Beer In Ads #1927: Seattle — “Planning The New Rig”


Monday’s ad is entitled Seattle — “Planning The New Rig,” and the illustration was done in 1951 by Douglass Crockwell. It’s #58 in a series entitled “Home Life in America,” also known as the Beer Belongs series of ads that the United States Brewers Foundation ran from 1945 to 1956. In this ad, similar to the one titled “St. Louis,” a home overlooking the water with boats in the distance is entertaining guests. The man of the house is showing off his plans for his own boast that he hopes one day to be sailing in Puget Sound. Behind him, his wife is holding his captain’s jacket — I think — or perhaps it’s one of the guests. Either way, she seems to be looking at it in astonishment. The man in the captain’s hat is smiling, grinning really, but the women seem to view the jacket with more of a “what the hell are you thinking” vibe.

058. Planning the New Rig by Douglass Crockwell, 1951

Historic Beer Birthday: John Gilroy

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Today is the birthday of John Gilroy (May 30, 1989-April 11, 1985). While not a brewer or even brewery owner, he was nonetheless at least partially responsible for the success of Guinness with his iconic advertising that he created for them beginning in 1928.

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Here’s his entry from Wikipedia.

“Born in Whitley Bay, Northumberland, England, Gilroy attended Durham University until his studies were interrupted by World War I, during which he served with the Royal Field Artillery. He resumed studying at the Royal College of Art in London, where he remained as a teacher. He taught at Camberwell College of Arts.

In 1925, he gained employment at S.H. Benson’s advertising agency, where he created the iconic advertisement art for Guinness featuring the Zoo Keeper and animals enjoying Guinness. He worked with Dorothy L. Sayers. He was also an accomplished portrait painter, numbering Royalty, Politicians, Actors and many others amongst his sitters. He worked in his large studio at 10 Holland Park, London, the former home and studio of Sir Bernard Partridge. He was a long-standing and much loved member of the Garrick Club, where he was created a Life Member and Chairman of the Works of Art Committee 1970-1975. He was awarded and Honorary MA by Newcastle University in 1975, and was made a Freeman of the City of London in 1981.”

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The Guinness Collectors Club has a more thorough biography:

John Gilroy (1898-1985) was a superb natural draughtsman and a versatile illustrator and artist who produced advertsising material, portraits, landscapes, murals and greeting cards.

Born on the 30th of May 1898 at Whitley Bay, Newcastle upon Tyne, he was one of a family of eight (five boys and three girls), born to John William Gilroy and his wife Elizabeth. William Gilroy was a marine landscape painter and technical draughtsman and it was obvious from an early age that John junior was going to follow in his footsteps. The young John practised copying cartoons from Punch and took on all kinds of work to pay for drawing materials. From the age of fifteen he was a cartoonist for the Evening Chronicle, Newcastle, commissioned to produce cartoons of well-known entertainers who played the Newcastle theatres.

John attended Sandyford School followed, in 1909, by Heaton Park Road Upper School. At this date his family was living at 25 Kingsley Place. In June 1912, he left Heaton Park and, having attained his drawing certificate, won a scholarship to Armstrong College Art School, Durham University to study under Professor K.G. Hatten.

The First World War interrupted Gilroy’s studies and he served with the Royal Field Artillery in France, Italy and Palestine. In September 1919 he resumed his studies taking a place at the Royal College of Art, London (RCA). During his time there he produced illustrations for the college student magazine and occasionally played in goal for the college football team. In 1920 he attained his Board of Education certificate and the RCA diploma in decorative painting. His work was also rewarded through scholarships and prizes, winning, in 1919, the North Lordbourne prize for composition and, in 1921, the college drawing prize and the British Institute Scholarship for decorative painting. In 1922 Gilroy won an RCA travelling scholarship in mural painting having missed the Prix de Rome by only one vote.

