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Reggie's Alden Slip-Ons, and Why He Wears Them

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Last week, Dear Reader, I treated myself to a new pair of Alden shell cordovan, full strap slip-on loafers.  Doing so triggered a rush of memories of when I first started my career in finance in New York City, thirty years ago.  It also prompted me to consider the social and—dare I say it—tribal significance of one's chosen footwear, at least in the dwindling world of those of us over the age of forty who are still employed in the city's beleaguered financial services industries.

Reggie's new Alden slip-ons
sitting on a horse hair covered dining chair
at Darlington House on Thanksgiving Day

Photograph by Boy Fenwick

I slipped away from the Investment Bank where I work the day before Thanksgiving for a much-needed wardrobe replenishment shopping trip on Madison Avenue.  My journey started at J. Press and concluded at the Brooks Brothers flagship store.  Imagine that.

The Brooks Brothers flagship store at 346 Madison Avenue,
where Reggie bought his shoes last week
Image courtesy of Brooks Brothers

I came away with half a dozen shirts, two pairs of trousers, a sweater, a jacket, and the shoes shown in the photograph at the outset of this post.  As readers of this blog may recall, the topic of shoes is one that Reggie has returned to more than once or twice.  In previous posts I've written about my affection for Belgian Shoes, white bucks, and classic Gucci loafers.  I've even written about a much-loved pair of shoes that I wore as a toddler and that I still own (but have long since ceased wearing).  Now, Dear Reader, I turn my attention to another favored shoe in my wardrobe—Alden slip-ons.

The original Alden Shoe Company factory
in Middleborough, Massachusetts, 1880s
Image courtesy of same

I bought my first pair of Alden slip-ons the year I graduated from Yale, more than thirty years ago.  They were brown calfskin and had tassels, and I loved them.  I charged them to my father's account at the Brooks Brothers store in Washington, D.C., to wear at my first job in New York at an old line  commercial bank that has long since been absorbed into what is today Bank of America.  I had been accepted into the bank's corporate lending officer training program, and I wanted to be sure to dress the part correctly.  My father graciously underwrote the purchase of my initial post-college work wardrobe, including the Alden slip-ons, several suits, an overcoat, and assorted shirts and ties.

44 Wall Street,
the building where I began my career in finance
Photograph courtesy of ABS Partners

In those days (the early 1980s), young men in New York's bank officer training programs—such as Reggie—wore Alden (or similar) slip-on tassel loafers to the office.  While older bankers wore conservative lace-up oxfords, by the time I appeared on the scene most of the younger bankers had adopted tassel loafers as their preferred shoe.  What I didn't realize before I started at the bank, though, was that one was expected to wear only black tassel loafers.  I was dismayed to learn on my first day that I had blown my pre-employment shoe allowance on brown shoes, and that all the other young men in the training program were wearing black shoes.

Reggie mistakenly wore Alden brown tassel slip-ons
to his first day at the bank, all those years ago
Image courtesy of Harrison Limited

In those days, men didn't wear brown shoes on Wall Street (yes, the bank I worked in was actually located on that famous financial thoroughfare), but only black shoes.  Brown shoes were considered "un-bankerly" (a withering criticism), and only appropriate for weekend wear.  My father, who was a lawyer and regularly wore brown shoes to his office (where they were perfectly acceptable), thought it "poppycock" (a word he used with some frequency in my presence) that I felt uncomfortable wearing brown shoes to my office, instead of black ones.  Clearly, he didn't understand the cultural and sartorial differences between a bank and a law firm.

The Brooks Brothers store at One Liberty Plaza,
where Reggie bought his first pair of black Alden tassel slip-ons

Needless to say, once I received my first paycheck I high-tailed it over to the Brooks Brothers on Liberty Plaza and bought myself a pair of Alden slip-on tassel loafers in the desired and approved black.  My brown tassel loafers got pushed to the back of my closet, and didn't get much wear thereafter, except on weekends.  I held on to them for many years, though, stored in their original box.  I gave them away ten or so years ago, since by then I was no longer able to wear them, as my feet had grown in my forties and the shoes no longer fit.  It was a bittersweet moment when I finally decided to donate them to charity, as their significance still resonated with me.

Reggie's own well-worn
black Alden tassel slip-ons
sitting on a chair at Darlington House
Photograph by Reggie Darling

By then, though, I had pretty much ceased wearing Alden tassel loafers, having moved on to tassel-free Alden slip-ons in my later thirties.  For those of my readers who may not be familiar with Alden slip-ons, be they tasseled or not, they are a mainstay of a certain group of grown men who work in the lofty office towers of Manhattan.  They are a particular favorite of those of us employed in the worlds of finance, be it investment banking, private equity, or commercial banking.  Most of the investment bankers over the age of forty where I work have at least one or two pairs in regular rotation.  Alden slip-ons are probably the most popular shoe seen on such men walking the halls in the Investment Bank where I work, followed closely by Gucci loafers.  Shoes worn by the younger men at my firm tend to be sleeker, and are usually Italian.  I suspect that Alden slip-ons are to them what lace-up oxfords were to my generation when I started out in banking—the favored shoe of the older generation.

Wall Street today,
the old Manufacturer's Hanover Trust on the right,
US Trust beyond, and Trinity Church in the distance
Photography courtesy of Picasa

When I first started my career in finance, in 1980, those of us in the training program at the bank were handed a sheet of paper on the first day outlining what clothes we were expected to wear, and what clothes we were not to wear.  I wish I still had it, Dear Reader, as I would dearly love to post it here.  However, I don't, so I can't.

A Brooks Brothers window display, ca. 1960s
Photograph courtesy of Esquire

I can summarize it, though, for you.  We were expected to wear suits of a conservative cut in "somber" colors (gray or navy) every day of the week (no Casual Fridays back then).  Shirts were to be either white (preferred) or light blue.  Ties (mandatory) were to be a discreet foulard, club, or rep stripe.  Shoes were to be black, although dark cordovan was acceptable.  Should we need to come into the office on weekends (a regular occurrence, I might add), we were expected to wear a jacket and a tie, and tailored trousers such as gray flannels (winter) or khakis (summer).  No blue jeans or sneakers were allowed under any circumstances.  Ever.

J. Press was (and remains) Reggie's
"go-to" source for smart sport jackets
Photograph courtesy of LIFE Images

As all of us are well aware, these days clothing restrictions have loosened considerably.  At the Investment Bank where I work, suits and ties are no longer required, unless one is meeting with clients.  On an average day I'd say half the men do wear suits, and the rest are in blazers and gray flannels, or some variant.  At least half are tieless, regardless of whether they are wearing suits or not.  Most of us keep several ties in the office should we unexpectedly need one.  While black is still the preferred shoe color, brown is now entirely acceptable.  Long gone are the days when a man would be sent home to change his shirt if he had the audacity to show up at the office wearing one in any color other than white or blue.

The approved shirt as seen in a Brooks Brothers
catalogue from the 1980s.  White or blue.  Only.
Image courtesy of the Trad

So, Dear Reader, you may ask: What is it about Alden slip-ons that resonates with me?  Why have I kept buying them for the past thirty years?  Why did I buy yet another pair last week?

The same shoe Reggie bought, except in calfskin
Photograph courtesy of Harrison Limited

I like the way they look, Dear Reader, and they are one of the favored shoes of the men of my profession and background.  They are flattering to a grown man's foot, they have an easy elegance to them, and they are popular with the well-dressed Ivy League-educated men I have coexisted with my entire adult life.  In other words, they are one of the shoes of the Tribe.  I've bought more than a dozen pairs over the years, both with and without tassels, and I think they look just as good worn sockless with khakis on a summer weekend afternoon as they do wearing Pantherellas and a suit to one's office on Park Avenue during the week, as I do.  I bought last week's new pair to replace an identical pair that had become worn beyond redemption and that could no longer support yet another reconditioning.

The box my new shoes came home in . . .
Photograph by Boy Fenwick

At $650 a pair, Brooks Brothers' Alden cordovan slip-ons are not inexpensive.  However, they are well worth the cost, I believe, because they are beautifully made.  I like the fact that they are also made here in the United States by one of the few remaining American shoe manufacturers.  When the shoes are well cared for (which, in Reggie's book, includes the use of properly fitted wood shoe trees), they last for many years, and Alden does a terrific job of reconditioning its shoes if asked (they have a handy mail-order business for doing so).

The cover of an Alden catalogue
Image courtesy of same

And for all of these reasons, Dear Reader, Alden's shell cordovan, full strap slip-ons will always be part of Reggie's shoe wardrobe.

Please note:  Reggie has not received, nor does he expect to receive, anything in return for this post.  He is posting it solely in the interest of entertaining his readers, which is why he writes this blog in the first place.

Floss Among the Dross

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The day after Thanksgiving, Boy and I drove across the Hudson River in search of vintage Christmas ornaments to add to our collection.  Our destination was a large and rather seedy group shoppe in one of the near-forgotton, near-abandoned towns that line the river's western banks.


We've had good luck finding pretty, old-fashioned ornaments at the shoppe in the past.  The first time we visited it, a dozen or so years ago, we came away with an avalanche of attractive and unusually shaped vintage ornaments.  Over the years, though, the shoppe's ornament pickings have become increasingly slim, with fewer and fewer attractive vintage ones to be found among the ugly, modern plastic Christmas junk that appears in the shoppe's booths from Thanksgiving onwards.

This visit, however, we despaired that we would find any vintage ornaments worth buying at all.  Although there were some plain round vintage ones to be found, we weren't interested in adding any more of them to our collection, since we already have more plain round ones than we could ever use.  No, we were on the hunt for interestingly shaped vintage blown-glass ornaments.

It was only in the final minute of our troll through the shoppe that Boy found two ornaments—shown in this essay's photograph—that met our collecting standards.  That one of them was shaped like a pine-cone was a particular joy, as Boy specifically collects that form.  He scooped them both up and we happily brought them back to Darlington House where they will most assuredly soon hang on the Christmas tree we plan on putting up this weekend.

Tell me, Dear Reader, do you also collect vintage Christmas ornaments?  If so, is there a particular shape or type that you focus on?

Photograph by Boy Fenwick

Swept Away

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No, Dear Reader, this is not a photograph of a sandy seashore covered with seashells.


Rather, it is a photograph of a towel, spread out on our dining room table at Darlington House, covered with the shells that once occupied our Shell Mania mantel display, the subject of an earlier post of mine.

Now that Christmas is fast approaching, we are beginning to ready Darlington House for the holiday.  That meant that this summer's Shell Mania decoration needed to be, well, swept away to make room for more seasonal embellishments.


Which reminds me of one of my favorite films, Lina Wertmüller's Travolti da un Insolito nell' Azurro Mare s'Agosto, which loosely translates into English as "Destiny in the Blue Sea of August" (it was distributed in this country as Swept Away).  It is a marvelously amusing and sexy movie about an insufferable, spoiled, rich Italian woman (played to perfection by Mariangela Melato) whose Mediterranean yachting vacation takes an unexpected turn when she and one of the boat's crew become stranded on a desert island, and their roles are deliciously and hilariously reversed.  Do yourself a favor, Dear Reader, and rent it (or download it) in the original Italian language version with subtitles, and not a dubbed version (and certainly not Madonna's disastrous remake thirty years later).  Ms. Melato's performance in Swept Away is absolutely divine, and much of the pleasure of watching the film is listening to her non-stop complaining, snarling, shrieking, and—ultimately—purring as she first reviles and then falls helplessly in love with the character played by Giancarlo Giannini.

