Eats

Antique Dr Seth Arnold's COUGH KILLER Open Pontil Bottle Smithfield Rhode Island

ANTIQUE c.1850 DR SETH ARNOLD'S COUGH KILLER AQUA OPEN PONTIL MEDICINE BOTTLE

A wonderful early aqua patent medicine bottle embossed on the two recessed side panels:

DR. SETH ARNOLD'S / COUGH KILLER

This is the desirable early open pontil version, with an open pontiled base over a diagonal hinge line and a thin flared hand-tooled lip. The glass is bright, clean, and shiny with excellent aqua color. It shows lovely annealing pool lines in the glass, not scratches, giving it that crude early character collectors love.

Condition is excellent attic-found condition with no chips, no cracks, no haze, and no damage.

Measures approximately 4 7/8" tall x 1 1/2" wide.

Maker & Location Dr. Seth Arnold was a Rhode Island physician and patent medicine maker associated with Smithfield and later Woonsocket, Rhode Island. Period advertising and later trade cards identify the business as the Dr. Seth Arnold Medical Co. of Woonsocket, R.I. Wellcome dates one Arnold Cough Killer trade card to about the 1880s and notes Arnold as a physician and patent medicine manufacturer from Smithfield, Rhode Island.

Contents & Marketing “Cough Killer” is exactly the kind of bold, dramatic patent-medicine name that sold in the mid-to-late 1800s. It was marketed for coughs, colds, whooping cough, croup, asthma, pneumonia, and other respiratory complaints. Later advertising leaned heavily on testimonials, family safety, children’s imagery, and the idea that the product “worked like magic.”

The uncomfortable but historically important part: later analysis of Dr. Seth Arnold’s Cough Killer identifies morphine as the active ingredient, which explains why many 19th-century cough remedies seemed so effective before drug labeling laws existed.

Life During The Period Around 1860, America was moving fast and fraying badly. Railroads and telegraphs were shrinking distance. Gas lighting, factory production, and machine-made goods were transforming daily life. Medicine, though, was still a rough frontier: germ theory was not yet broadly accepted, anesthesia was relatively new, and patent medicines were sold with sweeping promises and secret formulas.

Politically, this bottle belongs right on the edge of the Civil War era. If dated around 1860-1865, it was made during the same years the country was splitting apart, soldiers were marching, and families were treating coughs, fevers, dysentery, and pain with remedies whose ingredients were often undisclosed.

Smithfield lines up better with a c.1850s-60s open-pontil bottle.

Reason: Woonsocket as a formal town/city identity is a little later. Woonsocket was set off as its own town in 1867, expanded in 1871, and incorporated as a city in 1888. So for an early pontiled bottle around 1855-1865, Smithfield, Rhode Island is the cleaner historical fit.

Woonsocket lines up better with the later Dr. Seth Arnold Medical Co. era, especially the 1870s-1880s trade cards and advertising. Wellcome’s later Cough Killer trade card identifies the company as Woonsocket and dates that ephemera to the 1880s.

Antique Ornate Decorative Victorian Book 1886 Museum Of Antiquity Gilt Leather

1886 MUSEUM OF ANTIQUITY YAGGY HAINES ANCIENT LIFE ILLUSTRATED GILT LEATHER

This is Museum of Antiquity: A Description of Ancient Life, by L. W. Yaggy and T. L. Haines, published in 1886 by Law, King & Law / Western Publishing House, Chicago. The bibliographic record gives it as a large illustrated volume of xiv + 944 pages with plates, illustrations, and plans, copyright originally dating to 1880, with earlier editions/printings appearing before this 1886 issue. So: precise date for this copy is 1886.

This was the kind of enormous late-Victorian “parlor education” book meant to sit on a table and make a household look learned before anyone even opened it. The contents cover Pompeii, Roman domestic life, amusements, utensils, Troy, Nineveh and Babylon, mythology, fine arts, literature, tombs, catacombs, and “truth of the Bible.” It is basically a 19th-century illustrated museum between boards—heavy, dramatic, and wildly Victorian.

About the authors / publisher:Levi W. Yaggy was a Chicago author, publisher, businessman, inventor, and educational-chart maker. Western Publishing was known as a subscription-book publisher, meaning books like this were often sold directly rather than as ordinary bookstore stock—door-to-door culture with gilt edges, big promises, and enough visual drama to stop Aunt Martha mid-tea.

Binding / appearance:Large Victorian hardcover in a deluxe decorative binding with pebbled dark brown boards, raised/embossed floral and geometric decoration, and gilt lettering on both cover and spine. The illustrated title, spine stamping, and inner gilt dentelle-style border give it excellent shelf appeal. Comparable descriptions note half leather, gilt-stamped decoration, marbled edges/endpapers, steel-engraved plates, and many in-text illustrations.

Antique #8 Single Notch Cast Iron Chicken Fryer DEEP Braising Skillet Pan Pot

ANTIQUE NO. 8 SINGLE NOTCH CAST IRON CHICKEN FRYER DEEP SKILLET HEAT RING

Estimated Date: c. 1920s-1940s Maker: Unmarked Size: No. 8 Measurements: 10.25" W x 3" T Weight: 5.10 lbs Movement: About a 1 business card wobble on a glass surface

Great old unmarked No. 8 cast iron chicken fryer / deep skillet with tall 3" sides and a heat ring with a single notch. This is the deeper, more useful form collectors and cooks like: big enough for frying chicken, braising, shallow roasting, cornbread, stews, and everyday stovetop use.

The single-notch heat ring gives it a nice early 20th-century feel without tying it to a specific maker. It has that clean, old working-pan look: simple, heavy, honest cast iron built for real kitchen duty.

Condition

Antique 1880 Gatemark Cast Iron No 7 Round Griddle Skillet Fancy Handle Frontier

ANTIQUE c.1880 GATEMARK CAST IRON NO. 7 ROUND GRIDDLE SKILLET FANCY HANDLE FRONTIER ERA

Estimated Date: c. 1875–1885, best single-date estimate: c.1880.

This is a wonderful late-19th-century cast iron round griddle/skillet, marked “7” on the bottom with a visible gatemark and an elegant open fancy handle. Pieces like this belong to the older world of cast iron, before modern side-gated machine production fully took over. The gate scar across the underside is a beautiful tell: this was poured in an earlier sand mold, finished by hand, and made for a life of hard, practical use.

