Decorative Arts Society Volume 20, Volume Number 2 newsletter fall2012 DAS Newsletter

Volume 20 Editor Gerald W.R. Ward Number 2 Senior Consulting Curator & Fall 2012 Katharine Lane Weems Senior Curator of American Decorative Arts and The DAS Sculpture Emeritus The DAS Newsletter is a publication Museum of Fine Arts, Boston of the Decorative Arts Society, Inc. The Boston, MA purpose of the DAS Newsletter is to serve as a forum for communication about research, The Decorative Arts Society, Inc., is a exhibitions, publications, conferences and Coordinator other activities pertinent to the serious Ruth E. Thaler-Carter founded in 1990 for the encouragement study of international and American deco- Freelance Writer/Editor ofnot-for-profit interest in, theNew appreciation York corporation of, and the rative arts. Listings are selected from press Rochester, NY exchange of information about the releases and notices posted or received decorative arts. To pursue its purposes, from institutions, and from notices submit- Advisory Board the Society sponsors meetings, programs, ted by individuals. We reserve the right to Michael Conforti seminars, tours and a newsletter on the reject material and to edit materials for Director decorative arts. Its supporters include length or clarity. Sterling and Francine Clark Art Institute museum curators, academics, collectors We do not cover commercial galleries. Williamstown, MA and dealers. The DAS Newsletter welcomes submis- sions, preferably in digital format, submit- Wendy Kaplan Officers ted by e-mail in Plain Text or as Word Department Head and Curator, President attachments, or on a CD and accompanied Decorative Arts David L. Barquist by a paper copy. Images should be provided Los Angeles County Museum of Art H. Richard Dietrich, Jr., Curator at high quality (400 dpi), preferably as Los Angeles, CA TIFFs or JPEGs, either color or black-and- of American Decorative Arts Philadelphia Museum Art white, with detailed captions. Cheryl Robertson Philadelphia, PA The newsletter of the DAS is published Independent Scholar, Curator two times a year at this time. Submission and Museum Consultant deadlines for 2013: March 31 for the Cambridge, MA Treasurer spring issue; August 30 for the fall issue. Stewart G. Rosenblum, Esq. Please send material to: Charles Venable New York, NY Ruth E. Thaler-Carter, Director & CEO DAS Newsletter Coordinator Indianapolis Museum of Art Secretary 2500 East Avenue, #7K Indianapolis, IN Veronica Conkling Rochester, NY 14610 Independent Researcher Gillian Wilson Washington, DC [email protected] Curator of Decorative Arts J. Paul Getty Museum Members 585-248-8464, phone Los Angeles, CA 585-248-3638, fax Communications Ghenete Zelleke Monika Schiavo To better serve our contributors and Associate Curator, European Waverly Rare Books/ the decorative arts community, the DAS Decorative Arts Quinn’s Auction Galleries website may provide information about Art Institute of Chicago Falls Church/Charlottesville, VA events that fall between issues. Chicago, IL Programs Nicholas Vincent Research Associate, American Decorative Arts Metropolitan Museum of Art New York, NY

Please send change-of-address information by e-mail to Secretary@ Cover image: DecArtsSociety.org. Vase, silver, enamel, citrines and garnets; 8 in. high x 4 in. diameter (20.32 cm x 10.16 cm). George Paulding Farnham, Tiffany and Company, 1901; made for Newsletter design by Plum Crane. the Pan-American Exposition, Buffalo, NY (see News). All content ©2012 Decorative Arts Society. From the president An exciting year of educational events By David L. Barquist, DAS President NJ, that gave participants privileged he Decorative Arts Society, Inc. access to four historic houses, as well (DAS) has continued through as the Monmouth County Historical Tthe summer and fall with an Association (MCHA), under the superb active schedule of study trips. In May, leadership of MCHA curator Berna- we offered a weekend visit to upstate dette Rogoff (see page 3). DAS contrib- New York, including Albany, Utica and utors Peter and Leslie Warwick were Cooperstown. Tammis Groft of the gracious hosts at their beautiful home, Albany Institute of History and Art with its extraordinary collections of and Anna D’Ambrosio of the Munson- folk art and New Jersey decorative arts, Williams-Proctor Institute deserve and were also instrumental in creating special thanks for their insightful tours, the itinerary for this event. not only of their institutions but also of These trips are intended to ad- architectural sites and private collec- vance knowledge of and interest in the tions in their cities. The trip concluded with a visit foster a spirit of camaraderie among members for everything they do as to the amazing Hyde Hall in Cooper- thefield participants, of decorative and arts, they as wellcertainly as to loyal volunteers to keep the DAS mov- stown, led by Gilbert Vincent, archi- were extremely successful on both ing forward, in terms of membership, tectural historian and uncle of DAS counts. Nick Vincent has done yeoman board member Nick Vincent. service in planning these trips, and I newsletter. On September 15, we offered a want to take this opportunity to thank finances,Looking website ahead and, to 2013,of course, we are this one-day trip to Monmouth County, planning a visit to the newly reopened Yale University Art Gallery (New him and all the DAS officers and board - tion of American decorative arts on DAS news MarchHaven, CT)2, 2013 and .its For magnificent the summer, collec we are considering a weekend trip after the galleries of European decorative DAS awards are open for submissions arts at Boston’s Museum of Fine Arts ubmissions are open for the DAS There are no formal deadlines for reopen, as well as sites on the North awards programs, which rec- consideration. Self-nominations are Shore, such as Beauport (the Sleeper- Sognize excellence in books and permitted. McCann House of Historic New articles about the decorative arts. Nominations and copies of rel- England; Gloucester, MA), which was The Charles F. Montgomery evant works published in 2012 to be a major inspiration to H.F. du Pont in Award of the DAS is presented to the considered for the Montgomery award creating Winterthur. - or prize may be sent to: Your participation in these pro- Gerald W.R. Ward, Senior Consult- grams and your contributions to the artsscholar(s) is judged whose the firstmost major outstanding publica ing Curator & Katharine Lane Weems DAS are vital to the organization’s con- suchtion in work the fieldpublished of American in the previous decorative Senior Curator of American Decorative tinued strength and growth, and your Arts and Sculpture Emeritus suggestions and ideas for ways we can works published in 1979. Museum of Fine Arts, Boston improve are always welcome. year. The The Charles award was F. Montgomery first presented Prize for 465 Huntington Avenue of the DAS is awarded for the most Boston, MA 02115 distinguished contribution to the study Submissions for the Robert C. of American decorative arts published Smith Award for 2012 works may be In this issue in the English language by a North sent to: American scholar in the previous year. Thomas S. Michie, Russell B. and DAS news 1 Andrée Beauchamp Senior Curator of Events 4 published in 1982. Decorative Arts and Sculpture, Art of News 5 People 7 The Theprize Robert was first C. Smithpresented Commit for works- Europe Acquisitions 10 tee aims to recognize the best article Museum of Fine Arts, Boston Exhibitions 13 on decorative arts published within a 465 Huntington Avenue Publications 31 given year. Boston, MA 02115

Fall 2012 Newsletter of the Decorative Arts Society, Inc./1 DAS studies historic NJ decorative arts collections By Monika Schiavo, DAS board member ettled by the Dutch in 1664, Mon- mouth County, NJ, was the setting Sfor a September 15, 2012, DAS study tour of decorative arts collec- tions and historic homes, arranged by Nicholas Vincent. The fair fall weather allowed 23 DAS members to devote the day to the study of the region’s indig- enous architecture and decorative arts. Participants traveled by chartered mo-

venues, starting at the private home of Tour participants (above) examine Petertor coach and between Leslie Warwick five historic. house ca. 1956 wainscot chair at MCHA Long-standing members of the museum (right). American Folk Art Society, collectors and authors, the Warwicks are recog- nized for their collection of 18th- and 19th-century furniture, paintings, needlework and ceramics, as well as their extensive scholarship in early American folk and decorative art. The owners led DAS members on a tour of their ca. 1800 former farm- house, offering details about the ob- jects they have acquired over the past

- Painted grisaille bouquets on kas at cancefive decades. of the items The husband-and-wife and offered their Holmes-Hendrickson House (left). thoughtsteam discussed about the evolutionhistorical ofsignifi their collection. From the New Jersey stone- ware arranged around the farmhouse the museum is planning a 2013 exhibi- hearth to the pictorial needlework on academic study that now form the tion of his work, including the gifts of the walls, the arrangements revealed starting point of present-day historic two portraits by the Warwicks. each object’s distinctive form, color or house museum plans. The day wrapped up with visits to texture, while adding humor and inter- The study tour continued on to the two additional MCHA historic houses. est to the warm and inviting family MCHA headquarters, which preserves The Cowenhoven House (c.1753) home. and interprets the county’s architectur- served as headquarters for the British The group traveled next to Marlpit al and decorative arts through educa- general Sir Henry Clinton before the Hall, the ca. 1756 home of Edward tional programs, archives and special Revolutionary War Battle of Mon- Taylor and now a stop on the New exhibits. Rogoff gave DAS members a mouth in 1778. Originally built for a Jersey Women’s Heritage Trail, where “behind-the-scenes” tour of some of Dutch family who embraced an English they were joined by Bernadette MCHA’s treasures, including a 1695 architectural style, the house boasts a Rogoff, museum curator for the Mon- wainscot chair made by the Scottish visually stunning upper room with its mouth County Historical Association immigrant Robert Rhea, believed to be original painted surfaces. The bright (MCHA). Rogoff discussed the period the earliest documented piece of New blue-and-white patterns resemble the furnishings in the two-story white Jersey furniture. Emanuel Leutze’s ceramics of the period and underscore clapboard farmhouse, noting that the painting of “Washington at the Battle the family’s mid-18th century decorat- home’s displays changed numerous of Monmouth” (1857) was the object ing preferences. times over the years since the building of much discussion, as was a series of was donated to the society in 1936. pastel portraits by the early Ameri- Holmes-Hendrickson House, contin- Rogoff pointed out that the revi- can traveling artist Micah Williams ued Thethe scholarly final stop focus on the on tour, early the Dutch- sions in museum interpretation found (1782–1837). American history. A kas, or moveable at Marlpit Hall are examples of themes Between 1819 and 1828, Williams wardrobe, with painted grisaille bou- in the Colonial Revival movement, and produced portraits of local farmers, quets on its two doors, was a highlight highlight the advances in research and businessmen and their families, and of that historic house.

2/Fall 2012 Newsletter of the Decorative Arts Society, Inc. Participants learn about Emanuel Leutze’s “Washington at the Battle of Monmouth” (1857) at MCHA museum (left).

Detail of blue-and-white painted decoration on fireplace and mantel with nautical scene at Dutch Covenhoven House (above).

DAS tour-goers assemble at Marlpit House.

Leslie Warwick (left) and curator Bernadette Rogoff (right) display Micah Williams portraits donated by the Warwicks to the MCHA.

Fall 2012 Newsletter of the Decorative Arts Society, Inc./3 Events 50th anniversary of studio glass art Curator and the Katharine Lane Weems in America Senior Curator of American Decora- Art Alliance for Contemporary Glass tive Arts and Sculpture Emeritus, MFA, Throughout the USA and DAS newsletter editor; “Windsor Through December 2012 Furnituremaking in Boston: A Late but To celebrate the 50th anniversary of Innovative Center of the Craft,” Nancy studio glass art and recognize artists in Goyne Evans, independent furniture Art Alliance for Contem- historian (Hockessin, DE); “Samuel porary Glass (AACG) has initiated glass Gragg, Chairmaker: New Discoveries,” demonstrations,the field, the lectures and exhibitions Michael Podmaniczky, private conser- in museums, galleries and art centers vator (Wilmington, DE); “The Mystery across the country throughout 2012. Card Table,” Wendy A. Cooper, Lois The Legacy of Littleton: Har- F. and Henry S. McNeil Senior Curator vey Littleton and his Wisconsin of Furniture, Winterthur; “‘The Best Glass • Program Students, Bergstrom Workman in the Shop’: Cabinetmaker Mahler Museum (Neenah, WI), William Munroe of Concord,” David F. Through February 24, 2013 Wood, curator, Concord Museum; “The For added events, go to: http://con- Federal Sideboards of Benjamin Bass, tempglass.org/2012-celebration. Decorative Arts, Yale University (New Jr.,” Morrison Heckscher, Lawrence Haven, CT); “Boston Japanning: Case A. Fleischman Chairman of the Ameri- Sewell C. Biggs: New Perspectives Studies,” Christine Thomson, private can Wing, Metropolitan Museum of on Boston Furniture: 1630–1860 conservator (Salem, MA), and Tara Art (New York, NY); “Boston Classical Winterthur Furniture Forum Cederholm, curator, Brookfield Arts - Winterthur Museum, Gallery Foundation (Salem, NH); “Mrs. Oliver’s tion,” Page Talbott, principal, Remer and Gardens Chair: A Boston Classic,” Gregory &Furniture: Talbott (BalaA (Nearly) Cynwyd, 40-Year PA); Reflec“Classi- Winterthur, DE Landrey, division director, Library, cal Excellence in Boston: The Work of http://winterthur.org Collections Management and Academic Isaac Vose, 1815–25,” Clark Pearce, March 6–8, 2013 Programs, Winterthur; “Boston and American arts advisor and indepen- The 2013 Sewell C. Biggs Win- Its Craft Community, 1630–1860,” J. dent scholar (Essex, MA), and terthur Furniture Forum is the Ritchie Garrison, director, Winter- Robert Mussey, conservator and inaugural event of Four Centuries thur Program in American Mate- independent scholar (Milton, MA); of Massachusetts Furniture, a col- rial Culture, University of Delaware “Early Boston Pianomaking: The State laborative venture of the Colonial (Newark, DE); “‘Such Ruins Were of Scholarship,” Darcy Kuronen, Society of Massachusetts (Boston, Never Seen in America’: The Looting Pappalardo Curator of Musical Instru- MA), Concord Museum (Concord, of Thomas Hutchinson’s House at the ments, MFA; “Boston Furnituremakers MA), Fuller Craft Museum (Brockton, Time of the Stamp Act Riots,” John and the New Social Media, 1830–60,” MA), Historic Deerfield, Historic New Tyler, editor of Publications, Colonial Kelly L’Ecuyer, Ellyn McColgan Cura- England (Boston, MA), Massachusetts Society of Massachusetts; “Boston or tor of Decorative Arts and Sculpture, Historical Society, North Bennet New York? Revisiting the Apthorp- MFA; “John Ellis & A. H. Davenport: Street School, Old Sturbridge Village, Family and Related Sets of Queen Anne Furniture Manufacturing in East Cam- Peabody Essex Museum, Winterthur Chairs,” Philip Zimmerman, museum bridge, Massachusetts, 1850–1900,” Museum, Garden & Library, and Mu- consultant and independent scholar Nancy Carlisle, curator, Historic New seum of Fine Arts, Boston (MFA). (Lancaster, PA); “A Scotsman, Thomas England; “Boston Furniture for Public Topics and speakers include: “40 Chippendale and the Green Dragon Spaces,” Caryne Eskridge, Lois F. Mc- Years of Boston Furniture Scholarship: Tavern: Connecting the Dots,” Kemble Neil Fellow, Winterthur Program, Class From Boston Furniture of the 18th Widmer, independent scholar (New- of 2013; and “Framing the Interior: Century to Today: A Reminiscence,” buryport, MA); “The Turret-Top Tea The Entrepreneurial Career of John Jonathan L. Fairbanks, director, Fuller Tables and Card Tables of Boston”— Doggett,” Richard Nylander, curator Craft Museum; “17th-Century Boston Robert Francis Fileti Endowed Lecture, emeritus, Historic New England. Furniture: Tools and Techniques,” Brock Jobe, professor of American For more information on the forum Peter Follansbee, joiner, Plimoth Decorative Arts, Winterthur, and Al- and registration, call 800-448-3883 or Plantation (Plymouth, MA); “Early lan Breed, cabinet- and chairmaker go to http://winterthur.org/?p=976. 18th-Century Boston Case Furni- (Rollinsford, NH); “Pigeonholes and The society plans to publish selected ture,” Edward S. Cooke, Jr., Charles F. Patriots: Desks in Colonial Boston,” papers in a volume devoted to Boston Montgomery Professor of American Gerald W. R. Ward, Senior Consulting furniture.

