Antiques & Collectibles

A significant addition to the fascinating study of rare and intriguing late 18th- and early 19th-century eye miniatures.

Until the early 2000s, little had been written about eye miniatures or “Lover's Eyes”, and their short-lived popularity at the end of the eighteenth- and early nineteenth-centuries, when hand-painted portraits of single human eyes were set in jewelry, or created to memorialize a deceased loved one. This volume examines their role in the broader context of Georgian and early Victorian portrait miniatures; and looks in detail at the creation, and appeal, of these extraordinary objects. 

Dr and Mrs. David A. Skier’s collection of eye miniatures is one of the most complete collections of this genre of miniature painting in existence. This volume features over 130 pieces from the Skier Collection, with 36 extraordinary newly acquired pieces, including two of the three known existing “Lover's Lips”, and six examples of a delightful sub-category known as “Flower Eyes”. There are illustrated essays on forgeries and fakes of lovers’ eyes, on “Flower Eyes”, on the persistence of the eye image which continues the tradition of lovers’ eyes, and an essay on the eye miniatures created by Richard Cosway.

New volume in the Frick Diptych series features an informative essay by curator Marie-Laure Buku Pongo paired with a contribution by renowned sculptor Arlene Shechet.

Despite its name, the vase japon is an interpretation of a Chinese bronze Yu (or Hu) vase from the Han Dynasty (206 B.C.–220 A.D.). Its design and decoration derive from a woodblock print published in a forty-volume catalogue of the vast Chinese imperial collections compiled between 1749 and 1751 at the behest of the Qianlong emperor. Around 1767, a copy of this catalogue was sent to Henri Bertin, who at the time was France’s secretary of state and commissaire du roi at the Sèvres factory. The vase japon was made in 1774 along with two other vases of the same size, shape, and decoration. Each bears the mark of the gilder-painter Jean-Armand Fallot (act. 1764−90). However, of the three, only this example is adorned with a silver-gilt handle and chain, which, like its shape and surface pattern, are directly inspired by the Chinese model. The mounts bear the mark of Charles Ouizille, who, in 1784, became the official jeweler of Louis XVI.

The Triumph of Nature returns us vividly to an entrancing time in European decorative arts, from its beginnings in the Arts and Crafts movement and Japonisme, through to its evolution into Art Deco style.

An exuberant, radical style, Art Nouveau blithely trampled many of the Victorian Age’s orthodoxies of art and design. Exploding age-old strictures with its fanciful approach to furniture, graphic arts, jewelry, architecture and more, Art Nouveau also embraced new technologies and incorporated foreign stylistic flourishes. Designing for a range of clients and settings including domestic interiors, innovative artists such as de Feure, Majorelle, and Gallé fashioned their eclectic works to play off each other in harmonious visual arrangements, conceiving of Art Nouveau as an enveloping style.

This stunningly illustrated comprehensive volume gathers a profusion of Art Nouveau works and accessories—furniture, paintings, sculpture, mosaics, books, posters, prints, lamps, glass, and other stunning objets d’art—all of them originally designed and coordinated to complement each other in elaborate ensembles.

The Knafel Collection of French faience, the finest in private hands, includes outstanding examples of Nevers, Rouen, Moustiers, Moulins, and Marseilles production from the late sixteenth to the mid-eighteenth century. The quality of these masterpieces almost obscures the fact that French faience was essentially a provincial art, largely patronized and commissioned by a local aristocracy and made far from the centres of political power in Versailles and Paris.

In this stunning new volume, Charlotte Vignon traces the history of French faience, offering detailed discussions of key centers of production. Illustrated with more than seventy examples, this valuable resource testifies to the creativity and beauty of an engagingly innovative tradition.

The Merriweather Post collection offers an enthralling glimpse into one of the most remarkable, and intact, collections of jewelry ever amassed.

Spectacular immerses the reader in jewelry history and design, weaving in seminal moments in Post’s life as one of the most passionate and confident collectors of jewelry of the twentieth century. There are exquisite pieces by Van Cleef and Arpels; numerous examples by Cartier; contemporary commissions from Harry Winston, George Headley, David Webb, and Fulco di Verdura, and historical pieces such as the Marie Louise Diadem, and the legendary earrings worn by Marie Antoinette on the eve of the French Revolution.

Spectacular provides a critical perspective on developments in changing jewelry styles in America and Europe through one woman’s unique collection. Fascinating essays highlight special details of the gems and jewels, as well as their sometimes scandalous history. Full of fabulous images and interesting facts this new volume will appeal to anybody who wants to know the story behind some of the most amazing jewels ever created.

Liana Paredes is director of Collections & chief curator at Hillwood Estate, Museum & Gardens.

Martin D. Fuller is the founder and president of Martin Fuller Appraisals, LLC.

Michael Hall is the curator of ceramics of the Capelain Collection in Jersey, Channel Islands.

Jennifer Levy is a curatorial assistant at Hillwood Estate, Museum & Gardens.

Jeffrey Post is the curator of the U.S. National Gem and Mineral Collection, and chairman of the Department of Mineral Sciences, Smithsonian Institution.

Dr. Wilfried Zeisler is the Hillwood Estate, Museum & Gardens’ curator of Russian and 19th-century Art.

