Internet Antique Gazette » architectural http://www.internetantiquegazette.com Reference information on antiques & fine art topics. Tue, 31 Dec 2019 08:03:51 +0000 en-US hourly 1 http://wordpress.org/?v=3.4.2 White, Stanford – American Architect & Artist http://www.internetantiquegazette.com/architectural/1783_white_stanford_american_architect_artist/ http://www.internetantiquegazette.com/architectural/1783_white_stanford_american_architect_artist/#comments Wed, 06 Nov 2019 14:22:58 +0000 hcst http://1783-guid Stanford White (November 9, 1853 – June 25, 1906) was in his day best known for his Beaux-Arts work with the architectural firm of McKim, Mead & White, in which he was a partner, work which typifies what is thought of as the American Renaissance of art and design.

White’s family had no money, but were still well connected in the art world of New York in the 19th century, and [...] Click here to continue reading.]]> Stanford White (1853-1906)

Stanford White (November 9, 1853 – June 25, 1906) was in his day best known for his Beaux-Arts work with the architectural firm of McKim, Mead & White, in which he was a partner, work which typifies what is thought of as the American Renaissance of art and design.

White’s family had no money, but were still well connected in the art world of New York in the 19th century, and through those connections, he began work as an assistant to Henry Hobson Richardson, who was perhaps the best-known architect in America at the time, and after several years with Richardson and an 18-month stint in Europe – and with no formal schooling, let alone training in architecture, White would return to New York and form his partnership with McKim and Mead.

In 1889, White would design what might be his best-known work, the Washington Square arch, but he would also design numerous iconic buildings, both in New York City and throughout the United States. In addition to his public buildings (such as the Boston Public Library), he also designed many of the finest private homes in America at the time, including the Fifth Avenue mansions of the Astors and the Vanderbilts, as well as private clubs throughout the city. Like many prominent architects, McKim, Mead & White also had a hand in the interior furnishings of the homes they designed, and Stanford White’s designs also live on in the frames of Newcomb-Macklin, who would acquire the rights to White’s designs after his death.

Which would inevitably be what White was better known for. While very well-liked and well-connected socially, in fact a central figure in the New York City social scene, White also seduced and on occasion assaulted teenage girls. With New York in the heyday of burlesque, there were plenty of lovely chorus girls and aspiring models as conquests. Rumors of his red velvet swing swirled around the city, and these rumors, among other social incidents, would fuel an obsession with deadly consequences.

Evelyn Nesbit, who could barely be called one of White’s conquests, as he’d sexually assaulted her while she was 16 years old and unconscious to boot, had married Harry Kendall Thaw, a man whose lifelong mental instability was concealed by his Pittsburgh steel family fortune. Thaw’s dislike for White stemmed not only from his wife’s account of her interactions with the architect, but also from a myriad of social slights, mostly imagined or magnified by mental illness. In short, Thaw felt White had defiled Nesbit and thwarted his attempts at social climbing in the city, while White was likely oblivious to it all.

On June 25, 1906, both White and the Nesbit-Thaws were attending a show at the Madison Square Garden rooftop garden theater, when Thaw confronted White, drew a gun and said either “You’ve ruined my life” or “You’ve ruined my wife” before shooting White three times at close range, twice in the head and once in shoulder. Bystanders initially thought it was all a big prank, but White died almost instantly.

The trial, touted as “The Trial of the Century,” would be a media circus for the time, with the papers working every salacious angle to the story. Yellow journalism painted White as debauched and hedonistic, revisiting and questioning the value of his work. The tarnishing of White’s reputation when coupled with Thaw’s questionable mental state resulted in a verdict of not guilty by reason of insanity. Ironically, White’s autopsy revealed that he was suffering from three diseases which would have killed him in a relatively short period of time.

Today White’s name is most often associated with the Newcomb-Macklin frames which still fetch big prices at auction and are often more valuable than the art they contain.

