Decorative Arts Society Volume 23, Volume Number 1 newsletter/spring 2015 DAS Newsletter

Volume 23 Editor Number 1 Gerald W.R. Ward Spring 2015 Senior Consulting Curator & Katharine Lane Weems Senior Curator The DAS Newsletter is a publication of American Decorative Arts and The DAS of the Decorative Arts Society, Inc. The Sculpture Emeritus purpose of the DAS Newsletter is to serve as Museum of Fine Arts, a forum for communication about research, Boston, MA The Decorative Arts Society, Inc., is a exhibitions, publications, conferences and other activities pertinent to the serious Coordinator founded in 1990 for the encouragement study of international and American deco- Ruth E. Thaler-Carter ofnot-for-profit interest in, theNew appreciation York corporation of, and the rative arts. Listings are selected from press Freelance Writer/Editor exchange of information about the releases and notices posted or received Rochester, NY decorative arts. To pursue its purposes, from institutions, and from notices submit- the Society sponsors meetings, programs, ted by individuals. We reserve the right Advisory Board seminars, tours and a newsletter on the to reject material and to edit material for Michael Conforti decorative arts. Its supporters include length or clarity. Director museum curators, academics, collectors We do not cover commercial galleries. Sterling and Francine Clark Art Institute and dealers. The DAS Newsletter welcomes submis- Williamstown, MA sions, preferably in digital format, by e-mail in Plain Text or as Word attachments, or Officers Wendy Kaplan on a CD. Images should be at high quality President Department Head and Curator, (400 dpi), as TIFFs or JPEGs, either color or David L. Barquist Decorative Arts and Design black-and-white, with detailed captions. H. Richard Dietrich, Jr., Curator County Museum of Art The newsletter of the DAS is published of American Decorative Arts Los Angeles, CA two times a year. Submission deadlines for Philadelphia Museum of Art 2015 are: March 31 for the spring issue; Philadelphia, PA Charles Venable September 30 for the fall issue. Send mate- Director & CEO rial to Ruth E. Thaler-Carter, DAS Newsletter Indianapolis Museum of Art Vice President Coordinator, at: Indianapolis, IN Nicholas Vincent 2500 East Avenue, #7K Manager of Collections Planning Rochester, NY 14610 Gillian Wilson Metropolitan Museum of Art or: Curator emeritus, Department of New York, NY [email protected] Decorative Arts and Sculpture J. Paul Getty Museum Treasurer 585-248-8464, phone Los Angeles, CA Stewart G. Rosenblum, Esq. 585-248-3638, fax

Newsletter design by Plum Crane. Ghenete Zelleke Secretary All content ©2013 Decorative Arts Society. Samuel and Patricia M. Grober Curator, Moira Gallagher European Decorative Arts Research Assistant To better serve our contributors and Art Institute of Metropolitan Museum of Art the decorative arts community, the DAS Chicago, IL New York, NY website may provide information about events that fall between issues. Members Cover image: Margaret Caldwell Covered beaker, gilded silver, metalwork; 15 3/4 x 6 11/16 in. (40 x 17 cm). Jo- Judith Hernstadt hannes (Hans) Mautner (master 1670, died 1694), 1682. One of largest known of its type; hollow base and undulating ring mark actual bottom of vessel on Committee Chairs Wendy Cooper outside, characteristic of Hungarian and Transylvanian production. Inscribed Charles F. Montgomery Award coat of arms indicates it belonged to member of princely Transylvanian family, and Prize Committee Count Mikes, of one of the most ancient dynasties of Székely people, who with Saxons were crucial in defense of Hungary’s eastern border against Ottomans. Jeannine Falino “XX” may indicate that beaker was largest in assembled set from which two Robert C. Smith Award Committee smaller beakers are now preserved in the Hungarian National Museum (Buda- Please send change-of-address pest). Lute-playing angel in peasant costume is close to similar figure decorat- information by e-mail to Secretary@ ing a silver-gilt tankard by Michael Schellung, made in Brassó about 1640; both DecArtsSociety.org. likely inspired by the same printed design source. Gift of Salgo Trust for Educa- tion, New York, NY, in memory of Nicolas M. Salgo, 2010. See Exhibitions. DAS news DAS welcomes new board members, committee chairs he Decorative Arts Society University with an MA from the Robert C. Smith Award Committee (DAS) is pleased to announce Winterthur Program in American for the DAS. She is an independent cu- Tthat several new members have Material Culture - joined our board and accepted commit- lon Fellow at the Brooklyn Museum curator at the Museum of Arts and tee leadership roles. , Cooper was a Mel Designrator, museum consultant and adjunct Margaret B. Caldwell is a deco- curatorship at the Museum of Fine - Arts,(NY), Bostonfollowed (MA). by holding She then an assistantwas the ed workshops (MAD; andNew written York, NY) extensively who has • - Wallace Gallery at aboutcurated American exhibitions, decorative lectured, arts present from lectorsrative and and fine institutions arts appraiser, who has private been Colonial Williamsburg (VA). the colonial era to the present. She spe- dealer, and consultant to private col first director of the the art market and the decorative arts forinvolved almost with, 40 years. written She and has lectured served on cializes in metalwork, jewelry, modern the board of the Appraisers Associa- decorative arts, craft and design. tion of America and has been a mem- ber of the Decorative Arts Society for 30 years. She served as treasurer for a prior decorative arts organization. Caldwell was the editor of both American and European Furniture for Art & Auction magazine for 20 years. She also contributed regularly to Maine Antique Digest concentrating on a history of her great- . Currently,Edward she F. is Caldwell & Company grandfather and his firm, She has guest-curated four ex- , of New York. hibitions at the National Gallery of Art The Kaufman Falino was co-curator for the sur- Collection of American Furniture vey exhibition Crafting Modernism: (1986–1987); (Washington, In Praise DC): of America: Midcentury American Art and Design American Decorative Arts, 1640– 1840 (1980); An American Vision: accompanying exhibition catalog. She Henry Francis du Pont’s Winterthur (MAD, 2011), and general editor for the Museum (2002); and Masterpieces of Furniture from the Kaufman Collec- In this issue tion, 1700–1830 (2012–present). Before coming to Winterthur in - DAS news 1–3 orative arts at the Baltimore Museum 1995,of Art Cooper served as curator of dec Events 4 traveling exhibition Classical Taste in America, (MD), 1800–1840where she organized and wrote the Book review 5 Caldwell earned a BA in history Abbeville Press. She continues her Books 6 Wendy A. Cooper involvementthe accompanying with American book, published decora -by emeritafrom Trinity of furniture College at(Hartford, the Winterthur CT). News 7 • , curator Museum, Garden and Library (DE) Acquisitions 10 following almost two decades there as astive serving arts as on a freelance various museum consultant, commit - researcher, writer and lecturer,Com as well- People 11 the Charles F. Montgomery Award mittee for the Preservation of the andsenior Prize curator Committee of furniture, for the is head DAS. of teesWhite and House boards,. including the Exhibitions 14 A cum laude graduate of Brown Jeannine Falino is leading the

• Newsletter of the Decorative Arts Society, Inc. Spring 2015/1 curated What Would Mrs. Webb Do? A Founder’s Vision 2014) and is Smith Award committee currently co-curator of the exhibition Gilded New York: (MAD,Design, Fashion & focuses on 2014 materials Society at the Museum of the City of New York he Robert C. Smith Award Com- Dennis Carr December 2015. mittee of the DAS has new lead- Lynch Curator of American Decorative Falino (2013),also has on curated view throughor guest- T • , CarolynMuseum and of FinePeter chairperson Jeannine Falino (see DAS Arts, Boston ership and new members. New - Arts andKaren Sculpture, Zukowski suchcurated as Artisticexhibitions, Luxury: or served Fabergé as – tee members to review publications (MA): furniture - Tiffanymanager, – onLalique exhibitions for the or Cleveland projects News, page 1) is working with commit rative • arts; curator and ,consultant art historian to Museum of Art (2008); Edge of the catalogs) and select the best English- specializing in American fine and deco Sublime: Enamels by Jamie Bennett languagefrom 2014 article (journals, on the not decorative exhibition arts Emily Orr Fuller Craft Museum for the year. The committee will prob- modernhistoric houseand contemporary museums: interiors American 2008); Enchanted Garden: Enamels , • Cooper Hewitt,, assistant Smithsonian curator of by an American Master (Brockton,Karl Drerup MA; about the period after about 1600. Design Museum Art Gallery ably Theconfine new its committ reviewsee to members materials and design, Tiffany Jewels , Jennifer Scanlan (New York, NY): 19th Boston. (Plymouth, NH; 2007); an Suzanne Findlen Hood - curatorand 20th focusing century, on including contemporary costume art At the Museum, Museum of Fine of Fine Arts, Arts, their affiliations and specialties Coloare: - • , independent Boston, nial •Williamsburg Foundation, associ especially glass Lynch Curator of American Decora- glassate curator, and ceramics ceramics and glass, and design: 20th–21st century craft, tive Arts Fallinoand Sculpture was Carolyn (1999–2003); and Peter (VA):

Arts and Sculpture (1990–1999); and assistant curator, American Decorative- and James Madison’s Montpelier. She Hernstadt has served on the tive Arts and Sculpture (1987–1990). earned a master’s degree in the history boards of a number of museums and curatorialMoira assistant, Gallagher American has joined Decora the of decorative arts from the combined Deco- DAS board as the new secretary. She is program of the Smithsonian Associ- rative Arts Trust, Georgia Museum a research • assistant at the Metropoli- ates ofother Art, institutions, Fine Arts Committee including the of the tan Museum of Art completed her undergraduate work in U.S. Department of State, Collection and previously served as the Tiffany art history and George at James Mason Madison University, University. and Committee of Olana and Steering & Co. Foundation Curatorial (New York, Intern NY) in Judith Hernstadt is a collec- Committee of the Friends of Ameri- American Decorative Arts at the Met. tor of American decorative arts and can Art at the Yale University Art • Gallery. She has made gifts of art to the of the 17th–19th century. She is also a Metropolitan Museum of Art paintings, and related European art - (New researcher, urban and regional plan andYork, other NY), institutions.Diplomatic Reception Rooms hospitality.ner, former Shepresident graduated and ownerfrom Har of -a at theHernstadt State Department, is an alumnus Yale ofgallery the At - vardbroadcast University. company, and an expert in tingham School and a member of the - grams and Development committees of Phelpsthe American Warren Friends Society andof the the Atting Pro - ham Summer School, Inc.

She has provided invaluable, as well as -as a supportersistance to of the its DAS Study in planningProgramme. tours in

- Washington,The DC.DAS wishes lagher was a research associate at SumpterBefore Priddy working III, at Inc. the Met, Gal to thank recent

arts of the early American (Alexandria, South. She and current board alsoVA), hasspecializing held positions in fine at and the decorative Smithso- members for nian Institution U.S. Department of State their service. , ’s Diplomatic Reception Rooms, 2/Spring 2015 Newsletter of the Decorative Arts Society, Inc. President’s letter Wrapping up a lively year in the decorative arts By David L. Barquist, H. Richard Dietrich, Jr., Curator of American Decorative Arts, Philadelphia Museum of Art (PA) ummer has arrived and offers an Christopher Monk- opportunity to review the activi- house Sties of the Decorative Arts Soci- Curatorby its organizer, of European Decorative Arts. ety, Inc. (DAS) over the past winter and Be, surEloisee to W. save Martin September Chair and 21, 2015 Wolfram three new members to our board. Koeppe spring. During that time, we welcomed Moira Gallagher in the forMet’s our Department next tour, when of European at the Metropolitan Museum of Art , Marina Kellen French Curator , research assistant has succeeded Veronica Conkling as DAS participants on a private tour of , secretary. Judith Hernstadt theSculpture exhibition and DecorativeHungarian Arts, Treasure: will lead participant in the DAS and other arts Silver from the Nicolas M. Salgo Col- , an active lection (see Exhibitions). Meg Caldwell The exhibition celebrates the organizations, was elected a member of has been a longtime supporter and gift to the museum of the Hungarian the board, as was , who served as treasurer in the organiza- silver collection assembled over three tion’s early years. decades by Nicolas M. Salgo (1914– We welcomed new chairs of the events is to create opportunities for Wendy Coo- ambassador to Budapest. contributors to experience familiar and per will head the committee choosing The2005), collection a Hungarian comprises native about and former 120 unfamiliar sites and collections with a book award committees: the Montgomery Award and Prize focus on decorative arts. and Jeannine Falino will head the the late 18th century. The intrigu- Events like these tours and trips , Robert C. Smith Award Committee. pieces, most dating from the 15th to are why DAS is very special – we bring We also congratulate DAS Vice historical importance of the objects together people with shared interests Nicholas (Nick) Vincent –ing products shapes, ofinventive once-prosperous decoration lo and- in the decorative arts and offer access who was recently promoted to man- cal aristocratic dynasties – make this to important collections with personal President , ager of collections planning in the ensemble exceptional. interaction with private collectors and Museum of Art. Together with trea- surerdirector’s Stewart office Rosenblum at the Metropolitan As always, our goal with these our colleagues in the field. at full strength for the coming year! , the DAS is - DAS plans trip to Georgia with Thus far in 2015, the DAS hasSarah sponsoredCoffin two terrific events. On Janu focus on 2016 Green Symposium designary 21, andsteadfast Decorative DAS supporter Arts Depart - ment at, curator the Cooper and head, Hewitt-National product Design Museum around Folk and Folks: Variations on the Vernacular Eighth Henry D. of the newly renovated and reopened ForGreen our winterSymposium program, of the the Decorative DAS is organizing Arts, to a betrip held to Georgia February centered 4, 5 and 6, museum. Sarah offered, led a fascinatingmany insights tour 2016 Georgia Museum of Art (Athens). , the into the tremendous collaboration and planning that went into their state-of- private, sponsored tour of the by decorative the arts collections at the High Museum. The group will the-art installations. then It proceed is anticipated by bus thatto Athens the DAS for will the meet symposium. in Atlanta, DAS GA, participants and begin willthe tripbe treated with a We had a very successful visit to to a tour of Athens historic homes with a member of the Decorative Art Advisory Committee on Thursday early afternoon and invited to sherry at a private home. with the symposium held in conjunc- Chicago in March, designed to coincide dinner featuring local cuisine and have a private tour of the museum’s collections. Ireland: Crossroads of Art and De- ThereThis also opportunity will be an opportunity to enjoy an in-depth to visit a immersionsignificant intoprivate Southern collection, decorative enjoy a arts sign,tion with 1690-1840 the magnificent at the Art exhibition Institute of Chicago (details will be featured in actual estimated cost. Further details will be provided by mail and in the next issue our fall 2015 issue). A special treat was ofis expectedthe DAS Newsletter to offered. be a comparatively modest expense, with the program at the the private tour of the exhibition led