For those of Reggie's readers who may now be longing more for sandy shores than sleigh bells, he highly recommends it.  He is confident that you, too, will be swept away . . .

Photograph of shells by Boy Fenwick

Paperwhites, A Darlington House Tradition

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Last weekend I attended the local Farmers Market in the nearby town to Darlington House.  It is held this time of year in the meeting hall of the Episcopal church where I am a sometime parishioner.  Leading up to Christmas the market is a bustle of activity, and a shopper's paradise.  So much bounty and beauty to choose from.


I went to the market to stock up on paperwhites from the good ladies of Cedar Farm, who have pots and pots of them for sale in December.  I came away with five pots of paperwhites, in varying sizes.  Cedar Farm does a beautiful job of them, planting them with moss.  They are lovely.  I also bought a wreath and a spray of bay leaves from them to decorate Darlington House.

I've adored paperwhites for as long as I can remember.  When I was a boy my mother, MD, bought bulbs from White Flower Farm, for forcing.  I think of her every time I see paperwhites, one of her favorite flowers.  They are a Christmas tradition for me, and one that I shall honor for as long as I am able to.

Photograph by Reggie Darling

A Christmas Tree for Darlington

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This past weekend a Christmas tree arrived at Darlington.  Well, it didn't just arrive, Dear Reader, it took some effort to make it happen.

Our freshly cut Christmas tree
in the back of our handyman Rich's pickup truck

When we put up a Christmas tree at Darlington House we go to a tree farm and we cut the tree down ourselves.  We are fortunate to live in an area where there are half a dozen such farms within an easy drive.  Walking through the farm's fields, searching for, and then deciding upon a tree, cutting it down, and bringing it home is a pleasant and evocative annual ritual.  It stirs up memories of similar expeditions in years past, and one is conscious of undertaking an activity similarly engaged in by millions of others, both in the present day and ever since the first man cut the first tree down one winter's solstice many, many thousands of years ago.

Rich holding the tree on the walkway
leading to Darlington House

This year the ritual was somewhat complicated for us.  First of all, our Rover—which we typically use for such expeditions—was in the shop for an extended (and expensive) stay.  And I wasn't up to engaging in the task, having been waylaid by a nasty, persistent cold.  Fortunately, our trustworthy and exceptionally helpful handyman, Rich, was agreeable and took Boy to the tree farm in his red pickup truck and helped him find and bring home a tree to Darlington House.  It was rather an undertaking, though, since the farm they visited is a very old and overgrown one.  It no longer has fields of trees, but rather forests of them.  The noble tree that Boy and Rich ultimately selected stood over forty feet tall, and it required calculations and a chain saw to fell and shorten for the trip home.

The lower part of the tree is cut off—we will
use the branches to decorate the house

Not only that, but Rich assisted Boy in readying the tree to bring into the house.  That takes some doing, Dear Reader, because it wouldn't do to merely bring a tree into Darlington House without first grooming it.  Grooming it, you ask?  Yes, you read that correctly!  Our tree needed to be (further) cut down in order to fit the ceiling height of our house, and it also required pruning of extraneous branches so that there was sufficient space to artfully hang ornaments.  But such administrations were not unique to this particular tree—almost every Christmas tree we've ever had at Darlington House has required (well, at least benefited from) such attention before it is deemed ready by Boy to be decorated.

Reggie is not a fan of most farmed Christmas trees that are available these days.  Too many of them have been aggressively pruned during their growth to achieve a form that Reggie considers to be too fat and too bushy, and too perfectly conical.  One cannot hang ornaments on such a tree, Dear Reader, one can only drape them.  No, Reggie prefers an old-fashioned, naturally formed Christmas tree, one that hasn't been managed during its growth.  But even such natural trees need a little help to achieve the spindly perfection they require (at least at Darlington House) for optimal ornament display.  One must carefully and judiciously prune them of at least a few extra branches in order to ensure perfection.

The tree, now cut down to size, is shown standing
in the brown painted galvinized wash tub
we use to hold it

It took Boy and Rich half an hour or so of careful grooming in order for the tree to be ready to be placed in our dining room.  Dining room, you ask?  Who puts up their tree in their dining room, instead of their living room?  Well, Dear Reader, we put our tree in our dining room instead of our drawing room (which is what we call our living room for reasons that are too complicated to explain in this essay) or our Snuggery (which is what we call our sitting room/den/study/library, also for reasons that are too complicated to explain here).  We do so because it is the one room at Darlington House that has a sufficient amount of empty space for one to fit!  

Once the tree has been cut down to size
the process of thinning out the branches
for optimal ornament display begins

Our drawing room is a symphony of symmetry, Dear Reader, and it would be highly disruptive to the room's carefully balanced arrangement if we were to introduce a tree into it.  I shudder at the very thought of it!  Our Snuggery, on the other hand, is so jam-packed with furniture and decorations that we would either have to cart much of it away in order to squeeze a tree into the room, or it would need to be a very tiny tree, indeed.

The now-groomed tree, placed in our dining room
and ready to be decorated

So, into the dining room our Christmas tree went.  And Reggie didn't have to lift a finger once during the process, as Boy and Rich did it entirely themselves.  Not only that, but Boy decorated the tree by himself, too, without any assistance from Reggie.  As I've explained here before, Reggie long-ago learned that it is best to leave such tasks as decorating Christmas trees or arranging flowers to Boy, since he does a much better job at such things than Reggie does (or can).  Besides, why should I get in the way of such activity when Boy is a high-toned, fancy New York decorator and I'm not?  People pay him to do this kind of thing!

This year, Boy's Christmas tree theme (and there is a different theme every year) is "Silver and Pinecone Woodland."  He decorated it solely with vintage silver ornaments, pine cones gathered from our property, white fairy lights, and a flock of little gray and white birds perched on its upper branches.  It is really rather beautiful.

Stay tuned . . .

Reggie's (Not) Holiday Sweater

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Reggie has what some people refer to as a Holiday Sweater.  No, Dear Reader, he doesn't own one of those awful, lurid acrylic ones—covered with images of cheery Santas, candy canes, wrapped packages, and reindeer—favored by mittelklassen women of a certain age or worn ironically by post-collegians to Ugly Christmas Sweater parties.

Reggie's sweater, made by Dale of Norway

Reggie's sweater is an authentic, classic wool Norwegian one made by Dale of Norway.  It is not a holiday sweater at all, but rather a sweater made to be worn during the winter, ideally while the wearer is engaged in an athletic outdoor activity, such as skiing.

A vintage poster for the Norwegian America Line
Image courtesy of PosterTeam.com

Dale has been making sweaters and other knitted garments since 1879 and is the best source today for traditional Norwegian sweaters, as far as Reggie knows.

A full view of Reggie's traditional Norwegian sweater

Dale is named after Norway's Dale River, where the company's factory sits and where it still makes its sweaters to this day.  Dale takes great pride, and rightfully so, that its sweaters are—and always will be—Norwegian-made, versus farmed out to a factory in China.

A family of skiers, entirely outfitted in Norwegian sweaters, ca. 1960s
Photograph courtesy of Vintage Ski World

Dale is correctly pronounced Dah-leh, and not Dail, as Reggie used to pronounce it until he was corrected by a Norwegian woman who laughed out loud when she heard him bungle the pronunciation of the company's name.  Needless to say, he never made that mistake again.

A ski sweater knitting-pattern-book cover from the 1950s
Image courtesy of Etsy

Reggie has been a fan of Norwegian sweaters for many years.  He got his first one—the classic Norwegian fisherman's sweater from L.L. Bean—when he was a student at Saint Grottlesex.

While not necessarily made in Norway, Reggie
is generally fond of traditional ski sweaters,
such as the one shown here
Photograph courtesy of LIFE Images

Reggie always hankered after a traditional Norwegian ski sweater with a knitted design spread across the shoulders.  He admired similar sweaters worn by his classmates at Saint Grottlesex and at Yale.

Gary Cooper and Claudette Cobert
in Sun Valley, Idaho, in the 1940s
Image courtesy of Sun Valley Guide
(and thanks to Slim Paley!)

It was only ten or so years ago, though, that Reggie stepped up and bought the beautifully made, intricately knitted Norwegian sweater shown in the photographs at the outset of this essay.  He bought his from Gorsuch, which has stores in Vail and Aspen, Colorado.

A vintage ski poster for Aspen, Colorado
Image courtesy of Swann Galleries

Reggie is a fan of traditional, "native" clothing, especially garb from Scandinavia and Germany.  When he was a little boy in the 1960s, Reggie owned and wore a set of lederhosen that his father bought for him (along with a set for his brother, Frecky) on a trip to Germany.   

Another vintage ski-sweater knitting-pattern-book cover
Image courtesy of Handmade by Mother

One of Reggie's most treasured possessions is a Tyrolean hat, complete with all the trimmings, that he bought on a ski vacation in Cortina, Italy, a decade ago.  He plans on featuring it in an upcoming post.

A vintage ski poster for Cortina, Italy
Image courtesy of Vintage Ski World

One of Reggie's regrets is that he no longer owns an authentic, vintage Loden jacket that he bought twenty or so years ago, only to give it away shortly thereafter in a fit of temporary insanity when purging his wardrobe.  Ah, well.

A vintage postcard of the Mormon Temple
Image courtesy of The Postcards Project

Reggie's Norwegian sweater was made by Dale to commemorate the 2002 Olympic Games held in Salt Lake City, Utah.  Dale has been making sweaters for Olympic teams since the 1940s.  It was only in writing this post that Reggie realized that his sweater features an image of the Mormon Temple in Salt Lake City in its knitted design, right below the sweater's zipper!


At first it made Reggie somewhat uncomfortable that his sweater incorporated an image of the Mormon Temple.  But once he thought about it for a while, he actually liked it.  He now appreciates the somewhat bizarre humor of owning a traditional, classic Norwegian sweater that incorporates such an image; the fact that it does so does not detract from his pleasure in owning the sweater one bit.

Tell me, Dear Reader, do you have any traditional "native" clothing in your wardrobe?  If so, what kind?

Photographs of Reggie's sweater by himself

Mother Lode!

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We've had rather better luck in our never-ending hunt for vintage ornaments, Dear Reader.


White Whale Limited, our favorite antiques shoppe in Hudson, New York, is a treasure trove of vintage ornaments this December.  The dealers there stocked up on them throughout the year, and their store is laden with them.  Over the last two weekends Boy and I visited the shop several times in our quest for ornaments, as the dealers brought them out in stages to replenish their stock as needed.

The photograph in today's post shows but a fraction of the vintage ornaments we bought at White Whale this Yuletide season.  Boy has arranged them prettily in a gilt Paris Porcelain reticulated basket on stand, circa 1820.  It now sits on a cocktail table in our drawing room.

In addition to the colorful ornaments shown here, we also found lots of silver ones at White Whale that Boy has already hung on our Christmas tree.  Our tree is the subject of my next post, Dear Reader.

Now, I'm off to do my final Christmas shopping!

Photograph by Boy Fenwick

Christmas Tree Wishes to You and Yours

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Every year, when we put up our Christmas tree at Darlington House, I'm convinced it is the prettiest, most magical one ever.  This year is no exception.


As I've written before, I long ago surrendered decorating our Christmas trees to Boy.  He's so much better at it than I am.  Also, I tend to get in the way when I try and be helpful in such things as decorating trees or arranging flowers.  I'm very happy to be Boy's cheering section, where I am joined by our dear little Pompey.


Every year Boy comes up with a different theme for his Christmas tree decoration.  This year's theme is "Silver and Pine Cone Wonderland."