]]> http://www.internetantiquegazette.com/architectural/1783_white_stanford_american_architect_artist/feed/ 0 Staddle Stones http://www.internetantiquegazette.com/architectural/3227_staddle_stones/ http://www.internetantiquegazette.com/architectural/3227_staddle_stones/#comments Wed, 06 Nov 2019 14:22:53 +0000 hcst http://3227-guid Staddle stones take their name from the Old English stathol which means a support or the trunk of a tree. These nifty little pedestals that seem to defy the laws of physics have been used for hundreds of years as the elevating bases for granaries, beehives, game larders, hayricks, and even small barns – any outbuilding that might warehouse things prone to attracting pests. Staddle stones occasionally appear in other places, but [...] Click here to continue reading.]]> Staddle Stones

Staddle stones take their name from the Old English stathol which means a support or the trunk of a tree. These nifty little pedestals that seem to defy the laws of physics have been used for hundreds of years as the elevating bases for granaries, beehives, game larders, hayricks, and even small barns – any outbuilding that might warehouse things prone to attracting pests. Staddle stones occasionally appear in other places, but are most common in England and in parts of Spain.


A staddle stone, American, 19th century. (p4A item # E8910282)



Early staddles were made of wood, but stone proved to be not only far more durable but also more stable when it came to holding up under the weight of the finished structure. (While stone is the most obvious choice, there are a few extant examples of cast iron staddles.) The stones themselves were made from whatever was available and thus appear in a variety of sandstone and granite, as well as other stone. Interestingly, the design of the stones varies regionally, both the base and the top, with the bases ranging from cylindrical to triangular to rectangular with varying degrees of tapering and the tops also exhibiting regional variations and even designs.

The key requirement is that the top is flat enough to support the corner of the structure soundly while also overlapping the base stone in a “mushroom cap” far enough to make a “squirrel baffle” of sorts, preventing any climbing rodent from making the transition from the base to the side of the structure and the hay or grain it contained. Elevation has the added advantage of increasing air circulation and preventing the damaging effects of moisture. If such buildings required steps, either a more temporary and portable option, such as a section of log, was used or the top step was simply omitted, assuring a gap large enough to deter rodents was still present.

For collectors, evidence of the stone’s age and wear consistent with a long-time connection between the base and the top are key to value (perhaps because they are also key to detecting fakes). Staddle stones with good age (collectors even like to see evidence of moss or lichen) can easily fetch several hundred or even a thousand dollars.

]]> http://www.internetantiquegazette.com/architectural/3227_staddle_stones/feed/ 0 Bill and Florence Griffin Collection, Provenance – Brunk 5-30-09 http://www.internetantiquegazette.com/architectural/2598_bill_and_florence_griffin_collection_provenance_brunk_5_30_09/ http://www.internetantiquegazette.com/architectural/2598_bill_and_florence_griffin_collection_provenance_brunk_5_30_09/#comments Mon, 25 Jul 2016 07:08:48 +0000 hcst http://2598-guid Bill and Florence Griffin met at an Atlanta Bird Club meeting in 1945. Bill was a published amateur ornithologist; Florence was interested in all of nature – she knew the names of all the plants as well as the birds.

Both were from Georgia, and soon began to see their state changing before their eyes as the New South swept away the Old. They quickly became [...] Click here to continue reading.]]> Collection of Florence P. and William W. Griffin

Bill and Florence Griffin met at an Atlanta Bird Club meeting in 1945. Bill was a published amateur ornithologist; Florence was interested in all of nature – she knew the names of all the plants as well as the birds.

Both were from Georgia, and soon began to see their state changing before their eyes as the New South swept away the Old. They quickly became active in incipient Georgia movements advocating nature conservancy as well as historic preservation. They were instrumental in preserving one of Atlanta’s first structures, the 1840′s Tullie Smith house. The relocated house was surrounded with the gardens and furnished with the daily artifacts of its era. In the process, that era was brought to life as the everyday history of those who settled the state. The artifacts brought back the artistry and ingenuity and resourcefulness of a Georgia largely disappeared.

With a scientific discipline like that of ornithology, Bill and Florence sought out and collected the furniture, silver, tools, pottery, prints, and papers of this vanished Georgia. They traveled the state tirelessly, and enjoyed becoming friends with farmers, potters, dealers, and pickers, looking for the often-neglected artifacts of early Georgia and the South. Of special interest to them both was the work of the early naturalists, such as John Abbott and Mark Catesby. Everything was carefully cataloged; the effort was to understand and preserve. They shared their finds with wonderful friends in a growing community of enthusiasts. In 1984, an exhibition was mounted at the Atlanta Historical Society called Neat Pieces: the Plain-Style Furniture of Nineteenth Century Georgia, celebrating the material culture and social history of the period. The title of the exhibit came from a phrase in an 1838-9 Georgia journal owned by Fannie Kimball, “these are very neat pieces of workmanship,” neat defined by a period dictionary as “trim, tidy, free from tawdry appendages.”

