Journal

A Masterful Adirondack Table … with Provenance

03.19.2019

Identities of the vast majority of the skilled woodworkers who created rustic furniture in the mid-19th to early-20th centuries are unknown. So it is a particular thrill when an antique example of outstanding rustic craftsmanship can be traced to a known maker, and thereby placed directly into the historical context of that person’s home region and the time period in which he lived.

The circa 1920 Adirondack center table (35” x 41” top, 28” high) that we are now offering for sale is just such a piece.

Elmer Patterson Adirondack Table

This table was made by Elmer Patterson who was born in Amboy, New York in 1859. By the age of 26 he was living in the Adirondack town of Speculator, NY, making pack baskets and snowshoes with his father to sell to guides, trappers and visiting rusticators. By the 1920s he had turned his talents towards creating rustic furniture at his home in the Adirondack foothills of Osceola, NY, where the yellow birch that he liked for furniture making was more abundant than in Speculator.

Elmer Patterson Adirondack Table

This center table showcases Patterson’s masterful use of his preferred Northern hardwood species. It has four sturdy yellow birch branch legs and a creatively designed base. There is a yellow birch pole at the center of the base from which four straight yellow birch branches extend outward, creating spoke stretchers to brace the legs.

 

Elmer Patterson Adirondack Table

Back view of the table.

 

In contrast to the straight yellow birch spoke stretchers, the four yellow birch branches that serve as leg-to-leg stretchers, plus the two branches that anchor those side stretchers to the center pole, are pleasingly sinuous. Four other curvy yellow birch branches that extend from near the bottom of each leg to beneath the table top add additional grace and stability to the table.

Elmer Patterson Adirondack Table

Side view of the table.

Patterson extended the decorative use of yellow birch in this table by applying half-round branch segments in tight rows all along the four sides of the apron.

Elmer Patterson Adirondack Table

The table top is made of smoothly processed and finished cherry boards that create a handsome reddish contrast to the golden yellow birch base and apron.

Elmer Patterson Adirondack Table

All of Patterson’s tables that we’ve seen and owned have had cherry tops in an incredibly smooth original finish, demonstrating that he was as good at finish work as he was at woodworking.

 

Elmer Patterson Adirondack Table

This table top has some surface scratches plus a shrinkage crack, but it retains its overall satiny sheen.

 

Provenance

This table was included in a special exhibition of rustic furniture at the Adirondack Museum in 1976, and a photo of it appears as Figure # 67 in the landmark 1987 book Adirondack Furniture and the Rustic Tradition, written by former Adirondack Museum Director and scholar, Craig Gilborn.

 

Elmer Patterson Adirondack Table

Figure #67 from Gilborn’s book (left) and the same table currently in our gallery (right)

 

According to Gilborn, most of the known pieces of Patterson’s furniture descended in his family after his death in 1949. In the endnotes of Adirondack Furniture and the Rustic Tradition where Gilborn thanks people “for permitting the reproduction of furniture, vintage photographs, and other works from their collections,” he credits Earl and Clarice Stanyon (of Wells, NY) for the Elmer Patterson table that he photographed as Figure # 67. Clarice Stanyon, born in 1906, was Elmer Patterson’s niece.

The Stanyons have now passed away, and we are not sure of the exact date in the late-1980s to mid-1990s when the table was transferred from their family’s ownership to that of an avid Adirondack furniture collector, although we do know the dealer (now retired) who handled the sale.

Other than being familiar with the table through its photograph in Gilborn’s book, we did not see it in person until late 2009 when we visited the home of its owner who was anticipating downsizing. We sold it on behalf of that collector in 2010 to the owner of an historic Adirondack Great Camp who was actively restoring and decorating its multiple buildings.

Subsequent transitions led to this table coming on the market once again recently, and we were fortunate to reacquire it.

Some Additional Context

We have bought and sold six additional Elmer Patterson pieces, all of which we acquired when we purchased the Richard S. Marrus collection of Adirondack furniture early in our rustic antiques career.

Dr. Marrus was a prominent collector who filled the buildings of his 1906 Adirondack Great Camp compound on Tupper Lake, Hemlock Ledge, with outstanding examples of rustic furniture and accessories. He was a passionate connoisseur who worked to preserve classic Adirondack camp style and tradition up to his death in 2001.

