Design

How things were made to look, movement by movement. Morris and the reform of the decorative arts, Art Nouveau and the Vienna Secession, the Russian constructivists and De Stijl, the Bauhaus at Weimar and Dessau and the diaspora that carried it to Chicago and Ulm. Art Deco and streamlining, mid-century furniture and Scandinavian wood, Braun under Dieter Rams and Olivetti under Sottsass, the Swiss grid and the typefaces built on it, corporate identity manuals, Memphis and the Italian radicals, brutalism and the arguments it still provokes, then the Macintosh and the screen. Alongside them the movements the canon leaves out: Mingei folk craft and Metabolism in Japan, Brasilia and Lina Bo Bardi, Tropical Modernism across Ghana and Nigeria, VKhUTEMAS and the Polish poster school. Designers are named as the sources name them, and where authorship is disputed the archive says so.

A chronological documentary of 1,313 moments spanning 715–2026 on Loreline.

Curated by Olivier · last updated 2026-09-20

1. 0715 - Damasco, Omeyas (2001). Detail of a marble decoration; Umayyad Mosque. Damascus, Syria.
2. 0859 - al-Qarawiyyin, Fez, courtyard. al-Qarawiyyin, Fez, designed by Fatima al-Fihri, founder, 859.
3. 1121 - Jameh Mosque of Isfahan. 1121. Wall detail at Jameh Mosque. Isfahan, Iran.
4. 1121 - Jameh Mosque of Isfahan. 1121. Decorative element of Jameh Mosque. Isfahan, Iran.
5. 1121 - Jameh Mosque of Isfahan. 1121. Decorative element of Jameh Mosque. Isfahan, Iran. Recorded as a detail view.
6. 1121 - Jameh Mosque of Isfahan. 1121. Decorative element of Jameh Mosque. Isfahan, Iran. Photographed in 2000.
7. 1121 - Jameh Mosque of Isfahan. 1121.
8. 1199 - Delhi, Qutb Minar (2002). Jali at Qutb Minar complex. Mehrauli, Delhi, India.
9. 1324 - Jameh Mosque of Yazd, entrance. Jameh Mosque of Yazd, designed by Sayyid Rukn al-Din, 1324. Decorations of Masjed-e Jomeh, Yazd.
10. 1324 - Jameh Mosque of Yazd, entrance. Jameh Mosque of Yazd, designed by Sayyid Rukn al-Din, 1324. 2017 in Iran (photographed by Wojciech Kocot).
11. 1324 - Jameh Mosque of Yazd, entrance. Jameh Mosque of Yazd, designed by Sayyid Rukn al-Din, 1324. 2017 in Iran (photographed by Wojciech Kocot). Recorded as an entrance view.
12. 1324 - Jameh Mosque of Yazd, courtyard. Jameh Mosque of Yazd, designed by Sayyid Rukn al-Din, 1324. 2017 in Iran (photographed by Wojciech Kocot). Recorded as a courtyard view.
13. 1347 - Mosque of Aqsunqur, Cairo. 1347.
14. 1400 - Shah-i-Zinda necropolis, Samarkand. 1400.
15. 1400 - Shah-i-Zinda necropolis, Samarkand. 1400. Interior decor of Shah-i-Zinda, Samarkand. Three examples of decorative arts used in Islamic architecture under two arches and a squinch : left, banna'i (patterned brickwork); middle.
16. 1404 - Bibi-Khanym Mosque, Samarkand, facade. Bibi-Khanym Mosque, Samarkand, designed by Timur, 1404.
17. 1420 - Mosque of Sultan al-Muayyad, Cairo, interior. Mosque of Sultan al-Muayyad, Cairo, designed by Sultan al-Muayyad Shaykh, 1420.
18. 1420 - Mosque of Sultan al-Muayyad, Cairo, interior. Mosque of Sultan al-Muayyad, Cairo, designed by Sultan al-Muayyad Shaykh, 1420. Recorded as an interior view.
19. 1536 - Bujará, Po-i-Kalyan. Ornamentation of the main entrance; Mir-i-Arab madrasa; Po-i-Kalyan ensemble. Bukhara, Uzbekistan.
20. 1571 - FatehpurSikriHaramSara20080212-8. Haram Sara in Fatehpur Sikri. Detail.
21. 1571 - Mihrab at Jama Masjid, Fatehpur Sikri. Jama Masjid in Fatehpur Sikri.
22. 1628 - Tomb of Itimad-ud-Daulah, Agra. 1628.
23. 1628 - Tomb of Itimad-ud-Daulah, Agra. 1628. This is a photo of ASI monument number.
24. 1628 - Tomb of Itimad-ud-Daulah, Agra. 1628. This is a photo of ASI monument number. Recorded as a detail view.
25. 1636 - Sher-Dor Madrasa, Registan, Samarkand, exterior. Sher-Dor Madrasa, Registan, Samarkand, designed by Yalangtush Bahadur, with master builder Abdul Jabbar, 1636.
26. 1686 - Kunya Ark citadel, Khiva. 1686.
27. 1686 - Kunya Ark citadel, Khiva. 1686. Photographed in 2011.
28. 1712 - Bujará, Bolo Hauz. Bolo Hauz Mosque, Bukhara, built under the Bukhara khanate, 1712. Coffered ceiling of the Bolo Hawz loggia. Bukhara, Uzbekistan.
29. 1750 - A Manuscript of Five Sections of a Qur'an. Section from a non-illustrated manuscript; Codices.
30. 1790 - Leg splint, Model S2-1790, designed by Charles & Ray Eames, Evans Products Co., Venice CA, 1941, molded plywood - Museum für Angewandte Kunst Köln - Cologne, Germany -. 13, 2015 (or fourteen years if filed before May 13, 2015). See Industrial design right. Hence this work is now in the public domain.
31. 1800 - Architectural Drawing for brick vaulting, Iran, 1800-70. Architectural Drawing for brick vaulting, Iran, probably Tehran, 1800-70.
32. 1822 - ArmasImperiaisBrasileiras. Great Imperial Coat of Arms of Brazil.
33. 1838 - Tash Hauli Palace, Khiva. 1838. Decorated tiles at Tash Hauli [Tach Khaouli] palace. Khiva, Uzbekistan.
34. 1838 - Tash Hauli Palace, Khiva. 1838. Decorated tiles at Tash Hauli [Tach Khaouli] palace. Khiva, Uzbekistan. Photographed in 2011.
35. 1843 - Copenhagen Token Tivoli Gardens. 31 mm Tivoli Gardens, also known simply as Tivoli, is an amusement park and pleasure garden in Copenhagen. The park opened in 1843 and is the third-oldest operating amusement park in the world. There the Pantomime Theatre is an open-air theatre and noted for its mechanical front curtain that takes five men to operate and unfolds like a peacock's tail. Curved below 6 peacock feathers: "TIVOLI" / The same on the reverse. Numista N# 170357 Condition: VERY FINE.
36. 1859 - Red House, Bexleyheath. Philip Webb designed this house for William Morris in 1859, in red brick with a steep tiled roof and windows placed where rooms needed them rather than where symmetry wanted them. Furnishing it was what led Morris to found a decorating firm the following year.
37. 1860 - Table glass by Philip Webb. Philip Webb drew this table glass for Morris, Marshall, Faulkner and Company, a drinking glass, a bowl and a decanter with the blown, thin-walled simplicity that the firm set against cut and moulded Victorian crystal. James Powell and Sons of Whitefriars blew the pieces.
38. 1860 - Day, angel holding a sun. An angel carries the sun in a stained glass cartoon Morris drew for Morris, Marshall, Faulkner and Company, paired with a companion figure of Night. The firm's glass was one of its first commercial products and its most sustained.
39. 1860 - Night, angel holding a waning moon. The waning moon is cradled against the figure's robe, the lead lines doing the drawing rather than painted shading. Morris and his partners argued that glass should read as coloured light held in a lead net, not as a picture painted on a window.
40. 1862 - King Rene's Honeymoon Cabinet. Oak inlaid with various woods and fitted with painted panels, made by Morris, Marshall, Faulkner and Company for the architect John Pollard Seddon. The painted scenes were divided among Ford Madox Brown, Burne-Jones, Rossetti and Val Prinsep.
