Decorative Arts Society Volume 24, Volume Number 2 newsletter/fall 2016 The DAS DAS The Decorative Arts Society, Inc. in 1990 for the encouragement of interest in, the appreciation of and the exchange of information about the decorative arts. To, is pursuea not-for-profit its purposes, New theYork DAS corporation sponsors foundedmeetings, Newsletter programs, seminars, tours and a newsletter on the decorative arts. Its supporters include museum curators, academics, collectors and dealers. Please send change-of-address information by e-mail to [email protected]. Board of Directors Editor President Gerald W. R. Ward Gerald W. R. Ward Senior Consulting Curator & Susan P. Schoelwer Senior Consulting Curator Katharine Lane Weems Senior Curator Robert H. Smith Senior Curator Katharine Lane Weems Senior Curator of of American Decorative Arts and George Washington’s Mount Vernon American Decorative Arts and Sculpture Emeritus Mount Vernon, VA Sculpture Emeritus Museum of Fine Arts, Boston Museum of Fine Arts, Boston Boston, MA Boston, MA Treasurer Stewart G. Rosenblum, Esq. Robert C. Smith Award Committee Coordinator Jeannine Falino, Chair Ruth E. Thaler-Carter Secretary Independent Curator Freelance Writer/Editor Moira Gallagher New York, NY Rochester, NY Research Assistant Metropolitan Museum of Art Lynne Bassett New York, NY Costume and Textile Historian

Program Chairperson Dennis Carr Emily Orr Carolyn and Peter Lynch Curator of The DAS Newsletter is a publication Assistant Curator of Modern and American Decorative Arts and of the Decorative Arts Society, Inc. The Contemporary American Design Sculpture purpose of the DAS Newsletter is to serve as Cooper Hewitt, Smithsonian Design Museum of Fine Arts, Boston, MA a forum for communication about research, Museum Boston, MA exhibitions, publications, conferences and New York, NY other activities pertinent to the serious Emily Orr study of international and American deco- Margaret Caldwell Assistant Curator of Modern and rative arts. Listings are selected from press Contemporary American Design releases and notices posted or received Judith Hernstadt Cooper Hewitt, Smithsonian Design from institutions, and from notices submit- Museum ted by individuals. We reserve the right Committees New York, NY to reject material and to edit material for length or clarity. Charles F. Montgomery Prize and Karen Zukowski We do not cover commercial galleries. Award Committee Art Historian The DAS Newsletter welcomes submis- Wendy Cooper, Chair sions, preferably in digital format, by e-mail Curator Emerita of Furniture in Plain Text or as Word attachments, or Winterthur Museum on a CD. Images should be at high quality Wilmington, DE (400 dpi), as TIFFs or JPEGs, either color or black-and-white, with detailed captions. Nancy Carlisle The newsletter of the DAS is published Senior Curator of Collections two times a year. Submission deadlines for Historic New England 2017 are: March 31 for the spring issue; Boston, MA September 30 for the fall issue. Send mate- rial to: Ruth E. Thaler-Carter, DAS Newsletter Coordinator 2500 East Avenue, #7K Rochester, NY 14610 or: [email protected] Cover image: The DAS website may provide informa- Neo-Renaissance Pendant, gold, diamonds, tourmaline, pearl and enamel; tion about events that fall between issues. ca. 1880. Lucien Falize (1839–1897). Photo: ©Julien Vidal/Petit Palais/Roger- Viollet. In Bijoux Parisiens: French Jewelry from the Petit Palais, Paris (see Newsletter design by Plum Crane. Exhibitions, Cincinnati, OH; Taft Museum of Art). All content © Decorative Arts Society, Inc. DAS news

DAS welcomes new president she was curator of special collections at the Chicago Public Library (IL) from he Decorative Arts Society, capacity, she oversaw the refurnishing 1978–1982. Inc. (DAS) of the U.S. has a new and reinterpretation of George Wash- Schoelwer holds a doctorate in Tpresident: Susan P. Schoelwer, ington’s “New Room,” reinstallation American Studies from Yale University, Robert H. Smith Senior Curator at of the greenhouse slave quarter, and a master of arts from the Winterthur George Washington’s Mount Vernon special exhibitions. She also edited The Program in Early American Culture (VA). She succeeds David Barquist, H. General in the Garden: George Wash- of the University of Delaware, and a Richard Dietrich, Jr., Curator of Ameri- ington’s Landscape at Mount Vernon, bachelor of arts in History from the can Decorative Arts, Philadelphia Mu- a volume of essays inspired by Mount University of Notre Dame. She attended seum of Art (PA), who stepped down Vernon’s recent exhibition on that the Attingham Friends 18th-Century this fall after serving in this role for the topic. Studies Program in 2015 and At- past 10 years. Before joining Mount Vernon, tingham Summer School in 2012, “I am delighted to pass the presi- Schoelwer was director of museum col- and was a Fellow in the Winterthur dential baton to Susan. Her dedication lections at the Connecticut Historical Program in Early American Culture - Society (Hartford) from 1998–2009. at the Win- rative arts will be a tremendous asset Her positions at the society included terthur forto and the enthusiasmDAS,” said Barquist. for the field of deco Florence S. Marcy Crofut Director of Museum Schoelwer has served as Mount Collections Development from 2007– from 1975– Vernon’s curator since 2010. In that 2009 and curator in 2009. Before then, 1977.

From the president Greetings from new DAS president By Susan Schoelwer, Robert H. Smith Senior Curator, George Washington’s Mount Vernon, Mount Vernon, VA t gives me great pleasure to write chapter of the Society of Architectural - Historians, and it was in this itera- contributors. I thank you all for your Ident, to fellow contributors. I am tion that I initially joined, while still a interest and support, and look forward honoredthis, my and first humbled letter asto DASfollow presi in the graduate student at Winterthur. Since to meeting you at future gatherings. footsteps of David Barquist, who has provided inestimable leadership to our from my association with the DAS. organization for the past decade. then,When I have I moenjoyedved to many Washington, benefits DC, In this issue By the time you receive this news- in 2010 to take my current position letter, the DAS will have already logged at Mount Vernon, the DAS played a two exciting fall outings. We gathered crucial role in my introduction to the DAS news 1 at Winterthur in October for Dennis city – offering, shortly after my arrival, Winterthur tour 2 Award recipients 3 Carr’s fascinating insights on Made in a memorable weekend program that the Americas: The New World Dis- introduced me to the decorative arts Opportunities 4, 12 cover Asia, and in November for Pat galleries at National Gallery, then Kane’s long-awaited Rhode Island Anderson House and the Cosmos Exhibition review 5 Furniture and Its Makers, 1650– Club. More recently, I was delighted to 1830. Together, these exhibitions participate in the 2014 Chicago trip, Book review 7 offered fascinating and fresh insights touring the fabulous Irish Decorative on American decorative arts, juxtapos- Arts show at the Art Institute of Chi- Acquisitions 9 ing hemispheric and local perspectives. cago, followed by wonderful mornings News 11 New adventures are on the horizon for at the Driehaus Museum and private 2017, so please watch for upcoming collections. People 13 notices. Events like these – and the connec- As David noted in his last newslet- tions that they engender – are at the Exhibitions 16 ter letter, the DAS was founded as a core of what the DAS aspires to offer

Newsletter of the Decorative Arts Society, Inc. Fall 2016/1 DAS enjoys tour at Winterthur

ennis Carr, Carolyn and Peter Lynch Curator Dof Decorative Arts and Sculpture at the Museum of Fine Arts, Boston (MA), led the DAS on a fascinating tour of the Winterthur Museum, Garden & Library (Wilmington, DE) Made in the Americas: The New World Discovers Asia exhibition in October 2016.

Photos by Stewart Rosenblum.

Featherwork painting with whole and cut Scarlet Carr provides insights Macaw, Rufous-tailed Hummingbird, White- into objects from tailed Jacobin, Violet Sabrewing, Great Egret, around the world Mexican Hermit, Great-tailed Grackle, Military (above) and how Macaw, Blue-gray Tanager, Montezuma Oropen- trade affected the dula feathers; colored and gilt paper; on paper spread of decorative and copper with ebony frame. Mexico, late 16th arts objects around century. Exported to Europe and believed to have the world (right). been owned by Holy Roman Emperor Rudolph II (1552–1612); listed among nine Mexican feather paintings in 1607 inventory of Künsthammer (art cabinet) in Prague.

Tour par- ticipants (right).

Desk-and-bookcase (left), inlaid woods, incised and painted bone, maque, gold and polychrome paint; chinoiserie-style painting in gold on vermil- ion background with wood-and-bone Mudéjar designs, a Spanish-Islamic (Hispano-Moresque) style popular in viceregal Mexico. Half of a matching pair. Mexico, mid-18th century. Made in Puebla de los Angeles, a stop along route of Asian trade goods from Pacific Coast. Interior maps show hacienda in Ve- racruz, recalling those drawn by indigenous artists. Estate was one of earliest free African settlements in Mexico.

2/Fall 2016 Newsletter of the Decorative Arts Society, Inc. DAS recognizes excellence in decorative arts scholarship published in 2015 with Montgomery Prize and Smith Award

he DAS has recognized three outstanding scholars in decora- Ttive arts publishing as recipients of its Charles F. Montgomery Prize and Robert Smith Award for 2016. Montgomery Prize The DAS chose Early Seating Upholstery: Reading the Evidence by Leroy Graves (Colonial Williams- burg Foundation, 2015) as the 2016 recipient of its Charles F. Montgom- ery Prize for the most distinguished contribution to the study of Ameri- can decorative arts published in the English language by a North American Heart’ in the Politics of Courtship in the scholar in the previous year. Boston ‘Fishing Lady’ Pictures” in Win- “This book presents a compre- intrusive upholstery techniques have terthur Portfolio (Vol. 49, No. 1/Spring hensive look at historic 18th-century been copied and adapted by colleagues 2015, pp. 1–28), and upholstery practices, using examples at institutions across the country. “The committee found a wealth of of surviving original upholstery to Montgomery Award and Prize high-caliber articles that were pub- illustrate not only a variety of frames Committee members are Cooper; lished in 2015, which made its task for different forms of upholstered Nancy Carlisle, senior curator of Jeannine furniture, but also the precise manner Collections, Historic New England Falino, Smith Award Committee (Boston, MA), and Gerald W. R. Ward, chairall the and more independent difficult,” said curator. “We are quilting and tacking patterns,” said Katharine Lane Weems Senior Curator Wendyof aspects Cooper such as, Montgomery webbing, stuffing, Prize of American Decorative Arts and Sculp- and Award Committee chair and ture Emeritus, Museum of Fine Arts, pleasedSmith to Committselect twoee very members fine winners for curator emerita of Furniture at Win- Boston ( MA). thisin the year fields are of Falino; furniture Lynne and Bassett textiles.”, terthur Museum (Wilmington, DE). The DAS did not present a Mont- costume and textile historian; Dennis “Using extensive historic illustra- gomery Award - Carr, Carolyn and Peter Lynch Cura- tions and superb detailed photogra- tion in the American decorative arts tor of American Decorative Arts and phy of surviving examples of original for first major publica Sculpture, Museum of Fine Arts, Boston (MA); Emily Orr, assistant curator of cover everything from doing it the his- field this year. modern and contemporary American toricupholstery, way to this doing is theit in first a non-intrusive guide to Robert Smith Award design, Cooper Hewitt, Smithsonian manner. This book is essential for the The DAS has taken the unusual Design Museum (New York, NY); and library of curators, conservators, col- step of presenting its 2016 Robert Karen Zukowski, art historian. lectors or inheritors of historic uphol- Smith Award for the best article stered furniture.” about the decorative arts published in Winterthur and a specialist in Penn- Graves, who is recognized world- English in 2015 to two recipients, due sylvania • Minar Germandi is an art assistant and culture. curator She at - to the unexpected number of worthy earned a BA in history and museum stery conservation, joined the facilities publications: studies from Ursinus College and an maintenancewide as a leader staff in of the Colonial field of Wiluphol- Lisa Minardi for “Sulfur Inlay in MA from the Winterthur Program in liamsburg (VA) in 1967 and was soon Pennsylvania German Furniture: New Early American Culture. She is cur- recruited to be an art handler in the Discoveries” in American Furniture rently a PhD candidate in the History of Department of Collections, a posi- (2015), American Civilization at the University tion he held for nearly 10 years. He and: of Delaware, where she is researching joined the Conservation Department Andrea Pappas for her article the German-speaking population of at its inception in 1984. His minimally “‘Each Wise Nymph that Angles for a early Philadelphia for her dissertation.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/3 tices, depictions of women anglers in prints and on decorative porcelain, and

successfulrecreational independent fishing in colonial angler, culture.women needleworkersIn representing addressed,the fishing andlady even as a covertly resisted, male control of court- ship, a crucial life transaction. The regular placement of the im-

created by the complex embroideries assertsage of the the fishing woman’s lady pivotal, in the narrativesif brief, authority in the courtship process. Pappas is an associate professor in the art and art history faculty of Santa Clara University (CA) and was previ- ously a lecturer/adjunct professor at the Otis College of Art and Design and a visiting lecturer at UC Santa Barbara and the University of Southern She also was in the Historic Deerfield California (USC). She has a PhD in art About the DAS awards Summer Fellows Program. history (20th-century American art) The Robert C. Smith Award is from USC and a BA in art practice and named for art historian Robert C. Smith painting from the University of Califor- (1912–1975), who taught at the Uni- nia-Berkeley. versity of Pennsylvania and specialized in the art and architecture of Portugal, Spain, South America and the United States. He was known for his abiding - ing generosity in sharing information andinterest ability in studentsto shed light in the on field, previously unfail overlooked areas of research. Smith published scores of articles on furniture and the decorative arts, and had a long teaching relationship with the Winterthur Museum. His books include Samuel Tibau and Por- Minardi’s other current projects tuguese Inlaid Furniture of the Seven- include studies of fraktur artist Johann teenth Century (1962) and The Art of Heinrich Otto and sulfur-inlaid furni- Portugal, 1500–1800 (1968). ture, and oversight of the restoration She serves on the editorial boards The Montgomery Prize and Award of the Speaker’s House (Trappe, PA), of Modern Jewish Studies and Art His- are named for Charles F. Montgomery home of Frederick Muhlenberg. She tory Pedagogy and Practice, and is a (1910–1978), an inspirational teacher has worked at the Historical Society of founding member and past president and creative curator who served on Berks County, Free Library of Philadel- of Historians Interested in Pedagogy the staff of Winterthur during the phia and Philadelphia Museum of Art. and Technology. She also co-founded 1950s and 1960s, and as director from At Winterthur, Minardi was cura- an e-mail discussion list for scholars of 1954–1961. From 1970–1978, he was tor of the exhibition A Colorful Folk: American art. curator of the Garvan and Related Pennsylvania Germans & the Art of Pappas is working on Embroider- Collections of American Art at the Everyday Life (2015) and assistant ing the Landscape, a book about early Yale University Art Gallery and curator of Paint, Pattern & People: American needlework pictures, for professor of the history of art at Yale Furniture of Southeastern Pennsyl- which she was a National Endowment University. His publications include vania, 1725–1850 (2011). She serves for the Humanities (NEH) Fellow at American Furniture: The Federal Period on the editorial boards of the American Winterthur Museum, Garden and (1966), A History of American Pewter Furniture journal and Journal of Early Library (Wilmington, DE) in fall 2015. (1973) and contributions to American Southern Decorative Arts. She is the author of Teaching Art His- Art, 1750–1800: Towards Independence tory with New Technologies: Reflections (1976). and Case Studies (2009) as well as Each award carries a modest cash • In her essay, Pappas examines light of 18th-century courtship prac- numerous articles and book reviews. prize. the Boston fishing lady embroideries in

