h d ring roll ro ry

The Farmers Bank Building can be seen at far right in this photo taken in the 1940s. In the center is Jesse Shaffer's tavern and to the right the recently vacated Woolworth's 5 & 10-cent store. For severfl-l years, the ~alem Business .College conducted classes on the second floor of the Woolworth building. In the 40s, the law firm of Henry Reese and Al Fitch liad offices in the upper floors.

By Lois Firestone

FRANK MANGUS WAS finishing up the last of the day's patients when loud shouts suddenly

punchired the late afternoon stillness outside along the town's main street. Peering down from the window of his second floor office in the Salem's Pioneer building, the dentist stared disbelievably at a stranger who was jamming a revolver into the ribs of the driver of a car parked in front of the post office - he quickly recognized the victim as a well-known business man in town, W. L. Hart, the cashier of the Farmers National Bank.

Then he saw three men scurry across North Lin­coln toward another one standing by the door of an auto parked outside the Arbaugh furniture store. Mangus dashed to the telephone and alerted

Salem police that he suspected an armed robbery was in progress.

There were other witnesses to the daring day­light holdup which occurred that day, at 3:45 on the afternoon of November 5, 1935 - most of the dozen or more people milling around the intersec­tion of Lincoln and State Street, though, were una­ware of what was happening. Fewer still had seen the four bandits flee, although one persistent pair chased after them for miles.

What happened was this: Hart and Lee B. Vin­cent, the Farmers National assistant cashier, left the bank headed for the post office where $26,000 in payroll money had been delivered from the Feder­al Reserve Bank in Pittsburgh. The delivery was only a partial payroll for the Mullins Co., Deming's

Doris and Herman Stratton in the 1930s before the robbery which left Herman, an innocent bystander, blind in one eye.

and other local industries; wages at the Mullins Co. alone during a two-week period totaled $83,000.

Hart parked his car in front of the post office and, accompanied by Vincent, went inside to the counter to pick up the money which was wrapped in two packages. Back outside, Hart preceded Vin­cent down the steps, climbed into his car and inserted the ignition key in the switch. Suddenly a man he'd never seen before opened the car door, shoved a revolver into his ribs and snatched the key. Then he felt through Hart's pockets, searching for a possible ':"eapon.

At the same time, two men quietly sandwiched themselves on either side of Vincent as he moved down the wide steps toward the Hart auto. Press­ing guns against his body, one of them whispered, "This is a holdup." Startled, Vincent dropped the packages and, as one of the strangers quickly stooped to pick them up, the other told Vincent to "get back up the steps."

Turn to ROBBERY on page 4

In those days before TV By Dick Wootten

In those pre-TV days of my youth, if I wasn't out playing marbles, cowboys and indians, swimming, camping or listening to Captain Midnight on the Philco, there was always the movies.

To a kid back then there were two kinds of movies: Saturday cowboy movies and Sunday murder mysteries of the Boston Blackie or Charlie Chan type.

The cowboy movies all seemed to be filmed in the same place (probably the back lot of Republic Studios). 1 recognized the same trees, the same trail, same boulders and same hideout of the bad guys. It was so familiar it was like being home.

The mysteries had adults all dressed up, stand­ing in rooms where they drank, smoked and talked. To me it was mostly talk I couldn't follow, but I knew if I stayed long enough there would be an exciting car chase at the end.

I got to thinking about those days after reading through a recent Christmas gift. Two good friends gave me a nifty book titled "The Chronicle of the Movies," consisting of year-by-year accounts of Hollywood productions, gossip, and vital statistics from 1930 to 1991.

By reading about movies that I only vaguely remember, I realized I was, in effect, re-examining my childhood.

-For example, I remember seeing James Mason in a movie called the seventh something when I was 10. I remember the pleasure of walking out of that movie realizing that for the first time I understood the whole story. I felt suddenly grown up. My gift book informs me that that movie was "The Seventh Veil" of 1945 and it was considered an "enjoyable trashy melodrama."

So-much for a 10-year-old's taste.

The American Movie Channel on cable television provides another way to compare your memory of a movie with how it strikes you now. And there are the great performers you missed because of your age. I just missed seeing Garbo on the screen. I vaguely remember seeing Carol Lombard's last film. Now you can see those performers again in a kind of miraculous way unimagined before movies came along.

We include in this issue the final dates in the lives of these performers who brightened our lives. It's an interesting list and a reminder that fame is ephemeral.

I I :_:!

A weekly historical journal Published by the Salem News

Founded June 8, 1991 161 N. Lincoln Ave. Salem, Ohio 44460

Phone (216) 332-4601

Thomas E. Spargur publisher I general manager

Lois A. Firestone editor

• ;:.;·:·:•:•:•:·;·;·;·;·:· .... ;·.·;• .... ;•.•.•:·.:·:;::;;;.:-:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:-:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·~·=·=·=·=·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:~:

The Methodist Church can be seen in the background in this photograph of a section of South Broadway in Salem in the early 1900s.

By Dale Shaffer

STROTTER BROWN During the Civil War, Strotter Brown ran away

from slavery in Alabama. His mother had died. Before settling in Salem, he lived at various places in the state. His home in Salem was on Elm Avenue where he worked as a basket weaver and raised corn and tobacco in considerable quantities. For a short time he was married to a woman from Pennsylvania. His final years were spent at the Columbiana County Infirmary outside Lisbon, and then at the home of Felix Williams where he died on Jan. 21, 1913 at an estimated age of over 100. His funeral was held at the AME Zion Church on Jan. 24. Burial was at Hope Cemetery.

Members of his race raised money for a granite monument. It was designed with a basket carved in it. Postcard photos of Strotter in front of his crude dwelling were sold to raise funds. Most of the collecting was done by Stanley Mills and Frank Howard.

Contributions were generous. A total of $30.85 was raised. The monument cost $16. Postcards brought in $7.50. The pedestal cost $5 and price of the memorial was $2. Total expenditures were $30.15. The names of all contributors were pub­lished on the front page of the Salem News on March 8, 1913.

STROTTER'S FIRST RIDE On Sunday morning, Oct. 4, 1903, the aged Strot­

ter Brown took his first automobile ride. E. W.

Silver took him on a ride of four miles in the coun­try in his new Cadillac touring car. Strotter was quite thrilled with his tour.

STRATTON WAS INVENTOR Frank Stratton, son of Mark and Mary Stratton,

was born at East Goshen and educated at the Damascus Academy. He was the inventor of the jump seat carriage which became very popular prior to the automobile. He and his brother Charles built a factory in Salem to manufacture the pro­duct. When they outgrew the quarters, they went to Buffalo and built a larger plant that prospered abundantly.

Later, when carriages became obsolete, Frank went to Detroit to work at manufacturing automo­biles. He died in January of 1923 and was buried at East Goshen Cemetery. His sons' names were Oliv­er, Willis and Albert. Rev. Isaac Stratton of Damas­cus was a brother.

JOEL SHARP, MANUFACTURER Joel Sharp was one of Salem's oldest nad best

known residents when he died July 28, 1898. Born in Goshen Township Feb. 22, 1820, he was the son of Joel and Rebecca Terrill Sharp. The family, pion­eers of Goshen Township, came from New Jersey in 1806. The father was a carpenter and he died the year Joel was born.

At the age of 15 Joel left for Cleveland to find a job. He worked for the Cuyahoga Steam Furnace Co. and in 1847 returned to Salem where he organ­ized a company to manufacture machinery. It was called Sharp, Davis & Bonsall. In January 1871 this company became the Buckeye Engine Co. He was its president. at the time of his death.

Sharp was also instrumental in organizing the Salem Wire Nail Co. He was its president when the company was sold to the American Wire Co. in 1897. He was also a longtime member of Salem City Council.

He married Angeline Lee, daughter of Josiah and Hanna Boone Lee of Salem in 1847. They had two children, Frances and Herbert. Sharp died of heart trouble in his home at 150 (563) Franklin Ave .

CONTEMPORARY COLLECTIBLES

By Linda Rosenkrantz Copley News Service

Hey man, remember lava lamps? Those psy­chedelic symbols of a spacey time when it was groovy just to sit and watch the undulating pat­terns of your light fixture?

Well, they're back. The lamps, if not the times. Old ones are sought to accesso:rize :retro 1950s and 1960s home style decor and new ones are being manufactured to supplement that market.

In point of fact, though, animated motion lamps, as they're known in the trade, are not strictly speaking a phenomenon of the 1960s, having ori­gins dating back to the 1920s.

The earliest manufacturer is believed to have been a Chicago firm called Scene in Action Corp., which, under the direction of designer Albert S~bath, went into production in 1926. Their pro­totypical lamps consisted of a glass cylinder with a

General Lee set example for Virginia churchgoers

SHORTLY AFTER THE CLOSE of the Civil War, a black entered a fashionable church

in Richmond, Virginia one Sunday morning at the beginning of a communion service. When the time came, he walked down~ the aisle and knelt at the altar. A rustle of shock and anger swept through the congregation.

At that moment a distinguished layman stood up, stepped forward to the altar and knelt beside his "colored" brother. Captured by his spirit, the congregation followed. The layman who set the example was Robert E. Lee.

409 E. 2nd St., Salem, Ohio

PHONE 332-5200

To Better Serve Your Prescription Needs ...

Our Prescription Department Is Fully Computerized.

Prescription Insurance Programs Welcome

• Free Delivery •

We 1

re .9ls 9\[ear .9ls :Your Pfwne r---------- COUPON-----------,

$2.00 Off I

: Any Prescription Filled : 1 With This Coupon 1

·1v~Ai-------------------Hmr

scene painted on the outside and two isinglass cylinders inside, one of which revolved to afford motion to the scene.

