Leseprobe

17 by the Prussian government, to be invested in purchases at the Paris World Exhibition. In addition, “an appeal was envisaged, addressed to the owners of products of the applied arts of all kinds, as well as to tradespeople, in the hope of procuring samples and explanations pertaining to fabrication processes which have only relatively minimal value to manufacturers, along with valuable objects, for a long-term loan exhibition” (Kunstchronik 1867, vols. 3/4, 30). During these early years, acquisition policy was aimed less at assembling outstanding works of art, and instead at bringing together the most diverse techniques, methods of workmanship, stylistic tendencies, materials, etc. The collected objects functioned as models; they served instruc­ tional purposes, or were made available to users who wished to make copies. Purchased at the Paris World Exhibition of 1867 along­ side handicrafts from around the world were the latest products of reputable firms. These included, for example, 20 mosaics and approximately 400 glass objects produced after Renaissance models by Antonio Salviati (1816–1890), whose firm was then enjoying a meteoric rise on the traditional glassmaking island of Murano near Venice (fig. 3). Chosen from the collection of the Parisian orfèvrerie Christofle was a mocha pot after a Persian model and a mocha service in the Chinese style. Included as well were objects from the Sèvres porcelain manufactory, which had just caused a sensation with its pâte-sur-pâte decoration technique. Acquired as well were examples of galvano­ plasty, objects copied from important works of goldsmith­ ing. These were purchased from the two arts and crafts museums already in operation, namely the South Kensing­ ton Museum in London and the Österreichisches Museum für Kunst und Industrie in Vienna. Acquired as well were leather cigar cases from East India, pipe bowls from Con­ stantinople, wooden spoons from Bosnia, Persian tiles, weavings from the Near East, and much more. All in all, acquisition policies at that time were conspicuously repre­ sentative of the era of Historicism, characterized by recourse to historical styles and exotic, imported accesso­ ries. It is also clear, however, that at least initially, the Herculean task of assembling the foundational inventory of a new museum meant prioritizing quantity over quality. In 1868, through an initiative of the Berlin collector Fedor Jagor (1816–1900), extensive remaining stocks from the Paris World Exhibition arrived in Berlin. These consisted primarily of traditional handcrafted objects from the Bal­ kans, Russia, East Asia, West Africa, Algeria, and India – and as far away as Haiti. A major collection of Japanese and Chinese art objects had been assembled by the counselor and diplomat Max von Brandt (1835–1920), who lived in Asia. The first objects from his holdings arrived in the museum as early as 1873, followed by extensive ensembles in 1879 and 1884. These included ceramics and porcelain, cloisonné and glass vases, lacquer work, and much more. Even in the early years after the foundation of the Kunstgewerbemuseum, efforts were made to acquire histori­ cal pieces. The Prussian royal house transferred numerous objects of uneven quality to the collection. Among the most important objects was maiolica from the estate of King Frederick William IV, acquired in 1874. Arriving in the museum in 1875 in conjunction with the distribution of works from the Königliche Kunstkammer was an especially Abb. | Fig. 3 Das Deutsche Gewerbe-Museum zu Berlin, Raum 1b im ehe­ maligen Diorama, Vitrinen mit Gläsern der Società Salviati e Compagni; Fotografie 1871 The Deutsches Gewerbe-Museum zu Berlin, gallery 1b in the former diorama, display cases with glasses by the Società Salviati e Compagni; photograph 1871