Typed letter signed, dated” November 13th 1890” by the American architect and a partner in the architectural firm McKim, Mead & White, one of the most significant Beaux-Arts firms at the turn of the 20th century. His temporary Washington Square Arch was so popular that he was commissioned to design a permanent one. Addressed to Mr. Church, concerning the Battle Monument in West Point, NY: “..As soon as we got the West Point Monument in its final shape, I shall be very happy to send you a drawing of it…”. 1 p. ½. In-8. With letterhead “Mc. Kim, Mead & White, ARCHITECTS”. - This item is under temporary import. If the item is delivered within the United Kingdom, it will be subject to a 5% Value Added Tax (VAT) on the hammer price.
(American, 1853-1906) Chateau de Plecis Mace, inscribed lower right 'Chateau de Plecis Mace/Baron D'Hareseana', pencil on buff paper, 13-3/4 x 10-3/4 in.; gilt wood frame, 20-1/2 x 19-1/2 in. Provenance: The Collection of Clare and Jared Edwards, West Hartford, Connecticut
Newcomb Macklin, circa 1910, designed by Stanford White with alternating rows of repeating waves, ripples, rope twist, pearls, etc. Overall 15 1/2" x 19 1/2", rabbet 10" x 14", molding 3".
Attributed to Stanford White (American, 1853-1906), sketch of "St. Peter's Rome", unsigned, title and gallery label verso, matted and framed under glass, 4.75"h x 16.75"w (sight), 11.25"h x 23.25"w (frame)
Stanford White (American, 1853-1906) pencil sketch with watercolor and gouache depicting a bird's eye view of the Valley of the Seine River, France. The composition extends across two sheets of paper, likely from a sketchbook. Unsigned; titled en verso. Housed under glass in a giltwood frame with thick white mat. Sight - 20" x 8"; frame - 26 1/2" x 14". Davis Galleries, New York label en verso. Note: Davis Galleries (1952-1973, now known as Davis & Langdale), conducted an exhibition of Stanford White's works on paper in 1963. Stanford White was best known for his iconic American Beaux-Arts period architecture and his salacious personal life (which ended with his murder at the hands of his lover Evelyn Nesbitt's millionaire husband, Harry Thaw). But he was also an accomplished picture frame designer and occasionally utilized his artistic training to paint landscapes such as this one.
Newcomb Macklin, circa 1900, designed by Stanford White with alternating rows of repeating waves, ripples, rope twist, pearls, etc. Overall 19" x 23", rabbet 12" x 16", molding 3 3/4".
Attributed to Stanford White (American, 1853-1906) In Memory of Marion de Kay Gilder (1875-1876) (double-sided) Carved wood; Oil on wood 4-1/4 x 7-3/4 inches (10.8 x 19.7 cm) HID01801242017
American, ca. 1920, likely by Newcomb Macklin, iconic Stanford White style in white painted surface. Rabbet: 20" x 30" Overall Dimensions: 27" x 37" Molding Width: 3 3/4"
Newcomb Macklin, ca. 1910, designed by Stanford White with alternating rows of repeating waves, ripples, rope twist, pearls, etc., in a great standard size iconic Rabbet: 20" x 24" Overall Dimensions: 31 1/4" x 35 1/4" Molding Width: 6"
American, ca. 1900, complex layered design simulating fabric and basket weaving, possibly designed by Stanford White. Rabbet: 20" x 34" Overall Dimensions: 29" x 43" Molding Width: 4.75"
Stanford White's Plaster Cherub, the self-framed head and wings with a notation to back, "This came out of Stanford White's House - were 2 - they hung on each side of his bed." Diameter inches ( cm.). NOTE: Stanford White (1853-1906) was America's most famous Architect and the greatest Interior Decorator of the Gilded Age. He was publicly murdered by the husband of his girlfriend in Madison Square Garden. His famous house, loaded with artworks, was on the north corner of Grammercy Park. Diameter; 10 1/2 inches ( 26.7cm). PROVENANCE: From a North Shore Long Island Family Collection
ATTRIBUTED TO STANFORD WHITE New York, 1853-1906 Sketch of a medieval chateau. Label verso for Davis Galleries, New York. Charcoal on brown paper, 10" x 15.5". Framed 15.5" x 21".
Stanford White American, 1853-1906 Drawing for the Cover of the Cosmopolitan, June 1887, 1887 Graphite on paper 13 x 9 5/8 inches Provenance: Davis Galleries, New York C
Watercolor. "The Covered Bridge". Davis Galleries label affixed verso. From the New Milford, CT collection of Skitch Henderson, bandleader for Johnny Carson and founder of the NY Pops.