4/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Exhibition review Small Stories: At Home in a Dollhouse By Eliza de Sola Mendes, Independent Decorative Arts Scholar

he passion for dollhouses and things miniature has always been Tstrong, but for major museums to show them has proved problematic for many reasons. One is that it is hard to issue and attach accession numbers for such tiny objects (Winterthur re- cently received a massive dollhouse as a bequest and found doing both a written and visual history was the best course). They are certainly hard to dust. The history of the Victoria and Albert Museum of Childhood at Bethnal Green (V&A; London, England), though, has shown the strength of such collections, drawing audiences not only of children but also of adults and collectors worldwide since 1922, when it began to form a collection from the main museum. Head curator Arthur Sabin realized Exhibition curator Alice Sage at Small Stories, who recently moved to the Museum of Childhood and noisy children needing something (Edinburgh, Scotland). morethe museum child-friendly, was often an filledidea at with that bored time donated toys and miniatures from her Castle cannot be complete without that was, in itself, a modern concept. own personal collection. She was fond Queen Mary, wife of King George V, of miniatures, and a visit to Windsor commissioned in 1924 that portrays the imaginativeseeing the magnificent genius of its dollhouse architect, she Sir Edwin Lutyens. The museum grew and now houses an extensive collection of dolls, dollhouses and toys. Never before have the famed doll- houses of the V&A traveled across the seas to be exhibited, but Small Stories: At Home in a Dollhouse is now at the National Building Museum (Wash- ington, DC; through January 22, 2017), after being shown at the Museum of History and Contemporary Art (Turku, Finland). The V&A Conservation Department restored approximately 1,900 miniature objects over a two-year period for the ex- hibition, which spans a 300-year period of British domestic life as seen through dollhouses. It is meant to be experienced comfortably by both the young and the adult viewer at the same time. There can be no more appropri- ate museum for Small Stories than The Kaleidoscope dollhouse. the National Building Museum, with

Newsletter of the Decorative Arts Society, Inc. Fall 2016/5 architectural interior, and excellent café forits wonderfula cup of English collections, tea and magnificent a scone to Photos by Eliza de Sola Mendes. complete your visit. Small Stories is organized chrono- logically, showcasing 12 houses, from the formidable early ones such as the Edmund Joy Wardrobe (1712), Killer Cabinet House (1830–40) and Tate Baby House (1760) to a fabulous Art Deco work, the Whiteladies House (1935), complete with swimming pool; and the Kaleidoscope House (2001), created by Bozart Toys, with furniture designed by Ron Arad and Dakota Jackson, minia- ture sculptures by Mel Kendrick, and Apartment 3B dollhouse. reproductions of artworks by Carroll Dunham, Peter Halley and Laurie Sim- mons. The houses have timed lighting to protect fabrics and material. For children, there are voiceovers with doll stories about the interiors, a life-size Victorian kitchen similar to a period Life-size Victorian Kitchen. dollhouse and a 1960s living room to learn the moves to the Twist. The accompanying catalog, Doll- houses from the V&A Museum of Child- hood by Halina Pasierbska, provides additional material from the collection. The show continues to the Castle Museum (Norwich, England) and Weston Park Museum - land), and then to the Decorative Arts Museum (Prague, Czech (Sheffield, Republic). Eng Eliza de Sola Mendes is an inde- pendent decorative arts scholar and the author of Dolls, Dollhouses and Toys at the Lyman Allyn Museum (New London, CT). She curated The Nursery: Remarks on Children’s Play at the DAR Museum (Washington, DC).

The Killer Cabinet House (above; detail, left).

6/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Book review Enamel art is focus of exhibition-based book Little Dreams in Glass and Metal: Enameling in America 1920 to the Present, by Bernard N. Jazzar and Harold B. Nelson, 2015, ISBN 978-1-4696-2636-9. $65, cloth. University of North Carolina Press, Enamel Arts Foundation Reviewed by Eliza de Sola Mendes, Independent Decorative Arts Scholar f you are looking for hot styles and Jazzar and Nelson have organized trends in art collecting today, a visit this newest volume in a way that not Ito one of the glamorous New York only introduces the exhibition’s concept, Park Avenue Armory arts and antiques but also provides full artist biographies shows will have 20th-century modern with the kind of detail and individual enamel art prominently on display. Swirling intently around the works are next to their artistic offerings. Notable dealers, avid collectors and curators asfocus well rare is a to clear find and in a readable museum layout. catalog discussing pieces, all smitten by the Evident is a powerful message of art and gleam of molten glass and metal. Just versatility in a medium with a strong how it will stretch the imagination next technical skills orientation; an art that is the allure. Little Dreams in Glass and Metal, being singular and modern and speak- published in connection with the cur- ingoften with reflects a new other voice. arts In otheror forms words, while rent traveling exhibition of the same they surprise us. name, provides the reader with a survey Jan Arthur Harrell uses found of enameling in the U.S. from 1920 to and manufactured objects with sterling the present, showcasing 122 objects silver and enamel. Juan Esteban Perez from the Enamel Arts Foundation by creates enamel with the illusion of wo- 90 artists from all regions of the coun- is curator of American decorative arts ven fabric. try. The works represent many forms, at the Huntington Library, Art Col- Gretchen Goss’s objects hold kin- including jewelry, 3-D objects, sculpture lections and Botanical Gardens (San ship with modern photographic-like and wall-mounted plaques. The ap- Marino, CA). They are also joint authors proaches by the artists are fascinating in of another volume on enameling: Paint- actually of trees on water. David C. their creativity and reach. ing with Fire: Masters of Enameling in Fredaimages, with her enamels a reflection Somehow, this time-tested tech- America, 1930–1980. opals, and enamel, in Study of New- nique for art called “enameling,” based Jazzar and Nelson remark in the born White’s jewelry Crown in fineSparrows, silver andEggs, gold, and on true technical skills that require catalog’s foreword that they “became training to master, burst into an ex- fascinated with enamels” about 20 years Lalique’s enamel jewelry and interest plosion of freedom of expression in ago, when they “started noticing these Adults,in creating reflects “wearable his inspiration forms that from depict the 20th century. That is the ultimate remarkable visually alluring pieces— natural subjects and phenomena.” mystique with these works and their plates, plaques, bowls, and enticing Jill Baker Gower history. What is most clear is that sculptural forms—on our regular visits the Renaissance, Baroque and Victo- something like lava out of a volcano was to antique shows and consignment rian periods, but only ’sin jewelry homage, reflects using erupting into the designs of this old art shops.” enamel on copper with silicone rub- form. They established the Enamel Arts - foil, pewter and ink. William Harper’s ing is the art of fusing glass to metal organization to preserve their collec- jewelsber, mirror, have sterlingintriguing silver, names fine like silver “Dirty The essential definition of enamel tion.Foundation Their aim in 2007 was toas both a nonprofit preserve the Dominoes” as part of the artist’s “Freud- process. What you see in this volume, collection and make it accessible to the ian Toys Series” of enamel block forms, though,through area high-temperature works created with firing un - public through exhibitions, loans and orthodox materials that were bold and partnerships with other collections and dramatic choices for newly considered museums. They had noted collections likeyet his form, “Labyrinth” pearls and also even reflects a snail the shell. past surfaces. Using enamel with sculptures, of modern enamels created early on by of European fine jewels, with a crest- jewelry, plaques, boxes and vessels was astute curators and directors at major the earliest steps in America such as not new in itself, but the manner was institutions such as the Metropolitan Mizi Ther Ottene are (1884–1955), also artists whowhose reflect enam - radically different. Museum of Art, Smithsonian Ameri- els stare hauntingly back at us with im- Bernard N. Jazzar is curator of the can Art Museum, Cleveland Museum ages of a Wiener Werkstatte enamellist Lynda and Stewart Resnick Collection of Art and Museum of Fine Arts Bos- who came to New York and was inspired (Los Angeles, CA) and Harold B. Nelson ton. by the skyscrapers, but gave them a vil-

Newsletter of the Decorative Arts Society, Inc. Fall 2016/7 www.DecArtsSociety.org

The DAS website has a new look, thanks to newsletter coordinator Ruth E. Thaler- Carter and graphic artist Victoria Brzustowicz. We hope our contributors like it.

lage look. Win Ng (1936–1991), the son It appears that neither the famed message about a new country and a John Ruskin nor the historian Cunyn- new world. It has one foot in the past, centuries-old love affair with enamel ghame could have imagined that enam- both in age-old techniques and cultural of Chinese immigrants, reflects the Asian el would have a modern “revival” in tokens, and one foot in the new. To America with the advent of European demonstrate how far enamel has come pots,with amen bright on bicycles,fiery Oriental doves red, and yet castles. the immigrants to our shores, or the radi- into the “new age,” could one imagine Dorisimages Hall are (1907–2000),very much Western: born in flower Ohio, cal directions it would take. At the end that the art form once the possession worked her enamels on copper in dream- of Cunynghame’s book, he expressed of private guilds now has Facebook like painting form, paying homage to the his hope for the future of enameling, modernist pioneers she admired. saying: “The art of the jeweler and itself has one, as do the Enamelist Historically placing the catalog enameller have ever been attendant Society,pages? The Inc. Enamel (founded Arts 1986) Foundation and the of Little Dreams in Glass and Metal, on those of sculptors and painters, and W.W. Carpenter Enamel Foundation we can see it greatly in contrast with (founded 2004). the perspective as addressed by the shall have been given to the general This is a new time for the ever- art historian Henry Cunynghame in progresswhen perhaps of the a art, fresh jewelry definite and direction the evolving art of enamels, and a fabulous his volume European Enamels (Con- decorative arts will also be delivered book to help you chart those waters. noisseur Library of London,1906). He from the chaotic confusion that now The exhibition is at the Arkansas considered the enamel for a reliquary, surrounds them, and develop a distinc- Art Center (Little Rock), through Janu- a royal crown, a portable altar, and an tive and characteristic style.”2 ary 1, 2017. occasional vase or dish. How could Victorians have envi- 1 European Enamels, by Henry H. Cun- Amusingly, in this early critique of the sioned the opposite would be true with ynghame, 1906, p. 171. London: C.B. the “chaotic confusion” on the surfaces Methuen and Co. almost an afterthought, right at the end of of the modern works that would dazzle 2 Ibid., p. 176. thefield, book, he mentions and proclaims “Modern his Enamelers”actual worry as and intrigue at the exhibition and in Eliza de Sola Mendes is an inde- that enameling had almost died out in the catalog of Little Dreams in Glass pendent decorative arts scholar and the century before. He then noted that, in and Metal more than a century later in published author who has worked in 1860, “an interesting attempt was made to museums in the U.S. and abroad as a cu- revive it, and Mr. Ruskin offered a prize for Ultimately, with American enamel rator and registrar, as well as in auction a piece of enamel executed in the Champ- thatart, “expect “fresh definitive the unexpected” direction”? should be houses. Her specialties include antique leve fashion.”1 the motto. It is craft with a powerful dollhouses, miniatures and toys.

8/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Acquisitions

Cincinnati Art Museum represent a distinct facet each of the hardware, lamps and andirons—for an (OH) has acquired 12 works produced artist’s career in porcelain: explora- addition to the Westinghouse Air Brake by Louis• The C. Tiffany, including several tion of the vessel, social criticism and favrile vases and a pair of stalactite feminist content. Hooven’s great aunt, 1927. The addition, designed in the shades, all collected by John Becker Cincinnatian Mary Louise McLaughlin FrenchCompany Renaissance General Office style Building, by architects in (b. 1867), an employee at the Tiffany (1847–1939), was a pioneer in Ameri- Janssen and Cocken of Pittsburgh, was foundry, and donated by Becker’s de- can art pottery and studio porcelain. added to the original building designed scendants. Collectors Nancy and David Wolf by Frederick J. Osterling in the 1890s. Three works by Coille Hooven added more gifts of contemporary George Westinghouse, inventor of decorative arts, incuding glass by Lino the air brake, founded the company Tagliapietra, Dale Chihuly, Ther- in 1869 by and later established the man Statom and Karen LaMonte, and Westinghouse Electric Company. furniture by Wendell Castle. Leeds Art Foundation featured ribbon-like scrolls and com- (Philadelphia, PA) has discovered and plex Thegeometric andirons patterns for Rowan’s incised office into acquired• The two pairs of wrought-iron andirons made by Samuel Yellin Met- Directors’ Conference Room featured alworkers, of Philadelphia, for the Di- ribbonflattened scrollwork, iron bars. incised Andirons geometric for the

Dining Room of the headquarters of therectors’ Westinghouse Conference Air Room Brake and Company Officers’ withpatterning andirons and with large bowed fleur-de-lis legs and finials. (Wilmerding, PA). The Officers’ Dining Room was set Samuel Yellin (1884–1940) pattern shafts with decorated rings; began creating ironwork—including andfleur-de-lis thick-gauged, undercarriages; four-arm torchiéreincised-

Vase (above, left), glass, circa 1900, Tiffany Studios (1900–1932), United States, from the John Becker Collection. Gift of Cynthia and Stephen DeHoff in memory of the Becker, Anderson and Pickens families.

Herringbone (above, right), glazed porcelain, 1978, Coille McLaughlin Hooven (b. 1939), United States. Gift of the artist. © Coille McLaughlin Hooven.

Seated Dress with Impression of Drapery (left), cast, sandblasted and etched glass; Karen LaMonte (b. 1967), 2005, Czech Republic. Nancy and David Wolf Collection, © Karen LaMonte. Photo: Martin Polak.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/9 Andirons (below, right), details (left and right); Samuel Yellin.

not burning. Andiron sets for managers’ candleholders to use when a fire was geometric-pattern decoration and large offices featuree elaborate scroll, leaf and rings of iron. animal-headAccording finials to Joseph holding Cunningham decorated , director of the Leeds Art Foundation and a past DAS award recipient, the and- irons are excellent representations of Yellin’s mid-1920s ironwork, featuring

unusual designs, and detailed ornamen- “massive construction, confident and objects in excellent original condition withtation. complete It is extremely documentation rare to find and such prov - enance directly to the historic building for which they were made.” Clare Yellin, granddaughter of Samuel Yellin, gave a sample grille section • created in 1924 by her grandfa- ther to the George Eastman Museum (Rochester, NY) in honor of Joseph Cun- ningham (see previous item), who is working on a multivolume monograph about Yellin. Local architects Edward S. Gordon and William G. Kaelber hired Yellin for a project in the conservatory of the mu- seum, which was Eastman’s home. The project included a lunette in front of an organ chamber with rectangular grilles on either side, set in front of fabric that let the organ transmit sound. The design features vines, leaves,

The sample is believed to be the onlyflowers one and that birds. has been returned to the place for which it was designed.