4/Fall 2012 Newsletter of the Decorative Arts Society, Inc. News

2013 American Ceramics Circle (ACC) • Applications awards of up ar toe $5,000open for for the expenses associated with preparing scholarly papers based on original research in the history of ceramics. Grant recipients are required to offer completed papers for publication in the ACC Journal and may be invited to speak at an annual ACC symposium. The application form and a state- ment of general principles pertaining to the grants process are available at www.amercercir.org. The deadline for completed applications is April 1, 2013. Questions may be addressed to Anne Forschler-Tarrasch, ACC Grants Chair, Curator of Decorative Arts, Bir- mingham Museum of Art, 2000 Rev. Abraham Woods, Jr. Blvd., Birmingham, AL 35203-2278, or aforschler@artsbma. The Stephen L. Wolf Collection of 12,000+ paint, varnish and color theory materials from the 16th century through the present. org. Museum of Fine Arts, Houston (MFAH; TX), and its research Islamiyyah (Kuwait) will go on public library on paint, varnish and color institute• The for Latin American art, the display in the new Arts of the Islamic theory dating from the 16th century International Center for the Arts of World Gallery. Items span the 8th onward that was bequeathed to His- the Americas (ICAA), have established through the 18th centuries and include toric Deerfield (MA) when Wolf died the ICAA Peter C. Marzio Award ceramics, architectural panels, jewelry in 2008, is available to researchers in- for Outstanding Research in 20th- and illuminated manuscripts. terested in interior decoration, carriage Century Latin American and Latino Cooper-Hewitt National painting, japanning, color theory, wall Art, named for the late director of the Design Museum (New York, NY) has treatments, dyeing, enameling, glazing, MFAH, who founded the ICAA in 2001. engaged• The Diller Scofidio + Renfro to theatrical set design, art restoration, The award recognizes new schol- design the gallery and visitor experi- varnishes, gilding and the manufacture arship in 20th-century Latin American ence at its remodeled site, with local of paint. and Latino art. A prize of $2,500 will Projects Bibliographic records for the Wolf be granted to a graduate student, and part of a $64-million renovation proj- Collection can be searched in an online $1,000 to an undergraduate student, ect of its ,Carnegie a design firm,Mansion on the. Museum team, as catalog: http://library.historic-deerfield.org. who each produces outstanding aca- programs are available at the Cooper- Princeton University Art demic papers based on the newly pub- Hewitt Design Center, University Museum (NJ) has received a $5-mil- lished primary-source materials avail- Club and elsewhere until the museum lion •gift The from alumni Nancy A. Nasher able from the digital archive. Docu- reopens in 2014. and David J. Haemisegger to endow ments of 20th-Century Latin American Evansville Museum (IN) the directorship of the museum as the and Latino Art and its companion book has discovered that a work of glass art Nancy A. Nasher-David J. Haemiseg- series, Critical Documents of 20th- donated• The to the museum in 1963, cata- ger, Class of 1976, Directorship. James Century Latin American and Latino Art. loged as art inspired by a design for a Steward, a lecturer with the rank of For eligibility and application Pablo Picasso painting, kept in storage professor in Princeton’s Department materials, visit http://icaadocs.mfah.org/ for almost 50 years and credited to a icaadocs/en-us/publications/icaapetercmar- supposed artist named Gemmaux, was hold the named directorship. He joined zioaward.aspx. actually created by Picasso. Gemmaux Princetonof Art and inArchaeology, 2009 after 11is the years first as to The MFAH also has forged an is the plural for “gemmail,” which is the director of the University of Michigan agreement to bring objects from a type of glass used in “Seated Woman Museum of Art. major collection of Islamic art to the with Red Hat.” Nasher is a member of the adviso- MFAH on long-term loan. About 60 Stephen L. Wolf Collec- ry council of the Princeton University objects from the Dar al-Athar al- tion, a more-than-12,000-title private Art Museum, and serves on the board • The

Fall 2012 Newsletter of the Decorative Arts Society, Inc./5 of advisers of the Nasher Museum of Louvre (Paris, France) has could augment parts of permanent col- Art at Duke University. Haemisegger is opened its new galleries of Islamic art. lections. a member of the board of trustees of The •museum The received $20 million from Representatives from the two mu- the Dallas Museum of Art. Prince Walid bin Talal to support the seums will meet once a year to deter- With their children, Nasher and new galleries, which will encompass mine the exhibitions, pieces from their Haemisegger established the Patsy R. more than 32,000 square feet on two collections or educational program- and Raymond D. Nasher Lecture Series levels and house 2,500 objects from the ming to be exchanged. at the College of Visual Arts & Design 7th–19th centuries. The galleries were Royal Treasures from the Lou- at the University of North Texas in designed by Mario Bellini and Rudy vre: Louis XIV to Marie-Antoinette is 1998, in honor of Nasher’s parents. Ricciotti, and draw from the collec- see The museum also has received a tions of the Louvre and the Musée des Exhibitions). $4.5-million gift from Allen R. Adler, Arts Décoratifs. the first stepCorning in this Museum collaboration of Glass ( Princeton 1967, and his wife, Frances - (NY) has unveiled the preliminary Beatty Adler, to endow a curatorship, ed the 50th anniversary of its hosting design• The for an expansion to create a new a lectureship, and programs and exhi- the World’s• The city Fair of inSeattle, part by W establishingA, celebrat wing for its collection of contemporary bition funds. the Chihuly Garden and Glass at Se- works in glass and one of the world’s The gift’s two funds will focus on attle Center display, which it is calling largest facilities for glassblowing European art from the medieval to - demonstrations and live glass-design post-Impressionist periods. The Allen nent survey” of Dale Chihuly’s work in sessions. R. Adler, Class of 1967, Distinguished glass.the “first comprehensive and perma Designer of the 100,000-square- Curatorship at the Princeton University Art Institute of Chicago foot expansion is architect Thomas Art Museum and Lectureship in the De- (IL) has reinstituted its Arthur Ru- Phifer and Partners. The $64-million partment of Art and Archaeology, and broff• ThePaperweight Collection (see project—fully funded before ground- the Adler Curatorial Leadership Fund Exhibitions). Rubroff donated 1,100 breaking by Corning Incorporated— will support a curator-educator to paperweights from his collection; in is scheduled for completion in 2014. study, preserve, interpret and enhance the 1930s, another donor provided Dallas Museum of Art Princeton’s collections and to mount 300 pieces, primarily antique French (DMA; TX) has received $20,000 from exhibitions. paperweights. the Hoblitzelle• The Foundation to support Allen Adler serves on the Advisory Fine Arts Museums of San planning and designing a new Ameri- Council of the museum and previously Francisco (FAMSF; CA) and Louvre can Silver Gallery, which will help fur- endowed a program fund at the Princ- have• created The an exclusive agreement ther the stewardship and conservation eton University Art Museum in support to collaborate on a series of exhibi- of museum’s collection of 19th- and of its schedule of exhibitions and schol- tions and exchanges during the next 20th-century American silver. arly publications. Frances Beatty Adler Following selection of a design has a PhD in art history from Columbia art from both museums’ collections of team and development of a new instal- University and is chair of the board of decorativefive years, includingarts. The loanssharing may works include of lation scheme in late 2012, the DMA the Drawing Center (New York, NY). whole exhibitions or single objects that will seek support to pursue a major re- installation of its galleries of American silver. The more-than-1,500 examples of industrially produced silver made after 1840 in the collection include works by Tiffany & Co., Gorham, Reed & Barton, International Silver, Towle, Oneida, Whiting, and many other makers. The reinstallation will enable the museum to more than triple the number of silver objects currently on view and ensure that the new cases

standards in object preservation. and Thedisplays Hoblitzelle reflect theFoundation most current was established by Karl and Esther Hoblitzelle in 1942. Grants usually

of educational, social service, medi- “Circa ’70” coffee and tea service, silver and ebony, 1963; 9.25 x 6.75 x 5.75 in. (23.495 x 17.145 cal,focus cultural on specific, and civic non-recurring organizations needs in x 14.605 cm). Donald H. Colflesh, Gorham Manufacturing Company, designed 1958, introduced Texas, particularly in the Dallas area. 1960; this example, 1963.

6/Fall 2012 Newsletter of the Decorative Arts Society, Inc. People

Awards Gewerbe (Hamburg, Germany); Mu- has served on SAQA’s Endowment Fund American seum of Arts and Design (New York, and Membership subcommittees. Ceramics Circle (ACC) grants in sup- NY); Palm Springs Art Museum (CA); - port• of R ecipientsoriginal research of the 2012 in the history Seven Bridges Foundation (Green- gist Dorothea Arnold has retired after • Curator, scholar and archaeolo of ceramics are: wich, CT); Anneberg Collections 21 years as head of the Department (Nykøbing, Denmark); Danish Arts of Egyptian Art at the Metropolitan Jonathan Rickard Foundation (Denmark); Danish Mu- Museum of Art (New York, NY) and project √ independent involving Don cer Carpentieramics scholar, seum of Decorative Art (Copenhagen, has become curator emeritus. Associ- founder and director, to of finance the Historic a video Denmark); and National Museum of ate curator Diana Craig Patch became Eastfield Foundation and Eastfield Art, Architecture and Design (Oslo, acting associate curator in charge. Village (NY), and preserve traditional Norway). He received the Crafts Prize Arnold began working at the techniques perfected by Carpentier; of 1879 in 1995, Ole Haslund Art Met in 1985 as associate curator. She Meissen porcelain scholar Mau- Prize in 1996 and Hempel Glass Prize became associate curator and admin- reen Cassidy-Geiger, to support her in 2002. istrator pro-tem in 1988, Lila Acheson research √ on the 1752 Hof-Conditorei Inaugurated in 1986, the Rakow Wallace Curator in Charge in 1991, and inventories of the three royal residenc- Commission goes to professional Lila Acheson Wallace chairman of the es of the court of Saxony and Poland in artists whose work is not yet repre- Department of Egyptian Art in 2005. Dresden, Warsaw and Hubertusburg, sented in the museum’s collection. The Born in Leipzig and educated at which will involve analyzing and com- commission supports new works of art the universities of Munich and Tübin- paring the three inventories to deter- in glass by encouraging emerging or gen, Germany, Arnold spent 16 years in mine the differences between the three established artists to venture into new Egypt as an archaeologist for the Ger- court pantries based on the different areas that they might otherwise be man Institute of Archaeology, Cairo and function of each residence; and was part of a small group of archaeolo- Carl Steen, to limitations. It is made possible by the gists who introduced the professional unable to explore because of financial continue his research at the Reverend late Dr. and Mrs. Leonard S. Rakow study of ancient Egyptian ceramics John√ Landrum archaeologist pottery kiln site in and fellows, friends and benefactors of into Egyptology. She specialized in South Carolina and expand knowledge the museum. the Egyptian Middle Kingdom (ca. of the early Edgefield stoneware pot- Each commissioned work is added 2050–1640 BC) and the Amarna Period tery tradition. to the permanent collection and is (ca. 1352–36 BC). Her most frequently Rakow Commission cited publication is The Royal Women of work of Corning Museum of Glass the museum’s Modern Glass Gallery, Amarna: Images of Beauty from Ancient displayed publicly for the first time in (NY)• is The “Flower 2012 Block” by Danish artist during the museum’s Annual Seminar Egypt (1996). Steffen Dam, a grouping of 24 glass on Glass. Arnold organized major exhibi- blocks in the style of his series of glass tions, including Pharaoh’s Gifts: Stone panels, each containing the artist’s in- Appointments Vessels from Ancient Egypt (1994– Studio Art Quilt Associates, 95), An Egyptian Bestiary (1995); glass blocks, panels and jars invoke fos- Inc. (SAQA) has added two new board Queen Nefertiti and the Royal Women silizedterpretation biological of parts and of botanical a flower. slides Dam’s members, • John J. “Butch” Davies, (1996–97); and Egyptian Art in the III of Culpepper, VA, and Lisa Ellis of Age of the Pyramids (1999–2000). Dam learned about the natural Fairfax, VA, to replace outgoing board She also re-installed the Amarna Gal- worldused in from scientific his paternal research. grandfather, members whose terms expired. lery (1996–97) and the galleries of - Predynastic Art, Art of Roman Egypt, trated volumes on biology, natural of Davies, Barrell, Will, Lewellyn & Ed- Mastabas of Perneb and Raemkai whose library was filled with illus wards, Da viesPLC. is He an is officer married in theto Margaret law firm (2003–04); Middle Kingdom; and Art training was as a toolmaker. His works W. “Marty” Moon, who owns and oper- of Queen Hatshepsut (2007–08). havesciences, been and compared flora and to fauna. the lamp His- initial ates Early Times Workshop, a quilting Rhonda Barker, assistant and cross-stitch facility, and serves on curator and leader of Membership • Leopold and Rudolf Blaschka, but he the board of Virginians for the Arts, and Guest Services at the Headley- createsworked hisflowers specimens and sea in creatureshis jars and of among other organizations. Ellis owns Whitney Museum (Lexington, KY), has cabinets of curiosity from memory. Giving Back Technology, which pro- left the musem for a position with state Dam’s work is in public and private vides information technology services government. collections throughout the world, Bruce Barnes, founder and including the Glasmuseet (Ebeltoft, other arts organizations. She has been president of the Decorative Art 1900 • Denmark); Museum für Kunst und activeto nonprofit in SAQA museums, for several galleries years andand Foundation (New York, NY) and co-

Fall 2012 Newsletter of the Decorative Arts Society, Inc./7 author of The Jewelry and Metalwork (now the Frost Art Museum; Miami, & Marketing at Waverly Rare Books, a of Marie Zimmermann (with Deborah FL). He received a BA in Fine Arts from division of Quinn’s Auction Galleries Dependahl Walters, Kimberley Florida State University and MA degree (Falls Church and Charlottesville, VA). Ahara and Joseph Cunningham; Yale in Fine Arts from the Maryland Insti- University Press, 2012) is the new Ron tute College of Art, and was awarded and Donna Fielding Director of the a two-year fellowship in the CORE George Eastman House (Rochester, program at the Museum of Fine Arts/ NY), which has a strong decorative arts Houston, Glassell School of Art (TX). collection despite being best known as a museum of photography.

