April 1, 1992 | By SHIRLEY BURY; from The Magazine ANTIQUES, April 1992.
The formidable skill of Parisian jewelers in interpreting the work of innovative designers was the prime cause of their international popularity. Although craftsmen elsewhere practiced the late eighteenth-century technique of open-backed, or à jour, setting, which allowed light to refract and reflect through the stones, greatly enhancing their brilliance, the contrast between the delicate French mounts and the geometrical shapes of the stones was particularly striking (see Pl. III).
The replacement of the Bourbon monarchy by the imperial regime of Napoléon I (1769-1821) did nothing to dim the reputation of the jewelers of Paris, whom the women of the Bonaparte family patronized before and after the overthrow of Napoléon at Waterloo in 1815 (see Pls. I, III, and Fig. 3). At a ball Napoléon III (1808-1873) gave in 1868, for example, his empress, Eugénie, a celebrated beauty, wore "green velvet, with a crown of emeralds…» More
June 1, 1987 | By GEOFFREY C. MUNN; from The Magazine ANTIQUES, June 1987.
Even if the word genius was used as sparingly as it should be, the late nineteenth- and early twentieth century jeweler René Lalique would always be so described. Rather than a craftsman with a leaning toward the artistic, he was an accomplished artist who chose to express himself primarily in jewelry.
The son of a merchant who dealt in pretty luxury goods called "articles de Paris," Lalique spent an uneventful childhood between school in Paris and holidays in the French countryside. It was undoubtedly there that he learned to see nature as a primary source of inspiration; and recording what he saw in the fields and streams was an easy task for a boy who, by the age of fifteen, was earning a steady income as a portrait miniaturist. His interests coincided perfectly with the revolution in the decorative arts known as art nouveau, which rejected eclecticism for a direct interpretation of the natural world. Europeans wo…» More
March 1, 1983 | BY REKA NEILSON FISHER, Curatorial assistant, Saint Louis Art Museum
THE CREAMICS COLLECTION of Mr. and Mrs. George S. Rosborough Jr., of Webster Groves, Missouri, a suburb of St. Louis, is mainly devoted to English earthenware of the seventeenth and eighteenth centuries. Initially they collected early nineteenth-century yellow-glazed earthenware, but then they turned to earlier wares, particularly delftware, which attracted them because of the freshness of the decoration, drawn directly on the glaze.
The Rosboroughs' English delftware collection is comprised of all-white, mid-seventeenth-century wares, late seventeenth-century decorated wares primarily made in London and Bristol, and later wares from Bristol, Liverpool, and Dublin. There are also examples of tin-glazed earthenware of exceptional quality from France, Sweden, and Russia.
The Rosboroughs' delftware is distinguished by the collectors' discriminating taste and their sensitive, scholarly approach to collecting.…» More
By Virginia Reed Colby
Stephen Parrish, a well-known painter and etcher, and his son Maxfield,1 one of the most popular artists of the early twentieth century, both moved to New Hampshire in the 1890s. Stephen came to Cornish in 1893, following the sculptor Augustus Saint-Gaudens and other artists, writers, and musicians who made up what came to be known as the Cornish colony.2 The members of the colony found rural Cornish a delightful place to work, yet they had easy access to New York City by train from Windsor, Vermont, across the Connecticut River.3
Stephen Parrish's house Northcote4 was designed by Wilson Eyre 91858- 1944), a noted architect from Philadelphia, where Parrish had also lived before coming to Cornish. From 1893 to 1902 Parrish spent his time building the house, a shop, a greenhouse, a stable for his horse Betty, a studio, and the extensive gardens. To take advantage of the view Parrish lined up the main garden path with th…» More
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
[Compiled by Bill Stern, Executive Director at the Museum of California Design, Los Angeles. Originally published in "Curator's Eye" in Modern Magazi» View All