Springmeyer Brothers – Partners to John Henry Belter

Ever see a piece of furniture in the Renaissance Revival style with J. H. Belter’s name on it? I hadn’t until I saw this piece coming up for sale at Martin Auction Co. in Anna, IL. As most of you know, the Belter name is far more associated with the Rococo Revival than this style of furniture. The additional presence of the Springmeyer Brothers name on the stencil on this dresser provides a look into a slice of time immediately following Belter’s death and what the company produced after his direct association with J.H. Belter and Company ended.

History is sketchy, but from what I have gleaned from a few sources, Belter’s brother-in-law J.H. Springmeyer was listed in city directories as a furniture dealer after 1856 and became Belter’s partner.  1856 is the same year that Belter’s business name started having the word, “Company” following it,  the same year his bedstead patent was issued and the same year he moved from 547 to 522 Broadway.  Springmeyer’s cabinetmaker brothers joined the Belter business as partners around that time as well.

Belter became ill around 1863 and shortly after putting his will together, he died. According to the Magazine Antiques, September 1948 issue, the company continued under the J.H. Belter and Co. name until 1867 when the company went bankrupt. Artfact, however, states that the company name changed to Springmeyer Brothers in 1865.  The three Springmeyer brothers continued on as cabinetmakers in 1868 after the bankruptcy, but the business was soon sold to Blesson and Bolrath for $20,500.

That can only mean that this dresser would have been made between 1863 and 1867, since the label says “Late J.H. Belter”. More research would need to be done to see when this particular incarnation of their furniture stencils with both the Springmeyer and “Late” Belter names existed.  I have read of other stencil versions referring to the company as “Springmeyer Brothers, Successors to J.H. Belter and Company”.

Nonetheless, it is an eye-opener to see Belter’s Company name on a piece of Renaissance Revival furniture.

Thanks to 1881Victorian in the forum for pointing it out and Martin Auction for sharing the larger images with us.

As evidenced by the Hunzinger Parlor Suite sale, the results of Neal Auction Company’s Winter Estate Auction held January 30 and 31 are impressive indeed. Fine Victorian suites and cabinets were sale highlights.

Bearing the stamp of George Hunzinger, New York was this fabulous late 19th century American Renaissance carved and ebonized walnut parlor suite that reached $17,925. Prices include 22 percent buyer’s premium. The Hunzinger parlor suite consisted of a pair of armchairs and a sofa with each having anthemion crests, scroll, blocked and reeded stiles, pendant fruit clusters and rectangular backs. The button-tufted arms terminated in bosses and each sported pierced demilune aprons and canted front legs with hoof feet.

Another Victorian-era parlor suite of drastically different style than the Hunzinger parlor suite was this mid-19th century American Rococo carved and laminated rosewood grouping consisting of a sofa, four side chairs and an armchair made $13,145. Attributed to John Henry Belter, New York, the suite was done in the pattern known as “Rosalie with Grapes.” The sofa had a fruit and nut-carved triple crest, serpentine arms, a rose and leaf serpentine seat rail, acanthus and rose cabriole legs, while the armchair and side chairs were of a conforming pattern. The suite had descended in the family of John Brand (1785-1849) who was the owner of Rose Hill, Lexington, KY.

Another piece of mid-19th century furniture done in the “Rosalie with Grapes” pattern, this being an American Rococo meridienne sold for $7,170. Again attributed to John Henry Belter, New York, this meridienne with a low scrolled back and single serpentine arm measured 38 in high, 43 in wide and 26 in deep. This piece also once belonged to John Brand, owner of Rose Hill in Kentucky.

Selling strong at $17,327.50 was a wonderful Renaissance Revival carved, ebonized and burl walnut parlor cabinet attributed to Allen & Brother, Philadelphia. The circa 1870 piece had a gadrooned pediment, a centered door carved in high-relief with the bust of a maiden, and lion head brackets. The lower case had a blocked front with female terms and a frieze drawer. The cabinet door was enhanced with foliate-carved and beribboned reserve that contained a lyre-incised panel. Two acroteria wells flanked the plinth which had egg and dart molding. Measuring 65 ½ in high, 60 in wide and 25 in deep, this cabinet was impressive.

