Whitehall Blog

The Sir Thomas Brocklebank, Baronet, Uniform Case

January 3rd, 2015

One of the most fascinating and handsome of the objects required for military life is the steel case to protect an officer’s uniform, mounted with brass insignia plates of the maker and the owner. The manner of fitting of top over bottom is incredibly tight, impervious to most weather, sloshing water, etc.  Our most recent buying trip to England unearthed a splendid example which we had polished and  had a custom stand created by a highly talented North Carolina metalsmith.  This is the Sir Thomas Brocklebank, Baronet, uniform case:

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The mounts, locks and slides are all brass and the medallions on the newly created stand are as well.

This is the point at which the computer assists research beyond the wildest dreams of the intrepid antiques dealer of today compared to my early years–minutes instead of untold library hours reveal vast amounts of information!

While one is tempted to jump immediately to the owner, a study of the uniform maker is an equally interesting point to begin, as the dates of the company and its locations may help us understand which of the baronets Brocklebank may have owned this case.

The uniform maker–not the case maker–is identifiable by the plaque: H. (Henry) Poole and Company of Saville Row.

According to Wickipedia and the Poole website, Henry Poole & Co is a gentleman’s bespoke tailor now located at №15 Savile Row in London. The acknowledged ‘Founders of Savile Row’ and creators of the Dinner Jacket, the company has remained a family-run business since their establishment in 1806. They opened first in Brunswick Square, in 1806, originally specializing in military tailoring, with particular merit at the time of the Battle of Waterloo.

Henry Poole ran the business from 1846,  when he moved it to 36-39 Savile Row upon the death of his father James,  until his own death in 1876, and was succeeded by cousin Samuel Cundey, whose legacy continued, for five generations, to the present-day owners Angus Cundey and son Simon. In the two centuries, the tailors have enjoyed great success and endured extreme difficulties, but survive to this day as the typification of excellence in bespoke men’s tailoring. The company still holds many Royal Warrants, and services the Lord Chamberlain’s office with court dress, with their livery department  creating uniforms for the 200th anniversary of the Battle of Trafalgar. The company is also credited with the creation of the Dinner Suit (known in America as a Tuxedo for a Mr. Potter of Tuxedo Park, NY,  who had one made by Poole for his visit to the Prince of Wales at Sandringham House in 1886, for whom the dinner jacket was first designed).

The period at Savile Row under Henry Poole and his successors in the 19th century saw the company showered with royal warrants from England and abroad:

HIM Emperor Napoleon III 1858
HRH The Prince of Wales 1863
HRH The Duke of Edinburgh 1868
HRH The Crown Prince of Prussia 1868
HM Queen Victoria 1869
HM The King of the Beligians 1869
HRH The Crown Prince of Denmark 1869
HRH The Prince of Teck 1870
HRH Prince Christian of Schleswig–Holstein 1870
The Khedive of Egypt 1870
HRH Prince Oscar of Sweden & Norway 1871
HM King Amadeus I of Spain 1871
HRH Prince Louis of Hesse 1871
HRH Crown Prince of Russia 1874
HIM The Emperor Pedro II of Brazil 1874
HIM Tsar Alexander II of Russia 1875
HM The King of Hellenes 1877
HI&RH The Crown Prince of Austria 1878
HM King Umberto I of Italy 1879
HIM Emperor Wilhelm I of Germany
HIM Tsar Alexander III of Russia 1881
HG The Duke of Genoa 1891
HG Friedrich, Grossherzog of Baden 1891
HG The Duke of Aosta 1892
HRH Prince Emanuel of Savoie 1892
HIM The Shah of Persia
HM The King of Denmark 1893
HM King Edward VII 1902
HRH Prince Albrecht of Prussia 1903
HH The Maharajah Gaekwar of Baroda 1905
HIM The Shah of Persia 1906
The Khedive of Egypt 1910
HM Queen Alexandra 1911
HRH The Prince of Wales 1922
The Imperial Household of Japan 1923
HM King George V 1928
HM The King of the Bulgarians 1936
HM King George VI 1940
HIM Emperor Haile Selassie 1959
HM Queen Elizabeth II 1976

Sir Thomas Brocklebank was right on target with his choice of uniform maker!  So who was he?