He has covered the tree with vintage silver ornaments and with pine cones harvested from the trees on our property.


Boy has collected silver pine cone shaped ornaments for years.  I like the juxtaposition of them with the  real ones he's added to the tree.


He also added a flock of little birds to the tree, perched on the tips of its limbs.


Doesn't it look lovely?


Boy further decorated the room with bowls and urns filled with silver ornaments.


He covered the mantel with a forest of little frosted bottle-brush trees.  He also nestled loads of pine boughs atop all of the picture frames in the room.  It's really quite enchanting.

But the magic really comes out at night, Dear Reader, when the tree's tiny white fairy lights are illuminated, and the room glows like a winter solstice fire.


I have a lot of admiration for people, like Boy, who can photograph a lit Christmas tree.  It's not as easy as you'd think.


I like the way the ornaments and tinsel icicles glitter in the light.


Don't the pine cones look marvelous?  So woodsy, I think.


I count at least six vintage silver pine cone shaped ornaments in the preceding photograph.  Do you think I've missed any?


Here's the little silver barrel ornament we found last year on our travels.  I've become intensely fond of it.


But it is the little birds that really make the tree quite magical, I think.  I love them.


See all of the birds in a flock, perched on the top of the tree?  I think they may be hiding there so they won't frighten Pompey.


But, then again, Pompey seems to have his mind on other things than the little birds.  I suspect he's more interested in hastening the delivery of his next yummy treat, particularly since he was such a good and obedient model for this photograph.  We make sure that our little Pompey joins in the fun here at Darlington House during the Christmas holiday, too.  And why not, since he's part of our family?

And with that, Dear Reader, we in our family—Boy, Pompey, and I—wish you and yours a Merry Christmas and a Happy New Year.

Photographs by Boy Fenwick and Reggie Darling

Crackin' Nuts

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One of the pleasures of the winter holidays, Reggie's believes, is cracking open nuts and consuming them.  It is a most satisfying activity, Dear Reader, and one that brings to mind pleasant memories of many cozy winter afternoons spent with family and friends.  Accompanied by a cup of hot tea or a cocktail (Reggie's preferred companion beverage), nuts are a most tasty and satisfying comestible.


I've written before that I am fond of clementines, too.  Nuts and clementines, which are both at their peak this time of year, go together wonderfully, I think.  A bowl of the little citrus is usually to be found within reaching distance of a bowl of nuts at Darlington House during the holidays.  In fact, a clementine was sitting in the bowl of nuts I'm featuring in this post only a few minutes before these photographs were taken.  I ate it.


This Christmas we filled an antique Bennington bowl with an assortment of nuts, and we have another, smaller, Bennington bowl nearby for the spent shells.  In other years we've filled a large silver bowl with nuts, but this year it seemed more appropriate—given our overall woodsy Christmas theme—to use a more quotidian Bennington bowl.

I'm not too picky about where I buy my nuts.  I bought the ones I'm showing here in a bag at a supermarket.  They're delicious.

Once I've filled the smaller bowl with the spent shells I enjoy tossing them on the fire, where they make a pleasing snapping and cracking sound as they burst into flames.


Our nutcracker and pick set, fashioned of horn and steel, were made in Germany in the first half of the twentieth century.  I inherited them from my Darling grandparents.  Their handles are carved to show the likenesses of a hound, a hare, and a boar.  I have a collection of nutcrackers, but these are my favorite—for both sentimental and aesthetic reasons.


I think the nutcracker and pick look particularly good sitting among the nuts.  Tan-and-brown horn handles, tan-and-brown nuts, and tan-and-brown bowls.  They all go together perfectly.


There is little more satisfying than hearing the crack! of a nut when it opens to reveal its treasure.


And what a delicious treasure it is, indeed!  So sweet, so tasty, and so nutty!

If you haven't done it yet this season, Dear Reader, I urge you to buy yourself a bag of nuts, dig into it, and crack open and eat some of the little darlings.  I'll be doing exactly that over the next several days myself.  Won't you join me, please?

Photographs by Boy Fenwick

Saucer of the New Year

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Well, given the infrequency of my saucer postings lately, Dear Reader, I could hardly call this a "Saucer of the Week" post, now could I?


To be honest, the only reason I am beginning the New Year with a saucer post at all is because I was deliciously skewered by fellow-blogger Boxing the Compass in a most-amusing post at the end of December titled "Coming Attractions for 2013!"  Written by a Mr. Yankee Whisky Papa (the putative author of said blog) the post in question provides a tongue-in-cheek preview of what a number of us on the blogosphere will be posting about in 2013.  Reggie was singled out for sorely testing the patience of his readers with rather too many posts about saucers, a theme he was expected by Mr. Whisky Papa to continue throughout the new year.  If you haven't read Boxing the Compass or the post in question already, Dear Reader, I encourage you to click over and give them a gander.  You will thank me, for sure.

So, in tribute to Mr. Whisky Papa's saucy prediction, I am pleased to provide you with yet another saucer post—my first (but decidedly not my last) of the New Year:

Today's featured saucer is a pretty porcelain one lavishly painted with gilt decoration in the classical taste.  I suspect that it is French, and that it was likely made in the first quarter of the nineteenth century.  It is one of a dozen in a coffee service that I own which includes coffee cans (not cups, Dear Reader, but rather cans) that I acquired many years ago from an antiques dealer who has long-since closed up shop.

I am partial to this saucer because the decoration is lovely, and because it—when combined with the coffee can that goes with it—is immensely pleasurable to use for its intended purpose, namely drinking coffee.  Also, it glistens most attractively in the candle light of dinner parties held at Darlington House.

For you see, Dear Reader, the saucers I own are not merely decorative, but utilitarian as well.  Pretty things are made to be used, in my view, and not stored away on a shelf forever out of harm's way.  One only goes around these parts once, so why not make the best of it and use one's pretty things?

Photograph by Boy Fenwick

The Odious Trend of Shoeless Parties

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Dear Reader, there is something that I must get off my chest.  I absolutely loathe arriving at someone's house for a party and unexpectedly finding that I am asked to remove my shoes for the duration of my visit.  It is not a pleasant surprise, and the requirement to do so is a decided disincentive for me to ever wish to return.

Shoeless Windsors putting on a good face of it . . .

The few times I have attended a party where I've been asked to remove my shoes at the door have been rather unpleasant, and my primary memory of attending such party is the discomfort (and consequent annoyance) I felt walking around shoeless, rather than what should have been happy memories of enjoyment.  In my experience, hosts who make such a request of their guests do so because they are concerned that their guests' shoes will soil or damage their precious floors or carpets.  Such self-absorbed myopia is misguided, in my view.  As a host, I believe one's primary concern should be the comfort and well-being of one's guests, and not the impact their shoes might have on one's floors or carpets.

Because floors and carpets are meant to be walked on.  By people wearing shoes.

We have nicely finished floors at Darlington House which are, at least in some rooms, covered with expensive carpets.  It would never occur to me to ask our guests to remove their shoes and walk around in their stocking feet, or worse—barefoot!

Reggie once attended a party where the host and hostess announced upon his arrival, much to his dismay, that all attendees were expected to remove their shoes.  They explained that they wanted to preserve the Zen-like purity of their wonderful house.  I had the misfortune of arriving wearing loafers without socks (the party was held during the height of summer).  Not only was I put out to find myself required to walk around their house barefoot, but their (rugless) floors were less than Zen-like in their cleanliness (well, actually they were rather dirty), so the soles of my feet became filthy over the course of the evening.  While it was unpleasant to walk around their house barefoot (and just imagine what it was like to use their less-than-hygenic guest bathroom), having to insert my soiled feet into my shoes at the end of the evening made it yet an even worse experience.  I still shudder when I recall it.

Most people who attend parties (well, at least most people that Reggie knows) take care in planning what they wear, dressing for the event.  For many people—women in particular—shoes are an important component of their outfit, and many women (I suspect) like to wear heels at parties so they are up higher, on a more level playing field with the men.  To expect a festively-attired lady to remove her pretty party shoes in order to gain entry to said party is thoughtless and rude, and highly off-putting.  The same goes for men, too—I pride myself in the quality and the care of the shoes I wear, and I don't like to have to take them off when I am visiting someone's house.

"But Reggie," you may ask, "what about during bad weather, when the streets and sidewalks are wet and gritty?  I don't want people tracking it all over my house!"  Well, Dear Reader, then I suggest you concentrate your invitations on people who can be expected to wipe their feet carefully before entering (which means that you must supply them with the necessary means to do so), or who would be likely to bring a clean pair of shoes with them to change into.  Many of the ladies who attend cocktail or dinner parties at Darlington House during inclement weather arrive with a pair of party pumps to change into.  Even if one or two of your guests don't do a thorough job of wiping their feet and track in a bit of grime with them, there's nothing like a quick vacuuming after the party to address such matter.

And for those of my readers who may be concerned that a guest's stiletto heels will ruin your floors, Reggie wonders: what floors would be so soft that high heels would dent them?  Don't punish the rest of your guests by making everyone remove their shoes in the off chance that some thoughtless ninny will arrive wearing stilettos (or "Prossie Trotters" as my esteemed fellow blogger Tabitha of Bourbon and Pearls deliciously calls them).

Now, Reggie is well aware that some hosts provide their guests with slippers to wear under such circumstances.  While I acknowledge that doing so is an improvement to requiring one's guests to go shoeless, it isn't an ideal solution, in my view.  I don't know about you, but I don't care for wearing  previously worn slippers.  "What," you might ask, "does Reggie think about providing one's guests with disposable slip-on protective booties to wear?"  He thinks that by that point your mania for protecting your floors and carpets has reached such a level of lunacy that you should either contact a psychiatrist for an immediate consultation or to get your meds dosage upped!

Now, I do acknowledge that there are a number of circumstances where it is appropriate to ask someone to remove their shoes upon their arrival at your house, as follows:

1. When your floors have been recently refinished and have not yet thoroughly cured (but who throws a party under such circumstances?);
2. When said arrival is a workman wearing sturdy, lug-soled boots, and not a social guest;
3. When it is the cultural custom of the host and guest to remove their shoes, such as in Japan (but that does not apply to these shores, unless one has the good fortune of being entertained in a perfect, tatami-matted, Japanese tea house); and
4. When said guest arrives wearing Prossie Trotters that would damage the floors.  But, then, one should endeavor to make sure that such an undesirable is not a "guest" in one's house, unless the explicitly understood purpose of their visit is to have them remove everything they are wearing as quickly as possible.

All funning aside, Dear Reader, Reggie believes that one should never ask one's guests to remove their shoes as a requirement for gaining entry to one's house, particularly during parties.  One can certainly expect (and request, if needed) one's guests to wipe their feet (as all thoughtful guests should without prompting) but one ought never ask one's guests to take off their shoes and walk around one's house in their stocking feet, or—even worse—barefoot.  It's just not done.

And that is a Reggie Rule.

Tell me, Dear Reader, don't you agree?

Photograph of the Duke and Duchess of Windsor by Philippe Halsman, courtesy of LIFE Images

Antiques Week 2013 At Last!

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Christie's Americana Preview
This week marks the official beginning of New York's Antiques Week.  As many readers of this blog will recall, every January New York City hosts a week-long bazaar of antiques shows, auctions, and exhibitions that attract buyers and dealers from the world over.  The centerpiece is the New York Winter Antiques Show, with satellite shows held throughout the city, and Americana auctions at the major auction houses.  Antiques Week is one of the highlights of Reggie's winter—the Holidays are over, the cold weather has (finally) settled in, and one's attention hungers for something new.  Well, at least in the case of this writer, one hungers for something old.

