Domestic Furnishings

Tiffany Floor Lamp

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.

pot, chamber

Currently not on view
Location
Currently not on view
date made
1893- c.1906
unknown
maker
Goodwin Pottery Company
ID Number
CE.76.9
catalog number
76.9
accession number
319935

Lycett vase

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
In 1890, at the age of 57, Edward Lycett left Faience Manufacturing when it was sold as an agent to a French porcelain company. This, however, was not a setback in Lycett’s ceramic venture. Although retired, Edward Lycett continued to follow his passion for new ceramic inventions. He soon moved to Atlanta, Georgia to work in his son’s studio where he and continued to experiment with clay and glaze materials as well as different firing techniques with William until he died in 1910 at the age of 77.
In 1902 during his retirement in Atlanta, Georgia, Edward Lycett boasted, “I have amused myself by experiments [in this line] and have lately secured some fine results in metallic effects on porcelain, different to anything yet seen, and very beautiful.” Seemingly insignificant, these small pieces were the proud results of endless experimentation conducted by Edward Lycett. Rather than making flat test tiles, Lycett chose to make miniature forms to test his various metallic effects. Made in different sizes and shapes, such as cruets, vases, pitchers, and heart-shaped dishes, these test pieces display the similar red iridescence, mirrored and matte gilding, and bubbling glaze techniques.
Location
Currently not on view
date made
1902
maker
Lycett, Edward
ID Number
CE.217338F
catalog number
217338F
accession number
40008

box

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
Location
Currently not on view
date made
c. 1890-1910
painted 1910-1930
ID Number
CE.74.76Cab
catalog number
74.76Cab
accession number
314093

Rockingham Dog

What is known as Rockingham pottery began in England and is characterized by its mottled brown surface. When English potters began immigrating to America, they also brought this distinct glaze with them.
Description
What is known as Rockingham pottery began in England and is characterized by its mottled brown surface. When English potters began immigrating to America, they also brought this distinct glaze with them. Soon Rockingham pottery became the majority of pottery manufactured in mid-nineteenth century America. A wide range of products were made with the Rockingham glaze, many of them highly detailed relief-molded jugs with themes of nature and hunt scenes. Sometimes animal figures would also be produced, however, not in great quantities. The Rockingham animals were used primarily for decorative purposes. This seated dog was meant to resemble the popular King Charles spaniels and would have been used as a door stop.
Location
Currently not on view
date made
c. 1890
c. 1850
ID Number
CE.58.724
catalog number
58.724
accession number
81600

plate

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
Location
Currently not on view
date made
made, 1903-1907
painted, 1908-1929
ID Number
CE.74.73
catalog number
74.73
accession number
314093

plate

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
Location
Currently not on view
date made
made, 1891-1908
painted, 1908-1929
ID Number
CE.74.71C
catalog number
74.71C
accession number
314093

Shaving Mug

Currently not on view
Location
Currently not on view
date made
c. 1890- c. 1910
ID Number
CE.77.231
catalog number
77.231
accession number
1977.0317

cup

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
Location
Currently not on view
date made
c. 1890-1910
ID Number
CE.368547
catalog number
368547
accession number
129587

platter

This molded white stoneware platter used for bread displays the Victorian love of proverbs through its inscription "Where reason rules the appetite obeys." around its rim.Currently not on view
Description
This molded white stoneware platter used for bread displays the Victorian love of proverbs through its inscription "Where reason rules the appetite obeys." around its rim.
Location
Currently not on view
ID Number
CE.77.232
catalog number
77.232
accession number
1977.0317

Bread & Butter Plate

Currently not on view
Location
Currently not on view
date made
1945
ID Number
CE.76.17B
catalog number
76.17B
accession number
320031

plate

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
Location
Currently not on view
date made
made, 1891-1908
painted, 1908-1929
ID Number
CE.74.71B
catalog number
74.71B
accession number
314093

