of mechanical banks. Its designer was M. Elizabeth Cook, a renowned and celebrated sculptress of her day. The bank's graceful lines and simplistic design bear testimony to Ms. Cook's craft and skill.
     Interestingly, and as previously mentioned, the "Turtle Bank" has been the lone mechanical produced to feature this fascinating creature. It was but one of a group of four mechanicals designed by Ms. Cook, and subsequently produced by the Kilgore Manufacturing Company of Westerville, Ohio. Kilgore referred to the group as both "Toytown Workers Group of Animal Banks" and the "Thrifty-Four," and both terms were used interchangeably. Members of the group consisted of "Flop Ears," the rabbit; "Jug-O-Rum," the frog; "Blinky," the owl (refer to Antique Toy World articles: April 1989, January 1990, May 1990, and December 1991); and the subject of this article, "Pokey," the turtle.
     Unfortunately, no information pertaining to patent has been located. The determination of date of manufacture and sale of "Thrifty-Four" as sometime between 1920 and 1934 was based upon original Kilgore packaging, toy catalogs, and advertisements.
     The "Turtle Bank" has the distinction of not only being the rarest amongst its group, but also one of the rarest in the entire mechanical bank category. This virtue might easily be explained by the fact that, during the period of its manufacture, the Kilgore Company was experiencing a great deal of difficulty with "Pokey" involving an internal malfunction. This resulted in the removal of the bank from the assembly line. The few examples which were in working condition were distributed amongst the employees, gratis.
     Unlike most cast-iron mechanical banks which were packaged and sold in individual wooden boxes, the penny-gobbling group of four was packaged in small, cardboard containers. This was due, most likely, to the minuscule size of the banks. The following is an inscription on the sides of the boxes housing "Flop-Ears" and "Jug-O-Rum":
   
          "Flop-Ears the Rabbit hops around
          Lifting his ears for every sound
          He sees Blinky the Owl, high in an Oak
          And hears the Frog, Jug-O-Rum croak,
          And wonders if Pokey, the turtle, so slow
          Can catch up with him, if he hops real slow."
   
     I am aware of the existence of only those original boxes which contained "Jug-O-Rum" and "Flop-Ears." If any reader has knowledge of containers which might have housed "Blinky" and "Pokey," notification would be appreciated. Write: Post Office Box 104, East Rockaway, New York 11518.
     There are neither casting nor color variants of the "Turtle Bank." The colors, as shown in Figure I, are as follows: Pokey's legs and shell are painted a glossy black. Its eyes are white with black pupils, and its mouth is orange with a light blue underjaw. The outside perimeter beneath its shell is orange with light blue splotches. Pokey's base is painted yellow-green, with muddy orange and black highlights.
     Operation of the "Turtle Bank" is uncom­plicated. A coin is pressed into the slot at the top of its shell. This causes the head to extend approximately one-half of an inch. As the coin drops into the bank, the head returns to the position seen in Figure I. Removal of deposits is achieved by unlocking a bright, nickel-plated coin retainer underneath the base.
     To my knowledge, the Kilgore four have not been reproduced. Nevertheless, Figure II represents a base diagram of an original example of "Pokey." If a reproduction were to surface, it would appear approximately one-sixteenth to one-eighth of an inch shorter along the base than indicated.
     On a final note — and particularly for those readers who are nature lovers — the "Turtle Bank" is a rendition of the American eastern painted turtle.
     Acknowledgments: The mint example of "Pokey" (Figure I) resides in the collection of Steve and Marilyn Steckbeck of Ft. Wayne, Indiana.
     Once again, I would like to thank my wife, Linda, for the invaluable aid she provides in writing and editing these articles.

The Watch Dog Safe Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1993

      What could be more appropriate for the design of a mechanical bank than a receptacle in the form of a money safe? With well over five-hundred known subjects, it is surprising that only a handful of different examples exist which depict this currency-storing object. These include: tin, "Electric Safe;" "Fortune Teller Savings Bank;" tin "Magic Safe;" white metal "Magic Safe;" "United States Bank;" and the subject of this article, "Watch Dog Safe" (Figure I).
     To date, neither patent nor design information pertaining to "Watch Dog Safe" has been located. However, a multicolored, lithographed, advertising trade card, circa 1880-1890, picturing the bank, attributes its manufacture to the J. and E. Stevens Company of Cromwell, Connecticut (Figure II). Unfortunately, no illustration or description of the "Watch Dog Safe" is to be found in any of the J. & E. Stevens' numerous toy catalogs or trade marketing literature. The trade card appears to have been the sole means of advertising of this mechanical bank.
     Operation of the "Watch Dog Safe" is amusing and incomplex. A coin is placed within the slot atop the bank. The lever on the left side is then pressed upward. Simultaneously, the coin drops within the safe and the jaw of the Dalmatian guarding the bank opens, emitting a low, barking sound (accomplished through an ingenious bellows and brass reed device, secured within the bank's front door). As the lever drops back into position, the pup's jaw closes and the bank is once again poised for action. Deposited coins are retrieved by setting the combination wheels to 2-1-7, twisting the door knob clockwise, and then pulling the safe door open.
     "Watch Dog Safe" is typical J. & E. Stevens fare: well-designed, sharply defined castings, and attractively painted.
     There are no casting or color variations of "Watch Dog Safe." The colors of the example shown in Figure I are as follows: The safe is painted an overall glossy black with gold highlights. The Dalmatian, typical of its breed, is white with small black spots. It has black eyes, eyebrows, a red mouth, and a red collar. The dog sits upon a silver, fringed shelf. The relief busts of the Roman soldier adorning each of the safe's sides are painted gold. The crest of his helmet is in the form of a bird with reddish-brown plumage. The top panel of the bank depicts a small, brown bird sitting in a cream-colored nest which rests upon a brown branch with green foliage.
     For all the bank's simplicity of form and action, modest coloration and lack of rare sta­tus, a superb, all-original example of "Watch Dog Safe" with an original, working bellows will command a lofty price. Few truly superb examples are to be found, even in the more sophisticated and complete collections of mechanical banks.
     Interestingly, the "Watch Dog Safe" trade card (Figure II) is far more scarce than even the bank itself. A fine example will command a price equal, or superior, to the bank.
     Because of the historical importance of the trade card, I would appreciate reader(s) in possession of same to contact me, and send a photocopy for discussion in future articles. Please address all correspondence to: Post Office Box 104, East Rockaway, New York, 11518.
     Lack of scarcity and the complexity of design are factors which seem to have discouraged reproduction of "Watch Dog Safe." Nevertheless, Figure III is a diagram of the back panel of the bank. If one was to be recast, it would appear approximately one-eighth of an inch shorter across the width than indicated.
     Acknowledgement: The rare "Watch Dog Safe" trade card (Figure II) is from the superb collection of Karen and Larry Feld.
     Addendum: (from September, 1993) Re.: "Watch Dog Safe" article, Antique Toy World, July 1993. Mr. Frank Kidd, of Portland, Oregon, has kindly brought the following information to my attention: In addition to the fully painted example of the bank described in the article, a totally nickel-plated version has surfaced. However, since I have not personally examined the bank, I cannot attest to its authenticity.

Monkey Bank, Coin in Stomach
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1993

      The oft-spoken phrase, "as much fun as a barrel of monkeys," sums up our perceptions of these creatures. Their antics amuse and delight, as evidenced by the gleeful faces of children being entertained at circuses and zoos.
     The allure of these playful primates was recognized by several nineteenth-century toy manufacturers, and their likeness was captured in no less than eighteen different mechanical banks. Examples include: the Hubley "Monkey Bank"; Kyser and Rex's "Chimpanzee"; "Organ Medium"; "Organ, Boy & Girl"; "Organ, Cat and Dog"; "Organ, Tiny"; "Lion and Monkeys"; "Zoo Bank"; J. and E. Stevens' "Hall's Excelsior"; "Rival"; "Monkey and Coconut"; and the subject of this article, the "Monkey Bank, Coin in Stomach" (Figure I).
     To date, no advertisements, catalogs, packing crates, and/or other items have surfaced which might accurately reveal the identity of the manufacturer of "Monkey Bank, Coin in Stomach." Despite the lack of pertinent data, several characteristics of the mechanical (e.g., design, casting, paint) link its origin to, possibly, one of the following producers: Judd Manufacturing Company of Wallingford, Connecticut; Ives, Blakeslee and Williams Company of Bridgeport, Connecticut; or Mechanical Novelty Works of New Britain, Connecticut.
     Presently, the lone source of factual information relating to this bank was derived from Figure II, a patent issued to C. F. Ritchel of Bridgeport, Connecticut, assignor to S. S. and G. D. Tallman of New York City. Of interest is that C. F. Ritchel was granted two consecutive Design Patent Numbers, 13,400 and 13,401, on November 7, 1882. These protected both his "Monkey Bank, Coin in Stomach" and "Shoot That Hat Bank." Both banks are quite rare, with merely a handful of each known to exist, and these in the collections of a few very fortunate individuals.
     Assignees S. S. and S. D. Tallman were toy jobbers with offices in New York City. They purchased toy patents and designs, and sub­sequently contracted them out to various toy manufacturers and foundries. They, in turn, distributed the finished product through diverse retail outlets.
     The "Monkey Bank, Coin in Stomach" operates by first placing a coin upon the tray which the monkey holds in its paws. The lever in its back is then pressed downward. This causes the tray to tilt upward, resulting in the coin sliding through the slot in the monkey's stomach and into the bank. Deposits are retrieved by undoing the single screw which secures the two halves together.
     There are no casting variants of "Monkey Bank, Coin in Stomach." However, there are several color dissimilarities. It may be painted an overall dark brown japan; or dark brown japan with a pink face, white eyes, black pupils, red eyelids, nostrils, and mouth; or, as shown in Figure I, overall gray with a pink face, white eyes, black pupils, red eyelids, nostrils, and mouth.
     Its unassuming appearance and diminutive stature may result in one's underestimating the appeal of this rare and desirable mechanical. The example seen in Figure I reveals a modest, yet stately charm, and a definite asset to even the most complete and sophisticated mechanical bank collection.
     To my knowledge, the "Monkey Bank, Coin in Stomach" has not been reproduced. But, considering the simplicity of its castings and the value placed upon an original example, the possibility of its duplication does exist. Figure III is a base diagram of an original example. If a recast were attempted, it would appear approximately one-sixteenth of an inch shorter along the base than indicated.
     Acknowledgment: The outstanding example of "Monkey Bank, Coin in Stomach" (Figure I) resides in the collection of Steve and Marilyn Stechbeck of Ft. Wayne, Indiana.  

Squirrel and Tree Stump Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1993

      The nineteenth-century philosophy of thrift provided the impetus for a plethora of penny banks and toys. The popular adage, "A penny saved is a penny earned," was demonstrated by toy designers and manufacturers who incorporated bank buildings, safes, bank tellers, and cashiers into their wares.
     However, the creature which epitomizes the theme of saving and hoarding, namely the squirrel, seemed to have been overlooked in the world of mechanical bank design. Had it not been for Mr. Robert E. Turnbull, of New Britain, Connecticut, this woodland miser might never have been represented in a mechanical savings device. The Squirrel and Tree Stump bank, Figure I, was designed by Mr. Turnbull, for which he was granted Patent number 243,475 on June 28, 1881.
     With the exception of the two operating levers shown in the patent papers (Figure II), the final production bank (Figure I) adheres quite faithfully to Mr. Turnbull's drawings. In attempting to explain why his initial design indicated two levers, perhaps it was in anticipation of mechanical failure, thus providing the manufacturer with an alternative had one of the levers malfunctioned.
     The Squirrel and Tree Stump was produced by the Mechanical Novelty Works of New Britain, Connecticut. Robert Turnbull was one of three partners of that firm. (The other two gentlemen were also notable designers, i.e., George W. Eddy and James A. Swanson. Mr. Eddy was the inventor of "Initiating Bank First Degree" and "Initiating Bank Second Degree," also manufactured by Mechanical Novelty Works. [Refer to Antique Toy World article, November 1986.]
     An advertisement which appeared in the 1882 Winter edition of Erich's Fashion Quarterly is seen in Figure III. The "Squirrel Bank," as it was referred to by the manufacturer, was priced to sell for seventy-five cents apiece, and with postage, an additional fifty cents.
     Operation of Squirrel and Tree Stump is quite simple: "Place a coin in the squirrel's forepaws, touch the spring and the squirrel bounds forward and throws the coin into the bank."
     There are neither color nor casting variations of Squirrel and Tree Stump. The colors of the bank, as shown in Figure I, are as follows: the entire bank, including base plate, is painted a brown japan. The figure of the squirrel is highlighted in copper and gold. Its eyes are painted black. The top of the stump and one cut root end, are painted a creamy white color. There are indications of grassy patches around the base. They are embellished with red, yellow, and dark green floral designs.
     Squirrel and Tree Stump is considered quite scarce, and especially when found in superb, all‑original paint and mechanical condition. The figure of the squirrel appears to be extremely fragile. Any degree of rough handling most likely resulted in irreparable damage to the bank.
     There are presently more reproductions of the "Squirrel Bank" than authentic examples. Figure IV is a base diagram of an original mechanical. The recast, if measured across the base, will appear approximately one-eighth of an inch shorter than indicated.
     Addendum: Re.: "Watch Dog Safe" article, Antique Toy World, July 1993. Mr. Frank Kidd, of Portland, Oregon, has kindly brought the following information to my attention: In addition to the fully painted example of the bank described in the article, a totally nickel-plated version has surfaced. However, since I have not personally examined the bank, I cannot attest to its authenticity.

The Grenadier Bank
(a unique color variant)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1993

      Boyhood fascination with implements of war has long been recognized by toy manufacturers both in this country and abroad. Notable examples of toy mechanical penny banks employing the theme of battle and men-at-arms which were created during the 19th and early 20th centuries include: "Creedmoor Bank," "Volunteer," "U.S. And Spain," "Tank and Cannon," "Artillery," "Tommy," "Octagonal Fort," "Wimbledon," "Hold the Fort," and the rare "King Aqua" bank.
     One of the more attractive and appealing mechanicals on this subject is the "Grenadier Bank," pictured in Figure I. It was created by the leading British mechanical bank manufacturer, John Harper and Company, Ltd., of Willenhold, Staffordshire, England. Founded in 1790, the company manufactured hardware items, doorstops, toys and both mechanical and still banks. Examples of mechanical banks in the Harper line included: "Jolly Nigger - Hi-Hat," "I Always Did 'Spice a Mule," "Speaking Dog," "Tommy," "Volunteer," "Hoop-La," "Football Bank," "Dinah," "Kiltie" and "Giant in Tower." Their cast-iron toy and bank production took place from the 1880s until World War II, when the shortage of ferrous war materials caused the company to cease production. After the war, and until 1953, Harper manufactured only a limited selection of still banks.
     Unlike its counterparts in the United States, the John Harper and Company, Ltd. mechanicals never attained the level of achievement of meticulously fine castings and delicate paintwork of either the Shepard Company, of Buffalo, New York, or the J. and E. Stevens Company, of Cromwell, Conn.
     Worthy of discussion is the historical significance of the "Grenadier." During the 17th century, the military employment of grenades necessitated the recruitment of soldiers possessing exceptional physique and strength. These "special" battalions were known as "Grenadiers." They wore either fur or brimless cloth hats, thereby removing obstacles which might interfere with the action of throwing a grenade. In later years the Grenadier units were phased out, since nearly all ground combat troops were trained to use grenades.
     Operation of the "Grenadier Bank" is quite simple: the notched slide atop the rifle barrel is pushed back and clicked into place. This causes the soldier's head to tilt forward, as if taking aim. A coin is then balanced atop the rifle directly in front of the slide. The Grenadier's right shoe is then pressed downward, thus releasing the slide which shoots the coin into the tree trunk, striking an internal bell. Simultaneously, the man's head snaps backward, as if reacting to the rifle recoil. Coin removal is accomplished by opening the round, Stevens-type coin retainer underneath the base.
     Although there are no casting variations of which I am aware, there are several color variants. These pertain solely to the figure of the Grenadier; the colors of base and tree trunk remain consistent. The base, with its grassy representation, is painted dark green. The rock-like objects on the base, as well as the tree trunk, are dark brown. The top of the tree trunk is yellow, and the round coin slot target area is white.
     The Grenadier's face and hands are a pink-flesh color. His eyes, eyebrows, moustache, hair, rifle and shoes are black. He wears a red hat with a yellow emblem. His tunic is red with a yellow belt, and his cape and pants are painted navy blue. (Examples exist in which his pants are painted gray.) The unique color variant in Figure I has the Grenadier's pants, tunic, cape and hat painted khaki, with the hat's emblem highlighted in gold.
     Figure' II is a copy of a 19th-century John Harper and Company, Ltd. catalog. In it, the "Grenadier" is offered at "47/6 per dozen, finished in fancy colors and packed one in a box."
     The "Grenadier Bank" is not considered rare, but is quite scarce, particularly in complete, all-original, superb paint condition. Just as the Shepard Hardware Company, in the United States, did not undercoat their mechanical banks prior to painting, neither did John Harper and Company, Ltd. This resulted in both manufacturers' products experiencing excessive paint loss due to normal handling and/or unfavorable atmospheric conditions.
     As a note of caution, "rare" examples of "Grenadier" exist where the figure sports a short "Creedmore"- type cap with a long peak. It is believed that this head and cap were not of original Harper Company manufacture, but rather as a later addition by an unscrupulous dealer for the purpose of deceiving collectors.
     Figure III is a base diagram of an original "Grenadier Bank." If one were recast, it would appear approximately one-quarter of an inch shorter along the base than indicated.

The Detection of
Mechanical Bank Reproductions
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1993

      A problem which may occasionally confront both the novice and the experienced collector is the detection of reproduced mechanical banks. Unfortunately, this situation has become increasingly more frequent over the past few years due to prices of mechanical banks which have risen to unprecedented heights. It is, therefore, advantageous to be able to recognize recasts since knowledge acquired through education and experience may minimize the possibility of unknowingly acquiring a reproduced example.
     Recognition of a reproduction is dependent upon awareness of the unique, inherent characteristics of a genuine antique mechanical bank and the standards practiced at the iron foundries during the late-19th and early-20th centuries. These include the molding and casting process, and the application of paint to the assembled mechanical bank surface. Scrutinization of an old, original mechanical bank would reveal glass-smooth, highly detailed castings and tight seams that had been fitted precisely. Figure I is such an example: i.e., "Teddy and the Bear" bank, circa 1907, manufactured by the J. and E. Stevens Company of Cromwell, Conn. In contrast, a reproduced mechanical bank manufactured by a modern iron foundry will display poorly fitted parts; gaping seams; soft, indistinguishable detail; and a coarse, pebbly textured surface (eg, Figure II: A reproduction "Teddy and the Bear" bank, circa 1957, distributed by the "Book of Knowledge Collection").
     One of the primary reasons for the radical differences in surface texture and appearance between a recently produced bank and an antique mechanical is the quality of molding sand each of the iron foundries utilized in its casting process. Nineteenth and early-20th­century foundries used an extremely fine-textured, high-grade casting sand in their molds. The result was a much smoother finish than those cast from molds utilizing a cheap, coarse grade of sand which is commonly used by modern-day foundries. However, it is not solely the quality of the sand which guarantees the sharp, crisp castings inherent to all antique mechanical banks.
     All antique cast-iron mechanical banks commence as highly detailed master patterns. These were handmade and carefully finished working models of the mechanical bank that would ultimately be manufactured. They were usually comprised of a soft, easily workable metal, such as bronze or lead. The individuals responsible for their creation were exceptionally skilled and trained master craftsmen. The master pattern parts were then pressed into the sand molds, forming an exact hollow replica of the pattern's surface. Subsequently, molten iron, poured into these molds, when cooled emerged as precise, smooth, beautifully detailed parts for a mechanical bank.
     On the other hand, procedures of the contemporary iron foundries differ from the archaic casting process previously discussed. Not only do they utilize actual antique mechanical banks as their master patterns rather than the actual highly detailed master patterns themselves, but they press the banks into coarse sand in order the create their molds. The results are reproductions which lack the detail and smooth characteristics of the old, original bank.
     Probably the most significant factor in determining a reproduction, aside from appearance, is the fact that mol­ten cast iron shrinks approximately one-quarter of an inch per foot as it cools. The reproduction "Teddy and the Bear" bank, shown in Figure II, measures approximately one-quarter of an inch shorter along its base than the original "Teddy and the Bear" bank in Figure I.
     Next month: The detection of reproduced mechanical banks through their painted surface, and a list of significant antique mechanical banks that have been reproduced.

The Detection of
Mechanical Bank Reproductions
(Part II)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1993

      Mechanical bank reproductions may be categorized into two specific areas: (1) those which are clearly identified as such in their castings, and offered for sale "as is"; and (2) those which were created to replicate authentic antique mechanical banks and serve solely to deceive the purchaser.
     Several "bogus" banks (i.e., those which did not identify themselves as replications) were supposedly produced during the late 1940s by two gentlemen residing in Pennsylvania. Unfortunately, identification and realization of these forgeries are difficult since they possess many characteristics similar in nature to original mechanicals. Their castings are extremely smooth and detailed, and their seams are exacting enough to fool the unwary collector. However, knowledge and experience in the detection of frauds can avoid costly errors.
     These reproductions were created by usage of original mechanical banks as master patterns, rather than utilization of master patterns them­selves. Therefore, they lack the extremely fine details of the original banks. In addition, deep, muddy, muted tones of the originals colors were used to give the banks a look of age and authenticity. And, most importantly, each is one-eighth to one-quarter of an inch shorter along the base than the original.
     The following is a listing of several "high quality" reproductions which are believed to have been created by the aforementioned individuals: "Acrobats"; "Boy Robbing Birds' Nest"; "Boy on Trapeze"; "A Calamity"; "U.S. and Spain"; "Chimpanzee"; "Circus Ticket Collector"; "Milk­ing Cow"; "Goat, Frog and Old Man"; "Mama Katzenjammer"; "Peg Leg Beggar"; "Squirrel and Tree Stump"; and "Tabby."
     In addition to these, there were equally fine reproductions produced either by those previously mentioned gentlemen or unidentified others. This list includes: "Bill-E-Grin"; "Boys Stealing Wa­termelons"; "Bread Winners"; "Bull and Bear"; "Dog Charges Boy"; "Bucking Mule"; "Bear and Tree Stump"; "Girl in Victorian Chair"; "Billy Goat"; "Harlequin, Clown and Columbine"; "North Pole"; "Perfection Registering"; "Bismark Pig"; "Shoot-the-Hat"; "Shoot the Chute"; and "Uncle Sam Bust" bank.
     During the 1950s the "Book of Knowledge" issued thirty reproduction mechanical banks as an incentive to purchase its set of children's encyclo­pedias. Each bank displays the following words underneath its base: "Reproduced From Original in Collection of The Book of Knowledge," which is followed by a 1-9/16 inch impression of a circle (Figure I).
     Also during the 1950s, approximately 11 other mechanical banks had been reproduced from the "James D. Capron Collection," and were identified as such underneath their bases. Both sets of these 1950s reproductions are fairly easy to discern. Besides the designations cast into their bases, their surfaces and seams are rough and pebbly. Their paint quality is garish and crude, lacking the subtle color tones and details of an old original mechanical bank. And, as with the unmarked reproductions, each is one-eighth to one-quarter of an inch shorter along the base than the original example (Figure II).
     Most reproductions can be distinguished from original banks by noting either the quality of its casting or the virtues of its paint application. Nineteenth and early twentieth-century toy and mechanical bank manufacturers utilized high-quality, lead-bearing enamels to decorate their wares. The pigments used were of exceptional purity and intensity, never to be duplicated. For example, the yellow pigment (and those colors such as green and orange, which were dependent upon yellow) was derived from uranium oxide. Because of the obvious hazards involved in its us­age as well as those of lead-based pigments, government mandate has restricted sale of both these paint ingredients. Unfortunately, few, if any, substitutes accomplish the same purposes as successfully as uranium oxide for intensity of yellow, and lead, for a thick, smooth-flowing surface.
     Due to heavy applications of paints and the sparse amount of drying time required on the assembly line, particular dryers were used. This resulted in very smooth, glass-hard finishes. As with fine china, this fine old paint cracked and crazed as it struggled against the ravages of time. Close examination of most antique mechanical banks will reveal tiny craze lines throughout their painted surfaces. This is especially true in the deep, creviced areas, where paint might have pooled to an excessive thickness.
     The mechanical bank manufacturers of yesterday employed highly skilled artisans to decorate their mechanical banks. Their brush strokes were deft and knowledgeable. No detail was omitted, as seen in the Shepard Hardware "Uncle Sam Bank" — from the tiny hairs of an eyebrow or eyelash, to the minute buttons, piping and stars on its vest. Conversely, modern reproductions are not manufactured with the same objectives. There is a lack of sensitivity and pride in the fin­ished product. The only goal is to create a "reasonable" facsimile of the original old mechanical bank, with compromise as the standard and not the exception. Paint is applied thinly, using only the basic and primary colors. Mixing subtle tints and shades of colors only increases the cost of the banks, and is omitted from the process.
     Paint thickness, texture, brush strokes, crazing, detail, chipping, intensity, and purity of color are characteristics which can be helpful in determining the age and/or authenticity of a mechanical bank. If further proof of originality is required, ultraviolet, or "black" light, can be useful, although it is not foolproof. When illuminated in a darkened room by this particular light source, "old" paint appears as muted shades of the colors in question. In contrast, newer paints fluoresce, giving the semblance of bright "Day-Glo" hues.
     Undoubtedly, chemical tests and "black" light are valuable adjuncts to the detection of new and repainted banks. However, knowledge, intuition and the experienced eye peering through a high-power magnifying lens also play an important role.
     Correction: (from February, 1994) Refer to Antique Toy World, December, 1993, "Detection of Mechanical Bank Reproductions" Part II: Figures Number I and II, positioned above the photographs of "Teddy and the Bear" banks should be transposed.

The Detection of
Mechanical Bank Reproductions
(Part III)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1994

      My preceding two articles concerned themselves with the comparison of an original antique mechanical bank to one that had been reproduced. This month's topic will deal with the manufacturers of those reproductions.
     Possibly, the most easily recognizable of the "legitimate" reproductions (i.e., those created with no intention to fool collectors) are those banks recast from the "Book of Knowledge Collection." This series was initially produced by the Grey Iron Casting Com­pany, of Mount Joy, Pa., during the early 1950s (Figure I). It includes 30 recasts of original antique mechanical banks, namely: "Artillery"; "Dentist"; "Paddy and the Pig"; "Bull Dog Bank"; "Tammany"; "Magician"; "Kicking Cow"; "Jonah and the Whale"; "Bucking Buffalo"; "U.S. and Spain"; "Eagle and Eaglets"; "Creedmoor"; "Trick Pony"; "William Tell"; "Always Did 'Spise a Mule"; "Humpty Dumpty"; "Leap Frog"; "Owl Turns Head"; Spise a Mule, Jockey Over"; "World's Fair"; "Punch and Judy"; "Cabin"; "Uncle Remus"; "Organ, Boy and Girl"; "Hometown Battery"; "Indian and Bear"; "Cat and Mouse"; "Teddy and the Bear"; "Uncle Sam"; and "Boy on Trapeze."
     During the late 1960s, Donald Smith of the Riverside Foundry in Wrightsville, Pa., assumed production of the "Book of Knowledge" banks. He marketed these under his "John Wright" line of toys and novelties (Figure II).
     Also occurring during these years was the manufacture of 11 additional reproductions of antique mechanicals. These represented examples from the "James D. Capron Collection" (Figure III) and included: "Hubley Trick Dog," "Bad Accident," "Mule Entering Barn," "Clown on Globe," "Horse Race," "Lion and Monkeys," "Professor Pug Frog," "Two Frogs," "Hubley Monkey Bank," "Magic Bank," and "Hubley Trick Elephant."
     Both "Book of Knowledge" and "James D. Capron" banks have been clearly identified under their bases, and present no problems in detection. In addition, as described in my previous articles, all have crude, pebbly surfaces. Their seams are ill-fitted and they are painted in basic primary colors. And, most importantly, each is one-eighth to one-quarter of an inch shorter along the base than its antique counterpart.
     In conclusion, I suggest the novice antique mechanical bank collector exercise caution when contemplating a purchase. A great number of these reproductions may appear aged and even rusted, thereby impersonating an old, original mechanical. Careful scrutiny, however, will reveal its true identity.
     Coincidentally, and quite timely to this writing, is the publication of a book written by Robert L. McCumber. Entitled "Mechanical and Still Bank Reproductions," it presents a brief, illustrated history of the several contemporary iron foundries engaged in the manufacture of mechanical bank reproductions. For further information, or to order a copy, write: Robert L. McCumber, 201 Carriage Drive, Glastonbury, CT 06033.

U.S. and Spain Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1994

      Eyewitness accounts describe a great explosion and a ball of fire as the ghostly white hull of the United States Battleship "Maine" slowly sank into the murky depths of Havana harbor. Following the loss of more than 260 American seamen the battle cry "Remember the 'Maine,' to hell with Spain!" echoed throughout the land, heralding the onset of the Spanish-American War.
     The conflict began in April of 1898 and ended just a few months later, with the United States emerging the victor. Independence was established for Cuba, and America gained possession of Guam, the Philippines and Puerto Rico. The "U.S. and Spain" mechanical bank (Figure I) illustrates the dramatic climax of this grim war. The Spanish fleet, led by Admiral Cervera, lay trapped and helpless in Santiago harbor. On one side they faced Admiral Schley's formidable North American Fleet, and on the other, the heavy cannon artillery of Lt. Col. Theodore Roosevelt.
     Figure II represents a rare J. and E. Stevens Company flyer, circa 1898, wherein the ensuing battle and the action of the "U.S. and Spain" bank is described: "The Latest Novelty. A Harmless Toy. No Powder Used. When the hammer is brought back, and a paper cap placed in position, press the thumb piece. The shot will strike the ship, bringing down the military mast as the coin disappears. May be used without caps." (The flyer neglects to mention: the coin is placed within the slot in front of the mast, atop the deck of the ship, and a wooden artil­lery shell is inserted into the muzzle of the cannon prior to firing.) Deposited coins may be removed by opening the round Stevens'-type coin retainer underneath the base.
     On July 12, 1898, Charles A. Bailey of Cromwell, Conn. assignor to the J. and E. Stevens Company, was granted "Design" Patent number 29,049 (Figure III) for his "U.S. and Spain" mechanical bank. As evidenced by the final production bank (Figure I), Bailey's design was stringently adhered to by its manufacturer and his employer, the J. and E. Stevens Company of Cromwell, Conn.
     To my knowledge, there are no casting variants of the "U.S. and Spain," and only two decorative variations. One utilizes a rough-textured sand finish to the sides of the stones representing the walls of the U.S. fort. The other, also pertaining to the walls, has these painted a tan color to lend the appearance of stone. In both examples, basic coloration remains constant.
     The hull of the battleship "SPAIN" is black, with red portholes and decorations. The name "SPAIN" is white. The ship's deck is grey with all of the cannons painted gold. The mast, and figures of the sailors on the mast are red, yellow, orange, tan, brown, and pink. Santiago harbor's water is sea-blue with foamy white waves. The U.S. cannon is black and rests on a grey cradle with the letters "U.S." painted gold. The stone walls of the fort are a tan, sand color and the area on top of the fort is green, with red and yellow highlights.
     The "U.S. and Spain" mechanical is quite rare, particularly one that is superb, all original condition. Most often, when the bank is located, either the mast of the battleship is missing or has been recast, replacing the original.
     Reproductions do exist. Figure IV is a base diagram of an original example. A recast will appear approximately one-quarter of an inch shorter along the base than indicated.
     My thanks to fellow bank collector, Ed Sheridan, for his help in supplying information relevant to the "U.S. and Spain" bank.
     Correction: Refer to Antique Toy World, December, 1993, "Detection of Mechanical Bank Reproductions" Part II: Figures Number I and II, positioned above the photographs of "Teddy and the Bear" banks should be transposed.

The Bow-Ery Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1994

      The "Bow-Ery Bank" (Figure I) has been the subject of much discussion and theor­ization. Information pertaining to its namesake and manufacturer has, thus far, proven to be merely speculative. Some believe that, since the animated subjects are dogs, and the childlike expression associated with these animals is a simplistic "Bow-Wow," combined with the action of two small illustrated dogs that bow towards one another, these offer plausible explanations for the name "BOW-ERY."
     With no intention to render the "Bow-Wow" or "Bowing" theories worthless, I offer yet another, and perhaps more relevant interpretation. A section of New York City, situated in lower Manhattan, had been designated "The Bowery." In addition to some wholesale restau­rant supply businesses, the area is now also populated by destitute panhandlers, rundown bars, "flop" houses, and mission house soup kitchens. This contrasts sharply with the Bowery of the late 19th century, when the "BOW-ERY BANK" was manufactured, wherein glittering dance halls, burlesque theaters, saloons, bawdy houses, and opium dens abounded. Most of these establishments were controlled by several of the New York City mobs and catered to the thrill-seeking, posh, social aristocrats.
     Imagine, if you will, the "BOW-ERY BANK" being likened to New York City's Bowery with its two symbiotic factions in the form of illustrated dogs peering from the doorways of their respective dog houses. On the left we see a tough-looking bulldog, suggesting mob affiliation, whereas the pooch on the right sports a monocle and bow tie, intimating an aristocratic background.
     Possibly, the inventor of the "BOW-ERY" mechanical intended that his bank be a satire of New York's Bowery. Is it merely coincidental that the "mob" bulldog bows respectfully to the socialite dog who, upon receipt of a coin, likewise bows in recognition? Unfortunately, conjecture is all that may be offered since little is known which pertains to the intended meaning of the bank.
     Selchow and Richter, a New York City based wholesale toy and game manufacturer and distributor, offered the "BOW-ERY BANK" for sale in one of their early (circa 1890) toy jobber catalogs. In it, the bank was pictured and offered at $4.00 per dozen. This, at least, establishes the bank's approximate date of production and distribution.
     The action of the "BOW-ERY BANK" is quite uncomplicated. Upon insertion of a coin through the doorway slot of the socialite dog, both dogs bow toward one another. As the money falls into the bank, the duo return to their upright positions. Deposits are retrieved by unscrewing the back half of the bank.
     Examination of the bank's internals will possibly provide one clue as to the extreme rarity of "BOW-ERY BANK." Its entire mechanism is constructed of thin, fragile pieces of wood and paper. Easily broken and, when one considers the cost of only 34 cents each, then discarded.
     There are no casting variants within the two known examples of the "BOW-ERY BANK." But, surprisingly, each is painted in a slightly different manner. The central, rectangular panel upon which the words "BOW-ERY BANK" appear is painted either dark green with gold letters, or dark brown with gold letters. All other coloration is consistent with one another.
     The colors of the bank shown in Figure I are as follows: the top section is painted red, with the raised, wide border outlined in gold. The rectangular area in the center is brown, with gold letters, and the base is dark green. The entire back half of the bank is brown. Finally, the illustrations of the two dogs are printed in black ink on buff-colored paper.
     Note the disk-shaped depression at the top of the bank. On the example not shown, there is a remnant of a paper label. Unfortunately, its content is badly deteriorated and totally illegible, once again shrouding the history of the "BOW-ERY BANK."
     Aside from its fragile internal construction, this mechanical's rarity may also be attributed to its lackluster, unattractive appearance, as well as its unappealing subject matter for children. These factors, more than likely, were responsible for an extremely short sale life, and the ultimate discontinuance of its manufacture.
     I am not aware of any reproductions of the "BOW-ERY BANK." Nevertheless, Figure II is a base diagram of an original example. If a recast were attempted, the resulting product would appear approximately one-eighth of an inch shorter along the base than indicated.
     My thanks and appreciation to Steve and Marilyn Steckbeck for allowing me to utilize a photograph of their superb "BOWERY BANK" (Figure I) in the writing of this article.

Time Is Money Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1994

      The oft-quoted adage "time is money" is aptly portrayed by our "bank of the month," pictured in Figure I. Here we see a round, silver-colored medallion, upon which is an effigy of a bearded and winged Father Time. He appears to be cranking the obverse side of an Indian Head Penny. Below the coin, a "Shield of Liberty" emerges from the top of an hourglass.
     Unfortunately, there is little, if any, background information relating to the "TIME IS MONEY BANK." Puzzling is the fact that its design, configuration, and even its enigmatic past are strikingly similar to another mechanical, namely the "BOW-ERY BANK" (refer to Antique Toy World, February 1994).
     A third bank, and one that is identical in appearance to "TIME IS MONEY" is the "CHRO­NOMETER BANK." Shown in Figure II, it dif­fers only in the respect that it is a coin-registering bank and not a mechanical. Ehrich's Fashion Quarterly, a former wholesale-retail toy jobber's catalog, offered the "CHRONOMETER BANK" for sale to the general public, circa 1876, "Price, 75 cents. By mail, 15 cents extra." Other than this advertisement, no pertinent information relating to its designer and/or manufacturer has, thus far, been uncovered.
     However, the cryptic graphics molded into the circular face of the "TIME IS MONEY BANK" (Figure I) offer the opportunity to elicit a plethora of interpretations. Allow me to express my thoughts, albeit conjecture.
     The year in which "CHRONOMETER BANK" (and possibly "TIME IS MONEY") was offered for sale was the period in which the United States was involved in the "great economic depression" (i.e., 1873-1878). Expansion of industry during this time was accompanied by increased tension between business and labor. By the 1870s, labor unions began to emerge in an attempt to alleviate hardships suffered due to pitiful wages. The plea "a fair wage for time spent on the job" was echoed by workers across the land. Perhaps these difficult times inspired the creation of a mechanical bank whose message "time is money" reflected the thoughts of downtrodden workers throughout the country.
     Or, does the name lack any symbolic meaning, and are the seemingly mystical hieroglyphics decorating its circular face merely meaningless designs of an unknown toy manufacturer? Was there any historical significance linked to the bank's creation, or was the intent solely to inspire savings?
     The action of "TIME IS MONEY" is unique and somewhat unexpected. The Father Time disk is rotated approximately one full turn clockwise, locking it into position. Upon insertion of a penny, the disk quickly spins around counterclockwise, causing the coin to drop into the bank. Deposits are removed by unscrewing both halves of the mechanical.
     I am not aware of the existence of casting variations of "TIME IS MONEY." However, there is one minor color difference. It pertains to the rectangular panel upon which the words, "TIME IS MONEY BANK" are cast. It may be painted either brown or red. The colors of the example shown in Figure I are as follows: the entire bank is coated with a dark brown japan varnish. The Father Time disk is painted silver and the finial, central thin horizontal protruding ledge, as well as the wide border across the bottom of the base, are bright red. Finally, the words, "TIME IS MONEY BANK" and the filigree on each side of the silver disk are highlighted in gold.
     "TIME IS MONEY BANK" is extremely rare, with less than a handful known to exist within collections. An attempt to explain its scarcity is to surmise the following: The bank was either a specialty item intended to recall a most unpleasant moment in our history and generated few or no sales, or its subject matter and composition were so obscure and unappealing to children that few were purchased.
     To my knowledge, "TIME IS MONEY BANK" has not been reproduced. Nevertheless, Figure III is a base diagram of an original example. If a recast were attempted, the result would appear ap­proximately one eighth of an inch shorter along the base than indicated.
     My thanks and appreciation to Steve and Marilyn Steckbeck for allowing me to utilize a photograph of their superb "TIME IS MONEY BANK" (Figure I) for the purpose of writing this article.
     The entire series of articles, from August 1982 to the present, is expressly the property of Sy Schreckinger and may not be reproduced, in whole or in part, without his permission.

The Chronometer Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1994

      A temporary departure from the topic of mechanical banks brings us to another type of "coin keeper," namely the registering bank. An example, and the focus of discussion this month, is the "Chronometer Bank," seen in Figure I. Personifying the definition of a registering bank, its sole function is to record an amount of money deposited, either in a small window or other appropriate area. This differs from a mechanical bank wherein a specific action is initiated either by depressing a lever in order to deposit a coin, or the coin itself causes a particular action to ensue.
     The question most likely to be uppermost in the reader's mind is: why feature a registering bank in an article normally devoted to mechanical banks? This can be answered by directing your attention to Figure II (i.e. "Time is Money Bank" — refer to A.T.W., April, 1994) Figure III ("Bowery Bank" - refer to A.T.W., March, 1994). The similarity in design, material, and appearance of "Bowery Bank" and "Chronometer Bank" is apparent, but the resemblance between "Chronometer Bank" and "Time is Money" is remarkable. Assumedly, all three banks were designed and manufactured by the same individuals. Unfortunately, however, the three also have in common the lack of information pertinent to their backgrounds.
     Well-known mechanical bank historian, Mr. F. H. Griffith, is in possession of a rare Erich's Fashion Quarterly wholesale-retail toy jobber's catalog, circa Winter 1876, in which there is an illustration of the "Chronometer Bank." Accompanying the engraving is a caption reading: "This Toy Money Bank has a clockwork arrangement by which every penny deposited registers itself so that a child can always know just how much money the bank contains."
     "What the bank book and the clerk are to the large depositor, this automatic registering device is to the child, with the additional charm of a little mystery about the way it is done. Price, 75 cents. By mail, 15 cents extra."
     The striking similarity of design and subject matter between "Time is Money" and "Chronometer" mentioned earlier, may be seen in a comparison of their photographs (refer to Figures I and II). Each of their faces exhibits a circular disk, upon which is an effigy of a winged and bearded Father Time. He is cranking the reverse side of an Indian Head Penny. Below this coin a "Shield of Liberty" emerges from the top of an hourglass. However, on the "Chronometer Bank," to the left of the penny and shield are two small rectangular windows which display the total amount of money deposited. The top window records single penny increments while the lower window indicates deposits in ten cent increments.
     Previously mentioned was the lack of action shared by registering banks pursuant to the insertion of a coin. The "Chronometer" typifies this description. Operation of the bank is simple and precise. An Indian Head or Lincoln bust-type penny (the only types of coins which allow for proper operation of the banks in Figures II and 111, as well) is inserted into the slot located on top of the bank directly behind the finial. The weight of the penny causes the total amount of deposits to appear in one of the two windows. Accumulated coins are removed by unscrewing both halves of the bank.
     I am aware of two casting and color variations of the "Chronometer Bank." These pertain to the small deposit recording windows and the rectangular area upon which the words, "CHRONOMETER BANK" appear. The windows are either rectangular (refer to Figure I) or circular in shape. The rectangular area incorporating the bank's name is painted dark green or reddish-brown, and the lower border at the base of the bank can be either gold or red.
     Colors of the example in Figure I are as follows: the entire bank is coated with a dark brown japan varnish. The Father Time disk is painted silver. The panels on either side of the disk are dark green with flourishes and finial high­lighted in gold. The rectangular area beneath the disk is painted reddish-brown, with the raised letters, "CHRONOMETER BANK" rendered in gold. Finally, the raised border at the bank's base is bright red.
     The "Chronometer Bank" is extremely scarce. The collector in possession of this bank, as well as "Bowery" and "Time is money" is indeed fortunate.
     To my knowledge, the "Chronometer Bank" has not been reproduced. Nevertheless, Figure IV is a base diagram of an original example. If a recast were attempted, the result would appear approximately 1/8" shorter along the base than indicated.
     The fine examples shown in Figures I, II, and III are from the superb collection of Steve and Marilyn Steckbeck.

The Punch And Judy Bank
(Part II, A Unique Color Variation)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1994

      Surprising and enlightening is the recent discovery of a copper, electroplated variation of the Shepard Hardware Company's "Punch and Judy" mechanical bank (Figure I). This necessitates an addendum to the January 1986 Antique Toy World article, "The Punch and Judy Bank," in which was written that all "Punch and Judy" banks manufactured by the Shepard Hardware Company were painted in the same manner and colors as shown in Figure II.
     The new find was acquired from an antique dealer residing in the Abilene, Texas, area. He had purchased it from an elderly gentleman from Fort Worth who recounted that the bank had been presented as a gift to his grandfather, then a small boy in Pennsylvania.
     When offered, the mechanical's appearance was bleak. It was totally encrusted with a thick coating of dull black oxide. Only minute traces of copper were visible through several areas underneath the base. My initial appraisal of the bank categorized it as a 19th-century bronze foundry pattern used to cast original "Punch and Judy" banks. However, closer examination and a magnet soon dispelled the "pattern" theory. The bank was not composed of bronze, but cast iron with a metallic copper coating!
     I then proceeded to contact an associate who is astute on the subject of metallurgy. My goal was to uncover as much of the original finish remaining under its oxide shroud as possible. Within several hours of testing, he concluded that the bank had been copper-electroplated and oxidized during the late 19th or early 20th century. Supporting his hypothesis was the fact that the oxide used to blacken the electroplate was arsenic-based. He further explained that this was an archaic, post-copper-electroplating procedure discontinued at the turn of this century due to the mortal dangers involved in its usage. Because of its hazardous nature, it was suggested that he, rather than I, remove the oxide. This was accomplished by using a soft, silver-stainless steel alloy wire brush combined with a mild polishing agent. Figure I is the successful result of his endeavors.
     Worthy of mention is that, until the discovery of the copper-electroplated "Punch and Judy" bank, the Shepard Company was thought to have copper-electroplated only one other mechanical bank in their line: i.e., the "Artillery" bank (refer to Antique Toy World, February 1988).
     The "Punch and Judy" bank was conceived by both Peter Adams, Jr., and Charles G. Shepard of Buffalo, N.Y. They were granted Patent number 302,039 on July 15, 1884 (Figure III). Several days later, on July 22, 1884, "Design Patent" number 15,155 (Figure IV) was also issued to Messrs. Adams and Shepard. The additional patent was solely to protect the external design features of their "Punch and Judy" bank.
     To date, I am aware of only two color variations of the "Punch and Judy" bank (Figures I and II), and three casting variants. These pertain to the letters which form the words "PUNCH AND JUDY BANK" at the peak of each bank. The mechanicals pictured in Figures I and II are re­ferred to as the "large letters" variation. The other two have the name "PUNCH AND JUDY BANK" across a raised, arched ribbon in either small or medium Gothic letters.
     The action of "Punch and Judy" is quite amusing. The round plunger on the right side of the bank is pulled out, causing Judy to turn towards the front and Punch to raise his club in a menacing manner. A coin is placed into Judy's tray and the small lever under the round plunger is then pressed downward. Simultaneously, Punch lowers his club as if to strike Judy, and she quickly turns toward him, depositing the coin into the bank. The money is removed by unscrewing the base plate underneath the bank.
     The "Punch and Judy" bank has been reproduced. Therefore, I am including a base diagram (Figure V) to aid the collector in determining an original example from a recast. A reproduction will appear approximately one-eighth inch shorter along the width than indicated.
     Acknowledgement: The electroplated example of the "Punch and Judy" bank (Figure I) now resides in the superb collection of Frank and Joyce Kidd of Portland, Ore.

The Jonah Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1994

      "God was displeased with Jonah for disobeying him, and caused so violent a storm to arise that the ship was in danger of being wrecked. Then the seamen drew lots to find out for whose wicked­ness the storm had come upon them. And the lot fell upon Jonah. So he told them all: And said they must take him and throw him into the sea. The sailors were unwilling to do this. So they rowed hard, in hopes of getting to land. But it was no use, so they had to throw Jonah over; and immediately the storm ceased.
     But Jonah was not drowned. God had prepared a great fish, that swallowed him up, and at the end of three days and three nights, swam to shore, And vomited him up unhurt."
        — The Old Testament
    
     Rare , distinguished, and unique are a few of the adjectives which best describe the mechanical bank portrayed in Figure II. The characteristic that differentiates it from all other banks ever produced is that it concludes a story introduced by another mechanical bank.
     Figure I, the "Jonah and the Whale Bank" (refer to Antique Toy World, July 1986) represents the beginning of Jonah's Biblical ordeal with God. Here we see a robed and bearded sailor casting Jonah into the cavernous mouth of a "large fish," portrayed as a whale. Figure II, the "Jonah Bank," depicts the conclusion of Jonah's ill-fated journey which took place in the belly of the whale.
     Unfortunately, little is known about either the origin or manufacturer of the "Jonah Bank" (Figure II). There has, however, been much speculation on the part of mechanical bank historians and collectors alike. The bank's colors, construction and design suggest the possibility of its having been a product of master bank designer Charles A. Bailey during his employment with the J. and E. Stevens Foundry of Cromwell, Conn.
     Figure III is an advertisement from a rare Ives, Blakeslee and Company Catalog, circa 1880s, wherein the "Jonah Bank" was offered for sale at the price of $9.00 per dozen. Ives, Blakeslee and Company had been a toy jobber and manufacturer based in Bridge­port, Conn. In attempting to resolve the question of who designed, produced and ultimately manufactured the "Jonah Bank," it would be reasonable to assume that Ives, Blakeslee might have presented the J. and E. Ste­vens Company with plans for their mechanical, also requesting additional refinements, and eventual manufacture.
     Operation of the "Jonah Bank" (Figure II) is initiated by pulling the round knob located beneath the whale's tail, thus setting the lever. A coin is then placed within the small boat atop the bank's right-hand side. Simultaneously, upon depression of the lever behind the whale's right-hand flipper, the boat shoots forward, depositing the coin, and whale's mouth opens, ejecting Jonah upon the beach. Coin removal is achieved by sliding the small coin retainer, underneath the perforated square base, to one side.
     There are no casting variants of the "Jonah Bank." However, there is one color deviation which applies solely to the front, rear and sides of the base. These may be painted either bright red or orange (one example known). The colors of the bank pictured in Figure II are as follows: the whale is an overall medium gray. It has white corneas, red pupils and red eyelids. Its lower lip is also painted red, and there are bright red markings on its flippers and tail. Jonah's face is pink flesh-colored with black eyes, eyelids and a red mouth. He sports a blue-black robe. The top of the base (representing the beach) is painted a light tan sand color, strewn with gray-colored sea life. The water and waves are blue-green. The small coin-carrier boat and activating knob beneath the whale's tail are bright red, as is the base, but with gold highlighting. Finally, the square coin box underneath the base, as well as the entire underside of the bank, are painted maroon.
     The "Jonah Bank" (Figure II) is an extremely interesting and attractive mechanical. Unfortunately, its rarity is the obstacle preventing most bank collectors from ever owning one.
     In attempting to ascertain reasons for its rarity, one need only to examine its construction: i.e., complicated with a multitude of intricate and extremely delicate cast parts. It undoubtedly was prone to malfunction and breakage, possibly at the factory or during transit to retailers (as were other rare banks of the period: i.e., "Girl Skipping Rope" bank — refer to Antique Toy World article dated December 1982).
     Aside from one contemporary aluminum replica, I am not aware of the existence of any reproductions. Nevertheless, Figure IV is a base diagram of an original "Jonah Bank." A reproduction, or recast, will appear approximately one quarter of an inch shorter along the base then indicated. This is due to the fact that cast iron shrinks approximately one-quarter inch to the foot during succeeding attempts at duplication.
     The superb, all-original example of the "Jonah Bank" (Figure II) is from the mechanical bank collection of Steve and Marilyn Steckbeck of Fort Wayne, Ind.

The Owl Bank, Turns Head
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1994

      An unlikely, or perhaps inconceivable subject for a child's plaything is the image of a bird of prey. And yet, the "Owl Bank," turns head is just such a creation. Represented in Figure I, this ornithological beauty is cloaked in a soft, plush feathery coat. It peers at the world with two large limpid and transparent eyes.
     To date, there are three different cast iron mechanical banks which portray this nocturnal dinizen. In addition to the subject of this article, there is "Owl Bank," slot in head (refer to Antique Toy World, April, 1989), and "Owl Bank," slot in book (Antique Toy World, January, 1990). Of these, "Owl Bank," turns head is the one which most closely mimics the creature it represents. Its inventor and designer, James H. Bowen, of Philadelphia, Pa., was able to capture characteristics endowed by nature such as the owl's large yellow, transparent eyes and a head that is able to swivel a full 90 degrees.
     Inscriptions underneath the base plate of "Owl Bank," turns head which read "PAT'D SEPT 21 & 28th 1880" and "PAT NO 232,628" facilitated location of the patent drawings (Figures II and III). The "Design Patent" (Figure II) was utilized to protect the external features of the invention from pilferage, while the patent shown in Figure III protects the inventor from infringement of the internal mechanical workings of his design.
     The bank shown in Figures II and III was ulti­mately manufactured by the J. and E. Stevens Com­pany of Cromwell, Conn. As evidenced by the patent papers (Figures II and III), the final production bank (Figure I) adheres faithfully to these drawings.
     Figure IV represents a page from a J. and E. Stevens' catalog, circa 1906, wherein the "Owl Bank," turns head is offered for sale at the price of both 50 cents and 75 cents each. (The reason for the price differential remains a mystery to this day.) The action of "Owl Bank," turns head is best explained by the following quote from the advertisement (Figure IV): "Place a coin on top of the branch and press the thumb piece at the back, when the head of the Owl turns and the coin is deposited, after which the head moves back to its former position." Deposits are recovered through a round Stevens'-type coin retainer underneath the base.
     Interestingly, there are several painted variations of the "Owl Bank," turns head. Each depicts a dif­ferent specie of owl. The example shown in Figure I is representational of a Snowy Owl and is painted primarily with white plumage. Other colorations are medium-grey plumage for the Barn Owl, brown feathers with yellow highlights for a Barred Owl, and greyish-brown, mottled with light grey coloration for the Great Horned Owl.
     There are no casting variants of "Owl Bank," turns head other than the two different patent desig­nations inscribed underneath the base plates.
     The colors of the bank pictured in Figure I are as follows: the owl is painted an overall white with light grey highlights. It has yellow talons and yellow translucent glass eyes with black pupils. The foliage to the left of its head and the back of the base is dark green with gold embellishment. The bird is perched upon a brown tree stump, the ends of which are painted light tan with brown age rings. The operating lever located at the rear of the base is bright red.
     The "Owl Bank," turns head is considered a fairly common mechanical. However a superb, almost-mint example, or one decorated in one of the scarcer color schemes (i.e. white with light grey highlights) will command a premium price.
     Several reproductions of "Owl Bank," turns head do exist. Figure V is a base diagram of an original example. A recast will appear approximately one-eighth of an inch shorter along the base than indi­cated. Note: the arrows indicate the outside dimensions of the base.

Rabbit Standing, small
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1994

      "Cute, simplistic, but sadly unappreciated," are the comments uttered by mechanical bank collectors when referring to "Rabbit Standing, small," Figure I.
     Considering the enormous appeal of bunnies and rabbits to children, it is surprising that manu­facturers of the period had not recreated their likeness more frequently in the production of their wares. Oddly, the few mechanicals (i.e., three different ones known) which utilized the rabbit as subject of banks were created by lesser-known, or "minor," bank manufacturers: i.e., the Kilgore Manufacturing Company's "Rabbit in Cabbage" (refer to Antique Toy World, May 1990), "Rabbit Standing, small," Figure I, and "Rabbit Standing, large," produced by the Lockwood Manufacturing Company of South Norwalk, Conn.
     The bank pictured in Figure I was invented by Henry S. Lockwood of South Norwalk, Conn. On August 22, 1882, he was granted Patent number 13,261 for his design (Figure II). The word, "PATENTED" appears underneath the circular base of the bank. The patent drawing's square base (Figure II) is more reflective of the second Lockwood mechanical bank, "Rabbit Standing, large" (to be discussed in a subsequent article), while the operation and action of both banks are identical. A coin is inserted in what the inventor describes as the "apple or fruit" which the rabbit holds between its forepaws. The tail is depressed, causing the ears to pivot forward and the coin to drop into the bank. Since there is no coin retainer underneath the base, deposit removal is achieved by unscrewing the base of the bank.
     Interestingly, no sequential method of operation is mentioned in the design patent, nor is any operating lever identified. Therefore, one may assume from reading the patent that either the rabbit's ears may be pivoted forward in order to deposit the coin, or its tail is pressed downward. In either case, whichever action is applied, the opposing appendage reacts as stated, and the coin is deposited.
     I am not aware of any casting variation of "Rabbit Standing, small," and only two color variants which pertain solely to the round base. It may be painted either a light brown japan or red.
     The colors of the bank pictured in Figure I are monochromatic, but quite elegant in appearance: the rabbit is painted a copper-bronze color. Its ears and "apple" are gold, and the base is finished in a light brown japan varnish.
"Rabbit Standing, small" is extremely difficult to find in superb, all-original condition. Most often, when one is located, the ears are either missing, repaired or recast. A fine, all-original and working example is quite a rarity and its addition to a collection can prove to be a challenge.
     I am not aware of reproductions of "Rabbit Standing, small." Nevertheless, Figure II is a base diagram of the bank. If attempts were/are made to recast the mechanical, its base would appear approximately one-sixteenth to one-eighth of an inch smaller O.D. than indicated.

Rabbit Standing, large
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1994

      Undervalued and unappreciated aptly describe the plight of a number of mechanical banks. Des­pite their enviable status of rarity, these "orphans" are fated to remain, perhaps eternally, upon dealers' shelves. Factor which have contributed to their unpopularity are small size, lackluster appearance, monochromatic coloration, subtle action and unfamiliar subject matter.
     A few of the members of the grouping of "unfortunates" include "Afghanistan" bank; "Billy Goat" bank; "Elephant With Tusks on Wheels"; "Light of Asia"; "Turtle"; "Little Moe"; "Monkey, Coin in Stomach"; "Smyth X-Ray" bank; "Watch Bank, Dime Disappears"; the entire group of Spring-Jawed mechanicals; and the subject of this article, "Rabbit Standing, large."
     The bank shown in Figure I was invented by Henry S. Lockwood of South Norwalk, Conn. On August 22, 1882, he obtained Patent Number 13,261 for his design (Figure 111). The words "PAT. APL D. FOR" appear underneath the square base of the bank. "Rabbit Standing, large" (Figure I) was produced by the Lockwood manufacturing Company of South Norwalk, Conn. Adherence to the patent drawing, pictured in Figure II, is apparent when compared to Figure I.
     Operation of "Rabbit Standing, large" is simple and the action which ensues is charming. A coin is inserted in what Henry Lockwood describes in the patent papers as the "apple or fruit," located between the rabbit's forepaws. The tail is then depressed, causing the ears to pivot forward and, simultaneously, the coin to drop into the bank. Deposits are removed by unscrewing the round head bolt underneath the base and detaching the square base plate.
     Interestingly, no sequential method of operation for coin deposit is described in the patent; nor is any operating lever identified. Nevertheless, the drawing of the rabbit in Figure II does indicate, via dotted lines, a movable tail and ears. Ergo, one may assume by noting the patent drawing that, either the ears may be pivoted forward in order to deposit the coin, or the rabbit's tail may be depressed downward. In either case, whichever action is initiated, the opposing appendage reacts as indi­cated in the patent drawing (Figure II).
     A mechanical bank which is far less scarce and not considered a rarity is the "Rabbit Standing, small" (refer to Antique Toy World, September 1994). Also designed and manufactured by Henry S. Lockwood, it operates in precisely the same manor as "Rabbit Standing, large." Both banks are protected by the same patent (refer to Figure II).
     I am not aware of any casting variations of "Rabbit Standing, large" and only two color variants which pertain solely to the figure of the rabbit. It may be painted a brown japan, or gold. In both cases, the apple or fruit is silver and the base is painted bright green. The example shown in Figure I is the gold version.
     "Rabbit Standing, large" is considered quite rare with just a handful of superb, all-original examples residing in a few collections. Most often, when one is located, the ears are either missing, repaired or recast. In addition, and for undetermined reasons, the finish is often extremely worn.
     I am not aware of reproductions of "Rabbit Standing, large." Nonetheless, Figure III is a base diagram of an original example. If a recast was attempted, its base would appear approximately one-eighth inch smaller (O.D.) than indicated.
     The superb example of "Rabbit Standing, large" (Figure I) is from the collection of Steve and Marilyn Steckbeck of Ft. Wayne, Indiana.
     CORRECTION: (from December, 1994) Refer to Antique Toy World, October 1994, "RABBIT STANDING, large" Figure III. The following base diagram was inadvertently omitted from publication.

The Coasting and the Shoot the Chute Bank
A mystery and a history, Part I
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1994

      Perplexing and unique describe the correlation between two mechanical banks that has baffled both collectors and historians alike. The puzzlement pertains to the relationship between the elusive "Coasting Bank" as seen in Figure I, and the "Shoot the Chute" bank, Figure II. These mechanicals are strikingly similar to one another in design and action, but differ in one major respect: an original example of the "Coasting Bank" has yet to be discovered, while "Shoot the Chute" may be seen residing in several mechanical bank collections.
     Approximately 40 years ago, when there was only a handful of "Shoot the Chute" banks known to exist, interesting and historically significant information came to light. This was via an early, wholesale toy jobber's catalog, i.e., the 1884 Winter Edition of Ehrichs 'Fashion Quarterly (Figure III). In it was an illustration of the "Coasting Bank," Figure I. The advertisement, which offered the mechanical for sale at the price of "95 cents each," included a description of its action: "Upon plac­ing the sled at the top of the hill and pulling the string, the sled swiftly makes the descent until it meets an obstruction that lands the coaster on his head and deposits the coin in the bank. Size, 9-3/4 inches long, 2-3/4 inches wide, and 5-1/2 inches high."
     Figure IV is a page from a 1906 catalog of the J. and E. Stevens Company, one of the leading mechanical bank producers of the late 19th and early 20th centuries. The "Shoot the Chute" bank was offered for sale at $1.00 each, with the following description of its action: "Raise extension to position, press the hook down and lay a coin in the slot, place Buster Brown and his Boat at the top of the chute and start downward. Length, 9-7/8 inches. Height 6-5/8 inches. Width 2-5/8 inches."
     A comparison of the Ehrichs' and J. and E. Stevens' catalogs, Figures M and IV reveals the similarities of action, design and dimensions between the two banks. The outstanding difference is their subject matter. The "Coasting Bank" portrays a black boy seated upon an old-fashioned, wood-runner sled, whereas "Shoot the Chute" embodies the characterization of Buster Brown and his dog, Tige, descending the chute in their rectangular row boat.
     Speculation persists as to why a reputable toy wholesaler such as Ehrichs would advertise a mechanical bank that may not, based upon lack of proof of its existence, have ever been manufac­tured. One possible theory is that a toy manufacturer such as J. and E. Stevens, in attempting to comply with Christmas holiday deadlines, had prematurely presented a prototype of the "Coasting Bank" to Ehrichs for use in their Winter catalog prior to successful development of working bank patterns. Perhaps, subsequent to publication, the bank was discovered to have serious faulty design which would ultimately preclude its manufacture. Several other mechanical banks have suffered a similar fate, although not to the extent of the "Coasting Bank" (e.g., "Girl Skipping Rope" — Refer to Antique Toy World, "mechanical bank notes," December 1982 and April 1988).
     Other prevailing theories include: an unpopular toy with few sales; too complicated and fragile for children; the boy in the sled is easy to lose, rendering the bank useless; too expensive to manufacture and sell at an acceptable price; manufacturer dispute with the inventor or designer over patent rights.
     Twenty-two years later, on March 27, 1906, when the "Coasting Bank" was forgotten by most, lo and behold! the emergence of "Shoot the Chute" bank (Figure V), and the subject of next month's article (i.e., Part II).
     If anyone has information, documentation, knowledge of a complete, original "Coasting Bank," or a fragment thereof, wooden packaging boxes and ephemera which may be shared with other readers, please contact Sy Schreckinger, P.O. Box 104, East Rockaway, NY 11518.
     Note: The superb, all-original example of the "Shoot the Chute" bank (Figure II) is from the mechanical bank collection of Steve and Marilyn Steckbeck of Ft. Wayne, Ind.

The Coasting and the Shoot the Chute Bank
A mystery and a history, Part II
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1994

      During the last decade of the 19th century, a brilliant cartoonist created what was to become a national institu­tion. Richard F. Outcault was the originator of the first full-color Sunday comic strip in the United States. His creation was entitled "Hogan's Alley" and featured a crude, ungainly youth named the "Yellow Kid." Although the strip was extremely pop­ular with a segment of the population, Outcault became dissatisfied with the "vulgarity" of its "low class" characters and decided to terminate the column in 1898.
     Four years later, in 1902, he sired another strip, characterizing a "more refined," albeit brat-like youngster named Buster Brown. The child was frequently accompanied by his faithful dog, Tige (Figure I), who possessed the amazing powers of speech. The comic duo enjoyed immediate success. Their exploits appeared in several New York newspapers until their termination in 1920. For almost 40 years, the images of Buster and Tige adorned various categories of consumer goods. Endorsements included: books, clothing, umbrellas, raisins, soap, buttons, cigars, whiskey, hair cuts, shoes and toys.
     It was during the pinnacle of Buster Brown's popularity that Charles A. Bailey, one of the world's leading mechanical bank designers, capitalized upon Outcault's characters. He incorporated them into one of his own creations (Figure II), for which he was granted Patent Number 815,935 on March 27, 1906. The bank was eventually manufactured by the J. and E. Stevens Company of Cromwell, Conn. (Figure III).
     Interestingly, the aforementioned papers indicate that Bailey originally assigned his invention to the National Novelty Corporation of Westfield, N.Y. This was a trust composed of several of the major toy manufacturers of the day, and included the J. and E. Stevens Company. The trust planned to pool their production and monopolize the toy market. However, their efforts failed to achieve fruition, and the group disbanded after only one year of existence.
     Action of "Shoot the Chute" is quite amusing. As described in an early J. and E. Stevens catalog, circa 1906 (Figure IV): "Raise extension to position, press the hook down and lay a coin in the slot, place Buster Brown and his Boat at top of chute and start downward." At this point, the descending boat hits the coin, knocking it into the bank. As the coin is deposited, it strikes a lever which raises a hook at the end of the chute. The boat then catches onto the hook, flipping Buster Brown and his pup head over heels!
     Several prevailing theories attempt to explain the rarity of "Shoot the Chute" Bank. One of these is that, perhaps, the mechanical's jarring action caused irreparable damage to the fragile cast-iron boat, thus rendering the bank useless. Another is that the failed trust, which had held the patent rights to "Shoot the Chute," may not have obtained proper licensing from Outcault for usage of his characters, prompting a court decision for discontinuance of the bank's production.
     There are no casting variations of "Shoot the Chute," and only two color variants which pertain solely to the boat and its occupants. It may be either nickel plated or colorfully painted, as seen in the example in Figure III. Buster Brown's face, hands and stockings are a pink flesh-color. His hair, eyes and eyebrows are brown, and his mouth is red. He sports orange pantaloons, a khaki coat with an orange collar, and a fluffy white bow tie. Tige is painted an overall khaki color, with dark brown eyes and a red mouth. The boat is bright red. The entire base is nickel plated. Both sides are highlighted in bright red with gold flourishes.
     Aside from the rarity of "Shoot the Chute," its coloration and subjects distinguish it as a worthwhile and attractive addition to a mechanical bank collection. Unfortunately, its rarity has en­couraged several unscrupulous attempts at reproduction. Figure V is a base diagram of an original example. The reproduction will appear approximately one-quarter inch shorter along the base O.D. than indicated.
     In reference to last month's article in Antique Toy World concerning the  "Coasting Bank," the following may be stated as a certainty: The bank illustrated in Figure VI of this article (as it had appeared in the 1884 Winter Edition of Ehrichs' Fashion Quarterly) is not an artist's misrepresentation of the "Shoot the Chute" Bank (Figure III), since that bank would have been introduced 18 years prior to Outcault's creation of his Buster Brown character.
    Regrettably, we are left with unanswered questions...
•     Was the "Coasting Bank" originally an unpatented Charles Bailey design which might or might not have been manufactured, only to reappear 22 years later as Bailey's patented "Shoot the Chute" Bank?
•     Or, did Bailey only gain inspiration from the Ehrichs'Fashion Quarterly illustration (Figure IV), adapting another's design of the "Coasting Bank" to suit the needs of the J. and E. Ste­vens Company?
     CORRECTION: Refer to Antique Toy World, October 1994, "RABBIT STANDING, large" Figure III. The following base diagram was inadvertently omitted from publication.

The Santa Claus Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1995

     Twas the night before Christmas ..." begins Thomas Clement Moore's poem "The Account of a Visit of St. Nicholas." This, as well as Thomas Nast's popular illustration of "Father Christmas" (Figure I), provided the inspiration for a plethora of holiday items, objects and ornaments during the latter part of the 19th century. Nast's impression of Santa Claus appeared on a multitude of items, including Christmas cards, decorations, candy molds, cookie cutters, costumes, advertisements, games and children's toys.
     Charles G. Shepard and Peter Adams, of Buffalo, N.Y., designed a toy savings bank employing the image of this yuletide legend. They were granted Patent Number 19,356 on October 15, 1889. Ultimately, their "Santa Claus" bank was manufactured by the Shepard Hardware Company of Buffalo, N.Y. As evidenced by the patent drawing in Figure II, the Shepard Company's final production bank (Figure III) adhered closely to Messrs. Shepard and Adams' concept.
     A mail-order catalog distributed by Montgomery and Ward, circa 1889, advertised the "Santa Claus" bank (Figure IV), with a selling price of 40c each. Quite an investment when compared to the recent selling price of a "Santa" bank in excellent condition, for more than 14,000 times the original 1889 catalog price!! The "Santa Claus" bank is not considered rare. However, as with all Shepard banks, finding one in exceptionally fine paint condition is an almost unattainable challenge. This was due to the fact that Shepard Hardware never applied a protective undercoat to its product prior to painting, inevitably resulting in profuse crazing and badly flaked surfaces. However, despite this flaw in production, to date, the Shepard Hardware Company remains unsurpassed amongst mechanical bank manufacturers in having achieved the ideal combination of meticulously fine castings and highly detailed, delicately painted surfaces.
     There are two minor casting, and two color, variants of the "Santa Claus" bank. These pertain solely to a patent designation cast underneath the base, and the color of St. Nick's coat. The latter may be either brown or light grey with white snowflakes and trimmed in reddish-brown fur (see Figure III).
     In both variants, Santa's face and hands are a pink flesh color. He has blue eyes, white eyebrows, moustache and beard. His mouth is painted red. St. Nicholas' face is outlined by the bright red inner lining of his cap. On his back he carries a yellow basket of red toys which are highlighted in gold. His boots are shiny black, and he stands upon a rectangular medium-gray platform which bears the words "SANTA CLAUS" accented in gold. Finally, the chimney is painted bright red with white mortar lines.
     In reference to the aforementioned casting variations, some examples of the "Santa Claus" bank have the words, "PAT. APP'D FOR" appearing on the underside of the base. This indicates that the production of these mechanicals took place prior to issuance of the patent (Figure II). Later examples display the words, "PAT OCT 15 1889."
     Operation of the "Santa Claus" bank is uncomplex. A coin is placed into Santa's right hand. The lever behind his right foot is then depressed. Simultaneously, his hand lowers, releasing the coin into the chimney. Deposits are recovered by unscrewing the small, rectangular coin retainer underneath the base.
     Over the years, several reproductions of the "Santa Claus" bank have been created. Figure V is a base diagram of an original example. A recast will appear approximately one eighth of an inch shorter along the base, O.D., than indicated.

The North Pole Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1995

      A bitter dispute centering upon the discoverer of the North Pole resulted in a decision which, even to this day, remains a subject of debate. The infamous controversy involved Admiral Robert Peary and Dr. Frederick Cook. Both gentlemen claimed to have been the first to travel to the North Pole. Peary and his expedition, after several unsuccessful attempts, reached their destination on April 7, 1909. They planted the Stars and Stripes in the name of the United States of America. Upon returning home, Peary learned that a former associate, Dr. Cook, had announced to the world that he had reached the North Pole one year earlier than Peary. Vicious mudslinging between the two resulted in a congressional committee investigation, with Robert Peary emerging victorious. Supporters of Cook, however, never accepted the final decision. On July 26, 1910, master mechanical bank designer, Charles A. Bailey was granted Patent Number 965,843 for his invention and design of the "North Pole Bank" (Figure I). It was ultimately manufactured by the J. and E. Stevens Company of Cromwell, Conn. (Figure II). Both Bailey and J. and E. Stevens discreetly avoided reference to either Peary or Cook in the design of the bank, thereby hoping not to offend prospective customers on either side of the issue.
     Operation of the "North Pole Bank" is initiated by depressing the flag into the globe, snapping it into place. A coin is then inserted in the slot on the left side of the bank, as shown in Figure III (an illustration from a J. and E. Stevens catalog, circa 1910). As the coin is pushed into the bank, the flag pops up. Deposits are removed by undoing the round, Stevens-type coin retainer underneath the base.
     There are no casting or color variants of the "North Pole Bank." The colors, as shown in Figure II, are as follows: the upper section of the mechanical, including the globe, is painted a gold-bronze color. The lower two thirds of the base is silver, highlighted with white. The explorers have pink, flesh-colored faces and are clothed in tan parkas. The sled dogs are painted a tan color. The sled is dark blue and carries a gold supply pack. The various examples of Polar wildlife indicated around the base are highlighted in gold, tan and white.
     The words, "PATd APLD FOR" are embossed onto the underside of the base. The "North Pole Bank" is quite rare, possibly attributed to poor sales which dictated early termination of its manufacture. It is not surprising, since foundry records and documents indicate sales and public interest in mechanical banks were steadily declining subsequent to the year 1900. What chance would a bank such as "North Pole" (Figure II), with its limited action; lackluster, somewhat monochromatic appearance; and its controversial subject matter, have in such a negative sales climate?
     Caution and wariness should be exercised when contemplating purchase of a "North Pole Bank," since very few totally original examples exist. Most are compiled from original, but unpainted and unassembled, parts discarded by the J. and E. Stevens foundry when mechanical bank production ceased. These banks were assembled and painted by individuals who misrepresented them as totally original to unsuspecting collectors. More than likely, expert opinion is required to determine paint originality, since base tracings (as in Figure IV) will only indicate size differentiation of a recast mechanical bank.
     In addition, several complete recasts of the "North Pole Bank" have been fabricated. These banks will appear approximately one quarter of an inch shorter along the base, O.D., than indicated in the base diagram (Figure IV).
     The superb, all-original example of the "North Pole Bank" shown in Figure II, is from the collection of Steve and Marilyn Steckbeck.

The Bismark Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1995

      Numerous mechanical banks were designed to represent significant historical and/or political events. Those with more overt, or recognizable, themes are represented by such distinguished titles as: "U.S. and Spain"; "North Pole" Bank; "Stump Speaker"; "Uncle Sam"; "Hold the Fort"; etc. Other mechanicals may depict unfamiliar, or obscure, events which may confound all but the astute historian. Included amongst this listing are: "Afghanistan" (refer to Antique Toy World, September 1986); "Bread Winners Bank" (Antique Toy World, April 1993); "Schley Bottling Up Cervera"; and the subject of this article, the "Bismark Bank" (Figure 1).
     Once again, master bank designer, Charles A. Bailey, of Cromwell, Conn., recognized the opportunity to capitalize upon a subject of current interest to the public. He designed a bank incorporating a likeness of German chancellor, Otto von Bismark, emerging from the topside of a pig. Although the message related appears obvious, an understanding of the circumstances occurring at that time in history would reveal its actual symbolic intent.
     During the latter portion of the 19th century, Chancellor Otto von Bismark attempted to unify the loosely knit German states into a world power. Many of his expansionist and colonialist policies were perceived as aggressive and hostile, particularly when he labeled the Monroe Doctrine an "international impertinence." In retaliation for the constraints placed upon him by the Doctrine, Bismark restricted the import of American pork and meat products into Germany. This action resulted in hardships upon pork producers in the United States, and precipitated vehement anti-Bismark sentiment. It was this prevailing attitude toward Bismark that provided the inspiration for Charles A. Bailey and many of his constituents to design toys and banks ridiculing the German chancellor.
     To date, no patent information pertaining to the "Bismark Bank" has been located. Had it not been for J. and E. Stevens' foundry records, the designer and manufacturer of this mechanical would have remained an enigma. Figure II is an advertisement from the 1884 Winter edition of Ehrich's Fashion Quarterly (a mail-order catalog) offering the "Bismark Bank" for "75 cents each. Express only." The action of the bank is somewhat surprising, albeit appropriate. To quote the Ehrich's advertisement: "Upon placing a coin, as shown in the cut and pressing the pig's tail, the depositor will immediately ascertain the cause of his trouble." Bismark will then pop up (see Figure I).
     I am not aware of any casting variants of the "Bismark Bank," and there are only two color variations. The figure of the pig (which had been manufactured from cast iron) may be painted either glossy black (Figure I) with a white snout, hooves, eyes, eyebrows and a red mouth. The words "BISMARK BANK" are highlighted in gold. Or, it may be painted white with black splotches, a pink snout and hooves, a red mouth, black eyes and eyebrows and the words "BISMARK BANK" also accented in gold.
     Chancellor Bismark (cast from zinc-lead alloy) has a pink, flesh-colored face with black hair, eyes, eyebrows and moustache and a red mouth. Coupled with the "black pig" variant, Bismark wears a red jacket with black buttons. In the "white pig" version, he sports a blue jacket. Both variations utilize a round, tin, gold tray which is attached to the front of Bismark.
     The "Bismark Bank" is considered quite rare, especially when found in complete, all-original, fine-paint condition. This is understandable when one considers the fragile casting of the figure of Bismark and his precariously positioned tin tray.
     Many years ago, attempts to reproduce the "Bismark Bank" resulted in a few crudely executed examples. These are easily detectable, since the castings are pebbly and heavy in appearance, with wide, gaping seams In addition, the ill-fitting parts precluded smooth operation of the bank.
     Figure III is a base diagram of an original example of the "Bismark Bank." A recast would be approximately one eighth to one quarter of an inch shorter in length O.D. than indicated.
     The superb example of the "Bismark Bank" shown in Figure I is from the mechanical bank collection of Steve and Marilyn Steckbeck.

Mechanical Bank Ephemera
Part II of: Jolly Nigger Bank, Hall's Excelsior Bank,
Chronometer Bank, Mama Katzenjammer Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1995

      Occasionally mechanical bank enthusiasts and readers of this column will submit items of interest which relate to, and elaborate upon, my articles in Antique Toy World. Generally, such material is most informative and, frequently, a valuable adjunct to my writings. Admittedly, it appears that the serious collector as well as the newly initiated, can never be satiated with knowledge when the subject pertains to mechanical banks.
       Allow me to share a few of these gems with you:
 
Jolly Nigger Bank: Refer to Antique Toy World, December 1983.
Advertising Flyer: Submitted by Dr. Greg Zemenick.
  
Hall's Excelsior Bank: Refer to
Antique Toy World, February 1984.
Flyer, possibly packed with each bank.
Submitted by Dr. Greg Zemenick.
  
Chronometer Bank: Refer to Antique Toy World, May 1994.
Toy jobber's catalog page, E. G. Selchow and Co., circa 1875.
Submitted by Mr. Anthony Annese.
  
Mama Katzenjammer Bank: Refer to
Antique Toy World, January 1984.
Manufacturer's catalog page, Kenton Hardware Company, circa 1906.
  
Note the handwritten word "out" across both the "Teddy Bear Bank" and the "Mrs. Katzenjammer Bank," possibly indicating both items were poor sellers, a factor which may have prompted discontinuance and deletion from their 1907 toys and banks catalog.
Submitted by Mr. Bill Robison.
 
Note: Readers are welcome to share their ephemera relating to mechanical banks: eg, trade cards, flyers, wooden packing boxes (especially those displaying the name "Kyser and Rex Co.), etc. Please contact: Sy Schreckinger, P.O. Box 104, East Rockaway, NY 11518.

First One Hundred Fifty Articles — An Index
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1995

      In view of the overwhelming number of requests received from readers, the following is an index of the one hundred fifty articles I've written for Antique Toy World:

 1.   August 1982-The Edwin H. Mosler Bank Sale
2.   December 1982-Girl Skipping Rope
3.   January 1983-Acrobats
4.   February 1983-Zig Zag
5.   March 1983-Two Frogs
6.   April 1983-Reclining Chinaman
7.   May 1983-Elephant and 3 Clowns
8.   June 1983-Peg Leg Beggar
9.   July 1983-Circus Ticket Collector
10.   August 1983-Little Jocko Musical
11.   September 1983-Chimpanzee
12.   October 1983-Billy Goat
13.   November 1983-Confectionery
14.   December 1983-Jolly Nigger
15.   January 1984-Mama Katzenjammer
16.   February 1984-Hall's Excelsior
17.   March 1984-Paddy and the Pig
18.   April 1984-Speaking Dog
19.   May 1984-Tammany
20.   June 1984-Fowler
21.   July 1984-Humpty Dumpty
22.   August 1984-Mason
23.   September 1984 - Humpty Dumpty Part II
         -Elephant and 3 Clowns Part II
24.   October 1984-Organ Bank, Cat and Dog
25.   November 1984-Bulldog Savings
26.   December 1984-Bird on Roof
27.   January 1985-Darktown Battery
28.   February 1985-Magician
29.   March 1985-Boy Stealing Watermelons
30.   April 1985-Uncle Sam
31.   May 1985-Stump Speaker
32.   June 1985-Zig Zag Part II
        -Bill Norman's Bank Book, Review
33.   July 1985-Lion Hunter
34.   August 1985-Calamity
35.   September 1985-Organ Miniature
36.   October 1985-Indian and the Bear
37.   November 1985-William Tell
38.   December 1985-I Always Did 'Spise A Mule (Jockey)
39.   January 1986-Punch and Judy
40.   February 1986-Organ Bank, Boy and Girl
41.   March 1986-Boy Scout Camp
42.   April 1986-Perfection Registering
43.   May 1986 - I Always Did 'Spise A Mule (Boy on Bench)
44.   June 1986-Bad Accident
45.   July 1986-Jonah and the Whale
46.   August 1986-Organ Grinder and Performing Bear
47.   September 1986-Afghanistan
48.   October 1986-Dentist
49.   November 1986-Goat, Frog and Old Man
50.   December 1986-Teddy and the Bear
51.   January 1987-Mammy and Baby
52.   February 1987-Novelty
53.   March 1987-Lion and Monkeys
54.   April 1987-Horse Race
55.   May 1987-Hall's Lilliput
56.   June 1987-Mule Entering Barn
57.   July 1987-Toad on Stump
58.   August 1987-Milking Cow
59.   September 1987-Dog on Turntable
60.   October 1987-Spring-Jawed Alligator
61.   November 1987-Clown on Globe
62.   December 1987-Jumbo Elephant
63.   January 1988-Organ Bank with Monkey
64.   February 1988-Artillery
65.   March 1988-Stevens Foundry, Part I
66.   April 1988-Stevens Foundry, Part II
67.   May 1988-Stevens Foundry, Part III
        -Penny Lane Book Review
68.   June 1988-Stevens Foundry, Part III
        -Penny Lane Book Review
69.   July 1988-Red Riding Hood
70.   August 1988-Eagle and Eaglets
71.   September 1988-Butting Buffalo
72.   October 1988-Spring-Jawed Bonzo
73.   November 1988-Trick Dog, Six-Part Base
74.   December 1988-Patronize the Blind Man and His Dog
75.   January 1989-Bucking Mule
76.   February 1989-World's Fair
77.   March 1989-Frog on Round Base
78.   April 1989-Owl, Slot in Head
79.   May 1989-Uncle Sam Bust
80.   June 1989-Boy on Trapeze
81.   July 1989-Boy and Bulldog
82.   August 1989-Bulldog on Square Base
83.   September 1989-Cat and Mouse
84.   October 1989-Rooster
85.   November 1989-Spring-Jawed Kitten
86.   December 1989-Saalheimer and Strauss Toy Catalog
87.   January 1990-Owl, Slot in Book
88.   February 1990-Bulldog Standing
89.   March 1990-Atlas
90.   April 1990-Monkey and Coconut
91.   May 1990-Rabbit in Cabbage
92.   June 1990-Spring-Jawed Bulldog
93.   July 1990-Organ Grinder and Performing Bear, Part II
         -Perfection Registering, Part II
94.   August 1990-Uncle Tom
95.   September 1990-Leap Frog
96.   October 1990-Chief Big Moon
97.   November 1990-Girl in Victorian Chair
98.   December 1990-Cross-Legged Minstrel
99.   January 1991-The Home Bank
100.   February 1991-Spring-Jawed Mule
101.   March 1991-First 100 Articles
102.   April 1991-Butting Goat
103.   May 1991-Elephant Howdah - Man Pops Up
104.   June 1991-Boy Robbing Bird's Nest
105.   July 1991-Spring-Jawed Parrot
106.   August 1991-Mickey Mouse Tin
107.   September 1991-Dinah
108.   October 1991-Merry-Go-Round
109.   November 1991-Light of Asia
110.   December 1991-Frog on Rock
111.   January 1992-Spring-Jawed Chimpanzee
112.   February 1992-Elephant with Tusks, on Wheels
113.   March 1992-Bank of Education and Economy
114.   April 1992-Presto, Trick Drawer
115.   May 1992-Professor Pug Frog
116.   June 1992-Zoo
117.   July 1992-General Butler
118.   August 1992-Spring-Jawed Penguin
119.   September 1992-William Tell, Arrow
120.   October 1992-Hubley Elephant
121.   November 1992-Hubley Monkey
122.   December 1992-Hubley Trick Dog
123.   January 1993-Safety Locomotive
124.   February 1993-Hold the Fort
125.   March 1993-Pig in High Chair
126.   April 1993-Bread Winners
127.   May 1993-Presto, Penny Changes to a Quarter
128.   June 1993-Turtle Bank
129.   July 1993-Watch Dog Safe
130.   August 1993-Monkey, Coin in Stomach
131.   September 1993-Squirrel and Tree Stump
132.   October 1993-Grenadier
133.   November 1993-Mechanical Bank Reproductions (Part I)
134.   December 1993-Mechanical Bank Reproductions (Part II)
135.   January 1994-Mechanical Bank Reproductions (Part III)
136.   February 1994-U.S. and Spain
137.   March 1994-Bow-ery
138.   April 1994-Time is Money
139.   May 1994-Chronometer
140.   June 1994-Punch and Judy (Part II)
141.   July 1994-The Jonah Bank
142.   August 1994-Owl Turns Head
143.   September 1994-Rabbit Standing (Small)
144.   October 1994-Rabbit Standing (Large)
145.   November 1994-Coasting Bank
146.   December 1994-Shoot the Chute
147.   January 1995-Santa Claus
148.   February 1995-North Pole
149. March 1995-Bismark
150. April 1995-Mechanical Bank Ephemera Part II: Jolly Nigger Bank,
        Hall's Excelsior, Chronometer, Mama Katzenjammer Bank

The Hen and Chick Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1995

      The virtuous state of motherhood has been extolled a countless number of times and through various means. One such expression has been via antique mechanical banks, with such notables as "Mammy and Baby," "Eagle and Eaglets," "Lion and Monkeys," "Two Frogs," "Mama Katzenjammer," "Boy Robbing Bird's Nest," and the subject of this article, "Hen and Chick" Bank (Figure I).
     Of the aforementioned, "Boy Robbing Bird's Nest" and "Hen and Chick" have been documented as the creations of master bank designer, Charles A. Bailey. His genius had once again been demonstrated by rendering a pile of nuts, bolts, springs and molten cast iron into the personification of maternal tenderness. Both mechanicals bear his unmistakable trademark: prolific use of leaf and flora forms woven into their design. Bailey's successful use of cold, hard cast iron to achieve the warmth of graceful flora form remains unchallenged to this day.
     On October 1, 1901, Charles A. Bailey of Cromwell, Connecticut, was assigned Patent Number 35,159 for his design of the "Hen and Chick" Bank (Figure II). The mechanical bank was subsequently manufactured by his employer, the J. & E. Stevens Company of Cromwell, Connecticut. It was offered for sale in their catalog "Iron Toys, Etc.," circa 1906 (Figure III): "Retail price $1.00. Each in a neat wooden box."
     The action of "Hen and Chick" Bank is whimsical and entertaining. A coin is placed into the slot directly in front of the hen. The lever adjacent to her right side is then pulled to the rear of the bank. This causes her head to move back and forth and her beak to open and close, emitting a clucking sound. Simultaneously, a tiny chick springs forward from beneath her breast and pecks the coin into the bank! Deposits are retrieved by removing the round, patented, Stevens'-type coin retainer underneath the base.
     There are several casting and color variations of the "Hen and Chick" Bank. A rare example of this mechanical bank is painted an overall gold color. More common are the two variants, which were more attractively painted. The colors of the bank shown in Figure I are as follows: the base is bright green, adorned with light blue flowers with yellow centers and yellow flowers with light blue centers. The leaf and grass designs are highlighted in copper. Mama hen is painted white with a bright red comb and wattles. She has a brown beak and yellow eyes with black pupils. Her brood, their tiny heads peeking from beneath her protective wing feathers, are painted yellow with black eyes. The chick emerging from beneath mama's chest is also painted yellow, and it has black eyes and a brown beak. Finally, the operating lever is painted gold.
     There is one other polychrome version of the "Hen and Chick" Bank. This one portrays a light brown hen, sitting on a dark metallic green base. The colors of the flowers, chicks, etc., remain consistent with those of the "white" hen variant. Interestingly, there were a few methods utilized by the J. & E. Stevens Company to indicate patent information underneath the base plate of "Hen and Chick." The first has the words, "PAT APLD FOR" cast onto the base plate. A second has the words, "PATENT APPLIED FOR" printed in black ink on a light-green paper label affixed to the base plate. The third method is a base plate completely devoid of any patent information.
     Surprisingly, there has been no known attempts to reproduce the "Hen and Chick" Bank despite its desirability and popularity. Nevertheless, I am including a base diagram of an original example (Figure IV). If a reproduction were manufactured utilizing an original "Hen and Chick" Bank as a pattern, it would appear one-eighth to one-quarter of an inch shorter along the base, O. D., than indicated.
     I extend my gratitude to fellow collectors Dr. Greg Zemenick and Mr. Mike Gabriel for supplying pertinent information for use in this article.

The Panorama Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1995

      The design and manufacture of the first cast-iron mechanical bank (Figure I) unknowingly effectuated the birth of a major, worldwide industry. Mr. John D. Hall, of Watertown, Mass., invented and patented (December 21, 1869) his "Hall's Excelsior," a mechanical bank in the form of a building (refer to Antique Toy World, February 1984). His ingenious creation was the inspiration for eventual production by other talented individuals of well over 400 varied mechanical banks, spanning a period of approximately 40 years.
     Although other subjects have enjoyed equal success and popularity, the group comprised of buildings has been the most prolific in both the mechanical and still bank families. Classics amongst the mechanicals include: "Dog on Turntable," "Mosque," "Hall's Lilliput," "Cupola Bank," "Novelty Bank," "New Bank," "National Bank," "Home Bank," "U.S. Bank," "Zoo Bank," and the subject of this article, the "Panorama Bank" (Figure II).
     On March 7, 1876, James D. Butler, of Lancaster, Mass., received patent number 174,410 for the invention of a most unique "building-style" mechanical bank, namely his "Panorama Bank" (Figure III). Subsequently, Butler assigned the patent rights to Elisha G. Selchow and John H. Righter, two entrepreneurs who owned and operated a wholesale game and home- amusement company located in New York City (see Figure IV). Selchow and Righter ultimately contracted the J. and E. Stevens Foundry, of Cromwell, Conn., to manufacture Mr. Butler's invention.
     Interestingly, the original patent papers (Figure III) indicated a device designed to exhibit only three different pictures. It is likely that either Selchow and Righter or J. and E. Stevens modified the design, enabling the final production bank to display six different images, rather than three.
     To operate the "Panorama Bank," a coin is first pushed through the slot located at the center of the backside of the roof. This engages an internal lever which revolves a wooden, paper-covered cylinder, resulting in the viewing of precisely one picture at a time. Additional coins must be utilized to expose each image. Deposits are retrieved by opening the square sliding coin retainer underneath its base.
     The revolving cylinder features six different color lithographed pictures of children engaged in various activities. It includes: a boy standing on a bridge observing swans; a girl playing with a kitten; two boys in a rowboat; two children, one feeding a goat and the other fishing; three children feeding ducks; and, lastly, two girls reposing in a garden.
     I have recently been informed of the existence of a "Panorama Bank" with six totally different images from the aforementioned. However, since I have not personally viewed the bank, I am unable, at this time, to comment upon the credibility of the report.
     To my knowledge, there are no known casting variations of "Panorama Bank." However, there are several color variants. One is painted white with a blue roof and red trim. Another has a light green façade with a red roof and brown trim. A third, Figure II, has yellow walls, red window trim, blue lettering and a brown door. This variant also features yellow chimneys with blue trim, a blue base and brown and blue stairs.
     The "Panorama Bank" has not, to my knowledge, been reproduced. Nevertheless, Figure V is a base diagram of an original example. If a reproduction were manufactured, it would appear approximately one-quarter of an inch shorter along the base. O.D. than indicated.
     On a final note: Recently, architectural-style banks, both mechanical and still, have become increasingly popular and desirable. The "Panorama Bank" is a most attractive addition to such a collection.

The Motor Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1995

      Historical events, social issues and the celebration of new and exciting inventions are among the topics depicted in antique toys and mechanical banks. The collector and historian are often provided with an abundance of information relating to various eras. The subject of this article, shown in Figure I, pays homage to an invention which revolutionized the transportation industry.
     With the advent of the steam locomotive during the early mid-19th century and its rapid expansion in the United States, other cleaner and less-noisy means of travel were sought — especially within urban and highly populated areas. It was not until the latter half of the 19th century that a successful, operational "electric traction" car was developed by Mr. Leo Daft of New Jersey. His invention involved the use of a small carriage, or troller," which rode above overhead electrified wires, thus gathering power for the vehicle's motor. From this little "troller" of the Daft system evolved the word "trolley."
     Street cars and trolleys suddenly acquired a particular appeal and fascination. They were glorified and romanticized in story and song. Manufacturers utilized the image of the trolley to sell various merchandise, from toys to foodstuff.
     On April 30, 1889, Alfred C. Rex, of Philadelphia, Pa., was granted Patent Number 402,351 for his toy "Motor Bank" (Figure II). The bank was ultimately manufactured by the Kyser and Rex Company, of Frankford, Pa., who strictly adhered to the patent design, as evidenced by the drawings in Figure II. It is alleged that the J. and E. Stevens Company, of Cromwell, Conn., later obtained patent rights to the "Motor Bank." However, their production of the bank has never been verified.
     Of interest in the fact that, in the patent papers, Mr. Alfred Rex described his invention as a coin-operated toy, while in the patent illustration he indicated its name as a bank.
     Action of the "Motor Bank" is quite entertaining. Instructions are printed upon a small label affixed to its underside: "Directions — To connect mechanism push catch in rear platform into left-hand slot of shaft: To disconnect, push into the right-hand slot. To wind hold bottom of car toward you, bottom side up and key in right hand. To start push coin or other object in money slot, thus releasing spring and the car will run. When mechanism is disconnected the car can be drawn along with a string without injury to it, otherwise it cannot." As the car is set in motion, a bell chimes from within. Deposits are removed by unlocking the raised, cupola-like section of the roof.
     Figure III is an offering for the "Motor Bank," priced 90 cents each! It appeared in the Montgomery Ward and Company catalog, circa 1889.
     There are two casting and two color variants of the "Motor Bank." the undercarriage may be either perfectly smooth, or have reinforcement ribs cast into it. The panel under the windows that contains the number "125" may be either light green or ultramarine blue. Neither casting nor color variation has any bearing upon the bank's desirability or value.
     The colors of the bank (Figure I) are as follows: the roof and front and rear doors are painted red, as are the motorman's platforms, which are outlined in gold. The sides of the bank are bright ultramarine blue and light yellow, with the words, "MOTOR BANK" highlighted in red, and the number "125" accented in gold. The wheels are black.
     The words, "PAT. APL. 30. 89" are cast into the undercarriage.
     The "Motor Bank" is extremely rare, with only a handful of fine, all-original, working examples existing in collections. Most often, when a fresh example is discovered it is either broken, missing parts or lacking a considerable amount of its paint.
     To date, the "Motor Bank" has not been reproduced. Nevertheless, I am including a base diagram (Figure IV), demonstrating size and scale. A reproduction, if it were to be created, might appear approximately one-eighth inch shorter in length than indicated.
     Acknowledgement: The superb example of the "Motor Bank" shown in Figure I is from the Steckbeck collection of mechanical banks.

