Posts Tagged ‘art deco interiors’

Earlobes, necks, wrists and fingers are among the chief parts of the human anatomy which lend themselves to applied decoration. As with so many innovations in the field of jewellery, the practice of piercing the fleshy protuberances of the ears for the attachment of ornaments symbolic of race, tribe and status seems to have originated in Western Asia. A sculptured slab from the palace of Ashurnasirpal II (8 83-8 59 BC) in the British Museum depicts the king in profile wearing a long earring with an acorn-shaped terminal. At various stages of history men, women and children have been subjected to the ordeal of ear-piercing, though the male fashion for earrings has been mysteriously intermittent and sometimes a national rather than a cultural phenomenon.
English courtiers adorned themselves with single pearl drop earrings in the late 16th and early 17th centuries but some hundred and fifty years later, when similar ornaments were worn by French officers, the vogue aroused astonishment and hilarity in England. Thomas Rowlandson capitalized on the reaction in 1786 with a cartoon showing French officers in various stages of donning their uniforms-, they all sport earrings. Eleven years later the diarist Mrs Lybbe-Powys was struck by the sight of a French emigre officer in Bath ‘with large gold earrings’. But for all the British distaste, the custom had become general in France and Italy, from the highest to the lowest. Napoleon himself did not wear them, but his brother-in-law Joachim Murat, whom he made King of Naples in 1808, undoubtedly did. In the mid-197os, when the fashion recurred, young Englishmen were among the most enthusiastic proponents of the emblematic use of a single earring.
There is no evidence of the methods employed to pierce ears in prehistoric times but references in more recent centuries establish that the well-to-do employed the services of professional jewellers when the girls in the family were considered old enough to wear earrings. The experience for the victims was usually made palatable by the prospect of possessing a pair of ornaments of their very own. But even that prize was sometimes insufficient. The august presence of a royal jeweller, Dutens, summoned by Mrs Delany to attend her niece Mary Dewes in 1756, failed to persuade the young girl to submit to the operation. She held out for two months before succumbing. Girls of less affluent families were subjected to amateur attention with the aid of a needle, which pierced the ear while the lobe was supported by a piece of wood or other solid material. A cork was popular in the 19th century and later.
Children were dressed as miniature adults until the late 19th century and the ornaments worn by girls reflected contemporary fashions. There are comparatively few breaks in the history of female earrings charted by the authors, the longest being the Middle Ages, when the fashion for swathed heads concealed not only the hair but the ears as well. In the late 16th century women showed a renewed interest in ear ornaments, especially in the pearl drops which predominated for the next century and a half and survived thereafter. They were far more comfortable to wear than the girandole earrings which rivalled the drop type from the late 17th century. Usually comprising a top, an intermediate device such as a bow and three (or more) drops, these articles were so heavy that a secondary loop was often attached to the hook which passed through the ear and a ribbon threaded to the hook to be secured to the hair, taking some of the weight off the ears. This device helped, but many women reduced the period of discomfort by carrying their earrings in their pockets to parties and balls and assuming the ornaments on arrival, padding the backs of the lobes with small pieces of silk.
Fashionable women inevitably suffered permanent distension of the earlobes, which were dragged down by the weight of the girandoles. This fate did not prevent their descendants from participating in another fashion for huge earrings in the late 182os and 183os and suffering the same consequences. One of the most enthusiastic young adherents of the vogue was the future Queen Victoria, who often wore her grandmother Queen Charlotte’s girandole earrings of 1761. Photographs of Queen Victoria in old age, when she sometimes took to simple single-stone or pearl earrings, show them lodged on elongated earlobes. Fortunately the huge variety of new types and fittings means that no one now has to wear one kind of earring for a prolonged period.
The earliest archaeological evidence for earrings dates from the 3rd millennium Bc, but it seems likely that men
and women will have adorned their ears with, for example, shells and polished peb-
bles for centuries before that.
The idea of piercing the earlobe to insert a metallic ornament originated in the Orient. From the start earrings can be divided into two types: the simple rigid hoop in its numerous variations, and the more elaborate articulated pendant. In Antiquity, they were amongst the most popular means of personal ornament.
Around 2500 BC Sumerian women were adorning their ears with gold earrings in the form of single or double crescents, as revealed by findings in the royal graves of Ur in what is now Iraq. The crescent form, comprising two thin sheets of gold soldered together with a hollowed centre, was a simple yet successful design which was to spread towards the West and remains to this day a favourite shape of earring. More elaborate Babylonian examples of the early 2nd millennium Bc, also from Ur, show how the simple crescent motif could be embellished with embossed decoration, the details picked out with filigree and granulation.
Minoan and Mycenean
Early examples of earrings with a tapered hoop design, in a way a thinner version of the crescent- or boat-shaped earring, have been found in graves in Anatolia and Greece. Hooped earrings of gold, silver and bronze, tapered at the ends, have also been excavated in Crete and date from the Middle Minoan period (2000— 1600 BC).