Coming in at $14,340 was another circa 1870 cabinet made in Philadelphia. This example, an American Renaissance inlaid, bronze-mounted rosewood cabinet was ebonized and gilded. Having a crest centered by a roundel with a Classical bust, the cabinet featured an arch pediment with anthemia. Adding to its appeal was the blocked central cabinet having a bronze bust of a female goddess and a door panel inlaid with a bird and ewer design. This door was then flanked by columns. The side cabinets had arch pediments and wore centered bronze plaques. These cabinets also had canted corners and doors inlaid with musical trophies. Sitting on plinth shaped feet, and wearing a pleasant old surface, this cabinet measured 67 ¾ in high, 65 ½ in wide and 20 in deep.

The inlay work featured on the top of this American Renaissance ebonized and gilt-incised walnut table was first-rate. Called a “Centennial” center table, this circa 1876 piece attributed to Kilian Brothers, New York featured a most impressive top. Inlaid with a bust of George Washington, the design was further enhanced with eagles and two American flags which were flanked with roundels of “1776” and “1876.” Having a conforming apron and standing on trumpet legs with an incurvate stretcher centered with a finial, this lovely table sold for $4,880. It measured 28 in high by 28 in wide and 19 in deep.

By Susan Mellish

Neal Auction’s latest sale is this weekend and it appears that the consignors with 19th Century furniture by famous Philadelphia makers will do better selling them in Louisiana than in Philadelphia area auctions.  I can’t blame them since Neal does such a great job.

I’m excited about this sale.  It is the first of the new year and I feel I need a new gauge of how the market is doing.  Secondly, and most importantly, there is some mega-cool furniture in this sale (yes mega-cool is a technical Decorative Arts term that real curators and book authors use behind the scenes).

Daniel Pabst is in the (auction) house.

A MATCHING PAIR of Daniel Pabst pedestals.  You will never see this again until this same pair is resold again.

The cut-through veneer panels that show through to a darker layer of wood is a signature technique for Pabst.  The vine tendrils with the same treatment encircle the four columns on each pedestal.  The final piece de resistance is the rotating table tops.  You can put your favorite matching statues up for display and turn them to admire from any angle.  Regardless of what these go for, this is an important set.

You know I must be taken by the Pabst pedestals if I’m writing about them first rather than the works of one of my most favorite makers: Allen & Brother.  I see at least 3 attributed Allen & Brother pieces in this sale and possibly others where they held back on the attribution.  It seems an Allen & Brother collector is letting loose some (all?) of their collection.  The cabinet below will be one of the main events.  If only I had a spare $20k lying around to spend on a space-filling cabinet …

Here are some Victorian furniture highlights from the sale with many more not profiled here:

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Some text accompanying a recent auction ad caught my eye that had made reference to a laminated Rosewood parlor set that would be part of the upcoming sale.  I had seen the pattern many times before (as any a long-time Victorian (Rococo) collector has) and am familiar with its usual attribution to George Henkels as being the maker.  What caught my eye was that the auction house was thinking otherwise – that it was made by Alexander Roux and had long been falsely attributed to Henkels of Philadelphia.

I contacted Adam Lambert (no, I don’t believe he is the one from American Idol unless the famous singer now has a side job) from Crescent City Auction Gallery to get their thinking on the attribution that was mentioned in the advertisement:

Welcome to the great debate in New Orleans that is like the Hatfields and McCoys.  Our experts on American furniture believe that this set was falsely attributed to Henkles [sic] early.  Two specific things about the set have our experts insist that it is Roux and not Henkles.  The first is that this pattern is similar to the Bird Pattern done by Roux, and unlike any proven examples from Henkles.  The second, and probably the most important fact is that there is no record of Henkels ever making laminated furniture.

In Dubrow’s book, this actual set is attributed to Henkles.  This was an attribution made from an Auction House in New Orleans, and is believed by our New Orleans experts to be incorrect.  Again, not everyone here agrees, but present day reasoning leads people to believe that it is Roux.  Hope that this answers some questions.

