Tag Archives: Westclox

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)

Time to Collect – Art Deco Clocks

Collecting Art Deco clocks can be addictive. Since they were mass-produced there are thousands out there in many different styles, so you are sure to find one or more that will fit right in with your decor.  And often they are not that expensive, we’ve paid less than $10.00 for some, but most are in the $25.00 to $50.00 range. First a word of advice or warning, vintage clocks can often be found in good working order when you purchase them. But sometimes the electric motors that run the clocks can burn out and since they are no longer being manufactured, repairs, if it can be fixed, can be expensive and take a really long time.

 

Shelf or Desk Clocks

Chris and I are both fond of Art Deco clocks. Chris is the winner of this collecting quest as he has the best clock of our collections, the General Electric, Breton. Manufactured between 1937-1939, with a retail price of $8.95 ($148.00 in 2015). The frosted glass clock face sits on a silver painted stepped base, has etched numbers and abstract design that is illuminated from below. This clock is sometimes erroneously attributed to Rockwell Kent, but was actually designed by John Rainbault.

 

 

None of the Art Deco clocks in my collection equal the Breton, but they are stylish. My favorite clock of all that I own is the Westclox Andover. Introduced in April of 1938, it originally sold for $4.95 ($83.21 in 2015). Production of this clock lasted just over four years and was discontinued in 1942. I particularly like the stylized numerals and the translucent blue band around the face. The Andover does not have a self-starting motor like Telechron and GE clocks so to get it running one has to turn the upper knob on the back of the clock.

 

 

Here’s a clock that I picked up about ten years ago at the Haddon Heights Antique Center in Haddon Heights, N.J. It was a great buy at only seven dollars, which is exactly the price of the clock when it sold originally, and it runs great. The model name is the Debutante, it was manufactured by General Electric from 1933 – 1938 and was available in brass or chrome. This is another design by John Rainbault.

 

The General Electric Debutante, 1933 - 1938.

The General Electric Debutante, 1933 – 1938.

 

Driving for Deco friend Nancy picked up a very nice “Modernistic” wood mantel clock a few years back at  Salamanca Mall Antiques, in Salamanca, New York. As a matter of fact it was the same day and place that Chris picked up his General Electric Brenton. Who knew that Salamanca was such a hot bed for Art Deco clocks? There is no manufacturer’s name on the clock and I can’t find any information about it on-line. About 15 years ago there was an online store specializing in Art Deco that had this same clock, painted in blue, but it seems to have gone out of business. So if anyone can offer some information about this clock, we would be grateful.

 

Circa early 1930's Art Deco mantle clock.

Circa early 1930’s “modernistic” wood mantel clock.

 

 

Kitchen Clocks

 

When kitchens are depicted in 1930’s advertisements there is always a clock on the wall. My kitchen clock is the General Electric New Hostess. It was made from 1934 – 1941 and then from 1947 – 1952. The molded plastic case came in red, green, black and ivory. The pre-war models had a metal back of “nicral”; the later models had a plastic back. My clock is from the post-war era, but it looks almost exactly like the early versions. And it shows up well hanging on the wall. This was one of the most popular kitchen clocks of the 1930’s and can often be seen in kitchen advertisements of the era.

 

The General Electric New Hostess kitchen clock, 1934-1941 & 1947-1952.

The General Electric New Hostess kitchen clock, 1934-1941 & 1947-1952.

 

The clock that hangs on Chris’ kitchen wall is an Miller 8 day, wind up clock, circa 1930. It  was made by the E. Ingraham Company of Bristol, Connecticut, which was in business from 1844 – 1967. This particular clock was not working when Chris purchased it. He was able to get it repaired but it took about six months for the job to get done.

 

 

Miller 8 Day Clock, Circa 1930, made by the E. Ingraham Company in the Art Deco style.

Miller 8 Day Clock, Circa 1930, made by the E. Ingraham Company.

 

 

Alarm Clocks

 

 

Designed by George Graff, this was one of the most popular alarm clocks made by the Telechron company in the 1930’s. And there were four variations of it with different face styles, hands and case designs. I own the 715 model, which is slightly different from the original 711, as there is no illuminating light and the clock face is beige rather than white. The case is Dura-silver-alloy that stands on a black, bakelite base and it is heavy, weighing nearly three pounds. Later models were offered in green, ivory, orchid and blue enamel. The one problem that I have with the clock is that the alarm is fickle and doesn’t always ring, it does keep good time though, not bad for a clock that is about 85 years old.

 

In the mid to late 1930’s cobalt and peach color mirrors became very popular. Colored mirrors were not only used to hang on wall, but also for table tops and for clocks, too. My previous alarm clock was one of these, the Mirolarm. Manufactured by Telechron from 1937 – 1942, it came in cobalt blue or peach.

 

 

 

Chris owns this stylish, chrome alarm clock, made by the Hammond Clock Company of Chicago, Illinois.

 

Laurens Hammond founded the company in 1928. In 1935 he invented the electric organ  and changed the company’s name to the Hammond Instrument Company in 1937. Hammond’s Production of clocks ended in 1941. The above clock is the Polo, first manufactured in 1931, it was one of the most popular clocks made by Hammond.

 

 

Clocks I wish I owned

 

Even with all the clocks that I own there are still a few really special ones that I would love to have in my collection. Gilbert Rohde not only designed furniture for the Herman Miller Company, but also a series of clocks in the early 1930’s. These clocks are highly collectible today and can cost anywhere from $1,000 to up to $8,000.

 

 

 

The clock on my most wanted list is Paul Frankl’s Modernique (1928-1932) for the Warren Telechron Company. This clock quickly acquired the nickname the “fifty dollar clock”, referring its price. Because of its price it was not a big seller and as a result I’ve only come across them twice at antique shows and each time it was priced over $500.00.

 

Paul Frankl's Modernique for Telechron 1928-1932

Paul Frankl’s Modernique for Telechron 1928-1932

 

 

So until I own one or more of the clocks above, my quest for clocks will continue and I’m sure the same goes for Chris, too.

 

Anthony & Chris (The Freakin’, Tiquen’ Guys)