THE METROPOLITAN MUSEUM OF ART

CONTEMPORARY• AMERICAN INDUSTRIAL ART 1934- THIRTEENTH EXHIBITION Group Arrangements by Twenty Architectural and Industrial Designers

GALLERY D6 November 5, 1934 - January 6, 1935 ~.

i

THE METROPOLITAN MUSEUM OF ART INTRODUCTORY NOTE THE Museum's service in the development of American industrial art is twofold. First, and very directly, it offers the industries and their designers patterns and models for study-not for imitation but for emulation. Secondly, it offers both to designers and to manufacturers occasional opportunities to display the results of their work, whether or not inspired directly by museum study, and to demonstrate their abilities under entirely non­ commercial and non-partisan auspices. Thus by means of exhibitions of industrial art limited to objects of contem­ porary design, the Museum hopes to aid the modern style in arriving at a more definite formulation of principles. This exhibition of Contemporary American Industrial Art marks the end of a five-year period since our last exhibition of similar character. One has only to compare the social and economic picture of 1934- with that of 1929 to understand essential differences in the general character and design of the objects shown. And yet, de­ spite present difficulties, the continuing public interest in contemporary design inspires a steadily increasing number of firms to favor modern expression for objects produced in large volume. The Museum prides itself upon being able to refer to this exhibition as entirely collaborative. Over two hun­ dred firms and designers, grouped according to the re­ quirements of the various units in the display, have worked together with Richard F. Bach, the Director of Industrial Relations of the Museum, in realizing the pro­ j ect. The extent of this collaboration takes on still greater proportions when it is borne in mind that the objects shown have been produced in all parts of the country and 3

L INTRODUCTORY NOTE that in most cases there was no previous direct contact between the firms and the designers whose wares have been produced for the present purpose. The Cooperating Committee, whose names appear on the following pages, have rendered signal service. They have given of their time and effort without stint, and the Museum is deeply in their debt, not only because of this practical contribution to the exhibition, but also because of the aid they have given in carrying out one of the pro­ visions of its charter as phrased by the Museum's founders in 1870, "the application of arts to manufacture."

H. E. WINLOCK, DIRECTOR COOPERATING COMMITTEE

THE COOPERATING COMMITTEE HAS FUNCTIONED IN THREE DIVISIONS, CORRESPONDING TO THE THREE MAJOR UNITS OF THE EXHIBITION

CENTRAL GALLERY UNIT ARTHUR LOOMIS HARMON, ARCHITECT Shreve, Lamb & Harmon ARCHIBALD MANNING BROWN, ARCHITECT Peabody, Wilson & Brown WILLIAM LESCAZE, ARCHITECT Howe & Lescaze JOHN WELLBORN ROOT, ARCHITECT Holabird &Root ELIEL SAARINEN, ARCHITECT Cranbrook Foundation EUGENE SCHOEN, ARCHITECT Eugene Schoen & Sons RALPH T.WALKER,ARCHITECT Voorhees, Gmelin &Walker

WEST GALLERY UNIT ELY JACQUES KAHN, ARCHITECT DONALD DESKEY, DESIGNER WALTER W. KANTACK, DESIGNER Kantack, Inc. WALTER VON NESSEN, DESIGNER N essen Studio, Inc. 5 IRVIN L. SCOTT, ARCHITECT Joseph Urban Associates

EAST GALLERY UNIT PAUL PHILIPPE CRET, ARCHITECT GUSTAV JENSEN, DESIGNER V. F. VON LOSSBERG, DESIGNER Edward F. Caldwell &Co., Inc. GILBERT ROHDE, DESIGNER LEE SIMONSON, DESIGNER With cooperation of RAYMOND LOEWY, DESIGNER WALTER DORWIN TEAGUE, DESIGNER