The Brocklebank Baronetcy, of Greenlands in the County of Cumberland and Springwood in the County of Lancaster, is a title in the Baronetage of the United Kingdom. It was created on 22 July 1885 for Thomas Brocklebank. He was a Deputy Lieutenant, High Sheriff and Justice of the Peace for Cumberland. Born Thomas Fisher, he had assumed by Royal license the surname of Brocklebank (which was that of his maternal grandfather) in lieu of Fisher in 1845. His grandson, the third Baronet, was a Director of the Cunard Steamship Company, of the Suez Canal Company and of the Great Western Railway. His eldest son, the fourth Baronet, died unmarried and was succeeded by his younger brother, the fifth Baronet. He was Chairman of Cunard Ltd and Cunard White Star Ltd between 1959 and 1965. As of 2007 the title is held by his son, Sir Aubrey Brocklebank, the sixth Baronet, who succeeded in 1974. He is the Honorary Treasurer of the Standing Council of the Baronetage. [1]

Brocklebank baronets, of Greenlands and Springwood (1885)
Sir Thomas Brocklebank, 1st Baronet (1814–1906)
Sir Thomas Brocklebank, 2nd Baronet (1848–1911)
Sir Aubrey Brocklebank, 3rd Baronet (1873–1929)
Sir Thomas Aubrey Lawies Brocklebank, 4th Baronet (1899–1953)
Sir John Montague Brocklebank, 5th Baronet (1915–1974)
Sir Aubrey Thomas Brocklebank, 6th Baronet (born 1952)

So we have only three possible owners of this uniform case:  the first, second and fourth baronets, all Sir Thomas.  The fourth Sir Thomas would be unlikely as these cases generally predate his lifetime.  So that leaves either the 1st Baronet or the 2nd Baronet.  The first Sir Thomas had many offices that might have required a uniform created for ceremonial and court occasions by Poole.

Both men were, as were all of the family, intimately involved in the management of T. and J. Brocklebank, Ltd–one of the oldest shipbuilding and sea merchant family businesses in English history.  The company eventually became a subsidiary of Cunard according to the National Archives of England, thus bringing the Brocklebank name in English shipping history to 1965 when Sir John retired as Chairman of Cunard.

Alas,  the mystery will probably remained unsolved forever as both the first and second Sir Thomas Brocklebanks may have owned this fine uniform case.  What is not a mystery is the handsome side or console table created from this fascinating bit of English history!

 

 

 

 

 

History Revealed in a Lap Desk for Travel

December 25th, 2014

Every gentleman and lady of the late 18th to the early 20th century travelled with mounds of luggage, among the pile the essential “lap desk” or “writing box”.  We came back with a great selection and they have just been posted on the website under New Shipments.  One I really want to share with you because the history has slowly been unravelled.

Exterior of c. 1830 Rosewood Staveley Family Lap Desk

Exterior of c. 1830 Rosewood Staveley Family Lap Desk

This by first observation is a c. 1830 rosewood lap desk of exceptional richness with fine brass bindings and escutcheons.  The interior is classic with three hidden drawers, black leather surfaces, etc.  There is also a full length drawer that pulls out of one end.  But what is intriguing always is any inscription on the top inset brass panel:  This one has a Stag’s Head, at gaze, cabossed (in heraldry terms).  Inscriptions are:  God’s Providence Is Our Inheritance  and  “Ut Aspirat Cerves”, roughly “As A Stag Aspire”.  This is shown in the next photo.

Staveley Family Crest

Staveley Family Crest

For those who have used Fairbairn’s Crests you know it seldom leads to one definitive family only for a crest–sometimes fifteen or more share a crest.  In this instance, only the Stravely family has such a crest!  But much more exciting is what still resides inside the lap desk:  one letter, one note in a beautiful Spencerian hand, and a stamp to impress the family crest and a monogram into wax seals for letters, the monogram “TKS”.  The note is a set of instructions given with the desk, or so it appears, leading off:  “To releave the secret drawers etc etc”.  Very useful as the three small ones have an unusually tricky mechanism that would otherwise require hours to unravel!  And I love the word “releave” rather than release, as it is indeed of course pressure that is releaved or released by pressing a certain spot and the trap cover springs out.

