€lements of Etyle:{he {sgacy of

,ytl,ocrn#,IH|KD

,,/1rt

Legac"y of ArnrrcroJt are on loan front

the Arnocroft Collection 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

1994 bcquenthcd thc ltouse" ils con-

[ents. rnd r l'ir e-acrc plot ol ];lncl t.r

the Junior l-eague of Athens. The

exhitrition, organized by Wenc{y

Cooper DeVaughn ot-the Georgia

Museurn ol'Art. with urcistancc Iront

l,aura Gaines and Brittany Freeman,

interns at the Georgia Museum of Art,

focuses on the eciecticism of one

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

do southerners often cotrlected accorrl-

ing to their rnultifarious tastes instead

of strictly adhering to one particular

style or period. The Arnolds, specifi-

caily Eugenia anrl her n-lother Aurie,

llected objects not only from thelr

native Georgia and America, but were

fortunate enough to travel extensively

to other countries to collect obiects

frorn Europe and Asia as well. The

curator's intention..as inciicated in the

{ru[rocluctionrru{rnocroft nptre objccts irrcludcd rn rht' exhibi-

i- ti,rn t-letuents tl Sn'la: Tlrc

title, Elerncnts aJ Ss1,!s; The Legocy r$

,At,rrtt<'r'ttft. is lor lltc exhibition to edu-

cate rnuseum visitors about varir:us

European and American decorative

:tyles anci to cnuhlc the viewer to

stucll thc dill'clent lincs rnd dccora-

tive etreinents that make up these

"styles." The exhibition is grouperi

into styles. including Queen Anne

07A2- 1750), Chippendale (1750-

l7()0i. Ceorgiu Plain Stylc ( 1785-

I I l5l. Fctlcr:rl t I 790- lt'( l5 ). Empile

(18 I 5- 1 840). R.ococo Revival ( 1840-

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

Colonial Revival (X876-1925), and

l-orris XV Stylc t20rh Centtiry).

Various pieces of porceiain and other

decorative objects fiom the A.rnocroft

ColIection conrplen-lent the furniture.

The Georgkt Museum of Art is inr.lebted to

tlrt Jttttittr Lruluc t,I Atlrcrts fttt lettditty,

tltt'rth.j1'1'1s Ja,r trte irr tlrit t'.tlribitittn: ttt

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

Waters.fctr their knotrIeclge ond expertise;

untl to tltt N('ncrt)tt.\ .\lt(,n\(tt's of tht exlti-

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

Mrs. Dottic! H. Mtrgi!l lll tttttl Mr.s.

Augltsta H. Wurrcn.

&gaW of Etyle

When OliverHazzardArnold, Jr., and his wife

Aurie built a home in Athens, Georgia, at the turn

of the century, it was no surprise that they chose

stylish Milledge Avenue as an address. Since the

1850s Milledge Avenue had been rhe address in

Athens. Indicative of the financial success

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

most prosperous cities in the Georgia Piedmont,

Greek Revival and Italianate houses lined the

shaded street.

The Arnolds' large white house, completed in

1903, was similar to neighboring houses with its

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

welcoming setting for the Arnolds and their

daughter Jennie after their move from nearby

Oglethorpe County, and later for daughters

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

The girls attended the fashionable Lucy Cobb

Institute farther down Milledge Avenue, where

young ladies from affluent Georgia families

learned the necessary social graces, along with the

requisite studies that would enable them to be

conversant at the best-appointed tables in Georgia.

The Arnolds quickly gained a reputation for hos-

pitality and gracious entertaining. Active in the

First Baptist Church, Mrs. Arnold led Sunday

School classes and played the piano for the choir.

Elected mayor of Athens in 1924, Oliver Arnold,

one of the city's most prominent businessmen,

also operated the Arnold Grocery Company and

the Athens Foundry.

In 1933, the Arnolds rgmodeled their house in

the Colonial Revival style, keeping with the fash-

ion of the day. The influence of architect Neel

Reid with his classic designs for the elegant

Buckhead neighborhood of Atlanta was almost

surely acknowledged in the Arnolds' renovation.

