NEWS

From Grandma’s Closet to Modern Runways: Brooches are Back in Style
When you think of a brooch, what’s the first thing that comes to mind? Maybe your thoughts drift to “outdated” or “too fussy for my style.” It’s time to challenge those old notions because brooches are making a major comeback as one of the hottest trends of 2025. Sure, your grandma may have adored them, but there’s no reason why you can’t fall in love with them too. And here’s the exciting part—they’re no longer just for women! Brooches are crossing gender lines and becoming a must-have accessory for everyone. Don’t let the past hold you back; it’s time to embrace the brooch revolution.
The brooch is a piece of jewelry that transcends fleeting fashion trends, standing as a symbol of timeless elegance in an ever-evolving world of style. Dating back to the Bronze Age, brooches were not just ornamental but served a practical function, used to fasten clothing and keep garments in place. Over the centuries, this versatile accessory evolved into a striking statement piece, with intricate designs and dazzling embellishments that catch the eye and command attention. No wonder, then, that a beautiful brooch can make one feel truly special, as it embodies both history and personal expression, all while adding an undeniable touch of grace and refinement.
Madeleine Albright and Queen Elizabeth II stand out as two of the most prominent brooch wearers in modern history. Even Queen Victoria was known to wear a mourning brooch crafted from Prince Albert’s hair. In recent years, men have also embraced the charm of the brooch, incorporating them into their red carpet ensembles, as demonstrated at the 2025 Oscars. Robert Downey Jr., Cillian Murphy, Matthew McConaughey, Ryan Gosling, and numerous other male celebrities enhanced their formalwear with bold statement brooches on their lapels (https://www.nytimes.com/2024/03/13/style/brooches-male-celebrities-oscars.html).
The timeless brooch is far more than a simple pin to adorn your jacket lapel; it’s a versatile accessory that can effortlessly transform your entire look. Use a brooch to cinch a waist that’s slightly too big, turning a loose-fitting garment into a flattering silhouette. Clip a brooch onto a headband to elevate your hairstyle, adding a dash of sophistication or whimsy, depending on the design. The possibilities are truly endless. With its bold presence and captivating beauty, there’s no need for a necklace or earrings—let the brooch be the star of the show, commanding attention and infusing your outfit with a sense of individuality and flair.
Where can you find these fashion must-haves? Check out Pook & Pook’s upcoming Coins and Jewelry Auction on March 26 and 27, 2025, where you’ll have the opportunity to view an exquisite selection of dozens of antique brooches that showcase the craftsmanship of bygone eras. For those with a taste for minimalism, Lot #8019 offers an elegant and understated yellow gold flower brooch by Tiffany & Co.—a perfect piece for those who appreciate subtle beauty. If you prefer to make a bolder statement, Lot #7870 is sure to capture attention: a stunning synthetic spinel, flanked by thirty-five sparkling round diamonds, all set in a luxurious 18K gold and platinum design. Whether your style leans toward the delicate or the dramatic, one thing is clear—the brooch continues to be a timeless and indispensable accessory that will never go out of fashion.
By Erika Lombardo
Lot 8019
Sources:
Southernliving.com “Your Grandmothers Favorite Accessory is 2025’s Most Stylish Comeback Trend” by Kaitlyn Yarborough, January 18, 2025.
Harpersbazaar.com “Brooches are Trending on the Runway” by Julie Tong, February 14, 2025.
Thefashionfold.com “Brooches are the 2025 Jewelry Trend to Instantly Elevate Your Look” February 9, 2025.
Newyorktimes.com “The Bro Brooch Sweeps Award Season” by Guy Trebay, March 13, 2025

A Touch of Mughal Magnificence
Lot 7875 is an antique Mughal gold and enamel bracelet, set with diamonds, emeralds, and natural and synthetic rubies. Dated to approximately 1880, this bracelet was purchased by its current owners from the Ganeshi Lall & Son Emporium in Agra, in 1956. In accompanying provenance, the bangle is documented as being acquired “from one of the families of ex-ruling Princes from Southern part of India.” It is an example of the exuberant, rich Mughal style. Crowned with enameled elephants with trunks intertwined, it is studded with gemstones and intricate enamel work.
Storied purveyors of Indian jewelry, Ganeshi Lall & Son was established in 1845. The company had stores in Agra, Calcutta, and Simla, a hill station where the British Raj went to escape the summer heat. In 1934 a Cairo store was established, directly across the street from the famous Shepheard’s Hotel. Hotel guests such as the Aga Khan, Theodore Roosevelt, Winston Churchill, Agatha Christie, and T.E. Lawrence, while relaxing on the patio, would undoubtedly notice the Ganeshi Lall & Son storefront opposite.
Patio of Shepheard’s Hotel, Cairo, ca. 1940. Photo credit: Arts of Hindostan.
Travelers to the Taj Mahal in Agra also frequented the original Ganeshi Lall & Son emporium. Famous patrons included Prince Charles, First Lady Jacqueline Kennedy, Prime Ministers Nehru and Indira Gandhi, and Mick Jagger. Queen Mary was evidently also a loyal customer, as the company continued to receive Royal Warrants appointed in her name in the 1960’s and 70’s. Ganeshi Lall & Son also supplied jewelry and art to institutions such as the Metropolitan Museum of Art, the British Museum, and the Art Institute of Chicago.
India has long been a center of jewelry and gemstones. The Golconda region has been mined for diamonds for over 2,500 years. Until the 17th century, Golconda was the only source of diamonds in the world. Traders from Europe and Asia transported the diamonds far and wide. Pliny the Elder (23-79 CE) documented the Roman imperial demand for Indian diamonds.
The sophistication and opulence of the Mughal court was renowned. Descendents of Tamerlane, the rulers of the Mughal period (1526-1858) were great patrons of the arts and expressed their power and individuality through their jewelry. Mughal jewelers had access to the world’s finest known diamonds, and also imported rubies from Burma and emeralds and sapphires from Ceylon. Sir Thomas Roe (1580-1644), English ambassador to the Mughal court, wrote to Charles I of the emperor Jahangir, “In jewells (which is one of his felicityes) hee is the treasury of the world.” (Treasury of the World: Jeweled Arts of India in the Age of the Mughals, Metropolitan Museum of Art, 2002)
The Mughal emperors brought Persian and Asian influences to India, including the art of enameling, known as Meenakari. India had a long-established tradition of Kundan jewelry, which involves the setting of gemstones directly into molten gold foil. Kundan techniques had been present in India since the 3rd century BCE, but flourished in the Mughal courts. The two techniques combined to produce jewelry such as this bracelet, a beautiful example of Mughal style.
By Cynthia Beech Lawrence

Pook & Pook’s Spring Coins & Jewelry Auction
Pook & Pook’s Coins & Jewelry Auction on March 26th & 27th, 2025 to Feature Hundreds of Rare Treasures from the Pennsylvania Treasury Department’s Bureau of Unclaimed Property
Downingtown, PA — Get ready for an extraordinary opportunity to own some of the finest coins and jewelry on the market at Pook & Pook’s upcoming Coins & Jewelry Auction on March 26th & 27th, 2025. This exciting event will be held exclusively online via PookLive and Bidsquare, featuring hundreds of rare and valuable items, many of which are coming directly from the vaults of the Pennsylvania Treasury Department’s Bureau of Unclaimed Property.
