Egyptian Revival: An Everlasting Allure by sfomuseum

Pantone 871 C Metallic + Black

City and County of San Francisco Edwin M. Lee, Mayor Airpor t Commission John L. Mar tin, Airpor t Director www.flysfo.com

This publication is presented in conjunction with the SFO Museum exhibition Egyptian Revival: An Everlasting Allure, held at the San Francisco International Airport from January to June 2015.

Egyptian culture first enchanted the West when Cleopatra captured the hearts of legendary Romans Julius Caesar and later Mark Antony more than two thousand years ago. Before long, Rome incorporated Egypt into its empire (31 BCE). Obelisks, Egyptian-style architectural elements, and sculpture inspired by such figures as the Egyptian deity Isis, emerged in Rome. Centuries later, Napoleon’s Egyptian campaign (1798– 1801) ignited an inextinguishable fascination with ancient Egypt. Numerous scholars and artists accompanied Napoleon during his expedition to record the sights and discoveries of this mystifying land. As a result, the first volumes of Description of Egypt (Description de l’ Égypte) were published in 1809. The large tomes contained mesmerizing folio prints of Egyptian architecture and antiquities never seen before. A number of other significant events contributed to the West’s fascination with Egypt, particularly in the early 1800s and again in the later part of the century. In 1822, French scholar Jean-François Champollion deciphered hieroglyphics when he translated the Rosetta Stone. Obelisks were transported from Egypt and raised in Paris, London, and New York. In 1869, the Suez Canal opened in Egypt, connecting the Mediterranean and Red seas. A number of world’s fairs included Egyptian displays. Archaeologists and scholars continued to publish numerous accounts of their discoveries in Egypt throughout the century. Theater productions, such as the highly acclaimed opera Aida, set in ancient Egypt, debuted in Cairo in 1871 and New York in 1873.

This novel exposure to Egypt inspired Egyptian Revival. The design style permeated Western decorative arts, furniture, jewelry, and architecture. Egyptian-inspired designs provided an exotic alternative to other fashionable styles of the period. Obelisks, hieroglyphs, sphinxes, pyramids, scarabs, and lotus blossoms were popular motifs. Imagery was construed and adapted in different ways, from literal interpretations to fanciful artistic motifs. In 1922, Howard Carter’s discovery of King Tutankhamun’s tomb and the extensive artifacts uncovered with it sparked renewed enthusiasm for all things Egyptian. Ancient Egypt influenced everything from commercial buildings, movie theaters, and films, to clothing, mass-produced items, and advertisements. Decades later, in the 1970s, world tours of the treasures of King Tutankhamun’s tomb prompted another wave of what scholars often refer to as “Egyptomania.” No other ancient civilization has captivated the Western world in quite the same manner. The public’s love of ancient Egypt remains eternal. This exhibition features one hundred years of Egyptian-inspired objects from nineteenth-century mantel clocks to ornate Victorian table stands and Art Deco beaded purses. Jewelry, sculpture, and silver are some of the many other items on display inspired by ancient Egypt. Special thanks to Allen Michaan of Michaan’s Auctions and all of the other lenders for making this exhibition possible.

Plate from Description of Egypt 1809–28 Artist: Dominique Vivant Denon (1747–1825) France Collection of the Victoria and Albert Museum SP.208A R2014.2920.002

O w e n

J o n e s

D e s i g n s

E g y p t

Nineteenth-century decoration books, particularly Owen Jones’ The Grammar of Ornament (1856), detailed many iconic ancient motifs. Jones’ publication became the seminal design sourcebook of the period. The author and designer played a pivotal role in promoting the application of ancient ornament and accompanying color schemes to architecture and interiors of the period. Jones portrayed Egyptian motifs as colorful, vibrant, and evoking nature. Jones not only influenced public tastes, but also helped shape the public’s imagination of ancient Egypt. He designed a series of grand displays of ancient world cultures for the Crystal Palace at Sydenham Hill on the outskirts of London in 1854. In collaboration with Egyptologist Joseph Bonomi, Jones created a spectacular Egyptian court, which contained monumental replicas of ancient antiquities and architecture. Hundreds of thousands of people were introduced to ancient Egypt through Jones’ mesmerizing, grandiose display.

