Posts Tagged ‘antique furniture sideboard art nouvea’

MODERNISM
ITALY
MODERNISM IN ARCHITECTURE and
furniture design first emerged in Italy in 1926 under the banner o I Razionalismo, or Rationalism. Most prominent among the Rationalists, all of whom espoused a functional, pared-down approach to architecture and design, was Gruppo 7, a collective that included Luigi Figini, Gino Pollini, and Giuseppe Terragni.
Mussolini’s government, whose rise to power coincided with the emergence of the Rationalists, initially embraced the nascent design style. Gruppo Ts
advocacy of industrial progress, clean living, and moral reform appeared to [it well with the Fascists’ own ideals. Indeed, such was the relationship between the Rationalists and the Fascists that in 1934 Giuseppe Terragni completed both the building and the fittings for the Fascist headquarters in Como, near Milan. Needless to say, the architecture was unremittingly stark, with equally uncompromising furniture. Employing primarily tubular steel, Terragni
produced a range of tables and chairs that owed much to Marcel Breuer’s work at the Bauhaus, although the furniture was more expressive in its lines than Breuer’s deliberately
anonymous-looking pieces.
THE USE OF TUBULAR STEEL Italian designers would have seen the tubular-steel designs developed in Germany at the regular Triennial exhibitions, held for the first time in Monza in 1923. Ten years later, the
exhibitions were moved to Milan under the title of International Triennial of Decorative and Modern Industrial Art. The Triennials showcased the latest developments in design from Italy and across Europe. The idea of using tubular steel, which Italian designers first saw in 1930, struck a chord, as Italy was, in the interwar years, suffering a severe wood shortage. Mussolini’s hard-line approach to rule had seen the country fall from favour with more liberal governments across the world, and Italy was suffering under sanctions. As a result, tubular-steel designs by the likes of Terragni, Piero Bottom, and Gabriele Mucchi were developed during these years, although they rarely met with popular success. Designed as prototypes for mass production, many designs of the era were only produced in significant numbers much later.
The Rationalists eventually fell out with the Fascists after Mussolini deemed their approach “too
international”; Mussolini opted to support the Neoclassical style of the Novecento group. But where Hitler hounded all Modernist architects and designers from Germany, Mussolini took a far more lenient view. Indeed, the 1930s and 40s was a time in
which many of Italy’s most celebrated manufacturers and designers got their start. The likes of Cassina and Fontana Arte were not to gain until the 1950s, but they put down roots in
the interwar period. Although the years 1925-45 were not the most distinguished in Italy’s remarkable design history, they certainly paved the way for much of what was to come.
Detail of leather straps
Tubular-steel frame
The lounge chair The Modernist era saw many pieces made for sanitoriums. The lounge chair was a favourite, with versions made that could be easily moved from inside to outside or
transformed from a seat to a day bed.
The chair’s frame is made from laminated beechwood. On each side, the arm and legs are one continuous loop of wood; joined beneath the seat by a cross-stretcher. The seat has a beech frarne with a woven cane seat and back. Designed by Giuseppe Pagano. 1938. H:71crr? (271,m), W.61clo (,?4il?): D:68cm (26,Xin).
TELEPHONE STAND
OCCASIONAL TABLE
The most striking feature of this side, or occasional, table is its thick plate-glass top, which has a bevelled edge. The circular glass table top collects light like a lens, producing a brilliant reflection below. The table top rests on a walnut support from which emerge four splayed legs, that taper sharply towards the bottom. The legs are made of lacquered walnut. Designed by Pietro Chiesa, the table was manufactured by Fontana Arte. c.1950. H:48.25cm
09in): D:66clo (26in).