Moon vase

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
The Faience Manufacturing Company (1891-1892) was an early commercial art pottery established in Greenpoint, New York. The factory’s main production consisted of applied and decorative ornament on pottery in order to elevate the standards of factory-produced pottery to the status of art. Initially, the factory produced cream colored earthenware in the style of the fashionable French faience and Limoges pottery, most likely exhibited at the 1876 Philadelphia Centennial. Faience or white tin-glazed earthenware used in France inspired the name of the company. The peak of the company’s creative and artistic output occurred in 1884 when the English potter, Edward Lycett, joined Faience Manufactory as its Artistic Director. Immigrating to New York City in 1861, Lycett very quickly received important commissions, such as the 1865 White House painted porcelain service for President Lincoln and for Tiffany & Company, where he produced the first vitrified china in America with pure gilt decoration. Travelling across the country, Lycett taught the decorative technique of china painting at major ceramic centers in America such as Cincinnati and East Liverpool where soon-to-be influential women to the art pottery movement, Maria Longworth Nicols and Mary Louise McLaughlin, began their careers as china painters. Within his own time, Lycett was dubbed “the pioneer of china painting in America” by ceramic historians. His contributions to Faience Manufacturing Company are also notable, as he introduced to the company the aesthetic taste of exoticism and a new porcelain body, although the name of “Faience” never changed. Produced in the style of the English factory, Royal Worcester, the porcelain produced under Edward Lycett’s reign at Faience Manufacturing Company became characterized for their Near Eastern forms, eccentric handles, and elaborate jewel-like ornament.
One of two known pieces made and signed by Edward Lycett at the Faience Manufacturing Company, this porcelain ewer represents the smaller-scale objects produced with Aesthetic imagery. In order to distinguish the company from domestic and imported porcelain, Edward Lycett produced a wide range of pottery, from six inches to twenty-seven inches tall, in unique shapes exhibiting the Aesthetic taste towards exoticism. This moon-shaped ewer, with its flattened bulbous body was painted with a mottled dark and light blue ground and decorated with raised gold flowers, grasses, and Japanesque lilies.
Location
Currently not on view
date made
c. 1884-1890
maker
Lycett, Edward
Faience Manufacturing Company
ID Number
CE.96473
catalog number
96473
accession number
30736

Lotus Ware Vase

Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery.
Description
Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery. It wasn’t until nearly eight years later that they began producing ironstone tea sets, dinner services, toilet ware, cooking ware, accessory pieces, and pitchers with Britannia lids. In 1890, after rebuilding from a destructive fire, Knowles, Taylor & Knowles produced a very fine translucent bone china line they named Lotus Ware as an attempt to compete with the soft paste porcelain wares from Europe. Although in production for only a short amount of time, Lotus Ware offers an elaborate display of applied and hand painted decorations on a wide variety of shapes and objects. Many are decorated with delicate open-work lace designs, or “filigree”, colorful “jeweling,” and high relief leaves and flowers. The cost of producing Lotus Ware became too much for the company, however, and in 1898 they were forced to discontinue the line.
Location
Currently not on view
date made
1893
1891-1898
ID Number
CE.208194
catalog number
208194
accession number
34492

candlestick

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
Location
Currently not on view
date made
made, after 1891
painted, 1908-1928
made, after 1910
painted, 1910-1928
ID Number
CE.74.75B
catalog number
74.75B
accession number
314093