The Abu Simbel Colossi at the Egyptian Court 1854 Photograph by Philip Henry Delamotte (1820–89) Crystal Palace Sydenham, London Collection of the Victoria and Albert Museum PDP R2014.2920.006

Detail from The Grammar of Ornament 1868 edition

Inner Egyptian Court 1854

Owen Jones (1809–74) Bernard & Quaritch London Courtesy of J. A. Garfield

Photograph by Philip Henry Delamotte (1820–89) Crystal Palace Sydenham, London Collection of the Victoria and Albert Museum

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S o u r c e s

o f

D e s i g n

I n s p i r a t i o n

Egyptian Revival was part of a larger trend in decorative arts, architecture, and painting known as exoticism—the use of novel forms and images drawn from places such as Japan, China, North Africa, and Persia. Trade with the East in the sixteenth and seventeenth centuries first ignited interest in non-Western art. Displays of non-Western art at many of the world’s fairs in Europe and the United States beginning with the Crystal Palace in London in 1851, further sparked the West’s captivation with the unfamiliar. In addition to making use of “exotic” imagery, for centuries, the Western World has looked to the past for design inspiration. During the Renaissance of the fifteenth and sixteenth centuries, artists and designers were inspired by ancient Rome. During the 1800s, in addition to taking inspiration from Egypt, many designers were drawn to Classical, Gothic, and Renaissance art and architecture. As a result, Egyptian elements were commonly combined with other revival styles popular at the time.

Painting c. mid-1800s Charles Lock Eastlake (1793–1865) England oil on canvas Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.008

Pedestals c. 1860s–70s possibly New York wood, paint, metal Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.012.01-.02

Male and female statues c. 1860s–70s United States wood, paint Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.001, .002

T h e

S p h i n x

The sphinx, a mythical creature with a lion’s body and a human or animal head, sometimes with wings, occupies a special position in the history of Egyptian imagery. In ancient Egypt, sphinx heads commonly depicted Egyptian pharaohs or rulers. Sphinx statues were often found in pairs flanking entranceways and serving as guardians of temples to welcome and protect. Usually they were shown recumbent, but with legs firmly planted on the ground, ready to pounce. The Great Sphinx is the largest and most famous, located near the Great Pyramids of Giza. In the West, the sphinx is one of the most recognizable Egyptian motifs. Its image also warrants a great deal of freedom in interpretation. The imaginative use of the sphinx in the Western world began in ancient Greece and Rome and continued throughout the Renaissance. In late seventeenth-century Europe, sphinxes began to decorate parks and buildings and continued to appear throughout the eighteenth to early twentieth centuries as architectural elements and in decorative arts.

Vulture and sphinx c. 1865 Auguste Nicolas Caïn (1821–94) France bronze Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.020

Woman with sphinx c. 1870s–90s France bronze Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.003

Great Sphinx and Two Great Pyramids albumen print c. 1880s–90s Egypt Anonymous lender L2014.2914.010.12

M a n t e l

G a r n i t u r e

Egyptian-inspired mantel garniture were particularly popular from the 1860s through the 1880s. The origins of these mantel sets probably evolved from early nineteenth-century designs by clockmaker Vulliamy of London. Rather than displaying historical accuracy, these sets typically evoke an aura of Egypt. For instance, the hieroglyphics displayed on many clocks were merely decorative and had no real meaning. Clocks were accompanied by a variety of accent pieces, from obelisks to candelabra and busts. Many of these clock sets were manufactured in France and then shipped to luxury goods retailers such as Tiffany & Co., where they were marked with the retailer’s label and sold. Cleopatra may have served as the inspiration for the bust atop the mantel clock at left. The famous queen has warranted countless depictions throughout waves of Egyptian Revival.