Shayna Shia, curator of Educa- tion at the Headley-Whitney Museum, is completing• her master’s degree at the Savannah College of Art and Design. Museum of Glass (MOG; Tacoma, WA) has selected Joanna Sikes as director• The of External Affairs. Before Amy Meyers has been reappoint- joining the MOG, Sikes worked for more than 20 years at Chihuly Studio as stu- • of the Yale Center for British Art. dio manager, in marketing/client rela- ed for a third five-year term as director Amy Murray, formerly of the tions and as director of Special Projects, Mary Todd Lincoln House and serving as liaison between the studio • Barnes has researched the works of Kentucky Children’s Garden, is the and the founding committee for the metal artist Samuel Yellin at the East- Headley-Whitney Museum’s new cura- MOG and, most recently, as a founder man House, which has several of Yellin’s tor of Education. and member of the senior management ornamental grilles in its collection, and Anne-Imelda Radice has been team of Denny Park Fine Arts. She has called a Charles Rohlfs chair at appointed as the new director of the often lectures on the world of glass and • the Eastman House one of his favorite American Folk Art Museum (New the work of Dale Chihuly. pieces of American decorative art. York, NY). She had served as director Sikes’s previous experience also Barnes replaces Anthony Bannon, of the Institute of the Museum and includes tenures at the Phoenix Fine who retired about a year ago and then Library Services, a federal agency, and Arts Museum, Crocker Museum of was hired as director of the Burchfield has a doctorate in art and architectural Art and American Federation of Arts, Penney Art Center (Buffalo, NY). history. where she worked with more than 20 Christopher Bedford, former Cory Robinson, chair of the Fine museums around the country with a chief curator at the Wexner Center for Art Department in the Herron School focus on sculpture. She also worked as • the Arts• , Ohio State University, is the of Art and Design and associate a project manager for Donald Lipski. new director of the Rose Art Museum professor at Indiana University-Purdue Miwako Tezuka, formerly asso- at Brandeis University. University Indianapolis, is a new trust- ciate curator at the Asia Society (New Glen Gentele has been named di- ee of the Furniture Society (Asheville, • rector & CEO of the Orlando Museum NC). Robinson is an alumnus of Herron, director of the Japan Society gallery, of Art• (FL), succeeding Marena Grant replacingYork, NY), Joe becomes Earle ,the who first retired Japanese in Morrisey, who retires at the end of this art in furniture design in 1999, and September. earned a bachelor’s degree in fine year. He previously served as president Charles Venable, director & CEO of the Oklahoma City Museum with an emphasis on furniture at San and chief executive of the Speed Art completed a master’s of fine art degree of Art (OK) and as director of Lau- Diego State University. Museum • (Louisville, KY) for the past meier Sculpture Park (St. Louis, MO), Denise Roldán has been ap- - where he held a joint appointment as pointed to the newly created position visory board, is the new director of the • the Aronson Endowed Professor for of director of exhibitions at the Mu- Indianapolisfive years and Museuma member of of Art the (IN). DAS Head Modern and Contemporary Art at the seum of Fine Arts Houston (MFAH; succeeds Maxwell L. Anderson, who University of Missouri, St. Louis. TX). She will oversee both exhibition has moved to the Dallas Museum of Gentele has held positions at the Art (TX). Venable has served in curato- John and Mable Ringling Museum institutions, as well as manage related rial and administrative roles. planning and affiliations with other of Art (Sarasota, FL) and Art Museum publications and programming. Venable earned a BA cum laude at Florida International University Monika in art history and history from Rice Schiavo is the new director of Sales • DAS board member 8/Fall 2012 Newsletter of the Decorative Arts Society, Inc. University and from the University Williams’s expertise includes Gorham Manufacturing Company. of Delaware’s Winterthur Program 18th- and 19th-century silver, such as Williams was assistant curator in Early American Culture in 1986, works from the Gorham Manufactur- of Decorative Arts at the Nelson- and a PhD from Boston University in ing Company. She comes to the RISD Atkins Museum (Kansas City, MO) American studies in 1993. Museum of Art from the Los Angeles from 2007–09 and held curatorial and Venable was at the Dallas museum County Museum of Art (LACMA; CA). research positions at the museum after from 1986–2002, moving from as- As the Marilyn B. and Calvin B. completing her master of arts in Art sistant curator of Decorative Arts to Gross Assistant Curator of Decorative History at the University of Missouri- - Arts and Design since 2009, Williams Kansas City in 2005. cantly expand the decorative art and worked with the museum’s European, Sydney Wilson-Cox, a recent designdeputy collection.director and From helping 2002–07, to signifi he American and Modern collections graduate of the University of Ken- was deputy director of the Cleveland of furniture, ceramics, silver, glass, tucky’s • Arts Education program, is the Museum of Art (OH). He has edited enamel and metalwork. She developed new leader of Membership and Guest and written several well-respected and managed the reinstallation of 450 Services, as well as assistant curator publications. pieces of decorative arts in the mu- of Education, at the Headley-Whitney Venable is the only scholar to have seum’s European galleries, and collabo- Museum (Lexington, KY). received both the Charles F. Mont- rating with the Rosalinde and Arthur Diane C. Wright, former com- gomery Award and the Montgomery Gilbert Foundation for a 38-piece munications manager for the DAS and Prize of the DAS – the Montgomery loan to LACMA from the Victoria and senior• fellow in the American Deco- Award in 1989 for his book, American Albert Museum’s Gilbert Collection rative Arts Department at the Yale Furniture in the Bybee Collection, and of silver, micro-mosaics, pietre dure, University Art Gallery, is now the mar- the Montgomery Prize for his 1994 portrait miniatures, and gold boxes. keting and communications manager publication, “Silver in America, 1840– Her work encouraged a gift by Lady at the Pilchuck Glass School (Seattle, 1940: A Century of Splendor.” His work, Marjorie Gilbert WA). She received her MA in the Histo- China and Glass in America, 1880–1980 objects from the Gilbert Collection. ry of Decorative Arts and Design from (2000), has been acclaimed for its Williams also ofde 12veloped significant relation - Parsons the New School for Design, accessible style and scholarly contribu- ships with foundation and private specializing in glass studies, and has donors resulting in more than $3.5 mil- conducted research and lectured on lion of acquisition gifts and purchases glass for the Chrysler Museum of Art, tion to the decorative arts field. to LACMA’s Decorative Arts and Design Blair House and Freer/Sackler Gal- department, and nearly $300,000 in leries at the Smithsonian Institution. funding. She was integral in creat- At the Yale University Art Gal- ing new educational and interpretive lery, Wright pursued research on Yale’s materials for European decorative arts collection of early American glass and objects, as well as collection material began building a collection of contem- for the museum’s website and mobile porary glass for the museum. Before tour app. her stint at Yale, she worked as an edu- Williams’s exhibitions and in- cator at the Corning Museum of Glass stallations at LACMA include Daily (CMOG; NY), where she taught about Pleasures: French Ceramics from the glassmaking history and techniques to MaryLou Boone Collection and The students of all ages. Gilbert Collection at LACMA. Her publi- Wright has researched the leaded cations include catalogues for Daily glass windows and mosaics of Tiffany Pleasures and The Gilbert Collection, Studios at churches across the country. Lisa Resnik, David Knopf and as well as an essay on 18th-century Scott Erbes were elected as co-interim Chinoiserie silver in Britain in the an- in-depth study of Frederick Wilson, directors during the Speed’s search for thology Material Culture and Gender in HerLouis graduate C. Tiffany thesis’s window presented designer the first a new permanent director/CEO. Eighteenth-Century Europe, part of The and head of the ecclesiastic depart- Elizabeth A. Williams has been Histories of Material Culture and Collect- ment at Tiffany Studios. In 2009, she named the new curator of Decorative ing, 1700–1950 series (Ashgate, 2013). published an article on the life and Arts • and Design at the Rhode Island A native of Kansas City, Williams is work of Wilson in the Journal of Glass School of Design Museum. Williams a PhD candidate in the Kress Founda- Studies. She is a co-curator of the forth- will be responsible for the interpreta- tion Department of Art History at the coming exhibition Louis C. Tiffany and tion, development and care of the RISD University of Kansas, where her disser- the Art of Devotion and contributed museum’s collection of American and an essay for the accompanying catalog European Decorative Arts, with em- esthetics on European and American (published by the Museum of Biblical phasis on exhibitions, publications, and silvertation asstudies manifested the influence in the Aesthetic of Japanese Art in conjunction with D. Giles, 2012). participation in museum teaching and Movement and the Art Nouveau style, Wright has taught courses on the community engagement. history of glass at the Rhode Island

with a specific focus on at the works of Fall 2012 Newsletter of the Decorative Arts Society, Inc./9 Acquisitions

Gunston Hall (Mason, Neck, VA), home of colonial leader George Mason, has acquired:• Spice chest, walnut and poplar, with 11 the eastern coast of Virginia, possibly interior drawers, a along √ thea 1770s Rappahannock spice chest River; produced on lock and bracket feet, 1770s. Produced on that, although not owned by the the eastern coast Masons, √ a pair correspond of branched to when candlesticks George of Virginia, possibly along the Rappahan- Mason was purchasing lighting equip- nock River. Spices ment. Weighing 96 ounces, they would were an essential part have been an expensive item; of colonial American - cooking, especially ing dish that represents nearly 30 piec- among elite Virgin- es of√ creamware a feather-edge dating creamware from 1760–80, serv ians who were known recently purchased to replicate sherds for serving highly found on the site by archeology. The seasoned food. only known archival reference of Mason’s creamware purchase derives

School of Design, Parsons the New ment; was editor and publisher of the GRiD Compass, which had a keyboard School for Design and George Ma- Magazine Antiques from 1972–90; and and display held together by a hinge so son University, and has published on was a trustee of Huguenot Heritage. the user could open and close the ma- contemporary glass in Modern Maga- His books include Classic America: The zine, the Yale Alumni Magazine and the Federal Style & Beyond (1992); Monti- called interaction design that looked at Yale University Art Gallery Bulletin. She cello and the Legacy of Thomas Jeffer- howchine. people He helped interact create with a fieldcomputers. of study received the 2011 Rakow Grant for son (1994); and, with David Larkin Moggridge received a diploma in art Glass Research from CMOG. and Michael Webb, American Home: and design from Central Saint Martins From Colonial Simplicity to the Modern College of Art and Design (London, Obituaries Adventure (2001). England) and worked as an industrial Garrett earned a master’s degree in designer before founding his consulting Emmanuel Cooper died earlier this what is now the Winterthur Program Moggridge Associates. In 1991, year. • Lucie British Rie: cer Modernistamicist and Potter historian, his in American Material Culture and a biography of potter Lucie Rie, who master’s in American history from Har- ownedfirm, by David Kelley and Mike Nut- was one of his early mentors, has been vard. He believed that antiques should tallhe merged to form his IDEO. company His awards with firmsincluded published by Yale University Press. never be considered in a vacuum but the Prince Philip Designers Prize. Cooper based much of the work be recognized as tangible manifesta- Gudmund Vigtel, who is cred- on Rie’s archive at the Crafts Study tions of the ethos of their time and ited with starting a decorative arts Center (Surrey, England). place, and windows to American social collection• at the High Museum of Art Wendell D. Garrett, an authority history. (Atlanta, GA) that is now considered on American decorative arts and Bill Moggridge, director of the a leader in the country, died at 87 in appraiser • on “Antiques Roadshow,” Cooper-Hewitt, National Design October. He was director of the High died in November at 83. Museum• (New York, NY) since 2010, Museum for 38 years, from 1963 until The author or editor of many died of cancer in September at 69. He is his retirement, when he was named books on antiques and Americana, Gar- credited with overseeing rapid expan- director emeritus. rett appeared on every season of the sion at the museum, which is sched- Vigtel was born in Jerusalem in American version of “Antiques Road- uled to reopen in 2014. 1925 and came to the United States show” since it began in 1997 through Before joining the Cooper-Hewitt, through an International Rotary Club Moggridge was known as the co-found- scholarship to the Atlanta College of summer and will air in 2013. er of IDEO, an innovation and design Art. He earned BA and MA degrees the newGarr season,ett also whichwas associated was filmed with last there and was assistant director of the Sotheby’s as a senior vice president in designer credited with creating the Corcoran Gallery of Art (Washington, the American decorative arts depart- clamshellfirm, and asshape the Britishof the laptop industrial with the DC) from 1954 until joining the High.

10/Fall 2012 Newsletter of the Decorative Arts Society, Inc. from a July 22–August 28, 1780, record from John de Neufville & Son in Amsterdam. The reference provides an example of the assortment of cream- ware pieces he purchased. “Vase, Bottle, Bowl,” kiln-formed glass, 2008. Jane Bruce (British, 1947–). of joiner/carpenter√ a ca. 1775 mahog Williamany slab Buckland top purchased “Vase, Bottle, Bowl” (2010) Blue Book of Philadelphia Furniture: andtable master that pays carver homage William to the Bernard influence by Jane Bruce, nine objects grouped William Penn to George Washington. Sears on the design and execution of into three sets that present variations Furniture and gun dealer Joseph Gunston Hall; they produced furniture on a vase, bottle and bowl, emphasiz- Kindig, Jr. (York, PA) purchased the to be placed in at least one room in ing the roles of composition, color, dressing table from Eliza Davids in the the mansion. Only a chair fragment light, proportion, and the juxtaposition late 1930s and it remained in the Kin- remains. of positive and negative space. Funds digs’ private home. After Kindig died in from Ann Hartmann and Frank Snug 1971, a friend of the museum alerted 1790, whose tiered size relates to their enabled the museum to acquire “Na- curators to its whereabouts. The Kindig usage √ asa set storage of Eng forlish both knifeboxes, a dinner ca. and ture” (2010) by Judith Schaechter—a family agreed to lend the dressing table a dessert service. Since the Mason stained glass scene mounted on a light so it could be displayed next to its high family had both dinner and dessert box of a girl lounging on a Victorian chest in 1976 for Philadelphia: Three silver (likely by English silversmith, chaise. Centuries of American Art, the survey John Horsley, ca. 1761), knife boxes Museum of Fine Arts, celebrating American art at the mu- reiterate this primary evidence of the Boston (MA) has received a major seum during its bicentennial year. After family’s lifestyle. donation• The of Benin bronzes and ivories the exhibition closed, the dressing from collector Robert Owen Lehman, table remained on loan to the museum. of the American Studio Glass Move- including 28 pieces that will go on The purchase of the dressing table ment, • Inthe tribut Toledoe to Museumthe 50th anniversaryof Art (OH) display in 2013. will be funded by gifts already received collector’s group, the Apollo Society, Philadelphia Museum of or to be solicited from individuals has acquired three works of contempo- Art (PA) has agreed to purchase a over the next several years, as well rary studio glass: “Colorbox II” (2007) mahogany• The dressing table that has been as through funds raised by the deac- by Japanese sculptor Jun Kaneko, on loan to the museum for 36 years. cession and sale of furniture in the “Twilight Powered by Electricity Makes Made in Philadelphia in the late 1760s museum’s collection. The deacces- for a Brilliant New Horizon” (2012) by or early 1770s, the table is the mate to sioned works of art include a Philadel- emerging artist Andrew Erdos and the museum’s monumental high chest, phia easy chair dating to about 1755 “Dew Point 18” (2007) by Ohio native which was donated in 1957 by Amy that the museum purchased in 1925; Maya Lin. Howe Steel Greenough. two colonial side chairs; and 10 pieces The carved decoration on both the of American furniture, including a of Color Ignited: Glass 1962–2012 high chest and dressing table depicts colonial Philadelphia high chest, dress- (see TheExhibitions first tw).o are on display as part a scene from Aesop’s fable of “The Fox ing table, turret-topped card table, and “Colorbox II” is a large, vertical in- and the Grapes” on their central draw- tilt-top tea table, as well as an 1829 stallation consisting of eight geometric ers. The proportions of these examples painted chest of drawers from the Mah- rods composed of thin layers of bright- of 18th-century craftsmanship echo antango Valley. ly colored and colorless glass. Kaneko the architectural framework of the layered sheets of glass in polychrome bedchamber for which they were made The high chest and dressing table and colored sequences and then fused and together represent the Philadel- High chests and dressing tables phia furniture in British colonial North were considered the ultimate in bed- - America. chamber furniture for fashionable co- thetive stacksenvironment by kiln-firing combining them glass in a mold.with The high chest was known to lonials living in British North America, two-way“Twilight” mirrors is aand multimedia computer-pro reflec- museum curators early in the 20th cen- were conceived together and served as grammed colored LEDs with mythical tury when it was borrowed from Mary foils to each another. Fell Howe for the 1924 exhibition Cabinetmaking in Philadelphia out of the mirrored walls. Philadelphia Chippendale. Its depic- from the early 1700s was distinguished creatures“Dew thatPoint seem 18,” madeto float from into blown and tion of a narrative from one of Aesop’s by the use of turned elements and the colorless glass, gives the impression of fables is a rare detail that generated local walnut or imported mahogany. drops of water collecting on the ground curiosity about whether its companion By the late 1740s, when a baroque line and is made up of 18 elements. piece—the dressing table—was still in dominated contemporary furniture, a Individual members of the Apollo existence. group of London-trained carvers ar- Society purchased two other objects as The dressing table was soon dis- rived in Philadelphia and transformed a gift to the museum. Georgia Welles, covered and made its debut in William the design of architectural decoration founder and chairman of the society, MacPherson Hornor, Jr.’s 1935 The and furniture with rococo carving.

