Antique 1920s Chicago TICKET BOOTH BOX OFFICE COUNTER ➕ 5 WINDOWS ➕ 2 DRAWERS

When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.

Antique 1920s Chicago TICKET BOOTH BOX OFFICE COUNTER ➕ 5 WINDOWS ➕ 2 DRAWERS:
$5200.00

LIMITED TIME! FREE SHIPPING SALE!

Please Note: This seller has only 1 available ANTIQUE CHICAGO MOVIE THEATER CINEMA TICKET BOOTH BOX OFFICE. This is a very rare, extremely special, one-of-a-kind piece of 1920s Art Deco furniture. One is all you'll ever find, especially in mint-like condition. However, since this item lends itself to multiple categories, you may discover duplicate listings.

Approximate Dimensions (also included in the photos):

✔️75.5" High

✔️59" Long

✔️23.5" Wide

Very rare, extremely well preserved, and absolutely stunning antique ticket booth.

This is absolutely a statement piece, the biggest and best kind. You will not find another piece like it. In fact, you probably won't find another antique American cinema ticket booth, period - at least not one of this age, this caliber, this size, and with the assortment of bells and whistles that make this piece so fine and fulfilling. What an opportunity it presents.

The ticket booth had the best of beginnings. Chicago, Circa 1920. The Roaring Twenties in the Windy City.

It stands proud with 5 large, clear, front-facing windows, 2 of which open and close manually in the style of traditional double-hung windows. All panes consist of clear plexiglass, or an equivalent type material. Brass recessed window hardware is located on the bottom sash of each movable window.

White Milk Glass Panels add an elegant twist to the front of the booth, along with lending a distinctive and sophisticated color contrast with the black wood surround.

A customer counter (ledge style) protrudes out from the front of the booth. An open window above the ledge, at the center front, allows for the transfer of money, tickets, and other goods. On the other side of the opening, an employee counter offers plentiful work space inside the booth.

Wainscoting (vertical bead board) lines the three walls underneath the counter. It is a simple detail with a decorative flair.

Two drawers are integrated into the backside of the counter. One drawer contains a cash/coin insert rack for organizing the moneys collected. The other drawer provides pure open storage space. Both drawer fronts are adorned with ornate antique brass drawer pulls. The pulls themselves are gorgeous. The hardware, in addition to being practical, further cements the head-to-toe quality craftmanship at the core of this booth's construction.

The booth has been professionally refinished in a neutral matte black. The black finish is a statement within a statement. Bold and smooth. Dark and elegant. Dramatic and soothing. A soft black perfectly played against milk white glass and a row of clear windows. It is the perfect black, the perfect texture, the perfect finish to bring the booth into a new era, shine a spotlight on the best of 1920s American cinematic beauty in this moment, in this day and age, in America 2026.

In the context of American history, this booth would have been used inside a theater or event venue to sell tickets, collect tickets, and/or provide customer service. Movies were a new and exciting pastime in the '20s, taking their place alongside live theater, and Chicago was in full swing mode on the entertainment front. This ticket booth with windows, counters, and cash drawers would have been a staple at the cinema, theater, or other entertainment institution to which it belonged. As they say, there's no business like show business, and this booth is a tangible testament.

No maker's marks or manufacturing labels exist. Still, this ticket booth comes with a rich oral history, passed down to us when we purchased it a decade ago, and which we now pass down to you. We know it was used in Chicago, in or around the 1920s, and was an inside piece of interactive furniture. For some years, it was used by the Chicago Park District for various ticketed and/or paid events. We know it connected to a larger unit on either side, possibly in the form of walls or doors, by which the booth was sealed off from public access. We know the 2 drawers behind the counter had locks installed - the drilled borings are still there - but at some point the locking mechanisms were removed and replaced with drawer pulls (also original antiques). We know, too, that the original window glass was replaced at some point with plexiglass (or a similar material). We know that the booth was stabilized and secured, most likely in the early days of heavy usage, with metal bracing strips running along the bottom of the under-counter wainscotting. We know the booth was originally a dark stained wood, most likely oak. We know that this booth was well maintained even as it was well used for over a century. Well used because of the many notes scrawled on the walls, numbers jotted down in the drawers and under the counter, and the literally one-thousand pieces of tape that were adhered to almost every inch of every surface, tape which would have held notes, posters, announcements, instructions - name it. Well maintained because, structurally and aesthetically, the piece is solid, completely intact, and breathtakingly beautiful. This is an unusual find to begin with, made even more unusual by virtue of the fantastic condition in which we acquired it and - as a result of our advanced restorative efforts - the pristine condition in which we now offer it up to a new owner. Immaculate, incredibly rare, and an inspiration to all who love history, entertainment, the movies, American cinematic treasures, and one-of-a-kind antique furniture. If you're looking for a blast from the past that presents itself once in a lifetime - if you're lucky - and ends up becoming the heartbeat of your home movie theatre or an unforgettable reception area for your business, I assure you that THIS booth is that blast from the past, the once-in-a-lifetime chance is now, and your perfect place - whether at home or on the job - is waiting.

