{"title":"A Cultural History of Objects","authors":"C. van Eck","doi":"10.1086/725988","DOIUrl":"https://doi.org/10.1086/725988","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42478379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Artifacts: How We Think and Write about Found Objects","authors":"Abigail Baker","doi":"10.1086/725994","DOIUrl":"https://doi.org/10.1086/725994","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42097588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Die Schatzjäger des Kaisers: Deutsche Archäologen auf Beutezug im Orient","authors":"Suzanne L. Marchand","doi":"10.1086/725995","DOIUrl":"https://doi.org/10.1086/725995","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43023054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Gothic: An Illustrated History","authors":"Matthew Reeve","doi":"10.1086/725991","DOIUrl":"https://doi.org/10.1086/725991","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47688926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the late nineteenth century, the fashionable garments of women in the United States drew inspiration from the abundance of contemporary sources available to them, ranging from fashion plates in women’s periodicals to sewing patterns and ready-to-wear clothing. As Joan Severa details in her seminal book Dressed for the Photographer: Ordinary Americans and Fashion, 1840–1900 (1995), studio photographs from the time demonstrate precisely how high fashion was reinterpreted by working-class Americans in terms of materials, fit, and wear to suit their particular needs and lifestyles. One portrait album recently discovered at an estate sale illustrates Severa’s thesis, and this article offers a close examination of the album in tandem with contemporary fashion coverage in newspapers and elsewhere, social history, and demographics specific to working-class San Francisco. A focused regional case study, it offers insight into dress codes at a particular place and time that have to date been little studied by fashion scholars.
{"title":"Mimicking the Mode: The Fashionable Dress of Working-Class San Franciscans, 1880–95","authors":"Laura L. Camerlengo","doi":"10.1086/725986","DOIUrl":"https://doi.org/10.1086/725986","url":null,"abstract":"In the late nineteenth century, the fashionable garments of women in the United States drew inspiration from the abundance of contemporary sources available to them, ranging from fashion plates in women’s periodicals to sewing patterns and ready-to-wear clothing. As Joan Severa details in her seminal book Dressed for the Photographer: Ordinary Americans and Fashion, 1840–1900 (1995), studio photographs from the time demonstrate precisely how high fashion was reinterpreted by working-class Americans in terms of materials, fit, and wear to suit their particular needs and lifestyles. One portrait album recently discovered at an estate sale illustrates Severa’s thesis, and this article offers a close examination of the album in tandem with contemporary fashion coverage in newspapers and elsewhere, social history, and demographics specific to working-class San Francisco. A focused regional case study, it offers insight into dress codes at a particular place and time that have to date been little studied by fashion scholars.","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46878122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shocking! Les mondes surréalistes d’Elsa Schiaparelli","authors":"Lacey Minot","doi":"10.1086/725998","DOIUrl":"https://doi.org/10.1086/725998","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43291832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":Time’s Witness: History in the Age of Romanticism","authors":"W. Stenhouse","doi":"10.1086/725989","DOIUrl":"https://doi.org/10.1086/725989","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43302292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Historical Museum","authors":"J. Huizinga, M. Gosselink, Alice Tetley-Paul","doi":"10.17077/0003-4827.6121","DOIUrl":"https://doi.org/10.17077/0003-4827.6121","url":null,"abstract":"","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46719773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dosh, dough, readies, greenbacks, loot, bread, moolah, lolly, brass, spondulicks, the folding stuff . . . the list could go on, because there are few items of everyday use that are more freighted with meaning, excitement, and desire than money. At the same time, there are few items that we handle so readily that bear the symbolic insignia of the state, the establishment, in all of its many forms; we are, in one sense or another, reaffirming the authority of the state with every transaction. So far, so obvious, but I, for one, was unaware of the ways that money has been used to undermine the state, to deface its symbols, to ridicule its institutions, and to communicate illicit slogans of radical political views, transmitted as the monetary objects themselves are transferred from hand to hand. This onslaught on the material culture of money is the subject of a fascinating exhibition at the Fitzwilliam Museum in Cambridge, later to be shown at the Art Gallery of Ontario, Toronto, in the summer of 2023. As the museum’s information states, this is the first exhibition of its kind to examine “the interplay between money, power and dissent over the last 200 years,” with a key strand of the show exploring the role of the individual in protesting for rights and representation. It is not a new phenomenon. The practice of defacing coins for political reasons has a long history. In the Roman Empire, damnatio memoriae (condemnation of memory) was an officially sanctioned means of removing the portraits and named inscriptions of a deceased “bad” emperor from public display, including his image on coins.
