6) Back to front: Color plate, 1898 Plate 22 from Le Castel Béranger Jardinière, c. 1900 Chromolithograph Glazed earthenware Maker: Librarie J. Rouam et Cie, Maker: Gustave de Bruyn & Fils, , active 1880s–1890s , , 1838–1916 Designer: Hector Guimard, French, Lifelines­ Designer: Hector Guimard, French, 1867–1942 1867–1942 Marks: LE CASTEL BÉRANGER / Marks: 1380 / H / 1 / 8 Pl. 22 / [conjoined HG] Forms and Themes (PO-036-75) (U-107:F) of Handle, c. 1897–98 8) Dancing Lady with Lilies, From the home of Albert Roy, c. 1899 1850–1926, Gévrils, Loiret, France Mold No. 775 Glazed clay, brass Glazed porcelain Maker: Charles Sauzin, Paris, France, Maker: Reissner, active 1890s–early 1900s Stellmacher & Kessel, OBJECT G UIDE Designer: Hector Guimard, French, Turn-Teplitz, Bohemia, 1867–1942 Austria, 1892–1905 Marks: LP / LP Designer: Eduard Stellmacher, Art Nouveau was an art phenomenon that found enthusiastic (PO-041-68) Austrian, 1868–1932 Marks: [crown] / [AMPH¯oRA support from roughly 1895 to 1915 virtually everywhere in Europe 7) Top to bottom: encircled] / 775 / 621 / [AUSTRIA and to a lesser extent in America. Embodying all that was modern, encircled] / IMPERIAL— Color plate, 1898 AMPHORA ·TURN· / [shield] it touched art and architecture, as well as ceramics, , and the Plate 36 from Le Castel Béranger (PO-006-70) other decorative arts. 16 Chromolithograph Maker: Librarie J. Rouam et Cie, Paris, active 1880s–1890s In French, art nouveau literally In this exhibition of more than a Designer: Hector Guimard, French, means “new art,” and at the turn of hundred objects from our collection, 1867–1942 Marks: LE CASTEL BÉRANGER / the twentieth century, this new art the Morse explores the interrelated Pl. 36 / [conjoined HG] looked different, felt different, and elements that define the style so well (U-107:D) reflected different values and ideas. known for its lively line and organic Today it still seems fresh. Art Nou- form. The exhibition is organized into veau artists sought to fundamentally five groups that illustrate the dominant change the look of the objects we use themes found in Art Nouveau objects: in our lives. the exotic, nature, line, female form, Practitioners of the new art drew and metamorphosis. It includes inspiration from nature and rejected furniture, architectural ornaments, historical styles and classical values, lamps, jewelry, ceramics, and art preferring asymmetrical composition glass from more than fifty makers, and attenuated curves. In the work designers, and artists working across of these designers, line frequently nine countries, including Emile Gallé, seems driven by its own internal René Lalique, Louis Comfort Tiffany, life force—swirling and whipping, and more. 445 north park avenue, winter park, florida 32789 swerving and curving, creeping Individually and together, 407-645-5311 www.morsemuseum.org along one minute then racing for- the objects both enlighten our ©2013 Charles Hosmer Morse Foundation, Inc. ward the next. understanding and delight our senses. Ho ist ry of tHE New in 1895 and played I. The Exotic In the final decade of the nineteenth a central role in the spread of the century, calls from cultural style. His shop, as well as others that The transition from the nineteenth to twentieth century was filled with both tastemakers for something new to advanced Art Nouveau in Europe conflict and exploration. International boundaries were shifting as governments reflect the era’s social and industrial and America—La Maison Moderne seized territories around the globe. Trade played a constant role in all these progress set in motion a reevaluation in Paris, Liberty & Co. in London, interactions, broadening the visual vocabulary of the world’s art centers and of the arts across Europe and to and Tiffany & Co. in New York— informing the work of Art Nouveau designers. By interpreting and adapting a lesser extent in America. Its sold works from an international list traditions from different cultures and periods, designers redefined basic design ultimate expression was known as of artists. Each of the stores provided principles. Sea life, flowers, insects, and peacocks so rich with symbolism in Asia Art Nouveau in France; the Liberty