Tag Archives: Century of Progress

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 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.

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 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

10″ Imperial fruit bowl circa 1940

: Another view

: Detail of the brass legs

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

: 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 $0.75.

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 every 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)

Universal Horror The Black Cat – New Bright House

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The Universal logo (1932 – 1936) at the beginning of The Black Cat. Image from the Universal DVD.

The main title card for The Black Cat. Image from the Universal DVD.

The Black Cat, Universal’s 1934 film teamed up their two kings of horror, Boris Karloff and Bela Lugosi for the first time. While the movie starts on a “dark and stormy night”, there’s no “old dark house” here but a very ultra modern one. This is the only 1930s Hollywood film with sets so directly inspired by Bauhaus design.

Black Cat lobby card showing Poelzig's bedroom.

A Black Cat lobby card with Boris Karloff as architect Hjalmar Poelzig. This card shows Poelzig’s bedroom. Notice the lamp on the night stand, more on that later. Image from alamy.com

During the 1920s Universal Pictures association with the horror genre began. The studio had massive success with The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). With the 1927 film The Cat and the Canary art director Charles D. Hall, in collaboration with director Paul Leni, created an American expressionist look for an “old dark house” story. Enhancing the mood with the use of lighting and shadows.

The Cat and the Canary's old dark house.

The “old dark house” of The Cat and the Canary, Universal 1927, Paul Leni director, Charles D. Hall set designer. Frame capture from the Image DVD.

: The hall of billowing curtains. The Cat and the Canary, 1927. Frame capture from the Image DVD.

: Charles D. Hall’s excellent use of gothic style furniture to create the feeling of a cage. The 1927 version of The Cat and the Canary, with Laura La Plante and Tully Marshall. Frame capture from the Image DVD.

Charles Hall’s work on Dracula and Frankenstein, both from 1931, cemented the look of the typical 1930s horror film. Gothic, creepy and dark. These films established Universal as the leading producer of the horror genre. And they made stars of Bela Lugosi and Boris Karloff. As the depression deepened the popularity of the horror film continued to grow. Lugosi and Karloff would alternate starring in the parade of macabre titles Universal produced over the next two years.

Bela Lugosi greets a confused Dwight Frye in the crumbling section of Dracula’s Transylvania castle. This set epitomizes the look of the Universal horror film of the early 1930s, dark and sinister. Image from the Universal DVD.

: A more comfortable room of Castle Dracula, but still on the creepy side. Image from the Universal DVD.

: Bela Lugosi, Helen Chandler and Dwight Frye on the gothic staircase leading to the catacombs of Carfax Abbey, Dracula’s residence in England. Image from the Universal DVD.

Charles Hall’s set for the tower laboratory set for Frankenstein became the standard look for a mad scientists workplace. Colin Clive as Frankenstein and Dwight Frye as his assistant Fritz. Image from the Universal DVD.

: The interior of Baron Frankenstein’s home. Gothic and sinister. Image from the Universal DVD.

: The exterior of Frankenstein’s tower laboratory. Image from the Universal DVD.

With the depression starting to loose its grip, at least a little bit, during the second half of 1933 and into 1934, the mood in the United States lightened. If prosperity was not exactly here, at least it felt it was on the way. The movies reflected this change. Musicals, practically off screens for two years, returned and the popularity of horror films began waning. So it only seemed natural to team Boris Karloff and Bela Lugosi in a film to boost box office potential. And why not throw some Edgar Allen Poe into the mix. Though the finished film has no relation to the Poe tale, except the title.

Ulmer's title card in the opening credits of The Black Cat.

Directorial credit title in the opening credits of The Black Cat. Image from the Universal DVD.

Universal originally planned to shoot The Black Cat in the autumn of 1933 with E. A. Dupont directing. But owing to financial constraints at the studio, the film did not go before the cameras until the end of February, 1934. By this time Edgar G. Ulmer was in the director’s chair. Born in what is now the Czech Republic, he lived in Vienna as a young man. There he worked as an actor and set designer while studying architecture and philosophy. Ulmer designed sets for the legendary Max Reinhardt and served an apprenticeship with film director F. W. Murnau. Ulmer accompanied Murnau to Hollywood in 1926, where he worked as an assistant set director on all of Murnau’s films.

