Weekend finds – 2026

Its been a while since we’ve written a weekend find post, but first…

Let’s play a game:

Here’s an intriguing unmarked Art Deco piece. We bought it at the local 2A Thrift Store because it is interesting, and yet without knowing what purpose it serves.

Attached to what looks like a child’s top spinning is a chrome base and is approximately 10″ across and 9″ tall. Lifting the lid you will see a removable and textured glass insert.

Your guess? Anyone?

The answer is at the end of the post.

Mostly found locally are the weekend finds below, and others on our travels across the states is a small sampling of pieces we’ve picked up in 2026…so far.

Ceramics

: Fiesta plate before cleaning

: It takes some effort but worth it

We picked up these vintage Fiesta dinner plates shown above prior to cleaning. Other than the utensil marks, they are in good condition and surprisingly inexpensive. Don’t be afraid to pick up dishes that look like this.

: Perfect, no…

: But not scary anymore

Just scrub them vigorously with toothpaste and a touch of baking powder. It takes a bit of elbow grease to get them clean but worth the effort. Over time, and with use and regular cleaning, residual marks will disappear.

Metal and Decorative Items

: Calling card tray

I (Chris) picked this up at the Golden Nugget Flea Market in Lambertville, NJ. Elegant in its simplicity with a delicate engraved design and fluted handle, G.A.B. (Guldsmedsaktiebolaget) produced this silverplate over nickel card tray circa 1930. Located in Eskilstuna, Sweden, the company has been in business for over 150 years and known for its production of high quality wares.

Donnart brass and stone pigeon bookend

Donnart produced this cute set of pigeon bookends circa 1930. There isn’t much information out there but this is what we found. The Franklin Die Casting Co. produced their decorative items under the Donnart label. The line employed typical Art Deco stylized animal motifs metal cast in polished chrome or brass on black painted bases.

Chrome English Candlestick

Made in England and very heavy, we have little information on this candlestick. The only online reference states it is MCM. While that is possible, it certainly fits within the Art Deco aesthetic.

Barware

: Dial-a-recipe shaker by Keystone

: Detail of recipe collar

This 1930s cocktail shaker produced by Keystone has an upper collar that rotates. The window reveals several recipes to help you create the perfect cocktail.

Established circa 1914 in Philadelphia, the Keystone Silver Company specialized in high-quality silver plate over copper hollowware, barware and service pieces. By the 1930s, priorities shifted to produce polished chrome, chromium-plated copper, and hammered aluminum serving pieces in the new Art Deco style. The company expanded throughout the 1940s-1950s; continuing to produce quality giftware before winding down this line and shifting their production overseas in the late 20^th century.

Derby Shelton cocktail shaker circa 1930

Up next is a 1930 Derby-Shelton cocktail shaker. This shaker came with either a stacked metal (as shown) or red Bakelite finial. Derby-Shelton started in the Naugatuck Valley region in Connecticut. They originally created and produced elaborate Victorian items before adapting to giftware in the modern aesthetics of the 1930s. Collectors know them primarily for their cocktail shakers, bar-ware and service pieces. Designer Lurelle Guild may have contributed to the design of some items.

Silverplate and Formica tray

Crescent Silverware Manufacturing Company created this tray between 1940s-1960. A silverplate frame and black Formica combine to create this elegant tray. Founded in New York City in 1922, this company specialized in silver-plate holloware It moved to Port Jervis, New York, in 1939. Samuel Kirk & Son absorbed the company in 1977 ceasing as and independent entity.

Napier bar jigger

Napier produced this cute silverplate jigger. It is just 2.5 inches tall but sweet and practical piece of deco. Originally established as Whittney & Rice in 1875 in Attleboro Massachusetts, the company became the E.A. Bliss Company in 1885. In 1920 James H. Napier became president of the organization and the company became E.A. Bliss and Napier. Napier dropped E.A. Bliss from the business’ name in 1922.

Kensington

10″ Imperial fruit bowl circa 1940

: Another view

: Detail of the brass legs

Kensington Marlborough Vase

We’ve written about Kensington in prior post. Here are two new additions to the collection; the 10” Imperial fruit bowl circa 1940 and the 10″ 1934 Marlborough Vase both by Lurelle Guild. Note the use of brass accents to enhance the soft glow of the aluminum. Kensington is generally easy to find and relatively inexpensive. Best of all, the pieces are still usable as their intended purpose of design.