The gallery exhibition will take place on March 24th & 25th from 10 AM to 4 PM at Pook & Pook’s gallery in Downingtown, PA, where you can view all of these incredible pieces in person before bidding begins.
Pook & Pook is an exceptional auction house with a rich history. This auction is particularly special, as it includes a variety of fascinating items deaccessioned from the vault of the Pennsylvania Treasury Department’s Bureau of Unclaimed Property. These treasures were once held by the state, awaiting their rightful owners. However, after thorough due diligence on the part of the Treasury in seeking out those owners, a portion of these unclaimed items must periodically be offered at auction, providing bidders with the rare opportunity to acquire these exceptional pieces. Pook & Pook has had the distinguished honor of working with the state and assisting with this important process for the past decade.
Coins and jewelry are not only beautiful and collectible—they’re also wise investments. As precious metals like gold and silver fluctuate in value, owning rare coins and fine jewelry can be a hedge against inflation, making them a secure and potentially profitable asset for years to come. Rare coins, in particular, have historically shown strong appreciation in value, while high-quality jewelry made from platinum, gold, and diamonds remains an enduring symbol of prosperity and beauty. Whether you’re a seasoned collector or a first-time buyer, this auction offers a perfect opportunity to invest in items that will hold lasting value.
Jewelry Highlights
The jewelry selection is a dream for collectors, with extraordinary pieces from some of the most prestigious designers and jewelers. Notable highlights include:
- A Platinum Three-Stone Ring featuring a square natural emerald and diamonds, estimated at $2,000-3,000
- A Platinum Two-Stone Ring with a square ruby and diamonds, estimated at $3,000-4,000
- A stunning Platinum Cartier Brooch with five natural sapphires and over two dozen diamonds, estimated at $4,000-5,000
- 14K Clip-On Earrings with seventy-six tapered and straight baguette diamonds, estimated at $3,600-4,600
- An 18K Gold Musical Watch Fob, estimated at $1,000-1,200
- A beautifully crafted Nicolas Marguerit Gold Snuff Box from the 18th century, estimated at $4,000-5,000
- A rare 14K Gold Knights Templar Presentation Medal with engraving, estimated at $5,000-6,000
Additionally, items by renowned brands such as Cartier, Tiffany, Omega, Gucci, Bulova, and Michael Kors will also be available. Don’t miss the chance to bid on exquisite wristwatches, pocket watches, and diamonds from Old European and Old Mine cuts, as well as natural sapphires, emeralds, rubies, and more.
Coin Highlights
For coin collectors, this auction offers an impressive selection of both American and international rarities, including:
- Liberty Head $20 Gold Coins, Buffalo Nickels, Walking Liberty Half Dollars, and Morgan Silver Dollars
- Over a dozen Gaudens $20 Gold Coins and a rare Indian Princess Gold Dollar
- A striking Australia Dragon & Tiger 2 ozt Fine Gold Coin, estimated at $4,000-4,400
- Austria 100 Corona Gold Coins, estimated at $2,000-2,200
- A fine Switzerland Helvetia Gold Proof Set, estimated at $3,400-3,600
- Two lots of ancient Roman Follis Coins, offering a glimpse into the distant past
- An Engelhard 100 ozt Fine Silver Bar, estimated at $2,200-2,400
The collection spans not only American coins, but also pieces from around the world, including Canada, Australia, Russia, Great Britain, France, Germany, Mexico, South Africa, and more.
Coin collecting has been a respected pursuit for centuries, referred to in Renaissance times as “the hobby of kings.” From rare gold coins to historic silver pieces, numismatics offers a fascinating way to connect with the past while building an investment portfolio. As rare coins become increasingly scarce, collectors and investors continue to seek out unique and valuable pieces like those featured in this auction.
For more information about this exciting auction, including full auction details and to view the catalog, visit www.pookandpook.com or call (610) 269-4040. Don’t miss out on this once-in-a-lifetime opportunity to own some of the most unique sought-after coins and jewelry in the market!
Consign with Pook & Pook
If you have valuable coins or jewelry you’d like to consign, Pook & Pook is now accepting consignments for the October 29th Coins & Jewelry Auction. Simply email photographs of your items to info@pookandpook.com to get started.
About Pook & Pook, Inc.
Pook & Pook, Inc. is a premier auction house specializing in fine art, antiques, collectibles, and jewelry. Known for its exceptional service and expertise, Pook & Pook offers online bidding for clients worldwide through PookLive and Bidsquare. With a commitment to providing a wide array of rare and valuable items, Pook & Pook remains a trusted leader in the auction world.
The Benefits of Deaccessioning Unused Items in Museums: A Smart Strategy for Financial Sustainability
In the world of museums, the careful management of collections is essential for maintaining their cultural and educational missions. However, as collections grow over time, there are often items that become outdated, irrelevant, or simply take up valuable storage space. Deaccessioning—removing an item from the museum’s permanent collection—is a vital process that many museums are increasingly considering. This practice, while controversial at times, offers numerous benefits to museums, especially in the context of raising funds, reducing expenditures, and sustaining long-term operations.
- Raising Funds to Further the Museum’s Mission
One of the most immediate and powerful benefits of deaccessioning is the potential to raise funds that can be reinvested into the museum’s mission. Selling unused or unnecessary objects can generate significant revenue that allows museums to fund educational programs, preserve and care for their remaining collections, purchase relevant items for exhibition, or invest in much-needed renovations and expansions.
Museums that are struggling with financial constraints can often turn to deaccessioning as a way to bolster their financial health. Funds from selling items can support essential operational costs, such as staff salaries, acquisitions of new works, and special exhibits that attract visitors and raise awareness of the museum’s value to the community.
- Decreased Expenditures on Storage
Museums face significant costs related to the storage and maintenance of their collections. As collections expand, the need for storage space grows, sometimes requiring costly off-site warehouses, climate control systems, and specialized storage materials. These expenses can quickly add up, diverting resources away from more pressing priorities.
By deaccessioning unused or irrelevant items, museums can downsize their storage requirements and, in turn, reduce expenditures. Fewer items mean fewer resources spent on preserving, storing, and managing objects that no longer serve the museum’s mission. It also creates a more organized and manageable collection that can be more effectively cared for, with limited staff and financial resources.
- Addressing the Rising Costs of Maintaining a Museum
The rising costs of running a museum—due to inflation, increasing insurance premiums, and a general increase in operational expenses—pose challenges for many institutions. For smaller museums or those facing decreased attendance, deaccessioning offers a practical solution to offset these rising costs.
Museum maintenance, including cleaning, climate control, and security, becomes increasingly expensive as collections grow. By divesting of non-essential objects, museums can free up space and reduce the ongoing costs associated with maintaining these items, ultimately allowing them to focus resources on the more critical elements of their collection.
- Managing Decreased Attendance and Donations
Many museums are also grappling with decreased attendance, which translates into lower revenues from ticket sales, special programs, and merchandise. This decline in visitors can also affect the volume of new donations. As public interest wanes, some museums face an overabundance of donated items that may not fit with their collection strategy or mission.
