Decorative Arts Society Volume 25, Volume Number 1 newsletter/spring 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 Nancy Carlisle Editor President Senior Curator of Collections Gerald W. R. Ward Susan P. Schoelwer Historic New England Senior Consulting Curator & Robert H. Smith Senior Curator Boston, MA Katharine Lane Weems Senior Curator of American Decorative Arts and George Washington’s Mount Vernon Gerald W. R. Ward Sculpture Emeritus Mount Vernon, VA Senior Consulting Curator Museum of Fine Arts, Boston Katharine Lane Weems Senior Curator of Boston, MA Treasurer American Decorative Arts and Stewart G. Rosenblum, Esq. Sculpture Emeritus Museum of Fine Arts, Boston Coordinator Secretary Boston, MA Ruth E. Thaler-Carter Moira Gallagher Freelance Writer/Editor Research Assistant Robert C. Smith Award Committee Rochester, NY Metropolitan Museum of Art Jeannine Falino, Chair New York, NY Independent Curator New York, NY Program Chairperson Emily Orr Lynne Bassett Assistant Curator of Modern and Costume and Textile Historian The DAS Newsletter is a publication Contemporary American Design of the Decorative Arts Society, Inc. The Cooper Hewitt, Smithsonian Design Dennis Carr purpose of the DAS Newsletter is to serve as Museum Carolyn and Peter Lynch Curator of a forum for communication about research, New York, NY American Decorative Arts and exhibitions, publications, conferences and Sculpture other activities pertinent to the serious Margaret Caldwell Museum of Fine Arts, Boston, MA study of international and American deco- Boston, MA rative arts. Listings are selected from press Judith Hernstadt releases and notices posted or received Emily Orr from institutions, and from notices submit- Committees Assistant Curator of Modern and ted by individuals. We reserve the right Contemporary American Design Charles F. Montgomery Prize and to reject material and to edit material for Cooper Hewitt, Smithsonian Design Award Committee length or clarity. Museum Wendy Cooper, Chair We do not cover commercial galleries. New York, NY Curator Emerita of Furniture The DAS Newsletter welcomes submis- Winterthur Museum Karen Zukowski sions, preferably in digital format, by e-mail Wilmington, DE Art Historian in Plain Text or as Word attachments, or on a CD. Images should be at high quality (400 dpi), as TIFFs or JPEGs, either color or Cover image: black-and-white, with detailed captions. The newsletter of the DAS is published Clock with thermometer and month calendar, newly made machine parts— two times a year. Submission deadlines for nickel-plated metal, glass, paper, mercury; 15 1/2 x 8 x 8 in. (39.4 x 20.3 x 20.3 2017 are: March 31 for the spring issue; cm), Andre Romain Guilmet, manufacturer, Paris, France; part of five-piece September 30 for the fall issue. Send mate- clock garniture (set of decorative objects for display). Upper section with rial to: Ruth E. Thaler-Carter, measurement in “Fahrenheit” on one side and “Reaumur” on other. Mid- DAS Newsletter Coordinator section has large globe at top; small, rectangular glass window with month 2500 East Avenue, #7K calendar printed in black ink on textile, text in French; turning mechanisms Rochester, NY 14610 of mirrored, two small cog wheels on pins; beneath calendar, central section or: of globe comprises white clock dial with black roman numerals for hours and [email protected] single hour and minute hand. Beneath are individual industrial tools such as The DAS website may provide informa- tuning fork, hammer and compass, cog wheel. Whole on flat disc base with tion about events that fall between issues. four protruding feet. Gift of Marcus S. Friedlander, by exchange, 2009. Photo:

Brooklyn Museum. See coverage of DAS trip to Brooklyn Museum in next Newsletter design by Plum Crane. issue of DAS newsletter. All content © Decorative Arts Society, Inc. DAS news From the president Greetings from new DAS president By Susan Schoelwer, Robert H. Smith Senior Curator, George Washington’s Mount Vernon, Mount Vernon, VA

months of 2017 have been busy the goal of I am pleased to report that first- vidual ties to a community of shared at cost, with gasbord of no less than four one-day interest. programs—atones for the Sotheby’s DAS, with, thea smor Cooper Another key DAS initiative is our providing Hewitt Smithsonian Design Mu- Charlesawards program, F. Montgomery which recognizes Prize recog - entry-levelopportunities seum, Green-Wood Cemetery and the three categories of scholarship. The - for those in Brooklyn Museum, and the Morgan - Library and Museum. Many thanks nizes the most distinguished contribu positions tion to the study of American deco andor with collectors. limited incomes to meet and attended and reported on these not-to- Therative Charles arts published F. Montgomery in the English Award network with senior scholars, curators to all those who organized, hosted, - language by a North American scholar. As I look toward the end ofspschoel my first- be-missed expeditions (see the follow celebrates the most outstandingRobert C. Smith first [email protected] as DAS president, I invite your ing pages for furtherOctober details). 4, the DAS Awardmajor publication in the American comments and suggestions, at Two upcoming eventsNational are on Arts the decorative arts. The be pleased to welcome. If youtravel to bringsMount Clubdrawing boards. On recognizes the best article Vernonyou to the nation’s capital, I would onhas Donald been invited MacDonald to the about the decorative arts published in- restored two rooms based on fresh (NAC; New York, NY) for a lecture English. . In addition to having recently Tilden Mansion (1841–1916), The all-volunteer awards commit Lives clubhouse,who designed by Jenniferthe glass Thalheimerdome ceiling, tees do a phenomenal job of reviewing Boundforensic Together: and documentary Slavery atevidence, George in the , now the NAC the literature produced each year. They- Washington’sour award-winning Mount exhibition, Vernon, features Charles Hosmer Morse Museum welcome suggestions of publicationsWendy A.of ofcurator American and collection Art manager of the note;Cooper please submit nominations (in Winterthurcluding self-nominations) Museum to slavery.many of our decorative arts treasures, (Winter Park, FL). Montgomery, curator Prize emerita and ofAward Furniture, Com- interpreted in the broader context of - theWatch club. your mailbox for further details, mittee [email protected], chair of the possibly including dinner and a tourCorn of- Jeannine Falino support In closing, our newsletter I thank all and DAS other support ac- ing Museum ( Smith Award Committee), or ers for the generous contributions that Further afield is a trip to the [email protected], independent curator, and nearby points in chair of the September tivities. I look forward to hearing from Emilyupstate Orr New. York; information will be 15,( 2017 ). The next you or seeing you at future events. forthcoming from DAS program chair Montgomery deadline is February 1, In this issue , for books published in 2016; 2018 DAS news 1 Programs such as these play a vital the next Smith deadline is - Smith Award recipient 3 role in fulfilling the DAS mission of , for articles published in 2017. Recent DAS tours 3–7 encouraging interest in, the apprecia As a nonprofit, all-volunteer tion of and the exchange of information ourorganization, supporters our allows. DAS can To thatonly end, be as I Events 2 eventsabout the do decorativemuch to convey arts. Iknowledge, can report active and vibrant asurge participation by from personal experience that these - Exhibition/Book review 8

not only invite, but , your active Book review 10 spark ideas and build connections. engagement. Send in news of appoint They enable us to broaden our purview ments, promotions, opportunities,newsletter@ Acquisitions 11 by visiting sites and collections that we programs,DecArtsSociety.org exhibitions, acquisitions might not otherwise encounter, in the and award nominations to News 13 company of the curators, academics, . Offer to review an who know these resources best. People 15 collectors, dealers and other specialists exhibition or publication. Propose a - - program—I am particularly eager that Exhibitions 20 Encounters with program hosts we diversify our offerings geographi and attendees strengthen our indi cally. Note that all programs are offered Newsletter of the Decorative Arts Society, Inc. Fall 2017/1 Events Before the 2’x4’: New England Framing Options to the Mid-19th and chamber. - Century furnitureSpeak fromers and the demonstrators workshop to parlor of Traditional Methods” with Kopf; and New England Forum Symposium Tara Hingston Cederholm, “The Furniture of Daniel Clay of Green Historic Deerfield Mack Cox, field, Massachusetts” with Ritok. - Deerfield, MA include Registration is $385 and includes- July 15, 2017 private curator andKevin scholar; Ferrigno all lectures and demonstrations, admis - collector and independent scholarDATTCO, Friendssion to Historic of Historic Deerfield, Deerfield two recep Inc.(Richmond, KY); Bruce Hoadley, vice , tions, one lunch, and refreshments. Geared toward professionals prac president and general counsel, receiveSkin- a ticing in all aspects of the preservation (New Britain, CT); $20ner, discountInc. on registration. field and owners of historic structures, professor Peteremeritus, Kenny wood science and The forum is sponsored by century.the symposium focuses on technology technology,Classical American University Homes of Massachusetts, Preserva- go to www.historic-deerfield.org/fallforum. used in early building to the mid-19th Amherst;tion Trust , co-president,Silas Kopf , For the schedule and registration, 56th Annual Seminar on Glass The symposium features lectures James (New Renwick York, AllianceNY); of the Corning Museum of Glass and presentations discussing framing Smithsonianmaster woodworker Institution and winner of the Corning, NY and looks at the variety of ways to erect- 2015 www.cmog.org a structure that were practiced in New Ethan Lasser ’s Master of October 20 and 21, 2017 England, based on local tradition, expe the Medium Award (Northampton, MA); The 56th Annual Seminar at the diency,Tad efficiency Baker and technology of the- , Theodore E. Stebbins Jr. Corning Museum of Glass times. Art,Curator Harvard of American Art Museums Art and head -of Louis C. explores archaeologi the Division ofClark European Pearce and American Tiffany Tiffany’s highlights Glass cal and documentary evidence for early Christine (Cam Ritok, Mosaics,the artistry and innovation of earthfast structures; JimJack Garvin Sobon reviews- bridge, MA); Historic ,Deerfield independent ’s glass mosaics. - myths and facts surrounding log and Christinescholar (Boston, Thomson MA); an exhibition and companion garrison construction;Jan Lewandoski assesses dis associateChristina curator, Vida ; thepublication Neustadt created Collection by a partnership be cusses the move from scribe to square , conservator;Gerald tween the Corning Museum of Glass and Billrule Flyntframing; W.R. Ward , independent museum (Long Island, vertical plank framing evolution; and consultant (West Hartford, CT); NY), breaks new ground in examining talks about the introduction- , Katharine Lane WeemsMuseum Tiffany’s mosaics exclusively. tury.of stack plank, or ribbon construction, ofSenior Fine Curator Arts, Boston of American DecorativeDAS Recognizing the potential for richly- in the second quarter of the 19th cen Arts and Sculpture Emeritus,Philip Zea - hued and highly reflective glass, Tiffany (MA), and established a new esthetic and intro There also will be an opportunity to newsletter editor; and , presi- duced a uniquely American approach - inspect samples of some of these forms dent, Historic Deerfield. to mosaics. Speakers will explore the of construction at a reception after the Optional workshops focus on “Iden artistry and medium of Tiffany’s mosa presentations. tifying Woods in American Antiques” ics, putting the work into context and Registration is $85 per person ($75- with Hoadley; “Inlay and Marquetry presenting new scholarship on this for Historic Deerfield members) with an Techniques: A Hands-on Demonstration topic. optional box lunch available for pur www.historic-deerfield.org/nefchase. For the complete schedule and online registration, go to . To register by telephone, contact Julie Orvis at 413- Early775-7179. American Furniture: Recent Research in Training, Technique and Lifestyle Historic Deerfield Decorative Arts Forum Historic Deerfield Deerfield, MA www.historicdeerfield.org September 15–17, 2017

Peonies, glass mosaic; Louis C. Tiffany. Corning Museum of Glass. This year’s forum examines current research in the study of early American 2/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Tess Korobkin’s work on “The Greek Slave and Materialities of Reproduction” earns Smith Award

Douglass owned a copy and hoped for - a better future The DAS has selected “TheNineteenth- Greek sponded to the era’s societal turbulence- for slaves of CenturySlave Art Worldwideand Materialities of Repro and new esthetic possibilities. duction,” published in R. Tess “Selected from a very competi Korobkin , Vol. 15, no. 2 - tive group of fine articles, this one all nations, (Summer 2016), pp. 1–24, by clearly and cogently castJeannine fresh light Falino , theKorobkin fundamen - Robert, a PhDSmith candidate Award forin art work his on the subjectRobert of reproductions,” Smith Award said talreminds role slavery us of tory at Yale University, as the recipient independentCommittee. curator of its chair of the - published in 2016. Korobkin specializes Hiram Powers paid for the in American art and visual culture. -Her “The author’s essay was one of a rise of moder dissertation examines how American Nineteenth-Centurygroup dedicated to Art Worldwide, ’sVol. wasnity recentlyitself.” figurative sculptors of the 1930s re ‘The Greek Slave’ and published in Korobkin

15, no. 2 (Summer 2016). Tackling the a curatorial mechanical, reproductive aspect of ‘The- research assistantSculpture and Victorious: contributing Art Greek Slave,’ Korobkin has interrogated inauthor an Age to theof Invention, catalog for 1837–1901 the 2016 the various ways in which the sculp atexhibition the Yale Center for British Art ture was reproduced inexpensively for Tate Britain - the middle-class home, and where it resided as a central cultural artifact of (New Haven, CT); Whitney (Lon Christian modesty. Her contributions Museumdon, England). of American Currently, Art she is a Joan consider the shortcomings of the ideals Tisch Teaching Fellow at the expressed by Powers. (New York, “She traces incongruities of its - theNY). Smithsonian In September, American she will begin Art Mu a - place in American society; where its seumyear-long pre-doctoral fellowship at whiteness played into the ideas of ra - cial theorists; and where, as a desirable nal, go(Washington, to http://www.19thc-artworldwide. DC). raffle prize, it shared newspaper space org/past-issues To see the. special issue of the jour in 1854 with announcement of a slave Furniture exhibitionauction. at In Yale a world wheregallery Frederick reveals uses of historic evidence By David F. Wood, Curator, Concord Museum (Concord, MA) he DAS took advantage of a near- - T Art the 4,000 objects (with 2,000 more on and Industryly perfect in autumnEarly America: day in 2016 Rhode to Rhodethe way) Island are the Furniture 2,000 cabinetmak Archive Islandenjoy Furniture, a visit 1650–1830to the exhibition Pa- ershttp://rifa.art.yale.edu/ (or related woodworkers) of the tricia Kane - with ( ). This initiative, the Yale University, Friends Art of American Gallery. Arts based on the model of Kane’s Colo Curator of American Decorative Arts at nial Massachusetts Silversmiths and Jewelers but born digital, again puts The study of American decorative - Rhode Island’s experience at the heart arts may be fairly said to have cut its Providence) have never gone out of of a more general consideration of the teeth on the topic of the late Baroque consideration. In this current exhibi American experience. furniture of Rhode Island. Subjects tion may be clearly seen some of the The exhibition itself was a unique such as attribution, regionalism, shop uses to which the evidence is presently opportunity to see such sights as the structure and quality first raised in the being put. five kneeholeContinued block-front on next page.bureaus scholarly literature using examples We heard from Kane that behind signed by five different makers. There attributed to Newport (and sometimes the 130 objects in the exhibition are Newsletter of the Decorative Arts Society, Inc. Fall 2017/3 - also was compelling visual evidence supporting the consideration of ProviGar- vandence as the site of the creation of some of the iconic objects (such as the six-shell desk and bookcase) that have, for generations, been regarded as quintessentially Newport. One interesting thread woven through the entire chronology of the exhibition was the fielded panel, seen first on the Field family chest—one of the few surviving pieces of 17th- century Rhode Island furniture—and still evident in pieces fromArt the and early- In- 19thdustry century. in Early America: Rhode Island Furniture,An excellent 1630–1830 catalog,, augments the

exhibition and repays careful attention. Lunch was a buffet at Mory’s; the salmon, braised tofu and squash soup andwith DAS toasted treasurer pumpkin Stewart seed Rosenblumgarnish were all savory and pleasantly seasonal. Kane-

teamed up to deliver a vest-pocket his tory of Mory’s; both the place and the Array of bannister-back chairs (above); Halyburton card table (below), mahogany, mahog- institution. Lunch was an opportunity any veneer, primary light and dark wood floral inlay, secondary maple and pine inlay. Now to catchSusan up Schoelwerwith some colleagues, curator of and to attributed to James Halyburton: tables such as this, which descended in a family from meetGeorge others Washington’s for the first Mount time. Vernon Warren, RI, originally attributed to Allie Burton based on this one’s published history; since no one by that name appears in Rhode Island records and there was a cabinetmaker named James Halyburton (1705–at least 1800), family oral history assumed to have turned Halyburton into Allie Burton. Peter and Daphne Farago Purchase Fund, 1986.. (VA), officially took the helm as the incoming new DAS president with a heartfelt appreciation to Kane, not just for the concise and informative tour she had given us, but also for her myriad thankedcontributions David to Barquist the field through decades of exemplary practice. Susan past 10 years. for his tenure as the past president of the DAS forEmily the Orr The group heard briefly from Cooper-Hewett, assistant curator of Modern and - Contemporary American Design at the thank Nicholas Vincent and incoming of the DASMetro Pro- grampolitan chair, Museum and had of anArt opportunity to

