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Revival Memories, Identities, Utopias REVIVAL MEMORIES, IDENTITIES, UTOPIAS EDITED BY AY L A LE PINE MATT LODDER ROSALIND MCKEVER Revival. Memories, Identities, Utopias Edited by Ayla Lepine, Matt Lodder, and Rosalind McKever With contributions by: Deborah Cherry Whitney Davis John Harvey Alison Hokanson Martin Horácek Phil Jacks Michelle Jackson Ayla Lepine Matt Lodder Jonathan Mekinda Alan Powers Nathaniel Walker Alyson Wharton Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2015, The Courtauld Institute of Art, London. ISBN: 978-1-907485-04-6 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any way or form or my any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission in writing from the publisher. Designed by Jack Hartnell Cover Image: Henri De Braekeleer, The Man in the Chair, 1876 (detail). Oil on canvas, 79 x 63 cm, Koninklijk Museum voor Schone Kunsten, Antwerp. CONTENTS List of Illustrations 5 Notes on Contributors 9 Acknowledgements 11 Foreword: The Interval of Revival 12 WHITNEY DAVIS Introduction 17 AYLA LEPINE, MATT LODDER, ROSALIND MCKEVER I. MEMORIES ‘Nostalgia’, Matt Lodder 27 The Ghost Begins by Coming Back. Revenants And Returns 29 In Maud Sulter’s Photomontages DEBORAH CHERRY 1937 and Victorian Revivalism 45 ALAN POWERS The Retrieval of Revival: Recollecting and Revising 67 the Evan Roberts Wax Cylinder JOHN HARVEY The Problem of Expiration of Style 86 and the Historiography of Architecture MARTIN HORÁČEK II. IDENTITIES ‘Historicism’, Ayla Lepine 101 The New Old Style: Tradition, Archetype and Rhetoric 103 in Contemporary Western Tattooing MATT LODDER Longing for Past and Future: Cultural Identity and Central 120 European Revivalist Glassware Designs MICHELLE JACKSON Henri De Braekeleer and Belgium’s 135 Nineteenth-Century Revivalist Movement ALISON HOKANSON Armenian Architects and ‘Other’ Revivalism 150 ALYSON WHARTON III. UTOPIAS ‘Anachronism’, Rosalind McKever 169 Ferro-concrete and the Search for Style 171 in the ‘American Renaissance’ PHIL JACKS Echoes of Manhattan in Parliament Square: 188 Transatlantic Medievalism for the Twentieth Century AYLA LEPINE Modernism and Revivalism in Italian Architecture 205 and Design, 1935-1955 JONATHAN MEKINDA Babylon Electrified: Orientalist Hybridity as Futurism 222 in Victorian Utopian Architecture NATHANIEL WALKER Photograph Credits 239 5 LIST OF ILLUSTRATIONS FOREWORD Frost, Glass in Architecture and Decoration (London: Architectural Press, 1937). f.1 Brooch from Great Chesters (Aesica), c.80CE. Gilt 2.3-2.4 copper-alloy, 10.4 x 3.8 x 5.5 cm, Society of Antiquaries of Dust jacket of Christopher Hobhouse, 1851 and the Crys- Newcastle upon Tyne and Great North Museum. tal Palace (London: John Murray, 1937) with drawings by Osbert Lancaster and photograph of the fire. CHAPTER 1 2.5 1.1 Osbert Lancaster, ‘Neo-Victorian’ from Homes Sweet Maud Sulter, Noir et Blanc: Deux [Black and White: Two], Homes, 2nd edn (London: John Murray, 1953) from Syrcas, 1993. Colour photographic print, 101.6 x 152.4 cm. 2.6 Le Corbusier, Charles Bestegui apartment roof garden, 1.2 Avenue des Champs Elysées, Paris, France, 1930. Maud Sulter, Duval et Dumas: Duval, from Syrcas, 1993. Colour photographic print, 101.6 x 152.4 cm. 2.7 Berthold Lubetkin, Penthouse apartment at Highpoint 2, 1.3 North Hill, Highgate, London, United Kingdom, 1938, Maud Sulter, Hélas l’héroine: Quelques instants plus tard, showing Pollock toy theatre prints (replicating the origi- Monique cherchait sa brosse à cheveux [Alas the heroine: A little nals) used as wallpaper. later Monique looked for her hairbrush], from Syrcas, 1993. Colour photographic print, 152.4 x 101.6 cm. 2.8 John Piper, Brighton Aquatints (London: Gerald Duck- 1.4 worth, 1939). Maud Sulter, Malheureusement: Malheureusement, parce que tu parlais d’anges [Unfortunately: Unfortunately, because you 2.9 spoke of angels], from Syrcas, 1993. Colour photographic H.S. Goodhart-Rendel, Entrance to St Mary, Bourne print, 101.6 x 152.4 cm, The Estate of Maud Sulter. Street, SW1, London, United Kingdom, added to the original 1874 church by R.J. Withers in 1923. 