Smoking set (five ash trays and The Roycrofters matchbox holder), c. 1920–28 Writer and philosopher The Virtues of Simplicity Copper (1856–1915), a former executive with Marks: [orb and cross around R] the Larkin Soap Company of Buffalo, (MET-018-82) , founded the Roycrofters in American East Aurora, New York, looking to guild Console set (bowl and pair of candlesticks), c. 1915–28 models in England. The Roycroft Press, Copper his first venture in 1895, disseminated his Arts & Cr afts thoughts on politics, religion, and society Marks (each): [orb and cross FROM THE MORSE COLLECTION around R] through The Philistine magazine. The (MET-046-78:1–3) press was named after two seventeenth- century London printers but based upon Desk set (letter rack, letter opener, William Morris’s Kelmscott Press, which pen tray, bud vase), c. 1910–26 he had visited a few years earlier. Adopt- OBJECT G UIDE Copper ing the orb and cross from a fifteenth- Marks: [orb and cross around R] / century Venetian press as his logo, ROYCROFT The originated in the nineteenth-cen- Hubbard achieved a national reputation (MET-004-81:1–4) with his timely articles. Soon an entire tury in Great Britain as a response mainly to the harsh realities of the Vase, c. 1915–28 community developed around “the cult Industrial Revolution—mass production that debased the individual No. 203 of Hubbard,” complete with medieval and yielded cheap, poorly designed products—as well as to the excesses Copper, silver architecture, devoted craftsmen, and 12 Marks: [orb and cross around R] a variety of crafts including furniture, of Victorian decoration. Internationally, its proponents sought a return (MET-007-79) metalwork, and pottery. Hubbard said to work by hand, the dignity of labor, and unity of design. “...a Roycrofter is a person who makes Vase, c. 1915–28 beautiful things, and makes them as well Though the artists had common emerged from the great fire of 1871 as a No. 248 as he can.” Hubbard goals, works of great individuality major hub of the movement in America. Copper, glass died tragically aboard Glassmaker: Steuben Glass Works, were produced by different countries In the United States, Arts and Crafts the Lusitania when it 1903–present, Corning, New York and regions because the movement designs were notable for their simplicity was sunk by a German Marks on base: [orb and cross emphasized the use of local history, and spare ornamentation, often inspired submarine in 1915. around R] / ROYCROFT materials, and sources. Charles Hos- by nature. Yet for both creators and Marks on glass: STEUBEN mer Morse (1833–1921), the Chicago consumers, the objects represented more (GL-003-82) Vase, c. 1915–28. Copper, glass; industrialist for whom the Museum is than an aesthetic: their value derived Roycroft, East Aurora, New York; Steuben Glass Works, Corning, named, redecorated his Winter Park from a production process that honored New York (GL-003-82). home, Osceola Lodge, in the Arts and the individual and a simpler way of life. Crafts style around 1905. This exhibi- The objects in this exhibition—se- tion includes Craftsman furnishings lected to illustrate the movement’s roots he purchased from Gustav Stickley in Europe and blossoming in the United (1858–1942), the influential figure States—are organized into three geo- who helped popularize the move- graphical sections: Europe, Chicago, and ment’s ideals across the country. Also, Other American Regions. All known thanks in part to Mr. Morse, the makers and designers are included in Museum has particularly fine Arts and the object listings as well as any marks, Crafts examples from Chicago, which labels, and inscriptions on the object. 