(New York, NY)- for his five years’ service in that post.- After lunch, Kane took us to the fur niture storage area, where we consid ered some further examples of Rhode Island furniture in detail. References to fleshy bulges and webbed feet were rife. We heard as well some of the plans for the forthcoming relocation of the furniture study area. Orr lost no time in proposing that the DAS return to Yale to appreciate the new space when it opens. 4/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Posthumous portrait of Rabbi Raphael Hajim Isaac Karigal (1733–1777), born in Hebron, Palestine. Friend Reverend Ezra Stiles, minister of Second Congregational Church and later president of Yale College, attended service he led at Touro Synagogue; description of clothing is similar to portrait. Bureau table, mahogany (primary), chestnut, eastern red cedar, eastern white pine, yellow poplar, poplar—possibly aspect (secondary); probably 1765, New- port, RI. Inscription suggests made by Thomas Townsend (American, 1742–1827), son of Jacob Townsend, Sr., when still working in his father’s shop after father died in 1765. Shells similar to those of Edmund Townsend, with absence of bar under central element and ends of raised ridge around inner shell not tucked under as neatly. Diplomatic Reception Rooms, U.S. Department of State (Washington, DC).

Desk and bookcase, mahogany (primary), American black cherry, chestnut, eastern white pine (secondary); 1771–1795; made for John Brown (1736–1803). Made by Daniel Spencer, nephew of Newport cabinetmaker John Goddard and one of several makers who left Newport in late colonial period for Providence; carved shells and aspects of marking system are like those of Goddard. Tour leader Patricia Kane describes drawer.

Newsletter of the Decorative Arts Society, Inc. Fall 2017/5 DAS enjoys visit to Cooper Hewitt By Edward Styles, Cataloguer, Jewish Museum (New York, NY)

Catherine Acosta, MA student in Cooper Hewitt/Parsons program in History of Design and Curatorial Studies, pres- ents her research on the Art Deco designs of E. F. Caldwell & Co. during DAS visit.

DAS hosts at Cooper Hewitt (left to right) Emily Orr, Acosta, Meg Caldwell, Elizabeth Broman and Kathleen Bennett.

Emily Orr, Cooper AHewittbout 20 Smithsoniancontributors toDesign the MuseumDAS joined

(New York, NY),Sarah assistant D. Coffin , curator of Modern and Contemporary American Design, and curator and head of ProductThe DesignJazz Age: & AmericanDecorative Style Arts, infor the a guided 1920s tour. of the two-floor exhibition between the Cleveland Museum of Art The exhibition is a collaboration

(OH) and Cooper Hewitt, with the served as a counterpoint to the more other functional metalwork for private goal of bringing together and putting distinctly modern and machine-age homes, public buildings, and places of on display some ofJazz the Age1920s features and early designs in the rest of theViktor exhibition. Schreck - worshipMeg andCaldwell commerce across the USA 1930s holdings across media from engost Highlights included a neon blue - during its four-decade existence. both institutions. ceramic Jazz Bowl by discussed the more than 400 objects, nearly half from commissionedPaul Frankl by Eleanor Roo grandfather,pioneering electrical and touched fixtures on the designed need Cooper Hewitt’s permanent collection,- sevelt, a host of skyscraper-inspiredRose Iron and supervised under her great- as well as objects on loan from private Worksfurniture. by and stunning collections and museums internation ironwork from Cleveland’s for research and cataloguing that she ally, many acquired by the institutions begun,hopes will Catherine continue Acosta in future from years. the in the 1920s. Ziegfield Following a casual lunch at nearby- As evidence of such work already Theater The exhibition began with two Zabar’s, the group returned to Cooper thepainted Collection panels offrom Richard the H. Driehaus theHewitt Caldwell to review & Company dozens of presenta master’s program in the History of (New York, NY) on loan from tion drawings (of about 13,000) from andDesign the and Parsons Curatorial School Studies, of Design which, Carnegie Mansion Edward F. Caldwell collection & Co., in is jointly hosted by Cooper Hewitt (Chicago, IL), mounted in the main the Cooper Hewitt Smithsonian Design stairwell of the . On library. discussed some of her favorite Art the top floor, a brief introduction of the founded in the 1890s and based in New Deco-era designs by the firm and her continued interest in historical styles York, produced lighting fixtures and research into these commissions. 6/Fall 2017 Newsletter of the Decorative Arts Society, Inc. DAS learns from Sotheby’s Americana Week Program By Emily Orr, Cooper Hewitt Smithsonian Design Museum (New York, NY) and DAS Program Chair - the Americana Symposium atontributors Sotheby’s to the DAS attended arctic imagery. block-frontThe E. Newbold dressing tableand Margaret from Provi du Erik Gronning and Jason Busch byA Viking-style Paulding Pontdence, Smith RI, ca. Collection 1765. on JanuaryLaura 17C. Keimat , Farnhamvase designed for Andrewwhich Richmond, Selby Kiffer, John Tiffany & Co.’s emphasized Wardof Sotheby’s, Glenn introduced Adamson , Alan Miller important examples of 18th-century and Robert Trent Pan-American Pennsylvania fine and decorative arts, Expositiondisplay at the including a Philadelphia carved and , who provided figuredfolk art walnutfrom the Queen Ralph Anne and armchair.Suzanne insights into new research and offered- Katz Lastl Collectiony, we wound our way through variedC perspectives on the field. in 1901 was - The following afternoon, partici striking in , comprising portraits pants enjoyed guided tours at Sotheby’s, scale and in and landscapes by leading 19th-cen winding through the more than 750 lots gems,its rich enamel, visual tury American painters.Ammi Phillips, Grain-painted James divided up into six sales, drivenIris by a composition of Hope,furniture, Thomas trade Chamberssigns and hooked and John rugs Schwartznumber of private collections. dragon heads Rasmussenjoined works. by The tour began with the Celtic knots, - collection of American silver. Over the course of a few decades, and fox masks. Participants delighted in the op Schwartz amassed a comprehensive Next, portunity to examine and learn more survey of American silver from the we explored about the works, guided by Sotheby’s by makers from Hull and Sanderson to Viking-style Vase, American silver, enamel and crossed the block. colonial era to the present, with pieces Americana, experts, just days before the items Ubaldo Vitali and Michael Graves. gem-set; Paulding Farnham for Tiffany & Co., - 1901, for Pan-American Exposition (Buffalo, NY). Viking-style pieces were major feature of Busch and Ward selected high Tiffany’s display. Farnham experimented with lights for in-depth examination,Myer Celtic motifs for World’s Fairs as early as 1893, Myersincluding a rare pair of candlesticks as well as in silver and iron Viking punch bowl spoonby the byNew Gorham York silversmith Manufacturing for Chicago, now in Metropolitan Museum Company. An ice pail and an ice bowl and (New York, NY); won gold medals at fairs of 1893, 1900 and 1901. caught our eyes with their of Joan Oestreich Kend including property from the collection . We gatheredGer- aroundrit Onkelbag a six-lobed silver Brandywine bowl of dramatic proportions by of New York that was reportedly used by George Washington, Alexander A Rhode Hamilton Island mahogand theany Marquis scal- de Lafayette. Brown, Ives and loped-top tea table, ca. 1765, which Goddard Queen Anne Carved and Figured Walnut had descended in the Joyce Volk, Compass-Seat Open Armchair, highly figured American Silver Candlesticks, Myer Myers, former curator families, of the was Warner of interest. House walnut, Philadelphia, ca. 1760. Among most New York, ca. 1750–1766. Silver candlesticks The collection of rare surviving examples of Philadelphia seat- extremely rare in Early American silver, ing furniture in Queen Anne style. Represents purview of only wealthiest of Colonists; sets (Portsmouth, NH), contained early variation of fiddleback chair pattern, with of four even rarer. These sticks form set of painted New England furniture from solid splat with paired volutes, shell and four with pair in private collection. Original herGeorge 18th-century S. Parker home. II from the Caxam- volute carved crest rail, open arms supported owners probably Jacob LeRoy and his second by shaped uprights terminating in scrolled bas TheFoundation Americana offered collection a chance of to wife, Catherine Rutgers, who married in 1766. handholds, compass seat rail, shell-carved Only one other set of four candlesticks by knees, front cabriole legs terminating in claw- Myers known, made for Catherine Livingston and-ball feet with finely articulated talons and Lawrence, divided between Metropolitan see examples from many of the leading stump rear legs that are oval in cross-section Museum and Yale University Art Gallery. Annecolonial block-and-shell cabinetmaking carved centers. mahogany The and curve backward. sale included an example of a Queen

Newsletter of the Decorative Arts Society, Inc. Fall 2017/7 Exhibition/Book review NY Historical Society opens gallery of Tiffany lamps; publications provide further information The Lamps of Tiffany Studios: Nature Illuminated

A New Light on Tiffany: Clara Driscoll and the Tiffany, by MargaretGirls, K. Hofer with Rebecca Klassen, ISBN: 978-0-8478-4941-3 The New York Historical Society & Museum Library, Skira Rizolli New York by Martin Eidelberg, Nina Gray and Margaret K. Hofer, ISBN: 978-0- 916141-07-3,Reviewed by Eliza New de York Sola Historical Mendes, Independent Society, New Decorative York, in association Arts Scholar with D Giles Limited, London he New York Historical So- ciety T This kind of active “yes, please (NYHS; NY) unveiled -its atdo the touch” Museum approach of Art to exhibitionand De- cludesexciting, a two-story newly gallery transformed showcas - signdesign has also recently been seen fourth floor in April.Tiffany The space lamps in (New York), where drawers ing 100 illuminated - contemporaryunder exhibition jewelry tables works and on pro wall- from the society’s collection in a tecteddisplays by can glass. be opened to discover 4,800-square-foot space. The galEva Jiricnalery was. designed by the renowned made by the German company London-based Czech architect Segula Under the lamps are LED bulbs that resembles the early Thomas of theThe Norman structur S.al Benzaquen highlight of the . They have a visible filament interior is the swirling glass steps been to the Victoria & Albert Museum View of Norman S. Benzaquen Grand Staircase. Edison bulbs (patented in 1880) Grand Staircase (right). If you have and gives off a soft, warm light that approximates early incandescent bulbs- soon(London, as you England), enter the you space, know and right you onlythe globe has to and look is consideredat each of her the ground- “grand but emits little heat. (Together with away that something feels familiar as - dame” of British architecture. One Edison, Tiffany produced the first elec tric stage lighting in the world, for New thewould William be right: and The Judy same Bollinger noted archi - breaking projects to see the depths of PublicationsYork’s Lyceum Theater.) precede lerytect firstGallery. built their exhibition space for her artistic merit in each element of her Jewel bold sculptural staircase designs, right exhibition and event down to the curious decorative patterns This bold use of space, enhanced on the steps that appear like languages with dramatic lighting, certainly makes unknown and yet familiar. A catalog is usually produced - sense for the society’s Tiffany collection,- In the grand staircase, the design simultaneously with the openingThe Lamps of an of exhibition, but in this case, two defini which feels as if it has also hit the runway- patterns are repetitive linked waves in - Tiffany Studios: Nature Illuminated came in high fashion for a 21st-century audi motion, etched on the glass and adding tive publicationsNew cme Light first: on Tiffany: ence.Luce CenterIt is all part of a $35 million renova to the sense of kinetic form of the wind Clara Driscoll and The Tiffany Girls, the tion of the 20,000-square-foot area of the ing stairs, giving an energy in the whole out in 2016 and that took approximately two of the room reminiscentVan Nest of the Polglase Art Deco exhibition catalog for the museum’s years to come to fruition. andglamor Carroll in a Fred Clarke Astaire. and Ginger In the new space, there are echoes 2007 show—the project’s inspiration. The two-level exhibition space Rogers film set of John connected by the glass staircase is L. and Sue Ann Weinberg narrow, but sleek and dazzling. Each Also quite innovative, on the of the 2007 exhibition in the panelsClara of lamp is shown like a superstar, with all Mezzanine Piercethe early Driscoll photos of the Tiffany studios the lighting a Hollywood starlet or top is an exhibition table with a lamp study and the reflection on the history of model wouldDPA expect. Lighting Combined of England, with sample. Visitors can play with the colors the Louis C. Tiffany (1861–1944), Studios one of the most important creative artists in the sensuousness of the “electric” blue thaton panels one can to changeopen to its see appearance samples of the . Historians space.walls, lit by opalescentwith light. Under glass that the tableLouis are C. Tiffanydrawers this is a winning combination of art and found documentation of her critical role in the firm in correspondence in 2005. Jiricna is known for her use of glass (1848–1933) gave the trade name of The name Tiffany Studios was one in her designs. She has works around “Favrile.” of a succession of firms under Louis C. 8/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Tiffany lapms and vases on display.

