Atomic Age furnishings exude optimistic energy

NEW YORK – Through the Atomic Age, from the late 1940s through the 1960s, developing nuclear power, atomic science and the space race inspired out-of-this-world interior design. Its stylized, instantly recognizable cosmic shapes and motifs endowed utilitarian objects, large and small, with bursts of futuristic, optimistic, peacetime energy.

Millions of kitchens, against a background of steel cabinets and Formica countertops, boasted bright walls, ceramic coffee mugs and soap dispensers patterned with whizzing rockets or dynamic galaxy decorative touches. Others, inspired by structure of the atom, depicted orbiting atomic particles.

Sunbeam atomic clock with circular pink and gold glass face, marked, 16in. diameter. Realized $100 + buyer’s premium in 2005. Image courtesy of Rago Modern Auctions and LiveAuctioneers

Drinking glasses, serving plates and Melamine dinnerware often featured colorful star bursts. Delicate, organic, spidery plant forms and amoeba-like free forms, reflecting strides in x-ray and microscope technologies, adorned place mats and table cloths. Boomerangs, another popular Atom Age motif, not only mirrored magnified bacteria. Used as stylized arrows, they symbolized directional energy fields, capturing movement.

1950s Modern upholstered screen covered with 1950s fabric printed with boomerangs and rectangles in red, blue-green and chartreuse on light gray ground, with steel legs. In as-found condition (stains and tear to fabric). 65¾in. x 58½in. Realized $125 + buyer’s premium in 2004. Image courtesy of Rago Modern Auctions and LiveAuctioneers

Bold, aluminum, atomic-inspired lamps graced millions of homes across the country. Desk and ceiling “flying saucers,” which feature gently rounded metal domed shades, were not only popular, but easy on the eye. So were minimalistic floor models, perched precariously on spindly gooseneck, tripod or “cricket” brass legs. Pole tension lamps, whose adjustable cone-shaped shades created focused spots of light, were also great favorites.

Pierre Guariche brass and enameled metal table lamp with adjustable shade, 20in. x 10½in. Realized $1,100 + buyer’s premium in 2006. Image courtesy Rago Modern Auctions, LLP and LiveAuctioneers

In contrast, airy, light-hearted, “bubble” table and ceiling lamps offered warm, soft, diffuse – yet abundant – radiance. George Nelson, for example, coaxed their malleable steel-wire frames and translucent white plastic or sprayed resin into fanciful pear, globe, cigar and elliptical shapes. Gino Sarfatti designed bubble pendant lamps featuring transparent, richly textured, handcrafted Murano glass globes. Angelo Lelli created nickel-plated brass and steel ceiling lights whose radiating branches, tipped with frosted glass spheres, look, for all the world, like planets in orbit.

Angelo Lelli, Arredoluce Stella Chandelier, nickel-plated brass and steel, frosted glass, signed with manufacturer’s label, ‘Made in Italy Arredoluce Monza,’ circa 1950, 51in. diameter, 8½in. high. Realized $19, 000 + buyer’s premium in 2017. Image courtesy Cottone Auctions and LiveAuctioneers

Three years after Russia’s earth-shattering launch of the Sputnik space satellite, the Sputnik chandelier reached the market. This opulent starburst creation, featuring central spheres with multiple radiating prongs fitted with glowing light fittings, was a favored décor of the day. So was the Sputnik-like dandelion sphere, whose myriad glass blossoms or spiked pinpoints of light evoke their namesake. These high-end, Atomic Age decorative statements were sculptures by day, supernovas by night.

Atomic-inspired table and wall clocks also made dramatic decorative statements. Though all essentially performed the same function, they differed in shape and style. Some bear flat conventional flat faces bright with random atomic motifs. Some, bearing numerous, slender, outstretched arms radiating from round, conventional, central clockworks, resemble cheery sunflowers or sunbursts. Ball wall clocks, which feature circular centers spiked by slender shafts tipped with brilliantly hued balls, indicate time by position rather than by number. Rare models, like George Nelson’s ovoid “Eyeball,” which resembles its name and his striking wooden, watermelon-shaped ones, are particularly desirable.

Bubble Lamp, George Nelson (1908–1986) for Herman Miller, Zeeland, Mich., 1960s
sprayed resin, steel, clear label, 18in. diameter x 16in. high. Realized $250 in 2015. Image courtesy of Toomey & Co. Auctioneers and LiveAuctioneers

During this era, designers also produced Atomic-Age inspired furniture. Some pieces, like Adrian Pearsall’s sculptured Gondola sofa, along with scores of anonymously designed coffee tables enhancing middle class living rooms, resemble boomerangs.

Others, rather than embodying atomic motifs, utilize exciting, postwar, state-of-the-art materials. Nelson’s whimsical Marshmallow sofa, for example, features comfy cushions “floating” atop tubular steel frames. Harry Bertoia’s nature-inspired, sculptural Diamond, Butterfly and Bird chairs are wrought from bent, welded, transparent steel wire grids.

Charles and Ray Eames, Side chairs, circa 1960, enameled steel wire, Naugahyde, model no. DKX-1, Herman Miller, retains manufacturer’s label. Realized $1,000 + buyer’s premium in 2013. Image courtesy of Los Angeles Modern Auctions and LiveAuctioneers

Charles and Ray Eames’ sleek, curvy, stools, rockers and tables are fashioned from pliable plywood. These, as well as their celebrated, molded, Fiberglas chairs, realized in shades from neutral to vibrant, ultramodern orange, yellow and blues, have remained popular for decades.

Most Atomic Age pieces at auction, which were acquired from original users, were not only well used, but well loved. Today too, many appreciate their pleasing visual appeal infused with optimistic energy.

Blue Staffordshire: timeless elegance in deep, rich hues

NEW YORK – Thanks to the plentiful availability of clay, salt, lead and coal in the area, Staffordshire, England became a bustling center of ceramic production starting as far back as the early 1600s. Hundreds of firms make all manner of pottery, from tableware and decorative pieces to more industrial items. Earthenware, stoneware and porcelain were all produced in huge quantities and Staffordshire became a major innovator of bone china, jasperware, transfer printing and glazing.

Staffordshire had a major advantage over other potteries of the day: it was the strongest in the middle and low-price ranges (although fine and expensive types were also made). It was the affordability factor that helped propel North Staffordshire to the largest producer of ceramics in all of Britain by the late 18th century, even though there were many significant centers elsewhere. Starting in the 1800s, large export markets took Staffordshire pottery literally around the world.

Historical blue Staffordshire ‘New York Heights from Near Brooklyn’ platter, 19th century, by A. Stevenson, with repaired rim, 12¾in x 16¼in, est. $150-$250, sold for $1,200 at an auction held Oct. 21, 2017. Image courtesy Nadeau’s Auction Gallery and LiveAuctioneers

Blue Staffordshire is what caught on most quickly with the buying public, for its deep, rich color and gorgeous, intricate patterns. Flow blue was a style of white earthenware that originated in the Regency era, sometime in the 1820s, also in Staffordshire. The name was derived from the blue glaze that blurred or “flowed” during the firing process. Most flow blue could be categorized as transferware, as the decorative patterns were applied with a paper stencil to white-glazed blanks.

“Blue and white is a timeless combination that will be popular in perpetuity, for its classic elegance and versatility,” said Pam Briggs, a pottery and porcelain specialist with Leland Little Auctions in Hillsborough, N.C. “The blue transferware styles adopted by makers like Staffordshire in the 18th and 19th centuries made finely decorated tableware accessible to an ever-growing middle class.”

