Decorative Oval Mirror. English Cottage Decorating. Metal Home Decorations
Decorative Oval Mirror
- Serving to make something look more attractive; ornamental
- Relating to decoration
- cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"
- (decorativeness) an appearance that serves to decorate and make something more attractive
- (decoratively) in a decorative manner; "used decoratively at Christmas"
- Correspond to
- (of a reflective surface) Show a reflection of
- a faithful depiction or reflection; "the best mirror is an old friend"
- Keep a copy of some or all of the contents of (a network site) at another site, typically in order to improve accessibility
- polished surface that forms images by reflecting light
- reflect as if in a mirror; "The smallest pond at night mirrors the firmament above"
- An oval playing field or racing track
- In technical drawing, an oval (from Latin ovum, 'egg') is a figure constructed from two pairs of arcs, with two different radii (see image on the right). The arcs are joined at a point, in which lines tangential to both joining arcs lie on the same line, thus making the joint smooth.
- A body, object, or design with such a shape or outline
- egg-shaped: rounded like an egg
- ellipse: a closed plane curve resulting from the intersection of a circular cone and a plane cutting completely through it; "the sums of the distances from the foci to any point on an ellipse is constant"
13 and 15 West 54th Street Houses
Midtown Manhattan This handsome town house was built in 1896-97 as one of a pair with No, 15 West 54th Street for William Murray, a prominent businessman from Larchmont, New York. Designed in a Renaissance-inspired style by Henry Janeway Hardenbergh, the residence is a distinguished example of the fashionable town houses that once characterized the West Fifties between Fifth and Sixth Avenues and is one of an ensemble of five town houses on West 54th Street. Midtown Manhattan remained open farmland until the first half of the 19th century when shanty towns, rubbish dumps, stockyards, and factories began to appear above West 40th Street. The landscaping of Central Park, commenced in 1857, helped spur the development of Midtown, and during the building boom that followed the Civil War the West Forties and Fifties became lined with brick and stone residences. These new houses ranged from lavish Fifth Avenue mansions commissioned by such individual clients as the Vanderbilts to middle-class dwellings erected on a speculative basis. The house at 13 West 54th Street occupies part of the original site of St. Lukes Hospital (1858), which fronted on West 55th Street at the southwest corner of Fifth Avenue. The hospital dominated the east end of the block until new quarters were erected on Amsterdam Avenue at 113th Street in 1896. That same year construction began on Nos. 13 and 15, the first of several fashionable residences to be built on the north side of West 54th Street. Together with the University Club (a designated New York City Landmark), constructed at 1 West 54th Street in 1896-1900, they typify the fine turn-of-the-century residences and private clubs that transformed the Fifties near Fifth Avenue and Fifth Avenue itself into an exclusive neighborhood part of the continuing northward residential trend in Manhattan. Many of the buildings were designed by New York's leading architects for the city's most prominent and affluent citizens. William Murray was a prominent businessman and a noted yachtsman who live in Larchmont, New York, and spent summers in Newport, Rhode Island. He was a director of the Dixon Crucible Company in Jersey City, N J. the Title Guarantee Company, and the. New York and Stanford Railway Company. He and his wife, Alice Teneycke Murray, resided in Larchmont for over 40 years and apparently built the 13 and 15 West 54th Street Houses as a real estate investment. Designed in a Renaissance-inspired style using detail in a picturesque manner, the 13 West 54th Street House is a fine example of Hardenbergh's residential architecture. Ho. 13 is slightly taller than No. 15 and was designed with four full stories, an attic level, and a below ground basement. With the exception of a differing roof line, Hardenbergh designed the limestone facade of No. 13 as ;a mirror image of No. 15. The three upper stories rise above a rusticated parlor floor where the main entrance is paired with that at No. 15. The house shares a prominent double stoop with No. 15 where curving staircases running east and west ascend to a central, double landing. Oval vents ornament the stoop wall at, sidewalk level. Three windows, fronted by elaborate iron grillework. light the. basement of the house, and a basement door with similar grillework is located under the stoop. The handsome arched entrance of No. 13 is couponed of a double door, fanlight, .and decorative grlllework. A curved balcony fronted by a stone balustrade appears directly above the entrance and serves the central, second story windows which are framed W eared architraves with crowning cartouches. The first and second stories are further distinguished by a two-story, three- bay curbed oriel that flanks on one side the entrance, balcony, and windows. The oriel rests on a large console bracket carved win a grotesque- human head. This type of detail is characteristic of Hardenbergh's work and may also be seen on his West 73rd Street houses. The oriel, rusticated at parlor level, displays a richer treatment at the second story. Here, the stone piers that flank the oriel windows are marked by vermiculated blocks, a more elaborate form of rustication. Rich ornament also articulates the third story of the building. The windows are centered on the facade, their heavy enframements embellished with vermiculated blocks that echo those at second story level. Elaborate foliate lintels capped with scroll keystones crown the windows. A molded string course runs across the facades directly over the windows, separating the third story from the floor above. The fourth story is lit by three flat-arched windows, flanked by incised terminal pedestals capped by volutes. A large carved plaque marks the division between Nos. 13 and 15, and an elaborate overhanging cornice, shared with No. 15, crowns the structure. Three flat-arched dormers pierce a copper-clad mansard roof at No. 13. The exterior of No. 13 is in excellent condition and retains its original architectural int
Purse - open
This small sterling silver purse features a striated pattern on the front with an oval sapphire detail and is suspended on a fine link chain. The back is smooth and features the engraved initials LBP (Lucy Bowerman Pellatt). The purse is hinged and when open, lies flat. The interior is a pale green suede embossed with an alligator design. One of the interior compartments contains the calling card of Mill Pellatt (Lucy Bowerman's husband and the brother of Sir Henry Pellatt) as well as a small rectangular mirror.