There is a certain weight to bronze that goes beyond the physical.

Rather, it carries the weight of permanence—of memory, of intention, of something made not simply to exist, but to endure.

Unlike wood, which softens, or textiles, which inevitably fade, bronze holds its ground. Over time, it does not diminish; instead, it deepens. Its surface evolves, developing a patina shaped by decades—sometimes centuries—of touch, air, and quiet presence.

As a result, to live with bronze is to live with objects that have already lived before you.

The Human Story in Metal

In European works, bronze often turns toward the human form.

Here, a face, a gesture, or a body in motion is not merely captured—it is refined, idealized, and ultimately preserved. In this way, these works echo a long classical tradition, where artists sought permanence through form.

Moreover, these pieces bring a quiet gravity into a space.

Whether placed on a console, a pedestal, or even within a more minimal setting, a single figure has the ability to anchor a room. Not loudly, but unmistakably.

Objects of Stillness: The Japanese Approach

In contrast, Japanese bronze speaks in a different language.

Rather than focusing on the human form, the emphasis shifts toward the elemental:

• A bamboo motif, quietly etched into a vessel
• Duckbill poise gracefully on one leg, both sculpture and incense burner
• Frogs supporting a lotus, a quiet meeting of pond and ritual, earth and offering

Consequently, these are objects of restraint—of stillness.

They do not demand attention—they reward it.

Where European bronze often tells a story, Japanese bronze invites contemplation.

Patina: The Signature of Time

Equally important is the surface itself.

A burnished umber. A smoked bronze depth. Flecks of embered gold beneath the surface.

This is not a flat finish—it breathes.

The surface carries a quiet complexity, where darkness pools in the recesses and warmth rises through the high points. Subtle variations move across it like weathered earth after rain—rich, layered, and impossibly nuanced.

You can feel the passage of time in it.

Not as wear, but as presence.

The patina gathers in the carved details, softening their edges, giving the form a sense of memory rather than manufacture. Light doesn’t sit on top of it—it slips into it, revealing hidden tones that shift depending on how you approach it.

There is a quiet glow here—not bright, not polished—but alive in a way that feels earned.

And like all true bronze, this surface is singular.

It is not just finished.

It is formed by time.

From Utility to Presence

Historically, many of these forms began with a clear purpose.

Vessels held water. Burners carried incense. Urns marked ritual and memory.

Over time, however, their function evolved.

Today, they exist in a different role—not as tools, but as anchors of atmosphere.

Even so, their sense of purpose remains. A bronze vessel placed on a table does not need to hold anything to feel complete.

Instead, it holds something less visible—history, weight, and intention.

Why Bronze Still Matters

In a world of fast materials and temporary objects, bronze offers something rare:

Finality.

Above all, it offers finality.

It does not feel disposable, nor does it feel seasonal. On the contrary, it resists trend altogether.

As a result, it becomes part of a space in a way few materials can—quietly elevating everything around it.

Even a small piece carries weight. Likewise, even a single object can shift the tone of a room.

A Considered Collection

Taken together, these pieces span cultures, forms, and intentions—European and Japanese, sculptural and functional.

However, what unites them is not origin, but permanence.

They were made to last.

And now, in turn, they wait for the next space to inhabit.

For those drawn to objects with presence, history, and quiet authority, bronze remains one of the most enduring materials to live with—and, importantly, to collect.

The post In Bronze: Objects That Refuse to Fade appeared first on Sutter Antiques.

A closer look at the people, spaces, and civic infrastructure shaping community life in Hudson, New York

The Visible Layer

Spend a little time in Hudson, NY and the appeal becomes clear. The shops, the food, and the sense that something interesting is always just around the corner all contribute to its pull. Along Warren Street, there’s a distinct rhythm. Hudson’s creative energy is on full display, and everything feels thoughtfully placed and quietly alive.

Stay a bit longer, though, and another layer begins to emerge. It doesn’t announce itself in the same way. Instead, it lives in the spaces where people gather with intention — library rooms, community meetings, workshops, and conversations that never make it onto a weekend itinerary. In those quieter moments, Hudson starts to feel less like a place you visit and more like something you can belong to.

The Invisible Infrastructure

That sense of belonging is held together by a kind of quiet infrastructure. It isn’t physical. It’s human.

