Category Archives: Design

Perroquet Plates

At this time of year I’m in back-to-school mode and absolutely exhausted by keeping up with the garden, so my focus shifts to the inside. I think I’ll get back outside when it gets cooler in September, as I want to rearrange some things and prolong life and time in my garden as long as I can, but right now I’m focused on interior adornment and projects (this is one way to ignore all of the academic duties that are piling on about now). Leafing through a bunch of magazines this past weekend, I found some objects of adoration in, of all places, WSJthe magazine of the Wall Street Journal: plates adorned with colorful parrots, infused with old-world elegance through a hand-painted process involving sixteen layers. The 12-piece collection is the collaboration of Gucci Creative Director Alexandro Michele and porcelain manufacturer Richard Ginori. I want them all, but at $295 a plate, it will be difficult to justify just one, I’m afraid! The article identifies Michele’s inspiration as “one rare French volume from 1801 on specimen birds”, which was all the cue I needed to identify Jacques Barraband (1767-1809), a French zoological and botanical illustrator whose work inspired imitators even in his own day. While Barraband’s work must have struck his contemporaries as “new” in their colorful realism, Michele was inspired by their antiquated aesthetic, as am I.

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Parrot Barraband 2

Perroquet Plate Design Boom

Perroquet Plates WSJ

Perroquet Plates WSJ 2

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Derian Parrots

Original Jacques Barraband parrot prints from Levaillant’s “Histoire Naturelle des Perroquets” , Ursus Books & Prints, and Shapero Rare Books. The Michele/Ginori plates from designboom (image ©designboom) and the WSJ magazine (photographs by Martyn Thompson). John Derian has ample antique-inspired parrots among his offerings too, including a 12-piece set of wall trays (works and photographs © John Derian).


Signs, Signs, everywhere a Sign

This summer I have given several thematic walking tours around Salem to various groups and have found myself looking at the city as a tourist might. One gets the impression of a very busy place, not just in terms of activities and traffic on the streets (which are nearly all torn up!) but also because of superfluous signage: I think Salem has a mild case of sign pollution. Recent efforts to streamline and standardize signs have resulted in some very nice “official” signs throughout the city, but many of the older signs from a more haphazard era still remain, and then we have the customary cases of Witch City exemptions. Here is a great illustration of what I mean: I took this photograph, but it was 100% inspired by a Salem Instagrammer who often captures interesting perspectives.

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A mixture of private and public signs on one Salem corner, and on one Salem street sign!

Attempts at sign conformity, emphasizing both information and aesthetics,are represented by the “Great Stories Begin Here” banner signs scattered throughout the city–which enable advertising through sponsorship–and the official signs which direct visitors to established heritage locations and neighborhoods.I think these stand out for the most part, except at certain locations where there are simply too many signs in close proximity.

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The worst cases of sign pollution by far are when public street signs have signs for private institutions affixed to them, as in the first photograph above. What are the signs for the Salem Witch Dungeon (which again, for the 99th time, I feel compelled to point out is not situated on the actual location of the former Witch “Dungeon” or jail) and the Gallows Hill Museum/Theatre (which is neither located on Gallows Hill or a “museum” or fully-functioning theatre) doing on public street sign? This is the Witch City exemption of which I spoke above: apparently witch “attractions” are allowed to affix their signs anywhere.

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A lot of information here, but we always know that all of the streets of Salem lead to the Salem Witch Museum!

Apart from these unfortunate mishmashes, there are quite a few notable business signs in Salem, which is perhaps a topic for another post. But I’ll leave you with my favorite old and (relatively) new signs, for Bunghole Liquors on Derby Street and Turner’s Seafood on Church Street. The Bunghole sign reminds me of days gone by, when a sign was the only way for businesses to draw businesses in, and subtlety was not an option.

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Witch City Vulcanizing Company 1917 SSU

Bunghole and Turner’s Seafood signs in Salem today, and the Witch City Vulcanizing Company on lower Lafayette in 1917, Salem State University Archives and Special Collections.