Deaccessioning allows museums to streamline their collections and ensure that the items they hold remain relevant to their audience and objectives. It also gives museums the ability to recapture space that may be used for more engaging exhibits or visitor-focused areas, boosting the overall visitor experience. Reducing the clutter of donated items helps curators focus on the most important pieces, which can drive further engagement and public interest.
- The Power of Auctions for Quick and Efficient Sales
A popular and efficient way for museums to deaccession and sell unwanted items is through auctions. Auction houses are well-equipped to handle all aspects of the deaccessioning process, from advertising and marketing to photographing and listing items for sale. This method offers a quick turnaround and minimizes the administrative burden on museum staff, allowing them to focus on other important tasks.
Auctions also have the advantage of bringing in specialized audiences interested in specific types of objects, such as collectors or enthusiasts who are looking for unique pieces. Auctions handle the logistics of insuring items, photographing them, writing descriptions, and collecting payments, which would otherwise require significant time and effort from the museum’s staff.
Moreover, because auctions often attract competitive bids, museums can sell items for higher-than-expected prices. This can generate a greater revenue than other methods of selling, benefiting the museum’s financial standing and ensuring that the object is placed in the hands of someone who truly values it.
- Ethical and Transparent Deaccessioning Practices
While deaccessioning is a valuable tool for museums, it must be done with great care and consideration. Museums must adhere to ethical guidelines and be transparent about the process. For instance, the proceeds from deaccessioning should generally be used for purposes directly related to the museum’s mission, such as the acquisition of new objects, educational programs, or conservation efforts.
Additionally, museum staff and trustees must ensure that deaccessioning is not used solely as a financial strategy but as part of a well-considered plan to improve the overall collection and the museum’s sustainability. Clear policies and communication with stakeholders, including donors and patrons, are essential for maintaining trust and credibility in the community.
Conclusion
Deaccessioning offers museums a strategic way to generate funds, reduce storage costs, and manage the rising financial pressures they face. Selling unused or irrelevant items—through the efficient and streamlined process of auctions—can help museums maintain their operations and improve the visitor experience, ultimately allowing them to continue their valuable work in education, culture, and preservation. By embracing deaccessioning as a tool for financial sustainability, museums can ensure that their collections remain meaningful, focused, and aligned with their long-term goals, all while securing the resources necessary to thrive in an increasingly challenging environment.
Brotherly Love
“We Salute you in Brotherly Love” begins a 1745 Epistle from the Quaker yearly Meeting in London. Handwritten by John Gurney, it reads like a sermon, exhorting the Friends to live in the ways of Holiness and Truth. It is evident in dozens of Epistles recorded over the next one hundred years that the Quakers of Philadelphia and the surrounding areas attempted to do exactly that. Divided into ten lots, #5939-5948, this fascinating collection of meeting notes charts the lives, challenges, and hopes of a Who’s Who of 18th and early 19th century Philadelphia area Quakers.
Quaker children dwelling in outlying areas were at risk, being “placed in with those not in membership with us” for schooling and being unduly influenced by “Evil Examples”. To address this issue, in 1794 plans were realized “relating to the Establishment of a Boarding School… in some suitable place or places in the Country… the use and benefit whereof, to be confined to the Children of Friends,” with “the amount of about five thousand pounds to be applied to the promoting of such an Establishment.” The committee assigned to plan the school, set rules and regulations, allocate money to purchase land and erect buildings would report yearly progress, and construct what is almost certainly the Westtown School. The Extracts trace their progress. In 1798, “the necessary buildings are mostly erected, and nearly finished, so as to be ready to receive children as soon as suitable persons may be engaged to instruct them, and superintend the economy of the house, etc.” In 1799, the boarding school reported admission of sixty girls and seventy-three boys.
The Quaker desire for peaceful coexistence led to concern for the plight of the “Distressed Inhabitants of the Wilderness”, and the call for a Native American school. A 1795 Extract reported “… there are loud calls for our benevolence & charitable exertions to promote amongst them the principles of Agriculture and useful mechanic employments” and a call to raise funds towards that purpose, a school. A later 1827 report from “The Committee, on whom is devolved the concern for the gradual civilization of the Indian natives” informs the Friends that “five Friends continue at the settlement at Tunesassah, endeavouring to instruct the natives in the arts of civilized life; for which purpose, two schools, one for boys and the other for girls, have been continued there…” Instruction in agriculture was undermined by “the circumstances attending these people at this time not being calculated to encourage them to exertions of this kind, as, since last year, the Seneca nation have been induced to part with very large bodies of their lands in different places…and it is feared this may be a prelude to their parting with the remainder at no very distant period. Notwithstanding these discouraging circumstances, it is believed, that by continuing to aid and assist these poor injured people, as long as there is any prospect of benefit, the objects contemplated by Society will be best promoted.”
The first religious group to oppose slavery, the subject was a constant theme. The 1767 Philadelphia Meeting notes “the Subject of some Friends neglecting the Christian Education of Negroes, & other Slaves in their possession, & detaining them in Bondage, hath been weightily under our consideration at this Time: It is again Recommended, that the care of Friends relating to those oppressed People in these particulars, may not be omitted; but that we proceed in true Love, to labour to excite to an upright Discharge of our Christian Duty towards them.” A much later 1827 Epistle reports an appeal by Carolina Quakers for funds for relocation, “there are 44 persons of colour who have intermarried with slaves and have 79 children. There are 20 married to those legally free, and have 50 children. That there are 316 disposed to remove to Liberia; 101 to Ohio and Indiana; 99 desire to remain where they now are; 15 choose to go to Philadelphia, and 86 are entangled in lawsuits… The total expense which will attend their transportation, it is believed, will not be less than from eight to ten thousand dollars…”
In a 1794 yearly Quaker meeting Extract, there is much attention devoted to spirits: both the purification of spirit brought about by baptism, and the perennial problem of distilled spirits, a subject “long painfully exercising to the Body.” Quakers were prohibited from “importing, or vending, distilled spirituous liquors, either on their own account or as agents for others, or distill or retail such liquors, or sell or grind grain for the use of Distillation.” The “Monthly Meetings should deal with them as other offenders, and… be at liberty to declare their Disunity with them.” Of course, this was a losing battle. By the 1797 Extract, the committee tasked with spirituous liquors “report we… are of the mind that not much, if any, advancement has been made in our Testimony against the use of those Liquors…”
A 1753 Epistle contains a wonderful reminder for Quakers to avoid other hazards “… many men amongst us putting on Extravagant Wiggs and wearing their Hats and Cloaths after the vain Fashions, unbecoming the Gravity of Religious People: and too many Women decking themselves with costly and Gaudy Apparel Gold Chains, Lockets, Necklaces, and Gold Watches exposed to open view; which shew more of Pride and Ostentation than for use and Service, besides their vain imitation of that immodest Fashion of going with naked Necks and Breasts and wearing hooped Petticoats; inconsistent with that modesty which should adorn their Sex, and did adorn the holy Women of Old… And in like Vanity of Mind divers amongst us run into great Extravagancies in the Furniture of their Houses… it does not become the Gravity of our Profesion, or any under it, to run into every new, vain, Fantastick mode or Fashion but to keep to that which is modest, decent, plain and useful… And that Parents in the Tender Years of their Children would not adorn them with Gaudy Apparel…”
The life of Thomas “Squire” Cheyney illustrates the difficulty of being a Quaker, who cannot take oaths, during those tumultuous times. A 1767 Epistle from London is written by Cheyney almost a decade before he was dismissed from the Quakers for enlisting. Cheyney became a sublieutenant for Chester County during the Revolutionary War. Serving from 1777-1783, his participation was significant, passing vital information to General George Washington of British troop movements. True to his Quaker heritage, Cheyney later founded the first African-American institution of higher learning in the United States.