its own vision for the new art and were especially popular images. Hindu and Islamic motifs and Middle Eastern style in England; Stile Liberty in Italy; produced in-house exhibitions that stylized floral decoration and applied jewels appeared throughout the West. Jugendstil in Germany; Sezessionstil represented cutting-edge thought in Austria; and Modernista in Spain. and artistry. Universally regarded as Art Nouveau, International exhibitions brought 1) Clockwise from back: 2) Clockwise from top left: the style spontaneously developed these interpretations to the public. through the unique interpretations of The origins of Art Nouveau can be Hand screen, early 20th Vase, 1897 artists. Although it reflected regional traced through world’s fairs and salons century Octopus, seahorse traits and ideological sources, the that include the 1889 Exposition Peacock feathers, wood, Glazed earthenware, ribbon metal, tiger’s eyes, new modern style nonetheless had a Universelle in Paris, when it was just Maker: Unknown moonstones, pearls unified look. emerging, and the 1904 Louisiana (2012-024) Maker: Rookwood Siegfried Bing (1838–1905), a Purchase Exposition in St. Louis, Pottery, Cincinnati, 2 dealer known for his trade in Asian when the style was already beginning Tray, 1907 1880–1967 3 works, founded the gallery L’Art to disappear from forward design. Peacock feather Designer: Maria Longworth Nichols Glazed clay Storer, American, 1849–1932 The new art was particularly Dancing Lady Maker: Rookwood Pottery, Marks: MLS / 97 with Lilies, successful in uniting all levels of Cincinnati, 1880–1967 (PO-052-66) c. 1899, Reissner, design into one environment. Marks: [conjoined RP surmounted by Stellmacher & Disparate elements—metal, glass, flames] / VII / 1048B / V Vase, 1900 Kessel, Turn- ceramic, and wood, as well as applied Gift of Herbert O. and Susan C. Squid, coral Teplitz, Bohemia, Robinson Glazed white clay, metal Austria decoration, marquetry, and paint— (PO-007-75) Maker: Rookwood Pottery, Cincinnati, (PO-006-70). were combined in the creation of 1880–1967 cohesive interiors. Vase, 1912 Designer: Kataro Shirayamadani, Abstract peacock feather Japanese-American, 1865–1948 Glazed clay Marks: [Japanese characters for Kataro Maker: Rookwood Pottery, Shirayamadani] / [conjoined RP Cincinnati, 1880–1967 surmounted by flames] / S 1 5 3 7 Designer: Charles Stewart Todd, (PO-060-66) American, 1886–1950 Marks: [conjoined RP surmounted by Bowl, 1902 flames] / XII / 1865 / C.S.T. Swimming fish (PO-106-86) Glazed white clay Maker: Tiffany Studios, New York City, 1902–32 Designer: Edith Wilhelmine Wessel Lautrup, Danish, 1875–1963 Marks: [conjoined LCT ] / P / EL (74-027)

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau 3)S alad plate, c. 1901 Vase, 1895–96 Cream pitcher, c. 1902 10) Vase, c. 1905 Canton pattern Bee Copper, enamel, silver, gold, ebony Model No. 8185, Glazed porcelain Glazed clay Maker: Tiffany Studios, New York Elephant Heads design Maker: Gerard, Dufraisseix & Abbot, Maker: Rookwood Pottery, City, 1902–32 Glazed earthenware Limoges, France, 1901–present Cincinnati, 1880–1967 Marks: TIFFANY STUDIOS / Maker: Reissner & Designer: Édouard Colonna, German, Designer: Maria Longworth Nichols NEW YORK Kessel, Turn-Teplitz, 1862–1948 Storer, American, 1849–1932 (70-011) Bohemia, Austria, 1905–10 Retailer: Siegfried Bing’s L’Art Marks: [conjoined RP surmounted by Designer: Probably Hans Reissner, Nouveau, Paris, 1895–1904 flames] / MLS / ‘96 8) Vase, c. 1915 Austrian, active c. 1885–c. 1945 Marks: l’Art / Nouveau / Paris (PO-003-92) Glazed stoneware Marks: [crown] / AMPH¯oRA / Gift of Barbara Wiles Maker: Manifattura Chini, Mugello, AUSTRIA / 8185 (PO-100-81) Vase, c. 1900 Italy, 1902–43 Paper label: [A]MPHORA Cobweb Designer: Galileo Chini, Italian, (PO-046-69) 4) Left to right: Blown glass 1873–1956 Maker: Tiffany Studios, New York Marks: [logo] / MUGELLO / O / 11) Left to right: Vase, c. 1895 City, 1902–32 2070 Fish, seaweed, coral Marks: V 300 L.C.T. Favrile (PO-063-87) Decanter, c. 1896 Cameo glass (54-061) Glass, silver, pearl, diamond, garnet, Maker: Daum Frères 9) Clockwise from top: sapphire & Cie, Nancy, France, 6) Table mirror, c. 1905 Maker, glass: Tiffany Glass and 1891–present No. 897, oval, Peacock design Vase, c. 1895 Decorating Company, New York Decorator: Louis Cast bronze, glass Karthago line City, 1892–1900 Antoine Damon, Maker: Tiffany Studios, New York Glazed clay Maker, mount: Unknown, probably French, 1860–1947 City, 1902–32 Maker: Tonwarenfabrik German Retailer: Au Vase Étrusque, Paris, Marks: TIFFANY STUDIOS / NEW Robert Hanke, Marks: L.C.T. D 689 1887–1911 YORK / 11433 / 897 / [conjoined TS] Ladowitz, Bohemia, Paper label: TIFFANY FAVRILE 4 Marks: Damon / Paris (85-012) Austria, 1882–1945 GLASS REGISTERED TRADE 5 (GL-026-84) Marks: [crown] / [Robert Hanke MARK / [conjoined TGDco] 7) Clockwise from top left: trademark] / KARTHAGO / Made (66-010) Vase, c. 1895 in Austria Swimming fish Vase, c. 1904 Gift of John H. Proctor Vase, c. 1894 Glazed earthenware Model No. 5014, Iris design (PO-018-86) Rosewater sprinkler Maker: Manufacture Clément Massier, Glazed earthenware Blown glass Golfe-Juan, Alpes Maritimes, France, Maker: Plateelbakkerij Zuid-Holland, Vase, c. 1905 Maker: Tiffany Glass and Decorating 1883–1900 Gouda, Netherlands, 1898–1964 Mold No. 0565, Grès-Bijou series Company, New York City, 1892–1900 Designer: Clément Massier, French, Decorator: Pieter Woerlee, Dutch, Glazed earthenware Marks: o4163 1845–1917 1886–1963 Maker: Reissner & Kessel, Turn- Paper label: TIFFANY FAVRILE Marks: Clement MassieR / Golfe-Juan. / Marks: MADE IN / [Lazarus’ Gate] / Teplitz, Bohemia, Austria, 1905–10 GLASS REGISTERED TRADE C.A.M. / CLEMENT / GOLFE P.W / ZUID_HOLLAND / 5014 / g Marks: [crown] / AMPHORA / MARK / [conjoined LCT ] JUAN / (A.M.) (PO-001-78) AUSTRIA / 0565 / 40 (66-013) (PO-020-70) (PO-056-79) Humidor, 1923 (designed 1917) Vase, c. 1900 5) Clockwise from top: Model No. 1130, Damascus III design Vase, c. 1895 Blown glass, silver Glazed earthenware Karthago line Maker: Glasfabrik Pitcher, c. 1900 Maker: Plateelbakkerij Zuid-Holland, Glazed clay, glass Johann Loetz-Witwe, Dragonfly Gouda, Netherlands, 1898–1964 Maker: Tonwarenfabrik Robert Klostermühle, Bohemia, Glazed red clay Designer: Martinus Vuijck, Dutch, Hanke, Ladowitz, Bohemia, Austria, Austria, 1836–1947 Maker: Emile Charles active 1911–32 1882–1945 Marks: P Martin Gallé, Nancy, Marks: 1130 / Damascus III / Marks: P (GL-010-83) France, 1846–1904 [diamond pattern] [Lazarus’ Gate] Gift of John H. Proctor Marks: Emile [EG with cross symbol] [conjoined MV] / Gouda / Holland (PO-017-86) Galle / á Nancy / Modèle Dépose (PO-014-78) (PO-001-84)

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau I I . N A T U R E 5) Hall stand, c. 1900 8) Side table, c. 1900 Iris design Model No. 323, Olga design exhibited Fruitwood, mirror, metal at the Exposition Universelle, Paris, 1900 In liberating art and design, Art Nouveau designers were particularly attracted Maker: Unknown, possibly English Fruitwood, gilt bronze to local flora and fauna both as new subjects commonly known and under- or Belgian Maker: Majorelle Frères & Cie, Nancy, stood by all and as symbols of regional and national identity. After the Franco- (FURN-004-71) France, 1892–c. 1925 Prussian War (1870–71), this was particularly true in France. Working as Designer: Louis Majorelle, French, 6) Left to right: 1859–1926 part of a larger group of artists who became known as the École de Nancy, Marks: L. Majorelle / Nancy Emile Gallé (1846–1904) and Louis Majorelle (1859–1926) in Nancy, France, Vase, c. 1900 (FURN-030-69) employed native insects, orchids, and even weeds such as thistle and ombelles Forget-me-not (wild carrot) to spectacular effect. Designers from other countries also explored Marquetry de Verre 9) Candlestick, c. 1902 and celebrated their native species. Austrian pine trees and American corn Glass, silver No. 1308, 18 in. single, Wild Carrot Maker: Cristallerie design base, Merovignian [sic] design top were used as national symbols as well as decorative elements. From Europe to d’Emile Gallé, Nancy, Bronze, glass America, objects such as vases, lamps, inkwells, and candlesticks took on the France, 1874–1935 Maker: Tiffany Studios, New York City, forms of recognizable plant species. Designer: Emile Charles 1902–32 Martin Gallé, French, Marks: TIFFANY STUDIOS / 1846–1904 