Being a 1920s relic that has been thoroughly used - though not at all abused - there are several issues that bear mentioning in the interest of full transparency. I am listing every possible flaw, even the most minor, so as to be thorough. However, none of these flaws are deal breakers. They are all the result of normal wear and tear for a piece that is over one-hundred years old. None of them impact functionality, sturdiness, structure, overall integrity, or the amazing appearance of the piece. Still, I state them in full, for the record. Please refer to the pictures for a visual of this written description.

First, the black matte finish is not original. As explained above, it is part of the renovation that we performed. It brings the dark, worn-out, grainy-looking wood tone that we inherited back to vibrant life. It enhances the smooth, sophisticated aesthetic. It highlights the white milk glass and clear window panes with soft contrast. It is a timeless finish, a forever look, and it breathes precious new life into a tired old piece. The change in appearance is a major upgrade.

As already disclosed, the clear panes are also not original. We imagine that the original panes were a thick, wavy glass - commonplace for that time period. At some point in the history of the booth - perhaps in the 1940s - the glass was replaced with plexiglass or an equivalent type material. There are some small smudges and scratches on the panes, but nothing major. Perhaps the largest scratch, or most noticeable, is on the front right pane (when you face the front of the booth). None of the scratches impact the functionality of the glass, the clarity of the glass, or the aesthetic of the glass. As damage goes, this is normal wear and tear and does not command your attention or make a difference in the overall look. I mention it for the purposes of full disclosure.

Two of the windows can be raised and lowered - the window to the far right, and the window to the far left. Facing the front of the booth, the window to the far right moves smoothly in the track and also stays raised by virtue of its own traction. On the other hand, the window to the far left (when facing the booth) is a bit loose in the track and does not stay raised without a prop or human assistance. In the pictures, you can make out fingers grasping the bottom sash of this window. They are holding the window open for picture-taking purposes. A stopper or block could be inserted to hold the window up for longer or more permanent stretches of time.

The vertical sides at either end of the ticket booth, forming each end point in terms of width, differ somewhat in structure. The rightmost end (when facing the front) has pockets, or indents, carved into the wood that clearly aligned with another structure and "locked" that side into place. It was cleanly detached and the slots remain as they were. On the left end (facing the booth), there are no slots or formed compartments for the edge to lock into another piece. This side looks to have been more roughly removed from whatever it was previously attached to. It does not draw your attention, but if you study each end and compare the two configurations, you will identify the difference and note, as we did, that one was cleanly detached via slots and the other was more a rip job. Still, the end that didn't fare so well in the separation is completely intact with only scattered areas on the vertical run showing evidence of uneven or slightly compromised wood lines.

The inequity follows suit for the two side wings that extend off the main front wall of the booth. The leftmost bottom panel has a slightly different formative structure than the right. These differences, again, are not noticeable unless you start studying the exact build, little piece by little piece. Or, you might notice discrepancies if you pull out a tape measure and start comparing figures between the left bottom and the right bottom. Fundamentally, this is how the booth was created. Given that it was part of a larger unit, and considering that we do not have remnants of the other parts and pieces, we can only assume that the configuration lent itself to the fully assembled, closed-off unit. Similar to an antique general store counter that might be constructed differently on one end as versus the other due to differences in the adjacent attachments, this ticket booth was designed to nest into other sections. The result is the variance in the engineering of the wings. Nothing noticeable, unless - as already pointed out - you start doing detailed direct comparisons of the build and/or compare corresponding measurements.

