habigman
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Der echt Josef Pichler Hut Graz, nur Mugasse 10, Josef Pichler & Söhne, Telefon Nr: 1167 Fabrik 8056 Niederlage, Double Sided Paper Bag, 49 cm X 31 cm, possibly early 1950s. I was able to determine the possible time period from the telephone numbers which was a interesting side trip.
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Wegener "Extra", 58 cm, probably early 1950s. The Felt has a great finish and easily dry creases. The paper label is missing but there was 1953 newspaper spacer behind the Sweatband. The Liner has piping which I haven't seen on a Wegener. The Wegener stamp on the Sweatband is also unique.
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I purchased the following items from a lady (Barbara Rasspe-Dahmann) whose family owned Pelzhaus Josef Seiffert 1863 Solingen ,Germany (see link below). Josef Seiffert was her Great Grandfather. The store closed in 2017. The items are from the 1950s and later.
Anton Pichler Graz
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I purchased the following items from a lady (Barbara Rasspe-Dahmann) whose family owned Pelzhaus Josef Seiffert 1863 Solingen ,Germany (see link below). Josef Seiffert was her Great Grandfather. The store closed in 2017. The items are from the 1950s and later.
Hückel Weilheim, possibly
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I purchased the following items from a lady (Barbara Rasspe-Dahmann) whose family owned Pelzhaus Josef Seiffert 1863 Solingen ,Germany (see link below). Josef Seiffert was her Great Grandfather. The store closed in 2017. The items are from the 1950s and later.
Rehfus & Cie, Oberländer "Nur echt mit dem Namenszug / Only real with the Name"
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I purchased the following items from a lady (Barbara Rasspe-Dahmann) whose family owned Pelzhaus Josef Seiffert 1863 Solingen ,Germany (see link below). Josef Seiffert was her Great Grandfather. The store closed in 2017. The items are from the 1950s and later.
Mayser Ulm
Mayser Milz
Stetson (Mayser, Under License)
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I purchased the following items from a lady (Barbara Rasspe-Dahmann) whose family owned Pelzhaus Josef Seiffert 1863 Solingen ,Germany (see link below). Josef Seiffert was her Great Grandfather. The store closed in 2017. The items are from the 1950s and later.
Mayser Ulm
Mayser Milz
Rehfus & Cie, Oberländer "Nur echt mit dem Namenszug / Only real with the Name"
Anton Pichler Graz (Austria)
Stetson (Mayser, Under License)
Hückel Weilheim, possibly
Borsalino
Standard Mink (most likely a Fur Hat)
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Hückel Weilheim "Chevreau", 59 cm possibly later 1950s. The Chamois Felt is lighter in weight and easily dry creases. This one has a unique braided Band and unique small feather (probably to match the band).
Open Crown
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Profil, Österreichische Monatsschrift für bildende Kunst / Austrian Monthly for Visual Arts , "DAS WOCHENENDHAUS / THE WEEKEND HOUSE , AUSTRIA IN LONDON, LAGEPLAN DER WOCHENENDHÄUSER SITE PLAN WEEKEND HOUSES, IM HOFE DES MESSEPALASTES / IN THE COURTYARD OF THE EXHIBITION PALACE,
Herausgegeben von der Zentralvereinigung der Architekten Österreichs. Organ der Zentralvereinigung der Architekten Österreichs und des Neuen Werkbundes Österreichs / Published by the Central Association of Architects in Austria. Organ of the Central Association of Austrian Architects and the New Austrian Work Federation, 2nd year, May 1934. Österreichische NationalbibliothekThe Austrian Exhibition' in London, 1934. P. & C. Habig Wien was part of the exhibition. There is a photo of their booth in the Vienna Shopping Street room.
The Austrian Exhibition'
in LondonAt the top of our second photo report on the Austrian exhibition in London we place the portrait of Se. Excellency Baron Frankenstein, the Austrian envoy to the Royal
Hofe, who worked tirelessly to ensure the success of this important undertaking.Fig. 350 Viktor Hammer, portrait of Se. Excellency, of the Austrian
Ambassador to London, Baron Dr. FrankensteinAbove: Edwin Grienauer,
Design for the New
Austrian National Coat of Arms
Shopping Street, Draft: C. Kosak, Execution of the Painting: F. Zülow and M. Frey
After we already reported in the 4th issue of our magazine about the equipment of the advertising spaces for tourism, this time we are showing pictures of some exhibition halls, which
specially equipped for special tasks. Some of them are kept very simple and are only effective through the generous distribution of colors.
