Posts Tagged ‘Arts and Crafts

07
Sep
13

Exhibition: ‘Evil Things. An Encyclopaedia of Bad Taste’ at Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 16th May – 27th October 2013

.

I just love the categories that this museum has classified these objects into:

  • Devotional kitsch
  • Construction and artists dummies jokes
  • Whimsical material
  • Relief transpositions
  • Material surrogates
  • Inappropriate jewelry designs (for a rug depicting planes flying into the World Trade Centre towers!)
  • Inconveniences
  • Relief transpositions
  • Hunter kitsch
  • Jewelry and ornamental waste
  • Hooray kitsch
  • Construction dummy or far-fetched fantasy design
  • Tourist souvenir kitsch
  • Racist design
  • Bad or rotten material

There is a whole series of exhibitions that could be mounted, like stuffed animals, on any number of these categories. I particularly like “Material surrogates” which has endless possibilities and paradoxical connotations, as though, surrogates always have to be material and cannot be immaterial, of the spirit.

.
Many thankx for the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the art work in the posting. Please click on the images for a larger version of the art.

.

.

'Mosque alarm clock in shape' Nd

.

Mosque alarm clock in shape
Nd
Devotionalienkitsch, fishing Seng
Collection Werkbundarchiv – Museum der Dinge, Berlin, acquired 2009
Photo: Armin Herrmann

.

'Abdominal ashtray' 2009

.

Abdominal ashtray
2009
Construction and artists dummies jokes
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Ashtray horse's hoof' Nd

.

Ashtray horse’s hoof
Nd
Origin unknown
Whimsical material
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Ottmar Hoerl. 'The Big Piece of Hare' 2003

.

Ottmar Hoerl
The Big Piece of Hare
2003
Relief transpositions
Motive after a watercolor by Albrecht Dürer
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Celluloid hair clips, mimic the natural material horn' 1920

.

Celluloid hair clips, mimic the natural material horn
1920
Germany
Material surrogates
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Exhibition views. Photos: Michaela Hille

Exhibition views. Photos: Michaela Hille

.

Exhibition views
Photos: Michaela Hille

.

.

“What is taste? Who decides what is good or bad, beautiful or ugly? Corporations spend billions trying to find out which product will catch the spirit of the times. Scientists devote themselves to researching which regions of the brain are responsible for forming taste. And what do we do? We argue about taste, although, as is well known, there is no accounting for taste. The Museum für Kunst und Gewerbe Hamburg (MKG) is throwing itself into the argument about “good” and “bad” taste by showing the exhibition Evil Things: an Encylopaedia of Bad Taste developed by the Werkbundarchiv – Museum der Dinge, Berlin, which juxtaposes historical and contemporary approaches. On top of this, we invite visitors to take an active part in the debate on taste by setting up an exchange where they can swap items. The idea of the exhibition Evil Things was based on the pamphlet “Good and Bad Taste in the Arts and Crafts” published by the art historian Gustav E. Pazaurek in 1912. In it, he sets up a complex catalogue of criteria which also underlies his “Department of Lapses in Taste” in the Landesmuseum in Stuttgart. Pazaurek was a member of the Deutscher Werkbund, founded in 1907, which set off the debate on “good form” in design which still shows no sign of abating even today. The exhibition Evil Things presents some 60 objects from Pazaurek’s former “Chamber of Horrors” and confronts these with items of contemporary design. This provides an opportunity to review Pazaurek’s systematic canon and decide if it is still valid today. At the same time it postulates new categories which might be able to classify things as “good” or “bad” from the perspective of today’s world. In parallel to this, the MKG is showing a project by the Muthesius-Kunsthochschule Kiel entitled Name That Thing. Students focussed here on kitsch and produced projections, installations, objects, photography and texts on the theme, whereby they also had the Museum as an authority for forming taste squarely in their sights.”

Press release from the Museum für Kunst und Gewerbe Hamburg website

.

