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.

Conclusion

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

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.

1. 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.
2. 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.
3. 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.
4. 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:

1. 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.
2. 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.
3. 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.
4. 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.
5. 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.

The history of pewter in America is representative of the wider colonial experience. In the late 17^th century, Britain passed a series of laws called the Navigation Acts governing colonial trade. The Acts limited the colonies to trading with Britain, and increased Britain’s advantage by imposing further restrictions and duties on colonial trade. In this system of political economy, later labeled Mercantilism by Adam Smith, government regulation of the economy was for the purpose of building state power and wealth. Colonies existed for the economic benefit of the imperial power.

Pewter is an alloy of mostly tin, which Britain mined in Cornwall. The colonies lacked a source of tin, but could not purchase tin from Britain. They could only purchase finished pewter merchandise and pewter ingots, which because of tariffs cost as much as the finished products. Britain had a thriving pewter industry to protect, governed by a London guild set up in 1473, and selling to the colonies while impeding the development of local manufacturing ensured a favorable balance of trade.

Pewter was in great demand in America. Annual pewter imports from Britain had grown to more than 300 tons by 1760. Connecticut pewterer Thomas Danforth Boardman wrote “From the Landing of the Pilgrims to the Peace of the revolution Most all, if not all, used pewter plaits and platters, cups, and porringers imported from London & made up of the old worn out,” (Montgomery). Pewterers in the colonies resourcefully purchased worn out pewter from households, which they melted down and reworked. Pewter is a soft metal and most pieces had a useful life of about ten years before becoming misshapen. American pewterers exchanged of reworked merchandise for customers’ old worn pewter. Because of the necessity of melting and reworking, American pewter today is more valuable than British pewter. There is simply less of it.

A colonial pewterer would assay old pewterware into different grades to be melted down and then poured into his assortment of molds. The molded pieces were fitted and soldered together to create coffeepots, sugar bowls, creamers, etc. Since a pewterer only had so many molds, the shapes were used interchangeably for different pieces. The same mold could be used for the lid for a teapot or the base of a chalice. A flagon could be assembled from as many as fourteen parts, all of which had to be useful in creating other wares.

William Will brings us to the conclusion of our study of American pewter and mercantilism. His story has been told often, but is a good one, and neatly illuminates the result of England’s trade policies. William Will (Philadelphia 1742-1798) is regarded as the finest American pewterer of the 18^th c. “His ability to make new designs by using interchangeable parts cast from existing molds was unequaled by any other American pewterer,” (Herr). A German immigrant from a family of pewterers, William practiced in Philadelphia, and was so successful that he achieved status as a leading citizen. “No other has left a more impressive evidence of ability, and few approached the craftsmanship which his pewter displays. Gifted beyond most of his fellows, he unselfishly subordinated his business to a life of service to his community and demonstrated that he was not only a superior craftsman, but also a splendid soldier, a capable statesman, and an executive of unusual ability,” (Laughlin). William Will contributed to ridding the American colonies of the effects of British mercantilism. Forming an infantry company in 1776, he served as a Lieutenant Colonel in the Philadelphia Militia’s 3^rd Battalion in 1777 and 1780. Much was asked of him, as in 1777 he was also appointed one of six Commissioners for the seizure of traitor’s property, in 1779 named storekeeper in Lancaster for the Continental Army, in 1781 was elected sheriff of Philadelphia, and in 1785 was elected, along with Robert Morris, to the General Assembly in the newly independent United States of America.

Pook & Pook invites you to join us for our September 25-27^th Americana & International sale, which will feature important American pewter, and many pieces marked by William Will himself.

by: Cynthia Beech Lawrence

 

Bibliography

Charles Montgomery, A History of American Pewter, Winterthur, 1973.

Donald Herr, Pewter in Pennsylvania German Churches, Pennsylvania German Society, 1995.

Ledlie Laughlin, Pewter in America, Houghton Mifflin, 1940.

On February 8^th and 9^th, 2024, Pook & Pook is honored to present the 100 Years: The Kindig Legacy. For a century, the Kindig family of York, Pennsylvania has dealt in the finest antiques available. Joseph Kindig, Jr. opened his first shop in 1925, coinciding with the antique craze that swept America in the 1920s. Kindig’s shop flourished, and put him on the forefront of the expansion of scholarship and collecting. His clients included the foremost collectors of American decorative arts of their time: Henry Francis du Pont, Ima Hogg, Wallace Nutting, and Frances P. Garvan. Kindig shared a close working relationship with du Pont, and the historic Winterthur Collection reflects his expertise. Over his career, he guided Colonial Williamsburg, Winterthur, Bayou Bend, the Baltimore Museum of Art, the Philadelphia Museum of Art, the Metropolitan Museum of Art, and many others in the acquisition of masterpieces. In 1947 Joe Kindig III joined his father’s business, and they worked together for twenty years. Joe Kindig III was an intellectual drawn to subjects ranging from architectural history to a continuation of his father’s study of the Kentucky long rifle. He became an authority, researching and uncovering masterpieces. Joe III also curated exhibits for Historical Society of York County, and the furnishing of Wright’s Ferry Mansion, which Kindig termed “the best representation of a Queen Anne house in Pennsylvania.” Joe Kindig III worked closely with Dr. Donald Shelley, whose Pioneer Collection was auctioned for a record $9.8 million by Pook & Pook in 2007. In 1994, Joe III was joined by his own daughter, Jennifer, and the family business flourished into the 21^st century. The Kindig Collection reflects the family’s interests and expertise. The furniture is mostly early American, and the decorative arts contain a large percentage of English and some Continental items.