Mantel garniture with candelabra c. 1860s–80s France wood, metal, glass, paint, marble Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.007.01, .02, .03

Mantel clock c. 1860s–80s

France bronze, wood, paint Courtesy of Michaan’s Auctions, Alameda, CA

United States wood, paint Courtesy of Michaan’s Auctions, Alameda, CA

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O b e l i s k s

The obelisk, an Egyptian invention, symbolized the pharaoh’s reign and his or her connection to the divine. Most obelisks were dedicated to Egyptian solar gods and placed in pairs before the entrance gates of temples. In the West, obelisks were constructed as funerary monuments and memorials, such as the Washington Monument, which opened to the public in 1888 to honor George Washington. Ancient Egyptian obelisks were also transported from Egypt to various capitals beginning with ancient Rome and later to Paris, London, and New York. The Luxor Obelisk in Paris, given to France in 1829, was one of a pair that flanked the entrance to Egypt’s Luxor Temple 3,300 years ago. Similarly, Cleopatra’s Needle, an ancient Egyptian obelisk located in London, was first offered to the United Kingdom in 1819. It remained in Egypt until 1877, when its transport was finally secured, though it was nearly lost at sea en route to England. As in ancient Egypt, the challenge of transporting and erecting these enormous columns in the nineteenth century was a particularly costly and daunting task.

Mantel garniture with obelisks c. 1860s–80s France wood, glass, bronze, stone Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.005, .006.01,.02

Obelisks (see page 82 for descriptions) Collection of Ace Architects L2014.2902.006, .014, .015, .004, .005, .013

Encased Cleopatra’s Needle in preparation for its move to Central Park 1881 New York Courtesy of the Library of Congress Prints and Photographs Division, Washington, D.C. LC-USZ62-49249 R2014.2918.001

S c a r a b

M o t i f s

The winged scarab was an important Ancient Egyptian motif. Ancient Egyptians observed how scarabs spend most of their lives rolling a ball of dung, until suddenly, they realize that they have wings that allow them to fly off and explore. Hence, in Ancient Egypt, the scarab beetle was a symbol of rebirth and transformation used on seals, amulets, and jewelry. Designers such as Louis C. Tiffany, who pioneered Art Nouveau in the United States, incorporated scarabs into many of his pieces. Thousands of glass scarabs were produced by Tiffany Studios at his Corona, New York, factory. They were inset into necklaces and other jewelry and also used in ceramics, metalwork, and wooden pieces.

Scarab paper clip c. 1915

Scarab stamp box c. 1915

Louis C. Tiffany Furnaces New York metal, Favrile glass Courtesy of Michaan’s Auctions, Alameda, CA

possibly New York bronze Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.013

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Scarab humidor c. 1905 Tiffany Studios New York wood, Favrille glass Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.011

E g y p t i a n

S y m b o l i s m

Ancient Egyptian decoration and ornamentation were frequently derived from the flora and fauna found along the Nile. Ancient Egyptians observed the lotus plant rising up from the water and opening at daybreak, closing at dusk, and sinking beneath the water. As such, they associated the flower with rebirth. Hence, depictions of lotus blossoms commonly appeared on ancient Egyptian art. Nineteenth-century decoration books such as Owen Jones’ The Grammar of Ornament (1856) detailed many of these iconic ancient Egyptian motifs including the stylized lotus blossom, which was commonly applied to furniture and decorative arts in the Egyptian Revival style. The ancient Egyptian motif of the winged sun disk, a symbol of the sun god offering protection, was carved over many doors in ancient Egypt. It consisted of a sun disk, a sacred cobra, and on each side, a pair of outspread wings suggesting the daily passage of the sun in the heavens. American architects and designers, fascinated by its intriguing components, have depicted the winged sun in some highly imaginative ways.

Dish c. 1870s Haviland Limoges, France porcelain Courtesy of Richard Reutlinger L2014.2906.005

Brunswig tomb at Metairie Cemetery 1895

Temple pylon bookend c. 1920s

New Orleans, Louisiana Harold Allen (1912–98), photographed c. 1950s–60s Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago

United States or Europe cast iron Collection of Ace Architects

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Pedestal c. 1860s–70s

Lotus motif wallpaper sample 1858

possibly New York wood, paint, metal Courtesy of Michaan’s Auctions, Alameda, CA

Owen Jones (1809–74) Collection of the Victoria and Albert Museum

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E g y p t i a n - I n s p i r e d

S i l v e r w a r e

Household items featuring Egyptian motifs were offered throughout the nineteenth century in silver and silver-plated wares. The 1859 discovery of the Comstock Lode enabled the United States to produce large quantities of silver. Moreover, the mechanized electroplate process allowed middle-class families to afford a wide array of silver-plated products in the late 1800s. Egyptian Revival lent a regal and exotic air to domestic silverwares. These tea and coffee service items, showcase Egyptian, Classical, and Renaissance Revival motifs with sphinxes atop the pieces, classical patterns incised into the sides, and stag heads protruding from the legs. This tilting ice water pitcher on the following page was produced by Rogers, Smith & Company. The pitcher, which displays sphinxes, Egyptian heads, and lotus flowers, was lined with a baked enamel finish to insulate its contents.