Across Hudson, New York, a network of organizations, programs, and shared spaces operates just outside the spotlight. These places don’t always draw attention, but they are constantly at work. They create connection, continuity, and a sense of shared life.

You can see it in places like the Hudson Area Library, where a public space becomes a daily point of connection. It shows up in gatherings organized through Taconic Toastmasters, where people practice something as simple — and as powerful — as speaking. At The Spark of Hudson, creative work becomes a bridge across generations.

Spaces like Time & Space Limited and Basilica Hudson add another dimension. They blur the line between cultural programming and community gathering. On their own, each of these places might seem modest. Taken together, they form something much larger — a web of relationships that gives Hudson its resilience and sense of care.

How It Shows Up

Once you begin to notice this layer, it becomes easier to see.

A conversation circle at the Hudson Area Library can evolve into an ongoing support network. At Taconic Toastmasters, someone might find their voice for the first time. A youth workshop at Kite’s Nest or The Spark of Hudson can bring together people from different generations and backgrounds.

Even the more visible cultural spaces play a role. A film screening at Time & Space Limited or a performance at Basilica Hudson often becomes more than an event. People return. They recognize one another. Over time, trust begins to form.

None of this feels especially grand in the moment. That’s part of what makes it easy to overlook. Yet these small, repeated interactions build something lasting. Familiarity grows. Investment deepens. Gradually, a place that once felt temporary begins to feel personal.

What Sustains It

Much of what makes Hudson, NY compelling is visible, and it’s worth celebrating. The storefronts, the creativity, and the steady flow of visitors all contribute to the city’s energy. Tourism plays a real role in that ecosystem.

At the same time, something quieter allows that energy to endure. It’s carried by the people and organizations who show up consistently, often without recognition. Their work is distributed, ongoing, and deeply rooted.

Walk down Warren Street and you’ll see a destination. Look a little closer, and you’ll notice something else taking shape. Hudson reveals itself as a community in motion — one that is being built, sustained, and cared for every day, just slightly out of view.

Author’s Note

I’ve spent time noticing the different layers of Hudson — both the ones that draw people in and the ones that hold people here. This piece reflects on the quieter side of Hudson, New York, not as a contrast to its visibility, but as a complement to it.

The intention isn’t to look past what makes Hudson appealing. It’s to better understand what makes it feel alive.

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Imari and Chinese Export Porcelain: History, Origins, and Their Return to Modern Interiors

For centuries, Asian porcelain has fascinated collectors, decorators, and travelers alike. Pieces such as the Imari bowl and charger, along with Chinese export vases like the example shown here, represent a long tradition of artistic craftsmanship and global trade. Today these objects continue to find new life in modern interiors, not as entire collections as they once were, but as striking accent pieces that add character and history to contemporary spaces.

Origins of Imari and Chinese Export Porcelain

Imari porcelain originated in Japan during the early 17th century. The name “Imari” refers to the port of Imari in Kyushu, from which these ceramics were exported to Europe. Although the porcelain was produced in nearby Arita, European traders came to associate the style with the port where it was shipped.

Imari ware is known for its vivid color palette, most commonly deep cobalt blue, iron red, and gold. Decorative motifs often include stylized flowers, landscapes, and geometric patterns arranged in elaborate panel designs.

Chinese export porcelain, such as the covered bottle vase shown here, developed slightly earlier. Beginning in the late Ming dynasty (16th–17th centuries), Chinese potters began producing ceramics specifically for European markets. These pieces often featured narrative scenes, floral patterns, and decorative borders designed to appeal to Western tastes.

                         Chinese Porcelain Bottle

What These Objects Were Used For

Originally, these pieces were both functional and decorative household objects.

• Large bowls like the Imari example were used for serving food or displaying fruit.

• Chargers were large decorative plates often displayed on walls, cabinets, or dining tables.

• Covered bottle vases were used for flowers, ceremonial display, or as decorative objects in elite homes.

In Europe, particularly during the 17th and 18th centuries, these items were prized luxury imports. Wealthy households displayed them in cabinets, on mantelpieces, or in elaborate porcelain rooms.

The Height of Popularity

Asian export porcelain reached the height of its popularity in Europe between the late 17th and early 19th centuries. During this period, global trade expanded rapidly through companies such as the Dutch East India Company.