Of the 13 or more different designs offered by the company, the most well known are forest Fire, Niagara Falls and the now rare aquarium lamp, the base of which featured an underwater scene com­plete with swimming fish.

One of the most prolific manufacturers of the genre was the Econolite Corp., which flourished from 1946 to 1962, producing some of the best quality lithographs the style has ever seen.

At first, Econolite aimed strictly for the juvenile market - with revolving Mother Goose characters, carousels and trains. These were followed by the ubiquitous Niagara Falls and flickering forest fire and a slightly risque Fountain of Youth, all made entirely of plastic. One of the later subjects was Hopalong Cassidy, a hot favorite now valued at more than $250.

The 1950s saw the introduction of a number of hybrid forms. There were mermaid clocks with animated motion insets and other clocks with float­ing fish in their bases, advertising lamps (Motorola, Cook's Ale, etc.), revolving Christmas trees and sets of revolving Christmas tree light shades.

In the 1960s a firm called Optical Effects launched a line of swirling abstractions, dearly influenced by the pop art and psychedelic move­ments. The infamous lava lamp was part of a category of rotating cylinder lights called mood lamps (cousins of mood rings), in which the rising heat from the light bulb was used to spin a plastic cylinder inside a stationary one. And, vioila: bub­bling swirls of lava.

RECENT REFERENCES "Animated Motion Lamps, a Price Guide" by Bill

and Linda Montgomery (L-W Book Sales, Gas City, Ind.) is an excellent little illustrated guide to these lamps, with examples running from the 1920s to the present.

There is a brief rundown on the chief manufac­turers and reproductions of vintage catalog listings.

,---------------------------, , '

1'0,i, . '~ ..

"Eating Disorders in the '90s"

Tuesday, January 21, 1992 by

DR. GREGORY BOEHM 7:00-9;00 p.m.

in the cafeteria at Salem Community Hospital

This is a FREE Public Seminar sponsored by the Psychiatric Professional Group of Salem and Salem Community Hospital. Due to limited seating, reservations are required and may be obtained by calling the public Relations department at Salem Community Hospital, 332-7227.

\ , '---------------------------'

I:

But no lava lamp. "The Whole Pop Catalog," compiled by the Berk­

eley Pop Culture Project, the folks who put together the "Whole Earth Catalog'' 20 years ago (Avon Books), does include a lava lamp, but this time it's a modem one, yours for just $14.95.

The massive volume is packed with both infor­mation and nostalgia - with sections on every­thing from Abbott and Costello to Crayolas to yo­yos - including lots and lots of goodies to send away for.

Linda Rosenkrantz edited Auction magazine and authored five books, including "Auction Antiques Annual." Write Collect, c/o Copley News Service, PO Box 190, San Diego, CA 92112-0190.

PERSONAL CO S & PLANNING BOOK

Because your last wishes are so important

FREE

This Record Book Pre-Plan your II funeral lets you fill in a ~ . .

the vital information : 'S?t110 a-,ii~i ,.. ..... •·. to mflation· your family will need . Si' 1?\ ,.,_.,f protect the costs,

, . ·~.""~ .. ~""'.. freezing pnces forever at after you re. gone .. .l~cahon .,. ·· · today's levels.

"of vital papers, wills, bank accounts, insurance papers, Select the funeral you '."'lsh. lists of friends and relatives down to the smallest de!a•ls with phone numbers and Relieve' your family addresses, plus your last of worry and costs at future requests. time of stress.

DO this for the ones you love.

Your Funera1 Pre·Need Specialists

Arbaugh-Pearce I

G . Fun era

. reent!Jl!tt Home 1617 East State Street

332-4401 RayJ:

Gmenisen

The three darted toward the waiting car and as they ran, Hart sprang into action. He jumped from his vehicle and shouted "It's a holdup!" The rob­bers glanced back and half-turned, standing stock­still for a moment - Hart later said for a split sec­ond he was fearful they were going to shoot at him - then they jumped in the car and pulled away.

Hart was furious over what had just happened, and, because his car key was gone, hailed a pass­ing motorist, Russell Stallsmith, who hastily agreed to pursue the bandits. The two followed the geta­way car out Lincoln Avenue and onto Fifth Street past the Junior High building, across Ellsworth and on to Jennings A venue. Here they turned north and traveled out the Goshen Road. They watched the gangsters' car recede in the distance, taking note of the direction the car was going, then stopped to put in a call to alert the police.

As the Hart car turned off, the driver of a Buick sedan glided up to take its place behind the escap­ing robbers. For 30-year-old Herman Stratton this; innocent move would have tragic consequences which would last his lifetime.

Stratton had unknowingly been following the getaway car for several miles - he'd gone "uptown" from his home at 1183 North Ellsworth Ave. on a few errands, and then set out for an appointment with a prospective buyer. He had been working in the Deming's turbine department, but had taken a six-week leave of absence to mark­et the driveway signal device he'd invented for use by gas stations and other businesses: When a vehi­cle was driven over a hose, a bell would ring.

As he was setting out for the Beloit interview with his client, he first noticed the car with the bent license plate and four men inside when he nearly collided with them in front of the Fourth Street Junior High School. Their car headed past the school, across Ellsworth A venue and on to Jen­nings Avenue, Stratton following. They turned north, continuing out the Goshen Road to the County Line Road, crossing Route 14 and moving on toward Beloit. They were nearing Eichler's Cor­ners, about 2Yi miles west of Route 14 when they slowed down to turn on to Malmsberry Road, Stratton's auto still behind.

Suddenly the driver skidded to a stop and threw open the door, snatched up a rifle and began aim­ing the scope directly at Stratton's still-moving Buick. Three bullets rammed through the winds­hield, one barely missing Stratton's jugular vein, another whizzing through his hat and the third hit­ting his left eye.

Desperately trying to avoid the barrage of bul­lets, he rammed his foot on the brake and clutch and wrestled open the door, hurtling his body into a ditch. The bandit jumped back into the car and they left, leaving Stratton bloody and slumped in agony. Later, authorities discovered the four men hadn't driven much further but had camped out in a nearby woods that night.

A young teenager, Clifford Kirkman, was driv­ing by and found the wounded Stratton. He helped him into his car and took him to the Sebring office of Dr. E. C. Louthan. Louthan took one look at the injured and bleeding man and, aided by Kirkman, Ed Carnahan and Marshal Alva Tetlow of Sebring, rushed him to the Salem City Hospital. Doris Strat­ton recalls her husband telling her that during the journey to Salem, Dr. Louthan said "I think he's gone." The barely conscious Stratton heard him and managed to say "No, I'm not."

Physicians removed several pieces of metal from Stratton's head although they hesitated to probe the principal wound area, the left eye, which was destroyed. Doris Stratton stayed at his side during the critical days that followed, at the same time dealing with her two-year-old son Robert's mas­toid operation and caring for her mother, Mary

Doris and Hennan Stratton with Robert, 2, and Dolores, 4, in this photo taken in 1935 before the Fanners National Bank robbery.

Cobbs, who had been stricken with pneumonia. Stratton recovered after two weeks but was blind in his left eye the remainder of his life.

"The police gathered around his bed that night, asking him questions about what had happened," Doris remembers. "It was the beginning of a traumatic period in his life, and it took him years to get over it." The Strattons had been married on May 19, 1928 and at the time of the robbery had two children, Dolores, 4, and Robert, 2. Grace was born in 1938, followed by David and Marilyn.

"A few months after the robbery, a federal agent asked Herm to come to Cleveland to identify one of the robbers," Doris says. "They put him in a booth with this man whom Herm recognized immediately. 'You were the one who was sitting on the edge of your seat in the car,' he told the man. He denied it then, but later admitted it and was arrested. That day when Herm went to leave the man told him that 'Herman, you've treated me nicer than any of these people.'

"He knew then that the man knew his name and was certain he'd come one day to get him," Doris says. "Herm enjoyed playing the piano. One night he had a dream that the man appeared at the win­dow when he was playing and shot him in the face. Eventually, he got over it ... He never once complained about his blindness or was bitter tow­ard the man who did it, although he was careful of his good eye."

Meanwhile, on the evening of November 5, the hunt for the payroll robbers intensified; by the next day five separate agencies were looking for them - men from the U.S. Department of Justice, called "G-Men," and the William J. Burns Detective Agency of Cleveland arrived in Salem, and the Federal Reserve Insurance Company assigned a special task force to the case.

City police and higl'•,way patrolmen joined forces with those agencies to obtain possible clues to the identities of the four men. One witness questioned extensively was Lillian B. Smith of Aetna Street who was crossing North Lincoln at the State Street intersection during the robbery. As the three men brushed Mrs. Smith aside, she turned and looked

directly at their faces. She said later that she knew instinctively something was awry and made "a mental note of their general appearance." Mrs. Smith immediately went to the police station to detail her descriptions - unfortunately, they were identical to several known criminals in the police records.

Among the other witnesses were Mrs. C. S. Hol­lis, wife of the manager of the Salem Wes tern Union office, who was driving up when the bandit car pulled away from the curb; and Don Mayhew of Salem who was standing in the doorway of a nearby store. There was another, a young Salem High School freshman, Louise McNicol who now, 57 years later, has written an account of the experi­ence which she's never forgotten, with the editing help of Salem historian Dale Shaffer. Her story appears on the next page of this issue.

William A. Lippiatt of RD 4, Salem told highway patrolmen A. E. Mercer and H. W. Grosglaw that the bandit car raced in front of his car when he was stopped at a traffic light at the intersection. Lippiatt said the license plate appeared to be Ken­tucky or Pennsylvania issue, although he couldn't read the letters. Chief of Police Ralph Stoffer dis­puted that, pointing out that the plate had been turned up, thus giving the appearance of being out-of-state plates.