NEW YORK / 1308 Marks on glass: Gallé (60-002) 1) Mounted specimens of Vase, c. 1895 Marks on mount: [hallmark] / Queen Anne’s lace/ Dahlia [hallmark] 10) Clockwise from top: wild carrot, c. 1895 Glass, enamel (GL-004-73) Photographic Maker: Cristallerie d’Emile Gallé, Vase, c. 1903 reproduction Nancy, France, 1874–1935 Vase, c. 1895 Model No. 534, Osiris Maker: Tiffany Glass and Decorating Designer: Emile Charles Martin Gallé, 6 Orchid series, dandelion 7 Company, New York City, French, 1846–1904 Glass, enamel Glazed earthenware 1892–1900 Marks: Cristallerie / [leaves] / Emile Maker: Cristallerie d’Emile Gallé, Maker: Reissner, (1998-028:017) Gallé / Modèle et Décor Déposés Nancy, France, 1874–1935 Stellmacher & Kessel, (GL-003-69) Designer: Emile Charles Martin Gallé, Turn-Teplitz, Bohemia, 2) Lady’s writing desk, French, 1846–1904 Austria, 1892–1905 c. 1903 Bowl, c. 1890 Marks: Cristallerie / [leaf] / Emile Marks: [crown] / Aux Ombelles Thistle Gallé / a Nancy / Modèle et Décor Déposés [unknown mark] / Fruitwood, maple Glass, enamel (GL-004-68) AMPH¯oRA / ·OSiRiS· / 534 / 5 Designer: Emile Charles Maker: Cristallerie d’Emile Gallé, (PO-042-76) Martin Gallé, Nancy, Nancy, France, 1874–1935 7) Clockface, c. 1904 France, 1846–1904 Designer: Emile Charles Martin Gallé, Queen Anne’s lace/ Vase, c. 1902 Marks: Gallé French, 1846–1904 wild carrot wood Floral design (FURN-073-68) Marks: [thistle] / Emile Gallé / déposé veneer marquetry Porcelain (GL-007-77) Photographic Maker: The Rozenburg Factory, 3) Left to right: reproduction The Hague, Netherlands, 1883–1916 4) Nesting tables, c. 1910 Maker: Tiffany Studios, Designer: J. Juriaan Kok, Dutch, Bowl, c. 1898 Design exhibited in Grand Prix display New York City, 1902–32 1861–1919 Faience at the Exposition Universelle, Brussels, (1998-028:013) Decorator: Samuel Schellink, Dutch, Maker: Fayencerie de Nancy, Nancy, 1910 1876–1958 France, 1877–1931 Oak, fruitwood Marks: [crown] / Rozenburg / [stork] / Designer: Emile Charles Martin Maker: Majorelle Frères et Cie, Nancy, den Haag / [window inspection mark] Gallé, French, 1846–1904 France, 1892–c. 1925 1102 / [star date stamp] / [maker’s mark] Marks: E. Galle / + / Fayencerie / de / Designer: Louis Majorelle, French, (PO-002-71) Nancy / 98 1859–1926 (PO-002-67) Marks: L.Majorelle (FURN-025-70:a,b)

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau Ewer, c. 1912 12) Various objects with forms and themes f. Vase, c. 1900 J. Candlestick, c. 1902 Floral design inspired by nature: Onion Base No. 1200 C, one Porcelain Blown glass light, Root design, Maker: The Rozenburg A. Ink stand, c. 1905 Maker: Tiffany Glass Poppy-round blown- Factory, The Hague, Cast bronze and Decorating glass top Netherlands, 1883–1916 Maker: Unknown Company, New York Bronze, blown glass Designer: J. Juriaan Kok, Dutch, Marks: 4403 City, 1892–1900 Maker: Tiffany Studios, 1861–1919 (MET-050-69) Marks: M2251 New York City, 1902–32 Decorator: Samuel Schellink, Dutch, Paper label: TIFFANY Marks: TIFFANY 1876–1958 B. Vase, c. 1898 FAVRILE GLASS REGISTERED STUDIOS Marks: [crown] / Rozenburg / Blown glass TRADE MARK / [conjoined TGDco] (79-550) [stork] / den Haag / x / [window Maker: Tiffany Glass and Decorating (U-023) inspection box] 724. / [conjoined SS] Company, New York City, 1892–1900 K. Vase, c. 1905 (PO-002-70) Marks: L.C.T. / M1155 G. Brooch, 1900 Blown glass (56-037) Swan design Maker: Tiffany Studios, New York 11) Clockwise from top: Gold, enamel, pearl, diamond City, 1902–32 C. Vase, c. 1900 Maker: Attributed to Philippe Wolfers, Marks: L.C.T. / Y6384 Vase, c. 1910 Onion Belgian, 1858–1929 (54-066) No. 434, Teco Pottery Blown glass Marks: LONDON 1900 Glazed earthenware Maker: Tiffany Glass and (MET-068-70) L. Vase, c. 1910 Maker: Gates Potteries, Terra Cotta, Decorating Company, Pea pod Illinois, 1886–c.1930 New York City, H. Vase, c. 1905 Glazed white clay Designer: Attributed to Fernand 1892–1900 Lily Maker: Tiffany Studios, New York Moreau, American, 1853–1920 Marks: L.C.T. M2068 Blown glass City, 1902–32 (2001-061) Paper label: TIFFANY Maker: Tiffany Studios, Marks: LCT 7 / P. 1249 / L.C.T. 8 FAVRILE GLASS New York City, 1902–32 Favrile – Pottery 9 Pitcher, c. 1905 REGISTERED TRADE