EGYPTIAN COPTIC BREAD SEAL OF CLAY Stamp used to sanctify the ritual bread of the Coptic Christian churches.

From the collection of Mr. Youssef Bahri.

COOKIES AND BREADS: THE BAKER'S ART Wherever man has baked he has considered it a magical and sacred pt'ocess, a medium for expressing his belief in myths,

legends and taboos. Although breads and cooldes have many associative meanings, this exhibition focuses on

their visual interest as shapes and decorations. It ranges from professional and home baking, traditional in form, to recent

experiments in dough by contemporary craftsmen. Baking as a folk art has a long and surviving tradition,

a holiday ritual which unconsciously ))reserves imagery from primitive societies. The breads and cookies by artists, who

use dough consciously as a medium, sometimes follow tradition; in other cases they represent innovations in baking.

The malleability and simplicity of dough invites the invention of form . It can be kneaded and rolled, formed, cut or

pressed into molds. The heat of the oven puffs and colors, creating surprise effects. Application of candies,

frosting and sesame seeds, texturing with scratches and gouges, and the use of seals and stamps, only begin to suggest the

possibilities of decorating, The addition of foreign elements varies hom traditional materials to

bandag1es and t humbtacks in the contemporary section of the exhibition.

Cookies and breads are associa ted with eating. The involvement of two additional senses-taste and smell-

is basic to the uniqueness of the medium. Although this aspect is not the primary concern of the exhibition, the fact that

it is an edible temporary art has significance. Dough is inexpensive and available; the technique of baking is

simple and immediate. The home baker feels free to improvise. The artist is attracted to dough as a medium expressive of

today's concern with impermanence. We also find included in this exhibition several examples of the

deliberate perversion of the material by rendering it inedible with epoxies or excessive salt for durability and by

the use of repellent imagery.

The exhibition only begins to suggest the numerous possibilities. We hope that the scope of the show serves as an

inspiration to innovations in baking as an art.

We would like to extend our deep appreciation to the various staff members of museums and schools, to the bakers and

many individuals who made cookies and breads for the exhibition, to the large number of lenders and to the

l)erSOns who helped to collect materials. Without their generous cooperation we could not have assembled this exhibition. We

most cordially thank Nika Standen Hazelton and Ilse Johnson for the untiring attention they have given to every

detail pertaining to the traditional and contemporary sections respectively. Lastly, we are indebted to

Helen Feingold, who, serving as cookie doctor, not only preserved but also repaired those pieces that were damaged

in transit.

Paul J. Smith, Director

THE MUSEUM OF CONTEMPORARY CRAFTS OF THE AMERICAN CRAFTSMEN'S COUNCIL, 29 WEST 53 STREET, N. Y.

TRADITIONAL BAKING The history of breads, as we know it, begins with ancient Egypt. More than four thousand years ago, over thirty different

kinds were made by professional bakers. Many were baked in the shapes of animals, flowers, etc., for symbolic

offerings to the gods and the cult of the dead. The Greeks also held bread sacred, as did the Romam, and sacrificed bread

images to their gods.

In pre-Christian Rome, bakers, organized in professional guilds, baked many varieties in shapes we still know.

During the Dark Ages, the art of baking was kept alive by the monasteries. As the cities of Europe grew and became

organized, bakers' guilds were re-established. No artisans were more heavily supervised by the authorities, and

everywhere in Europe rules and regulations were enforced to ensure the bakers' honesty.

Bread shortages have caused revolutionary upheavals throughout history. As early as 123 B.C., hundreds of thousands of

Romans were given free bread to prevent disorders. Wars have been fought for bread, and bread riots were the

spark that set off the French Revolution. At all times, ancient and modern, its rationing has been the

desperate, final step taken by governments in distress.

Round mud ovens were used by the Egyptians. From Roman days on, well into our times, ovens were plain

masonry chambers set above a fire box. Their shape varied little until the introduction of the iron stove around the middle

of the last century. In frontier America, women baked in skillets or in front of their kitchen fires in primitive

portable ovens. Only when they settled permanently were ovens built into the kitchens.

In Europe, there has always been a sharp differentiation between homemade and baker's bread. The first was

usually made from coarse, dark flours, such as rye or barley; the second, from milled wheat flour. Thus the fine white

baker's bread was considered more desirable, and a sign of wealth.

