a glimpse into the showroom

of the wiener werkstaette

of america, 1922-23 by janis staggs-flinchum

One hundred years ago, the Viennese art critic and invites you to the opening of the Wiener Hermann Bahr anticipated the founding of the Werkstaette. 581 Fifth Avenue, ." Those Wiener Werkstatte: "We have plenty of artists at who were fortunate enough to attend one of the present, we have the craftsmen as well, all we now private openings would have found the showroom lack is the organization. What is missing is a great located between Forty-Seventh and Forty-Eighth organization to link art and craftsmanship.... Let there Streets, on the east side, situated on the second floor be a bridge! These two must meet at long last. A of a six-story building which also contained a tremendous studio, a colony of workshops where the cabinetmaker's shop, a men's clothing boutique, a artists will work with the craftsmen..."1 Bahr’s hat shop, and a photography studio. prescience is a fitting foreword to unveiling a largely Pre-opening press revealed a tempting list of what unknown chapter in the history of the Wiener would be on display: "interior art, original works in Werkstatte. While the firm's seminal role in the devel­ gold, silver, brass, ceramics, glass and ivory, silks, laces opment of modern design is legendary, the and wallpapers in new designs."2 The New York short-lived branch in New York City is largely forgot­ Globe's description proved apt: "The work of these ten. Before addressing this venture, the firm's Vienna artists has been collected with special foundation in Vienna merits a brief review. emphasis on their adaptability for stage settings and In late 1902 the Austrian architects Josef Hoffmann decoration."3 While this selection process may have and Kolomon Moser teamed up with businessman been logical, given Urban's area of expertise, it is the Fritz Warndorfer to establish a workshop in Vienna in first indication that the objects exhibited may not the arts and crafts tradition. The firm's production have been appropriate for the American domestic ranged from one-of-a-kind hand-crafted luxury items interior. to limited serial production. Early works designed by Visitors who toured the galleries would have found Hoffmann and Moser are notable for their stark and an environment that was both dramatic and luxurious architectonic forms with geometric ornament. in nature. Although the venture was commercial in its Warndorfer remained the principal backer of the firm aim. the galleries suggested otherwise, causing one until 1914, when he emigrated to the United States as critic to state, "there is no appearance of the store in most of the family’s fortune had been lost in the firm. the beautiful rooms in which the exhibition is shown. 4 After the devastation of World War I, it was the Urban's own attitude about the items on display support of another Austrian emigre, architect and reflects his level of personal investment and affinity for theatrical designer Joseph Urban, that raised the the objects. His daughter Gretl remarked that "it was hopes of the Wiener Werkstatte. A visit to Vienna in funny to see Father upset when one of his favourite the summer of 1921 prompted Urban to establish a pieces was being looked al by a possible showroom in New York City as a way to help the purchaser."b On at least one occasion. Gretl recalled artists and craftsmen struggling to survive in a city that her father purchased items he was fond of rather and economy devastated by war. After months of than witnessing their sale. A pair of exotic fantasy planning, with advance notices placed in the press birds numbered among those favoured artworks to alert the public, the showroom officially opened in which took pride of place in Urban's home in Yonkers, early June 1922. Two openings were held, on 8 June (figure 1) from 1 pm - 5 pm and on 9 June from 11 am - 5 pm. Urban's method of display was also atypical and Included with the invitation was a card which stated avant-garde. Urban preferred either to highlight the following: "Joseph Urban wishes to introduce in single objects on pedestals, small tables, or alcoves, America the Master Craftworks of the artists of Vienna or to hide objects in secret compartments of his intrl-

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Figure 1: Dagobert Peche (1887-1923) “Fantasy' bird covered box Austria, c. 1920 Silver and coral Height: 8 in. (20.3 cm)

The 20th Century Arts Fair • 27 which were located on its perimeter. Part of what contributed to the intimate atmosphere of this room was the skylight, comprised of interlocking circles, which provided hazy illumination. Gustav Klimt's Die Taenzerin (The Dancer), one of his last paintings, was the centre of attraction. Flanking the painting in a semi-circular row hung a series of prints derived from paintings by Klimt. The painting and prints all hung on solid, light-coloured panels. Strips of silk fabric, printed in the Krone (Crown) pattern designed by Dagobert Peche, were interspersed between these panels. Slender columns stood in front of the silken panels; delicate silver objects were placed on top, including a pair of dancers (made of silver with semi-precious stones) by Julius Zimple, and also a pair of fruit­ shaped vases by Peche.9 Urban must have felt an

