Domestic Furnishings

Washboards, armchairs, lamps, and pots and pans may not seem to be museum pieces. But they are invaluable evidence of how most people lived day to day, last week or three centuries ago. The Museum's collections of domestic furnishings comprise more than 40,000 artifacts from American households. Large and small, they include four houses, roughly 800 pieces of furniture, fireplace equipment, spinning wheels, ceramics and glass, family portraits, and much more.

The Arthur and Edna Greenwood Collection contains more than 2,000 objects from New England households from colonial times to mid-1800s. From kitchens of the past, the collections hold some 3,300 artifacts, ranging from refrigerators to spatulas. The lighting devices alone number roughly 3,000 lamps, candleholders, and lanterns.

TITLE: Meissen two-handled bowl (Hausmaler)MAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)MEASUREMENTS: L.
Description
TITLE: Meissen two-handled bowl (Hausmaler)
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)
MEASUREMENTS: L. (over handles) 6" 15.3 cm
OBJECT NAME: Bowl
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1730-1740 Meissen
SUBJECT: The Hans Syz Collection
Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 73.178
COLLECTOR/ DONOR: 274
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue.
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1943.
This bowl is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in Germany, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
The bowl, which should have a cover, was made in the Meissen manufactory but painted outside by an independent artist. Hausmalerei is a German word that means in literal translation ‘home painting’, and it refers to the practice of painting enamels and gold onto the surface of blank ceramics and glass in workshops outside the manufactory of origin. Beginning in the seventeenth century the work of the Hausmaler varied in quality from the outstanding workshops of Nuremberg, Augsburg, and Breslau (now Wroclaw in Poland), to the less skilled efforts of amateur artists. Early Meissen porcelain was sought after for this purpose, and wealthy patrons of local enameling and gilding workshops purchased undecorated porcelain, often of out-moded or inferior quality, which was then enameled with subjects of their choice. Hausmalerei was at first acceptable to the early porcelain manufactories like Meissen and Vienna, and Meissen sent blank porcelain to Augsburg workshops for decoration, but as the market became more competitive they tried to eradicate the practice. It was a temptation for Meissen porcelain painters to take on extra work as Hausmaler to augment their low pay, and the manufactory cautioned or even imprisoned them if Hausmalerei activity was suspected or discovered.
The so-called Watteau scenes (Watteauszenen) cover a large group of objects produced entirely within the Meissen Manufactory as well as those painted outside. The paintings of Claude Gillot (1673-1722) Jean-Antoine Watteau (1684-1721) and Nicholas Lancret (1690-1743), all of whom worked in Paris, introduced the elegiac fête galante, scenes of languid and amorous pursuits in lush parkland settings, often featuring figures from the Italian Comedy. These artists in particular established a highly successful genre that was reproduced in prints and adapted for enamel painting by many of the porcelain manufactories and Hausmaler in the mid-eighteenth century.
This bowl, and originally its cover which is missing, was painted in the mid-eighteenth century with finely dressed figures playing musical instruments, probably in the workshop of Franz Ferdinand Mayer of Pressnitz, Bohemia (now Přísečnice in the Czech Republic).
On Hausmaler see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from The Cummer Museum of Art and Gardens, pp. 43-46.
On Antoine Watteau see Thomas Crow, 1985, Painters and Public Life in Eighteenth-Century Paris, especially chapter II; Donald Posner, 1984, Antoine Watteau.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection, pp. 542-543.
Location
Currently not on view
date made
ca 1740
1740
maker
Meissen Manufactory
ID Number
CE.73.178
catalog number
73.178
accession number
308538
collector/donor number
274
Currently not on view
Location
Currently not on view
date made
mid-seventeenth century
ID Number
CE.P-464
catalog number
P-464
accession number
225282
The compote bowl comes from a service that Napoleon Bonaparte (1769-1821) gave to his sister Pauline (1780-1825) when she established a home in Paris at the hôtel de Charost.
