American Arts & Crafts: Virtue in Design by LESLIE GREENE BOWMAN

A major exhibition at the Los represent not only a change in informed America’s unique Angeles County Museum of Art, furniture technology but also in response. Textiles by William American Arts & Crafts: Virtue in outlook. Those thirty years altered Morris’s Morris and Company Design, presents a comprehensive the insular, inward-looking attitude (1861-present), a sideboard by display of the finest works of the of American society (and art) and C. F. A. Voysey (1857-1941), moved the country, with some Craftsman era in the United States, silver and furniture by C. R. resistance, into an international role Ashbee’s Guild of Handicraft dating from the 1890*s to about (and into the avant-garde). After 1930. The exhibition includes more acknowledging the crucial influence (1888-1907), and metalwork by than 250 examples of furniture, of the English arts and crafts Liberty & Company metalwork, ceramics, glass, books, movement, American arts and crafts (1875-present) illustrate seminal drawings, prints, and textiles by designs are, perhaps, the closet English designs. Furniture by the period’s finest artisans, art embodiment we have of the Charles Rennie Mackintosh potteries and architects. The ‘American style’. This is the style of (1868-1928) and E. A. Taylor exhibition showcases the that idealized country that politicians (1874-1951) characterize the outstanding collection of Max often recall - simple, honest, Glasgow style adapted in America laconic, quaint, and sometimes Palevsky and his wife, Jodie Evans, by the Roycrofters, Harvey Ellis, movingly beautiful. and includes related works from the and Greene & Greene, among others. Furniture by Josef Museum’s holdings. The Palevskys The exhibition opens with a gallery Hoffmann (1870-1956) and Joseph committed their collection to the illustrating the diversity of artistic Olbrich (1867-1908) provide an Los Angeles County Museum of interpretations embraced by the understanding of the geometric Art in 1984, and have shaped it to movement. Not a style at all, the Vienna secessionist style influential that purpose ever since. Selected arts and crafts movement was a to designers at Limberts, Shop of contemporary European examples philosophy about the nature of art the Crafters, and the Roycrofters. illustrate the relationship between and craft in everyday life. A cabinet by Hector Guimard American arts and crafts and Conceived as a talisman against the (1867-1942) exemplifies the art foreign design sources. The undesirable effects of industrial­ nouveau style interpreted by Louis collection gives the museum one of ization, the movement elevated C. Tiffany, Charles Rohlfs, the the strongest and most crafts into the realm of the fine arts Gorham Manufacturing Company, distinguished public holdings of this to protect them from extinction as and the Van Briggle Pottery. material in the country. The a result of mechanization. A moral exhibition is accompanied by a imperative accompanied this From this European context the fully illustrated catalogue of the redefinition of craft as art; arts and exhibition explores the depth and same title. crafts proponents cited the range of American arts and crafts therapeutic influence of these decorative arts. Twenty-five works Max Palevsky, a Los Angeles objects in the domestic sphere. by Gustav Sticklcy (1858-1942) electronics entrepreneur, began Functioning as art in the homes of illustrate his leading role as the collecting arts and crafts in the the less affluent, crafts provided chief promoter of arts and crafts in early 1970’s. As he explains in the essential contact with human America. A veteran of the furniture preface to the catalogue: creativity, promoting appreciation business, Slickley was converted to for their virtues: design suited to I grew up in the age where arts and crafts ideas while on a function; solid, natural materials; ‘modern’ was defined as the visit to England in the late 1890’s. and sound, quality craftsmanship. International Style. Characterized by Already familiar with the writings These became the tenets of arts the works of Mies van der Rohe, of Ruskin and Morris prior to this Saarinen, and Breuer, modern and crafts design, permitting trip, he was, upon his return, design was severe and simple, with variations ranging from Louis moved to found United Crafts lots of chrome and high seriousness. Comfort Tiffany’s art nouveau (later the Craftsman Workshops), In the early 1970’s I started to glass to Frank Lloyd Wright’s in order: notice pieces of American arts and plank and spindle chairs. crafts furniture. Made of quarter- sawn oak instead of chrome, they to promote and to extend the shared, I saw, the same sense of Following the introduction is a principles established by Morris, in austere simplicity. The thirty or so sampling of European arts and both the artistic and the socialistic years that separate the arts and crafts decorative arts, illustrating sense . . . to substitute the luxury of crafts and International Style the origins of the movement and taste for the luxury of costliness; to movements in the United Stales the various interpretations that teach that beauty does not imply

