Friday, 20 February 2015

Seven Days of Creation

MoDA’s new Collections Manager, Sam Smith, discusses his first month in post and a selection of designs by Arthur Silver for a gesso panel entitled ‘Days of Creation’.

Getting to grips with new policies and procedures, dealing with data-backlogs and tying up historic loose ends has proved to be a great way of exploring the collections at the Museum of Domestic Design and Architecture (MoDA) at Middlesex University.

Of the items I've been working with, some of the most interesting are designs relating to a gesso chimney panel that was influenced by William Blake and Japanese art.

One of the preparatory sketches for the gesso panel, Silver Studio design
SD3374 Museum of Design and Domestic Architecture

The panel, which was designed by Harry Silver and executed by Harry Napper, was exhibited at the Arts and Society exhibition at the New Gallery, London in 1893. For the exhibition, Silver described the panel as:
"of Hungarian ash which possesses a weird grain and is stained green. The work is in Gesso and the subject is a decorative suggestion of the 7 days symbolised by seven discs on a winged spiral implying infinite progression…the order of the discs which commence at the right hand bottom corner and proceed in a spiral progression to centre is thus - 1st Light. 2. Division of Waters. 3. Dry Land & vegetation. 4. Sun. Moon. Stars. 5. Fowls & Fish (animal kingdom). 6. Man 7. Rest."
The design reflects Silver's interest in the work of William Blake, Burne-Jones and Baroque Art, with his draughtsmanship anticipating the Continental Art Nouveau of the late 1890s.


A reproduction of the gesso panel that appeared in the Builder magazine in 1893. MoDA holds unbound editions of the Builder spanning the period 1912 to 1956. The Builder was a weekly publication containing a mine of information on domestic and foreign building developments from the perspective of the architect, engineer, constructor and art historian.

There are 19 preparatory sketches for the design of the panel at the museum, all at various stages of completion. The sketches are in pencil and charcoal, and some – those which are on copy paper – are extremely fragile. They are currently being catalogued in readiness for conservation students from Camberwell College of Arts, who will produce a report on them as part of their coursework.

There is also a design for the panel held in the collections at the Victoria and Albert Museum.

Photograph of the gesso panel, now in a private collection, taken in 2012

As well as the designs, MoDA holds a photograph showing the panel in situ at the Silver family home at 84 Brook Green, Hammersmith, London in 1900. The photograph shows the panel as part of the fireplace, and is one of several in the museum’s possession which help to provide a social and design context to the Silver Studio Collection that is housed at the museum.

The gesso panel in situ in the Silver’s drawing room. Photograph BADDA 4602.1 Museum of Domestic Design and Architecture

The photographs show that Silver, like many of his contemporaries, was strongly influenced by Japanese art. As well as his collection of Japanese prints, which are displayed along the top of each wall, the photographs of the Silvers' drawing room show a Japanese-inspired cane chair and a vase of chrysanthemums positioned on top of a piano.

As well as illuminating the design process, the sketches for the gesso panel also impart something of the significance of the collection – both in terms of the uniqueness of its constituent parts, but also how comprehensive and interrelated the collection is when examined as a whole.

Part of my role as Collection’s Manager is adding value to the collection by making those connections, documenting how the collections are used  for example by the students at Camberwell College of Arts  and eventually helping to build up a community of interest and specialist knowledge around them.

I am looking forward to getting to know the collections better and making many more such discoveries in the stores!

Friday, 13 February 2015

"A Second Look" at the Hasler Gallery, North Finchley

MoDA's Head of Collections, Zoe Hendon, looks forward to the private view of "A Second Look" at the Hasler Gallery this evening.  The exhibition continues until 28th February.

Designers Leigh Cameron and Yemi Awosile used colour charts and examples of printed paper as the starting point for their work at the Hasler Gallery.  Their brief was to develop a piece or body of work inspired by the Silver Studio and Hasler collections, both of which are housed at the Museum of Domestic Design & Architecture (MoDA), Middlesex University.

Leigh Cameron’s work explores concrete, & the idea of challenging our perceptions of this ancient material. His work straddles the artistic, industrial & commercial, through a variety of different scales & forms from public art & furniture to smaller, more domestic pieces including jewellery.

















