Seal Presses

FANCY
FIGURAL

AND
UNUSUAL
SEAL PRESSES

COLLECTOR’S GUIDE

By Cox R. Crider
With Don Grampp and Ron Gonty





This Book Belongs
To

Curtis Scaglione

Foreword

On the first weekend of most months from the mid 1960’s through the mid 1990’s, my father
and I attended a giant Flea Market in Canton, Texas. My father had an eclectic interest in old
things, especially the items of everyday living and working. If such a thing is genetic, he passed
it to me. We spent many enjoyable hours looking at old stuff during the years we attended the
flea market.

One cold day in 1974, I saw a Lion’s Head seal press on one of the tables. It was the first
one I had ever seen, and it fascinated me. It was, as we say it Texas, “froze up”, meaning the
die shaft could not move up or down. Even worse, the vendor would not budge from his $10
asking price. Most readers will know what it’s like when you want something badly at a flea
market, so I forked over the dough and became the owner of an old non-functional seal press.
Now I was a seal press collector!

I also collected U.S. large cents and in 1980 I was reading The Numismatist, the journal of
the American Numismatic Association.. In the magazine was an article about a Boston
diesinker who also manufactured seal presses. Pictured in that article was a figural eagle seal
press. That press really whetted my appetite, and I have been searching for one ever since
(without success!).

Additions to my collection were slow to accumulate in those days. I searched antique malls
and perused the classified ads of the Antique Trader without much luck. I even placed a “want
ad” in the Antique Trader. I didn’t get any seal presses from that ad, but I did get acquainted
with another collector, Ron Gonty. For quite awhile, we thought we might be the only two seal
press collectors in the galaxy.

The Internet changed everything. Seal presses became readily available through online
auctions, as long as the bid was high enough. My luck at auction is not good . I generally lose
in the last second by a dollar or two, but that’s the way the auction game is played. My friend
Don Grampp, who I also call Gladstone Gander, usually has great luck at bidding. (If you are
under 60 years of age in 2009, you might not understand the Gladstone Gander allusion unless
you are a collector of Uncle Scrooge or Donald Duck comic books!)

The goal of this book is to provide a reference for North American seal presses from the 19th
century through the mid-20th century. A foreign press may make an appearance if it has a
special collecting appeal. This is not a perfect reference because previously unknown seal
press examples continue to be discovered. As interest in seal presses continues to develop, these
relics of America’s past will be preserved by the collecting fraternity.

The information in this book represents about 100 years of collecting research by the writer
and the two major contributors, Don Grampp and Ron Gonty. The book itself was in an
everchanging working draft for over 10 years. Many thanks to all who have contributed to this
book. Cox Robert (Bob) Crider, 2009

3

Dedication

This book is dedicated to a friend I have never met in person. His name is Ronald Gonty of
Brandon, Manitoba, Canada.

Years ago, I placed a classified ad in the Antique Trader in the Miscellaneous Wanted
Section, asking to purchase seal presses. I got only one response from that ad, and that was
from Ron Gonty. He did not have any seal presses to sell, but he was glad to make the
acquaintance of another seal press collector. We mused that we might be the only seal press
collectors in existence!

Ron and I are about the same age, and through the years we had led somewhat parallel lives.
I am a rancher and he is a farmer. We sent seal press photos back and forth from Texas to
Manitoba. I would complain about the Texas heat, but Ron never complained about the
Canadian cold.

Several years ago I noticed it had been awhile since I had heard from Ron, so I emailed him
to learn if he had made any new finds, The return email I received was from Ron’s wife
Carolyn with news that Ron had lost his sight and was no longer able to type or write.

That didn’t seem to stop Ron. He still gets a press every now and then, depending on his wife
for a description. He has some good ones, including the only eagle lever press I have ever seen.

So here’s to you, Ron! Keep on collecting!

Don Grampp

The major contributor to this book is Don Grampp of St. Louis, Missouri. I purchased a seal
press from Don years ago, and thus our friendship began. I call Don “The Seal Press King”
because he has nearly a thousand presses in his collection. Don has the ability to recall from
memory minute details of each and every seal press. He shares with Ron and me the love of
history that each press represents.

Don and I have also led somewhat parallel lives. We are about a year apart in age, and both
of us had a free vacation in Vietnam thanks to Uncle Sam. Both of our wives deal with the
health issues of pulmonary fibrosis and its complications. We both like good food, cats, tokens
of the 1860’s, and “old stuff” with an interesting history. Thanks Don, for the contributions and
the camaraderie!

4

Collecting Seal Presses

Seals have been an important method of making something “official” since the advent of
civilization. From the clay bullae of the ancient Mesopotamian civilizations to the scarab seals
of ancient Egypt to the signet rings of Roman and Medieval times, seals have been part of the
historical record of mankind. Seals are mentioned in the Old Testament when Jezebel forges the
seal of Ahab on letters and documents as part of her schemes. Sigillography is a specialized field
of study dealing with the historical importance of seals.

From the time Man invented paper, he was probably trying to figure out a way to put a seal on
it. It is likely that wax seals were enlisted to suit this need. However, they can easily be removed
and replaced with a different (and perhaps false) seal. A better way was needed, and about 1000
years or more ago, the screw press was invented. A screw press can be adapted to do many things,
and the probable urgency to invent it probably had something to do with grapes rather than
embossing paper. About 500 years ago, Man learned to attach dies to screw presses to make
coins and it was not a big jump to making dies and presses for the purpose of embossing paper.
Screw presses were the common way to emboss seals on paper until about the 1840’s.

The Panic of 1837 may have meant hard times for many people, but it initiated a heyday for
die sinkers. Millions of “Hard Times Tokens” were manufactured, and each design required the
services of die sinkers. Perhaps as an outgrowth of the token engraving business, percussion and
lever seal presses were invented and/or improved. Soon it seemed like just about everyone had
a seal embossing press. No longer were embossed seals used primarily for official documents.
Commercial and personal papers of all descriptions began to sport embossed seals. Although
embossed paper seals are still used today, the true heyday of seal presses coincided with the
heyday of the die sinkers from approximately 1840 through 1880. The use of seal presses began
its long decline about the time of the Great Depression, and today embossed paper seals are once
again usually found only on official documents.

