Vintage Rolodex 3500 S Phone Desk Organizer

rolodex

rolodex 3500s

rolodex 3500 s

Industrial strength, they just don’t make things like this today! Made in that wonderful industrial greige (that’s grey and beige), this Rolodex is special! Even the top that closes is all metal, not like the newer ones that are plastic. The condition is very good to excellent, no dings, or dents.

As you can see, the plate that indicates it’s a Rolodex 3500 S is present.The handle wheels on either side read Zephyr American Corp., New York, N.Y.  Even the bottom still has all four protective pads. I removed the used cards, but left the retro blue alphabetical dividers A-Z, and some blank cards. You would just need to add your contacts if you are using as more than an iconic prop or desk accessory.

Measurements: 10″ tall x 10″ d x 9″ w

 

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James Harold Jennings

James Harold Jennings

Self Taught, Outsider, and Folk Art” by Betty-Carol Sellen describes James Harold Jennings as having been raised and “lived with his mother, a school teacher, until she died in 1974.” Jennings works ranged from bird houses, ferris wheels, angels; all colorful constructions. He used graphic symbols some target like, resembling pointillism, often included verbiage which added luminous humor to the assemblages. His “Tufgh” women beating up on men were frequent subjects for his apparently bawdy sense of humor.

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Photo-Lettering, Inc. Alphabet Thesaurus Vol. 3

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Alphabet Thesaurus Vol. 3 Photo-Lettering Inc Cover

Alphabet Thesaurus Vol. 3 Photo-Lettering Inc inside

 

We have had interest and several serious inquiries regarding our hard bound manual of typefaces: Alphabet Thesaurus Vol. 3, published in 1971. As collectors, and designers, we have long held a fascination with type. We received a note from a graphic designer and typographer, Alex Sheldon, whose foundry is called Match and Kerosene. As a freelancer, he has “had the pleasure to work with the likes of Fearless Records, Warner Brothers Records, Motown/Universal, Epitaph Records, and Tooth and Nail/EMI.” His fonts are available through My Fonts. As fellow type and hand lettering fanatics, we thought we would acknowledge him and share some of the original inspirations for our interest.

Our initial interest in hand lettering and fonts was kindled in youth, by the lettering and graphics designed for use in print media in the 60s and 70s. Posters, handbills, album covers, dust jackets, still memorable examples of posters for legendary bands including Cream, Blue Cheer, Traffic, Quick Silver Messenger Service, Moby Grape, the Grateful Dead, Jefferson Airplane, Janis Joplin, Big Brother and the Holding Company, the Doors, the Velvet Underground, and countless others.

Posters by unknown and marginally known artists, such as Wes Wilson, Bob Fried, Gary Grimshaw, Lee Conklin, Bob Schnepf, Bonnie MacLean, as well as the giants, Stanley Mouse and Alton Kelley designing under the moniker, “Family Dog” or Victor Moscoso’s “Neon Rose.” The posters and handbills they created for shows at landmark venues for promoters such as Bill Graham Productions, including the Fillmore Auditorium and the Avalon Ballroom, are highly collectible ephemera today. Boasted as “the world’s largest dealer” in rock and roll posters from that era is ClassicPosters.com. Other resources include Psychotron Posters and Wolfgang’s Vault. The original hand drawn graphics of this era are inspirational. The vibrating and psychedelic effects of some are visually boggling, even to those adept at the latest design apps available through Adobe.

Just the beginning of lost creative innocence, because our interest evolved further with jazz artists and the covers for their vinyl recordings. But beyond even those seminal interests associated with advertising art, however subliminally, we as artists, have sought out and used fonts in our creative endeavors. Paying homage to the creators of well known and well used fonts, as well as more obscure and headline fonts in our work as artists, in print, and through use in our neon and dimensional signage and sculpture. All are bits and pieces of a curious creative continuum.

 

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Apple Powerbook 2400C

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When I think of the word vintage, I think wine, audio equipment, cars, clothing, films. Vintage to some antiquarians also conjures negative connotations – obsolete, or outdated. But, vintage as an adjective has recently seen a resurgence in popularity and use particularly in communities such as Etsy and Tumbler. Vintage has adapted to its new cachet, its time, again, is now.

