Newsletter/Fall 2017 the DAS DAS the Decorative Arts Society, Inc

Home , Dante Marioni, John Cederquist, Karen Karnes, Robert Ebendorf, Wendell Castle

Decorative Arts Society Volume 25, Volume Number 2 newsletter/fall 2017 The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, programs, seminars, tours and a newsletter on the decorative arts. Its supporters include Newsletter museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Gerald W. R. Ward Editor President Senior Consulting Curator Gerald W. R. Ward Katharine Lane Weems Senior Curator of Susan P. Schoelwer Senior Consulting Curator & American Decorative Arts and Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator Sculpture Emeritus George Washington’s Mount Vernon of American Decorative Arts and Museum of Fine Arts, Boston Mount Vernon, VA Sculpture Emeritus Boston, MA Museum of Fine Arts, Boston Treasurer Robert C. Smith Award Committee Boston, MA Stewart G. Rosenblum, Esq. Jeannine Falino, Chair Coordinator Secretary Independent Curator and Museum Consultant New York, NY Ruth E. Thaler-Carter Moira Gallagher Freelance Writer/Editor Research Assistant Lynne Bassett Rochester, NY Metropolitan Museum of Art Costume and Textile Historian New York, NY Dennis Carr Program Chairperson Carolyn and Peter Lynch Curator of Emily Orr American Decorative Arts and Assistant Curator of Modern and Sculpture The DAS Newsletter is a publication Contemporary Design Museum of Fine Arts, Boston, MA of the Decorative Arts Society, Inc. The Cooper Hewitt, Smithsonian Institution Boston, MA purpose of the DAS Newsletter is to serve as Design Museum a forum for communication about research, New York, NY Suzanne Findlen Hood exhibitions, publications, conferences and Curator of Ceramics and Glass other activities pertinent to the serious Margaret Caldwell Colonial Williamsburg Foundation study of international and American deco- Williamsburg, VA rative arts. Listings are selected from press Judith Hernstadt releases and notices posted or received Emily Orr Committees from institutions, and from notices submit- Assistant Curator of Modern and ted by individuals. We reserve the right Charles F. Montgomery Prize and Contemporary Design to reject material and to edit material for Award Committee Cooper Hewitt, Smithsonian Institution length or clarity. Wendy Cooper, Chair Design Museum We do not cover commercial galleries. Curator Emerita of Furniture New York, NY The DAS Newsletter welcomes submis- Winterthur Museum Diane Wright sions, preferably in digital format, by e-mail Wilmington, DE Curator of Glass in Plain Text or as Word attachments, or Toledo Museum of Art on a CD. Images should be at high quality Nancy Carlisle Toledo, OH (400 dpi), as TIFFs or JPEGs, either color or Senior Curator of Collections black-and-white, with detailed captions. Historic New England Karen Zukowski The newsletter of the DAS is published Boston, MA Independent Writer specializing in the two times a year. Submission deadlines for visual culture of 19th-century America 2018 are: March 1 for the spring issue; September 1 for the fall issue. Send material to: Ruth E. Thaler-Carter, DAS Newsletter Coordinator 2500 East Avenue, #7K Rochester, NY 14610 or: Cover image: [email protected] Pair of armlets, silver and enamel, Hazara, Punjab (now Pakistan), ca. 1888, The DAS website may provide informa- among ornaments and other traditional craft objects representing the Punjab tion about events that fall between issues. region at the 1888 Glasgow International Exhibition. Glasgow Museums and

Libraries Collections. See Exhibitions, John Lockwood Kipling: Arts & Crafts in Newsletter design by Plum Crane. the Punjab and London, Bard Graduate Center (New York, NY). All content © Decorative Arts Society, Inc. DAS news From the president Reveling in an array of interesting arts events By Susan Schoelwer, Robert H. Smith Senior Curator, George Washington’s Mount Vernon, Mount Vernon, VA t is once again my pleasure to send South, Manhattan (NY), and an extraor- greetings to all readers of the Deco- dinary three-day outing to upstate New Irative Arts Society newsletter. For York, highlighted by curator-guided me, one of the most rewarding aspects tours of the Tiffany mosaic exhibition of participating in the DAS over the at the Corning Museum of Glass and years has been our program offerings, the George Eastman House Museum, which have enticed me to actually visit plus visits to the studio of metalsmith (rather than just think about visiting) Albert Paley, an exhibition of art furni- any number of places of great interest. ture by Wendell Castle and a privately I am accordingly happy to report that owned Herter Brothers library. For we continue to offer an exciting array details, see below or go to our website of events, thanks to the efforts of our at www.DecArtsSociety.org. energetic program chair, Emily Orr, as- Through the DAS, I have greatly sistant curator at the Cooper Hewitt, enjoyed meeting others with like inter- Smithsonian Design Museum and ests in the decorative arts, and discuss- generous hosts at individual venues. ing ways in which we can share information and encourage further interest, report on our recent visit to and tour scholarship, exhibitions, publications, ofElsewhere Brooklyn’s in thisGreen-Wood issue, you Cemeterywill find a and collecting. and the Brooklyn Museum (NY). An upcoming issue will feature volunteer organization, I am par- which we can provide better service to coverage of our visit to the Thoreau ticularly Because keen w toe areencourage a nonprofit, broad all- and exhibit at the Morgan Library and active participation. Please send news ideas! Museum in Manhattan. of appointments, promotions, opportu- the field.In closing, I look Iforward thank all to D hearingAS support your- You can also look forward to future nities, programs, exhibitions, acquisi- ers for the generous contributions that reports of a visit to the National Arts tions, award nominations – and do let support our newsletter and other ac- Club, located in the historic Samuel me know (spschoelwer@mountvernon. tivities. I look forward to hearing from Tilden Mansion on Grammercy Park org) if you have suggestions of ways in you or seeing you at future events.

DAS tours Rochester and Corning sites In this issue s this issue of the DAS newslet- the Corning Museum of Glass (CMOG; - NY) with co-curators Kelly Conway, Atributors were gearing up for curator of American glass at Corn- a fascinatingter was trip being to Rochester finalized, conand ing, and Lindsy Parrott, director and DAS news 1 Corning, NY. curator of the Neustadt Collection of Montgomery Prize 2 Recent DAS tours 3–7 The event includes a visit to the Tiffany Glass (Long Island, NY) and a studio and archive of metalsmiths - Events 8 Albert Paley; guided tour of Wendell an Gallery with Kit Maxwell, curator of Castle Remastered, at the Memorial Europeanformer DAS glass officer; at Corning; the CMOG the Europe Mod- News 9 Art Gallery (MAG; Rochester, NY) ern and Contemporary galleries with Alexandra Ruggiero, assistant curator Acquisitions 10 digitally crafted works of studio and art at Corning; and the Juliette and Leon- People 11 furniture— the first movement exhibition leader to examine Wendell the ard S. Rakow Research Library with Castle; and free time to explore MAG library staff. Exhibitions 15 collections; and guided tours of the Tiffany’s Glass Mosaics exhibition at issue of the DAS newsletter. Highlights will be in the first 2018

Newsletter of the Decorative Arts Society, Inc. Fall 2017/1 DAS presents Montgomery Prize to outstanding new work of 2016

Lead author Patricia Kane (above) and describing a drawer during a 2016 DAS tour of the American Decorative Arts Furniture Study of the Yale University Art Gallery.

he DAS has chosen an outstand- tackled the most holistic study ever and Providence and by makers such ing publication as the recipient undertaken, stretching over a decade, as John Goddard and Samuel and Jo- Tof its 2016 Montgomery Prize. has there been such an informative and seph Rawson, Jr., the catalog showcas- The Montgomery Award will be an- enlightened publication,” said award es simpler examples made in smaller committee chair Wendy Cooper, towns. More than 100 entries detail DAS Newsletter. curator emerita of furniture, Winter- marks and inscriptions, bibliography, nouncedThe 2016 in the Mont springgomery 2018 Prizeissue goesof the thur Museum, Garden and Library and provenance. New photographs en- to Art & Industry in Early America, (Winterthur, DE). “‘Comprehensive’ is courage a deeper understanding of this Rhode Island Furniture, 1650–1830, by hardly adequate to describe the extent school of American furniture making. Patricia Kane, Friends of American to which she and the other authors Art & Industry in Early America Arts Curator of American Decorative went to discover primary documents also received the 2017 Historic New Arts, Yale University Art Gallery and dissect the actual objects. England Book Prize. (New Haven, CT), with Dennis Carr, “Accompanying this superior publi- Carolyn and Peter Lynch Curator of cation is an ever-evolving website titled About the DAS Montgomery Prize American Decorative Arts and Sculp- the Rhode Island Furniture Archive The DAS presents the Montgomery ture, Museum of Fine Arts (Boston (RIFA), an additional resource that will Prize in memory of Charles F. Mont- (MA); Nancy Goyne Evans, author, continue to augment the publication.” gomery, a director of the Winterthur Windsor-Chair Making in America: Art & Industry in Early America Museum, curator of the Garvan and From Craft Shop to Consumer (2005), examines furniture made throughout related collections at the Yale Univer- American Windsor Chairs (1996) and Rhode Island from the earliest days of sity Art Gallery, and a professor of American Windsor Furniture: Spe- the settlement to the late Federal pe- the history of art at Yale University, an cialized Forms (1997); Jennifer N. riod. It features nearly 400 illustrations, inspirational teacher, creative curator Johnson, Marcia Brady Tucker Fellow, including chairs, high chests, bureau and eminent scholar. Yale University Art Gallery; and Gary tables and clocks. It also presents new The prize may be awarded an- R. Sullivan, owner, Gary R. Sullivan information about the export trade, nually and is presented for the most- Antiques Inc. (Canton, MA). patronage, artistic collaboration and distinguished contribution to the study “For almost a century, the furni- of American decorative arts published ture produced in Rhode Island has early Rhode Island craftsmanship. in the English language by one or more been lauded and extensively studied, small-scale In addition shop t otraditions iconic pieces that fromdefined North American scholar(s) in the year but not until Kane’s exemplary team centers of production such as Newport for which the award is given.

2/Fall 2017 Newsletter of the Decorative Arts Society, Inc. DAS enjoys fascinating day trip to Brooklyn cemetery and museum By Susan P. Schoelwer, DAS president and Robert H. Smith Senior Curator, George Washington’s Mount Vernon

n intrepid DAS group gathered Like its famous predecessors hattan and New York harbor; and a rich (Paris’s Père Lachaise Cemetery, collection of art, artifacts and archives, Ain June to explore two notable, housed in the cemetery’s administra- but quitein Brooklyndistinct, sites: on the New first York Saturday City- tion building. area’s Green-Wood Cemetery and the Green-Wood1804; Boston’s initially Mount functioned Auburn, 1831; as a Green-Wood’s historian, Jeff Rich- Brooklyn Museum. publicand Philadelphia’s park, offering Laurel a pleasant Hill, 1836), retreat man, led a customized tour, beginning We began our day at Green-Wood in which to contemplate mortality as at the great Gothic Revival brown- Cemetery, a fascinating open-air mu- part of nature. stone gatehouse, designed by Richard seum whose “permanent residents” By the Civil War, the site was at- Upjohn comprise a veritable who’s who of tracting more than 500,000 visitors New York, including countless paint- annually (second only to Niagara Falls Dean Robert and completed A.M. Stern in lauded 1863 –as an “the ers, sculptors, architects, designers, as an American tourist destination). edifice that Yale School of Architecture- craftspeople and patrons of the arts. tecture in America.” - Brooklyn offer visitors a veritable finest Inside, example we sawof High one Victorian of Green- archi sculptureToday, its 478garden acres (with in the more middle than of Wood’s most recent acquisitions — a exampleFounded ofin the1838, early Green-Wood Victorian rural repre 100,000 stone and bronze statues and marble carving of Thomas Crawford’s cemeterysents an early movement, and influential which introduced American monuments, many by leading sculp- picturesque, landscaped grounds in tors), plus more than 7,000 cataloged suburban locations to replace crowded, trees; not-to-be missed views of Man- unsanitary burial grounds in church- yards in the midst of dense urban neighborhoods. Green-Wood Cemetery’s Gothic revival cemetery entrance gates (right); Richard M. Upjohn, architect (left).

Jeff Richman discusses item from Green-Wood Cemetery. Continued on next page.

Newsletter of the Decorative Arts Society, Inc. Fall 2017/3 “Babes in the Wood,” a poignant high stop at the 1911 limestone chapel. Mod- Deteriorating and underused, Victorian portrayal of two innocents, en- eled on Sir Christopher Wren’s 17th- twined in each other’s arms as they pass century bell tower at Christ Church revived in an award-winning 2001 pres- into eternal sleep. Once restored, the College (Oxford, England), the chapel ervationthe structure campaign. was closed It has in since 1980 gained but a sculpture will be installed at the artist’s was designed in a late-Gothic style by rather surprising new life as a popular gravesite, part of Green-Wood’s ongoing the prominent Beaux Arts architecture reception venue, graced by stained glass effort to collect works by its denizens. Whitney Warren and Charles from Willet Stained Glass and Deco- Boarding Green-Wood’s trolley, we Delavan Wetmore (best known for rating Company of Philadelphia (best continued our exploration of the cem- Grandfirm of Central Station). known for the famed Cadet Window at

etery’s vast grounds, making our first

Babes in Wood sculpture for Crawford grave.