Chase

: Chase Ball Cigarette Server – black/chrome

: Interior view

Acquiring Chase items is always fun, especially if it isn’t a piece we’ve seen before. The Ball Cigarette Server is one of them. This is an apparently hard to find item and the official Chase book only lists it as coming in a white and chrome combination. Anthony in his research found an ad stating it came in white/chrome, red/chrome, black/chrome, tortoise shell/chrome and brushed copper/white. The Bakelite finial matches the accent color and this server originally cost $1.00.

Shiner Ash Receiver

Here’s a pair of unusual and highly collectible Chase Shiner Ash Receivers, designed by Russel Wright, circa 1935. Found at the Golden Nugget Flea Market, I (Chris) thought they were cute and had no idea they’re hard-to-find Chase until we started to research them. Sold in a set of two, they originally sold for $1.00

Less difficult to find is the Chase catch-all tray and often used in conjunction with creamer/sugar sets. The incised circular design adds an elegant and practical feature to your table. It originally sold for $.75.

Chase trinket/cigarette box, circa 1936

The Chase Dolphin Box holds up to 40 cigarettes or other miscellaneous items. The black Beetle box has a chrome lid adorned with a stylized dolphin. Beetle, a plastic formulation used when the manufacturer required a variety of colors, color stability, as well as a lighter weight, is more prone to stress-line cracking. Apparently a popular item, there are fairly easy to find. Also available with a brushed brass lid, the base is available in black, red or white with the finial painted to match the box color. It originally sold for $0.50.

World’s Fair

Century of Progress souvenir handkerchief

Here is a pair of souvenir silk handkerchiefs from the Century of Progress World’s Fair . I haven’t been able to find anything specific about them.

And speaking of the World’s Fair, here are examples of two ashtrays from the 1939-40 exhibition. Black Bakelite forms the one on the left; cast aluminum on the right.

: World’s Fair souvenir Bakelite ashtray

: World’s Fair souvenir cast aluminum ashtray

World’s Fair cane chair

We also found the cane chair for a very reasonable price at the Golden Nugget Flea Market. These are not particularly difficult to find but check the central decal for wear from use. This one is in pretty good condition considering its age.

Ephemera

Art Deco graphic cover

Ephemera can be fun to pick up as well.

The great graphic cover by Douglass Flynn depicts the Industrial Trust Building know by locals as the “Superman Building” for its resemblance to the Daily Planet in the Superman cartoons. This 1930 The Brown Jug also has some pretty impressive sponsors.

: Parker Duofold Pen advertisement

: Arrow Shirt advertisement

And timely, even pithy cartoons. Bonus points if you recognize the actress featured in the cartoon to the right.

Brown University, Providence, RI, started this college humor magazine in 1920 and ceased production in 1933. Reintroduced in the 1960’s, it disbanded again a year later. It has several reincarnations since before returning to its original format in 2018 and currently releases a new issue evert quarter.

Vintage Fortune magazines

We are always looking out for Fortune magazines in good condition. And remember to always check for musty or molding smells. While not impossible to remove or at least mitigate the odor, the time it takes may not be worth the effort

Happy New Year!

Postcards with great graphics are another fun collectible if space and cost are a concern. This ended up being free when I bundled it with The Brown Jug, and free is good!

Miscellaneous

Ingersoll pocket/purse travel watch

Ingersoll Watch Company produced this petite pocket/purse travel clock circ 1935. The cream and black enamel case protects the clock face when completely closed. When open, the case folds back and under, acting as a stand. The clock measures 2″ x 1 3/8″ x 3/8″. Unfortunately, while in good overall condition, it doesn’t run and sadly, the cost to fix it outweighs any intrinsic value.

Bakelite napkin ring

Here is a cute Bakelite Mickey Mouse napkin ring holder circa 1935-1942. These came in a variety of colors and originally cost $0.10 – $0.25 each. Today one ring will cost you $30 – $65 depending on the condition. But I picked this up for $5 at my local flea market!

Reproductions

As a precautionary note, always check an item over carefully before purchasing.

