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The Magazine Antiques, New York, NY (2026)

10/05/2026

Please welcome back art and antiques dealer Audra Kiewiet de Jonge for Day 5 of an takeover.

This pair of 18th century Spanish colonial cabinets has held fast in my memory since I first laid eyes on them at the Winter Show a couple of years ago. Their remarkable surfaces are intricately inlaid with hundreds of mother-of-pearl shells precisely cut in floreate forms, a process referred to as enconchado–or shell encased. Incorporating influences and material techniques from across Asia, Europe, England, and the New World, their decorated surfaces stand as a testament to the exquisite material and formal interchange that occurred between Spain and America in the Spanish Colonial era of trade. The pair originates in the vice royalty of Peru, Lima in the second half of the 18th century. Pairs of secretaries were created for an export market and were often referred to as “a la inglesa” in inventory registers. These cabinets have an estimated 7,000 shells on their surface, with the shaping and carving of each piece of shell having taken approximately 40 minutes to create. The artistry and expert craftsmanship is mindblowing.

Spanish colonial silver-mounted parcel-gilt mother-of-pearl bureau-cabinet (one of a pair), Vice royalty of Peru, Lima, second half 18th century.

10/04/2026

Please welcome back art and antiques dealer Audra Kiewiet de Jonge for Day 4 of an takeover.

Long before there were painters in the Hudson River School, American young women were composing landscapes with needle and thread, entwining stories about their lives and experiences within their bucolic and didactic depictions. This work is the first known needlework picture by Faith Trumbull (1743-1775) completed at the age of 10 ½ around the time she was studying under Mrs. Elizabeth Murray in Boston. Trumbull was a colonial American artist whose paintings and textile art recorded life in the colonies leading up to the American Revolution. Her younger brother, Revolutionary era artist John Trumbull, credited her work as his inspiration.

An exhibition opening at the American Folk Art Museum, Locating Girlhood: Place and Identity in Early American “Schoolgirl” Art gathers more than 100 spectacular works from 35 museums and private collections nationwide.

Landscapes, from city to countryside, in maps and scenes, were a common “visual thread in samplers, needlework pictures, watercolors, and other artworks commonly united under the umbrella term ‘schoolgirl art’.” By considering these works as deeply resonant expressions of place, the exhibition expands the story of the American landscape and situates women at its heart. Presented for the first time from an art-historical perspective that explores the significance of these works as deeply resonant expressions of place, this exhibition promises to expand the American landscape genre and open the door to a new way of seeing these visual labors as the works of art that they are.

Locating Girlhood (October 9, 2026–February 28, 2027) is curated by Emelie Gevalt, PhD, Deborah Davenport and Stewart Stender Deputy Director & Chief Curatorial and Program Officer, and Caroline Culp, PhD, Warren Family Assistant Curator.

"Death of Absalom" by Faith Trumble, Age 10 1/2. Probably Boston or Lebanon, Connecticut, 1754, Silk, metallic thread, and gouache on black silk, 18 1/2 x 18 1/2 in., Lyman Allyn Art Museum, New London, CT

10/03/2026

Please welcome back art and antiques dealer Audra Kiewiet de Jonge for Day 3 of an takeover.

The story goes that on the advice of Jean Schlumberger, the famous jewelry designer and Vice President of Tiffany & Co. from 1956-1987, Paul Mellon purchased an extremely rare 94-carat Kashmir sapphire in 1956 with for his wife, Mrs. Bunny Lambert Mellon. A highly-regarded enthusiast scholar and designer of gardens, Mrs. Mellon placed an order to Schlumberger three years later for a “pot” to hold this exceptional stone. Ultimately, Schlumberger planted a flower with the sapphire at its center in a pot ingeniously latticed in gold around an actual terracotta seedling pot from her farm Oak Spring in Upperville, Virginia, now home to her legacy garden foundation. In the spring of 1960, Schlumberger showed his Flower Pot to Mrs. Mellon, simply remarking, “She was delighted with it.”

This remarkable work, featuring amethyst, emeralds, diamonds surrounding the stunning sapphire is included in the permanent collection of the Virginia Museum of Fine Arts and will be showcased in the museum’s Fine Art & Flowers series of events and lectures in October.

10/02/2026

Please welcome back art and antiques dealer Audra Kiewiet de Jonge for Day 2 of an takeover.⁠
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From the upcoming sale The Connoisseur & L'Antiquaire at Stair Galleries on October 8, these paintings by Teresa Berenice Vitelli (1706-1729): Jaybird and Peaches; and Songbird and Hazelnuts were included in the personal collection of Helen Fioratti, the daughter of Countess Ruth Constantino, who was widely considered the first female dealer of fine and decorative arts in the U.S. and the founder of The Connoisseur, Inc. in 1935. Thirty years later, after growing up amongst her mother's gallery of exceptional objects, Fioratti founded L'Antiquaire, later merging the two galleries in 1982. Like many other lovers of art and history, I used to slow walk past her townhouse gallery on E. 73rd street, just a stones throw from my apartment. And now Stair is offering collectors and admirers a chance to become stewards of Fioratti’s self-styled embrace of “les petite richesses,” –the little luxuries that make life interesting–with a view inside Fioratti's personal collection of exquisite art and objects lovingly assembled over a lifetime of passionate looking and historical learning.⁠
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10/01/2026

This week, welcomes Audra Kiewiet de Jonge to share a week of Antiques of the Day, celebrating the fall season and our current print issue devoted to Interiors -- that means spectacular collector's collections, new museum exhibitions, miniature rooms, and the opportunity to engage in a bit of ghost chasing. Kiewiet de Jonge is an art and antiques dealer at with an art historical background and an obsession with great interiors, especially those of artists and tastemakers.