Yemi Awosile presents “The Packaging Series” a new range of textiles accessories designed to celebrate print and process in everyday materials. It is inspired by paper-based ephemera collected by graphic designer Charles Hasler during the 1960s. This new body of work plays of the juxtaposition of form and function and the interactive nature of packaging.




On first appearance, the sources they used as inspiration - colour charts and examples of printed paper - seem like quite a mundane choice, the kind of everyday design which is often overlooked or thrown away. But it was in this area that Charles Hasler sought inspiration.   He was an avid collector of everyday objects, some of which he incorporated and transposed into his own work as a graphic designer. Leigh and Yemi follow his path, showing that taking a second look at seemingly insignificant things can take you on a productive and at times unexpected journey.   Their process of exploration contains a kind of alchemy, making the familiar no longer feel familiar.

This commission is a collaborative project initiated by the North Finchley Town Team in a joint venture with the Museum of Domestic Design and Architecture (MoDA), part of Middlesex University; funded by the Mayor’s Office Outer London Fund and the London Borough of Barnet.



 


The Hasler Gallery has been established to support creative practice in Barnet through the exhibition of work made by individuals and institutions based in the area. It is part of a wider regeneration programme, “Ten Grand Arcade,” which has seen the North Finchley Town Team take over 3 units in the local 1930’s Grand Arcade. In the process the Town Team has worked with the London Borough of Barnet to restore the building to its former glory, making it easier to identify its rich historical character; the original tiling and art deco shop shops are a few of its charms. By placing the arts within the wider regeneration project for North Finchley, the NFTT hopes to support and build on the growing creative industries sector within the Borough.

Project Partners
The programme and gallery is funded through the Mayors Office Outer London Fund and the generous support of the London Borough of Barnet. The North Finchley Town Team comprises a group of interested and active local practitioners, business owners and residents seeking to make a positive impact on their local community (www.mynorthfinchley.co.uk).  


Gallery Opening times:
Friday 12-5pm
Saturday 12-5pm
Or by appointment: hasler@mynorthfinchley.co.uk

Address: The Hasler Gallery, Grand Arcade, North Finchley, N12 0EH


Friday, 6 February 2015

Paris is Always a Good Idea: Parisian Chic at MoDA

MoDA's Curator, Sim Panaser, is transported to the couture houses of 1920s Paris...

This week in the Museum of Design and Architecture collections store I came across the most luxurious fashion magazines I had ever seen.  I was searching for something else entirely but these three magazines dating from the mid 1920s stopped me in my tracks and I thought they needed sharing! 

Front Covers of Art, Goût, Beauté, BADDA 4297-4298 Museum of Domestic Design and Architecture 

Art, Goût, Beauté (Art, Good Taste and Beauty) is was published from 1920-1933 in Paris. It was circulated in over 35 countries and published in French, Spanish and English. Its spectacular hand-coloured illustrations together with its detailed commentary on fashions by Parisian couture designers including Paul Poiret, Jeanne Lanvin and Jean Patou, ensured its readers were kept up to date with the must-have styles from the fashion capital of the world.  As the catalogue for the 1925 Paris Exhibition stated, ‘there is not a woman who does not dream of being dressed in Paris’.

The magazine was not only an advertisement for French couture, it was founded by the French textile manufacturers Albert Godde Bedin et Cie and provided worldwide publicity for the company.  Art, Goût, Beauté regularly featured couture dresses made using Albert Godde Bedin et Cie fabrics, this aligned the company with high fashion and the Paris elite giving it a commercial advantage over other textile manufacturers.  

Dresses for Dancing, Art, Goût, BeautéBADDA 4298, Museum of Domestic Design and Architecture 

The Art Deco illustrations found inside the Art, Goût, Beauté are superb and are what the magazine is best known for.  Although the magazine is litho printed the illustrations are hand-coloured using a technique known as pochoir, which is a stencil-based technique used to apply colour to pre-existing prints. Little is known about the individual illustrators who sometimes signed their colour plates in Art, Goût, Beauté.