It is not until the second half of the 2nd millennium BC that we find variations and elaborations of the crescent or hoop type; during the Late Minoan and Early Mycenean period (i 600— i 100 Bc) earrings in the form of scalloped or tapered hoops were common in Mycaene, while in Crete during the same period the most widespread form of earring consisted of a tapered hoop decorated with a conical pendant representing a clear progression from the earlier simple hoop.
The tapered hoop supporting a conical pendant was also popular in Cyprus, where several examples come from 13th and 12th century BC graves in Enkomi. Judging from the number of extant examples, this type had a long life; a less elaborate version consisting of a tapered hoop supporting a smaller bead cluster is well testified both in Crete and in Cyprus; it may have been cast in one piece, as a steatite mould of this shape has been found in Crete. This type continued in Cyprus throughout the Dark Ages, reappearing amongst Greek designs of the 7th century BC.
By the end of the 2nd millennium BC, the hoop earring, tapering to a different degree at each end, was widely dispersed in the Aegean world, Western Asia, Cyprus and Syria, as revealed by many excavations.
In Cyprus, from the middle of the 2nd millennium BC, and particularly during the third quarter, earrings were very popular and may have had some supernatural significance, since contemporary painted terracotta idols in the form of stylized nude females, probably fertility symbols, have their earlobes pierced two or three times and large terracotta hoops suspended from them.
The simple, tapered hoop was worn there from about 1400 BC, where it arrived possibly from Crete but more likely from Syria; it continued in Cyprus for a long time, surviving throughout the Dark Ages, and was reintroduced from there into Greece around the 7th century BC.
A variation of this type, of either Cypriot or Syrian invention, consists of a hoop of twisted or plaited gold wire. Also to be found is the ‘leech’ earring, a sort of elongated tapered hoop, the lower part expanded into a fat crescent motif. Hoops supporting clusters of beads or elongated conical pendants decorated with granulation were, as we have already seen, as popular in Crete as they were in Cyprus. A typical Cypriot earring of the 13th century BC was a hoop supporting a bull’s head pendant stamped out of thin sheet gold. Although the shape of the pendant is a common Mycenean motif, no contemporary examples have been found on the Greek mainland.
When, in about 1 100 BC, the Mycenean world succumbed to the Achaean invasion, which was followed by the three centuries of poverty and near-barbarism known as the Dark Ages, the arts declined and jewellery in precious metal became rare. It is likely that the main sources of gold at the time were the tombs of earlier periods. Among the limited number of gold ornaments such as finger-rings, bracelets, pins and fibulae, there survived a small number of spirals, the purpose of which is still not certain, but which may have been earrings or hair-ornaments.
The brilliant civilization of Cyprus was destroyed at the same time, but traditions lived on and the Achaeans left intact the long-established Mycenean techniques. Goldsmiths worked throughout the Dark Ages preserving and perpetuating forms and designs that were to be reintroduced into Greece around the 7th century BC.

Dining silver
Plates, salvers, tureens, and other items of dining silver first appeared in the late 17th century, when the complete dinner service, NN ith matching dishes and cutlery, was introduced at the French court. From that period, and especially in the 18th century, elaborate dining silver in the latest fashions was often used to display the wealth and status of the host, and finely engraved coats of arms or crests, identifying the owner, are common features of items such as salvers. For collectors today, heavy and elaborately decorated items including tureens and centrepieces are generally more rare and expensive than flatware, utilitarian drinking vessels such as tankards, and casters, cruets, mustard-pots, and salt-cellars, all available in a great variety of styles.
Plates and salvers
Dinner services, comprising individual plates and cutlery as well as serving dishes for specific courses and foods, were first introduced at the French court in the late 17th -century. Initially they were the preserve of royalty and the aristocracy, but the fashion for complete services spread in the early 18th century to the minor nobility and gentry, who often acquired different parts of the service over a period of time as their finances allowed. Silver plates, of various sizes, were generally made in sets of 12 (and are normally sold as such today). On both plates and salvers, the main decorative feature is usually the engraved coat of arms or crest of the owner, and sometimes the engraving is of very high quality.
PLATES
The earliest plates found on the market today tend to date from the early 18th century, when the first complete dinner services were made. These plates are seldom larger than 25cm (10in) in diameter and are starkly plain, except for a crest or coat of arms engraved on the broad, flat rim. Marks on these plates are generally found on the underside of the rim and should be clearly visible.
Missing or distorted marks usually indicate that the
plate has been altered; new borders may have been added and the rim reshaped to accommodate them.
More common than early 18th-century
plates are those dating from the 1740s
onward. During this time the fashion
for complete dinner services, unified by
matching ornament, reached its peak
and the custom of dining on a grand scale
necessitated services of up to 200 pieces. The standard service included six dozen meat plates, generally 25cm (10in) in
diameter (first-course and dessert plates were slightly smaller), and two dozen soup plates. Larger oval dishes for serving roasts were also made en suite.
