In the 19th century, microscopy developed rapidly. The world of bacteria and microbes was discovered as pathogens, not least in water. On the basis of the new findings, the malaria-stricken Prussian immigrant William Radam patented an ultimate miracle water in Austin, Texas in 1887. His MICROBE KILLER promised help against all diseases, and the logo depicted man slaying death with a bottle club! With this, W. Radam’s marketing topped the SAFECURE – Safe for Health by the New York safe billionaire H.H.Warner from 1879. It was only with Dr. Wiley’s Pure Food and Drug Act of 1906 that serious food and pharmaceutical legislation began. Today, in Corona times, Micro-Killer T-shirts are celebrating their resurrection not only in the USA. The embossing on the bottle says: GERMBACTERIA OR FUNGUS DESTROYER • WM.RADAM´S MICROBE KILLER • CURES ALL DESEASES • REGISTERED TRADE MARK DEC. 13.1887 The 370-page first edition of the book from 1890 with microscope images can be carefully browsed through in my “spiritschweppes” marketing cabinet. http://www.hjktext.de
On “my own behalf”: Article in ATLAS, magazine of the Potsdam Museum Support Association.
Expert summits talk about digital transformation in the Turning point. What can a private collector do with this? Learning challenge? http://www.grussauspotsdam.de/ is considered a pioneer. Today the ATLAS looks over the shoulder of a “visual storyteller”.
Visiting the display depot. The collection theme “Digging to the roots of Marketing” is demonstrated by a handful of water. Without packaging it melts away, without a description it seems worthless, without Message pointless. The logic of this is astonishing: H2O has to be the first packaged product of humanity and with added value caffeine and carbon dioxide are the world’s best-known branded products.
An interested audience, from vocational students to Rotarians, is there wide-eyed in front of a showcase desk filled with world-wide images acquired artifacts of marketing creation. Look closely and systemically, the waste of civilization from the early days of industry mass production in the 19th century. Hand-blown, sealed and embossed bottles announce ingenious world drinks with invigorating effect and are now often highly paid collector’s items, primarily in the area of the former British Empire. There is the teardrop-shaped bottle find from New South Wales. The promise of wellness from the Belgian spa is up to the point
Australian east coast made it. Or the deformed patent medicine from the hot ash from a Johannesburg diamond mine, recovered one night from diggers for a good deal on eBay. Over 3,000 finds excavated and discovered worldwide are unique Potsdam gathers and loads from the flat template to the seltzer jug literally to be understood. Each object can also have its own Tell the story, because the excavators and expert knowledge of the seller is included in the Wunderkammer sustainably collected as “Marketing Cabinet”.
And it is precisely this software with which the private Collection fascinates and which ultimately determines its ideal value. First tips for visiting the internet. Have courage – the curator of the collection as a disciple of Gutenberg, he autodidactically set the digital course tackled, implemented with patient support from Potsdam and that’s it leave clear traces on the internet. google: spiritschweppes.
Here some links as examples for his digital private museum.
A business card for the collector. e.g. http://www.hjktext.de The profilegives the visitor a personal impression.
A name for the collection. e.g. http://www.spiritschweppes.com A memorable title positions the collection topic in the public eye and for the search engines. The inventory is presented below.
Entry into the digital exhibition. http://www.museum-digital.de Here the Potsdam Museum, among others, publishes its holdings successively. One professional address that is also open to private collections.
174 years ago today, the royal gardener Paxton was still building the sensational glass Crystal Palace for the first World’s Fair in London’s Hyde Park in 1851. Instead of alcohol, Schweppe’s Malvern Water was supposed to mentally refresh 6 million visitors in 6 months . And Schweppe’s 8 meter high, glass bubbling fountain became the meeting point of the first global meeting of modernism. Many visitors around the world took home a refreshing Schweppes Torpedo. In memory of this and with the support of countless bottlediggers, collectors and experts from all over the world, “spiritschweppes” today commemorates the great times of inventors, founders and entrepreneurs.
GET SOMETHING GOOD TO DRINK AND SAVE HALF AN HOUR FOR THIS VIDEO… With the Great Exhibition of 1851 in London, the fizzy torpedoes of Schweppes refreshed the rest of the world. Today, their collectors from all continents come together to form the Fizzy Family. https://www.pinterest.co.uk/spi…/the-spirit-of-eggbottles/ Thank you everyone for sharing your photos on the Facebook forums. And don’t forget: stay refreshing and google : spiritschweppes CLICK HERE https://www.youtube.com/watch?v=YPlaXKbqiM4
In 1851, the same year as Hogarth’s “Gin Lane and Beer Street”, the torpedoes of J.Schweppe and Co. refreshed the Great Exhibition in London and henceforth the rest of the world with sparkling soda.
Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth’s friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society (as he had done with Marriage A-la-Mode) and towards a more cutting satire on the problems of poverty and crime.
On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth’s works, closer inspection uncovers other targets of his satire, and reveals that the poverty of Gin Lane and the prosperity of Beer Street are more intimately connected than they at first appear. Gin Lane shows shocking scenes of infanticide, starvation, madness, decay, and suicide, while Beer Street depicts industry, health, bonhomie, and thriving commerce; but there are contrasts and subtle details that some critics[citation needed] believe allude to the prosperity of Beer Street as the cause of the misery found in Gin Lane. (source wiki)
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SPIRITSCHWEPPES MARKETING-CABINET 