Next, the bottommost section of the wood frame, extending from underneath the White Milk Glass panels featured on the front of the booth to the floor, houses several cracks. These have mostly formed vertically in the corners and at the turns in the walls. They do not extend up very high. They do not pervade both sides of the booth, remaining limited to the front side only. They do not weaken or otherwise impede the structure and stability of the booth. You can only see them, in my experience, if you get down on the floor with a light and look for them. Basically, they are innocent and innocuous cracks in the wood, but since they are there, I speak of them and have included a couple sample pictures, as well.

The bottom of the wainscotting (vertical bead board) inside the booth does not present with any cracks. However, it is equipped with a metal strip running along the bottom perimeter of the 3 under-counter walls inside the booth. When exactly this metal strip was attached is unknown. We assume earlier in the life of the booth, rather than later, due to the successful preservation of the solid structure. The bracing is in great condition and the base feels secure and well supported. So, whenever this system was put into place, it proved sustainable, and continues to be. It also looks like a natural, intrinsic part of the package, and draws no special attention. If we hadn't analyzed the construction, we would never have even thought about it being a later addition.

Although the drawer fronts are in great condition, the insides of both drawers show significant wear and tear. The drawer to the right (when you are standing inside the booth) holds the coin/change money insert rack. On this drawer, the bottom and side are separating on the rightmost front corner. Once again, this does not impact the function or integrity of the drawer. It maintains its strength and structure regardless of the damage. There is also an opening cut into the back of the floor of the same drawer. We do not know the reason this incision was made, but it is far back, covered by the coin insert, and easy to disregard. It doesn't hamper use of the drawer, unless a small enough object is place in the backmost part and happens to roll or slide into the opening. Generally, you would want to store items on the floor of the drawer that aren't sized so as to fall through. That is the biggest impediment introduced by the mystery cutout. The drawer itself is in obvious used condition. The wood stain on the change bowls has been worn off in many places, the drawer box wood is rough and the recipient of somebody's handwritten numbers. Same with the leftmost drawer. The wood is clearly well used and worn away in some spots, and there are numbers (and quite possibly other writing) scattered about.

All of these "flaws" are actually the bonus to owning a heavily used, socially and culturally significant, antique piece of furniture. In this case, you obtain a virtual portal into Early 20th Century American Cinema. Truly, this ticket booth is much more than the wood and glass from which it is built. The booth is an everyday reminder that in a different time, a different place, a different world, this barrier was a doorway to adventure, laughter, tears, romance, and danger. It was an entry point into any and every human experience. It still is an entry point - for you, for your family, for your home, for your business. From 1920s Chicago to today, I offer you a timeless piece with a glorious past and the potential for a fantastic future with a new Notes from Seller:

STORAGE & PRESERVATION: A STRONG BEGINNING. All items are stored in a smoke and substance free, exceptionally clean home. I am extremely conscientious about protecting and preserving items while they wait for a buyer. All items are appropriately wrapped and held in a safe space. You are getting an item that has been well cared for during its time on .

PACKAGING FOR SAFE TRANSIT: THE JOURNEY MATTERS. Very simply, it is my job to make sure that whatever you have purchased gets to you safely. I take the packaging process very seriously. Never have any of my shipments incurred damage in transit.

PHOTOS AND QUESTIONS: HELP ME TO HELP YOU. Photos are considered part of every description. I try to show all details in the photos. Please review them carefully. Please also know that I have made every effort to provide an accurate representation of the products for sale in my store, from the Specifics to the Description to the Photos. However, depending on the type of device you use to access , along with your device settings and configuration, your screen may not reflect the product's true colors or appearance. Please adjust your expectations to account for such variations. When shopping online, dealing with discrepancies is the nature of the beast. That said, please do not hesitate to ask questions prior to buying. I want you to be happy with your purchase. If you have any concerns or need specific clarifications, please contact me via the Ask Seller A Question link, and I will respond as soon as possible.

POSITIVE response: THE PERFECT ENDING. I value my solid reputation and I am sure that you do also. When you receive your item, if you are happy with your purchase, please leave positive response. At that point, I will know the item arrived in stellar condition and that you are satisfied, and then I will also leave you positive response. If, for any reason, you are unhappy, please contact me BEFORE leaving neutral or negative response and I will work with you to resolve the matter. While I do not accept returns (in general, all purchases are considered final at the time of sale; I do not offer refunds or exchanges for change of mind, incorrect sizing, or buyer's remorse), I will make it my mission to carefully consider what else can be done to make sure you are a satisfied customer.

In advance, thank you very much for entrusting me with your purchase.