Details:

Marked 7 on bottom

Early gatemark casting

Fancy open handle

Approx. 9.25" wide x 0.5" tall

Weight: 2.74 lbs

Well seasoned cooking surface

Sits very close to flat, with only a faint wobble corrected by one business card

Nice clean overall presentation

Please note the carbon buildup in the valley of the handle and nearby rim, shown clearly in the photos

This is the kind of pan that feels right at home in the frontier imagination: not a polished showpiece, but a working tool. You can picture it wrapped in cloth and tucked into a saddlebag, riding beside a tin cup, coffee, bacon, cornmeal, and a skinning knife. At camp, it would be pulled out at dusk, set over coals, and used for flapjacks, salt pork, biscuits, or whatever could be made fast before the cold settled in. Cast iron was not romantic then. It was survival gear. That is exactly what gives this one its charm now.

Antique c1890 Hans Andersen's Fairy Tales Ward Lock Ornate Gilded Victorian Book

A beautiful late-Victorian edition of Hans Andersen’s Fairy Tales, published by Ward, Lock & Co., Limited, London, New York and Melbourne. This handsome illustrated hardcover has a wonderful decorative khaki-green cloth binding with gilt titles and striking fairy-tale artwork to both the front cover and spine. The cover art is the star here — very Art Nouveau / late Victorian in feel, with fairies, stars, vines, gilt highlights, and that great fantasy-book presence collectors love.

The title page notes: “With One Hundred Full-page and other Engravings.” The book also includes a biographical introduction, “The Life of Hans Christian Andersen,” followed by a large selection of Andersen’s classic tales. The front endpaper has a period gift inscription dated Xmas 1903, so the book is certainly pre-1903. Undated by the publisher, but best estimated c.1890s.

Includes many beloved tales such as The Fir Tree, The Swineherd, The Emperor’s New Clothes, The Snow Queen, The Ugly Duckling, The Princess and the Pea, Thumbelina, and many more.

Details:

Title: Fairy Tales / Andersen’s Fairy Tales

Author: Hans Christian Andersen

Publisher: Ward, Lock & Co., Limited

Publication Cities: London, New York and Melbourne

Date: Undated, estimated c.1890s; pre-1903 gift inscription

Binding: Original decorated hardcover cloth

Pages: 525 pp.

Illustrations: 100 full-page and in-text engravings

Cover: Gilt titles with illustrated fairy/fantasy decoration to front and spine

Condition:

Good antique condition overall with honest age and wear. Original cloth boards show surface marks, scuffs, scratches, bumped corners, and edge wear. The spine has attractive gilt and illustrated decoration, but the head and tail are worn with fraying, small tears, and cloth loss, especially at the top. Hinges are cracking, binding is shaken, and some page gatherings are beginning to gap. There appears to be an amateur glue repair at the rear hinge.

Interior is generally bright and very readable with light foxing, age toning, occasional marks, smudges, and handling wear. Front endpaper has a period gift inscription dated Xmas 1903. Just a well-loved Victorian fairy-tale book that has clearly been read, gifted, shelved, and survived.

RARE 1840 J P PRESTON Tooled Flared Lip Open Pontil Bottle Boston Massachusetts

c. 1840–1845 PRESTON / BOSTON Embossed Aqua Medicine Bottle

4.75" Early Boston Chemist – Open Pontil - Tooled Lip

If you collect early American glass, you know the feeling. A small, crude bottle that somehow survived the 1840s with its personality completely intact.

This one delivers.

Pale aqua. Embossed at the heel PRESTON on one side and BOSTON on the other. Honest, handmade character everywhere you look.

Variants reads “J. P. Preston.” Earlier examples Read “Preston” — the earliest known form, dating to circa 1840. By 1845, Preston had merged into the firm Preston & Merrill.

Even better — there is period documentation. A notice in the Boston Morning Post, October 17, 1840, names:

“J. P. Preston, Chemist, No. 79 Federal Street, Boston.”

That anchors the Preston name precisely in the era this bottle unmistakably belongs to.

Why This Bottle Feels Early

This is not a later, slick, machine-made druggist bottle. It is beautifully primitive in all the right ways:

Embossed heel: PRESTON / BOSTON

Hand-tooled flared lip — visibly worked, not machine-finished

Open pontil scar on base

Abundant seed bubbles throughout

Vertical striations from drawing and tooling

These are the handmade signatures of early American glassmaking.

Condition

No chips

No cracks

Strong embossing

Long crude glass making lines up the bottom

Faint, uniform, dulliness (Crude glass)

Barely stands on its own (its not the pontil - the base is just that crude); I have since added a felt foot which makes it easily stand upright now.

Honest early manufacturing quirks present (desirable)

A rare survivor that avoided 180+ years of bad luck.

Measurements

Approx. 4.75" tall

Color: pale / light aqua

Boston, Circa 1840 — The World This Bottle Knew

Boston in 1840 stood between candlelight and industry.

The waterfront buzzed with shipping, printers, wholesalers, and chemists supplying everything from inks and acids to medicines and household remedies.

Politics & Public Life The 1840 election season was theatrical and fiercely partisan — the famous “log cabin and hard cider” campaign year. Boston was also a center of abolitionist organizing, reform movements, and public health debate.

Technology & Industry Rail lines were expanding. Steam power was spreading. Gas streetlights were newly illuminating the city. Railroads like the Boston & Lowell and Boston & Worcester were reshaping commerce.

Medicine & Chemistry Pharmacy was transitioning from traditional apothecary practice to emerging chemical science. Regulation was minimal. Reputation mattered. An embossed bottle wasn’t decoration — it was identity and trust.

Historical Perspective — How Old Is 1840?

When this bottle was made:

The U.S. was only 64 years old

George Washington had been dead just 41 years

People still alive remembered the American Revolution firsthand

The USS Constitution was already historic

Electric light was decades away

Railroads were still new

This bottle comes from a Boston that still remembered being British.

That’s founding-generation old.

The Preston Name

The Preston name later appears on embossed bottles reading “Preston & Merrill, Boston,” indicating the continuation of the business into partnership and subsequent generations.

This “PRESTON” only variant predates that merger — placing it firmly in the early 1840–1845 window.

Perfect For

Early Boston history collectors

Antique pharmacy / chemist bottle collectors

Pre-Civil War glass

Embossed Americana

Museum-style display with an 1840s newspaper clipping

Summary

This is not just an early embossed Boston chemist bottle.