Gone were the porch and white frame exterior,

replaced by an imposing brick fagade and

Federal-style doorway. Hubert Owens, legendary

dean of the University of Georgia's School ofEnvironmental Design and a neighbor of the

Arnolds, is credited with the design of the door-

way and the grounds.

Over time, the Arnolds amassed an extensive

collection of antiques and porcelains suitable for

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

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

chases from local antiques dealer Jake Bernstein

completed the eclectic mix of furnishings. The

house and interior provided the perfect backdrop

for Eugenia's wedding reception following her

marriage to John Jacob Blount, a young attorney

in Athens, on November 23,l94O.The Athens

Banner-Herald glowingly described the interior ofthe house as "resplendent with candlelight, gladi-

oli, and white chrysanthemums," adding that

Eugenia looked like "a medieval princess" in her

Saks Original gown. The bride and groom and

their families greeted their guests in the large

drawing room, surrounded by gilt Chippendale-

style mirrors, elegant porcelain, and other grand

furnishings.

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

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

temple housing a pair of tiny white love birds,"

was served in the dining room. The wedding

View of library of Arnocroft

reception was only one of many elaborate social

functions held at their home. The dining room,

which contains one of the house's ten fireplaces,

provided a suitable stage for gala dinners attended

by senators, dowagers, and young socialites. The

family enjoyed intimate meals in the small break-

fast room, which is less formal but equally charm-

ing, with a Georgia Piedmont sideboard and an

unusually tall corner cupboard, also made in

Georgia. The landmark exhibition Furniture of the

Georgia Piedmont Before 1830, ar,.d its reference

catalogue by Henry Green, featured three of the

house's Georgia-made pieces.

Perhaps the favorite room ofboth visitors and

family was the library, added during the remodel-

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

boards, frames a view of the verdant grounds. The

period paneling came from the Dupree House in

Lexington, Georgia, and was carried to Athens on

mule-drawn wagons.

Sadly, a year after his wedding, Blount died of

a heart attack, and Eugenia returned to Arnocroft

to live with her parents. Four years later,

Eugenia's mother was also widowed when Mr.

Arnold died on November 26,1945. Following

their husbands' deaths, Eugenia and her mother

often traveled together and took month-long trips

to Europe and the Far East. Mother and daughter

followed a tradition of collecting previously

established by the family and purchased furniture

and art that pleased their eclectic tastes and com-

plemented their home. They purchased many

items during their travels following World War II,

when English estates were being liquidated for tax

pu{poses, and objects could be shipped back to

the United States at no cost on ocean liners.

On one of these trips, Eugenia was introduced

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

from Pittsburgh. The two later married, and

although Eugenia moved to Pittsburgh with her

new husband, she did not relinquish her ties to

Athens. Eugenia inherited the house and its con-

tents following the deaths of her sisters and moth-

er, and she lived in Athens for three or four

months each year, opening her house to her

friends and relatives in town.

Upon her death on January 3,1994, Eugenia

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

rounding it to the Junior League of Athens, an

organization she had been instrumental in found-

ing in 1935 as the Athens'Junior Assembly when

she served as its first president. To honor the

memory of her family, Eugenia asked in her will

that the house always be referred to as Arnocroft:

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

Scottish word meaning a parcel of land.

