Posts filed under ‘WWI to WWII’
One thing I love about the candy business is the general spirit of fun. Granted, things get messy sometimes (witness the trail of lawsuits left by every major candy company). But generally, something about the candy trade seems to appeal especially to folks with a good sense of humor.
And sometimes humor will get you a lot farther in business than any thing lawyers might come up with. Exhibit A, The COPY Bar.
It’s 1926, and the Williamson Candy Company is flush with the success of their signature candy bar, Oh Henry! Millions sold every month. The only problem is those pesky competitors, who keep trying to grab a share of the Oh Henry! riches with cheap knock-offs. Williamson prevails in court (see my post on the suit against Oh Johnnie), but the onslaught continues.
Fighting head on doesn’t work, so Williamson goes Zen, bending like the bamboo. If everybody else is going to sell a copy of Oh Henry!, then Williamson will too, by gum. The “Latest Copy of Oh Henry!” is a Williamson original, priced at 5 cents against 10 cents for big brother Oh Henry!
This new 5cent bar is a radical departure for us. Heretofore other manufacturers have made the imitations of our product. But, in line with our endeavor to be ‘first with the latest,’ we have decided upon the policy new, even radical in the candy industry–of making our own imitations.
Williamson conceded that it wasn’t “as good as” Oh Henry! At half the price, it couldn’t be. But on the other hand, he claimed it was better than the cheap Oh Henry! knockoffs everybody else was selling for a nickel.
In tandem with the announcement of the new bar, Williamson launched the “Confectioners’ “Copy” Club.” The Club’s founding document was published in the November 1926 issue of Confectioners Journal, together with a space for a roster listing the members.
Here I transcribe the text, as my summary could never do justice to this witty attack on the trade:
Sometime ago when Oh Henry! came into prominnece, there was such a rush of imitators that the candy trade, both wholesale and retail, was seriously embarassed. Few were able to keep up with the daily growing list of imitations.
To forestall this difficulty when “COPY” begins to be copied, and also to engender a clubbier feeling among the manufacturers who copy “COPY”, we are organizing the “CONFECTIONERS’ ‘COPY’ CLUB.”
The only requisite for membership in the COPY CLUB is the manufacture of a bar similar to “COPY”… From month to month the names of the duly self-elected memers will be published in the roster of the COPY CLUB in these pages.
By this means we hope to keep the candy trade posted as to who is copying “COPY” so that there will be no difficulty in identifying the clever manufacturers who have had the originality to make a bar like “COPY”.
Candy bar business was, as this snarky ad suggests, cut throat. Margins were slim. Williamson was committed to a quality product, but that meant selling Oh Henry! at 10 cents, even as more and more bars were coming out for 5 cents. COPY let Williamson have it both ways, defending Oh Henry! while also competing for the lower segment of the market.
COPY didn’t last long, and seems to have been advertised primarily as a footnote to Oh Henry! But COPY wasn’t really so much candy as a weapon. Chocolaty and sweet pea-nutty, to be sure, but a weapon nonetheless.
Oh Henry! is not the most popular candy bar in America today, but it’s been around a while. It’s one of three major contemporary candy bars that you could have bought in the 1920s. Milky Way and Hershey bar (plain or with almonds) would be the other two. But there were others, hundreds nay thousands of others, now gone and forgotten. Why did Oh Henry! survive?
The candy bar market in the 1920s was a bit like the wild west, fast and lawless, any buckeroo with a candy kettle and a wrapping machine out to make a buck. Oh Henry! soared above the competition because George Williamson knew a few things about marketing. He bought billboards, magazine ads, newspaper spots to promote his bar. He focused on the one product. And he had some pretty innovative ideas about how to expand the market for candy bars, like a booklet of 60 recipes for cooking with Oh Henry! (see my post on Oh Henry! stuffed tomatoes here). Not surprising, there were some who figured on riding the Oh Henry! coattails to grab a little piece of the candy action for themselves.