'Bocksbeutel bottle, covered with patriotic motifs and coins' c. 1915

.

Bocksbeutel bottle, covered with patriotic motifs and coins
c. 1915
probably Austrian
Materialpimpeleien
Pazaurek Collection, Landesmuseum Württemberg, Stuttgart,
Photo: Hendrik Zwietasch, Landesmuseum fillies

.

'Hand-knotted rug with motif for 9/11' Nd

.

Hand-knotted rug with motif for 9/11
Nd
Inappropriate jewelry designs
Afghanistan
Donated by Achille Mauri, Milan
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Mobile Phone Holder' 2009

.

Mobile Phone Holder
2009
Agora Gift House AB, Sweden
Inappropriate jewelry motifs
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Philippe Starck. 'Juicy Salif lemon squeezer' 1990

.

Philippe Starck
Juicy Salif lemon squeezer
1990
Designed by Philippe Starck in 1990, Alessi, Italy
Inconveniences
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

.

Evil Things. An Encyclopaedia of Bad Taste

In 1909, Gustav E. Pazaurek opened a “Department of Lapses in Taste” in the Landesmuseum in Stuttgart with the goal of educating people in “good taste”. The exhibits on show there were without exception examples of art and craftwork intended to induce repugnance and to expose the “bad taste” of the objects. Pazaurek developed a comprehensive canon to classify things in his pamphlet “Good and Bad Taste in the Arts and Crafts”. In this, he invented drastic terminology such as “decorative brutality”, “violation of the material” or “functional lies”. But what is “evil” about an object? For Pazaurek, it lies first and foremost in its external appearance, materiality and construction. In his opinion, things have a strong influence on human beings, and are capable of altering the essence of their being. Pazaurek follows the notions of the Deutscher Werkbund here, according to which an appropriate domestic environment should aim not only at improving living standards, but also “improving” people and educating them to be responsible and thoughtful members of the community. The idea of educating people to have taste at the beginning of the 20th century, which also had proponents in the Bauhaus and in the Reform Movement, set itself up in opposition to the ostentatious pomposity and rabid inflation of decorative excrescences of the Wilhelminian period, which were perceived as being dishonest and superficial. Pazaurek’s “Bible of Taste” can also be seen in this context as an “anti-product catalogue”. The guidelines of the Deutscher Werkbund, to which architects, designers and academics subscribed, continued to exert an influence until well into the 1960s. The application of the historical criteria to contemporary products provides a wealth of material for discussion. On the one hand, it would probably be argued that such canons make no sense today while on the other, if we were asked to formulate criteria, we would consider quite different ones to be relevant – for instance, sustainability, fair trade, wildlife conservation etc.

Press release from the Museum für Kunst und Gewerbe Hamburg website

.

'Mineral water bottle in the form of Madonna' Nd

.

Mineral water bottle in the form of Madonna
Nd
Devotionalienkitsch, “lichen”
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Madonna figure "Fatima" Nd

.

Madonna figure “Fatima”
Nd
Devotionalienkitsch, Portugal
collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

"The Scream" as a key chain, according to Edvard Munch's "The Scream" 1991

.

“The Scream” as a key chain, according to Edvard Munch’s “The Scream”
1991
Relief transpositions
Robert Fishbone, On The Wall Productions, Inc.USA, 1991
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Historicist clock' Second half of the 19th Century

.

Historicist clock
Second half of the 19th Century
Hunter kitsch
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Moeko Ishida. 'Studded with Stones cell phone' 2009

.

Moeko Ishida
Studded with Stones cell phone
2009
Deco Loco
Jewelry and ornamental waste
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Obama children's sneakers' 2008

.

Obama children’s sneakers
2008
Draft, Keds, USA 2009
Hooray kitsch
Collection Werkbundarchiv – Museum der Dinge, Berlin, Photo: Armin Herrmann

.

'USB stick in the shape of a finger' 2009

.