Their scholarship led to articles for The Magazine Antiques and election to Friends of Winterthur, but for Bill and Florence the reward for their work was to live with the objects and know the stories they held. There is often in these objects a sense of integrity, economy, and proportion that carries across time from those that made and used them. Bill and Florence have helped us preserve their era and their values.

As Bill wrote, “These pieces are documents. They can convey to us non-verbal impressions of the past, which we can utilize now, or in the future.”

-William Griffin, Jr., April 2009

(Son of Bill and Florence Griffin)

courtesy of Brunk Auctions, May 2009

]]> http://www.internetantiquegazette.com/architectural/2598_bill_and_florence_griffin_collection_provenance_brunk_5_30_09/feed/ 0 Vermeil – definition http://www.internetantiquegazette.com/ancient_artifacts/2600_vermeil_definition/ http://www.internetantiquegazette.com/ancient_artifacts/2600_vermeil_definition/#comments Mon, 22 Jun 2015 22:56:23 +0000 hcst http://2600-guid “Vermeil” is a French word co-opted by the English in the 19th century for a silver gilt process. Vermeil is a combination of silver and gold, although other precious metals are also occasionally added, that is then gilded onto a sterling silver object. The reddish (vermilion) hue of the addition of the gold gives the product its name. Vermeil is commonly found in jewelry, and a standard of quality (10 karat gold) and [...] Click here to continue reading.]]> Vermeil

“Vermeil” is a French word co-opted by the English in the 19th century for a silver gilt process. Vermeil is a combination of silver and gold, although other precious metals are also occasionally added, that is then gilded onto a sterling silver object. The reddish (vermilion) hue of the addition of the gold gives the product its name. Vermeil is commonly found in jewelry, and a standard of quality (10 karat gold) and thickness (1.5 micrometers) has been set.

Vermeil was initially created through fire or mercury gilding, a technique developed in the 18th century, which requires the application of a solution of mercury nitrate to the object and then the application of a silver and gold/mercury amalgam. In order for the gilding to adhere to the surface, the coated object is placed in a kiln and exposed to extreme temperatures, which burns away the mercury. (This is similar to the technique used to produce ormolu, a form of gold-gilt.) As a result of the intense and prolonged exposure to mercury, it has been estimated that most mercury gilders died before the age of 40. Mechanical or chemical gilding techniques were largely replaced by electroplating by the mid-19th century, and the process was banned in many countries in the mid-1800s.

The White House has a room known as the Vermeil Room, so named for a collection of vermeil tableware.


A Gorham sterling silver compote with vermeil interior – note the reddish hue. (p4A item # D9827145)


]]> http://www.internetantiquegazette.com/ancient_artifacts/2600_vermeil_definition/feed/ 0 The Sarcophagus in Decorative Arts http://www.internetantiquegazette.com/ancient_artifacts/3181_the_sarcophagus_in_decorative_arts/ http://www.internetantiquegazette.com/ancient_artifacts/3181_the_sarcophagus_in_decorative_arts/#comments Mon, 22 Jun 2015 22:56:23 +0000 hcst http://3181-guid Derived from the Greek sarx, meaning flesh, and phagein, meaning eat, a sarcophagus is, essentially, a container for a body, much like a coffin or casket. Historically, sarcophagi were typically made of stone (though sometimes of other materials, such as wood or metal), with a relief-carved or pediment top, and designed to be above ground, and have been used by many cultures since ancient times.

An ancient [...] Click here to continue reading.]]> The Sarcophagus in Decorative Arts

Derived from the Greek sarx, meaning flesh, and phagein, meaning eat, a sarcophagus is, essentially, a container for a body, much like a coffin or casket. Historically, sarcophagi were typically made of stone (though sometimes of other materials, such as wood or metal), with a relief-carved or pediment top, and designed to be above ground, and have been used by many cultures since ancient times.