European aristocrats became avid collectors. Entire rooms were sometimes decorated with porcelain, and large cabinets were built specifically to display collections. In many homes, these objects symbolized wealth, worldliness, and refined taste.

Imari porcelain, with its bold color contrasts and intricate decoration, became particularly fashionable in England, France, and the Netherlands.

                               Large Imari Bowl

Decline in Interior Design Trends

By the early to mid-20th century, interior design began shifting toward simpler and more minimal styles. Modernism favored clean lines, neutral colors, and uncluttered spaces. As a result, large porcelain collections gradually fell out of favor in everyday interior design.

While collectors continued to value these objects, displaying large quantities of decorative ceramics became less common. Many pieces moved from everyday interiors into antique collections, museums, and specialty dealers.

A Revival in Modern Interiors

In recent years, however, Asian porcelain has experienced a renewed appreciation among designers and collectors.

Rather than filling entire cabinets with porcelain, modern interiors often feature one or two carefully selected pieces. A large Imari bowl, decorative charger, or Chinese export vase can serve as a dramatic focal point on a console table, bookshelf, or mantel.

These pieces provide:

• Rich color in otherwise neutral spaces

• A sense of history and craftsmanship

• A visual contrast to modern furniture and architecture

Designers frequently use them as accent objects that introduce depth and character into contemporary interiors.

                                    Large Imari Charger

Why These Pieces Still Matter

Objects like the Imari bowl, charger, and Chinese export vase represent more than decorative ceramics. They are artifacts of a period when global trade connected distant cultures, and artistic traditions traveled across continents.

Today, they continue to bridge past and present. In a modern home, a single porcelain piece can carry centuries of history while adding beauty and individuality to a space.

For collectors and decorators alike, this balance of craftsmanship, history, and visual impact explains why Asian porcelain remains timeless.

The post Imari and Chinese Export Porcelain: History, Origins, and Their Return to Modern Interiors appeared first on Sutter Antiques.

A short history of how design moved from power to profession to participation.

People often think interior design is a modern invention. Something that showed up once people started caring about trends or paint colors. But the instinct behind interior design is much older than the profession itself.

It actually starts with power.

                 It begins in Ancient Rome.

Interior of an ancient Roman house with preserved wall frescoes and columns at the archaeological site of Pompeii, Italy

The atrium and tablinum of a Pompeian house, showcasing detailed Roman architecture, ornate ceiling, lavish furnishings, and draped curtains, illustrating domestic elegance and historical splendor, old vintage illustration, 1880

Italy – Archeology – Atrium Dome

In Ancient Rome, wealthy homeowners were already thinking carefully about how their interiors worked. Not just structurally, but socially. Who entered where. What they saw first. Where they were invited to sit. Which rooms were meant to impress and which were private.

The Roman domus wasn’t casual. The atrium, especially, was doing a lot of work. It was where guests were received, business was conducted, and status was quietly—but very clearly—communicated.

We know this because Roman writers actually talked about it. Vitruvius, writing in the first century BCE, described how rooms should be proportioned, oriented, and used inside the home. He treated interiors as intentional environments, not decoration layered on afterward.

And then there’s Domus Aurea, built for Emperor Nero. Its interiors were designed to overwhelm—gold surfaces, painted illusions, controlled light. This wasn’t about comfort. It was about experience.

No one called themselves an interior designer yet, but people were absolutely being commissioned to shape how interiors looked and felt.

And in that sense, not much has changed.

In the 21st century, we still use our homes to flex—just in subtler ways. The approach to the house, the driveway, the entry, where guests are invited to sit. Certain rooms are still designed to impress, while others remain private. Design continues to do what it always has: communicate status, often quietly, and sometimes so quietly you barely notice it happening.

 For a long time, this was only for the wealthy.

Rome, Italy – March 27, 2018: Interior of Renaissance Villa Farnesina, a monument of architecture and painting of the High Renaissance

Eighteenth-Century French Palace Interior

Palace Of Versailles

After Rome, this kind of intentional interior design never really disappeared—it just stayed firmly in elite spaces.

During the Renaissance and well into the 18th century, wealthy families across Europe commissioned architects, artists, and craftspeople to design entire interiors. Walls, ceilings, furniture, textiles—everything was considered together. Homes weren’t just built; they were orchestrated.