Fig. 352 Booth of the Hat Factory P. & C. Habig at the Austrian Exhibition in London
The furnishing of all the booths in the shopping street were designed by E. Wörle.
It would be a pointless beginning to give an overview of the works of art on display in addition to everything else on the few pages available to us, or even to want to highlight the so-called "most representative" works with three or four illustrations. We shall report on the arts and crafts another time and have fundamental things to say. When the Austrian architects arrived in London, Docland Hall, the Exhibition Grounds, was a mess of boards, scrap and
semi-finished floors. Despite the difficulties, it was possible to complete the exhibition in 14 days with all energy exerted. -
Seidels Reklame, "Habig Wien / Vienna, Das historische Fenster der Hutfirma / The Historical Window of the Hat Company P.& C. Habig", Issue 3 1925. Österreichische Nationalbibliothek
"Once the Habig Collection"
A real shop window, as it used to be, showed the Habig Hat Factory. The most elegant and distinguished hats from Top Hats to Tricorn Hats decorated with ostrich feathers were on display here. The background mockup looked particularly striking. Through a window you could see passers-by in the streets, the gentlemen with infinitely high hats, the ladies with “elegant”, tightly worked lap waists standing wonderingly in front of the displays. Two small, colorful moderator lamps, which were used at the time to illuminate the shop windows, competed in their modest way with the electric light. The motifs for the shop window design of the Max Kühl company were taken from the workshop.
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DIE BÜHNE (Wien), "Kleider machen Leute, der Hut — den Herrn", Von KommerziaIrat Richard Schwarz / THE STAGE (Vienna), " Clothes Make the Man, The Hat— The Gentleman", By Commercial Counselor Richard Schwarz, Issue 232 1929. Österreichische Nationalbibliothek
What use is the most beautiful suit, if hat, tie and shoe are not in harmony with it or even shabby!
Unfortunately, it is still not clear to every gentleman (or, say, every Austrian) that he can give his appearance only through the correctly chosen tie, the correctly chosen hat that harmony, which appears elegant and distinguished. The Englishman and the American have recognized this for a long time and this year they turn their wisdom all the more eagerly as the fashion is particularly colorful.What is modern? What’s gonna be modern? The lightweight velour hat, which is a specifically Austrian product. It is already heavily bought by England, France and America. One hand washes the other: in return for this comes the Panama, which was already worn strongly last season in England and America. Ecuador is already rubbing its hands with pleasure.
As far as the shapes are concerned, the "Snapper" is no longer bent slightly at the front, but rather strongly. On the other hand, for elegant wearing it is not bent at all and lets it, in its calm form, imitate the "Homburg" a rimmed hat . This elegant hat still reigns supreme, especially in bright colors.
For those gentlemen who love their comfort and sigh heavily under the torments of the proper suit during the heat of summer, I also have a joyful message: The American fashion of jacketless is also becoming a fixture in Western countries in Europe, and is likely to permeate our territory as well. In the summer you will wear the silk shirt with the beautiful, cheerful tie and no jacket - with a light, elegant hat, which will be either a "Snapper" or a Panama. So also with this half negligent dress it will be the hat, which gives the outfit and the whole appearance of the gentleman the elegant touch.
Side Note: I usually avoid fashion related articles but I found this one interesting because it mentions a Light Weight Austrian Velour Hat and a the Jacketless trend / movement circa 1929. The bottom right photo is of a man wearing a slightly snapped (normally worn without snap) Lightweight Velour with tie but without jacket.
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Der Hut und seine Geschichte, Eine kulturgeschichtliche Monographie von Dr. 0. Timidior
Mit 85 Abbildungen (Zeichnungen von Karl Heidrich),Wien und Leipzig A. Hartleben's Verlag (Alle Rechte vorbehalten), (1913). Paul Nitzsche Wurzen Markt 12, 25 JUNI 1914. / The Hat and its History, A cultural-historical monograph by Dr. 0. Timidor, With 85 illustrations (drawings by Karl Heidrich), Vienna and Leipzig A. Hartleben's Verlag (All rights reserved), (1913). Paul Nitzsche Wurzen Markt 12, 25 JUNE 1914. I have a hard copy of this book.