Please join us to preview the February 19th and 20th sale, or visit us online at www.pookandpook.com to view these items and many other exciting finds. Whether it is an Epistle exhorting forbearance, or a diamond wristwatch, it is guaranteed that that you will be tempted by something.
by Cynthia Beech Lawrence
Part II of The Pewter Collection of Dr. Melvyn & Bette Wolf
In the Beginning
Pook & Pook presents at auction the renowned collection of John A. and Judith C. Herdeg of Mendenhall, Pennsylvania. The Herdegs were dedicated collectors with a lifelong passion for 18th century history and decorative art. Over their lives, they built one of the finest collections of Colonial American portraits in private hands. The Herdeg Collection is an important record of early Americans and artists.
Early portraits were available to the few who could afford it. During the latter half of the eighteenth century, burgeoning trade expanded the merchant and middle classes, expanding the number of Americans desiring to mark their achievements by recording their likenesses. Personal aspects such as social position, occupation, accomplishments, and character, were factored in to the composition of their portraits. Early American portrait painters collected by John and Judy Herdeg range from the very earliest to the brilliance of John Singleton Copley and Gilbert Stuart.
The artist known as The Pollard Limner (Boston, fl. 1690-1730) is identified on the basis of his 1721 portrait of Anne Pollard. He probably had no formal training as a painter, but painted in the Baroque Stuart tradition of the period. In the 1720’s, he was Boston’s leading portrait artist. The Herdeg portrait is of an ancestor of Judy’s, Elizabeth Bill Henshaw. Elizabeth was from a wealthy Boston merchant family and is portrayed before an Arcadian landscape.
Gerardus Duyckinck (New York, 1695-1746) is another early painter from New Amsterdam, from a family of glazier-limners that became America’s first dynasty of painters. He painted the prominent Dutch settlers of New York. Like much else in New Netherlands, his style was drawn from current Dutch culture, and employed a greater use of light and shadow to model the figure. In this portrait, in the words of John Herdeg, a young lady “is presented as a princess of the New World, with the untamed wilderness over the garden wall behind her.”
Works of both early artists are exceedingly rare.
John Smibert (American/British, 1688-1751) was America’s first professional painter. Trained in late Baroque portraiture in London and Italy, he was an established London artist. Invited to travel to Bermuda to teach painting at a new college for colonists, he sailed in 1728. Funding for the school never came through, and after a year of waiting, the project failed. Smibert then travelled to Boston. His 1729 arrival is regarded as a pivotal moment in American art. His superior skill made him one of the foremost portrait artists in colonial America. Boston’s wealthy merchant families flocked to him for their portraits. His studio displayed both his own works and old master copies, and extended his influence, remaining open over fifty years after his death. A talented architect, it was Smibert who drew the plans for Faneuil Hall, Boston’s first public market.
The portraits collected by John and Judy Herdeg trace the beginning and development of painting in America, and preserve for posterity the faces and ideals of early Americans.
Join us on January 16th and 17th, 2025, for our Americana & International sale to view the Herdeg Collection, as well as other important collections and estates.
By: Cynthia Beech Lawrence
Remington New Model Army revolver
Undoubtedly one of the most important firearms in American History, from its inception at the start of civil unrest to its natural habitat in settling the west, post-Civil War, the Remington New Model Army .44 caliber revolver certainly has withstood the test of time. Lot number 554 in the upcoming Americana auction is my pick of the week, retaining little to no blueing except in areas of uncommon wear, this example bears the fully legible 1858 patent stamped on top of octagonal barrel. Hence, collectors using the nomenclature of “Remington 1858” when referring to this firearm. Finely preserved walnut grips with faint notes of tiger maple stripes, bearing the inspectors cartouche, BH, Remington Inspector Benjamin Hannis. Being the second most issued revolver to Union soldiers during the Civil War, this revolver has the letter [A] carved into the grip butt, above an older carved [PHB]. Believed to have been issued to a calvary volunteer from Ohio’s 6th company, Peter Bradford(e), a farmer upon his enlistment in 1861 from Lawrenceville County, Ohio, who fought up until his death from typhoid fever in Aqua Creek, Virginia, April 21st, 1863. This small piece of history will cross the auction block early on January 17th.
By Vince Kershner
An East Prospect of the City of Philadelphia
The year was 1750. Thomas Penn needed to raise some cash. In spite of his father William Penn founding the colony of Pennsylvania in 1681, the family was deeply in debt. They had never seen income from the colony, and needed to realize a return on it. Following the deaths of his father, William Penn, and brother John, Thomas was chief proprietor of Pennsylvania. He had already spent almost a decade in the colony, collecting rents and engineering the Walking Purchase of land from the Lenape. Thomas had returned to England, but retained control over Pennsylvania affairs.
Penn commissioned his agent, Richard Peters, to find an artist to create an engraved view of Philadelphia, along the lines of the William Burgis views of Boston and New York. He wanted it taken from the Jersey Shore, opposite Market Street, to show its prosperous harbor, the most prominent port on the Atlantic. Penn wanted to send copies to all of his friends and influential contacts to advertise how the city had grown, in order to drive commerce and immigration.
Local artist George Heap (1714-1752), of whom little is known, had already contributed a view of the State House to a joint project with surveyor Nicholas Scull, the 1752 A Map of Philadelphia, and Parts Adjacent. The older Scull may have been an uncle, for after Heap’s father died, he followed Scull into surveying. He seems to have prospered. He married, purchased land, and was elected coroner in 1749. As artist after artist failed to create an acceptable picture of the city, Heap decided to make his own.
To solve the problem of distance and flatness that had defeated previous artists, Heap strategically omitted some details and brought the city closer in view. He then laid out Philadelphia’s immaculately gridded streets from present-day South to Vine Street, just under a mile of waterfront, on a colossal seven feet of paper. Just how much help he received from Scull in the design is unknown. The enlarged view and lengthy ground allowed Heap to include an incredible amount of detail, capturing the vitality of the city. He embellished the drawing with the Penn coat of arms, a dedication, and a reference key with landmarks such as Christchurch, the Statehouse, the Academy, and Courthouse. The resulting work went beyond the previous colonial city perspectives of Burgis. Heap’s creation stands as the largest and most artistically important view of any American city of the period.
Peters offered to buy the drawing for Penn, but Heap “refused to sell save for an exorbitant price.” (Wainwright p.19) Ambitiously, Heap intended to have it engraved and printed himself. He finished the work in September 1752 and advertised for subscribers, whose deposits would finance the printing. Due to its immense size, London was the only location equipped to handle the engraving. Three short days into his voyage to London, Heap unexpectedly died. His sea chest, containing the drawing, and his body were returned to Philadelphia.
