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.

Knife, part of a three-piece cutlery set with two matching forks (1986.0531.157-159). Straight steel blade with rounded tip and small “yankee” style bolster. Blade and bolster are one piece of steel with tang fitted into a tapered horn handle with rounded sides and butt.
Description
Knife, part of a three-piece cutlery set with two matching forks (1986.0531.157-159). Straight steel blade with rounded tip and small “yankee” style bolster. Blade and bolster are one piece of steel with tang fitted into a tapered horn handle with rounded sides and butt. Tang is held in place with brass pin through side. Metal is corroded, darkened, and scratched with minor rust spots. Horn is scratched.
Blade is stamped: “LAMSON GOODNOW & Co/S. FALLS WORKS”
Maker is Lamson & Goodnow Company, a manufacturer and wholesaler active in Shelburne Falls, Massachusetts 1844-present.
Location
Currently not on view
date made
1860- 1880
maker
Lamson & Goodnow
ID Number
1986.0531.157
accession number
1986.0531
catalog number
1986.531.157
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter.
Description
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
This paperweight is attributed to Whitall, Tatum & Company of Millville, New Jersey. The firm was formed in 1901 and employed first-rate craftsmen who created outstanding paperweights.
This pedestal paperweight features an opaque, rich yellow twelve-petal flower, freely suspended in a clear glass ball. The pointed center flower petals suggest that it is the work of glassmaker Emil Stanger.
Location
Currently not on view
date made
1905-1912
maker
Whitall, Tatum and Company
ID Number
CE.60.96
catalog number
60.96
accession number
211475
Bracket-handled, cylindrical metric measure with high collar pinched into spout at front and sloped at back for the rounded inset lid; molded lower rim and base. Hooked tab thumb piece with wedge extension; seven-knuckle hinge has domed-end hinge pin; stepped thumbrest.
Description
Bracket-handled, cylindrical metric measure with high collar pinched into spout at front and sloped at back for the rounded inset lid; molded lower rim and base. Hooked tab thumb piece with wedge extension; seven-knuckle hinge has domed-end hinge pin; stepped thumbrest. Stamped on front of body "DEMI LITRE" in incuse serif letters; on front of lower rim with "3" next to clasped hands in an oval; on face of handle and top of lid with clasped hands mark; and on extension and to left of handle with nine letter verification marks. Underside of flat bottom struck with three touchmarks, twice with "AIC" in an imperial crown over a Tudor rose and once below with "F.BOULANGET" in incuse serif letters. One of an assembled set of six metric measures, DL*67.0334-.0339.
Maker is F. Boulanget, possibly in France or Flanders.
Location
Currently not on view
date made
19th century
ID Number
DL.67.0336
catalog number
67.0336
accession number
250853
Dinner fork, one of a set of six (1986.0531.09-.14) that match a set of six dinner knives (1986.0531.03-.08)Two-tined fork with baluster stem. Tines, stem, and tang are one piece of tin-plated steel.
Description
Dinner fork, one of a set of six (1986.0531.09-.14) that match a set of six dinner knives (1986.0531.03-.08)
Two-tined fork with baluster stem. Tines, stem, and tang are one piece of tin-plated steel. Bone scales are riveted to the top and bottom of the tang with brass pins to form a tapered block handle with chamfered edges and corners and a blunt butt. Central brass pin on front is larger than the other two. Metal is discolored, scratched and has some rust spots. Much of the tin is worn off. Bone is yellowed and crazed, cracked and chipped around edges and pulling away from the tang.
Underside of baluster is stamped: “STEEL”
Blades of matching knives are stamped: “L . BOOTH/SHEFFIELD”
Maker is possibly L[uke] Booth, active in Sheffield, England in the early 19th century until his death in 1855.
Location
Currently not on view
date made
1820- 1840
ID Number
1986.0531.010
accession number
1986.0531
catalog number
1986.0531.010
Life-size yellow apricot with faint red blush.Currently not on view
Description
Life-size yellow apricot with faint red blush.
Location
Currently not on view
date made
1864 - 1865
ID Number
DL.60.0252.26
catalog number
60.0252.26
accession number
67038
Small inverted trumpet shape lidded flagon engraved on front "=M-H=" above a pointed-bottom, scalloped shield containing an illegible design; no spout. Flat lid with applied disk on top; inside of lid has three concentric circles.