This occasional-table-cum-telephone-stand was designed by G. Levi Montalcini and Giuseppe Pagano. It has a chrome-plated, tubular-steel frame. Two circular, black-laminate shelves sit at the top of the stand and are cantilevered over the base. 1932, re-issued by Zanotta In 2004. H:80cm OIAW; W.37.5cm (14A17). ZAN
COMACINA DESK
This writing desk has a simple, tubular-steel frame. The rectangular, white-laminate top offers a plain work surface; a storage unit with four drawers is below, to the right. Designed by Piero Bottoni in 1930; this example was re-issued by Zanotta in 2004. H:75cm (291in); W.130crn (511n); D:65cm (251in). ZAN
FOLLIA CHAIR
The cylindrical headrest is strapped to the chair o minimize bulk.
LOUNGE CHAIR
Made from tubular steel and slung fabric, this innovative piece can be used as a chair or a chaise longue, depending on which end it stands (see above). Designed by Battista and Gino Guidici. 1935. F1:98cm (38in); L113cm (451n); W.49crn
WKA
The black-painted, rectilinear wooden seat and back of this Giuseppe Terragni chair are connected by chrome-plated spring supports.
1934, re-issued by Zmoh’t in 2004. 1 I:Wcm (311,in); W.50cm (191in); D:60cm (931,si). ZAN
The armrest padding is kept to a bare minimum so as not to disturb the clean lines of the chair
Tubular steel is used to form the chair’s frame.
Simple, black upholstery covers the mattress on the footrest.
The chair’s seat appears suspended, giving it a sense of weightlessness.
Cushioning on the ottoman is strapped to the tubular steel base, accentuating the contrast of natural and synthetic materials.
GENNI LOUNGE CHAIR
This lounge chair’s seat sits within a tubular-steel frame and is adjustable, having two positions. The upholstered mattress and headrest match the black elbow rests. The footstool echoes the chair’s rectangular frame. It was re-issued by Tecta in 2004. H:82cm (321′irl) (Max); W.41cin (161n); D:109cm (43in). Footstool: f-1:41cirt (161n); W.45cin (171in); D:55cm (211in).

The French Revolution in 1789 brought a temporary halt to the output of precious jewels in the country which had until then been the leading producer. Ostentatious adornment was felt to conflict with the revolutionary principles of egalitarism. Moreover, the abolition of the traditional guild system, which in the past had ensured a high standard by regulating the terms of apprenticeship, led to a rapid decline in quality. And finally there was a lack of patronage and a scarcity of precious metals and gemstones. Many French aristocrats, the traditional patrons of French jewellers, fled the country, taking their valuables to sell abroad as a means of livelihood. French jewellers were therefore deprived both of old jewels with gems and precious metals for re-setting and of new imported bullion and gemstones. It was during this time of upheaval that the prized French crown jewels were stolen.
From the French Revolution to Waterloo
Not surprisingly, earrings created at this time reflect the impoverishment of design and production; only inexpensive examples of low artistic value based on Revolutionary motifs are to be found. One design used glass and debris from the demolished Bastille. Another commonly known as boucle dorellleii la guillotine, and favoured in Nantes rather than Paris, consisted of a small guillotine surmounted by a red cap, with a pendant below in the form of a decapitated crowned head.
Fine jewellery staged a gradual comeback during the years of the Directory (1795-99); France began to recover its leadership in the field; new motifs and designs were developed, remaining in favour until the early 19th century.
The new earrings, in line with the general interest in classicism, were designed to complement the ‘A la Grecque’ hairstyles and the fashion for flimsy white dresses inspired by Classical goddesses. (Indeed, the passion for pale, flimsy chemise-dresses with drapery clinging to the body was so great that some ladies even wore their clothes wet to enhance the effect. As a consequence there was an increase in deaths from pneu-
P. 90, 91 monia.) Fashionable earrings of the period were usually large and geometrical, with the emphasis on flat linearity rather than volume. Although quite large, they were usually very light; gold was still scarce and earrings would be cut out of thin sheets, frequently of low carat gold; enamel often took the place of gemstones. Once again, this tendency can be explained partly by the general scarcity of stones on the market, partly by a desire to create earrings which would complement the face without overpowering it with an excess of jewels.