For current information about symposium speakers and topics, see Events. Newsletter of the Decorative Arts Society, Inc. Spring 2015/3 Charleston Heritage Symposium include examing furniture made in the Preservation Society of Charleston Americas incorporating mahogany and Charleston, SC Events - www.preservationsociety.org/ ing the impact of the transatlantic heritage/program.asp other tropical hardwoods, and explor October 9–11, 2015 author of The Furniture of John Shearer, and the historic environment. This year’s event examines some of 1790-1820:rative arts scholar “A True (Reston, North Britain” VA) and in the lumber trade on cabinetmaking, labor the diverse cultures that made Charles- Southern Backcountry, will present on ton such a cosmopolitan city in the Johannes Spitler Amaranth, brazilwood, cedrela, - 18th and early 19th centuries. furniture decorator. woodebony, and kingwood, tulipwood logwood, are only mahogany, a few of Tessa Sumpter Priddy, a Shenandoah III Valley therosewood, hardwood sabicu, species satinwood, shipped snake from Murdoch, FSA - VA)will discuss a group of painted the tropical forests of the Americas to Keynote speakers are Dr. - (Alexandria, Victoria, deputy andkeeper, Albert Depart Mu- iconography. Beth Tobin - mentseum of Sculpture, Metalwork, WilliamCeram ColonizingGeorgia chests Nature: and Theinterpret Tropics their in Brit - ports throughout the western world, icsG. Allman and Glass, White House ish Arts and Letters 1760–1820, author (win of - starting in the 1590s, for use as dye (London, England), and ner of the Eighth Annual Susanne M. stuffs, pharmaceuticals and flavorants, , curator of the availableand in shipbuilding, only in small architecture amounts for and the Pyrex(Washington, and Material DC). Culture interdisciplinary humanities scholar- luxury furniture. At first expensive and- 54th Annual Seminar on Glass Glasscock Book Prize for best book of woods were soon used by cabinetmak- Corning Museum of Glass colonial naturalist artist John Abbot furnitureers for their trade, best exotic furniture. tropical hard Corning, NY ship), will report on her research on When England’s parliament ended www.cmog.org Speakers will also discuss inlaid , October 16–17, 2015 who worked in Georgia. This year’s Corning Seminar on Theodore Roosevelt to the battleship import duties on lumber in 1721, - Glass will focus on Pyrex and mate- Georgia furniture, silver presented by merchantshogany. Cabinetmakers rushed to profit and from consumers trade rial culture. More information will be historical architecture associated with in tropical hardwoods, especially ma released in July. theUSS African-American Georgia and the preservation community. of similar species as their woods of choice forquickly their adopted most fashionable mahogany, furniture. cedrela and Folk and Folks: Variations museum will host a supper and open on the Vernacular galleries After featuring the keynote two speech, special theexhibi - harvest of exotic hardwood species for Eighth Henry D. Green Symposium Georgia’s Girlhood Embroider- the furniture At the same and time, shipbuilding the unregulated trades of the Decorative Arts ies: “Crowned with Glory and Immor- depended on the labor of enslaved Georgia Museum of Art tality”tions: and Cherokee Basketry: Woven workers and contributed to changes in Athens, GA Culture. tropical forests. https://georgiamuseum.org Registrants who opt for the activity Henry Francis du Pont had a February 4, 5 and 6, 2016 fee will be invited to a dinner party on particular fondness for 18th-century The 2016 offering of this biennial Saturday night featuring local fare and American mahogany furniture. - cuisine. The 2016 Furniture Forum will - Registration with activity fee has symposium will focus on Georgia pot tery, painted chests and inlaid furni close to $300. Rooms will be available revolutionfocus on: in 18th-century furniture andture, the portrait preservation and naturalist of historic painters, archi - not been finalized, but is expected to -be design; • Mahogany and the coinciding tecturesilver, Shenandoah associated with Valley the furniture, African- posium will be hosted. American community. at theFurther Georgia details Center will where be in the the Sym Fall the major cabinetmaking centers of The DAS is planning a tour around 2015 issue of the DAS Newsletter. • Mahogany furniture made in

The keynote speaker is Rob Hick- Exotic Woods, Masterful Makers: the Americas, from Boston, Newport linthe symposium (see DAS News). Tropical Hardwoods and the and Philadelphia to Nassau, Bahamas; Luxury Furniture Trade, 1600– otherHavana, tropical Cuba; furnitureand hardwoods; City, Mexico; Edgefield (Charleston, pottery SC), in whothe 1980s. will share 1850 (provisional title) • Historic trade in mahogany and storiesSusan of “picking Findlen in Hood the field” of Colonial for Sewell C. Biggs Furniture Forum Williamsburg (VA) will talk about Winterthur Museum, Garden mahogany • Historic lumber practices and veneers; used to and Library harvest, grade, market and machine Laura Barry of Winterthur, DE and related commercial tropical hard- Colonialthe flower Williamsburg or wedding jug, will a rareexamine form www.winterthur.org woods • The around current the statusworld. of mahogany of Georgia pottery. April 6-9, 2016 Details of presenters and registra- member of the Greer family. Elizabeth Winterthur’s tion will be included in the next issue “Betsy”an important Davison Athens, GA, portrait of -a 2016 Sewell C. Biggs Furniture Forum of the DAS newsletter. Provisional plans for 4/Spring 2015 , independent deco Newsletter of the Decorative Arts Society, Inc. Book review Biography of ceramist provides layers of meaning : Ceramic Artist by Ruth Fine, Schiller Publishing Inc., ISBN: ISBN13: 9780764345234, 240 pages, 300+ images, $75 Reviewed by Beth C. McLaughlin, Curator, Fuller Craft Museum, Brockton, MA illiam Daley is considered invite us into the inner circle – with a - Wcan studio ceramics – and she wisely takes a more formal ap- with gooda reason. legendary A master figure of in mate Ameri- proachwink. Once in examining this intimacy his visual is established, vo- articulating spatial dynamics through lexicon leads our engagement with the rial, Daley (b. 1925) is renownedRuth for work.cabulary, We succinctlywitness her explaining reverence how for his Fine’s William Daley: Ceramic Artist of- spirit and his work – and the unbreak- hisfers architectonic, a beautifully realizedaustere forms.survey of the able ties between the two. ceramist’s remarkable life and career. The retrospective continues with Fine is a former curator of special projects in modern art at the National Gallery of Art “Whacked Geometry,” Fine’s extensive Daley’s gallery representative and craft thataccount have of had Daley’s an impact upbringing, on Daley career and icon Helen W. Drutt(Washington, English DC). penned histrajectory work. She and recounts myriad of inspiration influences the foreword. Additional contribu- gleaned from a variety of external tors include Janet Koplos, Marian Pritchard, Ezra Shales, Stephen Tarantal and Daley himself. andinfluences masterful and way further in which describes all co his- Daley’s impressive body of work in- alesceformal in esthetics, the creation mental of hisexpansiveness vessels. She to make a membrane wall that is strong maintains that “(d)uality is essential to - cludestural installations. figurative forms, A self-proclaimed pots, fountains, Daley’s earliest clay memory stems planters, vesicas, cisterns and architec fromvisually his and experience tactilely as engaging” an eight-year- (15). intellectualhis thinking, tug-of-war. not in any Impulsivesense of setting ac- his thin-walled vessels and leaves the old boy covering his body in mud from tionsup a conflict are balanced situation, by carefully but an enriching worked surfaces“mud architect,” unglazed Daley to emphasize hand-builds the de- a creek bed with his friends. He created sign elements that synthesize interior the wheel in high school. Since those meditationsThe remaining on a specific essayists combination provide serration and protrusions. His vessels a pot in sixth grade, and first threw on aof rich forms” contextual (21). lens through which exploreand exterior: the interplay rim manipulation, of interior steps,and with clay has deepened and gone on to to view and understand Daley’s work. - aearly career years, that his spans material seven relationship decades. It is a vocation that has been shaped by rhythmsexterior spaces,– relationships form and he function, believes vol are Koplos, an art critic and Art in America bestume articulatedand surface, through ancient architectural and modern describingcontributing how editor, his workoffers has a critical explored forms and geometric resolution. a painter;remarkable a passion range offor influences arts education; and materialanalysis ofconcerns his work and from the 2000–2010, formal - traumaticlife circumstances: experience early as abeginnings World War as II plained that “creating a pot – a unity – - Daley’s impact as a colleague and was Earliermore than in his the career, resolution Daley of ex oppo- canons of sculpture. Tarantal defines familyPOW; defining life; commissioned relationships public with art men tenure with Daley at the University of projects;tors, students, and others. colleagues; a devotional thefellow Arts arts (formerly educator, the recounting Philadelphia his sites. Not ‘either-or’ but ‘both-and.’ Not Helen College of the Arts). fromparts thearranged, inside outbut andall of the the outside elements in Drutt as she is best known) sets the –coming by creating together the aswall evocative as a membrane structure, tone In for the the foreword, book as sheEnglish relates (or meet - (call it a wall that’s structure made of - teaching Philadelphia style and ceramist his guiding Pritchard hand as ing his work at her eponymous gallery describes Daley’s inclusive, supportive standing up with the least amount of ining the Daley 1950s. for theHer first affectionate time and tone exhibit con- voices in clay. maximum strength, resisting gravity, veys respect and admiration for Daley he helped students find their singular as an artist and longtime associate. She Massachusetts College of Art and material). It is Organic Engineering splendidly includes personal stories to Design Shales, associate professor at the in Mud, combining Bumps and Holes, utilizing inside and outside by reversal, , eloquently places Daley in the Newsletter of the Decorative Arts Society, Inc. Spring 2015/5 Books

Antique Sealed Bottles 1640–1900 and letters and coats of arms found on the the Families Who Own Them by vessels. David Burton with research by Burton describes fashions in bottle Christopher Mortimer (Antique Col- - cylinders and how the markings were customizedshapes, from for spheres businesses to “onions” and indi and- 1851497553)lectors’ Club Ltd., Woodbridge, Suf folk, England. 2015, ISBN-13: 978- merchants to intellectuals. set of books analyzes antique bottles vidualsThese from bottles aristocrats had a certo farmers,emonial with This raised 1,840-page, markings three-volumethat identify their original owners. It is the result role: In the 1660s, American Indians waysplaced in them mausoleums. at burial sites. Later, in of the author’s decades of finding England,Few ofthey the were bottles used from in similarBurton’s such bottles, intact or in fragments, in research are on public display. private and institutional collections, and researching the codes of numbers,

- William Daley: Daley, continued Ceramic Artist - context of post-war American ceramic arein 2013. liberally Indeed, represented. there is some Further redun sive Surprisingly,written account of the artist’s life. editingdancy in would this section, have strengthened as similar forms this The long-overdueis the first retrospective comprehen a path to self-actualization and civic chapter and perhaps better engaged was brought to life by his children. (His mindednesseducation, explaining following how his service clay became in the reader’s attention with a focused daughters Charlotte Daley and Barba- World War II. Alongside Daley in this selection of his masterworks. ra Daley Schwab journey was good friend and fellow art Along with the essays and pho- the latter served as designer.) educator and ceramist William Parry. served as editors, and on Daley’s public commissions and Fine and the editors in chronicling the tographs, the tome offers material journey One ofcan a nonagenarianimagine the challenge who contin for - mindedShales expectations poetically thatexplains, their “As students ues to live such a varied and meaning- teachers, [Daley and Parry] had high- his passion for arts education, along ful life. Along with his esteemed ce- art. As sculptors they built metaphysi- collectionwith detailed information. chronological This material,compre- build a better world, not just make hensivelectures, approach bibliography is both and engaging museum and spoons to ladle out in the mind’s deep- informative and renders the publica- ramics career, he is a beloved teacher, cal and literal cisterns to drink from, - tion immensely useful for research and father.arts education advocate, war veteran, tion was an imperative and materiality pedagogy. philosopher, historian, husband and est thoughts. Life affirmative construc - Along with the bounty of informa- fered to identify Daley’s motivations in and Notthis onecomplex of these interconnectedness influences can be, ation demonstrable contained within ethic” (208).William Daley: taking However, on the commissionedlimited information projects. is of assuredlyor should be,challenged considered Fine in in isolation, telling Ceramic Artist What meaning did the endeavors hold Daley’s story. Fine succeeds 10-fold visual feast. There are more than 300 for him as an artist? Was he driven by with her disciplined style and storytell- , the photography is a commercial gains? Was it the collab- ing approach as she deftly narrates his - orative process with architects and - images from cover to cover, including able survey. color plates of his work, studio, instal it was the challenge of working on a life inThe this merit thoughtful, of this singular robust and book read is photoslation and of family gallery and photos, friends. drawings, grandclients scale that appealedor the thrill to him?of having Perhaps his indisputable. It has a place in anyone’s commissions,The book exhibitioncontains an posters, extensive and work sited in a public setting.

spanning Daley’s lengthy career. It is readerlibrary who– whether is interested it is a craftsperson, in learning aimage lavish section presentation (from pages of his 29–165),evocative elucidation Most likely, seems it was particularly a combination notable of aboutartist, aceramic paper-hat enthusiast engineer or who simply has a inmultiple a publication driving that forces, otherwise but this is lack re- of to his more recent cistern explorations markably rich with information. time. forms, from his early work of the 1950s built his life in clay, one gesture at a