Birch Cottage exterior

The “Birch Cottage” at Hemlock Ledge.

We were able to purchase the entire Adirondack collection from the Marrus estate in 2002 because of a recommendation that Jeff’s mentor in rustic antiques, Bert Savage (who had helped Dr. Marrus form his collection over the years), had made to the executor of Dr. Marrus’s estate shortly before Bert himself passed away, also in 2001.

The Marrus collection included important examples by renowned rustic furniture makers who worked in the Adirondacks in the late 19th through early 20th centuries. Those artisans included Ernest Stowe, John Champney, Lee Fountain, Elmer Patterson, E. E. Sumner and George Wilson, along with many anonymous makers of high-quality, iconic rustic furniture.

Birch cottage interior

John Champney yellow birch beds inside the “Birch Cottage.”

One of the Patterson pieces that Dr. Marrus owned was a center table that is a near match to the table that has now come into our possession again. Either Patterson made the two tables as a pair for a particular room placement, or he was simply pleased with the aesthetic power of his innovative design, so made a second one.

Elmer Patterson Adirondack Table

We shot this photo in 2002 shortly before selling the table from the Marrus collection to a designer who was working on a project for an Adirondack camp owner. This table was exactly the same size and design as the yellow birch and cherry table we now own, with the only difference being the natural shapes of the sinuous branch stretchers within the base and along the length of the four outside corners.

Dr. Marrus used his Patterson table in the “Indian Room” at Hemlock Ledge to display some of his Native American artifacts.

The other Patterson furniture that we acquired within the Marrus collection (shown below in photos we took in 2002)  were a two-seat settee, a pair of yellow birch side tables with square cherry tops, a yellow birch side table with a half-round cherry top, and a yellow birch book stand.

Elmer Patterson Adirondack settee

Elmer Patterson Adirondack Tables

Elmer Patterson Adirondack Table

 

Elmer Patterson Adirondack Book Stand

 

All of these additional pieces of Elmer Patterson furniture are still being used and appreciated in rustic lakeside homes within and beyond the Adirondacks.

The Next Chapter

Being specialists in antique rustic furniture over the course of several decades has allowed us to develop our own relationship with the significant pieces of Adirondack furniture history that we’ve had the opportunity to look after, however briefly. One of the privileges of playing a role in this furniture’s legacy of ownership is that we’re able to tell its past and evolving story, in which our customers become a new chapter.

 

Elmer Patterson Adirondack Table

Biophilic Design and the Role of Rustic Antiques

02.15.2019

If given the choice between spending our indoor life in spaces that have: minimal or maximal natural daylight; negligible or plentiful views outside to trees, sky, and spacious vistas; concrete block or wooden walls; sounds of breezes, birds and babbling brooks vs. the background drone of machines and traffic; or some house plants, an aquarium and pets vs. only inanimate metal and plastic objects, most of us would gravitate to the indoor environments that have copious infusions of nature.

biophilic design of an atrium

(photo: Kellert, 2016)

That, in a nutshell, is the fundamental tenet of biophilic design, a set of principles that guides architects, builders and urban planners to create built environments that allow people to feel the presence of nature within the buildings they inhabit.

Thorncrown chapel

Thorncrown Chapel in Eureka Springs, Arkansas is a well-known exemplar of biophilic design. (photo: archdaily.com)

While “green” architecture seeks to design buildings whose construction materials and ongoing energy consumption have minimal environmental impact, biophilic design is concerned primarily with how buildings can promote human psychological and physical health through recreating the patterns, processes and organic presence of nature indoors. (Green and biophilic designs are complementary, however, and are often implemented together.)

Biophilic design is grounded in a concept from evolutionary biology called the “biophilia hypothesis” which asserts that all humans alive today have a hard-wired emotional affiliation with other living organisms due to the millions of years during which our bodies and minds adapted to surviving among the plants, animals and landscapes of pre-civilization environments. (See our Journal article “Nature is a Happy Pill” for more details on the scientifically-documented, beneficial effects that nature has on our physiology and mental health.)