VIntage Apple 2400

Now that I have your attention, 2400′s are r-a-r-e. Only the PowerBook 550 seems to appear less frequently than the 2400 and, naturally, when they do surface, they tend to demand premium prices. It’s understandable that it is rarely found, let alone, available to collectors, given the nature of this diminutive machine. The 2400 was the precursor to the MacBook Air with its external floppy drive. The PowerBook 2400c was introduced in May 1997.  Production was terminated abruptly in May 1998 to be followed by the PowerBook G3.

This Powerbook 2400c is up for auction on ebay.

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Classic Cannondale Criterium 3.0 Frame Bikes

sr2000 cannondale 1988

sr2000 cannondale 1988

sr2000 cannondale paint job

sr2000 cannondale dura-ace

Vintage Cannondale SR2000, a pristine whip!

This 1988 Cannondale SR2000, 58cm sports a hand built frame and all original, Dura-Ace components. Made when Cannondale was comprised of a few master welders that were fueled by their cycling enthusiasm to build a better bike. And, check out the graphics and paint job! This whip is of museum quality and design.

This 1988 Cannondale SR2000, 58cm sports a hand built frame and all original, Dura-Ace components. Made when Cannondale was comprised of a few master welders that were fueled by their cycling enthusiasm to build a better bike. And, check out the graphics and paint job! This whip is of museum quality and design.

sr800 cannondale 1988

sr800 cannondale 1988

Vintage Cannondale SR800, a classic!

If you haven’t ridden a Cannondale, they are a paradox characteristic of few bikes, sturdy yet nimble. This is a classic 1988 SR800. It has a hand built 53 cm Criterium racing frame with respected original Shimano components. A used car dealer sweeten the pitch, “it has low miles, is all original, and had one owner.”

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Modern 60s White Panasonic Cube Radio

Panasonic "cube", model R-47A radio Panasonic "cube", model R-47A radio Panasonic "cube", model R-47A radio

 

Vintage in a historical sense, this plastic transistor radio referred to as the Panasonic “cube”, model R-47A exhibits pure modern design and pays homage to Eero Saarinen by eliminating a “slum of legs” with a singular tulip pedestal. Manufactured in the 60s by Matsushita Electric Industrial Company, the cube measures approximately 4″ x 4″, 5.5″ tall; elevated on the iconic tulip base.

The plastic is a sophisticated matte finish, off white. The dial face is silver behind a clear eye. The graphics are mod, if not groovy, frequency numerals are in purple with a clear dial needle punctuated by an orange bubble design that can be seen through the edge of the clear plastic. The AM only frequency,volume, and on/off are controlled by two ridged silver dials on one side. The speaker is on the opposite side comprised minimally of perforations in the molded plastic. There is a jack for an earphone on the back.

Minimal in design, it has a few minimal nicks or scuffs among its simple angles, curves, and surfaces. These minor imperfections do not effect the significance of this iconic mid-century piece. Tested for full range of volume and frequency tuning, the radio requires a single 9 Volt battery (not included.)

As a design product, this Panasonic “cube” radio is a rare find in working condition exhibiting not only innovation and invention but featuring elements of other design disciplines of the 60s. This radio would be a treasured beginning or addition for someone interested in MCM design, a radio collector, a graphic artist, an industrial designer, a 60s music or record collector, …

Measurements: 5.5″ tall, 4″ wide, 4″ deep

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Crushed Velvet Neon Heart Light

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Turn on your love light with this neon crushed velvet heart. This sensual prop was originally created as a decorative focal point for the Valentine’s Day dinner seatings and party at a trendy restaurant and lounge. Made of velvet, with a wood base, the red neon surrounds the heart in a halo of seductive light. It is powered by a solid state transformer, with 6′ cord, which plugs into a 120V (house current) grounded receptacle. The entire piece weighs less than 20#, complete with hanger assembly.

Measurements: 42″ tall, 44″ wide, 4.5″ deep

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