It is a pre-Civil War survivor from a city still shaped by Revolution-era memory — complete with open pontil, original cork, and unmistakable early melt character.

Antique 1850 Reed & Cutler Boston Massachusetts Open Pontil Applied Top Bottle

This is a Reed & Cutler / Druggists / Boston open-pontil medicine/apothecary bottle, almost certainly Boston, Massachusetts, made for the Reed & Cutler drug firm.

c. 1848–1851

Why that date fits: the open pontil, heavy whittled glass, aqua color, applied/tooled collar lip, and early cylindrical druggist form all point to the late 1840s–early 1850s. The bottle guide listing for this exact embossing records it as cylindrical, aqua, square collar, open pontil, rare, 8 inches is a nice large example.

The business timeline also lines up tightly. Reed & Cutler were advertising as Reed & Cutler in the late 1840s, the 1850 Boston Almanac lists them at 33 India Street, and by the early 1850s ads appear as Reed, Cutler & Co. at that same address. That makes the plain “Reed & Cutler” embossing feel very much like the c.1848–1851 window.

Maker / Firm

Reed & Cutler were Boston druggists and wholesale dealers/importers, operating right in the city’s commercial waterfront district. Their 33 India Street location placed them among Boston’s drug, paint, oil, chemical, and import trade—exactly the sort of firm that handled medicines, chemicals, dyestuffs, paints, oils, and proprietary remedies.

This was not a little corner cough-drop shop. Period ads describe the firm as importers and wholesale dealers in medicines, paints, chemicals, and dye stuffs, selling through druggists, apothecaries, and country merchants.

Contents & Use

This bottle is embossed simply DRUGGISTS, so it was likely a general Reed & Cutler apothecary/medicine bottle rather than a single named patent medicine bottle. It could have been used for one of their prepared liquids, compounds, tinctures, syrups, or wholesale medicines.

Their best-known associated product was Vegetable Pulmonary Balsam, a cough/lung remedy marketed for coughs, colds, consumption, and diseases of the throat, lungs, and chest. Period ads pushed it hard, warned buyers about counterfeits, and noted that genuine bottles/seals were stamped and carried the signature of Wm. Jonathan Cutler on the label/wrapper.

So: this exact bottle is not embossed “Pulmonary Balsam,” but it comes from the same Boston drug-house world—medicine, patent cures, chemical trade, and pre-Civil War apothecary commerce.

Marketing Angle

This is the era when medicine was part pharmacy, part chemistry, part advertising circus. A firm like Reed & Cutler sold credibility: strong embossed glass, city name, “druggists,” and a clean Boston address. The bottle itself was a receipt, advertisement, and authenticity device all at once. With counterfeits common, embossed glass and branded labels mattered.

The whittling on this one is a major plus. It has that alive, hammered surface collectors love—the bottle looks like it cooled while thinking about the Mexican War, which is more than most of us manage.

Life During the Period

Around 1850, Boston was booming, crowded, and changing fast. Railroads, clipper ships, gas lighting, telegraph lines, and wholesale import houses were transforming commerce. Clean water was a huge civic issue: in 1848, Lake Cochituate water first flowed into Boston Common’s Frog Pond during a major public celebration.

Medicine was in a strange middle ground. Ether anesthesia had just been publicly demonstrated at Massachusetts General Hospital in 1846, one of the biggest medical breakthroughs of the century, but germ theory was not yet fully accepted. Patent medicines, pulmonary balsams, bitters, syrups, tonics, and “restoratives” filled the shelves.

Politically, Boston was a hotbed of abolitionism, reform, immigrant tension, and antebellum conflict. Irish famine immigration surged from 1846–1852, making Boston more crowded, more Catholic, more working-class, and more politically tense.

Big Boston Events of the Decade

Major Boston-area events right around this bottle’s life:

1846: First successful public surgery using ether anesthesia at Mass General’s Ether Dome. 1848: Boston Public Library established, later becoming the first large free municipal library in the United States. 1848: Cochituate water system reaches Boston, a huge improvement in public water supply. 1846–1852: Irish famine immigration reshapes Boston. 1854: Anthony Burns fugitive-slave case explodes in Boston, drawing national attention and intensifying abolitionist resistance.

Condition

No chips

No cracks

No scratches noted

Strong embossing

Heavy whittling

Pronounced open pontil

Applied/tooled lip

8 inches tall

Antique 1880 Gatemark Cast Iron Round Griddle Skillet Fancy Handle Frontier Era

ANTIQUE c.1880 GATEMARK CAST IRON ROUND GRIDDLE SKILLET FANCY HANDLE FRONTIER ERA

Wonderful early American cast iron round griddle / shallow skillet, dating most likely to c. 1880, with a broader working range of about 1870–1890. The key clue is the bold gatemark on the underside: an early casting feature left where molten iron entered the sand mold. By the late 1800s, most larger makers were moving away from bottom-gated casting, so this has that older, pre-modern foundry feel.

This piece measures 8.5" wide and about 0.5" tall, weighing 2.08 lbs. It has a shallow cooking surface, raised rim, bottom heat ring, and a very attractive fancy pierced handle with a long teardrop opening. No visible maker’s mark, which is typical of many utilitarian 19th-century foundry pieces.

Condition is honest and appealing. The cooking surface presents nicely with a dark seasoned surface and is surprisingly smooth for this era of cookware. There is approximately a 2 business card wobble, so it is not dead flat, but still displays beautifully and has the right old-world character.

Why It’s Special: This is not a slick factory skillet from the 1920s. This is earlier and more atmospheric: hand-poured sand cast iron from the era when cookware was expected to travel, work, and survive. The low, round form would have been perfect for cakes, cornmeal, biscuits, bacon, flatbread, or coffee-camp cooking over a stove plate, hearth, or open coals.

You can almost see it lashed to a saddle roll or packed in a chuck wagon: a cowboy or settler stopping at dusk, unstrapping the bedroll, setting this little iron griddle over coals, and frying whatever supper could be made from flour, salt pork, beans, or cornmeal. This is the kind of practical iron that belonged to cabins, camps, rail crews, homesteads, and frontier kitchens before convenience had a plug.

Life Around c.1880: This was the age of railroads, telegraph lines, kerosene lamps, wood and coal stoves, and westward expansion. Medicine was just beginning to accept germ theory and antiseptic practice, but patent medicines were still everywhere. Politically, America was rebuilding after the Civil War, the frontier was closing in real time, and the cattle-drive era was reaching its last great chapter. In the kitchen, though, cast iron was still king: durable, repair-free, and ready for hard daily use.