41. 1862 - Toilet mirror. Walnut with gesso, paint, gilding and brass, made in England in 1862. The gilded and painted surfaces on a plain carcass are characteristic of the early Morris firm, which treated decoration as applied colour rather than carved relief.
42. 1862 - Design for Trellis wallpaper. The working drawing for Trellis, Morris's first wallpaper, with roses climbing a garden trellis. Philip Webb drew the birds, Morris the plants, and the paper was not issued until 1864 because the firm first tried and abandoned etched zinc plates.
43. 1863 - St Michael and All Angels, Brighton, stained glass 1. The southern west window of St Michael and All Angels (Old Church), Brighton, East Sussex, made by the firm of Morris and Co. in 1863. The left window was designed by Ford Madox Brown and depicts the Archangel Michael, the right window was mostly designed by William Morris (though the face is by Dante Gabriel Rossetti) and depicts the Archangel Raphael.
44. 1865 - Rossetti chair. An ebonised oak armchair with a rush seat, one of the Sussex range and named for Dante Gabriel Rossetti. The firm sold it as an inexpensive alternative to upholstered parlour furniture.
45. 1865 - Sussex armchair. Ebonised birch with a rush seat. The Sussex range was adapted by the Morris firm from a traditional country chair rather than invented, stayed in the catalogue for decades, and was the cheapest thing the company sold.
46. 1867 - Chandelier de J.M. Olbrichb (British Museum). ). Chandelier jugendstil Cette œuvre a été considérée comme emblématique des formes jugendstil de Darmstadt. Conçu par Joseph Maria Olbrich (1867-1908) vers 1903-1904 étain Colonie d'artistes de Darmstadt, Allemagne Réalisé par Eduart Hueck Metallwarenfabrik Lüdenscheid, près de Düsseldorf. The source names Jean-Pierre Dalbéra from Paris, France.
47. 1867 - St Wilfrid's, Haywards Heath glass 1. Detail of the south aisle west window of St Wilfrid's Church, Haywards Heath, West Sussex. It was made circa 1867 by Morris & Co. from a design by Ford Madox Brown. It depicts Noah.
48. 1868 - Leyswood perspective. Richard Norman Shaw's perspective of Leyswood in Sussex, reproduced by Hermann Muthesius in Das englische Haus. The tile-hung gables and massive chimneys established the Old English manner that dominated English country building in the 1870s.
49. 1870 - Ariadne and Phyllis ceramic panels. Two figures from Chaucer's Legend of Good Women, designed by Edward Burne-Jones and painted on tile. The subject came from the medieval literature that the Morris circle read as a source of form rather than as antiquarian decoration.
50. 1870 - Sussex Chair, manufactured by Morris & Company, London, c. 1870, ebonized oak with rush seat - Huntington Art Museum - San Marino, CA -
51. 1870 - St James Brighouse 003. "crucifixion" window believed to have been designed by William Morris and executed by Edward Burne-Jones. It was restored in 2017 and gives the opportunity to inspect the detail of the Pre-Raphaelite artwork much closer than it could have been seen in its original church setting. It came from the church of St James, Brighouse which opened in 1870, closed in 1972 and was demolished c.1992, to be replaced by housing. The source names Stephen Craven.
52. 1872 - Music tiles. Three pairs of hand-painted earthenware tiles showing figures with instruments, attributed by the museum to Edward Burne-Jones and made by Morris and Company. Dutch blanks were bought in and painted in the firm's workshop, a compromise the firm did not advertise.
53. 1872 - Edward coley burne-jones e william morris per morris & co, vetrata con san giovanni battista, 1872
54. 1873 - Love is enough. Or the freeing of Pharamond. A Morality. @media only screen and (max-width:719px){ } html.skin-theme-clientpref-night html.skin-theme-clientpref-night @media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os html.skin-theme-clientpref-os } Love is enough. Or the freeing of Pharamond. A Morality. Artist William Morris Author William Morris Title Love is enough. Or the freeing of Pharamond. A Morality. Object type Arts and crafts cloth book cover design Date 1873 date Dimensions 152 × (5.98 × 7.75 × 0.59 in) Collection British Library Place of creation London: Ellis & White, 29 New Bond Street. 1873.
55. 1873 - Love is enough - BL 1578 8073 both covers and spine - Americn Edition. (max-width:719px){ } html.skin-theme-clientpref-night html.skin-theme-clientpref-night @media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os html.skin-theme-clientpref-os } Love is enough. Or the freeing of Pharamond. A Morality. [Author’s Edition.] Artist William Morris Author William Morris Title Love is enough. Or the freeing of Pharamond. A Morality. [Author’s Edition.] Object type Arts and crafts cloth book cover design Date 1873 date Dimensions 124 × (4.88 ×.
56. 1875 - Design for Carnation printed textile. Kate Faulkner drew this watercolour design for a printed cotton for Morris and Company around 1875. Faulkner and her sister Lucy worked on tiles, wallpapers and gesso for the firm from its earliest years and are routinely left out of accounts of it.
57. 1876 - Pimpernel wallpaper. Pimpernel sets a large acanthus scroll behind smaller flowering stems so that two layers of pattern read at once, a device Morris used to keep a repeating paper from flattening. He hung it in the dining room of his own house at Kelmscott House, Hammersmith.
58. 1876 - Tile panel for Membland Hall. Morris designed this tile panel for Membland Hall and William De Morgan executed it, De Morgan having developed the lustre and coloured glazes that the Morris firm could not fire itself. The two worked in adjacent premises for several years.
59. 1876 - Sigurd the Volsung p389 detail. William Morris's Sigurd the Volsung told of Dwarf-Rings and swords wielded by dead kings. Tolkien read it avidly while he was a student. Detail of page 389. Dated to 1876.
60. 1880 - Settee by George Jack. George Jack designed this walnut settee for Morris and Company in about 1880. Jack became the firm's chief furniture designer and is the name behind many pieces still sold under Morris's, a displacement common in the firm's later catalogue.
61. 1880 - Hall at Dawpool. The galleried hall at Dawpool in Cheshire, built about 1880 by Richard Norman Shaw and plated in Muthesius's Das englische Haus. Muthesius was sent to London by the Prussian government to study why English domestic building was ahead of Germany's.
62. 1880 - Wineglass (one of three). British, London; Wineglass; Glass. The source names Philip Webb. Dated to 1880.
63. 1882 - Brer Rabbit printed textile. Morris registered this indigo-discharge cotton in 1882, the rabbits and birds locked into a mirrored repeat around a central stem. He had spent years reviving indigo vat dyeing at Merton Abbey after rejecting the aniline colours the trade had adopted.
64. 1882 - David's Charge to Solomon. Burne-Jones designed the figures and Morris the colour and foliage of this window at Trinity Church, Boston, installed in 1882. American commissions were a substantial part of the firm's glass output in its later decades.
65. 1882 - USA Massachusetts Boston Trinity Nativity-detail-1. "The Worship of the Shepherds" window at Trinity Church, Boston, designed by Edward Burne-Jones and executed by William Morris, 1882. The source names Rebecca Kennison.
66. 1882 - USA Massachusetts Boston Trinity Nativity. 1882. The source names Rebecca Kennison.
67. 1883 - Casa Vicens facade. Gaudi's first substantial building, a summer house for the tile manufacturer Manuel Vicens in the carrer de les Carolines, built between 1883 and 1885. The chequered green and white tile comes from the client's own trade.
68. 1883 - Casa Vicens ground floor plan. The ground floor plan, with rooms packed around a small hall on a narrow plot. Gaudi was twenty-nine and newly qualified, and the plan is far more conventional than the surface treatment that covers it.
69. 1883 - Castellers inside the church of Sagrada de Familia of Antonio Gaudí. + Römer painted this oil painting, the motif of which was created from a photo collage generated on the computer. This photo collage was in itself composed of two original photographs by the German-Russian artist duo: One was from a photograph of the interior of the Sagrada Familia church. This church in Barcelona was built according to the plans of the architect Antonio Gaudí and was completed in 1926. This photo of the collage was created on March 23, 2017. The other original.
70. 1883 - Vicens Plano emplazamiento. 1883.
71. 1885 - Palmetto railing from the Casa Vicens. The cast iron palm-frond railing from the Casa Vicens, now in the Museu Nacional d'Art de Catalunya. Gaudi took the motif from the dwarf palm growing on the site and repeated it around the whole enclosure.
