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Legac"y of ArnrrcroJt are on loan

front

of fhe Junior Leugue ol Athcns. Arnt,crolt wils tlte hotnc. locuted on hi:toric Milleclge Avenuc in Alhens. ol'ttre late hugerria Arriold Friend, who upon her cleati"l in

the Arnocroft Collection

1994 bcquenthcd thc ltouse" ils con-

[ents. rnd

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l'ir e-acrc plot

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the Junior l-eague of Athens. The

title, Elerncnts aJ Ss1,!s; The Legocy r$ ,At,rrtt<'r'ttft. is lor lltc exhibition to educate rnuseum visitors about varir:us

European and American decorative

:tyles anci to cnuhlc the viewer to stucll thc dill'clent lincs rnd dccorative etreinents that make up these "styles." The exhibition is grouperi into styles. including Queen Anne 07A2- 1750), Chippendale (1750l7()0i. Ceorgiu Plain Stylc ( 1785-

I l5l.

Fctlcr:rl t I 790- lt'( l5 ). Empile

exhitrition, organized by Wenc{y

I

Cooper DeVaughn ot-the Georgia

(18 I 5- 1 840). R.ococo Revival

Museurn ol'Art. with urcistancc Iront

I8701. Eastlukc ( |li70- I8()0).

l,aura Gaines and Brittany Freeman,

Colonial Revival (X876-1925), and

interns at the Georgia Museum of Art,

l-orris XV Stylc t20rh Centtiry).

focuses on the eciecticism of one

Various pieces of porceiain and other

sout.heln l'unrily"s colIectton. Well-to-

decorative objects fiom the A.rnocroft

do southerners often cotrlected accorrl-

ColIection conrplen-lent the furniture.

(

1840-

ing to their rnultifarious tastes instead

of Art is inr.lebted to

of strictly adhering to one particular style or period. The Arnolds, specifi-

The Georgkt Museum

caily Eugenia anrl her n-lother Aurie, llected objects not only from thelr

tltt'rth.j1'1'1s

Jttttt'.t E. Httttk.s ttrtl Ptttfes.tttr Jolttt

native Georgia and America, but were

Waters.fctr their knotrIeclge ond expertise;

fortunate enough to travel extensively

untl

to other countries to collect obiects

bition, Direc:tor's Circle membe.rs Dr. and

frorn Europe and Asia as well. The

Mrs. Dottic! H. Mtrgi!l

curator's intention..as inciicated in the

Augltsta H. Wurrcn.

tlrt Jttttittr

Lruluc t,I

fttt lettditty, Ja,r trte irr tlrit t'.tlribitittn: ttt

to tltt N('ncrt)tt.\

Atlrcrts

.\lt(,n\(tt's of

lll

tht exlti-

tttttl Mr.s.


&gaW of Etyle When OliverHazzardArnold, Jr., and his wife

Aurie built

a home in Athens, Georgia, at the turn

also operated the Arnold Grocery Company and the Athens Foundry.

of the century, it was no surprise that they chose

In 1933, the Arnolds rgmodeled their house in

stylish Milledge Avenue as an address. Since the

the Colonial Revival style, keeping with the fash-

1850s Milledge Avenue had been rhe address in

ion of the day. The influence of architect Neel

Athens. Indicative of the financial success

Reid with his classic designs for the elegant

enjoyed by the well-to-do who lived in one of the

Buckhead neighborhood of Atlanta was almost

most prosperous cities in the Georgia Piedmont,

surely acknowledged in the Arnolds' renovation.

Greek Revival and Italianate houses lined the

Gone were the porch and white frame exterior,

shaded street.

replaced by an imposing brick fagade and

The Arnolds' large white house, completed in

Federal-style doorway. Hubert Owens, legendary

1903, was similar to neighboring houses with its

dean of the University of Georgia's School

large porch and spacious five-acre lot. It was a

Environmental Design and a neighbor of the

welcoming setting for the Arnolds and their

Arnolds, is credited with the design of the door-

daughter Jennie after their move from nearby

way and the grounds.