6 CONTEMPORARY AMERICAN INDUSTRIAL ART: 1934 FREEDOM of expression is essential to the growth of style, but even freedom must bow to good sense and good manners-terms which Matthew Arnold would call reason and culture. We who believe in modern art have until lately contended that the so-called modern style (we say "contemporary" at the Metropolitan Museum) was still a promising adolescent which did not excel in either of these qualities, but which nevertheless with the cour­ age of inexperience and the enthusiasm of young vigor pleaded its case most convincingly. The Museum has on many occasions given opportunities for this new force to try out its strength and display its grace. We may say with confidence that in this, the thirteenth of our exhibitions of American industrial art, the good sense--that is, the strength and reason-of modernism in design is fully demonstrated, and the promise of good manners-which is its grace and culture-has been kept faithfully and without bluster. As in the style cycles which so long have duplicated historical forms we often found "speech too learned for its latitude," so in the modern style we watched for many years what seemed to be the antics of numerous "slightly flavored mediocrities." These expressions were set down by Dr. Holmes as the pronouncement of his breakfast table Autocrat. But the Museum assumes no such role, not even that of arbiter; it essays no more than to present the facts of design today and the enterprise of today's thought­ ful experiment as an earnest of the facts of design of to­ morrow-the one for record, the other for faith. And in repeated ventures it has been our good fortune to observe the definite shaping of this modern style, in a way to 7 CONTEMPORARY AMERICAN INDUSTRIAL ART help give it shape, and so to realize the response in the "filaments of taste" - another fine expression of Dr. Holmes's connoting for us not only conductors of acute feeling but also sources of brilliance and warmth. The prototype of this exhibition was held five years ago, in a period of lush prosperity when elegance was thought purchasable. The present exhibition has been de­ signed and produced in a time of depression and eco­ nomic stress when integrity of design is worth more than exuberance and when any purchase implies a need. The difference between the past and the present eco­ nomic scene is easily realized, for we have all lived through the period of transition. Referring this specifi­ cally to the industries only one point need be noted: while it was once possible to finance the production of special pieces out of a margin of ready money, now every piece exhibited must carry a promise of marketability, for there is no margin to finance flights into the unknown. For us, in this exhibition, the situation has salutary as­ pects; despite difficulties far in excess of those presented by any earlier exhibition in the series, we have the assur­ ance that without deep conviction on the part of all par­ ticipating there would have been no team and therefore no game. So, then, this exhibition stands for quantity produc­ tion, a term much used to mean mass production. More properly "quantity production" signifies a point of view and an economic procedure based on a general acceptance of identical designs, with the advantages, of course, of speed of delivery, lower price, uniformity, precision, and general availability. The concept is better expressed in the words "serial manufacture." A given obj ect and a single duplicate produced by the 8 CONTEMPORARY AMERICAN INDUSTRIAL ART same means will cost about the same. A continuance of the series brings other considerations into the picture. Serial reproduction of the pattern causes the producer to anticipate or, if you like, to budget his costs, his move­ ments, his time. In other words, serial manufacture im­ plies and requires a specialized organization, not only of process but also of design, for the design itself must be construed as a model. In producing a simple obj ect of daily use, such as a skillet, an electric light bulb, a coin, a pencil, a chain­ store teacup, you have mass production in its ordinary form, a quantity of quantities, requiring machinery of unlimited power and incredible speed. When the produc­ tion schedule may call for seventy-six thousand dozen teacups per day, that is mass production. At the other end of the scale, in the manufacture of good furniture the number may drop to twenty-five, to six, even to one at a time, with comparable figures in other fields. Actual numbers are not necessary to establish a definition of quantity production j only the design or form for dupli­ cation is essential. One phase is represented by objects produced singly but from molds, forms, patterns, dies, and other controlling devices which we have been told are the ruination of our culture (a parlor diatribe which the facts have laughed to scorn) ; another phase is repre­ sented by the strictly limited edition, which allows for a much greater degree of handwork-that is, the manual revision and finishing of the mechanical product. It is no longer true that quantity production is the antithesis of craftsman production, for conditions of manufacture have changed. Our exhibition shows all the elements of modern craftsmanship, but under the general proviso that quantity 9 CONTEMPORARY AMERICAN INDUSTRIAL ART

is the gauge. So one may find here a rug that is the first of its pattern and a plate that is one of many thousands. But all are new, newly designed, newly made; many will be offered to the public in the shops during the exhibi­ tion period, and many others are first models, which pub­ lic approval of the exhibition may cause to be produced in volume. As to the objects themselves, they all fall in the home­ furnishings fields. They are the work of no less than 237 manufacturers and designers, a sizable army to marshal; in geographic distribution they reach from Maine to Cali­ fornia and touch all the industrial states. The method of procedure in preparing the exhibition has been somewhat like that followed in the equally im­ portant showing of 1929. It differs significantly in sev­ eral respects, not the least being adherence to the quan­ tity viewpoint. The exhibition requirements are the most severe that we have ever set: all entries of new design and shown here for the first time, all American designed and American made. Because of the number of designers represented, a quick tour of the gallery brings a staccato reaction. More leisurely inspection reveals many varied interpretations of an irresistible trend toward style, the force of the move­ ment softened by buoyant assurance. On the basis of a general plan representing a feasible disposition for the Gallery of Special Exhibitions (now familiar to many simply as D 6) twenty architects and other designers were invited to prepare room schemes and other group arrangements; the industrial product, how­ ever, was the chief consideration and the room scheme simply a convenient mode of display. The designers con­ stituted a Cooperating Committee, which functioned in

10 CONTEMPORARY AMERICAN INDUSTRIAL ART three groups corresponding to the three major divisions of the gallery. These groups met frequently and in most friendly and cooperative spirit played the game of give and take until the project took shape. The Museum then invited manufacturers to collaborate by producing and installing the more than one thousand obj ects in the exhibition. To acknowledge the assistance of the members of the Cooperating Committee in the measure of its value to the exhibition is impossible. The exhibition speaks for itself, a testimonial to their good will and a commenda­ tion of their labor. With us these valiant spirits have been clearing the road. Among them are some of that advance guard, our Cooperating Committee of 1929. Indecd the modern style may yet have its conservatives and its radi­ cals. On one thing, however, they will agree: that the formula is still to be found, though the problem no longer is an enigma. Perhaps in this exhibition of American in­ dustrial art of 1934- some of the terms of this formula are present as accepted quantities. How can we know! Dr. Holmes comcs to our rescue. What he says of memory we can say of the modern style, in this respect no different from any other before it. It is like a net; "one finds it full of fish when he takes it from the brook; but a dozen miles of water have run through it without sticking." RICHARD F. BACH.

