9 Dominating the “curator’s office” is a wool tapestry attributed to Le Corbusier (1887–1965), early 1950s. The 1930s standing ashtray was originally in 1935, on the Pittsburgh Plate Glass Company’s vanity of c. The lamps include Von Nessen’s fluted chrome table lamp of c. ![]() 1930 by Walter Dorwin Teague (1883–1960) for the Steuben division of Corning Glass Works. On the table are a copper and brass humidor designed by John Otar (1891–1939), c. Above the crisscross-based console table in the guestroom hangs Factory and Tenement, signed and dated 1927 by Robert Knight Ryland (1873–1951). The side chair is one of a pair from Annapolis, c. An exception is this landscape by the tonalist painter Charles Harry Eaton (1850–1901), shown hanging above a satinwood-banded mahogany chest of drawers made in Baltimore c. 7 The paintings throughout the house reflect the couple’s interest in original frames as much as, or more than, the significance of the artworks themselves. On the table are a late nineteenth-century Japanese cloisonné enamel plate and bottles, and above hangs a period copy of A Midnight Modern Conversation by William Hogarth (1697–1764)-the amusing subject and the fine frame of equal appeal to the collectors. 306, except these are more elaborate, with shaped, shell-carved stretchers adding richness. 1750 is flanked by a pair of walnut side chairs very similar to one illustrated in William Macpherson Hornor Jr., Blue Book Philadelphia Furniture (1935 reprint Highland House Publishers, Alexandria, Virginia, 1988), pl. ![]() 6 In the book room a Philadelphia dressing table of c. Above hangs a gilded eagle-topped English girandole looking glass of c. 5 On the probably Baltimore sideboard are a pair of enameled candelabra, possibly Chinese export, and glass decanters from the eighteenth, nineteenth, and twentieth centuries. Rice for Bernard Rice’s Sons, 1928, on the chest of drawers on the far wall of the dining room. Among many objects in the collection that reflect the popular skyscraper aesthetic of the 1920s are the silverplated tea set and vegetable dish designed by Louis W. The painted card table with a mahogany top belongs to a group of fancy furniture thought to be from the shop of Baltimore maker Thomas S. 4 View from the living room into the dining room, including the English pier glass restored by the wife. 1790, and the landscape, entitled Boston and Bunker Hill, dates from c. In the corner are an exceptional Philadelphia side chair, 1770–1780, and a carved card table and one of a pair of ladder-back side chairs (see also Fig. 1770, and the handsome brass andirons of c. ![]() Also from Philadelphia are the sewing table, c. 3 Among the furnishings in the living room are easy chairs from Philadelphia, c. 1760, beneath an English or American looking glass and French sconces of c. ![]() 2 The entrance hall, with a Philadelphia side chair and card table of c. At the far right on the counter is a Ruba Rombic smoke gray glass vase, 1928, by the Consolidated Lamp and Glass Company of Coraopolis, Pennsylvania. Theobald (active 1920s–1930s), 1928, for the Wilcox Silver Plate Company, and a potato baker. 1935, for the Revere Copper and Brass Company of Rome, New York the second shelf holds 1930s cocktail shakers by the Evercraft and Revere companies and Von Nessen’s three-piece Coronet coffee service for the Chase Brass and Copper Company, 1938, the urn based on the prototype by Eliel Saarinen (1873–1950) among the objects on the bottom shelf are a Manhattan cocktail shaker and tray (holding dried local grasses) by Norman Bel Geddes (1893–1958), 1937, for the Revere company, a dinette set by Jean G. On the top wall shelf are examples of the Diplomat coffee service designed by Walter Von Nessen (1889–1943), 1932, and of the Normandie pitcher designed by Peter Müller-Munk (1904–1967), c. 1935 for the Troy Sunshade Company, a cone chair designed by Verner Panton (1926–1998), 1958, and two recent examples of his stacking chair of 1960 provide seating in the kitchen. 1 A “Z” stool designed by Gilbert Rohde (1894–1944) c.
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