Between 1790 and 1810 two main types can be distinguished. The first is known as the poissarde, so called because it was originally worn by fishwives (poissardes) in the market of Les Halles in Paris. It is characterized by a hinged fitting at the back, either semicircular or S-shaped, running from bottom to top, where it fastens to the front section of the earring. The front is usually in the form of a flat panel or half-A pair of poissarde earrings set with citrines, early 19th century, front and side view. Note the S-shaped hinged fitting running from top to 5()ttom.
hoop decorated with enamel, often pierced and set with a few imitation or semiprecious stones. The second type is a long pendent earring with a combination of flat and extremely thin gold elements linked to each other by means of fine chains. As with the poissardes they are hardly ever set with precious stones but are decorated with polychrome enamel, pierced gold and filigree. One example incorporates marquise-shaped surmounts decorated respectively with grisaille miniature portraits of man and wife in profile on a light blue enamel ground. A double chain connects the surmount with a central element decorated with sentimental imagery: a dove above a pair of red enamel flaming hearts, followed by the inscription Fidel in a garland of blue forget-me-nots and red leaves. Though typical of early i 9th-century earrings, and probably French, to judge from the inscription, the sentimental imagery is an unusual feature. Earrings, unlike other forms of jewellery, are normally purely decorative and hardly ever display the explicitly sentimental motifs which are often found on rings — the traditional symbol of love and eternal union, and a normal betrothal gift since Antiquity.
Earrings of these two types were worn throughout Europe, not only in France. Maria de la Concepcion Rodriguez de Caspe, a lady from Granada, for example, was painted by Jose Gil in 18 16 wearing earrings that have two circular elements each set with a red unfaceted stone, probably coral, connected by fine chains. Once again the typical linearity, lack of volume and absence of precious gemstones are noticeable. Similar examples were also extensively produced in Sicily and in Northern Italy; some measure over 8 cms in length and still remain light, being made of thin 18 carat gold sheets and weighing on average 7 grams. Northern Italian earrings display some distinctive features, in particular a plaque stamped out of a thin circular, oval or rectangular sheet of gold. This is decorated at the centre in relief to simulate a cameo, with the profile of a warrior from Classical mythology. Classical martial imagery, such as Mars and Bellona, both war-deities, were popular subjects during Napoleon’s campaigns in Northern Italy of 1796-97. The borders, however, present a characteristic form of decoration with small hollow hemispherical motifs imitating beaded wirework, filigree, palmette and flowerhead motifs.
The coronation of Napoleon in 1804 and the creation of a grand Imperial court prompted demand for extremely important jewels. The overall design of earrings remained unchanged, but gold and enamel were replaced by precious stones, dia-
P. go monds being again in favour. This can clearly be seen in a pair of diamond pendent earrings, where the general design continues to be long and linear, but fine connecting chains, typical of the earlier gold earrings, have been replaced by a grand chain of brilliant-cut diamonds.
Until the closing years of the i 8th century gemstones had always been mounted in closed settings which did not allow light to pass from behind through the stone. This technique enabled the jewellers to match, modify and intensify the tint of coloured gemstones by placing coloured foils behind the stone, but this greatly reduced the sparkle and brilliance of diamonds. Towards i 80o jewellers, realizing the importance of light for the glitter of diamonds, started to claw- or collet-set them in open mounts, although smaller and rose-cut diamonds and coloured stones continued to be mounted in closed settings. Many pendent earrings of this time are transitional in type, with a large diamond, usually the centre stone, mounted in an open setting and smaller stones, generally in the border, in closed setting.
By the early i 9th century, French supremacy in jewellery design had been reestablished. This was largely due to Napoleon’s enthusiasm for the development of French arts and technology. He regarded the luxury of his court as an aspect of national prestige, not mere frivolity. This led to an immense number of commissions for jewellery, which was then distributed throughout Europe as diplomatic gifts.