The house remains today, for the most part,

exactly as Eugenia left it, a wonderful combina-

tion of European and American antiques ranging

in styles from the simple lines of the eighteenth

century to the ornate curves of the Rococo

Revival period. Although many of the grand old

homes on Milledge Avenue now house sororities

and businesses, Mrs. Friend's house remains

much the same-house and furnishings at ease

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

posed of layers, added as styles changed, so ate

the contents a mirror of a southern family's habit

of collecting and their appreciation of the chang-

ing times. s&/

BRITTANYFREEMAN

Ms. Freeman is a freelance writer working in Athens,

Georgia. She is a former assistant editor at the American

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 hadnothing to do with its development, this simple, elegant style is characterized bycabriole (double curved) legs in front and raked (leaning out) legs in back, shapedback splats on chairs, slipper feet (sometimes padded), trifid (three-toed) feet,rounded seats, curved crest rails, scalloped aprons, and other curvilinear elementsthat echo the sline of the cabriole leg. ornamentation includes the butterfly orbatswing brass pulls, the carved baroque shell, the shell-carved knee, and sometimes,though rarely, the ball-and-claw foot, which was not predominant until theChippendale period. As with most early styles, America's dates for the Queen Anneperiod are later and range from 1725-50. Still popular today, the style enduresbecause of its comfort. New York, New England, and Philadelphia were known forproducing outstanding examples of Queen Anne furniture in America.

Queen Anne highboy (England), ca. 1120Walnut and walnut veneer65 1/2 x 42 ll4 x23 ll2 inchesTwo sections: top section with moulded cornice over convex hidden frieze drawerover two short drawers over three stacked long drawers, each with brass backplateand drop bail handles. Base with wide moulded border over central n€urow drawerflanked by two deep drawers. Supported on cabriole legs with pad feet.The shaped apron with Gothic-shaped arches recalls the earlier William and Maryperiod (1690-1730). Highboys were especially popular during the Queen Anne peri-od.

Queen Anne lowboy (England), ca. l74OOyster walnut; pine32 x 44 x20 ll2 itcheswith oblong top oyer single drawer flanked by two deep drawers with centered ser-pentine 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 nameattached to a particular style, published The Gentleman and Cabinet-maker'sDirector; in l'7 54, which fully described and codified this new style. Influenced bythe Rococo, Chinese, and Gothic styles, Chippendale furniture is defined by elabo-rate 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. Themost innovative elements of Chippendale's designs were the elaborately pierced andcarved chair backs. Ornamentation includes arches, ribbons, interlacing scrolls, quar-ter-columns, Chinese-style fretwork, shellwork, gadrooning (band with reeding orfluting), foliage, and latticework. In the South, this style was popular in the coastalcities of Charleston and Savannah. Charleston was reported to have the most copiesof Chippendale's pattern book in one American city.

Chippendale desk (southern United States), ca. 1780-1800Mahogany; pine46 ll2 x 42 x 23 inchesSlant front opening to reveal a fitted interior; the case with four graduated drawerswith brass rail pulls supported on bracket feet. Horizontal plank back.

Chippendale chest of drawers (United States), ca. 1800Mahogany; pine40 x 48 x 21 inchesCase with pair of short drawers above three long drawers flanked by canted stileswith lamb's tongue terminals, supported on ogee bracket feet. Full dustboards.Original pulls.

Chippendale pie crust tilt top table (England), ca. 1760Mahogany28 (height) x 29 (diameter) inchesPie crust top over baluster shaft with a grooved neck and carved body on three acan-thus 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 andworth more money than the glut of overpriced fake, altered, or generally inferiorpieces that are being sold as 'antiques' these days." The armchair and giltwood mir-ror, as well as other reproduction furniture included in this exhibition, illustrateJenkins's theory.

Chippendale-style armchair (England), late 19th or early 20th centuryMahogany, gold silk damask upholstery28 ll4 x20 ll2 x 17 inchesReproduction chair with even upholstered crest and back with straight upholsteredarms oYer concave acanthus carved supports and squared seat. Square front legs withcarved blind fretwork and stretchers joining rear legs.

Chippendale-style mirror (Italy), 20th centuryGiltwood62 x 30 inchesRectangular mirror pierced with foliate border, the high arched crest with phoenixcarrying a branch in its beak.

Colonial fovival 0876- 19 Z S)

Although in the chippendale style, this dining chair and camei-back sofa are exam-ples of the colonial Revival period. During this time, as a result of philadelphia,sCentennial Exposition of l876,American furniture makers manufactured reproduc-tions in the Queen Anne and chippendale styles in response to the search forAmerica's past.