MARK / Marks: L.C.T. Y6535 (84-001) Corn [conjoined TGDco] Paper label: TIFFANY Glazed and unglazed clay (56-032) FAVRILE M. Vase, c. 1910 Maker: Tiffany Studios, GLASS REGISTERED Bok choy cabbage New York City, D. Vase, c. 1898 TRADE MARK / Glazed white clay 1902–32 Angel’s trumpet (Brugmansia suaveolens [conjoined TS] Maker: Tiffany Studios, Marks: [conjoined / Solanaceae) (54-056) New York City, LCT ] / 7 Blown glass 1902–32 Museum membership Maker: Tiffany Glass and Decorating I. Candlestick, c. 1906 Marks: LCT 7 / P 380 / purchase Company, New York City, 1892–1900 No. 1203, one light, leaf or feather L.C. Tiffany – Favrile (2002-039) Marks: L.C.T. M8943 design Pottery (82-010) Gilt bronze Museum membership Ewer, c. 1908 Maker: Tiffany Studios, New York purchase Model No. 2039, Pine E. Trivet, c. 1898 City, 1902–32 (2003-020) Trees pattern Butterfly design Marks: [conjoined TS] / TIFFANY Glazed earthenware Glass, bronze STUDIOS / NEW YORK / 1203 Maker: Kunstkeramik Maker: Tiffany Glass and Decorating (69-009) Paul Daschel, Company, New York, 1892–1900 Turn-Teplitz, Bohemia, Marks: TIFFANY STUDIOS / NEW Austria, 1863–1921 YORK / [conjoined TGDco] / 1487 Designer: Paul Dachsel, Austrian, Gift of the Laubengeiger Family 1880–after 1920 (2012-030) Marks: TURN TEPLITZ / [conjoined PD] / MADE IN AUSTRIA / 2039 / 7 (PO-027-80)

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau I I I . L I N E Front row, left to right: Notepad, c. 1905 Silver, enamel, glass Dessert set, c. 1905 Maker: Possibly By 1895 unrestrained nature as exemplified by twisting vines and stems became Cornflower pattern Friedrich Adler, iconic of the new approach to art. The new sinuous and asymmetrical emblem, Glazed stoneware German, 1878–1942 simply referred to as the whiplash curve, became the common element in a style Maker: James Macintyre & Co., Marks: 900 DEPOSE / 606 Burslem, England, c. 1860–present (MET-025-68) that was also infused with strong regional traditions. The whiplash can be traced Designer: William Moorcroft, English, to Rococo arabesques of the eighteenth century. Rococo represented luxury, 1872–1945 Vase, c. 1902 decadence, and sensuality, and fin-de-siècle culture reveled in these qualities. Retailer: Tiffany & Co., New York Formosa design Also, the Gothic convention of formal attenuation resonated with Art Nouveau City, 1837–present Blown glass designers. Line, perhaps more than any other single feature of the new art, gave Marks: W. Moorcroft / Tiffany & Maker: Glasfabrik Johann Loetz- Company / 643 / 650 Witwe, Klostermühle, Bohemia, diverse geographical regions a shared vocabulary. Publication of the Art Nouveau (PO-011-66:A–C) Austria, 1836–1939 style in popular magazines and journals such as Bradley: His Book and The Echo (1998-009) celebrated the graphic attributes inherent in line and further disseminated Art Vase, c. 1905 Nouveau’s visual character and values. Glazed white clay 6) Table lamp, c. 1901–2 Maker: Hampshire Pottery Company, Phänomen gre. 829 design shade Keene, New Hampshire, 1871–1923 Silver over bronze, blown glass, Designer: Cadmon Robertson, 1) Left to right: moonstones William H. Bradley American, c. 1875–1914 Maker, glass: Glasfabrik Johann American Art Nouveau illustrator Marks: Hampshire Pottery / The Echo, New York, Loetz-Witwe, Klostermühle, [conjoined Ma] April 15, 1896 William H. Bradley (1868–1962) Bohemia, Austria, 1836–1939 PO-011-69 Magazine cover drew inspiration from medieval design Maker, base: K. & K. Hof-Silber-und Commercial lithograph and Japanese woodblock prints. He Chinasilberwarenfabrik Moritz 3) Color plate, 1898 Hacker, Vienna, Austria, 10 Designer: William H. 11 became popular designing posters as Plate 44 from Le Castel Béranger Bradley, American, 1901–after 1910 well as covers for notable periodicals Chromolithograph 1868–1962 Marks on base: MH20 [griffin crest] Maker: Librarie J. Rouam et Cie, Paris, Marks: BRADLEY such as The Echo, Harper’s Bazar, and (MISC-027-69) active 1880s–1890s (PR-003-72) The Chicago Sunday Tribune. Bradley Designer: Hector Guimard, French, 7) Left to right: established the Wayside Press in 1867–1942 Vase, c. 1895 Boston in 1896, which published Marks: LE CASTEL BÉRANGER / Blown