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Jwv DESCRIPTIVE A CATALOGVE - OF A THE GERMAN A ARTS A AND A CRAFTS AT A THE - VNIVERSAL A EXPOSITION, ST. LOVIS A 1904 I'X‘BLISHED BY THE IMPERIAL GERMAN COMMISSION V‘I LJLI COPYRIGHTED, \904, BY TH EODOR LEWALD. r @215 [3/466 670/" . ' e '4); 7'7'3 7 W} 2" PREFACE. In presenting an illustrated catalogue to the public the Imperial German Commission feel that this will meet with the approval of all who desire to perpetuate the impression they received in viewing the exhibit in the “Deutsche Haus.” as well as in the Palace of Varied Industries. The catalogue contains exact illustrations of the important features of the “Deutsche Haus” and the Arts and Crafts ex— . hibit in the Varied Industries Building. The reception rooms of the 'ZGerman State Building are re— productions of some of the rooms at the Royal Castle at Char- lottenburg and the Royal Castle at Berlin, which were origi- nally designed and built by the famous German architect and sculptor, Andreas Schlueter, at the end of the seventeenth century. A very highly developed technique has made it possible to reproduce the rooms of the Castles in the same genuine material, The sculptural work and the paintings are the products of first- class German artists. After the close of the exposition every~ thing can be removed for further use without suffering any damage. The interiors in the Varied Industries Building are the works of prominent modern German architects, some of whom have long been well known outside of Germany. Every one of the catalogued pieces is an original; it has been designed by these artists in every detail and has then been executed by first-class German furniture makers and the most skilled among the German artisans. These interiors are the products of new ideas with regard to forms, coloring and the way in which the furniture adapts itself to the rooms. Futhermore the way in which the material is made use of, insures new and original effects. _ The ways and methods which led up to this new expression of thoughts and ideas have been explained in the following article by Leo Nachtlicht, architect, who has designed one of the'interiors himself and has compiled this catalogue. A large number of the rooms, were especially designed and made for German public and private buildings. However, since this exhibit has created such an impression upon the visiting public, the architects have come to the conclusion to offer all rooms: the modern interiors of the Varied Industries Building, as well as the reception rooms of the German State Building for sale in this country. 152080 4 PREFACE. This will give the American lover of art such an opportunity as he may not have again for a long time to come. The financial conditions and terms are very favorable; the manufacturing firms have only charged their actual expenses, the objects in question i being exhibits, and the designer has made no charge what: soever for his work. Freight rates for the exhibits were very low and lastly the American Government has modified custom house rules in thus, that when appraising the articles on exhibition, . any loss in value they might have suffered up to the close 0 the Fair will also mean a reduction in duty. " The sale of all the furniture and interiors has been placed. into the experienced hands of Mr. Ferdinand Wiederholdt,‘ a gentleman well known to the public and who has been'identi-i fied with the leading furniture houses of St. Louis