A USEFUL AND DECORATIVE HOME ACCESSORY: 
Earl James Martin 
Submitted in partial fulfillment of the 
Requirements for the degree 
Masters of Arts in the History of Decorative Arts and Design 
MA Program in the History of Decorative Arts and Design 
CooperHewitt, National Design Museum, Smithsonian Institution 
and Parsons, The New School for Design 
2007 
'2007 
Earl James Martin 
All Rights Reserved 
Preface, 
Introduction, 
Chapter One, 
Chapter Two, 
	 29 
Chapter Three, 	 66 
Bibliography, 	 92 
Appendix A, 	 95 
Illustrations, 	 99 
Preface 
I dedicate this work to the memory of Ernest Sohn. I truly valued my few visits 
with this extraordinary gentleman. I also wish to thank his gracious wife Grete Sohn for 
all of her help. 
I owe a great debt of gratitude to my advisor Jennifer Goldsborough. Without her 
guidance, suggestions and careful editing this work could not have been produced. I 
thank her for encouraging my passion for ceramics and the rituals of dining and 
entertaining in her classes that I have been lucky enough to be a part of. 
I also wish to thank the New York Public Library and its dedicated staff. Without 
the resources of this great institution and its accommodation of all those seeking 
knowledge I would not have been able to produce this historical account. 
Finally I wish to thank all olmy family and friends who have been invaluable in 
encouraging me and supporting me through the years of my education, research and 
writing. Without you all this could not have happened. 
World War II was the pivot around which the twentieth century turned. Not only 
did it result in millions of lives lost and the redrawing of many national borders, but it 
created or hastened major changes in transportation, manufacturing, technology, general 
prosperity, customs, and countless other aspects of life. The art world has long been 
aware of the changes wrought by the numerous painters, architects, and sculptors who 
fled Europe in advance of the Nazi juggernaut, but less attention has been paid to the 
decorative arts designers who were part of this exodus and who inspired and 
implemented many of the enormous changes in consumer goods and life-styles. 
Ernest Sohn fled the Nazi persecutions of his native Germany in 1936, coming to 
New York like so many other ØmigrØs. With luck and determination Sohn quickly 
established a career and reputation within the gift industry. His unique design approach 
and focus on creating objects that were always utilitarian as well as decorative helped 
him become a leader in the field and a designer whose name sold products across the 
country. Sohn was able to create designs that bridged the gap between the most modern 
and avant-garde and the more conventional and historically based. He designed objects 
that fit in especially well with changes in American home life and entertaining in the 
post-war period. Ernest Sohn’s design style was well suited to the exuberance and 
expansiveness of America after World War II. 
The population of the United States in the twentieth century experienced a huge 
growth in prosperity. This was especially true for the expanding middle class that grew 
to prominence in the middle of the century. Part of this extraordinary prosperity was 
expressed in an ever greater quantity of material goods which soon filled the homes of 
most Americans. Industry across the country and around the world worked to produce 
goods like cars, appliances and furniture to fill the needs and wants of middle-class 
Americans. One industry that rose to prominence in this century by appealing to the 
affluence and desires of Americans was the gift industry. 
The idea of a shop or department within a major retail store dedicated to gifts, 
novelties and items that might be useful, but were also decorative, was new at the 
beginning of the twentieth century. However, gift shops and gift departments soon 
became mainstays of American life. Supplying these retail outlets was an industry that 
grew extraordinarily over the course of the century. Gift wholesalers, centered in cities 
like New York and Chicago, worked with manufacturers to create items to appeal to a 
fashion-conscious public with disposable income to spend. The industry used the new 
field of industrial design to help create new objects and novelties to sell to the American 
public. Countless items that had never before been imagined were given form and 
decoration that made them seem like necessities. 
Soon after the gift industry began employing industrial designers to create new 
and interesting objects, the industry began to emphasize the fact that objects were 
artistically designed in their retailing. The names and reputations of designers became 
employed as brands and tools for sales. One name that became very prominent in the gift 
industry from the late 1930s through the late 1970s was that of Ernest Sohn. 
This study of Sohn’s life and work is divided into three major sections. The first 
will consider Ernest Sohn’s youth and his first introduction to the gift industry, as well as 
his career before establishing his own business in 195 1. This first section will also 
consider the history and structure of the gift industry itself. 
The second section will explore Sohn’s work and success in the 1950s upon the 
founding of his own business. During this period Sohn created objects that were 
primarily modern and utilitarian but softened by design touches that made them 
accessible to the tastes of a large middle-class market. 
The third section will consider Sohn’s design work in the 1960s and 1970s when 
he often incorporated more decorative effects and references to historical sources. This 
section will also discuss the ever-expanding gift industry which became much more of a 
big business during the period. 
This thesis will provide a critical history and examination of the work of an 
important American commercial designer, Ernest Sohn, [also hope this study will add to 
the cultural and historical understanding of American decorative arts in the post-World 
War ii period and will contribute to the understanding and expansion of post-war 
American cultural history. 
4 
nT 
Ernest Sohn, the first child of Siegfried and Francesca (Bender) Sohn, was born 
on October 28, 1913 He was born near Antwerp where his father was the director of a 
branch for a German grain company. The family remained in Belgium through the First 
World War. After the war the Sohn family returned to their native Germany, settling 
near Mannheim in the southeast Palatinate region. The remainder of Ernest Sohn’s youth 
during the turbulent inter-war period was spent in the Mannheim area. 
Ernest Sohn grew up within an educated and well-to-do upper-middle class 
German Jewish family. Sohn counted amongst his ancestors a math professor at the royal 
house of Wurttemberg. The family was not particularly religious, with only his mother 
attending synagogue on important holidays. Sohn’s father was a successful businessman 
working mostly in the grain industry as a commodity trader. Sohn’s mother did not work 
and had the assistance of a live-in maid to keep the house and attend to her three boys. 
The family also enjoyed the cultural life of Mannheim, visiting museums and having 
regular subscriptions to the opera and orchestra. 
In this comfortable environment Ernest Sohn enjoyed a happy childhood. in 
school he showed an early and strong talent in the visual arts, in particular drawing and 
painting. Sohn’s mother, who was an amateur painter herself, encouraged this talent. 
Sohn recalled being left to his own devices in art classes since his work was often as 
good as the instructor’s. In his later teens Sohn began doing portraiture and recalled 
being paid the equivalent of $100 by a family for a portrait of their young girl who had 
recently died, 
After graduating from high school Ernest Sohn enrolled in college in the 
neighboring town of Karlsruhe. 2 At the Karlsruher Technische Hochschule, or Karlsruhe 
Institute of Technology, Sohn began studies in architecture. 3 The practical, technical 
training he was to receive here fit well with his father’s expectations that he gain a useful 
education that would prepare him to work and support himself. It also allowed Sohn to 
integrate his love for and skill in art and drawing within his studies and anticipated future 
career. However, this education was cut short by the removal of all non-Aryan students 
from the school in 1933 after the National Socialists lead by Adolf Hitler gained control 
of the German government. 
The years before Ernest Sohn emigrated to the United States were increasingly 
difficult for this young man and his family due to Nazi persecutions. Sohn continued to 
paint and found work as a clerk at a shipping company. Nazi officials removed Ernest 
Sohn’s family from their home, throwing their belongings down from their third floor 
apartment. Sohn was excluded from the social club and gymnasium where he first met 
his future wife Grete on grounds that he was a non-Aryan. The Sohn family actively 
looked for ways to escape this increasingly dangerous environment. For Ernest Sohn this 
meant traveling across the Atlantic Ocean to New York City in 1936. 
The information in this section was recorded in interviews by the author with Ernest Sohn on October 18 
and November 21, 2005. 
2 
 For more information on Kariruhe see the online encyclopedia Wikipedia’s entry on the subject: 
http I/en. wikipedia.org/wiki/Karlsruhe  
The Karlsruhe Institute of Technology is now the University of Karlsruhe (Universitht Karlsruhe). 
Information about the university was taken from http://en.wikipedia.org/wiki/UniveisityofKarlsruhe.  
The first third of the twentieth century was also the initial period of development 
of the American gift industry of which Ernest Sohn was to become a leader. 4 The idea of 
a store or a department within a store devoted to gifts was one that grew to significance 
around the turn of the twentieth century. In a 1967 article the trade journal Gifts and 
Decorative Accessories acknowledged that the history of gift giving was as old as 
humanity itself, but emphasized that "Still, the gift and decorative accessories industry, as 
an industry, is a creation of the 20th  Century. ,5  The first gift stores grew out of the 
stationery trade and china and glass trade . 6 Stationery stores began to sell small gift 
items and novelties, known as fancies. These gift items came to dominate the offerings 
of the stores as they evolved into this new breed of retail establishments, Paper goods, 
especially greeting cards, which also flowered in the late nineteenth and early twentieth 
centuries, became a large part of the offerings of most gift shops as they evolved. China 
and glass manufacturers often made the novelties and other small offerings of the early 
gift industry as a supplement to their tablewares and other lines. 
It was not until the time of World War I that the gift industry reached early 
maturity. One marker that the industry had reached a critical mass was the founding of 
4Thts section is based primarily accounts of the history of the industry found in the trade journal Gift and 
Art Buyer (later Gifts and Decorative 4ccessories): Mary Ryan, "Looking Back Over Twenty Years," Gift 
and Art Buyer 33, no. 4 (April 1937): 35-36, 130; Charles Brownlow, "Tip Through the Years with the 
Retailer," Gift  andArt Buyer 33, no. 4 (April 1937): 37-38; GUi  andArt Buyer, ed., "Our Market Places: 
Gift Shows and Permanent Displays," 33. no. 4 (April 1937): 61-63, 126, 130; Cheney Archer, "It’s a Gift! 
An Industry is Born," Gift and Art Buyer, 38, no. 10 (October 1942): 25-26, 126; Gift and Art Buyer, "The 
Story of the Gift and Art Buyer." 38, no. 10 (October 1942): 51-53; GUi’ and Art Buyer, "Histories of the 
Gift Shows and Exhibit Buildings," 53, no, 5 (May 1957): 69, 182-191; Gifts  and Decorative Accessories, 
"A Great Industry and How It Grew," 63, no. 5 (May 1967): 98-108. 
Gis and Decorative Accessories, "A Great Industry and How It Grew," 63, no. 5 (May 1967): 99. 
6 
 For more information on the china and glass trade in the United States in this period see, Charles L. 
Venable, ed., China and Glass in America, 1880-1980: From Tabletop to TV Tray, (New York: Harry N. 
Abrams, 2000.) Of particular interest is Chapter 4, "From Warehouse to Your House: Tableware 
Marketing," 285-323. 
7 
the trade journal Gift andArt Shop in 1917. 7  Geyer Publications had founded the journal 
Gever ’s Stationer in 1877. Geyer ’s Stationer included a section each month on "fancy 
goods" and by 1917 the demand for this kind of information was so great that Geyer 
founded a separate magazine for this market. 8 
The structure of the gift industry also crystallized in this period. 9 Much of the 
trade was concentrated in New York, which had long been the leading American center 
for imports from Europe and other areas. Wholesalers or manufacturers’ representatives 
dominated the trade. These "gift houses" would represent or wholesale the products of 
several manufacturers. Manufacturers’ representatives usually employed a group of 
traveling salesmen. 10 Each salesman would be assigned specific areas of the country and 
would regularly call on contacts at department stores and gift shops, both developing a 
relationship and creating business for his "house." In addition to its cadre of salesmen, 
manufacturers’ representatives almost always maintained at least one permanent 
wholesale showroom. Early gift houses usually had their main showrooms in eastern 
cities with the greatest number concentrated in New York. With the opening of the 
Merchandise Mart in Chicago in 193 1 this city joined New York as a major center for the 
gift trade with gift wholesalers concentrated on the building’s fifteenth floor. Buyers, 
especially those from large and influential retailers like Marshall Field and Company in 
The Gift and Art Shop was renamed Gift and Art Buyer in 1934 and then Gifts and Decorative 
Accessories in 1963 and continues to chronicle the trade under that title to the present. 
8 
 This section is based on Gift and Art Buyer, "The Story of the Gift and Art Buyer," 38, no. 10 (October 
1942): 51-53. 
The information on the structure of the gift industry is based on the author’s extensive perusal of trade 
publications such as Gift and Art Shop, Gift and Art Buyer, Gifts and Decorative Accessories, Giftwares, 
and Crockery and Glass Journal dating from the late 1930s through the late 1970s. 
o The author uses "salesmen" pui -posefully•----virtually all traveling sales people in this period were men 
Chicago and B. Altman in New York, were the other key figures and tastemakers in the 
gift industry. What influential buyers bought and featured often was noticed both in the 
trade press as well as being chronicled in popular magazines and newspapers. 
In addition to wholesale showrooms in key cities, manufacturers’ representatives 
and buyers would regularly attend trade shows. 12  Perhaps most important to the gift trade 
was the Chicago Gift Show, founded in 1921 and held during one week each February 
and August; and the New York Gift Show, founded 1928 and also held one week each 
February and August. 13  This semi-annual schedule of shows set a certain rhythm to the 
year with new offerings introduced in winter and supplements and updates added for the 
summer shows. Other shows grew up across the country including the third major semi-
annual exhibition occurring in Los Angeles beginning in 1935. 
Ernest Sohn’s entry into the gift industry was, quite literally, from the bottom 
up. 14 
 After immigrating to the United States in June 1936 he got ajob working for Weil-
Freeman, a manufacturer’s representative, in its basement-level shipping department at 
225 Fifth Avenue. The 225 Fifth Avenue building, occupying Fifth Avenue between 25 1 1 
and 26111 
 Streets, had become the center in New York for the gift trade in the 1920s and 
would remain so throughout Ernest Sohn’s career. Weil-Freeman specialized in pottery 
and glass gift items imported from Europe, primarily Germany, Hungary, Austria and 
Gifi and Art Buyer, "Histories of the Gift Shows and Exhibit Buildings," 53, no. 5 (May 1957): 189. 
This section is based on Gift and Art Buyer, ed., "Our Market Places: Gift Shows and Permanent 
Displays," 33, no. 4 (April 1937): 61-63, 126, 130 and Gift andArt Buyer, "Histories of the Gift Shows and 
Exhibit Buildings," 53, no. 5 (May 1957): 69, 182-191. 
3 The shows in Chicago and New York were coordinated so that representatives and firms could attend 
both—usually they were held at least one week apart. 
14 
 Unless otherwise noted information contained in this section was section was recorded in interviews with 
Ernest Sohn conducted by the author on October 18 and November 21, 2005, 
Czechoslovakia. An August 1936 Weil-Freeman advertisement heralded "An important 
and newly designed assemblage of Glass, Pottery and China which includes 
Contemporary and Traditional Decorative Accessories, Distinctive Table Arrangements 
and Decorations, Buffet and Drinking Requisites, Smokers Accessories." 15 Ernest Sohn 
initially worked packing and unpacking large trucks and sorting Weil-Freeman 
merchandise for $12 a week. This job gave Sohn much contact with giftware items 
selected for the American market and provided him with inspiration. Sohn decided that 
he would try his hand at designing similar items. He initially made designs for a smoking 
set (cigarette lighter, cigarette box and ashtray) to be made in porcelain. 16 
 Weil-Freeman 
purchased these designs for $25, double his weekly wage, and Sohn quit his job in the 
shipping department to become a freelance designer. 
Ernest Sohn continued to focus on his self-education as a designer and his own 
gifiware designs in the next few years. Sohn’s next success was selling several hundred 
designs to the importing house Ebeling and Reuss. 17 
 Ebeling and Reuss, based in 
Philadelphia, also specialized in giware imports from northern Europe. ’ 8 Ebeling and 
Reuss had a history of employing contract designers to create designs for items that 
would be manufactured in Europe and imported for the American market. It is through 
Ebeling and Reuss that [Ernest Sohn received his first public credit as a designer. An 
October 1938 Ebeling and Reuss advertisement, figure 1 .1, trumpeted "New Creations by 
15 
 Weil-Freeman Inc., Advertisement, Gift  and Art Buyer, 32, no. 8 (August 1936): 60, 
The author has not discovered any images of this set in Weil-Freeman advertisements or features in trade 
journals during this period. 
7 
 Ernest Sohn recalled "about 500 designs" in an interview conducted by the author November 21, 2005, 
8 
 For a brief, yet informative history of the company see Venable, ed., China and Glass in America, 289-
290. 
10 
Ernest Sohn!" 9 Although the young designer was virtually unknown to anyone in 
America, including the trade, the advertisement noted that the illustrated vases and 
smoking accessories "strikingly demonstrated" the "acknowledged skill of this artist in 
graceful curve, style and beauty of form." Ernest Sohn’s time in the spotlight was to be 
short1ived--Ebeling and Reuss never again acknowledged him in an advertisement and 
it is unclear what other items might have been manufactured for the company to Sohn’s 
designs. 
During the late 1930s Ernest Sohn spent many hours at the New York Public 
Library to expose himself to the industry and to form and design possibilities. There he 
studied trade and popular periodicals as well as tear sheets, illustrations of items taken 
from newspapers, catalogs and other periodicals. Sohn recalled that "what counts in the 
end is that I regularly followed up things in the public library. I looked at the glassware, I 
looked at ceramics, later on I looked at metalware, and worked with the metal." 2°  This 
visual education exposed him to general trends in design and possible shapes and styles 
for his own designs. The other key part of Sohn’s education came from his work on the 
job in the production of actual designs. 
In late 1937 or early 1938 Ernest Sohn went to work for Warren Kessler. Sohn’s 
father did not trust the freedom and uncertainty of the freelancer’s life and strongly 
encouraged his son to find permanent work. Sohn became both a designer and 
production manager for Kessler. Warren Kessler was a manufacturer’s representative 
and also a manufacturer himself, creating a variety of items for the gift market. Nearly 
Ebeling and Reuss, Inc.. Advertisement, G(fl  and Art bye, 34, no. 10 (October 1938): 61, 
20 
 Interview with Ernest Sohn by the author November 21, 2005. 
seventy years later Sohn recalled the strong personality of his former boss from whom he 
learned much. It was with Kessler that Sohn gained his first experience in design 
infonned by working with the materials and fabricators in the factory. Sohn vividly 
recalled travelling with Kessler to a Czech glass factory in 1938 where he was to spend 
nearly a month learning and conferring with the glass artisans about the workability of his 
designs. Sohn remembered "But since I was working with the glass blowers and glass 
gatherers and batch makers and the furnace and so forth I could design things that could 
be made, not just on paper." 2 ’ This working in the factory with the manufacturer and 
learning the possibilities of materials first hand was to influence Sohn’s design work 
throughout his career. Knowing the material was important. 
During Ernest Sohn’s time with Warren Kessler he also made connections with 
industry people. One of the most important was Mary Ryan, figure 1.2.22  Ryan was a 
pioneer leader in the gift industry. She had come from a gift retailing background before 
J oining the fledgling trade journal Gift andArt Shop in late i917. After leaving the 
publication in 1920 she entered the wholesale business and then founded her own 
company in 1925. The firm grew and prospered under Ryan’s deft guidance and became 
"at its height, undisputed leader among wholesale gift organizations. " 23  Her showrooms, 
figure 1.3, dominating the second floor of 225 Fifth Avenue in New York, were "grand, 
21 
 Interview with Ernest Sohn conducted by the author November 21, 2005. 
22 
 The information on Ryan in this section is based on Mary Ryan, ’Looking Back Over Twenty Years," 
Gifi cindArtBuyei’ 33, no. 4 (April 1937): 35-36, 126; Gifts and Decoi’ativeAccessories, "A Great Industry 
and How It Grew," 63, no, 5 (May 1967): 104, 106; and Gifts  and Decoi’atR’eAccessories, "Mary Ryan, 
Gift Pioneer, Dies," 74. no, 8 (August 1973): 124. 
13 
 Gifts and L)eco;’atiieAccessories, "A Great Industry and How It Grew," 63, no. 5 (May 1967): 104. 
12 
museum-like, a mecca for virtually every important buyer from the Thirties through the 
Fifties .„ 24 
Mary Ryan was the representative for many stylish and innovative lines and was 
recognized as an innovator and leader in the field for her progressive practices. Kessler 
products were among those select manufacturers featured by name in lavish full-page 
advertisements that Mary Ryan ran in the trade journals during this time. 2’ A 1937 Gift 
and Art Buyer feature on her organization summarized Ryan’s innovations: "Miss Ryan 
has concentrated on the creation of original merchandise, on keying her lines to advance 
trends, on re-styling the manufacturers’ lines to meet the demands of a discriminating 
clientele, on keeping in close touch with designers, merchandisers, and all concerned 
with the field of interior design and decoration." 26 A later trade journal history of the gift 
industry pointed to her leadership and more pointedly to her introduction of the concept 
of product development: "concepts many another firm follows today, of not simply 
’representing’ manufacturers, but of actually working with them in the creation, styling 
and coordination of new lines." 27 in her obituary Gifts and Decorative Accessories noted 
"many of the prominent people in the field gained experience in her firm,” and among 
these was Ernest Sohn. 28 
24 
 Ibid., 104. 106 
25 
 For advertisements see Mary Ryan, Advertisement, Gift  and Art Buyer, 32, no. 8 (August 1936): 73; 
Mary Ryan, Advertisement, Gift and Art Buyer, 35, no. 3 (March 1939): 31; Mary Ryan, Advertisement, 
Gift and Art Buyer, 36, no. 2 (February 1940): 81. 
26 
 Gift and Art Buyer, "Business Biographies: Mary Ryan," 33, no. 4 (April 1937): 110. 
27 
 Gis and Decorative Accessories, "A Great Industry and How It Grew," 63, no, 5 (May 1967): 106. 
28 
 Gifts and Decorative Accessories, "Mary Ryan, Gift Pioneer, Dies," 74, no. 8 (August 1973): 124 
13 
Sohn recalled Mary Ryan with affection decades after they first met: "she was the 
best known and most successful of the gift houses, and she was very friendly to me... she 
encouraged me.. •,,29  Ryan reinforced Sohn’s belief that design must be grounded in the 
realities of materials and production. She brought Sohn to her showrooms and introduced 
him to important designers and artists in the field and later showed him the drawings that 
they had presented to her. She emphasized that although the gift industry was based on 
aesthetics and beauty, the practical side must also be emphasized. As Sohn later recalled: 
"she said ’now look at this—that’s a nice drawing but can it be made?’ And this was a 
very important thing." 
World War II was to affect all aspects of American life and the gift industry was 
certainly not untouched . 3°  Hostilities in Europe soon cut off imports from most countries 
and wartime restrictions virtually eliminated imports from those countries with which the 
United States was still trading. This was a significant change for an industry reliant on 
imported gifts and novelties. Although war restrictions on metals and certain other 
materials eliminated the availability of whole categories of gift items there was still a 
demand to be filled. Imports from Central and South America became more prominent. 
American manufacturers also benefited directly from the cut-off of European sources. 
American manufacturers were able to take the lead in the production of gift items for the 
American market and remained strong forces in the post-war period when Europe was 
still recovering. In the same way American design and style also gained a boost. 
29 
 interview with Ernest Sohn conducted by the author November 21, 2005. 
30 
 Information in this section is based on the author’s careful perusal of the trade periodical Gift cmdArt 
Buyer from the years 1938 through 1947. 
14 
Through 1941 Ernest Sohn continued to work with Warren Kessler. Sohn even 
designed and helped to build a glass factory on Long Island for Kessler in order to 
produce glass items that were then unavailable from Europe. With the entry of the 
United States into the war in late 1941 Ernest Sohn left the gift industry and moved from 
New York to Texas. Although exempted from military service because of the birth of his 
daughter in 1942, Sohn was required to work in a more necessary position. He joined 
one of his brothers to help run a fiourmill. Sohn was responsible for the shipping 
department of this large company that supplied the United States military among other 
clients. Ernest Sohn and his family remained in Texas throughout the war. 
In 1945 Sohn returned to New York and rejoined the gift industry as designer and 
production manager for the gift house Rubel and Company. Announcing his appointment 
Crockery and Glass Journal accurately wrote that Sohn "has worked with glass factories 
here and on the Continent.. ,,31 
 The account in Gift and Art Buyer was a bit more 
flowery, stretching the truth somewhat: "Formerly employed by leading glass, lamp and 
metal manufacturers, he received his training in various European schools and 
colleges." 32 
 The article also noted that several of Sohn’s new designs would soon be on 
display. 
Rubel and Company was a relatively young gift house under the direction of 
Edmund Rubel, figure 1.4. Ernest Sohn and Rubel became friends when they both 
worked at Well-Freeman in 1936 and 1937. 33 
 Rubel had worked in the gift industry as a 
31 Crockery and Glass Journal, "Names in the News," 137, no. 6 (December 1945): 64, 
32 
 Gift and Art Burei’, "News from 225," 41, no. 12 (November 1945): 154, 
u Interview by the author with Ernest Sohn, March 16, 2006. Encouraging this connection was the fact 
that Rubel came from the same part of Germany as did Sohn and his family. To his friends and 
acquaintances in the trade he was know as Eddie Rube!, 
15 
salesman and was to continue to focus on sales throughout his career. 	 Rubel left Weil- 
Freeman in late 1938 or early 1939 to join the young gift house of Ashford-Fenton. 35 
Rubel became vice-president of the company and within a year the company had changed 
its name to Rubel and Fenton to reflect his leading role with the other principal Harvey 
Fenton. 36  The Gift and Art Buyer noted that the newly renamed company represented a 
variety of lines made by several different domestic manufacturers: "Blenko glass, Bellette 
wood, Cooper lamps and pictures, Tebor Crownford American-made china, Queens art 
pewter, Corham artificial flowers, Soria wrought iron, Mar-No-Lawn tables and 
Malcolm’s Creations." 37 The firm continued to represent a wide variety of gift and art 
items produced in glass, ceramics, wood, metal, and plastic throughout the 1940s. The 
house also tended to focus on American-made items and used the appropriately patriotic 
slogan "Masterpieces of American Craftsmanship" in the early- I 940s. 38 Harvey Fenton 
left the company in November 1942, joining the army for officer training. 39 
 A little more 
than a year later the firm underwent its final name change to Rubel and Company with 
Well-Freeman advertisements noted him as a salesman attending various gift shows as a representative, 
see Well-Freeman inc., Advertisement, Gift one! Art Buyer, 33, no. 9 (September 1937): 75. 
Gift and Art Buyer, "What’s What at 225’ Fifth Avenue," 35, no. 2 (February 1939): 121 
See Rubel and Fenton, Advertisement, Gift andArtBuyer, 36, no. 1 (January 1940): 5 and Gift andArt 
Buyer, "Going on in the Trade," 36, no. I (January 1940): 34. 
Ibid. 
See for example Rubel and Fenton, Advertisement, Gift andArrBuyer 36, no. 8 (August 1940): 46-47 
and Rubel and Fenton, Advertisement, Gift  andArt Buyer 38, no. 2 (February 1942): 55, 
See Gift andArt Buyer, "News from Two-Twenty-Five," 38, no. 12 (December 1942): 55. 
16 
assurances to the trade that "the firm will function exactly as before as far as location, 
lines represented and sales personnel are concerned. ,40  
Sohn’s appointment as staff designer for Rubel and Company was characteristic 
of a movement within the gift industry and America generally. Design had become 
important and noteworthy, something to be focused on, thought about, honored and 
marketed. American designers came to the fore. They were well known and the products 
they designed were identified with the designer, identified with their skill, innovations, 
ingenuity and taste. While this trend in large items such as automobiles and furniture was 
increasingly common from the late 1920s with the rise of the American industrial 
designer, it was uncommon in the tableware and gift fields until the mid to late 1930s. A 
pioneer "name" designer in the gift and tableware field was Russel Wright who, in the 
early 1930s began to gain recognition and national distribution with Mary Ryan of his 
spun aluminum serving accessories. 41 
 Wright’s pioneering use of his name and 
reputation to identify and sell well-designed items for everyday use in the home was 
increasingly commonplace in the post-war years, Many gift houses named designers to 
their staffs in the late 1940s and early 1950s. Sohn was among the first of the major gift 
house designers to be named and recognized in the post-war period. 
Design increasingly became a focus for the popular press where innovative 
styling and designer names were often noted in editorial features. Museums and 
educational institutions also increasingly began to focus on design, honoring designed 
40 Gifi andAi’tBiiyer, "Going on in the Trade," 39, no. 12 (December 1943): 40. See also Rubel and Co., 
Advertisement. Gift and Art Buyer 39, no. 12 (December 1943): 39, 
41 
 See Donald Albrecht, Robert Schonfeld, and Lindsay Stamm Shapiro, Russel Wright: Creating American 
Lifestyle, (New York: Harry N. Abrams, 2001):141-144. This book provides an excellent overview 
Wright’s life and work. 
17 
household goods and designers in exhibitions and publications. This confluence of 
academic, museum, and press focus on design contributed to what can be identified as a 
"Good Design" movement during the post-war period . 42 The focus on design by these 
tastemaking entities also further encouraged the gift industry to pay attention to and 
feature design in their manufacturing and marketing. 
In joining Rubel, Ernest Sohn had the opportunity to further expand his 
experience working with and designing for a variety of materials. His role as designer 
and production manager assured that he would be exposed to materials and their 
possibilities by working directly with various factories and manufacturers. Rubel and 
Company represented many manufacturers working in glass, ceramics, metalware, wood, 
and plastics. A December 1945 company advertisement listed twenty-six different 
manufacturers that were represented by Rubel . 43 Among them were a few that might still 
be recognized today for their innovative and well designed products such as Glidden 
Pottery and Blenko Glass. However, most were small manufacturers producing a variety 
of gill items that covered a range from elegant artware to cheap novelties. 
Sohn’s identifiable early work for Rubel consisted largely of metalware items, 
especially spun aluminum, October 1945 advertisements in Gift and Art Buyer and 
Giftwai’es featured "New Stars to Shine For You"—an assortment of spun aluminum 
cocktail shakers and drinking accessories with "Hand-Hammered Cast Aluminum" 
42 
 For a good introduction to this movement and the role of one of the major players within it, the Museum 
of Modern Art in New York, see Terrence Riley and Edward Eigen, "Between the Museum and the 
Marketplace: Selling Good Design" in John Elderfield, ed, The Museum ofMoclei’n Art at Mid-Century, At 
Home andAbroad, (New York: Museum of Modern Art, 1994.) See Appendix A for a further discussion 
of Good Design. 
Rubel and Company, Advertisement, Gift and Art Buyer 41, no. 12 (December 1945): ii, 
ii: 
handles and trim, figure 1.5. These items utilized easy-to-manufacture shapes with 
elegant detailing in the cast trim and end pieces giving the impression of hand hammering 
and transforming the cylinders into functional objects. By the following season Sohn had 
reworked these basic shapes with the addition of curves and color. A January 1946 Rubel 
advertisement proclaimed drinkware as "Smooth As Satin" and featured a similar 
assortment of alcohol related accessories, figure 1.6. Sohn had transformed the straight 
cylinders into gently curving forms that now were embellished by "bright colored plastic 
bands" at their bases. 46  Some also featured the addition of practical, although perhaps 
less than elegant, handles. This line of spun aluminum, identified as Loumas (later 
spelled Leumas) Ware in a June 1946 advertisement, was a mainstay of Rubel offerings 
ater Sohn’s appointment as designer. 47  Sohn continued to design somewhat different 
Leumas collections for Rubel throughout his time there. In 1947 the aluminum ware was 
given a highly polished surface and proclaimed "Silverbrite," figure 1.7. 48  Again Sohn 
used similar shapes which, in addition to being highly polished, featured a hammered 
look on their surfaces and beaded foot bands. 
The Rubel aluminum lines were also copied, a common practice in the gift 
industry and a strong indication of a line’s success. In June 1946 Lipper and Mann, a 
newly formed gift house founded by former Rubel salesmen, introduced "Spunray by 
See Rubel and Company, Advertisement, G(ftwares 2, no. 3 (October 1945): 33 and Rubel and 
Company, Advertisement, Gift and Art Buyer 41, no. 10 (October 1945): 11 
Rubel and Company, Advertisement, Gift  one/Art Buyer 42, no. 1 (January 1946): 23 
Ibid. 
Rubel and Company, Advertisement, Gift one/Art Buyer 42, no. 6 (June 1946): 84, Aluminum ware was 
manufactured for Rubel under the Leumas name through the 1960s. 
48 Rubel and Company, Advertisement, G/ft and Art Buyer43, no.3 (March 1947): 35. 
19 
’Cellini Studios,’" figure 1.8.4 
 This spun aluminum line featured silhouettes very 
reminiscent of Sohn’s with the addition of "contrasting bow-knot handles of rich 
copper." 50 
In addition to his work with metals at Rubel, Ernest Sohn was also exposed to the 
potentials of ceramics, primarily through his experiences with Glidden Pottery. Sohn 
credited his work at Glidden under the guidance of Glidden Parker with his real education 
in the characteristics of ceramics and possibilities for their design. 5 ’ Glidden Parker 
founded Glidden Pottery in 1940 in Alfied, New York, adjacent to the New York College 
of Ceramics at Alfred University. 52 
 From that time Rubel was Glidden’s exclusive 
representative, 53 
 Glidden became known for clean, simple, modern shapes and stylized 
patterns on a dense stoneware body. Glidden produced a variety of items both decorative 
and utilitarian, including dinnerware. Ernest Sohn worked with Glidden to develop a few 
patterns to be applied to dinnerware shapes designed by Glidden Parker. 54 
 One was a set 
Of circus-inspired figures including clowns and trapeze artists, figure 1 .9, that recalled 
similar decorations Sohn had created for his young daughter’s bedroom. Another was 
Plume a stylized feather decoration that was introduced by Rubel in June 1946, figure 
Lipper and Mann, Advertisement. Gift and Art Buyer 42, no. 6 (June 1946): 170. The formal opening of 