We kicked off our Antiques Week with a delicious lunch
at Orsay Restaurant at Lexington and 75th Street.
The place was hopping! 

This year I'm taking a different tack to my usual postings about New York Antiques Week.  In seasons past I've mostly focused on what we've bought at the shows, reporting after the fact.  This year I'm going to write about the shows themselves.  That's because I'm planning on keeping my pocketbook firmly clasped this year, and I'm determined to buy nothing.  You see, Dear Reader, we've run out of space—there's no more room at Darlington House!  We are more than thoroughly furnished, our walls are blanketed with pictures, and our cupboards are full to bursting.  While I've approached previous Antiques Weeks with a similar resolve, this year I really mean it.

Wish me luck, Dear Reader, in keeping to my resolve . . .

The highlight of our meal at Orsay was a shared
plate of profiteroles—some of the tastiest I can recall

While Antiques Week officially kicks off on January 24th with the gala opening of the Winter Antiques Show, the auction houses begin previewing their Americana sales beforehand.  Today's post focuses on the preview held at Christie's, with the Sotheby's preview to follow.

The entrance to Christie's showrooms at
Rockefeller Center . . .

After fortifying ourselves with a lunch of steak frites and profiteroles at Orsay Restaurant we took a cab to Rockefeller Center to see Christie's preview of their upcoming Americana sales being held January 24th though 28th.

. . . where one is greeted by Robert,
the affable Christie's doorman

I was most interested to see a pier table in the Christie's sale, ca. 1815-1819, by Charles-Honoré Lannuier (1779-1819).  Lannuier was one of New York's greatest classical cabinetmakers and a contemporary and competitor of Duncan Phyfe (1770-1854).  As readers of this blog may recall, we own a number of pieces of furniture attributed to Phyfe (or one of his equally competent competitors).

The Lannuier pier table at Christie's, one of the
relatively few Classical pieces on display
($40,000 to $80,000 estimate)

The pier table is exceptionally rare in that (a) it is stamped by Lannuier, and (b) the columns and table top are made of green veined marble, as opposed to the white or black marbles one typically encounters.  Even though the pier table is in "as found" condition and is missing some of its original elements, it is a work of sublime beauty and dignity.

The showrooms at Christie's were relatively sparely furnished,
with plenty of room to see the furniture and art on view

Most of the furniture and decorative arts displayed in the Christie's preview date from the late eighteenth century, with heavy emphasis on ball-and-claw footed pieces.

Weather vanes and folk art are featured
prominently in the sale

There is rather a lot of American folk art, too, for those who collect such things.

The Ganes-attributed Queen Anne armchair
($200,000 to $300,000 estimate)

One of the highlights of the sale is a Queen Anne carved and turned maple armchair, ca. 1735-1743, attributed to John Ganes (1704-1743) of Portsmouth, New Hampshire.  Christie's has done a lot of research on the chair, and it is featured prominently in the auction's catalog.  The chair is highly attenuated and gutsy.  It is impossible not to admire it.

Pretty schoolgirl needlework
from the Stonington Collection
(top: $20,000 to $30,000 estimate;
bottom: $8,000 to $12,000 estimate)

Collectors of needlework will find lots to love at the Christie's sale, as the auction house is selling the Stonington Collection's extensive holdings of schoolgirl needlework.

I rather fancied the large Verte-Imari covered jar on the left
($10,000 to $15,000 estimate)

There is also a good showing of China Trade art and ceramics at the Christie's sale, as one would expect, given its Americana focus.

A substantial service of armorial export porcelain,
ca. 1790, made for the American market
($25,000 to $40,000 estimate)

There are several extensive sets of Chinese export porcelain on display.

A large orange FitzHugh service, ca. 1805-1810
($70,000 to $100,000 estimate)

The highlight of the Chinese export porcelain is a subtantial service thought to have been commissioned for Thomas Jefferson (1743-1826).  It is consigned by a direct descendant of the nation's third president and is being sold off in pieces with astronomically high estimates, given its association.

A platter in the Jefferson Service at Christie's
(a pair is estimated at $25,000 to $40,000)

Although I was quite taken with the Jefferson service, I will not be bidding on any of it.  I already have more Chinese export porcelain than I know what to do with, most of which I have stored away for fear of careless housekeepers.  Besides, given the high estimates, the Jefferson service is rather pricey for this writer's china budget.  I hope that Monticello is feeling flush these days, as that is where the service belongs, in my view.

Next: Sotheby's Abundant Americana Sale Preview

Photographs by Reggie Darling

Antiques Week 2013 At Last, Part II

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Sotheby's Americana Preview
The next stop on our auction house preview perambulation was at Sotheby's on the Upper East Side.


Sotheby's has a lot more on display in their showrooms this Antiques Week than Christie's does.  In my experience, these two major auction houses trade places every other year or so in bringing in the most Americana to sell during Antiques Week.  This year it was clearly Sotheby's turn to shine.

When one enters the exhibition rooms at Sotheby's one is confronted by a monumental Federal-era clock attributed to Simon Willard (1753-1848), as seen in the following photograph.  The clock's case is thought to have been carved by none other than the master carver Samuel McIntire (1757-1811).  Even though the clock's face appears to be rather over-restored, at least to this writer's eye, it didn't detract from the timepiece's magnificence one bit.  A nearly identical one is in the collection of the White House, in Washington, D.C..

A massive eagle-mounted carved wall clock
attributed to Simon Willard and Samuel McIntire, ca. 1810
($25,000 to $50,000 estimate)

Please note the Samuel Gragg bentwood armchair, ca. 1810 (estimated $6,000 to $12,000), on the left of the preceding photograph, Dear Reader, and the two klismos chairs in the foreground attributed to the Finlay Brothers of Baltimore, ca. 1810-1815 (estimated $80,000 to $120,000 for each).  This is serious stuff, indeed.

"A View of Mount Vernon with the Washington Family on the Terrace"
ca. 1796, by Benjamin Henry Latrobe
($500,000 to $700,000 estimate)

I was rather taken with this pencil and wash drawing of Mount Vernon by Benjamin Henry Latrobe (1765-1820).  It once hung at Mount Vernon (it was a gift of the artist to George Washington the year before he died) and really should be returned there, I think.  I hope the good ladies of the Mount Vernon Ladies Association are feeling flush these days and will find their way to returning the drawing to where it belongs, on the banks of the Potomac River.


There were any number of Audubon prints in the Sotheby's sale, four of which can be seen in the preceding photograph.  I'm often amazed at the prices such prints go for, with very rare ones sometimes selling in excess of $100,000.

Portrait of Henry B. and Mary Jane Soggs, ca. 1830s,
painted by Ammi Philips

One of the highlights of the Sotheby's sale is this double portrait of a brother and sister painted by the New York itinerant artist Ammi Philips (1788-1865).  It is estimated at an aggressive $250,000 to $300,000, which is far more than the $25,000 to $50,000 that a single person's portrait by this artist typically sells for in such sales.

A collection of decorative mid-19th century Italian gouaches

I confess that I was more taken by an assembled collection of early 19th-century gouaches of scenes in Italy.  I particularly like the pair of paintings in the upper middle of the preceding photograph, depicting the watery interior of Grotto Azzurra in Capri (estimated $5,000 to $10,000 for the pair).

One of a pair of very fine and rare Federal chairs attributed to
Thomas and John Seymour of Boston, ca. 1808-1812
($25,000 to $50,000 estimate for each)

The Sotheby's sale includes some outstanding chairs attributed to the Seymours of Boston.  The chair shown here is one of a pair, although they are being sold separately.

One of a pair of very fine Federal chairs
attributed to Duncan Phyfe
($5,000 to $15,000 estimate for the pair)

Personally, I prefer the much more reasonably estimated chairs in the sale attributed to Duncan Phyfe, which were once owned by Berry Tracy, the former curator of the American Wing at the Metropolitan Museum of Art.  The chair shown above, also one of a pair, has the very desirable hairy paw feet that pushes prices for Phyfe chairs (and furniture in general) through the roof, and justifiably so—as they are killer.  These Phyfe chairs are estimated to sell for a mere $5,000 and $15,000 for the pair (a bargain relative to the Seymour chairs, in my view).  Even though Darlington House is packed to the gills these days, I'm sure I could find a place for the Phyfe chairs, at least if I really had to . . .

The preview is full of rooms loaded with furniture and decorations

In addition to examples of best-quality furniture made by name-brand cabinetmakers, the Sotheby's sale includes lots of good, hearty, unlabeled, unattributed, and handsome furniture that would make any homeowner proud.

I'd much rather furnish my house here, instead of at Crate & Barrel

Much of the furniture on display is estimated to sell for reasonable prices, considering its quality and rarity.  And what a value it is in today's markets, where mass-produced mid-20th-century options frequently cost substantially more!  These days, antiques are really quite reasonable, indeed.

A gilt bronze shelf clock depicting George Washington,
ca. 1800, attributed to Jean-Baptiste Dubuc (1743-1817)
($40,000 to $60,000 estimate)

What one will not find at a bargain basement price, though, is this superb example of a French gilt bronze Washington clock made for the American market, which Reggie would be more than happy to own should he have the extra jack required to cover the hammer price it is expected to go for.  I suspect the clock—a trophy piece if there ever is one—will go for well above the estimate when the hammer falls.

The sale includes numerous examples of superior-quality,
mid-19th-century Gothic Revival furniture

I was intrigued to see an excellent assortment of American Gothic Revival furniture at the Sotheby's preview.  It almost made me want to go out and buy an Alexander Jackson Davis (1803-1892) designed villa along the Hudson River to furnish.  I wonder . . . is that my life's next challenge?

An American two-handled presentation trophy
made by Dominick & Haff of New York, 1913;
given by the terms of J. P. Morgan's will
to members of the Corsair Dining Club
($15,000 to $25,000 estimate)

The Sotheby's sale has cases and cases of silver holloware, stemware, and presentation pieces.  Do you really believe no one wants silver any more? The estimates were sufficiently high, in my view, to indicate that Sotheby's believes there are still serious collectors out there who would like to own it.

Case after case of silver is on display

I was interested to see there are a number of lots in the Sotheby's sale consigned by the Brooke Astor estate.  Disposing of the mother lode of Mrs. Astor's silver, china, crystal, furniture, jewelry, art, etc.,  has taken many, many months and any number of auction houses to effect.  I wonder, is this the last of it?

One of 24 cut and giltware wine glasses in a
95-piece lot of Astor family glassware,
ca. second half 19th century
($4,000 to $6,000 estimate)

I believe these wine glasses may have once graced the table on Vincent Astor's yacht Nourmahal.  For but a few thousand dollars they, too, can grace your dining room table.

Next: A Visit to the New York Ceramics Fair

Photographs by Reggie Darling

Antiques Week 2013 At Last, Part III

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A Visit to the New York Ceramics Fair
Wednesday night I slipped out of work early to head uptown to visit the New York Ceramics Fair, which is being held this Antiques Week at the Bohemian National Hall on the Upper East Side.


This year's Ceramics Fair brought together thirty dealers of historical to contemporary porcelain, pottery, and glass from across the United States and England.  The Fair was a bit smaller this year, with a handful of notable absences from its roster of dealers.  I wonder, is it because the public's taste for fine ceramics is waning, or is it a function of a still-ænemic economy?


Notwithstanding, the Fair remains one of the highlights of Antiques Week for Reggie and Boy, and we have done major damage to our bank accounts in its rooms over the years.  Should you be so fortunate to find yourself there, Dear Reader, you will understand why—it is an Aladdin's cave of ceramic treasures!