6/Spring 2015 Newsletter of the Decorative Arts Society, Inc. News Winterthur Museum, Garden, more than 250 works from their col- The second is a pastoral scene & Library - lection of contemporary craft to the ceived • a $5 million endowment to fund museum. The remainder of their collec- by Betsy Knox the Charles (Wilmington, F. Montgomery DE) Directorhas re tion is a promised bequest. known as “The Apiary,” made in 1804 - Corning Museum of Glass (b.1791), that depicts needleworka woman tending while to attending a beehive. Deerfield Knox, a Theof Winterthur, endowed position in honor will of the be instituheld by Art + • DesignThe Wing. AcademyBlandford, during MA, native, the fall completed 1804 term. her futuretion’s first museum director directors. (1954—1961). (NY) hasHistoric opened Deerfield its new Cont (MA)emporary has re- This largest amount for a single Tudor both pieces exhibited similar condi- purpose in Winterthur’s history brings Rose • Sampler Guild When they entered the collection, the Campaign for Winterthur to more forceived the aconservation $2,000 grant of from two theneedlework than 75 percent of its $50 million goal. pictures acquired by the, based museum in Texas, in Theytion issues, will be needing on display stabilization after conserva of the- Montgomery (1910–1978) was a 2013. The grant helps to round out the tionground is complete. fabric, cleaning and reframing. Rhode Island School of Design Museum decorativenoted connoisseur, arts who collector, was instrumental antiques Feliciafunding Fund for the. project, which is also received • The a $2 million gift from David indealer, establishing author and the teacherWinterthur of American Pro- supported The pictur withes a are$3,000 examples award of by the Rockefeller to support (Providence, decorative RI) hasarts gram in American Material Culture and design. The gift endows a curato- an initiative begun in 1952 by Winter- Connecticut River Valley. Schoolgirl art rial position to lead the department thur Museum and the University of Del, - is“schoolgirl” the general art name with given connections to embroi to -the David aware to provide a multidisciplinary dered or watercolor pictures taught by and Peggy Rockefeller Gallery in the approach to the study of American ma- instructors to girls attending various Europeanand $50,000 art to galleries. support a new terial culture. The two-year program academies in the 18th and early 19th Rockefeller has also promised a emphasizes decorative arts and leads gift of decorative artwork from his to a master of arts degree in American Material Culture from the University of lastingcenturies. about Girls 12 could weeks. attend schools Delaware. for one or more terms, with each term estate, including European furniture, Montgomery began his museum Lois Breck armchairs;porcelain and silver objects such as: (1738–1789) The earlier depicts example, the madeBiblical around scene √ a pair of George I burr walnut for Henry Francis du Pont. He served 1755 by Springfield native career in 1949 at Winterthur, working Absalom). Breck probably created her the French √ a pair Vincennes of mid-18th-century soft- opened Winterthur as a museum in “The Death of Absalom” (or Hanging of possiblypaste porcelain one of onlyRiver two Gods extant made pairs by ; as associate curator when du Pont of Elizabeth Murray (1726–1785). manufactory,famille - unfinished piece at the Boston school 1951. After his work at Winterthur, he √ the Rockefeller service of aserved decorative on the arts faculty professorship at Yale. The named his intory his of honor. art department at Yale includes The DAS honors Montgomery with an award and prize in his name (see

Cincinnati Art Museum DAS News). gallery • The to celebrate its acquisition of the(OH) Nancy has added and David a new Wolfcontemporary Collection with 35 contemporary works now on display by , William , Morris, , Jaroslava Brychtová and Stanislav Libenský in glass; Philip Moulthrop, David Ellsworth and Michael Mode in wood; and , and Akio Takamori in ceramics. Displays will change periodically to feature a variety of works from the collection. Chairs, burr walnut, with seats and five legs each; part of Rockefeller gift to Rhode Island School of Design Museum.

Since 2009, the Wolfs have given Newsletter of the Decorative Arts Society, Inc. Spring 2015/7 Tang dynasty Boston (MFA; MA) is acquiring a col- figure of stand- lection of 186 objects originally owned ing court lady, by Baron and Baroness Alphonse rare deep-blue and Clarice de Rothschild of Vienna glaze, an eighth- century (left). that includes European decorative

One of pair of arts, furniture, and personal items Chinese wed- including jewelry and jeweled objects, ding chests miniatures, and rare books. Many were (right), with seizedA selection in 1938 after from the the Anschluss, gift is on view or detailed paint- nents to local preservationists. David inannexation the exhibition of Austria Restoring by Nazi a Legacy:. ings of various Ottinger has overseen reassembly of Rothschild Family Treasures (see animals, repre- thousands of pieces of materials for the senting Daoist, Exhibitions). Confucian and new version. This is one of very few The collection is a gift of the heirs folk symbolism. decoy makers’ workshops of the early of Bettina Looram de Rothschild 1900s that have been preserved. who was a daughter of the baron and Crowell’s decoys were known for , realistic poses and feather details. Most Bettina Burr rose were made as crafts; only a few were makingbaroness; this her gift daughter, to the MFA. MFA trustee John The Rothschild, is among family the has donors been D. Rockefeller Chinese export Jr. and por Abbycelain, Aldrich collect ed for hunting. involved in international banking since byRockefeller David Rockefeller’s parents, intendedThe new as floating, workshop working building decoys will - pieces; feature displays of Crowell’s carvings , with more than 120 at various stages. the 18th century, and each branch—in The Shelburne Museum (VT) will cluding members in Germany, England, seven-and-a-half √ a pair of carved feet high; gilded mirrors in feature an exhibition of decoys opening RothschildAustria, properties and —amassed and collections the Rococo style, measuring more than collections of art. Nazi forces seized and Boston Furniture Archive √ a pair of Korean wedding chests; inhas November a new website 2015. that launches to the in Vienna, targeting the family’s art • The http://bostonfurniture. collections for confiscation — nearly The √ an gift eighth-century continues the Tang Rockefeller dynasty winterthur.org. the3,500 art works museum of art. Adolf Many Hitler of the planned objects family’sfigure of relationship a standing court with lady.the museum public in lateRockwell July: Museum (Corn- forwere the selected Austrian for city the of Führermuseum, Linz. of almost 100 years and makes it possi- ble to renovate an existing 400-square- • The foot gallery in preparation for future worksing, NY) of has the opened Taos School a new of gallery Artists After World War II, Allied forces installation of the promised gifts. Santafeaturing Fe SchoolSouthwestern art, with the uncovered the Nazi-looted artwork in The gift also endows the David and , the Austrian salt mines of Alt Aussee, - loan of the Nancy and and native Alan PuebloCameros Baronessand began de the Rothschild process of visited restitution, the or Collectionartists of the of region, Southwestern inspired Potteryby the return to its rightful owners. In 1947, Peggy Rockefeller Curator of Decora currently on view in On Fire! (see endowedtive Arts and curatorial Design, position. beginning January Exhibitions). , cratesmines ofand, art with from the her help family’s of the collec Allied- 2015 (seeMortise People), and Tenon, the museum’s a new annual third Museum of Contemporary tion.“Monuments” The majority men, of was the able works to identifywere - African Diasporan Arts is moving to a ture •from several different vantage • The donate approximately 250 works to magazine/journal, will look at furni - thereturned Austrian to her, state. although After the she Baroness had to worker and conservator. Joshua A. Lafayettenew location and in Flatbush Brooklyn, avenues. from Hanson Kleinpoints, of including Klein Furniture that of scholar, Restoration wood Place to more than triple theCenter space for at Bettina continued to pursue the return Curatorial Studies at Bard College passed away in 1967, her daughter http://mortise- • The museum at the (Sedgwick,andtenonmag.com. ME) is the publisher. For reopen in the fall after a $3 million wasof these able objects. to recover In 1999, these afterworks. Austria more information, go to: - expansion(Annandale-on-Hudson, that includes remakingNY) will the passedItems a national known asrestitution objets de law, vertu she carver Elmer Crowell produced decoy interior of the library and making a embody European aristocratic taste birds • hasA barn been in reconstructedCape Cod where and wood large gallery space into a new archive. before the French Revolution. The opened as an outbuilding at the Har- Library holdings will increase from jewelry includes an array of high-style wich Historical Society (MA). Crowell adornments from the 19th and early died in 1952 at 89 and the barn has archives and special collections are 20th centuries. had several owners since then. The expected30,000 to to 60,000 triple. volumes and the Research and documentation on most-recent owner donated compo- Museum of Fine Arts, the provenance of the works in the gift

• The 8/Spring 2015 Newsletter of the Decorative Arts Society, Inc. is available at mfa.org are in A Roman Villa — The Belfer Era provenance research at the MFA Collection (see Exhibitions). The gift the Met. can be found at mfa.org/collections/prov. Details of Nazi- - includes cast vessels and blown and 28,000 square feet of displayTextile space for enance. mosaic glass pieces of the 14th century Museum has moved to George Wash- Historical Preservation BC through Late Bronze Age to the ington • The University 90-year-old Review Board 14th century or Islamic period. become part of a new museum on the given • Thehistorical landmark status to a Highlights include an Egyptian (Washington, DC) to substantial portion (Washington, of the interior DC) has of Dynasty glass jar and a second-century culture through and a collec- the 1897 Beaux Arts building of the Roman mosaic of an amphitheater that tioncampus about that the features history art, of the history nation’s and Corcoran Gallery of Art (Washing- capital. It is housed in a new $33 mil- two ships with sailors. the atrium and grand staircase; the featuresThe BelfPoseidoners started and Amphitrite collecting and Toledo Museum of Art ton, DC). The new designation affects antiquities almost 50 years ago. They haslion, received 46,000-square-foot a bequest from building. the estate Historic Landmark since 1992. of Charles • The and Barbara Klein to spon (OH)- building’s exterior has been a NationalGeorge the Robert and Renee Belfer Court sor free public glassblowing demon- Washington University provided financial supportMetropolitan to establish strations. to that The status Corcoran’s as a potential new owner, regula - Museum of Art Whitney Museum of Amer- , has objected 1990s.for early Greek art at the ican Art artwork was given to the National Gal- Metropolitan (New York, Museum NY) in ofthe a new • The home in Manhattan providing lerytory burden. (Last year, the Corcoran’s Art - (New York, NY) has moved to which also absorbed the Corcoran mer •building The of the Whitney Museum College, while of Artthe andbuilding Design went.) to GWU, of American (New York, Art NY) is calling the for square20,500 feetsquare at its feet old of location. space to Thedisplay new Israel Museum use for its contemporary art collec- buildingits holdings, was compared designed byto aboutRenzo 7,735 Piano Israel) will receive a gift of more than , which the Met Metwill with a façade that recalls the museum’s • The (Jerusalem, Breuer. The building was designed by - Eastern glass vessels from Robert and tionMarcel for Breuerthe next. Theeight space years, provides the cel Breuer design that had housed the Renee300 ancient Belfer Greco-Roman. About 100 of and the Near objects previousmuseum sincebuilding, 1966. a granite-clad Mar

www.DecArtsSociety.org

Newsletter of the Decorative Arts Society, Inc. Spring 2015/9 Acquisitions

Historic Deerfield has acquired a was separated for 40 years by acquir- ing two blue-and-white pieces made cabinetmaker• William Lloyd (1779– in Delft around 1690 that depict the unharmed.Antietam in Friends 1862, where gave him John the died sec in- 1845).Springfield, The caseMA, tallwas case made clock in 1803 made and by retarythe first in advance memory but of hisWells brother survived more than 10 years later. by the Locati family. It was recently pur- English Queen Mary and her husband, The secretary is on display this chasedhad been with on supportloan to Historic from the Deerfield Von Hess William of Orange. They wear flowered summer. Foundation. robes and striped slippers, and hold The clock is on view in the Wright ofbaskets the queen of flowers. in February of 2014 after House as part of the ongoing Furniture it had An been antiques in collections dealer found in Brussels the figur e Masterworks exhibition. of the king turned up in May 2014 at and Antwerp over the years. The figure family in the chocolate business who arean auction thought in to France, have acquired the property the pair of a in around 1950 and then sold the queen in 1970 for reasons unknown. The museum obtained foundation grants to purchase the pieces so they

would not leave the Netherlands.

Secretaire, walnut, oak and maple, ca. 1876, with encased star from the colors carried onto the battlefield at Antietam; “memory Tall case clock, eight-day brass movement, Figures of King William and Queen Mary, plaque” made from a piece of John’s knife. rack-and-snail strike mechanism, separate blue-and-white Delft porcelain, ca. 1690. At top is an eighth-day Seth Thomas clock, second hand, enameled sheet-iron face; 114 Wadsworth Atheneum painted, with brass movement and carved eagle above the dial, with chain in beak that inches tall. Museum of Art has 16 balls that might refer to the infantry • The Lloyd made his furniture in a shop purchased the Bingham Family Civil unit, connected to eight turned finials along (Hartford, CT) has cornice that might represent the eight Bing- ham brothers who fought for the Union. A customersnear the Springfield-West throughout western Springfield Mas- bringsWar memorial together secretary, elements considered of 19th- an music box plays “Yankee Doodle Dandy.” sachusetts.ferry, in the BecauseNeoclassical tall case style, clocks for “extraordinary folk art triumph” that Cincinnati Art Museum horn and abalone with aspects of the Beth Lipman’s Civilcentury War imagery era. The and museum text in acquired bone, three-dimensional • The Still Life with Flow- business.were expensive He probably status maintainedsymbols, they an the piece from Allan Katz Americana ers.(OH) has acquired inventorywere a small, of no but more important, than one part or oftwo his Lipman has received numerous The secretary is the work of mem- as a maker of luxury furniture. (Woodbridge,bers of the 16th CT). Volunteer Infantry at a time inGemeentemuseum his shop to raise his (The profile of Connecticut and tells the story of honors and awards, including a USA - brothers John and Wells Bingham Berman Block Fellowship, Pollock ceramic • The royal couple back together that Krasner Grant, Virginia Groot Founda Hague, Netherlands) has brought a tion Grant and Louis Comfort Tiffany (East Haddam, CT), who fought at Foundation Grant. 10/Spring 2015 Newsletter of the Decorative Arts Society, Inc. People