An ancient Egyptian miniature bronze sarcophagus

(p4A item # D9789825)

In the early modern era, the sarcophagus shape began infiltrating the decorative arts, appearing as a design element in pieces of furniture, or contributing its entire form to smaller objects. The most common places to find the sarcophagus shape are on the pediments of sophisticated case furniture, most notably clocks, and in tea caddies, which from the late eighteenth through the end of the nineteenth century, often drew their inspiration from sarcophagi, even if stylized.


Boston Queen Anne tall case clock with a pediment in the shape of a sarcophagus

(p4A item # E8909171)


Victorian tea made of sharkskin (called shagreen) and in the form of a sarcophagus

(p4A item # D9814453)

It is difficult to generalize about the shape that a sarcophagus takes when it is integrated into decorative arts objects. The variety of sarcophagi-inspired objects is as diverse as the ancient sarcophagi themselves. From subtle appearances, such as on the bases of this pair of French bronze girandoles…


A pair of French Renaissance Revival bronze girandoles
(p4A item # D9668672)

and lid of this American Victorian sewing table…


Victorian Rococo Revival rosewood sewing stand by Mitchell and Rammelsburg
(p4A item # D9837246)

to overt adaptations, such as this English cellarette…


An English Regency mahogany cellarette

(p4A item # E8929234)

and tea caddy…


English Regency mahogany tea caddy with ebonized handles

(p4A item # D9661450)

even to objects seemingly modeled after real sarcophagi, such as this Continental bronze inkstand.


Late 19th-century Continental bronze inkwell

(p4A item # E8948126)

]]> http://www.internetantiquegazette.com/ancient_artifacts/3181_the_sarcophagus_in_decorative_arts/feed/ 0 Ormolu – non-furniture definition http://www.internetantiquegazette.com/architectural/1377_ormolu_non_furniture_definition/ http://www.internetantiquegazette.com/architectural/1377_ormolu_non_furniture_definition/#comments Mon, 22 Jun 2015 22:56:23 +0000 hcst http://1377-guid Ormolu, an 18th-century English term, is from the French phrase or moulu, with “or” indicating gold and “moulu” being a form of an old French verb moudre, which means “to grind up.” (This French term for this technique is bronze dore.) This idea of “ground-up gold”refers to the production process of ormolu, where high-quality gold is finely powdered and added to a mercury mixture and applied to a bronze object. Modern usage often [...] Click here to continue reading.]]> Ormolu

Ormolu, an 18th-century English term, is from the French phrase or moulu, with “or” indicating gold and “moulu” being a form of an old French verb moudre, which means “to grind up.” (This French term for this technique is bronze dore.) This idea of “ground-up gold”refers to the production process of ormolu, where high-quality gold is finely powdered and added to a mercury mixture and applied to a bronze object. Modern usage often uses “ormolu” to describe any gilded object.

In reality, true ormolu pieces produced by this process are very rare. Production of ormolu declined dramatically after the first quarter of the 19th century, partly because of the great expense of the gold, but also because of the terrible health risks involved. “Mercury gilding,” the process of manufacturing ormolu, requires the application of a solution of mercury nitrate to the object (which is normally of copper, brass or bronze), and then the application of the gold/mercury amalgam, that was usually 6 to 8 parts of mercury to one part gold. In order for the gold to adhere to the surface, the coated object is placed in a kiln and exposed to extreme temperatures, which burns away the mercury. (This is similar to the technique used to produce vermeil, a form of silver-gilt.) As a result of the intense and prolonged exposure to mercury, it has been estimated that most mercury gilders died before the age of 40, and the process was banned in many countries in the mid-1800s.


True ormolu chenets (French andirons) from the Empire period attributed to Claude Galle. (p4A item # D9819758)



As fashion (and economics) dictated, gilding shifted in and out of popularity. Various methods to achieve the appearance of gilt were experimented with, including a process known as pomponne, which involves a mixture of copper and zinc (occasionally with the addition of tin), but the result here is technically a brass gilding rather than gold. Mechanical or chemical gilding techniques were largely replaced by electroplating by the mid-19th century.