Description
The compote bowl comes from a service that Napoleon Bonaparte (1769-1821) gave to his sister Pauline (1780-1825) when she established a home in Paris at the hôtel de Charost. The pale lilac used as a ground color was fashionable in post-revolutionary France, a time when interior designers experimented with new and unusual colors and color combinations, and one of the boudoirs in the hôtel de Charost was painted in a similar color. The figure subjects are painted in brown and highlighted in gold on a ground painted to imitate marble. On one side the subject appears to be Mars the god of war with helmet, club, and vulture at his feet, his chariot drawn by three hybid monsters, but we see also the attributes of other gods like Mercury's staff, and neptunes trident. On the other side of the bowl the subject of a female figure in a chariot drawn by cupids holding flaming torches is also not clear. Two Roman heads in profile are painted on medallions with marble grounds, and framed by gold stars, purple beads and foliate ornament.
The compote's light lilac ground has dark purple ornament painted in overglaze enamel. A Greek key pattern circles the bowl below the rim, and a foliate frieze circles the base of the bowl where it meets the foot. The foot stem supporting the bowl is heavily gilded, and a band of gold circles the interior of the compote, which is otherwise left undecorated.
See Liana Paredes, 2009, exhibition catalog “Sèvres Then and Now: Tradition and Innovation in Porcelain, 1750-2000”, p.73, p.148.
This compote belongs to the Alfred Duane Pell collection in the National Museum of American History. Before Pell (1864-1924) became an Episcopalian clergyman quite late in life, he and his wife Cornelia Livingstone Crosby Pell (1861-1938) travelled widely, and as they travelled they collected European porcelains, silver, and furniture. Pell came from a wealthy family and he purchased the large William Pickhardt Mansion on 5th Avenue and East 74th Street in which to display his vast collection. The Smithsonian was one of several institutions to receive substantial bequests from the Reverend Pell which laid the foundation for their collections of European applied arts.
Location
Currently not on view
date made
1805
ID Number
CE.P-778B
catalog number
P-778B
accession number
225282
Currently not on view
Location
Currently not on view
date made
c.1831
ID Number
CE.P-804D
catalog number
P-804D
accession number
225282
Currently not on view
Location
Currently not on view
date made
1662-1722
ID Number
CE.P-315
catalog number
P-315
accession number
225282
Few products are more symbolic of household life in post-World War II America than Tupperware.
Description
Few products are more symbolic of household life in post-World War II America than Tupperware. Made of plastic, intended for service in the suburban kitchen, and with clean and modern design, Tupperware represented "tomorrow's designs with tomorrow's substances." The Museum's collections include over 100 pieces of Tupperware, dating from 1946 through 1999. This bowl and cover were made by Tupperware Corporation, Woonsocket, R.I. (bowl), and Farnumsville, Mass. (lid), 1946–1958 and donated by Glenn O. Tupper.
Beginning in the 1930s, chemist Earl S. Tupper (1907–1983) experimented with polyethylene slag, a smelly, black waste product of oil refining processes, to develop uses for it. He devised translucent and opaque colored containers that he first marketed in 1942 as "Welcome Ware," then added lids with a patented seal later in the decade.
Modeled after the lid of a paint can, the lid to a Tupperware container was to be closed with a "burp," to create a partial vacuum and make the seal tight. The product was designed to appeal to the growing number of housewives who worked in suburban kitchens with modern appliances, including large refrigerators that allowed once-a-week trips for grocery shopping at the supermarket. These women formed a market for new and effective methods of food storage. Tupperware's water-tight, airtight seal promised preservation of freshness and limited spills or spoilage.
Yet the capabilities of the new product were not obvious to consumers at first, and Tupper's containers did not sell well in retail stores. A Michigan woman named Brownie Wise thought of marketing Tupperware through the home-sales method. Wise developed the system of Tupperware parties, at which a demonstrator could show the uses and advantages of Tupperware. As Tupperware became a staple of many American kitchens, some women found job opportunities in Tupperware sales.
Location
Currently not on view
date made
ca 1949
manufacturer
Tupperware
ID Number
1992.0605.022
catalog number
1992.0605.022A,B
accession number
1992.0605
This creamware bowl is decorated with a number of transfer prints. The central inside this bowl is a polychromed print of an American sailing ship with the name “Zebedee Cook” below.