20 elaboration or ornament; to employ Rohlfs (see Plate 5) or Charles only those forms and materials Rennie Mackintosh. He expected which make for simplicity, his forms to express *the primitive individuality and dignity of effect.1 structural idea: that is, the form which would naturally suggest itself Stickley called his new factory ‘a to a workman were he called upon guild of cabinet makers, metal and to express frankly and in the leather workers,’ and articulated proper materials, the bare essential the moral validity of arts and crafts qualities of a bed, chair, table, or in the home: any object of this class.’* Spurning ornament except for a brief period, Just as we should be truthful, real Sticklcy deliberately over- and frank ourselves, and look for constructed much of his furniture; these same moral qualities in those exaggerated stretchers, joints and whom we select for our friends, so hinges function decoratively as well 2 Library Table, 1903 - 4, designed by should the things with which we as structurally. Wrote Sticklcy, ‘the Harvey Ellis and made by Gustav Stickley's surround ourselves in our homes be structural lines should be obtrusive Craftsman Workshops (1899-1916), truthful, real and frank. We are rather than obscure .... Eastwood, New York; oak, lemon wood, influenced by our surroundings sycamore, exotic woods, copper, pewter and Furthermore^ these same lines must more than we imagine.2 brass; 29% " h x 41% " w x 25% " d contribute to the decoration of the (75.9 x 106.4 x 63.8 cm); Los Angeles Stickley admitted that ‘massive piece, which should result County Museum of Art, gift of Max Palevsky simplicity is the leading principally from such modification and Jodie Evans. characteristic of (his) style’.3 His of the constructive features as will Craftsman furniture is noted for not impair their validity.5 British arts and crafts vocabulary; thick boards of quarter-sawn white his motifs and drawings reveal a oak, visible mortise-and-tenon This structural style changed when strong allegiance to the works of joinery, and heavy, cast and Stickley hired a designer in 1903, Charles Rennie Mackintosh. Ellis hammered hardware, as seen in the architect Harvey Ellis (1852-1904). refined Stickley’s style, introducing Sideboard (Plate 1). Stickley was Ellis’ designs for furniture an alluring sensitivity. He mistrustful of design for its own contrasted with Stickley’s elongated and lightened the pieces sake; his forms rarely attain the straightforward, muscular forms. with taller proportions, thinner graphic impact of pieces by Charles The architect was conversant with boards, broad overhangs, and arching skirts. He maintained the direct integrity of Stickley’s look, but dispensed with oversized joints and hardware in favor of line and form. The Library Table (Plate 2) displays his characteristic use of ornament - dramatic attenuated inlays of stylized floral patterns in pewter, copper and exotic woods - to effect a unique balance of European sophistication with American simplicity. Despite their aesthetic success, the inlaid designs were labor intensive and expensive. Their rarity today reinforces evidence that production probably did not exceed the promotional needs of retailers.0 Stickley discontinued most of the inlaid lines after Ellis’ death in 1904, but the architect’s refinements of Stickley’s style remained in the Craftsman Workships repertoire, as seen in the Double-Door Bookcase (Plate 3) with its taller proportions, overhanging top and curving skirt. 1 Sideboard, 1912-16; made by Gustav Stickley's Craftsman Workshops (1899-1916), Eastwood, New York, designed 1901; oak, mahogany and iron; 50% " h x 70" w x 25% " d (127.3 x 177.8 \ 64.1 cm); Collection of Max Palevsky and Jodie Evans. The success of Stickley’s Craftsman