The best way to understand biophilic design is to study buildings that enact its principles. One of its most inspiring recent manifestations is the new Sandy Hook Elementary School in Connecticut. In response to the immense tragedy that the community experienced at the old school in 2012, a new elementary school was completed in 2016 which totally embodies the “healing and hopeful presence of nature.” (svigals.com)

the new Sandy Hook Elementary School

(photo: svigals.com)

From its use of recurring shapes, patterns and colors that mimic organic forms, to the prioritization of natural building materials (e.g., wood cladding over steel safety doors), to its sunlight-washed interior spaces, to its landscaping that creates functioning natural habitats, the school affirms and celebrates life.

the new Sandy Hook Elementary School

(photo: svigals.com)

 

Representations of Nature are the Next Best Thing: From Biophilic Design to Biophilic Decor

While a central goal of biophilic design is to create buildings that promote direct connections to nature (light, air, water, plants, animals, landscapes), its practitioners also advocate infusing representations of nature into architectural and interior design.

As antiques dealers, we’re particularly intrigued by those dimensions of the biophilic design framework that are not focused so much on the structure of a building and its landscape as on its interior décor. That subset of biophilic design principles promotes what we and our clients know to be true: it feels good to be surrounded by reminders of nature indoors.

moose antler chair

Moose antler chair (cherrygallery.com)

A study of people’s behavior in a medical office waiting room illustrates the power of bringing representations of nature indoors (Ulrich, 2008). The first photo shows the original waiting room where researchers logged aggressive interactions and high levels of stress among visitors, patients and staff.  Clearly, the room is devoid of any inkling of nature.

waiting room

The researchers then redecorated the room with representations of nature—a mural of a savannah, house plants, earthy colors, floral patterns on fabrics, and furniture made of wood rather than metal (note the hickory chair in the right corner).

waiting room

They then observed and documented how people behaved and felt in the redecorated room, discovering that there was a significant reduction in conflict and stress for everyone working in and visiting the office.  Although it was still the same windowless room, the representations of nature created a more positive and calming effect on human emotions.

 

Rustic Antiques as Biophilic Décor

Here are five recommendations drawn from biophilic design frameworks (Kellert, 2018; terrapinbrightgreen.com) that specify ways to infuse representations of nature inside the spaces we inhabit.

Each recommendation is accompanied by images from our past inventory to illustrate how rustic antiques provide indirect experiences of nature, and thus how they can contribute to biophilic design’s fundamental aim: creating human habitats that promote our health, performance and emotional well-being.

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Hunter with Dog: A 19th Century Vernacular Sculpture

01.23.2019

19th century hunter with dog carving

 

This gracefully stylized, full-figure, three-dimensional portrait of a hunter with his dog, is carved from black walnut. It is signed on the bottom in careful cursive lettering: “Jas. Smith 1842 Albany, New York.”

 

 

19th century hunter with dog carving

 

The carving captures the affectionate relationship between the man and his dog. The dog looks relaxed, faithful and trusting, while the man conveys his own attachment to the dog by letting it rest its head comfortably, almost possessively, across his thigh.

 

19th century hunter with dog carving

 

The following photos from the same time period—daguerreotypes from the 1840s to 1860—show very similar poses of hunters with dogs and shooting accessories. Unlike the smiling norm of modern photo portraits, these men look rather formal and somber, as does the carved hunter. (Images sourced online from ebay and other auction sites.)

 

early photo of hunter with dog

early photo of a hunter with his dog

 

early photo of a hunter with his dog

 

Although the hunter sculpture is relatively large for a figural wood carving (16″ high, 10.5″ deep, 5″ wide), the overall detailing is minimal. The man’s face, ears and hair are representationally rather than realistically carved,

 

19th century hunter with dog sculpture

 

as are the dog’s body and face.

 

19th century hunter with dog sculpture

 

The hunter’s clothing is similarly sparsely represented as a simple single-breasted coat with a collar continuous with its lapel.

 

19th century hunter with dog sculpture

 

The only other elements in the sculpture are the hunter’s gun and shot pouch, both of which are carved with just enough detail to capture the essence of the objects and communicate clearly what they are.