Description
This creamware bowl is decorated with a number of transfer prints. The central inside this bowl is a polychromed print of an American sailing ship with the name “Zebedee Cook” below. Zebedee Cook was born in 1760 and lived as a prominent citizen in Newburyport, Massachusetts for much of his life. He was an underwriter for insuring merchandise and ships at sea. The interior edge of the bowl is ringed by six images of naval and military instruments. On the outside of the bowl are four prints. One print features a portrait of John Adams “President of the United States” flanked the allegorical figures of Plenty and Justice. Another print depicts George Washington stepping on a lion, symbolizing the defeat of Great Britain during the American Revolution. Surrounding this image are the words “By virtue and valour, we have freed our country, extended our commerce, and laid the foundations of a great empire.” In the background are a few Continental soldiers and a ship flying an American flag. The other two prints are concerned with mythological scenes featuring mermaids and the god Neptune. Robert H. McCauley purchased the bowl from Parke Burnet Galleries in New York, NY on March 31, 1944 for $90.00. This bowl was formerly part of the George Horace Lorimer collection. Lorimer was an editor of The Saturday Evening Post from 1899 to 1936.
This bowl is part of the McCauley collection of American themed transfer print pottery. There is no mark on the bowl to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Ceramics of this style, with a cream colored glaze over a pale earthenware clay, known as Liverpool type commonly featured transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.166
catalog number
63.166
accession number
248619
collector/donor number
44-347
Currently not on view
Location
Currently not on view
date made
c. 1815
ID Number
CE.P-90
catalog number
P-90
accession number
225282
Currently not on view
Location
Currently not on view
date made
1763 -1774
maker
Meissen Manufactory
ID Number
CE.P-716E
accession number
225282
catalog number
P-716E
MARKS: Crossed swords in underglaze blue; impressed Maltese cross in a circle (former's mark).PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1952.PROVENANCE: Ex Coll. Dr.
Description
MARKS: Crossed swords in underglaze blue; impressed Maltese cross in a circle (former's mark).
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1952.
PROVENANCE: Ex Coll. Dr. Max Strauss, Vienna, Austria.
This rinsing bowl is part of the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the collector and New York dealer Adolf Beckhardt (1889-1962), formerly of Frankfurt-am-Main in Germany. Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychoanalysis and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in Germany, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
This bowl was once part of a tea and coffee service onto which were painted topographical scenes of Saxon places of interest. Featured on the bowl is the Königstein Fortress, built on the top of the rocky prominence in the center left of the image, which lies south of Dresden close to the river Elbe seen on the right. The fortress, which still exists, stands on an outcrop of sandstone sculpted over millenia by the waters of the Elbe, and it is situated in a region unique to this part of south-eastern Germany known as Saxon Switzerland, later to become a landscape fascinating to early nineteenth century painters like Caspar David Friedrich. The second painting depicts the Sonnenstein castle above the town of Pirna, which lies south-east of Dresden on the banks of the Elbe. In the sixteenth century Pirna flourished as a merchant town, and was a center for Protestant minorities seeking refuge from persecution in Catholic Central Europe. Bernardo Belotto/Caneletto (1721-1780), the nephew of Giovanni Antonio Caneletto (1697-1768), his pupil and assistant in Venice before leaving to study in Rome, painted several scenes of Pirna, but at the Meissen Manufactory both these images, painted in onglaze enamels, were after engravings executed in 1726 by Johann Alexander Thiele (1685-1752). Thiele painted many landscapes of Saxon sites, and among his pupils were artists who later developed what became known as the Dresden landscape school, active until well into the nineteenth century. The bowl is an example of Meissen’s use of sources from the work of contemporary artists, an exchange made possible through the increasing volume of prints supplied to the manufactory. (Marx, H., Die Schoensten Ansichten aus Sachsen: Johann Alexander Thiele (1685-1752) zum 250 Todestag, 2002).
