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Monumental Overmantel or Pier Mirror in the Aesthetic Taste
Located in New York, NY
American, third quarter of the 19th century.
Pine, gessoed and gilded, with mirror plate.
Measures: 81 ½ in. high, 59 ½ in. wide.
Condition: Excellent. The gilding has been cleaned and very, very slightly inglided as necessary. The ball at the upper left was missing and has been replicated based upon...
Category
Antique 19th Century American Aesthetic Movement Pier Mirrors and Consol...
Materials
Mirror, Pine
Center Table with Scroll Legs, Paw Feet and Marble Tops
By Thomas Seymour
Located in New York, NY
Center Table, about 1818–20
Attributed to Thomas Seymour (1771–1848), working either for James Barker or for Isaac Vose & Son, with Thomas Wightman (1759...
Category
Antique 1810s American American Classical Center Tables
Materials
Mahogany, Wood
Pier Mirror with Églomisé Panels
Located in New York, NY
Pier mirror with Reverse Painted, or Eglomisé, Panels, about 1800
New York, New York
Eastern white pine, gessoed and gilded, with compo ornament, glass, reverse painted and gilded,...
Category
Antique Early 1800s American American Classical Pier Mirrors and Console...
Materials
Glass, Wood
Card Table in the Rococo Taste
By Charles A. Baudoine
Located in New York, NY
RECORDED: cf. Anna Tobin D’Ambrosio, ed., Masterpieces of American Furniture from the Munson-Williams-Proctor Institute (Syracuse University Press, Utica, New York, 1999), pp. 85, 86, 87 illus. the Munson-Williams-Proctor tables // cf. The Metropolitan Museum of Art, New York, 19th Century America–Furniture and Other Decorative Arts (1970), exhib. cat., [n.p.] no.133
This table is identical to a pair of card tables bearing the stenciled label of Charles A. Baudouine of 335 Broadway, New York, which were acquired by James and Helen Munson Williams of Utica, New York, in May 1852 for their home, Fountain Elms, which is where they remain today as part of the Munson-Williams-Proctor Art Institute collection. The Williams tables were billed as “1 Rosewood Multiform Table” at $160 for the pair, and they were indeed “multiform” in that they could be used separately and folded as a pair of console tables, opened as a pair of card tables, or joined together as a center table. The present table varies essentially in the fact that it does not include the mechanism that would have allowed it to be attached to another to form a center table.
Of French descent, Baudouine was born in New York in 1808. He made his debut as a cabinetmaker in the New York directory of 1829/30, where he is listed at 508 Pearl Street. By 1839/40 he relocated to Broadway, where he remained in business at various addresses until about 1854. A sense of the scale of Baudouine’s operation is given by German immigrant cabinetmaker Ernest Hagen...
Category
Antique Mid-19th Century North American Rococo Revival Card Tables and T...
Materials
Wood, Rosewood
Pair of Porcelain Urn Form Fruit Coolers with Covers and Liners
By Stône, Coquerel, and Legros d'Anisy
Located in New York, NY
Pair Footed Fruit Coolers, about 1810-20
Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49)
Porcelain, partially transfer printed in sepia and green and gilded
Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep
Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE /
COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur
Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on
underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615
The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris.
Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...
Category
Antique Early 19th Century French Neoclassical Wine Coolers
Materials
Porcelain
Earthenware John Bennett Plaque with Pink and Blue Phlox
By John Bennett
Located in New York, NY
FAPG 20247D
John Bennett (1840-1907), New York
Plaque with pink and blue phlox, circa 1881-1882
Earthenware, painted and glazed
Measures: 14 7/8 in. diameter, 1 13/16 in. high
Signed and inscribed (on the back): J B[monogram] ENNETT /
E 24 NY. / MC [or] CM
If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics.
A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally.
Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background.
Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years.
Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...