II WEST GALLERY UNIT ELY JACQUES KAHN, Architect General setting, consisting of public space surrounded by room schemes and other groups, designed by Ely Jacques Kahn, except as othe"wise 7zoted, with the collabora­ tion of the following [11'ms: GENERAL LIGHTING. Silvray Lighting Company FABRIC CEILING. Installed by Charles H. Kenney Studios, Inc. PAINTING OF WALLS AND CEILING. Sunflex paint by Craf­ tex Company. Applied by George Miller BARRIER CORDS. Edward Maag, Inc.

WOMAN'S DRESSING ROOM IRVIN L. SCOTT, Architect General setting and individual objects desig7ted by Irvin L. Scott and produced by the follo-wing firms: FURNITURE. Thonet Brothers CABINETS AND WOODWORK. A. Bronson, Inc. CARPET. Bigelow-Sanford Carpet Company HARDWARE. Regal Art Glass Company METAL MOLDINGS. Charles H. Biele &Son LIGHTING FIXTURES. A. Ward Hendrickson, Inc. LEATHER FURNITURE COVERING AND WALL TREATMENT. Blanchard Bros. & Lane MIRRORS AND GLASS. Semon Bache & Company DRESSING-TABLE ACCESSORIES. Designed by Tommi Par­ zinger for Rena Rosenthal, Inc. PAINTING OF CEILING. Sunflex paint by Craftex Company. Applied by George Miller

12 WEST GALLERY UNIT

DOORWAY MOTIVE DOORWAYS. Designed by Walter W. Kantack. Kantack, Inc. Metal by Aluminum Company of America TEXTILES. Designed by Dock Curtis and Ely Jacques Kahn for L. C. Chase &Company. Goodall-Sanford Industries

GENERAL GROUP ELY JACQUES KAHN, Architect In cooperation with JOSEPH LOTTO, Designer General display arrangement i1z wood, metal, a7zd glass designed and executed by Joseph Lotto TEXTILE. Designed by Carl A. Mattman, Jr. A. M. Ten­ ney Associates RUG. Designed by Frances T. Miller. New England Guild TABLE, CENTERPIECE, ASH TRAY, AND CIGARETTE BOX. Designed by Margaret Kay for Rena Rosenthal, Inc. FLOWER HOLDER. Designed and executed by Ted Weid­ has CERAMIC SCULPTURE, "Kassandra." Designed and exe­ cuted by Vally Wieselthier CERAMIC SCULPTURE AND COVERED BOWL. Designed by Waylande Gregory for Rena Rosenthal, Inc. Waylande Gregory Studio TABLE. Designed by Joseph Lotto for Rena Rosenthal, Inc. A. Meda & Sons CLASS CENTERPIECE, PLATES, AND BOWL. Designed and executed by Maurice Heaton 13 WEST GALLERY UNIT

GLASS PLATES. Designed by Paul Lobel. Regal Art Glass Company

CHINAWARE. Designed by Gale Turnbull. The Sebring Pottery Company

CHINAWARE. Designed by R. Guy Cowan. Onondaga Pot­ tery Company

CHINAWARE. Designed by Frederick H. Rhead. Homer Laughlin China Company

COCKTAIL SHAKER. Designed by Paul Lobel. International Silver Company Glasses. Designed by Paul Lobel. T. G. Hawkes & Company

LINEN. Designed by Rosomax Campbell for Rena Rosen­ thal, Inc.

LINEN. Designed by Margarita Mergentime. Mosse, Inc.

SILVERWARE. Designed by Alfons Bach. International Sil­ ver Company

SILVERWARE. Designed by Peter Mueller-Munk. Poole Silver Company

LEATHERWARE. Designed by Peter Mueller-Munk. Laura Lee Linder, Inc.

CLOCK. Designed by Gilbert Rohde. Herman Miller Clock Company

PAINTING OF WALLS AND CEILING. Sunflex paint by Craf­ tex Company. Applied by George Miller

14· WEST GALLERY UNIT DINING ROOM DONALD DESKEY, Designer Genel·al setti?tg and individual objects desigmd by Don­ ald Deskey, unless otlterzlJise ?tOted, and prodztced by the followi?tg firms tJ?zd individztals: FURNITURE, METAL. l\/fetallon Corporation FURNITURE, WOOD. Schmieg-Hungate & Kotzian, Inc. FURNITURE COVERINGS. Blanchard Bros. & Lane CURTAIN FABRIC. Chicopee Sales Corporation Curtains installed by M. J. Antman & Company CARPET. Bigelow-Sanford Carpet Company FLOORING, RUBBER. Voorhees Rubber Manufacturing Company. Installed by William Gold, Inc. SILVERWARE. International Silver Company CHINAWARE. Shapes designed by Victor Schreckengost; decoration designed by Donald Deskey. Limoges China Company GLASSWARE. Libbey Glass Manufacturing Company STRUCTURAL GLASS. Structural Glass Company PLATE GLASS AND MIRRORS. Pittsburgh Plate Glass Com­ pany INTERIOR CONSTRUCTION AND DISPLAY CASE. Albert A. Lutz Company PEDESTAL. Metallon Corporation WALLS. Wall board by United States Gypsum Corpora­ tion. Covered with Sanitas by Standard Textile Prod­ ucts Company. Sunflex paint on walls and ceiling by Craftex Company; applied by George Miller LIGHTING. Beaux Arts Lighting Company IS WEST GALLERY UNIT

