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The Spirit of St Louis Bookends

There is an abundance of bookends commemorating the historic 1927 flight of Charles LIndbergh across the Atlantic from Roosevelt Field, Mineola, NY to LeBourget Airport, France.  Lindbergh is captured in profile, in bust, in flying outfit, in front of the plane,…………..    

Photo of Spirit of St Louis bookends

Spirit of Saint Louis.  Iron, Height 5 inches. Inscription on the front:  FIRST NON STOP FLIGHT  NEW YORK TO PARIS MAY 21st TO 22nd 1927. TIME: 33HRS: 21MIN.  PILOTED BY CAPT. CHARLES A. LINDBERGH.  on the back:  WM P CO 1120.  circa 1927. (Note – the dates are wrong.)

This bookend, showing the Spirit of Saint Louis, reminds us that the historic significance of the flight was about more than just Lindbergh.  It was about a PRIZE and $$$, it was about GLORY, it was about ENGINEERING, and INGENUITY, and IMAGINATION, and it was about CELEBRITY and REPUTATION.  And it was a competitive race to be FIRST!

The Orteig Prize of $25,000 was originally offered in 1919 for the first non-stop flight from New York City to Paris, or the reverse, by an Allied Aviator.  Offered for 5 years there were no competitors.  It was re-offered in June 1925, and since aviation had made significant advances, a competitive field showed up.  Six aviators died in their attempts and others were hurt.  In 1927 there were several groups prepping for attempts at the prize, including one headed by polar explorer Richard E. Byrd.  April and May of 1927 found everyone gathering at Roosevelt Field and Curtis Field testing their planes and waiting for the right conditions for the flight. 

An Airmail pilot, Charles Lindbergh, managed to convince 9 Saint Louis, Missouri businessmen to back him;  and a small aeronautical firm in San Diego to deliver a plane, to his specifications, in sixty days.  He was convinced that a single-engine monoplane using a whirlwind engine could take him to Paris.  The “Ryan NYP” (for New York to Paris) was built.  On May 10 -12 he flew it to Curtiss Field on Long Island, NY, setting a new North American transcontinental speed record, stopping in St. Louis on the way.    Byrd offered Lindbergh the use of the longer Roosevelt Field runway.  Lindbergh takes off on May 20 and thirty-three and half hours later captures the Orteig Prize by landing in Paris on May 21.  

The plane designed by Donald A Hall and built in San Diego which carried Lindbergh to success now rests in the Smithsonian, while a reproduction built in 1978-79, the Spirit of Saint Louis 3, resides in the rotunda of the San Diego Air and Space Museum in Balboa Park.  Spirit 3 was last flown on the 75th anniversary of the 1927 flight. 

Photo of Spirit 3, Air and Space Museum, San Diego

Spirit of Saint Louis 3. Reproduction at the Air and Space Museum, Balboa Park, San Diego. It was flown on the 75th Anniversary of the original flight. The Bookend Collector, Bob Seecof, gives perspective to the plane’s size.

 
 

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Temple of ISIS Bookends

Photo of ISIS Bookends

Temple of Isis:  Height 4 inches, Iron.  Mark-Bradley and Hubbard, circa 1925.  Part of the Egyptian revival throughout the Western world which followed the display of the tomb contents of Tutankhamun in 1923.

Riveted on the front base of each bookend is a metal plate with the inscription “TEMPLE OF ISIS,” which should identify the ruins.  Are they Greek, Egyptian, Roman or a Victorian interpretation of the facade of a Temple to Isis?  In the eighteenth, nineteenth, and early twentieth centuries, the ruins of the ancient world were of great interest to European and American travelers or tourists.  As bookends became popular decorative items in Victorian homes, they often reflected this interest in classical themes, such as this bookend of the Temple of ISIS.  

Isis was a very important Goddess in ancient Egypt.   Already present in the Egyptian  pantheon by 2000 BCE, she became the Goddess of motherhood, and was also revered as a magical healer who could cure the sick and bring the dead back to life.

The cult of Isis spread throughout the greater Greek and  Roman world, including the Greek island of Delos, where a famed ruin of an ISIS Temple stands. The island of Delos was a popular early tourist destination.  These bookends depict temple ruins that resemble the Delos ruins but not exactly.  Perhaps the Bradley and Hubbard artist never saw the Delos ruin.  

So…. our first guess was that these bookends were representative of the ruins on the Greek Island of Delos.  But the Delos ruins have only 4 columns and are topped by an entablature (the upper part of a Classical design comprising an architrave, frieze and cornice), in other words, a triangle.  

However, there was another early and famous tourism site in Egypt, the ruins of Philae.  And these ruins drew the attention of the world in the early 1900s (when bookends were coming into vogue) as they were in danger of being swamped by the building of the first ASWAN dam in 1902.  The Temple of Isis at Philae is credited with columns that reflect the influence of Greek and Roman occupation of Egypt, such as carvings that resemble bundled reeds.  The 5 columns of these bookends appear to have the “bundled reeds” carvings near the top.  There are 5 columns along the side of the Temple of Isis at Philae.  And our bookends display a Winged Sun Disc on the underhang of the cornice. A very typical Egyptian motif in the early 20th century. 