the Lipper Mann showroom was noted the following month, see Gift andArt Buyer, "Going on in the 
Trade," 42, no. 7 (July 1947): 286. 
° Ibid. 
Interviews with Ernest Sohn by the author on October 18, 2005 and March 16, 2006 
52 
 For an extensive account of Glidden see Margaret Carney, Glidden Pottery; (Alfred, NY: Schein-Joseph 
International Museum of Ceramic Art, 2001.) 
See Rubel and Fenton. Advertisement, Gift andArt Buyer 36, no. 8 (August 1940): 46-47. 
Interview with Ernest Sohn by the author on November 21, 2005. 
20 
I 1 0. Glidden Parker was frequently recognized by the "Good Design" movement. 
One example of this was the Museum of Modern Art, New York citing Glidden in 1947 
for the modern simplicity and utility of his casserole designs . 56 In the same year Parker 
was also honored for his casserole designs in the twelfth National Ceramic Exhibition at 
the Syracuse Museum of Fine Arts. 57  Parker won a prize sponsored by Richard Gump, 
head of the influential Gump department store in San Francisco, for "the best designed 
piece or pieces suitable for mass production." 58  In this case the casseroles exhibited were 
decorated with Sohn’s Plume design, figure 1 .1 1 While working with Glidden, Sohn’s 
activities were not just limited to pattern design, he also assisted the company in refining 
its manufacturing processes and machinery for greater efficiency. 
While working with Glidden exposed Ernest Sohn to some of the most innovative 
and best-designed products on the market, his own design work was not always cutting 
edge and often was dictated by commercial requirements of the business. Sohn above all 
was a practical and versatile designer and was able to create items in a variety of styles be 
they innovative and modern or conventional and historically based. Examples of Sohn’s 
more historically inspired designs were featured in trade advertisements in August 1948. 
The Ambassador, figure 1. 12, was a combination tabletop lighter and cigarette holder in 
silver plate with clear references to historical silver forms in its beaded foot decoration 
See Crockery and Glass Journal, "Right Out of the Kiln" 138, no. 6 (June 1946): 47, 
See Rubel and Company. Advertisement, Gift and Art Buyer 44, no. 1 (January 1948): 17, 
See Gift andArt Buyer, "New Talent Scores at National Ceramic Exhibition," 44, no. 1 (January 1948): 
88, 
58 
 Ibid. 
21 
and carefully balanced profile. 59 
 Even more obvious in its historical connection was the 
Leumas Early American collection, also featured by Rubel, that month, figure 1 .13.60 
Here Sohn used turned wood handles and somewhat conventional shapes to create 
serving items that would most likely appeal to the majority of Americans who were 
interested in historically inspired design. These two examples still had a certain elegance 
and charm that was not always present in Sohn’s most commercial and conventional 
designs. A good example of this is Sohn’s design for Planter Plates introduced in 1949 
under Rubel’s Indoor Gardener brand . 61 These proved to be so popular that Rubel 
doubled the variety of offerings just a few months later, figure 1.14.62 
 Planter Plates 
featured nineteenth century prints like those of Currier and Ives surrounded by a circle of 
copper or brass mounted in front of a container designed to hold a plant which would 
grow over and around the plate while the whole ensemble hung on a wall. Variations on 
this theme were created that included candleholders and even a lamp, figure 1. 15. 63 
 In 
reflecting on these designs in later years Ernest Sohn recalled that they were quite 
popular. He also was quick to dismiss them as "kitsch" and shrug them off as something 
that was done for commercial reasons. 64 
Ernest Sohn’s time at Rubel marks the emergence of his specialization in the 
design of certain types of items that were also tied to trends in American homelife. 
See Rube! and Company, Advertisement, Gift and Art Buyer 44, no. 8 (August 1948):7. 
° See Rubel and Company, Advertisement, Gift and Art Buyer 44, no. 8 (August 1948): 41. 
See Rube! and Company, Advertisement. Gift and Art Buyer 45, no.7 (July 1949): 7. 
62 
 Rube! and Company, Advertisement, Gift and Art Buyer 46, no. 2 (February 1950): 32-33. 
63 
 Rube! and Company, Advertisement, Gift and Art Buyer 46, no. 7 (July 1950): 7. 
14 
 Interview with Ernest Sohn by the author on March 16, 2006. 
22 
These, as well as certain Sohn design motifs, would be repeated again and again in his 
work over the next few decades. The design of drinkware and items for serving alcohol 
and other beverages continued to be an important part of Sohn’s design work for the 
company. The strong demand for well-designed items to serve and hold drinks was 
indicative of an emerging cocktail culture in the post-war period. A 1951 editorial by 
Walter Browder in Crockery ancl Glass Journal pointed to this trend with some 
astounding statistics. 65 
 Prior to the end of World War II "65% of the liquor consumed in 
the United States was consumed outside the home, in bars and restaurants mostly; only 
35% of our liquor was drunk at home," 66 By 1951 the statistics had seesawed: "Today, 
almost the reverse is true; about 70% of the country’s liquor is drunk at home; and only 
30% is bought and drunk on the outside. ,67 
 The source of this information was the trade 
group Licensed Beverage Industries which also indicated the "trend towards more home-
drinking has developed mainly during the past couple of years." 68 
Browder’s editorial revealed that the trend for serving alcohol in the home was 
part of "America’s growing, ever growing predilection for entertaining at home more 
casually." 69 Objects for casual home entertaining were a rapidly growing market and one 
that the gift and tableware industries were uniquely positioned to take advantage of. 70 
This became a specialty and focus in the work of Ernest Sohn from his time at Rubel 
Information in this section is taken from Walter Browder, "Liquor, Bar Accessories and Home, Sweet 
Home," Ciockeit; and Glass Journal 148, no, 3 (March 5, 1951): 5. 
Ibid. 
Ibid. 
68 Ibid. 
Ibid. Italics are original to text, 
23 
through the end of his career. One of his first useful, yet decorative and designed, 
serving items was "The ’Original’ I-lam and Egg Oven To Table Server" advertised by 
Rubel in January 1948, figure 1.16.7! 
 The simple spun aluminum pan was embellished 
by a shaped and hammered bronze handle. This relatively simple design is perhaps most 
telling in its name—"Oven To Table Server." The idea that something could serve both 
as a cooking device and a serving dish was a constantly seen theme in serving items for 
the home in the post-war period. An item that could both cook and serve eliminated extra 
dishes and work for its owner. Two years later Ernest Sohn had enhanced this frying pan 
form with an alcohol burner and stand, figure 1. 17, making it appropriate "for glamorous 
cooking during company entertaining" according to Crockery and Glass Journa1. 72 The 
Buffet Burner as it was clubbed was part of "French Provincial Tableware byLeumas" 
which was "To delight the taste of the epicure" according to the Rubel advertisement. 73 
In addition to the Burner which allowed for at-the-table cooking, the pictured casseroles 
combined utilitarian brown pottery appropriate for use in the cooking process. This 
utilitarian ware was enhanced and made more glamorous by "gleaming copper" serving 
trays and lids featuring jaunty handles. 74 
 The combination of different materials in one 
serving or entertaining accessory, here copper with ceramic, became a key Sohn motif 
that he continued to utilize throughout his career. 
70 
 The author will discuss the movement for casual home entertaining extensively in the second chapter. 
71 
 See Rubel and Company, Advertisement, GUi  aiclArt Buyer 44. no. 1 (January 1948): 11. 
72 
 Crockerr and Glass Journal, "Right Out of the Kiln," 146, no. 2 (February 1950): 66. For the 
advertisement shown in figure 17 see Rubel and Company, Advertisement, Gi/i aiiclArt Buyer 45, no. 2 
(February 1949): 13 
n Rubel and Company, Advertisement, Gift  and Art Buyer 45, no. 2 (February 1949): 13 
Ibid. 
24 
Other items that were to become Sohn specialties were also seen for the first time 
in his Rubel productions. One was the large coffee urn or beverage server on warming 
stand. The trade magazine Giftwares in February 1950 featured one such server that 
stood fifteen inches high, held 20 cups and combined copper in the body with copper and 
brass in the stand and legs, figure 1.1 
	 Accompanying the urn in the illustration are 
ceramic coffee cups with copper saucers, again revealing Sohn’s penchant for combining 
materials for a sense of the unusual and to add visual interest. 
Another new specialty of Ernest Sohn were chafing dishes which Rubel first 
featured in an August 1950 advertisement, figure 1.19.76 
 These cooking and serving 
items were proclaimed "For the Home Chef-A Gourmet’s Delight," 77 The use of 
chafing dishes for cooking and serving at the table or buffet experienced a renaissance in 
the late 1940s and through the 1950s, a renaissance that was strongly tied to an upsurge 
in home entertaining during the period. Sohn’s chafing dishes for Rubel were fairly 
conservative in their styling with curvaceous cabriole legs and added detailing in the 
collar that held the chafing dish and water pan aloft on these legs. An example in a 
private collection of this or a very similar design also evidences Sohn’s penchant for 
combining materials in one serving item, figure 1.20. While the majority of the piece is 
copper, the cooking pan appeal’s to be aluminum and the legs and fitting attaching the 
handle to the body are brass or bronze. Finally the finial and the handle are made of 
wood, a practical and easily shaped insulating material. 
Gftvares, "New York Show Trends,"6, no. 7 (February 1950): 23. 
See Rubel and Company, Advertisement, Gift and Art Buyer 46, no. 8 (August 1950): 9. 
Ibid. 
IN 
The idea that a chafing dish such as Sohn’s was a perfect item to use in informal, 
casual entertaining was evident in its inclusion in a 1951 window display at McCreery’s 
department store in New York. This window display was illustrated in a Giftwaies 
article about how retailers might take advantage of the "seasonal demand for outdoor 
living accessories," especially those related to barbecuing. 78 The McCreery window 
featured an "Outdoor buffet setting" with a window placard reading "Jim and I called up 
everyone we knew when we saw how rare the day---and had a barbecue. What fun to see 
him do the cooking and burn the buns.... "79 This sort of informal and casual entertaining 
was facilitated by such utensils as the Rubel chafing dish. 
One of the last and most successful forms Sohn designed for Rubel and one that 
would become a Sohn specialty was a lazy susan introduced at the summer gift shows in 
1950. An August 1950 advertisement featured the new Lciizy Daizy, figure 1.2 1, with the 
headline "It’s New! It’s Unique! It’s Smart!" tm°  This new serving accessory was intended 
to captivate and be shown off by those entertaining in the home: "Every hostess will 
immediately be enchanted with this new, smart, gay conversation piece." 8 ’ Ernest Sohn’s 
unique design was in the form of large simplified flower. Eight removable, petal-shaped 
ceramic dishes fit into a two part round ceramic base. 82 
 Between the bottom and top 
halves of this base were ball bearings, which allowed the top half with the dishes in place 
° See Giftvvaies, "How to Climb Aboard the Barbecue Bandwagon For Volume Summer Sales," 7, no. 10 
(May 1951): 1012. 
79 lbid., 12. 
80 
 Rubel and Company, Advertisement, Gift  cmdArtBuyei46, no.8 (August 1950): 7. While this 
advertisement uses the spelling LoGy Daisy the author has found that the trade name was correctly spelled 
Laizy Daizy. 
81 
 Ibid. 
26 
to easily twirl. A brass handle was mounted in the center allowing the whole unit to he 
lifted and brought to the table or any other place. A Rubel brochure for the Laizy Daizy, 
figure 1.22, highlighted its versatility for a variety of home entertaining uses, 83  The text 
of the brochure highlighted the fact that the dishes were ovenproof, could be removed 
and were equally useful individually and as a set: "Complete, it can be used as an hors 
d’oeuvres dish; singly, the pieces make attractive ashtrays, dessert dishes, etc." 84 
The Laizy Daizy was evidently quite a sensation and a success for Sohn and 
Rubel. In November 1950 it was singled out by Crockery and Glass Journal as an item 
worthy of promotion in an instructional article on selling with signcards. 85 Its unique 
construction and versatility made it the ideal candidate for promotion. The example sign-
card headline pointed to the Laizy Dcnzy ’S potential as the perfect gift: "For the 
Thoughtful Hostess the Best In Lazy Susans." 86 Its usefulness and potential to lessen 
work and make entertaining easier was a key part of the sales promotion. The example 
signcard emphasized this with text reading "Eight ovenproof serving pieces----keep food 
hot longer, not so many dishes to wash, stove-to-table serving" and also "Removable 
sections--use as individual casseroles, easier to store and wash." Real promotions soon 
followed this fictional one as the Laizy Daizy was sold across the country. 87  The New 
82 
 The ceramic parts were produced by Glidden Pottery. 
u The brochure is in a private collection and accompanied a Laizy Daizy stilt residing in its original 
shipping box. 
84 
 [bid. 
u Marian Anderson, "1-low to Make Salesclerks of Signcards," Crockerr and Glass Journal 147, no. 
(November 1950): 26-27. 
[bid., 27. 
One Laizy, Daiz the author has examined in a private collection was retailed by the Boo MarchØ 
department store in Seattle. Washington according to the shipping label on the original box, Another 
27 
York Times noted in late November 1950 that the Lcuzy Daizy was available at the leading 
retailer, B. Altman’s and was an ideal gift 88 The article emphasized how a lazy susan 
such as this "is anything but lazy.. .a useful piece of equipment for the homemaker during 
the holidays" and "To Expedite Serving Throughout the Year." 89 Rubel itself proclaimed 
the Lceizy Daizy a "Dazzling Success" that would be hard to top, 90 However, this did not 
prevent the company from marketing a Crystal Daizy, a similar serving item made 
primarily of glass. A few months later Ernest Sohn and Rubel promoted The Ferris 
Wheel, figure 1.23, which was not far removed from the Laizy Daizy in its novelty form 
and use of individual dishes that might be removed for serving, cooking and cleaning. 91 
Both the Laizv Daizv and the Ferris Wheel show Ernest Sohn’s Rubel work at its most 
interesting, combining usefulness and functionality with charm, wit and novelty. All of 
which would be most welcomed in mid-century home entertainment. 
Ernest Sohn’s time at Rubel was fruitful for both Sohn as a designer and Rubel as 
a business. Sohn had the opportunity to grow in learning and experience with a company 
representing so many varied lines and materials. His time at Rubel increased his skills as 
a gifted designer who created design after design that was well styled, functional and, 
above all, marketable. Rubel in this time became one of the leading gift houses in the 
field. Ernest Sohn had a great part in this success. 
advertisement ShOWS the model was sold in Los Angeles as well, see Robinson’s, Advertisement, Los 
Angeles Times, February 14, 1951: 25, 
89 Ne1i; York Times, "Lazy Susans Appear for Holiday Tables To Expedite Serving Throughout the Year," 
November 27, 1950: 27, 
[bid 
90 
 Rubel and Company, Advertisement, Gifi and Art Buyer 47, no. 1 (January 1951): 7, 
91 Rubel and Company, Advertisement, (li/i and Art Buyer 47, no. 2 (February 1951): 9 
However, by June 1951 Ernest Sohn had left Rubel to embark in his own 
business. 92  No incident or problem prompted this departure but a few reasons can be 
conjectured. 93  Of course there was the potential for greater financial gain if his new 
business was successful. Sohn would also win much greater freedom in his design work 
and he would determine the direction of his own company. This freedom included the 
freedom not to design some of the more kitsch items Sohn produced at Rubel. Increased 
recognition and perhaps even fame could be found in this new business: no longer was 
the name Rubel on the packaging and the product, it was Sohn. 
92 
 Announcements were made in all the trade journals, see for example Gift and Art Barer, "News from 
225." 47, no. 6 (June 1951): 110, 112. 
Interview with Ernest Sohn by the author on March 16, 2006. In this interview Sohn indicated he had no 
negative feelings toward Rubel and still considered Edmund Rubel a friend after his departure. 
29 
Ernest Sohn’s establishment of his own firm and the opening of his showroom at 
225 Fifth Avenue were significant news in the trade. All of the major trade publications 
made note of Sohn’s endeavor in their June 1951 issues.’ The trade accounts cited Sohn 
as a well-known figure in the industry who was responsible for designing many 
successful lines. The Gift and Art Buyer featured a photograph of the bespeckled 
designer smoking a pipe, figure 2. 1. and said Sohn "As designer and production head for 
the last fifteen years with firms in ’225,’ he has created numerous items such as planter 
plates, Laizy Daizy, chafing dishes and other informal buffet services." 2 Giftwares 
magazine cited his previous employment, "Mr. Sohn will be remembered from the 
showroom of Rubel and Company where he was the general manager," and the fact that 
he "has been designing popular items for the past fifteen years." 3 All of the accounts 
noted Sohn’s versatility as a designer and that the new firm would offer ceramic, glass, 
metal and plastic items. Giftwares cited Sohn’s "new merchandising slogan- --’Useful 
and Decorative." This slogan was to be used by Sohn for much of his career. The June 
195 1 trade publications also noted that Fred Press, a sculptor and designer, would replace 
Sohn at Rubel and would work in a wide variety of materials as Sohn had done. 4 
See C’rockerv and Glass Journal, "What’s Doing at 225 FifthAvenue," 148, no. 6 (June 1951): 62; China 
Glass and Decorative Accessories, "The Gift and Art Center," 70, no, 10 (June 1951): 68; Gifiwares  and 
Home Fashions, "Notes from New York," 7, no. 11 (June 1951): 63; and Gift and Art Buyer, "News from 
225," 47, no. 6 (June 1951): 112. The new business was also reported in the business lease section of the 
Mm’ York Times, see New York Times, "Two More Concerns Rent In 600 Ave.,’ June 14, 1951. 
2 
 Gift and Art Buyer, "News from 225,"47, no. 6 (June 195 1): 112. 
Giftwares and Home Fashions, "Notes from New York," 7, no. 11 (June 1951): 63, 
4 Crockery and Glass Journal, "Industry News: Close-Ups," 148, no. 6 (June 1951): 36; Gift and Art 
Buyer, "News from 225," 47, no. 6 (June 1951): 110. Press was to become Rubel’s "name" designer and 
The launch of Sohn’s line and opening of his showroom were done at a strategic 
time in the market season. The new showroom was open and available for store buyers 
to browse during the important New York summer shows, a time in which a huge volume 
of buying was done in anticipation of fall and Christmas sales. A full-page advertisement 
by Ernest Sohn Associates, as the new firm was known, ran in three of the major trade 
journals in July 195 1 and further highlighted the new venture. The advertisement in 
Crockery and Glass Journal featured ail invitation to buyers, "You are cordially invited 
to see our useful and decorative home accessories," superimposed over a newspaper 
column with the heading "Going On in New York. ,5  This issue of the magazine also 
previewed the National China, Glass and Pottery Show which was to take place July 15 
to 20 at the Hotel New Yorker, the first of the major shows occurring after the opening of 
the Sohn showroom. 6 The "show trends" previewed by the magazine featured "the 
informal trend," leading to "more bar and serving accessories sold today than ever 
before" just the sort of items Ernest Sohn Associates had to offer. 7 A different 
advertisement ran in the July issues of both Giftwares  and Gift anclArt Buyer, figure 2.2. 
It trumpeted "The Finest Chafing Dish ever created" and invited buyers "to see our 
complete line of new creations in stainless steel and other media for informal 
entertainment." 8 With these advertisements Sohn further publicized his new venture and 
was cited in their ads from that time Forward and also often had his name as part of the mark on Rubel 
products. 
Ernest Sohn Associates. Advertisement, Crockery and Glass Journal 149, no. 1 (July 1951): 41. 
’ Crockery and Glass Journal, "New York is Hot in July," 149, no, 1 (July 1951): 9197. 
-/ Ibid., 95, 
Ernest Sohn Associates, Advertisement, Giftwai’es and Home Fashions 7, no. 12 (July 1951): 59 and 
Ernest Sohn Associates, Advertisement, Gift  and Art Buyer 47, no. 7 (July 1951): 15. 
31 
his new lines to gift buyers who would be flocking to New York for the New York Gift 
Show from August 20 through 24. 
Ernest Sohn Associates’ entry into the market seemed quite successful and reports 
of the opening of the showroom in the trade press were quite glowing. China, Glass and 
Decorative Accessories wrote of the "buffet luncheon and cocktail party marking the 
event," noting that "Many leading buyers from the New York City area attended and 
inspected attractive displays of useful decorative home accessories in ceramics, glass, 
wood and metals, all designed by Mr. Sohn." 9 Crockery and Glass Journal ran a photo 
of the "all-day open house" introducing the new showroom. The photo featured several 
prominent buyers as well as Sohn and his wife and associates, figure 2.3. 10 Amongst the 
prominent buyers pictured was Joe Giarrocco, buyer for the B. Altman department store 
of New York, Giarrocco was one of the most powerful and influential buyers in the 
country during this period. B. Altman’s promotion of Ernest Sohn designs was key in 
his firm’s early success. In fact Ernest Sohn later recalled that it was B. Altman’s early 
hacking of his designs and, in particular, a full-page advertisement run in one of the most 
chic New York publications, The New Yorker, that helped to ensure his success. 12 The 
advertisement, figure 2.4, appeared in the December 8, 1951 issue of the magazine and 
featured a grouping of five gifts for men which would "highlight their entertaining" in the 
China Glass and Decorative Accessories, "The Gift and Art Center." 70, no. 11 (July 1951): 40. It seems 
particularly appropriate that the showroom opened with a buffet lunch and cocktail party. 
0 
 Ci’ocicerv and Glass Journal, Illustration. 149, no. 2 (August 1951): 69. 
For more on Giarrocco and his powerful position as Altman’s buyer see Charles L. Venable, ed., China 
and Glass in America, 1880-1980, 296. 
2 
 Interview by the author with Ernest Sohn on November 21, 2005. 
32 
future, 13 Amongst these masculine gifts for drinking, smoking and eating, Sohn’s 
signature chafing dish of stainless steel and ebonized wood was prominently displayed. 
Altman’s feature of this chafing dish is made more noticeable by the fact that their 
weekly advertisements in the New Yorker were usually devoted to fashion items and 
women’s wear. 
14 
December also marked an important turning point for Sohn’s young company. It 
was during this month that a new partnership was announced between Ernest Sohn and a 
leading sales representative named Jack Orenstein, figure 2.5. 15 
 Orenstein, several years 
older than Sohn, began his career in the industry in 1919.16 
 By 1922 he and partners 
founded a firm based at 225 Fifth Avenue for importing and selling Chinese and Japanese 
art items. In 1934 he and a partner founded Everlast Metal Products which became an 
early leader in the manufacture and use of aluminum in decorative and serving items, 17 
Everlast was certainly a success, it produced and sold a huge volume of material and had 
a leading role in defense manufacturing during World War 11. Ii 
B. Altman and Co.. Advertisement, New Yorker, December 8. 1951, 30. 
4 
 In the six months before and after this advertisement ran B. Altman ran only two other advertisements 
other similar advertisements in the New Yorker, one for English crystal, the other for a new modern 
dinnerware set. 
IS 
 Accounts appeared in all the trade journals: China Glass and Decorative Accessories, "The Gift and Art 
Center,’ 71, no. 4 (December 1951): 90; Ciicke,’i; and Glass ,Journal, "Industry News: Forms New 
Company," 149, no. 6 (December 1951): 125; Giftware.s, "People and News," 8, no. 5 (December 195 1): 
62; and Gift and At Burer. "News horn 225," 47, no. 12 (December 1951): 106, These form the basis of 
this section Unless otherwise noted. 
See Gifi and Art Borer, "Saluting the ’40 Year’ Pioneers," 53. no. 5 (May 1957): 139. 
17 
 For more on Everlast and their process of manufacturing see Giftwares and Hounewares, "Gift wares 
Looks Behind the Scenes: Everlast Metal Products, Inc.," 6, no. 4 (November 1949): 10-11. 
IS 
 For more on Everlast during World War II see Gift and Art Buyer, "Going on in the Trade," 40, no. 11 
(November 1944): 108. 
33 
Jack Orenstein was a born salesman. He headed a large sales staff that covered all 
parts of the country including several regional showrooms. Everlast ran prominent 
monthly advertisements in the trade press and regularly advertised nationally in the 
leading women’s and interiors magazines. Orenstein seems to have had a magnetic 
personality and often was elected to leading positions in trade organizations and 
In announcing the new partnership with Sohn, Gift and Art Buyer 
significantly noted "The new firm will largely retain the same sales force which has 
worked under Mr. Orenstein for the past years.... 20 
 Included in this sales apparatus was 
a second showroom in Los Angeles, which gave the young firm footing on both coasts 
and in the burgeoning population center of southern Caljfornia. 2 ’ In his new partnership 
Sohn became closely associated with another industry leader, Orenstein, and gained a 
seasoned sales organization to promote his new designs. Their many connections in the 
field and long experience in sales would prove invaluable in Sohn’s future success. 22  
A new design style emerged with the founding of Ernest Sohn Associates. Ernest 
Sohn, freed from the confines of working under someone else’s direction, was able to 
9 
 For example, in the same month that Sohn and Orenstein announced their partnership Orenstein was 
elected president of the 225 Fifth Avenue Association, a trade group dedicated to promoting those 
companies located in this gift center, see Giftu as cs Shopping the Markets: New York," 8 no 6 (January 
1952): 64, 
20 
 Gift wid Art Buyer, "News from 225," 47. no. 12 (December 1951): 106, 
21 
 The Los Angeles showroom was opened officially in July 1952 and was headed by William Orenstein, 
Jack Orenstein’s son, See Crockery and Glass Journal,"What’s Doing at 225 Fifth Avenue," 151, v. 1 
(July 1952): 120; Gift and Art Buyer, "Going on in the Trade," 48, no. 7 (July 1952): 200; and Giftwares, 
"Trade Winds," 9, no. 6 (July 1952): 62, 
22 
 Indicative of this was full-page advertisement run by Orenstein and Sohn in the January 1952 issues of 
Gifi-wcires and Gift and Art Beer. It announced Jack Orenstein Associates "appointment as exclusive 
selling agents for Ernest Sohn Creations" and that Orenstein’s sales force would be presenting Sohn’s 
designs at an impressive 13 upcoming trade shows including the major china and glass show in Pittsburgh 
and the gift shows in Chicago and New York. See Jack Orenstein Associates, Advertisement, Gifivi’ares 8, 
110. 6 (January 1952): 9 and Jack Orenstein Associates, Advertisement, Gift and A rt Buyer 48, no. 1 
(January 1952): 11. 
34 
experiment in a fresh manner with a variety of materials and forms. While Sohn 
continued to focus on similar kinds of objects, largely household accessories that would 
be used in cooking and serving food and drink, his design style became bolder, sleeker, 
more innovative and modern. Sohn’s new and fresh designs ensured public acceptance 
and success for his fledgling firm. From his firm’s founding through late 1953 Sohn’s 
new design style was expressed in four major areas: Pyrex glass serving ware, stainless 
steel and copper chafing dishes and related items, Copper and Co/or ceramic serving 
aids, and wrought iron decorative accessories. In true Sohn fashion mixing and cross-
pollination between these categories and materials was used to full advantage. 
One of Ernest Sohn’s earliest products and one that marked a departure from the 
more conservative design style he was confined to at Rubel were the Pyrex beverage and 
food servers Sohn introduced in 1951. 23  These designs combined Pyrex-brand heat-
tolerant glassware with black plastic covers and handles and a final touch of plastic coil 
wrapping, figure 2.6. In the Pyrex collection Sohn exhibited a very sleek and 
contemporary aesthetic. He used a hard scientific/industrial material, Pyrex laboratory 
glass, and softened and humanized it slightly with the addition of simple colorful plastic 
accents and black plastic handles in shapes of circles and spheres. 24  A February 1 952 
advertisement in Gifi’wcii’es featured the Pyrex collection, figure 2.7, and exhibits the 
23 
 Among the first products marketed by the new company, they are the only ones marked "Ernest Sohn 
Associates," a mark that was dropped after the formation of the partnership with Jack Orenstein and the 
renaming of the company Ernest Sohn Creations. 
24 
 Carafes and pitchers in a private collection examined by the author have handles in ring shapes and a 
casserole has two side handles in a ring Shape and a cover finial in the form of sphere. While the Pyrex 
glass, especially in the carafe forms, is close to the shapes of laboratory ware it is clear that it was made for 
the company in the way it is marked and the way that the forms have been adj Listed to home use. 
35 
variety of items that were available. 25 Here the versatility and multiple uses of these 
items is highlighted: the carafes and lipped pitchers can serve both cold and hot drinks, 
martinis or coffee, while the addition of a glass filter attachment transforms the lipped 
pitcher into a coffeemaker as well. The ability to use the serving item in the preparation 
of the beverage is echoed in the "cafferoles" which provided stylish servers that the 
advertisement also notes are "For cooking directly over flame—not in oven." 26 Sohn 
offered the plastic wrapping in a variety of colors, black and white for those with a more 
stark style and brown, red, green, and chartreuse for those looking for a bit more 
playfulness. 
Sohn’s Pyrex collection became a critical and commercial success over the next 
two years. An early national feature of one of the Pyrex carafes came in the January 
1952 issue of House ancl Garden magazine where a Sohn carafe was used in an 
illustration titled "Country flavor for a Sunday supper." 27 Sohn’s carafe seemed to strike 
favor with the editors of House cinci Garden and it was again featured by the magazine in 
the next issue, Two different sizes of the carafe were displayed prominently in buffet and 
table settings illustrating "An American idea in Entertaining," figure 2,8,28 
 The features 
in this important publication also pointed to the fact that Sohn’s Pyrex was being retailed 
in leading stores. in the first instance 1-Louse and Garden noted the carafe was available 
through Hammacher Schlemmer in New York and in the second that they were available 
25 
 See Jack Orenstein Associates, Advertisement, Giftwares  8, no. 7 (February 1952): 7. 
Ibid. This sentence also points to the fact that the plastic wrapping and handles would most likely be 
damaged in a hot oven. 
27 
 Nika Standen, "For Sunday-Night Supper Try Cooking With Cheese," House and Garden, January 1952, 
46-47, 87, 
28 
 House and Garden, "The American Idea in Entertaining," February 1952, 58-61, 124 
36 
through W. and J. Sloane, New York and Saks Fifth Avenue. When another important 
shelter magazine, House Beautiful, highlighted Sohn’s Pyrex carafe in July 1952 in their 
new and innovative products section, they noted that it was available through another 
leading New York retailer, Abraham and Straus. 29 
 By the Christmas season Sohn’s 
carafe was featured in Lord and Taylor’s full-page advertisement of gift items in House 
and Garden, figure 2.9.30 
The trade press provides further insight into where and how Sohn’s Pyrex items 
were sold. In a July 1952 Giflwaies profile of Victor’s, a Long Beach, California gift 
shop, Sohn carafes were conspicuous in an illustration of the shop’s displays, figure 
2. 10.3 1 
 This shop was located in a newly developed shopping center that was part of a 
burgeoning suburban area of Long Beach. Giftwares characterized it in this way 
"Modern stores service the community in a modern manner----with an easily accessible 
parking area for 2000 cars." 32 
 The store itself was dedicated to promoting the new 
American postwar lifestyle. The owners wanted to create "a modern shop where they 
could specialize in Casual Living items--where they could meet the trend with useful, 
fashion-right merchandise." 33 While the focus of the shop was to be modern in its 
outlook, the merchandise and store design were not necessarily so. The display units 
were composed of knotty pine and characterized by Gi/iwares as "authentically 
provincial in styling" while the other merchandise pictured in the illustrations made the 
29 Julie Polshek, "It’s Worth Mentioning," House Beautiful, July 1952, 2. 
Lord and Taylor, Advertisement, House and Garden, November 1952, 36. 
This section refers to Gift waies, "Victor’s Specializes in Casual Living," 9, no. 6 (July 1952): 40-42, 
Ibid., 40. 
Ibid. Italics and capitals are original to the text. 
37 
Sohn carafes stand out as the most modern in their design. 34 
 In the article Giftwares 
tellingly noted that many homes "can be overflowing with well-stocked china, glass and 
silver accessories but greatly lacking in the countless new developments for indoor-
outdoor casual entertaining. New and old brides are equally anxious to bring their homes 
up to date,.. " Ernest Sohn carafes were the kind of items that would allow 
homemakers to make these updates. Significantly the Sohn Pyrex line was located in the 
barbecue, patio accessories, and bar section of the store where "Giftwares for informal 
entertaining receives biggest promotion 
The trade press provided two more examples of the retailing of Sohn Pyrex in 
1952. The Gift and Art Buyer profiled anew shop located in Manhasset, New York in 
August 1952. The Gilbert and Leonard shop located in this "fast-growing. smart New 
York City suburb" was dedicated to giving "a metropolitan choice in accessories for the 
home" 38 
 This store featured a more modern, streamlined interior created by architect 
Norman Cherner and featured sleek products like the Sohn carafes. A new gill shop 
addition to the Maramor, an upscale Columbus, Ohio restaurant, was profiled in the 
October 1952 Gift ant/Art Buyer, 39 Ernest Sohn Creations occupied a central display 
table in an illustration of the new shop. Sohn Pyrex and Sohn chafing dishes were part of 
Ibid., 41, 
Ibid., 42. 
36 
 Ibid. 
Gift and Art Buyer, "A Shop in Manhasset," 48, no. 8 (August 1952): 83-85. 
Ibid., 83. 
Gift and Art Buyer, "Maransor," 48, no. 10 (October 1952): 44-45. 
38 
the mix of traditional and more modern items geared towards the Mararnor’s well-heeled 
clientele. 
Perhaps most revealing of the success and innovation of Sohn’s Pyrex line was its 
almost immediate imitation by other gift firms. Sohn’s previous employer Rubel and 
Company brought out a line of coffee bottles as early as August 1951 40  Rubel featured 
its new "hostess servers" in a full-page advertisement in the December 1951 Crockery 
and Glass Journal, figure 2.11. 41  The larger carafe at top right is almost a direct copy of 
Sohn’s forms with the wood handle and the more squat profile being the only differences. 
The small "Servette" at the middle left nearly replicates Sohn’s smaller individual coffee 
servers except for its rounded bottom. 
Sohn continued to utilize Pyrex to create new and innovative designs for many 
years. An updated version of Sohn’s previous Pyrex carafes combined copper or 
stainless steel with wrought iron in a sleek form and was introduced by the firm in the 
spring of 1953, figure 2.12 .42  This carafe and warmer were selected by officials of the 
Museum of Modern Art in New York and the Merchandise Mart in Chicago for honor in 
their summer Good Design exhibition which opened in June 1953 at the Mart. This 
high critical honor was duly noted in the trade press and also brought recognition in the 
popular press for Sohn’s carafe with both the Chicago Tribune and the New York Times 
° See Gift  and Ait Buyer, "Merchandise Cues," 47, no. 8 (August 1951): 92, 
Rubel and Company, Advertisement, Crockeiy and Glass Journal 14, no. 6 (December 1951): 39. 
42 
 The carafe was introduced in the spring, see Jack Orenstein Associates, Advertisement, Giftwares. 11. 
no. 4 (April 1953): 7. The illustrated advertisement, figure 2.12, is Jack Orenstein Associates, 
Advertisement. Gifiwares,  12, no. 2 (August 1953): 77, 
43 
 Museum of Modern Art, Good Design, June 1953, ([New York?]: Museum of Modern Art, 1953), item 
195. The listing also noted that the "Coffee carafe and warmer" were available for B. Altman for $9.00. 
39 
highlighting it. 44 In the Times article the carafe even warranted illustration. The Good 
Design award was also an effective marketing tool, Orenstein and Sohn proudly 
employed the Good Design logo in an August 1953 advertisement, figure 
	 The 