10/Fall 2016 Newsletter of the Decorative Arts Society, Inc. News Albright-Knox Art Gal- from New-York Historical’s collec- Center for the Study of American lery (Buffalo, NY) will be renamed the Culture presents objects from the Buffalo• The Albright-Knox-Gundlach Art allegorical image of America as a permanent collection through new Museum thanks in part to a $42.5 mil- tion.Native One American case reflects, with on objects the female such as displays and interpretation, with Jeffrey a 19th-century terracotta sculptural 15 themed niches for artifacts and Gundlach, part of $103 million that artworks, and vertical cases to display thelion museum contribution raised from in 12 financier weeks for a form of a feathered headdress, created planned expansion. Amy Cappelazzo, infigurehead 1957 by jewelerand a diamond Fulco di tiara Verdura in the plastic toys made by New York com- a chairperson at Sotheby’s, helped for Betsey Whitney, wife of John Hay panytoys, fromFisher-Price painted woodenand chairs figures used to by with the effort. Whitney, American ambassador to the New Yorkers from the 18th through the Corning Museum of Glass United Kingdom from 1957–1961. 21st centuries, including a Mies van (CMoG; NY) has reintroduced Steuben der Rohe-designed chair from the Four Glass • , Thethe American luxury crystal Seasons restaurant. brand of decorative collectibles, table- The Roy J. Zuckerberg Silver ware designs, and corporate gifts, and Gallery showcases silver and jewelry is collaborating with designers to de- by Tiffany & Co., including a colossal velop the next generation of creations punch bowl presented by Frank Wool- for the brand. Select Steuben classics worth to Cass Gilbert, architect of the are being reintroduced and new prod- Woolworth Building, during its grand ucts are being developed, some with opening in 1913; the earliest surviv- contemporary designers. New York- ing New York teapot (1695); and other based designer Harry Allen is among works by colonial Jewish silversmith Apple Blossom table lamp, glass, bronze. Myer Myers. Steuben was founded in 1903 by Tiffany Studios, designed by Clara Driscoll, ca. Rockwell Museum (Corn- Englishthe first glassdesigner master to participate. Frederick Card- 1901–1906. Gift of Dr. Egon Neustadt. ing, NY) is now a Smithsonian - er, who named it for the county in New The Tiffany Gallery, designed by ate. • The York state where the city of Corning is Czech architect Eva Jiřičná Fabergé collection of Affili the located. In 1918, Steuben became part New York museum project, comprises Virginia Museum of Fine Arts (VMFA; of Corning Glass Works, now Corning a 3,000-square-foot, two-story in her space first Richmond,• The VA) is returning from an Incorporated. Steuben continued pro- measuring nearly a city block; the glass international tour and is on display in duction under Corning Incorporated in Norman S. Benzaquen Staircase; and a new suite of renovated, 1,963-sq.-ft. a building next to CMoG until 2008. 100 illuminated Tiffany lamps. galleries. The installation features 280 Frick Collection (New York, Visitors can create their own lamp- objects—composed of Fabergé and NY) has chosen Annabelle Selldorf’s shades in a hands-on, “Design-a-Lamp” other Russian decorative arts, with 167 • The - experience. Kiosks explore the sources vation. of inspiration for Tiffany Studios’ Most objects by Fabergé are made architecturalNew-York firm for Historical revising its Soci reno- designers, the process of designing and fromcreations hardstones from the and Fabergé precious firm. metals, ety opens its Center for Women’s His- manufacturing Tiffany lamps, personal including gold, platinum and silver, as tory •on The March 8, 2017 (International stories of the individual Tiffany Girls, well as diamonds, gemstones and other Women’s Day), showcasing its collec- materials. The space allows a view of tion of Tiffany lamps and a reimagined goods. each Imperial Egg in the round. installation of historic objects from its and the firm’s marketing of luxury Organized by material, the galler- collection. ies feature objects of gold and silver, The project is inspired by the mu- jewelry, enamels, hardstones, icons seum’s discovery of the story of Clara and an Old Russian-style table with Driscoll and the “Tiffany Girls,” who hammered-brass panels never before designed and created Tiffany lamps displayed in a museum. The three at the turn of the 20th century, many central Fabergé galleries are named of which are in the museum’s collec- for Eda Hofstead Cabaniss, a former tion. The inaugural exhibition in the VMFA Foundation Board member and Cowin Gallery, Saving Washington, is patron of the museum. on view March 8–July 28, 2017 (see Brno chair from the Four Seasons restaurant, The suite features four touch- Exhibitions for details.) 1958, Ludwig Mies van der Rohe, 1886–1969. screens presenting the construction of Two special display cases highlight Gift of Alex von Bidde. rotating installations and selections A transformed Henry Luce III reveal their interiors. Visitors can cre- the five Imperial Eggs as they open and Newsletter of the Decorative Arts Society, Inc. Fall 2016/11 ate and share their own designs. The mobile application also features the fairytales featured on various decora- tive objects and provides an in-depth historical experience. Support for the Fabergé and Russian Decorative Arts Galleries is from Cabaniss, the Commonwealth of Virginia and the Council of the VFMA. VMFA has 190 objects by or attributed

from the Lillian Thomas Pratt Collec- tionto the of Fabergé Fabergé firm, and with Russian almost Decora 170 - tive Arts. Pratt (Fredericksburg, VA) created the collection of more than 400 pieces of Russian decorative arts be- tween 1933 and 1946, and bequeathed it to VMFA in 1947. Winterthur Museum, Garden & Library (Wilmington, DE) has received a $110,759• grant from the Institute of Museum and Library Services (IMLS) for preventive care for metal objects, which Winterthur deems its highest Senior Objects Conservator Bruno Pouliot (far right) and Curator of Decorative Arts Ann Wagner (standing) examine coatings on silver objects during Phase I of the IMLS-funded project, with conservation treatment priority. former Conservation Technicians Maggie Bearden (left) and Kaitlin Andrews (right). Winterthur conservators will share the best practices that result from this prehensive metal coating campaign research through public programs. Re- in 1982. Since the 1980s, Winterthur treatment of and research on 500 silver lated grant activities include creating has used a lacquer based on cellulose objects A first that phase were incoatedvolved before similar 1985. a web video demonstrating silver care nitrate on most silver and copper al- A tentative third phase involves and a two-hour class on silver mainte- loy objects, which provides the best further research and lacquer reappli- nance as part of Winterthur’s Caring balance of minimal visual intrusion, cation for Winterthur’s copper alloy for Family Treasures series. stability and tarnish protection. collection. Winterthur will hire two techni- cians to treat approximately 500 silver Applications open for summer Grant in glass research open objects in the two-year project. They fellowships at Historic Deerfield for applications will remove failing lacquer coatings Historic Deerfield (MA) is and apply new ones on silver objects, accepting applications for its 2017 Rakow Grant for Glass Research, while Winterthur conservators and Undergraduate • Summer Fellowship sponsored • Applications by the Corning are open Museum for the of scientists study where more-aggressive Program in Early American History Glass (Corning, NY), with one annual corrosion was found, as well as options and Material Culture, June 12– award or more totaling up to $25,000. to protect objects made of copper al- August 14, 2017. Individuals and institutions may apply. loys from tarnishing. College juniors graduating in 2018 Preference may be given to projects Many of Winterthur’s silver and and seniors who expect to graduate in that will bring researchers to Corn- copper alloy objects are displayed out 2017 are eligible for the program. ing to study the museum’s collections in the open as part of the interpreta- The fellowship covers all expenses, or use the Rakow Research Library. tion of Henry Francis du Pont’s home. including tuition, room and board, and Preference will be given to projects Natural low-level sulfur pollutants in that will be completed with the funding the air, along with ambient moisture, are available for students with demon- available. cause tarnishing. Lacquer coatings stratedfield trips. need A limitedto help numbercover lost of summer stipends Applications will be considered remain, for now, a proven method to income. Financial aid awards are need- only if typed in English on the pre- inhibit tarnish for up to 30 years in the blind and application for assistance has scribed grant application form at the museum environment. no impact on an application. website (http://www.cmog.org/research/ Regular polishing, even with the Applications may be made online grant). Previously unsuccessful appli- gentlest methods, removes some metal, at . The cations may be resubmitted; indicate eventually erasing shallow elements www.historic-deerfield.org/sfp application deadline is February 10, whether an application is a resubmis- of a design or, for silver-plated items, 2017. Recipients of the fellowships will - exposing the base metal underneath. tion and year when last submitted. Winterthur implemented a com- sion or modification of a prior applica be notified in March. 12/Fall 2016 Newsletter of the Decorative Arts Society, Inc. People tropolis Research Consortium at the exhibition of decorative arts objects Appointments University of Chicago (IL). dating from before 1900. Agustin Arteaga is the new direc- Jason Busch has moved from the tor of the Dallas Art Museum (TX). He St. Louis Art Museum (MO) to serve as served • as director of the Museo Nacio- director • of decorative arts at Sotheby’s nal de Arte (Mexico City, Mexico) since (New York, NY), effective April 4, 2017. 2013 and of the Museo de Arte de His career includes two years at the Ponce (Puerto Rico) before that. Wadsworth Atheneum Museum of Art David Berliner is the new presi- (Hartford, CT); six years at the Minne- apolis Institute of Art (MN); and cura- Brooklyn• Museum (NY), overseeing tor of decorative arts and design at the thedent museum’s and chief operationsoperating officer and spear of the- Carnegie Museum of Art (Pittsburgh, heading new strategic initiatives. PA), where he became chief curator. Busch has lectured and published widely, and was responsible for the exhibition and catalog of Inventing Gervais received her BA in History the Modern World: Decorative Arts at from Trinity University, San Antonio, the World’s Fairs, 1851–1939. He has in 1994; an MA in American Studies a BA in American studies from Miami from George Washington University in University in Ohio and a master’s degree 1998; and an MA in Philosophy with from the Winterthur Program in Early distinction in the History of Art from the American Culture. University of Glasgow in Scotland. Taco Dibbits replaces Wim Pi- Gervais has organized a number of jbes as general director of the exhibitions, many from the museum’s • Rijksmuseum (Amsterdam, The collections, including Look to the Netherlands). Dibbits has been direc- East: Decorative Arts and Oriental- In 1989, Berliner joined Forest tor of collections and has been with the ism, 1870–1920, and Grand Designs: City Ratner Companies (FCRC), where museum since 2002. Pijbes resigned to Neoclassical Taste in the 18th Century, take a position as director of a private both currently on view, along with the served as director of its arts and culture museum. touring show Houghton Hall: Portrait he became chief operating officer and initiatives with a focus on visual art, Katherine Garrett-Cox has joined of an English Country House (2014); which included a 20-year partnership the staff of the Preservation Society Pattern Repeat: Wallpaper Then and • with the Public Art Fund. He was also of Newport County (RI) as collections Now (2013–2014); English Taste: the driving force behind the visual arts manager. She was manager of histori- the Art of Dining in the Eighteenth program at Barclays Center, which fea- cal collections at the Gilded Age estate Century (2011–2012); and Circa 1900: tures permanent commissioned works Maymont (Richmond, VA) for the past Decorative Arts at the Turn of the highlighting Brooklyn artists. 13 years. She has a BA in art history Century (2011). Since 2008, Berliner has served as from Salem College and an MA in art Dennis Harrington joins Sothe- chair of the board of directors of the history from Richmond, the American by’s New York (NY) as vice president, Madison Square Park Conservancy, International University in London. senior • specialist, English and conti- where he was key to sourcing and Christine Gervais has been ap- nental furniture, from Pelham Galler- presenting the work of contemporary pointed director of Rienzi, the Museum ies, Ltd. (London, England, and Paris, • artists through the Mad.Sq.Art pro- of Fine Arts Houston (MFAH; TX) France). gram. He joined the museum’s board of Center for European Decorative Arts, Brooke Hodge has moved from succeeding former director Katherine deputy director of Cooper Hewitt, and treasurer commencing in 2012; and Howe, who has retired. She joined the Smithsonian • Design Museum (New trustees in 2011; served as finance chair resigned from the board in June 2016. museum’s staff in 2002 as a curatorial York, NY) to director of architecture and Camille Ann Brewer has been assistant at Rienzi and became assistant design at the Palm Springs Art Mu- curator in 2006 and assistant curator of seum (CA). • the George Washington University decorative arts at the MFAH in 2008. In Christopher named the first full-time curator of Museum and Textile Museum. Her po- 2011, she was appointed associate cura- (Kit) Maxwell has been appointed cura- tor of Rienzi. tor of• CEuropeanurator and glass scholar at the Corning and-a-half-year grant from the Andrew Gervais also serves as curator of Museum of Glass (NY). He is respon- sition is supported by a $500,000, five- Mellon Foundation. She was previously decorative arts at the museum, respon- sible for the acquisition, exhibition, executive director of the Black Me- sible for the acquisition, research, and cataloguing and research of the mu-

Newsletter of the Decorative Arts Society, Inc. Fall 2016/13 seum’s European glass collection, which Claudia Schmuckli has been deputy director for art and research, features works from the early medieval appointed curator-in-charge for Con- managing the conservation department, period through about 1900. temporary • Art and Programming at the publications department and libraries Fine Arts Museums of San Francisco and archives; directing a staff of nearly (CA). She has been director and chief cu- 225; and assisting the institute’s 11 rator of the Blaffer Art Museum (Uni- curatorial departments, and serving as versity of Houston, TX) since 2009. She liaison to local universities and founda- joined the staff there in 2004 as director tions. of public relations and membership and was appointed to curator in 2006.

Maxwell graduated from the Uni- versity of Cambridge with a BA in the history of art in 2001, and worked at the Royal Collection Library and Print Room at Windsor , first in the Royal at St. James’s Palace. He completed his master’sCastle, then degree in the in Publications decorative arts Office and Educated at Brown, the University historic interiors at the University of of Michigan and Northwestern, Tedeschi London in 2005, and became an as- Her projects include Analia Saban specializes in British and American art. sistant curator in the ceramics and (2016); Slavs and Tatars: Mirrors for She will advance the museums’ glass section at the Victoria & Albert Princes (2016); Candice Breitz: The academic and cultural missions, includ- Museum (V&A; London, England). Woods (2014); Tony Feher (2012); ing a partnership with the University of Existed: Leonardo Drew (2009); Chicago and Northwestern University to reinterpretation of the museum’s ce- Chantal Akerman: Moving Through train graduate students in objects-based ramics For galleries, five years, developing Maxwell worked a specialty on Time and Space (2008); Amy Sillman: art history research, and a program to in 18th-century European ceramics, Suitors & Strangers (2007); and Urs mentor undergraduates from underrep- with a focus on French porcelain. Fischer: Mary Poppins (2006). resented groups. In 2010, Maxwell left the V&A to Schmuckli was assistant curator Abraham Thomas is the new pursue his PhD at the University of at the Museum of Modern Art (New Fleur and Charles Bresler Curator-in- • Glasgow. The topic of his dissertation York, NY) from 1999 through 2003 and Charge for the Renwick Gallery (Wash- was the dispersal of the Hamilton Palace a curatorial assistant at the Solomon R. ington, DC), the Smithsonian Institu- collection. He rejoined the Royal Collec- Guggenheim Museum (New York, NY) tion’s branch for contemporary craft tion as project curator during this time. from 1997 through 1999. She holds a and decorative art. He oversees acquisi- Since 2013, he has worked with Travis master of arts degree in art history from tions, exhibitions, research, publications, Hansson Fine Art, a private art dealer the Ludwigs-Maximilians-Universität patron relations and a staff of six. based in Beverly Hills, CA. (Munich, Germany). Thomas was director of the Sir While working at the V&A, Maxwell Nicholas Serota will move from John Soane’s Museum (London, Eng- became fascinated by the alchemy of almost 30 years as director of the Tate land) from 2013 to 2015. From 2006 to ceramics production, and what ceram- museums• (London, England) to serving 2013, he was curator of designs at the ics works represent in terms of artistic as chair of the Arts Council England, Victoria and Albert Museum (Lon- development; advances in science and the British arts-funding body, in 2017. don, England), where he developed technology; political ambition and Before joining the Tate museums, Serota contemporary elements of the program global trade; and the practical, cultural, ran the Whitechapel Gallery (London, with exhibitions such as Heatherwick England). Studio: Designing the Extraordinary Harvard Art Museum has (2012). He curated the forthcoming similarand social in manysignificance ways. of these works. named Martha Tedeschi as its new exhibition High-Tech: Design in a Post- He findsMartin the stories Roth has told stepped by glass down to be Cabot• The director, succeeding Thomas W. Industrial Age, which will be presented as director of the Victoria and Albert Lentz. in 2018 at the Sainsbury Centre for Museum • (London, England) in the Tedeschi spent her entire profes- Visual Arts (England) before touring wake of the Brexit vote. He joined the sional career until now at the Art internationally. museum in 2011 after serving as direc- Institute of Chicago (IL), arriving as an Thomas has published and lectured tor of the Dresden State Art Collections intern in 1982 and becoming a full cura- on architecture, the decorative arts, (Germany). tor in 1999. In 2012, she was named graphic design, photography and fash-