Many artifacts are connected with baking. Bread cradles, where the dough is put to rise, were often richly painted in the

Scandinavian countries. We find heavily carved wooden stands that held bread in France and in the Low Countries,

and in Greece carved shepherds' staffs to hold pretzel-shaped breads. The metal cake irons and waffle irons of

NOl'thern Europe are often intricately carved into rococo scrolls. Bread stamps are beautifully designed from clay, wood,

or metal that were either molded or carved. From Roman times, they were used to distinguished a baker's wares

or to guard bread from theft (as a brand protects cattle).

Cookies are' the festive form of bread, made from doughs that are more predictable than yeast doughs; many do not

contain any leavening at all. Early cookies, such as gingerbreads and springerie, invariably contained the

llrecious spices that made the foods of an unrefrigerated age more palatable. The first cookies may well have been ritual

offerings to pagan gods from the poor who, unable to afford animal and other food sacrifices, baked tokens in their

shapes to substitute. This was especially true in Northern Europe where these offerings were probably the

forerunners of the highly ornamental German and Slavic cookies, made from molds that permitted more complicated and

exact decoration. To be eaten was not necessarily the chief purpose of the more ornate examples. They often

portrayed special persons and events and were given as ceremonial gifts. The cultural and art history of South Germany

and Switzerland, where mold carving was a highly developed art, could be written from these picture cookies.

The breads and cookies

of the Near Eastern Islamic countries are curiously plain compared to the rich decoration

lavished on architecture, pottery, and textiles. The Far East bakes but little in the Western sense, as the staple grains of

these countries, such as rice, do not lend themselves readily to baking; few of the confections of China and the

rest of the Orient would warrant the name of cookie. This explains the emphasis on Western baking in this

exhibition, which continues as a fine art in both Europe and the Americas.

Nika Standen Hazelton

DECORATIVE BREADS: Departing from the simple beauty of the many basic

traditional breads, the baker, with malleable dough in his hands, has found it irresistible to vary

and elaborate by shaping decorative designs or braiding complicated forms.

SWISS CHRISTMAS STAR BREAD. 14 inches in diameter.

GIANT CHALLAH, a Jewish ritual bread used for weddings. 3 feet x 11 inches.

ENGLISH BREAD, representing the Miracle of the Two Fishes and Five Loaves (Luke 9.13). 20 inches" 18 inches.

WEDDING BREADS: Wheat and bread are symbols of life and fertility. Wedding breads, usually baked with symbolic decorations in the bride's home, are an integral part of the ceremony.

WEDDING BREAD FROM CRETE. 6 inches" 4 'h inches.

HOLIDA Y BREADS: The Christian calendar has always inspired festive baking,

especially at Christmas and Easter. The symbols used for these holiday breads and cookies vary

according to the regional and cultural background of the baker.

FINNISH VIIPURI TWIST filled with Finnish Christmas cookies, first baked in 1433 for Christmas in

a monastery in Viipuri, Karelia (now U.S.S.R.). 12 inches x 10 inches.

UKRAINIAN WEDDING BREAD from the Poltava region. 21 inches high.

BREADS TO HONOR THE DEAD: All Souls' Day, November 2, is a major festival in Latin-Catholic countries.

The dead are remembered with food offerings which are taken to the cemeteries.

Similar gifts are made by the living to each other.

OSSO DI MORTI (Bones of the Dead) cookies from Sicily. 334 inches x 234 inches.

FIESTA DE MUERTOS (Feast of the Dead) BREAD DOLLS from Equador. 12 inches high.

FANTASY BREADS: In the shaping of bread, bakers in many

countries create fanciful representations which display their skill and imagination. Some forms are inspired by tradition; others are completely original.

SICILIAN BREAD ANIMAL, contemporary. 8'12 inches x 7 inches.

BREAD FIGURE OF A THREE-BREASTED WOMAN, representing fertility, from Frascati, Italy. 7"" inches high.

SWISS "GRITTIBANZ" traditional bread figures baked for holiday gifts, and also given by godparents

to their godchildren on special occasions. 28 i""hes high.