 

19th century hunter carving

early photo of a hunter with his dog

The man on the right carries a shot pouch similar to the one depicted in the carving.

 

We believe that it is the minimalist representation and restraint in decorative detailing that give this sculpture such a compelling presence.

 

19th century hunter with dog sculpture

 

Vernacular Art

This carving is a stellar example of a genre of art created by untrained artists, also known as “vernacular art” or folk art to distinguish it from fine art produced by professional artists. In 18th and 19th  century America, where academically trained artists such as Charles Wilson Peale painted fine oil portraits of famous politicians and war heroes, regular people such as Jas. (19th century shorthand for James) Smith used materials they had on hand to capture familiar scenes and people in their everyday lives.

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Historical Canoe Trip Journal

12.07.2018

1864 canoe trip journal
This small (3” x 5”) leather-bound journal documents a canoe trip taken by five men in two birch bark canoes in the Moosehead Lake region of Maine during the Civil War. The diary, titled “Moosehead Lake, ME. Trip in Canoes,” was kept by L. G. Barrett of Newton, Massachusetts from August 22 – September 13, 1864.

1864 canoe trip journal Moosehead Lake Maine

All entries are in pencil so luckily have not faded and are readable—albeit with the help of a magnifying glass to interpret the small, cursive handwriting. There are 77 pages of writing, plus the author’s name, hometown, and date on the flyleaf, and trip expense tallies on the endpapers.

1864 canoe trip journal

There are also 9 charming small sketches.

1864 canoe trip journal Moosehead Lake Maine

Barrett’s sketch showing two canoes traveling up Moosehead Lake toward Kineo House, with Spencer and Katahdin Mountains to the east.

 

Barrett’s chronicles provide descriptions of traveling to and within Maine during the time period, as well as insights into the personalities and adventures of the canoe trippers. Rich historical details are packed into the journal’s pages.

The Region and Canoe Trip Itinerary

Moosehead Lake is the largest lake in Maine (40 miles long x 10 miles wide), with 400 miles of shoreline, a maximum depth of 230’, 40 islands, and a famous geological feature called Mount Kineo whose cliffs rise 700’ straight up from the lake shore.

Mt. Kineo cliffs

(image: mainememory.net)

By 1864, Moosehead Lake and Greenville, Maine, the town on its southern shore, were already bustling with lumbermen passing through on their way to northern forests, and well-to-do rusticators and sportsmen visiting the elegant Kineo House hotel.

Kineo House

Kineo House on Kineo Point, Moosehead Lake, c. 1880 (image: mainememory.net)

 

The first steamboats had begun providing ferry service along the length of the lake in 1835, providing access to hunting camps, farms, and villages before railroads were built. By 1900, 25 steamboats were actively transporting people, livestock, mail and supplies up the lake on regular schedules.

steamboats on Moosehead Lake

Two steamboats docked on Moosehead Lake, c. 1890 (image: mainememory.net)

Barrett and his canoe tripping party planned to paddle up Moosehead Lake from Greenville, portage across the Northeast Carry to the West Branch of the Penobscot River, and then go downriver to Chesuncook Lake, and thus into the true wilderness of Maine.

1864 canoe trip journal Moosehead Lake Maine

It is plausible that their trip itinerary was influenced by the writings of fellow Massachusetts adventurer Henry David Thoreau who had lived in Concord, just 15 miles northwest of Barrett’s hometown of Newton. Thoreau’s book, The Maine Woods, published posthumously in 1864, documented a canoe trip up Moosehead Lake, over to Chesuncook Lake and beyond. One can imagine the men from Newton being inspired to visit this area that Thoreau so eloquently described.

Chronology of the Trip with Journal Excerpts

The following provides some daily highlights of the trip, along with photographs gleaned from the internet that provide images of what the men were experiencing (although most of the photos are from a slightly later time period, taken after the 1888 introduction of the first roll film camera which made it easier for travelers to take photos).

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Moose We Have Known

10.18.2018

moose hooked rug

October is a good time to celebrate one of the largest mammals native to North America, the stately Moose (Alces alces). These mid-autumn weeks are rutting season, when moose do their best to ensure the production of offspring.