Former partner Scull purchased the drawing from Heap’s widow. Nicholas Scull (1687-1761) was a prominent Philadelphia figure, the middle generation of a dynastic line of surveyors. He served as the first deputy surveyor of Philadelphia in 1719, during which time he mapped the land between the Delaware and Schuylkill rivers. In 1741 he helped survey the land acquired in the Walking Purchase and was valued due to his ability to speak Lenni-Lenape. From 1727, he was a founding member of Benjamin Franklin’s Junto Club, a group of twelve friends from different professions who met to discuss philosophical and political issues. Married to Abigail Heap since 1708, he was probably an uncle to the younger George Heap.
The original drawing having become soiled, Scull paid artist John Winter to make a copy, which he then shipped to Thomas Penn in London in 1753. Penn contracted engraver Gerard Vandergucht to produce the enormous engraving, requiring four copper plates, which combined to form a picture eighty-two inches long. In June 1754, 500 first state copies were printed, 450 of which were shipped to Philadelphia and 50 for Penn in England. Penn presented one to the King “who is pleased with it, and has hung it in his own private apartment.” (Wainwright, p. 21)
An East Prospect of the City of Philadelphia: Taken by George Heap from the Jersey Shore, under the Direction of Nicholas Skull Surveyor General of the Province of Pennsylvania, stands as the largest and most artistically important view of any American city of the period. Nicholas B. Wainwright commends it as “The most distinguished of all prints of the city of Philadelphia in terms of age, rarity, and historic importance.” Due to its size and composition of four folio pages, there are very few known copies remaining. Only eight are counted in public institutions. The energy of the city perspective is remarkable, its river teeming with boats and its streets populated by citizens going about daily business. It is a portrayal of a city beginning a fifty-year reign as the “richest, busiest, and most cosmopolitan city of America,” (Drepperd, p. 42).
Join us at Pook & Pook for our January 16th & 17th Americana and International Sale to view this (Lot 544) and other historic treasures.
By: Cynthia Beech Lawrence
References:
Brandis, Alex, Nicolas Scull II, American Revolutionary Geographies Online.
Snyder, Martin P., City of Independence, Views of Philadelphia before 1800, 1975, pp. 35-47.
Wainwright, Nicholas B. Scull and Heap’s East Prospect of Philadelphia, Pennsylvania Magazine of History and Biography, January 1949, pp. 16-25.
Drepperd, Carl W., American Pioneer Arts and Artists, 1942, p. 42.
Sewing isn’t a hobby, it’s a survival skill
Imagine you are a soldier in George Washington’s army during the brutal winter of 1777-1778. The air is frigid, and snowflakes fall relentlessly, covering everything in a blanket of white. The cold gnaws at your bones, but it’s not just the weather you’re fighting. The army is suffering, deeply lacking in supplies, food, proper shelter, and even basic clothing. The tattered remnants of your uniform offer little protection from the biting wind, and you notice the holes growing bigger in your only pair of socks. To make matters worse, three buttons have just fallen off your coat, leaving it in an even more ragged state.
There are no tailors around to patch up your clothes, and no women to lend a hand with sewing. So, you reach into your kit and pull out your housewife—a small, practical sewing kit that you’ve carried with you since the start of the campaign. It’s a lifeline, and now it’s time to put it to work. You thread the needle carefully, your fingers stiff from the cold, and begin the slow process of mending what little you have. Each stitch is a small act of survival, a reminder that despite the hardships, you will continue to stand, to fight, and to endure.
The term “housewife” first appeared in print in 1749. Also known by various names such as huswife, huswif, hussif, or even hussy, the housewife was a practical sewing kit, typically crafted from fabric or leather. It featured multiple pockets and was secured with ribbon or string when rolled up. Inside, it contained essential sewing tools and notions, including snips, needles, thread, buttons, and measuring tape, among others. These humble kits have been a staple for soldiers since the 18th century, and some still carry them today. After all, a soldier’s world had to be compact, portable, and ready for anything.
Soldiers often honed their skills on the battlefield, but during times of recovery, wounded warriors began turning to needlework as a form of therapy, using it to pass the time and regain a sense of purpose while healing from their injuries. But how did these soldiers acquire the personal sewing kits that became so vital to their recovery? Originally, housewives were given as farewell gifts, tokens of care and practicality. By the 19th century, however, they became standard issue for each soldier. During World War II, women’s groups took up the cause, including these kits in their care packages sent to soldiers overseas.
Recently, a Marine serving in the Vietnam War recalled writing to his eleven-year-old sister, asking if she might help put together a few of these kits for him and his comrades. Six weeks later, his platoon received a large box from her school, containing nearly 200 housewives, each with a handwritten note from the child who had made it. The Marine reflected on how deeply touched he and his fellow platoon members were by the gesture, a small yet meaningful reminder of home and care. One of the more poignant stories the Marine shared involved a soldier who, while on patrol, had to stitch up a fellow soldier’s shrapnel wound using the tools from his housewife. In that moment, the kit was more than just a practical tool—it was a lifeline, a symbol of resourcefulness, and a reminder of the bonds forged in the most trying of circumstances.
The humble housewife, however, is not without its share of controversy. In 2019, the UK Minister of Defense sparked debate when he declared the term “housewife” outdated and no longer suitable. This decision was made stemming from accusations of sexism, as the military had used the term to refer to the small, practical sewing kits.
Although sewing kits remain available to soldiers through the military, they are no longer issued as standard equipment. These practical tools have become a rare and cherished item for collectors. Pook & Pook will be auctioning one such example. With embroidery showcasing the owners name and the phrases “Remember me”, “Forget me not” and “When you are far.” We invite you to take a moment to explore Lot 350 in our upcoming January Americana Sale, where you’ll have the chance to bid on a distinguished representation of a housewife, a testament to both history and craftsmanship.
by Erika Lombardo
-hylandhouse.org
-so-sew-easy.com
-civilwartalk.com
-emergingcivilwar.com
-independent.co.uk
-“Hard Tack and Coffee” by John D. Billings
A Cherished Memento
This jewel of a portrait is precious for multiple reasons. It is a virtuoso example of the early work of John Singleton Copley, and is an undeniably beautiful painting. But perhaps equally, it is significant for the private story it tells. When John and Judy Herdeg acquired this painting in the late 1990’s, they began a years-long effort to uncover the full story behind the painting.
Boston apothecary Dr. John Greenleaf married Priscilla Brown in 1743 and had three children, Priscilla (b.1746), Elizabeth (b.1748), and John (b.1750). Tragically, Priscilla Brown is thought to have died after the birth of John, Jr.
Dr. Greenleaf engaged the foremost Boston portraitist of the time, Joseph Badger, to paint portraits of his children in 1750. Badger painted Priscilla and her sister, but did not get a chance to paint their brother John Jr. before all three children died, in a tragedy that defies reason.