and cast glass Belt purse, c. 1890s Bradley: His Book and provided a Pl. 44 / [conjoined HG ] Maker: Tiffany Glass Lizard skin, sterling silver (U-107:C) and Decorating platform for outstanding illustrators Maker: Tiffany & Co., New York Company, New York and also featured poetry, criticism, City, 1837–present 4) Side chair, c. 1890s City, 1892–1900 Marks: TIFFANY & CO / 6965 M and articles on modern applied art, Wood, leather Marks: L.C. Tiffany – 898 / STERLING decoration, and home design. Maker: Unknown, French Favrile / C251 (82-009) (FURN-077-88) (57-003) Coffee service, c. 1905 5) Clockwise from top: 2) Back row, left to right: Vase, c. 1905 Sterling silver Blown glass, silver Maker: Shreve, Crump & Low, Vase, c. 1902 Bradley: His Book, Vol. I, No. II Maker, glass: Quezal Art Glass & Boston, 1869–present No. 680 Olympia, Phänomen Commercial lithograph Decorating Company, Maspeth, Inscribed: OCT 12. / 1905 / Blown glass Springfield, Massachusetts: Wayside Queens, New York, 1901–25 [conjoined EM monogram] Maker: Glasfabrik Johann Loetz- Press, June 1896 Maker, mount: Alvin Silver Marks: SHREVE, CRUMP Witwe, Klostermühle, Bohemia, (BO-014-71) Manufacturing Company, Sag Harbor, & LOW CO. / 1994 / [Eagle] New York, 1886–1928 Austria, 1836–1939 TRADEMARK / STERLING Marks: Quezal Designer: Robert Holubetz, Austrian, (MET-002-90:A–C) (GL-049-69) active 1880s–1900s (54-097)

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau IV. FEMALE FORM Brooch, c. 1900 7) Left to right: Gold Designer: Jean Baptiste Émile Dropsy, Vase, c. 1897 The new art challenged the traditional roles of women. Art Nouveau erupted French, 1848–1923 Model No. 584 at the peak of the women’s suffrage movement and when the work of Sigmund Retailer: Maison Savard, French, Glazed earthenware Freud (1856–1939) in psychoanalysis, libido, sexuality, and dream interpretation, c. 1895–c. 1920 Maker: Reissner, Stellmacher & was revolutionizing cultural views. Formerly depicted as passive or domestic, Marks: E. Dropsy Kessel, Turn-Teplitz, Bohemia, (71-018) Austria, 1892–1905 women were now often portrayed in art as active, sexualized, and in flowing Designer: Nikolas Kannhäuser, motion. In contrast to the Gibson Girl’s conventional image, the dancer Loïe 5) Mantel mirror, 1906 Austrian, 1871–after 1900 Fuller (1862–1928), known for her innovative performance with swirling robes Leaded glass, wood Marks: 5 / AMPH¯oRA / 584 / Ku. / o and moving light, became a symbol of the new style. The female form—often Maker: Abel Landry, French, [conjoined Nk] / [AMPH=RA] / attenuated, its lines and curves exaggerated, its sensuality celebrated, its vibrance 1871–1923 ·TURN· / .·. / TURN-TEPLITZ- Marks: A. Landry BOHEMIA ·RStK· / [urn] / MADE dramatically portrayed—was the perfect expression of nature and was exploited (FURN-033-70) IN AUSTRIA to powerfully portray the major Art Nouveau idea of perpetual regeneration. (PO-028-84) 6) Latest Bits of Fashion Gossip, c. 1910 Ink on paper, pencil Plate, c. 1900 1) Vase, c. 1901 3) Young Girl Holding a Bouquet of Flowers, Designer: Edward Windsor Kemble, Porcelain Morrisian Eastern 1900 American, 1861–1933 Maker: Jean Pouyat, Figures line Color lithograph Gift of the Kemble Family Limoges, France, From “Beauty and the Designer: Alphonse Marie Mucha, (1999-004:A–E) 1816–present Beast,” Bradley: His Czechoslovakian, 1860–1939 Decorator: A. Little, Book, Vol. I, No. IV, Marks: Mucha / 1900 Inscriptions, left to right: probably American, August 1896 (PR-011-68) active c. 1900 12 Glazed earthenware • Latest Bits of Fashion Gossip / Marks: J. P. / L. / FRANCE / 13 Maker: Royal Doulton, 4) Clockwise from top: Clever device to prevent young hubbies A. Little English, 1815–2009 from “out-hobbling” their wives. (PO-008-68) Designer: William H. Bradley, Brooch, c. 1900 American, 1868–1962 Winged figure • Combination parasol and mirror. Shelf clock, c. 1900 Marks: DOULTON / IVORY / Gold, enamel Nose bag worn on the left arm. Glazed earthenware L8096 / [ROYAL DOULTON- Maker: Eugène Swans down neck scarf ending in Maker: Wileman & Co., The Foley ENGLAND logo] / MORRISIAN / Feuillâtre, French, powder puffs. Potteries, Fenton, Stoke-on-Trent, [roses] 1870–1916 England, 1860–1966 (PO-007-71) Marks: [French • Costume and appointments for forgetful Designer: Frederick Alfred Rhead, hallmark] / E. F. old ladies. Limit bag for shopping English, 1856–1933 2) Table lamp, c. 1896 (MET-055–71) expenses. Shopping district embroidered Marks: 3116 / The Foley / Loïe Fuller figure on right sleeve. [crown] [conjoined WC] / Bronze Brooch/watch pin, c. 1900 “INTARSIO” / ENGLAND/ Ro No Maker: Siot-Decauville, Paris, Lorelei figure • Thermos Muff of waterproof. suitable 337999 1860–c. 1925 Gold, opal, emeralds for Iced tea or other soft drinks. extra Inscribed: PRITHEE WHATS Designer: Raoul-François Larche, Designer: Unknown, probably French straws worn as hat decorations. O’CLOCK French, 1860–1912 (MET-001-77) (PO-055-67) Marks: RAOUL LARCHE / • Kemble / X-Ray Costume. very cool U / SIOT · DECAUVILLE · / Lorgnette, c. 1900 in summer. Russian Bone Hound adds FONDEUR / PARIS / I 996 Silver, glass to the effect. (MET-002-69) Maker: Unger Bros., Newark, Note: The French velvet mohair valance New Jersey, 1872–1914 at the entrance to Gallery XIII, c. 1898– Marks: [conjoined UB ] / Sterling 1905, features hand-embroidered applique (MET-011-83) and some hand painting. The maker is unknown.

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau V. METAMORPHOSIS 4) Left to right: 5) Left to right:

Hinged box, c. 1902 Centerpiece, c. 1902 Perhaps the most dramatic shift in thinking at the turn of the twentieth century Brass, copper, wood, glass Model No. 3424, came through scientific examination of the origins and development of man. Designer: Alfred-Louis-Achille Chestnut design Darwinism, botanical study, and the development of photography all played Daguet, French, 1875–1942 Glazed earthenware Retailer: Siegfried Bing’s L’Art Maker: Reissner, Stellmacher & roles in this change of perspective. The Darwinian theory of evolution focused Nouveau, Paris, 1895–1904 Kessel, Turn-Teplitz, Bohemia, on the way forms of life changed gradually over time eventually becoming Marks: CUIVRES S.BING / ALF. Austria, 1892–1905 radically transformed. This concept of metamorphosis offered artists and DAGUET.02 Designer: Probably Eduard designers the new challenge of depicting forms—everything from the human (MET-010-74) Stellmacher, Austrian, 1868–1932 figure to doorknobs and vases—in the throes of transformation. Artists such as Marks: AUSTRIA / AMPH¯oRA / Scissor set, c. 1895 3424 / II Hector Guimard (1867–1942), for example, and the Austrian potters producing Brass, copper (PO-055-79) Amphora ceramics discarded traditional historicism and created new forms Maker: Centaur, Germany, active for all types of objects and invested them with new meanings. These objects 1890s Vase, c. 1900 represented change not only in the way they looked but in their depiction of the Retailer: Sperry & Alexander Glazed clay very act of formal change itself, the act of metamorphosis. Company, New York City, 1893–1927 Maker: Zsolnay Marks: SPERRY & / ALEXANDER Porcelánmanufaktúra CO. / GERMANY Zrt (Zsolnay Porcelain Gift of Dr. Edwin S. Burdell Manufacture), Pécs, 1) Die Nacht (The Night) 3) Back to front: (70-002) Hungary, 1853–1948 Masque, c. 1901 Designer: Vilmos Mold No. 1271 Pair of candlesticks, c. 1899 Mantel clock, c. 1902 Zsolnay, Hungarian, Glazed earthenware Magic of Fire Light Brass, copper, wood, 1828–1900 14 Maker: Reissner, Model No. 2006, Fates series glass Marks: ZSOLNAY 15 Stellmacher & Kessel, Glazed porcelain Designer: Alfred-Louis- PÉCS / [logo] / M Turn-Teplitz, Bohemia, Maker: Reissner, Stellmacher & Achille Daguet, French, Paper label: KORONA / [illegible] Austria, 1892–1905 Kessel, Turn-Teplitz, Bohemia, 1875–1942 Gift of Jane Hayward Designers: Attributed to Eduard Austria, 1892–1905 Retailer: Siegfried Bing’s (PO-038-92) Stellmacher, Austrian, 1868–1932, and Designer: Eduard Stellmacher, L’Art Nouveau, Paris, Elvir Otto, Austrian, active c. 1900 Austrian, 1868–1932 1895–1904 (SC-071-70) Marks: 1077918 g / TURN- Marks on clock: ·CUIVRES S. TEPLITZ-BOHEMIA ·RStK· BING· / ALF. DAGUET. 