The letter has an address:

Miss Stravely

Old Slenningford Hall

Ripon,    Yorks  (Yorkshire)

Here are the notes and the stamp:


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And here the blessings of the modern age come to the fore.  I began to research the family history of the Straveleys, of Old Slenningford Hall, and of Ripon, Yorkshire.  Looking for family history c. 1830 I discovered that Thomas Kitchingman Straveley, born in 1791, was the head of the family at this time–the initials under the family crest are his.  (The family held lands of modest value and a handsome Hall as their seat dating to the 1500′s, so not of the landed aristocracy, the family was a highly reputable Yorkshire family.  of immense importance to our mystery is that Thomas was elected to the First Reformed Parliament, December 11, 1832.

In many ways this was the most important political change in England since Magna Carta and The Glorious Revolution. It doubled the voters of England and gave power to the newly industrialized cities.  Here is a short history from Wickipedia:

The 1832 Reform Act was the most controversial of the electoral reform acts passed by the Parliament. The Act reapportioned Parliament in a way fairer to the cities of the old industrial north, which had experienced tremendous growth. The Act also did away with most of the “rotten” and “pocket” boroughs such as Old Sarum, which with only seven voters (all controlled by the local squire) was still sending two members to Parliament. This act not only re-apportioned representation in Parliament, thus making that body more accurately represent the citizens of the country, but also gave the power of voting to those lower in the social and economic scale, for the act extended the right to vote to any man owning a household worth £10, adding 217,000 voters to an electorate of 435,000. As many as one man in five (though by some estimates still only one in seven) now had the right to vote.

For many conservatives, this effect of the bill, which allowed the middle classes to share power with the upper classes, was revolutionary. Some historians argue that this transfer of power achieved in England what the French Revolution achieved eventually in France. The agitation preceding and following the first Reform Act (which Dickens observed at first hand as a shorthand Parliamentary reporter) made many people consider fundamental issues of society and politics.

The novel Middlemarch, by Mary Ann Evans (George Eliot) is set in the 1830s and mentions the struggle over the Reform Bills, though not as a major topic. Eliot’s Felix Holt, the Radical, set in 1832, is a novel explicitly about the Great Reform Act.

This was made by one of London’s finest box makers–it is labeled by him–in business precisely during this period.  Could it be that the lovely hand reporting the secret drawers information was a gift of Thomas’ wife Mary Claridge (married in 1820) to her husband for use in his new and important official work as a Member of Parliament?  While we can spin romance–such a joy of this business–we do know definitively now who owned this box, who made this box, who inherited the box–the Miss Straveley letter is 1928 so it was revered in the family for at least 100 years.  How in 2014 it slipped from family hands is a mystery–has it in fact been floating through other families?  If so, why keep the stamp?  Most interesting is the family is still wealthy, has a modern seat and its old hall, and has been a great benefactor of the church, our Thomas having built the 1840 Church of St. Mary The Virgin near Ripon in another village on the family’s lands.

While this ends our mystery, read on if you love history as I have included various historical snippets pertaining to both the owner of the box and the family’s continuing history:

October 9th (1891).

Church of St. Mary the Virgin, North Stainley, near Ripon, re-opened for divine worship by the Lord Bishop of Ripon. The portion of the church forming the present nave, previous to the alterations now completed, was a plain and unpretending structure with a flat plastered ceiling, a simple parallelogram, 36 feet by 24 feet, erected by the late Mr. Staveley in 1840. The additions to the church, as now existing, comprise a chancel 24 feet by 17 feet, vestry 13 feet by 8 feet, organ chamber and south porch 9 feet by 6 feet. The style adopted by the architect is simple work after the Decorated or Second Pointed of the 14th century. To obtain dignity to the chancel and preserve the general outline of the church, the architect has carried the ridge at the same level as the old nave. The stone work forming the original east window has been transferred to the west gable of the nave, which formerly was a blank, cold wall.

The new east gable to the chancel is lighted by a three-light window, with a similar one on the south side. Under the east window, inside, some plain stone panelling is placed, which forms a reredos with altar shell. The altar itself has been lengthened and raised. In the south wall of the chancel are double sedilia with credence and piscina. The new roof over the chancel is constructed of pitch pine, left clean with principal trusses, the intermediate spans being panelled throughout. The stalls and boys’ desks are of oak, and the floor is covered with rich tile paving. A chancel arch, with low stone screen separates the nave from the chancel, and the altar is raised five steps above the nave floor line. The flat ceiling has been removed from the nave, and pierced panelling inserted in the four trusses to the roof, whilst the soffits of rafters are all panelled in clean pitch pine to accord with chancel. The chancel is built over the Staveley vault now closed, and the monument to the late Mr. Staveley now stands against the south wall of the nave. Great and reverent care was taken of the few bodies disturbed by the work, and the whole work was carried out by faculty after the Chancellor had held a special court at the church. The entire cost of the chancel has been borne by Miss Staveley and Miss Lee, of Old Sleningford Hall, as a memorial to Mrs. Staveley, of Old Sleningford Hall, who died in 1881.