French salons are a good example. These rooms were designed around conversation and social life. Furniture placement mattered. Proportions mattered. Even softness and comfort became part of the design conversation.

But this level of attention came with a price tag. Interior design wasn’t something you hired someone for unless you already had money and status. For everyone else, interiors were practical, inherited, or improvised.

That’s why what happens next is such a shift.

                 Someone finally names the job.

Elsie De Wolfe

In the early 1900s, Elsie de Wolfe did something surprisingly bold. She didn’t invent interior design—but she gave it a title and started invoicing clients.

She called herself an interior decorator.

De Wolfe worked primarily for wealthy clients, but her approach was different. She favored lighter rooms, comfort, and livability over heavy Victorian interiors. More importantly, she worked independently, charged professional fees, and publicly took credit for her work.

That matters. Once something is named, it can be practiced, taught, and hired for. Interior design started to exist as its own thing, separate from architecture or upholstery or fine art.

Still, it was mostly a service for the wealthy. That wouldn’t change until the mid-20th century.

Interior Design Evolution –1950s Sitting Room, 2025 Midcentury Modern Living Room Ideas, Post-war Design and the Domestication of Modernism.

After World War II, housing changed. Suburbs expanded. Homes became smaller and more standardized. And suddenly, a much larger group of people were thinking about how to make their interiors work.

This is where interior design quietly shifts from status to problem-solving.

People needed help with layout, function, storage, and comfort. They wanted their homes to feel good, even if budgets were limited. Design advice began showing up in magazines, department stores, and catalogs. You didn’t need a palace anymore—you just needed a plan.

Interior designers increasingly worked with builders, retailers, and manufacturers. Design became practical, repeatable, and accessible.

At this point, the profession needed structure.

Making it official

By the mid-to-late 20th century, interior design began formalizing as a recognized profession.

Organizations like the American Society of Interior Designers and the International Interior Design Association helped establish education standards, ethical guidelines, and professional credibility.

Interior designers weren’t just choosing colors anymore. They were working with building codes, accessibility, safety, and human behavior. The role had expanded—but it was also clearly defined.

Design was no longer just for a few. It had become a service.

And then television got involved.

HGTV Celebrities

By the late 1990s and early 2000s, interior design entered popular culture in a very visible way.

Shows like Design on a Dime framed design as something you could try yourself. On a budget. In a weekend. With a little guidance.

This didn’t cheapen design—it changed who felt allowed to participate in it.

What started as a luxury for emperors and aristocrats had slowly become shared knowledge. Interior design moved from private commissions to professional services to something people felt empowered to attempt in their own homes.

Why this matters

Interior designers didn’t suddenly appear in the 20th century. The role evolved alongside the way people lived, built, and understood their homes.

The instinct—to shape space intentionally—has always been there. What changed is access.

And if you work with antiques, historic interiors, or older homes, you see this lineage all the time. Objects weren’t just made to be beautiful. They were made to participate in a room, a routine, a way of life.

Interior design has always been about that. We just finally gave it a name.

So, where does AI fit into Interior Design?

If you step back, every major shift in interior design follows a familiar pattern. What begins as a luxury slowly becomes more accessible. What starts as specialized knowledge eventually gets shared. The tools change, but the instinct stays the same.

Seen that way, AI isn’t an interruption in the story of interior design. It’s simply the next chapter.

At its most basic level, AI has the ability to personalize space. Layouts, furniture placement, color palettes—decisions that were once made only through professional consultation can now respond to how someone actually lives. That level of customization used to belong almost exclusively to clients with time, money, and access.

AI tools also lower the barrier to entry. You don’t need the vocabulary of the design world to begin thinking intentionally about space. You can experiment, adjust, and visualize without committing to anything permanent. That alone changes who feels comfortable participating in design decisions.

What’s perhaps most interesting is AI’s potential role as a bridge. Between designers and clients. Between users and accessibility experts. Inclusive design has often been discussed as an ideal, but not always built into the process from the beginning. AI has the potential to make those conversations more fluid and more visible.

Of course, AI is still just a tool. Like every tool before it, its usefulness depends entirely on how it’s used. It can flatten design into templates, or it can help people ask better questions. It can reinforce sameness, or it can help clarify what actually works for a specific person in a specific space.

What it doesn’t change is the underlying impulse.