72. 1888 - A Dream of John Ball frontispiece. Edward Burne-Jones drew this frontispiece in April 1888 for the first book edition of Morris's A Dream of John Ball, a narrative set during the 1381 English rising. Adam delves and Eve spins in the banner across the foot.
73. 1889 - Barcelona - Carrer de les Carolines - View NNW on Casa Vicens 1889 Antoni Gaudí II. Barcelona - Carrer de les Carolines - View NNW on Casa Vicens 1889 Antoni Gaudí. The source names Txllxt TxllxT.
74. 1889 - Marvels and perils of the wood, in The Roots of the Mountains. Extract from William Morris's 1889 The Roots of the Mountains, describing "The marvels and perils of the wood" (page 22).
75. 1890 - Socialist League Commune anniversary poster. A Socialist League handbill for a meeting marking the Paris Commune anniversary, set in the jobbing wood and metal types of a small London printer. Morris helped found the League in 1884 and paid for its paper, Commonweal.
76. 1890 - Frederick Hollyer Burne-Jones and Morris 1890. (left) and William Morris (right) in the garden of Burne-Jones's home the Grange, Fulham, 1890.
77. 1890 - The Earthly Paradise. A Poem. @media only screen and (max-width:719px){ } html.skin-theme-clientpref-night html.skin-theme-clientpref-night @media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os html.skin-theme-clientpref-os } The Earthly Paradise. A Poem Artist William Morris Author William Morris Title The Earthly Paradise. A Poem Object type Arts and crafts cloth book cover design Date 1890 date Dimensions 155 × (6.10 × 8.58 × 1.25 in) Collection British Library Place of creation London: Reeves and Turner, 196 Strand. 1890. Edinburgh and London: Ballantyne Press, Ballantyne, Hanson.
78. 1891 - Graph of bishop removing eyeball. The graph is showing the rumour about bishops is removing eyeball for making medicinal liquid.
79. 1891 - Kelmscott Press colophon. The press mark Morris used to sign his books, a device of intertwined foliage carrying the Kelmscott name. He founded the press in 1891 in Hammersmith after a lecture by Emery Walker on letterpress printing convinced him the craft could be recovered.
80. 1891 - The wood beyond the world. Detail of the wood engraving designed by Edward Burne-Jones for the frontispiece of William Morris The wood beyond the world (Kelmscott Press, 1894). The Kelmscott Press, founded by William Morris in 1891, is probably the most influential and certainly the most famous of all private presses. Morris revived the traditional crafts of hand-printing and handmade paper in England, and took the concept of book design to a new level.
81. 1892 - Pontifical Seminary at Comillas. Domenech i Montaner completed the seminary at Comillas in Cantabria in 1892, taking over from Joan Martorell. The brickwork and the sculptural programme by Josep Llimona show the Catalan workshop practice exported outside Catalonia.
82. 1892 - The Book of the Order of Chivalry. Ramon Llull's thirteenth-century treatise, reissued by the Kelmscott Press in Caxton's English translation. Morris designed the border and the opening initial, and the type is his Golden, modelled on Nicolas Jenson's roman of 1470.
83. 1893 - Hotel Tassel facade detail. Victor Horta built the Hotel Tassel in the rue Paul-Emile Janson for the engineer Emile Tassel, finishing in 1893. The bowed stone bay sits on an exposed iron frame, and the building is usually taken as the first fully worked Art Nouveau house.
84. 1893 - Hotel Tassel stairway. The staircase hall rises around a slender iron column whose capital breaks into tendrils that continue as painted lines across the wall and as mosaic on the floor. Horta ran the same curve through structure, surface and lamp fitting.
85. 1893 - Sketch of the Hotel Tassel facade. A facade sketch showing how the central bay swells forward between flat flanking walls. Horta pulled the plan around a glazed central well so that a deep Brussels terrace house could be lit from the middle.
86. 1893 - Hotel Tassel elevation. The full street elevation, held in the Horta Museum collection. Iron is used openly in the lintels and the bay support at a time when Brussels practice was to hide structural metal behind masonry.
87. 1893 - Staff of the Kelmscott Press. The compositors, pressmen and Emery Walker, fourth from the left standing, who produced the Kelmscott books on hand presses. The press employed a working staff even as Morris argued publicly for craft against industrial production.
88. 1893 - Voysey House wallpaper factory. C. F. A. Voysey designed this wallpaper works at Barley Mow Passage, Chiswick, for Sanderson and Sons. The white glazed brick and grid of windows are unusually plain for an 1893 industrial building in London.
89. 1893 - East window, Rottingdean. East window, St Margaret's Church, Rottingdean, East Sussex. It was designed by Edward Burne-Jones and produced by Morris & Co. in 1893.
90. 1893 - Virgin Mary window, Rottingdean. 's parish church, Rottingdean, East Sussex. It was designed by Edward Burne-Jones and made in 1893 by Morris & Co.
91. 1894 - Affiche exposition féline 1894 Louis Wain. 'exposition féline 1894 par Louis Wain.
92. 1894 - Belgique - Bruxelles - Hôtel Tassel - 03. Belgique - Bruxelles - Hôtel Tassel (Art nouveau, architecte Victor Horta, 1893). Dated to 1894.
93. 1894 - Victor Horta Hotel Tassel. 6, Ixelles. The source names Karl Stas. Dated to 1894. Hôtel Tassel, Brussels, 1893-94.
94. 1894 - The Wood Beyond the World. The frontispiece and opening page face each other as a designed spread, the woodcut balanced against a bordered text block. Burne-Jones drew the figure and Morris the decoration, a division of labour the two had used since the 1860s.
95. 1894 - Justitia. Justice stands with a sword and scales in a window Burne-Jones designed and Morris and Company manufactured between 1894 and 1895. The drapery is drawn in lead lines with painted modelling kept to the faces and hands.
96. 1895 - Aubrey Beardsley poster for The Studio. 30. Dated to 1895.
97. 1895 - Design for the Hotel Solvay. A presentation drawing from the Horta Museum collection showing the facade worked out in wash. Horta drew interiors and exteriors in the same sheets because he treated the commission as one continuous object.
98. 1895 - Kelmscott Beowulf. A. J. Wyatt supplied the translation and Morris the verse rendering, decoration and type for this Kelmscott Beowulf. The double-column setting in Troy type with a foliated border shows how far Morris pushed the page as a single designed unit.
99. 1896 - PP D211 poster by professor herkomer for the magazine of art. 1896.
100. 1896 - Laudes Beatae Mariae Virginis. Printed in black, red and blue at the Kelmscott Press, this page of Stephen Langton's hymn uses the Troy type Morris cut after studying fifteenth-century Venetian and German models. The border and initials were drawn to sit tight against the text block rather than float around it.
101. 1896 - Kelmscott Chaucer. The Kelmscott Chaucer ran to 556 pages with 87 woodcuts after Burne-Jones, and took four years. Morris drew every border and initial himself, which is why the book is usually treated as the culminating object of the reform argument about printing.
102. 1896 - The Well at the World's End. Morris wrote the romance and then designed the book that carried it, with woodcut illustrations after Edward Burne-Jones. The Kelmscott Press printed it on handmade paper in the year Morris died.
103. 1897 - Vitrail (musée de la colonie dartistes, Darmstadt). Détail du vitrail de Mackay Hugh Baillie-Scott ce vitrail a été exécuté en 1901 pour la villa Kahn-Starré à Mannheim fabricant inconnu Cet artiste anglais appartenant au mouvement "arts and crafts" a été invité par le Grand-Duc en 1897 à Darmstadt pour aménager le nouveau palais (détruit par les bombardements). Un autre artiste anglais a été invité avec le même objectif: Charles Ashbee. _____________ Le Grand-Duc Ernst-Ludwig de Hesse, petit-fils de la Reine Victoria, était le beau-frère du Tsar Nicolas II. Homme éclairé et désireux de stimuler par l'innovation artistique la.
104. 1897 - House at Castle Morton. Published in The Studio in 1897, this Voysey house shows the low horizontal roughcast walls, buttressed corners and long bands of casement windows that became his signature. He rejected historical ornament while keeping traditional materials.
