As with so many things, candle chimes divide neatly into categories of “Pre-War” and “Post-War” manufacture. Before World War II, most chimes were made in Germany of lithographed tin, exhibiting — like other tin toys of the period — lots of pictorial and/or embossed detail, and many moving parts. World War II killed both the export and German domestic markets for candle chimes and other tin toys for the duration, and for a significant period thereafter. Swedish and other northern European makers eventually arose to meet a continuing post-war demand for candle chimes, but took the opportunity to impose a different aesthetic. Post-War chimes involved somewhat fewer pieces than their Pre-War cousins, were much simpler in outline and detail, and were generally stamped from unadorned flat brass, rather than embossed lithographed tin.

 

Heli “Christmas Chimes” (29 x 13.5 cm., base = 14 cm. dia.)

This American import is by the same east-German maker as the earlier example. Although entirely of brass, the low-relief modeling of the major design elements is a holdover from more elaborate pre-war candle chimes. Use of a bell as a central decorative feature is unique to this chime; other versions incorporated Lauscha glass decorations as part of the decorative scheme. The Christmas-tree base proved popular and long lasting. 

Heli “Glockenspiel/Christmas Chimes” (29 x 13.5 cm., base = 14 cm. dia.)

A relatively modern German chime with Christmas tree base and an angel topper reminiscent of Swedish designs. There is no maker’s mark, but the distinctive Christmas tree base marks this chime as a descendant of the “Heli” products discussed earlier. I have seen this and similar designs described on the German eBay site as “DDR-Engelsgeläut,” or East German angel chimes.  

“Country Church Chime” (37 cm. high x 21 cm. long x 13.5 cm wide)

This "Country Church" chime dates from sometime in the 50s or 60s, but its painted tin construction is a throwback to earlier pre-WWII chimes. The design is ambitious, but not very well engineered, and the configuration of the moving parts is awkward. 

In the postwar years, aggressive marketing of simple, well-designed and carefully-engineered “Swedish pattern” candle chimes through Sears and other American outlets led to a significant rise in popularity of these toys, despite the simultaneous explosive increase in the sales of electric Christmas lighting. Indeed, variants of the popular Swedish pattern chime are still available today. Despite the claim to derive from “a beautiful old Swedish original,” almost every important feature of these modern Swedish pattern angel chimes derives from German models — particularly those of Adrian & Stock — of the early 20th century. The family resemblance is striking, particularly in the “floating angels” with their bell-clappers, and distinctive pompadour hairdos. A brief history in English of one Swedish manufacturer of angel chimes can be found at http://www.smpab.se/htm/history.htm.

“Änglaspelet” (Angel Carillon) (34.5. x 13.5 cm., base = 13 cm. dia.)

This very early post-WWII Swedish “Änglaspelet” forms an interesting link between the Stock designs of the early 20th century and today’s Swedish pattern angel chimes. The box includes directions for assembly in both English and Swedish.

Although the plain base design and die-cut angels, as well as the exclusive use of brass, mark it as a Swedish-derived product, most of the key design elements — the spiral “spring” support, the central star, the shape of the bell supports, the tiny stars atop the chimes — are obviously adapted from pre-war Adrian & Stock designs: compare this post-war chime, element by element,  with a “No. 3” Adrian & Stock chime from the 1930s.

Adrian & Stock	Swedish Änglaspelet

Holt Howard “Angelabra” (33 x 14.5 cm., base = 11.5 cm. dia.)

Another early transitional design, identical to the modern Swedish pattern in most respects. Holt Howard Associates were based in New York City, but it is not clear whether this chime was produced in the U.S., or imported from overseas. The instructions include a charming (but highly unlikely) story on the origins of the “Angel Abra” chime.

Sudhouse “Weihnachts Glockenspiel” (Christmas Carillon)
(33 x 13.5 cm., base = 11 cm. dia.)

Elements of the very popular post-war Swedish chimes were sometimes copied (or perhaps “repatriated” is a better word) by German manufacturers. Dating to the 1950s, this “Weihnachts Glockenspiel” by the West German firm of Sudhouse has a unique patented base with a trio of chime-bearing angels, but its superstructure of “floating” cherubs is identical to contemporary Swedish models. The directions for assembly are given in both German and English.

“Klockspel”  (Carillon) (32 x 14 cm., base = 14 cm. dia.)

An attractive and well-made variant of the Swedish pattern chimes, with a star instead of an angel as the top ornament.

“Jingle Abra” (32 x 17 cm., base = 13 cm. dia.)

This imported “Jingle Abra” is by far the most elaborate post-war Swedish pattern chime this collector has seen. Lithographed red stars, a small herd of reindeer, and a flanking pair of trumpeting angels harkens back to the complicated Adrian & Stock designs of the 1930s, a refreshing departure from the relatively austere designs of the post-war era.