Antique Emerson & Co Rochester New Hampshire Hutter NY Blob Top Blobtop Bottle

Wonderful antique Emerson & Co. Bottlers bottle from Rochester, New Hampshire, dating to approximately c.1902–1904. This is a tall aqua blob-top bottle with beautiful flowing script embossing across the front and “REGISTERED” embossed around the lower body. The base is embossed “Karl Hutter New York,” tying it to the well-known Hutter bottlers’ supply / stopper system used on late 19th and early 20th century beer, soda, mineral water, and carbonated beverage bottles.

The front reads:

Emerson & Co. Bottlers Rochester, N.H.

A terrific New Hampshire local bottling piece with great visual appeal. The script embossing is especially attractive — elegant, proud, and very turn-of-the-century. This would have been a returnable commercial bottle, likely used for beer, mineral water, soda, or similar carbonated beverages sold locally around Rochester.

E.W. Emerson & Co. had roots in the Rochester drug trade before appearing as bottlers in the early 1900s. In 1904, Emerson & Co. was recorded as bottling beer and mineral waters, and the business was soon after sold to Cocheco Bottling Co., giving this bottle a short and desirable production window.

Rochester at the time was a busy industrial New Hampshire city, filled with shoe factories, woolen mills, machine shops, rail traffic, hotels, storefronts, and working-class neighborhoods. By the late 1890s, the city was bustling with industry and served by multiple railroads. This bottle belongs right in that world — a local returnable bottle from the age of factory whistles, horse carts, corner druggists, depot hotels, and carbonated drinks sealed under pressure.

Condition

Excellent antique condition.

Bright, clean, shiny aqua glass. No chips, no cracks, no haze, no stain, and no case wear. Strong attractive embossing. Beautiful clarity and display presence. Blob-top lip is intact. Base is embossed Karl Hutter New York. Overall a very clean, attic-mint example.

Measurements

Approximately 9.5 inches tall.

Summary

Antique Cast Iron Chicken Fryer DEEP 3.25" Braising Skillet Pot Pan DEAD FLAT

Excellent vintage cast iron chicken fryer / deep skillet with a continuous single heat ring, high walls, pour spouts, and a beautifully usable cooking surface. This is the kind of deep pan people actually hunt for: enough depth for frying chicken, potatoes, chops, cornbread, braising, camp cooking, and all the good dangerous bubbling business.

The cooking surface is silky smooth with a strong seasoned feel and only normal light utensil marks from age and use. It sits dead flat on a glass surface with no spin, wobble, or correction needed. Nice honest vintage character throughout, with the expected minor casting texture/seasoning variation visible in the photos.

Details:

Vintage cast iron chicken fryer / deep skillet

Approx. 10.75" wide

Approx. 3.25" tall

Weight: 6.06 lbs

Continuous single heat ring

Deep sidewalls with pour spouts

Silky smooth cooking surface

Dead flat on glass

Antique 1952 Rookwood 2592 Cattail Cat Tail Art Pottery Vase Green Glazed

1952 ROOKWOOD 2592 CATTAIL ART POTTERY VASE GREEN GLAZE 5 IN

Description A beautiful vintage Rookwood Pottery cattail vase, shape 2592, dated 1952 by the impressed LII Roman numeral mark on the base.

This is a lovely small art pottery piece with raised cattails/reeds wrapping around the body, finished in a deep green glaze with lighter highlights over the raised stalks and seed heads. The glaze has that rich, watery Rookwood depth, with attractive age crazing visible in the clear glaze. It gives the piece real character without looking dirty or neglected.

Measures approximately 5" tall x 2.25" wide.

Antique 1880 J.S.P. Joseph S Pedersen Hoff’s Malt Extract Bottle New York NY NYC

Antique c.1880 J.S.P. Joseph S. Pedersen Hoff’s Malt Extract Teal Medicine Bottle

A handsome late-19th-century J.S.P. monogram malt extract / medicinal tonic bottle, made for Joseph S. Pedersen of New York, New York. This is the classic tall, dark teal-green form associated with Hoff’s Malt Extract, a Victorian-era malt tonic marketed as both a healthful medicinal preparation and a nourishing table beverage.

The bold intertwined J.S.P. monogram on the front identifies the bottle with Joseph S. Pedersen, who was connected with the New York agency/distribution of Johann Hoff’s Malt Extract. Period advertising references these distinctive green bottles with the J.S.P. monogram blown into the glass, explaining why surviving examples are so consistent in size, shape, and color.

Date: c.1880 Manufacturing range: approximately c.1870–1885 City/State: New York, New York Proprietor/Distributor: Joseph S. Pedersen Product: Hoff’s Malt Extract medicinal tonic

Hoff’s Malt Extract belonged to the fascinating 19th-century world where medicine, nutrition, and beer-like malt beverages overlapped. It was advertised as a strengthening tonic for weakness, digestion, dyspepsia, coughs, hoarseness, chest and stomach complaints, constipation, and general convalescence. Products like this were marketed as restorative, nourishing, and respectable — the sort of Victorian “health drink” that could sit comfortably on the pharmacy shelf while still carrying the character of a malt beverage.

The bottle measures approximately 9 inches tall and has a smooth base with a tooled/applied-style top. The glass is a rich dark teal color with attractive antique character. Strong front monogram and excellent display presence.

Condition: Clean and attractive overall. Smooth base. Strong J.S.P. monogram. There is a small scratch to the lower left of the slug plate. At the upper right of the slug plate is a long hair-like slug-plug/mold blemish consisting of extra glass from manufacture; this is not a crack or scratch. Tiny flea bite to the lip. No major damage noted. Displays beautifully.

Antique Kennedy's Salt Rheum Ointment Open Pontil Jar Bottle Roxbury Massachsset

Antique Dr. Kennedy's Salt Rheum Ointment Open Pontil Medicine Jar Bottle c.1848-1855 Attic Mint

Few surviving American medicine containers capture the charm of the pre-Civil War era quite like this outstanding Dr. Kennedy's Salt Rheum Ointment jar. Standing approximately 3 1/2 inches tall, this beautifully proportioned aqua glass ointment jar features a rolled hand-finished lip, wide-mouth opening, and a bold open pontil scar—all unmistakable hallmarks of American glassmaking during the late 1840s through the mid-1850s.