Our thoughts turned to moose on a recent trip to northern Maine. We saw a few of the majestic beasts atop trailers being hauled behind pick-up trucks, as Maine’s highly-regulated and restricted moose hunting season had just begun.

We were in the area to check out one of the newest additions to our National Parks system, the Katahdin Woods & Waters National Monument (KWWNM).

Mount Katahdin

One of the views we captured of Mt. Katahdin (find out more about the KWWNM at https://www.friendsofkww.org/)

After driving along the KWWNM Loop Road, stopping at scenic vistas and taking a few jaunts to explore short side trails, we finished the day with a hike along the historic Wassataquoik Stream—used in the 1840s by loggers to access stands of virgin white pines, and later for driving spruce logs downstream.

Wassataquoik Stream

Wassataquoik Landing by George H. Hallowell, circa 1901. Maine state Library collection.

Explorers, naturalists and sportsmen—including Henry David Thoreau in 1857 and Theodore Roosevelt in 1879—used Wassataquoik Stream in the latter half of the 19th century as an upstream route to access Mount Katahdin.

Wassataquoik Stream

The Wassataquoik looking upstream.

Wassataquoik Stream

The Wassataquoik, looking downstream while dreaming of paddling it.

When we were not musing on Wassataquoik Stream’s distinguished history or looking for boreal birds (we saw two Black-backed Woodpeckers!), we were thinking about moose. That is because we were frequently reminded during our hike that moose are prominent denizens of the northwoods—not because we spotted any, but because we had to watch where we stepped along a trail dotted with piles of fresh moose droppings.

moose droppings

(photo: pressherald.com)

There were also recent moose tracks everywhere.

moose track

(photo: wildernessvolunteers.blogspot.com)

Although we didn’t see a living moose that day, like anyone who has spent time hiking in northern Maine or canoeing in Canada, we have seen our share of moose in the wild.

moose family

A decades-old photo taken by a family friend of three moose on Maine’s East Branch of the Penobscot River which runs along the border of the KWWNM.

Occasionally we also hear first-hand stories of the worst kind of moose encounters: those involving cars. Last October, Kass’ sister was driving along a country road in northern Maine and hit a moose that bolted out in front of her car.

impending moose hit

Coincidentally, a teenager had been videotaping the bull moose in a field next to his house and was still filming as it darted across the road, so he recorded the moose/car crash—the photo above is a still shot from his videotape showing the moose just before its collision with the car.

Luckily, the driver was going slowly so nobody was hurt, although since the moose ran off into the woods we don’t know its ultimate fate.

Indoor Moose

Now to transition to our indoor encounters with moose, namely those we’ve experienced as antiques dealers. Moose have long been a favorite subject for fine artists and folk artists to depict in a wide range of mediums. Moose in many renditions have always been a popular rustic accessory.

So here is a look back at some of the hundreds of moose we have known—and owned—over the past 25+ years in the antiques business.

Moose Textiles

moose with bears hooked rug

Moose with bears hooked rug

mooe blanket

Camp blanket with moose border

 

moose hooked rug

Moose, cattails and ducks hooked rug

 

moose hooked rug

Moose at sunset hooked rug

 

moose hooked rug

Naive portrait of a moose hooked rug

 

moose hooked rug

Moose hunting hooked rug

 

moose hooked rug

Moose by a stream hooked rug

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White-tailed Deer Family: Three Wall Sculptures by Noah Weiss

09.19.2018

Noah Weiss carving

These large-scale carved deer – a buck, doe and fawn – are products of the artistic vision and incredible talent of self-taught carver Noah Weiss (1842-1907).

The wall sculptures are carved from pine – in relief on the front and flat on the back – to be approximately half life-size, and they are in fairly accurate proportion to one other.

deer family

The upright buck is 35” wide x 47” high; the grazing doe is 40” wide x 29” high; and the standing fawn is 25” wide x 20” high. (The shoulder height of an adult White-tailed Deer is 32” to 40” and their body length runs 52” to 95”.)