Oglethorpe County, and later for daughters

of

Over time, the Arnolds amassed an extensive

Elizabeth, born in 1903, and Eugenia, in 1907.

collection of antiques and porcelains suitable for

The girls attended the fashionable Lucy Cobb

the house. Trips to Europe and the Far East yield-

Institute farther down Milledge Avenue, where

ed lovely objets d'art and fine antiques, and pur-

young ladies from affluent Georgia families

chases from local antiques dealer Jake Bernstein

learned the necessary social graces, along with the

completed the eclectic mix of furnishings. The

Saks Original gown. The bride and groom and

requisite studies that would enable them to be

house and interior provided the perfect backdrop

their families greeted their guests in the large

conversant at the best-appointed tables in Georgia.

for Eugenia's wedding reception following her

drawing room, surrounded by gilt Chippendale-

The Arnolds quickly gained a reputation for hos-

marriage to John Jacob Blount, a young attorney

style mirrors, elegant porcelain, and other grand

pitality and gracious entertaining. Active in the

in Athens, on November 23,l94O.The Athens

furnishings.

First Baptist Church, Mrs. Arnold led Sunday

Banner-Herald glowingly described the interior of

School classes and played the piano for the choir.

the house as "resplendent with candlelight, gladi-

lands of white roses and . . . topped by a dainty

oli, and white chrysanthemums," adding that

temple housing a pair of tiny white love birds,"

Eugenia looked like "a medieval princess" in her

was served in the dining room. The wedding

Elected mayor of Athens

in 1924, Oliver Arnold,

one of the city's most prominent businessmen,

View of

library of Arnocroft

Eugenia's wedding cake, "richly iced with gar-


reception was only one of many elaborate social

established by the family and purchased furniture

functions held at their home. The dining room,

and art that pleased their eclectic tastes and com-

tion of European and American antiques ranging in styles from the simple lines of the eighteenth

which contains one of the house's ten fireplaces,

plemented their home. They purchased many

century to the ornate curves of the Rococo

provided a suitable stage for gala dinners attended

items during their travels following World War II,

Revival period. Although many of the grand old

by senators, dowagers, and young socialites. The

when English estates were being liquidated for tax

homes on Milledge Avenue now house sororities

family enjoyed intimate meals in the small break-

pu{poses, and objects could be shipped back to

and businesses, Mrs. Friend's house remains

fast room, which is less formal but equally charm-

the United States at no cost on ocean liners.

much the same-house and furnishings at ease

On one of these trips, Eugenia was introduced

ing, with a Georgia Piedmont sideboard and an

with each other. Just as the house's fagade is com-

unusually tall corner cupboard, also made in

to Theodore W. Friend, Jr., a wealthy industrialist

posed of layers, added as styles changed, so ate

Georgia. The landmark exhibition Furniture of the

from Pittsburgh. The two later married, and although Eugenia moved to Pittsburgh with her

the contents a mirror of a southern family's habit

catalogue by Henry Green, featured three of the

new husband, she did not relinquish her ties to

ing times.

house's Georgia-made pieces.

Athens. Eugenia inherited the house and its con-

Georgia Piedmont Before 1830,

Perhaps the favorite room

ar,.d

its reference

ofboth visitors and

of collecting and their appreciation of the chang-

s&/

tents following the deaths of her sisters and moth-

family was the library, added during the remodel-

er, and she lived in Athens for three or four

BRITTANYFREEMAN

ing in 1933. The room, built from heart-pine

months each year, opening her house to her

Ms. Freeman is

boards, frames a view of the verdant grounds. The

friends and relatives in town.