Green-Wood Cemetery Chapel.

4/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Statue of Minerva (above); bronze “carpet” (below). Photos by Jeff Richman.

View of lower Manhattan from Green-Wood Cemetery.

West Point) and a massive chandelier ers and pine boughs that covers the designed by Walter Dorwin Teague) suspended in the central dome. The high point of our visit (quite Spencer Trask. the Museum of the City of New-York, literally) came at Battle Hill, the loftiest gravesite Returning of financier to Green-Wood’s and arts patron main Awere Beautiful featured Way in ato 2013 Go: New exhibition York’s at natural point in Brooklyn. Here we - Green-Wood Cemetery (http://www. found Frederic Wellington Ruck- tions that Richman, with the support green-wood.com/2013/a-beautiful-way- stall’s bronze statue of Minerva, the ofoffice, Green-Wood we sampled president the rich Richard collec to-go/). Roman goddess of battle and wisdom. Moylan and the Green-Wood Historic After lunch, we reconvened at the Erected in 1920 to commemorate Fund, has assembled to represent the Brooklyn Museum. Barry Harwood, the 1776 Battle of Long Island, she myriad accomplishments of Green- curator of American decorative arts, faces northwest, saluting the Statue of Wood’s denizens. Holdings include introduced us to highlights of the Liberty across New York harbor. The paintings, prints, sculpture, photo- collection, which encompasses more commanding view makes it easy to un- graphs, stereo views, advertising art, than 25,000 American decorative arts derstand why the British and American ephemera, tobacco tins, typewriters, objects, 10,000 domestic textiles and cameras and a wide array of other piece of ground, now so peaceful. artifacts, plus archival documents. armiesOther fought memorials so fiercely are overmore this subtle, very Many of these items (including a 23 periodThe str roomsength datingof the collection,from the 17th - DAS favorite, a stylish Art Deco radio hecentury noted, to centers the 1930s. on the mid-19th to such as the cast bronze carpet of flow Newsletter of the Decorative Arts Society, Inc. Fall 2017/5 Mausoleum interior (right).

Chandelier. Photo by Jeff Richman.

Charles Merrill Memorial Window, glass, shells, pebbles; 74 3/8 x 78 1/8 in. (188.9 x 198.4 cm), ca. 1910, W. Cole Brigham (American, 1870–1941). Brooklyn Museum, gift of the Roebling Society, Mrs. Frank K. Sanders, Mrs. Hollis K. Thayer and H. Randolph Lever Fund, and Frank L. Babbott Fund. Photo: © Brooklyn Museum.

6/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Art Deco radio. Photo by Jeff Richman.

Curator Barry Harwood interpreting decorative arts objects on exhibit (left). Parlor in Col Robert J Millgan House (above).

mid-20th century era, and is distin- We then proceeded to consider in preted, with an eye toward increasing guished by a focus on upper middle- depth two of the museum’s noted array the transparency of interpretive labels, class (rather than elite) objects, with of period rooms: a mid-19th-century responding to public interest in know- no distinction between the hand-made rococo revival parlor from Saratoga ing “What is real and what is not?” and the machine-made. Springs (NY), and the fabulous Moorish After a wide-ranging discussion of We began our tour with the mu- smoking room, a vivid expression of the many philosophical and practical seum’s stunning collection of stained challenges facing period rooms today, glass, featuring several examples by George A. Schastey for Arabella our afternoon concluded at the 19th- salvaged from local buildings. The Yarringtonthe Aesthetic Worsham style, designed Huntington ca. 1881’s century Modern gallery, an intriguing most distinctive was easily the “marine Manhattan townhouse, later owned by array of objects that persuasively dem- mosaic,” created ca. 1910 by painter- John D. Rockefeller. Both rooms were onstrates the emergence of a machine turned-glass-artist Walter Cole originally installed at the museum in esthetic long before the 20th century Brigham - with which modernism is usually as- enlivened with fascinating inclusions est large-scale museum installations of sociated. of seashells, (1870–1941) sea glass, river — a stones landscape and 1953 — making them among the earli other “found objects.” were recently reinstalled and reinter- Photos by the author except as noted. post-1850s decorative arts — and both

Newsletter of the Decorative Arts Society, Inc. Fall 2017/7 Events Belonging: Georgia and Region courses from the Attingham Trust Friends of Attingham, contact: Mary in the National Fabric (London, UK). Ellen Whitford, admin@americanfriend- Ninth Henry D. Green Symposium of sofattingham.org the Decorative Arts 25–29: non-residential program led by Georgia Museum of Art/University of Dr. Helen• French Jacobsen 18th-century to foster Studies, deeper June Ladis Trecento Conference; 212-682-6840. Georgia knowledge and understanding of French Museum of Fine Art, Houston Athens, GA Houston, TX https://georgiamuseum.org Based at the Wallace Collection with www.mfah.org February 1–3, 2018 one18th-century full study fineday andat Waddesdon decorative art.Man - November 8–10, 2018 This year’s symposium highlights or; intended mainly to aid professional The goal of this conference is to the diversity of material culture in Geor- development with object-based study. bring together scholars for a dialogue gia and the region, and places Georgia in on 14th-century art; organizers seek a broader conversation. The goal of the participation of international colleagues event is to consider the esthetic legacy Deadline to apply: January 26, 2018. and a balance of researchers at varying by David• 67th Adshead Attingham and Summer Tessa Wild School,, with stages in their careers. of Georgia. The symposium aims to in- specialistJuly 12–29: tutors intensive and lecturers; 18-day course includes led The Houston conference is the sec- tegrateof the 18th- the South and 19th-century into a wider residentnational visits to approximately 25 houses in ond newly established biannual forum and global scholarship through the ways Sussex, Nottinghamshire, Derbyshire, for a renewed and innovative discus- that it expresses national trends. County Durham and Northumberland; sion of 14th-century art and culture. Topics will range from southern- examines the country house in terms of The original model for the conference made porcelain and Georgia imports of architectural and social history, and the was a series of small meetings on the Duncan Phyfe’s furniture, “vernacular” decorative arts, and encourages discus- southern silver and the Romanov con- sion on topical issues of conservation and in the late 1990s by Andrew Ladis, a nection to diplomatic families. interpretation. Scholarships available. scholarTrecento, of first14th-century organized art in andGeorgia a men - tor to younger art historians; the title of include Alexandra Kirtley, Philadel- - the conference honors his legacy. phia Speak Museumers confirmed of Art (PA), at andpresstime Janine Deadlineber 2–11; to led apply: by Rebecca January Lyons26, 2018. and To create real dialogue, the confer- E. Skerry, Colonial Willamsburg (VA). run on• R behalfoyal Collection of the Royal Studies, Collection Septem ence will be limited to approximately 20 Independent scholars also will present Trust, with specialist tutors (many from papers of 20 minutes each. There will be research at the event. Peter M. Kenny, the Royal Collection Trust); strenu- no concurrent sessions. Papers will be co-president of the Classical American ous 10-day course based near Wind- grouped into sessions of three accord- Homes Preservation Trust, is keynote sor, with visits to royal palaces in and ing to shared issues or topics, but there speaker. His lecture is sponsored by the around London to study patronage and is no single overarching theme. Georgia Humanities Council. collecting of the Royal Family. Priority All topics and all media are wel- To organize this year’s symposium, to those with professional or specialist come, as long as they address the period Joseph Litts knowledge. Some scholarship assistance ca. 1250–1425. and Victoria Ramsay are working with available. Deadline for applications: To ensure the wider public can also Dale2017–2018 Crouch Beard, curator Scholars of decorative arts participate, a public keynote lecture will at the Georgia Museum of Art. They open the conference. are recipients of the Beard Scholar- FebruaryHorse and 12, the 2018. Country House, Sep- The call for papers is open to all ship, a new, paid internship in the deco- • Attingham Study Program:Elizabeth The scholars working on Early Italian art; rative arts at the museum established Jamieson, intensive 10-day study targeted invitations will be extended to by Drs. Larry and Linda Beard. programtember 19–28: examining directed the countryby house emerging scholars (those who have ob- Cost is $100 for the lectures only as a setting for outdoor pursuits, such tained the PhD in the last seven years) - as hunting and racing, and as a focus for to encourage their participation. Begin- mental activities. For more information, horse-drawn travel; based in East Anglia - contactand $300 Shannon for the lecturesWoolsey, and swoolsey@ supple and Yorkshire, with visits focusing on ers will also increase efforts to bring in uga.edu or 706-542-0442. houses with sporting art collections, Italianning with scholars the 2018 and conference, graduate students. organiz noteworthy stable blocks, riding houses There are no registration fees, but Summer Courses and carriage collections Some scholar- participants will be asked to indicate Attingham Trust ship support available. Deadline for which events they will attend. London, UK The call for papers will go out in www.attinghamtrust.org For enquiries and pricing informa- early January with a probable deadline June–September 2018 applications:tion, contact RebeccaFebruary Parker 12, 2018., rebecca. for submission in mid-March and a [email protected]. American response date in May.

Applications are now open for 2018 8/Fall 2017 Newsletter of the Decorative Arts Society, Inc. News The Asian Art Museum of Art of San Francisco (CA) has received museum. It is expected to be installed a pledged• gift of $25 million from ments that will be reconfigured for the Yahoo co-founder Jerry Uan and his the museum’s “Year of Glass,” which wife, Akiko Yamazaki, toward the willby the run spring through of 2018 the next to coincide calendar with year museum’s $90 million transformation and feature glass-focused program- project – the largest gift in the history ming and exhibitions. of the museum, which is owned by the The Chihuly work will be in the city of San Francisco and run privately. Myrna and Sheldon Palley Pavilion, Yamazaki is chair of the museum which is being reinstalled in anticipa- board and a collector, mainly of Song tion of the Year of Glass and includes dynasty ceramics. works by studio glass movement The project architect is Kulapat artists such as, in addition to Chihuly, Yantrasast, who turned a Masonic Harvey Littleton, Dante Marioni, temple into the Marciano Art Founda- William Morris, Therman Statom, tion (Los Angeles, CA). Lino Tagliapietra, Howard Ben Tré Bennington Museum (VT) and Toots Zynsky. has opened a permanent installation, The work documents Chihuly’s the Early• The Vermont Gallery, featuring role since the last quarter of the 20th rotating textiles and presenting life in Coffin detail, gold sheath and gesso relief. Vermont from 1761 through the early blown glass from small, precious object intocentury, large-scale reflecting contemporary the evolution works. of includes scenes and texts in thick gesso Metropolitan Museum of relief The that decor wereated intended surface to of protect the coffin from1800s. the The museum’s gallery presents collection. more than Art (New York, NY) has acquired an an- and guide Nedjemankh from death to 85 majorDale pieces Chihuly and’s smaller Mosaic objectsPersian, • The from the 1st century BC with a highly exterior is sheathed in gold, which was home • of collectors Dale and Doug ornamentedcient Egyptian lid. gold The cartonnage mummiform coffin cof- associatedeternal life inas ancienta transfigured Egypt with spirit. the The Andersona work commissioned, is moving to in the 1998 entrance for the gods and the divinized dead because of the Lowe Art Museum (Miami, FL). high-ranking priest of the ram-headed of its permanent nature. According to - godfin was Heryshef inscribed of Herakleopolis. for Nedjemankh, a ancient texts, the use of gold in the cof-

The installation comprises 32 glass ele reborn in the next life. fin would have helped the deceased be sheets of silver foil on the interior of theUnique lid, intended to this coffin to protect are thin Nedje - mankh’s face. To the ancient Egyptians, the precious metals gold and silver

gods on a general level, or the sun and symbolized the flesh and bones of the the cosmic deity Heryshef, whom Ned- thejemankh moon; served. and specifically the eyes of An inscription on the front of the

gods,coffin’s the lid sun connects and the gold rebirth and of“fine the deceased.gold” (electrum) The association to the flesh of ofthe the in - scription with the actual use of metals

unique — occurrence. on the coffinReliance is a rare Foundation — and possibly, an Indian philanthropic organization founded• The by Nita and Mukesh Ambani, Mosaic Persian, glass, dimensions variable, Dale Chihuly (American, b. 1941), 1998. © Chihuly has promised a gift to the Metropoli- Studio. tan Museum of Art (New York, NY) to