Here’s an excerpt from Victorian Details that I sent back to Adam which introduces a third maker, Ignatius Lutz, who HAS worked in laminated Rosewood.  It also references similar labeled Henkels furniture:

Here is the aforementioned Alexander Roux bird pattern sofa from the 1853 Crystal Palace Exhibition. I personally don’t see an adequate resemblance to the “Henkels” set to assert a Roux attribution but maybe I’m missing something.

Adam points out that Henkels didn’t work in laminated Rosewood and I believe that is true to our best knowledge today.   If that is the case then, who did make the “Henkels” set?

Crescent City Auction Gallery’s sale of the above suite and several other Victorian lots will occur on January 17th.  More from Adam on the sale:

On a side note, we have a couple lots that you may be interested in viewing on our website: Lot 352, a Rosewood Double door Armoire-probably New York.  Lot 348 Rosewood Double Bed, possibly Thomas Brooks. Lot 333, Centripetal Chair designed by Thomas Warren.  Lastly, Lot 317, Pair Kimbel and Cabus Walnut Armchairs.

North Georgia Antique Auction is offering up some fine Victorian pieces in their upcoming January 9th auction.  For me, this attributed Pottier & Stymus credenza with extensive ormolu bling is a standout.  I’ve seen those capitals and horse/chariot ormolu before but I can’t place it, even with some fairly involved searching of my research material.  The plaques are signed G.P. Giru (maybe as “GPG”, they don’t say) and I wonder if pulling off the caryatids would yield a signature behind those as well.  If not Pottier & Stymus, it is certainly by one of the New York greats.

The sale also includes attributed pieces by J.H. Belter, R.J. Horner, Karpen Bros., Mitchell & Rammelsberg and more.  There is some fine accessible (as in not Tiffany, etc.) early 20th century lighting such as a pine needle design floor lamp by Apollo Studios.

More photos below and the full catalog is online at their site.

By Susan Mellish

PHILADELPHIA – Close to 800 lots of Philadelphia architectural antiques and Victoriana made up the November 21 event held by Kamelot Auctions as they offered up a smorgasbord of furniture, lighting, art and rugs.

Victorian furniture and decorative items sold well with a pair of Victorian carved walnut cue racks of tripartite design bringing $3,200. Prices do not include 20 percent buyer’s premium. These circa 1890 racks had two outer mirrors mounted with gargoyle faces with bronze stick holders protruding from their mouths. The top and bottom of each rack were mounted with broken arch crests and north wind faces. Each rack measured 84” W x 10” D.

An American Victorian inlaid walnut center table in the Renaissance Revival style sold well when it made $6,000. This circa 1870 piece had wonderful inlay work throughout, a center medallion on the table’s skirt and a strong stretcher base which also featured two medallions. The inlay design on the table’s top featured a foliate design including a central flower ring.

A bid of $4,600 was needed to win a rare American walnut griffin fireplace mantel attributed to Daniel Pabst of Philadelphia. This circa 1875 mantel featured an open mouth griffin head which tapered into an acanthus carved corbel. This then supported a relief carved frieze of leather capped with a mantel shelf having a curved edge. The mantel’s opening was 36” x 40.5.”
Little description was given for a Victorian inlaid and ebonized credenza, but that didn’t stop it from reaching $4,000. Thought to be in the manner of Herter Brothers examples, this circa 1865 credenza did sport the letter “H” stamped on the lock of the central door (Note from John: the inlay on the drawer looks more Philadelphia to me than New York and the sale happens to have been in Philly).

Over the top would be a fair assessment of the amount of carving decorating an oak bookcase that sold for $3,200. Having three glass doors flanked by free-standing barley twist columns with open tiered shelving on top, this circa 1880 bookcase’s base consisted of a storage compartment made up of five doors with each displaying heavily carved images of game animals. The bookcase measured 101.75” H x 137” W x 26” D.

Four pieces of decorative Victorian items came in at the $3,000 mark. Included in this list are

• Victorian walnut dining table with large molded top and carved apron over a full-bodied winged griffin base, circa 1890. Selling with two 20.5” leaves. Measuring 30.5”H. x 62” W.
• Victorian carved mirror having a large carved dog head, circa 1890, 87” H x 46” W.
• American Victorian carved oak bookcase with shaped cornice over leaded and faceted glass doors. The doors were flanked by turned columns with ornate capitals; raised paw feet, 64” H. x 72.5” W x 18” D.
• Victorian Continental carved walnut bookcase with extensive carved animal mounts. Having two carved putti holding draping swags framing the glass front doors, flanked by figural and foliate decorated columns. Raised base with two drawers. Measuring 97” H. x 62” W. x 21” D.