Reproduction Haeger vase

Clearly tagged as a 1920s Haeger vase, the bottom tag has a barcode and a copyright listing 2001. So, it is Haeger, but it is a reproduction of an earlier line. We won’t tell you not to buy a reproduction. After all, if you love it, buy it. But make sure you’re paying for what you get.

Bar coded and dated 2001

Being me (Chris), I pointed this out to the owner’s husband and he pulled it from the shelf to let her know.

And the answer is:

This one took some research and you might guess a jam or jelly pot. However, it is a caviar server. Chipped ice goes under the glass insert and the base holds the crackers or toast point. How fancy!

Did you guess it?

You just never know what you’ll (weekend) find. Happy hunting!

Chris & Anthony (the Freakin’ ‘tiquen Guys)

17th World Congress on Art Deco© – Day Six & Heading Home

Day Six (The Last Day) – Saturday, October 25th

The Congress was winding down. The only events planned were a walking tour in the morning and early afternoon and the closing night reception at La Coupole. Even though the week flew by too fast, it was still exhausting and I (Anthony) was contemplating skipping the morning walking tour to get some rest. I didn’t and I’m glad I didn’t.

The Roaring 20s of Montparnasse

Meeting our tour bus across from the Musée de l’Homme at the Place du Trocadéro at 8:30, the morning was sunny, but very chilly.

Musée de l'Homme in the Palais de Chaillot

The Musée de l’Homme at the Palais de Chaillot, just across the stree from our tour bus meeting place.

Chris either taking some photos or trying to hide behind the streetlight.

Chris is either taking some photos or is trying to hide behind the streetlight.

About an hour later, we arrived in Montparnasse and began our tour. The neighborhood became home to many artists In the late 19th century. Drawn there by its affordable rents, by the 1920s Montparnasse had become the heart of Parisian intellectual and artistic life.

31 rue Campagne-Premiére

31 rue Campagne-Premiére (1911), André Arfvidson, architect.

Our first stop was at this artists’ studio building. Designed by André Arfvidson (1870 – 1935) in 1911 using reinforced concrete with brick infill, its façade is covered in porcelain stoneware created by Alexandre Bigot (1862 – 1927). In the 1920s, artists such as Chaïm Soutine, Dora Maar, and Man Ray, among others, called this building home. It was also here, in 1924, that Man Ray photographed Kiki de Montparnasse nude in the famous image portraying her as a violin.

Le Violon d’Ingres by Man Ray, 1924.

Detail: Tile work around one of the entrances and metal work on the doors

Detail: Entrance tile work and decorative metal work on the doors

: Bronze inset panels

: Door panel details

As previously mentioned, French chemist and ceramicist Alexandre Bigot designed and executed the beautiful glazed tiles and facade reliefs. Inspired by Chinese porcelain, he used his background in chemistry to develop glazes in a large variety of colors and textures.

: Tile work surrounding doors

: Beautiful inset rosette in patterned tile

Another view of the grand building facade

A closer look at the window ledges and surrounds seen above

A last view before moving on

23 rue Campagne-Premiére

23 rue Campagne-Premiére (1931), architect Edmond Courty.

Just a few doors down and across the street from the previous building stands No. 23, another residence for artists. Designed by Edmond Courty (1896–1972) in 1930 and completed the following year, the four-story building stands above its low-rise neighbors.

Detail of the building’s cornerstone.

Most of the large studios face north and flooded with natural light. This offered greater comfort for the Montparnasse artists of the 1930s. Past tenants include painters Éric Isenburger (1902–1994) and Bassett Wilson (1888–1972), Norwegian dancer Rita Flood, Jacques Renaud working in art lyrique, and Turkish artist Ali Harsan.

The corner balconies feature ornamental Art Deco ironwork railings.

Detail: Entrance to 23 rue Campagne-Premiére.

Door detail of 23 rue Campagne-Premiére (1931), architect Edmond Courty.

Decorative ironwork doors

Decorative set-back element

Last looks before moving on

Cité Nicolas-Poussin (1903 – 1905)

: Front elevation

: Closer view of the iron scroll-work window

This complex takes its name from the short street that separates its two principal buildings in Paris’s Montparnasse district. Paul Huillard and Louise Süe designed the two-phase development in 1903 as a commission from Jules Huet de Froberville (1868–1944). They completed Froberville’s private residence first. The apartment building containing artists’ studios followed in 1905.