Seal presses are widely available on the collector’s market today and there are a many
companies which still offer new seal presses. Most of today’s desk-sized seal presses are made
of stamped metal, but a few companies still offer the cast iron presses in the indented body and
smooth body styles. For seal presses sized 6 inches and up, I would wager the seal press bodies
used today are from very old stock!

I once asked my collecting mentor (my father) why he collected old things. In his succinct
manner, he replied “because they don’t make them anymore”. When “they don’t make them
anymore” such things are usually relegated to the “junkpile of history”, so a seal press collector
is serving society as a preservationist. That seal presses have a wonderful historical interest
cannot be denied. They should be preserved as part of our collective heritage rather than going
to the re-cycling pot.

The re-cycling pot has probably been the demise of many a seal press. One can envision
many of these ending up as cannon and rifle barrels as a result of the big scrap metal drives of

5

Collecting Seal Presses

of World War I, World War II, and the Korean War. Some American seal press iron may have
even rained down on Pearl Harbor on December 7, 1941, because vast amounts of scrap iron had
been shipped to Japan during the 1930’s. Recycling may be one reason that some of the fancy,
figural, and unusual seal presses are so scarce today.

Seal presses can also be recycled in a more collector-friendly way. The old seal may be removed
and replaced with another. That is why the collector may find modern dies in a 19th century press.
With the decline of the buying power of the dollar, it may actually be less expensive to use an old
seal press body equipped with new dies rather than purchasing an entire new one. A “google
search” will provide the addresses of companies that will supply new dies for old press bodies.

There is a caveat to recycled seal presses. An unscrupulous person may have fake historical dies
made for an antique press in an attempt to increase its selling price. As in any collecting pursuit,
buyer beware is always a great philosophy to apply when considering a purchase. My advice to a
collector is never invest more in a collectible than you can afford to lose!

The beginning seal press collector will be amazed by the huge number of different seal press
styles and should consider a specialized collection. Two basic categories which could be
considered are: Body Style and Die Style. In these two major categories, the collector will find
many avenues to whet his interests.

Collecting Seal Presses by Body Style. There are a myriad of specializations if one wishes to
collect by body style. Some to be considered are: Lever Presses, Percussion Presses, Figural
Presses, Fancy Presses, Lion’s Head Presses, Sea Monster Presses, and Fist Presses. Within the
Lion’s Head category, there is ample variation to sub-specialize.

Collecting Seal presses by Die Style. A collector might choose to collect seal presses with
dies attributed to one of the great die-sinkers of the 1850’s and 1860’s such as Merriam, Lovett,
True, and Lanphear. This category is recommended only for those who are ready and willing to
do research! Other categories by die might include: Fraternal Organizations ( such as Masonic,
Woodmen of the World, and Granges), Unions and other labor organizations, Religious,
Regional Interest (such as Old West, Gold Mines, Railroads, Hometowns, or Localities), and
Social Clubs. Collectors by die variety must be especially aware of fakes. I and/or the
contributors have seen seal presses with suspected false dies for Wells Fargo, Pinkerton Detective
Agency, and San Francisco Committee of Vigilance.

Price Guide. Prices which appear in this book are very general guidelines. Prices vary
according to demand, rarity, historical importance, and condition. Prices are not indicated for
R-8 presses because they are unknown to the authors. Where prices are given, they are based on
the authors’ experience in the marketplace.

6

Rarity Ratings

Seal presses represent a relatively new field of serious collecting. A small but growing
nucleus of historically and/or academically inclined individuals recognize the importance of
these pieces of Americana. As the community of collectors increases, the actual rarity or
commonality of the various types of seal presses will become more and more accurate. At this
point in time, the rarity values represented here are based on no more than the educated guesses
of the author and contributors. The rarity scales are by necessity subjective, but will become
more objective as data accumulates in the future and information is shared amongst the
collecting fraternity. At this time, it is not possible to assign population numbers to any
category.

Rarity 1 (R-1): Very common. Available new or easily found at sale venues.

Rarity 2 (R-2): Common. Readily available, but seen less frequently that R-1.

Rarity 3 (R-3): Common, but seen less frequently than R-2.

Rarity 4 (R-4): Slightly scarce.

Rarity 5 (R-5): Scarce. Difficult to find.

Rarity 6 (R-6): Rare.

Rarity 7 (R-7): Very Rare. Five or less known to the authors.
Rarity 8 (R-8): Unknown to the authors “in the iron”. Known only from records.

Condition and Functionality

As in any collecting field, condition and functionality are important factors in determining
price and desirability.

Function: The most common affliction occurs when the die shaft becomes frozen in the head
of the press. Soaking in solvents will free the shaft on a few pieces, but the condition is
usually permanent. Other functional problems are lack of upper and/or lower dies, worn-out
dies, out-of-register dies, and broken handles.

Condition: Condition will range from rusty finish to patina finish if the paint is gone, which
is not at all unusual on early pieces. Re-painted pieces are less desirable than original finish.
On pieces with original paint, the more remaining, the better! Some styles are known with
100% original paint, some are known only by unpainted examples.

7

Anatomy of a Seal Press

LEVER When the lever is pressed down, the lower cam-
shaped end of the lever bears against the die shaft
HEAD causing the dies to be pressed together with great
mechanical advantage. A flat or coil spring allows
DIE SHAFT the lever to rebound.
CYLINDER Abbreviations used in the descriptions:
DIE SHAFT HT: Total height in inches with the handle in its
UPPER DIE most upright position.
LOWER DIE BL: Length of base in inches.
WT: Weight in lbs. and oz.
(Counter Die) BT: Type of base
CGG No.: Reference number

LEVER PIN

T NECK

h Also called the
r “BODY”
o
a
t

Grampp Collection

8

Dating Seal Press Bodies

After viewing hundreds of seal presses, contributor Don Grampp has formulated a
method by which one may arrive at a relative date of manufacture for the cast iron seal press
body ( lever style presses). He was kind enough to write the following essay for this book.

“With the invention of the desk top lever press in the early 1840’s, it became necessary to produce a lower fixed
positive male die (sometimes referred to as the counter) to match the upper movable negative die to form the raised
impression on the paper. The method of attachment of the lower die to the press base can help determine the
relative age of the press.

The earliest examples of the presses observed have the lower die attached to the base in one of three ways:

1. A very thin metal positive die is glued to a backing built up of several layers of stiff paper. This backing is then
glued to the base. Many of the dies attached in this manner have the edge of the paper painted black or red.

