From the Archives | By Archived articles

Land of the Upper Hudson

July 1, 1951  |  By LOUIS C. JONES; from The Magazine ANTIQUES, July 1951.

For miles through the silent mountains the trickle flows-a vagrant brook playing at the feet of mountains-from the beginnings to the sea, guarded and shadowed by mountains.

Cabins and shabby forms lie beside it-housing men to whom guns and a rod are dearer by far than the ho and the plow. There are singers among them and fiddlers and builders of tall and magnificent lies. And there are old chests in the darkened corners and rockers so long in the family they're known by the name of some ancestor, for all else forgotten. And beside them, all higgledy-piggledy, the newest devices from Montgomery Ward.

It widens and deepens-a brooklet grows into a river. Thus it was flowing when Burgoyne and his regulars met the long rifles at Old Saratoga and a tide that was drowning and stumbling rebellion was halted. Jan McCrea knew the river-and thought of her red-coated lover, never suspecting her scalp lock would cry out to Yanke…» More

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From the Archives | By Archived articles

Some early American crewelwork

May 1, 1951  |  By FLORENCE PETO; from The Magazine ANTIQUES, May 1951.

Eighteenth-century crewelwork, especially favored for bedspreads and bed furnishings, is one of the most delightful types of early American embroidery.  Though it has become very scarce, resolute seekers may still occasionally acquire a piece. 

 

 

Tree of Life Design, crewelwork fragment with leaves, fruit, birds, insects, and caterpillar. New York Historical Society.

 

 The "crewel" in which the designs were worked was a loosely twisted wool yarn.  That which was made commercially came in three grades, a heavy one for tapestry, a medium one for general use, and a two-ply zephyr for the finest embroideries.  Very often, however, the yarn was spun at home.  In fact, all the steps of the processes might be carried out on the needle-woman's own property, from the raising of the sheep to the carding, spinning, and dyeing of the wool.  The quality of the yarn was affected by the quality of the sheep, the manner in whic…» More

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A Demonstration in Pewter Making

September 1, 1949  |  By L. M. A. ROY

[Originally published September 1949 ; posted in conjunction with Barrymore Laurence Scherer's "American Pewter," March/April 2013.]

Mr. Roy's model for this pictorial demonstration was John G. Herrock, "whose family," he says," were tinkering with tools from the time they came to Maine in 1799."  Besides pewter, he makes violins, reproductions of colonial furniture, wrought iron, jewelry, and clocks. 

Click the below slideshow for a step-by-step tutorial into the making of pewter objects.

 

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From the Archives | By Archived articles

Pugilism in English Pottery

January 1, 1948  |  By PAUL MAGRIEL; from The Magazine ANTIQUES, January 1948.

Paul Magriel was formerly on the staff of the Museum of Modern Art, where he arranged a number of exhibitions on the history of dancing. His exhibition, The Ring and the Glove, on view at the Museum of the City of New York until April 4, 1948, is the first full-scale retrospective exhibition of the history of British and American boxing. Made up largely from his collection, it includes paintings, prints, sculpture, and ceramics of this subject, some of which are illustrated here. Mr. Magriel is editor of the Ballet Society, which has had published through Henry Holt & Company a series of monographs on the dancers Nijinsky, Isadora Duncan, and Anna Pavlova. His newest book, Chronicles of American Dance, also a Ballet Society publication, will be out sometime this month.

The British interest in sports and pastimes has a long history. From the sixteenth century it has been manifested in the pictorial arts and the roster …» More

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SARAH GOODRIDGE

May 1, 1947  |  By AGNES M. DODS; from The Magazine ANTIQUES, May 1947.

THE WORK OF SARAH GOODRIDGE, one of the lesser known miniature painters of New England, has been increasing steadily in popularity for some years. Although her claim to fame rests mainly on her miniature of Gilbert Stuart, a diligent search of the countryside has brought to light many excellent likenesses from her brush.

Biographical material concerning this artist is somewhat meager. We do know that she was born in Templeton, Massachusetts, February 5, 1788, the daughter of Ebenezer and Beulah (Childs) Goodridge. Her father was an itinerant shoemaker whose duties took him far from home and his somewhat unusual family. Eben, an older son, made organs and later went to Boston where he taught music. David, another son, became a physician, while Eliza also developed artistic talent.

Sarah's first artistic attempts were pictures drawn on the sanded floor of the kitchen with a sharp stick or scratched on white birch logs p…» More

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NYG 2013

[Compiled by Bill Stern, Executive Director at the Museum of California Design, Los Angeles. Originally published in "Curator's Eye" in Modern Magazi

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