honor seemed good for sales of the carafe since it was listed in the 1954 Good Design 
exhibition in a section devoted to "Popular Sellers flom Good Design 19501954,46 
An August 1951 Sohn advertisement in the Gift and Art Buyer featured one of 
Sohn’s Pyrex carafes in combination with a "Wittcrosse Warmer," figure 
Wittcrosse was the line name for a variety of chafing dishes and related warmers and 
serving items that were Sohn mainstays for many years. What would become Sohn’s 
trademark chafing dish, figure 2.14, was also the first item that Sohn advertised in July 
1951, figure 22.48 With little modesty Sohn called it "The Finest Chafing Dish ever 
created" and pointed to its beauty and utility. It was made of durable stainless steel 
"polished to a silver bright lustre, non-tarnishable" with ebonized legs and handles and 
featured "finger tip heat control, allowing increase or decrease of flame or complete 
snuffing." Sohn had the Wittcrosse line manufactured by a company located in La 
See Appendix A for more on the Good Design movement in the United States and the Good Design 
Exhibitions specifically, 
Gift ii’ares, "Good Design: Summer Selections Emphasize Shiny SLirfaces, Bold Colors," 12, no. 2 
(August 1953): 48-49; Betty Pepis, "Home Furnishings Shown at Museum," NOV York Times, September 
23, 1953, 38; and Chicago Dai[i Tribune, "’Good Design’ Items Offered to Grace Home," April 25, 1954 
F8. 
See Jack Orenstein Associates, Advertisement, Gi/iwares, 12, no. 2 (August 1953): 77. 
’ Museum of Modern Art, Good Design, Fifth Anniversary, ([New York?): Museum of Modern Art, 1954), 
item 71 
Ernest Sohn Associates, Advertisement, Gift and Art Buyer 47, 110. 8 (August 1951): 15. 
48 Ernest Sohn Associates, Advertisement, Gi/wares and Home Fashions 7, no. 12 (July 1951): 59 and 
Ernest Sohn Associates, Advertisement, Gift and Art Buyer 47, no. 7 (July 1951): 15. 
40 
Crosse, Wisconsin. 49 
 Through contacts at Marshall Field’s in Chicago Sohn was able to 
work with Butch Wittenberg, owner of a metal fabricating factory in La Crosse and a 
skilled machinist. Over a period of several weeks working in the factory with 
Wittenberg, Sohn was able to create his simple and elegant forms in hard-to-manipulate 
stainless steel 50 
Sohn soon expanded the Wittcrosse line to include a range of "Buffet and Serving 
Accessories" as advertised in the Gift cindArt I3rcyer in March 1952, figure 2.15.’ This 
range of designs could accommodate a variety of serving and cooking needs including 
sauteing, baking, charcoal grilling and keeping things warm (or cold in case of the ice 
bucket) on the buffet table. Sohn used a few component parts in several different 
combinations to create this family of items. The Wittci’osse collection is not a wholesale 
departure from Sohn’s previous chafing dish and serving items created in copper and 
other materials for Rubel .52 
 However, this new Wittcrosse line was more angular, clean 
and geometric and more modern than most chafing dishes on the market at the time, 
Sohn’s use of stainless steel for this new line was quite advanced. Prior to World 
War II stainless steel was not seen in items for the home and after the war it slowly 
gained acceptance. Sohn’s use of stainless steel in items that would be featured on the 
dinner table or buffet was quite fresh and interesting in 1951 and 1952. Sohn highlighted 
The information in this section was recorded in interviews by the author with Ernest Sohn on October 18 
and November 21, 2005, 
50 
 Sohn considered this a significant accomplishment later in life. The Wittcrosse name came oLit of a 
conglomeration of the last name of Wittenberg and the name of town where the factory was located. 
’ Jack Orenstein Associates, Advertisement, Gift and Art Buyer 48, no, 3 (March 1952): 11. 
52 
 See Chapter 1. Sohn would soon introduce copper as an alternative to stainless steel in the Wittcrosse 
line. 
41 
new and innovative use of materials by designers in the gifiware field in a November 
1952 article for Giftwares magazine. 53 
 Sohn wrote that designers were "no longer limited 
to ’traditional’ materials, but are free to roam through the many media that are available 
in such great abundance." Sohn extolled the advantages of stainless steel which he called 
"the sterling of the future" and a "material of unequaled practicality and beauty." 
Whereas silver would easily tarnish and scratch, stainless steel was hard, durable and had 
a similar beauty to sterling when highly polished, according to Sohn. To take advantage 
of these new materials and make items that would appeal to consumers by filling their 
needs, Sohn insisted a designer needed to be both creative and have an extensive 
knowledge of the materials, how they behave and how they can be manipulated. Here 
Sohn was writing about himself, about his strong beliefs in what design should be and 
how a designer should work to become successful. 
The Wittcrosse line was accepted across the country and was manufactured for 
decades. 54 
 As we have seen, B. Altman’s in New York gave Sohn’s chafing dish an early 
and important feature through its New Yorker advertisement (figure 2.4) and promotion in 
the store itself. This chafing dish was also featured during the 1951 Christmas season on 
the West Coast, Robinson’s Department Store included it in an advertisement of gift 
items that were "Handsome to Look At... Delightful to Use" that ran in the Los Angeles 
This section refers to Ernest Sohn, "The Changing Taste in Giftwares Materials," Giftwa , ’es 10, 110 
(November 1952): 18, 
A May 1967 firm advertisement in an issue of Gs anI Decorative Accessories celebrating the history 
of the gift industry highlighted the Wittcrosse chafing dish with the headline "Good Design Never Grows 
Old." The ad indicated the firm had sold "over 100,000 to date," see Jack Orenstein Associates, 
Advertisement, G(Its and Decorative Accessories 63, no. S (May 1967): 127. This particular model of 
chafing dish continued to be manufactured and retailed by the firm into the I 970s. 
42 
7mes. 55 At the same time Sohn’s chafing dishes were highlighted nationally in the 
shelter magazine House and Garden. In the December 1951 issue a Sohn chafing dish is 
central to an illustration for a buffet, a setup that "is a good mixer and simplifies 
service," figure 2.16 .56 
 The Witrcrosse line was again featured the next month in House 
and Garden and continued to be seen in this and other shelter magazines, 57 
The trade press also provides indications of the widespread acceptance of the 
Il7ittcrosse line through its frequent appearance in a variety of articles on new shops or 
promotions in 1952 and 1953. Perhaps most interesting were two department store 
features on American design. The first occurred at Miller and Rhoads, the leading 
department store of the Richmond, Virginia area, in April 195258 
 Miller and Rhoads 
used this "American Design Show," the second of its kind at the store, to satisfy strong 
customer interest in Americanmade china, glass and gift items. The promotion involved 
extensive newspaper advertising, special displays in windows and inside the store, and a 
variety of special events and activities revolving around American products, One of the 
firms to be featured in this American design promotion was Sohn’s with a highlight on 
the Wittcrosse chafing dish. The "magnificent chafing dish" was "the focal point of 
contemporary display starring creations of Ernest S0111 ,1." 59 
Robinson s, Advertisement, Los Angeles Times, November 26, 1951, D28. 
House and (leaden, "Make Music the Point of Your Parties," December 1951, 135. 
Nika Standen, "For Sunday-Night Supper Try Cooking With Cheese," House and Garden, January 1952, 
4647, 87. 
Gi/tivmu’es. "American Giftwares Co-Star in Unprecedented Promotion," 9, no, 5 (June 1952): 33-35 
[bid., 35. 
A second "American Design Show" was held by the Rochester, New York 
department store McCurdy’s and highlighted by Crockery and Glass Journal in 
December 1952.60 
 McCurdy’s planned the show "to introduce the public to the newest 
and best in American table ware and decorative accessories," 61 The show was heavily 
promoted through the local press and featured representatives from fifteen manufacturers 
who "were on hand to tell the customers about their products, explain interesting 
processes, discuss modern trends." 62 Representing Ernest Sohn Creations was Orenstein 
sales associate Arnold Adler dressed as a chef, figure 2.17, to give customers "a taste of 
chafing dish cookery" and show them "how easy buffet entertaining can be with propel’ 
table and serving accessories" such as the Witicrosse chafing dish, 63 Ernest Sohn 
Creations was also highlighted in the show program given to customers when they visited 
the store. The firm was credited for providing resources to the modern hostess: "Jack 
Orenstein Associates, caterers par excellence to the buffet hostess. Ernest Sohn-designed 
lazy susans with oven-proof dishes and modernized chafing dishes." 64 It appears that in-
store demonstrations like this were fairly common ways of educating, promoting and 
selling for both the company and department stores across the country. 65 
o Crockery and Glass Journal, "McCurdy’s Holds American Design Show," 151, no 6 (December 1952): 
107-109, 
° Ibid., 107. 
(,2 
 Ibid. 
Ibid. 
61 lbid., 108. 
At a November 1952 "Open House" at W. and J. Sloane department store in Beverly Hills, California 
one of the featured activities was "demonstration of chafing dish cookeiy by Sohn," see W. and J. Sloane, 
Advertisement, Los Angeles Times, November 20, 1952, A9, A similar promotion was held at Woodward 
and Lothrop department store m Washington D. C. where customers were invited to "come, see the 
AFE 
While Sohn’s T’Vittcrosse chafing dish took center stage at the McCurdy’s show, a 
lazy susan with ovenproof dishes was also noted in the show program. This piece was 
part of a third major line of items that were a success for Ernest Sohn Creations in its first 
few years of business. Sohn and Orenstein began marketing and advertising their first 
major ceramic collection during the late spring and early summer of 1952.66 
 This 
distinctive and innovative ceramic collection called Companion Casuals in Copper and 
Color, was featured in an advertisement appearing in the July 1952 trade magazines, 
figure 2 . 18.67 
 In this advertisement we see Ernest Sohn’s penchant for combining 
materials with each piece composed of "Gleaming Copper, wrought iron and Colorful 
Ceramics" 65 One of the first pieces to be marketed in the Copper and Color line was the 
lazy susan that was mentioned in the McCurdy design show program. This lazy susan 
was dubbed Lazy Leaves and was first highlighted in the trade press in the spring of 1952, 
figure 2. 19.6) 
 The design recalls Sohn’s Laizy Daizy for Rubel. It featured individual 
dishes that hooked onto a central revolving iron stand that could be removed for easy 
storage and serving. The Lazy Leaves dishes and the other Copper and Color items were 
wonderful ways to cook and serve with a chafing dish" designed by Ernest Sohn. See Woodward and 
Lothrop. Advertisement, The Washington Post, November 20, 1952, 18. 
Earlier collections seem to have existed, this author has discovered little about them. What looks like 
ceramic casserole dishes on metal stands can he seen in a July 195 1 photograph of the new Ernest Sohn 
Associates showroom, see Giftvi’ares and [Jonie Fashions, "People and News of the Trade," 7, no. 12 (July 
1951): 74. The first advertisements by Jack Orenstein Associates after the announcement of the partnership 
with Sohn mentioned "Informality Ovenproof China," see Jack Orenstein Associates, Advertisement, 
Gift cares 8, 110, 6 (January 1952): 9 and Gift and Art Buyer 48, no. 1 (January 1952): 11. These early lines 
may have been experimental stepping stones prior to reaching the Copper and Cola,’ collection. 
Jack Orenstein Associates, Advertisement, Gift and Art Buyer 4$, no. 7 (July 1952): 141 and Jack 
Orenstein Associates, Advertisement, Gifrwai’e.s’ 9, no. 6 (July 1952): 15. 
68 Ibid. 
Gdftwares, "Buyers at Chicago Market ApplaLid Modern, Practical Design," 9, no. 2 (March 1952): 24 
and Crockery and Glass Journal, "New Products," 150. no 5 (May 1952): 50. 
45 
noted in the trade press and advertisements for being ovenproof, allowing use of these 
items to both cook and serve. Another distinctive addition to the Copper and Color 
collection was a large coffee pot and stand that was first advertised by Jack Orenstein in 
August 1952, figure 2,2O. ° 
 This coffee pot echoes the modernity and geometry found in 
other Sohn designs of the time with its conical shape and hard angled iron handle and 
stand. The pot held twenty four cups and stood over fourteen inches tail when resting on 
its warmer, underlining Sohn’s tendency to design on an oversized scale appropriate for 
home entertainment and buffet serving. A February 1953 advertisement highlighted 
other "Buffet Accessories" in the Copper and Color line that were also oversized and 
useful in multiple ways for entertainment, figure 2.21.71 
 The Jumbo Casserole could be 
used for hot items and also as "an attractive salad server" while the Party Pail was even 
more versatile and could he used for "hot soups, beans, spaghetti or cold ice-cubes, 
etc," 72 
The Copper and Color line quickly found widespread acceptance with buyers and 
appearances in the national press. House and Garden magazine highlighted the Copper 
and Color chafing dish "for modern settings" in a November 1952 feature on Christmas 
gifts for the household .73 
 In the same issue a Boston gift shop featured the Copper and 
Color casserole with warmer in its selection of "Original creations by Ernest Sohn, Fifth 
70 
 See Jack Orenstein Associates, Advertisement, Gifi andArt Buyer 48, no. 8 (August 1952): 129 and 
Gifiwares 10. no. 1 (August 1952): 51. 
7! 
 Jack Orensiein Associates, Advertisement, Gifi and Art Buyer 4, no. 2 (February 1953): 135. 
72 
 Ibid. 
House and Garden. "Christmas Household Gifts," November 1952, 191. 
Iro 
Avenue." 74 By the following May Copper and Color was again being featured in the 
shopping section of House and Garden. The Holiday House shop of Upper Montclair, 
New Jersey advertised the collection with the headline "For Today’s Living" and said 
"Designer Ernest Sohn bows to America’s growing taste for casual entertaining in this 
inspired group of buffet accessories," figure 	 Abraham and Straus in New York 
also featured Copper and Color in its summer offerings that year. A June 15, 1953 
advertisement, figure 2.23, highlighted "Ernest Sohn’s design for casual dining! ,76 
Abraham and Straus proclaimed the Copper and Color servers a "boon to the outdoor 
hostess who’s bored with barbecues-these handsome servers are the most practical and 
most decorative pieces of their kind we’ve seen" and had them available in the store’s 
fourth floor gift shop. 77  A September 1953 Saks Fifth Avenue advertisement in House 
and Garden featured a twin Copper and Color casserole set, available at its Guest and 
Gift Shop in New York, Beverly Hills and Detroit. 78  The set was extolled as "The perfect 
set-up for dining al fresco... 
Copper and Color’s suitability to the post-war lifestyle with its greater 
informality and casual entertaining was also clear floiri its depiction editorially in both 
the trade and popular press. In a November 1952 Crockery and Glass Journal feature on 
"Easy Entertaining" thirty-five leading buyers highlighted the products best suited the 
Chestnut Hill Giftmart, Advertisement, [loose and Garden, November 1952, 94. 
Holiday House, Advertisement, House and Garden, June 1953, 21. 
Abraham and Straus, Advertisement, Neit’ York Times, June 15, 1953, 5. 
Ibid 
Saks Fifth Avenue. Advertisement, [louse and Garden, September 1953, 39. 
Ibid. 
47 
strong trend for informal entertainment. 80 The products were selected for the modern day 
hostess who "wants to enjoy herself at her own parties" and "make entertaining elegant 
but easy." 8 ’ Sohn’s Lazy Leaves was highlighted in the section of the article on "Easy 
Storage." 82 
 Storage was considered vital to the buyers because entertaining demanded 
larger parties in homes that often had little storage space. The Lazy Leaves server was 
highlighted because each leaf dish was removable and stackable in a much smaller space 
than when in use. In the "Buffet Ware" section the Copper and Color coffee pot was 
highlighted. 83 The magazine outlined the buffet trend in this way: "Count in casual 
trends, lack of dining area, fewer maids: buffet is here to stay." 84 
 The magazine 
characterized the large buffet or cocktail party as the modern equivalent of the formal 
dinner for eight of previous generations. These large gatherings necessitated large 
serving items like the Sohn coffee pot, 
Sohn Copper and Color items were also featured in an October 1953 House and 
Garden article on "New Directions in Dining." 85 The magazine asserted changes in 
home life had led the dining room to become less important and defined: "Partly because 
space is limited, partly because household help is nearly extinct, walls no longer define 
where we eat .,,86 
 Entertainment had also become more relaxed according to the 
° Crockery and Glass Journal. "Easy Entertaining," 15 1, no. 5 (November 1952): 19-35. 
Ibid., 19, 
82 
 Ibid.. 24-25. 
Ibid., 32-33. 
84 
 Ibid., 32. 
85 
 House and Garden, "New Directions in Dining," October 1953, 156-166. 
16 
 Ibid., 157. 
magazine: "we have found gay, informal ways to organize large parties. Today, many a 
party begins at a buffet table set up in an alcove, foyer, or patio and then branches out to 
small tables and trays with individual place settings." 87 House and Garden tellingly 
featured Copper and Color serving ware in an illustration for "an informal buffet party 
near the window in your living room," figure 2.24. 88 
The final group of items that dominated Ernest Sohn Creations’ offerings in its 
first few years were decorative accessories made from black wrought iron. A March 
1952 advertisement displays typical items in the wrought iron range, figure 2.25. 89 
 While 
all of these items are useful, they tend toward an emphasis on the decorative: each one 
might hold a plant or a candle or organize magazines but the decorative flourishes of the 
wrought iron dominate. The use of black wrought iron during the early 1950s was quite 
fashionable and was a part of many gift houses’ offerings. Sohn acknowledged the 
"current vogue" in a November 1952 article where he endorsed the use of wrought iron to 
create "a pleasing shape.., a practical ornament," 90 
It is interesting to note that what is perhaps the most practical item featured in the 
March advertisement, the folding stand and tray, is the most free from decorative 
flourishes and perhaps the best design. A related design, the Fold-4..Wag table, was 
Ibid. 
Ibid., 163, Only the chafing dish on the right and the sugar and creamer towards the center are Sohn 
designs. 
89 
 This section refers to Jack Orenstein Associates, Advertisement, Gijhi’aies 9, no. 2 (March 1952): 7. 
90 
 Ernest Sohn. "The Changing Taste in Giftwares Materials," Giftwwes  10, no. 5 (November 1952): 18. 
49 
among the new products introduced by the firm in the summer of 1952, figure 2.26,’ 
This sleek, simple and useful design became a critical success when it was selected for 
inclusion in the Museum of Modern Art’s and Merchandise Mart’s Good Design 
exhibition that opened in January 1953 at the Mart in Chicago. 92 
 Honors such as this one 
bolstered Ernest Sohn’s reputation and added to the success of the firm. 
The mid and late 1950s were a time of growth and expansion for Ernest Sohn 
Creations. Ernest Sohn generated new designs at a furious pace in a large variety of 
materials. The firms showrooms expanded in size a number of times while a new 
fabricating and assembly factory opened in 1956 facilitating the firms success. 93 
 The 
following sections will consider the major groupings or collections of items that were 
both interesting in their innovations as well as important in the firms success .94 
Ernest Sohn Creations introduced two large collections in 1954 that utilized a 
metal new to the firm, aluminum. Both Sohn and Jack Orenstein had years of experience 
creating and marketing aluminum gift items at Rubel and Everlast respectively so it was 
not surprising that the young firm utilized this versatile metal. Ernest Sohn’s aluminum 
91 
 Gi/? and Art Buyer, "Nice to Nave Around the House," 48, no. 7 (July 1952): 182. This design was 
highlighted in a Lord and Taylor advertisement which appeared in House and Garden magazine in 
November 1952, see figure 2.9 
92 
 Museum of Modern Art, Good Design, January 1953, ([New York?]: Museum of Modern Art, 1953) 
item AlO. 
For examples of the firm’s showroom expansions see Giftwares, "What’s Doing at 225," 12, no. 2 
(August 4. 1953): 100 and Jack Orenstein Associates, Advertisement, Gif? and Art Buyer 51, no. 7 (July 
1955): 145. The ’new modern plant" combining warehouse, factory and office space was opened by the 
firm in Elmhw’st, Long island late in 1956 in order to "facilitate and expedite its customer-service," see 
Gifi’wares, "What’s Doing at 225 Fifth Avenue," 18, no, 5 (November 1956): 40. See also Gifi andArt 
Buyer, "News ftont," 52, no. 11 (November 1956): 16. 
Many less interesting, less innovative and less important designs will not be addressed. 
50 
collections demonstrate a new and fresh approach to a material that had become familiar 
to Americans. 
Sohn’s first aluminum collection was introduced to the trade at the winter gift 
shows at the beginning of 1954. A full-page advertisement for the new line appeared in 
the Gift and Art Buyer in February 1954, figure 	 Here we see Sohn exhibiting 
another of his key design characteristics. He has reused forms and ideas already created 
and made them new and interesting by slight modifications and additions. Most of these 
aluminum items on warming stands follow the general forms he created for his Copper 
and Color ceramics and retain the copper covers while the burners themselves are 
borrowed from the 147/ttcrosse line. This reuse and adaptation provided two benefits: 
giving a recognizable style for consumers to associate with the Ernest Sohn Creations 
brand and to simplify the manufacturing and extend the life of designs once they were 
created. The reuse and adaptation also allowed Sohn to provide something "new" for 
buyers in a market that emphasized and preerenced the new to a great extent. 
The Giftwares advertisement suggests the use of the new line in the modern 
hostess’ home. These cooking and serving aids were "For the Living Room Cook," they 
were to be used on a buffet or coffee table for informal entertainment where the hostess 
might both cook and serve in the presence of her guests. These items were "Practical 
with a thousand uses" according to the firm. 96 Their versatility must have been a selling 
point for retailers—these aluminum designs were sold for many years. A May 1957 
advertisement by the Los Angeles department store Bullocks, figure 2.28, featured the 
Jack Orenstein Associates, Advertisement. Gift and Art Buyer 50, no. 2 (February 1954): 135. 
96 
 Ibid. 
51 
aluminum designs alongside the Copper and Color coffee server under the headline 
"Smart Ernest Sohn patio serving accessories." 97 
 These servers would "make your 
informal patio serving more attractive and practical." The next year may have been the 
final season for this aluminum line. Marshall Field’s in Chicago featured these "versatile 
serving pieces" under a "manufacturer’s closeout" sale in May 1958 . 98 
Ernest Sohn Creations’ second aluminum-based collection was introduced at the 
trade shows and through the trade press during the summer of 1954. 
  Advertisements in 
Gifiwares and Gift andArl Buyer introduced Son/urn in July 1954. The advertisement 
proclaimed the eponymous line "a new fashion in decorative serving accessories" and 
emphasized the new group as "coordinated merchandise for oven to table service." 00 
The new line was also launched at a showroom party in June 1954. Gifiwares  noted the 
new line was "ovenproof, and has detachable black handles" and included chafing dishes, 
trays, salad bowls and ice buckets. 101 
 Son/urn casseroles and serving pan were featured in 
a August 1954 advertisement in Gift and Art Buyer, figure 2.29. 102 
 Sohn had again 
worked with his trusted partner Butch Wittenberg in La Crosse, Wisconsin to develop 
and manufacture these aluminum alloy items. 
Bullocks. Advertisement, Los Angeles Times, March 14, 1957, B7. 
Marshall Field and Company, Advertisement, Chicago Daily Tribune, May 20, 1958, 4, 
Jack Oi’enstein Associates, Advertisement, Giflnares 14, no. 1 (July 1954): 11 and Jack Orenstein 
Associates, Advertisement, Gift  and Art Buyer 50, no, 7 (July 1954): 36. 
00 
 Ibid. 
’°’ Gifh’ares, "Trade Tidings." 14, no. 1 (July 1954): 20. 
102 Jack Orenstein Associates, Advertisement, GUI andArt Buyer 50, no. 8 (August 1954): 131 
52 
Consumer acceptance of the Soniwn designs was strong, necessitating an increase 
in production by the end of 1954-early I955.03 Sonium was by then being retailed in 
prominent stores across the country. In January 1955 Woodward and Lothrop 
department store in Washington DC advertised Son iuin calling it "up-to-date 20111 
 Century 
metal" that was "lightweight, easy to clean, practical." 104 
 A few months later W. and J. 
Sloane in Los Angeles was advertising "New spring accessories for your serving in 
smart, oven-to-table Sonium" and extolled its lightness, durability as well as the line’s 
unique features such as "removable stay-cool" handles. 105 
 Sonium continued to be 
produced and retailed by leading stores through the end of the decade, 106 
At the same time Ernest Sohn began to utilize aluminum as a material in his 
design another metal also became prominent in the firm’s offerings: brass. Sohn began to 
use brass or brass plated metal in the fall of 1953. 1 0 7 By October 1953 the firm was 
advertising "Elegance in Brass" and featuring candlesticks and a fruit bowl that combined 
brass and wood, figure 2.30.108 Sohn Soon began utilizing brass for a myriad of products 
03 Advertisements in January 1955 referred to "unprecedented consumer acceptance" leading to "delay of 
deliveries" and necessitating expanded production to ship on time. See Jack Orenstein Associates, 
Advertisement, Gifi3wares 15, no. 1 (January 1954): 25 and Jack Orenstein Associates, Advertisement, Gi/? 
and 4,t Buyer 51. no. 1 (January 1954): 71. 
104 Woodward and Lothrop, Advertisement. Washington Post and Times Herald, January 16, 1955, 29. 
05 W. and J. Sloane, Advertisement, Los Angeles Times, April 10, 1955, C9. 
106 The final advertisement this author has found featuring Soniwn dates from 1959, see Marshall Field and 
Company, Advertisement, Chicago Daily Tribune, January 6, 1959, 5. 
107 The trade press first rioted Sohn’s use of brass in September 1953. Giftwarcs featured an ice bucket with 
a brass frame in the new products section and also noted that the Wittcrosse line would be offered in brass 
as well as copper and stainless steel. See Gil?wares, "Show Stoppers," 12, no. 3 (September 1953): 34 and 
Gif?wares. "Shopping the Markets: Around Los Angeles," 12, no, 3 (September 1953): 76. 
100 Jack Orenstein Associates, Advertisement, Giflwares 12, no. 4 (October 1953): 75. 
53 
including magazine holders, serving carts, waste baskets, planters, etc. 109 Perhaps most 
distinctive and noteworthy was Sohn’s use of brass in combination with glass and 
ceramic for stylish modern serving accessories. The first installment of the brass-
accented serving items was introduced during the winter trade shows and was noted in 
the trade press in the spring of 1954. In February Crockery and Glass Journal featured a 
Pyrex bowl that had been dressed up by Sohn with a brass carrying rack and brass cover, 
figure 2.31.110 
 Sohn had transformed this utilitarian item into something much more 
glamorous and appropriate for entertaining by combining it with the metal accents. In 
fact the firm marketed this Brass and Crpstal line as "Serving Accessories for the Smart 
Hostess" on promotional tags. Ill 
 The domed cover and thin finial at its center seen on 
this Pyrex bowl became characteristic of Sohn’s brass lines. We see similar finials and 
covers on white ceramic items combined with brass fittings that Giftwares featured in 
March 1954, figure 2.32. 112 
 Here Sohn took his idea for combining ceramics with metal 
to the next level. The metal portions of coffee server and creamer recall the iron fittings 
that wrapped the Copper and Co/or equivalents but here they are made less geometric, 
softer, and more elegant with the gold-toned brass handles and covers. The trade journals 
and firm advertisements continued to feature additions to the brass and glass and brass 
and china lines throughout 1954 including a shrimp set which artfully held ice, shrimp, 
109 The firm used brass or brass plated wire to create such items, replacing the wrought iron used in the 
early 1950s, These items were often fairly conventional and won’t be considered here. 
1 1 0 Crockery and Glass Journal, "New Products from the Pittsburgh Market." 154, no. 2 (February 1954): 
45 
Original promotional tag attached to a Pyrex bowl in brass carrying rack in a private collection 
examined by the author. 
112 GUhi’ciies, "Spotlites," 13, no. 3 (March 1954): 54 
54 
sauce and toothpicks all in one unit (see figure 2.41), a double ice bucket and a triple 
casserole set on warming stand. 
Nineteen fifty-five brought further exploration of the brass-and-white-ceramic and 
brass-and-glass collections by Sohn. In February 1955 the firm advertised a cocktail set 
that combined a glass cocktail shaker with a brass lid and finial in Giftwares, while in 
Gift and Art Buyer they highlighted "Table Accents in White China and Brass," figure 
2.33," Both the cocktail carafe and the coffee pot featured a slight modification to the 
finial which became the standard finial form: the addition of a disc in the middle with a 
tapering inward above and below the disk. In the Gift and Art Buyer advertisement tall 
china cups on brass saucers complemented the lithe, elegant form of the coffee pot with 
its brass bail handle and cover. 114  The sugar (with brass cover) and creamer matching 
this set stood on a brass tray.’ 15  Again at midyear Sohn introduced more additions to his 
very successful brass accented collections. Orenstein and Sohn held a party at 225 Fifth 
Avenue in late June both celebrating the new lines and the expansion of this growing firm 
into further showroom space.’ Giftwares noted that buyers from around the country 
were exposed to Sohu’s deft use of’brass and white china, brass and glass, and brass and 
walnut combinations" in elegant serving and display items such as those advertised by 
the firm in August 1955, figure 2.34.’ 17  With these offerings and others Ernest Sohn 
° See Jack Orenstein Associates, Advertisement, Gifiwares 15, no. 2 (February 1955): 55 and Jack 
Orenstein Associates, Advertisement, Gift and Art Buyer 51, no. 2 (February 1955): 117. 
1 
 These recall the ceramic cups with metal saucers that Sohn had designed earlier fisr Rubel, 
115 Gi/twares, "Highlights: New Merchandise at 225 Fifth Avenue," 15, no. 2 (February 1955): 75. 
’ Gi/iwares. "Party Season Opens Early at 225 Fifth Ave.," 16, no. 1 (July 1955): 16. 
117 Ibid. and Jack Orenstein Associates, Advertisement, Giti and Art Buyer 51, no. 8 (August 1955): 125 
55 
sought to make available items he believed the public desired. Looking ahead to the 
market of 1956 he said that "people are tiring of the slick, clinical look of extreme 
modern" and that they "desire merchandise which is simple but which has warmth." 18 
Sohn’s brand of simple and warm design seems to have struck a chord with store 
buyers and the American public. Sohn’s brass and glass and brass and china lines were 
perhaps more widely accepted than any of his previous lines. As early as December 1954 
the Chicago Tribune cited a Sohn-designed china casserole as an ideal gift for the 
home. 119 
 This casserole on brass warming stand with brass cover was available at the 
leading department store Carson Pine Scott, which described it in an advertisement that 
month as "A wonderful serving accessory for buffets, parties" and noted it was 
"guaranteed ovenproof" 2° 
 By the following year Sohn’s expanded line of brass 
accented serving items was seen in prominent shops across the country. One smaller 
shop that featured Sohn’s brass accented pieces prominently was the holiday Gift Shop 
in Penn Yan, New York. ’ 2 ’ This shop in upstate New York catered to a tourist trade and 
to a local college population and found Sohn items among some of the better sellers. One 
large display shelf. figure 2.35, featured Sohn brass and china items as well as other Sohn 
designs. 
Betty Pepis of the New York Times selected perhaps the most monumental of all 
the brass and china items, the oversized samovar or coffee Urn, for inclusion in an article 
Giftn’aies, "Gift Wholesalers at 225 Look Forward to Fine Business 1956," 17, no. 2 (February 1956) 
67, 
1 19 Anne Douglas. "Gifts for the Home." Chicago Do//i Ti/hone, December 8. 1954, Al 
20 
 Carson Pine Scott, Advertisement, Chicago Do//i Dihioie, December 1. 1954, 19. 
GiJtiraies, "Relaxed Atmosphere Draws Customers." 16, no. 3 (September 1955): 4547. 
56 
on "Fresh Accents For the Home" in Sunday magazine section in the paper’s October 16, 
1955 issue, figure 236 122 
 The curvaceous form of the samovar with its simple stand 
and cover warranted its inclusion in this article dedicated to items that might refresh a 
room through their "look of individuality." Significantly Pepis noted all the items she 
selected had in common "a polished, rich quality very much in keeping with today’s 
trend toward elegance." While the high price of the samovar may have been out of reach 
for most customers, this piece was used by a variety of prominent stores to attract interest 
in Ernest Sohn’s other brass accented offerings and to their gift departments generally. 123 
The samovar was prominently displayed like a beacon above a range of brass and china 
Sohn designs in a B. Altman’s display at their Manhasset, New York branch illustrated in 
the January 1956 Gift and Art BuYer.’ 24 Sohn’s samovar was also prominently featured 
in the new contemporary gift shop floor added to tony New York jeweler Black, Starr and 
Gorham, which was featured by Gifiwares in August 1956. 125   Alongside the samovar 
were a variety of Sohn china casseroles with brass warming stands and covers. Again the 
samovar made a prominent appearance at a new branch of Gimbels which opened in 
February 1957 in suburban 	 At this new branch the gift shop occupied a 
prominent location on the first floor and the samovar provided a central focus in a 
circular display of various Sohndesigned serving items. 
122 This section refers to Betty Pepis, "Fresh Accents for the Home," New York Times, October 16, 1955, 
SM52, 
23 
 Pepis noted it was available for $29.95 at Saks Fifth Avenue. 
124 Walter Kleinschrod. "Opportunities: Clocks and Barometers," Gyi and Art Buyer 52, no. 1 (January 
1956): 75, 
25 
 Gifhvares. "Contemporary Design Prevails in Better Gifts," 18, no. 2 (August 4, 1956): 36-37. 
126 Gifiwares, Gift Departments in Shopping Center Branches," 19, no. 6 (June 1957): 46, 
Advertisements by various department stores also suggested possible uses for 
these wares and indicate the popularity of Sohn’s brass and glass and brass and china 
lines. Items and collections of items were advertised by leading stores in Washington, 
New York, Chicago and Los Angeles over a dozen times in 1955 and 1956 in the cities’ 
most prominent newspapers: the New York Times, Chicago Tribune, Washington Post 
and Los Angeles Times. ’ 27 
A prominent May 1956 Marshall Field’s advertisement featured Sohn designs as 
well as those of his competitor Georges Briard and suggests a reason why these designs 
were so popular, figure 237,128 
 Here Field’s highlights the fit between Ernest Sohn’s 
designs and the postwar American lifestyle. The advertisement proclaims America "a 
party loving country where informality keynotes the best parties..." 129 Field’s notes the 
"buffet in white and gilt" highlighted by Sohn’s designs typifies the most informal, most 
American form of entertaining. ° 
Again we see the most telling reflection of Sohn’s brass and glass and brass and 
china lines’ success in the fact that other gift houses mimicked them. While a general 
move in the gift industry toward using brass as an accent metal became apparent in 1954, 
Ernest Sohn’s style of combining brass with other materials was one of the most widely 
copied. ’ 3 ’ Rube! and Company advertised coffee servers and casseroles on stands in June 
2! 
 The author has discovered at least 13 separate advertisements for these items through the use of the 
Proquest Historical Newspapers Database. 
28 
 Marshall Field and Company. Advertisement, Chicago Daily Tribune, May 21, 1956, 25. 
29 Ibid. 
130 Ibid. 
13 ! Brass seemed to replace wrought iron as the favorite accent metal in the giftware field at this time. 
IM 
1955, figure 2,38, 132 
 The forms of the Rubel casseroles especially recall Sohn’s designs. 
The following year brought yet another close copy by a competing gift house: in July 
1956 Everlast advertised their Prima l’era collection which combined white ceramic with 
brass stands and covers, figure 2.39, 133 
 While the collection does have a distinctive style 
it draws on Sohn’s designs heavily, down to the brass saucers for the demitasse cups. 
Items that closely mimicked some of Sohn’s most popular brass accented pieces 
continued to be introduced by other gift houses through at least l958.’ 