2. A thick cast metal positive die is attached by adhesive to the base. The metal used for this purpose is nearly
always a lead alloy, but there are copper positive dies know as well.

3. The lower die is poured directly onto the base while the base is in an upright position.

In the first two examples, the lower die is cast using the upper die as a mold, before either are attached to the
seal press body. Presses using this form of attachment generally have a flat base where the lower die is attached. In
the third example, it would be necessary for the workman to use a collar jig to contain the molten metal as it was
poured. While the poured metal was still in a soft state, the upper positive die was pressed into it, thereby forming
a negative impression. These types of presses usually have 2 or 3 indents cast into the iron base which fill with the
molten metal and hold the lower die in place when it solidifies.

Presses using these three forms of attachment, for the most part, seem to date from the 1850’s and 1860’s. This
assumption is made from inspection of dated seals, bill heads, and patent drawings. By the mid to late 1860’s ,
manufacturers began to pour the lower die from the underside of the seal press. At first the bodies had one
rectangular or round pour hole on a flat bottom surface, followed by using two holes on the flat surface. The two
hole method is more effective because it allows air to escape one hole while the molten metal is poured in the
other. On flat bottom presses, the excess metal from the pour must be cut/filed away so the press will sit flat.

Left to right: Flat bottom with no pour hole; flat bottom with one pour hole; flat bottom with two pour holes;
indented bottom with one pour hole; raised bottom with 2 pour holes.

The next innovation seen in some designs is that the base is no longer flat, but is divided into three sections

with the result that parts of the base are raised, with the pour holes in the recessed area. This permits the excess

poured to remain in place. The next method occurred when the base was cast with an indention, which also hides
the excess pour metal. This is the design in general use from the 1880’s onward.

Collectors are reminded that seal press bodies were kept in stock until the stock was exhausted, so the seals may

9

Dating Seal Presses

not have been attached for a decade or more after the body was cast. This is especially true for large bodied seal
presses. Additionally, seal presses were recycled with newer seals. I have a 1880’s press in my collection which
contains a 1940 seal date.

Replacing a Missing or Damaged Lower Die

A missing or damaged lower die can be made new with commonly available home workshop tools. You will
need the following items:

1. A vice or other support for the seal press body.

2. A propane torch to melt the metal for the pour and to heat the press body . Two torches work better than one.

3. A metal ladle to contain the metal for melting and pouring.

4. A thin gauge metal strip to use as a collar for the lower die. Hobby shops sell brass strips such as this in
various widths. One-half inch works well.

5. Thin brass, copper, or soft iron wire which can be twisted to hold the collar in place on the press body.
Aluminum will break before the collar is secured tightly enough. An alternative is to use screw type hose
clamp (the kind with the solid, not perforated metal strip).

6. Metal for the lower plate. If the press is not for actual use, lead from fish sinkers, lead shot, or wheel weights
may be used, but it is too soft to hold a crisp edge with use. For a usable die, use a hard lead alloy such as
linotype metal. Lead-free pewter available at jewelry arts or hobby shops may work, but I have not used it.

Step 1: Do this at your own risk! Ventilate your work area and put on your safety glasses! Welder’s glovers are
strongly recommended. Enlist a friend to help because four hands are better than two for this job. He will also be
handy for calling 911!

Step 2: Remove any existing metal from the lower die position. If the die is missing, you may need to drill or melt
out the residual metal in the pour hole (s). If an existing lower die is to be replaced, the metal can be reserved and
re-melted for the new pour.

Step 3: Using the metal strip, form the collar to receive the new pour. Cut the metal about 1’2 inch longer than the
circumference of the seal. Wrap it around the upper die and secure it with wire or clamp.. The metal strip should
extend above the face of the upper die by 1/4” to 3/8”. The lap joint of the collar should be at the back of the die
and the twisted wire or clamp screw in the front to minimize leakage. With the collar secured, use the lever to
lower the upper die until the collar contacts the press base, insuring that the collar is in contact with the base around
its entire circumference. The molten metal will occupy the space within the collar when it is poured and will form
a positive cast of the negative upper die which acts as the mold. Using the wire or a clamp, be sure to secure the
lever so it will not move from this position.

Step 4: Mount the press body into a vice so the bottom is facing up and is level as possible. Double check to
insure the collar is in the correct position. Use the torch to melt the metal in the ladle. The ladle will retain heat, so
an occasional touch of the torch will keep the melted metal liquid while you gently warm up the bottom of the
press body and the upper die. If the upper die and press bottom are not heated, the poured metal will cool and not
fill all the details of the mold. When the upper die, press bottom, and molten metal are all at the proper
temperature, slowly pour the metal into the pour hole while gently warming the upper die. Keep in mind that you
must have the collar in contact with the base or you will have molten metal on your shop floor and perhaps on you!
(Another good reason to have a friend present!)

Step 5: Allow the project to cool and test your workmanship by embossing a paper. If it isn’t satisfactory, you can
melt it out and start over. With the experience of doing two or three of these, you will be an expert and
appreciative of 19th century craftsmanship.”

Note: Do not alter a seal press that is historically significant or valuable! The only “improvement” for a seal press
in this category should be a solvent soak if the die shaft is frozen. Usually this is not successful, but it does work
on occasion. They should definitely not be re-painted. Collectors prefer the finish to be original even if it is rusty
or patina. If the original finish needs to be protected, use a liquid wax. Casey’s Gun Stock Wax is recommended.

10

Seal Press Ephemera

Below, the Schwaab Stamp and Many items associated with seal
Seal Company store front as it presses fall into a category known to
appeared at the turn of the cen- collectors as ephemera, a term applied to
tury. (19th to 20th centuries, that artifacts which have a limited “life-span”
is!) The company was estab- unless carefully preserved. This not only
lished in 1881 and is currently in includes the actual embossments
business. produced by the presses, but
photographs, billheads, advertisements,
and other related materials.

The photo to the left shows E.H. Gray
at his desk at the Princeton, Illinois,
Power and Light Company, circa 1896.
On the right of the oak roll-top desk is an
indented-body style seal press. Some
lucky collector may own this very press
today if it survived the recycling drives
of the 20th century.

Mr. Gray was the great-uncle of Don
Grampp, a major contributor to this

volGrampp Collection ume.