(1911–1961) began collecting Tiffany glass shortly after their marriage in 1935. While looking for “affordable” furnishings for their Queens home, they found a “strange, old-fashioned”- Daffodiltadt, The lamp Lamps in ofa GreenwichTiffany Village antique shop for $12.50. (Egon Neus Charles L. , New York: TiffanyTiffany. He was the son of the celebrated- Fairfield Press, 1970, p. 5). Since some have three periods of employment with jewelry and silver retailer of the lamps when first made cost up - Tiffany and work with her “Tiffany (1812–1902) and opted toscape pur to $750, that was already a significant girls” on many of the most prestigious sue his artistic calling rather than work lamps.bargain. That purchase began their col commissions for leaded windows and for Dad. He trained first as a land lection, with eventually more than 200- mosaics. She would design of some of painter, then went into interior design. the most iconic models, including the The new installation showcases notglass only Neustadt also created a founda Dragonfly, Wisteria and Poppy. - the lamps, but other Tiffany items as tion Ain New 1969 Light that on has Tiffany: additional Clara Tiffany Driscoll’s success led to a 1903 well, including the famed Favrile Driscollglass holdings. and the Tiffany Girls focuses attempt by the unionized male work bowls; vases, cups, plates, candlesticks ers to close her department. It failed, and bronze candelabras; desk sets; and- - but with a compromise agreement the quite-rare pottery. less on individual lamps and more in - that she would limit the number of The books are quite different in ap depth on historical background, par her all-female staff, while she won the proach, but provide equally fascinating ticularly in relating Driscoll’s fascinat right to design lampshades and small material. Serving different purposes, ing story. - luxury goods. She was proud of making Theboth Lamps publications of Tiffany “shed Studios: light” Nature on the The designer and artisan who was a relatively substantial salary. Illuminatedcollection and are complementary. to play a major role in the Tiffany Stu This is a great read for those who Neustadt Collection - dios was born in Tallmadge, OH, and love the romantic 1970 cult classic is specificallyColin about Cooke the was only 12 when her father died. She novel Time and Again by Jack Finney . Listed and pho thewas Metropolitan raised primarily Museum by women—her Art School and want to feel truly as if they have tographed beautifully by mother, aunt and sisters. She started- at walked back in time to old New York. are 80 of the total 132 pieces.Egon Neus- Driscoll’s life story is full of drama and tadt The museum collection was (New York, NY). The catalog has re a reads like a novel itself. formed when, in 1984, Dr. markable photos of old New York—the Only 30 of the NYHS’s 132 Tiffany (1878–1984) donated 132 lamps- studios, the women and their work, lamps were on display at the time of to the NYHS. Neustadt, a New York and the streets of the city—and tells the 2007 exhibition; until the new - orthodontistHildegard and Steininger real estate Neustadt devel the colorful tale of the life of a trail- installation, the lamps were in visual oper (Candlewood Lake, CT), and his blazing woman of her time. storage and only a portion of the col wife Starting in 1888, Driscoll would lection could be seen and were lit. Newsletter of the Decorative Arts Society, Inc. Fall 2017/9 Book review Ceramics book is evocative tour de force By Marcia Feinstein, principal, Vintage Interiors II (Washington, DC) Ceramics: 400 Years of British Collecting in 100 Masterpieces eramics: 400 Years of British by Patricia F. Ferguson. 2016. London, New York: Philip Wilson Publishers CCollecting in 100 Masterpieces can be justly described as a tour de force—a magisterial anthology of- ceramics in the British National Trust properties. Titles evocative of an in triguing moment in social or decorative arts history announce each object’s one- page description—“Splendiferous Color of a Chimneypiece,” “A Loyal Courtier’s Homage,” “For a Royal Court in Exile,” “A Noble Etruscan Trophy”: These and scores of other tempting titles lead the readerIn all,into 400 a crisp, Years stimulating critique- of origin, form and provenance. eloquently docu ments the British quest for beauty,Sèvres from its maritime journeys to the Orient to - the royal and aristocratic French collections presciently acquired by vora cious British purchases during and after beyond.the French Revolution, to the ceramic triumphsAuthor of PatriciaBritain’s Fergusonown factories and

includes nouveau, bleu lapis multiple examples of Chinese Export, bleu celeste of Sèvres MeissenJapanese, English, Dutch, and French,- and Minton. ); Mazarin blue; and tures is especially rewarding. Garnitures- with a representation of Italian and the highlyThe author prized beg an the book before were the must-have acquisitions of , all within six sections de Clandon aristocrats and collectors to dramati sumptuousnominating treasuresthe historic from focus the of far British Erddigcally signify their status, success and cornerscollecting. of Andthe globe. collect they did—exotic, the great fire at in 2015, and- Beltontaste. From the “Luminous Greens”Charles at - several objects destroyed by the fire Sackville to the “Splendiferous Colour” at are included. Lost, and poignantly de - and the aforementioned - Chinese ExportPetworth is richly ,represent the huge scribed, are the elegant Chinese Export berant Delft’s monumental at Kingston jars Lacy with, readers their ed by entries such Knoleas the monumental - cranes in “Immortal Cranes Unexpect panoramic views at Knole, to the exu Jingdezhen jars at edly Felled.” Ming Garniture at and the exqui Contemporary enthusiasts mightSaltram, Trustwill savor houses. their favorites and just might site Ming jug described in “From Far Sudburyconsider visitingHall, Wallington the National and Trust the celebrate with their own grand tour of Cathay to a TudorBow Table.” - recentlyHouses most restored often Shugborough cited: Knole, , or to - The extraordinary inventiveness of tographs Ferguson by Robert has included Morris a useful Meissen and figurines is delight glossary and extensive footnotes. Pho fully described in “Bringing the World to concentrate There are on scores visiting of trust Sèvres properties mas- eloquently- the Table,” “When Shall I Marry,” “To Go to compare garnitures or punch bowls. capture the vitality of this tactile art Naked is the Best Disguise” and others. form and are supplemented with his There are palettes for every taste:- terpieces (and French faience and soft toric photos of original settings. “When lucentglorious greens examples of famille of the verte Chinesefamille Ming bypaste); Wedgwood scrumptious dinner and dessert Walpole Went Shopping” will whet your- roseand Delft blue-and-white; the trans services; and many ceramic inventions appetite for more. Vincennes, Sèvres, Worcester; bleu , Britain’s first ceramic - This is a book for a beguiling mo ; the magnificent blue grounds of marketing genius. ment or an evening’s pleasure, compiled ( Ferguson’s extensive study of garni by a formidable ceramic scholar. 10/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Acquisitions

PWV #357, blown and cased glass, Mark Peiser (American, b. 1938), 1981. Legno Vase, fused and blown murrine glass, Yoichi Ohira (Japanese, b. 1946), late 1990s. Lace Cage Bowl, pâté de verre, Etsuko Nishi (Japanese, b. 1955), 1992. Gifts of Daniel Greenberg and Susan Steinhauser, 2016. Photo: Ed Pollard, Chrysler Museum of Art.

Chrysler Museum of Art icz, Steven I. Weinberg, Ann Wolff, and Mark Zirpel. • The Daniel Studio Glass Movement, the couple Greenberg(Norfolk, VA) and has Susan received Steinhauser 46 works ,of - thebegan Corning donating Museum selections of Glass from their glass art from the collection of - About one-third were not yet glass collectionMinneapolis to institutions Institute such of Arts as ment and contemporary glass from the represented in the ChryslerPerry collec Glass Museum of Fine Arts, Boston (NY), consisting mainly of Studio Glass move Studiotion, though several of the artists had LACMA, Museum of Fine Arts, Hous- come to the museum’s Harvey ton(MN), 1970s through the 2000s. Additional Littleton, for Joey working Kirkpatrick visits to teachand Flora and (MA) and examples represent the mid-20th Mace,to create. Fulvio Additional Bianconi, objects William by Mor- (TX). century, including studio and mass ris, and Ann Wolff The couple also made 2004Klaus and productionGabriel from glass Argy-Rousseau, factories. Moje2008 donations to help the Chrysler William The 29Bernstein, artists w hoseFulvio works Bianconi are will expand existing- acquire Historic works byDeerfield kilnworker includedVenini & C. Dan Dailey, Simon holdings by these artists. , who died in 2016. Gate and Edvard Hald Or- The Los Angeles-based collec • (MA) has (forrefors Glasbruk), Jiří Harcuba, Brian tors first became involved with glass acquired a 19th-century sewn woolen Hirst, David Hopper, Silvia(each Leven for - Losin the Angeles 1970s whenCounty the Museum Studio Glass of Art bed rug in textile polychrome six-ply son, Martin Lipofsky,), Harvey Little- movement was just beginning. At the woolen yarns on a light-blue plain ton, Per Lutken Holmegaards - weave wool ground that is marked Glasvaerks Joey Kirkpatrick and (LACMA; CA), they played a role in the “1801/Esther Packard.” It is one of four Flora Mace, Paul(for Marioni, William development of the studio and contem similar rugs, at least two of which have Morris, Joel), Philip Myers, Etsuko Ni- ofporary trustees glass at collection Pilchuck inGlass the 1980s.School been attributed to the Packard family shi, John Nygren, Yoichi Ohira, Mark Steinhauser also served on the board of Massachusetts. This bed rug is the Peiser, Colin Reid, Therman Statom, - earliest Esther of these (Porter) and mayPackard have wasbeen the Bertil Vallien, Janusz Walentynow- (Seattle area, WA) for 13 years. source of the design for the other three. In 2012, to mark the 50th anniver sary of the beginning of the American born in 1733 to Esther Ford and Jacob Newsletter of the Decorative Arts Society, Inc. Fall 2017/11 Rhode Island School of Design (RISD) Museum - Porter. She married Abel Packard in - Ojibwa artist from Ontario, Canada. - • The 1751. They apparently relocated to Selected worksNative from American the collection Mas- ’s depart Cummington, MA, in the 1770s; her hus wereterpieces on view from at the the Charles museum and in the Valerie re ment of Decorative Arts and Design has band died in 1804 and she died there in centDiker exhibition Collection acquired more than 40 pieces of Arts 1812. Indigenous Beauty: centuryand Crafts such silver, as the representing Kalo Shop, American Hor- Acquisition of the bed rug comes Masterworks of ,American which followed Indian a Art designersace Potter, and Lebolt workshops and Company of the 20th, and with the 52ndLeeds anniversary Art Foundation of the Helen nationalfrom the tour Diker of Collection, a larger Peer Smed. The department has also Geier Flynt Text Gallery. American Shari Table • Themade by John Scott Bradstreet Federation of Arts. Mendelson for(Pittsburgh, James Ford PA) Bell has acquired the Lotus exhibition organized by the acquired its first work by artist : Round Blue/Green Vessel, of Minneapolis, MN. The Dikers have been involved at inspired by both ancient and modern There are at least known five examples the Met as donors and lenders of Native pieces in the glass collection. with round tops, all largely repeating - American works of art since the 1990s. the same design and motifs, but this Three works given by the Dikers in model is quite different, with a top sur - a2016—a jar by Maria Haudenosaunee and Julián pouchMartínez and ofa face carved with lotus blossoms, vines, Pomo basket by unrecorded artists, and tendrils and a turtle—the Japanese sym bol of longevity. Although some other the San Ildefonso Pueblo—are currently- tables have come to the market with on display in American Wing. non-original coatings obscuring the jin- The Dikers donated additional ex- di-sugi surface of the cypress, this table amples of Native AmericanNative art between Paths: retains deep color and texture. American1999 and 2008, Indian and Art an from earlier the exhibi Collec- The foundation recently donated tion of selected works— tion of Charles and Valerie Diker— Compote, silver, 1929; the Kalo Shop, a Bradstreet armchair with original Columbus Museum manufacturer, American, 1900–1970. blue finish, Metropolitan from the same Museum suite, to the David W. Penney Elizabeth T. and Dorothy N. Casey Fund. of Art (GA) . was shown in 1998–2000, curatedSmithson by - • The Charles and Valerie ian Institution National, associate Museum director of Diker (New York, NY) has received a themuseum American scholarship Indian at. the promised gift from ’s of 91 works of Native American art—a selection of masterworks from The Dikers were founding chairsGeorge the collection they assembled over more Gustavof the Smithsonian’s Heye Center National Museum than four decades. Joining another 20 of the American Indian and theAmeri - theworks early already 20th century,given by andthe Dikers,represent these can Friends of the Israel (New Museum York, NY). and He examples range in date from the 2nd to has served as president of the of the Harvard University Art Muse- artists from many cultural traditions umsas a member. of the Visiting Committee across the North American continent working in a variety of esthetic forms - and media. The 2018 exhibition willGaylord comprise Tor- The collection will be displayed rencemore than 100 works, including out starting with an exhibition in fall 2018, right and promised gifts. marking the Met’s decision to display Nelson-Atkins, Fred and Museum Virginia Merrillof Art Senior art from the first Americans within its Curator of American Indian Art at the appropriate geographic context. - (Kansas Round Blue/Green Vessel, plastic bottle pieces, Highlights of the gift include a City, KS), is guest curator. hot glue, resin, acrylic polymer and paint, dance mask (ca. 1900) with representa The exhibition will be accompanied 2015; Shari Mendelson, American, b. 1961. - - Helen M. Danforth Acquisition Fund. tions of a spirit, seal, fish and bird held by a publication by Torrence and others, in a human hand, made by a Yup’ik art to be published by the Met and distrib Stedelijk Museum Amster- ist from Alaska; ceramic jar (ca. 1895) uted by Yale UniversityLeeds Art Press.Foundation dam • The potterwith a portrayalNampeyo of the Butterfly Maiden The Met also received a promisedJacque- (The Netherlands) has Cabinet no. spirit being, created by Hopi-Tewa linegift from Loewe the Fowler 70, a monumental combined cabinet, ,Louisa from Arizona; Keyser basket by(Philadelphia, Rebecca Cauman, PA) in honor Robert of Riddle Ettore Sottsass table and dresser, by Italian designer known(1907) asintegrating Datsolalee form and design, Jarvie, Horace E. Potter,, including Gertrude works S. , who was known for his by Washoe artist (also - Twichell and the Saturday Evening Postmodern Memphis furniture of the ), from Nevada; Girls, and Marie Zimmermann. and black-dyed porcupine quill embroi 1980s (see Exhibitions/International- dered shoulder bag (ca. 1820) by an the Netherlands). 12/Fall 2017 Newsletter of the Decorative Arts Society, Inc. News Brooklyn Museum Bard Graduate Center ago. • The (NY) and- ing along the canal more than a century dent researcher who has worked with (New York, NY)- Connecticut institutions as a board, have launched a collaborative, multi The GlassBarge will be in Seneca collection committee and advisoryLemuel phase project to rethink the presenta Falls in July and Syracuse in September. Adamscouncil member, discovered a 270-page tion and study of American decorative • The CollegeHalsey of Char Instituteleston (SC) ledger kept by cabinetmaker arts. Starting in fall 2017, Bard faculty ofhas Contemporary received a $1 million Art endowment (Hartford, CT; 1769–1850) that and sThis will launch a seriesKevin of coursesStay- Deborahin support Chalsty of the , a member of the providesThrough a record the ledger, of the Historiccabinetmaking Deer- onton American decorative arts at the as a gift from fieldbusiness in Hartford during theChris 1790s.- Brooklyn Museum, led by her mother, Jennifer A. Chalsty. tine Ritok , curator emeritus, among others. Halsey’s Advisory Board, in honor of (MA) associate curator - The course is open to all students from the Museum of the City of New and Ferrigno are leading a enrolled in the Bard Graduate Center’s York • More than 1,650 pieces and sets long-term study of the interrelationSamuel MA and PhD programs in decorative Kneeland,ships among and Hartford Aaron areaChapin, craftsmen, John arts, design history or material culture. (NY) collection of New York silver Porter,including Aaron Adams, Colton, his partner John I. Wells, It will lead to redesigning the gallery are now digitized, catalogued, publicly Julius Barnard, Erastus Grant and display of the decorative arts collection. accessible and fully searchable via the- Daniel Clay. Students and conservators will museum’s online Collections Portal examine individual objects through the (http://collections.mcny.org). The col- lens of the center’s Andrew W. Mellon lection dates from colonial settlement The ledger contains the daybook— Foundation-supported “Cultures of until the first decades of the 20th cen or record of daily transactions—of Conservation” initiative. Students will tury and includes approximately 2,600 the shop of Adams and Kneeland, who continue their collections-based work pieces of civic, domestic, religious and- were in partnership between 1792 and through summer internships. presentation hollowware, flatware and 1795. It details the establishment of The project will culminate in an - accessories made by New York silver their business; identities and tenures exhibition at the museum, curated in smiths and designers, and owned by of their journeymen and apprentices;- part by students, on the work of Brook notablethrough Newsupport Yorkers. from the Institute full range of their wares; and output by lyn craftspeople, makers, artisans and of MuseumThe project and was Library made Services possible traceform, objectsdate, price now and known customer. to have Re been artists, and their place in the history- of Henry Luce Foundation, and search is underway using the ledger to decorative arts and design. Louis and Virginia Clemente Foun- An array of period rooms, span dation(IMLS),. made in the Kneeland and Adams shop.- ning The 1675–1929, Luce Center provides for American context for The ledger also provides insights Artthe collection. https://collections.mcny.org/Explore/Fea- into the relationships between Knee tured/Silver%20Collection/For access to the collection, go to: land and Adams and their competitors displaysChrysler additional Museum objects from in the Connecticut River Valley,Daniel such the collection. Glass: Masterworks Burnapas cabinetmakers and Timothy Chapin, Cheney Barnard. and from • the The Chrysler Museum of Art (Norfolk, • A bowl dating from about 1770 Wells,The as ledger well as documents clockmakers the dues VA) has released and considered the “Holy Grail” of of Glass Diane Wright , edited American ceramics as the earliest Hartford Society of Cabinetmak- by Carolyn and Richard Barry Curator Newknown York example Ceramics of American and Glass hard- Fair ersthat Kneeland and Adams paid to the (a former DAS paste porcelain was on display at the - board member),Corning with Museum 75 entries of Glass on Museum of the American Revolution ers—the, and that pattern they book purchased—in Cabinetmaker’s works from the glass collection. - in January and is now on display at the andpartnership Upholsterer’s with otherGuide cabinetmakby George • The GlassBarge Hepplewhite (NY) is taking its glassmaking demon (Philadelphia, PA). - strations on the water. The Workers found the bowl at the , suggesting that Hartford is a new mobile glassblowing venture museum site in 2014 along with about cabinetmakers collaborated on fur that will host free public demonstrations 85,000 items. Initially thought to be - niture design to an extent previously by the hot glass team and guest artists.- stoneware, it was found to be porcelain unknown. The ledger also details the The project has received more than and probably made in Philadelphia, us purchases by Kneeland and Adams of $275,000 in state economic develop ing the Chinese hard-paste technique. large quantities of imported mahogany, ment awards for testing the concept in Documents have indicated that such ownwhich projects. they milled for sale to their three 2017 events along the Erie Canal, then.porcelain had been made in America, competitors in addition to using it -their Brooklynwith an expanded Flint Glass schedule Works in 2018 - but noKevin examples Ferrigno had been found until- that would replicate the move of the The ledger also contains previ to Corn • , an indepen ously unknown personal information Newsletter of the Decorative Arts Society, Inc. Fall 2017/13 about Adams. A detailed genealogy furniture labeled or signed by Adams, American and European-American art dated 1792 reveals that he was born Kneeland or the partnership, as well will have newGlass interpretation in New England in fully in Milton, MA; Kneeland was his first customers.as account books,Any DAS diaries newsletter and letters readers renovated Oldgalleries. Sturbridge Village cousin; and theirStephen uncle andBadlam possible. related to Adams’s competitors and - • The masterThe was ledger Dorchester devotes Lowerseveral Mills pages [email protected]. exhibit at Amy Griffin, tocabinetmaker a letter book, kept by Adams as a with access to such resources may con (Sturbridge, MA) is getting a facelift tact YvetteRitok at Yurubi - as it turns 60 this year. All responses will remain confidential. 2016–2017 Americana Foundation record of his correspondence with of the Special Col Curatorial Fellow, has undertaken the family and friends over 20 years, that lections division of the University of reinstallation as her main project. - documents his evolving career as a Miami Libraries assisted inEduardo making Basic upgrades will be made to signage cabinetmaker, merchant, lawyer and Adam-Rabelthe ledger available, and Miami-based and cases; faded fabrics of orange, yel distiller, and suggest the pressures that historian and researcher low and maroon have been traded in influenced all craftsmen during the Newark provided Museum research and for light, neutral upholstery. Federal era. Chris- reproduction of the ledger. With the new installation, glass- tina Rit Keyserok and Vida Ferrigno, former have curator assembled of Henry• The Luce Foundation (NJ) has made using a variety of techniques thea team Windsor of researchers, Historical including Society received a $750,000 grant from the is shown together to facilitate com researcher Carol L. Loomis Kevin to expand - parisons, illustrate the development Tulimieri of Nathan Liverant & (CT);Son and reinterpret its permanent galleries of style over time and introduce new Antiques ; and of American art and document the col contexts for theseGlastenbury artifacts. Glass lections through two new publications.- Company Features such as the glassblowing (Colchester, CT). The two-year grant will support the- nowvignette supplemented and the by research on the While a larger publication and collections in the museum’s recently re archaeological materials, exhibition are in the planning stages, named Seeing America galleries, previ - they anticipate publishing a series ously named Picturing America. Works history of the Glass Building and its of articles about their findings. They from the Native American collection and importance to the history of Old Stur would like to examine privately owned a selection of African-American, Latin bridge Village, remain on view. www.DecArtsSociety.org