Our guide showing us Picasso’s “The Guitar” (1912)

The rear courtyard features a collection of charming half-timbered pavilions and additional studio spaces. Among its notable residents was Pablo Picasso (1881–1973), who lived and worked here from 1911 to 1913.

Looking through, and into the courtyard

Detail of the decorative and functional gate

Hotel Aiglon

Hotel Aiglon (1927)

Although not officially included on the tour, we passed the Hotel Aiglon on our way to the next stop. Designed by Polish architect Bruno Elkouken (1893–1968), this boutique hotel opened in 1927 and has retained its Art Deco character to the present day. Among its notable early guests were filmmaker Luis Buñuel and sculptor Alberto Giacometti. While much of the exterior displays restrained Art Deco detailing, the entrance is distinguished by its exuberant polychrome tilework, providing a striking contrast to the building’s otherwise understated façade.

: Detail of the Hotel Aiglon’s decorative ironwork and cement inserts.

: Decorative tile work of the entrance of the Hotel Aiglon.

Studio Raspail

Studio Raspail (1932)

Bruno Elkouken also designed the Studio Raspail in 1932 for the renowned entrepreneur and cosmetics pioneer Helena Rubinstein (1872–1965). The complex consists of three artists’ studio buildings constructed above a ground-floor cinema. Its minimalist façade is characterized by clean, functional lines and expansive bow windows. The building’s restrained modernist design is contrasted by black metal joinery, lending the composition a subtle Cubist character.

Studio Raspail façade detail showing the bay windows.

Studio Raspail façade – bay window detail.

The 278-seat cinema, located on the ground floor, specialized in avant-garde film programming and remained in operation until its closure in 1982. In recognition of its architectural and cultural significance, the building was partially listed as a historic monument in 1986, including the façade, roof, and cinema.

Studio Raspail Theatre. Image from societelitteraire.fr

Studio Hotel – 9 rue Delambre

: Looking up

: View of the ironwork gates

Although the façade is relatively plain, the ironwork and glass created by Francis Jourdain (1876-1958) are outstanding examples of Art Deco design, adding elegance and visual interest to the building’s otherwise restrained exterior.

Artists' studios at 9 rue Delambre (1926)

Note the etched and textured glass panels allowing light and privacy

Le Select

Situated across the street from La Coupole is Le Select, the destination for our mid-day snack. Founded by the Pléget family in 1923, it was a favorite for artist and writers such as Scott Fitzgerald, Picasso, and Agnès Capri. Ernest Hemingway, a frequent patron, included this café in his book, “The Sun Also Rises”.

A glimpse of the interior

Note the deco pattern over the bar and the fluted mullions in gold

: Etched glass baffles soften the lights

: Another beautiful molded glass fixture

: One of the many deco lighting fixtures

Virtually unchanged is the décor. Comfortable banquettes, marble-top tables and white-aproned waiters provide excellent service.

: Hot milk and a warm pot of chocolate becomes…

: …a delicious and rich cup of chocolate

If seated at the large windows at the front, you can watch a slice of Parisian life while sipping a cappuccino, hot chocolate, or any of the many choices for imbibement while eating one of the many delicious offerings.

Picturesque Le Select at night

Stepped Building – 26 rue Vavin

26 rue Vavin façade of the Stepped Building (1913)

This remarkable eight-story stepped apartment house at 26 Rue Vavin, completed in 1914 is one of the most important proto-modern buildings in Paris. Architects Henri Sauvage (1873-1932) and Charles Sarazin (1873-1950) designed the building with a series of setbacks that provided each apartment with its own planted terrace. The use of reinforced concrete made these successive upper-floor setbacks structurally possible while also allowing the apartments to receive abundant light and fresh air.

Façade detail showing the exterior tiles and stepped terraces.

View of a roof-top garden

The design embodied Sauvage’s hygienist ideals, which promoted healthy living conditions as a means of combating diseases such as tuberculosis. Clad in blue-and-white ceramic tiles, the façade presents a clean, durable, and largely unadorned aesthetic that anticipated the functionalist principles of modern architecture.

Mairie annexe du 14e arrondissement

Façade of the Festival Hall of the 14e ar.