Below is a brass-plated paper clip
advertising the Los Angeles Rubber Stamp
Company. The clip, 2 1/2” high X 2 1/2” wide,
shows a smooth-body style seal press. Although
the
clip
is
circa

Public Domain

1940’s-1950’s, a company by the same name still
operates today.

Note the huge model seal press in front of the store!

11 Crider Collection
Crider Collection
Seal Press Ephemera, cont’d.

C. H. Morse and Company was
established in 1863 in Rochester,
New York, becoming “& Son” in
1891. A successor company, C.H.
Morse Stamp Co., presently con-
ducts business in Rochester.

Grampp Collection

Cutter, Tower, and Company also published books in the 1860’s. Their ink pens are popular among
pen collectors. The seal press pictured on the bill head is an actual model. A successor business, if
any, has not been traced in the Boston area.

Grampp Collection

This bill head of James E. Pilkington has a beautiful cameo seal (with an inked background). Cameo
stamps are scarce and pursued by ephemera collectors. Pilkington worked with Benjamin True in Troy,
NY, in 1856 and had moved to Baltimore by 1858, where he operated at least until 1871. During that time,
he was partner with John Joyce from 1867 to 1869.

12
Seal Press Ephemera, cont’d.

Crider collection Crider Collection

Advertising card of W.C. & C.P. Potter, “Boy with Seal Press” circa 1920’s. This
postmarked 1902. Shipping was included in the photographer’s studio portrait of a young boy used
seal press prices. Today, just the shipping a seal press as a prop, a very unusual use for a seal
would far exceed the prices noted above. The press! The photo bears an embossment which was
style of seal press represented above is very likely produced by the seal press in the photograph.
common, but the largest and smallest sizes are The press most closely resembles a Roover’s
scarce. Flatbodied Desk Press.

13

The Merriam Toad Press

CGG No.: 1 a, 1 b, 1 c.

HT: 1 1/2 inches (closed)
BL: 3 5/8 inches
WT: 1 lb. 10 oz.
BT: flat, no pour hole
Rarity: R-5 (for type)

Merriam token courtesy of Q. David Bowers

Boston, Mass.
Cap

1B

New York City Joseph H. Merriam offered “The Toad Press” in the 1860’s. It is a whimsi-

cal style with a toad (not a frog) sitting on a lily pad leaf and wearing a mush-
Cap room cap. This portrayal is biologically incorrect as one would generally ex-

pect a frog on such a leaf, but the warty skin definitely classifies this as a toad.
It also appears as “The Toad Press” in Merriam’s advertising of the period.

(Refer to “Joseph H. Merriam, Die Sinker” by David Schenkman in the

1 C April, 1980 edition of The Numismatist.) There are at least three varieties of

the Toad. The most common toad has a plain cap. The other varieties have
“Merriam and Co. * Boston Mass.” or “Merriam & Co * 105 Nassau St *

New York *” cast into the cap. Merriam was in business less than a year in

New York City and this variety is the scarcest of the three.

Rarity values for varieties:

CGG # 1 a: R– 4

CGG# 1 b: R-5 The cap and upper die are attached with screws. Toads sometimes lost their
CGG# 1 c: R-7 screws and are found without the cap and upper die.

14

The Merriam Lion

Patent D3363 CGG No.: 2
Feb. 9, 1869 to
Robert B. Carsley HT: 3 inches (appr., depends on
Boston, Mass. spring tension
BL: 3 1/2 inches
U.S. Patent Office illustration WT: 2 lb. 2 oz.
BT: 2 pour holes, flat
Rarity: R-5 (for type)

Contributor Don Grammp of St. Louis owns The Merriam Lion has great collector appeal because it is
a Lion Press which was the personal press of uncommon, a popular subject, and the product of a well-
Joseph H. Merriam. known die sinker. The base is cast iron, but the body is a
lead alloy. It is usually found with a rectangular seal but
some have round seals. There are three variations. CGG
# 2A has no maker’s or patent marks. CGG # 2B bears
the patent date cast between the lion’s paws. In addition
to the patent marks, CGG # 2C has Merriam’s name and
address stamped into the upper die.

The patent for the design was awarded to Robert Carsley several
years after Merriam began sales of his embossers. Our research
has not revealed the relationship between Carsley and Merriam.

15

The Princess Press

Some see the lady depicted on CGG No.: 3
this percussion as an Aztec or Inca
Princess, others see her as a 1920’s HT: 1 inch closed
“Flapper”. What do you see? The BL: 4 inches
press is made in cast bronze or brass WT: 14 oz.
with a bronze finish. The wooden BT: Indented, no pour hole
knob is most likely a replacement, Rarity: R-7
but it is walnut and has some patina,
therefore indicating it has been with
the press for a long time. There are
no maker’s mark of any kind on the
press, but this is not unusual.

The seal of this
press reads:

“I D G”

In an unusual type
face which has not

been identified.

Crider Collection La Fleur Press
Grampp Collection
CGG No.: 4

HT: 4 5/8 inches

BL: 5 inches
WT: 2 lb. 6 oz.

BT: flat, two pour holes Rarity: R-6

This coil spring-return percussion press may be
found as a seal press or as a signature protector.
Most likely dates from the 1850’s or 1860’s. The
seal in this press simply states Notary Public
Indiana with the word Seal in large letters in the
central area.

16

Crider Collection The Bison Percussion Press

CGG No.: 5

HT: 2 1/4 inches closed
BL: 3 3/4 inches
WT: 2 lb. 9 oz.
BT: flat, no pour hole, some have 1
pour hole
Rarity: R-5

The Bison Percussion Press is popular amongst collectors. It fits in a variety of collections such as Old West
collections and Buffalo (bison) collections. There is some historic irony in this press: as the design was becoming
popular with the entrepreneurs and professionals in the 1870’s and 1880’s, the actual animal it portrays was almost
extirpated in its native range.

The press body is actually a hollow casting which was filled with Plaster-of-Paris or similar compound ,
reinforcing the metal shell and providing heft to the press. There are many minor variations for this press. Seals may
be oval, round, rectangular , or rounded rectangle as in the specimen illustrated above. There are variations with
different base styling. Some have the patent date cast into the base; others are plain. The top of the head is usually
found plain as in the patent illustrations, but specimens may be found with an attached ball on top. Some specimens
are known with damaged tops where the ball has been removed by accident or on purpose.

As with most embossers of this percussion style, they are not very efficient in making a crisp imprint.