Evaluating Age and Authenticity of Ormolu

Evaluating the age and authenticity of ormolu mounts is one of the most difficult aspects of furniture appraisals because metal does not age in the same way as wood and because the mount’s patina has often been “enhanced” or damaged by inappropriate cleaning. Close inspection of the mounts can reveal much of their history however.

The design of eighteenth century mounts often suggests a certain exuberance and spontaneity; later nineteenth century artisans produced works more perfect in detail but with a more studied air about them. An experienced eye can also detect differences in eras or even between countries from the mount’s coloring, provided the original surface has not been disturbed. One should also take note of the size of each individual mount or sub-component. Bronze mounts of the eighteenth century, particularly furniture mountings, were cast in relatively smaller sections (usually no longer than 10 inches) and then pieced together to obtain the desired overall effect. Mounts of the nineteenth and twentieth centuries tend to be much longer.

Removing a mount from the piece in question (carefully!) can give one the most unambiguous information about its age and authenticity. First consider the casting…the more irregularities present on the underside, the earlier it is likely to be. Nineteenth and twentieth century castings most often have a “cleaner” and “smoother” appearance. More clues are revealed by the mount’s gilding. Early mounts treated with the mercury gilding technique discussed above were gilded on one side only, later mounts gilded with the electrolysis method are gilded on both sides.

As with all elements of an antique item of furniture, the condition of the ormolu mounts can effect the value of the piece itself. Entirely original mounts with original surfaces will increase the piece’s value. Replacement of all or a significant proportion of the mounts may significantly reduce its value, as will inappropriate cleaning of the mounts. The loss or replacement of one or two minor elements, however, may not have much effect at all on the piece’s value, particularly if the original surface remains. Cleaning ormolu mounts is best left to experts; at the most, use no more than mild soap and water with a very soft brush.

p4A.com acknowledges the International Auctioneers Magazine, Autumn 2003, as the source for much of the information in this reference note.

]]> http://www.internetantiquegazette.com/architectural/1377_ormolu_non_furniture_definition/feed/ 0 Collection of Joanne and Jeffrey Klein – Provenance Keno 1-22-2013 http://www.internetantiquegazette.com/architectural/3165_collection_of_joanne_and_jeffrey_klein_provenance_keno_1_22_2013/ http://www.internetantiquegazette.com/architectural/3165_collection_of_joanne_and_jeffrey_klein_provenance_keno_1_22_2013/#comments Fri, 23 Aug 2013 13:37:34 +0000 hcst http://3165-guid Collectors Joanne and Jeffrey Klein enjoy the eclectic mix of American folk art, painted furniture and modern sculpture and paintings. They love the juxtaposition of modern with traditional ranging from symbolism to widely varying textured painted and weathered surfaces. Their appreciation of form, color and texture is exhibited in their collection of exceptional painted furniture, weathervanes, redware pottery, hooked rugs and wood carvings.

Information courtesy of Keno Auctions, January 2013.

]]> Collection of Joanne and Jeffrey Klein

Collectors Joanne and Jeffrey Klein enjoy the eclectic mix of American folk art, painted furniture and modern sculpture and paintings. They love the juxtaposition of modern with traditional ranging from symbolism to widely varying textured painted and weathered surfaces. Their appreciation of form, color and texture is exhibited in their collection of exceptional painted furniture, weathervanes, redware pottery, hooked rugs and wood carvings.

Information courtesy of Keno Auctions, January 2013.

]]> http://www.internetantiquegazette.com/architectural/3165_collection_of_joanne_and_jeffrey_klein_provenance_keno_1_22_2013/feed/ 0 The Collection of Mr. and Mrs. James Grievo – Provenance-Pook May 2012 http://www.internetantiquegazette.com/architectural/3051_the_collection_of_mr_and_mrs_james_grievo_provenance_pook_may_2012/ http://www.internetantiquegazette.com/architectural/3051_the_collection_of_mr_and_mrs_james_grievo_provenance_pook_may_2012/#comments Wed, 14 Nov 2012 16:51:58 +0000 hcst http://3051-guid

It all started around 1971. Just home from college and having a difficult time finding a job, I started going to house tag sales where I would find small interesting things to sell to antique dealers. It was something I really enjoyed doing, and 1 was amazed I was making real money for the first time. I soon realized that this was [...] Click here to continue reading.]]> The Collection of Mr. and Mrs. James Grievo, Stockon, New Jersey

It all started around 1971. Just home from college and having a difficult time finding a job, I started going to house tag sales where I would find small interesting things to sell to antique dealers. It was something I really enjoyed doing, and 1 was amazed I was making real money for the first time. I soon realized that this was what I wanted to do with my life.