Description
Small inverted trumpet shape lidded flagon engraved on front "=M-H=" above a pointed-bottom, scalloped shield containing an illegible design; no spout. Flat lid with applied disk on top; inside of lid has three concentric circles. Angular strap handle has beaded, angled tab thumb piece and cast pendant drop at the lower terminal; five-knuckle hinge. Plouk or pimple inside body below rim indicating capacity level. Face of handle struck with a checkered octagon and clipped-corner rectangle containing the raised serif letters "MH" over an ewer or pitcher in a basin. Bottom center appears to be replaced with one bearing the pot touch of a rose.
Location
Currently not on view
date made
18th century
ID Number
DL.67.0423
catalog number
67.0423
accession number
269249
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
Multiknopped and faceted andiron on spurred, inward-scrolling legs, each ending in a pair of cup feet; cast brass billet bar cover on stepped front of bar. Two-part upright, each part cast hollow in halves and seamed vertically.
Description
Multiknopped and faceted andiron on spurred, inward-scrolling legs, each ending in a pair of cup feet; cast brass billet bar cover on stepped front of bar. Two-part upright, each part cast hollow in halves and seamed vertically. All parts held together by an internal iron rod threaded at top and peened at bottom. No marks. One of a pair, CE/DL*63.1025A-B.
Location
Currently not on view
date made
1825-1850
ID Number
DL.63.1025B
catalog number
63.1025B
accession number
246530
One of three Fragments from overshot coverlet in Double Bow Knot pattern; red and navy, dull goldCurrently not on view
Description
One of three Fragments from overshot coverlet in Double Bow Knot pattern; red and navy, dull gold
Location
Currently not on view
Date made
19th century
maker
unknown
ID Number
1980.0372.01
accession number
1980.0372
catalog number
1980.0372.01
accession number
216659
This blue and white, Summer-and-Winter coverlet features a block woven, geometric design throughout based on variations of “Snowball” and “Rose and Star” patterns. The coverlet has a “Pine Tree” variation border on three sides.
Description
This blue and white, Summer-and-Winter coverlet features a block woven, geometric design throughout based on variations of “Snowball” and “Rose and Star” patterns. The coverlet has a “Pine Tree” variation border on three sides. The border designs on geometric, block-woven coverlets are created from fractional reductions of the block pattern motifs. This coverlet uses two different block pattern designs. The block pattern repeat measures 5 inches by 5 inches. There is a relatively long, knotted applied fringe on two sides of coverlet. It is believed this fringe was added much later. One edge is unfinished, the other is hand hemmed. The coverlet was woven in two pieces and seamed up the middle with whip stitch. There is no information about who may have made this coverlet or where is originally was used. These patterns and style of coverlet could be found all along the East Coast and were woven by English, German, and Scots-Irish settlers. This coverlet was likely woven anytime between the years, 1790-1830 because of the use of mill-spun cotton yarn in the warp and weft.
Location
Currently not on view
Date made
19th century
date made
c. 1790-1830
ID Number
1980.0376.01
accession number
1980.0376
catalog number
1980.0376.01
The date 1789 and two letters (no longer readable) are embroidered into this double-woven coverlet in cross-stitch. The pattern features a variation of the "Pine Tree" motif in the border, and repetitive squares and diamonds in the center.
Description
The date 1789 and two letters (no longer readable) are embroidered into this double-woven coverlet in cross-stitch. The pattern features a variation of the "Pine Tree" motif in the border, and repetitive squares and diamonds in the center. Three of the four edges have an applied fringe. The coverlet is believed to have been made by a member of the Brown family of the village of Emilie, Pennsylvania, and received by the donor from his mother's father, Henry C. Brown (1848—-1921). He obtained it from his father, John B. Brown, of Emilie, Bucks County, Pennsylvania. The maker of the coverlet is unknown.
Location
Currently not on view
date made
1785-1800
ID Number
TE.T7878
catalog number
T07878.000
accession number
142620
This is a blue and white, plain weave double coverlet executed in geometric block weave pattern. The pattern is most commonly known as “Whig Rose.” There is a "Pine Tree" border along three sides created from a fractional reduction and lengthening of the main pattern.
Description
This is a blue and white, plain weave double coverlet executed in geometric block weave pattern. The pattern is most commonly known as “Whig Rose.” There is a "Pine Tree" border along three sides created from a fractional reduction and lengthening of the main pattern. The weaver used natural colored linen with olive green and indigo (blue) colored wool. The coverlet measures 82 inches by 79 inches. The coverlet is constructed of two panels each 34.5 inches wide. The weaver would have woven both panels as one length, cut that length in half, and sewn the panels together to create the finished width. There is a five inch long woven fringe with a half inch heading applied to the sides of coverlet, and there is a five inch self-fringe along the lower edge. The coverlet was initially purchased in Huntington Valley, Pennsylvania and it is likely that it was woven in Pennsylvania sometime during the first half of the nineteenth century.