TEXTILE GROUP ELY JACQUES KAHN, Architect VELVET. Designed and executed by William Openhym & Sons VELVET. Designed by Juanita Todd. Sidney Blumenthal & Company DRAPERY LACE. Designed by Samuel H. Page. The Amer­ ican Fabrics Company DRAPERY LACE. Designed by C. B. J. Mollitor. North American Lace Company DRAPERY LACE. Designed by Walter Draycott. Acme Tex­ tiles, Inc. DRAPERY LACE. Designed by Richard Bloch. Liberty Lace and Netting Works DRAPERY LACE. Designed by C. B. J. Mollitor. North American Lace Company DRAPERY LACE. Designed by Henry Giebel. Thomas Wilson & Company BROCADE. Designed by Ann Siler. Orinoka Mills BROCADE. Designed by David V. Jones. F. Schumacher & Company RAYON. Designed by Dock Curtis, Charles Dean, Ely Jacques Kahn, Ward Smith, Alexis Sommaripa. DuPont Rayon Company

16 WEST GALLERY UNIT

DISPLAY CASE AND OBJECTS IN METAL, CLAY, AND GLASS WALTER VON NESSEN, Designer BRASS AND COPPER. Chase Brass & Copper Company CAST IRON. Bradley & Hubbard Company CHINAWARE. Efcolite Corporation GLASSWARE. A. H. Heisey Glass Company PLATE GLASS. Semon Bache & Company CASE CONSTRUCTION AND ILLUMINATION. Nessen Studio, Inc. METAL MOLDINGS. Chase Brass & Copper Company PAINTING OF CEILING AND FLOOR. Sunflex paint by Craf­ tex Company. Applied by George Miller CENTRAL GALLERY UNIT ARTHUR LOOMIS HARMON, Architect

General setting, c07ZSisti1~g of public space flanked by room schemes, designed by Arthur Loomis Harm01~, except as othe"wise noted, wit/~ the collaboTati01~ of the following firms and i1zdivitluals: DISPLAY CASES. Remington-Rand Corporation Decorative treatment of bases in Vitrolite. The Vitro­ lite Company EAST CASE, BETWEEN DOORS SILVERWARE. Designed by Lurelle Guild. International Silver Company TEA SERVICE. Designed by Paul Lobel. International Sil­ ver Company CHINAWARE. Designed by Frederick H. Rhead. Homer Laughlin China Company FIGURES IN TERRA COTTA, "Fire" and "Water." Designed by Carl Paul Jennewein. Atlantic Terra Cotta Com­ pany WEST CASE, BETWEEN DOORS CHINAWARE. Designed by Ilonka Karasz. Buffalo Pottery. Lent by Pennsylvania Railroad SILVERWARE. Designed by Lurel1e Guild. International Silver Company FIGURE ABOVE, "Radio." Designed by Waylande Greg­ ory. Waylande Gregory Studio PORCELAIN BOWLS. Designed by Frank Graham Holmes. Lenox, Inc. 18 CENTRAL GALLERY UNIT

GLASS FLOWERS. Designed and executed by Marianna von Allesch

GENERAL LIGHTING. Silvray Lighting Company FABRIC CEILING. Installed by Charles H. Kenney Studios, Inc. WALLS. Sheetrock by United States Gypsum Company. Covered with Sanitas by Standard Textile Products Company. Sunflex paint by Craftex Company; applied by George Miller JARDINIERES AT CORNERS OF BAY WINDOW. Galloway Terra Cotta Company BARRIER CORDS. Edward Maag, Inc.

BEDROOM RALPH T. WALKER, Architect Gmeral setting a1zd individual objects designed by Ralph T. rtf!alker, mzless otherwise noted, a1zd produced by the following fit'ms and individuals: FURNITURE. Designed in collaboration with Marianna von Allesch. Modernage Furniture, Inc. Furniture hardware. P. & F. Corbin, Inc. DRAPERY FABRIC AND FURNITURE COVERINGS. Oliver & Kaufman. Drapery hardware. H. L. Judd Company, Inc. Curtains installed by Crown Curtain Company WALL PAPER. Imperial Paper and Color Corporation. Applied by Barker Painting Company 19 CENTRAL GALLERY UNIT

FLOOR COVERING, LINOLEUM. Congoleum-Nairn Com- pany

RUGS AND DOILIES. The Brown Company LAMPS. Cassidy Company

BEDSPREAD, BLANKETS, SHEETS, PILLOWCASES. Cannon Mills

BOX SPRING, MATTRESS, AND PILLOWS. Englander Spring Bed Company

MIRRORS AND DRESSING-TABLE ACCESSORIES. Treitel-Gratz Company, Inc.