 So… our second guess would be that these bookends were meant to represent the Temple of Isis at Philae.  We’d like to point out that Theodore Roosevelt visited these ruins in the early 1870s, long before they were moved to higher ground in order to preserve them.  

 

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MAGNIFICENT CATS: THE LION AND THE TIGER BOOKENDS

Just the type of bookends to hold up your adventure tomes.  Are you a collector of Edgar Rice Burroughs’ “Tarzan”, or Roosevelt’s “African Game Trails”, Kipling’s “The Jungle Book” or Dinesen’s “Out of Africa”?  If so, these are the bookends for you.  Big, beautifully sculpted African Lion and Asian Tiger stealthily menacing as they step from the jungle overgrowth.  

Lion and Tiger: Upright and base – Iron, animals – grey metal. Height 7 inches. Shopmark: Bradley and Hubbard.  Circa 1915.

One bookend shows an African lion stepping forward from a jungle and the other bookend shows an Asian tiger stepping forward from a jungle.The bookends are admirable as sculpture, but perhaps even more admirable because they are massive – 17 pounds per pair.  A photo does not do justice to the power exhibited by these bookends.

Bradley & Hubbard, makers mark.

 
 

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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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Sunbonnet Sue Bookends

Sunbonnet Sue:  Iron.  Height 6 inches.  Unmarked.  Attributed to the Hubley Mfg. Co.    circa 1905.

Sunbonnet Sue:  Iron.  Height 6 inches.  Unmarked.  Attributed to the Hubley Mfg. Co.    circa 1905.

This little girl is known as Sunbonnet Sue.  The image was created by the artist and illustrator Bertha Corbett (Melcher) (1872-1950).  Sue became an illustration for the book The Sunbonnet Babies Primer (1900) and for a very popular series of children’s books entitled Sunbonnet Babies  (1902).  You can read an excellent article on Bertha Corbett Melcher in the Minnesota Historical Society publication, Minnesota History Magazine.

Sue has remained a relatively unchanged embroidery and quilt pattern from before 1900 until today.  She also appeared on postcards, dishes, ashtrays and quilts after 1900. Margaret Hobbs Cook, at 104 years young,  has spanned that  century of Sunbonnet Sue’s popularity and Margaret was still quilting at 103.

 

We attribute these bookends to Hubley. Hubley began in 1894 and produced quality painted iron toys, doorstops,  bookends and other products until about 1970.  Because the Sunbonnet Sue image originated and became very popular early on, we guess that Sue bookends were first issued in the first decade of the twentieth century. Many of the Sunbonnet Sue bookends that we see are poorly cast and extensively rusted.  This pair has apparently original paint and in five colors.

 
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Posted by on November 25, 2016 in Art Styles, Literary, Victorian

 

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Lichfield Cathedral Bookends

West Face of Lichfield Cathedral

Lichfield Cathedral: Iron. Height 7 inches. Inscription: Lichfield Cathedral Copyright 1928.

These well-cast iron bookends by Connecticut Foundry are of the West Face of the Lichfield Cathedral in Lichfield, Staffordshire, England. LIchfield Cathedral was built during the thirteenth century and stands today as a premier example of Gothic architecture in England. It is the only medieval church in England with 3 spires.  The two spires depicted on the bookends are about 200 feet high. A third and taller spire at the east end of the cathedral is not represented on the bookends. The three spires together are known locally as the “Ladies of the Vale”. It is thought that Anna Seward, a late-eighteenth century romantic poet, daughter of the Canon of Lichfield Cathedral, and called the “Swan of Lichfield”, popularized this appellation through her writings.

There are several pairs of bookends depicting the Lichfield Cathedral.  This pair was cast by the Connecticut Foundry.  Not much is known about this foundry, but they issued numerous bookends in the first few decades of the twentieth century.  Connecticut Foundry bookends are nearly all unpainted iron with a light brown finish and in low relief.  These bookends are a special effort by the foundry because they are cast with great detail and are painted gold.

Connecticut Foundry Makers Mark on reverse of Lichfield Cathedral Bookends

Connecticut Foundry Makers Mark on reverse of Lichfield Cathedral Bookends

These Lichfield Cathedral bookends were a gift from Souvenir Building Collector, Mark Fine.

 

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“Trecking West” Prairie Schooner Bookends

Photo of Trecking West Bookends

“Trecking West”, Painted Iron. 6″. Circa 1930. Cincinnati Artistic.

From the 1840s to the 1860s, wagons called Prairie Schooners, Covered Wagons, Conestoga Wagons, or the Camels of the Prairies provided the transportation of migrating families, merchants, gold-seekers, and more, across the plains and the mountains of the western United States.  This bookend pair is cast in low relief, but it is busy. The artist has managed to include one covered wagon, two pairs of yoked oxen, two people, and the title – “Trecking West”.  The title honors the American “Trek”, a word borrowed from the South African Boers’ depiction of their migration in the 1830s to the more northerly territories on the African Continent.