Officials and bank authorities agreed on one thing: the holdup had been carefully planned. The thieves knew the identities of the bank's messen­gers - and recognized Hart's vehicle - and had mapped out an escape route.

Dismayed local officials were concerned about police safety. George Baillie Sr. was the city service director in 1935 and suggested to City Council that a bulletproof windshield be placed in the police department's new cruiser. Baillie also asked that a bulletproof window be placed "in the right door of the machine to afford additional protection in case officers pulled alongside suspected bandits."

Eventually, all the gang was rounded up and convicted. They turned out to be part of a Chicago­based ring which committed bank robberies throughout the country.

~~~~~~ ~~!ft~~[gffz ~

After-school special for teen CP

in 1935 By Louise McNicol Sayre

A MEMORABLE - AND UNUSUAL - ev­ent happened to me in Salem on Nov. 4,

1935. After school on this late autumn afternoon, I was pleased when several of my sophomore friends - I was only a freshman then - asked me to go with them to MacMillan's Book Store. One of the girls needed a book for her French class.

Following our visit to MacMillan's, the four of us walked beside each other as we went back through town toward home. We looked to see what was playing at the State Theatre, and as we proceeded past the Grand Theatre and Grove Electric Co., we began walking, in pairs. There were a few more people downtown at this time of day, and one pair got slightly ahead of the other.

As we passed the post office driveway, I looked ahead and saw three men in striped overalls run­nii:g towards us carrying sawed-off shotguns, pomted for everyone to see. Two of the men ran up the post office steps in back of a man in a busi­ness suit who was carrying two small packages, one under each arm. Then, with the two gunmen directly in back of the businessman, they came down the steps to the sidewalk.

We all converged there at the same time, and the packages dropped to the left of my feet. Time stood still. I looked at the businessman and the gunman, and again at the fallen packages. In this eternity of five to 10 seconds a multitude of thoughts flashed through my mind. Who were the men wearing "milkmen" overalls? Who were the two men in the business suits? The first one had gotten into the car parked directly in front of the steps. What of value was in those small packages?

I wondered if I should pick up the two packages, but I was unable to assess this sudden situation. So, I walked_ around them, noticing the third gun­man to my nght by the car at the curb. I continued on across North Lincoln A venue to where the other two girls were waiting by Arbaugh's Furniture Store. All of us looked back at the scene.

A man then emerged from a car parked on North Lincoln Avenue, just up from the corner by Arbaugh's store, and he walked toward the back of the car while looking at the robbery. When I saw him reach for the license plate, I quickly read the one letter and four numbers before he bent the plate upwards. He then returned to the driver's scat, and the three gunmen ran to the car, got in and drove away. ·

We heard shouts of "Holdup!", and immediately several cars went in pursuit of the getaway car. One of the girls left us and we continued on to our homes.

What had happened was that four bandits had robbed Lee B. Vincent and W.L. Hart, cashiers at the Farmers National Bank, in front of the old post office. There was $26,000 in those packages that had fallen to the sidewalk.

I told my family and a neighbor about what had happened. That evening during dinner, my family discussed the holdup, and I again told them about seeing the license plate being turned up. My uncle, who worked in the post office, said he had heard a different number. The names of two other witnes­ses to the holdup were mentioned - Mrs. Lillian E. Smith and Charles Safreed.

State, local and federal law officers were imme­diately involved in looking for the gang of bandits. Salem's sub-station of the State Highway Patrol was located at 672 N. Lincoln Ave. in 1935.

This event was big news in Salem for several days, but then other news took its place on the front page. I was a freshman with new school interests, and Thanksgiving was coming up; also my 14th birthday was in mid-December. This day, however, would linger in my mind as a very spe-

dal one. Eight years later, on a Saturday afternoon in

1_943, I heard a knock at the door. I opened it to fmd a tall well-dressed man standing there. He gave his _na~e, ~a~d ~e was from the FBI, and pre­sented ~1s identification. I very carefully read his credentials and looked at his picture. He said "Your mother gave me your address." I reasoned that he probably had gotten the information from my uncle at the post office. With some hesitation I invited him in and we talked briefly about the ro'b­bery scene. Apparently satisfied with the correct­ness of my information, he told me he would be back within a few days.

When he r~tumed the next week he again asked me to tell him what I had seen. Occasionally he would refer to his papers and add a few notes. I told him about seeing the license plate number and gave it to him. At first he said that it was a diffe­rent number, but then agreed that I was correct.

About two days later he and another agent returned to hear the story again. I answered their questions in detail and told them about the gun­man searching the man from the bank. When asked. about the kind of guns used, I could only describe them. The agent told me not to be alarmed, then opened his coat and pulled a pistol out of a shoulder holster. I described the guns as being much larger, and he concluded they they were sawed-off shotguns.

The next day another agent came with stacks of snapshots~ possibly two or. three hundred. They were ordmary everyday pictures like those any family would have. The agent went through them quickly, stopping whenever I wanted to take a bet­ter look. Finally, it came down to two pictures -one of a person who looked like the driver of the getaway car, and one of the gunmen whom I had seen standing by the bank employee's car. I had to explain my selections in detail, but was never told whether they were correct or not.

I met again several times with these agents and was finally told that one day we would go to Cleve~ai:id to look at a. line-up of suspects. It was not difficult at all to pick number 4 from the line­up. Surprisingly, he then asked to talk with me. I agreed and he was escorted in. Both of us, of course, were older now, my age being 21. We looked at each other and he asked, ''Where was I?" I replied, "You were by the car." This was the bank employee's car in front of the post office.

He asked only one questicn, and perhaps this was all he was permitted to ask. Or, my answer may have clearly let him know that I had seen him there. In any event, I went from that room to an area where there were several other men from Salem who also had viewed the line-up. We talked for a few minutes and then left to go our separate ways.

Sometime later I read in the newspaper that the man identified was sentenced to prison for a long period of time. I ~ought to myself then that per­haps I would write about the event sometime in the next 50 years. Little did I realize the lasting effect this daring daylight robbery would have on me. The names of Hart, Vincent and Stratton would remain permanently in my mind.

How had four men planned this outdoor rob­?ery? Had they practiced their steps, precision tim­mg and getaway to an old abandoned barn? How many times had they driven around town and walked the downtown streets of Salem? One thing they could not have predicted was the number of pedestrians passing the post office at the time of th~ .holdup;. or what innocent person might be dnvmg behmd them after their getaway.

There is really no time for fear when you sud-

Louise McNicol Sayre as a teenager in this photo which appeared in the 1938 Salem High School yearbook.

denly see men with guns running towards you.

Your normal response, when possible, is to walk on and away from the situation. There is no doubt in my mind, however, that had the robbery not gone smoothly, guns would have been used.

With the payroll in their possession, the gunmen sped out of town. Their panic and fear of being caught turned to desperation, which soon brought tragedy to a young man from Salem who hap­pened to be driving near Beloit. Thirty-year-old Herman Stratton, unaware of the robbery, was driving behind the robbers. Unemployed at the time, he was on a sales call trying to sell a mechan­ical device he had patented. Without warning, the robbers opened fire on him, hitting him in the head. Tragically, he lost the sight of his left eye, all because he happened to be in the wrong place at the wrong time - a victim of circumstance.

Local citizens and his friends sponsored a drive to raise funds for him, with donations being col­lected at the Farmers National Bank. Mr. Stratton remained in serious condition at the Salem City Hospital for a week. He finally recovered but lost the sight of his left eye. (Herman Stratton was the husband of Doris Stratton and the father of David.)

