My colleague Gunnel Teitel was kind enough to give to me an article from The Artist of April 1901 about the Vienna Kunst Gewerbe Schule (Arts and Crafts School). At first headed by a man named Hofrath Storck, the students designed patterns which were not modern. "..they avoided copying the French and Belgian patterns, turning to Italian as affording more change in treatment; and they had a particular liking for Venetian relief forms, and occupied much of their time in copying the Renaissance style." Hrdlicka succeeded Storck as head of the school and his wife Mathilde Hrdlicka and Fraulein Hotmanniger composed designs for the "new school". These were the very distinctive art nouveau type designs in the book that Tamara is referring to. I believe I saw some of the Venetian Gros Point in the basement display of the school's work at the Kunst Gewerbe Museum in Vienna. I have often wondered if the beautiful piece of 19th century three-dimensionally petaled Gros Point on display in the Met's 19th cent. Decorative Arts Gallery wasn't made there. (But I have never met another person who shared my belief.) Devon
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