Gilroy graduated from the RCA in July 1923 but stayed on there until 1925 as a teacher. From 1924 to 1926 he also taught drawing from the figure in the evenings at the Camberwell School of Art. In 1924 he married Gwendoline Peri-Short who had been a fellow pupil at the RCA and three years later they had a son, John.

In 1925 Gilroy embarked on his long association with the advertising agency S H Benson Ltd (Benson’s). Although Benson’s was the first advertising agency for whom Gilroy worked as an in-house artist, he had already proven himself in the commercial art sphere. His earliest known piece of commercial art, dating from 1920 when he was still a student, was for a promotional leaflet for the Mangnall-Irving Thrust-Borer commissioned by the Hydraulic Engineering Co.

Gilroy’s early work at Benson’s is reputed to have been on campaigns for Skipper Sardines and Virol. During his time there he also worked on campaigns for Bovril, Macleans and Monk & Glass Custard. His first significant assignment was the Mustard Club campaign for Coleman’s of Norwich, on which he worked with fellow artist William Brearley and copywriters Oswald Greene and Dorothy L Sayers. Between 1926 and 1933 the pens of Gilroy and Brearley brought eccentric characters like Baron de Beef, Signor Spaghetti and Miss Di Gester to life on bill boards and in magazines everywhere.

In 1928 Benson’s won the Guinness advertising account and Gilroy became involved with the product with which his work is most closely associated. Gilroy’s first known Guinness poster was produced in 1930. Working with copywriters like Ronald Barton and Robert Bevan, Gilroy produced more than 100 press advertisements and nearly 50 poster designs for Guinness over 35 years. He is perhaps best remembered for his posters featuring the girder carrier and the wood cutter from the Guinness for Strength campaigns of the early 1930s and for the Guinness animals. The animals, including a lion, toucan, gnu and kangaroo, appeared, with their long-suffering zookeeper, on posters, press advertisements, show cards and waiter trays from the 1930s to the 1960s.

Gilroy continued to produce Guinness advertisements well into the 1960s even though he left Benson’s employment as an in-house artist in the 1940s to continue freelance work.

During the 1920s and succeeding decades commercial art was not Gilroy’s sole occupation; he began to build his reputation as a painterboth of portraits and landscapes. One of his earliest portrait commissions was to paint the future Edward V111 for the Royal Mid-Surrey Golf Club, of which Gilroy was a member and the Prince was patron.

In 1930, while the family was living at The Cottage, Hyde Park Road, Kew Gardens, Gilroy has his first painting, Gwen. exhibited at the Royal Academy. Throughout the 1930s Gilroy’s work continued to be exhibited at the Royal Academy and to appear on advertising boardings, in newspapers and even in the Radio Times. In 1941, with the onset of the blitz, the artist moved to Rasehill, Chorleywood Road, Rickmansworth. His wife and son moved to Cheltenham where, in the same year, he held a one-man exhibition of his work, which then travelled to Sunderland Public Art Gallery.

Throughout the war years, Gilroy’s work continued to be exhibited at the Royal Academy while his commercial art talents were employed by the Ministry of Information in campaigns such as Make-do-and-mend, Keep it under your hat and We want your kitchen waste. He also improved morale by painting murals at various Royal Air Force bases and produced a series of drawings-in-one-line of contemporary political and military figures, called Headlines, which appered in The Star.

By 1945, when his painting Diamond Setting was exhibited at the Royal Academy, the artist’s address was given as 6 Avenue Studios, Sydney Close, SW3. A year laterhe prodced another mural, this time in the bar of the Mrritt Arms Hotel near Greta Bridge on the estate of his close friend Major Morritt. The work at the Morritt Arms began on the 1st February 1946 and was completed within10 days. When Gilroy and his assistant proudly displayed the walls of the bar decorated with Dickensian figures, closer inspection revealed them to be caricatures of local people and staff from the hotel.

