This exhibition is drawn from the in-gallery show Universe of
Things: Micky Wolfson Collects. Exploring our founder Micky Wolfson’s history of collecting and singular commitment to preserving the material of modern life, it closely examines two objects from distant cultures that—while seemingly disparate—are connected by the invisible ties of global exchange, political power, and the economics of style.
East and West
No culture is an island. The Wolfsonian collection reveals points of cultural exchange and friction in the increasingly interconnected modern world, driven by colonialism, diplomatic relations, and international trade. Shown here in conversation, a sideboard from Great Britain and a painted screen from Japan together speak eloquently to how these two distant nations powerfully influenced one another in the late nineteenth century.
Sideboard (c.1876) by Edward William Godwin (British, 1833-1880) and William WattThe Wolfsonian–Florida International University
In 1854 Japan reopened to international commerce, ending two centuries of relative seclusion. The resulting global trade created a European craze for all things Japanese, including the development of a distinct Anglo-Japanese style.
Godwin’s radically simplified version rejected Victorian excess for simple lines and right angles that emphasized harmony and function.
Inspired by Japanese aesthetics, Godwin ignored applied decoration such as carving or marquetry, choosing instead to highlight the interplay of negative and positive space.
Plate from Art furniture, from designs by E.W. Godwin, F.S.A., and others [with hints and suggestions on domestic furniture and decoration] (c. 1878) by Godwin, E. W. (Edward William), 1833-1886 and William WattThe Wolfsonian–Florida International University
Installed in wealthy London homes, Godwin sideboards were often used to display extensive collections of the Japanese porcelain popular with proponents of the Anglo-Japanese style.
Sideboard (c.1876) by Edward William Godwin (British, 1833-1880) and William WattThe Wolfsonian–Florida International University
For this particular sideboard, that tradition continued into the late twentieth century when owner Jimmy Page, Led Zeppelin guitarist, decorated it with his own collection of ceramics.
Kokai no Ikusa [The Battle of the Kokai] (c. 1901) by Sugawara Tanryo (Japanese)The Wolfsonian–Florida International University
Naval might was decisive in forcing Japan to trade with Western nations in the mid-nineteenth century, exemplified by American naval officer Commodore Matthew Perry’s arrival in 1853 at the shores of Japan with a gunboat and a demand for open economic relations. Japan responded by emulating Britain’s Royal Navy, at the time the most powerful in the world.
This painted screen, a traditional Japanese art form, depicts a battle between Japanese and Chinese navies during the First Sino-Japanese War (1894–1895).
The Imperial Japanese Navy had been established only twenty-six years earlier and was hugely influenced by the British naval model. Japan’s victory in the battle, an accomplishment for a relatively untested young navy, offered proof that by assimilating Western technology, the island nation could emerge as the dominant power in East Asia.
The influence of the British Navy can be seen throughout the screen.
The Imperial Japanese Navy was established in 1868 and began contracting with European naval yards to produce state-of-the-art armored warships
Even the Japanese figures wear uniforms inspired by British naval uniforms, from the non-commissioned sailors to the high-ranking officers.
Check out the rest of the exhibition through our four other stories: A Universe of Things: Women’s Work, A Universe of Things: 1939, A Universe of Things: Aluminum, A Universe of Things: Heroes & Villains.
A Universe of Things: Micky Wolfson Collects is organized by The Wolfsonian–Florida International University. The exhibition is made possible by the Cowles Charitable Trust, Funding Arts Network, Inc., and the Sain Orr Royak Deforest Steadman Foundation.
The Wolfsonian receives ongoing support from the John S. and James L. Knight Foundation; the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture; Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; and the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council.
