19th Anniversary

2019 Antiques & Fine Art 137 Augmenting the Canon, Recent Acquisitions of American Neo-Classical Decorative Arts will be on view at Hirschl & Adler Galleries (www.hirschlandadler.com) in the Fuller Building at 41 East 57th Street, 9th Floor, New York, New York 10022, through February 15, 2019. A fully-illustrated 104-page book, written by father-daughter team Elizabeth Feld and Stuart P. Feld, is available at the gallery and through Amazon. Elizabeth Feld is managing director of Hirschl & Adler Galleries and director of its furniture and decorative arts department. Stuart P. Feld celebrates his fiftieth anniversary at the helm of Hirschl & Adler Galleries with this exhibition. All photography by Eric Baumgartner. mid-twentieth century in the overall literature on American Neoclassical furniture, silver, metalwork, lighting, porcelain, and glass. But little by little, the glories of the period have been unfolding, through Classical Taste in America, 1800–1840 (1993) at the Baltimore Museum of Art, as well as more specialized monographic studies on cabinetmakers Charles-Honoré Lannuier (1998) and Duncan Phyfe (2011) at The Metropolitan Museum of Art, Thomas Seymour at the Peabody Essex Museum in Salem, Massachusetts (2003), and most recently, Isaac Vose at the Massachusetts Historical Society, Boston (2018). In the silver field, the thematic exhibition and book, Marks of Achievement, Four Centuries of American Presentation Silver, arrived in 1987, and in 2007, Winterthur organized a comprehensive Fletcher & Gardiner exhibition. Other exhibitions and museum acquisitions and publications have gradually added to the breadth and depth of our knowledge of this period. Hirschl & Adler Galleries, New York, has been active in the field since the 1980s, and since 1991 has arranged seven exhibitions devoted to various aspects of neoclassicism in America. Augmenting the Canon , at Hirschl & Adler Galleries, the eighth exhibition in this series, brings to public view approximately sixty works — including furniture, silver, glass, ceramics, lighting, and needlework, all recent acquisitions, and most previously unpublished — that further enrich the body of material from this seminal moment in American history.  Deep amethyst “lacy” compote in the “Princess Feather” pattern, Boston & Sandwich Glass Company (active 1825– 88), Sandwich, Mass., about 1835–1845. Glass, pressed. H. 6¼, L. 10⅝, W. 8¾ in. After the formative years of the Boston & Sandwich Glass Company had successfully passed, a new style of glass was developed with a stippled, or “lacy,” background that would help to conceal various foreign particles in the glass. Most of these pieces were produced in clear, or colorless, glass, but occasionally colored pieces were made. Of these, the largest and most imposing was a compote in the “Princess Feather” pattern, which was offered in sapphire blue, canary yellow, turquoise blue, wisteria, and the deep amethyst of this example. text continued from page 130