Coffee pot, teapot, and creamer c. 1870s United States silver plate Courtesy of Richard Reutlinger L2014.2906.001.01, .02, .09

Tilting ice water pitcher c. 1870s Rogers, Smith & Company Meriden, CT silver plate Courtesy of Richard Reutlinger L2014.2906.002.01-.03

A n c i e n t

E g y p t

i n

t h e

E v e r y d a y

By the late 1800s, items associated with Egypt were available at a range of consumer levels, from massproduced items to exceptionally well-made pieces. Manufacturers capitalized on the “Egyptomania” craze by offering consumers a variety of everyday items from inkwells to thermometers. In addition to objects, in the early 1900s, many popular sheet music covers displayed Egyptian themes. Often times, the music would be far from anything related to Egypt, but the illustrations made for intriguing covers. Egyptian-inspired advertisements also became so popular that oftentimes the product had no correlation with ancient Egypt. Brands such as Palmolive featured Egyptian imagery, promising women “eternal” beauty if their products were regularly used. In 1923, The New York Times reported that the U.S. Patent Office received a flood of applications for the use of “Tut-Ankh-Amen” as a trademark for objects primarily for “women’s use.” The tobacco industry also used Egyptian imagery in its advertising including pyramids, camels, and sphinxes. One manufacturer went as far as naming its brand Egyptian Deities cigarettes.

Letter opener and tray c. 1880s–1900 France metal, wood, marble, paint Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.016a,b

Burning Sands sheet music 1922 Courtesy of Richard Reutlinger L2014.2906.013

Pyramid inkwell and cigarette box c. 1890

Sphinx c. 1920s

United States or Europe bronze Collection of Ace Architects

New York copper-plated lead Collection of Ace Architects

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Advertisement for Egyptian Deities cigarettes 1900 Library of Congress Prints and Photographs Division, Washington, D.C. LC-USZ62-89771 R2014.2918.002

Cigarette packs early 1900s Various manufacturers United States SFO Museum, Landor Collection of Packaging Antiquities, gift of Walter and Josephine Landor L2014.2913.001, .002. .003. .004, .005

Sewing machine early 1900s Singer New York metal, paint Collection of the Museum of American Heritage, Palo Alto, CA L2014.2912.001

Palmolive advertisements 1918 The Ladies’ Home Journal Curtis Publishing Co. Philadelphia Anonymous lender L2014.2914.011, .017

Egyptian Valencias orange crate label c. 1920s California Courtesy of Laurie Gordon R2014.2915.002

T u t - M a n i a !

Photographer and Egyptian Revival historian Harold Allen once reminisced about how he had read the newspaper headlines as a child announcing Howard Carter’s discovery of nineteen-year-old King Tutankhamun’s tomb in 1922: “I went forth a boy of ten, fascinated by Indians, wild animals, and taxidermy, and returned— an Egyptian!” Allen’s enchantment captures what millions of others must have felt. For 3,000 years, King Tutankhamun’s tomb lay undisturbed. Now, this great discovery by Howard Carter created a worldwide sensation. Through photographs and articles in newspapers and magazines, news of the excavation and its opulent contents reached worldwide audiences. The minutest details of Carter’s discoveries were painstakingly reported daily in the press, and when Carter lectured on his findings in major cities across the United States, his visits made front-page news. “Tut-mania” quickly began to manifest itself in popular items ranging from sarcophagus lamps to sphinx bookends.

