Inventing the Modern World: TEXT PANELS

Inventing the Modern World: TEXT PANELS

Revival and (Re)invention At the 19th-century world’s fairs, many of the manufacturers’ stands were filled with objects laden with historical associations. A fascination with archaeology of the ancient world as well as popular interest in the art and literature of the Middle Ages and pre-Revolutionary France spawned imaginative revival styles, such as Renaissance, Gothic, and Rococo. Each style was imbued with cultural meaning and was often used in America to instill a European legitimacy on the young country’s artistic heritage.

Objects in revival styles demonstrated the relevance of motifs and forms from the past on the decorative arts of the present. The succession of revivals also coincided with advancements in machine production, thus uniting the past with modern industry. Decorative arts were now more accessible and affordable, displaying the most current manufacturing methods, and consumers benefited from a greater variety of goods. Avant-garde processes of the time were often displayed through historical patterns and styles, such as Rococo swirls in cast-iron designs by Thomas Jeckyll and Thomas Warren and classically shaped electroplated metals by Elkington & Co. and Ferdinand Barbedienne Foundry. Revivalism became the platform for debuting inventive and progressive technologies that contributed to an increasingly modern world.

Historicism: Imitation and Cunning Reproductions Artists who made objects in historicist styles for the world’s fairs sought to obtain the highest level of craftsmanship; many borrowed literally from the past and implemented or re-created ancient techniques.

Some objects were so exact in their reproduction that they invited comparisons to originals. Alessandro Castellani’s archaeological jewelry was directly based on specimens unearthed from Etruscan tombs, while Antonio Cortelazzo’s Renaissance-style damascened wares were often mistaken as authentic. Other objects, such as Salviati & Co.’s designs drawn from Venetian glass, moved beyond mere reproduction to imbue historic methods with a 19th-century aesthetic.

Long-forgotten processes, made anew, were relevant for demonstrating dexterity and skill. This was particularly true of techniques taken from the Renaissance, an era praised for its intelligent designs and architectural character. Giovanni Battista Gatti’s ivory and stone inlay imitated pietra dura designs of the 16th and 17th centuries, while Charles Duron and Jean-Valentin Morel revitalized the goldsmith and lapidary arts of the same period.

Deceiving imitations and pure revival of ancient methods remained largely a 19th-century phenomenon, yet the use of historical precedent in new materials and processes continued at the fairs well into the 20th century.

Technology and Ingenuity World’s fairs aimed to instill in their audiences an appreciation of modern manufacturing and the creativity behind it. The 19th-century notion of progress esteemed science and technology as the peak of human achievement and reflected the hope for a better future shaped by invention and the useful arts.

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Ingenuity took on many forms. Lobmeyr, Baccarat, and other glassmakers experimented with new ways to achieve iridescent effects and with acid-etched decoration. Ceramic manufacturers like Sèvres, Royal Worcester, and KPM introduced new decorative applications and glaze techniques such as pâte-sur-pâte, en camaïeu, and porcelain inlays. French textile manufacturers created vibrantly colored silks with synthetic dyes. Electricity transformed metalworking industries, leading to the widespread adoption of new processes such as electroplating, electrotyping, and galvanoplastie. Furniture makers created convertible objects to suit consumers’ desires for multiple functions. The famed European firm of Thonet harnessed the power of steam to create lightweight and inexpensive bentwood furniture, while industrial materials such as steel, iron, and newly discovered aluminum were formed into fascinating jewelry and domestic objects.

The roots of 19th-century invention linked the traditions of progress and modernity as designers at the beginning of the 20th century continued to stretch the limits of new materials and processes. The quest for ingenuity would remain a common thread from 1851 to 1939.

“The Federation of Mankind”: Cross-Cultural Influences Exotic sights, sounds, and smells swirled throughout the world’s fairs, the greatest global gathering places of the 19th and 20th centuries. For the first time, diplomats, manufacturers, artisans, and an enthusiastic public had immediate access to objects, materials, and peoples from around the world. This confluence of cultures left an indelible mark on design and production of decorative arts.

In the 19th century, world’s fairs were primarily European and American events, so the varied cultures brought together were seen largely through a Western lens. An interest in “exoticism”— referring broadly to the arts of non-Western countries—escalated during the 19th century. International trade had exposed Europeans to Islamic and Persian objects, but colonial expansion and the East India Company helped popularize Indian motifs at the earliest world’s fairs. The opening of trade with Japan and China in the 1850s created a veritable frenzy for Asian designs.

Asian manufacturers incorporated European technologies in order to appeal to new international audiences. In turn, European and American firms and designers like Christopher Dresser, Thomas Jeckyll, and Tiffany & Co. drew inspiration from patterns and techniques presented in foreign prints, textiles, ceramics, metalwork, and furniture.

The world’s fairs not only served as the foremost opportunity for the exchange of ideas, but they also fostered a utopian vision of diverse cultures that could cooperate to forge a better world.

Nationalism The participating countries at world’s fairs took great pride in the objects they exhibited. Displays represented more than the efforts of an individual artisan. In some sense, every object at these events, so highly charged with a competitive spirit, became a statement of national purpose.

Patriotism was evident in works evoking past handicraft traditions or drawing upon national motifs, symbols, techniques, and resources. Countries of all sizes referenced the distant—and

2 | P a g e sometimes mythical or even archaeological—past. Hungarian porcelain manufacturer Zsolnay introduced a line of ceramics based on Bronze Age vessels from the region. Russian designers tended to favor a rich, pseudo-Byzantine aesthetic, while Viking imagery remained popular in Norwegian decorative arts through the end of the century.

For the young United States, nationalism was often expressed in the country’s future and through the bounty of its land and natural resources. The vase and pedestal by Union Porcelain Works is replete with scenes of progress. Some American manufacturers such as Tiffany & Co. and Gates Potteries introduced imagery from Native American sources to create a quintessentially American style that was also a romantic representation of the changing landscape.

Art Nouveau The sinuous lines of Art Nouveau emerged onto the art scene in the 1880s; by 1900, it had exploded in popularity, transforming the world of design. Artists and designers at the turn of the century were eager to move away from the imitative revival styles that had dominated the previous decades in order to create a modern international aesthetic. The movement was characterized by organic curves, naturalistic motifs, and sumptuous ornamentation. Designers such as Louis Majorelle and Louis Comfort Tiffany also looked for inspiration to Japanese art, with its focused nature studies and asymmetrical compositions.

The term “Art Nouveau” derives from Siegfried Bing’s Parisian shop L’Art Nouveau. Bing is often credited with popularizing the movement. He sold exceptional objects by firms and designers working in the style, such as Hector Guimard, René Lalique, Tiffany, and Rookwood. Many major American and European museums bought directly from him at the 1900 fair.

In its purposeful rejection of outmoded tastes and exploration of new design influences, Art Nouveau marked an important transition in Modernism. Image caption: Exterior of Siegfried Bing’s L’Art Nouveau pavilion at the 1900 Paris Exposition Universelle

Progressive Design As interest in Art Nouveau began to wane in the early 1900s, a new Modernist philosophy emerged that asserted that objects should not just decorate people’s lives but respond to the needs of daily life—a rational approach rather than an emotional one. The 19th-century aesthetic gave way to a true 20th-century concept of modernity, based on logical thought, economy of form and decoration, and an emphasis on function. Objects epitomizing these ideals were exhibited at the 1902 Turin and 1904 St. Louis fairs.

Viennese artists Josef Hoffmann and Josef Maria Olbrich were among those who led the Modernist movement. Cooperative workshops such as Charles Robert Ashbee’s Guild of Handicraft and the Wiener Werkstätte brought together artists and craftsmen to elevate the applied arts by emphasizing utility and beauty of form in the face of modern industrial production. Minimal decoration was integrated with form and construction, as seen in the bold, monochromatic ornament of the Jutta Sika tea service and the architectonic facets of the punch bowl designed by Jan Kotěra. Geometric decorative motifs were often given vitality through repetition and controlled within definitive borders. The disciplined ornament arranged within

3 | P a g e balanced, symmetrical forms contradicted the whiplash tendrils and asymmetrical shapes of the Art Nouveau of the earlier period.

Art Deco The term “Art Deco,” which refers to a movement that flourished in the 1920s and 1930s, was later coined after the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes. The organizers of this fair wanted works to be thoroughly modern, yet much of what was exhibited was firmly rooted in the traditions of the past.

Art Deco was eclectic, borrowing from historic European styles, foreign cultures, contemporary avant-garde art, and urban imagery. In its restrained compositions, abstracted motifs, and use of stylized figures, it shared an affinity with Neoclassicism. Archaeological discoveries during the 1920s fueled a romantic fascination with early Egypt and Mesoamerica. Egyptian, Aztec, and Mayan motifs and forms subsequently found their way onto jewelry, furniture, ceramics, and glass objects as well as architecture.

The arts of Africa and East Asia also continued to provide rich sources of forms and materials. Designers admired the polished surfaces and brilliant colors of Chinese jade; the rich, sensual effects of Japanese lacquer; and the bold, rectilinear patterns of African textiles and jewelry. Art Deco promoted the use of luxurious and exotic materials, such as macassar ebony and sharkskin, favored by designer Émile-Jacques Ruhlmann, among others. Image caption: Overview of the 1925 Paris fair, from Exposition des arts décoratifs: Album souvenir

The Legacy of the Fairs World’s fairs originated as the place to see contemporary and progressive international design, objects that changed how we live. Although world’s fairs still exist today, their scope has changed dramatically as exhibitions have shifted to presentations on overarching themes that reflect the advancement of globalization, such as scientific progress, urbanization, and the environment. The last major world’s fair was held in Shanghai in 2010 and attended by 73 million people. The next fair will be in Milan in 2015.

While decorative arts are the material manifestations of the progressive and technological ideals embodied in the early exhibitions, the true impact of the fairs extends far beyond their physical confines. These events educated generations of artists, manufacturers, collectors, and philanthropists, and they undeniably influenced the establishment of cultural institutions, including many American art museums.

Glass: The Modern Marvel Advances in the manufacture of glass were celebrated at the world’s fairs, especially those of the early 20th century. The tradition of demonstrating modern applications of glass at the events began with the 1851 Crystal Palace itself—an immense, prefabricated structure of plate glass and iron. Almost 90 years later, the Saint-Gobain pavilion at the 1937 Paris exposition introduced visitors to the radical possibilities of glass furnishings and interiors, even radiators. In 1939, three major glass companies—including Pittsburgh Plate Glass (PPG)—put American technology on display at the New York World’s Fair. Exhibits focused on glassmaking as

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America’s first industry, the recent invention of Fiberglas textiles, and novel designs for commercial and domestic settings such as the plate glass chair and table on view here.

Manufacturers touted glass as fresh, bright, and hygienic, therefore ideal for the modern home. The transparency of the material lent an ethereal quality to sometimes weighty and ultimately fragile objects. Although industrial processes were often at the forefront, many glass artisans also continued the age-old tradition of crafting handmade objects while exploiting new forms and techniques.

Modernism and the American Industrial Designer Industrial design came of age at the fairs, with many talented individuals becoming household names and their work synonymous with modern American life. Objects shown at the early-20th- century fairs in particular were shaped by a newfound enthusiasm for the possibilities of modern design and its unconditional belief that the machine and science provided for an efficient and prosperous future. The role of the industrial designer gained prominence, especially during the Great Depression of the 1930s, when companies relied on them to create enticing products in an effort to stimulate consumer demand.

Whether conceived with new materials, technologies, or forms suggestive of function and mechanization, these objects came to reflect optimism in a future where the work of industrial designers could reshape every aspect of life for the better, from domestic spaces to mass transit and city planning. Designers such as Gilbert Rohde provided form to the manufacturers’ and consumers’ fantasies, demonstrating that the homes of the future—“more modern, more beautiful, more livable”— were available to all.

The Machine Age The streamlined machine aesthetic, with its aerodynamic forms and implications of speed and progress, captured the imagination of people eager after World War I to move into a bolder and brighter future. Industrial designers of the 1920s onward embraced the mechanistic, streamlined look for a host of mass-produced objects, from modest kitchenware to pianos. Designers like Paul T. Frankl looked to the skyscraper to create a distinct aesthetic based on a quintessentially American style of architecture.

Many iconic creations of the 1920s and 1930s feature innovative industrial materials such as plastic, aluminum, chromed steel, and Bakelite, fashioned to evoke the contemporary infatuation with industry while imparting an air of glamour to pedestrian objects. Emerging technology allowed these materials to be manipulated more efficiently and molded into any shape, like the ergonomic plywood lounge by Marcel Breuer. The streamlined style also found its way into handcrafted luxury objects, as evidenced by the sleek profiles of metalwork by Jean Puiforcat and Tiffany & Co.

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Inventing the Modern World: SUB-TEXT PANELS circa 1851 During the summer of 1851, over six million people visited The Great Exhibition of the Works of Industry of All Nations in London to see the newest inventions in machinery, agriculture, and objects from countries around the globe, including France, Russia, and the United States. Envisioned by Albert, Prince Consort of the United Kingdom, and architect Henry Cole, the exhibition endeavored to inspire improvements in design of the industrial or decorative arts. Referred to as the Crystal Palace, it was a vast glass-and-iron building that exhibited over 100,000 objects in crowded displays arranged by country and manufacturer. Fairgoers were dazzled by the array of goods, especially from France and England, and by exotic wares from British colonies such as India.

The extraordinary success of the 1851 fair spawned many imitators. New York City (1853), Paris (1855 and 1867), London (1862), and Vienna (1873) tried to outshine each other. The United States contributed to the 1862 London fair despite the Civil War raging at home. The 1867 Paris fair bolstered an even greater sense of pride, as the contributing countries debuted their own national pavilions. The fairs looked both forward and back, reviving traditional processes and modernizing designs with new technologies.

Image caption: Charles Burton, artist, and Akermann & Co., publisher, Aeronautic View of the Great Exhibition, 1851, Victoria and Albert Museum, London

Japan In the mid-19th century, Japan was a mysterious country to most Westerners, having expelled foreigners in the 17th century and largely closed itself off from outside influences for over 200 years. When Japan opened to direct trade with the West in 1854, the influx of Asian goods piqued European and American curiosity for this formerly inaccessible location. The silks, lacquerware, and porcelains exhibited at Japan’s first international showing at the 1862 London exhibition created a craze for all things Japanese. Asian and Asian-inspired designs continued to hold sway throughout the 19th and early 20th centuries, reaching an apex at the 1900 Paris exposition.

Japanese manufacturers catered to the increasing European and American taste for romantic compositions of “exotic” figures, adopting European technologies to expand their color palettes with vivid pinks and purples, shades not typically found in Japanese objects. Western manufacturers drew from the wealth of ideas presented in Japanese works. Maison Falize, Ferdinand Barbedienne Foundry, and Elkington & Co. exhibited delicate cloisonné enamels with intricate Asian-inspired scenes of flowers, birds, and insects. Tiffany & Co. imitated the Japanese use of mixed metals in a variety of techniques, including mokume (mixed-metal imitation of wood grain).

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India and the Middle East International trade and colonial expansion in the 19th century helped popularize Indian, Islamic, and Persian designs. India’s sensational presence at London’s 1851 exhibition served to legitimize Britain’s imperial ambitions while promoting the economic benefits of the English East India Company. The exotic howdahs, luxurious carpets and shawls, and glittering metalwork provided endless inspiration to European manufacturers. In later fairs, firms such as Royal Worcester and Gorham mined the displays for new forms and patterns. Indian manufacturers also demonstrated their readiness to enter the international market with European- style furniture made of ivory or exotic hardwoods.

The unusual shapes, vibrant colors, and distinctive motifs— including leaping gazelles, stylized flora, and arabesque strapwork—of Middle Eastern decorative arts captivated visitors to the fairs. Designer Owen Jones, who was responsible for the colorful interior of the London Crystal Palace, promoted the importance of Asian and Islamic cultures in the study of design with his 1856 publication The Grammar of Ornament. Some artists virtually imitated Moorish and Islamic designs of the 14th and 15th centuries, such as Phillipe-Joseph Brocard, who re-created Mamluk mosque lamps. Firms like Tiffany & Co. blended ornamentation from various cultures to create a decidedly 19th-century aesthetic. circa 1876 World’s fairs promoted pride for the host country and offered international exposure for visitors. The 1876 Philadelphia exhibition, the first major world’s fair in the United States, showcased 37 nations in celebration of 100 years of American independence and industrial progress. It piloted inventions that we often take for granted today, such as the telephone and the typewriter. Gustave Eiffel’s famous tower in Paris was engineered for the 1889 fair, while George Ferris from the Westinghouse firm in Pittsburgh designed the now-iconic Ferris wheel that towered above the 1893 Chicago fairgrounds.

In the late 19th century, this emphasis on national and cultural identity—by both the organizers and the exhibitors—continued to grow. While the promotion of diplomacy and peace remained a primary goal, displays of industry and empire tended to be at the forefront. Visitors could experience foreign cultures through cuisine, products, and even people. Japan’s and China’s displays grew larger throughout the 1870s and 1880s. The 1893 Chicago world’s fair celebrated the 400th anniversary of Columbus’s voyage to the New World with German beer, Egyptian belly dancers, and Algerian jugglers. Visiting a world’s fair meant stepping into a world beyond one’s imagination.

Image caption: Display in the Japanese Sections of the 1876 Philadelphia Centennial Exhibition, Centennial Photographic Co.

Romantic Symbolism At the world’s fairs, smaller countries, such as those in Scandinavia, aimed to display their independence from larger political structures by highlighting their own unique cultural traditions. Designers looked to folk handicrafts as pure representations of national heritage in order to compete in an international arena.