1.5 Maud Sulter, Malheureusement: Malheureusement, comme 2.10 d’habitude je comparais la couleur de mon rouge à lèvres et celle H.S. Goodhart-Rendel, Prince’s House, North Street, de mon foulard… [Unfortunately: Unfortunately, as usual I Brighton, United Kingdom, 1936. compared the colour of my lipstick to that of my scarf...], from Syrcas, 1993. Colour photographic print, 101.6 x 152.4 cm. 2.11 London County Council (E.P. Wheeler and H.F.T. 1.6 Cooper), former St. Martin’s School of Art, Charing Cross Maud Sulter, Untitled, 1993. Photomontage on paper, 18.5 Road, London, United Kingdom, 1939, refurbished as x 13.2 cm. Reproduced on the back cover of Syrcas: Maud Foyles Bookshop and apartments by Liftschutz Davidson Sulter, 1994. Sandilands, 2014. 1.7 2.12 Maud Sulter, Je me rappelle que tu brossais ta perruque un Rex Whistler, cover of Souvenir Programme for Victoria peu avant le coup de téléphone de m. fasciste [I remember that Regina by Laurence Housman, 1937. you brushed your wig a little before the phone call from Mr. Fascist], from Syrcas, 1993, Colour photographic print, CHAPTER 3 101.6 x 152.4 cm. 3.1 1.8 Cylinder of ‘Revival address By E Roberts Jan. 18 1905 Maud Sulter, State of Emergency, 1985/86. Paper collage, (ER)’. Carnauba wax, National Screen & Sound Archives size and location unknown. of Wales, Aberystwyth. CHAPTER 2 3.2 ‘Mr Evan Roberts Smiles while Preaching’, c.1904. Pic- 2.1 ture postcard. Rotary Photo. The Drawing Room, 23A Bruton Street, Furnished for the Exhibition of Victorian Art, 1931. 3.3 Cylinder of ‘Revival address By E Roberts Jan. 18 1905 2.2 (ER)’, in fragments prior to restoration, 1905/2002. Na- The Crystal Palace , photograph by Dell and Wainwright, tional Screen & Sound Archives of Wales, Aberystwyth. 1936, on the dust jacket of Raymond McGrath and A.C. LIST OF ILLUSTRATIONS 6 3.4 4.8 Detail of 3.1 showing surface corruptions, 1905/2002. The town of Hvar, the island of Hvar, Croatia, 13th–21st National Screen & Sound Archives of Wales, Aberyst- centuries. wyth. CHAPTER 5 3.5 John Harvey, electroacoustic drawing board, 2011. MDF, 5.1 chrome, aluminium, microphone, and preamplifier. Ira Dye, Examples of tattoos depicted on Seamen’s Pro- tection Certificates, 1989. 3.6 Silhouette of fragment for John Harvey, ‘First Piece: 5.2 Abort Nerves’, R R B V E E T N S O A, 2015. Don Ed Hardy, Back in the Saddle, 1991. Ink and water- colour on paper, Private collection. 3.7 Source recording: distribution and ratio of speech and 5.3 song of ‘Revival address By E Roberts Jan. 18 1905 (ER)’. Amund Dietzel, flash design, c.1916. Ink and watercolour on paper, Private collection. 3.8 Distribution and ratio of speech and song of John Harvey, 5.4 ‘First Piece: Abort Nerves’, R R B V E E T N S O A, 2015. Von Dutch, c.1956, photographed for the US teen maga- zine Dig, Private collection. 3.9 Waveform display for John Harvey, ‘Fourth Piece: Braver 5.5 Notes’, R R B V E E T N S O A, 2015. Sailor Jerry, sheet of flash, 1964. Ink and watercolour on paper, Private collection. 3.10 Enlargement of frequency graphic of the digital surrogate 5.6 of ‘Revival address By E Roberts Jan. 18 1905 (ER)’. Marina Inoue, tattoo, 2012. CHAPTER 4 CHAPTER 6 4.1 6.1 Antoni Gaudí and others, the Sagrada Família Church, Peter Behrens, Tafelgläser und Likorgläser [Goldband Barcelona, Spain, under construction since 1882. The five- and Aegir Services], designed 1900–4. Blown glass with nave vault was completed in 2010. cut and applied decoration, illustrated in Die Kunst: Monatshefte für Freie und Angewandte Kunst 12:8 4.2 (1905): 381–424. Kamil Hilbert, house U Bezděků, Plzeň, Czech Republic, 1906–7. 6.2 Jan Kotěra, Punch Bowl Set with Six Glasses, designed 4.3 1904–10, executed 1996. Glass, Punch Bowl: 29.9 x 25.5 Francisco de Cubas and others, Church of Santa María la cm, Corning Museum of Glass, Corning, NY. Real de la Almudena, Madrid, Spain, 1883–1993. 6.3 4.4 Goblet, Venetian, 17th century. Blown glass, 13 x 7.9 x Benedikt Ried, three-nave vault at the Church of St. Bar- 7.5 cm, Bequest of Jerome Strauss, Corning Museum of bara, Kutná Hora, Czech Republic, 1512–48. Glass, Corning, NY. 4.5 6.4 Frauenkirche and Neumarkt, Dresden.
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