14/Fall 2016 Newsletter of the Decorative Arts Society, Inc. ion. He earned a bachelor’s degree from greater scholarship and appreciation of ca. The award will be presented during the University of Leicester in 2000. American decorative arts, to individuals, the Philadelphia Antiques Show in institutions and causes in recognition of April 2017. dedication and contribution toward pre- Kane hosted a standing-room-only symposium on Rhode Island furniture Foundation provides funding to educa- in September 2016 in conjunction with tionalserving and the preservation field. The Wunsch initiatives Americana in the the Art and Industry in Early America: American arts. The foundation displays Rhode Island Furniture, 1650–1830 objects from the Wunsch Collection at exhibition and catalog. partner museums and institutions. Kane earned a master’s degree from Graves’s techniques for upholstery the University of Delaware’s Winter- conservation and re-creation, known as thur Program in Early American “The Graves Approach,” are featured in Culture and doctorate from Yale. She the book Early Seating Upholstery: Read- oversees the gallery’s collections of ing the Evidence (Colonial Williamsburg American decorative arts from the 17th Foundation, 2015). century to the present. She joined the Jorge Daniel Veneciano is the Graves joined the facilities mainte- gallery in 1968 as an assistant curator, new director of the Museum of Arts nance staff of Colonial Williamsburg succeeding mentor Charles Montgom- and •Design (MAD; New York, NY). in 1967 and was soon recruited to be ery in 1978. He served as executive director of El an art handler in the Department of Kane has published widely and Museo del Barrio for two years (New Collections, a position he held for nearly Wunsch York, NY); director of the Sheldon Mu- 10 years. He joined the Conservation Americana Foundation’s merit award seum (Lincoln, NE) from 2008–2013; Department at its inception in 1984. foris the dedication first recipient and contributions of the to curator at the Studio Museum (Harlem, Having served the Colonial Wil- the American arts. She also has been a NY) from 1994–1989; and curator and liamsburg Foundation for nearly 50 generous host to DAS tours of gallery educator with the City of Los Angeles years, Graves has contemplated retire- exhibitions. Department of Cultural Affairs from ment, although he told the New York Artist 1991–1994. Times in 2015 that those plans are on Studios Residency Program at the Veneciano has an MFA from the hold because “‘… wonderful stuff is still Museum • In the of 25thArts sessionand Design of the (MAD; California Institute of the Arts and coming in’ to analyze and protect.” New York, NY), the decorative arts are a degree in philosophy and political Graves is also the recipient of the represented by Sophia Narrett and Jes theory from the University of California, DAS’s 2016 Charles H. Montgomery Fan. Los Angeles. Prize (see page 3). Narrett makes embroideries driven David Walker has joined So- Jobe started his career at the Muse- by fantasy and desire, and will create a theby’s (New York, NY) as vice presi- um of Fine Arts, Boston (MA) and then piece connecting multiple scenes within dent,• head of 19th-century furniture. worked at Colonial Williamsburg and one embroidery. She received an MFA He was head of English and Continental Historic New England (MA). He was the in painting from the Rhode Island furniture, silver and decorative arts at organizer of and a principal contributor School of Design and a BA with honors Freeman’s (Philadelphia, PA). to Portsmouth Furniture: Masterworks in visual art from Brown University. She from the New Hampshire Seacoast and has attended the Skowhegan School of Harbor & Home: Furniture of Southeast- Painting and Sculpture and has exhib- Awards/Residencies ern Massachusetts, 1710–1850. ited nationally. Leroy Graves, conservator of up- He retired from Winterthur as Jes Fan, MAD’s second Van Lier Fel- holstery at the Colonial Williamsburg professor of American decorative arts lowship recipient, will cast a 150-pound Foundation • (VA), whose nonintrusive in 2015 after 25 years there and cur- barbell into silicone and aqua resin that techniques for restoring upholstery rently is collaborating on a book about will eventually be embedded into a glass have been adapted by museums around Massachusetts cabinet maker Nathan sphere and will work on a new proj- the globe, and Brock Jobe, scholar and Lombard with former student Christie ect pushing the boundaries of a glass (retired) professor of American decora- Jackson and art dealer Clark Pearce. technique previously employed in the tive arts in the Winterthur Program He led the 11-institution Four Centuries piece WHATNOTS. Fan received a BFA in American Material Culture, will re- of Massachusetts Furniture project from the Rhode Island School of Design; ceive the 2017 Eric M. Wunsch Award and is editing a companion publication has exhibited in New York City and for Excellence in the American Arts with Gerald W.R. Ward, DAS newsletter internationally, and has received various given by the Wunsch Americana Foun- editor. fellowships. dation. The awards will be presented at Patricia Kane, Friends of Ameri- a ceremony on January 18, 2017. can Arts Curator at the Yale University The foundation gives the award, Art Gallery• (CT), is the 2017 winner Obituaries created to continue the legacy of col- of the annual Award of Merit of the An- John Brademas, who was a lector Martin Wunsch and encourage tiques Dealers Association of Ameri- principal sponsor of 1965 legislation to •

Newsletter of the Decorative Arts Society, Inc. Fall 2016/15 create the National Endowment for the Arts and National Endowment for the Humanities, and was chair of the Exhibitions President’s Committee on the Arts and the Humanities from 1994–2001, California many Indonesians, the sea represents died at 89 in July. He served in the U.S. Joan Takayama–Ogawa: House of Representatives as a Democrat Climate Change social structures, rituals and cosmo- from Indiana who the Washington Post American Museum of Ceramic Art logicaltheir lifeblood, beliefs. These and ship textiles, imagery from reflects the said “was considered the best friend the Pomona, CA museums’ permanent collection date arts could have on Capitol Hill.” www.amoca.org from the 19th and 20th centuries and Martin Friedman, director of the January 14–April 2, 2017 Walker Art Center (Minneapolis, MN) Warmer ocean temperatures have • from 1961–1990, a past president of the prompted bleaching events of the are shown for the first time. Association of Art Museum Directors world’s coral reef communities, turning and 1989 recipient of a National Medal healthy colorful coral into weakened of the Arts, died in May 2016. After ghostly white coral. Joan Takayama- retiring from the Walker, he oversaw art Ogawa’s exhibition includes abstract installations in Madison Square Park (New York, NY). white lighting installations calling for Friedman started his BA studies at thefigurative reversal white of global coral warming.reef works and the University of Pennsylvania, served in Takayama- Ogawa is a sixth- at the University of Washington. He generation potter the naval ROTC and finished the degree earned a master’s in studio art and art and ceramic artist history from the University of California, who honors her Los Angeles. He taught art in the Los An- Japanese heritage Ceremonial cloth (tampan), 19th–20th cen- geles public school system before accept- by using ancient ing a curatorial internship at the Brook- tury. Indonesia, Sumatra, Lampung. Cotton; ceramic forms as a supplementary-weft weave, 36 x 36 in. (91.4 x lyn Museum guide and applying 91.4 cm). Fine Arts Museums of San Francisco; position was at the Walker in 1956; imagery from her gift of Wells Fargo Bank. when he became in 1956. director His threefirst curatorial years American life. She The display represents two of the later, at 36, he was one of the youngest studied ceram- major categories of ship cloths: the museum directors in the country. ics under Ralph palepai and the tampan. The palepai is José Bacerra at the Otis considered the pinnacle of Indonesian Fumero, a long-time volunteer with Art Institute (now weaving, both within Lampung society the Mint• Textile Museum designer (Charlotte, and painter NC), died the Otis College of and by Western collectors. Once owned in September 2016. With his husband, Art and Design), exclusively by Sumatran aristocrats, Herb Cohen, former acting director of where she cur- the cloths were hung for display at the Mint and director of exhibitions, rently teaches. She occasions such as engagements, mar- Fumero helped found the Blowing Rock holds a BA from UCLA in geography and riages, births and funerals. The more Art and History Museum. East Asian studies and a MA from the omnipresent tampan cloths were part Stanford Graduate School of Education. of all rites of passage in Lampung, when Her work is a part of public collections, dozens would be exchanged between including the Renwick Gallery, Smith- relatives, often used to wrap food or sonian, Los Angeles County Museum other gifts. of Art and American Museum of This exhibition highlights a major Ceramic Art. 2010 acquisition a two-red-ship palepai, nearly 11 feet long and probably used in The Sumatran Ship Cloth an aristocratic marriage ceremony, with Fine Arts Museums of San Francisco/ each ships representing a clan. DeYoung San Francisco, CA On the Grid: Textiles and Minimalism deyoung.famsf.org Fine Arts Museums of San Francisco/ Through February 12, 2017 DeYoung The Sumatran Ship Cloth pres- San Francisco, CA ents three ceremonial textiles from the deyoung.famsf.org Lampung region of south Sumatra, a Through April 2, 2017 region of Indonesia where ship imagery On the Grid: Textiles and Minimal- is a prominent theme in woven arts. For

16/Fall 2016 Newsletter of the Decorative Arts Society, Inc. 213 vessels and ornaments, glazed ceramic, 1898–1933. Ruskin Pottery (1898–1933, West Smethwick, England), Gift of Collection of Carl Patterson. ism presents textile traditions from they select and in warping or preparing illustrate Howson Taylor’s experimen- around the world that share many of the loom. On the Grid examines these tation with new and sometimes dif- the same esthetic choices ascribed to processes and explores both weaving Minimalist works. This exploration un- in the textile design vocabulary and - derscores the universality of the move- ficult glaze techniques, resulting in four ment’s underlying design principles, and dyed pieces that also conform to primaryThe eglazes—soufflé,xhibition features luster, about crystal 80 which include regular, symmetrical Minimalism.its influences on the design of painted objectsline/matte from and 213 high-fired works of flambé. Ruskin Pot- or gridded arrangements; repetition More than two dozen textiles from tery that Carl Patterson, museum con- of modular elements; direct use and the permanent collection examine vari- servator emeritus, gave to the Denver presentation of materials; and absence ous aspects of Minimalist art. Art Museum. of ornamentation. Colorado Shock Wave: Japanese Fashion Artistry and Craftmanship: Ruskin Design, 1980s–90s Pottery, Enamels and Buttons Denver Art Museum Denver Art Museum Denver, CO Denver, CO http://denverartmuseum.org Denverartmuseum.org Through May 28, 2017 Through May 7, 2017 Shock Wave shows work by Japa- Founded in 1898 by Edward nese designers who started a fashion Richard Taylor and his son William revolution in Paris. The exhibition Howson Taylor, Ruskin Pottery was features 70 looks by designers Issey named after a founding writer and Miyake, Kenzo Takada, Kansai Yama- critic of the Arts & Crafts movement, moto, Yohji Yamamoto, Comme des John Ruskin. Throughout its 35-year Garçons and Junya Watanabe. history, the pottery produced decora- Works illustrate concepts such as the intersection of tradition and Buddhist altar cloth (uchishiki), early 19th tive vessels, tableware, buttons and century. Japan, late Edo period. Silk, gold leaf small glazed plaques called enamels, paper strips; twill lampas, supplementary- intended to be set in silver or pewter motifs; molding versus hiding the body modernity; the influence of pop-culture weft patterning (kinran), 118.9 x 122.7 cm as jewelry. with oversized shapes; reinventing the (46 13/16 x 48 5/16 in.). FAMSF, gift of Miss Artistry and Craftsmanship: traditional Western representation of Carlotta Mabury. Ruskin Pottery, Enamels and Buttons femininity; collaborations between Textile artists in the Minimal features the Ruskin Pottery style of contemporary artists and fashion de- hand-thrown and hand-turned ceramic signers; and other ways of challenging through the materials and processing the fashion system. style predetermine the finished work bodies with innovative glazes. Works

Newsletter of the Decorative Arts Society, Inc. Fall 2016/17 The exhibition demonstrates how keepsie, NY. According to family history, http://www.hillwoodmuseum.org Japanese designers confronted the he received the set from the porcelain Through January 1, 2017 work of European designers during the manufacturers in Limoges in apprecia- The style that came to be known 1980s, while inspiring younger Euro- tion of his business over many years. pean designers in the 1990s. Each item in the 25-piece dessert set Shock Wave includes 20 recent ac- is dated April 1, 1873, and bears Far- theas art modern deco, whichera and flourished the machine from age. the quisitions and spotlights loans from the rington’s initials. Originating1920s to 1940s, in Europe, was a reflectionthe art form of was fashion collections of the Los Angeles Guest curator Elizabeth Pratt Fox, characterized by rectilinear shapes, County Museum of Art (CA) and de a museum and historic-site consultant, geometric patterns and bold colors. Young Museum (San Francisco, CA), as organized Eating off the Landscape. Deco Japan explores how the Japa- well as local and national private lenders. nese interpreted the style and trans- A catalog accompanies the exhibi- Utamaro and the Lure of Japan formed it through their own art and tion. Wadsworth Atheneum Museum of Art craft traditions. The exhibition’s range Hartford, CT of media—including prints, ceramics, Connecticut www.wadsworthatheneum.org lacquerware, jewelry, textiles, furniture Eating Off the Landscape January 7—March 26, 2017 and graphic ephemera—builds on the Norwalk Historical Society Two monumental scroll paintings passion of Hillwood founder Marjorie Norwalk, CT by Japanese artist Kitagawa Utamaro Merriweather Post for decorative art norwalkhistoricalsociety.org and focuses on the era when she epito- Through June 20, 2017 time in more than 130 years at the in - (1753–1806) are reunited for the first The French porcelain dessert this exhibition: Fukagawa in the Snow mized the flapper lifestyle and devel service on view in this exhibition (1802–1806), from the Okada Museum The exhibition is drawn from the oped her taste for finely crafted objects. originally belonging to William Rogers of Art (Hakone, Japan), and the Wad- Levenson Collection and is organized Farrington (1831–1910). The service sworth Atheneum’s Cherry Blossoms and circulated by Art Services Interna- is decorated with English scenes and at Yoshiwara (1793). The show also tional (Alexandria, VA). famous buildings, including St. Paul’s presents more than 50 decorative arts objects objects, including textiles, porce- Visions and Revisions: Cathedral, the Tower of London and Renwick Invitational 2016 Windsor Castle. lain, lacquer, costumes and armaments from the 1905 Colt Bequest and the Renwick Gallery/Smithsonian The compotes, serving dishes Institution and dessert plates descended into the Atheneum’s 1,000-object collection of Japanese art. Washington, DC Lockwood family of Norwalk through www.si.edu Farrington’s daughter Mabel and her Through January 16, 2017 marriage to Manice deForest Lock- District of Columbia This exhibition presents works by wood, Jr., who gave the service to the Deco Japan 1920–1945 Steven Young Lee, Kristen Morgin, City of Norwalk. Hillwood House, Gardens and Jennifer Trask and Norwood Viviano, Farrington was a china and glass Museum four artists who draw on sources rang- dealer in France, England and Pough- Washington, DC ing from traditional Asian pottery to vintage Americana, and from the Victo- rian era to the computer. The exhibition includes more than 70 early and new works by each artist, including selections by Suzanne Ram- ljak, curator of exhibitions, American Federation of Arts (New York, NY), and editor at Metalsmith; and Anna Walker, Plate, porcelain, with image Windgate Foundation Curatorial Fellow of St. Paul’s Cathedral. for Contemporary Craft at the Museum of Fine Arts, Houston (TX). Lee’s porcelain works combine tra- ditional Asian forms, inlay techniques and glazes with Western motifs and pop-culture references. His process of- ten allows the clay forms to sink under their own weight in the kiln, creating “broken” silhouettes that cannot be replicated. Morgin’s trompe l’oeil ceramic sculptures and assemblages range from