Eighteenth- and nineteenth-century plates vary little in design except for the borders. During the 1730s the broad, plain, flat rim was replaced by a narrower, wavy rim (giving the plate a five-sided appearance) with gadrooning. With the development of the Rococo style in the 1740s, shell and gadrooned borders became most common; some of the finest plates have separately cast and applied borders, which should be marked. Simpler patterns of reed-and-tie or beading became fashionable in the 1770s and 1780s. The more elaborate gadroon, shell, and foliage border is characteristic of the Regency period. After about 1840 porcelain services were more popular than silver, and most silver plates made were replacements for or additions to earlier services.
17TH- TO EARLY 18TH-CENTURY SALVERS
Dating from the mid-17th century, the earliest salvers were of thin-gauge metal with a raised central foot, and were made as stands for porringers or candle cups. The finest examples were gilded and richly chased and embossed around the border with acanthus leaves, fruit, and flowers in the Dutch Baroque style. From (.1680 to (.1720 heavier-gauge metal was used, and the central foot, sometimes detachable, was often strengthened with applied cut-card work. In the 1720s the central foot was replaced by three or four small cast (usually bracket) feet, eet, especially on the rarer square, octagonal, or octafoi I -sh aped salvers popular during this period. Salvers before c.1740 often had moulded and applied rims of convex and concave curves.
LATER 18TH- AND 19TH-CENTURY SALVERS
Like plates, salvers from (.1740 onward are generally circular or five- or six-sided in shape, with only the borders and engraved armorials changing in style. On salvers, however, the armorials usually appear in
the centre rather than on the rim. The style of engraving should be contemporary with that of the border and correspond to the date of the marks. In the Baroque period, designs of arms and cartouches were relatively symmetrical, with strapwork and interlacing scrolls; the finest designs on English pieces were by Huguenot engravers such as the Gribelin fatuity.
In the mid-18th century, delicate, asymmetrical designs of flowers, shells, and scrolls reflected Rococo fashions. Salvers were particularly in demand for carrying tea and coffee services. Smaller versions, known as “waiters” (generally less than 20cm/8in in diameter),
ENGRAVING
Engraved designs were traditionally cut into the metal surface by hand with a sharp steel tool known as a “burin” or “graver”; today, most engraving is done
by machine. The technique was particularly popular for reproducing coats of arms, ciphers, and crests. Some of the finest engraving was done in early 18th-century England by such specialists as William Hogarth (1697-1764) and Simon Gribelin (1661-1733). The style of engraving can help to date a piece, but it is not always a reliable method as arms were often re-engraved with a change of ownership.
were also made, and sets of two or more salvers became common. The largest, measuring up to 38cm (15in would usually be engraved with a coat of arms; smaller ones (15-20cm/6-8in) had only a crest. Elaborate Rococo borders appeared, sometimes cast separately, featuring forward and reverse scrolls interspersed with shells, and feet took the form of scrolls or shells. The finest salvers were also flat-chased around the outer edge with designs of scrolls, shells, and foliage.
In the Neo-classical period more restrained borders of gadrooning, reeding, and beading, together with bright-cut engraving of ribbons, husks, and swags, were introduced. However, the taste for more ornate plate in the Regency period led to the appearance of large and heavy, often silver-gilt, salvers with paw feet and richly cast borders of shells, vine leaves, and gadrooning. Throughout the 19th century salvers in 18th-century styles were popular; some earlier salvers were also redecorated with chasing, but the 19th-century style is more elaborate and covers more of the flat surface than on 18th-century examples.

Storage furniture
The earliest movable storage furniture was the hollowed-out log, and these primitive beginnings are still evoked by the name “trunk” for a travelling container. During the medieval period simple chests and coffers were employed as containers for a wide variety of objects ranging from textiles to musical instruments. However, such chests were not the most convenient form of storage, and as furniture-making techniques became more sophisticated during the 17th century, the chest-of-drawers evolved, as did other forms of furniture designed for storing specific objects such as books, linen, of clothing, or, in the very grandest examples, purely for the ostentatious display of wealth.
Chests and coffers
As the main storage furniture of the medieval period, chests were made in large numbers for all kinds of purposes. Chests are containers with flat, hinged lids; they usually have feet but no handles. They were designed for storage inside buildings, their feet keeping the contents clear of damp floors. Coffers are generally travelling trunks without feet that may have carrying handles and a domed lids. From the 13th century chests were produced by the joiner, and coffers by the cofferer, who was primarily a leather worker; coffin-making was another of his tasks.
A Cassone.
Cassoni were important items of furniture in the Renaissance Italian palace Many, such as this walnut example, reflect Classical inspiration in their sarcophagus form and decoration The base was made in the 16th century, the feet, bottom panel, and part of the lid are of a later date.