Chippendale-style dining chair (United States), ca. 1900Mahogany4l x27 x 19 inchesSerpentine shell centered crest over pierced slat with squared seat. Acanthus carvedknee cabriole legs.This chair is typical of the block-style Chippendale chair popular at philadelphia'sCenten n i a I Expo siti o n.

Chippendale-style camel-back sofa (United States), early 20th cenruryMahogany; silk upholstery34x81 x 25 inchesReproduction sofa on reeded legs joined by stretchers.

Abo- clas sical Styles :,4ederal and. tmpire

These styles developed in response to the renewed interest in Classical themes thatresulted from the archaeological discoveries at Pompeii and Herculaneum.

fl epplewhite ( 17 8 5 - 18 15 )

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

George Hepplewhite took the classical revival forms of English Adam-style furnitureand adapted it to the smaller homes of the day. The light proportions and delicatestyle were reflected in the square and tapering legs, often reeded. Graceful chairbacks took the shape of shields, hoops, hearts, wheels, and ovals. Inlaid motifsincluded inverted bellflower husks, quarter fans, wheat, lyres, swags, and garlandmotifs. Hepplewhite is credited with the innovative design of the sideboard withserving table and storage in one piece.

Thomas Sheraton, considered more avant-garde than Hepplewhite, was the lastcabinetmaker of England's golden age of furniture making. He focused on simplicityof 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 theelement most associated with the Sheraton style. Other elements include square chairbacks with horizontal and vertical bars, diagonal lattices, and vase and lyre shapes.sheraton is also credited with the kidney-shaped table and for concealing secretdrawers in furniture.

Federal is the name given to American-made furniture in the style of Hepplewhiteand Sheraton and is often used interchangeably with them. The use of Americansymbolism, such as an eagle or columbia, is another distinction. According to JeanTaylor Federico, author of clues to Arnerican Furniture, "some feel that this wasAmerica's first true design style, for while it owed much to its English and Frenchcousins, the interpretation was purely American." The slender brick townhouses ofAlexandria, Virginia, and Savannah, Georgia, were perfect complements to thisstyle. Inland areas like the small Georgia towns of Milledgeville and Lexington werehome to beautiful white frame Federal-style houses and furniture.

Federal chest of drawers (Oglethorpe County, Georgia), ca. 1800Walnut: southern yellow pine42 l/2 x31 3/4 x2l l/2 inchesReference: 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. Thinapplied molding on edge of top also has two lines of stringing. Triple stringing atskirt, over inlaid sunburst."

Hepplewhite sideboard (England), ca. 1780

Mahogany; pine37 x7l 314 x26 inchesD-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 han-

dle, quarter fan spindrels, and line inlay; six tapering square line inlaid legs and cuff

feet.

Sheraton chest ofdrawers (England), ca. 1780-1810

Mahogany41 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 "back-

woods 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 harmo-

nious settings for these "neat pieces."

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

Walnut43 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'

Plain-style corner cupboard (Georgia Piedmont), ca' 1780

Yellow pine166 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 open-

ing to shelved interior. With apron and bracket feet'

€mpire 0815'1850)

This style is usually referred to 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 suit-

able 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

"outa fira Empire furniture with its characteristic highly polished finishes and dark,

figured mahogany veneer. Considered the last great style before mass production,

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

the end of the century.

Empire side chair (United States), ca. 1830-40

Mahogany34 x 18 x 23 inches

Rounded crests above baluster splats, split seats supported on klismos legs.

