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Dan Cooper, American Designer (1901-1965)

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Dan Cooper, American Designer (1901-1965) University of Rhode Island DigitalCommons@URI Open Access Master's Theses 2000 Dan Cooper, American Designer (1901-1965) Diane Joyce Montenegro University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/theses Recommended Citation Montenegro, Diane Joyce, "Dan Cooper, American Designer (1901-1965)" (2000). Open Access Master's Theses. Paper 1766. https://digitalcommons.uri.edu/theses/1766 This Thesis is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Master's Theses by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. 1 I. 2 CU4- Mco2 2-0:)o DAN COOPER , AMERICAN DESIGNER (1901-1965) BY DIANE JOYCE MONTENEGRO A THESIS SUBMITTED IN PARTIAL FULFILLME NT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN TEXTILES, FASHION MERCHANDISING , AND DESIGN UNIVERSITY OF RHODE ISLAND 2000 ABSTRACT Dan Cooper ( 1901-1965) merits greater attention than he has received for his contribut ions to twentieth-century American interior design . During his forty-one-year career, he was a keen observer of changes in American society and was in the vanguard of interior designers offering attractive and usable products . From 1924 to 1965, Cooper decorated the interiors of large private residences , hotels, public spaces, government housing projects, and corporate headquarters as well as several modes of transport . He helped validate his chosen profession by setting standards and advocating solid business practices. He offered furniture , fabrics , and accessories for almost every pocket book. With an open mind and an eye on current events and business trends , Cooper showed a resiliency to economic fluctuations . He not only survived but sought to expand his business by licensing his furniture designs, contracting with home furnishing and fashion accessory manufacturers , and selling directly to the public. He simultaneously embraced technological advances in textile and furniture manufacturing and advocated public respect and support for well-designed handicrafts . Cultural institutions exhibited his design work alongside that of his better known contemporaries ; educators welcomed what he had to say; the public listened to his advice; and the media gave him good coverage. Never rejecting the past, Cooper sought to integrate the old and the new into a harmonious blend of timeless "good design" with a distinctly Amer ican flair, and he consistently offered quality, practicality, and style . ii ACKNOWLEDGEMENTS Chapter One describes in detail the individuals and institutions I contacted about Dan Cooper and his career, all of whom gave generously of their time and any relevant materials they had. However, I must give thanks to several people whose contributions need to be acknowledged in a more personal way. This research was a wonderful adventure during which faculty, friends, and family unstintingly helped me. Like Ulysses's wife Penelope, Dr. Linda Welters, Chairperson of the Textiles , Fashion Merchandising, and Design (TMD) Department at the University of Rhode Island, never lost hope that I would complete this work although I sorely tested her patience. Above and beyond her role as my advisor, she helped organize and then participated in photographing over 300 Cooper textiles in a garage one long sweltering summer weekend. Dr. Margaret Ordonez in the University 's TMD Department initially helped dispel my concerns about applying to graduate school as an older returning student. Recognized by all graduate students as a superb editor, Dr. Ordonez consistently offered excellent structural and stylistic changes that brought clarity to this research. Dr. Ronald J. Onorato of the University's Art Department , the third member of my thesis committee, enthusiastically supported my thesis proposal and showed a genuine interest in learning more about Dan Cooper's career . One other person at the University needs to be thanked-the unfailingly efficient and good­ humored Valerie Morgan-Addison, Office Manager of the TMD department. During my internship in the Costume and Textile Department at the Rhode Island School of Design Museum, Pam Parma!, then Associate Curator of the Costume and Textile Department and my on-site advisor, showed me twenty-five original textiles Cooper donated to the museum in 1947 and 1948. When she commented that little if anything was known about the designer , she gave me my thesis topic . Both she and Susan Hay, Curator of the Costume and Textile Department, made all museum resources available to me. Through their intercession , Dell Bogart, the Museum's photographer , provided a superb series of sf.ides for iii my use. After reading in Cooper's 1965 New York Times obituary that he was survived by two sisters, one of whom lived in Effingham Falls, New Hampshire, I placed a hesitant call to Caroline Potter of the Effingham Historical Society. Mrs. Potter boomed that Cooper's younger