These remarkable shoes are included in the exhibition of 20th century footwear designer André Perugia: A Design Legend Unveiled at the Bata Shoe Museum in Toronto. The exhibition explores the underrecognized genius of Perugia (1983-1977), whose innovative designs were wholly original, groundbreaking, and architectural. He opened his own boutique in Niece in the early 1920s and during his decades-long career, designed footwear for Dior and Schiaparelli, and for a list of celebrity clients. An exceptional example of Perugia’s genius and flair for the unexpected and dramatic, the minimalist heel-less shoe extends the footstrap to the ground as a structural element that appears to be a simple flourish of material.

For his Rhinestone shoe (1920s), Perugia debuted a new method to cover the entire upper and heel with rhinestones–the first shoe to be completely covered.

The Trompe l’oeil Red Mule, 1950s, has toes sculpted on the front of the shoe box. Inspired by antique wooden clogs with similar, more stylized designs, the realistic “toe” box is one of Perugia’s most imitated designs.

The exhibition includes several loans from the Musée de la Chaussure and Fondation Azzedine Alaïa, exploring Perugia’s indelible impression on the modern history of footwear and the work of designers inspired by his oeuvre.

Red Mule, 1950s, trompe l’oeil shoe, one of Perugia’s most imitated designs
Rhinestone shoe, 1920s, the first shoe with uppers completely covered in rhinestones. Collection of Fondation Azzadine Alaïa.
André Perugia, The heel-less shoe, ca 1950s, Collection of Musée de la Chaussure.

09/30/2026

Designed by Pablo Picasso for the Ballets Russes’ 1917 production Parade, this scarlet-and-yellow costume was made for a magician character identified in the ballet as the “Chinese Conjurer.” The role drew on the stereotyped “Chinese” personas adopted by some European and American music-hall performers of the period, while Picasso’s design combined those theatrical conventions with the bold visual language of the cubism. According to dancer Lydia Sokolova, after the production had finished, Léon Woizikowski buried his costumes and other belongings in Poland; although his home burned during World War II, he later recovered the buried objects intact. Now safely above ground, the costume belongs to the Theatre and Performance Collection at the .

Pablo Picasso, Costume for the “Chinese Conjurer” in Parade, silk, satin, silver tissue, silver cloth, cotton, and wool, 176 × 150 × 50 cm display footprint, 1917. Victoria and Albert Museum, London,

Since 1922, The Magazine ANTIQUES has explored the world of collecting, with inspiring profiles, groundbreaking research, unexpected genres, and consequential commentary.

09/29/2026

The placement of antiques within objectively modernist interior shells has a surrealistic quality to it. Jason Wiggington .wigg takes us through striking modernist interiors that house antique objects wherein a calculated tension between the two, the rectilinearity, simplified geometric forms, and honesty of materials associated with modernist buildings all become more transparent. Read more at https://www.themagazineantiques.com/article/antiques-in-modernist-interiors/

Guest editor:
Story by: .wigg

09/29/2026

Tiffany’s wonderfully textured “Pineapple” lamp base was made by blowing colored glass directly into a metal framework; as the molten glass expanded, it pushed through the openings in the structure, producing the wonderfully tactile, organic surface seen here. Tiffany used the unusual technique for a small group of related objects, including matching candlesticks.

Tiffany Studios, Table Lamp, “Colonial” Shade with “Pineapple, 4 leaf legs” Base Design, glass, cut and assembled; glass, blown into metal; bronze, cast and patinated, 1902–1910. The Richard H. Driehaus Museum Collection, . Photos by Alex Brescanu.

Since 1922, The Magazine ANTIQUES has explored the world of collecting, with inspiring profiles, groundbreaking research, unexpected genres, and consequential commentary.

09/28/2026

Ginger Rogers wore this full-length gray beaded gown in the 1936 RKO musical Follow the Fleet, the fifth of nine films she made with Fred Astaire at the studio. Designed by Bernard Newman, it appears—paired with a fur stole—in the film’s climactic “Let’s Face the Music and Dance” number, set to music by Irving Berlin. The gown survives as a reminder of the elaborate costumes, choreography, and unapologetic glamour that made the Astaire-Rogers films potent examples of Depression-era escapism.

Bernard Newman, gown worn by Ginger Rogers in Follow the Fleet, gray beaded fabric, 130 x 110 x 20.32 cm, 1936. National Museum of American History, Smithsonian Institution,

Since 1922, The Magazine ANTIQUES has explored the world of collecting, with inspiring profiles, groundbreaking research, unexpected genres, and consequential commentary.

09/28/2026

Beautiful weekend in Chatham, New York at the Taconic Antiques Fair, despite the weather. Congratulations to all of the dealers who enjoyed a successful show, and to those folks who made off with some terrific prizes! Join us next year! Thanks to Old as Adam and 𝔏𝔞𝔲𝔯𝔞 for their impeccable hospitality.

The Magazine Antiques

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