Colin Bailey is the new director Baum previously held curatorial Hardymon Director of the Sterling and of the Morgan Library & Museum positions at the Museum of Fine Arts, Francine Clark Art Institute (Wil- • Houston Blanton Museum of - Fine Arts Museums of Art at the University of Texas at Austin. tion since 1994 and is credited with (New York, NY). He returns from the - , and the - liamstown, MA). He has held that posi - (CA), where he was chief operatingFrick of andShe holdsa BA in a artPhD history and an from MA in the art Univer his - increasing“reimagining” the theendowment institution from through $128 ficerCollection since 2013. He was the chief cura tory from the University of Delaware, milliona renovation to $357 and million expansion, and completing as well as andtor, amongpreviously other deputy positions, director at the and Richard Benefield has been ap- a $145 million capital campaign. chief curator (New at the York, National NY) before Gallery that sity of North Carolina at Chapel Hill. of Canada the Fine • Arts Museums of San Fran- ciscopointed chief operating officer (COO) at Kelly (Ottawa). Baum has He joined was educated the Met- director of the museums since May ropolitanat University. Museum of Art’s Depart- (CA), where he has been deputy ment • of Modern and Contemporary interim period before Colin Bailey was - 2012, and led the institution during the Tracy Brindle is the new Bea- hasArt asserved curator as theof Postwar Haskell Curatorand Contem of triceappointed Fox Auerbach as COO. Chief Curator of the Modernporary Art. and For Contemporary the past five Artyears, at the she Mark • Twain House & Museum (Hart- Princeton University Art Museum - where she was the founding curator of torical collections from small historic the museum’s department of modern, ford,houses CT). to Shemuseums has worked with more with histhan and contemporary art. years at the Midway Village Museum 150,000 items and spent the past seven- He saw the launch of several tions and exhibition assistant. She has international programs – under his (Rockford, IL), most recently as collec

museuma master studies.of arts degree from Northern 300leadership, scholars the to museum’sthe institute Research from 27 and IllinoisInt erimUniversity curator with Mallory a certificate Howard in countries.Academic Program brought more than remains at the museum as assistant Conforti is a graduate of Trinity curator. College and began his career at So- theby’s in London. He received an MA

University. Before his tenure at the and PhD in art history from Harvard Bell Memorial Curator of Decorative ArtsClark, and he Sculptureserved as chiefat the curator Minneapolis and Institute of Arts (1980–1994). From - ture and Decorative Arts at the Fine 1977–1980,Arts Museums he wasof San curator Francisco of Sculp (CA). Conforti has served as president Charles Brownell has retired of the Association of Art Museum from Virginia Commonwealth Univer- Directors (2008–2010) and as a • VCU Symposium on the decorative trustee of the International Council artssity, thatwhich he he hosted says meansis at an the end. annual How- ontrustee Museums (2001–04, 2007–12), and as a trustee executive committee of the symposium on architecture and the American Academy(ICOM US). He is on the ever, he may develop a “vividly similar was a Fellow (1975–77) and the Louis Still Life with Flowers, colorless glass vessels (Rome, Italy) and of various size and shape, candlestick, bowl of Library. fruit, bird, horn, leaves, flowers and feathers decorativeMichael arts” Conforti for the University will retire He was a trustee of the Amon Carter on glass-draped table. Beth Lipman, 2012. in August 2015 as Felda and Dena MuseumI. Kahn Resident in Art History (2007). • (Ft. Worth, TX) and is a Newsletter of the Decorative Arts Society, Inc. Spring 2015/11 trustee of of MASS MoCA; is a mem- Contemporary Art + Design Wing (see ber of the Hermitage International to the museum’s storage renovation Advisory Committee project At the and Wadsworth, to reinstalling she American contributed reinstallation of the galleries with Russia); was on the National Com- modernNews). She and also contemporary oversaw the glass complete from mittee for the History (St. of Petersburg,Art of the acquisitions such as the Bingham sec- 1900–2000. Comité international d’histoire decorativeHoward art galleries, and secured de l’art (2000–2012); served on the Stephen Gray Arts and Crafts Collec- Visiting Committee of (1989–1996) tionretary,. fall-front desk, and the and was a guest scholar at (1988) the Catherine Futter has been J. Paul Getty Museum; chaired the promoted to Louis L. and Adelaide C. board of the Art Museum Image Con- Ward • Senior Curator of European Arts sortium at the Nelson-Atkins Museum of Art was an Andrew Mellon Visiting Scholar - at the Center (AMICO; for Advanced 2003–2005); Study and in the um in 2002 as Helen Jane and R. Hugh Visual Arts at the National Gallery of (Kansas City, MO). She joined the muse Art (1993). - tional-loan“Pat” Uhlmann traveling Curator exhibition of Decorative Invent - Robert C. Smith Award of the DAS for ingArts. the In 2012,Modern she World: curated Decorative the interna the most In 1987, distinguished Conforti received article inthe the Arts at World’s Fairs, 1850–1939. She Design was a fellow with the Center for Cu- in an Oldknow Age of Adversity: has curated Czech numerous Glass received the Charles F. Montgomery ratorial Leadership in 2014. Among 1945–1980special exhibitions, notably:Curiosities of Prizefield of from decorative the DAS. arts The and, Swedish in 1989, gov he- Glassmaking (2007) and Making A Shared Legacy: Folk Art in America Ideas: Experiments (2005), in Design at (Seeother Exhibitions). exhibitions, Futter is curator of GlassLab Williamsernment awarded College himGraduate the Order Program of the inPolar the Star History in 1988. of Art He teaches in the division that oversees three current artists such (2012), as Harvey as well K. asLittleton, focus organized by the Clark. In her new role, Futter leads a new Erwinexhibitions Eisch, on Richard influential Marquis studio andglass C.D. Dickerson, IIIwhich has beenis jointly the decorative arts. named as new curator and head of departments:Futter holds architecture, a degree from design Duke and the donation of the Ben W. Heineman sculpture • and decorative arts at the University with a concentration in Sr. Family . In 2005, she facilitated National Gallery of Art medieval and Renaissance studies and collections of contemporary studio collection, one of the largest curatorial intern in 2004–2005, effective and July an she specialized in American and Euro- the exhibition Voices of Contempo- Ailsa27, where Mellon he Bruce served visiting as a graduate senior fel- peana doctorate decorative from arts Yale from University, 1850 to where the raryglass Glass:in the UnitedThe Heineman States, and Collection curated low at its Center for Advanced Study present. (2009–2011). in the Visual Arts (CASVA) in 2014. Joanne Heyler has been named Before coming to the Corning Dickerson has been curator of Eu- director of the Broad Museum (Los ropean art at the Kimbell Art Museum • advisory positions at the Los Angeles head of the Broad Art Foundation for CountyMuseum, Museum Oldknow of held Art, curatorial J. Paul Getty and - 20Angeles, years. LA) The after museum having is expectedserved as to Museum, Santa Barbara Museum of (Ft. Worth, TX) since 2009. He joined - open in September 2015. Art, Henry Art Gallery at the Univer- torthe ofKimbell Renaissance in 2007 and as associatebaroque art cura at Susan Henshaw Jones will leave sity of Washington and Seattle Art thetor. WaltersBefore then, Art heMuseum was assistant cura the Museum of the City of New York Museum. She holds a BA in art history MD). • Dickerson has an AB summa (Baltimore, cum laude of(NY) the as musuem director and in December. establishing She an is from the University of California, Los- endowment.credited with improving the finances delphia.Angeles, and an MA in art history from from the from Institute Princeton of FineUniversity, Arts an MA Neil MacGregor will retire as the University of Pennsylvania, Phila from Washington University and a PhD director of the British Museum at the board of North Lands Creative Glass board of Save Venice since 2014 at and New end •of this year. Oldknow serves on the advisory isYork involved University. in the He Renaissance has served on Society the Tina Oldknow of America and Association of Art of modern and contemporary glass at (Caithness, Scotland) and is a member Museum Curators. the Corning • Museum, senior of Glass curator byof theher International peers in the art Council and craft of Pilchuck com- Alyce Englund has resigned from will retire in September 2015. Since munityGlass School. to be anIn 2014,Honorary she wasAmerican chosen the Wadsworth Atheneum Museum (NY), Craft Council Fellow. From 2003 to of Art • to accept the position of assis- curatorial aspects of the glass collec- tant curator of American decorative tions2000, from she has 1900 been to theresponsible present. Shefor all . arts at the Metropolitan Museum of most recently curated the inaugural 2009, Anneshe served Pasternak as a trustee has been of the Art display of the museum’s newly opened named director of the Brooklyn Mu- • (New York, NY). 12/Spring 2015 Newsletter of the Decorative Arts Society, Inc. seum and doctorate in art history in 1995 at Alberta College of Art and Design, was president and artistic director of Creative (NY), Time effective for the September past 20 years. 1. She Her 40 years in art-world posi- Carolyn Putney has retired as Citytions University began when of Newshe joined York. the staff Criticisman MFA in from Fiber the and School Material of the Studies, Art chief curator at the Toledo Museum of the Metropolitan Museum of Art in Instituteand an MA of in Chicago Art History, Theory and of Art • 1975 as an assistant in the education adjunct associate professor in both de- - partments. She has been, where a critical she is stud an - tor of Asian (OH) afterart over working the years. there since African-American curator. ies fellow at the Cranbrook Academy 1978, Scottrising Rothkopf to chief curator has been and named cura department and became the Met’s first Art (2012) and fellow of the NAMAC the new chief curator at the Whitney Studio Museum Visual Arts Leadership Institute Museum • then From to MAD. the Met, Sims went to the (2011). Donna De Salvo as head of the mu- She has served (Harlem, on the museumNY) and aid Matthew Teitelbaum will be- seum’s curatorial (New York, department. NY), succeeding De Salvo New York State come the new director of the Museum moves to a new position as a deputy Council on the Arts Art Table of Fine • Arts, Boston director. theand College visual arts Art panels, Association, Associa- Rothkopf has been at the Whitney tion of Art Critics, National, and Confer, - Director Malcolm Rogers (MA) in August, ence of Artists Tiffany Foundation beensucceeding director Ann for and 20 Grahamyears. Teitelbaum Gund editing position with Artforum Inter- and Center for Curational Studies. has been director and chief, who executive has nationalsince 2009.. Before that, he had a senior Shannon ,Stratton has been ap- of the Art Gallery of Ontario Ingrid Schaffner pointed to the position of William and Canada) since 1998. Mildred • Lasdon Chief Curator at the Rogers plans to do consulting (Toronto, to • , an American Museum of Arts and Design (MAD; help collectors build their collections. namedcurator, curator art critic, of writerthe 57th and Carnegie educator Daniel H. Weiss has been named Internationalspecializing in art history, has been replacing Lowery Stokes Sims (see as the new president and chief op- 2018. above)New York, as chief NY), curatoreffective at June the 2015,Museum • Metropolitan , which will open in fall of Arts and Design Museum of Art the exhibition program as chief curator Stratton joins MAD after 12 years erating officer of the at the Since Institute 2000, ofSchaffner Contemporary has directed Art as founder and executive (New director York, NY). of been serving as president(New York, of NY). Haverford He - Threewalls Collegeis a medievalist since 2014. with Emily an MBA, K. Rafferty and has nia. She has organized thematic group is co-founder of Hand-in-Glove and is retiring from the Met position. shows(ICA) at such the asUniversity The Puppet of Pennsylva Show and Common Field (Chicago,. NY). She also Elizabeth A. Williams Dirt on Delight: Impulses that Form Rhode Island School of Design Mu- Clay. seum • curator to hold the new is title the offirst Schaffner attended the Whitney Museum of American Art’s Indepen- SheDavid joined and Peggythe museum Rockefeller in January Curator of a Helena Rubinstein Curatorial Fel- 2013Decorative as curator Arts andof decorative Design (see arts News). and low.dent She Study received Program, a master’s where shedegree was in design.

Institute of Fine Arts. After organiz- ingart historyshows for at Newthe Hayward York University’s Gallery Independent Curators International invited(London), by then-director Claudia Gould to reshape and andoversee elsewhere, ICA’s curatorial she was department. Stratton is an independent cura- Lowery Stokes Sims has retired tor and researcher with an interest in as chief curator of the Museum of Arts and •Design organizations. Her writing on craft served in that role for the past seven hasfiber/material been included studies in Collaborations and artist-run and a half years. (MAD; She New was York, Charles NY). Bron She- Through Craft fman International Curator and then and the forthcoming From Craftivism the William and Mildred Lasdon Chief to Craftwashing (Berg Publishing, 2012) Curator between 2007 and 2015. Her recent curatorial projects include Obituaries Sims received her bachelor’s Gestures of Resistance: (Bloomsbury, The Slow 2015). As - Dean F. Failey - sertions of Craft Portland Museum - • , who was consid master’s in art history from Johns Hop- of Contemporary Craft tion catalogs become scholarly sources ered the first to make American auc kinsdegree University from Queens in 1972. College She earnedin 1970, a a 2010). , master’s degree in philosophy in 1989 Stratton received a BFA (Portland, from the OR, Failey came to the decorative arts of information, died in May.