In 1949 Esme Jeudwine, a former pupil and portrait subject, introduced Gilroy to the Royle family and another long and successful association began. Gilroy produced five greeting card designs for Royle Publications Ltd (Royles) in that year with another 464 published designs over the next 35 year. In 1966, Gilroy was acting Art Director for Royles.

In 1950 Gilroy married Elizabeth Margaret Bramley (nee Outram Thwaite). The couple lived at 17 Queen’s Gate, Kensington, but moved a year later to 10 Holland Park Road, W14, the former home and studio of Sir Bernard Partridge, whose cartoons Gilroy had copied from Punch as a child. The magnificent studio at Holland Park Road saw the creation of advertising work for T.F. Carrington Van PostingLtd. where Gilroy was Head of the Art Department, and was regularly visited by members of the Royal Family, politicians, actors and many others who came to have theit portraits painted.

In 1957 Gilroy held another one-man exhibition this time at Leighton House Gallery and two years later produced a series of landscapes of McGill University, Montreal, to illustrate a book McGill, The Story of a University, edited by Hugh MacLennan. In 1970 Gilroy held a retrospective exhibition at Upper Grosvenor Galleries and three years later an exhibition of his humorous designs for Royles was held at the London headquarters of Austin Reed Ltd.

In his later years ‘Jack’ Gilroy was a longstanding and much loved member of the Garrick Club where he was Chairman of the Works of Art Committee and where a number of his portraits now hang. In 1975 Gilroy was awarded an honorary MA by Newcastle University and in 1981, now living at 6 Ryecroft Street, Fulham, he was appointed a Freeman of the City of London.

John Gilroy died at Guildford on the 11th April 1985, aged 86, and is buried at Ampney St Peter in Gloucestershire near the home of his son and three grandchildren.

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He created the zoo animals and other popular characters for Guinness from either 1928 or the early 1930s (accounts differ), but the first one he did appears to be the Guinness for Strength ad featuring a steel girder in 1934. According to some accounts, it was so popular that people even started ordering a ‘girder’ in the pub.

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The following year, the Toucan debuted, and quickly became one of the most recognizable of the Guinness animals, used in marketing and advertising by Guinness for over 45 years. Here’s the story of its design from History House:

The idea of using a toucan was born in the advertising agency of S.H.Benson in London. Staff included the talented artist John Gilroy was newly employed as the poster artist, and among the copywriting team was Dorothy L Sayers, now famous as a writer, poet and playwright, and best known for her amateur detective stories featuring Lord Peter Wimsey. She had started at the agency in 1922 and worked there while writing books in her spare time.

This team produced some memorable posters for Guinness including several posters in the whimsical “Zoo” series. These included a zoo keeper with a Guinness, a sea lion balancing drink on his nose, an ostrich with the shape of a swallowed glass halfway down its neck, a tortoise with a glass of stout on its back, and a toucan with two Guinness bottles balanced on its beak accompanied by the words.

If he can say as you can
“Guinness is good for you”
How grand to be a Toucan
Just think what Toucan do.

Gilroy remained with the advertising agency until 1960 during which time he designed many other Guinness posters. As to how animals came to be used in an advertising campaign was recalled later by Gilroy. “The Guinness family did not want an advertising campaign that equated with beer. They thought it would be vulgar. They also wanted to stress the brew’s strength and goodness. Somehow it led to animals.”

The toucan returned on several occasions on all types of advertising media and on memorabilia. In 1982 Guinness changed advertising agencies and it was decided that the toucan was no longer an effective advertising motif and it was dropped.

The text from that ad was actually written by Dorothy L. Sayers, who worked for the same advertising agency as Gilroy before she became a famous mystery writer, well-known for such characters as Lord Peter Wimsey, and others.

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Gilroy’s first Toucan ad, from 1935.

And here’s a sample of some more of his work for Guinness.

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And finally, by no means complete, these are other Guinness ads I’ve collected in a Flickr gallery, many of which are by John Gilroy.