Georgia. She is a former assistant editor at the American

period paneling came from the Dupree House in

Upon her death on January 3,1994, Eugenia

Lexington, Georgia, and was carried to Athens on

left her house, its contents, and the five acres sur-

mule-drawn wagons.

rounding it to the Junior League of Athens, an

Sadly, a year after his wedding, Blount died a heart attack, and Eugenia returned to

of

Arnocroft

organization she had been instrumental in founding in 1935 as the Athens'Junior Assembly when

to live with her parents. Four years later,

she served as its first president. To honor the

Eugenia's mother was also widowed when Mr.

memory of her family, Eugenia asked in her

Arnold died on November 26,1945. Following

that the house always be referred to as Arnocroft:

their husbands' deaths, Eugenia and her mother

o'croft," a "arno" for the family name, and

often traveled together and took month-long trips

Scottish word meaning a parcel of land.

to Europe and the Far East. Mother and daughter

followed

a

tradition of collecting previously

will

The house remains today, for the most part,

exactly as Eugenia left it, a wonderful combina-

a

freelance writer working in Athens,

Art Review and a former museum studies intern at the Georgia Museum of Art.


Checklist of the txhibition @Leeng{nne 1702-1750) Popular in England during the reign of Queen Anne (1702-1714), though she had nothing to do with its development, this simple, elegant style is characterized by cabriole (double curved) legs in front and raked (leaning out) legs in back, shaped back splats on chairs, slipper feet (sometimes padded), trifid (three-toed) feet, rounded seats, curved crest rails, scalloped aprons, and other curvilinear elements that echo the sline of the cabriole leg. ornamentation includes the butterfly or batswing brass pulls, the carved baroque shell, the shell-carved knee, and sometimes, though rarely, the ball-and-claw foot, which was not predominant until the Chippendale period. As with most early styles, America's dates for the Queen Anne period are later and range from 1725-50. Still popular today, the style endures because of its comfort. New York, New England, and Philadelphia were known for producing outstanding examples of Queen Anne furniture in America. Queen Anne highboy (England), ca. 1120 Walnut and walnut veneer 65 1/2 x 42 ll4 x23 ll2 inches Two sections: top section with moulded cornice over convex hidden frieze drawer over two short drawers over three stacked long drawers, each with brass backplate and drop bail handles. Base with wide moulded border over central nâ&#x201A;Źurow drawer flanked by two deep drawers. Supported on cabriole legs with pad feet. The shaped apron with Gothic-shaped arches recalls the earlier William and Mary period (1690-1730). Highboys were especially popular during the Queen Anne period.

Queen Anne lowboy (England), ca. l74O

Oyster walnut; pine 32 x 44 x20 ll2 itches with oblong top oyer single drawer flanked by two deep drawers with centered serpentine carved apron. Supported on cabriole legs with pad feet.

Chipp endale 07 5 0 - 17 I 0) Thomas Chippendale of London, the first English cabinetmaker to have his name attached to a particular style, published The Gentleman and Cabinet-maker's Director; in l'7 54, which fully described and codified this new style. Influenced by the Rococo, Chinese, and Gothic styles, Chippendale furniture is defined by elaborate carving, straight and curving lines, and the use of mahogany as the primary

wood. Elements to look for include ball-and-claw feet, straight bracket foot or ogee (double curve with the shape of an elongated S) bracket foot, and square seats. The most innovative elements of Chippendale's designs were the elaborately pierced and carved chair backs. Ornamentation includes arches, ribbons, interlacing scrolls, quarter-columns, Chinese-style fretwork, shellwork, gadrooning (band with reeding or fluting), foliage, and latticework. In the South, this style was popular in the coastal cities of Charleston and Savannah. Charleston was reported to have the most copies of Chippendale's pattern book in one American city.

Chippendale desk (southern United States), ca. 1780-1800 Mahogany; pine 46 ll2 x 42 x 23 inches Slant front opening to reveal a fitted interior; the case with four graduated drawers with brass rail pulls supported on bracket feet. Horizontal plank back. Chippendale chest of drawers (United States), ca. 1800 Mahogany; pine 40 x 48 x 21 inches Case with pair of short drawers above three long drawers flanked by canted stiles with lamb's tongue terminals, supported on ogee bracket feet. Full dustboards. Original pulls. Chippendale pie crust tilt top table (England), ca. 1760 Mahogany 28 (height) x 29 (diameter) inches Pie crust top over baluster shaft with a grooved neck and carved body on three acanthus carved legs with elongated ball-and-claw feet. These tables were also called tea tables and could be round or square.