Everything for the Garden (Historian)

I had a lot to do yesterday (including gardening) but still managed to devote quite a bit of time to the digital collections of the LuEsther T. Mertz Library at the New York Botanical Garden–a very enticing resource that represents only a fraction of the larger Library’s vast holdings, encompassing over 555,000 volumes in its General Research Collection, along with botanical art and manuscripts. I confined myself to only one category of the digitized materials–nursery and seed catalogs–and still managed to kill some serious time; I can only imagine the hours that would be lost to old journal articles, collector’s notebooks, and “Great Flower Books”! There were quite a few Massachusetts growers represented among the nursery catalogs, which dated primarily from the 1890s through the 1920s, including Salem’s very prominent horticulturalist and landscape architect Harlan P. Kelsey and the “Seed King” of Marblehead, James J.H. Gregory. (Both men were very energetic civic activists as well as horticultural entrepreneurs–I plan to focus on their comparative paths a bit later on, when I have more time). These catalogs are such great sources for the history of horticulture, garden design, “homemaking”, as well as advertising and marketing: they just suck you (me) right in–their nostalgic aesthetic appeal is quite powerful too. Here are a few of my favorite covers, but you can access the entire texts online via the Mertz Digital Collections.

Everything for the Garden Henderson 1905

Everything for the Garden Henderson 1918

Everything for the Garden Johnson 1907

Everything for the Garden Elliotts 1894

Everything for the Garden BRECK NYBG

Everything for the Garden Kelsey

Everything for the Garden Maloney 1917

Everything for the Garden Payne 1917

Everything for the Garden Allen 1917

Everything for the garden and “Dreamwo[r]ld” indeed: American nursery catalogs from the LuEsther T. Mertz Library’s Digitized Collections at the New York Botanical Garden.

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Illustrations of the Improv’d Garden

I discovered the prolific British illustrator Clare Melinsky just recently, and apparently too late to obtain the examples of her work that I covet the most: illustrations based on several eighteenth-century gardening manuals by clergyman John Laurence, including: The Clergy-Man’s Recreation: Shewing the Pleasure and Profit of the Art of Gardening, The Gentleman’s Recreation: Or the Second Part of the Art of Gardening Improved, and (an apparent pseudonym) Charles Evelyn, The Lady’s Recreation: Or, the Art of Gardening Farther Improv’d (bound together in variant editions, 1717-1719, along with The Fruit-Garden Kalendar: Or, a Summary of the Art of Managing the Fruit-Garden). These are wonderful little practical books, and Melinsky’s clean linocut prints look like they are culled from the texts: they are period perfection and absolutely charming. Melinsky’s portfolio includes everything from The Witches of Salem: A Documentary Narrative (London: Folio Society, 1982) to the covers of the Bloomsbury boxed set of hardback “signature editions” of Harry Potter, and lots of flora and folktales and Shakespeare in between. Everything looks lovely, and I look forward to enjoying more of her work as time goes by but right now I’m pretty fixated on the unattainable “improv’d garden”  images–though her similar Robert Burns postcards might just suffice.

Melinsky Cards Collage

Melinsky Cards Collage Garden

Melinsky Collage

Melinsky Kew Gardens

Laurence Gardening Improvd Front

Melinsky Witch Linocut

Clare Melinsky’s Linocut “Gardening Improv’d” cards, along with a more “modern” illustration of Kew Gardens and a witch (just because) from here and here; Frontispiece ilustrations to Laurence’s Gardening Improv’d parts II and III, 1719.

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Artistic Nationalism

I started this blog to indulge in the discovery (and rediscovery) of Salem’s history, but also American history, which I haven’t really studied in any depth since high school. And I’ve completely forgotten what I learned then, or before, because it was the same old narrative, year after year, Plymouth to Ford’s Theater again and again and again. Past politics. So boring–I hated history by the time I went away to college and was determined to avoid it by majoring in something that was almost completely contrary to my interests and talents: economics. But my time abroad, along with the few history courses I allowed myself to take, convinced me that it was only American history that was boring, so I went on to get my Ph.D. in European history and become a history professor, which is quite simply the best job ever. Of course now I know that American history is not boring (though it is short), because I’ve uncovered more of its layers, including that which is most interesting to me: its culture. My American history curriculum starts with creativity and ends with events, and so I tend to fall down a rabbit hole when I encounter an amazing database like the Index of American Design, a project that commissioned Depression-era artists to produce nearly 18,000 watercolor renderings of traditional American arts and crafts made before 1900 under the auspices of the Federal Arts Project (FAP) of the Works Progress Administration (WPA). The project encompassed 34 states, regional exhibitions of the renderings, and the creation of a permanent inventory of reference materials with which one can rediscover American material culture again and again and again–as accessed today through the portal of the National Gallery of Art.