Watercolor. "Harlem River". Davis Galleries label affixed verso. From the New Milford, CT collection of Skitch Henderson, bandleader for Johnny Carson and founder of the NY Pops.
architectural rendering mixed media on paper h. 28-3/4 w. 21-1/4 in. (sheet) overall: 30 x 22 of New Madison Square Presbyterian Church, located at Madison & 24th st. by Stanford White (1853-1906) considered White's best work, built in 1906 torn down in 1919., signed lower left and dated '05. with type written note "This sky is pastel and will blur if rubbed J.T. Crow", New York Library digital #801025
Antique Stanford White designed frame, with a five inch border with various decorative elements including Greek wave ornament, in a Roman bronze finish, dimensions of the frame being 25.75 by 29.75 inches, sight size 15 5/8 by 19 5/8, inside frame measuring 16 3/8 by 20 3/8, 3/8 inch rabbet width, 5/8 inch rabbet depth.
Stanford White (1853-1906) style giltwood carved frame, with Oakland Art Museum label (William Clapp) verso from the Fifteenth Annual Statewide Art Exhibition, and Helgesens Art Gallery San Francisco label, overall 32.5"h x 36.5"w rabbet 24.5"h x 28.5"w
Stanford White (New York, 1853 - 1906) carved and gilt wood picture frame, circa early 1900s. Designed by Stanford White and made by one of the two or three companies executing his designs, similar to the one created for the Thomas Wilmer Dewing painting "The Letter". Measures 32-1/2 in height with width of 27-5/8 and depth of 2-1/4" with inner height of 21-3/4" and width of 16-3/4". In need of minor restoration, please see photographs. It is our recommendation that all lots be examined in person by prospective bidders or by a trusted expert they have asked to advise on the purchase. Stanford White was an American architect and partner in the architectural firm McKim, Mead & White, the frontrunner among Beaux-Arts firms. He designed many houses for the rich as well as numerous public, institutional (including the post-fire rebuild of Thomas Jefferson's Rotunda), and religious buildings. His design principles
White Stanford 1853 - 1906 Extensive full page Stanford White AN and TLS regarding the creation of the Brooklyn Prison Ship Martyrs Monument. Single page TLS, 8" x 10.5" on letterhead of McKim, Mead and White, 160 Fifth Ave, New York. Dated "December 9th, 1895" and boldly signed in full by Stanford White as "Stanford White", with a full page autographed note on the verso, and annotations and a post script on recto. Expected folds with three small pencil tip holes, else near fine. An extensively annotated TLS by Stanford White to "Mac" McMonnies with a full page autographed note on verso, in addition to a post script on the bottom of the recto. Stanford White was working back and forth with McMonnies to create a design for the Prison Ship Martyrs Monument in Brooklyn, but was struggling with budget constraints of the city's fund for the project. He noted to Mac "I send you a photograph of the design for the Martyrs Memorial. This can be built with a center monument only or with the columns, as they decide. I fear however, that they will not have money enough to build any of it. Will you kindly, however, let me know, so I can submit it, your own price in detail as follows ..." What makes this letter so especially interesting is that as a child, Mac had played in Fort Greene and recalled how he stood near the gloomy, hideous vault, where the bones of the martyrs now remain. He had a personal relationship with the Former Brooklyn Park Commissioner, Elijah R. Kennedy, and actually offered to do this monument for FREE (as noted in the local Brooklyn Newspapers. However this became a source of contention between Mac, Stanford White, and S.V. White, who was overseeing the funding for the project in addition to spearheading the design elements. However, Stanford White wrote to Mac for pricing on various designs for the monument, including: "The large bronze relief, For the Eagles, For the groups of 6 and 7 figures typifying the original states surrounding the granite columns, and for the two figures of Crowning Victory on each of the columns." In the background, a member of the D.A.R (Daughters of the American Revolution), S.V. White was overseeing the design and progress of this impressive monument in Brooklyn. And much was being written about this in the local newspapers as shown below: From The Brooklyn Daily Eagle paper: Mrs. S.V. White, a member of the Daughters of the Revolution, was principally interested In agitating the subject of this monument, and a Former Park Commissioner, Elijah R. Kennedy went to Paris to see Mr. Macmonnies, and obtain from him some Idea of what might be done. Mr.,Macmonnies was an Intimate friend of the Brooklyn man, and Mr. Kennedy visited him in his studio, In Paris, and told him how the women of Brooklyn were endeavoring to revive Interest in the subject and to atone, as well as they might, for the neglect that had caused these heroes ' of the revolution to be practically forgotten. "I called upon Mr.Macmonnies one afternoon," said Mr. Kennedy to an Eagle reporter this morning, "and found him at work in his studio. I told him what had been done by Brooklyn women and how shamefully the memory of the martyrs had been neglected. To my surprise, I had hardly time to begin before he became the speaker and went over the whole ground with an accuracy and memory of details that would have been surprising in any other man. He told me how he had played in Fort Greene when a boy and how he stood near the gloomy, hideous vault, where the bones of the martyrs now He. He rapidly sketched out in rough, but perfectly comprehensive, lines the scenes he spoke of and told me to call upon him in the morning and he would have a model for the monument for me to look at. It was then late in the afternoon, and early next morning I was at his studio again, but the interval, short as It had been, was more than sufficient for him to work In and there was before me a clay simile of what Macmonnies believed should mark the resting place of the martyrs. "In the first place, his Idea was that of an enormous temple, which should face the plaza