Category
Antique 1880s American Aesthetic Movement Ceramics
Materials
Earthenware
Seven-Drawer Tall Chest of Drawers
Located in New York, NY
Boston, Massachusetts
Seven-drawer tall chest, circa 1825.
Mahogany (secondary woods: mahogany, pine, and poplar)
Measures: 45 5/8 in. high, 27 5/8 in. wide, 14 5/8 in. deep
Inscribed (on six drawer locks): SECURE; (on seventh lock): CHUBB’S / PATENT / 57 St PAULS CHY / LONDON / CHUBB & SON / MAKERS TO / HER MAJESTY / 632284; (on one hinge): [BUR?] NE PATENT; (on master lock): 2 LEVER.
Although some Boston furniture of the Neo-Classical period is elaborately decorated with ormolu mounts, brass moldings, and carved and gilded elements, other pieces are more simple and are said to reflect the “conservative” taste of many of Boston’s great families. The simplicity evident in these pieces is not an indication of a less-expensive line of furniture or a less-sophisticated patronage, but, like the so-called “Grecian Plain Style” of Duncan Phyfe’s furniture...
Category
Antique 1820s American Neoclassical Commodes and Chests of Drawers
Materials
Mahogany
Bowl with Dogwood Blossoms
By John Bennett
Located in New York, NY
Bowl with Dogwood Blossoms, 1882
John Bennett (1840–1907)
Earthenware, painted and glazed
4 in. high, 7 5/8 in. diameter
Signed, dated, and inscribed (...
Category
Antique 19th Century American Aesthetic Movement Decorative Bowls
Materials
Earthenware
Pair of Armchairs En Gondoles
Located in New York, NY
FAPG 20555D/2
Pair "Fauteuils," or armchairs, en Gondoles, circa 1830-1835
New York
Mahogany (secondary woods: ash)
Each, 31 1/2 in. high, 21 1/8 in. wide, 21 1/8 in. deep (over...
Category
Antique 1830s American American Classical Armchairs
Materials
Mahogany
Pair of Oval Double Curule Benches, New York, Possibly Duncan Phyfe and Son
By Duncan Phyfe
Located in New York, NY
Pair of oval double Curule benches, circa 1835
New York, possibly Duncan Phyfe and Son
Rosewood (secondary woods: ash and poplar), with gilt-brass castors
Each, 16 3/8 in. high, 2...
Category
Antique 1830s American Neoclassical Benches
Materials
Mahogany
Hanging Lantern
By Boston and Sandwich Glass Company
Located in New York, NY
American (glass attributed to Boston and Sandwich Glass Company, Sandwich, Massachusetts), circa 1830-1840.
Glass, blown, partially frosted, and wheel cut, with cast and die-rolled brass, patinated.
This hanging lamp is typical of the production of such lanterns by the Boston & Sandwich Glass Company of Sandwich, Massachusetts, during the 1830s, and perhaps as late as the early 1840s. The present example is an unusually elaborate specimen with its overall frosting and cutting. In their The Glass Industry in Sandwich, II (1989), Raymond E. Barlow and Joan E. Kaiser quote Boston & Sandwich Glass Company manager Deming Jarves on the fabrication of lamps of this general type (p. 225 no. 2398). These hanging lanterns could be supplied with a candle or with a peg lamp...
Category
Antique 19th Century American Empire Lanterns
Materials
Brass
Fan-Carved Wood Mantel in the Federal Taste
Located in New York, NY
New York,
Fan-carved mantel in the Federal taste, circa 1812
Pine
Measures: 66 1/4 in. high, 90 3/8 in. wide, 13 1/4 in. deep
Within the genre of carved rather than plasterwork mantels of the Federal Period, no example that has come to light is more perfectly designed or more carefully wrought than the present one, which is an amazing symphony of fans, urns, beads, and other Neo-Classical devices, all ultimately influenced by the plasterwork designs of the English architects Robert (1728–1792) and James (1732–1794) Adam.