EARLY CASSONI
In terms of domestic purposes, the Italian cassone has special significance: often, but not always, a marriage piece. Some cassoni were embellished with intricate inlay (intarsia) in different woods, while others were finely painted with figurative or mythological subjects or covered in designs in pastiglia, a technique where gesso was laid onto the surface, pressed or modelled into relief patterns, and then painted and gilded. Some of the richest 16th-century cassoni were of carved and polished wood, decorated with Mannerist designs. Important marriage cassoni were often made in pairs and decorated with heraldic devices and other symbols of the respective families. Further down the social scale, cassoni were used to hold the linen, clothing, and household textiles that constituted a dowry. Some were carved with the initials of the bride and groom and the date, and were handed down.
The low-relief carving on the frieze and front panels on the oak-panelled chest is typical
of the huge numbers of chests made in various parts of Britain during the 17th and 18th centuries. Many carved patterns have strong regional associations, however, many were added during the 19th century.
WOODS AND CONSTRUCTION
Oak was mainly used for chests in northern Europe, while walnut was used further south. Pine was probably used much more than surviving examples would suggest; being subject to woodworm and rot, pro-19th-century pine chests are rare. Aromatic cypress and cedarwood was
proof against moths and other insects, and was therefore used in chests intended for clothes and textiles, particularly in northern Italy and the southern alpine regions. Ash and lime were used, notably in southern Germany and Switzerland; chestnut and walnut in southern France. Sometimes more than one type of timber was employed in a single piece.
A simple chest consists of six planks nailed or rudimentarily dovetailed together, with the vertical “slab” ends shaped at the bottom to form feet. Another kind of boarded chest was the hutch, from the French huche (chest). In this form the horizontal planks of the front and back are housed at either end in wide vertical members (stiles), which extend downward as the feet. Hutch chests thus have their feet at the front and back,
The top of the German oak coffer indicates this type of furniture’s origins as a travelling trunk, the domed shape could throw off the rain or sea-spray better than a flat top. Wooden coffers were replaced by smaller, lighter leather-bound travelling trunks. The raised cartouche panel is typical of the type made between the 17th and 19th century. It may have been a marriage piece, and the inscription reads “JOHANN … MU … ANNO 1772″, which may have been added at a later date.
Storage furniture
unlike slab-ended chests with feet at the sides. Some chests of such housed or “clamped-front” construction have framing at the sides, and simple chip-carved decoration on the front. This form survived for high-quality chests in parts of Germany until the 18th century, by which time panelled construction was being used in most of Europe.
Chests of framed and panelled construction were developed during the 15th century, and by the 16th were produced in considerable quantities. Oak chests of the 17th and 18th centuries, and the large numbers of 19th-century reproductions of them, are most often of this type. The front and sides of a panelled chest consist of top and bottom horizontal rails united by vertical bars (muntins), with vertical stiles at each end. In most examples the stiles continue downward to form the feet. The panels, which were of thinner wood and slightly chamfered at the edges, were designed to slide into grooves in this framework, which was fastened together with mortises and tenons secured by wooden dowels. Lids were either panelled, like the front but without carved decoration, or composed of planks jointed together, some with cleated ends. Inside, many of these chests were fitted with a small compartment, or “till”, which might be lockable for valuables.
DECORATION
While carving was prevalent, inlays of contrasting woods, bone, or mother-of-pearl were not unusual. The most elaborate inlays were applied to the so-called “Nonsuch” chests made in Germany and the Low Countries, or by German and Flemish craftsmen working in England in the late 16th and the 17th century. They are distinctive for their patterned architectural inlays filled with vistas of turreted buildings in an intricate mosaic of coloured woods. Pine chests were usually painted, particularly in Scandinavia, eastern Europe, Switzerland, and Austria; the mainly floral patterns varied from one region to another. Painted pine became popular in England during the 19th century-, but decorative treatments were restrained, and mainly confined to simulations of timber or marble.
The carved decoration imitating pleated fabric, known as linenfold, was used for the panels of many chests. Formalized plants, geometrical patterns, and strapwork and low-relief arcading were other favourite designs for panels and training. High-relief carving, particularly of figurative subjects, appeared on some northern European chests during the medieval and Renaissance periods.
THE PENNSYLVANIA DUTCH OR GERMAN STYLE
“Dutch” was a general term used in Pennsylvania for all Central European settlers who came to the region in the late 17th century from European villages ravaged by the Thirty Years War (1618-48). Rural settlers continued to use Germanic construction such as wedged dovetails, and also to paint their walnut, pine, or poplar furniture with decoration and the names and dates of their owner. The flat-top blanket chest became the most common piece of furniture in these households, often given to a young girl or boy to store their belongings. Rural communities developed their own styles, and regional differences are based on idiosyncratic construction and painted decoration: in Lancaster County there were three arched panels divided by pilasters; unicorns were painted on chests from Berks County, while stencilled designs were applied to those made around the area of Schwaben Creek in Northumberland County.