As a result of the investigation, I gained much respect for the FBI agents. They were kind to me and very. thorough in t~eir questioning. Over and over agam they questioned me on every little detail. The robbery took place 56 years ago, but I am.still amaz~d at how quickly and effortlessly the bram automatically records so much detailed infor­mation about an event happening before our eyes. My memory of this one is as vivid as though it happened last week.

Louise McNicol Sayre was graduated from Salem High School in 1939 and today lives in Camden, South Carolina.

By Dale E. Shaffer

W ITH THE PROGRESS and technological developments of each generation, new

terms and phrases enter the vocabulary, while old words infrequently used become obsolete. As words go out of sight they go out of mind and are forgotten.

Historically, however, many terms remain important. The people of every generation use tools and instruments to fit the tasks of the times, and those devices tell us much about the work habits and lifestyles of the people who use them.

Take the word "quern," for example. You sel­dom hear the term anymore, yet it refers to an item that was very important in early American house­holds. The "quern" was a simple hand mill, with revolving miilstone, for grinding grain into meal and flour. Grain was poured through a hole in the upper millstone while a "quern stick" was swung to turn the stone.

Through the years, in the process of reading and writing historical articles and books on Salem and early America, I have come across many terms and phrases that were in common use in the 1700s and 1800s. They describe early farm and household tools, objects and methods important in pioneer life. Today, about the only place you hear such te~s is in a museum, an antique shop or at an auction.

Although obsolete, the terms often re-surface when dealing with old tools and artifacts, like those displayed at the Salem Historical Museum and the Columbiana Historical Museum.

Given below is a select listing of 40 old terms that tell much about the lives of our ancestors. How many can you identify?

· ~R~E or FROW - A tool with a long, heavy, kmfe-hke blade on a handle, used for splitting or "riving" wooden shingles from a bloc.k of dry pine

"Be As5Ured Of Excellent r:are For Your Loved One"

Quality Ca.n~ • Long Term • Short Term • Convalescent or Hourly Care

AT HUTTON'S,

WE LOVE OUR HERITAGE

SALEM: PEACE You can have PEACE in your heart knowing that you or your loved one is getting excellent nursing care by COMPASSIONATE, LOVING, QUALIFIED staff. . Special features: Beautifully decorated and carpeted to be like home •.. Also, some larger rooms with carpet in the sitting area ... 24-Hour Nursing Care Rehabllitatlon. Recreation. Also. HOURLY CARE

~337-9503 Conveniently located adjacent to Salem Plaza

Salem, Ohio

or cedar. It was struck with a maul of ironwood or oak, and the shingle produced was called a "shake."

RUGGLE - A drag-shoe or wagon brake. It was a metal scoop that went under, and held back, the rear _wheels. Operated by a hand lever, it kept a heavily laden wagon from rolling downhill over the horses.

COMMANDER - A large, iron-banded, wooden hammer (30 to 50 pounds) for pounding together barn and bridge timbers. It was usually swung between the legs.

STILE - Steps on each side of a fence which help a person get over the fence.

GRIKE - The narrow opening in a stone or wooden fence to allow people, but not farm ani­mals, to get through.

FLAIL - A tool for threshing grain from the chaff by hand. It has a wooden handle, at the end of .which is a ~horter stick (called a swiple or swmgle) that swmgs freely. The floor in the center of the barn was used for threshing.

WHIPSAW - A two person saw, also called an open pit saw, for cutting planks from a log. The tiller man stood above the log and the box man beneath it. The latter wore a big hat for protection against the shower of sawdust.

BARK SPUD - A tool used to strip bark from a log to hasten drying of the timber. Oak bark was used for tanning hides.

CUTTER - A small sleigh with a seat. It was pulled by a horse, pony, goat or other animal.

BY HOOK OR CROOK - A legal term forbid­ding the tenant from cutting live trees, but allow­ing him to hook or pull down dead limbs for firewood.

CRATCH - A raised crib building, open-slatted with outward slanting sides, for storing whole ears of corn and grain bey:c.md water and rodents. Later,

Serving The Area Since 1917

and still serving the nicest people with

,"RED CARPET TREAT.MENT" 229 N. Ellsworth, Salem

Monday-Friday 8:30 • 8:00 Saturday 8:30 - 7:00 Sunday 10:00-1 :OO

Closed Holidays Fret1 Delivery

the structure was called a corn crib. BEETLE - A heavy maul used to strike iron or

wooden wedges to split rails. . CHAPMAN - A traveling merchant or peddler m the early 1800s. He sold almost everything, but was known for his nutmeg.

POKE - A wooden device of various designs, hung from the necks of animals to keep them from jumping through fences.

TRUNNELS - large wooden pins for fastening the framework of buildings and bridges together. Also called "tree nails."

CHAIN - A surveyor's linked measuring device, 60 feet long.

SCULLERY - A room off the kitchen where vegetables were cleaned and pots and pans washed.

CAT AND CLAY - A construction method using sticks and mud, often for chimneys.

SPILE - A spout for tapping maple sap from a tree, and on which the sap pail was hung.

DOGS - Metal clamping devices of many kinds for holding wood in place to be hewed, sawed or milled.

ADZE OR ADZ - A tool with an arched blade on the end of a stout handle, used for smoothing the surface of a beam. The scoring marks you see on old beams were made by a broadaxe, not an adze.

WATCH - The foundation of a church steeple, below the belfry and spire.

STONEBOAT - A reinforced runnerless sled, often pulled by oxen, for sliding heavy loads.

PUMICE - Ground and crushed apples, ready for the cider press. Also called "apple cheese."

SUMMER CLOTH - An all-purpose square of water tight canvas, folded to make knapsacks,

Tum to PHRASES on page 11

'Yesteryears can be found at the following locations:

USBONA&EA Dairy Mart Sparkle Lisbon Party Center Morgan's Drug Buckeye Beverage Quick Shop Rite Aid Drug Store

HANOVEJ.ITQl'll Hull's Super Duper

SALEM AREA Dairy Marts Fenskes Salem Drug Sunoco IGA Kendricks' Lease Sami's Sparkle Timber lanes Gene's Apothecary Amoco Thrift Drug Nemenz Rite Aid USAMatket

GREEW'..QB.12 Greenford Country

Store

LEETQNIA Brian's Carry-Out

!:QLUMBIANA Well's Drug Ryan's News Walgreen Drug Dairy Mart 5-258 Nemenze little Village South Range Quick

Shop Rite Aid Sparkle

lY:ASHINGTONYJLLE Washingtonville Pharmacy CANFIELJl

l'liElY: l\':A TERFORD Country Pantry

Vittle Village Fairfield Market SEBRING

Groman Drug ElAIESTINE Ben Franklin

Sport Center Dairy Mart Hilltop Market Country Fair

Beadell's Drive Thru ROGERS

Nemenz Foodland IELQII

I2AMASOJ:S Mahoning Valley Damascus Carry-Out Dairy T.J.'s Matket Quaker City IGA

Or Cs/1332-4601 To Start Your

Subscription to')" esteryears

1 th century traveler's j ourne r traced By National Geographic For AP Special Features

A BLACK TURBAN COVERED all but the tribesman's eyes. Slung over his shoulder

was a broadsword, encased in a dusty red scabbard.

"Just don't stop," he commanded as he handed over the caravan's lead rope. 'We would be all day sorting out the mess!"

With those briefest of instructions, writer Tho­mas J. Abercrombie found himself in temporary command of a train of camels carrying salt across the Sahara, while the caravan boss dropped back to inspect the beasts and their loads.

"I savor the glory of piloting such a menagerie," writes Abercrombie in the current National Geo­graphic. "Pulling more than 400 camels behind ine toward a stark horizon of sky and sand, I am right where I want to be: deep in the 14th-century world of an extraordinary traveler named Ibn Battuta."

Abercrombie retraces the journeys of Ibn Battuta, a little-known Moroccan who was one of history's great sightseers. In 29 years of roaming, Ibn Battuta crossed two continents, logging about 75,000 miles - tripling Marco Polo's travels - through 44 of today's countries. ·

"It is an Arabian Nights world of caravans, veiled harems, whirling dervishes and forbidden cities - a world of brigands and bow-and-arrow wars, of banquets with turbaned sultans and mir­ages wrought by threadbare fakirs," Abercrombie writes. "Most marvelous of all, much of it survives today."

"When we climbed it, we saw the clouds beneath us, shutting out our view of its base," reported Ibn Battuta of Adam's Peak in Sri Lanka, where Muslims say Adam first set foot on earth. Some 650 years after the traveler's visit, a Buddhist monk carries his prayers to the top of the mountain. (National Geographic Society/James L. Stanfield)

Ibn Battuta's memoirs brim with the flavor of his time, documenting a journey of hazard and hard­ship, opulence and adventure. It began in Morocco when he was only 21, his wanderlust perhaps

fanned by the tales of passing merchants, soldiers he set out across North Africa for Mecca, 3,000 and sea captains.

Barely had Ibn Battuta finished his studies when Turn to VOYAGE on page· 10

1991 FORD TAURUS· L 4-DOOR SEDAN

3.0 Liter V-6 Engine Fower Locks Air Conditioning Rear Defroster Tilt Wheel Clearcoat Paint Automatic Overdrive Demo #1F198

RETAIL $15,919

REBATE APPLIED OPEN TONIGHT UNTIL 9 P.M.

