140

  • Arts and Crafts Inkwell

  • ca. 1910
  • Artist unknown
  • Hammered copper, milk glass insert
  • 5.4 x 9.0 x 9.0 cm., 2-1/8 x 3-1/2 x 3-1/2"
  • Catherine Carter Goebel, Paul A. Anderson Chair in the Arts Purchase with Gift of Mr. James Beebe, Paul A. Anderson Art History Collection, Augustana College 2003.15

Essay by James Beebe, Class of 1988

Since antiquity, inkwells were used to dispense ink until their general disuse by the mid-twentieth century with the invention of reliable pens capable of carrying their own supply of ink (Nickell). Inkwells are single receptacles for the short-term storage of a small amount of ink and to slow its evaporation until its eventual use. Various materials were suited for this task and were fashioned in numerous ways. Hence, inkwells were imbued, not only with ink, but also the aesthetic trends of a particular time and place. This copper and glass inkwell, although not marked or dated, is characteristic of the type of Arts and Crafts metalwork produced in the United States around 1910.

The Arts and Crafts Movement began in England during the nineteenth century as a reaction against rampant industrialization and what was then seen as the undesirable effect it had on the design and manufacture of goods. It was not conceived as a new style, but rather, as a new philosophy for living, working, and making objects. However, a general preference for handcraftsmanship, straightforward construction, design suited to purpose, and (generally) inexpensive materials, created a consistently rustic tone that could be called a style (Fleming and Honour 45-6). Non-precious metals were favored, but copper, in particular, was the preferred metal of choice by Arts and Crafts metalworkers. The use of copper for this inkwell typifies the movement's preference for simple proletarian materials: it was relatively inexpensive, and thus, well aligned with the democratic ideals of the Arts and Crafts philosophy.

This inkwell's strong geometric shape upholds the Arts and Crafts' preference for simple forms and straightforward, functional design. Its austerity is softened only by rounded edges, a slightly flared base, and an overall roughly hammered finish. Typically, the surfaces of hand-wrought items were roughly hammered or planished to a smooth texture of evenly distributed, yet visible hammer marks. These marks, which generally distinguish Arts and Crafts metalwork, conveyed the imprint of the craftsman as well as the method of manufacture. The hammer marks have not been planished smooth, but are distinctly visible, being uniform in size, of medium depth and evenly spaced. Patination, or the chemical alteration of metal to change its color, further emphasizes the character and manipulation of the copper on this inkwell. Unlike the hammer strikes of English copperwork, which were generally restrained, this inkwell's hammer marks are more characteristic of the robust handling of American metalwork. In addition, American Arts and Crafts copperwork was routinely patinated, while English metalsmiths only occasionally patinated their wares. The hammer marks and patination of this inkwell indicate that it is likely of American make. This inkwell seems to be typical of the type of work made by the New York school at the height of the movement (Harwood 11).