Designed by architect Georges Sébille (1870-1962) in 1931 and inaugurated in 1936, this brick building serves as the annex to the 14th arrondissement town hall. Now listed as a historic monument, it is a remarkable showcase of Art Deco civic architecture.

: Bas-reliefs representing “Agriculture”

: Bas-reliefs representing “Labor”

Its façade is adorned with two bas-reliefs by sculptor Raymond Delamarre.

Anthony excited to get inside

: Entering the hall

: Intricate but delicate metalwork…

: …provide light and interest in the vestibule

The main stairway photo op from below

Upper gallery from the first landing

: Details of the beautiful railings by Eugène Patois

: The murals are a collaboration of three artists:

: Robert Poughéon, Jean Despujols and Fernand Heurtenberger

Grand window with ironwork by Eugène Patois

The interior forms a veritable gallery of early 1930s decorative arts, featuring murals by Robert Poughéon, Jean Despujols, and Fernand Heurtenberger, ornamental metalwork by Raymond Subes, Eugène Patois and stained-glass windows by master glassmaker Auguste Labouret.

First view of the main gallery

The building is undergoing a renovation. But you get a sense of its beauty when entering the main gallery.

: Wall sconce

: Hanging fixtures

: Radiator covers

Whether looking up or down, you are sure to find something Art Deco. And beautiful murals are featured in almost every room.

Heading back to the main floor offered an opportunity to appreciate the abundance of metalwork.

: Coming down the main staircase

: Intricate vestibule of metal and glass

Enter or exit in style

: The glass and metal windows in the community room

: Leaving the Festival hall

: A last look at the beautiful metalwork

Across from the Festive Hall is an enclosed semi-private park. It afforded Chris the opportunity for another artsy picture.

The visit to the Mairie annexe concluded our walking tour of 20s Montparnasse. It was a long but wonderful tour. It was then back on the bus to take us to our hotels to get ready for the night festivities and sadly to start packing for our trip home.

Chris striking another Gene Kelly type pose while waiting for the bus.

On the bus ride back the driver took us around this famous Parisian landmark.

La Coupole – A Brief History

We headed back to our Airbnb, where we had time to refresh ourselves and relax before heading out to dinner.

A brief drive through a misty night and we arrived for our final dinner for this congress.

The neon façade of La Coupole

The brain-child of Ernest Fraux and René Lafon, La Coupole was a direct response to the founders’ inability to buy the restaurant they managed, Le Dome, in 1926. If they couldn’t buy Le Dome, then they planned to buy and build a larger restaurant and right next door!

The main dinning hall with examples of the 32 unique columns

Alphonse-Louis Solvet and his son Paul created the art deco interior. The owners hired thirty-two local artists to paint the murals covering the upper portion of the interior columns – one artist for each column. This group included students of Henri Matisse, Ferdinand Léger, Marie Vassilieff, and Moïse Kisling,

Mirrors give the illusion of space

The upper-level restaurant of La Coupole opened December 20,1927. And it became the favorite haunt for regulars such as Jean Cocteau, Alberto Giacometti, Joséphine Baker, Man Ray, and more in 1928. Pablo Picasso, Simone de Beauvoir and Sonia Delaunay, Marc Chagall, and Édith Piaf made it a regular in 1930.

Ernest Hemingway, Henry Miller, Marlene Dietrich, and Ava Gardner frequented La Coupole in the 1940s and 1950s.

An instant success with a parade of socialites, artists, writers, politicians, an estimated 2000 guests attended the opening– and drank the bar dry.

The Dance Hall, La Coupole, 102 Bd du Montparnasse

View from the lounge just outside the hall

The lower-level, The Dancing Hall, opened December 21, 1928. Filiberto Rico‘s Rico’s Créole Band was the main orchestra and became famous for live jazz and Latin music until the 1960s.

La Coupole flourished until World War II. However, after France’s liberation, the owners sold the property for redevelopment. Fortunately, the plans fell through and La Coupole limped along until 1988.

The Flo Group purchased the declining property in 1988. La Coupole briefly closed for nine months to fully restore both levels to their former splendor. They carefully preserved the deco chandeliers and murals painted by the 32 artists.