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Vernacular arts represented an authentic historical source, yet the simplified, stylized, often geometric patterns characteristic of many of these crafts were easily modernized. Textile and embroidery patterns from the Karelians of eastern Finland inspired the bold designs from Arabia Porcelain Factory. The lyrical floral and landscape motifs on Zsolnay ceramics recalled traditional Hungarian paintings, but the graceful curves and richly glazed surfaces of many forms placed the objects in line with international Art Nouveau. Norwegian tapestries, employing historical techniques, abound in motifs inspired by Nordic myths and ancient runes.

The use of indigenous materials and processes was also an important tenet of the romantic nationalist movement. Iris Workshops created utilitarian tableware in traditional Finnish red clay. Max Laeuger’s vivid slip-decorated wares evoked folk pottery of the Black Forest region. circa 1900 Fairs at the turn of the 20th century celebrated the achievements of the past while anticipating the exciting possibilities of the future. The organizers of the 1900 Paris fair hoped to create the largest and most awe-inspiring exhibition of all, with over 550 acres of fairgrounds. The exposition reused sites and buildings developed for earlier fairs; the Eiffel Tower, built for the 1889 exposition, continued to draw crowds. Organized by subject rather than nation, the site was filled with crowds. Pavilions showcasing Art Nouveau objects studded the grounds, demonstrating that this popular and international organic movement had many national differences. The fair also included new marvels such as moving sidewalks and the Palace of Electricity, where throngs watched steam-powered machines light thousands of bulbs.

The fairs of the 1900s and 1910s continued looking forward and backward. The 1902 Turin exhibition accepted only works that were completely innovative without reference to revival styles. The 1904 St. Louis fair commemorated the Louisiana Purchase of 1803, while 1915 saw fairs in San Francisco and San Diego to honor the opening of the Panama Canal.

Image caption: G. Grivell, general view of the 1900 Paris Exposition Universelle, Musée d’Orsay, Paris

Artistic Jewelry Jewelry designers at the turn of the century competed to create sumptuous masterworks, employing luxurious materials, innovative techniques, and superlative craftsmanship. The fairs provided an unparalleled platform to market their goods.

Nature had been a source of inspiration for centuries, and Art Nouveau designers produced dazzlingly faithful imitations of organic forms. G. Paulding Farnham of Tiffany & Co. created realistic depictions of orchids in delicate enamel after carefully studying living plants. French designer René Lalique took a more diabolical approach to nature. His eccentric compositions included wasps, beetles, and decaying flowers. In later objects, such as the exquisite pansy brooch, he embraced abstracted forms and repetition.

Lalique’s brooch also reveals the interest of Art Nouveau designers in enameling. Likewise, Eugène Feuillâtre excelled at plique-à-jour enamel, layering transparent colors on silver to

8 | P a g e produce luminous effects of shifting light and texture in his flask decorated with peacock feathers.

Some jewelry designers used forms and decoration to express nationalistic ideas. The delicate tiara by the House of Fabergé was inspired by traditional Russian lace headwear. The American firm of Tiffany & Co. championed the use of indigenous gemstones, such as Montana sapphires and Mexican fire opals. circa 1925 The 1925 Paris exhibition celebrated modern design and craft. In fact, fair organizers expressed the objective of creating a thoroughly new approach to design, instructing participants to be “confined to articles of modern aspiration and real originality.” No pavilions or works in historical styles were allowed to be exhibited. National pavilions, manufacturers, and even department stores competed to be the most progressive in their ideas and designs. Inventive materials and resources used in new ways were introduced, including platinum, aluminum, and zinc. The fair dazzled more than 16 million visitors during its seven-month run.

US Secretary of Commerce Herbert Hoover proclaimed that there was “no modern American design,” so the United States did not participate at the 1925 fair. But in 1926, Philadelphia hosted an exposition commemorating the 150th anniversary of the Declaration of Independence. The following year, in 1927, an exhibition of designs shown at the 1925 Paris fair traveled throughout the United States exposing American audiences to the latest European styles. circa 1939 European and American fairs from the late 1920s through the 1930s projected visions of a brighter future even as the world was gripped by economic depression and political unrest. At the 1929 Barcelona fair, European architects exhibited a new, clean style of building that promoted function over form. The 1933 Chicago fair, “A Century of Progress,” commemorated the centennial of the city’s founding and emphasized scientific and industrial advancements.

The New York World’s Fair of 1939 embraced the idea of the future and its possibilities with its theme of “The World of Tomorrow.” World War II loomed, and international political conflict created deep tension. The United States and the fair planners sought to create a sense of hope and optimism. General Motors’ Futurama display, designed by Norman Bel Geddes, highlighted progress in automotive technology and predicted how superhighways would change the American landscape. RCA debuted the television to the American public.

By the end of 1939, World War II had officially begun. Officials ran a second season of the fair in 1940, changing the theme to “For Peace and Freedom.” Following the war, fairs increasingly became presentations on such overarching ideas, with decorative arts given a less prominent role.

Image caption: The Theme Center, Trylon and Perisphere, at the 1939 New York World’s Fair

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Inventing the Modern World: WALL LABELS | 4th Floor

[4th floor – Gallery A, La Farge lunette, prints]

John La Farge American, 1831–1910 Lunette, circa 1880–1882 Glass The Metropolitan Museum of Art, New York, Gift of Mrs. Otto Heinigke, 1916, 16.153.1 Shown at the Exposition Universelle, Paris, 1889

Both John La Farge and Louis Comfort Tiffany, rivals in artistic glass, used the world’s fairs to market their designs and inventive processes. This lunette was assembled by fusing different pieces of colored glass with copper wire over an opalescent background; the resulting effect is similar to cloisonné or enamel contained by metal wires. Decorated with Renaissance arabesques, mythical creatures, and a bearded mask of Neptune, the confetti of glass displays La Farge’s mastery of color and light.

Joseph Lionel Williams, artist of building English, died 1877 George Thomas, artist of border English, 1824-1868 William Harvey, designer English, 1796-1866 J. Williamson, engraver English, active mid-1800s The Illustrated London News England (London), 1842–2003 The Great Exhibition of the Industry of All Nations, 1851 Hand-colored woodcut Collection of Southern Shows, Inc.

The Illustrated London News England (London), 1842–2003 Interior of the Crystal Palace, Hyde Park, 1851 Hand-colored woodcut Collection of Southern Shows, Inc.

[4th floor – Gallery B, Winfield, Thonet]

R. W. Winfield England (Birmingham), 1829–circa 1896 Rocking chair, circa 1850 Painted and gilded iron with modern upholstery The Cooper Union for the Advancement of Science and Art, New York

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Model shown at the Great Exhibition of the Works of Industry of All Nations, London, 1851 R. W. Winfield’s rocking chair is an example of both ergonomic design and technological prowess. Through innovatively manipulating iron, Winfield created an object that conforms to the shape of the human body while offering a relaxed, controlled movement. The flattened metal is painted to imitate wood grain, while the curves borrow from the exuberant scrolls of the18th- century Rococo style. The design of the chair was likely an influence on the sinuous bentwood creations of Michael Thonet.

Gebrüder Thonet Austria (Vienna), 1853–1921 Rocking Chair No. 10, designed circa 1860 Painted beech with cane High Museum of Art, Atlanta, Gift of Sara & Paul N. Steinfeld, 1999.126 Model shown at the London International Exhibition of 1862

Early mass-produced furniture originated in the bentwood factories of Gebrüder Thonet in Austria, which was a frequent exhibitor at the fairs. Using laminated veneers and bent wood, cabinetmaker-founder Michael Thonet introduced sturdy, lightweight, inexpensive furniture. With efficiencies in mind, he lowered assembly costs by selecting woods based on their performance characteristics, using steam power to bend them, eliminating carving, reducing the number of components in each design, and introducing interchangeable parts.

Image caption: Display of Thonet furniture at the 1867 Paris exposition, albumen silver print from glass negative. The Metropolitan Museum of Art, New York, Gift of Gabriel Wells, 1935 (35.132).

[4th floor – Gallery A/B/C, Lyon silks]

Poncet & Fils France (Lyon), 1849–circa 1900 Pine Cones, circa 1889 Silk Musée des Tissus de Lyon, MT 24956 Similar designs shown at the Exposition Universelle, Paris, 1889

The city of Lyon, France, was an international center for the production of silk in the 19th century. The bold, fade-resistant colors developed by the Lyon silk manufacturers, known for their artistic and technical creativity, were made possible by the discovery of synthetic dyes. Shop windows tempted passers-by with eye-catching displays of fabrics without sunlight damaging the textiles’ color, sheen, or elasticity.

Maison Devaux et Bachelard France (Lyon), active late 1800s Starry Clouds, circa 1889 Silk

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Musée des Tissus de Lyon, MT 24859 Shown at the Exposition Universelle, Paris, 1889 Silk textiles from Lyon incorporated metallic threads to highlight Japanese-inspired, naturalistically derived designs. Abstraction, simplification, and repetition made the patterns seem completely modern. The French textile industry was impelled to combat competition from Japanese silks, which were imported in the late 19th century in great quantities and offered to customers at far less expense.

Maison Ogier et Duplan France (Lyon), 1852–circa 1900 Plumes, circa 1889 Silk Musée des Tissus de Lyon, MT 24984 Shown at the Exposition Universelle, Paris, 1889

The Japanese aesthetic significantly shaped the development of the silk industry in France, where many of the leading firms embraced motifs derived from nature arranged in asymmetrical and kinetic compositions enhanced by brilliant hues. In this opulent cut-velvet design of fluttering peacock feathers, Maison Ogier et Duplan created a sense of movement, which is dazzlingly highlighted by the use of gilded threads and jewel-like tones. Peacock feathers, a common motif found in Japanese art, symbolized eternal life and beauty.

[4th floor – Gallery C, Folio Stand, print]

Luigi Frullini Italian, 1839–1897 Folio stand, circa 1870 Walnut Carnegie Museum of Art, Pittsburgh, Gift of the following, by exchange: Elizabeth Braun Ernst; Barbara Ackerman, James Berkman, Richard Berkman, Hellen Habbert, and Susan Rahm; Mrs. Paul B. Ernst; Mr. and Mrs. Frederic L. Cook; and Baroness Cassel Van Doorn, 2011.17 Similar designs shown at the Centennial International Exhibition, Philadelphia, 1876

Sculptural putti, dolphins, arabesques, and sphinxes adorn this folio stand by woodcarver Luigi Frullini, a prolific exhibitor at the international exhibitions of the mid-19th century. Critics commended Frullini for his exceptional craftsmanship and his modern interpretation of Renaissance designs. The front face of the stand folds down to reveal storage for large artworks; in the closed position, the ornately carved stand is a work of decorative sculpture. The Renaissance was considered by contemporary critics to be the most significant 19th-century revival, and Frullini was specially noted for the “purity and grace” of his creations.

The Illustrated London News England (London), 1842–2003 International Exhibition 1862, Sectional Views, 1862 Hand-colored woodcut Collection of Southern Shows, Inc.

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[4th floor – Gallery D, Hankar mailbox, Daughters of the Northern Lights tapestry]

Paul Hankar Belgian, 1859–1901 Mailbox, 1897 Congolese mahogany (bilinga) and rosewood with ivory, iron, and steel The Nelson-Atkins Museum of Art, Purchase: William Rockhill Nelson Trust (by exchange), 2011.41

Designer shown at the Exposition Internationale de Bruxelles, Brussels, 1897 The Belgian architect Paul Hankar oversaw the interiors for the colonial section of the 1897 Brussels fair. This project was sponsored by King Leopold II to promote the use of Congolese natural resources from his private holdings. Extraordinary works made from ivory and bilinga wood aimed to quiet unfavorable reports of the appalling treatment of native peoples and to encourage Belgian manufacturers and artists to use these exotic materials. Hankar developed new designs in the Style Congo, which combined African motifs with Belgian Art Nouveau. This mailbox, although made of Congolese ivory and bilanga wood, illustrates Hankar’s facility with Belgian Art Nouveau where floral motifs are reduced to curved geometric forms.

Gerhard Munthe, designer Norwegian, 1849–1929 Nordenfjeldske Kunstindustrimuseum Weaving School, manufacturer Norway (Trondheim), 1898–1909 The Daughters of the Northern Lights (Aurora Borealis) or The Suitors, 1906 Wool and cotton The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, TD1993.132.1 Model shown at the Louisiana Purchase International Exposition, St. Louis, 1904

The bulk of the Norwegian display at the 1904 St. Louis fair was devoted to textiles designed by painter Gerhard Munthe, who saw in ancient Nordic folk tales and myths a deep cultural memory. Textiles were considered a particularly strong aspect of Norwegian national heritage, and Munthe attempted to translate tradition, form and color into a more modern idiom. Inspired by Nordic mythology and medieval tapestries, Munthe’s textiles abound in motifs drawn from ancient runes and folktales, combined with intense, flat colors and stylized natural forms borrowed from Japanese art.

[4th floor – Gallery E, Five Swans tapestry, Blue Roses tapestry]

Otto Eckmann, designer German, 1865–1902 Kunstwebschule Scherrebek, manufacturer Germany (Scherrebek), 1896–1905 Five Swans (Fünf Schwäne), 1897 Wool and cotton

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The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, TD1989.169.5 Model shown at the Exposition Universelle, Paris, 1900

One of the most popular objects shown at the 1900 fair was the Five Swans tapestry designed by the German painter and printmaker Otto Eckmann. Enhanced by bold contrasts in color, the flattened and abstracted subjects and the meandering lines create a strong graphic composition influenced by both 19th-century Japanese and 15th-century German woodblock prints. This markedly Western interpretation of Japanese ukiyo-e scroll prints was created with a revived technique of German handloom weaving, balancing a historic craft tradition with cultural adaption. The Kunstwebschule (art-weaving school) in Scherrebek produced more than 100 copies of the traditionally woven tapestry in several color combinations.

Frida Hansen, designer Norwegian, 1 855–1931 Norske Billedvoeveri, maker Norway (Oslo), 1879–1906 Blue Roses, 1900 Wool and cotton Victoria & Albert Museum, London, 1683–1900 Shown at the Exposition Universelle, Paris, 1900

The highly innovative open-work tapestry Blue Roses is emblematic of Frida Hansen’s study and revival of ancient Nordic weaving techniques, and earned her a gold medal at the 1900 Paris fair. Hansen wove the hand-dyed threads using her patented “transparent” method, in which sections of warp are left exposed, creating a luminous effect. This tapestry was meant to be hung in a doorway, allowing visual communication between rooms.

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Inventing the Modern World: WALL LABELS | 3rd Floor

[3rd floor – Gallery A, Hashio Kiyoshi Morning Sea screen]

Hashio Kiyoshi (Kajimoto Seizaburo) Japanese, 1888–1963 Morning Sea, 1915 Silk and lacquered wood Allentown Art Museum, Pennsylvania, Gift of Mr. and Mrs. Van Santvoord, 2008, 2008.007 Shown at the Panama-Pacific International Exposition, San Francisco, 1915

Painstakingly embroidered with 250 shades of silk thread, Morning Sea shimmers as light plays across the image of a turbulent ocean. Without a narrative and with an ambiguous vantage point, Morning Sea was influenced by contemporary Post-Impressionist painting in Europe as well as concurrent advancements in modern photography. Hashio Kiyoshi won a gold medal for the screen at the 1915 San Francisco exposition; the composition might be viewed as a statement on the turbulence and uncertainty of modern life, particularly since the 1915 fair occurred after the onset of World War I.

[3rd floor – Gallery A, Kysela tapestries]

František Kysela, designer Czech, 1881–1941 Marie Teinitzerová, weaver Czech, 1879–1960 Jindřichův Hradec Tapestry Studio, manufacturer Czech Republic (Jindřichův Hradec), 1910–present Glass Blowing, 1924–1925 Wool, silk, and cotton Uměleckoprůmyslové Museum, Prague, 59406 Shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Lining the walls of the Czechoslovak Pavilion at the 1925 fair was a series of eight tapestries depicting traditional crafts, designed by painter František Kysela. His expansive designs are rendered in a faux-naïve style that mixes elements of Cubist planarity with traditional decorative painted motifs and the rough angularity of popular woodcuts. They look back to the ideal of crafts as the representation of a national heritage but also look forward to the clean, reductive lines of Modernism. Bohemia had been one of the main tapestry-producing regions in the Middle Ages, and weaver Marie Teinitzerová aimed to revive and modernize the technique. Her work after Kysela’s designs is a celebration of traditional craft workers such as the potter, the woodworker, the printer, and the stained-glass maker, who is shown constructing a large glass of the Czechoslovak arms.

Image caption: Salon d’Honneur of the Czechslovak pavilion at the 1925 Paris fair, showing the pottery and glass-blowing tapestries.

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František Kysela, designer Czech, 1881–1941 Marie Teinitzerová, weaver Czech, 1879–1960 Jindřichův Hradec Tapestry Studio, manufacturer Czech Republic (Jindřichův Hradec), 1910–present Carpentry, 1924–1925 Wool, silk, and cotton Uměleckoprůmyslové Museum, Prague, 59410 Shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

[3rd floor – Gallery C, Ruhlmann corner cabinet]

Émile-Jacques Ruhlmann French, 1879–1933 Corner cabinet, circa 1923 Kingwood with mahogany and ivory Brooklyn Museum, Purchased with funds given by Joseph F. McCrindle, Mrs. Richard M. Palmer, Charles C. Paterson, Raymond Worgelt, and an anonymous donor, 71.150.1 Model shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Émile-Jacques Ruhlmann was a French designer and interior decorator known for exquisite craftsmanship, luxurious materials, and refined designs. Regularly incorporating exotic woods, ivory inlay, and gilded mounts, Ruhlmann’s furniture was seen as modern without being a radical departure from the past. The flattened and stylized inlaid elements of his work showed the influence of 18th-century Neoclassical designs, albeit disguised within attenuated lines and proportion. Ruhlmann’s own pavilion at the 1925 Paris fair—L’Hôtel du Collectionneur— included works by other prominent contemporary designers, creating an integrated display.

