Posts Tagged ‘candle holders’

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).

Art Deco Table Wares
Companies engaged in manufacturing products for preparing and serving food found it necessary to accommodate the new trends in modern design. Streamlined and angular shapes can be found not only in sets of china but in kitchen equipment as well. In this section, table wares are not confined to dishes but include other utilitarian and decorative pieces. Because of the great diversity of this category, it is possible to show only a sample of items, but the pieces illustrated should alert collectors to the many possibilities table wares offer. Photographs are arranged approximately in alphabetical order according to the function of the item, ranging from candle holders, centerpieces and crumbers, to pitchers and a toaster!
Table wares basically are made of pottery, glass or metal. Ceramics include earthenware or semi-china, stoneware and porcelain. Simplified decoration distinguishes Deco china from that produced during the Victorian years. Floral transfer patterns covering the entire surface of china gave way to colored line borders or abstract geometric patterns. Sometimes china was left undecorated with the shape or mold drawing attention to a modern image. Geometric shapes other than the usual circular form are seen here in the rectangular bowl and the triangular shaped cup and saucer.
Ceramic table wares can be found at all price levels. Pieces designed and handpainted by Clarice Cliff for the Royal Staffordshire Pottery during the late 1920’s and early 1930’s are highly regarded by advanced collectors. Price can reach several hundred to several thousand dollars for some examples, especially those with floral and landscape decor. “Bizarre,” “Geometric,” — and “Fantasque” were some of the pattern names. The English artist’s signature was included on most of her work. Pieces which do not have her name or signature as part of the mark are usually considerably lower in price. “The Biarritz” soup bowl shown here is one such example. Although the pattern is quite simple, it also merits consideration as a form of Deco table ware. Deco patterns by other English potters are also quite collectible. Many good examples in the moderate price ranges are surfacing. These may be found mixed in with other miscellaneous dishes by dealers who do not specialize in Art Deco.
“American Modern, ” designed by Russel Wright for the Ohio based Steubenville Pottery is also quite collec
tible and much lower in price. This line was made from about 1939 through the late 1950’s. Solid colored surfaces without other added decoration implied a modern concept. Many other European and American pottery and porcelain factories produced their own renditions of “modern” style. Japanese table ware companies used similar interpretations to reach the large American market. Deco patterned china made by the Noritake firm has been attracting many collectors during the last few years. Prices are still affordable but not inconsequential. Table china, however, is probably the largest source of Art Deco “sleepers” and possible bargains today.
Angular shapes or stylized designs cut or molded into glass table wares were made to grace the dining tables of the period. Art glass by French manufacturers is usually too expensive for moderate collectors. The large blue centerpiece bowl made by Daum and the smoke glass bowl by Verlys are two such examples. These would fall into the “investment” rather than the “fun” class of Deco collectibles. But, like ceramics, many types of inexpensive table glass were made during the 1930’s and 1940’s by American factories. Depression era glass collectors began to salvage pieces during the 1960’s. A number of the patterns have unmistakable Deco characteristics. “Manhattan,” a clear glass pattern made by Anchor Hocking is just one type finding its way into Deco collections. The ruby red, cobalt blue and deep green colored glass made by other American glass companies also qualifies as Deco. Quite a few pieces are very attractive, some are even elegant and others are just amusing.
Flatware, serving pieces and decorative table articles can be found in silver, brass, copper, chrome and plated metals. Chrome and plated metals are the least expensive. Nude or semi-nude figures were made into metal centerpieces or candle holders. Prices are competitive with other figural items and examples are just as much in demand. A number of metal Deco items were originally silverplated. Because the plating wears off, items become ugly and lose much of their value. Dealers have found it lucrative to have such objects stripped to the base metal which was usually copper or brass. The copper centerpiece with a pot metal nude is an example which was once silver plated. Do not automatically disregard badly worn plated pieces which have obvious Deco signs. It may be wise to have them stripped and polished by a commercial firm which specializes in that kind of work.