GINGERBREADS: Dating back to the Middle Ages, these holiday bakings are always spiced, though not necessarily with ginger. Especially popular in

Central and Northern Europe, they were generally made in shapes such as persons, houses or scenes.

GINGERBREAD HOUSE. Traditional, 8% inches x 7 inches x 7% inches.

COUQUE DE DINANT, a spice bread that dates from the Middle Ages and is still made for festive use, from Belgium. 9'/.0 inches high.

PRESSED COOKIES: The carving of intricate decorative cookie molds is an early art.

They illustrate a great variety of subject matter, as historical events, religious symbols,

romantic motifs, portraits, and proverbs. During the baroque and rococo

periods, cookie molds reached their most elaborate forms in the Germanic parts of Europe.

GERMAN KNIGHT, baked from a Pennsylvania German cookie mold made in the second half of the 18th Century. 9 inches high.

SPRINGERLE: These cameo-like, pale cookies are an old

South German and Swiss tradition and are baked to this day in an enormous variety of high-relief

designs. They are thought to have first been baked in pre-Christian times as votive

offerings for Wotan, since the name, a German diminutive for

"Springer," may refer to Wotan's eight-footed charger.

BASIC DOUGHS

These recipes will give doughs that can be easily handled for ornamental baking.

The flavoring and spices can be varied and adjusted according to individual taste.

LIGHT DOUGH

1/3 cup vegetable shortening, white or yellow: 1/3 cup sugar: 1 egg: 2;J cup honey! 1 teaspoon lemon flavoring

3 cups sifted all-purpose flour (about): 1 teaspoon baking soda: 1 teaspoon salt

Combine vegetable shortening, sugar, egg, honey and flavoring. Blend thoroughly. Sift together flour, baking soda and salt. Add dry ingredients to tirst

mixture, a little at a time, mixing well after each addition. Since honeys absorb flours differently and eggs vary in size, it may

be necessary to add a little more flour to make a dough that will roll out. Roll dough to the thickness of about 'A inch or more: it will rise

somewhat during the baking. Cut into desired shapes or mold with hands. Decorate, if desired. Bake in a pre-heated moderate oven (375 0 F) for to 10

minutes. Watch baking careful1y: second and subsequent batches of cookies may bake more quickly. Baking time also depends on size and

thickness of cookies. Coolon racks. Decorate when cooled.

DARK DOUGH

l/;J cup vegetable shortening, white or yellow: 1 cup firmly packed light brown sugar: Ilh cups molasses: % cup water

6 cups sifted all-purpose 8our: 2 teaspoons baking soda: 1 teaspoon salt

Ih teaspoon cinnamon: J,4 teaspoon nutmeg: 1,4 teaspoon ginger

Combine vegetable shortening, sugar and molasses. Blend thoroughly. Mix with water. Sift together flour, baking soda, salt and spices.

Beat dry ingredients into first mixture, a little at a time, beating well after each addition. If necessary, adjust dough

with a little more flour for rolling out. Roll out to the thickness of ',4 inch or more. Cut into desired shapes or mold with hands. Decorate. if

desired. Bake in a pre-heated moderate oven (350 0 F) for about 15 minutes. Observ-e baking instructions in LIGHT DOUGH RECIPE.

Note: A very dark dough may be obtained by using dark brown sugar and blacks trap molasses.

BREAD DOUGH

2 tablespoons honey: IJh cups lukewarm water: 1 package active dry yeast: 2 egg whites

tablespoon salt: 3,1.0 cup nonfat dry milk sojids: 1 tablespoon corn oil: 5 to 6 cups unsifted all-purpose flour

2 teaspoons cornstarch: % cup cold water: 1 teaspoon salt

Add honey to lukewarm water. Sprinkle yeast over top. Let stand without stirring for 1 to 2 minutes_ Stir to blend

thoroughly. Beat egg whites until they hold soft peaks. Stir in salt, milk solids, oil and yeast mixture. Gradually beat in flour until dough

is stiff enough so that it can just be stirred. Knead on a lightly floured board until smooth and elastic. Place into greased bowl and

cover with kitchen towel. Let rise until double in bulk. Punch down and shape as desired. Put shaped dough on greased

cookie sheet or into greased pan. Let rise until double in bulk. Cook cornstarch with water and salt until mixture thickens and becomes clear .. Brush

this mixture over bread. Bake in a pre-heated very hot oven (450 0 F) for 10 minutes. Lower heat and bake in a moderate oven (350 0 F)

for 45 to 50 minutes or longer, depending on the size and shape of the bread. If the breads are small, diminish the baking time.