The woman wearing the shroud of black in this photograph is a regular
attendee at all the New York City antiques shows.
I've seen her prowling the aisles of them for many years . . .

The Ceramics Fair is being held for the second (or is it the third?) year in the spacious, two-storey auditorium of the Bohemian National Hall, with dealers' booths spread across the main floor of the room and also the balcony above.

Mr. John Howard

Our first stop was at the booth of John Howard, hailing from Oxfordshire, England.  Mr. Howard specializes in early English ceramics and has been the source of a number of our purchases over the years.  Two years ago we bought from him a superb early-19th-century pearlware bust of the Goddess Minerva, in the Classical taste.  It is one of the treasures of our collection at Darlington House.

This magnificently scaled, dry-body jug in
John Howard's booth was a jaw-dropper!

This year Mr. Howard was joined by a friend and colleague named Ms. Myrna Schkolne, who is an expert in English Staffordshire ceramics of the 1780-1840 period.  Ms. Schkolne is a noted author on the subject (we bought one of her books from her that evening) and is about to come out with the first of a four-part series—likely to be the definitive one at that—on English Staffordshire pottery of her specialist period.  I am looking forward to adding her series to our reference library.

Ms. Myrna Schkolne

Mr. Howard's booth features a delightful selection of Staffordshire animal figures this year.


Including several early and rare examples, such as this eighteenth-century lioness:


I was quite taken with this pair of monkeys, too, also from the eighteenth century:


Mr. Howard is also featuring an extensive selection of eighteenth-century creamware:


The pair of hirsute, early nineteenth century pearlware busts shown in the following photograph were right up my alley, but I resisted their temptation and hurried on before my resolve of fiscal conservatism melted away.  Our time at the fair was short, as we arrived only forty-five minutes before closing time, and there was still much left to see!


Our next stop at the fair was at the booth of Earle D. Vandekar of Knightsbridge (now based in Maryknoll, New York), where we were greeted by the affable Paul Vandekar, who owns and runs the business today. 

Mr. Paul Vandekar

Like Mr. Howard, Mr. Vandekar specializes in English ceramics of the eighteenth and nineteenth centuries.  We bought a charming small figure of a hunter from him several years ago.

The Earle D.Vandekar of Knightsbridge booth

I admired an early-nineteenth-century silver luster bust of the Empress Josephine.  It reminded me of ones featured in a post (since taken down) by Aesthete's Lament that were (then) being sold by the American dealer R. Louis Bofferding, a friend of the author.  The ones in Aesthete's Lament's post were shown in photographs taken in the 1930s in a house in Lake Forest, Illinois, designed by David Adler and decorated by his sister, Francis Elkins.  Some provenance!

You, too, can own a Francis Elkins-approved
silver lustre bust!

I also found myself lusting after a pair of early nineteenth century recumbent pearlware figures of Anthony and Cleopatra, in the Classical taste, as shown in the following photograph.  They would look perfect sitting on one of the fire-surrounds at Darlington House.  But no, Dear Reader, I remained steadfast in my fiscal resolve and forced myself onwards!

These figures are of substantial scale, each measuring approximately
a foot in length.  Very impactful, indeed!

I became weak-kneed, however, in the very next booth to Mr. Vandekar's where I spied a large early-19th-century English pearlware Gothic castle, seen in the following photograph.  Of a substantial scale (it probably stands more than a foot tall), it is decorated on all sides, including front and back, as it was designed to sit in the middle of a dining table.  How I would have loved to take it home with me to grace ours at Darlington House!  But again, fortitude reigned.  I didn't even dare ask the price, in case I was even more sorely tempted!  In retrospect, I suspect that I shall always remember the little castle as one of the "ones that got away."  If only I had room for such a thing.  Ah well . . .

Every man wants to own his own castle, doesn't he?

In addition to dealers specializing in the ceramics we collect, the Ceramics Fair has dealers specializing in wares outside our collecting sphere.  We were particularly impressed by the large, mid-19th-century English footed majolica urn shown in the next photograph.

Boy and an urn

After pausing to admire the majolica urn we then made a bee-line to the booth of the good ladies Moylan-Smelkinson/The Spare Room Antiques of Baltimore.  They also specialize in English ceramics of the eighteenth and nineteenth centuries (do you notice a theme here, Dear Reader?), and are a must-see destination of ours at these (and other) shows.  Not only are the ladies knowledgeable and carry a large inventory, but they are delightfully charming, too.

Ms. Jacqueline Smelkinson and Ms. Marcia Moylan

Moylan-Smelkinson always have lots of beautifully decorated tablewares on display.

What a pretty Chinoiserie plate (one of a pair)! 

They also have a large assortment of delightful figures and delicious decorations to choose from.

 

Along with several shelves of pretty ceramic snuff and patch boxes.


But the standout in their booth this fair, at least in my humble opinion, is a gorgeous English ceramic tulip-shaped and decorated coffee service from the first half of the nineteenth century.  It is breathtaking.


One of the good ladies carried the booth's pretty floral theme to the sequined and beaded slippers upon her feet.  Aren't they charming?


After a delightful few minutes chatting with the Moylan/Smelkinsons we tore ourselves away and ran upstairs to the balcony level of the Bohemian Hall's auditorium to visit the other dealers there.  Time was short!  It was almost closing time!  Standing at the edge of the balcony before diving into its booths we paused to take in the excellent view of the main floor below:


Our destination on the balcony was the booth of Linda Willauer Antiques of Nantucket.  We enjoy visiting her marvelous, jam-packed shop whenever we visit the island (where we have found a number of treasures in years past).  We are also sure to look her up whenever she comes to New York for shows.

One view of Linda Willauer's booth at the Fair

I'm always amazed at how much inventory Ms. Willauer brings with her when she exhibits in New York.  Believe me, Dear Reader, it takes considerable foresight, planning, and flat-out labor to make such a display happen.  Hats off to you, Ms. Willauer!


Ms. Willauer is justifiably well-known known for her extensive offerings of Chinese export porcelain and English Staffordshire.


This year Ms. Willauer had a pair of pistol-grip Chinese export urns on display, one of which is shown in the following photograph:


I thought this pair of Staffordshire hound spill vases were charming.


Ms. Willauer also has any number of mid-19th-century Staffordshire figures for sale, including these of Prince Albert and Queen Victoria.


And with that, the closing gong rang and it was time to tear ourselves away from the fair!


We took one last, longing look out over the main floor and then headed downstairs.

Mr. Nicholas Dawes

Where we introduced ourselves to Nick Dawes of "Antiques Road Show" fame.  He was exceptionally pleasant and friendly.


After leaving the Ceramics Fair we stopped in for cocktails and hamburgers at the nearby Finnegan's Wake, a friendly neighborhood Irish pub and a regular cheap 'n' cheerful destination of ours (Reggie doesn't only dine at the likes of La Grenouille, Dear Reader!).  I can't recall whether I drowned my sorrows at "F.W." (as we call it) for not buying a thing at the Fair, or because I was celebrating my willpower for not doing so.  In any event, the martini (or was it two that I had?) was a delicious topper to a most enjoyable tour of this year's New York Ceramics Fair.

Please note: Dear Reader, should you find yourself in a position to go to the Ceramics Fair, you had better hurry up and do so as it closes this afternoon at 4 p.m.

All photographs by Reggie Darling

Antiques Week 2013 At Last, Part IV

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The Winter Antiques Show, Part I
Dear Reader: Today's post is the first in a two-part series devoted to the Winter Antiques Show.  There was so much to see and comment on at the show that I'm afraid it required breaking the story into two parts.  I hope you enjoy it.

This past Thursday evening we attended the gala opening of the Winter Antiques Show.  The party is one of the highlights of the New York social season, and—believe me, Dear Reader—the tribe was out for the event in force.


Held in the magnificent Seventh Regiment Armory on Park Avenue at 68th Street, the Winter Antiques Show is the grandaddy of American antiques shows, ranking with the best of the international antiques fairs held in Europe.  This year marks the 59th anniversary of the Winter Antiques Show's founding.

One enters the show under a canopy of sparkling pink lights

The Seventh Regiment Armory has recently undergone an extensive and careful restoration and modernization, spearheaded by a not-for-profit group that has taken over management of the building.  It is most gratifying to see the Armory is now being so well cared for, Dear Reader, emerging from slumbering under many years of benign neglect.

The Preservation Society of Newport County
exhibition pavilion at the Winter Antiques Show

This year's Winter Antiques Show show features a loan exhibition, "Newport: The Glamour of Ornament, Celebrating the Preservation Society of Newport County."  It is displayed in a marvelous and highly creative classical pavilion at the entry to the show.

The opening night crowds milling about in front of the
Newport Society pavilion
(Associated Artists' booth on the left)

The opening crowd was rather a crush, Dear Reader, with a smartly attired after-work crowd thronging the aisles and booths.  Men wore suits and ties to the event, and many of the ladies wore pretty party frocks.

"Waiter, I'd like a gin and tonic, please.
Heavy on the gin and easy on the ice, thank you!"

Attendees at the opening were well provided with cocktails and canapés.  There were numerous bars and food stations spread throughout the Armory, and armies of waiters passed through the crowds with trays of champagne and hors d'oeuvres.

Carswell Rush Berlin's booth, full of tasty things

Our first stop at the show was Carswell Rush Berlin's booth.  Although he is one of the leading dealers in American Classical era furniture and decorative arts, he had some modern pieces thrown in for pizazz.  Mr. Berlin's booth is always a visual delight.

The Peter Finer booth, specializing in European Medieval armour

The Winter Show has broadened its focus in recent years beyond American and European offerings of the eighteenth and nineteenth centuries, and now includes dealers in modern and ancient goods, too.

The S. J. Shrubsole booth, loaded with handsome English silver

However, the show has not strayed too far from its roots in American, English, and Continental antique furniture and decorative arts.  And as far as Reggie is concerned, that's a good thing.  It is fortunate that the organizers of the Winter Antiques Show recognize that retaining its primary focus on American and European antiques plays to the show's strength, and to its identity.  And, considering the show's location on Park Avenue in the city's Upper East Side, it makes good business sense, too.

Mr. James McConnaughy of Shrubsole

Our next stop was at the booth of S. J. Shrubsole, New York's preeminent dealer in English silver of the eighteenth and nineteenth centuries.  The booth was packed, but we did manage to say hello to Mr. Jim McConnaughy, one of the principals of the firm and someone I have known for almost thirty years.

"So, does anyone have any good suggestion
for where we can go for dinner afterwards?"

After stopping for a refreshment of our cocktails we then headed over to Hirschl & Adler's booth.

The lush interior of the Hirschl & Adler booth

Hirschl & Adler specializes in best-quality American furniture and decorative arts of the Classical period, and their booth is always beautifully—and lavishly—filled with exquisite offerings.  To this writer, it is one of the highlights of the Winter Antiques Show.

The lovely Ms. Liz Feld of Hirschl & Adler

Hirschl & Adler is owned by members of the Feld family, who are not only passionate about what the do, but charming and friendly, too.  We like them immensely.
    
I rather fancied this heroic painting of
George Washington at Hirschl & Adler

Hirschl & Adler has a gilt bronze George Washington clock
 . . . Reggie's Holy Grail

Our next stop, across the aisle from Hirschl & Adler, was the booth of Jeffrey Tillou Antiques.  We've had good luck with the Tillous over the years, both at the Winter Show and at their gallery in Litchfield, Connecticut.