By tradition in the family, found on an old slip of paper on the Back of Elizabeth’s portrait, all three children were poisoned. “Their mother had died and they were in the care of a nurse. She, wishing to go to the Boston Common and watch the “Redcoats” drill, gave them all laudanum to put them to sleep. All three were dead in the morning. The nurse confessed, and was hung, quartered, and burned on Boston Common.” (Herdeg, p.56)
John and Judy Herdeg consulted with many experts during their research. Finally, D. Brenton Simons, of the New England Historic Genealogical Society, found Boston newspaper articles from 1751 reporting the deaths, the trial of “Phyllis”, and her execution. The Massachusetts State Archive confirmed the deaths of John and one of his sisters. Since there is no record of a surviving sister, it is probable that all three perished as described.
Dr. Greenleaf was left alone, in circumstances that must have seemed unbearable.
A member of the Brattle Street Church in Boston, Dr. Greenleaf learned of a brilliant young painter in the neighborhood: John Singleton Copley (1738-1815). Still a teenager, Copley had studied the work of the Boston painters, and was already far superior in talent. Copley painted the three portraits either in 1753-54 or in 1756-57.
Together, the three portraits of the Greenleaf children rank among the most noteworthy of Copley’s early work. They are masterpieces in the rococo style, with rich fabrics and coloring, dramatic bright lighting. The figures have intense character and directness. Hanging together, the portraits must have spoken to Dr. Greenleaf, with a vitality akin to physical presence.
The career of John Singleton Copley in America “was not only significant, it was the signal achievement of American colonial art.” (American Paintings in the Metropolitan Museum of Art, Vol. I) Until Benjamin West and Joshua Reynolds encouraged him to leave in 1774 to study art in Europe, Copley captured the faces of America’s colonial past. These are the faces that come to mind when picturing Paul Revere, John Hancock, and Samuel Adams. Copley is considered the greatest American painter of the 18th century.
Please join us at Pook & Pook on January 16th and 17th, 2025, for our Americana and International sale to view this portrait, as well as the original work by Joseph Badger, upon which it is based.
By: Cynthia Beech Lawrence
The Health and Environmental Benefits of Owning Antiques: A Sustainable and Wellness-Focused Choice
In an age increasingly driven by fast consumption and disposable goods, owning antiques offers a refreshing alternative that aligns with both sustainability and well-being. Whether it’s antique furniture, fine art, carpets, or decorative accessories, incorporating vintage treasures into your home or lifestyle can contribute significantly to a healthier living space and a more environmentally conscious way of life.
1. Environmental Benefits: Sustainability and Conservation
One of the most significant advantages of owning antiques is the positive impact it has on the environment. By choosing second-hand items, particularly those made decades or centuries ago, you’re engaging in a form of recycling that preserves resources and reduces waste. Here’s how:
Reduction of Demand for New Manufacturing:
Every new item produced requires resources—wood, metal, textiles, and energy—often involving harmful extraction processes, like deforestation and mining, and emitting carbon through production. By buying antiques, you decrease the demand for new manufacturing, ultimately reducing the environmental strain of extracting raw materials and the pollution associated with mass production.
Longevity and Durability:
Antiques are often made with superior craftsmanship and materials, meaning they tend to last longer than modern counterparts. For instance, antique furniture is frequently constructed from hardwoods that are now rare or endangered, which means they’re not just aesthetically pleasing but also sturdy enough to withstand years or even centuries of use. This longevity means fewer replacements are needed, helping to reduce the overall consumption of resources.
Lower Carbon Footprint:
The transportation of antiques, especially locally sourced items, tends to have a lower carbon footprint compared to shipping mass-produced furniture and decor from overseas. Plus, since these items have already been made, their production emissions are in the past, meaning they don’t contribute to the ongoing environmental costs of manufacturing.
2. Health Benefits: Purity, Well-being, and Mental Peace
The health benefits of owning antiques are often overlooked, but they can contribute greatly to a healthier home environment in both physical and psychological terms.
Improved Indoor Air Quality:
Unlike many modern furniture items, which are often treated with chemical finishes, varnishes, or flame retardants, antique pieces tend to have a more natural composition. Antique wooden furniture, for example, was often made with organic oils and waxes, which are much less likely to emit harmful volatile organic compounds (VOCs) into the air. This makes antiques a healthier choice for indoor environments, reducing exposure to toxic chemicals that can cause headaches, nausea, or even long-term respiratory problems.
A Sense of Calm and Emotional Well-being:
There’s something inherently calming about antiques. Their aged patina, craftsmanship, and history give them a sense of permanence and stability that modern, mass-produced items simply can’t match. Surrounding yourself with antiques can promote a sense of mindfulness and emotional well-being, reducing stress and contributing to a peaceful, grounded atmosphere in your home.
The tactile nature of antiques—whether it’s the smoothness of an antique chair, the rich texture of a Persian carpet, or the warmth of an old wooden table—also engages your senses in a more profound way than newer, synthetic materials. This sensory engagement helps to establish a deeper connection with your surroundings, enhancing your home’s ambiance.
A Better Sleep Environment:
Antique carpets and textiles, often made from natural fibers like wool or cotton, are less likely to harbor harmful chemicals than modern rugs or bedding. Wool, in particular, is naturally hypoallergenic, antimicrobial, and resistant to dust mites. With fewer chemicals in your living space, you’re fostering a healthier sleep environment, which can lead to improved quality of rest and overall health.
3. Cultural and Psychological Benefits: The Power of History and Craftsmanship
Owning antiques is not just a matter of preserving physical objects; it’s about preserving culture and history. These objects often carry with them stories of craftsmanship, heritage, and generations past. Here’s how these elements can positively impact your mental health and outlook on life:
Connection to the Past:
When you purchase an antique, you’re often purchasing a piece of history. Whether it’s a hand-painted piece of fine art, a vintage rug woven by artisans, or a piece of furniture built by skilled craftspeople, antiques provide a direct link to the past. This connection can foster a sense of continuity and provide psychological comfort, helping individuals feel grounded and more connected to the world around them.
Appreciation of Craftsmanship:
Antiques often represent a level of craftsmanship that has been lost over time, with handmade details and intricate designs. Whether it’s an 18th-century mahogany cabinet or a Persian rug, these items showcase human ingenuity and skill. Owning and caring for these items can inspire a greater appreciation for the artistry involved and a deeper respect for the value of quality, skill, and time.
Unique Aesthetic:
Antiques allow for the creation of a home environment that feels distinctly personal. Their one-of-a-kind nature helps create spaces that reflect individual style and taste, offering comfort in a world of cookie-cutter modernity. For many, the thought of living in a space filled with mass-produced furniture and art can feel impersonal, whereas antiques often evoke a sense of warmth, familiarity, and uniqueness that promotes positive emotions and a deeper attachment to one’s surroundings.
4. Financial and Social Benefits:
Finally, owning antiques can be financially rewarding. Over time, the value of well-maintained antique pieces can appreciate, making them not just beautiful but also valuable investments. Moreover, owning antique pieces often sparks conversation, and collectors often form communities where they can share knowledge and experiences. This social connection can be both mentally enriching and emotionally fulfilling, contributing to a sense of community and belonging.
The decision to incorporate antiques into your home or lifestyle is more than just about aesthetics; it’s about making choices that align with sustainability, health, and well-being. Antiques offer a unique blend of environmental benefits, such as reducing waste, conserving resources, and lowering your carbon footprint, alongside the psychological and health benefits of a toxin-free, emotionally rich living environment. Additionally, their historical significance, superior craftsmanship, and potential financial value provide added rewards. By embracing antiques, you can create a healthier, more environmentally conscious, and culturally enriching space for yourself and future generations to enjoy.