Image caption: L’Hôtel du Collectionneur at the 1925 Paris fair.

[3rd floor – Gallery C, Widdicomb cabinet, Story & Clark Storytone piano]

Ralph Widdicomb, designer American, 1898–1951 John Widdicomb Company, manufacturer United States (Grand Rapids, Michigan), 1897–2002 Cabinet from Florida Tropical Home, circa 1933 Hardwood, plywood, avodiré veneer, chromium-plated steel, Bakelite, and aluminum The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, 86.11.2.3 Shown at A Century of Progress International Exposition, Chicago, 1933

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Combining richly grained veneer, Bakelite trim, and sleek metals, this cabinet reflects new ideals in design. The John Widdicomb Company decorated the Florida Tropical Home, one of a series of model homes conceived for the 1933 Chicago fair to showcase technological conveniences and furnishings. The streamlined design was derived from the movement and lines of modern transportation and industry, such as airplanes, automobiles, and radio towers.

Story & Clark, manufacturer United States (Grand Haven, Michigan), 1857–present RCA-Victor, manufacturer United States (Camden, New Jersey), under name 1929–1986 Storytone piano and stool with radio and phonograph, 1939 Walnut, chrome, original leather, plastic, ivory, ebony, and electronics The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, 86.11.1.1 Shown at the New York World’s Fair, 1939

The electronics company RCA-Victor and piano maker Story & Clark collaborated to create the world’s first electric piano, an object that promotes the machine ideal in form and function. Debuted at the 1939 New York fair, the piano amplifies sound through a speaker system disguised behind bold, streamlined Art Deco detailing, suggestive of movement and modernity. The bench incorporates a radio and phonograph. Story & Clark advertised the piano’s clarity of tone with daily recitals in the RCA-Victor pavilion, where RCA also promoted its new television receiver.

[3rd floor – Gallery C, Frankl bookcase/desk]

Paul T. Frankl American (born Austria), 1886–1958 Skyscraper desk and bookcase, circa 1928 Plywood with walnut veneer Carnegie Museum of Art, Pittsburgh, Berdan Memorial Trust Fund, 2008.4 Designs by artist shown at A Century of Progress International Exposition, Chicago, 1933

Paul T. Frankl’s novel designs mimic the impressive skyscrapers that arose in New York City and Chicago in the early years of the 20th century. With this object, Frankl achieved his goal of creating a distinctly American product—constructed of a wood native to the United States and based upon a quintessentially American style of architecture. The geometric silhouette, free of painted decoration or moldings, reinforces the Modernist aesthetic that was vastly popular following the 1925 Paris world’s fair.

[3rd floor – Gallery C/D, Westinghouse panels]

Donald R. Dohner, designer American, 1897–1943 Westinghouse Manufacturing and Electric Company, manufacturer United States (Pittsburgh, Pennsylvania), 1886–present

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High Voltage Railway Electrification panel, 1933 Micarta and dyed aluminum, steel and wood The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, 83.6.11a–c Shown at A Century of Progress International Exposition, Chicago, 1933

Donald R. Dohner, designer American, 1897–1943 Westinghouse Manufacturing and Electric Company, manufacturer United States (Pittsburgh, Pennsylvania), 1886–present Radio Broadcasting panel, 1933 Micarta and dyed aluminum, steel and wood The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, XX1989.190a–c Shown at A Century of Progress International Exposition, Chicago, 1933

The Panels of Progress, part of Westinghouse’s display at the 1933 Chicago fair, used innovative materials to promote the company’s products of mass communication and electrification. Each panel was made of Micarta—a new laminate composed of canvas, paper, and Fiberglas—with designs in aluminum mounted on steel. The Radio Broadcasting panel represents Pittsburgh as the center of the globe, emphasizing the site of the world’s first commercial radio station. High Voltage depicts a man flanked by departing trains, and highlights the electrification of the American railroad system.

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Inventing the Modern World: WALL LABELS | 4th Floor Resource Center

The Illustrated London News England (London), 1842–2003 Inauguration of the Great Exhibition Building, by Her Majesty May 1, 1851, 1851 Hand-colored woodcut Collection of Southern Shows, Inc.

On the Great Exhibition’s opening day, Queen Victoria (1819–1901) recollected in her journal that the occasion was “one of the greatest and most glorious of our lives . . . The tremendous cheering, the joy expressed in every face, the vastness of the building, with all its decoration and exhibits . . . and my beloved husband, the creator of this peace festival ‘uniting the industry and art of all nations of the earth,’ all this was indeed moving and a day to live forever.”

The Illustrated London News England (London), 1842–2003 Interior of the Great Crystal Palace – The Transept, Looking North, 1851 Hand-colored woodcut Collection of Southern Shows, Inc.

The Illustrated London News England (London), 1842–2003 The Building in Hyde Park for the Great Exhibition of 1851 – The Transept, Looking North, 1851 Hand-colored woodcut Collection of Southern Shows, Inc.

The domed transept was designed to accommodate three large elm trees to appease the extremely vociferous complaints of Colonel Charles de L. Waldo Sidthorp, a Member of Parliament who opposed every aspect of the Great Exhibition, including the removal of trees in Hyde Park for the building’s construction.

The Illustrated London News England (London), 1842–2003 Interior of the Building in Hyde Park, for the Great Exhibition for the Industry of All Nations, Now Ready for the Reception of the Articles to be Exhibited – Sectional View, Looking West, 1851 Hand-colored woodcut Collection of Southern Shows, Inc.

The Illustrated London News, the first weekly pictorial newspaper in the world, provided continuous coverage of the Great Exhibition with articles, images, and free illustrative supplements for subscribers. Its publication of Joseph Paxton’s designs for the Crystal Palace prior to approval by the Royal Commission boosted circulation and garnered public support for the innovative building design.

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Ebenezer Challis, engraver English, active circa 1837–1863 E. Walker, artist English, active mid-1800s Building for the Great Exhibition of Industry of All Nations in London, 1851, [n.d.] Engraving Collection of Southern Shows, Inc.

Joseph Paxton’s ingenious design used prefabricated cast iron and sheet glass on a scale previously unknown. Use of these materials enabled the remarkably swift construction of the immense building, which became known as the Crystal Palace, in less than one year.

Inventing the Modern World: PLATFORM LABELS | 4th Floor

[4th floor – Gallery B, Wooton]

William S. Wooton, designer American, 1837–1907 Wooton Desk Manufacturing Company, manufacturer United States (Indianapolis, Indiana), 1880–1884 Wooton Patent Office Cabinet Secretary, 1880–1884 Walnut, maple, white pine, painted cardboard, and bronze High Museum of Art, Atlanta, Virginia Carroll Crawford Collection, 1987.182 Model shown at the Centennial International Exhibition, Philadelphia, 1876

This ingenious writing cabinet by the Wooton Desk Manufacturing Company is a superb example of 19th-century conspicuous consumption and industrial production. It opens to reveal an intricate storage system of more than 100 interchangeable compartments, drawers, and slots. Industrially made using steam-powered machinery, the arrangement could be customized for the purchaser. The company offered four different grades of the desk—Ordinary, Standard, Extra Grade, and Superior—priced according to decoration and materials. This Extra Grade desk includes fashionable Renaissance Revival bracketing on the crest and incised and gilded decoration on the interior.

Image caption: Wooton Patent Office Cabinet Secretary shown closed.

[4th floor – Gallery C, Herter Brothers]

Gustave Herter American (born Germany), 1830–1898 Ernst Plassmann, woodcarver American, 1823–1877 Bulkley and Herter, maker United States (New York, New York), circa 1852–1858 Bookcase, 1852–1853

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White oak, Eastern white pine, Eastern hemlock, and yellow poplar with modern stained glass The Nelson-Atkins Museum of Art, Kansas City, Purchase: William Rockhill Nelson Trust through exchange of the gifts of Mr. and Mrs. Frank P. Burnap, Mrs. William H. Chapman, Mr. Earle W. Grant, Mr. and Mrs. Lawrence Denman, Mrs. David M. Lighton, Mrs. Inez Grant Parker, Mrs. Helen F. Spencer, Mrs. William D. Wight, Mrs. Mary Russell Perkins from the estate of Katherine Harvey, Mr. and Mrs. Frederick M. Mont, Mrs. E. A. Grosvenor Blair, Mrs. Fred Wolferman, Mrs. Elizabeth Hay Bechtel in honor of Helen Spencer, Mr. George L. Artamonoff and Mrs. Lyell Ritchie, Mr. and Mrs. Edgar L. Berkley, Mrs. Virginia Jones Mullin, and Mrs. James D. McColl; the bequest of Helen F. Spencer; and other Trust properties, 97.35 Shown at the Exhibition of the Industry of All Nations, New York, 1853

Displayed at the 1853 Exhibition of the Industry of All Nations in New York, the first world’s fair in America, this monumental bookcase is decorated with intricately carved Gothic spires, arches, buttresses, and figures representing the arts of sculpture, painting, music, and architecture. Gustave Herter, who had only recently arrived in New York, brought with him the latest fashions from Germany, including the stylish Gothic Revival. As seen on this bookcase, the Gothic Revival had obvious associations with the medieval past; in America in particular, it often lent an air of authenticity to the young country’s artistic heritage.

[4th floor – Gallery C, Bettridge pianoforte, Warren spring chair]

John Bettridge and Co. England (Birmingham), 1859–circa 1869 Pianoforte and stool, circa 1867 Gilded and japanned papier-mâché, verre églomisé, mother-of-pearl, brass, aluminum, glass, and original silk, with modern upholstery (stool) Carnegie Museum of Art, Pittsburgh, Women’s Committee Acquisition Fund, 2011.49 Shown at the Exposition Universelle, Paris, 1867

This stunning piano represents one of the most ambitious designs ever created in papier-mâché. The japanned surface adorned with gilding and mother-of-pearl belies the fact that the object is made of seemingly fragile but highly durable pasted paper, layered sheet after sheet. Although papier-mâché had been used in Europe for more than a century, the English firm of Jennens & Bettridge (later John Bettridge and Co.) introduced many innovations to the process and was consistently recognized for the remarkable beauty of its objects. The resplendent decoration, inspired by Renaissance arabesques and strapwork, is enhanced with elaborate gilding, mother- of-pearl inlay, and four panels of verre églomisé (decoration under glass), in which foiled aluminum is covered with glass beads. Critics at the 1867 Paris exposition regarded the design of this object as “altogether excellent.”

Thomas E. Warren, designer American, active 1849–1852 American Chair Company, manufacturer United States (Troy, New York), 1829–1858 Centripetal spring chair, circa 1850 Painted and gilded iron, steel, and wood with modern upholstery

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Saint Louis Art Museum, Gift of Mrs. Adelaide Cherbonnier, 147:1965 Model shown at the Great Exhibition of the Works of Industry of All Nations, London, 1851

New ideas about comfort and convenience emerged as inventors and manufacturers experimented with the versatility of iron and steel. This ingenious parlor chair adapts the bow- shaped steel springs originally developed for comfortable seating on bumpy trains. Critics of the 1851 fair lauded the chair’s revolutionary technology, noting its “agreeable elasticity in every direction.” The japanned decoration on the back of the chair reflects the growing popularity of cross-cultural influences as well as exuberant curves and scrolls revived from the Rococo period.

[4th floor – Gallery D, UPW Century Vase and pedestal, Peter Glass table, TECO Vase, Tiffany Lamp]

Karl L. H. Müller, designer American (born Germany), 1820–1887 Union Porcelain Works, manufacturer United States (Greenpoint, Brooklyn), 1863–circa 1922 Century Vase, 1876 Porcelain with enamel and gilding High Museum of Art, Atlanta, Virginia Carroll Crawford Collection, 1986.163

Karl L. H. Müller, designer American (born Germany), 1820–1887 Union Porcelain Works, manufacturer United States (Greenpoint, Brooklyn), 1863–circa 1922 Pedestal, 1876 Porcelain National Museum of American History, Smithsonian Institution, Washington, DC, 317832 Shown together at the Centennial International Exhibition, Philadelphia, 1876

Manufactured exclusively for the 1876 exhibition, the Century Vase and pedestal were the most ambitious examples of American porcelain yet cast. The vase is laden with nostalgic images from America’s rich past and scenes of modern progress. The unmistakable profile of George Washington observes depictions of William Penn’s treaty with Native Americans and the Boston Tea Party as well as a fast-moving steamboat and sewing machine. The juxtaposition of opposing subjects creates a unique composition enlivened by beautifully executed polychrome, gilding, and shallow relief sculpting. In contrast, the pedestal is adorned with classical motifs related to Greek drama and a color scheme imitating early 19th-century jasperware by the English firm Wedgwood.

William Day Gates, designer American, 1852–1935 Gates Potteries, manufacturer United States (Terra Cotta, Illinois), circa 1885–1941 Vase, circa 1903–1904

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Glazed earthenware Saint Louis Art Museum, Lopata Endowment Fund, the E. Reuben and Gladys Flora Grant Charitable Trust, Richard Brumbaugh Trust in memory of Richard Irving Brumbaugh and Grace Lischer Brumbaugh, and Dr. and Mrs. Matthew Newman in memory of Susan Lorenz, 2:2004 Shown at the Louisiana Purchase International Exposition, St. Louis, 1904

Among the award-winning submissions of Gates Potteries to the 1904 St. Louis exposition was this large vase decorated with American Indian heads and a delicately modeled relief background of fleurs-de-lis, perhaps a reference to the French heritage of the Midwestern host city. Although some American art pottery was influenced by Amerindian forms and motifs, Gates’s design seems to owe very little to native craft. The foliate scrolls and interlacing curves indicate the influence of European Art Nouveau design.

Peter Glass American (born Germany), 1824–1901 Table, circa 1867 Walnut with various woods National Museum of American History, Smithsonian Institution, Gift of Mrs. Frank (Catherine) Vidano, 281476 Similar designs shown at the Exposition Universelle, Paris, 1867

German-born émigré Peter Glass devoted his spare time to creating marquetry furniture while working as a farmer in Wisconsin. These elaborate works gained him recognition at local industrial fairs, and he eventually won an honorable mention for woodwork exhibited at the 1867 Paris fair, the only award for American furniture making. This table—said to contain more than 95,000 pieces of precisely cut and finely stained American wood—is adorned with exquisitely inlaid medallions of plants, birds, and military heroes, including George Washington and William Henry Harrison.

Clara Driscoll, designer American, 1861–1944 Tiffany Glass and Decorating Company, manufacturer United States (Corona, New York), 1892–1902 Tiffany Studios, manufacturer United States (Corona, NY), 1902–1932 Lamp, circa 1900 Glass and bronze Carnegie Museum of Art, Pittsburgh, Gift of Arthur E. Braun, 76.46 Similar designs shown at the Exposition Universelle, Paris, 1900

Bejeweled with colored glass in the form of dragonflies and cabochons, this lamp is an iconic object by Louis Comfort Tiffany’s firm. Its design, which was conceived by Clara Driscoll, manager of the Women’s Glass Cutting Department, won a prize at the 1900 exposition. Subtle rather than brilliant light enhances the variegated patterning of translucent and opaque glass. The rich naturalism on the shade is echoed in the bronze base, which is decorated with twisting

23 | P a g e tendrils and stylized leaves. The organic decoration exhibits Tiffany’s adherence to the Art Nouveau aesthetic of simplified forms, harmonious colors, and naturalistic motifs.

[4th floor – Gallery D, Tiffany tilt-top table]

Frank Shaw, designer American, 1861–1885 Tiffany & Co., manufacturer United States (New York, New York), 1837–present Tilt-top table, circa 1885–1893 Mahogany with silvered copper Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, New York, 93.29 Shown at the World’s Columbian Exposition, Chicago, 1893

Competition was an important component of world’s fairs, and rivalries between manufacturers from the same country could be as fierce and compelling as international ones. The American silver firms Tiffany & Co. and Gorham Manufacturing Company used the fairs to market their greatest accomplishments, which ranged from technological innovations to examples of luxurious craftsmanship. Tiffany & Co.’s elaborate electroplated silver tilt-top table, the largest example executed by the company, illustrates the firm’s mastery of highly detailed designs and inventive processes, such as electroplating silver over copper. The repoussé decoration is composed of American flora, including roses, sunflowers, ferns, forget-me-nots, and daisies.

Image caption: The Tiffany & Co. and Gorham displays in the Manufactures Building at the 1893 Chicago fair.

[4th floor – Gallery D, Gorham dressing table and stool]

William C. Codman, designer American (born England), 1839–1921 Gorham Manufacturing Company, manufacturer United States (Providence, Rhode Island), 1831–present Dressing table and stool, 1899 Silver with mirrored glass, ivory, and modern upholstery Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Dr. Charles L. Venable, 2000.356 Shown at the Exposition Universelle, Paris, 1900

Gorham Manufacturing Company showcased their new line of handcrafted Martelé, or “hammered,” objects at the 1900 Paris exposition. The grandest example in this line was the meticulously crafted dressing table and stool shown here. Gorham’s chief designer, William C. Codman, was responsible for the extravagant design, which was executed by a team of silversmiths and required more than 2,300 hours of labor. The table reflects a combination of stylistic influences: traditional Colonial Revival forms include the cabriole legs terminating in ball-and-claw feet, while the rich chasing of floral designs reveals the fluid ornamentation of Art

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Nouveau. Looking both forward and backward, the design can be seen as a metaphor for the contrast between the old and new at the 1900 fair.