GLASS AND BOWL. T. G. Hawkes & Company

DECORATIVE POTTERY. Designed and executed by Dor­ othy Spalding

WALLS. Flexboard by Johns-Manville Corporation. Erect­ ed by Asbestos Construction Company

METAL DOORS. Haskelite Manufacturing Corporation. Painted by Barker Painting Company

PAINTING OF CEILING. Sunflex paint by Craftex Com­ pany. Applied by George Miller.

LIGHTING. Frink Corporation

20 CENTRAL GALLERY UNIT LIVING ROOM JOHN WELLBORN ROOT, Architect General setting and individual objects designed by John Wellborn Root for lvlontgomet·y Ward & Company and produced by the following firms a1zd individuals: FURNITURE. Kroehler Manufacturing Company Furniture coverings. Ranlo Manufacturing Company and Witcombe, McGeachin & Company Radio. Wells-Gardner Company DRAPERY FABRICS. Witcombe, McGeachin & Company RUGS. Bigelow-Sanford Company FLOOR LAMPS AND READING LAMP. Metallic Arts Cor­ poration LAMP BASES, VASES, AND ASH TRAYS. The Haeger Potteries, Inc. Lamp shades. The Red Wing Pottery MIRROR AND PICTURE FRAMES. Kawneer Company Glass. Pittsburgh Plate Glass Company WATER COLORS. Edgar Miller HARDWARE. Reading Hardware Corporation METAL SASH. Kawneer Company. Glass by Pittsburgh Plate Glass Company BLINDS. Columbia Mills SPECIAL CONSTRUCTION, DOOR, ETC. Albert A. Lutz Com­ pany WALLS. Sheetrock by United States Gypsum Company. Covered with Sanitas by Standard Textile Products Company. Sunflex paint on walls and ceiling by Craf-

21 CENTRAL GALLERY UNIT

tex Company; applied by George Miller. Panel of Flexwood by United States Plywood Company LIGHTING. Frink Corporation BOOKS. Blue Ribbon Books, A. L. Burt Co., Wm. Collins Sons & Co., Ltd., Doubleday, Doran, Inc., Follett Pub­ lishing Co., Funk & vVagnalls, Grosset and Dunlap, Inc., G. & C. Merriam Co., Reilly & Lee Co., Mont­ L gomery Ward & Company, Wm. H. Wise

ROOM FOR A LADY ELIEL SAARINEN, Architect GC?Zeral setting and individual objects designed by Eliel Sam'inen, unless otherwise noted, mtd produced by the follozIJi1tg firms and individuals: FURNITURE. Robert W. Irwin Company REFLECTING DEVICE ON CABINET. Renaissance Metal Works WALL HANGING. Cranbrook Looms COVERINGS, RUG, CURTAIN MATERIAL, AND CUSHIONS. Cranbrook Looms GOWNS. Designed and executed by Pipsan Saarinen Swanson TEA URN AND OTHER SILVER PIECES. International Silver Company WALLS. Sheetrock by United States Gypsum Company. Covered with Sanitas by Standard Textile Products Company. Sunflex paint on walls and ceiling by Craftex Company; applied by George Miller LIGHTING. Frink Corporation CONSTRUCTION TO RECEIVE REFLECTORS. Albert A. Lutz Company

22 CENTRAL GALLERY UNIT DINING ROOM EUGENE SCHOEN, Architect GeneraL setting a1td i1tdividuaL objects designed by Ett­ gene Schoen, except as otherwise noted, a1td produced by the fOllowing firms a1td individuaLs: FURNITURE AND COVERINGS. Schmieg-Hungate & Kotz­ ian, Inc. Dining table designed by Eugene Schoen in coopera­ tion with Doris Royce DRAPERY FABRIC. Celanese Corporation of An;erica Curtains installed by Lancaster Shop Curtain tracks. Kirsch Company CARPET. The KlearB.ax Linen Looms, Inc. Installed by Persian Rug M:ll1ufactory LIGHTING FIXTURE. Designed by Eugene Schoen in co­ operation with Maurice Heaton. Lightolier Company FLATWARE AND HOLLOW WARE. Stainless Metals, Inc., co­ operating with Electro Metallurgical Company, unit of Union Carbide and Carbon Corporation CHINA TABLEWARE. Designed by Eugene Schoen and S. H. Slobodkin. James River Pottery GLASSWARE. United States Glass Company DECORATIVE POTTERY. Designed by Waylande Gregory. Waylande Gregory Studio TABLE LINEN. Robert McBratney & Company LITHOGRAPHIC PAINTING. Hugo Gellert WALL MATERIAL. Athol Manufacturing Company. In­ stalled by Lancaster Shop 23 CENTRAL GALLERY UNIT

SASH. C. E. Halback & Company. Metal by Aluminum Company of America. Glass by Semon Bache & Com­ pany. Special construction of walls to receive sash by Albert A. Lutz Company

BLINDS. J. G. Wilson Corporation PAINTING OF CEILING. Sunflex paint by Craftex Com­ pany. Applied by George Miller

GENERAL LIGHTING. Century Lighting Equipment, Inc.