445 north park avenue, winter park, florida 32789 407-645-5311 www.morsemuseum.org ©2009 Charles Hosmer Morse Foundation, Inc. e u r o p e 3) Platform, left to right, front to back: Wiener Werkstätte In Austria, artists adopted tenets of the Drafting desk, c. 1905 English Arts and Crafts movement, 1) Case, left to right: Centerpiece, 1899 Softwood, brass, paint although drawing from their own Sterling silver Maker: English or Austrian history and tradition, they used Mantel clock, c. 1902–5 Maker: Goldsmiths & Silversmiths (FURN-016-70) Great Clock, Tudric line Company Limited, 1880-1952, classical design elements, rectilinear lines, and more abstracted decoration. Pewter, abalone, brass London Lamp, c. 1900 Designer: Archibald Knox, Marks: Goldsmiths’ / & Silversmiths’ Silver over bronze, blown glass The Wiener Werkstätte (Viennese 1864–1933, Birmingham, England Company Ltd. / 112 Regent Street, moonstones Workshop and Production Cooperative Maker: W. H. Haseler and Co., London, W. / [hallmarks] Maker: Glasfabrik Johann Loetz- of Art Works) developed in 1903 under 1870–c. 1926, Birmingham, England (MET-034-78) Witwe, 1836–1939, Klostermühle, designers such as Josef Hoffmann Retailer: Liberty & Co., Austria (1870–1956), Koloman Moser (1868– 1875–present, London 2) Case, clockwise from top left: Marks: [illegible] 1918) and most famously, Gustav Klimt Marks on case: TUDRIC (MISC-027-69) (1862–1918). The concept of simplicity Marks on clock movement: Vase, c. 1900 and a Gesamtkunstwerk—a complete FRANCE Glazed clay Tablecloth, c. 1900 work of art—remained fundamental to (70-005) Maker: Royal Doulton, Velvet the designs of these artists. 1853–present, Burslem, Maker: Austrian Carriage clock, c. 1901 Staffordshire, England Gift of Lee Collison Tudric line Marks: H A / [lion standing on (2008-001) William Morris Pewter, enamel, copper royal crown] / 8002 / T William Morris (1834–96)—one of Designer: Archibald Knox, (PO-009-75) Firescreen, c. 1885–96 the founding fathers of the Arts and 2 1864–1933, Birmingham, England 3 Flora (Roman goddess of flowers Crafts movement—designed everything Maker: W. H. Haseler and Co., Vase, c. 1900 and spring) from wallpaper to furniture. His designs 1870–c. 1926, Birmingham, England Glazed white clay Leaded glass, oak Retailer: Liberty & Co., Marks: [illegible] / ENGLAND Designer: Edward Burne-Jones, and those of others working for his 1875–present, London Gift of Herbert O. and Susan C. 1833–98, London company, including Pre-Raphaelite Marks: TUDRIC / 0721 / 1 Robinson Maker: Morris & Co., 1875–96, painters such as Edward Burne-Jones (70-004) (PO-144-86) London (1833–98), became enormously popular (GL-025-84) by the 1870s. Their work tranformed the Vase, c. 1900–1903 Victorian taste for depth in design to the Hazeldene pattern 4) Six leaves from The Works of Geoffrey more flattened, natural patterns seen in Liberty & Co. Glazed clay Chaucer: Now Newly Imprinted, 1896 Celtic relief carving and medieval design. From about 1890, the inovative London Designer: William Moorcroft, Ink on handmade paper A collector of medieval illuminated 1872–1945, Burslem, Staffordshire, Regent Street shop Liberty & Co. Designer: William Morris, 1834–96, manuscripts, Morris ventured into England London helped spread the movement’s influence book publishing in 1890. The Works of Maker: James Macintyre & Co., Illustrator: Edward Burne-Jones, with high-end furniture, textiles, wall- Geoffrey Chaucer: Now Newly Imprinted coverings, pottery, and metalwork by c. 1860–present, Burslem, 1833–98, London Staffordshire, England was one of most important works such distinguished designers as C.F.A. Publisher: Kelmscott Press, 1891–98, Retailer: Liberty & Co., Hammersmith, London printed by his Kelmscott Press. The Voysey, Walter Crane, and Archibald 1875–present, London (BO-008-74:A) decorative, intertwining foliage found Knox, all who worked in anonymity. Marks: Made for Liberty & Co. / Ro. along the border of his books emulated Knox’s Tudric mantel clock was designed to No. 397964 / W. Moorcroft / des similar patterning found in medieval resemble the monuments found on the (PO-010-71) manuscripts—a link that was central to Isle of Man, where Celtic monoliths sat the ideals of Arts and Crafts movement alongside Manx crosses. in England.