[4th floor – Gallery D, Kinsarvik armchair, Bing & Grondahl Wood Chopper’s Vase]

Lars Kinsarvik Norwegian, 1846–1925 Armchair, circa 1900 Painted pine Private collection, Dr. David and Susan Werner Similar designs shown at the Exposition Universelle, Paris, 1900

As Norway struggled to gain independence from Sweden in the late 19th century—a dissolution that was officially pronounced in 1905—Norwegian designers seized on ancient Nordic forms as a source for the creation of a modern nationalist style. Lars Kinsarvik led the way, reviving the folk tradition of “Karveskurd,” the name given to carved decoration of symmetrical geometric forms. This chair is decorated with a lively assortment of interlaced curves, leaves, and totem- like masks, including the Viking knight at the top of the chair. Kinsarvik combined these ancient motifs with the colorful decoration that was typical of more modern Norwegian peasant furnishings.

Jens Ferdinand Willumsen, designer Danish, 1863–1958 Bing & Grøndahl, manufacturer Denmark (Copenhagen), 1853–1908 Autumn or The Wood Chopper’s Vase, 1897–1899 Glazed porcelain Designmuseum Danmark, Copenhagen, B133/1907 Shown at the Exposition Universelle, Paris, 1900

With its bold, sculptural heft and complex patterning, this vase depicts two woodsmen and a hunter traveling through a dark forest, painted with an innovative iron glaze. Painter and sculptor Jens Ferdinand Willumsen, who spent a good deal of his career with the Post-Impressionists in France, designed the scene. The simple silhouette is accentuated by intricate piercing, adding a contrasting note of fragility. Contemporary viewers recognized the imagery and subdued color palette as distinctly Scandinavian.

[4th floor – Gallery D, Majorelle andirons, cabinet, Vase des Binelles, Diehl table]

Louis Majorelle French, 1859–1926 Cabinet, circa 1900 Kingwood, mahogany, and amaranth with various woods, gilded bronze, and modern textile Indianapolis Museum of Art, Purchased in memory of Josephine Cowgill Jameson (Mrs. Booth Tarkington Jameson) by the Alliance of the Indianapolis Museum of Art and the Josephine Cowgill Jameson Fund, 1991.42

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Model shown at the Exposition Universelle, Paris, 1900

Louis Majorelle French, 1859–1926 Andirons, circa 1900 Iron Iparművészeti Múzeum, Budapest, 5402.1–2 Shown at the Exposition Universelle, Paris, 1900

At the 1900 Paris fair, Louis Majorelle displayed his mastery of a variety of materials, creating dynamic silhouettes in media ranging from wrought iron to wood. These unique andirons employ a traditionally industrial material in a markedly modern way; the floating tendrils and delicate curves belie the strength and heaviness of the iron. Majorelle’s cabinet vaunts the undulating forms and whiplash curves that characterize the Art Nouveau, as well as the ingenious design and solid construction that distinguished him from his peers. His marquetry technique and sumptuous bronze mounts borrow from 18th-century French Rococo furniture, but their organic fluidity demonstrates the contemporary aesthetic.

Hector Guimard, designer French, 1867–1942 Sèvres Porcelain Manufactory, manufacturer France (Sèvres), 1756–present Vase des Binelles, 1903 Glazed stoneware The Cleveland Museum of Art, John L. Severance Fund, 1994.107 Shown at the Louisiana Purchase International Exposition, St. Louis, 1904

The sparkling crystalline glaze on the monumental Vase des Binelles was “discovered” accidentally by chemists at the Sèvres Porcelain Manufactory in 1885. Ironically, it was viewed as a mistake and was not embraced by the factory as a legitimate glaze until 1898. Crystalline wares impressed critics at the 1900 Paris exposition, and the finish was applied to many of the firm’s new forms, including this vase designed by architect Hector Guimard. The strong, organic shape displays a mastery of sinuous lines. Standing four feet tall, the vase was a feat in porcelain manufacture, and was lauded for its sheer scale and sophisticated design, which is closely related to Paris’s most distinctive Art Nouveau structures—the Metro station entrances that Guimard designed for the 1900 fair.

Image caption: One of the entrances designed by Hector Guimard for the Paris Metro.

Charles-Guillaume Diehl French (born Germany), 1811–circa 1885 Table, circa 1878 Checker tree wood with various woods, bronze, mirrored glass, copper, and original silk Carnegie Museum of Art, Pittsburgh, Ailsa Mellon Bruce Fund, 2010.6 Model shown at the Exposition Universelle, Paris, 1878

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The table that Parisian cabinetmaker Charles-Guillaume Diehl exhibited at the 1878 fair was ahead of its time. The botanically derived, Japanese-inspired designs suggest Art Nouveau, which became widely popular more than a decade later. With a top shaped like a lobed hibiscus, the table is self-referentially decorated on all sides with inlaid petals, leaves, and insects taken from a repertoire of Asian motifs. The intertwined legs and hanging silk cords recall winding vines, but their delicate curves evoke French dressing tables (coiffeuses) of the 18th century. Louis Majorelle and Émile Gallé later exhibited similar designs in marquetry at the 1889 and 1900 fairs. (Separate label:) Critics and viewers alike celebrated Siegfried Bing’s L’Art Nouveau pavilion at the 1900 Paris exposition, identifying it as the embodiment of modern design.

Image caption: View of Siegfried Bing’s L’Art Nouveau pavilion at the 1900 Paris Fair. Courtesy Bibliothèque Les Arts Décoratifs.

Inventing the Modern World: PLATFORM LABELS | 3rd Floor

[3rd floor – Gallery A, Bugatti Cobra Chair]

Carlo Bugatti Italian, 1865–1940 Cobra chair, 1902 Parchment-covered wood with paint, pencil, and copper Carnegie Museum of Art, Pittsburgh, Berdan Memorial Trust Fund, Helen Johnston Acquisition Fund, and Decorative Arts Purchase Fund, 95.16 Model shown at the Prima Esposizione Internazionale d’Arte Decorativa Moderna,Turin, 1902

This engaging chair was originally designed for a complete room installation by Carlo Bugatti at the 1902 Turin fair, the first world’s fair devoted exclusively to the decorative arts. Bugatti created a dynamic form that blurred the boundaries of sculpture and functional design with a revolutionary assembling technique decades ahead of its time. Composite wooden elements were joined and shaped to create a curving silhouette that anticipated cantilevered Art Deco designs in bentwood and metal. Bugatti unified the various parts with stretched and joined parchment painted with images of stylized insects.

[3rd floor – Gallery B, de Klerk armchair]

Michel de Klerk, designer Dutch, 1884–1923 ‘t Woonhuys, manufacturer and retailer The Netherlands (Amsterdam), 1907–circa 1930 Armchair, 1915–1916 Mahogany, plywood, brass, and original mohair upholstery

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The Wolfsonian-Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection, TD1989.328. Shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925 The Dutch architect Michel de Klerk’s eccentric designs for furniture, including this chair, combine Asian, African, and Indian motifs with simple, rectilinear forms popularized by the Modernist movement. The feet on this armchair recall Indian slippers; the carved fish on the armrests were inspired by Hindu sea creatures; and the large tassels were derived from Asian clothing. According to one critic of the 1925 fair, Dutch designers not only reacted to the modern world but also created coherent and organic constructions that were endowed with life. Image caption: Michel de Klerk’s furniture at the 1925 Paris fair.

[3rd floor – Gallery B, Siegel chair, Olbrich cabinet]

Joseph Maria Olbrich, designer Austrian, 1867–1908 Glückert Manufactory, manufacturer Germany (Darmstadt), 1838–1943 Side cabinet, 1902 Painted wood with copper, glass, and brass The Nelson-Atkins Museum of Art, Kansas City, Purchase: the Lillian M. Diveley Fund, 2005.24 Shown at the Prima Esposizione Internazionale d’Arte Decorativa Moderna, Turin, 1902 This side cabinet was part of a bedroom suite designed for the 1902 exposition by Joseph Maria Olbrich at the invitation of the Duke of Hesse-Darmstadt. Although the flowing lines embossed on the copper escutcheons retain a trace of the organic ornament popular in Art Nouveau, the reductive, simplified elegance of the cabinet itself exemplifies early Modernism. The severe angles of the cabinet’s form look forward to the Wiener Werkstätte, the Bauhaus, and the Art Deco, three major forces of early-20th-century design.

Image caption: Bedroom suite by Joseph Maria Olbrich at the 1902 Turin fair.

Gustav Siegel, designer Austrian, 1880–1970 J. & J. Kohn, manufacturer Austria (Vienna), 1867–1914 Armchair, circa 1900 Beech, brass, and original leather upholstery The Art Institute of Chicago, Gift of Mr. and Mrs. Manfred Steinfeld, 1999.557 Model shown at the Exposition Universelle, Paris, 1900 The principal components of this chair by Gustav Siegel and J. & J. Kohn are three lengths of squared bentwood rods; the inverted U-shaped braces between the legs provide stability. Siegel and Kohn are credited for elevating the bentwood furniture industry to new technical and artistic levels. The firm maintained its reputation by collaborating with avant-garde Viennese designers such as Josef Hoffmann and Otto Wagner in the early 20th century.

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[3rd floor – Gallery C, Mies Van der Rohe Barcelona Chair, Breuer long chair]

Marcel Breuer, designer American (born Hungary), 1902–1981 Isokon Furniture Company, manufacturer England (London), 1935–1939 Long chair, 1936 Plywood Carnegie Museum of Art, Pittsburgh, DuPuy Fund and Decorative Arts Purchase Fund, 90.19 Model shown at the Golden Gate International Exposition, San Francisco, 1939 In the 1930s, plywood reemerged as an avant-garde medium for designers interested in developing radical new forms that were functional, industrially produced, and appropriate to modern life. A direct descendant of the bentwood chairs pioneered a century earlier by Michael Thonet, this chair designed by Marcel Breuer is not only progressive in appearance but also, according to its manufacturer, ergonomically shaped to provide “scientific relaxation to every part of the body, immediately creating a feeling of well-being.” Breuer himself was concerned with comfort, resilience, and modern materials suitable for mass production. The long chair is a brilliant synthesis of these ideals.

Ludwig Mies van der Rohe, designer German, 1886–1969 Knoll International, Inc., manufacturer United States (New York, New York), 1938–present Barcelona chair, designed 1929, manufactured 1988 Aluminum and leather The Mint Museum, Gift of Knoll International, Inc., 1990.52.1 Model shown at L’Exposición Internacional de Barcelona, 1929 One of the most renowned architects of the Bauhaus movement, Ludwig Mies van der Rohe directed the German presentation at the 1929 Barcelona exposition, designing three pavilions. His German pavilion attracted the most attention, not only for its architecture but also for the so- called Barcelona chair. It has become an iconic symbol of 20th-century design, still produced today, combining the industrial nature of flattened aluminum with an interpretation of the ancient Greek klismos chair. The chair had broad appeal, influencing countless industrial designers of the 1930s.

[3rd floor – Gallery D, Rohde vanity and ottoman]

Gilbert Rohde, designer American, 1884–1944 Herman Miller Furniture Company, manufacturer United States (Zeeland, Michigan), 1923–present Vanity and ottoman, 1934 Painted white holly, red English elm, yellow poplar, chromium-plated steel, mirrored glass, Bakelite, and original wool upholstery Yale University Art Gallery, New Haven, Connecticut, Purchased with the Friends of American Art Acquisition and John P. Axelrod, B.A. 1968, Funds, 1999.125.1.1–2

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Model shown at A Century of Progress International Exposition, Chicago, 1933 Gilbert Rohde employed sleek, curved lines in this elegant vanity and ottoman, part of the fashionably modern furnishings for the House of Tomorrow, shown at the 1933 Chicago world’s fair. The reductive forms emphasize the innovative materials such as Bakelite and tubular steel, while the geometric orientation has an affinity with the Modernist skyscraper.

Image caption: The bedroom in the House of Tomorrow at the 1933 Chicago fair, from Dorothy Raley, A Century of Progress Homes and Furnishings (Chicago: M. A. Ring, 1934).

[3rd floor – Gallery D, PPG table, chair, Saint Gobain radiaver]

Attributed to Louis Dierra, designer American, active circa 1939 Pittsburgh Plate Glass Co., manufacturer United States (Pittsburgh , Pennsylvania), 1883–present Chair, circa 1939 Glass with synthetic upholstery Carnegie Museum of Art, Pittsburgh, DuPuy Fund, 83.78.2 Model shown at the New York World’s Fair, 1939

Visitors to the Miracle of Glass pavilion at the 1939 New York world’s fair would have encountered a strikingly modern model dining room with six chairs like this one arranged around a glass-topped dining table. The innovative chair frames of slumped plate glass were manufactured by the Pittsburgh Plate Glass Co. with seats originally upholstered with Fiberglas fabric. Although heralded by House and Garden magazine as one of “the decorative prophecies that will shape our World of Tomorrow,” glass furniture did not capture the public imagination; its weight and fragility made it impractical for daily use.

Pittsburgh Plate Glass Co. United States (Pittsburgh, Pennsylvania), 1883–present Table, circa 1938 Glass The Corning Museum of Glass, Corning, New York, 96.4.177 Shown at the New York World’s Fair, 1939

Pittsburgh Plate Glass Co. included an all-glass house in the “Town of Tomorrow,” designed to demonstrate how glass could “make your home more modern, more beautiful, and more livable.” Among the items included was this circular table supported by three tubes of Lumite, a type of glass used in visible gasoline pumps; the shape of the tubes themselves suggests this industrial application.

René-André Coulon, designer French, 1908–1997 Saint-Gobain, manufacturer France (Paris), 1665–present Radiaver, 1937

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Glass with aluminum and nickeled steel Carnegie Museum of Art, Pittsburgh, Decorative Arts Purchase Fund, 2011.52 Model shown at the Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris, 1937

A play on the French words for heater (radiateur) and glass (verre), this Radiaver made its debut in the influential Saint-Gobain pavilion of glass furnishings at the 1937 world’s fair in Paris, designed by architect René-André Coulon. That exhibit directly inspired the American Glass Center pavilion at the 1939 New York fair. The portable, illuminated electric radiator represents both the functional Modernist ethos and the French tradition of elegant detailing and fine craftsmanship.

Image caption: Saint-Gobain Pavilion at the 1937 Paris fair.

Inventing the Modern World: CASE LABELS | 4th & 3rd Floors

[C1.1 – Tennyson Vase]

Henry Hugh Armstead, designer English, 1828–1905 C. F. Hancock & Sons, manufacturer England (London), 1849–present Tennyson Vase, 1867 Silver and gilded silver with velvet Carnegie Museum of Art, Pittsburgh, Ailsa Mellon Bruce Fund and Berdan Memorial Trust Fund, 2007.57 Shown at the Exposition Universelle, Paris, 1867 and the Weltaustellung 1873 Wien, Vienna

A tour de force of craftsmanship, the Tennyson Vase was presented at the 1867 Paris and 1873 Vienna world’s fairs as a nationalistic symbol of British chivalry and morality. The vase pays homage to the Arthurian legends of Lord Alfred Tennyson, and serves as a tribute to the imperial success of Queen Victoria and her Consort, Prince Albert, who was seen as a modern King Arthur. It depicts key moments from the life and death of the fabled king—from his battle with Mordred, a traitorous rival to his throne, to his final chapter, fatally wounded and comforted by the three Queens with crowns of gold. Merlin the magician and the adulterous Queen Guinevere watch the story unfold from their vantage points on the handles of the vase.

The narrative scenes are composed entirely of hammered silver, with chisels and polishing bone used to create remarkably detailed texture. Most innovative, however, is the use of electroplating to create the gilded silver bands around the object and its base. This process, invented and perfected in Britain in the mid-19th century, was exhibited at the world’s fairs as one of the nation’s shining technological contributions to the applied arts.

(Please note: there is an image for the Tennyson vase label, but it has no caption.)

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[C1A.23 – Morel, Duron, Gatti ]

Attributed to Adrien-Louis-Marie Cavelier, designer French, 1785–1867 Jean-Valentin Morel, maker French, 1794–1860 Cup, 1854–1855 Bloodstone (jasper) with gold, enamel, emeralds, rubies, sapphires, and cameos Indianapolis Museum of Art, Dennis T. Hollings Memorial Fund and the Robertine Daniels Art Fund in memory of her late husband, Richard Monroe Fairbanks Sr., and her late son, Michael Fairbanks, 2004.27 Shown at the Exposition Universelle, Paris, 1855

Charles Duron French, 1814–1872 Coupe, circa 1867 Agate with gilded and enameled brass Carnegie Museum of Art, Pittsburgh, Women’s Committee Acquisition Fund, Gift of Baroness Cassel Van Doorn, by exchange, and Ailsa Mellon Bruce Fund, 2008.76 Shown at the Exposition Universelle, Paris, 1867

European metalwork of the mid-19th century often reflected the interest in historicist styles from the Renaissance and Baroque periods. Works by Jean-Valentin Morel and Charles Duron demonstrate the revival of intricate Renaissance goldsmithing, enameling, and lapidary techniques. The agate-stone bowl of Duron’s coupe is of incredibly fine color, clarity, and grain. The ornamentation is masterfully executed in brilliant hues that are carefully controlled to depict realistic shading and natural gradations of color.

