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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.

 

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FRUIT BASKET: American Art Deco Bookends

The ornamental image of a bounteous fruit basket was popularized at the International Exhibition of Modern Decorative and Industrial Arts (Paris 1925) along with the iconic images of leaping gazelles, chevrons, zig zags, and the sunburst.  Later, in 1966, the term Art Deco was proposed to describe all the art which had been done from 1925 through about 1946, and so these images took the identity of early French Art Deco.  The influence of the 1925 Paris Exhibition quickly became apparent in home decor. American bookend manufacturers were early adopters and distributors of these new and beautiful designs and styles.

These nicely cast FRUIT BASKET bookends, with their appearance of a well-painted still life on a background of french blue and resting on stylized leaves, are obviously a salute to the French decorative image.

FRUIT BASKET:  Iron, Height 5.5 inches.  Inscription: 9860 and a mark of a J with a c on one side of the J and and an o on the other.  Foundry:  Judd Co.  circa 1927.

Judd Company Maker’s Mark and Number

A second example of early Art Deco are these Hubley SUNBURST bookends.

SUNBURST:  Iron, Height 4.5 inches, Inscription 589, Foundry, Hubley circa 1927.

 

Click here to view our February 2016 post on Leaping Gazelles. 

 

 

 
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Posted by on July 14, 2017 in Art Deco

 

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Art Deco Revere Double Scroll Bookends

Double Scroll Bookends: Painted wood and steel.  Height 5 inches, Foundry:  Revere Copper and Brass Co.  Fred D. Farr designer. 1935.

Art Deco, Clean, Modern, Geometric are all styles trending in home decor. These Double Scroll Bookends designed by Fred D. Farr for the Revere Copper and Brass Company illustrate high-style American Art Deco from 1935 by their geometric appearance, bright paint, and shining metal.  They belong in any room with Art Deco decor and in any collection of Art Deco bookends.

In recent forays to modernism and antique venues The Bookend Collector has noticed an up-tick in the number of Art Deco Scroll Bookends for sale. These spring-loaded, rolled steel, scroll bookends are iconic examples of a period of Art Deco design in American manufacturing. Check out examples found in museum exhibits by clicking on the following links.

Scroll Bookend in the David Owsley Museum of Art Collection, Ball State University.

Expanding Bookend in the Cooper Hewitt, Product Design and Decorative Arts Department, Collection.

Here are 2 further examples of  Revere Scroll Bookends from our book, BOOKENDS: Objects of Art and Fashion.

 

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Sitting Ladies Bookends

 

Sitting Ladies: Grey metal, Height 7 inches, Inscription: Janle and Made in France. circa 1925.  Janle is suspected to be a pseudonym for Max Le Verrier.

Sitting Ladies: Grey metal, Height 7 inches, Inscription: Janle and Made in France. circa 1925.  Janle is suspected to be a pseudonym for Max Le Verrier.

These Art deco bookends are large, well-cast and beautiful, and would be desirable with no further provenance.  But, in addition, they are signed by the french artist Janle and were cast by the prominent french foundry of Le Verrier, all of which makes them high-end productions.

Impressed "Janle" inscription and "Made In France".

Impressed “Janle” inscription and “Made In France”.

 
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Posted by on June 20, 2016 in Art Deco, Art Styles

 

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Moderne Woman Bookends

 

Streamlined American/WPA Moderne Bookends.

Photo of FrankArt Bookends

WPA/AMERICAN MODERNE STREAMLINED LADIES: Grey metal, Height 5.5 inches. Inscription: FRANKART INC. circa 1935.

In  nineteen thirties’ America, streamlining was the most prominent feature of Art Deco fashions.  The American/WPA Moderne art style was a subset of Art Deco.  Here we have bookends showing a bust of a streamlined lady on a Deco geometric, stairstep base with a semi-classical face that belongs to  American/WPA Moderne.  (Click here to compare to the faces in our Post from June 3, 2014, entitled WPA Moderne Bookends.)  The bookends are Frankart’s contribution to both styles at once.

 

 
 

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Bookends as Works of Art

Whenever possible, we like to identify each pair of bookends as to the art style in which they were created. We do this in order to create the perception that bookends are objects of art, not simply collectibles.  Of course, all bookends are art work, sculptures created by artists, so there is no doubt here.  If the art world accepts bookends as an art form, they will keep their value into the future, and not slip into obscurity along with collectibles such as beanie babies, cookie jars, and telephone pole insulators.

Our 2012 book, BOOKENDS: Objects of Art and Fashion, is devoted to promoting bookends as an art form.  Check out some of our favorite bookend works of art in this slideshow:

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Woman in Motion Bookends

Woman in Motion:  Gray metal, Height 6 inches, There is a Ronson label on one felt.  Circa 1933.

Woman in Motion:  Gray metal, Height 6 inches, unmarked. There is a Ronson label on one felt.  Circa 1933.

It is difficult to identify these bookend ladies or the subject they are meant to portray, but we see a few possibilities.

An elegant hood ornament: The ladies resemble the hood ornaments on cars in the nineteen teens, twenties and thirties.  A hood ornament was mounted on the front of the hood or on the exposed radiator cap of each car in order to identify the vehicle and provide a rakish touch to the car design.  The ornaments were appropriately of Art Deco design, some were geometric constructions and others were streamlined animals or humans.  All evoked speed and modernity.  The bookend women certainly look as if they are speeding through the air, and might be driving into the future.

Photo of Rolls-Royce

Rolls-Royce “Spirit of Ecstasy” Hood Ornament, designed by Charles Sykes.

Alternatively, the bookend woman would make an admirable figurehead for a ship.  A figurehead was a decorative carved wooden figure attached to the prow of a ship.  It represented grace, speed, and mobility, as well as the wealth and power of the owner.  Figureheads largely disappeared by the beginning of the twentieth century, but maybe the bookend artist was inspired by them.

Photo of Christian Radich Figurehead.

Figurehead of the Christian Radich:  The full rigged Norwegian sailing ship Christian Radich (launched 1937) carried this figurehead. Photo by Garitzko.

Perhaps the bookend artist was not mimicking any object but rather symbolizing speed and beauty.  This would be appropriate for Art Deco sculpture.  Or, a more rarefied interpretation of the bookend woman could place her in the Futurist art style.  Futurist art was meant to portray speed, dynamism, and power in accordance with the unfolding technological world.  An example is  Boccioni’s 1913 Futurist
sculptural figure entitled “Unique Forms of Continuity in Space” and meant to illustrate abstract notions of speed and forceful dynamism.

Unique Forms of Continuity in Space

Unique Forms of Continuity in Space. 1913 by Umberto Boccioni. Bronze. Museo del Novecento (1931 cast), Milan

All three of these interpretations of the bookends share the belief that the woman symbolizes motion and speed.  We could easily add power and modernity to the symbolism.

 
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Posted by on August 19, 2015 in Art Deco, Art Styles, Streamline

 

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