The Timeless Beauty of Antique Pewter: A Glimpse into History and Craftsmanship
The Timeless Beauty of Antique Pewter: A Glimpse into History and Craftsmanship
Pewter, a soft metal alloy consisting primarily of tin mixed with other metals like copper, antimony, and bismuth, has been prized for centuries due to its malleability, durability, and stunning appearance. Antique pewter, in particular, offers a fascinating window into the past—its design, craftsmanship, and use reflecting the culture and technology of the time. In this blog, we’ll explore the history, characteristics, and appeal of antique pewter, and why it continues to captivate collectors and historians alike.
A Brief History of Pewter
The use of pewter dates back to the ancient civilizations of Egypt, Rome, and Greece, where it was used for everything from simple tools to ornate vessels. However, it was during the Middle Ages in Europe that pewter became especially prominent. By the 12th century, it was commonly used in household items like drinking vessels, plates, and candlesticks, especially among the nobility and wealthy merchants.
One of the main reasons for pewter’s widespread use during these periods was its accessibility. Unlike precious metals like silver or gold, pewter was relatively affordable yet still had a lustrous, metallic appearance that appealed to those wanting to emulate wealth and status. As technology advanced, so did pewter craftsmanship. By the 17th and 18th centuries, artisans began creating more intricate and decorative pieces, which continue to be highly prized by collectors today.
Characteristics of Antique Pewter
To the untrained eye, antique pewter might seem like an ordinary metal, but closer inspection reveals the unique qualities that set it apart.
- Color and Finish: Antique pewter has a soft, silvery-gray hue that develops a patina over time. The sheen of older pewter can vary, with some pieces maintaining a polished luster while others have a more matte or aged appearance due to years of use and exposure to the elements. The patina is one of the key features that collectors often seek, as it adds character and authenticity.
- Weight: Pewter is a dense metal, heavier than aluminum or some modern alloys, but lighter than silver. Antique pewter objects often feel solid in the hand, which is part of their charm. However, the weight can also be an indicator of authenticity—modern reproductions might use lighter, less durable alloys that don’t carry the same heft.
- Craftsmanship: One of the most defining aspects of antique pewter is the level of craftsmanship. Many pieces were made by hand, with artisans carefully casting, shaping, and sometimes engraving intricate designs. The seams, markings, and tool marks on antique pewter pieces are often a hallmark of their hand-crafted origins.
- Patina and Tarnish: Over time, pewter naturally develops a patina that enhances its aesthetic appeal. While some collectors prefer to leave this tarnish intact to preserve the “age” of the item, others may choose to clean it to restore the piece’s original appearance. It’s important to note that antique pewter should be cleaned with care to avoid damaging its surface.
Common Antique Pewter Pieces
Antique pewter was used to create a wide range of household items, many of which are still highly collectible today. Some of the most sought-after pieces include:
- Tankards and Mugs: Pewter tankards were commonly used in taverns and homes during the 17th and 18th centuries. These drinking vessels often feature beautifully crafted lids, handles, and engraved designs. Early tankards might be adorned with coats of arms, names, or intricate floral patterns.
- Plates and Bowls: Pewter plates and bowls were popular for everyday use in homes before the widespread availability of porcelain and other more affordable dinnerware. These items were often hand-hammered or cast and could feature decorative borders or be embossed with symbols or patterns.
- Candelabras and Candlesticks: Pewter was a popular material for candlesticks and candelabras, as it could withstand the heat of candle flames and was easy to mold into ornate designs. Antique pewter candlesticks are often found in a range of styles, from simple, utilitarian forms to elaborate, multi-armed designs that reflect the sophistication of the period.
- Inkwells and Writing Accessories: During the 17th and 18th centuries, pewter inkwells, pens, and desk accessories were used by scholars, writers, and professionals. These items often featured engraved patterns or the initials of their owners, making them fascinating historical artifacts.
- Figurines and Decorative Objects: While pewter was largely functional, it was also used for decorative pieces like figurines, jewelry boxes, and small sculptures. These items could be finely detailed and often reflected the artistic trends of the time.
The Appeal of Antique Pewter Today
The allure of antique pewter lies not just in its historical significance, but also in its enduring beauty and craftsmanship. As more modern materials have emerged, pewter has fallen out of everyday use, making vintage pieces increasingly rare and desirable. Whether it’s the gleam of a pewter tankard, the delicacy of a hand-engraved plate, or the rustic charm of a candleholder, antique pewter brings a sense of timeless elegance to any collection.
For collectors, antique pewter offers a fascinating glimpse into the daily life of past centuries. Each piece tells a story—whether it’s the craftsmanship of a 17th-century pewterer or the history of a family who used it for generations. The joy of collecting antique pewter isn’t just about acquiring an object; it’s about preserving a piece of history.
Care and Preservation
To ensure that your antique pewter pieces continue to shine for years to come, it’s important to care for them properly. While pewter is durable, it can still tarnish and lose its luster over time if not maintained. Here are some tips for preserving antique pewter:
- Avoid harsh cleaners: Never use abrasive cleaners or harsh chemicals on antique pewter, as these can scratch or discolor the surface.
- Gentle cleaning: If tarnish builds up, use a soft cloth and a non-abrasive cleaner designed for pewter. Mild soap and warm water can also be effective for light cleaning.
- Store carefully: Keep pewter items away from excessive moisture or heat, as these can damage the metal over time.
- Consider professional restoration: If your pewter piece has significant tarnish or damage, it may be worth seeking a professional conservator who specializes in metal restoration.
Conclusion
Antique pewter is more than just a metal; it is a testament to the skill of past artisans and the tastes of bygone eras. From the intricate designs of tankards to the simple elegance of candlesticks, antique pewter continues to captivate collectors with its beauty and history. Whether you’re a seasoned collector or a novice with a budding interest, antique pewter offers a timeless way to connect with the past and add a touch of elegance to your home. Its lasting appeal lies in both its craftsmanship and its ability to bridge the gap between history and the present, making it a cherished part of any collection.
Please be sure to join us in January 2025 for Part II of the Pewter Collection of Dr. Melvyn & Bette Wolf.
Online Only Decorative Arts Just in Time for the Holidays!
Pook & Pook is set to host its highly anticipated Annual Holiday Online Only Decorative Arts Auction on Wednesday, December 4, 2024. With live online bidding starting at 9:00 AM, this exclusive auction will showcase over 800 carefully curated lots that celebrate the charm of antique collecting and the spirit of the season.
This online-only event, available on leading auction platforms Bidsquare, PookLive, and Invaluable, promises to flood cyberspace with an exceptional array of rare and unique items, perfect for collectors, holiday enthusiasts, and those seeking one-of-a-kind gifts.
Featured Highlights:
- Quilts and Textiles: A stunning collection of quilts, including various patterns and Amish crib quilts, representing the beauty and craftsmanship of American textile traditions.
- Antique Toys: An array of vintage toys, such as dolls, games, mechanical banks, pull toys, and tin wind-up treasures, sure to delight collectors of all ages.