14/Fall 2017 Newsletter of the Decorative Arts Society, Inc. People Appointments Brandy S. Culp Maria Balshaw - - tor of the Tate Museums • Wadsworth is now Atheneum the Richard exhibitions, public programs and digital the Tate• Modern and Tateis the Britain new direc MuseumKoopman ofCurator Art of American Decora content that raises awareness of Latino- Tate Liverpool, overseeing, and tive Arts at the design. Americas Society Tate St. Ives Historic Charleston (Hartford, Foundation CT). She De Leon previously served as as (London, England), served previously as curator of the sociate curator of the - the Whitworth, effective June 1. For the (SC), (New York, NY), conducting curatorial past 10 years, she has been directorMan of- ArtAndrew Institute W. Mellon of Chicago Curatorial Fellow research and helping organize exhi chester Art Gallery (Manchester, England) in the American art department at the- bitionsUlysses of 19th-century Grant Dietz Modern and and also has been directorNicolas of the Serota , Metropolitan (IL), Museumand in contemporary design. - since 2011. ofcuratorial Art positions at the Bard Gradu • will step Balshaw succeeds ate Center and thedown Newark from his Museum position at chief cura who has led the Tate for almost 30 years (New York, NY). tor and curator of decorative arts at- and willJason work T. part-timeBusch with the Arts - (NJ) at the end Council, a public artsJason funding Jacques body. Gal- of 2017 after 37 years at the institu lery • has been appoint tion. He will become curator emeritus. ed as director of the - Three reinstallations of exhibitions will (New York, NY). He will collaborate feature objects he helped bring to the with gallery owner Jacques on exhibi collections (see Exhibitions). tions, publications and sale strategy for programs in Modern and contemporary ceramics and design.

Photo: Allen Phillips for Wadsworth Atheneum. - - At the Historic Charleston Founda tion, she led projects for the conserva tion and interpretationsumma of its cum collection laude of fine and decorative arts. Culp graduated - from Hollins University and received her master of arts degree with an em phasis in American decorative arts from Dietz joined the museum in 1980 the Bard GraduateAlexander Center. Petrie Her andthesis the as its curator of decorative arts, after Win- was on the 18th-century Charleston receiving degrees from Yale University at the Wadsworth Atheneum Museum terthur Program. silversmith and the University of Delaware’s of ArtBusch was curatorMinneapolis of decorative Institute arts Carolina silver trade, and the topic of of Art Carnegie for the museum was A Festival of Quilts metalworkChristine remains De Leonone of her greatest The first exhibition Dietz curated Museum (MA) of andArt has been interests. (MN);St. Louis chief Artcurator, Museum - • (Pittsburgh, PA); deputy in 1980. Since then, he has curated more- supportednamed associate by the curator Latino ofInInitiatives U.S. La than 100 exhibitions and installations Sotheby’sdirector, (MO); - tino design, a newly created position and division director, decorative arts, Pool that showcased themes in the decora- (New York, NY). Smithsonian Institution, at Cooper tive arts such as art glass, studio ceram Hewitt,, which Smitsonian iis administered Design Museumby the ics, 19th-century furniture, three cen Busch holds a master of arts degree- from the Winterthur Program at the turies of American silver and Newark’s University of Delaware and BA in Ameri - jewelry industry. He was named chief (New York, NY). She is responsible for can studies from Miami University. In curator in 2012. Throughout his career, researching Modern and contempo 2013, he was a fellow at the Center for he has maintained a strong interest in rary U.S. Latino design and developing the 19th century; it has since grown to CuratorialNewsletter Leadership of the Decorative (New York, Arts NY).Society, Inc. Fall 2017/15 and completed coursework for her doc- torate. encompass the 20th and 21st centuries. Brooke Hodge His newest Thepassion Glitter is jewelry. and the Gold: Cooper Hewitt, Smithson- Fashioning An exhibition America’s that combinedJewelry these ian Design• Museum, previously deputy interests is director of (1997); at the Palm Springs Art (New Museum York, NY), is Newark was the center of solid-gold now director of architecture and design jewelry manufacturing from the 1850s (CA). to the 1950s and made 90 percent -of the 14-karat jewelry produced in America. of theOther Lore e xamplesRoss Jewelry include Gallery the es and tablishment andJewelry 2015 reinstallation from Pearls to Platinum to Plastic City of Silver andthe exhibitions Gold from Tiffany to Cartier Hot, Hotter, Hottest: 300; Years of New Jersey Ceramics. ; and

David E. (Ned) Lazaro has been Dietz’s legacy may be best seen in Ballantine House His- the museum’s Gilded Age mansion, the John and Jeannette Ballantine of the toric • Deerfield , built in 1885 for promoted to curator of textiles at (MA). In that role, he Newark brewing family. continues to oversee the textile, clothing Designated as a National Historic- and embroidery collections at Historic Landmark in 1985, the BallantineHouse House Tristram Hunt Deerfield. He holds a master’s degree &was Home completely restored and reinter - in fashion and textile history from the preted between 1992 and 1994. tor of• the Victoria and has Albert resigned Museum as a University of Massachusetts, Amherst, presents it as a case study member of Parliament to serve as direc where he focused on 18th- and early for the idea of “home” in the 1890s in Melissa Ho Barbara Jatta - 19th-century clothing construction. He - America.Smithsonian American Art Museum rector(London, of theEngland). Vatican Museums has lectured and published on 18th- • has joined the • has been named di century fashion, 19th-century undergar century art. She succeeds Antonio Paolucci ,(Italy), who ments, and 20th-century dress design (Washington, DC) as the curator of 20th- the first woman to hold that position. - and marketing.