Ads: Guinness

Patent No. 20130133340A1: Keg Apparatus For Self Cooling And Self Dispensing Liquids

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Today in 2013, US Patent 20130133340 A1 was issued, an invention of Mark Sillince and David Cull, assigned to the Joseph Company International, Inc., for their “Keg Apparatus for Self Cooling and Self Dispensing Liquids.” Here’s the Abstract:

A self-cooling and self dispensing beverage container in the form of a keg which includes a heat exchange unit having a plurality of segments of compressed carbon disposed therein. A valve is secured to a tube attached to the REU housing for carbon dioxide to adsorbed and then desorbed by the carbon for cooling the beverage. A dispense gas canister is disposed within the container to automatically release carbon dioxide to maintain a pressure head within the container sufficient to assure dispensing of the beverage.

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Historic Beer Birthday: Peter Schemm

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Today is the birthday of Peter Schemm (May 30, 1824-September 13, 1898). Born in Bavaria, Germany, he came first to Baltimore in 1842, and five years later moved to Philadelphia, where he worked at Dithmar & Bretz, brewers. Thereafter, he worked with Louis Bergdoll, and in 1855 partnered with L. Houser to form the brewery Houser & Schemm. After Houser’s death in 1863, it became the Peter Schemm Brewery, and eventually his son came to work with him, and it was renamed the Peter Schemm & Son Brewery, or the Peter Schemm & Son Lager Brewery.

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Here’s Schemm’s obituary from the Philadelphia Inquirer, published on September 14, 1898, the day after he sparked worldwide interest by committing suicide by jumping into Niagara Falls.

PETER SCHEMM JUMPS OVER NIAGARA FALLS

Peter Schemm, the popular millionaire brewer, a favorite in many societies, father of eight children, band director and art patron, yesterday leaped over a bridge into the rapids above Niagara Falls just below Goat Island in the sight of hundreds of people. His body whirled to destruction, passed over the falls on the American side and may never be recovered.

The Associated Press dispatch from Niagara Falls was the first news to the family at 931 N. 8th Street. They hadn’t heard from him since Monday when he had left to visit the brewery at 25th and Poplar Streets. This worry and search for him began Monday night after he had failed to appear at the Board of Directors meeting of the National Security Bank which he never failed to attend. The family knew from the breaking off of his daily habits that something was wrong. All they could learn from his faithful carriage driver, Clarke, was that he took Mr. Schemm to the Reading Terminal Depot Monday at about 12:00.

“That’s all, you can go home. I’ll trouble you no more,” were the last words said to the driver. He spoke in his accustomed manner as the driver then thought, and disappeared in the depot. Upon his failure to appear among his coterie of friends (each evening he met his friends at Massholders Saloon near the brewery – Plumber School, building Harback, roofer Walh and undertaker Christian Kunaig and others) and his failure to return home at the accustomed hour in the evening where was usually punctual as the clock, an investigation was started and every effort was made to trace him. Telegrams were sent to his son, Peter Schemm, Jr. at Holly Beach and inquiries were made of all his intimate friends in this city. None knew anything. He sometimes had business at Bethlehem, and had interest in the Warwick Iron Co., but all that could be learned was that the driver had left him in the Reading Terminal at noon.

A distressing night and morning for his family and friends ended in the news that he had become the first sensational suicide of the summer at Niagara Falls.

AT THE FALLS

He arrived at Niagara Falls at 11:00 pm the night before and registered at the Central House as Peter Schemm with putting down his address. He inquired for the Steel Arch Bridge and paid 25 cents to be conducted there at night. The following morning he said he was from Philadelphia and hired hackman Hickey to take him for a drive. He was taken all along the rapids and stopped many times to make examinations out of curiosity, the driver thought, but evidently contemplating a place to jump. When they got to the bridge on the route to Goat Island, he got out and sent the driver on across the bridge saying he would walk across to get a better view. In the middle of the bridge a figure was seen climbing up and over, there was a shout from people which caused all faces to turn. The 200 pound form of the gray-bearded 74 year old man was that of Peter Schemm.

