MIA: Decorative Arts, Textiles and Sculpture (Bot)

Card table

Card table https://collections.artsmia.org/art/417/

disc-shaped piece of brown glass, heavier in the center

Bull's Eye Glass Pane https://collections.artsmia.org/art/9880/

classical vase form; on square base with fluted pedestal feet; cast coat of arms; decorated with putti amidst scrolling grapevine; collars engraved on each side with two crests (dragon and lion) Description (consistent for each cooler): Classical vase form; on square base with fluted pedestal feet; cast coat of arms; decorated with putti amidst scrolling grapevine; collars engraved on each side with two crests (dragon and lion). Coat of arms: those of Sawbridge-Erle-Drax with Grosvenoer in pretence, probably for Johan Samuel Wanley Sawbridge of Olantigh Towers, Kent, Holnest House, Co. Dorset, and Ellerton Abbey, Co. York (1800-1887). He married in 1827 Jane Frances, sister and sole heiress of her brother Richerd Erle-Drax-Grosvenor, M.P., of Charlborough Park, Dorset (dd. 1828). By 1853, Burke's Visitations of Seats and Arms, vol. 2, records this latter house as the seat of John Samuel Wanley Erle-Drax, M.P., Captain of the East Kent Militia. Stamps/Inscriptions/Stickers: 1a-c) - D. ELLIS LONDON FECIT - stamped, on front of base; - SH2097 - incised on bottom of base; - A501/091 - in black, on bottom of base; - EEBJW - and three stamps near top of liner; - 2 - etched three times on bottom of removable liner. 2a-c) - D.ELLIS LONDON FECIT - stamped, on front of base; - SH2097 - incised on bottom of base; - A501/ - and illegible numbers in black, on bottom of base; - EEBJW - and three stamps near top of liner and side of collar; - A501/692 - in black, on bottom of removable liner. 3a-c) - D.ELLIS LONDON FECIT - stamped, on front of base; - SH2097 - incised on bottom of base; - A501/693 - in black, on bottom of base, bottom of liner and bottom of collar; - M209810 1(4) - on sticker on bottom of base; - EEBJW - and three stamps near top of liner and side of collar. 4a-c) - D.ELLIS LONDON FECIT - stamped, on front of base; - SH2097 - incised on bottom of base; - M209810 1(4) - sticker on bottom of base; - A501/691 - in black, on bottom of base, liner and collar; - EEBJW - and three stamps near top This wine cooler is from a set of four in the Institute's collection inspired by the "Buckingham Vase" excavated on the grounds of the imperial villa at Tivoli, outside Rome (AD 118-130). The Buckingham Vase, a 46-inch high marble urn acquired by the first Marquess of Buckingham, was portayed in engravings published by Italian artist Giovanni Battista Piranesi. While not exact copies of the original vase, the wine coolers retain the classical urn shape and feature the same cavorting Erotes (winged gods of love) cavorting among twining grape vines and leaves.

Wine cooler, one of four https://collections.artsmia.org/art/31380/

"Persian Arabesque" window

"Persian Arabesque" window https://collections.artsmia.org/art/3737/

Pap boat, one of a pair

Pap boat, one of a pair https://collections.artsmia.org/art/22317/

shell handles; terracotta classic vase decoration

Jardiniere, one of a pair https://collections.artsmia.org/art/9412/

very small ring foot; rounded shape, slightly flattened; very small mouth opening with slightly raised edge; dark brown with golden brown swath across top center