omeseew at The Loudon

Commitment can mean to you!

FINAL CLEARANCE OF NEW 1991 MODELS

1991 FORD ESCORT 1991 FORD MUS'JANG 1991 FORD TEMPO 1991 FORD CONVERSION 1991 MERCURY TRACER 1991 MERCURY CAPRI 1991 LINCOLN TOWN CAR

2.9% FINANCING

AVAILABLE ON SELECT MODELS

FORD --¢>- LINCOLN --¢>- MERCURY

miles away in what is now Saudi Arabia. The traveler's account of Palestine reads like a

pilgrim's guide. "I visited Bethlehem, the birthplace of Jesus (on

him be peace)," he wrote. In Hebron he inspected the tombs of Abraham, Isaac and Jacob, prophets holy to Moslems, Christians and Jews; in Jerusalem he described the Mount of Olives and the church where the Holy Virgin was said to be buried. And he prayed at the Haram al-Sharif mosque, in his time the largest in the world, built on the ruins of Solomon's Temple.

Clad in an "ihram," the seamless white doth of a pilgrim, Ibn Battuta and his companions arrived in the holy city of Mecca. There they beheld the cube-shaped Kaaba, which holds the black stone that Moslems believe was given to Abraham by the angel Gabriel.

'We presented ourselves forthwith at the Sanc­tuary of God Most High and saw before our eyes the Kaaba (may Allah increase its veneration) sur­rounded by companies that had come to pay hom­age. We kissed the Holy Stone, drank water from the (sacred) wells of Zamzam, then took up lodg­ing in a house near the Gate of Ibrahim," the traveler wrote.

Although many of the ceremonies, and the hos­pitality shown by the Meccan hosts, have changed little over the centuries, Abercrombie writes, Ibn Battuta would have been stunned by the vast changes brought on by the growing number of pilgrims.

From his vantage point in a Royal Saudi Air Force helicopter last year during his third pilgrim­age, Abercrombie gazed down on 2 million of the

•ADJUSTABLE .HANDL.EBARS

•ONE.Wi LARG.E . FRONT. FENDER

0 STR.ONG STEEL·

Save About $1.50 on These Sturdy Steel Bikes Streamlined Frame, Fender and Handlebars

Second only to our De Luxe streamlincrs (at left) are these popular velocipedes! Each one a senaalional value! Racy, streamlined. yet lightweight! New streamlined steel fender OYer ball bearing front wheel. 1'1odern, stamped steel handlebars. ImproYcd heavy gauge steel frame. Rraccfully sh.aped and turned. Designed to give longer leg reach. Strong steel step-plates over rear axle. Adjustable. shaped, spring saddle; handlebars can be raiaed or lowered, too. Large, rubber grips and pedals; %-inch, non-skid, solid rubber tires. Shiny spokes in all wheels. Finished in snappy red crackle enamel; saddle enameled black. Choice of four sizes, all mailable. Measure child from crotch to instep.

<'.'alalog I Fro.nl Wheel I Crotch I°' Sh1>g. I , .. -.~u~1l~cr __ r~1-~c~ ___ tn_!1~st~I1_ ~. l.l1s. _:___:~ 79 D 8620 10 im.:hl'S 15 to l6V2 in. 12 $2. 79 79 D 8621 12 inches . 17 to lXV2 in. 20 3.69 79 D 8622 16 inches l'J to 21Y2 in. 25 4.48 79 D 8623 20 inches 22 lo 24 in. 29 5.29.

Ad From the Past

The Home for Aged Women along Salem's Main Street at the turn of the century. Postcard cour­tesy of Robert Hinton.

faithful.

"The Saudis have spent billions to keep up with the growing tide of pilgrims," he writes.

By the time Ibn Battuta visited Mecca, he was a confirmed wanderer. A lifetime of travel followed, taking him as far east as the Empire of the Great Khan, now China; as far north as Bulghar, now a ruin near Kazan, Russia; and as far west as West Africa.

"lbn Battuta never dwells on what drove him on," Abercrombie writes. "Curiosity? Perhaps it

What a Pharmacy Was Meant To Be! Store Hours 9:30-6 M-F, 9:30-1 Sat.

Offering Free Delivery and Fast Friendly Service

Aunt Bea's Country Cupboard 9010Yi Youngstown-Salem Rd., Rt. 62

Canfield, OH 44406

533-0388 Mon.-Fri. 10-6; Sat. 10-4 ·

Located Beside Parks Landscaping and Garden Center

was to greet the stars with a sage on a remote mountaintop, to suffer the majesty of a turquoise horizon aboard an equatorial isle,; to seek spiritual shelter with the pious throngs of Mecca, to breathe the white winter winds of the Russian steppes or the spices of a Persian bazaar, to dine with kings or share a crust with a passing nomad.

"More likely it was a quest for knowledge. One never seduced by a foreign culture can never appreciate the fetters of his own. Life, after all, is a journey - a voyage of discovery."

A Restaurant In

The Fullest Sense

6Ilmberlanes ofSalent

It is the aim of Tirnberlanes to be a full-menu, full service·restaurant in every attainable way. And so it is. Here you can obtain as many

courses for a lavish dinner as you wish. Spirits and fine wines with

your choice of appetizers. E:ntrees of every variety and fine dinner

wines. Superb desserts prepared in our own kitchen and Pakery.

Each day's offerings cove7"every basic kind of meal, and your

advance requests will make cer-tain your more sophisticated

requests are met. YET, THOSE -WITH LIGHTER APPETITES

AND TIGHTERTIME SCHEDULES ARE HERE EVERY DAY

ORDERING FROM OUR SAND­WICH OR SALAD MENUS.

TIMBERLANES OF SALEM 544 E. Pershing, Salem, Ohio 44460

Telephone: (216) 337-9572 Timberlanes Motor Inn

337-9901

water buckets, etc. HOLZAXT - A special axe with a wedge-like

head, designed for splitting logs. BULL RAKE - A wooden hay rake, also called

a hay drag. SLEDGE - A sliding device with runners for pull­ing heavy loads across grass, mud, ice and other surfaces. It was pulled by hand, by ox, or by horse. The sledge was easier to load than a wheeled vehi­cle, and there were no wheels to get stuck in the mud. Sleds were for winter; sledges for all seasons.

MULEY SAW - The earliest sawmill saw that cut wood by moving up and down.

SNITZEL KNIFE - Another name for drawk­nife, which came to America before the Pilgrims. The shaving horse, which made it simple to hold the article being shaved, made the drawknife a favorite tool. The spokeshave has a regulated depth of cut.

GIG - Another word for buggy. SLUICE BOX - A small canal which fed water

from the pond to the water wheel of a grist or saw mill.

TRUNDLE BED - A low bed which could be stored under another bed. Like larger beds, it had springs of cotton or hemp rope.

GIMLET - A small tool with a screw point, grooved shank, and cross handle for boring holes. Drivers of Conestoga wagons hauling barrels of whiskey would carry them along to use in stealing a little of the cargo to fill their little brown jugs.

CORD WALK - A long area for rope-making, allowing many hundred feet for the twisting of strands.

SCORP -'- A scoop or tool used for hollowing out bowls, troughs and canoes.

HELVE - The handle of an axe, hatchet, adze or

GLAD ALWAYS

THINGS T.,,

I

ID AL.WAYS Tf/ot16/-lr F!lNEeAL HOME~ Wfl?E ALL A5orJr THC ~r IJNrtL f AUENPED A GEl?JilCE , tlsEWHEJZf.

Foe THE FIFZ.Sr71M[ I ~fAUZEJ) WHAr A DlfffRENCE TffEKc /S Ar YouR Pl.ACE ••. l//(f flRSr-cUl~S

e FAe.ILITlfS, TA5TffiJLLY DfCoR.ATt:D. IWD ™ .. ,

.f'Ei '"oPERLYT~1NfD, ATffNrrvr OPLE WHn t\:Wr Mr~~ A SIN6Lt

VETAIL!

Yo11 Jusr f/AVF A WAY Cf IXJ1NG ·IT Au BETTER. Now I KNOi'tl WHY so MA#{ liOAE lfAvt D-lastN YocJ 11>{( YEARS.

PEOPLE WHO KNOW YOU, PEOPLE YOU CAN RELY ON. .. TODAY AND TOMORROW..

Stark, Memorial Inc. 1014 E. State St., Salem, Ohio

Russell C. Loudon

p...]SMJ, MC'rr_1bcr _by lnv1!<ll_1on, N.1t1onal ~clctled Mortici.m'>

332-5139

The Pennsylvania Railroad Depot in the 1900s. The postcard is part of Robert Hinton's collec­tion of Salem and area scenes.

other chopping tool. GLUT - A small iron or oak wedge used for

splitting logs into rough planks. FLEAM - An instrument used to scratch the

skin in order to allow a person to bleed. The pro­cess of bloodletting was known as "philebotomy," and was practiced by barbers as well as surgeons.

LINSEY WOOLSEY - A blend of wool and linen spun on the spinning wheel. Linen comes from flax grown in fhe field wool from sheep.

Manufacturers and Designers of Injection Molded Plastics

"We mold service as well as quality

in our products."

Iii (FORMERLY WARREN MOLDED PLASTICS)

800 PENNSYLVANIA AVENUE, SALEM, omo 216-337-9961 A WORTHINGTON INDUSTRIES COMPANY

The Free Enterprise System at Work

For a view of hundreds of artifacts that help tell the Salem story and depict early American life, vis­it the Salem Historical Historical Museum on Sun­day afternoons from 2 to 4. It's a place where you not only hear about a town's history, but where you can also see and touch it. Holding a 200-year­old broadaxe in your hand really puts you in touch with those rugged pioneers of the past who built their cabins out of hand-hewed logs. History comes alive at the museum.

New at

Salem Computer Center!

'NSTANT VCR PROGRAMMER

- INSTANTLY program your VCR. - Tape any show in just one step. - No more mistakes! - Use PlusCode ™from local TV Guide

NOW IN STOCK at only

$59.95

Salem 200 E. 2nd St.

CComputer Salem, Ohio 332-2201 enter M&F 9-6, T w Th 9-5 s 1 o-5

• I bu 0

By Dick Wootten

Never before in history have so many Americans had the chance to see old movies.

Thanks to cable television, the number of old classics on the tube has skyrocketed, making it pos­sible for a new generation of viewers to admire the acting of movie greats from as far back as 1915, or even earlier.

The availability of old films on TV and on VCRs also makes it possible for the casual movie watcher to become a movie buff or even film student. Many universities today offer courses in film history as well as film making.

