DOCSLIB.ORG

Traditional Collection N O I T C E L L O C L a N O I T I D a R T Y E L K C I T S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Traditional Collection N O I T C E L L O C L a N O I T I D a R T Y E L K C I T S TRADITIONAL COLLECTION STICKLEY TRADITIONAL COLLECTION TRADITIONAL & COLONIAL WILLIAMSBURG Our Stickley Story 4 A Tradition of Excellence 6 Craftsmanship and Construction Features 10 TRADITIONAL COLLECTION Dining Room 14 Bedroom 44 Occasional 70 Entertainment 84 Home Office 88 Executive Office 92 Finishes and Hardware 102 Index 105 COLONIAL WILLIAMSBURG® Introduction 110 Finishes 152 Index 154 Care of Stickley 155 Warranty 156 OPPOSITE: 7948-54 Directoire rounD Dining table, 7955 Directoire arm chair, 7940 Directoire buffet, 7941G Directoire china “The idea of preserving a great company with great American tradition was very appealing to me.” In Loving Memory of ALfRed J. AudI April 11, 1938 – September 29, 2007 President of L. & J.G. Stickley 1974-2007 Throughout his life and following his death, Alfred received many worthy tributes. A Stickley dealer described him best: “Alfred had a vision of greatness, the passion to execute it and the talent and perseverance to make it happen. He was truly a man for the ages.” The tribute on the next page was entered in the Congressional Record by the Honorable James Walsh. A PERSONAL MESSAGE Our Stickley Story Over the years we have received countless letters and calls from people who treasure their Stickley pieces. Their stories are incredibly moving, and they inspired us to launch “My Stickley,” a national contest inviting Stickley enthusiasts to share their Stickley stories. The hundreds of entries we continue to receive are humorous, awesome and inspiring. While very different, they all share some common threads which include: • enduring quality. “The only thing that survived Hurricane Katrina is my Stickley dresser.” • unforgettable memories of family and home, of relationships and traditions. “I am the fourth generation to sleep in my four poster Stickley bed…” • A symbol of love, longevity and endurance. “Before he said it with diamonds, he said it with Stickley.” • Reverence for quality. “I have always appreciated the finer things in life. I have Navajo rugs, a Steinway piano, and Stickley furniture.” • The furniture one aspires to own and pass on to future generations. Aminy I. Audi “Some day my Stickley will be heirlooms – but for now, Stickley is my home.” they were little children. The bed a Stickley. Our most treasured terrace hese are real stories by real people miraculously survived their youth and server arrived early in 1964 as a wedding T and they reflect the Stickley story is now on display in the Stickley Museum present from Mrs. Stickley, while we which is rich in family tradition and in the original Stickley factory in eagerly awaited the Stickley bedroom, enduring relationships. It is also the fayetteville, N.Y. Later, both of them which was our family’s wedding present. story of connection to home as a went to Colgate university, where their Little did we know then that ten years gathering place filled with warmth, fraternities were furnished with Stickley. later we would be rescuing a proud name friendship and magical moments. Needless to say, the furniture enjoyed and upholding Stickley’s tradition Now for an abbreviated version of robust use. Over the years it’s been of excellence! Our Stickley Story: as a two-year-old refinished and continues to grace those The revival of Stickley has been a Alfred received his Stickley Cannon fraternities today as though it were most exciting and fulfilling journey. for Ball Bed, which years later was passed brand new. the past thirty-four years, it has been on to our son, edward. Both of them Our first piece of furniture, as Alfred constantly changing and evolving, yet remember swinging on the posts when and I set about to furnish our home, was our vision has remained constant: fROM GeNeration to GeNeration Edward J. Audi Alfred Audi, Edward Audi, Andrea Audi, Aminy Audi, and Carolyn Audi Fischi to be the most respected company in Today, as in the past, our family is to furnish one’s home with them is to the furniture industry, whose name is unwaveringly committed to preserving realize a lovely dream. synonymous with quality, integrity, value Stickley’s tradition of excellence. We will We invite you to experience the magic and service. make every effort to enhance this proud of Stickley. As we enter a new chapter, we pause legacy and further it for future generations. to pay tribute to Alfred—husband, father Here then are the antiques of the Very sincerely, and mentor to many. We are grateful for future... favorite pieces that have stood his vision, leadership and creativity. His the test of time and new ones designed tremendous contributions to Stickley to meet current lifestyles. All presented and the furniture industry are with pride by the cabinetmakers of Aminy I. Audi immeasurable. during his thirty-three today who salute