I know that many were interested in the “Tiffany Chairs” in the recent Rago Arts and Auction sale from the 1880/1890 Aesthetic Movement period which sold for $390,400.   An outright attribution has not been made, however, the chair has been described as being similar to the work of Louis Comfort Tiffany.

I have provided additional images below courtesy of Dr. Roberta Mayer who worked on the authentication of the chairs.  More details on the sale can also be read on the Urban Art and Antiques site.

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By Susan Mellish

PITTSFIELD, MA – Finding an auction offering several items labeled “Horner” or “Belter” is a thrill. Finding an auction loaded with fabulous Victorian furniture including pieces by these makers and more is a special treat. Fontaine’s Auction Gallery’s November 21 sale was just such an event. Loads of wonderful Victorian era furniture were not only offered, but sold; strong.

Case in point, lot 341, an Egyptian Revival [Note from John: I would probably diverge from Fontaine's and consider it Neo-Grec] marble top credenza marked “Allen Bros. Phila.” sold for $24,150. Prices include a 15 percent buyer’s premium. Having figural carving with four winged griffins above the legs and claw feet, the credenza was also heavily carved throughout with burled panels and incising. The large door in the center sported a repousse bronze plaque of a maiden dressed in flowing garments. The side doors were angled towards the back and had marble inserts. The three tiers above also had marble tops. Though the center marble had a crack and the side marbles had repairs, overall, this was a bold piece. Wearing its original finish helped too. The credenza measured 64″W x 57″H x 20″D.

As dining room sets go – this one was a winner. Described by Fontaine’s as being a “monumental nine piece figural oak dining room set,” they also attributed it to R.J. Horner. The large sideboard (79″W x 77″H x 26″D) had deep figural carved panels on the lower door and back, carved maiden and mountain man pilasters, curved doors wearing suits of armor, as well as claw feet, beveled mirrors and decorated drawer fronts complete with winged maiden supports. The serpentine front china cabinet (55″W x 73″H x 20″D) wore matching maiden and mountain man pilasters, carved griffins, a filigree top, and had claw feet, a single serpentine glass door and serpentine side glasses. The pedestal dining table (59″D x 3.5″H) had five legs, a massive center pedestal and four devilish figural griffin legs. Rounding out the set were six side chairs having lion’s head posts, leather seats and claw feet on cabriole legs. Dressed in a distinctive original black finish and in overall good condition, the set sold for $18,400.

Bedroom sets continue to sell well. A four piece walnut Renaissance marble top grouping came in at $13,225. Wearing a retailer’s tag stating “Arad Evans, Portland, ME” and then handwritten on it “Thomas Goodall – Sanford, ME,” the set included a bed – carved center crest, arched burled panel, turned finials (63″W x 83.5″H x 78″D); a three drawer dresser – arched swivel mirror with glove boxes, carved crest, marble top, fourth secret drawer at the bottom (46.5″W x 91″H x 23″D); a full commode – marble backsplash; and a matching half commode.

Carved hall benches don’t come any finer than the example offered by Fontaine’s. This mahogany example by R.J. Horner was heavily carved and came with a beveled mirror on top which was encased in a filigree carved frame with a figural winged cherub crest. Having a lift seat, the back panel was carved with maidens centered with a medallion and three putti. Large winged griffins offered support for the arms. The lower front panel was decorated with carved figural griffins centered with a maiden and gargoyle faces on either side. The bench wore its original deep red finish with the mirror frame having a slightly darker finish. Measuring 67″W x 98″H x 22″D, this bench made $13,800.

