Posts Tagged ‘world war ii’

The late 1920s saw the emergence of a Modern movement” of innovative American furniture designers. Inspired by European immigrants, including several key members of the Bauhaus, they explored new materials such as tubular metal. American Modernism was relatively small-scale, but it set the stage for a generation of industrial designers who from the mid-1930s reshaped interiors with enormous flair.
American Art Deco furniture falls into three broad categories: commercial copies of formal French pieces in exotic wood veneers and inlay; innovative and avant-garde work, which was never produced in large quantities and is scarce today; and industrially produced, mostly metallic and laminated wood furniture, based loosely on Bauhaus concepts. Produced from the 1930s until after World War II, this third category is much collected today.
PAUL T. FRANKL
Frankl (1886-1958), an Austrian architect and engineer, emigrated to the USA at the outbreak of World War I. He began designing and manufacturing furniture in New York City c.1920, working in a traditional European formal style. By the mid-1920s he was designing economical, compact, practical, modular furniture, inspired in part by the architect–designers Walter Gropius (1883-1969) and Le Corbusier (1887-1965). The best Frankl furniture (1925–c.1930), produced Linder the tradename “Skyscraper”, was inspired by the evolving New York skyline. Bookcases and tall cabinetry of stepped, rectilinear form are typical, often with a black, red, or pale-green lacquer finish with silver-leaf edging. Natural woods, including California redwood and oak, were also used, with a red, black, or silver trim.

Dressing tables, desks, and mirrors arc also found, often with mirrored-glass tops or shelving and Bakelite drawer-pulls, which suggest a slightly later date. Bookcase cabinets usually have simple wooden pulls. Skyscraper furniture was designed to be economical, and standards of cabinetry are basic.
During the inter-war years Oriental interiors were extremely fashionable in the USA, and Frankl produced lacquered furniture such as dining-chairs, cocktail bars, dressing-tables, and small tables, usually in black, pale green, or red with gold- or silver-leaf details, sometimes with brass fittings. This furniture is less popular than the Skyscraper range, because collectors prefer pure, Modernist lines, particularly if they evoke the works of the Dutch
painter Piet Mondrian, who was
also inspired by mid-1920s New
York architecture.
DONALD DESKEY
The designer Donald Deskey
(1894-1989) collaborated with Frankl during the late 1920s,
designing screens and large
cabinetry in lacquered and metallic-leaf finish with vivid, jazzy
decoration featuring zigzags. He also produced more mainstream designs for numerous other American manufacturers, working mostly in hardwood veneers. He is best known as the principal interior designer for New York’s Radio City Music Hall,
which preserves many of his pieces in situ. Pieces with Radio City provenance occasionally appear on the market and are eagerly sought.
Between 1927 and 1931 Deskey worked in partnership with Phillip Vollmer, designing furniture in Bauhaus taste, made of metal and glass, sometimes together with Bakelite and cork. Most of Deskey’s work is unsigned, but his designs are well recorded in contemporary catalogues, and many specialist dealers in the USA recognize them.
FRANK LLOYD WRIGHT
Frank Lloyd Wright (1867-1959) is one of the best-known and most influential American architects and designers. Any designs attributed to him command a premium, particularly the Modernist oak creations from the first decade of the 20th century. However, his later post-war commercial furniture, mostly oak and maple tables and low, horizontal seating, is currently of little more than decorative value.
Most of Wright’s work cannot be considered Art Deco, but some of his furniture of the inter-war years appeals to Art Deco enthusiasts. The best examples were designed for Wright’s residential buildings, and are therefore extremely scarce. Pieces for commercial interiors were made in larger numbers and are more common today. Enamelled metal furniture, such as that made for Wright’s S.C. Johnson Administration Building (Wisconsin) in 1937, and several types of wooden chair are relatively common on the market.

THE CRANBROOK ACADEMY OF ART
In 1925 the Finnish architect Eliel Saarinen (18731950) began work on the Cranbrook Academy of Art in Bloomfield Hills, near Detroit, Michigan. In 1932 he became president and art director of the academy, serving there until his death. The building retains many of the original furnishings that he designed.
In most of Saarinen’s designs a formal, Scandinavian influence is evident in the elegant lines and relatively small scale, although some are comparable to the more organic style of the Wiener WerkstRte designer Dagobert Peche (1887-1923). Saarinen preferred rich wood veneers and natural materials, which he sometimes Used in combination with steel or polished metal.
The Cranbrook Academy, like the German Bauhaus school, is best known for its influential alumni. The most celebrated Cranbrook graduates from the 1930s are Florence Knoll (b.1917), whose name appears on much American Modernist furniture made under her direction; Charles Eames (1907-78), who designed laminated wood, leather, and fibreglass furniture for the Herman Miller Co. and others from the late 1930s; and Eero Saarinen (1910-61), Eliel Saarinen’s son, who collaborated with Eames as well as pursuing an independent career as both an architect and a furniture designer. Popular designs were produced over several decades (some are still made); earlier pieces can be identified by tags and generally higher-quality craftsmanship, as well as by wear and tear. Followers of Eames whose work is of interest to collectors include Gilbert Rohde (1894-1944), who designed Bauhaus-influenced tubular steel furniture produced by the Herman Miller Co., and George Nelson (1907-86).
OTHER AMERICAN ART DECO FURNITURE During the 1930s, American Modernism took root throughout the USA, partly because so economical a style of design was appropriate to a country in the grip of the Depression. Leading designers include Russel Wright (1904-76), Walter Dorwin Teague (1883-1960), and Raymond Loewy (1893-1986), who all specialized in industrial-style commercial products and lighting, using new materials such as aluminium, chrome, and plastic. Karl Emmanuel Martin (”Ke”) Weber ,1889-1963) studied under Bruno
Paul in Berlin before moving to California in 1914. He designed both individually commissioned and mass-produced furniture, typically in laminated wood, chromed metal, and sprung steel.
The architect Eugene Schoen 1880-1957) designed elegant furniture in Modernist materials including glass and nickel. Examples of tubular steel furniture influenced by the
Bauhaus include -pieces designed by Wolfgang Hoffman (1900-69), son of the famous Austrian designer Josef Hoffman (1870-1956), during the 1930s. Prestigious firms included John Widdicomb, Johnson Furniture, and Barker Brothers Furniture Co., all in Los Angeles, and S. Karpen of Chicago, all of which employed leading designers.