USB stick in the shape of a finger
2009
China
Construction dummy or far-fetched fantasy design
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Salt and pepper shakers in the shape of a woman' 2009

.

Salt and pepper shakers in the shape of a woman
2009
Construction dummy or far-fetched fantasy design
Collection Werkbundarchiv – Museum der Dinge, Berlin

.

'Souvenir from Dessau in the form of acting as a salt shaker with view of the Dessau city hall' first quarter 20th Century

.

Souvenir from Dessau in the form of acting as a salt shaker with view of the Dessau city hall
first quarter 20th Century
Tourist souvenir kitsch
Pazaurek Collection, Landesmuseum Württemberg, Stuttgart

.

'Jewelry packaging Conguitos' 1998

.

Jewelry packaging Conguitos
1998
Conguitos – LACASA. SA, Zaragoza, Spain, 1998
Racist design
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

'Withdrawn from the market Teletubbies character that contains toxic plasticizers' 1998

.

Withdrawn from the market Teletubbies character that contains toxic plasticizers
1998
Hasbro, Inc., 1998
Bad or rotten material
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Philippe Starck. Floor lamp 'Guns - Lounge Gun' 2005

.

Philippe Starck
Floor lamp Guns – Lounge Gun
2005
Inappropriate jewelry designs
Flos, Italy, 2009
Collection Werkbundarchiv – Museum der Dinge, Berlin
Photo: Armin Herrmann

.

Portrait Professor Gustav E. Pazaurek, © Fotoarchiv Landesmuseum Württemberg

.

Portrait of Professor Gustav E. Pazaurek
© Fotoarchiv Landesmuseum Württemberg

.

.

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 11 am – 6 pm
Wednesday and Thursday 11 am – 9 pm

Museum fur Kunst und Gewerbe Hamburg website

LIKE ART BLART ON FACEBOOK

Back to top

19
Oct
12

Exhibition: ‘Jewels, Gems, and Treasures: Ancient to Modern’ at the Museum of Fine Arts, Boston

Exhibition dates: 19th July 2011 – 25th November 2012

.

“Today, in the West, we have come to regard diamond, pearl, emerald, sapphire, and ruby as the most precious of materials. That has not always been the case. Other substances have commanded equal attention, from feathers, claws, and mica appliqués to coral and rock crystal, serving a protective role, guarding their wearer from dangerous circumstances or malevolent forces. Other substances, especially those that are rare and available to a select few, are signifiers of wealth and power.”

.
Museum of Fine Arts, Boston

.

.
Continuing my love affair with exquisite jewellery. What splendour! I love them all…

Many, many thankx to the Museum of Fine Arts, Boston for allowing me to publish the reproduction of the jewellery in the posting. Please click on the photographs for a larger version of the art works.

.

.

.

Anon
Bracelets
about 40-20 BC
Gold, emeralds, and pearls (modern)
Classical Department Exchange Fund
Photograph © Museum of Fine Arts, Boston

.

.

Anon
Armlet with feline-head terminals
Late 5th century BC
Gold
John Michael Rodocanachi Fund
Photograph © Museum of Fine Arts, Boston

.

.

Anon
Spool earring
Italic, Etruscan, Late Archaic or Classical Period
early 5th century BC
Gold
Francis Bartlett Donation of 1900
Photograph © Museum of Fine Arts, Boston

.

.

Anon
Cameo with portrait busts of an Imperial Julio-Claudian couple
mid-1st century AD
Sardonyx
Henry Lillie Pierce Fund
Photograph © Museum of Fine Arts, Boston

.

.

Paul Lienard (French, 1849)
Seaweed brooch
French, about 1908
Gold and mabe pearl
Height x width x depth: 5.4 x 11 x 1 cm
Photograph © Museum of Fine Arts, Boston

.

.

