Tag Archives: Frank Lloyd Wright

Sunbeam Coffeemaster: Chris’ Recent Thrift Store Find

Towards the end of May, Chris was back in his local Goodwill. While he hasn’t had much luck at this particular store in a long time, this day he came across a Sunbeam Coffeemaster. We have seen these many times in the past and have always passed on it. One of the reasons we never picked one up is that we could never get the top chamber off the bottom. This time it was different. Chris was able to remove it and it was really clean inside.

The Sunbeam Coffeemaster at Goodwill that Chris sent to me.

Chris at Goodwill taking the picture of the Sunbeam Coffeemaster that he texted to me. Photo by the authors.

Of course neither of knew if it worked or not. Taking a chance. Chris did test it a couple of days later and was happy to report that worked fine. I always thought the Sunbeam Coffeemaster was a post-World War II product, and was very much surprised to learn that it was introduced in the fall of 1938. I’ve should have known better, since it carries the same “T9” design as the famous Sunbeam “T9” toaster also introduced in the late 1930s.

The famous Sunbeam Toastmaster.

The circa 1939 Sunbeam Toastermaster breakfast set. Image from 1stdibs.com.

To borrow a line from John Crowley’s poignant 1984 documentary about the 1939 New York World’s Fair, The World of Tomorrow

I think there are moments where you can see the world turning from what it is into what it will be –

and the Sunbeam Coffeemaster is one of those moments. When Sunbeam introduced the Coffeemaster in the late ’30s, it was a cumulation of just over 100 years of vacuum or siphon coffee making. The earliest patent for a vacuum coffee maker dates to the 1830s filed by Leoff of Berlin. But the real credit for popularizing vacuum coffee needs to go to Marie Fanny Amelne Massot (patented under the name of Madame Vassieux) of Lyon, France and her patent and design of the first commercially successful vacuum coffee maker of 1841. Vassieux’s coffee maker introduced the classic vacuum pot look, two glass chambers resembling an hour glass.

Illustration of Madame Vassieux's vacuum coffee pot of 1841.

Madame Vassieux’s “glass balloon” coffee pot of 1841. Illustration from baharris.org.

By the early Twentieth-Century the vacuum coffee pot had come to the United States. With Corning Glass’ development of Pyrex ovenproof glass in 1915, the manufacture of a shatterproof vacuum coffee maker became possible. The Silex Coffee pot hit the stores the same year.

1915 advertisement for the Silex Percolator.

Advertisement for the 1915 Silex Percolator from Weaver’s Hardware Store, Rochester, New York. Democrat & Chronicle, April 10, 1915, Pg 19.

By the 1930s the Silex coffee maker developed into the familiar hourglass style that could be used on a stove top or on an electric heater.

1933 ad for the Silex Glass Coffee Maker.

Silex Glass Coffee Maker advertisement. The Daily Astorian October 27, 1933, Pg. 6.

Silex also had a number of vacuum pot competitors, including Sunbeam.

1930s advertisement for the Sunbeam vacuum coffee maker.

1930s Sunbeam Coffee Maker. Ad from the Omaha World-Herald, February 23, 1935, Pg. 4.

These vacuum coffee pots were certainly not automatic, one had to stir the grounds and the water and the pot needed to be removed from the heat source for the coffee to drop into the lower chamber. That changed with the introduction of Faberware’s Coffee Robot towards the end of 1937. Finally, a coffee maker that could do it all (almost) automatically. It will stir the coffee and keep it hot all day. The only thing you need to do is to open the valve in the back to prevent the coffee from going back up into the glass balloon on the top.

1938 ad for Faberware's Coffee Robot.

Faberware Coffee Robot. Buffalo Courier Express, May 26, 1938, Pg. 10.

And in 1938 the Chicago Flexible Shaft Company (Sunbeam) hired a 20th Century Renaissance man, Alfonso Iannelli to design a new coffee pot. Born in Italy on February 17, 1888, Iannelli immigrated to the United States at the age of 10. Under Gustav Borglum he studied sculpture, but it was while he painting posters for vaudeville acts at Los Angeles Orpheum Theatre that he met architect John Lloyd Wright. Wright, impressed by Iannelli’s work introduced him to his famous father, Frank Lloyd Wright. In 1914, the elder Wright invited Iannelli to work on his enormous entertainment venue Midway Gardens.

Midway Gardens in Chicago, designed by Frank Lloyd Wright.