Newsletter of the Decorative Arts Society, Inc. Fall 2017/9 Acquisitions

Philadelphia Museum of New England and Pennsylvania, on dis- Hadley furniture style of joinery and Art (PA) has acquired a number of play in the exhibition Transplanting ornament; gifts,• promisedThe gifts and purchases, Traditions: Early Colonial Furniture Jean including: from the Anne H. and Frederick Vogel Chastellain, commissioned in the III Collection, including an early chest 1520s√a for stained a a new glass chapel piece of by the as handscrolls, hanging scrolls and of drawers with abstractly patterned Temple Church (Paris, France), depict- folding √ Japanese screens; ink paintings mounted carving, made in Hampshire County, ing the adoration of the magi as part MA, between 1715 and 1725, in the of a series of compositions created ca. furniture by cabinetmakers in colonial 1529, that will be on display this fall. √ nine pieces of early American News, continued the board of the Center for Craft, Cre- since being a student of Renaissance support exhibitions that examine the ativity & Design. She has written and art in Florence, Italy. She discovered done curatorial work on contemporary “the excitement of craft and MAD” arts and artists of India across time and and historic craft. when she attended a MAD Art to Wear inaccomplishments all media. Topics and will influence include earlyof the The Asheville Farm School merged with Dorland-Bell School to to the fourth century AD and 17th- create college. An institutional indus- andfashion has showsince inunderwritten the 1980s. She acquisi was- centuryBuddhist Mughal art from art. the first century B.C. try known as “Warren Wilson Crafts” tionselected for to MAD’s the board permanent of trustees collection. in 2013 Nita Ambani is a member of the lasted through the 1950s and ’60s. Russell Ely Burke has been a pro- Met’s new International Council, Students worked 15 hours per week to as well as founder and chair of the produce woven goods to sell. Recipients of the prize will be foundation. The foundation is the Student interest declined until the determinedfessional in theby afine jury arts of professionalsfor 48 years. philanthropic arm of Reliance Indus- 2000s, when the college created three in art, craft and design after an open tries Limited and aims to play a role in application process. Applications will addressing India’s development chal- and blacksmithing — and revived the lenges through innovative and sustain- work crews — fiber arts, wood joinery able solutions. added studio craft and material arts thatbe available fall. Further starting details in February are available 2018 at Warren Wilson College (Ashe- andtradition. greater In support2013, the for art woodworking, department madmuseum.org/burkeprizewith the first winner to be announced. ville, NC) is launching a low-residency, Museum of Glass (Tacoma, three-year • campus-wide craft initiative from the Windgate Foundation solidi- WA) has been promised the collection in collaboration with the Center for fiber arts and blacksmithing. Funding of Steven• The and Roslyn Shulman (Long Craft, Creativity & Design as a master Beach, CA), containing nearly 700 of arts in craft studies graduate-degree fiedmaster craft of programming arts in craft studies in recent is ex years.- pieces of glass by René Lalique. program. The first cohort of students in the Founding director Namita Gupta Museum of Arts and Design 1900s, Lalique’s work was hailed as Wiggers is securing faculty from art (MAD;pected Newto start York, in theNY) summer has established of 2018. representing From the thelate most 1800s chic to andthe mid-sophis- history, studio practice, material and the Burke• The Prize, a new annual award ticated qualities of French Art Nouveau cultural studies, anthropology, design to reinforce the museum’s “commit- and Art Deco styles. Although Lalique and curatorial studies so students can ment to celebrating the next generation began his career as a jeweler in the engage in critical study and experience of artists working in and advancing the late 19th century, he was entranced by - disciplines that shaped the American the possibilities of glass. His participa- tions. Students will work through studio craft movement.” tion in the 1925 Exposition Inter- differenta multi-semester interdisciplinary program configurain alternating The Burke Prize is an unrestricted nationale Décoratifs et Industriels residencies and self-study. Five residen- $50,000 award to a professional under Modernes cies and four directed study semesters - Deco style. Lalique’s stylistic legacy are required to complete the degree. als or wood. Applicants must be U.S. in Paris helped define Art Wiggers also was director and citizensage 45 working or permanent in glass, residents. fiber, clay, met designers and artists, including con- co-founder of Critical Craft Forum, The award is named for Marian and temporaryinfluenced subsequentartists. generations of an online and onsite platform. She led Russell Burke, who collect craft and The Shulmans started building the Museum of Contemporary Craft jewelry. (Portland, OR) from 2004–2014 and Marian Culbertson Burke has been representing select series designed by served on the Craft Think Tank and Lalique.their collection in 1983 with the goal of

interested in the traditional fine arts 10/Fall 2017 Newsletter of the Decorative Arts Society, Inc. People Appointments and moves management and museums, from Yale ing its curatorial program and activities, Bradley Bailey has been appoint- University. including exhibitions, public programs, ed as Ting Tsung and Wei Fong Chao Jorrit Britschgi is the new execu- and display of its collections. curator • of Asian art at the Museum of tive director of the Rubin Museum of Chi holds a master of studies with Fine Arts, Houston (TX). Currently Art (New• York, NY), succeeding Patrick distinction in classical archaeology from associate curator of Asian art at the Sears, who has retired. He has been the University of Oxford and a PhD from Ackland Art Museum at the University serving as director of exhibitions, collec- the Institute of Fine Arts, New York of North Carolina at Chapel Hill, Bailey tions and research at the Rubin. Before University (NY). that, he was head of exhibitions and Anna which has been sponsored by Anne publications at the Museum Rietberg Tobin D’Ambrosio has been appointed andwill beAlbert the first Chao to andhold the the Chao position, family, (Zurich, Switzerland). president• Director and CEOand chiefof the curator Williams through the Ting Tsung and Wei Fong Thomas P. Campbell, former Proctor Arts Institute Museum of Art Chao Foundation, which has provided chief executive of the Metropolitan (MWPAI; Utica, NY), succeeding An- support to the Asian art department and Museum• of Art (New York, NY), is the thony Spiridigloizzi, who announced his MFAH for many years. second recipient of the Getty Roths- retirement earlier this year. child Fellowship, which provides up to eight months of research and study at the J. Paul Getty Museum (Los Angeles, CA) and Waddesdon Manor (Bucking- hamshire, England). Jennifer Y. Chi has joined the Brooklyn Museum (NY) as deputy director • and chief curator after 10 years as exhibitions director and chief curator at the Institute for the Study of the Ancient World (ISAW) (New York Uni- versity), where she founded and created the curatorial vision for its exhibitions programs. D’Ambrosio received her bachelor’s degree from College of the Holy Cross curator of Asian art at the Ackland Art and holds a master’s degree from the Museum Most r(Universityecently the of first North associate Carolina Cooperstown Graduate Program. She at Chapel Hill), Bailey has written and began her museum career by volunteer- lectured widely, with a specialization in ing at Historic Cherry Hill (Albany, the art of Japan, focusing on the Meiji NY), an experience that affected her - decision to study American decorative tions between Japan and the West. He arts. She is a scholar in 19th-century hasperiod curated (1868–1912) exhibitions and on artistic Japanese rela American decorative arts, including fur- American and contemporary art at the niture, glass and silver, and has lectured Mead Art Museum, Yale University extensively across the country, served as Art Gallery and Recession Art (New curator for dozens of museum exhibi- York, NY), and organized two spe- tions, and written numerous books cial exhibitions of Japanese art at the In addition to bringing never- and articles, several of which have won Ackland Art Museum. He also led the before-seen ancient material to Ameri- national awards. reorganization and reinstallation of the can audiences, some of her exhibitions D’Ambrosio joined the MWPAI staff Ackland Art Museum’s galleries of Asian bridged antiquity and the contemporary art, which include Indian painting and world. Her upcoming Restoring the Mi- and was appointed director of the Mu- sculpture, Chinese ceramics, Korean noans: Elizabeth Price and Sir Arthur seumin 1989 of asArt curator in 2012. of decorative arts pottery, and Japanese metalwork, high- Evans juxtaposes the Turner Prize-win- Jonathan Fairbanks has retired lighted by the exhibition Color Across ning Price’s A Restoration with original as director of the Fuller Craft Museum Asia (2016). objects and material from the archive of (Brockton, • MA). In recognition of his Bailey earned his bachelor’s, mas- the Minoan site of Knossos. leadership, scholarship and service, the ter’s, PhM and PhD in art history, as well Chi will help shape the overall stra- board has named him Senior Research tegic direction of the museum, oversee- Associate and Director Emeritus. as his MBA, with emphasis on nonprofit Newsletter of the Decorative Arts Society, Inc. Fall 2017/11 The position of executive direc- Turning Center and incorporated it tired from the Huntington Library, Art tor will be known as the Jonathan Leo Collections and Botanical Gardens Fairbanks Executive Director in honor brothers organized wood-turning sym- of his indispensable contributions to posiaunder that the currentbecame nameforums in for 1986. makers The the museum. Deputy director Denise from all over the world. collection(San Marino, of early CA). HisAmerican final project furniture was Lebica will serve as interim director anda handbook related decorativedocumenting arts the given 130-piece to the while a national search is conducted to Huntington through the estate of South- ern California collectors Victor Gail and Fairbanks was named director of Thomas H. Oxford. Once the handbook thefill the museum position. in 2012 after having founded the American Decorative Arts and from the donors’ trust will endow his Sculpture department at the Museum successor’sis published position in the spring as the of Gail-Oxford 2018, funds of Fine Arts, Boston (MA) and served as Curatorship of American Decorative the department’s curator from 1970– Arts. 1999. He expanded the institution’s contemporary craft holdings of furni-

tenure. He received his training at the ture, ceramics, glass and fiber during his- sity of Pennsylvania and Pennsylvania AcademyUniversity of of FineUtah Arts(BFA, (MFA, 1953), 1957), Univer The center now sponsors four to Winterthur Museum, and University of Delaware (MA, 1961). At Winterthur annual international residency program over the next decade, he became the as- thatfive exhibitionshosts six artists, a year; a photojournalisthas a 22-year-old sociate curator for conservation. and a scholar; has a library of resources dedicated to the study and documenta- Craft Museum director, Fairbanks played tion of wood turning, woodworking and a leadingOver rolethe past as an five advocate years as for Fuller Ameri - wood artists; and houses a collection of can crafts, design and decorative arts more than 1,100 objects. while growing the museum’s program- LeCoff has been an advocate for ming, collection and national reputa- emerging, mid-career and established In what Nelson refers to as his “so- tion. In 2014, he adopted an additional called retirement,” he plans to spend role as trustee for the collection of the mission expanded to signal a departure his time advancing the mission of the late Joan (Jockwig) Pearson Watkins fromartists solely in the wood-turned field. In 2011, objects the center’s to Enamel Arts Foundation he recognition of wood art in all its forms, and his partner Bernard Jazzar created Kevin Gavagan has been appoint- facilitated by various techniques and innonprofit 2007. Nelson and Jazzar recently ed(1924–2013). the new chair of the George East- multiple materials. guest-curated an exhibition for the man • Museum (Rochester, NY) board. Nathans graduated from Hamilton Renwick Gallery of the Smithsonian His involvement with the Eastman College and the Wharton School, and American Art Museum (Washington, Museum began in 1995, as a member of also studied at the Winterthur Muse- DC) and are working on a book about the George Eastman Society. He has um and England’s Attingham Summer June Schwarcz served on the board of trustees for 11 School. years, including several as a vice chair. (1918–2015), one -of the Albert graph,leading supported figures in bythe a late grant 20th-century from the LeCoff has retired from his role as ex- Windgateenamels field. Charitable The Schwarcz Foundation mono , will ecutive• Aft directorer 31 years of the of Centerservice, for Art in - Wood (Philadelphia, PA). He will remain tion about the foundation’s mission, involved in an advisory capacity to ad- collection,be published and in programs, late 2018. go For to informawww. vance the center’s mission. The board of enamelartsfoundation.org. trustees launched a national search for Susana Torruella Leval, who his successor in September 2017. served as director of El Museo del The center began as LeCoff’s “pas- Barrio • (New York, NY) from 1994 to sion project.” His focus on concentrated 2002 and as chief curator there for four study and appreciation of wood turn- years, and was named director emerita ing stemmed from his experience as by its board of trustees in 2002, is a a professional wood turner and his new trustee of the Brooklyn Museum background as a teacher and educator. (NY). While at El Museo del Barrio, she He originally co-founded the organiza- received the New York State Governor’s tion with his brother Alan as the Wood Harold B. “Hal” Nelson has re- Arts Award (1999). She received the

• 12/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Hunter College President’s Medal for the executive director of the Emerson Gal- Flower: The Natural World of Joey Arts in 1995 and an honorary doctorate lery at Hamilton College. He also has ex- Kirkpatrick and Flora Mace; In the from Pace University in 2000. perience in the corporate sector, having Box: Giampaolo Seguso — The Song worked in advertising, marketing and of Glass; Monir Shahroudy Farman- communications with Ogilvy & Mather, farmaian — Infinite Possibility: Merrill Lynch, and the Sydney Company. Mirror Works and Drawings, 1974- Diane C. Wright has been ap- 2014; Beverly Fishman: In Sickness pointed as curator of glass at the Toledo and Health; Chihuly in the Garden, and Museum • of Art (TMA; OH). A recog- Louis C. Tiffany and the Art of Devo- nized scholar of the windows and mosa- tion. ics of Louis Comfort Tiffany and his Wright has taught courses on deco- studio, Wright will be responsible for rative arts and design at George Mason overseeing TMA’s glass and decorative University, the Rhode Island School of arts collection, including acquisitions, Design, Corcoran College of Art and research, exhibitions and publications. Design, and Parsons. She has presented Since 2014, Wright has served as the lectures on glass art throughout the U.S. Carolyn and Richard Barry Curator of and contributed numerous scholarly ar- Glass at the Chrysler Museum of Art ticles to journals, exhibition catalogues (Norfolk, VA). and books over the years.

