Jim Gallagher, Author at Garden Court Antiques

Posted on November 18, 2024November 18, 2024 by Jim Gallagher — Leave a comment

In Praise of The Cigarette Case.

In the glittering world of 1920s society, the cigarette case was more than its practical purpose – it became a symbol of status, romance, and the era’s decadent spirit. This small ornamental box served as a social prop, a gift of courtship, and a marker of sophistication.

In “The Beautiful and Damned,” Fitzgerald captures a pivotal moment where the cigarette case serves as a harbinger of marriage and wealth, positioned deliberately between the engagement ring and wedding band. The gesture reveals both the prosperity and precariousness of the era:

It was the third present he had given her; first had come the engagement ring, and then a little gold cigarette-case. He would be giving her many things now — clothes and jewels and friends and excitement. It seemed absurd that from now on he would pay for all her meals. It was going to cost: he wondered if he had not underestimated for this trip, and if he had not better cash a larger check. The question worried him. [..] “By God!” he muttered to himself. “I’m as good as married!”
The Beautiful And Damned By F. Scott Fitzgerald, 1922 P. 141-2

Meanwhile, Dorothy Parker’s keen eye in Vanity Fair finds the cigarette case performing a different role. Her “Hate Song” captures the accessory as theatrical gesture, a prop in the comedy of manners:

I hate Actors; They ruin my evenings.
There are the Juveniles;
The Male Ingenues.
They always interpret the rôles of wealthy young sportsmen,
So that they can come running on in white flannels,
Carrying tennis racquets, and wearing spiked shoes.
Whenever the lights go up
They are discovered with their arms around some girl.
They wear their watches and handkerchiefs on their arms,
And they simply couldn’t play a scene without their cigarette cases.
They think that the three Greatest Names in American History
Are Hart, Schaffner, and Marx.
They are constantly giving interviews to the Sunday papers
Complaining about the car-loads of mash notes they receive.
They know they have it in them to do something Really Big;
They relate how Belasco told them that they would go far—
I wish they were on their way!
Actors: A Hate Song by Dorothy Parker, Vanity Fair, July 1919 issue p. 37

These writers, observing their glittering and restless society, found in this simple object a lens through which to view the complexities of their age.

Art Deco Brass and Enamel Cigarette Box Austrian, Circa 1920

The Beautiful And Damned By F. Scott Fitzgerald, 1922, ©2023 Louisiana State University Press.
“The Beautiful and Damned” Is A Timeless Tale, Robbert Littell, The New Republic, December 20, 2013
Vanity Fair A Hate Song By Dorothy Parker, August 30, 2013
Vanity Fair Archive, July 1919

^jh

Posted on October 6, 2024October 6, 2024 by Jim Gallagher

The Heatwave of 1858: The Great Stink.

[Excerpted from The Ghost Map. The Story of London’s Most Terrifying Epidemic – and How It Changed Science, Cities, and the Modern World, by Steven Johnson (Author) ©2007, p. 205-6 ] In June 1858, a relentless early-summer heat wave produced a stench of epic proportions along the banks of the polluted Thames. The press quickly dubbed it the “Great Stink”: “Whoso once inhales the stink can never forget it,” the City Press observed, “and can count himself lucky if he live to remember it.” Its overwhelming odors shut down Parliament. As the Times reported on June 18:

What a pity … that the thermometer fell ten degrees yesterday. Parliament was all but compelled to legislate upon the great London nuisance by the force of sheer stench. The intense heat had driven our legislators from those portions of their buildings which overlook the river. A few members, bent upon investigating the matter to its very depth, ventured into the library, but they were instantaneously driven to retreat, each man with a handkerchief to his nose.

AFTER YEARS OF BUREAUCRATIC WAFFLING, THE GREAT STINK finally motivated the authorities to deal with the crucial issue that John Snow had identified a decade before: the contamination of the Thames water from sewer lines emptying directly into the river.