21 furnishings and interior design, psychology. The title of The Fra recreation, hobbies, literature, reflected the fraternal concept of music, gardens and travel. the community and referred to the Stickley’s journal was the arts and chief‘brother’, Hubbard himself. crafts entry in a burgeoning realm The title of The Philistine suggested of late nineteenth-century American the unconventional, avant-garde publications: instruction and philosophies of the community. etiquette manuals. Such Furniture was produced as early publications were monitored by as 1896 for internal use, offered in middle-class readers so that they mail order catalogues by 1901, and could adjust their conduct as they distributed nationally to hundreds moved up the rungs of the social of retailers between 1915 and 1938. ladder.7 The Craftsman assisted its The need for suitable furniture readers in implementing new ideas hardware spawned a metalworking of art, taste, decoration, and component, which became the eduction. As architect of both the Copper Shop in about 1903. journal and a prospering commercial Collectively the Roycroft craftsmen empire, Stickley was instrumental were known as Roycrofters, and in establishing the predominant Hubbard marketed the community traits of the arts and crafts as well as its products, opening an 3 Double-Door Bookcase, 1907-9, made movement in the United States. inn in 1903 to serve the lucrative by Gustav Stickley 's Craftsman Workshops tourist trade. Hubbard’s zealous (1899-1916), Eastwood, New York; oak, Another of the great proselytizers of and wily promotion of Roycroft glass and brass; 577/a" h x 45%" w x the American arts and crafts made it the most prosperous craft 14yt" d (147 x 115.9 x 36.4 cm); Collection of Max Palevsky and Jodie Evans. movement was Elbert Hubbard commune in America. (1856-1915), founder of the Workshops resulted from his clever Roycroft Shops in East Aurora, Aesthetically, Roycroft’s finest marketing. Stickley recognized the New York. Like Stickley, Hubbard contributions were books and difficulty of persuading customers was inspired by a trip to England, copper. The fine art editions to visit craft studios and special specifically by a visit he paid to produced at Roycroft were exhibitions of arts and crafts. He William Morris at Merton Abbey. distinguished by hand-illuminated introduced his lines of arts and Hubbard devoted himself to his designs by Englishman Samuel crafts furniture at the country’s newfound passion for the arts and Warner (1872-1847), William major furniture trade show, the crafts with the same zeal that had Wallace Dcnslow (1856-1915), Grand Rapids Furniture Fair in made him a successful soap who later illustatcd L. Frank 1900. His success inspired promoter for the Larkin Company Baum’s The Wonderful Wizard of Oz, numerous imitators among in Buffalo. Already a budding and the brilliant young Dard furniture manufacturers. While he author, Hubbard established his Hunter (1883-1966). The exhibited in arts and crafts arenas own version of Morris’s Kelmscott exhibition includes four Roycroft as well, he was careful to keep his Press in 1895, calling it the books designed by these artists, as products available in mainstream Roycroft Press after the well as eleven additional examples retail establishments, furniture seventeenth-century bookbinding of furniture and metalwork. companies in cities across America. partners, Samuel and Thomas Hunter came to Roycroft at the Roycroft. Hubbard also appreciated age of nineteen. Through such Middle class Ameica became aware the name’s literal translation, European art journals as Dckorative of arts and crafts not only through ‘kings craft’, with its appropriate Kunst, Deutsche Kunst und Dckoration, the retail marketing of guild connotations. The press begat and Dckoralive Vorbilder, he became entrepreneurs like Stickley and his a bindery, which in turn begat a interested in Viennese arts and imitators, they read about it in leather shop, giving substance to crafts. The young designer went to period journals such as House Hubbard’s dream of a utopian craft study in Vienna from 1908 to Beautiful and International Studio. The community. Keenly aware of the 1909; the distinctive secessionist most successful such journal power of the pen, Hubbard style seen in certain Roycroft books devoted entirely to the American published two periodicals and metalwork is directly movement was The Craftsman, appropriately titled The Fra and The attributable to Hunter’s interest. published and edited by Gustav Philistine, as philosophical The Hanging Lantern from the Sticklcy from 1901 to 1916. Styled mouthpieces for his arts and crafts Roycroft Chapel (Plate 4) shows as a how-to manual for living the ideas and their embodiment at Hunter’s influence in it;; geometric arts and crafts lifestyle, The Roycroft. Fra Elbertus was a design and the repetition of small Craftsman offered articles on charismatic secular evangelist with squares. Never in production, the handcraft, craftsmen, home an acute sense of marketing and lantern originally hung with nine