Noah Weiss deer carvings

 

Weiss painted and varnished these deer, as he did all his carvings, and he added a real antler to the buck (he was also known to have added real antlers to a carving of an elk head, and horns to the carving of a bison head). Most compellingly, Weiss captured each deer’s elegant body shape and proportions – their long, thin legs, pointed snouts and alert ears.

Noah Weiss deer carvings Noah Weiss deer carvings

 

These circa 1890-1900 deer carvings turned up recently in Northampton, Pennsylvania, the town where Weiss lived, worked as an innkeeper, and produced sculptural works of art to decorate the walls of his inn. Fortunately, newspaper accounts during Weiss’s lifetime as well as research by art historians have documented details of the life history and creations of this incredible self-taught artist.

Noah Weiss: Hotelier and “Untaught Sculptor”

Noah Weiss was born in 1842 in Pennsylvania where his paternal great-grandfather had settled upon emigrating from Germany. He grew up on a farm in the Lehigh Valley region (near Allentown, PA) where as a boy his artistic talents were recognized by a wealthy doctor who offered to send him abroad to study art. But his father declined, saying he needed Noah to work on the farm. Thus Noah had little formal education and no encouragement or tutoring in art.

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A Collector’s Passion

08.14.2018

While this month’s musings are inspired by one collector and her passion for tennis antiques, our reflections delineate three of the universal driving forces that impel collectors of every genre of antiques, including our specialty which is Adirondack/rustic antiques.

On August 30, 2018 The Jeanne Cherry Collection of Tennis Antiques will be sold at Morphy Auctions in Pennsylvania.

(View lots from a desktop or laptop computer at:
http://auctions.morphyauctions.com/Category/Tennis-826.html)

On mobile devices scroll to Lot 746 from this link:
https://www.liveauctioneers.com/catalog/125381_fine-art-asian-and-antiques-day-2/)

Jeanne Cherry (1932-2017), the mother of Cherry Gallery’s co-owner Jeff Cherry, was the author of a landmark book on tennis antiques, a leading member of tennis collector societies in the U.S. and abroad, a mentor to other collectors, and an indefatigable huntress of tennis antiques.

Jeanne Cherry’s 1995 book on tennis antiques.

The depth and diversity of Jeanne’s collection reflect her interest in the entire breadth of tennis history and its related material culture.

Group of 27 tennis tintypes; Lot 877

She acquired antiques related to the game of tennis in every possible category—including books, ephemera, photography, equipment, clothing and accessories, toys and games, fine art, jewelry, decorative arts, and furniture.

 

The Renshaw cup won by the first American finalist at Wimbledon, Maurice McLoughlin, in 1913; Lot 820.

 

Jeanne Cherry Collection of Tennis Antiques

This oil on canvas of four women tennis players by Edouard Francois Zier (1856-1924) was one of Jeanne’s favorite paintings – it hung in a prominent area of her home where she passed by it many times a day; Lot 748

 

The Jeanne Cherry collection of tennis antiques.

An 1887 oil on canvas of a Victorian lady with a tennis racket; Lot 747

 

The Jeanne Cherry collection of tennis antiques

Tennis table service items including a dinner gong, toast racks, salt & pepper set, and knife rests; Lot 753

 

The following sections highlight three of the motivating factors that compelled Jeanne to amass and curate her collection of antiques and which, time and again, we have also seen propelling other people’s collecting passions.

1. Fascination with History

There is an intellectual component to being a good collector, and thereby to forming a good collection. Driven by her keen intellect and unquenchable curiosity about all things related to tennis history, Jeanne was as much a scholar of the sport as she was an enthusiast.

For instance, she loved periodically living in and often traveling to England, where the modern game of tennis had its earliest origins in the 16th century game of court tennis.

 

the Jeanne Cherry collection of tennis antiques

Estate collection of Cecil “Punch” Fairs, four-time Court Tennis Champion of the World, 1900-1910; Lot 820

 

Visiting museums, historic homes, palaces, and tennis courts in England and elsewhere helped her develop a grounded understanding of the broader social and cultural contexts that gave rise to tennis objects.

In addition to telling a cultural story, antiques tell a story of human innovation over time. Tennis racket shapes through the ages, for instance, are physical manifestations of how sporting practices evolved over decades and centuries.