Mummy lamp c. 1923 Louis V. Aronson New York metal, glass, paint Courtesy of Vladimir Pronin, Gone with the Wind Antiques L2014.2911.001

Archaeologist Howard Carter (left) examines King Tutankhamun’s sarcophagus 1922 Photograph by Harry Burton (1879–1940) R2014.2919.001

Egyptian Court Apartments 1926 San Diego, California Harold Allen (1912–98), photographed 1954 Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.010

Veil (detail) c. 1920s Europe Collection of Lacis Museum of Lace and Textiles L2014.2910.005

J e w e l r y ,

F a s h i o n ,

H o l l y w o o d

Archaeologists began discovering ancient Egyptian jewelry during various excavations in the mid-1800s, which newspapers and other publications reported to the public. Before long, women began wearing Egyptian-inspired jewelry. Most pieces contained Egyptian motifs in association with typical styles of the day. Early cinema also aided in making Egyptian-inspired jewelry and fashions popular, particularly the 1917 silent film Cleopatra, which starred the eccentric Theda Bara. Following the discovery of King Tutankhamun’s tomb in 1922, designers continued to use Egyptian embellishments. A 1923 New York Times article titled “They Watch Egypt for Fashion” reported “on the eve of a revolution in dress,” citing that designers and costumers were flocking to view Egyptian collections in museums for inspiration. In 1934, Cecil B. Demille’s Cleopatra appeared on screen in a talking picture starring Claudette Colbert, with costumes and jewelry as lavish as the earlier silent film. Fashion and film were not the only mediums to take inspiration from Egypt; movie theaters also followed suit. Cities such as London, Paris, and Los Angeles erected movie theaters with Egyptian-inspired exteriors and interiors in the 1920s.

Scarab necklace (detail) c. 1930s–40s Joseff of Hollywood California metal, stones Courtesy of the Joseff of Hollywood Studio Collection L2014.2908.005

Lotus necklace and earrings c. 1930s–40s

Interior of the Zaring Egyptian Theater 1925

Joseff of Hollywood California metal, enamel Courtesy of the Joseff of Hollywood Studio Collection

Indianapolis, IN Harold Allen (1912–98), photographed 1953 Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago

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Theda Bara publicity still for Cleopatra 1917

Snake bracelet c. 1930s–40s

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Joseff of Hollywood California metal, glass Courtesy of the Joseff of Hollywood Studio Collection L2014.2908.001

Pyramid-shaped purses c. 1920s India thread, fabric Courtesy of Vicki Schwager, The Purse Museum L2014.2904.002, .003

E v e n i n g

B a g s

At the turn of the twentieth century, artisans and designers produced purses that reflected the design trends of the day. In the 1920s, Art Deco often incorporated Egyptian motifs, particularly after the discovery of King Tutankhamun’s tomb in 1922 and even more so after the 1925 Paris Exposition (Exposition Internationale des Arts Décoratifs et Industriels Modernes) presented Egyptian-inspired designs. Egyptian-style fashions were linked to ancient opulence and mysterious symbolism. In addition to embellishing purses with Egyptian imagery, some were constructed in the shape of pyramids. Women used small evening bags such as these to carry their compacts, lipstick, and other small necessities. Such evening bags were commonly constructed of beadwork with celluloid handles.

Beaded purse with pharaohs c. 1920s United States or Europe beads, thread, fabric, metal Courtesy of Vicki Schwager, The Purse Museum L2014.2904.001

Beaded purse c. 1920s

Asia magazine cover 1929

United States or Europe glass beads, thread, fabric, celluloid From the collection of Jennifer Whitehair

Concord, New Hampshire Courtesy of Laurie Gordon L2014.2915.001

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Pyramid Tomb at Mount Olivet Cemetery 1917 Nashville, Tennessee Harold Allen (1912–98), photographed c. 1950s Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.014

H a r o l d

A l l e n ’ s

E g y p t

Harold Allen became enchanted with Egypt as a young boy of ten after reading the first newspaper headline announcing Howard Carter’s discovery of King Tutankhamun’s tomb in 1922. From that moment, he waited breathlessly for news reports on Carter’s excavation. During high school, he recalled spending “many a happy study period reading and rereading” the three-volume set, The Tomb of Tutankhamun. Allen’s ardor for Egypt never cooled. As a graduate student, he researched eighteenth-century ancient Egyptian influences on Western arts and architecture. Allen later made his most significant contribution to the field through his photographs of nineteenth- and twentieth-century ancient Egyptian-inspired architecture across the United States. Egyptian Revival architecture first appeared in the United States in the early 1800s. Architects incorporated Egyptian designs in funerary architecture, monuments in the form of obelisks, and public buildings such as prisons. Designers also created Egyptian Revival interiors in buildings including churches and masonic temples. After the discovery of King Tutankhamun’s tomb, ancient Egyptian-inspired architecture flourished again in new forms, especially movie theaters and even apartment buildings. Harold Allen’s exceptional body of work documents the range of buildings constructed, from the regal Virginia Medical College (1844–45) to the campy Pyramid Supper Club in Beaver Dam, Wisconsin (1961).