The Mosque Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1995

      An infinite number of sources tended to serve as inspiration for the myriad mechanical bank designs. One of these was foreign lands, whose images stimulated thoughts of their allure, mystery and intrigue.
     During the latter portion of the 19th century, immigration to the United States from Asia and the Orient sparked the interest and imagination of novelists, song writers and artists. Awareness and opportunity to capitalize upon a popular trend brought mechanical bank manufacturers into the arena with such notables as "Afghanistan" (refer to Antique Toy World (ATW), September 1986); "Elephant Howdah, Man Pops Up" (ATW, May 1991); "Elephant, Locked Howdah"; "Chimpanzee" (ATW, September 1983); "Hindu"; "Cupola Bank"; "Japanese Ball Tosser"; "Reclining Chinaman" (ATW, April 1983); "Mikado"; and the subject of this article, the "Mosque" Bank, Figure I.
     The "Mosque" Bank was manufactured by H. L. Judd and Company, of Wallingford, Conn., and is pictured in its April 1, 1885 "Catalog of Metal Goods" (refer to Figure II). It sold for thirteen dollars per dozen with a "dark antique finish," and for fourteen dollars per dozen, "ebony and gold." Interestingly, the Judd catalog stated its banks were shipped in separate boxes. However, no such container has surfaced. If a reader is aware of the existence of such a box, a note to this author would be greatly appreciated.
     Unfortunately, the inventor of "Mosque" Bank and the date of its manufacture are unknown. The Judd Company had never applied for patents on any of its banks. However, approximation of the time period of manufacture may be deduced from the 1885 catalog (Figure II).
     Meticulously fine castings and scrupulous attention to minute details are attributes associated with banks produced by Judd. To illustrate, one need only observe its line of animal banks, e.g., "Bear With Paws Around Tree Stump" and "Bulldog Standing" (ATW, February 1990). Each of these cast-iron creatures displays finely detailed hairs and features. Judd's architectural-style mechanicals, such as "Dog on Turntable" and "Mosque," boast finely detailed brickwork and intricate mosaic windows.
     In contrast to the sophistication and complexity of its castings, the Judd Company's byword, insofar as operation and action of its banks, was "simplicity." A subtle gesture or a nodding head as the coin was deposited into the slot was all that Judd utilized to delight a small child. Operation of the "Mosque" is initiated by placing a coin atop the round tray which the ape-like creature holds above its head (Figure I). The crank is then turned clockwise, causing the coin and its bearer to disappear within the building's dome. The creature subsequently emerges sans money. Deposits are removed by pivoting a flexible rectangular piece of sheet steel, located underneath the base and to one side.
     Most of the mechanicals produced by Judd were monochromatic, painted primarily in metallic colors or various japan varnishes. The palette included a glossy ebony finish, maroon, semitransparent brown, copper, gold and an occasional touch of white for an eye or red for a mouth. Polychromed examples do exist. Some of these may have been factory-painted, but most were the artistic fancy of an early owner. Such particular examples should be closely scrutinized for authenticity when contemplating a purchase.
     There are two casting and several color variations of the "Mosque." The figure atop the dome may be constructed from either brass or iron, and may be painted brown or black. The building itself may be decorated in a brown "antique" finish, highlighted with a blue-green verdigris wash, or a glossy ebony, accented with metallic gold or, as the example shown in Figure I, painted overall copper metallic, highlighted with a verdigris wash.
     The "Mosque" Bank is not considered rare. However, locating a completely original example, in superb paint condition, could prove a challenge to even the most advanced collector. Often, when one is discovered, the figure atop the dome is either recast or missing. In addition, several of the bank's thinly cast walls may be cracked and/or have portions missing.
     To my knowledge, the "Mosque" Bank has not been reproduced. Nevertheless, I am including a base diagram of an original example (Figure III). If a reproduction were attempted, it would appear approximately one-eighth of an inch shorter along the base O.D. than indicated.
     The superb example of the "Mosque" Bank shown in Figure I is from the collection of Steve and Marilyn Steckbeck.

Queen Victoria Bust Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1995

     She ruled the United Kingdom of Great Britain and Ireland for 64 years.
     She was endowed with the distinguished title of "Empress of India."
     She supported several issues pertaining to women's rights and never questioned her ability to rule. However, she contradicted herself by denouncing the intents of her "poor feeble sex" (Figure I).
     She was, during the time period of 1837 to 1901, a dominant force felt 'round the globe.
     "She" was Queen Victoria, renowned as one of the most influential monarchs who has ever lived, and whose name is synonymous with an era.
     In celebration of the fiftieth year of Queen Victoria's reign, she rode in an open landau through the streets of London. The route from Paddington Station to Buckingham Palace was lined with enormous, cheering crowds. It was during this "Golden Jubilee" year of 1887 that hundreds of Queen Victoria commemorative items were manufactured. Her likeness appeared on pottery, chinaware, silver, jewelry, coins, stamps, paper currency, hats and other articles of clothing, banners, biscuit tins and foodstuffs, toys, dolls, games and booklets. Amidst this commemorative clutter arose the now extremely rare "Queen Victoria Bust Bank" (Figure II).
     Interestingly, despite Queen Victoria's notoriety, with volumes written about her life and philosophies, very little is known about the bank. To date, neither patent nor manufacture data has been located. Inscriptions on the bank itself offer the only known information pertinent to date of production and distribution: i.e., across the front of the Queen's dress is written "JUBILEE, 1887 — GOD SAVE THE QUEEN"; on the right-hand side: "PATENT NO. 14197"; across its back: "BORN MAY 24th 1819 — CROWNED JUNE 20th 1837 — MARRIED FEBY 10th 1840."
     Popular theory and speculation persist that the "Queen Victoria Bust Bank" may have been manufactured by John Harper & Co. Limited of Willenhall, England. The company was the most distinguished manufacturer of cast-iron toys and mechanical banks of the period. Much of the "Queen Victoria Bust Bank" casting details, structural design and decorative application appear to reflect many a Harper product. Hopefully, further factual information will surface, revealing the bank's actual creator(s).
     Operation of the "Queen Victoria Bust Bank" is quite simple: a large English penny is dropped into the slot in the crown, striking an internal counterbalanced lever attached to the eyes. This results in movement of the eyes in an upward and downward fashion which occurs several times. Deposits are removed by unscrewing the perforated base plate underneath the bank.
     The colors of the mechanical pictured in Figure II are as follows: the face is a tannish white, and the hair and eyebrows are painted black. The corneas are white with black pupils. The lips are red, and the cheeks are a pink color. The crown, earrings and necklace, as well as all of the lettering and the medal at the left side of the dress are painted gold. The ribbon on the dress and the cloth extension of the crown cascading down the back of Queen Victoria's head are painted red. The dress is dark blue, and the perforated base plate underneath the bank is coated with a maroon japan finish.
     To the best of my knowledge, there are only two known examples of the "Queen Victoria Bust Bank." While there is no casting variation, there is a difference in the metals utilized for each mechanical. One is cast from iron and the other, totally from brass.
     I am not aware of the existence of any reproductions of the "Queen Victoria Bust Bank." However, due to its simplistic construction and extreme rarity, one cannot rule out future attempts at fraudulent duplication. Figure III is a base diagram of an original example. A reproduction would appear approximately one eighth to one quarter of an inch O.D. smaller than indicated.
               ******
     "The Queen is most anxious to enlist everyone to join in checking this mad, wicked folly of Women's Rights, with all its attendant horrors.... Woman would become the most hateful, heartless and disgusting of human beings were she allowed to unsex herself and where would be the protection which man was intended to give the weaker sex?"
                                            — Queen Victoria
               ******
     EPILOGUE: Upon the death of Queen Victoria on January 22, 1901, a journalist for the Illustrated London News observed: "The Victorian age itself had been one of profound political, economic and social reform. There was no class whose way of life had not been transformed. But the age which this journal has witnessed has been an age which, if its faults have been many, men will remember with wonder, gratitude and respect."
      Acknowledgement: The superb, all-original example of the "Queen Victoria Bust Bank" shown in Figure II is from the mechanical bank collection of Steve and Marilyn Steckbeck.

The Giant Bank
“The Giant That Jack Killed”
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1995

      Ogres, witches, giants and the like abound in the imagination and fantasy world of children. How many of us, as youngsters, were willingly and delightfully chilled to the bone by Dr. Frankenstein's grotesque creation, looming menacingly before us on the silver screen? Fables of ogres and giants continue to thrill audiences, as they did in ancient times. Recall such notables as Cyclops, the one-eyed giant of Greek mythology, Paul Bunyon, Pecos Bill of the American West, and the elusive, omnipresent inhabitant of the North Woods, "Big Foot."
     The public's fascination with fabled creatures, no doubt, inspired toy manufacturers of the 19th century to adorn their wares with such images. However, to date, I am aware of only two different cast-iron antique mechanical banks which utilize the images of giants. They are the English "Giant in the Tower" Bank and the American-manufactured "Giant Bank" shown in Figure I, this month's topic of discussion. In an attempt to offer an explanation for the rarity of both the English and American "Giant" banks, it is likely that parent considered the subject too frightening for children.
     As yet, there is no information pertinent to inventor and/or manufacturer of the "Giant" Bank (Figure I). However, an illustrated advertisement for the "Giant" Bank appeared in an "Unexcelled Fireworks Company" Catalog, circa 1885, calling it " 'The Giant That Jack Killed' Bank, priced at $8.50 a dozen." Presumably, individuals involved in the invention, manufacture or naming of the "Giant That Jack Killed" Bank had the mountainous villain from the fable "Jack and the Beanstalk" (Figure II) in mind.
     I am not aware of casting variations of the "Giant" Bank but there are, possibly, two color variants. One is, reputedly, a copper-electroplated version which I have not seen and, thus, an unable to comment upon. The other is the example shown in Figure I, the colors of which are as follows: the giant is painted an overall copper-metallic color. The base of the bank and rocks behind the giant are a dark brown japan varnish, highlighted with silver. The giant's mouth and tongue are bright red.
     Popular conjecture is that the "Giant" Bank was a product of the H. and L. Judd Company of Wallingford, Conn. This association is attributed to Judd's usage of japan colors on various mechanical banks which are similar to those decorating the "Giant." Unfortunately, conclusive evidence cannot be based solely upon paint type since several other 19th-century mechanical bank manufacturers utilized similar japan finishes for their products. These include Ives, Blakeslee and Williams Company, of Bridgeport, Conn., with its "Bulldog Savings Bank"; the Lockwood Manufacturing Company, of South Norwalk, Conn., with its "Rabbit" banks; the Mechanical Novelty Works, of New Britain, Conn., who produced examples such as "Initiating Bank Second Degree" and "Squirrel and Tree Stump"; and the Trenton Lock and Hardware Company, of Trenton, N.J., with its "Pelican" series of banks.
     Operation of the "Giant" Bank is apropos to the subject. The lever under the giant's left foot is pressed downward, causing the simultaneous raising of his arms and club, opening of his mouth, and the extrusion of his tongue. A coin is then placed upon the tongue as if to placate his hunger. As the lever is released, the giant lowers his arms, closes his mouth, and swallows the money. Deposits are removed by unscrewing the back of the bank.
     Simplicity of construction and extreme rarity are motivating factors for the fraudulent recast of this highly desirable mechanical. If a reproduction were attempted, it would appear approximately one eighth to one quarter of an inch shorter across the base O.D. than indicated. Figure III is a base diagram of an original example.
     Acknowledgement: The superb example of the "Giant" Bank (Figure I) is from the bank collection of Steve and Marilyn Steckbeck.

The Rival Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1995

      Selection of topic  and source of inspiration for this month's article was the emergence of a totally original example of the extremely rare and desirable "Rival" mechanical bank. This is exciting and newsworthy since merely a handful of "Rival" banks are known to exist in private collections. Of these, few have not been completely or partially fabricated, utilizing non-original components.
     The example shown in Figure I was recently discovered and, subsequently, consigned to Sotheby's Auction House in New York City. It will be offered for sale in their December 1995 "Collectors' Carousel" auction. The bank is in all-original condition with excellent painted surface and patina. Unfortunately, the monkey's wire tail is missing and the operational spring is weak. However, these are not critical factors and do not compromise the desirability of this fine mechanical.
     The "Rival" Bank was designed by Daniel James MacLean, of Reading, Pa., and was granted Patent number 203,927 on May 21, 1878. The words, "PAT. MAY 21, 1878," cast in raised letters on the back of the bank, facilitated location of the patent papers (Figure II).
     To date, no catalog or sales records have surfaced which reveal the banks' manufacturer. However, several aspects of its design and action suggest the possibility that "Rival" may have been a product of the J. and E. Stevens Company of Cromwell, Conn. The arched window motif of Stevens' "Novelty" and "Panorama" banks, combined with the action of their "Mule Entering Barn" Bank (Antique Toy World, June 1987) seem quite reminiscent of the design of the arched windows and action of the "Rival."
     Notwithstanding, the actual manufacturer of "Rival" Bank adhered closely to Mr. MacLean's patent drawings, the only difference being the operational spring design. The patent, Figure II, indicates an internal spring mechanism, whereas the bank itself (Figure I) utilizes an external spring attached to the extend fulcrum connected to the monkey.
     Action of the "Rival" is incomplex: the monkey is pressed downward and held in a horizontal position. A coin is then inserted within the slot between its chest and knees. Upon release, the monkey springs forward, depositing the coin into the large, arched dormer window. An internal baffle prevents the coins from being shaken out. Deposits are removed by unscrewing the two threaded nuts underneath the base plate.
     To the best of my knowledge, there are a few color, but no casting variations of the "Rival" Bank. One original example has brown walls and a red roof. The bank shown in Figure I is painted a light aquamarine blue, with a red roof and red trim around the door and windows. The base is dark brown and the monkey is brown with light blue eyes and a red mouth.
     Webster's Dictionary defines "rival" as "a person or thing that can reasonably be said to equal or surpass another in some way." Based upon Webster's definition and particular statements in the patent papers, one might gain some insight as to why Mr. MacLean named his creation "Rival." The papers read, "the advantages of my toy bank are, first, that it holds more money than any other bank of the same size; secondly, that any size coin, from a cent to a trade-dollar, may be deposited with equal facility; and, lastly, that the working of the figure will cause great amusement to the children."
     Unfortunately, several reproductions of the "Rival" Bank have been created. Ergo, Figure III: a base diagram of the original example shown in Figure I. Recasts will appear approximately one-eighth to one-quarter of an inch shorter, O.D. along the base than indicated.
     Inquiries regarding the December 1995 Sotheby's Auction sale in which the "Rival" Bank (Figure I) will be offered, should be directed to Ms. Dana Hawkes or Ms. Alison Kurke, Sotheby's New York.
     Acknowledgement: My thanks to bank collectors Frank Kidd and Steve Steckbeck who shared information pertinent to the writing of this article.

The Giant in Tower Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1996

     Throughout history, the British Isles has been fertile breeding ground and birthplace of many mythological creatures, folklore and fairy tales. Characters in these tales were often fearsome and mighty giants who were, sometimes, challenged by brave adversaries.
     A particular fable told of the cunning young Cornish Jack, whose purpose it was to win fame and fortune by matching wits with the most gruesome of ogres. One version of this tale finds young Jack cautiously approaching a solitary cottage at the foot of an awesome mountain. The youth suddenly finds himself face to face with an old man who recognizes him as the famed "Jack, the Giant Killer." The elder proceeds to reveal, in vivid detail, the whereabouts of the cruel giant, Galligantus, who inhabits an enchanted castle of many towers atop the overshadowing mountain.
     No doubt this, as well as other fables pertaining to giants, inspired John Harper and Company of Albion Works, Willenhall, England, to produce the "Giant In Tower" Bank (Figure I). Registered (English Patent) on August 13, 1892, by John Harper and Company, the bank was subsequently offered for sale in their Fourth Edition Catalog (Figure II). The catalog featured a black line illustration of the "Giant" Bank, with the following designation: "No. 1406 painted 'Indian Black, Head painted only ... 25/-per dozen. And in various colors ...31/-per dozen.' "
     During the late 19th and early 20th centuries, John Harper and Company was the foremost designer and manufacturer of cast-iron mechanical banks in England. The company's variety and quality of product was to be compared only with its American counterpart, the J. and E. Stevens Company of Cromwell, Conn. Other mechanicals manufactured by Harper were such notables as "Hoop-la," English "Football," "Wimbledon," English "'Spise-a-Mule," English "Speaking Dog," English "Jolly Nigger," "Kiltie," and "Grenadier" (refer to Antique Toy World, October 1993).
     There are no casting differences and only two color variations of "Giant In Tower," and these pertain solely to the tower. One has the structure painted an overall glossy "Indian Black," and the other (Figure I) is painted bright red with yellow arched doors and windows. In both variations the giant's face and hands are black. He has white eyes with black pupils and a red mouth. He sports a light brown shirt with yellow suspenders and white cuffs. His club is painted a bright red color.
     Action of "Giant In Tower" reflects the menacing demeanor of this unfriendly, ominous character. A coin is inserted into the slot in the front of the tower, causing the giant to tilt forward in a most aggressive manner. As the coin drops into the bank, the giant returns to his upright position. Deposits are removed by unscrewing both halves of the tower.
     The "Giant In Tower" Bank is quite rare. This, combined with an attractive and imposing appearance, credits it with being an extremely desirable addition to a mechanical bank collection.
     I am not aware of reproductions of "Giant In Tower." However, simplicity of construction, as well as rarity, might inspire the creation of a recast version. If the bank were reproduced, it would appear approximately one-eighth to one-quarter of an inch shorter in diameter O.D. than indicated in the base diagram (Figure III).
     Acknowledgments: The superb example of the "Giant In Tower" Bank (Figure I) is from the mechanical bank collection of Steve and Marilyn Steckbeck. The catalog pages (Figure II) are from the collection of Mark and Lynda Suozzi.

The Picture Gallery Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1996

     Toy penny banks as we are well aware, were designed and created to teach children the virtue of thrift. "A penny saved is a penny earned" was the popular maxim oft repeated in former times. Walter and Charles G. Shepard, owners of the Shepard Hardware Company, of Buffalo, N.Y., expanded upon this concept with their creation of the subject of this month's article (Figure I). Not only did "Picture Gallery" mechanical bank attempt to encourage savings, but also taught the alphabet, counting and vocabulary.
     Unfortunately, to date there is no information pertaining to the patent and/or design of "Picture Gallery." However, supposition places year of its design and manufacture in the neighborhood of 1885. Similarity to Shepard's "Punch and Judy" Bank (Figure II) insofar as operation, internal mechanism and various aspects of design (e.g., rear-section grill work) suggests the designers/inventors were Walter G. Shepard and Peter Adams, Jr.
     Action of the "Picture Gallery" is aptly described in a rare, full-color, advertising trade card, circa 1885 (Figure III): "Made wholly of Iron Highly Finished in Brilliant Colors very amusing also instructive. Figure in centre receives coin in his Hand deposits it in the Bank. All the letters of the alphabet and numbers From 1 to 26 inclusive are shown in rotation also twenty Six different animals or objects with a short word for each letter. PRICE $1.00 EACH."
     A lever behind the left side of the man (not visible) in the photograph) effects coin deposit. Another lever behind the small top window which displays the numerals (also not visible in the photograph) activates the alphabet rotation disk. Each action is accomplished independently. Deposits are removed via a square, key lock coin retainer underneath the base of the bank. Interestingly, when the letter "L" is reached during disk rotation, the word "LOCK" simultaneously appears in the right hand window, accompanied by an image of the "Picture Gallery" Bank's key lock coin retainer.
     There are no casting or color variations of the "Picture Gallery." Colors of the bank illustrated in Figure I are as follows: the entire front is painted bright red with the outer edge bordered in green. These two colors are separated by a thin yellow stripe. All of the lettering, decorative scrolls and window frames are highlighted in gold. the rotating disk is painted green with gold letters, numerals, words and objects. the man's face and hands are a pink flesh color. He has blue eyes with white corneas, black pupils, eyebrows, eyelashes and a red mouth. His jacket is dark blue, and he wears a white shirt and brown cap. Finally, the back of the disk is tan and the rear grillework is painted bright red. Typical of all Shepard mechanical banks is the regard to painted details, and "Picture Gallery" is no exception. Further, the company's reputation for line and application of color remains unsurpassed in toy manufacture to this day. Unfortunately, Shepard Hardware never undercoated its banks prior to painting. Ergo moisture, heat and the ravages of time have left countless examples with either badly flaked or denuded surfaces. On rare occasions, when an extremely fine example of any Shepard bank is offered for sale, it most assuredly is accompanied by an astronomical price tag!
     The "Picture Gallery" is large in size and a rather impressive mechanical. This, combined with its unique educational theme and action, accounts for its position as a highly desirable and popular bank amongst collectors. I am not aware of the existence of recast versions of "Picture Gallery" Bank. Figure IV is a base diagram of an original example. If a recast was attempted, it would appear approximately one eighth to one quarter of an inch O.D. shorter than indicated.
     Acknowledgements: The fine example of the "Picture Gallery" Bank shown in Figure I is from the collection of Steve and Marilyn Steckbeck. The mint example of the "Picture Gallery" trade card shown in Figure III is from the collection of Barry Seiden.

The New Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1996

     One of the largest categories of mechanical banks is that which utilizes an architectural style of design. Each member of the grouping incorporates a building into its theme. A few well-known examples include: "Novelty Bank," "Dog on Turntable," "Zoo," "Hall's Excelsior," "Panorama," "Magic Bank," etc. Architectural banks have generally been regarded as "late bloomers," with significantly increased appreciation and popularity being realized only within recent years.
     The "New Bank" (Figure I), a representative of this group, is of particular interest. What distinguishes it from other members is that much of its history has eluded detection. Knowledge pertaining to its designer or manufacturer had remained an enigma until the discovery of a somewhat obscure patent on a still, safe bank, namely Number D5,494 (Figure II), which shed some light upon the subject. The patent of a Mr. Anthony M. Smith, of Brooklyn, N.Y., reads: "the novelty and distinctive characters of my design is the application of the door to a toy safe in combination with the niche and figure of a watch man, as shown in the drawing forming part of this application." Although Mr. Smith made no reference to any mechanical bank, the similarity between the niche and watchman in his patent to that of the "New Bank" leaves little doubt as to the designer of that particular facet of the mechanical. However, the identities of the designer and manufacturer of the remainder of the mechanical remain unknown.
     Another aspect which distinguishes "New Bank" from other architectural-style mechanicals is the rarity of one of its casting variations, with only two examples known to exist. This variation pertains solely to the bank's operating lever, which is normally located in the lower right hand corner of the arched doorway. In the rare version, the lever is positioned directly beneath the center door step, thus the designation "New Bank, Center Lever" (Figure I). Worthy of mention is the fact that even the "common" variety, with its side lever is considered quite scarce and a challenge to locate in superb condition. Action of both the "New Bank" side-lever and the center-lever variants is identical. The lever is pushed to the left and held in place. Simultaneously, the watchman moves aside, exposing the coin slot. A coin is then inserted and is deposited into the bank. The lever is released, the watchman returns to his original position and, once again, the slot is concealed. Removal of deposits is accomplished by undoing the square nut underneath the base of the bank.
     Colors of both variations of "New Bank" are extremely attractive. The "common" example has the entire building painted dark green. The niche behind the watchman and the inside of the lower base are dark blue. The roof-dome, vertical corners, front windows, door frame, name plaques and lever are a bright red color. The words, "NEW BANK," and the sections of the door and window frames are highlighted in white. Finally, the watchman is painted gold. (Note: There is a scarce color variation in which the watchman is wearing a blue jacket, red pants and a blue hat.)
     The colors of the center-lever bank (Figure I) are as follows: the entire building is painted a light green. The windows, doorway, vertical corners of the building, name plaques and flat areas of the roof are bright red. The roof-dome and lower base and legs are dark blue. The inside section of the base and niche are painted brown, and the watchman is gold. Both red vertical corners of the building display a thin, wavy white line, combined with intermittently placed blue dots.
     Speculation attributes production of the "New Bank" to the J. and E. Stevens Company of Cromwell, Conn. This is based upon an ad appearing in the 1877 edition of Ehrichs' Fashion Quarterly (an early toy jobbers catalog) which offered "New Bank" for sale at 60 cents each, along with several other mechanical banks known to have been manufactured by J. and E. Stevens, but not so identified.  Since Ehrichs did not solely represent J. and E. Stevens' wares, and frequently offered banks produced by other 19th-century toy manufacturers, mere appearance in the company of Stevens' banks is not conclusive proof of the manufacturer's identity. In addition, I am of the opinion that several aspects of the "New Bank" suggest it may have been a product of the Kayser and Rex Company of Frankford, Pa. These include colors and casting nuances, types of fasteners used, method of coin removal and, most importantly, no evidence of the notorious Stevens' undercoat.
     I am not aware of the existence of reproductions of either version of the “New Bank.” Figure III is a base Diagram of an original example. If a recast were attempted, its base would appear approximately one-eighth inch smaller O.D. in width than indicated.
     Acknowledgement: The superb example of the rare "New Bank," Center Lever, shown in Figure I, is from the collection of Steve and Marilyn Steckbeck.

Elephant, Swings Trunk
(small)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1996

     Majestic and colossal describe the behemoth that entertains and performs at circuses worldwide. This pachyderm continues to delight audiences of all ages, despite competition from mischievous monkeys to fearsome felines. It is not coincidental that major circus performances commence and conclude with the "Grand March" of these generally gentle giants.
     Nineteenth-century toy manufacturers, cognizant of the opportunity to capitalize upon the elephant's popularity, utilized the likeness of the animal in the design of many of their wares. Examples of the multitude of mechanical banks incorporating the image of this grand creature include "Elephant and Three Clowns" (refer to A. T W., May 1983); "Elephant With Howdah, Man Pops Up" (A.T.W., May 1991); "Hubley, Elephant With Howdah" (A. T W., October 1992); "Elephant With Tusks, On Wheels" (A.T.W., February 1992); "Jumbo" (A.T.W., December 1987); "Light of Asia" (A.T.W., November 1991); "Elephant Locked Howdah," and the subject of this article, "Elephant, Swings Trunk" small. On June 27, 1905, Adam C. Williams, of Ravenna, Ohio, was granted Design Patent number 37,474 for his handsome representation of the circus elephant (Figure I). The bank was subsequently manufactured by the designer's company, i.e., the A. C. Williams Company of Ravenna, Ohio. Comparison of the patent drawings to the actual production bank (Figure II) reveals scrupulous adherence to each detail.
     The Williams Company manufactured the "Elephant Toy Bank" (as it was originally titled) in two sizes, i.e., large and small. This is indicated in one of the company's wholesale catalogs, circa 1906 (Figure III): "No. 3548 Seven inches long, four and seven-eighths inches high; weight 2 lbs., finished in drab; gold and silver trimmings; per gross ... $50.00. No. 3648 Five and one-eighth inches long. Three and five-eighths inches high; weight 19 oz., finished same as 3548; per gross $25.00."
     These banks, now designated by collectors as "Elephant, Swings Trunk, Large" and "Elephant, Swings Trunk, Small" (Figure II), are almost identical in appearance, except for size. There are no casting variants of either, and only an occasional color modification of the elephant and/or its blanket.
     The colors of the bank shown in Figure II are as follows: the elephant is an overall olive-gray; it has white eyes with black pupils. The blanket and howdah are painted silver with gold highlights and trim. The bell strap is bright, maroon red.
     Action of both "Elephant, Swings Trunk" banks is subtle, simple, and appropriate to the subject. To quote once again from the A. C. Williams catalog (Figure III): "The trunk of the elephant moves when coin is inserted, and trunk automatically closes the slot as soon as coin is deposited. Coin can be removed only by taking the bank apart."
     Both the large and small versions of "Elephant, Swings Trunk" are relatively common. This factor, plus its lack-luster appearance, account for its status as an inexpensive mechanical bank. Nevertheless, locating an all-original, unbroken, complete example in superb paint condition could prove a challenge to even the most advanced collector.
     Reproductions of both the large and small versions are known to exist. Figure IV is a base diagram of an original example of "Elephant, Swings Trunk" Large, and Figure V is a base diagram of an original example of "Elephant, Swings Trunk" Small. Recasts of each will appear approximately one-eighth to one-quarter inch smaller, O.D., along the base than indicated.

Schley Bottling Up Cevera Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1996

     History books tell of the mighty explosion in 1898 which resulted in the death of more than 260 American seamen aboard the ill-fated U.S. Battleship Maine. The once-great ship, reduced to a disemboweled hull, now lay in a watery grave beneath the murky depths of Havana Harbor. This significant incident exacerbated United States' hostility towards Spain over threatened investments and humanitarian issues involving Cuba's desperate struggle for independence. The battle cry, "Remember the Maine, to hell with Spain!" echoed throughout the land. It was not long afterwards that the Spanish-American War commenced.
     Acting upon knowledge of the United States' intended retaliation, a Spanish fleet commanded by Admiral Pascual Cervera was dispatched to the southern coast of Cuba, and anchored in Santiago Bay. Word of its whereabouts reached U.S. Intelligence, whereupon the North Atlantic squadron, commanded by Rear Admiral William T. Sampson and Commodore Winfield Scott Schley was sent to blockade the Harbor. The United States sought to "bottle up" Cervera between Teddy Roosevelt's "Rough Riders" occupying the heights overlooking the Bay, and Commodore Schley's battleships.
     Following directives from Spain, Admiral Cervera attempted to escape by leading his fleet out of the Harbor. Ultimately, the ensuing battle terminated with the destruction of Cervera's ships. For all practical purposes, the war was now ended. A short time afterwards, Spain and the United States met in Washington to negotiate an armistice and a protocol was signed on August 12, 1898.
     It was at approximately this time that two mechanical banks were designed and manufactured, each depicting and immortalizing the conflict between the two nations. One was entitled, "The U.S. and Spain Bank" (refer to Antique Toy World, February 1994), and the other, "The Schley Bottling Up Cervera Bank" (Figure I), the subject of this article.
     With less than a handful of known examples, the Schley and Cervera bank remains one of the notable conundrums of mechanical bank collecting. Not only is there a lack of information pertaining to the bank's designer, but close examination of the piece itself offers no clues to its manufacturer.
     Design and operation of the Schley and Cervera bank is uncomplicated. Shaped as a glass bottle, it is jarred to the left, causing a black-and-white lithographed paper image of Admiral Cervera to appear in the round window (see Figure I). Upon insertion of a coin, the image of Cervera seemingly drops into the bank and is replaced by the image of Commodore Schley, leaving Cervera literally "bottled up." Deposits are removed by unscrewing both halves of the bank.
     I am not aware of the existence of casting and/or color variants of the Schley and Cervera bank. Colors of the mechanical illustrated in Figure I are as follows: the entire surface is painted an overall glossy black. The tear-shaped paper label is black with a gold border. The words, "Schley Bottling Up Cervera" are red with a thin gold drop-shadow. Both the American and Cuban flags are appropriately painted red, white and blue. Finally, the sunburst effect around the pictures of the two adversaries is gold, as is the thin line delineating the stopper-shaped top of the bank.
     Although, to date, no reproductions have surfaced, in view of the extreme rarity of "Schley Bottling Up Cervera Bank," its recreation is not inconceivable. Figure II is a contour diagram of an original example. A recast, using an original example as a pattern, will appear approximately one eighth to one quarter of an inch shorter along the vertical dimension than indicated.
     In conclusion, the Schley and Cervera bank had been manufactured almost entirely of cast iron, the exception being the paper images of Schley and Cervera and the tear-shaped label on the front.

The U.S. Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1996

     Several mechanical banks are distinguished by their obscure or inexplicable subject matter. Their irrelevance is puzzling and we ponder the designers' reasons for creation.
     An example is the "U.S. Bank" (Figure I), wherein the comically portrayed faces of a black man and a black dog are seen peering through the windows of a bank building (Figure II). Interpretation, other than racial, has eluded detection since there is scant documentation pertaining to the "U.S. Bank," including its designer and manufacturer. Had it not been for the recent discovery of a patent on a toy "safe" bank, i.e. Number D5,494 (Figure III), all aspects of this mechanical's history would have remained an enigma.
     The patent of a Mr. Anthony M. Smith of Brooklyn, New York, reads: "The novelty and distinctive characters of my design is the application of the door to a toy safe, in combination with the niche and figure of a watchman, as shown in the drawing...". Although Mr. Smith made no reference to any mechanical bank, the similarity between the niche and watchman in his patent to that of the "U.S. Bank" leaves little doubt as to the designer of that particular facet of the mechanical.
     Several collectors attribute production of the "U.S. Bank" to the J. & E. Stevens Company of Cromwell, Connecticut, based upon a few similar design characteristics. However, my belief is that, based upon several casting, color and design similarities, the bank's manufacturer may possibly have been the Kyser & Rex Company of Frankford, Pennsylvania. The most compelling arguments against the J. & E. Stevens theory are the notable omission of the infamous Stevens' undercoat paint, and the absence of the company's patented round or sliding coin retainers. Needless to say, only the disclosure of further documentation will establish the true identity of the bank's manufacturer.
     There are two minor casting variations of the "U.S. Bank." One has a small ledge cast under the coin slot, while the other has none (see Figure I). There are no significant color differences. (Note the photograph in Figure I, wherein the color of the side walls, sections of the roof and the base appear to be black. These are actually painted a deep blue.)
     Action of the "U S Bank" is both simplistic and surprising. Firstly, the white porcelain-topped plunger is depressed, exposing the coin slot and faces of the man and dog (Figure II). The coin is then deposited by inserting it through the slot. When the plunger is released, the slot closes and the faces of the man and dog are once again veiled. Deposits are removed by unscrewing the slotted screw, which also has the function of holding the entire bank together, and is located underneath the base.
     The "U.S. Bank" is one of the rarest and is the largest member in the architectural mechanical bank category. Finding an all-original example in superb paint condition, with no broken or replaced parts, could prove a challenge to the most advanced collector.
     I am not aware of the existence of reproductions of the "U.S. Bank." Figure IV is a base diagram of an original example. If a recast were attempted, it would appear approximately one-quarter inch smaller O.D. in width than indicated.
     Acknowledgement: The fine example of the "U.S. Bank" shown in Figure I is from the collection of Don and Betty Jo Heim.

Kiltie Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1996

     Discussions involving "bust-type" mechanical banks generally conjure up images of those well-known examples which exemplify blatant racist sentiment. These include "Dinah," "Uncle Tom," and countless varieties of the "Jolly Nigger" banks. However, there are others in the "bust-type" category which dignify and commemorate their subjects. Amongst these are notables such as the "Humpty Dumpty Bank" (refer to Antique Toy World, July 1984), the "Queen Victoria" bust bank (A.T.W., October 1995), the "Uncle Sam" bust bank (A.T.W., May 1989), and the subject of this article, "Kiltie Bank" (Figure I).
     Although its name is derived from the "kilt," or skirt-type garment, the "Kiltie Bank" unfortunately is not able to display this aspect of the Scottish Highlander's outfit. What we are able to observe, and that which involves another important fact of traditional Scottish dress, is the tartan. Draped over Kiltie's left shoulder, it is a length of cloth into which is woven a colorful plaid pattern, formerly used to identify the numerous clans which inhabited the Highlands.
     The "Kiltie Bank" was registered in Great Britain on July 29, 1931, and was assigned Register Number 766,563. It was manufactured by John Harper and Company Ltd., of Willenhall, England, a well-known and prestigious manufacturer of cast-iron mechanical banks during the late 19th and early 20th centuries. The quality of castings and paint application was generally not as fine and detailed as its counterpart in the United States, i.e., the J. and E. Stevens Company of Cromwell, Conn. Nonetheless, the design, simplicity, and boldness of Harper's products speak highly of the company. Figure II is a representation of an early John Harper catalog featuring several of its other mechanical banks.
     Action of "Kiltie" is uncomplicated and certainly most suggestive of the Scotsman's penchant for saving money. A coin is placed into our subject's right hand. As the lever in the rear of the bank is depressed, the right arm ascends, the eyes roll upward, and the coin slides into the slot in the tartan. (Note: Only large English pennies will allow for proper operation.) Deposits are retrieved by unscrewing the baseplate underneath the bank.
     There are no casting or color variations of the "Kiltie Bank." Colors of the mechanical shown in Figure I are as follows: the face is painted an overall pink flesh color, with blue eyes; rosy cheeks; black hair, eyebrows, eyelashes and moustache; and a bright red mouth. The hat is black with red borders, and the jacket is painted bright red with white buckles, buttons and embellishments. The tartan is an indigo and red plaid design. The hand is a pink flesh color, and the raised letters "KILTIE BANK, RD NO. 766563" on the back of the bank are highlighted in gold.
     The "Kiltie Bank" is an appealing and desirable member of the bust-bank family and is an extremely attractive addition to one's collection. I am not aware of the existence of any reproductions. If a bogus example were to surface, it would appear approximately one quarter of an inch smaller in width, O.D., than indicated in the base diagram (Figure III).
     The superb example of the "Kiltie Bank" (Figure I) is from the collection of Steve and Marilyn Steckbeck.

The Cupola Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1996

     The massive influx Europeans and Asians during the 19th century influenced various aspects of American culture. Architectural styles, for example, responded to the changes inspired by foreign concepts, as evidenced by the edifices in many towns and cities. One form was the domed building, which originally developed in Italy during the Renaissance and baroque periods, and also became an important architectural design element within many of the Asian religious sects.
     The eagerness of toy manufacturers of the period to capitalize on popular styles resulted in some of the most interesting and graceful architectural-type toys ever produced. In addition to the abundance of still banks which incorporated the cupola, or dome, into their designs, several mechanicals were created utilizing this unique element. These included "Hall's Liliput" (refer to Antique Toy World, May 1987), "Hall's Excelsior" (Antique Toy World, February 1984), "New Bank" (Antique Toy World, March 1996), "Chimpanzee Bank" (Antique Toy World, September, 1983); "Mosque" (Antique Toy World, September 1995), and the subject of this article, "Cupola Bank," Figure I.
     On January 27, 1874, Diedrich Dieckmann, of New York City, received Patent Number 146,755 for his most uniquely styled architectural mechanical bank, namely the "Cupola Bank" (Figure II). It was subsequently manufactured by the J. and E. Stevens Company of Cromwell, Conn. The final production bank, shown in Figure I, indicates that Mr. Dieckmann's original design (Figure II) was closely followed. Of particular interest is the fact that the patent makes no written reference to the bank's unique floral-style cupola or design, but rather to its action. To paraphrase the patent papers: "a cover, which can move upward or downward for the purpose of exposing the vibrating figure and opening, and thus allowing the introduction of money into the box."
     Action of the "Cupola" is incomplex, albeit surprising. Initially, the cupola is depressed, locking it into position. The lever emanating from the front door is then pushed inward, causing the cupola to "pop" upward (Figure I), thus exposing the coin slot and the "vibrating" man.
     Deposits are removed by disassembling the bank. This is accomplished by undoing the square nut which is located underneath the base plate. Once the bank is disassembled, it is an extremely difficult task for an adult to reassemble, and virtually impossible for a young child to accomplish. Perhaps this critical design flaw is the major factor responsible for the rarity of the "Cupola Bank." We can only speculate about the number of banks that may have been broken during attempted reassembly, or merely left unassembled and parts misplaced due to frustrating and failed attempts.
     To my knowledge, there are no casting variations of the "Cupola Bank." However, there are several color combinations. I have seen examples with red, blue, pink or green roofs with contrasting red, blue, pink or green cupolas, and red, blue, pink or green sides. It is very likely that examples utilizing other color combinations do exist.
     The colors of the bank pictured in Figure I are as follows: the top of the cupola is red, with its flared section painted dark green. The lower, large flared roof is also painted dark green. The sides of the circular building are light blue, with the windows and front door outlined in red. The vertical columns and archway over the door are painted yellow-ochre. The bell-shaped design and the word "BANK" above the door are painted gold, and the base and stairs are dark green. The man in the cupola has a pink flesh-colored face with black eyes, eyebrows, mustache and goatee. He sports a blue jacket, white shirt and black top hat. The raised letters "PAT. JANUARY 27, 1874" on the front section of the lower flared roof are highlighted in gold.
     The rarity of the "Cupola Bank," its impressive size and attractive, colorful appearance, as well as the recent popularity of architectural banks, elucidate the astronomical price recently realized at an auction for a superb example.
     Fortunately, to date, the complicated castings and design of "Cupola Bank" have discouraged attempts at reproduction. Nevertheless, Figure III is a base diagram of an original example. If a recast were produced, it would appear approximately one quarter of an inch shorter along the base, O.D., than indicated.

The Spring-Jawed Rabbit
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1996

     An exciting new discovery within the elusive series of mechanicals referred to as "Spring-Jaws" is the "Rabbit," as shown in Figure I. Not only does our rabbit have the distinction of being one of nine creatures to comprise this scarce group, it is also a subject rarely portrayed in any category of mechanical banks. To be precise, only four examples feature the image of a rabbit... Surprising, since the number of different mechanicals exceeds 600, and also in view of the appeal and popularity of the animal with children.
     The "Spring-Jawed Rabbit" reflects the quality and artistry evident in most German handicrafts manufactured during the late 19th and early 20th centuries. This is apparent, as well, in the other members of the "Spring-Jaws" series. These include "Alligator" (refer to Antique Toy World, October 1987), "Bonzo" (October 1988), "Kitten" (November 1989), "Bulldog" (June 1990), "Mule" (February 1991), "Parrot" (July 1991), "Chimpanzee" (January 1992) and "Penguin: (August 1992).
     There is scant information pertaining to either the manufacturer or exact date of production of members of the aforementioned grouping. Fortunately, however, the country of origin has been revealed by the word "GERMANY" printed underneath several of the bases. It may be assumed that the lack of pertinent data relating to the "Spring-Jaws" series was the result of early patent laws existing in Germany. To reiterate the explanation provided in previous articles, products designated as nonessential were classified as "D.R.G.M." (Deutsches Reichs Gebrauchs Muster), meaning second-grade patents. The routine practice of Germany's patent office to discard these patents after 15 years created the present-day lack of factual information.
     Operation of the "Spring-Jawed Rabbit" is uncomplicated. A coin is inserted through the slot in the back of the head, thus activating a thin internal steel leaf spring attached to the rabbit's lower jaw. The result is a "wiggling" action, and the illusion of ingested coins being nibbled upon. Deposits are removed by undoing a small, brass heart-shaped "trick lock" beneath the jaw, enabling the rabbit's hinged head to be opened.
     The entire "Spring Jaws" series is composed of zinc-lead alloy. The low melting point of these metals makes it an ideal medium for the slush-mold casting process. This method of production entailed filling a multi-sectional hollow mold with the molten alloy. As the hot, liquefied metal cooled and solidified against the inside walls of the mold, the remaining hot solution was quickly expelled. Once fully cooled, the mold was separated, revealing a perfectly detailed, hollow positive image of its interior.
     Needless to say, extreme care should be exercised when handling any zinc-alloy bank. Their eggshell-thin casting and fragile nature make them susceptible to damage, and may alone account for the rarity of the "Spring-Jaws" mechanical banks.
     The "Rabbit" (Figure I) and the "Penguin" share the spotlight as the rarest of the group, since there is only one known example of each. Nevertheless, the "Parrot," "Mule," "Chimpanzee," and "Bulldog" assume second place, with only a handful of these in collections.
     To my knowledge, no member of the "Spring- Jaws" clan has been reproduced. However, Figure II is an outline drawing of the "Rabbit" to aid the collector in determining its size and scale.
     Acknowledgement: The superb example of "Spring-Jawed Rabbit" (Figure I) is from the collection of Frank and Joyce Kidd of Portland, Ore.
     Note: Information regarding the whereabouts of any "Spring- Jaws" bank, especially undocumented, or "new subjects, is greatly appreciated and will be passed along to readers of future articles. Please send photos to Sy Schreckinger, P.O. Box 104, East Rockaway, NY 11518.
     Omissions: (from November, 1996) (1) Operating instructions for the "Mason Bank" (refer to Antique Toy World, September 1996) were erroneously omitted: The rabbit is an overall dark reddish brown, with tan and white highlights. The tips of its ears and nose are black, and it has light tan eyes with black pupils. The inside of its mouth is pink, and it has two white teeth.
     Correction: (from January, 1997) Descriptive colors of the "Spring Jawed Rabbit" (Antique Toy World, September 1996) were erroneously omitted: The rabbit is an overall dark reddish brown, with tan and white highlights. The tips of its ears and its nose are black, and it has light tan eyes with black pupils. The inside of its mouth is pink, and it has two white teeth.

The Tommy Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1996

     Raging Battles, courageous soldiers, artillery, all symbolic of war, have fascinated most young boys throughout the ages. Entrepreneurs, eager to capitalize upon the imagination of youth, had brought to the marketplace objects and playthings which focused upon armed conflict.
     Among those opportunists were 19th and 20th-century mechanical bank manufacturers, both in the United States and abroad. Enterprising individuals creatively combined the theme of warfare with the maxim, "A penny saved is a penny earned." Notable examples of such mechanicals include: "Creedmoor Bank," "Volunteer," "Grenadier," "U.S. and Spain," "Tank and Cannon," "Hold the Fort," "King Aqua," "Artillery," "Wimbledon," and the subject of this article, the "TOMMY!" bank (Figure I).
     The "TOMMY!" bank was produced by Great Britain's foremost mechanical bank manufacturer, John Harper and Company, Ltd., of Willenhall, Staffordshire, England. The company received British Registration Number 642,816 on October 14, 1914, for its design. That number and the word "BEATRICE" are cast into the underside of the base. "BEATRICE" was a term utilized by Harper to designate a specific series of its mechanical banks.
     Figure II represents an illustration of the "TOMMY!" bank as it appeared in an early John Harper and Company catalog. Figure III is a page from another of its catalogs, wherein several other mechanicals were offered for sale.
     The Harper Company was quite prolific, and some examples of its products include: "Jolly Nigger—Hi Hat," "I Always Did 'Spise a Mule," "Speaking Dog," "Volunteer," "Grenadier," "Hoop-La," "English Football," "Dinah," "Kiltie," "Giant in the Tower" and "Wimbledon." The company's manufacture of cast-iron toys and banks began in the 1880s and continued until the shortage of ferrous war materials experienced during World War II necessitated cessation of operations.
     The "TOMMY!" bank was manufactured and sold circa World War I. Its rarity is attributed to limited production dictated by the British government's usage of iron as a war material. In addition, of those few manufactured, many may have subsequently been consumed by World War II scrap drives.
     Of interest is the name of the bank itself, specifically the origin of the word "Tommy." It is the shortened version of the fictitious name "Thomas Atkins," which was utilized by the British military as the standard, or model, when filling out printed forms, analogous to our "John Doe." Figure IV is a vintage photograph of a Tommy outfitted in the traditional khaki service uniform of the British army. Comparison to the "TOMMY!" bank (Figure I) reveals an accurate and dignified representation of these World War I servicemen, complete to the color and type of attire.
     Action of "TOMMY!" is uncomplicated and appropriate to the subject. The brass coin launcher atop the rifle is pulled back and set into place. Simultaneously, the marksman's head tilts forward as if taking aim. The coin is then placed atop the gun barrel. The lever at Tommy's side is pressed downward, causing the arm and hand to be raised. This releases the coin launcher, propelling the coin into the tree stump. Tommy's head snaps backward, as if reacting to the rifle's recoil. Deposits are retrieved by unscrewing the base plate underneath the bank.
     To my knowledge, there are no color variations of the "TOMMY!" bank, and only one minor casting variant. The coin shooter atop the rifle is composed of either brass or iron, cast smooth or ribbed.
     The colors of the bank shown in Figure I are as follows: Tommy's face and hands are a pink flesh color. His hair, eyebrows, eyes, mustache and shoes are painted black. His uniform, hat and puttees are painted a military khaki. The tree stump is dark brown with a yellow top. The rifle is a silver color and rests upon a light brown mound. The grass and entire lower sections of the base are painted dark green. The word "TOMMY!" which is cast onto the top of the base is highlighted in gold.
     To date, I am not aware of any attempt to reproduce "TOMMY!". Nonetheless, Figure V is a base diagram of an original example. If the bank were to be reproduced, it would appear approximately one-quarter inch shorter along the base than indicated.

The Trick Pony Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1996

     Our featured subject this month is, indeed, a notable member of the cast-iron mechanical bank community. The "Trick Pony," seen in Figure I, has the distinction of being the sole mechanical to utilize the image of a horse, or more specifically, a pony, as its subject. Other banks have either portrayed mules, donkeys and horses as mere accompaniments to a theme, i.e., Hall's Horse Race Bank (refer to Antique Toy World, April 1987).
     On June 3, 1885, Mr. Julius Mueller, of Wilmington, N.C., was granted Patent Number 16,121 (Figure II) for the design of "Trick Pony" bank. Mr. Mueller subsequently assigned manufacture rights of his invention to Charles and Walter Shepard, principals and co-owners of the Shepard Hardware Company of Buffalo, N.Y. Approximately one month later, on July 7, 1885, both Charles G. Shepard and Peter Adams, Jr. (designer/inventor employed at Shepard Hardware) brought Mr. Mueller's vision to fruition. They were provided with Patent Number 321,650 (Figure III) for the mechanization of the "Trick Pony" design. The words, "PATd JUNE 2D AND JULY 7th 1885" were cast into the underside of the base. It is interesting that the "Trick Pony" bank is the only mechanical in the Shepard Hardware line to have been designed by someone other than Charles G. Shepard and Peter Adams, Jr. In addition, securitization of the final production bank (Figure I) reveals precise adherence by Shepard Hardware to Mr. Mueller's initial concept.
     Shepard Hardware enjoyed a lengthy and very profitable period of manufacture for this particular mechanical. Factors contributing to the popularity of "Trick Pony" were its attractive coloration, graceful design and appealing subject matter. Many of today's collectors express puzzlement over the fact that other 19th-century mechanical bank manufacturers did not incorporate this subject into more of their wares.
     In Figure IV we see the forefront and obverse image of a full-color, 3-by-5-inch advertising trade card, circa 1885, which offered the "Trick Pony" bank for the price of $1.00 each. These cards were distributed by Selchow and Righter, a wholesale toy jobber located at 41 John Street, New York City.
     Action of the bank is incomplex and aptly described in the trade card (Figure IV): "The Pony receives the coin in his mouth and deposits it in the manger — a trap door at the bottom of the latter opens at the same time and then closes over the coin." However, the card fails to mention that, after the coin is placed in the pony's mouth, the lever located at the tail end of the bank must be pulled. Coin removal is accomplished by removing the rectangular, key-lock coin retainer underneath the base.
     Neither color nor casting variations of "Trick Pony" are known to exist. The colors of the bank (Figure I) are as follows: the pony is an overall reddish brown. It has red nostrils, white eyes with black pupils and yellow bridle straps. Its mane, tail and hooves are painted black. The saddle is dark blue with a yellow border and a bright red belly band. The blue scalloped ribbon around its neck is decorated with yellow tassels. The fluted pedestal under its body is gray and tan. The top section of the base is gray. The side panels are sienna brown and the words "TRICK PONY" and "BANK" are highlighted in gold. The diamond-shaped design on the front panel and the frame around both side panels are also accentuated in gold. The lever is dark brown with gold striping, and the entire base is outlined in black.
     The colors and painted details of "Trick Pony" had been meticulously executed and is depictive of all Shepard Hardware mechanicals. The result is an extremely colorful and attractive appearance. Unfortunately, the company never primed its banks prior to painting. Consequently, the ranges of time and moisture have taken their toll, as evidenced by either the considerable amount or total paint loss on most Shepard banks. However, on rare occasion, an exceptional example is found, such as the one shown in Figure I.
     The base diagram (Figure V) of an original example may prove helpful, especially in view of the fact that "Trick Pony" has been reproduced. A recast is approximately one quarter of an inch smaller along the base O.D. than indicated.
     Addenda: (1) The superb example of the "Trick Pony" Bank (Figure I) is from the collection of Steve and Marilyn Steckbeck. (2) The mint "Trick Pony" trade card (Figure IV) is from the collection of Dr. Greg A. Zemenick (a.k.a., "Dr. Z").
     Correction: (from January, 1997) Please note: Due to editorial errors in the "Omissions" section which followed the "Trick Pony Bank" article, Antique Toy World, November 1996, the paragraphs which NOW follow replace that section.
     Omissions: (1) Operating instructions for the "Mason Bank" (refer to Antique Toy World, August 1984) were erroneously omitted: A coin is placed into the hod and the lever is then pressed. Simultaneously, the hod tilts forward, the money falls through an opened trap door section behind the brick wall, and the mason raised his trowel and brick. Deposits are retrieved by removing the rectangular, key-lock coin retainer underneath the base.

The Mikado Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1996

     Nineteenth-Century America realized an influx of immigrants from foreign lands. Oppressed, persecuted peoples, as well as those seeking their fortunes and that "pot of gold" arrived on the shores of the "land of opportunity." However, treacherous, lengthy journeys were offtimes rewarded not with friendship and open arms, but with wariness and hostility.
     These evils were reflected in many products of the era, including children's playthings. Therein, newcomers were often depicted as buffoons, subjected to cruel jokes and pitiless mockery. Several mechanical penny banks expressed the stereotyped prejudice prevalent at that time. Examples indicating the ill feelings directed towards persons of Oriental heritage include: "Reclining Chinamen" (refer to Antique Toy World, April 1983), "Chinamen In the Boat," "Japanese Ball Tosser," "Coolie Bank," "Mandarin," as well as the subject of this article, the "Mikado Bank" (Figure I).
     The year was 1885, and the highly successful and prolific British team of Gilbert and Sullivan was enjoying enormous success in America and abroad with its latest operetta The Mikado, a parody of Japanese life. Eager to capitalize upon the success of this musical, another highly successful team, the accomplished American toy manufacturers Louis Kyser and Alfred C. Rex, of Frankford, PA., combined the popular theme of Gilbert and Sullivan's operetta with America's anti-Oriental sentiment. The result was the "Mikado Bank," as seen in Figure I. The Kyser and Rex creation was a ludicrous, stereotypical representation of the exalted emperor, or Mikado, of Japan. This embodiment of divine ancestry was portrayed as a con artist engaged in the old Chinese shell game, attempting to lure pennies from children.
     To date, there is no known data indicating the designer and/or manufacturer of the "Mikado Bank," and the words "PAT. APLD, FOR," impressed into the top of the desk, offer no clue. However, several design, mechanical and color similarities strongly suggest the possibility that Kyser and Rex produced this mechanical. This is further confirmed by the interchangeability of the back's key-lock coin retainer with another known mechanical manufactured by this company, namely the "Lion and Monkeys Bank." Despite the fact that Kyser and Rex created many banks with racially motivated themes, its line of production was extensive, with such non inflammatory examples as "Bowling Alley Bank," "Chimpanzee," "Organ Bank with Cat And Dog," "Confectionary Bank," et cetera.
     Action of the "Mikado" is ingenious and intriguing. It is aptly described in an 1886 Selchow and Richter toy jobbers catalog (Figure II). To quote from that advertisement: "Place the coin in the recess in the top of the cabinet, under the hat of the Mikado's right hand, and when the lever is turned the coin will disappear and reappear under the hat in his left hand, where it will remain until another coin is deposited, when the first coin will drop into the bank. A sweet chime of bells will be heard when the lever is turned. The bank is richly painted and decorated and packaged each in a wooden box. 8.50 per dozen." It should be noted that only large 19th-century pennies must be utilized for the bank to operate properly. Deposits are removed by undoing the square key-lock coin retainer underneath the base.
     The "Mikado Bank" is categorized as a rare mechanical. Considering its price, as indicated in the aforementioned 19th-century advertisement, today's possession of one dozen banks, each in its own wooden box, would be valued at upwards of one million dollars!
     There are two casting variations of "Mikado." One operates with internal bell chimes, and the other does not. There are also two color variants, and these apply to the cabinet, with one version painted blue, and the other, red. The figure behind the blue cabinet version is attired in a red kimono and yellow hat, while the figures behind the red cabinet sports a yellow kimono and blue hat.
     The colors of the bank shown in Figure I are as follows: the Mikado's face and hands are painted a pale pinkish flesh color. He has white eyes, black pupils, black eyebrows, a black que, red nostrils and a red mouth. His kimono is red; the buttons, collar and stripes on his sleeves are all painted a yellow color. He wears a yellow hat with a blue band. The bells in his hands are brown with a red stripe. The cabinet is an ultramarine blue with the oriental designs, etc,. highlighted in copper, gold and silver. The words "MIKADO BANK" atop the desk are highlighted in gold. The Mikado's chair is yellow with blue trim.
     Fortunately, complicated design and mechanism have discouraged attempts to reproduce the "Mikado Bank." Nonetheless, please note the base diagram of an original example (Figure III). If a recast were attempted, it would appear approximately one-eighth inch shorter along the base than indicated.
     Acknowledgment: The superb, all-original "Mikado Bank" (Figure I) is housed in the collection of Steve and Marilyn Steckbeck.

Frog on Arched Track
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1997

     It is no wonder that frogs and toads have been popular subjects for children's playthings. Perhaps their very appearance evokes visions or memories of pleasant summers spent swimming and fishing at the local pond.
     Astute 19th-century mechanical bank manufacturers considered these amphibians worthy subjects for even their wares. Notable examples include: "Two Frogs" bank, "Frog on Round Base," "Professor Pug Frog's Great Bicycle Feat," "Chief Big Moon," "Goat, Frog and Old Man," "Initiating Bank, First Degree," "Snake and Frog in Pond," "Flip the Frog," "Toad on Stump," "Toad in Den" and "Frog on Arched Track" (Figure I). Obviously, there is not a more appropriate creature designed by nature to gobble huge amounts of pennies into a cavernous mouth.
     On December 5, 1871, James Fallows, of Philadelphia, Pa., was granted Patent Number 121,502 (Figure II) for his invention of "Frog on Arched Track." Interestingly, the patent identifies the invention as an "Improvement in Toy Toads." However, historically, collectors had designated this toy to be a mechanical bank and referred to its subject as a "frog." At the time that James Fallows was awarded the patent for his "Toy-Toad," he was a partner in the firm of Francis, Field and Francis, a prestigious toy manufacturer of the era, in Philadelphia. The precise date of production is unknown due to the lack of pertinent information. However, my contention is that "Frog on Arched Track" was manufactured by that firm closely on the heels of obtainment of patent in 1871.
     Subsequent to Mr. Fallows's departure from Francis, Field and Francis, he began, in November of 1874, the operation of his own toy manufacturing business located at 51-53 North Third Street, also in Philadelphia. Continuing the philosophy of his former employer, he produced high-quality, beautifully designed, painted tin toys. James Fallows invented and manufactured only one other toy which utilized a coin in its action, namely "Toad in Den." Again, contrary to its patent papers (Figure III), his creation had been, and is, considered by knowledgeable collectors to be a mechanical bank.
     "Frog on Arched Track" is composed, almost entirely, of tinplate, the exception being the frog, which is sheet brass. There are no structural variations of the bank, and the few external design variances pertain solely to the stenciling.
     Action of "Frog on Arched Track" is incomplex and somewhat surprising. Initially, the hinged lid of the cylindrical cup is lifted and the frog is pushed downward into it. The frog remains hidden in place by manually closing the flap. A coin is positioned into the elevated coin holder. The lid of the cup is then raised, and the frog emerges and travels along the track. It grabs the coin in its mouth and retreats; the money passes through the body and drops into the open cup. The action of the frog is accomplished entirely by the utilization of an internal counterbalance mechanism (refer to the patent drawing in Figure II). Coins are removed by opening the lid of the cup.
     The colors of the mechanical pictured in Figure I are as follows: the toad is painted a dark green, while the remainder of the bank is bright red. All of the stenciling (i.e., both sides of the bank and the cylindrical cup), as well as the words, "Dec. 5th 1871," appearing on the cup, are painted gold.
     "Frog on Arched Track" is extremely rare, with less than a handful known to be in collections. Figure IV represents a base diagram of an original example to enable the determination of size and scale.
     Acknowledgement: The superb example of the "Frog on Arched Track" (Figure I) resides comfortably in the collection of Steve and Marilyn Steckbeck.
     Correction: Please note: Due to editorial errors in the "Omissions" section which followed the "Trick Pony Bank" article, Antique Toy World, November 1996, the paragraphs which NOW follow replace that section.
     Omissions: (1) Operating instructions for the "Mason Bank" (refer to Antique Toy World, August 1984) were erroneously omitted: A coin is placed into the hod and the lever is then pressed. Simultaneously, the hod tilts forward, the money falls through an opened trap door section behind the brick wall, and the mason raised his trowel and brick. Deposits are retrieved by removing the rectangular, key-lock coin retainer underneath the base.
     (2) Descriptive colors of the "Spring Jawed Rabbit" (Antique Toy World, September 1996) were erroneously omitted: The rabbit is an overall dark reddish brown, with tan and white highlights. The tips of its ears and its nose are black, and it has light tan eyes with black pupils. The inside of its mouth is pink, and it has two white teeth.

Silent Night, Musical Church Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1997

     Attractive, albeit deceptively innocuous, may be an apt description of "Silent Night, Musical Church Bank" (Figure 1). Categorized as a music box, this mechanical belies its modest appearance, for upon activation it can reawaken the spirit and joy of Christmas and the holiday season all year through. The sounds of the traditional carol, "Silent Night, Holy Night" greet listeners' ears subsequent to operation of the movement within this mechanical. Initially, the mechanism is wound by utilizing the knob underneath the base, followed by placement of a coin into the slot on the roof. As the deposit descends into the bank, an internal lever is "triggered," resulting in the sound of the Christmas carol so familiar to most of us. Deposits are recovered by opening the key-lock, trap door, coin retainer underneath the base.
     Unfortunately, there is no patent information which would unrefutably indicate the designer of the "Musical Church Bank." The country of origin, however, is known by the German words "Ges Gesch," meaning patented, which are printed on the side of the bank. My special thanks to toy dealer and collector, Tom Sage, whose astute research revealed the likely identity of the manufacturer. As per Mr. Sage, the logo (Figure II) printed on the side of the bank distinguishes it as a product of the Karl Rohrseitz Toy Company of Zirndorf, Germany. The company was engaged in the manufacture of tin money boxes, lunch pails and toy sand buckets from 1881 until approximately 1935. It is fortunate that Karl Rohrseitz signed his product (Figure II), enabling identification many years later. German patent law at that time stipulated that patents which contributed little to industry or society be designated as "Reichsgebrachsmuster," or "small insignificant patent." These were filed for a period of 15 years, and then routinely discarded, thus depriving those patented objects of a heritage. Countless other German toys were treated in this manner, thereby relegating the designer, inventor or manufacturer of unsigned products to the realm of obscurity.
     My thanks also to Mr. Sal Provenzano, expert on antique clockwork devices and music boxes. He further confirms the date of manufacture of the "Musical Church" music box movement to be early 20th-century (ca 1900-1930).
     The "Musical Church Bank" is composed, almost entirely, of lithographed tinplate, the exception being the internal music box. The colors of the example shown in Figure I are as follows: the sides of the bank and the steeple are an ivory color. The arched windows are lithographed in shades of light blue and green. The front arched doors are light tan. The bell and clock designs on the bell tower are printed in shades of blue. The roof's shingles are red and maroon, and the base is dark green. The small trees and shrubs are yellow, light green and pink.
     Worthy of mention is the fact that "Silent Night, Musical Church Bank," as well as other music box mechanical banks, should not be confused with the numerous coin-operated music boxes produced from the mid 19th-century through the early 20th-century. These were created solely as coin-activated entertainment devices and not coin-saving receptacles. The distinction between the two is wording, or rather the lack of it, printed upon them, and the confinement of the monies deposited. The music box banks have either the word "BANK" printed upon their facade, or require a key-type device in order to open the coin closure. Conversely, the coin-operated music boxes have neither the word "BANK" printed anywhere, nor do they have a locked coin chamber, but rather an open coin compartment for easy reuse of deposits.
     Other banks which are placed into the music box category include: "Cupid at the Piano," "Regina Musical Savings Bank," "Wooden Musician Church," "Symphonian Musical Savings Bank," "Piano Bank," "Treasure Chest Bank," etc.
     The value of the "Musical Church Bank" is greatly enhanced by its ability to appeal to collectors on various levels. As a "cross-collectible," it may be placed into the category of Christmas items, architectural toys and banks, mechanical banks and music boxes.
     To my knowledge, the "Silent Night, Musical Church Bank" has not been reproduced. Nonetheless, there is a possibility that similar church banks, playing dissimilar tunes, may surface. Figure III is a base diagram of an original example which should aid the collector in determining size and scale.

The Mama Katzenjammer Bank
(Part II, An Update)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1997

     The “Mama Katzenjammer Bank” had been discussed in the January 1984 issue of Antique Toy World. The article mentioned that the producer of this mechanical was Kenton Hardware Company of Kenton, Ohio. In addition, the bank was manufactured in two color versions: Figure I, the most commonly painted of the duo, and Figure II, the unique color variation with only one original example known.
     Limitations existent at that time precluded illustration of both variants to their best advantage. Now and then, bank collectors have suggested, and even urged, a follow-up in which examples of both variations are featured for comparison. In response to these requests, this month's article is presented as an addendum.
     Sizes, dimensions and animation of the "Mama Katzenjammer" are identical in both versions (Figures I and II) and were discussed in detail in the January 1, 1984, article.
     Acknowledgments: The "Mama Katzenjammer Bank" (Figure I) is from the collection of Steve and Marilyn Steckbeck. The "Mama Katzenjammer Bank" (Figure II, unique variation) is from the author's collection.

The Horse Race Bank
(Part II, An Update)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1997

     Occasionally, Unique and attractive color variations of mechanical banks are brought to my attention. Recently, I was made aware of one such superb example, namely the "Horse Race Bank" (Figure III), and am delighted to share information with my readers.
     This article, therefore, serves as an addendum to the "Horse Race Bank" article which appeared in the April 1987 issue of Antique Toy World. In it, I had described the mechanical as having several known color combinations, utilizing the following: red, dark blue, light blue, white, yellow, and green.
     Worthy of mention in view of its extremely attractive appearance is the example shown in Figure III. Its finish is an overall, transparent, purple-brown-japan color, with several of its components painted bright yellow and powder blue.
     Heritage, dimensions and animation of the "Horse Race Bank" are discussed in the April 1987 article.
     Acknowledgments: The superb example of "Horse Race Bank" exhibited in Figure III blissfully grazes in the collection of Tim Walsh.

The Hall’s Excelsior Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1997

     The following an addendum to my article entitled "Hall's Excelsior Bank" which appeared in the February 1984 issue of Antique Toy World. Since that printing, an extremely rare and important variation which pertains to the composition of a particular segment of the bank, namely the head of the "cashier" monkey, has come to my attention.
     In the aforementioned article, on page 47, I wrote, "Some years ago, rumor had original metal heads were found for the the desk, but these proved to be of modern manufacture. Until proven otherwise, the only authentic figures should be carved totally out of wood."
     However, several original examples of "Hall's Excelsior Banks" have since been discovered, and these incorporate "cashier" heads made of a hollow zinc alloy (Figure 1). The heads, one of which is seen in Figure 2, are fully painted. They have been adjudged, subsequent to evaluation by historians and experts in the field, to be totally original and of the period.

BOOK REVIEW
Penny Banks Around the World — By Don Duer
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1997

     The book we’ve all been awaiting is finally here! Don Duer's Penny Banks Around the World is the only reference book which may boast of separate sections for tin, lead, wood, and cast-iron mechanical banks; iron, tin, ceramic, lead, zinc-alloy, silver, brass, wood, glass, and paper still banks; and tin pocket and registering banks.
     This thorough résumé contains more than 1,600 clear, full-color photographs, printed on high-quality glossy paper. Mr. Duer grades each bank according to rarity and desirability. An up-to-date price value guide is provided in the concluding section of the book.
     Penny Banks Around the World is a full-sized, hard-covered volume that should serve not only as an invaluable aid to bank collectors, but also to anyone interested in antiques.
     For further information regarding the obtainment of a copy or copies, write: Sy Schreckinger, P.O. Box 104, East Rockaway, New York, NY 11518. Or try your local bookstore.

The Tank and Cannon Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1997

     Weapons and armed conflict have long been subject matter for games, toys, and countless other merchandise. Such was the case in the 19th and early 20th centuries, when several entrepreneurs on both sides of the Atlantic produced a plethora of war-related mechanical banks. These served to fascinate and capture the imagination of young children and, at the same time, encouraged the practice of saving pennies.
     Notable examples of mechanicals in this category include: the "Tommy!" Bank, "Hold the Fort," "The Fort Sumter Bank," "Artillery," King Aqua," "Creedmoor," "Volunteer," "U.S. and Spain," "Wimbledon," "Grenadier," and the subject of this article, the "Tank and Cannon" Bank (Figure 1). Of interest is the fact that, of all the war-related mechanical banks ever produced, only "Tank and Cannon" commemorates the introduction of a then newly developed battle weapon, i.e., the tank.
     The year was 1917, and the catastrophic event was World War I. German machine guns were decimating and demoralizing the British soldiers. England desperately needed a counter-weapon, not only to penetrate the massive barbed wire barricades protecting the German trenches, but to boost the morale of its soldiers with an ominous-appearing, effective battlefield "killing machine." The answer to the British dilemma was provided by Col. Sir Ernest Swinton. He furnished the concept and design for an armor-plated, multi-terrain, tractor-treaded, heavily gunned war vehicle which he nicknamed "the tank" (Figure 2). The then Minister of Munitions, Sir Winston Churchill, advocated quick development and deployment of Swinton's invention, which ultimately resulted in providing yet another nail in the Axis powers' coffin. (Of interest is the derivation of the name "tank." Due to the highly secret nature of this armored vehicle during its developmental stage, the manufacturers designated to produce its armored body were informed by the British government that they were merely building steel water tanks.)
     On January 16, 1919, Robert Eastwood Starkie and his wife, Nellie Starkie, of Burnley, England, were granted British Patent Number 122,123 for their design and invention of the "Tank and Cannon" Bank. Subsequently, on May 4, 1920, the Starkies were also issued United States Patent Number 1,338,879 for the same invention (Figure 3). The words "STARKIES PATENT 122,123," in raised letters and numbers, are seen underneath the base plate, while the word "PATENT" had been impressed into the tank's side.
     It is unclear whether the Starkies actually produced any, or all, of their own mechanicals or subcontracted them to local foundries. Additional banks in Robert and Nellie Starkie's line include: the "Robot" (a depiction of an English letter carrier), the spiral "Aeroplane Bank," and several versions of "Jolly Nigger" bust-type banks. Most of the Starkies' mechanicals were manufactured in cast aluminum, with the occasional use of cast iron, tin, and pressed wood-pulp board.
     The "Tank and Cannon" is a fairly large, heavy, faithful representation of Swinton's World War I vehicle and was produced in both aluminum and cast iron. The example shown in Figure 1 is constructed wholly of cast iron.
     There are several color and casting variations of "Tank and Cannon." Numerous examples are painted a silver color, while the one shown in Figure 1 is an overall brown japan, with gold accents and a base that is highlighted in dark green. Most of the casting variations are insignificant, the most obvious of which are the wheels supporting the cannon. These may be plain (Figure 1) or spoked.
     Action of "Tank and Cannon" is uncomplicated and appropriate to the subject. Initially, the cannon's plunger is pulled back. A coin is placed into the small, square, flat platform at the cannon's muzzle. Upon release of the plunger, the coin is propelled forward through the coin slot into the side of the tank. Deposits are removed by unscrewing one side of the vehicle.
     Despite its fairly crude and heavy castings, the "Tank and Cannon" can be quite attractive when painted in the manner of the example shown in Figure 1. In addition, and for whatever reason, many of the English manufacturers failed to attain the smooth, detailed castings so evident in the cast-iron toys and banks manufactured in the United State.
     I am not aware of "Tank and Cannon" reproductions. Figure 4 is a base diagram of an original example. If a recast were attempted, it would appear approximately one-quarter inch shorter O.D. than indicated by the arrows.
     Acknowledgment: The superb example of "Tank and Cannon" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

The Freedman’s Bureau Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1997

     Chaos, Destruction, and havoc were the ultimate consequences inflicted upon the southland following the Civil War, Economic and political devastation was rampant. The Union government, supported by northern abolitionists, were confronted with seemingly insurmountable difficulties, Amongst these were the alleviation of extensive confederate refugee problems, and the plight of illiterate, destitute, newly emancipated Negroes. These former slaves, ill-prepared and ill-equipped to assume responsibility for themselves, faced a bleak and piteous future.
     On March 3, 1865, Congress authorized the creation of a government-sponsored agency, under whose jurisdiction would be the provision of relief for freedmen and war refugees. Entitled "Freedmen's Bureau," this organization became the most important tool for rehabilitation, education, and job training of the free African American. Far less successful were the Bureau's efforts to obtain land and civil rights for Blacks. These goals were thwarted by both President Andrew Johnson's restoration of abandoned lands to pardoned Southerners, and opposition to racial equality by Southern white bigots.
     It was during this period that a mechanical bank was produced and designated the "Freedman's Bureau" (Figure 1). Interestingly, the bank's title is the classic example of a double entendre, with the word "bureau" referring to both a government agency and a chest of drawers. Unfortunately, there is no evidence of documented information pertaining to either the bank's design or manufacture, Hearsay attributes its origin to a company operating out of Springfield, Mass., circa 1865.
     The construction of "Freedman's Bureau" Bank is entirely of wood, specifically walnut, and it is coated with a dark brown varnish. The words "FREEDMAN'S BUREAU" (on the top of the chest) and "NOW YOU SEE IT & NOW YOU DON'T" (on the drawers) are stenciled in gold. Similarly, both the left and right sides of the bank are stenciled, but with a red and gold floral design.
     The "Freedman's Bureau" is a member of a particular group of mechanicals known as "trick drawer banks." This distinguished category encompasses such notables as the patented "Serrell's Bureau" (Figure 2), and Tollner's "Trick Savings Bank" (Figure 3).
     Operation of the "Freedman's Bureau" is typical of this "trick drawer" group. A coin is placed within the opened top drawer of the chest. When the drawer is closed, the false-hinged bottom flips down, releasing the coin to the bottom of the bank. Upon reopening the drawer, the bottom is raised into position creating the illusion of a solidly constructed, empty drawer. Deposits are retrieved by removing the sliding panel underneath the bureau. There is a cloth baffle within the bank which muffles the sound of coins descending from the drawer into the bottom of the chest.
     Seen in Figure 4 is an outline drawing of an original "Freedman's Bureau" Bank. This should aid the collector in determination of size and scale. To date, there are no known reproductions. However, considering the bank's extremely rare status and monetary value combined with simplistic construction, creation of a bogus example is certainly feasible. Ergo, consideration of purchase of such an item should be accompanied by expert corroboration and provenance, both of which play significant roles.
     In closing, another mechanical bank manufactured during those troubled times expresses the plight of the disheartened, emancipated Negroes. The "Freedman's Bank" (Figure 5) was a product of James B. Secor of Bridgeport, Conn., and will be discussed in my next month's article in Antique Toy World.
     Acknowledgments: The "Freedman's Bureau" Bank, shown in Figure 1, is in the collection of Steve and Marilyn Steckbeck.
     Correction and addendum: (from October, 1997) Refer to Antique Toy World, June 1997: "THE FREEDMAN'S BUREAU." Fellow collector William Werbell has been kind enough to send me a copy of an original label affixed to his example of this mechanical bank. The label identifies the bank as "THE FREEDMEN'S BUREAU," thereby correcting my spelling. In addition, the label identifies the manufacturer of the bank. It reads: "FREEDMEN'S BUREAU, MANUFACTURED BY F.L. CHILDS CO., SPRINGFIELD, MASS. PATENT AFPLIED FOR."

The Freedman’s Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1997

     The Civil War had ended, and multitudes of liberated Negroes were bewildered and perturbed as they faced an uncertain future. Ill-prepared to deal with their newly acquired independence and accompanying responsibilities, Blacks turned to a government agency entitled the "Freedmen's Bureau." The purpose of this organization was to aid needy free men through education, acquisition of jobs, settlement of homesteads on deserted and confiscated lands, and protection of civil rights.
     On March 3, 1865, concurrent with the establishment of the Freedmen's Bureau, Congress chartered the Freedman's Savings and Trust Company. Its purpose was twofold: to encourage savings and budgeting amongst the new African-American work force and, most importantly, to protect this group from the hordes of unscrupulous private bankers eager to pilfer their earnings. Figure 1 is a depiction of an original Freedman's Savings and Trust dividend check. Each certificate bore the likeness of Abraham Lincoln, an image the freedman equated with honesty, trust, and integrity.
     However, despite all good intentions, both the Freedman's Savings and Trust Company and the Freedmen's Bureau proved impotent and inept. Blacks continued to fall prey to Southern white racism. Anti-Black lobbies within the government continued to prevent the freedmen from making any significant inroads into the "free" American society. African-American resentment grew nationwide.
     Utilizing these emotions and historical events, paramount inventor, designer, and toy manufacturer Jerome B. Secor, of Bridgeport, Conn., designed a bank that demonstrated the growing Black dissatisfaction. His creation was christened the "Freedman's Bank," and is seen in Figure 2.
     An early advertising flyer for the "Freedman's Bank" is seen in Figure 3. The price of each bank is indicated as a whopping $4.50. Since the average workingman's salary was approximately 20 cents per day, this leaves no doubt as to the object of Secor's intended market.
     Action of the "Freedman's Bank" can only be described as fascinating. Initially, the clockwork is wound. A coin is then placed between the freedman's left hand and the round hole on top of the desk. As the lever is pushed down, the black man's left hand sweeps the coin through the opening and into the bank. Simultaneously, he raises his right hand, nods his head, and thumbs his nose at the depositor (Figure 4). Coins are removed by unscrewing one side of the desk.
     Composition of the "Freedman's Bank" is quite varied. The head is of zinc alloy; the collar is made of tin, and the shirt and pants are cotton; the feet are composed of iron; the clockworks are brass and steel; the desk is wood; and both labels are of paper.
     The "Freedman's Bank" has become one of the rarest and costliest of all mechanical banks. This is easily attributable to its fragile construction and an exorbitant, prohibitive price tag when originally presented to the public.
     This most complicated masterpiece of mechanical ingenuity has been reproduced, and in a manner which makes it practically indiscernible from an original example. These re-creations are, however, designated as such by the word "REPRODUCTION" on a small paper label affixed to the underside of the desk. As per the manufacturer, they were created "not to fool anybody, but to afford collectors the opportunity to own a 'Freedman's Bank' at a fraction of the cost of an original's six-figure price tag." Nevertheless, in view of the accuracy of each "perfect" recreation, one must be especially wary when offered an "original" "Freedman's Bank." As with any costly fine antique that has been reproduced, an expert's corroboration as well as provenance play key roles in the decision to purchase.
     In conclusion, the dimensions of both the original and reproduction Freedman's Banks are as follows: the height (i.e., from the top of the head to the bottom of the desk's legs) is 10-3/8 inches, and the width of the top portion of the desk is 6-1/2 inches.
     Acknowledgment: The fine, original example of "Freedman's Bank" (Figures 2 and 4) is from the collection of Steve and Marilyn Steckbeck.
     My appreciation to Glenn Smith, author of Discovering Ellis Ruley, a 20th-century self-taught Black artist, for his kind help in supplying historical data and the document relating to the Freedman's Savings and Trust Company (Figure 1).

The Bonzo Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1997

     “Lovable” and "charismatic" describe the canine image pictured in Figure 1. Originating as a cartoon character known as "The Studdy Dog" after its creator, George Ernest Studdy, it was featured in a series within a popular magazine published in Great Britain, circa 1918. Evolving from its artist's conception of the traits and features of a terrier/bulldog/bull terrier/sealyam, the canine was embraced by an adoring public. It was this same devoted public that insisted upon the release of the dog's actual name. In November of 1922, "The Studdy Dog" was rechristened "Bonzo."
     George Studdy, one of the foremost British illustrators and cartoonists of his day, continued to enjoy success with his creation. Bonzo became famous indeed when he was among the first of the neon signs to be erected in Piccadilly Circus. The canine was eventually developed into the star of the only fully animated film series of cartoons produced in Great Britain during the era of silent movies. Bonzo's likeness was incorporated into postcards, clothing, books, lamps, children's playthings which include the "BONZO BANK" (see Figure 2), and a plethora of other items.
     However, despite its popularity and importance internationally, Bonzo never did capture the heart of the American public. Perhaps the tremendous competition from Walt Disney's beloved megastar, "Mickey Mouse," factored in the obscurity of both the British pup and its creator.
     During the 1920's, the Saalheimer and Strauss Company, of Nurnberg, Germany, acquired the rights from George Studdy to use an image of Bonzo on one of its tin mechanical banks (Figure 2). The company, a manufacturer of fine tin items, toys, and penny banks, produced an advertising flyer offering the "Bonzo Bank" to toy distributors and wholesalers This rare and early flyer is seen in Figure 3.
     To date, no patent papers for the "Bonzo Bank" have been located. However, since many of its mechanical components and action so closely duplicate Saalheimer and Strauss's "Minstrel Bank" (Figure 3), which was assigned Deutsches Patent Number L-698681 on June 29, 1928, it is generally assumed the "Bonzo Bank" was also protected under that patent.
     Interestingly, the obverse of each bank (Figure 4) bears the image of the Bonzo character about to deposit a coin into his very own "Bonzo Bank." This is one of the few instances in which an image of the actual bank appears on the surface of the mechanical itself.
     Operation of the "Bonzo Bank" is uncomplicated and aptly described in the brief but humorous verse seen on its front side (Figure 2): "Press the lever lightly, Watch my tongue appear, Save a penny nightly, Make your fortune here." The coin is placed upon Bonzo's protruding tongue. The lever is released, and the tongue and coin snap back into the bank. Deposits are retrieved by unlocking the square key-lock coin retainer underneath the base.
     The "Bonzo Bank" is quite rare and has the distinction of being considered a "cross collectable," i.e., not only appealing to bank collectors, but to collectors of comic character toys and Bonzo memorabilia. For these reasons, one could expect to pay a premium price for the privilege of adding an example to a collection.
     To my knowledge, none of the Saalheimer and Strauss tin mechanicals, including those shown in Figure 3, have been reproduced. Nonetheless, I am including Bonzo's dimensions to aid the collector in determining size and scale: 6-7/8 inches in height and 2-7/8 inches in width.
     The superb example of "Bonzo Bank" (Figures 2 and 4) is from the collection of Steve and Marilyn Steckbeck.

The Smyth X-Ray Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1997

     This month’s featured mechanical bank owes its origins to an extraordinary discovery which impacted powerfully upon the scientific world. The year was 1895 and the discovery was "X-rays," so named because of their uncertain nature. Wilhelm Conrad Röntgen, professor of physics at the University of Wurzburg, Germany, astounded the scientific community with his observations, which followed much experimentation begun by his predecessors.
     Although X-rays have had far-reaching effects into many branches of science, they are especially well known in medicine. The first medical application took place on January 12, 1896, when Dr. Henry Louis Smith, professor at Davidson College, North Carolina, was able to locate a bullet lodged within the hand of a human corpse.
     Interestingly, despite numerous scientific advances throughout the 19th century, only one aspect of that vast arena was recreated in the form of a mechanical bank, namely "The Smyth X-Ray Bank" (Figure 1). This is curious, since toy manufacturers generally tended to capitalize upon intriguing and timely topics. The designer/inventor of "The Smyth X-Ray Bank" was Charles Smyth of Dayton, Ohio. On May 31, 1898, three years after Rontgen's amazing presentation before the scientific community, Charles Smyth was granted Patent Number 605,064 (Figure 2) for his creation. The bank was subsequently manufactured by the Henry C. Hart Manufacturing Company of Detroit, Mich. Examination of the patent papers shown in Figure 2 attests to the fact that the Hart Company's product (Figure 1) faithfully adhered to Smyth's design.
     Operation of "The Smyth X-Ray Bank" is uncomplicated and fascinating, A coin is placed within the lever or slot of the X-ray camera. The depositor then raises the bank to eye level and points it at a very well-lit object. Peering through the flanged opening at the end of the camera, the viewer sees the object as if he or she were looking through the coin. The lever is then depressed and the coin falls into the bank. The depositor continues to see the object with uninterrupted vision. What has occurred is a clever illusionary effect created by the usage of four internal mirrors. (Refer to Figure 2 and observe the arrows shown in the patent drawing.) The viewer is actually looking at a reflection of the object in the mirrors rather than the object itself. Deposits are retrieved by unscrewing both halves of the bank.
     Henry C. Hart produced only one other mechanical bank whose action also relied upon the usage of mirrors to create an illusion. (Please refer to the May 1993 issue of Antique Toy World for my article entitled "Presto Bank, Penny Changes to a Quarter,")
     There are a few insignificant internal variations of "The Smyth X-Ray Bank," and two color variants. Referring to the latter, most are totally nickel-plated, as is the example in Figure I. However, I am aware of a variant with sides that are painted brown with gold highlighting.
     "The Smyth X-Ray Bank" is considered quite rare and is especially desirable when it boasts of an unblemished plated finish and original operating lever.
     Many collectors, in addition to myself, are becharmed by illusionary banks. In addition to the two aforementioned mechanicals which utilize internal mirrors, there is a third: "The Multiplying Bank," manufactured by the J. and E. Stevens Company of Cromwell, Conn. However, this particular bank is not considered mechanical, since it contains no moving parts to either engage a coin or activate the bank.
     "The Smyth X-Ray Bank" has been reproduced. Ergo, Figure 3 is a diagram indicating the base size of an original example. A recast will appear approximately one-eighth to one-quarter of an inch shorter O.D. than indicated.
     Acknowledgments: The superb example of "The Smyth X-Ray Bank" seen in Figure 1 is from the collection of Steve and Marilyn Steckbeck.

The Tin Scotsman Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1997

     Valiant and proud is the image of the Scottish Highlander. In sharp contrast is the figure depicted upon the subject of this month's article. As seen in Figure I, the tartan-clad individual appearing upon the facade of the tin "Scotsman Bank" is represented as a humorous caricature.
     To date, only two different antique mechanical banks utilizing the image of the
clansman are known to exist. One of these is the aforementioned tin "Scotsman Bank," and the other is the cast-iron "Kiltie Bank" seen in Figure II (refer to Antique Toy World, July 1996). The "Kiltie Bank," however, presents a dignified and stoic image of the Highlander.
     Interestingly, the tin "Scotsman Bank" identifies a rather obscure and seldom-discussed aspect of Highlander garb, namely the sporran. This particular accessory is worn around the waist and rests upon the center of the kilt. It is a small, furry or hairy pouch typically made of either badger or goat skin and fastened by a metal clasp.
     Activation of the "Scotsman Bank" is wholly dependent upon the jolly chap's sporran, as is indicated by the verse imprinted upon the face of the bank: "Lift my sporran lightly — On my tongue a penny — If ye do this nightly — Ye'll soon ha'e many." Lifting the Scotsman's sporran results in blinking eyes and protrusion of his tongue, upon which a coin is then positioned. The depositor lightly presses the sporran back into place, whereupon the eyes blink once again and the tongue with coin recedes into the mouth. Monies are recovered by unlocking a key-lock, trap-door-type coin retainer underneath the base.
     There are two variations of the tin "Scotsman Bank." These pertain solely to the lithography on the front of the mechanical. One incorporates the operating instructions verse within the design (Figure I), and the other omits it completely.
     A rare, early 20th-century Saalheimer and Strauss catalog page is seen in Figure III. In it are featured the tin "Scotsman Bank" and several other mechanicals in the company's line. Located in Nurnberg, Germany, the hub of early European tinplate toy production, Saalheimer and Strauss was one of the most important German manufacturers of tin novelty items, children's playthings, household goods, and mechanical banks.
     The unearthing of this catalog page, which occurred approximately 15 years ago, was fortunate since it provided information on several tin German mechanical banks whose manufacturer had heretofore been an enigma. This discovery and subsequent research efforts identified the "SS" logo (to the right side of the Scotsman's walking stick) as that of the Saalheimer and Strauss Company.
     To date, no patent papers have been located relating to either the design or workings of the "Scotsman Bank." However, a similar bank in the "SS" line had received Deutsches - Patent Number L-698681 on June 29, 1928 (see Figure III, top row, center). It is presently assumed that, due to the great similarities between the configuration and action of both the tin "Minstrel Bank" and the tin "Scotsman Bank," each was protected under the same patent.
     Unfortunately, the popularity of German tin mechanical banks has waned over the past few years. Yet I am confident that renewed appreciation of their design, form, action, and scarcity will help them to regain their rightful place in mechanical bank collections.
     The following dimensions are provided as an aid to collectors in determining size and scale of the "Scotsman Bank": 6-7/8 inches in height, and 2-7/8 inches in width.
     Acknowledgment: The superb example of the tin "Scotsman Bank" (Figure I) is from the collection of Steve and Marilyn Steckbeck.
     Correction and addendum: Refer to Antique Toy World, June 1997: "THE FREEDMAN'S BUREAU." Fellow collector William Werbell has been kind enough to send me a copy of an original label affixed to his example of this mechanical bank. The label identifies the bank as "THE FREEDMEN'S BUREAU," thereby correcting my spelling. In addition, the label identifies the manufacturer of the bank. It reads: "FREEDMEN'S BUREAU, MANUFACTURED BY F.L. CHILDS CO., SPRINGFIELD, MASS. PATENT AFPLIED FOR."

The World’s Fair Bank
The Charles A. Bailey Hand Painted Version
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1997

     My article this month is an update to the one which was published in the February 1989 issue of Antique Toy World, namely "The World's Fair Bank." At that time, limitations existed which precluded showing full-color photographs of an original Charles A. Bailey hand painted mechanical. However, obstacles have been removed, prompting this addendum.
     The "World's Fair Bank," manufactured by the J. and E. Stevens Company, of Cromwell, Conn., was produced in two casting variations. One version displays the title in bold, raised block letters across its side, while the other omits it entirely. An obvious explanation is that those banks which bear the name "World's Fair Bank" were sold during the Columbus World's Fair Exposition, i.e., 1892-1893 (Figure I). When the Fair ended, the J. and E. Stevens Company continued to market this mechanical but with a change in name to "Columbus Bank" (Figure II), thus necessitating the deletion of its former title from the casting.
     My February 1989 article also mentioned that the "World's Fair Bank" was painted an overall gold, highlighted in copper-bronze, silver, and silver with a greenish tinge. It had come to my attention that there are a few banks in existence which are multicolored (refer to Figures III and IV, which display both sides of the same example bank). These were personally painted by their inventor, the eminent toy and bank designer Mr. Charles A. Bailey of Cromwell, Conn. Bailey created these hand painted examples as special-occasion presentation pieces intended for family and close friends. Understandably, in the present mechanical bank market, these personalized specimens command a significantly higher price than the more common, but nonetheless desirable, gold-painted version.
     Over the years, several examples of "World's Fair Bank" have surfaced, each fraudulently painted in the polychromatic "Bailey manner" and each representing itself as an original Bailey example. The color photographs (Figures III and IV) should be helpful to collectors in acting as a guide for comparison. The principle objective is prevention of a costly mistake.
     ACKNOWLEDGMENTS: The superb, all-original "World's Fair Bank," personally painted by Charles A. Bailey (Figures III and IV), is from the collection of Steve and Marilyn Steckbeck.

Dog Tray Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1997

     Much speculation and countless hours of discussion are enjoyed by ardent, enthusiastic bank collectors. Many of these provocative conversations focus upon the possibility of hidden, or covert, meanings for those mechanicals with puzzling or cryptic names. The following cites a few examples of banks which are a part of this enigmatic group.
     The subjects of "Perfection Registering Bank" bear a striking resemblance to Dorothy and her dog, Toto, remembered from Wizard of Oz, the popular children's classic by Frank Lyman Baum (refer to Antique Toy World article, April 1986). Another example is "Girl in Victorian Chair" to Antique Toy World, November 1990). Who can deny the startling, evident similarity between the little girl's face and that of young Queen Victoria and her spaniel, Dash, as seen in an early English painting (Figure 1)?
     And yet, another puzzle was solved when, several years ago, I happened upon a "new find" in the form of a flyer which depicted the popular pantomime clown of the late 19th century, Mr. G. L. Fox. Subsequent research identified this gentleman as the founder of the Humpty Dumpty Circus, thus resolving the mystery of the "Humpty Dumpty Bank." (Refer to Antique Toy World, July 1984).
     The subject of this month's article, "Dog Tray Bank" (Figure 2), has sparked a great deal of interest as collectors attempt to uncover the true meaning of its title. Could this mechanical have been christened simply because of its overt subject matter, i.e., a dog with a tray in its mouth? Or was its name inspired by Stephen Collins Foster's 19th-century song "Old Dog Tray," a tribute to Foster's childhood friend and beloved dog, Tray? If the former be true, would not the manufacturers have named the bank "Dog With Tray Bank"?
     The "Dog Tray Bank" was designed by Louis Kyser and Alfred C. Rex of Philadelphia, Pa. On September 21, 1880, they were issued Patent number 232,512 for their invention (Figure 3). The bank was subsequently manufactured by their company and is pictured in a Kyser and Rex Toy Bank Catalog, circa 1882 (Figure 4).
     Action of "Dog Tray" is effected by placement of a coin upon the tray held in the dog's mouth. The weight of the coin causes the canine to tilt forward: the coin slides off the tray through the raised slot and drops into the bank, The dog then returns to the upright position seen in Figure 2. Deposits are retrieved by removing the twist pin which holds the top, bottom, and both halves of the bank together. I am convinced that it is this twist pin combined with faulty design which account for this mechanical's rarity. When the twist pin is retightened, the underside of the bank is too thin and weak to sustain the amount of pressure exerted, resulting in irrevocable fracturing. Countless numbers of hopelessly cracked bases, rendering the banks unusable, were, in all likelihood, discarded.
     "Dog Tray" has no casting but several color variations. Aside from the example shown in Figure 2, its sides may be painted either light green, with a red top and bottom border, or bright red, with a blue top and bottom border. Possibly, there are yet other color combinations, since it was not uncommon for artisans in the employ of 19th-century bank manufacturers to occasionally express their individuality and creativity with varied and unique color schemes. "Dog Tray" is considered quite rare, especially if it is in complete and undamaged condition. Adding one of these colorful gems to a collection may prove an extremely difficult task. Nevertheless, the obtainment of such a one is undoubtedly rewarding and worth the effort involved.
     I am not aware of the existence of reproductions of "Dog Tray Bank." However, considering its simplistic construction as well as its desirability and high price, the possibility of an unauthorized recast does exist. Therefore, Figure 5 is a base diagram of an original example of "Dog Tray Bank." A reproduction would appear approximately one sixteenth to one eighth of an inch shorter O.D. than indicated.
     The superb example of "Dog Tray Bank" (Figure 2) is from the collection of Steve and Marilyn Steckbeck.

The Butting Buffalo Bank, Part II
A Unique Squeaker Variation
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1998

     Discovery of a new variation of a mechanical bank, especially one that is desirable and popular, generally creates excitement and interest among collectors. Such was the result recently, when I was sent a Butting Buffalo Bank that was sadly in need of repair of its mechanism.
     Disassembly of the bank revealed both its hidden defect and, surprisingly, an internal variation heretofore unknown. Instead of activation via the usual method, i.e., a series of weighted internal parts (refer to patent papers in Figure 1), this mechanical was driven by a spring-tension, air-bellows squeaker (Figures 2 and 3). Lacking this squeaker, the bank remained inanimate and mute. Action of this newly discovered variant is similar to the more familiar bank (Figure 4), except for the unexpected "yelp!" which is heard at precisely the time of the black man's nose-to-nose encounter with the frightened raccoon.
     The question of why Louis Kyser and Alfred C. Rex, manufacturers of the Butting Buffalo Bank, chose to omit the squeaker, thus eliminating the addition of a humorous sound, may be answered by a paragraph within the patent's description (Figure 1). In it, Mr. Rex states, "In constructing toy banks for children, one of the main objects is to make the device as attractive as possible, and at the same time so form the parts that they can be put together very cheaply, in order to reduce the actual cost of the bank to a minimum." Therefore, it may be concluded that the prohibitive cost involved in construction and installation of the squeaker was the persuasive factor for the elimination of the bellows from subsequent production.
     Historically, to my knowledge, internal variations have not affected the ultimate value of a mechanical bank. In this particular instance, however, in view of the fact that a sound is created which enhances its action, a premium is likely to be exacted.
     Acknowledgment: The superb example of Butting Buffalo Bank (Figure 4) is from the collection of Steve and Marilyn Steckbeck.
     ADDENDUM: (from February, 1998) Please refer to my article "Butting Buffalo Bank," Part 2 in the January 1998 issue of Antique Toy World. I erroneously omitted mention that this was an adjunct to my "Butting Buffalo Bank" article in the September 1988 issue of Antique Toy World.

