A fresh perspective on tramp art at the Museum of International Folk Art.
A new show looks at Josef and Anni Albers as collectors of ancient artifacts.
A new exhibition examines the long, colorful history of tattooing in New York.
A new program takes shape at New York’s Morris-Jumel Mansion.
The man who brought together the furniture and works of art in two Texas homes takes inspiration from several directions.
In 1926 John D. Rockefeller Jr. formally embarked on the project that would become the Colonial Williamsburg Foundation by purchasing Philip Ludwell’s house of about 1775 on Duke of Gloucester Street. That acquisition, the first “antique” in Colonial Williamsburg’s collection, came to play a pivotal role in the founding of what would eventually be the Abby Aldrich Rockefeller Folk Art Museum.
Among aficionados of early American decorative arts, the name Wunsch is legendary. The family’s art and antiques collection—started by the canny and ever-curious engineer E. Martin Wunsch (1924–2013), and administered under the aegis of the Wunsch Americana Foundation—is one of the most important in the field.
The zigzag angles, the break in the line of a chair leg, or the dark stained wood immediately attract your attention to Czech cubist furniture. Each wooden element is beveled into the planes of a prism, resulting in the unique designs produced during a few brief years before World War I in what is now the Czech Republic.
This month the Frick opens Pierre Gouthière: Virtuoso Gilder at the French Court, the first show devoted to the work in gilded metal—traditionally called bronze d’oré in French—by an artist whose achievements placed him among the finest French masters of the eighteenth century.
With its stunning façade composed almost entirely of textured glass blocks set in a steel framework, the Maison de Verre, or “House of Glass,” designed and built between 1927 and 1932, is one of the most remarkable buildings in Paris.