FURTHER RESEARCH

Public Displays of Staveley Arms  (I was unable to transfer the photos of the arms in the stained glass windows, but it is pretty much self explanatory–to investigate further, just Google Straveley Coat of Arms, Thomas Kitchingman Straveley, etc)

Ripon, Yorkshire: The ‘Staveley’ window shown at left in Ripon Cathedral displays the arms of Sampson Staveley (1605-81 – Stainley line) and Thomas Kitchingman ‘Staveley’ (Hutchinson), (1780-1860) in adjoining panes.

Hunmanby, Yorkshire: There is certainly an heraldic shield (stags heads caboshed etc.) on the alabaster monument in Hunmanby church to the Staveley family of William and Rosamunda Staveley (b. 1705) of Bridlington, though it is not totally clear if this was part of the original memorial or later restoration. There is also one on a memorial in Pocklington Church to the memory of Walter Staveley (1701-1797) and his wife Alice (1710-1773) of the Bridlington line. This tablet was erected by their wealthy ‘grocer’ nephew, Walter of Beverley, but I was intrigued to find (on personal visitation!) that the stags heads shown are not caboshed but ‘couped’ (side on and cut of at the bottom of the neck). The background is argent, the lozenges and chevron sable and the stags heads are ‘or’ which is the blazon of the original North Stainley arms although the stags head device is of course different. However I have concern that this use of arms and the Irish motto (Fidelis ad Urnam) was perhaps erroneous as there is no record at all of the Bridlington family of this era ever having had a grant of arms except their illegal use by them in the 17th c. They may well have been misled later by the Irish connections in the 18th Century as to their lineage! Or yet again there just maybe more here to this story than is readily apparent at the moment. My only real conclusion over heraldic links generally is that they tend to confuse rather than clarify things!

 

 

 

 

 

 

 

 

Theta 2014–The Finest Show in Texas!

November 26th, 2014

 

Most dealers and collectors agree, the Theta Show in Houston, Texas–this was the 63rd annual edition–is one of the five most significant shows in America. I write this as I am half way home from an exciting and successful event, fascinated to see a city booming and houses under construction on tear down lots in all of the finest areas of the city. It takes new housing and improved housing to really drive the antiques business beyond the collecting level into the furnishing level. We compete at some level with modernism, mid-century, new furniture–ever Restoration Hardware for gosh sakes! Right now 18th and 19th century antiques are simply the best value for dollars spent–period!

 

In their continuing effort to constantly strengthen the show, the plans for next year were announced at this year’s show: NEW dates one week earlier November 12-15, 2015 in a NEW location, Bayou City Event Center. One day shorter, the opening will be a Thursday night to allow dealers from the Winterthur Show to arrive and participate. The old downtown facility is being renovated for several years–the new facility provides space for the same number of dealers and a veritable sea of FREE parking! We are all excited to say the least.

Here is a selection of shots of our booth.  Happily we already had sold a 72″ diameter table to a dealer before the photos were made!  We also sold the sofa table in top photo, most of the Imari in the secretaire, the yellow pair of period fauteuils, the set of eight dining chairs, the French mid-century coffee table, the four candlesticks, all of the cut glass on the trunk and the Rose Medallion punch bowl!  In the third photo the chest has a new home as well as the lamp and the moose doorstop barely visible on the left.  In the bottom photo two fine jugs were purchased.  Additionally and not pictured we sold a splendid mule or dowery chest as well as dozens of small porcelain, silver and brass pieces from throughout the booth.

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Birmingham, Alabama “Antiques in the Garden”

November 19th, 2014

 

Well I have been remiss, mainly due to the overwhelming amount of spam. However I have simply decided to ignore and return to writing, especially since a delightful email from Australia about Samson fakes of the 19th and early 2oth centuries. So now I will play a bit of “catch up”.

