September 1, 1978 | By RICHARD WOODWARD; from The Magazine ANTIQUES, September 1978.
Paintings by America's first artists afford an informative and entertaining view of the nation's early years. Many of these painters received academic instruction at home or abroad, while others were either wholly untutored or obtained their training from nonacademic sources. The work of this latter group, the "folk painters," provides an insight into native American culture and artistic talent. These painters have left an abundance of portraits recording the appearance and personalities of their sitters as well as other pictures that provide glimpses of the daily life of our first citizens. The spiritual life of the German-American is reflected in their fraktur (see Pl. IV).
Pl. I. Martha Payne (b. 1773), by the Payne limner, GoochlandCounty, Virginia, c. 1791. Oil on canvas, 43 7/8 by 37 ¾ inches. Martha Payne, the second child of Archer and Martha Dandridge Payne of Goochland County, was descended from seve…» More
September 1, 1978 | By ALBERT SCHER; from The Magazine ANTIQUES, September 1978.
When Helen Burr Smith wrote about silver spoons with hoof-shape terminals in ANTIQUES in 1944 there were only four of these interesting survivals from seventeenth-century Dutch New York households known in America. Now two more hoof spoons have come to light.
Fig. 1-Silver hoof spoon, probably New York, seventeenth century. Length 6 9/16 inches. Inscribed F-A on the flat of the hoof. It is nearly identical to the spoon shown in Figs. 2, 2a. Private collection; photograph by Meyers Studio.
One bears the initials of the unidentified first owner F-A, in seventeenth-century lettering on the flat of the hoof, but is otherwise unmarked (Figs. 1, 1a). It appears to be identical to a spoon made by Ahasuerus Hendricks (Figs. 2, 2a) that was discussed and illustrated in Miss Smith's article, except that the bowl of the spoon in Figure 1 is slightly larger than that of the Hendricks example. In both cases, the …» More
July 1, 1978 | By J. S. BROWN; From The Magazine ANTIQUES, July 1978.
Skippets are small boxes made to hold and protect pendent wax seals attached to important documents. Silver, silver-gilt, and gold examples were used by the United States government between 1815 and 1871, primarily on treaties with other countries that had been ratified by Congress. The skippet was suspended from the treaty by woven strands of gold or silver, often entwined with strands of silk, which had been threaded through the box before the hot wax was poured in. The wax was impressed with the great seal of the United States, and the cover of the box was hand chased with a design based on the seal.
The first skippet made for the United States government was for the Treaty of Ghent, which settled the War of 1812 with England. Now in the Hall of Records in London, it is marked by the Georgetown silversmith Charles A. Burnett. His shop on Bridge Street was not far from the bookshop and bindery of Joseph Milligan, to who…» More
May 1, 1978 | By JOAN SAYERS BROW; from The Magazine ANTIQUES May 1978.
The handsome slant-front desk illustrated here was originally owned by Colonel George William Fairfax (1724-1787), whose estate, Bevoir, was near Mount Vernon on the Potomac River in Virginia. In April 1773 Fairfax took his wife, sally Cary, to England, after asking his neighbor George Washington to watch over Belvoir while they were away. Washington wrote to Fairfax from Mount Vernon on January 19,1773, "As you only require that I should have an eye to the conduct of your Steward or manager, and to remit his Collections, I can do it with very little difficulty." According to Fairfax family tradition, the desk was moved from Belvoir to Mount Vernon at this time to hold the plantation's papers.
Slant-front desk, American, 1769-1772. Mahogany, with pine and poplar the secondary woods; height 48, width 36, depth 34 inches. The brasses are old replacements. The slides tha tpull out to support the top are long narrow draw…» More
May 1, 1966 | By Geoffrey de Bellaigue, Deputy surveyor of the Queen's Works of Art
Originally published by The Magazine ANTIQUES in May 1966.
From the day that George IV, as Prince of Wales, first took up residence at Carlton House when he came of age in 1782, to his death in 1830, he collected French works of art on a scale previously unknown to English monarchs. Though his interest never wavered, his taste in art, and in the arts of France in particular, did undergo some change as he grew older.
Two commentaries on the furnishings at Carlton House serve to illustrate this shift in emphasis. In 1785 Horace Walpole wrote: "There is an august simplicity that astonished me. You cannot call it magnificent; it is the taste and propriety that strike. Every ornament is at a proper distance, and not one too large, but all delicate and new..." Twenty-seven years later Lady Beaumont, as reported by Joseph Farington, was equally enthusiastic but for a different reason: "... the splendour of the fu…» More
Gemellion, Artist unknown, Limoges, France, 13th century Champlevé Enamel on Copper, 8 7/8” diameter Collection of The Walters’ Art» View All