2) Top to bottom: [urn] / MADE IN AUSTRIA / Marks on clockwork: E.D / 1612 / S [head in profile] AMPHORA- / [arrow pointing up] F / R A Figurine, 1902 2006 / 41 (MET-045-66) Glazed clay (PO-021-71:A, B) Maker: Rookwood Pottery, Cincinnati, 1880–1967 Pendant, c. 1900 Marks: [conjoined RP surmounted by Autumn design C astEL BéraNGEr flames] / II / 3137 Gold, enamel The work of French architect Hector Guimard (1867–1942) is perhaps the most (PO-024-71) Maker: René Jules identifiable as Art Nouveau. In the architecture and interior design of the Castel Lalique, French, Béranger (1898), located in the Parisian suburb of Auteuil, Guimard unified all Tray, c. 1910 1860–1945 facets of design and material through his own unique aesthetic interpretation. Gilt bronze Marks: LALIQUE / Maker: Unknown [Latin cross in A book of lithographic plates was published depicting furniture, wall decoration, (MET-048-71) lozenge] / [double and even door knockers from this building. It served as a style guide and led to outlined eagle head] / further commissions. Ultimately, however, it would be Guimard’s Paris Metro [anvil] stations that would become emblems of the new style’s volatile line and evidence (MET-003-71) of its integration into all aspects of modern life.

Lifelines: Forms and Themes of ARt Nouveau Lifelines: Forms and Themes of ARt Nouveau 6) Back to front: Color plate, 1898 Plate 22 from Le Castel Béranger Jardinière, c. 1900 Chromolithograph Glazed earthenware Maker: Librarie J. Rouam et Cie, Maker: Gustave de Bruyn & Fils, Paris, active 1880s–1890s Lille, France, 1838–1916 Designer: Hector Guimard, French, Lifelines­ Designer: Hector Guimard, French, 1867–1942 1867–1942 Marks: LE CASTEL BÉRANGER / Marks: 1380 / H / 1 / 8 Pl. 22 / [conjoined HG] Forms and Themes (PO-036-75) (U-107:F) of Art Nouveau Handle, c. 1897–98 8) Dancing Lady with Lilies, From the home of Albert Roy, c. 1899 1850–1926, Gévrils, Loiret, France Mold No. 775 Glazed clay, brass Glazed porcelain Maker: Charles Sauzin, Paris, France, Maker: Reissner, active 1890s–early 1900s Stellmacher & Kessel, OBJECT G UIDE Designer: Hector Guimard, French, Turn-Teplitz, Bohemia, 1867–1942 Austria, 1892–1905 Marks: LP / LP Designer: Eduard Stellmacher, Art Nouveau was an art phenomenon that found enthusiastic (PO-041-68) Austrian, 1868–1932 Marks: [crown] / [AMPH¯oRA support from roughly 1895 to 1915 virtually everywhere in Europe 7) Top to bottom: encircled] / 775 / 621 / [AUSTRIA and to a lesser extent in America. Embodying all that was modern, encircled] / IMPERIAL— Color plate, 1898 AMPHORA ·TURN· / [shield] it touched art and architecture, as well as ceramics, furniture, and the Plate 36 from Le Castel Béranger (PO-006-70) other decorative arts. 16 Chromolithograph Maker: Librarie J. Rouam et Cie, Paris, active 1880s–1890s In French, art nouveau literally In this exhibition of more than a Designer: Hector Guimard, French, means “new art,” and at the turn of hundred objects from our collection, 1867–1942 Marks: LE CASTEL BÉRANGER / the twentieth century, this new art the Morse explores the interrelated Pl. 36 / [conjoined HG] looked different, felt different, and elements that define the style so well (U-107:D) reflected different values and ideas. known for its lively line and organic Today it still seems fresh. Art Nou- form. The exhibition is organized into veau artists sought to fundamentally five groups that illustrate the dominant change the look of the objects we use themes found in Art Nouveau objects: in our lives. the exotic, nature, line, female form, Practitioners of the new art drew and metamorphosis. It includes inspiration from nature and rejected furniture, architectural ornaments, historical styles and classical values, lamps, jewelry, ceramics, and art preferring asymmetrical composition glass from more than fifty makers, and attenuated curves. In the work designers, and artists working across of these designers, line frequently nine countries, including Emile Gallé, seems driven by its own internal René Lalique, Louis Comfort Tiffany, life force—swirling and whipping, and more. 445 north park avenue, winter park, florida 32789 swerving and curving, creeping Individually and together, 407-645-5311 www.morsemuseum.org along one minute then racing for- the objects both enlighten our ©2013 Charles Hosmer Morse Foundation, Inc. ward the next. understanding and delight our senses.