It is at this time that complete sets of matching jewels known as parures begin to be worn. They consisted of a necklace, bracelets, a pair of pendent earrings and frequently also a tiara. Amidst such an abundance of gemstones, earrings continued to be simple, the favourites being long pearl or diamond pendeloques on small surmounts; they can be seen being worn by the Empress Josephine and other members of the imperial family in portraits by David, Gerard and Regnault. Another favoured type consists of a cluster with a large gemstone or cameo at the centre within a border of pearls or diamonds, often holding a similarly set pear-shaped drop. This is well represented by a pair of diamond and emerald briolette earrings, part of the parure probably by Nitot given by Napoleon to Stephanie Beauharnais, a niece of the Empress Josephine, on the occasion of her marriage in i 806. (This is an example of the political role of jewellery; she was marrying the Grand Duke of Baden’s heir, an alliance intended to consolidate the Confederacy of the Rhine.) This parure is now in the Victoria and Albert Museum in London, and the bride is portrayed wearing it in a painting by Gerard. The popularity of earrings set with cameos, carved both in shell and hardstone and occasionally in precious stones such as emeralds and sapphires, was a consequence of Napoleon’s interest in carved and engraved gems. Following the Italian campaigns of 1796, when many cameos were brought back to France from Italy, Napoleon opened in Paris a school of gem engraving which boosted the production of cameos of Classical inspiration which were then frequently set in earrings.
1815-1830
The Congress of Vienna brought about the restoration of the legitimate monarchs in Europe in 18 15, and with it the desire to emulate the style of the Ancien Regime in all the applied arts. In jewellery earrings reverted to the form of i 8th-century girandoles and pendeloques, but they were adapted to the more impoverished economic situation. The scarcity of precious metals and gemstones prompted the development of filigree and cannetille which allowed jewellers to make do with very little gold. Both cannetille, named after a type of embroidery made with very fine gold and silver thread, and filigree techniques consist of working fine gold wires into lace-work patterns. Long but light pendeloque and girandole earrings manufactured on the Continent in this way were mainly set with semiprecious stones such as foiled topazes, amethysts and citrines. In England, which had been spared the consequences of the war, more expensive gemstones such as emeralds, diamonds and rubies (but never sapphires at this period) mounted in cannetille settings were often used. These gemstones are almost invariably set in closed collets lined with metallic foils tinted to intensify the colour and improve the match of the stones. The earrings are usually found as part of parures, accompanied by a pair of bracelets and a necklace with a detachable pendant at the centre designed to match the earrings either as a girandole, or, when the earrings are designed as pendeloques, in the form of a lozenge or Latin cross. These parures were extremely popular in the 18 2os and early 1830s: their gold filigree work of burr, tendrils, scrolls and lace-like patterns was often embellished with leaves and florets stamped out of thin gold sheet sometimes in contrasting colours. The two exceptional English examples illustrated, set with rubies and emeralds both comprising a necklace with girandole pendant and a pair of matching earrings, are particularly notable for the quality of the gemstones and for the pristine condition of the cannetille work, something which has rarely survived intact because of its lightness and fragility. The overall design of the girandoles, elongated in shape and with the central drop longer than the two at the sides, is close to late i 8th-century examples, but the cartouche-shaped surmount of the example set with emeralds, the parsimonious use of gemstones and the fine intricacy of light gold wire and granulation make them typical of their date.
The 183 Os
Around the 1830s long earrings reaching almost the shoulders became extremely popular. The fashion was prompted by changes in dress and hairstyle. Couturiers of the time had launched the fashion for dresses with wide bell-shaped skirts, narrow waists and leg-of-mutton sleeves which expanded sideways out of all proportion, giv-
P. 74 ing the upper part of the female silhouette a marked triangular shape. The head became the focal point of interest for jewellers and milliners: hairstyles became extremely complex, with tight curls and knots of false and natural hair gathered at the top and side of the head and embellished with all sorts of feathers, plumes and jewelled aigrettes. This exaggerated horizontal expansion of female silhouette and overabundance of hairstyle decoration needed to be counterbalanced by long drop earrings which also well suited the very generous decolletees of evening dresses.