Awards Steven Miller, executive director Torruella Leval is a member of the of Boscobel House and Gardens (Gar- advisory boards of the Center for Puerto rison, • NY), has been accepted as a visit- Rican Studies at Hunter College, Mir- ing scholar at the American Academy ror of Race Project, Association of Art (Rome, Italy). Museum Directors and Cultural Insti- tutions Group. She has served on the since 1971 and has served as a curator, boards of the Metropolitan Museum of director, Miller consultant, has been intrustee the museum and educa field- Art, Dreamyard, Aperture Foundation, tor. For the past 14 years, he has been American Academy in Rome, Alliance an adjunct professor in the Seton Hall for the Arts, American Association University MA program in museum of Museums, Municipal Arts Society, professions. He holds a BA in sculpture Andy Warhol Foundation for the from Bard College and an International Visual Arts, and Museum of Jewish Heritage. In 2011, President Obama Conservation Science from the Inter- named her to the board of the Institute nationalGraduate CentreCertificate for inthe the Study Principles of the of of Museum and Library Services. In Preservation and the Restoration of Wright received a BA in history 2015, New York Mayor de Blasio named Cultural Property (Rome, Italy). from the University of Utah and a MA her chair of the Mayor’s Cultural Arts Miller joined Boscobel as executive in the history of decorative arts from Advisory Committee. the Parsons School of Design at the David Nathans is the new execu- As a visiting scholar, Miller will New School (New York, NY). Before her tive director and CEO of the Royal Oak completedirector in a 2013.book about how museums position at the Chrysler Museum of Art, Foundation • remove collections or“deaccessioning”; Wright served as marketing and com- National Trust of England, Wales & he has written, lectured, advised and munications manager at the Pilchuck Northern Ireland, the U.S., which affiliate seeks of theto raise consulted on the subject. His deacces- Glass School (Seattle, WA), Marcia awareness of and advance the work of sion book will follow Wiley-Blackwell’s Brady Tucker Senior Curatorial Fel- the National Trust of England, Wales forthcoming publication of his museum low at the Yale University Art Gallery and Northern Ireland by inspiring studies textbook in September 2017. (Hartford, CT) and museum educator support from the United States for its Wilfried Zeisler has been pro- at the Corning Museum of Glass (NY). efforts to preserve and protect historic moted to the chief curator and Estella She also completed graduate intern- places and spaces. Chung • to director of collections at ships at the Chrysler Museum of Art, Hillwood Estate, Museum & Gardens and the Smithsonian’s Freer/Sackler experience, most recently as execu- (Washington, DC). Museums and Blair House (Washing- tive directorNathans ofhas the extensive Martha’s nonprofit Vineyard Zeisler leads collections research, ton, DC). She also is a former DAS board Museum (MA), where he provided stewardship and acquisitions, publica- strategic leadership, program oversight tions, and special exhibitions; continues Among the exhibitions she has to work with Russian and 19th-century and management. Before that, he was member and officer. organized are Sibylle Peretti; Root and art; and directs and advances the Liana

Newsletter of the Decorative Arts Society, Inc. Fall 2017/13 Paredes Fellows Program. Chung cement and rubber. She earned a BA in oversees collections management and architecture with a minor in art history to Montreal, Canada, and then to the conservation, the research and archives at the University of California, Berkeley. U.S.after in World 1950; War they II. married She emigrated in 1951 first and and continues to function as curator of settled in Rhode Island. American material culture, historian and reshape an understanding of these In the early 1960s , Farago served and head of the oral history program. relationships. Bai designs Chairs furnitur aree a to recurring reflect as a docent at the Rhode Island Jason Stein and Dan Tolson motif in her work. She is enrolled in School of Design (RISD) Museum have joined the Modern decorative art the Whitney Museum of American of Art (Providence, RI), where Peter and •design department of Bonhams as Art Independent Study Program and earned a textile engineering degree. directors. Stein will be based in Los An- earned an MFA in sculpture/dimen- Farago initially focused on Ameri- geles, CA and Tolson in New York, NY. sional studies from Alfred University can folk art and furniture. By the Both are returning to Bonhams, having and a BA in sociology from Wesleyan mid-1970s, she was highly regarded held senior specialist positions. University. Stein rejoins Bonhams with more collection to the RISD Museum of Art, than 25 years’ experience as a 20th- In memoriam whichin the fieldestablished and eventually an exhibition donated center her century decorative arts specialist with Paulus Berensohn, a dancer who in her name. other international auction houses on both the East and West Coasts. Tolson Ber• ensohn was the author of Find- has more than 20 years experience in ingbecame One’s a Waypotter, with died Clay in (1972),June at 84.which 20th-century decorative arts, having provided guidance on making pinch pioneered design sales at international pots along with his perspectives on art, auction houses in London, Los Angeles the environment, spirituality and cre- and, most recently, Sotheby’s New ativity. He would leave his pots in the York, where he held the post of vice woods to “melt” back into the Earth, president, senior specialist. Museum of Art and After studying dance in college, Design (MAD; New York, NY) Fellows rathertaking thanworkshops fire them with in Merce a kiln. Cunning - • The new in its Artist Studios Program who ham and being a demonstrator with work in the decorative arts are Mimi Martha Graham, Berensohn spent time Bai, Lexy Ho-Tai, Johannah Herr and at the Land commune, where he saw Luam Melake. Ho-Tai is also the Van Karen Karnes working at a kick wheel Lier Fellow. The full-time fellowship is and was inspired to take up pottery. funded by the New York Community He also met M.C. Richards at Land Trust and enrolled in her workshop at the After beginning a new second col- and a studio at MAD to young people Haystack Mountain School of Crafts lection of contemporary craft, special- and provides financial support from historically underrepresented (Deer Isle, ME). populations who are dedicated to a Berensohn’s philosophy of ceram- and furniture, Farago was an early career in the arts. ics was “a noncommercial enterprise benefactorizing in jewelry, and supporter glass, ceramics, of artists fiber Ho-Tai is an interdisciplinary artist that can foster human development such as Dale Chihuly, Ken Price, Sam who works primarily with found and and unlock human potential.” Maloof, John Cederquist, Michael recycled materials using traditional Berensohn taught crafts and pot- Glancy, Louis Mueller, Claus Bury craft techniques. tery at Pendle Hill (Wallingford, PA) and Wendell Castle. In recent years, Riley works with substances such and Swarthmore College. He bought a she donated hundreds of works to the as glass, lime and washing soda, creat- property that he operated as a coop- Museum of Fine Arts, Boston (MA), ing or altering the circumstances of eratively owned artist’s colony called which established the Daphne and their manufacture, whether reversing Endless Mountain Farm (Scranton, Peter Farago Gallery to memorialize the coloration in glass or making lime PA). He started teaching pottery and the gifts. using antiquated burning methods. She journal-making workshops at the earned a BFA in glass with honors from Penland School of Crafts (Bakersville, Victor L. Johnson the Rhode Island School of Design. and •his Collect wife, orJoan and, received philanthropist the Herr uses color, pattern and image lasted for almost 40 years. Antiques Dealers hasAssociation died at 89. (ADA) He density to create textile work that ad- NC) Berin theenson late started1960s, makingan affiliation tapes that- Award of Merit in 2016. The collection dresses societal issues. tries in the late 1970s as therapy after of American folk art that he amassed Melake’s recent studio practice a cancer scare left him too tired to with his wife was featured in the focuses on handweaving mixed-media make pottery. exhibition Drawn with Spirit: Penn- wall hangings using materials that Daphne Farago, a self-taught sylvania German Fraktur from the range from common objects to indus- collector of decorative arts, died in Joan and Victor Johnson Collection at trial materials informed by her furni- July. • She was born in South Africa and the Philadelphia Museum of Art (PA). ture design practice, such as metals, met her husband, Peter, in Europe The couple endowed a gallery of Penn-