Fall 2012 Newsletter of the Decorative Arts Society, Inc./11 fable of “The Fox and the Grapes,” when a fox that cannot reach a bunch of grapes calls them sour and undesir- able. The scene follows an established format for illustrating the fable, and was borrowed directly from plate 21 of English carver Thomas Johnson’s 1761 publication of designs, where it is at the base of a large pier glass. On the high chest and dressing ta- ble, the scene may have related directly to other elements in the interior archi- tecture of the original owner’s house; fables and famous scenes from classical mythology embellished mantel sur- rounds in Britain and Philadelphia (for instance, the central tablet depicting Aesop’s fable of “The Dog and His Shad- ow” by carver Hercules Courtenay from Samuel and Elizabeth Powel’s house that survives at the Philadelphia Museum of Art). Research continues to establish whose carved work is on the high chest and dressing table. Incorporating Aesop’s fables within interiors was a popular fancy among European and American followers of Enlightenment philosophy. Only two other high chest and dressing table sets with narrative carving are known to have been made. One of them survives together at the High chest and dressing table, mahagony, early 1770s. with carved decoration depicing Aesop Metropolitan Museum of Art (New fable of the fox and the grapes. York, NY) and the other is separated, with the dressing table at the Museum High chests were used to store thony De Wolfe Howe (1808–95), but of Fine Arts, Boston (MA) and only clothing and valuable household tex- did not know how he acquired it. Eliza the base to the high chest surviving, at tiles, while dressing tables stored the Davids, who owned the dressing table the U.S. Department of State (Wash- implements of dressing and served as ington, DC). the stage where men and women sat She was the daughter of Richard Wistar and dressed themselves. As the taste Davidsin 1935, and is its a descendant first documented of Samuel owner. for them declined at the end of the Morris (1734–1812) and Isaac 18th century and their original own- Greenleafe (1715–71), both scions of ers passed away, the ensembles were Philadelphia families and patrons of often separated and divided among the decorative arts. Let the us know of heirs. The high chest and dressing table upcoming events in the It is not known who originally were designed to be placed in a bed- commissioned the “Fox and the chamber with related moldings and decorative arts! Grapes” ensemble: The backboards of carving. The high chest’s waist molding the high chest bear the name of Phila- is several inches higher than the top delphia comptroller James Milligan and of the dressing table, indicating that Send announcements to: the dates 1783 and 1784, suggesting it was positioned just above a room’s that it was sold at sales (or vendues), horizontal mid-molding, or chair rail, newsletter@ overseen by Milligan, that supported while the top of the dressing table the Continental Army. DecArtsSociety.org The donor of the high chest wrote in 1931 that her father, Herbert Mar- andwould fretwork, have fit the just centerpiece below the chair of the rail. shall Howe, inherited the high chest carving Framed is the by central scrolls, drawer floral ornamentdepict- from her grandfather, Bishop Mark An- ing the moment of truth from Aesop’s

12/Fall 2012 Newsletter of the Decorative Arts Society, Inc. Exhibitions

Alabama Hip, Hippo, Hooray! Face Jugs: Art and Ritual in Woven Splendor Birmingham Museum of Art 19th-Century South Carolina Birmingham Museum of Art Birmingham, AL Birmingham Museum of Art Birmingham, AL www.artsbma.org Birmingham, AL www.artsbma.org February 17–June 16, 2013 January 13–April 7, 2013 Through December 30, 2012 This porcelain table service from Face Jugs: Art and Ritual in 19th Woven Splendor showcases 17 the collection of Richard Baron Cohen Century South Carolina focuses on combines two of his collecting pas- this formative African-American pot- museum’s permanent collection, dating sions: ceramics and hippos. Cohen tery type created in the second half of fromrugs andthe late-19thfive chief blanketsto mid-20th from centu the - commissioned a large dinner service - ries. The chief blankets represent de- from the Royal Copenhagen Porce- trict of South Carolina. The exhibition signs popular before American traders lain Manufactory in Denmark. interpretsthe 19th century these jugs in the in Edgefieldlight of new Dis re- established trading posts as the main In 2004, Cohen sent a photogra- search into slave life in South Carolina public outsource of Navajo textiles. pher on a year-long journey around in the middle of the 19th century. These “blankets,” worn by Navajo the world to photograph hippopotami The vessels are presented as func- men and women, were also traded to in zoos and their natural environment. - neighboring tribes and Spanish set- Using these photos, porcelain painter culties of being a slave in the Southern tlers, who considered them symbols Jørgen Nielsen created “portraits” of plantation,tional objects and that relate represent to other the coded diffi of status. After the arrival of American the hippos on the various pieces of the components of slave life, such as spiri- traders, the chief blanket was replaced service. Completed in four years, the by the rug. The rugs on display depict a service includes more than 150 pieces. Face Jugs is organized by the small selection of the array of designs The exhibition focuses on the sto- Chipstonetuals and Catholic Foundation saint figurines.and the Mil- that the Navajo people created for their ries of the hippos—who they are and waukee Art Museum, and curated by Anglo-American customers. where they live. Claudia Mooney, assistant curator of the Chipstone Foundation.

Arizona Modern Spirit: Fashion of the 1920s Phoenix Museum of Art Phoenix, AZ www.phxart.org Through February 10, 2013 Modern Spirit: 1920s Fashion and Design looks beyond familiar images to capture the spirit of the decade’s livable fashion and evolu- tion of clothing and accessories as an expression of freedom, intellectualism, sexuality and athleticism through more than 40 ensembles by designers such as Gabrielle “Coco” Chanel and Mad- eliene Vionnet, along with a number of accessories.

California Batik: Spectacular Textiles of Java Asian Art Museum San Francisco, CA http://www.asianart.org Through May 5, 2013 A variety of batik textiles dem- onstrates the artistic tradition of the Triangular dish, hard-paste porcelain with enamel decoration and gilding, Mara. Parc Indonesian island of Java of creating Zoologique d’Amnéville, France, Royal Copenhagen, 2006. patterned cloth with hot wax.

Fall 2012 Newsletter of the Decorative Arts Society, Inc./13 Rudolf Nureyev: A Life in Dance The gemmes da la Couronne are Austria, which led to a realignment of De Young Museum made of hardstone—amethyst, agate, the great powers of Europe and the San Francisco, CA amber, jade and rock crystal. Many Austrian archduchess Marie-Antoinette www.famsa.org were displayed in rooms designed to being given in marriage to the future Through February 17, 2013 receive them in the royal apartments at French king. This exhibition is dedicated to the Versailles. They were only loaned once By the late 18th century, the king life and work of dancer and chore- before, to the Kremlin in 2004. embraced a more private, less formal ographer Rudolf Nureyev (1938–93) As Louis XIV was building his mode of entertaining, often without through more than 80 costumes and 50 palace at Versailles, he called on his servants. Many of these objects were photographs from the dancer’s person- court workshops at the Gobelins designed to be used by the owners al collection, entrusted to the Centre manufactory to furnish it. As many as themselves, such as the solid gold national du costume de scène (France) 800 artisans produced mosaic table- coffee grinder made for Madame de by the Rudolf Nureyev Foundation, tops of semiprecious stones, wool and Pompadour. along with items loaned from active silk tapestries, carpets, silver furniture, Louis XVI continued to support ballet companies. and other luxury goods. Some of these both the Sèvres porcelain factory and objects were presented by the king as the Gobelins manufactory (which by diplomatic gifts known as the présents that time produced tapestries) after his du Roi. In the 18th century, gold and coronation in 1775. Marie-Antoinette commissioned furniture and decora- gifts from the king to acknowledge tive objects for her private apartments exceptionaljeweled snuffboxes service, were friendships among andthe at Versailles, and revived the princely alliances. tradition of collecting hardstone By the time of Louis XV, making vases. porcelain had become a symbol of a Guided by Enlightenment ideals, country’s prestige, and the manufac- the king put parts of the royal collec- tory at Sévres, still producing porcelain tion on view to the public and acquired today, was acquired by the king in the hardstone vases and furniture to found late 1750s. The factory dominated a new museum in the Louvre. However, the production of porcelain in Eu- economic hardship fomented unrest in rope. These objects also played a role France, leading to the French Revolu- Royal Treasures from the Louvre: in statecraft as gifts to foreign rul- tion. Louis XVI was executed in January Louis XIV to Marie-Antoinette ers. A dinner service decorated with 1793. The Louvre opened to the public Legion of Honor, Fine Arts Museums green ribbons cemented the alliance eight months later as a collection for of San Francisco of France with its traditional enemy, the people of France. San Francisco, CA www.famsf.org Through March 17, 2013 This collection of decorative arts from the Musée du Louvre (Paris, France) presents items from the French monarchy from the time of Louis XIV until the Revolution of 1789, featur- ing a Gobelins manufactory’s mo- saic tabletop of semiprecious stones; gemmes de la couronne, hardstone vases mounted in gold and gemstones collected by Louis XIV; présents du Roi, - es made for the royal family to present includingas gifts; personal diamond-and-gem items made snuffbox for Louis Presentation miniature of Louis XIV (left), painted enamel with rose-cut and table-cut diamonds; XV’s private use or for use by his mis- mount set in silver and enameled gold; diamond-set frame, 2 13/16 x 1 13/16 in. (7.2 x 4.6 cm). tresses, Madame de Pompadour and ca. 1670. Goldsmith-jeweler: Laurent Tessier Montarsy (?–1684). Workshop of Pierre and Laurent Madame du Barry, including Sèvres Le Tessier de Montarsy, goldsmiths; Jean Petitot I, enameler. Musée du Louvre, Département des Objets d’Art. Gift of the Société des Amis. © RMN-Grand Palais/Art Resource, NY. Photo: Jean- porcelain and silver; and Marie- Gilles Berizzi. Antoinette’s personal collection of Ewer (center), agate with enameled gold mount. Paris, c. 1650. Entered the collection of Louis vases of agate and other hardstones. XIV before 1673. 10 7/16 x 4 15/16 x 3 9/16 in. (26.5 x 12.5 x 9 cm). Musée du Louvre, Départe- Many objects in the exhibition have ment des Objets d’Art. © RMN-Grand Palais/Art Resource, NY. Photo: Jean-Gilles Berizzi. never been shown in the United States; Bust of Marie-Antoinette (right), hard-paste porcelain. Commissioned by Prince Alexandre Koura- several have never before left France. kine. 1782. Photo: Peter Harholdt.

14/Fall 2012 Newsletter of the Decorative Arts Society, Inc. The Life of Art: Context, Collecting tion celebrates objects and imagery and patriotism of the past. Birds have and Display created in response to society’s love of a special place at Winterthur. Henry Getty Center wine. Featuring more than 300 objects, Francis du Pont used bird-related Los Angeles, CA Uncorked! explores how wine was objects to tie his historic interiors to www.getty.edu marketed, consumed and enjoyed in the naturalistic landscape of the estate. Ongoing America and Britain from the 1600s Birds inhabit both the real and the This exhibition takes four objects through the 1800s. artistic environments and provide a from the museum’s decorative arts col- visual bridge between the indoor room lection—a silver fountain, a gilt-bronze Winterthur Museum, Garden and settings and the garden outside. wall light, a gilt-wood side chair and a Library lidded porcelain bowl—and encourag- Winterthur, DC A Lasting Legacy: 60 Years of es visitors to examine them closely to http://winterthur.org Winterthur Graduate Programs understand how they were made and Through January 6, 2013 Winterthur Museum, Garden & functioned, why they were collected, This exhibition features paintings Library and how they have been displayed. of Winterthur’s rooms by English Winterthur, DE artist Michael John Hunt, who was www.winterthur.org Connecticut inspired by the styles, periods, histo- Through June 16, 2013 It’s a Small, Small World: Dollhouses ries and stories of the house on his This exhibition commemorates and Miniatures the partnership of nearly six decades Gunn Memorial Library & Museum complete, the series will include 200 between the University of Delaware Washington, CT depictionsfirst visit to of Winterthur Winterthur, in from 1996. scenes When and Winterthur Museum, Garden http://www.gunnlibrary.org of rooms of the house to views of exhi- & Library that guides two graduate Through January 20, 2013 bitions to images of the garden. programs—the Winterthur Program This exhibition of 50 dollhouses is in American Material Culture and the the result of ads in the antiques trade Winterthur Collects What?: Winterthur-University of Delaware press for loans of items, which gar- A Bird’s-Eye View Program in Art Conservation. nered single heirlooms and complete Winterthur Museum, Garden and collections. Library District of Columbia The oldest item is a rare George Winterthur, DC Fashioning the New Woman: II English Baby House, built in 1747, http://winterthur.org 1890–1925 that resembles a Palladian brick villa. Closing date not known Daughters of the American Dollhouses of the 1890s by toymaker Featuring some of the bird-related Revolution Museum Moritz Gottschalk, who applied objects in the Winterthur collection, Washington, DC lithographs of gingerbread onto A Bird’s-Eye View reveals what the de- http://www.dar.org façades, include working elevators piction of birds can say about the food Through August 31, 2013 with cranks and pulleys. A Manhattan traditions, adornment, entertainment From the last years of the bustle tenement has a bathtub in the kitchen. A 1920s dollhouse from the Tynietoy workshop has its original Tynietoy furnishings. Other pieces include 19th-century German “room boxes,” an early 20th-century British Tri-ang dollhouse, a Mt. Vernon dollhouse built in 1932 for the bicentennial of George Washington’s birth, and Louis Marx Huntsman with tin houses, along with the work of local dog and birds, dollhouse craftspeople and miniature earthenware artisans Rick Maccione of Dollhouse (pearlware) with lead glaze, Mansions, Susan Anthony Klein and made in Stafford- Teresa Layman. shire, England; 1815–25. Gift of Delaware Thomas N. and Uncorked! Wine, Objects & Tradition A. Pat Bernard, Winterthur Museum, Garden & 2002. Library Winterthur, DE www.winterthur.org Through January 6, 2013 Uncorked! Wine, Objects & Tradi-

Fall 2012 Newsletter of the Decorative Arts Society, Inc./15 the highly structured and decorative Items include a white couture bustle style of the late 1800s. The gown inspired by Charles Frederick women’sto the flapper roles era, in American changes in society. women’s simple, boxy construction of the Cook Worth; a 1920s-style dress featuring Fashioningfashion reflected the New underlying Woman: shifts 1890– in dress represents a major shift typical lamé and kimono sleeves; costumes 1925 traces that evolution during the of the 1920s. of Tsar Peter the Great and Empress Progressive Era, which coincides with Josephine; works inspired by designer the era of the founding of the Daugh- Pret-a-Papier: The Exquisite Art of Mariano Fortuny; and a recreation of ters of the American Revolution (DAR). Isabelle de Borchgrave Hillwood’s own Countess Samoilova. The exhibition examines the Hillwood House and Museum emergence of the “New Woman” who Washington, DC Masterpieces of American Furniture represented the growing numbers of www.hillwoodmuseum.org from the Kaufman Collection, women venturing out of the domestic Through December 30, 2012 1700–1830 arena and pursuing higher education, This exhibition presents works National Gallery of Art in paper by Belgian artist Isabelle de Washington, DC sports and working for social reform, Borchgrave that represent her take on http://www.nga.gov andworking shows in howoffice intertwined jobs, playing decorative active historical fashions and haute couture Permanent arts are with the culture of the times. designs. She cuts, glues and paints, This installation follows the prom- Active lives required more practical with acrylic paint, ink and metallic ised gift in October 2010 of one of the clothes than the many-layered, heavily powder, to create works that look like largest collections of early American lace, brocade, silk, taffeta and embroi- furniture in private hands, acquired Simpler, more streamlined clothing dery, working with a team of 18 people, George M. (dec’d.) evolveddraped outfits during of the the turn late of Victorian the 20th lady. each of whom specializes in a different and Linda H. Kaufman. century. part of a costume, such as building a overThe five Kaufman decades by Collection compris- A fashion timeline of costumed wire structure, painting ground colors, es more than 200 works of art, includ- manikins shows the progression of crafting jewelry and cutting trimmings. ing American furniture and works women’s dresses, characterized by the The studio uses 2.5 miles of paper on paper. Many of these objects were size and shape of skirts and sleeves; every year. Techniques include crum- featured in 1986–87 when the gallery fabrics and layers used; and varying pling, pleating, braiding and painting American Furniture necklines, waistlines and skirt lengths. the surface of rag paper to achieve the from the Kaufman Collection. This A sampling of undergarments and effect of textiles and create the illusion installationfirst exhibited highlights more than 100 accessories of the period shows how of haute couture. examples of early American furniture women achieved shapes and comple- De Borchgrave told the Washing- and decorative arts, shown with a mented a look with shoes, hats and ton Post that she is inspired by period selection of American, European and jewelry. dresses, “sew(s) with paint” and views Chinese porcelains from the collection. While fashions allowed for more her artistic process as “a conversation The collection of decorative arts women to energetically swing a ten- between the eras.” augments the gallery’s holdings of Eu- nis racket, whack a golf ball and ride a bicycle, ideas of “proper” feminine attire still slowed progress of more practical sportswear. Tailored suits came into style for women beginning to work in white-collar jobs. With the increasing number of women attending college, the shirtwaist ensemble came

century college girl was a skirt, shorter thaninto style. current The fashion outfit ofdictated, the turn-of-the- and a shirtwaist, which was essentially the equivalent of jeans and a t-shirt today. Even without the right to vote, Ameri- can women of the Progressive Era effected change in public policy to address social reform, most notably suffrage. Two dresses on display were worn by two DAR presidents general—Caro- line Scott Harrison in about 1890 and Lora Haines Cook in about 1925. The Dress, paper and decorative elements, 18th-century style, after Marie Antoinette.