The Jeanne Cherry collection of tennis antiques

Sample tennis racket head shapes; over 125 tennis rackets are grouped in Lots 776-818

Another area of tennis history that Jeanne found fascinating was how class and social norms played out, literally and figuratively, on the tennis court. She loved learning about and acquiring the “tennis costumes” that both men and women wore, and understanding how women in particular coped with clothing that in our modern judgment would have severely restricted any woman’s potential for athletic prowess.

 

the Jeanne Cherry collection of tennis antiques

Early tennis attire including dresses, camisole, belts, and a cap; Lot 842

 

the Jeanne Cherry collection of tennis antiques

Antique and vintage tennis shoes, Lot 902

 

the Jeanne Cherry collection of tennis antiques

Locking tennis skirt lifter used in the 1880’s to raise a dress hem to make it easier to play tennis; Lot 935

2. Social Aspects of Collecting

Humans are social beings, and as such we enjoy forming and joining tribes.

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“The Fighting Muskellunge” by Arnoud Wydeveld

07.23.2018

fish painting by Arnoud Wydeveld

 

This dramatic scene of natural predation depicts a Muskellunge (Esox masquinongy) capturing an adult Green-winged Teal (Anas carolinensis). The brass plate on the frame titles the painting “The Fighting Muskellunge” but more appropriate titles may have been “The Fighting Green-Winged Teal” or “The Predatory Muskellunge.” Although anyone who has ever had a Muskellunge on a line knows that it is indeed a fighter, in this portrayal it is the duck that is fighting for its life while the Muskellunge is about to enjoy easy pickings.

 

fish painting by Arnoud Wydeveld

 

This circa 1875 oil on canvas is signed (lower right) “A. Wyderveld N.Y.” Arnoud Wydeveld (1883-1888) was a distinguished Dutch American artist who was born in Holland and immigrated to America in 1853 to join his brother who had settled in New York a few years earlier.

His original Dutch name was Arnoldus van Weydevelt, but in America he was known as Arnoud Wydeveld—although he exhibited at the National Academy in New York using several different spellings of his last name including Wydefield, Wydefeldt, and Wyderveld, which is how he signed this painting.

 

fish painting by Arnoud Wydeveld

 

In America Wydeveld became known primarily for his luminous still-life portraits of flowers and fruit. He was influenced by the 17th- and 18th-century works of Dutch Old Master genre painters such as Johannes Vermeer, but his elegant paintings also incorporate elements of more contemporary mid-19th century European styles.

 

(from questroyal.com)

 

During his lifetime, Wyderveld’s still-lifes were exhibited in prestigious galleries, such as the National Academy in New York, the Pennsylvania Academy of the Fine Arts, and the Brooklyn Art Association.

 

fruit still-life painting by Wydeveld

 

In the 1870s, however, Wydeveld turned his attention to painting fish in their natural habitats. Whereas most of his flower and fruit still-lifes were portrayed on table-top settings, he sometimes depicted arrangements in outdoor settings, so he did have some inclination towards representing natural landscapes throughout his career.

Wydeveld also sometimes included fish and seafood as components of meals in his dining table tableaux, and also painted freshly caught fish, so he had previously portrayed fish from an edibles perspective.

 

Wydeveld fish painting

 

What inspired his transition towards painting lively fish in active scenes—artwork that fits within the sporting art rather than still-life genre—is not documented. One possibility is that he had taken up fishing himself and was thus inspired by observing the beauty of fish and their behaviors in their natural element.

 

Wydeveld fish painting

 

Wydeveld applied the skills he had honed during his years as a still-life painter to portraying fish in the wild, including an eye for detail and the ability to impart texture and a life-like presence in his painted depictions. This painting of a Muskellunge and Green-winged Teal is a masterful product of the artist’s focus on fish during the 1870s.

 

Arnoud Wydeveld fish painting

Frame size: 34.5″ h x 42.5″ w; Sight size: 27.5″ h x 35.5″ w

 

fish painting by Arnoud Wydeveld

The painting (seen from the back) has been relined and restretched for longevity.

 

Detail of the painting’s period frame.