served as director since 2007. The mu seums include the Sistene Chapel. Jatta is professor of history of graphic arts at the University of Naples and has been curator of graphics at the Vatican since 1996, as well as head of the AnneCabinet Lanning of Prints has in been the Vatican promot - Apostolic Library. Historic Deerfield• ed to senior vice president at (MA). - Lannin began at the museum in 1986 as assistant curator of interpre - tation. She has held the positions of - Hirshhorn Museum and Sculp- curator for interpretation, chair of the tureShe Garden was a curator at the Smithson Curatorial Department and vice presi ian’s Sarah Newman dent of museum affairs. She received an- Shirin (Washington, Neshat: Facing DC) History from Smithsonian American Art Museum undergraduate degree in history from 2011 to 2016. Her recentMelissa exhibitions Chiu • has joined the - thefrom College the Cooperstown of New Rochelle Graduate and a Promas- includeSalvatore Scarpitta: Traveler - gramter’s degree in History Museum Studies (2015),and Barbara co-curated Kruger: with Belief+Doubt ; tor(Washington, of contemporary DC) as artJames at the Dicke Corcoran Cura (2014); Patterson Gallerytor of Contemporary of Art Art. She was cura Homestead. Before joining Historic Deerfield, she was director of the (2012). at the Montgomery County Historical (Washington, DC) from - and director of education Sho earned a master’s degree from Society 2008 to 2014, where she developed the University of Pennsylvania in 2005 “NOW at the Corcoran,” a series of com 16/Fall 2017 (Dayton, OH). Newsletter of the Decorative Arts Society, Inc. - - missioned exhibitions and performanc as well as a 10-year collection plan. galleries Tucker in 2018most andrecently organize served a sched as es by emerging and midcareer artists. She increased the collection by 2,000 ule of special exhibitions.Museum of works of art, including the Haub Family the American Arts and Crafts Move- Collection of Western American art and mentfounding director of the art of the Northwest. She added major the Two Red Roses Foundation and pieces to form the largest collection of (St. Petersburg, FL), working with works in glass by Tacoma native Dale - Chihuly on view in a museum. She also its architects and designers to develop developed, through gifts and purchases, plans for a 137,000-square-foot facil - a major collection of studio art jewelry- ity dedicated to the interpretation and by artists from the Northwest and a preservation of the foundation’s collec premier western American art collec tion of early-20th-century works. tion. More than 100 exhibitions opened From 2003 to 2015, Tucker servedDal- during her tenure. lasas Margot Museum B. Perotof Art Senior Curator of As a trustee of the AAMD, Stebich Decorative Arts and Design at the - chaired the membership committee (DMA; TX), where Most recently, she was a guest and led an effort to enhance diversity programhe led national of modern and international and contemporary col curator at the National Gallery of Art in museum leadership. As a trustee of laborations to develop the museum’s - - the AAM, she chairs the global steering Modern Opulence Theaster Gates: The Minor committee and is the incoming national indesign. Vienna: He organizedThe Wittgenstein more than Vitrine 20 ex Arts(Washington,, and at the DC), Katzen where Arts she Centeris or at program chair. hibitions,Form/Unformed including (2013), ganizing Gustav Stickley and the American Arts - and(2015), Crafts Movement Mod- American University. - ernism in American Silver: 20th-Cen- Newman earned a bachelor’s de tury Design (2010), and gree from Williams College, and a doc torateEran from Neuman the University of California, (2005). Including catalogs Berkeley in 2005. - for those exhibitions, he has published • , formerly director and Tlectureducker oversaw extensively a development on modernist pro - of the IsraelDavid AzrieliMuseum School of Architec and early-20th-century design. ture (Tel Aviv, Israel) Jamesis the new S. Snyder director (Jerusalem). gram for acquisitions and exhibitions, Former director is launching collectionThe Fashionsupport Worldgroups of and now directorNancy Spector emeritus has and returned international to Jeanspearheading Paul Gaultier: projects From such the as Sidewalkthe 2011 president,the Guggenheim a new position. Museum - topresentation the Catwalk, of • as chief cu which inaugurated the atrator the and Brooklyn artistic Museum director after leaving expansion of the DMA’s fashion and the museumStephanie to lead Stebich the curatorial team jewelry program. He conceived and (NY). Tacoma Art Museum Stebich received her bachelor’s - oversaw reinstallation of the museum’s- • , executive degree fromInstitute Columbia of Fine University Arts. She and has American decorative arts holdings. He director of the her master’s degree at New York Uni also more than doubled his depart Smithsonian(WA) since 2005, American has been Art named Museum the versity’s ment’s acquisitions endowment. Margaret and Terry Stent Director of the a certificate in nonprofit management Columbia Before Museum joining the of DMA, Art Tucker was from Case Western Reserve University chief curator and deputy director of the (Washington, DC), effective April 3. the Minneapolis Institute of Arts in Cleveland and is a graduateGuggen of the- (CMA; SC) Stebich was assistant director of Cleveland Museum heimGetty LeadershipMuseum Institute (Los Angeles,- from 2002 to 2003, where he previously of Art (MN; CA). She was a fellow at the was the curator of decorative arts. He 2001–2004) and Association of Art Museum Direc- Kevin Tucker and studied at the Uni was responsible for the most significant (OH); served on the board of the tors curatorversity ofat London’sthe High UniversityMuseum of College. Art growthTucker in the served decorative as curator arts collectionsof decora- the board of the American Alliance of • is now the chief in the museum’sOwens-Thomas history. House (AAMD); and currently serves on Museums - at the Telfair Museum of Art - As head of the Tacoma Art Museum (Atlanta, GA), directing its curatorial tive arts at the (AAM). program; overseeing installation, inter Tucker earned master of arts (Savan and pretation, research and development of nah, GA) from 1999–2000. for almost 12 years, Stebich raised funds - departmentsthe permanent to collection; develop plans and forworking a re- for a major renovation that doubled the with the executive staff and curatorial bachelor of arts degrees in history from museum’s exhibition space and devel the University of South Carolina and oped and implemented a strategic plan was the recipient of a 2007 Winterthur Newsletter of the Decorative Arts Society, Inc.installation of the permanent collection Fall 2017/17 Research Fellowship for his work on and has expanded the museum’s staff,- President’s award for work that brings “Gustav Stickley and the American Arts programming and collection. meaning, relevance and inspiration to and Crafts Movement.” He has served - and Fsculptureairbanks atfounded the Museum the depart of Fine the public by exploring New England on committeesAssociation for various of regional Art Museum and Arts,ment Bostonof American decorative arts life and history, and making an impact Curatorsnational professional American organizations, Alliance in on the museum field through hisOld or her ofcluding Museums the Southeastern (MFA; MA) and was its- Sturbridgescholarship. Museums(AAMC), Conference curator from 1970–1999. He brought Zea has was chief curator at Robin Veder (AAM) and American decorative artsPaul to Revere’s interna (Sturbridge,Historic New MA) England for 18 American Art, the(SEMC). Smithson- Bostontional attentionFrontier by America; curating Witnessnumerous to years, vice presidentSociety for for museums the Preser and- ian American• Art Museum is new the executive America’sexhibitions, Past includingew England Begins: vationcollections of New at England Antiquities editor of The Seventeenth; Century The Art that (formerly the ’s peer- is Life: The Arts; Nand Crafts Movement Colonial Williamsburg) reviewed journal for new scholarship. in America Glass Today; . He also Foundationbetween 2001 and 2003, and curator of Veder was a tenured associate professor - furniture at the of humanities, art history and visual - ; and (VA) starting in 1999. culture at Pennsylvania State University inaugurated the “Please Be Seated” pro Zea earned a degree in history from from American 2010–2016 Art and an assistant pro gram, and has served on White House Wesleyan University and participated fessor fromResearch 2004–2010. and Scholars Cen- and State Department committees. in the Summer Fellowship Program of ter is produced by the - From 1961–1971, Fairbanks was - Historic Deerfield.National He had a Endowone-year- museum’s associate curator for conservation at mentinternship for the at OldHumanities Sturbridge program Village infor and co-published with the Univer Winterthur and is credited with build 1974 through the sity of Chicago Press. ing its conservation research wing. - Win- Awards Fairbanks earned his BFA from the aspiring museum professionals. He then Jonathan Fairbanks, who hosted Pennsyl- terthur Program in Early American University of Utah, MFA from the Uni earned a master’s degree from the Fuller Art vania Academy of the Fine Arts, and Culture versity of Pennsylvania and Museum • MA from the Winterthur Museum and He also was been on the staff of the at the University of Delaware. the DAS on a trip to theArt & Design of New Hampshire Historical Society the 20th &(Brockton, 21st Century MA), received Daniel H. Weiss the 10th anniversary MetropolitanUniversity of Delaware. Museum of Art well as as a trustee of the Decorative • , president of the and is now on its board of trustees, as (AD 20/21) - Arts Trust, Old Salem Museum and Lifetime Achievement Award at the gala (New Gardens Deerfield Land preview of the AD20/21 show in April York, NY) since 2013, has been ap Trust for his career in art, design and creative pointed president and CEO of the Met. Zea has (MA), been and a consultant the to numer- vision as a curator, educator, museum ThomasHe has been Campbell serving announced as president that and he (MA). administrator, artist, historian and interim CEO since February 2017, when writer. - ous museums on topics such as early would step down as director and CEO. furniture, clocks, engravedClock Making powder in New Weiss has a PhD from Johns Hop England,horns and 1725–1825: historical interpretation. An Interpretation kins University in western Medieval ofHis the books Old Sturbridgeinclude Collection and Byzantine art and an MBA from the Robert C. Chesney The Dunlap Yale School of Management. He earned Cabinetmakers: A Tradition in Crafts (1992,- his BA at George Washington University manshipwith Donald); Dunlap and an MA in art history from Johns and Rich and Tasty: Vermont Furniture Hopkins. He joined the art history in 1850 (1994, withJean Burks, for the); faculty at Johns Hopkins; in six years Shelbourne Museum rose to full professor and chair of the (2015, with department; and, three years later,- was Andrew W. Mellon Undergraduate [VT]). appointed to dean of the Krieger School Curatorial• The third Fellowship class of fellowsProgram for has the of Arts and Sciences at Johns Hop kins. From 2005 to 2013, he served as president and Professor of Art History been chosen. The initiative provides - at Lafayette College. In 2013, he became training in the curatorial field to students- president of Haverford College. who exemplify historically under-repre Photo: Ian Justice. Weiss is the author or editor of five sented minorities and other undergradu books and numerous articles, and has ates who are committed to promoting publishedPhilip and Zea lectured widelyHistoric on topics inclusive, pluralistic museums. Fairbanks was named to his current includingDeerfield, medieval Inc. and Byzantine art. DecorArt ativeInstitute arts fellowsof Chicago and— theirAle - position as director of the Fuller Craft • Old ,Sturbridge president of Village jandramentors Vargas, include: School of the Art In- Museum in 2012, where he advocates (MA), since 2003, has √ for American crafts and decorative arts, received the 18/Fall 2017 Newsletter of the Decorative Arts Society, Inc. stitute of Chicago setts, and Windham County, Connecti- Leslie Fitzpatrick Society for cut: (Male Lines Traced to the Ninth ; curatorial mentor, degreethe Preservation from Ohio State of New University England Generation) (Newbury Street Press). He High Museum, assistant—Kéla Jacksoncurator of, inAntiquities 1950. He joined the Historic European decorative arts. New England Katherine √ Jentleson (SPNEA, now received the Ralph J. Crandall Award - Spelman College; curatorial mentors, ) as a teenager, and spent for Lifetime Achievement in Genealogy Art, and Carson Keith, Merrie and Dan many hours in the Southington, CT, of the New England Historic Genealogi- Boone Curator of Folk and Self-taughtSarah town clerk’s office, tracing the titles of cal Society (NEHGS) and the Donald Schleuning , Georgia State Elmerhis ancestors’ Keith colonial structures. Lines Jacobus Award from the Ameri University; curatorial mentor, From antiquarian and collector can Society of Genealogists. Los, curator Angeles of decorative County arts (Wallingford, CT), he In 2013, NEHGS held a symposium- andMuseum design. of Art learned how to deconstruct a building about his contributions to the study of √ The - to see behind repairs and additions. New England history as part of a cel —Lauren Churchwell, His graduate school thesis was on ebrationPatty and Gorelick appreciation of his work Pitzer College; curatorial mentor, Me 17th-centuryAsher Massachusetts Benjamin. buildings, husbandfor his 90th Bill birthday., helped found the Mint gan O’Neil,Nelson-Atkins associate curator Museum in artof of and his dissertation was on Federal - Museum • of Craft + Design, who, with her Artthe Ancient Americas. - architect √ Cummings taught at Antioch Col (Norfolk, Gaylord—Hayk Torrence Badalyan, University of Cali lege but lost that position in 1951, - NC) and was a charter member of its fornia, Los Angeles; curatorial mentor, when colleges began cutting staff due Founders’ Circle, died in January 2017. Kathryn, Fred andCua Virginia- ofto the MetropolitanKorean War. He Museum became anof Artas Merrill Senior Curator of American sistant curator in the AmericanBertram Wing IndianCatherine Art; Futter,and , Univer K. Little sity of Missouri;Aimee curatorial Marcereau mentors, De- (New York, NY). In 1955, Galan director, curatorial , then SPNEA director,Old-Time asked New affairs, and EnglandCummings. He to accepted, join SPNEA and as succeeded assistant , Louis L. and Adelaide C. Ward director and editor of Senior Curator ofMuseum European of ArtArts. and Design • New artists in the Artist Studios Littleto lecture as director and teach. in 1970. He served as LuciaProgram Cuba, of the Camille Hoffman, Ariel At SPNEA, CummingsNew York continued State Jackson,(MAD; Adam New Ledford, York, NY)Yoshiyuki are Historical Association Minami, Rachel Rader and Lauren an instructor in the - Skelly Bailey ’s summer program in American material cul ; Hoffman is the Van Lier ture (Cooperstown, NY). In 1971, he Fellow. helped to establish Boston University’s She served on the Mint’s board,Mint Obituaries as president of the Founders’ Circle - New England and American Studies Museum Auxiliary in 2003 and as a member of the Abbott Lowell Cummings, who Program. In 1982, he taught a course • Architectural historian and gene at Yale University on New England - from 1990–2006. alogist architectural history. In 1984, he was Gorelick was responsibleDale forChi - was best known for his study of New appointed Yale’s Charles F. Montgom hulymany, Thresholdacquisitions, by includingDanny Lane the andRoyal England architecture, has died at 94. ery Professor of American Decorative Blue Mint Chandelier by Arts, a position he held until retiring in Bakelite Architecture1992. in Early New England works by many other artists.Thirties In 2005 Cummings’sBed Hangings: publications A Treatise include on andGlamour 2006, and her thecollection Allure ofof Bakelite Fabrics and Styles in the Curtaining jewelry was featured in the Of(1958); Beds, 1650–1850 Rural Lorraine Household Inventories: Establishing The Pearceexhibition at the museum. White Names, Uses and Furnishings (1961); of Rooms House • Decorative arts scholar in the Colonial New England Home, , first curator at the 1675–1725 The Framed , has died at 92. She is credited Houses of Massachusetts Bay, 1625– with inventing the job of White House 1725 (1964); and curator—cataloging period furniture, paintings, statues and antiques, and (1979), which received the 1979 writing the first guidebook to the L.L. Winship/PEN NewDescendants England of Award. John building’s furnishings. She came to - Comins: Cummings (Ca. 1668-1751) received theand DuPont His Wife, the White House in March 1961 and Cummings studied American art Mary,Award of in Woburn 2001 for and Oxford, Massachu- worked with First Lady Jacqueline Ken- and architectural history at Oberlin nedy to restore the interiors to their College and received his doctoral early historic character from the mod Newsletter of the Decorative Arts Society, Inc. Fall 2017/19 Truman. ern look of a renovation under Harry Exhibitions Pearce graduated from City College California - of New York; studied in Strasbourg, Peter Olson: Photo Ceramica France, as a Fulbright Scholar;Winter and - American Museum of Ceramic Art exhibition of photographer and cerami thurearned Program a master’s degree in early Pomona, CA cist Peter Olson. Olson’s photographs DelawareAmerican andculture Winterthur from the Museum. www.amoca.org are printed, repeated and collaged to- of the University of Through August 27, 2017 encase each ceramic piece. When fired, Photo Ceramica the prints burn away, leaving perma While working at the White House, she nent, rusty-red images from the iron also taught private classes, illustrated is the first major oxide in the ink. by slideshows, on the decorative and fine arts. In the 1980s, sheJens started Risom an antiques business. • Modernist designer has died at 100. He was known for Knollbringing Studio midcentury modern design to the U.S. through his work with the . His signature piece was an armless, affordable 1942 chair, one of the first mass-produced pieces of - modern furniture in the U.S. rather than Europe.Design The chairWithin is stillReach in pro. duction and now available through Knoll and Museum of Modern Art, RisomBrookly items Museum are in andthe permanentCooper Hewitt,collections Smithsonian of the Design Museum.