多什，面团，准备，美钞，战利品，面包，钱，棒棒糖，黄铜，海柱，折叠的东西…这样的例子不胜枚举，因为在日常生活中，很少有东西比钱更能承载意义、刺激和欲望。与此同时，很少有我们能轻易处理的物品带有国家、机构的各种形式的象征性标志;从某种意义上说，我们在每一笔交易中都重申了国家的权威。到目前为止，一切都很明显，但就我个人而言，我并不知道货币是如何被用来破坏国家、破坏其象征、嘲笑其制度，以及传播激进政治观点的非法口号的，这些都是随着货币本身的转移而传播的。这种对金钱物质文化的冲击是剑桥菲茨威廉博物馆(Fitzwilliam Museum)一场引人入胜的展览的主题，随后将于2023年夏天在多伦多安大略美术馆(Art Gallery of Ontario)展出。正如博物馆的信息所述，这是同类展览中首次探讨“过去200年来金钱、权力和异议之间的相互作用”，展览的一个关键部分是探索个人在争取权利和代表性的抗议中所扮演的角色。这并不是一个新现象。出于政治原因而污损硬币的做法由来已久。在罗马帝国，damnatio memoriae(谴责记忆)是官方批准的一种手段，将已故“坏”皇帝的肖像和铭文从公开展示中移除，包括他在硬币上的形象。
{"title":"Defaced! Money, Conflict, Protest","authors":"Charles Parley","doi":"10.1086/725996","DOIUrl":"https://doi.org/10.1086/725996","url":null,"abstract":"Dosh, dough, readies, greenbacks, loot, bread, moolah, lolly, brass, spondulicks, the folding stuff . . . the list could go on, because there are few items of everyday use that are more freighted with meaning, excitement, and desire than money. At the same time, there are few items that we handle so readily that bear the symbolic insignia of the state, the establishment, in all of its many forms; we are, in one sense or another, reaffirming the authority of the state with every transaction. So far, so obvious, but I, for one, was unaware of the ways that money has been used to undermine the state, to deface its symbols, to ridicule its institutions, and to communicate illicit slogans of radical political views, transmitted as the monetary objects themselves are transferred from hand to hand. This onslaught on the material culture of money is the subject of a fascinating exhibition at the Fitzwilliam Museum in Cambridge, later to be shown at the Art Gallery of Ontario, Toronto, in the summer of 2023. As the museum’s information states, this is the first exhibition of its kind to examine “the interplay between money, power and dissent over the last 200 years,” with a key strand of the show exploring the role of the individual in protesting for rights and representation. It is not a new phenomenon. The practice of defacing coins for political reasons has a long history. In the Roman Empire, damnatio memoriae (condemnation of memory) was an officially sanctioned means of removing the portraits and named inscriptions of a deceased “bad” emperor from public display, including his image on coins.","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46632717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On the cover of my copy of The Blue Guide to Victorian Architecture, a book I try to carry with me, despite its bulk, whenever I am back in Britain, is a photograph of a full-size variant of the Doge’s Palace in Venice. Built using a combination of polychrome brick and vitreous enamel tiles with terracotta detailing, it is an extraordinary expression of the parallels that John Ruskin drew between the merchant princes of the Renaissance and the modern industrial magnates who drove the Victorian economy. This building was Templeton’s Carpet Factory, designed by William Leiper in 1889, and it still stands overlooking Glasgow Green, although the manufacture of floor coverings has long since moved elsewhere. James Templeton, the founder of the business, was himself a classic example of the Victorian entrepreneur. Born in 1802 in a remote farming community on the west coast of Scotland, he moved to Glasgow and then on to Liverpool to learn the drapery trade, before making a small fortune in Mexico, which enabled him to set up his own business in his homeland. After some initial success as a shawl manufacturer in Paisley, he spotted the potential of a new chenille processing technique that could be better applied to carpets. In essence, this involved weaving together tufts of colored wool and treating the material with heated rollers to produce a soft, “frizzy” surface, which could retain intricate, colorful patterns. The method was both cheaper than that of the handtufted Axminster carpets and more adaptable for producing complete seamless carpets to cover any floor area. Templeton initially used the process to
{"title":"UNDERFOOT: Elizabeth Price","authors":"Alexander Watt","doi":"10.1086/725997","DOIUrl":"https://doi.org/10.1086/725997","url":null,"abstract":"On the cover of my copy of The Blue Guide to Victorian Architecture, a book I try to carry with me, despite its bulk, whenever I am back in Britain, is a photograph of a full-size variant of the Doge’s Palace in Venice. Built using a combination of polychrome brick and vitreous enamel tiles with terracotta detailing, it is an extraordinary expression of the parallels that John Ruskin drew between the merchant princes of the Renaissance and the modern industrial magnates who drove the Victorian economy. This building was Templeton’s Carpet Factory, designed by William Leiper in 1889, and it still stands overlooking Glasgow Green, although the manufacture of floor coverings has long since moved elsewhere. James Templeton, the founder of the business, was himself a classic example of the Victorian entrepreneur. Born in 1802 in a remote farming community on the west coast of Scotland, he moved to Glasgow and then on to Liverpool to learn the drapery trade, before making a small fortune in Mexico, which enabled him to set up his own business in his homeland. After some initial success as a shawl manufacturer in Paisley, he spotted the potential of a new chenille processing technique that could be better applied to carpets. In essence, this involved weaving together tufts of colored wool and treating the material with heated rollers to produce a soft, “frizzy” surface, which could retain intricate, colorful patterns. The method was both cheaper than that of the handtufted Axminster carpets and more adaptable for producing complete seamless carpets to cover any floor area. Templeton initially used the process to","PeriodicalId":53917,"journal":{"name":"West 86th-A Journal of Decorative Arts Design History and Material Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42496124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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