22 4 Hanging Lantern from the Roycrojt Chapel, c. 1908 -10, made by The Copper Shop of the Roy crofters (c. 1903 -38), East Aurora, New York; copper and leaded glass; 8% " h x 14 % " w x 8H"d (21.6 x 37.5 x 22.2 cm); Los Angeles County Museum of Art, gift of Max Palevsky and Jodie Evans. others in the Roycroft Chapel. The condition of marriage - his first term chapel was not used in the efforts motivated by the need for religious sense at Roycroft, but furnishings in this own home - referred to the word’s archaic sometime in the 1880’s.8 His meaning as a meeting house for distinctive designs won wide printers. The Roycroft Chapel recognition, and he opened a served as the community’s commercial workshop in 1898. auditorium. Marshall Field and Company sponsored an exhibition of his The most creative and eccentric pieces in 1900, and his exhibits at furniture designs of the American international expositions were well arts and crafts movement came received. After one held in Turin from the Charles Rohlfs Workshop in 1902 (as the only American of Buffalo, New York, as illustrated woodworker invited), Rohlfs was by the nine works on view. Charles made a fellow of the Royal Society 5 Hall Chair, c. 1900, made by the Rohlfs (1853-1936) imbued his of Arts in London and Charles Rohlfs Workshop (1898-1928), pieces with vitality and movement, commissioned to provide a set of Buffalo, New York; oak; 56Vi " h x 19" celebrating stucture and materials chairs for Buckingham Palace. w x 15" d (144.1 x 48.3 x 38.1 cm); Los Angeles County Museum of Art, gift of with animated carvings. Most Rohlfs employed as many as eight Max Palevsky and Jodie Evans. American designers subscribed to assistants to produce his designs the Stickley school of restraint, and aid him with the custom decorative character Rohlfs’s mistrusting both Victorian commissions he favored. furniture is characteristically arts ornamental abuse and art and crafts in its use of quarter- nouveau’s unfettered meandcrings. Like Mackintosh, Rohlfs conceived sawn oak, emphatic joinery, and Rohlfs, however, delighted in using of furniture as intensely visual vernacular design. Although less decorative motifs from other utilitarian constructions. The Hall rhetorical than Stickley, Rohlfs cultures, incorporating in his works Chair (Plate 5) is one of his most sympathized with the movement as styles as varied as medieval, art graphic and dramatic forms. The evidenced by his philosophy of nouveau, prairie school, Moorish, planar quality of his designs design: Chinese, and Norwegian. The balances the curves and whimsies dominant influence in his work was of his carvings, asserting a ‘Does it enhance the appearance of art nouveau. dominant rectilinear structure that the piece as a whole: Is it the visually contains the decoration and natural outgrowth of the main idea? Rohlfs turned to woodworking after distinguishes it from mature French Is it suitable to the use to which the abandoning a theatrical career as a art nouveau. Despite its highly piece is put? All nature answers

23 these questions for its own developed his own distinctive style handiwork. My effort was to follow of domestic architecture. He the guiding spirit of the conceived of decorative arts as manifestations of nature - I could interior architecture, forms that do no more, if as much.’9 contributed to a unified design Rohlfs’s raison d’etre for ornament scheme: was based on unity with his The ‘grammar’ of the house, is its medium: ‘My feeling was to treat manifest articulation of all its parts my wood well, caress it perphaps, - the ‘speech’ it uses . . . When and that desire led to the idea that the chosen grammar is finally I must embellish it to evidence my adopted (you go almost indefinitely profound regard for a beautiful with it into everything you do) thing in nature. This walls, ceilings, furniture, etc. embellishment conisted of line become inspired by it. Everything has a related articulation in relation proportion, and carving.10 The to the whole and all belongs together Hall Chair (Plate 5) is one of three because all are speaking the same known, identical except for minor language.12 variations in the carving. Wright repeatedly stressed the Outstanding among American arts organic conception of his designs, and crafts architects were Frank which reduced nature to geometric Lloyd Wright (1867-1959) and abstractions. He was strongly Greene and Greene (1893-1922). influenced in this by Japanese art Both designed entire environments and architecture. He visited Japan for their clients, believing in arts in 1905, frequently praised and crafts principles of harmonious Japanese design, and considered design integrating furnishings with the Japanese the only people who architecture, and the whole wed to understood the beauty of wood, the natural site. They consistently who had not ‘universally abused used natural materials, and derived and maltreated it. > 13 He followed motifs from organic sources. their lead in his