for the past 25 years. He can be seen at the Commercial Office of the Im- perial German Commission, Varied Industries Building, every ' day during the Exposition and will be glad'to give any infor- mation as to prices, delivery, etc. Inquiries by mail should be addressed to the above office. ' INTRODUCTORY. The German exhibit of arts and crafts in the Varied Industries Building is the largest and best that Germany has ever made. Neither in Chicago 1893, Paris 1900, Turin 1902 or in Duessel- dorf 1903, have the exhibitors of arts and crafts displayed such skill and perfection. The reason for the greater excellence at the Louisiana Purchase Exposition is to be found in the better organization and in a keener desire to show to America what is newest and best in this latest line of German effort, and in the new life that has sprung up in this special line of art in the last ten years in Germany. Formerly thousands of pieces of histor— ical furniture were decorated with the same ornaments and possessed the same style so that the entire work could be left to the mechanic, but now artist and mechanic have to work hand in hand. Heretofore the artist was rarely seen at the shop of the mechanic but now this working with the mechanic deepens his interest in the material and suggests to him the forms which are best fitted for the material used. He rec- ognized that the designs to be carried out in wood must not possess the lines characteristic to stone nor designs in metal those of wood. Before long he became so familiar with the qualities of the material, that material and design were merged into their real unity. So great was the satisfaction and pleasure due to the awakening of this new artistic feeling that the artist was satisfied to work with simple plain surfaces in which the beauty of the material was brought out to the best advantage. The rooms of Laeuger and Koernig showed this in classical perfection. After a time the artist endeavored to improve on this simplicity of surface without changing its plain lines by the introduction of high lights produced by the addition of differently colored woods. “Intar- sias” were added where they would increase the artistic effect and give life and grace to the simple design. We find this in almost all the rooms and in a good many it is carried to a high degree of perfection. The time of rich ornamentation peculiar to the rococo and baroque style had passed. Only occasionally an expression of decoration was found to be necessary as demon- strated by the capitols in the Behrens’ room or by the panel strips in the Pankok or by the panels on the sofa in .the Olbrich room. In this careful use of ornamentation is expressed the artistic restraint in which the progress of the arts and crafts can be well recognized. (3" INTRODUCTORY. This real artistic feeling and understanding is the result of many experimental years which followed the barren period after 1870-71. In the beginning the artist studied closely the old masters and _ followed historic styles, but they could not find any satisfaction in their endeavor nor had they proper artistic expression in their creations. Tiring of this condition very soon they broke away from conventional lines and accepted whatever new ideas came to Germany from any source without discrimination. At the same time new problems in arts and crafts and in architecture sprang up which spurred the artist to new solutions. It was a time of fermentation in art which was called