Tag Archives: Russel Wright

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.

Caviar server

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.

Caviar server

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

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.

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

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

Donnart brass and stone pigeon bookend

Donnart

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

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

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 20th century.

Derby Shelton cocktail shaker

Derby Shelton cocktail shaker circa 1930

Up next is a 1930 Derby-Shelton cocktail shaker. This shaker comes 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.

Crescent Silverware Manufacturing Company

Silverplate and Formica tray

Crescent Silverware Manufacturing Company created this 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

Napier bar jigger

Napier produced this cute silverplate jigger. It is just 2.5 inches tall but a 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

Kensington Aluminum

10″ Imperial fruit bowl circa 1940

Kensington

Kensington Marlborough Vase

We’ve written about Kensington in a 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

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.

Chase

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

Chase catch all tray

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 $0.75.

Chase

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

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.

1939-40 World's Fair

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

The Brown Jug - 1930

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.

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 every quarter.

Fortune Magazines

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

New Year's post card

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

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.

 

Mickey Mouse

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.

Haeger vase

Reproduction Haeger vase

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.

Haeger vase

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:

Caviar server

 

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)

Meet you at the Met

Metropolitan Museum

Metropolitan Museum on a rainy day (photo: dreamstime.com)

It was a cool and drizzly day when we headed on our journey to the Metropolitan Museum of Art to meet up with friends.  With many special functions going on, we concentrated on the Berenice Abbott Exhibit.

Man Ray portrait of Berenice Abbott, 1921.

1921 portrait of Berenice Abbott by Man Ray. Image from the Museum of Modern Art Archives.

Berenice Alice Abbott (1898 – 1991) was an American photographer who documented 1930’s urban New York.  Born Bernice Abbott, she briefly attended Ohio State University before leaving in early 1918 and moving to New York City. In NY, Bernice studied sculpture and painting. Looking to improve her skills, she travelled to Paris in 1921 and studied sculpture with Emile Bourdelle. It was while in Paris that she adopted the French spelling “Berenice”.

In Paris (1923), the famous photographer, Man Ray, was seeking a darkroom assistant, someone with no previous knowledge of photography. Willing to take on a challenge, Abbott applied for the position and was hired.

Abbott wrote:

“I took to photography like a duck to water. I never wanted to do anything else.” 

Taken by her skills, he allowed her to use his studio to take her own photos. Abbott’s subjects were people in the artistic and literary worlds, French nationals, and casual visitors.

James Joyce portrait photograph of James Joyce. From the collection of the Met.

Berenice Abbott portrait of James Joyce (1926). Image from the collection of the Metropolitan Museum of Art.

In 1925, Man Ray introduced her to the photographic works of Eugène Atget. Meeting Atget, she persuaded him to sit for a portrait in 1927. He died shortly thereafter and Abbott acquired the prints and negatives remaining in Eugène Atget’s studio at his death in 1927.

Berenice visited New York City in early 1929 and saw the potential that could be captured by photography. By September of the same year, she closed her Paris studio and moved back to New York City.

Over the next decade, she documented the ever-changing landscape of the city as it became a modern metropolis. Her work is a historical record of many now-destroyed buildings and neighborhoods in Manhattan.

Album page showing the Brooklyn Bridge and lower Manhattan.

Abbott’s album showing the Brooklyn Bridge and lower Manhattan. Photo by the authors.

Another album page showing the 59th Street 9th Ave El Station and the waterfront.

Another page from Berenice’s 1929 photo album of New York City, showing the 9th Avenue El Station and the NYC waterfront. Photo by the authors.

Changing New York, E.P. Dutton & Co., Inc.

The culmination of Abbott’s 1930s New York City photographs, Changing New York, 1939, published by E.P. Dutton & Company, Inc. Photo by the authors.

Moving from the Berenice Abbott exhibit, we moved to the Modern and Contemporary Art.

On our way to Gallery 912 (Abstraction), we came across some treasures of Modern America paintings from the 1920s – 1940s. The most impressive, in our opinion, is America Today (1930 – 1931). This massive mural by Thomas Hart Benton (1889 – 1975). Benton, commissioned by the New School for Social Research to paint a mural for the board room of their new building on West 12th Street, designed by Joseph Urban. Even though created at the onset of The Great Depression, the mural, consisting of ten panels, showcasing American industry from the rural South to the industrialized North projects hope and promise. The video below tells the story of the mural’s fascinating history and how it ended up in the Met’s collection.

 

America Today, by Thomas Hart Benton at the Metropolitan Museum of Art.