Harrison afternoon dress exemplifies 16/Fall 2012 Newsletter of the Decorative Arts Society, Inc. ropean decorative arts with American Providence, RI, merchant John Brown room is a veneered mahogany side- examples. (1736–1803), an ancestor of J. Carter board, inlaid with drapery swags, ovals, Brown, director of the National Gal- The collection lery of Art from 1969–92. York cabinetmakers William Mills and Natives of Norfolk, VA, the This is one of several pieces repre- Simeonurns, and Deming bellflowers. (active Labeled 1793–1798), by New Kaufmans began collecting when they senting the American block-and-shell this piece was commissioned by Oliver married in the late 1950s, acquiring a design produced in Newport and Provi- Wolcott (1726–97), a signer of the Dec- few early pieces of furniture for their laration of Independence and governor apartment in Charlottesville. They and sculpted shells signal the wealth of Connecticut from 1796 to 1797. A Elise anddence. status Its figured of the Brown imported family. mahogany Also pair of rare French porcelain vases and Henry Clay Hofheimer II, who featured in this room are three “pickle with portraits of George Washington collectedinfluenced art by and Linda’s antiques. parents, Their col- dishes” and a fruit basket from the ear- and John Adams is displayed with lection includes numerous examples of liest American porcelain manufactory, portraits of Washington and Adams by high-end furniture available in 18th- Bonnin and Morris, made in Philadel- Gilbert Stuart. and early 19th-century America. The phia between 1771 and 1773. original owners, as well as the makers, classical style popularized by Napoleon of many of these objects are known. Bonaparte. The final Ancient room celebratesGreek and theRoman later - The installation es are seen in objects made between A monumental mahogany desk aboutinfluences 1810 with and archeological1830. Fashionable referenc and bookcase (1765–70), an example motifs such as lions’ paw feet, eagles, of 18th-century Philadelphia furni- dolphins, hippocampi (sea horses), ture, introduces American furniture. and harps and lyres are paired with Inspired in part by plate 78 of Thomas specimen-marble tops imported from Chippendale’s Gentleman and Cabinet- Italy. New forms of this period include Maker’s Director (London, 1754), center tables, Grecian couches and the piece is crowned with a carved circular mirrors with scrolling candle mahogany bust of English historian arms. Curvilinear shapes overtake the Catherine Macaulay (1731–91). It is earlier classical style as bold carving returns, often coated with materials at least 12 commissioned in 1770–71 imitating ancient bronze. forflanked the Philadelphia by two side chairstownhouse from aof set Gen of- The focal point in the center of this eral John Cadwalader (1742–86) and Desk and bookcase, mahogany, glass, brass. room is a specimen marble-top center his wife, Elizabeth Lloyd Cadwalader Philadelphia, 1755–65. Promised gift of table made by Philadelphia cabinet- (1742–76). Made for the couple’s best George M. and Linda H. Kaufman. maker Anthony Quervelle (1789– The next room introduces the 1856), one of a pair originally owned design but are American in interpreta- change in style that occurred soon by Philadelphian Edward Coleman (d. tion.parlor, these side chairs reflect English after the American Revolution. Termed 1841). the Federal period, it followed prec- The installation is guest-curated some of the collection’s earliest pieces, edents set in England by the Scottish by Wendy Cooper, Lois F. and Henry including The first a William room also and showcasesMary japanned architects William and Robert Adam. S. McNeil Senior Curator of Furniture, dressing table (1700–25) and veneered It is characterized by light and linear Winterthur Museum, Garden and high chest (1730–60) with gilt shells shapes, new forms like sideboards and Library. and broken-scroll pediment, both large dining tables, and veneers and made in Boston. inlays instead of carved rococo foli- High Fiber—Women to Watch 2012 The second room highlights the ate ornament. Two new-style tam- National Museum of Women in the rococo, or Chippendale, style popular bour desks and a rare demilune card Arts in America between about 1745 and table (ca. 1794) made in Boston by Washington, DC 1780. Three tea tables in the center of English émigré craftsmen John and http://www.nmwa.org this space exemplify the regional art- Thomas Seymour contrast with a Through January 6, 2013 istry of Philadelphia, PA; Rhode Island; Philadelphia desk and bookcase and a Artists featured in High Fiber and Williamsburg, VA, craftsmen. This satinwood veneered card table signed stitch, weave, knit, crochet and wind theme of regional contrasts is further and dated 1807 by Robert McGuffin - played out in high chests from Phila- (ca. 1780–after 1863). A clothes press tiles, sculptures and installations. Their delphia and from Newport, RI, that from Charleston, SC (1785–1805), with formsfibers orcenter fiber-like on the materials themes of into nature, tex complement each other on either side mahogany veneers, is juxtaposed with history and the power of making. of the room. an eagle-inlaid clothes press from New Since conceptual and feminist art- The pièce de résistance is the York of a similar date. block-front chest-on-chest made for The focal point at the end of this mainstream in the 1960s and ’70s, ists brought fiber art into the Western Fall 2012 Newsletter of the Decorative Arts Society, Inc./17 1830–60, with 36 pieces of furniture. A majority of the loans are from the North Carolina Museum of History. Thomas Day: Master Craftsman George III and Free Man of Color is based on an child’s rattle, exhibition organized by the North Car- silver, olina Museum of History; the Renwick attributed to Gallery is the only additional venue. Mary Ann An illustrated book, by Marshall Croswell, 1808. and Jo Ramsay Leimenstoll, professor of interior architecture at the Univer- sity of North Carolina at Greensboro, is from the University of North Carolina Press.

The Cole-Ware Collection of American textiles have become central to con- 40 Under 40: Craft Futures Baskets temporary artistic practice worldwide. Smithsonian Institution/ Smithsonian Institution/ Renwick Gallery Renwick Gallery art as a cousin to craft. Washington, DC Washington, DC BeforeHigh the Fiber ’60s, iscritics the third classified installment fiber www.smithsonian.edu http://www.americanart.si.edu in NMWA’s biennial Women to Watch Through February 3, 2013 October 4, 2013–January 12, 2014 exhibition series, which focuses on 40 under 40: Craft Futures fea- The Cole-Ware Collection of artists from the states and countries tures the work of 40 artists born since American Baskets celebrates a gift of in which the museum has outreach 1972, the year the Renwick Gallery 79 baskets to the Smithsonian Ameri- committees. Featured artists include was established as the Smithsonian can Art Museum by collectors Steven Ligia Bouton (NM), Debra Folz (MA), Institution’s American Art Museum R. Cole and Martha G. Ware, and the Louise Halsey (AK), Tracy Krumm branch for craft and decorative arts. promised gift of several more, more (MO), Beili Liu (TX), Rachael Mat- than doubling the museum’s collection thews (United Kingdom) and Laure Thomas Day: Master Craftsman and of contemporary baskets. Nearly all of Tixier (France). Free Man of Color the works in the exhibition were pur- Smithsonian Institution/ chased by the collectors directly from Women Silversmiths Renwick Gallery the artists, and are on public display National Museum of Women in the Washington, DC Renwick Gal- Arts http://www.americanart.si.edu lery, the Smithsonian’s branch for craft Washington, DC April 12–July 28, 2013 andfor the decorative first time art. at the http://www.nmwa.org Thomas Day: Master Craftsman The baskets were made between Through February 24, 2013 and Free Man of Color examines the 1983 and 2011 and demonstrate Nancy Valentine, a founding career of Thomas Day (1801–ca. African and European basket-weaving member of the National Museum of 1861), a free African-American who traditions in the United States. The Women in the Art (NMWA), chose owned and operated one of North Car- Cole-Ware collection presents an this selection of silver from the collec- olina’s most successful cabinet shops encyclopedic view of this medium. tion to celebrate the museum’s 25th before the Civil War. The late Patricia The 60 weavers whose work is rep- anniversary. Featuring British and Irish Phillips Marshall, who organized the resented in the exhibition craft their women silversmiths of the late 17th exhibition and was curator of decora- baskets almost entirely from un-dyed and 18th centuries, this exhibition tive arts for the North Carolina Execu- native materials—grasses, trees, vines illustrates the contributions made to tive Mansion and the North Carolina and bark—that they gather. The forms the silver industry as women learned Museum of History, has called Day range from baskets for eggs, harvest the trade within their families and built one of the fathers of the North Carolina and market to those for sewing, laun- careers as designers, craftswomen and furniture industry. businesswomen. Day combined his own motifs with Highlights include a George III popular designs to create a distinc- Infinitedry and Place:fishing Thecreels. Ceramic Art of Epergne made by Hester Bateman in tive style. Beginning in the 1820s, Day Wayne Higby London in 1786, on limited loan from Smithsonian Institution/ S.L. Shrubsole, and the newest addi- white citizens, and was noted for de- Renwick Gallery tion to NMWA’s silver collection—a signingproduced both fine interior furniture spaces for prominent and their Washington, DC George II Silver Cup & Cover by Isabel furnishings. http://www.americanart.si.edu Pero, made in London in the mid-18th The exhibition presents a range October 4, 2013–January 12, 2014 century. of items produced in Day’s shop from Wayne Higby (b. 1943) came out

18/Fall 2012 Newsletter of the Decorative Arts Society, Inc. of the post-World War II American Ancient Iranian Ceramics www.textilemuseum.org ceramic studio movement. His vision Smithsonian Institution/Sackler April 12–October 13, 2013 of the American landscape appears Gallery in work ranging from vessel forms Washington, DC served as markers of ethnic identity, and sculpture to architectural instal- wwww.si.edu distinguishing Southeast Asianneighboring textiles communi first - lations. Infinite Place: The Ceramic Closing date not yet known ties by pattern, color and technique. Art of Wayne Higby This installation showcases crafted Commercial production challenges retrospective exhibition to provide an works of ancient Iranian potters. these practices. Out of Southeast Asia: in-depth critical analysis is the of first the majorartist’s Art that Sustains explores the inter- body of work created during a 40-year Dragons, Nagas and Creatures of section of these traditions and their period. the Deep interpretation in contemporary art and The exhibition explores the forms, Textile Museum design. Washington, DC Historic textile artworks from the has used throughout his career, focus- www.textilemuseum.org Textile Museum’s Southeast Asian ingtechniques on his work and firingin raku processes earthenware Higby Through January 6, 2013 collections—including batiks from and his later production in porcelain. Dragons, Nagas and Creatures Indonesia and brocades and ikats More than 60 ceramic objects and of the Deep presents a global selection from Laos—are displayed alongside drawings from the Arizona State of textiles depicting dragons and other the work of four contemporary textile University (ASU) Art Museum’s col- fantastical creatures of legend, drawn artists and designers: batik artists Nia lection, the artist’s holdings, and other from the museum’s collection. and Agus Ismoyo and Vernal Bogren private and public collections are on Across the world and over the cen- Swift, and weaver Carol Cassidy. All display. turies, dragons have taken many forms, of their works originate in Southeast Since the early 1970s, Higby has from the nagas (divine snakes) of East Asian concepts, realized in certain explored the fusion of form and surface design elements, technical details and decoration through panoramic western of Western traditions. Whether viewed philosophical underpinnings. vistas. The landscape imagery cov- asand good Southeast or evil, Asia, these to creatures the flying became beasts ers the interior as well as the exterior symbols of prestige for those who were Florida of the object, creating the illusion of allowed to use their images to decorate Selected Works of Louis Comfort depth. clothes and furnishings. Tiffany from the Morse Collection After visiting China in 1991, Higby Hosmer Morse Museum The Sultan’s Garden: The Blossoming began using porcelain with celadon Winter Park, FL of Ottoman Art glazes and creating thick “rocks.” www.morsemuseum.org Textile Museum During the last decade, he has un- Ongoing Washington, DC dertaken several large-scale mural More than 100 objects represent www.textilemuseum.org projects. These are part of the exhibi- work by Louis Comfort Tiffany, Through March 10, 2013 tion through photo documentation and including 15 leaded-glass windows, art maquettes of these commissions. glass, metalwork, lamps and pottery. Higby is currently a professor and that Ottspannedoman artseven reflects centuries the wealth, and, at its the Robert C. Turner Chair of Ceramic The Virtues of Simplicity—American height,abundance three and continents. influence The of an Sultan’s empire Art at the New York State College of Arts and Crafts from the Morse Garden chronicles how stylized tulips, Ceramics, Alfred University (NY). Collection carnations, hyacinths, honeysuckles, Infinite Place is organized by Hosmer Morse Museum roses and rosebuds came to embellish Peter Held, curator of ceramics at the Winter Park, FL nearly all media produced by the Otto- ASU Art Museum Ceramics Research www.morsemuseum.org man court beginning in the mid-16th Center (Tempe, AZ). The Renwick Gal- Ongoing century, becoming the brand of the em- lery is the second stop on a national This exhibition of American Arts pire and synonymous with its power. tour. and Crafts furnishings and decorative The development of this design art illustrates the origins of the move- Reinventing the Wheel: Japanese identity can be attributed to a single ment in Great Britain and shows how it Ceramics 1930–2000 artist, Kara Memi, who worked in the manifested itself in the USA. Smithsonian Institution/Sackler royal arts workshop of Istanbul. The Gallery Sultan’s Garden Vignette: From the Morse Vaults— Washington, DC Recent Acquisitions wwww.si.edu continuing impact unveils on the the textile influence arts. Charles Hosmer Morse Museum of End date to be determined of Ottoman floral style and traces its American Art This installation features modern Out of Southeast Asia: Art that Winter Park, FL and contemporary Japanese ceram- Sustains www.morsemuseum.org ics by Living National Treasures and Textile Museum Through January 6, 2013 contemporary younger artists. Washington, DC This informal installation of recent

Fall 2012 Newsletter of the Decorative Arts Society, Inc./19 acquisitions shows how the Morse refract light; Stephen Knapp, who - Museum’s collection continues to projects light onto cut glass shapes that cally grain, is known as an “isilulu.” The evolve. Highlights include Blue Mag- have a special coating that turns the basket isused woven to store using dry both goods, a tight specifi and nolia and Zephyr Lily pottery from white light to multicolor; and Robert open weave, which helps to circulate Roseville Pottery, a late 19th-century Mickelsen, who uses a process called air through the grain to keep it fresh, oil painting, a 1908 gold wristwatch while keeping pests away. These large from Tiffany & Co., and blown-glass glass rods. baskets are extremely heavy and only vases from the family of Arthur J. Nash flamework to create sculptures out of the best master weavers can accom- (1849–1934), who was hired by Louis Aztec to Zapotec II: Selections from plish one without it collapsing under Comfort Tiffany (1848–1933) to de- the Ancient Americas Collection its own weight. velop his signature glass. Orlando Museum of Art The dyes used in coloring this The idea for the installation was Orlando, FL basket are all organic—black from the prompted by two large gifts of Rose- www.omart.org roots of a tree; red from the bark of a ville Pottery made shortly after the Through June 30, 2013 Marula tree, or sometimes red berries; Aztec to Zapotec features more and yellow as a paste made from a 2011. A companion vignette features than 180 works made before the ar- combination of ash and water. othermuseum’s recent first gifts, exhibit including of Roseville late 19th- in rival of Christopher Columbus and the century blown glass. Europeans during the late 15th and Mythic Creatures of China William King Rogers, Jr. and early 16th centuries. Representing a Ringling Museum of Art Egan Atwood Stappe II gave the time period of more than 3,000 years, Sarasota, FL museum almost 100 Roseville pieces in the exhibition is drawn from the mu- http://ringling.org the Magnolia pattern, and Howard E. seum’s Art of the Ancient Americas Through July 14, 2013 and Marie R. Street donated nearly 50 Collection and gives a glimpse into the This exhibition explores the sym- Roseville examples in the Zephyr Lily life and culture of civilizations from bolism behind animal motifs popular pattern. the North, Central and South American in Chinese ceramics throughout the The vignettes are in the tradition regions. Ancient works of gold, silver, ages. Objects included are part of a gift established by museum founder Jean- jade, ceramic, shell and wood are from to the Ringling Museum from Ira and nette Genius McKean (1909–89). the cultures of the Aztec, Maya, Moche, Nancy Koger and range from the third Nasca, Inca and Zapotec. century BCE to the 19th century. The Contemporary Glass Sculpture: chronology of the works points to the Celebrating the 50th Anniversary Living in Style: African Art of enduring nature of animal symbolism of Studio Glass Everyday Life from the Collection in Chinese visual culture. Orlando Museum of Art of William D. and Norma Canelas Orlando, FL Roth Material and Meaning: Earthenware, www.omart.org Orlando Museum of Art Stoneware and Porcelain from Through March 31, 2013 Orlando, FL the Wolfsonian–FIU Collection Contemporary Glass Sculpture: www.omart.org Frost Art Museum Celebrating the 50th Anniversary of Through June 30, 2013 Miami Beach, FL Studio Glass includes works by artists Living in Style presents functional www.thewolf.fiu.edu such as Dale Chihuly, William Mor- objects created by men and women Through January 13, 2013 ris, Lino Tagliapietra, Harvey K. from traditional African societies Material and Meaning explores Littleton, Dante Marioni, Therman throughout the continent—primarily the potential of different kinds of clay, Statom, Christopher Ries, Laura de personal and household items used in and the varied design and production Santillana and many other established everyday life. Included are domestic glass artists, as well as younger artists implements, containers, furniture, ceramics. The design drawings and ob- who are taking the medium in new weapons, jewelry and apparel. These jectsprocesses on display employed exemplify to make how finished design - directions. ers and artists, from the late 19th cen- The works in the exhibition, which purpose, but also as works of art and tury to the middle of the 20th, adapted will be displayed in more than 7,000 treasuredobjects were possessions. made to fulfill a useful the material qualities of earthenware, square feet of gallery space, are from Objects include domestic imple- stoneware and porcelain to achieve private glass art collections in Central ments, containers, furniture, weapons, esthetic, practical and ideological goals. Florida, and most have never been in a jewelry and apparel that became more Items range from luxury tea services museum exhibition before. than luxuries or conveniences. William to propaganda porcelains, and from Artists include the Mexican broth- D. and Norma Canelas Roth made the ornate vases to unadorned, salt-glazed ers Einar and Jamex de la Torre, who exhibition possible with gifts and loans stoneware. use found objects, from tourist kitsch from their collection and Michael Roth provided curatorial guidance. Georgia John Kuhn, who creates abstract glass Basket weaving is an important The Look of Love: Eye Miniatures designsto flea market with clear finds, glass in their using works; cuts that part of the Zulu culture. This kind of from the Skier Collection