by the public “Secession”. Since that—within the last ten yearsr-‘the results have been achieved that can be seen in the German exhibit of arts and crafts. After a time of restlessness and uncertainty a time of repose set in, caused chiefly since the mechanical side in art so thoroughly connected with the material and construction was restored to its rightful position. After the artist had recognized all this as an indispensible quality in his work he was now able to apply real art to all forms. To arrive at this perfect result the mechanic who found himself constantly under the supervision of the artist ought to have a better education in his craft. On account of this supervision by the artist the furniture had to correspond in all its details as in the handling of the wood—work, trimmings, carvings and intarsias correctly with the idea of the artist; it was taken from the domain “mechanical” to the domain “artistic.” Since every piece in the .German Exhibit was made in this way, it must have in- dividuality of its own and possess a personal value not dependent - on the richness of the material but above all on the ability and personality of its designer and the manner in which his ideas have been carried out. It is apparent then that as each piece of fur- niture is original in its design and expresses the idea of the artist, the high standing of the German arts and crafts speaks for itself and justifies a thorough belief in its future progress. It is the same spirit that manifested itself in the creations of the old masters, a spirit which we also feel in the rooms of the German State Building. Ionly have to mention the stucco ceilings of the im- mortal Schlueter, his beautifully carved doors, his chandeliers and his interior architecture. There is an inspiring contrast between the art of the eighteenth century in its dignified grandeur and full maturity and the young art of the twentieth century working along the same lines of artistic effort to accomplish what the artist of the last centuries so signally compassed. In their external form they may differ but at heart they are one in artistic feeling and like all truly artistic creations their influence will never wane. LEO NACHTLICHT. Marble Wall Fountain. l‘mi'. lr'l'irlulln ltirtschv. Sculptor. l\':u'lsrulw. 1! ulterior views of "was Eeutsche Tbaus” Gobelin Hall. From the Royal Palace at Berlin. Brandenburg Chamber. Royal Palace at Berlin. A 1'eprmluction. 'z “7‘31? 5.. 1 U Part of the Oak Gallery in' q _ From thc Run'ul LaSllu at Lharlnttvnlmrg. -\n exact 11~|>r07—e—V- — 2‘1» ~> ' ’10 O I a “I v y n O ‘1‘» l. I - ‘ i ‘5‘ O J O l “'5 '1 7* l‘ i I f-nfJ '7 l O l 1,; l ‘ o v; ' l J l :fI}’-+—_4 5' v;- __:"j; ._ .{.t___ ,4; iJ-l'. .3 ' O I or .. we» i O O D O “I __ a.__. .__ _J_ >-—- ~ ~ ~* 3/ 4" > - _ A . _l 9’ ._ ... .. ...T..m,fl a“??? 4. .. ho. .. .I M“... L . . o v >\ 1! ll 1 . Karlsrnhe. .\la:< l.aeu_qcr. l’rol. Basin for Running Water. l‘ilincr with glass mosaic. r Ronni ‘31 Gentleman’s Room. Furniture.oak. all inlaid with natural ‘.\'iunl\ Karl Spindler Hi. Alsatia. l_i'1 *nhardt 'l I '*v—~—' JQ-n " '-~ ~ h -J . 0| Room 22 . A H _ 5-, Living Room. ' \ \Voodwm'k and furniture silver-gray stained oak. inlaid. Hand sewed gray silk tapestries. l’rof. ]. M. Olbrich. Architect, Darinstadt. lily lmdwrg Schaefer, Mainz. __ a -. Jzfjii. . a- - . . , - -7_u¢_-.___________- ~10 Ronni Iii} Tea Room. Polished mahogany, inlaid with maple, cedar and ebony. Prof. J. M. Olbrich, Architect, Darmstadt. 