The Tillou booth at the Winter Antiques Show

The business is now run by Jeffrey Tillou, who took over from his father.  The gallery's focus remains American antiques and decorative arts of the eighteenth and nineteenth centuries.

Mr. Jeffrey Tillou

Fatigued with all the visiting and chatting and admiring of beautiful things, this writer then took a break and availed himself of a dumpling station nearby.  The little girl he found there helping herself was adorable (and hungry, too!).

The dumpling station was a big hit among attendees

Turning around, who did we run into but Miss Miller Gaffney!  Star of the Market Warriors show on PBS, Miss Gaffney and Boy Fenwick were classmates together years ago in the Sotheby's American Arts program.  She's really rather delightful.

Miss Miller Gaffney

After chatting with Miss Gaffney for a minute or two, we dropped in to see what treasures Ms. Carolle Thiebaut-Pomerantz had on display at this year's show.

Carolle Thiebaut-Pomerantz's booth

Ms. Pomerantz is the leading dealer in historic wallpapers and spends most of her time these days in her beloved Paris.  We bought a large panel of scenic wallpaper from her ten or so years ago that hangs on a wall in our drawing room at Darlington House.  It is one of the treasures of our collection.

Ms. Carolle Thiebaut-Pomerantz

Ms. Pomerantz is an effervescent and charming lady, and she is always beautifully attired.  I love to see what she is wearing, as I know it will be exquisite!

Kentshire Galleries' booth

We whizzed by the Kentshire Galleries booth, filled with beautiful English antiques, because we had spotted a dear friend of ours that we wanted to say hello to.

Ms. Sarah Coffin

Ms. Coffin is the Curator of Seventeenth- and Eighteenth-century Decorative Art, and Head of Product Design and Decorative Arts at the Cooper-Hewitt here in New York (try putting that on a card!).  We've known Ms. Coffin for many years and are very fond of her.  We spent a divine week with her and her husband in a villa in Tuscany several Junes ago.  Ms. Coffin is delightfully chatty, and she is an awe-inspiring font of information on subjects far and wide.

A view of the sumptuous Carlton Hobbs booth

Our next stop was the booth of Carlton Hobbs.  Mr. Hobbs, who specializes in English furniture of the most superb quality imaginable, is based in New York.  His gallery of astonishing wares fills one of the Upper East Side's most beautiful townhouses, which he has restored to perfection.

The Stephen & Carol Huber booth

Boy then made a beeline to the booth of Stephen & Carol Huber, the leading dealers in important American needlework.  The Hubers are charming and amusing, and the quality of their offerings is breath-taking.

A shot of the wildly popular Cove Landing booth

One of the relatively recent additions to the Winter Antiques Show is Cove Landing, which specializes in unusual American and English furniture and decorative objects.  Owned by Angus Wilkie and Len Morgan, Cove Landing's booth this year features a treasure trove of covetable boxes, objets, and pictures.  It was mobbed during the party.

Liz O'Brien's serene booth

On a more modern note, Liz O'Brien's nearby booth features furniture and decorative arts of the first half of the twentieth century.  Ms. O'Brien has a wonderful eye for design, and was one of the earliest champions of the works of architect and designer Samuel Marx.  I am always interested to see what she brings to the Winter Antiques Show, as I know it will be marvelous and extraordinary.  I was not disappointed!

Next: More of the Winter Antiques Show and the Personalities That One Encountered There . . .

All photographs by Reggie Darling

Antiques Week 2013 At Last, Part V

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The Winter Antiques Show, cont'd.
Today's post is a continuation of my most recent one about attending the gala opening of the Winter Antiques Show.  But before I get into the subject matter at hand, Dear Reader, Reggie must acknowledge that he's rather behind in his reportage on this and other shows of the New York Antiques Week that was.  What with a demanding day job that requires frequent out-of-town travel (he's writing this from the Admiral's Club lounge at JFK), an over-scheduled social life, and the need to get in a full night's sleep (how do some people get by with just a few hours of shut-eye at night, he wonders), Reggie hasn't had much free time to sit down and do what he really wants to do, which is to blog away to his heart's content, reporting on this and that, discussing the finer points of ceramics, and sharing what some might consider to be his persnickety rules for what he deems to be civilized living in a world of wretchedly disintegrating standards.

"Yes, I will have another cocktail, please . . . and this time, don't bother
with any tonic—just make it gin on the rocks, thanks!"

In any event, and back to the subject at hand, one of the more pleasant aspects of attending a party such as the Winter Antiques Show gala opening is the access one has at such an event to quality alcoholic beverages of one's choice and delicious finger food, seemingly at every turn.  Not only that, but one is not discouraged from walking around with said liquour-filled glass in one's hand and drinking from it while visiting with one's friends or touring the dealers' booths.  Just don't put your glass down on that very fine and very rare early eighteenth-century lacquered table, please!


Mr. Ronald Bourgeault

While pausing for a much-needed refreshment to one's cocktail, we chanced upon and spoke with Mr. Ron Bourgeault, the owner of Northeast Auctions and a regular on Antiques Roadshow.  We met Mr. Bourgeault many years ago while attending a Williamsburg Antiques Forum and liked him immensely.  He is a very pleasant and affable fellow, and it was nice to see him again at the Winter Show.

A view of the Barbara Israel booth

One of the booths that I enjoy seeing at every Winter Show is that of Barbara Israel Garden Antiques, which specializes in truly magnificent garden statuary.  I especially admired the monumental footed urn shown in the preceding photograph.

The flower arrangements at the Winter Show
are always a delight

My next stop at the show was the booth of Hostler Burrows, who deal in twentieth-century furniture and decorative arts.  I thought their display of art pottery as seen in the following photograph was very handsome, indeed, and I loved the way it was massed on the table.

A grouping of art pottery on display at the Hostler Burrows booth

While on the theme of modern, naturalist objects, Dear Reader, I also very much enjoyed a series of metal sculptures made in the early 1970s by Harry Bertoia, in the booth of Jonathan Boos, of what appear to be small shrubs.

I was quite taken with these Bertoia sculptures
in the Jonathan Boos booth

Not far from that I was further taken with an early twentieth-century painting in the booth of Thomas Colville Fine Art.  I think the painting, titled Vertical Construction and painted by the American artist Werner Drewes in 1938, would look marvelous in our city apartment, which we have decorated with furniture and art from the 1930s through the 1960s.  However, our walls there are already covered with paintings and—besides—I wasn't in a buying mood, at least not at those sticker prices.

I would be very happy to live with this painting
. . . under such circumstances as would allow it . . .

At Darlington House, on the other hand, our collecting is firmly rooted in the early decades of the nineteenth century.  To that end, I thought the large landscape shown in the following photograph would be right at home there, hanging on our walls.  And, Dear Reader, it is being shown by the same dealer, Thomas Colville, as the preceding modern abstract that Reggie so admired!  No wonder I coveted it . . .

. . . and this one as well!

But one doesn't attend the Winter Show merely to gaze upon the gorgeous and precious objects offered there, Dear Reader, but also to enjoy the beauty of the design of the show and the creativity with which the offerings are artfully arranged and displayed in the booths.

"Mirror, mirror, on the wall . . . "

I thought the placement of the mid-nineteenth-century American sculpture in Gerald Peters Gallery's booth of a young lady staring into a mirror, as seen in the preceding photograph, was teddibly clever.

The Cohen & Cohen booth

One booth that I am sure to linger in at the Winter Show is that of the London-based dealers Cohen & Cohen, who specialize in magnificent Chinese export porcelain made for the European markets.  This year their booth was dramatically done up to resemble a porcelain display "cabinet" room in a princely palace, with suitably princely offerings. 

"Be still, my heart!"

One of the highlights of the Cohen & Cohen booth (if not of the entire show), in Reggie's view,  was an enormous punch bowl (it is large enough for a baby's bath) commissioned in the first years of the 1800s by States Morris Dyckman (1755-1806), an immensely rich (well, for a time at least) American living in London.  Mr. Dyckman was the builder of Boscobel, one of the finest Federal houses in this country, and he spent a fortune in England outfitting it with the best goods and decorations that money could buy.  Acording to the dealer Michael Cohen, shown lifting the bowl in the preceding photograph, the bowl is thought never to have actually found its way to Boscobel, for Mr. Dyckman apparently died before the bowl was completed in China and sent to the agent in England who had brokered its commission for (the now deceased) Mr. Dyckman.  I hope that Boscobel House and Gardens, which owns and manages the house today, was able to buy the punch bowl—for it is at Boscobel that the bowl truly belongs.

The interior of Elle Shusan's booth

One of the most creatively decorated booths at the Winter Show every year is that of Ms. Elle Shushan, this country's leading dealer in fine portrait miniatures.  Every year she and her dear friend, Mr. Ralph Harvard, the noted classical designer and architect, create an enchanting and whimsical booth in which to display her offerings.  This year Mr. Harvard created a fantasy of the New Orleans studio of artist John Wesley Jarvis (1780-1840), who apparently shared a studio in the Crescent City for a time with John James Audubon (1785-1851).  The booth was a tour de force!

Ms. Susan Stein, Mr. Ralph Harvard, unidentified, and Ms. Elle Shushan

We had a jolly time in Ms. Shushan's booth, speaking with her and her charming friends, and taking it all in.  While we were there we enjoyed meeting Ms. Susan Stein, the Richard Gilder Senior Curator and Vice President of Museum Programs at Thomas Jefferson's Monticello, and sharing with her that we were the proud owners of a geranium that purportedly came from a cutting of one at Mr. Jefferson's house, given to him by Rubens Peale of the illustrious Peale family of Baltimore.  She knew exactly what we were talking about, and good-naturedly humoured us.

Hyde Park's booth of superb English furniture and decorations

By this point we were beginning to wonder about the whereabouts of the friends we were to meet for dinner that evening.  We thought that one of them, Ms. Emily Evans Eerdmans, might be at the Hyde Park Antiques, Ltd., booth, so we checked there.  No luck, so on we scurried . . .

A delightful painting of a naughty kitty 

I paused at the booth of David A. Schorsch & Eileen Smiles American Antiques to admire a nineteenth-century American painting of an adorable, mischievous cat wreaking havoc upon a lady's sewing box, shown in the preceding photograph.  Isn't it charming?  Hello kitty!

This fellow had many admirers at the show

After fortifying ourselves with another round of cocktails at the commodious bar at the rear of the Armory, I stopped (in my tracks, actually) to admire the very well-formed posterior of this classical statue in the booth of Safani Gallery, as seen in the preceding image.  And believe me, Dear Reader, I wasn't the only one doing so!  I could barely get close enough to get a good photograph for you, given the mob scene of ogglers surrounding it, oohing and aahing while gulping down their drinks and mopping their brows with excitement.

The Peter Pap Oriental Rugs booth

My next stop, directly across the aisle from said saucy statue, was the booth of San Francisco-based Peter Pap Oriental Rugs.  Mr. Pap can be seen standing inside the booth, to the right, in the preceding photograph.  I stopped to say hello to him, as we share a dear friend in common, the noted California decorator Guy "Pickles" Gurquin.  Not only that, but Mr. Pap and I have another connection, as our mothers were dear friends many years ago.

A lighthearted painting by George Bellows

With reservations beckoning and stomachs growling, Boy and I resumed our search for our dinner partners.  Where could they be?  Not in the Adelson Galleries booth, staring longingly, as we did, at the George Bellows painting on view.

Even though Tiffany lamps may not be to one's taste, 
one cannot help but admire them

Nor were our friends in the Macklowe Gallery booth, admiring the Tiffany lamps on display.