Empire secretary (United States), ca. 1860

Mahogany veneer89 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

Mahogany28ll2x 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 increasein furniture, made by machines that were replacing the individual craftsman. Thisera of eclectic tastes gave rise to a variety of styles. Large, ornately carved, veneeredfurniture was now available to the growing middle class. only two victorian-erastyles are represented in this exhibition: Rococo Revival, a prime example of thatmentioned above; and Eastlake, named after charles Eastlake, who emphasizedcraftsmanship 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 advan-tage 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 simplelines of American Federal and Empire furniture, the Rococo Revivar style wasreferred to as "Louis Quatorze" at the time, but the style more closely echoes that ofLouis XV. This style was available in large parlor groupings that included a lady'schair, an armchair (together often called husband and wife chairs), a sofa, foursmaller parlor chairs, and sometimes a center table. The cotton culture's newly afflu-ent residents of Baton Rouge, New orleans, and Natchez were eager to furnish theirGreek Revival or Italianate houses and become the newest members of the con-sumer age. Laminated rosewood, marble, horsehair upholstery, gilded mirrors, over-mantles, and pier glasses were popular and can be found intact in the homes ofNatchez. According to Jean Taylor Federico, author of Clues to American Furniture,"This style was popular in the South where many fine homes were decorated byNew York designers and filled with furniture made by John Henry Belter and JosephMeeks and Sons."

Rococo Revival settee (United States), ca. 1880Mahogany38 l/2 x 66 x 30 inchesThree-chair back with grape and nut carved crest.

Rococo Revival husband and wife chairs (United States), ca. 1880Walnut; upholstery33 3/4 x 17 l/2 x 17 inchesBalloon-back chairs with carved foliate backs, carved splats, shaped seats, and cabri-ole legs.The "husband chair" has arms, while the "wifu" chair does not. A lady had to sit ina chair without arms to accommodate her large, bustled dress, the fashion of theVictorian era. This way, the dress could be shown in all its glory.

Rococo Revival turtleback table (United States), ca. 1880Mahogany; marble32 x 47 x 23 inches

Quatrefoil marble top resting on a conforming frieze with gadrooned rim and centralcarved shell and supported on foliate-carved cabriole legs joined by x-stretcher withcentral finial.

€astlake 0870-1890)

charles Eastlake simplified the designs of the Rococo Revival and squared off itsforms. Instead of heavily applied ornamentation, he used flat, incised decoration toembellish furniture. Eastlake brought the English reform movement to America. Inhis book, Hints on Household Taste, published in 1868, Eastlake emphasized crafts-manship and strove to refine the quality of manufactured furniture. His advice alsoincluded hints on clothing and jewelry. He believed that good design did not have tobe expensive. One can easily recognize the Eastlake style by the squared-off topsand incised decoration.

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

36x20 x 33 inches

Eastlake dresser with mirror (Cincinnati, Ohio), ca. 1870Walnut; white marble84 x 40 x 20 incheswith arched mir:ror swiveling below an arched pediment flanked by candlestands.The case with white marble top flanked by platform drawers, above three long, pan-eled drawers. The top drawer stenciled "From Mitchell & Rammelsbert FurnitureCo. Cincinnati, Ohio."

{guis XV Style 20th century)

As southerners became affluent, they began to travel to Europe and hence developeda passion and appreciation for things of the past. During this time, faux Louis XVfurniture became a fad. Not many people could afford the period French Louisstyles; therefore, inexpensive, Louis "style" furniture was made to meet the highdemand. During the 1920s and 1930s, when the fashionable architects Neel Reid andPhilip 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.

€uropean Qorcelain

TWo Imari dessert plates and one tazza (England or United States), late 19th or

early 20th centuryPorcelain9 inches (diameter)Imari pattern with serpentine edge and cobalt border with alternating design ofstacked diamonds and floral pattern. Interior with two cobalt diamond panels flanked

by floral panels with central circular reserve.

SBvres dinner plate (France), ca. 7842

Porcelain9 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

Porcelain18 (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

Porcelain11 (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

PorcelainCup: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.

Other Works ofg{rt

Artist unknown (Italian School)

Acquisition of Knowledge,late lSth or early

Oil on canvas

36 ll2 x 45 1/4 inches

Artist unknownEugeniaArnold Friend, ca. 1940

Black-and-white photograPh

19th century

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, 1983.

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.

Above: AmocroJl

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 addi-

tional 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.

Cover: Third checklist item under European Porcelain, Sdvres-style

otmolu-mounted vase, France, 1 9th century