ENTRANCE TO THE WIENER WERKSTAETTE affinity with Peche, who was artistic director of the FURNITURE AND ROOMS DT JOSEPH URBAN Wiener Werkstatte at this time, for Peche's designs not only were prominently displayed in the showroom but also numbered in Urban's personal collection.’0 □WIENERD MODERN INTERIORS The centre of the reception room was reserved as a gathering point—two gondola chairs faced each JOSEPH URBAN other, flanked on both sides with matching tables. All ANNOUNCES A NEW COLLECTION of the furniture in this room was designed by Urban OF ARTCRAFT-WORK FROM VIENNA H and decorated in an identical fashion: the entire WERKST/EITE GIFTS FOR ALL OCCASIONS IN SILVER suite was painted in pale tea-colour enamel and

0FAMERICA,MC ENAMEL •• IVORY •• KERAMIC LEATHER adorned with embossed circles painted silver. As a 581 FIFTH AVE □NEWYORKD SILKS •• LACE •• BRASS •• GLASS final touch of luxury, pieces of mother-of-pearl were WALL PAPERS •• BOOKLET ON REQUEST embedded in the silver scroll pattern. Playing off the circular shape of the room, Urban continued the theme by selecting a round black carpet, with four white rings at the outer edge, to act as a subtle Figure 2: reflection to the skylight above. The intricate filigree Advertisement from The News Picture of Society which presents frieze just beneath the skylight suggested the Joseph Urban's original configuration of the reception room. Wiener geometric embellishments applied to the furniture. Werkstaette of America. 1922 Silver services by Hoffmann and bowls designed by Peche filled with floral bouquets rested atop the tables and completed the ensemble. Study of the room suggests that Urban carefully chose each cately designed cabinets. He placed only a very element of the room in order that all would work small percentage of objects on view at any given together in harmony. time; reportedly a large amount of stock was Located on one end of an axis which abutted the retained in storage on the premises/' Because so few reception room was a gallery which served as an items we re on display, giving "art value to each office space as well, (figure 3) Framed prints of the piece,"7 each object occupied such an important works of Klimt linked this room with the central gallery, role in the overall design of the space that initial yet the similarity between the two spaces seems to buyers were not permitted to remove their purchases have ended with that detail. While Urban empha­ until the fall, when Urban redesigned the galleries. This sized the intimate nature of the reception room by practice, uncommon for the salesroom, emphasized lowering the ceiling and employing warm colours to the exhibition quality of the space but may have impart a sense of gaiety, the adjacent showroom discouraged eager clients.6 had a ceiling which measured over twelve feet in One of the most frequently published interiors of height, with black and green as the dominant the showroom is the circular reception room, (figure colours. The walls wore divided into discrete units, 2) This space v/as evidently designed as an environ­ outlined in a strong, black frame; some panels on the ment for pleasantries as very few objects were lower half were covered with the wallpaper Dos presented there; the rotunda area functioned as the Wasser, designed by Peche in 1922. The furniture was focal point for the various special galleries and niches simple and severe in outline, rendering it a formidable

The 20th Century Arts Fair • 28 component to the strict atmosphere established by Figure 3: View of one gailery. Wiener Werkstaette of America. the architectural framework. Critic Mary Fanton New York City. 1922 Roberts, writing for Vogue, perhaps unintentionally described Urban’s furniture somewhat disparagingly, but not without a degree of praise: "the black woodwork is one of Urban's fascinating achieve­ ments. In these New York rooms, only the cheapest that were kept in the wings until a dramatic presenta­ kind of pine is used, with a single coat of black stain tion could be made, (figures 3 & 5) applied so that the grain of the wood is richly One of the most popular and affordable areas in revealed—an attainment of exceptional beauty, the showroom was the lacework niche, (figure 6) almost without expense."" Roberts' observation Dramatic black and white photographs give some served as the conclusion to her article on the indication as to the beauty of this area and demon­ showroom and one wonders if readers of the column strate how Urban's theatrical experience presented might have inadvertently applied her remarks about this material to advantage. The lace was displayed Urban's furniture to the other items displayed in the behind glass and hung in black and silver frames, set gallery, which were neither "almost without expense" against warm grey velvet panels. Tablecloths, doilies, nor cheaply made. Many articles crafted in silver, and rectangular lace inserts figure among the types among I he most expensive items available for of items displayed. Examples of both bobbin lace purchase, were exhibited atop pedestals and tables and tulle embroidery can be readily identified in the in this room, including a silver vase of trumpet form installation photographs. Of particular note are the designed by Hoffmann, (figure 4) Additional objects striking figural panels by Peche. which were said to were tucked away inside cabinets designed by have been inspired by performances of the Ballet Urban. One view of the room reveals the treasures, Russes. The work of other artists was also featured in such as a silver "pleated” garniture by Hoffmann. the showroom, including the humorous animal