Chris taking in the “Instruments of Power” panel of Thomas Hart Benton’s massive mural America Today at the Metropolitan Museum of Art. Photo by the authors.

In addition to America Today, there were three paintings from the interwar period that caught our eye. In chronological order the first was, Edison Mazda (1924), by Stuart Davis (1892 – 1964). Clearly inspired by the cubist works of Pablo Picasso and George Barque, with its use of collage-like composition and flattened space. The artwork of Davis’ has also been describes as proto pop art, with his use of bold and brash colors.

 

Edison Mazda by Stuart Davis.

Edison Mazda (1924) by Stuart Davis. Photo by the authors.

The second painting, Georgia O’Keeffe’s (1887 – 1986) The East River from the Shelton Hotel (1928) is the view O’Keeffe had from her apartment window on the 30th floor of the Shelton Hotel. Anthony, being more of a city guy, is fonder of her city scapes than her series of flowers. He loves the way she captures the particular bleak feel of the East River water front and Long Island City on a winter’s day.

The East River from the Shelton Hotel (1928) by Georgia O'Keeffe. In the collection of the Metropolitan Museum of Art.

Georgia O’Keeffe’s East River from the Shelton Hotel (1928). Photo by the authors.

And then there’s Let My People Go (circa 1935) by Aaron Douglas (1899 – 1979). Douglas, a major graphic artist and muralist of the Harlem Renaissance during the 1920s and 1930s, visually interprets the biblical story of God’s order to Moses to lead the Israelites out of Egypt, in his flat, silhouetted style.

 

Aaron Douglas' painting Let My People Go.

Let My People Go (circa 1935) by Aaron Douglas. Photo by the authors.

While the Berenice Abbott exhibition was the major draw to visit the Metropolitan, their collection of Ruba Rombic glassware were more must see items. This Cubist inspired glass, designed by Reuben Haley (1872 – 1933) in 1928 is one of our favorite.

 

Ruba Rombic glassware.

Some of the Metropolitan’s collection of Consolidated Glass Company’s Ruba Rombic glassware. Photo by the authors.

The four pieces (out of seven) on display are, (from left to right) the Whiskey Glass, 10 oz. Tumbler, 9 oz. Tumbler and the Jug, all in the pieces displayed are in Consolidated Glass’ cased, silver color.

Found in Gallery 912 – Abstraction, along with Ruba Rombic, is this group of iconic 1920s and 1930s design. I hate to say it but this “gallery” almost seems like an after thought, off to the side and tucked away,  practically underneath a staircase.

Iconic industrial design itmes.

From left to right, Birtman electric toaster, Sparton Bluebird (Model 566) Radio, and Westclox’s 1938 “Big Ben” alarm clock. Photo by the authors.

The Birtman Toaster from 1932 (with a window in it so you watch the bread turning brown) and Westclox 1938 version of the “”Big Ben” alarm clock are both designs by Henry Dreyfuss (1904 – 1972). And Sparton’s Bluebird radio is a famous piece created by Walter Dorwin Teaque (1883 – 1960).

Light court of the American Wing at the Met.

Light court of the American Wing of the Metropolitan Museum of Art. Photo by the authors.

Our final stop was the American Wing.  Set on two balconies surrounding a large light court were examples of early American silver, glass, and ceramics.

Silver Charger by The Kalo Shop, 1937, on display in the American Wing of the Met.

Charger made by The Kalo Shop in Chicago, Illinois, circa 1937. Photo by the authors.

"Our America" series by Rockwell Kent for Vernon Kilns.

“Our America” pottery series by Rockwell Kent for Vernon Kilns, 1939. Photo by the authors.

Prominently featured were glass panels by the Tiffany Studio, Frank Lloyd Wright (1867 – 1959) and George Washington Maher (1864 – 1926) among others.

 

Autumn Landscape, Agnes F. Northrop for the Tiffany Studios.

Autumn Landscape (1923-1924), attributed to Agnes F. Northtrop (1857 – 1953) made by the Tiffany Studios. Photo by the authors.

Deco, not Deco

Deco, or not?

 

Here is a sweet little pitcher. But is it deco?

Deco, or not?

Not!

As stated above, it was designed by Hugh C. Robertson and produced by Chelsea Keramic Art Works between 1880-1889.

These were just the tip of the iceberg of the many wonderful pieces in the Met’s collection. If you are in New York City it is certainly worthwhile to spend a day there.

Anthony & Chris (The Freakin’, Tiquen Guys)