Chip

p en dale

-s

ty I e

"fiurnirur

e

Emyl Jenkins writes in Emyl Jenkins'Reproduction Furniture, ". . . many honest, well-constructed, and artfully crafted 'old reproductions' are of finer quality and worth more money than the glut of overpriced fake, altered, or generally inferior pieces that are being sold as 'antiques' these days." The armchair and giltwood mirror, as well as other reproduction furniture included in this exhibition, illustrate Jenkins's theory.


Chippendale-style armchair (England), late 19th or early 20th century Mahogany, gold silk damask upholstery 28

ll4 x20 ll2 x 17 inches

Reproduction chair with even upholstered crest and back with straight upholstered arms oYer concave acanthus carved supports and squared seat. Square front legs with carved blind fretwork and stretchers joining rear legs.

Chippendale-style mirror (Italy), 20th century Giltwood 62 x 30 inches Rectangular mirror pierced with foliate border, the high arched crest with phoenix carrying a branch in its beak.

Colonial fovival 0876-

19 Z

S)

Although in the chippendale style, this dining chair and camei-back sofa are examples of the colonial Revival period. During this time, as a result of philadelphia,s Centennial Exposition of l876,American furniture makers manufactured reproductions in the Queen Anne and chippendale styles in response to the search for America's past.

Chippendale-style dining chair (United States), ca. 1900 Mahogany

4l x27 x 19 inches Serpentine shell centered crest over pierced slat with squared seat. Acanthus carved knee cabriole legs. This chair is typical of the block-style Chippendale chair popular at philadelphia's Centen

n ia

I Expo siti o n.

Chippendale-style camel-back sofa (United States), early 20th cenrury

fl epplewhite

( 17 8

5 - 18 15 )

Sheraton 0785-1815) .4ederal 07BS-181s)

George Hepplewhite took the classical revival forms of English Adam-style furniture and adapted it to the smaller homes of the day. The light proportions and delicate style were reflected in the square and tapering legs, often reeded. Graceful chair backs took the shape of shields, hoops, hearts, wheels, and ovals. Inlaid motifs included inverted bellflower husks, quarter fans, wheat, lyres, swags, and garland motifs. Hepplewhite is credited with the innovative design of the sideboard with serving table and storage in one piece. Thomas Sheraton, considered more avant-garde than Hepplewhite, was the last cabinetmaker of England's golden age of furniture making. He focused on simplicity of design. one can always identify the Sheraton style by the slendeq rounded legs, often reeded and tapered with raised or splayed feet. The reeded column is the element most associated with the Sheraton style. Other elements include square chair backs with horizontal and vertical bars, diagonal lattices, and vase and lyre shapes. sheraton is also credited with the kidney-shaped table and for concealing secret drawers in furniture. Federal is the name given to American-made furniture in the style of Hepplewhite and Sheraton and is often used interchangeably with them. The use of American symbolism, such as an eagle or columbia, is another distinction. According to Jean

Taylor Federico, author of clues to Arnerican Furniture, "some feel that this was America's first true design style, for while it owed much to its English and French cousins, the interpretation was purely American." The slender brick townhouses of Alexandria, Virginia, and Savannah, Georgia, were perfect complements to this style. Inland areas like the small Georgia towns of Milledgeville and Lexington were home to beautiful white frame Federal-style houses and furniture.

Mahogany; silk upholstery

34x81 x 25 inches Reproduction sofa on reeded legs joined by stretchers.

Abo- classical Styles :,4ederal and. tmpire These styles developed in response to the renewed interest in Classical themes that resulted from the archaeological discoveries at Pompeii and Herculaneum.