Newsletter of the Decorative Arts Society, Inc. Spring 2015/13 Exhibitions

Delaware the establishment of the company at at how clothing and the decorative Unraveling Stories Hagley. The exhibition shares four Hagley Museum & Library Wilmington, DE tradition it came from; the narrative contexts.arts express status and identity, and www.hagley.org depictedstories through in its imagery; the rug: the scienceartistic be- representFeaturing religious, more politicalthan 100 and pieces social Through July 26, 2015 hind the experimental materials used - A 10’x12’ handmade hooked rug – in its making; and the personal story of the largest in the museum’s collection the artist. museum’sthat span 2,000 historic years collections and five andconti key loansnents, of the contemporary exhibition showcases art textiles the and time and depicts images that tell sto- District of Columbia fashion. Items on display include a pair – is on display to the public for the first Unraveling Identity: Our Stories, of shoes worn by Mae West and a white Our Selves felt wedding dress by Dutch artist ries of the Brandywine Valley, including Museum Claudy Jongstra. Church.the Brandywine The display gunpowder is an experiment mills, the in Washington, DC The exhibition is accompanied by afirst single-object DuPont Company exhibition office with and the Christ goal www. http://museum.gwu.edu of providing an in-depth experience. Through August 19, 2015 print. The hooked rug was designed This inaugural exhibition celebrat- several publications, both digital and and created in the late 1940s by Mrs. ing the move of the Textile Museum to Edward W. Cooch, Jr. George Washington University (see January 2015. She made it for her , who died in Textile Museum’s history and unites the history of the duPont family and textilesNews) is from the largestacross culturesexhibition to inlook the home, and it tells her story through

after earning a BS degree at Case West- Failey served as vice president of ern Reserve University and receiving the board of governors and chairman a Winterthur Fellowship a master’s degree in early American Decorative Arts Trust; a governor cultural history from the University, leading to of of the PewterProgramming Collectors’ Committee Club ofof the America Imperial insignia roundels, silk, metal- curatorial assistant at the Bayou Bend the boards of several museums. He was wrapped ; diameter: 4.9 in. China, Delaware in 1971. His first job was as , on the board of SPLIA and on Collection of the Museum of Fine involved with the Newport Sympo- late 18th to early 19th century. Acquired by Arts, Houston sium since its inception in 1993; was George Hewitt Myers, 1931. as curator for the Society for the Pres- ervation of Long (TX). Island He was Antiquities appointed WONDER - a regular on the PBS series “Antiques Renwick Gallery/Smithsonian nized the bicentennial exhibition Long MountRoadshow”; Vernon conducted and Colonial appraisals Wil- for American Art Museum (SPLIA;Island Is NY) My in Nation: 1974, whereThe Decorative he orga liamsburgmuseums and; and historic lectured sites, widely. including Washington, DC Arts and Craftsmen, 1640–1830; the November 13– May 8, 2016 catalog for that exhibition was updated and July 10, 2016 and republished as a book in 1998. WONDER debuts in celebration Failey then served as executive of the reopening of the Renwick’s director of the East Hampton Histori- building after a two-year renova- cal Society for six months before going tion. The inaugural exhibition show- to Christie’s when it opened its branch cases installations by Jennifer Angus, Chakaia Booker, Gabriel Dawe, Tara vice president and director of Ameri- Donovan, Patrick Dougherty, Janet canin New furniture York City, and where decorative he was arts senior from Echelman, John Grade, Maya Lin and 1979 to 1989 and served as a consul- Leo Villareal. tant in later years. Dawe’s textile-based installation is made from thousands of strands of person to receive the Award of Merit from In the 2007, Antiques Failey Dealers’was the youngest Associa - appear as waves of color and light from tion of America. hung cotton embroidery thread, which

floor to ceiling. Angus covers gallery 14/Spring 2015 Newsletter of the Decorative Arts Society, Inc. John and Mable Ringling Museum Wolfsonian/Florida International reminiscent of wallpaper or textiles of Art University butwalls made in spiraling, using specimens geometric of designs insects. Sarasota, FL Miami Beach, FL Booker works with discarded construc- http://www.ringling.org www.wolfsonian.org October 9, 2015–January 10, 2016 Through August 30, 2015 them into a labyrinth. Echelman’s work Artifacts that rarely leave China are - tion materials, splicing and on loan from museums around Hubei Newcomb One of worksthe most were significant inspired Ameri by is a 100-foot suspended, hand-woven can art potteries of the 20th century, thenet. Chesapeake Lin’s green marblesBay. Villareal’s flow across installa the- gemstonesProvince in found the eastern in tombs. region of the Louisiana. Each piece is one of a kind. tionfloor features and up walls,320 steel recalling rods embeddedthe flow of country. Objects include jewelry and the flora and faunaHarriott of the Gulf Sophie Coast of Newcomb Memorial College In 1895, the with 23,000 LEDs and will be mounted established Newcomb Pottery, the in New above the Renwick’sFlorida Grand Staircase. Orleanswomen’s college of Tulane University, John and Mable Ringling Museum social experiment and part business of Art enterprise as initiative part artist under collective, the aus part- Sarasota, FL pices of an educational program. The www.ringling.org art school faculty incorporated the Through August 31, 2015 philosophies and tenets of the English Beth Lipman: Precarious Pos- Arts and Crafts movement into the sessions is an installation of life-sized curriculum to teach Southern women Victorian furniture recreated in glass self-reliance through education and sculpture. Each of the three works – sale of their wares. The pottery thrived China – represents a particular mo- untilfinancial 1940. independence through the Pair of Gold Hairpins in Phoenix Shape, Crib, Cradle and Sideboard with Blue overall (each): 9 13/16 × 2 13/16 × 9/16 in., Women, Art and Social Change through societal conventions. 0.3 lb. (25 × 7.1 × 1.5 cm, 0.1 kg); mid-16th - ment and defining ties to the objects century. Loan from Hubei Provincial Museum, From the Four Corners of the Globe People’s Republic of China. © Hubei Provin- newshowcases scholarship Newcomb to explore pottery, the metal history John and Mable Ringling Museum cial Museum. ofwork, the bookbindingpottery and its and role textiles as a social with of Art This exhibition features recent and artistic experiment. Sarasota, FL www.ringling.org of provincial princes of the early Ming Through September 7, 2015 finds of court treasures from the tombs This exhibition features printed life at provincial courts in 15th-century advertising that was the dominant me- SouthDynasty China. (1368–1644), Through decorative showcasing and the dium for circuses of the 19th and early patronage of the early Ming emperor how American attitudes evolved. sculptural works, it also explores the 20th centuries, offering a glimpse into stateYongle sponsorship and his princes of the on voyages Daoist andof Tibetan Buddhist art, as well as the Africa. GeneralThe Zheng15th century He to India witnessed and East Chi - nese material culture before Europe caught up with China via the Renais- Plate, underglaze painting of Southern coast sance and the voyages of discovery. violet design; Margaret H. Shelby, decorator; The exhibition is organized in as- Jules Gabry, potter. Diameter: 8”. ca. 1896. sociation with the Hubei Provincial Newcomb Art Collection, Tulane University, Museum and is supported in part by , LA. the E. Rhodes and Leona B. Carpen- The exhibition is organized by the Newcomb Art Gallery at Tulane and the ter Foundation Ting Tsung and Wei W.W. Cole: The Marvels of Many Nations, Fong Chao Foundation Endowment Smithsonian Institution Traveling Ex- circa 1881. Strobridge Lithographing Com- and Arthur F. and, Ulla R. Searing hibition Service; supported by grants pany. Tibbals Collection. Endowment. , from the Henry Luce Foundation and the National Endowment for the Arts; Royal Taste: The Art of Princely Women, Art and Social Change: The and made possible by Myrna Daniels Courts in 15th-Century China Newcomb Pottery Enterprise Michelle Diener and Jill Glazer. ,

Newsletter of the Decorative Arts Society, Inc. Spring 2015/15 Indiana Baltimore, MD Tiffany, Gorham and the Height of https://artbma.org “The Southern Barbarians Come to American Silver, 1840-1930 Through November 29, 2015 of 12-foot+ Japanese screens,Kanō Naizen titled Indianapolis Museum of Art American Crazy Quilts feature Indianapolis, IN seven quilts from the late 1880s in Trade” (attributed to , ca. www.imamuseum.org - 1600, private collection) that depict Through January 4, 2016 dered with colorful threads and embel- the arrival of Portuguese traders in Tiffany, Gorham and the Height silks, velvets and brocades, embroi JapanAmong and China, the ear andliest are objects shown made fully of American Silver, 1840–1930 will Making a crazy quilt gave women inrestored the Americas for the infirst a distinctly time. Asian present more than 60 pieces from the anlished opportunity with paint, to ribbonsproduce and articles beads. for style were large-scale folding screens IMA’s and private collections that rep- the home that were artistic as well as – called biombos – based on imported resent the advancements by Tiffany & morally and spiritually uplifting. Crazy Co. and Gorham Manufacturing. quilts’ asymmetrical patterns were carefully planned and took a lot of time “ScenesJapanese of and the Chinese Conquest examples. of Mexico/ One of the earliest surviving Mexican screens, Vera da Costa Autrey Col- to create. “It was commencedAugusta July 24th, Viewlection of the City of Mexico” (mid-17thplaza Adele1883 while Smith staying Jones atabout Grand her Ma’s, quilt Mt. century,mayor (main plaza) of Mexico City inHolly,” the exhibition. wrote Marylander “Finished February and a scene, Mexico of the City), Spanish shows conquest. the Biombos were made with techniques

13th, 1888 at my home, 1911 Eutaw including enconchado – a technique of Place.” Massachusetts more commonly found in Mexican art, Made in the Americas: The New well as traditional European oil paint- World Discovers Asia painting over mother-of-pearl inlay, as Museum of Fine Arts, Boston The fashion for Asian art as a deco- Boston, MA ing, gesso and gilding. chinoiserie www.mfa.org August 18, 2015–February 15, 2016 heightrative style, by the today mid-18th known century. as In the (“in the Chinese taste”), reached its

Asia Nearlyon the 100arts objectsof the colonial are on viewAmeri in- Americas, the style manifested itself in this examination of the influence of stylepainted of Chineseand decorated blue-and-white interiors, porce ornate- Edward C. Moore (American, 1827–1891) well as loans from public and private furniture, and ceramic objects in the - (designer and maker) for Tiffany & Co. collections.cas, including works from the MFA as (American, est. 1837), beer pitcher, about These objects relay the story of suchlain. Inas Catholicinterior Latinchurch America, architecture chinoi 1857. Promised Gift of Martin K. Webb and serie was found in religious contexts, Charles L. Venable. how craftspeople throughout the and furnishings. It also appeared in the - embroidered textiles of the Ursuline