Patent Illustrations

Left: Patent # 152, 329 June
23, 1874 issued to Robert B.
Carsley (for the check
cancellation dies only).

Right: Design Patent #5133
July 25, 1871 issued to Robert
B. Carsley for the Bison
design.

U.S. Patent Office

U.S. Patent Office

17

The Bulldog Percussion Presses

The Bulldog Percussion Presses depict a bulldog with his forepaws resting upon a

Grampp Collection

CGG No.: 6large book. Three examples of this press are known to the authors, and although osten- sibly

the same, they are all slightly different. The two examples shown above differ in

the facial features, total height, and genitalia. Each of the three examples is missing the HT: 2 1/2 inches closed

flat spring which allows the rebound action. Further research of this press style may

warrant different reference numbers for the different varieties. Non-ferrous metal, pos- BL: 4 inches

sibly a hard lead alloy, was used for this casting. A similar percussion press in the form of an English Setter is

also known. WT: 2 lb. 10 oz.

The Bulldog Press owned by the author has had the lower seal removed and most of BT: flat, no pour
hole the upper die has been engraved for use as a signature protector. The seal reads James

D. Warren Buffalo N Y. During the mid 19th century there was a James D. Warren who Rarity: R-6

figured prominently in Buffalo NY history, being a newspaper editor and bank president.
The Bulldog Press may very well have belonged to him.

The Scotty Dog Press

its way to this country. The Scotty Dog Press may be found in a variety of
colors emulating the actual animal ranging from solid
white to all black, with varying degrees of each color in
between. This press is most likely a product of Great
Britain which has found

Grampp Collection

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t s
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p h
r o
e u
s g
s h
e m
s a
a n
r y
e o
k t
n h
o e
w r
s

ms
ua
sn
td
et
xh
ie
sr
te
.m
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fi
tn
hd
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eh
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ev
ee
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bi
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en
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en

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e
h n
r
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a
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s
e 6
3
a

l

i

n

t

h

e

a CGG No.: 7
u

t HT: 5 5/8 inches BL: 5 3/4 inches
h

o WT: 3 lb. 4 oz.

r

’ BT: N/A

s

s

Newminster Road Fenham Rarity: R-5 Newcastle

upon Tyne.

18

The Castanet Presses

CGG No.: 8 (pedestal)

CGG No.: 9 (no pedestal)

Rarity: R-3 with pedestal
R-2 no pedestal

Crider Collection

Catalog, circa 1900

Pocket seal presses, such as the varieties we have deemed
the Castanet Presses, may have been convenient in size but
lacked the mechanical advantage of a lever press. It is more
difficult to produce a crisp embossment on standard paper
with this type of press than it is with a lever press.

Although slightly different styles of the Castanet Presses
exist, we have assigned a single reference number for the
Pedestal types and a single reference number for the No-
pedestal types.

Grampp collection

Catalog, circa 1900

19

The
Sphinx
Press

CGG No.: 10

HT: unknown
BL: unknown
WT: unknown
BT: unknown
Rarity: R-8

Public records, U.S. Patent Office

This seal press is known only from records. It is patent number D4296 issued to Jules F.
Pages on August 16, 1870.

“My invention relates to a design or figure which I employ as a weight or seal for stamping the impression of
any engraving or other characters, which it is desired to imprint upon paper.

A represents the base or pedestal. Near one end of this base I cast upon it between the legs a, a between
which the rear end of the body of the figure which serves as a weight is hinged in the usual manner.

The figure or design which I employ is that of a sphinx, having the face of a human, surmounted by a heavy
cowl, B. The rear part of the body is that of a lion.

The front paws, b, rest under the chin, being upon the plate which carries the engraving or other design it is
desired to imprint.”

It is not known if this seal press was actually manufactured. Readers with information
about The Sphinx or similar presses are asked to contact the author.

“Seal Presses Are Where You Find
Them”

On the left is a token commemorating the Be-
nicia State Capital, and on the token’s holder is
a line drawing of the “original state seal press”.
It is a screw press with the figure of a man’s
head cast into the seal press body. Benicia was
the capital of California in 1853-1854. The
seal press is currently on display in the Benicia
State Capitol building, now a California State
Historic Park.

20

The Intriguing Story of Hall’s and Evens’

Seal Presses By

Chauncey Loomis

(used with permission )

U.S.P.O. illustrations The career of Charles Francis Hall began modestly
enough. He and his wife settled in a boardinghouse on
Note C.F. Hall’s Cincinnati’s west side. Somewhere he had picked up the
name on the die of semi-skill of seal-die molding (a molder cast the work of
the Evens’ Press ! engravers into the metal dies that were used in seal presses),
and soon he was working with a highly skilled engraver,
Benjamin C. True. For three years Hall worked in True’s seal
engraving shop, learning a business that was far more
important in the 19th century than it is today. Nowadays we
see embossed seals only when we go to a notary, but in the
last century they were used not only by notaries but also by
businesses, both as official stamps and as advertising devices.
Beautifully embossed seals on stationery and envelopes were
the equivalent of today’s engraving in establishing the tone of
a company. Cincinnati, with its multitude of new companies,
supported five seal-engraving businesses in 1850.

As Hall’s later career shows, he was not a man to work for
(or indeed, with) anyone else: independence was for him a
way of life that became an obsession. After three years with
True, he went into business on his own. He found a sizeable
workshop on Fourth Street, in the center of Cincinnati’s
business district, and there with considerable fanfare set up
“Hall’s Engraving Rooms”. It is improbable that Hall had
learned much about the fine craft of seal– and line– engraving
during his three years with True, skilled as that artisan was.
Hall admired both craftsmanship and technology, but he
lacked the long training and the skill to succeed in either;
undoubtedly he was capable of engraving simple seals, but he
was essentially an entrepreneur during his years in Cincinnati,
a dealer in other men’s skills. On the finest “Hall” seal now
in the Smithsonian Institution are carved the tiny initials
“B.C.T.” and
True F (ecit). {for Benjamin C. True and True made it}
Teacher apparently worked for ex-pupil. Pupil, in time,
would honor teacher by giving his name to a small cape far to
the north of Cincinnati.

