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.

bowl, sugar

Raised, rectangular, boat-shaped, covered sugar bowl on short flared rectangular base with four ball feet; engraved on one side with a wreath of oak leaves and acorns above the inscription "Com. O.H.PERRY / CONQUERED the ENEMY, on LAKE ERIE, / Septem. 10\th/.
Description
Raised, rectangular, boat-shaped, covered sugar bowl on short flared rectangular base with four ball feet; engraved on one side with a wreath of oak leaves and acorns above the inscription "Com. O.H.PERRY / CONQUERED the ENEMY, on LAKE ERIE, / Septem. 10\th/. 1813.", and on the other "PRESENTED / by the Citizens of / BOSTON." Double-domed and flared rectangular cover is joined at middle by a die-rolled band of eight-petaled flowers and topped by a rectangular finial. Die-rolled band of roses at rim above stepped-ogee top portion of the bulbous lower body. Gadrooning at middle of finial and edge of base. Right-angled, tapered strap handles with grapevine decoration. Underside of rounded bottom struck "Ch[u]rc[hill] & / T[r]eadwell" in raised roman letters in a rectangle above centerpoint; "8"10" scratched upside-down above maker's mark. Cover slightly wobbly. Few dents in body. One foot reattached. Part of tea and coffee service, 1985.0121.01-.07.
Maker is Jesse Churchill (1773-1819) and Daniel Treadwell (1791-1872) of Boston, MA; dates in partnership given as 1805-1813.and 1809-1819.
Location
Currently not on view
date made
1813-1814
ID Number
1985.0121.05
catalog number
1985.0121.05
accession number
1985.0121

Vegetable Dish

Currently not on view
Location
Currently not on view
maker
Enoch Wood and Sons
ID Number
CE.62.883Hab
catalog number
62.883Hab
accession number
171126

Butter Dish

Consists of a two-handled, wide-rimmed, circular bowl or dish on straight tapered foot ring with butter knife holder attached to body, a domed cover topped by a cast finial, and a removable, crosslet-pierced liner inside.
Description
Consists of a two-handled, wide-rimmed, circular bowl or dish on straight tapered foot ring with butter knife holder attached to body, a domed cover topped by a cast finial, and a removable, crosslet-pierced liner inside. Bottom edge of cover and foot ring have matching die-stamped bands featuring rectangular panels of flowers. Dish is struck incuse on underside of its flat bottom with circular mark for "SIMPSON, HALL, MILLER & CO / +" encircling "TREBLE / PLATE" at center; "38" stamped above. Cover and liner are not marked. No butter knife.
Location
Currently not on view
date made
1866 - 1899
ca 1880
maker
Simpson, Hall, Miller, and Co.
ID Number
DL.67.0729
catalog number
67.0729
accession number
248268

Untitled (J.P. Morgan?)

Black & white print; 1/2 length portrait of a man (possibly J.P. Morgan).Currently not on view
Description (Brief)
Black & white print; 1/2 length portrait of a man (possibly J.P. Morgan).
Location
Currently not on view
Date made
n.d.
maker
Campbell, V. Floyd
ID Number
DL.60.3112
catalog number
60.3112
accession number
228146

Combination Firesteel

Currently not on view
Location
Currently not on view
date made
1700 - 1800
ID Number
DL.376373
catalog number
376373
accession number
136485

Sèvres compote bowl (part of a service)

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

Porringer

Bellied-bowl porringer with angled rim and slightly domed bottom having a small circle stamped at center inside; cast four-hearts-and-crescent handle with triangular bracket. No touchmarks. Small sections of linen mark faintly visible.
Description
Bellied-bowl porringer with angled rim and slightly domed bottom having a small circle stamped at center inside; cast four-hearts-and-crescent handle with triangular bracket. No touchmarks. Small sections of linen mark faintly visible. Gutter and boss are well defined with crisp turning marks on bottom underside.
Location
Currently not on view
date made
1800 - 1825
ID Number
DL.59.2231
catalog number
59.2231
accession number
220211

Plate

Currently not on view
Location
Currently not on view
maker
Stubbs, Joseph
ID Number
CE.62.917N
catalog number
62.917N
accession number
171126

Cup Plate

Currently not on view
Location
Currently not on view
ID Number
CE.62.988
catalog number
62.988
accession number
171126

Worcester porcelain sugar bowl and cover (part of a service)

Currently not on view
Location
Currently not on view
date made
1785
ID Number
CE.P-850Cab
catalog number
P-850Cab
accession number
225282

