Your search for "The Magazine ANTIQUES" returned 32 entries.
The fruits of extensive research on Benjamin Henry Latrobe’s 1808 house and furniture for William and Mary Waln begin with their impact on the aesthetic of the city itself.
Discoveries come in such unexpected ways. You can search for years for a missing piece of your puzzle without success. And then, sometimes, it falls in your lap! That is what happened last year when my friend Tom Jewett, of Jewett-Berdan Antiques, posted pictures of his Christmas decorations on Facebook.
No English country-house garden would be complete without the well-placed statue erminating a vista--Thomas Gray's "storied urn and animated bust"1 --giving a classical and literary reference to the landscape and subtly humanizing the wildness of nature. The origin of this, as of so many other aspects of British garden design, can be traced to sixteenth-century Italy
The rare duo by John Henry Belter, now restored and on display at the VMFA, were well suited to their long and glamorous role in Washington's social scene
Good fortune/Good timing: The felicitous and sometimes unexpected manner in which collections develop, as seen in four remarkable Los Angeles-based collections of American needlework.
On the eve of President and Mrs. John F. Kennedy's visit to Dallas in 1963 a group of Fort Worth collectors gathered sixteen masterworks of European and American art and installed them in the presidential suite in the Hotel Texas.
Anxious and awestruck, I waited outside Wendell Garrett's office in the spring of 1971. He was the managing editor of The Magazine Antiques and I was a nervous twenty-three-year-old graduate student in the Winterthur Program in Early American Culture.
The editorials that Wendell Garrett wrote for this magazine over forty years radiate a quiet confidence in American democracy. But if you read a great many of them alongside the notebooks of quotations he kept throughout his life you begin to see a man who was actually turning over the topsoil of our democracy in search of solid ground to justify that confidence.
Even without the sumptuous marble and gilded surfaces, tapestries, and stained glass of their original environment, the new Yale University Art Gallery installation of the Huntington murals is a critical aid in the reconstruction of a little known but important part of our cultural history.