Put a pan of hot water in the bottom of the oven if you want a more crusty bread.

BAKER'S CLAY (Inedible Dough) For Decorative Baking Courtesy Ladies' Home Journal

4 cups unsifted all-purpose flour: 1 cup salt: 1 ¥z cups water

Combine ingredients in a bowl. Mix thoroughly with hands. If dough is too stiff to handle, add more water, a little at a time. Remove dough

from bowl .. Knead from 4 to 6 minutes. Shape into desired ornaments. Bake on cookie sheets in pre-heated moderate oven (350 0 F)

for 1 hour or more, depending on size and thickness of pieces; some may take 2 hours or longer. Test for doneness with fork or toothpick in

thickest part of piece. If still soft, bake a little longer. Lift pieces from cookie sheet with spatula. Coolon racks or kitchen counter.

When thoroughly cooled, paint Or decorate .. Spray finished pieces with a clear fixative when decorated, to prevent softening.

Note: 1. This recipe must not be doubled nor halved. Dough must be used within 4 hours, or it will be too dry.

2. For upright designs, use an armature made from chicken wire. Preferably, build pieces horizontally,

or they may not tit into the oven.

3. Be prepared for failures at first molding attempts. But practice makes perfect.

4. Do not eat.

NORV AL KERN : Cookie Panel, hard shortbread with food color RACHEL KUPER: Rabbit, sculpture, inedible dough: Piggy-bank, sculpture, inedible dough : Toadstools, sculpture, inedible dough TED KUPER : Cat, scnlpture, inedible dough RUTH ASAWA LANIER: Victorian House, inedible dough mounted on wood panel: Nativity, inedible dough mounted on wood panel St. Francis of Assisi, inedibJe dough mounted on wood panel NORMAN LA LIBERTE : for DEL SOL PRODUCTIONS : Cookie molds, group, carved wood BARBARA P. MORROW: Nativity Group, dough DONALD NICE : Hero, plexiglass panel with cookie decoration JOHN OSGOOD : Assemblage des Hors D'Oeuvres, inedible dough : Homage to the Oyster, inedible dough JEAN PEARL : Nude, relief, inedible dough BERNICE RANKIN : Bird, dough and candy DANIEL RHODES : Santa Claus face, two, gingerbread : Mask, gingerbread LILLIAN RHODES : Bird, gingerbread with candy decoration FORD RUTH LING : Animals, group of gingerbread with frosting decoration CARL STEIN : Head, sculpture, light and dark dough MORY BENSON STICKNEY : Robots, group of two, gingerbread : Space shill, dough with plaster and paper ROBERT STRIMBAN : Figure, sculpture, light and dark dough FRANCESCA B. TYRNAUER : Figures , group of gingerbread cookies with frosting decoration

STUDENT PROJECTS

COLLABERG SCHOOL, Stony Point, N. Y. Vera B. Williams, Teacher: Students age 4 to 16 : Ginge,"bread Place HUSSIAN SCHOOL OF ART, Philadelphia, Penna. Mae Gerhard, Teacher : Nine following students, age 21 to 23 MARILYN BALDWIN: Bicycle, sculpture, cookie dough painied with icing MARION BUCKLEY : Victorian House, sculpture, cookie dough CHARLES GARDNER : Turtle, sculpture, cookie dough ROBERT HARTENSTINE and RICHARD SCHEIRER : Carousel, sculpture, cookie dough RONALD LEHEW : Icabod Crane, sculpture, cookie dough KEITH MYERS : Chess Set, sculpture, cookie dough GEORGE SCHRIDER and PAUL KRAMER: Castle, sculpture, cookie dough

CHILDREN'S BAKING

HENRY STREET SETTLEMENT House Art Program by children age 8 to 11 : }o' igures , sculpture, dough with .egetable coloring CHRISTOPHER JOHNSON (age 8) : Bird, sculpture, inedible dough : Angel , sculpture, inedible dough REBECCA JOHNSON (age 7) : Spring Picture, light and dark dough : Sunfaces , colored inedible dough DAN and BEN POSEL (age 4 and 6) : Figures, gingerbread KENNEDY ROSENBERG (age 5) : Santa Claus Face, inedible dough CAROLYN, DAVIDA and SUZANNE WEINBERG (ages 8, 9 and 11) : Christmas Tree Ornaments, inedible dough

THE COOKIE JAR The selection of cookie jars on the mezzanine, representing contemporary approaches to the container form, includes the work of thirty-four craftsmen.