While some competitors drew heavily on Sohn for inspiration, others wasted no 
effort and simply copied his designs wholesale. One such company was Quon Quon Co. 
whose brass and china offerings were highlighted in the Gift and Art Buyer in October 
1956, figure 2.40. 135 
 In response to this and other wholesale copying of the Sohn’s 
designs, the firm ran an advertisement denouncing "Piracy of Design," figure 241.136 
The advertisement loftily quoted John Ruskin to correlate copying with cheaper and 
lesser quality goods and illustrated the three most copied designs. Orenstein and Sohn 
used this prominent advertisement to offer these most popular items at a lower cost, thus 
turning a problem into a further success for the company. 
Ernest Sohn continued to use brass and white china in his designs for several 
years. One design that stands above all the rest was a samovar or large beverage server 
132 Rubel and Company. Advertisement, Gifi and Art Buyer, 51, no. 6 (June 1955): 7. 
133 Everlast, Advertisement, Gi/,s’ares 18, no. 1 (July 1956): 37 
134 See Pitman-Dreitzer and Co., Advertisement, GLft wares 21, no. 6 (June 1958): 44. 
u G/fi and Art Buyer, "Color, Style. Profit In New Tableware Offerings," 52, no. 10 (October 1956): 91. 
These examples are so close to Sohn’s this author first thought they had been m!sattributed by the trade 
journal. 
59 
introduced by Sohn in the summer of 1958, figure 2.42. 137 
 This extraordinary item with 
its undulating ceramic body held aloft by a brass stand shows Sohn’s design at its most 
exuberant and playful. This enormous piece, rising nearly two feet above the tabletop, 
held an extraordinary fifty cups of liquid. ’ 38 
 The samovar did not escape the attention of 
at least one prominent publication: the New York Times featured it in an article on 
"Entertaining Made Easy" in September 1958. 139 
 The article noted "new table and buffet 
accessories for entertaining at home are decorative as well as practical.’ 4°  
Practicality was one of the key characteristics in Ernest Sohn’s design philosophy, 
a characteristic that can be discerned in another major line introduced in the summer of 
1956: Georgian. This line marked the first time that Sohn utilized historical forms or 
ideas in his designs since his time at Rubel. Georgian was first advertised in the trade 
J ournals in July 1956, figure 2,43.!4[ 
 A party on June 19 at the firm’s showrooms was 
highlighted by this line which combined, as the (7/fl cindArt Buyer noted, "Georgian 
design with contemporary styling." 142 
 Sohn used his characteristic simple, clean taste to 
create forms that recall the past in their paneled bodies with handles that evoke those of 
historic metal beverage pots. Sohn and the firm were undoubtedly responding to a 
36 Jack Orenstein Associates, Advertisement, Gift  and Art Borer 52, no. 6 (June 1956): 10. 
Jack Orenstein Associates, Advertisement, Gift and Art Bu’er 54, no. 8 (August 1958): 105. 
130 An example in a private collection examined by the author stands approximately 23 inches high. 
New York Times, "Entertaining Made Easy," September 21, 1958, SMA34 
40 Ibid. This piece is certainly decorative but practical when filled with over three gallons of liquid is 
another question entirely. 
141 Jack Orenstein Associates, Advertisement, C},vares 18, no. 1 (July 1956): 47 and Jack Orenstein 
Associates, Advertisement, GUi  and Art Buyer 52, no. 7 (July 1956): 35. 
142 Gilt and Art Buyer, ’Pages from a 225 Reporter’s Notebook," 52, no. 8 (August 1956): 168. 
60 
growing demand for more formality in design and an upsurge in the ever-present 
American love affair with historic forms. The Georgian pieces followed closely on the 
success of Sohn’s brass and ceramic designs but here the metal handle was replaced with 
ceramic, molded and gilded to fool the eye. The finials however retain Sohn’s penchant 
for combination of materials, they are made of brass attached through holes in the tops of 
the lids. 
While the Georgian line seems to have included a range of serving accessories, 
the beverage pots were the best sellers. 144 
 The firm introduced at least two teapot forms, 
one of which was strangely curvaceous for this line and another that echoes the straight 
paneled sides of the other Georgian items, figure 2.44. 145 
 The Georgian line also marked 
the first time that the firm introduced a combination automatic coffeemaker and server. 
This new innovation combined a ceramic pot with an interior metal mechanism that 
would brew coffee through a percolation method when the pot was plugged into an 
electrical outlet. After the coffee was brewed the brewing mechanism could be removed 
and the pot unplugged for serving. 
143 his analysis is based on examples in a private collection examined by the author 
The author has discovered a covered casserole dish on stand as well as a salad bowl in trade journal 
illustrations, see Gfftwares.  "A Product Panorama," 18, no, 2 (August 4, 1956): 60 and Gifiwares,  Gift 
Departments in Shopping Center Branches," 19, no. 6 (June 1957): 46. While the Georgian line was not 
heavily promoted by major department stores through advertisements (to date the author has found no 
advertisements for this line), the coffee pots and coffee sets must have sold reasonably well due to their 
fairly regular appearance on the secondary market today. 
145 The first was illustrated in Giftwares, see Giftwares, "Gifts Ready for the Early Bird Market," 18, no. 6 
(December 1956): 42, For the second see Gift  am/Art Buyer, "Merchandise Highlights," 53, no. 1 (January 
1957): 96. 
61 
Sohn was able to create this percolator model due to a new partnership with Hall 
China Company of East Liverpool, Ohio, ’46 Hall had been in business over fifty years 
and was known for making ceramics for use in both home and institutional settings. 147 
Hall was especially well known for creating highly durable ceramics for use in the 
kitchen, ceramics regularly exposed to the high temperatures and stresses of hot ovens 
and boiling liquids. In Hall Ernest Sohn gained a partner able to produce high quality 
ceramics on a larger scale and more inexpensively than before. With Hall he also gained 
a ceramic body that could withstand great stresses, like the high heat of the electric 
percolator mechanism seen in the Georgian Autoinatic,’ 48 
In 1957 Ernest Sohn Creations began to use another material prominently: wood. 
While Sohn had utilized wood prior to 1957, it was in this year that wood took a more 
central role and remained a staple in the firm’s offerings from this time forward, 149 
 Two 
collections were introduced at the winter trade shows of 1957: Style Trends and 
Vestaware. Style Trends was a variety of serving accessories crafted from mahogany 
46 
 While it is clear that Flail China primarily produced Ernest Sohn’s ceramics beginning with the 
Georgian line, it is not exactly clear when this partnership started. It seems most of the brass and china line 
was also produced by Hall which was confirmed by communications in 2005 and 2006 between the author 
and Hall researchers Gary and Paula Barnehy who have consulted the Hall company archives. At least one 
period advertisement confirms that the ceramic parts of some Sohn brass and china items were made by 
Hall, see Marshall Field and Company, Advertisement, Chicago Daily Tribune, July 19, 1956, BE Also 
the author has discovered ceramic casserole dishes from Sohn’s brass and china line with a standard Hall 
mark of the time. 
147 For more information on the Hall company and its products see Gary and Paula Barneby, [-fall China 
Tea and Cof/e Pots, (Atglen, PA: Schiffer Publishing, 2005), Jeffrey Snyder, flail China, (Atglen, PA: 
Schiffer Publishing, 2002), Margaret and Ken Whitmyer, Collector’s Eicyc lop edict ofHall China 3rd 
Edition, (Paducah. KY: Collector’s Books, 2001.) 
148 The ceramic body of Sohn items prior to the partnership with Hall was less durable and more prone to 
cracking and crazing when subjected to heat stresses based on those examined by the author in private 
collections. This is not seen in Hall produced items. Ernest Sohn could not recall who produced his 
ceramics before Hall in an interview with the author conducted March 16, 2006. 
149 Wood was used in the ebonized finials, handles and legs of Sohn’s Wittcrosse line from their 
introduction in 1951 and also appeared combined with brass in decorative accessories in 1956. 
62 
such as those illustrated in the firm’s February 1957 advertisement seen in figure 2,45. 1 50 
In addition to the trays and ice bucket illustrated, the line featured a variety of items like 
cheese boards and salad bowl sets in what the firm called "teak-finished mahogany." 5 ’ 
The allusion to teak was likely a calculated one; high style furniture and decorative 
accessories from a variety of Danish and other Scandinavian designers were very well 
known in the United States by this time. These items, often made from teak, were 
climbing toward their height of popularity with the American public. Sohn and his firm 
were likely responding most specifically to the offerings of Dansk, a young firm that by 
1957 had gained much notoriety and a large volume of sales in the gift field for a variety 
of items including staved teak accessories. 152 
While Sohn’s Stile Trends wood designs were attractive but not greatly 
innovative, the Ves [aware line the firm introduced at the same time was something new 
and more interesting. The line was first advertised in February 1957, figure 2.46. 153 
Here Sohn used his characteristic combinations of materials to create ensembles of wood, 
pottery and glass. While Sohn’s use of elongated and simple forms in pale blue pottery 
bO 
 See Jack Orenstein Associates, Advertisement, Gifiwares 19, no. 2 (February 1957): 39. 
51 
 lhis wording, which undoubtedly came from the firm itself, was used by the trade journals describing 
new items in the line, see Gift wares, "New Merchandise is Ready," 19.. no. 1 (January 1957): 64 and GUi 
and Art Buyer, "Merchandise Highlights," 53, no. 4 (April 1957): 47. 
52 
 Dansk and its chief designer .lens Quistgaard rose to prominence in the United States in 1955 when his 
work was featured at several leading department stores, see Gifiwares, "Young Danish Designer Visits 
California," 16, no. 6 (December 1955). While Dansk began to advertise in the trade press in 1956, it was 
January 1957 when the company ran its First prominent advertisements, a clear indication of their quick 
success in the American market. This first full-page advertisement featured several examples of the firm’s 
designs in teak, see Dansk Designs Inc., Advertisement, Gifiwares 19, no. 1 (January 1957): 48 and Gift 
and Art Buer 53, no. 1 (January 1957): 69. 
153 Jack Orenstein Associates, Advertisement, GUiwares  19, no. 1 (January 1957): 25 and Jack Orenstein 
Associates, Advertisement. Gift and Art Buyer 53, no. 2 (February 1957): 113. 
63 
and the wood warming stands and covers evoke Scandinavian design of the time, Sohn’s 
unique combination of materials is all his own. t54 
 This attractive combination seemed to 
strike an immediate interest among the press and buyers. The New York Times pictured 
the Vestaware ceramic coffee pot as well as another Vestawcire beverage server, this one 
a Pyrex carafe with a wood collar at its neck, both on wood warming stands, in a feature 
titled "It Is a Wise Wife Who Serves the Coffee Hot" in March 1957. 155 
 In July Cecelia 
Schaeffer of the Chicago Tribune highlighted Vestaware in the paper’s regular column on 
"What’s New in the Kitchen." 36 Schaeffer remarked on the pleasing contrast between 
the wood of the warmer and cover, the brass of the finial and the pale blue of the pottery. 
She also emphasized that these casseroles were "Ideal for wedding gifts, for a new home, 
or for dining in the patio" since each possessed a second cover of the same "high glaze 
ovenware" allowing for cooking in the same dish before the covers were switched for 
serving. 	 Advertisements by leading department stores such as Marshall Field’s in 
Chicago and B. Altman’s in New York, figure 2.47, featured Sohn’s new collection and 
also emphasized its versatility and the pleasing contrasts between materials, 158 
By late 1958-early 1959 Ernest Sohn had further refined the combination of 
wood, pottery and metal with the introduction of his Done line. In Done Sohn created 
154 The firm’s name for the line also evokes Scandinavia to this author’s ear despite the fact that its root, 
Vesta, is the ancient Roman goddess of the hearth and home. Significantly the pale blue color of the 
pottery was called "iced blue" by the firm, see Giftwai’es, "In the Works for January," 18, no. 6 (December 
1956): 41. 
New York Times, "It Is a Wise Wife Who Serves the Coffee Hot," March 23, 1957, 15. 
146 Cecelia Schaeffer, "Handsome China Casseroles Keep Food Piping Hot," Chicago Daily Tribune, July 
12, 1957, B16. 
57 Ibid. 
158 See Marshall Field and Company, Chicago Daily Tribune, June 19, 1957, 133 and B. Altman and Co., 
Advertisement, New York Times, April 21, 1957, 65, 
64 
sonic of his most beautiful designs in what was probably his most successful ceramic 
line. A December 1958 advertisement previewed the line that the firm would feature at 
the winter trade shows, figure 2.48. 159 
 The bulbous forms of the coffee pot, creamer and 
sugar bowl are some of Sohn’s most curvaceous. Other pieces in this extensive line 
shared a curving or rounded profile while a few had a more geometric edge, figure 2.49, 
All shared the delicate fluting that is alluded to in the line’s name. Most pieces came 
with warming stands that combine brass plated metal and walnut or sat on wooden trays. 
One casserole dish has a walnut cover while another has only a wooden finial. Other 
finials were made of brass. in Doric Sohn again mixed materials in the lines cups and 
saucers, this time ceramic cups on wooden saucers. 160 
 One of Sohn’s signature forms, 
the large sarnovar or coffee server, sits on a wooden platform on which a brass alcohol 
burner and brass stand hold aloft the capacious ceramic body with its brass and wood 
spigot. 
The elegant forms and unique combinations of Done seemed to have struck the 
fancy of buyers and the public generally. The line became a special favorite of the Los 
Angeles Times, which featured various Doric pieces editorially five times in 1959,   
including three consecutive Sundays in June. ’ The line seemed to have appealed to the 
writers and editors because it could easily be mixed with other dishes and was 
in 
 Jack Orenstein Associates, Advertisement, Gifi and Art Bu)’er 54, no. 12 (December 1958): 90. 
160 For the cups and saucers see Giftivai’es.  "Ring in the New, Showtime in Chicago," 23. no. 1 (January 
1959): 30 and Los Angeles Times. "Bright Touches for the Table," June 21 1959, L60. 
See Los Angeles Times, "Table Accents:" June 7, 1959, J38; Los Angeles Times, "Accent Marks for 
Decorative Themes," June 14, 1959, J42: Los Angeles Times. "Bright Touches for the Table," June 21, 
1959, 1,60; Barbara Lenox, "Summer Servers," Los Angeles Times, August 30, 1959, JJ20; Los Angeles 
Times, "Practical Presents," December 6, 1959, 134. 
65 
appropriate for casual and more formal settings. In November 1959 the Chicago Tribune 
also selected Done to highlight in a story about "a special showing of home accessories 
and giftwares by Ernest Sohn" that was "on display in Marshall Field and Company’s 
second floor ’Casual Living’ section." 162 
 The paper characterized Sohn as a 
distinguished designer best known for serving accessories that combined a variety of 
materials in interesting ways. 163 
 An advertisement for the leading New York department 
store B. Altman’s featured the Done line and other Sohn creations as gift suggestions in 
an advertisement a month later in mid December 1959, figure 2.50. 164 
 Perhaps most 
interesting in the Altman advertisement is the lazy susan at the bottom center. Sohn had 
again reinterpreted one of his signature forms: each of the ceramic petal-shaped dishes 
could be removed for serving and storage. The Altman advertisement also shows that 
Sohn had integrated wood in combination with other materials, notably in the bent glass 
shrimp server with walnut handles and in the ice bucket with a wooden knob. The Done 
line’s success continued unabated at least through the mid-1960s. It continued to be 
featured prominently in advertisements by leading stores across the country including the 
Broadway Stores of Los Angeles which highlighted Done as a "Classic" in May 1965, 
figure 2.5 1. 165 
162 Chicago Daily Dihune, "Designer Ernest Sohn’s Accessories on Display," November 22, 1959, AT 
1 he article also exaggerated Sohn’s formal training greatly. 
B. Altman and Co., Advertisement, New York Times, December 18, 1959, 8. 
165 Broadway Stores, Advertisement, Los Angeles Times, May 3, 1965, E3. This was one of the last retail 
advertisements for Done. 
66 
Ernest Sohn Creations was already a major success by the end of the 1950s, a 
success the firm would build upon through the 1960s. Ernest Sohn Creations’ growth 
mirrored that of the gift industry itself, which also expanded greatly through the 1 950s, 
well surpassing the billion dollar retail sales mark during the latter half of the decade.’ 
As the industry grew and the country’s population migrated, other regional centers 
became more and more important. One sign of this was the opening of a third Ernest 
Sohn Creations showroom in Dallas in the summer of 1959 in order to serve the growing 
southwestern United States, 2 
Ernest Sohn was not at a loss to fill this expanded showroom space. The pace of 
new designs introduced by the firm seemed to grow with each passing year. In 1960 
Sohn introduced two major collections. Riviera and Contessa. Riviera was introduced 
during the winter trade shows and first advertised in the trade magazines in February 
1960, figure 3. 1.3 
 The advertisement noted that this group of "Sophisticated Buffet 
Accessories in Ovenproof China" was available in several colors as well as white. In 
Rivera we see Ernest Sohn at his most elegant and modern, figure 3.2 The shapes are 
pared-down cylinders accented by precise handles and concave covers. The use of color 
provided the only decoration on these simple forms. 
l 
 Industry estimates marked this milestone as happening in 1956. By 1959 a volume of $1,175,000,000 
was estimated, see Walter Kleinschrod, "Editorial: Challenge of the 60’s," Gift and Art Buyer 55, no. 10 
(October 1959): 37. 
2 
 GUi’ares, "On Location: Southwest," 24, no. 1 (July 1959): 65 and GUi  and Art Buver, "Going on in the 
Trade," 55, no. 7 (July 1959): 132, 
Jack Orenstein Associates, Advertisement, Giftwares 25, no. 2 (February 1960): 45 and Jack Orenstein 
Associates, Advertisement, Gift and Art Buyer 56, no. 2 (February 1960): 12 1. 
67 
This fairly stark aesthetic did not seem to please all buyers. The line was soon 
offered with the addition of a floral pattern and brass covers and stands for certain pieces, 
(figure 32, at right. )4 
 This bow to more conservative tastes was characterized by 
Giftwares as bridging "the gap between traditional and contemporary. 
"
5 
 The decorated 
version seems to have been more saleable to buyers including those at B. Altman’s which 
featured the collection the following year in an "Event for summer entertaining," figure 
336 Altman’s noted the "Pastel floral pattern on white ground mixes with other china 
patterns, makes gracious addition to your own service." 7 In other words this collection 
would integrate with other more traditional dishware .The more conservatively decorated 
Riviera proved to have greater appeal. This taste was underlined when rival firm Lipper 
and Mann copied the form in inexpensive Japanese china arid applied a decorative pattern 
to it as part of their "Mardi Gras Assortments" introduced in early 1961, figure 34•8 
The second major collection of the 1960s, Contessci, was introduced at the 
summer trade shows and first advertised in August 1960, figure 35,9 
 Here Sohn further 
adapted to the strong taste in 1960s America for things that evoked the past. The forms 
The decal pattern, called Bouquet, was originally based on hand-painted floral designs created by Stig 
Lindberg for Gustavsberg pottery of Sweden in the late 1940s and early 1950s. Bouquet was originally 
applied to Eva Zeisel’s Tomorrows Classic shape, which was also produced by Hall China starting in 1952. 
Gftwares, "Shopping 225," 26, no. 2 (August 4, 1960): 63, 
6 
 B. Altman and Co., Advertisement, New York Times, July 9, 1961, 36. It is interesting to note that Sohn 
has in typical fashion reused a preexisting shape, the large coffee urn from the brass and china collection, to 
serve the same function in this Riviera grouping. 
Ibid. 
The coffee pot at mid left, creamer and sugar by it and the casserole at top center are clearly copied for 
Sohn’s Riviera designs, see Lipper and Mann, Advertisement, Gift andArt Buyer 57, no. 1 (January 1961): 
71. 
Jack Orenstein Associates, Advertisement, Gifrtvares 26, no. 2 (August 1960): 51 and Jack Orenstein 
Associates, Advertisement, Gift  and Art Buyer 56, no. 8 (August 1960): 137. 
68 
pictured in the advertisement are still fairly simple; however, their pronounced foot rims 
and heavy gilding at top and bottom with a pseudo coat of arms in gold at center are 
much less modern. Other items in the Contessa line included glass serving trays and 
barware with the same emblem applied in gold as well as a group of paneled shapes 
which were borrowed from Sohn’s earlier Georgian collection, figure 3.6. Finials for 
most of the ceramics are in the form of stylized pineapples cast in metal and gilded, again 
evoking an eighteenth-century inspiration. Contessa more conservative detailing was 
endorsed by buyers who stocked it in prominent stores across the country for several 
years. ’° 
In 1961 the firm again introduced two major collections, one ceramic and one 
metal. The ceramic collection, called the Butter Mould Line, was a calculated effort by 
the firm to tie into public interest in what was known as Early American or Americana, 
an interest that grew ever stronger in the early 1960s. Giftwares magazine characterized 
this public appetite in the summer of 1960: "Americana is money in the till for most gift 
retailers." 1 Giftwares outlined three main groupings of Americana including one that 
"makes use of Early American motifs and styles, but makes no attempt to reproduce the 
original artifact’s shape or function," 12 In the Butter Mould Line Ernest Sohn did just 
this. February 1961 advertisements introducing the line, figure 3.7, showed three typical 
See B. Altman and Co., Advertisement, New York Times, November 27, 1960, SM93; Continental 
Merchandise Mart, Advertisement, Los Angeles Times, December 3, 1961, WS7; Broadway Stores, 
Advertisement, Los Angeles Times, May 26, 1963, K4. 
Hazel Kleban. "Americana for Today," G(ftwares 25, no. 6 (June 1960): 25. 
12 
 Ibid. 
69 
Sohn forms, forms that were included in all of his ceramic buffet services. 13 Sohn used 
antique butter molds from his personal collection to create the decorative motifs and 
reinforced the idea of the old and the handmade with the addition of closely spaced lines 
circling the exteriors of the pieces suggesting that they had been thrown on a wheel. 14 
The colors, "Jade and Mahogany," also added to the antique feel of the line with the 
brown coming close to Rockingham glazed wares of the nineteenth century, figure 3.8. 
The firm’s promotion of the line strongly tied into the appetite for Americana. A 
promotional tag attached to items read "The "Butter Mould" is the trade-mark of our 
early American tradition. The designs represent original patterns created by our colonial 
artisans," 15 
 The spelling of "Mould" itself reinforces this antique association. Perhaps 
only the bamboo and metal warming stands contradicted the nostalgic connection, 
although this natural material does not seem entirely incongruous. 
Response to the Butter Mould Line was favorable. The Los Angeles Times 
featured Butter Mould in an illustrated two-page spread one Sunday in March as 
something new and interesting but yet "Reminiscent of the Past." 6 Leading stores like 
Lord and Taylor featured it across the country. 17 
 Ramsey’s Corner, a leading gift shop in 
Salt Lake City, featured the Butter Mould Line in a table display suggesting buffet 
13 
 Jack Orenstein Associates, Advertisement, Gijhvares 27, no. 2 (February 1961): 37 and Jack Orenstein 
Associates, Advertisement. Gift and Art Buyer 57, no. 2 (February 1961): 13 1. 
4 
 Ernest Sohn had several examples of butter molds on display in his home in the fall of 2005and spring of 
2006 and mentioned to the author that he had lent the one used to create the Butter Mould motif to a Red 
Wing Pottery convention several years before. The Butter Mould Line was unusual for Sohn in that it was 
produced by Red Wing Pottery of Red Wing, Minnesota, not Hall China. 
5 
 Tag came attached to a casserole cover in a private collection examined by the author. 
16 
 Los Angeles Times, "Reminiscent of the Past," March 26, 1961, 50-51 
Lord and Taylor. Advertisement, New York Times, May 14, 1961, 35, Lord and Taylor also had its own 
exclusive glaze on the line, noted as "a rich butter-gold" in the advertisement, 
70 
service, figure 3918 
 The shop highlighted typical Sohn pieces including the samovar or 
coffee urn and an open fondue dish on warmer as well as the more unusual mushroom-
shaped salt and pepper shakers, The Bitter Mould Line was quite appropriate to this shop 
selling a typically diverse array of items ranging from modern to the more traditional. 
While the Butter Mould Line certainly reinforced the firm’s "made in America for 
Americans" emphasis in 1961, Sohn’s other major line in metal was a bit more exotic. 19 
The Prado Collection Hand Forged, although made in the United States, sought to take 
advantage of the fashion for Spanish-inspired design that was strong at the time. This 
forged iron collection, as seen in a March 1961 advertisement, figure 3. 10, was a highly 
decorative group of occasional furniture, such as the featured table and screen, as well as 
other accessories like candlesticks, plant stands and magazine baskets. 20 
 While the Prado 
collection was keyed to a significant home-furnishing trend, Ernest Sohn later recalled it 
was not terribly successful and was promoted by only a few stores. 21 
The second part of 1961 brought another expansion of the firm’s showroom space 
as the main office in 225 Fifth Avenue was doubled in size. 22 
 One new group of items 
that helped to fill this added space was a selection of serving accessories, bookends and 
smoking paraphernalia that combined wood (rosewood or, more commonly, walnut) with 
Gift and Art Buyer, "Take Color, Comfort, Blend with Care," 57, no. 5 (May 1961): 38. Another typical 
Sohn form, a lazy susan with five removable dishes, was also part of the Butter Mould collection, see 
Gftwai’es, "Product Spotlight," 27, no. 5 (May 1961): 25, 
19 This slogan was noted in Gift nares, "Shopping the Market: East," 27, no. 1 (January 1961): 85. 
20 
 Jack Orenstein Associates, Advertisement. Gift and Art Buyer 57, no. 3 (March 1961): 126. 
21 
 Interview by the author with Ernest Sohn on October 18, 2005. This author has only found one 
advertisement that promoted Prado, a table was included in a Spanish themed promotion; see Broadway 
Stores, Advertisement, Los Angeles Times, September 26, 1963, 9. 
22 
 See G’rtl’ares, "On Location: East," 27, no. 6 (June 1961): 40. 
71 
inset plaques of enameled metal, figure 3. 11. 23 
 Sohn had previously combined wood 
with decorated tile insets but it was with the enamel and wood items that the firm had a 
great success. 24 
 This sort of enamel and wood design continued to be produced by the 
firm for several years. The motifs on the enamel were highly decorative, with certain 
patterns bordering on the saccharine. Other patterns were more abstracted and elegant, 
showing Ernest Sohn’s willingness to produce a range of items to appeal to different 
tastes. One of Sohn’s most notable designs in this line, in many ways very typical of 
Sohn, was a casserole on stand, figure 3.12. In this piece Sohn had reused existing forms, 
a casserole dish from the brass and china line and a Doric warming stand, with a cover 
that combined both wood and enameled copper. The combination of so many materials 
in a single item is very characteristic of Sohn and in this case quite charming. 
At the end of 1961 Ernest Sohn was asked by the trade journal Gift and Art Buyer 
to write about his predictions for the "style trends" for the following season .25 
 This 
article sheds light on Sohn’s design philosophy at the time and accounts for the emphasis 
on decorative and historical touches that were stronger during the rest of his career. Sohn 
stated his belief that a designer is not an artist or fashion leader who shapes the public’s 
tastes. For Sohn the commercial aspect was first and foremost: "The designer must be 
first of all a merchandiser who is supposed to have a kind of sixth sense of what might 
23 
 These items were noted in Gftwares, "Shopping 225," 28, no. 2 (August 4, 1961): 50, 
24 
 This conclusion is based on the extensive advertisement of these items by department stores as well their 
frequent appearance in the secondary market as noted by this author. 
25 
 This section refers to Gift and Art Buyer, ed., "The Year Ahead," 57, no. 12 (December 1961): 50, 96, 
102. 
72 
sell next season." 26 
 The designer, according to Sohn, was someone who could create 
objects for a certain clientele at a certain price. In his case this was "the broad middle 
class of the United States," 27 
 Sohn reasoned that a designer of mass-produced objects 
could not create extreme changes in style or color; such changes would not be accepted 
by the buying public and would only be applauded by a few critics with highly 
sophisticated tastes. The designer instead must consider what his buying public might 
desire and how each item might fit in with their existing style or preferences. Sohn 
realized that the American public largely desired the traditional: "What is the ’trend?’ 
The traditional qualities of Early American, Continental Regency, or Empire, 
Chippendale or Oriental are the motifs that are predominant and desired by our buyers. "28 
Sohn indicated that these traditional motifs would be incorporated into his collections. 
However, Sohn also spoke as an artist: "Sometimes [we] forget ourselves and create as 
we would like to create—simple, classic forms of utility, where the materials used 
suggest the form. , , ,,, 29 It is between the decorative historical references and the simple 
and utilitarian that Sohn’s designs continued to hover. 
Ernest Sohn Creations and Jack Orenstein Associates again expanded in 1962, 
this time opening showroom space in the new Atlanta Merchandise Mart 
. 3° 
 Atlanta had 
become an increasingly important center for wholesaling in the southeast United States. 
Within the new and the old showroom spaces the firm unveiled a myriad of designs for 
26 
 Ibid., 50. 
27 
 Ibid. 
28 
 Ibid., 96 
’9 [bid., 96, 102. 
30 
 Gift and Art Buyer, "News of the Industry," 58, no. 1, (January 1962): 149, 
73 
the year. In January 1962 the firm advertised the Tu/iptime group, figure 3.l3.’ Tulip-
Lites, decorative candle holders of metal and colored glass, came in three assorted sizes. 32 
Perhaps more interesting was the ceramic collection also highlighted in the 
advertisement. This collection, known as Petal, included the full range of typical Sohn 
offerings in a buffet service: lazy susans, serving dishes, samovar, casseroles, coffee pot, 
etc. 33 
 Their lobed forms suggest large gourds or squash, echoed by the metal finials 
replicating stalks. 34 
 In typical Sohn fashion these buffet service items often were 
accompanied by metal warming stands, each plated in gold for added luxury. In Petal 
Ernest Sohn reincarnated the botanical forms first used by eighteenth-century European 
ceramic factories but stripped them down to his signature simple shapes with no 
decoration. The forms themselves and their proportions made pleasing, whimsical 
designs that would appeal to many buyers. 
In July 1962 Jack Orenstein Associates mounted its largest ever promotion of 
Ernest Sohn Creations. 35 
 The firm took a dozen pages of the leading trade journal, Gift 
and Art Buyer, to publish a catalog of the huge variety of the "many useful and 
decorative home products" then available. Each page was devoted to a different grouping 
of products such as trays, "Walnut and Pewter," candleholders, "Susans and Servers," 
etc. Two consecutive pages were devoted to "Gifts in Gold" and "Stainless Steel" 
Jack Orenstein Associates, Advertisement, Gift and ArtBuyer 58, no. 1 (January 1962): 48. 
32 
 See Jack Orenstein Associates, Advertisement, Gift and Art Buyer 58, no, 3 (March 1962): 67. 
See Gift and Art Buyer. "Industry News: Brack Shops Los Angeles," 58, no. 2, (February 1962): 176. 
While the forms are botanical in inspiration they do not seem to represent the petals the line name 
suggests. 
74 
respectively, figure 3.14.36 
 Here we see a good example of Sohn’s versatility and ability 
to appeal to a wide-ranging market. The gold-plated metal designs appealed to those 
interested in more traditional and luxurious motifs and also provided coordinating items 
that could be teamed with Sohn’s Petal ceramic ware. The stainless steel items show 
Sohn’s design work at its most modern and progressive. The shapes are generally simple 
and straightforward with little connection to the past. The simple forms in the modern 
material of stainless steel are softened slightly with accents in wood. The chafing dish at 
the bottom right is particularly notable since it is the updated version of one of Sohn’s 
original successes, Wittcrosse. This version also became quite a success for the company 
and was sold widely and even was used to symbolize chafing dish cookery on the cover 
of a popular cookbook about the subject, figure 3,15. 37 
 The final page of the advertising 
section highlighted "Buffet Services in fine ovenproof china in our famous patterns 
Doric, Petal, Contessa," another important portion of the firm’s business. 38 
The years 1963 and 1964 brought greater exploration of existing Sohn lines. The 
firm introduced further iterations of their candle holder collections each spring season, 
figure 	 While these items are somewhat wanting as compelling design they surely 
proved moneymakers for the company at their low price, 40 
 Tortoiseshell and floral 
This section refers to Jack Orenstein Associates, Advertisement, GUi and Art Buyer 58, no. 7 (July 
1962): 19-30. 
Ibid., 25, 26, 
This chafing dish was featured on the dust jacket illustration of Marie Roberson Hamm, The Second 
Chafing Dish Cookbook (Englewood Cliffs, NJ: Prentice Hall, 1963). 
38 
 Jack Orenstein Associates, Advertisement, Gift andArt Buyer 58, no. 7 (July 1962): 30. 
Jack Orenstein Associates, Advertisement, Gift and Art Buyer 59, no. 2 (February 1963): 125 and Jack 
Orenstein Associates, Advertisement, Gifts and Decorative Accessories 60, no.2 (February 1964): 103. 
40 
 These candle holders were advertised extensively by major stores across the country. 
75 
designs on vinyl and metal were inserted into ranges of smoking items and serving ware 
as decorative motifs. 4 ’ Enameled plaques on wood in various designs were used to create 
decorative clocks. 42 
 Sohn responded to the growing interest in gourmet cooking, 
especially fondue, by introducing fondue pots into his range of metal items available in 
copper, stainless steel and brass, figure 
Perhaps most captivating amongst the firm’s offerings were the ceramic buffet 
collections that were an important focus of each year’s introductions. At the 1963 winter 
shows Ernest Sohn Creations introduced Esquire, which was advertised by the firm in 
January of that year, figure 3. 18.44In 
 Esquire Sohn returned to the simplicity and utility 
that he as a designer found ideal. The collection included the full range of usual serving 
items, figure 3. 19, all with textured matte black glaze on the outside accented by a simple 
band of incised lines and clean white glazed covers and interiors. Most of the pieces had 
an oval cross-section not far removed from rectangular geometry. As was typical with 
Sohn buffet items, many pieces were available with metal warming stands. Esquire 
found appeal with buyers and was retailed at leading stores such as Marshall Field’s in 
For the Tortoise Shell collection see, Jack O,enstein Associates, Advertisement, Gift and Art Buyer 59, 
no. 8 (August 1963): 127, For the Floral collection see Gifts and Decorative Accessories, "Product Parade 
of 225," 60, no. 2 (February 1964): 130. 
42 
 See Jack Orenstein Associates, Advertisement, Gifts and Decorative Accessories 60, no, 8 (August 
1964): 151. 
See Jack Orenstein Associates, Advertisement, Gs and Decorative Accessories 60, no. 7 (July 1964): 
35. Sohn had introduced fondue pots earlier in his career, for example in the offerings of the Butter Mould 
Line. Sohn’s chafing dishes (from Wittcrosse on) could also have accommodated fondue cookery. 
However, it was in 1963 and 1964 that the firm made a specific promotion of metal fondue ware. 
Jack Orenstein Associates, Advertisement, Gift and Art Buyer 59, no. 1 (January 1963): 53. It is not 
absolutely clear that the Esquire title only applies to the buffet service, it may have also been used to 
designate the tableware also advertised here. 
76 
Chicago and Macy’s in New York .45 
 In a June 1963 Macy’s advertisement appealing to 
the bridal market, Sohn’s Esquire collection was included in a grouping of "thrifty, 
exciting conveniences for your new homes." 46 Macy’s boasted this "contemporary 
design oven-to-table china created by Ernest Sohn" was guaranteed to provide "service 
