Who wouldn't want to rock around the clock when it comes to this nearly century old banjo clock! This terrific timepiece was made in 1923 by the Chelsea Clock Company. It is called a "3/4 sized clock" as it is a smaller scale version of a full sized (approximately 40" +/- range) traditional banjo clock. It is made from solid mahogany wood and has a jeweled movement. The construction and detailing is quite spectacular. From top to bottom, it features a handsome, brass encircled and easy to read face which is "topped off" with an impressive finial; a long, thin midsection featuring a patriotically themed reverse painted glass panel framed in mahogany; and a square base featuring a tranquil reverse painted navel scene, also framed in mahogany. This particular clock only tells the time and does not have a noisy "striking" feature; this is probably because this piece was designed for a commercial setting where the chimes could have been annoying or distracting to employees and clients.
Just the phrase "banjo clock" should sound like music to your ears. This style of clock was first patented in 1802 by brothers Aaron and Simon Willard. The design was a big hit right away and although patented, was quickly copied with minor modifications by other clock makers of the time. This clock design became known as a "banjo" because of its analogous shape to the musical instrument of the same name. Traditional banjo clocks, like the one featured above, were designed to hang on a wall and usually featured a white circular face, long tapering neck, square base, reverse painted scenes, brass detailing, and a brass "crowning" feature such as an eagle or other ornamental shape. Many had movements that only required winding every eight days. In order to capitalize on the popularity of banjo clocks, manufacturers began producing mantel style banjo clocks, huge versions for train stations, as well as other additional designs based on other musical instruments, including the lyre.
Many banjo clocks, like the one featured in the writeup above, were made by Chelsea Clock. This company, which had its beginnings in the 1880's, is the only remaining American clock company in existence today. The company is still located at its original headquarters in Chelsea, Massachusetts, and has a long and storied history of producing extremely durable and accurate timepieces for maritime, military, airborne, and exploration purposes. Today, Chelsea Clock is primarily known for its exquisitely hand manufactured timepieces, which are often given as executive or presidential level gifts. According to Chelsea Clock, President Obama has worked with the company to create a special version of their "Dartmouth" model (pictured to the left) to give to hosting dignitaries while travelling overseas.
I would like to thank Bob Frishman, owner of Bell-Time Clocks from Andover, Massachusetts for keeping us up with the times concerning this amazing vintage banjo clock. Bob founded Bell-Time Clocks in 1992, has repaired more than 7,000 antique
clocks, and sold more than 1,400 timepieces. He writes and lectures about
the history, culture, and science of timekeeping.The company
is a regular exhibitor at New England Antique Shows eventsand will be attending the upcoming Boston Antiques and Design Show and Sale in Wilmington, MA on January 21st and 22nd. For more information on this and other vintage timepieces, please contact Bob directly at 978-475-5001 or bell-time@comcast.net.
The holidays and yummy treats just seem to go hand in hand. So of course these remarkable vintage chocolate molds couldn't help but catch my attention at a recent New England Antique Shows event. So, my sweet, take a look at these fun and seasonal treasures. Let's see what makes them so tasty - er, I mean interesting - from the collector's perspective!
These charming treasures give new meaning to the phrase "oldie-moldies!" Here we have three very detailed chocolate molds from the early to mid 1900's. The first is a darling, classic looking Teddy bear. He is 11 inches tall and full figured, meaning that he is authentic from top to bottom! He was produced by the Hornlein company in Germany. The second is a rather funny and clever mold featuring Santa Claus and a little misbehaving boy. It is about 9 inches tall and was also made in Germany, by a company called Herris. The third is a a very realistic looking lobster, of all things! He is about 12 inches long and was made by the American company T. C. Weygandt.