• COLLECTING chests were usually made of oak; after generations of wear and polishing, many examples have developed rich dark patinas; plain plank chests were of the slab-ended type; decoration was minimal, with scratch- or chip-carving; pre-16th-century furniture is usually heavy, and unaltered examples are very rare.
• BEWARE decorative panels, sometimes taken from other pieces of furniture (e.g. beds, linen-presses, and wall panelling), were often “recycled” during the 19th century when vast quantities of traditional oak panelled chests were produced using both old and new timbers; many plain old chests were “improved” with chiselled or chip-carved decoration, or were inscribed with spurious dates and initials; such pieces are now antiques in their own right, but should be distinguished from wholly genuine 17th- and 18th-century (or earlier) pieces; feet have been frequently replaced –these were often detached during transportation.

Origins & Development of Art Deco.
L’Exposition International des Arts Dedcoratifs et In - dustriels Modernes was held in Paris, France, from April to October in 1925. This international exhibit was arranged for the purpose of showing the work of current artists, craftsmen and designers who attempted to project a view of contemporary and future trends in artistic decoration. The event had been planned much earlier, but the onset and aftermath of World War I caused the Exposition to be postponed until 1925. As the title implied, the purpose of the Exposition was to demonstrate that elements of art and industrial techniques could be combined as applied art to make both utilitarian and attractive products. These were desirable to accommodate the changing life styles occurring because of the industrial progress of the 20th century.
Countries which participated at the Expostion set up pavilions to house the respective displays of their selected artisans. In addition to France, Austria, Belgium, Czechoslovakia, Denmark, England, Greece, Holland, Italy, Japan, Monaco, Poland, Russia, Spain, Sweden and Turkey were represented. Two major countries did not participate. Germany was not invited because of the strained relations resulting from the war. The United States did not accept the invitation because according to “Herbert Hoover … there was no modern art in the United States” (Arwas, p. 14). For a full description of the 1925 Exposition, see the book by Frank Scarlett and Marjorie Townley (Arts Ddcoratifs 1925, London: St. Martins Press, 1975).
The 1925 Exposition captured the current world of design and had a profound influence on design over the succeeding years. The styles and designs of the work shown at the Exposition were not identical. As years passed, the styles displayed in 1925 were emulated, but they were not copied slavishly or duplicated precisely. In fact, varied interpretations and other innovative designs emerged during the following years. The style highlighted in 1925 served as the basis for developing the “modern” look of the decorative arts over the next generation.
Because of assorted opinions about Art Deco, its history is controversial. Numerous individuals and groups, various schools of design, many social and world events, and several philosophical ideas or “isms” are considered instrumental in the development of Art Deco. A wealth of material has been written on these various aspects of the subject. It is not my purpose to present a detailed historical survey. Rather, readers are encouraged to consult the selected entries in the Bibliography for a thorough review of Art Deco’s complex background.
Rarely does a consensus exist about the precise dates of artistic or historical periods. Prior developments are important and will inevitably lead to some point that later is identified as the beginning of the period. The literature which describes the development of the Art Deco style has several different views about when the era began and ended and about where and why it originated. There is even disagreement about what Art Deco actually is.
Art Deco is sometimes seen as a reaction against Art Nouveau, the immediately preceding period of decorative design (1890’s-1910. Art Nouveau is a style based on romantic and naturalistic images, dominated by a graceful, curvilinear line. It is highly decorative, having a sensuous, dreamy, more subtle quality than the gaudy ornamentation typically associated with the Victorian period.
Art Deco, in contrast, is often considered as an interpretation of the future based on the use of straight angles and clean lines without superflous decoration. This opinion is contradicted by observers who point out that early Art Deco did not fit that description. It was neither all lines and angles nor were all examples plain and austere. These writers believe Art Deco grew out of Art Nouveau or was a refinement of that earlier style. They emphasize that early pieces often were richly executed with lavish materials and were quite luxurious.
Some authors describe Art Deco as being a “nevi, art” which did not imitate previous designs. Critics of that view believe that the “true” Art Deco was derived from the restrained neo-classical 18th century styles. Another view is that Art Deco borrowed from cultures such as the Egyptian, African and American Indian.
In addition to the origin and characteristics of style. the original audience for Art Deco is debatable. On the one hand, it is seen as intended for the wealthy. Some experts accept only the work of the top designers ant craftsmen as being representative of true Art Deco. Certain individuals who exhibited at the Paris Exposition are usually cited as the most important names associates with the style. Others insist the style was developed primarily for the middle classes. Mass produced ware_ which strived to imitate the “modern” trends of the 1920’s and 1930’s are scorned by some. Such example_ are often lumped under the heading of “kitsch, — a Ge– man term literally defined as “trash,” or the debasement of original works. Today, however, many of those items have become extremely collectible and comprise the major part of many collections.
