DOI Heft:
Nr. 239 (January, 1917)
DOI Artikel:Adler, Hazel H.: The decorative arts in America
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43463#0252
The Decorative Arts in America
dyepot, patterns are carefully drawn in molten
beeswax, applied from a little copper cup with a
brass spout. Repeated dippings to obtain various
colours give the fabric an unusual quality of tone
and texture, and the characteristic crackle caused
by the crackling of the wax is particularly well
adapted to break the monotony of large expanses
of colour.
The art was brought to this country in a highly
developed state by Mr. Pieter Meyer who, in
conjunction with Mr. Bertram C. Hartmann, has
weavers. Modern adaptations of old Colonial
embroidery have been made by Miss Whiting and
Miss Miller of Deerfield, and their hand-dyed
materials and well conceived designs have added
to their decorative effects without sacrificing their
charm and quaintness.
Hand-wrought silver has perhaps been the
most abused medium of artistic expression in
craft history. Its popular use having descended
from its ecclesiastical, the old conventions clung
and we have passed through a long succession of
A GROUP OF PORCELAINS
used it to produce large and striking decorative
effects.
The old Japanese art of painting on silk has been
revived and to it added all that modern art has
evolved in the way of design and colour. Mar-
guerite Zorach has adapted it to the decoration
of fans and Bertha Holley to cushions and hang-
ings with interesting results.
Mr. and Mrs. Talbot have undertaken to regen-
erate hand weaving in their old Rhode Island
mansion outside of Providence, and have had
remarkable results in reviving some of the good
old Colonial patterns which had become almost
obliterated by successive generations of careless
BY ADELAIDE ALSOP ROBINEAU
water coolers propelled by flying angels, ornate
cake plates supported by dragons and sea mon-
sters, and bowls and goblets so contorted with
relief and chasing that not an inch of the original
surface was visible to the eye.
The discovery of the beauty of the simple ham-
mered surface of silver is comparatively recent,
and has nowhere been handled with so great a
feeling for form, texture, modelling and appro-
priate design as by our American master silver-
smiths.
Under the ring of Mr. Arthur Stone’s hammer
the bare sheet of metal takes on a seductive
charm of rounded surface, a masterful sweep of
LXXXV1II
dyepot, patterns are carefully drawn in molten
beeswax, applied from a little copper cup with a
brass spout. Repeated dippings to obtain various
colours give the fabric an unusual quality of tone
and texture, and the characteristic crackle caused
by the crackling of the wax is particularly well
adapted to break the monotony of large expanses
of colour.
The art was brought to this country in a highly
developed state by Mr. Pieter Meyer who, in
conjunction with Mr. Bertram C. Hartmann, has
weavers. Modern adaptations of old Colonial
embroidery have been made by Miss Whiting and
Miss Miller of Deerfield, and their hand-dyed
materials and well conceived designs have added
to their decorative effects without sacrificing their
charm and quaintness.
Hand-wrought silver has perhaps been the
most abused medium of artistic expression in
craft history. Its popular use having descended
from its ecclesiastical, the old conventions clung
and we have passed through a long succession of
A GROUP OF PORCELAINS
used it to produce large and striking decorative
effects.
The old Japanese art of painting on silk has been
revived and to it added all that modern art has
evolved in the way of design and colour. Mar-
guerite Zorach has adapted it to the decoration
of fans and Bertha Holley to cushions and hang-
ings with interesting results.
Mr. and Mrs. Talbot have undertaken to regen-
erate hand weaving in their old Rhode Island
mansion outside of Providence, and have had
remarkable results in reviving some of the good
old Colonial patterns which had become almost
obliterated by successive generations of careless
BY ADELAIDE ALSOP ROBINEAU
water coolers propelled by flying angels, ornate
cake plates supported by dragons and sea mon-
sters, and bowls and goblets so contorted with
relief and chasing that not an inch of the original
surface was visible to the eye.
The discovery of the beauty of the simple ham-
mered surface of silver is comparatively recent,
and has nowhere been handled with so great a
feeling for form, texture, modelling and appro-
priate design as by our American master silver-
smiths.
Under the ring of Mr. Arthur Stone’s hammer
the bare sheet of metal takes on a seductive
charm of rounded surface, a masterful sweep of
LXXXV1II