Page 25 - tmp

May 2020 - Antique Shoppe - 25
Beautiful “Sweetheart”
glass rolling pin (from
Nailsea, England) that
is 16 inches long and
was offered on eBay
for $330.
Hollow glass pin with no openings that would have
been refrigerated prior to using.
Some of the most popular rolling pins to collect are the pottery
rolling pins, made out of stoneware, yellowware, or other ceramic
material. These were all hollow cylinders. Some of the older ones
have two turned wooden handles. One handle could be inserted
through the body of the rolling pin and screwed into the handle on
the opposite side. This allowed the pin to turn freely when rolling
dough. During the early 20th century, many of the ceramic rolling
pins had molded ceramic handles, which actually made rolling
dough more difficult since they could not freely spin.
All pottery rolling pins were fired with glaze to make them
non-absorbent. And, during the late 19th century and early 20th
century, many of the ceramic rolling pins were used as premiums
for advertising, with the advertising message fired directly under
the glaze. Flourmills were usually the advertisers; however, for
some bizarre reason, advertising rolling pins were also popular with
undertakers. If you want a somewhat macabre rolling pin collection,
try collecting only those pins that advertised funeral homes. These
pins often cost $650 or more on secondary markets.
As humble as the rolling pin is, it has always been a staple in
the kitchen. Today, it has also become a staple among collectors,
especially those specializing in Americana or kitchen collectibles.
Still, some collections have grown from a family’s continued
usage of grandma’s old rolling pin. Whatever the reason for your
collection, it is easy to see that the humble rolling pin is as American
as Mom and apple pie, for, without the rolling pin, Mom couldn’t
make the pie!
Decorative, green and brown clear glass rolling pin.
Rubberized plastic rolling pin with red tips.
Ornate rolling pin used to decoratively emboss German cookies.
One of the World’s Largest Movie Poster Collections
Showcased in New Book Published by Assouline
Cinema on Paper Marks First Ever Publication Focused on
The Dwight M. Cleveland Collection, Comprising More Than 4,750 Works
(Chicago, IL) Assouline Publishing has released
a new book that highlights one of the largest and
most comprehensive movie poster collections ever
privately assembled. Cinema on Paper: The Graphic
Genius of Movie Posters marks the first time that
the collection of Dwight M. Cleveland—widely
recognized as one of the world’s most significant
private holdings of movie posters, spanning more
than a century of film history—has ever been the
focus of a major monographic book publication.
A real estate developer and historic preservationist based in Chicago, Dwight
Cleveland has been collecting movie posters for more than forty years—during
which he assembled what is believed to be the largest privately held and fully
curated film poster archive in history, comprising more than 45,000 works. After
deaccessioning this archive in 2016, Cleveland now retains personal holdings of
approximately 4,750 posters, lobby cards, and “coming attraction” glass slides, the
vast majority of which are unique or one of just a few works from across the scope
of film history. The publication of Cinema on Paper
offers an unprecedented look at some of the most
visually engaging and historically significant works
from these holdings, providing an opportunity
to reconsider these promotional objects as a
popular art form unto themselves—one that
distinctively tracks the cultural, historical, and artistic
developments of the twentieth century.
The first book ever released by Assouline to
focus on film posters, Cinema on Paper includes
a foreword by Turner Classic Movies Primetime
Host Ben Mankiewicz (grandson of Citizen Kane
screenwriter Joseph Mankiewicz), as well as an
introduction by former New York Times Book Review
Editor and noted design scholar Steven Heller.
Mankiewicz’s essay notes that “movie posters
represent what is perhaps the purest collision of art
and commerce … they are imbued with optimism and filled with the escapist thrill
of what we imagine the screen holds in store for us: romance, adventure, laughter,
betrayal, tragedy, justice, redemption, truth.”
The publication reproduces more than one hundred works from Cleveland’s
collection, including promotions for such iconic Hollywood classics as King Kong,
Casablanca, The Godfather, and 2001: A Space Odyssey, as well as more obscure
works such as the 1958 teen exploitation film High School Hellcats. Several of the
American movie posters featured in the book appear alongside European or Asian
editions advertising the same film, highlighting the collection’s geographic breadth
and inviting readers to reflect on diverse visual approaches to movie marketing across
cultural contexts. As mass-produced objects of popular art drawn from nearly every
decade of the twentieth century, each poster in the collection provides a distinctive
snapshot of the historical and social conditions from which it originated.
The works featured in Cinema on Paper encompass nearly one hundred years of film
distribution, from posters featured in 1910s Paris through the release of the American
independent film Secretary in 2002. The book includes several works that are believed
to be the only extant copies in existence, including a large-scale German-language
advertisement for the Oscar-winning film Grand Hotel (1932); a title card from the late
silent-era classic Manhattan Cocktail (1928), directed by Dorothy Arzner; a lobby card
from Hallelujah! (1929), the first African American film released by a major studio; and
a lobby-card portrait of a reclining Nazimova from Oscar Wilde’s scandalous Salomé
(1922), which was made by an exclusively gay and lesbian cast and crew. These images
are accompanied by contextual annotations that invite readers to evaluate them not as
promotional objects but as freestanding works of graphic art.