I began traveling to local auctions where I became friendly with a man named Joe Bazata. For several years we bought and sold together. I gained a great amount of knowledge from Joe about redware and slipware Pennsylvania pottery, and it was that knowledge that helped launch my wonderful collection.

In the summer of 1972, I made my first big antique trip to Brimfield, Massachusetts, to what was then only Gordon Reid’s Market. I was absolutely in awe of all the dealers and great merchandise available there. I will always remember this little guy running up and down the aisles with a knapsack strapped (0 his back. Sticking out of this sack was a long stick with something hanging off of the end of it, swinging back and forth. I tracked him down, introduced myself, and asked about the strange contraption he was toting around. He replied that it was a Betty Lamp. I wondered what the hell a Betty Lamp was. And that was the beginning of a lifelong friendship with Frank Gaglio, my most loyal and dear friend who has always been there for me through the good times and the bad.

Brimfield, though, was just the beginning of my travels. Over the years I continued to buy many wonderful objects in Brimfield, but knew I had to expand my search to find other amazing things. Through my journeys, my real passion, a love of weathervanes, started. I began buying and selling them in the early 70′s. To me, there was something so wonderful about the surface of a weathervane. It always amazed me that these utilitarian objects withstood the extreme and relentless pounding of their environment year after year. Every weathervane tells a different story of how time and location impacted its appearance. Weathering from the top to the bottom, some present a crusty surface while others are simply an untouched weathered surface that takes at least seventy-five years to create. As with anything you look at, when you study a good surface, it speaks for itself. As years went by, I tried to purchase objects that were very special to me in some way. Maybe it was the vibrant colors or the way it was carved that called to me. Sometimes it was just a great untouched surface on a piece of furniture. I always tried to buy the very best I could afford to buy, and sometimes way more than I could afford to buy, which reminds me of a story.

One Saturday I traveled to county sale outside of Harrisburg, Pennsylvania. It was a local farm house. When I arrived, all the items were in the back yard. I walked around but did not see anything I wanted to buy. Just then, I saw two men carrying a yellow drysink from the house. When I saw it up close, I knew I had to own it. I patiently waited all day, and finally they put it up. I was nervous, but I was sure I could buy it for around seven hundred dollars. Drysinks at the time were selling for around two hundred and fifty dollars. The bidding began and stopped around three hundred. I started bidding against a farmer standing in the back of the sale. We went back and forth: $1,200, $1,500, $1,800. I had waited all day, so I didn’t want to stop. Finally, at $2,250, he backed off and I bought it. Caught up in the pursuit of this sink, I completely lost track of reality. I didn’t even know if I had that much money in my checking account. Afterwards, the farmer came up to me, congratulated me on the drysink and introduced himself. I didn’t know who he was, but I was glad I grabbed the piece from him. On my way home I stopped at my good friend Dick Machmer’s house to say hello. He asked what I bought, and I showed him the drysink. He asked who bid me up so high. I replied, “a farmer named Bill Koch.” Dick said he had never known someone to outbid Bill. Well, I had done that. And that was how I started a friendship with Bill and got the drysink that is in this sale.

On another Saturday morning, I was driving around in Bernardsville, New Jersey, looking for garage sales. There was a sign out at the end of a long driveway that read “SALE TODAY”. I drove down and saw this early stone farmhouse and out in front of the house I spotted this wonderful green two-door cupboard with a white piece of paper taped to it that said “$50.00″. I bought it immediately and then thought to myself, how in the world am I going to get this 5′ wide 6′ high cupboard home when I’m driving a 1968 Volkswagen Beetle?