A SELF MADE MAN

Peter Schemm was born at Dottenheim near Newstadt-on-the-Aisch, Bavaria, May 30, 1824. Landing at Baltimore in his 18th year, without friends or relatives in this country, he found employment as a farm hand on what was a large farm on Pelair Road on the identical spot now occupied by the Van Der Horst Brewery. After five years of service at Baltimore, he left for Philadelphia, engaging with Dithmar & Bretz, the celebrated Ale and Porter brewers. In 1849, he entered a business relationship with Louis Bergdoll, then being one of the founders of the I. Bergdoll Brewing Co. Retiring the next year to give a place for Mr. Bergdoll’s brother-in-law, the late Charles Booth, Mr. Schemm formed a partnership with George Nanger as Nanger and Schemm at the 2nd and New Streets, a firm well known in its day, and held happy remembrances for many old citizens in Philadelphia. “Der dic-h George” was one of the characters of German society in the days of over 30 years ago. (The Industries of Philadelphia records that Philadelphia was the first place in this country where Lager Beer was made and the original brewer was George Manger who had a brewery about 1846047 on New Street).

After five years of hard work, Mr. Schemm started a saloon on 238 Race St. Still in existence and known for many years as the principal place of resort of the German element of the city. In 1855 he formed partnership with L. Houser as L. Houser & Co. which was renewed after five years as Houser & Schemm continuing until the death of Mr. Houser in 1863 when Mr. Schemm purchased the widow’s interest and was continued ever since under the name of Peter Schemm.

He was a member of the Odd Fellows, Red Men, Seven Wise Men, Masonic and other Orders, and served in some as Grand Master, State Representative and other important positions. He was also a member of the Germany Society Turners Schutzenverein, Saengerbund, etc. He was one of the founders and president of the Philadelphia Lager Beer Brewers Association. He was also one of the founders of the National Security Bank of Franklin & Ferard and was Director of it since 1870. Also founder of the Northern Savings and Trust Co. and the Warwick Iron Company and was a member of the Commerical Exchange of Philadelphia.

You can also find additional obituaries and follow up stories at the Peter Schemm and Fredericka Rosina Schill Family Group.

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The Peter Schemm & Son Brewery located at North 25th Street near Poplar in Philadelphia.

There’s some biographical information about Peter Schemm at the Peter Schemm and Fredericka Rosina Schill Family Group.

Peter was born at Dottenheim near Newstadt-on-the-Aisch, Bavaria, May 30, 1821, where for generations past, his family had been brewers. Peter grew up in the brewing trade, learning both brewing and coopering, two trades which were generally carried on together. His family was well to do, but he believed that America offered larger opportunity for him. He arrived at the port of Baltimore at the age of 18 in 1839 and found employment as a farm hand on what was a large farm on Pelair Road on the identical spot which was occupied later by the Van Der Horst Brewery. Seven years later in 1846, he left for Philadelphia, engaging as a brewer and cooper with Dithmar & Bretz, the celebrated Ale and Porter brewers. In 1849, he entered a business relationship with Louis Bergdoll, then being one of the founders of the I. Bergdoll Brewing Co. Retiring the next year to give a place for Mr. Bergdoll’s brother-in-law, Charles Booth, Peter formed a partnership with George Nanger as Nanger and Schemm at the 2nd and New Streets, a firm well known in its day, and held happy remembrances for many old citizens in Philadelphia. (The Industries of Philadelphia records that Philadelphia was the first place in this country where Lager Beer was made, and the original brewer was George Manager who had a brewery about 1846-47 on New Street).