Lycett tiles

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
In 1890, at the age of 57, Edward Lycett left Faience Manufacturing when it was sold as an agent to a French porcelain company. This, however, was not a setback in Lycett’s ceramic venture. Although retired, Edward Lycett continued to follow his passion for new ceramic inventions. He soon moved to Atlanta, Georgia to work in his son’s studio where he and continued to experiment with clay and glaze materials as well as different firing techniques with William until he died in 1910 at the age of 77.
These three tiles, featuring a peacock pattern in brown, green circles with a flower in the center, and a dark blue stylized flower (from top to bottom), were products of Edward Lycett’s glaze experimentations. During his retirement in Atlanta, Georgia, Lycett spent time in his son’s studio –William Lycett—experimenting with new and “lost” glaze techniques. The iridescent blues, browns, and greens found on the tiles are claimed to be reproductions of the Persian lusters from antiquity. Lusters, or iridescence, were a growing interest with artist-potters during the late nineteenth and early twentieth-centuries. The process Lycett used on his surfaces was the in-glaze lusters, which involved mixing metallic oxides in the liquid glaze batch and produces an iridescent surface. The firing process is very difficult and needed to be completed at very high temperatures and a regulated atmosphere in the kiln. Although Lycett was not the first to re-discover the technique of luster glazes, he regarded his work highly. From a handwritten letter posted on the framed back, Lycett wrote admiringly, “…[these] tiles, painted with blue and green designs on an amber or dark purple ground, assume when turned to the light, the most superb rose, purple, and golden hues, flashing forth with a splendor never surpassed by the chromatics of the finest medieval stained glass of Europe." He regards the middle tile from this grouping one of his best specimens.
Location
Currently not on view
date made
c. 1890-1895
maker
Lycett, Edward
ID Number
CE.96472
catalog number
96472
accession number
30736

Lycett test vase

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
In 1890, at the age of 57, Edward Lycett left Faience Manufacturing when it was sold as an agent to a French porcelain company. This, however, was not a setback in Lycett’s ceramic venture. Although retired, Edward Lycett continued to follow his passion for new ceramic inventions. He soon moved to Atlanta, Georgia to work in his son’s studio where he and continued to experiment with clay and glaze materials as well as different firing techniques with William until he died in 1910 at the age of 77.
In 1902 during his retirement in Atlanta, Georgia, Edward Lycett boasted, “I have amused myself by experiments [in this line] and have lately secured some fine results in metallic effects on porcelain, different to anything yet seen, and very beautiful.” Seemingly insignificant, these small pieces were the proud results of endless experimentation conducted by Edward Lycett. Rather than making flat test tiles, Lycett chose to make miniature forms to test his various metallic effects. Made in different sizes and shapes, such as cruets, vases, pitchers, and heart-shaped dishes, these test pieces display the similar red iridescence, mirrored and matte gilding, and bubbling glaze techniques.
Location
Currently not on view
date made
1902
maker
Lycett, Edward
ID Number
CE.217338C
catalog number
217338C
accession number
40008

Flag Plate

Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery.
Description
Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery. It wasn’t until nearly eight years later that they began producing ironstone tea sets, dinner services, toilet ware, cooking ware, accessory pieces, and pitchers with Britannia lids. In the beginning of the twentieth century the company began producing semi-vitreous china with a large portion being commemorative plates such as this one for clubs and fraternal organizations.
Location
Currently not on view
date made
c. 1905-1929
ID Number
CE.379472
catalog number
379472
accession number
150313

bowl

The United States Pottery Company produced semi-porcelain toilet and dinner wares from 1898 and 1932. This white earthenware or ironstone bowl is decorated with transfer printed floral bouquets would have been part of a dinner set.Currently not on view
Description
The United States Pottery Company produced semi-porcelain toilet and dinner wares from 1898 and 1932. This white earthenware or ironstone bowl is decorated with transfer printed floral bouquets would have been part of a dinner set.
Location
Currently not on view
date made
c. 1902-1910
maker
United States Pottery Company
ID Number
CE.76.4
catalog number
76.4
accession number
319072

plate

Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery.
Description
Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery. It wasn’t until nearly eight years later that they began producing ironstone tea sets, dinner services, toilet ware, cooking ware, accessory pieces, and pitchers with Britannia lids. By the end of the nineteenth-century, the company also added the production of hotel china, specialties for hospitals and asylums, and electrical porcelain.
Location
Currently not on view
date made
c. 1900
ID Number
CE.208192
catalog number
208192
accession number
34492