The bowl has a sea-green ground color, and the images in the reserves are painted in polychrome enamels. The interior and exterior gold scrollwork and foot ring frame the piece. The interior has another miniature landscape that remains unidentified and is probably imaginary, surrounded by elaborate scrollwork in purple and iron-red enamels and gold. When part of a tea and coffee service, the bowl was used to take the last dregs of a beverage before a cup was rinsed and refilled. It is likely that a service of this kind was not much used in a practical sense, but put on display for admiration.
The sea-green ground color was one of several enamel color grounds developed at Meissen and applied to the surface of the glaze by flicking a brush loaded with enamel color onto a sticky vegetable gum applied over the glaze; reserves were masked out preserving the white surface for the painted image. The gum evaporated in the firing and the color fused into the softened glaze. Later ground laying techniques used powdered color applied with a pad, usually made of cotton fabric or suede, which had the advantage of producing a more even density and depth of color. In today's ceramic industry, solid color grounds are most often applied with automated screening techniques, or in studio with a spray gun powered by a compressor.
See a milk pot from this service in Pietsch, U., Early Meissen Porcelain: the Wark Collection from the Cummer Museum of Art and Gardens, 2011, p.379; for a sugar bowl see The Rita and Fritz Markus Collection of European Ceramics and Enamels, Museum of FIne Arts, Boston, 1984, p. 128.
Syz, H., Rückert, R., Miller, J. J. II., 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 292-293.
Location
Currently not on view
date made
ca 1735
maker
Meissen Manufactory
ID Number
1983.0565.43
collector/donor number
893
accession number
1983.0565
catalog number
1983.0565.43
Few products are more symbolic of household life in post-World War II America than Tupperware.
Description
Few products are more symbolic of household life in post-World War II America than Tupperware. Made of plastic, intended for service in the suburban kitchen, and with clean and modern design, Tupperware represented "tomorrow's designs with tomorrow's substances." The Museum's collections include over 100 pieces of Tupperware, dating from 1946 through 1999.
Beginning in the 1930s, chemist Earl S. Tupper (1907–1983) experimented with polyethylene slag, a smelly, black waste product of oil refining processes, to develop uses for it. He devised translucent and opaque colored containers that he first marketed in 1942 as "Welcome Ware," then added lids with a patented seal later in the decade.
Modeled after the lid of a paint can, the lid to a Tupperware container was to be closed with a "burp," to create a partial vacuum and make the seal tight. The product was designed to appeal to the growing number of housewives who worked in suburban kitchens with modern appliances, including large refrigerators that allowed once-a-week trips for grocery shopping at the supermarket. These women formed a market for new and effective methods of food storage. Tupperware's water-tight, airtight seal promised preservation of freshness and limited spills or spoilage.
Yet the capabilities of the new product were not obvious to consumers at first, and Tupper's containers did not sell well in retail stores. A Michigan woman named Brownie Wise thought of marketing Tupperware through the home-sales method. Wise developed the system of Tupperware parties, at which a demonstrator could show the uses and advantages of Tupperware. As Tupperware became a staple of many American kitchens, some women found job opportunities in Tupperware sales.
ID Number
1992.0605.018
catalog number
1992.0605.018
accession number
1992.0605
Wide bowl or circular dish with beaded rim, narrow lip and rounded well with flat bottom on three, short, circular feet. Hollow cast with "GROVER / 5" in raised serif letters along perimeter of bottom exterior; single gate mark.Currently not on view
Description
Wide bowl or circular dish with beaded rim, narrow lip and rounded well with flat bottom on three, short, circular feet. Hollow cast with "GROVER / 5" in raised serif letters along perimeter of bottom exterior; single gate mark.
Location
Currently not on view
date made
19th century
1850-1900
ID Number
1982.0090.36
accession number
1982.0090
catalog number
1982.0090.36
Plain, raised hemispherical bowl on a flared or trumpet-shape pedestal atop a square base with applied sides. Applied beading at rim and at top and bottom of pedestal. One side of base is struck "C.Wiltberger" in raised roman letters in a conforming surround.