Group of flow blue tableware, Staffordshire, England, 19th century, three tea bowls, a covered sugar, three saucers, a low bowl, three plates (two decorated in the Sheltered Peasant design). Eleven pieces total. Largest plate 10¼in diameter, sold for $240 at an auction held Aug. 4, 2018. Image courtesy Leland Little Auctions and LiveAuctioneers

Briggs added, “Traditional designs have lost some popularity in the past 15 years but have recently made a comeback as consumers begin to incorporate classic elements in their home décor to soften other, more modern pieces. The blue Staffordshire pieces that command the highest prices, and are most likely to hold value, are those with historical interest, like ones that depict a landmark building or scene, or those that evoke a personal connection with buyers.”

The multi-cultural element that went into the development of blue Staffordshire was explained by Tom Curran of Litchfield Auctions in Litchfield, Conn. “There’s a reason it’s called royal blue, particularly in England,” Curran said. “Historically expensive, the pigments were originally from the Middle East and used to decorate pottery with classic Islamic motifs, then perfected by the Chinese with their discovery of porcelain. Added to the enormous risks and expense of the early China trade was the closely guarded secret of porcelain.”

Lot of 15 blue Staffordshire dinner plates English, circa 1800. Clews, Adams, Wood, Stubbs & Kent, Longport and others, ranging in diameter from 9¼in to 10½in, est. $600-$900, sold for $700 at an auction held Oct. 13, 2016. Image courtesy Litchfield Auctions and LiveAuctioneers

He went on, “So, blue and white ceramics just screamed class and wealth and we saw the Dutch first copying the Chinese with primitive pottery imitations from Delft. In the 19th century, English potteries in Staffordshire found a huge demand among the general population for affordable imitations of the fine porcelain owned by the upper classes, with blue and white remaining the standard. Even when porcelain and bone china became more common and affordable, the charm of antique Staffordshire made it appealing to 20th century antique collectors for their mantels, china cabinets and plate racks.”

Not today though, Curran remarked. “Antique Staffordshire often has minute chips, crazing and knife scratches, isn’t dishwasher or microwave safe and screams ‘grandma.’ So, collections built over the years have plummeted in appeal and value contrasted with decorative blue and white Chinese ceramics still warm from the kiln stepping in at Walmart and T.J. Maxx prices.”

Historical Blue Staffordshire Soup Bowl the Beach at Brighton with Shell Border, 9¾in diameter, in very good condition, est. $50-$100, sold for $550 at an auction held Nov. 7, 2015. Image courtesy Conestoga Auction Co. (division of Hess Auction Group) and LiveAuctioneers

In his experience, Curran concluded, “It’s unusual subjects and the earliest examples of American historical or commemorative subjects that still sell decently – John Paul Jones, the Boston Massacre, General Lafayette. While the prices aren’t what they were, they’re still terrific examples of the creativity and marketing reach of the Staffordshire potteries of the 19th century.”

Joseph Perron of Merrill’s Auctions in Williston, Vermont, said the intense blue hues of early Staffordshire held an appeal for both collectors and decorators alike, one that endures today. “Whether it be a small arrangement of blue Staffordshire items on a wall or a shelf, or a large collection in a cabinet, their rich colors can have a truly dramatic effect in a room,” he said.

Circa 1819-1835 deep blue historical Staffordshire porcelain plate with transfer decoration titled ‘America and Independence’ showing scenic landscape and Washington memorial cartouche, surrounded by festoon bearing the names of 15 states, 8¾in diameter, est. $100-$200, sold for $175 at an auction held June 21, 2019. Image courtesy Duane Merrill & Co. and LiveAuctioneers

“Also, despite massive quantities of this type of ware being exported to the American market in the 19th century, due to the delicate nature of the porcelain, it is quite remarkable that any of it survives, which makes it all the more coveted by collectors. The combination of the potter’s art combined with the skill of the printmaker executing the transfer designs also broadens the appeal of this type of porcelain. Strong visual themes delight the collector, and detailed depictions of historic events appeal to those seeking a greater understanding of the past.”

As most of the best examples of blue Staffordshire are now in public and private collections, Perron believes the opportunity for discovery of unknown or scarce examples becomes rare, so collectors will compete more for the best examples when they come to the market. “However,” he said, “condition and subject matter will continue to be important drivers of demand. Unusual forms and scenery will continue to demand increasing prices, but more average examples with heavily floral decoration may stagnate.”

English dark blue Staffordshire soft paste pitcher with repair to rim, 7½in tall, est. $100-$200, sold for $110 at an auction held April 22, 2014. Image courtesy William Bunch Auctions and LiveAuctioneers

Perron added, “We see collectors particularly interested in pieces with fantastical depictions of quadruped animals because they’re flamboyantly graphic and employ an endearingly naive sensibility about what was considered ‘rare’ and ‘exotic’ in the 19th century. The historical scene decorated pieces were produced in less quantity than the more typical wares to begin with, so their desirability by collectors will continue to increase. It seems that this type of porcelain is an exception to many other ceramics in that it will continue to hold appeal to both older and younger buyers.

Production of blue Staffordshire, which had already begun to decline in the late 19th century, took severe hits during and following World Wars I and II. Some production in the area still continues to this day, but only a fraction of what it was during its peak years and heyday.

Treenware: the natural ‘green’ collectible

NEW YORK – One can look at a large tree and see its natural lines spoiled by a somewhat cancerous growth along the base or trunk that we would call a knot. Yet, to a woodcarver, this deformity hides lovely, durable bowls, tureens and containers.

Today this knot or burl and wood objects in general are known as treenware (loosely “of the tree”). Early examples are now collectible art, but it wasn’t always that way. Wooden bowls, cups, utensils and storage containers were household necessities throughout the millennia, mostly because wood was the only affordable and plentiful resource around. Woodworking has been found in China, ancient Egypt, early Rome, and as far back as the Neolithic period 12,000 years ago.

The bulging growth on a tree trunk is call burl, in which the grain has formed in a deformed manner. Wood turners shape burl into bowls and other useful and decorative pieces.
Image courtesy: Evelyn Simak photo. This file is licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license.

By the 1600s, though, most of the old growth forests in Europe were long depleted to meet the needs of a growing population. With a population of the known world at about 580 million, wood was a main source of building, heating, shipbuilding and domestic implements. Wooden bowls made from burl, for example, were hard to find and not an everyday household item for everyone. The Age of Exploration of the 15th to 17th centuries helped change that. The New World, once discovered, provided not only expansive new territory but also a much needed resource – trees.

Colonial America

That was certainly a welcome surprise when Colonists first landed in the Americas of the early 17th century. There was an overwhelming abundance of old growth trees and virgin forests of every variety of hard and soft woods. Needing household cooking and working implements, the new Colonists relied on the skills of Native Americans for their first set of treenware because woodworking was a skill most early Colonists did not possess.

This 18th century New England Native American trencher bowl made of an elm burl sold in February 2018 for $2,100+ the buyer’s premium. Image courtesy of Thomaston Place Auction Galleries and LiveAuctioneers

Native Americans had perfected the skill of carving their wooden household necessities. Bowls made from hardwood burl utilized a long process that included using fire to shape a burl bowl, then patiently smoothing it with a hard shell, beaver tooth or smooth stone. Later, woodturners, the most familiar of European woodworkers, would join the Colonies who specialized in turning bowls on pole and treadle lathes, a method unknown to the Native Americans, but most familiar to Europeans for nearly 2,000 years. The skills for learning how to fashion bowls from burl, though, had to be learned by the Colonists over time, so trading for the more highly skilled Native American burl and wooden items predominated for most of early America.

Peaseware

By the middle of the 19th century American craftsmen forged their own identities and specializations. The Native Americans had long stopped hand carving bowls and other wooden treenware and instead used the tools traded with the early Colonists such as axes, knives, adzes and other metalware to continue creating their own distinctive styles.