After five years of hard work, Peter started a saloon on 238 Race Street, a principal place of resort of the German element of the city. In 1855 he invested his capital in partnership with L. Hauser as L. Hauser & Co. which was renewed after five years as Houser & Schemm continuing until the death of Mr. Houser in 1863 when Mr. Schemm purchased the widow’s interest and continued after that time under the name of Peter Schemm. Hauser had a three-story dwelling on the ground floor and a small two-story building next door in which the beer was made. The total daily capacity at the start was 10 barrels. The dwelling and original brewery were used as different offices and a cooper shop, and other buildings were erected on the corner below. A large brewery was erected in 1885, and in 1886 the capacity of the establishment was doubled again when another building, which took the place of the two small houses in which the business had started, was erected. Peter was satisfied with the proportion of his trade, but the popularity of his beer and the expansion in the number of saloons created a larger retailer demand.

Peter gained a reputation in his time for great integrity regarding his product. He was not at all interested in fancy innovations in brewing or for the extensions that were often proposed by promoters and big brewing combinations. He had strong ideas on the way his beer should be served as well. The temperature could be neither too high nor too low and it had to be served carefully. Retailers guilty of neglects in these regards were denied his products.

Peter was a generous giver to charities and to friends of his youth who needed assistance. He contributed to charities and to the many German societies of which he was a member.

In 1885, Peter A. Schemm, Peter’s only son, joined the business, and the elder Peter gradually relinquished active management. His eyesight was beginning to fail, but even so, he maintained his daily practice of visiting the brewery two or three times every day, stroll up to Massholder’s saloon, a few doors above the brewery and sit with three or four old friends, and every day took his own carriage and driver (rather than using the carriage of his family) to meet with an old friend and stop by the brewery to be sure the beer was not too cold and had been properly drawn. In 1895, the contracting firm of Philip Halbach was engaged to add a large stock house to the Peter Schemm & Son brewery at a cost of $30,000.

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Peter Schemm (with the white beard in the front right).

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Patent No. 258664A: Process Of Making Brewers Yeast

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Today in 1882, US Patent 258664 A was issued, an invention of Friedrich Meyer, for his “Process of Making Brewers Yeast.” There’s no Abstract, though it’s described this way in the application:

This invention has relation to a process for compounding brewers yeast; and it consists in forming from hops, malt, and water under certain degrees of heat a first yeast, which is afterward used in certain proportions in another step or series of steps, wherein malt, water, and hops are again employed and subjected to heat at varying temperatures to form a second yeast, which is again employed with malt, water, and hops, subjected to heat as before and tested by a saccharometer, to form a third or stock yeast, which will last from four to six months, and from which, together with malt, hops, and water, a present use yeast, which will last about one month, may be formed by compounding therewith malt, hops, and water at certain temperatures, all of which will be hereinafter fully pointed out in the body of the specification and claim.

In carrying out this process I take the proportions of about one-half ounce of hops to one-half gallon of boiling water, throw the hops into the yeast-can, and add the boiling water, and stir this mixture until the heat recedes to 190 Fahrenheit. I then add three quarts of cracked barley-malt and mash it well, after which 1 add one quart of boiling water and stir the mixture until the heat recedes to 160 Fahrenheit, when I cover the can and let the contents stand for five minutes. I then increase the heat by adding as little boiling water as possible until 176 Fahrenheit has been reached, when I again cover the can and let it stand for one hour, then cool the contents of the can by stirring them until the heat has receded to 90 Fahrenheit. I then put the liquid thus formed into a stone jar and place the jar into warm water at a temperature of about 80 or 90 Fahrenheit, and keep the heat of the Water up to that point by using boiling water until the liquid has ceased to ferment, which will be from thirty-six to forty-eight hours. As this yeast will last only from six to eight hours, the preparations for the formation of the second yeast should be completed at this time.

