A feminist with a penchant for wit, whimsy, and social satire, the artist and Jazz Age saloniste Florine Stettheimer (1871–1944) has often, and unfairly, been misconstrued by critics: her playfulness misread as frivolity, her style and subject matter cast as lacking gravitas.
Ten years ago, a show at the New-York Historical Society revealed a remarkable discovery made by a team of decorative arts scholars: the story of Clara Driscoll (1861–1944), the turn-of-the-century artist who, with her team of “Tiffany Girls,” designed some of the studio’s most iconic leaded glass lamps.
The estimable outsider art collection of Audrey Heckler.
A collection of silver prizes sheds light on America’s proud agrarian past.
Crocuses and daffodils bloomed in the picturesque Dutch city of Maastricht this March as collectors, museum curators, and art journalists converged on The European Fine Art Fair (TEFAF), the grandest art exposition of them all.
The tenth edition of Dispatches, a new sporadical email newsletter about the arts of the past as they live in the present day by Elizabeth Pochoda, Advisory Editor, The Magazine ANTIQUES.
The art and antiques trade has helped attract many talented people working in the decorative arts to the area. Meet a few of them.
America is so rich in great museums that we have come to take them for granted. We should not.
Built by a Hungarian, named for an eighteenth-century house he owned in London, lent after his death to a museum in Berlin, and now residing at the Dallas Museum of Art—the Keir Collection of Islamic Art is the epitome of global cultural exchange even before you consider its contents.
We asked Ann Philbin, director of the Hammer Museum, to tell us how she’s maintaining focus on the museum’s distinguished collection of European and American paintings and works on paper, while fostering the burgeoning contemporary art scene in Los Angeles.