Another dispute in the literature is that Art Deco :synonymous with France. Deco items of French origi- are considered superior to examples from other countries. France, in fact, is usually considered the birthplace of Art Deco, especially because of the 1925 Exposition. Yet knowledgable writers trace its development through other European centers such as Austria and Germany. :ndeed, the list of countries exhibiting at the 1925 Ex.:position is evidence that craftsmen in many countries were designing their work simultaneously along lines hick now are identified as Art Deco. Thus, it is apparent -hat other countries expressed their own views of modern design. And while the United States did not participate n the 1925 event, that certainly does not mean that modern” design was not developing here as well.
Purists say Art Deco ended in 1925, with the peak of the style culminating in the Paris Exposition. They do not believe that the work which followed was worthy of :he name. Others, less dogmatic, differentiate between “Art Deco” and “Art Moderne. – Art Deco would include design up to 1925, and Art Moderne would describe the style followed after that year and on into the 1930’s. This dear division separates the components of elegant style ollowing Art Nouveau from the purely angular and stark designs brough forth in the late 1920’s.
Other critics maintain that Art Deco includes the en-:ire period of the 1920’s through the 1940’s. Alternative-.y, Art Deco is referred to as the style popular between :%vo World Wars-1918-1940. Other definitions of the era confine the period between the years of 1925, the date of the initial French exhibit, and 1940.
If the general consensus is that 1940 or World War II signifies the end of the main production of Art Deco, :hen World War I is usually considered the most impor:ant event influencing the development of the Art Deco period. Life styles certainly changed during and after the war. Servants left their positions to fight, or in the case of women, work for the war effort. The sons and daughters of the wealthy also became involved in wartime activities. After the war, many former domestics -efused to return “downstairs,” seeking more regular jobs and their own living quarters. Because of the war, both servant class and upper class women began to become more independent. A desire to enjoy life and a relaxation of morals are also often cited as important consequences of the war. A “middle” class began to emerge which demanded a release from the encumbered Victorian way of life steeped in heavy traditions, pious attitudes and elaborate rituals of dressing, entertaining and running households.
Although World War I might be the focal point for recognizing a change in the world’s life styles, other important factors also occurred before and after the war which helped bring about this change. The first 40 years of the 20th century witnessed unsurpassed progress in industry which led to a more convenient way of life in all areas: ‘from horse and buggy to automobile, train and plane; from gas lighting to electricity; from outdoor to indoor plumbing; from hand delivered calling cards to telephone, telegram and radio. This period of rapid change in transportation, communication and manufacturing resulted in a smaller world, as is often quoted, by making distant people and places more accessible. But
it also made the world larger for the average person by making more goods and services available and thereby allowing more individual freedom. It is not surprising that as life became more efficient, especially for the average person, all aspects of style and design were influenced.
In spite of the various views of its origin and development, Art Deco is a recognized age just as its immediate predecessors, the Victorian and Art Nouveau periods. Like those well known categories of collector interests, Art Deco, too, has become firmly established. In 1965, a revival of the 1925 Exposition, Les Annees ‘25, was held in Paris. World attention once again took a look at what had been hailed as “modern” in 1925. The success of this subsequent exhibit brought forth a new “Period” for collectors. “Art Deco,” derived from the lengthy French title of the original Exposition, quickly caught on as an apt descriptive term not only for the style showcased in 1925, but perhaps more importantly also evolved to identify the modernistic designs which were either continued or initiated after 1925 until the 1940’s.
Today, auctions specialize in sales devoted to artifacts from the period. General price guides include Art Deco as a specific entry, listing a variety of examples and current prices fetched at auctions or in the collectibles market. As collector interest in the subject grew, the definition of Art Deco has expanded to include a much broader scope than purists might prefer.
Today, Art Deco is quite loosely interpreted to include a very wide range of objects from fine art to the mundane and produced as early as the first decade of the 20th century until the beginning of the fifth decade. The style is characterized by several different elements of design which may include the following: an understated and restrained elegance; sharply angular and geometric lines, often void of any decoration; futuristic concepts; suggestions of speed and movement; both vivid and contrasting colors; Jazz age and Flapper influences; Aztec, African and Egyptian cultural symbols; and certain materials which became popular such as bakelite, celluloid, chrome and dark colored glass.
Anything which exhibits one or more of these traits is generally classified as part of the Art Deco period. It does not matter if it is an original work by a famous person or merely a mass produced dime-store novelty. Consequently, and fortunately, Art Deco can be enjoyed by collectors as diverse as its many dimensions.