The 20th Century Arts Fair • 29 Figure 4: Josef Hoffmann (1870-1956) Vase Austria, c. 1920 Silver Height: 9X in. (23.8 cm) Diameter: 4H»in. (10.6 cm)

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1 designs of Fritzi Low and the astrological symbols of Figure 5: Josef Hoffmann (1870-1956) Anny Schroder. Lace was frequently mentioned in Garniture suite articles on the showroom, which is understandable Austria, c. 1920 given that the material had a functional aspect as Silver well as aesthetic appeal. Height of vases: 8/j in. (20.95 cm) As a way of enticing patrons to repeat their visits. Height of bowl: 3% in. (8.9 cm) Urban redesigned rooms within the gallery periodi­ Diameter: 5% in. sq. (14.6 cm) cally beginning in the fall of 1922.:* A photograph from 1923 documents one such transformation, which carries an unmistakable Viennese flair, (figure 7) Unlike views of the showroom from its opening, which society sheets and theatrical bulletins) also devoted are characterized by restraint, this view suggests the space to discussing the showroom's merits. Many luxury of an Urban interior. The exceptional silver and emphasized that Urban's intent was to provide aid to ivory tea service by Hoffmann visible on the side "war-torn" Vienna. Speaking to a business audience, lable designed that same year bears silent testimony, the Dry Goods Economist stated the problem bluntly: (figure 8) It is both an indication that the market in "Vienna today asks for bread not art."13 According to Vienna has not yet recovered and it signals the the New York Times, on opening night one-third of the importance bestowed upon the New York City items on view were sold.14 Around a week later, the venture. Unfortunately, these expectations would not New York World reported that about one-half of the be greeted with an equal level of commitment on objects on display had sale tags.'* the part of the U.S. audience. While the public was intrigued by Urban's The showroom was covered extensively by both Viennese showroom, prudence was the hallmark national and local newspapers in the U.S. and by the when it came to making purchases, despite the press in Germany and Austria; various periodicals worthiness of the cause. Gretl recalled that "expen­ (running the gamut from fashion and art journals to sive pieces did not sell, but smaller items did quite

The 20th Century Arts Fair • 31 Figure 6: Lace niche. Wiener Werksiaeite of America. beautiful bit of silver and glass.”'- Roberts clearly New York City. 1922 favoured works like Hilda Jessers vase, hand painted with a whimsical cityscape, which would make a stunning centre-piece without requiring a group of coordinating accoutrements, (figure 9) Unfortunately, most patrons followed Roberts decorating advice well...44 " Rooeris. in her article far /ague. summed up and were both selective and limited in their the typical reaciiari: ‘ it would be difficult to imagine, purchases. here in America at least, lining our ordinary normal By the spring of 1923. the financial status of the lives in a house done entirely after the manner of the gallery was grim; I he ambitious advertising campaign Wiener Workstaette; orie room perriops mighi be war, drastically reduced and notices of discounts practical just as we do a space with a Chinese publicized. This lactic did not turn the tide either, and effect or a corner or a garden that is like a vista in Im early December closing announcements Japan.4"7 Roberts continued by advtsir^ her readers appeared In local papeis. stating that the remaining to consider selecting items ’with dly/imiriotion44 to deck would bo sold at a fifty per cent reduction, a ’key up delightfully our more sombre surrour.dk z^s." In Jiale which was to bonolit both institutions and private fact she termed The process'/ highlighting if/jr/ido'/i oolleeloi!», When Urban died a decade later, his Fifth Ferris as father/.rr.erioar i k. e/coutfOn' After '/otter Avenue shown mm had slipped nom the collective ingdeooratir^lips. V/hica inyol/cd intogr'itif.g ooiiv.lenee; the lengthy obituan which appeared in designs by l-k/fmoan cad Kabo if - period ?'//« stylo the Haw Ynify f/mos, commemorating his remarkable dPbfgWz tnc •//*#/&/>■'/ toe o< hleveinun|:i, did nol mention ihe gallery. A few y/ienor to loAmor/// o V- '/ ■ 0!///! /,,!/ '/eoni |a|ei, Ri i| mils reminisced about the showroom »dw* /As* will i II ie I •• ii i« till 11| I tit u Islv it j! "It was. after the first die* k e| Mil) dhe, iH v.oplovt