The Virtues of Simplicity The Virtues of Simplicity C h i c a g o 2) Case, clockwise from top left: The Guild System Guilds in Chicago were largely based Tumbler, c. 1905 on the English model—cooperative 1) Platform, left to right, front to back: Integrated Decoration Copper arrangements of craftspeople work- In Ornament in Architecture, architect Maker: Craftsman’s Guild, ing for a greater good and to unify the Cornice block, c. 1893 Louis Sullivan (1856–1924) argued that c. 1900–10, Highland Park, Illinois arts. The Craftsman’s Guild was one Chicago Stock Exchange building, mass and proportion must be mastered Gift of Frances Grover of nearly a dozen such guilds formed 1894–1972, Chicago, (Adler & before ornament could be considered. (MET-009-84) Sullivan, 1883–96, Chicago, architect) around 1900 in Chicago. Members He soon captured the juxtaposition of Concrete believed that craft elevated moral char- simplicity and the jewel-like quali- Vase, c. 1905 (2002-002) acter even at the youngest ages. Eulalie ties of early church architecture in his Copper Maker: Craftsman’s Guild, Osgood Grover (1873–1958), sister decidedly commercial commissions. Arm chair, c. 1892 c. 1900–10, Highland Park, Illinois of founder Edwin O. Grover, wrote The cornice block on exhibition from Dining room, Charles Hosmer Gift of Frances Grover The Sunbonnet Babies’ Primer while at Adler & Sullivan’s Chicago Stock Morse house, 1893–1929, Kenwood, (MET-008-84) the guild. This textbook revolutionized Chicago, (Mifflin Bell, 1846–1904, Exchange building (c. 1893) exemplifies the manner in which children were Chicago, architect) the way the firm integrated decoration The Sunbonnet Babies’ Primer, 1902 educated throughout the country. Mahogany into the actual building. The cornice Author: Eulalie Osgood Grover, Maker: Attributed to the Henry segment is a decorative embellishment, 1873–1958 Dibblee Company, c. 1880–96, yet it serves as an integral block for the Illustrator: Bertha L. Corbett Chicago Chicago Metalwork building. The surface decoration was [Melcher], 1872–c. 1950 (2001-005:1) The movement elevated decorative art directly inspired by the complex pat- Publisher: Rand, McNally & Co., to a position of moral importance, and terning found in medieval manuscripts 1856–present, Chicago 4 Desk, c. 1892 Inscription: Then to / My dear metalwork was popular at the turn of 5 so influential to the English reformers. Study, Charles Hosmer Morse house, Mother– / For her sympathy and help the twentieth century. The demand in Likewise, the Henry Dibblee Com- 1893–1929, Kenwood, Chicago, / In the making of this little book. / – Chicago and ready availability of sup- pany in Chicago embraced the prin- (Mifflin Bell, 1846–1904, Chicago, Eulalie / June First / Nineteen hundred plies provided opportunities for artists architect) ciple of integrated decoration through and two. / (First edition) from a variety of backgrounds. The Mahogany hand-carved woodwork for all facets Gift of Frances Grover Kalo Shop, founded by a group of Maker: Attributed to the Henry of interior design. The acanthus motif (2412) young female graduates of the School Dibblee Company, c. 1880–96, carved into the desk, chairs, and cabinet of the Art Institute of Chicago, became Chicago doors from the Charles Hosmer Morse 3) Case, left to right: Marks: 684 10-92 one of the largest makers of metalwork house in Kenwood is a prime example. (FURN-023-92) Candlestick, 1905 in Chicago. The brass candlestick on Brass exhibit, among the first pieces pro- Cabinet doors, c. 1892 Maker: The Kalo Shop, 1900–1970, duced, was purchased in October 1905 Dining room, Charles Hosmer Arm chair, c. 1892 Chicago from Marshall Field & Company as a Dining room, Charles Hosmer Morse house, 1893–1929, Kenwood, Partial paper label: The Kal[o Shop] wedding gift to Charles Hosmer Morse’s Morse house, 1893–1929, Kenwood, Chicago, (Mifflin Bell, 1846–1904, / 416 Fine Ar[ts Building] / 203 daughter, Elizabeth. Artist Robert Chicago, architect) Chicago, (Mifflin Bell, 1846–1904, Michi[gan] / Chic[ago] Jarvie, a former city clerk and metal- Squirrel Chicago, architect) (2000-008) Mahogany, iron Mahogany working hobbyist, opened the Jarvie Maker: Attributed to the Henry Maker: Attributed to the Henry Shop in 1904 in the same building as Dibblee Company, c. 1880–96, Dibblee Company, c. 1880–96, Kalo. Lebolt & Company, a respected Chicago Chicago Chicago jeweler, opened a workshop to (2008-012:1, 2) (2001-005:4) supply its stores and was known for rea- sonably priced hand-hammered silver.

