A few months ago Eleanor Gustafson and I spent a day as guests of Historic New England. We had wanted to see what I like to think of as the bookends of that organization’s historic houses—the 1938 Gropius House in Lincoln, Massachusetts, with its spare, modernist decor and bracing use of industrial materials, and the rambling, mysterious Beauport in Gloucester, …
Design and reform: the making of the Bauhaus
October 2009 | In our time the name Bauhaus has become a synonym for high modernism, a stand-in for the purist design language of the years between the two world wars and beyond. For many it is now a stylistic descriptor, a sort of shorthand for a specific look, often understood without any temporal attachment or historical meaning. But the …
Editor’s letter, May 2009
Editor-in-Chief Elizabeth Pochoda welcomes us to our latest issue
Kem Weber and the rise of modern design in Southern California
On the Barker Brothers’ Los Angeles 1926 shop opening and the work of Kem Weber
A rare Kem Weber chair shows the European side of American modernism
An elusive armchair makes an appearance
A Collector’s Eye, A Nation’s Story
An extraordinary collection examines how Shaker furniture, along with Pennsylvania German and New England folk art, expresses a distinctly American identity. ⬬
Perspectives: A New Home For Young Antique Dealers
Witnessing a generational shift in the trade, Lansing Moore announces the first fair hosted by the Young Antique Dealers Association. ⬬
NYC Antiques Week: A Novice Tells All
Last Thursday, I was formally baptized into the world of antiques at New York City’s Antiques Week, anchored by its headlining event: The Winter Show. ⬬
1876: Inventing the Colonial Revival
In celebrating the one hundredth anniversary of the signing of Declaration of Independence, The Philadelphia Centennial Exposition of 1876 was America’s coming-of-age party. ⬬
Patina and Provenance
Designer Charlotte Moss on the charm of antique chairs and how the spirits of their collectors linger. ⬬