their predecessors and years at the helm, Stickley witnessed an appreciate greatly the heritage of their impressive renaissance and is now poised craftsmanship. Merely to see and touch to meet the challenges of the future. these pieces is a joyful experience and edward J. Audi rooted in the past — destined for the future Classic Grace. Stately elegance. “Comfort and use are the elements leading to true beauty.” Leopold Stickley a tradition of Quality When, in 1900, Leopold Stickley left the Craftsman Shops in Eastwood, New York, he and his younger brother John George bought the Collin, Sisson & Pratt furniture factory in Fayetteville, New York. Their company, L. & J.G. Stickley, was incorporated four years later. In March of 2008, we celebrated the 150th birthday of Gustav Stickley, Father of the Arts and Crafts movement in America. At the Craftsman Shops, Leopold Syracuse, New York. Then in 1999, of the most respected and admired worked for his older brother Gustav, the same piece commanded $596,900. furniture companies in the nation. who was a major proponent of the Arts In 1922 Leopold Stickley announced Leopold’s widow, Louise, aided by many and Crafts movement in the united a “line of period designs in popular of the founder’s original staff, continued States. Gustav was greatly influenced finishes.” for his inspiration he turned the tradition, insisting that all aspects of by John Ruskin and William Morris, to the old houses of New england and quality manufacturing be preserved. two champions of the english Arts and Pennsylvania. He also traveled widely Widely respected as the premier Crafts movement. throughout europe collecting trestle manufacturer of solid cherry furniture, Leopold’s first furniture line, the tables, corner cupboards, dressers Stickley is now making classically Mission Oak, was very similar to what and Windsor chairs. Keeping english designed pieces in solid mahogany as Gustav was manufacturing at the time. influence in mind, Stickley inaugurated well. These pieces exhibit the stately In 1905, L. & J.G. his Cherry Valley adaptations of elegance of the mid-18th Century and Stickley did their first American colonial add a more formal look to the line. trade show in Grand design. He took Authentic in design and meticulous in Rapids, Michigan full advantage of the execution, they add a touch of beauty displaying “simple beauty and durability to any room. furniture built of the wild black While much has changed at Stickley on mission lines.” cherry wood that during the last thirty-four years, the Their work was was abundant in commitment to quality craftsmanship well received. the Adirondack remains unchanged. The outstanding Around 1916 region. experts over designs, the quality of construction and changing public Gustav Stickley Leopold Stickley the years have the quest for perfection in every aspect taste spelled the 1858-1942 1869-1957 recognized Stickley’s of the Stickley operation earned the end for Mission craftsmanship and company a tribute in the Congressional furniture. Today there is a very keen acclaimed these creations for their purity Record calling attention to a “story interest in Gustav and L. & J.G. Stickley of form, soundness of construction and about the revitalization Mission Oak pieces. They have been fitness of purpose. On January 21, 1956 of an American exhibited in some of the most Leopold Stickley was named “Revered manufacturer and prestigious museums in the united dean of Cabinet Makers whose art and the restoration States. The same early pieces are craftsmanship has contributed mightily of a tradition of bringing premium bids in auction to American home life” by a group of quality unmatched houses throughout the country. On notable publishers including House in its field.” december 10, 1988 a record price of Beautiful and The National Geographic $363,000 was set for a Gustav Stickley to name a few. sideboard that was designed for his At the time of Leopold’s death in own house on Columbus Avenue in 1957, L. & J.G. Stickley, Inc. was one The Windsor Arm Chair The Windsor Chairs made by Stickley are faithful reproduction’s of those made in the 1700’s and are as popular today as ever before. it has been the result of the historic mission oak collection that has piQued the interest of a whole new generation of collectors and furniture lovers. The Modern Era In its efforts to be globally competitive, english Oak, Stickley Starters and A new era began for Stickley when, in Stickley opened in 2005 a high-tech St.Croix. 1974, Alfred and Aminy Audi bought production facility in Vietnam under Stickley is prepared for a bright and the company. Together they nurtured it the Stickley International, Ltd. banner. growing future. The company’s focus on back to health. Their first priority was This factory is primarily dedicated to the quality, design and construction remain to train a new work force to work closely new Antiquities by Stickley collections, the same today as when the Stickley with the skilled cabinet makers.