Frank Lloyd Wright’s Midway Gardens, circa 1914. Photo from the Frank Lloyd Wright Foundation.

Alfonso Iannelli and his wife in his studio, circa 1916.

Alfonso Iannelli and his wife, circa 1916. Image from arcchicago.blogspot.com.

Iannelli created the “sprite” sculptures for Midway Gardens.

Sprites on a wall at Midway Gardens.

A group of Iannelli “Sprites” adorning a wall at Midway Gardens. Photo from Pinterest.

Not surprisingly Wright did not credit Iannelli for his work and even claimed he created the sculptures. This led to a break between them and Iannelli never worked with Wright again. Around 1919, Iannelli and his wife Margaret set up a studio in Park Ridge, Illinois. The many facets of their work, from sculpture to stain glass to graphic design and industrial design, were created in this studio.

In 1929-1930 Iannelli created twelve, bronze zodiac plaques for Chicago’s Adler Planetarium.

1930 view of the Adler Planetarium in Chicago.

The Adler Planetarium in Chicago, circa 1930. Image from The Man On Five.

Iannelli's 12 bronze plaques on the facade of the Adler Planetarium.

The 12 bronze zodiac plaques around the facade of the Adler Planetarium. Image from reddit.com.

Just after the Adler’s completion, Iannelli received design commissions for a number of exhibits at the 1933-1934 Century of Progress exposition in Chicago, including the facade of the Social Science Hall.

The facade of the Social Science Hall, Century of Progress, Chicago, 1933.

Iannelli’s Facade of the Social Science Hall, 1933. From the booklet, Sculpture A Century of Progress, Pg. 23

Alfonso Iannelli, circa 1935.

Alfonso Iannelli, circa 1935, around time of the Wahl-Eversharp commision. Image from timeout.com.

The fountain pen company Wahl-Eversharp hired Iannelli to design a top-of-the-line gold pen and mechanical pencil in the mid-1930s. The set eventually named Coronet was introduced during the 1936 holiday season.

The Coronet pen and pencil set by Wahl-Eversharp, designed by Alfonso Iannelli.

The Wahl-Eversharp Coronet pen and pencil set. Image from the chicagodesignarchive.org.

Soon after the introduction of the Coronet set,  Iannelli set to work designing the new toaster and coffee pot for Sunbeam. What Sunbeam wanted was a completely automatic, electric, vacuum coffee pot as their new flagship model, eventually named the Coffeemaster C20. Sunbeam was already using the “Coffeemaster” name on an earlier  non-vacuum, non-automatic set from the mid-1930s. There will be more about this set in a future post.

The Sunbeam Coffeemaster set of 1934 - 1938.

Sunbeam Coffeemaster set, 1934 – 1938. From the collection of the authors.

Iannelli’s design, while still the basic shape of vacuum pots, looked like something from the future. Rising from a Bakelite base, that rests on four tear-dropped feet with a chrome band, are the two vessels of chrome-plate over copper. The “T-9” is etched into the bottom, serving vessel. Topping it all off is a vented lid with a Bakelite finial.

Advertising artwork for the Sunbeam C20.

Advertising artwork for the Sunbeam C20 that clearly shows the engraved “T9” on the serving vessel. Image from the chicagodesignarchive.org.

It has been said that the Iannelli’s inspiration for the “T9” came from the theme center of the 1939 New York World’s Fair, the Perisphere and Trylon.

The Trylon and Perisphere from the Court of Communications.

The Trylon and Perisphere in mid-afternoon. Image from mcny.org

Whether or not that is true we leave for you to decide. But it added a nice modern touch to the appliances and gave cohesion to the new line.

Sunbeam’s new Coffeemaster hit the stores in the autumn of 1938. This was a truly an automatic coffee pot. Fill the bottom with the desired amount of water, then add the appropriate amount of coffee into the top section, set the switch to high and walk away. After the exact amount of brewing time in the upper vessel, the pot sets the switch to low and the coffee empties into the bottom section. Take the top section off and place the lid on the bottom for a stylish serving coffee pot that while plugged in keeps the coffee at the proper temperature.

Ad for Sunbeam's New Coffeemaster, 1938.

The New Sunbeam Coffeemaster. Advertisement from the Battle Creek Moon-Journal, September 25, 1938, Pg. 2.

Another major selling point of the new Coffeemaster was its durability. Being plastic and chrome-plated it wouldn’t be breakable like its all glass competitors. And even though its price was hefty at $15.00 (the equivalent of $343.15 in 2025), it was in the same price range as other vacuum coffee pots. For an extra $7.50 one could purchase the entire set that included the cream and sugar and tray.