Copying was a huge problem in the candy business. The yummiest combinations were pretty well established. And if there was already a good version of, say, peanut marshmallow chocolate bar, you could understand the temptation to just try to sell your own as “almost” that other one. Candy innovation could only take you so far. Names, colors, and packaging–the stuff of trade mark and trade dress– were increasingly important, maybe even more important than the candy itself.
The success of Oh Henry! could be measured in the proliferation of copy cats. The worst offender was “Oh Johnnie,” sold by the Uncanco Candy Company of Delaware. “Oh Johnnie” looked like “Oh Henry!” and tasted (sort of ) like “Oh Henry!”, and you had to admit that there was something familiar about the name “Oh Johnnie.” But Oh Henry cost 10 cents. Oh Johnnie, on the other hand, was half the price.
George Williamson was not happy. Lawyers got involved. Williamson sued for trademark infringement, claiming Uncanco was deliberately attempting to fool people into thinking their bar had something to do with the more successful Oh Henry! The judge agreed:
Thus far the ‘Oh Johnnie’ bar had the appearance of being the same as the ‘Oh Henry!’ bar save in size, price and possible quality. They were alike as two brothers of different years. … It would be strain upon human credulity to believe that such and so many points of similarity as here found, could innocently exist. … The only plausible purpose for the similarity was to enable the smaller bar to be passed off as the product of the plaintiff.
Williamson won, and Ucanco was found guilty of trademark infringement. The lawsuit stopped Oh Johnnie. But lawsuits were an expensive, time consuming, and clumsy way to swat at the flies of candy competition in the roaring ’20s. Here comes Oh! Jiggs. And watch out, over there is Hey Eddie! Williamson didn’t give up fighting off the copy cats, but he did change tactics.
Next post: if the law fails, bludgeon them with sarcasm.
When I was growing up, my mother took me and my brother and sister to church every Sunday. And on the way home, we always stopped at the candy store. Each of us got 15 cents, and we could eat our spoils however we liked. We called it “Sunday Candy.”
Where did this tradition come from? I’ve met a few other people who had similar Sunday rituals, but not many, so I conclude this was not a wide-spread practice. My mother grew up in Illinois, and has a vague recollection of candy on Sundays. My initial theory was that Sunday penance at church was matched by Sunday indulgence in the bon bon box.
I’ve found some references to the idea of “Sunday candy” as a special treat in the early 1900s. Especially where pennies for candy might be hard to come by, a child might get candy once a week, on Sunday. Newspaper ads from the period also promote special items for the “Sunday candy feast,” suggesting that it was a frequent custom for special family Sunday dinners to conclude with candy.
But I’m also beginning to suspect that Sunday Candy, like just about every other American candy tradition, was an invention of the publicity department at the National Confectioners Association. V.L. Price began beating the drum for holiday candy promotions in the 1920s (Halloween, St. Valentine’s Day, and more). And soon, candy promoters realized that boosting candy sales on holidays was only the beginning.
In 1928, the NCA sponsored a co-operative advertising campaign with the slogan “Sweeten the Day with Candy!” Ads in major magazines like the Saturday Evening Post encouraged Americans to enjoy candy every day. And as part of this campaign, ads included the reminder: “Take Home Candy for Sunday.” Promotions along these lines, with the same slogan, had appeared locally beginning in the early 1920s; the NCA was attempting to make the Sunday Candy idea a national tradition.
Here are some illustrations of this theme that appeared in the trade publication Confectioners Journal. These might have been used as window cards in candy stores or as images for ads in local papers.
Both these designs emphasize a connection between church and candy, without specifying what that connection might actually entail. The stained glass window and angelic choir certainly lend the product an aura of sanctity. Will candy eating get you to heaven a little faster? Or is candy a bit of heaven on earth?
Notice the promotion doesn’t say “buy candy on Sunday.” “Blue laws” limiting trade on Sundays were increasingly in force in the 1920s, and so in many communities most stores were closed. The idea was that mother or father would stop at the candy store on Friday or Saturday and stock up with boxes of family favorites for Sunday.
