BY SUSAN BROWN AND ALEXA GRIFFITH WINTON
Dorothy Liebes is featured in a Cooper Hewitt, Smithsonian Design Museum exhibition covering her many accomplishments, including the Argonaut textile for the United States Pavilion at the Brussels Universal Exposition—Expo ’58.
BY JORGE F. RIVAS PÉREZ
Sometimes a separate room or a sectioned-off portion of a reception room, the estrado was the most important feminine space in elite Spanish homes.
BY FOONG PING
Chronicles of a Global East, an ongoing exhibition at the Seattle Art Museum, narrates a few of the many stories related to the Silk Roads and maritime routes, where innumerable transnational artistic traditions emerged.
BY WILLIAM KEYSE RUDOLPH
The Nelson-Atkins Museum of Art’s ‘Luxury and Passion: Inventing French Soft-Paste Porcelain’ exhibition uses nearly two dozen works from the Museum’s small but high-quality collections of 18th-century French soft-paste porcelain to trace the development of porcelain in France.
BY BETHANY MCGLYN
The “Completing the Picture: Slavery and Servitude in Early Lancaster County” initiative seeks to research and reinterpret objects and spaces at Historic Rock Ford and the John J. Snyder Jr. Gallery of Early Lancaster Decorative Arts in order to more fully explore the complex histories of those who made and used them.
BY RILEY KATE RICHARDS
Christopher Alexander Haun produced uniquely decorated utilitarian earthenware pottery until his death in 1861 and is currently a semi-canonical figure in the study of Tennessee decorative arts.
BY SUSAN EBERHARD
In the history of English Restoration silver, the “Chinese taste” is understood as a type of Chinoiserie—that is, an idealized imagery of China created by Europeans—in vogue from about 1675 to 1720.
BY CLAIRE SABITT
Although scissors as tools appear at least as early as 2,000 BCE, the first evidence for luxury scissors dates to the late 15th century. By the 19th century, decorative scissors became more widespread, especially in England and France.