The plans had been in the works for years, but the public outcry over the Great Stink had tipped the balance. With the help of the visionary engineer Joseph Bazalgette, the city embarked on one of the most ambitious engineering projects of the nineteenth century: a system of sewer lines that would carry both waste and surface water to the east, away from Central London. The construction of the new sewers was every bit as epic and enduring as the building of the Brooklyn Bridge or the Eiffel Tower. Its grandeur lies below ground, out of sight, and so it is not invoked as regularly as other, more iconic, achievements of the age. But Bazalgette’s sewers were a turning point nonetheless: they demonstrated that a city could respond to a profound citywide environmental and health crisis with a massive

he silent highwayman : Death rows on the Thames

"Michael Faraday giving his card to Father Thames", commenting on Faraday gauging the river's "degree of opacity"

Corporation of London workmen repairing the Fleet sewer, south of Fleet street in 1854

The Prince of Wales at the Metropolitan Drainage Works, The Illustrated London News, Vol. XLVI, p. 341 (15 April 1865)

Memorial to Sir Joseph Bazalgette George Blackall Simonds 1901

18 Facts About the 1858 Great Stink of London D.G. Hewitt – June 3, 2019, The History Collection.

Posted on September 2, 2024September 2, 2024 by Jim Gallagher

Madeleine Castaing and the Influence of Le Style Anglais 1750-1850

Synthesis of English Style as conceived in France: this living room, open on all sides to the forest, seems to bathe in light. Inspired by the trade cottons of the early 19th century, a multicolored percale, used abundantly, imparts a sense of cheerfulness to the rather severe-looking varnished mahogany furniture, making the room both comfortable and irresistible. Located in the heart of Île-de-France, this room’s charm lies less in the luxury of its details than in their subtle juxtaposition.

SYNTHESE DU STYLE ANGLAIS tel qu’on le conçoit en France, ce living-room, ouvert de toutes parts sur la forêt, semble baigner dans la lumière. Inspirée des indiennes de traite du début du xIxe siècle, une percale multicolore, employée avec prodigalité, communique aux meubles d’acajou verni, d’aspect plutôt sévère, son entrain le confort des ilei os un de le de rance, la etat, points irrésistible. En plein cœur de l’Ile-de-France, la — moins par le luxe des détails que par leur subtile juxtaposition.

Thanks to the craze for English Regeney furnishings that broke out not only in France but all over the world, for several years we have seen the birth and growth of a new and legitimate curiosity for all artwork that came from England.”
Le Style Anglais 1750-1850 ©1959

Le Style Anglais 1750-1850, p 219 Madeleine Castaing, Living Room, Île-de-France

Le Style Anglais 1750-1850, published in 1959

Madeleine Castaing posing next to one of the gilt-brass bamboo stands, which were always stocked in her boutique.

“In 1959 English design was deemed of significant enough interest to result in the production of Le Style anglais: 1750-1850, the last in a series on French design history published by Connaissance des arts. The editors noted, “Thanks to the craze for English Regeney furnishings that broke out not only in France but all over the world, for several years we have seen the birth and growth of a new and legitimate curiosity for all artwork that came from England.” Three reasons are enumerated by the editors as to why the French became so enchanted: first, the Regency’s simplicity, delicacy, and petite proportions were easy to place in small apartments; it mixed just as easily with modern as it did with antique furniture; and finally, “l’argument decisive,” no matter how superb the quality, the prices were well below those for French eighteenth-century furniture. Appropriately, Madeleine had several rooms featured in the book. “Romantic, fanciful, picturesque, a bit theatrical” is the description of English style, but it could equally be applied to le style Castaing.”
–The world of Madeleine Castaing by Emily Eerdmans, ©2010 p 160

Madeleine Castaing, a prominent French decorator, is known for her unique approach to interior design, which integrates English influences with French sensibilities. This room exemplifies her ability to combine the austerity of English furniture with softer, more inviting textiles, resulting in a space that reflects her distinctive style.

Le Style Anglais 1750-1850, published in 1959, is a critical resource in the study of English interior design, particularly as interpreted by French designers. The book remains significant for its exploration of the aesthetic dialogue between England and France during this period and its influence on mid-20th century design. ^jh

Emily Evans Eerdmans (2010). The World of Madeleine Castaing. Rizzoli.

Le Style Anglais 1750-1850

Posted on July 4, 2024 by Jim Gallagher

Celebrating Independence Day: A Message from Garden Court and epoca

We at Garden Court and epoca wish you a happy and healthy 4th of July holiday weekend.

Our galleries will be closed this afternoon, July 3rd, and will reopen on Monday morning, July 8th.

Enjoy the time with your friends and family, and we look forward to seeing you throughout the rest of the summer.

^jh

Posted on June 19, 2024June 19, 2024 by Jim Gallagher

Happy Juneteenth.