20/Fall 2012 Newsletter of the Decorative Arts Society, Inc. Georgia Museum of Art container of magical materials and its century, known as the form’s classic Athens, GA ritualistic use. New research has shown www.georgiamuseum.org that the vessel was likely multipur- purchases in 1947 as gifts for his real Through January 6, 2013 pose—and a coded object meant to be estateperiod. partner, He made who his had first a paperweight small col- Organized by the Birmingham misunderstood. lection, and soon became enamored Museum of Art, The Look of Love White potters appropriated the with the objects himself as a growing presents lover’s eye jewelry—small- face jug design around 1880. They number of collectors gathered under scale portraits of individual eyes set mainly discontinued the use of kaolin, the umbrella of the Paperweight Col- into various forms of jewelry from late- a sacred material in West Africa, and lectors Association, founded in 1953. 18th- and early-19th-century England. produced the objects mostly as whim- Rubloff eventually amassed a total of sies, so the face jug lost the symbolic 1,472 paperweights, of which 1,200 Belleek Porcelain from the Collection power of its original form. were donated to the Art Institute. of Linda N. Beard The exhibition, organized by the The gallery expansion project Georgia Museum of Art Chipstone Foundation, celebrates the increases the number of paperweights Athens, GA formative African-American vessels on view from 341 to more than 800. www.georgiamuseum.org and their esthetic power, while discuss- Eight new wall cases, along with a new Permanent Collection ing their cultural meanings. pedestal case, have been installed to This periodically rotating exhibi- highlight a larger selection from the tion of Belleek porcelain comprises Illinois Rubloff Collection. A dedicated space masterworks from the collection of Expanded Gallery for Arthur Rubloff features a selection of contemporary Linda N. Beard. Belleek porcelain Collection of Paperweights paperweights, including a new piece production is rooted in the lands Chicago Institute of Art designed for the gallery reopening by of John Caldwell Bloomfield, who Chicago, IL glass artist Paul Stankard. commissioned a geologic survey of http://www.artic.edu his property in the village of Belleek, Ongoing Origins of Western Art County Fermanagh, in what would later Thanks to support from the Inter- Chicago Institute of Art become Northern Ireland, in 1849 that national Paperweight Society Foun- Chicago, IL revealed deposits of minerals. dation and L. H. Selman, Ltd., and http://www.artic.edu Belleek production came into be- the involvement of the family of Wes Ongoing ing as a response to economic distress, Clark in memory of Paul Jokelson, the The new Mary and Michael Art Institute has expanded its gallery Jaharis Galleries of Greek, Roman empire that had served as the basis for dedicated to paperweights. and Byzantine Art brings together earlieras opposed factories. to affluence and the rise of more than 550 works from 4,000 years Characterized by a distinctive of artistic achievement in the Mediter- “pearl” glaze, Belleek porcelain has a ranean region come together in. More Bel- than 150 loans from private collections leek Pottery Works Company Ltd., and public institutions around the wasuniform a success quality. in Theboth Belleek economic firm, and world complement the museum’s hold- artistic aims. ings, in an inaugural display present- ing the origins and early development Face Jugs: Art and Ritual in 19th- of Western art, from the dawn of the Century South Carolina third millennium BC to the Byzantine Georgia Museum of Art Empire. Athens, GA The new galleries were designed www.georgiamuseum.org by Kulapat Yantrasast of wHY Archi- May 4–July 7, 2013 tecture. Opening the installation are “Face jug” was coined by decora- the rare Mesopotamian Statuette of a tive arts historians to refer to an Afri- Striding Figure from 3000/2800 BC can American pottery type created in “Honey Bee Swarm with Flowers and Fruit,” and the abstracted Female Figure from the second half of the 19th century in paperweight, blown glass and implosion, size 2600/2500 BC. A chronological display of a 16-inch softball. Paul Stankard, 2012. goes from decorated Greek vases and These small vessels are turned stone- Created for the collection by the artist. the precious metals of the Hellenistic warethe Edgefield with facial District features—wide of South Carolina. eyes The Arthur Rubloff Collection of period to Etruscan bronze and terra- and bared teeth—of kaolin, a locally Paperweights came to the museum cotta, the décor and realistic portrai- sourced clay. in 1978. Rubloff, a real estate devel- Historians originally believed that oper and dedicated philanthropist, art and the new esthetic developed the face jug was utilitarian and used underture of the Rome, Christian and finally Church. to Byzantine to store water. Multiple theories later 20th-century paperweight collectors Completing the story is an exhibi- surfaced involving its function as a towas rediscover among the objects first generation of the mid-19th of tion on Late Roman and Early Byz-

Fall 2012 Newsletter of the Decorative Arts Society, Inc./21 antine Treasures from the British history of India is more complex. The who are known for their bright, color- Museum, featuring 51 artworks from exhibition re-examines the world of the ful appliquéd textiles, which adorn its collection. maharajas and their culture, including the front and back of Kuna women’s One gallery also offers insights the concept of royal duty in India. From blouses. into the conservation of the objects military strength to administrative and MOLA: Kuna Needle Arts from the on display, while an interactive multi- diplomatic skills, maharajas were ex- San Blas Islands, Panama includes a media program at 16 kiosks provides pected to adhere to a strict code of be- selection of about 50 molas from the information on selected objects, from havior and to be wise and benevolent, museum’s collection, ranging in date basic introductory facts to in-depth excellent warriors, and accomplished from the early 1900s to the 1970s and details on the artworks’ function, form, hunters. representing a variety of motifs and subject, historical context, technique Ceremonial regalia include a silver designs. of manufacture, and relationships to howdah, in which the maharaja rode Molas are handmade, using at least particular people, places and objects. on top of a giant elephant during pro- two layers of fabric in contrasting col- An illustrated publication, Recast- cessions, and an ankus—an instrument ors. Older and more complicated molas ing the Past, by Karen Manchester, to control the elephant—of gold with may be constructed with up to seven chair and curator of ancient art, De- colorless sapphires. layers of fabric. The complex designs partment of Ancient and Byzantine Art, One turban ornament from the includes an essay by Karen Alexander. mid-18th century is made of gold, ru- in Kuna body painting practices. After bies, emeralds, diamonds, a pearl and theof these Spanish textiles colonization reflect their and origins subse- Maharaja: The Splendor of India’s a large sapphire. Such ornaments were quent interactions with missionaries, Royal Courts originally worn only by the ruler but, the Kuna people began to adapt their Field Museum by the 1700s, were given as symbols of traditional designs in body painting Chicago, IL royal favor to select noblemen. for use on fabrics for clothing. At the http://fieldmuseum.org The Field Museum same time, factory-made cotton fabrics Through February 3, 2013 venue of this exhibition’s world tour. became widely available to the Kuna Maharaja: The Splendor of is the final people. India’s Royal Courts, organized by Indiana Initially, Kuna women painted the Victoria and Albert Museum Christmas at Lilly House their designs on fabric, but learned (London, England), explores the world Indianapolis Museum of Art the complicated technique known of India’s rulers from the 1700s to the Indianapolis, IN as reverse appliqué. The motifs are 1940s through more than 200 artifacts, www.imamuseum.org either geometric—depicting mazelike including jewelry, weaponry, royal Through January 6, 2013 - costumes and a golden throne. American holiday decorations turing people, animals and birds that The exhibition traces the decline demonstrate continuity and change representabstract patterns—or traditional Kuna figurative, myths fea and of the Mughal Empire in the early 18th from colonial times to the present. legends. Depictions of Western graph- century to the rise of smaller king- Christmas at Lilly House uses the ics and commercial designs have also doms, through the rise of the English American country house setting to ex- been popular in the last 50 years. East India Company and British colo- plore the decorative ideas of the 1930s nization in 1858, and ends with India’s and 1940s, showing how familiar independence movement and the col- motifs such as trees, wreaths and ever- lapse of British rule in 1947. greens were enlivened with touches of Items include regalia worn by newer fashions. kings and queens, ceremonial daggers, swords and matchlock guns encrusted MOLA: Kuna Needle Arts from the San with gemstones, hand-crafted instru- Blas Islands, Panama ments and board games. A peacock- Indianapolis Museum of Art Mola (shirr panal). Kuna Indians, about 1950s. shaped stringed instrument uses real Indianapolis, IN peacock feathers to complete the www.imamuseum.org design. A gamebox features rosewood, Through April 28, 2013 Kentucky ivory and brass. One highlight is the In 2008, the Indiana Museum The Cutting Edge II: A Gem and Patiala necklace by Cartier, which of Art received a collection of more Jewelry Invitational originally contained 2,930 diamonds than 350 molas from Irene Hollister, Headley-Whitney Museum (including the yellow 234.69-carat whose late husband, Paul Hollister—a Lexington, KY DeBeers diamond). writer, lecturer, painter and photogra- www.headley-whitney.org The word maharaja, or “great pher—collected them in the 1960s and Through July 8, 2012 king,” connotes a turbaned and bejew- 1970s. Gemstone carving is a centuries- eled ruler with absolute authority and The molas represent the textile old art, showcased in this exhibit immense wealth, although the maha- arts of the Kuna Indians, the indig- featuring the work of 23 contemporary raja’s role in the cultural and political enous people of Panama and Colombia, jewelers and gem carvers.

22/Fall 2012 Newsletter of the Decorative Arts Society, Inc. Maryland Hats: An Anthology by Stephen Jones www.dia.org Threshold to the Sacred: The Ark Peabody Essex Museum Through January 21, 2013 Door of Cairo’s Ben Ezra Salem, MA Fabergé: The Rise and Fall fea- Synagogue www.pem.org tures more than 200 precious objects Walters Art Museum Through February 3, 2013 from the Virginia Museum of Fine Baltimore, MD This exhibition explores the realm Arts (Richmond, VA). The show traces http://thewalters.org of hats—plumed bonnets, silk turbans, Karl Fabergé’s rise to fame, highlight- March 2–May 26, 2013 sequined caps, embroidered crowns, ing his business savvy, artistic innova- This show focuses on a decorated Sarah Jessica Parker’s lime-green tions and privileged relationship with and inscribed wood panel believed to fascinator and 250 other elegant, the Russian aristocracy. come from the Ben Ezra synagogue of sometimes outlandish styles by British Old Cairo (Fostat), Egypt. milliner-to-the-stars Stephen Jones. Innovators & Legends: Generations The exhibition is organized by the Vic- in Textiles and Fibers Massachusetts toria and Albert Museum (London, Muskegon Art Museum Traditions and Innovations: Fuller England) with support from the East Muskegon, MI Craft Museum Collects India Marine Associates (EIMA) of Through March 17, 2013 Fuller Craft Museum the Peabody Essex Museum. http://muskegonartmuseum.org Brockton, MA www.fullercraft.org A Legacy of Change: Native American - Ongoing Art ment These over theworks past celebrate century fiberthrough artists the This ongoing exhibition of the Peabody Essex Museum contemporaryby exploring the artwork fine-art of textile four genera move - museum’s permanent collection is Salem, MA tions of artists, illustrating the trans- organized thematically and rotated an- www.pem.org nually. Through June 25, 2013 decorative use to today’s forms created Following the 2012 exhibition withformation diverse of materialsfibers from and functional techniques. and Grand Tales of the Loom: Four Master Shapeshifting: Transformations in Weavers Native American Art, this installation Missouri Fuller Craft Museum of items from the Peabody Essex Mu- Plants and Flowers in Chinese Brockton, MA seum’s Native American art collection Paintings and Ceramics http://fullercraft.org includes a cross-section of paintings, St. Louis Art Museum Through January 20, 2013 sculpture, ceramics, jewelry and textile St. Louis, MO Grand Tales of the Loom fea- arts created over the last 200 years. www.slam.org tures the woven expressions of Cyndy Through December 31, 2012 Barbone, Deborah Frazee Carlson, Fabergé Revealed Two of the three handscroll paint- Fuyuko Matsubara and Bhakti Ziek. Peabody Essex Museum ings in this exhibition show how a Salem, MA range of wild and cultivated plants and Chris Gustin: Masterworks in Clay www.pem.org Fuller Craft Museum June 29, 2013–October 6, 2013 that includes other living things, such Brockton, MA These more than 230 treasures asflowers insects, form birds part and of aanimals. larger ecosystem Another http://fullercraft.org created by the House of Fabergé in depicts a landscape portraying moun- Through February 24, 2013 the late 19th and early 20th centuries tains and groves of blossoming peach This is the a retrospective exhi- feature enameled clocks, gold cigarette trees that evoke a famous literary and bition of ceramicist Chris Gustin’s cases, hardstone carvings, ruby-en- artistic theme. 35-year career as an artist and teacher. crusted brooches and four signature Throughout the history of Chinese He is known for his biomorphic forms, imperial eggs made for Nicholas II and - dedication to exploration of the vessel the Romanov family. This exhibition, monly used for decoration, but the and a specialist in the Anagama wood- organized by the Virginia Museum ceramics, floral subjects were com of Fine Arts (Richmond, VA), explores differed. Designs are often painted ideas of luxury, innovation entrepre- ontotechniques ceramic used vessels to depict before floral glazing motifs Traditionsfiring tradition. and Innovations: Fuller neurship and imperial patronage Craft Museum Collects while providing insight into Peter Carl Fuller Craft Museum Fabergé’s life, business and legacy. aand white firing; Northern at other Song times, jar, the the design body isof Brockton, MA theincised vessel onto is appliedthe glaze with before decoration firing. In http://fullercraft.org Michigan resembling petals so the entire object Permanent Fabergé: The Rise and Fall— This ongoing exhibition features The Collection of the Virginia pieces from the museum’s permanent Museum of Fine Arts resembles a flowerNew Jersey in bloom. collection, organized thematically and Detroit Institute of Art City of Gold: Tomb and Temple rotated annually. Detroit, MI in Ancient Cyprus

Fall 2012 Newsletter of the Decorative Arts Society, Inc./23 Princeton University Art Museum 150 examples of collages of colored Making Ideas: Experiments in Design Princeton, NJ foil sheets, a decorative art that was at GlassLab www.princetonartmuseum.org widely practiced in America from 1850 Corning Museum of Glass Through January 13, 2013 to 1890. The process was popular with Corning, NY City of Gold: Tomb and Temple in 19th-century folk artists, sign-makers, www.cmog.org Ancient Cyprus examines the art and schoolgirls and toy manufacturing. It Through January 6, 2013 archaeology of early Cyprus as seen involved forming embossed layers of Making Ideas honors the spirit Polis Chrysochous—a meeting place colored foil into fruit, bouquets, por- of freedom and experimentation with of cultures and religions from the Iron artistic process that characterized the Age to the Classical, Hellenistic, Roman, checkerboards. early years of the American Studio Byzantine and medieval periods. traits,The birds, pieces insects, on displa lettering,y come flags from and Glass movement, with a focus on new City of Gold includes terracotta a collection donated in 2009 by Susan glass design and the GlassLab program and Laurence Lerner, who also have of the Corning Museum of Glass. gold and silver jewelry, faience, seals, donated tinsel artworks to the Kohler coins,statuettes ceramics and figurines, and bronzes. wall Objectspaintings, Foundation (Kohler, WI) for distribu- Changing Hands: Art without are on loan from the Department of tion to other museums. Reservation 3 Antiquities (Nicosia, Cyprus), which Tinsel paintings are reverse paint- Memorial Art Gallery holds the material from the Princeton ings on glass with smooth or crumpled Rochester, NY excavations, the British Museum metallic foil applied behind translucent www.mag.edu (London, England) and the Musée du and transparent areas; when viewed in Through February 10, 2013 Louvre (Paris, France). candlelight or gaslight, the effect is of Among the objects on view are: three-part series organized by the Mu- of the 19th century, young women who seum This of Artsis the and final Design installment (New of York, a wine cup, dating to 530–510 BCE— learnedshimmering tinsel highlights. painting hadIn the parents first half NY), presenting 140 works by contem- examples • a black of Attic-figure painted and red-figure pottery; - porary Native and First Nations artists. tions for their daughters and paid for Items include basketry, beadwork, necklace, from the 4th century BCE; suchwho wantedspecial classes.to provide refined educa textiles, wood, metalwork and stone. • a gold pendant of Erotes from a By the mid- to late 19th century, the 6th–4th centuries BCE; the art had expanded outside the Renaissance Remix: Art & • jewelry in gold and silver from school curriculum; instructions prolif- Imagination in 16th-century lion of Archaic date; and erated in books and were advertised in Europe • a stylized limestone recumbent women’s magazines. Memorial Art Gallery molded details. Its origins relate to forms devel- Rochester, NY The• vessel university forms withpublished painted a fully and oped in Renaissance Italy, 18th-century www.mag.edu illustrated catalog distributed by Yale China and France, and 19th-century Ongoing University Press. Austria, England and Germany. Floral This exhibition presents the world imagery predominates, as botanical of the Renaissance through the eyes of New York copy prints and patterns were often a young boy growing up in mid-16th- Highlights from the Historical Society employed. Rare works combine a century Europe and features more of American Decoration variety of techniques and materials, than 30 works from the collections of American Folk Art Museum including photography and collage. the museum, Metropolitan Museum New York, NY of Art (New York, NY) and Corning www.folkartmuseum.org Founders of American Studio Glass: Museum of Glass (NY). Ongoing Harvey K. Littleton, The American Folk Art Museum Dominick Labino Gems of European Lace, ca. 1600– is home to a collection assembled Corning Museum of Glass 1920 over many decades by the Historical Corning, NY Metropolitan Museum of Art Society of Early American Decora- www.cmog.org New York, NY tion, which was founded in memory of Through January 6, 2013 www.metmuseum.org Esther Stevens Brazer (1898–1945), The museum celebrates the 50th Through January 13, 2013 a direct descendant of one of Maine’s anniversary of the American Studio On view in this exhibition is a vari- pioneering families in the tin industry. Glass movement with these comple- ety of styles and techniques spanning a mentary exhibitions and works by each period of more than 300 years. Foiled: Tinsel Painting in America artist, spanning Harvey K. Littleton’s Handmade lace falls into two American Folk Art Museum basic technical categories: needle and New York, NY from the 1940s through his experi- bobbin. Needle lace is built up from a www.folkartmuseum.org mentscareer withfrom formhis first and works color intoin glass the single thread that is worked in a vari- Through January 13, 2013 1980s and materials from Dominick ety of looping, or buttonhole, stitches. This exhibition presents about Labino’s archives. Bobbin lace originated in braiding; it