Location
Currently not on view
date made
1790-1815
late 18th century
early 19th century
1800-1850
maker
unknown
ID Number
TE.T18271
catalog number
T18271.000
accession number
1977.0107
This overshot, indigo and white coverlet (now separated into two panels) is woven in the "Catalpa Flower" pattern. Overshot patterning is based on a float weave structure, where a supplementary weft yarn is added to create the pattern.
Description
This overshot, indigo and white coverlet (now separated into two panels) is woven in the "Catalpa Flower" pattern. Overshot patterning is based on a float weave structure, where a supplementary weft yarn is added to create the pattern. The yarn floats or shoots over the top of the plain weave ground cloth creating the pattern. The pattern is a reversible negative, meaning that the color combination is reversed on the opposite side. Overshot coverlets can be woven on simple four-shaft looms. They are usually associated with domestic production and many of them are attributed to female weavers. Professional male weavers also wove floatwork coverlets. Many overshot patterns have names; however, these names changed and varied due to time and location. According to the donor, this coverlet descended through the Van Meter family of New York and was likely woven in the first half of the nineteenth century by a female ancestor. The two coverlet panels would have been joined with a center seam. These panels were repurposed during the early 20th century Colonial Revival decorating period and used as portieres in the Van Meter home. Each of the two panels measures 75 inches by 35.25 inches.
Location
Currently not on view
Date made
19th century
date made
1800-1850
maker
unknown
ID Number
TE.T14960A
catalog number
T14960.00S
T14960.A-S
accession number
286274
catalog number
T14960-B/S
Currently not on view
Location
Currently not on view
date made
ca 1910s
ID Number
PG.78.38.02
catalog number
78.38.2
accession number
2018.0225
Partial-gilt, two-handled rectangular tray on four leaf-decorated tab feet with a cast grapevine border applied to the convex, pierced latticework rim and loop handles.
Description
Partial-gilt, two-handled rectangular tray on four leaf-decorated tab feet with a cast grapevine border applied to the convex, pierced latticework rim and loop handles. Tray interior is covered with a symmetrical, baroque-style design of ruffled and leafy C scrolls amidst trailing flowers and framing diaper-patterned reserves. Tray underside is struck with a seven-light menorah in a circle along side edge. Underside of one handle has an incuse "12".
Maker is Barker Brothers Silversmiths Ltd. of Birmingham, England, 1907-1931; successor firm to Barker Brothers, 1886-1907, and succeeded by Barker Ellis Silver Co. Ltd. (known as Ellis Barker in the United States). Firm's origin dates back to Mary Barker in 1801.
Location
Currently not on view
date made
1912-1931
ID Number
1988.0569.07
accession number
1988.0569
catalog number
1988.0569.07
MARKS: Crossed swords in underglaze blue; “2” impressed;”52” impressed.PURCHASED FROM: E. Pinkus, New York, 1961.This oval stand is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr.
Description
MARKS: Crossed swords in underglaze blue; “2” impressed;”52” impressed.
PURCHASED FROM: E. Pinkus, New York, 1961.
This oval stand is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began collecting 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 the German States, 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 stand is from a large dinner service of which most pieces are Meissen but with some items made at the Höchst manufactory, presumably as replacements for items originally in the Meissen service. With a petal-shaped edge the plate has a molded foliate design on the flange and center known as the Gotzkowsky pattern, after the Berlin porcelain entrepreneur Johann Ernst Gotzkowsky (1710-1775), a pattern also known as “raised flowers” (erhabene Blumen) first modeled in 1741.
Following the appointment to the manufactory in 1733 of court sculptor Johann Joachim Kaendler (1706-1775), modeling techniques became more sophisticated. The process of creating shallow relief patterns was laborious and required considerable skill. The sources for designs in relief came from pattern books and engravings, especially those by the French designer Jean Bérain the Elder (1638-1711), and the Nuremberg designer Paul Decker (1677-1713) among many others. Later rococo designs in the French style were disseminated through the German states principally by François Cuvilliés the Elder (1695-1768). These designs were applied in architecture, interior stucco work and wood carving, furniture, wall coverings, and ceramics.
Painted in onglaze enamel are sprays of natural flowers and on the rim there is a gold diaper pattern.