I found reference to one shop that offered a special weekend promotion: a pound each of chocolate, hard candy and gum drops for 99 cents. A mere three pounds of candy to get the family through the weekend.
Candy for the household at the week-end, a package of candy, good candy, that can reasonably be counted upon to please the taste in candies of all the grown-ups, the children, and any possible casual visitor, just the right variety and not too much of it, yet enough and not too expensive—that has become another of the housewife’s important problems in this candy-eating age.
Anyone else remember Sunday Candy? I’d love to hear your stories!
Quote is from “A Candy Method of Loft’s Inc.” Confestioners Journal Aug 1925, p. 105.
Of all the “jazzy” candy bars from the 1920s, this one still seems the most strange. Candy and chicken seem about as far apart as you can get. What were they thinking?
Sperry Candy Company of Milwaukee WI introduced the bar in 1923 with the slogan “Candy Made Good.” Good like candy, but also good like chicken dinner. An ad to the trade explained the reasoning behind the name: “A name which suggests the best of something good to eat, and known to every child.” These children of 1923, I’d love to meet them. Sperry seemed to think that a big roast chicken was the best lure for the kiddie market.
Chicken Dinner originally sold for 10 cents, the high end of the candy piece market. Sperry described it as “an expensive, high grade candy, put up in convenient 10 cent packages.” Neither in the ads nor on the package did they say much about what was actually in the candy bar. The innovation and excitement of Chicken Dinner wasn’t nuts or nougat, it was the name.
Chicken Dinner meant quality and goodness. What it did not mean, at least not directly, was meal replacement. I’ve read in more than one account of candy during the Depression that bars like Chicken Dinner and Denver Sandwich were popular in part because they promised a kind of imaginary substitute for more expensive real meals. Now I’m beginning to doubt that story. For one, both those bars were first marketed before the Depression, so the context of empty pockets and hungry bellies doesn’t explain these names’ origins. Candy bars in this period had all kinds of outlandish names. Choosing to call your candy bar something so unlike candy, but still appealing, seems a great way to get a second look in a crowded field. But more than that: the idea that a candy bar might be contemplated as somehow equivalent to chicken or a sandwich sounds much more like our contemporary “anything goes” food culture.
I suspect a candy bar named “Pizza Dinner” today might not take off the way Chicken Dinner did. It was one of the best selling candy bars in its day, and remained on the market for some 50 years. It wasn’t just that everybody loved a good chicken dinner. And it probably didn’t have too much to do with the bar itself. It was advertising.
In the 1920s, not everyone realized that advertising was the secret to success. Candy bars that were heavily advertised from their inception would go on to bigger and bigger shares (anyone could have realized in the early 1920s that Milky Way and O, Henry! would be the ones to watch). There was no TV in those days. Radio advertising wouldn’t really catch on until the 1930s. So live interactions with the candy-buying public were the only way to get the word out.
Chicken Dinner billboards were a common sight around the land. But Sperry wasn’t just waiting around for potential customers to pass by to see the sign. In 1926, Sperry’s advertising experts came up with the idea of putting Chicken Dinner signs, and big colorful chickens, on automobiles and driving them around cities drumming up excitement. Back up was provided by teams of window trimmers, artists, and even circus clowns. Behind the scenes, Sperry was assigning advertising staff to work permanently in the field to support distribution and sales. This was a new idea; most companies sent their goods off with jobbers who made the distribution rounds in different locations and didn’t stick around to provide marketing support.
The best think about Chicken Dinner besides the name was the chicken cars, which became quite elaborate. Fleets of Chicken Dinner cars or trucks would arrive in town to deliver the candy goods. Here you can see an image from the mid 1930s; here’s a later model. What did people think the first time they saw one?
Today candy novelties are mostly cheap plastic toys, usually generic one-offs. Advertising and brand loyalty are the keys to the success of the biggest candy companies.