24/Fall 2012 Newsletter of the Decorative Arts Society, Inc. in his father’s workshop and took over the enterprise between 1765 and Collar, linen, needle 1768. He perfected the structure and lace (point de neige); marquetry designs of the furniture, and late 17th and late 19th Ebéniste-Méchanicien du century elements; neck was appointed band, 15 inches (38.1 Roi et de la Reine at the court of Queen cm), Italian. Nuttall Marie Antoinette and King Louis XVI at Collection, gift of Mrs. Versailles in 1779. Magdalena Nuttall, After conquering the Western mar- 1908. ket, David revised his designs and rein- vented his product line’s appearance,

to Russian taste and caught the fancy is woven from multiple threads, which furniture, many of which have never ofdeveloping the Empress specific with models his Apollo catering Desk are organized on individual bobbins. before been lent outside Europe, and (1783–84), which depicted her favor- Beyond these two basic categories, several clocks are complemented by ite dog as a gilded mount, and which lace terminology can be quite confus- paintings, including portraits of the David produced on speculation. After ing. Many of the terms used today were Roentgen family, and prints that depict Catherine the Great paid a huge sum developed by 19th-century dealers the masterpieces of furniture in con- for the piece, Russian nobility ordered who wished to distinguish historical temporary interiors. examples of “Neuwied Furniture” by lace styles to describe them to custom- The workshop of Abraham Roent- the dozens. ers. The majority of these terms derive gen (1711–93) and his son David from the names of the towns or regions (1743–1807) featured original designs, combined with the use of mechanical Depictions of lacemaking in genre devices, that revolutionized traditional paintingswhere each of stylethe 17th was century,first made. as well French and English furniture types. as portraits of fashionably dressed From its base in Germany, the work- men and women wearing lace acces- shop served an international clien- sories, demonstrate the importance tele. Their business model combined of this fabric. The best-quality lace research on potential patrons’ personal was extremely expensive, due to the tastes with forward-looking marketing time-consuming process of transform- and production techniques. Abraham Roentgen opened a openwork structures. cabinetmaker’s workshop in 1742 in ing fineIn the linen lat ethread 19th century, into such American intricate the village of Herrnhaag, in the Wet- women began to recycle antique lace terau region near Frankfurt am Main. for use in fashion. As a result, many With only one journeyman on staff, the women began to collect and study lace. shop was concerned principally with Particularly prized among collectors producing furniture for daily use. were pieces associated with a royal Abraham was soon producing provenance, to the extent that many veneered pieces in the English Queen such histories were invented for the Anne style, which he learned as a journeyman in the Netherlands and England. The local nobility recognized ofprofit women of dealers. who became serious collec- the furnishings’ unusual appearance tors Thisand donatedcollection their reflects collections the interest to and quality. His designs and types, such the museum. as his tea chest and multi-functional The Roentgens’ Berlin Secretary Cabinet. table, were novelties in Germany and David struggled to balance his Extravagant Inventions: The Princely an immediate success. He moved to ambitions and achievements with Furniture of the Roentgens Neuwied-at-the-Rhine in 1750 and be- the regulations of his religious com- Metropolitan Museum of Art gan adapting French-inspired outlines munity, the Moravian brotherhood. At New York, NY that, combined with marquetry, carv- the height of his career, the workshop www.metmuseum.org ing, gilded bronze mounts and multiple employed more than 130 specialists Through January 17, 2013 mechanical devices, came to be rec- and annual production amounted to Extravagant Inventions: The ognized as hallmarks of the Roentgen that of the Meissen porcelain factory. Princely Furniture of the Roentgens brand. Roentgen’s inventions became a However, his fortune shifted with the surveys the Roentgen family’s cabinet- status symbol in interiors throughout progress of the French Revolution. Europe. Many of the works in Extravagant in the early 1800s. Some 60 pieces of Abraham’s son David apprenticed Inventions are on loan from interna- making firm from 1742 to its closing

Fall 2012 Newsletter of the Decorative Arts Society, Inc./25 tional museums and royal collections. makers. Turkmen costume and carpets Ivy to the present. The gallery is ar- Six pieces are from the Metropolitan complement the jewelry. ranged thematically into sections that Museum’s collection of Roentgen fur- The exhibition is accompanied by a create evoke an Ivy League university niture and two are on long-term loan to publication. campus. Each “environment” presents the museum. material that is appropriate to it, with Showcase pieces include a Writ- Plain or Fancy? Restraint and clothing from casual to formal, and ing Desk (ca. 1758–62) designed by Exuberance in the Decorative from old to new. Daywear, evening Abraham and considered to be one of Arts wear and sports clothes from Brooks Metropolitan Museum of Art Brothers, J. Press, Chipp and Gant Automaton of Queen Marie Antoinette New York, NY mingle with work by contemporary (1784),the finest a likenesscreations of of the his queen workshop; at a an www.metmuseum.org designers, such as Ralph Lauren, clavichord that still functions; and six February 26–August 18, 2013 Michael Bastian and Thom Browne. objects from the Berlin Kunstgewer- This exhibition contrasts austere Co-curators and consultants in- be Museum that have never traveled works of art with ornate ones. Drawn clude Richard Press, former president before, including a mechanical Sec- from the museum’s collection of Euro- of J.Press (which was founded by his retary Cabinet (1779) made for King pean sculpture and decorative arts, the grandfather, Jacobi Press), and men’s Friedrich Wilhelm II of Prussia that is exhibition follows the theme from the fashion writer and editor G. Bruce one of the most complex pieces of royal Renaissance to the early 20th century. Boyer. furniture ever produced. The exhibition is accompanied by Complicated mechanical devices a book of essays, also titled Ivy Style, are illustrated through virtual video edited by exhibition curator Patricia animations. Working drawings and Mears and published by Yale Univer- portraits of the cabinetmakers, their sity Press. Content includes essays by family and patrons, as well as a series scholars Peter McNeil, Christopher of documents owned by the Met, origi- Breward and Masafumi Monden; nated from the Roentgen estate. Boyer; and Christian Chensvold, The exhibition is accompanied by founder of the Ivy Style blog. Because a fully illustrated catalog published English menswear provided Ivy style by the Met and Yale University Press, with its initial vocabulary, contributors edited by Wolfram Koeppe, Marina to the book touch on British clothes Kellen French Curator in the Metropoli- dating to the 19th century, as well as tan Museum’s Department of European Coffee and tea service (Déjeuner Chinois textiles that were invented centuries Sculpture and Decorative Arts, with teticulé), hard-paste porcelain, 1855–61. before. The book also looks at other Josef Hoffmann (Austrian, 1870–1956), aspects of Ivy style, such as the inter- Sèvres Manufactory (French, 1740–present). relationship between jazz performers contributions by experts in the field. Gift of Helen Boehm, in memory of her late Turkmen Jewelry from the Collection husband, Edward Marshall Boehm, 1969. and high-end purveyors of Ivy style, of Marshall and Marilyn R. Wolf and its international appeal. Metropolitan Museum of Art Ivy Style New York, NY Museum at the Fashion Institute of Fashion and Technology www.metmuseum.org Technology (FIT) Museum at the Fashion Institute of Through February 24, 2013 New York, NY Technology This exhibition of 19th- and 20th- http://fitnyc.edu New York, NY century Turkmen jewelry and decora- Through January 5, 2013 http://fitnyc.edu tive objects features some 50 works Ivy Style examines the “Ivy League Through May 8, 2013 from the collection of Marshall and Look,” which began during the early Fashion and Technology examines Marilyn R. Wolf, and celebrates their years of the 20th century on the quad- how fashion has engaged with techno- recent gift and promised gift of more rangles and in the libraries of elite, logical advancement and been altered than 250 works. all-male American universities, such by it. as Harvard, Yale and Princeton. Often Designers have made technology crowns, earrings and pectoral orna- viewed as a classic, even static, way of a focal point of their recent collec- On view are fire-gilded silver ments that are part of the traditional dressing, Ivy was a cutting-edge look tions, but technological advancements attire of Turkmen women. Decoration during its heyday. By mid-century, shaped fashion design and fabrication often includes inset carnelians and its appeal spread beyond the cam- as early as the mid-18th century. The turquoise, granulation, and small bells pus to a diverse population of young development of aniline dyes, the sew- suspended from chains. The motifs men—from working-class GIs to jazz - vary according to the tribe of the musicians. It continues to inform the pers sent fashion in new directions, as ing machine, synthetic fibers and zip maker and owner. evolution of menswear. have wireless circuitry and the creation The exhibition highlights designs The exhibition focuses on mens- of fashion design software. from Teke, Yomut and Kazakh jewelry- wear that dates from the early days of Technologies outside the fashion

26/Fall 2012 Newsletter of the Decorative Arts Society, Inc. industry also contribute to change sheds, bridges and tunnels, carousels, More than 100 works of glass from within it—global transportation, the and ferris wheels, populated with toy the collection, as well as promised gifts, Internet, blogging, online retailing, and and additional contemporary works on the increased speed of global commu- loan are on display. Works are orga- nication through digital platforms and offigurines selections in 19th-century from the Jerni dress, Collec are- on nized in two themes: “Color and Light” social-media outlets. tionview. inThere the firstare replicas museum of exhibition actual and “Form and Content.” The exhibition analyzes the impact train stations, bridges and buildings “Color and Light” includes artists of technologies on the nature of fashion destroyed during both world wars. who use luminosity in colored glass and its design, and considers whether Items on display include the largest to achieve brilliance and saturation these developments push the industry and most elaborate train station by of hue, and in transparent glass to forward or ultimately set it back. Märklin, “the Rolls-Royce of toy train manipulate perception of shape and di- Fashion and Technology begins manufacturers,” ca. 1904; Marklin’s mension, such as Toots Zynsky’s mul- with a display of examples from the tihued vessel of hundreds of colored 18th and 19th centuries, such as a 1895; a Märklin girder bridge designed glass threads—when the interior of the 1780s suit made with a machine-knit byonly Gustave known Eiffelextant, ca. post 1905; office, Rock ca. & vessel is lit, the colors fuse together textile and an 1860s dress produced Graner’s hand-painted road over a and shift as the light changes, and Tom using synthetic dyes. It showcases de- double-arched brick bridge, ca. 1902; Patti’s “Compacted Solarized Bands,” velopments from different time periods and Ernst Plank’s turn-of-the-century made of clear laminated glass. chronologically to the present day. Ferris wheel. “Form and Content” looks at the The exhibition feature objects from American collector Jerry Greene ways in which glass adds layers of the Museum at FIT’s costume collec- assembled the Jerni (for his and his resonance to subject matter. In Clif- tion alongside a selection of textiles wife Nina ford Rainey’s “War Boy—Job Num- and accessories that highlight the 35,000 vintage toys and trains that ber 1,” spent ammunition is encased nature of technological developments. date from ’s1850 first to names) 1940 overCollection 50 years. of within the shell of a young boy’s torso, It includes rare, handmade and histori- suggesting the lasting impact of war Shoe Obsession that goes beyond surface scars. Matt Museum at the Fashion Institute of is said to set the record for the world’s Eskuche and Judith Schaecter present Technology (FIT) largestcally significant toy collection. European pieces, and new takes on historical glass forms— New York, NY Schaecter uses traditional stained glass http://fitnyc.edu techniques, replacing religious narra- February 8–April 13, 2013 tives with demented children’s toys, Shoe Obsession examines ex- and Eskuche’s glass goblets have been travagant and fashionable shoes, with “wrung out” and hung to dry. about 150 examples of contemporary footwear highlighting the styles that Blue Steel Gold Light have made shoes central to fashion. Märklin Elevated Station with accessories, ca. Museum of Arts and Design The exhibition includes work by foot- 1900. New York, NY wear labels such as Manolo Blahnik, www.mad.org Salvatore Ferragamo, Christian Playing with Fire: 50 Years of Through February 17, 2013 Louboutin and Roger Vivier, as well Contemporary Glass Blue Steel Gold Light presents as shoes from design houses, including Museum of Arts and Design (MAD) examples of Daniel Brush’s earliest Azzedine Alaïa, Balenciaga, Alexan- New York, NY gold-granulated jewels and objects, a der McQueen and Prada. Avant-garde www.madmuseum.org selection of his steel and gold tablet designers such as Kei Kagami and Through April 7, 2013 and wall sculptures, along with his Noritaka Tatehana underscore the This exhibition takes a compre- magnetic adornments made from plas- trends in contemporary shoe design. hensive look at the processes and tic, aluminum, steel and precious gems. Shoe Obsession also includes diversity in contemporary glass, from highlights from the shoe collections pieces by early adaptors such as Dale Doris Duke’s Shangri La: of several stylish women, including Chihuly, who entered MAD’s collection Architecture, Landscape and jewelry designer Lynn Ban and fashion when he was still an emerging artist; to Islamic Art icon Daphne Guinness. installations by Israeli designer Ayala Museum of Arts and Design Serfaty. Included are pieces by artists New York, NY Holiday Express: Toys and Trains and designers not commonly known www.mad.org from the Jerni Collection for their work in glass, such as James Through January 6, 2013 New-York Historical Society Turrell, Donald Lipski and Ettore Shangri La: Architecture, Land- New York, NY Sottsass. Special installations include scape and Islamic Art showcases a http://www.nyhistory.org Peter Bynum’s “Untitled No. 202,” a selection of objects of Islamic art from Through January 6, 2013 wall-mounted triptych of thin layers of the Honolulu home of philanthropist Model trains, train stations and painted glass mounted on lightboxes. and art collector Doris Duke (1912–

