Collections: Decorative Arts

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Italian Design on Display

Barry R. Harwood on October 1, 2008

Newly on view on our 4th floor: Italian Post-World War II Design

The Brooklyn Museum has been at the forefront of collecting Italian twentieth century design since the mid 1950s. One pivotal event made consumers in the United States aware of the diversity and accomplishments of modern Italian design and initiated the collecting of this material at the Museum—the exhibition Italy at Work, which traveled to twelve venues between 1950 and 1954. The exhibition was initiated by the Art Institute of Chicago in partnership with two organizations devot­ed to the promulgation of Italian design, Handicraft Development Incorporated in the United States and its corresponding institution in Italy, CADMA. Italy at Work included hundreds of objects by more than 150 artisans and manufacturers and featured furniture, ceramics, glass, textiles, metalwork, jewelry, shoes, knit clothing, and industrial design. The exhibition opened at the Brooklyn Museum, and at its conclusion, when the objects were dispersed among the host institutions, the lion’s share, more than two hun­dred items, came to the Museum.

Carlo Mollino (Italian, 1905-1973). Table, circa 1949. Made by F. Apelli and L. Varesio, Turin. Laminated wood, glass, brass. Gift of the Italian Government, 54.64.321 a-c.

Some of the objects on view here have not been seen since 1954 when Italy at Work closed, such as the mosaic by Gino Severini and the table by Paolo di Poli. In addition, some of the more recently acquired works are having their debut Museum installation here as well, such as the chairs by Alberto Meda, Ettore Sottsass, Jr., and Joe Columbo.

Ettore Sottsass, Jr.  (Italian, b. Austria, 1917-2007). "Casablanca" Cabinet, designed 1981. Manufactured by Memphis. Milan. Wood, plastic laminate. Gift of Furniture of the 20th Century, 83.104.

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The Schenck Houses – their story through the Museum Library and Archives

Tara Cuthbert on December 18, 2007

Drawing by Daniel M. C. Hopping. From the book American interiors, 1675-1885: a guide to the American period rooms in the Brooklyn Museum by Marvin D. Schwartz.

Museum libraries and archives are rich storehouses of textual and visual information. This is very true of the Brooklyn Museum Libraries and Archives which function as the “story tellers” of the Museum by providing histories about objects in the collection of the Brooklyn Museum. Hidden within the Libraries and Archives are a myriad of stories concerning the Schenck houses, which were recently renovated and reinstalled on the fourth floor of the Museum.

Photograph by Reverend William Edward Schenck. From Account of my trips to Holmdel, N.J. & Flatlands, L.I. by William Edward Schenck.

One can find several fascinating books, photographs and other documents in the Libraries and Archives that tell about the Schenck family and the houses they lived in. Highlights include photographs from the Historic American Building Survey and an original journal by Jane Malbone Schenck who wrote about what her life was like in Brooklyn in the 1800’s. A selection of these documents are currently on view in the Library display cases on the second floor of the Museum.

These documents are of great interest to many, including architectural historians of Brooklyn who want to know what Brooklyn looked like when the Schenck houses were built more than 330 years ago. These documents tell us about the houses, the transfer of owners and families and the re-emerging of the architecture through refurbishments and significant structural transformations. The photographs tell us about the transformation of the surrounding landscape from sweeping meadows to a Brooklyn neighborhood. They also provide evidence of how the houses have looked as they have been installed at the Brooklyn Museum.

Jan Martense Schenck House reinstallation. Brooklyn Museum Archives. Records of the Department of Decorative Arts. Exhibitions: Schenck House reinstallation, 1971.

2008 is the 185th anniversary of the founding of this institution as a library (the Brooklyn Apprentice’s Library) and we are planning a series of talks about the history of the Library and the rare and unique collections held in this repository. We will be focusing on the materials related to the Schenck family in this upcoming series. Please email us at library@brooklynmuseum.org if you would like to know more about the talk or Schenck related materials in the Libraries and Archives.

For a complete history on the Schenck Houses, see Kevin Stayton’s book, Dutch by design : tradition and change in two historic Brooklyn houses : the Schenck houses at The Brooklyn Museum, available in the Museum Libraries. Additional installation images of the Schenck house can be found in our online exhibition index.

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Schenck Re-Installation 2007

Lisa Bruno on October 19, 2007

Slideshow created with Admarket's flickrSLiDR. Having trouble seeing the slideshow? Photos are also on Flickr.

These slides show the Jan Martense Schenck House as it is being installed in its new location on the 4th floor. In the first few slides, you see the side view of the Nicholas Schenck House, grandson of Jan Martense.

The first step was to lay out the floor boards on a new substructure The boards were originally white pine (Pinus Strobus).

The next step was to erect the posts and braces that form the structure of the walls. These were made from oak (Quercus).

The posts (vertical elements) and beams (horizontal elements) were joined with mortise and tenons that were pinned.

Rigging and scaffolding was used to lift and position the very heavy timbers.

After the wooden sub-structure was built, the interior walls and window frames were inserted.

The attic floor is held up by supports called H bends.

Because the ceiling in the new gallery is higher than its former gallery , a new roof substructure had to be built, matching the pitch of the original roof.

Because of the new height, new roof shingles needed to be added and painted to match the shingles from the 1960 installation.

After paint cross section analysis and on advise of the Curatorial Department, the house was painted red, including the trim as would have been the convention in the 17th c.

Lisa Bruno Objects Conservator

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