conception of architecture as interior spaces that Frank Lloyd Wright must be determined the nature of exterior considered the most influential structure. A sentence quoted by 6 Window from the Darwin D. Marlin architect to emerge from the House, Buffalo, New York, 1903 -5, Wright from The Book of Tea by American arts and crafts designed by Frank Lloyd Wright Okakura Kakuzo sums up his movement. The exhibition includes (1867-1959); leaded glass; 65% " h x ideas: ‘the reality of a room was to ten works by Wright in furniture, 25%" w (165.7 x 65.4 cm); Los Angeles be found in the space enclosed by glass, and works on paper. The County Museum of Art, promised gift of the roof and walls, not in the roof seminal member of Chicago’s Max Palcvsky and Jodie Evans. and walls themselves. » 14 greatest contribution to the period, Wright helped to found the the prairie school, Wright described Wright strove to break the Chicago Arts and Crafts Society in the inspiration for the style: traditional box in his architecture, 1897 and was a philosophical We of the Middle West are living designing walls of windows to follower of the movement. His on the prairie. The prairie has a admit light and integrate the home views on machinery, however, beauty of its own and we should with its environment. Frequently contrasted with the typical recognize and accentuate this these windows were of art glass, rationalizations that excused natural beauty, its quiet level. with stylized geometric abstractions machinery as legitimate aids to the Hence, gently sloping roofs, low of natural motifs. Wright was work of the hand.15 Wright proportions, quiet sky lines, outspoken against the Tiffany style revelled in the new possibilities suppressed heavy-set chimneys, and of stained glass commenting, machinery provided and hailed ‘the sheltering overhangs, low terraces ‘Nothing is more annoying to me metamorphosis of ancient art and and out-reaching walls sequestering craft.’ He went on to proclaim that private gardens.11 than any tendency toward realism of form in window glass, to get ‘the machine is capable of carrying Like other prairie school architects mixed up with the view outside.’ to fruition high ideals in art - Wright had worked in the Chicago Like most of Wright’s art glass higher than the world has yet office of Louis Sullivan. He left windows, the Darwin Martin seen,’ enabling the designer to Sullivan’s employ to establish his example (Plate 6) is of clear glass produce art inexpensively, own practice in 1893. From his with an abstracted tree of life affordable for the poor as well as Oak Park home and studio he design in yellow and green. the rich.16

24 architect brothers Charles Sumner attracting wealthy clients with Greene (1868-1957) and Henry lucrative commissions. Their Mather Greene (1870-1954) were ‘ultimate bungalows’ date from this also influenced by Japanese design, period, houses in excess of five indeed they were compared to thousand square feet where the Wright in the period by English Greenes controlled the architecture, arts and crafts scion, Charles furnishings, and landscape.18 The Robert Ashbec: earliest of these commissions was also one of the largest. For Robert I think C. Sumner Greene’s work Roe Blacker (1847-1931) the beautiful: among the best there is in this country. Like [Frankl Lloyd Greenes designed a mammoth Wright the spell of Japan is on him, 12,000-square-foot home, a tour de if** a ~ he feels the beauty and makes magic force creation carefully sited in out of the horizontal line, but there order to minimize its scale. is in his work more tenderness, 7 Pair of Side Chairs from the Frank Lloyd more subtlety, more self effacement The Blacker House was the most Wright Studio, Oak Park, Illinois, than in Wright’s work. It is more oriental of their commissions. 1898-1902, designed by Frank Lloyd refined and has more repose. Broad, overhanging timber Wright (1867-1959); oak, pine and Perhaps it loses in strength, perhaps construction housed interiors (replaced) leather; 40 Va" h x 75" w x it is California that speaks rather paneled with teak and mahogany 18Va" d (101.9 x 38.1 x 47.9 cm); Los than Illinois, anyway as work it is, and hung with Asian-style, stained Angeles County Museum of Art, gift of Elrna so far as the interiors go, more glass lanterns. The architects Shoemaker, Daisy and Dan Belin, and Susan sympathetic to me . . . incorporated Japanese motifs into and Robert F. Maguire III, through the ... his workshops . . . [make], the furniture’s feet, brackets, 1989 Collectors Committee. without exception, the best and most characteristic furniture I have seen drawer pulls, and carvings. The Thus Wright openly designed for in this country . . . [with] a Greenes consciously selected machinery and dispensed