High-quality candy novelties were much more important in the early days of the candy industry. Success in the candy business hinged on moving quickly to introduce new kinds of candy and new novelties to catch the eye of child or adult shopper. Higher priced candy was often bought as a gift, and clever or eye catching presentations would increase a gift’s value. For children’s candies, the novelty could transform a simple candy into something much more appealing.
These candy dolls from the 1920s were manufactured by Huyler’s, a large confectioner better known for quality chocolates. Although these goods are for children, they would have been sold at higher-priced shops and department stores alongside Huyler’s chocolate goods and similar candies. Each was made by hand. These candy dolls appear primitive to the modern eye, but must have been charming and appealing to a child in the 1920s.
The first is described as a “grotesque candy doll … of a type to endear it to the hearts of children.” I think in this context “grotesque” is supposed to mean “comical,” but you can judge for yourself:
Here is Simple Simon, fashioned of candy sticks, with his chocolate pies. The book motif is cleverly carried through from the shape of the box to the hand-written rhyme, with the figures and candies playing out the theme.
In the Simple Simon package, the Huyler’s name is featured prominently. The transformation of candy box into part of a toy novelty assures that the manufacturer’s name stays in the child’s mind. The novelties are not only for children’s delight, but also to build business:
The children of today are the candy buyers of the future. [These novelties] give the manufacturer a chance to get first place in the child’s affections.
Source: Edward T. Tandy, “Place of Novelties in Merchandising,” Confectioners Journal April 1921 (Printers Ink March 1921)
With the cold and flu season bearing down on us like a cold wind from the north, it is time to take stock. Are you eating enough candy?
Today we think of sugar candy as good-tasting poison: not just tummy aches, but obesity, diabetes, heart disease, and an early grave are attributed to excessive candy indulgence. (Chocolate, with its mysterious and exotic flavonoids, appears exempt.) But well into the twentieth century, many cast enormous store in the medicinal properties of sugar candy.
Here’s a report from 1922 extolling sugar-candy as a potent remedy to cure heart weakness brought on by influenza. Dr. F. Thompson of Sunbury-on-Thames explains:
I was sent for on Sunday to see an old woman of over 80 with a pulse of 140 beats to the minute. I gave her sugar-candy at once, and next morning her pulse was down to 88.
Dr. Thompson’s success with this patient inspired him to prescribe sugar candy to all his patients. What medical results this produced we cannot know, but I suspect it led to a substantial increase in his professional popularity.
An unnamed physician at a London hospital explains the powerful effects of sugar candy on the ailing body:
Sugar-candy, and sugar generally, are wonderful heart foods, great heat producers, and easily utilized by the body. Cases in which strong heart stimulants have failed have been immensely improved by the consumption of sugar. It is a very valuable agent in post-influenza cases both for the heart and the lungs.
The miraculous curative powers of candy even inspired one man of medicine to discard his pharmacy in favor of confectionery:
A London doctor, who was cured in this way of extreme heart weakness, has given up medicine, and has taken to eating sugar.
Legal disclaimer in case you’re thinking about treating your next bout of flu with a Whitman’s Sampler: Would I advise the same? Dear me, of course not. I’m a candy professor, not a doctor! But if you’re stuck in bed anyway, a little candy might be nice…
Source: “Candy for Flu,” Confectioners Journal, April 1922, p. 100, quoting an article originally published in the London Daily Mail.
As in life, in candy. There are winners, and there are losers.
Tootsie Roll was a winner; the Stern & Saalberg Company made millions on those little chewy chocolatish nubs. But 1918, it was time for a new image. And a new product. But this one didn’t catch on in quite the same way.
For reasons I have yet to fathom, cough drops were incredibly popular in the early 1900s. Everybody seemed to be suffering from some ailment, and I suspect that all those ailments provided a handy excuse for sucking on sweet candies. Stern & Saalberg came up with their own entry into the cough drop arena: Lance Cough Drops. “Cut the Cough,” get it?