Federal chest of drawers (Oglethorpe County, Georgia), ca. 1800 Walnut: southern yellow pine 42 l/2 x31 3/4 x2l l/2 inches Reference: Furniture of the Georgia Piedmont Before l830,by Henry Green , p. 91, figure 114. oblong top over four long drawers, each with oval drop bail brasses. "Stringing forms unusual patterns of intersecting lines and pointed ovals. Thin applied molding on edge of top also has two lines of stringing. Triple stringing at skirt, over inlaid sunburst."


Hepplewhite sideboard (England), ca. 1780 Mahogany; pine 37 x7l 314 x26 inches D-form with high brass rail at back; central drawer over arched apron flanked by deep side compartments, each with diamond inlay centered with oval drop bail handle, quarter fan spindrels, and line inlay; six tapering square line inlaid legs and cuff

Plain-style corner cupboard (Georgia Piedmont), ca' 1780 Yellow pine 166 ll2 x 47 x 26 inches One-piece cupboard with moulded cornice, dentil moulded, over triple paneled doors opening to butterfly shelving. With lower paneled shelves opening to shelved opening to shelved interior. With apron and bracket feet'

feet.

Sheraton chest ofdrawers (England), ca. 1780-1810 Mahogany 41 x 38 ll2 x 12 inches Two short drawers over three stacked drawers with shaped lined inlay; each drawer with oval brasses and diamond-shaped escutcheons; serpentine apron and French feet.

Knife boxes (England), ca. 1790 14

x9 Il4 x 12 inches

Typical form with slanted lid opening to divided compaltment and deep serpentine fiont with sterling silver escutcheons; interior of lid with inlaid conch shell.

Georgia Qlain Style (1785-1815) This style refers to hand-made pieces of a plain style. These pieces, elegant and dignified in their simplicity, with relatively little decoration or ornamentation, stand as utilitarian objects. One can almost visualize the craftsman or maker rubbing his hand along the smooth slabs of wood. Known as "neat" or "plain style"' it paralleled the Federal period. Wendell Gaffett, writing in the exhibition catalogue NEAT PIECES: Tie Plain-Style Furniture of 19th Century Georgia, offers the term "backwoods baroque or altisan mannerism" to describe the style. Usually made of local woods, these objects are, as Galrett says, "a powerful statement of the vernacular tradition of cabinetmaking and chairmaking in rural America." The fumiture was a perfect fit for the architectural style known as the Plantation Plain Style or the Carolina I-house, common to the eastern seaboard. These two-story frame houses with their wide heart-pine floors and simple Federal period mantles were harmonious settings for these "neat pieces."

Plain-style sideboard (Georgia Piedmont), ca' 1790-1810 Walnut

43

112

x 62 x221i2 inches

Walnut slab with oblong top over chamfered sided cupboard doors, flanked by a nirrow drawer over a deep drawer; shaped rectangular line inlay and diamond shaped escutcheon on six tapering square legs'

â&#x201A;Źmpire 0815'1850) as the "correct" form of classical interpretation (versus the other Neo-classical Hepplewhite aad Sheraton styles), but with a French accent. Such "high style" furniture is distinguished by its massiveness and was suitable for the grandeur and size of the Greek Revival houses popular in America from approximately 1830 to the Civil War. Double parlors became common, and there one fira Empire furniture with its characteristic highly polished finishes and dark, "outa mahogany veneer. Considered the last great style before mass production, figured Empire furniture had strong lines, curved, rolled over, or scroll shapes, and heavy legs and feet. The "klismos" leg was an element borrowed from classical friezes' Other elements include S-scrolls, paw and scroll feet, and classical and exotic (Egyptian) ornamentation, including lyres, columns, palmettes, griffins, caryatids, cornucopias, and serpents. The decorative objects were sometimes elaborated further with the use of ormolu (stamped, gold-plated brass imported from France), painting, stenciling, gilding, marble, and alabaster. The designers of this period generated new furniture forms, including Grecian sofas, sleigh beds, pier tables (side tables), and center tables, which were grandly displayed in the plantation homes of the South. After the Empire style faded, the Victorian styles followed in rapid succession until

This style is usually referred to

the end of the century.