105. 1897 - Fireplace at Frensham. A Voysey inglenook with built-in seating, published in The Studio. The fire surround, panelling and metalwork were designed as one, which is what distinguished the Arts and Crafts interior from a decorated room.
106. 1897 - Cottages at Elmesthorpe. Six cottages Voysey designed for the Earl of Lovelace at Elmesthorpe near Leicester. Estate cottage commissions gave Arts and Crafts architects their chance to apply the vernacular argument to housing built for wages rather than for patrons.
107. 1897 - Walnut Tree Farm garden front. The garden elevation of Voysey's Walnut Tree Farm at Castlemorton, with a roof carried low over roughcast walls and chimneys treated as the principal vertical accents.
108. 1897 - House and studio, St Dunstan's Road. Voysey's studio house in West Kensington, built for the artist W. E. F. Britten, with a broad north studio window filling most of the upper facade. It is one of the few urban buildings he completed.
109. 1897 - Tree of Jesse window, Rottingdean. 's Church, Rottingdean, East Sussex. It was produced in 1897 by Morris & Co. to designs by Edward Burne-Jones.
110. 1898 - Wienflussregulierung 1898. Wien, Wienflussregulierung, 1898. The source names Friedrich Strauß, scan by Invisigoth67.
111. 1898 - Alvar aalto, nordjyllands kunstmuseum, 1958-1972. Aalborg museum of modern art, 1958-1972. architects: alvar aalto (1898-1976) and jean jacques baruël (b.1923). complex curves carressed by light. the idea to suspend concave reflectors inside the skylight was first used by aalto in his in the biennale gardens in venice. in venice, it had the quality of a sketch, because the whole building was a sketch. in aalborg it is fully developed. since carlo scarpa was in charge of the biennale gardens - and scarpa knew greatness when he saw it - no-one was allowed to touch aalto's temporary pavilion which is still there today. I'll post.
112. 1898 - Ver Sacrum. Thesus und Minotaurus. 1 Kunstausstellung... Secession. 1898.
113. 1898 - Secession Gebäude 2022 01. 1898. Secession Building, Vienna, 1898.
114. 1898 - Secession Gebäude 2022 Eingang. 'Fuck War' (Nikita Kaden). Dated to 1898. Secession Building, Vienna, 1898.
115. 1898 - Affiche de Louis Wain, The Harmsworth London Magazine, Xénophon, Ameer, Patrick Blue, Blue Boy, Rynda, Zaida, Banjo, Jemmy et Satan. Affiche de Louis Wain, The Harmsworth London Magazine. Sont représentés les champions: Xénophon, Ameer, Patrick Blue, Blue Boy, Rynda, Zaida, Banjo, Jemmy et Satan. Dated to 1898.
116. 1898 - Wien-Innenstadt, das Secessionsgebäude. 1898. Secession Building, Vienna, 1898.
117. 1898 - Wien - Friedrichstraße - Karlsplatz - View West on 'Die Secession' - Secession Building 1897 by Joseph Maria Olbrich I. Wien - Friedrichstraße / Karlsplatz - View West on 'Die Secession' / Secession Building 1897 by Joseph Maria Olbrich. The source names Txllxt TxllxT. Dated to 1898.
118. 1898 - Wien - Friedrichstraße - Karlsplatz - View West towards 'Die Secession' - Secession Building 1897 by Joseph Maria Olbrich II. Wien - Friedrichstraße / Karlsplatz - View West towards 'Die Secession' / Secession Building 1897 by Joseph Maria Olbrich. The source names Txllxt TxllxT. Dated to 1898.
119. 1898 - Wien - Friedrichstraße - Karlsplatz - Girardipark - View WSW on 'Die Secession' - Secession Building 1897 by Joseph Maria Olbrich I. Wien - Friedrichstraße / Karlsplatz / Girardipark - View WSW on 'Die Secession' / Secession Building 1897 by Joseph Maria Olbrich. The source names Txllxt TxllxT. Dated to 1898.
120. 1898 - Wien-Secession-02-2007-gje. Secessionsgebäude in Wien. The source names Gerd Eichmann. Dated to 1898. Secession Building, Vienna, 1898.
121. 1898 - Wiener Straße, Wiener Secession 2. 1897 by Joseph Maria Olbrich as an architectural manifesto for the Vienna Secession, located in Vienna, Austria. Secession refers to the seceding of a group of rebel artists from the long-established fine art institution. Dated to 1898.
122. 1898 - Wiener Secessionsgebäude. Ansicht von Westen.. 1897 - 1898 by Joseph Maria Olbrich.
123. 1898 - Wiener Secessionsgebäude. Ansicht von Osten.. 1897 - 1898 by Joseph Maria Olbrich.
124. 1898 - Wiener Secessionsgebäude. Fassade NW.. 1897 - 1898 by Joseph Maria Olbrich.
125. 1898 - Wiener Secessionsgebäude. Fassade SE.. 1897 - 1898 by Joseph Maria Olbrich.
126. 1898 - Hotel Solvay entrance. Horta built the Hotel Solvay at 224 avenue Louise between 1895 and 1898 for the chemical manufacturer Armand Solvay, who gave him an open budget. The entrance ironwork and glazing were drawn as a single continuous figure.
127. 1898 - Hotel Solvay facade. Stone, iron and glass on the avenue Louise, with the bays bulging and receding across the width so no two windows repeat. Solvay's money let Horta design the furniture, carpets and light fittings as well.
128. 1898 - Norney Grange, Shackleford. Norney Grange in Surrey, a listed Voysey house of 1898. The bowed bay and the sloping buttressed walls are recurring Voysey devices, used here at a domestic scale that his followers copied for four decades.
129. 1898 - David Healey Memorial Window from the Unitarian Chapel, Heywood, Lancashire, by Edward Burne-Jones and John Henry Dearle, mfr. Morris & Co, c. 1898, glass, lead- Huntington Art Museum - San Marino, CA -
130. 1899 - Aubecq armchair. An armchair from the Hotel Aubecq, built for the industrialist Octave Aubecq between 1899 and 1902. The house itself was demolished in 1950 and parts of its interior are all that survive, this chair among them.
131. 1899 - Victor horta per j.b. dandois, prototipo di maniglia di porta con le iniziali dell'industriale armand solvay, in ottone dorato, bruxelles 1899. 'Orsay.
132. 1900 - Alter Naschmarkt 1900. 1895. Im Hintergrund, linksseitig des noch nicht überdachten Wienflusses, die Secession.
133. 1900 - Hydraulic floor tiles. Cement tiles pressed in a hydraulic mould, a technique that let a repeating coloured pattern be made cheaply for floors. Domenech designed for the Barcelona tile trade as well as building, and the two supported each other.
134. 1900 - Victor horta, sedia da sala da pranzo, per l'hotel solvay a bruxelles, 1890-1900 ca. 'Orsay. Hôtel Solvay, Brussels, 1894-1900.
135. 1900 - Blackwell, Bowness-on-Windermere. Mackay Hugh Baillie Scott's house above Windermere, completed in 1900 and plated in Das englische Haus. Baillie Scott designed the plasterwork, the glass and the fitted furniture, and the house survives with much of it in place.
136. 1900 - House at Edgerton. Edgar Wood built this house at Edgerton near Huddersfield. Wood worked out of Manchester and is the clearest English link between Arts and Crafts building and the continental Jugendstil that Muthesius was reporting on.
137. 1900 - Plan for Cold Ash. Leonard Stokes's plan for a house at Cold Ash near Newbury. Muthesius printed plans alongside elevations throughout Das englische Haus because he judged the English advance to lie in planning rather than in style.
138. 1901 - Vase de J.M. Olbrich (Musée de la colonie dartistes, Darmstadt). ). "Vase jugendstil conçu par Joseph Maria Olbrich" vers 1901-1902 Verre, étain fabriqué par Metallwarenfabrik Eduard Hueck, Lüdenscheid Musée de la colonie d'artistes de Darmstadt Site officiel de la Mathildenhöhe www.mathildenhoehe.info/. The source names dalbera from Paris, France.
139. 1901 - Wine pitcher, designed by Joseph Maria Olbrich, made by Eduard Hueck, Ludenscheid, c. 1901, tin - Bröhan Museum, Berlin -. 70 years ago.
