For Collectors of the Fine and Decorative Arts

Features From Previous Issues

The Man Without Guile

For Henri Rousseau, naïveté was a powerful artistic technique. By Jonathon Keats According to a popular story, Henri Rousseau became an artist on account of a prank played by the absurdist writer Alfred Jarry. Rousseau was on duty as a … Continue reading

Essay: Cut and Paste

It would be hard to argue against the Internet being the fastest-spreading technological revolution of all time, but the rise of photography in the 19th century was surprisingly swift. Within two decades of its invention in 1839, it had deeply penetrated the middle classes of Europe and the United States. Continue reading

Elevating the Everyday

Storytelling helps us think about who we are, where we come from, what we value and why. The art is as ancient as the impulse to gather around a fire at night. While today it is more likely to be an HDTV screen than a glowing hearth, the experience remains crucial to 21st-century humans, who lavish multimillion-dollar paychecks on Hollywood’s leading lights. Continue reading

Victorian Vanguard

By: Sallie Brady Not unless you’ve sought them out in Britain’s museums or have been a dinner guest at Andrew Lloyd Webber’s London home are you likely to have been face-to-face with many Pre-Raphaelite pictures. The Victorian school of painting … Continue reading

Beyond the Sea

By: Sheila Gibson Stoodley When King George IV approached J.M.W. Turner in 1823 and commissioned him to paint Trafalgar, the most important naval engagement in British history, the artist rose to the task. He invested The Battle of Trafalgar, 21 … Continue reading

Shining On

The light seems to come from nowhere and everywhere. As the sun suffuses the haze and shimmers on the surface of still waters, the atmosphere holds a glow that might be silvery, bluish or fiery red. The view recedes gradually into the distance, passing through several distinct planes. The overall impression is one of silence and deep peace. Continue reading

Figments of Pigment

Most artists would be livid if six of the seven works that they had loaned to an exhibition returned damaged, but not Eric Conklin. He was flattered. Conklin, 58, practices a type of still life painting known as trompe l’oeil—French for “deceives the eye.” Conklin strives to do just that with his paintings, to persuade people that they are looking at genuine coins, chalkboards, photographs and other carefully chosen objects. Continue reading