Enfilade

From the press release for the exhibition . . .

The Art of Kandy: Sri Lanka’s Last Kingdom

Norton Simon Museum, Pasadena, 4 September 2026 — 8 February 2027

Organized by Lakshika Senarath Gamage

Sri Lanka, Buddha, 18th century, ivory with traces of pigment, 25 cm high (Pasaden: Norton Simon Museum).

The Art of Kandy: Sri Lanka’s Last Kingdom brings together 13 objects from the Norton Simon Museum’s collection of art from the kingdom of Kandy, the final royal capital of Sri Lanka before the onset of British colonial rule. From intricately carved ivory sculptures to gem-studded silver objects for the elite, this presentation of small-scale, portable works showcases the skill and ingenuity of the kingdom’s artisans. Kandyan craftsmen flourished under royal sponsorship, fostering the development of a creative and distinctive identity amid internal strife and pressures from foreign powers.

Founded in 1469, the kingdom of Kandy was re-established in 1592 and remained independent until its annexation into British Ceylon in 1815. Although Kandy was a remote kingdom in the central hills of Sri Lanka, it played a significant role in revitalizing the island’s social landscape. Kandyan kings formed marriage alliances with South Indian royals, negotiated trade with the Dutch who controlled the coastal regions, maintained diplomatic ties with Thai rulers to foster visits from Buddhist monks, and restored the Buddhist monastic order. Despite shifting political conditions, contested authority, and moments of usurpation, local and migrant artisans continued to create works in royal ateliers and regional workshops. Kandyan art developed alongside sustained exchange with South India, Southeast Asia, and European trading networks.

The art of this period blended local styles and motifs with South Indian designs, combining Buddhist and Hindu iconographies with pan-Asian symbolism. Patronage of Buddhist art and architecture was essential for a king to be considered a pious benefactor of the faith, and in turn, to legitimize their claim to the throne. Due to these factors, Kandyan art and architecture flourished by drawing from both foreign interactions and deeply rooted local traditions.

Figural sculpture developed a distinctive, robust flair—with eyes that gaze directly at the viewer, broad shoulders and imposing limbs—while mythical and composite creatures animated much of the visual culture. Among the highlights in the exhibition is an 18th-century standing ivory Buddha that exemplifies the hallmarks of Kandyan sculpture, including broad shoulders, a stern facial expression, and stylized drapery. The exhibition also features elaborately crafted objects that demonstrate the technical mastery of silversmiths, ivory carvers, and metalsmiths who likely worked in royal workshops. The works on view may have been commissioned for the royal court or made for Buddhist devotees to use as offerings.

“The Art of Kandy offers new perspectives on cultural exchange, artistic resilience, and the interconnected histories of South and Southeast Asia,” said Lakshika Senarath Gamage, Assistant Curator at the Norton Simon Museum. “The exhibition reveals how Kandyan artists drew from local traditions and international exchanges to create a distinctive visual language that continues to resonate today.”

Presented in an intimate gallery setting, this exhibition of Kandyan art reflects wide-ranging themes of royal sponsorship, Buddhist devotion, and creative imagination, illustrating how artisans and patrons of diverse backgrounds shaped an ongoing artistic legacy that transcends cultural and political boundaries.

From the press release for the exhibition:

Challenging Masterpieces: Art and Identity in American Furniture

Winterthur Museum, Garden & Library, Wilmington, Delaware, 26 September 2026 — 2 May 2027

Organized by Joshua Lane

Winterthur Museum, Garden & Library’s new exhibition, Challenging Masterpieces: Art and Identity in American Furniture, uses more than 70 objects from its own collection to show how the term masterpiece was constructed, who it left out, and how it’s being redefined today. Organized around a single question — What makes a masterpiece? — the exhibition traces how that label emerged among early 20th-century collectors, hardened into orthodoxy, and is now being reconsidered. The show unfolds across two galleries and two themes: the first traces how the idea of the aesthetic ‘masterpiece’ took hold in American antiques collecting in the early 20th century; the second carries that inquiry forward, showing how the definition has expanded from the 1970s to the present.

“We chose the exhibition title to spur reflection on masterpiece as an aesthetic category long governed by supposedly fixed standards,” said Lane. “As a historically and culturally constructed term, it’s open to interpretation, interrogation, and expansion. We’re not looking to overthrow the idea of a masterpiece. Rather, we want visitors to ask who gets to decide and to consider a more inclusive understanding of American antique furniture.”

Celebrating the breadth and depth of the furniture collection amassed by founder Henry Francis du Pont, Challenging Masterpieces will highlight design, materials, and workmanship while exploring the historical context of his collecting activities. In step with other collectors and curators of the time, du Pont favored high-style masterpieces made in cities such as Boston, Newport, and Philadelphia.

Arranged chronologically, the exhibition explores the emergence of the market for American antique furniture in the 1870s and examine the idea of the aesthetic masterpiece, tracing the maturation of this market from the 1920s, when du Pont began to collect, to his death in 1969. It then showcases how the collection expanded from the 1970s through the present and how the concept of ‘masterpiece’ continues to evolve.

