We started collecting in our early forties, facilitated by the success of the perfume company we founded after Mark’s separation by firing from corporate life. The premise of Parfums de Coeur, “Designer quality fragrances not designer prices”, proved powerful and enduring...we sold it after thirty years of success and profitable growth.
Early on we acquired a noble white brick colonial on nine acres in New Canaan, Connecticut. Designer-magician, Albert Hadley transformed it into a place of great comfort, luxury, and beauty and he became part of our life for twenty six years. We collected American antiques, furniture and art, John Brewster, Amni Phillips, Goddard Townsend. We wanted to project a life of conservative comfort, solid old money—of course, nothing could have been further from the truth!
“Timing IS everything!"
Come 2005, we were empty nesters, Susan decided to depart Connecticut and move to New York City. We wanted change, foreign films, newness. We found a co-op at One Fifth Avenue, starting a long running love affair with Greenwich Village.
In early 2007 we sold our antiques collection and New Canaan house, talk about blessed timing!
Ours proved a familiar collecting arc; brown furniture and folk art gave way to mid-century modern furniture and contemporary art. We were tired of dark; we wanted color, newness, more space! In 2010 a Greenwich Village townhouse came our way. We had never stopped buying and collecting and we were always redecorating!
We continue changing our lives. We are building a new mid-century modern style house in Beverly Hills. Again, we wanted change, to be near our only grandchild, in La La land. We will be bi-coastal—New York and Los Angeles—straight urban energy full on.
Another motivation was realizing Mark has proven unable to maintain three houses; just too, too much. So we are selling our Florida home at the Bears Club and our 1917 Summer home in Weekapaug, Rhode Island.
By now you see the contents of those two houses will not easily fit into one new smaller house, thus our parting ways with these long cherished objects.
On one hand we’re sorry to see these go. However, these memories will always be with us, the wins and misses at so many auctions, Albert Hadley’s special eye on our handful of houses, most of all what a lucky and mostly happy life we have had together. We are passing these on, and, dear reader, we hope these bring you the same pleasures and good fortune we have so enjoyed.
P.S. A mild antidote to the above admitted orgy of fat cat disease: we regularly give to and support Harlem Children’s Zone and KIPP. This, and our two wonderful sons, is what we are most proud of...
William Spratling 1900–1967
William Spratling was born to an Alabama-bred father and a New England mother in 1900 in Upstate New York. In 1917, after dealing with several deaths in his family and personal upheaval, Spratling enrolled at Auburn University in Montgomery, Alabama. Quickly demonstrating a talent for technical and perspective drawing, Spratling would eventually lecture as an undergraduate in architecture courses. He went on to attain a position at Auburn as an instructor in architecture without acquiring a degree. Spratling moved to New Orleans in 1921, becoming an associate professor of architecture at Tulane University.
A turning point in Spratling's life occurred when he visited Mexico for the first time in 1926. He returned for summers over the next several years and, in 1929, moved there and became active in the artistic community. At first, Spratling spent his time promoting the art of Diego Rivera among New York galleries. This led to his participation in the first exhibition of Mexican art held in the United States. The exhibit was funded by the Carnegie Institute and opened at the Metropolitan Museum of Art in New York.
In 1931, Dwight Morrow, the United States Ambassador to Mexico, suggested that Spratling install a craft center in Taxco, which had been the site of silver mines for centuries. Spratling hired an experienced goldsmith to create silver jewelry of Spratling’s design. Other artisans joined this shop and produced tin wares, copper items, textiles, and furniture, all designed by Spratling. The shop was so successful that, in 1935, the artists moved to a larger space, which Spratling called "Taller de las Delicias" ("Delights Workshop"). There was overwhelming enthusiasm for Spratling's jewelry designs and his holloware. By 1941, he had 120 employees and was selling silver not only in Mexico, but also in America to Neiman-Marcus, Bonwit Teller, Saks Fifth Avenue, and others. In 1944, Spratling's company, now called Spratling y Artesanos S.A., moved to an even larger space. Approximately 400 workers were involved in the production of Spratling Silver.
Given his poor business acumen, Spratling resigned in 1945 and the company dissolved soon thereafter. Spratling then moved to a ranch he had purchased in Taxco-el-Viejo and, in 1947, he formed a new silver workshop called William Spratling S.A. He reduced his production significantly from the levels of the early/mid-1940s and his designs became simpler and more refined. Although disappointed by his lack of financial success, Spratling's stylistic influence and fame endure. Throughout Mexico, he is still considered "The Father of Mexican Silver." Spratling died in a car accident on August 7, 1967 just outside Taxco.
Auction Results William Spratling