 

Clearly the star of this painting is the Muskellunge, affectionately known throughout its range as “muskie” (it is also the state fish of Wisconsin). Wydeveld depicted this muskie lurking in the bay of a large, horizonless lake, perhaps meant to represent one of the Great Lakes that it populates.

 

Muskellunge painting by Arnoud Wydeveld

This muskie’s dark coloration and spotted pattern are typical of Muskellunge found in the Great Lakes, while in other locations their skin can be more barred or clear.

 

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A Brief Rant

06.25.2018

Antiques show sign (from singerly.com)

When shoppers make the effort to visit an antiques show, they should be able to expect that every item in each dealer’s booth is an antique—an object with history and heritage that is authentic to a past period, not recently made.

It is difficult enough for antiques show patrons to view thousands of items in all of the booths and make decisions about what they like, what will work in their home, what will enhance their collection, what fits their budget, and so on. They should not also have the pressure of needing to worry about the age or authenticity of the merchandise for sale.

The titles of some shows prepare buyers to expect that not everything for sale will be antique—for instance at a show called an “Antiques and Design Fair,” a recent moniker for shows that mix old and new (usually high-end, artisan made) goods, or at a “Flea Market,” a shopping venue well-known for anything goes.

santa monica flea market

A stall at a flea market where anything goes.

But there should be no place for selling contemporary merchandise at an event billed as an Antiques Show. Period. That is our strong opinion.

This long-standing pet peeve of ours was reinvigorated recently when we saw this brand new furniture displayed prominently in a booth at an antiques show:

It is a recently manufactured hickory game table with four hickory hoop-arm chairs from Old Hickory Furniture Company, Shelbyville, Indiana.

The handwritten tag identified the set as “Old Hickory” (true), and it was dated as “20th century” (not true—it should have said 21st century). Even if the dealer thought the set was made as far back as the 1990s it was disingenuous to tag it simply as “20th century,” leaving it up to a shopper to determine when in the 100 year period from 1900-1999 the furniture was made.

We would classify this set simply as contemporary furniture, possibly lightly used, but definitely not vintage and not antique.

The set was priced $2,800 which might be slightly less than it would cost at a contemporary furniture store, but far more than its resale value as used furniture. Since shoppers attend antiques shows hoping to go home with a treasure that will likely retain its value, it is a sad outcome if they unwittingly purchase something whose resale value becomes a fraction of what they paid for it before the ink on their check is even dry.

So how do contemporary goods end up at antiques shows? Here are a few ways:

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Rare Old Hickory Daybed

05.22.2018

Old Hickory daybed

Having handled lots of hickory furniture over the years, we’ve seen the majority of furniture forms that are documented either in books or in our collection of vintage hickory furniture company catalogs. While no antique hickory furniture could be called common, some forms appear on the market more frequently than others.

There are several reasons for the differing availability of hickory furniture forms. One is that certain types of furniture, such as hickory hoop arm or “Andrew Jackson” chairs (shown below), were made in every decade of hickory furniture production for over 50 years, and several different hickory furniture manufacturers made nearly identical versions of popular styles.

hickory hoop arm chair

Another reason is that a greater number of certain forms were produced and sold in a given year reflecting differing demand, for side chairs versus desks, for instance. Finally, some types of furniture such as dressers and other case pieces, have very little market turnover—once they are in a home they tend to stay there, even when the homes themselves (especially summer cottages in remote locations) change hands.

 

Old Hickory dresser

 

So it is always a bit of a thrill when we find a form that we have never or seldom seen on the market. That is the case with this Old Hickory daybed, which is only the second one that we’ve seen or owned in over 25 years of buying and selling hickory furniture.

 

Old Hickory daybed

Old Hickory Daybed dimensions: 74″ wide, 27″ deep, 33″ high back, 17″ high seat

 

This daybed appears in the 1942 catalog titled “Old Hickory Furniture by Old Hickory of Martinsville.”

 

Old Hickory 1942 catalog

 

It was listed as No. 949W “Day Bed With Back” and the description includes the note: “Back is adjusted with ropes.” That pretty well sums up this intriguing piece of furniture. This one is in good vintage condition, retaining its original open-weave rattan cane seat and back.

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