Peaseware is more basic and utilitarian without elaborate decoration. This 19th century lidded canister with handle sold for $1,400+ the buyer’s premium in 2009. Image courtesy: Pook & Pook Inc. and LiveAuctioneers

One such craftsman was David Mills Pease of the Cascade Valley of northeastern Ohio. Beginning about 1850, his woodturning skill produced the everyday useable lidded and unlidded household items to store grain, seeds, salt and general cooking implements. Natural, unadorned, practical and stable, Peaseware, as it is known, is usually turned and varnished maple, but sometimes combined with other woods. They were always more functional than decorative and made to last for generations. By 1876, Peaseware could be found at world’s fairs and international expositions until about 1906.

Lehnware

More distinctive treenware was created about the same time by Joseph Lehn in Lancaster County, Pennsylvania. What’s particularly noteworthy about Lehnware, as it is known, is that it is quite decorative. Lehn was a wood turner, cooper and furniture maker by trade but by 1856 or so was being recognized by his elaborately designed treenware.

Turning boxes, cups, barrels, buckets, kegs and barrels wasn’t quite enough. Lehn decorated them in patterns of strawberry, pomegranate and floral decorations using yellow, blue, red, green and salmon colors. All had a repeated sequence and were uniquely hand-painted and at times, had decals added.

A colorfully painted Lehnware eggcup exhibits the floral motif associated with Joseph Lehn. It sold for $2,900+ the buyer’s premium in 2010. Images courtesy: Conestoga Auction Company and LiveAuctioneers

Lehn died in 1892 at the age of 94, but his distinctive style of treenware survives as collectibles today. Some of his later pieces bore a paper label that read: “Made by Joseph Lehn in his 91 year Jan. 1, 1889.”

Other Artists

Peter Stauffer was a neighbor of Joseph Lehn and made blanket chests with similar decorations as Lehn. William Carl Heilig turned cups and saucers as well as chests and chairs. He may have signed his work “Wm. C. Heilig Ephrata” in the same period as Joseph Lehn. Robert F. Lausch of Ephrata, Pennsylvania, continued the turning and decorating of boxes in the Lehn tradition in the 1960s, 100 years later.

This Northwest Coast-style grease bowl carved from cedar, 4in. x 13½in. x 6½in., is attributed to Edward Saburo Ohashi (1931-2010 American). Similar carved effigy bowls have been faked. Image courtesy of MBA Seattle Auction and LiveAuctioneers

Treen Can Be Faked

Vintage treenware is difficult to date, according to Steven Powers in his book North American Burl Treen: Colonial & Native American. “Exact dating can almost never be attained with treen,” Powers writes. “Our best gauge for dating treen is dating it to like forms in other materials that have a known date … [and so it] becomes quite instinctual or more of a feeling.”

Because of this, many early Native American burl bowls have been modified to attract more buyers at auction such as adding handles or figures into the bowls or other native treenware. Additional carvings are noticeable because the wear would be quite different, for example. Powers suggests that most faked Native American treenware at auctions are the carved effigy bowls that are carved too thin and rounded at the bottom which is not usual. Other small footed bowls have been made in China and Tibet made of ash burl and claim to be early Native American treenware, but a well-trained eye can notice the discrepancies of added carvings and unusual use of nonnative woods.

A close-up view of the finished surface of maple burl shows its irregular figuring.
Images courtesy: LiveAuctioneers

A ‘Green’ Collectible

Treenware handcrafted or turned from burl or any wood wasn’t usually as long-lasting as the metal pots, pans and other implements that were more the norm in the industrial age. But for the early Colonists and Native American communities, treenware was plentiful, strong and dependable. Only later would treenware become more decorative, artistic and collectible and yet still maintain its ability to be useful for generations to come. What could be more “green” than that?

Getting hooked on folky rugs

NEW YORK – Hooked rugs have been described as the comfort food of antiques with collectors coveting them for their artistic qualities and homespun nature. Rug hooking dates back several centuries and ranges from simple rugs hooked out of fabric scraps by thrifty crafters or elegant designs.

Hooked rugs come in all sorts of designs from abstract and geometric to whimsical and floral. Karen Swager, decorative arts and textile specialist at Brunk Auctions in Asheville, N.C., says that elaborate floral wreaths and bouquets, farm scenes, cats and dogs are common motifs in the designs of hooked and sewn rugs.

A rare hooked and shirred floral rug, circa 1860-80, possibly Maine, made $25,000 in March 2010 at Brunk Auctions. Photo courtesy of Brunk Auctions and LiveAuctioneers

“Lions became a popular theme with hooked rugs due to the peddler Edward Sands Frost (1843-1894) who created an industry of stenciled rugs patterns,” she says. “There are few examples of people on 19th and early 20th century rugs. The most well-known hooked rugs with people were designed by James and Mercedes Hutchinson in the mid 20th century.”

Kimberly Smith Ivey, senior curator of textiles at Colonial Williamsburg Foundation in Williamsburg, Va., said rug-hooking techniques originated in North America, specifically Maine, and grew from their 19th century origins to become a national pastime. The Abby Aldrich Rockefeller Folk Art Museum, part of Colonial Williamsburg, presents the 2018-20 exhibition “Folk Art Underfoot: American Hooked Rugs”  surveying the art of hooking and sewing rugs, featuring some 20 hooked and sewn rugs.

“By the early 19th century, sewn rug work was among the special sewing projects a young schoolgirl could create while attending one of the many day or boarding schools that specialized in sampler making, wool embroidery and other female accomplishments,” she said. Jan Whitlock, in her 2012 book American Sewn Rugs: Their History with Exceptional Examples, notes that 40 schools advertising rug work had been identified. Several schools as far south as Virginia also included rug work in their curriculum.

This early 20th century ice skating hooked rug sold for $7,000 in January 2019 at Brunk Auctions. Photo courtesy of Brunk Auctions and LiveAuctioneers

Among notable areas known for hooked rugs is the distinct style of hooked rug that originated in Waldoboro, Maine, a shipbuilding community originally settled by German immigrants.

“The rugs are characterized by a deep pile that is clipped and sculptured creating a design that stands out from the background,” Smith Ivey said. “The finest Waldoboro rugs were crafted between 1860 and 1880 and were intended as decorative showpieces rather than floor coverings to be walked upon. Today, hooked rugs with raised motifs are referred to as Waldoboro-types, whether they are actually made in Waldoboro or not.”

Hooked rug attributed to Lucy Trask Barnard (1800-1896), Dixfield, Maine, circa 1850; wool and cotton on linen. Photo courtesy of the Art Museums of Colonial Williamsburg/Joseph and Linda Caputo Collection

The most desirable rugs are ones that showcase the inventiveness and artistry of the maker, Swager says, noting that whimsical designs featuring animals are very sought after. In March 2010, Brunk Auctions sold the collection of prominent collector Tom Gray, including a number of fine hooked and sewn rugs. Among them was a bias shirred rug with a whimsical farm animal scene that hammered at $30,000.

“Some collectors also seek rugs made with a distinct technique. For example, bias shirring, where fabric strips are cut on the bias and stitched to the foundation lengthwise in the center of the strip, is one of the most time consuming and difficult techniques of rug making. This technique also allows for subtle shading and the incorporation of wavy designs that can enhance the artistry of the rug.”

A folk art pictorial hooked rug depicting a portrait of lamb amid geometric designs earned $10,000 in January 2017 at Hyde Park Country Auctions. Photo courtesy of Hyde Park Country Auctions and LiveAuctioneers

Smith Ivey explains that designs for early sewn and hooked rugs echo motifs found in other home furnishings including woven rugs and quilts.

