Sometime ago I mentioned how much I enjoy wandering about the period rooms at the Metropolitan, so painstakingly reconstructed by the museum curators that they compete in authenticity and splendour with the original ones. Today, let’s go for another walk to see some of the objects high on my imaginary wish list (and a couple of no-nos).
The pianoforte:
Pianoforte, New York City, 1810-15
Patented by John Geib and Son. Case attributed to the workshop of Duncan Phyfe (1768-1844). Mahogany, rosewood, satinwood, ivory, gilded gesso, brass with white pine, maple, ash
The Square Piano (when more is too much – too complicated for my wish list, yet very impressive woodwork): 
Square Piano
Robert Nunns and John Clark (active 1833-58)
New York City, 1853
Rosewood, mother-of-pearl and tortoiseshell
{Lavish decoration and opulent materials distinguish this extraordinary piano…. Its immense scale and excessive decoration make it quite unlike the small and economical upright pianos that became fixtures of middle-class parlours in the second half of the nineteenth century.}
The Four Seasons cabinet: 
Cabinet
Herter Brothers (active 1864-1906)
New York City, ca. 1869
Rosewood, maple ebonized wood, porcelain plaques, oil on panel, brass
{This rich and imposing cabinet is from a ten-piece parlour suite made by Herter Brothers in 1869 for Jay Gould’s house on Fifth Avenue. Incorporating a design vocabulary taken from the architecture of the day, it is a tour de force of cabinetmaking, combining sophisticated marquetry, assured carving and delicately modeled ceramic plaques depicting the Four Seasons.}
The Étagère in Rococo Revival style:
Alexander Roux (active 1843-86)
New York City, ca. 1855
Rosewood, chestnut, poplar, bird’s-eye maple veneer
A Girl’s best friend (not just diamonds):
Necklace with Pendant, ca. 1910
Louis Comfort Tiffany
Tiffany and Company
Moonstones, Montana sapphires, platinum
The Gilded Kennel (with the mark of Marie-Antoinette, no less):
Kennel
Gilded beech and pine. Signed by Claude Sené (1724-1792): stamped with the mark of Marie-Antoinette’s garde-meuble. French, ca. 1775-80
The Copper Lamp:
Dirk Van Erp (1859-1933)
San Francisco, California, ca. 1912-15
Copper base, mica and copper shade
The dressing room (gown included): 
Worsham-Rockefeller Dressing Room
New York City, 1881-82
George A. Schastey & Co. (1873-97)
{In 1881, Arabella Worsham then-mistress of railroad magnate Collis P. Huntington, hired the cabinetmaking and decorating Firm George A. Schastey & Co. to create a series of distinctive artistic interiors for her townhouse at 4 West 54th Street. The resulting decor, including that found in this dressing room, was the height of cosmopolitan style in the early 1880s and emblematic of Worsham’s quest to fashion her identity as a wealthy, prominent woman of taste.}
The octagon table:
Probably New York City, about 1860
Walnut, marble
The Richard and Gloria Manney Greek Revival Parlour:
The Richard and Gloria Manney John Henry Belter Rococo Revival Parlour:
The Working Girl’s table:
Worktable
Salem, Massachusetts, 1800-1810
Mahogany, mahogany veneer, ivory with white pine, maple
{Worktables were one of few gender-specific pieces of furniture used in the home. Women relied on them for storing sewing supplies and for conducting correspondence, as such tables often contained a hinged writing surface in a drawer.}
The Richmond Room, 1810-11:
The yellow chairs and the sleek Federal era sofa:
Side Chairs
Attributed to the workshop of John Finlay (1777-1851) and Hugh Finlay (1781-1830)
Baltimore, ca. 1815-25
Maple with painted and gilded decoration
{Originally part of a large set, these brilliantly conceived and handsomely executed chairs derive their broad, deeply curved crest tablets and sweeping rear stiles from the ancient Greek klismos form.}
Center Table
Labeled by Anthony G. Quervelle (1789-1856)
Philadelphia, ca. 1830
Mahogany, marble and brass with painted decoration
The Art Nouveau mantelpiece: 
Attributed to Jean-Désiré Muller (French, 1877–1952)
Glazed stoneware, ca. 1900
The Minimal-Tidy-Closet-I-will-Never-Have-But-Always-Dream-Of: 
Sara Berman’s Closet
{The meticulously organized, modest closet in which Sara Berman (1920–2004)—an immigrant who traveled from Belarus to Palestine to New York—kept her all-white apparel and accessories both contained her life and revealed it. Inspired by the beauty and meaning of Berman’s closet, the artists Maira and Alex Kalman (who are also Berman’s daughter and grandson) have recreated the closet and its contents as an art installation.
This exhibition represents Berman’s life from 1982 to 2004, when she lived by herself in a small apartment in Greenwich Village. In her closet Berman lovingly organized her shoes, clothes, linens, beauty products, luggage, and other necessities. Although the clothing is of various tints—including cream, ivory, and ecru—it gives the impression of being all white.}
And, finally, his made-to-order Little Red Hood’s cloak:
Child’s cloak
American, 180s
Wool and silk
The Metropolitan Museum of Art
July 2nd, 2017
Japanese Typewriters
The Chinese typewriter
Olivetti Design
Royal Quiet De Luxe with carrying case, 1949
Bar-Lock No. 6, 1895
Williams No. 1, 1895
Crandall New Model, c. 1890
Chicago No. 2, 1905
Underwood Standard Portable Typewriter with hand-lettered case, 1926
Royal Model P, 1932
This poster on the window of a barber shop in Port Authority Subway, kept poking me; something about his sideways glance, unintentionally funny face and the ”Love, Mother” logo made me smile, every time.
The Humble Fabulist 