The Keshishian booth

"Excuse me, have you seen either Ms. Maureen Footer or Ms. Emily Evans Eerdmans?"  I asked at the Keshishian booth, where this lovely carpet and tapestry were on view.  Unfortunately, to no avail.

Fanciers of photography in the Fetterman booth

Perhaps they were in the Peter Fetterman Gallery booth, admiring its arrangement of the masters of modern photography?  Nope.

"I'll take it!"

Nor were they at the Philip Colleck, Ltd., booth, admiring this wonderful painting, as I did.  Don't you love the juxtoposition of the vibrant twentieth-century painting with the buttoned-up Regency commode?

Mr. Michael Henry Adams

I briefly interrupted my search for our pals and introduced myself to man-about-town Mr. Michael Henry Adams, whom I recognized from Facebook, where we are "friends."  The charming Mr. Adams proceeded to tell me a most amusing story about dancing with Pat Buckley at a birthday party given for Bobby Short at Mortimer's years ago.  Hilarious!

A madly Rococco-Revival-patterned English luster jug 
and an array of Criel et Montreau Faience
in the Taylor B. Williams booth

Just paces away I noticed the booth of Taylor B. Williams Antiques and the display cases within, packed with ceramics and snuffboxes.  Hmmmm, I thought—better check this out, Reggie!

Mr. Taylor B. Williams

And it was there, Dear Reader, that my resolve to keep my wallet firmly closed and in my coat pocket finally evaporated.  For I found a superb example of an early nineteenth-century English pearlware figure of the type we collect at Darlington House and which I have written about previously.  When confronted by the pristene condition figure of this hunter, circa 1810, shown in the following photograph, I was helpless.  I had to have it!

An English pearlware figure of a fowler,
ca. 1810, now in the collection of Yours Truly

It is fortunate, Dear Reader, that I was able to acquire the figure of the little hunter at a most reasonable price, at least as these things go once they've swum upstream to places such as the Winter Antiques Show.  I am thrilled to have it and most grateful that Mr. Williams was willing to accommodate me in acquiring it.

Ms. Maureen Footer, Mr. Mario Buatta, and
Ms. Emily Evans Eerdmans

And who should I then be so fortunate to find immediately upon exiting said booth, but our dinner companions, Ms. Footer and Ms. Eerdmans, having a cozy chat with that amusing bon vivant, Mr. Mario Buatta!

Ms. Maureen Footer, a modern-day Boldini!

Before leaving the Armory with the ladies I insisted that the supremely elegant Ms. Footer allow me to photograph her posing in front of the Boldini portrait of Mrs. Elizabeth Drexel Lehr exhibited in the Newport pavilion.  Doesn't Ms. Footer look ravishing?  Would that Mr. Boldini were alive today, I am sure he would clamour to have Ms. Footer allow him to paint her portrait, don't you?

A view into the dining room of Sel et Poivre

The four of us, along with the noted artist John Kelley, then repaired to the nearby Sel et Poivre restaurant for a tasty, conversation-packed dinner.  "S&P," as Boy and I call it, is a favorite destination of ours for neighborhood bistro fare, and it is always jam-packed with happy diners tucking in after the big shows at the Armory—as it was the night we dined there, too.

And so you have it, Dear Reader: Reggie's big night out at the enchanting opening party for the Winter Antiques Show.

Won't you please join me there next year?

All photographs by Reggie Darling

Antiques Week 2013 At Last: Part VI

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The Downtown Armory Show
What a difference a day makes, Dear Reader.  After attending the glittering gala opening of the Winter Antiques Show at the uptown Armory on Park Avenue, the next morning we attended the "other" Armory antiques show, at the downtown Armory on Lexington Avenue in the twenties.  Antiques at the Armory (or the Downtown Armory Show, as it is known) is a much more affordable antiques show than its far-fancier uptown sister, and it attracts an eclectic roster of dealers and attendees.


Such as the woman in the preceding photograph, shown sitting at the entrance of the show enjoying a pre-show smoke.


There was much to see at the Downtown Show, with dealers appealing to buyers of all sorts and pocketbooks.  While the show is always heavy on Americana, it features lots of other offerings, too.


Boy rather liked the lamps shown in the preceding photograph.  He thought they would look swell in one of his clients' Manhattan apartments.



Both Armory shows are held in cavernous spaces, with ceilings soaring high above the fray.



I liked these mushroom specimen models, made of carved and painted wood.  They reminded me of ones that I had admired in a magical Kips Bay Showhouse room decorated by Ann Getty a number of years ago.


The Downtown Show was decorated with half a dozen or so large metal urns filled with flowers and greenery.  Someone went to real effort to make these happen, and I thought they looked marvelous.


I was sorely tempted when I came across this booth's display of Black Forest bears.  I have a collection of them at Darlington House, started by my mother's father and which I have added to over the years.  I bring them out at Christmastime to decorate the mantel in our Snuggery.



I thought this patriotic dress from the first quarter of the twentieth century was appealing.  No, not for me to wear, Dear Reader, but rather as an example of Americana.  I can just imagine a pretty young woman wearing this dress, marching in an Independence Day parade, circa 1920.


I also was drawn to these two wallpaper covered bandboxes, dating from the first quarter of the nineteenth century.  We have several of them at Darlington House.  Ours are reproduction ones that were made at the Farmer's Museum in Cooperstown, New York.  Contrary to what many people think, bandboxes were not made just to hold hats.  They were a popular and inexpensive hold-all for clothing and personal effects.  Given their ephemeral nature, relatively few of them survive today, and those that do usually are for sale at what an uneducated buyer might consider eye-popping prices.


One dealer had a group of miniature bandboxes for sale at $300 to $650 apiece (I told you they were expensive).  These made a charming display, I thought.


As did this tower of quill boxes from the mid-nineteenth century.  I've seen rather a lot of quillwork boxes for sale recently.  I wonder if they are now being made again, perhaps in India. 


As Martha Stewart once famously exclaimed, "Every good cook deserves a copper pot!"


I thought this early twentieth-century mustachioed folk art policeman's head was nifty.



At the show I came across this early nineteenth-century portrait painted by Ammi Phillips (1788-1865), the same itinerant American artist who painted the two children in the double portrait I showed in my Sotheby's preview post.  The Phillips painting of the children in the Sotheby's sale was estimated at a whopping $250,000 to $300,000.  This fellow's listed sticker price was for a much more reasonable $12,500.  Unlike the painting at Sotheby's, which failed to find a buyer, I suspect this man's portrait sold shortly after I snapped its image, given what I believe was a very reasonable price for this artist's work.



I'm not usually a fan of paint-by-numbers pictures, but I thought this massing of them on a wall was terrific.  They would look great in a child's room, I think, or in a rustic mid-century lakeside cottage.


I thought this tiny early nineteenth-century eglomisé matted needlework picture was charming.


The dealer who displayed this green lattice work panel didn't realize that he'd got it wrong.  It is meant to be displayed horizontally, not vertically.  It is a fireboard, designed to be placed in the opening of a fireplace during the off season.  We have (and use) similar (although not identical) fireboards at Darlington House, some of which are antique, and others that we had made.


Not all of the goods at the Downtown Show are American or European in origin.  One dealer had a collection of African figures on view.  The one shown in the preceding photograph caught my eye.  She stands only around eight inches tall.


I was rather taken with this nineteenth-century American painting of squirrels naughtily feasting on strawberries.  I suspect the cat peering at them may have disrupted their mischief but moments later . . .



This sculpture of a mother monkey and her baby was both appealing and kind of creepy.



There were any number of miniature dioramas for sale at the Downtown Show.  I don't know if it is that a collection of them had recently come on the market, or if someone is making them today.  In any event, they were quite marvelous.



Here's Martin Chasin, a dealer in antique English silver.  We've bought numerous pieces from him over the years.  He's very nice, and a pleasure to do business with.  If you are in the market for reasonably priced, superior quality antique English silver, I recommend that you check out his website or look him up at one of the many shows he attends.
  

Something tells me that this elaborate and fanciful martin house won't be returning to the out-of-doors after the show.  Rather, I suspect it will be featured in the decoration of a house in the Hamptons or somewhere similar.


I came very close to succumbing to these two nineteenth-century English basalt candlesticks.  However, since I had already blown my resolve not to buy anything at the shows just the night before, I decided to forgo them, even though they were very well priced at $2,500 for the pair.  Now that I think of it, Dear Reader, I probably should have allowed myself to buy them to add to our basalt collection at Darlington House.  Ah, well—as Scarlet O'Hara famously said in Gone With the Wind, "Tomorrow is another day."  I console myself that I will, indeed, have other opportunities to buy basalt candlesticks . . . hopefully when I'm feeling flusher.


There was a pair of these decorative, patinated chimney covers at the show.  I'm not exactly sure what one would do with them, but I liked them nonetheless.


I've always got my eye out at such shows shopping for an imaginary beach house.  I thought this "Old Salt" doorstop (he stood around eight inches tall) would be a nice addition to a traditional seaside cottage on Cape Cod or elsewhere on the New England coastline.  Boy, however, wasn't convinced . . .


I came across this amusing sign as I was leaving the show, and had to take a photograph of it.  I thought it cleverly apropos of all the bargaining and horse-trading that goes on at such events.


In need of sustenance after prowling through the aisles of the Downtown Show, we jumped into our car and headed back uptown to Lusardi's, an UES institution, where we tucked into a tasty, wine-fortified luncheon of delicious pasta.  We pretty much had the place to ourselves, which was quite a contrast from when we usually eat dinner there, when the place is always packed to the gills.

And with that, Dear Reader, I complete my tour of the antiques auction previews and shows held in New York City during this year's Antiques Week.  I hope you liked it.

Editor's Note: By the time I made it to this point I could not bear the thought of attending yet another antiques show, and therefore skipped the downtown Metro Show, the other major show held during Antiques Week.  I understand from people who made it there, though, that it was well worth attending.

All photographs by Reggie Darling

Mardi Gras at Darlington House

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Unlike our New Orleanian cousins, we take a fairly low key approach to Mardi Gras at Darlington House.  However, this year things got a little out of hand, and even Thomas Jefferson got into the spirit!


I don't know about you, Dear Reader, but what with all of my overindulgences of the last couple of days, weeks, and months, I'm actually rather looking forward to lightening up during Lent this year.

Photograph by Boy Fenwick

It Is Lauren, Not Loren!

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If there is one thing that drives Reggie absolutely nuts, it is when he hears someone mispronounce Ralph Lauren's last name as "law-RENN," with emphasis on the second syllable.   I don't know where people got the cockamamie idea that it is pronounced that way, but hearing people say it like that produces a reaction in me like the sound of fingernails screeching across a blackboard.  For those of you who pronounce Ralph Lauren's last name as "law-RENN," would you please stop it, once and for all?

Miss Lauren Bacall
(Her first name is correctly pronounced "LOREN")

Because you are mangling its pronunciation.  The "Lauren" of Ralph Lauren is pronounced the same way as the first name of the American actress Lauren Bacall, which is pronounced "LOREN," with equal emphasis on each syllable.  It is not pronounced the same way as the last name of the Italian actress Sophia Loren, which is correctly pronounced with emphasis on the second syllable.

Miss Sophia Loren
(Her last name is correctly pronounced "Loh-RENN")

I suppose that people think pronouncing Lauren as "law-RENN" somehow makes it sound more posh, or "classy," or (Heaven forbid) French-ified.*  But it is none of these, Dear Reader.  I am here to tell you that pronouncing it that way sounds ridiculous, ill-informed, and affected.  Because it is!

