Col­lec­tions en­liven a Pasadena bun­ga­low.

A DO-IT-YOUR­SELF RES­CUE OF A HAND­SOME HOUSE MADE IT THE PER­FECT BACK­DROP FOR A WEALTH OF PE­RIOD ART AND FUR­NISH­INGS. NOW IT’S LIKE A STEP BACK IN TIME.

Arts and Crafts Homes - - PORTFOLIO - By sarah hil­bert | pho­to­gaphs by Jaimee ita­gaki

bE­YON­DITS SUB­STAN­TIAL AR­RAY of known works—the Stick­ley tall-case clock, a drop­light by Tif­fany, Rookwood pot­tery—this house teems with re­mark­able and rare trea­sures by lesser-known artists and crafters. Paint­ings are hung ev­ery­where—ev­ery­where! Is it a mu­seum, an art gallery? Cer­tainly it’s a feast for the eyes.

When Chuck Mauch bought this 1910 bun­ga­low in Pasadena, wood­work in Dou­glas fir and nu­mer­ous built-ins re­mained—but all of it, and even the fire­place, had been painted. “Strip­ping all that paint was one of the worst jobs I’ve ever done,” he re­mem­bers. To­day the in­te­rior glows with the patina of the old wood and pe­riod col­ors. The main liv­ing space is ar­ranged in an easy L shape, with rooms united by ceil­ing beams and wood­work, throw rugs, and a soft glow from vin­tage lamps and the pic­ture lights over paint­ings.

The ar­chi­tec­ture is strik­ing. A wide porte-cochere leads down the drive­way to the garage. Sup­ported by sub­stan­tial stuc­coed pil­lars, it meets the front porch by way of low, wide steps to cre­ate a us­able cov­ered room. Out­side, shin­gles had been painted light gray, and the trim was white. After ex­ten­sive restora­tion to the sid­ing, Chuck gave shin­gles and trim a darker color in keep­ing with the bun­ga­low pe­riod.

The ex­cep­tional “ex­pe­ri­ence” of this house comes from the com­bi­na­tion of ar­chi­tec­tural de­tail and layer upon layer of fur­nish­ings. Vin­tage col­lec­tions in­clude work by lesser-known peo­ple whose style, skill, and artistry are on par with the most fa­mous names. Chuck’s thor­ough knowl­edge makes a walk through the house a de­light­ful show-and-tell.

Take, for ex­am­ple, the Pair­point scenic re­verse-painted lamp with a Ch­ester­field shade—Chuck’s fa­vorite piece. Or the rare flo­ral tile cre­ated by He­len Green­leaf Lane, one of only a few signed by the artist. Com­mand­ing at­ten­tion in the liv­ing room is a strik­ingly large, Asian-themed paint­ing (ca. 1930) by Bertha Lum, who was known for her wood­block print­mak­ing. A sin­gu­lar piece, it’s Lum’s only known oil paint­ing.

The bun­ga­low brought Chuck Mauch another trea­sure: his spir­ited part­ner, Mau­rine St. Gau­dens, who is a fine-arts con­ser­va­tor, au­thor, and cu­ra­tor. She main­tains a sep­a­rate home but has lent her ex­per­tise to Chuck’s “art gallery.” The cou­ple met when Chuck hired Mau­rine to help ap­praise and re­store his art col­lec­tion. Their mu­tual love of artist Sa­muel Hyde Har­ris’s work sealed the deal.

The two have cul­ti­vated Chuck’s pre­em­i­nent Har­ris col­lec­tion; this house is a near shrine. A self-de­scribed “fa­natic col­lec­tor,” Chuck owns 79 pieces of Har­ris’s com­mer­cial work and ap­prox­i­mately 25 oils, all care­fully pur­chased through auc­tions, pri­vate col­lec­tions, and the Har­ris es­tate. The Train Room—where orig­i­nal ad­ver­tis--

TOP: The home­owner counts his Stick­ley ‘ S’ grand­fa­ther clock among his fa­vorite

fur­nish­ings. To its right stand a Tif­fany Harp lamp and one of two # 369 Stick­ley

Mor­ris chairs. BE­LOW: Built in 1910, the bun­ga­low is in Pasadena’s Madi­son Heights

neigh­bor­hood. The sweep­ing porte­cochere and front porch are orig­i­nal. A green 1967 Mus­tang is part of the owner’s

col­lec­tion of vin­tage cars.

ABOVE: The large Bertha Lum paint­ing ( ca. 1930) is flanked by two oils by Sam Hyde Har­ris. The set­tle and spade- cutout lamp ta­ble are both by Lim­bert. TOP: The fire­place ( tile un­known) an­chors a room rich with col­lec­tions. Owl andirons are pe­riod; the chair is Lim­bert. The oil

paint­ing over the fire­place is by Howard Ar­den Ed­wards, 1937.

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