Samples of Perfection – Origins of the Design Museum Collection
Research and curating by: Leena Elina Valkeapää
The Design Museum Collection began as a selection of objects acquired from the Vienna World’s Fair of 1873. Finland was then an autonomous Grand Duchy of the Russian Empire. A diverse mix of over 700 objects ranging from lace to cement were purchased with citizen-donated funds. A further 300 items from chairs to ceramic tiles were acquired from the 1878 Paris Exposition five years later. The objects marked the inception of Finland’s first industrial arts collection, which was opened to the public in Helsinki on April 24, 1874.
What do these early objects tell us about industrial design 150 years ago? And why were these specific items chosen for the collection?
The most vocal advocates of the collection were Professor Carl Gustaf Estlander and Colonel Walfrid Spåre, both of whom had grand ambitions for the role it would perform. The collection was expected to foster the advancement of Finnish industry and raise the standard of Finnish craftsmanship and domestic comfort. Design specimens were needed not only to serve as industrial benchmarks, but also to exemplify styles from different periods and cultures.
Perfect Specimens introduces a selection of objects that were acquired for the collection from the Vienna and Paris World’s Fairs, reflecting on their significance both then and now. Similar collections were assembled by many other museums in the late 19th century. This diverse and cosmopolitan array of objects exerted a significant formative influence on the emergence of Finland’s budding design culture. What are your thoughts on these objects?
Vienna World’s Fair 1873
Vast pavilions were built on the grounds of Prater Park to serve as the venue of the Vienna World’s Fair. The fair attracted over seven million visitors during its six-month run. The exposition provided a stage for the world’s nations to showcase their achievements in art, culture, industry and science. Finland exhibited as part of the Russian Empire. The Finnish section featured paper and textile products, along with the typical exposition jumble of exhibits ranging from Confectioner Ekberg’s signature brandy and chocolate bonbons to sculptures by Walter Runeberg.
The objects chosen for the Finnish collection were acquired at the eleventh hour before the closing of the fair. The items were packed in crates and transported by train via St. Petersburg, arriving in Helsinki in February 1874. The Riihimäki–St. Petersburg railway had been completed in 1870.
The Paris Exposition Universelle 1878
The Paris Exposition Universelle of 1878 attracted 16 million paying visitors during its six-month run. The exposition spread across both sides of the Seine. The enormous main palace of glass and iron occupied the Champ de Mars on the Left Bank. A bridge extended across the Seine to the Trocadéro Palace, an eclectic edifice exemplifying the fashionable Moorish and neo-Byzantine styles. Visitors flocked to the fair to marvel at new electrical inventions such as Bell’s telephone and Edison’s phonograph. International congresses on topics such as art and literature copyright were organized for professional audiences.
Although Finland had no pavilion of its own, the Grand Duchy staged an impressive show. The 1874-founded Arabia ceramic factory had its own stand at the fair.
Industry benchmarks: What kinds of examples were needed?
Guilds were abolished and freedom of industry was established in Finland in 1868. During the transition to industrialization, the object collection performed an important educational role, not least in the training of skilled industrial artisans. The collection set benchmarks of excellence helping to raise the standard of Finnish craftsmanship and industrial production. Being open to the public, it also contributed to cultivating public taste by teaching consumers to recognize and demand high quality. It thus performed a dual role educating both professionals and the public, ensuring that new domestic products would be durable, pleasing to the eye, state-of-the-art and flawless in execution.
The private donors who funded the collection were passionate advocates of growth and prosperity. Russia’s vast export market and low customs tariffs represented an attractive opportunity for pioneering industries in the Grand Duchy of Finland.
Examples from history: How were past styles interpreted?
The object collection was intended not only for educating product designers, but equally for refining public taste. To cultivate the public’s ability to identify different styles, periods and cultural influences, the collection needed examples of historical artefacts. A variety of historical examples from Baroque wallpapers to old metal vessels were acquired for this edifying purpose. Most were copies, as authentic historical artefacts were rare and expensive. The production of replicas was a common practice in the late 19th century. Contrary to current opinion, a copy was not necessarily an inferior substitute. A skilfully made replica could exemplify technical excellence, ideally offering as much instructive benefit as the original.
The late 19th century was the heyday of revival styles such as Gothic Revival, Rococo Revival and Orientalism. Many of the objects acquired from the world’s fairs were examples of past styles and foreign cultures.
Electrotype copy of a wrought silver goblet from Nuremberg, Elkington & Co (England), 1870s, purchased in Paris 1878
National production: What was learnt from other cultures?
The universal expositions provided a stage for the world’s nations to parade their achievements in art, culture, science and industry. The world’s fairs epitomized the Western belief in progress, offering a veritable cornucopia of new ideas and experiences for modern knowledge-seekers in the era of industrialization and urbanization. A vast array of cultures and their artefacts were showcased. The objects were assumed to typify the unique characteristics of each culture, and collectively they were seen as imparting a wider narrative about the evolution of human civilization. Europe drew inspiration from folk art, history and most visibly from Eastern cultures – but the Western attitude to ‘exotic’ high cultures was patronizing and paradoxical. While admiring the Orient for its artistic accomplishments, the West brazenly went on exploiting Asian natural resources and labour. The comfort and prosperity enjoyed by the West was underpinned by the ugly reality of colonialism.
The collection introduced a vast array of objects that few Finns would otherwise have had an opportunity to experience first-hand. In addition to presenting new inventions and exemplary industrial products, the collection also featured unique crafts made by local artisans from many cultures.
Images: Anni Koponen