The heart of the Collection’s furniture is regional, with an emphasis on Philadelphia. The earliest furniture includes two pairs of Cromwellian chairs. Pennsylvania William and Mary pieces include several Southeastern Pennsylvania William and Mary walnut wainscot armchairs, a Pennsylvania William and Mary walnut desk and bookcase, and other Pennsylvania William and Mary items including a burl mahogany slant lid desk, stools, chairs, and a tall case clock. Queen Anne highlights include a rare Chester County Queen Anne walnut Octorara chest with removable feet, ca. 1765, and a beautiful Pennsylvania Queen Anne tiger maple dressing table, amongst additional Pennsylvania Queen Anne dressing tables, compass seat chairs, and a tall case clock.

Important Philadelphia Chippendale furniture includes a mahogany three-part desk and bookcase, with carving attributed to Martin Jugiez.  A rare pair of Philadelphia Chippendale mahogany gaming tables, also with carving by Jugiez are one of a very few surviving pairs of these tables. A rare Philadelphia Chippendale mahogany piecrust tea table is possibly by Nicholas Bernard. Other fine Philadelphia Chippendale items include a carved high chest, a cherry chest on chest, a dressing table attributed to the “cornucopia carver”, a pair of dining chairs, tall case clock, and two desk and bookcases. Leaving the city limits, Pennsylvania items not to miss include a rare Chester County walnut Octorara tall chest, and a Queen Anne tiger maple dressing table.

Other Chippendale furniture includes a New York mahogany easy chair, and a mahogany games table, possibly from the workshop of Gilbert Ash of New York. A Baltimore Chippendale mahogany high chest was formerly exhibited at the Baltimore Museum of Art on long-term loan. An international highlight is an excellent Irish Chippendale mahogany sofa, ca. 1765.

Notable Federal furniture furniture includes a Salem, Massachusetts inlaid breakfront bookcase, ca. 1800, a Massachusetts mahogany sofa, ca. 1790 and attributed to Samuel McIntire, and a rare Baltimore slab table with King of Prussia marble top.

There is a large art collection with many English landscapes, portraits, equestrian, and hunting scenes. An oil on panel full-length portrait of a young noble girl from the early Stuart period, dated 1619, bears lace so vivid and textural it appears embroidered onto the painting’s surface. A massive Queen Anne burl veneer looking glass, and smaller Queen Anne mirrors, Chippendale looking glasses, and a Constitution mirror, are all perfect for reflecting the candle light provided by a fine collection of early brass candlesticks. The highlight of the early brass group is a magnificent Northwest European Three Kings candlestick, 15^th c., one of the tallest and best examples of this form, with Lieutenant Colonel and Mrs. Miodrag R. Blagojevich provenance. English 16^th c. Tudor candlesticks, German, Nuremberg, and Northwest European examples complete the group. A large assortment of andirons range from late 17^th c. English to 18^th c. Philadelphia Chippendale.

Textiles include a large Flemish verdure tapestry, fit for a castle.  Complete sets of 18^th c. crewelwork curtains, and many finely embroidered spreads dazzle the eye. An extraordinary Continental feltwork spread exhibits a coat of arms and a multitude of figured panels, dated 1749. There are ten English 17^th c. stumpwork, beadwork, and needlework framed textiles, including Charles II examples, which depict kings and queens, lords and ladies, and an abundance of flora and fauna. 18^th c. English needlework include a silk and metallic portrait of King George, and a pair of George III scenes of the conquest of Mysore which portray the plight of Tippoo Saib hostages. 18^th and 19^th c. needlework portrays everything from kings and biblical scenes to stately homes.

Silver by early American silversmiths such as Tobias Stoutenburgh, New York, 1721, and Johannis Nys, Philadelphia, ca. 1695, includes a very rare sucket fork by John Brevoort, New York, ca. 1742.

The assortment of delftware includes English Bristol and Lambeth and Dutch examples. A Bristol posset pot and cover stands out amongst the many chargers. An array of Southeastern Pennsylvania sgraffito decorated earthenware includes large dishes and a rare openwork tobacco box and cover attributed to the workshop of David Haring.

Early Pennsylvania German folk art includes valentines, fraktur, and fraktur bookplates, by artists Andreas Kessler, Martin Brechall, the Garden Border Artist, Johann Peter Gilbert, Stephan Meyer, Christian Mertel, Christian Allsdorf, Jacob Oberholtzer, Daniel Otto, and Johann Adam Eyer.

A library of canonical architectural design books contains many first editions, including the first translation of Andrea Palladio published in English, works by Colen Campbell, James Gibbs, Inigo Jones, Isaac Ware, Matthias Darly, William Pain, and the rare The Works in Architecture, London, of Robert and James Adam, Esquires. Furniture design classics include The Gentleman and Cabinet-Maker Director by Thomas Chippendale, and The Cabinet-Maker and Upholsterer’s Drawing-Book by Thomas Sheraton. Ornamental design classics range from Placido Columbiani and Gaetano Brunetti to Matthias Lock and Robert Manwaring. Military subjects include a 1553 Vegetius De Re Militari Libri Quatour, and the 1626 Il Torneo by Bonaventura Pistofilo with engravings of weapons and drills. The Kindig Ephrata books were the subject of an exhibition at Ephrata Cloister in 2012 and feature a very rare 1763 imprint Metallen amongst the mostly religious texts, which include a provenanced Martys Mirror, 1748, and the beautifully illuminated manuscript hymnals for which Ephrata is famous.

Please join us on February 8^th and 9^th for what is certain to be a major auction event, honoring the Kindig Legacy and its century of scholarship, stewardship, and masterpieces. For more information, please call Pook & Pook at (610)269-4040, or visit our website at www.pookandpook.com.