140. 1901 - Washstand set by Joseph Maria Olbrich, Villeroy & Boch, 1901-1903, earthenware - Museum Künstlerkolonie Darmstadt - Mathildenhöhe - Darmstadt, Germany -
141. 1901 - Horta in the music room of his own house. Horta photographed in the music room of the house and studio he built for himself in the rue Americaine, now the Horta Museum. He designed his own house as a demonstration piece and lived in it until 1919.
142. 1901 - Windyhill, Kilmacolm. Charles Rennie Mackintosh built Windyhill at Kilmacolm for William Davidson in 1901, harled and almost without ornament. Muthesius reproduced it as evidence that the Scottish work was the most radical part of the British movement.
143. 1902 - Suppraportenrelief. Josef Hoffmann cubistic relief created for Vienna Secession 14th exhibit in 1902.
144. 1902 - Joseph maria olbrich, candelabro in peltro, darmstad 1902
145. 1902 - Table by Victor Horta, probably designed for the International exhibition of Turin 1902, collection Hortamuseum. 'arte decorativa moderna. Catalogued among 1900s furniture.
146. 1902 - Joseph Maria Olbrich - Leuchter. Joseph Maria Olbrich (Entwurf): Leuchter. Zinn, gegossen, um 1902. Im Bröhan Museum, Berlin.
147. 1902 - Table clock, designer Joseph Maria Olbrich, c. 1902, maple, ivory, nacre, copper, brass, tin - Museum Künstlerkolonie Darmstadt - Mathildenhöhe - Darmstadt, Germany -
148. 1902 - Rottingdean glass 1. 's Church, Rottingdean, East Sussex. It was made in 1902 by Morris & Co. It depicts Saint Martin.
149. 1903 - Two-branch electric wall light. A wall fitting for electric bulbs, the arms drawn as a single stem splitting in two. Electric lighting was new enough that Horta was designing the fitting and the effect together rather than adapting a gas bracket.
150. 1903 - Maison Sander Pierron. Horta built this narrow house at 157 rue de l'Aqueduc in 1903 for the writer and art critic Sander Pierron. On a restricted plot he used the whole width for glazing and pushed the ornament into the ironwork.
151. 1903 - Wine glasses, designer Joseph Maria Olbrich, Rheinische Glashutten AG, 1903-1905, glass - Museum Künstlerkolonie Darmstadt - Mathildenhöhe - Darmstadt, Germany -
152. 1903 - Flickr - HuTect ShOts - Gate of Complex of Sultan Qalawun بوابة مجمع السلطان قلاوون. The complex of Sultan Qalawun was built for the sultan by Amir 'Alam al-Din Sanjar al-Shuja'i in 1284-5 and consisted of the founder's mausoleum, madrasa, and a maristan (hospital). The complex was located on al-Mu'izz Street. The mausoleum's central, domed plan is connected to the madrasa by a long entrance passage, and the plan of both spaces is shifted to accommodate the qibla orientation. The.
153. 1904 - Ilna Ewers-Wunderwald 1904. The artist Ilna Ewers-Wunderwald poses in an art-deco setting with a matching dress. Dated to 1904.
154. 1904 - Casa Batllo facade and section. Antoni Gaudi's drawing of the facade and section submitted for the remodelling of an existing 1877 block on the Passeig de Gracia. He was rebuilding a building rather than starting from ground, which shaped the odd bone-like structure of the lower floors.
155. 1904 - Casa Batllo ventilation scheme. A section diagramming the natural ventilation of the block, with the central lightwell drawing air up through the building. Gaudi graded the blue tiling of that well from pale at the bottom to deep at the top to even out the light.
156. 1904 - Casa Batllo project drawings. The project drawings for the remodelling, which Gaudi submitted to the Barcelona city council. The council initially objected that the building exceeded the permitted envelope, and the work proceeded anyway.
157. 1904 - Hill House plan. Mackintosh's plan for the Hill House at Helensburgh, built for the publisher Walter Blackie and finished in 1904. The L-shaped arrangement pushes the service wing back and lets every principal room face the garden.
158. 1905 - Berthold Sweden advertisement. 's Swedish agent in 1905. The source names Berthold Type Foundry/Almänna Svenska Boktryckareföreningens Meddelanden.
159. 1905 - Centrale électrique de Wasquehal(4). Ancienne centrale électrique Girolou (créée en 1905 par Alexandre Giros et Louis Loucheur) et l'Union des Tramways, à Wasquehal.
160. 1906 - Poster Kunstausstellung in der Flora - Cologne 1906. (Cologne, 1906).
161. 1906 - Casa Batllo under construction. Domenec Sugranes i Gras photographed the works in progress in 1906. Sugranes was Gaudi's assistant and later took over the Sagrada Familia after Gaudi's death in 1926.
162. 1906 - Casa Battlo interior door mosaics. Glazed mosaic set into the joinery of an interior door. Gaudi ran a small workshop of craftsmen on site so that carpentry, glass and ceramic could be adjusted against each other during the build rather than ordered from drawings.
163. 1906 - Casa Batllo principal salon. The main salon on the piano nobile, its ceiling drawn into a spiral around the light fitting and the window mullions cut as slender bone-like shafts. Gaudi worked the whole floor as a single curved volume.
164. 1906 - Casa Batllo salon interior. An interior view of the salon showing how little straight line survives in the room, with door frames, ceiling and glazing all carried on curves. Gaudi used timber bent to full-size templates cut on site.
165. 1906 - Casa Batillo, Gaudi, finished 1906 (9). ). The source names Richard Mortel from Riyadh, Saudi Arabia. Casa Batlló, Barcelona, 1904-06.
166. 1906 - Interior Casa Batlló. (1927). Dated to 1906.
167. 1906 - Casa Battló Barcelona mosaics interieur 21. 43 on Paseo de Gracia. Originally, the building was built in 1877 by Emilio Sala Cortés (one of Gaudí’s architecture professors), when there was still no electric light in Barcelona. In 1903 it was purchased by Mr Josep Batlló y Casanovas, a textile industrialist who granted full creative freedom to Antoni Gaudí, who fully reformed the house between 1904 and 1906.
168. 1906 - Casa Battló Barcelona door interieur 26. 43 on Paseo de Gracia. Originally, the building was built in 1877 by Emilio Sala Cortés (one of Gaudí’s architecture professors), when there was still no electric light in Barcelona. In 1903 it was purchased by Mr Josep Batlló y Casanovas, a textile industrialist who granted full creative freedom to Antoni Gaudí, who fully reformed the house between 1904 and 1906.
169. 1906 - Casa Battló Barcelona wood panel interieur 27. 43 on Paseo de Gracia. Originally, the building was built in 1877 by Emilio Sala Cortés (one of Gaudí’s architecture professors), when there was still no electric light in Barcelona. In 1903 it was purchased by Mr Josep Batlló y Casanovas, a textile industrialist who granted full creative freedom to Antoni Gaudí, who fully reformed the house between 1904 and 1906.
170. 1906 - Casa Battló Barcelona 07 light fixture. 43 on Paseo de Gracia. Originally, the building was built in 1877 by Emilio Sala Cortés (one of Gaudí’s architecture professors), when there was still no electric light in Barcelona. In 1903 it was purchased by Mr Josep Batlló y Casanovas, a textile industrialist who granted full creative freedom to Antoni Gaudí, who fully reformed the house between 1904 and 1906.
171. 1906 - Monograma Batlló. Monograma del oratorio de la Casa Batlló, de Antoni Gaudí (1909), yeso con alma de hierro. Dated to 1906.
172. 1906 - SeccióBatllo. Secció esquemàtic de la casa Batlló (1904-1906), obra d'Antoni Gaudí (Barcelona, Catalunya).
173. 1906 - CasaBatllo 0093. Casa Batlló - Barcellona Antoni Gaudi. Dated to 1906.
174. 1906 - ES - Casa Batlló 3. 1906.
175. 1907 - Bil-Bol, Poster for an Automobile Retailer. 1907.
176. 1907 - Casa Batllo shortly after completion. The facade photographed soon after the 1905 to 1907 works finished, the trencadis of broken glass and ceramic still unweathered. Josep Maria Jujol worked on the colour of the surface with Gaudi.
177. 1907 - Casa Batllo with the Pathe Freres shop. The ground floor carried a Pathe Freres photography shop in the years just after completion. The commercial tenancy on the street front is a reminder that the block was an investment property for the textile manufacturer Josep Batllo.
