Product Description
Edward Welby Pugin “Granville” early Arts & Crafts walnut chair c. 1870
EDWARD WELBY PUGIN (1834 – 1875) UK
“Granville” chair c. 1870
Walnut, klismos-style A-frame back with exposed pegs, shaped seat and base with exposed mortise and tenon joinery.
Illustrated: Victorian and Edwardian Decor: From the Gothic Revival to Art Nouveau, Jeremy Cooper (New York: Abbeville Press, 1987) fig. 117; Nineteenth Century Design: from Pugin to Mackintosh, Charlotte Gere and Michael Whiteway (New York: Harry N. Abrams, Inc., 1993) p.143, pl. 173 (in oak); Catalogue Sommaire Illustré des Art Décoratifs, Musée d’Orsay (Paris: Éditions de la Réunion des Musées Nationaux, 1988), p. 184; Truth, Beauty and Design. Victorian, Edwardian and later decorative art, exhibit. cat. (Fisher Fine Art Limited, London, 1986.) p. 32, No. 50
A “Granville” chair is in both the Permanent Collection of the Metropolitan Museum of Art and the Museum of Modern Art in New York and the Musée D’Orsay, Paris.
H: 33″ x D: 18 1/2″ x W: 18″
Edward Welby Pugin, son of gothic-revivalist A.W.N. Pugin, was thrust into professional and family responsibilities upon his father’s death in 1852 when the young Pugin was only eighteen years of age. His style closely resembled his father’s although his furniture for the Granville Hotel in Ramsgate (1873) had its own robust individuality. Like his father, he designed both church and domestic furnishings, mostly executed by Hardman & Co. of Birmingham, the firm established by his father’s collaborator John Hardman. During his lifetime E.W. Pugin was regarded as the leading Catholic church architect of the High Victorian period, in fact he left for New York in 1873 and set up an office on Fifth Avenue and received commissions for some 30 churches across the U.S., including Chicago and Washington, D.C.
Edward Welby Pugin “Granville” early Arts & Crafts walnut chair c. 1870
FRITZ SCHMOLL VON EISENWERTH (1883-1963) Germany
M.T. WETZLAR (active c. 1905-1940) München, Germany
Hand mirror c. 1920
Handwrought silver and ivory
Marks: MTW (in a shield), 900, moon, crown, Wetzlar München, R
L: 10 ¼” x W: 4 ¾”
BLACK STARR & FROST New York, NY
Art Nouveau Sterling and Mahogany Jewelry Box c.1900
Mahogany jewelry box with thick sterling silver decorative graphic mountings in an elaborate Art Nouveau whiplash design, original key
Marks: Eagle mark (Company logo) BLACK STARR & FROST, Sterling
For more information see: American Jewelry Manufacturers, Dorothy T. Rainwater (West Chester, Penn.: Schiffer, 1988)
H: 4 1/2″ x W: 10 1/2″ x D: 7″
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One of America’s oldest fine jewelers, Black, Starr and Frost traces its roots to 1810. In that year, Erastus Barton and Frederick Marquand opened Marquand and Barton near New York’s Maiden Lane. The firm added and lost partners numerous times and it also frequently moved locations in accordance with the addresses of its prestigious clientele. Its merchandise was eclectic and greatly varied including, lamps, jewelry, paintings, porcelain, and artistic objects. In 1876, the firm changed its name from Black, Ball, and Co. to Black, Starr, and Frost, and moved to 251 Fifth Avenue. Its inventory became focused on jewelry and silver objects, some imported from Europe, some produced in-house. For many decades, the renowned jewelry house, Black, Starr, and Frost was considered one of the great American jewelers. In 1876, it was invited to exhibit at the Centennial Exposition in Philadelphia along with renowned firms like Tiffany & Company, Whiting, and Gorham. In 1939, the firm was one of five American jewelers invited to exhibit at the New York’s World’s Fair. In 1929, it merged with Gorham to become Black, Starr, Frost – Gorham.