The illustrations focus on the details of the clothing and use stylised models to ensure the focus remains on the dresses.  Although the pochoir technique gives clean and flat areas of colour, in the illustration above the movement of the dress is captured by using two tones of the same colour. 



  
                                    Art, Goût, Beauté, BADDA 4299, Museum of Domestic Design and Architecture 
'At first sight, the summer creations look very much like those of winter.  The difference is in the cut, biases, panels, flounces and pleats'. 

Designer Jean Patou favoured angular and straight cuts in the early 1930s, seen here in the illustration on the left.  He designed understated clothing that was worn by youthful socialites.  In contrast Paul Poiret's design, show here on the right reflect historical influences with its pagoda sleeves. Poiret like many artists of the period was fascinated by the lure of the 'Orient'. 

There are so many fabulous illustrations in Art, Goût, Beauté  it was difficult to select which ones to post.  Below is a selection of my favourite images.  I highly recommend coming to the Museum of Design and Architecture to see these for yourself.  You can view our collections by making an appointment.  Appointments are open to all and available Monday to Friday.  As well as magazines and ephemera we have extensive collections of wallpapers, textiles and designs. Please contact us to book an appointment or if you would like further information.     

We also have over 20 dress fabric sample books from the Parisian textile company J Claude Freres et Cie dating from the 1950s should you wish to linger in Paris a little longer too!  


   
Art, Goût, Beauté, BADDA 4297, Museum of Domestic Design and Architecture 

Wednesday, 21 January 2015

Job Vacancy at Museum of Domestic Design and Architecture

Are you a bright and enthusiastic Museum Studies graduate looking to gain experience to kick-start your career? 

We are looking for a  Collections Assistant to support colleagues in the day to day running of the Museum of Domestic Design and Architecture, Middlesex University.  The role will include a mixture of administrative and collections-related tasks, and is intended as a training role which would suit someone interested in pursuing a career in museums.

You will be enthusiastic about helping to maintain museum records in support of all areas of museum activity.  You might get involved with the preparation of e-newsletters and maintenance of the mailing list; you might also be helping with routine tasks such as object inventory checking and data entry.  A willingness to adopt new digital tools to ensure a high quality service to MoDA’s users would be an advantage, as would an awareness of social media. 

You will need a degree or equivalent in a relevant discipline,  and an interest in the subject areas covered by MoDA’s collections (history, design history, nineteenth and twentieth century decorative arts and design; see www.moda.mdx.ac.uk ).  A postgraduate qualification in Museum Studies or equivalent is desirable and some experience of working in a museum in either a paid or voluntary role is essential. 

This is a temporary post (maximum six months) which will not be renewed or lead to a further role. For more information about the museum in general please see the website (www.moda.mdx.ac.uk) and elsewhere on this blog.  More specific information relevant to this post can be found on the ‘Useful Documents’ page of the website: http://www.moda.mdx.ac.uk/useful-documents

Post title: LIB662 Collections Assistant
Salary:     £19,229 per annum including London Weighting
Period:     Full time, temporary (max 6 months)

Closing date:      4th February 2015
Proposed date for interviews:   19th February 2015

If you wish to apply for this post please complete an application form found at the bottom of the vacancy page of the Middlesex University website: 

Friday, 16 January 2015

Knitwear in Fashion: From Pringle to Pingouin

MoDA's Curator, Sim Panaser, finds woolly delight at the Fashion and Textiles Museum


I have not yet successfully learnt to knit, but I come from a long line of knitting afficionados and therefore have amassed a large collection of woolly garments that I hold dear.  So I was especially excited to see an exhibition of purl love, Knitwear: Chanel to Westwood at the Fashion and Textiles Museum last weekend.  The exhibition features an eclectic array of knitwear from the Victorian era to present day from the private collection of Mark and Cleo Butterfield, who are avid and important collectors of antique and vintage clothing and accessories. 