The Virtues of Simplicity The Virtues of Simplicity Candleholder, c. 1910 Pair of candlesticks, c. 1901–3 Landscape, c. 1910 Gates Potteries and Teco Brass, copper Bronze Oil on canvas Teco Pottery, a subsection of Gates Maker: Carence Crafters, Maker: Robert Riddle Jarvie, George Ames Aldrich, 1872–1941, Potteries, incorporated abstract geo- c. 1908–11, Chicago 1865–1941, Chicago Chicago metric designs and architectonic forms. Marks: [CC conjoined monogram] (1998-001:1, 2) Signed, lower left: G. Ames Aldrich Established in an idyllic country setting (MET-010-86) (2000-005) outside Chicago, the factory was based 4) Platform, left to right, front to back: on William Morris’s and ’s Napkin ring, c. 1914 Vase, c. 1905 Silver Sideboard panel, c. 1903–5 No. 72, Teco Pottery socialistic ideas, but the company also Maker: Lebolt & Company, Dining room, Darwin D. Martin Glazed clay used modern production techniques 1899–1922, Chicago house, 1905–present, Buffalo, Designer: William D. Gates, such as piece molds, power sprayers, and Marks: LEBOLT / HANDMADE / New York, (Frank Lloyd Wright, 1852–1935, Chicago coal-fired muffle kilns. Designers such STERLING / 132 / [rampant lion] / 1867–1959, Chicago, architect) Maker: Gates Potteries, as Fernand Moreau (1853-1920), Frank Xmas 1914 Leaded glass 1886–c. 1930, Terra Cotta, Illinois Lloyd Wright, and Inscription: R [Richard Millard Designer: Frank Lloyd Wright, Marks: [TECO monogram] / William Day Gates Genius Jr., grandson of Charles 1867–1959, Chicago [TECO monogram] (1852-1935) produced Hosmer Morse, brother of Jeannette Maker: Linden Glass Company, Paper label: TECO / POTTERY / wonderfully diverse Genius McKean] c. 1880–c. 1935, Chicago NO. 72 / GATES / POTTERIES / pieces for Teco in the (MET-017-90) (GL-058-68) DESIGNED BY / WM GATES / pottery’s signature CHICAGO Vase, c. 1910 (PO-030-82) green glaze. Prairie School No. 434, Teco Pottery Vase, c. 1905. No. 72, Teco The Prairie School of architecture in Glazed clay Plant stand, c. 1905 Pottery, glazed clay, Gates 6 the Midwest, most notably practiced by Designer: Fernand Moreau, Charles Hosmer Morse house, Potteries, Terra Cotta, 7 Illinois (PO-030-82). Frank Lloyd Wright (1867–1959), was 1853–1920, Chicago Osceola Lodge, 1886/1905–present, closely linked to the flat plains of the Maker: Gates Potteries, 1886–c. 1930, Winter Park, Florida Terra Cotta, Illinois New Furniture line local landscape. Designed as a complete Pauline Pottery (2001-061) Oak environment, the Prairie home included Tobey Furniture Company, Pauline Jacobus (c. 1860–1930), who interior elements that reflected the Desk, c. 1900–5 1856–1954, Chicago founded the first pottery company in outdoor character. Wright’s sideboard Charles Hosmer Morse house, Paper label: THE TOBEY Chicago, began her career, as many panel from the Darwin D. Martin house Osceola Lodge, 1886/1905–present, FURNITURE CO. / CHICAGO / women at the time did, as a china (1905) demonstrates a strong vertical em- Winter Park, Florida Number ____ painter. She continued her studies in phasis, reduction of ornament to simple Oak (FURN-014-75) Cincinnati at the Rookwood School components, and the use of transparent Maker: Tobey Furniture Company, for Pottery Decoration. Though she glass to integrate the inside with the out- 1856–1954, Chicago Window, c. 1908–9 opened Pauline Pottery in her native side. Meanwhile, the Tobey Furniture Marks: The Tobey Furniture Co. Josephine Bradley house, Chicago, she moved the business shortly Company merged Prairie-style design Chicago. / J-A- / HAND / MADE 1910–present, Madison, Wisconsin, to Wisconsin in search of the ideal white (FURN-065-88) (Louis Sullivan, 1856–1924, Chicago, with English ideals to become one of the clay. The company employed forty architect) nation’s largest furniture manufacturers. Vase, c. 1904 Leaded glass workers, and her lines were offered in the Tobey installed a room showcasing the Poppies Designer: George Grant Elmslie, finest retailers including Marshall Field designs of William Morris in 1902, but Glazed white 1869–1952, Chicago & Co. in Chicago and Tiffany & Co. in the firm had been selling English-reform Maker: Pauline Pottery, 1883–1911, (GL-043-82) New York. The Morse Museum’s vase designed wallpapers since the early 1880s. Chicago, then Edgerton, Wisconsin was purchased in 1905 from Marshall Tobey’s New Furniture line was first (2000-009) Field’s as a wedding gift to Charles designed by Gustav Stickley. Hosmer Morse’s daughter, Elizabeth.