Kentucky hemisphere adapted Asian styles. Ob Teatime Chic: Ceramics 1900–1960 jects made in Mexico City, Lima, Quito, Muséenuns of desQuebec, Ursulines including de Québecthe Dove). of Speed Art Museum/Local Speed theQuebec early-19th City, Boston, centuries. New These York and works the HolyAmong Spirit the altar most frontal rare pieces (ca. 1700, of fur - Louisville, KY Philadelphia, dating from the 17th to niture on view is a desk and bookcase www.speedmuseum.org - Ann and Gordon Through July 25, 2015 reflect the beginnings of globalism, Getty Collection The tea and coffee services in this when ships carrying explorers, and lat an(mid-18th interior century,displaying chinoiserie-style - ander goods, the Americas connected were the interconnected world as never painting in gold on) from a red Mexico, background. with throughbefore; the trade first on era a large when scale. Europe, Asia Recalling early colonial maps drawn years.exhibition Set designers illustrate changingtreated ceramics defini astions a sculptural of “modern” medium over the with course which of 60 anniversary of the museum’s opening the doors show views of a hacienda in to create distinctive shapes and as of the The Art exhibition of the Americas marks theWing five-year and Veracruzby indigenous drawn artists, in an indigenousthe inside of style. marks the 450th anniversary of the The fashion for japanning – a painted imitation of Asian lacquer- an empty canvas. Purchasing a tea or work on furniture and wall paneling coffee set was a bold personal choice, half of the 20th century preferred tra- Galleon trade between the Philippines since most consumers during the first in 1565 and lasted for two-and-a-half and Mexico, which was inaugurated sometimes metallic powders – also using layers of varnish, gold paint and ditional, floral-decoratedMaryland ceramics. A number of works explore the centuries, until 1815. American Crazy Quilts trade routes that connected Asia and spread throughout New England, New Baltimore Museum of Art America during the 18th century. Bos- Spain, the Caribbean and parts of South the Colonial Americas, including a pair 16/Spring 2015 Newsletter of the Decorative Arts Society, Inc. ton became a major center of the pro- vessels and thin-necked wine jars. from Chinese silk embroideries of the over a dozen japanners worked before Colonial silver was also an im- Mingtextiles, and with Qing imagery Dynasties taken exported directly duction of japanned furniture—where Talaveraportant part is still of chinoseriemade in Puebla style today.in the Americas. A number of American paired phoenix birds and the mythical 1750 – but it was also made in Mexico, craftsmen produced silver vessels in an in the 17th century – peony flowers, , Brazil and other port cities- Asian style to satisfy the demand for a in the British colonies, such as New theqilin, background with flora and– an fauna auspicious indigenous color includeYork, Philadelphia the MFA’s high and chestPort Royal, of drawers Ja to Peru. The prominent use of red in maica. Objects featuring this technique host of specialized vessels, including than 80 years ago. teapots, hot-water urns, tea caddies, cochinealin China – beetlesis made harvested using cochineal, from cacti. a (aboutThe 1730–1740), indigenous lacqueracquired of more western Colonialstrainer spoons,silversmiths creamers such andas John sugar carmineThe edyestuffxhibition made is accompanied in Peru from by Hurdbowls, produced many of which vessels are based on display. on an illustrated catalog. Chinese and English examples. Among The exhibition is supported by mopa)Mexico – and was South transformed America—laca by the intro(or - the earliest and rarest expressions of the Terra Foundation for American ductionmaque) ofand Asian barniz lacquerware de Pasto (or and mopa their chinoiserie style in American silver is Art and made possible in part by the a set of candlesticks and snuffer stand National Endowment for the Hu- developed new painting styles and Metropolitan Museum of manities techniquesEuropean imitations. using local Native materials artisans for Art from the Huber Family Foundation silversmith(ca. 1705, Cornelius Kierstede. The and the Jean, with S. additionaland Frederic support A. Sharf and large bateas (trays). Lacquerware , New York), made by New York - Exhibition Fund. Support for the ac- decorated boxes, cabinets of drawers companying publication is provided by - characteristicbases are engraved of chinoiserie with gesturing designs fig in the Andrew W. Mellon Publications fromtifs adapted the Mexican from Europeancities of Peribán, and Asian Englishures and silver. oversized plants and flowers, Fund. Uruapansources. and Pátzcuaro exhibited mo Fashioning a Legacy: The 50th Chinese silks, as well as Persian Anniversary of the Helen Geier a group Furniture-making of furniture inlaid in Peru with featured moth- and Indian textiles, were also prized in Flynt Textile Collection er-of-pearlprecious materials, and tortoiseshell. as demonstrated Described by ofthe very Americas. few surviving A Peruvian examples cover show(late - Historic Deerfield in Spanish as enconchado 17th or early-18th century, MFA) is one Deerfield, MA the objects recall the Japanese shell- (shellwork), ing the influence from Chinese export partsinlaid oflacquers Asia. A orpair fine of inlaidenconchado furniture imported from India, Korea and other Colección Patricia Phelps writingde Cisneros cabinets (first half of the 18th Desk-on-stand, lacquered daycentury, Bolivia) show that this interest in and polychrome wood shell-inlaid woodworking) from Alto Peru extended (modern- with painted decoration into rural South America. The cabinets in chinoiserie style with probably were made by indigenous art- exotic-looking buildings ists for the Jesuit mission churches in and weeping willow trees this remote region. picked out in gold paint on black background. 18th century, Hispanic trade route that brought Asian goods Society of America. From Southeast of Mexico City, along the workshop of José Manuel - de la Cerda (Mexican), overlandished based from on Acapulco, imported aChinese ceramics blue- lacquer painter of noble tradition in the town of Puebla flour Indian lineage. On loan covered earthenware pottery with a from Hispanic Society of and-white porcelains. Native craftsmen America, New York, NY. expensive cobalt blue. In some of these Courtesy Museum of Fine thick, white tin glaze, decorating it with Arts, Boston. artists used local imagery – native ceramics, known as Talavera Poblana, quetzals – instead of Chinese phoenix,- as seen in a talavera jar (1700–1750, shoulderedMFA). Puebla jars potters (tibors also adapted tra ditional Chinese forms, such as broad- ), gourd-shaped Newsletter of the Decorative Arts Society, Inc. Spring 2015/17 www.historic-deerfield.org Objets de vertu made of materials Ongoing ultimately restored to its rightful own- This exhibition is part of the cel- was looted during the Nazi era and etuis ebration of the 50th anniversary of the Baron such(cases) as thatgold, would agate, have lacquer, been enamel meant and anders (see Baroness News). Alphonse The collection and Clariceof 186 gemstones include snuffboxes and when Historic Deerfield was known deobjects, Rothschild originally owned by - asmuseum’s the Heritage Fabric Foundation Hall, which .opened for holding ground tobacco, personal Fabric Hall was the dream of personal objects of such Vienna, as jewelry includes and Eu grooming tools (toothpicks, needles, Helen Geier Flynt (1895–1986) who ropean decorative arts, furniture, and costumescissors and accessories. files), dance cards, and books. spyglasses or timepieces, or used as Henry N. Flynt (1893–1970). jeweled objects, miniatures, and rare foundedFabric Hall Historic let her Deerfield display a with range her of frequently Portrait using miniatures costly materials were initially such husband, made for a royal or aristocratic market, exotic and opulent textiles to historic oval snuff box with miniature of Cath- fashionsitems in theand collection, textiles demonstrating from more as ivory, gold and jewels. A Swiss-made esthetic or technical excellence. The the tradition of presenting boxes with - royalerine portraitsthe Great as (about diplomatic 1775) gifts.recalls work and domestic textiles. collection included clothing, needle of the Helen Geier Flynt Textile Col- Affluent individuals would assemble lection The exhibit includes the first item successivelarge collections generations of these adding miniatures, new works.which were often passed down, with , a ca. 1800 wholecloth, blue - The exhibition addresses how to and white, resist-printed cotton and quiltflax blend is indicative quilt with of similara repeating examples pat tern of stylized vases and flowers. The trace the provenance, or ownership history, of worksNew of Jersey art. madeAlso in the on viewRouen is areaa wool of France,cloak made Of the Best Materials and Good northwest of Paris. Workmanship: 19th-Century Bonbonniere mounted with a timepiece, New Jersey Chairmaking checkand worn probably in New from England the William during the agate and gold, probably by John and George Morven Museum & Garden Hannett, about 1765 (right). Gift of the heirs Wilsonearly 19th and century, Son made from a tartan Princeton, NJ of Bettina Looram de Rothschild. - http://morven.org Restoring a Legacy offers a sam- burgh). Made before firm the (Bannockburn, advent of syn - Through October 18, 2015 Scotland, between Glasgow and Edin ple of the objects that represent what was once known as le goût Rothschild the high-quality wool provided warmth frames that were popular in Bergen - andthetic, some high-tech water resistance.performance fleece, County; Slat patentedbacks, finials plywood and folding-chair seats made in Hunterdon County; and the Trenton Restoring a Legacy: Rothschild fromor “the the Rothschild 19th and taste”early 20th through centu near- Family Treasures ly 80 objects, including jewelry mostly tradition of painted fruit motifs are among the features of this exhibition. Museum of Fine Arts, Boston tiara (1920s) with nine pear-shaped The show evolved from research into Boston, MA diamondsries, including and aan diamond Art Deco necklace/ Brooch www.mfa.org records maintained by descendants of chair suppliers and markings of little- Through July 5, 2015 two emerald beads that originated in Colombia(Austrian, andabout were 1937) cut incorporatingin India. It was records of elite customers such as the a gift from the baron to the baroness known New Jersey makers, as well as on their 25th wedding anniversary in cruise-ship line. 1937. GreenbrierThe exhibition resort (WV) explores and theCunard craft Furniture in the exhibition in- cludes a commode with corner cup- the 1790s through the end of the 19th boards (commode à encoignures) of chairmaking in New Jersey from attributed to Claude Charles Saunier actively in virtually every corner of the century, when chairmakers worked shaped front that incorporates a circu- Carnet de bal, agate, gold, enamel; probably small crossroad communities. Hun- larfrom Japanese about 1770–1780, lacquer panel. which Designed has a English, about 1765 (left). Gift of the heirs of dredsstate, fromof craftsmen large cities are andknown towns today to Bettina Looram de Rothschild. - This exhibition celebrates recent - with open shelves at either end, the gifts to the MFA lar fashion in France during the reign through census records, business di cabinet is in the English taste—a popu conducted by furniture students and a story of a European collection that localrectories, historians. account books and research (see News) that tell of Louis XVI. 18/Spring 2015 Newsletter of the Decorative Arts Society, Inc. The 35 examples of documented A wide range of common and fancy chairs were made throughout the 19th seating furniture produced in all parts originallyRochester, housed NY, resident a newspaper and coverlet print - ofNew the Jersey state. chairsThey are show accompanied the range of by 15 examples highlighting this diversity. collector, and is in a 1901 building that - Sevencentury were in all produced parts of Newby the Jersey, Ware with fam - all styles of handwoven coverlets from 1820ing office. to 1880. The Itcollection takes more represents than six andchairmaking plates from tools sales and catalogs. equipment, por rush-seated chairs in the Delaware Val- years to rotate the entire collection. traits, photographs, advertisements, leyily oftradition South Jersey, in Cumberland who made and slat-back, Salem visitors to the process of making 19th- counties – 19 members of the family spinning wheels and other assorted century Part chairs. of the exhibitionMost of the introduces equipment over four generations engaged in chair- weaver’sIncluded aretools. a Quilt Room, , and tools displayed have been drawn from the collection assembled in the to the 1940s. The techniques passed Mr. and Mrs. John D. Rockefeller 3rd late 1920s by William H. MacDonald downmaking, in fromthe family the late remained 18th century so similar Collection of Trenton. Asia Society Museum Special items include an authentic of one from another. New York, NY that it is often difficult to tell the work- http://asiasociety.org Occasional view chairmaker’s bench, patterns used in shops After to factories. the Civil War,Three chair of the produc most The formation of the Mr. and Mrs. Monmouth County, a rotating stand prominenttion in New were Jersey the shifted Gardner from Manu small- John D. Rockefeller 3rd Collection andfor weaving decorative rush stencils seats, fromcolor severalgrinders facturing Company began in earnest after the establish- shopsused in in Allentown the Allentown for preparing and English paint,- Hunterdon County); Tunis R. Cooper ment of the Asia Society in 1956. With (Glen Gardner, the help of the scholar of Asian art many of these items were used. County); and Collignon Brothers (Riv- Sherman Lee town A areas.dditional Photographs galleries show illustrate ex- how chair factory (Bergenfield, Bergen and Blanchette Hooker Rockefeller presents 12 examples that display the chose classical, Johnmasterpieces D. Rockefeller of Asian 3rd specialer Vale, characteristicsBergen County). developed The exhibition by art rather than building a historical amples of Windsor chairs, common or each factory. survey. slat-back chairs with rush seats, fancy The title of the exhibit is taken The collection served as a primary Jerseychairs, betweenand factory-produced 1790 and 1835 chairs. include from an 1828 newspaper advertise- impetus for the building of the society’s Eight Windsor chairs made in New ment of J. D. Humphreyville - headquarters. First exhibited in two maker from Morristown. examples from Trenton, PembertonEzekiah , a chair the society on the death of Rockefeller Hewes,and Moorestown, William Bowen, as well asSamuel Salem and New York parts in 1970 and 1975, and given to Jaques,Monmouth Samuel counties, Roberts, made William by Collection entirety in 1981 when the new build- McElroy, Ebenezer P. Rose and oth- Alling Coverlet Museum ingin 1978, opened. the Itcollection now includes was shown the works it its Palmyra, NY http://www.historicpalmyrany.com/ then and a number of objects from the bamboo-shapeders, ranging in form turnings from fan-backpopular in and allingintro.htm estategiven in of 1978, Blanchette acquisitions Hooker made Rockefeller. since thebow-backo early 19th t rod-back century. sty Brandsles, so stampedme with Ongoing/Rotating The collection includes objects on the underside of the seats provide The Alling Coverlet Museum is named for Mrs. Merle Alling to Japan to Java that date from the 11th centuryfrom cultures BCE to stretching the 19th centuryfrom Pakistan CE. identifications to specific craftsmen. , a It has particular strengths in Chinese ceramics of the Song and Ming peri-

Southeast Asian sculptures. ods, Chola-period Indian bronzes, and Philippine Gold: Treasures of Forgotten Kingdoms Asia Society Museum New York, NY http://asiasociety.org September 11, 2015–January 3, 2016 This exhibition of more than 100 gold objects focuses on the wealth of the golden age of Butuan (pronounced boot’ wan Original handpainted crest rail detail, depicting a compote of berries on a Windsor side chair, Ebenezer P. Rose, Jr. (Trenton, NJ), ca. 1815–1825. rose to commercial), a polity onprominence the southern in the Philippine island of Mindanao that Newsletter of the Decorative Arts Society, Inc. Spring 2015/19 10th century and declined in the 13th - century. multiple examples of a variety of vessel ized in Woodstock in the heyday of the shapesdecorative with and high-relief figural designs patterns. to create Woodstockcouple who artlived, colony. worked Items and include social Ennion - sign his objects by incorporating his name into the, the inscriptions first glassmaker that formed to inValentines, enamel. candles and other decora tive objects,The exhibition including includes signature personal works one of the earliest workshops to design memorabilia from the Historical Soci- andpart createof the mold’smold-blown design, glass. worked in ety collections and a recently acquired archive from Doris and Edouard Ennion: Master of Glass Blatter Corning Museum of Glass Arthur A. Anderson, Dan Gelfand Corning, NY and Paul, supplemented Jaffe. by loans from Goblet, gold. H: 1.25 inches; D: 3 1/6 in. www.cmog.org (3.1x7.8 cm), ca. 10th–13th century, Surigao. Through October 19, 2015 Treasures and Talismans: Ayala Museum Collection. Photo by Neal This companion exhibition cel- Rings from the Griffin Collection Oshima. Image courtesy of Ayala museum. ebrates Roman glass master Ennion Metropolitan Museum of Art/ Works from ancient polities with 24 of the 50 known pieces of his The Cloisters works. The exhibition comes to the New York, NY (Fort Tryon Park) Corning Museum of Glass from the www.metmuseum.org/visit/ bearbeyond witness Butuan, to thesuch early as those use of on gold the Metropolitan Museum of Art visit-the-cloisters islands of the Visayas and Luzon, Through October 18, 2015 of objects from a 1981 discovery – now loan from around the world. (New inthroughout the collection the Philippines. of the Ayala A Museum selection York, NY) and includes other pieces on rings are among the oldest and most (Makati City) and on view in the United From Sèvres to Fifth Avenue: French familiar Worn forms by women of jewelry. and men,In addition finger Porcelain at the Frick Collection core of Philippine Gold: Treasures of Frick Collection rings can serve as declarations of sta- ForgottenStates for the Kingdoms first time. The – forms exhibition the New York, NY to their use as personal adornments, also includes loans from public and www.frick.org expressions of identity and protective Central Through April 24, 2016 talismans.tus, markers of significant life events, Bank of the Philippines. Henry - private collections, such as the Clay Frick purchased several pieces eval and later examples are in Trea- Between 1916 and 1918, sures Some and threeTalismans: dozen ancient,Rings from medi the Featuring gold necklaces, chains, mansion. Made at Sèvres Griffin Collection thewaistbands, exhibition bangles, showcases ritual the bowls, artistry of porcelain to decorate his New York after the mythical part-lion/part-eagle andimplements material and wealth ceremonial of Butuan weapons, and , the 18th-- , a collection named related island polities. century French porcelain manufactory, was often a guardian of treasure and the objects – including vases, pot wascreature. known In formedieval seeking lore, out the gold griffin in Ennion and his Legacy: Mold-Blown throughoutpourris, jugs Frick’s and basins, residence. plates, From a tea rocks. Glass from Ancient Rome service,Sèvres to and Fifth a table Avenue – were brings displayed them to - The rings are displayed alongside Corning Museum of Glass two dozen related works in a range of Corning, NY - www.cmog.org gether, along with a selection of pieces scripts and goldsmith work spanning Through January, 4, 2016 perspectiveacquired at aon later the date,collection some by of explorwhich - themedia, late including second to illuminated third century manu AD to Ennion and His Legacy is com- ingare therarely role on Sèvres view, andporcelain presents played a new in - posed of mold-blown master works by 18th-century France and during the Ennion the 16th century, from the Metropoli- drawn from the Corning Museum’s The exhibition is made possible by tan’s departments of Greek and Roman collection and of otherRoman Roman glass. glassmakers, SidneyAmerican R. GildedKnafel Age.and Londa Weisman. andArt, Europeanthe Robert Sculpture Lehman and Collection Decora. tive Arts,Exploring Medieval the making Art, the of Cloisters, rings from glassmakers working around Jerusalem Living Large: Wilna Hervey & At the end of the first century BC, Nan Mason - at the end of a hollow tube. This techni- Historical Society of Woodstock rawtion materialhighlights to rings finished as both product physical and caldiscovered achievement that glass – glassblowing could be inflated – made Woodstock, NY from goldsmith to owner, the exhibi- it easier to produce glass vessels and to www.historicalsocietyofwoodstock.org cance of rings in the lives of medieval - Through September 6, 2015 objectsand Renaissance and works people of art. is The a featured signifi ers develop new shapes and decorative This exhibition features works topic and encompasses the connection dotechniques. so more quickly,They used and a lettechnique glassmak of by Wilna Hervey (1894–1979) and Nan Mason marriage and identity. of rings to religion, superstition, love, inflating glass in molds carved with (1896–1982), an artist 20/Spring 2015 Newsletter of the Decorative Arts Society, Inc. The exhibition features short The exhibition features more than of the major part of the silver collec- 140 examples of haute couture and tion assembled over three decades by creating settings and designing rings. avant-garde ready-to-wear alongside Nicolas M. Salgo - videosThe on e xhibitionmaking rings: is made cutting possible stones, by - garian native and former United States the estate of Eldridge Greenlee. - ambassador to Budapest. (1914–2005), a Hun Chinese art, with items of fashion jux- Salgo was fascinated by the art of taposed with Chinese costumes, paint the goldsmith in Hungarian culture ings, porcelains and other art, includ - Hungarianing films, that Treasure: reflect Chinese Silver fromimagery. lecting pieces that are individual and the Nicolas M. Salgo Collection unique.and formed This his collection own “treasury” of silver by– about col Metropolitan Museum of Art New York, NY to the late 18th century – includes a www.metmuseum.org 120 pieces, most dating from the 15th- Through October 25, 2015 ance and high levels of craftsmanship variety of types with refined appear Scenes from the Life of Saint Augustine of that represent Hungarian silver at its Hippo (detail), oil, gold and silver on wood. best. The earliest works are two rare Master of Saint Augustine, Netherlandish. - Flanders (Bruges), ca. 1490. Cloisters Collec- gree enamel that were made for once- tion, 1961. medievalprosperous chalices local aristocratic ornamented dynasties. with fili