Giovanni Battista Gatti Italian, 1816–1889 Coffer, 1873 Ebony and walnut with ivory, glass, lapis lazuli, bloodstone, and brass Minneapolis Institute of Arts, The Ethel Morrison Van Derlip Fund, 98.53 Shown at the Weltaustellung 1873 Wien, Vienna, and the Centennial International Exhibition, Philadelphia, 1876

The Italian artist Giovanni Battista Gatti was widely recognized for his revival of ivory and hardstone inlay imitating Renaissance designs. This jewelry box, or coffer, is testament to both his learned skill and his sense of humor. Bloodstone, agate, and lapis lazuli frame panels replete with mermaids, satyrs, mythical dragons, and cats, the last of which is a visual pun on the artist’s name, gatti, meaning “cats” in Italian.

[C1.4 – Baccarat, Ginori]

Cristalleries de Baccarat

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France (Lunéville), 1764–present Punch bowl with goblets, tray and ladle, circa 1867 Glass The Corning Museum of Glass, Gift of Mrs. Charles K. Davis (67.3.41) Shown at the Exposition Universelle, Paris, 1867

The Bacchanalian scenes of revelry on Baccarat’s punch bowl were executed using the invention of acid-etched engraving, in which a resist was applied to an encased body of blue and clear glass. The whole was then submerged in hydrofluoric acid and potassium fluoride that eroded the unprotected surface, leaving the design in relief. Decorating through acid reduction ranks as one of the most important innovations to glass decoration introduced at the world’s fairs.

Ginori Porcelain Factory Italy (Doccia), under name 1735–1896 Ewer and Stand, 1873 Glazed and enameled earthenware Gewerbemuseum im Germanischen Nationalmuseum, Nuremberg, LGA 1987, LGA 1988 Shown at the Weltaustellung 1873 Wien, Vienna

Historical techniques were also a source of national pride for manufacturers displaying at the world’s fairs. The Ginori Porcelain Manufactory became known for its reproductions of 15th- century maiolica, or tin-glazed earthenware, demonstrating its pride in products from Italy’s illustrious past. The firm was both praised for its accuracy and derided for its unoriginality.

[C1.16 – Klotz vases]

J. Klotz France (Paris), active circa 1867 Pair of vases, 1867 Glazed porcelain with chromolithography and gilding Minneapolis Institute of Arts, The Walter R. Bollinger Fund, 97.107.1–2 Shown at the Exposition Universelle, Paris, 1867

This pair of vases by J. Klotz of Paris employs chromolithography transferred onto ceramics. This process, which uses lithographic prints imbued with glaze to reproduce designs, was declared a revolutionary technique in ceramics. It is still used today as one of the most common methods of pattern reproduction in the ceramics industry.

[C1S.5 – Vase Bertin]

Jules-Constant Peyre, designer French, active circa 1845–1870 Léopold Jules Gély, decorator French, active 1851–1888 Sèvres Porcelain Manufactory, manufacturer France (Sèvres), 1756–present

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Vase Bertin, circa 1855 Glazed porcelain The Cleveland Museum of Art, Gift of Darrell, Steven, Brian, and Neil Young in memory of their parents, Mardelle J. and Howard S. Young, 2007.277 Shown at the Exposition Universelle, Paris, 1855

One of two monumental forms shown at the 1855 Exposition Universelle in Paris, the Vase Bertin was inspired by traditional Asian ceramics, contributing to its moniker “Celadon ware.” Yet the white decoration, called pâte-sur-pâte, represents an early and successful type of ornamentation developed in the West by Sèvres. The painstaking technique involved applying many layers of liquid porcelain slip to the body of the unfired vessel, allowing each to dry before manipulating the white relief with tools and coating the vase with glaze. The subtle green surface creates a suitable background for the frenzy of sea creatures and seaweed covering the vase.

[C1.27 – Salviati, Pantocsek, Webb, Tiffany]]

The Venice and Murano Glass and Mosaic Company (Salviati & Co.) Italy (Venice), 1866–present Vase, circa 1873 Glass Gewerbemuseum im Germanischen Nationalmuseum, Nuremberg, LGA 2047 Shown at the Weltaustellung 1873 Wien, Vienna

Leó Valentin Pantocsek, designer Hungarian, 1812–1893 J. György Zahn Glassworks, manufacturer Hungary (Zlatnó), 1839–present Vase and ewer, circa 1860 Glass Iparmuvészeti Múzeum, Budapest, 23 289 and 23 296 Shown at the London International Exhibition of 1862

Louis Comfort Tiffany, designer American, 1848–1933 Tiffany Glass and Decorating Company, manufacturer United States (Corona, New York), 1892–1902 Vase, circa 1900 Glass The Corning Museum of Glass, Corning, New York 51.4.532 Shown at the Alaska-Yukon-Pacific Exposition, Seattle, 1909

Philip Webb, designer English, 1831–1915 James Powell & Sons, Whitefriars Glass Company, manufacturer England (London), 1834–1981 Rummer, Claret, Wine and Champagne Glasses, circa 1860

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Glass Carnegie Museum of Art, Pittsburgh, Decorative Arts Purchase Fund and Rea Gift Fund, 95.56.1-2, Second Century Acquisition Fund, 95.116.2..1-2; and Edgar L. Levenson Fund, 1999.10 Similar designs shown at the London International Exhibition of 1862

European and American glass manufacturers experimented with new techniques of fabrication, many derived from historical prototypes. Fascination with the iridescent surfaces of ancient Greek and Roman glass prompted many manufacturers to attempt to re-create it, but it was the Hungarian chemist Leó Pantocsek who first succeeded in the early 1860s. He discovered that applying metallic oxides to the hot glass surface produced an iridescent coloring reminiscent of ancient examples. Three decades later, Louis Comfort Tiffany’s firm applied the technology to its popular Favrile line of glassware, including this paperweight vase.

The mottled appearance on this vase by Salviati & Co., referred to as “Chalcedony-agateware,” imitates the variations and patterns found in stones such as onyx and agate. Loosely based on Venetian glass from the Renaissance, these wares were created using a process in which metallic elements were added to the glass mixture. When exposed to fire, the various elements reacted differently, resulting in the colorful and energetic swirls.

Salviati & Co.’s famous work undoubtedly influenced progressive artists, like Phillip Webb, who were concerned with modern, handmade designs that nonetheless referenced the past. Webb’s glasses are 19th-century feats in transparency. The colors, twist stems, and applied rings and prunts are derived from 16th- and 17th-century Venetian glass, like that produced from the 1860s by Salviati & Co.

[C1.7 – Sèvres coupe, Bott, and Lepec]

Sèvres Porcelain Manufactory France (Sevres), 1756–present Coupe Henri II, 1851–1854 Glazed and enameled porcelain with gilding Carnegie Museum of Art, Pittsburgh, DuPuy Fund, 2006.6 Shown at the Exposition Universelle, Paris, 1855

Thomas John Bott Sr., designer English, 1829–1870 Thomas John Bott Jr., decorator English, 1854–1932 Worcester Royal Porcelain Company, manufacturer England (Worcester), 1751–present “Triumph of Scipio” ewer and stand, 1875 Glazed and enameled porcelain with gilding Philadelphia Museum of Art, Purchased with museum funds, 1876, 1876-1623, 1846-1624 Shown at the Centennial International Exhibition, Philadelphia, 1876

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Charles Lepec French, 1830–after 1888 Vase and stand, circa 1867 Enameled silver with gilding The Metropolitan Museum of Art, New York, Purchase, Friends of European Sculpture and Decorative Arts Gifts, 2004, 2004.452 Shown at the Exposition Universelle, Paris, 1867

French decorative arts from the Renaissance served as inspiration for many artists across Europe. At Worcester Royal Porcelain Company, the father-and-son team of Thomas Bott Sr. and Thomas Bott Jr. were especially adept at re-creating the appearance of 17th-century French Limoges enamel, using arsenic to render the crisp white color on dark ground. Charles Lepec applied enamel painting to partially gilded silver on this vase and stand, employing techniques used in French 16th-century metalwork, although the form and decoration derive from Middle Eastern sources. The Sèvres coupe is a close copy of 16th-century cups made in Saint-Porchaire, France, in form, decoration and technique. Saint-Porchaire was famous for mastering the difficult process of inlaying various colored clay pastes into a ceramic body, which Sèvres replicates here.

[C1A.9 – Diehl humidor / Belleek]

David McBirney & Co. Ireland (Belleek), under name 1859–1884 Tea urn and stand, 1872 Glazed porcelain with enamel and gilding Philadelphia Museum of Art, Gift of Miss Mary K. Gibson, 1929, 1929-135-1a–c Similar designs shown at the Second Annual International Exhibition, London, 1872

Artists often blended Asian-inspired decoration with historical European influences to create masterworks that exhibited their technical expertise. In this tea urn and stand, a dragon, griffins, and Chinese figure are created in extremely thin and finely worked porcelain decorated with rich, iridescent glazes. Such unique objects by David McBirney & Co. drew attention to Ireland’s manufacturing capabilities and won several gold medals at world’s fairs.

Charles-Guillaume Diehl French (born Germany), 1811–circa 1885 Humidor, circa 1865 Cedar, various woods, and silvered bronze Carnegie Museum of Art, Pittsburgh, Gift of the following, by exchange: Vira I. Heinz, George H. Taber, Stanley and Charlotte Bernstein, Mr. and Mrs. Carroll Miller, Jr. in honor of Mrs. Emma Guffey Miller, the Vira I. Heinz Fund of the Pittsburgh Foundation, Elizabeth Brown in honor of Ruth Crawford Mitchell, and Harlan E. Youel, 2010.40 Similar designs shown at the Exposition Universelle, Paris, 1867

In this humidor, the mounts of writhing snakes and salamanders were created using the innovative galvanoplastie technique, in which copper and then silver is electrically deposited on

36 | P a g e a plaster or gutta percha mold to form an independent copy. Combining stylistic sources, the marquetry panels depict Chinese grottoes and architectural ruins, while the overall shape of the humidor recalls an ancient sarcophagus with an Asian-inspired pagoda top. The fire-breathing salamanders wreathed in smoke, a witty addition to an object meant to house cigars, are also a symbol of the French king François I.

[C1A.11 – KPM, Sèvres Coupe de Rivoli]

Jules Pierre Michel Diéterle, designer of form French, 1811–1889 Antoine-Léon Brunel-Rocque, painter of scenes French, 1822–circa 1883 Pierre Doré, decorator French, active 1867 Léopolde Burthe, designer of decorative panels French (born New Orleans), 1823–1860 Sèvres Porcelain Manufactory, manufacturer France (Sèvres), 1756–present Coupe de Rivoli, circa 1867 Glazed porcelain with enamel, gilding, and gilded copper The Nelson-Atkins Museum of Art, Kansas City, Purchase: the Helen Jane and R. Hugh “Pat” Uhlmann Fund, 2003.18 Shown at the Exposition Universelle, Paris, 1867

Königliche Porzellan-Manufaktur (KPM) Germany (Berlin), 1763–present Presentation service, circa 1867 Glazed porcelain with enamel and gilding Carnegie Museum of Art, Pittsburgh, Ailsa Mellon Bruce Fund, 2007.11.1–4 Shown at the Exposition Universelle, Paris, 1867, and the Centennial International Exhibition, Philadelphia, 1876

New technologies and processes in ceramics debuted at the fairs. Both the French Sèvres Porcelain Manufactory and the German Königliche Porzellan-Manufaktur (KPM) employed a technique called en camaïeu, whereby the enamel glaze was painstakingly removed to create designs that resemble cameo. The large Coupe de Rivoli is one of a pair purchased by Emperor Napoleon III as a diplomatic gift.

[C1.12 – Castellani, Pugin, German iron jewelry, aluminum] Castellani Italy (Rome), 1814–1927 Diadem, circa 1860 Gold Private collection Shown at the London International Exhibition of 1862

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Castellani Italy (Rome), 1814–1927 Bracelet, circa 1860 Gold and glass Siegelson, New York Similar designs shown at the London International Exhibition of 1862

France Bracelet, circa 1858 Aluminum and gold Carnegie Museum of Art, Pittsburgh, Martha Mack Lewis Fund, 1998.5. Similar designs shown at the London International Exhibition of 1862

Germany Earrings, circa 1820 Steel Private collection Similar designs shown at the Great Exhibition of the Works of Industry of All Nations, London, 1851

August Ferdinand Lehmann German, active 1830–1860 Bracelet, circa 1835 Iron Private Collection Similar designs shown at the Great Exhibition of the Works of Industry of All Nations, London, 1851

During the 19th century, jewelry displayed at the fairs reflected the tastes, styles, and innovations of the period. The Italian firm Castellani was renowned for jewelry that replicated classical Greek and Roman designs with historical accuracy. Castellani revived the lost techniques of granulation and micromosaic, using his own extensive collection of historical models as inspiration. The delicate scenes on this bracelet were made with tiny pieces of glass specially cut to reflect light, while the diadem is a precise copy of ancient Etruscan victory wreaths excavated from Roman tombs.

Other artists and manufacturers demonstrated technical virtuosity—and progress—in designs using industrial materials. The inventive use of cast iron and steel creates a contradictory effect of delicacy and lightness compared to the hard, cold metal. Prior to the advent of modern smelting processes, aluminum was a highly prized metal on par with gold. Jewelry manufacturers saw commercial opportunities in the new material, and praised its light weight, malleability, and resistance to corrosion.

Augustus Welby Northmore Pugin, designer English, 1812–1852 Minton & Co., manufacturer

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England (Stoke-on-Trent), 1793–present Bread plate, circa 1849 Earthenware Carnegie Museum of Art, Pittsburgh, Decorative Arts Purchase Fund, 93.33 Model shown at the Great Exhibition of the Works of Industry of All Nations, London, 1851

Architect A. W. N. Pugin designed the Medieval Court in the Crystal Palace as well as many of the objects displayed within, including this bread plate. The plate was made using a revived encaustic process, in which malleable clay was pressed into a plaster-of-Paris mold in one color and the indentations were filled with clay of contrasting colors. While the process of making the plate was historical, the moral conveyed— “Waste not, want not”—was a product of Victorian virtues.

[C1S.26 – Gorham tea service]

Gorham Manufacturing Company United States (Providence, Rhode Island), 1831–present Tea service, 1886–1888 Silver with gilding and ivory The Nelson-Atkins Museum of Art, Kansas City, Purchase: the Helen Jane and R. Hugh “Pat” Uhlmann Fund and the John W. Uhlmann Foundation, 2006.20.1–5 Shown at the Exposition Universelle, Paris, 1889

East Indian designs played an important role in silver by the two leading American firms: Gorham Manufacturing Company and its rival Tiffany & Co. This richly decorated tea service by Gorham is their “Oriental East Indian” pattern, based on the complex floral ornament of 19th- century Indian silver made for the British market. It is thus one of many objects on view here that reveal non-Western styles seen through the prism of European taste.

[C1S.8 – Cortelazzo]

Antonio Cortelazzo Italian, 1819–1903 Ewer and stand, circa 1870 Steel with silver and gold Indianapolis Museum of Art, Purchased with funds provided by the Decorative Arts Society, the Robertine Daniels Art Fund in memory of her late husband, Richard Monroe Fairbanks Sr., and her late son, Michael Fairbanks, and the Anonymous Endowed Decorative Arts Fund, and the Krannert Charitable Trust, Mr. and Mrs. Herman C. Krannert, and Mrs. Robertine Daniels in memory of Mrs. Albert Beveridge by exchange, 2002.78 Shown at the First Annual International Exhibition, London, 1871

The Renaissance was frequently praised by critics above other artistic revivals for its seemingly superior ornamental style. Antonio Cortelazzo skillfully revived the Renaissance technique of damascening, in which metal is inlayed within metal. This ewer and stand, with motifs such as

39 | P a g e satyrs, intertwined acanthus leaves, putti, and a bird beak as a spout, exemplify his talent for embedding silver and gold into steel. So clever was Cortelazzo that his works were often sold as authentic antiques, rather than contemporary productions.

[C1.24 – Haviland candelabra]

Haviland Brothers and Company France (Limoges), 1842–present Candelabra, 1852–1853 Biscuit and glazed porcelain with enamel, gilding, and gilded brass New Orleans Museum of Art, Gift of Dr. Wayne T. Moore in memory of his wife, Elizabeth Nelms Moore (1927–2004), 2007.26.1–2 Shown at the Exhibition of the Industry of All Nations, New York, 1853

Created in France by an American-owned firm, these candelabra were purchased from the 1853 New York world’s fair by an American family for their home in the Midwest. While the naturalistic decoration and attire of the courting couple are derived from Rococo designs of the early 18th century, the lavish gilding, realistic modeling of the figures, boldly contrasting color palette, and enormous scale of the candelabra are truly modern. The combination of glazed porcelain and low-fired clay, referred to as “Parian ware,” was considered quite inventive for the time.

[C1.21 – Sake bottle, Minton]

Japan Sake bottle, circa 1876 Glazed stoneware Philadelphia Museum of Art: The General Hector Tyndale Memorial Collection, 1897, 1897-158 Shown at the Centennial International Exhibition, Philadelphia, 1876

Visitors to the Japanese stands at the fairs of the 1860s and 1870s were drawn to the craftsmanship and designs of the fascinating products. The traditional Japanese ceramic sake bottle, highlighted with freely applied white glaze and cobalt blue streaks, exemplifies the characteristics of handcraftsmanship and exoticism that attracted critics and collectors and influenced future generations of Western artists.

Christopher Dresser, designer English (born Scotland), 1834–1904 Minton & Co., manufacturer England (Stoke-on-Trent), 1793–present Vase and stand, circa 1873 Glazed porcelain with gilding Gewerbemuseum im Germanischen Nationalmuseum, Nuremberg, LGA 2118/1-2 Shown at the Weltaustellung 1873 Wien, Vienna

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The botanist and designer Christopher Dresser had advocated that the arts of non-Western cultures like China and Japan were invaluable to the advancement of British industry. He looked to Japanese ceramics, lacquer work, and prints as sources of inspiration for the deep burgundy ground embellished with gilded flying cranes, a popular motif symbolizing longevity.