The Virtues of Simplicity The Virtues of Simplicity Other American Regions ThS e e tICkl y Brothers The Stickley name, automatically associated with fine work in the American Arts and Crafts style, is most often assumed to refer only to Gustav Stickley (1858–1942). 1) Platform, left to right, front to back: 2) Platform, left to right: But the Stickley reputation was further developed by the various furniture-produc- Table lamp, c. 1910–26 Chest of drawers, c. 1904–6 tion companies formed by his four brothers as well: Charles (1860–1927), Albert No. L29, Vasekraft line, Funnel Charles Hosmer Morse house, (1862–1928), Leopold (1869–1957), and John George (1871–1921). The first furniture design, flambé glazed Osceola Lodge, 1886/1905–present, business formed by these sons of German immigrants was called Stickley Brothers Glazed clay, leaded-glass inset Winter Park, Florida Furniture Company. It opened in 1884 in Binghamton, New York, and was a joint Maker: Fulper Pottery Company, No. 913, Craftsman Furniture venture between Gustav, Charles, and Albert. Charles soon withdrew his interest and 1909–35, Flemington, New Jersey Oak formed a rival company called Stickley-Brandt with an uncle. In 1891, Albert left Marks: WE / FULPER / 1 / 1 / Maker: Gustav Stickley, Craftsman Gustav to form Stickley Brothers Company with his brother John George in Grand 1 / patent pending U.S. / [Vasekraft Workshops, 1900–1915, Eastwood, Rapids, Michigan. This company produced a broad logo] Fulper / 805 New York range of furniture styles, including colonial revival and (PO-024-84) Marks: [joiners compass around Arts and Crafts, and, though John George left by 1900, Als ik kan logo] / Gustav Stickley it found great success producing various “Quaint” lines Humidor, c. 1905 (FURN-155-89) Charles Hosmer Morse house, of furniture. John George joined Leopold in Fayette- Osceola Lodge, 1886/1905–present, Mirror, c. 1902–4 ville, New York, in purchasing an existing furniture Winter Park, Florida Charles Hosmer Morse house, company and renaming it L & J.G. Stickley, Inc. Their Oak, brass Osceola Lodge, 1886/1905–present, initial line, called “Mission Oak,” debuted in 1905. Maker: Jewett Humidor, c. 1910–20, Winter Park, Florida Writing desk, c. 1905. Oak, Stickley Brothers Company, Buffalo, New York Craftsman Furniture Grand Rapids, Michigan (FURN-038-88). 8 Marks: THE JEWETT HUMIDOR Oak, mirror 9 / BUFFALO, N.Y. Maker: Gustav Stickley, United Inscription: MORSE Crafts, 1900–1915, Eastwood, Writing desk, c. 1905 Magazine stand, c. 1906–10 (FURN-029-88) New York Thomas Keyes house, Keyes No. 345 Marks: [joiners compass around Cottage, 1886–c. 1950, Winter Park, Oak Screen, c. 1905 Als ik kan logo] / Stickley Florida Maker: L. & J. G. Stickley, Charles Hosmer Morse house, (FURN-156-89) Oak 1901–present, Fayetteville, New York Osceola Lodge, 1886/1905–present, Maker: Stickley Brothers Company, (FURN-024-87) Winter Park, Florida Chair, c. 1908 1891–1926, Grand Rapids, Michigan Oak, burlap, bronze Poolroom, Charles Hosmer Morse Marks: STICKLEY BROS. CO. / Book stand, c. 1925 Maker: American house, 1893–1929, Kenwood, GRAND RAPIDS Little Journeys subscription premium (FURN-161-89) Chicago (FURN-038-88) Oak No. 379, Quaint Furniture Maker: Roycroft, 1894–1938, Lamp, c. 1910–28 Oak, rush Portieres, c. 1910 East Aurora, New York Leaded glass, brass, copper Maker: Stickley Brothers Company, Charles Hosmer Morse house, Marks: [orb and cross around R] Maker: Roycroft, 1894–1938, East 1891–1926, Grand Rapids, Michigan Osceola Lodge, 1886/1905–present, (FURN-006-82) Aurora, New York Marks: “QUAINT” / FURNITURE Winter Park, Florida Note: The book stand was provided as a (GL-016-80) / STICKLEY BROS. CO. / No. 908, Lotus design, Craftsman gift with a subscription. GRAND RAPIDS, MICH. Needlework (FURN-053-88) Flax, jute, linen, silk Maker: Gustav Stickley, Craftsman Workshops, 1900–15, Eastwood, New York (2004-016:1, 2)