James Adamson, Robert Arneson , Barbara Andino, Clayton Bailey , Fred Bauer, Wendell Castle. Roy Cartwright, Harriet Goodwin Cohen, David Counts, James Crumrine, Stephen DeStaebler, Angelo Garzio, Ken Ferguson, George Greenameyer, Martin Holt, Jolyon Hofsted, Karen Kames, I{a Kwong Hui, James Leedy, Charles McKee, David Shaner, William Sax, James Stephenson, John Stephenson, Rudolf Staffel, Robert Owings, Byron Temple, Robert Turner, Toshiko Takaezu, William Wyman, Fred Wollschlager, Frans Wildenhain, Peter Vandenberge,Robert Worth

The Museum would like to extend its appreciation to the following individuals and organizations for their most generous assistance in supplying information and assembling material for this exhibition.

Dr. Edo Ansaloni, Rome, Italy Mr. and Mrs. Gerold Albonico, Zurich, Switzerland Mrs. Esther B. Aresty , Trenton, New Jersey Dott. Basile, Fiera Del Mediterraneo, Palermo, Italy Mrs. Florence Baver, Easton. Pennsylvania Dr. Erica Billeter, Kungstgewerbemuseum, Zurich, Switzerland Dr. Daniel F. Rubin da la Borbollo, Musco Nacional de Artes e Industrias Populares, Mexico City, Mexico Miss Teresa Capuana. New York, New York Mr. Arne Christiansen, Danish Information Office, New York, New York Mr. E. H. Corrigan, Laredo, Texas Mrs. William DeWitt, Taxco. Mexico Mr. Jon Embretsen , Norwegian Information Office, New York , New York Mrs. Gene Byron de Fernandez, Guanajuato, Mexico Mr. Humberto Arellano Garza. Carapan, Monterrey, Mex ico Countess Madeleine Hamilton, Malmo, Sweden Mrs. Evelyn Heywood, New York, New York Georg Jensen, Inc., New York, New York Mrs. Anita Jones, Oaxaca , Mexico Dr. Louis Jones, New York State Historical Association, Cooperstown, New York Mr. Allan Kastrup , Swedish Information Service, New York, New Yo rk Mrs. Pola Knysh, New York, New York Mrs. Luba Krejci, Prague, Czechoslovakia Mrs. Maria Lampaki, Crete, Greece Miss Marian Laylin, New York, New York Mr. John Leeper, Marion Koogler McNay Art Institute, San Antonio, Texas Mrs. S. Gershon Levi, Jamaica, New York Mrs. Cecil Lubel, New York, New York Mr. Peter de Marel, Belgian Tourist Information Service, New York, New York Dr. Alessandro Morandotti, Rome , Italy Professor A. Nesheim , Bygdoy Folkemuseum, Oslo, Norway Miss Denise Otis. House and Garden Magazine, New York, New York Nova Fortuna Pastry , New York, New York Mr. Per Prag, Norwegian National Travel Office, New York, New York Products of the Alianza, New York, New York Mrs. Anni·HeJene Ramo, He!sinki, Finland Mrs. C. Ramos, New York, New York Miss Lillie Stuckey, New York, New York Ukrainian National Women's League, Branch 64 , New York, New York Mr. Hugh Wakefield , Victoria and Albert Museum, London, England Mr. Robert K. Winn, San Antonio , Texas

The Museum of Contemporary Crafts, 29 West 53rd Street , New York, New York 10019 COOKIES AND BREADS: THE BAKER'S ART, November 20, 1965 to January 9, 1966