And since the field was so crowded, they poured money into marketing. These images come from an unprecedented four page color ad spread in the trade magazine Confectioners Journal. Stern & Saalberg also planned national print ads, cards for trolleys and trains, and huge window cards and displays for retailers.
With the first World War still in the air, perhaps the old world associations of the names Stern and Saalberg didn’t fit so well with the ambitions of the company. And by this time, neither Saalberg nor Stern was playing an active role in the company. So the company chose a new name, more bland to be sure, but also more definitely candy-like: The Sweets Company of America.
The name change is announced at the same time as the new cough drops, a sort of marketing double-whammy:
And what I really love is the Camelot theme, an imaginative exposition of the basic knight with lance that stands as the logo of the new candy. The artist conceived not just a few royals, but an entire court:
There is something so excessive and extravagant about all this noise around a simple cough drop. And it seems to be missing the candy trend of the day rather dramatically: what will get everybody excited in the next couple of years is not dowdy cough drops, but the new and surprising combinations of sweet and salty, chewy and smooth, chocolate and fruit and nut that will be the glorious candy bars of the 1920.
A detail: Stern & Saalberg reorganized and changed the name of the company in 1917; this ad and announcement appeared in Confectioners Journal in January 1918.
For more on the early history of Tootsie Roll and Stern & Saalberg, see my related post Tootsie Roll Tragedy: The Real Leo Hirschfeld Story.
The 1920s and 1930s were the golden era of the candy bar. War-time sugar shortages had inspired candy makers to stuff all kinds of “fillers” into candy form to keep prices lower and supplies up; the resulting innovations were the earliest forms of our modern candy bars of nuts, nougats, grains, caramel, coconut and the like. (See my post on Candy Bar Fillers.)
The earliest of the bars that began to appear in 1919 and 1920 were fantastic confections, to be sure. But candy makers seemed to be putting all their creativity into the candy. Modern marketing gimmicks were just a glimmer on the horizon.
Many of the bars of 1920 were marketed with names that were descriptive, but uninspiring. Planters Nut Co. (yes, the same) brought out the Chocolate Nut Bar and the Chocolate Peanut Mound, which as you can see were just what they said they were. D. Auerbach and Sons of New York offered an array of bars including Auerbach Chocolate Marshmallow, Auerbach Chocolate Pineapple Fruit, Auerbach Chocolate Cocoanut Cream. The Ideal Chocolate Company offered its Ideal Sweet Milk Chocolate with Toasted Almond Bar. Honest names, to be sure. You would certainly know what to expect from one of these.
Others had more fanciful names that still suggested what sort of candy you might find in your mouth. The Cluster Cake, the Jelly Bun, Cocotene, Peanut Goodies, Tropical Nut and Fruit Cake, and Mapeline Walnut Cream bar were available from the C.S. Ball Candy Co. of Dayton, Ohio.
But a few candy bars were beginning to move in a more fanciful direction. Names like Mason’s Peaks, a chocolate coated coconut bar, didn’t so much describe a candy were named in a way that didn’t so much describe the candy as describe an experience. Such candy would rely much more heavily on advertising to make the connection between the idea and the confection.
When I’m mining the candy archive, I often hit on these long-gone candies that exist only in their advertising. And in many cases, all that we can know is the name. What was a Sambo bar like? or a Ouija bar? Both of these were on offer from the Euclid Candy Co. of Dayton, Ohio, but the ads focus on the names and not what is inside the wrapper.
What strikes me when I look at these earliest efforts to attach names and ideas to candy bars is the wide range of possibilities that are evoked by the names. Candy can be anything! And you can be anything when you’re eating candy.
My favorite from this period is the Feasto Bar, “a luscious combination of chocolate, peanuts, marshmallow, and caramel”: Introduced in May 1920, Feasto is the first bar that I found that refers to the act of eating the bar in its own name. And the rotund figure at the bottom suggests, perhaps, the amplitude of satisfaction one will experience after a feast of Feasto.
Source: Advertising appeared in Confectioners Journal 1920, various issues.