Empire side chair (United States), ca. 1830-40 Mahogany 34 x 18 x 23 inches Rounded crests above baluster splats, split seats supported on klismos legs.

Empire secretary (United States), ca. 1860 Mahogany veneer 89 x 43 x 25 inches

Upper section with a wide flat pediment style above a pair of glazed doors; lower seition with fall front above two long drawers flanked by scrolled pilasters and raised on turned feet.

Empire card table (Boston), ca. 1850 Mahogany

28ll2x

34 x 17 inches Hinged rectangular top supported on a lyre and heart base.


Victorian-tra,!i

I

u

lcs ( 1840- 19 00)

The Victorian era, which coincided with the Industrial Revolution, saw an increase in furniture, made by machines that were replacing the individual craftsman. This era of eclectic tastes gave rise to a variety of styles. Large, ornately carved, veneered furniture was now available to the growing middle class. only two victorian-era styles are represented in this exhibition: Rococo Revival, a prime example of that mentioned above; and Eastlake, named after charles Eastlake, who emphasized craftsmanship and tried to improve the quality of manufactured furniture.

fut

co

co fuviv al 0B 4 0 - 187 0 )

The Rococo Revival style looked back to eighteenth-century France and took advantage of the new technology of machines to make its S- and C-curves, scrolls, shells, tendrils, foliage, roses, birds, vines, and grapes. A radical depafiure from the simple lines of American Federal and Empire furniture, the Rococo Revivar style was referred to as "Louis Quatorze" at the time, but the style more closely echoes that of Louis XV. This style was available in large parlor groupings that included a lady's chair, an armchair (together often called husband and wife chairs), a sofa, four smaller parlor chairs, and sometimes a center table. The cotton culture's newly affluent residents of Baton Rouge, New orleans, and Natchez were eager to furnish their Greek Revival or Italianate houses and become the newest members of the consumer age. Laminated rosewood, marble, horsehair upholstery, gilded mirrors, overmantles, and pier glasses were popular and can be found intact in the homes of Natchez. According to Jean Taylor Federico, author of Clues to American Furniture, "This style was popular in the South where many fine homes were decorated by New York designers and filled with furniture made by John Henry Belter and Joseph Meeks and Sons."

Rococo Revival turtleback table (United States), ca. 1880 Mahogany; marble 32 x 47 x 23 inches Quatrefoil marble top resting on a conforming frieze with gadrooned rim and central carved shell and supported on foliate-carved cabriole legs joined by x-stretcher with central finial.

â&#x201A;Źastlake 0870-1890) charles Eastlake simplified the designs of the Rococo Revival and squared off its forms. Instead of heavily applied ornamentation, he used flat, incised decoration to embellish furniture. Eastlake brought the English reform movement to America. In his book, Hints on Household Taste, published in 1868, Eastlake emphasized craftsmanship and strove to refine the quality of manufactured furniture. His advice also included hints on clothing and jewelry. He believed that good design did not have to be expensive. One can easily recognize the Eastlake style by the squared-off tops and incised decoration.

Eastlake rocker (United States or England), ca. 1870 Oak; cane

36x20 x 33 inches Eastlake dresser with mirror (Cincinnati, Ohio), ca. 1870 Walnut; white marble 84 x 40 x 20 inches with arched mir:ror swiveling below an arched pediment flanked by candlestands. The case with white marble top flanked by platform drawers, above three long, paneled drawers. The top drawer stenciled "From Mitchell & Rammelsbert Furniture Co. Cincinnati, Ohio."

Rococo Revival settee (United States), ca. 1880 Mahogany

38 l/2 x 66 x 30 inches

{guis XV Style 20th century)

Three-chair back with grape and nut carved crest. Rococo Revival husband and wife chairs (United States), ca. 1880 Walnut; upholstery 33 3/4 x 17 l/2 x 17 inches Balloon-back chairs with carved foliate backs, carved splats, shaped seats, and cabriole legs. The "husband chair" has arms, while the "wifu" chair does not. A lady had to sit in a chair without arms to accommodate her large, bustled dress, the fashion of the Victorian era. This way, the dress could be shown in all its glory.