Tabby Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1998

     Beasts stalking their prey....Animals engaged in the struggle for survival....The life-and death challenges staged by Nature....These have always fascinated both adults and children alike.
     Appeal of the subject matter has been evidenced by the innumerable products created for the public. Toy and mechanical bank manufacturers of the 19th century were cognizant of the marketing potential and featured such depictions of members of the animal kingdom in many of their wares.
     Examples include the following: "Lion and Monkeys" Bank, a product of the Kyser and Rex Company, portrays an adult monkey and its offspring valiantly fending off the aggressive onslaught of a marauding lion. Of the two reptilian gladiators represented in the tin mechanical "Snake and Frog in Pond," which will emerge victorious? Two mechanicals produced by Charles A. Bailey were "Baby Elephant Unlocks at X O'Clock" and "Springing Cat." The former represents a baby elephant in the act of rescuing a native child from the gaping jaws of a toothy crocodile. The latter portrays a tiger-striped orange cat positioned to pounce upon the unsuspecting mouse.
     Our subject this month, i.e., "Tabby Bank" (Figure 1) reflects behavior similar to that of the aforementioned "Springing Cat." We observe the malevolent "Tabby" perched atop a large egg, patiently and, undoubtedly, awaiting the hatching and emergence of its hapless inhabitant.
     Unfortunately, due to lack of historical documentation, the inventor and/or manufacturer of this mechanical remains unknown. However, an advertisement appearing in a Selchow and Richter toy jobber's catalog, circa 1878 (Figure 2) sheds a little light upon an otherwise dim background. The ad introduced "Tabby Bank" as a "NEW" addition to the company's line of toys.
     Action of this attractive and diminutive mechanical is aptly conveyed in the above-mentioned ad: "Size 4 and one-half inches high, 4 wide, 3 deep. This bank represents a 'Tabby' patiently waiting for the appearance of a young chick from an egg. When the coin is dropped in the slot in the cat's back, the chick moves its head. Attractively painted and packed six in a box. PRICE, 1.24 PER DOZEN."
     Today's collector has discovered that the "Tabby Bank" is in scarce supply. One explanation may be that, while most adults found the harsh realities of Nature fascinating, they were reluctant to expose these seemingly unkind and oftentimes cruel aspects to their young children. Ergo, there was not a great demand by parents to purchase this mechanical, and few were produced.
     I am not aware of any casting variations of "Tabby." However, there are three color renditions, and these pertain solely to the bank's flanged base. It may be painted either blue, red, or yellow.
     The "Tabby Bank" has been reproduced. Figure 3 is a base diagram of an original example. The recast version is approximately one-sixteenth inch shorter O.D. than indicated.
     Acknowledgment: The mechanical bank illustrated in Figure 1 is from the collection of Steve and Marilyn Steckbeck.  
     ADDENDUM: (from May, 1998) Knowledgeable collector, Mr. Frank Kidd, has advised one of another color variant of the "Tabby Bank," which was not mentioned in my February, 1998 article in Antique Toy World. This addition is painted an overall brown Japan with a gold chick.

The Roller Skating Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1998

     During the later portion of the 19th century, no single entity demonstrated life and mores as graphically as the mechanical bank. Reflections of attitudes and lifestyles were portrayed through topics such as recreation, sports, clothing, children's games, racial issues, immigration, thrift, politics, labor, inventions, and so forth.
     Designers of mechanical banks were always eager to capitalize upon newsworthy events as well as the latest popular craze. Just such an example was the great roller-skating revival of the 1880s. Inspired by the invention of the ball-bearing roller skate, colossal roller rinks were erected in most major cities in the United States (Figure 1). Many of these rinks featured live music played by popular bands of the day. Roller skating became the favorite national pastime, transcending all classes of society. The mechanical bank created to celebrate this renaissance was the "Roller Skating Bank," seen in Figure 2.
     To operate this mechanical, both the male and female skaters are set into position at the front end of the curved tracks. A coin is then placed within the slot in the roof atop the bank. The large button at the center front of the rink is depressed, whereupon both skaters begin to race along the two arched tracks toward the figure holding the wreath. As the coin drops into the bank, the man with wreath in hand pivots to present it to the winner of the competition, i.e., the female skater.
     Interestingly, two additional figures are featured within the bank. They are, however, sans skates, and both lie on the floor of the rink. Perhaps these were careless onlookers who accidentally collided with our two competitors as they sped toward the finish line.
     Close examination of the "Roller Skating Bank" (Figure 2) reveals the genius, imagination, and wit its creator was certain to possess. Unfortunately, to date this information remains unknown. No patent data or catalog advertisements have come forth which would identify designer and/or manufacturer. However, similarities in design have led bank historians and collectors to assume it was a creation of the Kyser and Rex Company of Frankford, Pa. For example, the cloverleaf design perforated into the base plate of the "Roller Skating Bank" is identical to the back plate of the "Confectionary Bank" and the base plate of the "MerryGo-Round Bank," each a well-documented product of Kyser and Rex Company. Another is that the square key-lock coin retainer utilized by the "Roller Skating Bank" bears a remarkable likeness to those of the "Mikado Bank," the "Mammy and Baby" Bank, the "Butting Buffalo Bank," and the "Lion and Monkeys" Bank, all products of Kyser and Rex. A most significant similarity is the bas-relief scene at the rear of the "Roller Skating Bank." This bears a striking resemblance to the roller skating scene portrayed on the Kyser and Rex "Roller Safe" still bank (Figure 3).
     The "Roller Skating Bank" is extremely rare. A collector would be considered quite fortunate indeed to add a fine, all-original, and complete example to her or his collection.
     To the best of my knowledge, this mechanical has not been reproduced, Nevertheless, I am including a base diagram (Figure 4) of an original bank to aid the collector in determining size and scale. If the "Roller Skating Bank" were to be recast, it would appear approximately one-quarter inch shorter than indicated.
     ACKNOWLEDGMENT: The excellent, all-original "Roller Skating Bank" shown in Figure 2 is from the collection of Steve and Marilyn Steckbeck.
     ADDENDUM: Please refer to my article "Butting Buffalo Bank," Part 2 in the January 1998 issue of Antique Toy World. I erroneously omitted mention that this was an adjunct to my "Butting Buffalo Bank" article in the September 1988 issue of Antique Toy World.

The Chief Big Moon Bank, Part II
A Significant Color Variation
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1998

     The world of mechanical banks is comprised of a multitude of categories and, in many instances, variations of the same bank with differences only in coloration. Sadly, some are viewed with disfavor because they are unnecessarily regarded as "less attractive" in appearance. Thus, it is the unfortunate overshadowing by a more colorful example of the same bank that prompts the writing of this article. My hope is that collectors in earnest pursuit of these "attractive" variations do not lose sight of the brilliance of the very bank itself.
     A few examples of this select group include the white 'Hen and Chick," "I Always Did 'Spise A Mule" with a white mule, the white "Owl Turns Head," and the subject of this article, the red-base "Chief Big Moon" Bank (Figure 1). In sharp contrast to the coloration of the red-base "Chief Big Moon" (Figure 1), the base of the so-called less attractive "Chief Big Moon" is painted an overall gold-bronze color with the Indian symbols, etc., and the border along the bottom of the bank highlighted in silver. Both variations of this mechanical concern themselves solely with the bases. The colors of their upper portion (e.g., grass, pond, ducks, teepee, frog, Indian cooking the fish, etc.) are painted identically.
     In addition, there is much to be said for the quiet dignity exhibited by the less-chromatic bronze-base "Chief Big Moon" Bank. And, on a personal note, a superb example of this particular variant would certainly not be disregarded in the hopes of acquiring its red-base twin.
     For additional historical data and patent information relating to both "Chief Big Moon" banks, please refer to my article in the October,1990 issue of Antique Toy World.
     ACKNOWLEDGMENT: The superb red-base) "Chief Big Moon" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     NOTE: The entire contents of these articles — past, present, and future — are the sole property of the author and cannot be reproduced in any manner without his written consent.

Mechanical Bank Packing Boxes
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1998

     Historical data, ephemera, and artifacts have always played a significant role in mechanical bank collecting. Included within the listing are catalogs, flyers, trade cards, advertisements, and the subject of this article, the boxes in which mechanical banks were originally packaged and sold (Figure 1).
     My explanation for the deviance from the usual expected topic, i.e., antique mechanical penny banks, is the many requests from collectors. These individuals take great pride in exhibiting not only their mechanical but also the original box which housed each bank. Together these provide for an attractive and historically interesting display.
     Original boxes were generally constructed from box-joined (Figure 2) pine wood. Cardboard was also utilized but to a far lesser degree. This is readily understood, since box-joined wood proved a sturdier, safer container in which to ship fragile cast-iron mechanicals.
     Most mechanical bank advertisements and catalogs included a picture of the bank, the product number, colors, price, and the statement "EACH PROVIDED IN A NEAT WOODEN BOX." However, of the four major American bank manufacturers, most of the boxes located are those of the J. and E. Stevens Company, of Cromwell, Conn., and Shepard Hardware Company of Buffalo, N.Y. There is only one known Kyser and Rex Company box, and this was created for its "Motor Bank." To my knowledge, there are no known examples of Judd Manufacturing Company boxes.
     On a final note, I would appreciate hearing from readers who own, or possess knowledge of, mechanical bank boxes, especially those imprinted with the names "KYSER AND REX CO." or "JUDD MFG. CO. " The purpose is to gain further information which may be shared with readers in future articles.
     ACKNOWLEDGMENT: The boxes shown in Figure 1 are from the collection of Steve and Marilyn Steckbeck.

The Seek Him Frisk Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1998

     The rare and desirable mechanical bank selected for discussion this month is yet another member of the distinguished "enigmatic" group. Consisting of approximately 30 American-made antique mechanicals, this category earned its designation by virtue of a lack of pertinent information, generally relative to the manufacturer.
     However, although the producer of "Seek Him Frisk" (Figure 1) is unknown at this time, other significant data has been revealed through the discovery of the bank's patent papers (Figure 2). The first is the designer, namely Mr. John Murray of New York City, who was granted Patent Number 244,646 on July 19, 1881 for his invention. The second bit of information revealed by the patent illustrations is the actual name of the bank as originally christened by its creator. This is significant since the words "Seek Him Frisk" were omitted from the final casting of the manufactured piece.
     Recently, I was afforded the opportunity to examine and operate this prestigious mechanical. My securitization uncovered meaningful similarities in coloration and internal mechanism between "Seek Him Frisk" and a few mechanical banks produced by the Judd Manufacturing Company of Wallingford, Connecticut. The japan-type finish utilized on these banks, namely "Butting Goat Bank," "Bucking Mule Bank," and "Gem Bank," is comparable to that displayed by "Seek Him Frisk." In addition, the three Judd mechanicals are similarly motivated by a stretched coil spring and activated by lifting the hind section of the animal (refer to "Seek Him Frisk" patent papers, Figure 2). Of course, the foregoing supposition pertinent to the bank's possible manufacturer may be either substantiated or disproved by future factual findings.
     There are no casting variations of "Seek Him Frisk," but there are several known color modifications. The tree may be either an ebony finish, as seen in Figure 1, or brown with a green vine trailing up its trunk. Similarly, the tree stump at the coin slot end of the bank may also be ebony or brown with a yellow top. All examples have ebony japanned bases, some with yellow and/or green, or gold, or silver highlights.
     Action of "Seek Him Frisk" is effective and swift initially, the dog is pulled back towards the stump and locked into position. The cat is pushed down the spiral track of the tree trunk, and also snapped in place. Insertion of a coin into the slot liberates the dog, who then scoots atop the base, releasing a lever under the cat. This activates the feline to scurry up the tree. Deposits are retrieved by unscrewing the rectangular base plate underneath the bank.
     To date, only a handful of "Seek Him Frisk" banks are known to exist. It is certainly an understatement to declare that the addition of a complete, all-original example to a collection is fortunate indeed.
     I am not aware of the existence of reproductions. Nevertheless, I am including a base diagram of an original example (Figure 3). If the bank were recast, it would appear approximately one-quarter of an inch shorter O.D. along the base than indicated.
     Worthy of mention is the fact that John Murray patented three other mechanical banks. To date, no manufactured examples have been discovered for two and possibly all three banks. One of these was patented on May 3, 1881, and is a bust-type bank of a man with articulated eyes and a movable tongue. Another was patented on March 21, 1882, and depicts a man and his dog poised in front of a seated male figure from whose hat birds are emerging, Action of this bank is noticeably similar to Murray's "Seek Him Frisk."
     The third Murray bank was issued a patent on October 27, 1891. This mechanical portrays a black sharecropper standing before a chicken coop. A menacing dog is positioned on one side of the building and a man brandishing a closed umbrella, on the other. The illustrations accompanying this patent bear a striking resemblance to the "Uncle Remus Bank," whose manufacture has been attributed to the Kyser and Rex Company of Frankford, Pennsylvania. Whether this bank was actually based upon Murray's patent is yet another mechanical bank conundrum.
     ACKNOWLEDGMENT: The superb "Seek Him Frisker Bank shown in Figure 1 is from the collection of Steve and Marilyn Steckbeck.    
     ADDENDUM: Knowledgeable collector, Mr. Frank Kidd, has advised one of another color variant of the "Tabby Bank," which was not mentioned in my February, 1998 article in Antique Toy World. This addition is painted an overall brown Japan with a gold chick.

Calumet Bank
cardboard container variation
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1998

     Peace, friendship, and trust so aptly define the significance of the title of this month's topic of discussion. Webster's dictionary interprets the word "calumet" as "a tobacco pipe used among the American Indians as a symbol of peace and a mark of welcome to strangers." Similarly, the baking of bread was also, symbolic of trust and friendship. We recall texts of the American Indians' demonstration of friendship towards the Pilgrims by offering maize to be used for baking. The Pilgrims, in turn, did "break bread" with these native Americans at the first Thanksgiving.
     It is not surprising, therefore, that when, in 1890, baking powder salesman William M. Wright and chemist George C. Rew, of Chicago, Illinois, developed a revolutionary new double acting baking powder, the product was christened "Calumet." Wright, shortly thereafter, founded the Calumet Baking Powder Company.
     For many years, the stoic face of an American Indian Chief embellished the facade of all Calumet packaging. However, at the turn of the century it became fashionable for manufacturers to incorporate cute, appealing, and memorable imagery to effectively market their wares, Unique personalities such as Buster Brown and his faithful dog, Tige, were designed to sell shoes, while the Campbell Kids promoted soup. Thus, the Calumet Company sired the "Calumet Kid" (figure 1) which became a prominent and beloved national figure in its own right.
     Inspired by the popularity of the "Kid" and the power of advertising, Edward E. Barnes of Chicago, Illinois invented the "Calumet Advertising Bank" (figure 2). He was awarded patent number 1,508,498 (figure 3) on September 16, 1924. Barnes subsequently assigned the patent and all rights to the bank's design to the Calumet Baking Powder Company. To date, the manufacturer of the bank remains unknown. The belief is that it may have been produced by one of the tin and cardboard container suppliers of the period.
     The "Calumet Advertising Bank" is unique in that it was created and patented exclusively as an "advertising novelty" rather than merely a mechanical savings device. Other mechanical banks that were produced to function solely as banks but later utilized as marketing incentives or to display advertising were "Weeden's Plantation Darky Savings Bank" and "Pump and Bucket" Bank.
     Activation of the "Calumet Bank" occurs with the introduction of a coin into the slot in front of the "Kid." This causes him to tilt back and forth. Unfortunately, retrieval of these coins can only be achieved by severing the bank, resulting in a disfigured, totally unusable object. Possibly, this factor alone may account for the small number of surviving examples.
     There are no color variations of this mechanical, but there are two size and material variants. Both relate to the cylindrical portion of the bank. In the larger of the two, the can is two and three-eighths of an inch in diameter, and is composed of cardboard with tin ends (figure 4). In the smaller version, the can is two and one-eighths of an inch in diameter, and composed entirely of tinplate (figure 5). The figure of the Calumet Kid is identical in each version, i.e. produced of die cut, lithographed tin. The rounded sides of both examples are enwrapped in a lithographed paper label.
     The "Calumet Bank" is attractive, interesting, and a welcome addition to either a mechanical bank or antique advertising collection. Although I am not aware of reproductions, laser print duplication cannot be ruled out. In any event, if you have doubts as to the authenticity of this, or any, antique mechanical bank, it is advisable to seek the advice of a qualified expert prior to purchase.
     Acknowledgment: The superb example of "Calumet Banking Powder Bank" (figure 2) is from the collection of Steve and Marilyn Steckbeck.

Snake and Frog in Pond
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1998

     Depictions of animals in their natural habitat are not uncommon in the world of mechanical banks. Several portray situations representing the proverbial struggle for survival. Familiar examples include "Lion and Monkeys," "Tabby Bank," "Springing Cat," and the subject of this month's article, "Snake and Frog in Pond" (Figure 1).
     The uniqueness of "Snake and Frog in Pond," however, is the fact that it is the only mechanical bank that features the animated image of a snake. In Figure 1 we see two denizens of the aquatic world involved in mortal combat. Will the cavernous mouth of the frog devour, in one gulp, its reptilian opponent? Or, will the wiley snake administer lethal venom in time to subdue its worthy adversary?
     "Snake and Frog in Pond" is manufactured entirely of tin plate and beautifully lithographed in natural colors. Close examination of its surface (see Figure 1) reveals an abundance of the flora and fauna native to a woodland pond. The wonders of nature abound... snails slithering along the shoreline, frolicking salamanders and tadpoles, bees gathering pollen from red, yellow and white-petaled flowers. Water lilies, pond grass, wild mushrooms, and tall cattails provide the finishing touches to this complex, yet simple, device for saving pennies.
     To date, no catalog or patent information has surfaced, and the bank's designer or manufacturer remains anonymous. Fortunately, however, the words "Made in Germany, D.R.G.M." are discreetly printed on one end of the base, thereby identifying the country of origin. It is these letters, D.R.G.M. (i.e. "Deutsches Reichs Gesuhutzes Muster"), which provide clues to the reason for the lack of patent information of "Snake and Frog" Bank, as well as most mechanicals manufactured in Germany during the years 1880-1935. D.R.G.M. was a German patent designation usually applied to nonessential objects of insignificant social or industrial importance. Since these toy banks and their like were considered relatively meaningless, they were designated "small patents" and mandated by the German government to be discarded within fifteen years of issuance.
     Destruction of the actual patents, combined with a lack of advertising and catalog data, are obstacles in the attempt to date or trace the heritage of "Snake and Frog in Pond". Nonetheless, it is the consensus of opinion amongst collectors and researchers that this mechanical was manufactured some time between 1900 and 1935. The assumption is based upon similarities of design and material to several well-documented European mechanical banks. Examples include "Cross Legged Minstrel," "Darkey Bust Bank," "Try Your Weight Scale," "Monkey with Tray," etc.
     Action of "Snake and Frog in Pond" is swift and effective. The bank pictured in Figure 1 is primed for activation. Initially, a coin is placed into the mouth of the snake. The lever at the end of the base is pressed sharply downward. This causes the snake to spring forward, releasing its loot. Simultaneously, the frog opens its mouth and the money is propelled forward through the frog's body and into the bank. Deposits are removed by opening the square, key lock coin retainer underneath the base.
     The only significant variation of "Snake and Frog" is the snake's head, which may or may not have subtly embossed eyes.
     There are few known examples of this mechanical, placing it into the "rare" category. I am not aware of the existence of reproductions of "Snake and Frog in Pond". However, Figure 2 is a base diagram which is intended to be helpful to the collector in determining size and scale.
     ACKNOWLEDGMENTS: The fine example of Snake and Frog in Pond" (Figure 1) resides in the collection of Steve and Marilyn Steckbeck.

Mechanical Bank Patterns
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1998

     The avid collector of mechanical banks appears to have developed an indisputable thirst for knowledge. Prominent is the heightened interest in research of historical documentation relating to design, manufacture, and sale of these money-saving devices.
     However, appreciation and awareness of other important aspects of the hobby have extended the list of collectibles to include such items as patent papers, trade cards, ephemera, wooden packing boxes, etc. In this regard, a growing number of mechanical bank enthusiasts have expressed their desire to obtain as much information relating to their "favorites" as possible. Many of the aforementioned have been topics for discussion in previous articles. This month's subject is yet another facet in the world of mechanicals, namely bank patterns and their utilization in the manufacturing process.
     The inception of all antique mechanical banks was sparked by an idea. This idea was translated into a conceptual linear sketch. The rendering was then presented to an industrial designer who worked with a pattern maker in order to translate it into an actual working model.
     Construction of the final pattern originated with the creation of a highly-detailed wood model, integrating all of the elements of the intended mechanical bank. These wooden parts were then used to produce a sand mold into which molten lead was poured, thus creating an exact "working" lead duplicate of the wood pattern. This lead pattern was enhanced and detailed to an even greater extent than its wood counterpart. After careful, painstaking refinements were made to the completed lead pattern, it also was used to create an additional highly-detailed sand mold into which molten brass was poured.
     The internal mechanism and external details of the resultant brass model, or pattern, were further refined. It was this refined, brass duplicate (Figure 1) that became the "master" pattern, lending its usage and likeness to all future cast iron mechanical banks.
     Brass was the material of choice in the final pattern since its inherent soft, and thus pliable, nature lent itself to finely executed detailing. In addition, it is quite durable, being able to withstand greater usage and abuse than either wood or lead. It was a brass pattern similar to that in Figure 1 which sired the beautifully crafted cast iron "Boy Robbing Bird's Nest Bank"* (Figure 2).
     The above-mentioned was designed by Charles A. Bailey and manufactured by the J. and E. Stevens Company (see catalog page, Figure 3), both of Cromwell, Connecticut. Worthy of mention is the fact that Mr. Baily was the most celebrated pattern maker and mechanical bank designer of his time. Close examination of many of his patterns (Figure 1) reveals an eloquent grace and beauty likened only to a fine 19th century Viennese bronze. This, combined with its extremely rare status (i.e. having served as one of the few models used to create thousands of cast iron clones ) have made the quest for mechanical bank patterns a preoccupation of many a collector.
     *Note: For further information on "Boy Robbing Bird's Nest Bank," refer to my article in Antique Toy World, June 1991.
     ACKNOWLEDGMENT: Both "Boy Robbing Bird's Nest" brass pattern (Figure 1) and "Boy Robbing Bird's Nest Bank" (Figure 2) are from the collection of Steve and Marilyn Steckbeck.

The British Lion Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1998

     Images of Various members of the animal kingdom provided a rich source of material for American and European mechanical bank manufacturers. Notable examples of such mechanicals include Kyser and Rex's "Lion and Monkeys" Bank (refer to Antique Toy World, March, 1987), Shepard Hardware's "Jonah and the Whale" Bank (Antique Toy World, July, 1986), Enterprise Manufacturing Company's "Elephant with Man in Howdah" Bank (Antique Toy World, May, 1991), J. and E. Stevens' "Monkey and Coconut" Bank (Antique Toy World, April, 1990), and the subject of this article, Saalheimer and Strauss Company's "The British Lion" Bank (Figure 1).
     It is fortunate that several examples of early twentieth century Saalheimer and Strauss catalog pages (Figures 2 and 3) had been located. These irrefutably identified the bank in Figure 1 to be a product of that esteemed Nurnberg, Germany toy manufacturer. Until the discovery of these illustrated documents, it was virtually impossible to identify either the designer or manufacturer of any mechanical banks produced in Germany prior to 1935. A government mandate that all patents on objects contributing little, or nothing, to industry or society were designated "insignificant patents". These were kept on file for a period of fifteen years and then routinely discarded, thus depriving those patented objects of "a heritage".
     Saalheimer and Strauss was the foremost designer and manufacturer of tin mechanical banks in Europe during the early twentieth century. The intricate die-cut, embossed tin and elaborate full-color lithography of its wares have never been equaled. The quantity and quality of company products can only be likened to those of the premier nineteenth century American cast iron mechanical bank producer, J. and E. Stevens Company of Cromwell, Connecticut.
     Interestingly, the catalog page (Figure 3) identifies the "British Lion" as 'one of a series of six different subjects, produced with and without movement'. In contradiction, however, eight different subjects from this family have been identified in various collections. These are "British Lion", "Tiger", "Bulldog", "Bear", "Clown", "Harold Lloyd", "African Native" and "Black Golliwog".
     Several of the aforementioned banks were not marketed solely as mechanicals, but were also intended to be candy containers. These were originally supplied with their coin boxes filled with Lyon's Toffees. The following is indicated on their obverses "LYON'S TOFFEES, LONDON, ENGLAND. Do not attempt to work before removing toffees".
     Activation of the "British Lion" is simple and effective.... The looped wire lever on the left side of the lion's head is depressed; simultaneously, its jaw lowers and the tongue protrudes. A coin is then placed upon the tongue, whereupon the lever is released. The tongue, with its monitary bounty, snaps back into the bank and the jaw returns to the position seen in Figure 1. Deposits are retrieved by opening the key lock coin retainer at the top of the coin box, located behind the figure of the lion. Note that those specific examples of "British Lion" banks which exhibit the "Lyon's Toffees" advertising utilize non-locking coin retainers, also located at the top of their coin boxes.
     The "British Lion" mechanical bank is considered quite scarce. Delicacy and intricacy are two attributes characterizing not only the bank shown in Figure 1, but the entire line of Saalheimer and Strauss tin mechanicals. Unfortunately, such qualities did not lend themselves well to longevity, particularly when placed in the awkward hands of young children.
     To my knowledge, none of the Saalheimer and Strauss banks have been reproduced. That does not, however, deny the possibility of a broken or missing piece having been replaced or repaired with a reproduced part. Needless to say, in such an instance the value of banks would be greatly compromised.
     Despite its material (i.e. tin plate) and diminutive size (i.e. 5-7/8 inches, height and 3 inches, width), the "British Lion" is a delightful, colorful, desirable addition to a mechanical bank collection.
     ACKNOWLEDGMENTS: The superb example of the "British Lion" Bank (Figure 1) is in the collection of Steve and Marilyn Steckbeck.
     The Saalheimer and Strauss catalog cover (Figure 2) was supplied by fellow bank collector, Harald Merklein, Nurnberg, Germany.

The Lighthouse Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1998

                "I can think of no structure
                created by man as altruistic
                as a lighthouse"
                        — George Bernard Shaw
 
     Ofttimes referred to as the "sentinels of the sea", these stark, phallic structures rise majestically from granite rock beds. Their luminescence has aided mariners for over 2,000 years, guiding through treacherous, craggy shores into darkened harbors, and back once again to endless oceans.
     The world's first lighthouse, i.e. the 450 foot Pharos, was erected in 300 B.C. in Alexandria, and is one of the Seven Wonders of the Ancient World. America's first lighthouse was built in 1716 on Little Brewster Island in Boston Harbor. These noble beacons enjoyed their greatest eminence during the late nineteenth and early twentieth centuries, when approximately 850 were operational.
     The mystical aura created by lighthouses, and recognition of the general public's fascination, provided the motivation to produce the "Lighthouse" mechanical bank (Figure 1). Unfortunately, to date, neither the identity of its enterprising manufacturer nor its designer can be ascertained. However, the date of production is believed to be circa 1891, based upon an advertisement in the 1891 edition of the Specman Brothers Toy Jobber's Catalog. In it, the "Lighthouse Combination Savings Bank" was offered for sale at the price of $8.50 per dozen".
     The "Lighthouse" Bank is a realistic interpretation of the classic architectural form. This is seen in Figure 2, which depicts the Fisgard Lighthouse, built in Victoria British Columbia in 1860.
     The "Lighthouse" Bank has been relegated to a small, under appreciated and underrated group designated as "non-action" mechanicals. It is unfortunate since this attractive and interesting bank reflects a nostalgic and romantic period of history. Other members of this genre include "Safety Locomotive" (refer to Antique Toy World, January, 1993) and "Bank of Education and Economy" (Antique Toy World, March, 1992). These three banks are similar in that either a trap door or an integral part of the bank opens upon the total deposit of a precise amount of coins.
     Action of the "Lighthouse" Bank (Figure 1) is uncomplicated, and described in the Specman Brothers Catalog thuslys "The house admits any coin to the size of a quarter, while the tower takes nickels only, registering same to the amount of five dollars, when money can be removed. Until the full amount has been deposited in the tower not a cent can be drawn. Made of iron, finished in nickel, red and bronze".
     To further elaborate upon the catalog's description, when the tower has been filled with one hundred nickels (which are visible through the open windows, each marked 25, 35, 45, 55, 65 … 100), the dome atop the tower is pressed downward. This releases a semiround-trap door at its base, liberating the deposits. In addition, a small round coin retainer underneath the building portion of the bank is utilized for removal of coin deposits of other denominations.
     There are no casting variations of the "Lighthouse" Bank; however, there are several color combinations. The bank may be decorated as pictured in Figure 1, or totally nickel-plated, or completely finished in a gold-bronze color. The dome atop the beacon may be painted either gold or nickel-plated.
     I am not aware of any reproductions of the "Lighthouse" Bank. Nonetheless, Figure 3 represents a base diagram of an original example. If a reproduction were attempted, the base would appear approximately one-eighth of an inch shorter O.D. than indicated.
     ACKNOWLEDGMENTS: The superb example of the "Lighthouse" Bank (Figure 1) is in the collection of Steve and Marilyn Steckbeck.
     Addendum: (from January, 1999) Refer to Antique Toy World, October, 1998, "Lighthouse Bank". My thanks to fellow collector, Mr. Robert Seebold for providing the following information: Only Liberty head type "V" nickels will register the precise sum of deposits in the bank's tower. These coins were first minted in 1883 and were discontinued in 1912. Subsequent mintings of the Buffalo and Jefferson nickels proved much too thick to stack correctly in the Lighthouse tower. This resulted in faulty operation, and an inaccurate total coin count.

The Old Woman In The Shoe Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1998

                  "There was an old woman who lived in a shoe.
                  She had so many children she didn't know what to do.
                  She gave them some broth without any bread;
                  She whipped them all soundly and sent them to bed."
                       —Anonymous
 
     Rambunctious offspring and their harried mother are the subjects of the above poem. This well-known, popular verse first appeared in print in 1797. Since that date, it has been included in most nursery rhyme anthologies under the Mother Goose cognomen.
     Its derivation is rooted in nineteenth-century English folklore, wherein casting a shoe after the bride as she departs for her honeymoon insures the fertility of the union. The old woman's multitude of moppets abiding in her shoe is an apparent depiction of that custom.
     The rhyme of the old woman and her brood has been delighting children since its introduction. It was not, however, until 1883 that William S. Reed of Leominster, Massachusetts, brought the one-dimensional imagery to life in the form of a three-dimensional animated cast iron mechanical bank (Figure 1). In that same year, he applied for, and received, two separate patents for his creation. The first was a design patent, No. D-13,969, (Figure 2) which specifically protected the bank's concept and visual interpretation. The second, No. 289,140, (Figure 3) explicitly protected its action and internal workings.
     Of interest is the fact that the patents (Figures 2 and 3) describe a rear wheel in the heel of the shoe which activates the stick-wielding arm of the woman. However, as evidenced by the photo seen in Figure 1, the mechanical bank was produced sans wheels. Most likely, this modification was incorporated by the foundry in an attempt to create a less complicated, more economical product.
     The "Old Woman in the Shoe" Bank was manufactured by the W.S. Reed Toy Company of Leominster, Massachusetts. Since its specialty was the manufacture of wooden and paper toys, the company subcontracted the casting and actual production of the mechanical to a small iron foundry located in Fitchburg, Massachusetts.
     Inasmuch as no advertisements or sale invoice has surfaced, it is generally believed that the only two known, superb, examples are either salesmen's samples or working prototypes. The supposition held by many collectors and historians alike is that William Reed abandoned mass production of his creation based upon complexity of manufacture and/or costliness.
     Nonetheless, its mystique and charisma are responsible for the bank's desirability, ranking it as one of the most coveted mechanicals. This assumption was validated at a-recent auction held by Bill Bertoia wherein the bank pictured in Figure 1 realized a record price of $426,000.00!
     Action of the "Old Woman in the Shoe" is somewhat reflective of the nursery rhyme... Initially, the lever, which is located behind the heel of the shoe, and is in the form of a child's foot, is pressed downward, Simultaneously, the old woman raises her switch in a most menacing manner as the little boy, arms outstretched, reels backward. A coin is then placed upon his arms and the lever is released. Concurrently, the child leans forward, dropping the money into the bank, and the old woman lowers her stick. Deposits are retrieved by removing the key lock coin retainer underneath the bank.
     I am not aware of attempts to reproduce the "Old Woman in the Shoe" bank. However, taking into account the aforementioned price attained at auction, the possibility of a larcenous replication might very well become a reality. Figure 4 is a base diagram of an original example. A reproduction would appear approximately one-quarter of an inch short O.D., than indicated.
     Addendum: Of interest...Several years ago, noted mechanical bank historian, Mr. F.H. Griffith, related information obtained from the widow of William S. Reed. She recounted that her husband conceived of the "Old Woman in the Shoe" bank during a Sunday sermon at their local church. However, as a devout, pious man, Mr. Reed was to suffer great remorse for his contemplation of the creation of a toy bank while in a house of worship.
     ACKNOWLEDGMENT: The photo of the "Old Woman in the Shoe" bank seen in Figure 1 was graciously supplied by Bill Bertoia Auctions.

Darkey with the Watermelon Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1998

          The lifestyles, attitudes, and mores of America were vividly expressed by late nineteenth century mechanical bank manufacturers. Their creations were depictions of subject matter that included architecture, sports, thrift, politics, labor, immigration, recreation, racial issues, etc.
     This month's article discusses a bank which may be placed in not one, but two, of the aforementioned categories. The "Darkey with Watermelon" Bank was the result of seemingly incongruous topics, namely the popular game of football and rampant anti-negro sentiment.
     "Darkey with Watermelon" (Figure 1) was the brainchild of Mr. Charles A. Bailey of Middletown, Connecticut. He was granted Patent Number 385,225 (Figure 2) on June 26, 1888. The bank was subsequently manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. Mr. Bailey was employed by the Stevens Company at that time and served as its chief pattern maker and mechanical bank designer.
     Charles Bailey's illustrious career led him to become the foremost acclaimed and respected artisan in his field, with thirty-two masterfully-executed and manufactured designs to his credit. His repertory of banks include such classics as: "Boy Robbing Bird's Nest," "Milking Cow," Professor Pug Frog," "Indian and Bear," "Bread Winners Bank," "Dentist," "Jonah and the Whale on Pedestal," "Bad Accident," "Hen and Chick," "Lion Hunter," "North Pole Bank," "Teddy and the Bear," "Chief Big Moon," "Chinaman in Boat," "Springing Cat," etc. The "Darkey with Watermelon" Bank reflects Bailey's unmistakable trademark: graceful forms generously adorned with flowing floral decoration.
     A Selchow and Richter toy jobbers catalog advertisement, circa 1888-89 (Figure 3) introduced the "Football Bank" as a "NEW" product. Its action was described thusly: "Place a coin in the Foot Ball. Set the leg of the Old Darkey back in position ready to kick, press on the Spring on the Darkey's back, his foot will kick the Foot Ball, throw it over on the Water Melon and the coin will be deposited. Each in Wood Box. PRICE PER DOZEN 8.50."
     There are no color or casting variations of this mechanical. All known examples are identical to the one shown in Figure I.
     The "Darkey with Watermelon" is an extremely scarce item, with only three specimens known to exist in collections. Its rarity and desirability were evidenced at a recent auction sale, wherein a fine example was spiritedly bid upward to the astonishing price of $354,500.
     To date, I am not aware of any attempt at reproduction. However, in light of the recent auction price, replication is always an unsavory possibility. Figure 4 is a base diagram of an original example of "Darkey with Watermelon." If a recast was attempted, it would appear approximately one-quarter inch shorter along the base O.D. than indicated.
     ACKNOWLEDGEMENT: The fine example of "Darkey with Watermelon" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     CORRECTION: (from February, 1999) Refer to Antique Toy World, December 1998 — The correct title of the article should have been: "DARKEY WITH WATERMELON BANK" (and not "Darkey with the Watermelon Bank").

Bill E. Grin Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 1999

          Diminutive in size, almost completely devoid of color, and minimal action appropriately describe the subject of this article (Figure 1). Surprising, therefore, is the enthusiasm as well as affirmative response from many avid collectors when queried about their desire to obtain a fine "Bill E. Grin" Mechanical Bank. It is these very same individuals who generally prize and seek the more attractive, lively, and colorful mechanicals. Perhaps "Bill E, Grin", despite its lackluster appearance, possesses less obvious, but nonetheless appealing qualities.
     "Bill E. Grin" was conceived by John W. Schmitt of New York City. Other than being granted Patent Number 1,147,978 (Figure 2) on July 27, 1915 for this, his sole bank design and invention, Schmitt remains a virtual unknown. "Bill E. Grin" was subsequently manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. Figure 1 reveals close adherence to Schmitt's patent (Figure 2), with only slight changes in design.
     The name "Bill E. Grin" is believed to have been derived from two still banks manufactured during the early 1900s, namely "Billiken" and "Billy Can". Both were effigies of a Chinese God of good fortune. It was purported that those who deposited coins into the Billiken could expect to receive great wealth and prosperity. During the turn of the century, the Billiken "craze" resulted in the production of countess Billiken toys, figurines, dolls, and related items such as "Bill E. Grin" (Figure 1).
     Helpful information in tracing and documenting a bank's heritage emanates from various sources. One of these may be ephemera, such as a manufacturer's catalog. Figure 3 represents a J. and E. Stevens' catalog page, circa 1915, wherein the "Bill E. Grin" Mechanical Bank was offered to wholesalers and distributors. Other advertisements of the era offered the mechanical to the general public for the price of twenty-five cents, each in its own wooden box.
     Activation and action of the "Bill E. Grin" Bank is described within William Schmitt's patent, "If a one-cent piece is inserted in the slot the eyeballs will be elevated, exposing a blank section thus giving the appearance of merely closing the eyes The tongue will also extend slightly. If a dime is inserted the eyes will roll up and the tongue will project slightly. If a five-cent piece is inserted both sets of eyes will pass through the sockets and the tongue will project to a greater extent. When a quarter is deposited the eyes will raise up, giving the effect of surprise, and the tongue will be extended to its full length". Coins are retrieved by removing the round, patented Stevens' coin retainer underneath the base.
     To my knowledge, there are no color or casting variations of "Bill E. Grin". All known original examples were manufactured of cast iron and painted identical to the one illustrated in Figure I. The "Bill E. Grin" has been reproduced, utilizing original, old factory patterns. Unfortunately, these recasts will match the base diagram dimensions of an original "Bill E. Grin" Bank (Figure 4). However, detection of a spurious example is not an impossible task. Two significant factors prevail: the "imposter" exhibits slightly cruder castings than the original, and its color is an antique tan, rather than the stark white finish indicated in Figure I.
     ACKNOWLEDGMENT: The superb "Bill E. Grind" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     Addendum: Refer to Antique Toy World, October, 1998, "Lighthouse Bank". My thanks to fellow collector, Mr. Robert Seebold for providing the following information: Only Liberty head type "V" nickels will register the precise sum of deposits in the bank's tower. These coins were first minted in 1883 and were discontinued in 1912. Subsequent mintings of the Buffalo and Jefferson nickels proved much too thick to stack correctly in the Lighthouse tower. This resulted in faulty operation, and an inaccurate total coin count.

Octagonal Fort Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 1999

          No single category of items manufactured within the United States has portrayed this country's history as completely and vividly as the mechanical bank. Subject matter has been quite diverse, with manufacturers utilizing timely, provoking issues such as politics, race, immigration, architecture, etc.
     A topic that proved to be very lucrative was combat, as evidenced by the production of an abundant amount of war-associated examples intended for the youthful segment of the market. Clever entrepreneurs combined the theme of armed conflict with the then popular philosophy of "a penny saved is a penny earned." The result was the production of such notables as "Artillery Bank" (Antique Toy World, February 1988), "Hold the Fort" Bank (Antique Toy World, February 1993), "U.S. and Spain" Bank (Antique Toy World, February 1994), the "Target Bank," and "Octagonal Fort Bank" (Figure 1), subject of this month's article.
     This, as well as most other war-related mechanicals, was produced to commemorate particular historical events. It is assumed that "Octagonal Fort Bank" was a depiction of the battle between Confederate and Union forces which took place at Fort Sumpter. This conflict marked the outset of the Civil War. Seen in Figure 2 is a photograph dated April 14, 1861, and is entitled "Confederate Flag Flying Over Fort Sumpter, South Carolina."
     Unfortunately, there is a total lack of factual information pertaining to the "Octagonal Fort Bank." Sometime around 1954, noted mechanical bank historian, Mr. F. H. Griffith offered his speculations relating to its significance and date of manufacture: "During the 1880s toy salesman, Major Edward Brueninghausen, sold banks and toys he had especially manufactured for his trade. He was a Civil War veteran and had entered the toy business around 1875. It's very possible that the Octagonal Fort was manufactured for and sold by him. And in any event, until such time that refutable evidence might turn up it's logical that the bank represents Fort Sumpter, was made in the period of 1880, and sold by Brueninghausen." Interestingly, to date, no other meaningful information has surfaced relating to "Octagonal Fort Bank." Ergo, Mr. Griffith's illuminating speculations some 44 years ago continue to be accepted as entirely plausible.
     The "Octagonal Fort Bank" is considered a rarity, and particularly so in unbroken, fine paint condition. The poor surface appearance seen on almost all examples is due to faulty paint application at the time of manufacture. The bank was initially prime coated with a hard, glossy, black lacquer. Succeeding colors used for decoration were not able to adhere to the impervious black undercoat, resulting in excessive peeling and flaking.
     Operation of the bank is effective and relevant to the subject. A coin is placed within the muzzle of the cannon. The lever underneath the barrel atop the rear of the cannon is pushed downward, releasing the lever which propels the coin into the fort. Deposits are retrieved by unscrewing the base plate beneath the bank.
     I am not aware of any existent reproduction of the "Octagonal Fort Bank." Nonetheless, Figure 3 represents a base diagram of an original example. If a recast were produced, it would appear one- quarter inch shorter O.D. along the base than indicated.
     ACKNOWLEDGEMENT: The fine "Octagonal Fort Bank" shown in Figure 1 is in the collection of Steve and Marilyn Steckbeck.
     CORRECTION: Refer to Antique Toy World, December 1998 — The correct title of the article should have been: "DARKEY WITH WATERMELON BANK" (and not "Darkey with the Watermelon Bank").

Baby Elephant — Unlocks at X O'Clock
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 1999

          Many consider the Golden Age of mechanical bank production to be the years spanning 1880-1920. During this era several outstanding bank designers executed their most notable works. One such prominent individual was Charles A. Bailey, best known for his importance as inventor, chief bank designer, and pattern maker to the J. and E. Stevens Foundry located in Cromwell, Connecticut.
     Although Bailey's career with J. and E. Stevens was a distinguished one, his greatest mechanical bank accomplishments, however, are thought to have been achieved during the years 1880-1882, prior to his employ with that company. Working in his modest factory in Cobalt, Connecticut, Bailey produced classics that included "Chinaman in the Boat", "Darkey Fisherman", "Springing Cat", "Old Aunt Dinah and the Fairy", "Wishbone Bank", and the subject of this article, "Baby Elephant Bank — Unlocks At X O'Clock" (Figure 1). These banks, as well as all other items manufactured at Cobalt, were fabricated of pot-metal, a soft, lead-zinc alloy. Bailey preferred this medium to cast iron due to its extremely low melting point, affording sharpness of detail.
     On November 16, 1880, Charles A. Bailey was issued Patent number 234,518 (Figure 2) for his "Baby Elephant Bank — Unlocks At X O'Clock", possibly his earliest mechanical. Bailey's experience in the design and manufacture of coffin hardware which incorporated finely detailed, free-flowing floral motif was to be reflected in almost all mechanical banks he designed throughout his esteemed career. The intricately carved relief illustrations adorning both sides of "Baby Elephant Bank — Unlocks At X O'Clock" epitomize his craft.
     Other sections of the bank similarly reflect Bailey's talent. The top plate incorporates a well-proportioned clock face with Roman numerals and bold hands, as well as a finely detailed figure of the baby elephant itself. On one side of the elephant's blanket had been cast the word "BABY", while on the other side "BOUT 1". Also on this top section is its name, i.e. "BABY ELEPHANT BANK" and "UNLOCKS AT X O'CLOCK". A small, flat representation of a human baby attached to the elephant's front legs similarly flaunts a most remarkable casting.
     Not only has Charles Bailey's artistry been revealed with his "Baby Elephant Bank", but perhaps in addition, a somewhat bizarre sense of humor. Attempting to motivate children to practice the virtue of thrift, his mechanical depicts a baby elephant dangling a human baby over the gaping jaws of a vicious crocodile. The helpless child is viewed to lament: "Oh, if I had only put my money in the bank". It is only through the deposition of a coin that the child's salvation is realized.
     I am not aware of casting variations of "Baby Elephant Bank — Unlocks At X O'Clock". However, there are several color modifications. All examples have the entire base painted an overall transparent blue japan, with its rectangular wooden closure stained bright yellow. The color dissimilarities pertain to the relief figures of the elephant, baby, and crocodile on both sides of the base. In several examples, these are highlighted in gold. Lastly, the figure of the elephant atop the bank may be painted either light gray, red, or dark gray.
     Operation of "Baby Elephant Bank" is fairly complicated. Initially, the clock hands are set at the X O'Clock position. This permits the elephant to be pushed downward onto the base. The flat hinged figure of the baby fits into its own contoured recess, hooking under a small brass prong, The square protrusion at the top of the baby's head fits into a slot underneath the numeral "X" on the clock face. The clock's hands are then turned off the X O'Clock position, thus locking the baby and elephant securely into place, When the hands are turned once again to X O'Clock, the elephant is released, rearing up on its hind legs and carrying the hinged figure of the baby in its front legs. This action's sole purpose is to expose a slot concealed beneath the baby, thus enabling the deposit of coins into the bank. Monies are removed by unscrewing the wooden base plate.
     Composition and construction of "Baby Elephant Bank" dictate that care be exercised during operation and coin removal. Doubtless, its complexity and fragility have played significant roles in its status as an extremely rare item.
     I am not aware of the existence of any reproductions of "Baby Elephant Bank — Unlocks At X O'Clock", However, high monetary value and ease of casting with soft alloys prompt a word of caution when contemplating purchase of this mechanical. Consultation with a knowledgeable authority on the subject, as well as documented provenance are prudent measures.
     ACKNOWLEDGMENT: The fine example of "Baby Elephant Bank—Unlocks At X O'Clock" is from the collection of Steve and Marilyn Steckbeck.

The Springing Cat Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 1999

     Patience, perseverance, and tenacity are the admirable traits exhibited by our feline atop the "Springing Cat" Bank (Figure 1). Stalking and pouncing, but ultimately falling to capture an elusive adversary, are the actions demonstrated in this game of cat and mouse.
     The "Springing Cat" Bank was created one hundred sixteen years ago by the very talented bank designer, Mr. Charles A. Bailey. He was granted Patent number 261,419 on July 18, 1882 (Figure 2) for his invention that would humorously encourage the virtue of thrift within the young.
     Bailey produced the "Springing Cat" Bank at his faculty in Cobalt, Connecticut, prior to employment with the J. and E. Stevens Company of Cromwell, Connecticut. Although best remembered for his accomplishments with the Stevens Company, many believe his greatest mechanical bank achievements were realized in Cobalt with the production of "Baby Elephant Bank — Unlocks at X O'Clock"; "Chinaman in the Boat"; "Darkey Fisherman Bank"; "Old Aunt Dinah and the Fairy"; "Wishbone Bank"; and the subject of this article, "Springing Cat" Bank. In each of these, Bailey's extraordinary, if not bizarre, sense of humor and imagination were revealed.
     All of the aforementioned mechanicals created at the Cobalt foundry were manufactured of a soft, lead-zinc alloy and yielded fine, exquisitely-detailed castings. Bailey was never to be able to achieve these same results at J. and E. Stevens. The crude and inflexible nature of the metal utilized at the Stevens' foundry, i.e, cast iron, precluded the possibility of producing highly-delineated products.
     The "Springing Cat" Bank, as well as most of Bailey's mechanicals, reflect the influence of his early career in the manufacture of coffin hardware. Floral motifs and art forms embracing nature decorate a generous portion of his banks' exposed surfaces. The banks produced at his Cobalt facility were not only particularly cast, but artistically painted. However, although Bailey was an accomplished artist, it has never been determined whether he personally decorated all of the assembled mechanicals or employed a talented staff of painters.
     The action of "Springing Cat" Bank is swift and effective: the cat is manually pulled back and set into position (Figure 1). A coin is then inserted into the slot at the opposite end of the bank where it stands on end, partially exposed. The ring-type lever is then pulled, releasing the cat and allowing it to spring forward. Simultaneously, the mouse appears, knocks the coin into the bank, and then disappears, once again thwarting the attempts of the hungry cat who is left with its mouth agape. Deposits are removed by flipping the round, wooden coin flap underneath the base.
     To my knowledge, there are no casting variations of "Springing Cat" Bank. However, there are two color differences, and these pertain to the base and mouse. (The cat is always painted the colors seen in Figure 1). The base may be painted the colors seen in Figure 1, or an overall yellow-green with red, gold and yellow highlighted decorations. The mouse may be either a medium or a light grey. Both color variations have full wooden base plates which are attached to the bank by small nails.
     All six mechanicals manufactured by Bailey at his Cobalt plant are considered rare. This suggests the possibility of fragility of material and/or extremely limited production. Interestingly, "Springing Cat" Bank, although quite scarce, is the least rare of the six.
     I am not aware of any reproductions of the "Springing Cat" Bank. Nevertheless, Figure 3 is a base diagram that should be helpful in determining size and scale.
     ACKNOWLEDGEMENT: The superb example of the "Springing Cat" Bank shown in Figure 1 is in the collection of Marilyn Steckbeck.
     CORRECTION: (from May, 1999) "Springing Cat Bank" article April 1999, paragraph six: The word is "Articulately" cast. "Sprining Cat Bank" in Figure 1 is in the collection of Steve and Marilyn Steckbeck.

Darkey Fisherman Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 1999

          Tumultuous happenings and consequential upheaval epitomize post Civil War America. Newly-freed slaves continued to be treated in a degrading manner, and were the targets of increased resentment and hostility.
     Ill-feeling toward blacks pervaded society via popular literature, art, music, advertisements, children's playthings, etc. Mechanical banks, designed to entertain while encouraging thrift amongst the young, were not exempt from such demeaning, prejudicial sentiments. One example is the "Darkey Fisherman" Bank (Figure 1), subject of this article.
     We can observe the black fisherman who stands in front of a small pond holding a wire pole. He is depicted with grossly exaggerated facial features and is attired in tattered, patched, brightly colored, mismatched clothing; a comical cap is perched atop his head. Further, the disparaging words "DIS POND AM DE BOSS PLACE TO FISH" are emblazoned upon the ground in front of his feet.
     The consensus of opinion among mechanical bank collectors is that master bank designer and inventor, Mr. Charles A. Bailey, was the creator of "Darkey Fisherman" Bank. Unfortunately, no documentation has surfaced which would either confirm or refute this supposition. However, significant factors support the contention that Mr. Bailey was, indeed, its producer. Surfaces generously blanketed with meticulous and intricately-detailed floral designs and art forms reflecting nature were Bailey's trademark. These features were incorporated into each toy and bank created throughout his career. In addition, "Darkey Fisherman" was manufactured of lead-zinc alloy, the same material utilized for the other three mechanicals produced by Bailey at his Cobalt, Connecticut, foundry, namely "Baby Elephant Bank — Unlocks At X O'Clock", "Springing Cat" Bank, and "Chinaman in the Boat". It is also assumed that the aforementioned banks, including "Darkey Fisherman", were created from 1800 through 1883. Mr. Bailey is best remembered in his role as head bank and toy designer (c. 1890-1916) for the prestigious J. and E. Stevens Company of Cromwell, Connecticut.
     Operation of "Darkey Fisherman" Bank requires lowering the fishing pole and fish into the opening in the pond. A coin is then positioned horizontally onto the space provided in front of the coin slot. When the lever behind the darkey's right arm is depressed, he lifts his fishing pole and the emerging fish nudges the coin through the slot and into the bank. Simultaneously, the fisherman's cap tilts upward, indicating the element of surprise. Deposits are recovered by unscrewing the coin retainer underneath the base.
     The superb example of "Darkey Fisherman" Bank seen in Figure 1 was discovered c. 1959 by pioneer mechanical bank dealer, David Hollander. Shortly thereafter, it was purchased by Mrs. Mary Gerken of Allison Park, Pennsylvania. Mrs. Gerken then traded the bank to the eminent collector, Mr. Edwin Mosler, Jr. who, subsequently sold it to Steve and Marilyn Steckbeck of Ft. Wayne, Indiana.
     For thirty-seven years this example was the only "Darkey Fisherman" Bank known to exist. Sometime around mid-1997, a dealer located in central Massachusetts acquired another example. He then proceeded to distribute several sets of photographs of his "Darkey Fisherman" Bank to collectors, with hopes of generating a sale. The bank was eventually purchased by a prominent member of the bank collecting community. This "Darkey Fisherman" Bank is identical in casting, construction, and coloration to the example pictured in Figure 1. The only difference is that it has a frog (Figure 2) attached to the line of the fishing pole, whereas the other example displays a fish dangling from its line. (Note: Figure 2 illustrates a section of one of the aforementioned photographs sent to collectors by the aforementioned dealer.) Since its discovery, the figure of the frog has been adjudged by mechanical bank authoritarians to be authentic and factory original to the bank.
     The "Darkey Fisherman", as well as all mechanicals produced by Bailey in Cobalt, reflect not only exemplary craftsmanship but his wry, satirical, and unorthodox wit, a combination which has brought him great acclaim as one of the most prominent mechanical bank designers of his time.
     There are no casting or color variations of "Darkey Fisherman", and I am not aware of reproductions. Nevertheless, the base diagram (Figure 3) of the example seen in Figure 1 should help collectors in determining size and scale.
     All four mechanical banks, as well as the two mechanical bank patterns produced by Bailey at his Cobalt plant, are considered quite rare. I am assuming very limited production combined with fragility of materials and construction account for their present status. "Darkey Fisherman" Bank is the rarest of the banks, with only two known examples residing in very fine collections.
     ACKNOWLEDGMENT: The "Darkey Fisherman" Bank, Figure 1, is from the collection of Steve and Marilyn Steckbeck.
     CORRECTION: "Springing Cat Bank" article April 1999, paragraph six: The word is "Articulately" cast. "Sprining Cat Bank" in Figure 1 is in the collection of Steve and Marilyn Steckbeck.

Chinaman in the Boat
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 1999

          Gold! Its discovery in California in 1848 sparked massive migration by treasure seekers from all points of the globe. Expectations soared for the multitudes who arrived to seek their fortunes and escape from impoverishment.
     The hills of California attracted persons from as distant a land as China, with an estimated 25,000 Chinese immigrants in 1851, and escalating to a staggering 250,000 by the year 1880. They were regarded as "cheap labor" employed primarily as mine workers, carpenters, track layers, cooks and domestic help.
     However, the growth and strengthening of labor unions began to turn the tide against this group of "foreigners". Support from influential politicians resulted in the passage of a law in 1882 which restricted Chinese laborers from entering the United States for a period of ten years. The outcry for deportation of all Chinese soon emanated from the disgruntled American working class. The Democratic Party as well as the Workingman's Party proclaimed their sentiments with banners declaring "The Chinese Must Go!". Oriental residents of this country were now victims of increasing hostility, prejudice, and ruthless acts of cruelty.
     Sometime during the period of 1879-1882, a lead-zinc alloy mechanical bank entitled "Chinaman in the Boat" (Figure 1) was created. Intended as a child's toy to encourage thrift, it capitalized upon the dehumanization of unwanted Asians through a caricature. The appeal of "Chinaman in the Boat" relied upon gross and erroneous perceptions of Chinese culture.
     As seen in Figure 1, this mechanical portrays a Chinese man garbed in native attire. He is seated in a junk. A black cat is perched upon the bow of the craft, and a square imprinted flip-type lid lies directly in front of the seafarer. There are numerous inscriptions strategically placed upon the boat which serve to further dishonor and humiliate these Oriental outcasts. On the deck behind the Chinaman are the words "Hotel Yacht, Free Excursion, Music By The Band Forward When It Is Not Seasick". On one side of the cat is the phrase "I Am Seasick Oh Morrow". It appears obvious that the attempt is to equate, in a satirical manner, the screeching of a wretching, seasick cat with the high-pitched notes of a Chinese orchestra. In addition, the words "Cash, Cheap Labor, Hotel Dinner One Cent In Advance" are printed on one side of the square flip-type lid in front of the Chinaman. When this piece is flipped, an oval tray appears; on it are a dead rat, a place setting of a knife and fork, and the words "Dinner Is Ready". The widespread, derogatory untruth was that the Chinese national delicacy was boiled rat.
     The attempt at racial disparagement is further demonstrated by operation of the "Chinaman in the Boat" Bank. Initially, a coin is placed upon the space marked "Cash" which is positioned directly in front of the Oriental. The Chinaman's queue is then pressed. Simultaneously, his left arm rises, flipping over the lid-type cover, thus exposing a dish containing the dead rat and the words "Dinner Is Ready". During this action the coin is deposited within the boat's hull. When the queue is released the Chinaman's arm descends and the square cover slips back to its original position. Monies are removed by unscrewing the deck from the hull of the boat. (Worthy of mention is the fact that, during this shameful era, the deplorable practice of pulling a Chinaman's queue was an acceptable and oft- repeated act by common rabble malcontents.)
     Unfortunately, to date, there has been no factual evidence to reveal the identity of the inventor and/or manufacturer of the "Chinaman in the Boat" mechanical bank. However, consensus of opinion amongst bank collectors and historians is that master bank designer, Mr. Charles A. Bailey, was its creator and its site of production was Cobalt, Connecticut. Assumptions are based upon several similarities between "Chinaman in the Boat" and mechanicals conclusively attributed to Bailey at his Cobalt factory. These include a comparable style of lettering used on his "Baby Elephant Bank, Opens At X O'Clock" (refer to Antique Toy World, March, 1999) and "Darkey Fisherman Bank" (Antique Toy World, May, 1999). In addition, all banks produced in Cobalt, including "Chinaman in the Boat", have highly-defined, beautifully-detailed castings. Also reflected in all of these early banks is Bailey's uniquely wry, sardonic, unorthodox sense of humor. Most importantly, "Chinaman in the Boat" is constructed of precisely the same lead-zinc alloy utilized in all of the other banks manufactured by Bailey at his Cobalt facility.
     I am not aware of any casting variations of "Chinaman in the Boat", but there is a color variant. The bank may be painted in the colors seen in Figure 1, or partially finished in semi-transparent japan colors (i.e. the Chinaman wears a red jacket with yellow trousers; the bottom of the boat retains the natural silver-grey color of the lead-zinc alloy from which it was produced, while the top half of the hull is japanned a glossy purple color). All other parts of the banks are decorated in similar colors to the example in Figure 1.
     The mechanicals produced by Bailey at his Cobalt plant are considered quite rare. I am assuming that very limited production, combined with fragile materials and construction, account for their present status.
     To date, no reproductions of the "Chinaman in the Boat" mechanical bank have surfaced, and none are believed to exist. Nonetheless, the side elevation diagram seen in Figure 2 is intended to aid collectors in determining size and scale.
     ACKNOWLEDGMENT: The "Chinaman in the Boat" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Two Hundred Articles — An Index
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 1999

          Numerous requests from readers prompted the following index of the two hundred articles I've written for Antique Toy World.

1.   August 1982-The Edwin H. Mosler Bank Sale
2.   December 1982-Girl Skipping Rope
3.   January 1983-Acrobats
4.   February 1983-Zig Zag
5.   March 1983-Two Frogs
6.   April 1983-Reclining Chinaman
7.   May 1983-Elephant and 3 Clowns
8.   June 1983-Peg Leg Beggar
9.   July 1983-Circus Ticket Collector
10.   August 1983-Little Jocko Musical
11.   September 1983-Chimpanzee
12.   October 1983-Billy Goat
13.   November 1983-Confectionery
14.   December 1983-Jolly Nigger
15.   January 1984-Mama Katzenjammer
16.   February 1984-Hall's Excelsior
17.   March 1984-Paddy and the Pig
18.   April 1984-Speaking Dog
19.   May 1984-Tammany
20.   June 1984-Fowler
21.   July 1984-Humpty Dumpty
22.   August 1984-Mason
23.   September 1984-Humpty Dumpty Part II
        -Elephant and 3 Clowns Part II
24.   October 1984-Organ Bank, Cat and Dog
25.   November 1984-Bulldog Savings
26.   December 1984-Bird on Roof
27.   January 1985-Darktown Battery
28.   February 1985-Magician
29.   March 1985-Boy Stealing Watermelons
30.   April 1985-Uncle Sam
31.   May 1985-Stump Speaker
32.   June 1985-Zig Zag Part II
        -Bill Norman's Bank Book, Review
33.   July 1985-Lion Hunter
34.   August 1985-Calamity
35.   September 1985-Organ Miniature
36.   October 1985-Indian and the Bear
37.   November 1985-William Tell
38.   December 1985-I Always Did 'Spise A Mule (Jockey)
39.   January 1986-Punch and Judy
40.   February 1986-Organ Bank, Boy and Girl
41.   March 1986-Boy Scout Camp
42.   April 1986-Perfection Registering
43.   May 1986-I Always Did 'Spise A Mule (Boy on Bench)
44.   June 1986-Bad Accident
45.   July 1986-Jonah and the Whale
46.   August 1986-Organ Grinder and Performing Bear
47.   September 1986-Afghanistan
48.   October 1986-Dentist
49.   November 1986-Goat, Frog and Old Man
50.   December 1986-Teddy and the Bear
51.   January 1987-Mammy and Baby
52.   February 1987-Novelty
53.   March 1987-Lion and Monkeys
54.   April 1987-Horse Race
55.   May 1987-Hall's Lilliput
56.   June 1987-Mule Entering Barn
57.   July 1987-Toad on Stump
58.   August 1987-Milking Cow
59.   September 1987-Dog on Turntable
60.   October 1987-Spring-Jawed Alligator
61.   November 1987-Clown on Globe
62.   December 1987-Jumbo Elephant
63.   January 1988-Organ Bank with Monkey
64.   February 1988-Artillery
65.   March 1988-Stevens Foundry, Part I
66.   April 1988-Stevens Foundry, Part II
67.   May 1988-Stevens Foundry, Part III
68.   June 1988-Penny Lane Book Review
69.   July 1988-Red Riding Hood
70.   August 1988-Eagle and Eaglets
71.   September 1988-Butting Buffalo
72.   October 1988-Spring-Jawed Bonzo
73.   November 1988-Trick Dog, Six-Part Base
74.   December 1988-Patronize the Blind Man and His Dog
75.   January 1989-Bucking Mule
76.   February 1989-World's Fair
77.   March 1989-Frog on Round Base
78.   April 1989-Owl, Slot in Head
79.   May 1989-Uncle Sam Bust
80.   June 1989-Boy on Trapeze
81.   July 1989-Boy and Bulldog
82.   August 1989-Bulldog on Square Base
83.   September 1989-Cat and Mouse
84.   October 1989-Rooster
85.   November 1989-Spring-Jawed Kitten
86.   December 1989-Saalheimer and Strauss Toy Catalog
87.   January 1990-Owl, Slot in Book
88.   February 1990-Bulldog Standing
89.   March 1990-Atlas
90.   April 1990-Monkey and Coconut
91.   May 1990-Rabbit in Cabbage
92.   June 1990-Spring-Jawed Bulldog
93.   July 1990-Organ Grinder and Performing Bear, Part II
        -Perfection Registering, Part II
94.   August 1990-Uncle Tom
95.   September 1990-Leap Frog
96.   October 1990-Chief Big Moon
97.   November 1990-Girl in Victorian Chair
98.   December 1990-Cross-Legged Minstrel
99.   January 1991-The Home Bank
100.   February 1991-Spring-Jawed Mule
101.   March 1991-First 100 Articles
102.   April 1991-Butting Goat
103.   May 1991-Elephant Howdah-Man Pops Up
104.   June 1991-Boy Robbing Bird's Nest
105.   July 1991-Spring-Jawed Parrot
106.   August 1991-Mickey Mouse Tin
107.   September 1991-Dinah
108.   October 1991-Merry-Go-Round
109.   November 1991-Light of Asia
110.   December 1991-Frog on Rock
111.   January 1992-Spring-Jawed Chimpanzee
112.   February 1992-Elephant with Tusks, on Wheels
113.   March 1992-Bank of Education and Economy
114.   April 1992-Presto, Trick Drawer
115.   May 1992-Professor Pug Frog
116.   June 1992-Zoo
117.   July 1992-General Butler
118.   August 1992-Spring-Jawed Penguin
119.   September 1992-William Tell, Arrow
120.   October 1992-Hubley Elephant
121.   November 1992-Hubley Monkey
122.   December 1992-Hubley Trick Dog
123.   January 1993-Safety Locomotive
124.   February 1993-Hold the Fort
125.   March 1993-Pig in High Chair
126.   April 1993-Bread Winners
127.   May 1993-Presto, Penny Changes to a Quarter
128.   June 1993-Turtle Bank
129.   July 1993-Watch Dog Safe
130.   August 1993-Monkey, Coin in Stomach
131.   September 1993-Squirrel and Tree Stump
132.   October 1993-Grenadier
133.   November 1993-Mechanical Bank Reproductions (Part I)
134.   December 1993-Mechanical Bank Reproductions (Part II)
135.   January 1994-Mechanical Bank Reproductions (Part III)
136.   February 1994-U.S. and Spain
137.   March 1994-Bow-ery
138.   April 1994-Time is Money
139.   May 1994-Chronometer
140.   June 1994-Punch and Judy (Part II)
141.   July 1994-The Jonah Bank
142.   August 1994-Owl Turns Head
143.   September 1994-Rabbit Standing (Small)
144.   October 1994-Rabbit Standing (Large)
145.   November 1994-Coasting Bank
146.   December 1994-Shoot the Chute
147.   January 1995-Santa Claus
148.   February 1995-North Pole
149.   March 1995-Bismark
150.   April 1995-Mechanical Bank Ephemera Part II:
          Jolly Nigger Bank, Hall's
          Excelsior, Chronometer,
          Mama Katzenjammer Bank
151    May 1995-First 150 Articles-An Index
152.   June 1995-Hen and Chick Bank
153.   July 1995-Panorama Bank
154.   August 1995-The Motor Bank
155.   September 1995-The Mosque Bank
156.   October 1995-Queen Victoria Bust Bank
157.   November 1995-The Giant Bank
158.   December 1995-The Rival Bank
159.   January 1996-Giant in Tower Bank
160.   February 1996-Picture Gallery Bank
161.   March 1996-New Bank-Center Lever (Var.)
162.   April 1996-Small Elephant-Swings Trunk
163.   May 1996-Schley Bottling Up Cervera
164.   June 1996-U.S. Bank
165.   July 1996-The Kiltie Bank
166.   August 1996-The Cupola Bank
167.   September 1996 -Spring-Jawed Rabbit
168.   October 1996-Tommy Bank
169.   November 1996-Trick Pony Bank
170.   December 1996-Mikado
171.   January 1997-Frog on Arched Track
172.   February 1997 - Musical Church Bank (Silent Night)
173.   March 1997-Mama Katzenjammer Bank (Part II) and
          The Horse Race Bank (Part II)
174.   April 1997-Hall's Excelsior (Part II) and
          Don Duer - Book Review
175.   May 1997-Tank and Cannon
176.   June 1997-Freedman's Bureau
177.   July 1997-Freedman's Bank
178.   August 1997-Bonzo Bank (Tin)
179.   September 1997-Smyth X-Ray Bank
180.   October 1997-Tin Scotsman Bank
181.   November 1997-World's Fair Bank
          (Painted by Charles A. Bailey)
182.   December 1997-Dog Tray Bank
183.   January 1998-Butting Buffalo (Part II)
184.   February 1998-Tabby Bank
185.   March 1998-Roller Skating Bank
186.   April 1998-Wooden Boxes and
          Chief Big Moon Bank (Part II, Red Base)
187.   May 1998-Seek Him Frisk Bank
188.   June 1998-Calumet Bank
189.   July 1998-Snake and Frog in Pond
190.   August 1998-Mechanical Bank Patterns
191.   September 1998-The British Lion Bank
192.   October 1998-Lighthouse Bank
193.   November 1998-Old Woman in the Shoe
194.   December 1998-Darkey Watermelon Bank
195.   January 1999-Bill E. Grin Bank
196.   February 1999-Octagonal Fort Bank
197.   March 1999-Baby Elephant Bank-Unlocks At X O'Clock
198.   April 1999-Springing Cat Bank
199.   May 1999-Darkey Fisherman Bank
200.   June 1999-Chinaman in the Boat

The Wishbone Bank: A Pattern
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 1999

          The pursuit for unique and unusual antique mechanical banks is a quest shared by many a collector. In addition, most sophisticated and devoted enthusiasts are pleased to discover not only these fascinating "penny gobblers" but any related historical data which may identify inventors, manufacturers, etc., as well as other information.
     This article concerns itself with one such related item, namely a pattern* for a mechanical bank that had never been produced. Entitled the "Wishbone Bank" (Figure 1), this pattern has been attributed to renowned nineteenth century master bank designer, Mr. Charles A. Bailey of Cobalt, Connecticut, based upon the following information. More than fifty years ago, noted historian, writer, and collector, Mr. F. H. Griffith, was engaged in research involving Charles Bailey and his then defunct foundry in Cobalt. Mr. Griffith inadvertently uncovered an extremely important find relating to some of Bailey's earliest creations. Tucked away for almost a century in a storage area lay disassembled lead patterns for two unproduced mechanical banks. When Mr. Griffith ultimately assembled them, he was, no doubt, delighted to behold yet an additional pair of Bailey masterpieces, i.e. the aforementioned "Wishbone" pattern (Figure 1) and the "Old Aunt Dina and the Fairy" mechanical bank pattern.
     Since both the "Wishbone" and "Aunt Dina" patterns were never used by Bailey for replication, it has been supposed that they were designed at his Cobalt factory immediately prior to entering employment with the J. and E. Stevens Company in 1880 as their chief toy and mechanical bank pattern maker and designer. It is further speculated that, under the terms of this position, Stevens required Bailey to cease all related, non-company endeavors.
     After Mr. Griffith assembled and painted his "Wishbone" pattern he sold it to pioneer collector, Mrs. Mary H. Gerken of Allison Park, Pennsylvania. Several years later Mrs. Gerken sold it to its present owner, Mr. Steve Steckbeck.
     There is no doubt that the "Wishbone" is the brainchild of Charles Bailey. Its highly-detailed, free-flowing floral motifs enrobing the delicately cast, paw-foot base is most reminiscent of one of his later J. and E. Stevens classics, i.e. "Darkey with the Watermelon" bank (refer to Antique Toy World, December, 1998). The "Wishbone", as well as most other Bailey creations, exhibited his propensity for meticulous craftsmanship, wit, and bizarre subject matter.
     Action of this "bank" is appropriate to the subject and quite surprising. Both Mammy and the dapperly-attired black man are set upright (as in Figure 1). A coin is then placed into the notch at the crotch of the wishbone. When the lever behind the man is depressed, simultaneously the wishbone separates, both figures fall backward, and the coin rolls into a vertical slot in Mammy's apron. Deposits are removed by unscrewing the oval base plate underneath Mammy's dress.
     Shortly after the "Wishbone" was discovered one brass and several lead duplicates were created. These were also assembled and painted. However, their crude castings easily distinguish the beautifully-detailed original pattern from the "phonies". Nonetheless, I am including a base diagram (Figure 2) of the original "Wishbone" pattern (Figure 1) to aid in determining size and scale.
     * NOTE: A mechanical bank pattern is not a bank, but rather a highly-detailed, hand-finished model. It is used by a manufacturer or foundry to create molds in order to generate mass-produced duplicates.
     ACKNOWLEDGMENT: The "Wishbone" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Old Aunt Dina and the Fairy: A Pattern
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 1999

          Clarity and thrift were amongst the desirable attributes encouraged in an earlier America. Attempts to teach youngsters values of kindness, compassion, and prudence may be seen in many of their playthings, including mechanical banks.
     A very unique group that incorporated these lessons during the "golden age" of mechanical bank production, i.e. 1878-1920, included such members as "Patronize the Blind Man and His Dog" (refer to Antique Toy World, December, 1988), "Peg Leg Beggar" (June, 1983), "Boy Robbing Bird's Nest" (June, 1991), and the subject of this article, the "Old Aunt Dina and the Fairy" bank pattern (Figure 1).
     The "Old Aunt Dina" is yet another example of the wry and unusual sense of humor exhibited by its creator, master bank designer Charles A. Bailey. As shown in Figure 1, "Old Aunt Dina" is kneeling before the Good Fairy. On her lap is a round disk, inscribed with the word "CHARITY". Place a penny on the disk and press the pink flower lever at the lower right hand corner of the base. In simultaneous action, the Good Fairy lowers her wand, the disk and penny flip over to deposit the coin into the bank, and "Old Aunt Dina" raises her arms in gratitude as the penny is magically transformed into a large gold coin imprinted with the words "THE NEW DOLLAR".
     Deposits are removed by undoing a round Stevens-type coin retainer underneath the base. Interestingly, it is doubtful that this was Mr. Bailey's intended method of coin removal. At the time the "Aunt Dina" bank pattern was created Bailey had no association with the J. and E. Stevens Company, the producer of the patented round coin retainer.
     "Old Aunt Dina" is another exemplification of Bailey's unique mechanical bank storytelling technique. Bold, imprinted words are cast into its components, as illustrated by the following: the base displays the words "OLD AUNT DINA AND THE FAIRY; on one side of the disk is the word "CHARITY", while the flipside reveals "THE NEW DOLLAR". This narrative style is similar to other mechanicals created and manufactured solely by Charles Bailey i.e. "Chinaman in the Boat" bank (refer to Antique Toy World, June, 1999), "Darkey Fisherman Bank" (May, 1999), and his "Baby Elephant Bank, Opens At X O'Clock" (March, 1999).
     The "Old Aunt Dina" bank pattern (Figure 1) was located, in a disassembled state, at Bailey's defunct foundry in Cobalt, Connecticut, approximately fifty years ago. Noted historian and collector, Mr. F. H. Griffith, discovered this, as well as another rare Bailey mechanical bank pattern, namely "The Wishbone". Mr. Griffith assembled the "Old Aunt Dina" and sold it to pioneer bank collector, Mr. Covert Hegerty of Williamsport, Pennsylvania. Mr. Hegerty's wife, Gertrude, decorated the "Aunt Dina" pattern in colors which she felt would have been chosen by Charles Bailey. In later years "Old Aunt Dina" was acquired by the prominent bank collector, Mr. Edwin H. Mosler, who eventually sold it to Mr. Steve Steckbeck, its present owner.
     Of all the banks designed by Bailey at his Cobalt foundry, the "Old Aunt Dina and the Fairy" most expresses his fondness for, and usage of, floral motifs and nature forms. Many of these elements were incorporated into several of his later mechanical masterpieces while in the employ of the J. and E. Stevens Company of Cromwell, Connecticut. To illustrate: "Darkey Football Bank" (refer to Antique Toy World, December, 1998), "Kicking Cow" (August, 1987), "Bad Accident Bank" (June, 1986), "World's Fair Bank" (February, 1989), "Perfection Registering Bank" (April, 1986), "Hen and Chick" (June, 1995), "Lion Hunter Bank" (July, 1985), "Boy Scout Camp" (March, 1986) and the quintessential Bailey, "Boy Robbing Bird's Nest" bank (June, 1991).
     At the time of its discovery, one brass and several lead copies of the "Old Aunt Dina" pattern were created, each utilizing the original example. Although these replications were also assembled and painted, their crude castings leave little doubt as to their originality. However, wariness of spurious duplications of this, as well as any rare mechanical is advised. The authenticity of a rare mechanical bank is best confirmed by documented provenance and/or validation by an established authority on the subject. To aid the collector in determining size and scale of the original "Old Aunt Dina" pattern (Figure 1), I am including a base diagram as seen in Figure 2.
     On a final note: A mechanical bank pattern is not a bank, but rather a highly detailed, hand-finished model used by a manufacturer or foundry to generate mass-produced copies for sale to the public.
     All past and future articles in this series are the sole property of Sy and Linda Schreckinger, and may not be republished or reproduced at any time without their written consent.

Bull and Bear Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 1999

     Stocks soared! Record highs were established! the Bull market escalated the Dow well over the 10,000 mark! The year is 1999, wherein fortunes have been realized, and lost, as the struggle between the Bulls and Bears is waged. Financial decisions by investors have frequently mystified economists since the Stock Exchange opened its doors over two hundred years ago.
     Action of the "Bull and Bear Bank" (Figure 1) demonstrates the unpredictability of transactions occurring within the world of security exchanges. Place a coin into the delicately-balanced pendulum atop the tree trunk and press the lever at the base of the tree. The coin-laden pendulum will fall to either the bull or the bear, its choice of direction uncertain, surrendering the money into the chosen slot.
     Although it appears there are several "Bull and Bear" banks residing in various collections, to date only one example is considered to be original. This bank was discovered sometime in the 1930s by mechanical bank dealer, Mr. Norman E. Sherwood. He found it in the workroom of master bank designer, Charles A. Bailey, at the dismantled J. and E. Stevens Foundry in Cromwell, Connecticut. Mr. Sherwood subsequently placed the bank into the pioneer collection of Walter P. Chrysler. It was later purchased by David Hollander who, several years afterward, sold it to Leon Perelman, curator of the Perelman Toy Museum in Philadelphia, Pennsylvania. Mr. Steve Steckbeck, its present owner, acquired the bank in 1988 when Mr. Perelman disbanded his prestigious facility, and sold his entire toy collection.
     When Mr. Sherwood located the "Bull and Bear Bank" it was fully operational but lacked the figure of the bear. However, he utilized a cast iron still bank (i.e. "Begging Bear"; Refer to Moore book, #715) to replace the absent original. When Mr. Steckbeck obtained the bank, he replaced the cast iron "Begging Bear" still bank with a skillfully-crafted lead alloy bear created in a style commensurate to Charles A. Bailey's original lead alloy bull figure.
     Interestingly, although the base, tree trunk, and pendulum are fashioned of cast iron, the figure of the bull and the bear are composed of a lead alloy. This marriage of metals occurred in two other mechanical banks designed by Mr. Bailey and manufactured by J. and E. Stevens, namely "Bismark Bank" (refer to Antique Toy World, March, 1995) and "Germania Exchange Bank".
     To caution readers, approximately sixty years ago several unauthorized copies of the "Bull and Bear Bank" were produced. Whether these examples were created to intentionally deceive collectors or merely to satisfy the desires of individuals who wished to obtain reasonably-priced facsimiles of a great rarity, has never been ascertained. Nevertheless, since their creation many of these spurious mechanicals have been misrepresented, and may now be in the collections of unsuspecting individuals. The detail, quality, and craftsmanship reflected in banks created by Charles Bailey and produced by J. and E. Stevens Company are sadly lacking in these reproductions. However, although there is no comparison between these and the original example seen in Figure 1, the most effective method of detection is the underside of the bank's base. The authentic "Bull and Bear Bank" is not only finely cast, but utilizes a spoke-type, "open" design underneath each of the animals. The bogus examples exhibit heavy, crudely cast, solid undersides.
     In an attempt to determine why only one authentic "Bull and Bear Bank" has surfaced, it is the contention of several bank historians and collectors that it may have been a specialty item designed for a specific event, ergo severely limiting production. Another interesting hypothesis is that it might have been an early Bailey creation, put aside to await an opportune time for future production. Perhaps the Stock Market crash of 1929 was responsible for cessation of the project by the J. and E. Stevens Company, based upon the assumption that it would have proven to be an unpopular reminder of the traumatic event.
     I am including a base diagram (Figure 2) of the original "Bull and Bear Bank" (Figure 1). Be suspicious of the originality of any example that does not adhere precisely to the appearance of the bank shown in Figure 1, and/or the dimensions specified in Figure 2.

Jolly Joe The Clown
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 1999

          Who among us, regardless of age, is able to resist the lure of the Big Top, with its thrilling, dazzling, and thoroughly entertaining performances? However, no circus is complete without the appearance and madcap antics of those lovable comics we refer to as clowns. The timeless appeal of these zany performers is apparent, as evidenced by the great number of items which feature their image. Included within this listing were mechanical banks manufactured during the nineteenth century, both in the United States and abroad. Examples are: "Elephant and Three Clowns", "Bill E. Grin", "Circus Bank", "Clown on Globe", "Clown and Dog", "Clown Bust Bank", "Clown on Bar", "Hoop-La Bank", "Humpty Dumpty", "Clown and Harlequin Bank", "Professor Pug Frog Bank", "Trick Dog Bank", "Zig Zag Bank", and the subject of this article, "Jolly Joe the Clown" (Figure 1).
     Figure 2 represents a page from a rare, early twentieth-century Saalheimer and Strauss catalog. On it is featured the "Jolly Joe" bank, as well as several other tin mechanicals in the company's line. Located in Nurnberg, Germany, the center of early tinplate toy production, Saalheimer and Strauss was one of the most important German manufacturers of tin novelty items, toys, household goods, and mechanical banks.
     The discovery of this catalog page provided valuable data on "Jolly Joe" as well as other tin mechanicals whose heritage had heretofore been a mystery. This, and subsequent research, have identified the "S.S." logo printed upon Jolly Joe's right hand as that of the Saalheimer and Strauss Company.
     In addition to the "S.S." logo, the letters "D.R.G.M." are imprinted upon the clown's left hand. These letters connote the German words "Deutsches Reichs Gebrauchs Muster", signifying second grade patent. The routine practice of the German patent office at the turn of the century was, after a period of fifteen years, to discard all documents marked "D.R.G.M.", thereby eradicating information pertinent to the creation of the patented items. "Jolly Joe" and his tin brethren (Figure 2) were among the casualties.
     Several years ago, noted mechanical bank collector, Ed Mosler, advised that he believed the "Jolly Joe" bank was covered by either a German or British patent numbered "L. 698681" and dated June 22, 1928. Despite extensive inquiries both here and abroad, I have not been able to locate a hard copy of the patent. Help from a resourceful reader would be most appreciated.
     Activation of "Jolly Joe" is accomplished by simply following the directive verse on the front of the bank (Figure 1): "Just to see my tongue appear, Press the lever down. I will save your pennies dear, I'm Jolly Joe the clown." The coin is placed upon Joe's protruding tongue. The lever is then released, whereupon the tongue and money snap back into the bank. Deposits are retrieved by unlocking the square key-lock coin retainer underneath the base.
     There are two known lithographic variations of the "Jolly Joe". On one, the verse is imprinted upon its facade, as seen in the example pictured in Figure 1. The other has no verse; in its place is a red and black diamond pattern design.
     To my knowledge, none of the Saalheimer and Strauss tin mechanical banks has been reproduced. Nevertheless, the following are dimensions of "Jolly Joe" to aid the collector in determining size and scale: Height = 6-7/8 inches; Width = 2-7/8 inches.
     ACKNOWLEDGMENT: The Jolly Joe Bank. (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Weeden’s Plantation Darkey Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 1999

     Shame, Degradation, and impoverishment were the lot of the unfortunate blacks brought captive to this country from Africa and thrust into a world of slavery. With little else to turn to, religion, music, and dance were temporary escapes from reality, providing a measure of comfort and maintaining cultural identity.
     The soul-stirring melodies of the slaves eventually evolved into a form of entertainment for the "white" public. This was demonstrated during the mid to late nineteenth century when Minstral shows became quite popular. This 'new' music and dance did not escape the attention of venturesome businessmen. Toy manufacturers of the era created one of the most desirable and successful category of children's playthings ever produced, i.e. the automated Jigger Toy. This toy appeared in clockworks, as well as steam or hand-operated dancing figures.
     An enterprising individual of the period was William N. Weeden of New Bedford, Massachusetts. Acclaimed as one of the foremost mechanical inventors of his day, Weeden created the "Plantation Darkey Bank" (Figure 1), a key wind, clockwork mechanical bank which featured a Negro "Jigger" accompanied by an automated black banjo player. His invention earned him Patent numbers 387,469 and 387,470 and 387,472, all granted on August 7, 1882 (Figure 2). The "Plantation Darkey Bank" was manufactured by the Weeden Manufacturing Company of New Bedford, Massachusetts. Formed in 1882, this company also became noted for its miniaturized steam engines and steam-operated toys, both categories that are now considered highly collectible.
     The "Plantation Darkey Bank" was not only marketed and sold commercially ($9.00 per dozen to the trade, and $1.20 each to the public (Figure 3)) but also given, free, to individuals selling subscriptions to the then- popular "Youth's Companion" magazine.
     Interestingly, the "Plantation Darkey Bank" was manufactured by the Weeden Company during two different periods of history, i.e. in the 1880s-1890s, and again in 1920 when it was reintroduced, utilizing their original dies. The twentieth century reissues are identical to the earlier produced mechanicals and are valued similarly by collectors.
     Several early Weeden flyers, packing labels and advertisements indicate approximately six other clock work mechanical banks were produced. Although similar in design to the "Plantation Darkey Bank", they utilized different graphics. To date, only three varying examples have surfaced: the bank presently being discussed (Figure 1), the extremely rare "Ding Dong Bell Bank", and the "Japanese Ball Tosser Bank" of which there is only one known example. Rumors have persisted over the years of the existence of other Weeden creations, e.g. "The Grasshopper Bank", "The School Master Bank", "The Little Jack Homer Bank", and "The Old Mill Bank". However, regrettably, to date, none have surfaced.
     Action of the "Plantation Darkey Bank" is entertaining and charming. Initially, the key at the back of the bank is wound several turns, counter-clockwise (as indicated by the arrow). Either a penny or a nickel is inserted into the coin slot on the right side of the shed. The dancer begins to jig and the banjo player's right arm moves as though playing the instrument. This action continues for a period of time, then stops automatically. Deposits are retrieved by opening the key lock trap door at the rear of the bank.
     The "Plantation Darkey Bank" is composed mainly of embossed tin-plate; the exception is the back wall and bottom, which are constructed of thin sheets of wood.
     Not evident in the photo seen in Figure 1 are several words embossed into both sides and back of the bank. On the left side are the words "JIG DANCIN", on the right wall "PETE JONSON, BANJO LUSSUNS, ONE CENT" and on the back trap door, "COIN SAFE". There are no design variations of the "Plantation Darkey Bank", but there are several color differences. These pertain solely to the stage backdrop and bank building, which were painted either white, black, or a dark brown japan.
     As with most fragile toys manufactured during this period, each "Plantation Darkey Bank" was packaged singly in a wooden box. The earlier nineteenth century examples were supplied with an elaborate paper label advertising other banks in the Weeden line, while those produced in the twentieth century have no paper labels. On these later containers, the company identified its contents with the words "DARKEY BANK" stamped in small letters onto one end of the box.
     I am not aware of the existence of any reproductions of "Plantation Darkey Bank". Nevertheless, the following dimensions are provided to aid the collector in determining accurate size and scale: Height 5-1/2 inches; Width 3-11/16 inches; Depth 3-3/8 inches.
     On a final note: if/when contemplating purchase of a "Plantation Darkey Bank" be aware that the dancing figure is not only extremely fragile, but easily removed or lost. Ergo, most examples of this mechanical feature a reproduced figure or no figure at all. In either case, the bank is greatly devalued.
     ACKNOWLEDGMENT: The superb, all-original example of "Plantation Darkey Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Dime Pistol Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2000

     Whose little "red blooded" American boy growing up in the nineteenth and twentieth centuries hadn't participated in the games referred to as "cops and robbers" and "cowboys and Indians"? The simplistic antics of the children were often enhanced by donning apparel befitting their "role".
     It did not require much insight on the part of toy manufacturers of the era to conclude that the blandishment of a firearm was an important aspect of these games. The popularity of this weapon was apparent in its utilization in children's playthings, including mechanical banks such as "Teddy and the Bear", "Indian and the Bear", "Lion Hunter", etc.
     An ingenious inventor, James Hall Bevington of Chicago, Illinois, went a step further. He designed a mechanical bank which combined the form of a toy pistol with a mechanism specifically intended to encourage thrift (Figure 1). Referring to his creation as "a coin receiving toy pistol" (Figure 2), Bevington applied for, and was, on September 21, 1909, granted Patent number 934,957 (Figure 2). On this same date, all design and production rights were assigned to the Richard Elliot Company of Chicago, Illinois, who ultimately manufactured the mechanical.
     The patent diagrams exhibited in Figure 2 indicate that the Elliot Company was, with one exception, faithful to Bevington's invention. The dissimilarity occurs with the omission of a small bell intended to sound with each deposit. It was to be mounted within the cavity of the pistol. This bell may have been excluded due to production complexity and/or cost.
     The "Dime Pistol Bank" is quite unique by virtue of the fact that it not only was manufactured of cast iron (Figure 1) but also produced in the more commonly seen nickel plated, pressed steel version. The cast iron variation is extremely scarce, and adding one to a collection can prove a rewarding challenge.
     Operation of both examples is identical: a ten cent piece is placed within the slot at the end of the barrel. (Note: the bank will only accept dimes.) When the trigger is pulled, a hooked projection emerges from the muzzle of the pistol, engaging the coin and quickly snapping it into the bank. Deposits are reclaimed by opening the hinged, combination lock coin retainer located at the base of the handle. This locking device displays the inscription, "MANUFACTURED BY RICHARD ELLIOT CO. CHICAGO, IL". In addition, the word "PATENTED" is engraved into both sides of the frame on both sides of the hammer.
     The "Dime Pistol Bank" is a member of a group of mechanicals which may be utilized as a toy rather than to function solely as a coin savings device. This category boasts of such notables as "Jumbo Elephant Bank" (refer to Antique Toy World article of December, 1987), "Light of Asia" (November, 1991), "Elephant with Tusks on Wheels" (February, 1992), "Safety Locomotive" (January, 1993), "Motor Bank" (August, 1995), etc.
     The "Dime Pistol Bank" is designated a "cross collectible". It is sought after by both mechanical bank collectors and toy pistol enthusiasts. This aspect adds greatly to its desirability.
     As an aside, another mechanical that epitomizes the description of a "cross collectible" is the alluring "Darktown Battery" (refer to Antique Toy World article of January, 1985). It not only appeals to bank collectors, but also to those interested in negro memorabilia, and to buffs of the game of baseball.
     Figure 3 represents an advertisement from the Nerlich and Company toy jobbers catalog, circa 1910-11. The "Dime Pistol Bank" is featured with a selling price of $7.20 per dozen to the trade, considerably below the price of several thousand dollars for a superb cast iron example which sold recently.
     Although neither variety of the "Dime Pistol Bank" is believed to have been reproduced, the following dimensions are given as an aid to the collector in determining size and scale: Length: 5-1/2 inches; Height: 3-1/4 inches.

Ding Dong Bell Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2000

 "Ding, dong, bell,
Pussy's in the well!
Who put her in?
Little Tommy Green,
Who pulled her out?
Little Johnny Stout;
What a naughty boy was that,
To try and drown poor Pussy-cat!
Who never did him any harm,
And killed the mice
in his father's barn.
          —Anonymous, 16th Century
    
     The above version of a well-known nursery rhyme has been passed on from generation to generation since at least the latter part of the sixteenth century. Its trivial verse, spoken in sing-song manner, elucidates the evil committed by one, and the good of another. The theme of this rhyme has been reiterated many times since, and in various forms. One of these is a mechanical bank created during the latter portion of the nineteenth century to teach children the virtues of morality, kindness, and thrift. The "Ding Dong Bell" Bank (Figure 1), when activated, performs on behalf of morality while encouraging saving.
     Initially, the key at the back of the bank is wound several turns, counter-clockwise (as indicated by the arrow). A penny is inserted into the coin slot in the left side of the stage. Little Tommy Green, sitting atop the fence, begins waving his hat while, simultaneously, another lad rings his bell, supposedly to call attention to Tommy's wicked deed. At this instant, our hero, Little Johnny Stout, stands erect, lifting the cat from its intended watery grave. The moral...if you commit an act of cruelty, the bell of righteousness will alert the world to your wickedness! Deposits are removed by opening the key lock tin trap door at the rear of the bank.
     The "Ding Dong Bell" Bank was conceived by William N. Weeden of New Bedford, Mass. Weeden was considered one of the most acclaimed mechanical inventors of his day. He was granted Patent numbers 387,469, 387,470, and 387,472 on August 7, 1888 (Figure 2).
     The "Ding Dong Bell" Bank was ultimately manufactured by the Weeden Manufacturing Company of New Bedford, Mass.
     Figure 3 represents an early nineteenth century advertisement which appeared in Youth's Companion Magazine, a then-popular children's periodical. In it, Weeden offered the mechanical as the "Johnny Green Bank, Price, $1.00 Each". All subsequent flyers and packing labels referred to this bank as "Ding Dong Bell", perhaps considered a more relevant and appropriate name for the subject.
     Interestingly, several of the early Weeden Company promotional items indicated the production of seven different clockwork mechanical banks. To date, only three examples of this series have surfaced, i.e. "Plantation Darkey" Bank (refer to Antique Toy World article, December, 1999), the rare (only one known example) "Japanese Ball Tosser" Bank, and the "Ding Dong Bell". Yet to be discovered are "School Master" Bank, "Grasshopper" Bank, "Little Jack Homer" Bank, and "Old Mill" Bank.
     The "Old Mill" Bank was offered for sale in an advertisement that ran in the July 1, 1886 issue of Youth's Companion Magazine (Figure I). Its price was $1.00 a piece, or given free as an incentive to any child selling subscriptions to the publication. Similarly, the Weeden "Plantation Darkey" Bank was offered for sale, or as a premium incentive. It is curious that, to date, not a single example of the "Old Mill" Bank has been discovered. However, sufficient specimens of the "Plantation Darkey" Bank exist in collections to consider it fairly common.
     The "Ding Dong Bell" Bank is composed primarily of embossed, painted tinplate. The exception is the back wall and bottom, which are constructed of thin sheets of wood.
     Not evident in the photo seen in Figure 1 are several words embossed into both sides and back of the bank. On the left side are the words "SAVE YOUR (PENNIES) AND THE (DOLLARS) WILL TAKE CARE OF THEMSELVES", "DEPOSIT HERE". (Note: an embossed likeness of a one-cent piece is in the place of the word "pennies", while an embossed one-dollar coin facsimile replaces the word "dollar".) On the right side are the words, "A (PENNY) SAVED IS A (PENNY) EARNED", "SAVINGS BANK". Here, again, coin images replace the monetary verbiage. Finally, on the back tin trap door are the embossed words, "COIN SAFE".
     The "Ding Dong Bell" is considered extremely rare, with only a handful of examples known to exist in collections. This, combined with its intriguing action and colorful appearance, make it one of the most desirable, highly sought after mechanicals.
     There are neither design nor color variations of the "Ding Dong Bell" Bank. To date, all examples appear as seen in Figure 1.
     I am not aware of the existence of reproductions. Nevertheless, the following dimensions are provided to aid the collector in determining size and scale: Height: 5-1/2 inches; Width: 3-11/16 inches; Depth: 3-1/8 inches.
     On a cautionary note: If contemplating the purchase of a "Ding Dong Bell" Bank, be aware the Tommy Green's hat-waving arm, Johnny Stout's upper torso, and the little boy's bell-ringing arm are very fragile and subject to breakage and loss. In the event an example is discovered missing any of the aforementioned parts, the bank's value would be sorely compromised.
     ACKNOWLEDGMENT: The almost mint, all original example of "Ding Dong Bell"Bank Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Clown and Harlequin Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2000

     Pantomine — a centuries old form of entertainment — has played a most significant role in theatrical history. The portrayal of emotions and actions solely by body movements and gestures has delighted audiences since the early Roman empire.
     It was not until the 18th century, however, that this form of mute expression began to evolve into drama. The combination of a serious classical fable and grotesque comedy told of the unfulfilled love of a Harlequin who wielded a magical staff and Columbine, the elusive object of his desires. Clown, also known as Pantaloon, joined the fantasy in the 19th century; his unspoken mission was to trick the unsuspecting Harlequin into abandoning his beloved.
     It was in 20th century America that this tale of ill-fated love eventually entered the lives (and playful hands) of children in the form of the "Clown and Harlequin Mechanical Bank" (Figure 1). This modern cast-iron interpretation of the early fanciful drama was manufactured and marketed by the J. and E. Stevens Company of Cromwell, Connecticut. Figure 2 represents an advertisement from a 1906 J. and E. Stevens' catalog wherein the bank was offered for sale at the price of $1.00 each.
     To date, no patent information has surfaced which would reveal the mechanical's inventor. The words "PAT APD FOR" imprinted in raised lettering underneath the base plate provide no identifying information. However, several mechanical and design elements are similar to "Calamity Bank" patterned by Mr. James Bowen of Philadelphia, Pennsylvania (Figure 3) and manufactured by J. and E. Stevens. They involve the use of three mobile figures which are motivated by an arched rack and pinion gear arrangement.
     Another speculation revolving about the origin of the "Clown and Harlequin Bank" is based upon a patent issued in 1877 to Joseph Blanc of Philadelphia, Pennsylvania (Figure 4). However, since this patent emanated thirty years prior to the bank's manufacture, and to a gentleman who had no known association with the J. and E. Stevens Company, most collectors attribute the similarity in design to mere coincidence.
     Action of the "Clown and Harlequin Bank" can only be described as precise, intriguing, and entertaining. To quote the user instructions imprinted on one side of its wooden shipping container: "To operate: Bring figure with upraised hand half way round to position. Place coin in slot and press lever." When the lever located at the left side of the platform is pressed downward, a powerful spring inside the base is activated. The trio is then propelled sharply clockwise, and Columbine performs a graceful pirouette before her pitiful suitors as the money falls into the bank. Deposits are removed by opening the round, patented Stevens coin-retainer underneath the base.
     Delicate castings of the "Clown and Harlequin" mechanical and its violent spring-driven action most likely account, at least in part, for the sparse number of surviving examples. Even fewer in number, perhaps less than a handful residing in collections are those in complete and unbroken condition. Bearing testimony to the bank's rarity and desirability, a fine example recently sold at auction for $85,000.
     The "Clown and Harlequin" has been reproduced, both from original J. and E. Stevens' patterns and actual, original examples of the bank itself. Figure 5 is a base diagram of an original example. A reproduction cast from the original bank will appear approximately one-quarter inch smaller O.D. than indicated. A reproduction manufactured from original factory patterns will appear precisely the same size as the base diagram (Figure 5). In either case, a collector who is offered an "original" "Clown and Harlequin Bank" sans documented provenance, or from an unqualified source, should seek the opinion of an authority to avoid the possibility of a costly mistake.
     ACKNOWLEDGEMENT: The superb "Clown and Harlequin Bank" Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Japanese Ball Tosser
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2000

     The intrigue, mystery and magic of the Orient has always fascinated the world outside its boundaries. Unfortunately, suspicion, fear, and prejudice all too often accompanied this fascination.
     A vivid example is the disdain and hostility that greeted multitudes of Chinese and Japanese immigrants during the latter portion of the nineteenth century. These ill feelings became widespread and were communicated via art and literature, as well as various products popular to the era. Included amongst the latter were children's playthings such as mechanical banks. Several depicted the new arrivals as deceitful, repulsive beings, worthy of ridicule. Examples included: "Reclining Chinaman" (refer to Antique Toy World, April 1983), "Chinaman in the Boat" (June 1999), "Mikado Bank" (December 1996), "Coolie Bank", "Mandarin Bank", and "Japanese Ball Tosser" (Figure 1).
     The "Japanese Ball Tosser" Bank was invented and patented by William T. Weeden of New Bedford, Massachusetts. It was manufactured by his company circa 1888. Interestingly, the patents (Figure 2) assigned to the entire line of Weeden mechanical banks protect only the internal gears and pinions, including their manufacturing process. There is absolutely no mention of the bank's action, external appearance, subject, or design.
     An early Charles Schmidt Toy and Notion Company catalog dated October 1, 1888, pictures the "Japanese Ball Tosser" Bank with a selling price of $9.00 per dozen. This date of sale and price appear to correspond with the date of manufacture of other Weeden clockwork mechanical banks in the series, i.e. "Plantation Darkey Bank" and "Ding Dong Bell". Of the three, however, the "Plantation Darkey" is considered the more common, since a greater number of examples are known to exist. The "Ding Dong Bell" is far more scarce, with less than a handful in collections. The "Japanese Ball Tosser" (Figure 1) is the rarest of the three. To date, only one example has been discovered, and it resides in the collection of Steve and Marilyn Steckbeck.
     Of interest is a paper label (Figure 3) affixed to a wooden box containing a Weeden miniature toy steam engine, circa 1888. It indicates there were at least five clockwork mechanical banks in the Weeden line. The listing includes "Plantation Dance", "Japanese Ball Tosser", "Ding Dong Bell", "Jack Horner" and "Village Schoolmaster". Over the years, rumors have persisted regarding the discovery of a Weeden "Schoolmaster" bank, a "Jack Horner" bank, and a "Grasshopper" bank. Unfortunately, to date, none of the aforementioned materialized and the "rumors" remain mere hearsay.
     Operation of the "Japanese Ball Tosser" is initiated by winding the attached key (located at the back of the bank) several turns counterclockwise, as indicated by the arrow. A penny is then inserted into the slot on the left side of the bank. Instantaneously, the Juggler's arms move up and down, causing the balls to elevate on two thins rods, thus appearing to be tossed into the air. The Oriental sways from side to side during his performance. The balls will levitate approximately eighty times before rewinding is necessitated. Deposits are removed by opening the key lock, tin trap door at the rear of the bank. The "Japanese Ball Tosser" is composed primarily of embossed, painted tinplate. The exception is the back wall and bottom, which are constructed of thin sheets of wood.
     Imperceptible in the photo (Figure 1) are several words embossed into both sides and back of the bank. On the left side are the words "SAVE YOUR (PENNIES) AND THE (DOLLARS) WILL TAKE CARE OF THEMSELVES", "DEPOSIT HERE". (Note: An embossed likeness of a one- cent piece is in the place of the word "pennies", while an embossed one-dollar coin facsimile replaces the word "dollar". On the right side are the words, "A (PENNY) SAVED IS A (PENNY) EARNED", "SAVINGS BANK" Here again, coin images replace the monetary verbiage. Finally, on the rear tin trap door are the embossed words, "COIN SAFE".
     I am not aware of reproduction "Japanese Ball Tosser" banks. Nonetheless, the following dimensions are provided to aid the collector in determining size and scale: Height: 5-1/2", Width: 3-11/16 inches, Depth: 3-1/8 inches.
     On a final note — when the bank seen in Figure 1 was discovered approximately twenty-seven years ago by Massachusetts dealer, Danny Howard (now deceased), it was sans the juggler's head. Since that time, it has been expertly restored to the complete and beautiful state in which it appears today. Following its discovery, I can recollect Mr. Howard's boast of how he had actually acquired the bank. He related to me that it was nestled within a box of "junk" at a local yard sale. If accurate, it illustrates the old adage that "one man's trash is another man's treasure".
     ACKNOWLEDGEMENT: The label in Figure 3 is from the collection of Mr. Russell E. Snyder.