The most fashionable earrings of the time were designed as elongated drops measuring up to TO— 12 CMS in length stamped out of thin gold sheet and decorated en
Portrait of a lady wearing a pair of long pendent earrings set with faceted semiprecious gemstone drops, to counterbalance the side expansion of the elaborate hairstyles fashionable in the 183os. By Adele Kindt (Belgian 1804-1884).
• are in shape to match the pendant of the necklace: lozenge-shaped pendants are in most cases accompanied by pendeloque earrings, girandole pendants by similarly designed earrings.
repousse (embossed); their rich scroll, shell and foliate motifs were often applied with minute naturalistic decorative elements in gold of various colours and set with gems. A good example of this type is the pair of torpedo-shaped earrings reproduced on P. 93, decorated with embossed quatrefoil motifs suspended from a shell-shaped surmount.
Some of the earliest examples of repousse earrings are also decorated with applied cannetille motifs in the form of burr and scrolling tendrils and can be regarded as transitional between cannetille and repousse earrings.
By the early 1840s gold repousse earrings had completely supplanted the costly and time-consuming cannetille type. Their lightness was dictated partly by economic considerations and partly by the necessity of keeping such large earrings light and comfortable for the wearer. Repousse earrings were cheap to produce. They were made on mechanical presses and needed only very thin sheets of precious metal, though the repousse work itself was often set with small semiprecious gemstones, turquoises being among the favourites.
If a large stone was used, it was likely to be aquamarine, chrysoberyl, amethyst, topaz or citrine, set within a scrolled border of rich gold repousse work. The aquamarine drops reproduced on p. 95 exemplify the trend particularly well, in that they are extremely long (12 ems approximately) and light (weighing approximately 1 _(we i gh i ng approx i mately 15 grams each) and are set with Brazilian aquamarines of fancy cut, well adapting to the repousse scroll-motif mount.
In Switzerland and Northern Italy, where enamel techniques were mastered at the time, polychrome enamel plaques could replace gemstones.
These earrings might look massive but they were in fact fairly light, as one can tell from the fact that they did not, like the heavy girandoles of the 18th century, require an additional hoop to ease their weight: almost all examples are set with a simple hinged hook fitting into the lobe from back to front.
Typical of English earrings of the time is the widespread use of elongated drops in agate or chalcedony (either left white or stained blue or green) and applied with small semiprecious stones such as garnets and turquoises set in gold floral motifs. These earrings usually came with a matching Maltese cross pendant. There are varying degrees of decoration: some are plain drops carved in hardstone, while others show a greater complexity, with applied decoration of naturalistic inspiration. Similarly designed sets set with diamonds are now less common but we know that they existed.
Also popular in England, where diamonds were more plentiful than in France as a consequence of the more stable political and economic situation, were earrings in the form of diamond pear-shaped drops with a large pearl or diamond swing centre on a cluster of foliate surmount.
The simplest form of earring fashionable at the time had a large pear-shaped drop of semiprecious stone, usually a faceted amethyst or citrine, mounted in a gold collet suspended from a similarly-set single-stone circular or oval surmount.
1840s and 1850s
In the late 184os a new hairstyle with a parting at the centre and the hair brushed to each side of the face and gathered in a knot at the back, totally covering the ears, led to the virtual disappearance of earrings — another indication of the close relationship between hairstyles and earrings. One has only to look at portraits by Wintherhalter and other society painters to see how universal this fashion was. In the middle of the century Queen Victoria was consistently portrayed with her ears covered, and even in catastrophic situations such as those shown in John Martin’s The Great Day of His Wrath (1852) or The Last Judgement (1853), women in the last extremity of distress are depicted with their ears carefully covered by neatly arranged hair at the sides.