“Rug makers found inspiration in published sources as well as in the details of everyday life,” she says. “Houses, birds, floral arrangements, and animal motifs, especially household pets, were the most popular designs. During this period, house cats were a major family pet and the most popular design for hooked rugs. Geometric patterns, which are the easiest designs to draw and produce in a rug, are also common.”

She said four hooked rugs created by Lucy Trask Barnard (1800-1896) in Dixfield, Maine, between 1850 to 1860 are some of the best and most striking forms of hooked rug work for a number of reasons.

“First, it is rare to find a rug with a known maker. Four hooked rugs attributed to Lucy Barnard feature a large white house on a hill with attached outbuildings,” she said. “Her rugs display an unusual sophisticated awareness of perspective through the use of oversized flowers in the foreground and two-sided buildings. Landscapes such as these require greater skill and appear less frequently than floral and geometric patterns.”

Hooked rug, New England, 1875-1925, wool and cotton on burlap (jute). Photo courtesy of the Art Museums of Colonial Williamsburg/Joseph and Linda Caputo Collection

Highly collectible today are Grenfell hooked mats, which became a cottage industry in Newfoundland and Labrador in the first half of the 20th century. Dr. William Grenfell established “the industrial” to help provide a source of income for the local women, Swager says. “Designs for the mats were inspired by regional scenes and animals. Polar bears, owls and winter landscapes are found on a number of Grenfell mats.”

While the market for hooked rugs has softened a bit in recent years, the best and most artistic examples continue to bring strong prices while the beginning collector still has the opportunity to enter the field at affordable prices.

Some of the attributes that collectors should consider, Smith Ivey says, include:

  • Condition: Does it have its original binding? Are the colors bright or faded?
  • Materials: Is it worked on burlap, which degrades easily and indicates a later date? Is it worked on cotton or linen, which are more stable ground fabrics and indicates an earlier date? Are there mixtures of fibers in the pile that create interesting textures?
  • Design: Is the design original to the maker, and if so, is it an important expression of American imagination and ingenuity? Is the pattern derived from a published design? Did the maker customize the publish pattern to express some of her personality?
  • Maker: Is the maker of the rug identified? Does the rug have a known provenance? Is it dated or signed in any way?
  • Technique: Is it hooked or is it an example of a sewn rug, such as yarn-sewn, bias shirred; chenille shirred, or patch? Are different hues of one color used to create a shading effect?

Arts & Crafts Design: Useful and beautiful

NEW YORK – Can decoration coexist with usefulness? The Arts & Crafts movement answered that question by insisting that everyday products from homes to furniture be well designed, functional and aesthetically pleasing in an understated way.

The principles that inspired Arts & Crafts design harkened to an earlier agrarian society that focused on home, farm and family. Simplicity and necessity was more important than decoration. Food was homegrown, and clothing, furniture, tools and housing were created by hand. Mass production was limited to the sawmill, the granary and guilds of skilled craftsmen. It was a life of labor and often hardship.

American Arts and Crafts glazed earthenware vase designed by Harold Hals for Teco pottery, model 259, circa 1900-1904, covered in a matte glaze, 13¼in. high. Realized: $25,000+ buyere’s premium in 2013. Clars Auction Gallery image.

Economists agree that the shift of textile production from India to Great Britain by the 1780s began a strategic economic realignment away from a socially cohesive agricultural community to an industrial one focused only on production and dislocation. Once large-scale mechanization of textiles took hold, for example, it was felt that overall quality from the high standards of meticulous craftsman was replaced with sometimes pleasing but low-quality mass production. It was not altogether a positive trend and workers and craftsmen became more vocal about their displacement by machinery.

Rare Gustav Stickley chandelier no. 730, Eastwood, New York, circa 1904, hammered wrought iron and amber glass. Realized: $25,000+ buyer’s premium in 2014. Rago Arts and Auction Center image

It was the Great Exhibition of 1851 in London, considered to be the first world’s fair, that highlighted what was considered poor quality, overly decorative and unimaginative design elements. Instead, the exhibition provided the motivation for a movement to refocus design and decorative arts with a return of craftsmanship to its medieval roots of simple forms using high-quality materials created with handmade precision. In time this artistic and social philosophy would be known as the Arts & Crafts Movement.

The beginnings in Great Britain 1860s

By the 1860s, writer John Ruskin focused his social commentary on the appalling social and economic conditions brought on by the early Industrial Revolution. Architect Augustus Pugin lamented the trend to overdecorate buildings, homes and structures. At the same time designer William Morris felt that function should not be overshadowed by intricate and dramatic design flourishes in furniture, metalwork, glassmaking and the decorative arts.

Arts & Crafts copper box with attribution to Frank Marshall, 1 7/8in. x 5¼in. x 4in. The cover has an enamel over copper inset depicting a pair of peacocks. Realized: $2,700+ buyer’s premium in 2016. Humler & Nolan image

Together the collective philosophy from these earlier reformers insisted that craftsmanship can be accomplished without the social and economic upheaval of the large-scale manufacture. And it was effective. Within a generation, guilds formed throughout the United Kingdom and Europe espousing simpler forms, a focus on the artist and direct participation by the workers themselves, all without the intervention of mass production methods.

Movement to the United States 1890s

Although the Arts & Crafts Movement in Europe was followed in the United States throughout the 1880s and 1890s, it wasn’t until 1897 that the first exhibit opened with the American Arts & Crafts Exhibition in Boston. Its success created the Society of Arts & Crafts in Boston and the Arts & Crafts Society at Hull House with Jane Addams in Chicago that same year. Other communities such as the Roycrofters in Aurora, New York, and Craftsman Farms in New Jersey with Gustav Stickley in 1907, all intended to provide hands-on experience in handcrafted furniture, textiles and metalwork.

Marked Roycrofter oak side table with mortise and tenon construction, 26in. high x 26in. long x 13 ½ in wide. Realized: $650+ buyer’s premium in 2017. Butterscotch Auction image

Unlike the European movement that disdained mechanization throughout the process, the American movement focused more on influencing consumer behavior through the practical design elements as a form of social engineering toward more progressive ideals. A bit of mechanization and perhaps some profit wasn’t necessarily a hindrance.

Major Influences

From Europe, the simple floral and medieval designs of William Morris still predominate whose influence would help inspire the Art Nouveau style that emphasized curved lines and natural forms. The Bauhaus style in Germany emphasized simple and striking design in the fine arts.

In the United States, Gustav Stickley’s “Craftsman Style” of architecture incorporates simple design elements, but so does his furniture design. Plain with little to no embellishments, a Stickley chair, sideboard, textiles, wall paper, metalwork and others evoked the Arts & Crafts Movement like no other. His influence would provide inspiration for what would be called Mission Style and even the Art Deco design movements of the early 1900s.

Early Gustav Stickley narrow bow-arm Morris chair, #2340, Eastwood, New York, circa 1902, oak with leather seat and back. Realized: $14,000+ buyer’s premium in 2014. Treadway Toomey Auctions image

The Arts & Crafts Movement spread to Japan when philosopher Yanagi Sōetsu started mingei in the 1920s to 1930s highlighting Korean and Japanese folk art emphasizing “handcrafted art made by ordinary people.” Pottery by Hamada Shōji, Kawai Kanjirō and the artisans of Onta, Japan form the basis of the mingei movement that includes pottery, lacquerware, textiles and woodworking.

End of a Period

The Arts & Crafts Movement lasted from the 1880s to the introduction of Modernism as an art form in the 1930s. Yet the simple design for well-made, functional objects in furniture, textiles, pottery, glassware and metalwork still resonates in local art fairs and as a universal collectible category more than 150 years after William Morris declared a new aesthetic movement as a progressive social cause.

