RSS

Category Archives: Arts & Crafts

THE SPINNING WHEEL: A Symbol of American Protest

 

Spinning Wheel Bookends: grey metal with faux ivory (celluloid) face and hands, bakelite base.  Height 6.5 inches. Marked J. Ruhl (sculptor John Ruhl,  1873-1940 ).  Attributed to Hirsch foundry.  circa 1930.  The drive wheel spins at a touch. 

In Colonial times, women spun fibers into yarn on spinning wheels and produced home-made clothing. As the colonies grew, production of wool and wool products allowed for export of these commodities to Britain and other nations.  In 1699 the British forbid their colonies to export wool products in order to protect their textile industry.  The effect of this WOOL ACT of 1699 was to force all commercially produced wool and wool products to be sold to England after which it was resold back to the colonies.  Colonial people then persevered in spinning yarn and producing cloth in order to protest against the Wool Tariffs imposed by Britain. 

The spinning wheel became an important, widespread symbol of resistance to British rule in the run-up to the American Revolution.   At that time, to quote from Laurel Thatcher Ulrich’s The Age of Homespun (Vintage, 2001), “Only six newspaper stories explicitly described the spinners as ‘Daughters of Liberty.’ ‘Young women’ was the usual designation, though terms like ‘Daughters of Industry,’ ‘the fair sex,’ and even ‘noble-hearted Nymphs’ also appeared. Reports from Roxbury and Chebacco alluded to public events, referring to the ‘intolerable Burdens now Laid upon us’ and to the necessity of recovering ‘our rights, properties and privileges,’ but the story from Harpswell cautioned that ‘the Ladies are impressed with such a nice Sense of their Liberties derived from their Maker, as not to be very fond of the tyrannic Restraints or the scheming Partisans of any Party…’”

The art of spinning in the United States is kept alive by handicrafters who demonstrate their skill in spinning, weaving and sewing at nostalgic museums such as Williamsburg, Old Salem, and in exhibitions at fairs such as the San Diego County Fair in Del Mar.  Even as spinning has become an re-enactment art form and no longer provides a means of protest ……………..these bookends remind us of our early resistance to foreign domination. 

 

Tags: , , , , , , ,

Studious Monk Bookends Revisited

Studious Monks: Hard-Paste Porcelain bookends, each weighing about 2 lbs and 8 inches in height.

We purchased this pair of monk bookends at an antique show in 2016,  They are porcelain, and carry a mark which we could not identify, but we posted them on July 6, 2016, entitled Studious Monk Bookends.  Very recently, we did identify the mark and the  bookends became very interesting.

The factory mark was an A with a B leaning on it  The mark on a monk was identical except the lower part of the B was not completely formed.The bookends were produced by the Amberg factory in Bavaria, Germany.  This factory produced earthenware and hard-paste porcelain from1709 until 1910.  We guess that the bookends were produced in about 1905 when bookends and monk motifs were becoming popular, which would make them among our earliest bookends.

The factory mark and the mark on the monk is shown.  The information about Amberg and their pottery mark is documented in A Dictionary of Marks by Margaret Taylor, Barrie & Jenkins, London, revised edition by Lucilla Watson, 1992.

 

Tags: , , , ,

ROBINSON CRUSOE

Robinson Crusoe:  Gray metal. Height 6 inches. Markings: Pompeian Bronze. circa 1930. The image for the bookends was taken from an illustration in a Robinson Crusoe edition adapted for children . Crusoe is shown fully armed and leading a small goat.