Photo of Cincinnati Artistic inscription

Reverse of “Trecking West” bookends showing Cincinnati Artistic and Patent Appl. For inscriptions

The foundry that made “Trecking West” is more than likely Cincinnati Artistic Wrought Iron Works Co. This company operated from the late 1890s until August of 1995 when as Artistic Wrought Iron it sold off it’s remaining stock with an advertisement in the “antiques” classifieds of the Cincinnati Enquirer.  It was known for it’s quality lamps and other architectural wrought iron items during the 1930s. A lamp from Cincinnati Artistic Wrought Iron Works was appraised by David P. McCarron on the ANTIQUES ROADSHOW in 2010. Click here to reach that appraisal video.

Several Western bookends feature covered wagons. Hubley made at least 2 different versions, one of which is shown below. W.H. Howell’s contribution to the genre is documented in the BOOKEND REVUE, Fig. 194, Seecof & Seecof, and in Gerald P. McBride’s book, A Collector’s Guide to CAST METAL BOOKENDS, on page 108.

Electroformed bronze Covered Wagon bookends signed by Paul Herzel and attributed to Pompeian Bronze can be found on page 48 of BOOKENDS: Objects of Art and Fashion, Seecof & Seecof, 2012.

Photo of Covered Wagon bookends

The Covered Wagon. 5.5″, electroformed bronze. Signed Paul Herzel. Attrib. to Pompeian Bronze. Circa 1920.

 

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Fairy Tale Cottage Bookends

Fairy Tale Cottage: Painted Iron.  Unmarked.  Circa 1920.

Fairy Tale Cottage: Painted Iron.  Unmarked.  Circa 1920.

This cottage does not look like a very good home for people, and it is not.  This is a fairy tale cottage, one that might be an illustration in a book of fairy tales; tales like Hansel and Gretel or Little Red Riding Hood.  Fairy tales have been entertaining children for a very long time.  Their origins are hidden in folk tales.  Fantasy became entertaining for adults in the twentieth century, and in the nineteen twenties and thirties there were a number of whimsical houses built in the so-called Storybook House architectural style in America and in England.  These houses were built to evoke fairy-tale buildings for playful buyers. Click on the following 2 links to view some examples of Storybook Architecture in Los Angeles, CA.
Offbeat L.A.: Storybook Architecture in Los Angeles

Photo Gallery of Los Angeles Storybook Homes in Los Angeles, courtesy of L.A. Times Home and Garden.

Nowadays, of course, fantasy tales are wildly popular for children and adults.  We watch super heroes and talking animals in movies, on TV, and in electronic games,  embellished with special effects and animation.  Storybook cottages are no longer representative of our modern fairy tales, but these bookends are a reminder of the days when books filled with eerie illustrations of tales and early times were found on every child’s bookshelf.

 

 

 

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Cigar-Store Indian Bookends

Photo of Cigar Store Indian Bookends

Cigar Store Indians: Iron. Height 9.5 in. Inscription: The Strata Group 1988. There is a Strata Group in Baltimore, but they deny issuing these bookends. The foundry remains unknown.

Cigar-store Indians have a long history.  They appeared first in England in the seventeenth century with the arrival of tobacco.  The English knew that the new import of tobacco coming into the country was derived from the tobacco used by American Indians.  They responded by stationing carved wooden Indians outside the new tobacco shops as advertising figures.  In the eighteenth century, life-sized wooden Indians appeared outside American tobacco shops.  Today antique carved wooden Indians are valuable collector’s items and are quite rare.  Wooden Indians are no longer seen outside tobacco shops, and shops like these are nearly gone.

There is, however, one pair of recently-produced bookends to remind collectors and tobacco lovers of the wooden advertising Indians of bygone eras.  Each Indian of this pair presents a handful of cigars because Indians holding cigars were commonplace and were called cigar-store Indians.  The bookends are not carved of wood,  and they are novelties rather than serious art work,  but they are cast in substantial iron, and they are fun conversation pieces  Recent iron bookends are somewhat unusual because relatively few pairs of iron bookends were produced after 1930, and today new bookends are frequently of resin.

 

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OP-ART Bookends

Photo of Op-ART Bookends

Optical Art Bookends, height 5 inches.

Here we have rare and very unusual bookends.  Each bookend has a rippled face and the eye finds it difficult to resolve the  pattern.  An effect of rippling water is created.  What did the sculptor intend?  Apparently  these are bookends in the style of Optical Art.

Optical Art was a style of abstract, non-objective art which used patterns or figures to fool the eye and create optical effects such as the illusion of movement. This art style grew up and regressed in the nineteen sixties, and we do not see much of it today.

These bookends are bronzed iron, five inches high, and with no inscriptions.  We guess they date from the sixties. The artist and the foundry are unknown.

 
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Posted by on August 22, 2013 in Art Styles, Modernist

 

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