Morris summed up the Arts & Crafts enduring legacy by saying, “If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful.”

4th of July: a sizzling collectibles category

NEW YORK – American Independence “ought to be solemnized with pomp and parade, with shows, games, sports, guns, bells, bonfires, and illuminations, from one end of this continent to the other, from this time forward forever more,” according to John Adams, a signer of the Declaration of Independence. While the future U.S. president was right about the celebrations, he was wrong about the day.

As it happens, the vote for independence from Great Britain was unanimous on Tuesday, July 2nd. That’s the day that John Adams envisioned for his “pomp and parade.” When the Declaration of Independence was officially ratified on Thursday, July 4, that became the de facto day that we now celebrate with “bonfires … illuminations” and collectibles.

Declaration of Independence

Naturally there are gift shop copies of the full Declaration of Independence complete with signatures of all 56 signers. Yet, a full text of the Declaration is available in many 19th century printings. Some hand-printed editions published as early as 1824 may start at $15,000, but later highly decorated 19th century versions sell for $300 or so.

A wonderfully decorated mid-19th century facsimile of the Declaration of Independence by printer Rufus Blanchard with a border of the seals of the 13 original colonies. It recently sold for $250. Images courtesy Austin Auction Gallery and LiveAuctioneers

If you’re able to find the original historical yearbooks like the Annual Register series that began under the editorship of the Anglo-Irish statesman Edmund Burke in 1758, you’ll find a first early printing of the full Declaration of Independence along with notes and comments from Philadelphia.

Flags

Nothing says July Fourth like Old Glory, the flag of the United States. There are any number of flags and flag styles to collect from the very small to the rather large and any number of star patterns. When Independence was proclaimed in July 1776, though, a flag wasn’t even thought about until about a year later. Even then, the flag design that was approved was intended as a naval standard, not a national flag, which was a relatively new concept.

The entire resolution authorizing a flag is just 31 words: “Resolved, That the flag of the thirteen United States be thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new constellation.” Nothing about how the stars were to be arranged, how many points they should have or whether the stripes were to be horizontal or vertical.

Because the resolution was vague, manufacturers designed unusual patterns using stars with different number of points. Before the Centennial of 1876, a complete flag is relatively hard to find. Most were handmade for display at home while others were government or military standards. After 1876, the presence of the U.S. flag became more ubiquitous.

No original 13-star flags are known to have survived the 18th century. This fanciful hand- stitched version shows an unusual star pattern in silk and dated July 4th, 1865, the first Independence Day after the end of the Civil War, which sold for $20,000 in 2012. Image courtesy: Heritage Auctions and LiveAuctioneers

What makes a U.S. flag fun to collect is the star pattern. Since 1795 a star was added for each new state every July Fourth after the admittance of the state. This means that the flag has changed 28 times, the most of any national flag. There was no set star pattern until 1912, with the most unusual star patterns becoming the most collectible.

Most flags before World War II were made of wool bunting, but there are some of silk, cotton, muslin and even a combination of fabrics. Flags are handsewn, silkscreened, machine sewn (stripes after 1850s; stars after 1890), and even block printed.

Most small, late 19th century hand-held flags are easily available for $30 or less and can be removed from the stick for easier display. Flags need to fit in an acid free frame, so collectors prefer smaller flags. Very large flags, no matter how old are difficult to display, but are great as a school show-and-tell, and as a patriotic addition to a neighborhood or civic program. Banners, or “pull downs” as they are known, are also quite decorative and collectible in any condition, especially with unusual star patterns.

This is the more iconic image of Uncle Sam, a recruiting poster for World War I created by artist Montgomery Flagg in 1917. An original recently sold for $9,000 by Heritage Auctions. Image courtesy of: Heritage Auctions and LiveAuctioneers

Uncle Sam

Another great symbol of the United States is Uncle Sam, the gentlemanly figure usually decked out in red, white and blue coattails and top hat. Although mentioned in a line of Yankee Doodle, the satirical song sung by the English to harass the Colonials during the Revolutionary War, popular tradition suggests it was a nickname given to Samuel Wilson, a meatpacker for the troops during the War of 1812 in northern New York state. His meat barrels bore the markings ‘U.S.’ and because of his patriotic dedication was nicknamed Uncle Sam.

Tintype of Samuel Wilson, who supplied meat to the U.S. Army during the War of 1812, was affectionately known as ‘Uncle Sam.’ The image sold for $4,250 in 2016. Image courtesy of Forsythe Auctions and LiveAuctioneers

Today, the Uncle Sam character is mostly associated with a red, white and blue cast-iron mechanical bank and an image created by artist Montgomery Flagg for his World War I recruiting poster “I Want You.” Uncle Sam can also be found in so many other variables such as an Andy Warhol painting, advertising tins, World War II morale posters and pamphlets, Red Cross benefits and even as an ad to help fight forest fires.

Eagles

The American bald eagle has been the most recognizable symbol of the country since its adoption on June 20, 1782 as the Great Seal of the United States. In full display, the eagle holds 13 arrows in the right talon to dramatize the commitment to fighting for freedom and democracy while finding peaceful solutions first symbolized by the olive branch and its 13 branches and berries.

Carved eagle display attributed to John Bellamy, a folk artist of the late 19th century known for heavily stylized eagle carvings. This gilded 19th century example sold for $35,000 in 2018. Image courtesy John McInnis Auctioneers and LiveAuctioneers

Folk artist John Bellamy carved patriotic eagles for ships and home decoration from about the 1850s to 1900 that are especially prized by collectors and is one of many artists utilizing the majestic bald eagle in patriotic works. The detail apparent in the fierce eyes and almost three- dimensional carving of the feathers and talons holding flags, arrows and ribbons attest to the majestic bird’s powerful image.

Patriotic-themed fireworks labels are great collectibles such as this Marine Brand fireworks label from the Liberty Display Fireworks Co. in China that sold for $425 in 2012 and The Voioe (sic) of Freedom fireworks label that sold for $175 in 2012. Images courtesy Dan Morphy Auctions and LiveAuctioneers

Fireworks, Postcards and Noisemakers

The use of fireworks to celebrate the Fourth of July began at the first anniversary in 1777. One such celebration was described by the Evening Post in Philadelphia as having “ … a grand exhibition of fireworks (which began and concluded with 13 rockets) on the Commons … ” China, then and now, is the preeminent fireworks manufacturer and their patriotic-themed fireworks labels are highly collectible because as paper labels, they weren’t expected to survive the event.

Patriotic postcards were a brisk business for publishers in the early 20th century such as this lot by well-known illustrator Ellen Clapsaddle, which sold for $30 in 2017 or about $7.50 each. Image courtesy: Matthew Bullock Auctioneers and LiveAuctioneers

When graphic design took a decidedly industrial leap in the late 19th century in Germany, the ability to produce more colorful illustrations with raised letters and embossed images helped make the penny postcard an immediate sensation from about 1900 to 1920. The one major postcard artist of the era was American Ellen Clapsaddle, who produced many of the dazzling holiday and patriotic postcard illustrations that are highly collected today. Look for ones with her added signature below the illustration to make them even more valuable.

Family gatherings deserve noise on the Fourth of July, too. Cardboard noisemakers, fanciful pinwheels and loud horns weren’t expected to survive the holiday. Any early items that did survive are highly collectible and sought after, especially if they are in very good condition.

This colorful button is a souvenir of a Fourth of July celebration in Keene, New Hampshire, in 1916. This patriotic-themed collectible sold for $322 in July 2018. Image courtesy of Hake’s Auction

There are also many vintage patriotic-themed items such as posters, civic holiday programs, parade items, buttons, tin items, flag-themed fans, decorations and so much more that can be collected and displayed all year long.