sister, Mary Frances Doyle, was very much alive, and I should call her immediately . Mrs. Potter was right. Mrs. Doyle literally opened her home to me, allowed me complete access to everything connected with her brother's career, and never imposed any restrictions on my research. She is a remarkable woman in her own right, whom I now have the privilege and pleasure to call a friend . Wayne and Judy Doyle, Mrs. Doyle's son and daughter-in-law , filled every long­ distance request I made with good humor and alacrity . Ann Alward , Mrs. Doyle's daughter, and Mark Fallon, Ann's companion , coordinated the transfer of Mrs. Doyle's vast Cooper holdings to Rhode Island. They were gracious hosts during my stay in Mrs. Doyle's Effingham Falls house at a time when they were in the midst of moving from New Hampshire to Minnesota. Dr. X. Theodore Barber of the Kellen Archives at the Parsons School of Design extended every professional courtesy to me, and he and his staff made me feel most welcome during my visit to the Gimbel Library. While he patiently awaited Mrs. Doyle's donation to her brother's alma mater, Dr. Barber continued to offer kind words of support . In the early, barren days of my research, Ulysses Grant Dietz of the Newark Museum provided hope, as he was the first museum professional I contacted who knew of Cooper's role in American design. Jeffrey A. Butterworth stepped in to assume the role of advisor , good counsel , and wise friend for the past two years, using the perfect combination of praise and forceful words to see me to the end of the thesis process. My boon companion, Mary F. Daniels, joined me on my first trip to visit Mrs. Doyle and stayed on board for the entire ride, providing invaluable leads and historic resources from her lair at the Frances Loeb Library at the Harvard Graduate School of Design. Her knowledgeable comments on twentieth-century American design history during my first meeting with Mrs. Doyle added credibility to my inquiries. The two iv Marys took an instantaneous liking to each other that continues unabated . My sister Beth provided me with time away from family commitments-a precious gift indeed. She enthusiastically participated in several marathon photo shoots and never complained about the "skiwy " chores she was handed. I also was fortunate to have an extraordinary redactor in my family , my sister Jane. I shamelessly took advantage of her impressive academic background and her willingness to assist me as scribe , photographer, tour guide, chauffeur, porter , and convivial traveling companion . V For their generosity Mary Frances Doyle and Pam Parma! For their support Jane Joyce and Linda Welters I vi PREFACE This research is the first comprehensive examination of Dan Cooper's career in twentieth­ century American interior design. Presented chronologically , the text consists of nine chapters, followed by endnotes and, except for Chapter Nine, by illustrations. Chapter One is a general introduction to Dan Cooper (1901-1965) and lists the individuals and institutions the author contacted about the designer. It also discusses how the author organized a large privately-held unarchived collection of diverse Cooper memorabilia for use as primary documentation sources, and acknowledges the limitations of the research. Cooper's ancestry, education, and early career as a designer of traditional , historically­ inspired interiors are the focus of Chapter Two. Chapter Three examines how Cooper survived the Great Depression while he reinvented himself as a modern American designer whose products by then included furniture and textiles . Chapters Four and Five describe Cooper's ability during World War II to handle multiple projects, including a line of unique "ready-to-assemble " furniture , and his prescient assessment of how Americans would choose to live in the postwar period. Cooper's well-received 1946 design advice book, _Inside Your Home, is the topic of Chapter Six. Chapter Seven describes the apogee of Cooper's career in the ten years following the end of the war, when he undertook myriad new business ventures and firmly established himself as a nationally-recogn ized figure in American interior design . Chapter Eight discusses the last ten years of Cooper's life. The ninth and final chapter is a reprise of Cooper's accomplishments , an assessment of his contributions to American design , and a rationale for a revival of interest in his career. Three append ices follow the text. Append ix A describes in detail the development of an archival system for the paper and collateral portion of the privately-held collection and includes a coded inventory of these items. Appendix B contains information about 240 Cooper textile and wallpaper designs. Append ix C is a chronology of Cooper's life. vii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iii DEDICATION vi PREFACE vii LIST OF ILLUSTRATIONS ix CHAPTER 1. Introduction 1 2. "With Five Dollars and Some Fabulous Experience" (1901-1930) 7 3.
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