The Virtues of Simplicity The Virtues of Simplicity Buffalo: A Center for Metalwork Desk set (pen tray and covered box), 6) Metalware from Roycroft, 1894–1938 In Buffalo, New York, Bernard Carpenter and Otto Heintz (1877–1918) c. 1907–17 East Aurora, New York developed the Buffalo Arts Crafts Shop and focused on medieval-style boxes Brass with crude enameling. The venture was short-lived, and Heintz went on to Maker: Forest Craft Guild, Left to right, front to back: establish the Heintz Art Metal Shop in 1906. Heintz’ work was known for 1905–18, Grand Rapids, Michigan combining finely crafted, though machine-shaped works, that exhibited the Marks: FOREST / CRAFT / Pen tray, c. 1915–28 GUILD Copper influence of Austrian and Japanese form and design. (MET-082-80:1, 2) Marks: [orb and cross around R] (MET-018-80) Vase, c. 1905 3) Case, clockwise from top: 4) Case, left to right, front to back: No. 235 Ink pot, c. 1915–28 Copper, brass No. 702 Vase, c. 1911–12 Bookend, c. 1910 Maker: Stickley Brothers Company, Copper, glass No. 3740 B Charles Hosmer Morse house, 1891–1926, Grand Rapids, Michigan Marks on base: [orb and cross Silver-plated bronze, turquoise Osceola Lodge, 1886/1905–present, Marks: 235 around R] Maker: Heintz Art Metal Shop, Winter Park, Florida Gift of Chick Aldridge Marks on inkwell: A.G. Co. 1906–30, Buffalo, New York Copper (MET-054-84) (MET-110-81:A, B) Marks: 3740 B / [AHMS diamond Maker: Attributed to The Frost Arts shape monogram] / Sterling / on and Crafts Workshops, 1906–c. 1925, 5) Metalware from Roycroft, 1894–1938 Wall sconces, c. 1909–20 bronze / PAT. APD. FOR Dayton, Ohio East Aurora, New York Copper (MET-082-70) (2008-011) Marks (each): [orb and cross Left to right: around R] Vase, after 1912 Bowl and underplate, c. 1905 (MET-019-80:1, 2) 10 No. 3583 A Silver Pair of candlesticks, c. 1915–28 11 Bronze, silver Maker: Thomas G. Brown & Sons, Nickel-plated metal Maker: Heintz Art Metal Shop, 1881–1915, New York Marks (each): [orb and cross 1906–30, Buffalo, New York Marks: [lions head logo] B / Metalworking Across the Country around R] / ROYCROFT The Forest Craft Guild was started Marks: 3583A / [AHMS diamond STERLING (MET-005-81:1, 2) shape monogram] (MET-027-82) in Grand Rapids, Michigan, by Forest Emerson Mann (1879–c. 1920), who (MET-079-70) Tray, c. 1910–26 Bookends, c. 1915–17 Nickel-plated metal had been a student of Arthur Wesley Covered box, c. 1903 Copper Marks: [orb and cross around R] Dow’s (1857–1922) at the Pratt Institute Copper, enamel Maker: Craftsman Studios, (MET-044-91) in Brooklyn around 1902. The guild Maker: Buffalo Art Crafts Shop, c. 1915–40, Laguna Beach, California specialized in hand-hammered and 1902–6, Buffalo, New York Marks: [CS conjoined monogram] Vase, c. 1915–28 heavily patinated brass accessories. (2008-013) (MET-053-79) No. 223 On the West Coast, Arts and Crafts Nickel-plated metal metalworkers included Craftsman Vase, c. 1906–11 Centerpiece console bowl, c. 1918 Marks: [orb and cross around R] / No. 431 No. 844 Studios in Laguna Beach, California. ROYCROFT The California company’s hand- Gold doré bronze Copper (MET-006-81) Maker: Heintz Art Metal Shop, Maker: Craftsman Studios, hammered copper pieces represented a less structured 1906–30, Buffalo, New York c. 1915–40, Laguna Beach, California Bowl, c. 1915–28 Marks: 431 / [AHMS diamond Marks: CRAFTSMEN STUDIOS No. 208 regional style. shape monogram] / HAND MADE [anvil and ham- Nickel-plated metal (MET-065-79) mer logo] / LAGUNA BEACH / Marks: [orb and cross around R] / CALIF / 844 ROYCROFT (MET-020-79) Bowl and underplate, c. 1905. Silver, (MET-003-81) Thomas G. Brown & Sons, New York (MET-027-82).