With this many vintage collectibles to display and admire, it’s no wonder that even John Adams believed that patriotic fervor should be “ … from this time forever more.”

Pop-up books: collectible page-turners in 3-D

NEW YORK – Movable books feature dramatic, three-dimensional or moving parts that readers can manipulate. Through the 16th and 17th centuries, adults commonly used volvelles, parchment or paper wheel charts fitted with information-filled revolving discs, to decipher secret codes, plot the planets, explore mystical theories, and calculate dates of movable feasts. As the science of medicine advanced, anatomical flap books, featured superimposed illustrations covering, then revealing, concealed marvels of the human body.

Children had long enjoyed listening to tales and fables. Books illustrating morality tales and extoling maidenly virtues expressly for them, however, did not appear until the mid-1700s. To add to their appeal, publishers incorporated interactive movable paper mechanisms. Their pull tabs nodded heads and waved hands, while split flap-pages altered illustrations in pace with text, and lift flaps or slats changed illustrations entirely. In time, simple page turns, through secreted paper scaffolding, raised characters magically to their feet.

Two pop-up volumes (‘Peter and Sally on the Farm’ and ‘Ricky the Rabbit’) with text illustrations and color pop-up illustrations by noted paper engineer Vojtech Kubasta. (4to), cloth-backed pictorial boards; each volume an eight-page story book with large two-page fold-out pop-up, London: Bancroft & Co., 1961. Price realized $160 + buyer’s premium in 2019. Image courtesy of PBA Galleries and LiveAuctioneers

Toward the turn of the century, Imagerie d’Epinal, a French printing company, introduced movable, hand-colored woodcuts based on popular folk, storybook and military themes. Soon after, people began exchanging similar German and British copper-engraved holiday and greeting cards. Some of their mechanisms were complex, featuring levers that simultaneously activated many movable parts.

Pocket-size peepshow books, evoking larger peephole boxes once popular at fairs and festivals across Europe, followed. Their progressive, overlapping, hand-painted page sets, bound by silken, concertina-like hinges, not only produced three-dimensional illusions in lifelike perspective. They whisked their viewers far and wide, from Queen Victoria’s Coronation and Paris by Night to Down the Rabbit Hole. On marking the 1843 inauguration of the Thames Tunnel, all tunnel-like movables were dubbed tunnel books. In time, these charmers, some offering multiple peepholes, variable lighting and changeable views, graced many a Victorian mantelpiece.

‘The Model Menagerie,’ With Natural History Stories, L. L. Weedon, Evelyn Fletcher and others. London: Ernest Nister; New York: E. P. Dutton, 1895, oblong 4to, 10¾ in. x 14in. Illustrated in sepia by William Foster with six three-dimensional chromolithographed ‘stand-up’ plates. Chromolithographed cloth-backed glazed boards drawn by E.B. Stanley Montefiore. Rebacked with front free endpaper restored and reinserted but lacking back free endpaper; cover rubbed and soiled. Price realized $550 + buyer’s premium in 2007. Image courtesy of Bloomsbury Auctions and LiveAuctioneers

At this time too, London-based Dean and Son mass-produced novelty Movable Toy Books, lavishly colored through innovative, oil-based chromolithography. Some reinforced moral and social norms through tabbed or venetian blind-like character transformations. Others featured cutout sections connected by ribbons folded flat which, dramatically – with a flip of a flap –raised sculptural paper “peepshows.”

From the 1880s, Raphael Tuck, in addition to lavishly lithographed die-cut paper dolls and movable paper toys, published almost 100 moveable books under the title Father Tuck. Many, in addition to pull tabs and peep-shows mechanisms, featured multilayered, three-dimensional illustrations.

‘The Frogs’ Picnic,’ a rare moveable pictorial disc with a window and two tabs, held by a wooden handle. Patent pending notice dated July 9, 1929 and copyright date of 1931 on the top disc of the transformation. A most amusing moveable, for the elaborateness of the reveals and the charm of the illustrations. The story text begins on the top disc and runs parallel to the left edge. For the continuation of the story, the reader pulls each of the three tabs from right to left so the sequence of captioned pictures on the concealed discs appear in the cutout window. The story concludes on the top disc, running parallel to the right edge. An extremely rare moveable in excellent condition, 12in. x 9in. With publisher’s original box with pictorial lid. Price realized $550 + buyer’s premium in 2018. Image courtesy PBA Galleries and LiveAuctioneers

A decade later, Ernest Nister, based in Nuremburg, published sentimental creations in both German and English. Many feature multiple animating levers, circular pinwheel mechanics, or slatted, “dissolving,” peekaboo views.

Lothar Meggendorfer’s whimsical works, however, may contain the most innovative, ingenious paper mechanisms ever created. In many, intricate interlocking parts open eyes, drop jaws, extend arms, chop wood, catch fish, rock babies, and more, to the accompaniment of amusing verse. In others, single, wired, riveted pull tabs activate multiple (hidden) levers that animate as many as five illustrations simultaneously. International Circus, however, is Meggendorfer’s masterpiece. Though initially lying flat like any movable book, it unfolds, accordion-like, into a continuous, semicircular, six-act panorama. Lift-flaps on each of its panels reveal three-dimensional images of colorful, near-lifelike performers, spectators, circus acts, as well as an orchestra.

Lothar Meggendorfer’s ‘Internationaler Circus’ is considered by many to be his most important work. Chromolithographed panorama of six three-dimensional fold-down circus scenes. The book unfolds to form an elaborate circus scene including clowns, acrobats, horses, orchestra and spectators. First edition, Esslingen: J.F. Schreiber, 1887. Price realized $800 + buyer’s premium in 2008. Image courtesy PBA Galleries and LiveAuctioneers

Because these – and all fragile movable books – were enjoyed by eager little hands, surviving copies have often sustained smudges, nicks, dents, discoloring, missing tabs or tears. Those in prime condition are both rare and costly.

During World War I, publication of German movable books ceased. British creations reappeared in 1929, with S. Louis Giraud’s Express Children’s Annuals and Bookana Stories. These handcrafted “living models,” in addition to tabs, folds and flaps, feature page turns that spring up into imaginative, stand-alone, three-dimensional double-page spreads viewable from all angles. Other surprises abound. “The Circus Clown,” for instance, features a 3-D acrobat who, at page turn, not only loops a 3-D pole, but (stuck in a loop) continues looping long afterwards. These brightly colored, popular creations, though lacking delicacy and detail of earlier European ones, remain highly collectible.

During the Great Depression, New York’s Blue Ribbon Publishing Co. marketed movables as catchier “pop-ups,” heralding a new genre. These low-cost imprints, inspired by favorite fairy tale and Walt Disney characters, feature basic designs on coarse paper. Yet complete, rare, unused ones are quite desirable.

The ‘Pop-up’ Minnie Mouse, illustrated with three full-color, double-page pop-ups (two of which are on the endpapers) plus other illustrations by the staff of the Walt Disney Studios. 9½in. x 7¼in., original color pictorial boards. Plus two similar pop-ups books. Walt Disney, Ribbon Books, New York, 1933. Price realized: $200 + buyer’s premium in 2014. Image courtesy PBA Galleries and LiveAuctioneers

Through the 1950s and ’60s, Vojtech Kubasta, Czech artist, architect and paper engineer, created an astounding number of three-dimensional books featuring highly stylized, boldly colored, witty, imaginative themes. Some begin in conventional flat format, concluding with single, dramatic pop-up punches. Others illustrate story lines with profusions of novel, geometry-inspired paper cuts, folds, pull tabs and scaffolding. These create massive, complex visuals that not only leap off the page, but also extend beyond their borders.