Boy on Trapeze
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2000

     What is able thrill and excite the seasoned, blasé mechanical bank collector? Undoubtedly, it is the discovery of either a totally new example, or a unique variation of a familiar theme.
     The uncommon occurrence of discovery has frequently been brought to my attention by enthusiastic, delighted collectors. Recently, such was the case, when I was informed of the existence of a variation of the charismatic and popular "Boy on Trapeze" mechanical bank (Figure 1). Differences pertain to both casting and color. The following will, therefore, serve as an addendum to my article "Boy on Trapeze" Bank, published in the June, 1989 issue of Antique Toy World.
     In the article, I stated that there are no casting variations of the mechanical and only two color variations. In Figure 2 we see one of these, the more common of the two, which had been discussed in the aforementioned article. The newly-discovered example (Figure 1), indicates not only reversal of colors of the attire worn by the "Boy," but colors that are of a far deeper hue. Furthermore, all previously known examples of "Boy on Trapeze" had been painted without facial features. The example seen in Figure 1 is pictured with blue eyes, a red mouth and rosy cheeks. In addition, the color differences between the two include the base. The bank pictured in Figure 1 is painted an overall, glossy black japan, rather than the accustomed transparent, brown japan (Figure 2).
     Interestingly, the contrasts between the two mechanical banks extend beyond their chromatic dissimilarities. The one pictured in Figure 2, as in all "Boy on Trapeze" banks, is held together by a single, large screw which passes through both the left and right sides of its ornate base. However, the base of the rarer version (Figure 1) is fastened by a long, peened, heavy rivet, one end of which has only the appearance of being a flat-head, slotted screw. There are other minor casting dissimilarities relating to the base, which are not apparent in the photographs.
     Worthy of mention, and of great interest to many collectors, is the recent surfacing of a third variation of "Boy on Trapeze" trade card (Figure 3). This was acquired by the same fortunate collector who obtained the unique color variant featured in this article. Figures 4 and 5 represent the two different, previously-known, "Boy on Trapeze" trade cards.
     Acknowledgment: The "Boy on Trapeze" Bank (Figure 1) and the "Boy on Trapeze" trade card (Figure 3) are from the collection of Al and Nora Hancock.

The Circus Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2000

     Clowns and elephants are the pegs upon which the circus is hung," so proclaimed the late, great P.T. Barnum. It was this philosophy that motivated his launching of the first multi-ring circus in 1881. Seven years later, in 1888, Barnum and his new associate, James A. Bailey, were exhibiting several varying acts performing simultaneously in three adjacent rings. Prosperity, glory, and excitement were a part of this world of sawdust, bright lights, and glitter. Audiences were thrilled by the circus, although no entertainer was greeted with more enthusiasm and applause than the master of buffoonery — the clown.
     Barnum's huge success and the popularity of his venture did not escape attention. Two entrepreneurs, Charles G. Shepard and Peter Adams, of Buffalo, New York, also hoped to profit from the public's infatuation with the circus and its zany clowns. They created a toy mechanical penny bank that was almost certain to appeal to the populace. Not surprisingly, Shepard and Adams named their invention the "Circus Bank" (Figure 1).
     They applied for a patent on August 13, 1888, and subsequently received Design Patent Number 18,618 on September 18, 1888 (Figure 2). Coincidentally, this date of patent corresponds with what many believe to be the "Golden Age of mechanical banks" and the "Golden Age of the circus."
     The "Circus Bank" was manufactured by the Shepard Hardware Company of Buffalo, New York, one of the most prominent manufacturers of mechanical banks of that era. Shepard's product, without exception, displayed the utmost degree of professionalism, both sculpturally and artistically. Scrupulous attention was paid to minute details such as delicately painted eyes, eyebrows, eyelashes, buttons, striping, hair, etc. Artistry of that caliber has never been equaled by any other hand painted toy manufacturer in the history of the genre.
     Unfortunately, for reasons unknown, Shepard neglected to undercoat its banks prior to painting. Ergo, the slightest amount of mishandling, or adverse environmental conditions, resulted in the shedding of large areas of the colorful coats of these cast iron works of art. It is not likely that a collector could discover any Shepard bank that would be in superb to near condition. However, when one is located, it most certainly is worthy of serious consideration.
     Figure 3 represents an advertisement that has appeared in a Selchow and Richter Toy Jobbers Catalog, circa 1888. In it, the "Circus Bank" was offered for sale at $8.50 per dozen. Compare this to the hammer price of $55,000 for an almost mint example, including original wooden box, at an auction several years ago.
     Figure 4 indicates a full-color trade card, circa 1888, actual size 3-1/4 inches x 5-5/16 inches, which had been utilized by Shepard to educate perspective buyers to its newly-introduced country stores and shops that sold Shepard Hardware merchandise.
     Action of the "Circus Bank" is best described as both amusing and appropriate to the subject. To quote from the ad (Figure 3) and the trade card (Figure 4): "Place a coin upon the bracket in front of the money receptacle. When the crank is turned, the pony goes around the ring and the clown deposits the coin. The pony kicks up, the wheels turn, and the clown's arm goes up and down, making it a very amusing toy." Deposits are removed by opening the rectangular, key lock coin retainer on the side of the bank.
     Figure 5 represents the front panel of the original wooden packing box which accompanied the bank pictured in Figure 1. Interestingly, the words "EXCELSIOR SERIES" appear upon its facade. This designation has been noted on a few other mechanicals produced by the company, namely "Picture Gallery Bank," "Mason Bank," and "Trick Dog Bank." It has not been determined why Shepard would have chosen to acclaim only the aforementioned banks from their complete line. However, it is the opinion of both collectors and historians alike that each of the fifteen different documented mechanicals created by Shepard Hardware exhibit the same degree of artistic excellence.
     The "Circus Bank" is recognized as the rarest of the Shepard mechanicals. Similarly, the trade card shown in Figure 4 is the scarcest in its category.
     On a cautionary note, both the bank's crank handle and the key lock coin retainer are easily removable. For this reason, when most "Circus" banks are found they are missing either one or both of these parts. In such cases, the value of the bank is somewhat compromised.
     To my knowledge, there are no casting or variations of the "Circus Bank." In addition, I am not aware of any attempt at reproducing an entire mechanical, other than recasting specific parts in order to restore an incomplete original example. Nevertheless, I am including a base diagram (Figure 6). If the bank was to be reproduced, it would appear approximately one-quarter inch smaller O.D. than indicated.

Harold Lloyd Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2000

     Hollywood has provided the world with some of the most memorable films and exciting talent ever to be seen. This was no less true during its earlier years, that of the 1920s, when the silent movie was the major source of entertainment.
     Skillful comedians, dedicated to their craft and mission of providing laughter, emerged to dominate the silver screen. Familiar names such as Charlie Chaplin, Buster Keaton, W.C. Fields, Harry Langdon, Roscoe "Fatty" Arbuckle, and Harold Lloyd delighted the public with their mute antics. However, of these, only Harold Lloyd (Figure 1) was able to sustain the attention and affection of the movie-going public, as evidenced by the greater number of films in which he starred. Compared to Charlie Chaplin's role in a total of four major features over a ten year period, Lloyd played the lead in eleven films.
     Needless to say, enterprising entrepreneurs in this country and abroad were eager to profit from the success and overwhelming popularity of Lloyd. A plethora of items bearing his likeness were created and sold. Photographic images, dolls, masks, Lloyd-style eyeglasses, hats, figurines, and toys inundated the marketplace. One of these manufacturers, the Saalheimer and Strauss Company, located in Nurnberg, Germany, produced the "Harold Lloyd" tin mechanical bank (Figure 2). The company was one of the most prestigious German manufacturers of the era. Their production included tinplate novelty items, household goods, toys, and mechanical banks.
     Figure 3 represents a rare, early twentieth-century Saalheimer and Strauss advertising flyer in which are featured several tin mechanicals in its line, including the "Harold Lloyd" bank. This flyer identifies the "Harold Lloyd" bank as one of a set of six different subjects of exactly the same style and configuration. However, to date, eight different subjects from this group have been identified and these reside in various collections. The banks are "Harold Lloyd", "British Lion", "Bulldog", "Bear", "Clown", "Tiger", "African Native", and "Golliwog".
     Interestingly, several of the aforementioned were not only marketed as mechanical banks, but also as candy containers. These were originally supplied with their coin receptacles filled with Lyon's Toffees. Many examples exhibit the following words on their obverse: "LYON'S TOFFEES, LONDON, ENGLAND, DO NOT ATTEMPT TO WORK BEFORE REMOVING TOFFEES."
     Activation of the "Harold Lloyd" bank is simplistic as well as humorous. The looped wire lever on the left side of Harold's hat is depressed. Simultaneously, his jaw lowers, his eyes move upward, and his tongue protrudes. A coin is then placed upon the tongue and the lever is released. The tongue and coin automatically snap back into the bank, and the jaw returns to the position seen in Figure 2. Deposits are retrieved by opening the sliding key lock coin retainer at the top of the coin box.
     The "Harold Lloyd" mechanical is considered quite rare, as are most of the others identified in this series. For this reason, it is unlikely that even the most diligent of bank collectors would be able to acquire the complete set.
     To my knowledge none of the Saalheimer and Strauss banks have been reproduced. Nevertheless, I am including the following dimensions of the "Harold Lloyd" tin mechanical bank to aid in determining size and scale: Heights 5-3/8 inches; Width: 3 inches.
     ACKNOWLEDGMENT: The "Harold Lloyd" bank (Figure 2), is from the collection of Steve and Marilyn Steckbeck.

Cabin Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2000

     Poignant, vivid, and factual describe the text of "Uncle Tom's Cabin; or, Life Among the Lowly." Harriet Beecher Stowe's renowned novel (Figure 1), published in 1852, created a hero that was to alter, perhaps for all time, white society's perception of the black man. Scholars and politicians of the era, including Abraham Lincoln, proclaimed Stowe's influence in fueling the flames of the Civil War.
     "Uncle Tom's Cabin" was an immediate world-wide literary success. Its unexpected popularity and sales were followed by marketing strategies utilizing the novel. They were represented via theatre, graphics, song, children's playthings, etc. Years later, Edward L. Morris, of Boston, Massachusetts, was granted Design Patent Number 16,120 for his invention of a mechanical bank entitled "Cabin Bank" (Figure 2). The similarity between Stowe's character and Morris' creation dismisses mere coincidence.
     This mechanical was subsequently manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. Figure 3 represents an advertisement in 1886 retail catalog in which the bank is pictured, accompanied by a selling price of fifty cents apiece.
     Action of the bank is unanticipated, albeit effective in purpose. To quote the catalog advertisement, Figure 3: "Place the coin upon the roof above the negro's head, move the handle of the white wash brush, and the negro will be made to stand on his head and kick the coin into the bank." Deposits are recovered by opening the round, Steven's-type, patented, coin retainer underneath the base.
     There are no overt casting variations of the "Cabin Bank." There are several color differences which pertain to both the cabin and the figure of the Negro. In addition to the light green building variation pictured in Figure 4, the cabin may be painted bright yellow, dark green, or dark blue. Conversely, the black man's shirt can be dark blue, light blue or red; his suspenders are either red or yellow, and his pants can be yellow or light blue with black, light blue, red, or yellow socks.
     The "Cabin Bank" has been reproduced over the past few years, with numerous quantities available. These recasts are quite crude and easily discernible from the original. Nevertheless, I am including a base diagram for the purpose of ascertaining size and scale. A reproduction will appear approximately one-eighth of an inch O.D. smaller in length than the original. This is attributed to shrinkage of the molten iron as it cooled in the mold.
     The "Cabin Bank" is considered quite common. However, its unique action, attractive appearance, and interesting subject matter make it a desirable addition to any mechanical bank collection.
     Addendum: (from October, 2000) Refer to August, 2000, Antique Toy World entitled "Cabin Bank." Omitted was the fact that there are three casting variations: In one, the operational spring is secured internally. The other has two small perforations cast into the left side of the cabin. The spring is then secured by its being looped through these holes. Finally, the kick stop on the front end of the roof above the man's head can be either flat or serrated.

African Native Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2000

     Exciting as well as challenging is the occasional discovery of a "new find" in mechanical banks. Oftentimes, it does not require persistent, exhaustive research to reveal its identity. Our subject this month (Figure 1) is one, however, that has defied attempts to unlock the key to its actual name. Its anonymity is, perhaps, the result of a lack of documentation relating to old trade catalogs and advertisements by its manufacturers. These unique banks offer their owners the opportunity to express creativity by conjuring up a title that appears to befit its subject.
     Such was the occurrence several years ago when my then eight-year-old son, Jon, and I were perusing the merchandise displayed in a local antique shop. He noticed, and called my attention to, the mechanical bank seen in Figure 1. Shortly after its purchase, I brought this rare, tin mechanical to a gentleman who stated that he had been searching for just such an item and desired to buy it from me.
     During our deliberation, I referred to the mechanical as "Little Black Sambo." This designation was based upon what I felt was the bank's uncanny resemblance, both appearance and attire, to the youthful hero in the storybook of the same name (Figure 2). To further support my theory, I referred to another mechanical in this particular series, similar in size, construction, and action, namely Little Black Sambo's whimsical story-book adversary, the "Tiger" (Figure 3).
     At the conclusion of our transaction, the new owner placed his new acquisition upon a shelf and proudly proclaimed: "With this African Native bank I now possess the entire set!" When questioned about his choice of nomenclature, he replied simply that "I think it looks like an African native!" — And who was I to argue with such logic?
     Worthy of mention at this time is renowned author Helen Bannerman, who created and illustrated "The Story of Little Black Sambo" in 1899. With its charming saga and alluring illustrations, it realized worldwide acclaim, eventually being translated into a dozen languages. Children even today are captivated by the misadventures of its young hero.
     The "African Native" bank (Figure 1) and the "Tiger" bank (Figure 3) were manufactured by the Saalheimer and Strauss Manufacturing Company of Nurnberg, Germany. This company was the foremost designer and producer of tin plate mechanicals in Europe during the early twentieth century. The intricate die-cut, embossed tin and elaborate full-color lithography embellishing these toys have never been equaled.
     A 1929 Saalheimer and Strauss toy catalog page (Figure 4) illustrates the item shown in Figure 1 as part of a "series of six tin banks, produced with and without animation." However, to date, eight different subjects have been identified in various collections. These are "African Native," "Tiger," "British Lion," "Bulldog," "Teddy Bear," "Clown," "Harold Lloyd," and "Black Golliwogg." Several of the mechanicals in the series were not marketed solely as banks but were also intended to be candy containers. They were supplied with their cavities filled with "Lyon's Toffees." The following phrase is indicated upon the obverse of these banks: "LYON'S TOFFEES, LONDON, ENGLAND. Do not attempt to work before removing toffees."
     Activation of the "African Native" (Figure 1) is uncomplicated and effective. The bent wire lever located at the left side of the head is depressed. Simultaneously, the jaw lowers and the tongue protrudes. A coin is then placed upon the extended tongue, whereupon the lever is released. The tongue, carrying its assets, snaps back into the bank; the jaw then returns to the position seen in Figure 1. Deposits are retrieved by opening the key lock coin retainer on the back of the mechanical. Those specific examples exhibiting "Lyon's Toffees" advertising utilize non-key lock coin retainers.
     The "African Native," as well as all banks in this series, is quite scarce. To my knowledge, none of the Saalheimer and Strauss tin banks have been reproduced. That does not, however, preclude the possibility of a reproduced replaced part. Needless to say, in such instances the value of the bank diminishes considerably.
     Despite its material (i.e. tinplate) and diminutive size (Height: 5-3/8 inches; Width: 3-1/16 inches), the "African Native" bank is a delightful, colorful and highly desirable addition to a mechanical bank collection.
     Acknowledgment: The superb example of "African Native" bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Tin Minstrel Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2000

     Who amongst us can dispute the ultimate goal of capitalistic ventures? Financial reward is certainly a motivating factor in the production and sale of wares.
     Mechanical bank manufacturers of the late nineteenth and early twentieth centuries were no strangers to the concept of attempting to produce toys and banks that would appeal to the general public, thus ensuring substantial profits. There was no lack of subject matter, as noted by the diversity of themes utilized. However, one topic in particular, that of racism, reflected popular sentiments and resulted in a plethora of degrading examples. Resentment towards emancipated slaves in post Civil War America was apparent by the number of banks featuring blacks in demeaning situations which varied from subtle innuendo to blatant, crude racism.
     Examples of such mechanicals include "Butting Buffalo" (refer to Antique Toy World, September, 1988); "Boys Stealing Watermelons" (refer to Antique Toy World, March, 1985); "Bad Accident" (refer to Antique Toy World, June, 1986); "I Always Did 'Spise a Mule (refer to Antique Toy World, December, 1985); "Dentist" (refer to Antique Toy World, October, 1986); "Mammy and Baby" (refer to Antique Toy World, January, 1987); "Jolly Nigger" (refer to Antique Toy World, December, 1983); "Cross-Legged Minstrel" (refer to Antique Toy World, December, 1990); and "Tin Minstrel (Figure 1), subject of this article.
     The "Tin Minstrel" was manufactured by the Saalheimer and Strauss Company. Located in Nurnberg, Germany, center of early European tinplate toy production, Saalheimer and Strauss was one of the most important German manufacturers of tin novelty items and mechanical banks. Figure 2 represents the cover page from one of the company's early twentieth century toy catalogs in which the "Minstrel" Bank was featured. Note the letters "D.R.G.M." positioned at the base of the "Minstrel" Bank illustrated on this page. This abbreviation signifies the German words "Deutsches Reichs Gebrauchs Muster," roughly translated to "Second Grade German Patent." It was the routine practice of the German patent office during this era to discard, after fifteen years, all patents pertaining to items which were considered to have little social or economic importance (i.e. toys and novelty items). Unfortunately, this course of action eradicated all data pertinent to the inventors and/or manufacturers of those patented items.
     Several years ago, noted mechanical bank collector, Ed Mosler, advised that he believed the "Minstrel" Bank was protected by Patent Number L-698681, dated June 22, 1928. Despite excessive inquiries both here and abroad, I have been unsuccessful in locating a transcript of that document.
     Activation of the mechanical (Figure 1) is achieved by following the instructive verse printed upon the facade of the bank pictured in the catalog page (Figure 2). It reads: "Press the lever lightly, Watch my tongue appear, Save a penny nightly, Make your fortune Here." A coin is placed upon the Minstrel's tongue. When the lever is released, the tongue and money snap back into the bank. The deposits are retrieved by unlocking the square key-lock coin retainer underneath the base.
     There are several variations of "Tin Minstrel." These pertain solely to its exterior design and colors. Figure 1, the most common example, exhibits no instructive verse under the face of the Minstrel. Figure 2 presents an example displaying the instructive verse. A third bank illustrates a young child playing with a penny bank in the area on the facade designated for the verse. Lastly, there exists a "Tin Minstrel" Bank of Spanish manufacture. The configuration and mechanism are identical to the Saalheimer and Strauss product, but its graphics are decidedly dissimilar.
     Due to an abundant number of surviving examples in collections, "Tin Minstrel" is considered the most common of all Saalheimer and Strauss mechanical banks, and is, therefore, priced accordingly.
     I am not aware of reproductions of any Saalheimer and Strauss mechanicals. Nonetheless, the following dimensions of "Tin Minstrel" are given to as an aid to collectors in determining size and scale: Height: 6-7/8 inches; Width: 2-7/8 inches.
     Addendum: Figure 3 represents a page from a Saalheimer and Strauss catalog illustrating a series of mechanicals, and includes "Tin Minstrel."
     Addendum: Refer to August, 2000, Antique Toy World entitled "Cabin Bank." Omitted was the fact that there are three casting variations: In one, the operational spring is secured internally. The other has two small perforations cast into the left side of the cabin. The spring is then secured by its being looped through these holes. Finally, the kick stop on the front end of the roof above the man's head can be either flat or serrated.
     My thanks to fellow collector, Russ Harrington, for calling my attention to this oversight.
     Acknowledgement: The "Tin Minstrel" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Creedmore Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2000

     The year was 1875. The event was the first rifle marksmanship contest between the United States and Europe. The site of the target range was Creedmoor Plains, Long Island, New York, named for the prosperous, land-owning Creed family whose members had great interest in firearms and target shooting.
     These international sharp-shooting competitions continued until 1880, with the United States remaining unrivaled, capturing all medals each year. Despite discontinuance of the yearly event, enthusiasm for the sport did not diminish. In contrast, since the initial shot had been fired, target shooting ascended in popularity and eventually became a worldwide pastime.
     Ever cognizant of popular trends, enterprising entrepreneurs recognized the potential for substantial profits. A plethora of saleable goods bearing the "Creedmoor" nomenclature soon flooded the marketplace. These included clothing, games, air rifles, cap pistols, toys, and live-ammunition firearms. Unsurprisingly, a mechanical bank was amongst the creations.
     On November 6, 1877, Mr. James H. Bowen of Philadelphia, Pennsylvania, was granted Patent Number 196,870 for a toy mechanical bank embodying the likeness of a rifle-wielding sharpshooter standing before a targeted tree (Figure 1). The J. and E. Stevens Foundry of Cromwell, Connecticut, commissioned Mr. Bowen, a freelance toy inventor, to design mechanical banks as per the company's specifications. Stevens' identification of this mechanical as "Creedmoor Bank" (Figure 2), was cleverly, an attempt to capitalize on the success of the popular tournament by the same name.
     Action of the "Creedmoor Bank" is simplistic and apropos to the subject: the coin-propelling slide atop the rifle barrel is pulled backward into position. Simultaneously, the head of the marksman tilts forward, as if taking aim. A coin is placed atop the rifle, directly in front of the slide. Upon pressing the rifleman's right foot, the coin is propelled into the target, striking a bell inside the tree. The shooter's head abruptly tilts backward, as if recoiling from the rifle's discharge. A small area behind the rifle barrel is provided for the insertion of a toy, paper explosive cap that, if utilized, would offer a loud, realistic "bang" upon firing the rifle. Deposits are removed by opening the round, patented Stevens' coin retainer underneath the base of the bank.
     There are two color variations of "Creedmoor Bank," each pertaining solely to the marksman. One of the variants is seen in Figure 2. In the other, the man is attired in a red cap with a yellow band; his cape is dark blue, and is worn over a red tunic that is cinched with a yellow belt. Finally, his trousers are a blue-gray color.
     There are several casting variations, and these apply to the wording embossed into the decorative flat stones in front of the rifleman. On early production banks the words "BOWEN'S SERIES" were imprinted upon the smaller of the two stones, whereas this inscription had been omitted on later models. Conversely, all examples of "Creedmoor Bank" have the words "CREEDMOOR BANK, NOV. 6, 1877" imprinted upon the larger stone.
     I am aware of a crudely produced "Creedmoor Bank" of later production, i.e. circa 1930 manufactured of Duralumin, an aluminum alloy. It is uncertain whether this version is an unauthorized reproduction or, perhaps, a creation by a legitimate manufacturer. The question of its authenticity remains unanswered.
     The "Creedmoor Bank" is considered quite common, however, the resourceful collector may find locating one in truly superb condition quite a challenge.
     This mechanical has been reproduced. The base diagram. as seen in Figure 3, is that of an original example. A recast will appear approximately one- quarter inch shorter in length O.D. than indicated.
     NOTE: (from December, 2000) Due to typographical error in the title "Creedmoor Bank" (article, November 2000 issue of Antique Toy World) the article will be republished in its entirety in the January 2001 issue.

New Creedmoor Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2000

     Unique and ingenious are descriptions befitting a creation that demonstrates the triumph of Yankee ingenuity. Viewing the "New Creedmoor Bank" represented in Figure 1, the phrase "mix and match" comes to mind. It was the clever integration of components from two different mechanicals which produced a third distinctly disparate example.
     On November 6, 1877, Mr. James H. Bowen of Philadelphia, Pennsylvania had been granted Patent number 196,870 for his "Creedmoor Bank" (Figure 2). The subject of his invention was a rifle-wielding marksman firing a coin into a targeted tree trunk. Bowen subsequently assigned manufacturing rights to the J. and E. Stevens Company of Cromwell, Connecticut. Stevens produced the bank for several years, during which time the mechanical enjoyed unrivaled popularity.
     It is generally assumed that in, or about, the year 1890, sales of the "Creedmoor Bank" began to wane. In a feeble attempt to freshen the merchandise, J. and E. Stevens implemented two major modifications. Firstly, the figure of the "Creedmoor" soldier was replaced with the figure of a Tyrolean rifle man, and secondly, a new designation was incorporated upon the top of the "Creedmoor" base. The "New Creedmoor Bank" was now ready to be introduced as part of Stevens' virgin line of mechanicals. Interestingly, a Selchow and Righter toy jobber's catalog, circa 1894, advertised the "New Creedmoor" as the "Tyrolese Bank." Its selling price was $8.50 per dozen (Figure 3).
     The life span of the "New Creedmoor Bank" was relatively short and unimpressive. However, its resurrection occurred in the appearance of yet another mechanical bank, one invented by Russell Frisbee, partner and chief designer at the J. and E. Stevens Company. His "William Tell Bank" utilized the Tyrolese figure from the "New Creedmoor" by having it placed upon a newly designed base that differed totally from its predecessor. On June 23, 1896, Frisbee was granted Design Patent No. 25,662 (Figure 4) for his creation.
     Action of the "New Creedmoor Bank" is effective and apropos to its subject: the coin-propelling slide atop the rifle is pulled back into position. Simultaneously, the head of the rifleman tilts forward, as if taking aim. A coin is then placed in front of the slide. Upon pressing the right foot, the coin is thrust through the slot in the tree trunk. The rifleman's head abruptly tilts backwards, as if recoiling from the gun's discharge. As described in the J. and E. Stevens flyers for both the "Creedmoor" and "William Tell" banks (Figures 5 and 6), the action may be enhanced by inserting a paper cap to simulate the sound of a gunshot, thus adding a touch of realism. Deposits are removed by opening the round Stevens' coin retainer underneath the base of the bank.
     The "New Creedmoor" (Figure 1) is an attractive addition to a collection. It is particularly interesting when viewed between a "Creedmoor Bank" and "William Tell Bank." Although "New Creedmoor" is considered quite common, locating one in superb, all original condition is a challenging task for the mechanical bank aficionado.
     There are no color and/or casting variations of "New Creedmoor" and, to my knowledge, the bank has never been reproduced. Figure 7 is a base diagram of the "New Creedmoor." If a recast were to exist, it would appear approximately one-quarter inch shorter in length O.D. than indicated.
     Acknowledgement: The "New Creedmoor Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     NOTE: Due to typographical error in the title "Creedmoor Bank" (article, November 2000 issue of Antique Toy World) the article will be republished in its entirety in the January 2001 issue.

Creedmoor Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2001

     The year was 1875. The event was the first rifle marksmanship contest between the United States and Europe. The site of the target range was Creedmoor Plains, Long Island, New York, named for the prosperous, land-owning Creed family whose members had great interest in firearms and target shooting.
     These international sharp-shooting competitions continued until 1880, with the United States remaining unrivaled, capturing all medals each year. Despite discontinuance of the yearly event, enthusiasm for the sport did not diminish. In contrast, since the initial shot had been fired, target shooting ascended in popularity and eventually became a worldwide pastime.
     Ever cognizant of popular trends, enterprising entrepreneurs recognized the potential for substantial profits. A plethora of saleable goods bearing the "Creedmoor" nomenclature soon flooded the marketplace. These included clothing, games, air rifles, cap pistols, toys, and live-ammunition firearms. Unsurprisingly, a mechanical bank was amongst the creations.
     On November 6, 1877, Mr. James H. Bowen of Philadelphia, Pennsylvania, was granted Patent Number 196,870 for a toy mechanical bank embodying the likeness of a rifle-wielding sharpshooter standing before a targeted tree (Figure 1). The J. and E. Stevens Foundry of Cromwell, Connecticut, commissioned Mr. Bowen, a freelance toy inventor, to design mechanical banks as per the company's specifications. Stevens' identification of this mechanical as "Creedmoor Bank" (Figure 2), was cleverly, an attempt to capitalize on the success of the popular tournament by the same name.
     Action of the "Creedmoor Bank" is simplistic and apropos to the subject: the coin-propelling slide atop the rifle barrel is pulled backward into position. Simultaneously, the head of the marksman tilts forward, as if taking aim. A coin is placed atop the rifle, directly in front of the slide. Upon pressing the rifleman's right foot, the coin is propelled into the target, striking a bell inside the tree. The shooter's head abruptly tilts backward, as if recoiling from the rifle's discharge. A small area behind the rifle barrel is provided for the insertion of a toy, paper explosive cap that, if utilized, would offer a loud, realistic "bang" upon firing the rifle. Deposits are removed by opening the round, patented Stevens' coin retainer underneath the base of the bank.
     There are two color variations of "Creedmoor Bank," each pertaining solely to the marksman. One of the variants is seen in Figure 2. In the other, the man is attired in a red cap with a yellow band; his cape is dark blue, and is worn over a red tunic that is cinched with a yellow belt. Finally, his trousers are a blue-gray color.
     There are several casting variations, and these apply to the wording embossed into the decorative flat stones in front of the rifleman. On early production banks the words "BOWEN'S SERIES" were imprinted upon the smaller of the two stones, whereas this inscription had been omitted on later models. Conversely, all examples of "Creedmoor Bank" have the words "CREEDMOOR BANK, NOV. 6, 1877" imprinted upon the larger stone.
     I am aware of a crudely produced "Creedmoor Bank" of later production, i.e. circa 1930 manufactured of Duralumin, an aluminum alloy. It is uncertain whether this version is an unauthorized reproduction or, perhaps, a creation by a legitimate manufacturer. The question of its authenticity remains unanswered.
     The "Creedmoor Bank" is considered quite common, however, the resourceful collector may find locating one in truly superb condition quite a challenge.
     This mechanical has been reproduced. The base diagram. as seen in Figure 3, is that of an original example. A recast will appear approximately one- quarter inch shorter in length O.D. than indicated.

Bowling Alley Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2001

     Appealing, attractive, and addictive are descriptions befitting a unique toy referred to as a mechanical bank. This animated, sometimes colorful, creation can boast of its role in the portrayal of lifestyles and mores of nineteenth century America. No other single category of toy reflects the diversity of our nation's history as effectively as this penny gobbler. Its subjects and themes have included immigration policies, labor issues, politics, inventions, racism, historical events, animals, recreation, sports, etc.
     Manufacturers of mechanical banks were eager to capitalize upon current events and popular trends. A most fashionable sport of the era was bowling, a game enjoyed by an increasing number of the population. Formerly referred to as "ninepins", bowling realized an upsurge in popularity during the mid to late nineteenth century. This was due in part to changes in its rules as well as the inclusion of women in the game (Figure 1). Recognizing its monetary potential, master toy designer, Louis Kyser of Philadelphia, Pennsylvania, invented a mechanical bank which featured a bowling alley. On November 25, 1879, he was assigned Patent Number 222,058 (Figure 2). Kyser's invention was subsequently manufactured by the firm in which he was a principal, namely the Kyser and Rex Company of Frankford, Pennsylvania.
     The "Bowling Alley Bank" was advertised in the September 1880 edition of the Oscar Strasburger and Co. wholesale toy catalog (Figure 4). Its selling price was listed at $12.00 per dozen.
     Operation of the "Bowling Alley Bank" is both realistic and imaginative. Initially, the ten pins are erected upon the alley in triangular fashion. A ball is then placed in the upturned palm of the bowler's right hand. Upon the insertion of either a one cent, or five cent, or ten cent, or twenty-five cent piece, into its appropriate coin slot, an internal lever is engaged that causes the man to tilt forward. The ball then falls from his hand, rolls down the alley, striking the pins and ringing the bell. Deposits are removed by unscrewing a rectangular, sliding, key lock coin retainer underneath the base of the bank.
     The "Bowling Alley Bank" is constructed almost entirely of cast iron. The exception is the bowling balls, which may be composed of either cast iron or lead.
     Interestingly, of the six known examples of this rare mechanical bank, four differ significantly in casting and/or color variations. Some utilize one coin slot while others have four, as seen in the example in Figure 3. The grille at the end of the alley can vary in design. The alley itself may display a dip or may be perfectly level. Some examples of the bank exhibit four legs that support the base, while others have only two (and these elevate only the rear portion of the base). On some, the bowler tilts forward on his right leg, while on other examples he tilts on his left leg. Finally, the coin retainer underneath the base may be either a key lock or a sliding rectangular type that is secured by a screw.
     Insofar as coloration, the coin collection container and alley can be painted as seen in Figure 3, or predominantly red with gold highlights and black bowling balls. The bowler, in most instances, appears to be painted similarly.
     In view of the obviously fragile nature of this great rarity, caution should be exercised by the fortunate individual contemplating purchase. When located, most "Bowling Alley" mechanical banks display a repaired or recast bowler, pins, bell, grille, ball return rail, or balls. Of the six known examples only two are purported to be totally original.
     Figure 5 represents a base diagram of an original base to aid the collector in determining size and scale. If a "Bowling Alley Bank" base were to be recast, it would appear approximately one-quarter inch shorter in length, O.D. than indicated.
     Acknowledgement: The fine "Bowling Alley Bank" (Figure 3) is from the collection of Steve and Marilyn Steckbeck.

The Winner Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2001

     From its humble beginnings in twelfth century England, the royal sport of horse racing began its illustrious ascent. Knights returning from the Crusades brought with them fleet-footed Arabian stallions. These steeds were crossbred with English mares, known for their great endurance. The offspring of these unions resulted in the thoroughbred recognized today.
     It was not until the seventeenth century that horse racing evolved from merely a competitive sport to one involving monetary wagering, or "betting". This occurred amongst British royalty, hence the expression "Sport of Kings".
     English settlers introduced horse racing to the Colonies, circa 1665. Although quite popular, it was not until two hundred years later, in 1865, that racing developed into the handicapping contest we know today. By 1890 there were over three hundred racecourses in operation (Figure 1). As seen in Figure 2, zealous spectators of this glorious sport enthusiastically engaged in spirited wagering.
     Exploitive entrepreneurs, mindful of popular trends and the potential for considerable profit, created a plethora of goods reflecting the theme of horse racing. Statues, lawn ornaments, paintings, books, clothing, toys, games, etc. soon deluged the marketplace. Predictably, several mechanical banks were amongst the items produced. The most notable of these was the "Race-Course Toy Bank". Invented by John Hall in 1871, this mechanical was, shortly thereafter, manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. Figure 3 represents a page from a Stevens Company wholesale catalog in which this bank was offered for sale. Further information on the "Race-Course Toy Bank" is contained within my article in Antique Toy World, April 1987.
     A second mechanical utilizing horse racing as its theme is the Fortune Horse Race "Savings Bank", patented on October 5, 1897 (to be featured in a future article).    
     The third known bank dealing with this subject is "The Winner Savings Bank", seen in Figure 4 and subject of this article. Alfred A. R. Berger of New York City was its inventor. His creation received Patent Number 538,206 on April 23, 1895 (Figure 5). The bank was subsequently produced by the Berger and Medan Manufacturing Company of New York City.
     "The Winner" not only offered the opportunity to save money, but also provided the player with an exciting game of chance. Its operation is amusing and non-complex. The following directions are printed on the back of the base: "Pull out rod, insert either a one, five, or ten cent piece in slot then push in rod. To take out contents remove cover in the bottom of the bank". The effect of pushing in the rod results in the spinning of the horses. This continues until its unpredicted conclusion, when a random winner stops at the finish point marker seen at the twelve o'clock position on the top of the bank (Figure 4).
     To my knowledge, there are no construction or color variations of "The Winner Bank". All examples are fabricated entirely of lithographed tin plate, with a round glass insert in its top.
     The "Winner Savings Bank" is extremely rare. Little more than a handful are known to exist on collectors' shelves.
     If contemplating the purchase of an example, be aware that few "Winner" banks have their original activation rods intact. These are extremely fragile and prone to breakage and almost inevitable loss. The lack of this rod devalues the mechanical accordingly.
     I am not aware of the existence of any reproductions of "The Winner Savings Bank". Nonetheless, Figure 6 is a base diagram, which should be helpful in determining the bank's size and scale.
     Acknowledgment: The superb, all original "Winner Saving Bank", Figure 4, is from the collection of Steve and Marilyn Steckbeck.

Fortune Horse Race "Savings Bank"
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2001

     The year was 1897. The latest craze to enthrall the American public was horse racing. Racecourses were being erected more speedily than jockeys were able to cross the finish line!
     Enterprising merchants, ever eager to capitalize on the latest fad, did not hesitate to react. A plethora of items reflecting racecourse imagery was produced for the insatiable masses across the nation. Lawns, patios, and driveways were adorned with "Negro Jockey" statuary. Paintings and lithographs of popular thoroughbreds graced the walls of restaurants, men's clubs, and offices. Clothing styles were influenced as well, with the introduction and popularity of "riding habit" attire. Children's toys and games were not unaffected by the nation's current obsession, and local general stores were inundated with these items.
     It was during this period in history that several toy mechanical banks were designed that reflected the horse race theme. Amongst the distinguished list were "The Race Course Bank" (refer to Antique Toy World article, April, 1987), "Winner Savings Bank" (Antique Toy World, March, 2001), and Fortune Horse Race "Savings Bank" (Figure 1), the subject of this article.
     On October 5, 1897, Mr. Arthur R. Clarke of Chicago, Illinois, was granted Patent Number 591,110 (Figure 2) for his invention of the "Savings Bank". He concurrently assigned "three-fourths of its proprietorship to Emma Allardyce and Victor Dumont, also of Chicago". The "Savings Bank" was subsequently manufactured by the company indicated along the bottom rim of the bank, i.e. Norton Bros., Chicago, Illinois (not visible in Figure 1).
     Mr. Clarke's intent in creating the "Savings Bank" was, assumedly, to profit from his invention by its appeal to the public's fascination with horseracing. To farther enhance its marketability, Clarke designed his bank to include an additional feature: the captivating element of revealing one's fortune. It was not until the 1980's, or some ninety years after its invention, that collectors renamed the mechanical to reflect both its "horse race" and "fortune-telling" abilities, thus the current designation, Fortune Horse Race "Savings Bank".
    Interestingly, during the time in which Arthur Clarke patented his toy "Savings Bank" he also applied for a patent for a Safety Milk Cabinet. These patent papers indicate that Mr. Clarke was the proprietor of the Clarke Safety Milk Cabinet Company of Chicago, Illinois. This information suggests the possibility that the Fortune Horse Race "Savings Bank" was not an item intended for sale, but rather a free incentive premium offered to entice purchase or rental of Mr. Clarke's Safety Milk (storage) Cabinet.
     Operation of the bank is uncomplicated and effective. A coin is inserted through the slot at the bottom end of the mechanical. This activates an internal spring mechanism, which causes the red, white, and blue horse race wheel displaying letters of the alphabet to spin counter-clockwise. The wheel will eventually lose momentum and then become motionless. When this occurs, one of its letters will have stopped at the tiny pointer located above the "I" in the word "SAVINGS". The letter will correspond with the alphabetized fortune printed upon the bank's obverse (Figure 3). The following represents several examples: "C. A strange experience awaits you"; "I. Your wishes are in vain at present"; "P. Cast thy bread upon the waters"; "S. Heaven will bestow blessing upon you"; "T. Your fortune already lies at your door"; etc.
     Coin removal can only be executed by prying the bank apart. Unfortunately, such attempts probably caused irreparable damage and deformity due to the fragile nature of the bank's construction. This particular characteristic was an integral aspect of Mr. Clarke's patent design, as indicated by his written words: "The objects of my invention are to provide a savings bank or box which should be compact in form, attractive in appearance, strong and durable, yet inexpensive in construction, and such a bank or box from which the coins cannot be removed except by the destruction thereof."
     To date, only one example of Fortune Horse Race "Savings Bank" (Figure 1) is known to exist. In addition to the likelihood that few were produced, perhaps the planned, destructive method of coin removal may account for its sole survivorship.
     To my knowledge, Fortune Horse Race "Savings Bank" has not been reproduced. Nonetheless, Figure 4 is a contour drawing intended to aid the collector in determining size and scale.
     Acknowledgment: The Fortune Horse Race "Savings Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck. Previously, it resided in the renowned collection of Edwin Mosler, Jr.
     Addendum: (from July, 2001) Please refer to my article Fortune-Horse Race "Savings Bank" in the April 2001 issue of Antique Toy World. In it, I stated the bank featured and pictured represented the only one known to exist. Since that writing, I have been made aware of two other examples of Fortune-Horse Race "Savings Bank". A photograph of one of these is shown in Figure 5.

Called Out Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2001

     President Woodrow Wilson’s Declaration of War against Germany and its allies on April 6, 1917 terminated a lengthy and strained policy of neutrality. Options ceased following Germany's unprovoked attacks upon its European neighbors and the Reich's "Publication of Unlimited Submarine Campaign" which led to the sinking of the Lusitania as well as other U.S. ships (Figure 1).
     On May 18, 1917 Congress passed a bill mandating military conscription. Eligible men were assigned numbers that were entered into a national lottery drawing. Figure 2 is a photograph, circa 1917, of a blindfolded President Wilson. He is about to reach into a fish bowl to retrieve one of these numbers that he would then "call out". This would publicly announce and honor the first individual designated to serve in the United States armed forces.
     America's entry into World War I evoked nationalistic passion; many believed this nation's role was as protector and savior of the entire world. It was not long before enterprising businessmen, eager to capitalize upon current events and prevailing sentiments, produced numerous war-related items. Banners, flags, clothing, pictures, sheet music, novelty goods, toys, etc. were marketed and sold to a receptive public. The prestigious J. and E. Stevens Company, a well- known toy manufacturer and iron foundry, designed a mechanical penny bank that also depicted an America-at-war. Stevens christened its newest creation "Called Out Bank" (Figure 3), subject of this article.
     Figure 4 represents a J. and E. Stevens catalog insert, circa 1917, intended for distribution to toy wholesalers. It is interesting that, despite evidence of the existence of such inserts, as well as several known examples of "Called Out Bank", it is generally believed the bank pictured in Figure 3 was never mass-produced nor was it commercially retailed. This assumption is based upon the fact that no original painted cast iron example of "Called Out Bank" has ever surfaced.
     However, three unpainted examples were discovered in 1945, and these by noted mechanical bank historian and collector, Mr. Mark Haber (deceased). He had acquired the mechanicals from J. and E. Stevens when permitted to rummage through the company's defunct foundry. It was in the workroom of Charles A. Bailey, the presumed designer of "Called Out Bank", that Mr. Haber unearthed the only three original cast iron examples known to exist. One was factory assembled and fully operational, (Figure 3), while the other two were found in complete but disassembled and inoperative condition.
     Mr. Haber subsequently sold the mechanical (Figure 3) to prominent collector, Dr. Arthur E. Corby. Several years hence it was purchased by author/collector/historian, Mr. F.H. Griffith, at a sale following the death of Dr. Corby. Mr. Griffith retained this unique rarity in his collection until shortly before his recent passing. It has since been acquired by renowned collectors Steve and Marilyn Steckbeck.
     Although the words "PAT'D APLD FOR. MADE IN THE U.S.A." had been imprinted underneath the base, to date no patent papers relating to the "Called Out Bank" have been located. Perhaps the prevailing international conflict influenced J. and E. Stevens to abandon its intent to acquire a patent; speculation is that production of the bank was halted due to the shortage of iron imposed by the wartime situation. In Figure 3 we are able to see a small hole that had been cast into the base of the mechanical at the front left corner of the tent. This was apparently intended to accommodate an American flag. Interestingly, another J. and E. Stevens mechanical bank exhibits a similar cast hole in its base. Known as the "U.S. and Spain" bank (refer to Antique Toy World article, February 1994) it was also produced during America's involvement in a war situation and, it too, was an expression of patriotism.
     Action of the "Called Out Bank" is initiated by exerting pressure upon the uppermost-positioned soldier, thus "pushing" him down into the tent. A coin is inserted within the slot at the left side of the bank. Simultaneously, this soldier "pops up" signifying that he has been "called out" to duty. Deposits are removed by opening the round, patented, Stevens-type, coin retainer underneath the base.
     In addition to the three known original cast iron examples of "Called Out Bank", there are several original, assembled, working, bronze master patterns. These are extremely rare and, also, highly desirable, collectable items.
     Unfortunately, as with other rare mechanical banks, numerous reproductions of the "Called Out" bronze master pattern have been created. If contemplating purchase of a bronze example it would seem prudent to request documented provenance and/or consultation with an authority on the subject.
     Figure 5 is a base diagram of the original cast iron example, which is represented in Figure 3. A cast iron reproduction would appear approximately one-quarter inch shorter O.D. than indicated.
     On a final cautionary note: any cast iron example of "Called Out Bank" that is offered for sale, other than one of the three originals discussed in this article, should be scrutinized prior to acquisition.
     ACKNOWLEDGMENT: My thanks to Greg Zemenick, M.D. (a.k.a. "Dr. Z") for contributing Figure 4, the representation of his rare "Called Out Bank" catalog insert.

Uncle Remus Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2001

     Humiliating, degrading and exploitative describe the racist theme of many goods produced during the nineteenth century. The European and American populace was a fertile and receptive outlet for the expression of anti-Negro sentiment.
     Children's playthings were no exception, as evidenced by the availability of toys that depicted the black man as an inept figure, involved in awkward and ridiculous situations. The "Uncle Remus Bank," subject of this article (Figure 1), is just such an example. A black man, audaciously attired in mismatched, inappropriate clothing, is "caught" in the preposterous act of robbing a hen house. A policeman with nightstick in hand is poised behind the coop, waiting to apprehend the unsuspecting thief.
     Unfortunately, no toy jobber catalogs, merchandising flyers, or other advertising literature featuring the "Uncle Remus Bank" has been located. Thus, the designer and manufacturer of this mechanical remain unknown. The only factual information is its nomenclature, and this because it had been cast into the back of the bank. Seen in bold letters are the words "UNCLE REMUS BANK 136."
     Two other mechanical banks that are similar in several aspects to the "Uncle Remus Bank" are "Boys Selling Watermelons" (refer to Antique Toy World article, March 1985), and "Zoo Bank" (June 1992). Firstly, there is a lack of information relevant to designer and/or manufacturer; secondly, all three banks display the same coloration and paint application technique. In addition, all have one of the following numbers cast onto their backs: 133, 134, or 136, leading to the speculation that each may possibly be a part of the same series. Finally, most obvious in all three is the design of buildings that utilize foreshortened perspective in order to elicit the illusion of greater depth than the banks actually achieve.
     Speculation amongst collectors and historians alike is that the Kyser and Rex Company of Frankford, Pennsylvania might have produced all of the aforementioned mechanical banks. This assumption is based upon various similarities between these and several other banks known to have been manufactured by the firm. They include comparable casting details, external appendages and internal parts secured by bent over, malleable iron pins, paint coloration and the common usage of a unique, rectangular, key lock coin retainer.
     Of particular interest is Figure 2, representing a Patent that is numbered 462,150 and dated October 27, 1891. It had been issued to a John Murray of New York City. Although it has never been established whether this patent was actually the blueprint for the "Uncle Remus Bank," there are numerous resemblances between it and the bank seen in Figure 1. These include a black man standing in close proximity to a hen house and an internally activated, mobile figure of a man, partially hidden behind the coop. He is holding an upraised object, seemingly poised to strike the individual.
     The patent drawings (Figure 2) deviate somewhat from the bank represented in Figure 1. It was common practice for nineteenth century mechanical bank manufacturers to modify patents in order to achieve design and cost objectives.
     Action of the "Uncle Remus Bank" is a masterpiece of synchronization. The figure of the cop is pulled back into position (refer to Figure 1). A coin is then placed into the slot atop the hen house roof. The operating lever, in the form of the chicken and positioned in front of the coop, is pressed downward. Simultaneously, the cop, nightstick raised, scoots around the side of the house. The coin then falls into the bank; Uncle Remus slams the door shut, hiding himself from the pursuing policeman. Deposits are retrieved by opening the square key-lock coin retainer underneath the base.
     The "Uncle Remus Bank" is considered scarce and a fine example could prove to be quite costly. Caution should be exercised when contemplating purchase of this mechanical, since numerous reproductions are known to exist.
     Figure 3 is a base diagram of an original example. A recast will appear approximately one-eight inch shorter in length O.D. than indicated.

Multiplying Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2001

     Fantasy, deception, and intrigue greet those who dare gaze through the magic looking glass! Recorded history dating to the fourteenth century attests to the magician's use of mirrored or plain glass to effect visions and multiple image illusions. One of the most popular carnival attractions of today is the infamous "House of Mirrors." In it, we are able to marvel, or perhaps recoil, at the appearance of ones distorted self, as reflected through the multifarious glass.
     One gentleman of the nineteenth century was apparently captivated by the concept of illusory mirrors. Mr. David R. Goudie of London, Ontario, Canada invented a clever contraption that he designated as a "multiplying money-box" (Figure 1). On August 14, 1883, he was granted U.S. Patent Number 282,978 for his invention. That date was, ultimately, cast by the manufacturer into the base plate underneath the bank, i.e. "PAT'D AUG 14, 1883."
     Mr. Goudie assigned his creation to the prestigious J. and E. Stevens Foundry of Cromwell, Connecticut. Stevens, in turn, produced what is considered by many to be a masterpiece of cast iron architectural whimsy, i.e. the "Multiplying Bank" (Figure 2).
     A wholesale toy catalog advertisement, circa 1885, can be seen in Figure 3. In its ad, the Biddle Hardware Company of Philadelphia, Pennsylvania offered the "Multiplying Bank" at a cost of $10.50 per dozen, and the following instruction: "Place a coin in the Bank and it is multiplied by the reflection in the mirror until it looks like a half-dozen coins." Deposits are recovered by undoing the patented, round, Stevens-type coin retainer underneath the base.
     Sadly, many collectors have denied this fine coin collection device its rightful status as a true mechanical. Their logic has been based upon the lack of mechanical action necessary to deposit the coins and/or the absence of motion that generally ensues following the deposition of a coin. However, the appearance of "Multiplying Bank" in countless mechanical bank collections worldwide acknowledges its appeal and worthiness to the category.
     Interestingly, there are two other mechanical banks that utilize mirrors in order to achieve the desired objective. These are the "Smyth X-Ray Bank" (refer to Antique Toy World, September 1997), and the extremely rare "Presto Bank," penny changes to a quarter (Antique Toy World, March 1993). In contrast to the "Multiplying Bank," both are readily accepted as bona fide mechanicals since they satisfy the aforementioned characteristics regarded as necessary for the designation.
     I am not aware of any casting variations of the "Multiplying Bank." There are, however, several color combinations. In addition to the red, white and blue coloration (Figure 2), I have seen examples painted various shades of green, tan, and brown.
     The "Multiplying Bank" is not considered a rarity. Nevertheless, discovering one in complete, unbroken and superb paint condition could prove quite a challenge even to the resourceful collector. To date, the bank has not been reproduced. Figure 4 represents a base diagram of an original example. If a duplicate were manufactured, it would, in comparison, be approximately one-quarter inch smaller O.D. than indicated.
     Addendum: Please refer to my article Fortune-Horse Race "Savings Bank" in the April 2001 issue of Antique Toy World. In it, I stated the bank featured and pictured represented the only one known to exist. Since that writing, I have been made aware of two other examples of Fortune-Horse Race "Savings Bank". A photograph of one of these is shown in Figure 5.

English Bulldog
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2001

     What worthier, more befitting, subject for mechanical banks than the stately Bulldog! A noble creature endowed with a distinctive jaw, it appears aptly designed by Mother Nature to consume large amounts of coinage.
     Apparently, nineteenth century toy manufacturers were cognizant of the canine's capability to enhance their line of "penny gobblers". Familiar examples include "Bulldog Standing" Bank (refer to Antique Toy World article, February 1990), "Bulldog Coin On Nose" (August 1989), "Bulldog Savings" (November 1984), "Spring-Jawed Bulldog" (June 1990), "Bonzo" Tin Bank (August 1997), "Boy and Bulldog" (July 1989), "John Bull's Money Box", and the subject of this article, "English Bulldog" (Figure 1).
     The "English Bulldog" Bank was manufactured by the Saalheimer and Strauss Tin Works Company of Nurnberg, Germany. Nurnberg was the world center for the manufacture of tin plate toys during the late nineteenth and early twentieth centuries. Saalheimer and Strauss was indisputably, the foremost designer and producer of tinplate mechanical banks during that era. The skill and artistry demonstrated in their full color, lithographed, embossed tinplate creations remain unrivaled to this very day.
     Figure 2 represents a flyer distributed in 1929 by Saalheimer and Strauss. The descriptive caption beneath the catalog illustration of the "Bulldog" Bank is, interestingly, inscribed in German, English, and French. It appears likely that the entire series was manufactured for export to other countries.
     Included within the flyer (Figure 2) is a statement indicating the bank shown in Figure 1 was part of "a series of six tin mechanicals produced with and without animation". However, in contradiction to the aforementioned number of banks is the fact that, to date, a total of eight different mechanical banks are known to reside in various collections. These are: "English Bulldog", "Teddy Bear", "Clown", "Harold Lloyd", "African Native", "Tiger", "Black Golliwogg", and "British Lion".
     A few of the mechanicals in the series served a dual purpose. Not only were they marketed as banks, but also as candy containers whose cavities were filled with "Lyons' Toffees". Figure 3 is a representation of the obverse of the "Teddy Bear" Bank. Obviously intended for candy storage, it displays the "Lyons' Toffee" logo and appropriate instructions for candy removal.
     Action of the "English Bulldog" is uncomplicated and effective: the lever located at the left side of the bulldog's head is depressed. Simultaneously, the jaw lowers and the tongue protrudes. A coin is then placed upon the extended tongue, followed by release of the lever. The tongue, carrying its bounty, snaps back into the bank, and the jaw returns to its original position (i.e. Figure 1). Deposits are retrieved by opening the key lock, sliding coin retainer behind the top of the canine's head. Examples of banks exhibiting the "Lyons' Toffee" logo utilize non-key lock sliding coin retainers.
     The "English Bulldog" and all other mechanicals in this series are quite scarce. To my knowledge, there are no reproductions of any of the Saalheimer and Strauss banks. However, this does not preclude the possibility of reproduced replacement parts. Needless to say, in such an instance the value of the bank is compromised.
     Despite its diminutive size, i.e. Height: 5-1/8 inches, Width: 2-7/8 inches, "English Bulldog" is an attractive and highly desirable addition to a mechanical bank collection.
     Acknowledgement: The superb example of "English Bulldog" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     Addendum: It has come to my attention that, despite diligent research and editing, errors in reporting may occasionally and inadvertently occur. Most are minor; however, in some instances, feathers may be ruffled. As co-writer and editor I am pleased that feedback, for the most part, has been positive. I am delighted to hear from some readers that the information presented has been helpful in selecting and purchasing mechanical banks. However, no article is ever complete. Up-to-date data as well as necessary corrections relating to past articles are always requested and always appreciated. After all, it is you, the readers, who gain the most from other readers who relate newly discovered facts pertaining to our hobby.
            —Linda Schreckinger

English "Football" Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2001

     Football, or soccer, in one form or another, has been in existence for centuries as indicated by ancient historical records. The Chinese played the game of "tsu-shu" more than 2,000 years ago ("tsu" meaning kicking with the foot, and "shu" referring to stuffed leather ball).
     Soccer was introduced to England, or Briton as it was then known, sometime around 10 A.D. via invasion by the Romans. The game was disorderly and excessively violent, with its participants battering and maiming one another. Although the Romans departed Briton in 409 A.D. this unruly, haphazard version of soccer continued in the same manner for approximately twelve centuries (Figure 1).
     Sometime about the year 1800, the game evolved into the more familiar nonviolent form wherein only the ball is propelled solely with one's foot. This civil modification alone resulted in a soaring of the sport's popularity.
     In 1848 the major Prep schools agreed upon the "Cambridge Rules", a basic set of edicts that became the definitive regulations of soccer. In 1863 soccer clubs in London created the "Football Association", the world's first organized soccer league. Further modifications over the years elevated this sport to its position as England's national pastime. Premium salaries were paid to talented players; children had visions of becoming soccer heroes; fans crowded local stands to root for their favorite team.
     British toy and mechanical bank manufacturers, as their American counterparts, were eager to capitalize upon popular trends. On January 7, 1895, inventor-manufacturer, John Harper of Willenhall, England was awarded Registry Number 247,326 (Figure 2) for his design of a mechanical bank featuring an English football player.
     The "Football Bank" (Figure 3) was subsequently produced by England's foremost mechanical bank manufacturer, John Harper and Company, Ltd., of Willenhall, Staffordshire, England, at its Albion Works Foundry. Figure 4 represents an advertisement from the company's 1895 wholesale toy catalog. In it, the "Football Bank" is offered "48 Shillings per dozen. Boxed singly."
     Operation of the "Football Bank" is noncomplex; its action is swift and effective. A large English penny is placed upon the sloped platform in front of the player's right foot. His right leg is then pulled backward, thereby locking it into kicking position. Upon pressing the lever his leg snaps forward and kicks the penny through the slot between the goal posts. Deposits are retrieved by unscrewing the goal building from the base of the bank.
     All examples of this mechanical display the words "Football Bank" which had been cast into the top of the base. In addition, the numbers "247326" were cast into the back of the goal building, and RdNo 247326 PATENT APPLIED FOR" is seen cast into the underside of the base. There are several casting variations of "Football Bank". The coin slot can be one of three different sizes; the player can be composed of either brass or iron; in some the Registry number was cast into the leg and, in others, no number is shown.
     There are numerous color variations. As indicated in the Harper and Company toy catalog advertisement (Figure 4), the soccer player was "supplied in club colours, for orders of three-dozen or more". Also, I have seen goal posts and front latticework painted in several different combinations.
     In addition to the aforementioned, there are variations in the style of shirt worn by the soccer player. It may be V-neck, turtleneck, or crew neck. In examples of early manufacture, the player sports a cap upon his head; in a later version, he is hatless.
     The English "Football Bank" is quite scarce, especially when found in superb condition. Unfortunately, Harper Company neglected to undercoat its banks prior to application of paint. Thus, moisture, heat, cold, or any degree of rough handling over time resulted in most examples experiencing profuse flaking of their painted surfaces.
     English "Football" is an attractive addition to a mechanical bank collection. Its desirability is enhanced when displayed alongside other sports-related examples such as "Darktown Battery", "Calamity", "Leap Frog", "Horse Race", "I Always Did `Spise a Mule", etc.
     I am not, at this writing, aware of the existence of any reproductions of "Football Bank". Nonetheless, Figure 5 represents a base diagram of an original example. If a recast were attempted, the base would appear approximately one-quarter inch shorter in length O.D. than indicated.
     Acknowledgements: The superb example "Football Bank" is from the collection of Steve and Marilyn Steckbeck.
     My thanks to John and Adrian Haley for contributing copies of the English Registry papers seen in Figure 2.

Hoop-La Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2001

     Electricity filled the air! The thundering sound of applause was heard! The circus Ringmaster, a lone figure spotlighted within a field of darkness, had introduced THE CLOWNS! Laughter followed by further applause were the explosive sounds of the bedazzled audience greeting those rambunctious jesters in painted face.
     Such was the global appeal and popularity of these zany denizens of the Big Top. Recognition of their monetary potential was not limited to the confines of the Circus. Nineteenth century toy manufacturers worldwide seized the opportunity to increase profits by creating a plethora of mechanical banks incorporating the likeness of these entertainers. Classic examples include: "Circus Bank", "Bill-E-Grin", "Acrobats", "Humpty Dumpty", "Jolly Joe the Clown", "Clown and Harlequin", "Professor Pug Frog", "Clown on Globe", "Punch and Judy", "Elephant and Three Clowns", Clown on Bar", "Clown and Dog", "Clown Bust", "Trick Dog", and the subject of this article, "Hoop-La Bank" (Figure 1).
     The "Hoop-La Bank" was invented by John Harper of Willenhall, England. On April 5, 1897 he received Registry Number 296,880 for his design (Figure 2). The bank was subsequently manufactured by John Harper and Company, Ltd., Willenhall, Staffordshire, at its Albion Iron Works Foundry. Harper was the premier manufacturer of cast iron mechanical banks in Europe during the late nineteenth and early twentieth centuries. Its products may be compared in many aspects to a prominent American mechanical bank manufacture of that era, i.e., J. and E. Stevens Company of Cromwell, Connecticut.
     Figure 3 is an advertisement from a Harper Company wholesale catalog, circa 1898, offering the "Hoop-La" mechanical at "64 Shillings per dozen. Boxed Singly."
     Interestingly, several of the banks Harper produced were almost identical in likeness to those manufactured by J. and E. Stevens: e.g. "Creedmoor Bank", "Speaking Dog", "I Always Did 'Spise a Mule", and "Jolly Nigger". The "Hoop-La" differs significantly from the aforementioned in that it is similar, but not identical to the "Trick Dog Bank" and it was manufactured by the Shepard  Hardware Company of Buffalo, New York.
     Figure 4 represents an advertisement from a Montgomery Ward and Company catalog, circa 1889, offering the Shepard Hardware "Trick Dog Bank" at eighty-five cents apiece. (Refer to Antique Toy World article, November 1988 for historical background and discussion of the "Trick Dog Bank".)
     Operation of the "Hoop-La" is identical to that of the "Trick Dog", and is aptly described in the catalog ad for the "Trick Dog Bank" (Figure 4): "The bank represents a clown dressed in full circus colors, holding a hoop; the coin is placed in the dog's mouth, and by touching the lever, the dog jumps through the hoop and deposits the coin in the barrel." Monies deposited in the "Hoop-La Bank" are recovered by opening the round, wing nut style, coin retainer underneath the base.
     To my knowledge, there are no casting or color variations of "Hoop-La Bank", nor am I aware of the existence of reproductions. If a recast were attempted, its base would appear approximately one-quarter inch shorter O.D. than indicated in Figure 5.
     On a final note, "Hoop-La" is an appealing addition to the Circus-Clown category of mechanicals. Although it is not considered a rarity, it is a challenging Bank to acquire.
     Acknowledgements: The "Hoop-La Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     My thanks to John and Adrian Haley for generously contributing copies of the English Registry papers seen in Figure 2.

American Bank
(Sewing Machine)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2001

     One of the most ingenious labor saving devices of modern times has been the sewing machine. This month's featured bank (Figure 1) owes its origin to this truly remarkable invention.
     Created in the United States by Walter Hunt, circa 1834, the first of these contraptions was referred to as a "lock stitch" sewing machine. Approximately twelve years later Elias Howe of Spencer, Massachusetts elaborated upon Hunt's design. Howe's refinement produced a more functional, utilitarian machine for which he received a patent in 1846. The essentials of Howe's brainchild still remain the prototype for today's home-use sewing machine.
     As is true of any new, important invention, the sewing machine elicited the public's curiosity and excitement. Favorable reaction inspired other inventors to create a plethora of stitching contrivances, each with its own virtues. By 1860, more than seventy-four companies in this country alone were producing sewing devices. By 1880, almost every homemaker in the nation had some access to a sewing machine (Figure 2).
     "The American Bank" seen in Figure 1 is believed to have been a promotional or advertising item exemplifying a sewing machine produced by one of the manufacturers of that era. Common practice during the late nineteenth century and early twentieth centuries was for home appliance manufacturers and retail outlets to supply prospective consumers with toy penny banks fashioned in the form of their wares. Examples were radios, refrigerators, stoves, etc. It was hoped that these representational coin containers would be utilized as budgeting aids for the purpose of saving money to purchase the actual product.
     Several years ago noted historian, Mr. F. H. Griffith, attempted to research the "American Bank". Unfortunately, his dilemma was, and is to date, the absence of any catalog, patent, or manufacturing information pertaining to the subject. He then investigated the American Sewing Machine Company of Massachusetts. After encountering numerous setbacks, Griffith concluded: "There was not much to be learned. However, the company was chartered in April 18, 1854 and dissolved March 31, 1931. No other statistics were available due to the fact that the corporation has been out of existence so long".
     Operation of the "American Bank" classifies it as a semi-mechanical. Its action is independent of coin insertion; rather, the deposited monies descend, innocuously, into the bank. Activation of the "American Bank" is initiated by turning the crank handle located at the left side of the base. This causes the pulley to revolve, thus raising and lowering the faux needle in a realistic manner. Deposits are recovered by unscrewing the cast iron, rectangular coin retainer underneath the bank.
     There are several casting variations of "American Bank" and all pertain solely to its name imprinted upon the facade. The letters comprising the words "AMERICAN BANK" may either be raised, or the word "AMERICAN" alone may be raised and the word "BANK" stenciled in gold. In yet another version, the word "BANK" has been omitted, having been replaced by a decorative design.
     The "American Bank" is an extremely rare, attractive and desirable item. Although it is not regarded as a true mechanical since deposition of coins evokes no action, mechanical bank collectors have welcomed it into their collections. Its appeal and worthiness has been acknowledged.
     I am not aware of the existence of any reproductions of the "American Bank". Figure 3 represents a base diagram of an original example. If a duplicate were manufactured, it would, in comparison, be approximately one-eighth inch shorter along the base, O.D. than indicated.
     Acknowledgement: The "American Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

The Wishbone Bank Pattern
Part II, an update
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2001

     This month's discussion focuses upon two rare mechanical bank patterns presented in previously published issues of Antique Toy World. These are the "Wishbone" Bank Pattern (refer to August 1999), and the "Old Aunt Dina and the Fairy" Bank Pattern (September 1999).
     Since the aforementioned dates of publication, information has surfaced which now enables further follow-up. My thanks to fellow mechanical bank collector, Mr. Max Berry of Washington, D.C., for his input as well as the photographs seen in Figures 1 and 2. In each of these articles, implication was that the patterns featured were the only examples known. However, Mr. Berry has recently informed me of his acquisition, some several years ago, of an original example "Wishbone" Bank Pattern (Figure 1) and an original "Old Aunt Dina and the Fairy" Bank Pattern (Figure 2). Both these patterns remain within his renowned collection.
     These bank patterns were obtained by Mr. Berry via the disbursement of the distinguished Covert and Gertrude Hegarty mechanical bank collection in 1988. The Hegartys were early collectors of mechanical banks and toys, basing their selection upon quality, rarity, and originality. Their collection boasted some of the finest known examples produced by nineteenth and early twentieth century toy makers.

Old Aunt Dina and the Fairy Bank Pattern
Part II, an update
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2001

     Unlike its "finished product", a mechanical bank pattern is not a bank, but rather a highly detailed, hand-finished disassembled model. It is utilized by manufacturers or foundries to generate mass-produced copies for sale to the general public. The assembled bank patterns seen in Figures 1 and 2 were purportedly created by master bank designer, Charles A. Bailey of Cobalt, Connecticut. Mr. Bailey is recognized by mechanical bank historians and collectors as the foremost bank designer and pattern maker of his time. His penchant for meticulous detail and impeccable design in the category of cast metal toys and mechanical banks has never been equaled.
     As an aside, Bailey's fondness for floral motif was reflected in the designs he created and produced at his casting facility in Cobalt. None, however, expressed these sentiments as vividly as the "Old Aunt Dina and the Fairy". Years later, his affection for nature was, once again, displayed by such notable mechanicals as "Boy Robbing Bird's Nest", "Darkey Football", "Kicking Cow", "Bad Accident Bank", "Hen and Chick", "World's Fair Bank", Lion Hunter Bank", "Perfection Registering Bank", etc. These examples were produced during his employ as chief pattern maker and mechanical bank designer for the J. and E. Stevens Company of Cromwell, Connecticut.

John Bull's Money Box
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2002

     Our subject of discussion this issue is a cast iron mechanical bank whose image embodies the spirit of the British nation. Just as Uncle Sam (Figure 1) reflects the tenacity and solidity of the American people, John Bull (Figure 2) depicts the stout and straightforwardness of the Englishman.
     Mr. Bull's persona originated more than 300 years ago in Great Britain. A fictitious personality by the name of John Bull first began to appear in a series of politically motivated pamphlets entitled "Law Is a Bottomless Pit." The creator of these satirical works was Dr. John Arbuthnot (1667-1735).
     Bull's guise and garb evolved gradually over the next few centuries. His eventual characterization, i.e. the familiar and beloved portly gentleman, resplendent in top hat, top boots, swallow-tailed coat, sporting the British flag upon his waistcoat, was the brainchild of artist-illustrator, Sir John Curruthers Gould. Gould's work was featured in the Westminster Gazette, a popular British periodical published during the latter portion of the nineteenth century. Often, John Bull was portrayed in the company of an English bulldog. This courageous animal had also become a popular symbol of Great Britain (Figure 3).
     Nineteenth and twentieth century British toy manufacturers recognized and capitalized upon the popularity of one of its national heroes. John Bull's image was incorporated into a plethora of children's playthings. On May 21, 1909 the firm of Sydenham and McOustra of Walsall, Staffordshire, was awarded English Registry Number "542,573" for its design of a "toy mechanical money box." The toy featured likenesses of both John Bull and his English bulldog (Figure 4). During the process of production, the number "RD 542573" was cast onto the underside of the base of the bank.
     Sydenham and McOustra manufactured the "John Bull's Money Box" at its Beacon Iron Foundry, in Staffordshire, England. It is believed that the bank seen in Figure 4 was the sole noteworthy mechanical produced by the company. In addition, Sydenham and McOustra may have manufactured several of the Jolly Nigger, bust-type banks that deluged the English toy market during this period.
     Action of the "John Bull's Money Box" is identical to the "Hoop-La-Bank", Figure 5, a product of another English toy manufacturer, i.e. John Harper and Company Ltd., and the "Trick Dog Bank" (Figure 6), manufactured by the Shepard Hardware Company of Buffalo, New York. All operate in a similar manner: "The coin is placed in the dog's mouth, and by touching the lever the dog jumps through the hoop and deposits the coin in the barrel." Deposits are retrieved from "John Bull's Money Box" by unscrewing the rectangular, iron base plate underneath the bank.
     "John Bull's Money Box" is extremely scarce, especially when located in superb paint condition. Unfortunately, Sydenham and McOustra undercoated its mechanicals with a hard, glossy black, japan finish which, when dry, became impervious to efficient bonding of the bank's final color application. It is because of this factor that any degree of rough handling will cause flaking of the bank's colorful surface, leaving a glossy black void.
     Several mechanical banks manufactured in the United States also suffer from the identical malady. Examples include "Peg Leg Beggar" (refer to Antique Toy World, June 1983), "Circus Ticket Collector" (July, 1983), and "Octagonal Fort" (February, 1999).
     I am not aware of casting or color variations of "John Bull's Money Box", nor am I aware of the existence of reproductions. Nevertheless, if a recast was attempted its base would appear approximately one-quarter inch shorter O.D. than indicated in Figure 7, the base diagram of an original example.
     Acknowledgement: "The John Bull's Money Box" (Figure 4) is from the collection of Steve and Marilyn Steckbeck.

Clown on Bar, Tin Figure
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2002

     The advent of the 19th century realized many changes and brought new adventures to an enlightened America. Amongst these was the introduction of the innovative, grandiose "Three Ring Circus". Ingenious promoters and entrepreneurs, including the renowned P.T. Barnum, captured the attention of the nation, elevating the "Big Top" to unforeseen heights.
     Manufacturers, ever eager to exploit popular trends, inundated the marketplace with various items symbolizing the subject of the public's latest infatuation. Toy manufacturers alone introduced over forty different mechanical banks reflecting the circus theme.
     It was at this time that a small, rather obscure toy manufacturer, namely C.G. Bush and Company of Providence, Rhode Island, produced a mechanical bank employing the likeness of an acrobat dressed as a clown (Figure 1). It is unfortunate, however, that to date, no patent, advertising, or marketing data relating to this company's creation has emerged. Collectors, therefore, assigned it the designation "Clown on Bar, Tin Figure". The nomenclature was prompted by the need to differentiate it from a bank of similar configuration and action, but constructed entirely of cast iron, namely, "Boy on Trapeze", seen in Figure 2 (refer to my article in Antique Toy World, June 1989).
     Interestingly, had it not been for the inscription "C.G. Bush & Co. Prov., R.I." cast into its sides, the creator of this mechanical would also have remained unknown. Further research of the C.G. Bush Company indicates "Clown On Bar" (Figure 1) was its only attempt to produce mechanical banks. It appears likely that the firm's primary endeavor was the fabrication of fine kaleidoscopes for children and adults. C.G. Bush was unique in the production of kaleidoscopes in that it not only utilized small shards of multi-hued glass in its viewers, but also incorporated transparent cylinders filled with colored liquid to enhance the kaleidoscopic effect.
     Observation of the performance of "Clown on Bar, Tin Figure" reveals eloquence, grace, and simplicity. Operation is initiated by placing a coin between the two rings in the clown's hand. The weight of the coin causes the figure to gracefully rotate forward. As the money drops into the bank the clown performs several revolutions until finally ceasing in the up-right position (Figure 1). Deposits are recovered by unscrewing both halves of the base of the bank.
     "Clown On Bar, Tin Figure" had been crafted in a unique manner. The figure of the clown is constructed of painted tin plate, while the base is of cast iron. These features lend a "folk art" appearance and appeal offered by no other mechanical in the category.
     I am not aware of casting variations of the bank pictured in Figure 1. However, I have seen examples with, and without, the name of the manufacturer cast into its sides.
     "Clown On Bar" is considered extremely rare, with only a handful presently known to exist in collections. Due to the fragile nature of both the tin figure and its delicately cast base, most examples have undergone extensive restoration. The opportunity to acquire such a rarity should be accompanied by knowledge of provenance, examination with an ultra-violet lamp and, if deemed necessary, the advice of an expert. One should also be reminded that repairs and/or replacement parts reflect significantly upon price valuation.
     Figure 3 is a base diagram of an original "Clown On Bar" bank. A recast base may appear approximately one-eighth inch shorter O.D. than indicated. Unfortunately, a partially recast or repaired base may elude detection.
     "Clown On Bar" is quite desirable and a particularly attractive addition to a collection of circus-related mechanical banks.
     Addendum: The "Clown On Bar, Tin Figure" seen in Figure 1 has undergone professional restoration to both the figure of the clown and its base. In addition, on original examples all stripes and decorations of the clown figure's garb were painted red.

Kick Inn Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2002

      Under appreciated, overlooked, and rarely mentioned are the antique mechanical banks constructed of wood. However, contrary to their "low-key" and "ho-hum" reputation amongst a few cast iron and tin devotees, members of this category are generally quite interesting. Some are ingenious creations, and prized by collectors.
     Examples of mechanicals composed mainly, or entirely, of wood include: "Child's Bank", "Barking Dog", "Watch Dog Savings Bank", "Darkey In the Chimney", "Give Me A Penny", "Thrifty Scotsman", "Presto Savings Bank" Mouse on Roof, "Freedman's Bank", a plethora of trick drawer type money boxes, "Freedman's Bureau", "Bureau Bank, James A. Serrill Patent", and the subject of this article "Kick Inn" mechanical bank (Figure 1).
     Of the aforementioned, only "Kick Inn" is colorfully painted. In addition, this mechanical utilizes lithographed paper for facade enhancement. The usage of printed-paper as a decorative enrobement for wood was a fairly common practice among turn-of-the-century toy manufacturers. It was an inexpensive method of producing attractive, salable goods.
     The "Kick Inn" Bank was created by Melville Stoltz of St. Louis, Missouri. On February 15, 1921 Mr. Stoltz was granted Patent Number 1,368,414 for his design. As indicated in Figure 2, the final manufactured product (Figure 1) was a fairly accurate representation of the patent drawings.
     "Kick Inn" was manufactured and distributed by the Melvisto Novelty Company of St. Louis, Missouri. Paper labels affixed to the underside of the base may indicate the bank was also distributed by the Presto Novelty Company of St. Louis, Missouri. A 1922 Montgomery Ward Catalog advertised "Kick Inn" Bank at a price of seventy-nine cents each.
     Early company literature indicates "Kick Inn" was offered fully assembled or, if desired, partially fabricated in kit form. Figure 3 represents the paper label that accompanied the mechanical seen in Figure 1. On it were printed the following instructions for assembly: "Hold chimney and rod on center of roof. Set bank on base with red canopy towards mule. Guide rod through hole in center of wood block on base; insert key in slot of nut under this circle, then tighten nut until bank sets firmly on base. Parents can retain key and open bank at will by loosening nut".
     Action of the "Kick Inn" is simple, swift and effective. The bank (Figure 1) is poised for operation. A coin is placed within the slot of the hinged, tin canopy attached to the front of the building. The lever, adjacent to the right rear hoof of the mule, is pressed. Simultaneously, the mule pivots upward, its rear legs kick outward, sharply striking the canopy, which propels the coin through the slot and into the building.
     Occasionally, the "Kick Inn" is mistaken for another mechanical that displays similar imagery, namely "Mule Entering Barn" Bank (Figure 4). However, although the two resemble one another, "Mule Entering Barn" differs significantly in its action. In addition, this mechanical was constructed entirely of cast iron, and was manufactured during the nineteenth century. Further information pertaining to "Mule Entering Barn" can be obtained from my article in Antique Toy World, June 1987.
     In my humble opinion, "Kick Inn" is an extremely attractive, desirable mechanical, and far less common than perceived. As previously expressed, collectors have overlooked wood banks in favor of mechanicals constructed of cast iron or tin. This lone factor has, historically, resulted in their under evaluation. Nonetheless, a superb example of this bank will, undeniably, enhance even the most sophisticated of collections.
     On a final note and worthy of mention is that both ears of the mule are fashioned of thin leather. In addition, its short tail is composed of tan hemp twine.
     I am not aware of the existence of any reproductions of the "Kick Inn" Bank. Figure 5 is a base diagram of an original example, presented solely to indicate size and scale.
     Acknowledgement: The "Kick Inn" Bank (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Gem Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2002

      Unpretentious and dignified is the miniscule "jewel" seen in Figure 1. Known as the "Gem" Bank, this mechanical is generally not granted priority status on most collectors' "want" list. It is only when a truly superb example is beheld that its desirability is elevated to a prominent position.
     The "Gem" Bank was one of twelve different mechanicals designed and manufactured by the Judd Manufacturing Company of Wallingford, Connecticut. Each bank produced by the firm exhibits characteristics of modest design, simplistic action, and highly detailed castings. It is likely that Judd's objective was to manufacture quality products at moderate prices. A page from the company's sales catalog, circa 1885, (Figure 2) appears to support this supposition. Pictured are three other mechanicals produced by Judd, namely "Snap" Bank, $3.15 per dozen, "Dog on Turntable" Bank, $6.70 per dozen, and "Bear and Tree Stump" Bank, $3.30 per dozen.
     Examination of the painted surfaces of most Judd banks further attests to the company's penchant for austerity. A typical pallet included the following: glossy black varnish; maroon lacquer; gold-flecked, brown japan varnish; gold and copper metallic paint; an occasional touch of white for an eye or red for a mouth. The "Gem" Bank seen in Figure 1 displays gold-flecked, brown varnish.
     In contrast to the aforementioned, multicolored original examples of Judd banks do exist. Although some of these may have been "factory-painted", it is likely that most were the result of creative expression on behalf of their former owners. Needless to say, potential purchasers should scrutinize paint and casting of multicolored Judd banks to ascertain authenticity.
     Information pertinent to design and patent of the "Gem" Bank is non-existent. It appears that the Judd Company never applied for patent protection for any of its banks. However, an approximation of date of production may be determined from advertisements and a catalog dated April 1, 1885 (refer to Figure 2).
     It is interesting that, despite Judd's negligence, or frugality, the word "Pat'd" is seen cast into the finial atop "Gem" Bank's roof. Perhaps such false "branding" was an attempt to deter the competition from pirating Judd's design. Operation of "Gem" is non-complex: The dog is pulled back and set into position, as seen in Figure 1. A coin is placed upon the tray held in its mouth. Upon lifting the tail end, the pup springs forward, thus depositing the coin into the building. Deposits are recovered by opening the screw underneath the base.
     Two other of Judd's mechanicals utilize this "single expansion spring" mechanism, namely "Bucking Mule" Bank and "Butting Goat" Bank. There are several color/finish variations of the "Gem" and a few casting variants. The latter pertain solely to a small medallion cast into the side of the building. That plaque may be inscribed with the word "GEM" (Figure 1), or it may display the date "1886", or it may reveal a blank area.
     Unfortunately, the simplicity of the operating mechanisms and castings encouraged the practice of reproduction of many Judd banks. This reduces all original examples to a false and unwarranted common status. The experienced eye, however, should be able to detect recasts since they lack the smoothness, sharpness and finely cast details of the originals.
     The "Gem" Bank is not considered scarce. Nevertheless, locating merely one complete, unbroken example with a great percentage of its finish intact could prove a challenge to even the most resourceful collector.
     Figure 3 is a base diagram of an original "Gem" Bank. A reproduction will appear approximately one-eighth inch shorter O.D. than indicated.
     On a final note, Judd utilized parts and design elements from three of its mechanical banks to create three still type penny banks. These mechanicals were "Dog on Turntable", "Snap-it", and "Gem" (Figure 2). This may, perhaps, be construed as yet another example of company cost effectiveness.

Mechanical Banks of Legend
Provenance and Value
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2002 

     This section of my monthly article deviates from previous discussions. It is presented at this time to explain and clarify frequent, and perhaps confusing, usage of the term "provenance" when referring to a mechanical bank.
     On rare occasions a mechanical will attain so-called "legendary" status. Most often it is attributed to unusual quality of paint condition and/or unique coloration. In other instances, it is its discovery and/or former ownership by respected individual(s) that warrants its elevated status and, thus, the term "provenance".
     The association between particular persons and mechanicals is not surprising. The accumulation of banks spiraled upward during the 1920s and 1930s when the category was relatively new and undiscovered. Mint, or near-mint, examples were readily available to the knowledgeable and discriminating collector.
     When discussing this particular genre of mechanical, collectors precede the name of the bank by its original proprietor. Select examples include "The Squire Henry" 'Mikado Bank', "The Emerine" 'Breadwinners' Bank', "The Mosler" 'Magician Bank', "The Bill Norman" 'Cupola Bank', and "The Hegarty" 'White Hen and Chick Bank' (seen in Figure 1).
     Since I am not cognizant of all "Banks of Legend", I do apologize for the apparent "short list" of notables. Many others have possibly been omitted, and these may also reside in prestigious, legendary collections. On that note, I do encourage information from today's knowledgeable individuals.
     Indoctrination of mechanical banks into the "Legend Hall of Fame" continues to occur. Newly discovered, high quality, banks and their prestigious owners will continue to play an important role in the status of these unique mechanicals. In addition, examples that boast of respected provenance have, historically, commanded a grand premium when offered for sale.
     Who can argue with the valuation placed upon any item and its association? I can recollect the fervor created several years ago when a well-known auction gallery presented Dorothy's "Red Shoes". Worn in the Hollywood movie, "Wizard of Oz", this item achieved a selling price in the high six-figure range!
     In conclusion, legendary mechanical banks, just as legendary "any things", are what dreams and dollars are made of.

Eagle and Eaglets Bank
Part II, an update
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2002

     Occasionally a unique and attractive color variation of a mechanical bank is brought to my attention. Recently, I was made aware of one such example, namely a white base "Eagle and Eaglets" (Figure 2).
     In my previous article pertaining to this mechanical, entitled "Eagle and Eaglets Bank" (Antique Toy World, August 1988), I stated there were only two known color variations relating to the base of the bank. One was painted light green with yellow and red highlights and the other, tan with yellow and green highlights. The excitement of discovering a third base variation appears worthy of this addendum.
     Figure 2 represents the white base variant. Interestingly, this particular color variation may, perhaps, characterize the nesting habits of the eagle more accurately than either of the aforementioned color schemes. Research indicates that eagles tend to build their nests high upon snowcapped mountain peaks.
     Awareness amongst the community of mechanical bank collectors of a rare color variation has sparked a great deal of excitement and enthusiasm. Its unique color may be traced back to trends at the time of manufacture. It appears that white was not a popular hue; early mechanical bank manufacturers understandably omitted it from their palette, opting for vibrant tones when applying the final paint finish to their wares. Therefore, when a white base "Eagle and Eaglets" mechanical bank does surface, it is greeted with enthusiasm. I am aware of only one other similar "white" example that has been discreetly "tucked away" for several years in a renowned collection.
     Other mechanical banks which sporadically exhibit "white" variations include "Hen and Chick Bank", "I Always Did 'Spise a Mule" jockey on bench, "Owl Turns Head", "Bulldog Bank" coin on nose, "Elephant and Three Clowns", "Indian and Bear Bank", and "Dog on Turntable". Owing to their rarity, these white variations do generally command a premium price amongst ardent collectors.
     Acknowledgement: The fine example of "Eagle and Eaglets Bank" (Figure 2) proudly nests in the collection of Greg Zemenick, M.D. (a.k.a. "Dr. Z").

Tin Teddy Bear Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2002

     Cuddly, cute, and composed of cloth is the plush creature affectionately referred to as "Teddy Bear". The public's infatuation with this appealing character is long-standing and continues to grow.
     American and European affection for the fuzzy creature is reported to have begun sometime about 1902. It is told that, while arbitrating a border dispute between Louisiana and Mississippi, President Theodore (Teddy) Roosevelt was invited to a bear-hunting expedition. Unsuccessful in spotting game but eager to please the President, his hosts captured a cub. However, President Roosevelt adamantly refused to shoot the animal.
     Cartoonist Clifford Berryman of the "Washington Post" portrayed the incident via a political cartoon entitled "Drawing the Line in Mississippi" (Figure 1). The illustration was subsequently published in newspapers throughout America. Within a few weeks the event received nationwide notoriety.
     Coincidentally, a soft, articulated cloth bear created by Steiff Toy Corporation of Grengen, Germany, was being introduced in this country by the well-known toy distributor, George Borgfeldt Company of New York City. Timing could not have been more perfect! Owing to the Teddy Roosevelt incident, entry of the Steiff Bear into the American marketplace was met with great enthusiasm.
     The tiny, button-eyed bruin realized immediate success both here and abroad. From the years 1910 to 1920, hundreds of companies were created on both continents to produce the Teddy Bear as well as various memorabilia in its likeness. Its image was affixed to clothing, furniture, china, and jewelry; songs, books, and poems were created with Teddy Bear as the principal theme. Photographers captured images of children hugging their Teddy Bears.
     Needless to say, toy and mechanical bank manufacturers eagerly entered the marketplace with their creations. In the United States the J. and E. Stevens Company of Cromwell, Connecticut, introduced its cast iron interpretation of the Berryman cartoon, "The Teddy and the Bear" mechanical bank (refer to Antique Toy World, December 1986). In Europe, the very prestigious manufacturer of tin mechanical banks, Saalheimer and Strauss Company of Nurnberg, Germany, presented its contribution to the bear-hungry masses, i.e. the "Teddy Bear Bank" seen in Figure 2.
     In Figure 3 we see a flyer distributed by Saalheimer and Strauss. Represented are illustrations of two tin mechanicals of similar construction to the "Bear Bank", namely, "African Native" and "English Bulldog". This suggests they were all a segment of the same series.
     Interestingly, a descriptive statement beneath the illustration of the "English Bulldog" indicates this bank and the "African Native" Bank were part of a "series of six tin mechanicals produced with, and without, animation." However, in contradiction to the aforementioned number of banks is the fact that, to date, a total of eight different mechanicals are known to exist. They are: "English Bulldog", "African Native", "Clown", "Harold Lloyd", "Tiger", "Black Golliwog", "British Lion", and "Bear" (Figure 2). The "Tin Teddy Bear" is quite scarce, as are all mechanicals in this group.
     Worthy of mention is that several of the aforementioned served a dual purpose. Not only were they marketed as banks but also as candy containers filled with "Lyons' Toffees". The following statement is inscribed upon their obverse: "LYONS' TOFFEES, LONDON, ENGLAND. Do Not attempt to work before removing toffees."
     Action of the "Bear Bank" is uncomplicated and amusing. The lever located at the left side of its head is depressed. Simultaneously, the jaw lowers and its tongue protrudes. A coin is placed upon the extended tongue, followed by release of the lever. The tongue then snaps back into the bank, depositing the coin. Monies are retrieved by opening the sliding coin retainer positioned in back of the bear's head.
     I am not aware of any reproductions of Saalheimer and Strauss banks. However, this does not preclude the possibility of reproduced or replaced parts. Needless to say, in such instances the bank's value is compromised.
     Despite its diminutive size, i.e. Height: 5-1/8 inches, Width: 2-7/8 inches, it is an attractive and extremely desirable addition to a mechanical bank collection.
     Acknowledgement: The fine example of "Bear" Bank (Figure 2) is from the collection of Steve and Marilyn Steckbeck.

Cowboy with Tray
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2002 

     What do Tom Mix, Gene Autry, Roy Rogers, and the Lone Ranger have in common? Simply, the stuff that American dreams were made of. These cowboys were merely a few of the great western icons that dominated the American scene during the first half of the twentieth century. Young boys spent countless hours fantasizing about riding the imaginary range, battling cattle rustlers and bringing unsavory outlaws to justice.
     The golden age of the "real life" cowboy, however, reigned from the end of the Civil War through the early twentieth century. Unlike the aforementioned heroes, they were, in fact, grimy, overworked laborers who rode endless miles on horseback. Their jobs were to mend fences and search for lost calves while contending with the scorching sun, harsh winds, and drenching rains. Despite their toilsome, mundane existence, it was these very same "cowboys" (Figure 1) that created the image of the brave, hard-riding, fast-shooting "hombres" that has endured to this day.
     During his heyday the cowboy was aggrandized through photographs, paintings, songs, stories, and clothing. Toy manufacturers of the era produced a plethora of playthings that reflected the life of these seemingly stout-hearted western heroes.
     Interestingly, however, American manufacturers of mechanical penny banks apparently chose to ignore youth's obsession with the cowboy. Indeed, it was not until the early twentieth century that the hero of the "wild west" was utilized, not by an American firm but a European manufacturer, as the subject of a mechanical bank (Figure 2).
     Entitled "Cowboy With Tray" Bank, this mechanical was produced in Germany. To date, information pertaining to its patent and other data is virtually non-existent. Had it not been for the word 'GERMANY' printed upon the cowboy's left shoe, its country of origin would also have remained an enigma. This void in the bank's heritage is a result of nineteenth century German patent law mandating that toys and other insignificant products be designated "Reichsgebrachsmuster", or "registered design". Unfortunately, such documents were routinely discarded after fifteen years, and, therefore, lost forever.
     Occasionally, collectors will refer to "Cowboy With Tray" as "Boy Scout With Tray" Bank. Such designation is refutable since our subject appears to be sporting fringed chaps or leg coverings. This was a necessary garment designed specifically for the cowboy (Figure 3). It protected his legs from thorny, brush abrasions and the occasional, although inevitable, horse bite.
     Action of the "Cowboy With Tray" is non-complex. A coin is placed upon the extended tray. The rear lever, a part of the arms and tray assembly, is depressed. Simultaneously, the coin-laden tray tilts upward, and the coin drops into out hero's gaping mouth. Money removal is accomplished by opening the key lock, sliding coin retainer located behind the cowboy's head.
     There are no significant variations of "Cowboy With Tray" other than a few differences in wording imprinted upon the coin tray. One version states, "Please one penny! Bitte!" (Bitte: the German word for please.) Another is "One penny please", while a third variation contains no wording at all.
     "Cowboy With Tray" is, expectedly, quite scarce. In view of its fragile tin plate construction and the ravages of time, heat, moisture, as well as careless or rough handling by its early, youthful proprietors, it is surprising there are any surviving examples. Fortunate is the collector able to add a fine example of this attractive mechanical bank to his or her corral.
     To my knowledge, there are no reproductions of the bank shown in Figure 2. Nonetheless, the following dimensions of "Cowboy With Tray" are given to aid the collector in determining size and scale: Height: 5-3/4 inches; Width: 2-1/2 inches.
     Acknowledgements: The superb example of "Cowboy With Tray" Bank (Figure 2) is from the collection of Max Berry.
     The "Cowboy With Tray" Bank (Figure 2) was photographed by Alex Jamison.