Load more

Recommended publications
  • PEAES Guide: Cliveden
    PEAES Guide: Cliveden http://www.librarycompany.org/Economics/PEAESguide/cliveden.htm Keyword Search Entire Guide View Resources by Institution Search Guide Institutions Surveyed - Select One Cliveden Contact information: Researchers are advised to call ahead for an appointment to read manuscript materials: (215) 848-1777 or [email protected]. Overview: Cliveden is an historic house museum on 6 acres of landscaped grounds in the Germantown neighborhood of Philadelphia's Historic Northwest. The property was the scene of the Battle of Germantown in October, 1777, and home to the descendants of the original owner until 1972. Includes original furnishings and decorative arts, including superlative examples of colonial Philadelphia craftsmanship by James Reynolds, Jonathan Gostelowe and Thomas Affleck. Cliveden is located on the northeast corner of Germantown Avenue and Johnson Streets, north of downtown Philadelphia in Germantown. From the PA Turnpike (1-276) take exit 333( formerly Exit 25, Norristown) and follow Germantown Pike east about seven miles to Cliveden on the left. Enter from Cliveden Street. From the Schuylkill Expressway (1-76) take exit 340 (formerly Exit 32) to the Lincoln Drive. Turn right onto Johnson Street (third light) then left onto Germantown Avenue (fourth light). Take the first right onto Cliveden St. Entrance gate is on the right at the end of the first block. We urge you to take a tour of the house while you are there, and walk Germantown Avenue to see other late-18 th century houses and businesses. Resources at Cliveden available to scholars upon request: Chew family papers (Cliveden) 21 linear feet, finding aid available.
    [Show full text]
  • Cliveden Bibliography
    Cliveden Resources and Bibliography Updated 11/15/02 Introduction The following list has three parts: Part I lists archival and other collections—many of them very large—that tell a part of the Cliveden story. Part II lists the various research tools and resources available at Cliveden. These include reports from numerous research projects undertaken since the site was given to the National Trust in 1972, many of them in computer-readable form. Part III is an extensive bibliography of works about Cliveden or the people who lived there. Because these publications are numerous, they have been divided into categories such as “Architecture” or “Tour Guides.” There are undoubtedly many omissions, but additional items will be added as they come to our attention, in the hope that the list will one day be comprehensive. Part I: Collections Primary source materials at Cliveden Chew family library Legal library contains approximately 200 items dating from 1627 to the late eighteenth century. General library includes later legal titles plus 800 general interest titles from the eighteenth, nineteenth and early twentieth centuries. Alphabetical author listing and shelf list available. Chew family papers 40+ linear feet of standard legal document boxes plus four large map cases of containing oversize materials. Item level finding aid available. Consists primarily of Chew family papers and photographs found in house after the bulk of collection was transferred to the Historical Society of Pennsylvania in 1972. Object collections Approximately 3,000 objects dating from the mid-eighteenth century to 1972. Bulk of collection consists of furniture and other decorative arts materials, textiles, paintings and graphics.