Vessel https://collections.artsmia.org/art/106745/

hot water urn; c-shaped handle at top, pair of studs at sides of pot for stand; stand has a ring base with a faceted band and beaded band; classical style supports on stand with Ionic capitols, flowers below with pineapple and scrolling bottom "Cosmos," a line of servingware designed around 1915, is widely recognized as an icon of 20th century Scandinavian design. Rohde, an artist and designer who worked in many media, designed the line for Georg Jensen, the famous Danish silversmith who had opened his own workshop in 1904. Rohde and Jensen's collaboration began in 1906 and continued until 1935, the year of their deaths. Rohde's design synthesizes classical motifs, like the fluting on the lower portion of the urn, with modern touches, like the stark ebony handle and spherical form, resulting in a piece that is both elegant and modern. In 1929, Minneapolitans Frederick Weyerhaeuser III and his bride Margaret Gertrude Ludwig received seven pieces from the "Cosmos" line of servingware as a wedding present. Twenty-five years later, their children presented them with this hot water kettle on stand from the original line, still in production, in celebration of their silver wedding anniversary.

Hot water urn from the "Cosmos" coffee and tea service https://collections.artsmia.org/art/31405/

low relief carving of a Winged Genius, from the Northwest palace of Ashur-Nasir-Pal at Nimrud; a wide band of inscribed writing crosses the slab in the central section This panel was taken from the remains of the Northwest imperial palace at Nimrud, the capital of the Assyrian empire, now located in modern Iraq. The walls of the palace, constructed by Ashurnasirpal II (883-859 BCE), were decorated with stone panels carved in low relief, narrating his hunting and military exploits. This genius, or demi-god, was part of a grouping of winged creatures facing a stylized tree, a scene repeated numerous times in the palace. They appear to be performing fertility rites associated with the date palm, a tree held sacred by the Assyrians because it provides food, drink, wood and shelter. The cuneiform text which covers the surface is part of a standard inscription that extols the victories and greatness of Ashurnasirpal and describes the building of his palace. Traces remain of the bright colors with which the panel was painted, increasing its visual impact. The palace at Nimrud was excavated between 1845 and 1851 CE by Sir Austin H. Layard working on behalf of the British Museum. This panel was among a number of palace sculptures acquired at that time for private and public collections in the United States, making them the first examples of ancient Mesopotamian art to reach the Western world.

Winged Genius https://collections.artsmia.org/art/611/

vase with inward flaring mouth and very steep, subtle shoulder; vertical ribs; sketchy green lines radiating from ribs, in featherlike patterns; brown ground Known for their fantastically modeled birds and vessels incised with images of sea creatures, the Martin Brothers (Walter Fraser Martin and Edwin Martin) experimented with salt-glazed stoneware, resulting in successfully decorated vases. The matte surface of this beautiful, bulbous vase was manipulated in various places to suggest peacock spines and feathers.

Vase https://collections.artsmia.org/art/45802/

teacup with thin, angular handle; orange interior and handle on cup; cream center, orange stripe and 4 black stripes on saucer; 4 black stripes on bottom of cup

Cup and saucer https://collections.artsmia.org/art/53144/

tilt top table, circular with tripod base and rim around edge of top; fine patine

Folding stand https://collections.artsmia.org/art/287/

hand beaten surface figured with chased images of poppies, upon a swirled fluted base

Vase https://collections.artsmia.org/art/7078/

Cup white interior, black exterior; plate white with black script-like design around center The industrial design firm of Raymond Loewy, a pioneer in the field with offices in the U.S. and France, designed the Continental China line in 1952 for Rosenthal-Block China Corporation, founded the same year by Joseph Block, Rosenthal's distributor in the United States. It truly was an international transaction on many levels: Loewy was given shares in the corporation in exchange for his design services to create tablewares that would appeal to the American public and also sell well in Europe. Continental, known as Exquisit in Europe, was a huge seller in the United States and overseas until it was discontinued in 1975. It was clearly modern without being avant-garde, dared to include black, but was available in white or in one of twenty-three patterns.