Serious wealthy collectors purchase creations by top designers, artists and manufacturers identified with the early years of the era. Prices for such examples can easily mount to five figures. Many who like Deco cannot compete in that market. But as in other collecting areas, once the top of the line has been singled out and record prices paid for choice pieces, a second level of collecting surfaces which attracts a wider, though perhaps less affluent, group. Consequently, a middle ground of Deco collecting has arrived on the scene. From the offerings at shops and shows across the country, as well as a perusal of most general value surveys on the subject, interest in Art Deco with medium to moderate prices is quite strong.While many pay thousands of dollars for Art Deco rarities and originals, perhaps seeing such purchases as investments and true works or art, there is also a growing number of enthusiasts who collect Art Deco for the fun of it! Possible future value is usually only a secondary consideration. Some might take issue with the assertion, but Art Deco is fun. Other collecting periods cannot really be characterized in that way. For instance, Victorians is intriguing, and collectors search for the many “necessities” and unique items of everyday life, obsolete today, but vital at that time. Likewise, primitives are very interesting. Collectors seek the ingenuity of those individuals who had to fashion their own tools, dishes and furniture from whatever materials were at hand. Such articles may be curiosities, but they would hardly be described as “fun.” Most items commonly associated with Art Deco today, however, usually evoke a smile or sense of amusement because of their exaggerated lines, bold colors, ultra sophisticated or irreverent nature or cleverness of design.
The focus of this book is on a very general interpretation of Art Deco. It is intended for the collector who enjoys the vibrant spirit of Art Deco and who collects according to individual whimsy and moderate pocketbook, perhaps splurging at times on certain irresistible objects! Pieces illustrated include some examples by famous “names” with prices of over $1,000.00 but many other items are representative of the mass productions of numerous manufacturers. Those prices are certainly more now than when the articles were first produced, but they are still affordable. There are also other objects made by little known or unknown creators whose prices are quite nominal. Examples are not limited to items of French origin but include Deco from many other countries. Art Deco made in America, Czechoslovakia and Japan is especially becoming more and more popular with collectors. Concentration on Deco shapes and motifs instead of particular designers or manufacturers can often yield unexpected Art Deco treasures!
In the photographs, decorative objects for the home
and personal accessories are grouped under 10 categories which comprise some of the most popular Art Deco collectibles. These categories are not meant to be comprehensive. The broad scope of the subject does not make such a survey possible. Hopefully, a sample of items in these categories will serve to suggest other Deco collecting possibilities as well as Art Deco’s open ended nature. The majority of examples were available on the open market: that is, items sold at antique shops and shows rather than from private collections or museums. A price range has been established for individual items based not only on what the dealer was asking for the piece but from information gathered from numerous other sources on similar or identical pieces.
From the items featured, certain earmarks of what is currently collected as Art Deco can be seen. For instance, typical subjects of decoration are dominated by human figures either in a nude or semi-nude state, and depictions of the sun, moon and earth are prevalent. Suggestions of the future and of speed are shown either by items actually shaped in the form of an airplane, ship or rocket, or as a decorative motif.
All types of geometric shapes and lines can be found incorporated into the designs of most objects. The cube, triangle or pyramid, and stepped or zig-zagged lines are common. Crescent or half-moon shapes made into rainbows or fans, spheres representing the world, and many sundry other shapes such as a diamond, cylinder, ellipse or oval, square, hexagon and octagon stand out as well.
Repetitive, tangential, overlapping and ziggurat patterns plus juxtaposed designs appear in the design or decor of a number of pieces. Also quite noticeable are many different construction materials, ranging from ceramic, glass, ivory, marble, metals and wood to metal alloys and synthetics. From the Art Deco pictured, perhaps it will also be clear why Art Deco often is described not only by such words as chic, clever, elegant, smart, sophisticated, streamlined and tailored but also as amusing, flippant, risqud and fun!

