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SELLING GOOD DESIGN: PROMOTING THE EARLY MODERN INTERIOR by Marilyn F. Friedman 2003 Hardcover First Edition in Publishers Shrinkwrap 143 pages with 127 black and white illustrations and 20 color plates Marilyn F. Friedman: SELLING GOOD DESIGN: PROMOTING THE EARLY MODERN INTERIOR. NYC: Rizzoli, 2003. First edition. Quarto. Red fabricoid titled in white. Photo illustrated dust jacket. 143 pp. 20 color plates. 127 black and white illustrations. Unread: still in Publishers shrinkwrap, so a fine copy in a fine dust jacket. 8.75 x 11.25 hardcover book with 143 pages and 127 b/w illustrations and 20 color plates. From the front inside flap: “Selling Good Design is an illustrated history of how prestigious and trend-setting New York department stores introduced modern design, especially Art Deco, to the press and public during the late 1920s. Macy’s, Lord & Taylor, Altman’s, Wanamaker’s, and other New York department stores teamed with designers such as Pierre Chareau, Francis Jourdain, Josef Hoffman, Gio Ponti, William Lescaze, and Paul Frankl to create exhibitions that featured modern home interiors.” Contents Introduction Ch. 1: Commerce and Culture Join Forces Ch. 2: The 1927 Macy’s Exposition of Art in Trade Ch. 3: Model Rooms at John Wanamaker and Macy’s Ch. 4: Exhibitions at Abraham & Straus and Frederick Loeser & Co. Ch. 5: Lord & Taylor Presents An Exposition of Modern French Decorative Art Ch. 6: The International Exposition of Art in Industry at R.H. Macy & Co., 1928 Ch. 7: B. Altman & Co. Presents An Exposition of 20th Century Taste Ch. 8: America Embraces Modern Design Chapter Notes Bibliography Index Designers include Paul Frankl, William Lescaze, Donald Deskey, Pierre Chareau, Francis Jourdain, Josef Hoffmann, Gio Ponti, Oscar B. Bach, Alexander Archipenko, Bauhaus, Wladyslaw Theodor Benda, Thomas Hart Benton, Jules Bouy, Edgar Brandt, Georges Braque, Marcel Breuer, Margaret Bruening, Ruth Campbell, Felice Casorati, Cheney Brothers, Vera Choukhaeff, Christofle, R. Guy Cowan, Daum Freres, Robert De Forest, Emil Francois Decorchemont, Sonia Delaunay, Wilhelm Hunt Diederich, Dominique, Helen Dryden, Maurice Dufrene, Raoul Dufy, Jean Dunand, Charles Buckles Falls, Simon Gate, C. Adolph Glassgold, Andre Groult, Edward Hald, Virginia Hamill, Raymond Hood, Leon-Albert Jallot, Rene Joubert, Ely Jacques Kahn, Kantack & Company, Ilonka Karasz, Henry Kent, Rene Lalique, Le Corbusier, Fernand Leger, Pierre Legrain, Repard Leirum, Jules Leleu, Jean Luce, Jean Lurcat, Robert Reid MacGuire, Robert Mallet-Stevens, Paul Manship, Andre Mare, Maurice Marinot, Henry McBride, Marion Clyde McCarroll, Modernique, Peter Muller-Munk, Nessen Studio, Orrefors, Bruno Paul, Charlotte Perriand, Philippe Petit, Henry Varnum Poor, Matlack Price, Primavera, Jean Puiforcat, Jacques Rapin, Helen Appleton Read, Winold Reiss, Richard Ginori, Charles Richards, House of Rodier, Gilbert Rohde, John Wellborn Root, Emile-Jacques Ruhlmann, Eliel Saarinen, Nellie Sanford, Steel Savage, Eugene Schoen, Dorothy Shaver, Lee Simonson, Walter Rendell Storey, Raymond Subes, Louis Sue, Sue et Mare, Joseph Urban, Ludwig Mies Van Der Rohe, Ralph T. Walker, Kem (Karl Emanuel Martin) Weber, Wiener Werkstatte aand others. Manufacturers include Bristol Co., Albert Grosfield, Süe et Mare, Stehli Silks, Karnack and Co., Abraham & Straus, Inc., House of Rodier, Christofle, Cowan Pottery, Reed & Barton, International Silver Co., Richard Ginori, Svenkst Tenn, and Steel Savage. “Selling Good Design: Promoting the Early Modern Interior is a story of the cooperation of commerce and culture that all began in New York City at R.H. Macy’s when the store mounted its 1927 «Exposition of Art in Trade» in collaboration with The Metropolitan Museum of Art. “That collaboration attracted the attention of other great Manhattan-based merchants who embarked on their own exhibitions and educational efforts. This, in a way, represented a zenith in American design as decorators and retailers banded together with museums to educate the public about the newest trend, Modernism. “Macy’s exposition stemmed from a series of lectures on period furniture that began at The Met in January 1914. The project was the brainchild of Donald Porteus, manager of Macy’s Bureau of Home Furnishings and Interior Decoration. The lecture series was so overwhelmingly popular that it