and attended the Danish Design School Risom was born inRoyal Copenhagen Danish Academy of Fine Arts (formerly the Kaare Vases, ceramics with encased photos, Peter Olson. Klint ) for cabinetry makers. Among his teachers was , considered the father of Danish Lella Vignelli modernism. He emigratedHans Knoll. to the U.S. and started working at a small textiles • Designer died at LellaThe wasy returnedaccepted toas Italya special and openedstudent firm, where he met Massimo82 in December 2016. She was trained at the MIT School of Architecture. He was drafted and served in - as an architect and, with her husband Europe with the Third Army as an , designed products and an architecture and design firm in interpreter for General George S. Pat corporate brands. She was said to add Milan. She finished her architecture ton, using his spare time to redecorate a third dimension to the graphic-design degree at the UniversityRalph Eckerstrom of Venice in , the barracks. ReturningJens Risom to New Design York . perspective of her husband. Their 1962. They went back to the U.S. in- after the war, he rejoined Knoll, but left shared esthetic focused on modernist 1965 and joined in1946 to found lines. Bobvice presidentNoorda of the Container Cor His residential and office furniture - Highlights of the Vignellis’ work poration of America; graphicUnimark designer pieces were featured in advertising include the American AirlinesHeller logo,, stack - ; and others to form the campaigns by RichardRalph Avedon. Pucci. He de Bloomingdale’s brown paper bags, world.design consulting firm , which veloped a long-lasting partnership with melamineKnoll dishware for eventually had 11 offices around the furniture dealer ing Handkerchief fiberglass chairs for company, Vignelli Associates and Whatsurplus became parachute Risom straps’s classic for the chair Acebis, the and Serenissimo more. line of glass- The couple founded their own design featured simple wooden legs - topped tables on cylindrical legs for , in 1971, with offices in New York, Milan and- upholstery, reflecting the lack of mate Vignelli met her future husband Paris. Rochester Institute of trusteerials of aof war the era.Rhode Island School of at an architecture convention and they TechnologyThe Vignellis donated their ar Design Risom served two terms as a enrolled at the University of Venice Vignellichives to Centerthe for Design Studies School of Architecture to be together. (NY), which launched the . He was knighted in Denmark They moved to the U.S. when Massimo in by Queen Margrethe II. accepted an offer to work in design; 2010. Massimo died in 2014. 20/Fall 2017 Newsletter of the Decorative Arts Society, Inc. - Colorado Mi Tierra: Contemporary Artists to the adjacent show Hand-Painted Pop! on theAft wheeler more at thanthe Clay 35 years Studio as a pho- Explore Place Artheight and of Appropriation, Mid-Century Modern 1961 toand Now segues. tographer, Olson learned how to throw Denver Art Museum (Phila Denver, CO District of Columbia delphia, PA) five years ago and has been www.denverartmuseum.org June Schwarcz: Invention and working with clay ever since. Through October 22, 2017 Variation Approximately 40 ceramic works Mi Tierra: Contemporary Artists Renwick Gallery/Smithsonian Theand photographsMettlach: Folklore are on andexhibit. Fairy Tales Explore Place Institution American Museum of Ceramic Art Washington, DC Pomona, CA presents experiences of - americanart.si.edu www.amoca.org contemporary life in the American West Through August 27, 2017 Through July 31, 2017 through media including fiber construc - tions and ceramics.Connecticut June Schwarcz cultures throughout the world. Many Simply Splendid: Rediscovering The designs and technical inno Folktales have been found in - American Design vations of enamelist Wadsworth Atheneum (1918–2015) transformed 20th-century emerged simultaneously and indepen Hartford, CT enameling. Schwarcz created a body of- dently of one another, suggesting that wadsworthatheneum.org work in a career spanning more than cultures shared parallel narratives. - Through August 13, 2017 60 years, breaking ground by develop The invention of the printing press by ing new processes and incorporating Johannes Gutenberg around 1440 im - unorthodox influences. - proved the speed of printing books. The This exhibition brings paintings The exhibition features nearly 60 Industrial Revolution and advancements together with moreWadsworth than 90 works Athene of ce- artworks, including pieces neverBernard dis in printing technologies increased the umramics, furniture, glass, metalwork and N.played Jazzar in publicand Harold before. B. The “Hal” exhibition Nelson, quantity of books and reduced the cost textiles from the scholarsis organized of 20th-century by guest curators enamels and of producing books. These innovations ’s collection of American decorative enabled writers such as Jacob and arts to tell stories of 300 years of design Enamel Arts Foundation. Wilhelm Grimm to collect, document, innovation. The exhibition reintroduces co-founders of the Los Angeles-based and Theshare Mettlach: classic folklore Folklore and and fairy Fairy tales the museum’s American collection and nonprofit Taleswith a much larger audience. includes objects that have not been on- Schwarcz was a pivotal figure of the- public view in years. craft community that emerged in the exhibitionFrançois includes Boch 140 began objects The selections highlight the inter- U.S. after World War II. She was intro - based on such stories. sections of the artifacts themselves, the duced to enameling in the 1950s and In 1748, Boch museum’s legacy, and particular epi was among the first to combine electro manufacturing ceramic dinnerware sodes in AmericanWallace and HartfordNutting Collechistory,- Sheplating used with the other process industrial to create processes, more- in France. In 1809, the family tionwith ofworks Colonial from Americanseveral sub-collections Furniture beginning her experiments in the 1960s. purchased a former BenedictineJean- abbey and(including Ironwork the , Philip Hammerslough Françoisin Mettlach, Boch Germany, on the Saar River- Silver Collection, and Stephen Gray forms.varied surfaces, build greater depth and near the border of France. Collection of Arts and Crafts construct three-dimensional sculptural- , François Boch’s grand Simply Splendid presents works son, designed many of the machines ). Schwarcz also broke with convenLászló used to improveNicholas production Villeroy at the ac- new tionMoholy-Nagy, in her esthetics. Ludwig She Mies was van a member der facility. of art considered icons of their eras: ofRohe, artistic Kay circles Sekimachi, that included Voulkos, Lillian In 1791, Governor Prence’s Plymouth Colony Elliott - quired an earthenware factory in court cupboard (1665–73), an example - Germany. Villeroy brought in specialists- of early Americana, is on equal footing and others. Her passion for Japa from England and France to modernize with lesser-known works, including nese art and design; African, pre-Co production and around 1815 they devel one of the earliest known American tea lumbian and Oceanic art; Romanesque oped a printing process to create decals tables and a panel from a rare mid-17thSimply usearchitecture; of color and and form. costuming and textiles that could be fired onto clay (prints Splendidcentury crewelwork bed furnishing set. found expression in her surfaces and - under glaze.) Other cultural chapters in Villeroy The twando families Boch merged their include the early Colonial Schwarcz was designated a Califor ceramic companies in 1836 to create and Federal eras; mid-19th century Enamelistnia Living Treasure Society in 1985, earned a (V&B). The Mettlach through a regionalEero lens; Saarinen Arts and Crafts Lifetime Achievement Award from the factory reached its peak about 1880 - movement; Art Deco; and Mid-CenturyGeorge (Norcross,James Renwick GA) in but began to decline around in the early Modern,Nakashima with ’s Womb Alliance1991 and received the Masters of the to1900’s produce due bathroomto a downturn wares, in thetableware econ Chair (c. 1948) arranged with a Medium award of the Smith- omy and World War I. V&B continues A Walnut “Lounge” Chair (c. sonian American in 2009. Art Museum - 1950). A catalog published by the and other ceramics. final grouping concludes at the in Newsletter of the Decorative Arts Society, Inc. Fall 2017/21 cludes a foreword by Elizabeth Broun, https://georgiamuseum.org Through September 17, 2017 The exhibition highlights the many Giò Ponti director emerita of the museum, and an ofuses power of these and objects,supremacy, including vessels their for Renwickessay by Jazzar Gallery and Nelson. role in ancestral rites and as symbols (1891–1979) is often- Ruth The M. eBorun,xhibition Dorothy is organized Tapper by Gold the - Eternal Offerings also looks at how called the father of modern Italian man, and the Elizabethwith support Broun fromCurato - burial, and luxury items and art objects. design. Over nearly 60 years, he cre rial Endowment, Margot Heckman ated works of architecture (including Endowment for Craft and Decorative inscriptions on bronzes can uncover the first skyscraper in Italy), furniture, Arts, Rotasa information about Chinese history and decorative art and industrial products, Foundation, Share Fund, and Eliza- the Blakemorenature of rituals. Foundation, E. Rhodes using both traditional and modern beth B.James and RenwickLaurence Alliance, I. Wood Endow- and SupportLeona B. for Carpenter the exhibition Foundation, is from materials and techniques. ment. National Endowment for the Humani- Ponti participated in Italian and ties: Exploring the Human Endeavor, other international design exhibitionsDomus Florida Bei Shan Tang Foundation, Henry and Stileserved. as the editor of and frequent Eternal Offerings: Chinese Ritual Luce Foundation, and Christie’s. contributor to the magazines Bronzes from the Minneapolis Institute of Art Amazing Acts of the Greatest Show John and Mable Ringling Museum on Earth of Art John and Mable Ringling Museum Sarasota, FL of Art ringling.org Sarasota, FL Through September 10, 2017 www.ringling.org Through September 11, 2017

This exhibition features original posters spanning the history of the Distex armchair, model 807, walnut with skai Ringling Circus brand—“theHoward and Greatest Janice and chintz fabric “La Legge Mediterranea” Tibbals,Show on Earth.”the Howard The exhibition Tibbals Collec is made- (modern reprint of Gio Ponti’s original fabric design), 32 11/16 x 43 5/16 x 27 inches; Giò tionpossible, and through the Howard Tibbals Endow- Ponti (Italian, 1891–1979); made by Cassina, ment. 1953. Through these venues, he promoted Skyway: A Contemporary Collaboration John and Mable Ringling Museum new concepts of modern living and public of Art taste through examples of his own work- Sarasota, FL and that of his contemporaries in Europe- www.ringling.org and the United States. He supported Ital- Through October 15, 2017 ian traditions of craftsmanship, promot ing the artistic design of industrial prod ucts and helping the country modernize This exhibition celebrates artistic John its manufacturing processes. practice in the Tampa Bay area, shared and Mable Ringling Museum of Art This exhibition presents more than between three institutions: the Museum of Fine Arts 50 objects, including furniture and ; Celestial horse, bronze, 44 7/8 x 34 1/2 x Tampa Museum of Art decorative items, from the beginning (St. Petersburg, 14 1/2 in. (113.98 x 87.63 x 36.83 cm); Han of Ponti’s career in the 1920s through FL); and (FL). dynasty, 1st-2nd century CE, . Gift of Ruth the 1950s. Objects on display have been- Curators from these institutions provide and Bruce Dayton, 2002. Photo: Minneapolis borrowed from American museums and context for the diversity of art being Institute of Art. private collections. A fully illustrated ex Eternal Offerings presents nearly made in Hillsborough, Manatee, Pinellas hibitionPerri catalog Lee Roberts is the first of the major Univer work- and Sarasota counties. selected from an open call by museum insity English of Miami on Ponti’s career. Minneapolis Institute of Art Works in the exhibition have been 100 Chinese bronze objects from the the Casati Gallery, is the Dudley curator. Stevens, (MN), the curators and a visiting juror. Georgia The exhibition is sponsored by first time these objects have toured. The Furthermore: a program of the J.M. Modern Living: Giò Ponti and the Kaplan Fund, the W. Newton Morris works span millennia, with the earliest- 20th-Century Aesthetics of Design piece from the 13th century BCE and Charitable Foundation, and Friends of Georgia Museum of Art the Georgia Museum of Art. the latest from the 19th century, reveal Athens, GA ing the evolution of bronzes in Chinese society. 22/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Indiana Circular Abstractions: Bull’s Eye Quilts Elegance from the East: New Insights Fuller Craft Museum from Old Porcelain the composition and methods of Coptic Brockton, MA Indianapolis Museum of Art textiles, including border designs, the www.fullercraft.org Indianapolis, IN use of slanted wefts and flying needle Through October 22, 2017 http://www.imamuseum.org techniques. - Through October 22, 2017 Artists from Australia, New Zea land, Canada, South Africa, the U.S. and other countries—41 in all—contributed to the project that is the basis for this exhibition, which pushed expectations for modern quiltmaking and set theNancy bar Crowto a new level. The touring exhibition is Seed Manta, Louise B. Wheatley, 1999. Lilian curated by fine-arts quilt-maker Sarah Greif Bequest Fund. , who has made more than 300 quilts during her career. Massachusetts Be Thoreau Concord Museum Concord, MA www.concordmuseum.org September 29, 2017–January 21, 2018

In Elegance from the East, guest curator Shirley M. Mueller, MD con- nects the past to the present, relates

- Bull’s Eye #5: Naples Botanical Gardens, 100% science to art, and illustrates the commercial cottons, machine-pieced by artist, similarity of human feeling and motiva machine-quilted, 74.25” high x 74” wide; Beth tion across time by featuring a variety Markel. Photo: Aron Gent. of Chinese porcelain objects made for export to Western consumers in the 17th and 18th centuries. Chinese artists The exhibition features 25 quilts. customized their traditional forms and The participating artists improvised four-quadrant patterns with a bull’s eye decoration Elegance for from European the East: and AmericanNew In- at the center of each quarter. Crow’s commercialsights from tastes.Old Porcelain goal for the project is to see what can - - explores the Desk, painted pine, iron; 34¼ x 29½ x 22; about be accomplished for machine-pieced 1838. Gift of Cummings E. Davis (1886). quilts—a new appreciation for an an popularity and variety of Chinese porce- - lain objects made for export to Western edcient by craftPatricia and Altenburg,possibilities Anne yet explored. Ander- consumers in the 17th and 18th centu Concord Museum - son, Quilts Sharon in Anderson,the exhibition Kathy were Anso, creat of these efforts to translate consumer This exhibition is part of the demandries. The fromexhibition half a revealsworld away. the effects Most Marina Baudoin, Catherine Beard, ’s year-long cel Nancy Cordy, Sue Cortese, Cheryl Morganebration Libraryof the bicentennial & Museum of Henry Costley, Stefani Danes, Maria Elkins, David Thoreau’s birth, beginning at the of the objects on display were made for Valerie Maser-Flanagan, Diana Fox, (New York,- use in the home.Maryland Kerri Green, Ruth Harmelink, Carol NY; through September 10, 2017), and Hazen, Maren Johnston, Beth Markel, Timeless Weft: Ancient Tapestries presenting Thoreau as “the most sophis Brenda McPartlin, Sue Ritter Milling, and the Art of Louise B. Wheatley ticated material cultural historian at Kathy Mishima, Gael O’Donnell, Dale Baltimore Museum of Art work in the mid-19th century.” Tomlinson and Susan K. Willen. Baltimore, MD Objects include personal items that Circular Abstractions: Bull’s Eye https://artbma.org have never left Thoreau’s hometown Quilts Muskegon Through July 30, 2017 before, such as the desk at which he Museum of Art wrote his journal, made when Thoreau by the Carolineis organized R. Graboysby the Fund and Louise B. established a school and taught with Bayer Crop Science (MI). andIt travels sponsored to the Wheatley This e,xhibition some of whosecelebrates works the recall 40- his brother John; he kept it with himWalden for . Schweinfurth Art Center year career of Maryland artist the rest of his life and wrote his most- influential works at it, including (Albany, NY). Newsletter of the Decorative Arts Society, Inc. Fall 2017/23 Why We Collect: Recent Acquisitions at Historic Deerfield, 2010–2017 - Pea- Historic Deerfield woodwork from western New England.- bodysocial Essexsophistication. Museum This and internationalthe Victoria Deerfield, MA trate“Objects process and Education”and technology, explores European collec exhibition,and Albert co-organized Museum with the - www.historic-deerfield.org tions acquired as teaching tools to illus Through February 11, 2018 (London, Eng Why We Collect: Recent Acquisi- or high-style comparisons, marketing land), brings together nearly 200 works tions at Historic Deerfield, 2010-2017 techniques, change over time, adaptive from the mid-19th century through reuse, repairs and replacements, and late 20th century, including models, Planed,fakes and Grained forgeries. & Dovetailed: furniture, lighting, wall panels, textiles, - presents more than 20 highlights from Cabinetmaking in Rural fashion, posters and more to explore the thesethe collection objects helpthat understandhave been acquired everyday in New England design, engineering and cultural dynam the past seven years and explains how Old Sturbridge Village ics of an era when ocean liners ruled the Sturbridge, MA sea and the popular imagination. life, work and culture in New England’s www.osv.org The exhibition is accompanied by a past, as well as why the museum’s staff Ongoing 288-page illustrated catalog. added them to the collection.