of Fort Greene from the place where the vault now Is. And in baas relief upon this tablet was to be represented a great mass of prisoners In the hold of a prison ship, thus suggesting the suffering and death of the - martyrs. In the model that lay be - fore me the emaciated features of the men were depicted, and there, too, were scenes that moved to pity as well as admiration for some suffering heroes helping those more miserable than themselves by permitting them to rest their aching bodies upon their own. It symbolized in one grand picture, like a photographic flash, the most striking incidents of the - time. It was to be, if made, the most magnificent relief in the world. "As a picture must be suitably framed," continued Mr. Kennedy, "so in Mr. Macmonnies' idea this bronze tablet of gigantic proportions was to be relieved and set off with columns, stairways and ornamental stone approaches. This work he preferred to be designed by his friend, Stanford White, the well known architect. He turned to me as he finished his description and said, with beaming face: 'I will do this for Brooklyn and shall not charge anything." I told him his friends would never permit him to do anything of the kind; that if Brooklyn could not pay her share for such a work or If the United States could not pay for it, they did not deserve to possess it. Mr Macmonnies is the very soul of generosity and would give himself away to his friends If they would permit it. But Brooklyn should have that tablet and must have it. With this as the backdrop of the letter, Stanford White's extensive autographed notes on the verso go into the details of the design, scaling and pricing of the monument. Today the Prison Ships Martyr Monument still stands proudly in Brooklyn, however this fascinating letter shows the extent of its many obstacles.
White Stanford 1853 - 1906 Stanford White discusses the Brooklyn's Soldiers and Sailors Memorial Arch with MacMonnies Single typed page on stationary stock addressed to "Mac", (Frederick William MacMonnies), on the firm's letterhead of "McKim, Mead & White". Dated "April 7th, 1896, and signed by Stanford White as "my love to .../ affy Stanford White", with an additional autographed paragraph as a post script. 8" x 10.25". Expected folds, two small 1mm holes, faint pencil marks, else fine. Verso blank. Whites letter to MacMonnies, the best known expatriate American sculptor of the Beaux-Arts school, commenting about The Soldiers and Sailors Arch at the Grand Army Plaza in Brooklyn, New York notes that he sent him "photographs of the Quadriga of the Arch.... And that I am certain that the height and size will turn out all right, and the impression ... was very splendid." Additionally White confirms "I found out that the use of sticks, or, in fact, anything, would simply mix things up, and that the only possible way that you could really judge would be to have as rough a cheap a model as possible, and have it stuck up there. This Young, the Scene Painter of the Broadway Theatre did for me, and he really did it very splendidly. But is was a tremendous undertaking, and the most hell of a job to put up in this stormy and windy weather that we have been having ..." Although the Arch had opened to the public on 1894, the sculptures were not added until later in 1898. McKim, Mead and White recommended bronze status and, in 1894, Frederick W. MacMonnies was hired by the City of Brooklyn to design the bronze sculptural groupings. MacMonnies added Army and Navy sculptures and the allegorical crowning sculpture atop the Arch. It depicts three female sculptures, the winged goddess of victory in the center following victorious combat with instruments of war and the Quadriga representing the Union Army: two winged female attendants are seen removing two of the four Quadriga horses for peacetime use while trumpeting the victory and emancipation. The Quadriga was cast in Paris at the LeBlanc Barbedienne Foundry. The November 6, 1898, edition of the New-York Tribune pictured "Brooklyn's Quadriga ... Being Placed on the Memorial Arch..." The February 12, 1899, edition of The New York Times reported "The Quadriga of Frederick MacMonnies has been placed upon the Soldiers and Sailors' Memorial Arch at the main entrance to Prospect Park, Brooklyn ... It is a colossal bronze group representing the triumph of American arms and the dignity of the Nation ... This great work of art was placed upon the arch recently without any ceremony attending it ... The work was to be completed by MacMonnies in two years in Paris, where he now resides. The sculptor, however, took four years to finish the group to his satisfaction..." As additional side interest, White included a personal note to MacMonnies about Mac's wife, Mary Louise Fairchild, who was an established painter and had just exhibited some of her works. He admonished "That was a bully study of decoration of your wife's in the exhibition ..." And along the bottom of the letter White included a somewhat rushed, lengthy autographed post script of "By the way -- as a matter of Biz ( + not for me) what would Mrs. Mac ask for three (illegible) such as you and she gave me - a (illegible) saw them and said she would like three like them if I would not (illegible) her to get them?" Whites postscript appears to be referencing Mary's artwork. Just a few years prior to this letter Mary shared the spotlight with her husband, Mac, at the 1893 Chicago Exposition when he was commissioned to create the majestic Columbian fountain that was the centerpiece of the fair. Mary was asked to paint a giant mural, Primitive Woman, for the rotunda of the Woman's Building. However at the time of this letter she had resumed painting more classic oils on canvas and had an exhibit of her paintings in Paris in 1895. A fascinating correspondence between architect and artist during a significant period of architectural design. Both men dominated the architectural scene in New York at the time. The Soldiers and Sailors Arch designated a New York City Landmark in 1973,and the crowning sculpture was restored after the chariot's figure fell out in 1976. A lovely image of the arch is shown below.