    [Show full text]
  • Annual Report 2012
    BOARD OF TRUSTEES 4 LETTER FROM THE CHAIR 6 A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Teaching and Learning 30 Connecting and Collaborating 38 Building 44 Conserving 50 Supporting 54 Staffing and Volunteering 62 CALENDAR OF EXHIBITIONS AND EVENTS 68 FINANCIAL StATEMENTS 72 COMMIttEES OF THE BOARD OF TRUSTEES 78 SUPPORT GROUPS 80 VOLUNTEERS 83 MUSEUM StAFF 86 A REPORT LIKE THIS IS, IN ESSENCE, A SNAPSHOT. Like a snapshot it captures a moment in time, one that tells a compelling story that is rich in detail and resonates with meaning about the subject it represents. With this analogy in mind, we hope that as you read this account of our operations during fiscal year 2012 you will not only appreciate all that has been accomplished at the Philadelphia Museum of Art, but also see how this work has served to fulfill the mission of this institution through the continued development and care of our collection, the presentation of a broad range of exhibitions and programs, and the strengthening of our relationship to the com- munity through education and outreach. In this regard, continuity is vitally important. In other words, what the Museum was founded to do in 1876 is as essential today as it was then. Fostering the understanding and appreciation of the work of great artists and nurturing the spirit of creativity in all of us are enduring values without which we, individually and collectively, would be greatly diminished. If continuity—the responsibility for sustaining the things that we value most—is impor- tant, then so, too, is a commitment to change.
    [Show full text]
  • Discipline, Discours
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner.
    [Show full text]
  • Book Reviews and Book Notes
    BOOK REVIEWS AND BOOK NOTES EDITED BY NORMAN B. WILKINSON C,;0lnial Grandeur in Philadelphia, The House and Furniture of General John Cadwalader. By Nicholas B. Wainwright. (Philadelphia: His- torical Society of Pennsylvania, 1964. Pp. 169. $10.00.) Colonial Grandeur in Philadelphiais an elegant micro-organism importantly anchored within the broad spectrum of American cultural history. A book of admittedly limited scope, the volume, however, accomplishes its aim oia nificently. Meticulously, with the care and attention to minute detail which usually characterize the archaeologist's attempt to reconstruct the story of life in a Pompeii or a Tikal, Mr. Wainwright has rescued from the historical penumbras the image of one of America's most sophisticated Georgian mansions-the home of General John Cadwalader which stood on Second Street near Spruce. Built by Samuel Rhoads in 1760, the great house was snlbsequently purchased by Cadwalader who, between 1769 and 1771, had it remodeled into one of Philadelphia's most sumptuous dwellings. The build- ing suffered a typically American fate when it was torn down by Stephen Girard early in the nineteenth century to provide land for redevelopment. Through the study of bills and inventories, and by making comparisons with existing structures and interiors, the author presents a vivid under- standing of the appearance of the house which, including furnishings, cost some £9,000. Among the great colonial craftsmen of Philadelphia who wvorked on the mansion and its contents were Philip Syng, Thomas Affleck, and William Savery. A number of the bills which artisans submitted for their services are reproduced, thereby enhancing the book's value as a useful reference for determining contemporary prices.