China: Through the Looking Glass Discovering Japanese Art: American Metropolitan Museum of Art/ Collectors and the Met Costume Institute Metropolitan Museum of Art New York, NY New York, NY www.metmuseum.org www.metmuseum.org Through August 16, 2015 Through September 27, 2015 From the earliest period of Euro- pean contact with China in the 16th

East have inspired fashion design- erscentury, from objectsPaul Poiret and imagery to Yves fromSaint the Laurent references. Through into a pastiche the “looking of Chinese glass” estheticof fashion, and designers cultural traditions.combine stylistic

Chalice, silver, partly gilded, glass, semipre- cious stones, with filigree and other enamel- ing; overall, 8 1/2 x 5 3/16 in. (21.6 x 13.1 Sagejū (Portable Picnic Set) with Chrysanthe- cm); diam. of cup, 4 7/16 in. (11.2 cm). mums, Foliage Scroll and Tokugawa Fam- Mid-15th century, possibly made in Hungary. ily Crest, lacquered wood with gold, silver One of two Gothic chalices from Salgo gift hiramaki-e, gold and silver foil application on that were both in the collections of Baron Na- nashiji lacquer ground; H. 8 5/8 in. (21.9 cm); thaniel de Rothschild in Vienna and Thomas W. 5 in. (12.7 cm); D. 9 1/2 in. (24.1 cm), Edo F. Flannery in Chicago. Most similar vessels period (1615–1868), 18th century. Bequest of still part of ecclesiastical treasuries. Repairs to Stephen Whitney Phoenix, 1881. and replacements were inevitable due to its The Metropolitan Museum of Art age and delicacy of enamel and other fragile takes the 2015 centennial of its Depart- materials. A fall may have damaged upper ment of Asian Art as the opportunity Evening dress, Shanghai collection, 2013, Val- part, including gilded pierced border above to explore the history of the museum’s entino SpA (Italian, founded 1959). Courtesy basket, as well as cup, which no longer fits of Valentino SpA. Photo: © Platon. perfectly. Hungarian mark dating from 1800 collection of Japanese art. Showcasing - to 1828 could have been made by goldsmith tween the Costume Institute and the who restored the chalice. Gift of Salgo Trust the exhibition tells the story of how the This exhibition, a collaboration be for Education, New York, in memory of Nico- museummore than built 200 its works collection in every beginning medium, impact of Chinese esthetics on Western las M. Salgo, 2010. in the early 1880s; explores the trends fashion.Department of Asian Art, explores the This exhibition celebrates the gift that shaped art collecting and the

Newsletter of the Decorative Arts Society, Inc. Spring 2015/21 reception of Japanese art in the United - States; and sheds light on American designs for men’s suits. ing role of this discipline in Japanese collectors and curators with a passion workshop, as well as illustrations of kōgei artists, and examines the chang - for Japanese art. tional art that may be roughly trans- latedculture as today. “artisan Kōgei crafts is a– genrea means of tradiof

highly skilled artistic expression, both in formThe and artists dec inoration, Japanese associa Kōgeited |with Futurespecific Forwardregions and peoples in Japan.

ear organized into five general kōgei techniques or practices: two-dimensional/ceramic painting, - surface treatment/lacquer techniques, three-dimensional/figurative expres- scendingsion, chawan decoration. (tea bowls) Their and work other is also cultural utensils/vessels, and tran

considered in five themes: anime • Decoration and manga inspired by current Japanese trends such as animation, techniques • New applications of traditional manner of contemporary art • Individualistic expression in the Embroidery sample for a man’s suit, silk em- - broidery on silk velvet; L. 13 1/4 x W. 11 1/8 tional use in. (33.7 x 28.3 cm). 1800–1815, French. Gift • New and unusual forms for tradi O-daiko (Membranophone-double-headed of United Piece Dye Works, 1936. extend the legacy to new audiences by barrel drum), wood, metal, cloisonné, hide, training • Working new generations within convention and teaching to silk, padding; H. of drum, 48.3 cm (19 in.), Sumptuous: East Asian Lacquer, abroad Diam. 55.88 cm (22 in.), H. of stand, 73.7 cm Japanese Kōgei | Future Forward (29 in.); total H. +/- 158 cm. L. of drum +/- 53 14th–20th Century cm, D. of heads +/- 43 cm. ca. 1873, attrib- Metropolitan Museum of Art is curated by Yuji Akimoto, director of uted to Kodenji Hayashi (Japanese, Nagoya New York, NY the 21st Century Museum of Con- 1831–1915), Tohshima, Aichi Prefecture, www.metmuseum.org temporary Art Japan. Photo: Crosby Brown Collection of Through August 9, 2015 Musical Instruments, 1889. (Kanazawa, Ishikawa lacquer has been a primary medium colorPrefecture, catalog. Japan). The exhibition is Elaborate Embroidery: Fabrics for in the For arts more of East than Asia. two Thismillennia, installa - accompaniedJapanese byKōgei a fully is co-organizedillustrated, full- by Menswear before 1815 tion explores the many ways in which the Agency for Cultural Affairs (TBC) Metropolitan Museum of Art this material has been manipulated and 21st Century Museum of Con- New York, NY temporary Art, Kanazawa www.metmuseum.org or inlaying precious materials such as - Through July 19, 2015 goldto create or mother-of-pearl. designs by painting, carving (Kanazawa- This installation features lengths Drawn from the permanent collec- Artport Promotion from Tokuda and YasokichiDevelopment IV, NanaFoun of fabric for an unmade man’s suit dation),Onishi and and Onishiis made Gallery, possible Errol by sup and creativity needed to work this Rudman, Shinichi Doi, the Japanese embroidery samples for fashionable demandingtion, this display material celebrates while illustrating the artistry Agency of Cultural Affairs, Marcia menswearand waistcoat, made as between well as a aboutselection 1760 of both the similarities and differences and Alan Docter Mary & James G. and 1815. Wallach Foundation Consulate General of Japan, in New York the epicenter of the European fashion- found among the lacquer arts of China, Deborah J. Buck. , the able Duringworld. Thethis period,installation France features was a JapaneseKorea and Kōgei Japan. | Future Forward , and copy of L’Art du Brodeur (The Art of the Museum of Arts and Design Remastered Embroiderer New York, NY Museum of Arts and Design www.madmuseum.org New York, NY descriptions ),about which subjects was published such as October 20, 2015–February 7, 2016 www.madmuseum.org preparingin Paris in fabric1770 andto be contains embroidered detailed This exhibition showcases the October 20, 2015–February 28, 2016 and the variety of threads used in a work of 12 established and emergent Wendell Castle Remastered

22/Spring 2015 Newsletter of the Decorative Arts Society, Inc. examines the digitally crafted works of Wendell Castle Remastered is Pathmakers: Women in Art, Craft and Design, Midcentury and Today educator Wendell Castle color catalog. considers the contributions of women sixthfurniture decade maker, of his designer, career. sculptor and accompaniedSupport f orby Wendella fully illustrated, Castle full- to modernism in postwar visual cul- , now in the Remastered is provided by Fried- a new body of work that revisits his man Benda Anne and Ronald had considerable impact in alternative achievements In this exhibition, of the 1960s Castle through creates a Abramson Family Foundation, Ann F. ture. In the 1950s and ’60s, women contemporary lens. He produces new Kaplan and, Robertthe Fippinger, Susan metals. The women achieved success works through his latest practice of Steinhauser and Dan Greenberg, andmaterials international such as textiles,recognition. ceramics and combining handcraftsmanship – such Jane and Leonard Korman, Fleur Bresler, Anita and Ronald Wornick Pathmakers focuses on a core cadre of and the University of Rochester- women Featuring – including more Ruth than Asawa,100 works, Edith as carving, rasping and finishing – with Memorial Art Gallery. , Heath, , , controlleddigital technologies, milling. including 3D , Alice Kagawa Par- scanning,Castle’s 3D inno modelingvations and include computer- the Pathmakers: Women in Art, Craft and rott, , Lenore Taw- - Design, Midcentury and Today ney and Eva Zeisel – who had impact Museum of Arts and Design first use of stack lamination in furni New York, NY vocabularyture, creation of oforganic volumetric shapes forms and thewith www.madmuseum.org and influence as designers, artists and inventiona sculptural of presencenew furniture in the hybrids. round, a Through September 30, 2015 teachers,The gr usingoup camematerials to maturity such as along clay, withfiber theand Museum metals in of innovative Arts and ways. Design

the center of the emerging American modernitself, which craft was movement. founded in 1956 as The exhibition also highlights

including and Maija Grotellcontributions. The inclusion of European of Scandinavian émigrés, designers such as Rut Bryk, Vuokko Nurmesniemi and Vivianna Torun Bülow-Hübe emphasizes parallels between women creating work in Scan- dinavia and the United States. A section of the exhibition presents works by contemporary female artists

upon the work of the earlier genera- tion.and designers International that andreflect United and States-expand based artists and designers featured in this section include Polly Apfelbaum, Vivian Beer, Front Design, Christine McHorse, Michelle Grabner, Hella Jongerius, Gabriel A. Maher, Magda- lene Odundo and Anne Wilson.

Everything in Design: The Work of Paul Rand Museum of the City of New York New York, NY www.mcny.org Through July 19, 2015 This exhibition presents works by Paul Rand - tury advertising art director and graphic (1914–1996), the 20th-cen design and called one of the 10 best art directorsdesigner knownof all time as the by thePicasso Museum of graphic of Predictive Dream XII (kōgei), porcelain, 9¼ x 4 7/8 x 9 in. (23.5 x 12.3 x 23cm), Katsuyo Aoki, Modern Art 2010. Courtesy 21st Century Museum of Contemporary Art, Kanazawa. Photo: Mareo Suemasa. The exhibition presents highlights (New York, NY). Newsletter of the Decorative Arts Society, Inc. Spring 2015/23 of his six decades of work in chrono- The exhibition opens with a digi- cincyart.org tal-style map that locates the fashion Through August 30, 2015 - The exhibition features approxi- withlogical books order he through wrote about magazines, principles book mately 100 Japanese masterpieces ofcovers, design. containers and more, along representedcapitals geographically, by designs thenfrom continCharles from the permanent collection of the Frederickues city-by-city, Worth, starting Gabrielle with Chanel,Paris, museum that provide a better under- Behind the Curtain: Collecting the Christian Dior and the emerging cou- standing of Japanese art and its esthet- New York Fairs turier Bouchra Jarrar. Queens Museum the history of the collection. Queens, NY Collecting Paradise: Buddhist Art ics, and a regional perspective through www.queensmuseum.org of Kashmir and its Legacies Pennsylvania Through October 31, 2015 Rubin Museum Silver to Steel: The Modern Designs Behind the Curtain: Collecting the New York, NY of Peter Muller-Munk New York Fairs reveals little-known www.rubinmuseum.org Carnegie Museum of Art artifacts and souvenirs from national Through October 19, 2015 Pittsburgh, PA Collecting Paradise traces the art www.cmoa.org as the museum’s own. Loans from the November 21, 2015–March 14, 2016 1939–1940and regional fair private include collections, a Kan-O-Seat as well Silver to Steel places Peter theof Kashmir carved ivoryin the and Western metal Himalayassculptures Muller-Munk for over a millennium, beginning with signed by Billy Rose, George Burns and Western Himalayas in the 7th–12th (1904–1967), a German Gracie Allen, Rudy Valle, Abbott and - centuries;from Kashmir highlighting that were the brought notion to of the Withémigré more to the than United 120 worksStates, of among hand- the Costello, J. Edgar Hoover, and others; Buddhist art in motion; and conclud- wroughtinfluential silver designers and popular of his generation. mid-cen- VIthe and guest Queen book Elizabeth from the ofBritish England; Pavil and ing with examples from the 15th–17th aion member’s with the badgesignatures from of the King Society George of multimedia interviews and period American Magicians. were revitalized in an economic and tury products, supported by drawings, religiouscenturies, revival when Kashmiriin West Tibet. esthetics story of a man who rose from anonym- Cushman three-wheeled scooter joins ityadvertising, as a young the silversmith exhibition at presents Tiffany the a baby From brontosaurus 1964–1965, from a newly the family restored & Co. to become a postwar designer Kashmir, a region extending and founder of a design consultancy in a-rama machines that produced plastic between present-day Pakistan, India Peter Muller-Munk Associ- vacuum-formedthat resided in GM’s unispheres; Futurama; and mold- the and China, was a center of cultural - ates exchange where Buddhism flourished. America:Beginning with Muller-Munk’s Art inWestern their new Himalayan monasteries pilgrims at home; to Kash they (PMMA). onlyR knownecent acquisitions Picturephone from from the the Bell mir “collected” art there and installed it - museum’sSystem Pavilion. collection include two photo and worked together to create a new Decomandie silver, pitcher the exhibitionand Waring also Waterfall features albums from the 1939 fair; and a Boy invited Kashmiri teachers and artists,- hisblender best-known – along designswith much – the of Norhis previ- Scout jacket and ephemera from a - boy’s week working at the 1964 Boy dedBuddhist in the culture. cultural Over identity time, of the Western Bud Scouts of America pavilion. Himalayandhist art of Buddhists.Kashmir became embed ously undocumented work: cameras, - Collecting Paradise celebrates radios, cocktail shakers, power tools Global Fashion Capitals Western Himalayan Buddhists as expositionsand refrigerators, and mass-transit as well as total vehicles. envi Museum at FIT agents of their own cultural production ronments for gas stations, international New York, NY and the role they played in collecting www.fitnyc.edu/museum.asp 1964 PMMA’s World’s contributions Fair to public- Through November 14, 2015 The exhibition is accompanied by a projects, such as the Unisphere for the catalogand preserving of the same the arttitle of. Kashmir. , have been over Global Fashion Capitals explores The exhibition is co-organized by looked for decades. The firm counted the history Through of more the established than 80 objects, fashion the Mary and Leigh Block Museum of Alcoa, Bayer, Bell & Howell, Bissell, Art andMellon Westinghouse Bank, Pittsburgh-Corning, among its national fashion cities. IL). Support was provided in part by clients.Silex, SOHIO, Texaco, US Steel, Waring capitals,The gandlobalization the emergence of fashion of 16 has new the ,Ellen Northwestern Bayard Weedon University Founda (Chicago,- given rise to new fashion cities that tion. The exhibition was curated by Texas now annually host hundreds of fashion Rob Linrothe for the Block Museum. Habsburg Splendor: Masterpieces weeks around the world. Each city’s from Vienna’s Imperial Collections cultural identity and particular eco- Ohio Museum of Fine Arts, Houston - Masterpieces of Japanese Art Houston, TX es combine to elevate its designers to Cincinnati Museum of Art www.mfah.org internationalnomic, political attention. and social circumstanc Cincinnati, OH Through September 13, 2015