It's only human nature while watching 1930s screwball comedies or 1940s film noir murder sto­ries to wonder about the performers. Are they still with us? That's the nagging question.

Of course, many are not. And while film buffs may be able to answer any movie question in a Tri­vial Pursuits game, the ultimate question, which is far from trivial, is: When did they die?

We provide the following list to answer that ulti­mate question for you. We suggest you stash it next to your TV for easy reference. 1930

Mabel Norman, 23 Feb., tuberculosis Arthur Conan Doyle, 7 July Lon Chaney Sr., 24 Aug. , cancer

1931 Tyrone Power Sr., 31 Dec., heart attack

1932 Edgar Wallace, 10 Feb. heart ailmei;it Florenz Ziegfeld, 26 July, pneumonia

1933 Roscoe "Fatty" Arbuckle, 29 June, heart attack Texas Guinan, 5 Nov., colitis

1934 Marie Dressler, 28 July, cancer

1935 Will Rogers, 15 Aug., plane crash Thelma Todd, 15 Dec., suicide

1936 John Gilbert, 9 Jan., heart attack Marilyn Miller, 7 April, toxic poiso~ing Irving Thalberg, 14 Sept., pneumoma

1937 Jean Harlow, 7 June, uremic poisoning George Gershwin, 11 July, brain tumor

1938 Pearl White, 4 Aug., liver ailment

1939 Douglas Fairbanks Sr., 12 Dec., heart attack

1940 Ben Turpin, 1 July, heart disease Tom Mix, 12 Oct. road accident

1942 Carole Lombard, 16 Jan., plane crash John Barrymore, 29 May, liver and kidney failure May Robson, 20 Oct. George M. Cohan, 5 Nov., intestinal ailments Buck Jones, 5 Nov. fire accident

1943 Conrad Veidt, 3 April, heart attack Leslie Howard, 1 June, plane shot down

1944 Lupe Velez, 14 Dec., suicide Harry Langdon, 22 Dec., stroke

19~5 Alla Nazimova, 12 July, coronary thrombosis Robert Benchley, 21 Nov., cerebral hemorrhage

1946 George Arliss, 5 Feb., bronchial ailment Mae Busch, 19 April . Lional Atwell, 22 April, pneumonia William S. Hart, 23 June, stroke W.C. Fields, 25 Dec., cerebral hemorrhage

1947 . Grace Moore, 26 Jan., air crash Harry Carey, 21 Sept., heart attack Ernst Lubitsch, 30 Nov., heart attack

'Y" esteryears '.lvf OIUfay, January 2a 1992

njoy this 'dire tor '

1948 Dame May Whitty, 29 May . . Carole Landis, 5 July, overdose of sleeping pills Edgar Kennedy, 9 Nov., cancer . C. Aubrey Smith, 20 Dec., pneumoma

1949 Wallace Beery, 15 April, heart ailment Frank Morgan, 19 Sept. Richard Dix, 20 Sept., heart attack Bill Robinson, 25 Nov., heart ailment Maria Ouspenskaya, 3 Dec., fire accident

1950 Alan Hale, 22 Jan., heart attack Marguerite de la Motte, surgery complications Walter Huston, 7 April, heart attack Rex Ingram, 22 July, cerebral hemorrhage Al Jolson, 23 Oct., heart attack

1951 Jack Holt, 19 Jan., heart attack Warner Baxter, 7 May Fanny Brice, 29 May, cerebral hemorrhage Robert Walker, 28 Aug., respiratory failure Maria Montez, 7 Sept., heart attack

1952 John Garfield, 21 May, heart attack, Gertrude Lawrence, 6 Sept., yellow jaundice Susan Peters, 23 Oct. Hattie McDaniel, 27 Oct., cancer

1953 Alan Curtis, 1 Feb., surgery complications William Farnum, 5 June, cancer · Roland Young, 5 June. Lewis Stone, 12 Sept., heart attack Nigel Bruce, 8 Oct., heat attack

1954 ' Sidney Greenstreet, 18 Jan., diabetes Eugene Pallette, 3 Sept., cancer Lionel Barrymore, 15 Nov., heart attack

1955 S. K. Sakall, 12 Feb., heart ailment Theda Bara, 7 April, cancer Constance Collier, 25 April Carmen Miranda, 5 Aug., heart attack

1956 Alexander Korda, 23 Jan., heart attack Robert Newton, 25 March Edward Arnold, 26 April Louis Calhern, 12 May, heart attack Jean Hersholt, 2 June, cancer Bela Lugosi, 16 Aug.

1957 Humphrey Bogart, 14 Jan., cancer Josephine Hull, 12 March Erich von Stroheim, 12 May, cancer Oliver Hardy, 7 Aug., stroke Jack Buchanan, 20 Oct., spinal arthritis

Louis B. Mayer, 29 Oct., leukemia Norma Talmadge, 24 Dec., stroke

1958 Ronald Colman, 19 May Robert Donat, 9 June, emphysema Tyrone Power, 15 Nov., heart attack H.B. Warner, 21 Dec.

1959 Cecil B. DeMille, 21 Jan., heart attack Lou Costello, 4 March, heart attack Ethel Barrymore, 18 June, heart condition Preston Sturges, 6 Aug., heart attack Kay Kendall, 6 Sept., leukemia Edmund Gwenn, 6 Sept. Paul Douglas, 11 Sept., heart attack Mario Lanza, 7 Oct., heart attack Errol Flynn, 14 Oct., heart attack Victor McLaglen, 7 Nov., heart failure Gerard Philipe, 25 Nov., heart attack Gilda Gray, 22 Dec., heart attack

1960 Margaret Sullivan, 1 Jan., overdose of barbituates Hope Emerson, 25 April, liver ailment Leo McCarey, 5 July, emphysema Ward Bond, 5 Nov., heart attack Mack Sennett, 5 Nov., heart attack Clark Gable, 17 Nov. heart attack

1961 Anna May Wong, 3 Feb., heart attack Belinda Lee, 13 March, road accident Gail Russell, 26 April Gary Cooper, 13 May, cancer Joan Davis, 23 May, heart attack Jeff Chandler, 18 June, blood poisoning after

surgery Charles Coburn, 30. Aug., heart attack Marion Davies, 22 Sept., cancer Chico Marx, 11 Oct., neart attack

1962 Michael Curtiz, 10 April, cancer . Marilyn Monroe, 5 Aug., overdose of barb1tuates Hoot Gibson, 23 Aug., cancer Charles Laughton, 15 Dec., cancer Thomas Mitchell, 17 Dec., cancer

1963. Jack Carson, 2 Jan. Dick Powell, 3 Jan., cancer Monty Woolley, 6 May, heart ailment ZaSu Pitts, 7 June, cancer Richard Barthelmess, 17 Aug., cancer Jean Cocteau, 11 Oct., heart atta_c~ Adolphe Menjou, 29 Oct., hepatitis Sabu, 2 Dec., heart attack

1964 Joseph Schildkraut, 21 Jan., heart attack Alan Ladd, overdose of drugs and alcohol Peter Lorre, 23 March, heart attack Ben Hecht, 18 April, heart attack Cedric Hardwicke, 6 Aug., emphysema Gracie Allen, 27 Aug., heart attack Harpo Marx, 28 Sept., heart attack Eddie Cantor, 10 Oct., heart problem William Bendix, 14 Dec., pneumonia

1965 Jeanette MacDonald, 14 Jan., heart failure follow-

ing surgery Stan Laurel, 23 Feb., heart attack Margaret Dumont, 23 March, heart attack Mae Murray, 23 March, stroke Linda Darnell, 10 April, fire accident Judy Holliday, 7 June, cancer Steve Cochran, 15 June, lung infection David 0. Selznick, 22 June, heart attack Constance Bennett, 24 July, cerebral hemorrhage Nancy Carroll, 6 Aug. Dorothy Dandridge, 8 Sept., barbi tua te

poisoning Clara Bow, 27 Sept. Zachary Scott, 3 Oct., brain tumor

Tum to next page a=

Capra Dewhurst

/",~ _fti' Stars ·'-...!:~. r.~,"'-··1 "-·--·· '"-;f?!.1 Continued from page 12 :J.E§~--

1f~"-... /fJ'' ------------ ' . 1966

Hedda Hopper, 1 Feb., pneumonia Buster Keaton, 1 Feb., cancer Montgomery Clift, 23 July, heart attack

Francis X. Bushman, 23 Aug., heart problem Clifton Webb, 13 Oct., heart attack Walt Disney, 15 Dec., heart attack

1967 Ann Sheridan, 21 Jan., cancer Martine Carol, 6 Feb., heart attack Claude Rains, 30 May, intestinal hemorrhage Spencer Tracy, 10 June, heart attack Jayne Mansfield, 29 June, car crash Vivien Leigh, 8 July, tuberculosis Basil Rathoone, 21 July, heart attack Paul Muni, 25 Aug., heart trouble Charles Bickford, 9 Nov., pneumonia

1968 Mae Marsh, 13 Feb., heart attack Fay Bainter, 16 April Dorothy Gish, 4 June, pneumonia Dan Duryea, 7 June, cancer Kay Francis, 22 Aug., cancer Franchot Tone, 18 Sept., cancer Lee Tracy, 18 Oct., cancer Ramon Navaro, 30 Oct., murdered Talullah Bankhead, 12 Dec., pneumonia

1969 Boris Karloff, 2 Feb., respiratory disease Thelma Ritter, 5 Feb., heart attack Eric Portman, 7 Feb., heart ailment John Boles, 27 Feb., heart attack Sonja Henie, 13 Oct., leukemia Josef von Sternberg, 22 Dec., heart attack

1970 Cathy O'Donnell, 11 April Anita Louise, 25 April, stroke Billie Burke, 14 May Francis Farmer, 1 Aug., cancer Edward Everett Horton, 29 Sept., cancer Charles Ruggles, 23 Dec., cancer

1971 Harold Lloyd, 8 March, cancer Bebe Daniels, 16 March, cerebral hemorrhage Edmund Lowe, 22 April, heart ailment Glenda Farrell, 1 May Audie Murphy, 28 May, plane crash Van Heflin, 23 July, heart attack Spring Byington, 7 Sept., heart attack Pier Angeli, 10 Sept., barbituate overdose

1972 Maurice Chevalier, 1 Jan., heart attack Marilyn Maxwell, 20 March, heart attack

Brian Donlevy, 5 April, cancer George Sanders, 25 April, barbituate overdose Brandon de Wilde, 6 July, road accident Akin Tamiroff, 17 Sept. Miriam Hopkins, 9 Oct., heart attack Leo G. Carroll, 16 Oct.

Montand

1973

Yesteryears Afmufay, January 20, 1992

MacMurray

Edward G. Robinson, 26 Feb., cancer Noel Coward, 26 March, heart attack Lex Barker, .11 April, heart attack Betty Grable, 2 July, cancer Veronica Lake, 7 July, hepatitis Robert Ryan, 11 July, cancer Jack Hawkins, 18 July, cancer John Ford, 31 Aug., cancer Anna Magnani, 26 Sept.,cancer Laurence Harvey, 25 Nov., cancer Bobby Darin, 20 Dec., heart ailment Sam Goldwyn, 31 Jan., stroke Bud Abbott, 24 April, cancer Agnes Moorhead, 30 April, cancer

1974

Thomas

William Brennan, 21 Sept., emphysema Vittorio De Sica, 13 Nov., cancer Jack Benny, 26 Dec., cancer

1975 George Stevens, 8 March, heart attack Susan Hayward, 14 March, brain tumor Mary Ure, 3 April, accidental overdose Frederic March, 14 April, cancer Richard Conte, 15 April, heart attack Rod Serling, 28 June, surgery complications William Wellman, 12 Dec., leukemia William Lundigan, 21 Dec.

1976 Paul Robeson, 23 Jan., stroke Sal Mineo, 12 Feb., stabbed to death Busby Berkeley, 13 March Adolph Zukor, 10 June Stanley Baker, 28 June, cancer Fritz Lang, 2 April Alistair Sim, 19 Aug., cancer Jean Cabin, 15 Nov., heart attack Rosalind Russell, 28 Nov., cancer