Hall had the shrewdness to raise the capital to start his
business and the energy to expand it as time passed. He was a
promoter, the only engraver in the city to take full page
advertisements in the city directory year after year. These
advertisements, gorgeously printed in various typefaces and
illustrated with samples of Hall’s seals (and sometimes
actually embossed on the page), indicate the sort of work that
his shop did as he enlarged his business. “SEAL
ENGRAVING IN ALL ITS VARIETY, “ one announces:

Particular attention given to designing, engraving, and

blazoning appropriate Coats of Arms, for corporate bodies,

civil, and ecclesiastic; Crests and Arms of ancient families

sought and engraved; Copperplate Engraving and Printing,

such as Marriage, Business and Address Cards, Notes,

Drafts, &c. ENVELOPE DIES, PLAIN AND ELABORATE.

Self-sealing advertising envelopes {self sealing envelopes

were a novelty at the time}, colored Embossed cards, Book

Titles, Boot and Hat-tip

21

Hall and Evens, cont’d

worked with him in his engraving business for a year actually have a patent, Hall asked, or was the name
during which time had “taken money from my hands” to simply an advertising gimmick?
purchase the rights to Foster’s device and had agreed to
give Hall one-half ownership. Moreover, by “flattering The Patent Office replied that Evens did not yet
promises” he had induced Hall to put money into have a patent, and Hall immediately began a
campaign against Evens, using the facilities of his
manufacturing and selling the device under the name of printing shop. A broadside flyer appeared from
“Evens Percussion Press”. Evens had left Hall’s Hall’s

establishment in the

Stamps, Steel Stamps for silversmiths, boiler CGG No.: 11
manufacturers, carpenters, &c. Bankers, Post Office and
Steam boat stamps, with complete inking apparatus for the Rarity: R-7
same; Hall’s Improved Percussion and lever Seal Presses; Photo courtesy of Eugene Baxter III
a complete assortment of English, French , and German
plain and fancy Billet Paper Envelopes, suitable for
weddings, balls, parties, &c.; Cake Boxes and every
description of Wedding Stationery; Jewelry and silver plate
marking for the trade.

Behind the “Hal’s Improved Percussion” mentioned in CGG No.: 12
the advertisement lay a story that revealed something of
Hall’s character: the man was combative. In this case, his HT: 4 inches
ire was roused by a patent. Most seal presses of the time LB: 4 1/8 inches
were either lever– or screw-driven; the operator placed the WT: 2 lb. 2 oz.;
document to be embossed between the dies, and then BT: flat, one pour
pressed down on a lever or turned a screw to squeeze them hole
together. Such machines, likely to weigh ten pounds or Rarity: R-6
more, were cumbersome, expensive, and, in the case of the
screw press, slow. In the late 1840’s two Cincinnati Grampp Collection
inventors, E.P. Cranch and James Foster, designed a small
percussion press that could be worked with a light blow of
the hand, rather like a stapler. Although considerable
ingenuity was displayed in the design, the Patent Office
turned down Foster’s first application for a patent because
the mechanical devices employed were not original. Foster
reapplied a few years later, arguing persuasively that
although the devices were not new, they were being used
for a new purpose. Although Foster filed the application
himself, he had by then sold the rights to the device to one
Platt Evens. Evens’ attorney immediately wrote the Patent
Office to make it clear that Evens had been assigned the
rights even though Foster was making the application.
Foster did not contest Evens’ claim. At this point, just as
the Patent Office was about to award the patent to Evens, it
received an angrily scrawled letter from Charles Francis
Hall. “I am deeply interested in this matter,” Hall wrote,
“as I have now be engaged over two years in the
manufacture and sale of Percussion presses and seals. In
fact to my efforts is to be attributed the extensive notoriety
the
press enjoys.” Hall went on the claim that Evens had

year and now was in business on his own,
selling his press as “Evens Patented Press”. Did

Evens

22

Hall and Evens, cont’d.

Engraving Rooms, boasting of the new “Hall’s Hall would make even larger footnotes to
Improved Percussion Press’ and accusing Evens of history. He became fascinated with the ill-fated
“acts little short of perjury”: Franklin Expedition, a British exploration party
of over 100 persons which had mysteriously
This invention was not introduced to the public until the perished in 1848 searching for the Northwest
year 1851, when its many virtues becoming known, C.F. Passage in the Arctic. He read prodigiously of
Hall Seal Engraver of Cincinnati, believing its adaption the various expeditions to rescue or find the lost
complete to the wants of the business community, explorers, and it became a crusade for him. He
immediately took it up and gave it notoriety under the eventually led three expeditions to the Arctic in
name and title of “Evens’ Percussion”. Although Evens search of the Lost Franklin Expedition. On the
never invented even an improvement on the Percussion third expedition, Hall himself perished under
Press, yet C.F. Hall was induced to call it “Evens” from mysterious circumstances.
this, his only reason -- to silence the constant
importunities of one, whose insatiate desire was to ***** ***** ***** *****
become famous on the strength of other men’s inventions
at C.F. Hall’s own entire expense. There never was a In 1968, Hall’s biographer, Chauncey
patent granted on any Percussion Press, notwithstanding Loomis, located Hall’s grave in the frozen
bold efforts are being made by certain or uncertain permafrost of the Far North. He performed an
parties to deceive the public in this matter. Vindictive autopsy on the body which only deepened the
feeling, coupled with a strong love of gain and fame mystery of Hall’s death….
sometimes carries people beyond reason and law - both
have been outraged by a ruse notice {Evens’ ***** ***** ***** *****
advertisement claiming that his press was patented} and
in deceiving U.S. Government offices by acts little short
of perjury.

Clearly Hall was not a man to meddle with; aroused, he Professor Loomis (formerly Professor
was capable of intemperate words and, as his later career Emeritus at Dartmouth College; died March 17,
showed, intemperate action. 2009) graciously provided the Hall and Evens
information from his book Weird and Tragic
Evens was awarded his patent soon after Hall’s Shores (Random House, 2000). Highly
broadside appeared, but Hall immediately sued, claiming recommended for readers who like history,
one-half ownership. Early in 1855 the Cincinnati adventure, and mystery all wrapped in a true
Superior Court decided in Hall’s favor, and so he won story.
his battle. It is doubtful that half ownership was worth
all the trouble, but the Hotspur in Hall might well have Author’s Note: Readers with additional
said ”...in the way of a bargain, mark ye me, I’ll cavil on knowledge of Evens’ and Hall’s Percussion
the ninth part of a hair.” Hall often seemed to enjoy Presses are invited to correspond with the
combat for combat’s sake. author.

