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    In This Issue:

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    News & Notes From the DecoPhiles 3

    Art Deco Now and Then: The Role of the Media in its Popularization 5 Deco Discoveries: Deco for the Priests in Brittany 28

  • ADSW

    Board of Directors

    President—Jim Linz

    Vice President—Vacant

    Treasurer—Lou Simchowitz


    At Large Members:

    Linda Lyons

    Karyn Jarboe

    Colleen Levow

    Silver Spring—Richard Striner

    Visit us on the web at

    Webmaster—Jim Linz

    Wanna Be a Member?

    Join online at

    Or call 202-298-1100

    And request an



    Trans-Lux is published four times a year

    by the Art Deco Society of Washington,

    P.O. 42722, Washington, D.C. 20015-

    2722. Phone (202) 298-1100.

    ADSW is a non-profit organization in-

    corporated to foster public awareness

    and appreciation of the Art Deco period

    through volunteer actions to preserve the

    era’s decorative, industrial, architectur-

    al, and cultural arts.

    Editor/Publisher—Jim Linz

    Book Reviews Editor—Vacant

    Calendar Editor—Lynda

    Schmitz Fuhrig

    Contributors: Jim Linz Clive Foss Barbara Billauer Bailey

    Trans-Lux is looking for a few good writers. Please submit manuscripts and photographs to Jim Linz, PO Box 221011, Chantilly, VA 20153. Please enclose a self-addressed envelope for return of material. Sub- mission of letters/articles implies the right to edit and publish. ©2011 ADSW

    On the Cover: Brochure for the United Fruit Company Steamship Service


    News and Notes from the Deco Philes

    Expo Reviews Mostly Favourable Both dealers and customers seemed pleased with the Exposition of 20th Century Decorative Arts‘ return to the Ernst Community Cultural Center after a 4-year absence. Dealers generally praised the ease of setup and breakdown thanks to the greatly expanded loading dock. Many

    also commented on the brightness and openness of the Ernst Center com- pared to the individual rooms and dark corridor at the Dulles Expo Cen- ter. Strong sales were reported by a number of dealers. Customers seemed pleased with the openness of the show floor and the selection of dealers. Many positive comments were also received about the first-ever Expo After Hours Party. Attendees had particular praise for the swing danc- ers—Joe and Tabitha Robinson—and the musical shorts. Although reviews of the 2011 Expo were mostly positive, there were a few problems. The public address system did not work properly, compli- cating show management‘s efforts to communicate with dealers and cus- tomers. Providing food service on the mezzanine level proved problem- atic and was moved to the Atrium for the second day of the show. The most oft heard complaint, however, had to do with parking charges. For the first time since the show moved to Northern Virginia, there was a $1 an hour charge for parking for Saturday customers even though the school‘s vast parking lots were mostly empty. ADSW will work with Northern Virginia Community College officials on a solution.

    Expo Lost and Found A camera and clip-on sunglasses were left at the Expo. If you lost either item, contact Colleen Levow at or 703.758.9771.

    Expo Dates Set for 2012, 2013 Although the 2011 Expo was only a month ago, plans are underway for both 2012 and 2013. The show will remain at the Ernst Center during the first weekend in June in 2012 and then move to the second weekend

    (Continued on page 4)


    in June in 2013. The switch to the second weekend in June will avoid fu- ture conflicts with the Reading Air Show. Unfortunately, another group has already booked the Ernst Center the second weekend in 2012.

    Raskin, Cotter Resign Ira Raskin and David Cotter resigned from the Board following the Expo. A life-member, Ira served as Expo Chair, Co-Chair, or Deputy Chair for most of the last 20 years. He also served as Treasurer during a particu- larly difficult period, transferring that role to Lou Simchowitz last Sum- mer. David Cotter also made significant contributions to the Society, most re- cently as Vice President. Both Ira and David plan to continue their involvement in ADSW programs. With the departure of Ira and David, the Board has a critical need for new members. Contact Jim Linz (703-568-3745 or to volunteer.

    Frederick Hodges Returns San Francisco Society pianist Frederick Hodges returns to Northern Vir- ginia Sunday, July 24th, for a concert at Jordan Kitts Studio in Merrifield. The concert, sponsored by the Northern Virginia Ragtime Society, begins at 2 pm. For details and tickets go to Reservations are required.

    Fly Down to Rio...for the World Congress on Art Deco Registration for the 11th World Congress on Art Déco, scheduled for Rio de Janeiro, August 14 - 21, 2011 is open. A pre-Congress program will be held in São Paulo from August 11 - 13. The 2011 Congress will be the first in Latin and South America. For further information check the website for the Instituto Art Déco Brasil— Questions should be directed to Márcio Alves Roiter, founder and President of the Instituto Art Déco Brasil. He can be reached at

    If you plan to attend the World Congress, or are looking for a traveling companion to share expenses, please send a message to


    Art Deco Now and Then:

    The Role of the Media in its Popularization

    By Barbara Billauer Bailey A bit of history: Expos - their effect on culture, the arts and future technology cannot be underestimated. Indeed most people attribute the popularization of the Art Deco aesthetic to the 1925 Paris Exposition. The Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Mod- ern Industrial and Decorative Arts), held in Paris, France from April to Octo- ber 1925, brought together a host of international avant garde creators employing a new and modern design aesthetic for the first time. (The term Art Deco was derived by shortening the words Arts Décoratifs.) 4,000 guests attended the inauguration on April 28, and thousands of visitors came on each of the following days to watch the inauguration of a new approach to design. And whether expressed as Bauhaus Modern or French Deco, these forms translated into new and modern, exemplified by sleek- ness of line and finesse of form, reducing, if not eliminating, the profusion of sinuous emollients of the earlier Art Nouveau movement. While the rudiments of the Art Deco style was conceived more than a dec- ade earlier, the birthday of the new form was celebrated at this grand expo. As Waldemar George wrote: ―All that clearly distinguished the old- er ways of life was rigorously excluded from the exposition of 1925.‖ The new style that would be showcased would be aggressively modern, taking its lead from the cutting edges of other arts in expressing the spirit of the new age.

    The new form was characterized by a ―streamlined classicism showcasing

    facetted, crystalline structures,‖ It‘s embellishments, if you can use the term

    in the Art Deco context, consisted of decorative references to sleek machin-

    ery, stylized fountains, gazelles, lightning flashes, inspiration from ancient

    cultures that relied heavily on geometric lines, such as ―Aztec,‖ or other

    reminiscences of ancient influences, such as Egyptian revival, by interpreting

    them by incorporating with a repetitive linear form or geometric motifs. The

    demise of art nouveau, with its sinuous grace of lines, that of soft folds of

    drapes or reminiscent of languid movements of exotic dancers, was appar-

    ent. Instead, it was to be replaced by the Cubism of Braque, Gris and Pi-


    casso, heralding a taste for abrupt angularity, an abruptness smoothed

    into a sleekness we now call ―streamlined.‖ The beginnings of futurism also

    appeared under the Art Deco rubric; Le Corbusier‘s grand housing plan

    replete with 200 foot skyscrapers, along with Austria‘ City in Space by

    Frederick Kiesler was introduced.

    Fourteen y