Juneteenth: Collection of the Smithsonian National Museum of African American History and Culture

Today, we honor Juneteenth, a significant moment in American history marking the end of slavery in the United States.

Juneteenth is a significant date in American history and the African American experience. The name is a play on the date of June 19th, 1865. On that day, the Union Army made its way into Galveston, TX under the leadership of General Gordon Granger, and he announced to the people of Texas that all enslaved African Americans were free.

“The people of Texas are informed that, in accordance with a proclamation from the Executive of the United States, all slaves are free…”
– Major General, Gordon Granger. General Orders, No. 3. Headquarters District of Texas, Galveston, June 19, 1865

Even though we know that the Emancipation Proclamation freed African Americans in rebelling states (Texas being one of them, from as early as it when the Proclamation went into effect on January 1st, 1863) and we know that the Civil War had ended in April of 1865, it took a while for freedom to make its way to the western most rebelling state. Although there were enslavers who were aware of the implementation of the Emancipation Proclamation, it wasn’t until June 19th, 1865, that it was actually enforced with the Union Army. June 19th freed enslaved people in the rebelling states; it did not free enslaved people throughout the nation.

As we reflect on this day of freedom and resilience, we like to consider the profound cultural and historical narratives reflected antique furniture and the decorative arts which correspond to our shared experience. Happy Juneteenth.

Excerpted from : Mary Elliott, Curator of American Slavery National Museum of African American History & Culture, Smithsonian https://nmaahc.si.edu/explore/stories/what-juneteenth

The first Black Music Month gathering hosted by President Jimmy Carter on the White House’s South Lawn on June 7, 1979. Courtesy of Dyana Williams
Emancipation Proclamation

^jh

Posted on May 19, 2024June 19, 2024 by Jim Gallagher

Retro Sunday: Men Of The Royal Lancaster Regiment Making Their Own Campaign Furniture.

Pioneers of the King's Own (Royal Lancaster) Regiment, with their campaign furniture, 1808

Excerpted from British Campaign Furniture. Elegance under Canvas, 1740-1914, Nicholas
A. Brawer ¹

Photo: Pioneers of the King’s Own (Royal Lancaster) Regiment, with their campaign furniture, 1898. Black and white photograph reproduced in The Army and Navy Illustrated, May 28, 1898, p. 237. ²

This fascinating image shows men of the Royal Lancaster Regiment making their own campaign furniture. Of particular interest are the two campaign chests on the far left and far right of the picture.

From the Georgian through the Edwardian periods, gentlemen-ofﬁcers lavished time and money on both their full dress uniforms and their campaign furniture. In 1813, Charles James, author of The Regimental Companion, wrote, “It is expected from the soldier, that his arms and accoutrements [including furniture] are at all times in the highest order, that they be not only clean but highly polished.” Ofﬁcers were expected to outﬁt themselves in style.

The vast majority of campaign furniture was purchased privately. Desks, chairs, beds, game tables, and other luxuries of travel were manufactured for any person of means-civilian, naval, or military-who had need of it while traveling. Few, if any, of these pieces were supplied by the British Board of Ordnance; these rarities would have been marked with the initials BO or (after 1856) WD, for War Department, and accompanied by the Broad Arrow stamp.

Occasionally the army recommended certain models and manufacturers of campaign furniture, as it did in The Report of the Kabul Committee on Equipment (Calcutta, 1882; p.22):

.. the committee now considers the question of camp furniture for officers. The majority of the committee consider it to be necessary for the comfort of an officer, that be should bave a bed, and they find that the pattern… made by Ro of Dublin is the most suitable. It weighs under 20 Ibs…. They also consider that each officer should have a chair, and they recommend the pattern shown in the sketch… which weighs 3 ls…. They also consider a table … for each officer is necessary. These for all officers should be of one uniform size and pattern, viz. 24″ x 18″ x 30″. Trestle legs, joined by a cross bar which is connected by a leather thong to a D riveted in centre of table. These tables being joined together make an excellent mess table….

Brass-bound military chests were among the most popular pieces of campaign furniture for both colonists and military officers in the late eighteenth and nineteenth centuries. These chests, which were often contained within their own wooden packing cases, split into two sections of equal size for ease of storage and transportation. For example, the two halves of a chest formed a balanced load when hung over a mule’s back . Campaign furniture strapped to a pack horse’s back. c. 1853-6They were used both on the outward sea voyage, forming a necessary part of the traveler’s cabin furniture, as well as on land upon arrival, where they served as a chest of drawers in a tent or bungalow.