Snap-It Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2002

     Exciting! Charismatic! Attractive! — Certainly not adjectives that describe the subject of this article! The image of the "Snap-It Bank" (Figure 1) is portrayed as a small, colorless, hexagonal building.
     Fifteen years prior to production of the "Snap-It Bank", i.e. December 21, 1869, John Hall of Watertown, Massachusetts, invented the first patented, commercially produced, cast iron mechanical bank. Hall's creation, appropriately named "Hall's Excelsior", was designed to reflect a small, stylized building of the era. Interestingly, years later, and despite a growing multitude of mechanical bank subjects that included circus themes, flora and fauna, sporting events, individuals at work and play, Hall's initial concept depicting an architectural structure continued to be a most popular subject.
     The success of such a design resulted in a plethora of architectural mechanicals available to the public. It was an unenviable task for the inventor to create yet another that was distinctly different and more attractive than its predecessor. Many triumphed; unfortunately, "Snap-It" was not one of these.
     The "Snap-It Bank" was one of twelve different mechanicals manufactured by the esteemed Judd Manufacturing Company of Wallingford, Connecticut. Each bank produced by Judd exhibits characteristics of modest design, simplistic action and highly detailed castings. It is likely that the firm's intent was to manufacture quality products at moderate prices. A page from the company's sales catalog, circa 1885 (Figure 2), appears to support that assumption. Pictured is the "Snap Bank", priced at $3.15 per dozen.
     The aforementioned description and cost contrast sharply with other manufacturers' more elaborate architectural mechanicals, priced at $18 per dozen. Such examples included "Novelty Bank" (refer to Antique Toy World, February 1987), "Home Bank" (A. T. W. January 1991), "Panorama Bank" (A. T.W., July 1995), and "Cupola Bank" (A. T W., August 1996).
     Examination of the painted surfaces of most Judd banks also attests to the firm's penchant for modesty. A typical pallet included the following: glossy black, transparent maroon, gold-flecked brown japan, copper, silver and gold metallic and an occasional touch of white for an eye or red for a mouth. The "Snap-It Bank" seen in Figure 1 is garbed in a coat of gold-flecked brown japan.
     However, in contrast to the aforementioned, there do exist multi-colored examples of "Snap-It". I have seen factory-painted mechanicals in combinations of  blue and silver, red, and white, and yellow and maroon. These are highly coveted by advanced collectors and, when located, usually command an "appropriate" selling price.
     Unfortunately, information pertaining to design and patent of "Snap-It" is non-existent. It seems likely that the Judd Company never applied for patent protection for any of its banks. However, an approximation of date of production may be determined from a catalog dated April 1, 1885 (refer to Figure 2).
     Operation of "Snap-It" is non-complex: Initially, the knob on the front of the bank is pulled. This opens a pie-shaped drawer, under which is a small lever. This lever is rotated, locking the drawer in the "open" position. A coin is then placed within the drawer. The lever is nudged to the side, thus releasing the drawer, which, simultaneously, "snaps" closed, depositing the coin into the bank.
     Coin removal is accomplished by employing one of the following two methods, depending upon the particular casting variation. The mechanical pictured in Figure 1 is opened by unscrewing a single screw that holds both halves of the bank together. The other variant features no screw, but rather a twist pin, which secures the two sections.
     I am not aware of any reproductions of "Snap-It Bank". Figure 3 is a base diagram of an original example, and is provided to aid the collector in determining size and scale. If a reproduction were attempted, it would appear approximately one-sixteenth inch shorter O.D. than indicated.
     The "Snap-It Bank" is not considered scarce. Nevertheless, acquiring a complete, unbroken example, with most of its finish intact could prove a challenge to even the most resourceful collector.
     On a final note: Judd utilized parts and design elements from its "Snap-It" mechanical to create a non-mechanical still-type bank (Figure 4). This bank, unlike the mechanical, has no moveable front drawer to accept coins, but rather a single coin slot. Curiously, the "Snap-It" still bank, unlike its mechanical sibling, is quite scarce and highly sought-after by both mechanical and still bank collectors.
     Acknowledgement: The catalog page shown in Figure 2 was graciously supplied by fellow collector, Mark Suozzi.

Tell Chocolate Cigarette Vending Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2002

     Ahhh, the virtues of thrift, morality, and charity. These were revered values, taught to children of an earlier period in time.
     Many methods of instruction were utilized, including mechanical banks, to impart lessons in ethics. Notable examples include "Peg Leg Beggar Bank", "Patronize the Blind Man and His Dog", "Boy Robbing Birds' Nest", "Boys Stealing Watermelons", "Uncle Remus Bank" etc. Unfortunately, however, many seemingly innocent mechanicals possessed a "dark side". While prejudice and intolerance were preached via "Jolly Nigger Bank", "Breadwinners Bank", "Paddy and the Pig Bank", and "Reclining Chinaman", others encouraged unhealthy habits. Figure 1 represents one such example, namely the "Tell Chocolate Cigarette Vending Bank", a bank that portrayed the pleasures of smoking.
     The mechanical was created by a prominent toy manufacturer, i.e. Hartwig and Vogel Company of Dresden, Germany, circa 1920. This apparently harmless toy candy dispenser not only doled out chocolate cylinders in the form of cigarettes, but was also abundantly adorned with the images of euphoric young children engaged in smoking (Figures 2a, b, c).
     Fortunately, thanks to Hartwig and Vogel, the mechanical itself contained sufficient pertinent data to document its heritage for posterity. Significant wordage and graphics embellish the façade of the "Tell Chocolate Cigarette Bank". The words "Tell. Die zigarette fur kleine Raucher. Hartwig and Vogel -A. -G. Dresden" translate from the German to: "Tell. The Cigarette for little Smokers. Hartwig and Vogel Company, Dresden". Portrayal of such detailed, concise information was uncommon for the majority of German mechanical bank manufacturers of the period. In addition, early German patent law mandated all mechanical bank patents to be routinely discarded after fifteen years, thus creating a significant void in the history of most of the category.
     Of interest is the word "Tell", printed upon the mechanical's marquee. It designated the name of a renowned European chocolate producer, namely the Tell Company. Apparently both companies entered into a joint venture wherein Tell utilized the Hartwig and Vogel vending bank in order to advertise and dispense its product.
     The "Tell Chocolate Cigarette Vending Bank" is constructed almost entirely of lithographed tinplate; the exception is a small glass pane set into the front panel. It is through this transparent window that we are able to view the chocolate cigarettes as each makes its descent through the bank.
     Action of the mechanical pictured in Figure 1 is typical of the myriad of candy vending banks produced in Europe during the early twentieth century. Initially, a coin is inserted through the slot directly behind the "Tell" marquee at the top of the bank. This releases a drawer which, when manually opened, reveals one "Tell" chocolate cigarette. (Note — the mechanical pictured in Figure 1 is not equipped with chocolate cigarettes. If it were, they would be visible through the window.) Deposits are recovered by unlocking the key lock, trap door, coin retainer underneath the base.
     I am not aware of any structural variants of the "Tell Chocolate Cigarette Vending Bank". However, Figure 3 depicts a decorative variation. In contrast to the mechanical pictured in Figure 1, it contains no wording and might possibly have been a dispenser of actual cigarettes. This example similarly exhibits illustrations of young children engaged in the act of smoking.
     The "Tell Chocolate Cigarette Bank" is quite scarce, as are most early European tin mechanicals. This may be attributed to fragile tin plate and glass construction as well as careless handling by early youthful proprietors.
     Disquieting subject matter, combined with charming, fairy tale type, children's book illustrations make the "Tell Chocolate Cigarette Vending Bank" an attractive and most interesting addition to a mechanical bank collection.
     To my knowledge, the "Tell Bank" (Figure 1) has never been reproduced. Figure 4 represents a base diagram of an original example, provided to aid the collector in determining size and scale.
     Acknowledgement: The fine example of "Tell Chocolate Cigarette Vending Bank" is in the collection of Don Curran.

Bear and Tree Stump
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2002

     What did the influx of immigrants to our shores in the late nineteenth and early twentieth centuries have in common with the subject of this month's article? Simply, it was the introduction of new forms of entertainment derived from the exhibition of exotic and sometimes fearsome animals.
     Itinerant animal trainers from distant shores thrilled audiences across this country with their performing monkeys, snakes, tropical birds and bears. Of all the acts, however, it was the awesome bruin that created the most excitement. To be able to view, or even to pet, one of these powerful creatures without the separation of bars of a cage made children quiver and grownups quake.
     Soon to capitalize upon such new and extraordinary forms of street performances were several mechanical bank manufacturers who utilized the bruin in varied and imaginative situations. Notable examples include J. and E. Stevens' "Teddy and the Bear" and "Indian and Bear" banks. The Mechanical Novelty Works incorporated a bear, albeit quite tiny, into its "Afghanistan Bank". Kyser and Rex created the "Organ Grinder and Performing Bear" which, most vividly, portrays an actual performance (refer to the August, 1986 issue of Antique Toy World). The Kenton Manufacturing Company's entry into the market was its modestly designed "Bear With Slot in Chest". Last, but certainly not least, was the unpretentious "Bear and Tree Stump" bank (Figure 1) created by the prestigious Judd Manufacturing Company of Wallingford, Connecticut.
     Unfortunately, very little information is available relating to "Bear and Tree Stump", as well as
any mechanical produced by Judd. This has been attributed to the company's practice of either abstaining from applying for, or the inability to obtain patents on its wares. Frequently, when information does surface, it is acquired from old company catalogs and records.
     Figure 2 represents a page from a rare 1885 Judd trade catalog. Within it is pictured the "Bear and Tree Stump" bank, priced at $3.30 per dozen, with japan finish, and $3.80 per dozen for either the ebony or the gold finish.
     As evidenced by the bank featured in Figure 1 is the close attention Judd paid to even the most minute casting details. Note the definition in the fine hair covering the bear's body. Examination of other examples of Judd banks, such as "Boy and Bulldog", "Dog on Turntable", "Butting Goat", "Mosque", "Bulldog Standing" and "Giant" will similarly attest to the casting skills of this renowned foundry. Other unique characteristics typifying Judd mechanicals include modest design and simplicity of action. A small spring, a single lever or a simple crank was all that was needed to animate the company's creations.
     Operations of "Bear and Tree Stump" is initiated by placing a coin on the bear's tongue. A small lever on its back is then pressed. Simultaneously, the tongue rises slightly, prompting the coin to slide into the bank. Deposits are recovered by unscrewing the bolt that fastens together both halves of the mechanical.
     Most banks manufactured by Judd display a modest japan varnish or a metallic color. Occasionally, a touch of white for an eye, red for a mouth, or green verdigris was utilized as a subtle enhancement. The example of "Bear and Tree Stump" bank pictured in Figure 1 is painted ebony black with white eyes and a red tongue.
     I am unaware of any casting variation relating to "Bear and Tree Stump". However, this does not preclude the existence of such an example.
     Unfortunately, simplicity of casting and mechanism design has encouraged spurious attempts to reproduce several of the Judd mechanicals. This has created the false impression amongst collectors that all Judd banks are fairly common. In fact, with the exception of "Dog on Turntable" all are quite scarce. It is fortunate, however, these recasts are easily detectable since they lack the fine casting details of an original example.
     Figure 3 is a base diagram of an original "Bear and Tree Stump" bank. A reproduction would appear approximately one-sixteenth of an inch shorter in length O.D. than indicated.
     On a final note, the internal mechanism of "Bear and Tree Stump" is extremely fragile and was easily damaged. Most often, when an example is located the lever mechanism and/or tongue are either missing, broken, or recast. Needless to say, valuation of such an example will be reflective of its condition.
     Acknowledgement: The catalog page represented in Figure 2 was supplied by fellow collector, Mark Suozzi.
     Addendum: (from December, 2002) My apologies for omission of acknowledgement of the "Bear and Tree Stump Bank" featured in the October 2002 issue of Antique Toy World. The fine example shown in the article is in the collection of Steve and Marilyn Steckbeck.

Charles A. Bailey
and "Bailey's Toy Bank Watch"
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2002

     A master in the art of mechanical bank design was the esteemed Charles A. Bailey. In this month's article he shares the spotlight with his first creation, a still type penny bank.
     Born in Cobalt, Connecticut in 1848, Bailey began his career as a pattern maker for a local manufacturer of coffin hardware. During this employ he was introduced to the floral motifs that would dominate nearly all of his future endeavors. In 1878 Bailey entered into self-employment. Working from a small shed in the rear of his Cobalt home he produced a limited number of ingenious pot metal banks composed of lead-zinc alloy.
     The first of these was the aforementioned still type penny bank, which he designated and marketed as "Bailey's Toy Bank Watch" (Figure 1). Bailey was assigned Patent number 221,998 on November 25, 1879 (Figure 2) for his invention.
     Operation of the "Bank Watch" is quite uncomplicated and efficient. Initially, the small button inside the brass ring is pressed inward, thus allowing the top lid of the watch to swing open. This action exposes a coin slot located along the rim of the watch face between the nine and twelve o'clock positions. The coin is then inserted into the slot and the lid cover is closed, manually. Coins are retrieved by reopening the lid and shaking the deposits out of the slot.
     Bailey's intended purpose in creating the "Bank Watch" was expressed in the patent papers seen in Figure 2: "This devise will be found very convenient as a means for preventing coppers and small silver coins from getting lost in the pocket, and affords the boys a toy imitation of a watch that they will greatly appreciate."
     Figure 3 represents an original box utilized to package the "Toy Bank Watch". Figure 4 illustrates an advertisement from an Oscar Strasburger catalog, circa 1880, offering the "Bank Watch" wholesale priced at $3.25 per dozen.
     Bailey's earliest mechanical type penny bank was "Baby Elephant Opens at X O'Clock", followed by "Springing Cat", "Chinaman In the Boat", and "Darkey Fisherman". In addition, Bailey produced two mechanical bank patterns, which never progressed beyond that stage. They were "Old Aunt Dina and the Good Fairy" and "Wishbone" (refer to Antique Toy World December 2001). Interestingly, all the aforementioned banks exhibit Bailey's penchant to incorporate floral ornamentation into his creations. In 1889, responding to a lucrative offer of twenty-five dollars per week from the J. and E. Stevens Company of Cromwell, Connecticut, Bailey accepted the position as chief pattern maker and mechanical bank designer. He eventually, and deservedly, earned the reputation as the most prolific and celebrated figure in the history of toy penny banks.
     During his twenty-six years with J. and E. Stevens Company, Bailey created no less than twenty-five desirable cast iron mechanical banks. Most of these featured his unmistakable trademark: multiflorous embellishment. Several examples include "Boy Robbing Birds' Nest", "Lion Hunter", "Hen and Chick", "Darkey Football Bank", "Milking Cow", "Bad Accident", "World's Fair Bank", "Perfection Registering Bank", "Chief Big Moon", "Magician", "Shoot the Chute", "Billy Goat", "Boy Scout Camp", etc...
     Although Bailey's "Toy Bank Watch" is not considered a mechanical, it is highly coveted by mechanical bank collectors. The salient factors are its venerable heritage and extreme rarity.
     Figure 5 is a contour drawing of an original example "Bank Watch". It is included to illustrate actual size and scale.
     Acknowledgements: The superb example of "Bailey's Toy Bank Watch" (Figure 1), the original box (Figure 3) and the vintage photograph of Charles A. Bailey are from the collection of Max Berry. "Bailey's Toy Bank Watch" (Figure 1) was photographed by Alex Jamison.

Automated Wood Mottoes Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2002

     Unappreciated and often overlooked are mechanical banks constructed of wood. Unfortunately, their composition appears to be the sole factor responsible for lack of popularity amongst collectors of cast iron and tin mechanical banks. In actuality, many of these mechanicals are amusing and imaginative, and quite desirable.
     The "Automated Wood Mottoes Bank" (Figure 1), an exciting new find, was recently brought to my attention. It is an intriguing example of an antique toy that was designed to teach children the wisdom of saving their pennies. The virtue of thrift was an Anglo-American philosophy that prevailed throughout the late nineteenth and early twentieth centuries.
     The "Mottoes Bank", as many other members of the wood mechanical group, is ingenious in design, as demonstrated by its action, and highly prized by knowledgeable collectors. In addition to our subject of discussion, other notable examples of mechanicals composed partially, or entirely, of wood include: "Barking Dog", "Watch Dog Savings Bank", "Darkey in the Chimney", "Give me a Penny," "Thrifty Scotsman", "Presto Savings Bank — Mouse on Roof", "Freedman's Bank", "Freedman's Bureau", several trick drawer, disappearing coin-type money boxes, "Kick Inn", "Musical Church Bank", "Sailor Money Box", etc.
     Interestingly, the "Mottoes Bank" is also related to a category of mechanicals which, upon insertion of a coin, display either a fortune, or a proverb or an anecdote. Members of this group include: "Lucky Wheel Money Box", "Automatic Fortune Savings Bank", Fortune Horse Race "Savings Bank", "Bank of Education and Economy", "Fortune Teller Savings Bank" and "Automatic Coin Savings Bank".
     The "Automated Wood Mottoes Bank" therefore, has the distinction of combining the characteristics of both of the previously discussed categories. Action of the bank shown in Figure 1 is uncomplicated and entertaining. Initially, a large English-type penny is "pushed", forcefully, through the slot on the top of the bank. This action displaces the motto displayed through the glass window on the front of the bank, allowing for another motto to take its place.
     Figures 2 and 3 not only reveal the mechanical bank's internal mechanism, but also its original label, complete with instructions. This dualistic view is unique since it occurs with no other example in either aforementioned group.
     The label reads: "Instructions for use. Having displaced the mottoes by means of the coins open the box and take out the twelve pieces of wood on which are the mottoes, after which place in order, push back the spring and use the strip of wood to keep in position until the mottoes are placed; release the spring by taking the wood strip away and after locking, the box is again ready for use. In order to work the better, the coins should be pushed with some force." Coin removal is accomplished by opening the lid and turning the bank upside down. This allows deposited coins as well as utilized mottoes to be expelled.
     Unfortunately, due to lack of any identifying marks, the manufacturer of "Mottoes Bank" remains an enigma. However, a clue as to its country of origin appears on a motto inscribed on one of the bank's wooden plaques: "Take care of the pence and the pounds will take care of themselves". Such reference to British currency assumes the possibility of manufacture in England.
     In addition to this motto, the others state: "Many a mickle makes a muckle"; "If youth but knew what ages would crave. It sure would strive to get and save"; "Fools and their money soon part"; "Tis the saving soul that reaches the goal"; "Saving is getting"; "Money makes money"; "A full purse is a good friend"; "To become rich you must save"; "Save in time and you will never have a need"; "It is never too late to save"; and, lastly, "Now open and fill me again".
     On a final note, dimensions of the "Mottoes Bank", Figure 1, are 4 1/2 inches high, 5-1/2 inches wide, and 4-1/2 inches deep.
     Acknowledgement: The unique example of "Automated Wood Mottoes Bank", Figure 1, is in the collection of Max Berry.
     Addendum: My apologies for omission of acknowledgement of the "Bear and Tree Stump Bank" featured in the October 2002 issue of Antique Toy World. The fine example shown in the article is in the collection of Steve and Marilyn Steckbeck.

Bird In Cage
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2003

     This month's topic of discussion, "Bird in Cage" seen in Figure 1, is a charming toy mechanical penny bank. Interestingly, its serene subject matter appears to be a paradoxical example of a product manufactured by a country in turmoil.
     Early twentieth century Germany was in the midst of great economic and political unrest. The development of new and innovative items for export was one of a means of salvation. It is not coincidental, therefore, that the "golden age" of German tin plate toy and mechanical bank production occurred between 1925 and 1935. Distinguished companies such as Saalheimer and Strauss, Bing, Doll and Cie, Marklin, Lehmann, etc., that had previously produced only metal and tin plate articles for everyday domestic usage began to design and develop a multitude of ingenious colorful toys and mechanical penny banks directed towards the foreign market.
     One of these was "Bird in Cage" (Figure 1). Constructed of lithographed and painted tin plate, it was designed and produced by the George Zimmerman Company of Zirndorf, Nurnberg, Germany. On December 12, 1929 the company received Reichs Patent Number 1100948 for its creation (Figure 2). Not only is the discovery of this patent, or Reichspatent, of historical importance but its mere existence is quite unusual. It is one of very few surviving examples of toy patents issued in Germany during that era. As discussed in previous articles, it was a government mandate that insignificant patents designated "Reichsgebrachmusters" or "registered designs" (usually those which related to toys) be routinely destroyed after fifteen years.
     It was fortunate that the patent papers for "Bird in Cage" were able to be located since the mechanical itself is totally devoid of any identifying marks. Its discovery revealed information pertaining to the bank's country of origin, its manufacturer/designer and date of production.
     Regrettably, representation of only a partial portion of the original patent could be obtained, as seen in Figure 2. Action of "Bird in Cage", is aptly described in its complete patent papers. I will attempt to paraphrase the description verbally provided to me in German and translated into the following: "A savings device with a slot for a coin. When coin is deposited, a small figure (bird) starts to swing."
     Worthy of mention is Figure 3, which represents another German Reichspatent (i.e. Number 1100946) dated December 12, 1929. This patent features a bank also designed and produced by the George Zimmerman Company. It too is is constructed of lithographed and painted tin plate. However, it differs from "Bird in Cage" in that its entire facade is a non-articulated illustration. This bank, represented in Figure 3, is not considered a mechanical since coin deployment does not evoke any action. The text portion of its patent (also in absentia), describes an interesting feature which is accomplished manually, sans coin, and paraphrased from the German translation: "A savings device with a built in voice maker (bird chirping mechanism). Turn the voice knob on the top of the bank to make a sound".
     Both "Bird in Cage" (Figure 1) and "Chirping Bird in Cage" (Figure 3) are extremely rare, with very few of each in known collections. Fortunate, therefore, is the collector able to display this attractive pair.
     Deposits are removed from each bank in similar manner, that is by opening the key lock, trap door, coin retainer underneath the base.
     Dimensions of "Bird in Cage" (Figure 1) are: Height: 3-15/16 inches, Width: 2-13/16 inches, Depth: 1-5/8 inches.
     Acknowledgement to fellow collectors: The superb example of "Bird in Cage" bank (Figure 1) is in the collection of Frank and Joyce Kidd of Portland, Oregon.
     The Reich Patents, Figure 2 and 3, were graciously supplied by Harold Merklein, of Nurnberg, Germany.

Pelican Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2003

     A worthy representative of a noble breed of waterfowl is the pelican. Endowed by Mother Nature with a cavernous bill and pouch, this creature would appear to be a most appropriate subject for a mechanical penny bank.
     Indeed, one inventor in particular did utilize the image of a pelican in his design and creation of an automated coin-consuming object. In Figure 1 we see the culmination of his endeavor, and the subject of this month's article, namely the "Pelican Bank".
     On October 15, 1878 John Gerard of Trenton, New Jersey was assigned Patent Number 209,038 for the "Pelican Toy Money Bank" (Figure 2). He, in turn, reassigned the patent to the Trenton Lock and Hardware Company, also of Trenton. This company ultimately manufactured the bank seen in Figure 1. As evidenced by the patent drawings in Figure 2, Trenton Lock and Hardware adhered closely to the design of John Gerard.
     Interestingly, deposits in this bank are not accomplished via the Pelican's bill-pouch, the seemingly obvious feature suitable for coin insertion. Instead, monies are placed through a slot in the top of its head. The bill-pouch does, however, offer a surprise therein to the depositor of this bank. Action of the "Pelican Bank" is initiated by pushing the bird's bill (shown in the open position in Figure 1) downward and snapping it shut. This causes the head of the man to recede into the pelican's pouch. Upon insertion of a coin, an internal mechanism is released. This causes the bill to open, liberating the pouch-entombed figure. Deposits are retrieved by unscrewing the oval base upon which the pelican is perched.
     An early advertising flyer, circa 1870-1880, issued by the James M. Vance and Company, 211 Market Street, Philadelphia, Pa., pictures the "Pelican Bank" accompanied by the following text: "The Ornamented Pelican Savings Bank. Patented October 15, 1878 Combines Amusement, Ornament and Utility. As a savings bank it is as useful as any that has been offered for the favor of the public.
     The very neat mechanical trick by which the mocking face of the cashier appears when a coin is deposited is a source of perpetual surprise and amusement to young and old. The bank is handsomely bronzed and is highly artistic in design and execution making it a desirable ornament for the bracket or mantle.
     The form is novel and attractive and the reasonable price at which the bank is offered recommends it generally. Price upon request."
     The "Pelican Bank" is a member of an interesting category of mechanicals occasionally referred to as "surprise action banks". When activated, such examples designedly expose a concealed object, either animal or human. Notables in this group include: "Elephant With Howdah, Man Pops Up", "Zig Zag Bank", "Chief Big Moon", "Teddy and the Bear", "Cupola Bank", "Shoot That Hat Bank", "Cat and Mouse", "Called Out", "Bimsarck Bank", "World's Fair Bank", etc.
     The "Pelican Bank" was produced in several color and casting variations. Some examples exhibit painted coats of dark japan brown, or glossy black, or white, or "handsomely bronzed" gold (Figure 1). It is reasonable to assume that other examples of this mechanical exist which utilize colors not mentioned. If in doubt as to authenticity, consultation with a knowledgeable individual prior to purchase is recommended.
     Casting variants pertain solely to the colorful figures inhabiting the interior of the pelican's pouch. These include a man wearing a peak cap, thumbing his nose (Figure 3), an Arab (Figure 4), a hatless man thumbing his nose (Figure 5), a Negro mammy (Figure 6), and a Rabbit (Figure 7).
     Despite the fact that some of the aforementioned figures are considered much scarcer than others, all "Pelican Bank" examples are priced equally. As with most antique mechanical banks, cost/value is generally determined by overall condition.
     The "Pelican Bank" is an extremely well designed, attractive mechanical. It is particularly impressive when exhibited as an "open-billed" group, displaying the various pouch occupants.
     Figure 8 is a base diagram of an original "Pelican Bank". A reproduction will appear approximately one-eighth inch shorter O.D. than indicated.
     Acknowledgement: The fine example "Pelican Bank" Arab figure variation is proudly perched in the collection of Steve and Marilyn Steckbeck.

British Clown
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2003

     Since its advent, circus entertainers have delighted and amazed countless audiences. Acrobats perform death-defying feats, while animal trainers defy the jaws and lethal fangs of dangerous beasts. However, no performer participating in the grand spectacle known as the "Big Top" has elicited as much anticipation, excitement and laughter than the clown.
     This jester's universal appeal did not escape the attention of late nineteenth and early twentieth century mechanical bank manufacturers. Companies both here and abroad produced a number of banks that incorporated the images of circus clowns. Several prominent examples include: "British Clown" (seen in Figure 1 and subject of this article), "Circus Bank", "Bill-E-Grin", "Acrobats", "Humpty Dumpty", "Jolly Joe the Clown", "Clown and Dog", "Hoop-La", "Professor Pug Frog", "Clown on Globe", "Punch and Judy", "Clown on Bar", "Clown Bust", "Trick Dog", "Elephant and Three Clowns", etc.
     "British Clown" was manufactured by Saalheimer and Strauss Tin Works of Nurnberg, Germany. During the aforementioned time period, Nurnberg was the world center for production of tin plate toys. Undeniably, Saalheimer and Strauss was the foremost designer of tin plate penny banks during that era. The company's technology and artistry demonstrated by these colorful, lithographed metallic creations remain unrivaled to this day.
     Figure 2 depicts an advertising flyer distributed in 1929 by Saalheimer and Strauss. In it are portrayed two tin plate mechanicals similar in design and construction to "British Clown". These are "English Bulldog" and "African Native". The descriptive captions beneath the catalog illustrations are inscribed in German, English, and French. In all likelihood, this series of mechanicals was also manufactured for export.
     An additional statement within the flyer (Figure 2) indicates the "British Clown" (not pictured or mentioned by name) was one of a "series of six tin plate mechanical banks produced with and without animation". However, in contradiction to the aforementioned number is the fact that, to date, a total of eight different subjects are known to collectors. These are: "British Clown", "English Bulldog", "Teddy Bear", "Harold Lloyd", "African Native", "Tiger", "British Lion" and "Black Golliwog".
     Action of "British Clown" is quite amusing and, interestingly, varies from one example to another. The variations pertain solely to movement of the clown's lower jaw. In the example appearing in Figure 1, a wire lever located behind the clown's left ear (not evident in the photograph) is depressed. Simultaneously, the jaw lowers and a large red tongue emerges from its mouth. A coin is then placed upon the protruding tongue and the lever is released. The tongue snaps back into the bank, depositing the money. Coin deposit and activation of the bank portrayed in Figure 3 is less complex. This example exhibits a simple coin slot located behind the yellow tuft of hair at the top-center of the clown's head. Deposits entered via the slot strike an internal baffle that causes the the lower jaw to merely "wiggle".
     As indicated in the flyer, a third variation of "British Clown" was produced by this same company but "without any animation". Collectors refer to such examples as "still banks". All three variants utilize identical means of deposit recovery, i.e. a rectangular sliding coin retainer located at the top of the rear coin receptacle.
     Worthy of mention is the fact that there is a subtle visual identification mark that can help determine the "protruding tongue" mechanical from the one with the "wiggly jaw". The lever-activated clown (Figure 1) has a small wavy line imprinted upon the center of its lower jaw, while the wiggly jaw clown (Figure 3) has a red ball displayed upon its chin.
     The "British Clown", as well as all mechanicals in this series, is extremely rare. To my knowledge, none has been reproduced; however, this does not preclude the possibility of reproduced replacement parts. Needless to say, in such instances the value of the bank is compromised.
     Despite its diminutive size, i.e. Height 5-7/16 inches, Width 2-15/16 inches, "British Clown" is a colorful, attractive "circus theme bank" and a most desirable addition to a mechanical bank collection.
     Acknowledgement: The fine example "British Clown" (Figure 1) is in the collection of Steve and Marilyn Steckbeck.

Presto Savings Bank
(Mouse on Roof)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2003

     Intriguing, charismatic, and elusive describe the subject of this month's article. The "Presto Savings Bank", Mouse on Roof (Figure 1), is one of the rarest of mechanical banks with less than a handful known to exist.
     This mechanical was the creation of Charles M. Crandell, one of the foremost manufacturers of lithographed paper-clad wood toys and dollhouses of the period. On May 20, 1884 Crandell was assigned Patent Number 298,830 (Figure 2) for his "Presto Savings Bank". He subsequently reassigned two-thirds of his patent rights to Frederick W. Crandell and Benjamin L. Baldwin. The bank was ultimately manufactured by the Frederick and Charles Company located in Montrose, Pennsylvania. The finished product seen in Figure 1 adhered closely to the patent design.
     "Presto Savings Bank" (Figure 1) is, with the exception of the mouse, constructed of wood enrobed in colorful lithographed paper. The tiny mouse perched atop the roof of the house is composed of a gray, plush cloth material.
     Since the mechanical is but one of a group of wooden banks, it is puzzling why most other members of the category, although equally attractive and imaginative, are generally unappreciated. A few examples include "Kick Inn", "Darkey In the Chimney", "Barking Dog", "Give Me a Penny", "Thrifty Scotsman", "Freedman's Bureau", "Chest of Drawers", Serrill's Patent, "Musical Church Bank", "Sailor Money Box", etc.
     Activation of "Presto Savings Bank" had been described in an illustrated advertisement of a Selchow and Righter wholesale toy catalog dated October 10, 1885: "Size 6 inches long, 5 inches high and 2-1/2 inches wide. One-half dozen in a box. This is the most pleasing and ingenious toy ever invented. The idea is entirely new — and so cheap and captivating as to insure sale on sight. The operation is quick and decisive, though simple and natural, while the result is surprising. A penny is laid flat-ways on top of the bank. The operator is then directed to turn the knob and see it disappear. It does so; when Presto! the penny is gone, and quick as lightning a cunning little mouse has taken its place. The money is safe in the vault, though nobody sees it go; the mouse is turned back to his mysterious hiding place, and the Bank is ready for another deposit." Coins are removed by unscrewing the wooden base located underneath the bank.
     Interestingly, in addition to "Presto Savings Bank" Mouse on Roof, there are two other entirely different mechanical banks that include the word "Presto" as part of their moniker. They were, however, constructed from cast iron and are: "Presto Trick Drawer Bank" (refer to Antique Toy World, April 1992), a "common" bank and "The Presto Bank" Penny Changes to a Quarter (A.T.W., May 1993) which, like the wood "Presto Savings Bank" (Figure 1), is extremely rare.
     On a cautionary note, approximately fifty years ago the "Presto Savings Bank" was reproduced with the sole purpose of deceiving collectors. Fortunately, the several spurious creations are easily recognizable. They were crudely manufactured of cast iron and tin, in sharp contrast to the attractive, beautifully executed paper-covered wood originals. These reproductions have no intrinsic value and are considered worthless.
     Figure 3 represents a base diagram of an original "Presto Savings Bank". It is provided to aid the collector in determining size and scale.
     Acknowledgements: The fine, all original "Presto Savings Bank" seen in Figure 1 is in the collection of Max Berry.
     The "Presto Savings Bank", Figure 1, was photographed by Alex Jamison of Silver Spring, Maryland.

Safe Deposit Box
(Tin Elephant bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2003

     The mid to late nineteenth century was a time of discovery and adventure for the American populous. Immigrants traveling from distant and foreign lands brought a wealth of cultural diversity accompanied by unique and exciting ideas. Also brought to these shores were never-before-seen strange and exotic creatures.
     Many of these animals were feverishly pursued by carnival and circus owners seeking to feature new and novel additions to their menageries. The popularity of the "Great Apes" and "Big Cats" was indisputable and only exceeded by the noble and awesome elephant. Touted by carnival barkers and circus ringmasters as "the Mighty Lord of all Beasts" (Figure 1), the pachyderm reigned as the most popular attraction of its time. Its likeness adorned such items as posters, paintings, packaged foods, clothing, tools and toys.
     Mechanical bank manufacturers, ever cognizant of prevalent trends, incorporated the likeness of the elephant into many of their own wares. Notables include such classics as: "Elephant and Three Clowns" (refer to A.T.W., May 1991), "Hubley White Elephant" Pull Tail (A.T.W., October 1992), "Jumbo" (A.T.W., December 1987), "Light of Asia" (A.T.W., November 1991), and subject of this article, "Safe Deposit Box" Tin Elephant Bank, Figure 2.
     Although fifty years have passed since the discovery of "Safe Deposit Box", countless hours of searching for documentation have uncovered no trace of the bank's manufacturer or designer. Unfortunately, the only information that can be offered at this time is conjecture derived from my own conclusions as well as those of other knowledgeable collectors.
     The construction, design, and material utilized in fabricating "Safe Deposit Box" Tin Elephant Bank are reminiscent of several other tin animal-form toys. These had been the creation of prominent nineteenth century tin toy producer, George W. Brown and Company of Forestville, Connecticut.
     In 1869, Brown entered into a joint venture with the highly acclaimed cast iron toy and mechanical bank manufacturer, J. and E. Stevens Company of Cromwell, Connecticut. The consolidated company became known as the Stevens and Brown Manufacturing Company (Figure 3). During the next decade Brown designed hundreds of tinplate items to supplement the J. and E. Stevens cast iron line. Included were general hardware, kitchen implements, birdcages, and toys. It would not have been inconceivable for Brown to design an articulated tin elephant penny bank to augment the J. and E. Stevens line of cast iron mechanicals.
     Although the name itself, "SAFE DEPOSIT BOX", appears obscure, it was not one that was arbitrarily designated by collectors. It was, in fact, printed by the manufacturer in gold letters on dark blue paper affixed to either side of the bank's base (not legible in photograph seen in Figure 2).
     In order to operate this mechanical, a coin is placed within the rounded end of the elephant's trunk. The tail is then depressed, causing its trunk to swing inward, dropping the money into the provided slot. Deposits are removed by opening the (keyless) hinged, front-end panel of the bank's base.
     The "Safe Deposit Box" (Figure 2) is an extremely rare item, having been the only example to surface in the past century. Its provenance is also quite impressive. It was discovered in the 1950's by pioneer collector/dealer Frank Ball of Cambridge, Massachusetts. Figure 4 represents a "Banks Wanted Ad" which Mr. Ball ran in Hobbies Magazine, circa 1950. He later sold the bank to eminent toy collectors, Covert and Gertrude Hegarty.
     Several years ago the Hegarty mechanical bank collection was offered for sale. The purchasers of "Safe Deposit Box" were Steve and Marilyn Steckbeck, in whose collection this bank presently resides.
     Figure 5 is a base diagram of the "Safe Deposit Box" Tin Elephant Bank (Figure 2). Since, to my knowledge, this mechanical has not been reproduced, it is provided solely to aid collectors in determining size and scale.

The Magie Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2003

     Sorcery and divination have fascinated and bedazzled audiences over the centuries. Modern society offers such form of entertainment with its fortunetellers, psychics, stage illusionists and the like. These "performers" offer intrigue and mystery as they attempt to open hidden doors to the occult.
     The subject of this article represents one of a group of ancient sorcerers known as Magi, or Magie. This priestly sect of wise men practiced their form of magic throughout the Persian Empire during the First Century A.D. The creation of the "Magi" mechanical bank (Figure 1) was one twentieth century designer's tribute to these magicians.
     Unfortunately, no information is available that would acknowledge either the mechanical's creator or distributor. However, wordage printed around its base does indicate the bank's country of origin. The letters "D.R.G.M." and the name "GERMANY" not only identify the bank as a product of Germany, but also establish the date of manufacture as circa 1900-1935. During this time period, manufactured goods considered by the German Patent Office to be "unimportant" were imprinted with the letters "D.R.G.M." ("Deutsches Reichs Gebrach Musters"). Such documents were government mandated to be routinely destroyed after fifteen years, thus relegating these "frivolous" goods, particularly toys, to an obscure heritage. As with so many other survivors of that era, it is hoped that a catalog or advertising flyer might surface which would provide much needed historical data.
     The "Magie" is one of a group of mechanicals produced both here and abroad that specifically features the illusion of the "disappearing coin". Other notables comprising this provocative family include: "Magician Bank" (Antique Toy World, February 1985), "Presto Trick Drawer Bank" (A.T.W., April 1992), "Freedman's Bureau" (A.T.W., June 1997), "Chandler's Bank", Clark's "Child's Bank", "Serrill's Bureau", several "Trick Drawer" money boxes, etc.
     It is interesting that the designer/manufacturer of the "Magie Bank" attempted to incorporate an element of historical and regional authenticity into their creation. Note the Middle Eastern/Persian motif decorating the front and side panels of the Magie's table. Such subtle yet attractive touches, so reminiscent of most early German tin mechanicals, add greatly to the bank's desirability.
     The "Magie Bank" is considered quite scarce. Fortunate is the collector able to add a fine, all original example to his/her collection.
     Action of the "Magie Bank" is interesting and appropriate to the subject. A coin is placed within the circular depression on the top of the table (Figure 2). The lever behind the "Magie" is pressed downward. This causes the arms and hands holding the square cover to lower, thus hiding the coin from sight (Figure 1). When the lever is released, the arms rise upward, lifting the cover and, presto, the coin has disappeared! Deposits are recovered by opening the key lock, trap door type coin retainer located underneath the base.
     In Figure 3 is seen the front, back, and both sides of an original cardboard box which housed a "Magie Bank" when it was initially offered for sale. It, too, can offer no information since it lacks identifying marks that might have furnished evidence of the bank's manufacture, etc.
     Dimensions of the "Magie Bank" are as follows: Height from base to top of hat: 6-7/8 inches; Width of base: 3-1/16 inches. To my knowledge this mechanical has not been reproduced. These measurements are provided solely to aid the collector in determining size and scale.
     Acknowledgement: The mint example "Magic Bank" seen in Figure 1 and its cardboard box, Figure 3, are in the collection of Steve and Marilyn Steckbeck.

Clown Money Box
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2003

     Our subject of discussion, this article, is an extremely rare and attractive product of Great Britain. This bust style mechanical bank, referred to as "Clown Money Box," is seen in Figure 1.
     Its designer/manufacturer was Chamberlin & Hill, Ltd., a.k.a. Chuckery Foundry, of Walsall, Staffordshire, England. Data pertaining to this firm reveals its manufacturing objectives were likely to have been cost effectiveness and pragmatism. Not only did Chamberlin & Hill design a mechanical utilizing an unquestionably successful and popular subject, that of a circus clown, but one that could be easily manufactured with few moving parts. In addition, paint colors applied to its surface were limited to a sparse few, while its sturdy construction discouraged returns due to breakage during shipping or eventual consumer mishandling.
     The "Clown Money Box" was offered for sale in a wholesale catalog flyer, circa 1925 (Figure 2). The page contained the following verbiage: "33 shillings per dozen. Painted in Brilliant Colours. With full movement. Packed singly in cardboard box, size 7 in. x 4-1/2 in. overall". It had also been stated within the flyer that it was possible to order the "Clown Money Box" in either of two color combinations...Red, Yellow, Black and White, or painted Pale Blue, Yellow, Black and White".
Chamberlin & Hill manufactured two other similar bust style banks. These were the "Little Moe Bank" and "Jolly Nigger" with non-movable eyes. All three examples were produced from 1925 to 1935.
     Interestingly, the catalog page (Figure 2) indicates an extensive line of cast iron products manufactured by Chamberlin & Hill, Ltd. Two deletions, indicated by black lines, are observed within the listing. These barely legible obliterations are "Nuts, Bolts, Etc." and Paper Cap Pistols".
     Action of the "Clown Money Box" is uncomplicated and effective. A large English penny is placed within the open palm of the clown's right hand. The lever located behind its left shoulder is then pressed downward. Simultaneously, the arm lifts in an upward motion, the tongue recedes, the eyes roll upward, and the coin slides through the mouth into the bank. Deposits are retrieved by unscrewing the base plate underneath the mechanical.
     As an aside, Chamberlin & Hill was not the sole producer of mechanicals of simple design and construction. Other British toy manufacturers were known to have produced a plethora of bust style mechanical banks. Cost effectiveness and frugality may not have been the major factors influencing their decisions. Several English bank collectors/historians have theorized these manufacturers, including Chamberlin & Hill, may have designed simplistic mechanicals to avoid internal "jam-ups". The large, heavyweight English Penny used during that time was thought to cause malfunctioning of complicated mechanicals.
     Unhampered by weighty coinage, and unlike their counterparts in the United Kingdom, the goal of American mechanical bank manufacturers appears to have been the creation of colorful, complex, and flamboyant designs. Competitiveness was likely their motivation to produce, at any cost, mechanical banks reflecting new trends, whims, and fancies of the era.
     It was during this same time period that a mere five examples of the aforementioned, simply designed, bust style mechanicals were produced in America. These were the "Uncle Tom Bank" and "Hindu Bank" manufactured by Kyser and Rex, "Jolly Nigger Bank" and "Humpty Dumpty Bank", products of Shepard Hardware, and J. & E. Stevens' "Bill E. Grin" Bank.
     The "Clown Money Box" is extremely rare, with less than a handful known to reside in collections. Locating a fine example could prove a difficult, challenging, and rewarding exercise.
     I am not presently aware of the existence of reproductions of the "Clown Money Box". Nonetheless, Figure 3 represents a base diagram of an original example. If a recast was attempted the base would appear approximately one-eighth inch shorter in length O.D. than indicated.
     Acknowledgements: The fine example of "Clown Money Box", Figure 1, is in the collection of Steve and Marilyn Steckbeck.
     The rare "Clown Money Box" catalog flyer, Figure 2, is in the collection of Max Berry.
     My apologies for the lack of definition pertaining to the eyes of the clown seen in the photograph (Figure1). They were too deeply inset to be captured on film, and thus appear as black voids. Ergo, Figure 4 is a detailed representation of its eyes.

Indian Chief Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2003

     The subject of this month's article is a mechanical bank of mystery. Discovered in New Jersey some forty years ago, the "Indian Chief Bust" Bank (Figure 1) continues to perplex mechanical bank collectors worldwide.
     Featuring the likeness of a male Native American, The "Indian Chief Bust" is devoid of any identifying marks which could reveal its origin. In addition, no catalog or patent data has surfaced to provide information. Its anonymity has prompted a great deal of supposition relating to this mechanical's heritage. The following, therefore, are the possibilities expressed by several knowledgeable mechanical bank enthusiasts and authorities.
     In view of the material of which it had been composed, i.e. cast aluminum, the "Indian Chief Bust" may have been a product of English manufacture. This thinking was deduced from the fact that during the early twentieth century, several foundries located in Great Britain produced mechanicals solely of cast aluminum. One of the most prominent was the Robert and Nellie Starkie Foundry of Lancaster, England.
     Other experts, however, differ in their conclusions. Perhaps, since the mechanical was located on the continent of North America, it may have been a product of Canada. This theory was based upon the fact that several aluminum foundries were operating in Canada at that time.
     The only other viable supposition emerged several years ago. A bank collector residing in Tarragindi, Australia, claimed to have acquired an original example of the "Indian Chief Bust" Bank locally, thereby suggesting that the mechanical may have been produced in that country.
     Recently, there have been reports of the discovery of an "Indian Chief Bust" in New Zealand. However, evidence of its existence has not been substantiated. Determination of the bank's age as a product of the early twentieth century and not contemporary had been ascertained primarily upon a method of casting and attachment. Specifically, both halves were fastened together utilizing an iron nut and bolt. The nut fits into a raised cast square void inside the front half of the bank and is supported by thin iron pins. Such method of utilizing iron pins in conjunction with an iron nut within an aluminum casting was limited solely to early aluminum casting procedures.
     The "Indian Chief Bust" is one member of a very limited group of mechanicals that feature the Native American. These include such notables as: "Chief Big Moon" (Antique Toy World, October, 1990), "Indian and Bear" (A.T.W. October, 1985), and "World's Fair Bank" (A.T.W. February, 1989). The creation of a moderate number of mechanicals featuring the Indian as its subject is puzzling in view of the interest and research pertaining to their lifestyles, particularly during the late nineteenth and early twentieth centuries (Figure 2).
     Operation of the "Indian Chief Bust" is reminiscent of the plethora of bust type banks that proliferate the genre. A coin is placed within the palm of the Chief's right hand. The lever in the left rear shoulder is then depressed. Simultaneously, the arm and hand rise, the tongue recedes, and the coin slides through the open mouth and into the bank. Deposits are removed by unscrewing both halves of the mechanical. It is to be further noted that, unlike several other bust type mechanicals, its eyes are fixed and do not move during operation.
     Provenance of the "Indian Chief Bust" pictured in Figure 1 is adequately documented. Such information is essential in establishing the authenticity and credence of any important objet d' art. It was originally discovered and acquired by noted mechanical bank historian, F.H. Griffith. He subsequently traded it to Leon Perelman, curator of the Perelman Toy Museum in Philadelphia, Pennsylvania. When Mr. Perelman disbanded his museum, the "Indian Chief" Bank was acquired by noted collector, Stanley Sax. Upon Mr. Sax's death it was consigned to Bertoia Auctions and purchased by mechanical bank collector, Max Berry, in whose prominent collection it now resides.
     Figure 3 is a base diagram of an original example "Indian Chief Bust". If a recast were attempted, it would appear approximately one-eighth inch shorter O.D. than indicated.
     The bank pictured in Figure 1 is extremely rare. To date, I am not aware of reproductions. However, in view of simplicity of construction, monetary value, and its desirability, such fraudulent attempt at duplication cannot be ruled out. When contemplating purchase of a "newly discovered" example, it would be advisable to consult with an expert in the field.
     My apologies for the photograph seen in Figure 1. Due to limitation of photography and printing, the Indian Chief's flesh tone appears to be black in color. In actuality, it is dark brown.
     Acknowledgement: The "Indian Chief Bust" was photographed by Alex Jamison.

Two Hundred-Fifty Articles — An Index
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2003

     In view of numerous requests from readers the following is an index of the two hundred-fifty articles I have written for Antique Toy World:
   
 1.   August 1982-The Edwin H. Mosier Bank Sale
2.   December 1982-Girl Skipping Rope
3.   January 1983-Acrobats
4.   February 1983-Zig Zag
5.   March 1983-Two Frogs
6.   April 1983-Reclining Chinaman
7.   May 1983-Elephant and 3 Clowns
8.   June 1983-Peg Leg Beggar
9.   July 1983-Circus Ticket Collector
10.   August 1983-Little Jocko Musical
11.   September 1983-Chimpanzee
12.   October 1983-Billy Goat
13.   November 1983-Confectionery
14.   December 1983-Jolly Nigger
15.   January 1984-Mama Katzenjammer
16.   February 1984-Hall's Excelsior
17.   March 1984-Paddy and the Pig
18.   April 1984-Speaking Dog
19.   May 1984-Tammany
20.   June 1984-Fowler
21.   July 1984-Humpty Dumpty
22.   August 1984-Mason
23.   September 1984-Humpty Dumpty, Part II
        -Elephant and 3 Clowns, Part II
24.   October 1984-Organ Bank, Cat and Dog
25.   November 1984-Bulldog Savings Bank
26.   December 1984-Bird on Roof
27.   January 1985-Darktown Battery
28.   February 1985-Magician
29.   March 1985-Boy Stealing Watermelons
30.   April 1985-Uncle Sam
31.   May 1985-Stump Speaker
32.   June 1985-Zig Zag, Part II
        -Bill Norman's Bank Book, Review
33.   July 1985-Lion Hunter
34.   August 1985-Calamity
35.   September 1985-Organ Miniature
36.   October 1985-Indian and Bear
37.   November 1985-William Tell
38.   December 1985-I Always Did 'Spise a Mule, Jockey
39.   January 1986-Punch and Judy
40.   February 1986-Organ Bank, Boy and Girl 41. March 1986-Boy Scout Camp
42.   April 1986-Perfection Registering
43.   May 1986-I Always Did 'Spise a Mule, Boy on Bench
44.   June 1986-Bad Accident
45.   July 1986-Jonah and the Whale
46.   August 1986-Organ Grinder and Performing Bear
47.   September 1986-Afghanistan
48.   October 1986-Dentist
49.   November 1986-Goat, Frog, and Old Man
50.   December 1986-Teddy and the Bear
51.   January 1987-Mammy and Baby
52.   February 1987-Novelty
53.   March 1987-Lion and Monkeys
54.   April 1987-Horse Race
55.   May 1987-Hall's Lilliput
56.   June 1987-Mule Entering Barn
57.   July 1987-Toad on Stump
58.   August 1987-Milking Cow
59.   September 1987-Dog on Turntable
60.   October 1987-Spring-Jawed Alligator
61.   November 1987-Clown on Globe
62.   December 1987-Jumbo Elephant
63.   January 1988-Organ Bank with Monkey
64.   February 1988-Artillery
65.   March 1988-Stevens Foundry, Part I
66.   April 1988-Stevens Foundry, Part II
67.   May 1988-Stevens Foundry, Part III
68.   June 1988-Penny Lane, Book Review
69.   July 1988-Red Riding Hood
70.   August 1988-Eagle and Eaglets
71.   September 1988-Butting Buffalo
72.   October 1988-Spring-Jawed Bonzo
73.   November 1988-Trick Dog, Six-Part Base
74.   December 1988-Patronize the Blind Man and His Dog
75.   January 1989-Bucking Mule
76.   February 1989-World's Fair
77.   March 1989-Frog on Round Base
78.   April 1989-Owl, Slot in Head
79.   May 1989-Uncle Sam Bust
80.   June 1989-Boy on Trapeze
81.   July 1989-Boy and Bulldog
82.   August 1989-Bulldog on Square Base
83.   September 1989-Cat and Mouse
84.   October 1989-Rooster
85.   November 1989-Spring-Jawed Kitten
86.   December 1989-Saalheimer and Strauss Toy Catalog
87.   January 1990-Owl, Slot in Book
88.   February 1990-Bulldog Standing
89.   March 1990-Atlas
90.   April 1990-Monkey and Coconut
91.   May 1990-Rabbit in Cabbage
92.   June 1990-Spring-Jawed Bulldog
93.   July 1990-Organ Grinder and Performing Bear, Part II
        -Perfection Registering, Part II
94.   August 1990-Uncle Tom
95.   September 1990-Leap Frog
96.   October 1990-Chief Big Moon
97.   November 1990-Girl in Victorian Chair
98.   December 1990-Cross-Legged Minstrel
99.   January 1991-The Home Bank
100.   February 1991-Spring-Jawed Mule
101.   March 1991-First 100 Articles-An Index
102.   April 1991-Butting Goat
103.   May 1991-Elephant Howdah, Man Pop Up
104.   June 1991-Boy Riding Bird's Nest
105.   July 1991-Spring-Jawed Parrot
106.   August 1991-Mickey Mouse, Tin
107.   September 1991-Dinah
108.   October 1991-Merry-Go-Round
109.   November 1991-Light of Asia
110.   December 1991-Frog on Rock
111.   January 1992-Spring-Jawed Chimpanzee
112.   February 1992-Elephant with Tusks, on Wheels
113.   March 1992-Bank of Education and Economy
114.   April 1992-Presto, Trick Drawer
115.   May 1992-Professor Pug Frog
116.   June 1992-Zoo
117.   July 1992-General Butler
118.   August 1992-Spring-Jawed Penguin
119.   September 1992-William Tell, Arrow
120.   October 1992-Hubley Elephant
121.   November 1992-Hubley Monkey
122.   December 1992-Hubley Trick Dog
123.   January 1993-Safety Locomotive
124.   February 1993-Hold the Fort
125.   March 1993-Pig in High Chair
126.   April 1993-Bread Winners
127.   May 1993-Presto, Penny Changes to a Quarter
128.   June 1993-Turtle Bank
129.   July 1993-Watch Dog Safe
130.   August 1993-Monkey, Coin in Stomach
131.   September 1993-Squirrel and Tree Stump
132.   October 1993-Grenadier
133.   November 1993-Mechanical Bank Reproductions, Part I
134.   December 1993-Mechanical Bank Reproductions, Part II
135.   January 1994-Mechanical Bank Reproductions, Part III
136.   February 1994-U.S. and Spain
137.   March 1994-Bow-ery
138.   April 1994-Time Is Money
139.   May 1994-Chronometer
140.   June 1994-Punch and Judy, Part II
141.   July 1994-The Jonah Bank
142.   August 1994-Owl Turns Head
143.   September 1994-Rabbit Standing, Small
144.   October 1994-Rabbit Standing, Large
145.   November 1994-Coasting Bank
146.   December 1994-Shoot the Chute
147.   January 1995-Santa Claus
148.   February 1995-North Pole
149.   March 1995-Bismark
150.   April 1995-Mechanical Bank Ephemera,
          Part II of: Jolly Nigger Bank, Hall's Excelsior,
          Chronometer, Mama Katzenjammer Bank
151.   May 1995-First 150 Articles-An Index
152.   June 1995-Hen and Chick Bank
153.   July 1995-Panorama Bank
154.   August 1995-The Motor Bank
155.   September 1995-The Mosque Bank
156.   October 1995-Queen Victoria Bust Bank
157.   November 1995-The Giant Bank
158.   December 1995-The Rival Bank
159.   January 1996-Giant in Tower Bank
160.   February 1996-Picture Gallery Bank
161.   March 1996-New Bank-Center Lever (Var.)
162.   April 1996-Small Elephant-Swings Trunk
163.   May 1996-Schley Bottling Up Cervera
164.   June 1996-U.S. Bank
165.   July 1996-The Kiltie Bank
166.   August 1996-The Cupola Bank
167.   September 1996-Spring-Jawed Rabbit
168.   October 1996-Tommy Bank
169.   November 1996-Trick Pony Bank
170.   December 1996-Mikado
171.   January 1997-Frog on Arched Track
172.   February 1997-Musical Church Bank (Silent Night)
173.   March 1997-Mama Katzenjammer Bank, Part II and
          The Horse Race Bank, Part II
174.   April 1997-Hall's Excelsior, Part II and Don Duer Book, Review
175.   May 1997 - Tank and Cannon
176.   June 1997-Freedman's Bureau
177.   July 1997-Freedman's Bank
178.   August 1997-Bonzo Bank, Tin
179.   September 1997-Smyth X-Ray Bank
180.   October 1997-Scotsman Bank, Tin
181.   November 1997-World's Fair Bank, Painted by Charles A. Bailey
182.   December 1997-Dog Tray Bank
183.   January 1998-Butting Buffalo, Part II
184.   February 1998-Tabby Bank
185.   March 1998-Roller Skating Bank
186.   April 1998-Wooden Packing Boxes and
          Chief Big Moon Bank, Part II, Red Base
187.   May 1998-Seek Him Frisk Bank
188.   June 1988-Calumet Bank
189.   July 1988-Snake and Frog in Pond
190.   August 1998-Mechanical Bank Patterns
191.   September 1998-The British Lion Bank
192.   October 1998-Lighthouse Bank
193.   November 1998-Old Woman in the Shoe
194.   December 1998-Darkey Watermelon Bank
195.   January 1999-Bill-E-Grin Bank
196.   February 1999-Octagonal Fort Bank
197.   March 1999-Baby Elephant Bank, Unlocks at X O'Clock
198.   April 1999-Springing Cat Bank
199.   May 1999-Darkey Fisherman Bank
200.   June 1999-Chinaman in Boat
201.   July 1999 Two Hundred Articles-An Index
202.   August 1999-Wishbone Bank-A Pattern
203.   September 1999-Old Aunt Dina and the Fairy-A Pattern
204.   October 1999-Bull and Bear Bank
205.   November 1999-Jolly Joe the Clown
206.   December 1999-Weeden's Plantation, Darkey Bank
207.   January 2000-Dime Pistol Bank
208.   February 2000-Ding Dong Bell Bank
209.   March 2000-Clown and Harlequin Bank
210.   April 2000-Japanese Ball Tosser
211.   May 2000-Boy on Trapeze, Part II, An Update
212.   June 2000-The Circus Bank
213.   July 2000-Harold Lloyd Bank
214.   August 2000-Cabin Bank
215.   September 2000-African Native Bank
216.   October 2000-Minstrel Bank, Tin
217.   November 2000-Creedmoor Bank
218.   December 2000-New Creedmoor Bank
219.   January 2001-English Punch and Judy Bank, Iron Front, Tin Back
220.   February 2001-Bowling Alley Bank
221.   March 2001-The Winner Savings Bank
222.   April 2001-Fortune Horse Race, "Savings Bank"
223.   May 2001-Called Out Bank
224.   June 2001-Uncle Remus Bank
225.   July 2001-Multiplying Bank
226.   August 2001-English Bulldog, Tin
227.   September 2001-English "Football Bank"
228.   October 2001-Hoop-La Bank
229.   November 2001-American Bank, Sewing Machine
230.   December 2001-Wishbone and Aunt Dina Patterns, Part II, An Update
231.   January 2002-John Bull's Money Box
232.   February 2002-Clown on Bar, Tin Figure
233.   March 2002-Kick Inn Bank
234.   April 2002-Gem Bank
235.   May 2002-Mechanical Banks of Legend, Hen and Chick, Part II
236.   June 2002-Teddy Bear Bank, Tin
237.   July 2002-Cowboy With Tray
238.   August 2002-Snap-It Bank
239.   September 2002-Tell, Chocolate Cigarette Vending Bank
240.   October 2002-Bear and Tree Stump
241.   November 2002-Charles Bailey, "Watch Bank"
242.   December 2002-Automatic Wood Mottoes Bank
243.   January 2003-Bird in Cage
244.   February 2003-Pelican Bank
245.   March 2003-British Clown
246.   April 2003-Presto Savings Bank, Mouse on Roof
247.   May 2003-Safe Deposit Box, Tin Elephant Bank
248.   June 2003-The Magic Bank
249.   July 2003-Clown Money Box
250.   August 2003-Indian Chief Bust

Sweet Thrift Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2003

     Delightful, amusing, and lucrative best describe the subject of this article. In addition to teaching the virtues of thrift, the "Sweet Thrift Bank" (Figure 1) was designed to vend tempting chocolate treats to youngsters while "saving and making money."
     This satisfier of many a sweet tooth was the creation of Mr. Isidore Kronowit of New York City. On December 11, 1928 he was assigned Design Patent Number 77,158 (Figure 2) for a "Toy Bank" in the form of a vending machine.
     Mr. Kronowit's invention distinguished itself by deviating from typical manufacturing procedures of its era. The "Sweet Thrift Bank" is a lithographed, tin-plate mechanical vending bank manufactured in the U.S.A. Mechanical banks produced in the United States during this period were, generally, constructed of cast iron, and not of the vending genre. Conversely, European creations were, for the most part, vending banks composed solely of lithographed tin-plate. Fortunately, U.S. patent laws permitted preservation of data pertaining to toys and mechanical banks, thus protecting the history of "Sweet Thrift". Most tin-plate mechanicals produced in pre-World War I Germany are devoid of their heritage due to restrictive German patent laws of the era.
     Figure 3 represents an advertisement by Johnson Smith and Company, the distributor of "Sweet Thrift Bank". The ad appeared in its Novelty and Toy Catalog, circa 1930-1937. The selling price indicated was 35 cents each bank. Chocolate wafers were priced at an additional ten per 10 cents. "Be Sure To Get Plenty of Refills—They'll Go Fast".
     Johnson and Smith offered "Sweet Thrift Bank" in three colors. Figure 1 represents a lithographed red example while the others are either a green or yellow color.
     Action of this American-manufactured mechanical is typical of the multitude of tin chocolate vending banks produced in Europe during the 1930's. A coin, either a penny, nickel, or dime, is inserted into the slot located above the front glass chocolate display window. This releases an internal latch that allows the small drawer under the window to be opened, thereby providing the depositor access to one, individually wrapped chocolate wafer. Deposits are recovered by opening a hinged, key lock side door (Figure 4). This door also provided access to an interior chocolate wafer-loading chute designed to replenish the depleted supply of candy.
     Interestingly, the chocolate wafers themselves impart significant data relating to the manufacturer of "Sweet Thrift Bank". Printed upon each of the wafer's over-wrap are the words "Nestle's Milk Chocolate. Packaged specifically for Sweet Thrift Banks. The Beverly Novelty Corporation, 303 Fifth Avenue, New York City. To operate, deposit penny, nickel, or dime, open drawer, and there's your candy bar".
     Other wordage on the obverse of the bank but not evident in the photograph (Figure 1) reads as follows: "THE LESSON OF THRIFT TAUGHT IN A SWEET WAY". The words "PAT. APPL'D FOR" are indicated on the bank's side.
     "Sweet Thrift Bank" is not considered scarce. Nonetheless, it is an attractive addition to a collection of mechanical banks. This is especially evident when the three color variants are displayed together. To my knowledge, the "Sweet Thrift Bank", Figure 1, has never been reproduced. Its dimensions are provided merely as an aid to collectors in determining size and scale: Height: 5-15/16 inches, Width: 2-3/16 inches.

Treasure Chest Music Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2003

     Our subject of discussion, this article, is a most interesting and entertaining mechanical bank. The "Treasure Chest Music Bank", Figure 1, is a notable member of a category designated by collectors as "musical savings banks".
     Within this category are two classifications. One of these consists of mechanicals operated by a hand crank and emit a "plink, plank, plunk" sound, e.g. "Little Jocko Musical Bank" (refer to Antique Toy World, August 1983) and the Bing Toy Company's tin "Woodpecker Bank". The second group derives its energy source from key-wind clockworks similar to those utilized by Swiss music boxes. These mechanicals emit sweet, chime-like tunes, rather than the aforementioned random plunking sound created by their crank-driven brethren.
     The "Treasure Chest Music Bank" resides in the latter group, namely the clockworks, music box variety. It was the invention of Oscar H. Brasier of Tacoma, Washington. On January 7, 1930, Mr. Brasier received U.S. Patent Number 1,742,984 (Figure 2) for his creation. This was a limited patent since it addressed only the internal music box type movement and its application to a coin operated bank. Mr. Brasier also applied for a Design Patent (Figure 3), which he received on September 30, 1930. This particular patent contained precise drawings picturing the bank as it would appear subsequent to its manufacture by the Faith Manufacturing Company of Chicago, Illinois.
     Operation of the "Treasure Chest Bank" is typical of most music boxes. Initially, the spring is wound by means of a winding key permanently affixed to the back of the bank. A coin inserted into the slot atop the chest activates an internal mechanism which initiates the musical tune. Upon cessation of the music, the coin can be heard dropping within the bank. Monies are retrieved by opening a rectangular, key lock coin retainer underneath the base.
     Of particular interest and worthy of mention is the coin retainer, seen in Figure 4. Research pertaining to the "Treasure Chest Music Bank" was facilitated by its patent number, i.e. "1,742,984" and "O.H. BRASIER, TACOMA, WASH." printed in raised letters across the retainer's surface. In addition, both front and back interior surfaces of the bank bear the raised lettered inscription "Faith Mfg. Co., Chicago, Ill".
     The "Treasure Chest Music Bank" is constructed of a lead alloy, which accounts for its unusually heavy weight.
     The bank represented in Figure 1 was manufactured in two variations. One featured bright nickel plated straps and raised decorations with black inserts. It was specifically designed to emit a single tune. The other variant was cloaked in an overall gold color (Figure 5). Upon insertion of a coin, this version was manufactured to play two tunes.
     The "Treasure Chest Music Bank" is believed to have been a promotional item, offered primarily to attract and encourage depositors to Savings and Loan Associations located in the State of Oregon. This supposition is supported by the fact that most examples display a small metal plaque affixed to its facade (Figure 1), indicating such banking institutions. In addition, Figure 6 represents a flyer, circa 1930's, for the Benefit Savings and Loan Association, Portland, Oregon, offering the "Treasure Chest" bank to potential depositors.
     It may also be assumed that these financial institutions offered the gold colored "Treasure Chest Music Bank", which plays two tunes, to those individuals who deposited a significant amount of money. Modest sums may have been rewarded with the nickel-plated, one tune version.
     The "Treasure Chest Music Bank", as well as most members of the musical bank category, is quite scarce and desirable. Efforts expended in acquiring one will be well worth the pursuit.
     To conclude, I am not aware of the existence of reproductions of "Treasure Chest Music Bank". The following dimensions are provided primarily as an aid to the collector in determining size and scale: Height: 3-1/8 inches; Width: 2-1/2 inches; Depth: 4-3/4 inches.
     Addendum: (from January, 2004) Refer to Antique Toy World article "Treasure Chest Music Bank", November 2003. My thanks to fellow mechanical bank collector, Frank Kidd. He has informed me that his collection includes several different sizes, casting, and color variants of the "Treasure Chest Music Bank" that were not described within my article. A future follow-up article is intended to discuss all of these.
     Acknowledgement: Refer to Antique Toy World article "Treasure Chest Figure 7 Music Bank", November 2003. The banks featured in that article are from the collection of Robert E. Weiss.

Elephant, Locked Howdah
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2003

     Since the Elephant's importation from exotic and foreign lands this majestic, "gentle giant" has enthralled and captivated audiences worldwide. Brought to American shores during the eighteenth and nineteenth centuries, the pachyderm was featured in circuses and zoos. Its overwhelming popularity inspired the elephant's image to be displayed upon a multitude of products ranging from clothing, building supplies, hardware, foodstuffs, toys and mechanical banks. One of these items was "Elephant, Locked Howdah" mechanical bank (Figure 1), the subject of this article.
     Its creation is attributed to Charles F. Olm, Sr. and John Thalheim, both of Fond Du Lac, Wisconsin. On February 5, 1901, Olm and Thalheim relieved Patent Number 667,332 for their "Elephant Toy Money-Box" (Figure 2). The mechanical was subsequently produced by the Gurney Refrigerator Company of Fond du Lac, Wisconsin.
     Gurney, as well as other enterprising concerns of the era, eagerly seized all opportunities to capitalize upon popular trends by producing items totally unrelated to its area of specialization. Other such manufacturers included the American Sewing Machine Company, producers of the "American Bank"; the Baumgarten Printing Press Company, producers of "Fortune Teller Savings Bank"; C.G. Bush Quality Kaleidoscopes' "Clown on Bar"; and Enterprise Coffee and Food Grinders' "Elephant, Man Pops Out".
     It is interesting that more than twenty different mechanical banks utilizing the image of the elephant were created by various manufacturers during the late nineteenth, early twentieth centuries.
     Action of the "Elephant, Locked Howdah" is rapid and decisive. Its trunk is first pulled downward and snapped into place. A coin is then inserted within the provided slot at the end of the appendage. The lever protruding from the front of the base is depressed, releasing the proboscis. This propels the coin into the howdah. Deposits are retrieved by opening a square key lock coin retainer located in the side of the howdah.
     At this time, I am aware of the three casting variations involving the key lock of "Elephant, Locked Howdah". One has the word "BANK" in raised letters above the keyhole. The other has no wordage, while the third variant, seen in Figure 1, was produced with a completely sealed howdah and no key lock. This particular example requires the elephant to be completely disassembled and removed from its base in order to recover coin deposits. Such complicated coin removal may indicate it was an early production example in need of redesign for less complex coin recovery.
     In addition, early "Elephant, Locked Howdah" banks produced without the locking coin retainer were constructed almost entirely of a lead alloy. The activating lever and a few small reinforcement parts were, however, fashioned of cast iron. All later original production examples were constructed entirely of cast iron.
     "Elephant, Locked Howdah" has been reproduced, and its construction is entirely of cast iron. Fortunately, these are easily discernible, as illustrated in Figure 3. All reproductions exhibit only one tree stump on the base. The original banks have two...a large tree stump at the forefront and a smaller one just forward of the elephant's front legs. Another method of detecting a fraudulent example is seen in Figure 4. The activating lever underneath the base is created from a strip of spring steel rather than the original's finely cast iron counterpart, seen in Figure 5. Interestingly, the base of the reproduced "Elephant, Locked Howdah" more closely reflects the one pictured in the patent design (Figure 2), which exhibits a single tree stump and a flat activating lever.
     Figure 5 illustrates the underside of an original example "Elephant, Locked Howdah". Although the patent date seen differs from that indicated in the actual patent papers, it was, nevertheless, helpful in locating pertinent information.
     Figure 6 represents a base diagram of an original example "Elephant, Locked Howdah" mechanical bank. It is provided solely to indicate size and scale. Unfortunately, bases of the reproduced examples are identical in size to the original and, therefore, cannot be used to determine authenticity.
     Acknowledgement: The fine example "Elephant, Locked Howdah" (Figure 1) is in the collection of Robert E. Weiss, and is the same example that is pictured on page 30 of the "Bill Norman Bank Book".

Tin Golliwog Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2004

     Denigrating, unattractive and racist may be likely descriptions of the caricature seen in Figure 1. Or, is this same "Golliwogg" the cuddly and mischievous gnome that evoked laughter and delighted young children?
     Despite this controversy, the "Golliwogg" and its adventures can boast of longevity. Likened in part to America's fascination with Mickey Mouse and the Teddy Bear, the "Golliwogg" had infiltrated and transcended its image and persona into the very life and culture of the British.
     "Golliwogg", the character, was created in 1895 by Florence Kate Upton, a talented British teenage student who spent her early childhood in America. Miss Upton's idea was conceived as a means of raising tuition to fund her art education in Great Britain. "Golliwogg" was based upon a black minstrel doll that Florence had treasured as a small child living in New York. Her first book was entitled "The Adventures of Two Dutch Dolls" and was published in London, England in 1895. The leading characters were "Golliwogg" and two Dutch dolls, "Peg" and "Sarah Jane".
     Florence Upton's odd little creation was immediately embraced by the English public. "Golliwogg" was catapulted to national stardom. During the next fourteen years, Florence collaborated with her mother, Bertha, to write twelve additional books featuring "Golliwogg". The creature's adventures took it to such exciting places as the Circus (Figure 2), and Military War Zones (Figure 3).
     The public became obsessed with "Golliwogg", and began to clamor for additional written adventures portraying this fictional character. Each household possessed a homemade "Golli" rag doll, accompanied by naive, hand-drawn, framed images of the nation's little hero.
     It was not long before opportunistic European manufacturers began to market thousands of items incorporating the imagery of "Golliwogg" into their products. During the early twentieth century, several prominent doll manufacturers produced ''Golliwog dolls. The Steiff Company, of Grengen Germany, known for its popular "Teddy Bear", embraced Golliwog into its repertoire. Figure 4 represents a vintage post card that portrays the two successful toys together within a single frame.
     The Golliwog endorsement did not limit itself to plush dolls. Manufacturers utilized its image in the production of clothing, foodstuffs, tools, hardware, cosmetics, and hundreds of toys and games.
     During the 1920s Saalheimer and Strauss, a tin toy manufacturing company located in Nuremburg, Germany, produced its version of a Golliwogg toy. The result was the "Golliwog Mechanical Bank" seen in Figure 5, the subject of this article.
     To date, no patent papers for the "Golliwog Bank" have been located. However, many of its design, mechanical and action features duplicate other tin, lithographed mechanicals created by Saalheimer and Strauss. It is assumed, therefore, that "Golliwog Bank" was the brainchild of this company. Figure 6 represents an early Saalheimer and Strauss sales flyer offering several lithographed tin plate mechanical banks in the company's line. The similarity between two of these to "Golliwog Bank", namely "Harold Lloyd Bank" and "British Lion Bank" is undeniable.
     Operation of "Golliwog Bank" is uncomplicated and aptly described in a brief, but humorous verse seen on the back of the mechanical: "Press the lever lightly, Watch my tongue appear, Save a penny nightly, Make your fortune here." Place a coin on Golli's tongue; release the lever and the tongue and coin snap into the bank. Deposits are retrieved by opening the sliding coin retainer behind Golliwog's head.
     A photograph of the non-mechanical, still bank version of the "Golliwog Bank" is seen in Figure 7. It, too, is quite rare, with less than a handful of the mechanical and non-mechanical banks known to exist.
     To the best of my knowledge, none of the Saalheimer and Strauss tin mechanicals, including those shown in Figures 5 and 7, has been reproduced.
     Despite its diminutive size (Height: 5-3/8 inches, Width: 2-15/16 inches) "Golliwog Bank" is an extremely desirable and attractive addition to a mechanical bank collection.
     Acknowledgement: The examples of "Golliwog Bank", Figures 5 and 7 are from the collection of Frank Kidd, proprietor of the Kidd Toy Museum located in Portland, Oregon.
     Acknowledgement: Refer to Antique Toy World article "Treasure Chest Figure 7 Music Bank", November 2003. The banks featured in that article are from the collection of Robert E. Weiss.
     Addendum: Refer to Antique Toy World article "Treasure Chest Music Bank", November 2003. My thanks to fellow mechanical bank collector, Frank Kidd. He has informed me that his collection includes several different sizes, casting, and color variants of the "Treasure Chest Music Bank" that were not described within my article. A future follow-up article is intended to discuss all of these.
     *Note: Upton failed to register either the name "Golliwogg" or the character. As a result, over time they both became public domain. Manufacturers of 'knock-off' "Golliwogg" merchandise subsequently amended the spelling of its name from the original "Golliwogg" with two g's, to "Golliwog" with one g.

Church Bank, Woman with Bible
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2004

     The virtues of saving money have been proclaimed in numerous Books, Letters, Chapters and Verses of both the New and Old Testaments. The abundance of ancient coin savings boxes pay testimony to this centuries-old philosophy.
     Interestingly, few of the antique mechanical banks manufactured during the late nineteenth century reflected biblical ideology. The sparse list of notables includes: "Jonah and the Whale Bank" (Shepard Hardware Company); "Jonah Emerges" Bank (J. & E. Stevens Company); "Musical Church Bank", Plays Silent Night (Karl Rohrseitz); "Musical Church Bank", Wood (Manufacturer Unknown); "Bird on Roof" (J. & E. Stevens); "Mosque Bank" (Judd Manufacturing Company); and the subject of this article, "Church Bank", Woman With Bible (Figure 1). Of these, the latter (Figure 1) is a most apt representation of ancient biblical sentiments.
     The "Church Bank", Woman With Bible is one of an extremely rare series of mechanicals thought to have been manufactured by the Gebruder Bing Company of Nurnberg, Germany some time between 1900 and 1935. Bing was one of the foremost producers of tinplate railroad, transportation and steam toys in Europe during this period.
     Unfortunately, to date, no patent information relating to any banks in the Bing line has been located. Had it not been for the discovery of a Bing wholesale catalog (Figure 2) portraying mechanicals similar in design, construction, and action to "Church Bank", its country of origin and manufacturer would have remained an enigma. Although the "Church Bank", Woman With Bible is not pictured in the catalog its relationship to other members of its assumed family appears undeniable.
     The catalog describes and prices the Bing series of mechanical banks as follows: "Banks — Made of tin, nicely painted. With lock and articulated figures. Supplied in 24 assorted subjects. Price per piece: Mark -.57".
     "Church Bank", as well as other mechanicals in this group, was constructed solely of tinplate. The articulated figure of the woman is hand painted and the church is almost entirely enrobed in a thin sheet of polychrome, stenciled paper.
     Operation of "Church Bank", Woman With Bible is uncomplicated and effective. A monetary offering is inserted through the slot in the church's roof. Simultaneously, the woman's left arm swings upward, bible in hand, (Figure 3). Donations to the church are recovered by opening the key lock, coin retainer underneath the base of the bank.
     The rarity of this, and other Bing mechanicals, may perhaps be attributed to fragile construction combined with delicate paper clad and painted surfaces. Years of subjection to moisture, temperature changes, and the hands of children have contributed to the decimation of "Church Bank" and its kin, reducing their numbers to a meager few.
     To my knowledge, none of the Bing mechanicals has been reproduced. However, this does not preclude the possibility of a reproduced replacement part. In such instances, due to the bank's rarity and fragility, limited expert professional restoration may be considered acceptable without significantly compromising its value.
     Despite its diminutive size (Height: 5-1/2 inches, Width: 2-15/16 inches, Depth: 3-11/16 inches), "Church Bank", Woman With Bible is an attractive, interesting and highly desirable addition to a mechanical bank collection.
     Acknowledgements: The fine example "Church Bank", Woman With Bible (Figure 1) is from the collection of Frank and Joyce Kidd.
     My thanks to fellow collectors, Harold and Uli Merklein of Nurnberg, Germany, for so graciously supplying copies of the Bing catalog, Figure 2, accompanied with English translation.

Tin Clown and Dog
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2004

     Carnival and circus acts have always proven to be successful and profitable themes for children's playthings. Late nineteenth and early twentieth century mechanical bank manufacturers were certainly aware of the charisma and popularity of these subjects.
     Many mechanical banks reflecting various aspects of the circus were produced in this country and abroad. Several specifically featured the clown and dog act. The bank pictured in Figure 1 is a charming example of one such mechanical whose motif depicts a clown and dog circus performance.
     In addition to our subject, "Tin Clown and Dog", a few notables include: "Trick Dog Bank" produced by the Shepard Hardware Company (Antique Toy World article, November 1988); "Trick Dog Bank", the Hubley Company (A.T.W., December 1992); "Trick Dog Bank" (solid base), the Hubley Company (A.T.W. December 1992); and "Hoop-La Bank", John Harper and Company (A.T.W. October 2001).
     "Clown and Dog" is one of a series of three extremely rare tin plate mechanicals manufactured during the early twentieth century by Saalheimer and Strauss Tin Works. Located in Nurnberg, Germany, center of early tin plate toy production, this company was considered one of the foremost manufacturers of tin plate novelty items, toys, household goods, and mechanical banks of the era.
     Figure 2 represents a page from a Saalheimer and Strauss wholesale toy catalog, circa 1920-1930. The discovery of this catalog provided hitherto unavailable information pertaining to the manufacturer of "Clown and Dog" as well as other tin mechanicals in the company's line.
     As previously mentioned, our subject was one of a series of three lithographed tin plate mechanical banks, all exhibiting a "round top" configuration and similar internal mechanics. "Clown and Dog" has the distinction of being the rarest of the series, followed by "Clever Dick Bank" and then "Saluting Sailor Bank" (refer to Figure 2).
     Action of "Clown and Dog" is quite amusing and ingenious. The activating lever, in the form of the dog's tongue, is pulled downward, lowering the clown's right arm. A coin is then placed within the clown's right hand. Upon releasing the "tongue", the arm, with coin in hand, swings upward causing the coin to be released. The coin, propelled by inertia, travels up and around the bank's upper track and through the slot in the clown's rear pants pocket. Its ultimate destination is a rectangular coin receptacle in the back of the bank.
     The mechanical's action is further enhanced by animation of the clown's face when the right arm is lowered for coin activation (Figure 3). The clown's forehead moves upward, exposing the eye and lowering his jaw. The jester's facial expression changes to one of glee, as the coin speeds along the track and into his pocket.
     Deposits are recovered by opening the square, key-lock coin retainer located underneath the base.
     To my knowledge, neither "Clown and Dog" nor any mechanical bank in this "round top" series has been reproduced. However, this does not preclude the possibility of restoration in the form of a reproduced, replacement segment of the bank. Needless to say, in such instances its monetary value is compromised accordingly.
     Despite its tin plate construction and diminutive size (Height 6-7/8 inches, Width 4-7/8 inches), "Clown and Dog" is a colorful, attractive circus theme bank and a most desirable addition to a mechanical bank collection.
     Acknowledgement: The superb example "Clown and Dog" Bank (Figure 1) is in the collection of Robert E. Weiss.

Magic Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2004

     Our subject, this article, is a distinguished member of the most prolific category of cast iron banks. "Magic Bank" (Figure 1) is one of a multitude of attractive and popular "building banks" whose group is composed of both mechanicals and stills.
     Inspiration for the birth of the mechanical bank industry is credited to John D. Hall of Watertown, Massachusetts. He conceived, and designed, the "Hall's Excelsior Bank" (Figure 2). His was the very first cast iron mechanical ever produced and, also, the first in the form of a building.
     Patented on December 21, 1869, Hall's invention led to the eventual production by numerous manufacturers of well over 500 varied mechanical banks over a period of approximately sixty years. In addition to "Magic Bank", other notables in the "building bank" category include "Dog on Turntable", "Mosque", "Panorama Bank", "Novelty Bank", "Cupola Bank", "U.S. Bank", "Bird on Roof', "Home Bank", etc.
     On March 7, 1876 Henry W. Prouty of Boston, Massachusetts received patent number 174,569 (Figure 3) for his invention of the "Magic Bank". Interestingly, this bank was actually a redesigned refinement of an earlier mechanical entitled "National Bank" for which Prouty had received Patent number 141,516 (Figure 4) on August 5, 1873. "National Bank", however, had been plagued with design defects and production problems, necessitating its redesign. Both patent dates, i.e. "AUG 5, 1873" and "MAR. 7, 1876", were cast into the base of "Magic Bank".
     "National Bank" and "Magic Bank" were manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. "Magic Bank" enjoyed a significantly longer sales life than did "National Bank". This is attributed to its colorful, attractive facade and, as expected, to more durable and dependable construction. Ironically, the rarity of "National Bank" is a result of its defective and fragile nature.
     A page from a J. and E. Stevens Company wholesale catalog, circa 1883, is seen in Figure 5. In it is an advertisement featuring the "Magic Bank" with a description of its operation: "After the door is opened, which brings the Cashier to the front", (refer to Figure 1 wherein a coin is positioned upon the tray) "a slight touch to the knob at the side causes him to disappear" (Figure 6) "and to place the money of the depositor safely in the vault." Removal of monies is accomplished by opening the sliding coin retainer underneath the base of the bank. This same coin retainer bears the date "PAT. JUN 8, 1875".
     Interestingly, there is a large coin slot positioned at the peak of the roof, just behind the chimney. This slot was, most likely, designed to accept oversized coins and paper currency.
     To my knowledge, there are no casting variations of "Magic Bank". However, there are three color variants. One of these has a predominantly yellow facade (Figure 1); another features white sides with red and blue trim; a third displays pale green walls with brown and red trim.
     "Magic Bank" has been reproduced. A plethora of bogus examples have been seen over the past fifty years. Few, if any, were able to achieve the finely painted surface and smooth, sharp, detailed castings of the original. In addition, all reproductions utilize a round coin retainer, or plug, located underneath the base of the bank, for coin removal. The original utilizes only a sliding, rectangular coin retainer. These aforementioned, combined differences more easily enable the detection of a recast mechanical.
     Figure 7 is a base diagram of an original "Magic Bank". The reproduction will appear approximately one-eighth inch smaller in both length and width than indicated.
     On a final note, over the past few years architectural style banks, both mechanical and still, have become an increasingly popular and desirable category amongst collectors. "Magic Bank" is considered one of the most attractive of the group and an exciting addition to such a collection.

Savo Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2004

     Simplistic and unappreciated is the "Savo Bank", Figures 1 - 4. Overlooked in favor of more attractive mechanicals, this tin bank was seemingly doomed to an unpopular, albeit pragmatic existence.
     Its creation as merely a utilitarian savings device is perhaps best explained by the inventor's description, as set forth in the patent papers seen in Figure 6: "An object of my invention is to provide a toy bank of simple, efficient, and compact design, the several parts of which may be readily made on existing automatic machinery, and assembled with a minimum expenditure of time and money."
     Interestingly, this extremely simplistic bank, designed in the shape of the common can required three distinctly different patents. All three were issued to Adrian C. Balsom of Philadelphia, Pennsylvania. Each patent specifically protects an aspect of the two styles of the bank, i.e. round drum shaped or rectangular, as illustrated in Figures 1-4. Figure 5 is that of Patent number 1,443,943 (round style Savo, twist knob on top), issued on February 6, 1923; Figure 6: Patent number 1,804,733 (rectangular Savo) was issued on May 12, 1931; Figure 7: Patent number 1,838,650 (round style Savo, sliding lever on top), issued on December 29, 1931.
     To date, the manufacturer's identity remains unknown. However, bearing in the mind the words of the aforementioned patent papers: "readily made on existing automated machinery", it might be construed that the banks were produced by one of the major tin can manufacturers of the period. Possibly, this same company added attractive, colorful graphics to the original designs in order to appeal to children and increase sales potential.
     Both versions of "Savo Bank", that is round drum and rectangular shaped, operate similarly. A coin is initially placed within the circular depression on the top of the bank. The lever, or knob, depending upon the style, is moved clockwise, sliding the coin through the slot and into the bank.
     Coin removal is accomplished by cutting out the tin bottom of each bank with a can opener. This radical, destructive, and unconventional method of deposit recovery had drastically reduced the number of fully intact examples to a mere few. In addition, the rectangular shaped mechanicals are scarcer than the drum-shaped design. However, varying pictorial designs do add to its appeal, with rarity also contingent upon the particular designs.
     Other than the two styles of "Savo Bank" featured in this article, I am not aware of any other shapes or configurations. I have seen rectangular examples utilizing images of toy soldiers and several other colors used for the round drum style. Undoubtedly, there is a plethora of colors and designs awaiting discovery by the observant and diligent collector.
     To my knowledge, there are no reproduced examples of "Savo Bank". The following dimensions of both styles are provided to aid the collector in determining size and scale. Figures 1 and 2: Height: 2-3/8 inches, Width: 3-3/16 inches, Depth: 2-11/16 inches; Figures 3 and 4: Height: 2-13/16 inches. Diameter: 2-13/16 inches.
     To conclude, "Savo Bank" is a most interesting and desirable addition to a sophisticated collector and collection. Its brilliance and ingenuity lie in the foresight of Adrian C. Balsom to utilize a tin can company's existing hardware to produce his creation.
     In addition, despite its diminutive size, "Savo Bank" is quite attractive. Its shelf appearance is further enhanced when displayed as a "family" grouping.
     Acknowledgement: The superb examples of "Savo Bank", Figures 1, 2, 3, 4 are from the collection of Robert Weiss.

Shoot That Hat Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2004

     Bigotry and hatred have been expressed in various ways throughout American history. One such unfortunate example is the multitude of prejudicial items, including children's toys, which were produced during the nineteenth and early twentieth centuries. Our subject of discussion, a mechanical bank entitled "Shoot That Hat" is no exception.
     Motivating forces inspiring creation of this mechanical were the accelerating frustration and belligerence against Chinese immigrants. It began in 1848 in Northern California with an unexpected and accidental discovery by John Sutter. At the bottom of a stream that ran through his sawmill lay shimmering, yellow, metal flakes. This heralded the cry "there's gold in them thar hills", one that was heard round the world. Hundreds of thousands of itinerate treasure seekers from all points of the globe flooded the hills and valleys surrounding Sutter's property, all seeking to stake their claim. Amongst these were the Chinese, desiring to escape impoverishment in their homeland. These Asians were welcomed as "cheap labor" and exploited to work in the mines, as domestic workers and to lay tracks for the first Transcontinental Railroad. However, initial enthusiasm turned to distrust and hostility when jobs became scarce and Americans were refused work in favor of "Cheap Chinese Labor". The outcry by labor unions, politicians and the frustrated American working class was for the deportation of all Chinese persons. Reflective of these sentiments is an animated toy cap pistol (Figure 1), circa 1879, entitled "The Chinese Must Go".
     It was also during this time period of 1879-1882 that several mechanical banks were created which portrayed prevailing anti-Chinese attitudes. In addition to "Shoot That Hat Bank" seen in Figure 2, were "Chinaman in is the Boat" (refer to Antique Toy World article, June 1999), and "Reclining Chinaman (A.T.W., April 1983).
     "Shoot That Hat Bank" was designed by Charles F. Ritchel of Bridgeport, A Connecticut. On November 7, 1882 he was allotted Design Patent Number 13,401 (Figure 3) for his creation. Ritchel subsequently reassigned his patent rights to Messrs. S.S. and G.D. Tallman of New York City. The Tallmans were not toy manufacturers, but rather toy jobbers. They most likely commissioned one of the local iron foundries to produce their line. It is speculated that the "Shoot that Hat Bank" was manufactured by either one of the following three companies: H.L. Judd of Wallingford, Connecticut, or Ives, Blakeslee and Williams of Bridgeport, Connecticut, or the Mechanical Novelty Works of New Britain, Connecticut. Difficulty in determining which of these firms actually produced "Shoot that Hat" is that all three foundries employed similar casting techniques and all three applied exactly the same decorative finish to their final product. This was a glossy japan varnish, highlighted with a touch of color, or an accent of metallic paint.
     Action of "Shoot That Hat Bank" explicitly demonstrates this mechanical's entry into the anti-Chinese "hall of smut". A coin is first placed upon the indent in the "hydrant". The "shoe brush" in the hands of the "boot-black" holds the coin in place. The lever is then pressed downward, whereupon the standing figure pushes the hat over the head of the seated figure. Simultaneously, the top of the hat pops open to expose the head of a Chinaman (Figure 4). The seated figure then raises his arms, allowing the coin to roll off the hydrant, between his legs, through the slot and into the base. Deposits are recovered by unscrewing the bottom plate underneath the bank.
     It is interesting that the Patent, seen in Figure 3, makes no reference to the head of a Chinaman emerging from the top of a hat. This offers speculation that perhaps such timely, racist design features were added by either the Tallmans or the foundry that ultimately manufactured the bank to encourage sales.
     "Shoot That Hat Bank" is an extremely rare item, with less than a handful of original examples known to exist. Several attempts to reproduce this mechanical have been made over the past forty to fifty years. Fortunately, the trained eye will find the reproductions fairly easy to discern from the original, as they are crude and exhibit a rough surface texture. Additionally, a recast will appear approximately one-eighth inch shorter in length O.D. than an original "Shoot That Hat Bank" (Figure 5).
     Acknowledgements: The fine, original example "Shoot That Hat Bank", Figure 2 and 4, is from the collection of Max Berry. The "Shoot That Hat Bank", Figures 2 and 4 was photographed by Alex Jamison.

The Schoolmaster Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2004

     Prior to the advent of the child psychologist...Prior to the emergence of behavioral science studies... Prior to the development of profound child sensitivity training and techniques...was the simplistic and universal adage "spare the rod and spoil the child". Such was the belief and resultant implementation by parents and educators.
     This popular philosophy of obedience is exemplified by a unique toy mechanical bank. "The Schoolmaster Bank", subject of this article, is seen in Figure 1.
     The mechanical depicts a classroom chastisement in progress. An appropriately garbed European schoolmaster, switch in hand, is poised to inflict punishment upon an assumedly unruly student. In this instance, the lesson in morality is quite clear: punishment will be dealt swiftly and harshly to the child that ignores or defies the edict for proper schoolroom decorum.
     "The Schoolmaster Bank" (Figure 1) is but one of a series of extremely rare mechanicals believed to have been manufactured during the years 1900-1910 by the Gebruder Bing Tin Works of Nurnberg, Germany. Bing was renowned in the European community as a leading producer of items such as tinplate household specialties and toys that included trains, boats, automobiles and steam engines. Unfortunately, the company did not leave a paper trail for future historians of early German tinplate toys and mechanical banks. The lack of patent information pertaining to the "Schoolmaster Bank", as well as others in the group, is attributed to early twentieth century German government patent laws. It was mandated that "insignificant patents" (i.e. toys) were to be discarded after fifteen years of issuance.
     The discovery of a Gebruder Bing Wholesale Catalog (Figure 2) revealed the bank's country of origin as well as its manufacturer. Mechanical banks similar in design, construction and action to "The Schoolmaster Bank" were portrayed in the catalog. Although this mechanical was not pictured, its relationship to other members of its assumed family appears undeniable.
     The description and prices of the Bing series of mechanical banks, as indicated in the catalog (Figure 2), are as follows: "Banks — Made of tin, nicely decorated. With lock and moving figures. Supplied in 24 assorted subjects. Price per piece: Mark -.57.".
     "The Schoolmaster Bank" was constructed almost entirely of tinplate, as was all others in the series. The articulated figure of the schoolmaster and the figure of his student are composed of a zinc-lead alloy. Both figures were artfully painted. The entire executed upon a thin sheet of polychrome, "photolithographic" paper, affixed to the banks tinplate façade.
     "The Schoolmaster Bank" operates by first inserting a coin through the slot in back of the bank. Simultaneously, the schoolmaster's poised right arm, switch in hand, raises and descends as if to admonish the "disobedient" child (Figure 3). Deposits are recovered by opening the key lock, trap door type, coin retainer located underneath the base of the bank.
     Mere survival of this and a scant few others in the Bing series accounts for their rarity. With fragile tinplate construction, delicate paper clad and painted surfaces, decades of subjection to moisture, temperature changes and youthful ownership, it is surprising that any complete examples have survived.
     I am not aware of the existence of reproduced mechanicals in the Bing series. However, there is the possibility of reproduction parts. As with any fine, rare, and delicate antique, limited professional restoration may be considered acceptable without significantly devaluing the object.
     "The Schoolmaster Bank" is small in size: Height: 4 inches; Width: 3-3/8 inches; Depth: 2-5/16 inches. However, this does not diminish its desirability. It is an extremely attractive and welcome addition to a mechanical bank collection.
     Acknowledgements: This fine example of "The Schoolmaster Bank", Figure 1, is from the collection of the Kidd Toy Museum, Frank and Joyce Kidd, Proprietors.
     Copies of the Bing catalog pages, Figure 2, were provided by fellow collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

Preacher in the Pulpit Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2004

     Mechanical bank designers of the late nineteenth and early twentieth centuries were inundated with subjects and a wealth of ideas. Their products reflected timely and popular themes such as childhood activities, circus acts, wild and exotic animals, architectural structures, etc.
     Interestingly, one topic that appears sparse in the number of resultant mechanicals is that of a theological or religious nature. In addition to one such member of this group and the subject of this article, "Preacher In The Pulpit Bank" (Figure 1), other notables include "Jonah and the Whale Bank" (Shepard Hardware Company), "Church Bank, Woman With Bible" (Gebruder Bing), "Tin, Musical Church Bank", plays Silent Night (Karl Rohreseitz), "Musical Church Bank", wood (manufacturer unknown), "Bird on Roof" (J. and E. Stevens), and "Mosque Bank" (Judd Manufacturing Company).
     "Preacher In The Pulpit Bank", Figure 1, was assumedly invented by Arthur C. Gould of Brookline, Massachusetts. Patent number 180,574 (Figure 2) was issued to him for a mechanical bank on August 1, 1876. The drawings portrayed therein illustrate an almost precise duplication of the patented male figure. However, the patent papers indicate an articulated arm holding its hat in hand, and a coin receptacle depicted as a money safe.
     This same male figure had been utilized in another mechanical, namely the "Bank Teller Bank" (to be discussed within a future article. Action of this figure is similar to the "Preacher" and was also produced sans hat. The only conspicuous differences between the two banks are the design of their "desks" and that the right arm of the "Preacher" is raised as if to acknowledge a higher power, while the arm of the "Bank Teller" is positioned by his side.
     Both banks operate in precisely the same manner. A coin is placed upon the tray held in the man's left hand. The weight of the coin causes his arm to lower. The offering then slides from the tray and into the appropriate slot. As the arm lowers, the man's head nods in a forward gesture. After deposition, the head and arm return to their original positions, as seen in Figure 1. Although simple in design, this mechanical's method of coin removal is somewhat complicated and precarious. A small screw is removed from the upper left corner on the back of the pulpit. This allows the rear section to fall inward, permitting deposits to be shaken free.
     In addition to uncertainty pertaining to its inventor, to date, there is no information relating to the manufacturer of "Preacher In The Pulpit". However, several design peculiarities, internal mechanics, and casting similarities suggest the mechanical was produced by the J. and E. Stevens Company of Cromwell, Connecticut.
     As an aside, the name "Preacher In The Pulpit" was bestowed upon the bank by early collectors. The figure was acknowledged to be a preacher based upon the position of its right hand, suggesting the deliverance of a sermon. In addition, the figure stands behind what is seemingly recognized as a pulpit.
     "Preacher In The Pulpit" is an extremely rare mechanical, with fewer than a handful of examples know to exist in collections. Its rarity may perhaps, be attributed to such factors as complicated coin removal, fragile castings, and limited production.
     I am not aware of any casting variations of "Preacher In The Pulpit Bank", but I have identified two color differences. Both address themselves to the curved front and side panels of the pulpit. These may be painted either red, or green, as seen in Figure 1. All other facets of the bank are painted in similar hues.
     There has not been, to my knowledge, any attempt at reproducing "Preacher In The Pulpit Bank". However, in view of its extreme rarity and value, the possibility of such future efforts cannot be ignored. Figure 3 is a base diagram of an original example. A recast version would appear approximately one-eighth inch shorter O.D. than indicated.
     On a final note — Before considering purchase of a hitherto unknown example of this mechanical, investigation of provenance and consultation with an expert would be most prudent.
     Acknowledgement: The fine example "Preacher In The Pulpit Bank", Figure 1, is from the mechanical bank collection of Steve and Marilyn Steckbeck.