3y .~'\. Bembe. Mainz. I?“ 'fiil viz; I' ne’— Room '24 _ _ 41 Reception Hall. Gray stained oak. inlaid with colored maple. mahogany and ebony. Prof. _l. ;\'l. (Tllbrich, Architect. Darmstadt. ly Ii. Glueckert. Darinstadt. Paintings of Prof. Schoenleber. Prof. Hans r. \'olkmann. Prof. Fuhr. Julius Bergmann. Bertha \Velte. Helen Strohineyer. llronzc figure by Prof. Dietsche. \ 42 . ' Room '24 . " Detail of Room '1’ i. l'rol _l. .\l. " dbrich. .>\I‘Cllll(‘(‘l. llarinstadt. Room 25 . 4” _i i . ,. l l]! 1| 9' ;. I it . W ., i xi §i l :Qxi ': Dining Room. ’ \\'ood work and furniture of white maple. liand embroidery especially made for H. R. IAIN the'Grand Duke of Hesse. l’rof. J. M. Olbrich. Architect. Darn midi. lly Ludwig Alter. l)armstadt. Carvings by _l. \l, Boysen 'i‘l -'> V * ~— 23-v‘~ 7' W —*—§*' \ _ . .~ lumm 3.) ll Room. ining 0 Corner of D .\l. irnistadt. ( l .\r-chitcct. l') (")lhrich. .l- 1'1 ll. 1) l “5-4 '—>—— - !c;// -é 'ea—_( rill—,1 ‘ a / ' *4 I l .. i l o l .1 l I d" 2 t i v| . ‘ I o l 1 v l *9 ‘l- ——— )-—4- r ;97 iii» 7 (4; ~ ~ ‘ § 'zuiiih' ’.lJ_l-NZ'[[JS }?Ji.\\pn'i .{u '1pi:1sui.iiz(i ‘131.‘)1lll.).l\.' wining“) '1\' ‘[ 'ltil‘l '.\I-ni.\i pun .{unqn ‘.\‘ui:B'oi|iziu nu.“ pining ‘aldmu painters anpl in 'pumf) ‘ourrm ‘mad pauims llMuJtl pailsipid .w.innu-in_i pun >l.io.upuu_,\\ 'LLIOOH aisnw .. it.» 'I ‘ .M'v'lilifrl ' ‘M'Midl' . f,“ 11,. in“ Eu Rempera Picture. From the Music Rriiim of Phil. M. l)]l)fi(h_ l')m-mstadt' Darmstadt. ;; By _l. \i. y I Hi“ . ‘1 '\ 73 - o O . I . _' l (L a q. '1 _ ,Iu Room 27 Smoking Room. Gray stained oak. l’rot'. _l. .\l-. Olbrich. Architect. Darinstadt. By Ed. Frei. I)arnistadt. Lithographs and drawings by _l. V. Cissarz. /03'-"—--3*1&L~ /a-' //g~ ’ ‘ s40 9T1: __-__~_-_ 13-7/1’...__ .4 . a _ . 'o’ 4s Music Room. Dull walnut, inlaid with cherry, poiisandcr, padulcs. Hungarian ash, Tuja. nmther-of-pearl, red-wood, pitclrpine and bird's-eye maple. Prof. B. Pan- kok. Stuttgart. Ry Stuttgarter Moebelfabrik. George Schoettle. Stuttgart. Inlaid by G. \‘Voclfel. 13‘. 511 a”; V l l\)l.)(llll 'Zila 4f. ,- Reccption Room of an Art Collector. Cedar cabinets. Chairs green staincd 01in: and polisandfi'r, inlaid with yellow stained maplvs, ebony. mahijigany, paduk and bird's eye maple. Prof. Karl Hollackcr. l\arlsruhc. Ry R0l)t. Mateo. Heidelberg. R0011] 29¢ Hall of an Art Collector. Mahogany. \Nall fountain of wrought copper and g‘ililcll. Prof. Karl Hull- zlckcr. 1(ar151'uhc‘. By A. Gehrig \Vwc. Tile pictures. after l’i'of. lily Grosshcrzoglichc Majolika R‘lanufaktm'. Rarkruhe. Thoma. -,_ Yi J-"i’ I; , if; 4 '7] 31" :§ 1 - l i ‘ I." I l l ' ' i l | l ' * v I “F. n E .1 I § ‘~ ‘ '| I ",‘z I l i l u l l l F ~‘_ | I l . _ “'2' i; I *‘-—- 1: ;l-| ' i u' . .- _'- 7- . _ - , 7' r AW‘WLY _ r'_" V. ' -'J F‘ . _‘r‘> . I _ l. ' _. . , V - 7 R. will 31 7 91 -- -“‘A‘ “l“““l‘l“‘ Llml I‘ll Court in a Summer Residence of a Lover of Art. l‘rnf. _l. .\l. ('lllirich. l);ll'lll?~t£l(lt. 52 Rhnlll Ill’i Library. (iray stained oak and ceiling ml ash. inlaid with mahogany. walnul, ebony. maple and limluk. llruno l'anl. Architect. Munich. Complete fur- nishings of room by ..\"creinigle \'\"erl[s>].lai\\pun“ .1011] 11011012191101“ .muapmaq i "liapsaafl '1Muip.1\' 'SlDJH' "\i\ 'JllJ‘l ‘ 'woog ‘SJOIDDJEG ( airman llOlll‘lZlS“ Mona»; ‘.\lll() inn) Runm Illl 5 Music Festival Hall. Bluish stained oak. l’rnl'. lilerniauu llilling. --\rchitect, lx'arlsruhe. lly _I. |.. l’eter. Mannheim. Urgan. .