Grauman’s Egyptian Theater 1922 Hollywood, California Harold Allen (1912–98), photographed c. 1950s Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.002

Interior of the Masonic Temple Lodge “Egyptian Hall” 1889 Philadelphia, Pennsylvania George Herzog (1851–1920), interior designer Harold Allen (1912–98), photographed c. 1950s Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.007

Cairo Supper Club c. 1920 Chicago, Illinois Paul Gerhardt (1863–1961), architect Harold Allen (1912–98), photographed 1962 Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.017

Police Station remodeled in the Egyptian style c. 1897, built c. 1830s New Orleans, Louisiana Harold Allen (1912–98), photographed 1953 Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.008

Austin Tomb, Long Beach Cemetery c. 1900 Long Beach, California Harold Allen (1912–98), photographed 1955 Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.015

Fort Kearney Museum c. early 1950s Kearney, Nebraska Harold Allen (1912–98), photographed 1954 Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.016

Pyramid Supper Club 1961 Beaver Dam, Wisconsin Harold Allen (1912–98), photographed c. 1960s Courtesy of the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Ryerson & Burnham Archives, The Art Institute of Chicago R2014.2917.005

B i b l i o g r a p h y Allen, Harold. “My Egypt.” Exposure: The Journal of the Society for Photographic Education Vol. 16, No. 1 (March 1978): 16–27. Brier, Bob. Egypt-Omania: Our Three Thousand Year Obsession with the Land of the Pharaohs. New York: Palgrave Macmillan, 2013. Curl, James Stevens. The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West. New York: Routledge, 2005. ——. Egyptomania, The Egyptian Revival: A Recurring Theme in the History of Taste. Manchester: Manchester University Press, 1994. Hudson River Museum. The Sphinx and the Lotus: The Egyptian Movement in American Decorative Arts 1865–1935. Yonkers, New York: Hudson River Museum, 1990. Humbert, Jean-Marcel, Michael Pantazzi, and Christiane Ziegler. Egyptomania: Egypt in Western Art 1730–1930. Ottawa: National Gallery of Canada, 1994. Metropolitan Museum of Art. “Egyptian Revival.” http://www.metmuseum.org/toah/hd/erev/hd_erev.htm Moser, Stephanie. Designing Antiquity: Owen Jones, Ancient Egypt and the Crystal Palace. New Haven and London: Yale University Press, 2012. Reeves Nicholls, Dale, Shelly Foote, and Robin Allison. Egyptian Revival: Jewelry & Design. Atglen, PA: Schiffer Publishing Ltd., 2006.

The Sphinx Speaks Oracle/Ouija board (detail) c. 1940s Jerry Lowenthal and Co. United States Courtesy of Gene Orlando L2014.2905.004

from page 24

Cleopatra’s Needle needle case c. 1880s United States or Europe stamped brass Collection of Ace Architects L2014.2902.006

Washington Monument coin bank c. 1900 United States painted cast iron Collection of Ace Architects L2014.2902.014

Cleopatra’s Needle monument 1881 Cover

Female statue c. 1860s–70s United States wood, paint Courtesy of Michaan’s Auctions, Alameda, CA L2014.2901.002

End papers

Tiffany & Co. New York brass Collection of Ace Architects L2014.2902.015

Luxor obelisk thermometer c. 1840s Europe gilded bronze, black marble Collection of Ace Architects L2014.2902.004

Detail from The Grammar of Ornament 1868 edition Owen Jones (1809–74) Bernard & Quaritch London Courtesy of J. A. Garfield L2014.2916.001

Cleopatra’s Needle oil lamp c. 1878 Europe brass Collection of Ace Architects L2014.2902.005

Back cover

Male statue c. 1860s–70s

Boston Bunker Hill Monument coin bank c. 1876

United States wood, paint Courtesy of Michaan’s Auctions, Alameda, CA

United States painted tin Collection of Ace Architects

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Pantone 871 C Metallic + Black