The temporary eclipse of earrings is confirmed by the fact that at the Great Exhibition of 1851 in London, although jewellery was well represented, earrings were not given prominence. Those that were produced at this time were attractive but generally small and compact in design, frequently featuring naturalistic motifs such as flowerhead clusters, bunches of grapes, acorns, and other foliate arrangements chased in gold, set with a gemstone depicting a bud or berry, or carved in coral and ivory. The trend towards naturalism was common to all the decorative arts and Jewellery. Other earrings assumed the shape of crescent hoops or elongated beads. Long gem-set earrings were never worn at important formal occasions because the ears remained completely concealed by the hair and covered by elaborate tiaras in the form
120, 121
A pencil and gouache design for a tiara, bracelet and corsage ornament by Mellerio, mid 19th century. Note the two lateral cascading spray of leaves and flowers which concealed the ears.
1840s and 1850s
In the late 184os a new hairstyle with a parting at the centre and the hair brushed to each side of the face and gathered in a knot at the back, totally covering the ears, led to the virtual disappearance of earrings — another indication of the close relationship between hairstyles and earrings. One has only to look at portraits by Wintherhalter and other society painters to see how universal this fashion was. In the middle of the century Queen Victoria was consistently portrayed with her ears covered, and even in catastrophic situations such as those shown in John Martin’s The Great Day of His Wrath (1852) or The Last Judgement (1853), women in the last extremity of distress are depicted with their ears carefully covered by neatly arranged hair at the sides.
The temporary eclipse of earrings is confirmed by the fact that at the Great Exhibition of 1851 in London, although jewellery was well represented, earrings were not given prominence. Those that were produced at this time were attractive but generally small and compact in design, frequently featuring naturalistic motifs such as flowerhead clusters, bunches of grapes, acorns, and other foliate arrangements chased in gold, set with a gemstone depicting a bud or berry, or carved in coral and ivory. The trend towards naturalism was common to all the decorative arts and Jewellery. Other earrings assumed the shape of crescent hoops or elongated beads. Long gem-set earrings were never worn at important formal occasions because the ears remained completely concealed by the hair and covered by elaborate tiaras in the form Ink design for a dormeuse earring, Kreuter, Germany, April 1877, front and side view.
of garlands of flowers which framed the face and cascaded in two sprays decorated en pampille down the sides of the head. During the day, bonnets with large brims tied under the chin with wide ribbons made earrings superfluous and difficult to wear; for the same reason brooches ceased to be worn high on the collar where they interfered with the hat ribbon tied under the chin. Simple single-stone earrings — know as dormeuses or ’sleepers’ because they were worn at night to prevent the pierced hole in the lobe from closing — were the only form of earring that continued to be used.

THE GLASGOW SCHOOL
AT THE HEART of the Art Nouveau
movement in Scotland, the Glasgow School of Art sowed the seeds of an artistic revolution.
The enterprising director, Francis Newberg, and his wife Jessie, were instrumental in taking the Glasgow School of Art beyond its traditional role as an institution for formal
instruction in painting. A great admirer and champion of the teachings of William Morris, Newberg urged his students to learn as much as they could from the Arts and Crafts and Art Nouveau movements. He set up art studios where artist-craftsmen provided
broad range of commercial crafts, including bookbinding, woodcarving, ceramics, stained glass, and metalwork.
KEY DESIGNERS
An influential team of designers and architects closely associated with the Glasgow School included Charles Rennie Mackintosh, J. Herbert MacNair, and the sisters Margaret and Frances MacDonald. Known as “The Glasgow Four” or “Four Macs”, they created furniture and interior decoration inspired by Arts and Crafts ideology, but which developed as a movement in its own right and was
“Glasgow Style”. This style incorporated natural imagery together with a strong, psychological identification with the city – then booming economically and culturally – powered by its engineering and industrial skills.
It was a decidedly Scottish and occasionally modest interpretation of the Art Nouveau. Simple, geometric furniture designs were decorated with stylized patterns of flowers, plants, animals, figural patterns, and Celtic-style decoration. These
were shown in unusual colours drawn from local scenery, such as heathery purple, misty greys, and soft green. The Glasgow style won international acclaim, especially at the 8th Secessionist Exhibition in 1900 in Vienna, and exercised a
potent influence on the architects of industrial design in Germany and Austria. The rooms furnished by the group for the 1902 Turin International Exhibition of Modern Decorative Arts focused on controlled line, eschewing serpentine curves, and favouring symmetrical flowers,
elongated figures, and intricate linear designs in glass, metal, and enamel.