Stanford White (American, 1853-1906) Villeneuve-les-Avignon Watercolor on paper 10 x 13-1/4 inches (25.4 x 33.8 cm) Signed lower left PROPERTY FROM THE NEAL PRINCE HISTORIOGRAPHY TRUST HID04901242017
White Stanford 1853 - 1906 Stanford White discusses the Brooklyn's Soldiers and Sailors Memorial Arch with MacMonnies Two typed pages on stationary stock addressed to "Mac", (Frederick William MacMonnies), on the firm's letterhead of "McKim, Mead & White". Dated "August 1st 1896", and signed by Stanford White as "affectionately White". 8" x 10". Expected folds, faint handling marks, two small 1mm holes, not affecting text. Verso blank. Small pencil notes. White's letter to MacMonnies, the best-known expatriate American sculptor of the Beaux-Arts school, acknowledges receipt of his letters, in addition to commenting about the Soldiers and Sailors Arch at the Grand Army Plaza in Brooklyn, New York. "I do not think it would be well to spread the base of the Quadriga. It now carries up the line of the pilasters and I think it would add to the heaviness of the group to spread it" . Although the Arch had opened to the public on 1894, the sculptures were not added until later in 1898. McKim, Mead and White recommended bronze statues, and in 1894, Frederick W. MacMonnies was hired by the city of Brooklyn to design the bronze sculptural groupings. MacMonnies added Army and Navy sculptures and the allegorical crowning sculpture atop the Arch. It depicts three female sculptures, the winged goddess of Victory in the center following victorious combat with instruments of war and the Quadriga representing the Union Army: two winged female attendants are seen removing two of the four Quadriga horses for peacetime use while trumpeting the victory and emancipation. The Quadriga was cast in Paris at the LeBlanc Barbedienne Foundry. The November 6, 1898, edition of the New-York Tribune pictured "Brooklyn's Quadriga ... Being Placed on the Memorial Arch ... ". The February 12, 1899, edition of The New York Times reported: "The Quadriga of Frederick MacMonnies has been placed upon the Soldiers' and Sailors' Memorial Arch at the main entrance to Prospect Park, Brooklyn ... It is a colossal bronze group representing the triumph of American arms and the dignity of the Nation ... This great work of art was placed upon the arch recently without any ceremony attending it ... The work was to be completed by MacMonnies in two years in Paris, where he now resides. The sculptor, however, took four years to finish the group to his satisfaction ... " White additionally noted to Mac that: "do you know that your contract provides that you shall provide the granite base and construction to support the Quadriga. I had no idea of this ... what shall I do about it?" White's jocular, yet arrogant humor also resounded on the second page when he opines about the "hellish monument"/Indianapolis work that is occupying Mac's time. He writes: "Miss Scudder tells me that you have given up the Indianapolis work. Is this true? I hope to the Lord it is, because it always seemed to me that you would have a hell of a lot of work, that it would add little to your fortune, that it might break down your health and that the fame and effect of what you did would be seriously hurt by the hellish monument it was connected with." A fascinating correspondence between architect and artist during a significant period of architectural design. Both men dominated the architectural scene in New York at the time. The Soldiers and Sailors Arch designated a New York City Landmark in 1973, and the crowning sculpture was restored after the chariot's figure fell out in 1976. A lovely image of the arch is shown below.