So just how do you "mold" a chocolate mold? Traditionally, the design was produced in plaster by an artist, and the mold was formed from a thin sheet of metal which was pressed tightly against the sculpture. Later, large high pressure machines were able to stamp out the molds in a much more efficient and uniform way. Early molds were made from cast iron and then tin-coated or silver-plated copper. The cast iron models were really heavy to work with, and the plated copper versions had toxic properties. By the end of the 19th century, tin or tin-coated metal molds gained popularity; they are still being used today in some cases. Other traditional mold materials include nickel, steel, and stainless steel. "Old fashioned" molds utilized wire rings, clips, steel pins, and clamps to hold the two halves together. Today, many manufacturers use plastic molds for ease and simplicity for their large scale chocolate novelty production.
Chocolate molds have been giving everyone's favorite treat new dimensions since the early 1800's. The earliest versions were produced in France. By the mid 1800's, several major German manufacturers gained dominance in the marketplace and their products were noted for their exceptional detail and playful natures. By the 1880's, manufacturers in the US were producing molds as well; it is interesting to note that the hub of mold production here in the US at that time was New York City. From a historical perspective, over 25 chocolate mold manufacturers have been identified; their molds varied in size from one inch to over five feet!
The range of vintage chocolate mold designs that were produced is truly astounding. Of course, Santas, rabbits, toys, fairytale characters, and turkeys (for Thanksgiving) have always been popular. However, in some cases, chocolate mold designs also mirrored the time in history in which they were produced. For example,
at the turn of last century several manufacturers created molds in the forms of trains, dirigibles, and political figures. These unusual and "period" pieces are of great interest and value to collectors.
I would like to thank Lynne Chrin owner of Partridge Hollow Antiques,
from Milton, VT for helping to sweeten up our knowledge about these delightful vintage chocolate molds. Partridge Hollow Antiques specializes in English
and American silver, Stoneware, chocolate molds and railroadiana.The company
is a regular exhibitor at New England Antique Shows events and will be attending the upcoming Antiques and Vintage Holiday Gift
Show in Concord, MA, December 10th and 11th. For more information on these and other vintage chocolate molds, please contact Lynne directly at 802-893-6277 or partridgehollow@comcast.net.
This next great find from a recent New England Antique Shows event is so unusual that I couldn't help but want to shine a little light on its really interesting, and innovative (for its time) history and usage. Take a look at this very early fixture from more than a century ago. Before viewing the video, do you know what it is? And no, it's not a telephone, telescope, or elaborate pepper grinder!
Weaving the details together, what we have here is an early 19th century lace maker's lamp. The piece is very shiny, silver plated, and unmarked. It is about 14 inches tall and elaborately constructed. The top is shaped like a dome and can be removed. The base consists of a few interlocking tubes, designed to hold a lit candle exactly at the same height as it slowly burns downward.
Illuminating on its design, it is clear that this lace maker's lamp also makes the use of physics in its function. In the days before electricity, craftsman still needed to be see the details of what they were creating, especially in the fall and winter when the early sunsets made for very short days. This domed design allowed the light of one candle to be optimized and expanded - basically magnifying the light and making the most of a single flame. It would not be uncommon in the 1800's for several craftspeople to huddle around one of these basic lamps in order to continue their work into the late afternoon and evening.
It is interesting to note that this lamp, although seemingly basic in its design, is actually quite sophisticated and elegant relative to its origins. The earliest lace lamps were simply a candle placed adjacent to a glass globe of water. Later designs included elaborate wooden stool like stands that had large holes in the seat area. Depending on available resources and the logistics of the room, various arrangements of lit candles and water filled globes were placed securely in these holes - in essence, creating a reflective floor "chandelier." Historical records show that these early light sources provided enough illumination for up to eighteen workers!
And just why are these early lamps attributed to lace makers? Making lace is an ancient and important handicraft, which seems to have its origins in the first half of the 14th century in the areas now known as France and Belgium. Lace was used early in the Catholic Church on vestments and as part of certain religious ceremonies. By the 17th century, lace became popular throughout Europe and a popular feature on men's and women's clothes, as well as household items - including tablecloths and bedroom linens. However, because lace making was considered a cottage industry, it did not pay well and working conditions in general were poor. As a result, lace makers did what they could to create a light source in the most resourceful and inexpensive way possible - and thus "named" this early fixture design. This painting on the left, by British artist Ida R. Lovering (1800-1900) entitled "The Lace Makers, an interior scene with children making lace by candle light" sold at auction at Bonham's 2008 for over $2,000. Note the center candle and large glass water globes on the edge of the work table.