178. 1908 - Vladimir Tatlin, Carnations, 1908. Oil on canvas, 73,5 x 66,5 cm, St. Petersburg, State Russian Museum. The source names Vladimir Tatlin. Dated to 1908.
179. 1908 - Mathildenhöhe. Art Nouveau colony in Darmstadt, Germany. Wedding Tower and Exhibition Building were added by Joseph Maria Olbrich for the third exhibition in 1908. With the slightly older Russian Chapel, they are prominent landmarks on the hilltop.
180. 1908 - Catenary model. A hanging model of weighted strings whose curves, inverted, give the compression lines of an arch. Gaudi used this method rather than calculation to work out the structure of the Colonia Guell crypt and later the Sagrada Familia.
181. 1908 - Casa Fuster elevation drawing. The elevation drawing for the Casa Fuster, dated 1908. Domenech built in white marble here rather than the stone and brick of his earlier work, and the columns carry capitals cut individually.
182. 1909 - Architettura liberty a Genova - panoramio. Particolare della facciata del palazzo al civivico 28 di via XX Settembre, Genova, proegttato da Raffaele Croce su terreno del fratello F. Croce (1909), stile liberty.
183. 1909 - Monogram in the Casa Batllo oratory. Gaudi modelled this ceiling monogram for the oratory of the Casa Batllo in 1909, in plaster over an iron armature. The Marian and Christological letters were part of the devotional programme he attached to the building.
184. 1910 - At the Opening of the Shipping Season At the Opening of the Shipping Season Der Verkäufer von Seemannsuniformen. 1910.
185. 1910 - Vladimir Tatlin, Cloth salesman, 1910 - 12. Vladimir Tatlin, Cloth salesman, watercolor and gouache on paper, 1910, 12 / around 1910, Moscow, Central State Bakhrushin Museum of Theater History.
186. 1910 - Vladimir Tatlin, Fish sale, ca. 1910. Watercolor and gouache on paper, Moscow, Central State Bakhrushin Museum of Theater History. The source names Vladimir Tatlin. Dated to 1910.
187. 1910 - Salonik secesyjny Muzeum w Jarosławiu 01. 1910 roku na zamówienie mieszczanina jarosławskiego.
188. 1910 - Drawing of the Casa Vicens. A drawing of the house by Francesc Berenguer and Aleix Clapes. Berenguer worked as Gaudi's closest collaborator for two decades without ever qualifying as an architect, and much of what is signed Gaudi passed through his hands.
189. 1910 - St Giles's, Wrexham glass 5. Stained-glass window in St Giles's Church, Wrexham, North Wales. It was made in 1910 by Morris & Co. from designs by Edward Burne-Jones.
190. 1910 - House at Penn. Buckinghamshire, by Charles Francis Annesley Voysey, Architect. From The Studio Yearbook 1910.
191. 1911 - EB1911 Japan - Bizen Ware. Group of two figures from Japan.
192. 1911 - Sailor Матрос Sailor Le Marin. 1911.
193. 1911 - Flower Bouquet Flower Bouquet Blumenstrauß. 1911.
194. 1911 - Vladimir Tatlin, Lily of the valley leaves in a jug, before 1911. Vladimir Tatlin, Lily of the valley leaves in a jug (verso: Peaches), before 1911, oil on canvas.
195. 1911 - EB1911 - Mosaic - Fig.. Fig. 4., Marble Mosaic at Monreale Cathedral.
196. 1911 - Casa Fuster. Domenech i Montaner completed the Casa Fuster on the Passeig de Gracia in 1911, built for Mariano Fuster. It was reportedly the most expensive house built in Barcelona at the time and was the last building Domenech put up in the city.
197. 1912 - Art Deco table, chairs, carpet. 1912 Salon des Decorateurs, Paris, now in the Musee d'Orsay, Paris.
198. 1912 - Vladimir Tatlin, Nature morte (Flowers), 1912. Oil on canvas, St. Petersburg, State Russian Museum. The source names Vladimir Tatlin. Dated to 1912.
199. 1912 - Casa Mila rooftop chimneys. The chimney and ventilator stacks on the roof of the Casa Mila, finished in 1912 and known locally as La Pedrera. Each stack is individually modelled, turning the servicing of the building into its most photographed feature.
200. 1912 - Casa Mila. The Passeig de Gracia front, cut as a continuous undulating stone cliff with wrought iron balconies by Josep Maria Jujol. The building carries no straight structural wall on its street elevation, the floors resting on columns and beams behind.
201. 1912 - Font-Montaner family pantheon. Lluis Domenech i Montaner built this family pantheon at Canet de Mar in 1912. Domenech worked in the same Barcelona decades as Gaudi and argued in print for a modern Catalan architecture built from local craft trades.
202. 1912 - Gaudi-casaMila-planol. Reproducció de la planta de la casa Milà apareguda a la revista "Cuadernos de Arquitectura y Urbanisme" l'any 1977. The source names Antoni Gaudí. Dated to 1912.
203. 1913 - Female Model Female Model Натурщица. 1913.
204. 1913 - Model by V.Tatlin (1913, GTG). ). «Натурщица» 1913 г. Холст, масло. 143 x 108 см. Государственная Третьяковская галерея, Москва, Россия.
205. 1913 - Sagrada Familia side facade. Josep Salvany i Blanch photographed the Nativity facade in 1913, its sculpture still being modelled. Gaudi cast plaster from live models and from animal carcasses to get the figures, a method his assistants continued after 1926.
206. 1913 - Garden Corner drawing room. The drawing room at Garden Corner, Chelsea, as published in The Studio Yearbook. Voysey designed the panelling, the fitted furniture and the fireplace together, with the horizontal picture rail holding the whole room to one line.
207. 1914 - Display at Salon D'Automne. 1913 Salon d'Automne, from Art et Decoration magazine, 1914.
208. 1914 - René lalique, pannelli architettonici con due piccioni, 1914
209. 1915 - Five Questions to Men who have Not Enlisted Art.IWMPST5129. Five Questions to Men who have Not Enlisted whole: the title is positioned across the top, in blue, with the text arranged over the remainder, also in blue. All are set against a plain white background and framed within a blue and red border. image: text only. text: 5 QUESTIONS TO MEN WHO HAVE NOT ENLISTED 1. If you are physically fit and between 19 and 38 years of age, are you really satisfied with what you are doing to-day? 2. Do you feel happy as you walk along the streets and see other men wearing the King's uniform? 3. What will you say in years to come when people ask you.
210. 1915 - 0.10 Exhibition. 1915.
211. 1915 - Poster for a lecture about Suprematism during 0,10 exhibition, small version. 1915.
212. 1915 - Works by Tatlin at 0,10 exhibition. 1915.
213. 1915 - Counter-relief with chair leg (Vladimir Tatlin, 1915), probably at 0,10 exhibition. Vladimir Tatlins counter-relief with chair leg, probably during 0,10 exhibition. Dated to 1915.
214. 1915 - Corner counter-relief (Vladimir Tatlin, 1915) during 0,10 exhibition. 0,10.
215. 1915 - Vladimir Evgrafovich Tatlin, 1915, p. 2. Vladimir Evgrafovich Tatlin, 1915, page 1.
216. 1915 - Vladimir Evgrafovich Tatlin, 1915, back cover. Cover of the leafleet "Vladimir Evgrafovich Tatlin", 1915.
217. 1915 - Vladimir Evgrafovich Tatlin, 1915, cover. Cover of the leafleet "Vladimir Evgrafovich Tatlin". Dated to 1915.
218. 1916 - RomaniaDefeadted1916. Austro-Hungarian propaganda poster (in Hungarian language) after the defeat of Romania in World War I. Dated to 1916.
219. 1916 - Vladimir Tatlin, Composition (Month May), 1916 - 17
220. 1916 - Counter-relief by V.Tatlin (1916, GTG) 01 by shakko. (1885-1953). Контр-рельеф, 1916. Лакированное красное дерево, железо, дерево, цинк. ГТГ. Инв. 10982.