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Robert Pohle, “Sheaf of Wheat” Shop Sign, American, active c. 1935, 1935/1942, watercolor, graphite, and pen and ink on paper, Index of American Design

Index renderings are photographic in their simplicity and detail: the artists are documenting and creating at the same time. Like all WPA initiatives, the Index was first and foremost a way to put unemployed people, in this case artists, to work, but like several FAP projects, the goal of archiving all forms of American culture seems to be just as important. The artists of the Index of American Design, just like the architects of the Historic American Buildings Survey (HABS), used their own artistry to capture and preserve American artistry, as a form and expression of artistic nationalism. Their meticulous drawings of shop signs, andirons, cabinets, dolls and dresses, showcased in a series of national exhibitions, enabled an anxious American audience to discover (or rediscover) its own cultural identity, through very familiar forms.

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Margaret Knapp, Silver Teapot, American, active c. 1935, 1934, graphite on paper, Index of American Design

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Lillian Causey, Quilt, applique, American, active c. 1935, Index of American Design

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Bessie Forman, Dress, American, active c. 1935, 1935/1942, watercolor and graphite on paper, Index of American Design

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Bessie Forman, Man’s Hat, American, active c. 1935, 1935/1942, watercolor and graphite on paperboard, Index of American Design

There are several Salem items in the Index (of course), including some very primitive wooden dolls, a cartouche, and a very characteristic chair. I’m biased, I know, but I think more Salem items should have been included–and wondering if the democratization goals of the Index worked against seats of “high” culture?

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Beverly Chichester, Salem Dolls, American, active c. 1935, 1935/1942, watercolor, graphite, and gouache on paperboard, Index of American Design

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Alfred H. Smith, Cartouche from Salem Gate, American, active c. 1935, c. 1939, watercolor, graphite, and pen and ink on paperboard, Index of American Design

William Kieckhofel, Salem Chair, American, active c. 1935, c. 1937, watercolor and colored pencil on paper, Index of American Design

William Kieckhofel, Salem Chair, American, active c. 1935, c. 1937, watercolor and colored pencil on paper, Index of American Design

 

A few posters of WPA/FAP/IAD exhibitions held in 1937-38:

IAD Collage


Little British Books

I have a particular predilection for small decorative books published in collectible series, which British publishers are particularly good at producing. I have posted about two of my favorite series before, Britain in Pictures and King Penguins, and on this recent trip I encountered some more! The very traditional and well-stocked Daunt Books, which in addition to selling books has its own imprint, had several series on display in their main store on Marylebone High Street in London, and Waterstones (now managed by James Daunt) had a beautiful display of the new Penguin Monarchs series AND two big bookcases full of classic Penguins. The British love their Penguins, and who can blame them?

Daunt Books London

Daunt Books

Daunt Books Display 2

Candlewick Press Collage

Daunt Books Display

All sorts of books at Daunt including pamphlets: the Candlewick Press “Poetry Pamphlets” are marketed with the pitch phrase “instead of a card”; the “Little Black Classics” were issued in a series of 80 volumes last year to commemorate Penguin’s 80th anniversary.

Penguins Orange

Penguins Blue

Penguin Monarchs

Penguin Monarch Charles II.

Over at Waterstones on Gower Street, there were vintage paperback Penguins in orange and blue, and the new Penguins monarchs series, “ short, fresh, expert accounts of England’s rulers in a collectible format” with commissioned covers. I want all 45 of them (44 kings and queens + Oliver Cromwell, of course).

 


Ghostly Courtiers

I’ve just got a few more English posts before I get back to the actual streets of Salem: I just took so many great pictures over there if I do say so myself! I’m going back to Hampton Court today–the other side of Hampton Court, which if of course a bilateral palace, with a Tudor side and a Baroque/Georgian one, the cumulative work of Sir Christopher Wren and Sir John Vanbrugh who were commissioned by the last Stuarts and the first Georgians to remodel the entire castle in a more modern (and presumably comfortable) style. If completed, this modernization plan would have resulted in the complete demolition of the Tudor palace but lack of funds and the shifting preferences of monarchs determined that it was (fortunately) not. I far prefer the Tudor palace, inside and out, but I really enjoyed the furnishings, paintings, and overall interpretation of the “Secrets of the Royal Bedchamber” exhibit in the royal apartments on the other side, populated by courtiers all draped in white Tyvek.  Like any old place touched by tragedy, there are rumors of ghosts at Hampton Court Palace, and it as if you are walking among them in these rooms.

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Baroque facades–with the Tudor roofline peaking out behind, dining rooms and courtiers; Below, the “Grey Lady” ghost, Sybil Penn, wandering through the palace.

Grey-Lady-low-res


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