By 1855, Hall’s interest in his seal-engraving
business had begun to flag…..

And here is the “rest of the story”:

Evens continued in the engraving and seal
press business, producing the beautiful lever
presses now known as the Sea Monsters.

23



The Evens 1854 Percussion Press The

CGG No.: 13

Crider Collection

of the press. BT: flat, one pour hole

The seal reads: McLean Lodge No. 206
the three interlocking links and inst. July

Evens 1854 Per- HT: 4 inches
cussion Press differs
from CGG # 11 only in BL: 4 1/8 inches that it
has the Patented WT: 2 lb. 2 oz.
1854 cast into the base

Rarity: R-6

I. O. O. F. Lexington Ill’s. surrounding
17, 1856.

24

Grampp Collection The Almost

Grampp Collection Hall/Evens Percussion

Rarity: R-7 Press

One could imagine that this could be a product of
Evens or
Hall, perhaps even a Hall Percussion Press
made prior to the Hall’s Improved Percussion
Press. However the top surface of the plunger
is engraved with jr M jr TradeMark in fancy
script, which put the researcher on the trail of a
different manufacturer…….and the trail was a
dead end! The plunger shaft has a guide pin
that follows a groove inside the ornate inside
curved part of the press body.

CGG No.: 14

The seal reads: M.A.

Woodworth Allegan HT: 4 /14
inches

24
County Mich surround-

ing Notary Public. BL: 3 15/16 inches WT: 1

lb. 10 oz.

BT: indented, 3 pour holes

Grampp Collection The Simple
Percussion Press
Business
Envelope CGG No.: 158

of HT: 5 inches BL: 4 inches
W.H. Shaw &
WT: 2 lb. 4 oz.
Co.
Des Moines, BT: flat, one indented pour hole

Iowa Rarity: R-6

This press is a simpler and less
expensive to produce version of the Hall’s
and Evens’ percussion seal presses.
Probable date for this press is circa 1860’s.
The plunger shaft is surrounded by a spring
contained in the press body. A guide pin
follows a hole in the upper arm, providing
additional support for alignment. The seal
reads Notarial Seal Athens County Ohio.

Early percussion presses are scarce to rare,
but prices are kept relatively low due to
the small collector base.

25

26

The Evens Lever Press Series

Grampp & Crider Collections

The Evens lever presses have an interesting history, both as the presses themselves and also
the man who made them. Refer to “The Intriguing story of Hall’s and Evens’ Seal Presses” by

Chauncey Loomis, excerpted elsewhere in this book, or in the Thomas Beckman treatise in
Volume 9 (2001) of “The Ephemera Journal”. The presses, commonly referred to as “dolphins”
bear no resemblance to the mammal “dolphins” (porpoises) or the fish “dolphins” (mahi-mahi).
The author prefers the name “Sea Monsters” which more accurately describes the characteristics

of the animal portrayed by the press. The presses were originally painted green. Presses with

other colors are most likely re-painted. The various types of the Sea Monsters are described in

the following pages.

In the upper photo, bottom row, second from the
right, is an Evens Press with an original paper
label, extremely rare and possibly unique as such.
The label reads:

Evens Lever

Platt Evens, Jr.

Sole Proprietor and Maker,

Cincinnati

Grampp Collection

The Mega Monster Press

Grampp Collection CGG No.: 15

The Envelope HT: 13 inches
BL: 8 5/8 inches
Monster Press WT: 10 lb. 10 oz.
BT: no pour hole
This version of Evens No. 2 Lever Rarity: R-6
Press has a special base made
especially to allow envelopes to be The large Evens’ Lever Press we have named
embossed on one surface only. This the “Mega Monster” because it is the largest of the
press base is very similar to the group. It has “Evens Lever Cin. O.” cast into the
Sargent Press base (CGG No. 137 ), sides of the body. This press carries the seal of the
but probably pre-dates it by about 10 Evangelical Lutheran Synod of Central Illinois,
years. Although the press may appear which was established in 1854. This provides a
unstable, the downward pressure acts reasonable date for the seal press. The majority of
against the part of the base in contact the Sea Monster family of presses bear 1850’s
with the desk, and many seal presses of dates.
the era were attached to the desk with
screws. The 1 1/4” X 1 5/8” oval seal
reads “H.F. Teetor Butcher
This example is in “patina finish” 169 Baymiller Cincinnati”. He
condition, but it is the only one known was born ca. 1817 and was still
to the authors at this time. listed in the 1880 census in Cin-
cinnati. This information sup-
CGG No.: 16 ports the 1850’s date for the
press.
HT: 10 1/4 inches
Grampp Collection
BL: 6 1/2 inches WT: 4 lb. 4 oz.
28

BT: no pour hole
Rarity: R-7

27

The Mini-Monster

Crider Collection CGG No.: 17

HT: 9 7/8 inches

BL: 5 7/16 inches

WT: 3 lb. 9 oz.

BT: flat, no pour hole

Rarity: R-7

This seal press has no maker’s marks, but the author has con-
cluded that it is most likely an Evens press. This is based on sev-
eral lines of evidence, the most compelling of which is the styling
of the press body. It has a seal for the Somerset, Ohio, Odd Fel-
lows Lodge and many of the I.O.O.F. lodges in Ohio and Illinois
used Evens presses. Also, the seal press was purchased from an
Ohio estate. Lacking any documentary evidence on the manu-
facturer of this press but using deductive reasoning, we have cate-
gorized it with the Evens presses. An interesting conjecture is
that C.F. Hall, Platt Evens business adversary, may have pro-
duced this press as competition to Evens, although at this time
there is no evidence for this. This press also shares characteris-
tics with the Truncated Lion Presses.

The Sea Monsters

(The Evens Lever Press and Evens Lever No.2)

Platt Evens Jr. was in business in
Cincinnati, Ohio. All of the presses
known to the authors contain seal
locations in the trade radius of
Cincinnati, which was rather large
due to the trade routes along the
Mississippi River. The most distant
observed was from Iowa.

size” Evens Lever presses may be In 2000, an Evens Lever Press
instantly recognized by their base lettering:
The Sea Monster varieties of the “regular-
bearing the seal of “Wells Fargo

San Francisco 1854” appeared for
bid on an Internet auction. Al-

Evens Lever Press though the date was appropriate to
Evens Lever Cin. O. the press, bidders must have ques-
Evens Lever No. 2 Cin. O.
tioned the authenticity because it

did not sell. An identical press,
perhaps the same one, did sell two
years later.