As southerners became affluent, they began to travel to Europe and hence developed a passion and appreciation for things of the past. During this time, faux Louis XV furniture became a fad. Not many people could afford the period French Louis styles; therefore, inexpensive, Louis "style" furniture was made to meet the high demand. During the 1920s and 1930s, when the fashionable architects Neel Reid and Philip Schutze were designing Neo-classical homes for the well-to-do southerners, Louis XV-style furniture was de rigueur among their clientele.


Louis XV-style armchair (Italy), 20th century Giltwood; cream silk damask upholstery

4l x25 x22 inches

With shell and acanthus carved crest, upholstered shaped back, acanthus carved arms with upholstered sides on concave arm supports, over shaped seat with serpentine carved apron and French style cabriole feet. On casters.

Imari dessert plates and

Artist unknown (Italian School) Acquisition of Knowledge,late lSth or early 19th century

Oil on 36

canvas

ll2 x 45 1/4 inches

Artist unknown EugeniaArnold Friend, ca. 1940

â&#x201A;Źuropean Qorcelain TWo

Other Works ofg{rt

Black-and-white photograPh one tazza (England or United States), late 19th or

early 20th century Porcelain 9 inches (diameter)

Imari pattern with serpentine edge and cobalt border with alternating design of stacked diamonds and floral pattern. Interior with two cobalt diamond panels flanked by floral panels with central circular reserve. SBvres dinner plate (France), ca. 7842

Porcelain

9 ll2 inches (diameter)

With blue and gilt border with white and gilt arched panels enclosing the circular "snowflake" well. Blue SBvres mark above red Chateau de Bizy mark' Sbvres-style Yase (France), late 19th century Porcelain 18 (height) x 9 (diameter) inches Ormolu-mounted vase with turquoise ground ovoid bodies with floral and allegorical reserve.

Old Paris vase (Paris, France), ca. 1800-20 Porcelain 11 (height) x 8 (diameter) inches The campana body painted with reserve of mother, father, and child. Double mask mounts.

Hilditch cup and saucer (England), ca. 1840 Porcelain Cup:2 U2 (height) x9 Lt2 (diameter) inches; Saucer: 5 3/4 inches (diameter) With raised blue foliate design and painted floral sprigs and gilt highlights.

View of living room of

Arnocroil


General Atbliography

Federico, Jean Taylor. Clues to American Fumiture. Washington, D.C.: Starrhill Press, 1991. Garrett, Wendell. NEAT PIECES: The Plain-Style Furniture of

lgth Century Georgia. Atlanta: Atlanta Historical Society,

Green, Henry. Furniture of the Georgia Piedmont Before 1830. Atlatta: High Museum of Art, 1976.

Jenkins, EmyL Emyl Jenkins'Reproduction Furniture. New York: Crown Publishers, Inc., 1995.

1983.


l\fuseum Inlbrmation Partial support for the exhibitions and programs at the Georgia Museum of Art is provided by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. Individuals, foundations, and corporations provide additional museum support through their gifts to the University of Georgia Foundation. The Georgia Museum of Art is located in the Performing and Visual Arts Complex on the East Campus of the University of Georgia. The address is 90 Carlton Street, University of Georgia, Athens, GA 30602.

flours:

Tuesday, Thursday, Friday and Saturday from 10 a.m. until 5

p.*..

Wednesday from 10 a.m. until 9 p.m., Sunday from 1 p.m. until 5p.m., and closed Mondays.

lyluseum Shop,flours:Tuesday through Saturday from 11 a.m. until 4 p.m. and Sunday from 1 p.m. until 4 p.m.

Above: AmocroJl Cover: Third checklist item under European Porcelain, Sdvres-style otmolu-mounted vase, France, 1 9th century


Elements of Style: The Legacy of Arnocroft