Unlike the taller patent medicine bottles commonly encountered, this squat, wide-mouth form was designed specifically for ointments and salves. Its primitive proportions, thick hand-blown glass, and bold embossing give it exceptional shelf presence.

Finding one is difficult.

Finding one in this condition is exceptionally rare.

History

This jar was manufactured approximately 1848-1855, during the closing years of the open pontil era in American glassmaking. Every example was individually blown by hand, removed from the blowpipe, and finished by a skilled glassworker before molds and fully mechanized production transformed the industry.

The embossed product, Dr. Kennedy's Salt Rheum Ointment, belongs to the fascinating world of early proprietary medicines—an era when physicians and entrepreneurs developed, bottled, and sold their own remedies decades before federal regulation of medicines.

Unlike many medicines of the period that relied solely on fragile paper labels, this jar was permanently embossed in the mold, allowing customers to recognize the product long after the label had disappeared.

Today, embossed pontiled ointment jars rank among the most desirable forms of early American medicine bottles.

Probable Place of Origin

Although this jar is embossed only "DR. KENNEDY'S SALT RHEUM OINTMENT" and does not identify a city, the strongest surviving evidence points toward Roxbury, Massachusetts (now part of Boston).

During the early 1850s, Donald Kennedy was actively manufacturing and advertising proprietary medicines from Roxbury, with documented advertisements appearing by 1854. His remedies focused heavily on chronic skin diseases, "humors," scrofula, and related conditions—the same class of ailments treated by Salt Rheum ointments.

While no surviving advertisement has yet been discovered specifically for Dr. Kennedy's Salt Rheum Ointment, collectors generally consider Roxbury (Boston), Massachusetts to be the most plausible place of manufacture based upon the timing, product type, and documented history of Donald Kennedy's medical practice.

Accordingly, this jar is best attributed as:

Probable Origin: Roxbury (Boston), Massachusetts Date: Circa 1848-1855

Because the bottle itself omits a city designation, this attribution should be considered a well-supported collector's opinion rather than a documented fact.

What Was Salt Rheum?

"Salt Rheum" was the nineteenth-century term for a wide variety of persistent skin disorders, including:

• eczema

• psoriasis

• dermatitis

• fungal infections

• severe dry skin

• chronic itching and inflammation

Victorian physicians generally believed these conditions resulted from impurities in the blood or imbalances within the body.

Topical ointments such as this were rubbed directly onto affected skin several times daily and represented one of the most common forms of home treatment.

Typical ingredients used in Salt Rheum ointments of the period often included:

• sulfur

• beeswax

• pine tar

• tallow or lard

• camphor

• zinc oxide

• herbal extracts

Some preparations also contained lead or mercury compounds—ingredients now known to be hazardous but widely accepted by nineteenth-century medicine.

Marketing

Before modern pharmacies and national drug companies, physicians frequently compounded and marketed their own proprietary remedies.

Embossing the bottle itself served several important purposes:

• permanent advertising

• prevented confusion with competitors

• reinforced customer recognition

• discouraged counterfeiters

Customers often returned with their empty jars for refilling, making these heavy embossed containers an important part of the doctor's business.

Products claiming to cure stubborn skin diseases were enormously popular throughout the mid-1800s, when effective dermatological treatments were virtually nonexistent.

About the Bottle

Collectors appreciate this example for nearly every characteristic associated with early American glassmaking.

Highlights include:

• Genuine open pontil scar

• Beautiful rolled hand-finished lip

• Early wide-mouth ointment form

• Rich aqua glass

• Strong, deeply struck embossing

• Thick hand-blown construction

• Compact, squat proportions unique to ointment jars

• Bright untouched attic surface

Its short, broad profile immediately distinguishes it from the taller medicine bottles typically found from the same era and makes it an especially attractive display piece.

Life in America (1848-1855)

This bottle was made during one of the most transformative decades in American history.

Railroads were rapidly expanding across the country while steamboats remained the backbone of inland transportation. Samuel Morse's telegraph was revolutionizing communication, allowing news to travel across hundreds of miles in minutes instead of weeks.

Medicine was still practiced without modern scientific understanding. Germ theory had yet to be accepted, antiseptic surgery was unknown, and physicians relied upon herbal preparations, bloodletting, poultices, liniments, and proprietary medicines like this ointment to treat countless ailments.

Politically, the nation was becoming increasingly divided. The aftermath of the Mexican-American War, the Compromise of 1850, the Fugitive Slave Act, and the fierce national debate over slavery were steadily pushing America toward the Civil War.

Boston & Roxbury During the 1850s

If this attribution is correct, this jar originated from one of America's great centers of medicine and commerce.

During the 1850s, Boston was among the nation's leading medical cities, home to hospitals, physicians, pharmacists, publishers, and rapidly growing pharmaceutical businesses. Roxbury, then an independent city before its annexation to Boston in 1868, was developing into a thriving residential and commercial community connected to Boston by horse-drawn street railways and expanding industry.

The decade saw continued growth fueled by immigration, manufacturing, and trade. Boston's waterfront bustled with ships carrying goods from around the world, while nearby glasshouses, printing shops, and medicine manufacturers supplied products throughout New England and beyond.

It was an ideal environment for entrepreneurial physicians like Donald Kennedy to build successful proprietary medicine businesses.

Condition

An exceptional survivor.

• Approximately 3 1/2 inches tall

• Attic mint

• Bright, crystal-clear, glossy glass

• No chips

• No cracks

• No haze

• No ghosting

• Strong, bold embossing

• Beautiful rolled lip

• Crisp open pontil scar

This is exactly the kind of untouched surface collectors hope to find. It has escaped the staining, sickness, and damage that plague so many early pontiled medicines.

Vintage Yamaha Stereo Receiver Reciever TESTED Digital Optical Coaxial PHONO

Yamaha HTR-5280 Natural Sound A/V Receiver c.2000–2001 – Tested Working – 100W x 5 – Phono – Optical – DTS – Dolby Digital – Made in Malaysia

A Premium Yamaha from the Golden Age of Home Theater

Before streaming boxes and disposable electronics, Yamaha was building receivers that were designed to be the heart of an entire entertainment system. The HTR-5280 is a wonderful example from that era—substantial, beautifully engineered, and packed with more connectivity than many modern receivers costing considerably more.

This receiver comes from Yamaha's respected Natural Sound line, a philosophy focused on reproducing music exactly as it was recorded, without artificial coloration. Built in Malaysia during one of Yamaha's strongest manufacturing periods, these receivers developed a reputation for excellent reliability, impressive build quality, and outstanding sound.