To make the second yeast, I take one gallon (dry measure) of cracked barley-malt and put it in the yeast can, and pour one-half gallon of boiling water thereon, and mash well together. This should be permitted to stand ten minutes, and then raised to a temperature of 176 Fahrenheit by adding boiling water to the amount of about three gallons. It should be then covered and permitted to stand for about one hour, after which it should be strained through a brass sieve into a clean tin can and placed 011 the stove, where it should boil for one hour and be skimmed during the operation of boiling. If one hours boiling should prove to be insufficient, it may be boiled a little longer. It, should register, when properly boiled, about 20 saccharometer, and the test should be made at 90 Fahrenheit. About two ounces of hops should then be added by stirring them in until the hops are thoroughly wetted, and the cover should be again replaced and the contents of the can boiled from three to five minutes longer. Remove the can from the stove and let it stand fifteen minutes, and then strain the contents of the can through a brass sieve into a stone jar, and cool it to about 94 Fahrenheit by setting the stone jar into cold water in the winter season. In summer it should be reduced to 90 Fahrenheit, as the natural temperature at this season will cause the temperature of the liquid to rise in a short time. Then add to the liquid thus produced one pint of the first yeast to each gallon of the liquid. Then wrap the jar in cloth, and set it away in a place where the temperature may be maintained at from to Fahrenheit until it is done fermenting, which’ will be about thirty-six hours. Then be ready to proceed to the formation of the third yeast, as this, which is termed the second yeast, will not keep longer than from ten to twelve hours.

To form the third yeast, I place four gallons of boiling water in the yeast-can and permit the heat to recede to 180 or 176 Fahrenheit. I then add about sixteen pounds of cracked barley-malt and mash well. The can is then rinsed down with about one-half gallon of boiling water and stirred until the temperature is about 150, and then left to stand about ten minutes. Boiling water should then be added and the contents of the can stirred until the heat reaches 176 Fahrenheit, after which it should be covered and left to stand for one hour, and should then be strained through a brass sieve. Then take this liquid and place it in a clean tin can and set it on the stove and boil it from three to five hours, skimming it during the operation of boiling, until it be comes of a consistency of 38 saccharometer under a test at 90 Fahrenheit. Then put in one-half pound of hops and stir until the hops are thoroughly wetted, and then boil from three to five minutes longer. Remove the can from the stove, stir the contents, cover the can, and let it stand covered for about fifteen minutes, during which time it should be stirred occasionally, and then strained through a brass sieve into a clean yeast-can, and reduce its temperature to 91 Fahrenheit by placing the yeast-can into cold water. Then add one quart of the second yeast above described and stir well. The temperature during this stirring should be maintained at about 00 Fahrenheit. Then wrap the can in cloth and place it in a place where the temperature may be maintained at between and Fahrenheit until fermentation ceases, which will be about forty-eight hours. This yeast, called the third yeast, will then be lit for use. This third or stock yeast will keep from four to six months, and should always be thoroughly shaken before using. This stock yeast is intended for shipment for use in making a fourth or pre-cut use yeast, which, when made as herein after described, will keep about one month.

To make the fourth or present-use yeast, I take fifteen quarts of boiling water and place it in the tin yeast-can and let it reach a temperature of 170 Fahrenheit, and then place in it about sixteen pounds of cracked barley malt, mash well, and rinse down with about one quart of boiling water and stir until the temperature is about 150 Fahrenheit, then cover the can and let it stand about ten minutes. I then add boiling water until the temperature reaches 176 Fahrenheit, which requires about sixteen quarts of boiling water. I then let it stand on the stone and boiled for about three hours to thicken it, care being taken to skim the contents during the operation of boiling. The proper consistency should be about 30 saccharometer under a test at 90 Fahrenheit. When at this consistency about six ounces of hops should be thoroughly stirred in, and the contents should be boiled from three to five minutes longer. The can should then be removed from the stove and left to stand for about fifteen minutes, during which time it should be stirred occasionally. It should then be strained through a brass sieve into a yeast-can, which should be placed in cool water, stirred, and reduced to a temperature of 90 Fahrenheit. One quart of the third or stock yeast should then be added by stirring it in under a temperature of 90 Fahrenheit, and the can wrapped up and placed in a position where a temperature of from 60 to 70 Fahrenheit can be maintained until fermentation ceases, which will be about forty-eight hours, after which it will be fit for use.

