Your search for "150" returned 105 entries.
"We would have lost so much in the way of regional history and artifacts had MESDA not undertaken this project when it did."
In my catalogue of friends, mentors, scholars, and collectors, Linda Ha. and the late George M. Kaufman fill all the roles...
Jenrette-who in 1993 established the Classical American Homes Preservation Trust to promote six historic properties between New York and Saint Croix that he restored and opened to the public-even h
We asked exhibitors at the Winter Antiques Show to highlight one exceptional object in their booths and describe it as they might to an interested collector. Here are the things they chose, along with some of their comments.
The 1870s and 1880s were some of the most innovative and exciting decades in the history of the American silver industry. Postwar prosperity, the discovery of silver in the American West, and innovations in manufacturing created an ideal environment for the design and fashioning of original objects.
"I was a good student up through 6th grade but then my priorities became play, friends, and girls. Mother kept a beautiful home. Dad was prosperous in carving out his career which interested me not at all."
What does it mean for an artist to make a world? Consider the case of George Ault, and more especially of Black Night: Russell’s Corners (Fig. 1), a painting he made in 1943 in Woodstock, New York, where he moved in 1937 and lived until his death eleven years later.
Contumacious individualists, Rhode Island’s settlers did not often organize formal settlements on the Puritan model; Bristol is the finest exception. If it today retains so much of its character and scale, it is because the geometric logic of its plan remained appropriate. Thames Street served the physical functions of theharbor, Hope the commercial, and High the civic. The result is one of the most enduring and successful essays of Puritan town planning, here in a maritime setting.—William H. Jordy1
The Detroit Institute of Arts is presenting a fascinating and adventurous exhibition that explores the consequences on African art of cultural exchanges between Africa and Europe over the past five hundred years. Casting the European as the cultural “other,” a reversal of the usual Eurocentric perspective, the exhibition examines how African artists from diverse cultures used, and continue to use, visual forms to reflect their particular societies’ changing attitudes toward Europeans, as the latter evolved from stranger to colonizer, to the more inclusive Westerner.