Description
Plain, raised hemispherical bowl on a flared or trumpet-shape pedestal atop a square base with applied sides. Applied beading at rim and at top and bottom of pedestal. One side of base is struck "C.Wiltberger" in raised roman letters in a conforming surround. Square piece of wood inserted into bottom of base is adhered with a large cloth label printed "SHIPP. / ACC." and a smaller paper label inscribed "345".
Maker is Christian Wiltberger (1766-1851) of Philadelphia, PA; working by 1793 (when partnership with Samuel Alexander dissolved) until 1817.
Location
Currently not on view
date made
ca 1800
ID Number
DL.60.3904
catalog number
60.3904
accession number
226997
Currently not on view
Location
Currently not on view
maker
Mellor, Venables and Company
ID Number
CE.62.955O
catalog number
62.955O
accession number
171126
This creamware bowl is decorated with several transfer print designs. On the interior is a polychromed print of a ship under sail entitled “Sally Chandler, 1800.” The exterior has four prints.
Description
This creamware bowl is decorated with several transfer print designs. On the interior is a polychromed print of a ship under sail entitled “Sally Chandler, 1800.” The exterior has four prints. The first is a print of John Adams surrounded by the allegorical figures of Plenty, Justice, and Liberty. Next is a design of the Map of the United States at the start of the 19th century, with George Washington standing next to it. He is flanked by the allegorical figures of Liberty, Wisdom, Justice, and Fame. Next is a design showing a Continental soldier with his foot on the head of the British lion. In the background are soldiers and ships under sail. A scroll around the image reads “By Virtue and Valour we have freed our Country, extended our Commerce, and laid the Foundation of a Great Empire.” Finally, there is a print of a young woman holding a telescope looking out to sea after a ship.
This bowl is part of the McCauley collection of American themed transfer print pottery. There is no mark on the bowl to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.137
catalog number
63.137
accession number
248619
collector/donor number
48-378
Wide bowl or circular dish with beaded rim, narrow lip and rounded well with flat bottom. Hollow cast with "P.P." twice, in raised serif letters facing the rim along perimeter of bottom exterior; two parallel gate marks.Currently not on view
Description
Wide bowl or circular dish with beaded rim, narrow lip and rounded well with flat bottom. Hollow cast with "P.P." twice, in raised serif letters facing the rim along perimeter of bottom exterior; two parallel gate marks.
Location
Currently not on view
date made
19th century
1800-1850
ID Number
1982.0090.45
accession number
1982.0090
catalog number
1982.0090.45
This bowl is decorated with a variety of transfer prints. The central image inside the bowl depicts the Coat of Arms for the Cabinet Markers guild. Below the crest is the motto “Join Truth with Trust.” The outside of the bowl is decorated with five different transfer prints.
Description
This bowl is decorated with a variety of transfer prints. The central image inside the bowl depicts the Coat of Arms for the Cabinet Markers guild. Below the crest is the motto “Join Truth with Trust.” The outside of the bowl is decorated with five different transfer prints. First is a depiction of George Washington on horseback on a background battle scene captioned “His excellency General George Washington Marshal of France /& commander in chief of all the North American continental forces.” The second print is a poetic stanza: “As he tills your rich glebe, the old peasant shall tell / While his bosom with Liberty glows / How your WARREN expired __ how MONTGOMERY fell / And how WASHINGTON humbled your foes.” Decorations surrounding this verse include a liberty cap, an American flag, a banner adorned with stars and stripes, and symbols of agriculture and academics. Below the poem is a banner proclaiming “INDEPENDENCE.” Third, the script initials “SS” accented with gold demonstrate customization on this bowl. Fourth, is a print of a map of the United States flanked by George Washington and the allegorical figure of Liberty on one side and Benjamin Franklin and the allegories of Justice and Wisdom on the other. Finally, the Great Seal of the United States is printed on the outside of the bowl. Remnants of hand painted gold gilding remain all over this bowl.
The equestrian print of Washington on this bowl is based on a 1775 mezzotint published by C. Shepherd of London. The poetic verse included on this bowl was written by Edward Rushton and is included in his poem “American Independency” published in 1806 in his book of poems. The map transfer print is drawn from the legend of a map of the United States published by John Wallis of London in 1783. Robert H. McCauley purchased this bowl from Joseph Kindig, Jr. of York, PA on October 16, 1938 for $150.00.