European flowers began to appear on Meissen porcelain in about 1740 as the demand for Far Eastern patterns became less dominant and more high quality printed sources became available in conjunction with growing interest in the scientific study of flora and fauna.
The Meissen manufactory operated under a system of division of labor. Flower and fruit painters were paid less than workers who specialized in figures and landscapes, and most painters received pay by the piece rather than a regular wage. Decoration in gold was applied by specialists in gold painting and polishing at Meissen.
On relief patterns and three dimensional modeling at Meissen see Reinheckel, G., 1968, ‘Plastiche Dekorationsformen im Meissner Porzellan des 18 Jahrhunderts’ in Keramos, 41/42, Juli/Oktober.
On graphic sources for Meissen porcelain see Möller, K. A., “Meissen Pieces Based on Graphic Originals” in Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp.85-93.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 410-411.
Location
Currently not on view
date made
ca 1750
1750
maker
Meissen Manufactory
ID Number
CE.245497.4
catalog number
245497.4
accession number
245497
collector/donor number
1224
Currently not on view
Location
Currently not on view
date made
1820 - 1830
ID Number
DL.64.0110
catalog number
64.0110
accession number
251851
Overshot wool and cotton coverlet in black (oxidized indigo?) and natural. Small-scale geometric pattern of opposing meanders and flower heads. Two panels, stitched together. No borders. Unknown maker.Currently not on view
Description
Overshot wool and cotton coverlet in black (oxidized indigo?) and natural. Small-scale geometric pattern of opposing meanders and flower heads. Two panels, stitched together. No borders. Unknown maker.
Location
Currently not on view
Date made
19th century
maker
unknown
ID Number
1979.0725.059
accession number
1979.0725
catalog number
1979.0725.0059.000
This large Chinese export bowl features a panoramic view of the hongs—the office, warehouse, and living spaces for foreign merchants in Canton, China, in the late 18th century.
Description
This large Chinese export bowl features a panoramic view of the hongs—the office, warehouse, and living spaces for foreign merchants in Canton, China, in the late 18th century. There European and American merchants traded with their Chinese counterparts for highly desirable teas, silks, and porcelains. The presence of the Stars and Stripes outside the American factory suggests that the bowl was made in or after 1785, following America’s entry into direct trade with China in 1784. (Note that the Chinese artist painted the stars in blue on the white porcelain background, probably for technical reasons rather than in error.) The flags of France, Britain, Spain, Denmark, and Sweden also can be seen outside their respective factories. Punch bowls depicting the hongs were exotic souvenir items, brought back to America by the East Coast entrepreneurs who sailed to China as independent merchants, thereby breaking dependence on the British East India Company to provide the former colonies with tea and other luxury goods.
The Chinese produced bowls like this in the town of Jingdezhen in southern China specifically for the western market. Undecorated, they were carried five hundred miles overland to Canton, where enamel decoration was applied in workshops close to the hongs. On completion a large bowl like this was packed in a crate with several others and dispatched through the hongs. All goods for export were ferried in the small boats seen painted on this bowl, to the deep-water port of Whampoa farther down the Pearl River.
A large bowl of this kind would have been used to serve punch. The word “punch” is thought to derive from the Hindu word “pànch,” meaning “five”—for the number of ingredients used to make the brew.The custom of drinking punch reached the West through the East India trade. Punch bowls became indispensable at convivial male gatherings in the clubs, societies, and private homes of the port cities on the American East Coast in the late 18th century.
The Smithsonian Institution acquired this bowl in 1961 from dealer Herbert Schiffer. Before coming to the Smithsonian, the bowl had been broken and repaired, and then it was heavily damaged in a 1958 fire. After the fire Helen Kean, a specialist in the restoration of ceramics, reconstructed the bowl from shattered fragments. Once it came to the Smithsonian, conservators performed a radical restoration, referring to very similar hong bowls held in collections at the Henry Francis du Pont Winterthur Museum in Delaware, and the Reeves Collection at Washington and Lee University in Lexington, Virginia.
Date made
18th century
date made
1785-1795
ID Number
CE.61.8
catalog number
61.8
accession number
234613
MARKS: Crossed swrods in underglaze blue; "17" impressed.PURCHASED FROM: M.J.Ullmann, New York, 1948.This coffeepot is part of the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr.
Description
MARKS: Crossed swrods in underglaze blue; "17" impressed.
PURCHASED FROM: M.J.Ullmann, New York, 1948.