18/Fall 2016 Newsletter of the Decorative Arts Society, Inc. http://georgiamuseum.org Through December 31, 2016 The House of Romanov ruled impe- rial Russia for 300 years, until the Rus- sian Revolution in 1917, which replaced the tsars with a Communist govern- ment. The court created elaborate gifts for military leaders, attendants, noble families and others, as part of a system of patronage that helped it maintain its power. Such gifts make up this display, featuring objects of Russian art never before shown in public and highlights of a private collection on long-term loan to the museum that is a promised gift. Objects include the personal cigar box of Alexander II, commemorating his coronation, with individually painted miniatures covering its top; a miniature Fabergé rendition of Peter the Great’s boat; diamond-encrusted brooches worn by ladies of the court; and more. Among the memorabilia and objects representing military decorations are Jar with Landscape and Gold Butterflies (top left), porcelain, cobalt inlay, glaze, decals; Steven medals, badges and awards of all the Young Lee, 2015. Collection of Tom Rossiter and Nathalie Ribon-Tourre. Image: Duane Reed Gallery. Russian Imperial Orders of Chivalry, Piano Forte (top right), unfired clay, wood, wire, salt, cement, glue; Kristen Morgin, 2004. Ham- rendered in gold, translucent enamel mer Museum. and jewels, and presented in recogni- Burgeon (below left), found 18th & 19th century Italian gilt wood fragments, 22K & 23.5K gold tion of military service. leaf, antler, bone, teeth (various), epoxy resin; Jennifer Trask, 2012. Private collection. Image Also on display are ceremonial courtesy of the artist. Photo: Storm Photo. swords, including one that is diamond- Mining Industries: Downtown Boston (Boston) (below right), rapid prototyped pattern kilncast glass, mirrored glass, fabricated steel and transparency; Norwood Viviano, 2015. Collection of the encrusted and was awarded by Alex- artist, courtesy Heller Gallery. Photo: Tim Thayer/Robert Hensleigh, courtesy Heller Gallery, NY. ander I; armor; helmets topped with double-headed eagles; and a silver recreations of full-size cars and orches- Georgia trophy from the Crimean War. tral instruments to tiny knick-knacks Gifts and Prayers: The Romanovs Assembled by a single private and toys. They appear to be found and Their Subjects collector, the collection was virtually un- Georgia Museum of Art known for decades. Curator Asen Kirin, with paint and collage instead of tradi- Athens, GA professor of art history at the Lamar tionalobjects ceramic but are glazes. actually raw, unfired clay Trask combines materials such as animal bone, horn, antler, teeth and metal and antique frame fragments, to createtusk; along jewelry with and butterfly large-scale wings, sculp resin,- tures that recall 17th-century Dutch vanitas paintings and Victorian wonder cabinets. Cigar Viviano combines data from LiDAR box with enamel scan technology, antique maps and miniatures historical census data, and employs celebrating techniques as varied as bronze casting, coronation kiln-fusing, glassblowing and 3-D print- of Alexan- der II. decline. ing toVisions map fluctuations and Revisions of growth is the sev and- enth installment of the biennial Ren- wick Invitational.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/19 papers and milk, immortalized stage stars and bohemian cabarets, and won the admiration of passersby and art col- lectors. Subject to wind, rain and being

the poster became the subject of collect- ingcovered their up its byown posters time. Thefrom poster rival firms, craze, known as affichomanie, revolved around acquiring these posters, from buying and selling special editions to stealthy removals from walls and kiosks. Drawn from the Driehaus Collec- tion of Fine and Decorative Arts, post- ers on view feature such iconic images as Steinlen’s Le Chat Noir and Lautrec’s Distaffs, wood and various decorative elements, from range of origins. Moulin Rouge: La Goulue.

Dodd School of Art, selected nearly and industrial design in Italy. Relatively Maryland 200 objects to introduce the collection little of his work is in American museum Kimono & Obi: Romantic Echoes and its presence at the museum, which collections. This exhibition focuses on from Japan’s Golden Age will promote its study in years to come. Ponti’s contributions to 20th-century Baltimore Museum of Art A fully illustrated catalog accom- furniture design from the late 1920s Baltimore, MD panies the exhibition, including Kirin’s through the mid-1950s. www.bma.org discoveries so far. Ponti’s work may be seen as a con- Through January 15, 2017 The exhibition is sponsored by the tinuation of the Renaissance traditions This selection of late 19th- to 21st- Fraser-Parker Foundation, W. Newton of design (disegno), craftsmanship and century kimono and obi includes gar- Morris Charitable Foundation and collaboration with other artists. He also ments that were made after sumptuary Friends of the Georgia Museum of produced designs for factory-produced laws were lifted in 1867, when com- Art. furniture that employed new industrial moners were no longer banned from materials. wearing clothing with colors like red or To Spin a Yarn: Distaffs, Folk Art The furniture and decorative ob- purple. and Material Culture jects selected for the exhibition include The centerpiece is an early 20th- Georgia Museum of Art many of his one-of-a-kind pieces and century long-sleeved kimono or furi- Athens, GA collaborative endeavors. The exhibition sode. http://georgiamuseum.org and accompanying catalog emphasize As Japan entered the industrial January 21–April 16, 2017 Ponti’s achievements and contribu- age in the late 1800s, kimono and obi Organized by the Stephen F. Austin tions to the history of furniture and the expressed increased prosperity and State University Galleries, this exhi- decorative arts, and their place within new found wealth. Many of the kimono bition consists of about 70 decorated his overall philosophy of interior design from this era display decorative motifs wooden distaffs, or spinning imple- and architecture. with symbols from Japan’s Golden Age ments, from Russia, Lithuania, Finland, (794–1185). Sweden, France, Germany, Albania, Illinois A fan motif in a bridal kimono Greece, Serbia and Bosnia, dating from Affichomania: The Passion for represents the hi-ogi, or cypress wood the 19th and 20th centuries. Originally French Posters fan, the empress and ladies of the Heian simple sticks, they evolved into deco- Richard H. Driehaus Court held to hide their faces from the Museum stares of men. Brides in later centuries more important for their meanings than Chicago, IL used the fans as status symbols to signal forrated their objects function. with cultural significance, driehausmuseum.org rank as “Princess for the Day.” February 11, 2017– Giò Ponti: 20th-Century Renaissance January 7, 2018 Cocktails, Lipstick & Jazz: Designer This exhibition features approxi- Life in the Age of Fitzgerald Georgia Museum of Art mately 50 posters by Jules Chéret, Beall-Dawson Museum/ Athens, GA Eugène Grasset, Théophile-Alexandre Montgomery History http://georgiamuseum.org Steinlen, Henri de Toulouse-Lautrec Rockville, MD June 10–September 17, 2017 and Alphonse Mucha. The posters date http://montgomeryhistory.org An architect, painter, writer, from 1875 to 1910, the era in France Through January 15, 2017 publisher and designer, Giò Ponti known as the Belle Époque. This exhibit presents life in the The color poster was a fusion of art 1920s. Many objects are on display for development of modern architecture and commerce. It advertised cigarette (1891–1979) was a major figure in the the first time. 20/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Massachusetts New Sole of the Old Machine: Steam- punk Brockton–Reimagining the City of Shoes Fuller Craft Museum Brockton, MA http://fullercraft.org Through January 1, 2017 Curated by Bruce Rosenbaum of Steampunk ReImagineer, ModVic, LLC, this exhibition features works by John Belli, Jim Bremer and Ruth Buff- ington, David Lang, Susan Montgom- ery, Janel Norris, Sam Ostroff, Bruce Rosenbaum, and Michael Ulman that reimagine Brockton in a retrofuture exhibition, as if the Brockton of 1892 collided with the Brockton of 2016 and the Brockton of 2092. The exhibition includes period shoes, sneakers and boots transformed into functional art. Bartram’s Boxes Remix Fuller Craft Museum Brockton, MA http://fullercraft.org January 21–April 16, 2017 Bartram’s Boxes Remix is a col- laborative project between the Center for Art in Wood (Philadelphia, PA) and Kimono Furisode (1912–1989), yuzen-dyed; hand-embellished with Bartram’s Garden, home of 18th- gold and silver leaf, metallic pigments and embroidery; and lined in century explorer and botanist John red silk decorated with gold pigments; Taisho (1912–1926) or Showa Bartram. The pieces in this traveling (1926–1989). Gift of Mrs. D.M. Cheston. exhibition reference the boxes contain- A Feast for the Senses: Art and in partnership with the John and Mable ing seeds, plants and curiosities that Experience in Medieval Europe Ringling Museum of Art (Sarasota, FL). Bartram sent back to his colleagues and Walters Art Museum Baltimore, MD http://thewalters.org Through January 8, 2017 In medieval Europe, the walled gar- den was idealized as a place of delight for the senses and escape from every- day cares. Such aspects of life inspired works of art that are the focus of the international loan exhibition A Feast for the Senses: Art and Experience in Medieval Europe. The exhibition brings together more than 100 works representative of the late medieval period—roughly the 12th to 15th century. Included are stained glass, precious metals and gemstones, ivories, tapestries, paintings, prints, and illuminated manuscripts from public and private collections in the U.S. and abroad. A Feast for the Senses is organized Seed-collecting box, various salvaged woods. Collected by John Bartram.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/21 chusetts, PlymouthCRAFT (Center for Restoration Arts and Forgotten Trades), is committed to promoting traditional craft philosophy and the manner in which it affects people’s lives. PlymouthCRAFT offers classes, work- shops and presentations where stu- dents of all education levels learn time-

of historic preservation. honoredIn Living hand Traditions skills and the, artisans significance of PlymouthCRAFT showcase works in

Objectwood, clay, Lessons: fiber Selectionsand other media. from Fuller Craft Museum’s Permanent Collection Fuller Craft Museum Brockton, MA http://fullercraft.org Ongoing Object Lessons: Selections from Fuller Craft Museum’s Permanent Collection presents contemporary conversations in craft that explore the BRC map breastplate, aluminum hard drive disk, stamped, pierced, 8.5 x 6 in. Steve Curl, 2005. relationship between maker, material and object in a cultural context. The clients in England. The show includes Living Traditions: The Handwork of - objects and installations created out Plymouth CRAFT of salvaged wood and other materials Fuller Craft Museum glass—withexhibition is worksdivided from into the five permanent catego found in Bartram’s Garden. Brockton, MA collectionries—ceramics, showcase metal, esthetic, wood, fibertechni and- Bartram’s Boxes Remix is spon- http://fullercraft.org cal and narrative progressions of craft sored by the Caroline R. Graboys Fund. March 18, 2017 - June 25, 2017 from traditional to avant-garde, in both Based in southeastern Massa- functional and non-functional forms. Playa Made: Jewelry of Burning Man Fuller Craft Museum Brockton, MA http://fullercraft.org February 11–June 4, 2017 This exhibition features jewelry created for or during the Burning Man Festival, an annual arts gathering when a temporary community is erected in Nevada’s Black Rock Desert. Jewelry is an integral part of the festival and has many uses, including trade, fostering

“Gifting tenet”—unconditional gifting of goodspersonal and connections, services—that and is fulfilling a core ele the- ment of the festival. The exhibition explores conceptual themes and imagery that have evolved from Burning Man, as well as the ongo- ing development of material application. The exhibition is accompanied by the book, The Jewelry of Burning Man, with contributions by Karen Chris- tians, Christine Kristine and George Evening shoes, silk, beads, gilded thread, and rhinestones. Roger Vivier for Christian Dior, Post. 1958–1960. © Victoria and Albert Museum; gift of Mrs. Gloria Loel Guinness.

22/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Shoes: Pleasure and Pain The Odd and the Elegant: Mining the from the museum’s North American col- Peabody Essex Museum Collections of the Portsmouth lection. The result of a collaborative cu- Salem, MA Historical Society ratorial process among Native American www.pem.org John Paul Jones House, artists and scholars, objects highlight Through March 12, 2017 Portsmouth Historical Society works from the Northwest Coast (Haida, This exhibition explores the creativ- Portsmouth, New Hampshire Tlingit and Tsimshian), Northern ity of footwear from around the globe www.portsmouthhistory.org California (Pomo) and the Southwest through more than 300 pairs of shoes, May 29–October 9, 2017 (Pueblo watercolors and pottery, Navajo from vintage designs to those by con- Thi small exhibition presents a and Hopi textiles). temporary makers, and considers the wide range of locally owned objects that capacity of shoes. It examines the latest during the past century and explores developmentscultural significance in footwear and transformative technology thereflect meaning the changing of objects views within of collecting a local that create the possibility of ever-higher context. heels and dramatic shapes with ex- amples from shoe collectors are shown New Jersey alongside historic shoe. Jewelry–From Pearls to Platinum The exhibition is organized by the to Plastic Victoria and Albert Museum (London, Newark Museum England). Carolyn and Peter S. Lynch Newark, NJ and the Lynch Foundation provided www.newarkmuseum.org support, along with the East India Ma- Ongoing rine Associates of the museum. Whether it is made of natural mate- rials or marvels of human invention and Frontlet; wood, paint and abalone shell; 8 ½ x 8 skill, jewelry has adorned the human x 5 ½ in. Tsimshian artist, British Columbia. 19th Michigan century. Gift of Dr. William S. Disbrow, 1919. American Style and Spirit: 130 Years body since prehistoric times. The New- ark Museum has been collecting jew- The museum began collecting na- of Fashions and Lives of an tive North American art in 1910 and Entrepreneuril Family elry since 1911. Its newly redesigned and reinstalled Lore Ross Jewelry Gal- now has more than 2,000 works of Henry Ford Museum indigenous art from the continental Detroit, MI lery presents jewelry spanning seven centuries. The focus of the new installa- Unites States, Hawaii and Canada. www.thehenryford.org On display are woven Pomo baskets, Through April 2, 2017 tion is the wide array of materials, both noble and humble, that have been used handmade items of dress, and south- American Style and Spirit presents western pottery and textiles. Highlights a living catalog of American style over over the centuries to create jewelry for personal adornment. include works by Haida master carver 130 years through clothing from the col- Charles Edenshaw and a rare bear lection that brings the lives of the Roddis rattle attributed to 19th-century Haida family into focus. “Wearable time cap- carver Sdiihldaa/Simeon Stilthda. sules,” along with letters, photographs Adriana Greci Green, a research and heirloom objects, bring the person collaborator at the National Museum behind each garment to life. of Natural History of the Smithsonian Institution and curator of the Arts of New Hampshire the Americas, Fralin Museum of Art at Four Centuries of Furniture in the University of Virginia, is lead cura- Portsmouth . . . with the New tor. Consulting curators are: Hampshire Furniture Masters Sherrie Smith-Ferri (Dry Creek Discover Portsmouth Center, Pomo-Coast Miwok), director, Grace Butterfly Woman brooch, enamel, gold, dia- Portsmouth Historical Society Hudson • Museum (Ukiah, CA); scholar monds, 1 3/8 in x 1 5/8 in, 1904. Henry Blank Portsmouth, New Hampshire of Pomo basketry and culture & Co. Purchased 1993, Millicent Fenwick Fund. www.portsmouthhistory.org DY Begay, Diné (Navajo), inde- April 7–June 18, 2017 Native Artists of North America pendent curator and weaver Concurrent exhibitions of furniture Newark Museum • Susan Sekaquaptewa (Hopi), made and used in Portsmouth from the Newark, NJ independent curator, scholar of Hopi 17th century to the late-20th century, www.newarkmuseum.org culture • are drawn from public and private Long-term installation Emil Her Many Horses (Oglala collections, and include a display of Works by 27 tribal nations are Lakota), associate curator, National contemporary studio furniture by mem- grouped roughly by region to represent Museum • of the American Indian (New bers of the New Hampshire Furniture distinct geographic areas and living York, NY); curator and scholar of Central Masters Association. tribal cultures, focusing on highlights Plains cultures and curator of the exhi-