Of a type that proliferated in the area bounded by the northern New Jersey counties of Bergen and Passaic, the Hudson Valley, and western Long Island, the mantel is representative of work that flourished in the first couple of decades of the 19th century. While most of the woodwork of this style that has survived is found in interiors, various examples of exterior doors and other trim have been noted, but most examples have disappeared as a result, variously, of natural deterioration and purposeful demolition in anticipation of development.
Although considerably larger in scale and more elaborate in ornament than a mantel that has been in the collection of the Brooklyn Museum since 1944 (acc. no. 44.55; photograph in Hirschl & Adler archives), the present mantel is so close in style and conception to that example that it likely originated in the same house.
The Brooklyn mantel is documented as having been removed from a house built by Judge Isaac Terhune (1762–1837), an eminent lawyer and judge. The house was situated on King’s Highway, at the corner of Mansfield Place, at the edge of South Greenfield, a village in northern Gravesend, Brooklyn. A photograph of the house, taken by the German e´migre´ photographer, Eugene Armbruster (1865–1933), is in the collection of the New-York Historical Society.
Terhune is ultimately descended from the Dutch-Huguenot e´migre´ Albert Albertson Terhunen, who died in Flatlands, Brooklyn, in 1685.The family eventually spread out through New Amsterdam, Long Island, and Bergen County, New Jersey. Terhune’s great-grandson, also Albert (1715–1806), left a sizable estate to his six surviving children, including his second child and second son, Isaac.
Judge Terhune lived in the house until his death in 1837, at which time, according to an article in The New York Times for November 27, 1910, he, having died without issue, “left the White Frame Mansion with its exquisitely carved doorway, beautiful mantels, and other interior adornments to his brother John” (Part Six, p. 11).
The article continues:
After the latter’s death, the house and its estate of about 70 acres passed through several owners, eventually being purchased in 1853 by Benjamin G. Hitchings [1813–1893].
The house next passed to Benjamin’s son, Hector, who had been born in the house, and then lived there for 25 years. He sold it in 1910 in partial payment for a Manhattan apartment house. After thus having been sold to a real estate developer, the Hitchings property was subdivided into Hitchings Homestead. The house survived until about 1928, at which time it was razed and a Deco-style apartment house with the address 2301 Kings Highway was constructed on the site and occupied in 1935.
By 1910, the fate of the house, in an area of Brooklyn that was being rapidly developed, was becoming obvious. The Times article reported:
The house has been well kept up, but fearing lest the hand of time or vandals might deal harshly with some of its choice bits of carving, Mr. Hitchings removed a few years ago a few beautifully carved wood mantels...
Category
Antique 1810s American Neoclassical Fireplaces and Mantels
Materials
Wood
Miniature Striped-Maple Serpentine Chest of Drawers
Located in New York, NY
American, probably Boston or Salem, Massachusetts
Miniature Serpentine Chest of Drawers, circa 1785-1800
Striped maple, ebony, and rosewood (secondary woods: mahogany), with brass dr...
Category
Antique 1780s American Chippendale Commodes and Chests of Drawers
Materials
Wood
Butler's Desk and Etagére, New York, Possibly Duncan Phyfe
By Duncan Phyfe
Located in New York, NY
Butler’s Desk and Etagére, circa 1825
New York, possibly by Duncan Phyfe
Mahogany (secondary woods: mahogany, pine, poplar), with ormolu mounts, marble,...