COOKIES & BREADS: The Baker's Art

TRADITIONAL BAKING Swiss flat breads. From Bero A G Backerei, Nanikon ZH, Switzerland. Braided Swiss breads. From Walter Buchmann Backerei, Zurich, Switzel'land. Pair of Swiss GRITTIBANZEN, and large gingerbread heart. From Hans Ernst Backerei, Zurich , Switzerland. Swiss pressed cookies of Lebkuchen dough. From Goldapfel Lebkuchen Backerei, Einseideln SZ, Switzerland. Braided Swiss Christmas breads. F.·om Nelly Hartmann-Imhof, Kusnacht ZH , Switzerland. Swiss honey cakes, TIRGGELI. From Willi Suter, Tirggeli Backerei, Schonenberg ZH, Switzerland. Swiss pressed cookie of honey dough. 17th century mold. From Confiserie Holliger. St. Gallen , Switzerland. Swiss decorated cakes, LECKERLIBAREN. From Meyer A G Conliserie, Bern, Switzerland. Swiss pressed cookies of Springerle dough . Traditional molds : HERR 1M KOSTUM, GROSSMUNSTER KIRCHE IN ZURICH, REITERIN.

From Confiserie Sprungli, Zurich. S witzerland. Swiss pressed cookies of Spl'ingerle dough. Cont.emporary molds. From Kunstgewerbemuseum , Zurich, Switzerland. Group of Swiss breads. From Lanfranchi Panetteria , Poschiavo GR, Switzerland. Group of braided Swiss breads . Io'rom Hans Richner Backerei. Kusnacht ZH , Switzerland . German pressed cookies of gingerbread dough. Traditional molds: Adam and Eve, Lady at Spinning Wheel. Heart, Man and Girl. Group of figures

in sweet bread dough: St. Nicholas with Twigs. Eastel' Bunny . Easter Lamb. From Hermann Muller, Munich, Germany. German gingerbread house with Hansel . Gretel, and Witch. Two large German gingerb read figures.

From Mr. Albert W. Hadener, Elk Candy COllllJany, New York, New York. Belgian "ressed cookies of s picebread dough , COUQUES DE DINANT. From Mr. Jaap Penraat,

New York, New York, and frQm Elysee Pastries, New York, New York. Group of five giant wooden Belgian cookie molds. From Mr. Peter de Marel, New York , New York. French cookies , MADELEINES. }'rom Elysee Pastries , New York, New York. English shaped breads: Sheaf of Wheat, Horn of Plenty, Miracle of Loaves and Fishes.

From V ictoria and Albert Museum, London. England. Group of Italian Cookies: Three Breasted Woman. FI'om Baioni Pasticceria, Frascati, Italy. Group of Italian cookies from Frascati: Three Breasted Woman, Me rmaid. From Mrs. Cecil Lubel , New York , New York. Neopolitan Easter Lamb of marzipan, Neopolitan Easter Breads, Sicilian pressed cookies for All Souls' Day .

From Veniero Pastry Shop , New York, New York. -Sicilian cookie molds for All Souls' Day. From Veniero Pastry Shop, New York. New York. Group of Sicilian hI'ead sculptures by Salvatore Purpura. From Casa-Italian Bakery Corp. , New York, New York. Sicilian breads. From Ansaloni Garden Center. Rome, Italy. Sicilian breads. From DoH. Nino Spinna to Bakery , Palermo, Itab . Greek Easter bread. LAMBROPSOMO; altar bread , PROSPHORON; New Year's hread, VASILOPETA; group of KOURABIEDES

cookies, and wedding cookies. From the Recipe Committee of The A r t of Greek Cookery. of the Women of St. Paul's Greek Orthodox Church, Hempstead, New York.

Greek bread seals. FI'om Mr. George Soter, Greek Islands, Ltd., New York, New York, and from Mrs. Nika Standen Hazelton, New York, New York. Cretan Wedding Breads. From Mrs. Nell Znamierowski, New YOl'k . New York. and from Mrs. Maria Lampaki, Crete. Greece. Groul> of Spanish breads and cookies. From Mrs. Carmen Martinez , New York, ,New York. Portuguese breads and cookies . From Miss Maria de Lourdes Modesto , Lisbon, Portugal. Czechoslovakian gingerbread heart. From Vasata Restanrant, New York. New York. Polish Easter pastry, MAZUREK. F ront Mrs. Mary Drzewiecka , Ja.maica , New York. Ukrainian wedding breads, KOROVAI, from the Poltava region. From Mrs. Maria Bilecky, Philadelphia, Pennsylvania. Ukrainian wedding bread, KOROVAI, from the Vynnyky region. From Mrs. R . Zacharchenko, New York, New York. Ukrainian wedding bread. From Mrs. Yoslava Kinal , Yonkers, New York. Finnish colIeebread, PULLA; n Christmas bread, VIIPURI TWIST; Christmas gingersnaps , PIPARKAKUT.

