Posts Tagged ‘cobalt blue’

Bar Ware
The “cocktail,” derived from the French term for mixed alcoholic beverages, coquetel, was an integral part of the Deco era. The spirit of the fancy before-dinner mixed drink was well suited to the carefree and relaxed atmosphere of the 1920’s, but its popularity endured during the troublesome years of the Depression and World War II. The custom offered escape perhaps at one point in the day from the worries at home and abroad. Today, the “cocktail hour” remains a fixed part of the social scene.
The Volstead Act (Prohibition) was passed by Americans in 1920, and the law was not repealed until 1933-13 long years. It is interesting to note that during that time, however, imbibing was anything but dormant! Home bars became a part of the modern life, from a modest card table to lavish built-in bars fitted with all the necessities for mixing and serving drinks. Of particular interest to collectors are the portable bars. These cabinets were quite compact and doubled as a piece of furniture. They were well suited to restricted living quarters. These bars were usually made of wood and designed either with open or hidden storage compartments for bottles and stemware. The portable bars usually had some space, either on top, recessed or pull out, which could be used for mixing drinks.
While the most affluent hired bartenders or butlers, the middle class host tended his own bar or allowed the guests to serve themselves. The portable bars worked well for small apartments and houses, and they are really no less useful today. French and English import houses offer a variety of styles. Prices are quite reasonable, ranging from $250 to $1,000, depending on condition and detail. Lucky is the one who finds such a bar with all of the original equipment.
A rather large variety of accessories was required to maintain a well stocked and fitted bar to accommodate ones’ guests! Ice Buckets, Cocktail Shakers, Soda Dispensers, Decanters, Tumblers, Stems and Swizzle Sticks were just some of the basics. Such items also hold an interest for collectors. Because “cocktails” were actually a product of the era, the majority of bar ware items usually has some identifying characteristic associated with Deco style. In fact, to many collectors, bar ware is a particular facet of Deco.
While lending a special decor to one’s entertainment center as well as a nostalgic bit of the past, bar ware accessories are often still quite usable. Many items were made either of heavy glass or chrome, both durable with non-rusting properties. Chrome was especially used for
shakers, dispensers and trays. The metal with its shiny mirrored surface adapted well to the modern look. Chrome bar ware made by the Chase Company of Waterbury, Connecticut, seems to dominate the market. Examples are usually marked and prices for Chase pieces are related to the uniqueness of the object.
Wide mouthed cocktail tumblers or stems made in clear glass were fashionable during the early years, but colored glass became popular during the late 1920’s and 1930’s. Ruby red, cobalt blue and emerald or jade green bar glasses are eagerly sought by collectors. American Depression era glass factories contributed assorted items to this category. Colored glass combined with chrome added a smart note to bar ware items, too.
The ingenuity and creativity of bar ware manufacturers is apparent in some of the examples shown in this section. The “global” liqueur set, the “Zepplin” bar, and the “dancing nude” cocktail stem definitely define several of the preoccupations of the era—world communication, speed, relaxed morals and most of all fun! Assembling an entertaining collection of Decor bar ware can be a very enjoyable hobby.

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.

Lead-glazed ware
The earliest British lead-glazed potter) was made in the I0th or the 11th century. Recent evacuations Of sites at Winchester and Stamford have revealed crude and sometimes partially glazed cooking pots, pitchers, and bottles. In the 17th century a more idiosyncratic type of British pottery developed, including the bold slipwares 4 Staffordshire and of Wrotham, Kent. A considerable range of different pottery types were covered in lead glaze; red, buff, or white-bodied clays were covered
a clear or coloured lead glaze similar to that of the Chinese sancai tomb pottery made during the Tang Dynasty (618-907). During the 18th and 19th centuries
Staffordshire emerged as one of the most important ceramics regions of the modern age. All the necessary ingredients for high-quality production were found in
a area: first-rate clays, local supplies of coal to fuel sic kilns, and an extensive waterway system for transporting the finished product.
pitchers, pie plates, salts, tygs (a type of large mug), and dishes. Thickly potted, most wares were boldly decorated with figures, animals, birds, or coats of arms. This latter type remained popular well into the 19th Century, especially on oblong oven dishes. Some fine slipwares have the names of such potters as Thomas Tort (d.1689), Ralph Simpson 1651-1724), and William Taylor (b.c. 1630) prominently displayed in the decoration. Because such documentary wares are very expensive, this type has been faked at least since the latter half of the 19th century.
TORTOISESHELL, AGATE, AND
JACKFIELD WARE
Thomas Whieldon ( 1719-95) is usually associated with the production of tortoiseshell ware, although many potteries in north Staffordshire made similar wares from the mid-18th century. They are distinguished by the use Of translucent coloured glazes, Only partially mixed, or mottled, to produce an effect suggested by their title. Combinations of manganese brown, copper green, and cobalt blue were used on domestic wares or figures. Agate ware differs from tortoiseshell in that,
instead of differently coloured glazes being mixed, it
is made by mixing differently coloured clays to produce an effect similar to hardstones – hence the name. First made c.1740, these salt- or lead-glazed wares were later developed by Josiah Wedgwood (1730-95). The term “Jackfield” has been traditionalIy given to a reddish-brown ware covered in a very glossy black glaze. This type of ware was probably first made in Jackfield, Shropshire, from C.1750, and later produced in many potteries in Staffordshire and elsewhere in the second and third quarters of the 18th century. Production was predominantly of hollow-ware decorated with moulding, gilding, or enamelling.
Slipware
• COLOURED) slips dark brown, tan, and white
• Forms dishes, tygs, puzzle jugs, and chargers
• DECORATION trailing, combing, marbling; designs: heraldic devices, figures, animals, birds, coats of arms
Tortoiseshell, agate, and Jackfield wares
• GLAZES tortoiseshell: mottled green, yellow, white, manganese, and blue; Jackfield: black and very shiny
• FORMS mainly teawares
• SPUR MARKS two or three left by supporting pins on the base of plates during firing
• DECORATION applied motifs, crabstock handles
• COLLECTING cow creamers are very popular
Tobyjugs
• COLLECTING extremely popular area of collecting; Prattware types were made after c.1780; the most desirable are those of the so-called “Ralph Wood” type; the most typical and popular figure is the “Tope”