STANFORD WHITE (1853-1906): SKETCHES OF A SOFA AND CHAIR; AND SKETCHES OF A SOFA AND CHAIR Two pencil on paper, both unsigned, one with figure sketches on the reverse, with label from Davis & Langdale Company Inc., New York. Both 5 1/8 x 8 1/ 4in. (sheet), 10 1/4 x 13 1/2 in. (frame). The Collection of Alan Wanzenberg
Edwin Clymer (American, 1871-1949), oil on canvas, Moonscape, signed lower right, 32" x 40" stretcher, 44 1/2" x 52 1/2" overall, relined, evidence of minor inpainting visible under black light; no rips or tears, ornate gilt frame designed by architect Stanford White (American, NY,1853-1906)
STANFORD WHITE (American, 1853-1906) Shawangunk Ridge, Newburgh, New York Watercolor and pencil on paper 7 x 13-1/2 inches (17.8 x 34.3 cm) Inscribed in pencil lower right: Shawangunk Ridge /To Mr ? Hill, Newburgh / With? on the horizon THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: David Galleries, New York (labels verso); John Torson (name inscribed verso as possible former owner). EXHIBITED: St. Paul Art Center, February 1964. Celebrated American architect Stanford White, partner in the Beaux-Arts architectural firm of McKim, Mead & White which designed magnificent houses for the rich and famous as well as numerous public buildings during the late 19th century, was an accomplished and agile watercolorist. On his travels he routinely recorded in sketches and water media landscapes, interesting architectural views, and cityscapes. The present work records a view of Shawangunk Ridge,the northern end of a long ridge within the Appalachian Mountains that begins in Virginia, where it is called North Mountain, continues through Pennsylvania as Blue Mountain, becomes known as the Kittatinny Mountains after it crosses the Delaware Water Gap into New Jersey, and becomes the Shawangunks at the New York state line. These mountains mark the western and northern edge of the Great Appalachian Valley. The ridge's unusual name seems to derive from a Dutch intransitive verb meaning, "It is smoky air," which may refer to the atmospheric conditions which build up above and around it, or alternately to an old fort which was once in the vicinity. Stanford White's nearly impenetrable handwriting may be referencing something about weather conditions on the horizon.
INK DRAWING - Architectural Studies from the Canadian Notebooks of Architect Stanford White (1853-1906) of the famous firm of McKim, Mead & White, with his monogram and notation 'Dormers old French house opposite called Montcalm Manor' and 'Bracket next door'; in the same frame as an 1896 check from White to Baring Magoun Co, mounted on the reverse of the frame along with a presentation note from Stanford White's son in 1937, in burled frame, matted and glazed, the sketch is 5 1/4" x 7", good condition. Stanford White was murdered by Harry K. Thaw in jealousy over actress Evelyn Nesbit, while White was watching a show at the roof salon of the original Madison Square Garden, which he had designed, resulting in the 'Trial of the Century'. From the estate of Anne Bigelow Stern of New York City
INK DRAWING - Architectural Studies from the Canadian Notebooks of Architect Stanford White (1853-1906) of the famous firm of McKim, Mead & White, with his monogram and notation 'Dormers old French house opposite called Montcalm Manor' and 'Bracket next door'; in the same frame as an 1896 check from White to Baring Magoun Co, mounted on the reverse of the frame along with a presentation note from Stanford White's son in 1937, in burled frame, matted and glazed, the sketch is 5 1/4" x 7", good condition. Stanford White was murdered by Harry K. Thaw in jealousy over actress Evelyn Nesbit, while White was watching a show at the roof salon of the original Madison Square Garden, which he had designed, resulting in the 'Trial of the Century'. From the estate of Anne Bigelow Stern of New York City, formally of the Rosen House at Caramoor.
(Architecture, American), White, Stanford (1853-1906), Sketches and Designs by Stanford White, New York: The Architectural Book Publishing Co., 1920, gilt stamped brown cloth, folio, (minor wear, minor spotting).
Autograph - Stanford White Distinguished American architect (1853 - 1906), one of the leading figures of the "Beaux Arts" movement, best known for his opulent mansions and for the second Madison Square Garden. White's Madison Square Garden was topped by a nude statue of Diana that was purportedly modeled after the stage actress Evelyn Nesbit. Nesbit's outraged husband confronted White in the rooftop theater of the New York landmark and fatally shot him. TLS, one page, 5.25 x 8.5, McKim, Mead & White, Architects letterhead, November 13, 1890. The famed architect references his design for the West Point Monument. In full: "As soon as we have the West Point Monument in its final shape, I shall be very happy to send you a drawing of it." In very good condition, with creasing to the left edge, strips of mild toning to the edges, show-through from a block of even toning on reverse, and scattered ink blotches. RRAuction COA.