As the saying goes, “diamonds are a girl’s best friend” – at least in modern times – but as the exhibition Jewels, Gem, and Treasures: Ancient to Modern illustrates, ornaments made of ivory, shell, and rock crystal were prized in antiquity, while jewelry made of diamonds, emeralds, sapphires, rubies, and pearls became fashionable in later years. On view July 19, 2011, through November 25, 2012, this exhibition at the Museum of Fine Arts, Boston (MFA), highlights some 75 objects representing the rich variety of jewels, gems, and treasures that have been valued over the course of four millennia.

Drawn from the MFA’s collection and select loans, these range from a 24th-century BC Nubian conch shell amulet, to Mary Todd Lincoln’s 19th-century diamond and gold suite, to a 20th-century platinum, diamond, ruby, and sapphire Flag brooch honoring the sacrifices of the Doughboys in World War I. Jewels, Gems, and Treasures is the inaugural exhibition in the MFA’s new Rita J. and Stanley H. Kaplan Family Foundation Gallery, which debuts on July 19. The gallery – one of only a few at US museums solely dedicated to jewelry – will feature works from the Museum’s outstanding collection of approximately 11,000 ornaments. It is named in recognition of the generosity of the Rita J. and Stanley H. Kaplan Family Foundation.

“The opening of the Museum’s first jewelry gallery provides an ongoing opportunity for the MFA’s collection to shine,” said Malcolm Rogers, Ann and Graham Gund Director of the MFA. “In this inaugural exhibition, visitors will see a wide range of gems that will both inform and dazzle in a beautiful new space that will allow the MFA to showcase its stellar assemblage of jewelry, which ranges from ancient to modern.”

Jewels, Gems, and Treasures sheds light on how various cultures throughout history have defined the concept of “treasure,” showcasing an exquisite array of necklaces, rings, bracelets, pendants, and brooches, as well as mineral specimens. In addition, the exhibition explains the significance of jewelry, which can be functional (pins, clasps, buckles, combs, and barrettes); protective (talismans endowed with healing or magical properties); and ornamental, making the wearer feel beautiful, loved, and remembered. Beyond functionality and adornment, jewelry can also establish one’s status and role in society. Rare gems and precious metals, made into fabulous designs by renowned craftsmen, have often served as symbols of wealth and power. This is especially evident in a section of the show where jewelry worn by celebrities is on view, including fashion designer Coco Chanel’s enameled cuff bracelets accented with jeweled Maltese crosses (Verdura, New York, first half of 20th century) and socialite Betsey Cushing Whitney’s gold and diamond “American Indian” Tiara (Verdura, New York, about 1955), which she wore to her presentation to Queen Elizabeth II in 1956 as the wife of the US Ambassador to the Court of St. James.

The significance of precious materials in jewelry in the 20th century is explored in the exhibition, where several modern adornments from the MFA’s Daphne Farago Collection examine jewelry’s traditional roles in society. Among them are a 1985 brooch of iron, pyrite, and diamond rough by Falko Marx and a 1993 ring by Dutch jeweler Liesbeth Fit entitled Diamonds Are a Girl’s Best Friend. (The Daphne Farago Collection comprises 650 pieces of contemporary craft jewelry made by leading American and European artists from about 1940 to the present.)