This bowl is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
ID Number
CE.63.089
catalog number
63.089
accession number
248881
collector/donor number
326
Hemispherical bowl on short foot ring. Hollow cast with single gate mark faintly seen on bottom exterior. No additional marks.Currently not on view
Description
Hemispherical bowl on short foot ring. Hollow cast with single gate mark faintly seen on bottom exterior. No additional marks.
Location
Currently not on view
date made
19th century
1800-1850
ID Number
1982.0090.25
accession number
1982.0090
catalog number
1982.0090.25
Footed bowl with plain, everted rim, straight tapered sides and rounded bottom on an applied molded base; engraved with a three-masted, square-rigged ship, sailing left on calm waters, above the shaded block letter "W".
Description
Footed bowl with plain, everted rim, straight tapered sides and rounded bottom on an applied molded base; engraved with a three-masted, square-rigged ship, sailing left on calm waters, above the shaded block letter "W". Set of three lines incised around body near bottom, and set of two on rim underside. No marks apparent.
Made from the lower portion of a close stool pan or commode pot (see DL*388640 to DL*388643 for complete examples).
Location
Currently not on view
date made
1770 - 1800 and later
ID Number
DL.388317
catalog number
388317
accession number
182022
Currently not on view
Location
Currently not on view
ID Number
CE.75.130AG
catalog number
75.130AG
accession number
317832
Currently not on view
Location
Currently not on view
maker
James & Ralph Clews
ID Number
CE.62.906H
catalog number
62.906H
accession number
171126
Eight-lobed circular bowl, composed of four pairs of reverse cyma curves, on raised, flared circular foot with applied conforming shaped edge; single bead on rim exterior.
Description
Eight-lobed circular bowl, composed of four pairs of reverse cyma curves, on raised, flared circular foot with applied conforming shaped edge; single bead on rim exterior. Underside of rounded bottom struck incuse with superimposed "JW" trademark above "STERLING" and "WOOLLEY" in sans serif letters.
Maker is James T. Woolley (1864-after 1927) of Boston, MA; born in Providence, RI, where he worked at Gorham before becoming foreman at Goodnow and Jenks in Boston, eventually establishing his own shop in 1908.
Location
Currently not on view
date made
c. 1908-1926
ID Number
1988.0281.02
accession number
1988.0281
catalog number
1988.0281.02
Currently not on view
Location
Currently not on view
maker
William Adams & Sons
ID Number
CE.62.934S
catalog number
62.934S
accession number
171126
Circular bowl with cast rim of intertwined wild rose branches, rounded sides that straighten at base, and boss bottom with flat gutter; no foot ring. Gilt-washed interior.
Description
Circular bowl with cast rim of intertwined wild rose branches, rounded sides that straighten at base, and boss bottom with flat gutter; no foot ring. Gilt-washed interior. Bottom underside struck incuse with two sets of marks facing inward, an "L" in crescent motif above "J.E.CALDWELL & Co" and "STERLING" above "433"; "16710" is scratched to left of L-and-crescent mark. One of two bowls, DL*61.0315A-B.
Probably made by Lebkuecher & Co. (Arthur E. Lebkuecher, Frank A. Lebkuecher, and Charles C. Wientge), of Newark, NJ, 1896-1918 (named Francis A. Lebkuecher & Co.,1912-1918) for retail by J.E. Caldwell & Co. of Philadelphia, PA; business founded in 1839 by James Emmot Caldwell but name and mark adopted 1848. Lebkuecher was acquired by The Eleder Co. in 1918, which became the Eleder-Hickok Co. in 1922, also located in Newark. Eleder-Hickok used the Lebkuecher mark as its own until it merged in the mid 1930s with the Matthews Co. to become Hickok-Matthews Co.; mark apparently discontinued at that time.
Location
Currently not on view
date made
ca 1900
ID Number
DL.61.0315A
catalog number
61.0315A
accession number
200122

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