Newsletter of the Decorative Arts Society, Inc. Fall 2016/23 bition Unbound: Narrative Art of the interactive permanent gallery for the tureens are also on display, along with Plains museum’s collection commemorates the sketches for the arc du Carrousel, the Mique’l Dangeli (Tsimshian and Garden State’s history as a pottery and interior designs for Josephine Bonapar- Tlingit Nations), assistant professor porcelain center. te’s rooms at the Tuileries palace, and of Alaska• Native Studies, University From pickle jars and pie plates, books dedicated to Roman palaces and of Alaska Southeast; co-founder of Git porcelains to modern studio pottery, New interior decoration. His work bridged Hayetsk, Northwest Coast First Nations Jersey has a ceramic tradition. Over three ancien régime court culture and the mask-dancing group (Vancouver, BC) centuries, New Jersey potteries employed industrial production of the 19th and The opening of Native Artists of thousands of people and produced early-20th centuries. North America See- millions of objects from local clay. A catalog accompanies the exhibi- ing America, an ongoing reinstallation The museum began collecting tion. highlighting the isAmerican the first experiencephase of locally made ceramics in 1911, and its through museum collections. holdings have continued to expand ever since, culminating in the donation of the Hot, Hotter, Hottest— Lenox Archives by Brown-Forman, 300 Years of New Jersey Ceramics Inc., in 2006, which the museum shares Newark Museum with the New Jersey State Museum Newark, NJ and Rutgers University Library www.newarkmuseum.org Special Collections. Long-term installation The exhibition is made possible by a project grant from the New Jersey Historical Commission, a division of the Department of State. New York Charles Percier: Architecture and Design in an Age of Revolutions Bard Graduate Center: Decorative Gondola chair, carved and silver gilt wood, Arts, Design History, Material from the Salon d’Argent of the Elysée Palace, Culture/Château de Fontaine- 1805. Jacob-Desmalter, after Charles Percier. bleau Palais de l’Elysée, Paris, Mobilier national. New York, NY www.bgc.bard.edu Infinite Blue Through February 5, 2017 Brooklyn Museum Charles Percier: Architecture and Brooklyn, NY Design in an Age of Revolutions sur- www.brooklynmuseum.org veys the range of projects undertaken Through 2017 by the French architect and designer Infinite Blue represents the mu- from the end of the 18th to the begin- seum’s global collections, including ob- ning of the 19th century. jects of Asian, Egyptian, African, Ameri- Although Percier (1764–1838) can, Native American and European art was well known for his close collabora- in the decorative arts. Highlights include tion with Pierre François Léonard ceramic objects from the Asian art col- Fontaine (1762–1853), this exhibition lection; never-before-exhibited illumi- focuses primarily on Percier’s individual nated manuscripts from the European accomplishments, whose commissions collection; costumes from the Brooklyn Museum Costume Collection at the decorative arts and architecture during Metropolitan Museum of Art (New afor turbulent, public and rapidly private changing clients influencedperiod in York, NY); and “Untitled” (Water), a French history. curtain of blue iridescent beads by Felix The Grecian Vase, slip-cast porcelain, enamel, Featuring more than 130 objects Gonzalez-Torres and Liquidity Inc. clear glaze and gold paste, 55 ½ x 23 in., 1904. Wine Jar with Fish and Aquatic Lucien Boullemeier and others for Trenton from museums and cultural institutions Potteries Company. Gift of the Crane Company, in France and the United States, as well Plants is an example of early Chinese 1969; base a gift of the Crane Company and as objects from private collections, the blue-and-white porcelain. The illumi- the Trenton City Museum, 2015. exhibition includes Percier’s designs nated manuscripts show the ways Chris- It has been 101 years since the for furniture, porcelain, metalwork tian iconography employs the color Newark Museum celebrated regional and the renovation of the rue de Rivoli. blue. industry with its 1915 exhibition, The Rare drawings and examples of early The exhibition is part of A Year Clay Products of New Jersey. This new, 19th-century cabinets, candelabras and of Yes: Reimagining Feminism at the

24/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Brooklyn Museum, which runs through 2018 and celebrates the 10th anniver- sary of the Elizabeth A. Sackler Center for Feminist Art through 10 exhibitions and related public programs.

Constellation Corning Museum of Glass Corning, NY www.cmog.org Through December 31, 2016 The museum’s new Contemporary Art + Design Wing features a gallery dedicated to temporary projects, includ- ing large-scale installations such as the recent acquisition Constellation (1996) by Kiki Smith, a room-size installa- tion about the theme of the heavens, inspired by images drawn from an early 19th-century celestial atlas. Constellation features 26 hot- sculpted glass animals of different sizes representing animal-themed star pat- terns, some well-known, such as Ursa “Poppy” Inkstand, glass mosaic, ca. 1901. Tiffany Glass and Decorating Company, designed by Major and Minor, Scorpius, Aries, and Clara Driscoll. Cancer, and some lesser-known, such as for the Menus-Plaisirs du Roi, which Corvus (the crow), Lacerta (the lizard) universities and other public build- provided the king’s personal effects as and Delphinus (the dolphin). ings. This exhibition uses new digital well as organized his entertainment. Designed by Smith and produced displays and examines the materials Louis XVI and Marie Antoinette com- by Venetian maestro Pino Signoretto, and process—from design inspiration missioned objects directly and acquired the piece shows animals cavorting amid to fabrication—involved in creating the works at an auction in December 1782 cast-glass stars and their own cast- mosaics. after the death of the Duke of Aumont. bronze scat on a night sky of handmade Gouthière’s clientele included the indigo-dyed Nepal paper. The acquisi- Pierre Gouthière: Virtuoso Gilder Count of Artois, Countess Du Barry, tion is a gift in part from the Smith and at the French Court Duke of Duras, Duchess of Mazarin, Pace Gallery (New York, NY). Frick Collection New York, NY Princess Kinsky, Marquis of Marigny and king of Poland. Unfortunately, his Tiffany’s Glass Mosaics http://www.frick.org Corning Museum of Glass Through February 19, 2017 - Corning, NY This exhibition focuses on Pierre lectableexpenditures sum owed and a byseries Madame of financial Du www.cmog.org Gouthière (1732–1813), the French Barrysetbacks―including and the death aof huge, two of uncol his most May 20, 2017–January 7, 2018 bronze chaser and gilder who worked important clients in the early 1780s, the Louis C. Tiffany expressed his pas- for Louis XV and Louis XVI, examining Duke of Aumont and Duchess of Maza- sion for color and glass most innovative- the artist’s production, life and work- ly in the technique of mosaic. Tiffany’s shop through 21 objects from public 1787. Glass Mosaics focuses exclusively on and private collections. Works attrib- rin―forcedA blue-mar himble to declareand gilt-bronze bankruptcy table in this aspect of his artistic career. uted with certainty to Gouthière include commissioned for the latter inspired The exhibition features objects from this exhibition and study of Gouthière’s museums, libraries and private collec- mounts for Chinese porcelain and hard- stoneclocks, vases. vases, firedogs, wall lights, and oeuvre. One consequence of the artist’s decorative panels, desk accessories, Gouthière became a master cise- reputation among French and British designtions, including drawings, fireplace sample panels,surrounds, lamps, leur-doreur (chaser-gilder) in 1758, collectors was the appearance of copies trade literature and a look at Tiffany’s during the reign of Louis XV. Little is and attributions to Gouthière. Dur- materials, including sheet glass, glass known about his early years, but by ing the 19th and 20th centuries, many “jewels” and glass fragments from the 1765, he was gilding pieces in bronze French decorative arts pieces were archive of the Neustadt Collection of and silver for François-Thomas falsely attributed to Gouthière, not all of Tiffany Glass. Germain, the sculpteur-orfèvre du roi - Many Tiffany architectural glass (sculptor-goldsmith to the king). tion features only works that can be at- mosaics survive in churches, libraries, In 1767, Gouthière began to work tributedwhich have to Gouthièrebeen confirmed. with certainty The exhibi and

Newsletter of the Decorative Arts Society, Inc. Fall 2016/25 acquired objects are paired with pieces - ence of certain couturiers and historical silhouettes—ain the collection John to illustrate Galliano the for influ Mai- son Margiela dress from 2015 with a Cristobal Balenciaga gown from 1964; a Halston evening gown from the 1980s with a Vionnet gown from the 1930s. Pair of ewers, Another gallery features ensembles porphyry and gilt donated by designers in honor of Har- bronze, 10½ × 4⅞ old Koda upon his retirement as cura- × 3⅞ inches each, tor in charge of the Costume Institute by Gouthière, ca. in January 2016. 1767−1770.Private collection. Photo: Michael Bodycomb.

creates a new corpus to help establish New York, NY further attributions. http://www.frick.org As part of the project, conservators Through April 2, 2017 undertook a technical study of Gout- This exhibition explores the his- hière’s bronze and gilding techniques. tory of making, collecting and display- The data provides the basis for reevalu- ing porcelain. Included are about 100 ating the attribution and chronology pieces produced by the Royal Meissen manufactory, which led the ceramic in- workshop practices. of Gouthière’sIn conjunction oeuvre with and the clarifies exhibition, his artistically, during the early to mid-18th the Frick Collection and D Giles, Ltd. century.dustry in Europe, both scientifically and Ball gown, Viktor & Rolf (Dutch, founded Most of the works date from 1720 1993). Purchase, Friends of the Costume monograph on Gouthière. The mono- to 1745 and were selected by New York- Institute Gifts. Photo: Anna-Marie Kellen. graphpublished includes the first contributions English-language by Anne based sculptor Arlene Shechet from Forray-Carlier (Musée des Arts a promised gift of Henry H. Arnhold. Jerusalem 1000–1400: Every People Décoratifs), Joseph Godla (Frick Included are 16 are Shechet’s porcelain under Heaven Collection), Helen Jacobsen (Wallace works she made in residencies at the Metropolitan Museum of Art Collection), Luisa Penalva (Museu Meissen manufactory in 2012 and 2013, New York, NY Nacional de Arte Antiga, Lisbon), Em- with nature as the dominant theme. www.metmuseum.org manuel Sarméo (Château de Ver- Through January 7, 2017 sailles) and Anna Saratowicz (Royal Masterworks: Unpacking Fashion Beginning around the year 1000, Je- Castle, Warsaw); essays on Gouthière’s Costume Institute/ - life and work; a reevaluation of his style Metropolitan Museum of Art tion, destination and symbol to people in the context of the development of New York, NY ofrusalem diverse attained faiths from significance Iceland toas India.a loca Neoclassicism; and an exploration of www.metmuseum.org This exhibition demonstrates the key his relationship with François-Joseph Through February 5, 2017 role that the Holy City played in shaping Bélanger, Claude-Nicolas Ledoux and Masterworks features acquisitions the art of the period from 1000 to 1400, others of the period. A section covers of the past 10 years. The main section is when Jerusalem was home to more results of the technical study. A French- organized chronologically, with en- cultures, religions and languages than language edition of the publication is sembles shown in packing crates and on ever before. also available. pallets, as though they have just arrived. The exhibition features some 200 Each object—primarily women’s wear, works of art from 60 lenders worldwide. Porcelain, No Simple Matter: with some men’s wear ensembles and More than four dozen loans come from Arlene Shechet and the Arnhold a selection of accessories—is accom- Jerusalem’s diverse religious communi- Collection - ties, some of which have never shared Frick Collection cance in fashion history. Some newly works before. panied by an explanation of its signifi

26/Fall 2016 Newsletter of the Decorative Arts Society, Inc. The catalog is made possible by the the Charles and Valerie Diker idiom for pictorial graphic arts tradi- Andrew W. Mellon Foundation; Mi- Collection tions was introduced in the new form of chel David-Weill Fund; Tauck Ritzau Metropolitan Museum of Art “ledger book drawings.” Innovative Philanthropy; Ruddock New York, NY A Yup’ik spirit mask from Hooper Foundation for the Arts; Christopher www.metmuseum.org Bay, Alaska, is a collage of abstract C. Grisanti and Suzanne P. Fawbush; Through March 19, 2017 forms of game animals that make sur- and Helen E. Lindsay. This selection of Native American vival in the Arctic possible, including works of art from New York’s Charles and Valerie Diker Collection features Dress and personal accessories artworks from the second to the early representfish, waterfowl another and form seals. of expression. 20th century. The presentation at the Artists combined diverse materials into Met concludes a national tour as part wearable creations that convey cultur- of the exhibition Indigenous Beauty, organized by the American Federation fashion include a graphically beaded of the Arts, and the return of the Diker Apsáalookeally specific boy’smeanings. shirt; Rare an embroidered items of Collection to New York City. Acoma dress, a painted Naskapi hide Presented in a geographical frame- coat; and a two-skin–style Wasco dress work, the exhibition features clusters from the late 19th century with fully of works that exemplify developments beaded yoke and tanned deer hide over centuries of practice in regions of ornamented in a pattern of contrasting the United States and Canada, including black and white pony beads that were the Southwest, Northwest Coast, Plains available from the traders who formed and Great Lakes, and California. businesses along the Columbia River, in Creations from the Plains features what is now Oregon. painting on animal hide, muslin and Basketry works by Native California paper. During the 19th century, a new women artists from the beginning of the

Bottle with Christian Scenes, glass, gold and enamel; 11 1/8 × 7 in. (28.2 × 17.8 cm), mid- 13th century, made in Syria. Furusiyya Art Foundation. Portrays buildings, designated with crosses, and details of agricultural activi- ties, from harvesting dates and picking grapes to plowing fields.

The Secret Life of Textiles: Animal Fibers Metropolitan Museum of Art New York, NY www.metmuseum.org Through February 20, 2017 The second in the Secret Life of Textiles exhibition series, this installa- tion features works made from animal history and in different regions of the world.fibers by The numerous objects on cultures view are throughout made of wool and hair from sheep, camelids, goats, yaks, horses, cows and small wild silk worms; and feathers. animals;The esilkxhibition filament includes from cultivated a selection or theof reference use of technology. materials Itreflecting also shows the how conservatorstransformation use of advanced animal fibers microscopy through

