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.
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 art and antiques trade has helped attract many talented people working in the decorative arts to the area. Meet a few of them.
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.
While notable for many reasons, the Montgomery Place estate in Annandale-on-Hudson is most distinctive for having enjoyed the attention of two famed American tastemakers of the mid-nineteenth century: architect Andrew Jackson Davis and landscape designer Andrew Jackson Downing.
Dating to 1860, when it was founded by philanthropist John Bard in association with leaders of New York City’s Episcopal Church, Bard College wins plaudits for its lively liberal arts curriculum. But what strikes the casual visitor is the architectural diversity of the school’s five hundred-acre campus in Annandale-on-Hudson, which features buildings that range in style from the neoclassical to the ebullient modernity of Frank Gehry.
A few years ago, one of two silver soup tureens ordered by Thomas Gibbons in 1810 came on the market, after remaining for nearly two centuries in the possession of his descendants.
What the name of the house lacks in poetry it makes up in simplicity.