Chirping Bird in Cage
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2004

     Behold the rare and stunning pair of mechanicals seen in Figures 1 and 3! Birds of a feather surely do flock together, as evidenced by the subject of this article and its companion, "Bird in Cage" Bank.
     "Chirping Bird in Cage" (Figure 1), is a charming and colorful toy penny bank. Its lighthearted nature certainly belies its country of origin and the era in which it was manufactured. Early twentieth century Germany was immersed in turmoil. Its population faced the threat of impending depression and political unrest. On the brink of war, the nation looked to the creation of new and innovative exports as a means of economic recovery.
     Ironically, the period preceding World War II, i.e. 1925-1935, is referred to as the "golden age" of German tin plate toys and mechanical banks. Renowned companies such as Saalheimer and Strauss, Bing, Doll and Cie, Marklin, Lehmann, etc. had heretofore produced only tin plate products for everyday domestic usage. Now their efforts were to be directed towards the manufacture of a multitude of ingenious toys and mechanical penny banks specifically intended for the foreign market.
     An example of one such bank, composed of lithographed and hand painted tin plate was "Chirping Bird in Cage", Figure 1. Its design and manufacture are attributed to the George Zimmerman Company of Zirndorf, Nurnberg, Germany. On December 12, 1929 the firm received Reichs Patent Number 1100976, Class 44a, for its creation (Figure 2).
     Discovering actual hard copies of this patent and the one shown in Figure 4 is fortunate in view of their historical significance. In addition, their mere existence defies early German patent law protocol since government policy during this time mandated all "unimportant" patents designated "Reichsgerbrachmaster" or "registered" (toy) designs to be routinely destroyed after fifteen years. Both "Chirping Bird in Cage", Figure 1, and "Bird in Cage", Figure 3 are totally devoid of any identifying marks. The discovery of the aforementioned patents disclosed information regarding the banks' country of origin, their manufacturer and date of production.
     Regrettably, only the illustrative portion of the original patents could be pictured, as seen in Figure 2 and 4. I will attempt to paraphrase the descriptive section of "Chirping Bird in Cage", Figure 2, with its translation from German to English: "A savings box with built in noise maker; turn the knob to activate a sound".
     Collectors do not consider "Chirping Bird in Cage" to be truly a mechanical bank. This is due to the fact that its action is not solely dependent upon the insertion of a coin, but rather to manual operation. Money deposited merely falls impotently within the bank. The chirping bird sound is activated by the user, who turns the small metal bird seen perched atop the bank (Figure 1).
     The bank's extreme rarity, unique action, and uncanny resemblance to "Bird in Cage" Bank (Figure 3) have endeared it to collectors. They have embraced it as a highly esteemed member of the mechanical bank family. Less than a handful of persons are able to boast of possessing either one of these banks and, to the best of my knowledge, only one owns both!
     Deposits are retrieved by opening the key lock trap door retainer located underneath the base.
     Dimensions of "Chirping Bird in Cage" (Figure 1) are: Height: 4-7/8 inches, Width: 2-13/16 inches; Depth: 1-5/8 inches.
     On a final note: further discussion of "Bird in Cage" Bank (Figure 3) can be found in Antique Toy World article, January 2003.
     Acknowledgements: The superb example of "Chirping Bird in Cage" (Figure 1) is from the collection of Robert Weiss.
     The superb example "Bird in Cage" (Figure 3) is from the collection of Frank and Joyce Kidd.
     The Reichs Patents, Figures 2 and 4, were graciously supplied by Harold and Uli Merklein of Nurnberg, Germany.

Flip the Frog Money Box
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2004

     A wily and soulful little frog known as "Flip" is a legend amongst antique tin mechanical bank collectors. Pictured in Figure 1, this tiny character met with both success and failure, followed by its premature demise. Despite all odds, however, and after a period of some seventy years, its destiny was to be resurrected in view of renewed interest. "Flip" was created by Ub Iwerks, circa 1930. Iwerks was considered to be a genius in the field of animation, and was recognized as such by Walt Disney.
     The two had met in 1919 when both were aspiring teenage animation artists. Disney set up his own company in 1924 and requested Iwerks work with him. During the next several years, Iwerks was responsible for developing and fine-tuning various Disney cartoon characters. It is a bone of contention as to whether Iwerks himself was responsible for refinement and completion of the Mickey Mouse character.
     It was some time around 1930 that Disney's film distributor, Pat Powers, convinced Iwerks to operate his own animation studio. Powers, a venture capitalist, provided financial assistance. "Flip the Frog" (Figure 1) was Iwerks premier creation in his new studio. Flip made its debut appearance in the first full color sound cartoon ever produced. Entitled "Fiddlesticks" (Figure 2), Flip sports a bow tie and buttons. Despite its dress, however, it hops about on all fours from one lily pad to another in a pond and emits croaking sounds, leaving no doubt that this fetching character is truly a frog. Audiences in the United States welcomed Iwerks' creation with excitement and fanfare.
     German merchandising agents predicted the same great success for Ub's new venture as his previous endeavor with Mickey Mouse. They began a pre-emptive marketing campaign to promote the "new frog in town". Figure 3 represents a promotional flyer used to introduce Flip to the German manufacturing community. It stated: "Evoking Heartier Laughter, Flip the Frog Will Be A Bigger Success Than Mickey Mouse!" The release of Flip's film also drew the attention of marketing companies here in the United States. A plethora of "Flip the Frog" merchandise was produced for sale to the public.
     Pat Powers did not share the aforementioned enthusiasm pertaining to Flip's success in "Fiddlesticks" and, unfortunately, initiated what was to prove to be disastrous changes. He requested Iwerks provide Flip with human characteristics. In subsequent films, Flip was outfitted with shoes, gloves, pants, and a hat. Modifications continued with each film until the unmistakable appearance of the frog eventually metamorphosed into its uncanny resemblance to that of a young boy (Figure 4).
     In addition, Flip was portrayed as a poor waif, constantly plagued by financial worries and problems of survival. Most Hollywood productions filmed during these difficult years were intended to have audiences forget, if just for a short time, the grimness of the "Great Depression Era". Flip's adventures, on the other hand, candidly reflected the morbid world economy.
     The final nail in Flip's coffin appears to be attributed to Iwerks' lack of story line construction. This hampered most of his cartoons. Unlike Disney, he was unable to develop a structured sequence of humorous events that would conclude in an uplifting manner. By 1933 audiences had grown bored with Flip's futile struggle and, without ceremony, Iwerks' placed him into retirement.
     It was during the first months of Flip's short life, when its appearance was that of a frog, that assumedly the Saalheimer and Strauss Company of Nurnberg, Germany acquired the rights from Ub Iwerks to market a "Flip the Frog" tinplate mechanical bank (Figure 5). To date, no catalog or patent information has been located. In addition, the only identifying inscriptions on its facade are the words "FLIP THE FROG MONEY BOX" and "Made in Germany".
     Specific factors leading to my belief that the "Flip the Frog" mechanical was produced by Saalheimer and Strauss are the following: tinplate fabrication (as are all of the company's product line); a similar key lock, trap door deposit removal system (evident in most of the company's banks); comparable internal mechanisms; and an uncanny resemblance, both in external construction and action, to two other documented mechanical banks manufactured by this firm (i.e. "Monkey and Parrot", Figure 6, and "Clown and Dog", Figure 7).
     Operation of "Flip the Frog" is simple and quite whimsical. A coin is placed in the area provided in the front of Flip's left leg. When the lever is depressed its leg lowers and the coin falls into position. Simultaneous to this action, its mouth opens to reveal a large red tongue as Flip lifts the lid of the "CASH" can. When the lever is released with a "snap" it kicks its legs, causing the coin to shoot along the track above Flip's head and into the container. The bank then returns to the position seen in Figure 5.
     Deposits are retrieved by opening the key lock, trap door coin retainer underneath the base.
     "Flip the Frog Money Box" is quite rare, as are most of the mechanicals in the Saalheimer and Strauss line. Obvious reasons for its scarcity are its fragile tinplate construction and a sensitive, easily damaged internal mechanism. In addition, perhaps Flip was subject to extremely limited production. Saalheimer and Strauss may have anticipated poor sales and ceased manufacture after learning of increasing public apathy towards "Flip the Frog" films in the United States.
     To my knowledge, none of the Saalheimer and Strauss tinplate mechanical banks has been reproduced. That does not deny the possibility of a damaged or missing part being replaced or repaired. Needless to say, in such instances the value of the bank would be compromised.
     Despite its size (a mere 4-7/8 inches in width, 5 inches in height), the "Flip the Frog Money Box" is a charismatic and most welcome addition to a bank collection.
     Acknowledgement: The superb "Flip the Frog" bank, Figure 5, is in the collection of Steve and Marilyn Steckbeck.

Bank Teller Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2004

     Our subject of discussion, this article, is a most noteworthy and significant member of the mechanical bank community. The "Bank Teller Bank", seen in Figure 1, may also distinguish itself as a product of the evolutionary process.
     The pictured mechanical (Figure 1) is attributed to one Arthur C. Gould of Brookline, Massachusetts. In August of 1876, Gould was granted Patent Number 180,574 for his creation which was actually based upon an earlier concept and design by a Mr. John Hall of Watertown, Massachusetts. Hall invented the very first commercially produced cast iron mechanical bank. On December 21, 1869 he was granted a patent for what was to be entitled the "Hall's Excelsior Bank". His was an unusual and unique invention, that of a structure in the form of a savings bank building, atop which is positioned a cashier that is portrayed as a monkey. John Hall's creation met with considerable success and overwhelming consumer demand. Within a year's time his invention gave birth to a major new industry in the United States. Iron foundries emerged throughout the northeast for the purpose of manufacturing mechanical banks.
     Over the ensuing years a multitude of these cast iron money gobblers were produced, and in various shapes with diverse subject matter. These included circus acts, wild animals, birds, historical events, racism, various occupations, etc. It is interesting that John Hall's subject of a building bank with cashier continued to maintain its popularity. This is evidenced by subsequently produced examples of mechanicals in the category, such as "Hall's Lilliput Bank", "Cupola Bank", "Magic Bank", "National Bank", "Home Bank", "Novelty Bank", etc.
     Arthur Gould's design, seen in Figure 1, was drastically modified from Hall's original concept. His creation featured a bank teller, in human form, positioned behind a "podium" indicating the word "BANK". The building structure itself had been eliminated.
     Interestingly, the patent papers seen in Figure 2 were utilized in the creation of two different mechanicals, both credited to Arthur C. Gould. The duo was "Bank Teller", Figure 1, and "Preacher In the Pulpit" (refer to Antique Toy World, August 2004). In both, the figures of the bank teller and the preacher are quite similar in appearance and action. The only observable differences are their podiums and that the right arm of the bank teller is positioned at its side while the preacher's right arm is raised above its head.
     Action of the "Bank Teller" is apropos to its subject. A coin is placed upon the tray held in the teller's left hand. The weight of the coin causes its arm to lower. The contribution then slides from the tray and into the slot atop the desk. As the arm descends, the teller's head nods. After deposition the head and arm return to the position seen in Figure 1.
     Although simple in design and action, this bank's manner of coin reclamation is rather complicated and problematic. Initially, the screw underneath the base that fastens the figure of the teller to the bank is removed. The back panel of the desk is then automatically released, allowing the depositor to shake out the coins.
     To date, information has yet to surface pertaining to the manufacturer of "Bank Teller". However, several design peculiarities, including internal mechanics, casting and paint similarities, indicate the J. & E. Stevens Company of Cromwell, Connecticut may have perhaps produced this mechanical.
     Worthy of discussion is a discovery by the late Mr. Lloyd Ralston, noted mechanical bank collector, dealer, and historian. Several years ago he came upon Arthur C. Gould's actual patent model figure for the "Bank Teller Bank" (Figure 3). At that time Mr. Ralston reported: "prior to 1890, the Patent Office in Washington, D.C. required that a working model be submitted with drawings and descriptions for all proposed inventions. The Patent Office received Mr. Gould's model on June 28, 1876, and subsequently issued him a formal patent for the figure of the man on July 22, 1876" (Figure 2).
     There are two significant casting variations of "Bank Teller Bank". Both pertain solely to the side panels of the teller's cage. These may exhibit either cast on, three dimensional scrollwork or flat castings with gold painted, faux scrollwork.
     "Bank Teller Bank" is extremely rare with only eight or nine examples known to exist. Its rarity may perhaps be attributed to factors such as complicated coin removal, fragile construction, and limited production.
     To my knowledge, there have not been attempts at reproducing "Bank Teller Bank". However, in view of the mechanical's rarity and value, the possibility of such future endeavors cannot be ignored. Figure 4 represents a base diagram of an original example. A recast version would appear approximately one-eighth inch shorter O.D. than indicated.
     Acknowledgement: The superb example of "Bank Teller Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck.

Indiana Paddle Wheeler Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2004

     The subject of this article is an extremely rare and unique mechanical bank. The "Indiana Paddle Wheeler", pictured in Figure 1, is known at this time to exist in only two collections.
     This mechanical distinguishes itself by its utilization of the most unique, ingenious, and intricate coin delivery system ever incorporated into a mechanical bank. Figure 2 represents the bank prior to activation. The string looped over the top of the mast is pulled downward, thus raising the blue, star-embellished coin carrier. A coin is then inserted within it. Protruding from the carrier is a thin, flexible wire to which is attached a small, round weighted ball. A single "tap" lightly delivered by the depositor causes the rod to vibrate. It is this vibration that induces the coin carrier, with coin in tow, to descend the pole in a jerky motion. As it reaches the ship's deck, a tiny mast in a lifeboat, located at the base of the pole, nudges the coin from the carrier, through a slot, and into the bank. Once inside, the coin strikes an internal baffle, which subsequently causes the elevated Deposits are recovered by opening a spring activated, beam to rock upward and downward. key lock coin retainer located underneath the boat's hull.
     Unfortunately, except for its patent papers, there is little in the way of  historical documentation pertaining to the "Paddle Wheeler" Bank. Copies of said papers have been in my possession for many years and filed with several patents pertaining to other as yet undiscovered mechanical 1 banks. These patent papers revealed the mechanical's creator was a Robert J. Sellentine. The gentleman was granted Patent Number 569,241 on October 13, 1896 for the "Sellentine Toy Money Box", represented in Figure 3. Prior to its discovery by Indiana toy dealer and collector, Don Beck, in the vicinity of Cleveland, Ohio, this mechanical's existence had only been assumed through the aforementioned patent papers. Beck, prior to selling the mechanical (shown in Figures 1 and 2) to collector Steve Steckbeck, offered him conjecture pertaining to its heritage. His thought was that the bank might have been manufactured in Ohio since it was the area in which it had been located, and in close proximity to several local Cleveland iron foundries. Unfortunately, this speculation has never been substantiated.
     Coincidentally, on or about the same time Mr. Beck made his discovery, the late Mr. Andy Moore, noted historian and collector of still banks, discovered another example of the "Sellentine Toy Money Box". He entitled his "new find" "Indiana Paddle Wheeler'. It was subsequently pictured in Andy and Susan Moore's still bank raisonne, "The Penny Bank Book", listed as item number B1442. Recalling a conversation with Andy following his purchase of this bank, he related that his discovery had been in the attic of an old Victorian home located in the Great Lakes region of Indiana, thus explaining his designation for the mechanical.
     The scarcity of "Indiana Paddle Wheeler" Bank may have been due to several significant factors. Its fragile construction, extremely complicated and unreliable coin deposition, and prohibitive manufacturing expense may have discouraged copious production.
     Figure 4 is a base diagram of an original example "Indiana Paddle Wheeler". To my knowledge, there have not been attempts to reproduce this mechanical. However, if a recast would present itself, it would appear approximately one-eighth inch smaller O.D. than indicated.
     As previously mentioned, examples of "Indiana Paddle Wheelers" are known to reside in only two collections. One is anchored in the collection of Steve and Marilyn Steckbeck and the other is now docked in the collection of Don and Betty Jo Heim. Both examples are identical in coloration and castings.

The Seven Ravens Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2005

     The Seven Ravens
     There was once a man who had seven sons. He and his wife prayed for a daughter. At length their prayers were answered and a little girl was born to them.
     But their joy turned to grief, as the child was sickly, and had to be baptized immediately lest she die without the blessing of God.
     The father sent the seven brothers to the well to fetch water for the baptism. When the bucket fell into the well the seven boys just stood around bewildered.
     As they did not return, the father angrily said, "They have forgotten the water and their sister will die without being baptized". And he cried out "I wish the boys were all turned into ravens". As soon as his words were spoken, he looked up and saw seven coal-black ravens flying away.
     Years passed and the daughter grew stronger. Then one day she overheard it said that she was responsible for the curse that befell her seven brothers.
     Filled with guilt, she borrowed her parent's ring and set out to find her siblings.
     In time she came across a small cottage in the forest. There she spied a dining table set with seven small plates and seven goblets. She knew that she had found her seven brothers. She then carefully placed her parent's rings into one of the cups and hid behind the door.
     Suddenly she saw the seven ravens fly into the cottage. Each ate and drank from the table setting, until one found the ring and said, "God grant that our sister is here and then we shall be free". When his sister heard the wish, she came forth, and on this all the ravens were restored to their human form again. They hugged and kissed and returned joyfully home.
               —Die Sieben Raben, Jacob and Wilheim Grimm, 1812
 
     The "Seven Ravens Bank", seen in Figure 1, is a fine example of early twentieth century German mechanical bank craftsmanship. The inspiration for its creation was the above-indicated fairy tale by the Brothers Grimm.
     One of the illustrations depicted upon the facade of this mechanical is the moment when the young girl, hiding behind the door of the cottage, first encounters her seven lost brothers. The other, and not true to the original fable, portrays the girl seated before a raven, one of her hands extended (presumably to present the bird with her parent's ring).
     The "Seven Ravens Bank" (Figure 1) is believed to have been manufactured between 1900 and 1920 by the Gebruder Bing Toy Works of Nurnberg, Germany. Bing was a well-known producer of tinplate items for the European and overseas market. Its wares included such items as kitchen utensils, toy trains, boats, and steam engines.
     Although this mechanical does not exhibit identifying marks indicating heritage or birthplace, discovery of the Bing manufacturer's catalog (Figure 2) revealed significant information. Despite the fact that "The Seven Ravens Bank" was not pictured, it is believed to have been one of the company's series of rare mechanicals. Visually, it is quite similar to other mechanical banks represented in the aforementioned catalog.
     The catalog (Figure 2) provides the following descriptions and cost for the Bing series of mechanicals: "Banks — Made of tin, nicely decorated. With good lock and moving figures. Supplied in 24 assorted subjects. Price per piece: Mark – .57".
     Figure 3 illustrates an early, circa 1908, Maienthau and Wolff of Nurnberg, Germany, toy distributor catalog. In it is also pictured a series of mechanical banks similar in design and construction to the "Seven Ravens." The description and prices of the Maienthau and Wolff series of mechanicals are as follows: "Tin Banks, With Movable Figures, in 6 various subjects. Delicately Painted, Hand finished with good lock". Fractional Mark -.76" Comparison of both catalogs lends insight into the profit margin for Bing and pricing structure for Maienthau and Wolff.
     The "Seven Ravens Bank" was constructed almost entirely of tinplate. The articulated figures of the raven and little girl are composed of zinc alloy. Both figures were attractively hand painted. The background scenery, that of the cottage, was executed upon a thin sheet of polychrome photolithographic paper affixed to the bank's tinplate facade.
     Operation of "The Seven Ravens Bank" is initiated by insertion of a coin through the slot in the back of the bank. The raven then tilts forward as if to peck at the outstretched hand of his sister (Figure 4). Deposits are recovered by opening the key lock, trap door type, coin retainer located underneath the base of the bank.
     It is miraculous that this mechanical, as well as any others in the Bing group, have survived. In addition to their fragile tinplate construction, delicate paper-clad and painted surfaces, they were subjected to the harsh elements and careless youthful ownership.
     I am not aware of any reproduced mechanicals in the Bing series. However, there is the possibility of reproduced parts. In this instance, limited professional restoration may be considered acceptable without significantly devaluing the item.
     Measurement of "The Seven Ravens Bank" is as follows: Height: 4-15/16 inches; Width: 3-1/2 inches; Depth: 2-3/8 inches. Its diminutive size does not diminish its desirability. It is an extremely rare, colorful, and welcome addition to a mechanical bank collection.
     Acknowledgements: The superb example of "The Seven Ravens Bank" (Figure 1) is nested within the Kidd Toy Museum, Portland, Oregon, Frank and Joyce Kidd Proprietors.
     Fellow collectors Harold and Uli Merklein of Nurnberg, Germany, graciously provided copies of the Bing and Maienthau and Wolff catalog pages, Figures 2 and 3.
     My gratitude to Ms. Mary Beth Dunhouse, Coordinator of Special Projects and Collections, Boston Public Library, for her research and provision of information linking the mechanical hank featured in this article to the "The Seven Ravens" fairy tale.

Bear with Slot in Chest
"Teddy Bear Bank"
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2005

     Lovable and charismatic describe possibly the most remarkable icon ever to grace the world of toys. The year was 1902 and the event was the birth of the interminable Teddy Bear.
     Its arrival is attributed to President Theodore (Teddy) Roosevelt. Historical documentation relates he was engaged in a bear hunting expedition. Unsuccessful in locating game, his guides offered a shackled cub. However, President Roosevelt staunchly refused to shoot the young bruin. Political Cartoonist, Clifford Berryman of the Washington Post, portrayed the incident via a satirical cartoon (Figure 1). The illustration was subsequently published in newspapers throughout the United States. Within a few weeks the event received nationwide notoriety.
     At approximately this same time, a soft, plush cloth toy bear created by Steiff Toy Corporation of Grengen, Germany was being introduced in the United States. Its entry into the American marketplace could not have been timed more perfectly! The public's enthusiasm and immediate success of this tiny button-eyed bruin is attributed to the Teddy Roosevelt hunting incident.
     During the years 1902 through 1920, hundreds of companies both here and abroad produced "Teddy Bears" as well as various other products featuring its likeness. Several mechanical bank manufacturers exploited the marketplace with their creations. Amongst these were "The Teddy and the Bear Bank" produced by the J. and E. Stevens Company of Cromwell, Connecticut, the "Tin Teddy Bear Bank" manufactured by Saalheimer and Strauss of Nurnberg, Germany, and the subject of this article, the cast iron "Teddy Bear Bank," Figures 2 and 3, created by the Kenton Hardware Company of Kenton, Ohio.
     Kenton Hardware was a prestigious iron foundry that produced an extensive line of fine cast iron toy automobiles, trucks, horse-drawn carriages, trains, and doll sized stoves. Its manufacture of mechanical banks was limited to the following two productions: "Bear With Slot In Chest" Bank and "Mama Katzenjammer Bank" (refer to Antique Toy World, January 1984 and March 1997).
     It was unfortunate that, for approximately sixty-five years, mechanical bank collectors did not have knowledge of the manufacturer of the aforementioned mechanicals. This was due to the fact that neither patent information nor company advertising was known to exist. It was not until circa 1971 that the copper-flashed example of "Bear With Slot In Chest" Bank, Figure 2 and a copy of the 1906 Kenton Hardware Company catalog Figure 4, were located within the company's sample room archive. This unexpected discovery provided relevant information and parentage for both our subject and "Mama Katzenjammer Bank". It is now known that Kenton christened its product "Teddy Bear Bank". However, the title of this article defers to its designation by mechanical bank collectors necessitated by many years of an absence of pertinent information.
     Both "Bear With Slot in Chest" and "Mama Katzenjammer Bank" are quite scarce. One possible explanation is that both were introduced in a time period of waning public enthusiasm, when popularity of mechanicals was declining. This shift in events was, presumably, too difficult for such small, lackluster, subtly animated mechanicals to overcome. The catalog page represented in Figure 4 appears to indicate Kenton's recognition of the public's apathy towards its mechanicals. The word "OUT" is scripted above each of the banks' designations. In addition, note the word "Oxidized" scribbled across the color description of "Teddy Bear Bank". This may have indicated the company's belief that alteration of the painted finish to a more attractive copper, oxidized color would possibly gain public interest and increase sales potential. The copper, oxidized example seen in Figure 2 is unique. It may have been a Kenton factory showroom sample that was never mass-produced.
     Operation of "Bear With Slot in Chest" is quite simple. A coin is pushed through the slot in the bear's chest, causing his mouth to open. As the money drops into the bank, it's jaw returns to the closed position. Deposits are removed via an oversized, round, Steven's type coin retainer located underneath the base of the bank.
     Several recasts of this mechanical were attempted during the 1940's and 1950's. These are fairly easy to discern simply by their crude and pebbly appearance. In addition, both halves of these second castings are secured by a screw, rather than a Kenton factory administered rivet. These reproductions may also appear significantly diminished in overall size. Figure 5 represents a base diagram of an original example of "Bear With Slot in Chest." A recast will appear approximately one-eighth inch smaller O.D. than indicated.
     I am not aware of any casting variations of this bank. However, there are two color variants. One is painted a white creamy color as exhibited in Figure 3. The other, of which there is only one known example, is executed in a copper oxidized finish, as seen in Figure 2.
     Acknowledgements: Both "Bear With Slot in Chest" banks, Figures 2 and 3, are from the collection of Steve and Marilyn Steckbeck.
     The Kenton Catalog page, circa 1906, (Figure 4) was graciously provided by fellow collector, William Robison.

Native and Crocodile Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2005

     Violence and savagery were topics rarely depicted as subject matter by late nineteenth and early twentieth centuries mechanical bank designers. During this period of toy production themes were generally of a more "innocent", or naive nature.
     However, a few bank manufacturers attempting, perhaps, to heighten interest and excitement for their creations, chose supposedly verboten topics. These included the following: "Snake and Frog in Pond", "Springing Cat", "Cat and Mouse Bank" (with mouse in cat's mouth), "Tabby Bank", "Lion and Monkeys", and our subject, "Native and Crocodile Bank" (Figure 1).
     Of the aforementioned, only the "Lion and Monkeys" alludes to a bit of humor. The gravity of the situation is lessened somewhat by the comical appearance of a grinning adult monkey and its offspring perched high in a treetop. The monkey gleefully tosses pennies into the gaping mouth of a marauding lion while the tiny sibling quizzically peers over its parent's shoulder. In sharp contrast is "Native and Crocodile Bank". Pictured in Figure 1, we see a club-wielding native engaged in deadly combat with a fierce crocodile whose lethal jaws appear primed to strike its mortal adversary.
     "Native and Crocodile" is believed to have been manufactured during the "Golden Age" of German tin mechanical bank production, i.e. 1900 to 1930. Its creator is thought to be the Gebruder Bing Tin Works of Nurnberg, Germany. Bing was renowned for its line of tinplate kitchen utensils, toys and model steam engines. "Native and Crocodile Bank" unfortunately bears no wordage that may attest to its heritage or country of origin. The Bing catalog however, seen in Figure 2, sheds some light upon its lineage.
     Although our subject (Figure 1) is not pictured, its construction and appearance is quite similar to those mechanicals represented in several illustrations. Note the flagless mast emanating from the peak of the bank (Figure 1). The catalog (Figure 2) displays banks of similar design that do exhibit flags. Such an omission possibly indicates our featured mechanical experienced loss of its flag, or banner.
     Information and pricing pertaining to the entire series of Bing mechanicals is indicated in the catalog: "Banks — Made of tin, nicely decorated. With key lock and moving figures. Supplied in 24 assorted subjects. Price per piece: .57 Marks."
     "Native and Crocodile Bank" is constructed of hand painted tinplate. The artfully decorated animated figure of the native, the crocodile, and the palm tree are composed of zinc-lead alloy.
     Operation of the mechanical is initiated by insertion of a coin through the slot located at the back of the bank. The native's poised arm, club in hand, rises and then descends, as if to strike its reptilian foe (Figure 3). Deposits are removed by opening the key lock, trap door type coin retainer underneath the base of the bank.
     The entire group of Bing articulated banks are extremely rare. With flimsy tinplate construction, delicate paper clad and painted surfaces, subjection to heat, cold, moisture, and playful usage, it is puzzling how any complete examples have survived.
     I am not aware of the existence of reproduced mechanicals in the Bing series. However, due to their extremely delicate nature there is the possibility of restored or reproduced parts. In such an instance, limited professional conservation may be considered acceptable without significantly devaluing the bank.
     Although diminutive in size (Height: 4-13/16 inches, Width: 3-1/2 inches, Depth: 2-15/16 inches), the desirability of "Native and Crocodile Bank" is  certainly not diminished. It is considered a unique, highly attractive and valuable addition to a mechanical bank collection.
     Acknowledgements: The fine example of "Native and Crocodile Bank" (Figure 1) is from the Kidd Toy Museum Collection, Frank and Joyce Kidd Proprietors.
     Copies of the Bing catalog pages (Figure 2) were provided by fellow collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

Woman at the Treasure Pump
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2005

     The quest for gold and hidden treasure is as ageless as man himself. Obsession and lust have been the inspiration for countless fables and folklore throughout recorded history "Jack and the Beanstalk", "Treasure Island", "The Goose That Laid the Golden Egg" are a few popular examples of stories that have delighted and entertained readers.
    Factual accounts of the pursuit of riches are well documented in early chronicles. Nineteenth century immigrants disembarked upon the shores of America, not only in search of freedom from oppression, but in the belief that "the streets were paved with gold". Prospectors flocked to California in 1848, hoping to wade in streams that were ankle deep in solid gold nuggets.
     Late nineteenth and early twentieth century toy manufacturers, both here and abroad, catered to the fantasies and desires of the public. The result was the production of several mechanical banks whose theme was the illusory discovery of wealth. Notables include: "Old Aunt Dina and the Fairy" (Antique Toy World, September 1999 and December 2001), "Presto Bank" Penny Changes to a Quarter (ATW, May 1993), and the subject of this article, "Woman at the Treasure Pump", Figure 1. However, unlike "Aunt Dina" and "Presto", which are banks that demonstrate the acquisition of wealth through animation, "Woman at the Treasure Pump" indicates this solely via a colorful illustration.
     The facade of the mechanical featured in Figure 1 portrays a peasant woman standing before a water pump. Her arms are raised and her face reflects astonishment as she views the pump's dispensation of gold coins in place of the anticipated water.
     Action of the bank amusingly demonstrates the celebration of this peasant lady's moment of good fortune. A Lincoln Head Cent or coin of similar size is placed in the slot of the cottage roof. The coin remains visibly in place. (Note: to avoid irreparable damage to the internal mechanism, no coinage larger than a Lincoln Head Cent should be utilized.) As the pump handle is depressed the coin drops into the bank and the green shutter doors open, allowing a small, white bird to emerge (Figure 2). As the bird appears, a chirping sound is emitted from within the bank. Deposits are retrieved by opening a key lock, trap door style coin retainer underneath the base of the bank.
     Interestingly, the only other tin mechanical bank to utilize a notably similar bellows- activated "chirper" is the "Crowing Rooster Bank", Figure 3. This mechanical was manufactured by Keim and Company, Nurnberg, Germany, circa 1935. Similarities between it and our subject establish the possibility that this same company produced both. Speculation is also based upon several other factors. Aside from their internal chirping mechanisms, each utilizes a like internal coin retainer/baffle; their subjects are situated in farm-related settings; both mechanicals are decorated in simplistic, 1930's cartoon-style illustrations; they both are constructed of lithographed tinplate; lastly, each exhibits the wordage "D.R.G.M. MADE IN GERMANY" which designates items manufactured in Germany from 1900 through 1938.
     Unfortunately, to date, and to my knowledge, no documented patent and/or manufacturing information related to "Woman at the Treasure Pump" bank has been located. All that may be stated as fact is the mechanical was produced in Germany sometime prior to 1939. The aforementioned letters "D.R.G.M." exhibited on its side refer to an early German patent designation, i.e. "Deutches Reichs Geshutzes Muster", meaning insignificant item. The German government discontinued this stipulation immediately prior to World War II.
     "Woman at the Treasure Pump" is diminutive in size (Height: 4-1/16 inches; Width: 3-1/16 inches.) It is colorful and attractive in appearance and a most desirable addition to a mechanical bank collection. It is quite scarce, however, and at the present time I am aware of only four examples in collections.
     Hopefully, additional information will present itself to clarify insubstantiality and dispel mere conjecture pertaining to this mechanical's origins.
     Acknowledgement: The fine example of "Crowing Rooster" (Figure 3) is in the collection of Mr. Robert Weiss.

Germania Exchange Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2005

     What pleasurable explanation may be offered for the depiction of a beer-guzzling goat poised atop a large keg of brew as a subject for a toy? Since there is no apparent relationship we are left to wonder what the designer of "Germania Exchange Bank", Figure 1, had in mind when deviating from "appropriate" topics for children.
     The portrayal of this seemingly happy animal about to imbibe is the comedic subject of a mechanical bank of possibly unknown origins. To date, insufficient factual information, e.g. patent papers and catalogs, has surfaced to reveal irrefutable identification of our subject's designer and/or manufacturer. However, the lead composition of the figure of the goat and the cast iron beer barrel do suggest the possibility that the "Germania Exchange Bank" may have been the product of Charles A. Bailey and the J. and E. Stevens Company.
     Bailey was a prominent mechanical bank designer of the nineteenth century. He began his career as an independent artisan, creating several mechanical banks fabricated solely of lead alloy. During his subsequent employment that began in the 1880's with the J. and E. Stevens Iron Foundry of Cromwell, Connecticut, Bailey designed one bank that was composed of both lead alloy and cast iron. This documented mechanical was "The Bismark Bank" in which he utilized lead for the representation of the figure of German Chancellor Otto von Bismark, and cast iron for the form of the pig. The combination of cast iron and lead to create the "Bismark Bank" prompted many historians to believe that Charles A. Bailey and J. and E. Stevens also parented "Germania Exchange".
     Additional information that further supports the aforementioned supposition is seen in Figure 2. In it is a representation of an 1880's Winter Edition of Erich's Fashion Quarterly, a toy jobber's catalog. Pictured are both the "Germania Exchange Bank" and the "Bismark Bank" (seen as a pig), with selling prices of ninety-five cents and seventy-five cents, respectively. This catalog page lends further credence to the possibility that the "Bismark" and "Germania" mechanical banks were created during the same period of time and by the same manufacturer.
     The question that still remains unsolved is the reason or meaning for the naming of this bank. A possible and perhaps correct explanation is its title which simply describes the mechanical action: Deposit a coin and it will be "Exchanged" for a stein of "Germania" beer.
     As an aside, prior to the discovery of the toy jobber's catalog, mechanical bank collectors offered much conjecture pertaining to the intended purpose for the creation of the "Germania Exchange Bank". The following is offered merely as interesting, albeit unsubstantiated thoughts presented several years ago. Some believed it to be a marketing incentive, offered by an actual Savings Bank of German-American extraction operating in Pittsburgh, Pennsylvania. Others expressed their belief that it was designed to celebrate a brewery party held at a hotel in St. Louis, Missouri.
     Of further interest is the use of the goat in German beer folklore. Many of the German breweries introduced their newly brewed supply of "Bock Beer" late in the year or during the season of Capricorn, hence the usage of the symbolic goat on many of their casks and bottle labels. In addition, the word "bock" translates to billy goat or ram in several German dialects.
     Action of "Germania Exchange" is aptly described in the aforementioned catalog page: "A novel arrangement for a toy money bank. Upon placing a coin in the goat's tail and turning the faucet, he immediately deposits the money and presents to the depositor a glass of beer". Removal of deposits is achieved by unscrewing a curved metal coin retainer underneath the bank.
     I am unaware at this time of any casting variations of "Germania Exchange". There are, however, three color variants, and these pertain solely to the barrel. In all examples the goat is painted in identical colors, while the barrel may be decorated as seen in Figure 1, or an overall tan color with red or black bands, or a red barrel with gold bands.
     "Germania Exchange" is extremely rare, with fewer than a handful of completely original, unrestored banks known to exist. In most instances, the goat and/or one or more of the bank's pedestal feet may be damaged or missing.
     I am not aware of the existence of reproductions of "Germania Exchange". Figure 3 is a base diagram of an original example. If recasting was attempted it would appear approximately one-eighth inch shorter in length O.D. than indicated.
     Acknowledgement: The superb, all original example of "Germania Exchange Bank," Figure 1, is from the collection of Robert Weiss. It was formerly in the L.C. Hegarty collection.

Tin, Automatic Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2005

     Circus performers have entertained audiences since their advent centuries ago. The first so-called "modern" circus originated in England in 1782. Its lone source of entertainment was horse-mounted events. Eventually, over the years, feats of daring, acrobatics, wild animal trainers, clowns, juggling acts, etc. were added to attract diverse audiences.
     It was not until the mid-nineteenth century, and in the United States, that the great entrepreneur and showman, P.T. Barnum, created and added the "Side Show" to bolster audience attendance to his Big Top Circus. This particular exhibition of oddities soon became one of America's most popular form of entertainment. Attractions included "The World's Smallest Man", "Siamese Twins", "The World's Largest Elephant", "Sword Swallowers", "Fire Eaters", etc. It was not long before circuses and carnivals worldwide were featuring "strange" humans and exotic animals.
     One such popular act, the "Strongman and his Dwarf Sidekick", was to become the subject of a mechanical penny bank. The tin "Automatic Savings Bank" (Figure 1) was produced, circa 1928, by the Saalheimer and Strauss Tin Works of Nurnberg, Germany. During this period Nurnberg was the world center for the production of tin plate household goods and toys, and Saalheimer and Strauss was considered the foremost manufacturer of tin penny banks. The company's design and artistry, demonstrated by its colorful lithographed metallic creations, remain unrivaled to this day.
     Figure 2 depicts a wholesale flyer distributed in 1929 by Saalheimer and Strauss. In it is an illustration of the "Automatic Savings Bank" accompanied by pricing information. The ad reads: "Number 280, 60 Reich Marks Per Gross. One Half Dozen Per Carton."
     Action of the "Automatic Savings Bank" is quite interesting. Payment via coin deposition differs from actual Side Show admission procedure. One would generally pay an admission fee prior to viewing a Side Show exhibit; however, the "Automatic Savings Bank" requires a coin subsequent to its action. The head of the strongman covers the coin-receiving slot, thus preventing coin deposition to initiate further action. It is only after the lever at the bank's left side is fully depressed does the strongman's head move to the left, thus exposing the coin slot. The action continues with the strongman grasping his dwarf assistant by the hair and lifting him off the ground. It is at that point that the coin is deposited. A humorous aspect of the mechanical's action is that, as the dwarf is lifted, its neck stretches to a comical and unnatural length (Figure 3).
     Deposits are removed by opening the key lock, trap door, coin retainer located underneath the base of the bank.
     The "Automatic Savings Bank" as well as most other mechanicals produced by Saalheimer and Strauss is extremely scarce. This is quite understandable in view of their fragile tin plate construction, exposure to the ravages of time and moisture, as well as the careless and perhaps rough handling by its initial youthful proprietors. With less than a handful of examples known, fortunate is the collector able to boast of the possession of a fine "Automatic Savings Bank".
     To my knowledge, there are no reproductions of any of the Saalheimer and Strauss series, including the "Automatic Savings Bank". However, this does not preclude the possibility of reproduced and/or replaced parts. Needless to say, in such an instance the value of the bank should be adjusted accordingly.
     Despite its diminutive size, i.e. Height: 6-1/16 inches, Width: 3-9/16 inches, Depth: 1-15/16 inches, the "Automatic Savings Bank" is an extremely attractive and highly desirable addition to a collection of mechanical banks.
     Acknowledgement: The superb example of "Automatic Savings Bank" (Figure 1) is from the collection of Max Berry.
     The "Automatic Savings Bank" (Figure 1) was photographed by Alex Jamison.

The Empire Cinema Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2005

     No single category of toy has equaled antique mechanical banks in chronicling diverse lifestyles and issues of the nineteenth and twentieth centuries. Subjects and themes included historical events, politics, science, recreation, racism, children, animals, sports, morality, etc. Manufacturers of these penny guzzlers, both here and abroad, were eager to exploit current events and fashionable trends.
     A momentous event that would lead to the design of our subject of discussion took place in New York City on April 23, 1896. It was at Koster and Bial's Music Hall that the first fully operational movie projection system was utilized to screen a motion picture to be shown to a paying American audience. The device, named "Vitascope" (Figure 1), was the brainchild of Thomas Alva Edison, in conjunction with Birt Acres and Robert W. Paul.
     Motion pictures became an instant success. Audiences soon demanded larger screens to view Edison's Vitascope films. Early makeshift movie theatres were converted churches and dance halls. Within a few years large screened theatres were erected in Paris, London and Los Angeles. By the 1920's "Cinema Houses" appeared in every major city in the world.
     Recognizing its universal appeal and monetary potential, toy designers in Europe designed a tin plate mechanical bank featuring a cinema theatre. Their creation was entitled "The Empire Cinema Bank" (Figure 2).
     To date, since neither catalog nor patent information has surfaced, the bank's manufacturer and/or designers remain unknown. However, some information has been obtained from a circa 1913 catalog of the James Wisbey Wholesale Toy Company of Houndsditch, England. In it is a page featuring an illustration of "The Empire Cinema Bank" (Figure 3) accompanied by a brief description of its action and pricing details: "Number 5000e. New Line in Savings Bank. A picture appears each time a coin is inserted. 4 shillings and 6 pence a dozen."
     In addition to "The Empire Cinema Bank" two other tin lithographed mechanicals were pictured and offered for sale in the Wisbey catalog. These were "Royal Trick Elephant" and "Monkey and Tray". It may, perhaps, be presumed that the same thus far unidentified company produced all three banks and that Germany was the country of origin.
     Pertinent information relating to "The Empire Cinema Bank" has been offered by European mechanical bank historian, John Haley. Mr Haley's research leads him to believe this mechanical was modeled after the famous Empire Cinema Theatre in Leicester Square in London. The theatre was established in 1896 and was the first to present animated films in England. Initially, it was known as the Empire Music Hall. The name was later changed to the Empire Theatre and then finally to the Empire Cinema. It seated eight hundred patrons, and was the model for other movie theatres throughout England. Many of these theatres adopted the name "Empire Cinema".
     Operation of the "Empire Cinema Bank" is imaginative and appropriate to the subject. Prior to coin insertion, the theatre screen is hidden by a tin plate split cover displaying the words "WATCH THE NEXT PICTURE", (Figure 4). Each time a coin is inserted and the protruding lever is depressed, the curtain, seen in Figure 4, opens to expose various pictures of animals and clowns in acrobatic positions. Coins are deposited automatically as the lever is pressed downward, and retrieved via a square, key lock, trap door coin retainer located underneath the base.
     "The Empire Cinema Bank" is extremely rare, with only one, possibly two, examples known to exist in collections. Its scarcity may not only be attributed to fragile and complicated construction (as are all tin plate mechanicals), but also to timing. The bank was advertised in the Wisbey catalog just a few months prior to the declaration of World War I, a period when all German imports to England were terminated.
     To my knowledge, "The Empire Cinema Bank" has never been reproduced. Despite its tinplate construction and diminutive size, i.e., Height: 5-1/2 inches, Width 5-5/8 inches, it is an attractive example of the early days of cinema and a most valuable addition to a mechanical bank collection.
     Acknowledgements: The superb example of "The Empire Cinema Bank", Figure 2, is in the collection of Max Berry.
     My special thanks to John Haley for providing the Wisbey catalog page featured in Figure 1, and his research relating to the Empire Cinema Theatre in London.

King Aqua Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2005

     Conflict between nations had proven to be a popular theme for nineteenth century mechanical bank designs. Numerous examples, produced both here and abroad, reflect generally recognized historic events. Examples include such notables as "Hold the Fort Bank", "U.S. and Spain", "Artillery Bank", "Creedmoor Bank", "Called Out Bank", "Octagonal Fort Bank", "Tommy Bank", "Grenadier Bank", etc.
     Several other mechanicals, however depict seemingly unfamiliar and obscure events that may be puzzling to all but the astute military historian. Included within this list are "Afghanistan Bank", "Schley Bottling Up Cervera Bank", and the subject of this article, "King Aqua Bank" (Figure 1).
     To date, the identity of both designer and manufacturer of "King Aqua Bank" remain unknown. That it was of German manufacture has been established, however, by the wording cast into the base and back of the bank (Figures 2, 4, and 5). This limited information was helpful in uncovering pertinent facts and a bit of conjecture.
     Although the subject matter of the "King Aqua Bank" appears to be that of racial prejudice, an understanding of circumstances occurring at that time in German colonial history may reveal its actual symbolic intent. In 1884, Germany engaged in a treaty of protection with the tribal chiefs of a region of West Africa, then known as the Cameroons, or "Kamerun". These natives were offered safety and protection from threat of colonization by other European powers.
     From the onset, the peoples of the Kamerun resisted attempts by any who sought to encroach upon their economy and covet their natural resources. As a result of continual German spoilage of their land, the Bakiveri Kamerun natives, in 1891, mounted a fierce armed resistance against the invaders. The ensuing battle resulted in a devastating and humiliating defeat for the well-trained and equipped German forces. Unfortunately, this led to a radical reappraisal of German colonial policy that culminated in a brutal campaign to exterminate the Bakiveri.
     This saga of the Bakiveri military resistance against the Germans is also the remarkable tale of Chief Kuva, whose epic defeat of the German-led forces in 1891 remains one of the most glorious chapters in Cameroon history. Germany never forgave the country for its suffering at the hands of King Kuva. In the following three years an exceptionally savage military offensive was directed at annihilation of all of Kuva's followers. By 1884, King Kuva and his remaining minion went into hiding as Germany strengthened its already iron grip on Kamerun.
     The "King Aqua Bank" (Figure 1), appears to reflect an idealized Germanic recount of that fateful battle between King Kuva and the German military. What is unknown is whether there actually was a Kamerun chieftain by the name of King Aqua and, if so, perhaps the name may have been an uneducated misnomer of King Kuva by the bank's designer. In addition, there appears to be yet another puzzlement surrounding the Kuva legend. As seen in Figure 3, King Aqua is facing a German marksman. Behind him on the back wall of the guardhouse is a small compartment that serves to imprison a native woman (Figure 4). The trapdoor sealing her jail cell bears inscriptions that read: "J,M. Frau, Kingaqua I, Kamerun".
     One may only hypothesize about the identity of these characters and what part they might play in the untold tale this mechanical has yet to reveal. Could the Germans, in their quest to capture the elusive rogue, King Kuva, have kidnapped his wife, "Frau J.C.", and held her as hostage for his surrender? Could this have led to his execution at the hands of a firing squad, resulting in the release of Queen J.C. from her incarceration?
     Action of the "King Aqua" is unique and seemingly appropriate to its legend. Initially, the marksman's rifle is cocked into position and a coin is laid atop the gun's barrel. The shooter's right foot is then depressed. Simultaneously, the coin is then propelled through King Aqua's mouth (Figure 3), striking a pin mechanism, which opens the native Queen's cell door (Figure 4). Deposits are retrieved by opening a round Stevens twist type coin retainer located underneath the base (Figure 2).
     "King Aqua Bank" is extremely rare, with only three known examples in the possession of each one of three fortunate collectors.
     Figure 5 is a base diagram of an original "King Aqua Bank". If a recast was attempted it would appear approximately one-quarter inch shorter in length O.D. than indicated.
     Note: The following is a glossary of the several Germanic words cast into the "King Aqua Bank" (Figures 2, 4, 5) and their English translations: "J.M. Frau, Kingaqua I, Kamerun" — (J.M. Wife, King Aqua I, Cameroon); "Africa Spar-Bank" — (Africa Savings Bank); "Mustershutz" — (Marksman); "Zu" — (Close); "Auf' — (Open).
     Acknowledgement: The fine, all original "King Aqua Bank" seen in Figure 1 is from the collection of Steve and Marilyn Steckbeck.

Mother Hubbard Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2005

Old Mother Hubbard went to the cupboard to fetch her poor dog a bone,
But when she got there the cupboard was bare and so the poor dog had none.
She went to the baker's to buy him some bread
But when she came back the poor dog was dead.
She went to the joiner's to buy him a coffin,
But when she came back the poor dog was laughing.
She took a clean dish to get him some tripe,
But when she came back he was smoking a pipe.
She went to the fishmonger's to buy him some fish,
But when she came back he was licking the dish.
She went to the alehouse to get him some beer,
But when she came back the dog sat in a chair.
She went to the tavern for white wine and red.
But when she came back the dog stood on his head.
She went to the hatter's to buy him a hat,
But when she came back he was feeding the cat.
She went to the barber's to buy him a wig,
But when she came back he was dancing a jig.
She went to the fruiterer's to buy him some fruit,
But when she came back he was playing the flute.
She went to the tailor's to buy him a coat,
But when she came back he was riding a goat.
She went to the cobbler's to buy him some shoes,
But when she came back he was reading the news.
She went to the seamstress to buy him some linen,
But when she came back, the dog was a-spinning.
She went to the hosier's to buy him some hose,
But when she came back he was dressed in his clothes.
The dame made a curtsy, the dog made a bow;
The dame said, your servant, The dog said, bow-wow.
    
     Our featured subject, this article, is based upon one of the most well-known nursery rhymes ever written. "Old Mother Hubbard" has been, and continues to be, enjoyed by young and old alike.
     Interestingly, despite the popularity of this verse, and countless others, few have been represented as themes for antique mechanical banks. In addition to the "Mother Hubbard Bank" (Figure 1), there are only the "Ding Dong Bell Bank" (refer to Antique Toy World, February 2000) and "Old Woman in the Shoe Bank" (A.T.W., November 1998).
     The Gebruder Bing Tin Works is believed to have manufactured the "Mother Hubbard Bank" sometime during the years 1900 to 1920. Located in Nurnberg, Germany, Bing was a foremost producer of tinplate items for the European and overseas market. Amongst its wares were such items as kitchen utensils and toys that included trains, boats and steam engines.
     Although "Mother Hubbard Bank" does not exhibit wordage that may attest to its heritage or country of origin, pages from the Bing catalog (Figure 3) offer some insight. The bank is thought to have been one of the company's series of tinplate mechanicals despite the fact that it is not pictured. The assumption is based upon the bank's striking similarity to those represented in the aforementioned catalog.
     The Bing catalog's description and pricing information pertaining to its entire series of mechanicals reads as follows: "Banks—Made of tin, nicely decorated. With key lock and moving figures. Supplied in 24 assorted subjects. Price per piece: .57 Marks."
     "Mother Hubbard Bank" is constructed of hand painted tinplate. The colorfully decorated articulated figures of Mother Hubbard and her dog are composed of a zinc-lead alloy.
     Operation of the mechanical is initiated by inserting a coin through the slot located at the top of the bank. Simultaneously, the dog assumes an upright position, as if to beg an offering from its mistress (Figure 4). Dame Hubbard appears to be presenting her pup with a large bratwurst, or sausage. Interestingly, however, this deviates from the nursery rhyme, which states, "she went to the baker to buy him some bread, etc." It seems likely that the dog would have been offered a loaf of pumpernickel instead. Perhaps a more popular food item within the German culture prevailed over the original English version of the verse?
     Deposits are removed by opening the key lock, trap door type coin retainer located underneath the base of the bank.
     The scarcity of this unique mechanical and the very few examples of the Bing series in collections is not difficult to explain. Their rarity is attributed to factors such as fragile tinplate construction, delicate internal mechanism, and youthful mishandling.
     I am not aware of the existence of reproduced Bing mechanicals. However, in view of their "delicate" construction, there is a possibility of replaced and/or reproduced parts. In such instances, as with any fine, rare and fragile antique, limited professional restoration may be considered acceptable without significantly compromising its value.
     "Mother Hubbard Bank" is quite small in size: Height: 4 inches; Width: 2-7/8 inches; Depth: 2-5/16 inches. This factor has not, however, diminished its desirability. It remains an extremely attractive, charismatic and welcome addition to a mechanical bank collection.
     Acknowledgement: The fine example of the "Mother Hubbard Bank" (Figure 1) is from the collection of Steve and Marilyn Steckbeck.
     Note: The simplistic original two-line version of "Old Mother Hubbard" was written during the sixteenth century. Sometime thereafter it fell into relative obscurity. Ironically, it was not until the more elaborate version (Figure 2) was scripted in 1804 by Sarah Catherine Martin (one of the many loves of King William IV) that the original rhyme was reintroduced and restored to its once popular status.

Nodding Dog Bank (Tin)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2005

     No breed of dog exemplifies the expression "man's best friend" more aptly than the Saint Bernard. An image of this gentle, large-sized, reddish-brown and white animal is the subject of the mechanical bank in Figure 1.
     The origin of this noble canine's good deeds dates back to sometime between the sixteenth and eighteenth centuries. Dogs were given to the monks of the Saint Bernard Monastery in the Swiss Alps for protection against vandals and bandits. The monks' hospice provided shelter and food to journeyers traveling through the perilous Saint Bernard Alpine pass. It was soon recognized that the donated canines were very well suited for night searches during fierce winter storms. The Saint Bernard's agility among the rocks and boulders and fine sense of smell enabled them to locate avalanche victims buried ten to twenty feet below the snow's surface During the eighteenth and nineteenth centuries these Alpine dogs contributed greatly to mountain rescue work with countless recorded heroic deeds.
     Late nineteenth and early twentieth century manufacturers of mechanical banks both here and abroad, always cognizant of popular themes and endearing' images, incorporated the likeness of various breeds of dogs into their designs. Perplexing, however, is the fact that only one designer elected to feature the legendary Saint Bernard, poised with saddle rescue pack, as a subject for a mechanical bank, namely the "Nodding Dog Bank"
     Unfortunately, this mechanical (Figure 1) is totally devoid of any identifying markings that would disclose either its manufacturer or country of origin. In addition, neither catalog nor patent information has surfaced that might possibly reveal the heritage of "Nodding Dog Bank."
     The lone clue to its producer is another mechanical bank, i.e. the "Tin Cockatoo", seen in Figure 2. This mechanical was manufactured by the Emil Hausmann Tin Works of Nurnberg, Germany, and pictured in the company's wholesale toy catalog, circa 1928. A comparison of "Nodding Dog" to "Tin Cockatoo" reveals similarity in action and composition. Both feature an identical counter-balance, rocking action mechanism involving the heads of the banks.
     Operation of the "Nodding Dog" is initiated by pushing a coin through the slot located atop the dog's small saddle: Simultaneously, the Saint Bernard's head gently nods in an upward and downward motion. Action of "Tin Cockatoo" is set in motion by depressing the bird's rounded crest feather, thus opening its mouth to expose the coin slot. Upon release of the crest, the top of its head and upper beak "rock" in a similar upward and downward motion. Deposits of both mechanicals are recovered by opening a tin, key-lock, rectangular coin retainer located underneath the bank. Additionally, both mechanicals are constructed of artful and colorful hand painted tinplate. Further, neither bank is marked with the manufacturer's logo, or "D.R.G.M.", or "Made In Germany", unlike most other tin mechanicals of the era.
     "Nodding Dog" is extremely rare, with less than a handful known to reside in collections. It is not puzzling to determine the reasons for its scarcity. Constructed of flimsy, painted tinplate and an extremely fragile mechanism, it is surprising that any examples have survived.
     Diminutive in size (see base diagram: Figure 3), "Nodding Dog" is, nonetheless, a stately and attractive addition to a collection of mechanical banks.
     "Nodding Dog Bank" has not, to my knowledge, been reproduced. However, due to its extremely delicate nature there is the possibility of restored or reproduced parts. In such an instance, limited professional conservation may be acceptable without significantly devaluing the bank.
     Acknowledgement: The fine, all original example of "Nodding Dog Bank", Figure 1, is from the collection of Max Berry.
     The "Nodding Dog Bank", Figure 1, was photographed by Alex Jamison.
     Update: (from February, 2006) New information pertaining to "Nodding Bank" (refer to Antique Toy World, October 2005) has recently come to my attention.
     Firstly, Mr. John Haley, fellow collector and European Money Box historian, has informed me that this mechanical bank is a depiction of an actual canine. "Paddington Jack" was a heroic St. Bernard adopted as mascot of the Paddington Train Station in London, England. A bronze effigy of "Jack" stands guard at the station entrance.
     Secondly, I've been made aware of another "Nodding Dog Bank". This example exhibits an original paper nametag affixed to its collar. The following inscription is imprinted upon the tag: "Paddington Jack, Thank You".

Tin, Darky Bust Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2005

     Prejudice and bigotry have been bedfellows throughout recorded history. More recently, hatred and distrust can be credited as the catalyst for the creation of a profusion of degrading artifacts.
     During the eighteenth and nineteenth centuries anti-black sentiment was rampant, both in this country and abroad. Attitudes were reflected in such items as artwork, literature, children's toys, etc. Mechanical bank designers, mindful of marketable themes, created wares that included humiliating images. Catalogs and magazines were inundated with illustrations and advertisements for toys dehumanizing the Negro (Figures 1, 2, 3, 4).
     One such toy was the "Darky Bust Bank", seen in Figure 5. This mechanical capitalized not only on anti-black sentiments, but also curiosity and attention focused on the newly immigrated Arabic populace. The bank is a caricature featuring a black man attired in a garishly decorated jacket and sporting a red fez.
     Unfortunately, neither patent papers nor manufacturer's documents for "Darky Bust" have surfaced that may impart historical information. However, the discovery of several toy wholesalers' catalogs (Figures 6, 7, 8) possibly revealed this bank's country of origin and the years in which it was distributed. The lack of patent information is attributed to early German patent laws. It was government mandated that unimportant patents, including toys, were to be routinely discarded after fifteen years of issuance, thus depriving the item of its heritage.
     The "Darky Bust Bank" (Figure 5) is one of two rare mechanicals believed to have been manufactured and/or distributed by Maienthau and Wolff of Nurnberg, Germany. Interestingly, the Maienthau and Wolff catalog (Figure 6) does not picture the subject of this article, but rather another mechanical entitled "Mandarin Bank". This mechanical is similar in construction, materials, action and size to "Darky Bust", differing only in subject matter. These striking similarities have led many collectors and historians to assume a relationship between both mechanical banks and also to Maienthau and Wolff.
     Figure 7 depicts a Butler Brothers, U.S.A., toy wholesaler's catalog, circa 1905. In it is an advertisement for the "Greedy Negro" Bank (a.k.a. "Darky Bust"), with a selling price of 33 cents per dozen. Figure 8 is a Nerlich and Company, U.S.A. trade catalog, circa 1907, offering the "Tin Negro" Bank for 70 cents per dozen.
     The "Darky Bust" is constructed entirely of brightly lithographed tinplate. Operation is accomplished by inserting a coin through the slot atop the fez. As the coin descends, the Darky's eyes tilt upward and its tongue protrudes. Deposits are removed by literally cutting out the tinplate bottom of the bank with a can opener (there is no simple means of coin removal built in by the manufacturer).
     "Darky Bust Bank" is extremely rare. Its radical method of coin extraction, delicate mechanism and extremely fragile tinplate construction explain its scarcity.
     There are no variations of "Darky Bust" other than its attire. Our subject may be clothed as pictured in Figure 5, or wearing a yellow-checkered jacket and vest and a yellow fez.
     I am not aware of the existence of reproduced examples of "Darky Bust". However, in view of its fragile nature there is the possibility of restored or replaced parts. As with any rare, delicate antique, limited professional conservation may be considered acceptable without significantly devaluing the object.
     "Darky Bust" is miniscule in size: Height: 3-11/16 inches; Width: 2-3/16 inches. This does not diminish its desirability. In addition to its aforementioned rarity, "Darky Bust" is most attractive and an enhancement to a mechanical bank collection.
     Acknowledgement: The mint example "Darky Bust Bank", Figure 5, is from the collection of Robert Weiss.

The Strongman Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2005

     Carnival acts and circus themes have always proven to be lucrative topics for children's playthings. During the late nineteenth and early twentieth centuries several mechanical banks were produced, both here and abroad, that reflected the public's heightened interest and fascination. Amongst the popular images depicted were clowns, acrobats, and wild animal acts.
     Eventually, however, initial fascination as well as audience attendance at performances began to wane. It was none other than the great entrepreneur and showman, P.T. Barnum, who revived the allure of the circus by creating the "side show". Barnum's "oddities" included fire-eaters, sword swallowers, dwarfs, bearded ladies, Siamese twins, two-headed snakes, albino alligators, etc. Before long all circuses and carnivals featured not only exotic animals but human anomalies as well.
     One act became known as the "World's Strongest Man", and subsequently, the subject of a mechanical bank. The "Strongman Bank", Figure 1, is but one of a series of extremely rare and desirable mechanicals believed to have been produced sometime during the years 1900-1910 by Gebruder Bing Tin Works of Nurnberg, Germany. Bing was renowned for its line of tinplate kitchen utensils, toys and model steam engines. Although "Strongman Bank" bears no wordage that may identify its manufacturer and country of origin, discovery of the Bing catalog (Figure 2) may possibly have revealed significant information.
     Despite the fact that the "Strongman" was not pictured, it is believed to have been one of the company's series of mechanicals. Visually, structurally, and mechanically it is quite similar to other mechanical banks represented in the aforementioned catalog.
     The description and pricing of the Bing series of banks, as indicated in Figure 2, are as follows: "Banks — Made of tin, nicely decorated. With lock and moving figures. Supplied in 24 assorted subjects. price per piece: Mark - .57".
     The "Strongman Bank" was constructed almost entirely of painted tinplate. The exception is the articulated figure of the strongman. It is composed of cast, hand painted, zinc-lead alloy.
     The "Strongman Bank" operates by first inserting a coin through a slot in the back of the bank. The strongman then raises its left arm and weight (Figure 3). Upon deposition of the coin, the arm returns to its original position, Figure 1. Coins are removed by opening the key lock, trap door type coin retainer located underneath the base of the bank.
     The entire group of Bing articulated mechanicals is extremely rare. Its scarcity may be attributed to flimsy tinplate construction, delicate painted and/or paper-clad surfaces, exposure to temperature and humidity fluctuations, as well as possible mishandling by youthful owners. In view of the foregoing it is puzzling that any complete, intact example has survived.
     I am not aware of the existence of reproduced mechanicals in the Bing series. However, due to its aforementioned frailties, there is the possibility of repaired and/or replaced parts. In such an instance, limited professional conservation may be considered acceptable without significantly devaluing the bank's monetary worth.
     Although diminutive in size, i.e. Height: 4-5/8 inches; Width: 4-1/8 inches; Depth: 2-5/8 inches, the "Strongman Bank" is an extremely attractive and highly desirable addition to a collection of mechanical banks.
     To conclude, in addition to our featured subject (Figure 1), only one other manufactured mechanical bank captures the likeness of a circus strongman. The "Automatic Savings Banks", seen in Figure 4, is of lithographed tin composition. It was manufactured by Saalheimer and Strauss Tin Works of Nurnberg, Germany, circa 1928 (refer to Antique Toy World, June 2005).
     Acknowledgements: The fine example of "Strongman Bank", Figure 1, is in the Kidd Toy Museum Collection, Frank and Joyce Kidd Proprietors.
     The mint example "Automatic Savings Bank", Figure 4, is in the collection of Max Berry.
     The copy of the Bing catalog page, Figure 2, was provided by collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

Thoroughbred Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2006

     Who amongst us can dispute the popularity of the stately equine? Its sleek and graceful image has been incorporated into an inexhaustible number of manufactured items over the centuries.
     When, in the late nineteenth century, the sport of horse racing became a major pastime in the United States, there was heightened interest and public demand for objects depicting the noble animal. The profusion of goods reflecting its likeness included such items as weather vanes, statues, lamps, paintings, clothing, clocks, jewelry, toys, games, and mechanical banks. The latter category saw the birth of such notables as "Hall's Race Course Bank" (refer to Antique Toy World, April 1987), "Trick Pony Bank" (ATW, November 1996), "Winner Savings Bank" (ATW, March 2001), "Fortune Horse Race Savings Bank" (April ATW, April 2001) and the subject of this article, "Thoroughbred Bank" (Figure 1).
     Unfortunately, to date, no patent papers, catalog pages, or correspondence have surfaced indicating the designer(s) and/or manufacturer of "Thoroughbred Bank". This situation allows for much speculation and conjecture by historians and mechanical bank collectors.
     Over the years several theories have emerged based upon the bank's subject matter, action, construction and composition. It is believed by many that one of the following foundries may have had the capabilities to produce "Thoroughbred Bank": Edward R. Ives Company of Plymouth, Connecticut (manufacturer of such toys as "Articulated Walking Horse", Figure 2), and Francis W. Carpenter Company of Westchester, New York (producer of horse drawn toys, as seen in Figure 3). However, this does not rule out other possible toy and/or bank producing iron foundries of the period.
     Figure 4 reveals the internal mechanism of "Thoroughbred Bank". Interestingly, several other mechanicals utilize a similar cast iron, weighted, counter balance mechanism. These include" "Tabby Bank" (ATW, February 1984), "Circus Ticket Collector" (ATW, July 1983), "Peg Leg Beggar" (ATW, June 1983), "Jumbo Elephant" (ATW, December 1987), "Light of Asia" (ATW, November, 1991) and "Elephant With Tusks, On Wheels" (ATW, February 1992). In view of this information, it might also be possible that one of the manufacturers of the aforementioned mechanical banks could have produced "Thoroughbred".
     Action of "Thoroughbred Bank" is simplistic and quite characteristic of this princely steed. A coin is inserted through the slot located behind the saddle. This causes its left leg to rise. Upon deposition of the money the leg lowers to the position seen in Figure 1. Deposits are recovered by unscrewing, thus disassembling, both halves of the bank.
     "Thoroughbred Bank" is extremely rare, with only one example known. Its scarcity may be attributed to extremely fragile, delicate castings and, possibly, breakage during reassembly after coin removal.
     Although I am not aware of the existence of reproductions, a base diagram of "Thoroughbred Bank" is seen in Figure 5. It is intended to aid collectors in determining size and scale. If the making of a recast was attempted, it would appear approximately one-quarter inch shorter O.D. than indicated.
     Acknowledgements: The superb example "Thoroughbred Bank", Figure 1, blissfully grazes within the collection of Max Berry.
     Alex Jamison photographed Figures 1 and 4.

Tin Cockatoo
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2006

     Humorous, colorful and whimsical is the creation pictured in Figure 1. The somewhat ludicrous result of the mating of pelican and parrot is depicted as subject "Tin Cockatoo" mechanical bank.
     It appears that this mechanical yielded to the fantasy of its creator, and is but one in a category of ornithological anomalies. Notables include "Pelican, Man Thumbs Nose" series of banks (Antique Toy World, February 2003), "Bird on Roof" (ATW, December 1984) and "Owl Slot in Book" (ATW, January 1990).
     Totally devoid of any identifying markings, the origin of "Tin Cockatoo" would have remained an enigma. However, a wholesale toy catalog of the Emil Hausmann Company of Nurenberg, Germany, circa 1928, was discovered. In it was pictured "Tin Cockatoo", thus revealing its heritage. Patent records are nonexistent due to then-prevailing German law dictating the routine destruction of "unimportant patents" such as toys after a period of fifteen years.
     The Emil Hausmann Company engaged in the design and distribution of tinplate goods. Most of its items were jobbed out to several local German manufacturers for production. It is interesting that "Tin Cockatoo" was the lone mechanical pictured in the Hausmann catalog; perhaps it was the company's only attempt at bank design. There is, however, another mechanical, namely "Nodding Dog", Figure 2, (Antique Toy World, October 2005) that is purported to have been produced by that firm. The assumption is based solely upon similar action, and artful, colorful hand painted tinplate construction.
     Operation of "Cockatoo" is initiated by depressing the bird's rounded crest feather. This action opens its beak (Figure 3), and thus exposes the coin slot, through which the money is then inserted. Upon release of the crest feather the coin is deposited within its body, whereupon the head and upper beak simultaneously assume a nodding/chewing motion.
     The aforementioned "Nodding Dog" operates in a comparable manner: upon deposition of a coin in the canine's back, its head nods. Both mechanicals (Figures 1 and 2) utilize a similar counter balance rocking action mechanism involving their heads.
     Coins deposited in "Tin Cockatoo" Bank are recovered by opening a tinplate, key-lock, trap door type coin retainer located underneath the bank (Figure 4). A Boasting of only a few original examples in collections, "Tin Cockatoo" has achieved the designation "extremely rare". It is not difficult to explain its scarcity. With flimsy tinplate construction, combined with an exceptionally fragile mechanism, it is surprising that any complete example has endured the ravages of time.
     "Tin Cockatoo" is diminutive in size, as seen in Figure 4, with a height of 5-3/4 inches. Nonetheless, it is an attractive and interesting addition to a collection of mechanical banks.
     The "Tin Cockatoo" has not, to my knowledge, been reproduced. However, due to its fragility, there is the possibility of restored and/or replaced parts. In such an instance, limited professional conservation may be acceptable without significant devaluation.
     Acknowledgement: The fine, all original example of "Tin Cockatoo" Bank, Figure 1, nests comfortably in the collection of Bob Weiss.
     Update: New information pertaining to "Nodding Bank" (refer to Antique Toy World, October 2005) has recently come to my attention.
     Firstly, Mr. John Haley, fellow collector and European Money Box historian, has informed me that this mechanical bank is a depiction of an actual canine. "Paddington Jack" was a heroic St. Bernard adopted as mascot of the Paddington Train Station in London, England. A bronze effigy of "Jack" stands guard at the station entrance.
     Secondly, I've been made aware of another "Nodding Dog Bank". This example exhibits an original paper nametag affixed to its collar. The following inscription is imprinted upon the tag: "Paddington Jack, Thank You".

Mandarin Bank, Tin
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2006

     Intriguing and mysterious was the strange world of the Orient. In past centuries western civilization concocted fascinating tales of secret potions, mystical spells, and supernatural powers.
     During the late nineteenth and early twentieth centuries, when a willing, hard-working and low wage force was required, Chinese and Japanese immigration to both the United States and Europe increased dramatically. It was then that western society came face to face with these hitherto unknown cultures.
     Suspicion, mistrust, and fear were communicated via art and literature, as well as goods during this era. Children's playthings were not exempt from the onslaught of prejudicial items, as exhibited by several toy mechanical banks. Negative depictions included the devious and wily gambler portrayed in "Reclining Chinaman Bank", Figure 1, (refer to Antique Toy World article, April 1983) as well as the oriental gentleman about to consume a most unsavory dinner, portrayed in "Chinaman in the Boat", Figure 2, (A.T.W., June 1999). Other mechanicals, however, portrayed the Oriental in a kinder manner. "Those" examples include the entertaining and delightfully executed "Japanese Ball Tosser Bank", Figure 3, (A.T.W., April 2000), and the distinguished, serene, tea sipping "Mandarin", Figure 4, subject of this article.
     To date, neither patent papers nor manufacturers' catalogs have surfaced that would have unquestionably identified the designer and/or manufacturer of "Mandarin Bank". Lack of patent data for this bank, as well as countless others, may be attributed to early German patent law. It was a government-mandated policy that "unimportant patents, including toys, were to be routinely discarded after fifteen years of issuance". This practice has proven to be a hindrance to today's mechanical bank and toy historians.
     The recent discovery of a toy wholesaler's catalog (Figure 5), circa August 1908, produced by the Maienthau and Wolff Company of Nurnberg, Germany, does offer significant information. In it is pictured the "Mandarin Bank" and the following descriptive: "5785/1, 9.5 cm tall, cost .14 Part Mark, shipped 12 to a box". Such information has provided collectors and historians with this mechanical's approximate date of manufacture, country of origin, and general pricing.
     However, there is puzzlement involving the firm of Maienthau and Wolff itself. The question remains unanswered as to whether the company was a manufacturer, or a jobber of tinplate items, or perhaps involved in both. This lack of conclusive data has led many collectors to speculate that "Mandarin Bank" was produced by yet another company of that region. The bank's fine lithography and intricate tinplate construction is suggestive of Saalheimer and Strauss Tin Works, one of the foremost producers of tinplate mechanical banks of the era. "Mandarin Bank" is constructed entirely of delicate and colorfully lithographed tinplate. Operation is initiated by the insertion of a coin through the slot located in the back of the bank. As the coin descends, the eyes tilt upward and its queue wiggles. Deposits are removed, via a can opener, by forcefully cutting out the sealed bottom of the bank (Figure 6). Unfortunately, this was the only method of coin removal designed by its manufacturer.
     "Mandarin Bank" is extremely rare, with less than a handful known to exist. Its alleged intentional destructive method of coin purging, delicate mechanism, and flimsy construction easily explain its scarcity.
     I am not aware of the existence of reproduced examples of this mechanical. However, in view of its fragile nature there is the possibility of restored and/or replaced portions. As with any valued and antique, limited professional conservation considered acceptable.
     "Mandarin Bank" is quite miniscule in size: Height: 3-3/4 inches, Width: 2 inches. Nevertheless, it is considered to be an extremely desirable and attractive addition to a mechanical bank collection.
     Acknowledgement: The fine, all original example "Mandarin Bank", Figure 4, is from the collection of Bob Weiss.

Automatic Coin Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2006

     Magical mystical were the powers of the predictors of one's future. In days of old, when mysticism and superstition prevailed, witches, high priests and sorcerers were alleged to possess the power to foretell future events and unlock doors to the unknown. Modern-day "forecasters" are the psychics, tarot readers, and crystal ball gazers.
     Throughout the ages, there were always those who sought to capitalize upon fear and superstition. Over the centuries enterprising individuals produced numerous products that appealed to the interests of the public. Nineteenth century entrepreneurs, cognizant of such prevailing interests, created a plethora of fortune telling novelties. Their goods were primarily intended to entertain and amuse, and perhaps to offer a glimpse into the future. Included amongst the manufactured items were a multitude of children's playthings and mechanical banks. Examples of the latter acknowledge such notables as "Witch Fortune Telling Bank"; "Fortune Horse Race, Savings Bank"; "Fortune Teller Savings Bank", tin; "Lucky Wheel Money Box"; and the subject of this article, "Automatic Coin Savings Bank" (Figure 1).
     To date, neither catalog nor patent information pertaining to "Automatic Coin Savings Bank" has been located. However, the November 1893 issue of the "New Peterson Magazine" pictures the bank and offers it for sale. The advertisement reads as follows: "Save Your Money. Send for the Automatic Coin Savings Bank. Delivered express prepaid for $1.25. One of the latest novelties for Holiday Presents. Each deposit changes the Motto. Its novelty will make it adaptive in every home, and the children will find their Bank a source of much entertainment as well as profit. Agents wanted. Automatic Coin Savings Bank, 32 Hawley Street, Boston, Mass."
     In addition to the aforementioned, the mechanical bank itself provided further information pertaining to the creator and/or designer. Inscribed upon its obverse are the words tab at the peak of the bank (Figure 1), provided to enable "PAT. APPLD. FOR". Within the bank was a small, rectangular card that stated the following: "AUTOMATIC COIN SAVINGS BANK" Manufactured and for sale by Geo. N. March, Patentee, 32 Hawley St., Boston Mass.". My curiosity, thus aroused, prompted an involved and enlightening search at the U.S. Patent Library.
     Interestingly, neither the name "George N. March" nor "Automatic Coin Savings Bank" appeared upon any patented items several years before, during, or after the presumed year of its sale date of 1893. Yet, during the same month and year of the bank's advertisement in "New Peterson Magazine", the Patent Number 508,019 was issued to a William N. Hunter of Cincinnati, Ohio for a Toy Fortune Wheel Savings Bank (Figure 2). It utilized the identical rotating notched cardboard fortune wheel mechanism, (Figure 3) and coin activation as the George N. March creation. Considering the close similarity between the fortune telling mechanisms of both the George N. March bank and the William N. Hunter patent drawings, perhaps Mr. March was denied patent protection for his bank (Figure 1). This may have been based upon infringement of an already patented item, namely the bank illustrated in Figure 2.
    This situation may also possibly explain the rarity of "Automatic Coin Savings Bank". In view of patent duplication, the plagiarist was ordered to cease and desist its manufacture, thus severely limiting the number of items produced.
     Operation of the mechanical (Figure 1) is initiated by dropping a coin into the provided slot. This causes a notched cardboard wheel to revolve, thus exposing the operator's "fortune" through an arched window at the peak of the bank. Each succeeding deposit displays a different message. Coins are reclaimed by unfastening the small screws at the bottom of the bank and removing the base plate.
     There are two casting variations. One has a perforated tab at the peak of the bank (Figure 1), provided to enable wall mounting, while the other (Figure 4) does not. In addition, the "Automatic Coin Savings Bank" was produced with three surface finishes. One version is in black with gold highlights (Figure 1); another is copper flashed (Figure 4); the third variation is nickel-plated. All of these are composed of cast iron, utilizing a thin cardboard fortune wheel (Figure 3).
     To my knowledge, at this date, "Automatic Coin Savings Bank" has not been reproduced. Nonetheless, Figure 5 is a base diagram of an original example, intended to inform collectors of size and scale. In the event of an attempted recast, that example would appear approximately one-sixteenth of an inch shorter O.D. than indicated.
     Acknowledgments: The fine example "Automatic Coin Savings Bank", Figure 1, is in the collection of Steve and Marilyn Steckbeck.
     The fine example "Automatic Coin Savings Bank", Figure 4, is in the collection of Bob Weiss.
     My thanks to fellow mechanical bank collector and historian, Donal Markey, for contributing pertinent information relating to the manufacturer of "Automatic Coin Savings Bank".

Cast Iron Toys Manufactured by: J. &. E/ Stevens;
Judd Manufacturing Company; and Kyser & RexBank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2006

     During the late nineteenth century, several foundries that were primarily involved in the manufacture of cast iron mechanical banks also produced various other cast iron items, including toys. The following examples from these companies are acknowledged by collectors to be among the finest representations of iron foundry art ever produced.
     SWAN CHARIOT: Manufactured by the J. and E. Stevens Company of Cromwell, Connecticut. Circa 1880-1890's. Designed and patented by Charles M. Henn of  Chicago, Illinois. Mr. Henn was the creator of the "Eagle and "Eaglets" Mechanical Bank, also produced by the J. and E. Stevens Company.
     As "Swan Chariot" is pulled along, via a string attachment, the bird's articulated wings flap, and a small wood and cloth bellows (located underneath its platform) emits a swan-like whistling sound.
     SANTA SLEIGH: Manufactured by the Kyser and Rex Company of Frankford, Pennsylvania. Circa 1885. The brightly painted sleigh transports the traditional "Father Christmas", bundled in a blanket sprinkled with snow. His articulated arms control two dashing reindeer, also dappled with snow. Many collectors of cast iron toys consider the form and design of this toy to be an outstanding example of the iron foundry artisan.
     BARREL WITH ARMS INKWELL: Manufactured by the Judd Manufacturing Company of Wallingford, Connecticut. Circa 1885. A cast iron novelty item, which Judd also produced as a toy penny bank. Both inkwell and bank utilize similar castings. The bank has no movable components. Its "mouth" is represented by a slot which was designed to accept coin deposits.
     The pictured inkwell employs a hinged face cover that, when lifted, exposes a glass ink receptacle.
     (Note: Pens were not supplied with the inkwell. Its presence is shown only to demonstrate the novel usage of the outstretched hands of "Barrel With Arms").

This CD Could Save You Thousands of Dollars.
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2006

     Now you will be able to tell the difference between an original antique mechanical bank and a reproduction.
     If you collect mechanical banks and own a computer, this CD is an invaluable tool in your pursuit of knowledge.
     It encompasses approximately twenty-three years of 280 concise mechanical bank articles from "Antique Toy World" Magazine. Each article offers, in detail, information pertaining to history and vital statistics. Each article is fully illustrated, many in full color. Never in the history of mechanical bank collecting has there been such a wealth of information at your fingertips.
     As a bonus, each CD also contains one thousand additional pages of antique mechanical bank reference material. If this CD prevents you from making just one disappointing, or perhaps costly mistake, it will more than pay for itself.
     To order: Send a check or money order in the amount of $60.00, made payable to ADNIL ANTIQUES and mail to: Sy Schreckinger, Post Office Box 104, East Rockaway, New York 11518-0104.
     Allow 6-8 weeks for delivery. NO ORDERS SHIPPED OUTSIDE THE U.S.A.

The World’s Banker
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2006

     Our featured subject, this article, reflects a most significant period in the history of world finance. "The World Banker" mechanical bank (Figure 1) represents John Bull, a national symbolic image of Great Britain.
     The idea for this mechanical's creation was based upon the political and financial climate of the era. During the 1930's-1940's, the United States and Great Britain formed an organization to provide substantial loans to foreign governments attempting to rebuild their infrastructures. Transfers of hundreds of millions of U.S. dollars and British pounds took place daily. Legally binding agreements stipulated monies be designated for "productive purposes and for specific projects that would produce the foreign exchange needed for repayment". This bilateral lending organization eventually evolved into the "World Bank", a multinational coalition which had its inception in 1944.
    The cartoon, circa 1930, seen in Figure 2, is a portrayal of the aforementioned John Bull. He is represented as a prominent financier doling out funds directed to international as well as national borrowers. Thus was born the idea for timely creation and production of such mechanical banks as the topic of this discussion, "The World's Banker" mechanical bank (Figure 1).
     John Bull is depicted as a portly yet stately figure. He is positioned behind a podium upon which revolves a globe of the world. Action of the bank demonstrates idealistically the prompt repayment of loans by foreign nations to British banks. A coin is placed within the provided slot in the globe. The top of John Bull's hat is then forcibly pushed downward, causing the globe to revolve. Simultaneously, the coin rolls from the globe onto a small platform and into a slot in John Bull's belly. Deposits are recovered by opening hinged, key lock, trap door type retainer located in the back of Mr. Bull's coat (Figure 3).
     To date, neither catalog nor patent information has surfaced that may provide information pertaining to this mechanical's manufacturer. However, the globe itself reveals pertinent clues as to its country of origin. Adjacent to the coin slot is the word "GERMANY". This was inconspicuously imprinted within the area designated as the "South Pacific Ocean". In addition, the bank's age can be ascertained by the geographic position of countries indicated and their configurations.
     "The World's Banker" is but one of several prominent mechanicals whose subject matter reflected national and/or international finance. Others, produced both within the United States and abroad and during the same period of the late 18th and early 19th centuries, included the following: "John Bull's Money Box" (refer to Antique Toy World, January 2002); "Uncle Sam Bank" (A.T.W. April 1985); "National Bank"; "U.S. Bank" (A.T.W. June 1996); "United States Bank"; and "Atlas Bank" (A.T.W. March 1990).
     "The World's Banker" is constructed entirely of bright and colorful lithographed tinplate.
     To my knowledge, this mechanical has never been reproduced. Its dimensions are provided merely as an aid to collectors in determining size and scale: Height: 6-3/4 inches; Width: 3-1/2 inches; Depth: 4-3/4 inches.
     The "World's Banker" is extremely rare, attractive and a most desirable addition to a mechanical bank collection.
     Acknowledgement: The superb example "The World's Banker", Figure 1, is in the collection of Bob Weiss.

National Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2006

     Our topic of discussion, this article, is the highly sought-after and extremely rare "National Bank". Pictured in Figure 1, this desirable mechanical is but one in the increasingly popular category of architectural style banks.
     "National Bank" was created by Mr. Henry W. Prouty of Boston, Massachusetts. On August 5, 1873, he was granted patent number 141,516 (Figure 2) for his invention of a "new and improved" building-style mechanical bank. Mr. Prouty subsequently consigned its production to one of the most prestigious manufacturers of cast iron mechanical banks of the era, namely J. & E. Stevens Company of Cromwell, Connecticut.
     Unpredictably, production of "National Bank" was short lived. Plagued with mechanical, material, and construction problems from its inception, a drastic redesign was implemented within a few years. Major problems were attributed to an unreliable mechanism and flimsy construction of the tinplate figure of the bank's cashier.
     To demonstrate the vulnerability of this bank's mechanism one need only to observe its operation. Initially, the small brass doorknob is pulled forward, allowing the front door to be manually rotated to the right. As the door is "snapped" into place, the paper clad, tinplate cashier moves along a precariously thin, internal tin track, positioning itself behind the arched window in the door (Figure 3). A coin is placed upon the tray under the window. The small brass knob to the right of the door is then pressed. This causes the forceful turning of the door, hurling the coin into the bank, and rapidly propelling the figure of the teller out of sight. Deposits are recovered by unscrewing a rectangular coin retainer located underneath the base.
     Prouty's redesigned patent, dated March 7, 1876 (Figure 4), entitled "Magic Bank", addressed and resolved the faults of its predecessor. This was accomplished by simplifying the mechanism and eliminating all of the bank's tinplate components without compromising aesthetics. Prouty simply replaced the fragile articulated figure of the cashier with a more durable teller that actually became a component of the front door casting (Figure 5).
     Of interest is that both of the aforementioned patent dates, i.e. "AUG. 5, 1873" and "MAR. 7, 1876" are impressed into the underside of "Magic Bank". The rarity of "National Bank" is based upon its assumed defective nature and limited production. Of all the sparse examples gracing fortunate collectors' shelves, less than a handful exhibit an original, complete image of the ill-fated paper-clad tinplate cashier figure.
     To date, I am not aware of attempts to reproduce "National Bank". Nonetheless, Figure 6 is a base diagram of an original example. It is provided to aid collectors in determining size and scale. If the mechanical had been reproduced, it would appear approximately one-quarter inch shorter O.D. along the base than indicated.
     In conclusion, over the past few years, and as previously mentioned, architectural style mechanicals have become an increasingly popular category amongst collectors. In addition to "National Bank" and "Magic Bank" other notable examples include "Hall's Excelsior Bank", "Hall's Lilliput Bank", "Cupola Bank", "Mosque", "Multiplying Bank", "Novelty Bank", "New Bank", "U.S. Bank", and "Zoo Bank".
     Acknowledgement: The superb example "National Bank", Figure 1, was from the collection of Bob Brady prior to its sale at a recent auction.

The Gardener Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2006

     A most appropriate subject for this month's article is the delightful mechanical seen in Figure 1. Evoking pleasant thoughts of sunny summer days is "The Gardener Bank".
     This mechanical has the distinction of being the only bank produced to depict the subject of floriculture. It also is the only known existing example of its kind. Perhaps designers of mechanical banks rejected motifs considered mundane, non-controversial, and thereby uninteresting, such as the watering of flowers. During the late nineteenth, early twentieth centuries, manufacturers were engaged in fierce competition, each attempting to portray new, unusual and exciting subjects that would spark consumer attention. Popular topics represented included politics, the military, wild animals, historical events, clowns and other circus themes, children at play, racial and social issues, etc. Mechanicals portraying the aforementioned filled the shelves of sundry goods shops and country stores worldwide.
     "The Gardener" (Figure 1) is thought to have been manufactured by the Gebruder Bing Tin Works of Nurnberg, Germany, during the "Golden Age" of German mechanical bank production (i.e. 1900-1935). Bing was renowned throughout the European community as a leading producer of items such as tinplate household specialties and toys that included trains, boats, automobiles, and steam engines. Unfortunately, the company's entire line of toys and mechanical banks was neither fully documented nor catalogued. In addition, lack of any patent information pertaining to "The Gardener", as well as other mechanicals in the Bing line is attributed to early German patent law. It was so mandated that "insignificant patents", such as toys, were to be discarded after a period of fifteen years. Furthermore, and adding to the bank's ambiguity, "The Gardener" displays no wordage which may attest to its genealogy.
     The discovery, however, of a Gebruder Bing wholesale catalog (Figure 2) possibly reveals the bank's country of origin, manufacturer, as well as its date of production. Mechanicals similar in design, construction, materials and action to "The Gardener" were illustrated in the catalog. Although this particular mechanical was not pictured, its undeniably similar resemblance to other members of its assumed family appear to support this theory.
     The description and prices of the Bing series of mechanical banks, as indicated in the catalog (Figure 2) are as follows: "Banks — Made of tin, nicely decorated, With moving figures and good lock. Supplied in 24 assorted subjects. Price per piece — Mark -.75".
     "The Gardener Bank" is constructed almost entirely of tinplate, as were all others in the series. The articulated figure of the gardener and the flowerpot are composed of a zinc-lead alloy, and both are artfully painted. The bank's entire backdrop was executed upon a thin sheet of polychrome, photolithographic paper affixed to the bank's tinplate facade.
     Operation of "The Gardener" commences by the insertion of a coin into a slot located at the backside of the bank. The gardener's arm, watering can in hand, rises, and then lowers, simulating the sprinkling of flowers (Figure 3). Coin deposits are reclaimed by opening the key lock, trap door type coin retainer underneath the base of the bank.
     Mere survival of this mechanical, and a scant few others in the Bing series, accounts for their rarity. With extremely fragile construction, delicate paper clad and painted surfaces, decades of subjection to harsh environmental changes and early youthful ownership, the existence of any complete examples is fortunate.
      I am not aware of the existence of reproductions in the Bing series. However, there is the possibility of restored or replicated parts. As with any fine, rare and delicate antique, limited professional conservation may be considered acceptable without significantly devaluing the bank.
     "The Gardener Bank" is small in size: Height 3-3/4 inches; Width 3-3/8 inches; Depth 2-5/16 inches. This does not, however, diminish its desirability. In addition to rarity, it is a most attractive and significant addition to a mechanical bank collection.
     Acknowledgements: The fine example of "The Gardener Bank" (Figure 1), resides in the Kidd Toy Museum collection, Frank and Joyce Kidd Proprietors.
     Copies of the Bing catalog pages (Figure 2) were provided by fellow collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

Hubley Trick Dog Bank
Six-Part Base Variation
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2006

     The "Trick Dog Bank" is regarded by many collectors as a truly unique mechanical. It differs from all others in the respect that it was the only mechanical bank to have undergone multiple, significant visual and structural production alterations.
     "Trick Dog" was invented and patented by Mr. Daniel Cooke of Camden, New Jersey. On July 31, 1888 he was assigned U.S. "Design Patent" number 18,489. The words 'PAT. JULY 31, 1888" which are cast into the underside of the base facilitated location of the patent drawings (Figure 1).
     The "Trick Dog Bank" seen in Figure 2 was initially manufactured by the Shepard Hardware Company of Buffalo, New York. It, as well as various other mechanicals in the Shepard line, were extremely popular and, for several years following their production, enjoyed great success. However, sometime during the latter portion of the nineteenth century, Shepard Hardware faced devastating corporate and financial problems. Production of its mechanical banks and hardware items ceased, and the company closed its doors forever.
     Shepard's patent rights and foundry molds for several of its mechanical banks were acquired by the J. and E. Stevens Company of Cromwell, Connecticut. These included "Artillery Bank", "Jolly Nigger Bank", and "Speaking Dog Bank".
     The patent rights and master patterns for Shepard's "Trick Dog Bank" were obtained by the Hubley Manufacturing Company of Lancaster, Pennsylvania.
The initial Hubley offering, as seen in Figure 3, utilized the original casting patterns supplied by Shepard. However, Hubley's bank differed from the Shepard mechanical in its color scheme and the manner in which the figure of the clown, the barrel, and the multi-sectional, together. Shepard secured the base with two screws while Hubley employed two brass twist pins. Hubley also replaced Shepard's screws with rivets in order to fasten together both halves of its clown and barrel. These procedures were, most likely, implemented by Hubley in order to simplify its manufacture and reduce production costs.
     Several years later, circa 1920-1930, Hubley discontinued production of the multi-sectional base "Trick Dog Bank" (Figure 3) and introduced a redesigned version. Although the same clown, dog, and barrel were utilized, this new model "Trick Dog" employed a one-piece, uni-sectional base casting (Figure 4). This additional casting simplification was possibly implemented to further reduce manufacturing and assembly costs of the former more complicated base.
     All three versions of "Trick Dog Bank" operate similarly. Figure 5 represents an advertisement by Shepard Hardware for its "Trick Dog Bank" in an 1889 Montgomery Ward and Co. catalog, wherein is stated: "The bank represents a clown dressed in full circus colors, holding a hoop; the coin is placed in the dog's mouth, and by touching the lever, the dog jumps through the hoop and deposits the coin in the barrel. Price each ... $0.85." Money is removed by unlocking a rectangular, key lock, coin retainer located underneath the base of the bank.
     A Montgomery Ward and Co. catalog advertisement, circa 1906, is seen in Figure 6. In it is offered the Hubley six-part base version of the "Trick Dog Bank". The price indicated ... 84 cents each.
     A page from a 1937 Hubley wholesale cast iron toy catalog illustrating the solid one-piece base "Trick Dog Bank" is seen in Figure 7. A price list included with this catalog offered the bank at $7.50 per dozen.
     All versions of the "Trick Dog Bank" have been reproduced. The base diagram size indicated in Figure 8 is applicable to original examples of each of the three aforementioned mechanicals. Reproductions will appear approximately one-eighth inch shorter O.D. along the base than indicated.
     In conclusion, all three versions of "Trick Dog Bank", when displayed side by side, would create an interesting and colorful display. The collector seeking to acquire each, and in original, pristine condition will face an extremely challenging albeit rewarding task.