THE ROSE EMBLEM
Nature always inspired the Glasgow Four and was occasionally approached from a scientific perspective. Even the group’s emblem – the two-dimensional rose, which was designed by
Mackintosh and featured frequently on its architecture and furniture – was
inspired by a cabbage cut in half. Other talents associated with the Glasgow School were Ernest Archibald Taylor, lauded for his clean, elegant, and highly refined designs in the style of Charles Rennie Mackintosh; George Walton, with his delicate and subtle designs for furniture, textiles, and glass; and Talwin Morris, who worked in a variety of media, from furniture to textiles, metalwork, and glass.
The Glasgow School of Art This building was designed by Charles Rennie Mackintosh in 1896 and is regarded as one of his most notable architectural achievements.

A Glasgow School hammered brass mirror This piece has a repousse, stylized, floral motif design with long, flowing tendrils ending in a swirl, and a circular bud design with striking blue, enamel.

MAHOGANY CUPBOARD
This inlaid cupboard is made from mahogany and consists of elegant, vertical lines embellished with a projecting and moulded cornice. It is raised on a plinth. In contrast to the simple lines of the piece, the fielded, panelled door is inlaid with florid, geometric, stylized flowers, plant forms, foliage, and stems, and is flanked by similarly inlaid panels.
The moulded hinges and handles are elaborately decorated with foliate motifs. The plinth is pierced at the front and sides with a repeating heart-shaped pattern that echoes the inlaid design. The cupboard was possibly designed by J.S. Henry, a Glasgow wholesale company that often supplied furniture to Liberty and Co. and worked with leading
designers such as George Walton.
HALLSTAND
This hallstand is made of stained oak. It was designed by Wylie and Lochhead and shows the influence of Mackintosh. The moulded cornice above a central bevelled plate is flanked by repouss6 copper panels showing stylized briar roses. Decorative supports in the form of flower stems add to the overall design.

Statues
Figures, more than any other category of decorative accessory, seem to say “Deco” best. The statues exhibit not only features commonly associated with Art Deco, but also they express the spirit of freedom and optimism in the future that prevailed at the time. It is not surprising that these personifications beguile collectors. As noted earlier, figures were so popular that they were fashioned into dual purpose articles as well as art objects. This section, however, contains only the latter. Statues, statuettes or figurines and a few head forms or busts are included. (For additional examples of figures, see Ashtrays, Bookends, Candle Holders, Incense Burners and Lamps.)
Most of the Deco figural subjects were women. Pieces were made with couples forming dance partners or duets. Men were also modeled as sportsmen or represented as mythical gods or even circus clowns. Animals made along Deco lines are not so rare as male examples but they are less prevalent than female themes. All kinds of animals, however, were made as decorative sculpture. Members of the cat family (jaguar, panther, tiger) and deer, elk and gazelles as well as dogs (like the greyhound) projected the essential components of the Deco image—speed, grace and sleekness. Certain animals, especially dogs, were often part of female dominated scenes. Even birds such as cockatoos, ducks, parrots and penquins were shaped in stylized forms to fit in with “modern” decor.
The nude or semi-nude female apparently was the most favorite figural topic of the period. It is held in no less esteem by collectors. Poses varied from lanquid, reclining positions to ones expressing movement. Grace and speed were implied by various dance positions or hair shaped as wings or fashioned in a “wind blown” style. Kneeling or standing figures with arms stretched forward symbolized movement into the future. Arms stretched overhead, perhaps holding a globe or sphere, seem to indicate awareness and interest in the world at large.
