Christmas-Tree Stands Patented in 1876
Question: You recently wrote about the collectible value of old Christmas ornaments. I have what I think is a fairly unusual collection of Christmas-tree stands and wondered how far back it can be documented that such stands were produced in this country.--W.S.
Answer: According to the patent history of Christmas-tree stands, the first U.S. patents were issued in 1876 to two Philadelphians, Abram Mott and Hermann Albrecht. Both men noted in their patent applications that their brainstorm closely resembled iron stands that were used at the time for flagpoles.
It’s very difficult, if not impossible, however, for the collector to find examples of the work of Mott and Albrecht. One major problem, other than the fact that demand far outweighs supply (if any are still in circulation), is that they aren’t known to have put their names on any of their stands. Therefore, it would be difficult to know with any precision if you had the real thing or a copy.
Such isn’t the problem with tree stands patented in 1891 by one Martin Merk. Merk’s cast-iron stands not only bear his name but also the date of his patent on the rim of the stand’s base. Still, finding them is not easy.
A number of creative stands have been fashioned over the years, especially those of the motor-driven variety that allow the tree to revolve. And, according to one of our reference works, a stand device was patented in 1878 that not only was designed to revolve the tree but also played Christmas music while it was revolving.
Q: What is a recent price range you have seen for original strips of E. C. Segar’s “Thimble Theatre” featuring Popeye?--M.B.
A: A recent listing for a 1936 “Thimble Theatre” strip drawn in India ink by the creator, in fine condition with only a few spots, was in the $300-to-$400 range.
Don’t be too concerned about pinholes or tape stains; collectors usually don’t mind as long as the strip is in reasonably clean condition. Too much dirt or serious smudge marks, however, could easily detract from the strip’s resale price.
Additionally, the artist’s signature and a date on the strip will enhance its value.
There are thousands of collectors competing for original cartoon strips. They have a special place in American history and oftentimes reflect the political and social thinking of the eras in which they were drawn.
Bud Fisher’s “Mutt and Jeff,” first appearing in 1907, is generally credited with being the first daily comic strip in this country. Original Fisher artwork, if it still exists, would easily command upward of $5,000 a strip, according to collectors.
The first comic artwork to appear in the American press, however, is credited to Richard Felton Outcault’s Yellow Kid, which surfaced in the New York Journal on Oct. 26, 1896.
A comic art research and study center in California is available by appointment to serious collectors. Called the San Francisco Academy of Comic Art (in the city’s Sunset District at 2850 Ulloa St.), it’s run by Bill Blackbeard, who has edited about 40 books on the subject. Telephone (415) 681-1737.
Blackbeard cautions comic-art collectors not to get too carried away by the value of original strips, many of which, he says, fall in the $200-to-$300 range.
For example, he said, even the daily strip work of George Herriman’s immortal Krazy Kat still sells in this range, although Herriman’s Sunday panels can sell for up to $1,500. Like Bud Fisher, Herriman’s first drawings appeared, albeit briefly, in 1907.
