Przedmioty metalowe w stylu zakopiańskim Marcina Jarry

Abstrakt: W lutym 1887 r. mosiężnicy Marcin Jarra i Marceli Jakubowski otworzyli w Krakowie pod własnymi nazwiskami filię znanej warszawskiej wytwórni wyrobów platerowych Norblin, Bracia Buch i T. Werner. Firma wprowadziła na rynek galicyjski przedmioty wykonane z posrebrzanego metalu, naśladujące wyroby srebrne (galanterię stołową, przedmioty do sprawowania kultu, naczynia toaletowe). W 1900 r. wspólnicy wyróżnieni zostali za platerowane przedmioty m.in. na Wystawie Światowej w Paryżu. Niestety, w tym też roku rozwiązali spółkę i każdy z nich kontynuował własną produkcję. Firma nad nazwą M. Jarry istniała zapewne do 1927 r. Przedmioty w stylu zakopiańskim produkowane były w latach 1900–1917 (?). Dekoracje do tych przedmiotów powstały wg rysunków St. Witkiewicza i Wł. Matlakowskiego. Oferta w stylu zakopiańskim jest znana dzięki jedynemu zachowanemu katalogowi z ponad 50 wzorami. Egzemplarze w stylu zakopiańskim należą do rzadkich i to zarówno w zabiorach muzealnych, jak i kolekcjach prywatnych. Summary: Famous braziers, Marcin Jarra and Marcel Jakubowski, opened under their own names the first Cracow branch of Norblin, Bracia Buch i T. Werner, a famous Warsaw plate factory. Established in February 1887, the company introduced items crafted from silvered metal that imitated silverware (such as crockery, items of religious value, or toilette accessories) onto the Galician market. In 1900, both associates were distinguished for their wares on the World’s Fair in Paris. Alas, in the same year they disbanded their company; each of them continued their own production. The M. Jarra company continued to operate till 1927. Their line of products characterized by the Zakopane style was manufactured in years 1900–1917. Decorations to said products were based on the drawings of St. Witkiewicz and Wl. Matlakowski. This offer is known thanks to the one preserved catalogue featuring around 50 patterns. Zakopane styled items are rare both in private and museum collections. Tłumaczenie: Jakub Młynarczyk

Pleistocene Park, and other designs on deep time in the Interwar United States

Precisely how to reconstruct the planetary past is not predetermined. This article compares three contemporary plans, dreamed up in the United States during the Interwar and Depression years, that deploy diverse techniques to evoke extinct environments. Building on Martin Rudwick's historicization of ‘scenes from deep time’, this article develops the concept of designs on deep time to explain how public displays of the planetary past circulate anything-but-neutral ideas about past and present to awed audiences. By detailing three contemporary designs on deep time—Pleistocene Park at the La Brea Tar Pits, a sensational World's Fair exhibit called ‘The World a Million Years Ago’, and a dinosaur park where living fossils and ancient plants approximated a Mesozoic atmosphere—this article captures diverse philosophies about how to construct persuasive encounters with the prehistoric past. It also demonstrates how, despite disparate approaches, these designers of deep time displays all used the planetary past to legitimate present regimes and foster faith in human progress. During the 1920s and 1930s, when the wounds of war, changing demographics, and economic depression collaborated to dispute a prevailing myth of American progress, deep time by design buoyed faith in a better future.

The Empire Club Strikes Back

A key flaw in the standard, culturalist interpretation is that prohibitionism was a “whitelash” of conservative, rural, nativists “disciplining” of immigrants and blacks. The reality of 1840s New York was completely different: not only were Irish immigrants more likely to be temperate than their nativist, American counterparts (Chapter 5), but the focus of temperance activism—the money-making liquor traffic—was actually in the hands of established white nativists like “Captain” Isaiah Rynders, “Boss” Tweed, and the corrupt Tammany Hall machine. In upstate New York, temperance-abolitionist-suffragist reformers--including Frederick Douglass, Elizabeth Cady Stanton, Amelia Bloomer, and Susan B. Anthony--began a movement for women’s equality born of their temperance activism. Concurrent with the 1853 World’s Fair in New York, Rynders and his Know-Nothings clashed, physically, with the equal-rights reformers from upstate, whose temperance threatened the financial foundations of the Tammany Hall political machine.

Representatives of the sugar industry of the Russian Empire at the World's Fair in Paris in 1900

Nineteenth-century world exhibitions were platforms to demonstrate technical and technological changes that witnessed the modernization and industrialization of the world. World exhibitions have contributed to the promotion of new inventions and the popularization of already known, as well as the emergence of art objects of world importance. One of the most important world events at the turn of the century was the 1900 World's Fair in Paris. Participation in the World's Fair was not the first experience of this kind of activity for sugar growers in the Russian Empire. Most of them were members of the Kyiv branch of the Russian Technical Society, which in turn took the most active part in the work of blighty and international industrial exhibitions, receiving high awards. The main sugar enterprises were concentrated on the territory of modern Ukraine in the possession of several large companies owned by Tereshchenko, Kharitonenko, Khanenko, Brodskyi, Simirenko, Yakhnenko and others. The Russian sugar industry occupied a prominent place at the World's Fair in Paris in 1900, as its share in world sugar production was 17%, and the area of beet crops, it was ahead of all other countries (in 1900 sugar beets were sown 548,796 hectares). The exposition testified to this powerful development of the industry. At the World's Fair in 1900, Russia's sugar industry was housed in the Palace of Agriculture and was represented in the pavilions by well-known sugar firms, such as the Department of Land (Timashiv Beet Sugar and Refinery), I. H. Kharitonenko and his son; brothers Lazar and Lev Izrailevich Brodskyi; O. N. Tereshchenko, heirs of F. A. Tereshchenko; the Tereshchenko brothers, the Botkin brothers (Novo-Tavolzhanskyi sugar factory); joint-stock companies of sugar and refineries: “Constance”, “Germanov”, “Gmina Lyshowiche”; E. A. Balasheva (Mariinskyi Sugar Plant of Kyiv Province), H. H. Balakhovski (Mariinskyi beet-sugar and refineries of the Kursk province). A characteristic feature of the sugar industry was that they mainly represented family businesses based on strong family ties, ethno-cultural and religious values. In addition, they intertwined the functions of owners and managers. Thus, the author tries to analyze the participation of representatives of the sugar industry in the World's Fair in 1900 and define the role of exhibitions as indicators of economic development, to show the importance and influence of private entrepreneurs, especially from Ukraine, on the sugar industry and international contacts.

Diplomat

Chapter 2 explores how W. B. Yeats’s 1903–4 US lecture tour placed the poet in the role of diplomat. It demonstrates how this position required Yeats to engage in a kind of racial performance directed toward markedly political ends. In taking on this diplomatic function, Yeats was tasked with mediating the tensions of a changing imperial landscape. He became a representative for a country with a long history of anti-colonialism at the same time that America was awakening to its own imperial future. With these tensions in mind, this chapter attends to Yeats’s efforts to bring Ireland and America into productive contact with one another. In particular, it examines his early lectures at US colleges and universities, where he sought to establish an emotional connection with his audiences by channeling the voice of ancient Irish bards. It also shows how this was a project that sometimes backfired on the poet, as these bardic displays made it easy for Americans to exoticize Yeats when he moved into larger cultural arenas like Carnegie Hall and the St Louis World’s Fair. Yet, in the end, Yeats’s emotional diplomacy did prove highly successful when it came to connecting him with Irish American political groups, which suggests that the US lecture tour was instrumental in teaching the poet how to speak to his own countrymen.