While the nude and semi-nude figures may suggest the spirit of the period, fully clothed models portray the dress and hair styles in vogue. Interest in other cultures was also exhibited by the figure’s costume. The Egyptian influence was dominant in the mid 1920’s, after the opening of King Tut’s tomb in 1923. Several of the figures shown in this section and some in other categories (see Lamps and Incense Burners) flaunt the trappings of Egyptian attire such as metal breastplates, harem pants and elaborate headdresses. Female figures with black finishes show the influence of African art and black American entertainers. Jazz musicians and torch singers became very popular during the 1920’s, especially in
France.
Decorative figures not only were made in a number of sizes and poses, but also they were made from many different materials, including bronze, copper, metal alloys, plaster, pottery and porcelain. The French bronzes are the most coveted and most expensive. Bronze combined with ivory and precious jewels, silver or gold is called “chryselephantine” work. D.H. Chiparus, who worked in France, is noted to have excelled in this type of sculpture. Prices for his original pieces are in the tens of thousands of dollars today. Collectors should be aware, however, that current bronze manufacturers reproduce or imitate some of his figures as well as several other famous sculptors of the period. Although advertised as manufactured with the “lost wax” method and sporting the same or similarly spelled names of well known artists such as Chiparus, Zach or Preiss, these bronzes are still only replicas and not from the period. Unfortunately, they are sometimes sold by dealers as authentic sculptures. Wholesale prices are not cheap, but do not be surprised to find that sum multiplied several times over when such an item is sold in a retail outlet.
Because bronzes were expensive to manufacture, it did not take entrepreneuers long to recognize the value of mass producing similar statues from metal alloys. Pot metal, white metal or spelter are names frequently used to identify such alloys. Psuedo bronze figures were made in both Europe and America. Even if a piece can be identified as being of French origin, do not assume the metal is bronze. Many of the pot metal pieces were executed quite well. Different patinations and finishes were used to give either a “bronze” look or colored surface. Some were even made with ivory faces and hands, imitating chryselephatine types. Fabricated ivory, often called “ivorene,” was sometimes used, however.
Patination and cold painted are two terms used to describe bronze finishes. Patination refers to a colored finish which is fired onto the metal and thus becomes pern-ranent. Cold painted means the finish was not fired onto the metal. Lacquer was applied to preserve the color, but this type of finish is not totally permanent. Some of the metal alloy figures were simply painted without any sealing coat. Consequently, over time, the paint has chipped or become noticeably worn. Those with apparent surface damage can sometimes be purchased for bargain prices. Dealers have them repainted, but prices should-not be the same as for those in good or original condition. Inspect figures carefully for detail to note signs of age and wear on finished as well as whether there are chips on the face, hair or limbs.
Because of the demand for Deco figures, pot metal statues are far from cheap. Those in good condition, depending on size, will cost several hundred dollars. It is not uncommon for examples to cost $1,000 or more, especially if it can be determined the piece was made in France. It is rare to find any authentic Deco metal figure for less than $100.
Porcelain figurines were made by several European factories prior to World War II. Goldscheider, an Austrian company, is well known for its Deco pieces. Some of the firms who are more famous for their table wares also produced figural items during that time. The Lenox china company in Trenton, New Jersey, made porcelain figures which portrayed Deco themes. Porcelain pieces are generally much more moderately priced than metal statues, but they still are not cheap. Few cost less than $200.
Earthenware or simple pottery figures were also made in this country and abroad. Usually earthenware
items are less expensive than those made of hard paste porcelain or bone china. Not only was the manufacturing process cheaper, but also earthenware is not as strong. It chips and breaks easily and also can become discolored or crazed over time. Pottery figures, however, are often comparable or higher in price than porcelain ones. Those made by American art potteries are very collectible. Some made by American companies, which produced inexpensive pottery dishes and accessories, also made a few figures. Such items were not the company’s main product, and thus the figures are scarce, as well as popular, and bring high prices compared with other items they manufactured.
The statues and figurines are grouped here according to their composition: Ceramic (pottery and porcelain), Plaster and Metals (bronze, copper & metal alloys).