Dear Readers,
Renowned street artist Banksy famously said that the greatest crimes in the world are committed by those who follow the rules. This adage speaks to the inextricable ties between resistance to the status quo and innovation. Related, perhaps, are the truisms that link hardship with surges in creativity.
We believe all of this—artistic bravery bestowing virtuosity, the alchemy of struggle giving rise to art—is present in the paintings of Laura Wheeler Waring, best known for her series of portraits of the Harlem Renaissance’s noteworthy figures. Her stunning Woman with Bouquet on our cover appears in the newly reinstalled American art galleries at the Brooklyn Museum, examined in this issue by Betsy Pochoda. Waring’s work precipitated, captured, and continues to influence American society, beyond the historical confines of the Harlem Renaissance. We see in it a vibrancy born of adversity and a devotion to artistic freedom.
In November/December, ANTIQUES traditionally focuses on paintings, a pattern you’ll find continues in this issue. The American Renaissance comes into view in Thomas Connors’s review of an exhibition at Yale that takes its cue from Edwin Austin Abbey. Sierra Holt brings to life a show dedicated to Berthe Weill, the first dealer with the foresight to recognize so many soon-to-be-famous modernists. And James Gardner illuminates the Met’s intriguing exhibition of the art of Siena, Italy, where the curators trace development of Old Master painting to the fourteenth century, but suggests that consideration be given to the possibility that it originated before that time.
In an interview with the Fenimore Art Museum’s president and CEO Paul D’Ambrosio, Cynthia Falk gets the scoop on that institution’s recent acquisition, a cache of twenty-seven paintings by American masters. Marie Penny walks us through a tea house on Long Island decorated by Elsie de Wolfe protégé Everett Shinn. We go on to preview the long-awaited catalogue raisonné of Childe Hassam, a nearly fifty-year project helmed by the inimitable Stuart Feld. And we showcase arts and crafts of the Mughal Empire, stately table linens for the rich and famous at Winterthur, and the fanciest decorated eggs you’ve ever seen.
It’s a heterogeneous tapestry, no doubt—one that reflects ANTIQUES’ stronger-than-ever commitment to rule-breaking. With over a century in business, we’re secure in the knowledge that changing times and challenges foster creative progress.
With our September/October issue we celebrated the debut of Mitchell Owens as editor in chief. His experience and vision were on full display through his selection of stories, lively writing voice, and the refreshed style of the magazine—changes to the status quo that were received with enthusiasm by the antiques, fine art, and interior design communities. Sadly, only days after the issue went to press, Mitch suffered a major medical event. He is currently recovering at home with his family. We are hopeful for a full recovery and look forward to his return. In the interim, our dedicated staff has come together to produce this issue that we trust will make him proud.
We continue to open the windows to let in fresh air and enhance the new look and feel of our magazine. Looking ahead to our January/February issue, we are thrilled to bring on board a guest editor—a prominent interior designer and longtime friend of both ANTIQUES and Mitch. No spoilers! Just be sure you’re subscribed in time for the new year.
As ever, thank you for your support on this journey.