People still care about how their spaces feel. They still use interiors to express comfort, identity, and, yes, status. The difference is who gets to participate in shaping those spaces—and how much support they have while doing it.

Looked at this way, AI doesn’t break from the history of interior design. It continues it. Another moment where design knowledge becomes a little more shared, a little less gated, and available to more people than before.

If you work with antiques long enough, you start to notice how little the fundamentals change. Objects were made for specific rooms, specific uses, and specific ways of living. They reflect habits, priorities, and social structure as much as style.

AI may be a new tool, but the questions it helps us ask are very old ones. How do we live? How do we move through space? What do we want a room to say before anyone speaks? The tools evolve, but the impulse to design thoughtfully—and to surround ourselves with objects that belong—remains the same.

               Frank Rosa

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Hudson 2022. There has been a lot of changes in the past two years. And we’ve seen our share here in Hudson, NY. The current evolution has brought a diverse and dynamic group of people to the area choosing to make this their home, with entrepreneurs reinventing themselves in the Friendly City of Hudson. If you haven’t been here in a while, you’ll be surprised by the number of new art galleries, fine dining, and unique shopping establishments sprouting all around. If you’re looking to visit Hudson, check out Visit Hudson, NY. A helpful source when looking for things to do during your visit to Hudson, NY, as well as places to sleep, eat, and drink. Visit us in Hudson 2022.

Here I’m posting a few of my old favorites along with some new ones and wishing you all a pleasant visit and the best New Year ever!

Visiting Hudson 2022

Culture Creme

Yeah – I know it’s winter. So wear gloves while enjoying your favorite flavor.

Nine Cakes

Yes, there’s a theme. What can I say – I love sweets. But, I kid you not – You will be soooo sorry if you don’t try this place out.

Cafe Mutton

Remember, folks – the meal you’re currently having is the most important of the day!

Farmer and Sons

Celebrate your Happy Hour at Farmer and Sons.

Bar Bene

Bar Bene wine bar is a most welcome addition to Hudson and hallelujah, only a few doors away from Sutter Antiques. They are offering a selection of wines, cheese, and charcuterie.

The Amelia

Nestled on a quiet street in the heart of the Hudson Valley. The Amelia Hotel.

SGH

Sutter Guest Haus. Located eight miles from Hudson, NY.

Airbnb Hudson 2022

Need more options for places to stay overnight during your Hudson 2022 stay? Airbnb has a number of them.

When planning your visit to Hudson 2022, visit the events calendar at Visit Hudson NY.

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Weekend getaway to Hudson, NY. Check out what’s new in Hudson, NY. Only two hours from NYC by car or train. And only 2.5 hours from Boston. Albany International airport is located an hour away. Click here for a visitor’s guide to Hudson. For local events please visit our events calendar. This post contains a few of my favorite places to dine, sleep and shop. Eat well, Sleep tight and Shop Hudson. Have a terrific visit!

EAT WELL

Willa’s Cafe

I’m absolutely loving one of Hudson’s newest addition. Try one of their breakfast sandwiches! My personal favorite is the Bacon, lettuce, tomato, fried egg, dill mayo on homemade toast.

Willa’s is a neighborhood bakery and cafe in Hudson, New York, serving fresh baked goods, breakfast, lunch, and weekend brunch. Drawing from classic recipes and family tradition, co-owners Greg Hamm and Andrew Buemi opened Willa’s as a laid-back and welcoming gathering spot for Hudson’s vibrant and diverse community.

Outside the kitchen, Greg and Andrew, who live in Hudson, love to explore the waterfalls, watering holes, and trails of the Hudson Valley with their dog (and the bakery’s namesake), Willa.

Menu

Oak Pizzeria 

Who doesn’t love pizza?! Oak serves up a variety of individual 12″ traditional Neapolitan pizzas served unsliced. As I’m writing this I feel my mouth watering thinking about their Nantucket Calm pizza.

Our authentic Neapolitan pizzas are made from the naturally leavened dough (without the use of commercial yeast) and fired in our wood-burning oven. Our vast selection of small plates – veggies, cheeses, salumi, and seafood – take advantage of local ingredients and change with the seasons. We offer an ever-expanding selection of terroir-driven wines from southern Italy, craft beers and traditional Italian aperitifs and digestives.