with supreme feeling for the material, specific woods and motifs for use in arcane allusions to handcrafted quite up to the best of our English certain rooms. The entry hall construction. He appreciated the craftsmanship.17 furniture was crafted in teak and included in addition to the Hall machine’s ability to produce Charles and Henry Greene smooth, finished boards that Cabinet (Plate 8), a table, hanging attended one of the first arts and mirror, armchair, setde, two showed the true nature of the crafts academies in America, the material without the distraction of Morris chairs, and another case Manual Training High School in piece. The Hall Cabinet is plane or saw marks. The Pair of St. Louis, where they were exposed Side Chairs from his own studio distinguished by landscape scenes to concerns of design and material. of California oak trees carved by (Plate 7) were designed to maximize Architectural training at the the use of machinery. Comfort was Charles Greene in assymetrical Massachusetts Institute of Japanese arrangement. less important to Wright than Technology' followed; they visual effect and integration with graduated in 1891. In 1893, on the A distinguishing feature of surrounding design. Like way to visit their parents, who had furniture by the Greenes is the Mackintosh, who also drew recently retired in Pasadena, the rounded treatment of the edges and inspiration from the Japanese, he brothers viewed the World’s corners, which contributes to the designed chairs that are visual Columbian Exposition in Chicago. tenderness and subtlety cited by statements. This pair, originally They were most impressed with the Ashbee. This softened effect from a set of four, was designed for Japanese exhibit, particularly a contrasts markedly with the strong, Wright’s studio late in the 1890’s, timber-framed temple with exposed sharp character of furniture by and descended in the family of his construction. They subsequently Gustav Stickley and Frank Lloyd first wife, Catherine Tobin Wright. began to collect oriental art and Wright. Whereas Stickley and The earliest examples of a seminal were later to incorporate oriental Wright accentuated the strength design, these chairs arc also part of design into their work. The and thrust of the medium, the the flowering of Wright’s mature, brothers were also influenced by Greenes glorified the craftsman’s rectilinear, prairie school style in English arts and crafts, more ability to make it appear sensitive furniture. With characteristic directly so after Charles’s 1901 and pliable. The exhibition includes emphasis on visual and spatial honeymoon trip to England. eight pieces from the Blacker effects he masterfully orchestrated House and a lantern from the angles and proportions to produce The Greenes remained in Robinson House, Pasadena, a geometric composition about California and established a designed in 1906. sitting. practice in the rich and scenic resort of Pasadena. By 1907 they Among the most distinguished Like Frank Lloyd Wright, the had perfected their style and were metalworkers of the American

25 movement was Dirk van Erp (1860-1933) of San Francisco. Like many of the period’s artisans, van Erp worked primarily in copper. Copper was a favored metal because it was cheaper than silver, and removed from the elitist associations of precious metals. Dutch-trained van Erp was a commercial coppersmith in the San Francisco shipyards before he turned to art copper as a career. His hobby of hammering brass shell casings into vases and art wares led to his establishment of the Copper Shop in 1908. With a small group of assistants van Erp produced all manner of handwrought metalwork, including lamps, vases, candlesticks, bookends, and desk and table accessories. His copper and mica 8 Hall Cabinet from tke Robert R. Blcc&r House, Pasadena, 1907, designed by Greene and lamps are among the most Greene (1893-1922); leaf; and ebony: 36V; ” h x 60 Vi " «■ x 20 Vi " d (92.7 x 154.3 x important contibutions to lighting 52.7 cm); Los Angeles County Museum of Art, gift of Max Palevsky and Jodie Evans. of the period, and inspired many imitations. The Table Lamp (Plate 9) is one of the largest models, and is distinguished by the subtle iris design in the shade, accomplished by layering cut paper stencils between sheets of mica. Art pottery was the most prolific product of the American arts and crafts movement, and the exhibition contains more than 100 examples. Clay was an everyday material, familiar, inexpensive, and less daunting to amatuers subscribing to craft as therapy. The results provided an inexpensive art form for the home. Further, ceramics provided an avenue of respectable employment for many lower and middle class women. Hundreds of art potteries sprang up across the country, many staffed by semi-skilled women decorators. One of the most influential art potters in America was Frederick H. Rhead, who immigrated from England in 1902. Previously involved with English art potteries, he directed or taught at nine different American potteries, and his writings on technique were influential to the art pottery 9 Table Lamp, 1911 -c. 1912, made by the Jjirh van Erp Copper Shop (1908-77), San movement. The Vase (Plate 10) is Francisco; copper, mica and paper; 22 Vi " h / 24" w (57.8 / 67 cm); Los Angeles County perhaps his finest work, and Museum of Art, promised gift of Max Paleusky and Jodie Evans. illustrates Rhead’s preference for