No one who works at Ralph Lauren pronounces "Lauren" as "law-RENN."  And I have that on good authority, Dear Reader, since I have done a substantial amount of professional advisory work for the company over the years, and believe me, not one person in senior management there or in the stores pronounces it any way other than how it should be pronounced, which is "LOREN."


Now, Reggie is well aware that the "Lauren" in both the names of Miss Lauren Bacall and Mr. Ralph Lauren doesn't appear on their birth certificates, and was adopted by them at later dates.  He doesn't give a fig about that, nor does he believe anyone else should, either.  What he does believe, and he believes vehemently, Dear Reader, is that "Lauren" should be pronounced correctly, which is "LOREN," and is not—and never has been and never shall be—"law-RENN."

So, if you—or anyone you know—has heretofore misguidedly pronounced the name Lauren emphasizing the second syllable, I insist that you (and they) stop doing so immediately!

And that is a Reggie Rule.

* Which is even more perplexing to this writer, given that the company's design vision is so firmly rooted in quintessentially Anglo-American sources 

Photograph of Miss Lauren Bacall courtesy of mptvimages.com; photograph of Miss Sophia Loren courtesy of the Mathau Company; Ralph Lauren corporate logo courtesy of same

A Very Reggie New York Saturday

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Reggie had an unexpected New York weekend, Dear Reader.  At the last moment he wound up staying in Manhattan instead of running up to Darlington House, due to rather tiresome work commitments.  So he made the best of it!

Casa Lever Restaurant

On Saturday, after a morning spent chained to seemingly endless conference calls and tedious document reviews, Reggie decided that enough was enough and treated himself and Boy to a tasty lunch at Casa Lever, located in Lever House, the iconic Skidmore, Owings & Merrill designed masterpiece of modern architecture on Park Avenue at 53rd Street.

Lever House, shortly after its completion in 1953
Photograph courtesy of LIFE Images

Casa Lever is a "scene" restaurant during the week, what with full-throttle "power" breakfasts and lunches full of Type-A deal makers and their clients, busily one-upping each other.


The after-work bar scene and dinner crowd at Casa Lever can be truly assaultive, with bar stools and tables packed with desperate 30- and 40-somethings looking for the next best thing.  Or at least the next better thing.

The view into Casa Lever when one enters the restaurant

But on weekends Casa Lever is a delightful place.  One practically has the restaurant to oneself, at least during lunchtime.

One enters the dining room through this
"futuristic" tunnel

Casa Lever is part of the Sant Ambroeus empire, which has other restaurants in New York on Madison Avenue on the UES, in the West Village, and in Southampton.


The interior of Casa Lever is very "modern" in a 1970s Italian looking way, at least to my eye.  It is all sort of a jumble, as if Muriel Brandolini decorated it, or Miuccia Prada.  Not exactly coordinated, Dear Reader, but not unpleasant, either.

The dining room at Casa Lever

The food at Casa Lever is transcendently delicious.  We had one of the tastiest lasagnas there for lunch that I've eaten in ages—at least not since the one my dear friend Lindaraxa made for me several years ago.  Casa Lever's lasagna is made in the Milanese style—not too cheesy, but rather creamy, savory, and yummily divine.  Heaven!


The flowers at Casa Lever are lavish and beautiful.


And the restaurant's lighting, particularly in the bar area, is very flattering.

The bar is usually very crowded after work on a weekday evening

After lingering over coffee and a plate of delicious buttery cookies we decided to head over to Fifth Avenue, as Boy wanted to buy a new pair of Gucci loafers.

Paley Park, named after William Paley's father

We genuflected as we passed Paley Park, the hallowed former site of the legendary Stork Club.

The Stork Club, back in the day
Photograph courtesy of LIFE Images

I wish that I had been a Manhattan-living grownup when the Stork Club was in full throttle.  But it closed in 1965, when I was only nine years old.  I would have loved to have gone there in its heyday.

Reggie's Stork Club ashtrays

I've consoled myself, though, by collecting a number of Stork Club ashtrays over the years.  I used them back when I still smoked cigarettes.  Even though I quit puffing years ago, I can't bear to part with the ashtrays.  Not yet, at least.

Judy Garland and Fred Astaire strolling down Fifth Avenue
in the 1948 movie of Irving Berlin's "Easter Parade"
Image courtesy of Metro-Goldwyn-Mayer

Fifth Avenue in midtown on a Saturday afternoon is clogged with tourists gawping and milling about.  I don't begrudge them their fun, and I appreciate that they spend their hard-earned dollars in our city, helping our economy.

The Fifth Avenue Easter Parade it ain't!

However, I generally try to avoid this stretch of Fifth Avenue, as it can be unpleasantly crowded with people bumbling about.

Sometimes one has no choice, though, and one must push forth with one's errands . . .


The Gucci store in the Trump Tower was off-puttingly full of under-dressed boors, most of whom didn't appear to have any intention of actually buying something.  Mostly they were there to clock the goods and waste the sales staff's time.


Most of the shoes on display were, um, not to our taste.  Given the mayhem in the store it was challenging to find a salesperson to help us locate the classic horse-bit moc in brown leather that Boy was there to buy.


There were lots of loafers available, though, in pastel ice-cream colors that Gucci has issued in honor of the 60th anniversary of the launch of this, their classic shoe.  However, these shoes were not quite what Boy was there to take home . . .

Gucci's horse-bit loafer, now available in plastic

I rather liked the loafers Gucci had on display, though, shown in the preceding photograph.  They were made entirely of plastic, with the exception of the metal horse bits.

I wear these muck boots during wet weather at
Darlington House, where they are a godsend!
Image courtesy of the Original Muck Boot Co.

I think the plastic loafers Gucci is selling would make a terrific (and amusingly stylish) alternative to Muck Boots.  So useful to wear on a muddy morning when supervising one's pug's constitutional!  On second thought, though, they might be perhaps a bit hot on the foot, given what they are made of . . .


Frustrated by our failed mission at Gucci, we headed out the door, back onto Fifth Avenue.  The next time I'm in the market for a new pair of Gucci horse-bit loafers, Dear Reader, I'm going straight to their outpost on upper Madison Avenue, far removed from this tourist fray.


Our next stop was Tiffany & Company, so Boy could replace a worn-out belt strap to go with a gold buckle I bought him there years ago.

The main floor at Tiffany & Company

We never made it past the ground floor.  Tiffany was so crowded with tourists that we decided such an errand there was as foolhardy on a Saturday as the one we tried at Gucci, so we bolted again.


We hurried past the nearby Nike Town sneaker store.  I've never been inside of it, and something tells me I never will.


The sidewalk in front of the Nike Store was littered with trash.


Turnbull & Asser is, fortunately, a mere block beyond the Nike store.  It is a haven amidst the hubbub of midtown these days.

The crowd-free interior of Turnbull & Asser

Turnbull was blessedly free of the crowds that thronged Gucci and Tiffany.  Other than an attractive young couple selecting ties, we were the only people shopping there.


I was quite taken with the selection of colorful umbrellas.


They come in both solids and stripes.


However, it was for shirts that we visited Turnbull.  Boy selected several rather attractive ones to add to his wardrobe . . .

An explosion of colorful knotted silk cuff links

. . . along with several pair of knot cuff links, including a pair in orange, his signature company color.

His Royal Highness, the Prince of Wales

Prince Charles is a customer of Turnbull & Asser.  The New York store proudly displays his royal warrant, along with a signed photograph.

I couldn't decide which one I liked best . . .

I was crazy about the silk dressing gowns at Turnbull.  I might have been tempted to buy one if my darling Pompey wasn't so inclined to rub his face on my clothes, which he does at seemingly every opportunity.

Mr. Charles H. Cash of Turnbull & Asser

While we were at Turnbull, Boy was assisted by the very helpful Charles Cash.  I recommend that you look him up if you find yourself in the store.  Tell him Boy sent you, please!


Charles helped Boy select this handsome bow tie, along with other purchases.  Boy liked the tie so much that he wore it out of the store; his other acquisitions are to be delivered.  Having one's purchases sent 'round to one's apartment, rather than having to carry them away in shopping bags, is one of the great pleasures of living in New York.

Well, it is transportation . . .

After leaving Turnbull we hopped on the M3 bus up Madison Avenue.  I long ago learned that trying to find a taxi on Madison Avenue in midtown during rush hour or on a Saturday afternoon is an utter waste of time.  Buses are a far more efficient and reliable means of getting on one's way uptown, away from the maddening hordes clogging the streets of Midtown.  


Our destination was Bemelman's Bar, in the Carlyle Hotel.  It is one of our favorite watering holes in the city.

Prossie Trotters at Christian Louboutin

Before slipping in to Bemelman's, though, we decided to look in some of the store windows on upper Madison Avenue.  I had to photograph these stiletto platform, open-toed Prossie Trotters that were in the window of the Christian Louboutin boutique.  I ask you—who wears such things, and where?  Are there really that many transvestite Louisiana hayride-themed galas?  Seriously, I thought they were vulgar beyond belief.  Apparently I'm in the minority, though, since we heard the doorman at the store inform a middle-aged woman trying to gain entry that it was full with customers and that she should wait on the street or come back at another time.  I mean, really!

A lovely dress for a lovely lady, at Vera Wang

Fortunately my nerves and sensibility were soothed by this beautiful confection of red tulle a few doors up the Avenue, at the Vera Wang boutique.

Home at last!!

With cocktails beckoning, we made for the doors of the Carlyle Hotel.

Mr. Bobby Short's portrait at the Carlyle Hotel

Of course one must pay one's respect to the portrait of Mr. Bobby Short that hangs in the lobby there.

The view into Bemelman's Bar at the Carlyle Hotel, as one enters it

And then to Bemelman's Bar!

The divine bar at Bemelman's

Bemelman's is one of the most appealing and comfy bars in the city.  The amber lighting is flattering, to say the least.

Ellis, Bemelman's bartender extraordinaire

Our favorite barman, Ellis, was on duty and at the ready to serve us the perfectly made martinis he knew that we wanted.

Note the extra vessel of gin on ice, waiting to replenish one's glass

Bemelman's martinis are rather wicked, as they are delivered along with a little vessel filled with another glassful on ice, so one's single martini is, in reality, a double.  I suppose that is one of the reasons we are so fond of Bemelman's!

The Carlyle's swizzle sticks

Ellis gave me a trio of swizzle sticks so that I could feature them in this story.  The Carlyle is managed by the Rosewood Group, which owns and manages hotels and resorts all over the world.  One of our favorites is Little Dix Bay on Virgin Gorda, where we've stayed three or four times over the years.  While I've stayed at other Rosewood properties as well, Little Dix Bay (and the Carlyle) are my favorites. 

Boy and Pompey, happily sleeping it off . . .

After fortifying ourselves with martinis and an order of mini hamburgers at Bemelman's we wobbled our way out the door and into a taxi for the journey home to our apartment.  Pompey was quite pleased to see us when we lurched through the door.  After a quick tinkle and his dinner, he was more than amenable to spending the rest of the evening snoozing on a supine Boy, who was completely tuckered out after his busy day taking advantage of what New York City has to offer.

The closing caption of "Easter Parade,"
looking up Fifth Avenue in midtown Manhattan
Image courtesy of Metro-Goldwyn-Mayer

Tell me, how did you spend your Saturday, Dear Reader?

Please note: Reggie has received nothing in return for mentioning the stores and other establishments named in this post, nor does he expect to.   He has written this post solely for the amusement of his readers, which is the reason he writes this blog in the first place.

All photographs, except where noted, by Reggie Darling
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