One of the most innovative charity antiques shows takes place annually on the first weekend of October in The Birmingham Botanical Gardens–a combination of antiques dealers and noted designers and architects creating a variety of opportunities both concrete (buy stuff now!!!) and ephemeral (ideas to re-imagine your home based on intriguing displays–often featured later in Veranda magazine).

These photos share views of our booth at the show, a group of young tastemakers being talked to by a Taste Maker (their name for the design booths), and a couple of detailed photos of an architect designed room and a graceful room elegantly blending antiques with modern concepts.

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Watching that enormous wooden facade be built was fascinating–a true test of the patience of all concerned, but wonderful when completed.

My chief criticism of the show has been too many local dealers and designers, but the attendance from local folks has been great since the new program of balancing designer spaces with antiques spaces began.  I am happy to report that next year will see more dealers from out of state replacing local dealers, but continuing to have brilliant designer vignettes.  It should be truly exciting next year–the first weekend of October as always!  We will have links from our website once concrete details are announced!  Always check our Events section of the website for what is happening throughout the country!

The Ship Has Landed

August 23rd, 2014

A ship has landed in Norfolk, our container brought down to Chapel Hill and we have unloaded it!  The shop is simply brimming with great new finds from France and England.

For a first view, check out the Whitehall Facebook Page

OR

Like whitehallantiques on Instagram where I have posted many new arrivals with tidbits of information!

 

Elizabeth is putting up new photos as she prepares the catalogue of the new arrivals, and this next week will see constant additions to our website–visit New Arrivals to go straight to these exciting pieces.

 

Happy hunting and feel free to call the shop (919-942-3179) or email us with questions:  whchnc@aol.com or dlindquist@nc.rr.com

The Best Georgian (and American) Construction

August 5th, 2014

linen press
This is a fascinating study of a Mid-Georgian linen press, c. 1765.  It is also the story of how this lovely business works, because this handsome piece has come home to us to sell again after 15 years or so in a Raleigh home followed by a few months in storage as it fails to fit the owner’s new home.  Here it sits a bit forlorn in a storage unit!  Yet nothing is more thrilling than seeing an old friend again,  especially of a quality too seldom seen today in the United Kingdom.

This piece exhibits the finest craftsmanship of the period, as you will soon see.  It could only have been created in London or Edinburgh (or in America by a London or Edinburgh trained cabinetmaker such as Anthony Hay of Williamsburg, Virginia).  The pierced bracket feet are bold and powerful–precisely what such a piece demands.  The form of pierced bracket feet is rare in any British furniture, a hallmark of the finest London and Edinburgh workshops.  By the way, the feet and sides of the piece are solid timbers–Cuban mahogany of great density.

bracket foot

 

The crown molding is equally fine, displaying several rows of solid mahogany to create the desired effect of boldness and depth.  The Greek Key–known also as the Walls of Troy–is a particularly fine molding accented by the flat molding above and the incurved moldings below, pushing the Greek Key forward visually.

crown molding

 

interior

 

The upper doors open to reveal a well fitted interior with the usual sliding trays greatly enhanced in utility by being adjustable every few inches–again a very costly addition to the normally placed trays which fit one position only (there are three adjustable trays).  Additionally, small drawers are included–another expensive add-on to the original purchase price!  Antiques were bought like we once bought cars–the basic stripped down model was listed and then every improvement was listed with an additional cost.

One extra beautiful detail is the right door latch.  Normally small sliding latches are inset inside the edge of the door with small pins sliding into a hole top and bottom to secure the door, then the left door would close and be latched with a key.  This piece has an expansive and fine gilt brass large inset slide on the backside of the top of the door–far more stable and secure.

door slide

 

As fine as the finished, visible parts are, the invisible parts are more interesting and truly indicative of brilliant craftsmanship.  Let’s explore some of the fine points beginning at the top!