This example has been cleaned, fully tested, and is working properly. The display is bright and crisp, every control responds correctly, and it presents very well with only light cosmetic signs of normal ownership.

Condition

Fully tested and working

Clean inside and out

Bright fluorescent display

Strong, quiet output

All front panel buttons functioning

Smooth volume control

Clean speaker terminals

A very handsome, well-cared-for example.

See finger point pics for any cosmetic blemishes.

Yamaha's Famous "Natural Sound"

For decades Yamaha pursued a simple goal—build amplifiers that reproduce music naturally, rather than altering it.

The HTR-5280 delivers exactly that:

Clean, detailed highs

Tight, controlled bass

Excellent stereo imaging

Wide dynamic range

Extremely low distortion

Powerful, effortless presentation

Whether driving efficient bookshelf speakers or larger floor-standing models, this receiver has the power reserves to remain clean even at higher listening levels.

Digital ToP-ART Construction

One of the first things you'll notice on the front panel is Yamaha's Digital ToP-ART badge.

ToP-ART stands for:

Total Purity Audio Reproduction Technology

This engineering philosophy incorporates:

Symmetrical internal layout

Short audio signal paths

Reduced vibration

Lower electrical noise

Improved channel separation

Combined with Yamaha's 32-Bit Cinema DSP processor and 96kHz / 24-Bit DAC, the HTR-5280 delivers a level of refinement that still impresses today.

A Receiver That Connects to Practically Everything

Turn this receiver around and you'll immediately understand why vintage Yamaha receivers remain so desirable.

The rear panel is an absolute crossroads of connectivity, providing nearly every audio and video connection available at the turn of the millennium.

Unlike many modern receivers that rely almost entirely on HDMI, the HTR-5280 was designed to integrate an entire collection of equipment.

Digital Connections

An impressive array of digital inputs includes:

6 Optical Toslink inputs

2 Digital Coaxial inputs

Optical Digital Output

Perfect for connecting:

CD players

DVD players

Digital cable boxes

Satellite receivers

MiniDisc recorders

Modern televisions with optical output

Music streamers

Eight digital inputs was exceptional for its day—and remains impressive even now.

Analog Audio Inputs

Dedicated inputs include:

Phono

CD

DVD

CD Recorder

MD/Tape

TV/LD

Cable/Satellite

VCR 1

VCR 2/DVR

Plus recording outputs for multiple devices.

Whether your collection includes cassette decks, MiniDisc, CD changers, or vintage audio equipment, this receiver is ready.

A Real PHONO Input

Vinyl lovers will appreciate the built-in Moving Magnet (MM) phono stage.

Simply plug your turntable directly into the receiver—no external preamp required.

A dedicated phono input has become increasingly rare on modern receivers and remains one of the HTR-5280's most desirable features.

Video Switching

This receiver was built during the transition from analog to digital video and includes nearly every format of the era:

Component Video

Composite Video

S-Video

Making it an excellent centerpiece for:

DVD players

LaserDisc

VHS

Retro gaming consoles

Classic media collections

Expansion & Preamp Outputs

The HTR-5280 offers tremendous flexibility with:

Main pre-outs

Center pre-out

Surround pre-outs

Dedicated powered subwoofer output

Zone 2 audio output

6-Channel Direct Input

Perfect for:

Adding external amplifiers

SACD/DVD-Audio players

Powered subwoofers

Multi-room listening

Heavy-Duty Speaker Connections

Robust binding posts accommodate:

Bare speaker wire

Banana plugs

Spade connectors

Supports:

Front A speakers

Front B speakers

Center

Surround speakers

A rear-panel impedance selector allows proper matching with a variety of speaker loads—a thoughtful feature seldom found today.

Additional Features

Dolby Digital

DTS Digital Surround

Yamaha Cinema DSP

Silent Cinema headphone processing

Processor Direct mode

Bass Extension

AM/FM tuner

Dual switched AC convenience outlets

Specifications

Model: Yamaha HTR-5280 Natural Sound A/V Receiver

Production: c.2000–2001

Country of Manufacture: Malaysia

Power Output

100 watts per channel into 8Ω (Stereo)

100W Front

100W Center

100W Rear

Frequency Response

10 Hz – 100 kHz

Total Harmonic Distortion

0.04%

Damping Factor

80

Input Sensitivity

2.5 mV (MM Phono)

150 mV (Line)

Signal-to-Noise Ratio

96 dB (Line)

Channel Separation

55 dB (MM)

45 dB (Line)

Output Level

150 mV (Line)

2.57V (Pre-Out)

Speaker Load Impedance

4Ω minimum (selectable via rear impedance switch)

Digital Inputs

6 Optical Toslink

2 Digital Coaxial

Digital Output

Optical (MD/Tape)

Video Connections

Component Video

Composite Video

S-Video

Audio Connections

MM Phono Input

CD

DVD

CD-R

MD/Tape

TV/LD

Cable/Satellite

VCR 1

VCR 2/DVR

6-Channel Direct Input

Outputs

Main Pre-Out

Center Pre-Out

Surround Pre-Out

Powered Subwoofer Pre-Out

Zone 2 Output

Monitor Output

Digital Processing

32-Bit Cinema DSP LSI

96kHz / 24-Bit DAC

Surround Formats

Dolby Digital

DTS Digital Surround

Dolby Pro Logic

Yamaha Cinema DSP

Power Consumption

260 Watts

Dimensions

17.1" × 6.7" × 17.0"

(435 × 171 × 431.5 mm)

Weight

33 pounds (15 kg)

Why Enthusiasts Still Love These

The HTR-5280 comes from an era when receivers were built to be long-term investments rather than disposable electronics. Weighing over 33 pounds, its substantial chassis, quality power supply, discrete amplifier design, and impressive connectivity reflect a level of engineering that's increasingly uncommon.

It effortlessly bridges the worlds of vintage and modern audio. Hook up your cherished turntable, connect a CD player via optical, add a powered subwoofer, run retro gaming consoles through S-Video or component video, or build a full 5.1 surround system—all from one beautifully constructed receiver.

Vintage KONES OK-3 Super Digital Karaoke Amplifier Powerful 300W SRS

KONES OK-3 Super Digital Karaoke Amplifier – Tested • Powerful 300W Unit • SRS • Key Control • XLR • Made for Serious Karaoke Systems

Not your average lightweight karaoke box.