1977 Groucho Marx, 1 Jan., pneumonia Peter Finch, 14 Jan., heart attack Eddie "Rochester'' Anderson, heart attack Joan Crawford, 11 May, heart attack Elvis Presley, 16 Aug., .heart attack Stephen Boyd, 19 Aug., heart attack Zero Mostel, 8 Sept., heart attack Bing Crosby, 14 Oct., heart attack Charlie Chaplin, 25 Dec. Howard Hawks, 26 Dec., complications follow­

ing fall 1978

Charlotte Greenwood, 18 Jan. Jack Oakie, 23 Jan., heart attack Oscar Homolka, 27 Jan., pneumonia Charles Boyer, 2 June, suicide Jack L. Warner, 9 Aug., heart inflamation Robert Shaw, 28 Aug., heart attack Dan Dailey, 16 Oct., anemia Gig Young, 19 Oct., suicide

1979 Jean Renoir, 12 Feb., heart ailment Mary Pickford, 29 May, stroke Jim Hutton, 2 June, cancer John Wayne, 11 June, cancer Michael Wilding, 8 July, complications after fall Jean Seberg, 8 Sept., barbituate overdose Grade Fields, 27 Sept., pneumonia

Remick Kosinski

Merle Oberon, 23 Nov., stroke Joan Blondell, 25 Nov., leukemia

1980 Alfred Hitchcock, 29 April, heart attack Peter Sellers, 24 July, heart attack Steve McQueen, 7 Nov., cancer Mae West, 22 Nov. George Raft, 24 Nov., leukemia Rachel Roberts, 26 Nov., barbituate overdose Raoul Walsh, 31 Dec., heart attack ·

1981 Rene Clair, 15 March Melvyn Douglas, 4 Aug., heart ailment William Wyler, 27 July, heart attack Vera-Ellen, 30 Aug., cancer Ann. Harding, 1 sept. Robert Montgomer, 27 sept., cancer Gloria Grahame, 5 Oct., cancer William Holden, 16 Oct., accident Natalie Wood, 29 Nov., drowned

1982 Stanley Holloway, 30 Jan. Eleanor Powell, 11 Feb., cancer John Belushi, 5 March, drugs and alcohol Romy Schneider, 29 May, cardiac arest Henry Fonda, 12 Aug., heart ailment Grace Kelly, 14 sept., car accident caused by

cerebral hemorrhage Jacques Tati, 5 Nov., pulmonary embolism Marty Feldman, 2 Dec., heart attack

1983 George Cukor, 24 Jan., stroke Gloria Swanson, 4 April, heart ailment Delores del Rio, 11 April Buster Crabbe, 23 April, heart failure Norma Shearer, 12 June, pneumonia Luis Bunuel, 29 June, cirrhosis of the liver David Niven, 29 July, motor neurone disease Ralph Richardson, 10 Oct., digestive ailment Pat O'Brien, 15 Oct., heart attack following

surgery Robert Aldrich, 5 Dec., kidney failure William Demarest, 28 Dec., heart attack

1984 Johnny Weissmuller, 20 Jan., lung blockage Ethel Merman, 15 Feb. William Powell, 5 March Diana Dors, 4 May, cancer Flora Robson, 7 July Richard Burton, 5 Aug., brain hemorrhage Janet Gaynor, 14 sept., pneumonia after car crash Richard Basehart, 17 Sept., stroke Walter Pidgeon, 26 Sept. Francois Truffaut, 21 Oct., cancer Oskar Werner, 23 Oct., heart attack Sam Peckinpah,, 28 dee., heart attack

1985 Louis Hayward, 21 Feb., cancer Michael Redgrave, 2 March, Parkinson's disease Louise BrooKs, 8 Aug., heart attack Simone Signoret, 30 Sept., cancer Rock Hudson, 2 Oct., AIDS Yul Brynner, 10 Oct., cancer

Tum to next page ~-

By John Barrat Smithsonian News Service

M ICROSCOPES, BOTTLED chemicals and electronic gadgetry line the shelves of this

sprav.:ling laboratory in Suitland, Maryland, near ~ash~n~ton,. D. C. where a priceless 18th century ml pamtmg is about to meet its doom. Deliberately dropped from a height of three feet, the canvas ~rumples pathetically in its frame. A second paint­mg, exposed to excess changes in heat and humidi­ty, has developed disfiguring cracks in its surface. A third is vibrated so violently that it nearly comes apart.

In the name of science, Dr. Marion Mecklenburg has sacrificed untold numbers of paintings in his office at the Smithsonian's Conservation Analytical Laboratory. Yet no multimillion dollar van Goghs or Rembrandts litter the floor. These artworks are precise fakes, electronic clones that exist only on a computer screen. Using a high tech computer prog­ram, Mecklenberg exposes his simulated master­pieces to a gauntlet of imaginary disasters, analyz­ing how they fail and fall apart.

As one of the few structural engineers at work in the art world, Mecklenburg scrutinizes the mechanical properties of paintings using many of the same techniques other engineers might use to test the strength of the Brooklyn Bridge or the frame of a 747 jet airliner. His specialty is learning how the delicate layers of paint, varnish and glue that cover antique canvases can swell, shrink, stretch or crack - particularly while an art work is being shipped over long distances.

"For decades, a feeling of apprehension and fear has surrounded the issue of transporting valuable artworks," Mecklenburg explains, "mainly l;>ecause so much about it was unknown. In recent years, scientific investigation has proven most of these fears to be unfounded. Modem shipping tech­niques and equipment can now virtually guarantee a safe journey for artworks." This is good news considering the rare artworks present change hands or are loaned out for exhibitions. Blockbus­ter exhibitions often requiring moving whole col­lections of art around the globe.

To improve understanding of the critical issues involved in packing and shipping works of art and to improve packing methods around the :world, Mecklenburg has helped organize an international conference in September at the Queens Conference Center in London. Sponsors of the conference

At the Smithsonian's Conservation Analytical Laboratory, Dr. Charles Tumosa (left) and Dr. Marion Mecklenburg discuss the computer­generated image of a painting which has been dropped on its upper right hand corner. Through computer modeling, a painting can be subject to any number of conditions which might be encountered in transit.

Yes-t:eryears Af onioy, J!JtUUlTg ~ 1992

Smithsonian News Service Illustration courtesy of Ross M. Merril

Safely transporting artworks is an age-old problem, as this 1866 illustration of workers moving paintings into London's National Gallery show. Today, entire art collections are commonly moved worldwide by train, plane, boat and van. Scientists are now carefully studying the damaging structural effects that moving can have on painting.

include the Smithsonian Institution, the Canadian Conservation Institute in Ottawa, the National Gal­lery of Art in Washington, D. C., and the Tate Gal­lery in London. Art conservators and movers worl-

,,.tJ~bl .. · .··s~ C.f/(N

··1t~ Continued from page 13 ;g<:­--;,,.,~·~'J.S-.if ~1 (.;:?' ·• . 0-

0rson Welles, 10 Oct., heart attack Phil Silvers, 1 Nov. Anne Baxter, 4 Dec., cerebral hemorrhage

1986 Ray Milland, 10 March, cancer Robert Preston, 21 March, cancer James Cagney, 30 March Otto Preminger, 23 April, cancer Broderick Crawford, 26 April Anna Neagle, 3 June Blanche ·Sweet, 6 July Vincente Minnelli, 21 July Sterling Hayden, 30 Sept., cancer

Cary Grant, 29 Nov., stroke 1987

Trevor Howard, 7 Jan., bronchitis Danny Kaye, 3 March, heart attack Rita Hayworth, 14 May, Alzheimer's disease Fred Astair, 22 June, pneumonia Pola Negri, 1 Aug. John Huston, 28, emphysema Lee Marvin, 29 Aug., heart attack Bob Fosse, 23 Sept., heart attack

1988 John Houseman, 31 Oct. John Carradine, 27 Nov.

1989 John Cassavetes, 3 Feb., cirrhosis of the liver Lucille Ball, 26 April, heart attack

dwide are scheduled to attend. "This conference will mark the first at whlch mechanics as a scientif-

Tum to next page ~

Sergio Leone, 30 April, heart attack Gilda Radner, 20 May, cancer Laurence Olivier, 11 July Bette Davis, 7 Oct., cancer Comel Wilde, 16 Oct., leukemia John Payne, 6 Dec., heart attack

1990 Terry-Thomas, Jan. 8, Parkinson's disease Barbara Stanwyck, Jan. 20, heart failure Ava Gardner, Jan. 25, pneumonia Greta Garbo, April 15, cardiac arrest Paulette Goddard, April 23, heart failure Charles Farrell, May 6, cardiac arrest Jim Henson, May 16, streptococcus pneumonia Sammy Davis Jr., May 16, throat cancer Jill Ireland, May 18, cancer Rex Harrison, June 2, cancer Howard Duff; July 8, heart attack Irene Dunne, Sept. 4, heart failure Joel McCrea, Oct. 20, pulmonary complications Mary Martin, Nov. 4, ca~cer Mike Mazurki, Dec. 9. Eve Arden, Nov. 12, heart failure Robert Cummings, Dec. 2, kidney failure Joan Bennett, Dec. 7, cardiac arrest

1991 Danny Thomas, Feb. 6, heart attack Ralph Bellamy, Nov. 21, lung ailments Jerzy Kosinski, May 3, suicide Lee Remick, July 2, cancer. Colleen Dewhurst, Aug. 22, cancer Frank Capra, Sept. 3 Fred MacMurry,- Nov. 5, pneumonia Gene Tierney, Nov. 7, emphysema Yves Montand, Nov. 9, stroke

ic discipline will have been introduced to the inter-national world of art," Mecklenburg says. -

For a structural engineer such as Mecklenburg, paintings are little more than moderately complex structures made of well-known organic materials - namely vegetable-oil paints, flax and/ or cotton canvases and wooden frames. "One can be quite specific in defining the strength, stiffness and flexi­bility of these materials," he explains. "So specific, in fact, their properties can be quantified by mathe­matical equations and calculated by computer.

"By creating a dat~ base of the mechanical prop­erties of these materials, we can predict very pre­cisely how a painting will respond to changes in humidity, temperature, shock and vibration - the main hazards artworks face while in transit," he adds. Until now, however, no one has ever attempted to create such a resource, a time­consuming task that requires testing the same materials as they age - over decades and even centuries.