When Pompeian Bronze Company copyrighted this Robinson Crusoe bookend design in 1930, the book, Robinson Crusoe,  had excited the imagination and adventurist spirit of readers for more than 200 years.  The 1719 edition’s full title was,  entitled, The LIFE and Strange Surprizing ADVENTURES of ROBINSON CRUSOE, of York,. Mariner: Who lived Eight and Twenty Years, all alone in an un-inhabited Island on the Coast of America, near the Mouth of the Great River of Orgonoque; Having been cast on Shore by Shipwreck, where-in all the Men perished but himself. With An Account how he was at last as strangely deliver’d by PYRATES,

ROBINSON CRUSOE was published in 1719.  It was among the first novels ever published in England. It is the story of a man shipwrecked on a lonely tropical island who by craft and industry survived and even prospered. The book was well received and has gone through hundreds of editions in the last 300 years. Until recently it remained popular with youngsters, although one might guess that it can no longer compete with comic-strip presentations of superheroes.

In the mid-to-late 1800s it was fashionable to abridge classics and make them more palatable to a young audience. Chromolithographs spiced up the stories. A 1882 edition of ROBINSON CRUSOE in Words of One Syllable by Mary Goldophin (Lucy Aikin) was widely available here in the United States.This is probably the reason that when Robinson Crusoe was first serialized (18 episodes) in film in 1922 and then became a full-length feature in 1927, Pompeian Bronze Company capitalized on the romantic and beautiful drawings of Wal (Walter) Paget in the Goldolphin version to produce their Robinson Crusoe bookends.

A 135 year old chromolithograph illustration from the edition entitled ROBINSON CRUSOE in Words of One Syllable by Mary Godolphin published in 1882.  Wal (Walter) Paget, Illustrator.

 

Tags: , ,

Mystery Birds Bookends

Photo of Mystery Birds Bookends

Mystery Birds:  Grey metal.  Height: 6 inches.  Unmarked.  Attributed to Hirsch Foundry of New York City.  Exaggerated beak of celluloid, Stepped rectangular base of bakelite.  Very deco.  Circa 1931.

We were browsing in an antique shop in 1993 and we saw these bookends.  We bought them for $40. for the house, and later realized that we knew nothing about them – not who made them or when, and we could not identify how they were made, the materials of construction, or the art form. They were our mystery birds. We searched for a book and found there were no books or articles on bookends.  This inspired us to do research and write a book, categorizing bookends by era and we obtained a contract to do so from Schiffer Publishing.

We had a problem because Schiffer wanted at least 400 illustrations and we had only amassed about 250 pairs.  Fortunately, we became friendly with Louis Kuritsky.  He had a large collection and agreed to provide us pictures if we listed him as an author. which we did. BOOKEND REVUE was published in 1996, which, by the way, made bookends into collectibles. We followed it  with BOOKENDS: OBJECTS OF ART AND FASHION in 2012.  We always remember, though, that Mystery Birds was responsible for our odyssey into bookends.

 
1 Comment

Posted by on October 25, 2017 in Animals, Art Styles, Arts & Crafts

 

Tags: , , , , ,

Crouching Indian Bookends

Crouching Indian:  Gray metal.  Height 5 inches.  Attributed to Ronson because of the familiar black paint with green highlights. circa 1928. A polychromed variation is depicted on page 63 of Ronson’s Art Metal Works by Stuart Schneider, Schiffer Pub., 2001.

This Indian is crouching over a tree stump and peering into the distance for enemies.. The pose looks realistic.   The exaggerated sweep of the headdress and  very shiny surfaces speak to Art Deco.

The crouching pose is not unique.  An early signed pair, copyright 1911, shows us a crouching Indian peering; into the distance for enemies.  The headdress and the surfaces are more restrained, as we could expect from an earlier date. The artist signed her full name, Nellye Partridge, on the front lip of the bookend.

Indian Ambush:  Bronze plating on gray metal.  Height 7 inches.  Inscription:  Nellye Partridge, Copyright 1911.  Attributed to NAL foundry. Photo from BOOKENDS: Objects of Art and Fashion, Seecof, Schiffer Pub. 2012.

We know a Nellye Partridge with a Brooklyn, NY address copyrighted 3 bookend designs: this kneeling indian in 1911 and in 1914 “Babe book ends. Statuette of child lying on one book with feet raised to support others” and “Buffalo book ends. Statuette of buffalo bucking.” In 1913 she had copyrights for several postcards. Little else is known of Nellye Partridge. It is possible that she is the 21year old living in Brooklyn and listed as Nelly E Partridge in the 1900 US Federal Census.