Attributed to A. Roux, a large oak game carved sideboard was an outstanding example of this type. The carving here could define elaborate. Its carved crest was of a large deer head over a shield, with the main paneling having an applied carved hunting scene including two dogs chasing a wild boar in the forest. Each of the side crests has a turned column with a bird feeding on a cluster of fruit. The base of the sideboard sported two large doors in the center and curved sides under drawers. Each door panel wore large carvings of hanging wild game including wild boar, deer, ducks and fish decorated with bugles, ribbons and filigree. Also, between each door were hanging carved fruit clusters. Drawer pulls were various berry clusters and leaves with dogs’ heads in between. Measuring 83″W x 101″H x 23″D, this magnificent sideboard sold for $14,950.

Many other wonderful items crossed the auction block this day including

* Mahogany console attributed to A. Quervelle, $13,800
* Carved mahogany partner’s desk attr. to R.J. Horner, $7,188
* Pair of R.J. Horner winged griffin armchairs, $6,325
* R.J. Horner figural carved oak partner’s desk, $11,500
* Inlaid rosewood Renaissance Revival credenza, $6,613
* Monumental Egyptian Revival jardinière and pedestal, $5,750
* Two-piece walnut marble top bedroom set attr. Thos. Brooks, $8,050

I have good and bad news to share with you. First, the bad news is that I’ve been traveling and haven’t had time to profile all the great auction items coming up for sale TOMORROW, November 21st.

Kamelot Auction House in Philadelphia, Neal Auction in New Orleans, and Fontaine’s in Pittsfield, Mass. are all having sales with great Victorian items.   If the Allen & Brother credenza at Fontaine’s doesn’t sell for a small fortune – don’t tell me – I don’t want to know.

Here’s what you should check out:

Neal Auction:

• Pair of Rosewood Inlaid Renaissance Revival pedestals
• Thomas Godey (attributed) credenza
• Thomas Brooks (attributed) Circassian Walnut bedroom furniture
• Thomas Brooks etagere
• John Henry Belter slipper chairs
• Various Meeks pieces
• much more…

Kamelot:

• “Herter Brothers style” inlaid credenza (has Gothic elements)
• Renaissance Revival table
• Several attributed Daniel Pabst items including an attributed griffin mantel
• Lots of heavily carved furniture and architectural items

Fontaine’s:

• The aforementioned Allen and Brother credenza
• Aesthetic ebonized and inlaid cabinet
• Inlaid credenza with the Gabriele Destree plaque
• Too many more great pieces of furniture and lighting…

Now, the good news related to my travels is that I now have a small treasure trove of Elijah Galusha furniture photos, including signed pieces and Gothic-era pieces, as well as original receipts.  There will be some things that you who are familiar with Galusha have never seen.  You also might get sick of seeing Galusha after I’m done.  The great people at the Rensselaer County Historical Society in Troy, NY allowed me time to photograph and dig in their files for information on Galusha and I will be sharing it with you here on Rare Victorian.

As a first taste, the above ebonized table was signed Galusha under the marble and was a 1982-era acquisition possibility for MWPI.  I don’t know if they ever went through with it, but here it is for your reference.  It is a photo of a photo (Polaroid), so the quality is not good, but it’s worth noting.

NEW ORLEANS – October 10 and 11 found New Orleans Auction Galleries, Inc. in full fall swing offering more than 1,200 important lots including some fabulous Victorian items. Of most interest was an elegant mid-19th century American Rococo Revival rosewood half-tester bed attributed to the New Orleans warerooms of Prudent Mallard.

What grabbed many a collector’s eye was the fact it appeared to be related to a similar bed at Lansdowne, Natchez, Mississippi; a bed considered the icon of New Orleans half-tester beds. According to New Orleans Auction Galleries both the example offered by NOAG and the Lansdowne bed share “a similar tester, head posts and headboard with floral basket crest. The crest carving on the present bed is considerably larger and more fully developed than the Lansdowne bed. This bed also employs a scarcer, sophisticated wrap footboard. The wrap-around footboard reflects the emerging national stylistic trends, yet ingeniously retains the telescoping mosquito netting posts employed on the more traditional footposts.”