Paul T. Frankl
•    COLLECTING rarely found outside New York City; Oriental style is less popular than Skyscraper; collectors prefer signed pieces in unrestored condition; surface restoration is common as decoration is easily worn
Marks
Authentic Skyscraper pieces are stamped “SKYSCRAPER FURNITURE, Frank) Galleries, 4 East 48th Street, New York”
Donald Deskey
•    VALUE interesting provenance, such as Radio City Music Hall, adds greatly to value
•    COLLECTING Deskey-Vollmer signed pieces are more desirable than Deskey’s later, traditional designs; vivid, jazzy designs are very collectable – beware of fakes
Marks
Some pieces of Deskey-Vollmer have a metal tag
Frank Lloyd Wright
•    COLLECTING Art Deco style is less valuable than pieces from c.1900 to 1910, but more valuable than post-1945 pieces; original condition is all-important; provenance from notable interior schemes adds greatly to value
Marks
Wright furniture is rarely marked, but is well documented and easily identifiable through style
Saarinen and The Cranbrook Academy of Art
•    COLLECTING Saarinen: designs are scarce but well documented; Eames: very collectable, particularly early work
Other designers
•    COLLECTING identifiable pieces by lesser-known American designers are rare but still not greatly sought after; provenance is important in determining value; commercial furniture is less valuable than domestic
Marks
Pieces are rarely signed by the designer but may bear a maker’s or retailer’s mark; Weber pieces may bear a tag from Lloyd Manufacturing Co.

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.

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).

Nabeshima and Hirado
NABESHIMA
The porcelain of Nabeshima (named after the ruling clan) was made at Okawachi, north of Arita, probably from the latter half of the 17th century until c.1870, exclusively for the ruling shogun and feudal lords. As this ware was the preserve of the aristocracy, little of it except “kiln wasters”, or seconds, would have reached the West before the late 19th century. A few examples have been sold at auction since World War II (including some of questionable date). Apart from a few pieces of hollow-ware – bottles, vases, boxes, and censers –most surviving items are dishes. In that category the majority are saucer dishes with exceptionally tall foot-rims (over 1.2cm high); the remainder are small pieces of various shapes.
Nabeshima ware is arguably the most refined of all pre-19th-century Japanese porcelain. The decoration is imaginative, timeless, and meticulously executed. The most popular themes are seasonal flowers or wintry trees, sometimes combined with underlying or juxtaposed patterns, which may be derived from waves, Chinese trelliswork, or basketry. This type of decoration could only have been
achieved by using a stencil or some kind of transfer-printing technique. For example, the repetitive geometric pattern called “calm-water” (seigaha) shows no evidence whatsoever of individual strokes, with their inevitable variations in intensity. Designs are often entirely outlined in underglaze blue with enamel infilling of iron red, turquoise, yellow, pale manganese, and black detailing, in a technique that recalls the doucai
porcelains dating from the early Ming period in China. The glaze is of a soft, pale, greyish-blue tone.
A feature of the characteristic Nabeshima saucer dishes is the underglaze-blue decoration on the
tall foot, which is found on most
pieces. The decoration consists
of a continuous band of
elongated “teeth” resembling
a comb, known as kusitakade.
The underside of the rim is
usually painted with beribbonec
coins (known as “cash”), clump
of formal flowers, or undulating foliage. Like much Nabeshima ware, saucer dishes tend to be decorated in colours, as this was
more desirable than the standard blue.
HIRADO
Some of the earliest Japanese blue-and-white porcelain was produced at Hirado, near Arita, toward the beginning of the 17th century. Production at the sites of Kihara and Nanko was made possible through the employment of immigrant Korean potters. The later wares, from another site at Mikawachi where production is thought to have begun c.1760, are the most familiar. These wares, either white or blue and white, were made from the very pure clay from the island of Amakusa, allowing the most intricate modelling and refined potting.
Production consisted of censers, brushpots, jars, vases, bottles, teawares, bowls, and dishes. From c.184( some of the larger pieces were applied with dragons or shi-shi (a depiction of the Buddhist lion) as either handles or knops. Other pieces were moulded in shallow relief with isolated flower-heads, symbols, or trellis. Blue-and-white wares were sensitively painted in a slightly blurred underglaze blue of varying tone. The most popular themes are children at play or vertiginous landscapes, but birds and large botanical subjects were also used. Border embellishment is invariably small and includes pointed leaves and pendant tassels.

Nabeshima
• BODY virtually flawless
• POTTING thin and always very neatly executed
• GLAZE subtly grained; a soft, bluish appearance
• PALETTE usually polychrome – underglaze blue, iron red, yellow, turquoise green, pale manganese/tan, and, very rarely, black
• FORMS mainly flatwares; saucer dishes
• DECORATION natural subjects
Hirado
• BODY pure white with an “icing-sugar” texture
• GLAZE a soft, bluish hue
• PALPATE either white or blue and white
Marks
Nabeshima wares arc never marked; Hirado wares are sometimes marked with the place of manufacture, occasionally with the potter’s or decorator’s name, or, most rarely, with a date