Symbols of speed and good fortune, Dolphins swim down the sides of this ocean-colored vase (1866–70s) from Salviati & Co. John Ruskin’s Stones of Venice created a wave of enthusiasm for the lost art of cristallo. Published from 1851 to 1853, Ruskin’s book proved a stroke of good luck for Venetians seeking to revive old glassblowing techniques.
Photographed at the Metropolitan Museum of Art in NYC.
This glass Peacock Vase (1893 – 96), with its evocative form, coloring and iridescent surface, is an icon of the early Tiffany-blown Favrile glass collected by H.O. (Henry) Havemayer. He gave it to The Met in 1896 during the first years of its production; at the time it was considered modern art and an object of rare beauty. These qualities are reflected in the collecting visions presented in the gallery in which this vase is displayed, which features transformative gifts from the Havemeyers through the Annenbergs.
Photographed as Part of the Exhibit Making The Met at The Metropolitan Museum of Art in NYC.
This striking, six-pronged Green Glass Vase (circa 1931) is part of a small group of modernist art glass by Frederick Carder for the Steuben Division of Corning Glass Works. Carder was a glass blower, born and trained in England. He preferred traditional forms and elaborate ornament, but like many of his contemporaries active in the late 1920s, he responded to the international interest in abstraction and avant-garde experimentation by incorporating sharp angles, asymmetry, and bright color combinations into some of his designs.
Marc Camille Chaimowicz (b. 1947) is a London-based, cross-disciplinary contemporary artist whose works challenge the categorical divisions between art and design. His recent career retrospect at the Jewish Museum (which was the artist’s first solo museum exhibition in the United States) transformed the entire second floor of the former Warburg family mansion from an exhibit showcase into a series of fantasy tableaus pristinely curated with unique and whimsical home furnishings and décor. This room was my favorite. Let’s take a closer look at the pieces that make up this dream-like living room set.
Blue Velvet Give and Take Sofa and Pink Glazed Ceramic Rope Vase.
Maquette for Give and Take Sofa
Stainless Steel Magazine Rack with Diamonds Cut Outs
Photographed as Part of the Exhibit, Your Place or Mine, at the Jewish Museum.
Items Shown Left to Right : One Meter Lamp (2016), Glazed Ceramic Rope Vase (2014) Give and Take Velvet Sofa (1994) Stainless Steel Magazine Rack (2014)
Shiro Kuramata (1934 – 1991) a member of The Memphis Group and among the most innovative designers of the late twentieth century, was fascinated by the visual possibilities of acrylic. The artist stated that his ideal objective was to see objects floating in air. Named for the Wunderkammern owned by Renaissance princes that displayed natural and man-made curiosities, Cabinet De Curiosité (1988) offers the magical impression of suspending its contents in midair. Kuramata explored the phenomenological effects of acrylic — light and lightness, invisibility and reflectivity, weight and weightlessness – and the material has become the poetic signature of his work. Kuramata used the term Neiro, or “sound-color,” to describe the synesthetic effect that acrylic has it both its physical presence and the spectral color-shadows it casts as light passes through it. Its prismatic luminosity changes with light and viewpoint, exploiting the optical effects of the material. Shown here alongside Flower Vase #3 (1989).
This still life, Bouquet of Flowers in a Vase (1890) is not mentioned in Vincent Van Gogh’s letters and has puzzled scholars as to its place in his artistic production. The subject enjoys a certain rapport with the mixed bouquet of summer flowers he made in Paris; the quasi-abstract floral wallpaper design in Berceuse of Arles , and the white porcelain vase in the Irises of Saint-Remy (both paintings also on exhibit at The Met). However, the palette and style of this painting, especially its distinctive blues and ochers and graphic, brick-shape hatchings, link it firmly with the landscapes made just prior to his death in Auvers on July 29, 1890.
Photographed in the Metropolitan Museum of Art in NYC.