art deco 1920s dresser
art deco 1920s drop leaf dining table
art deco 1920s throug 1940s
art deco 1940 club chairs green vinly
art deco 5 drawer dressing table with round mirror
art deco antique figurine
art deco antique tube  chair
art deco arm chair
art deco artist’s palate shaped oak table
art deco ashtray
art deco bar black lacquer
art deco bar commode
art deco barley twist
art deco bars for the home
art deco bartender cigarette dispenser
art deco barware
art deco bergere wood back
art deco black fabric chair
art deco– black grooved table lamps (large )
art deco black laquer screen
art deco bowles
art deco brass, round vertical shade, nude figure, antique table lamp,
art deco british furniture
art deco bronze art style lamp
art deco cabinet 1928
art deco cabinet legs
art deco cabinet sliding glass doors
art deco cabinets and chests
art deco candle sticks glass
art deco cane and wood chair
art deco carved tables
art deco cat statues
art deco ceramic  figurines
art deco ceramic figurine maker jd
art deco ceramic figurines
art deco ceramic horse
art deco ceramics decoration jean luce
art deco chair concept
art deco chair facts
art deco chair lacquer
art deco chair materials
art deco chair wood inlay lightning bolt
art deco chairs
art deco chairs rosewood
art deco chest of drawers 1940’s
art deco chest with radio
art deco china cabinets
art deco china pattern
art deco china patterns
art deco china set
art deco china sets
art deco chinese enameled brass
art deco chinese redwood jewellery box
art deco chrome and vinyl arm chairs
art deco cigarette cigar stand
art deco cigarette dispenser bar
art deco clear glass
art deco clear glass rocket vase
art deco club chair inlaid wood
art deco club chair scroll arm
art deco club chair triangular arms
art deco club chairs + wooden applied handles
art deco cocktail
art deco commode
art deco commode inlaid
art deco consol
art deco corner cabinet
art deco curved front buffet
art deco denmark pavilion
art deco design cromer
art deco desk and chair
art deco diner figure
art deco diner germany
art deco dining chairs
art deco dining furniture d.r. patent
art deco dining furniture of the 1920’s
art deco dining set birdseye maple
art deco dining table u shaped base
art deco dining table white cherry
art deco dining table with concave barrel pedestal
art deco dining tables
art deco display cabinet sun ray
art deco display cabinet with cupboards
art deco drawer construction
art deco drawers oak
art deco dress reprodutions
art deco dresser lamps
art deco dresser mahogany 1940’s
art deco dressers antique
art deco dressers california
art deco dressing table construction and materials
art deco dressing table plans
art deco drinks cabinets
art deco drop center dresser
art deco dropleaf dining table
art deco english gentlemans bar furniture
art deco escutcheons
art deco european
art deco exhibition jean luce
art deco exposition 1925
art deco extending table
art deco ferniture black lacquered
art deco figure ceramic
art deco figurine
art deco figurine gentleman
art deco figurine lamp
art deco figurines german
art deco figurines goldscheider
art deco finials
art deco floor ashtray pipe
art deco folding chair bed
art deco folding chairs
art deco folding open desk
art deco french breakfast dining set
art deco french clock
art deco french club chairs with flat arms
art deco french interior examples
art deco french original furniture+auction
art deco furniture + schoen
art deco furniture black lacquered jean dunand
art deco furniture black leather
art deco furniture in germany
art deco furniture kinds
art deco furniture parts
art deco furniture prices germany
art deco furniture/bar with glass sliding doors
art deco glass and silver inlaid candlestick
art deco glass door wood cabinet octagon
art deco glass heater
art deco glass nude dish
art deco glazed bureax
art deco hamered lamp
art deco harp table
art deco head straws
art deco hinged top bar and cabinet
art deco ice bucket top hat
art deco incense burner
art deco inlaid wood designs
art deco inlaid wood furniture
art deco inlay
art deco inlay bedroom suite
art deco inlay wooden flatware box
art deco inspired bookcase
art deco interior futures
art deco iron works
art deco jacobean furniture
art deco ladies smoking
art deco ladys desk
art deco lamp of kneeling woman
art deco lampen figurine
art deco laquered desk
art deco large earthenware jug
art deco lisbon antiques
art deco machine age furniture
art deco mahogany desk
art deco mahogany side chairs
art deco maple china cabinet
art deco metal screens
art deco mirrored console table
art deco mirrored end tables
art deco movement and its origins
art deco multi colored dresser aztec look
art deco music box cabinet
art deco oak dining room furniture antique
art deco oak gateleg table
art deco oak leaf
art deco office chair
art deco old chairs
art deco origen
art deco origins and  influences.
art deco oval dining tables
art deco palissy china
art deco patterns for glass platters
art deco pedestal dining table
art deco period+origins
art deco pieces chair
art deco plastic furniture paris
art deco porcelain italian
art deco pottery  in europe
art deco pottery italy
art deco pottery longwy
art deco rectangle pattern design
art deco representatives
art deco rocket cabinet
art deco screen doors
art deco seats
art deco secretary
art deco semicircular desk
art deco shape examples
art deco shapes with ottoman influence
art deco shelley plates block design
art deco shop france
art deco shops sweden
art deco skyscraper clock
art deco smoke
art deco smoking lamp
art deco smoking table
art deco sofa tables
art deco spindle desk
art deco stoneware cream and sugar with lids and bases large angular
art deco style candlesticks
art deco style dinner service
art deco style origin
art deco style side chair
art deco style stemware
art deco stylised figure lady dancer red italian alabaster
art deco swedish armchairs
art deco table centerpieces
art deco tallboy oak
art deco tulip watch penchant
art deco u base dining table maple
art deco u shape vase
art deco upholstered chair with one curving side c.1930
art deco upholstered chairs
art deco upholstery fabric
art deco walnut chairs
art deco walnut dresser
art deco wood chair legs
art deco wood dressers
art deco wooden armchairs
art deco wooden chair design
art deco wooden materials
art deco wooden round back armchair
art deco wooden screen
art deco writing bureau/display cabinet
art deco writing desk