14/Fall 2017 Newsletter of the Decorative Arts Society, Inc. sylvania decorative arts at the museum and promised their fractur collection to the museum; Joan Johnson has been a Exhibitions The Johnsons began collecting California Germany. Villeroy brought in special- Americanatrustee since after 1993. they were married in Kukuli Velarde: Plunder Me, Baby ists from England and France to mod- 1955. American Museum of Ceramic Art Fred Leighton has died (AMOCA) developed a printing process to create Pomona, CA ernize production. Around 1815, they antique • Jew Arteler Deco, Art Nouveau, Victo- www.amoca.org (prints under glaze). rian,at 85. Indian He was Mughal known and for royalproviding jewels, Through February 11, 2018 decalsThe that families could mergedbe fired theironto comclay - This exhibition is part of the Getty- Villeroy and to celebrities. He sold jewelry acquired led Pacific Standard Time: LA/LA, Boch (V&B). The Mettlach factory fromand 18th-century estates, dealers, shipwreck individuals emeralds, and an exploration of Latin American and panies in 1836 to create auction houses. Designers would show Latino art in dialogue with Los Angeles, to decline around the early 1900s due him sketches and he would provide toreached a downturn its peak in aboutthe economy 1880 but and began the U.S.-based Peruvian artist Kukuli World War I. Today, V&B continues to Liana Paredes, former chief andVelarde the first, who West was Coastborn inexhibition Cusco in by produce bathroom wares, tableware curatorjewels and and settings director to of fit collections their ideas. at and other ceramics. Hillwood • Estate, Museum & Gardens Velarde’s ceramics works are (Washington, DC), died in March 2017. augmented1962 and moved with ato selection the U.S. inof 1988.pre- Revelations: Art from the African Alan Columbian ceramic objects to illustrate American South Peckolick has died at 76. Among his her source material. Fine Arts Museums of San designs • Logo was and a poster graphic for designer late-night Francisco/de Young openings at the Museum of American arts degree from Hunter College and San Francisco, CA Folk Art, Whitney and Guggenheim lives V andelarde works has ina bachelor Philadelphia, of fine PA. www.famsf.org Museum (New York, NY) that is in the Her work is included in the collec- Through April 1, 2018 permanent collection of the Gutten- tions of the Houston Museum of Fine Revelations: Art from the African berg Museum (Mainz, Germany). Arts (TX); Racine Art Museum (WI); American South is an original exhi- Fuller Craft Museum (Brockton, MA); bition celebrating the acquisition of issue of the DAS newsletter, Clare Eddy and John Michael Kohler Arts Center 62 works of art by 22 contemporary Thaw • As, who briefl establishedy noted in the the Eugene first 2017 (Sheboygan, WI). She has received a African-American artists, including V. and Clare E. Thaw Trust with her John Simon Guggenheim Fellowship, quilts. Born in the era of Jim Crow seg- husband to support their appreciation Pollock Krasner Foundation Grant, USA regation, with slavery in their inherited of the arts (as well as the environment Knight Fellowship, PEW Fellowship memory, the majority of these artists and Joan Mitchell Foundation Grant. were self-taught. She was a benefactor of the Fenimore Artand Museumanimal rights), (Cooperstown, died in June NY), at 93. Mettlach: Folktales & Fairy Tales Tiffany Favrile Glass: Masterworks where she and her husband donated American Museum of Ceramic Art from the Collection of Stanley and their collection of American Indian (AMOCA) Dolores Sirott art. The Thaws also donated works to Pomona, CA Huntington Library, Art Collection the Frick Collection (New York, NY), http://www.amoca.org and Botanical Gardens Museum of Modern Art (New York, Through July 31, 2018 San Marino, CA NY), National Gallery (Washington, Mettlach: Folktales & Fairy Tales www.huntington.org DC), Georgia O’Keeffe Museum (Santa includes 140 objects representing folk- Through February 26, 2018 Fe, NM) and others. tales found in cultures throughout the This survey of Tiffany favrile glass The Thaws were known for col- world. vase production includes experimen- lecting medieval and Renaissance François Boch began decorative arts, among other objects. manufacturing ceramic dinnerware peacock vases from early in the 20th Exhibitions of donated by the Thaws to In 1748, tal pieces made in the 1890s to the - various museums include Nomadic Art purchased a former Benedictine abbey of the Eastern Eurasian Steppes at the in Mettlach,France. In Germany, 1809, the on Boch the family Saar River century through 32 vases in a collec Met. near the border with France. Jean- tion of almostConnecticut 300 pieces. The Clare Eddy Thaw Gallery at François Boch, François Boch’s grand- Morgan: Mind of the Collector the Morgan Library & Museum (New son, designed many of the machines Wadsworth Atheneum Museum of Art York, NY) was inspired by Renaissance used to improve production at the new Hartford, CT chambers that Renzo Piano encoun- facility. https://thewadsworth.org In 1791, Nicholas Villeroy Through December 31, 2017 natural light for exhibitions. acquired an earthenware factory in The Wadsworth Atheneum tered in Italy and provides filtered Newsletter of the Decorative Arts Society, Inc. Fall 2017/15 Museum of Art celebrates the art- sworth, Zachs Family Foundation, J. Pierpont Pierpont commissioned and funded the Duff Ashmead and Eric Ort, and David Morgan $1.4the museum. million Morgan After Junius Memorial died in in 1890, his T. Langrock Foundation, with addi- collectingthan 100 objects, career of organized financier according father’s honor, more than doubling the tional support from JPMorgan Chase to three of(1837–1913) his collecting through passions: more antiq - museum’s size. These capital contri- & Co., the Morris Joseloff Exhibition uities, sacred relic, and objects with his- butions are represented by a pair of Fund, Dr. Tim McLaughlin and Dr. torical ties. Morgan traveled the globe wrought bronze and brass gates created Marian Kellner, Michael and Gen- to collect more than 20,000 works of by the Gorham Manufacturing Com- evieve Pfaff, and the Agnews Gallery pany (Providence, RI). (London, England). included decorative arts such as silver, Pierpont’s ultimate gift to the Wad- porcelain,art in a 23-year glass, period.tapestries, His acquisitionsenamels, sworth Atheneum came in 1917, when, ivories and bronzes. in accordance with his father’s will, Jack “Things of Beauty Growing”: British Morgan: Mind of the Collector Morgan Studio Pottery unites more than 100 of these objects objects from Pierpont’s collection to the Yale Center for British Art to illuminate Morgan’s pursuit of global Wadsworth dispersed Atheneum more “for than the 1,350 instruc - New Haven, CT culture, commemorating his collecting tion and pleasure” of the public. The gift www.yale.edu achievements and exploring his moti- formed the core of the museum’s Euro- Through December 3, 2017 vations, buying decisions, and impact pean decorative arts collection; Morgan: This exhibition tells the story of on the evolution of art collecting and Mind of the Collector corresponds with studio pottery in Britain, from the early museums in America. the centennial anniversary of that re- 20th century to the present, by focus- foundation. ing on the evolution of the vessel form. A glass cameo cup on loan from Vase, bowl, charger, set: This family of the Corning Museum of Glass (NY) is forms ties ceramics to its functional known as the Morgan Cup (c. 1–99 CE); origins. Morgan acquired it despite opposition from advisors who doubted its au- thenticity. It proved to be a rare object manufactured in the ancient Roman Empire. In the same vitrine, the bronze Draped Warrior (c. 510–500 BCE) is one of 90 ancient objects Morgan be- queathed to the Wadsworth Atheneum. He collected illuminated prayer books and missals, Bibles, and enameled and metal reliquaries, including the Reli- quary of Mary Magdalene (14th and 15th century), which is said to contain the saint’s tooth and now belongs in the collection of the Metropolitan Museum Moon Jar, stoneware, porcelain slip, paper of Art (New York, NY). fiber, wood ash, white glaze; 2016; Akiko Hirai, A lifelong interest in European Collection of the artist, London. Photo: Jon The Great Ruby Watch, case and dial: painted history and royalty attracted Morgan Stokes. and raised enamel on gold, set with rubies; to works of art such as the Great Ruby The exhibition traces the major movement: gilded brass and partly blued steel, - ca. 1670. German; watchmaker: Nicolaus Ru- Watch (c. 1670) that once belonged to gendas the Younger. Metropolitan Museum of the Baroness Alphonse de Rothschild, tery since the beginning of 20th century, whiletypologies looking that back have to defined the precedents studio pot Art, gift of J. Pierpont Morgan, 1917. wife of the French banker. It is deco- The founder of a banking dynasty that inspired modern pioneer potters. still in operation today, Morgan was enamel. Things of Beauty Growing opens rated with 85 clear rubies and painted also an important philanthropist and The diversity of Morgan’s objects with the iconic form of the moon jar, became an avid art collector after the and their quantity are seen in a selec- originally developed in Korea during death of his father, Junius Spencer tion of collection catalogs. Like many the Joseon dynasty and reinterpreted Morgan collectors of his time, Morgan commis- by contemporary potters as an em- the third generation to support the sioned leading scholars to document his blem of transcendence. It traces the Wadsworth (1813–1890). Atheneum —His his family grandfa was- properties in limited-edition volumes, development of studio pottery through ther Joseph was one of the museum’s making them accessible to people un- archetypal forms in a loose chronology, founders. able to see the works in person. from the tea bowls that Bernard Leach The exhibition is supported by the brought from Japan and shaped into the contributed a combined $150,000 to Decorative Arts Council of the Wad- foundations of British pottery to recent In 1889, Pierpont and his father 16/Fall 2017 Newsletter of the Decorative Arts Society, Inc. works by Julian Stair, Felicity Aylieff independent scholar, and Mary Hal- www.newarkmuseum.org and Clare Twomey. lam Pearse, associate professor of art Long-term installation Twomey’s installation Made in and area chair for jewelry and metals, Although Tiffany & Co. was China Lamar Dodd School of Art. Newark’s most-famous silver manufac- The exhibition shows that the story of turer, the city was home to a number studio includespottery is 80 a globallarge porcelain one — pots vases. New Jersey of important silver companies and the and potters alike have traveled between When Objects Became Art center of a gold jewelry industry. By England, continental Europe, Asia, Newark Museum 1900, sterling silver objects were being Africa and elsewhere. It also presents Newark, NJ mass-produced at modest cost and sold studio pottery as an ongoing concern www.newarkmuseum.org through jewelry stores in every state in for contemporary makers. Through 2018 the country. In addition to objects from public This installation highlights the In the same period, 14-karat gold and private collections, several works museum’s commitment to collecting jewelry became a staple of modern fash- created for the exhibition are on display. and displaying modern ceramics and ion for both men and women. Newark Things of Beauty Growing: British glass as art, spotlighting art ceramics jewelry workshops produced millions of Studio Pottery is organized by the Yale purchased between 1911 and 1926 with pieces of gold jewelry annually. Center for British Art in partnership three examples of art glass from the with the Fitzwilliam Museum (Univer- 1920s. New York sity of Cambridge), and co-curated by In 1910, the museum mounted an War and Pieced: The Annette Gero Simon Olding, director of the Crafts exhibition called Modern American Collection of Quilts from Military Study Centre, University for the Cre- Pottery and founded its decorative Fabrics ative Arts (UK). arts collection with examples from this American Folk Art Museum The exhibition is accompanied by a display. In the 1920s, with the comple- New York, NY publication of the same title, co-edited tion of its new building, the museum https://folkartmuseum.org by the curators and co-published with purchased more-modern ceramics. Through January 7, 2018 the Fitzwilliam Museum in associa- The museum started buying modern War and Pieced showcases the tion with Yale University Press, with glass in 1912, including examples from complex geometric quilts made by men contributions by an international team a 1929 exhibition at Bamberger’s using dyed wools derived from Brit- of scholars and the biographies and Department Store titled International ish military and dress uniforms. Once portraits of artists in the exhibition. Ceramics and Glass that was echoed by termed “soldiers’ quilts” or “convales- an installation at the museum. cent quilts,” the pieced textiles are most Georgia closely associated with the Crimean Crafting History: Textiles, Metals and Newark: City of Silver and Gold from Ceramics at the University of Tiffany to Cartier Africa and other regions of the British Georgia Newark Museum EmpireWar, as wellduring as conflictsthe 19th incentury. India, South Georgia Museum of Art Newark, NJ Organized in collaboration with the Athens, GA http://georgiamuseum.org February 1–April 29, 2018 The University of Georgia (UGA) has offered instruction in ceramics, textiles and jewelry/metalwork since the early 1940s. This exhibition and its accom- document the craft areas at UGA. In ad- Soldier’s quilt, mili- ditionpanying to publicationcelebrating arethis the local first heritage, to tary fabrics, beads; the project investigates the history of artist unidentified. American studio craft through the lens of a public university. Artists represented include Earl McCutchen, Frances Stewart Higgins, Wiley Sanderson, Glen Kaufman and Robert Ebendorf . Sponsors include the Center for Craft, Creativity & Design; W. Newton Morris Charitable Foundation; and Friends of the Georgia Museum of Art. Curators include Ashley Callahan,

Newsletter of the Decorative Arts Society, Inc. Fall 2017/17 International Quilt Study Center & Museum (University of Lincoln–Nebras- ka) and co-curated by Dr. Annette Gero, international quilt historian, author and collector, the exhibition relates these military quilts to an earlier technique of pictorial inlaid or intarsia quilts, made with felted wools during the Prussian and Napoleonic wars beginning in the

The quilts often incorporate thou- mid-18thsands of pieces century. no larger than 1-inch square. Examples are drawn primarily from Gero’s collection, with additional pieces from public and private collec- Bride’s robe, cotton, silk, tions, many never before on view. paper, gold thread; 71x6x48 The 240-page publication Wartime in. (180.3x15.2x121.9 cm); Quilts: Appliqués and Geometric Mas- Brooklyn Museum collection. Photo: Jonathan Dorado, terpieces from Military Fabrics (Beagle Brooklyn Museum (NY). Press, 2015) accompanies the exhibition. The exhibition will be at the Inter- national Quilt Study Center & Muse- um mundi/” and “forbear /RK/JLK/1896.” John The catalog is edited by Julius Lockwood Kipling, 1896. © National Trust Im- Bryant and Susan Weber, published John from Lockwood May 25–September Kipling: Arts 16, & Crafts 2018. ages/John Hammond. with Yale University Press, and includes in the Punjab and London John Lockwood Kipling: Arts & 17 essays by scholars of 19th-century Bard Graduate Center Crafts in the Punjab and London art, architecture and design. Illustrated New York, NY explores the life and work of John with 700 color images, including pieces www.bgc.bard.edu Lockwood Kipling featured in the exhibition, it has a chro- Through January 7, 2018 nology of Lockwood Kipling’s projects, Arts and Crafts movement. (1837–1911), He was an also exhibition checklist and bibliography. aartist, social teacher, campaigner curator for and the figure preservation in the Support is from Martin Levy, and promotion of Indian crafts and a de- Camilla Dietz Bergeron and Gus signer of architectural sculpture whose Davis, Edward Lee Cave, Vera Mayer creations can be seen on buildings in and other donors. London, Mumbai and Lahore. The exhibition focuses on Lock- Arts of Korea wood Kipling’s advocacy for and Brooklyn Museum promotion of the arts and crafts of Brooklyn, NY India through his work at art schools in www.brooklynmuseum.org Bombay (now known as Mumbai) and Reinstallation Lahore, as well as his role as curator of Arts of Korea is a celebration of the the Lahore Museum, journalism over Brooklyn Museum’s Korean collection and a preview of its future Arts of son — the writer and poet Rudyard Asia and the Middle East galleries. The 25 years in India, and influence on his renovated Arts of Korea gallery is triple books he illustrated. its original size and will display more Kipling The (1865–1936), exhibition includes some of250 whose objects, than three times more artworks and encompassing metalwork and furniture, illustrated books and architectural orna- or after multiple decades in storage. ments, and ceramics and relief sculpture objects,Arts many of Korea on view for the first time from the Victoria and Albert Museum of art, including a selection of ceramics, (V&A; London, England) collections and from early stoneware presents funerary 80 worksvessels lenders across Britain, the United States and inlaid celadons to later wares with and Pakistan. freely painted underglaze decoration, John Lockwood Kipling: Arts & and examples of metalwork, furniture, Crafts in the Punjab and London was painting, jewelry and costume. Tobacco jar in the form of a bear holding a tree on view at the V&A in 2017. stump, terra-cotta. Inscriptions: “fumus gloria Arts of Korea features 1,800 years 18/Fall 2017 Newsletter of the Decorative Arts Society, Inc. of the region’s art-making through bags and literature about the genre. His technique and selections from his mold- artworks and objects such as a 12th- gift to the Cary Library includes refer- century ewer in the shape of a lotus ence and supplemental materials. the inspiration for the contemporary - The oldest item is a 1961 bag from worksform fiberglass that Castle experiments. has been creating These arewith est Korean ceramics due to its modeling Bloomingdale’s; and most-recent addi- his robot that uses a process similar to andbud, decoration; considered aone recent of the curatorial world’s findis- tions to the collection are from 2010. his early stack-lamination carving, but covery of an extremely rare early 19th- Designers represented include Yoko with greater precision and complexity. Ono, Keith Haring, Rudolph de Harak, ceremonial occasions, later banned for David Hockney, Barbara Kruger, Willi itscentury scale; wide-brimmed a 6th-century pair official’s of earrings hat for Kunz, Annie Leibovitz, Roy Lichten- that demonstrates the diffusion of art- stein, Massimo and Lella Vignelli, and making techniques along the Silk Road Andy Warhol. trade routes that connected East and The collection combines a focus West; and a heavily embroidered cloak on design and functionality to interest worn by 19th-century Korean brides, students in industrial design, printing, called a hwalot, on view after extensive hospitality, packaging design and more in everyday objects. time since its acquisition in 1927. - conservationReinstallation treatments of the collectionfor the first was ments and innovations in machines, made possible by three grants from the adhesives, Between designs, 1852 andplastics 1990, and develop printing National Museum of Korea. techniques resulted in an ever-better, cheaper shopping bag. As manufactur- Carry On! Selections from the J. Scott ing and printing bags became inexpen- Patnode Shopping Bag Collection sive, shopping bags became more and Cary Graphic Arts Collection/ more common, with many stores giving Rochester Institute of Technology them away for free. Between the 1960s Rochester, NY and the 1990s, shopping bags attainted www.rit.edu a certain ubiquity in many consumer Through December 18, 2017 cultures. The bags are not just tools, but Serpentine Floor Lamp, mahogany, 1965. canvases for design messages, demon- Photo: Montreal Museum of Fine Art. strating a variety of technique, shape, Castle’s current studio practice material and message. Their presence in combines handcraftsmanship such as stores, on the streets and in homes went - from practical to symbolic to ideologi- cal. carving, rasping and finishing with digi Patnode graduated from Gonzaga in milling.tal technologies, These new including works re 3D installed scanning, with3D modeling earlier pieces and computer-controlled that inspired them. He worked as an art professor for many Supporting sponsors include years,1968 and teaching, began among teaching other there things, in 1970. Michael Jesselson, Ameriprise Finan- courses in three-dimensional design for cial/Nocon & Associates, the Robert which he used the collection of shop- L. & Mary L. Sproull Fund, Anne and ping bags as a teaching tool. He opened Ronald Abramson Family Foundation, the Jundt Art Museum in 1995 and was Canandaigua National Bank & Trust, its director and curator until his retire- Rubens Family Foundation, and Mr. and Mrs. Thomas F. Judson, Jr. The exhibition is part of the Novem- Wendellment in 2013. Castle: Remastered Memorial Art Gallery and Corning, NY, and an adaptation of Rochester, NY anber exhibition 3–5, 2017, originally DAS trip presentedto Rochester at Signature shopping bag, Sherry-Lemann, LTD., www.mag.rochester.edu the Museum of Arts and Design (New New York, NY. Through December 31, 2017 York, NY) in 2015. This exhibition features 72 exam- Wendell Castle Remastered ples of shopping bag deisgn from a col- presents the digitally crafted works of The Silhouette of Fashion: The 1850s lection of almost 1,200 pieces donated master furniture maker, designer, sculp- Merchant’s House Museum to the Cary Collection by J. Scott Pad- tor and educator Wendell Castle. New York, NY node, retired director and curator of the The exhibition features approxi- www.merchantshouse.org Gonzaga University Jundt Art Museum mately 40 works of art, including exam- Through January 8, 2018 (Spokane, WA), a collector of shopping ples that illustrate his stack-lamination This part of a series of exhibitions