From then on, pop-ups have flooded British and American markets. Unlike those of old, imagined, planned and produced single-handedly, up to 60 artisans design, engineer, print, pound, cut free, fold, then hand-assemble hundreds of components into a single creation.

‘The Dwindling Party,’ New York: Random House, 1982. First edition, large pictorial hardcover. Signed by author Edward Gorey beneath the title page flap. Rhyming verse accompanied by pop-ups illustrated by Edward Gorey, and engineered into 3-D by paper artist Ib Penick. All pop-ups and pull tabs complete and functional with no creases or tears. Note: Signed copies of this title are rare. Price realized $175 + buyer’s premium in 2013. Image courtesy of Houston Auction Co. and LiveAuctioneers

Scores depict simple peekaboo Disney, Harry Potter or Sesame Street themes. Others, far more intricate, explore adult topics like phobias, superstitions, nightmares or the Naughty Nineties. Those interested in trying their hand at paper mechanics may also enjoy pop-ups illustrating how to make pop-ups.

Buddhist thangkas inspire devotion through art

NEW YORK – In the Buddhist tradition, thangkas have been important objects for centuries, meant to be a central teaching tool in guiding a person’s meditation and in the journey toward enlightenment. Today, these scroll paintings continue to be used as such but are also appreciated for their aesthetic value as artworks.

Highly intricate, beautifully detailed and rich in symbolism, thangkas incorporate significant Buddhist motifs. They can be in the form of a mandala (a spiritual symbol in Buddhism and other Eastern religions to signify the universe) but typically depict one deity or a grouping of Buddhist deities and holy figures, often accompanied by representations of religious lore and myths and even imperial symbols, astrological diagrams and landscape scenes.

This Indo-Tibetan thangka of Red Vaishravana, 18th century or earlier, went for $48,000 at New Orleans Auction Galleries in May 2014. Photo courtesy of New Orleans Auction Galleries and LiveAuctioneers

The Rubin Museum of Art in New York City, which has a shrine room containing several important thangkas, notes on its website that artists often made paints from crushed minerals and glue to bring these paintings to life. “Most materials used for creating paintings and sculptures come directly from the earth, deepening the connection between Himalayan art and the environment,” according to the museum.

Thangkas are usually painted on cotton or silk and often surrounded by silk or brocade. They would be hung on walls or put on altars to aid in meditation. They range in size from diminutive to massive.

A Tibetan thangka of Tsongkhapa, 18th century or earlier, brought $11,000 in May 2014. Photo courtesy of New Orleans Auction Galleries and LiveAuctioneers

“Thangkas are created as teaching tools, designed as visual representations to help focus the mind and ultimately the progress of the student farther down the path to enlightenment,” said Rebecca Moss, Asian arts specialist at New Orleans Auction Galleries. “Consequently, the deity depicted, the region the work was produced in, the size and age of the piece, the quality of the design and its execution, and, of course, condition, are all important factors that collectors consider. Mandalas are arguably the most recognizable representation; their intricate, mesmerizing designs immediately provoking concentration as the viewer studies the depth of detail they contain.”

A Tibetan thangka of Padmasambhava, probably mid-19th century, made $1,800 in March 2019 at New Orleans Auction Galleries. Photo courtesy of New Orleans Auction Galleries and LiveAuctioneers

Thangkas are highly collectible and sublime examples often bring big money. During the important Asia Week New York sales in March 2019, Sotheby’s sale of Indian, Himalayan and Southeast Asian art boasted a Tibetan thangka, depicting a Hevajra mandala, second half 14th century, which went way over estimate to attain $2.4 million. On LiveAuctioneers’ price database, the highest price was a set of five Qing period thangkas, which earned just over $1 million in December 2014 at Wichita Auctioneers in Brooklyn, N.Y.

“This has, historically, been a niche market. However, the growth and spending power of Chinese buyers has created a surge in popularity and prices for quality pieces,” Moss said.

A shift in Western understanding of Eastern religions and culture over the last few decades, coupled with increased scholarship has led to a greater appreciation of the art form.

A Tibetan thangka depicting two abbots, possibly 13th century, sold for $525,000 in September 2017 at Heritage Auctions. Photo courtesy of Heritage Auctions and LiveAuctioneers

Centuries after a thangka’s creation, it can be challenging for scholars and conservators to ferret out its iconography as well as the political and social contexts they were made in. There are certain rules governing content, proportion and the symbolism of color in thangkas but these rules can vary by religious or geographical stylistic differences.

According to the Asia Society New York, common decoration motifs include the lotus flower, symbolizing spiritual purity; the conch shell whose reverberation reaches far and alludes to one’s spiritual awakening from ignorance to understanding; a treasure vase with flaming jewels representing the wealth of Buddhist teaching that retains its value even as knowledge is freely shared, and the eight-spoked dharma wheel, also referred to as dharmachakra. “These spokes represent the principle of the Eightfold Path: right view, right thought, right speech, right action, right livelihood, right effort, right mindfulness and right concentration,” according to commentary on the society’s website.

A large Qing dynasty and seed-embroidered mandala thangka earned $280,000 in December 2016 at HK BGTJ International Art Auctions Co. Photo courtesy of HK BGTJ International Art Auctions Co. and LiveAuctioneers

“My advice to collectors new to the genre is to buy something that engages you, and helps bring you peace and clarity when you look at it,” Moss said. “Whether you are a practitioner of Buddhism, or just appreciative of the skill required to create these complex and layered compositions, it is important to find a work that speaks to you.”

As thangkas can be delicate and subject to the vagaries of light and humidity, proper storage and display is key. It was once popular for a while to remove the thangkas from their original fabric mounts and put them in “Western” style frames or remount them on to wax-resin or paper backing. “While this was not necessarily detrimental to the works themselves, many serious collectors will hunt for works with the original mounts intact,” Moss said. “If you are lucky enough to acquire an older example in its original state, then seek professional advice as to how best to display it without jeopardizing its condition.”

Finn Juhl: distinctive Danish Modern furniture

NEW YORK – Blending canny craftsmanship with discriminating details, Finn Juhl (1912-1989) introduced the Danish Modern aesthetic to America. Not only an architect, he was also an interior and industrial designer, whose innovative furniture designs, starting in the 1940s, are at the heart of his legacy.

After getting his architecture degree, Juhl began working for the renowned Danish architect Vilhelm Lauritzen in 1934 but avidly pursued his passion for furniture design, which was self-taught.

A pair of Finn Juhl rare lounge chairs model NV-45 from 1945 made $60,000 in November 2014 at Wright. Photo courtesy of Wright and LiveAuctioneers.

“Like other modernist pioneers, Juhl started from scratch without role models or inherited restrictions. He designed by measuring his own body and analyzing how the individual components of the chair should carry the human body,” according to commentary on the website of the House of Finn Juhl, which in 2001 was given exclusive rights from Juhl’s wife to manufacture and relaunch his sculptural furniture. The firm has reissued several of his most iconic designs. “But contrary to his modernist contemporaries, with their streamlined, scaffolding-like structures, Juhl aimed at a more organic, natural form.”

Juhl’s iconic armchair, model 45, takes the easy chair to new heights, breaking away from conventional furniture construction by treating the upholstered back and seat as separate entities from the load-bearing wood frame. Pushing the material’s strength to the maximum and using the expertise of his staff of joiners, Juhl designed a chair whose curves are gracefully simple and sensuous. This chair was one of several pieces that was the highlight of the 1945 Cabinetmakers’ Guild exhibition, where Juhl and master cabinetmaker Niels Vodder exhibited elegant and sculptural furniture that was comfortable yet sensible.