"Continental" cup and saucer https://collections.artsmia.org/art/40988/

big dark brown rooster standing on green base

"Rooster" mechanical bank https://collections.artsmia.org/art/81348/

triangular shaped back section; rectangular leaded glass inset at top of backrest with blue arrowhead motif; brown-red upholstery

Chair, from a six-piece dining room suite https://collections.artsmia.org/art/111895/

Ewer, German XVc, man on horse with raised spear

Aquamanile https://collections.artsmia.org/art/1316/

spandrel, tympanum and decorative panels from the Scoville Building, Chicago Louis Sullivan designed these terracotta panels for the exterior of the Scoville Building in Chicago, one of the Adler and Sullivan firm's earliest commissions. It required them to remodel an existing Adler structure to accord with a new, much larger addition. The terracotta pieces shown here formed part of the organic decoration of stylized plants with which Sullivan tied the two buildings together. This lunette ornamented the arch above the windows of the top (fifth) story. It has an undulating design of ferns unfurling and would have complemented other organically-inspired terracotta pieces throughout the exterior.

Lunette and decorative panel, one of twelve https://collections.artsmia.org/art/97841/

Three-Arm Candelabrum, one of a pair

Three-Arm Candelabrum, one of a pair https://collections.artsmia.org/art/18644/

Kakiemon style with winged beast, flying crane, insects, grasses, spays in indianische blumen within a Sulkowski Osier border When the factory at Meissen began production in the early eighteenth century, the wares produced there were heavily reliant upon Asian forms and motifs. These plates were among the earliest European wares produced in porcelain and derive their decoration from Chinese models.

Kakiemon plate with beast, crane, insects https://collections.artsmia.org/art/4739/

small domed brick bldg. with 9 windows atop ring; "V" shapes connect bldg. to ring at sides; 4 silver birds at bottom edges of ring; gold chain

Wedding ring on chain https://collections.artsmia.org/art/83246/

bottle with slightly flaring shoulder and long, narrow neck; shaded glaze, bottom to top: orange, green, blue; wavy horizontal ribs on body

Tortoise glazed tall bottle https://collections.artsmia.org/art/48267/

silver and gold skyscraper with corner turrets; small

"Skyscraper" still bank https://collections.artsmia.org/art/83707/

teapot, creamer, sugar bowl and waste bowl are matte with a shiny band around the center; lid attached to teapot by a hinge; creamer and teacups are gold-colored inside; teacups do not have handles

Cup and saucer, from a children's tea service https://collections.artsmia.org/art/29988/

oversized dreidel fits onto plexiglass base; upper section lifts off openwork base; top portion unscrews from cube body; body unfolds, with candleholders on top

Combination Hanukkah lamp and dreidel https://collections.artsmia.org/art/83247/

Presented by Emperor Napoleon the First to Prince William of Prussia in 1808; painted with scenes from the Fables of La Fontaine.

Saucer from a tea service for twelve https://collections.artsmia.org/art/10205/

Handwrought sterling silver with carved ivory handle The use of ivory in handles of silver vessels and containers as an insulator against heat is several centuries old, but Johan Rohde integrated this material into a very modernist, twentieth-century Scandinavian design.

Pitcher https://collections.artsmia.org/art/6962/

#36-1950

#36-1950 https://collections.artsmia.org/art/2039/

Red beaded bag with round black and white pattern

Evening bag https://collections.artsmia.org/art/40448/

abstract rectangular object with separate wedge; hollow wood burl with crack like openings and holes; wedge positioned under larger piece and protrudes on one side only and is for visual balance not stability The striking rock formations of Bryce Canyon in Utah inspired Michael Peterson to explore land surfaces through his vessels, sandblasting and bleaching in order to translate the idea of erosive forces working to sculpt and patinate the surface of wood. Those vessels led to recent madrone sculptures such as this one, carved damp with a chainsaw and left to shrink and warp as it dries. Working intuitively, Peterson allows the forms to reveal themselves as he goes along. He sandblasts and stains the wood to exaggerate the grain and texture. Ironically, these highly worked pieces look as though they were found in the natural landscape. According to Peterson, he "places a lot of importance on the tactile quality as well as the visual success of the surface," feeling that his work is meant to be read with both the hands and the eyes.

Sculpture https://collections.artsmia.org/art/113437/