Newsletter of the Decorative Arts Society, Inc. Fall 2017/19 featuring Tredwell dresses from each This loan exhibition is devoted to exhibition; Offering or Fruit Tray with decade of the 19th century is a one- masterworks of Japanese bamboo art, Intersecting Circles Design (ca. 1947), piece day dress of cream, brown and including works by six artists who were an early work of smoked timber bam- salmon-pink plaid silk, sewn entirely by designated as Living National Treasures, boo by Shōno Shōunsai (1904–1974), hand. It is trimmed with fringed rust- and features more than 90 works from - colored ribbon and has a 6.5” pocket the late 19th century to the present. ing National Treasure of bamboo art; sewn into the right side of the skirt. The exhibition highlights key stages Autumnwho, in 1967, Breeze became (2014) the by firstUematsu Liv in the modern history of Japanese Chikuyū (b. 1947); and Flowing Pattern bamboo art while introducing the main (2014), a piece by Honma Hideaki (b. sleeveOne —wide, of the bell-shapeddefining characteristics sleeves that of lineages of bamboo masters and show- 1959). requireladies’ fashion the use in of the detachable 1850s is underthe pagoda- ing the emergence of a contemporary sleeves to complete the look of the dress. bamboo art. For hundreds of years, both simple, and appears to have been a favorite of The style was first introduced in 1848, vessels were made according to local in the Tredwell Costume Collection, 20 traditionseveryday utensils and techniques and refined passed bamboo down arethe constructedTredwell women with —pagoda of the sleeves. 39 dresses from generation to generation. It was not until the end of the 19th century Streams and Mountains Without End: that bamboo craftsmanship began to Landscape Traditions of China be recognized as one of the traditional Metropolitan Museum of Art Japanese decorative arts, and later as an New York, NY art form. Flowing Pattern, timber bamboo, men’yadake www.metmuseum.org The exhibition is organized by three (flexible species of bamboo), dwarf bamboo, Decorative art objects with land- geographical production areas — Kan- rattan, lacquer; Honma Hideaki (Japanese, b. scape themes are part of this exhibition 1959), 2014. of Chinese paintings. masterworks by pioneer bamboo artists The exhibition is made possible by sai, Kantō and Kyūshū — and features Diane and Arthur Abbey. The major- (1912–1926) periods, as well as later ity of the works in their collection of mastersof the Meiji such (1868–1912) as Iizuka Rōkansai and Taishō, who Japanese baskets and bamboo works created innovative works that became have never before been presented to the the foundation for contemporary bam- public; more than 70 pieces are recent boo art. The show also features pieces promised gifts to the museum. by modern bamboo artists. The Abbeys started collecting Japa- The bamboo artworks are augment- nese bamboo art, along with Western ed by decorative arts objects exploring contemporary art, in the 1990s. Their related themes, such as the four sea- collection of more than 200 baskets and bamboo sculpture encompasses pieces the tea ceremony. made in the late 19th century through sons, Establishing floral compositions lineages (ikebana)to pass down and masterworks of the postwar period cre- techniques and styles to disciples is a ated by Living National Treasure artists. long-standing tradition in Japan, and many of the leading bamboo craftsmen Portable Storage: Tribal Weavings Brush holder, bamboo with hardwood rim and founded their own schools, most of from the Collection of William and base, H. 7 in. (17.8 cm); D. 6 1/2 in. (16.5 cm); which are still active today. The exhibi- Gu Jue (active in late 17th century; Qing dynas- Inger Ginsberg ty (1644–1911), Kangxi period (1662–1722); tion demonstrates the transmission of Metropolitan Museum of Art illustrates scenes from the famous poem “Ode the tradition through works created New York, NY to the Pavilion of the Inebriated Old Man” by by the four masters of the Hayakawa www.metmuseum.org Ouyang Xiu (1007–1072). Demoted in 1045 lineage and four generations of the Through May 7, 2018 to the remote Anhui Province, Ouyang took Tanabe Chikuunsai family. Woven bags produced by and for solace in wine and the natural world. Eileen Highlights of the exhibition include nomads from Iran, Turkey and the Cau- W. Bamberger Bequest, in memory of her Basket for Transporting Sencha Tea casus contained all of the necessities of husband, Max Bamberger, 1994. life, from bedding to salt. Portable Stor- Hayakawa Shōkosai I age: Tribal Weavings from the Collec- Japanese Bamboo Art: The Abbey Ceremony Utensils (ca. 1877–80s) by tion of William and Inger Ginsberg Collection master craftsman to sign (1815–1897), his works; highlights 19 patterned examples of Metropolitan Museum of Art who is believed to be the first basket woven bags, accompanied by one pile- New York, NY Sakaguchi Sōunsai woven saddle cover, that provide insight www.metmuseum.org Moon Reflected on Water (1929) by into a way of life practiced in the Middle Through February 4, 2018 into a public, government-sponsored(1899–1967) — inart East for hundreds of years. The 2015 1929, the first bamboo work accepted 20/Fall 2017 Newsletter of the Decorative Arts Society, Inc. gift expands the museum’s holdings of www.metmuseum.org Museum of Art and Design tribal weavings from the region. Through September 30, 2018 New York, NY The exhibition includes bags de- Metropolitan Mu- www.madmuseum.org seum of Art began to excavate late- Through January 7, 2018 and more than a dozen examples of the antique In 1908, sites thein the Kharga Oasis in Studio Views: Craft in the Ex- khorjinsigned to or hold double flour, bag salt used and throughout bedding, Egypt’s Western Desert. The museum’s panded Field features interdisciplinary the Middle East as a kind of briefcase- archeologists uncovered two-story artists at work on installations. Over handbag, woven by women from houses, painted tombs and a church, 19 weeks, four alumni of the museum’s the Shahsevan, Bakhtiari, Khamseh, and retrieved objects that reveal the Artist Studios Program — Xenobia Qashqa’i and other tribes that populated multiple cultural and religious identities Bailey, Maria Hupfield, LJ Roberts and 19th-century Iran, Turkey and Trans- of people who had lived in the region Sarah Zapata this year — are invited caucasia. Each tribe had its own pre- back to MAD for two cycles of micro- ferred weaving styles and techniques, a time of transition between the Ro- residencies, with two artists working in by which the bags can often be identi- manbetween and theearly 3rd Byzantine and 7nth periods. centuries The AD, the gallery at a time. Studio Views also features the Point Woven in hues of red, blue and Egyptian, Greek and Roman culture and of View (POV) Gallery, with artwork yellowfied. using traditional dyeing meth- finds represent a society that integrated and supporting materials from MAD’s ods and natural materials, along with excavations. permanent collection to contextualize undyed white wool, these textiles are art throughObjects someare grouped 30 works according from these the artists’ work in the history of studio- decorated primarily with geometric pat- to the archeological context in which craft practice. they were discovered and shows how Marcia and Alan Docter provide are also used. archeological documentation can aid leading support for the exhibition. terns.Bags Stylized represent floral a and variety animal of tech motifs- in understanding an object’s original Marcia Docter is trustee chair of the niques, often several in combination in function. On view are copies of frescoes exhibition. Zapata’s work is supported a single bag: slit-tapestry weave (kilim), with Early Christian images, ceramics, by the Foundation for Contemporary brocading, warp-wrapping (sumak) and ostraca (pottery shards used as writ- Arts Emergency Grant. knotted pile. The latter technique was ing surfaces), jewelry from burials, often used structurally to strengthen the glassware and early 20th-century site work shown at the Victoria and Albert bottoms of the bags and protect them photography. Museum, • Roberts Brooklyn works Museum,in textiles, Or with- from abrasion. While the weavers used Further research is available ange County Museum of Art, Leslie- wool and cotton for most of the pieces, through “Excavations of the Late Roman Lohman Museum of Gay and Lesbian one larger saddle bag is embellished and Early Byzantine Sites in the Kharga Art, Powerhouse Museum, Oakland with metal-wrapped yarns. Oasis,” an online resource accessible Museum of California, DePaul Art A large bedding bag from the Shah- through the digital collection portal Museum and Smithsonian American sevan tribe, which is based along the of the museum’s Thomas J. Watson Art Museum. border between present-day Iran and Library. Roberts is a past recipient of the the Republic of Azerbaijan, displays the White House Champions of Change marriage of esthetics and utility that is Award for LGBTQ artists, a MacDowell characteristic of these objects. Included Colony fellowship, the Fountainhead in the otherwise-geometric ornament of Fellowship, and residencies at the Ox- one pile-woven saddlebag is the unex- Bow School of Art, ACRE and the Bag pected image of an elephant, demon- Factory (Johannesburg, South Africa). strating the creative latitude. Roberts was an artist-in-residence at The Ginsbergs have been interested the Museum of Arts and Design in in small textiles since the 1970s and 2009. became more active as collectors in the 1990s. Their collection focuses primar- common: yarn, ubiquitous objects, ily on tribes living in Iran and the sur- fabrics, • Zapata paper, uses the matkitchenerials sink. that Za are- rounding areas. pata’s work has been exhibited at El The exhibition is organized with Museo del Barrio, the New Museum, Walter B. Denny, University Distin- Bowl with Interior Geometric Decoration, LA>

