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On our cover, the cacophonous world in which we live–digital and artisanal, ephemeral and timeless–is rendered, ironically, in the disciplined quiet of limewood by the master carver (and prose master) David Esterly. Carving, Esterly has observed in his book The Lost Carving: A Journey to the Heart of Making, is a metaphor for many things. I’d count among them the …
Here is a curious turn of events: British folk art, although obviously many centuries old, is just this summer receiving its first ever museum exhibition. Robert Young, who with his wife Josyane has carried aloft the standard of European folk art in their handsome London gallery for several years now, discusses Tate Britain’s exhibition in this issue with his customary …
In the five short years since its creation, Masterpiece has established itself as London’s most prominent and anticipated fair. Its intent is to present the highest caliber art and antiques alongside a wide range of similarly distinguished luxury goods from cars to wine. However, because it was created by leading dealers from the former Grosvenor House fair, Masterpiece retains decorative …
Here is the conventional wisdom about our world: contemporary art, in the ascendant for decades now, is on an ahistorical rampage, wielding its industrial strength newness and sowing disdain for beauty, mastery of technique, and anything that smacks of pastness. While this may be true of a segment of the art market and its press, artists are quite another matter. …
The photographs by Charles Marville in this issue and on view at the Metropolitan Museum of Art strike me as an important early chapter in the story of our modern lives. Marville’s job was to photograph Paris before and after Baron Haussmann erased its centuries old densely wound streets, replacing them with the broad new avenues and alluring vistas that …
Is it too soon to propose a quota on installations of contemporary art in period settings? Yes, I know, everything is mashable these days, but not all these border crossings of present into past deserve a visa. I recently went in search of a silver box in one of the period rooms of a major museum (it wasn’t there). What …
Are New Yorkers the most parochial people on the planet? I sometimes think so, especially when it comes to art, where we have an absolute genius for overlooking the important in busy pursuit of The Important. We are a city of zeitgeist sniffers, way too hungry for whatever fad diet the art market is currently dishing out. Luckily our plat …
We at ANTIQUES mourn the death of Michael K. Brown, a great friend of the magazine and a cherished member of the American decorative arts family. Our November-December issue will include a tribute to him as a man of enormous kindness, scholarship, humor, and loyalty. Michael K. Brown (1953-2013), longtime curator of the Bayou Bend Collection and …
Like most editors I am interested in everything, but that doesn’t mean I don’t have opinions. I have, in fact, far too many of them, so I like it when some of my prejudices get rearranged, as they were early last spring when Eleanor Gustafson and I visited the Philadelphia home of John Whitenight and Frederick LaValley featured here. Ten …
October 5, 2013 “Collecting with a Vision: Shelburne Museum and the Emergence of the Americana Movement”; Shelburne Museum, Shelburne, Vt. September 6, 2013 – September 7, 2013 “Foundation for Appraisal Education Seminar”; Quinn’s Auction Galleries, Falls Church, Va.