with style. ,47 
 The tableware also advertised by Jack Orenstein Associates in January 
(figure 3.18) was a first for Sohn who had previously only created mugs and cup and 
saucer sets that would coordinate with his buffet lines. 48 
 No further information has 
come to light about this line but its wide gold banding may have inspired the following 
year’s buffet collection. 
In 1964 the firm introduced the Empire Group which it advertised in July, figure 
3  0.49  E)npire marked the final introduction of a coordinated ceramic buffet collection 
in an original and modern style by the firm. 50 The line’s name obviously hearkened back 
to the luxury of early nineteenth-century porcelains. However, outside of the matte gold 
banding at the top of pieces and around finials, Empire shared little in common with the 
detailed neoclassicism of that period. Sohn had created in Empire another group of 
elegant simple forms, many oval in cross-section like those of Esquire, with ribbon 
handles forming precise triangles angled away from the bodies and topped by simple 
° Marshall Field and Company, Advertisement, Chicago Tribune, April 21, 1963, KI I and Macy’s, 
Advertisement, New York Times, June 2, 1963, 108. 
46 
 Macy’s, Advertisement, New York Times, June 2, 1963, 108. 
Ibid. 
48 
 This is the only time Sohn created tableware of this sort to the author’s knowledge. 
Jack Orenstein Associates, Advertisement. Gifts  and Decorative Accessories 60, no. 7 (July 1964): 34. 
50 After this the firm introduced few other new ceramic collections and those that were released often 
recycled existing forms or were based on historical or traditional models. A reason for this might have 
been the increasing cost of creating new ceramic shapes in terms of mold making and other considerations. 
77 
spherical finials, figure 3,2l.’ The Empire group was not accompanied by the metal 
warming stands usually retailed with most of Sohn’s ceramic buffet accessories. 52 
Empire proved to be popular, possibly because its simple forms and gold banding recall 
the white china with gold decoration widely known as "Wedding Ring," a perennial 
favorite of Americans since the mid-nineteenth century. 53 One advertisement for Empire, 
by the Broadway department stores in Los Angeles, figure 3.22, noted the pieces, 
"moonlight white, elegantly accented with a lustrous gold band," were "A gracious 
signature for the knowledgeable hostess." 54 
 The store seems to have been appealing to a 
customer who was modern yet somewhat conservative. 
The latter half of the 1960s brought an increasing focus on decorative patterns and 
the historical by Ernest Sohn Creations which reflected a general movement toward this 
aesthetic in the industry and presumably the country as a whole. The firm introduced 
collections that were even more blatantly historically based. In January 1965 Jack 
Orenstein Associates advertised Early American, figure 	 Here turned wood 
detailing and patterned inserts have transformed existing Sohn products like Tulip-Lites, 
Pieces with oval cross-sections included the coffee pot, creamer and sugar, soup tureen, and some 
casseroles. Other pieces had round cross-sections, most notably casserole dishes in various sizes. 
52 
 The author has not discovered any metal warming stands in advertisements, trade features or in the 
secondary market. However a metal ladle was sold with the soup tureen and the samovar had the typical 
metal and wood spigot. The author has examined two examples of the Empire soup tureen in a private 
collection, both of which were accompanied by Sohn metal ladles. 
The popularity of Empire is confirmed by its regLilar appearance in the secondary market as noted by this 
author. The "wedding ring pattern" was retailed by many firms starting with the mid nineteenth century 
French and German manufacturers. 
Broadway Stores, Advertisement, Los Angeles Times, April 28, 1966, 10. 
Jack Orenstein Associates, Advertisement. Gifts and Decorative Accessories 61, no. 1 (January 1965): 
33. 
78 
trays, ice buckets and a serving cart into something that would appeal to a buyer craving 
a connection to America’s past. A similar, if even more blatantly specific collection 
appeared the following season and was advertised in July 1966, figure 3.24. 16 
 In this 
Pennsylvania Pewter collection Sohn utilized traditional rimmed plate forms, turned 
wood and other conventional shapes and emphasized the connection to a colonial past by 
literally imprinting them with the year 1789. Other firm offerings were decorative 
although less historically connected, such as those advertised by the firm in January 
1966, figure 3.25 .57 
 The swirling floral on the canister set and the hounds-tooth check of 
the magazine holder, umbrella stand and wastebasket made these offerings stand out. 
Simple, unornamented designs also continued to be offered by Ernest Sohn 
Creations in the many cooking and serving items the firm produced to appeal to the 
strong gourmet market of the time. In 1965 the firm introduced collections that utilized 
teak and marble, new materials for Sohn and ones that would be a mainstay for several 
years. In July they advertised some of these offerings, figure 3,26.58 
 The elegant shapes 
visible in the bottom half of the advertisement show Sohn returning to his love of the 
simple and utilitarian where the material itself provides the only decoration. Another 
collection introduced that year was Flameware, which the firm featured in a full-page 
advertisement in December 1965, figure 
	 In a sense this was a reintroduction since 
most of the shapes, stands, and copper covers were very little changed from one of 
56 Jack Orenstein Associates, Adveiisement, Gifts  and Decorative Accessories 62, no. 7 (July 1966): 43. 
Jack Orenstein Associates, Advertisement, Gifts and Decorative Accessories 62, no. 1 (January 1966): 
28. 
58 Jack Orenstein Associates, Advertisement. Gifts and Decorative Accessories 61, no. 7 (July 1965): 36, 
Jack Orenstein Associates, Adveaisement, Gifts ciiicl Decorative Accessories 61, no. 12 (December 
1965): 25, 
79 
Sohn’s original buffet serving lines, Copper and Color. The coffee pot, a stock item at 
Hall China, and the turned detailing of the wood handles made this collection slightly 
more conservative than its predecessor. 60 
Nineteen-sixty-seven marked a significant year for the gift industry and a year of 
change for Ernest Sohn’s business. In July of that year the leading trade publication Gifts 
and Decorative Accessories reported that the gift industry had reached a volume of two 
billion dollars annually, doubling the milestone of one billion achieved a decade before. 61 
As this volume indicates, the gift industry had truly become big business. The value and 
sales potential of gift and tableware companies was increasingly recognized by the larger 
business community. The late 1960s was marked by larger companies, often from 
historically unrelated industries, purchasing smaller gift firms. Ernest Sohn Creations 
and Jack Orenstein Associates entered into just such an arrangement in early 1967 when 
their finn merged with Liquidonics Industries of Westbury, New York . 62 Liquidonics 
was primarily a successful maker of hydraulic and telecommunications equipment and 
was building future profitability by acquiring other businesses under its corporate 
frame. 63 
 Trade accounts indicated that Sohn and Orenstein’s business would "operate as 
the consumer products division of Liquidonics." 64 While this merger did bring a windfall 
60 
 Ernest Sohn indicated that he had not designed the coffee pot shape in Flameware in an interview with 
the author on October 18, 2005, this was a traditional shape already produced by Hall. 
61 
 Gifts and Decorative Accessories, "Today’s Retailer: A Statistical Profile," 63, no. 5 (May 1967): 39. 
62 
 See Gifts and Decorative Accessories, "Orenstein, Sohn Merge With Liquidonics," 63, no. 3 (March 
1967): 13. 
63 
 See Terry Robards, "Market Place: Limelight Now on Liquidonics," New York Times, August 25, 1967, 
52. 
64 
 Gifts and Decorative Accessories, "Orenstein, Sohn Merge With Liquidonics," 63, no.3 (March 1967): 
13, 
80 
of capital to Sohn and his partners it did not seem to greatly change the business since the 
trade account also noted: "There will be no changes in management, sales policies and 
other operating policies within the Orenstein-Sohn division.... „65  
Perhaps the most significant public change for the firm after its merger with 
Liquidonics was a change of name. An August 1967 advertisement for the firm noted 
that Etco Industries, Inc., was the successor to Jack Orenstein Associates, figure 3.28 .66 
The range of decorative and useful accessories presented in this promotion for "New 
Designs for Fall” was not a departure from previous work, however. These items ran the 
gamut of Sohn’s offerings--wood and enamel, traditional clocks, barware, marble, etc. 
The following season the firm introduced a colorful collection of "informal party-
serving-ware in the gayest, most dazzling colors ever!" as a January 1968 advertisement 
proclaimed, figure 3.29 .67 
 The use of full-color in the firm’s advertisement was new but 
this appeal to the flower-power generation with selections in "Slicker Yellow, Patio 
Orange, Hot Pink and Chlorophyll Green" offered items that were familiar. Ernest Sohn 
had reused serving items and forms that had long been in the firm’s catalogue and 
combined them with fresh colors and a new pattern for items that would "stand up 
remarkably well to the stress and strain of teen-age parties." 68 The finials and handles are 
particularly easy to recognize from previous incarnations. The use of plastics as seen 
65 Ibid. 
66 Etco Industries, Advertisement, Gifts anciDecorativeAccessories 63, no.8 (August 1967): 133. 
67 Etco Industries, Advertisement, Gifts  and Decorative Accessories 69, no. 1 (January 1968): 125-126, A 
note about the volume number: For an unknown reason the journal skipped from volume 63 for 1967 to 
volume 69 for 1968. 
61 Ibid. 
81 
here became more common for the firm in the latter half of the 1960s, likely because this 
material had become much easier and less expensive to manufacture. 
More sober groupings of items continued to be offered by Etco Industries as well. 
Sohn presented a variety of serving items in teak in a July 1969 advertisement, figure 
330 . 69 
 The beautiful graining of this wood, alone or combined with glass, plastic or 
metal, continued to be a mainstay of the firm’s offerings as we see here. Sohn’s affection 
for combining materials to create interest and eye appeal also continued during this 
period as we can see in a fondue pot first noted in the trade the same month . 70 These 
fondue sets combined "Nucerite" which Gifts and Decorative Accessories noted was "a 
special ceramic fused to a stainless base." 71 
 In the Nucerite fondues, figure 3.3 1, we see 
Sohn play with the colorful ceramic enamel available in red, green, blue or yellow 
contrasted against the deep graining of the teak base and the shiny stainless steel frame. 
Ernest Sohn designs continued to be retailed by leading stores across the country 
in the late 1960s. Two representative advertisements for Sohn designs, by leading 
Midwestern retailer Marshall Field and Company, can be seen in figure 3.32 and 3,3372 
In the first, figure 3.32, which appeared in October 1968, Field’s highlighted 
"combinations of white marble, gleaming chrome and teakwood, richly hued. " 73 The 
range of accessories pictured would be "Gay as bright accents on your table—delightful 
69 
 Etco Industries, Advertisement, Gifts and Decorative Accessories 70, no. 7 (July 1969): 50. 
° Gifts and Decorative Accessories "Merchandise Highlights," 70, no. 7 (July 1969): 94-95, 
/1 Gifts and Decorative Accessories "Merchandise Highlights," 70, no. 9 (September 1969): 73, 
72 
 Marshall Field and Company, Advertisement, Chicago Tribune, October 23, 1968, Al and Marshall 
Field and Company, Advertisement, Chicago Tribune, April 8, 1969, 6. 
Marshall Field and Company, Advertisement, Chicago Tribune, October 23, 1968, Al. 
82 
as gift ideas" according to the retailer. 74 
 The second advertisement which appeared in 
April 1969 featured a grouping of "Color-Happy Buffetware" similar to that advertised 
by Etco the previous year. 75 Attempting to appeal to a younger, more hip consumer, 
Marshal.! Field’s noted that these serving items in "Bold lemon yellow and zesty lime 
green.. .swing out in accents of smartly grained walnut and ceramic tile," 76 They would 
allow the buyer to "Put on a happy new look for your spring and summer 
entertaining,...  
The final chapter in Ernest Sohn’s career dawned in 1970. Mergers and 
consolidations within the gift and household accessories industry became increasingly 
commonplace at the end of the 1960s. Phyllis Sweed, the editor of Gifts and Decorative 
Accessories, called them "a sign of the times" in a February 1969 editorial . 78 In this 
article Sweed highlighted "the concept of total selling" as a reason behind all of these 
mergers. 79 
 She elaborated on the trend: "Firms are acquiring other companies that can 
round out their product mix. ..so that they can sell a total look." 80 Sweed noted that many 
in the industry might mourn the passing of "honored firms into the melting pot of the 
giant corporation" but the potential for streamlining of manufacturing and merchandising 
Ibid. 
Marshall Field and Company, Advertisement, Chicago Tribune, April 8, 1969, 6, 
76 
 Ibid. 
Ibid. 
78 
 Phyllis Sweed, "Editorial: All Together Now," Gifts  and Decorative Accessories 70, no. 2 (February 
1969): 27. 
Ibid, 
80 
 Ibid. Ellipsis original to text. 
83 
would lead to greater profits for both the firms individually and the industry generally. 81 
Ernest Sohn’s firm Etco Industries entered into just such a merger in 1970 when it 
became a division of Baltimore-based American Trading and Production Corporation. 82 
American Trading was a diversified corporation with interests in oil, shipping, banking 
and real estate. In 1964 American Trading entered the household accessories field with 
the purchase of Cleveland-based Kromex Corporation, a producer of kitchen and serving 
ware. 
83 
 Etco Industries provided American Trading with a considerably more upmarket 
brand than that of Kromex and allowed the company to capture a larger segment of the 
housewares market. 
Ernest Sohn’s experience after his business came under the American Trading 
corporate umbrella was a mixed one. 84 
 On one hand Sohn had potential access to greater 
capital and improved manufacturing. However, Sohn experienced less and less control 
over the business. The Etco division and he as a designer were expected to produce and 
design for the bottom line in a company where this was the overwhelmingly important 
consideration. Sohn was less able to experiment and less able to design collections or 
pieces that might appeal to his sense of good design or to the ideals of simplicity and 
utility. Over the next few years with this increasing lack of design freedom and upon 
reaching his sixties Sohn slowly extracted himself from the business until his retirement 
81 
 Ibid. 
$2 Gifts and Decorative Accessories, "American Buys Etco Ind.," 71, no. 6 (June 1970): 14. 
See New York Times, "Kromex Corp. and American Trading," August 4, 1964, 40. 
84 
 The information in this section is based on interviews by the author with Ernest Sohn on October 18 and 
November 21, 2005. 
in 1978. While the Ernest Sohn Creations brand continued to be quite successful, this 
final period of design work was not his most remarkable. 
What Ernest Sohn Creations offered during this late period was mostly additional 
designs in lines that had already been quite successful for the firm. One major important 
grouping was serving and other accessories made of wood. Teak continued to be an 
important line for Sohn. In later years Sohn recalled with happiness time spent working 
with artisans in Hong Kong where the firm’s teak items were produced. 85  Sohn still 
relished this hands-on method of design and of exploring design possibilities in the 
factory with those who did the manufacturing. A July 1972 advertisement by Etco shows 
a range of teak items on offer by the firm, figure 33486  Here Sohn has used the inherent 
beauty of the teak to create functional pieces for serving food and drink. Perhaps most 
notable are the cutting boards which are composed of small blocks of teak bound together 
and then sanded and polished to expose a unique mix of side- and end-graining. This was 
a technique Sohn used to create subtle visual interest in many of his teak pieces. Late in 
his design career Sohn also explored other woods such as the Syobi collection advertised 
in March 1976, figure 33587  According to the firm, Syohi was an "Exotic hardwood 
with the rich beauty and fine quality of teak, but a color like wheat warmed in the 
summer sun." 88 Sohn used this light colored wood to create elegant and shapely designs 
Ibid. 
86 
 Etco Industries, Advertisement, Gifts and Decorative Accessories 73, no.7 (July 1972): 51. 
Etco Industries, Advertisement, Gifts and Decorative Accessouies 77, no.3 (March 1976): 124. 
88 
 Ibid. Syobi seems to have been a name created by the firm. 
that the firm claimed would be "something different" for customers and would "blend 
easily with today’s natural mood." 89  
Metal decorative, cooking and serving items also continued to be mainstays for 
the Ernest Sohn Creations brand. A February 1971 firm advertisement showed a 
quartette of chafing and fondue dishes, figure 3.36. 0 Sohn’s earliest Wittcrosse version 
was still in production and was joined by another more conservatively styled example in 
the foreground which recalls Sohn’s Rubel chafing dishes. The two in the background 
were updated for the ’70s with lucite handles and finials. Another collection that was 
introduced in 1974 also utilized metal as a primary material. Secifare, advertised in 
August of that year, figure 3.37, was geared to cook and serve "delectable gourmet 
seafood.. .with the Ernest Sohn flair." 9 ’ This flair included a reincarnation of a mid 
1950s shape from his Soniuin line as well as the reuse of a finial first applied to the 
Con tessa ceramic group of the early 1960s (in the three part relish server.) One of 
Sohn’s final metal collections was the Dc La Cuisine group that was introduced in late 
1977, figure 3.38 .92  In Dc La Cuisine Sohn combined copper, brass and wood in fairly 
traditional forms that appealed to the gourmet market and its affinity for all things 
French. 
The Ernest Sohn division under American Trading continued to utilize plastics to 
create ranges of serving ware and other gift items, In January 1973 Etco advertised a 
grouping of Patio Party ware, figure 3.39, in which "Cheerful Gingham patterns and 
Ibid 
90 
 Etco Industries, Advertisement, Gifts and Decorative Accessories 72, no. 2 (February 1971): 15 1. 
91 
 Etco Industries, Advertisement, Gifts  and Decorative Accessories 75, no. 8 (August 1974): 55. 
92 
 Etco Industries, Advertisement, Gifts  and Decorative Accessories 78, no. 11 (November 1977): 46. 
IN 
bright floral prints are combined with white adding sunshine to the party mood, 03 
 In 
these designs Sohn made use of various plastics to create serviceable, although not 
terribly compelling serving items which were also highly decorative. Plastics were also 
used by the firm during this period to create some of the most questionable designs ever 
connected to the Sohn name. In December 1972 the firm advertised J-fycfro Planters, 
figure 	 One assumes that they are examples of Sohn’s increasing lack of control 
under the new corporate structure occupied with the bottom line (here attempting to cash 
in on the strong interest in cultivating houseplants during the 1970s.) They certainly lack 
the elegance or wit found in the best Sohn designs. 
Glass and ceramic items seemed to become even more infrequent in the offerings 
of Ernest Sohn Creations under the American Trading period. Most likely this was 
because of the increasingly high cost of manufacturing such items, especially as the 
American china and glass industries virtually disappeared. The company introduced two 
notable exceptions however. In 1975 Ernest Sohn Creations featured the Buffet Basket 
collection, figure 3.41. 95 Bufft Basket was typical of Ernest Sohn’s ceramic serving 
collections featuring straightforward shapes that were multi-use and durable. The firm’s 
advertisements stated "Because elegance isn’t enough, Ernest Sohn’s new ’Buffet 
Basket’ is chip-resistant, dishwasher-safe, and goes from refrigerator direct to oven to 
table." 96 
 The basket-weave design combined with the simple shapes and white glaze 
Etco Industries, Advertisement. Gifts and Decorative Accessories 74, no. I (January 1973): 91. 
Etco Industries, Advertisement. Gifts andDecorcitive Accessories 73. no. 12 (December 1972): 69. 
Etco Industries, Advertisement, Gifts andDecorative Accessories 76, no. 4 (April 1975): 113. 
96 
 Ibid. 
87 
recalls Sohn’s historically inspired ceramic buffet collections of the early 1960s. This 
juxtaposition between the modern and the traditional was also noted in the trade press 
when Gifts and Decorative Accessories said "The line represents a return to old-
fashioned craftsmanship with emphasis on modern durability and sophistication. "97 
One of the final Ernest Sohn designed collections presented by the firm was one 
in glass which was introduced in 1977. Etco advertised the Baqctra collection, a group of 
serving items, barware and storage jars, in January 1977, figure 3.42.98 
 The glass was 
hand blown and exhibited a deliberately handmade quality with slight variations in finish 
and proportion. 99 The line was marketed with a heavy reliance on a connection to the 
past and the handmade. 100 Promotional tags attached to Baqara informed the buyer that 
each piece was a "Oneofa-kind collector’s item of handblown glass..." which was "In 
the tradition of the sixteenth century Venetian masters.... "101 The customer was 
encouraged to note the handmade qualities, to inspect the base to see where the pontil 
mark had been ground away, to note the floral prunt decoration which was, according to 
the firm, "the craftsman’s personal signature and marks your piece as oneof-akind."
°2  
Despite the emphasis on the handmade, the simple, largely unornamented shapes were in 
some ways quite modern and were among the better late designs by Sohn. Sohn later 
Gifts and Decorative Accessories, "New York Market News," 76, no. 12 (December 1975): 210. 
98 
 Etco Industries, Advertisement, Gifts and Decorative Accessories 78, no. 1 (January 1977): 148. 
These observations are based on an example in a private collection examined by the authoi 
100 This section draws upon an original Ernest Sohn Creations tag attached to the example in a private 
collection examined by the author. 
’o Ibid. 
102 Ibid 
recalled with relish his time in the factory in Mexico to create Baqctra.’°3  It was fitting 
that Ernest Sohn returned to glass and working in the factory with the blowers at the end 
of his career as he had at the beginning. 104 
American Trading and Production Corporation used the Ernest Sohn Creations 
brand and continued to produce Sohn designs for several years after his retirement in 
1978. Some of his designs or design elements were adapted for use with other collections 
and also were retailed under the firm’s Krornex brand. It is not absolutely clear when 
Ernest Sohn Creations ceased to exist but it was probably sometime before 1985.105 
This was recorded in an interview by the author with Ernest Sohn on October 15, 2005, 
104 The author refers back here to Ernest Sohn’s first work in the factory on a trip to glasshouses in 
Czechoslovakia with Warren Kessler in the late 1930s, 
105 The final retail advertisement mentioning Ernest Sohn discovered by this author ran in December 1983, 
see Marshall Field and Company, Advertisement, Chicago Tribune, December 15, 1983, D30. 
89 
Conclusion 
After his retirement in 1978 Ernest Sohn continued to lead a busy life. With his 
wife Grete, he enjoyed activities such as travel, skiing and tennis which Sohn continued 
to play into his late eighties. Painting, another of Ernest Sohn’s great passions, became 
an even more important activity in his retirement, almost to the end of his life. In recent 
years Ernest Sohn learned of a renewed interest in his designs and the products of his 
company. As interest in mid-twentieth-century design developed, collectors from across 
the United States contacted Sohn to learn more about his work. Although the fact that 
individuals across the country were amassing collections of Ernest Sohn Creations 
seemed a bit odd to Sohn, he was flattered and pleased at the same time. After a full life 
of 92 years Ernest Sohn died in May 2006. 
Ernest Sohn’s long life encompassed an extraordinary amount of creativity 
focused on making "useful and decorative" items for the home. It is difficult to sum up 
Ernest Sohn’s design style; in fact, his versatility as a designer was probably one of his 
greatest strengths. Sohn created items that ranged from very modern, sleek and 
unornamented to much more historically reminiscent objects with applied decoration. 
Sohn’s method of design, grounded in hands-on work with materials and with factory 
processes, resulted in products that explored the possibilities of those materials. Sohn’s 
designs frequently combined different and sometimes unexpected materials within one 
object. Metal, wood, glass, ceramic, and plastic might be combined together to create 
visually interesting items that were unique expressions of Sohn’s taste. 
In Ernest Sohn’s work we also find a reflection of American home-life and 
entertaining in the mid-twentieth century. Sohn’s objects were often exuberantly 
IN 
oversized, perfect for use on the buffet table that became an increasingly common part of 
middle class life. Sohn’s pieces were usually utilitarian: often ovenproof, able to cook 
and serve, often with multiple uses. Sohn’s design focus and the style he brought to these 
utilitarian objects were suited to the informal entertaining and casual lifestyle that became 
mainstays in the post-war period and led to much of his success. 
In Ernest Sohn’s career as a commercial designer we may also see how the gift 
industry evolved over the twentieth century. Sohn was able to begin his design career in 
an industry that was relatively small and close knit, an industry that welcomed those with 
little training but a good amount of talent and dedication. Ernest Sohn founded his own 
business and became a quick success, an active part of the industry expansion that came 
with the explosion of middle class wealth at mid-century. With leaders like Ernest Sohn 
guiding the way, the gift industry was able to grow and expand greatly by keying into 
lifestyle changes and home-life trends. But as the industry continued to grow it began to 
lose the feel of an extended family. Outside corporations sought mergers with gift houses 
in order to diversify their portfolios and grow this profitable sector further. Thus 
businesses like Sohn’s were swallowed up in larger corporations and frequently lost some 
of the uniqueness that made them successes in the first place. 
Ernest Sohn’s designs will continue to delight and inspire collectors and users 
alike with their beauty, wit, charm and utility. Sohn’s work and career and the gift 
industry and culture in which he became a success will increasingly fade from American 
collective memory as his generation passes away and as merchandising and life-styles 
undergo major changes. Through this study of the career of Ernest Sohn I have sought to 
record and preserve a small part of this collective history. Through considering the life 
and work of Ernest Sohn we may gain insight into the decorative arts and the lifestyles 
and aspirations of everyday Americans during the twentieth century, 
91 
92 
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N. Abrams, 2001. An exhibition catalogue. 
Barnebey, Gary and Paula. Hall China Tea and Coffee Pots. The First 100 Years. 
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Bennett, Victor. Chafing Dish Magic. San Francisco: Hesperian House, 1960. 
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Chafing Dish Cookery, New York: Barrows. 1950. 
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Crocker, Betty. Betty Crocker ’s New Picture Cookbook. New York: McGraw-Hill, 
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and Modern Usage. New York: Simon and Schuster, 1948. 
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Prentice-Hall, 1963. 
Hill, Amelia Leavitt, The Complete Book of Table Setting and Flower Arrangement with 
Service and Etiquette. New York: Greystone Press, 1949. 
Hine, Thomas. Populuxe. New York: Knopf, 1986. 
Lounsbery, Elizabeth. Let’s Set the Table. New York: Funk & Wagnalls, 1938. 
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Wagnals Company, 1949. 
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At Home and Abroad. New York: Museum of Modern Art, 1994. 
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Shapiro, Laura. Something from the Oven.’ Reinventing Dinner in 1950s America. New 
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Williams-Heller, Ann. The Art to Cook ’n Serve theChafing-Dish Way. [New York?]: 
Ernest Sohn Creations, Inc., 1952. 
93 
94 
Wilson, Kristina. Liable Modernism. - Interior Decoration and Design During the Great 
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95 
Ihf1ri1i 
Among the new products highlighted by the Gift and Art Buyer in the July 1952 
issue was a Fold-A -Way table designed by Ernest Sohn, figure 2.26.1 
 This table 
combined black iron legs and a wood top in a sleek and simple design. The Sohn Fold-A-
Way table was selected for inclusion in the Good Design exhibition that opened in 
January 1953 at the Merchandise Mart in Chicago. 2 The Good Design exhibitions, 
cosponsored by the Merchandise Mart and the Museum of Modern Art in New York, 
were perhaps the most prominent and influential events in what can be called the Good 
Design movement in the United States. 
While the Museum of Modern Art in New York and other institutions sponsored 
exhibitions of furniture, glass, ceramics and other household objects prior to World War 
11, it was after the war that the movement became truly strong and influential 
. 3 After the 
war the Museum of Modern Art resumed annual exhibitions in November and December 
which featured "Useful Objects" as they had done in the 1 930s. These exhibitions 
highlighted household objects that the museum deemed to he both useful, beautiful and 
well designed. During this period other museums and institutions began to hold similar 
exhibitions and give similar honors. Even the titles of these exhibitions are indicative of 
the movement. One example was the 1949 show at the Detroit Institute of Arts, "An 
Gift and Art Buyer, "Nice to Have Around the House." 48, no. 7 (July 1952): 182. 
2 
 Museum of Modem Art, Good Design, Jaimmy 1953, ([New York?]: Museum of Modern Ai, 1953), 
item AlO. 
The Museum of Modem Art’s exhibition and promotion of household objects began with the Machine Art 
exhibition in 1934 and continued with yearly exhibitions of "Useful Objects" through the second half of the 
1930s. See Museum of Modern Art, Machine Art March 6 to April 30, 1934, (New York: Museum of 
Modem Art, 1934). 
96 
Exhibition for Modern Living." 4 Museums and institutions using these exhibitions and 
honors sought to influence American taste, and to push Americans to purchase items for 
their home that were modern and well-designed in the eyes of curators and museum 
directors. 
Museums and institutions were joined in their efforts by members of the press and 
other tastemakers. Writers and editors at leading magazines and newspapers focused on 
well-designed objects and endorsed them as most suitable to a modern home. Often the 
press and the museums worked hand in hand. In December 1947 the influential interiors 
magazine House Bea utiful devoted eighteen copiously illustrated pages to a feature on the 
items selected by the Museum of Modern Art in their latest good design show. 5 One 
museum even began to publish its own small magazine devoted to good design. In the 
summer of 1946 the Walker Art Center of Minneapolis published the first edition of its 
E’vermlc~y Art Quarterly focusing on well designed household objects and the designers 
and artisans who created them. 6 
Perhaps the most influential figure in the Good Design movement was the 
Museum of Modern Art in New York, a role that was reinforced with its "Good Design" 
exhibitions held between 1950 and 1955. The Good Design exhibitions were a joint 
See Alexander Girard and W. D. Laurie, Jr., eds. , An Exhi bition for Modem Living, (Detroit, Ml: Detroit 
Institute of Arts.) 
See House Beautiful, "Museum Pieces Belong at Home," December 1947, 122-139. 
o See Walker Art Center, Eve,ydciy Art Quarterly, no. I (Summer 1946.) 
This section is based on the author’s extensive perusal of period trade and popular press accounts of the 
Good Design exhibitions and study of the Good Design materials held by the Museum of Modern Art’s 
library. For a good summary of the Good Design program at the Museum of Modern Art see Terrence 
Riley and Edward Eigen, "Between the Museum and the Marketplace: Selling Good Design" in John 
Elderfield, ed., The Museum ofModerii Art at Micl-Centuiy, At Home andAbroad, (New York: Museum of 
Modern Art, 1994.) 
97 
project between the museum and the Merchandise Mart in Chicago, the largest wholesale 
building in the United States at the time. The Good Design program was directed by 
Edgar Kaufinann, Jr., a leading force in the museum’s Department of Industrial Design. 
Kaufmann came from a merchandising family, his father having founded Kaufmann’s 
department store in Pittsburgh. Kaufmann spearheaded the museum’s efforts to endorse 
and, in the end, sell "Good Design" to the American public. The Museum of Modern Art 
partnered with the Merchandise Mart to exhibit items selected for "Good Design," with 
exhibitions beginning in January and June at the Mart in Chicago. These exhibitions 
coincided with major home furnishings market periods when buyers from across the 
country would be visiting the Mart to make selections for their stores. Kaufmann and 
two other judges from the museum and design worlds choose two hundred to three 
hundred items to be honored for "Good Design" from thousands of items submitted by 
manufacturers for each show. Kaufmann and the other panelists tended to choose items 
that exhibited the most modern, paired down and sleek aesthetic--extraneous decoration 
was frowned upon. Ernest Sohn recalled that Kaufinann was fond of his I’Vittcrosse 
chafing dish but did not like the extra "schmaltz" in the decorative detailing on the knob 
and at the end of the handle, 8 
As the Museum of Modern Art and Kaufivann had hoped, the Good Design 
exhibitions became a force for promoting and selling what was deemed well-designed 
and pleasing by these tastemakers. Items selected for Good Design were highlighted in 
both the trade and popular press. Gi/twares in its March 1953 issue reported on the 
selections in the January 1953 Good Design show. The magazine characterized the 
exhibition as an effort to "bring before the public the best in contemporary design" and 
8 Interview by the author with Ernest Sohn on November 21, 2005. 
pictured those items, including Sohn’s Fold-A-Way table, that were particularly 
marketable for gift buyers. 9 Sohn was honored for Good Design again in June 1953 
when a beverage-server-and-stand was selected, figure 2.12. This design was an updated 
version of Sohn’s previous Pyrex carafes and combined copper or stainless steel with 
wrought iron in a sleek form. Sohn’s selection was again noted in the trade press, being 
highlighted in Giftwcires’ coverage of the summer selections for Good Design. 10  Good 
Design also brought recognition in the popular press for Sohn’s carafe with both the 
Chicago Tribune and the iVevr York Times highlighting it. 11 In the Times article the carafe 
even warranted illustration. In addition to this sort of recognition in the press, Good 
Design items were often marketed with the Good Design seal to both the trade and in 
retail displays across the country. Orenstein and Sohn were not shy about employing the 
Good Design honor in marketing their coffee carafe as can be seen in an August 1953 
advertisement, figure 2.12. 12  Good Design seemed good for sales of the carafe; it was 
listed in the 1954 Good Design exhibition in a section devoted to "Popular Sellers from 
Good Design 1950-1954." 
Gifiwares, "Good Design: Selections for January 1953," 11, no. 3 (March 1953): 42. 
0 Giftuares, "Good Design: Summer Selections Emphasize Shiny Surfaces, Bold Colors," 12, no. 2 
(August 1953): 48-49. 
Betty Pepis, "Home Furnishings Shown at Museum," New York Times, September 23, 1953, 38 and 
Chicago Daily Tribune. "Good Design’ Items Offered to Grace Home," April 25, 1954, F8, 
[2 
 See Jack Orenstein Associates, Advertisement, G(uiwares, 12, no. 2 (August 1953): 77. 
° Museum of Modern Art, Good Design, Fifth Anniversary, ([New York?]: Museum of Modem Art, 1954), 
item 71. 
99 
Illustrations Chapter 1 
NEW GREATIONS by ER]VEST OHN! 
The acknowledged skill of this 
artist in graceful curve, style, 
and beauty of form is strikingly 
demonstrated in this group of 
smart accessories, 
V 	 left to right. 	 I. S24,  
and S30, per dozen rnininiuru  
• . 	 : 	 . 	 000 pan any numhcr, The em 
r’ti b x Si each, minimum 
three  boxes: the trays $3 dozen 
minimum one dozen. 
THE COLOR COMBINATIOIN 
is AUTUMN BROWN and 
LIGHT IVORY! ORDER NOW 
EBELING & REUSS, INC 
Vaill Other and \\reliroe 
 