Newsletter of the Decorative Arts Society, Inc. Fall 2017/21 New York, NY Charles James during the last three hats, large-scale mandalas and tents www.madmuseum.org years of James’s life. consisting • Baile ofy is concentric best known circles for crocheted and March 22–September 3, 2018 In addition to Broadway produc- repeating patterns. Her designs draw This exhibition seeks to redress tions, Long has designed costumes for a gap in the history of American art hundreds of other projects. homemaker and the vanishing multi- through an exploration of the signature The exhibition is accompanied by culturalinfluences African-American, from the African-American Asian and “femmages” of Miriam Schapiro, a an illustrated book. Native American community of her feminist artist and founding member of birthplace (Seattle, WA) and the 1960s the Pattern and Decoration movement Ohio funk esthetic. who died at 91 in June 2015. Femmage Glorious Splendor: Treasures of Early Bailey has exhibited at the Studio is the term Schapiro coined to describe Christian Art Museum (Harlem, NY), New Museum, her hybrid of painting and collage, Toledo Museum of Art High Museum of Art and the MAD. Her inspired by women’s domestic arts and Toledo, OH work is in the permanent collections crafts and the feminist critique of the toledomuseum.org at MAD, the Schomburg Center for hierarchy of art and craft. Through February 18, 2018 Research in Black Culture and Allen- Works by contemporary artists, Glorious Splendor: Treasures of town Art Museum. including Sanford Biggers, Josh Black- Early Christian Art features approxi- Bailey has been an artist-in-resi- well, Edie Fake, Jeffrey Gibson, Judy dence at the Studio Museum, Society Ledgerwood, Jodie Mack, Sara Rah- private collections and Toledo Museum for Contemporary Craft and Marie bar, Ruth Root and Jasmin Sian, are on ofmately Art (TMA) 30 works holdings, of late most Roman of whichart from Walsh Sharpe Art Foundation; was display alongside Schapiro’s femmages. have never been exhibited before in a recently a Fellow for Socially Engaged The exhibition also includes a museum. Art at A Blade of Grass; and was an selection of the artist’s source material Christian art borrowed heavily from drawn from her estate, such as fabric non-Christian traditions in techniques swatches, embroidery and other historic and choice of media, style, and iconog- Anishinaabeartist-in-residence Nation at at the Wasauksing MAD in 2013. First needlework, and folk art. raphy. Glorious Splendor traces these Nation • Hupfield (Ontario, is Canada)a member and of anthe alumna continuities through objects of the of the AIM program at the Bronx Mu- North Carolina period: precious stones, metals and jew- seum and a Joan Mitchell Foundation William Ivey Long: Costume Designs, elry. Objects date from the 2nd century recipient. She was an artist-in-residence 2007–2016 BC to the 7th century AD. at the MAD in 2012. Mint Museum Highlights include a large silver Norfolk, NC paten showing the earliest surviving im- Derrick Adams: Sanctuary www.mintmuseum.org age of the Communion of the Apostles Museum of Art and Design Through June 3, 2018 (AD 542); a gold pendant cross with New York, NY This exhibition explores the recent openwork decoration and sapphires www.madmuseum.org work of theatrical costume designer (6th-early 7th century AD); a cameo January 25–June 25, 2018 North Carolina native William Ivey with pearls depicting the annunciation Derrick Adams is a New York– Long by featuring costumes from a (6th century AD); and gold earrings based, multidisciplinary artist working number of his theatrical productions. with garnets (1st century AD). in textile- and paper-based collage, and He has received Tony Awards for several Glorious Splendor is supported other media. of his productions. in part by Taylor Cadillac, the TMA Derrick Adams: Sanctuary is an To focus on Long’s process, the Ambassadors, James and Gregory exhibition of large-scale sculpture and exhibition includes sketches, swatches, Demirjian, and Sotheby’s, with addi- mixed-media collage and assemblage on mood boards and other preparatory tional support from the 2017 exhibition wood panels that reimagine safe desti- materials, allowing for comparison of program sponsor ProMedica. nations for the black American traveler the different goals of theatrical costume during the mid-20th century. The body and fashion. Fired Up: Contemporary Glass by of work was inspired by The Negro Born in Raleigh, NC, in 1947, Long Women Artists Motorist Green Book, an annual guide- was raised in the world of the theater. Toledo Museum of Art book for black American road-trippers After earning a degree in history at the Toledo, OH College of William and Mary, he began toledomuseum.org the Jim Crow era in America. graduate training in Renaissance art his- Through March 18, 2018 publishedGuest curfromator 1936 is Dexter to 1966, Wimberly during , tory at the University of North Carolina This exhibition is a celebration of executive director of Aljira, a Center at Chapel Hill, but later transferred to the contributions made by generations for Contemporary Art (Newark, NJ). the Yale School of Drama at Yale Uni- of women glass artists. Drawn from the versity, where he earned an MFA in set Toledo Museum of Art (TMA) glass Surface/Depth: The Decorative after design in 1975. collection and with loans from private Miriam Schapiro Long moved to New York, where he collections, it presents more than 50 Museum of Art and Design worked as an assistant to the couturier objects by women. The works range

22/Fall 2017 Newsletter of the Decorative Arts Society, Inc. from small scale to life-size in a vari- from their lives and burial rituals in ety of glass techniques and document Late Dynasty Egypt to their rediscov- including sources of inspiration such as nearly six decades of work, from the art ery during the Napoleonic era and the aprocess Japanese from whisk, concept a broken to final seashell, product, the that helped women forge a path in the resulting Egyptomania for subsequent shape of antibodies. Works on display Studio Glass Movement of the 1960s to generations. It places the mummies in include furniture; lamps; and an inlaid of 21st-century innovations. historical context through additional wall hanging in fragments of marble and The discovery of glass as a serious Egyptian objects and artifacts from the semiprecious stones. artistic medium in the 1960s — sparked TMA collection and loans from other during the Studio Glass Movement — institutions. was important, but women faced an The exhibition will explores several uphill battle in the early decades in their intersecting issues for TMA and other demand for recognition of their impact, cultural museums related to collecting vision and work. and displaying of these objects, includ- The exhibition is co-curated by Jutta ing whose these mummies are, whether Page, executive director of the Barry they belong in an art museum and what Art Museum (Old Dominion University, can be learned from them. VA) and former TMA senior curator of decorative arts and glass), and Annie All of Everything: Todd Oldham Carlano, senior curator of craft, design Fashion and fashion at the Mint Museum (NC) . Wexner Center for the Arts/Ohio Fired Up: Contemporary Glass by State University Women Artists is sponsored by O-I; Columbus, OH Shumaker, Loop & Kendrick, and the https://wexarts.org Ohio Arts Council, with funds received February 3-April 15, 2018 in the memory of Dr. Edward A. and Before branching into home wares, Rita Barbour Kern. book publishing, craft supplies and Todd Oldham left his mark on the New York fashionmaking scene.short films, The exhibition designer features “Crinoline” chair, Patricia Urquiola (b. 1961–), more than 70 ensembles, along with made in Asia by B&B Italia (Novedrate, Italy); prints, accessories and more. derives name and shape from structured pet- All of Everything: Todd Oldham ticoats of 1800s. Loaned by B&B Italia. Photo: Fashion was originally organized by © B&B Italia. and exhibited at the RISD Museum Urquiola trained as an architect in (Providence, RI), with support from the Madrid, Spain, and later graduated from Rhode Island State Council on the Polytechnic University of Milan, where Sea Ice Moves in Spring – Arthur Harbor, West- Arts, through an appropriation by the she studied with lighting designer ern Antarctic Peninsula, fused layers of opaque Achille Castiglioni. Since opening a white over translucent topaz and charcoal gray Rhode Island General Assembly and a studio in 2001, she has collaborated glass; cameo-engraved, April Surgent (Ameri- grant from the National Endowment can, born 1982), 2015. 18 3/8 x 27 1/2 x 3/4 in. for the Arts. Additional support was with Alessi, B&B Italia, Flos, Kartell, Purchased with funds from the Libbey Endow- provided by the Coby Foundation, Moroso, and Haworth. In 2015, she ment. Gift of Edward Drummond Libbey, 2016. Carol Nulman and American Modern was appointed art director of the Italian Books. company Cassina. The Mummies: From Egypt to Toledo Urquiola has received Spain’s Order Toledo Museum of Art Pennsylvania of Isabella the Catholic and the Gold Toledo, OH Patricia Urquiola: Between Craft and Medal of Merit in Fine Arts. In Novem- toledomuseum.org Industry ber, she received the Design Excellence Februry 3–May 6, 2018 Philadelphia Museum of Art Award from Collab, a group that sup- In 1906, the founders of the Toledo Philadelphia, PA ports modern and contemporary design Museum of Art — Edward Drummond www.philamuseum.org at the museum. Libbey and Florence Scott Libbey — November 19, 2017–March 4, 2018 visited Egypt, where they purchased a Patricia Urquiola combines the Texas pair of Egyptian mummies as part of a artisanal and the industrial to create Casanova: The Seduction of Europe collection of artifacts. Kimbell Art Museum Due to conservation issues and ethi- range from a Nordic-inspired “Fjord” Fort Worth, TX cal considerations over the display of armchairobjects for and the “Openest” home and lounge office. Objectsfur- www.kimbell.org human bodies, these mummies are only nishings to stylish interiors for luxury Through December 31, 2017 occasionally on view. This installation hotels. This exhibition explores a selec- Casanova: The Seduction of Eu- traces the history of Egyptian mummies, tion of her designs and her creative rope

explores life in the 18th century Newsletter of the Decorative Arts Society, Inc. Fall 2017/23 through the eyes of Giacomo Casanova Museum of Fine Art, Houston celebrations informed the silhouettes, Houston, TX times for his amorous pursuits, Casa- ornamentationbullfights, flamenco and palettedance and of his festive col- www.mfah.org nova(1725–1798). lived in Italy, Renowned France inand modern England, lections, showcased in this section by March 4–August 12, 2018 and his travels took him to the Ottoman ensembles featuring tassels, embroidery A collaboration between the Empire and Russia. Museum of Fine Arts, Houston and The next section explores the Mehrangarh Museum Trust (Jodhpur, Paris was the center of the fashionable and ruffles. India) brings an exhibition of royal trea- universe. In the French middle artists of the and18th craftsmen century, spanning the Middle East to the Far sures from India to Houston. Peacock in often worked on commission for pa- Eastinfluence — including of the geographical Russia, North region Africa the Desert: The Royal Arts of Jodhpur, trons, in whose circles Casanova strove and Turkey — on de la Renta’s designs. India showcases nearly four centuries to move. The table became more visu- Some of his most romantic collections of artistic creation from the kingdom ally interesting, with a variety of serving were created with this region in mind, of Marwar-Jodhpur, one of the largest dishes to present new recipes. The exhi- represented in the exhibition by silk princely states in India, in the north- ensembles, caftans and harem pants, western state of Rajasthan. of Casanova’s Europe, where identity alongside Russian-inspired garments Through ceremonial objects, arms couldbition beexemplifies invented andthe luxuriousperformed, spaces like with furs, textiles and jeweled appliqué. and armor, jewels, carved furnishings a role on the stage—where a poor man Another of de la Renta’s lifelong and more, Peacock in the Desert out- might learn to appreciate the luxury passions was the garden. He cultivated lines the history of the Marwar-Jodhpur that came with wealth. an interest in all things horticultural region and the Rathore dynasty that The exhibition includes carved fur- from a young age on the grounds of ruled it for more than seven centuries. nishings, porcelains, silver and period his childhood home in the Dominican Established in the 15th century, the costume. It travels to the Fine Arts Republic and the gardens of his Con- city of Jodhpur was once the powerful Museums of San Francisco/Legion of necticut residence. capital of Marwar, a vast desert king- Honor (CA)and the Museum of Fine - dom ruled by the Rathores, who were Arts, Boston (MA). ed silk taffetas and full skirts evoking descendants of a hereditary social caste Colors, applied flowers, floral-print of Hindu warriors and kings (known as The Glamour and Romance of Oscar botanical themes throughout his work. “kshatriyas”). de la Renta petals in bloom reflect the infusion of Museum of Fine Art, Houston century silhouettes, patterns and colors Houston, TX He was also inspired by the 18th- www.mfah.org in the daywear and gowns on display. Through January 28, 2018 wornThe by eMarie-Antoinettexhibition culminates as reflected in a Presented in collaboration with display of de la Renta’s technical skills Oscar de la Renta, LLC, this exhibition in dressmaking, demonstrated by both Choker necklace, gold, diamonds, pearls, emeralds, and enamel; 18th or 19th century, features nearly 70 ensembles from de la ready-to-wear and custom couture India, probably Deccan. The al-Sabah Collec- Renta’s corporate and personal archives, creations, through gowns once worn by tion, Kuwait. the archives of French label Pierre Bal- dignitaries, celebrities and philanthro- Over the course of several centu- main, private lenders and the collection pists. ries, the prosperity of Jodhpur attracted of the MFAH. The exhibition is curated the attention of two successive empires by André Leon Talley, former American his career in the early 1950s as an ap- who ruled India: the Mughals and the de la Renta (1932–2014) began editor-at-large for Vogue magazine and prentice to Balenciaga. In 1961, he left British. Both encounters reshaped Jodh- lifelong friend of the designer. Madrid to join Antonio del Castillo pur’s cultural landscape, introducing The exhibition highlights recur- in Paris as an assistant in the couture objects, artists, languages, architectural ring themes throughout de la Renta’s department of Lanvin. Shortly after, styles and systems of administration career, including the impact of Spain, he relocated to New York, establishing Russia, China, Japan and the garden on his own eponymous label in 1965. He Rathore dynasty. created award-winning ready-to-wear that Thrinfluencedough some the 250royal objects identity from of the paintings and decorative arts from the and evening wear for customers ranging Indian courtly life, most never before his designs. Outfits are on display with collection of the MFAH. seen outside Jodphur, the exhibition The ensembles are organized in celebrities. illuminates how the Rathores acquired from everyday women to first ladies and four thematic sections. The exhibition In 1992, de la Renta became a de- and commissioned objects amid these opens with a look at Spain, the country signer for French label Balmain and the cross-cultural exchanges to leverage where de la Renta launched his career. patronage, diplomacy, matrimonial alli- After arriving in Madrid, in 1951, de la couture house, a position he held until ances, trade and conquest. first American designer to lead a French Renta was hired by Spanish couturier 2002. Drawn primarily from the collec- Cristobal Balenciaga, who was simi- tions of the Mehrangarh Museum Trust larly inspired by Spanish culture. de la Peacock in the Desert: The Royal Arts and the private collections of the royal Renta’s experience of Spanish artists, of Jodhpur family of Jodhpur, the exhibition marks

24/Fall 2017 Newsletter of the Decorative Arts Society, Inc. - thore durbar (royal reception) capital- izeddecline on inits thediminished late 18th power century, by theattract Ra - ing artists and craftsmen from their weakened court. This, in addition to the growing trend of exchanging artworks as gifts, led to a period of intense creativity in artistic and decorative production and a cross-fertilization of Mughal and Rathore styles, as indicated by the woven canopy and textiles, and arms and armor on view.