Category
Antique 1820s American Neoclassical Cabinets
Materials
Mahogany
Gothic Armoire
Located in New York, NY
FAPG 19959D/2
Gothic Revival armoire
New York, about 1835-1840
Mahogany, with brass hardware
Measure: 104 in. high, 73 in. wide, 30 in. deep
Exhibited: Hirschl & Adler Galleries, New York, 2011–12, The World of Duncan Phyfe: The Arts of New York, 1800–1847, p. 89 no. 45 illus. 89
Ex coll.: Private collection (probably R. H. Selstadt, Big Stone Gap, Virginia)
Although no specific pieces of Gothic furniture documented as by Duncan Phyfe have come to light, there is considerable evidence that he, like various of his contemporaries in New York, embraced the Gothic style. For example, the catalogue of the Halliday & Jenkins auction sale of the contents of Phyfe’s furniture ware rooms, which was held on site at 192 and 194 Fulton Street, New York, on April 16 and 17, 1847, included a “mahogany centre table Gothic gilt pillar and Egyptian marble top” (Halliday & Jenkins, p. 3 no. 63); “12 mahogany Gothic chairs...
Category
Antique 19th Century American Gothic Revival Wardrobes and Armoires
Materials
Brass
Pair of "Old Paris" Vases with Garlands of Bisquit Flowers
Located in New York, NY
French, circa 1820.
Porcelain, painted and gilded, with applied bisquit flowers
8 13/16 in. high.
Inscribed (with incised mark, under the base of each): 3.
Category
Antique 1820s French Neoclassical Porcelain
Materials
Porcelain
Small Settee in the Neoclassical Taste
Located in New York, NY
Small Settee in the neoclassical taste
Boston, Massachusetts (active 1804–17), about 1810
Mahogany (secondary woods: ash)
Measures: 35 1/8 in. high, 59 3/4 in. long, 19 1/8 in. deep
Although the diminutive scale of this settee places it in a unique category, the piece itself partakes of a vocabulary that is common in Boston furniture of the Late Federal period. Its sabre legs, for example, as seen straight on from the left and right ends, are closely related to the legs, as seen from the front, on a group of chairs of undisputed Boston origin, including a spectacular armchair with scrolled arms (see Stuart P. Feld, Boston in the Age of Neo-Classicism, 1810–1840, exhib. cat. [New York: Hirschl & Adler Galleries, 1999], p. 37 no. 6 illus. in color), as well as a number of side chairs, including a set made for Nathan Appleton (see Page Talbott, “Boston Empire Furniture, Part I,” The Magazine Antiques, CVII [May 1975], p. 887 fig. 12). In all, the legs are ornamented with two bold, somewhat flattened reeds set between corner beads, a pattern which is repeated here on the front and end seat rails as well. The superb quality of the piece is further demonstrated in the finely drawn profile of the arms, as well as the delicately bulbous surface of the fronts of the arms and legs. As in the best of the related chairs, the sabre legs end in delicately carved paw feet. The added refinement of the beautifully carved rosettes at both the fronts and backs of the arms suggests that the piece may have been designed to be used in the round.
Stylistically harmonious with these pieces is also a group of larger sofas with frontally set sabre legs and scrolled arms (see Page Talbott, “Seating Furniture in Boston, 1810–1835,” The Magazine Antiques, CXXXIX [May 1991], p. 963 pl. 11) that represent an indigenously Boston form. Although none of the furniture in this group has been effectively attributed, they can certainly be related to various Boston card tables...
Category
Antique Early 19th Century American Neoclassical Settees
Materials
Wood
Pair of Fern Wall Brackets
Located in New York, NY
American, circa 1850-1880.
Eastern white pine (Pinus strobus), with wire armature and composition ornament, gessoed
and gilded.
Measures: 14 1/8 in. high, 16 5/16 in. wide (at the sh...
Category
Antique 19th Century American Aesthetic Movement Wall Brackets
Materials
Wood
Peacock Green Cut-Glass Decanter
Located in New York, NY
Peacock green cut-glass decanter
English, circa 1840.
Glass, blown and cut.
Measures: 13 1/2 in. high.
Condition: Perfect, except for minor flakes on the bottom of stopper.
Category
Antique 1840s English Neoclassical Glass
Materials
Glass
Pair of “Old Paris” Porcelain Coolers, Yellow Bands, Floral Wreaths
By Darte Frères
Located in New York, NY
Darte Frères, Paris, made, circa 1820.