This exhibition examines stories of both individual cabinetmakers and local partnerships, looking at the people behind the workbench and their processes, products and clientele. - Highlighting rarely seen objects from the Village’s collection, the exhibition il lustrates a wide range of objects created by rural cabinetmakers and explores the steps in producing a piece of furniture, Chinese paint box, lacquerware, ca. 1850. from preparing and shaping the wood to construction methods and finishing techniques. Using three thematic categories, and tools used by Mendon, MA, carpen- Featured objects include a tool chest this exhibition showcases a variety of ter William Torrey Metcalf Side chair, gilded wood, metal, and wool media, from furniture and clothing to Tilly and silk tapestry; from grand salon on the - ; a portrait manuscripts and architectural paneling. Mead Normandie, 1934, Jean-Maurice Rothschild, tures several objects of art, culture and of Hardwick, MA, cabinetmaker Baptistin Spade and Émile Gaudissart. © 2016 “Coming Home to Deerfield” fea Planed,; and an Grained Empire-style and Dovetailed sideboard Peabody Essex Museum. with the inscription “SturbridgeFelicia 1828.” Fund, thehistory Deerfield made and/or Collectors owned Guild on .The Street in Old Deerfield and supported by the Americana Foundation, and Jim New Mexico receivedand Pat Goodesupport. from the Joseph Henry Sharp: The Life and “Building Collections” features Work of an American Legend objects that have filled collection gaps Ocean Liners: Glamour, Speed and Style Couse/Sharp Historic Site and strengthened holdings in particular Peabody Essex Museum Taos, NM Salem, MA http://couse-sharp.org areas within early American decorative - arts and related European and Chinese ww.pem.org Permanent Through October 9, 2017 decorative arts, such as Connecticut Val- ley furniture; British pottery; Chinese This exhibition includes works of art, export porcelain; European and Ameri showcases of opulence, technology and Joseph Henry Sharp col- Ocean liners were floating cities and personal ephemera and Native American can textiles, fashion and needlework; artifacts that New England silver; and architectural lected throughout his life, many of which- appearedbers of the in Taos his paintings. Society of Artists Sharp was one of the founding mem (TSA; NM) and has called its “Spiritual Father.” He was the first of the original members to visit Taos inNew 1893. York Lucid Dreams and Distant Visions: Model of Queen Elizabeth, white mahogany, gunmetal and brass, 1947–48; Bassett-Lowke Ltd. South Asian Art in the Diaspora Gift of Cunard Line Ltd., 1970. © 2016 Peabody Essex. Museum. Photography: Kathy Tarantola. Asia Society

24/Fall 2017 Newsletter of the Decorative Arts Society, Inc. New York, NY - asiasociety.org tally crafted works of Wendell Castle of Through August 6, 2017 who invested in their (sometimes rather This exhibition presents the digi - surprising) repairs. port from the Smithsonian Asian Pacific Boscobel itself is a kind of make- the American art furniture movement. It AmericanThis exhibition, Center, looks organized at the withwork sup of do—the original 1804-08 Neoclassical features approximately 40 works of art, reassembledmansion was andpartially repurposed demolished as a mu in - including several examples that inspired seum.1955, but, thanks to preservationists, Agehis latest of Empires: achievements. Chinese Art of the 19 contemporary artistsJaishri from theAbidan South- Qin and Han Dynasties chaniAsian ,diaspora. founder of the South Asian Wom- by curator Jennifer Carlquist and (221 BC–AD 220) en’s FirCreativest proposed Collective by An illustrated catalogAndrew with Baseman essays Metropolitan Museum of Art New York, NY , the exhibition collector/designer www.metmuseum.org coincides with the 70th anniversary of accompanies the exhibition. Through July 16, 2017 independence of the Indian Subcontinent from the British Empire. The artists live in the United States and reflect the diverse This international loan exhibition demographics of South Asia. examines ancient China’s relationship with the outside world through more than 160 ancient Chinese works of art and synthesizes new research and archeological discoveries of the last 50 years. The exhibition explores the role of art in creating a Chinese cultural identity. Works include rare ceramics, metalwork and textiles, and are drawn from 32 museums and archaeological institutions in the People’s Republic of China; most have never been seen- The Present is a Ruin with the People, recycled before in the West. textiles, wire mesh, wood, thread, embellish- Ritual vessels, sets of musical in ment, metal scraps, archival glue; with sound; struments, lacquerware and silk textiles H 81.75 x W 127.875 x 11.75 in. (207.6 x 324.6 from the Han Dynasty are on display. A x 29.8 cm), 2016, Ruby Chishti (b. 1963, Multan, Repaired teapot, porcelain with metal and rat- burial suit for a Han princess is made of Pakistan; lives and works in Brooklyn, NY). Cour- more than 2,000 jade pieces (jade was tesy of the artist. tan replacement handle. Collection of Andrew believed to purify and preserve the body Lucid Dreams and Distant Visions Baseman. from corruption). - - is Wendell Castle Remastered The final section of the exhibition reveals the diversity of art and mate made possible by supportBurger from Collection the Smith Memorial Art Gallery sonian Asian Pacific American Center Rochester, NY rial culture in the regions of the empire with funding by the http://mag.rochester.edu around the first century, especially in - the border areas that were most directly Make-Do’s:(Hong Kong). Curiously Repaired Antiques October 8–December 31, 2017 influenced by the objects and people ar Boscobel House and Gardens riving from the rest of Asia and Europe. www.boscobel.org Decorative arts highlights include a Garrison, NY fluted silver box and other objects that Through October 1, 2017 point to the influence of Persian and Make-Do’s: Curiously Repaired Hellenistic art. Antiques celebrates objects that were Two gold belt buckles—one with granulation and the other ornamented- damaged, but deemed too precious to with inlaid gems—and a gilt bronze discard. From porcelain teapots with thehorse northern frontlet steppes. with an animal in open work were inspired by nomadic art of silver replacementMake-Do’s spouts shaped features like animal heads to glass decanters bound with iron staples, Maritime trade brought supplies of spices, gemstones, glassware and yearsmore thanago. 250 curious treasures, all - metalwork to China from south and broken and repaired more than 100 - southeast Asia. The exhibition illus trates this luxury trade with necklaces whom These they mak weree-do’s useful point or beloved, to the hu and Blanket Chest, 1963. and rock crystal, as well as a group of man side of antiques— the people to made of amethyst, aquamarine, beryl Newsletter of the Decorative Arts Society, Inc. Fall 2017/25 www.metmuseum.org Through August 27, 2017 small animal figures in carnelian and the Great (1587–1629), are made of silk- multifaceted gold beads. and precious metal threads. This section also demonstrates that,- Six small Iranian carpets of the 16th Damage caused by a variety of fac while Han rule extended nominally over and 17th centuries, most from royal tors over the past 400 to 500 years had- a variety of ethnic groups in southwest contexts, are the focus of this exhibition. made these six carpets too fragile for - ern China, these groups retained their- They are examples of major classical public viewing. Proceeds from the mu identities and regional traditions. The types of Islamic carpets and recent seum’s annual gala celebrating the Per Dian people, living in present-day Yun conservation treatment that has made sian New Year, Noruz at the Met (2013), nan Province, created distinctive and it possible to display them for the first and the support of the Iranian-American highly developed bronzes in the form of time in decades. They were acquired by community have made a conservation cowry shell containers and ornament the Royalmuseum House between of Saxony 1910 and 1951- effort possible to address losses, remove plaques. Some works depicting scenes and were formerlyRobert part Woodsof collections Bliss, H.at oldthe repairsHagop Kevorkianand stabilize Fund the structures.. of festivals and sacrificial rituals are on O. Havemeyer, Mr. and Mrs. and Isaac indi D. The exhibition is made possible by view. Tysonviduals, andsuch Charles as Tyson Yerkes. American Indian Art from the The exhibition closes with an Fenimore Art Museum: The Thaw examination of the world of deities, combat carpets features a central me- Collection spirits and the afterlife, with images of One of two 16th-century animal Metropolitan Museum of Art the Queen Mother of the West and the seated around a duck pond. The style of New York, NY half-human, half-serpent creator deities dallion with a group of merrymakers www.metmuseum.org Fu Xi and Nu Wa that demonstrate Han Through October 8, 2017 religious practices. A bronze “money the men’s turbans has made it possible tree” on which coins “grow,” and a tall, to date this carpet to the second half of painted pottery lamp with multiple the 16th century. In the second carpet, a Eugene Drawn and from Clare the Thaw more than 870 abranches heavenly holding world. birds,These animals works predate and repeats.complex multi-animal motif appears 10 pieces assembledAmerican by Indian philanthropists Art from supernatural beings provide glimpses of- times in left-to-right and top-to-bottom the Fenimore Art Museum:, the The 39 Thaw - Collectionpieces in - the arrival of Buddhist concepts of para A prayer rug, also from the 16th dise in China. century, incorporates Qur’anic inscrip- attests to the esthetic tradi A large gilt-bronze mirror made at tions in different styles of Arabic script,- tions of North America’s Native peoples. the peak of Han power is embellished along with delicate cloud bands, scroll Spanning the first millennium to the with a raised design of dragons, birds ing vines, and stylized flowers, all typi 20th century, it presents indigenous and turtles amid clouds. An inscription cal elements of Safavid court design. works in basketry, textiles, ceramics and expresses the spirit of the age, when The three 17th-century “Polonaise” other decorative arts. Highlights include people from all parts of the empire carpets, from the period of Shah ’Abbas a whelk shell gorget (ca. 1100–1400) began to identify themselves as citizens carved by a Mississippian sculptor; war homeland.of the Central Kingdom—the Chinese name for “China”—as their common Joseph Hotung Fund and Athe full Andrewy illustrated W. Mellon catalog Founda is made- tionpossible by the

, with contributions by Chinese and Western scholars. A scholarly symposium will be held byduring China the Merchants course of the Bank exhibition. - The exhibition is made possibleIng Foundation, Henry Luce Foundation, with sup Agnesport from Hsu-Tang the Joseph and Hotung Oscar L. Fund, Tang honor of Zhixin Jason Sun, E. Rhodes and Leona B. Carpenter Foundation, in Estate of Brooke Astor, and National Endowment for the Arts.

Carpets for Kings: Six Masterpieces of Iranian Weaving Metropolitan Museum of Art Carpet (detail), silk (warp), cotton (weft), wool (pile); asymmetrically knotted pile; New York, NY second half of 16th century. Made in Iran. Bequest of Isaac D. Fletcher, 1917.

26/Fall 2017 Newsletter of the Decorative Arts Society, Inc. record (ca. 1880) painted on animal hide by Plains masters; nearly life-size Kwakwaka’wakw potlatch figure from sealthe late or other 19th sea-mammalcentury; and waterproofgut from the Kamleika garment (parka) made of