Lion Tamer Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2006

     Circus themes, animals, youngsters engaged in playful activities, as well as numerous other topics, were popular and lucrative subjects for mechanical banks. Late 19th and early 20th century designers of these "penny guzzlers" boasted of such charming mechanicals as "Circus Bank", "Girl Skipping Rope", "Leap Frog Bank", "Trick Pony Bank", etc.—all intended to delight and entertain children while encouraging savings.
     In sharp contrast were mechanical banks depicting human figures and wild animals engaged in frightening and perilous situations. Perhaps the inappropriateness of such subjects was the reason for a mere two examples that are known to have been produced. These were "Native and Crocodile Bank" (refer to Antique Toy World, March 2005), seen in Figure 1, and "Lion Tamer Bank" (Figure 2), subject of this article. Both were manufactured by Gebruder Bing Tin Works of Nurnberg, Germany.
     "Lion Tamer Bank" depicts a potentially gruesome scenario. The animal trainer, outfitted in brightly colored circus attire, has obviously lost control of the fearsome lion. The large knife in his left hand and the discharging pistol in his right appear no match for the great cat's menacing jaws.
     "Lion Tamer Bank" and "Native and Crocodile Bank" were part of a multifarious series of rare and desirable mechanicals that were produced during the years 1890-1910. The aforementioned Gebruder Bin Tin Works was renowned for its line of tinplate kitchen utensils, toys and model steam engines. Although "Lion Tamer" bears no wordage that may attest to its manufacturer and country of origin, the recent discovery of a Bing catalog (Figure 3), circa 1893, has revealed significant information. The catalog pictures the "Lion Tamer Bank" accompanied by the following data: "Supplied in 24 assorted subjects, price each 35 pfennige. Colorfully painted. With lock and moving figures".
     The articulated figures of the tamer and lion are composed of cast, hand painted, zinc- lead alloy, while the remainder of the bank is constructed of painted tinplate. The entire multi-tiered audience backdrop was executed upon a thin sheet of photo lithographed paper affixed to the bank's tinplate facade. The catalog's illustration of the "Lion Tamer Bank" (Figure 3) indicates a decorative finial crowning the mechanical. The example seen in Figure 2 is sans finial, suggesting the possibility that it had been removed and lost some time in its past.
     Lion Tamer" operates by first inserting a coin through the slot in back of the bank. This causes the animal trainer's knife-wielding arm to rise (Figure 4), followed by a lowering movement. The hand gripping the discharging pistol remains stationery. Coins are removed by opening the key lock, trap door type coin retainer located underneath the base of the bank.
     The entire group of Bing mechanicals is extremely rare. Its scarcity may be attributed to flimsy tinplate construction, delicately painted or paper clad surfaces, exposure to climactic fluctuations, as well as playful usage. It is puzzling how any complete examples have survived.
     I am not aware of the existence of reproduced mechanicals in the Bing series. However, due to its aforementioned frailties there is the possibility of repaired and/or replaced parts. In such instances, limited, professional conservation may be considered acceptable without significantly diminishing the bank's value.
     Although diminutive in size (Height: 3-3/8 inches, Width: 3-11/16 inches, Depth: 2-15/16 inches), the "Lion Tamer Bank" is a unique, extremely rare, attractive, and highly desirable addition to a collection of mechanical banks.
     Acknowledgements: The fine examples of "Native and Crocodile Bank" (Figure 1) and "Lion Tamer Bank" (Figure 2) are from the Kidd Toy Museum Collection, Frank and Joyce Kidd Proprietors.
     The Bing catalog page (Figure 3) was provided by fellow collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

Guessing Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2006

     To anyone who characterizes all mechanical banks as playthings intended for children, well then, guess again! Every so often one comes across a toy mechanical bank whose appearance and theme suggest it may have been designed for adults. Examples include: "Afghanistan Bank" (Antique Toy World, September 1986), "Breadwinners Bank" (A.T.W., April 1993), "Chinaman in Boat, Rat on Tray" (A.T.W., June 1999), and our subject, "Guessing Bank" (Figure 1).
     On May 22, 1877, Mr. Edward J. McLoughlin of New York City was issued Patent Number 191,065 (Figure 2) for his invention of the mechanical bank seen in Figure 1. To date, no catalog pages or advertisements have been located that would indicate its manufacturer. Additional historical information pertaining to "Guessing Bank" is attributed to Mr. Mark Haber (deceased). Mr. Haber, a prominent mechanical bank collector and historian, discovered the first example of "Guessing Bank".
     In a conversation with Mr. F.H. Griffith (deceased), noted author and mechanical bank collector, Mr. Haber related several aspects of his discovery. These were subsequently recounted in a magazine article written by Mr. Griffith in 1962. A summary of that writing is as follows: "The first example of "Guessing Bank" was found in South Windham, Connecticut, in the home of a Mr. and Mrs. George E. Sherman. It was being used as a doorstop. Mr. Haber then relates that he purchased the bank from the Sherman's. Further inquiry revealed Mr. Sherman's grandfather had purchased Mr. McLoughlin's patent rights to "Guessing Bank" and assigned a manufacturer the task of producing several examples for distribution to jobbers. To the best of Sherman's recollection, the orders for these banks were so meager as to make the venture unprofitable. Perhaps, a gambling device in the hands of a child did not seem to have any appeal. Subsequent visits to the Sherman's revealed that several other examples of "Guessing Bank", in their original packing, were stored in an old barrel, all of which Mr. Haber was able to acquire."
     Mr. Haber's recollection of the acquisition of "Guessing Bank", as summarized by Mr Griffith, is much appreciated. However, several details of the mechanical remain ambiguous. Did Mr. McLoughlin utilize another man's patent, namely the "Independence Hall Tower Bank" to design his patent drawing seen in Figure 2 and his patent model (Figure 3)? Both the patent drawing and patent model exhibit a previously manufactured figure of the "Smoking Man Match Holder" (Figure 5) positioned atop what appears to be an actual example of the "Independence Hall Tower Bank". This still bank was patented by a Mr. Candide W. Croteau of Philadelphia, Pennsylvania, on September 21, 1875 (Figure 4).
     Except for a figure that is similar to the seated man match holder, observation of the final production "Guessing Bank" (Figure 1) reveals little resemblance to "Independence Hall Tower Bank". These factors lead me to believe Mr. McLoughlin was, possibly, involved in the creation of the match holder but was, perhaps, legally directed to abandon all rights to Mr. Croteau's design (Figure 4).
     Answers to these questions may be gleaned from yet undiscovered data. At present, the uncertainty continues.
     Operation of "Guessing Bank" is entertaining and uncomplicated. A coin is dropped through the slot in the man's hat. The weight of the descending coin causes an internal flywheel to turn, which causes a thin horsehair pointer on the dial to spin. As the pointer revolves, it engages small pins positioned around the dial. Ultimately, these pins will stop the pointer at a particular number. If the operator of the bank has "called" the indicated number prior to depositing the coin, he is entitled to remove five times the amount deposited. Deposits are recovered by opening the key-lock cast iron drawer in the back of the bank's base.
     "Guessing Bank" is composed of several different materials. The seated figure of the man is cast of zinc alloy. The numerical dial is glazed white porcelain, and the entire base and drawer are cast iron.
     "Guessing Bank" is quite scarce. Although I am unaware, at this time, of any attempts to reproduce the mechanical, a base diagram of an original example (Figure 6) is provided to indicate size and scale. If a recast exists it would appear approximately one-quarter inch shorter O.D. than indicated.
     Acknowledgements: The superb example "Guessing Bank" (Figure 1) is in the collection of Bob Weiss.
     The patent model for the "Guessing Bank" (Figure 3) is in the Kidd Toy Museum collection, Frank and Joyce Kidd proprietors.
     The "Smoking Man Match Holder" (Figure 5) is in the collection of Bob Weiss.

Fortune Telling Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2006

     Humankind’s fantasy: a glimpse into the future with events yet to unfold. Infinite fortune and fame await the dreamer who can foresee tomorrow's happenings.
     A popular attraction at many a country fair and carnival had been the fortuneteller. Portrayed as a mysterious Gypsy woman garbed in colorful scarves and garish gold jewelry, these persons purportedly possessed the ability to predict one's future. The belief sustained over hundreds of years was that a group of nomads, referred to as "Roma'', or "Gypsies", possessed remarkable psychic abilities and the gift to attract good fortune, or inflict a ruinous curse.
     Worldwide fascination with this group of traveling prognosticators reached its peak during the late nineteenth and early twentieth centuries. The public was beguiled by Gypsy magic, fortune telling, Tarot readings, and crystal ball gazing. This fascination did not escape the attention of enterprising individuals both in this country and abroad. Astute entrepreneurs recognized the marketability of these mysterious itinerants. Numerous items portraying the influences of the Gypsy began to grace shelves of variety and country stores. Games and toys were amongst the list of goods produced.
     An example of one such toy is our featured subject, the "Fortune Telling Bank", (Figure 1). The mechanical displays no wordage to reveal either its designer or manufacturer. However, the word "GERMANY" is seen on its base, thereby indicating country of origin.
     To date, no patent papers or manufacturer's catalog illustrating "Fortune Telling Bank" have been located. However, many of its overall mechanical and design features are similar to other tin lithographed mechanical banks created by the Saalheimer and Strauss Tin Works of Nurnberg, Germany. It is assumed, therefore, that, in all likelihood, "Fortune Telling Bank" was a product of this company.
     Figure 2 represents an early Saalheimer and Strauss sales flyer, circa 1900-1935, in which is offered several lithographed tin plate mechanicals. Remarkable and undeniable is the similarity between "Fortune Telling Bank" and four of the represented mechanicals, namely "Tin Scotsman", "Tin Minstral", "Bonzo" and "Jolly Joe the Clown".
     Operation of "Fortune Telling Bank" is entertaining and apropos to Gypsy lore. A coin is deposited into the slot atop the bank. As the coin descends, it strikes an internal flywheel. This causes the disk, bearing the likeness of the Gypsy woman on its facade, to spin. As the momentum slows, and eventually ceases, the Gypsy woman's finger can be seen pointing to one of the several fortunes encircling her image (Figure 3). Deposits are recovered by opening a key lock, trapdoor-type coin retainer located underneath the base of the bank.
     To my knowledge, none of the Saalheimer and Strauss mechanicals, including the subject of this article, has been reproduced.
     The "Fortune Telling Bank" is extremely scarce. Despite its tin plate construction and diminutive size (Height: 6-3/4 inches; Width: 2-3/4 inches), it is an extremely desirable and attractive addition to a mechanical bank collection.
     (*) "Roma" is an archaic term used to describe nomadic groups commonly referred to as "Gypsies". Today, only Gypsies refer to themselves as "Roma", or "Rom".
     Acknowledgement: The fine example "Fortune Telling Bank", Figure 1, is from the collection of Steve and Marilyn Steckbeck.

Clever Dick Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2007

     Performing canines, as well as clowns, have always proven to be popular, and profitable subjects for children's playthings. Toy and mechanical bank designers of the late nineteenth and early twentieth centuries incorporated these delightful images into many of their wares.
     Several banks produced both here and abroad, depicted circus acts featuring clowns and their performing pups. Examples include "Tin Clown and Dog" manufactured by Saalheimer and Strauss Tin Works, Nurnberg, Germany; "Trick Dog Bank", Shepard Hardware Company of Buffalo, New York; "Hoop-La Bank", John Harper and Company, Ltd., Willenhall, England; "Trick Dog Bank", Hubley Manufacturing Company, Lancaster, Pennsylvania; and our featured mechanical, "Clever Dick". Figure 1 represents its image in the form of a comical canine garbed in clown's attire.
     "Clever Dick" is one of a series of three extremely rare tin plate mechanicals created by Saalheimer and Strauss Tin Works during the early twentieth Century. Located in Nurnberg, Germany, the manufacturing center of early tin plate merchandise, this company was considered one of the foremost producers of tin plate household goods, novelty items and mechanical banks of the era.
     Figure 2 represents a page from a Saalheimer and Strauss wholesale toy bank catalog, circa 1920-1930. The discovery of this catalog provided information pertaining to the manufacture of "Clever Dick" as well as other tin plate mechanicals in the company's line. In addition, the word "GERMANY", imprinted upon the bank's rectangular rear money retainer (not pictured) further attests to country of origin.
     As previously mentioned, our subject was one of a series of three lithographed, tin plate mechanicals (Figure 2). These are "Clever Dick", "Clown and Dog" and "Saluting Sailor" banks. All three incorporate a "round top" configuration and comparable internal mechanics.
     Figure 3 illustrates a color variant of "Clever Dick". Such color deviations in tin plate banks featuring chromatic lithography are extremely rare since they are mechanically mass-produced and snot subject to man's creative whims. In part, they may be likened to a rare stamp or coin manufacturing error, and valued accordingly.
     "Clever Dick" is amusing in its action. A large coin is placed in the shallow recess behind the dog's nose. The lever to the right of Dick's tail is then slowly depressed. Simultaneously, the pup's head tilts upward and its mouth opens. The coin rolls up towards its nose, and then descends through the slot in the dog's mouth and into the bank. (It should be noted that this bank operates most efficiently with large English pennies, and was most likely manufactured for the British market.) Deposits are recovered by opening the square key coin retainer located underneath the base.
     To my knowledge no mechanical bank manufactured by Saalheimer and Strauss has been reproduced. However, this does not preclude the possibility of restoration in the form of a reproduced segment of the bank. Needless to say, in such instances its monetary value is compromised accordingly.
     Despite its tin plate construction and diminutive size (Height: 6-7/8 inches, Width: 4-7/8 inches), it is a most colorful, attractive and desirable addition to a mechanical bank collection.
     Acknowledgements: Both of the superb examples of "Clever Dick" Bank (Figure 1 and 3) are in the collection of Bob Weiss.

Model Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2007

     "Saving" and "thrift": wise words that have prevailed over the centuries. Proverbs, fables as well as children's playthings have encouraged "saving for a rainy day". Amongst the objects discovered from excavations of ancient Roman and Grecian ruins were children's coin receptacles.
     Dating to more recent times, the late nineteenth century heralded in the first patented mechanical penny banks. These were: "Bureau Bank", Serrill's Patent, dated February 16, 1869, and "Hall's Excelsior Bank", patent date December 21, 1869. The period spanning 1869 to 1935 saw the birth of more than five hundred antique mechanical banks. Topics were diverse, ranging from architecture, sports, children at play, circus performances, various occupations, racial prejudice, historical events, etc.
     Interestingly, however, one seemingly obvious subject appears to have been overlooked: that of the simplistic, utilitarian cash register. What better representation for a toy mechanical penny bank than this classic mercantile appliance? Although countless toys and registering banks were manufactured in the form of a cash register, none qualified for the designation "mechanical bank". (Refer to footnote).
     The first mechanical bank in the form of a cash register was created by a European manufacturer. Christened the "Model Savings Bank" (Figure 1), it was the one and only mechanical bank produced in the form of a cash register during the period 1869-1935. Its date of creation, believed to be prior to 1906, is derived from an advertisement in a toy distributors' catalog of the era. (Refer to Figure 2, Nerlich and Company, U.S.A.)
     Since no patent or manufacturer's documents pertaining to "Model Savings Bank" have surfaced, the only indication of country of origin are the words 'MADE IN SAXONY' embossed into the side of this mechanical. (Saxony was a sovereign Germanic state that was formally dissolved in 1952).
     "Model Savings Bank" is considered by collectors to be a masterpiece of tin plate artistry. Its finely detailed embossing and graceful delineated stampings bear unmistakable testimony to early twentieth century German tin plate manufacture.
     Action of "Model Savings Bank" is amusing and effective. It incorporates the "trick drawer" disappearing coin illusion patented by James Serrill in 1869 (refer to Antique Toy World article, "Freedman's Bureau", June 1997).
     Initially, the crank handle on the left side of the bank is rotated clockwise. This causes an internal bell to ring one time as the cash register drawer opens. A coin is then placed within the round recess (seen in Figure 1). The handle is again turned clockwise, resulting in the automatic closing of the drawer (Figure 3) and the sound of two chimes produced by the internal bell. By turning the crank once again, the drawer opens (Figure 4) but sans the coin, for it has "magically" disappeared. The illusion is accomplished by the use of a trap door flap (actually the bottom of the drawer). When the drawer is closed, the flap drops open, allowing the coin to fall into the bank. Deposits are recovered by opening a key lock, sliding coin retainer located underneath the base.
     "Model Savings Bank" is extremely rare, and especially when in complete and perfect working order. This is not surprising when one considers its delicate and flimsy tin plate construction as well as complicated method of coin deposit. The mechanical's handle, finial, drawer and keys are extremely vulnerable to disfigurement and breakage, most often rendering the bank useless. Finding a complete and operational example, such as the one seen in Figure 1, can prove a challenging task for even the most resourceful collector.
     There are no variations of "Model Savings Bank". All examples are manufactured of bright nickel-plated tin with a black enameled base. Despite its simple appearance and miniscule size, i.e. Height: 5-5/16 inches, Width: 2-7/16 inches, Depth: 3-3/4 inches, "Model Savings Bank" is an extremely desirable and attractive addition to a mechanical bank collection.
     Note: An "antique mechanical bank" is defined as a toy savings device manufactured for sale prior to 1935 that performs a mechanical function and in the process receives a coin. A "semi-mechanical bank" is generally defined as an animated device whose action is totally independent of coin deposit. The sole action of a "coin-registering bank" is numerical indication of the deposited coin via a small window or a dial or pointer.
     Acknowledgement: The mint example "Model Savings Bank" (Figure 1) is from the collection of Bob Weiss.

Key Bank
semi-mechanical
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2007

     A most unique cast iron penny bank, and one that deviates from those generally discussed in this column, is the semi-mechanical "Key Bank".
     Features such as action, construction, subject matter, design, etc. have contributed to increased acceptability of specific semi-mechanical and still banks by mechanical bank collectors (see Footnote). In addition to "Key Bank", a few notable examples include "General Butler Bank" (refer to Antique Toy World, July 1992), "Lighthouse Bank" (A.T.W., October 1998), and "Safety Locomotive Bank" (A.T.W., January 1993).
     "Key Bank" (Figure 1) was the creation of William J. Sommerville of Cleveland, Ohio. On May 14, 1915, Mr. Sommerville was granted Design Patent Number 47,308 (Figure 2) for his invention.
     Based upon the date of patent and the words `GOLDEN GATE' embossed upon the upper neck of a few examples (Figure 3), many collectors believe "Key Bank" was possibly created and marketed for the San Francisco Pan-Pacific World's Fair of 1915. A momentous occasion in history, the Fair celebrated the completion of the Panama Canal and also commemorated the 400th anniversary of the discovery of the Pacific Ocean by the explorer, Balboa. The Fair continued from February 20th through December 4, 1915. The words "Golden Gate" appear to be an obvious reference to the landmark Golden Gate Bridge in San Francisco.
     Figure 4 is a page from The New York Company's Catalog of Novelties, circa 1915-1920. In it is an advertisement for "Key Bank", at a cost of 25 cents each, and $2.75 per dozen.
     Deposits are accomplished by placing a coin into the allocated slot inside the oval head of the key, whereupon it drops, innocuously and without fanfare, into its barrel. Coin removal, however, is unique, and accounts for the bank's semi-mechanical classification. A combination type lock is utilized; but rather than opening a safe door to retrieve monies, it releases a small arrowhead shaped bar in order to expose the coin removal slot (Figures 5a, b).
     Figure 6 represents an original paper hangtag, with complete operating instructions. (A tag accompanied each bank sold). Succinctly describing coin removal, it reads: "To Open the Bank: Hold the Bank upside down, and turn the bottom disc (Figure 7) around to the right three times by stopping the notch at 1 then back to the left to 4. The bar covering the opening can then be pushed back (Figures 5a, b) and the coins easily shaken out."
     There are two design and finish variations of "Key Bank". Figure 1 exhibits the copper electroplated, cast iron version. Figure 3 pictures a "Key Bank" constructed of aluminum with the words "GOLDEN GATE" embossed around its neck. It also displays a heart shaped design to its head, in contrast to the oval shaped head seen in the "Key Bank" pictured in Figure 1.
     Both examples are equally scarce. Both are desirable and attractive additions to a mechanical bank collection.
     To my knowledge, "Key Bank" has not been reproduced. Nonetheless, I am including dimensions solely as an aid for collectors to determine the size and scale: 5-5/8 inches from the top of the key head to bottom of the bank's barrel.
     Footnote: a mechanical bank is defined as a toy savings device that performs function and, in the process, receives a coin.
     A semi-mechanical bank is generally defined as an animated device whose action is totally independent of coin deposit.
     A still bank is a toy savings device that has absolutely no moving parts (other than possibly a key lock or disk shaped, or sliding, coin retainer).
     Acknowledgment: the mint example "Key Bank", Figure 1, and its original instructions (paper hang-tag) are in the collection of Bob Weiss.
     Correction: (from April, 2007) Antique Toy World March, 2007, "Key Bank". Footnote definition of a Mechanical Bank should read: "A toy savings device that performs a mechanical function and, in the process, receives a coin".

Old Woman with Broom Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2007

     What more appropriate choice for discussion, this article, than the mechanical referred to as "Old Woman With Broom Bank". Its theme, that of the physical punishment of a child, has recently sparked worldwide controversy and much debate.
     Throughout the centuries, and in most societies, children were regarded as possessions, to be seen but not heard. Biblical text and wise sages preached the well-known doctrine "spare the rod, spoil the child". Familiar nursery rhymes and fairy tales depicted unruly, misbehaving children being severely punished in order to teach the lesson of obedience.
     The commonly-held belief in punishment of the young appears to have inspired several toy manufacturers of the late nineteenth and early twentieth centuries. A number of mechanical banks were created, both in this country and abroad that exhibited the consequences experienced by the disobedient or mischievous child. Notable examples include: "Boy Robbing Bird's Nest Bank" (Antique Toy World, June 1991), "Boys Stealing Watermelons Bank" (A.T.W. March 1985), "Old Woman In the Shoe Bank" (A.T.W. November 1988), "Schoolmaster Bank" (A.T.W. August 2004), and "Old Woman With Broom Bank" (Figure 1).
     The mechanical depicts an elderly woman, broom in hand, poised to chastise an unruly and obviously disrespectful lad. The child stands before the woman, to whom he is seen "thumbing his nose". In this instance the lesson in morality is quite evident: punishment will be dealt swiftly and harshly to the child who defies the edict of proper respect for his elders.
     "Old Woman With Broom" (Figure 1) is but one of a series of extremely rare mechanical banks. These are believed to have been produced from 1900 through 1910, and by the Gebruder Bing Tin Works of Nurnberg, Germany. Bing was a renowned European producer of items such as tinplate household goods and toys that included trains, boats, automobiles and steam engines.
     Unfortunately, there is little or no documentation by most German toy manufacturers of the period, including Bing, that pertains to these toys and mechanical banks. The lack of patent information, in particular, is attributed to early twentieth century German patent laws. It was government mandated that "insignificant patents" (i.e. toys) were to be discarded after fifteen years of issuance.
     Had it not been for the fortuitous discovery of the Gebruder Bing catalog (Figure 2), pertinent information relating to "Old Woman With Broom Bank" as well as other Bing creations, would have remained an enigma. Although this mechanical is not pictured in the catalog, visual and structural similarity to other members of its assumed family is undeniable.
     Descriptions and prices of the Bing series of mechanical banks, as indicated in the catalog (Figure 2), are as follows: "Banks-Made of tin, nicely decorated. With lock and movable figures. Supplied in 24 assorted subjects. Prices per item: Mark-57".
     "Old Woman With Broom Bank" is constructed almost entirely of hand painted tinplate, as was all others in the series. The articulated figures of the broom-wielding woman and the little boy are composed of zinc-lead alloy, and both were colorfully and artfully painted.
     Operation of the mechanical is initiated by inserting a coin through the slot provided in the roof of the bank. The old woman's arm, broom in hand, rises, and then lowers as if to strike the disrespectful child (Figure 3). Deposits are removed by opening the key lock, trap door type coin retainer underneath the base.
     I am not aware of the existence of reproduced mechanicals in the Bing series. However, due to their delicate nature there is the possibility of restored or reproduced parts. In such instances, limited professional conservation may be considered acceptable without significantly devaluing the bank.
     Although "Old Woman With Broom Bank" is small in size: Height: 3-1/2 inches, Width: 4 inches, Depth: 2-1/2 inches, its desirability is not diminished. It is an extremely rare, attractive and important addition to a mechanical bank collection.
     Acknowledgements: The fine example "Old Woman With Broom Bank", Figure 1, is from the collection of the Kidd Toy Museum, Frank and Joyce Kidd Proprietors.
     Fellow collectors and historians, Harold and Uli Merklein of Niirnberg, Germany, provided copies of the Bing catalog pages seen in Figure 2.
     Correction: Antique Toy World March, 2007, "Key Bank". Footnote definition of a Mechanical Bank should read: "A toy savings device that performs a mechanical function and, in the process, receives a coin".

Guessing Bank, Woman’s Figure
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2007

     Seductive and audacious may aptly describe the pose of the woman seen in Figure 1. Referred to as "Guessing Bank, Woman's Figure", this very unique mechanical combines the image of a saloon dance hall girl with a clever game of chance.
     Created during the latter portion of the nineteenth century, "Guessing Bank, Woman's Figure" depicts one of the saloon girls of the "Wild West". These ladies were often recruited from farms or mills. They were lured by the prospect of high wages, easy work and fine clothing. Most were simply unable to earn a living in a time that offered few legitimate opportunities for women. The "saloon girls" were attired in brightly colored, scandalously short ruffled skirts, topped with revealing low-cut bodices. Their arms and shoulders often were bare. They wore high kid-leather boots adorned with bright buttons and tassels. These women would brighten the evenings of lonely farm hands and mine workers of western towns whilst encouraging purchase of drinks, gambling and participation in various games of chance.
     The design of "Guessing Bank, Woman's Figure" (Figure 1) was that of a game of chance, featuring the image of the aforementioned saloon girl. It offered the gambler an opportunity to quintuple his pocket change, as stated upon its facade, i.e. "PAYS FIVE FOR ONE, IF YOU CALL THE NUMBER".
     Although no information pertaining to "Guessing Bank, Woman's Figure" has surfaced, another strikingly similar mechanical, referred to as "Guessing Bank", is thought to provide relevant information. "Guessing Bank" (Figure 2) was designed by Edward J. McLoughlin of New York City and patented on May 22, 1877. The patent papers (Figure 3) indicate it as "a game of chance" and features the figure of a seated portly gentleman, with no reference to a provocatively garbed woman. Possibly, this may indicate Mr. McLoughlin believed the humorous male image would appeal to a larger, more conservative audience. Evidence appears to suggest that the inventor designed an alternative mechanical, replacing the gentleman's figure with that of a seductive female, possibly for usage in saloons as a counter top game of chance.
     "Guessing Bank, Woman's Figure" is composed of a copper coated, spelter-type alloy. Its box-shaped, money drawer is of cast iron. Both "Guessing" banks (Figures 1 and 2) display identical wordage on their facades: 'GUESSING BANK, PAYS FIVE FOR ONE, IF YOU CALL THE NUMBER'. In addition, both operate identically: a coin is placed into the provided slot atop the bank. As it descends, it strikes an internal "winged wheel". This causes the "index pointer on the front of the bank to rotate". As the pointer revolves it engages small pins positioned around the dial. Ultimately, these pins will stop the pointer at a particular number. If the operator of the bank has "called the correct number" prior to coin insertion, he is entitled to receive five times the amount deposited. Coin removal is achieved by unlocking a small padlock at the rear of the cast iron base. This releases an internal rod, which allows the front money drawer to be opened.
     "Guessing Bank, Woman's Figure" is extremely rare. Only one example is known to exist, this residing in the Kidd Toy Museum located in Portland, Oregon.
     To my knowledge, there have been no attempts to reproduce "Guessing Bank, Woman's Figure". Nonetheless, I am including a base diagram (Figure 4) of the example seen in Figure 1 to indicate size and scale. If a recast was attempted, it would appear approximately one-quarter inch shorter O.D. than indicated.
     Acknowledgement: the superb example "Guessing Bank", Figure 2, is in the collection of Bob Weiss.

The United States Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2007

     Unexciting and lackluster may, perhaps, unfairly describe the category of mechanical banks representing the commercial floor safe. This utilitarian object was utilized in the design of several nineteenth and early twentieth century toy savings devices referred to as "penny banks".
     Interestingly, a mere five different floor safe style mechanical banks were produced during that era, while the production of varied still banks of this design numbered well over three hundred fifty. Perhaps the most important features for mechanical bank manufacturers were action and excitement, characteristics that were difficult to achieve utilizing an inanimate "box on wheels".
     The five aforementioned mechanical banks are "Electric Safe", "Fortune Teller Savings Bank", "Magic Safe", "Watch Dog Safe" and our subject, "The United States Bank" (Figure 1). Of these, only two exhibit some form of animation: "Watch Dog Safe" features a dog possessing a movable, albeit barely noticeable, lower jaw, and "The United States Bank" contains a "flip-up" lid (Figure 2). Figure 3 represents an early advertising flyer in which "The United States Bank" is pictured. Its manufacturer is indicated as the J. and E. Stevens Company of Cromwell, Connecticut.
     Until recently the inventor and distributor of "The United States Bank" were unknown. This is attributed to a partially obscured patent date stenciled in gold upon the obverse of the bank (Figure 4). The wording appeared to read "PAT'D. AUG. 27, 1880". After several unsuccessful research attempts it was apparent that no patent for any toy penny banks was issued on that date. Owing to the intuition and perseverance of mechanical bank historian and collector, Mr. Bill Jones, the actual date was discovered to be "AUG. 27, 1889", as evidenced by the patent papers seen in Figure 5.
     On August 27, 1889, Max Emanual of London, England was granted U.S. Patent Number 409,778 for his creation. Mr. Emanuel subsequently assigned all rights to George Borgfeldt and Company, a toy distributor with its main office located in New York City. This company presumably contracted the aforementioned J. and E. Stevens Company to manufacture this mechanical. The George Borgfeldt Company distributed "The United States Bank" to various outlets and country stores throughout the United States.
     Operation of "The United States Bank" is incomplex and appropriate to the subject. A coin is placed through a slot in the door of the bank. Simultaneously, a concealed flap at the top of the safe springs open (Figure 2) revealing a colorful image of a young girl in Victorian attire. In addition, as illustrated in the J. and E. Stevens Company advertising flyer (Figure 3a), a shallow recess underneath the flap contained a "miniature bankbook, into which the child may enter the amount of the deposit". Accumulated coins are removed by opening the front door of the safe with the provided key.
     There are no color variations of "The United States Bank". However, there is one design difference. The bank may also exhibit two coin slots, one above the front door, as seen in Figure 1, and a second slot located at the top of the safe.
     "The United States Bank" is quite rare. Despite simplicity of form and action as well as modest coloration, a superb, all original example will command a high price.
     I am, at this time, unaware of attempts to reproduce "The United States Bank". Nonetheless, Figure 6 represents base dimensions of an original example to aid the collector in determining size and scale.
     Acknowledgements: The superb example "The United States Bank" (Figures 1 and 2) is in the collection of Bill Jones.
     The J. and E. Stevens Company flyer (Figure 3) advertising "The United States Bank" was provided by Bill Jones.
     The Patent Papers for "The United States Bank" (Figure 5) was discovered and supplied by Bill Jones.

Tiger Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2007

     A most commanding denizen of the jungle is the formidable tiger. Belying its ferocity, however, is its docile image, depicted in the mechanical bank chosen as the subject of this article.
     "Tiger Bank", seen in Figure 1, is acknowledged to be one of a series of eight different tinplate mechanical banks. Others in the group are: "Bear", "English Bulldog", "British Lion", "Harold Lloyd", "African Native", "Clown", and "Golliwog".
     All of these are alleged to have been manufactured by the Saalheimer and Strauss Tin Works of Nurenberg, Germany. This company was, indisputably, the foremost designer and producer of tinplate mechanical banks during the late nineteenth and early twentieth centuries. The skill and artistry demonstrated by its colorful, embossed tinplate creations remain unrivaled to this day.
     To date, neither patent papers nor manufacturers' catalogs specifically illustrating "Tiger Bank" have been located. However, many of its overall features, construction, and action are similar to other lithographed tinplate mechanicals created by Saalheimer and Strauss.
     Figure 2 represents two pages from a Saalheimer and Strauss catalog, circa 1900-1935, in which several mechanicals are offered for sale. The similarities between "Tiger Bank" and "British Lion", "Harold Lloyd", "English Bulldog" and "African Native" appear undeniable. In addition, the catalog pages identify the aforementioned as "part of a series of six different subjects, produced with or without movement" (i.e. mechanical and still bank versions). This contradicts my earlier statement, however, that eight different subjects from the group have been identified in collections. Perhaps two additional mechanical banks were produced by Saalheimer and Strauss subsequent to the printing of the catalog pages seen in Figure 2.
     Operation of "Tiger Bank" is initiated by depressing the wire lever located behind the left I side of the tiger's head. Simultaneously, the jaw lowers and the tongue protrudes. A coin is then placed upon the extended tongue, followed by the release of the lever. The tongue, now carrying the coin, snaps back into the bank and the jaw returns to its original position, as seen in Figure 1. Deposits are retrieved by opening a sliding coin retainer that covers the top of the bank's rectangular coin box.
     Interestingly, several of the aforementioned mechanicals were not marketed solely as coin banks, but were also intended to be candy containers. These banks were originally supplied with coin boxes containing "Lyons' Toffee". Such examples were identifiable by Lyons' Toffee advertising on their obverse (refer to Figure 3). In addition, the candy containers/ mechanical banks did not utilize the key lock coin retainers. Removal of deposited coins or toffee would simply require sliding off the top cover. However the mechanicals intended solely as coin savings devices (those without Lyons' Toffee advertising) were provided with key lock, sliding coin retainers that require an actual key in order to open the bank.
     To my knowledge, there are no reproductions of any Saalheimer and Strauss mechanical banks. However, this does not preclude the possibility of reproduced replacement parts. Needless to say, in such an instance the value of the bank would be compromised.
     Although all members of the aforementioned series are rare, "Tiger Bank" boasts of being one of the rarest. Despite its tinplate construction and diminutive size, i.e. Height: 5-1/4 inches, Width: 3 inches, "Tiger Bank" is an extremely attractive and highly desirable addition to a mechanical bank collection.
     Acknowledgement: The superb example of "Tiger Bank" (Figure 1) is in the collection of Steve and Marilyn Steckbeck.

Monkey and Parrot
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2007

     Colorful, attractive and amusing is the "Monkey and Parrot" tin-plate mechanical bank. Seen in Figure 1, this mechanical features a playful monkey and its multi-colored feathered friend.
     The prankish primate, a long-time popular entertainer at circuses and zoos, has always delighted youngsters of all ages. It is no surprise that, during the late nineteenth and early twentieth centuries, several toy manufacturers incorporated the likeness of the monkey into no less than eighteen mechanical banks. Notable examples include: Hubley's "Monkey Bank"; Kyser and Rex's "Chimpanzee", "Organ With Boy and Girl", "Organ With Cat and Dog", "Organ Tiny", "Lion and Monkeys", "Zoo Bank"; J. and E. Stevens' "Hall's Excelsior", "Rival", "Monkey and Coconut", and the subject of this article, Saalheimer and Strauss' "Monkey and Parrot" Bank (Figure 1).
     "Monkey and Parrot" is one of a series of three tin-plate mechanicals, all utilizing an identical coin delivery mechanism. Other members of the trio are "Flip the Frog" Bank (Figure 2) and "Clown and Dog" Bank (Figure 3). They also were manufactured during the early twentieth century by Saalheimer and Strauss Tin Works of Nurnberg, Germany. During the years 1900 through 1930, Germany was the world's leading tin-plate producer; Saalheimer and Strauss was considered to be one of the foremost manufacturers of tin-plate mechanical banks and sundry goods.
     Figure 4 represents a page from an early Saalheimer and Strauss wholesale toy catalog. Its discovery provided hitherto unavailable information pertaining to the manufacture of "Monkey and Parrot", and other tin mechanicals in the company's inventory. "Monkey and Parrot", as well as the two other aforementioned members of the series, were unique within the company's line. All of the three utilized a curved track through which a spring activated coin was propelled up and around an arch, and into the provided coin slot.
     Action of the "Monkey and Parrot" is relatively complex. Impressed into the facade, and above the monkey's tail, are the words: "Put Money Here". Operation of the bank is initiated by placing a coin, as instructed, followed by depressing the lever located at the left side of the bank. While the lever continues to be held in place, the monkey tilts forward, causing the coin to roll from its tail along its back and onto its open paw. As the coin reaches the monkey's paw the parrot opens its beak. Upon release of the lever, the coin exits the monkey's paw and is rapidly thrust up and along the curved track, whereupon it enters the parrot's gaping mouth. The beak then closes over the coin, depositing it within the bank.
     Interestingly, precisely when the lever is depressed, an internal bellows-activated squeaker located within the mechanical emits a parrot-like squawk, as if being uttered by the bird itself. The sound provides an additional comical accent to the bank's humorous action.
     Deposits are recovered by opening a key-lock, trap door style coin retainer, located underneath the base of the bank.
     To my knowledge, neither "Monkey and Parrot" nor any mechanical manufactured by Saalheimer and Strauss has been reproduced. However, this does not preclude the possibility of restoration in the form of a reproduced replacement segment of the bank. Needless to say, in such instances monetary value is compromised accordingly.
     Despite its tinplate construction and diminutive size (Height: 6 inches, Width: 3-1/2 inches), "Monkey and Parrot" is a most desirable enhancement to a mechanical bank collection.
     Acknowledgement: the superb example "Monkey and Parrot" bank, Figure 1, is in the collection of Bob Weiss.

Toutoubox Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2007

     "Toutoubox" is the charming and attractive mechanical bank seen in Figure 1. It features the ever-popular and lovable image of man's best friend.
     A favorite subject for American and European mechanical bank designers during the late 19th and early 20th centuries, the canine's likeness was incorporated and portrayed in a multitude of themes. While manufacturers in this country utilized primarily cast iron (with such notables as lye's "Bulldog Savings Bank", Judd's "Boy and Bulldog" and "Dog on Turntable", Kyser and Rex's "Dog Tray Bank" and "Organ Bank with Cat and Dog", Shepard Hardware's "Speaking Dog Bank" and "Trick Dog Bank", and J. & E. Stevens' "Patronize the Blind Man and His Dog" and "Bulldog Bank"), European manufacturers employed tin-plate and/or lead-alloy. Such examples featuring the endearing pooch include "Spring Jawed Bulldog", "Spring Jawed Bonzo", "Nodding Dog", "Gebruder Bing's "Old Mother Hubbard and Her Poor Dog" Bank, Saalheimer and Strauss' "English Bulldog", "Bonzo Bank", "Clever Dick", "Clown and Dog", and the aforementioned subject of this article, (manufacturer unknown) "Toutoubox" (Figure 1).
     To date, no patent information or manufacturers' catalogs pertaining to "Toutoubox" has been located. In addition, there are no identifying marks or symbols on the bank to indicate heritage. However, based upon the mechanical's graphics, its composition, as well as its accompanying instruction sheet (Figure 2), it may be assumed "Toutoubox" is of early 20th century European manufacture. Because of its tin-plate and lead-alloy construction a prevailing belief amongst collectors is that "Toutoubox" was possibly manufactured in Germany for the French market. These assumptions are based upon the fact that, during this period, Germany was the world center for tin-plate and lead-alloy toy and bank production, and that the mechanical's accompanying instruction sheet (Figure 2) was printed entirely in French.
     Represented in Figure 2 is a copy of one of the original instruction sheets that had been supplied with each purchase of "Toutoubox." The following is its translation: "Don't mistreat your dog...Here is the way to play with your "Toutoubox". 1. Hold the house firmly from the bottom. 2. Gently unhook the ring from the side of the house. 3. Let the dog come out slowly, while holding the cord. Put a coin in his mouth. 4. Pull cord back very gently. Toutou has swallowed the coin. 5. Start again!... or hook ring back on side. Put the Toutoubox on your mantelpiece where it will become your favorite knick-knack. To remove deposits — put key in key hole and turn one-quarter turn to the right and remove door. To put door back in place (1) put bottom in first (2) then push on the top. GULLIVER TOY".
     (Author's note: I have personally seen examples of "Toutoubox" that utilize a small sheet metal screw rather than a key lock in order to secure the coin door to the bank.)
     Interestingly, the words "Gulliver Toy", printed at the bottom of the instructions sheet (Figure 2), were translated from the French words "Jouet Gulliver". Perhaps this may indicate the name of either the bank's French or German manufacturer or distributor.
     "Toutoubox" is constructed almost entirely of colorfully lithographed tin plate; the dog is composed of artistically painted lead-alloy. This mechanical is quite rare, with only a mere handful known to grace the shelves of fortunate collectors.
     I am not aware of the existence of reproductions of "Toutoubox" Bank. However, that does not preclude the possibility of reproduced replacement parts. In such instances the value of the bank would be somewhat compromised. Despite its tin plate construction and diminutive size, i.e. Height: 4 inches, Width: 3-1/8 inches, Depth: 4-3/8 inches, "Toutoubox" is an extremely desirable addition to a mechanical bank collection.
     Acknowledgement: The superb example "Toutoubox", Figure 1, is in the collection of Bob Weiss.

Three Hundred Articles — An Index
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2007

     Numerous requests from readers prompted the following index of the three hundred articles I've written for Antique Toy World:
   
1.   August 1982-The Edwin H. Mosier Bank Sale
2.   December 1982-Girl Skipping Rope
3.   January 1983-Acrobats
4.   February 1983-Zig Zag Bank
5.   March 1983-Two Frogs
6.   April 1983-Reclining Chinaman
7.   May 1983-Elephant and 3 Clowns
8.   June 1983-Peg Leg Beggar
9.   July 1983-Circus Ticket Collector
10.   August 1983-Little Jocko Musical
11.   September 1983-Chimpanzee
12.   October 1983-Billy Goat
13.   November 1983-Confectionery
14.   December 1983-Jolly Nigger
15.   January 1984-Mama Katzenjammer
16.   February 1984-Hall's Excelsior
17.   March 1984-Paddy and the Pig
18.   April 1984-Speaking Dog
19.   May 1984-Tammany
20.   June 1984-Fowler
21.   July 1984-Humpty Dumpty
22.   August 1984-Mason
23.   September 1984-Humpty Dumpty, Part II
        -Elephant and 3 Clowns, Part II
24.   October 1984-Organ Bank, Cat and Dog
25.   November 1984-Bulldog Savings Bank
26.   December 1984-Bird on Roof
27.   January 1985-Darktown Battery
28.   February 1985-Magician
29.   March 1985-Boys Stealing Watermelons
30.   April 1985-Uncle Sam
31.   May 1985-Stump Speaker
32.   June 1985-Zig Zag, Part II
        -Bill Norman's Bank Book, Review
33.   July 1985-Lion Hunter
34.   August 1985-Calamity
35.   September 1985-Organ Miniature
36.   October 1985-Indian and Bear
37.   November 1985-William Tell
38.   December 1985-I Always Did 'Spise a Mule, Jockey
39.   January 1986-Punch and Judy
40.   February 1986-Organ Bank, Boy and Girl
41.   March 1986-Boy Scout Camp
42.   April 1986-Perfection Registering
43.   May 1986-I Always Did 'Spise a Mule, Boy on Bench
44.   June 1986-Bad Accident
45.   July 1986-Jonah and the Whale
46.   August 1986-Organ Grinder and Performing Bear
47.   September 1986-Afghanistan
48.   October 1986-Dentist
49.   November 1986-Goat, Frog, and Old Man
50.   December 1986-Teddy and the Bear
51.   January 1987-Mammy and Baby
52.   February 1987-Novelty
53.   March 1987-Lion and Monkeys
54.   April 1987-Horse Race
55.   May 1987-Hall's Lilliput
56.   June 1987-Mule Entering Barn
57.   July 1987-Toad on Stump
58.   August 1987-Milking Cow
59.   September 1987-Dog on Turntable
60.   October 1987-Spring-Jawed Alligator
61.   November 1987-Clown on Globe
62.   December 1987-Jumbo Elephant
63.   January 1988-Organ Bank with Monkey
64.   February 1988-Artillery
65.   March 1988-Stevens Foundry, Part I
66.   April 1988-Stevens Foundry, Part II
67.   May 1988-Stevens Foundry, Part III
68.   June 1988-Penny Lane, Book Review
69.   July 1988-Red Riding Hood
70.   August 1988-Eagle and Eaglets
71.   September 1988-Butting Buffalo
72.   October 1988-Spring-Jawed Bonzo
73.   November 1988-Trick Dog, Six-Part Base
74.   December 1988-Patronize the Blind Man and His Dog
75.   January 1989-Bucking Mule
76.   February 1989-World's Fair
77.   March 1989-Frog on Round Base
78.   April 1989-Owl, Slot in Head
79.   May 1989-Uncle Sam Bust
80.   June 1989-Boy on Trapeze
81.   July 1989-Boy and Bulldog
82.   August 1989-Bulldog Coin On Nose
83.   September 1989-Cat and Mouse
84.   October 1989-Rooster
85.   November 1989-Spring-Jawed Kitten
86.   December 1989-Saalheimer and Strauss Toy Catalog
87.   January 1990-Owl, Slot in Book
88.   February 1990-Bulldog Standing
89.   March 1990-Atlas
90.   April 1990-Monkey and Coconut
91.   May 1990-Rabbit in Cabbage
92.   June 1990-Spring-Jawed Bulldog
93.   July 1990-Organ Grinder and Performing Bear, Part II
        -Perfection Registering, Part II
94.   August 1990-Uncle Tom
95.   September 1990-Leap Frog
96.   October 1990-Chief Big Moon
97.   November 1990-Girl in Victorian Chair
98.   December 1990-Cross-Legged Minstrel, Tin
99.   January 1991-The Home Bank
100.   February 1991-Spring-Jawed Mule
101.   March 1991-First 100 Articles-An Index
102.   April 1991-Butting Goat
103.   May 1991-Elephant Howdah, Man Pops Up
104.   June 1991-Boy Robbing Bird's Nest
105.   July 1991-Spring-Jawed Parrot
106.   August 1991-Mickey Mouse, Tin
107.   September 1991-Dinah
108.   October 1991-Merry-Go-Round
109.   November 1991-Light of Asia
110.   December 1991-Frog on Rock
111.   January 1992-Spring-Jawed Chimpanzee
112.   February 1992-Elephant with Tusks, on Wheels
113.   March 1992-Bank of Education and Economy
114.   April 1992-Presto, Trick Drawer
115.   May 1992-Professor Pug Frog
116.   June 1992-Zoo
117.   July 1992-General Butler
118.   August 1992-Spring-Jawed Penguin
119.   September 1992-William Tell, Arrow Coin Shooter
120.   October 1992-Hubley Elephant
121.   November 1992-Hubley Monkey
122.   December 1992-Hubley Trick Dog
123.   January 1993-Safety Locomotive
124.   February 1993-Hold the Fort
125.   March 1993-Pig in High Chair
126.   April 1993-Bread Winners
127.   May 1993-Presto, Penny Changes to a Quarter
128.   June 1993-Turtle
129.   July 1993-Watch Dog Safe
130.   August 1993-Monkey, Coin in Stomach
131.   September 1993-Squirrel and Tree Stump
132.   October 1993-Grenadier
133.   November 1993-Mechanical Bank Reproductions, Part I
134.   December 1993-Mechanical Bank Reproductions, Part II
135.   January 1994-Mechanical Bank Reproductions, Part III
136.   February 1994-U.S. and Spain
137.   March 1994-Bow-ery
138.   April 1994-Time Is Money
139.   May 1994-Chronometer
140.   June 1994-Punch and Judy, Part II
141.   July 1994-Jonah And The Whale, Jonah Emerges
142.   August 1994-Owl Turns Head
143.   September 1994-Rabbit Standing, Small
144.   October 1994-Rabbit Standing, Large
145.   November 1994-Coasting Bank
146.   December 1994-Shoot the Chute
147.   January 1995-Santa Claus
148.   February 1995-North Pole
149.   March 1995-Bismark
150.   April 1995-Mechanical Bank Ephemera, Part II of:
          Jolly Nigger Bank, Hall's Excelsior, Chronometer,
          Mama Katzenjammer Bank
151.   May 1995-First 150 Articles-An Index
152.   June 1995-Hen and Chick
153.   July 1995-Panorama
154.   August 1995-Motor Bank
155.   September 1995-Mosque
156.   October 1995-Queen Victoria Bust
157.   November 1995-Giant
158.   December 1995-Rival
159.   January 1996-Giant in Tower
160.   February 1996-Picture Gallery
161.   March 1996-New Bank-Center Lever Variation
162.   April 1996-Small Elephant-Swings Trunk
163.   May 1996-Schley Bottling Up Cervera
164.   June 1996-U.S. Bank
165.   July 1996-Kiltie
166.   August 1996-Cupola
167.   September 1996-Spring-Jawed Rabbit
168.   October 1996-Tommy Bank
169.   November 1996-Trick Pony Bank
170.   December 1996-Mikado
171.   January 1997-Frog on Arched Track
172.   February 1997-Musical Church Bank (Silent Night)
173.   March 1997-Mama Katzenjammer Bank, Part II and
          The Horse Race Bank, Part II
174.   April 1997-Hall's Excelsior, Part II and
          Don Duer Book, Review
175.   May 1997-Tank and Cannon
176.   June 1997-Freedman's Bureau
177.   July 1997-Freedman's Bank
178.   August 1997-Bonzo, Tin
179.   September 1997-Smyth X-Ray
180.   October 1997-Scotsman, Tin
181.   November 1997-World's Fair Bank, Painted by Charles A. Bailey
182.   December 1997-Dog Tray
183.   January 1998-Butting Buffalo, Part II
184.   February 1998-Tabby
185.   March 1998-Roller Skating
186.   April 1998-Wooden Packing Boxes and
          Chief Big Moon Bank, Part II, (Red Base)
187.   May 1998-Seek Him Frisk
188.   June 1988-Calumet
189.   July 1988-Snake and Frog in Pond, Tin
190.   August 1998-Mechanical Bank Patterns
191.   September 1998-British Lion, Tin
192.   October 1998-Lighthouse
193.   November 1998-Old Woman in the Shoe
194.   December 1998-Darkey Watermelon
195.   January 1999-Bill-E-Grin
196.   February 1999-Octagonal Fort
197.   March 1999-Baby Elephant Bank, Unlocks at X O'Clock
198.   April 1999-Springing Cat
199.   May 1999-Darkey Fisherman
200.   June 1999-Chinaman in the Boat
201.   July 1999-Two Hundred Articles-An Index
202.   August 1999-Wishbone Bank, A Pattern
203.   September 1999-Old Aunt Dina and the Fairy, A Pattern
204.   October 1999-Bull and Bear
205.   November 1999-Jolly Joe the Clown, Tin
206.   December 1999-Weeden's Plantation Bank
207.   January 2000-Pistol
208.   February 2000-Ding Dong Bell
209.   March 2000-Clown and Harlequin
210.   April 2000-Japanese Ball Tosser
211.   May 2000-Boy on Trapeze, Part II, An Update
212.   June 2000-Circus Bank
213.   July 2000-Harold Lloyd, Tin
214.   August 2000-Cabin
215.   September 2000-African Native, Tin
216.   October 2000-Minstrel, Tin
217.   November 2000-Creedmoor
218.   December 2000-New Creedmoor
219.   January 2001-English Punch and Judy Bank, Iron Front, Tin Back
220.   February 2001-Bowling Alley
221.   March 2001-Winner Savings Bank
222.   April 2001-Fortune Horse Race, "Savings Bank", Tin
223.   May 2001-Called Out
224.   June 2001-Uncle Remus
225.   July 2001-Multiplying
226.   August 2001-English Bulldog, Tin
227.   September 2001-English "Football Bank"
228.   October 2001-Hoop-La Bank
229.   November 2001-American Bank, Sewing Machine
230.   December 2001-Wishbone and Aunt Dina Patterns, Part II, An Update
231.   January 2002-John Bull's Money Box
232.   February 2002-Clown on Bar, Tin Figure
233.   March 2002-Kick Inn
234.   April 2002-Gem Bank
235.   May 2002-Mechanical Banks of Legend,
          Hen and Chick, Part II
236.   June 2002-Teddy Bear, Tin
237.   July 2002-Cowboy With Tray-Tin
238.   August 2002-Snap-It
239.   September 2002-Tell, Chocolate Cigarette Vending Bank
240.   October 2002-Bear and Tree Stump
241.   November 2002-Charles Bailey, "Watch Bank"
242.   December 2002-Automatic Wood Mottoes Bank
243.   January 2003-Bird in Cage, Tin
244.   February 2003-Pelican
245.   March 2003-British Clown, Tin
246.   April 2003-Presto Savings Bank, Mouse on Roof
247.   May 2003-Safe Deposit Box, Tin Elephant
248.   June 2003-Magie Bank, Tin
249.   July 2003-Clown Money Box
250.   August 2003-Indian Chief Bust
251.   September 2003-Two Hundred Fifty Articles-An Index
252.   October 2003-Sweet Thrift, Tin
253.   November 2003-Treasure Chest Music Bank
254.   December 2003-Elephant Locked Howdah
255.   January 2004-Golliwog Bank, Tin
256.   February 2004-Church Bank, Woman With Bible
257.   March 2004-Clown And Dog, Tin
258.   April 2004-Magic Bank
259.   May 2004-Savo Banks
260.   June 2004-Shoot That Hat
261.   July 2004-The School Master Bank
262.   August 2004-Preacher In The Pulpit
263.   September 2004-Chirping Bird In Cage, Tin And Lead
264.   October 2004-Flip The Frog Money Box, Tin
265.   November 2004-Bank Teller
266.   December 2004-Indiana Paddle Wheeler Bank
267.   January 2005-The Seven Ravens Bank
268.   February 2005-Bear With Slot In Chest
269.   March 2005-Native And Crocodile Bank
270.   April 2005-Woman At The Treasure Pump, Tin
271.   May 2005-Germania Exchange
272.   June 2005-Automatic Savings Bank, Tin
273.   July 2005-Empire Cinema, Tin
274.   August 2005-King Aqua
275.   September 2005-Mother Hubbard Bank
276.   October 2005-Nodding Dog, Tin
277.   November 2005-Darkey Bust, Tin
278.   December 2005-Strongman Bank
279.   January 2006-Thoroughbred Bank
280.   February 2006-Cockatoo, Tin
281.   March 2006-Mandarin Bank, Tin
282.   April 2006-Automatic Coin Savings Bank
283.   May 2006-Cast Iron Toys Manufactured By:
          J. & E. Stevens; Judd Mfg. Co.; And Kyser & Rex.
          plus Sy Schreckinger Antique Toy World Articles CD
284.   June 2006-The World's Banker, Tin
285.   July 2006-National Bank
286.   August 2006-The Gardener Bank
287.   September 2006-Hubley Trick Dog Bank, Six Part Base Variation
288.   October 2006-Lion Tamer Bank
289.   November 2006-Guessing Bank
290.   December 2006-Fortune Telling Bank, Tin
291.   January 2007-Clever Dick Bank, Tin
292.   February 2007-Model Savings Bank, Tin
293.   March 2007-Key Bank, Semi-Mechanical
294.   April 2007-Old Woman With Broom
295.   May 2007-Guessing Bank, Woman's Figure
296.   June 2007-The United States Bank
297.   July 2007-Tiger Bank, Tin
298.   August 2007-Monkey And Parrot, Tin
299.   September 2007-Toutoubox Bank, Tin and Lead
300.   October 2007-Three Hundred Articles-An Index

Railroad Ticket Vending Bank
(Doll and Company)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2007

     The years 1870 through 1935 proved to be the most prolific in the history of mechanical bank production. During this period mechanicals produced within the United States were composed primarily of painted cast iron while those manufactured in Europe (mainly Germany) were created from painted or lithographed tinplate.
     German tinplate toy manufacture dominated the world market. Companies such as Saalheimer and Strauss, Marklin, Gebruder Bing, Doll and Company, etc. produced not only tinplate toys and mechanical banks but also steam engines and model railroad train sets. Cognizant of worldwide infatuation with mechanical banks, several German toy train manufacturers redesigned components of their model train accessories (e.g. platform ticket dispensers, postage stamp dispensers and beverage dispensers) to also function as mechanical banks. In most instances the conversion was accomplished by simply adding a key lock retainer. Our featured subject, "Bahnsteigkarten" (Platform Ticket Dispensing Bank) seen in Figure 1, is an example of one such factory conversion.
     "Bahnsteigkarten" was created by Doll and Company. Founded in 1898 by Peter Doll and J. Sondheim, the company specialized in the production of toy steam engines, steam accessories and model railroad sets. The factory was located in Nurnberg, Germany, then the world center for manufacture of fine tinplate toys and household items.
     (As an aside, and of some interest, is this mechanical's name, itself, i.e. "Bahnsteigkarten", translating to "Platform Tickets". Prior to World War II, travelers purchasing "Platform Tickets" were the only ones allowed into the boarding area of the train stations of Europe. This is analogous to today's issuing of boarding passes to passengers at airports.)
     It is fortunate that the "Bahnsteigkarten" Mechanical Bank (Figure 1) displays the Doll and Company logo. As seen in Figure 2, it is affixed to the top of the bank. Such accessible identification aids both the collector and historian to document the toy's heritage and approximate date of manufacture.
     Figure 3 is a Doll and Company catalog advertisement featuring two other railroad vending banks, namely "Briefmarken-Automat" (Postage Stamp Dispenser) and "Getranke-Automat" (Drink Dispenser). Although the "Bahnsteigkarten" (Station Ticket Dispenser) is not pictured, construction and design similarities support the contention that the trio comprises a set of three vending banks manufactured by the company.
     As examples of the conversions to mechanical banks, the following are partial excerpts from the aforementioned Doll and Company sales catalog ad (Figure 3), translated from German: "No. 861 Briefmarken-Automat": ...Postage Stamp Dispenser. D.R.G.M. (German Patent) ...Place a coin in the slot, pull the knob and get one postage stamp...It is a postage stamp machine and a coin savings bank...".
     "No.867. Getranke-Automat": Drink Dispenser. D.R.G.M. (German Patent) ...Place a coin in the slot, press the lever and liquid comes out of the spout, into the glass. The bank has a lock and key — so it is not only a drink dispenser but a coin savings bank...".
     "Bahnsteigkarten" is appreciated by, and appeals to, the model train enthusiast as well as the mechanical bank collector. Its operation commences with the insertion of a coin into the slot adjacent to the words "Geld Einwurf' (i.e. Money Goes Here). This is followed by the words "Griff Ziehen" (i.e. Pull the Knob"), after which a ticket is dispensed through the slot marked "Ihre Karte" (i.e. Your Ticket). Ticket restocking and coin removal are accomplished by opening the key lock back door of the bank (Figure 4).
     "Bahnsteigkarten Bank" is extremely rare. Less than a handful are known to exist, and these in the collections of a few fortunate individuals. Despite its simplistic design and diminutive size, i.e. Height 5-3/4 inches, Width 2 inches, Depth 1-1/2 inches, "Bahnsteigkarten Bank" is a highly desirable and attractive addition to a mechanical bank collection.
     Acknowledgement: The near mint example of "Bahnsteigkarten Bank" (Figure 1), including its original platform tickets, is in the collection of Bob Weiss.

The Official Price Guide to Mechanical Banks
by Dan Morphy
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2007

     Ever so often a truly informative and up to date reference book is presented to the public. I am delighted that now such a complete and concise work, and one that pertains specifically to Mechanical Banks and Mechanical Bank collecting, is available.
     "The Official Price Guide to Mechanical Banks" by Dan Morphy encompasses the full spectrum: i.e. old antique originals, fakes, and handmade (prototype) examples. Pictured are over six hundred different Mechanical banks, these displayed in "accurate" full color. Color variations, if applicable, of most examples are also pictured.
     This invaluable guide focuses on the significance of these wonderful toys and how they reflect upon our history. Included are discussions pertaining to the heritage of Mechanical Banks, identification of fakes and reproductions, bank repair and restoration, monetary grading and bank valuation, building a Mechanical Bank collection, Mechanical Bank descriptions and pricing, full color Mechanical Bank trade cards and one-color flyers, and original Mechanical Bank patterns.
     The collector and dealer will be provided with a wealth of information. Determination of authenticity may very well result in the prevention of costly mistakes. The guide will also benefit anyone interested in antiques.
     The deluxe, hard cover Price Guide (Figure 1) and soft cover Pocket Edition (Figure 2) are both currently available at your local book seller.

The Clown Money bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2008

     Circus clowns have entertained audiences with humorous and prankish acts since their introduction centuries ago. The clown's initial appearance was at the first "modern" circus that originated in England (1868) and organized by Philip Astley. Prior to the clown, this circus' sole source of entertainment was horse-mounted events. One of the performances was entitled "Billy Buttons, or the Tailor's Ride to Brentford" and was based upon a then-popular tale of a tailor and his journey upon a rambunctious steed to the town of Brentford. The story's humor revolved around Billy's clumsy attempts at trying to mount and dismount his nag.
     The instant popularity of this "new style" circus and Billy Buttons sparked Astley and other local companies to incorporate the clown more frequently into their acts. Within a few years the circus became a global phenomenon; jesters in painted faces bedazzled audiences worldwide (Figures 1 and 2).
     Recognition of the clown's monetary potential was not limited solely to the confines of the circus. Nineteenth and early twentieth century toy manufacturers seized the opportunity to increase profits by creating a number of mechanical banks incorporating the likeness of these entertainers. In addition to our subject, namely "The Clown Money Bank" (seen in Figure 3), other notable examples include: "Circus Bank", "Bill-E-Grin", "Humpty Dumpty", "Jolly Joe the Clown", "Clown on Globe", "Professor Pug Frog", "Elephant and Three Clowns", "Clown Bust", "Trick Dog", "Hoop-La", etc.
     Unfortunately, to date, neither catalog nor advertising data has surfaced that would shed light upon the bank's manufacturer and/or designer. However, another mechanical, namely "The Chinaman Somersault Bank", Figure 4, had been previously discovered and thoroughly researched. Uncanny similarities in design, action and tinplate construction had led to the supposition that both mechanicals were produced, circa 1910-1912, by Frank Smith and Company of Liverpool, England.
     In addition, and to further support the aforementioned date of manufacture and country of origin, "Clown Money Bank" displays the following words inscribed upon its facade: "REGISTERED DESIGN 667121". Such series registration numbers were issued by Great Britain's Patent Office during the years 1910-1912. Furthermore, its box (Figure 5) exhibits the verbiage "FACTORY NP. 126 MADE IN BRITAIN".
     Operation of "The Clown Money Bank" is imprinted upon its front side (Figure 3) as well as the front of the box (Figure 5). It reads: "DIRECTIONS. Place the money in his arms, then press the spring and watch." The clown then performs a somersault, the coin exiting its hands to be deposited into the bank. Puzzling is the fact that there is no apparent means of coin removal other than physically prying its tin base apart. Such destructive mutilation of the bank may have been the single factor attributing to the mechanical's extreme rarity.
     There are two variations of "The Clown Money Bank". Both pertain solely to its decorative features. One may exhibit the operating instructions printed upon its facade (Figure 3) The other simply portrays a modernistic geometric design on all four sides of the base.
     Based upon the actual size of "The Clown Money Bank" seen in Figure 3 (i.e. Height: 6-3/8 inches, Width: 1-3/8 inches, A Depth: 1-3/8 inches) as compared to the shorter dimensions of the box (Figure 5) it appears likely that the mechanical was packaged and sold in a disassembled state. It is, in fact, quite easy to remove the figure of the clown from its cradle by gently prying open the sides of the bracket.
     To my knowledge "The Clown Money Bank" has not been reproduced. However, due to the bank's fragile and delicate construction, this does not preclude the possibility of broken, replaced or reproduced parts. In such an instance, appropriate reevaluation should be considered.
     "The Clown Money Bank" is extremely rare, with only four examples known to be in the possession of a quartet of fortunate collectors. For these individuals it is an appealing addition to the Circus-Clown category of mechanicals. For other serious collectors, it is a challenging quest.
     Acknowledgement: The mint example "The Clown Money Bank", Figure 3, and its original box, Figure 5, is in the collection of Bob Weiss.

The Sailor Money Box
(Jack Tar Bank)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2008

     Over the ages sailing and the lure of the sea have ignited the imagination of boys and grown men alike. Nineteenth century literature includes great works by such authors as Herman Melville, Robert Louis Stevenson and Daniel DeFoe. Their novels, i.e. "Moby Dick", "Treasure Island" and "Robinson Caruso", respectively, captured the mood of the sea. Books such as these were the likely spark of inspiration for toy manufacturers of the era, both in this country and abroad.
     Production of a multitude of children's playthings depicting ships and their colorful navigators proved to be quite profitable. Shelves of country stores worldwide were soon overflowing with such goods. Interestingly, however, is the fact that, despite the popularity and plethora of naval toys created during this time, there were merely three different representations within the category of "Mechanical Banks." Further, and adding to the puzzlement, none of the three was produced here in the United States, but rather in Europe. These are "Saluting Sailor" manufactured by Saalheimer and Strauss, Nurnberg, Germany, "Sailor Face" arched top, produced in Germany (manufacturer unknown), and the subject of this article: "The Sailor Money Box" a.k.a. "Jack Tar Bank", Figure 1.
     "Sailor Money Box", or "Jack Tar Bank" was produced by W.H. Britain and Sons, London, England. An advertisement issued by the company, circa 1885, read as follows: "Introduced a New Item. The Sailor Money Box. The Sailor is dressed in satin and mounted on a mahogany box. Always ready to receive subscriptions either as a children's money box, or for charitable purposes."
     Action of "Sailor Money Box" is also indicated in the ad..."On placing a penny in the plate which he holds in front of him, he will immediately transfer it to the box at his side. At the same time raising his hat with his right hand and bowing gracefully." Figure 2 represents Jack Tar prior to operation, while Figure 1 indicates deposition of the coin. Deposits are retrieved by opening the key lock, hinged, left side of the wooden base.
     "Sailor Money Box" is one of only two extremely rare and important mechanicals that were constructed of identical materials, namely wood, cloth, and pot metal (zinc-alloy). The other is "Freedman's Bank", seen in Figure 3, manufactured by Jerome B. Secor of Bridgeport, Connecticut. "Freedman's Bank" reflected post slavery issues within the United States and did not derive from a nautical theme. The heads and arms of both mechanicals were created with zinc alloy and bronze. Their bodies were clothed in fabric and their bases were constructed of finely polished wood.
     Worthy of mention is the origin of the name "Jack Tar", the common Englishman's term for seamen serving in the Royal Sailing Ship Navy. There are several plausible explanations for the designation: 1) all seamen during this period waterproofed their garments with a coating of thinned, high grade tar; 2) it was also common amongst sailors to braid their long hair into a pigtail and smear it with diluted tar to prevent its getting caught within the ship's equipment; 3) in order to inhibit the rotting of the ship's riggings which were made of hemp, the ropes were soaked in tar. Sailors handling these riggings would find their arms and hands heavily tar stained.
     As previously mentioned, "Sailor Money Box" is extremely rare, with less than a handful known to exist on the shelves of a few fortunate collectors.
     Figure 4 is a detailed photograph of an original head from a "Jack Tar Bank". It appears in this article solely to demonstrate the artistic and decorative capabilities of W.H. Britain and Sons, the bank's manufacturer.
     I am not aware of reproduced examples of "Sailor Money Box". Nonetheless, the following dimensions are presented to aid the collector in determining size and scale: Height: 15 inches, Width: 10-3/8 inches, Depth: 6 inches.
     To conclude, "Sailor Money Box" a.k.a. "Jack Tar Bank" is a rare, attractive, beautifully executed example of nineteenth century folk art. It is an extremely important addition to a mechanical bank collection.
     Acknowledgement: The mint, all-original example of "Sailor Money Box", Figure 2, is from the Kidd Toy Museum collection, Frank and Joyce Kidd, proprietors.

Hall’s Excelsior Bank — Part 3
An Important New Discovery
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2008

     December 21, 1869 has long been recognized as possibly the most significant date in the history of the mechanical bank. It was on that date that John Hall of Watertown, Massachusetts was granted Patent Number 98,055 (Figure 1) for his invention of the "Hall's Excelsior Bank". Seen in Figure 3, it has been acknowledged to be the earliest, commercially produced, cast iron mechanical bank known.
     Exciting, and surprising, is the recent discovery of yet another "Hall's Excelsior Bank", and one that may very well predate the aforementioned mechanical. The historical importance of this hitherto unknown example (Figure 2) has prompted the writing of this article.
     The most important and obvious differences between this latest find and the familiar "Hall's Excelsior Bank" is that the 'new discovery' adheres precisely to Hall's patent drawings, as seen in Figures 1 and 4. (Figure 4 was the renewed, or second, patent for the "Excelsior Bank" issued to John Hall on April 17, 1877.)
     The following will attempt to explore the differences between the two "Hall's Excelsior" banks: Figure 3 represents the familiar "Hall's Excelsior Bank" in which is seen a dome-shaped cupola. In contrast, our subject of discussion exhibits a curvilinear designed cupola (Figure 2), and is precisely as indicated in Hall's patent drawings represented in Figures 1 and 4. Also, the shapes of the carved wooden bodies of the 'cashiers' appear to differ significantly. In Figure 5 (the known version of "Hall's Excelior)" we see a somewhat stubby and ape-like torso; the newly discovered example (Figure 6) is sleeker in appearance, proportioned to more aptly represent the homosapien figure, and most importantly, is reflective of Hall's patent designs.
     Figure 7 illustrates the bank's externally visible operational wire, as originally designed and pictured by John Hall in his patent drawings. That wire is omitted in the familiar "Hall's Excelsior" (refer to Figure 5). In addition, Figure 8 is a view of the underside of the base of the 'new discovery'. The pivoting coin retainer seen here is as illustrated in Hall's original patent drawings. In contrast, to date, no other examples of the "Hall's Excelsior Bank" are equipped with coin retainers and must be completely disassembled in order to reclaim coin deposits. Dimensions of the 'new discovery' "Excelsior Bank" are: facade Height (excluding roof and cupola): 3-9/16 inches, Width: 3-7/16 inches, Depth: 3-3/16 inches. These measurements appear to be 1/16 inch larger than the known version.
     Action of both "Hall's Excelsior" banks (Figures 2 and 3) is similar. Initially, the small glass knob at the side of the front door is pulled. This is connected to a string or wire, which lifts the domed platform with its cashier and desk to the position shown in Figure 6. A coin is then placed upon the desk, the weight of which causes the cupola to close, thus depositing the coin. The desk and cashier disappear from sight.
     Interestingly, construction and materials utilized differ significantly between the newly discovered "Hall's Excelsior Bank" and the known version. The latter was manufactured primarily of cast iron, with the exception of the carved wood cashier and desk. The featured example (Figures 2 and 6) also exhibits a carved wood cashier and desk; however, its platform is composed of tin plate and a cast lead curvilinear dome.
     On a final note, the obvious question arises as to why the J. and E. Stevens Company of Cromwell, Connecticut, manufacturer of record of the "Hall's Excelsior Bank", did not adhere to John Hall's original patent designs when mass producing his invention. One can only speculate: possibly difficulty due to complexity of production or assembly; possibly fragility and breakage of materials during distribution. Hopefully time and further research will offer a viable explanation.
     At this time, however, the "Hall's Excelsior Bank", seen in Figure 2 and subject of this article, appears to be the predecessor to the mechanical (Figure 3) that had been thought to be the first.

Tammany Bank — Part 2
The Original “Little Fat Man” Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2008

     An important date in the world of mechanical banks is that of December 23, 1873. John Hall, a most prolific and creative inventor of mechanicals, was granted a patent for yet another, this one in the form of a portly "man seated in an arm chair" (Figure 1).
     The J. and E. Stevens Company of Cromwell, Connecticut subsequently manufactured Hall's invention. The company entitled its production "Little Fat Man" Bank. Figure 2 represents an advertising flyer issued by J. and E. Stevens, circa 1873. The mechanical proved to be a popular and lucrative item and enjoyed a production life of more than thirty years.
     Surprising, and quite unexpected, was the discovery of what appears to be a unique and earlier example of John Hall's "Little Fat Man" Bank (seen in Figure 3). This mechanical is nearly identical in design to Hall's original patent drawings (refer to Figures 4 and 5) wherein the subject is stouter and one arm is constructed of tin plate rather than cast iron. All previously known "Little Fat Man" banks manufactured by J. and E. Stevens are as pictured in Figure 1 and do not accurately reflect Hall's patent drawings.
     Apparently, this "new discovery" had never been mass-produced. Perhaps significant manufacturing problems may have limited its production, pending modifications. Or, perhaps it served specifically as a working prototype and was never intended to have been manufactured in that form. It indeed appears to be the sole example and predecessor of the familiar "Little Fat Man" Bank (Figure 1).
     As mentioned, the well-known example enjoyed many years of great popularity and highly successful sales. Opportunity and marketing strategies were the factors aiding and abetting its longevity. Several years after the mechanical's introduction a corrupt group of New York City politicians headed by William Marcy Tweed a.k.a. "Boss Tweed" (Figure 6) , had plundered and defrauded the New York City treasury of what was estimated to be between seventy-five to two hundred million dollars. It was a series of political cartoons and commentaries by Thomas Nast (Figure 7) that appeared in such influential periodicals as Harper's Weekly and The New York Times that eventually resulted in the demise and imprisonment of Tweed and his Tammany Hall cronies.
     More than likely, John Hall recognized the uncanny resemblance between the corrupt, money-pocketing Tammany boss (Figure 6) and his "Little Fat Man" Bank (Figure 1). Possibly, in an attempt to capitalize upon such a timely and newsworthy event, Hall applied for and, on October 9, 1877, received a "reissue" of his patent (Figure 5), renaming his invention "The Tammany Bank". The J. and E. Stevens Company molded the name "Tammany Bank" into the sides of all ensuing examples (Figure 1). Stevens also modified its advertisements for "Little Fat Man" Bank to read: "Tammany Bank".
     Action of the "Tammany Bank" (Figure 1), a.k.a. "Little Fat Man" Bank, is simple, effective, and appropriate. It represents a seated, portly man accepting a coin in its right hand, pocketing it, and nodding its head. While the "Tammany Bank" was designed to represent acceptance of a bribe, its nod an agreement to perform a corrupt deed, "Little Fat Man", its alleged predecessor, nods a gracious, polite, and innocent "thank you".
     Interestingly, another patent was issued for the "Little Fat Man" Bank (refer to Figure 8). Although its appearance was similar to Hall's design, it utilized a different internal, mechanical coin activation system. It was designed and patented by Russell Frisbee, an employee and principal of J. and E. Stevens. A bank utilizing these mechanics was never manufactured. It may be assumed that Stevens attempted to re-patent John Hall's creation so as to negate Hall's property rights and, thus, avoid paying him royalties on future sales of his "Little Fat Man"/"Tammany Bank".
     To conclude, the "Little Fat Man" Bank (Figure 3) is a rare and historically important example of John Hall's genius.
     Acknowledgement: The unique and early example of "Little Fat Man" Bank, Figure 3, is from the Kidd Toy Museum collection, Frank and Joyce Kidd proprietors.

Saluting Sailor Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2008

     Our subject, this article, is a rare and attractive tin-plate mechanical bank. Known as "Saluting Sailor" (Figure 1), it reflects a theme that has fascinated boys and men alike.
     Throughout history, youngsters have been entertained by various toys and games that evoked images of raging seas and battles to be fought. During the late nineteenth and early twentieth centuries, a plethora of nautical and military-related objects were produced in this country and abroad. Included were toy mechanical penny banks with such names as "Hold the Fort Bank", "U.S. and Spain Bank", "Sailor Money Box", "Tommy Bank", "Creedmoor Bank", and the aforementioned "Saluting Sailor" Bank (Figure 1).
     "Saluting Sailor" is one of a set of three rare lithographed tin-plate mechanical banks. The other two members are "Clever Dick" and "Clown and Dog". They were created by Saalheimer and Strauss Tin Works during the early twentieth century. Located in Nurnberg, Germany, then the manufacturing center of early tin-plate merchandise, this company was considered one of the foremost producers of tin-plate household goods, novelty items and mechanical banks of the era.
     Figure 2 represents a page from an early Saalheimer and Strauss wholesale toy catalog, circa 1928-1936, wherein the aforementioned trio is pictured. All three are recognized as having a unique, round top configuration, as well as comparable construction materials.
     The discovery of this catalog provided invaluable information pertaining not only to the manufacture of "Saluting Sailor" but also to other tin-plate mechanicals in the company's line. In addition, the word "GERMANY' imprinted upon the bank further attests to its country of origin.
     Action of "Saluting Sailor" differs significantly from its brethren. Upon activation, both "Clown and Dog" and "Clever Dick" flip a coin upward and around an external arched track and into the bank. "Saluting Sailor", however, raises its right arm and hand in a saluting gesture, simultaneously lowering its left elbow in order to expose the coin slot. Upon deposition of a coin into said slot, the lever is released and the seaman's arms return to the position seen in Figure 1. Wordage imprinted upon the lower facade of the bank describes its action quite succinctly: "What a funny money-box, with no slot behind it? Press the lever — Jack salutes, now, perhaps you'll find it.". Deposits are retrieved by opening a square, key lock, coin retainer located underneath the base.
     Collectors and historians have long debated whether the subject depicted by "Saluting Sailor" Bank represents a peacetime mariner or one involved in a war effort. These conflicting suppositions are based solely upon the environment of the "sailor".
     Is the round hatch located behind the subject an access or entry to ship's quarters? Or, is it the round port to a forward torpedo tube of a German U-Boat? Figures 3 and 4 may possibly serve to support or refute either point of view, and to provide a logical answer. Figure 3 is a World War I photograph, circa 1915, of a forward torpedo tube of a German U-Boat showing the hand wheel used to set gyro angles on loaded torpedoes (note a similar hand wheel behind the sailor's right hand, as seen in Figure 1). Figure 4 is a World War I photograph of a German U-Boat crewmember in uniform, circa 1915.
     If one was to conclude, based upon the preceding exhibits, that the bank depicts a wartime scenario, one must also take into account the object pictured in Figure 1 was not created during wartime. In fact, manufacture of "Saluting Sailor", as documented by the Saalheimer and Strauss catalog (Figure 2), would have been sometime between 1920 and 1936. This would have been post World War I and pre World War II. It appears that the bank's manufacturer may possibly have intended the vessel, or submarine, to represent an intriguing and imaginative feat of under water engineering rather than a warship.
     To the best of my knowledge, no mechanical manufactured by Saalheimer and Strauss has been reproduced. However, this does not preclude the prospect of restoration in the form of replaced components of the bank. In such instances, its monetary value is compromised accordingly.
     To conclude, despite its tin plate construction and diminutive size (i.e. Height: 6-3/4 inches; Width: 4-7/8 inches), the "Saluting Sailor" is a most colorful and desirable addition to a mechanical bank collection.
     Acknowledgement: The superb example of "Saluting Sailor" Bank (Figure 1) is in the collection of Bob Weiss.

Chandler s Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2008

     Magic and illusion have thrilled and delighted audiences throughout the ages. One of the most popular examples is the disappearing coin trick. No matter the technique, whether accomplished by the hands of a magician, or arcane apparatus, the effect is one of amazement.
     During the late nineteenth and early twentieth centuries several designers and inventors of toy mechanical penny banks recognized the appeal of the illusory disappearing coin. A number of varied examples were produced, most utilizing a small drawer that employed a tilting or false bottom. Notable examples include: "Bureau Bank (Serrill Patent)", "Freedmen's Bureau Bank", "Give Me A Penny Bank", "Model Savings Bank", "Presto Trick Bank" and the subject of this article, "Chandler s Bank" (Figure 1).
     Action of all the aforementioned is identical: open the drawer; place a coin therein; close the drawer (Figure 2), at which point the bottom of the drawer tilts open, allowing the coin to fall into the bank. Upon reopening the drawer, its bottom flips up, sans coin, creating the illusion that the coin has magically vanished.
     The genealogy of "Chandler s Bank" (Figure 1) had, for many years, posed a conundrum. Recently, however, astute research has shed light upon this mechanical's manufacturer and bestowed title. Mr. Al Hancock, fellow bank collector, has informed via written correspondence of several new findings. His discovery was, as he had stated, "sparked by the wordage imprinted upon the bank's key lock coin retainer underneath its base". Seen in Figure 3, it reads as follows: "CHANDLER S BANK PAT AP NATL BRASS WKS CLEVELAND".
     As explained by Al in his letter, since he is "native Clevelander" and has a "nice example of  the "Chandler s Bank" (which is shown in Figure 1)," he wanted to take up the challenge of uncovering the bank's history. A good friend of his, Steve Erlich, is a native Clevelander and an expert on Cleveland history". Steve was willing to "get into this mystery" by digging into the archives of the Western Reserve Historical Society, hoping to uncover pertinent and heretofore unknown information. Steve focused on the City Directory of Cleveland, Ohio. He began his many hours of inquiry with the late 1890's. No information was obtained until the year 1903, wherein was listed the National Brass Works, thus confirming the name of the manufacturer. The company was listed for a period of only three years. Its location was indicated as 20 Noble Street.
     Steve continued his search within the City Directory during that period, but now focusing on the name "Chandler". He learned that John M. Chandler was president and manager of the National Brass Works, thereby resolving the question of the naming of this mechanical.
     Shown in Figure 4 is a rare variation of the "Chandler s Bank", namely "Chandler s Bank With Clock". Its coin action is identical to the "Chandler s Bank" seen in Figure 1. The clock itself is non-instrumental to the bank's trick drawer action and serves solely as a decorative, functioning timepiece.
     I am not aware of the existence of any reproductions of "Chandler s Bank". The superb, all original example seen in Figure 1 is composed exclusively of cast iron that had been artfully electroplated in copper/ bronze with smoky-black highlights. Despite its subdued action and diminutive size, i.e. Height: 4-1/2 inches; Width: 4 inches; Depth: 3-1/2 inches, "Chandler s Bank" is, nonetheless, a scarce, attractive and important addition to a mechanical bank collection.
     Note: With reference to the name "CHANDLER S BANK" seen on its coin retainer (Figure 3), the omission of the (possessive) apostrophe before the letter "S" and the space between the letters "R" and "S" may have been an error incurred at the foundry when casting the lock, or a non-intentional oversight which was never corrected at the National Brass Works pattern room. This explanation may serve to end the confusion of why previous reference books, articles, catalogues, etc. have omitted the now-obvious grammatically important apostrophe before the letter "S".

Chinaman Somersault Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2008

     The intriguing and mysterious Orient has always fascinated the world outside its boundaries. In centuries past, captivating tales of strange traditions and mystical powers were concocted by western civilization.
     However, prejudice, fear, and disdain were to replace this fascination, tainting the arrival of Asians immigrating to this country. Hostility greeted the hordes of Chinese and Japanese individuals during the latter portion of the nineteenth and early twentieth centuries. Suspicion and distrust of these "strange and unknown foreigners" were communicated through various means.
     In addition to verbal and written abuse, a number of manufactured goods reflected the attitudes of the nation. Children's playthings were among the host of items, as evidenced by several toy mechanical banks produced during that era. Examples of such negative depictions included the cunning card player portrayed in "Reclining Chinaman Bank", and the "Chinaman In the Boat Bank", whose subject is an Oriental gentleman about to consume a most unpalatable meal.
     Less offensive depictions of the Oriental race included the ambidextrous juggler represented in the entertaining "Japanese Ball Tosser Bank", the serene tea-sipping figure as subject of "Mandarin Bank", and the agile and sprightly acrobat represented in "Chinaman Somersault Bank", Figure 1, and topic of this article.
     Unfortunately, to date, neither catalog nor advertising data has surfaced to reveal the bank's manufacturer and/or designer. Historical research has however, presented information that may shed some light upon the mechanical's origins. Chance patent disclosure, combined with the uncanny similarity in operation, size, design, and tinplate construction appear to link it to another mechanical bank, namely "Clown Money Bank" (Figure 2). There is speculation and supposition that both mechanicals were produced sometime during the years 1910-1912, and by Frank Smith and Company of Liverpool, England.
     To lend credence to the aforementioned date of manufacture and country of origin, "Clown Money Bank" displays the following wordage inscribed upon its facade: "REGISTERED DESIGN 667121". The British Patent Office issued such series registration numbers during the years 1910-1912. Furthermore, the "Clown Money Bank" box also seen in Figure 2 exhibits the verbiage "FACTORY NP.126 MADE IN BRITAIN".
     Operation of both "Chinaman Somersault Bank" and "Clown Money Bank" is quite simplistic, although effective. The following directions are inscribed upon the facade of the "Clown Money Bank": Directions: Place the money in his arms. Then gently press the spring and watch". The Chinaman then performs a somersault as the coin exits its hands to be deposited through the slot and into the base of the bank.
     Dimensions of both banks are as follows: "Chinaman Somersault Bank" (Figure 1) Height: 6-3/8 inches, Diameter: 2-1/4 inches; the "Clown Money Bank" (Figure 2): Height: 6-3/8 inches, Width and Depth: 1-3/8 inches. The height of the box (Figure 2) is lesser than that of either mechanicals, indicating the likelihood that each of the banks was packaged and sold in a disassembled state. It is, in fact, not at all difficult to remove or attach the figures of both "Chinaman" and "Clown" from their cradles by gently prying apart the sides of the brackets. I am not aware of any reproduced examples of "Chinaman Somersault Bank". Nevertheless, due to its fragile and delicate construction, this does not preclude the possibility of broken, replaced or reproduced parts. Such instances prompt a revaluation of its monetary worth.
     "Chinaman Somersault Bank" is extremely rare. Only one is known to exist with the possibility of perhaps a second example. Fortunate is/are the individual(s) in possession of this bank. It is, indeed a most attractive and historically important addition to a mechanical bank collection.

If you collect Antique Mechanical Banks this
CD could save you Thousands of Dollars
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2008

     Now you will be able to tell the difference between an original antique mechanical bank and a reproduction.
     IF YOU COLLECT mechanical banks and own a computer, this CD is an invaluable tool in your pursuit of knowledge.
     It encompasses approximately twenty-three years of 280 concise mechanical bank articles from "Antique Toy World" Magazine. Each article offers, in detail, information pertaining to history and vital statistics. Each article is fully illustrated, many in full color. Never in the history of mechanical bank collecting has there been such a wealth of information at your fingertips.
     As a bonus, each CD also contains one thousand additional pages of antique mechanical bank reference material. If this CD prevents you from making just one disappointing, or perhaps costly mistake, it will more than pay for itself.
     To order: Send a check or money order in the amount of $60.00, made payable to ADNIL ANTIQUES and mail to: Sy Schreckinger, Post Office Box 104, East Rockaway, New York 11518-0104.
     Allow 6-8 weeks for delivery. NO ORDERS SHIPPED OUTSIDE THE U.S.A.

Woman’s Suffrage Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2008

     The courageous battle for the right of leadership of Emmeline Pankhurst (Figure 1). Her organization became known as "the women to vote was fought almost simultaneously on two continents. Great determination and unyielding perseverance were displayed both in the United States and in Great Britain.
     The women's suffrage movement began in England, circa 1851, when a resolution was presented in the House of Lords. Although the bill stagnated for decades, British suffragettes continued their valiant efforts despite unbearable humiliation. It was not until 1903 that an extreme militant suffrage movement emerged under the Women's Social and Political Union". The movement was kept alive by incorporating political and social disobedience including hunger strikes and rioting. The outbreak of World War I, however, redirected the role of these courageous suffragettes. All militant activities ceased, and the organization became involved in aiding the national war effort. In 1928 the British government rewarded their patriotism and selfless devotion to the Queen by granting English women equal voting rights.
     The United States saw its battle begin in 1869 with the formation of "The National Women's Suffrage Association". Led by Susan B. Anthony (Figure 2) and Elizabeth Cody Stanton (Figure 3), their movement demanded an amendment to the U.S. Constitution "granting women the same rights to vote as men". The struggle was, as their British counterparts, a long and arduous one. It was not until 1920 that the Nineteenth Amendment to the Constitution mandated nationwide suffrage to women.
     During that period in history a plethora of items was produced both in this country and abroad. These goods either ridiculed or glamorized the Suffragette and her plight. Amongst the items were flags, banners, song sheets, articles of clothing, posters, pin back buttons and effigies (Figures 4, 5, 6). In addition, several iron, tin and wooden toys depicting these valiant females were displayed on shelves of shops worldwide.
     Oddly, despite the notoriety of the suffragettes, only one mechanical bank was manufactured reflecting the suffrage movement. Appropriately entitled "Woman's Suffrage Bank", it is seen in Figure 7. Unfortunately, this mechanical bank is totally devoid of any identifying verbiage or markings that would disclose either its manufacturer, its country of origin, or the date of its production. Furthermore, neither catalog nor patent information has surfaced to indicate the heritage of "Woman's Suffrage Bank". However, the lone clue that may possibly reveal its date of manufacture are the words "XMAS 1913" imprinted upon the bank's facade. It may further be assumed that "Woman's Suffrage Bank" is of German manufacture. Such speculation is based upon the fact that, during the late 19th and early 20th centuries, Germany was the foremost producer of low cost, artfully decorated novelty items. Souvenir shops throughout the world displayed cardboard and paper mache candy containers, Easter decorations, and Christmas ornaments, including the popular "Belsnickel", Father Christmas effigy.
     The "Woman's Suffrage Bank" bears uncanny similarities, in all respects, to the aforementioned cardboard and paper mache novelty items. In addition, the mechanical displays the words "Post here Penny only", the British wordage for deposition of a low denomination English coin. For these reasons it is a prevailing belief among mechanical bank historians and collectors that this bank was manufactured in Germany for the British market.
     Operation of "Woman's Suffrage Bank" is initiated with the insertion of a large English penny into the slot exhibiting the words: "Post here Penny only". The top cover then pops opens, displaying the words "Militant Souvenir" and a brightly painted Jack in the Box paper mache figure of a woman, tongue protruding from her mouth, emerges. She springs up, holding a flag, which boldly states "Votes for Women". Deposits are reclaimed by removing the bottom section of the bank.
     "Woman's Suffrage Bank" is extremely rare with only two, possibly three, examples gracing the shelves of the fortunate collectors. Despite its modest appearance and non-metallic construction, it is a historically significant, attractive, and most desirable addition to a mechanical bank collection.
     "Woman's Suffrage Bank" has not been reproduced. The following dimensions are provided to aid the collector in determining size and scale: Height (closed): 7-1/4 inches, Height (open): 9-1/4 inches, Diameter: 3-1/4 inches.
     Acknowledgement: The superb example "Woman's Suffrage Bank", seen in Figure 7, is in the Kidd Toy Museum collection, Frank and Joyce Kidd proprietors.

Hall’s Liliput Bank — Part 2
(Types I, II, III)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2008

     “Hall’s Liliput”, the mechanical bank selected to be subject of this article, is one that is often perceived as insignificant and lackluster. At first glance, it may compare unfavorably to its "flashier" and more animated brethren. Closer inspection, however, reveals a mechanical possessing elegance and dignity contained within its simple design.
     The delicately cast, vividly chromatic gem pictured in Figure 1 pays tribute to the genius of its inventor, John Hall. He is considered to be the most important inventor of mechanical banks during the nineteenth century. It was Hall who fathered the very first cast iron mechanical bank ever produced, namely "Hall's Excelsior Bank" (refer to Antique Toy World, February 1984).
     Interestingly, "Hall's Liliput" is the only mechanical to have been manufactured differently a total of three times. Each production resulted in examples that exhibited improvements upon its predecessor's frailties. The metamorphosis is pictured in Figures 1, 2, and 3 and referred to as Types I, II, and III. Thus, the reason for this update is to illustrate the unique changes "Hall's Liliput" underwent during its various stages of improvement.
     On May 4, 1875 John Hall of Watertown, Massachusetts was granted Patent Number 162,747 HALL'S LILIPUT", THE MECHANICAL bank selected to be subject of this article, is one that is (Figure 4) for his "Liliput Bank". The J. and E. Stevens Company of Cromwell, Connecticut subsequently manufactured Hall's creation. However, as evidenced by the final production bank, Figure 1, the Stevens Company did not adhere to these patent drawings.
     On July 27, 1875 "Design" Patent Number 8,498 (Figure 5) was issued to John Hall. This patent is of considerable interest since it incorporated an actual photograph of the "Liliput Bank" rather than the customary drawing, implying the bank's design was patented after it was manufactured. The words "PATENTED MAY 1875", "JAN 1876" "PAT DESIGN, JULY 27, 1875" cast into the sides and back of the bank facilitated location of the patent papers.
     A unique feature indicative of all mechanical banks designed by John Hall was the usage of a coin's weight to initiate action. Yet, on April 24, 1877, Hall was granted a patent for an "improvement" on his "Liliput Bank" (Figure 6). It utilized a lever which, when pressed, resulted in the commencement of action with or without usage of a coin. To the best of my knowledge this lever design was never incorporated into any manufactured "Liliput Bank". (If there is any reader who does have knowledge of such a 'lever activated' "Hall's Liliput Bank", such information would be greatly appreciated.)
     Figure 1 represents the earliest of "Liliput" banks (Type 1). It not only displayed a much narrower facade then its successors but also demonstrated a conspicuous manufacturing defect resulting in the redesigned and improved mechanical seen in Figure 2 (Type II). The defect refers to the manner in which the sides of the banks were secured into place. "Liliput Bank" (Figure 1) utilized two force-fit iron tabs at the top and bottom of each of its sides. These tabs snapped into small slots, which secured both the roof and base to the bank. In executing this procedure, factory workers encountered considerable breakage since the material used in construction of the bank, i.e. cast iron, is not known for its flexibility and resilience to stress.
     "Hall's Liliput" (Type 2), seen in Figure 2, was redesigned by J. and E. Stevens to utilize rivets in place of the force-fit tabs in order to secure the sides of the bank to its roof and base. These riveted banks resulted in a much neater and more efficient attachment with absolutely no breakage. Unfortunately, resolution of the "tab" problem did not resolve all of the dilemmas for "Hall's Liliput". During deposition of coins, the cashier, whose arms function as the coin carrier, experienced the problem of the monies dislodging prior to entering the provided slot. This  quandary prompted J. and E. Stevens to incorporate yet another improvement to the "Liliput". In this model, Type III (Figure 3), a small, round tin tray was added to the cashier's hands. This allowed the coin to rest securely in place and provide for a consistent and reliable deposit.
     The uncomplex action of "Hall's Liliput" is described in a J. and E. Stevens Company sales catalog (Figure 7), circa 1883: "Pretty, tasteful, and simple in construction. Cannot get out of order. The coin laid upon the plate is carried by the cashier and placed in the Bank. The figure then returns to its place, ready for another deposit". Coins are removed from the bank by way of a small, round version Stevens' type coin retainer underneath its base.
     Types I and II of "Hall's Liliput Bank" are extremely rare. Less than a handful of each is known to exist on the shelves of fortunate collectors. Conversely, "Hall's Liliput", Type III, is considered quite common. Nonetheless, finding one in near mint condition could prove a challenge to even a most perseverant collector.
     Acknowledgement: The superb example of the "Hall's Liliput Bank", Type 1, (Figure 1) is in the collection of Bob Weiss.

Farmer Feeding Cow Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2008

     Charming and simplistic are the images of farm life. Children have delighted in songs, stories and playthings reflecting its various aspects.
     The appeal and popularity of manufactured items representing farm-related subjects were well recognized. During the late nineteenth and early twentieth centuries, several mechanical banks were produced, both here and abroad, that depicted scenarios relating to farm life. Some examples displayed mischievous behavior and were of a humorous nature. These included the chicken-thieving "Uncle Remus Bank", the two youths caught in the act as seen in "Boys Stealing Watermelons Bank", and the frustrated lad thrust off of his stool in "Milking Cow Bank". Others represented animals simplistically. These included the "Rooster Bank", "Mule Entering Barn Bank", "Hen and Chick Bank", and the subject of this article, "Farmer Feeding Cow Bank" (Figure 1).
     "Farmer Feeding Cow Bank" pictures a farmer offering his docile bovine a handful of grass, which is accepted and acknowledged by a nod of its head. This mechanical bank is but one of a series of extremely rare and desirable mechanicals believed to have been produced sometime during the years 1890 through 1910. Its manufacturer is thought to be the Gebruder Bing Tin Works of Nurnberg, Germany. Bing was renowned for its line of tinplate kitchen utensils, toys and model steam engines.
     Although "Farmer Feeding Cow" bears no wordage that would identify its manufacturer or country of origin, discovery of the Bing catalog (Figure 2) may possibly have revealed significant information. Despite the fact the "Farmer Feeding Cow" was not pictured, it is believed to have been one of the company's series of mechanicals due to its visual, structural and mechanical similarities to other mechanical banks represented in the aforementioned catalog.
     The description and pricing of the Bing series of banks, as indicated in Figure 2 are as follows: "Banks-Made of tin, nicely decorated. With lock and moving figures. Supplied in 24 assorted subjects, price per piece: Mark - .57."
     "Farmer Feeding Cow" was constructed almost entirely of painted tinplate. The exceptions are the articulated figures of both the cow and the farmer. These are composed of cast, hand painted, zinc-lead alloy.
     "Farmer Feeding Cow" operates by first inserting a coin through a slot in the roof of the bank. The cow then nods its head (figure 3) as if accepting the farmer's herbaceous offering. Deposits are removed by opening the key lock, trap door coin retainer located underneath the base of the bank. The entire group of Bing articulated mechanicals is extremely rare. Its scarcity may be attributed to flimsy tinplate construction, delicately painted and/or paper-clad surfaces, as well as possible mishandling by previous youthful owners. I am not aware of the existence of any reproduced mechanicals in the Bing series. However, due to the aforementioned frailties, there is the possibility of repaired and/or replaced parts. In such an instance, limited professional conservation may be considered acceptable without significantly devaluating the bank's monetary worth.
     Although diminutive in size, i.e. Height: 3-1/2 inches; Width: 3-5/8 inches; Depth: 2-3/4 inches, "Farmer Feeding Cow" is an attractive and highly desirable addition to a mechanical bank collection.
     Note: In addition to our featured subject (figure 1), only one other manufactured mechanical bears the likeness of a cow, namely "Milking Cow Bank" (seen in Figure 4). It was manufactured by the J. and E. Stevens Company of Cromwell, Connecticut, circa 1880 (refer to Antique Toy World, August 1987).
     Acknowledgement: The fine example "Farmer Feeding Cow Bank" (Figure 1) is in the Kidd Toy Museum Collection, Frank and Joyce Kidd Proprietors.

Aeroplane Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2008

     Weaponry and combat have long been utilized as subject matter for toys and numerous other commodities. During the nineteenth and early twentieth centuries, a plethora of war-related mechanical banks were produced by European and American manufacturers. These "toys" functioned not only to fascinate and stimulate the imagination of young children, but also to encourage the practice of saving their pennies.
     Notable examples of such mechanicals include: "Tommy Bank", "Hold the Fort", "Artillery Bank", "King Aqua", "U.S. and Spain", "Creedmoor Bank", "Wimbledon", "Saluting Sailor", "Tank and Cannon", and the subject of this article, "Aeroplane Bank" (Figure 1).
     Interestingly, of all the war-related antique mechanical banks ever produced "Aeroplane Bank" alone portrayed the image of an aircraft. The subject was a strikingly similar representation of a newly developed British fighter plane entitled the Supermarine "Spitfire" (Figures 2 and 3).
     The year was 1940; German aircraft were conducting bombing raids over England. The Royal Airforce was not only greatly outnumbered by the Luftwaffe, its fighter planes were easily outmaneuvered as well. Great Britain then commissioned the Supermarine subsidiary of Vickers-Armstrongs Aircraft Company to design and produce a high speed, highly maneuverable pursuit plane in response to Germany's air superiority. By the beginning of World War II, England had 306 Spitfires in deployment. These served Great Britain well, matching and surpassing all that Germany had to offer.
     Interestingly, the creation of "Aeroplane Bank" had its beginnings at an earlier date. On July 31, 1919 Robert Eastwood Starkie and his wife and associate, Nellie Starkie, of Burnley, England, were granted Patent Number 130,225 for their design and invention of "Aeroplane Bank" (Figure 4). The patent drawings illustrated an early monoplane, similar to those flown during the First World War. A mechanical bank utilizing this design was never manufactured. However, prior to World War II, it appears the Starkies revised their original design to reflect a more contemporary aircraft. Apparently influenced by the modernistic lines of the Submarine "Spitfire", their redesigned mechanical incorporated much of its sleek characteristics, as seen in Figure 2.
     It is unclear whether the Starkies manufactured any, or all, of their mechanical banks, or if they had subcontracted production to local foundries. Additional banks in their line included "The Robot", several versions of "Jolly Nigger" bust-type banks, and "Tank and Cannon".
     Most of the Starkie mechanicals were manufactured of cast aluminum, with the occasional use of cast iron, tin and pressed wood-pulp board. The "Aeroplane Bank", itself, is composed of cast aluminum, with a sheet steel, twist shaped, descending pole. The flat base plate may be constructed of either aluminum or pressed wood-pulp board.
     Action of "Aeroplane Bank" is a simple representation of an airplane engaged in a high-speed dive. Using the supplied handle (refer to Figure 1) the aeroplane is initially lifted to the top of the spiral pole and locked into place. The small lever protruding from the bottom of the plane is pushed forward. A coin is then placed into the designated slot located atop the aircraft. The weight of the coin activates the plane to descend the pole in a spiral pattern. When the aeroplane reaches the mountain peak, it automatically deposits the coin into the base. Monies are retrieved by removing two screws that secure the base plate to the bank.
     "Aeroplane Bank" is a scarce, imaginative coin-activated savings device. It is also an extremely attractive addition to a mechanical bank collection. I am not aware of the existence of reproductions. Figure 5 is a base diagram of an original example, provided solely to aid the collector in determining size and scale.