Campaign furniture strapped to a pack horse's back. c. 1853-6

Examples of a mid-Victorian campaign chests at Garden Court Antiques.

Handsome Mahogany Campaign Chest On Chest, Circa 1850.

^jh

Retro Sunday: A Look Back at One of America’s Most Beautiful Rooms from 1958.

1958 : House on Long Island Locust Valley, New York Home of Mr. And Mrs. Renzo Olivieri The Living Room

House on Long Island Locust Valley, New York Home of Mr. And Mrs. Renzo Olivieri
The Living Room
Excerpted from “100 Most Beautiful Rooms in America” (1958 and 1965) By Helen Comstock p. 208
Photographs: Wendy Hilty

Thoroughly modern in feeling is the manner in which a large scale eighteenthcentury Bolognese painting of classic architecture is used as a wall decoration in this living room. The arts of eighteenth-century Italy predominate here, but French and modern pieces are used also. The manner of arrangement only seems casual; actually the relationship of each piece to the rest has been carefully considered so that from every angle the room shows good design. The Italian eighteenth-century sofa and armchairs, painted blue and gold, are upholstered in white linen, while the cushions on the sofa are covered in Florentine silk with a floral pattern after Botticelli. On either side are Neapolitan eighteenth-century console tables in silver, gray, and white. The old gilt tôle sconces above them are designed as tall urns of flowers and have candle arms in foral form. The walls of the room are pearl gray, and a gray Fortuny fabric covers the Louis XV chair which is drawn up at a low circular marble-topped table, as seen in the view on the opposite page. The large sofa, which stands in front of a handsome pair of torchères in the form of blackamoors, is covered in green damask. An Aubusson carpet has a pastel blue and rose flower design on a pale gold ground.

Cover: "100 Most Beautiful Rooms in America" (1958 and 1965) By Helen Comstock

Helen Comstock (1893-1970), author and expert on Early American furniture, authored numerous articles on antiques, prints, and paintings. She served as a contributing editor to Antiques Magazine and was the American editor of Connoisseur magazine for 30 years, starting in 1931.

Oscar Wendellin Hilty (1913-1978), photographer, was born in Liechtenstein and trained as an architect in Zurich. He worked as an instructor at the Engelberg Ski School in Switzerland. In the 1950s, his photography was featured on numerous record albums for the RCA Living Stereo series and in advertisements and magazine covers, primarily based in Manhattan. In 1958, Hilty moved to St. Croix in the Virgin Islands, where he became a successful real estate developer.
^jh

Posted on May 1, 2024June 19, 2024 by Jim Gallagher

New Arrivals: A Closer Look with Jim Gallagher

We sat down with Jim Gallagher, owner of Garden Court Antiques in San Francisco, for an overview of the new shipment, which just landed and is now in the gallery. Jim notes a shift in preference from larger, oversized items to smaller, distinctive pieces that blend into and enhance contemporary living spaces.

Interviewer: Jim, could you share some highlights from your recent shipment?

Jim Gallagher: Overall, I adopted a different approach this time. Generally, we aim to source pieces that are immediately striking and evoke a moment of awe. However, based on last year’s sales, I noticed a shift in how people use antiques. Larger items have become more challenging to sell, while there’s a growing preference for smaller pieces that add depth and ‘soul’ to a room. These work well with contemporary designs and light, airy spaces, which contrast the often darker Victorian interiors.

People seem to appreciate having unique pieces that enhance the character of their spaces—pieces that can’t be found just anywhere. It’s about the uniqueness and personal connection to the item. So, this time, I focused on acquiring smaller, versatile items like side tables from various periods and regions—Anglo-Indian, French, and Italian, spanning the 17th to 19th centuries. Their color, style, and exceptional construction are not just beautiful but captivating, offering that moment of awe. We still have larger pieces like farm tables, but these smaller items seem to really stand out.

Interviewer: Are there some specific pieces that caught your eye?

Jim Gallagher: Yes. Among the standout items is a late 19th-century English fireplace shield made of copper and steel. It was designed to sit in front of a small fireplace when not in use, so you’re not looking into an unsightly, empty hearth. But beyond its practical use, it’s a stunning art piece. The copper features a peacock design, making it a remarkable example of late 19th-century English folk art. It’s quite manageable in size, perfect for a tabletop display.