I found some rope in the barn and began lacing the cupboard to the roof of the car. The entire time I was thinking this was like a grade school science project where you had an egg and you had to throw it off a roof without it breaking. Only I was trying to tie a flat cupboard on a round egg. Down the highway 1 went, stopping every ten minutes as the cupboard slid left and right and then forward so I couldn’t see where I was going. But I made it home safe and the cupboard made it to this sale. As with many of the objects I bought throughout the years, there are many wonderful and memorable stories.

All through the 80′s and 90′s, I pursued the business of antiques with relentless passion and extreme diligence. In 1990, I bought Secret Meadow Farm and sold my redware pottery collection to my very dear friend and collector, a gentleman in every sense of the word, Paul Flack. These forty years flew by and I was very fortunate through the years (0 be able (0 go out and find, with the support of my wife, several very special pieces. In search of things every day, I traveled over 40,000 miles a year in search of the best I could afford to buy. Every day there was a destination, but it was not the destination that was important to me, it was the journey, a 1,600,000 mile journey. Even though I was able to amass great treasures on my adventures, it was truly the journey itself that was priceless because it gave me the opportunity to meet wonderful people and build lasting friendships. I know I wouldn’t be where I am or have what I have without my friends and colleagues, and it was my daily treks for treasures that led me to them. It will continue to be a remarkable journey, but now my priorities have changed, and I am at a point in my life where I would like to simplify a little bit, help my children out more, and do some different things. I will always stay in the business, but not in the same way I have these past forty years. Still, I will always have my wonderful memories and friendships.

As the years go by, our lives change and so do our priorities, I have had some good things occur as well as some bad. It’s these times that make you realize what’s important, like your loved ones and the friendships you’ve made. I have to mention David Wheatcroft a brilliant man and one of my best customers. Whatever he bought and sold, we always would see with the same eye. And there is Fred Giampietro, who I’ve known forever, and I always in my eye sold him
wonderful things. He has always been way ahead of everybody else. Sam Herrup, my good friend, is the most dedicated and honest dealer I know. My good friends Susan and Sy Rappaport were the ones who introduced me to Susan and Jerry Lauren, two people with impeccable taste. James and Nancy Glazer need to be mentioned. The Glazers are two of the most gracious people anybody could possibly know. And last but not least, I can’t forget my dear friends Helen and Scudder Smith who never miss covering a great auction or show. The antique business would not be the same without them. I mention these friends because they all have had some impact on my career throughout the years. There are way more I would like to mention, but I would have to go on for an eternity.

How many people wake up every morning excited to go to work? Well, for the past four decades I have. The career path that I stumbled upon not only provided enough for me to support my family, but it also presented me with opportunities to see beautiful and wonderful objects, to appreciate extraordinary craftsmanship, and to revive the souls of artists forgotten long ago. The path that I chose gave me the chance to build lasting friendships with individuals who shared my passion for collecting antiques. I spent years building a collection of pieces that spoke to me, and now I would like to share these pieces with the world again.

It is with great sadness and great pleasure that I turn over my things to my good friends Ron and Debbie Pook to sell at auction without reserves.

Have fun, Jim

]]> http://www.internetantiquegazette.com/architectural/3051_the_collection_of_mr_and_mrs_james_grievo_provenance_pook_may_2012/feed/ 0 El Roy and Helene Master Collection -Provenance- Pook & Pook, 6-19-09 http://www.internetantiquegazette.com/architectural/2622_el_roy_and_helene_master_collection_provenance_pook_pook_6_19_09/ http://www.internetantiquegazette.com/architectural/2622_el_roy_and_helene_master_collection_provenance_pook_pook_6_19_09/#comments Wed, 14 Nov 2012 16:25:02 +0000 hcst http://2622-guid The offering of the antiques and collectables of El Roy P. and Helene Livingood Master comes with some degree of sadness. This collection has remained intact for five generations and it is hoped that others can now appreciate its beauty and fine craftsmanship.

Helen, Harry and Minnie Janssen

This legacy started with the arrival of Henry Janssen and Ferdinand Thun from Germany at the turn [...] Click here to continue reading.]]> The Collection of
El Roy and Helene Master

The offering of the antiques and collectables of El Roy P. and Helene Livingood Master comes with some degree of sadness. This collection has remained intact for five generations and it is hoped that others can now appreciate its beauty and fine craftsmanship.