NEW YORK 	 707 CHESTNUT STREET 	 CHICAGO 
225 FIFTH AVE 
	 PHILADELPHIA 	 1557 MERCHANDISE MARl 
Figure 1 .1. Ebeling and Reuss advertisement for Ernest Sohn designed items in Gift and 
Art Buyer, October 1938. 
Figure 1.2. Mary Ryan pictured in Gift and Art Buyer, April 1937. 
100 
Bi(Ver, May 1939. 
show in August 
1946. The pitcher held by the woman at the right is an Ernest Sohn design. 
NEWSTARS TO SHINE FOR YOU 
• 	 Cocktail shakers sand drinking 	 accessories 	 ina 	 superbly 	 styled, 	 sensationally 	 n60 cambirratiou All 	 cylinders 
are of spun alurnin 
um 
 with tops and bottoms of shakers, 	 bo+toma of drinking 	 glasses, handles of mug and 	 tray, 
in Hand Hammered Cant Aluminum, 	 All shakers with curk.lind cup and top with strainer for pouring, 	 An, 
other 	 nevi 	 and 	 important 	 feature 	 is 	 a 	 lining 	 achtovpd 	 by firing 	 a 	 colorlessplastic vioylite 	 in 	 the 	 mutal 	 Which 
completely 	 eliminates 	 any metallic festal 
fig 	 Cocktail 	 Shaker, 	 I 	 qt,, 	 9" 	 high............ 	 .... 	 ....... $200 uu. 
E13 	 Cocktail 	 Shaker 	 (nut 	 shown), 	 1 1/2 	 qtn., 	 2" 	 high 	 ... .. 2.508-- 
• 	 E14 	 Cocktail 	 Shaker, 	 21/3 	 pta.,, 	 12 1/2" 	 high 	 ,.. 	 ...... .. .. 	 3.75 ca 
El 	 Cocktail, 	 3 1/2 	 on,, 	 234" 	 high .... ., 	 ....... 	 .,,, 	 •,... ..,, 	 7.20 don, 
E2 	 Old 	 Fash,, 	 8 	 a:,, 	 3" 	 high.,,,.. 	 ,,,,.,,...,,.,...... 9,00 don, 
E3 	 Scotch 	 Hiball, 	 8 	 ox., 	 5" 	 high ., 	 ... 	 ,..,..,............. 	 ..... ,, 	 7.80 don, 
E4 	 Chimney 	 Hiball, 	 16 	 on. 	 6 3/4" 	 high 	 ,,,.,,,..,....., 0,80 do:, 
ES 	 Hiball, 	 84 	 on,, 	 434" 	 high .,..,.,,,,..,..... 	 ,......... •.. 	 9100 don. 
E& 	 Large 	 Hiball, 	 16 	 on,, 	 534" 	 high 	 ,,,,,.,.. 0.80 dos, 
E7 	 Seer 	 Mug 	 w/handle, 	 16 	 on., 	 434" 	 high ... 	 .....,.... 	 ........... 2,00 dos, 
EISA 	 Tray 	 (for 	 S 	 hibaUa(, 	 9" 	 a 	 12".,,,,.... ........... 	 •. • 	 5,00 ea. 
E1 6B 	 Tray (no9 shown, similar to ISA, for shaker and S cocktails), 9" x 	 2".. 5,00 cc 
Not FrkeL 	 P.O.D.Conn. 	 Terms; 2/10-30 net 
i 	 FOR 1946 DSUVB88Y 
101 
Figure 1.5. Sohn designed spun aluminum advertised in Gift and Art Buyer, October 
1945. 
SM.OTH AS iSATIN 
Hand spun aluminum with various bright colored plastic 
bends. Drinking items scientifically treated to 
ePminafe metallic taste. 
TOP ROW 
Pretzel bowl No. 210, 0" diani,, 21.00 dee, 
Club Highball No, 201, 16 oz 10.80 duo., Min. 4 dma. 
Pitcher with ic guard No. 207, 7" high, 2.75 
SECOND ROW 
Handled beer snag, No. 203, 16 on. 
2.00 doz., 4 don mm. 
Saladbet4 with servers, No. 
209F.S,, 0" diem., 3,75 net... 
102 
. 	 THIRD ROW 
Cocktail shaker (with strainer) No. 
206 	 2" high, 3.25 ea. 
Ice Bucket No, 208, insulated with 
fine upon glass, 8’/2 high, 6,25 cc. 
Martini miner with stirrer, No. 205, 
high, 3.75 complete. 
BOTTOM 
DI ire’ 	
Mint Julep cops, No, 202, lb no,, 
0,80 dun, Min. 4 doe, 
fee nest Sc.irnr 
Figure 1.6. Sohn designed spun aluminum illustrated in Gift and Art Buyer, January 
1946. 
Copper t r im med aluminum, hand polished to a brilliant siherlilc 
and p rnsanent lustre. Also available in hammered finish. Minimum 
initial order MOO. 
208P— 6,85 no, 	 20211-12.Q0 doe, 	 2031’-13.20 doe, 
207P— 3.50 no, 	 2011 1-12,00 doe, 	 2051’— 4,25 no, 
206r’— 3,75 no, 	 2121’— 7.20 doe. 	 2111 1-13,20 sloe, 
210P-8"-2.25 no, 	 10’-3.2 no, 
AT THE CHICAGO GIFT SHOW 
PALMER HOUSE, ROOM 836 
225 Sth Ave., N Y, Cily 
Figure 1 .7. Silverhrite by Leumas advertisement in Gift and Art Buyer, December 1946. 
103 
This "DUO-THERM" ICE BUCKET contains not one, 
but two insulating elements. Fibre glass lined, 
unbreakable, it is sealed with rubber to retain 
heat or cold for lengthy periods. Super size -- 
10" x 10" over-all. Holds 4 trays of Ice cubes. 
$7.50 each 
We invite your inspec. 
tion of this new floe, to- 
frosting bow-knot handles of 	 ’.". 	 gether with our other 
new originally designed 
rich copper, .. . ’ lines at all Principal Gift 
Shows and at our New 
York Showrooms. 
I 	 \ 
1Ia - 
uPPER & MANN 
Associated with ERNESTINE TROSTLER 
MINT JULEP 	 $1200 
225 FIFTH AVENUE • NEW YORK 10, N. Y. 
Figure 1.8. Spunray advertised by Lipper & Mann in the June 1946 Gift and Art Buyer. 
104 
by "CELLINI STUDIOS" 
Gleaming high-polished alu- 
minum is combined with can. 
Figure 1.9. Canape plates with the Circus pattern designed for Glidden Pottery by Ernest 
Sohn with a Plume divided platter in the background. Private collection. 
105 
Figure 1 10. Sohn designed Plume pattern on Glidden pottery illustrated in Crockery and 
Glass ,Journal, June 1946. 
Figure 1 .11. Award winning Glidden casseroles decorated with the Plume pattern 
exhibited at the twelfth National Ceramic Exhibition at the Syracuse Museum of Fine 
Arts in 1947. 
RtDGEPIELD... SILVERSMITHS present. 
combina+ion olverplated cigarette server and lighter (Eva 	 unit) 8~  high 
Urn *14 lighter emovable for better serving Protected by tarnish proof lacquer.  
Gift Bored 3 minimum F.O.B.  Connecticut 
$X 50. complete 
E fablih d Ri PrI*$J2,t P l us 207 Fej. ral Tx 
DURING THE Y GIFT SHOW VISIT 0  PE RMANENT AIR COOLED SHOWROOMS 
NEW YORK CHICAGO 
ROOM, 700 	 1654 
225Fif+h Av 
	 DECORATIVE ACCESSORIES, INC. 
	