Interviewer: That’s great. What’s next?

Jim Gallagher: This is another unique piece. It’s an Edwardian stool, not particularly old or historically significant, but striking nonetheless. It features gorgeous aged green leather with brass nailhead trim and a touch of mahogany at the base— just a fun, wonderful piece you won’t find in anybody’s house. You can’t get leather to do that today. It takes 100 years.

Interviewer: What about the larger pieces in this collection?

Jim Gallagher: One of the magical aspects of sourcing antiques is the connections you make with people in Europe. A good friend, Peter Collingridge, who has a shop in Stow-on-the-Wold, called me about six months ago. He had a piece that wasn’t right for him, but he thought it might suit me. It turned out to be this spectacular Spanish trestle table, nearly 400 years old, previously in a private collection in England for the last 50 years. Its top is made from a single plank of walnut, about 7 feet long and 3 feet wide. It’s a rare find, especially in such original condition. This is certainly a more impressive piece and was a moment of awe.

Additionally, we have a pair of Italian walnut demilune tables that are as functional as they are beautiful. Originating most likely from a monastery, these tables can be used together as a center table or separately as console tables, adorned with baroque elements and harp-shaped bases.

Interviewer: Excellent, let’s continue.

Jim Gallagher: This piece here is a lovely small French occasional table made of beautiful fruitwood. It’s wonderfully shaped with a quirky shelf, and the drawer passes through to both sides—ideal for discreet transactions. It’s not something you’ll find at mainstream stores; it’s truly unique. And for a touch of whimsy, we have an Omersa leather bulldog footstool from the mid-20th century. This fun piece is a conversation starter and showcases bespoke British design.

Interviewer: That’s wonderful.

Jim Gallagher: And who does chic better than the French? We have French cocktail tables from the 1930s and 1940s, fabulous with brass and antique mirror shelves. They are truly one-of-a-kind, adding a touch of something elegant and old to your house.

Interviewer: That’s perfect, thank you.

We hope this collection is a source of inspiration for designers and collectors; each piece has a story to tell.

Visit us at Garden Court Antiques, 1700 16th Street, in the SOMA design neighborhood. We would love to show you around. ^jh

Posted on April 22, 2024April 22, 2024 by Jim Gallagher

Happy Earth Day 2024.

Happy Earth Day! We are all aware of and trying to lessen our impact on the climate. Today, of all days, it’s not inconsequential to note that buying and holding onto your antique furniture is better for the planet.

I mean, as if anyone needs any other reason to buy beautiful antique furniture, a 2010 study on greenhouse gas emissions commissioned by the antiques trade ¹ ² was tasked with answering the question: “Are antiques greener than new furniture? And if so, what is the difference between their carbon footprints?” It compared two specific chests of drawers, one from 1830 and the other a contemporary piece.

Ultimately, it was determined that the antique chest of drawers had a lower greenhouse gas emissions impact compared to the new chest of drawers. The life cycle emissions of the antique chest of drawers were less than those of the new chest of drawers. The new chest of drawers had a greenhouse gas emissions impact 16 times higher than the antique. Additionally, they determined that the new chest of drawers had higher emissions in raw materials, production, distribution, and storage compared to the antique. The longer lifespan of the antique and the lower emissions throughout its life cycle contribute to its greener profile.

As we say, buy what you love and buy in good conscience. Happy Earth Day!

…AND.. some stats for the nerds!

^jh

Graph: The typical life cycle emissions of the antique and new chest of drawers between 1830 and 2025

Product Footprint Comparision: A breakdown of the emissions from each stage

Emissions per year of use. Antique compared to new. — Graph: Green House Gas emissions per year of life in use associated with a new chest of drawers are 16 times higher than those of the antique.

Happy Easter!

Vintage Easter Card. unknown (unknown cultural designation). A Joyful Easter. 1910.

The Victorians loved corresponding by mail and the advent of the uniform one penny postage rate in January 1840 made it a very economical way of staying in touch with loved ones, no matter where they lived in the country. During the latter half of the 19th century, publishers began designing writing stationery with festive images and Easter greetings. Before long, it was the fashion to exchange brightly coloured Easter cards. These could be bought quite cheaply but many preferred to make their own Victorian Easter cards with spiritual images such as lambs and crosses or bunnies and eggs on brightly colored paper all to emphasise the happy and lively nature of spring. ¹