- Art & Ephemera: From fine paintings and portraits to rare ephemera, discover art and artifacts that capture moments in history.
- Pewter Collectibles: A large selection of pewter items, including highly sought-after works by noted makers such as Danforth, Boardman, Love, and others.
- Christmas Decorations: Vintage Christmas treasures, including rare kugels, ornaments, and festive décor that will add nostalgic charm to your holiday celebrations.
- WWII Posters & Americana: A curated assortment of WWII posters and other patriotic Americana items.
- Furniture & Decorative Arts: Antique furniture pieces and decorative objects that embody the elegance and style of past eras.
- And Much More: From antique decoys to Canton porcelain, the auction promises a diverse range of highly collectible items.
Gallery Exhibition:
For those who prefer a hands-on preview, Pook & Pook will host a gallery exhibition at their Downingtown, Pennsylvania location. The exhibition will be open to the public on Monday, December 2, 2024, and Tuesday, December 3, 2024, from 10:00 AM to 4:00 PM each day.
Key Auction Details:
- Auction Date: Wednesday, December 4, 2024
- Start Time: 9:00 AM (live online only bidding)
- Bidding Platforms: Bidsquare, PookLive, Invaluable
- Gallery Exhibition: Monday, December 2, 2024, and Tuesday, December 3, 2024, from 10:00 AM to 4:00 PM (at Pook & Pook’s Downingtown location)
- More Information: Visit www.pookandpook.com for complete auction details and to register for online bidding.
“We are thrilled to offer a unique opportunity for collectors to access such a wide variety of vintage antiques and collectibles just in time for the holiday season,” said James Pook, Vice President at Pook & Pook. “This auction blends tradition with nostalgia and will be a virtual celebration of fine art, antiques, and history. Of particular interest is the large collection of unique and meaningful pewter items, which add a historic look to any holiday tablescape.”
This online-only auction allows collectors to bid from anywhere in the world, making it the perfect way to find unique gifts or add to your collection from the comfort of your home.
For press inquiries or further information, please contact:
Pook & Pook, Inc.
(610) 269-4040
info@pookandpook.com
Time Capsule
The Coin & Jewelry Auction at Pook & Pook on October 30th is composed of pounds and pounds of gold and many, many carats of diamonds, but my favorite item is of a humble nature.
Lot 2228 is an assortment of sterling silver. The jewel of the collection is a charm bracelet. Most charm bracelets reflect the interests of their owner. This bracelet captures the essence of the 1970’s and the ethos of an entire decade of suburban housewives. It took me back to the Bicentennial, the Oil Embargo, and DDT. Moms wore lipstick to the grocery store. People still received telegrams. It inspired me to re-read my grandmother’s Erma Bombeck book “If Life Is a Bowl of Cherries, What am I Doing in the Pits?” Every charm is like a quote from Bombeck, who stated “Housework, if you do it right, will kill you.” Bombeck’s humor lightened the load of housewives across America, dispensing with the notion that everything had to be perfect and ironed.
Among the twenty-five charms is a folding ironing board, of which Bombeck said “My second favorite household chore is ironing. My first being hitting my head on the top bunk until I faint.” There is also an alarm clock, scissors, eyeglasses, a tabletop fan, and a backyard mosquito fogger. A frying pan contains bacon and eggs, although the day of cooked breakfasts was waning. As Bombeck said, “In general, my children refuse to eat anything that hasn’t danced on television.” The gas pump charm has a sign “Sorry! No gas!”, which brings back memories of long lines at the pumps, if you could find them. A covered wagon reminds me of the America’s Bicentennial celebrations. A Social Security Card charm reminds us of why Bombeck was a working mom, “I was too old for a paper route, too young for Social Security, and too tired for an affair.” A baby buggy reminds us that “Motherhood is the biggest on-the-job training program in existence today.” There is a martini shaker, a Western Union telegram, a retractable lipstick, and a U.S. mailbox with a working letter slot. There is a rocking chair, a bingo card, and a birdcage with canary.
This bracelet is a perfect time capsule. As Erma herself said, “I’ve been on a constant diet for the last two decades. I’ve lost a total of 789 lbs. By all accounts, I should be hanging from a charm bracelet.”
by: Cynthia Beech Lawrence
Love is in the Hair
Some of the most intriguing lots of jewelry in Pook & Pook’s upcoming Coins & Jewelry auction include examples of Victorian hair jewelry (Lots 1959, 2525, and 2584). The practice of incorporating human hair to create intricately designed bracelets, brooches, lockets, and braided watch chains has its roots in the 17th and 18th centuries, when infant mortality rates were high. Alfred, the fourteenth child, and youngest son, of King George III and Queen Consort Charlotte succumbed to complications following a smallpox inoculation. After Alfred’s passing in 1782, Queen Charlotte sent the child’s governess a lock of his hair enclosed in a locket of pearls and amethyst expressing in a letter “Receive This … as an Acknowledgement for Your very affectionate attendance upon my dear little Angel Alfred, and wear the inclosed Hair, not only in remembrance of that dear Object, but also as a mark of esteem from Your Affectionate Queen.” This piece is now housed at The Royal Collection Trust.
Alongside elaborate mourning attire and post-mortem photography, these distinctive hair jewelry pieces peaked in popularity during the 1860s following Queen Victoria’s loss of her husband. After Prince Albert’s death in 1861, Victoria entered a period of mourning that lasted up until her passing in 1901. Along with wearing black while mourning, she also wore a locket containing Albert’s hair. This encouraged the act of mourning loved ones to become fashionable, not only in England but America as well.
The Civil War also played a significant role in driving this trend in the United States. Civil War soldiers would often leave a lock of their hair before going to war; women would hold on to their sweetheart’s hair as a way of keeping their loved one close while they were away. Sadly, this keepsake also served as a tangible memory of those soldiers who never made it home.
Hair keepsakes did not always corelate to death. Women would send their sweetheart a lock of hair and a photograph in valentines and postcards. Couples who got married would have braids created from strands of their hair, which would then be incorporated into a wedding band. Hair served not just as a medium for jewelry, but also for creating art and family trees. Hair serves as a lasting memento because it can endure for decades, or even centuries, thanks to its protein structure.
Eventually, the trend of making jewelry from hair declined in popularity for several reasons, including the onset of World War I, the advent of funeral homes, and the rise of the Women’s Rights movement that introduced the “bob” hairstyle. There are still echoes of this long-lost art in our modern world; you might take your child for their first haircut and ask the stylist to save a lock of hair as a token of the occasion. One-of-a-kind hair jewelry pieces such as those in our upcoming sale are an ode to a person’s essence. Each piece declares: “I Loved…”. How special it is to be able to own such a rich piece of someone’s personal history.
By Erika Lombardo
Bibliography:
- com: The Ugly History of Beautiful things: Lockets.
- Wikipedia
- Kentucky Historical Society – Artworks with Human Hair: Victorian Pastimes and Mourning Customs.
- com: The Curious Victorian Tradition of Making Art from Human Hair
- Rosenberg Library Museum : Victorian Hair Jewelry
- The Order of the Good Death: They’re Not Morbid, They’re About Love: The Hair Relics of the Midwest
- com: Hair Jewelry