Staircase in the French Quarter. Watercolor and wash on cream laid paper. 334x264 mm; 13 1/2x10 3/8 inches. Ex-collection Lawrence White, Robert White and Davis Galleries according to a label on the frame back. Born in New York City, White was an accomplished American architect. He entered the office of Gambrill and Richardson in Boston, at the time when H. H. Richardson was at the peak of his fame. With Richardson, White worked on the design for Trinity Church, Boston. In 1879, after studying in Europe, he went into partnership with C. F. McKim and W. R. Mead; their firm would affect the course of American architecture. Among the buildings executed by the firm, those that are commonly ascribed as his individual accomplishments include the second Madison Square Garden, Madison Square Presbyterian Church, the New York Herald Building, Washington Arch, and the Century Club, all in New York City (only the latter two survive). White's passion and talent, evident in these buildings, focused on the decorative elements and the interior design and furnishings. He was shot and killed in Madison Square Roof Garden by Harry K. Thaw due to his love affair with Thaw's wife, Evelyn Nesbit Thaw. After his death the firm continued to design buildings in his style that later were erroneously attributed to White himself, e.g., the Harvard Club, New York.
Part 19th Century on later supports The demilune faux porphyrized mahogany top with anthemion and husk lacquered brass gallery over four drawers with convex ribbon tied laurel facades, on two later composition eagle-form supports, the back supports on gilded mahogany and formed as quivers with fluted and chandelle stems on foliate feet, on plinths, the frieze with evidence of previous central supports 393/4in. (101cm.) high, 119in. (302cm.) wide, 31in. (79cm.) deep PROVENANCE Stanford White (1853-1906), used in the dining room of his Gramercy Park townhouse, New York City. Colonel Samuel Pomeroy Colt (1853-1921), purchased from the estate of Stanford White, 6 April 1907, lot 157 for $1,250. LITERATURE 'Interior Views in the House of the Late Stanford White', American Architect and Building News, 30 March 1907, vol. 91, p. 128 (shown in situ in the Dining Room of Stanford White's home). L.H.French, The House Dignified, 1908, p.36 (shown in situ in Stanford White's home). The White House copies of this table: The White House: A Historic Guide, White House Historical Association, 1962, pp. 97-99. W. Seale, The President's House: A History, White House Historical Association & National Geographic Press, 1986, p. 683. W. Seale, The White House: The History of An American Idea, American Institute of Architects Press, 1992, p. 186, design drawing illustrated p.198. B. C. Monkman, The White House: Its Historic Furnishings and First Families, White House Historical Association & Abbeville Press, 2000, p.187-189, design drawing illustrated p. 188. EXHIBITION Baltimore, Maryland, The Baltimore Museum of Art, Power, Politics & Style: Art for the Presidents, 24 September 2000-7 January 2001. NOTES STANFORD WHITE This magnificent table once stood in the dining room of the architect Stanford White's Gramercy Park townhouse, along with four smaller single eagle-support console tables of matching design but of a later date and possibly designed by White himself. Stanford White (1853-1906), one of the most celebrated American architects of the late nineteenth century, was a founding partner of the influential firm McKim, Mead and White. This legendary firm produced more than 900 public and private commissions, including the Boston Public Library, Columbia University, and New York's Pennsylvania Station. Designs that are directly attributed to White himself include Madison Square Garden (1891), the Washington Memorial Arch (1891), the New York Herald Building (1892) and the Madison Square Presbyterian Church (1906). White's commissions included houses and interiors for many prominent members of society, including the Vanderbilts and the Whitneys, and social clubs such as the Metropolitan and the Century. Often acting in the role of advisor and interior designer, White frequently travelled to Europe to purchase furniture, pictures, sculptures and architectural elements for clients, as well as his own collection. Significantly, he was also a prolific designer of furniture as well as jewelry, picture frames, magazine covers, gravestones and trophies. THE WHITE HOUSE COMMISSION This eagle-supported console table served as the direct design source for three tables in the White House that were conceived by Stanford White and are still in use in the State Dining Room today. In 1902, President Theodore Roosevelt commissioned McKim, Mead and White to remodel the interiors of the White House. The President persuaded Congress to appropriate $475,445 for the badly needed expansion and redecorating. The firm was given only five months in which to complete the commission. Stanford White's talents were called into use with the decoration of the newly enlarged State Dining Room. The carved oak walls (supplied by Herter Brothers) and stuffed animal heads were meant to suggest a dining hall in a grand English country house (see W. Seale, The President's House, 1986, vol. 2, p. 683). As part of the project, White designed furniture