In 1921, Congress held hearings to deliberate the removal of a 5 percent “excise tax” levied on candy manufacturers in the wake of increased national war expenses. The National Confectioners Association, representing some 75 percent of the nations’ candy manufacturers, sent Hubert Fuller as their representative to argue against the special tax and explain why candy, among all the goods which had fallen under the new taxes, should be exempted. Fuller was an attorney, not a candy maker, and his testimony shows skill in the legal arts of dodge and spin. But his pleadings also provide an intriguing glimpse into the state of candy during the first World War and just after.
When the Congressmen thought of candy, it seemed they were thinking of the kinds of candy they were likely to buy for the missus: a nice box of hand-dipped chocolates, selected from a fancy department store candy counter and selling for a dollar or more per pound. These luxury goods seemed fair game for raising extra revenue.
But Mr. Fuller meant to portray the candy business as primarily a business of cheap goods and slim profits. He pointed out that more than 80 percent of the candies produced in the country were “penny” candies and 5 or 10 cent items. You would find these cheaper candy goods in neighborhood shops, in general stores, in “5 and 10 cent” shops. But these stores would not only be selling candy. They had many offerings to entice the pennies and nickels and dimes. And so was it fair, Mr. Fuller demanded, that candy should be taxed, while the rest of the penny universe was not?
Mr. Fuller described the many dazzling alternatives to candy that you might also find at the candy shop. There were other delicacies like cookies, fancy crackers, raisins, stuffed dates, salted nuts. There were toys like marbles, tops, balloons, “squawkers,” paints and crayons [if you know what a squawker is, please tell!]. If none of these were to be taxed, then surely the discriminating customer would gravitate toward the better values for his or her precious pennies and nickles.
The tax on candy manufacture also seemed to unfairly single out confectioners, even when bakers were making sweets that seemed awfully close to candy. The chocolate coated marshmallow on a cheap cookie that was made in a bakery, for example, would not be taxed as candy (something like today’s Mallomars). A Denver candy manufacturer sent a letter to Congress describing a local bakery selling these at 5 cents, in direct competition with the 5 cent candy bars that he was manufacturing. But where the candy maker would give over 5 percent as tax, the baker would pocket that same 5 percent as profit. The Denver candy man imagined a grim future: “they can easily put the candy factories out of business so far as the 5 and 10 cent bars are concerned.”
Today many states are expanding their sales tax to include candy, but exclude “food.” If it has flour, it’s still considered food, even if it looks and tastes like candy. When we look back at this tax testimony from 1921, we can see that even then it was a widely accepted idea that “baked goods” were different from candy in some essential way, and therefore not taxed for extra revenue. But we can also see that the line between “candy” and “baked good” could be quite tenuous.
My favorite moment in the testimony comes when Mr. Fuller explains why children in particular will not stand for the increase in the cost of candy that will come about as a result of the excise tax:
I wish, gentlemen, we could take a child into a store in your presence and give that child a nickel and you could see the child consume half an hour or an hour of the time of the proprietor of that store shopping. Gentlemen, the child is the champion shopper of the country, and he will determine then whether he is getting a penny’s worth or a nickel’s worth or a dime’s worth of candy, or whether he is going to go out and buy something that is not paying any of these taxes, such as the tops or the squawkers or the marbles or these other things.
The child is the champion shopper of the country! Now that is something.
Here at Candy Professor, we are finding that candy explains everything. So now let’s explain the sorry state of American household finances today from the candy perspective.
Since the 1980s, children have been deprived of the chance to wander into a store with a fist full of their own money and figure out if the nickel candy really is a nickel’s worth of candy. So when they grow up, they don’t know a nickel’s worth.
If you’ve never properly shopped for candy, how can you possibly be expected to shop for an exotic adjustable balloon sub-prime mortgage?