Edgar G. Ulmer, director of the 1934 version of The Black Cat.

The director of The Black Cat (1934) Edgar G. Ulmer. Image from imdb.com.

Ulmer’s first Hollywood directed film was Damaged Lives (1933), a low budget movie about syphilis. Soon after completing the film he landed the job of directing The Black Cat. Going before the cameras on February 28, 1934, principal photography finished three weeks later on March 17th. After a few days of retakes at the end of March and post production completed in April, The Black Cat went into release on May 7th. The cost of the film came to an economical $95,745.31 ($1,842,004.00 in 2020).

Although Charles D. Hall did design the sets and receives credit as such, Ulmer’s influence for the look of the film is obvious. Coming from Germany Ulmer knew of the Bauhaus and its design aesthetic. it permeates throughout the film. Even naming Boris Karloff’s character, Hjalmar Poelzig, after German architect, set designer and painter Hans Poelzig. In the 1920’s Poelzig mentored Ulmer at the Ufa studio and during Ulmer’s early days with Max Reinhardt. The two men remained friends till Poelzig’s death in 1936.

Hans Poelzig in 1927. Image from Wikipedia.org.

Most of the action of the film takes place at Poelzig’s home. Built on the ruins of the fictional Fort Marmorus, site of one of the First World War’s bloodiest battles. The film’s plot is a revenge story. Dr, Werdegast (Lugosi) imprisoned by the Russians since the war when his commander, Poelzig (Karloff) abandoned the Hungarian fort. He is now returning after 15 years to find his wife, whom Poelzig married, and his daughter. On the train from Budapest Werdegast shares a compartment with a honeymooning couple, played by David Manners and Jacqueline Wells. After transferring to a bus to complete their journey it crashes on the obligatory “dark and stormy night”. Luckily, or maybe not so luckily, the crash just so happens down the hill from Poelzig’s ultra modern mansion.

Poelzig’s mansion in The Black Cat is built above the graves of the war dead, is very inspired by Bauhaus architecture. Image from the Universal DVD.

Poelzig besides being a master architect also dabbles in necrophilia and is a high priest of Satan. With a Satanic ceremony taking place the following night, for which the young bride is perfect for the sacrifice, Poelzig keeps the crash victims from leaving. They are prisoners in an extremely stylish “jail”.

The first glimpse of the interior of Poelzig's house in The Black Cat.

The first glimpse of the interior of Poelzig’s house. Staircase in front of wall of “glass” block. Image from the Universal DVD.

A daytime shot of the staircase in much better detail with David Manners at the top. Image from the Universal DVD.

A focal point of the set is the curving staircase located in front of what appears to be a wall of glass block. The budget for the sets of The Black Cat came to approximately $3,700.00. This set is a perfect example of the cost saving economy of the design. It appears at first that the “glass block” is actually painted to look like glass. But upon closer examination, the wall is actually translucent. And some of the blocks had what looks like wrinkles. So it seems to be a wooden grid covered in a muslin scrim. Which is a lot cheaper and easier to instal and tear down than a real glass block wall.

Unusual shadows or wrinkles can be seen on the right hand side of the “glass block” wall. Image from the Universal DVD.

A highly polished Bakelite floor completes the living room set. While this gives the room a glossy look, it must have been very difficult to walk on.

The entrance hall to Poelzig's house in The Black Cat.

Poelzig’s entrance hall. Image from the Universal DVD.

Bauhaus inspiration is clearly evident in the entrance hall of Poelzig’s house with its simple lines. Notable features of the hall are the sliding front door and the lighted ceiling. In the living room a chrome, glass top table is accompanied by two chrome tube chairs. Some sources attribute these chairs to Hungarian designer and architect Marcel Breuer. There is no evidence that any of the furnishings used on the set of The Black Cat are European.

Poelzig’s living room featuring chrome and glass table and two Lloyd Loom Manufacturing side chairs. Image from Universal DVD.

The chairs in The Black Cat look very much like a KEM Weber design for Lloyd Loom Manufacturing.

The decor of the guest rooms is typical of the moderne style enjoying popularity thanks to industrial design shows and exhibits at Chicago’s Century of Progress exposition in 1933.