Sentry Bank, Tin
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2008

     Vallant and proud are the guardians of the palaces occupied by the British Royal families. Such members of the Household Troop, or Queen's Troop, (seen in Figure 1) have stood watch since 1660. Queen Victoria's move from St. James Palace to Buckingham Palace in 1837 resulted in the Queen's Guard remaining at her previous residence. However, each day, and since that date, sees a detachment of Sentries marching from St. James Palace to replace those guarding the Queen at Buckingham Palace (Figure 2). This ceremonious event has become known as "Changing of the Guard". The aforementioned regal ritual has, over the years, been embraced and cherished by the British people. Our subject, this article; Tin "Sentry Bank" (Figure 3) is a depiction of one such Guardsman, seen positioned in front of a guardhouse. The representation appears to compare quite accurately to the photograph of an actual Royal Sentry standing at attention at Buckingham Palace (Figure 1).
     Ever cognizant of interesting and timely subjects for their wares were European and American mechanical bank manufacturers of the late 19th and early 20th centuries. The image of a member of the British Royal Guard featured on a mechanical bank promised to have enormous appeal to the patriotic Englishman. One such company was Saalheimer and Strauss of Nurnberg, Germany. A foremost manufacturer of tin penny banks, this company's design and artistry as demonstrated by its colorful lithographed metallic creations was, and is, unrivaled to this day.
     Saalheimer and Strauss was the creator of the tin "Sentry Bank" (seen in Figure 3). The company's identity is known owing to the fortunate discovery of a Saalheimer and Strauss wholesale toy catalog (Figures 4 and 5), circa 1929. The lone identifying wordage imprinted upon the mechanical's surface is "D.R.G.M." These letters refer to the German words "Deutsches Reichs Gebrachs Muster", loosely translated to "unimportant German patent or registered design", the designation referring to German patents issued during the years 1900-1935.
     Interestingly, the cover page of the catalog, Figure 4, pictures the "Sentry Bank" housing a typically-attired British Royal Guard. However, this contrasts with the illustration of the "Sentry Bank" on the catalog page (Figure 5) wherein is pictured a helmeted, German soldier. Since no example of "Sentry Bank" incorporating such German military figure has surfaced, the puzzlement continues to this day.
     The illustration seen in Figure 5 is accompanied by the following description and pricing information: "No. 200. Per Gross: 78 Reich Marks - packed 1/2 Doz. Per carton. Sentry holding rifle with moving eyes".
     Action of "Sentry Bank" is uncomplicated and apropos to the subject. Initially, the top knob is depressed. This causes the Sentry to shift his rifle to the center of the bank. Simultaneously, his left arm moves to the right (left hand covering the right hand). His eyes focus towards the right as the interior coin baffle behind the coin slot in his hat opens. This allows the coin to be inserted through the slot, wherein it simply falls into the bank. Following the release of the top knob, all segments of the mechanical return to its original position, as seen in Figure 3. Deposits are recovered by opening the key-lock, trap door, coin retainer located underneath the base of the bank.
     "Sentry Bank" is composed entirely of artfully lithographed tin plate. It is, as are most mechanicals produced by Saalheimer and Strauss, quite scarce. This may be attributed to their extremely delicate and fragile construction.
     To my knowledge, there are no reproductions of any of the Saalheimer and Strauss series, including "Sentry Bank". However, this does not eliminate the possibility of reproduced and/or replaced parts. Needless to say, in such an instance the value of the bank should be adjusted accordingly.
     Despite its diminutive size (Height: 7-1/2 inches; Width: 2-7/8 inches; Depth: 1-7/8 inches), it is colorful and attractive in appearance and a most desirable addition to a mechanical bank collection.
     Acknowledgment: The fine example tin "Sentry Bank", seen in Figure 3, is in the collection of Bob Weiss.

Elephant Swings Trunk
(Large Variation)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2009

     The mid-nineteenth to early twentieth centuries proved a time of discovery and adventure for the American populous. Travelers from foreign lands introduced a wealth of unique and exciting ideas.
     Also brought to these shores were strange and exotic animals. Several of these creatures were feverishly sought after by proprietors of carnivals and circuses. Their motivation was to feature novel, never-before-seen, additions to their menageries. Of these, the elephant may, perhaps, have been one of the most fascinating and endearing to both children and adults alike. Its huge and mighty appearance belied its innate gentleness.
     Renowned American circus mogul, P.T. Barnum, recognized the ability of the elephant to perform and attract major audiences. His exhibitions of one such beast was promoted as "Jumbo, the World's Largest Elephant". This spectacle drew massive audiences and achieved worldwide acclaim. Jumbo's likeness adorned such items as posters, packaged foods, clothing, tools and toys.
     Mechanical bank manufacturers also did not hesitate to capitalize on such a popular and newsworthy subject. Images of the colossal pachyderm were soon incorporated into their line of wares.
     On June 27, 1905, designer Adam C. Williams of Ravenna, Ohio, was granted Patent number 37,474 (Figure 1) for his handsome representation of the circus elephant. His manufacturing company, i.e. the A.C. Williams Company of Ravenna, Ohio, subsequently produced the "Elephant Toy Bank", and, in two sizes: large (as seen in Figure 2) and small (seen in Figure 3). This size differentiation is indicated in one of the company's wholesale toy catalogs, circa 1906 (Figure 4): "No. 3548 Seven inches long, four and seven-eighths inches high, weight 2 lbs., finished in drab; gold and silver trimmings; per gross...$50.00. No. 3648 Five and one-eighth inches long. Three and five-eighth inches high, weight 19 oz.; finished same as 3548; per gross $25.00.".
     Other than their size both the large and small "Elephant Toy Bank" are identical in appearance. There are no casting variations of either version; the color, however, may vary with "drab" gray seen most often.
     Interestingly, because of the many different types of elephant mechanical banks, collectors identify these banks as "Elephant Large — Swings Trunk" and "Elephant Small — Swings Trunk".
     Action of "Elephant Toy Bank" (both large and small) is subtle, simple and appropriate to the subject. To quote once again from the A.C. Williams catalog: "The trunk of the elephant moves when the coin is inserted, and the trunk automatically closes the slot as soon as coin is deposited. Coin can be removed only by taking the bank apart."
     Both sizes of "Elephant Toy Bank" are considered relatively common. This factor, in addition to its lack-luster appearance, account for its status as an inexpensive mechanical bank. Nonetheless, locating an all-original, undamaged, complete example in "near-mint" condition could prove a challenge and a welcome addition to even the most advanced collector.
     Reproductions of both large and small elephant banks are known to exist. Figure 5 (Elephant Large) and Figure 6 (Elephant Small) are base diagrams of original examples. These are provided to aid the collector in determining authenticity. A recast of either bank will appear approximately one-eighth inch smaller O.D. than indicated.

Time Lock Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2009

     How often have we heard expressions such as "save for a rainy day" and "a penny saved is a penny earned"? Who is not familiar with Benjamin Franklin's wise advice, reportedly spoken to a young entrepreneur in 1795, that "time is money"? Other maxims, fables, as well as various objects, including children's playthings, were created to encourage savings and thrift.
     During the latter portion of the nineteenth century the first patented mechanical penny bank was introduced to the market place. Its primary purpose was to inspire children, via their playthings, to be thrifty and save their pennies. Booming sales resulted in a new and profitable business venture. The period spanning 1869 through 1935 saw the birth of more than five hundred mechanical banks portraying various subjects. Categories ranged from architecture to sports, politics, animals, circus performers, etc.
     Several of these mechanicals reflected Ben Franklin's aforementioned adage "time is money". Such notables include: "Chandler's Bank" with clock; "Time Is Money Bank" portraying Father Time; "Toboggan Bank" with clock; and the subject of this article, "Time Lock Savings Bank" (Figure 1).
     "Chandler's Bank" and "Toboggan Bank" both utilize an actual working timepiece, albeit solely as a decorative feature, while "Time is Money", as previously stated, features an image of "Father Time". However, the clock incorporated into the construction of "Time Lock Savings Bank", is a fully functional component of the bank's mechanism and is utilized to activate its time lock savings program.
     The invention of "Time Lock Savings Bank" is attributed to Le Roy W. Baldwin of New York City. On June 21, 1892 Baldwin was granted Patent Number 477,321 (Figure 2).
     I am also in possession of a similar patent pertaining to a time lock savings bank that utilizes a similar clockwork mechanism. This document was issued to a Mr. George S. Iredell on January 31, 1888. Iredell was granted Patent Number 377,259 (Figure 3) for his design.
     Interestingly, a third party may have been instrumental in the development of "Time Lock Savings Bank". Mentioned within the text portion of Mr. Baldwin's Patent (Figure 2), the author gives credit to a Mr. G. Spiegel. It appears Mr. Spiegel filed for a similar "time lock bank" patent on June 16, 1891, for which he was granted Patent Number 396,420.
     "Time Lock Savings Bank" was ultimately produced by the Louis Manufacturing Company. A small, obscure firm located in New York City, the company supposedly produced only this mechanical bank.
     Activation of "Time Lock Savings Bank" is fairly simple. Figure 4 represents a rear section of the bank, wherein is seen a small window and the winding stem of the clockwork. Above this opening are the words "BANK OPENS IN ... DAYS". Initially, the clock is fully wound, using the appropriate clock key. The determined number of days (from one to thirty-one) is then set, via a small internal dial inside the bank. This number will appear in the aforementioned window (Figure 4). Coins can be inserted during the allocated number of days. When that day is reached, a door in the side of the bank (Figure 5) automatically opens, allowing for recovery of all deposited coins. The clock operates approximately thirty hours per winding and, consequently, must be wound each day in order for the mechanism to perform accurately.
     "Time Lock Savings Bank" is constructed almost entirely of nickel plated, cast iron. The exceptions are its clock face and internal clock works mechanism. These components were created from brass.
     "Time Lock Savings Bank" is extremely rare, with little more than a handful of complete, working examples in the possession of a few fortunate collectors.
     I am currently not aware of the existence of reproductions of this mechanical bank. The following dimensions are provided solely to inform the collector of size and scale: Height: 4-5/8 inches, Width: 4-1/8 inches, Depth: 5-3/8 inches.
     Acknowledgement: The fine, complete, working example "Time Lock Savings Bank" (Figure 1) resides in the collection of Bob Weiss.

Target in the Vestible Bank
A Collectible Fake
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – March, 2009

     Authentic in appearance and bogus by design are those antique mechanical banks categorized as "collectible fakes". Quite an interesting and distinctive category for mechanicals created by a few individuals, their prime purpose to intentionally deceive!
     These "fakes", produced approximately seventy years ago, were never commercially manufactured. Unsuspecting collectors were led to believe they were acquiring a rare and unique item. Most of these dubious creations were originally housed in renowned, pioneer mechanical bank collections. During those early years, i.e. 1920's through the 1940's, methods of detection for authenticity such as black light, lead paint tests, etc. were non-existent, allowing them to be misrepresented as originals.
     Ironically, because of their quality of construction, historical value, mystique and provenance, many of these mechanical banks are avidly sought after by several of today's collectors. Examples of notable "fakes" include the subject of this article, "Target in the Vestibule Bank", seen in Figure 1, as well as the following: "Carnival Bank", "Ferris Wheel Bank", "Feed the Kitty", "Trick Donkey", "Surly Bruin", "Bull Tosses Boy In Well", "Cat and Mouse, Mouse Standing", "Hanibal Bank", "Tricky Pig", etc.
     The choice to feature "Target In the Vestibule" was based upon its creator's ingenious concept of using elements and/or patterns from two known, commercially produced antique penny banks. One of the components was pirated from a mechanical bank while the other sections were derived from a still bank.
     Figure 2 represents the "Metropolitan Bank", a still bank in the style of a floor safe. It was manufactured by the J. and E. Stevens Company of Cromwell, Connecticut, circa 1880. The top, bottom, back and side sections of this bank were utilized to construct the main body of "Target in Vestibule", while a pattern for a new facade, that of a concave vestibule, was fabricated and cast. Figure 3 represents the top portion of the cupola of "Bowing Man In Cupola Bank", a mechanical also manufactured by the J. and E. Stevens Company (circa 1880). It seems likely the anonymous individual that created "Target in Vestibule" may have had access to the original patterns of the figure of the "bowing man". This figure may have been utilized in the assemblage of our featured mechanical by combining it with original parts of "Metropolitan Bank".
     Action of "Target in Vestibule" is interesting and appropriate to its cognomen. Initially, the man's arms and tray are lowered and snapped into position. A coin is then placed upon the tray. A spring lever located underneath the front of the bank is pressed, thereby releasing the arms and tray. This causes the coin to be flipped up and over the man's head, through the square "target" window and into the bank. Deposited monies are recovered by disassembling the mechanical.
     "Target in Vestibule" is an extremely rare and attractive item. If one can ignore the fact that it was not a commercially produced mechanical, but rather something to be admired and enjoyed simply as a historical oddity, it certainly does have a place within a complete and comprehensive mechanical bank collection. The following dimensions are included solely to aid the collector in determining size and scale of our featured mechanical: Height: 5-7/8 inches; Width: 4-1/8 inches; Depth: 4-1/2 inches.
     Acknowledgement: The fine example "Target in Vestibule Bank" (Figure 1) was photographed for this article while in the renowned collection of its former owners, Steve and Marilyn Steckbeck.

Railroad Drink Dispensing Bank
(Doll and Cie.)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2009

     A most unique and quite prolific category of mechanical banks is referred to as, simply, "Vending Banks". Members of the group operate by dispensing a confectionery item, such as a chocolate wafer, upon insertion of a coin.
     Included within this designation are several mechanicals in the likeness of utilitarian commodity dispensers. These were commonly seen at local train stations and post offices. Notable examples include: "Railroad Ticket Vending Bank" (manufactured by Doll and Cie.), "Postage Stamp Vending Bank" (Doll and Cie.), and "Railroad Drink Dispensing Bank" (Figure 1), subject of this article.
     Interestingly, this particular group of mechanicals was also marketed for use as model railroad accessories. The child or adult hobbyist would situate the dispensers within areas of their model train setups, adding interest and realism to the layout.
     Most of these mechanical banks/model railroad accessories were manufactured between 1880 and 1935, a period in time now acknowledged to be the most prolific era in the history of mechanical bank production. Germany and the United States dominated the world market. During these years almost all vending type banks were produced in Europe, and mostly in Germany. In addition, all were composed of either painted or lithographed tinplate. This contrasted with mechanical bank production within the United States, wherein hand painted cast iron was utilized as the major component.
     "Getranke-Automat", a.k.a. "Railroad Drink Dispensing Bank" (Figure 1) was created by Doll and Cie. Founded in 1898 by Peter Doll and J. Sondheim, the firm specialized in the production of toy steam engines, steam-propelled accessories and toy model train sets. The factory was located in Nurnberg, Germany, then the world center for manufacture of fine tinplate toys and household items.
     It is fortunate that the "Getranke-Automat" Mechanical Bank (Figure 1) displays the Doll and Cie. logo. As seen in Figure 2, it is affixed to the hinged rear door of the bank. Such accessible identification aids both the collector and historian to document the toy's heritage and approximate date of manufacture.
     Figure 3 represents a Doll and Company catalog advertisement featuring two railroad-vending banks. They are "Getranke-Automat" (Drink Dispenser), Figure 1, and "Briefmarken-Automat" (Postage Stamp Dispenser).
     Following is a partial excerpt from the aforementioned Doll and Cie. sales catalog advertisement (Figure 3). It serves to describe the conversions from model railroad accessories to mechanical banks. Translated from the German language, it reads: "No. 867. Getranke-Automat: Drink Dispenser. D.R.G.M. (German Patent)...Place a coin in the slot, press the lever and liquid comes out of the spout, into the glass. The item has a lock and key — so it is not only a drink dispenser but a coin savings bank...".
     "No. 861 Briefmarken-Automat:...Postage Stamp Dispenser. D.R.G.M. (German Patent)... Place a coin in the slot, pull the knob and get one postage stamp...It is a postage stamp machine and a coin savings bank...".
     "Getranke-Automat" is appreciated by, and appeals to, the model train enthusiast as well as the mechanical bank collector. Its operation commences with the insertion of a coin into the provided slot. This is followed by lowering the red knob above the spout. A specific amount of liquid is then dispensed into the glass receptacle. (Refilling the fluid tank is accomplished by pouring a small amount of liquid through the space in the roof of the bank. The liquid then flows into the bank's internal storage container, as seen in Figure 4.) Coin deposits are recovered by opening the key lock, hinged rear door of the bank (Figure 4).
     "Getranke-Automat Bank" is extremely rare. Less than a handful are known to exist, and these in the collections of a few fortunate individuals. Despite its simplistic design and diminutive size, i.e. Height: 5-5/8 inches. Width: 2-7/16 inches, Depth: 2-1/8 inches, "Getranke-Automat" is a unique, highly desirable, and attractive addition to a mechanical bank collection.
     Acknowledgment: The near-mint example "Getranke-Automat Bank" (Figure 1) is in the collection of Bob Weiss.

Easter Bunny Cottage Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2009

     Recorded history of mechanical banks began with John Hall of Watertown, Massachusetts. His invention of the "Hall's Excelsior" was the earliest known patented (i.e. December 21,1869), commercially produced, cast iron mechanical bank. Mr. Hall did not suspect that his invention would spark the birth of a worldwide industry.
     While major foundries in the United States began designing and producing their creations exclusively from cast iron, European craftsmen proved more diverse in the materials they utilized. Mechanicals created from tinplate, zinc alloy, lithographed cardboard, and wood filled the shelves of toy and novelty shops throughout the continent. Europe's principal producers were located in Saxony, Germany.
     Interestingly, each of the materials employed in the production of the banks predetermined their degree of longevity. Tin plate was the sturdiest, and therefore many more examples of its composition appear to have survived the ravages of time.
     Conversely, those mechanicals produced of lithographed cardboard, when subjected to similar unfavorable conditions, were generally severely damaged or destroyed. It is only upon rare occasions today that fully intact examples composed of such material are discovered. One of these lithographed cardboard mechanicals, namely "Easter Bunny Cottage Bank" (Figure 1), is the subject of this article.
     "Easter Bunny Cottage" is one of a series of five known mechanicals of similar material and manufacture. Each utilizes a carved or turned wood, movable figure adjoining a colorfully lithographed cardboard edifice. Other members of the group include: "Santa Claus Cottage", "Woman Cottage Bank", "Woman With Dog Cottage Bank" and "Woman With Olive Oil Cottage Bank".
     "Easter Bunny Cottage", as well as its brethren, was produced in Saxony, Germany, during the late nineteenth and early twentieth centuries. Its lineage was gleaned from the letters "D.R.G.M 989429" printed upon the rear section of the bank. Such wordage is indicative of items patented in Germany during the latter part of the nineteenth and early twentieth centuries. The letters "D.R.G.M." refer to a "German Patent of Non-Essential Items", such as toys. Unfortunately, such patent papers containing significant and valuable historical data were routinely destroyed after fifteen years.
     The discovery, however, of an advertisement within an issue (circa 1928) of the German newspaper "Der Globus" (Figure 2) was quite informative. The ad indicated that Robert Kaden was the manufacturer of "Easter Bunny Cottage".
     The advertisement, as translated from German into English, reads: "The most amusing savings house bank for Pentecost (Easter). D.R.G.M. 989429, with moveable Easter rabbit and nest with eggs inside. Offered at a cheap price for the dealer, with a ready market and opportunity to make a good profit. Sample for .90 Mark each postpaid. Exclusive manufacturer Robert Kaden, Niedernenschonberg, Post Office Olbernhau. (Saxony)".
     Of interest and worthy of mention is the circumstance that possibly led to the creation of the "Cottage" series of mechanicals. During this time, a cottage-home-based industry was flourishing in the Erzgebirge mountain region of Germany. Here entire families were engaged in the carving, turning and hand painting of small, whimsical wooden figures. These were ultimately supplied to local toy manufacturers and distributors. Because of their simplicity of construction, costs for figurines were extremely reasonable, enabling distributors and/or manufacturers to incorporate them into their own inexpensive holiday goods (e.g. Christmas, Easter, etc.) and seasonal novelty items. "Easter Bunny Cottage", seen in Figure 1, is an example of one such composite. Represented is an Erzgebirge-carved wooden rabbit figure, together with a lithographed, cardboard building manufactured by Robert Kaden.
     Operation of "Easter Bunny Cottage" is simplistic and amusing. A coin is placed in the Bunny's tin tray. This added weight causes the figure to rotate towards the right, resulting in deposition of the coin through the provided slot in the front of the cottage. Monies are recovered by opening a tin, key lock, trap door type coin retainer in the rear of the bank.
     "Easter Bunny Cottage" is considered quite rare. A mere three examples are known to exist. Despite its simple, modest construction and miniscule size (Height: 4 inches; Width: 3-3/8 inches; Depth: 2-5/16 inches), "Easter Bunny Cottage" is an extremely attractive and welcome addition to a mechanical bank collection.
     Acknowledgment: Copies of the Robert Kaden advertisement (Figure 2) and translation of such materials were generously provided by fellow collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

The Cat and Mouse Bank — Part 2
Fierce, Standing Cat Variation
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2009

     “The game of cat and mouse” — indeed a well-worn expression — exemplifies the fear and aggressiveness of two of nature's creatures. Multitudes of anecdotes and fables have been written depicting their oppositional relationship.
     In most instances, however, when directed towards entertaining children, such scenarios are presented in a light and humorous manner. An example is an animated cartoon in which the antics of its characters, "Tom and Jerry", have delighted and amused youngsters. Children squeal with anticipation when the cat named Tom, portrayed as a buffoon, pursues the wily mouse known as Jerry. Despite a multitude of precarious situations, Jerry emerges unscathed while Tom is not only unsuccessful, but also totally humiliated.
     The "Cat and Mouse Bank" (Figure 1) may very well be considered the Tom and Jerry of the nineteenth century. Certainly, this similarity can only be attributed to its frolicsome and humorous aspects with no serious threats intended. However, in marked contrast to this version is the fact that, during the final stages of pattern creation at the J. and E. Stevens Company, the bank's manufacturer, a very different version of this mechanical was proposed, one that was grisly and frightening. Evidence revealing the aforementioned was uncovered several years ago, circa 1950, during the dismantling of the defunct J. and E. Stevens Foundry.
     At that time several brass parts for the "Cat and Mouse Bank" were discovered. These particular castings presented an image of a fearsome-appearing cat grasping a captured mouse within its jaws (Figure 2). Understandably, it was decided that this gruesome situation was not suitable for youngsters and should not be utilized in the final production stages of "Cat and Mouse Bank". Instead, the mechanical portrayed a cat dressed as a clown standing on its front paws, holding a mouse and ball between its hind paws (Figure 1). Not surprisingly those castings of the aforementioned "fierce cat" version (Figure 2) fit and operate perfectly within the bases of the actual final production cast iron "Cat and Mouse Bank" seen in Figure 1.
     The "Cat and Mouse Bank" was designed by James H. Bowen of Philadelphia, Pennsylvania. He was issued Patent Number 450,833 on April 21, 1891 (Figure 3). As evidenced by these drawings and the final production bank, J. and E. Stevens adhered closely to Bowen's original design. One may speculate that the fierce cat depiction was an interim idea presented for consideration prior to actual production.
     Upon close inspection of the patent drawings, two final modifications are revealed. One addresses itself to a footed base plate that is shown in the photo of the bank (Figure 1) but omitted from the patent illustration seen in Figure 3. The second modification is mechanical and pertains to the mouse and ball located between the balancing cat's hind legs. The patent drawings indicate that the mouse and ball are movable, so as to rotate upon activation of the bank. As the bank appears in Figure 1, that part was ultimately manufactured as a stationary component.
     Action of both "Cat and Mouse Banks" Figures 1 and 2, may aptly be described as amusing and quite surprising. It is explained in a Marshall Field and Company wholesale toy jobbers catalog advertisement, circa 1892 (Figure 4): "No. 324. Cat and Mouse Bank. Height, 11-1/2 inches; width, 5-1/2 inches; depth, 4 inches. Place a coin in front of the mouse over the cat, press the lever, and as the coin disappears into the bank, the kitten, in fancy dress, appears, turning a somersault, holding the mouse and ball. Handsomely ornamented in fancy colors ... price doz., $8.50". Deposits are recovered by removing the round Stevens-type coin retainer underneath its base.
     The "fierce cat" variation of "Cat and Mouse Bank" (Figure 2) is extremely rare. I am presently aware of merely a handful of examples, and these in the possession of fortunate collectors. Most are post-production marriages consisting of an original production, painted cast iron base combined with a non-factory painted, original brass "fierce cat" casting. One known example may possibly be an all-original, factory assembled, painted specimen, employed solely as an oddity, a display model at the J. and E. Stevens factory showroom. Nonetheless, all examples of the "fierce cat" variation "Cat and Mouse Bank" are extremely rare and most desirable, interesting additions to a mechanical bank collection.
     Reproductions of "Cat and Mouse Bank" (Figure 1) do exist. Figure 5 represents a base diagram of an original example. Reproductions will appear approximately one-quarter inch shorter along the base than indicated.

An Auction of Rare Artifacts
From the J. and E. Stevens Foundry
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2009

     A truly notable sale of mechanical bank-related effects took place recently in Shelton, Connecticut. On April 4, 2009, many rare and historically important artifacts from the former J. and E. Stevens Foundry were placed upon the auction block. The site of the sale was the Lloyd Ralston Gallery.
     To comprehend the significance of such treasures is to recognize the importance of the J. and E. Stevens Company. This foundry, located in Cromwell, Connecticut, had been a renowned and prolific manufacturer of cast iron mechanical banks. The company is also credited with producing the first patented, cast iron mechanical bank, circa 1869, namely "The Hall's Excelsior" (Figure 1). It was the invention of this mechanical that ushered in a remarkable era of cast iron toy manufacturing.
     Conversing with Glenn and Terry Ralston, proprietors of the Lloyd Ralston Gallery, revealed information pertinent to the original acquisition and inventory of items ultimately offered at their auction. The following is based upon their knowledge of documented provenance: The year was 1959. An employee responsible for the creation of molds at the J. and E. Stevens Foundry arrived at work to discover the company had closed its doors due to bankruptcy. This gentleman, as well as the foreman and one other employee, were offered the opportunity to clear the building of its inventory.
     As payment for this undertaking they were permitted to divide the contents amongst themselves. Stored undisturbed in a local basement for a period of approximately fifty years were such items as hand carved wood prototypes (Figure 2), lead and bronze patterns (Figure 3), a "Bad Accident Bank" leaf spring manufacturing tool (Figure 4), bronze casting trees (Figure 5), sand casting molds (Figure 6), packing boxes (Figure 7) and various company ephemera. Of particular importance was a daily ledger (Figure 8) which meticulously recorded the names of each foundry employee, the items they produced, assembled and/or painted, and their monetary compensation for each completed piece.
     To conclude, one cannot over-emphasize the importance of the items presented at this auction. It offered the collector and historian a first hand glimpse into the history and early manufacturing procedures at the J. and E. Stevens Foundry.
     Congratulations and thanks to Glenn and Terry Ralston, for acquiring and compiling information, and providing the public with the opportunity to purchase these valuable relics.

Uncle Tom Bank — Part 2
A Unique Casting and Color Variation
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2009

     The historic significance of the "Uncle Tom" mechanical bank has long been recognized. As did several other toys and banks that were produced following the Civil War, this mechanical reflected the racial intolerance and anti-black sentiment prevalent within the United States.
     The name "Uncle Tom" was derived from the featured character in a novel penned by Harriet Beecher Stowe. "Uncle Tom's Cabin", published
in 1852, is the well-known story revolving around a slave, i.e. Uncle Tom, who was able to forgive his cruel slave masters despite suffering horrendous acts of cruelty. Although the Civil War ended in 1860 and President Abraham Lincoln's Emancipation Proclamation freed the enslaved blacks, their degradation did not cease. A plethora of racist literature, music, objects and children's playthings continued to be produced.
     "Uncle Tom" Bank, seen in Figure 1, was manufactured by the Kyser and Rex Foundry in Frankford. Pennsylvania. Louis Kyser and Alfred C. Rex received Patent Number 252.607 (Figure 2) for their invention. An advertisement from the 1886 edition of a Montgomery Ward and Company catalog (Figure 3) offered the "Uncle Tom Iron Bank", as it was originally designated, at the price of forty-five cents apiece.
     Interestingly, the "Uncle Tom" Bank has the unique distinction of being produced utilizing four notably different castings. Figure 1 represents "Uncle Tom" clothed in a jacket with large lapels, a star adorning its shirt, large teeth protruding from its lower jaw, and non-movable eyes. The variation seen in Figure 4 has its subject sporting a jacket with large lapels, and a star decorates its shirt. However, in this instance, its eyes are movable and the mouth does not display teeth. Figure 5 is similar to the bank referred to in Figure 4. except that there is no star cast upon its shirt. Finally, "Uncle Tom" Bank, as seen in Figure 6, has no lapels on its jacket but does have a star present upon its shirt. There is also evidence of upper and lower teeth. With the exception of the "Uncle Tom" seen in Figure 1 all variants feature articulated eyes.
     In most instances, operation of "Uncle Tom" Bank is identical. Initially, a small lever located in back of the bank is depressed. This causes the tongue to protrude and Tom's eyes to roll upward. (The exception is the "Uncle Tom" seen in Figure 6, wherein there is downward movement of Tom's eyes.) A coin is then placed upon the extended tongue and the lever is released. The tongue recedes, drawing the money into the bank, thus completing the deposit. Coins are
retrieved via a square key lock coin retainer located underneath the base of the bank. These locking closures are marked "U.T." (refer to Figure 7).
     It is interesting that the mechanical pictured in Figure 1, the subject of this article, appears to most closely resemble the "Uncle Tom" described in the Harriet Beecher Stowe novel, that of an older, white haired gentleman. What remains elusive is why Kyser and Rex proceeded to manufacture several different casting versions of this mechanical. Historians and bank collectors alike continue to ponder the question.
     Unlike the other "Uncle Toni" variations, our featured mechanical (Figure 1) is unique and extremely rare. However, acquiring and assembling an example of each version in pristine condition should prove a challenge for even the most advanced collector.
     I am not aware of any reproductions of "Uncle Tom" Bank. Nonetheless, Figure 7 represents an actual base of an original example. If a recast was attempted it would appear approximately one-eighth inch smaller, O.D., than indicated.
     Acknowledgment: My gratitude to Frank and Joyce Kidd, proprietors of the Kidd Toy Museum, for providing photos of their unique variant "Uncle Tom" Bank (Figure 1). Additionally, Mr. Kidd related the following: The white haired "Uncle Tom" Bank with non-articulated eyes was the final mechanical purchased by pioneer mechanical bank collectors Covert and Gertrude. Hegery. Sadly, it arrived in the mail subsequent to Mr. Hegerty's passing.

LONDON TRAFFIC TOWER BANK
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – September, 2009

     A most unique and interesting subject for a mechanical bank is the "London Traffic Tower Bank" (Figure 1). Its creation was inspired by an actual structure built to alleviate traffic problems caused by the advent of the mass produced automobile.
     The year 1914 ushered in a new age in transportation history when Henry Ford commenced assembly-line production of his "Model T". Availability of these vehicles to an excited public, both in the United States and abroad, resulted in overwhelming sales.
Motorists were seen driving through city streets at then-alarming speeds. Police, poised with stopwatches, were posted at particularly hazardous thoroughfares with orders to stop anyone driving faster than 20 m.p.h. Berlin and London were examples of large cities crowded with rush hour traffic. The most dangerous areas were at the Potsdamer Platz in Berlin, Germany and Piccadilly Circus in London, England. It was not uncommon to see hundreds of cars jammed at major intersections. The city government of Berlin sought to resolve the problem by erecting the first traffic tower (Figure 2). It soon became a major public attraction.
     Seizing upon an idea to create a toy in the image of this popular structure was a gentleman by the name of Heinrick Dreesen. Mr. Dresser of Potsdame, Germany applied for and was granted a patent for his invention of the "Toy Traffic Tower". Shortly thereafter, Ernst Paul Lehmann, founder of the Lehmann Manufacturing Company, acquired the rights from Dresser for 200 marks and redesigned the patent (Figure 3) as it mechanical bank. His modification, entitled "Hemline Tower Bank" (Figure 4) was promptly placed into production.
     The Lehmann Company of Braderiburg, Prussia was one of the foremost late nineteenth-early twentieth century manufacturers of colorfully lithographed tin novelty items and wind-up, spring driven tinplate toys.
     During production of the "Berolina Tower Bank" Lehmann Company began manufacturing another traffic tower bank, this one replicating the structure erected at an intersection in London, England. This mechanical was, appropriately, christened "London Traffic Tower Bank" (Figure 1).
     The Lehmann "London Tower Batik" is almost entirely constructed of lithographed tinplate. The exception is its small flag that had been created from cloth. Its five-sided facade is attractively decorated with various views of London landmarks, namely Trafalgar Square, Big Ben, The Monument, Cleopatra's Needle, and Westminster Abbey. Wordage imprinted upon the bank's surface include: "PATENT LEMIANN TOY" and "D.R. PATENT 791 MADE IN GERMANY".
Action of the "Power Bank" commences after a coin is deposited through the provided slot in its roof. The police officer in the tower raises and lowers his flag. Coin retrieval is accomplished by removing the bank's key lock, pentagonal shaped base.
     I am not aware of the existence of reproduced examples of the "London Traffic Tower Bank". However, due to its delicate construction, there is the possibility of crudely restored and/or replaced parts. In such instances, limited professional conservation may be considered acceptable without significantly devaluing the bank.
     Although the "London Traffic Tower Bank" is small in size, i.e. Height: 6-1/4 inches, Width: 2-5/8 inches, its desirability is not diminished. In addition to its rarity and historic significance, it is an extremely attractive addition to a mechanical bank collection.
Acknowledgements: The superb example of "London Traffic Tower Bank", (Figure 1) is in the collection of Max Berry.
     My gratitude to Harold and Uli Merielein of Nurnberg, Germany for supplying copies of the original patent papers (Figure 3) for the Lehmann "Traffic Tower Bank".

VILLAGE BLACKSMITH BANK
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – October, 2009

     Imagine life as it was a century ago! Commonplace was individuals engaged in once necessary but now uncommon, or obsolete, occupations, such as chimney sweep, wainwright, and, of course, blacksmith. We can only imagine an audience of enthralled youngsters gazing upon the local village blacksmith as he hand forged his molten wares. Eloquently capturing this scenario is the poem scripted by Henry Wadsworth Longfellow, entitled "The Village Blacksmith" (paraphrased in Figure 1).
  
The Village Blacksmith
—Henry Wadsworth Longfellow
  
Under a spreading chestnut-tree
The village smithy stands;
The smith, a mighty man is he,
With large and sinewy hands;
And the muscles of his brawny arms
Are strong as iron bands.
  
And children coming home from school
Look in at the open door;
They love to see the flaming forge,
And hear the bellows roar,
And catch the burning sparks that fly
Like chaff from a threshing-floor.
   
     Timely occupational themes were amongst the categories utilized by nineteenth and twentieth century mechanical bank manufacturers, both in this country and abroad. One of these, and the subject of this article, is the "Village Blacksmith Bank" (Figure 2).
     The "Village Blacksmith Bank" is but one of a series of extremely rare and desirable mechanicals believed to have been produced sometime during the years 1900-1920 by the Gebruder Bing Tin Works of Nurnberg, Germany. Bing was also renowned for its line of tinplate kitchen utensils, toys, and model steam engines.
     Although the "Village Blacksmith Bank" bears no wordage to identify its manufacturer and country of origin, discovery of the Bing catalog (Figure 3) may possibly reveal significant information. Despite the fact that the "Village Blacksmith" was not pictured, it is assumed to have been one of the company's series of mechanicals. Visually, structurally, and mechanically, it is quite similar to other mechanical banks represented in the aforementioned catalog.
     Description and prices of the Bing series of the Bing series of banks (as indicated in Figure 3) are as follows: "Banks – Made of tin, nicely decorated. With lock and moving figures. Supplied in 24 assorted subjects. Price per piece: Mark - .57".
     The "Village Blacksmith Bank" is constructed almost entirely of painted tinplate. The exception is the articulated figure of the blacksmith and the anvil and pedestal. These are composed of finely cast, hand painted, zinc-lead alloy.
     Operation of the mechanical is initiated by inserting a coin through a slot in the back of the bank. The blacksmith then raises its right arm and hammer. Upon deposition of the coin the arm descends and the hammer strikes the anvil (Figure 4). Coins are removed by opening the key lock, trap door-type coin retainer located underneath the base of the bank.
     The "Blacksmith Bank" is extremely rare, with only two examples known to exist. The mechanical pictured in Figure 2 is presently on display at the Kidd Toy Museum, Frank and Joyce Kidd Proprietors. The photograph of the "Blacksmith Bank" seen in Figure 5 was provided to me by fellow collector Van Dexter, the now retired proprietor of the former Manhattan establishment "Second Childhood' Antique Toys". The owner of the mechanical pictured in the photograph supplied by Van Dexter remains anonymous.
     Of interest is the fact that each of the known examples "Blacksmith Bank" lacks an integral, but different component of the subject. Fortuitously, each missing part supplements the figure of the other bank, thereby allowing visualization of a totally original, complete example. (Note: the bank seen in Figure 2 is missing the anvil and pedestal, while Figure 5 reveals a blacksmith in want of a hammer.)
     I am not aware of the existence of reproduced examples of "Village Blacksmith". However, in view of its fragile and delicate nature there is the possibility of restored and/or replaced parts. If this has occurred, limited professional conservation may be considered acceptable without significantly affecting, the bank's monetary value.
     Although diminutive in size, i.e. Height: 4-5/8 inches. Width: 3-1/4 inches. Depth: 2-1/4 inches, the "Village Blacksmith Bank" is an extremely attractive and desirable addition to a collection of mechanical banks.
     In conclusion, and worthy of mention, is that many similar mechanicals featured in the Bing catalog (Figure 3) may also be seen illustrated in a Maienthau & Wolff catalog (Figure 6). This firm is believed to have been a leading tinplate toy and bank distributor, also located in Nurnberg, Germany. It may be assumed that the Gebruder Bing Tin Works could possibly have been one of their major suppliers.
     Acknowledgments: Copies of the Bing catalog pages (Figure 3) and the Maienthou & Wolff catalog page (Figure 6) were provided by collectors and historians, Harold and Uli Merklein of Nurnberg, Germany.

TIN MINSTREL BANK - TYPE II
(A Rare Variation)
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2009

    HISTORY BOOKS RECOUNT the suffering and humiliation resulting from racial and anti-black sentiment, both in this country and abroad. III-will and hostility laid the foundations for the introduction of prejudicial art, literature, music, as well as various manufactured items. Children's playthings proved non-exempt, as evidenced in the world encompassing mechanical penny banks.
     The majority of examples of such penny banks were manufactured in the United States and Germany. The "Jolly Nigger Bank" (Figure 1) was the most popular example and, by far, the most abundantly produced in this country. The Tin "Minstrel Bank" (Figure 2) was Germany's version of "Jolly Nigger". The total number produced surpassed all other tinplate mechanical banks manufactured in that country, and by more than ten fold!
     There are a few variations of Tin "Minstrel Bank" and these pertain solely to exterior design graphics. One of these, seen in Figure 3, is our subject for discussion and a puzzle to be unraveled. Because of its remarkable resemblance to the most common example (Figure 2), it was thought to have been a creation of Saalheimer and Strauss Tin Works. Located in Nurnberg, Germany, then the center of European tinplate toy production, this firm was a prestigious and important manufacturer of tin toys, novelty items and mechanical banks.
     Figure 4 represents a page from a Saalheimer and Strauss wholesale catalog, circa 1923, in which their "Minstrel Bank" was featured. Imprinted below the minstrel's face is an instructive verse. Activation of the mechanical (Figure 2) is achieved by following these instructions: "Press the lever lightly, Watch my tongue appear, Save a penny nightly, Make your fortune here". Initially, the lever located at the side of the bank is thrust downward and held in position. A coin is then placed upon the minstrel's protruding tongue, as indicated in Figure 5. When the lever is released, the tongue and money recede into the bank. Deposits are retrieved by unlocking the square key-lock coin retainer underneath the base.
     With one exception, all variants of "Minstrel Bank" appear identical and operate in a similar manner. The exception is that the most common example, seen in Figure 2, and the scarcest example (Figure 3) do not exhibit a verse beneath the minstrel's face.
     The assumption of manufacture by Saalheimer and Strauss prevailed until recently when a fully intact, flat tinplate, lithographed sheet was discovered. It contained several images similar to those decorating the facade of the "Minstrel Bank" seen in Figure 3. Flat sheets of lithographed tinplate such as these are utilized by the toy manufacturer to be inserted into a die cutting, bending and assembling machine in order to create a finished mechanical bank.
     Interestingly, the following wordage had been imprinted upon the aforementioned tinplate sheet: "M.N.2 E. Sanchez – 11 – 11 – 29 – 1.1.20 Ejemplases PLANTILLA Nrd 158-RICO – S.A." This loosely translates as: Template Example, Number 158, Design Patent, E. Sanchez, on November 11, 1929, Rico, South America. (Author's note: It is merely an assumption on my part that the initials "S.A" represent "South America".)
     Unfortunately, with only limited information, and until additional factual data is uncovered, one can only offer assumptions and possibilities as to who might have actually manufactured the bank seen in Figure 3. Conceivably, Mr. Sanchez supplied Saalheimer and Strauss with the design graphics of his bank. The company, in turn, translated the images to lithographed tinplate sheets. These were utilized to create the completed mechanical banks, (Figure 3), which were then forwarded to Mr. Sanchez for distribution in his country. A second explanation may be that Mr. Sanchez himself had produced the mechanical after acquiring the tinplate bank-forming machinery from Saalheimer and Strauss.
     In sharp contrast to the common Saalheimer and Strauss "Minstrel Bank" (Figure 2), the E. Sanchez example is considered quite scarce, with few examples appearing in present day collections. Despite its fragile tinplate construction and diminutive size (i.e. Height: 6-7/8 inches. Width: 2-7/8 inches), the "Minstrel Bank", (Figure 3), is an extremely illusive, attractive and desirable addition to a mechanical bank collection.
     Acknowledgments: The superb example "Minstrel Bank" (Figure 2) was photographed from the collection of Steve and Marilyn Steckbeck.
     The superb example E. Sanchez "Minstrel Bank" (Figure 3) is in the collection of Bob Weiss.
 

POPEYE KNOCKOUT BANK
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2009

     WHAT MAGIC EXISTS that can transform cartoon characters into timeless icons? It is the lack of any specific formula, regardless of subject, that confounds the cartoonist. When these characters are enthusiastically and lovingly embraced by the public, it is a certainty their images will be incorporated into a multitude of manufactured items, including mechanical banks.
     Some early 20th century examples worthy of mention are: "Mamma Katzenjammer Bank" (manufactured by the Kenton Hardware Co.), "Mickey Mouse Bank" (Saalheimer and Strauss Tin Works), "Buster Brown and Tigue" (represented as "Shoot the Chute Bank" by J. & E. Stevens Co.), and that lovable character familiarly known as Popeye, subject of "Popeye Knockout Bank" (Figure 1).
     Popeye the Sailor made his initial debut on January 17, 1929 in a newspaper comic strip created ten years earlier by cartoon artist Elzie Segar. Until Popeye's appearance the comic strip, entitled "The Thimble Theatre", revolved around a gangling young woman known as Olive Oyl (Figure 2) and her dysfunctional friends. Popeye the comical, muscle bound seaman, was the ideal choice of mate for the spindly, zany Olive.
     Within a few months fans of the "Thimble Theatre" demanded more frequent appearances of Olive's new suitor. Eventually, Popeye and Olive emerged as the principal characters. Images of the two began to appear on numerous goods, such as shirts, clocks, watches, pens, pencils, cereal boxes, dolls and toys.
     It was during these early years that the Straits Manufacturing Company of Detroit, Michigan, acquired the rights from King Syndicate, Inc. to utilize likenesses of Popeye and his cohorts on it tinplate mechanical bank entitled "Popeye Knockout Bank" (Figure 1). To date, no patent papers for this mechanical have been located. Had it not been for the informative printed strip encircling the base of the mechanical, much of the heritage of "Popeye Knockout" would have been lost. The strip reads as follows: "Straits Mfg. Co., Detroit U.S.A. Copyright 1919-29-33-35 King Syndicate, Inc. Pat. App. For. American Made Toys For American Girls and Boys."
     Figure 3 pictures a Johnson Smith and Co. novelty catalog advertisement, circa 1935, offering two mechanical banks in the Straits series. These were "Joe Socko Novelty Bank" (to be discussed in a future article) and "Popeye Knockout Bank" at a price of 25 cents. "Each bank packed in an individual, colored box" (Figure 4) "making it suitable for a gift".
     "Popeye Knockout Bank" is constructed entirely of heavy gauge tinplate. The articulated figures of Popeye and his opponent are bright nickel-plated. The base, however, is finished in colorful lithography and portrays Popeye's comic strip associates. This odd group includes the hamburger guzzling "Wimpy" (Figure 5), "Olive Oyl" (Figure 5a), and "Alice the Goon", "The Sea Hag" and Olive's beloved dog "Eugene the Jeep" (Figure 5b).
     Operation of "Popeye Knockout" is initiated by turning the figure of Popeye clockwise, and snapping it into position. When a coin is deposited within the slot at the top of the platform, Popeye whirls about, swinging its right arm and glove, thereby causing the burley opponent to fall backward onto the mat. Coins are recovered by opening the key-lock coin retainer at the end of the base (Figure 6).
     "Popeye Knockout" is not considered a rare mechanical bank but, coupled with its "cross collectible" status (i.e. not only appeals to bank collectors, but collectors of Popeye comic character toys and memorabilia), one could expect to pay a premium for the privilege of owning this mechanical.
     Despite its diminutive size (Height: 4-1/2 inches; Width: 3-1/2 inches; Depth: 2-1/4 inches) "Popeye Knockout" is an attractive and interesting addition to a mechanical bank collection.
     To conclude, there does exist a "Popeye Knockout" still bank (Figure 7). However, in contrast to the mechanical version, this bank does not employ pugilists.
 

MECHANICAL BANK TRADE CARDS
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2010

     DEPICTION OF LIFE ON the farm may bring to mind tranquil and idyllic scenes. Adults and
children alike have, perhaps at one time or another, conjured up pleasant images of such a setting.
     Recognition of the popularity and marketability of farm-life did not escape the attention of astute entrepreneurs of the late nineteenth and twentieth centuries. Innumerable objects utilizing this subject had been created and sold to the public. Children's merchandise was no exception. Several toy manufacturers of the era produced toys and mechanical banks reflecting various aspects of country life. Examples include: J. and E. Stevens' "Mule Entering Barn Bank", "Hen and Chick Bank" and "Kicking Cow Bank". Kyser and Rex Co. provided "Rooster Bank" and "Boys Stealing Watermelons Bank". The renowned European toy producer, Gebruder Bing, was presumably the manufacturer of "Farmer Feeding Cow Bank" and "Girl Feeding Geese Bank", subject of this article (Figure 1).
     "Girl Feeding Geese" portrays a peasant farm girl, seed basket under arm, broadcasting a handful of grain to her flock of geese. This charming mechanical bank is but one of a series of extremely rare and desirable mechanicals believed to have been created sometime during the years 1890 through 1910. Its manufacturer is assumed to be the aforementioned Gebruder Bing Tin Works of Nurnbeg, Germany. Bing was acclaimed for its line of tinplate kitchen utensils, toys and model steam engines.
     Although "Girl Feeding Geese" bears no wordage that would identify its manufacturer or country of origin, discovery of the Bing catalog (Figure 2) may possibly have revealed significant information. Despite the fact that "Girl Feeding Geese" was not pictured, it is believed to have been one of the company's series of mechanicals due to its visual, structural, and mechanical similarities to other banks represented in the aforementioned catalog.
     The description and pricing of the Bing Series of banks, as indicated in Figure 2, are as follows: "Banks - Made of tin, nicely decorated. With lock and moving figures. Supplied in 24 assorted subjects, price per piece: Mark - .57."
     "Girl Feeding Geese" was constructed almost entirely of applied lithographed paper-clad tinplate. The exceptions are the geese and the articulated figure of the girl. These are composed of cast, hand painted, zinc-lead alloy.
     "Girl Feeding Geese" operates by first inserting a coin through a slot in the roof of the cottage. Simultaneously, the girl's left arm (Figure 3) raises and lowers as if dispersing feed to her flock. Deposits are recovered by opening the key lock, trap door type coin retainer located underneath the base of the bank.
     The entire group of Bing-articulated mechanicals is extremely rare. Its scarcity may be attributed to flimsy tinplate construction, delicately painted and/or lithographed paper-clad surfaces, as well as possible mishandling by previous youthful owners. I am not aware of the existence of any reproduced mechanicals in the Bing series. However, due to its inherent frailties and other causes, as previously mentioned, there is the possibility of repaired and/or replaced parts. In such instances, limited professional conservation may be acceptable without significantly devaluating the bank's monetary worth.
     Although diminutive in size, i.e. Height: 3-11/16 inches, Width: 4-1/8 inches, "Girl Feeding Geese" is an attractive and highly desirable addition to a mechanical bank collection.
 
Acknowledgment: The fine example "Girl Feeding Geese Bank" seen in Figure 1, was photographed when in the collection of Steve and Marilyn Steckbeck.
 

     ONE CANNOT DISPUTE THe fact that the most effective means of advertising new products, goods, and services is through creative and persuasive marketing concepts.
     Entrepreneurs of the late nineteenth and early twentieth centuries were no exception to this newly developed form of "introductory merchandising". No surface was ignored or rejected as a canvas for their messages. Included were posters, billboards, newspapers, magazines, articles of clothing, banners, sides of buildings, trade cards, as well as "giveaway" samples such as sad irons, string holders, match safes, toys, etc. The subject of this article, the "YBARRA Olive Oil Cottage Bank" is one such example of a toy utilized as a merchandising  tool.
     Seen in Figure 1, the "YBARRA Olive Oil Cottage Bank" is but one of a series of five known mechanical banks displaying similar materials and manufacture. Each utilizes a carved or turned wood, movable figure adjoining a colorfully lithographed cardboard edifice. Other members of the group include: "Easter Bunny Cottage Bank", "Santa Claus Cottage Bank", "Woman With Dog Cottage Bank" and "Woman Cottage Bank".
     "YBARRA Cottage Bank" as well as its brethren, was produced in Germany/Saxony during the late nineteenth and early twentieth centuries. Its lineage was derived from the letters D.R.G.M. followed by the digits 989429 imprinted upon the facade of the bank. Such wordage is indicative of items patented in Germany/Saxony during the latter portion of the nineteenth and early twentieth centuries. The letters "D.R.G.M." refer to a "German Patent of Non-Essential Items" such as toys. Patent papers for these items were, as per government-mandate, destroyed after fifteen years. Unfortunately, these papers were the only accurate and reliable sources containing significant and valuable historical data.
     The discovery, however, of an advertisement within an issue of the German newspaper "Der Globus" (Figure 2), circa 1928, was quite informative. The ad featured a mechanical bank remarkably similar in design and action to our subject. The manufacturer-distributor of that mechanical was indicated to have been Robert Kaden, thus possibly providing, unknown information regarding the creation of "YBARRA Olive Oil Cottage".
     The advertisement, as translated from German into English, reads: "New! A good sales article is my Savings Bank House, with moveable figure, which throws the coin automatically, made of strong, pressed cardboard with lock. Unbreakable. D.R.G.M. Nr 989429. For sample send 0.80 Mark in stamps. Exclusive manufacturer: Robert Kaden, village of Niedernenschonberg, Post Office, Olbernhau in Saxony."
     Of interest and worthy of mention are the circumstances that might possibly have led to the creation of the "Cottage" series of mechanicals. During that time a cottage-home-based industry was flourishing in the Erzgebirge mountain region of Germany Entire families were engaged in the carving, turning and hand painting of small, whimsical wooden figures. These charming, colorful toy characters were ultimately supplied to local toy manufacturers and distributors. Because of their simplistic construction, costs for figurines were extremely reasonable. Distributors and/or manufacturers were, thus, able to incorporate these into their own inexpensive seasonal and advertising novelty items. "YBARRA Olive Figure 3 Oil Cottage Bank", (Figure 1) is an example of one such composite. Represented is an Erzgebirge-carved and painted wooden woman's figure, together with a colorfully lithographed, cardboard cottage (presumably manufactured by Robert Kaden).
     Operation of "YBARRA Cottage Bank" is simplistic and effective. A coin is placed in the woman's tin tray. This additional weight causes the figure to rotate clockwise, resulting in deposition of the coin through the provided slot in front of the mechanical. Monies are recovered by opening a tin, trap door type key lock coin retainer at the rear of the bank. Since the wording upon the roof and base of the "YBARRA Cottage" (Figure 3) is entirely in Spanish, one must assume the mechanical was intended for sale to the Hispanic market. The following is a translation of the advertising wordage: "YBARRA PURE OLIVE OIL. GUARANTEED PURE. DEPOSIT A SILVER COIN ON THE DISH AND SAVE. USE IT WHEN YOU GO TO THE MARKET TO BUY OUR PRODUCT."
     "YBARRA Olive Oil Cottage" is extremely rare, with a mere two examples known to exist. Such mechanicals, i.e. those produced of lithographed cardboard and wood, when subjected to youthful mishandling, moisture and the ravages of time, were severely damaged or destroyed. It is only upon rare occasions today that fully intact examples composed of these type materials are discovered.
     Despite its simple, modest construction and miniscule size (Height: 4 inches; Width: 3-3/8 inches; Depth: 2-5/16 inches), "YBARRA Cottage" is an attractive and welcome addition to a mechanical bank collection.
 
Acknowledgement: Copies and translation of the Robert Kaden advertisement (Figure 2) were generously provided by fellow collectors and historians, Harald and Uli Merklein of Ntirtzbetg, Germany.
 

William Tell with Crossbow Bank Pattern
An Important new discovery
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – April, 2010

     THE UNEXPECTED DISCOVERY Of an important "new find" is both exciting as well as surprising. Our topic of discussion, this article, is that of one such hitherto unknown example.
     Collectors and historians of mechanical banks are quite familiar with the toy savings bank in the image of legendary hero, William Tell. Seen in Figure 1, this mechanical was patented on June 23, 1896 by the renowned designer/inventor, Russell Frisbee. It was eventually produced by the J. and E. Stevens Foundry of Cromwell, Connecticut.
     The aforementioned new discovery is a bronze pattern for a mechanical bank, and one that differs markedly from the Frisbee patent in its representation of William Tell (Figure 2). The pattern portrays Tell wielding a crossbow, adhering to the legendary fable. The Frisbee design depicts William Tell brandishing a rifle.
     As the legend relates, William Tell of Burglen was known as an expert marksman with the crossbow. In the year 1307, Tell and his son traveled to Altdorf, Switzerland, a city occupied by the Austrians under Austrian Governor Hermann Gessler. Tell refused to pay homage to Gessler by bowing to the Governor's hat (which had been placed upon a stake in the main square as a symbol of Austria's sovereignty). As his punishment, Gessler ordered Tell to shoot an apple from the boy's head using a crossbow (Figure 3). To the Governor's amazement, Tell succeeded and then threatened that "his next
arrow was destined for Gessler's heart". Tell was imprisoned for insolence, but was able to escape and subsequently slew Gessler in an ambush.
     Five hundred eighty-seven years into the future saw a version of the William Tell legend materialize as Russell Frisbee's design for a mechanical bank, (Figure 4) albeit utilizing a different weapon. The manufactured mechanical (Figure 1) adhered quite faithfully to Frisbee's patent drawings.
     It is not understood why J. and E. Stevens would design an accurate, complete, and working bronze mechanical bank pattern for a crossbow-wielding William Tell figure, but reject it for their historically incorrect cast iron "William Tell" Bank. To date, I am not aware of any cast iron J. and E. Stevens "William Tell" sold to the public that incorporated the "crossbow" motif.
     Action of the bank seen in Figure 1 is aptly described in a J. and E. Stevens catalog (Figure 5), circa 1906. "Place the coin in proper position on the barrel of the rifle. Press the right foot and the rifle shoots the apple from the boy's head. As the coin enters the castle, it strikes a gong bell. It is so arranged that a paper cap may be fired at the same time." The apple is reset by lowering the boy's right arm. The pattern (Figure 2) operates similarly, as described in the 1906 catalog. In this instance the coin is placed in front of the arrow atop William Tell's crossbow.
     In closing, I am of the opinion that it was, aesthetically, an unfortunate choice on the part of J. and E. Stevens to disregard the graceful and authentic crossbow design for a rifle-shooting Tell figure. On the other hand, perhaps the manufacturer's decision may have been governed by economic factors such as complexity of production, difficulty in assembling components, and breakage of materials during distribution. Hopefully, time and further research will offer a viable explanation.
 

Royal "Trick" Elephant Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – May, 2010

     ONE OF THE MOST popular of animals to be utilized as subject of various items is that
gentle giant, the elephant. First introduced to audiences attending circuses, this huge and powerful creature has endeared itself to both children and adults alike.
     Toy manufacturers of the late nineteenth and early twentieth centuries, eager to capitalize upon the popularity of the pachyderm, began incorporating its image into their products. Designers of mechanical banks were responsible for the creation of such notables that included the subject of this article, i.e. "Royal "Trick" Elephant Bank" (Figure 1), as well as "Baby Elephant Opens at X O'clock", "Elephant Howdah Man Pops Up", "Elephant and Three Clowns", "Light of Asia", "Jumbo Bank", "Elephant Swings Trunk", etc.
     Interestingly, the majority of mechanical banks to incorporate the image of the circus elephant were manufactured within the United States. Although Europe, particularly Saxony/Germany, was also a major factor in early mechanical bank production, only one of their creations featured an elephant. The lone representation, that of the "Royal "Trick" Elephant Bank", is seen in Figure 1.
     "Royal "Trick" Elephant Bank" is manufactured entirely of tinplate. Examination of this mechanical's surface reveals colorfully and beautifully designed graphics representational of late nineteenth and early twentieth century German lithography.
     To date, neither catalog nor patent information has surfaced to reveal the designer and/or manufacturer of "Royal "Trick" Elephant". Fortunately, however, the bank's country of origin, namely Germany, is discretely displayed upon one end of its base. This information, in conjunction with the design and materials used in manufacture, supports the assumption that our subject was created either during the late nineteenth or early twentieth century. Mechanicals produced during those eras are devoid of any patent information. This was due to German government patent laws of the period, whereby patents on "non-essential objects of insignificant social or industrial importance", e.g. toys, were to be routinely discarded after fifteen years of issuance.
     Destruction of such documents, combined with lack of advertising and catalog data, are hindrances in attempting to date or trace the heritage of "Royal "Trick" Elephant Bank". Nevertheless, it is the consensus of opinion amongst bank collectors and researchers that this mechanical was manufactured sometime between the years 1900 to 1935. This assumption is additionally based upon similarities of design and material to other well-documented European tinplate mechanical banks of the era. These include "Cross Legged Minstrel", "Darkey Bust Bank", and "Monkey With Tray".
     Action of "Royal "Trick" Elephant Bank" is aptly described in the instructional verse printed upon each side of its base: "Put a coin in the slot then you'll see something funny. Press my tail hard and I'll swallow the money". The name "Royal 'Trick" Elephant Bank" is seen on the front of the base. Additional wordage on both sides underneath the coin holder directs its user to "Place Coin Here" and an arrow points to the coin receptacle. This coin holder is not an actual coin slot, but rather a cradle which holds the coin prior to the bank's action.
     Operation of the mechanical is swift and effective. A coin is placed upon the retainer that is located beneath the elephant's mouth. The tail is then depressed, whereupon the coin snaps upward. Simultaneously, the elephant's head lowers, allowing the coin to enter its mouth. Release of the tail returns the activated parts to the position seen in Figure 1. Deposits are removed by opening the key-lock, trap door type coin retainer located underneath the base (refer to addendum).
     "Royal "Trick" Elephant Bank" is quite scarce. Few fine, all original, complete and working examples are known to exist.
     Despite its modest size, i.e. Height: 4-5/8 inches; Width: 1-3/4 inches; Length: 7 inches, this mechanical is an extremely desirable, attractive and welcome addition to a mechanical bank collection.
   
Acknowledgment: The fine example "Royal "Thick" Elephant Bank" (Figure 1) is in the collection of Bob Weiss.
   
Addendum: Of significance is the recent discovery by European mechanical bank historians, Harold Merklein and Dr. Peter Reus, of a hitherto unknown early German patent drawing illustrating the Key-Lock trap door coin retainer (Figure 2), typically seen on most late nineteenth and early twentieth centuries German tinplate mechanical banks. The patent indicates its designer-inventor was Georg Zimmerman of Niirnberg, Germany. Zimmerman owned and operated a metal works factory in the town of Zimdorf near Niirnberg. It is believed that most, if not all, banks utilizing this coin retainer were not manufactured by Zimmerman but merely utilized his patented device.

Joe Socko Novelty Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – June, 2010

     TOY AND MECHANICAL bank manufacturers of centuries past derived inspiration for their
wares from a plethora of popular and timely themes. The topic of this article is a mechanical bank whose subject was a prominent comic strip character known as "Joe Palooka" (Figure 1).
     Joe Palooka was the creation of Hammond Edward "Ham" Fisher. As related by Fisher in a Collier's Magazine interview: "In my hometown of Wilkes-Barre, Pa., I devised the character in 1921 after I met a boxer, Pete Latzo, outside a poolroom. Here, made to order was exactly what I had been looking for, a big, good-natured prize fighter who didn't like to fight; a defender of little guys; a gentle knight. I ran back to my office, drew a set of strips and rushed to the newspaper syndicates."
     Although Fisher's proposal was repeatedly rejected, it finally made its newspaper debut on April 19,1930. Joe Palooka quickly rose to the status of becoming the most successful strip of all time. At one point, the cartoon appeared in over 900 newspapers with nearly 50 million avid fans.
     Unsurprisingly, entrepreneurs of the period were only too eager to exploit the "champ" by incorporating its image into salable goods. Palooka's likeness appeared on posters, shirts, miniature boxing gloves, figurines, comic books, chewing gum and tobacco cards, sundry toys and a mechanical bank (Figure 2).
     Confusion exists as to why a likeness of Joe Palooka would have been featured on a mechanical
bank entitled "Joe Socko". At this time, only conjecture can be offered. Both "Joe Socko Bank" (Figure 2) and "Popeye Knockout Bank" (Figure 3) were manufactured and marketed as a pair by the Straits Mfg. Co. of Detroit, Michigan. The two were advertised in a Johnson Smith and Co. novelty catalog, circa 1935 (Figure 4). During this time it was known that King Syndicate, Inc. possessed the proprietary rights to the Popeye character and was a fierce competitor of the McNaught Syndicate who owned usage rights to Joe Palooka. McNaught possibly attempted to dissuade the Straits Mfg. Co. from producing a Popeye bank and may have threatened to withhold its endorsement for a bank bearing the Joe Palooka name. Straits, at that point, perhaps felt that Popeye was a more equitable image for their purposes and, consequently, abandoned the Palooka designation. Their challenge now was to create an alternate bank that would not directly infringe upon the McNaught Palooka franchise, but still appeal and attract a Joe Palooka following, thereby creating the title "Joe Socko".
     "Joe Socko" Bank is constructed almost entirely of heavy gauge tinplate. The articulated figures of "Joe" and his burly opponent are bright nickel-plated. The base, however, is finished in colorful lithography. It portrays silhouetted images of Joe Socko's cheering ringside fans.
     The mechanical was advertised as follows: "20 cents apiece. Each packaged in an individual colored box making it suitable for a gift" (Figure 5).
     Operation of "Joe Socko" is initiated by turning the figure of "Joe" clockwise and snapping it into position. When a coin is deposited within the slot atop the platform "Joe" whirls about, swinging its right arm and glove, thereby causing its opponent to fall backward onto the mat. Deposits are recovered by opening the key-lock coin retainer at the end of the base (Figure 6).
      "Joe Socko" is not considered rare. However, coupled with its "cross collectible" status (i.e. not only appealing to bank collectors but collectors of boxing memorabilia) one could expect to pay a premium for the privilege of owning this mechanical.
     Despite its diminutive size (Height: 4-1/2 inches; Width: 3-1/2 inches; Depth: 2-1/4 inches) "Joe Socko" is an attractive and interesting addition to a mechanical bank collection.
 
Acknowledgment: The fine example "Joe Socko" Bank" (Figure 2) is in the collection of Bob Weiss.

Monkey with Tray - Tin
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – July, 2010

     THE OFT-SPOKEN PHRASES "monkey shines" and "as much fun as a barrel of' monkeys" sum up
our perception of these playful primates. Their antics amuse and delight children of all ages, as evidenced by the gleeful faces at circuses and zoos.
     The appeal of the mischievous monkey was the incentive for several toy manufacturers of the late 19th and early 20th centuries to produce mechanical banks that reflected its image. Examples include Hubley's "Monkey Bank", Kyser and Rex's "Chimpanzee", "Organ Medium", "Organ Boy and
Girl", "Organ Cat and Dog", "Organ Tiny", "Lion and Monkeys", and "Zoo Bank", as well as J. and E. Stevens' "Hall's Excelsior", "Rival Bank", and "Monkey and Coconut". Our subject, the colorful and amusing "Monkey With Tray" mechanical bank (Figure 1), was manufactured by Maienthau and Wolff.
     Located in Nurnberg, Germany, then the center of European tinplate toy and metalware production, Maienthau and Wolff was one of the most important German manufacturer/distributor of tinplate items. The mechanical represented in Figure 1 is believed to be the only tinplate mechanical bank to have been produced by the company. Represented in Figure 2 is an advertisement in the firm's wholesale toy catalog, circa 1908. It features an illustration of the mechanical and the following descriptive: Number 5785 11 Monkey The cash morsels go automatically into its mouth, 8 centimeters long, 16 centimeters high, decorated, per Piece . Mk. .84"
      Activation of the mechanical (Figure 1) is achieved by following the instructive verse printed upon the top platform of the base: "Place a coin upon my plate, gently press my tail — Then wait, up will go my hands you see. And that coin goes inside me.". Deposits are removed by opening the key lock coin retainer located at the bottom portion of the bank.
     Figure 3 represents another catalog advertisement which is attributed to Nerlich & Company, circa 1910-1911. In it is pictured our featured mechanical; however, this company had changed the bank's title to "Automatic Monkey Bank". This firm's ad also includes operational instructions: "Large size monkey on pedestal, coin is placed in the plate and after pressing lever is conveyed to the monkey's mouth which opens to receive it, fitted with lock and key, handsomely lithographed in colors, height 6-1/2 inches. 1 dozen in package, Doz. $4.00."
     There are two variations of "Monkey With Tray" bank. These pertain solely to its exterior design and colors. Figure 1 depicts the monkey as a zoo dweller, whereas Figure 4 portrays it as a denizen of the circus.
     Because a multitude of examples of "Monkey With Tray" inhabit numerous collections, the mechanical is not considered rare. Nonetheless, acquiring one in almost mint condition could prove quite a challenge.
     I am not aware of any reproduced early German tinplate mechanicals. However, the following dimensions of "Monkey With Tray" are given as an aid to collectors in determining the bank's size and scale: Height: 6-1/2 inches. Width: 2-5/16 inches, Depth: 3-1/4 inches.
     On a final note, although "Monkey With Tray" is small in size and composed entirely of tinplate, its desirability is not diminished. It is an extremely attractive and welcome addition to a mechanical bank collection.
 
Acknowledgments: The superb example "Monkey With Tray" Bank (Figure 1) is in the collection of Bob Weiss.
 
Copies of the Maienthau and Wolff catalog pages (Figure 2) were provided by fellow collectors and historians. Harald and tili Merklein of Niirnberg, Germany.
 

Czechoslovakian Creedmoor
"Ustŕedini Matici"
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – August, 2010

     PATRIOTISM AND marksmanship have long been popular subjects for manufacturers of mechanical banks, both in the United States and abroad. One such example is the well-known "Creedmoor Bank" (Figure 1). which was inspired by the first target shooting event organized in this country in the year 1875.
     Held at Creedmoor Plains, Long Island, New York, the contest featured the United States competing against Europe, with the Americans consistently capturing all medals. Although waning interest in the yearly competition prompted its discontinuance, heightened enthusiasm for the sport itself eventually resulted in its becoming a worldwide pastime.
     In addition to the aforementioned "Creedmoor Bank" (Figure 1), other notable examples of mechanical banks produced within the late 19th and early 20th centuries depicting the themes of patriotism and target shooting include "German Marksman Bank", "Grenadier Bank", "Tommy Bank", "Viennese Soldier", "Volunteer Bank", "Wimbledon Bank", and the subject of this article, "Czechoslovakian Creedmoor" (Figure 2).
     The inspiration for the writing of this article was the recent discovery of a third known example of "Czechoslovakian Creedmoor". The first of these was found several years ago, being added to the collection of the Kidd Toy Museum, Frank and Joyce Kidd proprietors. The second known example, seen in Figure 2, had been purchased on an on-line auction for the collection of Don and Betty-Jo Heim. The latest discovery, the aforementioned third example, was acquired by Peter Wysocki.
     Messrs. Heim and Wysocki have contributed significant information pertinent to "Czechoslovakian Creedmoor", thus aiding in ascertaining the mechanical's approximate age and heritage. Unfortunately, however, no historic documentation has thus far been unearthed. The lone valid clue we are afforded can be gleaned from the phrase "USTREDNI MATICI" which is cast into the top of the base in bold letters (Figure 3).
     Mr. Heim's research indicated the soldier depicted in Figure 2 wears a Czech military uniform, circa 1880. During that period Czechoslovakia was forcibly placed under Austrian rule, leading to speculation that the bank may have served to represent Czechoslovakian resistance to external foreign domination. This assumption was confirmed by my research which involved the services of an individual experienced in the translation of disused Czechoslovakian language. His assistance involved the interpretation of the phrase "USTREDNI MATICI" (Figure 3), with the resultant three possibilities: "Preserve Our Heritage", "Defend Our Heritage", and lastly, "Ours is the Keystone Heritage".
     Mr. Wysocki's input further confirmed the bank's Czechoslovakian lineage. He relates that he, as did Mr. Heim, purchased his example on-line, and, further, that the return address on his bank's shipping label indicated the city of Trutnov, Czech Republic.
     The construction of "Czechoslovakian Creedmoor" is of particular interest since it is composed almost entirely of cast iron. The exception is the lead alloy composition of the rear half of the soldier. Of further interest is that the base and tree trunk of the bank seen in Figure 2 is uncannily similar in both size and construction to the American "Creedmoor Bank" (Figure 1), manufactured by the J. and E. Stevens Company of Cromwell, Connecticut.
     This close resemblance leads me to the belief in one of two production scenarios. The first is that J. and E. Stevens designed and created the pattern for "Czechoslavakian Creedmoor". The company then supplied those models to a European manufacturer who, in turn, produced the mechanical overseas. The second possibility is that the design for "Czechoslovakian Creedmoor" was created by a European manufacturer and that the actual production of the bank's working patterns, final casting and decoration was left to the Stevens' Foundry. Completed mechanicals were then shipped to Europe for distribution. I tend to agree with the possibility of the latter theory since the fine paint detail and casting as seen in Figures 2 and 4 are so reminiscent of the J. and E. Stevens' "Creedmoor Bank" (Figure 1).
      Action of "Czechoslovakian Creedmoor" compares precisely in all aspects to Figure 4 that of the J. and E. Stevens' "Creedmoor Bank": initially, the coin propelling slide atop the rifle barrel is pulled back. Simultaneously, the head of the soldier tilts forward, as if taking aim. A coin is then placed atop the rifle, directly in front of the slide. Upon pressing the soldier's right shoe the coin is propelled into the target slot, striking a bell inside the tree trunk. Deposits are removed by opening the round Stevens' coin retainer underneath the base of the bank.
     On a final note, "Czechoslovakian Creedmoor" is an extremely attractive addition to the target-shooting/patriotic category of mechanical banks. Its extreme rarity will, in all likelihood, preclude the possibility of most collectors ever acquiring an example. Nonetheless, the rewards will greatly outweigh the effort if one is fortunate to discover yet a fourth example.
 

     SIMPLISTIC AND CHARMING are the imaginizing of life on a farm. Its appeal was the catalyst for the manufacture of innumerable objects reflecting such an existence.
     During the late nineteenth and early twentieth centuries several mechanical banks were produced, both in this country and abroad, that depicted various aspects of farm life. Some examples were of a humorous nature. These included the two youths caught in the act of thievery, i.e. "Boys Stealing Watermelons Bank", and the startled lad thrust from his stool in "Milking Cow Bank". Others represented animals such as "Rooster Bank", "Mule Entering Barn", and "Hen and Chicks Bank". There are also several examples that depict commonplace implements so reminiscent of farm life. One of these is "Pump and Bucket" bank (Figure 1), our subject this article.
     "Pump and Bucket" is a unique combination of a mechanical bank and a coin registering bank. This was revealed in the descriptive text accompanying an illustration of "Pump and Bucket" (Figure 2) seen in a Marshall Field and Co. catalog, circa 1892. Most registering banks are classified as such since, upon insertion of a coin, its sole function is to record, within a small window, the precise sum of deposit. However, "Pump and Bucket" neither allows for recording of coins nor their deposition until its pump handle is raised and lowered. It is this one lone feature, namely its manual / mechanical aspect that categorizes it as a "mechanical bank".
     "Pump and Bucket" was produced with two distinctly different castings. The variations pertain specifically to its platform. One simply displays a faux wood grained effect, and the other, as seen in Figure 1, exhibits the words "Complements of Gusky's" imprinted in raised lettering. Unfortunately, to date, there is no recorded historical data indicating either the designer or manufacturer of the "Pump and Bucket" mechanical bank. Had it not been for the aforementioned 1892 Marshall Field and Company catalog (Figure 2), its period of distribution would have remained unknown.
     Information pertaining to the heritage of "Pump and Bucket" may also be gleamed by closely examining the bank's bucket which had been incorporated into its platform. Figure 3 indicates a catalog page from the Nicol and Company, Cast Iron Toys, Chicago, Illinois. It offers for sale a bucket style bank, albeit not a registering bank, but uncannily similar in design and size to our subject. In addition, it is composed of nickel plated cast iron, as is the bucket utilized in "Pump and Bucket". This particular bank is referred to as "White City Trick or Puzzle Bank". It is also believed that Nicol and Company manufactured a "one-cent" bucket style registering bank, as seen in Figure 4. These factors lead me to believe that "Pump and Bucket", in its entirety, may have been manufactured by Nicol and Company.
     Activation of "Pump and Bucket", as described within the Marshall Field catalog and the instruction label (Figure 5) affixed to the underside of the mechanical, is as follows: "No. 127. "Pump Registering Bank" Place the coin (Dimes Only) in the slot and move the pump handle up and down and the correct amount will be registered. When $5.00 are Figure 4 deposited the lid can be taken off by pushing back the small pin in the top and turning the bank upside down".
     The wordage "Compliments of Gusky's" imprinted atop the platform of "Pump and Bucket" reveals a very interesting aspect of this mechanical's history. Such information was provided by noted historian and collector, the late Mr. F.H. Griffith. In an article dated April 1962, Mr. Griffith relates: "Gusky's was Pittsburgh's first department store. Jacob Mark Gusky, a prominent philanthropist, opened the establishment in 1880. It was his policy to offer, free of charge, a "Pump and Bucket" mechanical bank to any child whose father purchased a suit at his shop. His generosity extended itself to distributing toys at Christmas time to underprivileged children." Mr. Griffith also relates that "Mr. Gusky died at the age of 45, in the year 1886. His store continued to operate for a number of years until 1904, when Gusky's Department Store closed its doors forever".
     "Pump and Bucket" is extremely scarce, especially when found in all original, unrestored and fully operational condition. To my knowledge, this bank has not been reproduced. However, in view of its fragility, there are few examples that have not been either partially or extensively restored. When contemplating purchase, such repairs should be taken into consideration and price-adjusted accordingly.
 

     IMAGINE A PERIOD IN history when the haunting whistle of an oncoming steam locomotive generated great excitement! This was a time of worldwide infatuation with these huge and powerful transporters. Our subject, seen in Figure 1, is an example of the ingenuity and creativeness utilized to exploit such public enthusiasm.
     Cognizant of the popularity of railroading, particularly amongst children, were United States and European manufacturers of toys and mechanical banks. During the late nineteenth and early twentieth centuries, such playthings produced within this country were composed, almost entirely, of painted cast iron while those created abroad were of painted or lithographed tinplate.
     German tinplate toy manufacturers dominated the European marketplace. Companies such as Saalheimer and Strauss, Marklin, Gebrtider Bing, and Doll and Cie. produced not only sundry tinplate toys and mechanical banks, but also model railroad train sets. Recognizing the public's attraction to mechanical banks and the popularity of railroad train sets, several German manufacturers redesigned components of their model railroad accessories, such as platform ticket dispensers, platform postage stamp dispensers and platform beverage dispensers, to also function as mechanical banks. In most instances the conversion was accomplished by simply adding a key lock coin retaining door. "Briefmarken" Postage Stamp Vending Bank (Figure 1) is an example of one such factory conversion.
     "Briefmarken" was created by Doll and Cie., a firm that specialized in the production of toy steam engines, steam powered accessories and model railroad sets. Founded in 1898 by Peter Doll and J. Sondheim, the factory was located in Nurnberg, Germany, then the world center for manufacture of fine tinplate toys and household items.
     It is fortunate that "Briefrnarken" Postage Stamp Vending Bank was illustrated and described in an early twentieth century Doll and Company wholesalers catalog. The advertisement, seen in Figure 2, was entitled "Fine Metal Playthings". Such accessible documentation aids both the collector and historian to trace the toy's heritage and era of manufacture.
     Contents of the Doll and Cie. advertisement revealed not only our featured "Briefmarken" Bank but also a beverage dispensing bank labeled "Getranke-Automat" (Figure 3). The following is a partial excerpt from the aforementioned catalog offering. It serves to describe the intended conversions from model railroad accessories to mechanical banks. Translated from German, it reads: "No. 861 Briefmarken-Automat *(D.R.G.M.) Postage Stamp Dispenser. Place a coin in the slot, pull the knob and get one postage stamp. Dispenser is supplied with 23 stamps. It is a postage stamp machine and also a coin savings bank...". "No. 867 Getranke-Automat, Drink Dispenser *(D.R.G.M.) Place a coin in the slot press the lever and liquid comes out of the spout, into the glass. This item has a lock and key—so it is not only a drink dispenser but a coin savings bank...".
     "Briefmarken-Automat" is appreciated by, and appeals to, the model train enthusiast as well as the mechanical bank collector. Its operation commences with the insertion of a coin into the provided slot. This is followed by pulling the knob beneath the words "Griff Ziehen" (i.e. "Pull Knob"), after which a postage stamp is dispensed through the slot indicated as "Ihre Marke" (i.e. "Your Postage"). Stamp restocking and coin removal is accomplished by opening the key-lock side door of the bank (Figure 1).
     "Briefmarken" Bank is extremely rare. Fewer than a handful is known to exist, and these in the collections of a few fortunate individuals. Despite its simplistic design and diminutive size (Height approximately 5-3/4 inches. Width: 2 inches. Depth: 1-1/2 inches), "Briefmarken" Bank is a highly desirable and attractive addition to a mechanical bank collection
    
Note: The letters "D.R.G.M." indicate the words “Deutsches Reichs Gebrauchs Muster", translated as "German Registered Design of Little Importance".
 
Acknowledgment: The superb example of "Briefmarken" Bank (Figure 1) was photographed when in the former collection of Steve and Marilyn Steckbeck.
 

Wimbledon Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – November, 2010

     THE CONCLUSION OF the American Civil War, as well as numerous armed battles raging throughout Europe, saw the advent of a growing worldwide pastime. Fascination and a passionate interest in firearms and marksmanship increased dramatically. This love affair with gunnery kindled the establishment of the National Rifle Association of Great Britain in 1860.
     It was in that year the newly formed firearms society held its first shooting match on Wimbledon Common in Great Britain. Interest in the National Rifle Association (NRA) and the annual competition grew rapidly, and by the early 1870's rifle ranges were fully established on the Wimbledon grounds. By 1878 the matches were held for a period of two weeks. They attracted nearly 2,500 competitors, and these housed in temporary barracks set up across the green. By the 1880's, however, the power and range of the rifle had advanced to the extent that shooting in an increasingly populated area was no longer considered safe. The final Wimbledon competition was held in 1889, prior to its movement to Bisley, a village in Surry, England.
     By 1890, awareness and interest in the NRA led to an astounding increase in its American and European membership.
     Entrepreneurs, eager to capitalize upon current and popular trends, were, by this time, marketing objects and playthings relating to armed sportsmanship. Among those opportunists were European and American mechanical bank manufacturers of the nineteenth and early twentieth centuries. Several notable examples of their many creations include "Volunteer Bank", "Grenadier Bank", "King Aqua", "Tommy Bank", "Creedmoor Bank", and the "Wimbledon Bank", seen in Figure 1, the subject of this article.
     The "Wimbledon Bank", unsurprisingly, was produced at the height of the national obsession with the Wimbledon shooting competition. Its creator was Great Britain's foremost mechanical bank producer, John Harper and Company, Ltd. of Willenhall, Staffordshire, England. The company received British Registration Number 33821 on September 21, 1885, for its design. That number is cast into the underside of the base.
     Figure 2 represents a copy of a nineteenth century John Harper and Company, Ltd. catalog. In it the "Wimbledon Bank" is offered at "44/6 per dozen. Finished in attractive colors, and packed one in a box."
     The Harper Company was quite prolific. Examples of several of its mechanical bank productions included "Jolly Nigger", "I Always Did 'Spise A Mule", "Speaking Dog", "Tommy", "Volunteer", "Hoop-La", "Football Bank", "Dinah", "Grenadier", "Kiltie", "Giant In Tower", etc. Cast iron toy and bank production took place from the 1880's until the Second World War, when the shortage of ferrous war materials mandated reclamation of all metal goods, forcing the company to cease production.
     Operation of "Wimbledon Bank" is similar to most other cast iron mechanicals incorporating a rifle wielding sharpshooter. Initially, the notched slide atop the rifle is pushed back and clicked into place. This causes the shooter's head to tilt forward, as if taking aim. A coin is then placed atop the rifle directly in front of the slide. A small lever located in its base is then pressed, causing the coin to be propelled into the target. This results in the marksman's head snapping backward as if reacting to the rifle's recoil. Deposits are retrieved by unscrewing the base plate underneath the bank.
     "Wimbledon Bank", as well as several other Harper mechanicals, is quite rare. This is not only attributed to its fragility, limited production, and easily removable parts, resulting in their loss, but by the aforementioned British iron reclamation war effort. Few all-original and/or complete examples have survived. Contemplation of its purchase should include awareness that the cast iron flag atop the target is easily detached, and most had been lost. Good recast flags are available; however. mechanical banks utilizing such copies have a somewhat diminished value and should be priced accordingly.
     To date, I am not aware of any attempt, other than the aforementioned flag, to reproduce "Wimbledon Bank". Figure 3 is a base diagram of an original example. If one was recast it would appear approximately one-quarter inch shorter along the base O.D. than indicated.
 
Acknowledgment: The fine example "Wimbledon Rank", Figure 1. had been photographed when in the collection of Steve and Marilyn Steckbeck.
 

Santa's Christmas Savings House
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – December, 2010

     "TWAS THE Night Before Christmas...." and so begins the celebrated poem by Thomas Clement Moore. His poem, entitled "The Account of a Visit from St. Nicholas", as well as the popular illustration of "Father Christmas" (Figure 1) created by Thomas Nast, provided inspiration for a plethora of holiday items during the latter nineteenth and early twentieth centuries.
     Nast's rendition of Santa Claus appeared on a multitude of products. These included Christmas cards, decorations, clothing, candy and cookie molds, and children's toys and games. Surprisingly, despite the popularity of St. Nicholas and the abundance of toys depicting its image, a mere two mechanical banks were produced during this time which incorporated a likeness of the beloved Christmas legend. The first of these banks was produced in this country. The Shepard Hardware Company in Buffalo, New York created a cast iron mechanical bank entitled, appropriately, "Santa Claus Bank", as seen in Figure 2. The Montgomery Ward and Co., a wholesale toy catalog, featured the bank in an advertisement (Figure 3), circa 1889. The following is an excerpt of the ad: "Santa Claus Bank, Price, each  $0.40".
     The second mechanical bank to employ the image of Santa Claus was of European manufacture,
circa 1928, and is the subject of this article (Figure 4). This version was designed and marketed by
Robert Kaden of Saxony, Germany. "The Christmas Savings House With Santa Claus" is one of a series of five known mechanicals of similar design, composition and construction. Each utilizes a carved or turned wood, movable figure adjoining a colorfully lithographed cardboard edifice. Other members of the group include "Easter Bunny Cottage Bank", "Woman Cottage Bank". "Woman With Dog Cottage Bank" and "Ybarra Olive Oil Cottage Bank".
     "Christmas Savings House", as well as its brethren, was produced in Saxony, Germany during the early twentieth century. Its lineage was gleaned from the letters "D.R.G.M. 989429" printed upon the rear section of the bank. Figure 5 is a t copy of an early German Patent Paper indicating our subject's date of registration as "April 27, 1927. Designed by Robert Kaden and Emil Kaden of Saxony, Germany". It also describes the bank as "having a movable figure, and being composed of sturdy cardboard." In addition. the aforementioned patent refers to "an expiration date of June 20, 1930".
     The discovery of an advertisement within an issue of the German newspaper "Der Globus" (Figure 6), circa 1928, was also quite informative. The translation from German into English reads as follows: "Biggest Novelty! Christmas Savings House with Santa Claus! This is the latest and biggest selling hit. My Savings House with automatic coin slot and key lock. D.R.G.M 989429. For sample send 0.90 Mark in stamps. Robert Kaden exclusive manufacturer, Niederneuschonberg, Post Office Olbemhau in Saxony".
     Of interest and worthy of mention is the circumstance that possibly led to the creation of the cottage / house series of mechanicals. During this time, a cottage/home-based industry was flourishing in the Erzgebirge mountain region of Germany. Here, entire families were engaged in the carving, turning and hand painting of small, whimsical wooden figures. These were ultimately supplied to local toy manufacturers and distributors (e.g. Robert Kaden). Because of their simplicity of construction, the cost for figurines was extremely reasonable, enabling distributors and/or manufacturers to incorporate them into their own inexpensive holiday goods and seasonal novelty items. "Christmas Savings House" seen in Figure 4 is an example of one such composite. Represented is an Erzgebirge-carved wooden figure of a snowman, together with a lithographed, cardboard building manufactured by Robert Kaden.
     Operation of "Christmas Savings House" is simplistic and amusing. A coin is placed in the snowman's tin tray. Its added weight causes the figure to rotate towards the right side, resulting in deposition of the coin through the designated slot in the front of the cottage. Monies are recovered by opening a tin, key lock, trap door type coin retainer in the rear of the building.
     "Christmas Savings House with Santa Claus" is considered quite rare. A mere three examples are known to exist. Despite its simplistic, modest construction and miniscule size (Height: 4 inches. Width: 3-3/8 inches. Depth: 2-5/16 inches), "Christmas Savings House" is an extremely attractive and important addition to a mechanical bank collection.
     To conclude. Figure 7 indicates a variation of "Christmas Savings House". In place of the potted Christmas tree seen in Figure 4, a small Erzgebirge-carved wooden dog is positioned alongside the figure of the snowman.
   
     Acknowledgement: Copies of the German Patent Document (Figure 5). the Robert Kaden advertisement (Figure 6A and their translation were generously provided by fellow collectors and historians, Harald and Uli Merklein of Nurnberg, Germany.
 

Jip the Jumper
"The Dog That Barks"
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – January, 2011

     ACOURAGEOUS AND NOBLE breed of animal is the bulldog. Its huge jaw and tenacious appearance designate it a worthy subject of mechanical banks, aptly able to guard or consume large amounts of coinage.
     Several mechanicals produced during the latter portion of the nineteenth and early twentieth centuries serve as well-chosen representatives of this square-jawed canine. In addition to "Jip the Jumper", seen in Figure 1 and subject of this article, several other examples include "Bulldog Coin On Nose", "Bulldog Savings Bank", "Boy and Bulldog", "Spring Jawed Bulldog", "John Bull's Money Box", "English Bulldog (Tin)", etc.
     For a period of time "Jip the Jumper" Bank had been inaccurately referred to as "Barking Dog Bank". Its correct title, manufacturer or designer were unknown. The mechanical was first discovered in 1961; only two additional examples emerged within the following twenty years. Unfortunately, accurate identification pertinent to its heritage was limited to a few remnants of a manufacturer's label affixed to the bank's underside. Recently, however, a fourth example surfaced, this in almost mint condition. Its label (Figure 2) was fairly complete, providing collectors and historians with relevant information.
     The aforementioned label revealed the following wordage: "JIP The JUMPER. The Dog That Barks. DIRECTIONS. Dog should be pushed way back as far as he will go. Then lift the little wire lever in front or push coin through the small slot in top and the dog will jump forward and bark. NATIONAL COMPANY, 167 Olive Street — Boston, Mass., U.S.A. Maker of Ragtime Rastus, the Famous Darkey Doll that dances to the music of phonographs."
     Although not indicated on the label, the National Company manufactured another mechanical bank, this composed almost entirely of wood. Entitled "Watch Dog Savings Bank" (Figure 3), it employed two distinctly different wooden bulldogs. One of these was similar to our featured subject.
     It appears that the National Company was interested and involved in the utilization of sound vibration as a functioning, activating component of its creations. The following three examples serve to illustrate the firm's objective: "Jip the Jumper" emits a barking sound achieved by a series of vibrating springs and pulleys that, when activated, causes the fiberboard end panel (as seen in Figure 4) to act as a sounding board. Also, the top, bottom and sides of the base are composed of wood and serve as a sound chamber for the emitted bark. The "Watch Dog Savings Bank", seen in Figure 3, utilizes a magnet and sound activated leaf spring. When energized by a loud noise or, as indicated in the directions, the "loud clapping of one's hands" causes the coin to be deposited and the dog to spring out of its doghouse. In addition. National Company's "Ragtime Rastus Toy" (Figure 5) utilizes a battery to enable operation of a vibrating diaphragm located underneath the platform of the base. Rastus stands immobile upon the platform until an attached microphone is placed adjacent to an operating phonograph. The resulting musical sounds cause the diaphragm upon which Rastus stands to vibrate. Our entertainer then appears to hop to the beat of the melody.
     Action of "Jip the Jumper" is novel and surprising. Initially, Jip is pulled backwards. The small wire lever in the front tin panel of the bank is then lifted towards the right side (Figure 6), and then downward into a vertical position (Figure 7). Subsequently, a coin is placed into the slot in front of Jip. When the wire lever is once again lifted towards the right side, the bulldog lunges forward and the coin is deposited into the bank. These deposits are recovered by undoing the small nails which secure a flat, round tin cover underneath the base of the mechanical.
     Despite its composition and construction, "Jip the Jumper" is an extremely desirable and rare mechanical bank. Only a handful is known to exist. Its action and impressive size, i.e. Length: 9-112 inches, Width: 5 inches. Height: 5 inches, contribute greatly to its appeal as a "folk art type", albeit production, mechanical bank.
     The addition of "Jip the Jumper" to a collection could prove a challenge for even the most resourceful of collectors. However, its acquisition may be considered well worth the effort expended in the search.
 
     Acknowledgment: The superb, all original, and fully operational fifth example of "Jip the Jumper" Bank (seen in Figure 1) was recently acquired by Peter Wysocki. It is a "fresh find", not a previously known example.
 

Fortune Teller Savings Bank
by Sy Schreckinger – ANTIQUE TOY WORLD Magazine – February, 2011

     GYPSIES, PROGNOSTICATORS and sorcerers were once said to possess magical and mystifying powers. In a world where superstition prevailed, these self-proclaimed prophets were believed capable of foretelling future events. Modern day forecasters are the psychics, tarot readers and crystal ball gazers.
     Throughout the centuries enterprising individuals realized great profits by catering to the public's fascination with the unknown. A plethora of fortune telling novelty items were created that were intended to entertain and amuse and, perhaps, to offer a glimpse into one's future. Examples of such items produced by manufacturers during the nineteenth century include children's playthings and mechanical banks. Several notable representatives of the latter category are Witch "Fortune Telling Bank", Fortune Horse Race "Savings Bank", "Lucky Wheel Money Box", "Automatic Coin Savings Bank", and the subject of this article, "Fortune Teller Savings Bank" (Figure 1).
     On February 19, 1901 Mr. Aaron Kaufman of Baltimore, Maryland was granted Patent Number 668,579 (Figure 2) for his "Fortune Telling Toy Penny Bank". The words " Pat. Feb. 19, 1901" that were cast into the bottom of the bank facilitated location of these patent papers. Mr. Kaufman's invention was offered for sale, as seen in Figure 3 (a Montgomery Ward & Co. catalog advertisement circa 1903). The ad read: "Fortune Teller Savings Bank...Our price each, only 90¢.".
     Operation of "Fortune Teller Savings Bank" is noncomplex and appropriate to the subject. It is aptly described in an attractive, multi-colored, lithographed paper label (Figure 4) affixed by the manufacturer to the rear of only certain examples. It reads: "Directions — Drop the coin in the slot of the lever. Then push the lever back hard and quick. This will spin the wheel of fortune. When the wheel stops, pull the lever forward as far as possible and your true fortune will appear at the window every time." Across the bottom of this "Directions" label are the words: "Mfg'd. by Baumgarten & Co., Baltimore, U.S.A."
     Note — the window which enables viewing of one's fortune is positioned at the top of the bank. For reasons yet unknown, the bank's manufacturer, i.e. Baumgarten and Company, relocated its position from the front of the bank, as indicated in the patent drawings (Figure 2) to the top section of the mechanical (refer to the addendum).
     Of interest is the fact that there are thirteen fortunes imprinted upon the wheel. They appear in sections of red, green, yellow, blue and black. The following is an abbreviated sampling:
     "When you get what you are looking for, see that you take care of it."
     "Look well through all written matter you may receive for there is news coming to you".
     "You must be more firm when saying "NO", stick to it."
     "Do not take the trip you will be asked to take, as there will be no good come of it."
     "A cloud surrounds you dark and dreary, keep up your heart and never fear."
     Coin removal is described on a small paper hangtag (Figure 5) that was originally supplied at time of purchase with each "Fortune Teller Savings Bank". It directs "TO UNLOCK Place bank on a level surface. Turn the knob around twice to the right — then turn the knob until the index rotates to figure 3. Then turn to the left to figure 6..."
     "Fortune Teller Savings Bank" is considered to be quite scarce, with only a handful of extremely fine, complete and un-restored examples residing in collections. Despite its lackluster, achromatic appearance, as well as its miniscule size (i.e. Height: 5-1/2 inches. Width: 4-1/2 inches. Depth: 4-3/8 inches), "Fortune Teller Savings Bank" is an extremely interesting and important addition to a mechanical bank collection.
     To conclude, and to my knowledge, this mechanical bank has not been reproduced.
 
     Addendum: One known example "Fortune Teller Swings Bank" does exist that exhibits the fortune
window on its front façade, as illustrated in the patent 1,5 drawings (Figure 2).
     Acknowledgment: The superb example "Fortune Teller Savings Bank" (Figure 1) with its original instructional hangtag (Figure 5) is in the collection of Bob Weiss.