[C1.20 – Rudolphi / Falize / Tiffany coffeepot / puff box]

Louis Steinheil, decorator French, 1814–1885 Frédéric-Jules Rudolphi, maker Danish (active Paris), 1808–1872 Vase, circa 1855 Steel with silver, gold, emeralds, and rubies Victoria & Albert Museum, London, 2654-1856 Shown at the Exposition Universelle, Paris, 1855

Tiffany & Co. United States (New York, New York), 1837–present Coffeepot, 1893 Silver with enamel, ivory, and jade Carnegie Museum of Art, Pittsburgh, Decorative Arts Purchase Fund, 83.16.2 Shown at the World’s Columbian Exposition, Chicago, 1893

In the 19th century, many European and American manufacturers blended various cultural models to create one-of-a-kind masterworks. The impressive vase by Frédéric-Jules Rudolphi employs the historic technique of steel inlaid with silver and gold, in an audacious design that combines Byzantine, medieval, Renaissance, and Middle Eastern motifs. The Tiffany & Co. coffeepot in what the firm called the “Saracenic style” recalls Middle Eastern vessels enhanced with enameling in stylized motifs of lotus and palm fronds.

Alexis Falize, designer French, 1811–1898 Antonie Tard, enameler French, active circa 1860–circa 1889 Maison Falize, manufacturer France, 1838–1897 Tiffany & Co., retailer United States (New York, New York), 1837–present Locket and box, circa 1867 Enamel and gold, and silk and board (box) The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1979.11 Similar designs shown at the Exposition Universelle, Paris, 1867

This delicate French locket displays some of the earliest Japanese-style decoration adopted by European goldsmiths, with a turquoise grasshopper perched in green grass on a vivid yellow ground. The locket retains its original presentation box, the exterior of which is covered in a

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Japanese textile, while the interior is stamped “Tiffany & Co.,” indicating the retailer of the locket.

Tiffany & Co. United States (New York, New York), 1837–present Puff box, 1880 Silver with mixed metals Carnegie Museum of Art, Pittsburgh, DuPuy Fund, 85.64 Similar designs shown at the Exposition Universelle, Paris, 1878

At the 1878 Paris exposition, Tiffany & Co. dazzled the public with their mastery of Japanese mixed metal techniques. The most complicated process was mokume, in which tiny pieces of different metals were shaped into a block that was heated, hammered, folded and re-hammered numerous times to form a sinuous wood-grain pattern. The block was then cut into sheets that were applied to the surface of the vessels and boxes, like this rare puff box.

[C1.15 – Deck, Brocard, Worcester]

Joseph-Théodore Deck French, 1823–1891 Bottle vase, circa 1862 Glazed and enameled earthenware Carnegie Museum of Art, Pittsburgh, Women’s Committee Acquisition Fund, 2008.14 Shown at the London International Exhibition of 1862

Philippe-Joseph Brocard French, active 1865–1896 Lamp, circa 1871 Glass with enamel and gilding Carnegie Museum of Art, Pittsburgh, Martha Mack Lewis Fund and Second Century Acquisition Fund, 2008.78 Model shown at the First Annual International Exhibition, London, 1871, and the Exposition Universelle, Paris, 1878

Islamic art played an important role in 17th- and 18th-century European design, but 19th-century world’s fairs allowed the public unprecedented access to this rich culture. French artists such as Philippe-Joseph Brocard imitated the cold-glass enameling of Islamic 13th- and 14th-century mosque lamps, while the French ceramist Joseph- Théodore Deck experimented with vibrant cobalt and turquoise glazes that recalled Isnik ceramics of the 15th century.

James Callowhill, designer English, 1838–1917 Worcester Royal Porcelain Company, manufacturer England (Worcester), 1751–present Covered vase, 1876 Porcelain with enamel and gilding

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Cincinnati Art Museum, Museum Purchase, 1887.20 Shown at the Exposition Universelle, Paris, 1878

Late-19th-century British manufacturers mined the fairs’ displays of Indian textiles and metalwork for inspiration. In 1878, the Worcester Royal Porcelain Company exhibited the vase here derived from Indian metalware jars and textiles, richly enameled with elaborate foliage against gilded arabesques. The ground color was achieved through the use of dark green clay, illustrating Worcester’s experimentation with new fabrication methods.

[C1.22 – Three Friends, Elkington, Sobei, Cloisonné]

Japan Vase with the “Three Friends of Winter”: Pine, Plum, and Bamboo, circa 1876 Silver and gold The Walters Art Museum, Baltimore, Acquired by William T. Walters, 1876, 57.1184 Shown at the Centennial International Exhibition, Philadelphia, 1876

This vase showing the “three friends of winter”—pine, plum, and bamboo—exemplifies the mixed metal techniques employed by Japanese artists that had a tremendous effect on the development of American silver manufacturing.

Kinkozan Sobei VI Japanese, 1824–1884 Covered jars, circa 1876 Enamel and brass on porcelain Philadelphia Museum of Art: The General Hector Tyndale Memorial Collection, 1897, 1897- 150a, b Shown at the Centennial International Exhibition, Philadelphia, 1876

Elkington & Co. England (Birmingham), 1829–1963 Vase, circa 1876 Enameled and gilded brass Carnegie Museum of Art, Pittsburgh, Alan G. and Jane A. Lehman Fund, 2008.32 Shown at the Centennial International Exhibition, Philadelphia, 1876

Japan Plate, circa 1876 Enamel on copper Philadelphia Museum of Art: Purchased with Museum funds, 1876, 1876-451 Shown at the Centennial International Exhibition, Philadelphia, 1876

Cloisonné enamels were some of the most popular objects exhibited in the Asian displays at the fairs. Designs ranged from visually arresting, geometric compositions as seen on this plate to the naturalistic butterflies and flowers on a pair of jars by Kinkozan Sobei VI. The decoration was

43 | P a g e accomplished by attaching thin metal strips to a metal or ceramic vessel, forming chambers (cloisons) to receive the enamel pastes. By 1876, Europeans had initiated their own versions of cloisonné, as seen in the work of Elkington & Co., which employed the process of electroforming to create recesses that were then filled with enamel.

Namikawa Sōsuke Japanese, 1847–1910 Bowl, circa 1900 Enamel and silver The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1900, 44.546 Shown at the Exposition Universelle, Paris, 1900

Japanese artists also adapted Western technology into their artistry. For example, Namikawa Sōsuke employed uranium colorants newly introduced from Germany in technically challenging plique-à-jour enamel, also called backless cloisonné.

[C1A.13 – Imperial Glass punch bowl, Bonafede vase]

Imperial Glass Factory Russia (St. Petersburg), 1777–1917 Punch bowl and stand with glasses, 1873 Glass Gewerbemuseum im Germanischen Nationalmuseum, Nuremberg, LGA 2046/1-8 Shown at the Weltaustellung 1873 Wien, Vienna

Designers across the globe appropriated symbols from civilizations of the ancient past, near and far, to assert national identity. This punch bowl by the Imperial Glass Factory reveals how Russian manufacturers exploited the expressive power of their past. The richly colored and gilded glass resembling bejeweled metalwork and embroidered textile patterns is executed in a pseudo-Byzantine style that was considered quintessentially Russian.

Leopoldo Bonafede Italian (active St. Petersburg), 1833–1878 Vase, 1876 Glazed and enameled earthenware National Museum of American History, Smithsonian Institution, Washington, DC, 1982.0802.01 Shown at the Centennial International Exhibition, Philadelphia, 1876 This vase, decorated with lively and colorful folkloric Russian motifs derived from traditional embroidery, was presented to an American audience at the 1876 Philadelphia fair. Although the decoration was derived from the past, its geometric representation made it truly modern.

[C1S.30 – Barbedienne vase]

Louis-Constant Sévin, designer French, 1821–1888 Ferdinand Barbedienne Foundry, manufacturer

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France (Paris), 1839–1953 Vase, circa 1862 Enameled and gilded bronze The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 1996.295 Model shown at the London International Exhibition of 1862

This monumental vase by Barbedienne is a mélange of historic and exotic influences: Egyptian cats support a Greek amphora abundantly decorated with Persian arabesques. Exhibited at the 1862 London exhibition, this is the most remarkable of the firm’s important work in champlevé enamel, accomplished by casting or carving recesses in the metal, leaving a raised line that forms the outline of the designs. The enamel is laid in the recesses, fired, and then filed and polished. The technique was an economical alternative to traditional Asian cloisonné enameling with a similar artistic effect.

[C1.19 – Lobmeyr, Clutha vase, Salviati]

Meyr’s Neffe, manufacturer Czech Republic (Winterberg), 1841–1922 J. & L. Lobmeyr, retailer Austria (Vienna), 1823–present Punch bowl and plate, circa 1878 Glass with mica, enamel, and gilding J. & L. Lobmeyr, Vienna Shown at the Exposition Universelle, Paris, 1878

Meyr’s Neffe, manufacturer Czech Republic (Winterberg), 1841–1922 J. & L. Lobmeyr, retailer Austria (Vienna), 1823–present Decanter and goblet, circa 1870 Glass with aluminum and enamel J. & L. Lobmeyr, Vienna Shown at the Exposition Universelle, Paris, 1878

Throughout the 19th and 20th centuries, Lobmeyr presented some of the most exciting techniques for decorating glass at world’s fairs. Their magnificent punch bowl and plate integrate flecks of mica in white opal glass, a process adapted from Venice. In the late 19th century, aluminum was a precious material that was used sparingly. In the decanter and goblet, delicate aluminum filigree in Islamic designs ornamented with blue enamel was applied to the surface. These important objects have remained with the Lobmeyr firm since their debut at the 1878 world’s fair.

The Venice and Murano Glass and Mosaic Company (Salviati & Co.) Italy (Venice), 1866–present Ewer, circa 1873 Glass

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Gewerbemuseum im Germanischen Nationalmuseum, Nuremberg, LGA 2047 and LGA 2056 Shown at the Weltaustellung 1873 Wien, Vienna

Christopher Dresser, designer English (born Scotland), 1834–1904 James Couper and Sons, manufacturer Scotland (Glasgow), active circa 1870–1895 Clutha vase, circa 1885 Glass Carnegie Museum of Art, Pittsburgh, DuPuy Fund, 1996.4 Model shown at the Exposition Universelle, Paris, 1889

Christopher Dresser, working with the Scottish firm of James Couper and Sons, created a line of twisted and subtly colored blown glass, capitalizing on the fluid nature of the material in its molten state. Dresser often used metallic foils and powders that evoke Venetian aventurine glass of the 16th century, which was also a source of inspiration for Salviati & Co.’s glass objects, such as this ewer.

[C1AS.14 – Tortoiseshell]

Japan (possibly Nagasaki) Tray, circa 1870 Tortoiseshell with lacquer and ivory Victoria & Albert Museum, London, 844-1872 Shown at the Second Annual International Exhibition, London, 1872

By the 1872 London exhibition, Japanese manufacturers were producing goods that answered the European and American demand for objects in exotic materials and with identifiable Japanese themes. This large tortoiseshell tray is a masterwork of lacquer ware, exploiting the variations in color and translucency of the shell. It is ornamented with various techniques in lacquer and applied ivory. A central image of Mount Fuji, the emblem of Japan, dominates the work, while in the well of the shell are scenes taken from the evocative Tales of Ise, the 10th-century collection of Heian-period poems and narratives.

[C1S.10 – Tall Japanese vase]

Fukagawa Yeizaemon Japanese, 1833–1889 Vase, circa 1875 Glazed and enameled porcelain Philadelphia Museum of Art, The General Hector Tyndale Memorial Collection, 1897, 1897- 352a Shown at the Centennial International Exhibition, Philadelphia, 1876

The dynamic scene on this vase, made for the Western market, demonstrates not only the European taste for asymmetrical compositions of exotic landscapes but also the introduction of

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Western glaze technology. New colors, some achieved with the inclusion of uranium, were first introduced by a German chemist named Gottfried Wagener in the 1870s. The vivid purples, pinks, and greens transformed the appearance of Japanese ceramics.

[C1.2 – Pannonia group, David-Anderson, Zsolnay]

David-Andersen Norway (Oslo), 1876–present Centerpiece, circa 1893 Silver Private collection, David Kozloff and Mark Meaders Similar designs shown at the World’s Columbian Exposition, Chicago, 1893

As Norway struggled to assert its independence from Sweden as early as 1814, enthusiasm for the Viking Revival style resonated strongly with leading manufacturers, particularly the Oslo firm of David-Andersen. Norway had not been an autonomous kingdom since the Middle Ages, when the Vikings controlled trade networks from Russia to North America. Traditional Nordic legends republished in the mid-19th century romanticized Viking life; archaeological excavations in 1867 and 1880 of Norwegian Viking ships fueled the popularity of the revival style, as seen in this centerpiece. A reconstructed ship even sailed from Norway to Chicago for the 1893 Chicago fair.

Image caption: Viking ship docked at the bank of Lake Michigan during the 1893 Chicago fair. In the background is the Manufacturers and Liberal Arts Building.

Zsolnay Factory Hungary (Pécs), 1853–present Pannonia series vases and bowl, circa 1878 Glazed earthenware with enamel and gilding Janus Pannonius Museum, Pécs, Hungary, 52.136, 51.1037, 51.1045, 58.15, 51.1046 Shown at the Exposition Universelle, Paris, 1878

Zsolnay Factory delved back to the prehistoric era for sources of an authentic Hungarian national style. Archaeologists had unearthed Bronze Age vessels with bulging bodies, flared lips, and prominent handles from a site near Pécs during the 1860s. These were the inspiration for Zsolnay’s Pannonia style, named after the ancient tribes inhabiting the land that became the western portion of Hungary.

[C1.3 – Frackleton, Pueblo Vase]

G. Paulding Farnham, designer American, 1859–1927 Tiffany & Co., manufacturer United States (New York, New York), 1837–present Pueblo vase, 1893 Silver with niello, copper, and gold

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Tiffany & Co. Archives, New York, B1993.01 Shown at the World’s Columbian Exposition, Chicago, 1893

Susan Frackelton American, 1848–1932 Olive jar, 1893 Glazed stoneware with cobalt Philadelphia Museum of Art, Gift of John T. Morris, 1893, 1893-309,a,b Shown at the World’s Columbian Exposition, Chicago, 1893

Artists in the United States drew inspiration from many sources, including Native American motifs and the colonial past. Potter Susan Frackelton’s designs were influenced by traditional salt-glazed American pottery with cobalt blue decoration, yet the asymmetrical arrangement of the olive branches on the surface reflects the concurrent popularity of Japanese designs. G. Paulding Farnham evoked the abstract patterning of Pueblo pottery and plant life sacred to the Southwest tribe in his technically sophisticated vase decorated with copper and niello inlays.

[C2.13 – Ogasawara / Grueby / Nymphenburg / Sosuke / Dammouse]

Attributed to Ogasawara Takijirō Japanese, active circa 1900–1912 Vase, circa 1905 Enameled copper Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, New York, 58.287 Similar designs shown at the Exposition Universelle et Internationale, Liège, 1905

In the early 1900s, Japanese makers looked to the ancient technique of cloisonné as a means of creating modern and luxurious wares. In the vase attributed to Ogasawara Takijirō, wireless cloisonné—a technique whereby the wires that usually contain the enamel have been removed during the firing process—gives greater definition to the swimming carp against the vibrant turquoise ground.

Hermann Gradl, designer German, 1869–1934 Louis Levallois, designer French, active 1901–1906 Nymphenburg Porcelain Factory, manufacturer Germany (Nymphenburg), 1747–present Tureen and plates, circa 1900 Glazed porcelain with enamel Carnegie Museum of Art, Pittsburgh, Decorative Arts Purchase Fund, 93.76.1.1, 3–4 Models shown at the Exposition Universelle, Paris, 1900

In this dinner service by Nymphenburg Porcelain Factory, restless lines convey a sense of motion, framing a playful marine world with an impressive sense of perspective. The objects reflect the obsession with naturalism and the manipulation of line for expressive effect that was

48 | P a g e characteristic of Art Nouveau. The “Fish” service was reproduced for an eager clientele until at least 1914, a testament to its popularity.

Grueby Faience Company United States (Boston, Massachusetts), 1894–circa 1911 Vase, circa 1899–1900 Glazed earthenware Designmuseum Danmark, Copenhagen, 933 Shown at the Exposition Universelle, Paris, 1900

The Grueby Faience Company’s development of a matte green glaze with a rich surface, seen on this vase, attracted collectors from across the globe. Famous purveyor of Art Nouveau wares Siegfried Bing sold this spectacular example to Pietro Krohn, the director of the Danske Kunstindustrimuseum (Designmuseum Danmark) in Copenhagen shortly after the fair opened in 1900. Grueby’s texture and forms were inspired by the glazes of French pottery and the refined simplicity of Japanese ceramics. It is easy to see why the firm’s work attracted Bing and the European consumer.

Albert-Louis Dammouse French, 1848–1926 Bowl, circa 1900 Glass Designmuseum Danmark, Copenhagen, 830 Shown at the Exposition Universelle, Paris, 1900

The sandy surface and luminous hues of this small bowl by Albert-Louis Dammouse exhibits the artist’s mastery of color and light. Trained as a ceramist, Dammouse was adept at using the pâte- de-verre technique, in which glass paste is formed in a mold, fired in a kiln, and then carved, resulting in glass vessels as thin as fine porcelain. The swirling algae decoration has an affinity with the aquatic motifs on the service by Nymphenburg Porcelain Factory.