Gallery One | Masterpieces

John Pimm, High Chest, detail, Boston, 1740–50, soft maple, black walnut, white pine, mahogany (Winterthur Museum. Gift of Henry Francis du Pont 1957.1084).

The exhibition opens with the ‘Van Pelt’ high chest (Philadelphia, 1765–80, carving attributed to John Pollard and Hercules Courtenay), which du Pont won at auction in 1929, bidding under the pseudonym ‘H.F. Winthrop’. Acquired for $44,000, the equivalent of roughly $830,000 in today’s dollars, it was then the highest price paid for a piece of American antique furniture.

The high chest anchors a gallery that goes on to explore the traditional meaning of ‘masterpiece’ through about a dozen miniature furniture forms, including a walnut dressing table once owned by Ralph Waldo Emerson and a mahogany miniature sideboard signed by New York cabinetmaker James Curtis on Christmas Eve 1823.

Long-recognized masterpieces on view include a wainscot great chair (Huntington, N.Y., 1720–40) that descended in the Conklin family and, according to family tradition, was used by George Washington during a 1790 visit to Long Island; a Newport tea table made by John Goddard in 1763; a Boston high chest by John Pimm (1740–50); and a Boston dressing bureau made by the celebrated cabinetmaker Thomas Seymour for the firm Isaac Vose & Son (1820–25).

Displayed alongside these examples of urban, high-style craftsmanship prized by early 20th-century collectors are period auction records, dealer correspondence, and the pages of The Magazine ANTIQUES that first popularized such objects as icons of American taste.

Gallery Two | Expanding the Canon

The second gallery, ‘The Challenge’, broadens the scope of ‘masterpiece’ to include work from underrepresented regions such as the American South and Midwest and objects that blur the line between professional shop production and folk art, including a rare 17th-century chest from Milford, Connecticut, built with tropical hardwood that was likely sourced through West Indian trade routes.

More recent acquisitions since 1970 join the conversation here, including a mid-18th-century Campeche chair from Campeche, Mexico; an early 19th-century armoire from Martinique; and a 19th-century quillwork side chair made by a Mi’kmaq artist in the Canadian Eastern Maritimes. Each is an example of global circulation of goods, materials, and design across the Americas.

The gallery makes room for pieces whose makers were never recorded, such as a marble-topped Philadelphia pier table (1815–30) and a New York side chair (1845–55), putting anonymous craftsmanship on equal footing with prominent names. Traditional prestige objects appear here too, encouraging visitors to think about how our ideas of quality, American craftsmanship, and value have changed over time.

Why now?

Lane began developing the exhibition in the midst of a broader, ongoing debate among art historians and museum professionals over the meaning and utility of ‘connoisseurship’ and ‘masterpiece’, terms increasingly scrutinized for reflecting the tastes of a narrow, historically homogenous circle of collectors rather than the full range of American craftsmanship.

The exhibition opens as Winterthur reflects on its founding vision. When du Pont opened his 175-room family estate to the public as a museum 75 years ago in 1951, he established what remains one of the most significant collections of American decorative arts in the world, now numbering more than 90,000 objects.

Challenging Masterpieces celebrates du Pont’s legacy while examining the priorities and blind spots that shaped it. Acting on a collecting policy the Board of Trustees expanded in 2018 to remove a long-standing 1840s cutoff date, Winterthur has since acquired objects that extend the collection’s scope from the Civil War era to the present, broaden geographic representation beyond the East Coast, and celebrate the creativity of previously underrepresented makers.

“Henry Francis du Pont built this collection with an extraordinary eye and an equally strong point of view about what counted. Part of our responsibility as stewards is to honor the collection he gave us and to keep asking harder questions about whose work belongs in it. Challenging Masterpieces shows visitors that a museum collection isn’t a finished statement; it’s an ongoing conversation,” said Alexandra Deutsch, Director of Collections, Winterthur Museum, Garden & Library.

Exhibition Features

Challenging Masterpieces pairs more than 70 examples of furniture drawn from Winterthur’s renowned collection with dynamic displays drawn from Winterthur Library’s manuscript and rare book holdings, including original auction records, dealer correspondence, and period photographs, alongside iPad features that reveal hidden marks, secret drawers, and construction details, and 3D didactic models that spotlight craft skill and design ingenuity. It offers a rare chance to see iconic pieces in a new light as they are temporarily relocated from the museum house to the galleries, some for the first time. Visitors will have a chance to gain a deeper understanding of diverse styles and aesthetics of antiques, at a time when ‘brown furniture’ is experiencing a mainstream revival that’s trending away from cookie-cutter, mass-produced furniture and more toward a high-low interior design mix and appreciation for antiques, vintage and preowned.

Developed by Joshua W. Lane, the Lois F. and Henry S. McNeil Curator of Furniture, Challenging Masterpieces: Art and Identity in American Furniture runs from 26 September 2026 until 2 May 2027.