The Raj The last section of the exhibition explores the most dramatic period of transformation in Jodhpur’s history, triggered by the arrival of the British

arts, and a 1944 Stinson L-5 Sentinel in 1818, through garments, decorative British on the region and the unprec- aircraft illustrate the influence of the Palanquin (Mahadol), gilded wood, glass, copper and ferrous alloy, Gujarat, c. 1700–30. Mehran- edented scale on which Jodhpur royalty garh Museum Trust. Photograph: Neil Greentree. began to embrace modernity and western culture as the movement for Indian independence. - themes build upon recent and emerg- The exhibition is accompanied by a sures — including paintings, decora- ing scholarship about the character of a fully illustrated catalog, Peacock in the tivethe firstarts timeand furniture, that most tents,of these canopies, trea traditional Indian kingdom. Desert: The Royal Arts of Jodhpur, India, carpets, textiles and weapons — are written by Karni Singh Jasol and edited seen outside of their palace setting at Conquest and Alliance: by Angma Dey Jhala, with contribu- The Rathores and the Mughals tions by Peter Alford Andrews, Robert will travel abroad. The arrival of, and eventual take- Elgood, Catherine Glynn, Shailka Mehrangarh The foundations Fort and of the the first fort time were they over by, the Mughal Empire in 1561 Mishra and Giles Tillotson. laid by the Rathores in 1459 as a mili- began centuries of political and military Informed by emerging scholarship tary stronghold. The Fort, described by alliances brokered between the Mu- and archival research, Peacock in the Rudyard Kipling as “a palace that might ghals and the Rathore clan. This sec- Desert takes a multidisciplinary ap- have been built by Titans and colored by tion examines the movement of objects proach to examining Jodhpur and the the morning sun,” has been the seat of throughout these alliances in the 16th region of Marwar. The publication offers the Rathore dynasty since then, serving and 17th centuries, with sabers, daggers a new perspective on the acquisition as a royal residence, center of cultural and commissioning of objects through patronage and place of worship for the century paintings and illustrations of patronage, diplomacy, matrimonial al- royal clan. Today, it houses the collec- courtand rifles and alongsidewar scenes. 17th- The andsection 18th- cul- liances, trade and conquest, and sheds tion of the Mehrangarh Museum Trust, minates with the 17th-century Lal Dera established in 1972 by the current tent, one of the oldest — and perhaps dynastic head of the Rathore clan, His the only — intact Indian court tent of its lightPeacock on the influential in the Desert role alsoof women features at Highness Maharaja Gaj Singh II. time. newlythe royal commissioned courts for the photography first time. of Objects from other collections, the nearly 250 objects on display. including the al-Sabah Collection Zenana: Cross-cultural Encounters Support is from Nidhika and Per- (Kuwait), complete the presentation. Carpets, textiles, jewelry, and shant Mehta, Medha and Shashank Peacock in the Desert is the result with intricately carved sandstone jalis Karve, Mrs. Sushila and Dr. Durga D. of a partnership with the Mehrangarh (screens), from behind which women Agrawal, Milton D. Rosenau, Jr. and Dr. Museum Trust and is curated by a team viewed courtly activities, evoke the Ellen R. Gritz, and Mr. and Mrs. Paul S. of scholars and professionals from setting of a royal zenana, the womens’ Likhari. India. Dr. Angma Dey Jhala, associ- wing of a Rathore palace. Furnishings The accompanying catalog is gener- ate professor at Bentley University, is include a wood baradari (pavilion). ously supported by Furthermore, a project advisor and volume editor for program of the J.M. Kaplan Fund. the catalog. Durbar: the Rathore Court The exhibition travels to the Seattle Three central, underlying Art Museum (WA) and Royal Ontario As Mughal influence began to Newsletter of the Decorative Arts Society, Inc. Fall 2017/25 Museum Virginia work became more elaborate and larger 2019. René Lalique: Enchanted by Glass in scale, he transitioned to furniture (Toronto, Canada) in 2018 and Chrysler Museum of Art and freestanding sculpture and, in the Bestowing Beauty: Masterpieces Norfolk, VA from Persian Lands http://www.chrysler.org works. His collective artworks favor Museum of Fine Art, Houston Through January 21, 2018 natural1970s, delved curves into and large,lines thatsite-specific defy the Houston, TX The Chrysler presents a compre- rigid materials from which they are www.mfah.org hensive look at René Lalique, who made. Through February 11, 2018 combined artistry and industrialization As a student at the Tyler School Bestowing Beauty: Masterpieces to bring luxury to the masses. Trained of Art (Philadelphia, PA) in the 1960s, from Persian Lands presents more as a jewelry designer in the Art Nouveau Paley developed an interest in glass than 100 works highlighting the artistic style, he freelanced for Cartier and as an artistic medium and watched its and cultural heritage of Iranian civi- Boucheron before opening his own evolution in the milieu of contemporary lization from the 6th to 19th century. Pilchuck Drawn from a collection of Persian art Glass School to collaborate with Dante in private hands and rarely publicly shopParisian in 1885. studio was a favorite of celebri- Marioniart. In 1998, he was invited to displayed, the works include carpets, ties andBy 1890, social jewelry elites. His from experiments Cartier’s manipulate metal translated naturally textiles, manuscripts, ceramics, lacquer, with glass in jewelry steadily grew into into his glass. His experiencedesign. Since using this fireinitial to in- a pursuit of its own, and within a few troduction, Paley has collaborated with jeweled objects. years, his perfume bottles were quite a number of glass artists and created metalwork,Highlights scientific include instruments ceramics, inlaid and the rage. By 1909, he was mass- more than 100 works that incorporate metal wares, woven silk fabrics and a producing them in a factory. glass. monumental silk carpet from the height This exhibition focuses on Lalique’s Although glass and steel share of Safavid dynasty carpet production. work with glass over decades of creativ- similar properties under intense heat, it ity. As tastes moved from Art Nouveau is the complementary characteristics of to Art Deco, he was hailed as a leader and innovator in both. By the time he Complementary Contrasts in- died in 1945, he had produced jewelry, cludesthe final works forms initiated that appeal during to Paley.his medallions, bottles, tableware, smok- residencies at the Museum of Glass in ing accessories, lamps, clocks and even collaboration with Martin Blank, sup- automobile “mascots” (more commonly ported by additional pieces from the ar- known as radiator caps or hood orna- chive at Paley Studios. Works on paper ments today). illuminate Paley’s process of incorporat- The exhibition includes historic im- ing glass. ages and one of his Lalique’s patent ap- The exhibition is sponsored by the plications, as well as production molds Art Alliance for Contemporary Glass. and design drawings. Contributors to the DAS enjoyed The exhibition debuted at the Corn- a tour of the Paley studio (Rochester, ing Museum of Glass (CMOG; NY). It NY) in early November. Highlights and features additional selected Lalique works from both private collectors and issue of the DAS newsletter. the Chrysler’s permanent collection. A images will be featured in the first 2018 fully illustrated catalog accompanies the Michael E. Taylor – Traversing show. Parallels Museum of Glass Summer Carpet, velvet, cotton, and metal- Tacoma, WA wrapped thread; Iran, Safavid period, late 16th Washington to 17th century. Complementary Contrasts: The Glass https://museumofglass Celebrating an agreement between and Steel Sculptures of Albert Paley October 28, 2017–May 12, 2018 the Museum of Fine Arts, Houston, and Tacoma Museum of Glass Michael E. Taylor, an American a private collector, works from these Tacoma, WA studio glass artist, educator and lectur- holdings will be presented in a series https://museumofglass er, best known for his geometric glass Through September 3, 2018 sculptures, uses glass to make connec- Bestowing Beauty is the inaugural exhi- This exhibition highlights the tions between technological break- bitionof special in the exhibitions series. over five years. throughs and their implications. He is a Objects are grouped by several of Albert Paley, who has incorporated pioneering master of cut and laminated themes: Faith and Piety; Love and Long- glasssignificance into many of glass commissions in the body and of exhi work- glass works, whose geometric con- ing; Kingship, Banquets and Battles; and bition works for more than a decade. structions and fractal abstractions are Earth and Nature. Paley launched his career nearly inspired by science, history, philosophy, 50 years ago as a jewelry maker. As his current events and even music.

26/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Taylor credits his university Cultural Specialist Award, Mexico; 35.6 cm), 2014. Michael Estes Taylor (Ameri- teaching career as instrumental to his and Portuguese-American Foundation can, b. 1944). Collection of the artist. Photo: artistic process. He has taught at sev- Grant. Courtesy of the artist. eral universities, including more than 20 years as professor in the School for American Crafts at the Rochester In- stitute of Technology (NY). His career in academia made it possible for him to experiment and explore new ideas in his art. Send your news to: His awards include a Fulbright- Hays Research Grant to Sweden and Central Europe; National Endow- newsletter@ ment for the Arts, Visual Arts Fellow- ship; New York Foundation for the DecArtsSociety.org Arts Grant; New York State Council on the Arts, Visual Artist Fellowship; Louis Comfort Tiffany Foundation Grant; Thord-Gray Fellowship of the for upcoming issues American-Scandinavian Foundation; Korean-American Cultural Exchange, of the Samsung-Corning Foundation; Grand DAS Newsletter. Prize-International Exhibition of Glass, Kanazawa, Japan; Danforth Foundation for Humanities Grant; United States Artificial Intelligence Codes/Rosetta Stone, Department of Information Services, glass and wood; 36 x 12 x 14 in. (91.4 × 30.5 × www.DecArtsSociety.org

Newsletter of the Decorative Arts Society, Inc. Fall 2017/27 DAS Contribution

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28/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Contributions

Special contributors President’s Circle Andrew M. Drabkin Federico Santi Robert L. McNeil, Jr.* Jean Efron Art Consultants LLC Susan P. Schoelwer Stewart G. Rosenblum, Esq. Nancy Goyne Evans Jay Robert Stiefel Jean T. Federico Nelson S. Talbott Foundation Benefactors Firestone and Parson, Inc. Nicholas C. Vincent Anonymous Oscar P. Fitzgerald, IV Daniel Visnich Margaret B. Caldwell Marion C. Grant Gerald W.R. & Barbara M. Ward Sarah D. Coffin Green-Wood Cemetery John N. Whitenight & Frederick M. LaValley John Stuart Gordon Anne K. Groves Cynthia S. Williams Judith F. Hernstadt Lewis I. Haber & Carmen Dubroc Kristina F. Wilson David A. Hanks Gail C. Winkler Jeannette M. Harper *Deceased Patrons Margaret K. Hofer Anonymous Anne E. Hough William G. Allman Katherine Howe David L. Barquist Richard R. Iversen Elizabeth Bidwell Bates Phillip M. Johnston Categories of contributions W. Scott Braznell & Patricia E. Kane Linda H. Kaufman Student $20 Jay Cantor Leeds Art Foundation Regular $35 Dennis A. Carr Kathleen Luhrs Institutions & Libraries $40 Dorothy K. Chin David R. McFadden Sustaining $60 Michael Conforti Thomas S. Michie Patron $100–$499 Susan M. Conway Mrs. Milo Naeve Benefactor $500–$14,999 Karina H. Corrigan Harold B. Nelson President’s Circle $15,000 Dalva Brothers, Inc. Jane & Richard Nylander and above* Elizabeth A. Davison Susan J. Rawles *Status is reached when contributions pay- Elizabeth De Rosa Charles J. Robertson, III able over up to five years total this amount. Nancy de Waart Will Roseman Contribution checks should be made payable to Decorative Arts Society, Inc. and mailed to: Decorative Arts Society, Inc. c/o Stewart G. Rosenblum, Treasurer 333 East 69th Street, #8E New York, NY 10021

Oiseau de feu (Firebird), illuminated surtout de table (table decoration), bronze base, colorless glass; mold- pressed, acid-etched intaglio design; designed 1922. René Lalique, designer; Lalique et Cie, manufacturer. Photo: Corning Museum of Glass. See Exhibitions, René Lalique: Enchanted by Glass, Chrysler Museum of Art (Norfolk, VA). Decorative Arts Society Rochester, NY Rochester, Permit No. 1445 Permit FIRST FIRST CLASS MAIL U.S. POSTAGE PAID Detail from behind-the-ropes access to Brigham stained glass window in Green- Wood Cemetery (Brooklyn, NY) showing artist’s use of seashells. See coverage of DAS trip to Green-Wood and Brooklyn Museum.

MATERIAL

Volume 25, Number 2 Volume Number 25, newsletter/fall 2017 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