221. 1917 - Red and Blue Chair Sedia rossa e blu Chaise Rouge et bleue Aulki Gorri eta Urdina Rot-blauer Stuhl Cadeira Vermelha e Azul Կարմիր և կապույտ աթոռ صندلی قرمز و آبی 红蓝椅 Црвенo-сина столица Червоно-синій стілець 赤と青の椅子 Cadeira Vermella e Azul Rød og blå stol Röd och blå stol Czerwono-niebieskie krzesło כיסא אדום וכחול Rood-blauwe stoel Red and Blue Chair la xunre je blanu stizu Silla roja y azul 적청의자 Red and Blue Chair Красно-синий стул Kador ruz ha glas Rooi-en-blou stoel
222. 1917 - Ngv design, gerrit rietveld, red-blue chair 1917 01. Ngv design, gerrit rietveld, red-blue chair 1917.
223. 1917 - 4 Reasons for Buying Victory Bonds. " by unknown, Canadian Government created, 1917. Poster has caricature heads of the leaders of Imperial Germany against the Allies in World War I. Left to right: Kaiser Wilhelm II, the German emperor; Field Marshal Paul von Hindenburg, the chief of the German General Staff; Crown Prince Wilhelm, heir to the throne; and Grand Admiral Alfred von Tirpitz, commander in chief of the German Navy.
224. 1917 - Soviet propaganda poster, proletarian dictatorship 1918. Text in Englishː Dictatorship of the Proletariat Year: October 1917 - October 1918.
225. 1917 - Board No. 1, Staro-Basman Board No. 1, Staro-Basman Brett Nr. 1, Staro-Basman. 1917.
226. 1917 - Sagrada Familia under construction. The temple under works, published in the review Iberica in March 1917. Construction depended on donations and moved at the rate the alms allowed, which Gaudi accepted as a condition of the commission.
227. 1918 - Set design by Norman Bel Geddes for Charles Wakefield Cadman’s Shanewis, 1918. Set design by Norman Bel Geddes for Charles Wakefield Cadman’s The Robin Woman: Shanewis, 1918.
228. 1918 - Maxistuhl Roodblauwe Stoel von Gerrit T. Rietveld in Weil am Rhein-Haltingen, Große Gass 30. 2:1, 1918. The source names Andreas Schwarzkopf.
229. 1918 - Red-Blue Armchair by Gerrit Thomas Rietveld, 1918 (this example 1960s), wood - Montreal Museum of Fine Arts - Montreal, Canada -
230. 1918 - Mercur-Flugzeugbau, Plane obove Globe, Poster. "Flugzeug über Globus" mit Unternehmensadressen 1918.
231. 1918 - I. Nivinskiy - Women, Go into Cooperatives (1918). Women, Go into Cooperatives. (1918).
232. 1918 - Alexis Gritchenko in Vkhutemas in 1918. Alexis Gritchenko with his pupils in Vkhutemas in 1918.
233. 1918 - Kārlis Johansons, Voldemars Andersons, Karlis Veidemanis, Gustav Klucis at the. From monoskop.org/Karl_Ioganson : " Karl Ioganson, Voldemars Andersons, Karlis Veidemanis, and Gustav Klutsis pose in Lenin's Model T Ford at the Kremlin, Summer 1918. All four artists were members of a detachment of Latvian machine gunners appointed to guard the Kremlin after Lenin's transfer of the Russian capital to Moscow in March 1918." Kārlis Johansons is also known as: Kārlis Johansons (.
234. 1918 - Secession. 49 Ausstellung... Egon Schiele 1918
235. 1918 - The Town Crier, v.13, no.14, Apr. 6, 1918
236. 1918 - Victor Horta, circa 1918. Dr. Victor Horta of the Royal School of Fine Arts, Brussels, Belgium. The source names Clinedinst Studio. Dated to 1918.
237. 1919 - Der Architekt Walter Gropius, Begründer des Staatlichen Bauhauses Weimar, um 1919 Der Architekt Walter Gropius, Begründer des Staatlichen Bauhauses Weimar, um 1919
238. 1919 - Sideboard by Gerrit Thomas Rietveld, 1919 (this example 1960s-1970s), beechwood - Montreal Museum of Fine Arts - Montreal, Canada -
239. 1919 - Denikinskaya banda by Deni. Denikin’s gang. A Soviet Union poster. On the front, Anton Denikin and Vladimir Purishkevich.
240. 1919 - Kapital. A sample of Soviet agitprop by Viktor Deni (1893-1946) and Demyan Bedny (1883-1945): (Financial) Capital (1919).
241. 1919 - Poster, Peace, If You Don't Want to Fight Anymore, Win the War Against Pans Poland,. Poster depicting three figures, two in red silhouette (worker), one in black. In left foreground, red figure wearing a tan apron, with left arm raised and right arm holding a shovel before a sun with black text. In right background, worker fighting what looks to be a symbolic figure of capitalism, in black, using saber and holding a heavy coat. In lower margin, title of work in red Russian text.
242. 1919 - Преподаватели Народного художественного училища. Professors at the People's Art School in Vitebsk, July 26, 1919. From left to right: Lazar Lissitzky, Vera Ermolaeva, Marc Chagall, David Iakerson, Iouri Pen, Nina Kogan, Alexandre Romm.
243. 1919 - Embroidery by Polina Khentova After Lissitzky’s copies of motifs from the Mohilev. ’s books.
244. 1919 - Page from Ukraynishe Folkmayses (Ukrainian Folktales) by El Lissitzky
245. 1920 - Cia hering matriz blumenau. (left) build in the 1920's, and new sewing building (right) build in brutalist style on late 1960's by architect Hans Broos. The source names João Serraglio.
246. 1920 - The Leach Pottery - geograph.org.uk - 835266. The Leach Pottery The Leach Pottery was established by Bernard Leach and Shoji Hamada in 1920. It has recently been restored both as a museum and a working pottery.
247. 1920 - F51 render. F51 armchair by Walter Gropius, made for Bauhaus in 1920. Render made in autodesk fusion student version.
248. 1920 - Costume design (2) by Norman Bel Geddes for Henry Hadley’s Cleopatra’s Night, 1920. Costume design by Norman Bel Geddes for Henry Hadley’s Cleopatra’s Night, 1920.
249. 1920 - The Leach Pottery, St. Ives, Cornwall - oven. The Leach Pottery Home of studio pottery The Leach Pottery in St Ives was established by Bernard Leach and Shoji Hamada in 1920. One of the great figures of 20th century art, Leach played a crucial pioneering role in creating an identity for artist potters in Britain and around the world. In March 2008, a £1.7 million capital project was completed, giving new life to the Leach Pottery and enabling.
250. 1920 - F51 render cropped. 51 armchair by Walter Gropius, made for Bauhaus in 1920. Render made in autodesk fusion student version.
251. 1920 - Valori Plastici vol 002 no 01-02 advertisement De Stijl. 2, nr. 01-02 (januari-februari 1920). The source names Mario Broglio.
252. 1920 - Gerrit rietveld, sedia dritta per p. j. elling, 1920 ca. 01. Furniture by Gerrit Rietveld in the Centraal Museum. Dated to 1920.
253. 1920 - Deni - Entente under the mask of peace. Antanta pod maskoi mira' / The Entente under the mask of peace.
254. 1920 - 1920. Верный друг. Faithful Friend [Isomaterial]: Vanya idled away whole days, didn't read books, didn't like to engage. [Poster] / artist A. Radakov. - Petersburg: State Publishing House (15 state print), 1920. - 1 sheet: Color lithography; 73x50 cm.
255. 1920 - Proun 4 B Proun 4 B Proun 4 B. 1920.
256. 1920 - Vladimir Tatlin with assistants working on the Tower model. 1920.
257. 1920 - Tatlin's Tower maket 1919 year. 1920.
258. 1920 - OBMAS. 1920s.
259. 1920 - UNOVIS group photo 1920. A group photo of the students and professors of the UNOVIS group, 1920 in Vitebsk, Russia.
260. 1920 - Varvara stepanova, giocatori di biliardo, 1920. Carmen Thyssen-Bornemisza Collection.
261. 1920 - Sagrada Familia spiral stair. Marcelli Gausachs photographed one of the helical stairs inside a tower shaft. The stair is a structural spiral without a central newel, the treads cantilevered from the wall.
262. 1920 - C. F. A. Voysey in the 1920s. (1857, 1941). Architect, designer. Platinum print given to the NPG 1984.