24/Spring 2015 Newsletter of the Decorative Arts Society, Inc. Through October 11, 2015 www.fitzmuseum.cam.ac.uk from the Kunshistorisches Museum Shirley Klinghoffer–CRT Revisited Through September 6, 2015 Nearly 100 works and rare objects- revisits a personal project that began in This exhibition provides a journey through the decorative arts through (Vienna, Austria) are on display, in - sculptures inspired by the hospital ar- 300 objects that represent the lust cluding arms and armor, court attire, thematures 1990s. used Klinghoffer as supports created for women’s 18 glass for goods imported from the East and fallcarriages, of the Habsburgsdecorative arts, and andtheir antiqui global bodies during radiation therapy. These empire.ties, that tell the story of the rise and transparent skins of glass use a tech- products. The show explores how ob- the revolutions caused by New World Washington gravity helps to form the sculptures. personalized and valued. Chihuly’s Venetians: The George R. nique known as “slumping” in which jects were made, marketed, acquired, Stroemple Collection I: A New World of Goods Museum of Glass a scholarship When Klinghoffer tothe Pilchuck first chose Glass to The Renaissance to the Enlight- Tacoma, WA Schoolwork in glass, she applied and received enment period (about 1400 to about www.museumofglass.org worked with numerous forms of glass 1800) saw changes in the produc- July 25, 2015–January 4, 2016 casting. (Stanwood,She learned WA), the slumping where she te - tion and availability of goods and This exhibition features Dale chique at Urban Glass the emergence of new luxuries and Chihuly’s contemporary versions of The exhibition consists of two Italian Art Deco Venetian sculptures. (Brooklyn, NY). and imitation of foreign artifacts such - - technological innovations, importation netians – vessels each with hot-formed illuminatedtive platforms; fields a slumped of slumped glass glass lower- World substances like chocolate and The exhibition consists puttiof 19 (cherubs)Putti Ve upper-bodytorso sculpture; sculptures projected on large,quotes reflec from as porcelain and calico, use of New and mythological creatures in the production that would transform the design;figurative nine sculptures Venetians of (without putti); display of the original hospital arma- Europeantobacco, and home. the first stirrings of mass turescancer recovered patients titledfrom Memorial“Voices”; a Sloan wall Some of the items on display are vessels originally based on traditional named and dated to commemorate Venetian42 Piccolo themes; Venetians, and thethree smaller Bottlestop but - inspiration for the glass sculptures; important events; others show signs of andKettering an interactive Cancer Center, area where Klinghoffer’s viewers perfume bottles. Homemade items were created and pers, monumental vessels inspired by stories and exchange ideas. handedwear and down tear, fromand deliberate one generation mending. to can write personal responses, share the next. Joseph Rossano: Vanity The Renaissance witnessed an Museum of Glass explosion of goods. Lists of household Tacoma, WA possessions give a sense of the clutter www.museumofglass.org Through August 30, 2015 In Vanity in prosperous homes – dinner services, Joseph Rossano addresses issues of glassware, furniture, linen, clothes, animal extinction, Pacific in the Northwest art historical artist jewelry, ornaments and books, along tradition of vanitas withWhile specialized local cr items,aftsmen such honed as hand- their century version of ut translatio natura skillswarmers to produce or flower the vases. objects demanded , but with a 21st- The exhibition presents 11 extinct also entered the market. – “nature as metaphor.” by their clients, exotic foreign goods sculpturally in specimen jars. The II: Desiring and Acquiring Things clearspecies glass in various sculptures ways, are including submerged The Renaissance to Enlighten- in oil to create a clouded glimpse of ment period is often seen as an age of Gilded Mystic Blue Putti Venetian with Swan the portraits of these species. View- acquisitiveness. and Cherubs, glass; 19 x 15 x 15 inches; 1994; - (American, born 1941). Courtesy sculpture below the cabinets are meant - George R. Stroemple Collection, a Stroemple/ ers’ reflections in the mirrored glass pecially In the for 18th the risingcentury, middling shopping classes. be Stirek Collaboration. Photo courtesy George Shopscame a appeared pastime andin many leisure British activity, and es R. Stroemple Collection, a Stroemple/Stirek as reminders that “this is our vanity, Collaboration. literally andInternational figuratively.” market stalls and itinerant pedlars and offeringcontinental a new European experience cities, for replacing consum- Shirley Klinghoffer–CRT Revisited England ers. Street sellers were the subjects Museum of Glass Treasured Possessions from the of printed illustrations and porcelain Tacoma, WA Renaissance to the Enlightenment www.museumofglass.org Fitzwilliam Museum, Cambridge University figures. Shopkeepers were also at the forefront of marketing innovation, Newsletter of the Decorative Arts Society, Inc. Spring 2015/25 advertising in newspapers and through tions in cheaper earthenware. The ble bristles. Tulle panels were embroi- trade cards and bill heads on customer sub-division of interiors into special- dered to resemble English needlepoint receipts. ized spaces resulted in new kinds to reproduce the effect of lace patterns. III: The Irresistible secrétaire - works,This or e decoratedxhibition presents with gazar 75 ribbonsvintage ionableof furniture, objects such and as hide the tea-table its owner’s or secrets. , used to both display fash The “irresistible” – ebony from whichitems, someis well-known never on fordisplay its lace before manu - Africa, porcelain from China, chocolate Balenciaga, Master of Lace facturingand many – featuring the museum lace isfrom in a Calais, former expansionand sugar fromof Europe America, and lustrewarethe idea of Museum of Fashion and Lace lace factory. thefrom exotic. Valencia, The etc.Medici – was court linked in earlyto the Calais, France The exhibition highlights forgot- Renaissance Florence desired the www.museeducostumeetdeladen ten lace producers such as Riechers colorful and stylized designs of Iznik telle.be/en/home/ Marescot Jean Do- Through August 31, 2015 gnin Cristóbal Balenciaga (1895– and Pierre (founded Brivet in 1880), objectspottery wereand was created the first for andEuropean by the Balenciaga samples (designer, with lace late patterns 1920s–late painted 1930s) by consumptionconnoisseur of of Chinese these new porcelain. stimulants. New , and displays fabric 1972), founder of the such as François Lesage (1929–2011). IV: The Fashionable Body fashion house in 1937, was a Spanish hand, or re-embroidered by specialists The Renaissance became visible to designer based in Paris who used lace- Gold from the Sea – Newfound many through a new world of fashion sories.to decorate He was his oftendesigns, inspired from jacketsby the Treasure from Caesarea as tailoring was transformed by new to cocktail dresses, tunics and acces Israel Museum created lace ensembles such as a short Jerusalem, Israel eveningconvertible dress outfits with ofa skirtthe 1920s, that could and be www.imj.org.il materials and refined techniques of converted into a cape. Through September 1, 2015 men’scutting clothing. and sewing, Artistic as well representations as by the ofdemand the clothed for a tighterbody proliferated fit, particularly and for the fashion scene in the 1950s and coast of Caesarea spotted a group of mirrors enticed people to experiment 1960s. He was considered to have defined gold Incoins February lying on2015, the diversseabed. off When the with their appearance. Balenciaga used unusual treat- marine archaeologists of the Israel Antiquities Authority conducted a - Wearable goods included clothing, ments,dery for such added as lacqueredthickness orand to wool resem - armor and accessories such as hats, - lace, transforming them with embroi salvage excavation, they recovered hairpieces, feathers, toothpicks, rings, more than 2,580 coins of pure (24 gloves, purses and shoes. An earthen ware male figure of 1606 features an expensive, modish slashed suit with V:belt, At Homebuttons and and on a Displayfeathered hat. During the period covered by this

dressers and sideboards – props on whichexhibition, ornamental front-opening items could cupboards, be po- sitioned – replaced traditional chests. Cabinets containing small drawers let

showcollectors them order to visitors. their objects, keep them under lock and key, and then

networks By the and 18th the century, growth technological of European marketschanges, broadenedthe expansion the ofopportunities global trade for buying and displaying goods in the home to a wider group of people. Tea

- services were laid out on sideboards, boxesinkstands on dressers. on desks, vases on mantel Dresses by Cristóbal Balenciaga from, respectively, 1950 and 1967. Photos: courtesy of the Fun- pieces,A r angeand scent-bottles of ornamental and porcelain patch dación Cristóbal Balenciaga Fundazioa (left); Fred Collier, courtesy Hubert de Givenchy Collection - (right).

items was available, as well as imita 26/Spring 2015 Newsletter of the Decorative Arts Society, Inc. karat) gold weighing a total of 7.5 kg. The coins date from the mid-9th to the early-11th century CE and were who ruled over an empire stretching minted by the Fatimid caliphs of Egypt,

fromThe North treasure Africa contains in the west two to types Syria of and Yemen in the east. g each and gold quarter-dinars weigh- ingcoins: 1 g gold – the dinars most commonweighing coinsaround of 4the bronze coins were not used at all. Documentsperiod, as silver from coins the 11th-century were rare and of a craftsman at that time was approx- imatelyCairo Genizah two gold indicate dinars that per the month. salary Based on the number of coins found Hydria (water jar) depicting Peleus abducting Thetis, pottery, Attic black-figure, 47 x 38 cm. Ath- ens, Greece, probably by the Leagros Group, Late Archaic Period ca. 520–510 BCE. –so a far, century the treasure of wages would – or 5.5 have million been the equivalent of 1,200 months’ salary shekels based on the minimum wage in Jerusalem, Israel Israel today. www.imj.org.il previously kept in the Belfers’ home in The display is a joint project with Through December 26, 2015 Roman and Near-Eastern artifacts- was the Israel Antiquities Authority and About 100 items from the recent played to the public. Caesarea Edmond Benjamin de gift to the museum from Robert and NewThe York e xhibitionand has never showcases been dishigh- Rothschild Corporation. Renee Belfer - lights from the collection – including play. Aristocratic Taste: Ancient Art A promised (see gift News) to the aremuseum on dis mosaics – and provides a glimpse into from the Belfer Collection glass vessels, pottery, sculptures and Israel Museum collection of more than 300 ancient villas were adorned with such objects. in honor of its 50th anniversary, this thee lif of ancient Roman nobles, whose We need you! The Decorative Arts Society depends on our readers to provide information about events, acquisitions, people, news and exhibitions in the field. Send your items, ideally with images, to: [email protected]

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28/Spring 2015 Newsletter of the Decorative Arts Society, Inc. Contributions

Oscar P. Fitzgerald, IV Special contributors Judith F. Hernstadt Veronica Conkling President’s Circle AnnaSarah T.Coffin D’Ambrosio Robert L. McNeil, Jr.* Patrons Elizabeth A. Davison Stewart G. Rosenblum, Esq. Anonymous Nancy de Waart David L. Barquist Nancy Goyne Evans Elizabeth Bidwell Bates Jean Taylor Federico Benefactors Firestone and Parson, Inc. Anonymous W. Scott Braznell & Patricia E. Kane Jay Cantor Beatrice B. Garvan Margaret B. Caldwell John Stuart Gordon David W. Dangremond Dennis A. Carr Dorothy K. Chin Anne K. Groves Elizabeth De Rosa David A. Hanks Jeannette M. Harper Morrison H. Heckscher Margaret K. Hofer Anne E. Hough Katherine Howe Phillip M. Johnston Elsie Klumpner Leeds Art Foundation David R. McFadden Barbara D. McMillan Mrs. Milo Naeve Richard & Jane Nylander Dianne H. Pilgrim Susan J. Rawles Lynn Springer Roberts Charles J. Robertson III Monika V. Schiavo Susan P. Schoelwer Lita Solis-Cohen Susan Solny Kevin Stayton Jewel Stern Jay Robert Stiefel Charles L. Venable Daniel Visnich John C. Waddell Gerald W.R. & Barbara M. Ward Gail C. Winkler * Deceased Categories of DAS contributions Student $20 Regular $35 Institutions & Libraries $40 Sustaining $60 Patron $100–$499 Benefactor $500–$14,999 President’s Circle $15,000 and above* * Status is reached when contributions pay- able over up to five years total this amount.

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Volume 23, Number 1 Volume Number 23, newsletter/spring 2015 newsletter/spring Snuff box, gold, enamel decoration; marked by Jean-Baptiste Bertin, about 1770 (left). Magnify Snuff box, gold, enamel decoration; marked by Jean-Baptiste Bertin, about ing glass, gold, agate, diamonds, English, about 1765 (right). Gifts of the heirs of Bettina Looram de ing glass, gold, agate, diamonds, English, about 1765 (right). Gifts of the Rothschild. In See DATED Ms. Moira Gallagher, DAS Secretary DAS Gallagher,Ms. Moira Assistant Research Wing The American Metropolitan Museum of Art Fifth Avenue 1000 10028 NY York, New