Helen, Harry and Minnie Janssen

This legacy started with the arrival of Henry Janssen and Ferdinand Thun from Germany at the turn of the 20th century. They started the Wyomissing Industries, including Textile Machine Works and Berkshire Knitting Mills.

Henry Janssen had four children, two of whom, Helen and Minnie, became very interested in antiques and collectables. Together they went on buying trips along the east coast and sometimes found themselves bidding against the DuPonts.

Helen married Richard Wetzel and her collection was housed in properties in Wyomissing, PA and Bar Harbor, ME. When she died in 1980, the collection was sold at an on-site auction, one of the largest of its kind.


Helen Janssen Wetzel and Minnie Janssen Livingood

Minnie married Dr. John Livingood and purchased Berksveldt Farm in Robesonia, PA in the 1930′s. One part of the home dated back to 1769 and the other part to 1830. They hired renowned architect Oakie remodel the existing parts and add a stone addition. The work was done between 1937 and 1941 with Farr Nursery landscaping the entire property. Minnie had been collecting antiques with her sister Helen to furnish Berksveldt Farm. Unfortunately, she died before she and her husband could permanently move into their “new” home. Helen Wetzel placed the furniture and collectables in Berksveldt and John moved in with his two daughters, Helene and Elsa.

After World War II, Helene and El Roy P. Master purchased the property along with the furnishings. They appreciated the beauty and integrity of the pieces and took meticulous care of them. Their children were taught at an early age to respect the antiques and grew up living in a museum setting as if it wasn’t something out of the ordinary.


El Roy P. and Helene Livingood Master

El Roy, a West Point graduate and officer in the war, eventually became president of Textile Machine Works. Helene was very active in the community and touched the lives of many people.


Berksveldt Farm

She loved Berksveldt and her place in Maine. They entertained graciously, in the beautiful setting, allowing many people to enjoy their home and surroundings. With the death of Helene in 1998, and El Roy in 2008, the collection is now being sold in its entirety. It marks the end of an era for the family.

courtesy of Pook & Pook June 2009

]]> http://www.internetantiquegazette.com/architectural/2622_el_roy_and_helene_master_collection_provenance_pook_pook_6_19_09/feed/ 0 Collection of Mr. and Mrs. Jay Moyer, Lederach – Provenance Note http://www.internetantiquegazette.com/architectural/3119_collection_of_mr_and_mrs_jay_moyer_lederach_provenance_note/ http://www.internetantiquegazette.com/architectural/3119_collection_of_mr_and_mrs_jay_moyer_lederach_provenance_note/#comments Wed, 14 Nov 2012 15:58:03 +0000 hcst http://3119-guid Jay R. Moyer, a public servant and former member of the Pennsylvania House of Representatives, is a proud descendant of Mennonite and Schwenkfelder immigrants, who arrived on ships such as the “Good Ship Friendship,” which docked in the City of Philadelphia in 1729. Jay’s ancestor, Hans Christian Meyer, along with other early settlers from Switzerland and Germany, finally settled and helped to form [...] Click here to continue reading.]]> Collection of Mr. and Mrs. Jay Moyer, Lederach, Montgomery County, Pennsylvania

Jay R. Moyer, a public servant and former member of the Pennsylvania House of Representatives, is a proud descendant of Mennonite and Schwenkfelder immigrants, who arrived on ships such as the “Good Ship Friendship,” which docked in the City of Philadelphia in 1729. Jay’s ancestor, Hans Christian Meyer, along with other early settlers from Switzerland and Germany, finally settled and helped to form the Township of Lower Salford in 1741, formerly part of the County of Philadelphia. Because of his Pennsylvania German heritage, Jay became particularly interested in the items used in the daily lives of the Pennsylvania German settlers: their pottery, iron, textiles, ceramics, painted and decorated furniture, wood carvings and of course, their fraktur. In fact, Martin Gottschall, one of America’s most important fraktur artists, along with his brother Samuel, were schoolmasters at the small oneroom schoolhouse adjacent to the Salford Mennonite Church in Lower Salford Township, where many of Jay’s earliest ancestors and family are buried. Jay has attended auctions for more than thirty-seven years and has made many friendships and acquaintances in the collecting community.

Information courtesy of Freeman’s Auctioneers & Appraisers, November 2012.

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