[C2A.7 - Case C2A.7: Orchid brooches, Iris brooch, Feuillatre]

G. Paulding Farnham, designer American, 1859–1927 Tiffany & Co., manufacturer United States (New York, New York), 1837–present Brooch, 1889–1896 Gold, diamonds, and enamel Tiffany & Co. Archives, New York, A1998.05 Similar design shown at the Exposition Universelle, Paris, 1889

G. Paulding Farnham, designer American, 1859–1927 Tiffany & Co., manufacturer United States (New York, New York), 1837–present

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Brooch, 1889–1893 Gold, silver, diamonds, and enamel Tiffany & Co. Archives, New York, A2005.19 Shown at the Exposition Universelle, Paris, 1889

Eugène Feuillâtre French, 1879–1916 Flask, circa 1900 Enameled silver and glass with gilding Private collection, Courtesy of Sinai and Sons, Ltd., London Shown at the Exposition Universelle, Paris, 1900

Tiffany & Co. United States (New York, New York), 1837–present Corsage ornament, 1900 Montana sapphires, diamonds, demantoid garnets, topaz, blued steel, gold alloys, and platinum The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1900, 57.939 Shown at the Exposition Universelle, Paris, 1900

[C2A.8 – Faberge, Lalique, Tiffany]

G. Paulding Farnham, designer American, 1859–1927 Tiffany & Co., manufacturer United States (New York, New York), 1837–present Collar, circa 1900 Gold, diamonds, Mexican fire opals, rubies, zircons, peridots, and tourmalines Tiffany & Co. Archives, New York, A1998.24 Shown at the Exposition Universelle, Paris, 1900

René Jules Lalique French, 1860–1945 Stick pin, 1898–1899 Gold with enamel, opal, and diamonds Designmuseum Danmark, Copenhagen, 890 Shown at the Exposition Universelle, Paris, 1900

René Jules Lalique French, 1860–1945 Brooch, circa 1903 Gold, glass, enamel, and sapphire The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1904, 57.943 Shown at the Louisiana Purchase International Exposition, St. Louis, 1904

Peter Carl Fabergé, designer Russian, 1846–1920

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Albert Holmström, workmaster Finnish, 1829–1903 House of Fabergé, manufacturer Russia (St. Petersburg), 1842–1918 Tiara, circa 1900 Gold, platinum, and diamonds Private collection Shown at the Exposition Universelle, Paris, 1900

G. Paulding Farnham, designer American, 1859–1927 Louis Comfort Tiffany, designer American, 1848–1933 Tiffany & Co., manufacturer United States (New York, New York), 1837–present Scent bottle, 1900 Gold, platinum, glass, Mexican fire opals, diamonds, rubies, emeralds, and enamel Tiffany & Co. Archives, New York City, A1999.44 Shown at the Exposition Universelle, Paris, 1900

[C2.9 – Cypriote / Favrile bowl / Galle / Daum]

Tiffany Glass and Decorating Company United States (Corona, New York), 1892–1902 Bowl, circa 1893 Glass Carnegie Museum of Art, Pittsburgh, Purchase: Gift of Audrey Hillman Fisher Foundation, 2007.41 Similar designs shown at the Exposition Universelle, Paris, 1900

Louis Comfort Tiffany, designer American, 1848–1933 Tiffany Glass and Decorating Company, manufacturer United States (Corona, New York), 1892–1902 Vase, circa 1900 Glass The Metropolitan Museum of Art, New York, Gift of Robert and Gladys Koch, 1999.412.2 Similar designs shown at the Exposition Universelle, Paris, 1900

Émile Gallé French, 1846–1904 Seaweed Jug (Les algues), circa 1900 Glass Designmuseum Danmark, Copenhagen, 1036 Shown at the Exposition Universelle, Paris, 1900

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Ernest Bussière, designer French, 1863–1937 Daum Frères, manufacturer France (Nancy), 1887–1962 Pitcher, circa 1900 Glass Designmuseum Danmark, Copenhagen, 828 Shown at the Exposition Universelle, Paris, 1900

In the early 1890s, the firm of Louis Comfort Tiffany began producing hand-blown glass with iridescent surfaces and rich colors that were inspired by the lush palette of ancient glass discovered in archaeological excavations. Tiffany referred to the invention as “Favrile” glassware, and touted it as “an expression of the highest possible beauty obtainable in a material generally regarded as uncompromising and difficult to work.” His firm’s superiority in the field of iridescent glass caught the attention of Siegfried Bing, a Parisian Art Nouveau dealer, who introduced Tiffany’s glass to international audiences, with a spectacular showing at the 1900 Paris exposition.

Like Louis Comfort Tiffany, French glassmakers employed the fairs to promote their groundbreaking experiments in glass. Émile Gallé’s most modern innovation was his technique of marquetrie sur verre, or glass that is inlaid and carved away. In a vase that depicts an aqueous scene of seaweed and shells, Gallé drew upon Japanese art for inspiration. Daum Frères also turned to nature for the form of the small pitcher in the shape of a larkspur or delphinium flower; the twisting line of the stem shapes the handle. Two layers of glass—a colorless top layer covering a turquoise ground—were carved to create the shimmering surface, which shifts from pinks to taupes and greens.

[C2S.3 – Rorstrand, Rozenburg, Rookwood] Algot Eriksson, decorator Swedish, 1868–1937 Rörstrand Porslins Fabriker, manufacturer Sweden (Stockholm), 1726–present Vase, circa 1900 Glazed porcelain Cincinnati Art Museum, Museum Purchase with funds provided by Mr. and Mrs. William O. DeWitt, Jr., 1997.33 Similar designs shown at the Exposition Universelle, Paris, 1900

Rozenburg Haagsche Plateelbakkerij The Netherlands (The Hague), 1883–1914 Milk jug, 1900 Glazed porcelain with enamel Designmuseum Danmark, Copenhagen, 793 Shown at the Exposition Universelle, Paris, 1900

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The rich, pictorial depiction of a poppy on this vase by Rörstrand has the effect of optical blur suggestive of photography. Critics of the 1900 Paris fair praised the simplicity and charm of Rörstrand’s decoration, set against a striking black background.

The decoration of the Rozenburg factory was also widely lauded. The Dutch firm was renowned for its extremely thin-walled porcelain wares, which proved the benefit of machine technology in the manufacture of artistic ceramics.

Kataro Shirayamadani, decorator American (b. Japan), 1865–1948 Rookwood Pottery Co., manufacturer United States (Cincinnati, Ohio), 1880–1967 Vase, circa 1900 Glazed stoneware with copper and silver Cincinnati Art Museum, Museum Purchase: Lawrence Archer Wachs Trust and a generous gift from Judge and Mrs. Norman A. Murdock, 2004.68 Shown at the Exposition Universelle, Paris, 1900

The Rookwood Pottery Co. garnered a gold medal at the 1900 Paris fair, due in large part to the innovative contributions of chief decorator Kataro Shirayamadani. This vase features a deep Black Iris glaze achieved through the application of a gradated black background with a lustrous, colorless overglaze. The composition is enveloped at the base in a graceful asymmetrical metal mount of water lily leaves enhanced with copper and silver electrodeposit, in which electricity was used to apply metals on carved and fired clay relief.

[C2.2 – Keller, Vinzenz]

Keller Frères France (Paris), 1878–1922 Pitcher, 1900 Gilded silver Les Arts Décoratifs, Musée des Arts Décoratifs, Paris, 997.119.1 Shown at the Exposition Universelle, Paris, 1900

Vinzenz Mayer’s Söhne Austria (Vienna), 1810–1922 Candelabra, circa 1900 Silver The Nelson-Atkins Museum of Art, Kansas City, Purchase: the Charlotte and Perry Faeth Fund, 2005.16.1–2 Manufacturer exhibited at the Exposition Universelle, Paris, 1900

While traditional in material, this pitcher by Keller Frères is free of surface ornament, with dynamic lines forming the curves of the spout and handle. The resulting sleek shape is unlike anything seen at the time and foreshadowed streamlined designs of the 20th century.

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The twisting branches of the candelabra by Vinzenz Mayer’s Söhne, in contrast, reflect the organic nature of the prevailing Art Nouveau style. Their design leads the eye around the silver forms in flowing spirals only to snap back abruptly in whiplash angles.

[C2.6 – Arabia, Zsolnay, Bindesboll, Finch]

Alfred William Finch, designer Belgian, 1854–1930 Iris Workshops, manufacturer Finland (Porvoo), 1897–1902 Bowl, circa 1900 Glazed earthenware Private collection, Dr. David and Susan Werner Similar designs shown at the Prima Esposizione Internazionale d’Arte Decorativa Moderna, Turin, 1902

Zsolnay Factory Hungary (Pécs), 1853–present Pitcher, 1899–1904 Glazed earthenware Carnegie Museum of Art, Pittsburgh, Gift of William S. Huff, in memory of G. A. Steiner, 2009.25 Model shown at the Prima Esposizione Internazionale d’Arte Decorativa Moderna, Turin, 1902

Arabia Porcelain Factory Finland (Helsinki), 1874–present Fennia series vase, circa 1902 Glazed earthenware Carnegie Museum of Art, Pittsburgh, Purchase: Gift of Dr. David Werner and Sue Werner, 2011.2 Similar designs shown at the Prima Esposizione Internazionale d’Arte Decorativa Moderna, Turin, 1902

Designers of the late 19th century often expressed national identity in objects by ornamenting them with identifiable images, narratives, and motifs. By the early 20th century, artists denoted nationalist feelings more subtly, through romantic patterns or symbols often revitalized from traditional folk art and handicrafts.

József Rippl-Rónai, designer Hungarian, 1861–1927 Zsolnay Factory, manufacturer Hungary (Pécs), 1853–present Plates, circa 1906 Porcelain with enamel Janus Pannonius Museum, Pécs, Hungary, 51.5125, 51.5123

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Shown at the Esposizione Internationale del Sempione, Milan, 1906

Thorvald Bindesbøll, designer Danish, 1846–1908 Anton Michelsen, manufacturer Denmark (Copenhagen), 1841–1985 Vase, 1900 Silver The Cleveland Museum of Art, John L. Severance Fund, 2001.94 Similar designs shown at the Exposition Universelle, Paris, 1900

[C3.13 – Miyagawa Kozan vase with blossoming plum]

Miyagawa Kōzan Japanese, 1842–1916 Vase, circa 1904 Glazed porcelain The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1904, 49.1912 Shown at the Louisiana Purchase International Exposition, St. Louis, 1904

The blossoming plum tree and fluid calligraphy lines on this vase demonstrate the imaginative genius of ceramic artist Miyagawa Kōzan. One of his most impressive technical innovations was the development of the kiritōshi (cut through) process, whereby areas of the ceramic body were removed, replaced with porcelain paste, and then re-fired. This vase with kiritōshi decoration helped Kōzan win the grand prize at the 1904 St. Louis fair. The characters recount a traditional Japanese poem about a nightingale, making this object an important example of Japanese nationalism at the fairs.

[C3A.10 – Robineau Urn of Dreams]

Adelaide Alsop Robineau American, 1865–1929 The Urn of Dreams, 1921 Glazed porcelain Carnegie Museum of Art, Pittsburgh, Gift of Dana Robineau Kelley, grandson of the artist, and family, 82.90.1 Similar designs shown at the Esposizione Internazionale d’Industria e del Lavoro, Turin, 1911, and the Panama-Pacific International Exposition, San Francisco, 1915

A powerful masterwork from late in Adelaide Alsop Robineau’s career, The Urn of Dreams owes its intensity to the successful combination of incised decoration and strong matte glazes. The complex mystical imagery ornamenting the vase, including intricately carved demon masks, sleeping figures, and watchful genii, recalls Incan and Pre-Columbian art, frequent sources of inspiration for Robineau. One of the few women artists who rose above the role of decorative painter to make pots “from clay to finish,” Robineau won top honors at the 1911 Turin and 1915 San Francisco fairs.

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[C3A.16 – Lalique necklace]

René Jules Lalique French, 1860–1945 Necklace, circa 1903 Glass, enamel, and gold The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1904, 57.937 Shown at the Louisiana Purchase International Exposition, St. Louis, 1904

With its clusters of stylized glass grapes and vivid enameled leaves, this necklace presents René Lalique’s early use of cast glass for jewelry. Lalique rejected the fashion for large gemstones and emphasized unusual combinations of precious and semiprecious materials in exquisite settings. He also moved away from realistic interpretations of nature to create works of greater abstraction and repetition, as seen here.

[C3.4 – Hazan vase]

Itaya Hazan Japanese, 1872–1963 Vase, circa 1915 Glazed porcelain The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1915, 49.2281 Shown at the Panama-Pacific International Exposition, San Francisco, 1915

Itaya Hazan’s training as a sculptor is evident in the lively carved surface of overlapping bamboo leaves that encircle this large jar. The shallow relief of the dramatic repetitive pattern is heightened by Hazan’s inventive combination of rich green and blue stains with the pure white finish of the unglazed porcelain.

[C3.6 – Laeuger vase]

Max Laeuger, designer German, 1864–1952 Tonwerke Kandern Pottery, manufacturer Germany (Baden), 1895–1929 Vase, circa 1896 Glazed earthenware Carnegie Museum of Art, Pittsburgh, DuPuy Fund, 2011.3 Similar designs shown at the Exposition Universelle, Paris, 1900, and the Louisiana Purchase International Exposition, St. Louis, 1904

[Case 3S.19 – Tiffany Indian-style bowl]

Louis Comfort Tiffany, designer American, 1848–1933 Tiffany & Co., manufacturer

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United States (New York, New York), 1837–present Bowl, 1913 Gold with enamel The Walters Art Museum, Baltimore, Acquired by Henry Walters, 1912, 57.967 Shown at the Panama-Pacific International Exposition, San Francisco, 1915

This bowl reflects Louis Comfort Tiffany’s keen analysis of decorative arts from non-Western cultures. The bell-shaped form references 19th-century Indian spittoons. The elaborate ornamentation also recalls the overall decoration of Indian bidri ware, which incorporates silver patterns in a blackened amalgam of base metals. Instead of mixed metals, Tiffany employed transparent plique-à-jour enamel, inspired by a Japanese technique that renders a rich turquoise color against the opulent gold framework.

[C3A.11: Hoffmann service]

Josef Hoffmann, designer Austrian, 1870–1956 Wiener Werkstätte, manufacturer Austria (Vienna), 1903–1932 Tea service, circa 1923 Rhodium-plated silver with gilding and ivory The Nelson-Atkins Museum of Art, Kansas City, Purchase: the Charlotte and Perry Faeth Fund, 2003.13.1–5 Model shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925 Although Josef Hoffmann originally designed this tea service in 1917, it was still considered novel enough to be included at the 1925 Paris fair. It was displayed in the Austrian Pavilion, which Hoffmann also designed. Exaggerated fluting based on Neoclassical ornament modernizes the forms. The innovative rhodium-plated silver resists tarnishing, while the interiors are gilded for added elegance.

[C3.12 – Sika service]

Jutta Sika, designer Austrian, 1877–1964 Wiener Porzellan-Manufaktur, Josef Böck, manufacturer Austria (Vienna), 1898–1960 Tea service, circa 1902–1903 Porcelain with enamel The Minneapolis Institute of Arts, The Modernism Collection, gift of Norwest Bank Minnesota, 98.276.17.1-2 Model Shown at the Louisiana Purchase International Exposition, St. Louis, 1904

Jutta Sika was one of the most prolific female designers of the early 20th century. The refined geometric forms and patterns on her tea service stand in stark contrast to the effusive Art Nouveau curves that dominated turn-of-the-century decorative arts. The forward-looking shapes

57 | P a g e and ornamentation anticipate designs of the mid-20th century. Sika’s revolutionary designs secured her a bronze medal at the 1904 St. Louis world’s fair, where the tea service was displayed.

[C3.15 – Ashbee, Kotera, Olbrich]

Jan Kotěra, designer Czech, 1871–1923 Glasfabrik Harrachov, original manufacturer Czech Republic (Nový Svět), 1714–present Moser Glassworks, manufacturer Czech Republic (Karlovy Vary), 1857–present Punch bowl with glasses, designed circa 1904, manufactured 1996 Glass The Corning Museum of Glass, Corning, New York, 97.3.37 Model shown at the Louisiana Purchase International Exposition, St. Louis, 1904 Jan Kotĕra was the key proponent behind the modernist movement in Czech architecture and art. A pupil of the Austrian architect Otto Wagner, Kotĕra was a firm adherent to functionalism, eschewing decoration for the expression of structure and function. While the faceted glass punch set by Kotěra looks modern in its lack of applied ornament, the design was based on early 19th- century German models.

Charles Robert Ashbee, designer English, 1863–1942 Guild of Handicraft, maker England (London and Chipping Campden), 1888–1907 Dish and spoon, circa 1902 Silver, glass, and chrysoprase Carnegie Museum of Art, Pittsburgh, DuPuy Fund, 1996.51.1–2 Model shown at the Prima Esposizione Internazionale d’Arte Decorativa Moderna, Turin, 1902

Typical of the modern shapes at the 1902 Turin fair is this bowl and spoon by Charles Robert Ashbee; the modest form is based on 18th-century porringers elegantly abstracted, with a graceful looping handle and semiprecious stone accents. Ashbee, who founded the Guild of Handicraft in 1888, sought to reassert the traditions of preindustrial production; his romantic ideals were rooted in socialist principles and inspired by the writings of Arts and Crafts advocates William Morris and John Ruskin.