263. 1921 - Macintosh 128k computer, January 1984, by Bernard Gotfryd - (cropped to remove individual). ). Steve Jobs and Macintosh computer, January 1984, by Bernard Gotfryd. The image on the computer screen is “A Woman Combing Her Hair”, by Hashiguchi Goyo (d. 1921). Tif version of photo converted to jpg, retouched and edited. The source names Photo: Bernard Gotfryd - Edited from tif by Cart.
264. 1921 - Kokichi Otake group. From the right in the front row: Shigeru Kishida, Kaneko Yanagi, and Kazue Tomimoto. Back row, from the right: (unknown), Yasuzō Nojima, Ryūsei Kishida, Kenkichi Tomimoto, Muneyoshi Yanagi, Ryūzaburō Umehara, and (unknown).
265. 1921 - Oskar Schlemmer Sketch of figural movement for dance 1921
266. 1921 - Lange Poten 21, Den Haag. Woon- winkelpand uit 1921 van architect Jos Duynstee. Lange Poten 21 t/m 21c is beschermd vanwege de gevel.
267. 1921 - Electrification and counter-revolution. Poster "Electrification and counter-revolution".
268. 1921 - View of Second Spring Exhibition of the OBMOKhU. Bolshaia Dimitrovska, Moscow, 1921. 1921 the Constructivists expressed their ideas at an ambitious Moscow exhibition under the umbrella of the Society of Young Artists ( Общество молодых художников abbreviated to ОБМОХУ/OBMOKhU, OBMOChU ). Johannsons' nine three-dimensional space structures, "self-stressed constructions", exhibited innovative t.
269. 1921 - 20070619Libanon Lyceum2. Libanon Lyceum, a school building in Rotterdam-Kralingen, built by Walter Dahlen (1883-1964) in 1921.
270. 1921 - War memorial window by J. Henry Dearle. John Henry Dearle designed this memorial window for Morris and Company in 1921, twenty-five years after Morris died. Dearle had joined as a shop assistant in 1878, was trained by Morris, and his designs were sold under the Morris name for decades.
271. 1922 - Bell telephone magazine (1922). Identifier: belltelephone6667mag00amerrich ( find matches ) Title: Bell telephone magazine Year: 1922 ( 1920s ) Authors: American Telephone and Telegraph Company American Telephone and Telegraph Company. Information Dept Subjects: Telephone Publisher: (New York, American Telephone and Telegraph Co., etc.) Contributing Library: Prelinger Library Digitizing Sponsor: Internet Archive View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of.
272. 1922 - Dreyfuss. A photograph of Henry Dreyfuss from Bell telephone magazine (1922).
273. 1922 - Marcel breuer con stoffe di gunta stölzl, sedia, 1922 01. Marcel breuer con stoffe di gunta stölzl, sedia, 1922.
274. 1922 - Oskar Schlemmer Figur H 2. „Figur H 2“. Lithografie auf rosafarbenem Japanpapier. 49 × 34,1 cm. Datiert und signiert. Unten links mit dem Prägestempel (Bauhaus). Rückseitig der Stempel in Rot: Württembergische Staatsgalerie Stuttgart, Graphische Sammlung. Dort auch der Stempel in Braun: veräussert. Werkverzeichnis: Söhn 101, 11 / von Maur 494. Einer von 110 Abzügen. Dated to 1922.
275. 1922 - Perestrellos Fotógrafos - 1955 - Image 234563. Perestrellos Fotógrafos . Avenida Arriaga, 1955 (c.).
276. 1922 - Victoria Arduino, 1922. Advertising poster for Victoria Arduino by Leonetto Cappiello - 1922.
277. 1922 - Arm with Hammer and sickle, red star and "V" in background 1922 art detail, from- Да. Soviet poster dedicated to the 5th anniversary of the October Revolution and IV Congress of the Communist International.
278. 1922 - Shifs karta. Illustration done by Lissitzky for Ilya Ehrenburg's book, 1922.
279. 1922 - Shifs karta. 's book, 1922.
280. 1922 - Лисицкий Л. М., Татлин за работой (1922). El Lissitzky, Tatlin at Work.
281. 1922 - Gustav Klutsis and Valentina Kulagina photomontage by Klutsis 1922. Gustav Klutsis and Valentina Kulagina.
282. 1923 - Amenity building university of Bath1. 1978-1985. architects: peter and alison smithson (1923-2003 & 1928-1993). a steel and glass building on a concrete and stone base. and an overpowering roofline, the base was built first, naturally, with the glass top added five years later.
283. 1923 - The smithsons, alison and peter smithson, upper lawn pavilion, 1959-1962. Upper lawn or solar pavilion, architects' own weekend house, 1959-1962. architects: peter and alison smithson (1923-2003 & 1928-1993). restoration: sergison bates, stephan bates and jonathan sergison. window detail. from satellite. the smithsons.
284. 1923 - Vanda Hoff - Apr 1923 Shadowland. 40 of the April 1923 Shadowland. The source names Francis Bruguière.
285. 1923 - The Boudoir Ballet - costume design 2 - Norman Bel Geddes. Design by Norman Bel Geddes for the Boudoir Ballet. Dated to 1923.
286. 1923 - Maneta de porta, Walter Gropius, 1923, Col·lecció Alfaro Hofmann. Maneta de porta Tecnolumen, Walter Gropius, 1923, llautó niquelat. Col·lecció Alfaro Hofmann. Fotografiada a una exposició de l'IVAM.
287. 1923 - Tribune Tower competition entry. Rendering LCCN2017645479. Title: Tribune Tower competition entry. Rendering Abstract/medium: 1 print: halftone photomechanical; sheet 30.4 x 18.2 cm. The source names Gropius, Walter, 1883-1969, architect; Chicago Tribune, client. Dated to 1923.
288. 1923 - G. Rietveld Hartog interior Maarssen 1. 6, nr. 3/4 (May-June 1923).
289. 1923 - Gerrit rietveld, sedia alta da bambini, 1923, 02. Furniture by Gerrit Rietveld in the Centraal Museum. Dated to 1923.
290. 1923 - Tischlampe di Carl Jakob Jucker (left, 1923-24) e di Wilhelm Wagenfeld (right, 1924). ). Held in the Bauhaus Museum Weimar.
291. 1923 - Schlemmer-Bauhaus Werbeblatt. Bauhaus Exhibition of 1923, advertising flyer. The source names Oskar Schlemmer. Haus am Horn, Weimar, 1923.
292. 1923 - Deutschland - Weimar - Haus am Horn. 1923. Georg Muche had designed the house to suit the modern life of the middle class: communal living and working. What was also special was that product designers from various crafts collaborated on the interior design. The source names Bettina Vier.
293. 1923 - Haus am Horn Arbeitsnische 1924. 1923.
294. 1923 - Haus am Horn Wohnzimmer 1924. 1923.
295. 1923 - Postkarte Bauhaus Oskar Schlemmer Postkarte für die Bauhaus-Ausstellung. „Postkarte für die Bauhaus-Ausstellung“ (Grohmann GL 18). Postkarte aus der Folge der 20 Postkarten, die aus Anlass der Bauhaus-Ausstellung in Weimar 1923 erschienen.
296. 1923 - Costume for opera "Victory over the Sun" -Troublemaker. "Sieg über die Sonne". The source names El Lissitzky. Dated to 1923.
297. 1923 - Lissitzky's design of the book For The Voice by Mayakovsky. 1923.
298. 1923 - Utrechtsch Provinciaal en Stedelijk Dagblad vol 127 no 132 Avond-uitgave ad Vereeniging. Advertentie Vereeniging Voor de Kunst.
299. 1923 - Proun 12E by El Lissitzky, 1923, oil on canvas - Busch-Reisinger Museum - Harvard. Exhibit in the Busch-Reisinger Museum, Harvard University - Cambridge, Massachusetts, USA.
300. 1923 - Set of 7 plates, designed by El Lissitzky, 1923, earthenware, red-stenciled decor in. Exhibit in the Germanisches Nationalmuseum - Nuremberg, Germany. As a utilitarian object, this exhibit is NOT subject to copyright laws. Instead it is subject to Industrial Design Rights; see Industrial Design Right for more information. If this object was ever covered by a design patent, that patent has expired, and thus this image is in the public domain.

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