I would like to thank Margery Bailit, owner of Golden Fleece Antiques
from Auburndale, MA for spotlighting this fascinating example of early lighting ingenuity. Golden Fleece Antiques carries a general line on interesting and quality items from the early 19th through the mid 20th centuries. The company
is a regular exhibitor at New England Antique Shows events and will be attending the upcoming Antiques and Vintage Holiday Gift
Show in Concord, MA, December 10th and 11th. For more information on the silver plated lace maker's lamp, contact Margery
directly at 781-444-8767.
I'm sensing that you are really going to love this fantastic find just as much as I do. I couldn't help but sniff out this head turning, early last century incense burner at a recent New England Antiques Show event. Check out this simply exquisite functional piece of art and see what makes it so interesting and special!
Let's answer some burning questions about this lovely item! What we have here is an art pottery incense burner from around 1906. It is about 8 inches high and 6 inches wide. It is primarily green and is decorated with a pond scene in relief. You can clearly see the pussy willow details on the sides; they are finished in different shades of tan, gold, and green. The piece is greatly inspired by the popular Art Nouveau movement of the time (around 1890–1910) which emphasized natural forms, flowers and plants, animals, and elegantly curved lines in furniture, artwork, and decorative items.
Paul Dachsel, a well known artist, designed and created this "green scene." Paul launched his career as the head designer at Amphora Pottery, which was located was then at the time Turn-Teplitz, Austria. He was son-in-law of the company founder, Alfred Stellmacher. Paul loved all things having to do with nature, and while at Amphora, helped to launch the company's products into the international spotlight though his imaginative and intricate designs. He worked at Amphora from around 1892 until 1904 or 1905.
After leaving the family firm, Dachsel started his own art pottery company, called Kunstkeramik Paul Dachsel. There he really spread his wings and created some of his most sophisticated pieces, many that seem to have a fairy-tale quality to them. Even though he was no longer employed by Amphora Pottery, the style of his items were still described as "Amphora" or from the Amphora School. Some of his creative inspiration came from fellow European designers Alphonse Mucha (Czech, 1860 –1939) and Rene Lalique (French, 1860 - 1945) Kunstkeramik Paul Dachsel remained in business through around 1910. Throughout his productive years and regardless of employer, Paul Dachsel often used a simple "PD" mark on his artwork, an example of this is pictured on the left.
It is said that items in the true "Amphora School" style could not be manufactured today as they were a century ago, due to their intensive labor, talent, and time requirements. This c.1905 bat vase by Dachsel, pictured here on the left, really proves this point. The item is about 9 inches high, 3 inches wide; it is described as..."lovely lilies and juicy berries have attracted a cluster of fruit bats to the neck and rim of this vase. Unlike the blood-sucking bats of fiction, fruit bats eat fruit and suck nectar from flowers, pollinating plants along the way. The bat cluster is the fragile sculptural crown on a piece that required several firings to achieve its subtle color effects. This model is considered one of Dachsel's landmark designs."
I would like to thank Paul Martinez, owner of Paul Martinez Antiques
from Westminster, MA for lighting a fire under us concerning this wonderful example of Amphora pottery. Paul Martinez Antiques specializes in European art, pottery, and glass from the early 19th through the mid 20th centuries. The company
is a regular exhibitor at New England Antique Shows events
and will be attending the upcoming Antiques and Vintage Holiday Gift Show in Concord, MA, December 10th and 11th. For more information on the Dachsel incense burner, contact Paul
directly at (978) 874-0949 or pauls_pots@verizon.net.