Nativein fiber Americanidentification. Masterpieces from Rank Badge with Stylized Bear, silk, feather and metallic thread embroidery on silk satin; 18th century.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/27 20th century include works by master seen and decorated. Groups of objects century, establishing communities cen- weavers Louisa Keyser (also known suggest how they were used—an as- tered on equality of the sexes, collective as Datsolalee), Elizabeth Hickox and sembly of storage jars gives a sense of Carrie Bethel. a pharmacy’s shelves. Leading Italian This installation features more than Ceramic works relate to ancient families commissioned services of isto- twoproperty, dozen pacifism works from and industry.the museum’s artistic practices across the Southwest. riato plates and dishes—their surfaces permanent collection, including furni- Pueblo potters developed styles using covered with scenes from mythology - local clays and pigments, and embraced and ancient history. er life and art, and embody the Shakers’ new designs through trade. Designs also ture,characteristic, textiles and minimalist tools, that designs reflect and Shak changed as people moved within the region. Hopi-Tewa artist Nampeyo is century counterparts in the external represented by a painted water jar from worldcraftsmanship, as well as which 20th- influenced and 21st-century 19th- the turn of the century. modern artists, performers, collectors The exhibition is accompanied by and museums. an illustrated catalog from the touring From the 1930s to ’60s, collectors exhibition Indigenous Beauty: Master- Faith and Edward Andrews cultivated works of American Indian Art from relationships with surviving Shaker the Diker Collection, which was orga- groups in New York and New England, nized by the American Federation of and accumulated a collection of furni- Arts. The catalog presents new research ture, textiles and archival objects. The on the objects in the exhibition and Met acquired numerous works from contributions by Janet Berlo, Bruce their collection in 1966, several of Bernstein, Barbara Brotherton, Joe which are on view in this installation. Horse Capture, David Penney, Susan Secakuku and more. The Aesthetic Movement in America The exhibition is made possible in Metropolitan Museum of Art part by the estate of Brooke Astor. New York, NY www.metmuseum.org Renaissance Maiolica: Painted Pottery Through June 25, 2017 for Shelf and Table Objects of the late 19th-century Pharmacy jar (albarello), ceramic—maiolica Metropolitan Museum of Art Anglo-American Aesthetic movement (tin-glazed earthenware), 13 3/16 × 8 13/16 New York, NY × 8 13/16 in. (33.5 × 22.4 × 22.4 cm),1573, include art furniture, ceramics, stained www.metmuseum.org Italian, Deruta. Probably workshop of Giacomo glass, metalwork, textiles and more, Through May 29, 2017 Mancini, “El Frate” (Italian, active ca. 1540– most from the museum’s permanent This exhibition of Renaissance 1560). Gift of W. B. Osgood Field, 1902. holdings, along with a few select loans. maiolica, drawn from the Met’s col- Maiolica-makers used ceramic, The display explores Aestheticism as lection, celebrates the publication of paint and glaze to compete with other a cultural phenomenon of its time that Maiolica, Italian Renaissance Ceramics art forms, including a Madonna and promoted beauty as an artistic, social in the Metropolitan Museum of Art by Child that imitates a framed panel paint- and moral force, particularly in the Timothy Wilson. Maiolica was used for ing and a Lamentation group that prob- domestic realm. practical objects such as tableware and ably functioned as a sculpted altarpiece, The catalyst for Aestheticism’s serving vessels, desk ornaments, stor- the largest known example of sculptural popularity in the United States was the age containers and devotional objects, maiolica to survive. 1876 Centennial International Exhibi- all in painted and tin-glazed earthen- The publication is made possible tion in Philadelphia, with an artistic ware. by the Metropolitan Museum of Art’s culture and lifestyle movement that Friends of European Sculpture and encompassed art publications, clubs from the 15th to the 17th century. Ital- Decorative Arts, Peter Jay Sharp and societies; collecting and decoration; ian pottersThe maiolica transformed tradition techniques flourished Foundation, Marica and Jan Vilcek, and the founding of several major art they owed to the Islamic world into and Ceramica-Stiftung Basel. museums. something unprecedented, and laid the Aesthetic furnishings and objects foundations for similar pottery tradi- Simple Gifts: Shaker at the Met were intended for fully integrated tions across Europe. Potters and pottery Metropolitan Museum of Art domestic spaces—as seen, for example, painters exploited innovations of the New York, NY in the Met’s latest historical interior, the Renaissance goldsmith, sculptor and www.metmuseum.org Worsham-Rockefeller Dressing Room, painter. That it was owned by the social Through June 25, 2017 on view nearby. The United Society of Believers in The exhibition explores how the Christ’s Second Appearing, also known From the Imperial Theater: Chinese functionselite of Italy of testifiesRenaissance to its maiolica value. as the Shakers, is a utopian religious Opera Costumes of the 18th and dictated the ways painted pottery was sect that arose in America in the 19th 19th Centuries

28/Fall 2016 Newsletter of the Decorative Arts Society, Inc. braids and twists. A number of other artists in the 1960s and ‘70s, including Eva Hesse, Sheila Hicks and Magda- lena Abakanowicz, also began working

Françoise Grossen Selects is part Crane charger, ceramic; 17 in. withof MAD’s fiber POV in innovative series, which ways. invites x 2 in. (43.2 x 5.1 cm). 1877. guest perspectives on the permanent John Bennett (1840–1907). collection. Grossen brought her rope Barrie A. and Deedee Wig- sculptures together with works from more Foundation gift, 2008. museum’s collection of baskets, as well

Grossen takes a cumulative, re- petitiveas other approach works in fiber,that she wood describes and metal. as “rope upon rope, braid after braid.” Highlights include:

also known as Swan, which was in the Museum • The ofear Modernly work ArtSigne’s 1969 (1967), group Metropolitan Museum of Art Forbidden City in Beijing. A form of tra- exhibition Wall Hangings. New York, NY ditional Chinese theater, Peking opera www.metmuseum.org was developed fully by the mid-19th through various knotting techniques, in- Through October 9, 2017 century. Because of the form’s minimal cluding • Shield the overhand (c. 1968), or construct half-stitched knot. This exhibition examines these stage settings and the importance of Techniques such as the half-stitch are luxury textiles from artistic and tech- exaggerated gestures and movements, popularly known as macramé, a Spanish word derived from the Arabic migra- rotations focuses on costumes used in This exhibition includes examples mah, meaning “ornamental fringe.” dramasnical points based of onview. historical The first events; of two the costumewith interior played markings a significant indicating role. their second will feature costumes from plays use in court productions. Woven Forms at MAD (then the Mu- derived from legends and myths. seum • A of f ocusContemporary on the 1963 Crafts exhibition), which On display are eight robes, each Françoise Grossen Selects Museum of Arts and Design adapted version of it at the Museum für - New York, NY Gestaltunginfluenced Grossen (then the when Kunstgewerbe she saw an - mortal—withcreated for a specific a set of role—court album leaves lady, that www.madmuseum.org museum; Zurich, Switzerland) in 1964 depictofficial, theatrical general, monk, characters nun andwearing im Through March 15, 2017 and inspired her to complete her MFA such robes. In the 1960s, Françoise Gros- in textiles at the University of California The 18th and 19th centuries wit- sen rejected the rectilinear loom for before settling in New York City in 1968.

Under the patronage of the Qing court the creation of large-scale, suspended (1977), made of hand-dyed Manila rope, nessed a flowering of Chinese drama. ropean approach forms constructed to fiber that of resulted knots, loops, in part •of The a series site-responsive of outdoor Contact installations. III Françoise Grossen Selects is part of (1644–1911), performances filled the MAD Transformations the POV series to address the full MAD collection. and the first in

Lauren Kalman: But if the Crime Is Beautiful … Museum of Arts and Design New York, NY www.madmuseum.org Through March 15, 2017 Taking up the subject of gold,

adornment, the installation by metal- smithspecifically Lauren its Kalmanuse in jewelry is the andmuseum’s second POV exhibition. The title refers to Austrian architect Adolf Loos’s 1908 Theatrical robe with phoenix and floral patterns, silk thread embroidery on silk satin, 50 x 96 in. treatise “Ornament and Crime.” Kal- (127 x 243.84 cm), 19th century (Qing dynasty, 1644–1911). Photo: Rogers Fund, 1929. man covers the interior and exterior of

Newsletter of the Decorative Arts Society, Inc. Fall 2016/29 MAD’s white jewelry cases in thousands ing them on the wheel and then pound- documents, clothing, jewelry and house- of golden brass leaves. They represent ing them out of the round, improvising wares, related to Clara Driscoll (1861– the leaves of kudzu, and weave in and as he went. This massive upside-down 1944) and her team of “Tiffany Girls,” around modernist and contemporary bowl has cutout holes and saber-like who were hidden in Louis C. Tiffany’s jewelry pieces from the collection. forms that penetrate the exterior walls. shadow until the discovery of Driscoll’s To create the installation, Kalman correspondence in 2005, providing a surveyed MAD’s jewelry collection and (1959) and Tientos (1959), amalgama- connection to the adjacent Center for chose more than 60 gold pieces from tions• ofSitting wheel-thrown Bull (1959), and Little slab Bigforms Horn that Women’s History (see News). the midcentury forward. She highlights have been paddle-gouged, or cut open. Driscoll was head of the Women’s pieces by Ronald Hayes Pearson and - Glass Cutting Department. Her cor- Margaret De Patta. ing through slips and glazes and using respondence, written during her The installation includes works unexpectedly • Cross (1959), bright featuring colors. scratch employment at Tiffany Studios at the by John Paul Miller, Margret Craver, turn of the century, reveals that she Irena Brynner, Otto Künzli, J. Fred the Whitney Museum of American Art Woell and Gijs Bakker. Eunmi Chun shortly • R edafter River it was (c. 1960),made, fromacquired projects by most iconic lampshades, including and Judy Kensley McKie explore medi- starting in 1960 that involved adding was responsible for many of the firm’s eval alchemy (the practice of turning or- epoxy-based paint to surfaces after well as numerous other objects made dinary substances into gold), while Lola withthe Wisteria, glass, bronze Dragonfly and mosaic. and Poppy, She alsoas Brooks and Frank Tjepkema celebrate - managed a large department of young love and eternity. pieces had been fired. women, known as the “Tiffany Girls,” Lauren Kalman: But if the Crime their • initialA group presentation. of Voulkos’s 1968 black who specialized in selecting and cutting Is Beautiful … is part of MAD Transfor- wares, The reunited exhibition for is the part first of timeMAD since glass for windows, shades and mosaics. mations. Transformations, a series of six exhibi- New-York Historical’s Tiffany lamp tions addressing artists who transform collection includes multiple examples Voulkos: The Breakthrough Years perceptions of traditional craft mediums. Museum of Arts and Design Published by Black Dog Publish- original design conceived by Driscoll in New York, NY ing in collaboration with the museum, of the Dragonfly shade, variants of the www.madmuseum.org the 208-page Peter Voulkos: The Break- Through March 15, 2017 through Years includes essays by Glenn 1899, featuring dragonflies with brass Spanning 1953–1968, this exhibi- Adamson, Elissa Auther, Barbara Paris showcasesfiligree wings Tiffany’s and gleaming opalescent glass glass; eyes; a a tion focuses on the early career of Peter Gifford, James Melchert, Ruby Neri, WisteriaDogwood table floor lamp lamp (ca. (ca. 1901), 1900–06) one thatof Voulkos. Initially trained as a tradition- Andrew Perchuk and Jenni Sorkin. Driscoll’s most iconic models; and a rare al potter, He combined wheel-throwing Voulkos: The Breakthrough Years Cobweb shade on a Narcissus mosaic with slab building, traditional glazes travels to the Renwick Gallery (Washing- base (ca. 1902), designed during a pe- ton, DC) from April 7–August 20, 2017. riod of transition from fuel to electricity. abstraction. He also worked in bronze, paintwith epoxy and printmaking. paint and figuration The exhibition with Holiday Express: Toys and Trains Forty for 40 Exhibition with features approximately 30 examples from the Jerni Collection the Ladd Brothers from his early work in ceramics. New-York Historical Society Rockwell Museum New York, NY Corning, NY history of the Museum of Arts and De- www.nyhistory.org www.rockwellmuseum.org sign V (MAD),oulkos isfeatured a central in figurenumerous in the past Through February 26, 2017 Through January 2017 exhibitions. Both the exhibition and ac- This exhibition of objects from the 40 for 40: Anniversary Highlights companying scholarly catalog provide a Jerni Collection features model trains, from the Rockwell Collection cel- detailed account of breakthrough works scenic elements and toys owned by ebrates the museum’s 40th anniversary from his period of experimentation. New-York Historical. Trains appear to and is curated by guest artists Steven Highlights include: roar through the museum with the help and William Ladd. Universal themes of four large-scale multimedia screens. A include “Childhood,” “Home” and “Cer- strips of clay as three-dimensional 360-degree mountainous landscape fea- emony.” brushstrokes • Standing and Jar colored(c. 1956), drips with trickling thick tures artifacts grouped into 10 scenes. The Ladd brothers began their for- downward. The combination of thrown mal artistic collaboration in 2000 and and slab-built elements became a cor- A New Light on Tiffany: Clara Driscoll work in a variety of media, from fashion nerstone of his working practice. and the Tiffany Girls and costuming to painting and drawing, New-York Historical Society to beading and textiles, to performance- “pot assemblages,” now in the collection New York, NY of the• RRenwickocking Pot Gallery (1956), (Washington, an example of www.nyhistory.org creations were high-fashion accessories DC). His colleague John Mason coined March 8–July 28, 2017 forart internationaland construction designers, projects. and Their their first this term to describe works that Voulkos This exhibition features more than work was featured in an exhibition at - 150 objects, such as artworks, books, the Musée des Arts decoratifs at the

assembled and joined after first throw 30/Fall 2016 Newsletter of the Decorative Arts Society, Inc. The exhibition includes interna- tional loans and is co-curated by Elina Gertsman, professor of art history at Case Western Reserve University.

Bijoux Parisiens: French Jewelry from the Petit Palais, Paris Taft Museum of Art Cincinnati, Ohio www.taftmuseum.org February 11–May 14, 2017 The exhibition features jewelry from the 17th through mid-20th cen- tury through 75 pieces of jewelry by Cartier, Lalique, Van Cleef & Arpels, and others, tracing changing styles from Baroque adornments to Neo- classical pieces to modern Art Deco designs. Additional decorative objects, Cowboys and Indians, archival board, paper, ink, fiber, metal and thousands of glass beads; design drawings and prints illuminate 19.75x27.5x9.5 in.; nine handmade boxes in vertical tower; commissioned by the museum from the Ladd Brothers. French history and culture. Works are Louvre. Since then, they have explored moving parts that spouted water, drawnthe jewelry’s from the place collection and significance of the Petit in many artistic avenues; their pieces sometimes perfumed, and are known Palais (Paris, France). range from tiny cast ants to murals from inventories. Once thought to have The Libbey Dolls: Fashioning the Story over 40 feet square. been used for banqueting tables, they Toledo Museum of Art were more likely to have been placed Toledo, OH Ohio on pedestals in strategic locations in www.toledomuseum.org Myth and Mystique: Cleveland’s palaces, where they were showcased Through February 12, 2017 Gothic Table Fountain as spectacles of ingenuity. Such objects The Libbey Dolls explores the Cleveland Museum of Art did not originate in the European West, story of this collection while showcas- Cleveland, OH but were probably introduced through ing French fashion design and the con- www.ClevelandArt.org the Byzantine and Islamic worlds. nection between fashion and the art Through February 26, 2017 The Cleveland table fountain is a world. The focus of this exhibition, pre- three-tiered assembly featuring cast The Libbey Dolls, formerly known served in the Cleveland Museum of and chased elements with a series of as the Doucet Dolls, were the prod- Art, is the most-complete surviving enamel plaques representing gro- example of a Gothic table fountain. This uct of the World War I aid effort. The porcelain factories at Limoges and medieval automaton is datable to about musical instruments, attached to it. Sèvres helped the recovery by put- 1320–40 and was probably produced Watertesque wheels figures, and some bells of whichcapture play motion ting wounded soldiers, out-of-work in Paris, France, for a person of high and sound. It is a piece of Gothic ar- artisans and other young men to work status, perhaps a member of the royal chitecture in miniature, with parapets, on making French novelties. One result court. It is internationally recognized arcades, vaults, pinnacles, columns and - as a unique example of a genre now arches with tracery. ing French style from AD 493 to 1915. understood primarily through docu- The goldsmith responsible for was Edwardthis collection Drummond of 78 figures Libbey depict, mentary sources. this object was inspired by the Gothic founder of the museum, bought the Such fountains existed in the 14th buildings of his time. The detail and dolls in 1917 at the Permanent Blind and 15th centuries in substantial num- ornamentation suggest it would have Relief Fund’s Allied Bazaar in New bers. They assumed various forms, but been expensive to produce and highly York—in what was called the “great- were always made from precious met- treasured by its original owner. est single purchase made at the Allied als and sometimes embellished with The exhibition presents this object Bazaar”— for $30,000, which would be enamels or semi-precious stones. as the focus of a single study, at the about $680,000 today. Table fountains were probably center of a group of objects including The dolls connect to late-19th– and returned to the goldsmith’s shop for luxury silver, hand-washing vessels, early-20th–century French couturier conversion into vessels or coinage once enamels, illuminated manuscripts and Jacques Doucet, who created their they ceased to function or the fashion a painting, each informing an aspect of clothing based on works by French art- had passed, accounting for the scarcity its history, functionality, presumed use ists such as Nicolas Lancet and Louis- of surviving examples. and context, materials, technique, dat- Léopold Boilly, along with drawiangs These mechanical devices had ing, and style.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/31 and engravings from late-19th–century house: seven chairs, two card tables, thing from utilitarian stoneware pot- fashion publications. a sideboard, a sofa and a settee, all tery to decorative pieces of furniture. made by cabinetmaker John Aitken This presentation offers insight Pennsylvania (ca. 1790–1839); painted and gilded into the practices of early Texas art- Classical Splendor: Painted Furniture by Bridport (1783–1819); and—except ists and artisans. More than 65 works for a Grand Philadelphia House the tables and sideboard—upholstered of art, created for both personal and Philadelphia Museum of Art by John Rea (1774–1871). commercial use, are on view. Highlights Philadelphia, PA The exhibition is accompanied include a one-of-a-kind carved desk www.philamuseum.org by a catalog with an essay by Latrobe by Adolph Kempen, a monumental Through January 1, 2017 scholar Jeffrey A. Cohen. wardrobe by Johann Michael Jahn Classical Splendor presents a set and early Texas silver by Samuel Bell. of early 19th-century painted and gild- Texas A Texas Legacy: Selections from the art and design. The ensemble, made in William J. Hill Collection Philadelphiaed furniture thatin 1808 influenced by British American archi- Museum of Fine Arts, Houston tect Benjamin Henry Latrobe for the Houston, TX house of William and Mary Wilcocks www.mfah.org Waln, celebrates the completion of a Through January 1, 2017 period of extensive study and conser- A Texas Legacy: Selections from vation treatment of these works. the William J. Hill Collection tells the Merchant Waln and his wife had story of early Texas decorative arts aristocratic ambitions. They commis- through furniture, drawings, paintings, sioned Latrobe to design their house pottery, silver and other goods made and its interior wall treatments and between the mid-19th and early 20th furnishings. In this work, Latrobe centuries. introduced a new visual language in The exhibition brings together American art that offered a new inter- objects from the era of the Republic pretation of classicism that directly of Texas, when Texas was a sparsely imitated ancient Greek and Roman art. settled territory (1836–1845), to the The exhibition highlights Latrobe’s turn of the 20th century, when the oil “klismos” design, based on the model boom resulted in the rapid expansion Rocking chair, steer horn, jaguar hide, iron, of an ancient Greek chair, and reveals of the state’s economy, transportation chrome-plated iron and wood; ca. 1880–90, the decorative artist George Bridport networks and population. Wenzel Friedrich. Gift of William J. Hill. as a visionary artist who translated A Texas Legacy showcases the The exhibition is accompanied by Latrobe’s designs into the classical de- traditional craft practices employed by related catalogs Texas Silver from the signs for the decorated walls and furni- early settlers as they produced every- William J. Hill Collection and Texas Clay: ture. An evocation in the exhibition of the Walns’ drawing room explores the role of the furniture in the context of the architecture of their house. A year after Latrobe designed the Waln furniture, he was commissioned