24· CENTRAL GALLERY UNIT

LIVING ROOM WILLIAM LESCAZE, Architect General settiJzg mzd individual objects designed by Wil­ liam Lescaze and produced by the following firms: FURNITURE, METAL. Garland Furniture Company Leather chair coverings. Blanchard Bros. & Lane FURNITURE, WOOD. Charak Furniture Company Chair coverings. Marshall Field & Company RADIO CABINET. Philco Radio and Television Corporation DRAPERY FABRICS. L. C. Chase & Company Drapery installed by Charles H. Kenney Studios, Inc. Curtain tracks. Kirsch Company CURTAIN FABRICS. Celanese Corporation of America Curtains installed by Charles H. Kenney Studios, Inc. Curtain tracks. Kirsch Company CARPET. The Klearflax Linen Looms, Inc. Installed by Persian Rug Manufactory MANTEL AND FIREPLACE. Jacobson & Company DESK LIGHT. Renaissance Metal Works DESK PAD AND BASKET. Star Case Company BOOKS. Coward-McCann, Inc., Covici, Friede, Inc., Ency­ clopaedia Britannica, Inc., Harcourt, Brace and Com­ pany, Inc., Harper & Brothers, Claude Kendall, Alfred A. Knopf, Inc., Liveright, Inc., Longmans, Green and Co., The Macmillan Company, W. W. Norton & Com­ pany, Inc., G. P. Putnam's Sons, Random House, Charles Scribner's Sons, Simon and Schuster, Harrison Smith and Robert Haas, Inc., The Viking Press 25 CENTRAL GALLERY UNIT

Collection selected by The American Institute of Graphic Arts SASH. C. E. Halback & Company. Metal by Aluminum Company of America. Plate glass by Libbey-Owens­ Ford Company WALLS. Sheetrock by United States Gypsum Company. Covered with Sanitas by Standard Textile Products Company. Sunfiex paint on walls and ceiling by Craftex Company; applied by George Miller SPECIAL CONSTRUCTION TO FRAME WINDOW AND BACK WALL. Albert A. Lutz Company LIGHTING. Century Lighting Equipment, Inc. PLANTS. Hawthorne Flower Shop

LIVING PORCH ARCHIBALD MANNING BROWN, Architect General setting and ittdividual objects designed by Archi­ bald Manning Brown and produced by the following firms and ittdividuals: FURNITURE, METAL. Metallon Corporation Fabric coverings. Seeley Scalamandre Company, Inc. Leather coverings. Johnson Company Metal. American Brass Company and International Nickel Company , I FURNITURE, WOOD. Joseph Aronson, Inc. FLOOR COVERING, RUBBER. Paul Coste, Inc. Installed by Architectural Flooring Products Company FLOOR LAMP. Treite1-Gratz Company, Inc. 26 CENTRAL GALLERY UNIT

Floor lamp metal. American Brass Company and Inter­ national Nickel Company

AQUARIUM. Metallon Corporation Glass. Sutton Glass Company Fish. New York Aquarium

FLOWERPOTS. Galloway Terra Cotta Company

CIGARETTE BOXES AND TRAY. Star Case Company

WATER-COLOR SKETCH. Edrem

ASH TRAYS. Corning Glass Works

BACKGAMMON GAME AND GAME-TABLE TOP. Laura Lee Linder, Inc.

SASH. C. E. Halback & Company. Metal by Aluminum Company of America

BLINDS. J. G. Wilson Corporation

WALLS. Wall board by Johns-Manville Corporation. Sun­ flex paint on walls and ceiling by Craftex Company; applied by George Miller

LIGHTING. Century Lighting Equipment, Inc.

ARTIFICIAL HEDGE. Chelsea Realistic Products Company

PLANTS. Max Schling, Inc.

27 EAST GALLERY UNIT PAUL PHILIPPE CRET, Architect General setting, consisting of p-.tblic space surrounded by room schemes and other grOttps, designed by Paul Philippe Cret, except as otherwise noted, with the col­ laboration of the following firms: GENERAL LIGHTING. Silvray Lighting Company FABRIC CEILING. Installed by Charles H. Kenney Studios, Inc. GENERAL PAINTING. Sunflex paint by Craftex Company. Applied by George Miller BARRIER CORDS. Edward Maag, Inc.