"Oil paintings are alive and forever reacting to their environment," Mecklenburg says. "There is never a time you can say they are at rest." Absorp­tion of humidity can cause a painting to swell. A drop in humidity can make it shrink. A painting will respond to the slightest change in its environ­ment and can take between 24 to 48 hours to reach equilibrium again. Jostling and vibration also pre­sents a potential risk to delicate artworks.

For his data base on the strength and elasticity of different types of artist's paints - linseed or saf­flower oil with a variety of pigments - a section of the Smithsonian's Conservation Analytical Laboratory is set up as a kind of torture chamber. In small sealed containers, Mecklenburg stretches strips of dry and semi-dry paint under varying temperatures and humidities to their breaking points. He may stretch them slowly over months or subject them to quick trauma, as might be expected if a painting were dropped. He has tested the properties of artist's glue, a base material known as gesso and canvases as well. All data are carefully recorded and then entered into his com­puter data base.

Understanding how paintings are damaged by heat and cold, humidity and vibration requires an appreciation of their structures and how they change in time. ''When an artist first applies wet paint to a canvas, the canvas forms the support of the painting," Mecklenburg explains. After many years, however, the paint dries thoroughly, and becomes stiff and strong. "In time, the paint layer becomes the structural support of the painting and assumes a great deal of stress." Changes in temper­ature and humidity greatly aggravate old stress areas and can create new ones.

To . compl.icate matters, oil paintings normally contam a thm layer of glue between the paint and the canvas, which an artist applies to prevent the oil from the paint from soaking into the canvas. "Glue and oil paints react differently to changes in humiodity, expanding and shrinking at different rates," Mecklenburg says. As a result, stress also develops petween the paint and glue layer. When the stress exceeds the breaking point of the paint, the paint cracks.

Many early American paintings share very simi­lar patterns of crack from being kept in unstable environments, Mecklenburg says. For decades, it was assumed this cracking was caused by shrink­ing and swelling of the canvas. When Mecklenburg ran computer modeling experiments simulating a

shrinking and swelling canvas, however, the crack pattern indicated by the computer did not match the pattern of cracks on the actual paintings. This led him to take a closer look at the other layers

Yesteryears ~~~~~~~,~~~ Afrmiay, January 20, 1992_j~::J~'~~~-$~~

Smithsonian News Service Photo courtesy of Marion Mecklenburg

This detail of an oil painting is an extreme example of how paintings crack from fluctua­tions in temperature and humidity. Cracks shown here originated in the layer of glue between the paint and the canvas.

such as paint and glue. He discovered that the glue layer was the primary culprit.

"At low temperature and/ or low humidity, paints and glues behave in an extremely brittle or glassy manner," Mecklenburg says. "They lose their ability to deform without breaking but gain a remarkably high strength. Conversely, at high temperature and humidity, paints and glues turn elastic and rubbery."

Depending upon the artist, a painting can have

hat Abllut Turnip Seed?

'This 1s the season an.cl we have a good supply ot Landretn's best variety.

FRANK. F:. TR.Il\ifBLE Rellab!e Druggist

ON THJ!l: ~QUA~.

POf-.l

any number of paint layers. the thickness ot the paint is a critical factor in computer modeling. To test the accuracy of his computer models, Mecklen­burg is working with scientists at the Canadian Conservation Institute in Ottawa. In their laborat­ory, actual test paintings corresponding to the Smithsonian's computer models are built and then subjected to abuse. "The margin of error between the computer modeling and tests done with actual paintings is very small," he say.

Surprisingly, Mecklenburg has learned that paintings are able to withstand quite well a conse­quence of transportation that has long worried art conservators - vibrations caused by trucks, trains and airplanes. In fact, "vibration is not really a big issue because most paintings are so light," he says.

To damage a painting in his computer model, Mecklenburg had to subject it to vibrations many times greater than a painting would experience under normal conditions. "A vibration must be continuous and of a specific frequency to cause damage," he says. "Trucks, trains and airplanes do not provide such frequencies for long enough per­iods to be of any harm." In addition, crack patterns developed by vibrating computer models have never been duplicated on actual paintings.

"Because the transportation of a painting is an engineering, not a chemical problem, it has only recently become the subject of intensive study," Mecklenburg says. /1 Art conservators have tradi­tionally focused on how paintings deteriorate chemically over long periods of time." Much work has also recently been done on the design of spe­cial cases and packing materials to protect art­works in transit.

To date, most of Mecklenburg's work has cen­tered on 18th and 19th century American paint­ings, which are fairly uniform in structure and materials. Modern art, he says, is a whole new ball game. "Today, artists glue heavy objects to their canvases, which make the paintings more suscepti­ble to vibration," he says. "They also use materials not commonly found in an art studio."

Nonetheless, if he can find out exactly what materials an artist used, no matter how bizarre the piece, a computer model of it -can be made. With that, fewer unpleasant surprises await these travel­ing artworks on the road.

The Money

Speedway

Big sums or little sums safely and easily sent by

WESTERN UN I 0 N ALL THE FAMll Y Full information at any

Western Union Office. The cost is small, the service quick and sure.

Pay As You Wea.r

lhe Peoples Stare 140 East Main St.

THE WESTERN UNION TELEGRAPH CO. Ad From the Past

AflGJ'IQlIB ~~-OR---

cJUNQUE By James McCollam Copley News Service

Q. Enclosed pictures are of a chair that was given to us about 40 years ago. The rocking action is controlled by coil springs on both sides. That is about all I can tell you. I hope you will be able to shed some insight as to its vintage and value.

A. This platform rocker was made in the late 1800s by one of several manufacturers of furniture

']l'"es-teryears; 'Monday, January 20, 1992

in the Northeastern United States. It would prob­ably sell for $365 to $385 in good condition.

Q. The enclosed mark is on the back of a porce­lain mantel dock with chimes. It is decorated with flowers, even on the dial. It is about 8 inches high and 10 inches wide.

Please tell me what you can about the origin and value of my clock.

A. This would be called a Gouda clock; it was made by the Pazuid factory in Gouda, Holland in the early 1900s. It would probably sell for $800 to $900 in good condition.

Q. What is the value of a china tumbler com­memorating the Silver Jubilee of King George V of England? It is marked "Aynsley, England."

A. This was made by Aynsley & Co. in Longton, England, in 1935 on the occasion of the 25th anniversary of the coronation of King George V. It would currently sell in the $50 to $60 range.

Q. Please tell me what you can about my Park­er "Duofold Sr." mechanical pencil. It is brick red in color and appears to be larger in diameter than the average pencil.

A. This was known as the "Big Brother" mechan­ical pencil. They were popular in the 1920s and are currently selling for us to $150 in good condition.

Q. I have an automobile license plate with the slogan "I like Ike & Dick" with their pictures at each end. It is in very good condition. Please eva­luate for me.

A. This license plate was used in the 1952 pres­idential campaign. It might sell in the $265 to $285 range.

BOOK REVIEW "Warman's Americana & Collectibles, Fifth

Edition" edited by Harry L. Rinker (Wallace­Homestead Imprint of the Chilton Book Co.) is an excellent rrice guide with detailed and accurate listings o information with hundreds of illustra­tions. It fills the gap between "Warman's Antiques and Their Prices" and contemporary collectibles.

Send your questions about antiques with pic­tures, a detailed description, a stamped, self

This platform was made in the late 1800s in the northeastern United States.

addressed envelope and $1 per item (limit one item per request) to James G. McCollam, PO Box 1087, Notre Dame, IN 46556. AH questions will be answered but published pictures cannot be returned.

eceive 26 eeks $

F r Just

ryears

Don't miss a single issue of Yesteryears, Historical Journal printed weekly at the Salem News.

~----------------------------1 'Yesteryears oraer :Form I Enclose Check For $13

Name1~-----------------------~

80UV£N'LR 11,U,G,8 Address,~. -------------City ___________ State. _______ ..._ip. ____ _

Featuring the front page from our Phone _______________________ _ premier edition can be purchased at the Salem News for Just... ~=ck Yesteryears

$2 11

Payable To: _ ................ !·9·J°...l\.~6~ s_aC;.m:.. 03~ 4~4f.O .... __ _ ~~~~~~========~~-~-~-~-~-~-~-~========~====~~~~~~