Fall 2012 Newsletter of the Decorative Arts Society, Inc./27 93) and new works by six contempo- Art Museum’s storage areas and 25 the London Great Exhibition of the rary artists of Islamic background who works from the Nancy and David Wolf Works of Industry of All Nations in were recently in residence there. Collection (see Acquisitions). The gal- 1851, to the New York World’s Fair in leries include most of the antiquities 1939, when the fairs were important North Carolina previously on display in the Schmid- vehicles for introducing advancements A Thriving Tradition: 75 Years of lapp wing, a large part of the Native in modern living. Inventing the Mod- Collecting North Carolina Pottery American collection, and pieces from ern World showcases approximately Mint Museum Randolph fashion art, textiles and decorative arts. 200 works of furniture, metalwork, Charlotte, NC There is a full-color catalog, Out- glass, ceramics, textiles and jewelry www.mintmuseum.org side the Ordinary: Glass, Ceramics and produced by leading international Through January 2013 Wood from the Wolf Collection. Lalique, A Thriving Tradition: 75 Years The museum opened Phase I of Sèvres and Tiffany. Some objects have of Collecting North Carolina Pottery The Collections: 6000 Years of Art neverartists before and firms, seen including in the United States. includes more than 70 ceramics from in December 2011, displaying nearly The exhibition is co-organized the museum’s permanent collection, 2,000 pieces drawn from the museum’s by the Carnegie Museum of Art and as well as loans from local collectors collection of more than 60,000 objects, Nelson-Atkins Museum of Art, and and is part of the museum’s celebration including antiquities, furniture, Japa- travels to the New Orleans Museum of its 75th anniversary as a public art nese teapots and silver. of Art and the Mint Museum (Char- institution—the oldest one in North Phase II and a second gallery pres- lotte, NC). It is accompanied by a full- Carolina. This exhibition runs concur- ent 480 additional works, with objects color, illustrated catalog co-published rently at the Mint Museum Randolph from the Native American art collec- with Skira Rizzoli. and the North Carolina Pottery Cen- tions, including works from the South- ter (Seagrove, NC) for three months. west Pueblo and Navaho cultures; Texas collections of Ancient Art, including Scandinavian Design Sophisticated Surfaces: The Pottery objects from the ancient Nabatean Museum of Fine Arts, Houston of Herb Cohen kingdom; Department of Decorative Houston, TX Mint Museum Randolph Arts and Design; and Department of www.mfah.org Charlotte, NC Fashion Arts and Textiles. Through January 27, 2013 www.mintmuseum.org Taken from the museum collection, Through January 6, 2013 Pennsylvania this exhibition highlights furniture, This exhibition pays tribute to Past Meets Present: Decorative Arts glass, ceramics, metalwork and lighting Charlotte-based artist Herb Cohen, and Design at Carnegie Museum from the 1920s to the 1970s. whose work is considered a corner- of Art The Museum of Fine Arts, Hous- stone in the tradition of North Carolina Carnegie Museum of Art ton pottery. Pittsburgh, PA Finnish glass in 1954, and has built on http://web.cmoa.org this firsthistory acquired by acquiring examples objects of modern by ar- The American Art Tile, 1880–1940 Ongoing chitects, designers and manufacturers Mint Museum Randolph The newly renovated Ailsa Mel- such as Georg Jensen, Orrefors, Alvar Charlotte, NC lon Bruce Galleries provide a broad Aalto, Bruno Mathsson, Kaj Franck, www.mintmuseum.org perspective on American and Euro- Timo Sarpaneva, Tapio Wirkkala, Through January 6, 2013 pean decorative arts from the Rococo Poul Henningsen, Finn Juhl and This installation features about 40 and Neoclassical periods of the 18th Verner Panton. tiles from the Mint Museum’s perma- century to contemporary design and nent collection, including the perma- craft of the 20th and 21st centuries. Virginia This special inaugural exhibition The Natural Beauty of Tiffany: Arkansas Traveller, modeled and explores the past and present of deco- Selections from the Chrysler nently installed fireplace surround, designed ca. 1916 by Henry Chapman rative arts and design at the museum Museum Mercer of Moravian Pottery & Tile through three key installations. Chrysler Museum of Art Works (Doylestown, PA). Norfolk, VA Inventing the Modern World: www.chrysler.org Ohio Decorative Arts at the World’s Through December 30, 2012 The Collection: 6,000 Years Fairs, 1851–1939 This exhibition presents examples Cincinnati Art Museum Carnegie Museum of Art of the work of Louis Comfort Tiffany Cincinnati, OH Pittsburgh, PA - www.cincinnatiartmuseum.org www.carnegiemuseums.org na, with Tiffany Studios’ interpreta- Permanent Through February 24, 2013 (1848–1933) inspired by flora and fau This preview of a selection of This exhibition explores the in- and other natural elements, executed artworks from the collections includes genuity and craftsmanship of decora- intions glass, of flowers,ceramics vegetation, and bronze. marine life rarely seen pieces from the Cincinnati tive arts made for world’s fairs, from Highlights include a garden of

28/Fall 2012 Newsletter of the Decorative Arts Society, Inc. burnt gold, white, copper, indigo and ranese glass masters. He has invented ceramics and enamels, and some of black delineate the Sun installation. numerous new techniques and designs. theblown rarest glass and flowers, most expensive examples lampsof Moon and Constellations is in white At age 77, Tagliapietra continues to and gold expand his artistic achievement, earn- Lily library lamps. A full-color catalog, co-published ing numerous artistic and scholastic known—theThe Chrysler blue Dragonflyhas more thanand Pond by the University of Washington Press, awards and being featured in solo and 10,000 glass objects spanning 3,000 accompanies the exhibition. Essay- group exhibitions. years. The foundations of the collection ists include Dr. Balkrishna Doshi, an were established by the early 1950s architect and the founder of the Vastu- with a bequest of New England Glass Shilpa Foundation for Studies and Company glasses from the estate of Research in Environmental Design; Norfolk resident Florence Smith. In David Landau, businessperson, collec- 1971, Walter P. Chrysler, Jr. donated tor and art scholar; and Francesco Da more than 8,000 works of glass to the Rin De Lorenzo, an architect with ties museum. to the Venini de Santillana family and a scholarly interest in glass as both an Washington architectural and artistic material. The Scapes: Laura de Santillana and publication includes a DVD document- Alessandro Diaz de Santillana ing the creation of the work in the Hot Museum of Glass Shop and the completed installations. Borboleta (il giardino di farfalle), blown glass,

Tacoma, WA 26 x 157 x 118 in. 2011. Photo: Francesco www.museumofglass.org About the artists Allegretto. Through January 2013 Laura de Santillana (Italian, b. The works in the exhibition dem- Scapes is a new exhibition of work 1955) was born in Venice, Italy, and onstrate Tagliapietra’s evolution to created by siblings Laura de Santil- studied at the School of Visual Arts in larger works and use of bolder colors lana and Alessandro Diaz de Santil- and patterns. Six large-scale instal- lana and executed in the Museum of in the United States in 1979 as part Glass Hot Shop during two Visiting ofNew the York traveling City. Her exhibition work first New appeared Glass: (Borboleta), boats (Endeavor), seagulls Artist residencies in 2010. A Worldwide Survey, organized by (Gabbiani)lations, featuring and two colorful separate butterflies collec- The de Santillanas are the grand- the Corning Museum of Glass. She tions of shields (Masai), are central to children of Paolo Venini (1895–1959), has had solo and group exhibitions founder of Venini & Co. in Murano, throughout the United States, Europe a 79 x 40-inch curio case contain- Italy. Their father, Ludovico Diaz de and Asia. Her work is on display in ingthe nearlyexhibition. 100 Theopaque final glass installation, vessels, Santillana (1931–89), was director of museums worldwide. is titled Avventura and references Venini from 1959–85 and designed for Alessandro Diaz de Santillana Tagliapietra’s view of the unpredictable - (Italian, b. 1959) is a third-generation nature of molten glass. tional Studio Glass movement. Scapes glassmaker. He was born in Paris, Some of the objects were created the firm. They are active in the interna studied at the University of Venice, and at the Museum of Glass during one of The exhibition comprises four Tagliapietra’s several Visiting Artist marks their first artistic collaboration. installations, or rooms, based on the He began experimenting with his own residencies in the Hot Shop. Hindu belief that the world is a series workjoined in the solo family and groupfirm, Venini, shows in in 1981. the A full-color catalog, co-published of disks made up of wind, water and United States, Europe and Asia. His with the University of Washington work is also in public and private col- Press, accompanies the exhibition, with a circular ocean. Each room has a sym- lections worldwide. an essay by Claudia Gorban, profes- bolicearth gatewith as four an continentsentrance and floating includes in Maestro: Recent Works by a combination of both artists’ work in a Washington Tacoma, who investigates Lino Tagliapietra limited color palette. thesor ofmedium film studies of glass at asUniversity alchemy ofand Museum of Glass Alessandro created his 22 glass the artist’s role in elevating the art and Tacoma, WA paintings from large, color-saturated craft of glassmaking and changing the www.museumofglass.org cylinders that were slumped open into course of contemporary glass world- Through January 6, 2013 compositions and then framed. Laura’s wide. sculptured forms represent lingas The Museum of Glass marks (complex symbols of Hinduism), moun- its 10th anniversary with Maestro: Ray Turner: Population tains, celestial eggs and stars. Recent Works by Lino Tagliapietra, Museum of Glass Presents which showcases 65 glass works cre- Tacoma, WA by colors of black, smoky gray, yellow, ated during the past decade (2002–12). www.museumofglass.org gold The and first deep r oom,red. Colors Earth, inis definedthe Space Tagliapietra is known as the mae- Through February 3, 2013 room are in shades of white or silver- stro of contemporary glass. Beginning This exhibition presents portraits toned and full of tiny bubbles. Silver, at the age of 11, he was trained by Mu- on glass that portray a cross-section

Fall 2012 Newsletter of the Decorative Arts Society, Inc./29 of American people. The artist paints collaboration with LeMay–America’s ular German traditions as indications with oils directly on glass, using heavy Car Museum (ACM), inspired by clas- brushstrokes. Each 12 x 12-inch sic designs from American automakers. the artist. In 1934, an agent for the Ger- portrait is on an individual square of manof the Nazi Bauhaus government teaching’s purchased influence the on color different from, yet related to, the Wisconsin Haël factory for far below its estimated adjacent works. Grete Marks: When Modern Was value; in 1935, her artwork was publi- A 164-page full-color catalog fea- Degenerate cally derided as part of Joseph Goeb- tures a foreword by Akron Art Muse- Milwaukee Museum of Art bels’ “degenerate” art campaign. um (OH) director Mitchell Kahan and Milwaukee, WI essays by art critic Peter Frank and http://mam.org International Museum of Glass director Susan Through February 17, 2013 Small Skills, Special Effects: Unusual Warner. Grete Marks: When Modern Was Chinese Works of Art Degenerate presents a narrative of Royal Ontario Museum Classic Heat Margarete Heymann-Löbenstein- Toronto, Ontario, Canada Museum of Glass and LeMay— Marks (German, 1899–1990) through http://www.rom.on.ca America’s Car Museum approximately 40 artworks. The Mil- Through March 13, 2013 Tacoma, WA waukee Art Museum developed the These 70 rare objects come from a www.museumofglass.org exhibition with the cooperation of the range of collections and time periods, Through January 2013 artist’s daughter, Frances Marks. from the Tang dynasty (618–907 CE) to Classic Heat is a collection of Marks created Modern ceramics at the early 21st century, including carved nine large-scale glass hood ornaments her Haël Werkstätten factory (Mar- ivory objects to micro-calligraphy, created by the Museum of Glass Hot witz, 1923–33), known for machine Shop Team and artist John Miller in precision, loose brushwork and vernac- amulets. finger paintings to folding fans to silver

www.DecArtsSociety.org

30/Fall 2012 Newsletter of the Decorative Arts Society, Inc. Publications

Brilliant cut glass and silver cup featured in ACGA catalog.

Glass: A Short History, by David from the Hoare archives at the Ra- titioners such as Grayson Perry and Whitehouse, from Smithsonian Books, kow Research Library of the Corning Edmund de Waal. traces • the evolution of glassmaking Museum of Glass (NY). A section in Norman, who works in the Re- over 4,000 years in 120 images. color displays Gorham glass in private search Department of the V&A, traces Fashion: The Definitive History collections by ACGA members. the development of British handcrafts of Costume and Style, based on the The 326-page catalog includes from stained glass windows of the Smithsonian • Institutions collections, more than 1,000 items, primarily cut 1200s and tapestries dating back to the traces the evolution of fashion from the glass. Gorham purchased its glass 1500s to a wooden chair by Charles ancient Egyptians to the Space Age and from cutting shops and wholesalers. Rennie Mackintosh in the late 1800s beyond. The work includes such style Of particular interest are some 175 and a Sheffield silver candelabra de- icons as Marie Antoinette, Clara Bow, items of cut glass purchased from the signed in 1998, along with with works Jacqueline Kennedy and Alexander Hope by Thomas Chippendale, Grinling McQueen. Hardcover; 480 pages; 480 expected to expand the knowledge of Gibbons, William Morris, Josiah illustrations. Hope’s firm cut glass.(Providence, RI), which are Spode, Josiah Wedgwood, Clarice American Cut Glass Asso- Other major cutting shops repre- Cliff and more. ciation (ACGA) offers a catalog pub- sented are Hoare, Hawkes, Baccarat Women’s Work: Embroidery in lished• The in 2012 that provides scans of and Pairpoint, each with more than Colonial Boston, by Pam Parmel (MFA photos of brilliant cut glass decorated 100 entries, along with Dorflinger, Publications, • $40), tells the stories with silver sold by the Gorham Manu- McCue & Earl, Whitehall & Tatum, of six women and how needlework facturing Company from 1890–1915. Stevens & Williams, Straus, Quezal, shaped their lives in colonial times, and etc. More than 60 percent of the items provides an historical overview, group Providence, RI, in 1831 and became the include source information. biography and illustrations. The Gorham firm was founded in To order or for information on the From domestic origins, their em- United States. The product line, begin- ACGA, go to www.cutglass.org. broideries became an economic force ninglargest in ofthe the 1890s, many included silver firms glass in items the Handmade in Britain, by Joanna that promoted the silk trade and let decorated with silver. The company Norman, from V&A Publishing and also developed a technique for deposit- the BBC• (hardcover, 200 color illustra- selling supplies, drawing patterns, and ing silver on glass items, including art tions, 176 pages, $35 U.S.; available teachingentrepreneurial young girls women interested to profit in from this glass. from Abrams, www.abramsbooks.com), mode of expression. Featured pieces Gorham documented its produc- explores hand-crafted British ceram- include samplers, overmantels, coats of tion with photographs. The company ics, metalwork, wood, textiles and arms and domestic embroideries. archives are housed in the John Hay Li- stained glass through objects from the The book originally accompanied brary at Brown University and provide collections of the Victoria and Albert exhibitions of embroidery and a sym- the major source of material for the Museum (V&A; London, England) and posium at the Museum of Fine Arts/ publication. Additional material comes contributions from contemporary prac- Boston (MA).

Fall 2012 Newsletter of the Decorative Arts Society, Inc./31 DAS Contribution

Thank you for your interest in the Decorative Arts Society. Please mail this form and your check to: Decorative Arts Society, Inc. c/o Stewart Rosenblum, Treasurer 333 E. 69th Street, Apt. 8E New York, NY 10021-5556

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32/Fall 2012 Newsletter of the Decorative Arts Society, Inc. Contributions

Categories of DAS contributions Special contributors Student $20 Contribution checks should be made pay- President’s Circle Regular $35 able to “Decorative Arts Society, Inc.” and Robert L. McNeil, Jr.* Institutions & Libraries $40 mailed to: Stewart G. Rosenblum, Esq. Sustaining $60 Decorative Arts Society, Inc. Patron $100–$499 c/o Stewart G. Rosenblum, Treasurer Benefactors Benefactor $500–$14,999 333 East 69th Street, #8E Anonymous President’s Circle $15,000 New York, NY 10021 Margaret B. Caldwell and above David W. Dangremond Oscar P. Fitzgerald, IV Lynn Springer Roberts

Patrons Anonymous David L. Barquist Elizabeth Bidwell Bates W. Scott Braznell & Patricia E. Kane Bruce A. Boucher Jay Cantor Dorothy K. Chin

Michael Conforti VeronicaSarah Coffin Conkling Dalva Brothers, Inc. Elizabeth A. Davison Jean Efron Jean Taylor Federico Firestone and Parson, Inc. Beatrice B. Garvan Anne K. Groves Elizabeth Stillinger Guthman David A. Hanks Jeannette M. Harper Judith F. Hernstadt Anne E. Hough Katherine Howe Phillip M. Johnston Linda H. Kaufman Patricia C. Kubicek David R. McFadden Mrs. Milo Naeve Sarah C. Nichols Dianne H. Pilgrim Charles J. Robertson III William H. Rutledge Monika V. Schiavo Susan Solny Kevin Stayton Elizabeth E. Thaler Charles L. Venable Daniel Visnich Andrew Van Styn John C. Waddell Gerald W.R. & Barbara M. Ward Julia Widdowson Eye miniature bracelet, gold clasp, surmounted by oval miniature, surrounded Gail C. Winkler by seed pearls, restrung with eight strands of cultured pearls, ca. 1820. Clasp, * Deceased 1 x 1 3/8 x 1/4 inches. Depicts gray left eye surrounded by clouds and blue background. Purchased from the collection of Edith Weber, New York (see Exhibitions). Decorative Arts Society Rochester, NY Rochester, Permit No. 841 Permit No. FIRST CLASS MAIL CLASS FIRST U.S. POSTAGE PAID POSTAGE U.S. - ). see Exhibitions Dress, paper, acrylic paint, ink, metallic powder. Isabelle de Borch grave (

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Volume 20, Number 2 Volume Number 20, newsletter fall 2012 DATED Decorative Arts Society Arts Decorative c/o Veronica Conkling Box 2203 PO VA 22195 Woodbridge,