The Virtues of Simplicity The Virtues of Simplicity Smoking set (five ash trays and The Roycrofters matchbox holder), c. 1920–28 Writer and philosopher Elbert Hubbard The Virtues of Simplicity Copper (1856–1915), a former executive with Marks: [orb and cross around R] the Larkin Soap Company of Buffalo, (MET-018-82) New York, founded the Roycrofters in American East Aurora, New York, looking to guild Console set (bowl and pair of candlesticks), c. 1915–28 models in England. The Roycroft Press, Copper his first venture in 1895, disseminated his Arts & Cr afts thoughts on politics, religion, and society Marks (each): [orb and cross FROM THE MORSE COLLECTION around R] through The Philistine magazine. The (MET-046-78:1–3) press was named after two seventeenth- century London printers but based upon Desk set (letter rack, letter opener, William Morris’s Kelmscott Press, which pen tray, bud vase), c. 1910–26 he had visited a few years earlier. Adopt- OBJECT G UIDE Copper ing the orb and cross from a fifteenth- Marks: [orb and cross around R] / century Venetian press as his logo, ROYCROFT The Arts and Crafts movement originated in the nineteenth-cen- Hubbard achieved a national reputation (MET-004-81:1–4) with his timely articles. Soon an entire tury in Great Britain as a response mainly to the harsh realities of the Vase, c. 1915–28 community developed around “the cult Industrial Revolution—mass production that debased the individual No. 203 of Hubbard,” complete with medieval and yielded cheap, poorly designed products—as well as to the excesses Copper, silver architecture, devoted craftsmen, and 12 Marks: [orb and cross around R] a variety of crafts including furniture, of Victorian decoration. Internationally, its proponents sought a return (MET-007-79) metalwork, and pottery. Hubbard said to work by hand, the dignity of labor, and unity of design. “...a Roycrofter is a person who makes Vase, c. 1915–28 beautiful things, and makes them as well Though the artists had common emerged from the great fire of 1871 as a No. 248 as he can.” Hubbard goals, works of great individuality major hub of the movement in America. Copper, glass died tragically aboard Glassmaker: Steuben Glass Works, were produced by different countries In the United States, Arts and Crafts the Lusitania when it 1903–present, Corning, New York and regions because the movement designs were notable for their simplicity was sunk by a German Marks on base: [orb and cross emphasized the use of local history, and spare ornamentation, often inspired submarine in 1915. around R] / ROYCROFT materials, and sources. Charles Hos- by nature. Yet for both creators and Marks on glass: STEUBEN mer Morse (1833–1921), the Chicago consumers, the objects represented more (GL-003-82) Vase, c. 1915–28. Copper, glass; industrialist for whom the Museum is than an aesthetic: their value derived Roycroft, East Aurora, New York; Steuben Glass Works, Corning, named, redecorated his Winter Park from a production process that honored New York (GL-003-82). home, Osceola Lodge, in the Arts and the individual and a simpler way of life. Crafts style around 1905. This exhibi- The objects in this exhibition—se- tion includes Craftsman furnishings lected to illustrate the movement’s roots he purchased from Gustav Stickley in Europe and blossoming in the United (1858–1942), the influential figure States—are organized into three geo- who helped popularize the move- graphical sections: Europe, Chicago, and ment’s ideals across the country. Also, Other American Regions. All known thanks in part to Mr. Morse, the makers and designers are included in Museum has particularly fine Arts and the object listings as well as any marks, Crafts examples from Chicago, which labels, and inscriptions on the object. 445 north park avenue, winter park, florida 32789 407-645-5311 www.morsemuseum.org ©2009 Charles Hosmer Morse Foundation, Inc.