One of the guest bedrooms in Poelzig’s house. Image from the Universal DVD.

The then current decorating trend of using horizontal metal bands divide the walls of the guest rooms and give it a streamline effect. Also in one of the guest rooms is a very modern clock. The clock looks like an early model from Lawson, a California company, that has been painted to match the set.

Lawson clock on the night stand in a guest room.

Night stand with a Lawson clock. Image from the Universal DVD.

Lawson began production of these digital clocks in 1933. Numerals on rotating wheels tell the time, so it’s not exactly digital by today’s definition. Their advertisements claim this was the “first innovation in telling time since 1687”. Today these clocks are quite collectible and command premium prices. For an in depth history of Lawson clocks check out The Lawson Clock Story at Decopix.

The unusual modern radio in the living room, seems to be a fantasy creation out of the mind of the set designer, Charles Hall. The tuning dial sits above a louvered cabinet built into the wall and a very large aerial stands to the right. In the corner of the living room is a striking floor lamp with a great metal shade.

The modern radio in the living is a fanciful creation for the movie.

Poelzig’s modern radio, probably a creation of Charles Hall or Edgar Ulmer. Image from the Universal DVD.

There is another great lamp in the film and it must have been on sale. Because it is in almost every room of Poelzig’s house. Of course it just the one lamp over and over again on different sets. It’s a table lamp, rising from the circular base is a black metal cylinder that sets back to a shorter cylinder, just like a skyscraper. Chrome banding accents each set back. topping the lamp is a striped vellum shade and a glass or painted metal ball finial.

Great moderne table lamp on Poelzig's desk.

Poelzig’s study desk featuring a Koch Chrometal lamp. Image from Universal DVD.

Poelzig's bedroom night stand, with the skyscraper style table lamp.

The nightstand in Poelzig’s bedroom with that table lamp and a great combination cigarette box and lighter, possibly made by Ronson or Elgin. Image from the Universal DVD.

And here is the lamp on a living room side table. Image from the Universal DVD.

Here the lamp is in Werdegast's guest room.

This lamp is also nice for a guest room. Here it is seen in Werdegast’s room. Image from the Universal DVD.

Like all the other furnishings in the film this lamp is not European, it is American. It was sold through the 1934 Kochs Chrometal catalog. Kochs Chrometal specialized in furniture and accessories for barber shops and beauty parlors.

The 1934 Koch Chrometal catalog featuring the lamp used in The Black Cat.

The 1934 Koch Chrometal catalog. Circled in red is the lamp that is so prominently featured in The Black Cat. Image from worthpoint.com.

Poelzig, being a high priest of Satan, of course has an alter room to practice his black arts. In comparison to the rest of his house the alter room is simply done and is sparse with decoration.

Boris Karloff as Poelzig holding a black mass in the alter room in The Black Cat.

Boris Karloff as Poelzig officiating a black mass in the alter room in The Black Cat. Image from the Universal DVD.

The six-sided alter sits above a pentagonal stepped platform, all painted in what appears to be off white. The dramatically lit walls are in dark gray. Four obelisks stand around the room. Dominating the alter is a double cross (I’m sure the pun was intended) on an angle, making it look something like a giant hashtag. The retable behind the alter resembles stylized skyscrapers. The double cross, the retable and the obelisks are very striking in their silver metallic paint. The retable is very similar in appearance to the tag on Paul Frankl’s Skycraper Furniture line.

Detail of the double cross alter and the skyscraper retable. Image from The Black Cat Universal DVD.

Tag for Skyscraper Furniture by Paul Frankl. Photo from tftmmelrose.com

A lobby card for The Black Cat (1934). Image from Heritage Auctions.

So next Halloween or when ever you’re in the mood for a classic Universal horror film check out The Black Cat. The running time is a brisk 69 minutes, Karloff and Lugosi are great and it’s easy to tell they enjoy working together and if the film does not frighten you, the sets will surely impress you.

The 1932 – 1936 Universal THE END logo. image from the Universal DVD.

Closing Universal credit, 1932 – 1936. Image from the Universal DVD.

The closing cast credits for The Black Cat. Image from the Universal DVD.