Herald-Leader Article

Sign company owner paints nostalgia as reminders of favorite past haunts

By: Tom Eblen|Herald-Leader Staff Writer
August 4, 2013



John Cox’s artwork is a shot of nostalgia for anyone who lived in Lexington or followed Thoroughbred racing during the decades after World War II. His paintings are literally signs of the times, recalling the famous and infamous.

Cox’s hand-painted signs look as though they spent decades at such places as Joyland Park, Stoll Field, Scott’s Rollarena, Comer’s Restaurant or Keeneland.

Remember the Library Lounge, that swinging singles bar in the 1970s? Or the Red Lion Lounge, which featured the “exotic” dancer Chesty Morgan? And don’t forget Boot’s Bar, where headliners included the Fabulous Table Toppers and Carlos Toadvine, aka Little Enis, the left-handed, upside down, backwards guitar player.

Library Lounge

Longtime racing fans may recall the Citation Room at Hialeah Park in Florida, the Boots & Saddle Bar across the street from the track or Greentree Stable, Payne Whitney’s New Jersey farm that was a Thoroughbred powerhouse in the 1920s.


“I had had several people who asked me to make them a sign that looked like it was old, from some memory they had,” said Cox, who since 1982 has owned and operated Thoroughgraphics, a Lexington sign company.

Cox was soon making “new old” signs for gifts. Since late last year, he has been showing and selling his pieces at Gallery Hop. His work is now on display at Congleton Lumber Co.’s new showroom, 1260 Industry Road, and at his website, Newoldsigns.com.

Cox left last week for Saratoga Springs, N.Y., where Saratoga Race Course is celebrating its 150th year. His company will be making modern signs for its many customers there, and he has made some “new old” Saratoga-themed signs for sale through Lexington’s Cross Gate Gallery.

“It’s a unique niche,” said Cox, 54, who began his career hand-lettering signs for Johnson Sign Co. in the 1970s while a student at Lafayette High School.

Cox had always been interested in calligraphy, and he studied art at the University of Kentucky. Because many of his fraternity brothers were in the horse business, he focused on that industry. His customers now include farms, tracks and the National Museum of Racing and Hall of Fame at Saratoga. He just finished making metal plaques for the newest group of Hall of Fame inductees.

Other than Cox’s artwork, little hand-painting is still done at Thoroughgraphics, which has a lot of modern technology for making all kinds of signs, from huge printers to computer-controlled wood routers.

“There are lots of different ways that are better and longer-lasting now than painting signs,” Cox said, adding that “when they took the lead out of paint, it didn’t last as long or hold its color very well.”

That technology would make it easy to reproduce old-fashioned sign images. But that wouldn’t be the same as what Cox does. His hand-painted letters show brush strokes, and he makes each piece look old and authentic with creative use of sandpaper, varnish and sometimes even a little dirt.

“I don’t try to pass them off as being old,” he said. “If you look at the back of them, you can see they’re brand-new materials.”

Cox said his signs are a mixture of authenticity and imagination. He researches a place, looking for photographs of old signs there. If he finds a design he likes, he copies it. Or he may use imagery from old promotional materials, such as matchbook covers.


For other signs, Cox simply makes up a design appropriate to the era — how he would have done the job, if only he had been around then to do it. Most of his pieces are inspired by signs from the 1940s through the 1960s.

Cox has collected more than 100 antique signs that cover the walls of his workshops at Thoroughgraphics. There has been a resurgence in public interest in old signs. There is even an American Sign Museum in Cincinnati.

Most of Cox’s “new old” signs sell for $200 to $400, although he is asking $2,000 for a large Keeneland sign painted with gold leaf.

Cox said he has enjoyed showing his work, because people come up and tell him great stories about their memories of the places depicted in his signs.

“It’s a great creative outlet for me,” he said. “And people seem to really enjoy them.”

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