Jewels, Gems, and Treasures begins with a look at jewelry made of organic materials – substances readily available and easy to work with, such as ivory, shell, wood, and coral. These range from a pair of ivory cuff bracelets from Early Kerma culture in modern Sudan (2400-2050 BC) to more sophisticated creations made possible through the advancement of tools. Examples include a gold, silver, carnelian and glass Egyptian Pectoral (1783-1550 BC) and a Nubian gold and rock crystal Hathor-headed crystal pendant (743-712 BC) recovered from the burial of a queen of King Piye, the great Kushite ruler who conquered Egypt in the eighth century BC. In addition to having magical properties that protected the wearer against malevolent forces, adornments such as these were often buried with their owners as their amuletic capabilities were needed during the arduous journey to the afterlife. On the other side of the globe, Mayans wore ear flares – conduits of spiritual energy – made of sacred green jadeite that represented key elements of human life. Various cultures throughout the ages at one point believed that amber could cure maladies, coral could safeguard children, an animal’s tooth or claw could invest the wearer with strength and ferocity, and gold and silver invoked the cosmic power of the sun and moon. In Medieval and Renaissance Europe, many hard stones were believed to have magical properties (some were even ground and consumed), and pendant reliquaries containing a holy person’s cremated ashes or bone fragments were often donned, along with rosaries (Rosary, South German, mid-17th century), as sacred adornments. Even today, zodiac ornaments and good luck charms are sometimes worn as tokens, recalling their earlier mystical importance.

Throughout much of history, jewelry’s role as a symbol of one’s elevated status has inspired the wealthy to seek out stones that sparkle, gold that gleams, and designs that reflect the greatest artistry money can buy. To illustrate this, Jewels, Gems, and Treasures features some of the most opulent works from the Museum’s jewelry collection, including an 1856 diamond wedding necklace and earrings suite given by arms merchant Samuel Colt to his wife (the 41.73-carat suite, purchased for $8,000, is now valued at $190,000) and Mary Todd Lincoln’s gold, enamel, and diamond brooch with matching earrings, which she acquired around 1864, shortly after the death of the Lincolns’ beloved son, Willy, and then sold in 1867 to pay mounting debts. Also on view is a Kashmir sapphire and diamond brooch (around 1900); a gold and diamond necklace made by August Holmström for Peter Carl Fabergé, the famous Russian jeweler to the czars; and cereal heiress Marjorie Merriweather Post’s lavish platinum brooch from the 1920s, featuring a spectacular 60-carat carved Mughal emerald surrounded by diamonds, which she purchased in anticipation of her presentation at the British court in 1929.

Also on view in the exhibition are superb adornments made by leading French Art Nouveau jewelers, which were fashioned for a wealthy and artistic clientele in the late 19th to early 20th centuries. The Art Nouveau movement, which originated in Europe, embraced an aesthetic that was avant-garde, sensuous, and symbolic – one that looked to the natural world, the Impressionists, and the arts of Japan for inspiration. In response to the “tyranny of the diamond” – the all white platinum and diamond jewelry previously in vogue – these elaborate, one-of-a kind pieces often featured colored gems and unusual materials, such as horn, enamel, irregularly shaped pearls, steel, and glass. Examples in the show include René Lalique’s fanciful gold, silver, steel, and diamond Hair ornament with antennae (about 1900), and Paul Lienard’s gold and mabe pearl Seaweed brooch (about 1908). The Arts and Crafts movement, which emerged in Britain during the 1870s as a reaction to the mechanization and poor working conditions of the Industrial Revolution, is represented by Marsh-bird brooch (1901-02) by Charles Robert Ashbee, who sought to create a delicate stained-glass effect with this piece. The refined techniques of the Art Deco movement are evident in Japanesque brooch (about 1925), incorporating platinum, gold, enamel, diamonds, rubies, and onyx. The movement arose after World War I and continued through the 1930s. It was influenced by avant-garde ideology, as was the Art Nouveau and Arts and Crafts movements, but instead chose to express its aesthetic through geometric shapes, linear stylization, and a return to platinum and diamonds.

Jewels, Gems, and Treasures also highlights a variety of interesting and unique pieces, such as a Suite of hummingbird jewelry (brooch and earrings, about 1870), made out of gold, ruby, and taxidermied hummingbirds; an ebony, ivory, silver lapis lazuli, and amber casket designed to showcase the amber cameos and intaglios collected by Arnold Buffum (about 1880-85); an Indian silver and tiger claw necklace (19th century); and a gold, silver, agate, diamond, and ruby animal sculpture, The Balletta Bulldog (about 1910) made by the workshop of Peter Carl Fabergé Fabergé. In addition, the exhibition features jewelry as seen in William McGregor Paxton’s painting, The New Necklace (1910).”