From Mrs. Anne Merikal1io, New York, New York.

Group of 18th century Norwegian flat cake i."ons. From Bygdoy li"olkemuseulU, Oslo, Norway. Swedish holiday cake, SPETTKAKA. From Johanna Jeppsson Bakery, Malmo, Sweden. Swedish crispbIeads. From Wasabrod, Filipstad, Sweden. Group of early 19th century Danish waffle irons, cookie cutte."s, and cookie mold. From the National Museum of Denmark, Copenhagen, Denmark. Shaped breads copied from ancient Egyptian models by Salvatore Purpura. From Casa·Italian Bakery, New York, New York. Coptic bread seals. From MI'. Youssef Bahri, New York, New York. Arabic bread seals. From Sahadi Importing Company, Brooklyn, New York. -Group of Syrian pastries. From Alwan Brothers, Brooklyn, New York. Group of Iranian cookies. From Miss Malihe Sattarzade, New York, New York. Jewish breads for ROSH HASHANA: Bird Challah, Ladder Challah, Round Challah. From Mrs. Marian Siner Gordon, Forest Hills, New York. Jewish Finger Challah. From l\irs. Ernest S. Freudenheim, Buffalo, New YOl"k. Jewish Challah, shaped as a sheaf of wheat. From Louis Lichtman, Inc., New York, New York. Jewish cookies. From Mrs. Lawrence Atkins, Jamaica, New York. Giant Jewish Challah. From Mr. Norman Blecher, Bayside, New York. Group of Mexican bread dolls. From Mr. Humberto Arellano Garza, Monterrey, Mexico. Set of Mexican breads and cookies baked for All Souls' Day from Oaxaca, Mexico. From Marion Koogler McNay Art Institute, San Antonio, Texas. Pair of clay oven dolls froUl Pisac, Peru. From Mrs. Harriet Brock, New York, New York. Ecuadorian bread dolls for All Souls' Day. From Products of the Alianza, New York, New York. Pair of Ecuadorian bread dolls for AU Souls' Day. From Vivian Burns Imports, San Francisco, California. Group of pressed cookies of gingerbread dough. Pennsylvania German molds. From Mrs. Raymond H. Walton, Philadelphia, Pennsylvania. Easter breads in the shape of Easter bunnies. Group of Pennsylvania Dutch cookies. From Mrs. R. B. Merwarth, Easton, Pennsylvania. American marzipan mold with pattern of Lafayette and horse. Butter stamp with heart and vine pattern.

From New York State Historical Association, Cooperstown, New York. Pair of 18th century Pennsylvania Duteh cookie molds. From Mr •• Raymond H. Walton , Philadelphia, Pennsylvania.

CONTEMPORARY BAKING

JUDITH CAPLAN : Twelve Days of Christmas, gingerbread cookies CORINNE COLQUHOUN : Sun face, cookie, light and dark dough : Sun face, cookie, light and dark dough : Table tops, group of two, light and dark dough Bowl of Fruit, panel, dough and candy : Flower Garden, panel, dough and candy BILL CRAWFORD : Helmet, sculpture, cookie dough RUTH C. DICKINSON : Houses, group, cookie dough with frosting decoration MARION EBERT : designed in collaboration with ROGER COOK : Collection of Christmas Motifs SHAN ELLENTUCK : Methuselah, cookie, gingerbread and springerle dough LORRAINE FILPPONE : Cookie, sculpture, light and dark dough JOHN FISCHER : Lock and Bagel, sculpture : Parallel Clamp and Bread, sculpture : Wounded Bread, sculpture Bread on Wheels, sculpture : Bread Mural , sculpture : The Hanging Gardens, sculpture MAE GERHARD : Nativity Scene, group of figures with frosting decoration : Knight on horse, cookie puppet, inedible dough painted with colored egg yolk SLAV A GERULAK : Millecrepe, sculpture, light dough : Cookie, with frosting decoration JOLYON HOFSTED : Gilbey's Gin, sculpture, inedible dough: Slipper, sculpture, inedible dough ILSE JOHNSON : Sunface, candy and dough : Figure with Flowers, dough : Birds, gingerbread cookies with frosting Vase with Flowers, candy and dough : Bowl, gingerbread JOHN PHILIP JOHNSON : Sunface, dough with almonds : Partridge and Pear ),ree, gingerbread: The Heavenly Hosts, dark dough Sunfaces, gingerbread