Knitwear: Chanel to Westwood, Fashion and Textiles Museum



IMG_7809
                                           Knitwear: Chanel to Westwood, Fashion and Textiles Museum

The Butterfields' love for knitting began in the 1960s with a jumper knitted by Cleo as a teenager from a 1940s pattern.  Their passion for anonymous hand knits together with machine knits and jerseys of Chanel to experimental high fashion is what make the exhibition so fantastic.  You can see recycled yarn "make do and mend" jumpers, an array of fair isle sweaters (which I particularly coveted) alongside Comme des Garçons and Vivienne Westwood designs.  

Here at the Museum of Domestic Design and Architecture (MoDA) we have a collection of knitting patterns, magazines and advertising dating from the 1940s to 1980s. I have chosen a selection below that mirror the themes of the Knitwear: Chanel to Westwood exhibition from elegance of the twinset to 1980s excess.  

Below is a 1940s catalogue from the London department store Marshall and Snelgrove featuring their Spring collection of knitwear. 
  

Fully fashioned lambswool and cashmere
Badda73, Museum of Domestic Design and Architecture 

The glamorous jewel coloured cocktail sweaters with defined waists and decorative necklines that feature on the right hand side of the page became popular in the late 1940s. They were worn with a pencil skirt or full skirt for a contemporary evening look.   




               

 Glamour from Italy and be suited for the Spring
Badda73, Museum of Domestic Design and Architecture 



In the 1980s classic yarns discovered fashion in the influential French Pingouin knitting magazine (see below).  During the 1980s Pingouin invited fashion designers including Jean Paul Gaultier and Thierry Mugler to contribute patterns for the magazine, positioning knitwear as high fashion.  The magazine's editorial-style photography aligned it closely with high fashion magazines and showed how knitwear could be glamourous. Who wouldn't want to sip a martini in a luxe grey marl knit like the ones below? 


Pingouin Magazine, 1985
Badda4820 and Badda4824, Museum of Domestic Design and Architecture


If you would like to see more of MoDA’s collection relating to knitting and knitwear please get in touch

In the meantime make sure you go and see  Knitwear: Chanel to Westwood at the Fashion and Textiles Museum. You can only see the exhibition for the next few days as it closes this Sunday 18th of January. Get down there quick! 













Friday, 9 January 2015

Off the Shelf

Happy New Year! 

MoDA's Curator, Sim Panaser, takes a close look at one of the furniture catalogues in the Museum's collections.

Each month in Off the Shelf, I will be taking a closer look at book or catalogue in MoDA's collection.  To kick start January in style and help banish the excesses of the festive season, here is a 1962 furniture catalogue by Finmar, in which the graphic design mirrors clean lines, organic forms and a minimalist look indicative of the Scandinavian design that Finmar imported into Britain. 

1962 Finmar furniture catalogue cover featuring Arne Jacobsen Egg Chair

Finmar, a wholesaler and major importer of Scandinavian furniture to the UK was founded in 1934 by design reformer Philip Morton Shand.  Finmar introduced Alvar Aalto’s bent plywood furniture to pre-war British middles class homes.  Its popularity continued post-war albeit under the new ownership in 1949, with Dane Paul Ernst Stemann at its helm.  By 1954 Finmar was selling furniture to Heals and Liberty, had opened a large showroom on Kingly Street, London and was importing over 100 ranges of furniture from Scandinavia to Britain by designers included Fritz Hansen, Arne Jacobsen and Hans Wegner.   


Finmar employed the graphic designer Richard Hollis (b.1934) to design their 1962 furniture catalogue.  By 1962 Hollis was gaining a reputation as an eminent designer and he followed in Finmar's tradition of working with cutting-edge graphic designers.  Prior to Hollis, Finmar employed Hans Schleger (1898-1976), an eminent graphic designer who pioneered the idea of a corporate identity and worked with clients including Shell and London Transport.  The front cover of this catalogue features Schleger's Finmar font and tree logo.   

The catalogue is aimed at an audience of architects and buyers and is divided into sections by coloured paper.  Each divider features a strong graphic image of Finmar furniture and in the examples below; components of Finmar furniture appear as abstracts works of art.      

 
                                                          1962 Finmar furniture catalogue 

Less abstract images particularly of chairs are featured too. In the examples below the images of the furniture appear flattened emphasising the curvilinear silhouette of the chairs. Each divider of this catalogue is delivered with an arresting image designed to make the viewer stop and pause before moving into the next section.   