Press release from the Museum of Fine Arts, Boston website

.

.

René Lalique (French, 1860–1945)
Hair ornament with antennae
c. 1900
Gold, silver, steel, and diamond
Height x width x depth: 8.8 x 12.5 x 7 cm
Museum of Fine Arts, Boston. Gift of the Sataloff and Cluchey Family
© 2011 Artists Rights Society (ARS), New York/ADAGP, Paris
Photo: © Museum of Fine Arts, Boston

.
This hair ornament with its whimsical character is a unique piece by Lalique. It features the unusual exclusive use of diamonds which were sparingly used by the Art Nouveau jewelers who preferred less precious stones and enamel to provide color and opalescence. From the gold wire headband emerge two antenna composed of hollow silver cubes in which are set graduated brilliants each secured by four prongs. A steel wire runs through the cubes to form the curved shape of each antenna. Except for the scroll terminals of the antennae, each cube is individually mounted and stacked without being attached to each other so that they tremble when the wearer moves, accentuating the sparkle of the diamonds.

.

.

Probably by Lacloche Frères, Spanish, founded in 1875 (also working in Paris)
Japanesque brooch
French, about 1925
Platinum, gold, enamel, diamond, ruby, and onyx
Height x width x depth: 3.6 x 5.2 x 0.6 cm
Photo: © Museum of Fine Arts, Boston

.

.

Anon
Brooch worn by Mary Todd Lincoln (American, 1818-1882)
American, about 1860
Gold, enamel, and diamond
Depth x diameter: 1.3 x 3 cm
Photo: © Museum of Fine Arts, Boston

.
The brooch is part of a suite with matching earrings. Each element is quatrefoil in shape and has a central diamond with a diamond surround. Eight smaller diamonds form a second tier of stones. The stones are all mine-cut and are probably original to the suite. The color range is J-K with VS-VS1 clarity. there are some losses to the tracery enamel. The suite was featured in Frank Lesley’s Illustrated Newspaper (Oct. 26, 1867). It was part of a large group of Mrs. Lincoln’s clothes, jewelry, and furnishings that were offered for sale through Brady & Company of New York City. Apparently, Mrs. Lincoln fell into dire financial circumstances after the assassination of her husband, Abraham Lincoln. The sale price was listed as $350.00.

.

.

Charles Robert Ashbee (English, 1863-1942)
Marsh-bird brooch
1901-02
Gold, silver, enamel, moonstone, topaz, and freshwater pearl
Height x width x depth: 9 x 10.5 x 1.5 cm
Photo: © Museum of Fine Arts, Boston

.
The brooch was originally a hair ornament that was converted to a brooch (silver pin stem and “C” hook added). Conversion probably occurred shortly after the ornament was made. The hair comb was fabricated by A. Gebhardt and enamelist William Mark, both members of the Guild of Handicraft.

.

.

Anon
Hathor-headed crystal pendant
Napatan Period, reign of King Piye
743-712 BC
from el-Kurru, tomb Ku 55 (Sudan)
Gold, rock crystal
Height x diameter: 5.4 x 3.3 cm
Photo: © Museum of Fine Arts, Boston

.

.

John Paul Cooper (English, 1869-1933)
English Arts and Crafts brooch
1908
Gold (15 kt), ruby, moonstone, pearl, amethyst, and chrysoprase
Height x width x depth: 14 x 9.6 x 0.8 cm
Photo: © Museum of Fine Arts, Boston

.
John Paul Cooper, a leading figure in the British Arts and Crafts movement, was an architect, designer, and metalsmith. Born into an affluent Leicester family, Cooper prepared for a career as a writer but was discouraged from pursuing this endeavor by his industrialist father. Instead, he apprenticed to London architect John D. Sedding, a strong proponent of the ideas of John Ruskin and Henry Wilson, an architect with interests in craft, especially metalwork and jewelry. Afterwards, Cooper joined the “Birmingham Group” and served as head of the Metalwork Department of the Birmingham Municipal Art School (1901-1906). He exhibited regularly at the Arts and Crafts Society exhibitions and completed several important public commissions, including two crosses and a pair of altar vases for Birmingham Cathedral. Additionally, his work often appeared in article published in Studio and Art Journal.