for the room in keeping with this traditional English country house decoration. This included a large Regency style eagle-supported console table based on the design of his own table, which he obviously held in the highest regard. Its boldly conceived classical design reflects White's love of ornament and adherence to the classical ideals which characterized his architecture. In addition to this table, other furniture was executed to his designs including two matching eagle consoles of a smaller size (again, after those in his collection which were also possibly designed by him), Queen Anne style side chairs and William and Mary style armchairs. The three eagle-support console tables were executed by the Boston firm A.H. Davenport after White's design drawing (reproduced in B.C. Monkman, The White House: Its Historic Furnishings and First Families, 2000, p. 188). The invoices from Davenport record a cost of $650 for the larger table and $310 for each of the smaller tables ( Report of the Chief of Engineers, U.S. Army Inventory of Public Property, Executive Mansion, June 20, 1903). SALE OF ARTISTIC FURNISHINGS FROM THE ESTATE OF STANFORD WHITE Stanford White's reputation as an architect/designer has frequently been overshadowed by his fabled decadent lifestyle, tragically cut short by his murder in 1906 by millionaire Harry K. Thaw, the jealous husband of White's former showgirl mistress. Members of society flocked to the four separate sales of White's estate in 1907, held by the American Art Association. The first sale, on April 4-6, was held on the premises of his Gramercy Park house. The present lot was included in this sale and described in the auction catalogue as: Lot 157-LARGE EMPIRE SIDE TABLE With four drawers. Italian; carved and gilded wood, supported by two large carved spread eagles in front and two fluted column back legs. The top rails of brass, scroll and lily design. The top of wood in imitation of marble. The table was purchased by Colonel Samuel Pomeroy Colt (1853-1921) of Bristol, Rhode Island, a prominent local businessman and head of the United States Rubber Company. In addition to this table, which he purchased for $1,250, Colt acquired the following lot 158, the four smaller tables of matching design but of a later date that were described as having eagles ' made of composition and gilded'. As the large console table is now supported on gilded composition eagles, it is most likely that these were originally the supports from two of the smaller tables that have now replaced its original wooden eagles; as a consequence of their greater height, the back supports on this table are associated as well. THE DESIGN OF THE TABLE Designed in the antique manner, marble-slabbed side tables, which would have been entitled 'Roman tables' in early 18th century pattern books, were used as sideboard tables for a stone banqueting hall or saloon. The introduction of the console-table with plinth-supported eagles is generally credited to the artist/architect William Kent (d. 1748). Fighting eagles, perched on a console table, are featured in his illustrations for Alexander Pope's 1727 translation of Homer's The Odyssey recounting the history of Rome's foundation after the Trojan Wars. The earliest surviving illustration of such a table is featured on the 1739 printed bill-head of Francis Brodie (d. 1782), cabinetmaker of Edinburgh (see F. Bamford, 'A Dictionary of Edinburgh Wrights and Furniture Makers', Furniture History, 1983, pl. 24a). A related table of similar grandeur was probably executed in the Regency period using earlier Georgian eagles for the Hon. William Herbert, Earl of Carnarvon at Highclere Castle, Hampshire. This table was sold by the late Michael Behrens, Esq., Christie's London, 9 July 1998, lot 29 (œ55,000).
Late 19th century Each circular convex plate within a reeded ebonized slip and molded frame set with balls, the scrolling acanthus crest centered by an eagle, above two scrolling arms and a pierced acanthus apron, wired for electricity, the backs replaced 44in. (112cm.) high, 241/2in. (62cm.) wide (2) PROVENANCE Almost certainly part of a commission supplied by Stanford White in 1898-1906 for Samuel Breese for 'The Orchard', Southampton, New York. Acquired with the house by Charles E. Merrill in 1926. Thence by descent. NOTES These wall lights reviving eighteenth century neoclassical decoration were almost certainly supplied along with the painted satinwood furniture (lots 34, 37-39) by Stanford White to James L. Breese for 'The Orchard' Southampton. See footnote to lot 34 regarding this commission.
Circa 1900 The pierced crestrail above an oval caned splat flanked by circular caned splats, each centered with a conforming medallion decorated with putti, the pale yellow trellis-patterned silk seat cushion between open arms, on turned splayed legs, decorated overall with floral garlands 60in. (152.5cm.) long PROVENANCE Part of a commission supplied by Stanford White in 1898-1906 for Samuel Breese for 'The Orchard', Southampton, New York. Acquired with the house by Charles E. Merrill in 1926. Thence by descent. NOTES See footnote to lot 34 regarding the James L. Breese commission at 'The Orchard', Southampton. This settee appears in situ in a photograph of 'The Orchard' reproduced opposite lot 34.