Contents.
Foreword III Contents IV Bibliography VI Linguistics
About the word "hat" 1
The manufacture of the hat 4
The hatter 18
The history of the hat 33
The top hat 58
The meaning of the hat 67
Hat and politics 78
Hat and character 83
Hat and hygiene 92
The women's hat 97
The hat decoration 108
The hat in caricatures 118
The hat in superstition, folk customs and customs 124
The hat of quadrupeds 130
The hat in proverbs and sayings 134
The hat in song and in literature 136
Hat poetry 138
The story of the hat 138
Fashion 140
Taking off the hat 140
The new hat 141
Eduard() and his hat 143
My old hat 143
The hat 145
Cheerful things about the hat 147
The lost straw hat 147
Advice on buying a hat, compiled by the English comic "Punch" 148
Not worth mentioning 148
The minister's hat 149IV
Düsseldorfer Mänzkes 150
Old and new hat 151
All sorts of hats 152
The Girardi hat 152
Richard Wagner's last hat 153
The Napoleon hat 153
"Always with a hat and right on the dam!" 155
The hat in Shakespeare's works 155
Philistines 156
The hat as a term for "the man" 156
Hat stories 156
Why the fez has no umbrella 159
Kiss me quick 160V
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Der Filzhut, seine Geschichte und seine Herstellung. Hrsg.v.d. Deutschen Hutmacher-Zeitung (1936). This book is an update of Fabrikation von Damen- und Herren- Filzhüten, Der Deustchen Hutmacher Zeitung (1933). I have a hardcopy of this book.
Contents
I. The Hatter, his wishes and concerns. Then and now 7
Hatter coat of arms from then 20II. The hat and its history, by custodian Dr. Wolfgang Bruhn. 29
Symbolic and anecdotal about the hat . . . 31
History 33
Digression on the "Basel hat" 46
Hats from contemporary fashion journals from the Directoire (1793) to the Biedermeier (1832) ...... 52
Different forms of Parisian men's and women's hats . 57III. The woolen hat and its manufacture 61
Wool washing 64
Flowing carbonization plant 74
Wool hat production 75
Grinding 76
Felting 80
Toggling and twisting 83
Carbonization 87
Molding 93IV Mixing shop 105
Pressing and finishing 106
V. Hair hat manufacture 111
Finishing of the material 116
Different types of bating 117
Brushing and sorting the skins 119
The hair hat factory 122
Blowing 126
Raw fabrication 128
a) Folding 128 b) Felting 133 c) Fulling 135 d ) ejection 1405
VI. The Finishing of the Hair Hat 143
The Finishing 146
The Die Drawing 147
Rolling and Briding 148
Touring 149 Raising 149
The Edge Processing 150
Ironing 151
Capelines and Ladies' Hats 152
Trimmings 153
Plumes Hat Production 153VII. Specialist articles from practice — for practice . . 155
On the question of the wear ability of men's hats 157
Weatherproof hats through impregnation 165
On the question of the light and wear fastness of wool, hair and velour hats, by master dyer Kurt Richter 167 Hair velour i real velour, prime velour ... 175
The processing 176
Finishing 181
Differences in quality in rabbit hair 182
When can a velour hat be called "genuine"? • 183
Modern hat stump dyeing on mechanical apparatus • 185
Construction material of the dyeing apparatus 187
Removal of impurities . 187
Damage caused by free nitric acid 189
The wool, its properties and its processing in of hat manufacture, by master dyer Kurt Richter . . . 191
The hat dyeing of yesterday and today, by master dyer Kurt Richter 203
Modern dyeing processes in wool and hair felt dyeing, by Gustav R. Arnold 223
Dyeing 223
Dyeing loose wool for solid colors and melanges • 224
The dyeing of men's hat woolen hats • 227
The dyeing of soft men's hair r hats in the Labraz . • 229
Contributions to Modern Hat Dyeing, by Richard Haynn. 233
The shellac stick in the manufacture of felt hats . . . . . . 241
The shellac finish for women's braided hats made of crinol, straw, lite, cellophane, artificial silk, raffia, etc. . 247
VIII. Technical terms of the Hatter 249
Hat measure reduction table 279
IX. sources of supply 2816
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Percy Jones London, Bakelite Hat Display Marker, possibly 1930s.
