BY TALIA SHIROMA
The Cincinnati Art Museum displays an exhibition based on Joseph Urban’s late-1920s commission for Leo F. and Helen Wormser of Chicago, a bedroom for their daughter Elaine.
BY MICHAEL J. BRAMWELL
MESDA’s House Party: R.S.V.P. B.Y.O.B. exhibition engages critically with inequities of power and violence that continue as material and cultural legacies within American decorative arts.
BY ISABELLA ROSNER
Elizabeth and Ann Marsh taught the daughters of elite Quaker and non-Quaker Philadelphia families, establishing a needlework aesthetic popular throughout the Delaware Valley for more than a century.
BY LAURYN SMITH
In the 1600s, wealthy and elite individuals began amassing extraordinary collections, composed of both locally produced and imported works of art. Few were as innovative as Amalia van Solms-Braunfels, Princess of Orange.
BY MICHAEL W. HARTMAN
A 1789 Maryland inventory recorded seven enslaved people—Beck and her children Juliet, Biddy, and Henry; Mary and her daughter Appolonia; and a man called Dick—as the property of Benjamin and Eleanor Laming, the subjects of a double portrait by Charles Willson Peale.
BY MARGARET WOOD
Best known as an interior decorator and wallpaper historian, Nancy Vincent McClelland’s passion for wallpaper spanned decades. Throughout her nearly 60-year career, she studied, collected, produced, and used wallpapers in her practice.
BY JENA GILBERT-MERRILL
In 1909, a little-known artist and social reformer named Louise Brigham published Box Furniture: How to Make a Hundred Useful Articles for the Home, a collection of instructions for producing simple, modular furniture from repurposed wooden packing crates.
BY IRIS MOON
Luxury After the Terror explores the production, circulation, and survival of French luxury after the death of Louis XVI by focusing on decorative arts makers with strong ties to the monarchy and how they navigated the Terror and the world that it remade.
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