Menu

Talbott & Arding

Think Talbott & Arding when you’re not in the mood to cook. Or if you would like to invite a few people over for a small bite before checking out one of the many restaurants along Warren Street, Hudson.

Menu

SLEEP TIGHT

The Wick

Mikel Hunter

Michael Hunter says that he “graduated” himself from a successful 25-year career as a NYC based fashion stylist & art director to his current role as a curator and proprietor of his two namesake galleries in Hudson, NY and the other on the island of Martha’s Vineyard.

best,

Mikel Hunter

Shop

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What you may have missed but want to know in Art, Antiques, and Culture. This week Performance art makes its debut. Hudson and Antiques are synonymous with Green. And how to be a responsible tourist when visiting Havana, Cuba.

New York Times

Art & Design New York Times

Responsible Travel

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CERAMIC POTTERY

Ceramic Pottery

In this month’s  Focus On: A collection of 19th and 20th Century Pottery

From Asia to America amateurs and professional ceramic pottery artists produced everything from functional tableware to works of art – designed to delight and inspire.

Japanese drip glaze 

California Pottery

American Pottery Vase

Glazed Pottery

For more on pottery click here

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Alexis Delletery is the founder of Maison Delletery. An atelier dedicated to the production of hand-made, unique items inspired by the Art Deco era.

Welcome to December 2017  Focus On: Object Designer Alexis Delletery

How did you first become interested in design?

I was born into an antiques family. My parents had an antique shop on Rue de Lille in Paris and I literally grew up in the store; they would take me to the store and put me in an antique cradle. Up to my teens, I would go with them to antique fairs and shopping trips, sometimes even missing school. Growing up in this environment, I developed my taste for art and decoration, but not only that, for me it is a necessity.

Porte de Clignancourt

Then I graduated with a degree in Art History from the University of Sorbone in Paris. There, I extended my vision of Art that was more classical, particularly to Greek, Roman, Medieval and Renaissance periods. I saw different ways that creations could take forms to. Different answers artists could propose to the spirit or the needs that each era posed. With a big change happening after the industrial revolution artists and designers during the Art Deco period overthrew many rules. But still stuck with the most important one: functionality. This appealed to me and I started germinating the idea of creating some pieces of my own.

After the university, I took over my family’s antique business for a decade. And observed that times, crowds and needs are changing faster than anybody in the business would expect. I also wanted to use my creative side. The fact that many people want to buy things that are artistic and useful cemented my decision. I told myself that I will create objects to satisfy those who don’t necessarily want sixteenth or seventeenth-century antiques nor something mass produced. In fact,  I want to create unique pieces for them. Creating something the way I envision it, through the design, the aspect, and the practicality is essential for me.

How did you come to choose shagreen as your medium for creating your objects?

I grew up surrounded by shagreen objects. In the antique business, we sold many pieces made with shagreen. Restoring some shagreen pieces also made me aware of the difficulty in working with the skin, and I always loved the beauty of this material. My grandfather was a “décorateur d’intérieur” in the 30s, 40s, and 50s. And worked with shagreen skins, as it was en vogue at the time. Discovering a few pieces of skins at my grandfather’s workshop, I was struck by the strength of the raw material and the softness when it gets a smooth finish. Given the opportunity, I decided to buy a bulk of shagreen skins from the late 50’s, raw, untreated and not tanned. Working with these old skins is very challenging, intensely laborious, and time-consuming, as these old skins are tougher than the new ones. But I like the challenge and the results.

shagreen in green, natural and blue

Once I saw a pair of shagreen lamps by Karl Springer from the late 20th century, and I realized that there is still room for this material in the 21st-century design world. This pushed me to the last step of creation: realization.

Whose work do you turn to for inspiration?

I usually start drawing some ideas on a sheet of paper, trying to forget all what I know, which is impossible in fact. What you create reveals your knowledge. As I am classically trained, I wouldn’t call myself avant-garde.

Most of the time I end up with similar designs, in term of harmony, balance or aesthetics. With shagreen, you are more or less stuck to the substrates itself. You have to structure the substrates in the way you want the objects to form. You can wrap a substrate, lay it on a flat surface like a table or furniture. Or you can use it in a geometric way mixing it with other materials like exotic wood for instance. This last option brings you back to the Art Deco era, which I think is the period that highlights and enhances shagreen as a material. Designers like Clément Rousseau and Ruhlmann created in this field, and it is hard to not have been influenced by masters like them.