This coffeepot 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 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 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 pear-shaped coffeepot, reminiscent of metal prototypes, has a wishbone handle with a domed lid that has a pine kernel on the top. The insects and flowers painted on the pot are in the style of prints published after the original botanical and insect studies by the Flemish artist Joris (Georg) Hoefnagel (1542-1601). Joris Hoefnagel, who became court painter to the Emperor Rudolf II in Prague, employed his nineteen year old son Jacob to engrave the plates for the publication in 1592 of the Archetypa Studiaque Patris Georgii Hoefnagelii. After his father’s death Jacob Hoefnagel succeeded him as court painter to Rudolf II.
Prints after the Hoefnagel originals were so much in demand among artists and craftworkers, that the Nuremberg publishers purchased the copperplates and produced several further editions in the seventeenth century. The Nuremberg printmaker and publisher, Christoph Weigel (1654-1725), produced another edition in the early eighteenth century, which explains why a visual source from the late sixteenth century appears on Meissen porcelain nearly one hundred and fifty years later. (See Cassidy-Geiger, M., Graphic Sources for Meissen Porcelain, in Metropolitan Museum Journal, Vol. 31, 1996, pp.99-126). However, when this coffeepot was made in 1740 the Hoefnagel style of trompe l’oeil was about to give way to the fashion for painting sprays of German flowers (deutsche blumen) on Meissen porcelain. This development indicated the beginnings of a preference for decorative motifs with local significance that struck a chord with an awakening sense of German national identity. By 1740, when this coffee pot was made, Meissen had a large, well-trained painting staff run by Johann Gregor Höroldt. Painters tended to specialize in figurative subjects, fruits and flowers, birds and animals, battle scenes, landscapes, harbor scenes, all of which were part of the repertoire by the middle of the eighteenth century. This coffeepot made in 1740 marks the transition from early modern sources of imagery to contemporary sources.
The seventeenth and eighteenth century expansion in the manufacture of consumer goods made more desirable and fashionable with ornamentation promoted the production of printed images and pattern books to which artisans could refer for their designs. The manufacturers of ceramics and printed textiles, interior painters and wallpaper makers, furniture makers, and embroiderers made use of these sources for surface decoration. When available, undecorated porcelain was taken into the workshops of professional enamel painters, the so-called Hausmaler or home painters. Amateur enamellers also painted white porcelain when they could acquire some.
On the history of the introduction of tea, coffee, and chocolate to Europe see Bowman, P.B., 1995, In Praise of Hot Liquors: The Study of Chocolate, Coffee and Tea-drinking 1600-1850.
On ornament see Snodin, M.,Howard, M., 1996, Ornament: A Social History Since 1450, especially the chapter “Ornament and the Printed Image”.
Syz, H., Rückert, R., Miller, J. J. II., 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 358-359.
Location
Currently not on view
date made
ca 1740
1740
maker
Meissen Manufactory
ID Number
1983.0565.49
collector/donor number
797
accession number
1983.0565
catalog number
1983.0565.49
This ivory pocket shrine contains a carved representation of the Madonna and child.
Description
This ivory pocket shrine contains a carved representation of the Madonna and child. The shrine was owned by John Brenton Copp during the late 19th century, who converted to Catholicism later in his life.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
ca 1800
ID Number
DL.006537
catalog number
6537
accession number
28810
This is an inkwell owned by the Copp Family of Stonington, Connecticut during the 19th century. The bottle has a well in the center for holding the tip of the quill pen.
Description
This is an inkwell owned by the Copp Family of Stonington, Connecticut during the 19th century. The bottle has a well in the center for holding the tip of the quill pen. Examples of pens that were used in this ink bottle can be seen in DL*006512.02.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
ca 1750
ID Number
DL.006520
catalog number
6520
accession number
28810
Currently not on view
Location
Currently not on view
date made
1855 - 1866
ID Number
DL.61.0394C
catalog number
61.0394C
accession number
232677
Dinner knife. Straight steel blade with rounded tip. Blade, bolster, tang, and butt are one piece of steel. Ivory scales are riveted to the tang with steel pins. Block handle has curved sides with chamfered edges and rounded butt. Scratched overall and discolored.
Description
Dinner knife. Straight steel blade with rounded tip. Blade, bolster, tang, and butt are one piece of steel. Ivory scales are riveted to the tang with steel pins. Block handle has curved sides with chamfered edges and rounded butt. Scratched overall and discolored. Ivory is yellowed and crazed, cracked near edges. White residue on one side. No mark.
Location
Currently not on view
date made
1800- 1899
ID Number
1986.0531.076
accession number
1986.0531
catalog number
1986.0531.076

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