Arctic region. Native artistic creations include an ancient Arctic carving of sea mammal ivory; painted ceramics and weaving from the millennia-long tradition in the Southwest; basketry from California and the Great Basin; and estheticized- weaponry of the Eastern Woodlands. Female basket weavers from Cali basketfornia and by Louisa the Great Keyser Basin (Dat region So areLa Lee)represented in an award-winning law, Scees Bryant Possock - ; signature work by her sister-in- ; and monu weavermental wovenMrs. Dick gambling Francisco tray .for a dice Original chatelaine with crystal rhinestones, 1967. Photo: Gary Mamay; courtesy Leiber Collection. game called huuchuish by the Yokuts Faith Ringgold on a - Plains Indian items include a rare (Clare Thaw died at presstime; with visual artist 19th-century war record memorializing Judithdetails Leiber:will be Craftingin the fall a 2017 New Yorkissue.) Story collection of handbags inspired by Ring- Blacka battle Hawk between (Sans the Arcs Lakota Lakota) and Crow that Museum of Art and Design gold’s quilts. (Apsa’alooka) and a ledger book by New York, NY As Leiber’s reputation grew, design - www.madmuseum.org ers and suppliers offered materials, illustrates hunting and dance scenes, Through August 6, 2017 particularly textiles, so many of her with natural history drawings and de Judith Leiber: Crafting a New York handbags are constructed with obis bypictions the Friends of warfare of the and Department ceremony. of Story pays homage to craftswoman, from Japan, Parsi ribbons from India, the ArtsThe eofxhibition Africa, isOceania made possible and the Judith usedand fabrics to salvage from a Irangroup and of Africa.damaged Her Americas. Leiber, - metalminaudières frames. came from a technique designer and businesswoman About the Thaws following her path from hand - bag apprentice in Budapest, Hungary, at The exhibition includes handbags the outbreak of World War II to female that encompass the history of Judith The Thaws began acquiring indig - entrepreneur. It spotlights her best- Leiber Handbags, which she founded enous American art in Santa Fe, NM, in known works while exhibiting both in 1963 at the age of 42, through 2004,- 1987, assembly works produced by cul her more-traditional and experimental when she designed her last handbag. tures throughout NorthFenimore America, Art from clutches.forms. The exhibition examines the The exhibition also explores the gen Museum500 BC to the present. They donated practice and the person behind Leiber’s dered significance of the handbag in - their collection to the 20th-century Western culture, and the (Cooperstown, NY), where it is Leiber spent 65 years in the centrality of immigrant entrepreneur on permanent view, in 1991. handbag industry. As the only female fashionship in the after fabric Fashion of New York. This presentation celebratesMorgan their pattern-maker at that time, and with the Museum of Art and Design Libraryrole as benefactors and Museum, to New Museum York City of ability to make a handbag from start to New York, NY Modernarts institutions Art, and including Metropolitan the Mu- finish, she brought a European training www.madmuseum.org seum of Art and skill set to the United States, where Through August 6, 2017 trustee. handbags were made in assembly-line fashion after Fashion presents the , where he is an honorary divisions. - bags Leiber’s to Swarovski handbags range from finely Coinciding with the exhibitionArt is theof crafted leather pieces and textile-based work of six designers who are think thepublication North American of the second Indians: edition The Thaw of the crystal–encrusted ing—and making others think—about CollectionThaw collection at the Fenimorecatalog raisonné, Art Museum , creations that use Art Deco–influenced fashion in new ways, producing work- hardware; materials such as Lucite and in the context of contemporary fashion, seashells; and references to the artwork focusingEckhaus on Latta, commissioned, ensæmble, site-sensi Lucy Jones, a 520-page illustrated catalog published of Piet Mondrian, Georges Braque and tive installations, including pieces by byNewsletter the Fenimore of the Art Decorative Museum. Arts Society, Inc.Sonia Delaunay. Leiber also collaborated Fall 2017/27 Ryohei Kawanishi, Henrik Vibskov - Tiffany & Co. bonbon- and SSAW magazine. predecessors and weave modern inter inspired by a pretations of historic issues, including nière made of platinum, gold, pearls, The exhibition’s use of “fashion” in the role of women in society and use of Sheiladiamonds Bridges and sapphires marketthe lowercase and trends. signals a process that is pastslave and labor present. to mine this precious metal, • Hand-wrought spoon designed by not determinedfashion after solely Fashion by commerce, the into an artistic conversation between and based on designs by Dr. Hazel Clark and Ilari Laamanen Kiki Smith, Chitra for ships used in the transatlanticCornelius Vander slave Finnish is co-curated Ganesh,Some of theseLaurene modern Leon creations—by Boym, Preston Burchtrade, paired with late-17th-century Cultural Institute Jonesartists such as silver spoon madeJohn by Hastier Parsonsin collaboration School withof Design, the the New School (New York, NY) and and more—seek to retain the • ca. 1750 porringer newfunction purposes. of their historical counterparts, Constantineand a 21st century Boym pillinger, reinvented Counter-Couture: (New York, Handmade NY). Fashion while New others York are Silver, transformed Then and to Nowserve for present-dayNew York Silver, medicinal Then purposes and Now by in an American Counterculture John P. Strang Museum of Art and Design Trust, National Endowment for the New York, NY presents a historical narrative on the Artsis made, and possible Roy J. Zuckerberg by the Family www.madmuseum.org use of silver as a reflection of time and Foundation, and support from the Bar- Through August 20, 2017 culture. Silver was once at the center of bara and Donald Tober Foundation, Counter-Couture celebrates the a well-appointed home—it added to the- Michele and Marty Cohen, Jacqueline elegance of the family dinner table; its Fowler, the Mark E. Bryant Charitable material value provided owners with fi Trust, the New York Silver Society, handmade fashion and style of the nancial security in uncertain times; and David Diamond and Karen Zukowski, 1960s Counter-Couture and ’70s, often referred to as- the it was used to mark important passages Sarah Eigen, Joann Ryan, and Rita and hippie movement. in life. The role of silver in daily life has Mark Kromelow. exhibits gar evolved over the years as fashions and ments, jewelry and accessories by social usage have changed. CHIHULY American makers who crafted the New York Botanical Garden reality that they craved, on the margins New York, NY of society and yet at the center of an https://www.nybg.org epochal shift. The works on display - Through October 29, 2017 embody the ethos of a generation who Artworks by Dale Chihuly are on fought for change by sewing, embroi dering, quilting, patchworking and CHI- tie-dyeing their identities, helping to - HULYview in his first major garden exhibition establish a folk sensibility in a seminal in New York in more than 10 years. moment Counter-Couture for the development of Ameri , presented by Bank of America, canby the Craft. Bellevue Arts Museum showcases more than 20 installations- curated by guest curator is organized Michael and includes drawings and early works Cepress (WA); - that reveal the evolution and developNew port of Michele and Marty Cohen and mentYork Botanicalof the artist’s Garden process. the Chairmen’s; and made Council possible by the sup Created specifically for the funds from the New York City Depart- , Chihuly’s ment of Cultural Affairs, with public Pulque Pitcher, silver, gold; Preston Jones. signature organic shapes blend in with Loaned by the artist. City Council. live plants. The exhibition includes a in partnership New York Silver, Then and Now monumental reimagination of his 1975- showcases 20 objects from the mu- Newwith Yorkthe Silver Then and Now Artpark installation, while three new Museum of the City of New York works in the water features of the Na New York, NY tive Plant Garden and the Enid A. Haupt seum’s collection alongside 25 never- Conservatory Courtyard’s Tropical Pool www.mcny.org before-seen contemporary creations. July 28, 2017–June 2018 reflect the interplay and movement of Examples of historical silver pieces color and light. and the modern works they inspired On CHIHULY Nights, the artworks DAS Robert include: The exhibition, guest-curated by are illuminated.Pennsylvania Smith Award Committee Jean- • Ganesh’s beaker, honoring the independent scholar and - Phulkari: The Embroidered Textiles nine Falino more than 1 million people buried in chair of Punjab from the Jill and the pauper’s field on Hart Island, in , illuminates the evolution of Hugues Lossieux and Joseph Leddel Sheldon Bonovitz Collection - spired by a 1708 beaker made by the ancient craft of metalsmithing and Philadelphia Museum of Art explores the potential of silver as an ar Smith, Philadelphia, PA with anti-Catholic engravings tistic medium. The 21st-century artists • Honeycomb bracelet by open a discourse with the work of their 28/Fall 2017 Newsletter of the Decorative Arts Society, Inc. Partition village life, phulkaris have been celebrated in popular music and videos. More recently, this folk tradition has entered the realm of high fashion through designers such as Malhotra, who recently created a phulkari-based Channelingcouture collection. Nature by Design Philadelphia Museum of Art Philadelphia, PA www.philamuseum.org Through July 16, 2017 -

This exhibition explores how de signers have incorporated inspiration - from the natural world into their work fromChanneling the mid-19th Nature century by Design to the offers pres an ent. From handmade to machine-made, Women’s and men’s ensembles, silk, hand and machine embroidery; Manish Malhotra, designed nature through works that range from 2017. Modern silhouettes with phulkari embroidery, heavier velvets and textured silks. in-depth look at the relationship with www.philamuseum.org the utilitarian to the extravagant. - Through July 9, 2017 The exhibition features examples of figural or geometric, all are rich in - design from the Arts and Crafts move symbolism: after the 1947 Partition, - ment and Art Nouveau, which flourished This exhibition features embroi phulkari textiles became a symbol for - - in the late-19th and early-20th centu dered “flower work” textiles from the new nation of Pakistan. Jill and ries, to the recent vogue for biomor Punjab, a region straddling Pakistan and Over the past half century, ph Sheldon Bonovitz Collection - phic forms. Furniture, ceramics, glass, India, with examples from the ulkari techniques and patterns have metalwork, textiles and posters from , tradi experienced a revival, especially as a the collection are on view. tional phulkaris from the museum’s commercial art. As an emblem of pre- by Manish Malhotra The teachings of the 19th-century collection and high-fashion ensembles , one of India’s leading designers. Phulkari, meaning “flower work,” is a labor-intensive textile made of silk embroidery on a plain-woven cotton cloth. Rooted in Punjabi life before the - 1947 Partition of India and Pakistan, which split the Punjab region, this tradi tion Usuallhas becomey worn a bysymbol women of Punjabias large cultural identity. were also made as blankets or as fur- shawls on special occasions, phulkaris - niture covers or hangings. Women of many religious groups—Muslims, Hin dus, Christians and Sikhs (who consider the Punjab their holy land)—stitched phulkaris, with young girls learning - needlework from older female relatives and friends. They often created the em broideries for their dowries, which they brought to their new homes when they married. - Secretaire cabinet, native oak-leaf decoration, designed by George Washington Jack Some phulkaris depict animals and (American, active in England, 1955–1932), made by Morris and Company (London, village scenes, while others display geo 1861–1940). Illustrates Morris’s view that historic arts and natural beauty can work metric patterns in bold colors conveying against the problems of industrialization. good fortune and social status. Whether Newsletter of the Decorative Arts Society, Inc. Fall 2017/29 John Ruskin, who Joris Laar- British art critic - man, Expr Zahaessive Hadid, works Ross developed Lovegrove, by but often combined or reinterpreted to- believed that all beautiful things came Davidcontemporary Trubridge designers and Patricia like Urqui- create new forms and motifs. Historic from nature, provide a point of de ola also allude to the natural world, decorative techniques also were adapt parture for the exhibition. Among the Ined theto modern Studio: manufacturingCraft in Postwar processes. works on view fromGuéret this Frères period are America, 1950–1970 a newly acquired 1855 secretaire by natureand underscore and technology. how today’s designers Museum of Fine Arts, Houston/Rienzi the French firm , with grapple with the relationship between Houston, TX elaborate carvings that evoke nature’s- Texas www.mfah.org abundance, as wellWilliam as “Vine” Morris (1873). and Decorative Arts in the Age of Victoria Through October 8, 2017 “Fruit (Pomegranate)” (1866) wallpa Museum of Fine Arts, Houston/Rienzi pers designed by Hector Houston, TX In Guimard, Also featured Émile Gallé are Art and Nouveau other key www.mfah.org the Studio:Featuring Craft nearly in Postwar 40 objects America, made works, including designs by - Through July 30, 2017 1950–1970from clay, wood,, showcases fiber and artworks metal, from Decorative Arts in the Age of figures who saw nature as a counter Victoria point to the anxieties of modernity. the field of American craft when artists The taste for bringing nature into features objects illustrating entered a period of experimentation, the home through designed objects the dual drives of the British to both backed by the rise of support systems gained momentum in the United States historicize and modernize their world such as membership groups, exhibitions at the turn of the 20th century. Works during the reign of Queen Victoria. The and publications. Their focus shifted to- from the Arts and Crafts movement - andexhibition more. includes porcelain, glass, making objects by hand in the studio demonstrate how American designers jewelry, miniatures, wallpaper, furniture rather than working with industry, re- experimented with this esthetic.Frank High turalsulting forms. in a new field of studio craft that Lloydlights includeWright a stained glass and metal The 63-year reign of Queen Victoria embraced both functional and sculp casement window (1903-5) by - (1837–1901) saw the British Empire Tiffanyand a multicolored Studios. A chesttable reach its geographical, financial and The objects on view are made by lamp (1900) and stained glass chande industrial peak. The art, architecture many of the masters who established lier (1905) by asand well design as cultures created across in those the years globe. were new esthetics and modes of making madeof drawers by the (1880) Herter with Brothers decorative floral inspired by European artistic traditions in their media. These items provide - inlays of cherry, pine, poplar and cedar a snapshot of craft across America. of New- Decorative arts were shown in revivals HirschComplementing Library. the works is a selec York is also onRookwood, display. Grueby and of Classical, Renaissance and Rococo tion of ephemera and catalogs from the Teco Other works include American ce styles—sometimes copied quite closely, ramics by the potteries. Although each pursued a different design philosophy, they shared a goal of providing alternatives to the character of mass-produced ceramics. The streamlined style of the 1920s and 1930s, characterized by geometric ofor Alfredstylized Latour, forms andRené referred Lalique to and as Art Jacques-ÉmileDeco, can be seen Ruhlmann in the eclectic designs

. Their works underscore the various ways in which designers developed innovative new forms and exploited “exotic” natural materials that become increasingly available Arnein the Jacobsen Machine Age. DesignRichard from theSchultz mid-20th century includes ’s “Egg” Chair (1957), Eero’s “Petal” Saarinen End. Table (1960) and the “Grasshopper” ChairKnoll (1946–1965) by This section highlights how companies- like defined modern design for - Plate, soft-paste porcelain, 1853, Worcester Porcelain Manufactory. Gift of Mr. American consumers by using meta and Mrs. Harris Masterson III. phorical connections to nature to mar ket new forms and materials. 30/Fall 2017 Newsletter of the Decorative Arts Society, Inc. International July 15–November 12, 2017 Christian Dior Alvar Aalto, Royal Ontario Museum Marcel Breuer, and Charles and Ray materials and form, the humanism and Toronto, Ontario, Canada EamesFeaturing works by - playfulness in his work, and his role as http://www.rom.on.ca an inspirational figure for a younger - November 27, 2017–not known , alongside a wide range of ob generation. House of jects, from planes to skateboards, this Sottsass was active in jewelry, light Dior Christian Dior modernexhibition world. tells the story of how this ing and furniture, among other media. In celebration of the often-overlooked material made the theHis latterwork canhalf illustrateof the 20th and century. explain a ’s 70th anniversary, Ettore Sottsass Retrospective variety The of Stedelijk trends in Museum the design Amster history- of explores Dior’s creations, which revived Stedelijk Museum dam the Paris haute couture industry after Amsterdam, The Netherlands - the Second World War. In 1947, the www.stedelijk.nl Sottsass collection includes the opening of the new couture house and Through August 2018 Alessi table accessories, his Olivetti Val its “New Look” —featuring soft entine typewriter, furniture, lamps, the shoulders, padded hips, and long, full Memphis textiles and glass of the 1980s, skirts—swept away the wartime The work produced by this Italian and designs dating from both earlier masculine silhouette. maestro in the course of his 70-year- and later periods in his career. long career is the focus of renewed The relationship between the interest among young designers, partly museum and theVormgevers designer tookDesign off in- because of a resurgence of interest in ers1968, when his work was included in the 1980s and Postmodernism. The - the museum’s ( Stedelijk presents the first-ever Sottsass ) exhibition. Sottsass became one of retrospective in the Netherlands, cover the key figures in the design Energieëncollection Ettoreing the Sottsassentire range of his oeuvre. andEnergies his work was frequently featured Among the topics addressed are in group exhibitions such as - ’s relationship with ment.( ) in 1990. The Stedelijk has Modernism and Functionalism (which continued to follow Sottsass’s develop he initially embraced, later criticized and perhaps even parodied, but never Recent acquisitions include 10 early completely rejected), the influence of ceramics and the monumental Superbox Palmyre ball gown (detail), satin acetate textile other cultures, his experiments with cabinet of 1966. by Robert Perrier embroidered with silver filé, sequins, pearls, jewels and bone. Christian Dior, Paris, Automne-Hiver 1952–1953. Ligne Profilée. Gift of Mrs. M. James Boylen. - supported Drawn by from loans the from museum’s Dior Heritage col lection of Christian Dior couture and

(Paris, France), the exhibition focuses on the period from 1947 to 1957 and offers insights into the creative process and the mechanics of the Paris haute couture industry during the 1950s. Christian Through Dior examples of daytime to evening wear for grand occasions, explores how and why Dior’s iconic lines, such as the A and H-line, and his cuts, luxury textiles and embroideries laid the foundation for the Burnhamsuccess of theBrett fashion Endowment house. for Tex- tiles The and e xhibitionCostume .is supported by the

Plywood: Material of the Modern World Victoria and Albert Museum London, England Cabinet no. 70, 2006, ebonized pear wood and acrylate. Ettore Sottsass, series of six from the https://www.vam.ac.uk Gallery Mourmans. Collection of the Stedelijk Museum Amsterdam. Photo: Erik & Petra Hesmerg.

Newsletter of the Decorative Arts Society, Inc. Fall 2017/31 DAS Contribution

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

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Bowl, electroplated copper foil and enamel, 1970, June Schwarcz. Collection of Forrest L. Merrill. Photo: M. Lee Fatherree. See Exhibitions, June Schwarcz: Invention and Variation, Renwick Gallery/Smithsonian Institution, Washington, DC. Decorative Arts Society , Rochester, NY Rochester, Permit No. 1445 Permit Mettlach: FIRST FIRST CLASS MAIL U.S. POSTAGE PAID Lohengrin’s Arrival, plaque, handpainted ceramics; Mettlach. Gift of Colette and Robert Wilson. See Exhibitions, Folklore & Fairy Tales American Museum of Ceramic Art, Pomona, CA.

MATERIAL

Volume 25, Number 1 Volume Number 25, newsletter/spring 2017 newsletter/spring 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