The Sunbeam Coffeemaster C20A set.

The Sunbeam Coffeemaster C20A set with sugar, cream and tray. Photo from ebay.

The new Coffeemaster proved to be an immediate hit. And judging by how many can be found today, sold really well.

With metal shortages during the Second World War, Sunbeam did their bit by using glass for the upper vessel. Today collectors refer to this glass top as the “beehive”.

Sunbeam C30A with the "beehive" variant top.

Sunbeam C30A with the wartime glass “beehive” top. Photo from baharris.org.

The “beehive” pots sold for $5.00 less than the all metal pot. It is quite rare to find a Sunbeam C30 with this variant, because it came with a redemption coupon for the customer to replace the glass top with the metal version once the wartime restrictions were lifted.

World War II Sunbeam redemption coupon.

World War II coupon that came with the glass “beehive” top. Image from baharris.org.

After the end of the war and with the restrictions lifted, production returned to an all metal coffeemaker. In 1948 the revised C30 Coffeemaster was introduced. Beside having an improved filter the best revision came from the glass top. While the original Coffeemaster lacked a handle on the top vessel, the  temporary glass tops did. And now the postwar version also came with an upper handle. This made the removal of the top section much easier. The plastic base was slightly revised, too. The separate ball feet became legs incorporated into the base with the heating element which simplified production.

Ad for the double handle Sunbeam Coffeemaster, October 18, 1948, Nebraska City News Press.

An early advertisement for the double-handle Sunbeam Coffeemaster. Ad from the Nebraska City News Press, October 18, 1948, Pg. 2.

It was this double-handle, Sunbeam Coffeemaster C30A that Chris picked up. It is a handsome looking coffeemaker and it makes great coffee.

Color photo of the Sunbeam C30A Coffeemaster with double Bakelite handle.

The Sunbeam C30A Coffeemaster that Chris picked up at the Goodwill. Photo from the collection of the authors.

But the big problem of these pots today is its rubber gasket. When stored in less than ideal conditions, and just with age, the seals harden and makes it difficult to impossible to disengage the two sections. And I will admit, even with a pliable gasket, it takes a bit of strength to separate the two chambers. However, once the pot heats up, the gasket does soften a bit.

Detail of the T9 engraving on the bottom section of the Coffeemaster.

Detail of the T9 engraved on the bottom section of the Coffeemaster. Photo from the collection of the authors.

The Coffeemaster's bottom serving vessel.

The Coffeemaster’s bottom serving vessel. Photo from the author’s collection.

In 1954 Sunbeam introduced their automatic percolator and the era of the vacuum coffeemaker was drawing to a close.

The 1954 Sunbeam Automatic Percolator.

The Sunbeam Automatic Percolator. Ad from the Ventura Star, March 18, 1954, Pg. 26.

In 1960 Sunbeam would remodel the Coffeemaster one more time. The C50 Coffeemaster had an increased 10 cup capacity, no longer featured the engraved “T9”, a turning knob replaced the sliding switch on the base and instead of a handle on the upper section, there were two levers that one pushed up to release the top.

1960 Sunbeam Ad from the Chicago Tribune.

Sunbeam advertisement from the Chicago Tribune, September 11, 1960, Pg. 216.

Sunbeam's last vacuum coffee pot, the C50 Coffeemaster.

The C50 Coffeemaster, Sunbeam’s last vacuum coffeemaker. Image from Etsy.

Sunbeam ceased production of the C50 Coffeemaster in mid-1967, bringing to a close their vacuum coffeemaker era. Today vacuum, now called siphon, coffeepots are making a resurgence as coffee devotees are realizing how good the coffee they make tastes.

A present day vacuum coffeemaker by Bodum.

Present day vacuum pot by Bodum. Image from bodum.com.

While the new “siphon” pots have the classic look, we think the C30A that was found at the Goodwill is far more stylish.

Circa 1950 Sunbeam C30A Coffeemaster.

Circa 1950 Sunbeam C30A Coffeemaster. Photo from the collection of the authors.

Anthony & Chris (The Freakin’, Tiquen Guys

Sources

Websites

  • archchicago.blogspot.com
  • baharris.org
  • chicagodesignarchive.org
  • edgarmiller.org
  • franklloydwright.com
  • oldcoffeeroasters.com
  • richardspens.com

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)