American Arts & Cr Afts
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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. 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.