Nellye Partridge signature on Indian Ambush Bookends.

 

Tags: , , , , , ,

Zuni Buffalo Dance Bookends by Freddie Leekya

Zuni Buffalo Dancer and Drummer. 8 .5”, local rock (zuni stone) carved figures, wood base and upright. Sculptor, Freddie Leekya, painting by Edward Lewis. 2011.

This is the perfect time to tell the story behind our Freddie Leekya Bookends. Freddie Leekya is the grandson of renowned Zuni Master Carver, Leekya Deyuse.  The Albuquerque Museum of Art History exhibit, THE LEEKYA FAMILY: MASTER CARVERS OF ZUNI PUEBLO, runs until September 24, 2017. The exhibit features 350 works by the Leekya family gathered from individuals and galleries and from major museums such as the Heard Museum, the Wheelwright Museum of the American Indian, the School of Advanced Research, the Museum of Indian Arts and Culture. Click here to see the NEW MEXICO magazine post  “Stories in Stone”.   We are looking forward to visiting this exhibit in a few week’s time.

In 2011, we visited Zuni Pueblo bringing with us our Leekya Deyuse frog bracelet and ring to show. We had arranged our visit ahead of time with the Zuni Pueblo Visitor Center. We had a magical day.

Leekya Frog Bracelet and Ring made of carved turquoise set in silver.

We were introduced to Robert (son of Leekya Deyuse) and Bernice Leekya (masters of silver and gold jewelry) and Sarah Leekya (daughter of Leekya Deyuse) who was still carving a bit at that time and who when she put my bracelet on her arm almost didn’t give it back. Sarah also called us back to her home to share with us some additional carvings by her father and to have her son show us the hand drill Leekya used in carving his figures.

Four treasured carvings purchased from Sarah Leekya in 2011. Badger, Fox, Fox and Bird.

We visited Freddie Leekya at his studio. He was working on two figures which are now in our collection. Our daughter-in-law fell in love with a Zuni rock carved bear by Freddie.

 

That Christmas Bob was gifted with the Zuni Buffalo Dancer and Drummer Bookends. They were specially ordered from Freddie Leekya. The Buffalo Dance is a social dance and is often performed at festive gatherings. Here is a link Dave Hinkle’s youtube video of the dance being performed in Gallup, New Mexico.

 

Tags: , , , , , , , ,

Roycroft Owl Bookends

Photo of Roycroft Owl Bookends

Roycroft Engraved Owl Bookends:  Copper, Height 4 inches. Inscription: Roycroft

In 1895 Elbert Hubbard founded the artistic community of Roycroft in the upper New York state village of East Aurora.  Mr. Hubbard established a print shop in East Aurora after a visit to William Morris and the Kelmscott Press. The success of the print shop and its publications, which defined a burgeoning interest in what is known as the Arts and Crafts Movement, led to the establishment of shops – a bindery, leather shop, metal working shop and furniture shop. Click this link for an excellent summary, The Roycroft Community, by Hilary Davis on The Arts & Crafts Society website.

Roycroft became a collection of workshops dedicated to producing household items according to the principles of the budding Arts and Crafts Movement.  Accordingly, bookends were designed and fashioned by artists working by hand.  Most of the bookends were made in an L shape from sheet copper, and these are the design of Roycroft and other metal workshop bookends from that era that we generally see today.

Most of these early bookends were decorated in low relief, or not decorated at all, but relied on their exposed construction for decorative appeal.  The bookends shown here exhibit curled corners, hammered surface, and exposed rivets that fasten the upright to the base. In addition,  we see an engraved owl against  a background of fine stipples in the metal.  Collectors appreciate the handwork even though the bookends do not stand out at a distance.

 

Tags: , , , ,

 
%d bloggers like this: