The post-World War I era saw a major change come over the Art Nouveau movement with the introduction of decorative design additions, referred to as "deco." The evolving style quickly became known as Art Deco, and its principal period is judged to span the years 1920 to 1939, but its evolution into modernism extended its influence well into the early 1960's. One of the basic tenets of deco design is its replacement of nature's beauty with that of technology. Man-made industrial touches were at the core of the movement, particularly the more attractive elements of automobile design. Dashboard controls, gauges, and radiator grill designs worked their way into everything, finding their most appropriate use in appliance cabinetry and casings. It was an era when industry and art were almost inseparable. The rounded product forms suggested a streamlined, frictionless journey forward for mankind, and all embraced it fully.

Of course, the rejection of nature often included the rejection of wood as a cabinet material, but there was more to it than that. Wood cabinet forming, particularly in the unusual design styles that were being striven for, was time consuming and costly, even in an assembly line environment. Something else was required, something that could be produced much more cheaply. The answer was found in early, phenol formaldehyde plastics, such as Bakelite and, a decade later, Catalin. However, each of these compounds had their own problems. Both required lengthy drying or baking times (still far less manufacturing time than for a wooden cabinet), and Bakelite in particular required added filler elements to give it maximum strength. These additives did not allow colored coal tar dyes to effectively be added to the compound, so black and brown became the basic colors for Bakelite products. But designers soon overcame this limitation with the application of colorful surface paints. The later developed Catalin resin was a little stronger in its basic state, allowing makers to produce a wide variety of colors with the translucent material, trading off a bit of strength for a more appealing state that would require no painting, reducing costs even further. The costs were so drastically reduced that a Depression Era family could buy a plastic radio for no more than $10.00, whereas a wooden cabinet equivalent would have forever been beyond their reach. These radios represent America's initial steps into the first Plastic Age, an age that would pave the way for us all to be connected electronically.

To find one of these early works of cabinet art intact is a near impossibility. As tastes changed and the electronic elements of the set wore out, many were tossed aside, replaced by newer injection molded plastic models. Also, the fragility of early plastics, as well as some poor designs that did not take plastic shrinkage into consideration, led to many cases experiencing major cracking. The painted Bakelite cases, as you can imagine, were often nearly paintless after a decade of family wear and tear. Add to all of that the fact that the unpainted Catalin models darken severely with exposure to UV rays, and you can readily understand the need for talented restorers in this field. Of the six radios to follow, all have been perfectly resurfaced, repainted and cleaned; their dangerous power cords have been replaced, and their original electronic components have all been brought back to specification. Please note that none of these required any surface repair with fillers. Each case was in nice condition, requiring only repainting. The paint schemes on all of the radios are vintage in color choice, but are unique combinations, divergent from the original finishes. These six are as nice as any you will find, and each was chosen for its classic styling and color combinations. Each of the six is from a different maker, and every one stands as a proud exemplar of the best their firms could manufacture. Today, the presence of any of these models in an appropriately decorated environment suggests an owner who is knowledgeable, both of design and of its very colorful history.

The 1939 Firestone "Air Chief"

Often called the "World's Fair" radio, due to its debut during the second year of the deco festival that was called the 1938-39 New York World's Fair, the "Air Chief" was produced for Firestone's long running line by Stewart Warner. Using a unique and attractive cabinet design (13" wide x 7-1/2" tall x 7" deep) in a classy black and red coloring scheme with a gold logo design, Stewart Warner's efforts were much admired. The radio was one of the most popular of the year and is now recognized as one of the all-time classics, highly sought after by collectors at all levels. The Air Chief's dry cardboard backplate has disappeared over the years (unnecessary in the eyes of most collectors), and the full unit has been restored to Mint condition appearance, and performance, by the most talented of restorers.