26 pursue their craft in a specially- FOOTNOTES ■ ■■ designed, state-of-the-art pottery, as ' ' part of a teaching enterprise. I The Craftsman, vol. 1 (October 1901), p. i. ftlf ■■ Rhead, along with the premier 2 The Craftsman's Story (Eastwood, New French potter, Taxile Doat of York, 1905), pp. 22-23. Sevres, and the distinguished 3 As quoted in Stephen Gray and Robert American potter, Adelaide Alsop Edwards, cds. Collected Works of Gustav Stickley Robineau, produced some of the (New York: Turn of the Century Editions, 1981), p. 19. movement’s greatest pottery at 4 Gustav Stickley, What is Wrought in the University City before it Craftsman Workshops, 1904, reprint ed. encountered financial difficulties (Watkins Glen, New York, 1982), p. 18. and closed in 1915. 5 Gustav Stickley, ‘The Structural Style in Cabinet-Making’, The House Beautiful, vol. 15, no. 1 (December 1903), p. 21. Although isolated artisans 6 David Cathers, Furniture of the American continued to ply their craft, the Arts and Crafts Movement: Stickley and Roycroft American arts and crafts movement Mission Oak (New York: New American Library, 1981), p. 49. was largely over by 1930, the 7 Susan Williams, Savory Suppers and victim of World War I and the Fashionable Feasts: Dining in Victorian America Depression. Its influence was far (New York: Pantheon Books in association more enduring, however, on the with the Strong Museum, 1985), p. 17. course of studio craft and design. 8 Robert Judson Clark, ed., The Arts and Crafts Movement in America 1876-1916 The 250 artworks in the exhibition (Princeton: Princeton University Art illustrate not only the finest Museum, 1972), p. 28. accomplishments of the period, but 9 As quoted in Michael James, ‘The remind one of the movement’s Philosophy of Charles Rohlfs: An Introduction,’ Arts and Crafts Quarterly, vol. I, legacy, still palpable a hundred no. 3 (April 1987), pp. 14-18. years later. 10 Ibid. 11 As quoted in David Hanks, The American Arts & Crafts: Virtue in Decorative Designs of Frank Lloyd Wright (New York: E. P. Dutton, 1979) p. 73. 10 Vase, 1911, made by Frederick Hurten Design is on view at the Los 12 As quoted in Sharon Darling, Chicago Rhead (1880-1942) at the University City Angeles County Museum of Art Furniture: Art, Craft, and Industry 1833-1983 Pottery (1909-15), University City, from September 23, 1990 to (Chicago: Chicago Historical Society, 1984), Missouri; earthenware; 1716" h x 516 " d January 6, 1991. Author Leslie p. 257. (43.8 x 13 cm); Los Angeles County Greene Bowman is curator of 13 As quoted in Edgar Kaufmann and Museum of Art, promised gift of Max Ben Raeburn, Frank Lloyd Wright: Writings decorative arts at the Museum, Palevsky and Jodie Evans. and Buildings, 1960, reprint ed. (New York: curator of the exhibition, and New American Library, 1974), p. 66. author of the accompanying 14 Ibid., p. 300. carved and excised decoration. catalogue, American Arts and Crafts: 15 Sec Gustav Stickley’s 1906 article, ‘The Use and Abuse of Machinery, and Its Virtue in Design. Portions of this Rhead made it during his brief Relation to the Arts and Crafts,’ as quoted tenure at the University City article have been excerpted from in Barr>' Sanders, ed.. The Craftsman: .4n Pottery in University City, the catalogue, available softbound Anthology (Salt Lake City: Peregrine Smith, Missouri, where he and a few other through the Museum shop, and 1978), pp. 87-88; and Sharon Darling, Chicago Metalsmiths (Chicago: Chicago selected potters were invited to hardbound through Bulfinch Press. Historical Society, 1977), p. 37, where the Chicago Arts and Crafts Society’s views on machinery are quoted. 16 As quoted in Edgar Kaufmann and Ben Raeburn, Frank Lloyd Wright: Writings and Buildings, 1960, reprint ed. (New York: New American Library, 1974), p. 55. 17 As quoted in Randell Makinson, Greene and Greene: Furniture and Related Designs (Salt Lake City: Peregrine Smith, 1979), p. 150. 18 Randell Makinson. Greene and Greene: Architecture as a Fine Art (Salt Lake City: Peregrine Smith, 1977), p. 150.

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