Porcelain, partially painted and gilded.
Measures: 14 1/4 in. high, 10 3/8 in. wide (through the handles), 7 3/4 in. deep.
Signed (with stencil, in black, on the bottom of each): Darte. f.
Recorded: cf. Régine de Plinval de Guillebon, Porcelain of Paris, 1770–1850 (New York: Walker and Company, 1972), p. 333 no. 79 illustrates the mark on these coolers.
Some of the most beautiful porcelain produced in Paris during the Empire/Restauration periods was made or sold by the firm of Darte Frères. Although the Darte family, which came from Namur, then in The Netherlands, had set themselves up in the business of the manufacture of porcelain as early as 1794–95, by 1803 the three Darte brothers had decided, as Régine de Plinval de Guillebon notes (ibid., p. 231), that “each should have his own establishment,” and, indeed, by 1804 their prior business partnership had been “annulled,” and from that point forward there were two businesses using the name Darte.
The Darte brothers, Louis Joseph and Jean François, began independent operation in 1804 at the Hôtel Montalembert, at 90, rue de la Roquette. Their business arrangements were only formalized in 1808, at which time they began to use the name “Darte Frères.” They remained in the business until 1825, when their partnership was dissolved.
Darte Frères produced a large variety of porcelain, including vast dinner and...
Category
Antique 19th Century Empire Wine Coolers
Materials
Porcelain
Regency Lantern
Located in New York, NY
English
Regency lantern, circa 1800.
Glass, blown, with gilt-brass fittings
27 in. high, 13 1/4 in. greatest diameter.
In a market that is overwhelmed with reproduction lanterns of ...
Category
Antique 19th Century English Regency Lanterns
Materials
Brass
Pier Mirror in the Neoclassical Taste
Located in New York, NY
New York, circa 1815-1820.
Wood, gessoed and gilded, with mirror plate.
75 1/2 in. high, 44 1/8 in. wide (at the cornice), 8 1/2 in. deep (at the cornice).
Condition: Some restorati...
Category
Antique 19th Century American Neoclassical Pier Mirrors and Console Mirrors
Materials
Mirror, Wood
Plateau in the Restauration Taste with Grape and Leaf Motifs
Located in New York, NY
French.
Plateau in the Restauration taste with grape and leaf motifs, circa 1825.
Ormolu and patinated bronze, with mirror plate and wood backing.
Measures: 15 7/8 in. diameter, 3 11...
Category
Antique 1820s French Neoclassical Platters and Serveware
Materials
Bronze
Monumental Clear Cut-Glass Covered Compote
Located in New York, NY
Monumental clear cut-glass covered compote, circa 1820.
La Cristallerie de Vonêche (active 1802-30), Belgium.
Glass, blown and cut.
Measures: 17 3/8 i...
Category
Antique Early 19th Century Belgian Neoclassical Tableware
Materials
Blown Glass, Cut Glass
Double Argand Lamp
Located in New York, NY
English.
Double Argand lamp, circa 1810.
Glass, blown and gilt bronze and -brass, with lamp mechanism, and with glass chimneys.
Measures: 20 1/16 in. high,...
Category
Antique Early 19th Century English Regency Table Lamps
Materials
Brass, Bronze
Pair of Medici-Form Vases
Located in New York, NY
Attributed to Schoelcher, Paris, France, circa 1830.
Porcelain, painted and gilded.
16 1/4 in. high, 9 1/2 in. wide, 9 1/2 in. deep.
Ex Coll.: by repute, Joseph Bonaparte...
Category
Antique Mid-19th Century French Empire Porcelain
Materials
Porcelain
Pair of 'Old Paris' Porcelain Vases with Drapery Decoration
Located in New York, NY
French
Pair “Old Paris” Porcelain Vases with Drapery Decoration, about 1820
Porcelain, painted and gilded
13 1/16 in. high
CONDITI...
Category
Antique 1820s French Empire Vases
Materials
Porcelain
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