A very conspicuous addition to the restaurant is sculptor Louis Derbré’s revolving bronze sculpture La Terre [Earth]. Unveiled in 1993, it is actually a copy of La Terre (1972) in Ikebukuro Square in Tokyo,

La Coupole – The Dancing Hall

: Admiring the architecture…

: …and our first view.

Anthony entering the Dance Hall

White-gloved servers greeted each guest in the Dancing Hall while handing them a glass of champagne for the beginning of the cocktail hour.

Servers kept busy by a hungry crowd

Graciously allowing me to take their picture

A sample of one of the delicious treats

: Banquettes line the mirrored walls

: Deco style lamps brighten the bar

One of the murals adorning the mirrored walls

Unending hors d’oeuvres and with the champagne flowing, guests mingled; many in period appropriate clothing.

And the champagne flowed…

Costumed entertainers helped to set the feeling of a bygone era.

The Serpentine Orchestra played period music, inspiring guest to dance.

The band playing continuously through the reception

Anthony enjoying some bubbly and a good conversation

All too soon, the lights brightened and it was time to head upstairs and have our dinner.

Taking full advantage of the stairway and looking lovely

La Coupole – Restaurant

Restaurant, La Coupole, 102 Bd du Montparnasse

Louis Derbré’s La Terre

Dominating the restaurant is the revolving bronze La Terre. More than decoration, entertainers use it as a prop dancing in, and around it.

Guests settling in and showing off their outfits

President of the the Art Deco Society of Washington DC, Steven Knight and his wife Karen Burditt

Seated and well plied with champagne, servers delivered a truly delicious three course meal. Of course, the supply of wine and soft drinks flowed.

Duck foie gras with chutney opened the meal, followed by a delicate sole and for dessert, a passionfruit pavlova.

Duck foie gras with chutney – one of Chris’ favorites

Sole-Meunier (photo from saveur.com)

: Pavlova for dessert

: Yum!

Truthfully, passionfruit is not a favorite of mine (Chris). However, the combination flavors and texture surprised me. Delicious!

Dancers utilizing La Terre in their performance

Several group numbers “spontaneously” provided entertainment during the dinner.

The Serpentine Orchestra

Of course, the entertainment seemed to be non-stop. The Serpentine Orchestra, as in the Dancing Hall, played period music throughout the night.

As before, costumed entertainers milled through the guests encouraging participation. Note the intricately tiled floor.

Detail of the mosaic tiled floor

For us, the highlight of the evening had to be this performer, La Baronne de Paname. Not only did she dance well, but period accurate, and with unbridled energy.

A quick visit to the cloakroom and we found more deco touches.

: Elegant reeded glass provides privacy and light

: Posters recalling a by-gone era

: The original telephone bay

Performers taking a well deserved break

Goodbye, La Coupole

A long, fun night, we took out tired bodies home. Tomorrow’s adventure? Our journey home.

The Road Home

Luckily for us, our flight was a bit later so there was little need to rush in the morning. After finishing our packing, we did our best to ensure the Airbnb was clean. Bidding farewell to our home-away-from-home we took an Uber, and headed to the airport.

Interesting building abound in France.

Interesting ivy covered building

The ivy covered Le Grande Épicerie de Paris is a (very) upscale, luxury food store.

Gare de Boulainvilliers station

Designer Alexandre Barret created the Gare de Boulainvilliers Station. It opened in April 1900 before the start of the Universal Exposition. Between April and November of that year, 10 million people passed through this station.

Oh look, the Eiffel Tower!

Architect Juste Lisch designed this station for the Exposition Universelle of 1900 (aka 1900 Paris Exposition). It is built on a bridge over the railway.

Anthony enjoying a typical French sandwich

After checking in, and with a couple of hours to pass, we headed out to find food. Surprisingly, the price of our lunch was extremely reasonable.

Settling in for the long flight back across the Atlantic

Ready for take-off

Soon it was time to board our plane, settle in and think about the wonderful experience we had and the new friends we met.

Farewell Eiffel Tower!

: Good-bye city of lights

: It is really over

Landing in Newark

Oh, look! the Eiffel Tower Newark refinery complex. Doesn’t have quite the same ring. An exhausting, non-stop week filled with informative lectures, great food, wonderful tours and fantastic friends, new an old and so many memories – it couldn’t be better.