M rch ndi Mdrt 
Figure 1 .12. The Ambassador designed by Ernest Sohn and advertised in Gift and Art 
Buyer, August 1948. 
106 
107 
Bottom Row: 5 pc double rm set, 332A $350, 432C.45.00  
Gravy boat and tray sbf.128A $1.75, 428C $2.50 
GI DURING THE N. Y. FT SHOW’ VISIT 011k PERMANENT AIR COOLED SHOWROOMS 
	
NEW YORK 	 .... 	 CHICAGO, 
	
Room 700 
	 ’sr 	 Room 1554 
	
lb Ave, 	 merchandise Mad  
DECORATIVE ACCESSORIES, lNC 
Figure 1.13. EwlyAinerican advertised by Rubel GifiancfAitBuyer, August 1948. 
108 
II 	 I
dem rfe with 	 V  
109 
INDOOR GARDENER 
NEW IN CONCEPTION 
SMART IN APPEARANCE 
LOW IN PRICE 
oniething new in planters, these plates 
are made in brass. They are 8" in diameter 
and are ready to hang. The hand colored 
prints include Currier & Ives, Florals, 
Birds, Chinese, Frnit, Locomotives, Riders 
and J;n.npers, Carriage. A special pocket 
in hack (see insert above Left) provides 
place for earth or water. 
\’cT4Ii SCONCE 
t:oi-iiplete iii Ii 2 candles 
5L50 each 
PINUP LAMP 
Completely wired. Shade in plain Maroon 
or Green or in Chintz us shows; 
$2,50 
iIioimuo; 6 of a st’yle. Catalog on request. 
AT THE CHICAGO GIRl’ SW)W: PALMER ROUSE ROOM 836; MARI\ ROOM 1554 
Figure 1.15. Further embellished Planter Plates advertised in Gift and Art Buyer, July 
1950. 
I 
;a 	 a 
4I b 	 OVEN TO TABLE 
highly polished 
SET OF 4 IN DISPLAY BOX 
6 	 $3 OO per set 	 F.0.6, New York 
Du 	 Chicago 51mw 
	
ot the MERCHANDISE MART and Ui 	 \ MER HOUSE Room 836 
LiE(I AflV€ 
	 -./ C 
	
Et. .FESI NC. 
o 	 icr / 	 a o rr 	 i, -Lrrrorcr j 1. 4 	 IF o,8 of IF q 
A 	 obo I 	 of , J1 n .,p qIr 1 0 	 oIl r y rd 400 	 o -pp-, 	 q 
No 000 St, fll 8 or , roOd 6 	 J oo 	 No 50 	 f 	 I To Pot, 	 2,50 
P-" (p 0 r’ 	 ql r. 	 5) 	 625 	 No I 03 8" Co’000 otto 	 v 	 400 
	
No 417 Fry g Pu (To Lb 4) 	 375 	 No 02 7 Cur r rot 0 ro g boy 	 3.75 
N0, 04 Poor 00 C If 	 MrS" 	 000 0 	 No 001 5’ Coo, rof (ottO 5 8 ry( 	 12 OOdo
MINIMUM SAMPLE ORDER 23,00 P.0.8, NEW YORK 
000froIf ffoo N Y. Gift Show Yhif Our P ro our rot Show 00000 
NEW YORK ~
DECORATIVE ACCESSO"RIES. INC. 
	
rff 
	
CHICAGO: 
Figure 1. 17. French Provincial Tableware adver tis ed in Gift and Art Buyer, February 
1949. 
Figure 1.18. Rubei coffee urn illustrated in Giftwares, February 1950. 
III 
JL)me Ch/- 
..A 
112 
L 
523 	 321 
0520 2 nI I’ d.n,.I., knnL.pwnf b7ngnaw.rnl 
.i5l ppwnnn.,. ahefing sland .nd nn%oI bOnn. 
,,,a4. nfppn,. .............. 
0521 	 2 	 k.)ng dhi,. ll -,p., -d b—,
2, ’ diun.f.....................310.00 
5523 	 0… 	 6iI6t 	 in nlid —pp,,- Ii 
lind, 	 h,’Jin..... 
	 .... ..... .$4.00 
5522 GiI 6 	 ,,3  al0ng dih. anlid nnpp 	 sad basa 
tin tia.d, 	 8" disesl............... $23.00 
2524 14 1/u’’ 10I,t na aa.pss alt 	 aalid nappa, 
tin 1;, d. annd.n h.ndl.......... 
 .... $6.00 nan 
...
124 
FRYING PANS (Not Shown) 
	 INDIVIDUAL HAM & EGGERS (Not Shows) 
t 41 7C 8Vs"  diet,,. 	 3.25 each 	 No. 416C-6 1/2" diawete, 410C II’ 	 di 	 4.75 sash 
	
5.00 set of 4 
(’.0,8. New York 
Be sure to visit our permanent air cooled showrooms during the N. V. Gift Show 
All teres are hand spun and hand polished to a nainror finish. 
Figure 1.19. Chafing dishes advertised by Rubel in the August 1950 Gift and Art Buyer. 
Figure 1.20. Rubel chafing dish, private collection. 
and Art Buyer August 1950. Figure 1. 
IT’S NEW!- ITS UNIQUE! -IT’S SMART!- 
Every hostess will immediately be enchanted with this new, smart, gay 
conversation piece. Turning smoothly and easily on ball bearings it con-
tains eight individual easily removed over-proof dishes. Will serve 
many purposes, such as desert and salad dishes, ash trays baking dishes, 
etc. 17’ diameter. In forest green, yellow, white or grey. Individually 
carton ed 
Complete 7-50 each retail (Fair traded) 
Minimum 6 sets - P.0,6. Alfred, N. Y. 
Patent Pending No. D9762 
Be sure to visit our permanent air-cooled showrooms during the N. Y. Gift Show 
113 
xa’LIA 
Ash Tray 
Baked See Food 
Ice Cream and Dessert Dish 
~am 
Canapes, Potato Chips 
Note or Candy 
A sesving piece which rotates freely on pre-
cision boll bearings. 
In four colors - Forest green, Yellow, White 
and Grey. 
Each petal is removable and made of oven-
proof pottery, and can be used for individual 
service of hat or cold dishes. 
Complete, it can be used aeon hors d’oeuvres 
dish, singly, the pieces wake attractive ash-
trays, dessert dishes, etc. 
Individually packed one color to a box, in 
attractive reshipping carton. 
114 
Figure 1.22. Lai-7)) Daizy brochure, private collection. 
RUBEL4  
THE FERRI 
’5 
55O.  
FOB ’i’, 
5 M - . 
1,-’  
RUB 
/ 
DecoRAtivE AccEssoRiEs, INC. 
Figure 1.23. Ferris Wheel advertised in Gift and Art Buyer, February 1951. 
Illustrations Chapter 2 
Figure 2.1 Ernest Sohn pictuted in Gift and Art Buyer, June 1951. 
Figure 2.2. Ernest Sohn Associates advertisement, Gift and Art Buyer, July 1951. 
115 
116 
and third from the left, Joe Giarrocco is fifth from left. 
Figure 2.4. B. Altman advertisement featuring Sohn chafing dish in the New Yorker 
magazine, December 8, 1951. 
J 
Figure 2.6. Sohn designed Pyrex serving items, private collection. Notice original foil 
Ernest Sohn Creations labels on "cafferole" at front and martini pitcher at right. Most 
pieces are also marked "Ernest Sohn Associates" on underside. 
117 
COFFEE MA1ERS 
For serving ho: and raId drinks. 
brian OsirtflirIc: Ic: arc -omn:o-ricr!.o ion 
H2 -- cups, $1.65 a pair, ruts---- 12- v -nrc. 
l’t4--4 cups, $1.25 ea., scm.--- 6. 
HO-- B cut
- s, 52.00 ea., niln. --51 
HIS- - lB coos, $2.50 ea,. 
 
CM4----4 cups, $2.50 cc,. min.- 6, 
CM8--8 crrps, S3.00 Ca,, min, 6. 
CM14---t 4 cups. $2.50 cc., min, -- 6. 
Filter paper for above: 100 pus. 0’ disks 
for CMI4---- - 1.10 per pkcj.; 100 pus. 
disks for CM4 and CMO---5.75 per pkg. 
Instructions with smirch pisco 
11 own irrc.lrvidualIy issued. Colors black 
- - white gin-en --. chartreuse - --lcrov,’n 
- red. P.0.8.: N.Y.C.--- 2/10 nct 30. 
SUGAR AND CREAMER 
HSC—$1.75 set, mirr,’---’12 sets. 
Sugar and coarser with fray- -$2.50 set. 
ruin. -6 nols, 
Hand Wrapped "PYREX" Beverage and Food Servers 
Flame and Heat Resistant 
Plastic Handles and Covers 	 - 	 Designed by Ernest Sohn 
118 
LIPPED PITCHERS 
Mar:irri minor or for trot :bio, 	 CAFFEROLES 
’t’upercrd ciesigrm holds hark ire r:.dv-r. 	 H42---/2 cji.. $2.50 err., tilts,- - -4. 
HP4---16 or., $1.25 cc,, flirt.--- 6. 	 1041 ---t’g crc. S3,25 Ca., trio: ----- - 
HPO---32 or.. $2.00 Ca.. nrir:.- 6. 	 8040-0 p1., $4.00 cc., rots,-- 4. 
80816--kg or., $2.50 cc.. mm.--6. 	 For ::o--kisg direct iy 05cr limos------sot :0 or’:::: 
Mcmrtiu: s’irrc-rn -S1,20 per doe. 
AT ALL MAJOR GIFT SHOWS 	 R / 
9âcQterndee?? __ 
225 FIFTH AVENUE 	 NEW YORK 10, N. Y 
EXCLUSIVE REPRESENTATIVES FOR ERNEST SOHN CREATIONS 
Figure 2.7. Firm advertisement for Pyrex collection, Gift and Art Buyer, February 1952. 
_v 
kwl 
 r 
p 
A 
A 
•1 
I 
I. 	
’r 
: 1’P 
 
Figure 2.8. Sohn Pyrex carafes illustrated in House and Garden’s "The American Idea in 
Entertaining," February 1952. 
119 
L 
*. 
"S 
!Dl•c’• ?Ufl  p1 1SS,b47,S,Ct,I..S’Sb€L 
’S’o- dTh 
Christmas 	 g 	 h ne.. 
Figure 2.9. Lord and Taylor advertisement in [louse and Gcirclen, November 1952. 
Pyrex is featured at bottom right, the folding table at center is also a Sohn design. 
120 
Sohn 
Figure 2.10. Sohn Pyrex is featured at lower left at Long Beach, California shop Victor’s 
in 1952. 
Plastic wrapped with handle 
#H220 20 cup ..,..., 	 5.60 on. 
Open neck to occomr’ndnlc cubes crc cccl 55,0 or 
trollop, , Mie, 6 pieces. 
Plastic wrapped 
#0202 2. cup .....2,l5i)uic 
(booed). IrOn 6 poir, 
121 
Plastic wrapped 	 Platinum plated 
Plastic wrapped 	 with handle 	 with handle 
#104 	 4 cup 	 1.75 en, 	 #0204 	 4 cup 	 2.75 en. 	 5HP8 	 8 cop 	 3.25 en. 
#100 	 0 cup 	 2,25 err. 	 #H208 	 8 cup 	 3.25 cc, 	 #HPI2 12 cup 	 3.75 en, 
#112 	 2 cup 	 2.75 en. 	 #H212 12 cup 	 3.75 cc, 	 5HP16 	 6 cup 	 4,25 en. 
#116 	 6 cup 	 3.25 en. 	 #0216 16 cup 	 4.25 en. flI%,1IwE&A PS fl,’~"pr&j ,.ean.r.. /_ . I less .5 	 - 	 - I ceI I’olccvm .6 	 ,JS.tPt M25.JII CL? I not j t titan a or a ntjmoeri 
a  AV 	 A 
MAf k, 110* 0 O r e ooe wa6 a 
pe’uo#uzli4 
green yellow or block posted0 whit 8  hour candle for beeping 
eunice seruec hot, 
2.30 ench, inchiuidcily boned, role. 1 duzcn, 
• 	
#l0lOil &Vropujcrr 
1.75 pelt 
(honed set) 
#1020003pc. set 
with Ketchup 
3.50 set
4, 
Minimum 6 torn 
ALL PRICES ARE RETAIL 
cnllee bostOn and coodireenl sets less 40% 
(ccictirioncrl 10% is 6 clones lots crsstd. 
F.O 8. Brnuilyn. N. Y. 
Stone nuecnror less 60% 
FOB. New York City 
Terms 1/50 11 30 
Figure 2.11. Rubel and Company ad for coffee servers, Crockery and Glass Journal, 
December 1951. 
PRACTICAL AND BEAUTIFUL 
CARAFE AND WARMER 
(ESiGNE[) BY 
(;ne/ _ShI 
122 
Pyrex Beverage Server 
trimmed with solid cop-
per or stainless stee l*, 
black wrought iron 
handle, 
W8 $2.25 each 8-cup size 
W12 $2.75 each, 12 cup 
W.16 $3.00 each, 16 cup 
*pIee 
 specify 
Minimum order each size: 6 
pieces 
0616 Candle warmer; $2.25 
each solid copper and heavy 
wrought iron. 
Minimum order: 12 pieces. 
FOR. lacios-y La Cross, 
ttScOflSfl, All prices are 
sr’holrsale. 
Terms: 2/]O/’\3O 
SEE our new showrooms and new items during your visit to the 
Fall market. 
Jack  Orenstei.n Associates 
INCORPORATED 
225 FIFTH AVENUE 	 527 WEST 71h STREET 
N EVV YORK EXCJ usi ye ’ preseuta ives of LOS ANGELES 
ERNEST SOHN CREATIONS, Inc. 
Figure 2.12. Firm advertisement for Good Design award winning carafe in Giftwares, 
August 1953. 
Carafe 
Coffee Server 
and Warmer 
• Pyrna fiance proof Carafe hoe 
black stopper and handle com-
bined with colonially trimmed 
heat resistant wrapping in white, 
black, tan or red. 
• 
Also noble or Martini Miner. 
(Large opening for ice ..b.).
• 24 cap (4 nnininnrann) $36.00 nine. 
16 ’ 6 	 30.00 
0 ’6 	 ,. 	 24.00 
4 " 6 	 . 	 16.20 
2 C 
 12 pr. ’ 	 . 	 1.65 pair 
• Irdinidoally booed in reshipping 
car-ton, completewith comb oaf. 
F.C.B. BRyn., N. Y. Terms: 1/10 
Net 30. 
• tdar+icl atirrame. raparafely, 
$1.20 dcc. 
• Oar ’WITTCROSSE" WARMER 
is of stainless’ ’feet with finger-
tip heat ocafrol. 
• Packed individoelly booed, N. 
warn six. Complete $5.50 each. 
123 
a F.O.0.Wi,o.Terms: l/lO Net 3O. 
 
New York Gift Skew—Boner 954 and 955, Hotel Hew Yorker - Beaten Gift Show, Hotel Stotler 
CREATORS OF USEFUL AND DECORATIVE flour ACCESSORIES 
ERNEST SOHN ASSOCIATES 
INCORPORATED 
GGSSL6!1L1 205 
	 FIFTH AVENUE ’NEW YORK tO, N. Y. 
Figure 2.13. Advertisement highlighting a Pyrex carafe with a Wittcrosse warmer from 
Gift and Art Buyer, August 1951. 
Fr’ 
Figure 2.14. Witterosse chafing dish, private collection. 
124 
	
4 qt., $2.50 each. 	 3 qt. capacity, fingertip heat control, 	 chaos. 	 Specially constructed hooting ale- 
W117--"Genuine Vacuum 	 ICE BUCKET 	 11.00 each, 	 moot ignites charcoal under grill. permit- 
	
2 ph., $7.50 each. 	 fing chreool broiling of the table, With" 
	
Keeps cubes If boors, 	 for Hot or Cold 	 out charcoal, ideal boo or food warmer, 
Liquids. 	 $12.50 each, 
WJTTCROSSE 
and 
_S1.viflV 
in 
STAINLESS STEEl 
Designed by 
Ernest Sohn 
No. W107—TRAY, stainless steel and ebooy.finish Isurd’. 
wood, 6’ diare., $5.00 em 
No, HMOO—MARTINI SET, 8 pieces, plastic raffia trim 
in black, white, forest green, chartreuse, nouveau 
brown or cherry red, $3.50 set. (Min. order—h, sets). 
No. I-hM3y2.’-’COCKTAIL GLASSES, 3 1/2 00,, 0,0,0. 
N. Y., Mm, order"-3 dos,, $3.00 don, 
capacity, $5.00 each, 
All stainless steel items: non’tarnishable’-"obony.fioish 
hardwood trim with rubber-tipped lags—individually 
bc,eod—FOB Wisconsin. 
Sample order of stainless steel items - 
/’t(r’niylliam assortment - $50.00 
4w 10.".-CANDLEWARMER wits !on’ 	 04 ..UBLE’ CHAFJN 	 tSH ’with fingertip hat 	 No. 106--SINGLE STERNO WARMER
handle (includes I0-hour 	 rsclle), 	 control. Each has 3 qf. capacity, $25.00 each, 	 with fingertip heat control, $5.50 each, 
$4.50 each, 	 . . 
AT ALL MAJOR GIFT SHOWS 
	 /. 
	
0 
. 	 S 
••.••. 	 _ 
4 	 :•.... 	 4dIi 
225 FIFTH AVENUE 	
: 1 Q0CaCQ Ifi 	 NEW YORK 10, N. V. 
EXCLUSIVE REPRESENTATIVES FOR ERNEST SOHN CREATIONS 
Figure 2.15. Wittcrosse collection advertised in Gift and Art Buyer, March 1952. 
125 
Figure 2.16. Wittcrosse double chafing dish featured in a House and Garden illustration 
for a buffet setting in December 1951. 
1. 	 111IJJLc1Lc111 Ip1eSenLauve i-u-noici AWer acting as chating dish chef at 
the McCurdy’s American Design Show in 1952. 
Lefts 061. Casserole with black wrought iron candle warm. 
er, Copper cover. 2 quart ovenproof baker. High fired 
china in uvfdtn, gray, chartreuse forest green. 	 Individually 
boned, 	 Mm. 6, P.0.5. Factory L. I., N. V. 	 $4.00 each 
complete. 
Rights 0610, 
	 Chafing Dish, high fired ovenproof china in 
white gray, chartreusn, forest green (2 pt. capacify( 
Copper cover and wafer pun. Sturdy black handle and legs. 
Finger tip controlled alcohol snuffer, Individually boxed. 
Mire 4, F.O.B. Factory L. I., N. Y. $750 ouch. 
COMPANION CASUALS IN COPPER AND COLOR 
Combining Gleaming Copper, wrought iron and Colorful Ceramics. 
Lefts Ff354, 	 3 
 square lazy Susan with four compartments 
in grey, white, chartreuse, forest green, each 61/2" 
 square. 
Black wrought iron stand and ring currying handle. 
	 Indi- 
vidually boned. Mm. 6, FOB, Factory, N. V. $4.00 each. 
Rights Ff353. Black wrought iron refreshment fray, )23 1/2" 
31 with white bar handles and place for 8 lasses. 
Vitrified china ececprnnf &/’ sq, hers d’oeuvre trays in 
gray, white chartreuse, forest green, Individually booed, 
Mm 6, FOB, Factnry, N. V. $5.00 000h complete (with, 
out glasses). 
	