rooms of the President’s House (Wash- ington,to reconfigure DC) for and President refurnish James the Madi public- Dinner plate from son and his wife Dolley. The success of the “Empress the Walns’ furniture inspired a related Catherine” Service, design for the furniture of the Oval soft-paste porcelain, Drawing Room, which burned in 1814. 1778, Sèvres Financial troubles struck the Porcelain Manufactory. Walns in 1821, and they were forced to Purchase funded by sell their household furnishings to pay the Rienzi Society. creditors. Their house was torn down in 1847. It is known today only through

insurance surveys and a handful of descriptions.the furniture, a single watercolor, fire Classical Splendor assembles the furniture Latrobe designed for the

32/Fall 2016 Newsletter of the Decorative Arts Society, Inc. 19th-Century Stoneware Pottery from tery vase that is an example of the art restoration of the Berthouville Trea- the Bayou Bend Collection. of the Chinese potter, a “chicken cup” sure paves the way for additional produced in the mid-Ming period, silk research and study of these antiquities. Emperors’ Treasures: Chinese Art tapestries and the Qianlong emperor’s Highlights include the “Patera of from the National Palace box of small treasures. Rennes,” a shallow libation bowl that Museum, Taipei The exhibition is co-organized by is one of the few surviving examples of Museum of Fine Arts, Houston the Asian Art Museum of San Fran- Roman gold tableware; the “Shield of Houston, TX cisco (CA) and the National Palace Scipio,” a silver-and-gold plate depict- www.mfah.org Museum (Taipei). ing the Homeric hero Achilles, ex- Through January 29, 2017 tracted from the Rhone River in 1656; Ancient Luxury and the Roman Silver and a bejeweled cameo of the Emperor Treasure from Berthouville Trajan, carved from multilayered sard- Museum of Fine Arts, Houston onyx. Houston, TX www.mfah.org before these objects return to France in Through February 5, 2017 2017. The MFAH is the final U.S. stop Ancient Luxury and the Roman Silver Treasure from Berthouville fea- Grand Designs: Neoclassical Taste tures more than 170 objects from the in the 18th Century ancient Roman Empire, including a col- Museum of Fine Art Houston lection of silver objects known as the Houston, TX Berthouville Treasure. This cache— www.mfah.org accidentally discovered by a French Through February 20, 2017 farmer in the early 19th century and Grand Designs is one of this year’s recently conserved by the J. Paul Getty two special exhibitions at Rienzi, the Museum—is displayed alongside a Museum of Fine Art Houston house selection of gemstones, glass, jewelry museum for European decorative arts, and other Roman luxury items from and comprises furniture, decor and the royal collections of the Cabinet des prints from the era. Médailles of the Bibliothèque natio- Throughout the 18th century, nale de France. thousands of aristocratic young tour- These objects offer insight into the ists traveled to Italy to take part in the role of luxury arts in ancient society. Grand Tour. Many visited archeologi- The techniques employed by ancient cal sites and purchased antiquities to Vase with Revolving Core and Eight-Trigram Design, porcelain with golden glaze and craftsmen reveal aspects of Roman decorate their homes. They also bought appliquéd sculpture, Qing dynasty, reign of technology, culture and religion. The and commissioned a variety of decora- the Qianlong emperor, 1735–1796, National Palace Museum, Taipei. Image © National Palace Museum. Emperors’ Treasures: Chinese Art from the National Palace Mu- seum, Taipei includes more than 160 works of art from the National Palace Bratina, 19th-century Museum in decorative arts such as silver gilt, enamel, porcelain, textiles, enamels and jade. sapphires, emeralds, The exhibition explores the roles of rubies, garnets, blue topaz (?), pearls; 6 eight emperors and one empress, who x 5.5 (diameter) in. ruled between the early-12th-century 15.24 x 13.97 cm. Fa- Song dynasty and the early-20th-century bergé firm. Bequest of Qing dynasty, in establishing and devel- Lillian Thomas Pratt, oping new artistic directions through the objects they collected, commissioned and, in some cases, created. Emperors’ Treasures outlines how Chinese art - nese, Mongol and Manchu rulers. evolved These and objects flourished have under rarely Han been Chi displayed outside Taipei. Selections include an 11th-century white pot-

Newsletter of the Decorative Arts Society, Inc. Fall 2016/33 Washington Linda MacNeil: Jewels of Glass Museum of Glass Tacoma, WA www.museumofglass.org January 21–October 1, 2017 Star Frame, gold, Linda MacNeil’s use of glass to enamel, pearls, glass, create wearable jewelry provides an ivory 3 x 2.625 x opportunity for the Museum of Glass 3.5625 (diameter); - 7.62 x 6.67 x 9.05 (di- elry, Linda MacNeil: Jewels of Glass. ameter) cm; Fabergé MacNeilto present has its been first aexhibition pioneer in of both jew the firm, 19th century— Studio Jewelry and Studio Glass move- before 1899. Bequest of Lillian Thomas ments since the 1970s. With formal Pratt. training in metalsmithing, she began fashioning a body of work that com- bines glass and non-precious metals— more recently augmenting them with precious materials. Over her 40-year career, MacNeil has created more than 700 necklaces, brooches and earrings. This retrospective exhibition and - arly examination of the development of tive arts inspired by antique models Russian imperial Easter eggs created MacNeil’saccompanying work catalog and her is contributions the first schol that were considered the height of - to late 20th- and 21st-century Ameri- eler Karl Fabergé (1846–1920). can jewelry. This exhibition explores the his- by theA newSt. Petersburg aspect of the firm galleries led by jew is the toryrefined and taste. conservation of the Dundas addition of interactive components, International Sofa, commissioned by Scottish busi- including a mobile app, in-gallery Canada nessman Sir Lawrence Dundas from interactives, a new webpage and new Small Wonders: Gothic Boxwood architect Robert Adam and furniture video footage of the imperial eggs. Miniatures maker Thomas Chippendale. Grand Large touchscreens offer background Art Gallery of Ontario Designs places the sofa in the context material with videos that reveal the Toronto, ON www.ago.net sites and objects, as well as reproduc- Fabergé (1846–1920) transformed Through January 22, 2017 of firsthand observation of ancient construction of the five imperial eggs. tions in print. More than 60 miniature boxwood Among the works on view are a begun by his father in 1842 into an carvings from the early 1500s, so small ewer by silversmith Paul de Lamerie internationalthe small St. Petersburg enterprise. jewelry Combining firm his and prints illustrating the decorative early training as a goldsmith and jew- in this exhibition in partnership with work of Robert Adam and his brother eler with innovative business practices, thethey Metropolitan can fit in a hand, Museum are on ofdisplay Art James. Fabergé attracted important clients (New York, NY) and the Rijksmuseum and was eventually appointed Supplier (Amsterdam, The Netherlands). The Virginia to the Imperial Court. exhibition highlights more than four Fabergé and Russian Decorative Arts Although Fabergé did not person- years of research using technology to Virginia Museum of Fine Arts ally fabricate the objects he sold, he understand these miniature rosaries, Richmond, VA ran a company with approximately 500 prayer beads and altarpieces. https://vmfa.museum employees, who created more than Some objects have hinged halves Ongoing 150,000 objects renowned for their with tableaus inside. Interlocking cir- After an international tour, VMFA’s superb craftsmanship. cular patterns in tracery resemble rose collection of Fabergé returns to the After the execution of Tsar Nicho- windows in Gothic churches. Individual museum, with 280 objects and other las II and his family by revolutionaries feathers can be seen on angel wings, Russian decorative arts. and scales on dragons and scalloped Lillian Thomas Pratt donated a where he died in Lausanne in 1920. molding on crenellated spires and in 1918, Fabergé fled to Switzerland, large selection of Fabergé objects to The large majority of objects by the grout lines between bricks; spaces the museum in 1947. This Fabergé col- for missing shingles are noticeable on lection—the largest public collection Many were broken up, melted down or shacks; peas in peapods have hinged Fabergé firm have since disappeared. destroyed. lids; tiny doves move in birdcages.

outside Russia—includes five of the 52 34/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Chihuly: From Sand. From Fire. Comes Beauty Royal Ontario Museum Toronto, Ontario, Canada www.rom.on.ca Through January 8, 2017 This exhibition demonstrates how Dale Chihuly has mastered the quali- ties of ice, water, glass and neon. Chihuly established the glass pro- gram at the Rhode Island School of Design and co-founded Pilchuck Glass School in 1971. He has works of art in more than 250 museum collections. Art, Honour, and Ridicule: Asafo Flags from Southern Ghana Royal Ontario Museum Toronto, Ontario, Canada www.rom.on.ca Through March 2017 Art, Honour, and Ridicule: Asafo Flags from Southern Ghana focuses on historical and contemporary aspects

numerous military Asafo companies of theAsafo Fante flags—the states along insignia the created coast of for Southern Ghana. Historically, Asafo companies were in charge of the safety and protection of local communities, as well as war- fare. Today, they act as the core of local Miniature biblical scene, boxwood, hinged. Carvers used foot-powered lathes; (London, England) and NASA have wisdom and messages to enemies, and quartz magnifying glasses; and minia- arecommunities. sacred objects Their depicting flags depict the pride,spirit ture hooks, saws, chisels and drills. into these objects. and history of a company. Some miniatures use layers of assisted The inexhibition the scientific travels investigation to the Clois - The exhibition features handcraft- ters of the Metropolitan Museum of Art scenery. Components are pegged, pinned and the Rijksmuseum. with videos. andgossamer glued sheetsso an assemblage to portray figures appears and ed flags, costumes and artifacts, along carved from a single block of wood. Boxwood is ideal for such cre- ations because it is dense and durable, and its surface becomes soft and tactile after being polished. The wood also is

The exhibition includes several thoughtworknever to haveseen religiousbefore in significance. North Amer- ica, including the Chatsworth Rosary (ca. 1509–1526), originally owned by of Aragon, and 10 prayer beads and twoHenry miniature VIII and altarpieceshis first wife, from Katharine the AGO’s Thomson Collection of Euro- pean Art. Scientists at the Canadian Conser- vation Institute, University of Western Ontario’s Department of Sustainable Flag, made for unidentified Fante Nynkumase Company between 1925 and 1950, depicting idea Archeology, Museum of Natural History that technological superiority may overcome natural strength.

Newsletter of the Decorative Arts Society, Inc. Fall 2016/35 DAS Contribution

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

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36/Fall 2016 Newsletter of the Decorative Arts Society, Inc. Contributions

Firestone and Parson, Inc. Special contributors Beatrice B. Garvan President’s Circle W. Scott Braznell & Patricia E. Kane John Stuart Gordon Robert L. McNeil, Jr.* Jay Cantor Marion C. Grant Stewart G. Rosenblum, Esq. Dorothy K. Chin Anne K. Groves Lewis I. Haber and Carmen Dubroc David A. Hanks Benefactors Michael Conforti Sarah D. Coffin Jeannette M. Harper Anonymous Susan M. Conway Karina H. Corrigan Judith F. Hermstadt Margaret B. Caldwell Anne E. Hough Oscar P. Fitzgerald, IV Dalva Brothers, Inc. Elizabeth A. Davison Katherine Howe Elizabeth De Rosa Phillip M. Johnston Patrons Nancy de Waart Linda H. Kaufman Anonymous Helen Drutt: Philadelphia Elsie Klumpner William G. Allman Jean Efron Art Consultants LLC Leeds Art Foundation David L. Barquist Nancy Goyne Evans Kathleen Luhrs Elizabeth Bidwell Bates Jeannine Falino David R. McFadden George S. Bosy Jean T. Federico Thomas S. Michie Mrs. Milo Naeve Harold B. Nelson Jane & Richard Nylander Susan J. Rawles Charles J. Robertson, III Monika V. Schiavo Susan P. Schoelwer Susan Solny Charles W. & Carol E. Soltis Joseph P. Spang Kevin Stayton Anne R. Stevens Jay Robert Stiefel Andrew Van Styn Charles L. Venable Nicholas C. Vincent Daniel Visnich John C. Waddell Gerald W.R. & Barbara M. Ward Kristina F. Wilson Gail C. Winkler *Deceased

Categories of DAS contributions Student $20 Regular $35 Institutions & Libraries $40 Sustaining $60 Patron $100–$499 Benefactor $500–$14,999 President’s Circle $15,000 and above* *Status is reached when contributions pay- able over up to five years total this amount.

Contribution checks should be made pay- able to “Decorative Arts Society, Inc.” and mailed to: Table Fountain, gilt-silver, translucent enamel on basse-taille, and Decorative Arts Society, Inc. opaque enamel; 31.1 x 24.1 cm., ca. 1320–40. France, Paris. Gift of J. c/o Stewart G. Rosenblum, Treasurer H. Wade, 1924. In Myth and Mystique: Cleveland’s Gothic Table 333 East 69th Street, #8E Fountain (see Exhibitions, Cleveland, OH; Cleveland Museum of Art). New York, NY 10021 Decorative Arts Society Rochester, NY Rochester, Permit No. 1445 Permit FIRST FIRST CLASS MAIL U.S. POSTAGE PAID Tiffany’s Glass Mosaics (see

MATERIAL

Volume 24, Number 2 Volume Number 24, newsletter/fall 2016 The Dream Garden, mural (detail), glass mosaic. Tiffany Studios, 1916, in The Dream Garden, mural (detail), glass mosaic. Tiffany Studios, 1916, DATED Ms. Moira Gallagher, DAS Secretary DAS Gallagher,Ms. Moira Assistant Research Wing The American Metropolitan Museum of Art Fifth Avenue 1000 10028 NY York, New Exhibitions, Corning, NY; Corning Museum of Glass).