                                                           1962 Finmar furniture catalogue 

Hollis has also carefully considered the listing of the furniture itself. On the page below the chairs are shown at different angles and sizes, their positioning on the page gradually draws the viewer's eye down towards the bottom of the page.  The large amount of clear space gives the catalogue a lightness. Hollis' fantastic graphic design mirrors Scandinavian design perfectly. 

                                                                            1962 Finmar furniture catalogue 

Finmar flourished during the post-war period with the growing general public interest in Scandinavian design and as Scandinavian design was championed by design reformers. However its success was short-lived and the firm went into receivership in 1964.  The fantastic film Living Finmar, charts the rise and fall of the company and features interviews with those involved.  A trailer for the film can be seen below.



Living Finmar. Documentary Trailer from Dan Fontanelli on Vimeo.




Friday, 19 December 2014

Hasler Happy Christmas

Have you sent your Christmas cards?  I must admit I haven't and it appears I am not alone, with a recent article in the The Guardian asking if, 2014 is the year that the Christmas card died.  Below are a selection of fantastic Christmas cards from MoDA's collections that will inspire you to keep the tradition alive.

One of the things I enjoy most about working with MoDA collections is seeing everyday objects that are often overlooked afresh.  
This was the case when I opened a small and unassuming box of Christmas and New Year cards that were sent to the graphic designer Charles Hasler (1908-1992) during the 1950s. I was struck by the graphic design of each card, the carefully considered illustrations, typography and colourways, all designed to delight, entertain and surprise - truly capturing the spirit of the festive season.  Kept by Hasler for over thirty years these cards must have had a similar effect on him too. 

The next thing I noticed were the people who had sent the cards and who in some cases had designed them too.  These individuals were key figures in post-war design, a roll call of eminent designers and taste-makers of the day.  Not only reflecting Hasler's connection to them but positioning him among them.  Hasler worked as graphic designer for central government departments between 1942 and 1951, including the Ministry of Information and Festival of Britain, for which he was the Chairman of the Typography Panel.  He then went on to be a freelance designer and typographer and his impressive client list included British Rail and Architectural Review.  

        
Don't over-reach yourself during 1956  

I think this card may have been sent to Hasler from the designers Ronald Sandiford and Clifford Hatts, both of whom worked on the Festival of Britain displays.  Note the different names on this card, Ronald Sandidown instead of Sandiford and Clifford Upsiffats instead of Clifford Hatts.  The replacement suffix and prefix to their surnames create the word 'upsidown', mirroring the design of the card itself and perhaps an indication of the perils of over-reaching yourself.  


Greetings from Mr and Mrs Fishenden, 1954

R.B. Fishenden (1880-1956) was the eminent print consultant and editor of the Penrose Annual, a London based review of the graphic arts.  Hasler designed the 1957 volume of the annual which can be viewed here at MoDA.  More cards sent by Fishenden featuring fishy motifs can be seen in the Guildford School of Art archive at the UCA. Further information about the archive and both Mr and Mrs Fishenden can be found here.



     
Hoping you will be as well stuffed this Christmas, 1953

This Christmas card features a photograph of architect-designer and founder of the Design Research Unit, Misha Black (1910-1977).  Hasler worked with Black on the Ministry of Information's Greater London Plan exhibition in 1944 as well as the 1951 Festival of Britain. 
The portrait of Black, together with the message inside reflects Black's sense of humour and the hot pink interior adds to the irreverence.  



Wishing you a Merry Christmas and a Happy New Year, 1954


This wonderful card in which the year 1954 literally disappears before your eyes was sent to Hasler by the Henrions.  Frederick Henri Kay Henrion (1914-1990) was an emigre graphic designer who worked for the Ministry of Information in 1942 and produced some of its most well known work including the 'Dig for Victory' poster.  Henrion's archive is located at the University of Brighton and contains references to Hasler indicating their connection.

If you would like to view any items from the Charles Hasler collection please contact us to make an appointment.   In the meantime wishing you a Merry Christmas and a Happy New Year.  See you in 2015.