DOORWAY MOTIVE DOORWAYS, DISPLAY CASE, AND FLOOR LAMPS. Designed by V. F. von Lossberg. Edward F. Caldwell & Co., Inc. FABRIC. Designed by Edward Maag. Edward Maag, Inc. PORCELAINS. Designed by Frank Graham Holmes. Lenox, Inc. GLASS. Designed by John M. Gates; engraved by Sidney B. Waugh. Corning Glass Works

DINING ROOM WALTER DORWIN TEAGUE, Designer General setting and indioidual objects designed by Walter Dorwin Teague and produced by the following firms: TABLE. Pittsburgh Plate Glass Company CHAIRS. S. Karpen & Bros. RUG. L. C. Chase &Company LIGHTING FIXTURES. Curtis Lighting Company 28 EAST GALLERY UNIT

GLASSWARE, CENTERPIECE, CANDLESTICKS,AND FLATWARE. Corning Glass Works CHINAWARE. James River Pottery TABLE LINEN. Mosse, Inc. GLASS RODS IN GRILLE. Corning Glass ,,yorks

.~ CABINETWORK AND DISPLAY CASES, CONSTRUCTION AND PAINTING. Jacob Froehlich Cabinet Works Plywood and Micarta. United States Plywood Company PAINTING OF CEILING. Sunflex paint by Craftex Com­ pany. Applied by George Miller

MUSIC ROOM CORNER GILBERT ROHDE, Designer General setting and individual objects designed by Gil­ bert Rohde, tmless otherwise noted, and produced by the following firms: PIANO AND BENCH. Steinway & Sons Metal parts. Leo J. Uris TABLE AND CHAIR. Warren MacArthur WALL PAPER. Imperial Paper & Color Corporation TEXTILE. Designed by Gilbert Rohde in collaboration with Grete Franke. Willich-Franke Studios RUG. Designed by Gilbert Rohde for Nelson S. Fink. V'Soske Shops LAMP. Mutual Sunset Lamp Manufacturing Company BOWL AND VASE. Gladding-McBean Company METAL MOLDINGS. The Metallon Corporation Metal. American Brass Company and International Nickel Company EAST GALLERY UNIT

GENERAL GROUP PAUL PHILIPPE CRET, Architect RUG. Designed by Gustav Jensen in cooperation with Per­ sian Rug Manufactory. Bigelow-Sanford Carpet Com­ pany

WALL TREATMENT IN METAL FOIL. Designed by Gustav l· Jensen. Reynolds Metals Company, Inc. GLASSWARE. Designed by John M. Gates. Corning Glass Works LEATHERWARE. Designed by Gustav Jensen. Star Case Company

DESIGNER'S OFFICE AND STUDIO LEE SIMONSON AND RAYMOND LOEWY, Designers General setting and individual objects designed by Lee Simo1tSon and Raymond Loewy cmd produced by the following fl1"ms: CABINETS. Cummings & Engbert. Covered in Formica in aluminum frames by Formica Insulation Company FURNITURE, METAL CHAIRS AND TABLES. The Metallon Corporation Leather chair coverings. Eagle Ottawa Leather Com­ pany DRAWING BOARD AND MODELING STAND. Cummings & Eng- bert FLOOR COVERING. Congoleum-Nairn Company LAMPS AND REFLECTORS. Lightolier Company CLOCK. Warren Telechron Company

3° EAST GALLERY UNIT

Numerals in Plaskon. Toledo Synthetic Products, Inc. GLASS OF WINDOW AND CLOCK. Semon Bache & Company CEILING. Homasote by Agasote Millboard Company. Sun­ flex paint by Craftex Company; applied by George Miller CEILING LIGHTS. Holophane Company LIGHTING OF WINDOW. Century Lighting Equipment, Inc. CORK PANEL. Frank D. Maxwell Corporation

GENERAL GROUP PAUL PHILIPPE CRET, Architect METALWARE, ALUMINUM AND COPPER. Designed by Rus­ sel Wright. Russel Wright Studio SILVERWARE. Designed by Peter Mueller-Munk. Poole Silver Company SILK. Designed by John Tournaud. Cheney Brothers PRINTED COTTON. Designed by Victor Proetz for Katzen­ bach & Warren. Cyrus Clark & Company WALL PAPER. Designed by Victor Proetz for Katzenbach & Warren CABINET AND CHAIR. Designed by Jules Bouy. Johnson Wood Products CO. FLOOR LAMPS. Designed by Russel Wright. Russel Wright Studio RUG. Designed by E. Helen Dunbar. A. & M. Karagheu­ sian, Inc. BOOKS. Coward-McCann, Inc., Covici, Friede, Inc., En- 31 EAST GALLERY UNIT

cyclopaedia Britannica, Inc., Harcourt, Brace and Com­ pany, Inc., Harper & Brothers, Claude Kendall, Alfred A. Knopf, Inc., Liveright, Inc., Longmans, Green and Co., The Macmillan Company, W. W. Norton & Company, Inc., G. P. Putnam's Sons, Random House, Charles Scribner's Sons, Simon and Schuster, Harrison Smith and Robert Haas, Inc., The Viking Press Collection selected by The American Institute of Graphic Arts

NOTES The structural and electrical work and the general setting of the exhibition preliminary to finished installation were done by the Museum's own workshops. Addresses of firms and individuals listed in this catalogue will be furnished by the Museum on application. The Museum regrets the omission from this catalogue of .~ certain names which were received too late to be in­ cluded. ADDITIO S AND CHANGES