Knowles, Taylor & Knowles dinnerware

Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery.
Description
Like many other pottery manufacturers in Ohio, Knowles, Taylor & Knowles began making Rockingham and yellow ware pottery. It wasn’t until nearly eight years later that they began producing ironstone tea sets, dinner services, toilet ware, cooking ware, accessory pieces, and pitchers with Britannia lids. In the beginning of the twentieth century the company began producing semi-vitreous china with a large portion being commemorative plates such as this one for hotels, clubs and fraternal organizations.
Location
Currently not on view
date made
c.1900-1905
ID Number
CE.208190
catalog number
208190
accession number
34492

Murrhine vase

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
In 1890, at the age of 57, Edward Lycett left Faience Manufacturing when it was sold as an agent to a French porcelain company. This, however, was not a setback in Lycett’s ceramic venture. Although retired, Edward Lycett continued to follow his passion for new ceramic inventions. He soon moved to Atlanta, Georgia to work in his son’s studio where he and continued to experiment with clay and glaze materials as well as different firing techniques with William until he died in 1910 at the age of 77.
These small forms were used by Edward Lycett for his experimentations with glaze effects. They each feature carved decorations of coral, circles, and leaf patterns with brilliant glazes that pooled at the bottom. These pieces are noted as being carved out of a rock from either Persia or China, in a similar manner as the mineral known as murrhine. True murrhine came from Parthia and Caramaria. Supposedly a natural mineral, murrhine was said to be located in the veins of the earth, and after being carved into shapes it was baked. Murrhine was introduced in Rome at the Triumph of Pompeii when six vases and other specimens found among the treasures were exhibited. Philosopher and naturalist, Pliny the Elder, described this material as being layers of colored bands with crystal and gem deposits that played with the colors of the rainbow. While the stone itself does appear as a rainbow, its glazes used by Lycett certainly do, and demonstrates his achievements as a ceramic innovator.
Location
Currently not on view
date made
c. 1890-1903
c. 1890-1909
maker
Lycett, Edward
ID Number
CE.219500
catalog number
219500
accession number
40527

vase

Currently not on view
Location
Currently not on view
date made
1906-03-13
1905-12
ID Number
CE.237945
catalog number
237945
accession number
45696

pitcher

Currently not on view
Location
Currently not on view
date made
unknown
c. 1903-1929
maker
Goodwin Pottery Company
ID Number
CE.237951
catalog number
237951
accession number
45698

Lycett tile

China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women.
Description
China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
In 1890, at the age of 57, Edward Lycett left Faience Manufacturing when it was sold as an agent to a French porcelain company. This, however, was not a setback in Lycett’s ceramic venture. Although retired, Edward Lycett continued to follow his passion for new ceramic inventions. He soon moved to Atlanta, Georgia to work in his son’s studio where he and continued to experiment with clay and glaze materials as well as different firing techniques with William until he died in 1910 at the age of 77.
This framed soapstone tile, made during Edward Lycett’s retirement in Atlanta, Georgia, features the iridescent glazes – the result of endless experimentation. Titled “Murrhine”, Lycett believed these tiles to be a rediscovery of the precious murrhine stone found by the Ancient Greeks and Romans. True murrhine came from Parthia and Caramaria. Supposedly a natural mineral, murrhine was said to be located in the veins of the earth, and after being carved into shapes it was baked. Murrhine was introduced in Rome at the Triumph of Pompeii when six vases and other specimens found among the treasures were exhibited. Philosopher and naturalist, Pliny the Elder, described this material as being layers of colored bands with crystal and gem deposits that played with the colors of the rainbow. False or imitation murrhine was made of glass at Alexandria in Egypt and sought to reproduce this rainbow effect, similar to the iridescence of his glazes.
Location
Currently not on view
date made
1896
maker
Lycett, Edward
ID Number
CE.96613
catalog number
96613
accession number
31784

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