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The format is approximately 9 inches by 10 inches. 156, [2] pages. Decorative cover. Illustrations (prints, posters, illustrated books and photographs--some in color). Bibliography. Index. Cover has, tear at bottom of spine and some other wear and soiling. Introduction by Richard Guy Wilson. Sections on East Coast, Midwest, and West Coast. The exhibition Dates at the gallery were October 7 through November 18, 1989 and at the Struve Gallery, Chicago December 15, 1989-January 22, 1990. Hirschl & Adler Galleries was founded in 1952 by Norman S. Hirschl and Abraham M. Adler. In 1967 Stuart P. Feld joined the firm as a partner, and since 1982 has served as its President. Originally housed in the Marguery Hotel on Park Avenue, the gallery moved to a townhouse on East 67th Street in 1958, and in 1977 relocated to a handsome landmark townhouse at 21 East 70th Street. After occupying a space in the Crown Building from 2011 17, Hirschl & Adler moved to its new home in The Fuller Building at the world-renowned crossroads of Madison Avenue and 57th Street in February 2018, where the gallery continues to specialize in American and European paintings, watercolors, drawings, and sculpture from the eighteenth through the early twentieth centuries; American prints of all periods; and American decorative arts from 1810 to 1910. Its contemporary arm, Hirschl & Adler Modern, has developed a select group of established and emerging artists and also features American and European art from the Post-War period. Each year, the gallery assembles about a dozen special exhibitions exploring historical and contemporary themes, or examining the work of individual artists, past and present. Most of these exhibitions are accompanied by scholarly catalogues and other publications. The gallery provides a wide range of services to its client base of private collectors, museums, architects, interior designers, art consultants, and other dealers. Hirschl & Adler is always interested in purchasing or receiving on consignment for sale works of art in its broad range of specialties. The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles and subsequently spread across the British Empire and to the rest of Europe and America. Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. Some consider that it is the root of the Modern Style, a British expression of what later came to be called the Art Nouveau movement. Others consider that it is the incarnation of Art Nouveau in England. Others consider Art and Crafts to be in opposition to Art Nouveau. Arts and Crafts indeed criticized Art Nouveau for its use of industrial materials such as iron. And as for Art Nouveau artists, the Arts and Crafts utopia was intrinsically contradictory: "the paradoxical confinement of the Arts & Crafts movement in an artisanal practice was completely out of step with the evolution of the status of the artist-decorator, but also with the democratic will of an art 'for the people and by the people' proclaimed by William Morris". For example, while Henry van de Velde understood the social discourse of Arts and Crafts, he was not an unconditional disciple of the movement and ended up turning away from it, considering it as anachronistic and tinged with quixotism. In Japan, it emerged in the 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation. It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards. The term was first used by T. J. Cobden-Sanderson at a me.
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