\l. \Yelte & Snehne. Freibnrg‘ im llreisg'an. l’aintingr by l'rnf. -\. (ii-oh. Kai bruhe. -‘,¢r-- ._‘_'_\_‘ __,- _ .-- Room 41‘» Orivit Manufacturing Co.. Cologne. ‘\ll kinds of silver and hard metal seamless hollow ware. ' Huber process. Pressed by the Rmnn .‘f r. it“ " t Mahogany. inlaid with cebra Wood. ]acaram.la green stained maple. l-lb “Q t. .__;v . -4. cl ilunms. ~ ~' A a wee" \ ..»" sweet-“"9.- . "”?‘7Ta.1~51l!;l;?!"-1'”"ff. ‘ ’7‘ A QB‘YQ‘ .. T1" (l e- Anteroom. (in glass l‘rul'. l'eter llelll'cns. Architect. Dusseldorf. By Ludwig Alter. llarinstadt. tit) Gentleman's Study. Gray green stained ash. inlaid with maple. natural mahogany and |)Hli.\;ltt(lt'|' l)e~d< _\'ellu\\' ash. (ironp of Artists. Magdeburg. lly 'I‘. ll. lincke. .\lae'debnrg'. llesk and chairs by Herman lleiinster. Ir if :71 / ' . . a-_:__>___..-__r_—i ‘ =. LAMA“ “TAM—p - ._,r.-_ Thai, . w q 1 ' i l L _____+/( \94 )- _ 4'. 16d "—1 € ? I. 7|“9 4+ \- a-t ! . I“. \L‘ p_. - 0 Q Run!“ 45 pl Detail of Room t7». (lriginal work in lustre |)Hl'CL‘lZllll. special substance. llct‘ul'ittltms. lland- carved reliel. llauied glazings with gold reins. and glazing. under glaz- in;r painting: cutting process. llans &' Fritz Yon lle-ider. l'ainters. Magdebure. Rt mm 41* Handwoven Tapestries. (Real ‘Gobelins.) \\'. ZlL‘St‘ll t\" to. llerlin. \rt wearers tn ll. .\l.. thc Herman liniperur. \ V. “v :1 Handwoven Tapestries. (Real Gobelins.) \V. Ziesch & (a... lierlin, .‘\rt \\'ea\ ers tn ll. ;\l.. the German Emper‘jn'. '_afl-‘-——§wt H .l . 14 9 L“? i l jéeya —A “1‘1" .+—- * 'llllifiu amino“ [)tllf bqto‘l .{q sup-s pun sump) '.l.inut|iqoj\t "V All amid -Jl1lltfltl .mm» 0.11113“ ‘at'lmutps mile!“ 'Sfilllltllllfis 1131.193 _ ‘_lfi)l.)uu '_.1 "j A" 'numu '1.m}tt|J.l\~' ‘ltlaulubttx na'L '.-\.u>.\l put AllUtlO_ ‘ald'mu patums uaaih' nu.“ pnzgui 'aidmu pauims MolpA pun new panlms .tmf, 'UJOOH uopdaaag 11., M 11100)] fl“ .l\..ll(l1|[ 7)“ _ _ ‘.— I 'v - ~-¢',-..',-.at-.~ Exhibit of Lady Artists Society. Berlin. ~—-) =3'-_-__+,.¢<". ~'!;Ly__ Wt" 'Hj a?! (W <3“ <>1 e = D ' El +<2ly _ w 7“ i‘UHIJ. hi ‘ l." lx’unlll 3| , ,, Ji-a ._ r “m mgr-lav J1“- .o‘ ' Young Ladies' Boudoir. 1 Yellow stained lltlI'tlWuud. .\rthnr lliberl'eld. l.\rchitcct. llerlin. .h'aflw -M.,_,. ,‘w flit». ' an . Dining Room. ttak stained in l\\'¢|-t‘|'lut' cllect. \ll'red \lberr & \\i. tlrtlieb, .\rcbitect.s. ' liel'lin. ll_\ \\'. llllltllllll, llerlin. ~.\ uh) l\'t it Hi] Embroidered Panel of Ladies‘ Drawing Room. llerlin. \rtisi. Marie Kirscluu‘r, JO-W‘L' - - a. v '_'v ._ , | Rrmm 55 ' Drawing Room. (ierman Empire Siyle,t()neen Louise.) ebony rims and gilt bronze. ‘ .y t“. l’rzurchtel. llerlin. 5‘" . ._ A ._ a [furniture in old mahogany with ' T-JL’"! :‘ " .— ‘l-.'_ .""-]' - . _.. Rt trim fill b.l Bed Room of the “Biedermeier Age." tlray painted beech. l‘. lickc. .\rchitect. Munich. lly Schmidt t'c to. Munich. Room at Screen. Carved, embossed and stained leather. By George Hulbe. Hamburg. Rtnllll Tm' -l Copies of German Antique Silverware. owned by Harvard University. Cani- bridgc. Mass. (lift of German citizens. - o ' g .I '. '0' .‘I ‘- ' i ' |'-' s 0 ' o - ' ' o 0 ¢ . I ' . a 0 Room 5" d- TiIes by \i’illeroy Sr lloch. Dresden. :1rz 'ilerhu. '01 3- “Ceramic Hall. rch'ttec't. . ' ' l 1-\ menu... I) h! Bruno Moehrin ll ////;/;'r):J//l/ fl/l/é'fiikllll l l/ 7/ '/ /( (5/ /-/ I /fl/ 60/47/113”. ,/ .. [all 1/7617!” / . 1 . 1/ /. r/I'flr/ . I I I I: III lllfllllll'l/ 1’ 4/7' /I'I'//lf‘l' Y ,/ ., ” 7 1* I (‘/. fl/Z/IIIIII -,//flll'yr//l'7/ / I um r . ! /J.’9//.