The furniture mounts of P.E. Guerin

Magazine Antiques, May, 2002 by Barbara Laux

(14.) Ibid., p. 61.

(15.) Alice Cooney Frelinghuysen, "Patronage and the Artistic Interior," ibid., p. 81.

(16.) Gray, "Leon Marcotte," p. 55.

(17.) Conversation with Martin Grubman on June 24, 1998.

(18.) David A. Hanks, "Pottier and Stymus Mfg. Co.: Artistic Furniture and Decorations," Art and Antiques, vol. 7 (September/October 1982), p. 85.

(19.) I am very grateful to Anna Tobin D'Ambrosio, the curator of decorative arts at the Munson-Williams-Proctor Institute Museum of Art in Utica, New York, for bringing the sideboard in Pl. X to my attention.

(20.) Sec Marilynn Johnson, "Art Furniture: Wedding the Beautiful to the Useful," in Doreen Bolger Burke et al., In Pursuit of Beauty: Americans and the Aesthetic Movement (Metropolitan Museum of Art and Rizzoli, New York, 1986), p. 144.

(21.) Roger B. Stein, "Artifact as Ideology: The Aesthetic Movement in Its American Cultural Context," ibid., pp. 25, 27.

(22.) Receipts from P. E. Guerin to George B. Post, August 27, 1873, and letters from George B. Post to P. E. Guerin, May 15, 1876, and January 30, 1877 (George B. Post Papers, Incoming and Outgoing Correspondence, vols. 1-4, department of prints, photographs, and architecture, New-York Historical Society, New York City).

(23.) The trade card dates from 1880-1881, when the business was at 24 West Third Street in New York City. The card is in the "Brass, Bronze, and Copper Advertising Cards and Envelopes folder in Collection no. 60, box no. 3, Warshaw Collection of Business Americana, archives center, National Museum of American History, Washington, D.C.).

BARBARA LAUX is a graduate of die CooperHewitt, National Design Museum and Parsons School of Design master's program in the history of the decorative arts. This article is based on her master's thesis.