The Powel Room was originally located on the second story of a house that still stands today at 244 South Third Street in Philadelphia. The room is furnished with superb examples of Philadelphia Rococo-style furniture of the type that the Powels might have owned.
to furniture and architectural commissions at Philadelphia’s most distinguished sites
From the fourteenth to the mid-sixteenth century, more books of hours were made than any other type of book.
most common are a calendar ( 22.24.5), a set of gospel lessons (2011.353, Mark, p.
Search art at the Metropolitan Museum.
Watkins ca. 1878 [Ruins of Paris After the Commune] P.
The Richard and Gloria Manney John Henry Belter Rococo Revival Parlor presents a sumptuous mid-nineteenth-century parlor characteristic of affluent homes in the United States. It features furniture by one of the most innovative and virtuosic American cabinetmakers of the period in a room whose architectural elements are from the double parlor of a Classical Revival style villa built around 1850 in Astoria, Queens, for a prosperous businessman named Horace Whittemore (1813–1871).
They formed a partnership with their brother-in-law John B.
How did the legendary actor Anna May Wong use fashion to define her agency and legacy?
Metropolitan Museum of Art, New York, The Hans Syz Collection, Gift of Stephan B.
Decorative Art, Bequest of Bryce Holcombe, 1984 Object Number: 1986.478.15 Bryce P.
New York: The Metropolitan Museum of Art, 1989, p. 111, fig. 106.
The Frank Lloyd Wright Room was originally the living room of the summer residence of Frances W. Little, designed and built between 1912 and 1914 in Wayzata, Minnesota, a suburb of Minneapolis.
Wright and his contemporaries envisioned low-lying structures that expanded across sites
.: The Metropolitan Museum of Art, p. 160, fig. 96.
1935, excavated under the direction of J.M. Upton, W. Hauser and C.K. Wilkinson on behalf of The Persian Expedition of the Metropolitan Museum of Art; acquired by the Museum in 1936, ceded in the division of finds
New York: The Metropolitan Museum of Art, p. 247.
