Putting the pieces together

The June '08 issue of The Magazine Antiques is the "England" issue, with four (!) feature articles concerning the Victorian era. The first focuses on one of A.W.N. Pugin's church interiors, the second, on a chandelier designed by W.A.S. Benson and the third is a one-pager on the pair of Godwin vases recently acquired by the V&A.

The fourth article is a "Living With Antiques" piece, and concerns an incredible collection of late 19th century English art pottery, furniture and architectural elements. One of the objects highlighted (it is the cover image, in fact, though The Magazine Antiques website hasn't been updated to show it yet) is an ebonized table with four drop leaves (leafs?) which incorporates Minton plaques designed by W. S. Coleman. An identical table was owned by J. Pierpont Morgan, and was photographed, c. 1883, in the drawing room of his New York City brownstone mansion, for Artistic Houses. The interior was by Christian Herter; whether the table was chosen by the decorator or client is unknown, but seems of little consequence, co-existing as harmoniously as it does with the known Herter designs.

The Morgan table is at the far left of the photograph, in the pillared opening of the bay... the chair next to it (and another elsewhere in the photograph) is identical in form to a gilded side chair in the collection of the Metropolitan Museum of Art.

Herter Brothers (American, 1864–1906), Side Chair, New York City, ca. 1880. Painted and gilded maple; H. 87.9 cm. The Metropolitan Museum of Art, New York. Gift of Margot Johnson, Inc., 1995 (1995.149).

This image with enhanced call-out shows the table and chair more clearly (click on the image for a larger version).

It is very frustrating sometimes, studying period photographs of interiors. The monochromatic images yield a wealth of information, yet the absence of any clues as to the complex and rich colors of the period can be maddening - being able to associate an actual object (or its doppelganger) with a object in a photograph is a small step toward understanding, just a little bit better... now, when I look at that plate in my Dover reprint of Artistic Houses, I can really see that table, and that chair.

Words into action

This fireplace surround (currently being offered on eBay) is a interesting and high-end example of late-19th century "artistic" (or Aesthetic) decor. Apparently the mantel was removed at some point from the Larchmont (NY) Yacht Club (and then somehow traveled "the road to Wellsville"). The Yacht Club clubhouse was originally the residence of one "Mr. Benjamin F. Carver, a railroad magnate," from whom it was purchased in 1887. In addition to the carved motto "Well Befall Hearth & Hall," the mantel is embellished with carved water birds and marsh grasses, appropriate to a waterfront setting; the paneling, tiered shelving and decorated cove reflect the "Queen Anne" architectural style of the building's exterior.

While a 1897 New York Times article indicates that, by that date, the mantel was in a room utilized as a "reading room", according to an article published in 1889 in the magazine Outing, an Illustrated Monthly Magazine of Recreation, the room was initially used as a dining space:

Stepping again into the café you see on one side a bright and cosy little bar... Directly opposite to this is the fireplace, with a dark wood mantel set with tiles, and carved in quaint characters, the legend "Well Befall, Hearth and Hall."

A similar description appears in a New York Times article dated September 2, 1894:

The hall leads to the octagon-shaped café... On one side of this room is the bar; on the other a fireplace, over which is carved the inscription: "Well befall hearth and hall."

In 1876, H. Hudson Holly wrote:

A great deal of feeling as well as effect may be shown by what is known as legendary decoration, that is, working up texts and proverbs along our walls. Friezes offer a special opportunity for this. Sentences may also be placed over doorways in such a manner as not only to express a sentiment, but denote the purpose of the apartment; as, for example, “Welcome,” over a reception-room; “Hospitality,” over a living-room. Some very appropriate devices for fire-places have been employed with significance and effect, such as, “Well befall hearth and hall.” This would not be inappropriate for our country mansion described further on in this chapter. Norman Shaw has over his grand fire-place at Cragside the following: “East or west, hame’s best.” I have recently fitted up two dining-rooms in which this style of decoration is worked into the stained glass. Among others, I selected the following mottoes: “Hunger is the best sauce,” “Welcome is the best cheer,” “Eat at pleasure, drink by measure.”

(Henry Hudson Holly, "Modern Dwellings: Their Construction, Decoration, and Furniture." Harper's New Monthly Magazine, June 1876.)

In her 1880s decorating advice manual How to Furnish a Home, Ella Rodman Church opined, in the chapter entitled "The Dining Room":

A legend across the front, in old English lettering, is very appropriate for a dining-room mantel, the ground-work being of the same color as that of the tiles or panels, and the letters either in black and gold or maroon and vermilion. "Well befall hearth and hall," the word "Salve," or Welcome, and such quotations from Shakespeare as "May good digestion wait on appetite," and "Give to our tables meat" — reminding one of the more sacred " Give us this day our daily bread " — are all suitable inscriptions, with many more that might be gathered by the curious in such matters.

In short, the mantelpiece is not only a beautiful object, but one that serves as fascinating and tangible evidence that what late-19th century taste makers were preaching was actually put into practice, even by those at the upper end of the economic scale.

(Mantel photographs courtesy of Scoville Brown Antiques.)

"Come into my parlor..."

At first glance, the interior of the house appears to be as grim as the exterior - texture-coated walls, filthy sea-foam green deep-pile carpet, cheap wallpaper - but closer examination reveals pocket doors, 9 foot ceilings (on the first floor), (mostly) intact woodwork and generously sized rooms (albeit with an "interesting" floor plan on the second floor). Some small mechanical issues will need to be addressed, and the main bathroom completely gutted, but the main interior issues are cosmetic, and best delineated on a room-by-room basis.

"How d'ye do?" & Ancient History

Our house is a wee thing, not quite a "cottage" but not much more than one either. A narrow entry-and-stair hall, front parlor, larger back parlor/dining room/library and kitchen make up the ground floor, with two bedrooms, a small sitting rooms and bath on the second floor.

Built about 1890, the house was originally owned by a Horace T____, a book keeper employed at the town's shirt factory (he later was the proprietor of his own dry-goods store); in 1945 it was sold to Harold M____ and remained in the M____ family until 1994, when we purchased it.

Despite having been owned by two families in its first century, the years and the vagaries of fashion were not kind to our house. By the time of our purchase, the exterior of the house was quite altered: the latticed rear porch is now fully enclosed and even expanded, with a rear door and small deck adjacent to the cellar entrance; the window trim, shutters and most of the sawn ornament at the roof line (as seen in this rear view of the house and the T____ family, c. 1895) had been lost to vinyl siding, and the original gutters and slate roof had fallen victim to three-tab "slate look" asphalt. The only vestigial exterior ornament is in the cross-gables, and the front porch - the latter being an well-intentioned but odd replacement of the original chinoserie ornament, sans the typical reeding of the fretwork and with under-scaled turned posts.

This photo from 2000 shows the same side of the house only from the front - the enclosed rear porch is just beyond the tuteur. The front porch and fake shutters on that facade have been repainted in a putty/dark green/creamy yellow scheme, with trim and shutters on the side elevation still painted a rather violent dark mauve. The loss of character is evident... yet economy and the marginality of our neighborhood dictate that we accept the alterations, live with the triple-track storm/screens and grey vinyl siding, and only paint and repair the remaining wood trim. The interior, however, tells a slightly happier tale...