The Mint Museum’s collection of British ceramics is one the best and largest in the United States, numbering over two thousand items. It boasts objects from all the major centers of production: Wedgwood, Chelsea, Worcester and Staffordshire. The collection is remarkable for its vast range and includes salt-glazed stoneware, lead-glazed earthenware, creamware, and soft- and hard-paste porcelain. This important and visually stunning new publication features two hundred highlights selected on account of their rarity, craftsmanship, or as important examples of particular methods of production or decoration. There are scholarly entries, two illustrated essays on the collection, and a bibliography.

This new volume in the Frick Diptych series features an essay by Frick curator Marie-Laure Buku Pongo paired with a contribution by world-renowned conductor and keyboardist William Christie.

These two cabinets, stamped BVRB, may well be the last pieces of furniture made by the celebrated Parisian cabinetmaker Bernard van Risenburgh II just before he retired in 1764 and sold his workshop to his son, Bernard van Risenburgh III, who finished them. The cabinets feature panels of black-and-gold Japanese lacquer of exceptionally high quality taken from a seventeenth-century Japanese cabinet, chest, or screen. Beginning in the 1730s, the older van Risenburgh worked almost exclusively with the influential marchands-merciers or merchants of luxury goods, who provided the cabinetmaker with the rare and costly Oriental lacquers and sometimes with the design for the furniture on which to mount them.

Bold, stately, and elegant furniture is revealed in this entirely new survey of design, regional varieties and workshop collaborations in the American East Coast in the early nineteenth century.

Kelly C. and Randall A. Schrimsher began collecting American Classical decorative art in the mid-1980s. Their notable collection comprises hundreds of pieces of furniture by some of the most celebrated cabinetmakers from the key centers of Classical furniture production in the United States: Boston, New York, Philadelphia, and Baltimore. Past literature on American Classical furniture has studied the production centers in relative isolation; however, this catalogue's approach explores the rich artistic exchanges and rivalries that existed between the four cities including a selection of works by foremost cabinetmakers Duncan Phyfe, Charles-Honoré Lannuier, Isaac Vose, William Hancock, John and Hugh Finlay, Anthony Quervelle, and Joseph Barry. A lively export trade introduced Classical wares from these major centers of production to key ports across the United States such as Washington, D.C., Charleston, New Orleans, and beyond.

Wonderful examples by esteemed cabinetmakers and their workshops illustrate regional varieties, collaborations, and points of departure. In addition to the 85 full-page color illustrations of furniture, the book features over 150 additional comparative illustrations of pattern books, architectural designs, historical views, and detailed photos of carving, gilding, and painted surfaces.

The list of authors includes the Decorative Arts Trust's Executive Director and current and past members of its Board of Governors: Alexandra Alevizatos Kirtley, Christine Thomson, Clark Pearce, Gregory R. Weidman, Kimberly E. Schrimsher, Matthew A. Thurlow, Peter M. Kenny, and Wendy A. Cooper.

All proceeds benefit the Decorative Arts Trust's Publishing Grants program.

A vibrant study of the history and production of the Bryce glass company, one of the most successful designers and producers of pattern glass tableware, novelties and lamps in the nineteenth century.

Scottish immigrant James Bryce (1812–1893) began his glassmaking career at the age of ten as a child laborer on the floor of a Pittsburgh glasshouse working for $1.25 a week. In 1850 he founded his own glassware company just as pressed glass was increasing in popularity. Pressed glass transformed the lives of everyday people by making beautiful tableware widely available to those who could not afford the expensive blown and cut crystal enjoyed by their wealthy neighbors. Bryce became one of the largest producers of pattern glass in America and by 1871 was shipping its products all over the world. The company continued operations for 113 years, guided by second and then third generation family members.

This volume celebrates the beauty and artistry of the naturalistic designs, colorful tableware, and whimsical novelties Bryce produced between 1850 and 1891. At its heart, this book is a highly-illustrated work with 190 newly commissioned color plates beautifully photographed by leading decorative arts photographer Gavin Ashworth. It concludes with a compendium of authenticated Bryce products illustrated primarily with period line drawings that will be a valuable tool for both sophisticated glass scholars and casual collectors alike.

A fascinating survey of exceptional American chair design from the early nineteenth century to the present day.

Designed for function, each chair has a story to tell about the history and evolution of American design, art and craftmanship. At the heart of the catalogue is the presentation of 57 chairs from the Jacobsen Collection of American Art covered in 49 essays, all showing beauty and historical context, as well as important social, economic, political and cultural influences. Highlights include designs by John Henry Belter, George Hunzinger, Herter Brothers, Stickley Brothers, Frank Lloyd Wright, Charles and Ray Eames, Eero Saarinen, Isamu Noguchi, and Frank Gehry, among others. There are good examples of historically significant chairs, such as the House of Representatives Chamber Arm Chair (1857), and a photograph of this chair being sat in by Abraham Lincoln, plus an Appalachian Bent Willow Armchair, which is shown in a 1901 photo being sat in by President McKinley on the porch of his summer home. Key icons from post-war American history include Charles Eames’ 1946 moulded plywood Low/Lounge Wood Chair, and the Contour Bar Stool designed by Frank Gehry in 1972.

The chairs are arranged across four main, broadly chronological sections, from the early 1800s to the Civil War; from Reconstruction through the Gilded Age to the dawn of the 20th century; from Art Nouveau to post-war Modernism; and finally, from the post-war Space Age to the Digital Age and the contemporary focus on space saving and sustainability. Each section opens with a brief introduction to its key themes.