    [Show full text]
  • John Cadwalader (General) - Wikipedia
    John Cadwalader (general) - Wikipedia https://en.wikipedia.org/wiki/John_Cadwalader_(general) John Cadwalader (January 10, 1742 – February 10, 1786) was a John Cadwalader commander of Pennsylvania troops during the American Revolutionary War and served under George Washington. He was with Washington during the Delaware River crossing and the Battle of Trenton and at Valley Forge. Early life Revolutionary War Later life Furniture Family tree Notes Philadelphia Museum of Art References John and Elizabeth Lloyd External links Cadwalader and their Daughter Anne (1772) by Charles Willson Peale. Born January 10, 1742 John Cadwalader was born in Trenton, New Jersey of Quaker parentage, Trenton, New Jersey the eldest son of Thomas Cadwalader (1707–1779) and Hannah Lambert, Died February 10, 1786 his wife.[1][2] In 1750, the Cadwalader family removed to Philadelphia (aged 44) where John and Lambert Cadwalader, his brother, were merchants. Kent County, Maryland On September 25, 1768, John Cadwalader married Elizabeth Lloyd Occupation Merchant (1742–1776), the daughter of Edward Lloyd, of Talbot County, Maryland. Her brother, Edward Lloyd IV, was a delegate to the Continental Congress Spouse(s) Elizabeth Lloyd for Maryland.[3] Their daughter, Maria Cadwalader (1776–1811), married Williamina Bond Samuel Ringgold, who became a congressman representing Maryland. Two Children Anne, b: 1771 of their sons, Samuel Ringgold and Cadwalader Ringgold, had Elizabeth, b: 1774 distinguished military careers. Maria, b: 1776 Thomas, b: 1779 Frances, b: 1781 John,
    [Show full text]
  • The First Generation Furniture of Drayton Hall
    Clemson University TigerPrints All Theses Theses 5-2015 "Nine Mahogany Table…Two Marble Slabbs and Stands…and a Cow": The irsF t Generation Furniture of Drayton Hall Shannon Marie Devlin Clemson University Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Historic Preservation and Conservation Commons Recommended Citation Devlin, Shannon Marie, ""Nine Mahogany Table…Two Marble Slabbs and Stands…and a Cow": The irF st Generation Furniture of Drayton Hall" (2015). All Theses. 2137. https://tigerprints.clemson.edu/all_theses/2137 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. “NINE MAHOGANY TABLES...TWO MARBLE SLABBS AND STANDS... AND A COW”: THE FIRST GENERATION FURNITURE OF DRAYTON HALL A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Science Historic Preservation by Shannon Marie Devlin May 2015 Accepted by: Carter L. Hudgins, Ph.D., Committee Chair Ralph C. Muldrow Elizabeth Garrett Ryan Carter C. Hudgins, Ph.D. Sarah Stroud Clarke ABSTRACT When the National Trust for Historic Preservation purchased Drayton Hall in 1974, they made a groundbreaking decision. The Trust took a conservation approach to the house, preserving Drayton Hall as found and presenting it to the public unfurnished. The decision proved to have significant ramifications and as a direct result, interpreting the material culture at the site slid to the side. Drayton Hall has over a million objects in its collections ranging from archaeo- logical sherds to pieces of furniture, yet the collections play little to no role in site inter- pretation to the public.
    [Show full text]
  • Book Reviews
    BOOK REVIEWS Colonial Grandeur in Philadelphia. The House and Furniture of General John Cadwalader. By NICHOLAS B. WAINWRIGHT. Foreword by HENRY FRANCIS DUPONT. (Philadelphia: The Historical Society of Pennsyl- vania, 1964. xiv, 169 p. Illustrations, appendix, index. $10.00.) This welcome book gives us for the first time, step by step, a documented account of how the interior architecture and furnishing of a great eighteenth- century Philadelphia mansion was accomplished. The first half of the book is divided into three sections: the building of the John Cadwalader house, its furnishings, and its history. Like Samuel Powel, John Dickinson and several other prominent Philadelphians of this period, Cadwalader did not build his house but bought it already built and then embarked on complete renovation. John Cadwalader commissioned Thomas Nevell, prominent member of the Carpenters' Company, as master carpenter in charge of the operation. Nevell's plan was to strip the house of all the plain Quaker woodwork originally installed by its prolific builder, Samuel Rhoads, and to replace it with elaborately paneled, carved and fretted mouldings suitable to the tastes of the new owner. NevelPs designs were doubtless inspired from Abraham Swan's The British Architect, as he was a subscription agent for the Philadelphia edition of this work. They were probably not slavish copies for, with the exception of a few details, there are no illustrations in Swan that match exactly the description of John Cadwalader's house. A new service wing was to be added, as well as a stable and carriage house, but the basic plan of the main house was to stay unchanged.