Source: Hearings on Internal-Revenue Revision before the Committee on Ways and Means, U.S. House of Representatives, July 26-29 1921. Candy and Confectionery, testimony of Hubert B. Fuller, representing the National Confectioners’ Association
I’m looking forward to a Candy Professor night on the town: Jeri Quinzio, the author of the award-winning book Of Sugar and Snow: A History of Ice Cream Making, is lecturing and hosting an ice cream tasting here in New York City.
Ice cream and candy have been happy fellow travelers throughout history. Although candy making and ice cream making required different sorts of skills and equipment, they tended to operate in close proximity. The venerable Confectioners Journal, which began publishing in 1874, included ice cream making and fountain recipes until the 1940s. The Chicago area trade journal published in the first decades of the twentieth century was called Candy and Ice Cream. These days the only candy you’ll find at Baskin Robbins or Cold Stone Creamery is mixed into the ice cream. But when I was a kid, the ice cream parlor and the candy shop were usually one and the same.
Until fairly recently, the term “confection” referred both to frozen sweets like ice cream and non-frozen sweets like candy. Check out the wrapper on your Popsicle next time you flag down the ice cream truck. It says on the side that it is a “quiescently frozen confection.” That means it doesn’t get shaken around as they freeze it, and that it is in the same culinary category as candy and Cracker Jacks.
My research focuses on candy, so I was pretty happy to pick up a copy of Quinzio’s Of Sugar and Snow, which fills in the ice cream side. Her book is filled with all sorts of delightful ice cream stories. My favorite is one about the collision of candy and ice cream, perhaps for the first time: the story of the Eskimo Pie.
According to the story, Eskimo Pies were the brain child of a fellow in Iowa, Christian K. Nelson, who taught high school and ran an ice cream parlor on the side. One day a kid came into the store with a nickel and a dilemma. He wanted ice cream. He wanted a chocolate bar. But he only had enough money for one or the other, and he just couldn’t make up his mind. I’m sure we all can sympathize.
In any event, we don’t know what Nelson did on that particular day in 1919. Maybe he chipped in another nickel of his own. Maybe he broke the chocolate bar in half. Maybe he sent the kid packing. But he went home that night with an idea.
Nelson experimented over the next few months with different combinations of ice cream and chocolate until he hit on the right formula for a chocolate-coated bar of ice cream. He called it the “Temptation I-Scream Bar.” The Bar was a reasonable success. But things really took off after Nelson met Russell Stover, who was working at that time with an Omaha ice cream company. They decided to go into business together. They changed the name to “Eskimo Pie,” and started selling the bar for 10 cents. The bar was a big hit (although I note that the kid with the nickel was still out of luck). Nelson and Stover were so successful that they started licensing the rights to local ice cream manufacturers. Quinzio tells us that “by the spring of 1922 they had twenty-seven hundred licensees and were selling a million Eskimo Pies a day.” That’s a lot of ice cream!
I had noticed advertising in the 1922 trade journals for chocolate coatings to make “Eskimo Pies,” and Quinzio’s story of their manufacture explains why. Nelson patented his chocolate coated ice cream bars, and the manufacturing license was for the process and the brand name “Eskimo Pie.” That meant that ice cream companies who wanted to make Eskimo Pies would buy their own ingredients and chocolate coatings.
H.O. Wilbur and Sons was one of the contenders for the Eskimo Pie supply market. Their ad gives you an idea of what an ice cream bar looked like in 1922. Also it’s interesting to notice the igloos, polar bears and “eskimos.” Famous expiditions to the Arctic regions in the early 1900s had made Americans were fascinated with all things “eskimo.”
Unfortunately, Nelson and Stover ran into legal troubles that drained their finances, and their business broke up in 1922. But two things came out of us that we still enjoy today: Eskimo Pies and their myriad offspring, and Russell Stover Candies. Yes, it’s the same Russell Stover. He left his ice cream past behind and went on to found one of the most recognized brands of American candies.
Source: The story of Eskimo Pies is told in Jeri Quinzio, Of Sugar and Snow: A History of Ice Cream Making (University of California Press, 2009), 173-174. Wilbur ad from Confectioners Journal March 1922.