Terms 2/10—net 30 days 	 All Pces WhoIesTŁ 
AT ALL MAJOR ’GIFT SHOWS 
225 FIFTH AVENUE 	 NEW YORK 1O N. Y. 
EXCLUSIVE REPRESENTATIVES FOR ERNEST SOHN CREATIONS 
LOS ANGELES SHOWROOM; BRACK SHOPS, 727 W. 7TH St 
126 
Figure 2.18. Copper and Color advertisement, Gift and Art Buyer, July 1952. 
’,. 	 . 
127 
Figure 2.19. Top: Lazy Leaves server illustrated in Crockery and Glass Journal, May 
1952. Bottom: Individual Lazy Leaves dish, private collection. 
128 
Figure 2.20. Copper and Color coffee pot on stand and creamer, private collection. 
Notice original Ernest Sohn Creations foil label, pieces are otherwise unmarked. 
Figure 2.21 Copper and Color advertisement, Gift and Art Buyer, February 1953. 
129 
130 
phi) bows to Arnericas growing 
lertaining in this inspired group 
es. Of ovenproof white vitreous 
red copper lids and black iron 
ads. Each piece with individual 
heating u nit. Prices prepaid. 
A. 2-1 cup coffee poi, candle. 
warmer 
 
it. Twoqus rtcssserole,candle. 
warnier 	 S 5.5011
C. Pair, ro.quaei casoerole, 
- 	 wi)) alcohol burners, 
	 $21.00 
li Two-quari Chafing dials 
alcohol burner 	 .. 	 $15.95 
EIPVE5T SOHV’S DESIGN 
FOR C,1StJ,.it, DIii’ljyG! 
No 	 fAtisc 
	
26 Bellevue The-utre Bldg., Upper Mónfeluir, N, J. 
Figure 2,22. Holiday House shop advertisement, house and Garden, June 1953. 
Figure 2.23. Abraham and Straus advertisement, New York Times, June 15, 1953. 
IVA 
131 
r- igui L.Z’1. 11u 	 cuu.s 
Directions in Dining." A Copper and Color chafing dish, creamer and sugar bowl are 
featured with other manufacturer’s items, 
Wviq/t! g, 011 
6i hJIS:1:,:  
	
Al ALL MAJOR GIFT S HO W S 	
L 
 2 
0460VA~ 
225 Fftr}J AVENUE 	 INC, 	 NEW YORK W N Y 
EXCL USM, RRPRRSNTATIVS FOR FRNMT SOHN CREAT I ONS 
Figure 225. Wrought iron advertisement, Giftwares, March 1952. 
Figure 2.26. Fold-A-Way table introduced in the summer of 1952. 
132 
W5OI 	 W502 
w50S 	 W603 
W507 
W504 
L•] R1 I kiIIt (SI•1AESISX1 
Newest designs by ERNEST SOHJ 
133 
Combination of heavy 
aluminum with solid 
copper and black iron. 
Adaptable for either 
alcohol or stereo heat 
—fingertip heat con-
trol. 
Practical— 
with a thousand uses. 
All Prices Quoted Are Retail 
Dealers’ curf’ less 40% and 10% 
W501--Chafing Dish 2 qt. 
$14 each, Mix, 4 
’sV502—Casserole—’-2 qt, 
Candle teat only $8 cad’, Mix 6 
W505--Crepe Souette 0kb with, 
warmer, Stainless Steel pox, 
I’’ diameter $10 each, Mix. 4 
W503 ---Warmer. 6 1/2’ high, 
Solid capper perforated trivet. 
$6 each, Mix, 6 
W504-- Double Casserole, 
each dish 2 qt. 
$24 each, Mix, 2 
W501 Hostess Set- 
2 qE Casserole and lb cup Pyrex 
copper trimmed beverage server, 
or, double warmer, 
$25 complete, Mix. 2 
ALL ITEMS INDIVIDUALLY BOXED. 
TERMS 2%, 10 DAYS NET 30, 
FOB FACTORY, LACROSSE, WISCONSIN. 
Jack Orenstein Associates 
INCORPORATED 
225 FiFTH AVENUE 	 527 WEST 7th STREET 
NEW YORK Excisiive Representatives of LOS ANGELES 
ERNEST SOHN CREATIONS, Inc. 
Figure 2.27, 1954 aluminum collection, Gift and Art Buyer, February 1954. 
’nfl, nr* ,s, treW, ccz4 a’ 
4. 
IS cjp tIt*.ncvc: v.55 vvppvv vwnvr dvvk gvvvv 
S4 	 Iv*I v.vy 
II IO vv.ssv, 	 t vv.th 	 v.S5 S.rnSi,, 4. 
134 
I. 	 - 
Figure 2,28. Bullocks advertisement, Los Angeles Times, March 14, 1957. 
#"—A NEW FASHION IN OVEN TO TABLE SERVICE 
SEE THE COMPLETE LINE AT ALL MAJOR GIFT SHOWS 
()renstein Associates Jac L  
INCORPORATED 
225 FIFTH AVENUE 	 527 WEST 711, STREET 
NEW YORK pc1usive Jlepresenlativesof LOS ANGELES 
ERNEST SOHN CREATIONS, Iv., 
Figure 2.29. Sonium advertisement, Gift and Art Buyer, August 1954. 
ELEGANCE 
IN BRASS 
Designed by 
ERNEST 
SOHN 
B802 - Oblong 
Fruit Bowl $5.00 
each, Mm. 4 
B807---Reversi-
ble Candlesticks 
$225 each, 
Mine 6 
135 
All items individually boxed 
FOB Factory, New York City 	 Terms 2%, 10 days, Net 30 
JACK ORENSTEIN ASSOCIATES. INC. 
225 FIFTH AVENUE 	 NEW YORK 10, NEW YORK 
fxelusive representatives for ERNEST SOHN CREATIONS, INC 
Figure 2.30. Firm advertisement, Gftwares, October 1953. 
Figure 2.3 1. Brass and Crystal server illustrated in Crockery and Class Journal, 
February 1954. 
ed in Giftwares, March 1954. 
Figure 2.33. Finn advertisement, Gift and Art Buyer, February 1955. 
136 
137 
Figure 2.34. August 1955 advertisement in Gift and Art Buyer. 
138 
Figure 2.35. Ernest Sohn designs including brass and china items in the Holiday Gift 
Shop in Penn Yan, New York in 1955. Nearly all items on the central shelving unit are 
Sohn designs excluding the second shelf above the floor and large charger at top. 
fly !3tTWV PEnS 
5!3<, 3355! 5<5<5! Tb!!y 54333 
<5353 tbl< 	 3hj5<t 13<51 5.5< 5! IL< 3555153!! <5!! 255.53 thy 
<<p5< <3 
	
5* 	 5!SthL tCS 3 <03<55! yeS 
35<31353, <I! <<3<35 I<frs4e.y.d.y <to
-s S 35<33<3<55’th. They 
gity the 355<5<35<535533<34 <eye <<.33435<2 f<y 3355<1<5<0.5!. 5531 
3,3<3 <3 3ee!eS5<. tee. 3 53010<55!, 355 30<4<07 3’e5!•  <.0<343< h<<pSg 
pOet! 	 3,3,5315<, <<<1 3! tt0.03 	 1<33<3<555!!! 
Figure 2.36. New York Times feature including Sohn samovar at right, October 16, 1955, 
H 
139 
AND GILT 
F 	 - 
 
F 	
c 
	
. 	 IFrGF.F&’ 	 U 
F2 . 	 -- 	 . 	 b 	 . .. 
. 	
_: 	 ... 
Figure 2.37. Marshall Field advertisement. Chicago Tribune, May 21 . 1956. Sohn items 
are numbers 9 through 1 2 and 17 through 23. 
140 
Correlated Sci-virig Accessories 
Figure 2.38. Rubel advertisement, Gift andArt Buyer, June 1955. 
Jo, 
 
i’iaejtut 
/2’eóen f$ 
"PI1IMA’EllA" 
The smooth modern 
lines ofwhite ncr. 
ernie complement. 
ed by gleaming 
brass gives you a 
complete line of 
hostess accessories 
in the modern mao 
nor, 
Cassorelo Wermeeqf. sap.) 
	 ...., 	 ,,,,,,,,, 	 Ne. 	 550 $4.75 
Sugar 	 & 	 Crenorns....... 	 ...... 	 ............  .... 	 .......... 	 .No. 	 1504 3,55 set 
Salt 	 & 	 Pepper 	 .........................................No, 	 007 2.00 set 
Coffee 	 Server 	 (6 	 cups) 	 .................................No. 	 1505 350 
Soled 	 Set 	 v/fork 	 & 	 spoon 	 ................................No, 	 J502 5.00 sot 
Donni,Tasso 	 cups 	 end 	 saucers 	 ..............................No. 	 M3 .75 each 
Prices ore wholesale 	 Minimum order to row ruOrunlo, $35.00, 	 Minimum reorders, $25.00 
Evorinotfho 	 A, 	 B. 
	
C. 	 of 	 metal 	 gillosareu’—Alunrinum.—.O.’ass’—"Coppvn 
Figure 2.39. Everlast advertisement, Gift anc/Art Buyer, July 1956. 
Figure 2.40. Quon Quon Co. copies of Sohn designs featured in Gift and Art Buyer, 
October 1956. 
Jack Orenstein Associates 
INCORPORATED 
2 AFTH AVENUE 	 5 27 WEST 7th STREET 
NEW YORK E—lu ~i ve Rep re6 e n t a t i ves Of LOS ANGELES 
ERNEST SOHN CREATIONS, 1. 
Figure 2.41. Firm advertisement, Gift and Art Buyer, June 1956. 
141 
142 
Figure 2.42. Firm advertisement, Gift ardArt Buyer, August 1958. 
GEORGIAN 
IN CONTEMPORARY STYLING 
BY ERNEST SOHN 
International Housewares Show, 	 SY ’1* S’cl York 
Sootheontern Chino, Glorn 	 Gift Show. Y. 	 57 	 r °.Y 
	
Wonhin5ton Gift Show, Scow 79 cc 	 co o . Wc:hw;. 	 DY 
Chi—q. Gift Show, P—, 733754. F0;, lowe, Ciocec, 
New York Gift Show, Soccer 333375, No. Sock Trecko Sl o o RoCking, Nec. York 
Allied Gift & Jewelry Show. Soccer 827-727, Hotel Adolplccc,, Drib, 
Bonton Gift Show, Rowe 415. Hotel 58011cr, Boot00 
Philadelphia Gift Show, Soc-cc 417, Hotel Booj.rrcir 	 Picbbodebphbo 
Jac1 Orenstein Associates 
INCORPORATED 
225 FIFFI I AVENUE, 	 527 WEST 711, STREET 
NEW YORK I5oeluotve Repreoeniotivno of LOS ANGELES 
ERNEST SOFIN CREATIONS, Inc. 
Figure 2.43. Georgian advertisement, G/° and Art Buyer, July 1956. 
143 
Figure 2.44. Georgian teapots, left illustrated in Giftwares, December 1956, right private 
collection illustrated in Gary and Paula Barneby, Hall China Tea and Coffee Pots. 
7ftwares, February 1957. 
144 
Figure 2.46. Vestaware advertisement Gift and Art Buyer, February 1957. 
new ideas for 
easy entertaining 
ronn tho olndio of fnoof floho, honto fVrrrroronodon 
In n;nni md while cmnmonc, For yore own home for 
gifts. bmooero owifhv.rrm.ro 
 rod ton I ironch.-.o,to fn 
orond for moving, one in vonowin 	 rnnnkio,g--novn in 
(owihi’ rod orwpvvynb:nr, in nnoh or wry,! chow, 
Atteomert male, floor tItlIe 
qt 13.00 
bib ’I otwor, 10.00 
I’M, — In" , 7,50 
tOmb, 10,00 
norton, 0.00 
Figure 2.47. B. Altman advertisement, New York Times, April 21, 1957. 
145 
146 
Figure 2.48.Firm advertisement, Gift and Ait Buyer, December 1958 
147 
- 
Figure 2.49. Doric, private collection. Coffee pot at right is the percolator model. The 
large beverage server (samovar), center, retains original foil label reading "Oven Proof 
China Designed by Ernest Sohn." 
WAL!4UTTRAOI!I1r1OOjItO4 o1, 
	
tbo.tr oho 
1551! 
CIUI OA!0 with Uk 1000 
"ran Id 	 oko. ood 
kaik, dUO 
Ithld rnL 
hrr fth .Ii8 I 8k 8 
650 
L1UARt CA01000I.E 	 fl,if,d Olibor 
orloot Ut, tflt,o roodlo to-dr000r 15.00 
SHMP.00IkP i1kVt R ho fr ,o-oUoO plo’, 
llhtor 0,4 ,’aiooi hrdIoo. Oroso’plated 
h0frk hod000,I 	 ryooI pboo 0000 
lbS. 18’ oor lobtoroUS pur IrS00 
000 
505100 505.VE0 I vh8 fk80 
o 	 o88 	 d rpIid 
18 vop 	 dy, 15,05 
k", 
deck the holiday table 
with these 
charming gifts 
II designed by Ent Sohn for 
more gracious living. 
MATCMING SUCAR, CREAMER 
, 10,00 
ALThkAN MAIN FLOOR GIFTS  
MLlrrayhifl 9-7000—FIFTH AVENUE AT 54TH STREET AND AT WHITE PLAINS, MANHASSET AND SHORT HILLS 
Figure 2.50. B. Altman advertisement, New York Times, December 18, 1959. 
148 
CLASSIC "DORIC 
SERVING PIECES 
BY ERNEST SOHN 
I . .. 
FOR 3 DAYS ONLY 
I-100T005 01013 61EL1 £11300 000 YEARS 
or •iny 1hoa ’a aaa -y c1ay Han of thy part 
ahIp 03*".praal nInny. rourhad £0 bnflrynoc by Anna 
alan o"d ann’ng brosn-no’ornd onatnit 
hA 	 yrira ball-non ofra’ll nnoy ohnnlny 
oO Coffee tycoon anti conoore nOb brent wynnyrt. 
A IS cop 0 11t tenon, to6 316 ..,,,,,..., 7.93 
B 35-rap n -no,or, toy. 534 ...... 	 .... 16.90 
3-ynarrocaryle ’rty 516 ..,.......... 7.99 
0 
Loop lana, too 06 ...,...... ...... 7,99 
F. Clap and Op toy, SIP ....,.,... ..... 4,99 
149 
-•----: 
-_IIIÆ 
Figure 2.51. Broadway Stores advertisement, Los Angeles Times, May 3, 1965 
Illustrations Chapter 3 
150 
151 
Figure 3.2. Riviera in private collection. 
EVFNT 
I - 	 •’- 	 fur sunuluer piiteflafnE., for J..Nless gab.... 
I uro.pro.f rhjuo 1su1f4.g 
12’ 
Figure 3.3. Riviera with Bouquet pattern advertised by B. Altman in the New York Times 
July 9, 1961. 
2 sets jam end moo-
rt,alodo oat es/thrown 
speono so stood @ 
o. 1,25 n Ofe. 50.14. 2150 
Pa. t3",s 11" 3’701no 
taUnt, w/poliotood nosed 
he5dles (th 5.00 no. Ifo, 
51-27. 4,00 
Two 7.pn. odeS eats in. 
fluding 4 bowls, seremis 
handled fort, & spoon, 
12" soled bowl @ 230 
set. No. 5824. 5.00 
2 pot. 34’ S’soolleo so. 
son in "Modotro" basket 
@ 2.75 ott. tie. 5025. 
5.50 
Mrl Coos 
SPOON REST 
It" 3-ooctior spend rost 
witto polished coast toes’ 
die, Mm. 2 don. No. 30 , 
23, 6,75 ntoz, 
0" snack sonnets, 3 cost. 
Min, 2 doz. Ho. 00.22, 
5.40 don, antI 
Sold only in nor. 
to,, o,50rtnlefltS, 
No osbolitsllons 
p leO Sn. 
MARDI R’A$ ASSORTMENTS 
A new, practical and exciting pattern.. . . functional. . low-priced! 
152 
Sit, htse iI osrFiŁp i5to7stfttid1nj imports ant fht 
ATLANTA GIFT SHOW Booths 208’209 Municipal Auditorium ion. 15’18 
CALIFORNIA GIFT SHOW Booths 67, 68, 69, 70 Biltmore Hotel, Rex Roam Jots. 22’27 
CHICAGO GIFT SHOW Roams 833 & 834 Palmer House Feb. 512 
Eli All  — A 909 
p1UI 	 NIV4 1 11440YAINA1901  
Figure 3.4. Lipper and Mann advertisement, Gift and Art Buyer, January 1961. Copies of 
Sohn’s Riviera shape can be see in the "Koffee..Kiotch" group at left and casserole at top 
center. 
uom u-ijr ana Art Buyer, August 1960. 
153 
t 
L 
4 . 
- 	 -, 
Figure 3.6. Contessa pieces in a private collection. 
)ac ? Ore ntein/i’s’wt . - 
___ 
	
FOR, 1961 
THE BUTTER MOULD LINE 
dosgnd by 
 
’dMft<v 
AT All MAJOR CAT SHOWS 
J50k Orenstein Associates, Inc. Jack Orenstein 0f California, Inc. 
NEW YORK 	 DALLAS 	 LOS ANGELES 
Figure 3.7. Butter Mould Line advertisement from Gifiwares, February 196 1. 
154 
, 
155 
- A,-9 
Figure 3.8. Butler Mold in a private collection. Bowls at left are part of the line’s lazy 
susan and casserole cover is shown at right foreground. 
o 	 L 
I. 	 I 
iN!I 
Figure 3.9. Butter Mold on display at Ramsey’s Corner shop in Salt Lake City in 1961. 
Salt and pepper shakers, beverage server (samovar) and fondue pot are visible. 
Jack 0re-nstein// ,,,ir,/,//j ... 
THE 
PRADO 
COLLECTION 
-m 
HAND 
FORGED 
Desgred by 
eSm~ 
Mode i n USA 
çr 
Anliq 
eY’ 	 I 
ack Orenstein Associates, Inc. Jack Orenstein of California,I 
225 111TH AVENUE 	 DILLS TRADE ’1 IARr 	 527 WEST Srzi STREET 
NEW YORK 	 DALLAS 	 LOS ANGELES 
Exclusive R enre sentatives of VRNEST OHN CRVAT1n1S. INC. 
--- --".-- 
’k 
- 
157 
Figure 3.11. Enamel and wood items in private collection including bookends, ashtrays 
and serving pieces. Private collection. 
U 
Figure 3.12. Casserole dish on stand combining wood, enamel on metal, brass plated 
metal. Private collection. 
Jack Ore n s t ein,di,&.. 
0 	 op 
DESIGNED BY 974&AOZ~4-501M 
C 
Exhibited At; 
LOS ANGELES, Brack Shops 
	
CHICAGO, Palmer House 
DALLAS, Dallas Trade Mart 	 NEW YORK, 225 Fifth Avenue 
	
- 	
AND ALL MAJOR GIFT SHOWS 
Jack Orenstein Associates, Inc. Jack Orenstein of California, In( 
225 FIFTH AVENUE 	 DALLAS TRADF M,UT 	 527 WEST 7th 5i flEET 
	
NEW YORK 	 DALLAS 	 LOS ANGELES 
Exclusive Representatives of ERNEST SOHN CREATIONS, INC. 
159 
\" 
THE S,,ond 
 
Chafing Dish 
Cookbook by 
Marie Roberson Hamm 
A prize collection of the hest in chafing dish recipes, plus lips 
to gourmet cooking and gracious entertaining in simple or festive style 
/ 
Figure 3.15. Dust jacket illustration from The Second Chafing Dish Cookbook by Marie 
Robertson Hamm. 
160 
161 
Figure 3.16. Candleholder advertisements. Top: G/1 and Art Buyer, February 1963. 
Bottom: Gift and Art Buyer, February 1964. 
162 
3.17. Fondue chafer advertisement from Gifts and Decorative Accessories, July 1964. 
L tsJoh 
iIII$ 
At all Major Shows and of our Permaneni SkOvvFCDms 
Jack Orentein Associates, Inc. 
225 Fifth Avenue. New York 10. N Y. 
105 ANGELES 527 West 7th Street 	 DALLAS Trade Mart 	 ATLANTA. Merchandise Mart 
Exclusive Representative of ERNEST SOUN CREATIONS, INC. 
Figure 3.18. Esquire advertisement, Gift and Art Buyer, January 1963. 
Ak 
Figure 3.19. Esquire, private collection. 
163 
164 
Jack Orenstein Associates, Inc. 
225 Fifth Avenue, New Voek 10, N.Y. 
(0$ ANGELES: 527 West 7th Street 	 DALLAS Trade Mad 	 ATLANTA: M*,Chafldjs. Mad 
Exclusive Representative of ERNEST SOHN CREATIONS, INC. 
Figure 3.20. Empire advertisement, Gifts and Decorative Accessories, July 1964. 
. 	 .w_ 
! 
Figure 3.21. Empire in private collection. 
165 
R 
NEVER BEFORE AT SALE 
PRICES EMPIRE 
ACCESSORIES 
— 	
L BY ERNEST SOHN 
t f 20% TO 33% 0"" . 	 !’ 	 All’j 
: 	 lust-,0,,n pold b 4 A 
	
 gnofu,2 for’Lr 
	 idL 	 Now for 
- 	
-’- 	 ) the brs 	 k 	 - o j! cc x v mrs t cy cqd " d 
	
1,99 	 1 
	
2(2 	 \ 	 \ 
I 
Figure 322, Broadway Stores advertisement for Empire, Los Angeles Times, April 28, 
1966. 
Figure 3.23. Early American advertisement, Gifts and Decorative Accessories, January 
1965. 
166 
167 
Figure 3.24. Pennsylvania Pewter advertisement from Gifts and Decorative Accessories, 
July 1966. 
168 
Figure 325. Firm advertisement in Gifts ancJDecorative Accessories, January 1966. 
169 
Figure 3.26. Fall collections advertisement, Gifts and Decorative Accessories, July 1965. 
  
Figure 3,27. F/am eware advertisement, Gifts and Decorative Accessories, December 
1965. 
170 
1967 
171 
172 
a festival of color for spring ’68 	 b. 
n, 	 ’s’ts’t,fl. 	 pkr\ 	 fi j .ç 	 - 	 \  
tilsti’ 	 ’-’u 	 d 	 _f 	 \c! Pcfc.t 	 - 
r 	 fl’5 lhwno_ 	 _ 1 
-- 	 etco industries, inc. 
Af 
VNI 
ZI 
ilk 
iw 
• 	 ____ 	 V 	
V 
V 	
ai 
Figure 3.29. Etco advertisement, Gifts and Decorative Accessories, January 1968. 
Figure 3.30. Teak advertised in Gifts and Decorative Accessories, July 1969. 
Figure 3.31. Nucerite fondues highlighted in Gifts and Decorative Accessories, 
September 1969. 
173 
hi, lit u 0: i’m,. ’11004111 ad UUWY ).l.iO,AM;  
lue lIlt-to; I, hoyt,, iSat,irmlryh 15 w 5:411 
174 
GLEAMING ACCESSORIES 
HIGHLIGHT 
OCCASIONS 
Ilto, fohi VMS ."mom no of whim wok glent lilIg ’I 1100, 
of teakItoni ntiS lux (I. Gay 110 light accc ,lfs 011 It ’I 
- lit, 	 none - tb flit li;aioiy It fit 
tOnic; lStt liii- tl1tAt ;aorrl if inialS in ik lvi baD&A 
hO 15001 001 t fitlIlint 	 ml oh,liot, 
1 ci;’ 1,-c 115-101 1 bllfl4/cII( oak Sot fat 
ill 	 100101 laoii:g \c 0Ol1ri0t—it, On, 	 Ii, 
\\ a°n oh: 5 	 h,vancton, Unk Porl: 
1’crh 5,10 Old Iltolcard, Oaliliroolc River (Itin, 11101 
hi. 101)10 it Wtt,voti"a, Wlsciio’ti 
I, 	 tOn r000 11 ;’ I m-pitd Iron and bit Opic pool, 123 
2 lUI - ice lcr[e1 ItOh chr’ 	 -oI,k-1 111w t,il It It 	 010 
I tcmhoc 
o I,lc;da,l II ’ItO 01 elI ’vi, So25 &I 0050 
5, AA" ’ci wbam toUt I’,Oct Ii;; 1111111 & i1O 3 twirl c,,,; :1, 
C CoOl, otibe of HE Ito!; 01 III ,tb’t owl t’o,,loo ol,d l ilt Oc;lt, 3o525 
P 1-10 
y, 12 :0; Lod tI 	 U - i---- o,.r 	 ,, 	 a ol mu, ttti,lmno tlt,i otronc no 
I hlim,e,; tic - i lo,tjoo lOrmor 1; 158 nh tot, born oborin, 023 
12 (11€ 00 b’irI of il,l,’ I toOt, tiC blIldOli Ii’ 0 1,110 051L1i115 with I ’i,,,up 
10, WItile Chia. "o’5trole "nth eLolt it v;nrrir0, 2’qi rI c - to ;oi’y fi I 
Figure 3.32. Marshall Field and Company advertisement, Chicago Tribune, October 23, 
1968. 
175 
WELCOME 
SPRING 
ailf&i BUFftTWARE 
OLOR-HAPPY 
What 
4c JT, 
cr 	 __ 
có 	 .%j 	 r(thn 
. ... . 	
than th LFl ON) 1k 
Th 	 ertm1 d1cv 
’I. 	 d zcv hrnc g rccn paint i 
of bo.51cs h,dptrs from o 
hip dp 	 rk;1 rt 
- From 
	
Sobi div Swing 
. 	 . 	 ... 	 . 	
I 
a;afr.rjr and ocravtr k Fat on 
hr’r’y nor look I -ror 
rf nag ’mnd our oc enter tin-
roan rib lc tarn of 
- 	 ... - 	
rrdr rt u tou to Corral L,r to 
Socrn;r Floor, 
. 	 . 	
. 	 fl..: 	
. 	
Oak Frk. l’zrk Frrrr 	 flirt 
Ore Fart! Oakbrr 	 Rrvrr 
()a kg one 1ariair 
tom. \V!irrsi -; 	 f-b fl to f- 18 
F L P!a-r,rkebrltrt} 
- 	
. 	 tttrflrtiri. LZIi.I 
& 	
.o :ij 	 tea;. 13t’t.toit dirtutrt 
c- in. tojtoe. rorrj/aroF 
;r. 
• 	 •. 	
. 	 tttv’olrltoa •.t ,tr 0 
•t. 1 ore 
	
tortme rmr. r. nit 
rtn qtor 	 rtr.tt .. 	 tot. 
.. 
	 . 	 knijerthtttt1waorkl •odiea Joe[ 
i’ktk,1l 
.• 
 
044io Cray, IIi° ..... 
j 	 with tai 1i itoneir, Li 0 
.... ...- . . 	
ehrd. 2. kbrr  
. 	 . 	 . 	 . 	 .. 	
. 	 ratoic tife iieet inhe With 	 pin 
____________ I 	 _____________ 	
• tk Imcge 404 tnd 	 SI 
. Walt-C etotlotiel. 7,14. 
	
4 	 . . 	 . 	 rootic tilat knife on-fl, Itiliw 
an gcl a& $1 
Figure 3.33. Marshall Field and Company advertisement, Chicago Tribune, April 8, 
1969. 
176 
Ij 	 ETCO INDUSTRIES coJ  Division of American Trading and Production Corporation - 	 225 Fifth Avenue • New York, N. Y, 10010 A 	 , 
Figure 3.34. Etco advertisement, Gifts and Decorative Accessories, July 1972. 
id Decorative Accessories, March 1976. 
177 
Figure 3.3 6. Etco advertisement, Gifts and Decorative Accessories, February 1971. 
S1 (Si ( 
: 
lip- 
- V 
 CC 
J 
I’ 
NUSTRiES 
Figure 3.37. Seafare advertisement, Gifts and Decorative Accessories, August 1974 
HE 
179 
ones, November 
1977. 
Figure 3.3 9. Etco advertisement, Gifts and Decorative Accessories, January 1973. 
Figure 3.40. Etco advertisement, Gifts and Decorative Accessories, December 1972. 
The master returns to the potter’s 
Ernest bench to create an elegant collection of sculptured high-tired porcelain 5ev- inq pieces in classic white on white 
Buffet Basket Because elegance isn’t enough. Ernest 
t 	 ectiOn Sohn’s new"Buffet Basket" is chp-resistant, dishwasher-sate, and goes 
fxom refrigerator direct to oven to table. 
See the entire collection at your near 
est Ernest Sohn Creations Showroom. 
Made with pride in U.S.A Write for 
complete information today. 
Ernest Sohn Creations 
( ET CO INDUSTRIES 
IIOOSEWAI1ES ’DIE tIVARES DIVISION 
0 
• 0 
B aqara New from Ernest Sohn. Each piece a work of art, bKilifUiIy crafted GlaSS by hcJ.id in translucent topaz-brown 
ii 	 glass, Each piece with the nanuoown craftsman’s seal and ground 
4 bottom that mark Baara as a in 	 e trauwon coectors item. 
Something no.v and rare for your of the customers in search of the unusu 
Venetian See the entire Baoaa Collection 
-vrngiare baware and 
m ast e rs 	 rqe jars at your nearest Ernest Sohn Showroom or write for catalog,  
Ernest Sohn Creations 
ETCO INDUSTRIES 
NLIJ SEW ARE SiG IF TWA RE$ MIS I ON 
CORPOPAIIeN 
fi 
’REA[OHS 
• 
4 	 00 
1: 	 -