The danger is to produce something that looks déjà vu, or worth a copy. So you have to always question and search for new ways to produce your objects.

Ruhlmann

You create mirrors and table lamps which are available through Sutter Antiques in Hudson, NY. Are there other objects of art that you’re currently working on? If so, where can we find them?

I am currently working on a lamp for a client – a custom order. It’s an ideal situation as I like to discuss different ways to design something. The end product is truly unique designed with the client in mind.

I also work on jewelry using the scraps of skins and was once asked to do a pair of earrings as a custom order. People really appreciated the look and the spirit of my design, so it encouraged me to develop a small line of jewelry. Each piece is individually handmade. I am now using exotic woods or metals like copper, brass, and aluminum along with silver but I am considering using precious metals and gemstones to take it up a notch. Selected pieces are available at Chestnut Wood Working Showroom in Kent, CT. You can also visit us on Etsy at Alexis Shagreen Shop. Any feedback or suggestions are welcome.

Left: Art Deco-inspired pin filled with red resin and segmented by rosewood.  Right: Black resin and shagreen with copper trim earrings.

What sort of response have you had to your work?

I did a local art fair in Connecticut this past summer. I was struck by people’s curiosity for shagreen skins and how much they appreciated a hand done, one of a kind piece. Sometimes I had to explain the lengthy and manual process to produce my pieces, from cleaning the skins to the final work, and I think people better understand the effort that goes into the production, which explains the price for the pieces. The feedback was overwhelmingly positive and encouraging. I am looking for more ways to connect with clients and designers in this way.

Where do you see your business in five years?

I would like to continue to challenge my designs and skills. I have more design ideas than I can find time to produce. Perhaps in five years, I will realize many of my ideas…! I am planning to develop a line of small furniture like side tables, pedestals, dresser mirrors, etc., anything that is beautiful but useful in everyday living that really enriches interior decorations.

It would be interesting to see if my ideas to produce more upscale jewelry finds a good audience. So far the signals are good that people want handmade, unique pieces. I plan to maintain my artistic and artisanal spirits so I would like to balance the scale of production to the business needs. But it would be good to reach a wider audience across the country. And perhaps find presence in a few international markets. My pieces may be available in Paris soon and I hope to deepen my collaboration with Sutter Antiques. To contact Alexis Delletery please email him at maison.delletery@gmail.com

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Japanese bronze vases.

Japanese bronze vases and what you should consider before you start a collection.

Using bronze vessels.

The practice of using bronze vases for flower arrangments probably dates back to the 14th or 15th century.

Is there a period I should focus on?

Bronzes have been in production for hundreds of years. Start with a particular period you are drawn to. You can always expand your collection as you become more knowledgeable.

Handle as many pieces as possible.

This best way to become familiar with what you want to collect is by being exposed to it. Handle as many pieces as possible. Visit antique stores, museums, and auction houses. Auction houses are ideal places to visit as it allows you examine the items up close. Take note of the weight, proportion and the various patinas available.

Buy what resonates with you.

Consider this an investment in well-being. Surrounding yourself with objects of beauty and history that inspire you. And remember, buy the best your budget allows.

Popular Shapes

There are many shapes and forms in Japanese bronzes. Here are a few of the more popular ones.

popular shapes from left to right

trumpet, pear, bronze with inset, ovoid, and beaker

Condition.

You always want to purchase an item that is free of major defects. While anything with dents or missing parts should make one think twice before purchasing, surface scratches or a dull patina can easily be remedied.

When do bronzes date from?

The use of bronze to make swords and personal items began sometime during the 3rd century B.C. We start to see the use of bronze to create ritual vessels and ultimately as a decorative container to hold flower arrangements around the 8th century.

On view at The Met Fifth Avenue in Gallery 301

Remain curious.

Keep interested in what you collect. Visit antique trade shows, auctions, and museums. Finally, learn as much as you can on what you collect.

What should a collector look out for?

Aside from your own sense of aesthetics you need to consider quality, rarity, and condition

Quality vs. trends

Current trends are now focused on Chinese goods. The demand for these items is driving up the prices and placing them out of most collectors’ reach. Now is the perfect time to invest in quality Japanese bronze vases.

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