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Borsalino Antica Casa, I. L. A. R. Milano, Hat Marker, possibly 1930s.
Borsalino Antica Casa, Hat Marker (missing bottom tab), possibly 1930s.
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Anton Peschel Neutitschein (APN) Metal Display Plate (7 cm x 3.5 cm), possibly 1920s / 1930s.
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Barbisio ABBONAMENTO AL BOLLO SIG (S.I.G.) CELLOGRAF MILANO**, Barbisio "Apollo" ABBONAMENTO AL BOLLO MADE in FRANCE, Bakelite Hat Markers, 6 cm X 4 cm, possibly 1920s.
** ABBONAMENTO AL BOLLO SIG (S.I.G.) CELLOGRAF MILANO
It was founded in the twenties of the twentieth century with the name Società Industrie Grafiche Cellograf , in Milan [1], from Natale Sciascia, with the aim of making prints on celluloid. Its production soon extended
to advertising objects commissioned by various companies for display (advertising plates enriched with tear-off calendars or thermometers) at shops and administration points. There are countless companies for which
Cellograf has prepared advertising plates, now almost all extinct (the Gamberini Biscuit factory, Subsequently, the production also extended to exhibitors and retail objects for free or for sale (stickers, playing cards).
progressively during the eighties, until it ceased completely at the end of the decade, when the attention had shifted to the magnetic and telephone cards sector. -
G. B. Borsalino Fu Lazzaro & C. Metal Display Plate, 9 cm X 3.5 cm, possibly 1920s.
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Ludwig Skriwanek Graz, Hutfabrikation, measures 58.5 cm, possibly 1930s. The Black Fur Felt has a nice Smooth Finish. It has a lower profile which is pleasing. Appears that the Sweatband was stitched back in at a later time. I wasn't able to find any information on Ludwig Skriwanek Graz, Hutfabrikation production capabilities. I tend to think they sourced the entire Stiff Felt. I was told by the Seller that this Stiff Felt belonged to her great uncle who was the owner of the first bandage company in Germany, F. & C. Achenbach Frankfurt am Main (founded 1882) but the company didn't survive WWII.
Natural Light
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P. & C. Habig Wien "Velour", 56 cm possible mid 1930s. This rare find was made by Wayne on the FL.
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"J. Heinrich Ita Wien" "K. u. K. Hof - Hutfabrikant Wien", Reverse Painted Display, Beveled Glass, Brass Frame, Zinc Back Plate, Foldout Wire Stand, 20 cm x 6.5 cm, Very Early 1900s. Rare to come across items of this quality.
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Anton Peschel Dinkelsbühl "Diplomat" "Reiner Haarhut" "Tornado", 58 cm possibly late 1950s. The Smooth Finish Gray (Dural) Felt is of medium weight and easily dry creases. A mid width Band with a sharp looking Bow design.
Open Crown
Natural Light
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J. Hückel´s Söhne "Elastic", 57.5 cm, 118 grams. possibly mid 1920s to early 1930s. This is a Ladies Stiff Felt Riding Hat but since it's a JHS + very unique I decided to pick it up. It appears to be entirely original and in NOS condition. The Black smooth finished Felt is the same as a Men's JHS "Elastic" Stiff Felt. The 4.5 cm Brim is not curled and has downward flange with a thin Binding. The Grosgrain Sweatband with padded which is stitched in with a X pattern. The Bow is on the left side like Men's Hats. There is also has a long fabric Strap which you see on some Ladies Hats. I couldn't find a paper label so maybe this was custom made by JHS. Definitely a very unique piece for my museum.
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Anton Peschel Dinkelsbühl "Windsor - Hut", 58 cm possibly late 1950s early 1960s. The Gray Felt has a nice Chamois finish. Also like the thin ribbon bow design with contrasting brim binding. This Hat came a from a Czech source.
Vienna Directory October 24, 1938, Hat Related Listings
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Vienna Directory October 24, 1938, Hat Related Listings
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