CONTEMPORARY COOKIES €:I BREADS

DANIEL RHODES' GINGERBREAD 6% inches x 4';'z inches.

EIGHT-YEAR-OLD CHRISTOPHER JOHNSON'S BIRD Baker's Dough. 12 inches x 5 inches.

FORD RUTHLING'S ANIMALS Gingerbread. 15\!2 inches x 8 inches.

CORINNE COLQUHOUN'S TABLE TOPS. Gingerbread. 4th inches x 3 inches; H~ inches x H~ inches.

RUTH ASAWA LANIER'S ST. FRANCIS OF ASSISI. Baker's Clay. (inedible dough). 17 inches x 15 inches.

MAE GERHARD'S NATIVITY SCENE. 214 inches to 5 inche ••

RUTH CARD DICKINSON'S VICTORIAN HOUSE COOKIE. BY. inches high.

ILSE JOHNSON'S VASE AND FLOWERS. Gingerbread and Candy. 30 inches high.

CORINNE COLQUHOUN'S SUNFACE. Gingerbread. 10 inches in diameter.

MORY BENSON STICKNEY'S ROBOT. Gingerbread. 9 inches high.

NORVAL KERN'S COOKIE PANEL. Hard Shortbread with food coloI'. 18 inches x 12% inches.

BREAD AS SCULPTURE: "Parallel Clamps and Three Breads" is a combination

of opposing elements, - the soft and organic with the hard and machine-like. In this way the

aesthetic character of bread as plastic material is emphasized. Individually, the breads

and the clamp are obiects. It is the co-existence of their divergent qualities that gives the work its sculptural form.

John Fischer

JOLYON HOFSTED'S GILBEY'S GIN. Baker's Clay. (inedible dough) . 9'/ . inches high.

THE COOKIE JAR This collection of jars and boxes in the media of wood and pottery by contemporary American

craftsmen illustrates a variety of solutions to the container form.

WILLIAM WYMAN 'S STONEWARE COOKIE JAR filled with Ceramic Cookies. 13 inches x 9'h inches.

FRED WOOLSCHLAGER'S CERAMIC COOKIE JAR. 10 inches high.

TRUSTEES OF THE AMERICAN CRAFTSMEN'S COUNCIL

MRS. VANDERBILT WEBB, Chairman of the Board KENNETH CHORLEY, Vice-Chairman

WILLIAM J. BARRETT, President MA Y E. WALTER, Secretary

V. LADA-MOCARSKI, Treasurer

ALF.RED AUERBACH THOMAS D'ARCY BROPHY MRS. LEWIS CARPENTER RENE d'HARNONCOURT

MARK ELLINGSON WILTZ HARRISON

AUGUST HECKSCHER BERNARD KESTER

WALTER H. IHLHAM, JR. JACK LENOR LARSEN

DOROTHY LIEBES EARL McCUTCHEN

DONALD McKINLEY FRANCIS S. MERRITT

MRS. HAROLD T. NELSON DE WITT PETERKIN, JR.

WILLIAM PITNEY FRANK STANTON JOHN B. STEVENS

EDWARD WORMLEY

MUSEUM STAFF

PA UL J. SMITH, Director BRUCE M. BRECKENRIDGE, Assistant Director

LOUISE ADE BOGER JOANNE MILANI PAUL COMPARE

Photography: FERDINAND BOESCH

Catalog Design: EMIL ANTONUCCI

Catalog Production: TED TESSLER, New I':.·a Lithograph Company, Inc.