The Sea Monster I

This is the “Evens Lever Press”, easily CGG No.: 18

identified by the words cast into its base, a

member of a group whimsically termed “The HT: 10 inches Sea

Monsters” by the author. The Sea Mon-

sters are popular with both history buffs and BL: 6 5/8 inches

seal press collectors, and their prices reflect their popularity, usually

selling in the 100 to WT: 4 lb. 4 oz.

400 dollar range (at this time). The original
color of these presses was green. The specimen
illustrated to the left has a rusty appearance

when viewed “in the iron”, but the photo light- Rarity: R-6
ing brought out pigments not seen in ordinary lightB. T: flat, no pour hole

This press has a more gracile neck than its other siblings. The neck

measures slightly more than an inch at its widest point near the base.
vides a reasonable date for this seal press.

This particular press bears the seal “William Morrow Corporation
Clerk Ohio”. One William Morrow was Corporation Clerk for Spring

Hills Village of Champaign County Ohio in 1856 and 1857, which pro-

Crider Collection The Sea Monster II

CGG No.: 19

This is a different variety of the Evens Press. This

press has “Evens’ Lever Cin. O.” cast into the base. HT: 10 inches Additionally,

this sea monster has a robust neck,

BL: 6 5/8 inches

measuring nearly two inches near the base. Note that the tail tip is missing on

this specimen. WT: 4 lb. 11 oz. Several have been observed with the

same piece missing. This could be a mold defect, a casting defect, or just an

easily broken part of the body BT: flat, no pour hole

Rarity: R-5

The seal in this press reads: “Dayton National Bank Dayton
O.” This bank3w0as established as the Dayton State Bank in 1845.
When Congress passed the National Banking Act in the Spring of

1863, there was a movement to establish national banks. As a

press.
The reader is referred to pages 21-24 for detailed background
about the Evens seal presses.

29

Grampp Collection The Sea Monster III
Crider Collection
Evens’ Lever Press is cast into the CGG No.: 20

base of this press. Unlike its sibling

Evens’ Lever Press, this one has a robust HT:
10 inches neck (as in the Sea Monster II and Sea
Monster IV). This example has a con- BL: 6 5/8
inches siderable amount of the original green

WT: 4 lb. 11 oz.

paint. Some appear in the market place

in other colors and are most likely re- BT: flat, no
pour hole paints.
Rarity: R-5

This press bears the seal: “Scottish Cemetery
Association of Willow Creek, Ill.” This cemetery is on
the Boone-Winnebago Counties line near the village of
Argyle, Illinois.. It was established in 1859 and first lots
were sold in 1860, which provides a reasonable date for
the seal press.

The Sea Monster IV

CGG No.: 21

HT: 10 inches

Evens’ Lever No. 2 Cin. O. is cast into the base of

BL: 6 5/8 inches

this press. This press has the robust neck. The seal

of this press reads: Jackson Encampment 194 WT:
4 lb. 11 oz.

I.O.O.F. June 23, 1871 Jackson Ohio. At the time of
publication, this is the latest date known for a Sea

BT: flat, no pour hole Monster seal press.
Rarity: R-5

Note: The upper dies of the Sea Monsters may be found
with incused lettering on the edge:

“from P. Evens Jr.” or

“C.F. Hall”

Most observed are plain, no lettering.

30

The Ornate Lever Press

This beautiful seal press has no maker’s marks at all, but its appearance indicates it is a
product of the Cincinnati, Ohio, group of die sinkers and seal press manufacturers. There
are valid arguments that this a C.F. Hall seal press, and counter arguments that this is a Platt
Evens Jr. seal press. It’s probable date is 1855-1865.

The C.F. Hall characteristics include: the shape of the lever handle, no pin in the side of
the plunger body, the shaft body is shaped/embellished differently than the Evens, and the
neck is partially hollow.

The Evens characteristics are: the general profile of the seal press body, the curl at the top
of the body, and the various embellishments on the body.

The reader is invited to draw his own conclusions based on comparisons with the Hall’s
and Evens presses pictured in this book.

The 1 3/8” seal reads: “Notarial Seal Franklin County O.” with
the Ohio State Seal in the central portion of the seal.

CGG No.: 22

HT: 10 3/4 inches
LBL: 6 7/8 inches
WT: 6 lb. 12 oz.
BT: flat, no pour hole
Rarity: R-7

Grampp Collection

31

The Genghis Khan Seal Press

Grampp Collection

The Genghis Khan Seal Press depicts an almond-eyed
fellow wearing a helmet adorned with curved horns. This
press is one of two known to the authors. The other
specimen has a slightly different ear. The turned wooden
handle lends credence to a mid-to-late 19th century date
for this press. There are stylistic similarities between this
press and the Ram’s Horn Press such as body ridges, the
curved additional metal along the inside curve of the
neck, the wooden part of the lever, and the style of the
base. These similarities may indicate the two styles are
products of the

same
artist
and/
or
foun
dry.

Th
is

pr 32

es CGG No.: 23

s

wa HT: 15 3/4 inches

s

de BL: 9 inches WT: 17 lb.

sig

ne BT: flat, no pour hole

d

for Rarity: R-7

a
2
1/
2
in
ch
se
al.

The Ram’s Horn Press

CGG No.: 24

HT: 13 1/2 inches
BL: 8 3/4 inches WT:

13 lb. 5 oz.

BT: Flat, no pour hole

Rarity: R-7

This large seal press has several unusual
characteristics. The entire seal body is
ornamented with cast-in shapes and
curves. The lathe-turned walnut handle is
common on European seal presses of the
period, but is unusual for an American
press. The lower die is also unusual in that
it is a thin copper plate applied with mastic
to a hard lead alloy which in turn is applied
to a steel platform attached to the base.

Crider collection The seal is the Farmers and
Manufacturers Bank of

Poughkeepsie, New York, which
was established in the 1840’s.
This bank made prolific issues of
paper bank notes during the 19th
century.

Seal presses can be of interest
in other fields. This one would be
a complement to a collection of
“Broken Bank Notes”.

Compare this press with the Genghis
Khan Press on the previous page.

33

The Ram’s Horn Press II