Joseph Maria Olbrich, designer Austrian, 1867–1908 Eduard Hueck Metallwarenfabrik, maker Germany (Lüdenscheid), 1864–present Schnapps set, circa 1901 Pewter

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Saint Louis Art Museum, Museum Shop Fund and funds given by Mr. and Mrs. Sam Langsdorf Jr. and Mrs. John W. Calhoun, 57:1995 Model shown at the Louisiana Purchase International Exposition, St. Louis, 1904

Displays at the 1904 St. Louis fair were presented as furnished interiors of “industrial products,” despite the fact that many were handcrafted objects like this schnapps set by Joseph Maria Olbrich. The stylized peacock feather decoration showcases the designer’s ornamental sensibilities, while the use of relatively inexpensive pewter reveals an interest in creating works attainable by the growing, increasingly sophisticated middle class.

[C3S.3 – Sevres jardinière]

M. Maignan, designer French, active 1910–1913 Louis-Jules Mimard, decorator French, born 1868, active 1884–1928 Sèvres Porcelain Manufactory, manufacturer France (Sèvres), 1756–present Jardiniere, 1913 Gilded and enameled porcelain Carnegie Museum of Art, Pittsburgh, Women’s Committee Acquisition Fund and Decorative Arts Purchase Fund, 2010.54 Shown at the Panama-Pacific International Exposition, San Francisco, 1915, and the Panama-California Exposition, San Diego, 1915

Sèvres Porcelain Manufactory created this jardiniere to demonstrate its artistic prowess on the international stage. With its skillful deployment of the experimental pâte nouvelle porcelain body (fired at a lower temperature than regular hard paste and thus allowing for the integration of more glazed decoration), Sèvres cemented its position as a leader in design and technique. The composition of vibrantly colored figures contained within a framework of attenuated lines and an abstracted frieze are inspired by the avant-garde stagings of the Ballets Russes, the Russian dance company directed by Serge Diaghilev that toured the world to great acclaim in the early 20th century.

Image caption: The Sèvres stand at the 1915 San Francisco fair.

[C3.7A – Ponti, Ambassador, Horejc]

Gio Ponti, designer Italian, 1891–1979 Richard-Ginori della Manifattura di Doccia, manufacturer Italy (Milan), 1896–present The Archaeological Stroll (La passeggiata archaeologica) urn with cover, 1925 Porcelain with enamel and gilding The Metropolitan Museum of Art, New York, Purchase, Edward C. Moore Jr. Gift, 1931, 31.83

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Similar models shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Oswald Haerdtl, designer Austrian, 1899–1959 Karlsbader Kristallglasfabriken A.G., manufacturer Czech Republic (Karlovy Vary), under name 1922–1941 J. & L. Lobmeyr, retailer Austria (Vienna), 1823–present Ambassador Service wine decanter, 1925 Glass J. & L. Lobmeyr, Vienna Model shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Jaroslav Horejc, designer Czech, 1886–1983 J. & L. Lobmeyr’s Neffe Stefan Rath, manufacturer Czech Republic (Kamenický Šenov), 1918–circa 1948 J. & L. Lobmeyr, retailer Austria (Vienna), 1823–present Vase, 1921–1922 Glass Saint Louis Art Museum, Museum Purchase, 17:1927 Similar designs shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

The elegant modernization of classical motifs and forms is characteristic of Art Deco. Gio Ponti’s vase wittily mixes antique and nationalist symbols on the attenuated form of an ancient Roman urn to create an object that supported the Italian government’s agenda for a modern style firmly rooted in classical purity. The objects displayed by J. & L. Lobmeyr at the 1925 fair varied from simple silhouettes in delicate “muslin” glass to the cylindrical vase engraved with a figure of Bacchus, god of wine, in a style influenced by 17th-century Bohemian glass.

[Case C3.7B – Fink, Decorchemont]

Lotte Fink, designer Austrian, active 1925 J. & L. Lobmeyr, retailer Austria (Vienna), 1823–present Vase, circa 1925 Enameled glass J. & L. Lobmeyr, Vienna Shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

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François-Émile Décorchemont French, 1880–1971 Bowl, circa 1925 Glass The Metropolitan Museum of Art, New York, Purchase, Edward C. Moore, Jr. Gift, 1925, 25.211 Similar designs shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Both Lotte Fink and François-Émile Décorchemont were noted for their revival of historic techniques in glassmaking. Décorchemont aimed to perfect the pâte-de-verre process, in which glass paste is cast in a mold; he experimented with metallic oxides to provide a greater range of expressive colors, as demonstrated in the subtle hues of the bowl with snake handles. Fink revived the ancient technique of enamel decoration on glass, employing stylized Renaissance figures rendered in shimmering, semi-transparent enamel.

[C3A.17 – Boucheron, Cartier jewelry]

Art Deco jewelry ranged from minimalist geometric designs to exuberant displays of technical virtuosity and inventive combinations of glittering jewels. They also illustrate historical and cross-cultural styles popular during the early 20th century. Egyptian influences, inspired by the excavation of Tutankhamen’s tomb, are evident in the blue faience eye of Horus and scarab beetle in Cartier’s bracelet and belt buckle. A pair of Chinese jade carp embellished with black onyx, coral, and moonstone support the Cartier clock, while comet hands encrusted with diamonds and mother-of-pearl keep time. The dynamic pattern of gemstones set in platinum and osmium on the Boucheron bracelet demonstrates the firm’s progressive designs. The impressive brooch by Tiffany & Co. combines emeralds and newly fashionable champagne diamonds. The reduced and abstracted form of the brooch’s design, rendered in a bold and expressive manner, is typical of the American interpretation of Art Deco.

Maison Cartier France (Paris), 1847–present Bracelet, circa 1929 Lapis lazuli, turquoise, diamonds, onyx, and enamel Siegelson, New York Similar designs shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Maison Cartier France (Paris), 1847–present “Le ciel” mystery clock, circa 1925 Obsidian, onyx, rock crystal, coral, jade, diamonds, mother-of-pearl, enamel, and moonstones Siegelson, New York Similar designs shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

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Maison Cartier France (Paris), 1847–present Belt buckle, circa 1926 Faience, enamel, sapphires, and diamonds Siegelson, New York Similar designs shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Maison Boucheron France (Paris), 1858–present Bracelet and box, 1925 Platinum, osmium, gold, enamel, diamonds, rubies, sapphires, and emeralds Siegelson, New York Shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Tiffany & Co. United States (New York, New York), 1837–present Brooch, 1939 Gold, platinum, diamonds, and emeralds Tiffany & Co. Archives, New York, A1998.25 Shown at the New York World’s Fair, 1939

[C3S.5 – Ruys Zaire bowl]

Raymond Ruys, designer Belgian, 1885–1956 Delheid Frères, manufacturer Belgium (Brussels), 1828–1981 Zaire centerpiece bowl, 1930 Silver The Nelson-Atkins Museum of Art, Purchase: the Charlotte and Perry Faeth Fund, 2002.4 Shown at the Exposition Internationale Coloniale, Maritime et d’Art Flamand, Antwerp, 1930

The grand prize given to this striking silver centerpiece at the 1930 Antwerp world’s fair celebrated both the work of Belgian jeweler and designer Raymond Ruys and the importance of Belgium’s colonial holdings in Africa. Ruys combined traditional African forms and motifs with the abstracted lines of Art Deco to produce this unusual and aptly named Zaire centerpiece bowl. Drawing from the solidity, mass, and ornamentation of Congolese stools and drums, the bowl’s highly stylized horizontal bands, vertical ribs, and trapezoidal feet of gleaming, hand-hammered silver exemplify this jeweler’s demanding sense of craftsmanship and his adept design ability.

[C3.14 – Eichner, Yamamuro, Puiforcat]

Laurits Christian Eichner

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American (born Denmark), 1894–1967 Vases, 1939 Pewter Philadelphia Museum of Art, Gift of Mrs. Rodolphe M. de Schauensee, 1944, 1944-92-1a,b Shown at the New York World’s Fair, 1939

Jean Puiforcat French, 1897–1945 Soup tureen, 1937 Silver and hematite Philadelphia Museum of Art, Purchased with Museum Funds, 1948, 1948-70-1a,b Shown at the Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris, 1937

Yamamuro Hyakuseiji Japanese, 1900–1990 Vase, 1936 Bronze with gold and silver Philadelphia Museum of Art, Gift of Kazuko Yamamuro and the family of Hyakuse Yamamuro in memory of the artist, 1992, 1992-8-1 Shown at the New York World’s Fair, 1939 Although these objects display forms inspired by industry, each was handmade using traditional craft techniques. Laurits Eichner worked in the traditional American material of pewter, yet evoked a sleek, machine aesthetic in the turned and fluted forms of his vases. Yamamuro Hyakuseiji cast and incised the Art Deco form of his vase, then applied gold and silver to the surface, in the manner of traditional Japanese metal- and lacquer work. Jean Puiforcat’s tureen is noted for its simple geometries, soft curves, and accents of semiprecious stone.

[C3A.1 – Aalto]

Alvar Aalto, designer Finnish, 1898–1976 Karhula-Iittala, manufacturer Finland (Hämeenlinna), 1881–present Savoy vase (Eskimåkvinnans skinnbyxa), designed 1936 Glass The Corning Museum of Glass, Corning, New York, 97.3.62 Model shown at the Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris, 1937

Alvar Aalto, designer Finnish, 1898–1976 Karhula-Iittala, manufacturer Finland (Hämeenlinna), 1881–present Aalto Flower, 1939

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Glass The Corning Museum of Glass, Corning, New York, 51.3.164 Model shown at the New York World’s Fair, 1939

Alvar Aalto favored minimal ornamentation and organic forms. The restless, curving lines of the Savoy vase, still in production today, evoke the organic shapes seen in his architecture and bentwood furniture designs. In his Aalto Flower vases, a similar undulating edge creates “blooms” as each component changes in scale and outline.

[C3.8A, B– Lobmeyr centerpiece and bowls, Marinot bottles]

Marianne Rath, designer Austrian, 1904–1985 Karlsbader Kristallglasfabriken A.G., manufacturer Czech Republic (Karlovy Vary), under name 1922–1941 J. & L. Lobmeyr, retailer Austria (Vienna), 1823–present Rare Earths series centerpiece and bowls, circa 1925 Glass J. & L. Lobmeyr, Vienna Shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925

Maurice Marinot French, 1882–1960 Bottles, 1911–1937 Glass Carnegie Museum of Art, Pittsburgh, Gift of Mlle. Florence Marinot, 71.38.7, 12, 14, 15 Similar designs shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, Paris, 1925, and the Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris, 1937

Among the remarkable innovations at the 20th-century fairs were new techniques in glass. The French designer Maurice Marinot experimented with hand-blown surfaces that included air bubbles, layers of colored glass, and applied metal oxides. Lobmeyr’s eye-catching centerpiece and bowls exhibit the technical and aesthetic expertise of the Austrian firm. The set is striking not only for its dynamic and unusual molded forms that anticipate biomorphic designs of the 1950s, but also for the deep and varied coloring. In what was known as the Rare Earths series, uranium was incorporated into the glass, allowing the object to change color under light.

[For pedestal:] Press the button to see the glass change color under light.

[C3S.2 – Rohde Z clock]

Gilbert Rohde, designer

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American, 1894–1944 Herman Miller Clock Company, manufacturer United States (Zeeland, Michigan), 1927–1937 Z-Clock, 1933 Glass, enamel, and chromium-plated steel Dallas Museum of Art, anonymous gift, 2006.19 Shown at A Century of Progress International Exposition, Chicago, 1933 In its use of new materials and dynamic composition, the Z-Clock designed by Gilbert Rohde is an original in American Modernist design. Its streamlined form is consistent with the progressive ideals of the 1930s fairs. The transparent glass face seems to float on the chromium-plated tubular steel support that thrusts skyward. The resulting effects of lightness and minimal structure place the design in the company of Rohde’s other furniture as well as earlier cantilevered works by Marcel Breuer and Ludwig Mies van der Rohe.

Image caption: The living room in the Masonite House at the 1933 Chicago fair, from Dorothy Raley, A Century of Progress Homes and Furnishings (Chicago: M. A. Ring, 1934).

[C3A.18 – Tiffany tea service]

Attributed to Arthur L. Barney, designer American, 1884–1955 Tiffany & Co., manufacturer United States (New York, New York), 1837–present Tea service, 1939 Silver, jade, and plastic Minneapolis Institute of Arts, The Modernism Collection, gift of Norwest Bank Minnesota, 98.276.228.1 Shown at the New York World’s Fair, 1939 The geometric and unornamented form on this tea service by Tiffany & Co. represents one of the firm’s rare forays into the machine aesthetic. While the clean lines of the service evoke the precision of mechanical production, these limited items were intended as luxury goods, not as models for manufacturing.

[4th Floor Resource Center, Case 1:]

Owen Jones English, 1809–1874 The Grammar of Ornament, 1856 Collection of Herb Cohen and José Fumero Architect and designer Owen Jones, Superintendent of Works for the Great Exhibition of 1851 in London, decorated the interior of the Crystal Palace and arranged its displays. The Grammar of Ornament grew out of his work at the Crystal Palace and articulated his principles of design. The heavily illustrated volumes provided rich, colorful examples of historical styles of ornament and became immediately influential among designers, architects, and artists. This work is still considered an essential design reference.

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Souvenir Color Print of Opening Day, 1851 Postcard Collection of Southern Shows, Inc.

[4th Floor Resource Center, Case 2:]

Walter Smith, editor English, 1836–1886 The Masterpieces of the Centennial International Exhibition, Volume 2, Industrial Arts, 1876 Collection of the Mint Museum Library The three volumes of Masterpieces document the fine art, industrial arts, and science presented at the 1876 Centennial Exhibition in Philadelphia. The volume of industrial or applied arts promoted European designs, particularly furniture, at the exhibition that appealed to the rising middle-class in America. Its popularity justified a separate printing under the title Examples of Household Taste the same year.

Maud Howe Elliot, editor American, 1854–1948 Art and Handicraft in the Woman’s Building of the World’s Columbian Exposition, Chicago, 1893 Collection of the Mint Museum Library The call for women’s suffrage corresponded with the rise of the World’s Fairs and by 1893, a building dedicated to the contributions of women in the fine, decorative, and industrial arts had become an expected, though still new, component. The Woman’s Building at the Columbian Exposition is particularly noteworthy for its female architect and for the international content of its exhibits. The building also included a library of seven thousand volumes dealing with the lives, working conditions, and culture of women around the world.

C. R. Chisholm & Brothers, publisher United States (Portland, Maine), circa 1888–1897 World’s Columbian Exhibition, Chicago 1893 Photographic View Album, 1893 Collection of the Mint Museum Library

W.B. Conkey Company, publisher United States (Chicago, Illinois), 1877–1949 World’s Columbian Exposition 1893 Official Catalogue, Part X, Department K Fine Arts, 1893 Collection of the Mint Museum Library This copy of the official catalogue was evidently useful to its owners during their visit to the Exposition. Memorandum pages in the back include penciled notations indicating each of the national exhibits visited as well as the reminder: “Monday - Ferris Wheel.” Designed and built by George Washington Gale Ferris, Jr. (1859–1896), the Ferris Wheel was 264 feet tall with 36 cars that held 60 people each and is the most recognizable symbol of the 1893 World’s Columbian Exposition.

[3rd floor Resource Center, Case 1:]

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Maurice Dufrène, editor French, 1876–1955 Ensembles Mobiliers / Exposition International 1925, 1925 Collection of the Mint Museum Library

This publication is the first in a series of three photographic portfolios edited by interior designer Maurice Dufrène that document the room interiors exhibited at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. Several of the rooms designed by Jacques-Émile Ruhlmann (1879–1933) are pictured in these portfolios. Ruhlmann’s corner cabinet is on view in a gallery nearby.

J.E. Goossens, publisher Belgium (Brussels), active circa 1916–1925 Exposition Internationale de Arts Décoratifs et Industriels Modernes de Paris, 1925: Catalogue Officiel de la Section Belge, 1925 Collection of the Mint Museum Library This guide to the Belgian Pavilion is heavily illustrated with black and white photographs as well as richly colored illustrations of the objects and showcase rooms exhibited in that structure at the 1925 Paris exposition.

Century of Progress, Inc., publisher United States (Chicago, Illinois), active circa 1932–1934 Official Guide Book of the Fair 1933, 1933 Collection of the Mint Museum Library

M.A. Ring Company, publisher United States (Chicago, Illinois), active circa 1933–1934 A Century of Progress Homes and Furnishings, 1934 Collection of the Mint Museum Library This book showcases fourteen houses that were sponsored by different companies, designed by different architects, decorated by different interior designers, and exhibited at the 1933 A Century of Progress International Exposition in Chicago. The publication also includes essays on the external and internal features of each house with accompanying black and white photographs. The Gilbert Rohde vanity and ottoman, which may be seen in a gallery nearby, are featured in the bedroom of the “House of Tomorrow.”

[3rd floor Resource Center, Case 2:]

Robert-Kellogg-Stillson, Inc., publisher United States (New York, New York), circa 1930s See the New York World’s Fair in Pictures, 1939 Gift of Mrs. Thelma Kesler in memory of John Ray Kesler, son of Judge and Mrs. Martin L. Kesler, Taylorsville, North Carolina Mint patron Thelma Kesler visited the 1939 World’s Fair and vividly remembered famous ice skater Sonja Henie gliding across the ice rink, and “the Monkey Mountain, of course I was only

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3 years old.” Monkey Mountain, part of Frank Buck’s Jungleland in the Amusement Zone of the Fair, was 80 feet tall and inhabited by 600 monkeys.

Frank Monaghan, editor American, 1904–1969 Donald Deskey, designer American, 1894–1989 Official Souvenir Book New York World’s Fair, 1939 Gift of Doris Anne Bradley

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