    [Show full text]
  • Quaker Artists
    Quaker Artists Did you know that James Michener and Anne Tyler are Quakers? That Joan Baez, Ben Kingsley and F. Murray Abraham attend Friends Meeting? That Bonnie Raitt and James Dean were raised Friends? That a Quaker Tapestry and Quaker stained glass exist? That Chinese Friends art exists? That Walt Whitman was influenced by Friends? That Margaret Fell wrote poetry? The book Quaker Artists contains the stories of the above artists and more: 94 reviews in all, a history of Friends, a history of Quaker art, study questions, 27 illustrations, 30 reproductions of the artists' works and a bibliography. The period covered is 1659 to 1992. Poets, painters, dancers, musicians, films and 14 other categories are included. Quaker Artists is an entertaining and celebratory read in itself but it has other uses, too: as a source for study groups, a reference for libraries and a curriculum for First Day Schools. Gary Sandman, a member of Fifteenth Street Meeting in New York City, has published Quaker Artists, his first book, in a numbered and signed edition. Cost is $16 (postage included). Check or money order should be made out to Gary Sandman, 25-26 18th St., Apt. 1F, Astoria NY 11102, 718-728-7372. Here is a series of Gary’s research into the variety and history of Quaker involvement in the arts. Fine arts Approved expressions Unpopular pursuits • James Turrell, artist of • Plain dress • Friends and music light • Silhouettes • Quaker cabinetmakers • Samuel Lucas, painter • “Popeye the Quaker • The Richardson Man” silversmiths Friends in Literature • Henry Wadsworth Longfellow, “John Endicott” • Anna Sewell, Black Beauty • Sword of Peace • The Intolerants • Rex Stout, the Nero Wolfe mysteries • Sarah M.
    [Show full text]
  • Stellar Collection of Early American Furniture, Dutch and American Paintings, and Works on Paper Acquired by George M
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: November 12, 2010 Stellar Collection of Early American Furniture, Dutch and American Paintings, and Works on Paper Acquired by George M. and Linda H. Kaufman of Norfolk, Va, to be Given to the National Gallery of Art, Washington Philadelphia, Pennsy lv ania Chippendale Desk and Bookcase Circa 1765 Attributed to Thomas Af f leck George M.* and Linda H. Kauf man Washington, DC—One of the largest and most refined collections of early American furniture in private hands, as well as major Dutch paintings, American paintings, and works on paper, including some 40 floral watercolors by Redouté, acquired with great connoisseurship together over four decades by George M. and Linda H. Kaufman, have been promised to the National Gallery of Art, Washington. A temporary exhibition highlighting the early American furniture will take place at the Gallery in two years. "While building their exceptional collection of art and antiques, Linda and George Kaufman have been leaders, as well as generous lenders and donors, in the art world, and especially at the National Gallery of Art," said Earl A. Powell III, director, National Gallery of Art. "One of America's earliest art forms was furniture influenced by European traditions, and this is an opportunity for the Gallery to complement not only our European decorative arts donated by the Widener family, but also our growing collection of American art. With this donation, the Gallery will house one of the finest assemblages of early American furniture, and there is no such comparable and easily accessible public collection in the nation's capital.
    [Show full text]
  • Facing Philadelphia: the Social Functions of Silhouettes, Miniatures, and Daguerreotypes, 1760-1860
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1996 Facing Philadelphia: The social functions of silhouettes, miniatures, and daguerreotypes, 1760-1860 Anne Ayer Verplanck College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Verplanck, Anne Ayer, "Facing Philadelphia: The social functions of silhouettes, miniatures, and daguerreotypes, 1760-1860" (1996). Dissertations, Theses, and Masters Projects. Paper 1539623891. https://dx.doi.org/doi:10.21220/s2-t7h6-fh38 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]