W Figure 7: View of one gallery. Wiener Werkstaette of America. New York City. 1923

The 20th Century Arts Fair • 33 Figure 8: Height of tray: 2X in. (6 cm) thrilling new scheme of living. It was young, gay, Josef Hoffmann (1870-1956) Length of tray: 2316 in. (59.7 cm) simple and extravagant."19 As this century draws to a Four-piece teaset with tongs Width of tray: 4% in. (12.2 cm) close, it seems fitting to pay tribute to Joseph Urban, Austria. 1923. Height of teapot: 4 in. (10.2 cm) Silver and ivory Width of teapot: 3 in. (7.6 cm) and the members of the Wiener Werkstdtte, who Length of teapot: 9-A in. (23.8 cm) ushered in this past century with one of the most important early sources of modernism.

Janis Staggs-Flinchum is preparing a book in collaboration Desire: Merchants. Power, and the Rise of a New with Historical Design Inc. on the Wiener Werkstaette of American Culture (New York: Vintage Books, 1993). 305- America which will highlight a previously unpublished archive. 308. 9. Notably, a pair of the dancers by Zimple from the Urban NOTES estate were exhibited in the November-December 1966 1. Werner J. Schweiger. Wiener Werkstatte: Design in exhibition held at the Galerie St. Etienne (New York City), Vienna 1903-1932 (New York: Abbeville Press. 1984), 16. although they were incorrectly attributed to Peche. Bahr's remarks were published in an article entitled "Der (Refer to the number 5 on the exhibition catalogue englische Sty I.* Osterreichische Volks-Zeitung. 25 checklist.) Finally, one of the Peche's fruit-shaped vases, November 1899. Bahr also encouraged the founding of which was also exhibited in the reception room of the the Secession. See Frank Whitford. Gustav Klimt (New New York gallery, also ended up in the Urban collection York: Crescent Books. 1993). 46. For biographical and was number 6 in the exhibition checklist. information on Hermann Bahr. refer to Paul Hofmann. The 10. For further reading on Peche. refer to Staggs-Flinchum. Viennese: Splendor. Twilight and Exile (New York: “Dagobert Peche." Magazine Antiques (January 1999). Doubleday. 1988). 120-121. 188-195. 2. 'Urban Opens Art Show." New York Herald. 11. Mary Fanton Roberts. “Curious and brilliant new arts and 7 June 1922.9. crafts from Vienna." Vogue 60, no. 8 (15 October 1922). 3. From announcement appearing In the New York Globe. 81 and 104. 7 June 1922, unpaginated clipping. Urban archive, 12. In addition to the publicity angle. Urban used furniture Columbia University. and items from the showroom as props for the films he 4. "Exhibition Brings Viennese Art Here." New York Times. 25 designed for Cosmopolilan Productions, a company June 1922. E6. bankrolled by William Randolph Hearst as a vehicle for 5. Randolph Carter and Robert Reed Cole. Joseph Urban: Marion Davies. Architecture. Theatre. Opera. Film (New York: Abbeville 13. “Hints for decorators found in art Urban has brought to Press. Inc., 1992). 108. America." Dry Goods Economist. 29 July 1922. 6. An article which ran in the New York Times a few v/eeks unpaginated clipping. Urban archive. after the opening stated that “only one-quarter of the 14. “1,000 Viennese Artists Show Their Work: Beautiful Plastic collection has been placed on exhibition." See previous Arts of the Wiener Werkslaotte Exhibited by Joseph citation “Exhibition Brings Viennese Art Here." Urban." New York Times. 14 June 1922. 19. 7. Ibid. 15. "Viennese Creations in Cralt Work Here." New York 8. It would not be until the late 1920s that the modernist World. 25 June 1922. unpaglnated clipping in Urban (i.e. spare) approach to window display v/ould be archive. accepted in the department store trade. This may serve 16. Carter and Cole. 108. as some gauge to Urban's unique method of interior 17. Roberts, 81. design for his own gallery. William Leach discusses the 18. Ibid. early efforts of Raymond Loewy. Frederick Kiesler. and 19. Roberts. "Timeless Modernism." Arts & Decoration 44 Norman Bel Geddes to reform store window displays by (August 1936). 11. opting for only a few articles, which would be carefully Acknowledgment: All Photographs courtesy of Historical Design Inc- positioned and dramatically lit. Refer to Leach. Land of New York City