The superiority of this stock yeast over the yeast now employed lies in this, that it may be kept in stock for a period of six months, and from it a present-use yeast may be made that will last for a period of about one month, while the yeasts now employed will keep but a few hours at the furthest.

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Patent No. 498657A: Beer Tap

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Today in 1893, US Patent 498657 A was issued, an invention of Harvey P. Jacoby, for his “Beer Tap.” There’s no Abstract, though it’s described this way in the application:

This invention relates to taps or fittings which are inserted in the heads of beer kegs to receive the faucets through which the beer is drawn. A beer tap usually comprises a tubular shank, which is driven into the head of the keg, and a socket in the outer portion of the shank for the reception of the ordinary faucet. The tap is provided with some means for preventing the escape of the beer before the faucet is inserted, the common means being a cork or plug driven into the tap and adapted to be forced inwardly into the barrel, to permit the beer to flow into the faucet when the latter is inserted. In some instances the tap has been provided with a valve at the inner end of the faucet socket, said valve being arranged to yield to the faucet when the latter is inserted, the valve being held closed until the insertion of the faucet.

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Beer In Ads #1926: Treasures From The Auction


Sunday’s ad is entitled Treasures From the Auction, and the illustration was done in 1951 by John Gannam. It’s #57 in a series entitled “Home Life in America,” also known as the Beer Belongs series of ads that the United States Brewers Foundation ran from 1945 to 1956. In this ad, a couple shows up at one of their parents’ homes laden down with crap they apparently just acquired at an auction. And while there hands are full, that’s not the half of it. On the street behind them, another person is unloading even more, and larger, crap from a station wagon. Mom and Dad will be thrilled.

057. Treasures From the Auction by John Gannam, 1951

Patent No. EP19840307773: Valved Closure For Kegs Or Casks

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Today in 1985, US Patent EP 19840307773 was issued, an invention of Roger John Hyde, for his “Valved Closure for Kegs or Casks.” Here’s the Abstract:

A valved closure for a pressure vessel, such as a cask or keg (18). having a neck (22), for rigid attachment as a mounting ring to the mouth (24) of a tap hole (2) in the vessel and a valve-containing tubular body (10) inserted co-axially in the neck: has a rigid ring (30) engaging the tubular body and the keg neck, the ring being of malleable metal and having an inner periphery (33) shaped to engage the tubular body and a relatively thin outer peripheral skirt (32) shaped to be deformed, by a power tool, into fitting engagement about the neck rim (34), to provide securing means for preventing unauthorised axial removal of the valved closure, the so formed securing collar being accessible by a tool to cut the collar off the neck to release the valved closure: the securing collar may be split into two or more parts (29 and 31) to enable it to be fitted about a large diameter flange (15) at the top of the tubular body.

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Beer In Ads #1925: Welcoming The New Neighbors


Saturday’s ad is entitled Welcoming the New Neighbors, and the illustration was done in 1951 by Douglass Crockwell. It’s #56 in a series entitled “Home Life in America,” also known as the Beer Belongs series of ads that the United States Brewers Foundation ran from 1945 to 1956. In this ad, a couple is moving to a new home, and thoughtfully the neighbors have stopped by to welcome them, and possibly are the one that brought the sandwiches and the beer. If so, that sounds like a pretty good neighborhood.

056. Welcoming the New Neighbors by Douglass Crockwell, 1951

Patent No. 3812996A: Bottle Carrying Case

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Today in 1974, US Patent 3812996 A was issued, an invention of Arthur Bunnell, assigned to Carling O’Keefe Ltd., for his “Bottle Carrying Case.” Here’s the Abstract:

Plastic carrying cases for bottles, especially beer bottles, are provided of a structure, in which, when the cases are stacked with bottles therein the tops of the bottles in one case engage the underside of the next upper case so that the load of the stack is supported through the bottles.

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