The bed sold at this New Orleans Auctions Galleries event had a tester with an arched serpentine front and serpentine side, and its carved crest depicted a floral basket which was flanked by pierced scroll and foliate carving. The tester was supported by cluster-columned head posts with concave panels between the rounded columns. Its headboard was a single shaped panel sporting a similar floral and urn-carved crest. The rails had pierced brackets and applied carving depicting a cabochon, while the wrap footboard sported fluted vasiform posts with telescoping poles to support a mosquito net. If this wasn’t enough, the corners were carved with a crisp ribbon and floral design.

Measuring a massive 133¼” high, 94” long and 75½” wide, this impressive piece of furniture sold for $45,600. Prices include a 20 percent buyer’s premium.

Another, less elaborate tester bed sold this day. An American Rococo Revival mahogany tester bed from the third quarter of the 19th century, also attributed to the New Orleans warerooms of Prudent Mallard made $13,200. With this bed, the tester frame had projecting rounded corners with stepped moldings over beading which was supported by turned posts with a paneled headboard. The headboard crest consisted of a carved shell and cabochon cartouche over a floral garland which was then flanked by scroll molding. The rails of the bed had foliate-carved brackets. Wearing fine figured crotch mahogany veneers throughout, the bed measured 110½” high, and was 93½” long and 73¾” wide.

Fine Victorian carved furniture seemed to be the items of choice at this New Orleans Auction Galleries sale. An American Rococo Revival rosewood center table attributed to Alexander Roux, New York realized a solid $16,800. Having a tortoise-form top with a gadrooned edge, the top wore a highly carved conforming apron decorated with flowers, ribbons, foliage and scrolls. The base consisted of foliate-carved and beaded cabriole legs which were joined by serpentine stretchers supporting a large foliate and shell-carved cartouche. The table measured 30” high, 57½” wide and 37” deep.

Another American Rococo Revival rosewood table, this one having an inset marble top of tortoise form in a gadrooned frame over a conforming scalloped apron  with vertically grained figured rosewood veneer centered by a carved cabochon over a foliate and floral swag made $8,400. Adding to the tables appeal, each leg in the form of a C-scroll was joined to a cabriole leg with foliate and floral carving. The serpentine stretcher supported a foliate-carved finial with a delicate carved tip. The table was 32½” high, 58″ wide and 42” deep.

Two armoires sold well at this October event. An elegant American Rococo Revival rosewood armoire again attributed to Prudent Mallard came in at $13,200. It is interesting to note that this armoire has the same floral-basket crest design exhibited on the afore-mentioned half-tester bed in this sale, and the similar half-tester bed at Lansdowne, Natchez, Mississippi.

Having a bonnet top with a floral urn-carved crest flanked by open carving, the piece’s molded cornice was trimmed with a beaded molding with similar molding, but on a smaller scale decorating the frieze and framing of the single mirrored door. Having canted corners with foliate-carved brackets, the lower section also sported a single drawer. This armoire stood 115” high, was 56½” wide and 25” deep.

Another American Rococo Revival rosewood armoire, mid-19th century, attributed to Prudent Mallard sold sans the ornate crest. This example which made $10,200 sported a bonnet top with a molded cornice trimmed with beaded molding while the frieze was adorned with ribbon moldings. Larger-scaled ribbon molding framed the single mirrored door and it too had canted corners with foliate and floral-carved brackets with the lower section having a single full-width drawer over ribbon moldings. Standing 104¼” high, 57½” wide and 25” deep, it is interesting to note the case does not appear to ever have been fitted for a crest. However, it seems Mallard armoires could be fitted with a crest or were sold without crests depending on the desire of the client.

Attributed to J. and J.W. Meeks, New York, an American Rococo Revival laminated rosewood sofa also sold this day bringing $7,800. The laminated back was surmounted by a deeply carved floral crest flanked by open foliate and scroll carvings and a gadrooned top rail. The back was joined to closed arms and it sported a serpentine seat rail which was raised on cabriole legs. The sofa was 76” high, 52” wide and 26” deep.

Some restoration work had been done to this sofa including the upholstery appearing to have been removed to tighten and/or repair the frame. The crest tip has been re-glued, a brace has been added on the rear of the crest, a piece of carving at the base of one leg was replaced and it appears the finish was refreshed

Contact:
New Orleans Auction Galleries, Inc.
www.neworleansauction.com
1-800-5010277