The KONES OK-3 was built during the golden age of dedicated home and commercial karaoke systems, when manufacturers designed equipment to survive years of parties, restaurants, lounges, and karaoke bars—not to be replaced every few years. The first thing you'll notice is the weight. This is a substantial, full-size component with a large internal power supply, generous heat sinking, and solid construction throughout. It feels like a serious piece of audio equipment because it is.

Unlike many modern all-in-one karaoke machines that rely on tiny Class-D amplifier modules and lightweight switching power supplies, the OK-3 was designed with real headroom for demanding vocal performances. Its 300-watt power consumption reflects a robust amplifier platform capable of delivering clean, authoritative sound while powering full-size speakers with ease.

Features

Tested and fully functional

Bright fluorescent digital display

Large smooth master volume control

Three independent microphone inputs with individual volume controls

Key Control (pitch adjustment)

Adjustable Echo and Delay effects

Independent microphone bass and treble controls

Music bass and treble controls

Left/Right balance adjustment

SRS sound enhancement processing

Multiple stereo RCA inputs (LD, VCD, AUX)

Stereo RCA Line Out

Professional balanced XLR stereo inputs and outputs

Heavy-duty speaker binding posts

Condition

This amplifier has been fully tested and performs exactly as it should.

It has also been carefully cleaned and presents very well. The front panel is exceptionally nice, with crisp lettering, a bright display, smooth controls, and clean buttons. The cabinet shows only light cosmetic wear consistent with normal use, but nothing that detracts from its appearance or performance.

Overall, this is a very respectable example that's ready to plug in and enjoy.

Why This One Stands Out

Karaoke systems from this era developed a loyal following because they simply don't build many consumer units like this anymore. Modern budget karaoke amplifiers are often light enough to pick up with one hand, while the KONES has the reassuring heft of a traditional hi-fi component. That extra weight comes from the substantial transformer, larger power supply, and more robust construction—not just empty metal.

If you're looking for a serious karaoke amplifier with classic late-1990s/early-2000s styling, professional balanced connections, extensive vocal controls, and a build quality that stands apart from today's inexpensive alternatives, the KONES OK-3 is an excellent choice.

Specifications

Model: KONES OK-3

Type: Super Digital Karaoke Amplifier

Power Requirement: 120V AC, 60Hz

Power Consumption: 300 Watts

Channels: Stereo (2-Channel)

Sound Processing: SRS® Surround Sound Enhancement

Microphone Inputs: 3 Front-Panel 1/4" Inputs

Microphone Controls: Independent Volume Controls for Each Mic

Vocal Effects: Adjustable Echo & Delay

Vocal Tone Controls: Microphone Bass & Treble

Music Tone Controls: Bass & Treble

Balance Control: Left / Right

Key Control: Adjustable Pitch (Key Shift)

Audio Inputs (RCA):

LD (LaserDisc)

VCD

AUX

Balanced Audio: Stereo XLR Inputs & Stereo XLR Outputs

Line Output: Stereo RCA

Speaker Outputs: Heavy-Duty Binding Posts

Display: Large Fluorescent Digital Display

Master Volume: Oversized Precision Control Knob

Cooling: Full-Length Ventilated Steel Chassis

Construction: Heavy-Duty Steel Cabinet with Brushed Aluminum Front Panel

Color: Black with Gold Accents

Made For: Home Karaoke, Karaoke Bars, Lounges, Clubs, Restaurants, DJs, and PA Applications

Condition

This KONES OK-3 is used, fully tested, and working properly. The amplifier powers on, the fluorescent display is bright and the controls, inputs, microphone functions, and amplifier output all perform as intended.

The front panel retains crisp lettering and all original knobs and buttons. There are a few light cosmetic scuffs on the faceplate, most noticeable to the left of the master volume knob (see photos), along with normal signs of careful use expected from a vintage component.

The steel top cover has some light surface oxidation/cosmetic rust spotting, particularly across the vented top panel. This is cosmetic only and does not affect performance or structural integrity. The remainder of the cabinet shows typical light wear from age and use with no significant dents or abuse.

Please Note:

No microphones are included.

This amplifier uses the older-style 1/4" (6.35mm) microphone plugs, not the smaller 3.5mm connectors found on many modern karaoke systems. Most professional and vintage karaoke microphones will plug in directly, while newer microphones may require an adapter depending on the connector type.

Antique Stillson # 6 Pipe Wrench Erie PA Original Green Handle Early Adjustable

This is a very nice example of a Stillson No. 6 pipe wrench, made by Stillson Wrench & Tool Works, Erie, Pennsylvania, U.S.A. It's one of the better-looking survivors I've seen, especially with the original green japanned handle still largely intact.

What you've got

Maker: Stillson Wrench & Tool Works

Model: No. 6

Length: Approximately 10–11 inches

Patent Type: Classic Stillson self-tightening pipe wrench

Made in: Erie, Pennsylvania, USA

Date: c. 1910–1925

The early logo reading:

STILLSON WRENCH & TOOL WORKS ERIE, PA. U.S.A.

is one of the more desirable markings. Later examples often simply read "Stillson" or were made after ownership changes.

Why the Stillson was revolutionary

This wasn't just another wrench.

The Stillson wrench, invented by Daniel C. Stillson in 1869, completely changed plumbing and pipe fitting.

Its genius lies in the pivoting upper jaw.

The harder you pull...

the harder it bites.

Instead of slipping like a monkey wrench, the angled jaw cams into the pipe, making it ideal for threaded iron pipe.

Nearly every modern pipe wrench still uses this exact principle over 150 years later.

About the company

Stillson licensed his invention to the Walworth Manufacturing Company, who became enormously successful producing these wrenches.

Later, manufacturing expanded under the Stillson Wrench & Tool Works name in Erie, Pennsylvania, producing millions of pipe wrenches for:

plumbers

steamfitters

railroads

shipyards

factories

municipal water works

oil fields

Erie became one of America's major industrial tool-making cities during the late 19th and early 20th centuries.

Construction quality

This is why collectors appreciate these older ones.

Notice:

forged steel jaws

machined sliding rack

deeply knurled adjustment wheel

forged pivot

heavy casting

original japanned green handle

crisp stampings

Everything about it was built for decades of daily professional use.

Modern imported pipe wrenches often use powdered metal or lower-grade castings. These early American-made Stillsons were overbuilt by comparison.

Condition

Excellent vintage condition.

Pros:

Original jaw teeth remain sharp.