As designers know, the chair is not an easy thing. It needs to be both light yet sturdy and above all comfortable. Famous designer Mies van der Rohe famously said it was almost easier to build a skyscraper than a chair.

This Finn Juhl Chieftain lounge chair from 1949, its first year of production, attained $75,000 in December 2018 at Wright. Photo courtesy of Wright and LiveAuctioneers.

“Rather than thinking in terms of practical construction, Finn Juhl had the mind-set of a sculptor, when he shaped a piece of furniture. In the 1940s and 1950s, this way of working had never been seen before,” according to the website of the House of Finn Juhl. Creating pieces that evoked movement and life, Juhl’s goal was to create pieces having what he called a “visual lightness.”

While teaching himself the ins and outs of furniture construction, Juhl first began working with fully upholstered pieces, focusing on the organic shape of the furniture, which became his signature look, but within a few years, he was confident enough to focus on wood as the central material instead of hiding it under a layer of upholstery.

A group of eight Finn Juhl for Niels Vodder Egyptian rosewood chairs in blue upholstery earned $60,000 in May 2018 at Clars Auction Gallery. Photo courtesy of Clars Auction Gallery and LiveAuctioneers.

Juhl’s Grasshopper Chair, designed in 1938, was a daring innovation at the time when furniture was bulky and traditional. This design was showcased with Vodder’s stand at the Guild shows. The chair is aptly named as the back legs and armrests meet the floor on a diagonal, resembling a grasshopper’s back legs bent and poised to jump. At the time, buyers were not overly impressed and the only two examples Juhl brought to the fair, did not sell. Today, however, the design has been reissued and made its debut at the Milan Furniture Fair in 2019.

While Juhl is best known for his chair forms, he designed a variety of seating furniture, including his Poet sofa, launched in 1941, and the Baker sofa, designed in 1951, the same year that Juhl’s works transfixed American audiences when showcased in the Museum of Modern Art’s “Good Design” exhibition. He also designed credenzas and sideboards and over time drew inspiration from American designers, especially Charles Eames. While wood has been his central material up until now, he increasingly began incorporating steel and a new fondness for straight lines and simplicity in his tables, benches and sideboards. Modern sculpture, such as Alexander Calder’s mobiles, also influenced his work.

A Finn Juhl wall-mounted sofa from Villa K. Kokfeldt in Denmark, 1953, realized $60,000 in
November 2015 at Wright. Photo courtesy of Wright and LiveAuctioneers.

“Being connected to the landscape was something that Juhl both lived and practiced, and the influence is notable in the organic forms of his furniture,” according to Design Within Reach in Stamford, Conn., which also offers modern furniture and pieces in the tradition of Juhl and others, reissuing vintage designs.

Finn Juhl’s furniture, like any example of good design, has stood the test of time. Made to be comfortable above all else, they exhibit craftsmanship at its best and an appreciation for organic forms and the materials.

Vintage pedal cars copied classic automobiles

NEW YORK – What kid didn’t beg mom or dad to steer the family car, and what kid didn’t dream of having his or her own car? Child-size pedal cars, operated by leg power instead of a motor, became popular toys in the 1920s and ’30s. They were mostly a plaything for wealthy families, however, as they were expensive.

First hitting the market in the 1890s, early pedal cars were made of wood. Later on, manufacturers began rolling metal pedal cars off the assembly lines with all the bells and whistles, much as their full-size counterparts rolled off the assembly lines in Detroit. While cars were popular and usually modeled after cars of that period, there were also pedal planes, trucks, buses, trains and tractors.

This American National ‘electric’ Packard pedal car, circa 1926, sold for $18,000 in May 2015 at Bertoia Auctions. Prices quoted do not reflect the buyer’s premium. Photo courtesy of Bertoia Auctions and LiveAuctioneers

Among the biggest early makers of pedal cars in America were American National, Gendron Iron Wheel Co., Toledo Wheel, Murray and Steelcraft Wheel Goods. Pedal cars were successful up until World War II, when steel was needed for the war effort. Production resumed in the 1950s and ’60s, though, most collectors usually seek out early models or choose cars made to replicate a favorite full-size car they owned, such as a 1961 Thunderbird, a ’58 Chevy Impala or a 1927 Auburn Boattail Speedster. Pedal cars were also well represented by overseas makers from Russia to England and across Europe.

A convertible Cadillac pedal car realized $8,000 in October 2015 at Dan Morphy Auctions. Photo courtesy of Dan Morphy Auctions and LiveAuctioneers

The first American company to make such wheeled toys was the Garton Toy Co., founded in 1887. The largest maker of kids’ vehicles by the 1930s was American National, which had as its company jingle, “Raise the kiddies on wheels.” The company was the result of several firms merging, including the Toledo Metal Wheel Co. and the National Wheel Co., and later, even took over one of its competitors, the Gendron Wheel Co. According to fabtintoys.com, American National exported pedal cars into nearly 30 countries.

“Pedal cars of the 1920s and 1930s are a big part of our history,” notes FabTinToys on its website page detailing the history of pedal cars. “They have moved from sidewalks into our living rooms for decorating, displays etc.”

This Gendron Buick pedal car fetched $12,000 in April 2018 at Bertoia Auctions. Photo courtesy of Bertoia Auctions and LiveAuctioneers

Pedal cars are widely collected today and one of the largest collections was sold in January 2015 with more than 70 pedal cars owned by Ron Pratte offered at Barrett-Jackson’s car auction, highlighted by a 1956 Pontiac Club de Mer concept car design studio model pedal car at $33,925 (converted to electric), a 1930s Gilmore Speedway Special pedal car by Skippy at $13,685 and a 1958 Corvette Sting Ray pedal car by Eska at $11,500.

An American National, early 1930s Lincoln tandem child’s pedal car with all the bells and whistles earned $9,500 in August 2016 at Rich Penn Auctions. Photo courtesy of Rich Penn Auctions and LiveAuctioneers

On its website, Barrett-Jackson published an article in September 2015 about the evolution of pedal cars. “Like the first Model Ts, early pedal cars were simplistic and basic, but as the automobile evolved, so did the pedal car,” according to Barrett-Jackson. The auction house noted that the wood-frame models made in the 1920s became bigger and heavier and made mostly of steel in the 1930s. They were as well appointed as the full-size luxury cars they replicated – be they a Packard, an Auburn or a Cadillac – with chrome hubcaps, ornate hood ornaments, leather upholstery, working horns, headlights and turn signals; hood ornaments, a distinctive grill and custom body paint. Pedal cars also were usually outfitted with accessories to make play realistic from toolboxes and radiators to oil cans.

An American National tandem pedal car, circa 1933, went for $7,000 in June 2014 at Mosby & Co. Auctions. Photo courtesy of Mosby & Co. Auctions and LiveAuctioneers

“Pedal Power,” on view through March 10, 2020 at the McLean County Museum of History in Bloomington, Ill., showcases the personal pedal car collection of the late Bruce Callis, another enthusiastic pedal car collector and restorer.  His family gifted 53 cars from his collection to the museum, which are featured in this two-year exhibition. “This exhibit features dozens of child-size autos that span 50 years of pedal car production from the 1920s through the 1970s,” according to the museum in an online blurb on the exhibition.

Most veteran collectors seek out early examples with the larger, prewar pedal cars of the most interest. Collectors also find 1950s models of interest but all but ignore later cars, which often were made of plastic and lack the realistic features of their predecessors.

Whether one is mechanically minded and wants the joys of hand-restoring an antique pedal car or is simply looking to relive one’s childhood by indulging in nostalgia, pedal cars are a wonderful collectible.