Cooper’s interest in jewelry design and fabrication began shortly after his association with Wilson. Like Wilson, he eventually employed others to fabricate his jewelry designs although he sometimes did the chasing and repoussé work himself. The jewelry was crafted primarily in 15 kt gold, utilizing semi-precious cabochons (domed, unfaceted stones) and mother-of-pearl. Unlike many Arts and Crafts jewelry designers, Cooper often worked his designs from a selection of stones, rather than creating a design and then finding suitable gems. He once commented that stones should “… play on one another as two notes of music…”

In addition to jewelry, Cooper’s workshop designed and fabricated ecclesiastical objects and various decorative arts, including hollowware and frames. Many of the objects incorporate unusual materials, such as coconut shell, ostrich-egg shell, and narwhal tusk. At the beginning of his career, he often used gesso and plaster modeling to decorate surfaces and, at the end of the 1890s, he began making wooden boxes which he covered with shagreen, a decorative veneer made from the skin of certain sharks and rays.

This brooch is a major work by Cooper. Created during a period when the artist relied less on chased representational imagery and more on stones, the ornament conveys a sense of refined opulence. Inspired by medieval and Celtic design, the brooch is both airy and graceful. The goldwork is decorated with finely chased leaves and tendrils and the bezel-set stones include ruby, pearl, moonstone, amethyst, and chrysoprase. It took 273 hours to produce the brooch and Lorenzo Colarosi, Cooper’s chief craftsman, was the primary fabricator. It’s possible that Cooper did the chasework. The drawing for the brooch, which is dated 3 December 1908, can be found in Stockbook I, p. 81 in the Cooper Family Archives. Cooper entitled the piece Big double gold brooch.

.

.

Anon
Earring with Nike driving a two-horse chariot
about 350-325 BC
Gold
Henry Lillie Pierce Fund
Photograph © Museum of Fine Arts, Boston

.

.

Possibly by Oscar Heyman & Bros., American, founded in 1912 for Marcus & Co., American, 1892-1941
Marjorie Merriweather Post’s platinum brooch
American, late 1920s
Platinum, diamond, and emerald featuring a spectacular 60-ct carved Mughal emerald surrounded by diamonds, which she purchased in anticipation of her presentation at the British court in 1929
Overall: 5.3 x 5.4 x 1.1 cm
Photograph © Museum of Fine Arts, Boston

.
The brooch was purchased by Marjorie Merriweather Post (1887-1973) and is documented by two portraits; one by Frank O. Salisbury (Palm Beach Bath and Tennis Club) and the other by Douglas Chador (Hillwood Museum). Both date to 1952. The central stone in the brooch is a mid-17th century carved emerald that was purchased by Marcus and Co.’s agent in Bombay in the 1920s. Oscar Heyman & Bros. made many of the jewels marketed by Marcus & Co. during the 1920s.

.

.

Anon
Pin with sphinxes, lions, and bees
Late 5th century BC
Gold
Catharine Page Perkins Fund
Photograph © Museum of Fine Arts, Boston.

.

.

Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

Opening hours:
Monday and Tuesday 10am – 4.45pm
Wednesday – Friday 10am – 9.45pm
Saturday and Sunday 10am – 4.45pm

Museum of Fine Arts, Boston website

LIKE ART BLART ON FACEBOOK

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,393 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

October 2018
M T W T F S S
« Sep    
1234567
891011121314
15161718192021
22232425262728
293031  

Archives

Categories