Rack teeth show minimal wear.

Adjustment wheel appears smooth.

Original green japanning survives very well.

Stampings are exceptionally crisp.

No cracks or repairs visible.

Historical context (1910–1925)

When this wrench was likely made:

Cities were replacing wooden water mains with steel pipe.

Indoor plumbing was becoming standard in American homes.

Steam heating systems were exploding in popularity.

Skyscrapers required miles of threaded pipe.

The Panama Canal had just opened.

The First World War created enormous demand for American industrial tools.

Electricity was rapidly replacing gas lighting.

America's factories were becoming mechanized at an unprecedented pace.

A wrench like this would have been right at home in a boiler room, locomotive shop, shipyard, or plumbing contractor's toolbox.

Collector appeal

Collectors appreciate these because:

Early Erie marking.

Original paint.

Attractive compact size.

Nice crisp logo.

Functional mechanical action.

Excellent display piece.

Antique Richardson Bitters Bottle South Reading Massachusetts Pontil Wakefield

ANTIQUE S. O. RICHARDSON'S BITTERS SOUTH READING, MASSACHUSETTS OPEN PONTIL MEDICINE BOTTLE c.1858–1862 CIVIL WAR ERA

This is one of those bottles that immediately commands attention.

Standing 6.75 inches tall, this substantial New England bitters bottle has everything collectors hope to find in an early medicinal bottle: an open pontil scar over a diagonal hinge mold line, a thick hand-applied lip, bold embossing, heavy orange-peel texturing, abundant glass impurities, and wonderfully crude manufacture from top to bottom. It has that unmistakable "alive" appearance only found in hand-blown glass of the late 1850s.

The bottle positively oozes early glass character.

Condition

A beautiful attic-fresh survivor.

Bright, clean, and shiny.

No chips or cracks.

Tiny scuff line along one shoulder (shown in photographs).

Fine patch of light hairline scratches near the heel on one side.

Heavy orange-peel texture throughout.

Numerous seed bubbles and natural glass impurities.

Strong embossing with excellent eye appeal.

Thick, uneven applied lip.

Open pontil scar over the diagonal hinge mold line.

Excellent overall display condition.

The honest surface wear is minimal and entirely appropriate for a bottle approaching 170 years of age.

About S. O. Richardson

The embossing reads:

S. O. RICHARDSON'S BITTERS SOUTH READING MASS.

Samuel O. Richardson operated in South Reading, Massachusetts—the community that officially became Wakefield in 1868.

Richardson appears to have been one of many New England druggists and proprietary medicine entrepreneurs who marketed bitters during the tremendous "patent medicine" boom of the 1850s. While surviving advertisements are scarce, the bottle itself proves he invested in custom molds, something generally reserved for businesses expecting substantial regional distribution.

What Were Bitters?

Today bitters are associated with cocktails.

During the mid-19th century they were medicine.

Bitters generally combined:

Gentian root

Quassia

Dandelion

Orange peel

Calamus

Cinnamon

Cardamom

Alcohol

Occasionally opium, rhubarb, senna, or other botanicals

They were promoted for:

Dyspepsia

Indigestion

Poor appetite

Liver complaints

Biliousness

General weakness

"Purifying the blood"

Restoring vitality

Alcohol served both as a preservative and as a rapid delivery system for herbal extracts.

Marketing During the Patent Medicine Boom

The late 1850s saw an explosion of proprietary medicines.

Competition was fierce.

Manufacturers relied upon:

Distinctive embossed bottles

Newspaper advertisements

Testimonials

Traveling salesmen

General stores

Apothecaries

Railroad distribution

An embossed bottle like this acted as permanent advertising. Even after the contents were gone, the customer's eye continued seeing the Richardson name sitting on a shelf.

Unlike paper labels, embossing could never peel away.

Dating This Bottle — c.1858–1862

Several manufacturing characteristics narrow this bottle to a surprisingly small production window.

Open pontil

The rough open pontil scar places manufacture before pontil rods disappeared from mainstream American bottle production around the early 1860s.

Diagonal hinge mold

The diagonal hinge mold seam is another hallmark of late-1850s American bottle production.

Thick applied lip

The heavy hand-applied finish predates tooled finishes that became common later in the decade.

Extremely crude glass

The abundant orange peel, whittle, seed bubbles, and uneven surfaces reflect early furnace temperatures and relatively primitive glassmaking methods.

Taken together, the evidence supports a manufacturing date of approximately:

1858–1862

This places the bottle squarely in the opening years of the American Civil War, making it a true Civil War-era medicinal.

Collectors and dealers consistently describe these as crude Civil War-period bitters, with early flared-lip open-pontil examples recognized as the earliest variant.

Life in America During This Period

Owning this bottle meant living during one of the most turbulent times in American history.

Technology

Railroads rapidly connected New England cities.

Telegraph lines spread news almost instantly.

Steam-powered factories transformed manufacturing.

Coal gas lighting illuminated urban streets.

Photography became increasingly common.

Sewing machines revolutionized clothing production.

Medicine

Doctors still lacked:

Antibiotics

Germ theory

Sterile surgery

Modern anesthesia beyond ether and chloroform

Patent medicines filled the gap, promising cures for nearly every ailment.

Politics

America stood on the edge of civil war.

Major events included:

Dred Scott decision

John Brown's raid on Harpers Ferry

Election of Abraham Lincoln in 1860.

Secession of Southern states.

Outbreak of the American Civil War.

This bottle was likely sitting on a pharmacy shelf while these historic events unfolded.

South Reading During the 1850s–1860s

South Reading was transitioning from a small agricultural community into an active manufacturing town.

Industries included:

Shoe manufacturing

Tanning

Carriage making

Textile work

Lumber mills

The arrival of the railroad strengthened commerce and made proprietary medicines like Richardson's Bitters practical to distribute beyond the local community.

In 1868, shortly after this bottle's production period, South Reading officially changed its name to Wakefield, largely to avoid confusion with the nearby town of Reading and to honor local benefactor Cyrus Wakefield.

Why Collectors Love This Bottle

This bottle checks nearly every box sought by serious early bottle collectors:

Early Civil War-era manufacture.

Open pontil.

Diagonal hinge mold.

Heavy embossed lettering.

Large, impressive size.

Remarkably crude glass.

Orange-peel texture.

Strong hand craftsmanship.

Massachusetts proprietary bitters.

Scarcer than most commonly encountered bitters.