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.. ■! *,

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Figure 9: Hilda Jesser (born 1894) Vase Austria, c. 1921 Hand painted earthenware Height: 914 in. (23.5 cm)

The 20th Century Arts Fair • 35 c Danny Lane Biographical Notes O 19 Hythe Road. NW10 6RT. UK 1955 Born Urbana Illinois USA 1975 Moves to UK to study with telephone 44 181 968 3399 fax 44 181 968 6289 stained glass artist Patrick www.dannylane.co.uk email: [email protected] Reyntlens 1975-77 Byam Shaw School of Art. London n 1977-80 Studies painting at Central School of Art. London with Cecil Collins. Develops applied art objects inspired by Isamu Noguchi. 1981 Sets up studio Whitecross Street. x London EC 1. then moves to New North Place © 1982 Moves Studio to Metropolitan Hospital. London N1 1983-85 Opens Glassworks In Camden Lock Shows work at Ron Arad's One-Off. London First showing of work In Italy 1986 Shows work at Themes and Variations and Crucial Galleries. London 1987 Participation In numerous shows and exhibitions 1988-90 3 one-man shows In London and Paris and at Dilmos Design of tables for manufacture by Fiam Italia Late 1989 establishes metal workshop and develops large scale pieces Travels to Japan and undertakes architectural commissions in and Presents one-man shows In London and Zurich Moves studio to Hythe Road. North West London 1991-93 Largo scale commissions: Edinburgh. London. Barcelona. China One man show at the Economist Plaza. St. James's. London One man show ’Sand and Light". Mathildenh6ho. Darmstadt 1994 Commissioned by the Victoria and Albert Museum to create a 35m stacked glass balustrade in their New Glass Gallery Largo scale architectural and sculpture commissions in London. Middlesbrough. Tel Aviv. Munich One man show in Rohsska Museet. Goteburg. Sweden 1995 Large scale sculpture commissions in Southampton. London. Tokyo Exhibitions in Edinburgh. London. Sevres. Paris. Frankfurt. Tokyo 1996 Commission for New Bond Street. •Bond Slreet' ‘Man Catching a Star" commissioned sculpture for Approach. London Private home inlerlor in Hampstead. London Exhibitions in London. Venice. Scotland. USA. Boston 1997 Sculpture commission Delhi. India Commission for Greycoat pic In Bishopsgato. London Danny Lane (b. 1955) USA 1998 Commissioned water sculpture. Shora a ala el Nil for Conrad Reeling Walls International Hotels in Cairo Stalactite arid Stalagmite 1994 chandelier outdoor sculpture First piece breaking now ground with scientific glass blowers In each wall constructed from X Inch (10 mm) flat glass arcs 6ft 6 In. (198 cm) wide x 8 Inches (20 cm) deep tubular borosilicato glass • pair of glass fountains. Shanghai left: 7 ft 6 In. (228 cm) high; right: 6 ft 6 In. (198 cm) high 1999 Commissioned water sculpture for Swlro Properties. Hong Kong location: Munich, Germany Further development of work with blown tubular borosilicato glass - a collection ot lamp and vases Exhibition ’Breaking Tradition' with Mallott of Bond Streot. creating a relationship between works by sculptor Danny lane and important I9lh century glass furnituro makers.

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