Circa 1900 The oval hinged and glazed-panelled top opening to a green silk-lined well, the frieze above splayed square legs joined by an X-stretcher with central oval, painted overall with floral ribbon-tied swags 29in. (73.5cm.) high, 24in. (61cm.) wide, 22in. (56cm.) deep PROVENANCE Part of a commission supplied by Stanford White in 1898-1906 for James L. Breese for 'The Orchard', Southampton, New York. Acquired with the house by Charles E. Merrill in 1926. Thence by descent. NOTES See footnote to lot 34 regarding the James L. Breese commission at 'The Orchard', Southampton.
Circa 1900 Each with pierced shield-form back centered by an oval medallion depicting a fashionable lady, the downswept arms above a floral cotton upholstered cushion and bowed seat, on tapering turned legs, decorated overall with floral ribbon-tied swags, originally caned, all four front feet tipped, one stamped 8039 (2) PROVENANCE Part of a commission supplied by Stanford White in 1898-1906 for James L. Breese for 'The Orchard', Southampton, New York. Acquired with the house by Charles E. Merrill in 1926. Thence by descent. NOTES See footnote to lot 34 regarding the James L. Breese commission at 'The Orchard', Southampton. This pair of chairs appears in situ in a photograph of 'The Orchard' reproduced opposite lot 34.
Circa 1900 Each pierced shield-form back above downswept arms and U-shaped padded seat upholstered in cream-ground cotton, on tapering square legs with spade feet, painted overall with floral garlands (2) PROVENANCE Part of a commission supplied by Stanford White in 1898-1906 for James L. Breese for 'The Orchard', Southampton, New York. Acquired with the house by Charles E. Merrill in 1926. Thence by descent. NOTES In 1898, the wealthy financier and amateur photographer, James L. Breese (1854-1934) commissioned the legendary firm of McKim, Mead and White to convert a 19th century ship captain's house into a summer home fit for a gentleman in the newly fashionable community at Southampton on the south fork of Long Island. The late 19th century and first few decades of the 20th century saw a dramatic increase in the number of wealthy summer residents in Southampton, effecting a spate of construction of baronial 'piles' throughout the area as was also evident during this period along Rhode Island's Gold Coast and Saratoga Springs, New York. 'The Orchard' featured a prominent portico fashioned after George Washington's Mount Vernon. While McKim oversaw the exterior design of the house, Stanford White designed and furbished the interiors. Often acting in the role of advisor and interior designer, White frequently travelled to Europe to purchase furniture, pictures, sculptures and architectural elements for clients, as well as his own collection. He was also a prolific designer of furniture as well as jewelry, picture frames, magazine covers, gravestones and trophies. White's commissions included houses and interiors for many prominent members of society, including the Vanderbilts and the Whitneys, and social clubs such as the Metropolitan and the Century, while the firm itself produced more than 900 public and private commissions. In 1926, Charles E. Merrill purchased the house and gardens along with a fair amount of the original furnishings. Hellen Ingram Merrill recalled: When Charlie took me past the Orchard in 1926 and asked me if I would like him to buy it, I replied 'Heavens no! It's much too big...'. It is characteristic of Charlie that, once he and the Orchard's owner, James. L. Breese, came to terms, he could not wait until business hours to close the deal. Papers were brought to a Broadway theatre, where he signed the contract between acts... (Hellen's Book, privately published, p.17). Much of the painted satinwood furniture in this sale, including this lot, lots 37-39 and 121, as well as the pair of columns (lot 160) and probably the Adam revival wall lights (lot 6) were part of the original Stanford White commission. Further lots in the sale (lots 1, 17, 32, 59 and 134) also came from 'The Orchard' but were almost certainly purchased by Charles and Hellen Ingram Merrill on their buying trips in Europe in the 1920s and 30s. The McKim, Mead and White commission of 'The Orchard' is discussed in S.G.White's The Houses of McKim, Mead and White, New York, 1998, pages 238-249.
Last quarter 19th century The tilting circular top decorated with fruit garlands to the border, centered by a circular vignette depicting three nymphs, within a beaded surround and issuing ribbon-tied grisaille oval medallions depicting goddesses and heroines, on a spreading faceted upright and incurved tripartite base painted with acanthus, on gadrooned pad feet with inset horn casters 281/4in. (72cm.) high, 49in. (124.5cm.) diameter, the top PROVENANCE Part of a commission supplied by Stanford White in 1898-1906 for James L.Breese for 'The Orchard', Southampton, New York. Acquired with the house by Charles E. Merrill in 1926. Thence by descent. NOTES See footnote to lot 34 regarding the James L. Breese commission at 'The Orchard', Southampton. This table appears in situ in a photograph of 'The Orchard' reproduced opposite lot 34.
![JULES CROW [CROWE] (Ame.19th/20th C.) RENDERING](https://stageimg.invaluable.com/housePhotos/butter/89/649689/H1061-L177469161.jpg)