expanded rapidly to include employees of all the other great stores in New York: Lord & Taylor, Bonwit Teller, Best & Co, B. Altman, John Wanamaker and Abraham & Straus. “Friedman takes the reader through the series of lectures and exhibits, following the course of the introduction and the ultimate acceptance of modern design in America. Using high quality vintage photographs from periodicals of the era, the Library of Congress, the National Museum of American History and the photographic archives of Macy’s and Lord & Taylor, she illustrates meticulously the progression of that acceptance. “Room settings and objects of aesthetic and historic interest from American and European designers are pictured in more than 120 photographs of room settings as grand as those designed by Jacques-Emile Ruhlmann. The reader is presented with the curious blend of the European (primarily French, but also German and Italian) and the homegrown that became American Art Deco and which was so popular with consumers. “Friedman illuminates the transition from the fustian of the late Victorian that had dominated the scene for such a long while to the new, which was sleek, sharp, colorful and jazzy. She also points out the most distinguishing elements of the modern: the well-proportioned furniture was comfortable, cabinet storage was practical and lighting was efficient. These all had great appeal to apartment dwellers, a rapidly growing sector of urban populations.” — excerpted from Selling Good Design: Promoting the Early Modern Interior, Frances McQueeney-Jones Mascolo, Antiques and the Arts Weekly, June 11, 2004. “An antiques dealer in Seagrove, N.C., once laughed when I asked him whether he had any early 20th century Seagrove pottery. «The best is all up there in those fancy apartment buildings in New York City,» he said. Tiffany’s, Macy’s, Lord & Taylor’s, B. Altman’s and many other department stores had routinely sent buyers into the South looking for the finest local art to ship back to New York. The dealer was intensely aware of a marketing saga long forgotten by New Yorkers — at least until the publication of Marilyn Friedman’s splendid book on «Selling Good Design.» The department store barons were savvy merchandisers who knew that if they were going to keep selling goods, they had to wean their customers away from their old tastes — and substitute demand for an entirely new look. This they did brilliantly, beginning in 1927, by putting on extraordinary, lavish exhibitions of modernistic furnishings and interior design complete with mock living rooms, boudoirs and kitchens. Friedman says the story of the exhibitions ultimately demonstrates the power of the cooperation between commerce and culture. As New Yorkers walk by the old B. Altman’s, now a public university campus, or watch Bloomberg’s international headquarters rise on the site of defunct Alexander’s, they might ponder the days when department stores ruled the retail world — and made themselves, their suppliers and their city rich. —excerpted from «Through Macy’s Window,» Julia Vitullo-Martin, New York Post, March 14, 2004. “With excellent period photographs, impeccable prose, and careful scholarship, decorative arts historian Friedman relates the story of the central role of the 1920s department store in shaping public consciousness of design. Equally significant was the role played by New York’s Metropolitan Museum of Art, well before the Department of Architecture and Design at the Museum of Modern Art existed. All the more remarkable for the reader is the recognition that these highly original interiors were coeval with the far more ubiquitous revival styles in architecture and design (Georgian, Tudor, etc.). Friedman clearly illustrates how important an integration of the fine arts, applied arts, and architecture can be. Given that most of the illustrations, by virtue of their archival origins, are black and white, the author’s excellent verbal descriptions are all the more important.”— excerpted from Paul Glassman, Library Journal, March 15, 2004 Please visit my Ebay store for an excellent and ever-changing selection of rare and out-of-print design books and periodicals covering all aspects of 20th-century visual culture. I offer shipping discounts for multiple purchases. Please contact me for details. Payment due within 3 days of purchase.
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