Page 12, under WEST GALLERY UNIT Add DRAPERY LACES AT ENTRANCE. Designed by Richard Bloch for Liberty Lace and Netting Works and by C. B. J. Mollitor for Thomas Wilson & Company

P'lge 12, under WOMAN'S DRESSING ROOM F01" CABINETS AND WOODWORK read CABINETS, WOOD­ WORK, A '0 WALL TREATMENT For METAL MOLDINGS. Charles H. Biele & Son read METAL MOLDINGS. Charles F. Biele & Sons Co. Add BOOK ENDS AND ASH TRAY. Designed by Russel Wright. Russel Wright Studio Page 13, under GENERAL GROUP For TEXTILE. Designed by Carl A. Mattman, Jr. A. M. Tenney Associates ,"ead TEXTIJ.ES. Designed by Carl C. Mattmann, Jr. A. M. Tenney Associates, Ten­ nessee Eastman Corporation For FLOWER HOLDER. Designed and executed by Ted Weidhas read FLOWER HOLDER AND AQUARIUM. De­ signed and executed by Ted Weidhaas Page 14- For CHINAWARE. Designed by Gale Turnbull.The Seb­ ring Pottery Company read CHINAWARE. Designed by Gale Turnbull. The Charles Sebring Company Omit CHINAWARE. Designed by R. Guy Cowan. Onon­ daga Pottery Company Omit SILVERWARE. Designed by Peter Mueller-Munk. Poole Silver Company ADDITIONS AND CORRECTIONS

Pilge 15 Add GLASS AND METAL CENTERPIECE. Greenpoint Bnss & Bronze Company Page 16 For BROCADE. Designed by Ann Siler. Orinob Mills t"ead DRAPERY FABRICS, MateIilsse and Chenille. Designed by Ann Siler. Orinoka Mills Fot" BROCADE. Designed by David V. Jones. F. Schu­ macher & Company read DAMASK. Designed by David V. Jones. F. Schumacher & Compilny Add SPECIAL INSTALLATION OF TEXTILES. John Seiden­ top Company Page 17 Add SCREEN AND SHELF SUPPORTS. Joseph Aronson, Inc. P~ge 18 Under EAST CASE, BETWEEN DOORS FIGURES IN TERRACOTTA, "Fire" and "\Vater." De­ signed by Carl Paul Jennewein. Atlantic Terra Cotta Company have been transfened to WEST CASE Arl.i CHINAWARE. Designed by R. Guy Cowan. Onon­ daga Pottery Company

Under WEST CASE, BETWEEN DOORS o FIGURE ABOVE, "Radio." Designed by Waylande Greg­ ory. Waylande Gregory Studio has been transfened to EAST CASE PORCELAIN BOWLS. Designed by Frank Graham Holmes. Lenox, Inc. have been transferred to EAST CASE ADDITIONS AND CORRECTIONS

Page 19, under CENTRAL GALLERY UNIT Under WEST CASE, BETWEEN DOORS GLASS FLOWERS. Designed and executed by l\1arianna von Allesch have been tl·ansfened to EAST CASE Page 19, under BEDROOM For Furniture hardware, l'ead HARDWARE

Page 21 For RUGS. Bigelow-Sanford Company read RUGS. De­ signed by John Wellborn Root in cooperation with William Welsh. Bigelow-Sanford Carpet Company Page 22, under ROOM FOR A LADY Add CURTAIN TRACKS. Kirsch Company Page 23 For FLATWARE AND HOLLOW WARE read FLATWARE AND HOLLOW WARE IN STAINLESS STEEL Page 26, under LIVING ROOM For SASH ,·ead SASH AND METAL OF FIREPLACE Add DECANTER AND GLASSES. Steuben Division of Corning Glass Works P. ge 27 For SASH read SASH AND COLUMN Add SPECIAL CONSTRUCTION TO RECEIVE SASH. Lutze and Wittig Page 28, under DOORWAY MOTIVE For GLASS. Designed by John M. Gates; engraved by Sidney B. Waugh. Corning Glass Works read GLASS­ WARE. Designed by John M. Gates. Steuben Divi­ sion of Corning Glass Works ADDITIONS AND CORRECTIONS

Add PUNCH BOIVL. Designed by Sidney B. Waugh. Steuben Division of Corning Glass Works Page 29, under DINING ROOM For GLASSWARE, CENTERPIECE, CANDLESTICKS, AKD FLATWARE. Corning Glass Works I'ead GLASSWARE, CENTERPIECE, CANDLESTICKS, AND FLATWARE. Steu­ ben Division of Corning Glass Works For GLASS RODS I GRILLE. Corning Glass Works read GLASS RODS IN GRILLE. Steuben Dil'ision of Corning Glass Works

Page 3I, under DESIGNER'S OFFICE AND STUDIO Add WALLS, MATERIAL, AND INSTALLATION. Formica Insulation Company Add HARDWARE AND NICKEL Tum 'G ON CABINETS. International Nickel Company

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