top edge

Gazing down on the top of the upper section, the molding construction is clearly separated from the carcass construction which displays the pine (deal top) of secondary wood united to the side of solid mahogany by unusually fine dovetails.  Normally these are wide and somewhat sloppy–after all they are unseen.  In this press the dovetails are fine and precise, a demand on both the time and skill of the maker.  The lighter colored strip next to the side is the core of the crown molding–always made of a secondary wood such as deal, Scots pine (or in America pine of various types or poplar). The back is nailed to the inset sides and we will explore it momentarily.  The outer dark strip is the mahogany on the outside of the crown molding–the part we see.  Wood of quality was costly, so the mahogany was only used on the outer part of the molding glued to the triangular inner core, best seen in this next photo:

crown2

You will also notice here how the back joins the top and sides–the crown moldings extend like the solid mahogany sides to hide the inset back in this case of paneled construction.  These photos show where the panels come together in the center of the back creating a field of four floating panels virtually guaranteed to never shrink enough to leave a gap for dirt to enter the piece.  The top edge is also shown on the back panel where you can see the through mortise and tenon construction of this back.  The inexpensive way was to simply nail boards closely together on the back or have two panels only on the back of any piece where the back would be seen when the doors were opened.  The use of four panels again shows both the finest in construction and the value placed on fine workmanship by the customer–he knew he was purchasing the very finest possible work.  Even the bottom of this press has paneled back construction–again a great rarity as no one would see this back.  The purpose was a tight seal that would last for generations.  And it has!  No gaps for dirt from 1765 to 2014!  Note also expensive oak has been used for the back, not inexpensive deal )pine)–the oak shrinks far less with no knots to pop out.  That too cost the buyer extra.

back top center

This superb level of craftsmanship is associated with Anglo-American cabinetmaking, especially work from London and Edinburgh with occasionally similar work in English market towns and cathedral cities.  In America we find it in pieces made by immigrants from those centers of great craftsmanship.

Because the sides and drawer fronts are solid timbers, we have attributed this piece to Edinburgh.  London preferred veneered drawer fronts and veneered door panels, often on a lower quality mahogany base.

Kakiemon by Chantilly by Samson!!

July 15th, 2014

On our recent trip to France buying for the shop I could not resist documenting this perfect example of the great faker Edme Samson’s work.  Kakiemon is a mid-17th-18th century Japanese porcelain of great decorative restraint on a white ground. While popular forever from the great kilns of Arita, Kakiemon was surpassed in popularity by Imari, Kutani and other more gaudy colors in the 15th and 19th centuries.

Kakiemon was one of the most popular porcelains brought to Europe and as the burgeoning factories producing first soft paste and then hard paste porcelain, Kakiemon was copied throughout Europe.  Meissen and the other princely factories of Germany and Chantilly and several other royal French factories produced great imitations.  This was the period of approximately 1730-50.

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Beginning in the 1840′s the Chantilly factory produced elegant Kakiemon in a soft paste milky color but hard paste tocopy the Chantilly!  This example similar to period pieces of the Regence and Louis XV reigns has bronze dore mounts but when further investigated we find the marks of the Samson factory.OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA

 

The mark of interest is a pair of entwined s’s for the Samson factory.  Sadly the making of a lamp sometime in the 20th century destroyed another mark.

While we know that the vast majority of Samson production was misrepresented by unscrupulous 19th and early 20th century antiques dealers and auction houses throughout Europe and America, this mark is an honest one and clearly used by Samson to proclaim their work.  A fascinating article in 1892 by the famous author/antiques student Sarah Cooler Hewitt documents in gory details for page after page the shenanigans of the House of Samson.  The basement had storage bins with orders for antiques from all of the most prominent antiques shops and auction houses in the world–just waiting for them all to be made and shipped!  Four floors covering a city block had hundreds of craftsmen working creating every conceivable type of porcelain, bronze, lacquer, enamel, etc. that one could imagine.  And she described how aging was accomplished by rubbing, chipping, acid treatments, and other chicanery.

 

 

 

 

 

 

 

 

 

 

 

SALE

June 11th, 2014

Our first ever on line sale is now available by going to the following site where many consigned items have been dramatically reduced!  http://www.whitehallatthevilla.com/view-catalog.pl?ref=3148

Hope you find a bargain for your collection from Russian silver to fine antique furniture!!!!!!!!!

Spammer Alert

May 13th, 2014

All you crazy “spammers” take note–I never read any response to this blog–just delete all!

 

Our real friends and followers know how to reach us!

 

Save yourselves and us some effort and take us off your list of potential suckers!!!

 

Thanks!

Roses for Your Vase!

May 11th, 2014

Our grand sale of 25% off for 25 days in May is on–and so are our roses!  Come find a fabulous vase on sale, and then fill it with glorious roses and take them home to share!  The sent of Abraham Darby will fill a room–heavenly.  Even our entire parking lot is scented by them.

Catch even better photos on Whitehall Facebook–just like our shop and enjoy many interesting connections!