Dessert knife

Dessert knife, one of a set of six (1988.763.4-9). Straight steel blade with rounded tip and “yankee” style bolster fitted into tapered ivory handle with rounded sides and butt. Tang is held in place with steel pin through side of handle.
Description
Dessert knife, one of a set of six (1988.763.4-9). Straight steel blade with rounded tip and “yankee” style bolster fitted into tapered ivory handle with rounded sides and butt. Tang is held in place with steel pin through side of handle. Blade is scratched and abraded, with minor corrosion and rust. Ivory is yellowed and crazed, crack near bolster. Steel pin is rusted.
Blade is stamped: “CLEMENT HAWKES /& MAYNARD”
Maker is the Clement Hawkes & Maynard Manufacturing Company, founded in 1866 in Northampton, Massachusetts. The company was reorganized circa 1882 as the Clement Cutlery Company.
Location
Currently not on view
date made
1866- 1882
ID Number
1988.0763.09
accession number
1988.0763
catalog number
1988.0763.09

Copp Family Tree

This framed watercolor of the Samuel and Dolley Copp’s family tree hung in the Copp family home in Stonington, Connecticut during the second half of the 18th century.
Description
This framed watercolor of the Samuel and Dolley Copp’s family tree hung in the Copp family home in Stonington, Connecticut during the second half of the 18th century. The family tree is depicted as two intertwined branches sprouting from two overlapping hearts on a blue hill or base at bottom center. The names, birthdates and marriage date of parents Samuel Copp and Dolley Brown are in bottom segment of the tree. The names and birthdates of nine children (Sarah, Dolley, Jonathan, Betsey, Mary, John Brown, Esther, Nancy, and Samuel) are arranged above in three rows of three ovals suspended from flowering branches. The death date of Betsey is also given. Signed at bottom right by John Brown Copp (b. 1779), sixth oldest of the Copp children.
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 1795
ID Number
DL.006820
catalog number
6820
accession number
28810

knife, dessert; cutlery, set, part of

Dessert knife with matching dessert fork (see 1986.0531.002). Upturned steel blade with rounded tip. Blade and bolster are one piece of steel fitted into a tapered ivory block handle with a rounded butt. Overall scratches and discoloration.
Description
Dessert knife with matching dessert fork (see 1986.0531.002). Upturned steel blade with rounded tip. Blade and bolster are one piece of steel fitted into a tapered ivory block handle with a rounded butt. Overall scratches and discoloration. Ivory is yellowed, has long crack down front.
Blade is stamped: “IBBOTSON&HORNER/EXTRA CAST STEEL”
Maker is Ibbotson & Horner, a New York-based manufacturer active ca 1850.
Location
Currently not on view
date made
1840- 1850
ID Number
1986.0531.001
accession number
1986.0531
catalog number
1986.0531.001

Meissen cup and saucer

TITLE: Meissen cup and saucerMAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain (overall material)MEASUREMENTS: Cup: H. 1¾ 4.5cm; Saucer: D. 5⅛" 13.1cm.OBJECT NAME: Cup and saucerPLACE MADE: Meissen, Saxony, GermanyDATE MADE: ca.
Description
TITLE: Meissen cup and saucer
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
MEASUREMENTS: Cup: H. 1¾ 4.5cm; Saucer: D. 5⅛" 13.1cm.
OBJECT NAME: Cup and saucer
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: ca. 1740
SUBJECT: Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1987.0896.16ab
COLLECTOR/ DONOR: 183ab
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue; “N” in iron-red; “44” impressed on cup; “66” impressed on saucer (former’s numbers).
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1942.
This cup and saucer 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 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 white cup and saucer have onglaze enamel painted scenes of Dutch merchants and harbor workers engaged in loading or unloading goods and conducting business on the quayside. The harbor scenes of the seventeenth century represented to the Dutch their success in trade from the Baltic to the Mediterranean and the Far East at a time when the Republic was the most prosperous seafaring nation in Europe. The popularity of these subjects extended into the eighteenth century, and introduced at Meissen in the 1720s these so-called Kauffahrtei remained in the manufactory’s repertoire until the 1750s. The Meissen manufactory accumulated folios of prints, about six to twelve in a set, as well as illustrated books and individual prints after the work of many Dutch artists, especially the work of Jan van Goyen (1596-1656), Jan van de Velde (1593-1641), and Johann Wilhelm Baur (d.1640). Printed images enriched people’s lives and a series of prints might take the viewer on a journey, real or imaginary. Prints performed a role in European visual culture later extended by photography and film, and they provided artisans and artists with images, motifs, and patterns applied in many branches of the applied arts.
The Meissen manufactory operated under a system of division of labor. Enamel painters specializing in landscapes, harbor, and river scenes with staffage (figures and animals) were paid more than those who painted flowers, fruits and underglaze blue patterns. Most painters received pay by the piece rather than a regular wage or salary. The gold rim lines were the work of another specialist in the painting division.
On graphic sources for Meissen’s painters see Möller, K. A., “’…fine copper pieces for the factory…’ 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. 84-93.
On the painting division at Meissen see Rückert, R., 1990, Biographische Daten der Meissener Manufakturisten des 18. Jahrhunderts, pp. 134-136.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 310-311.
Location
Currently not on view
date made
ca 1740
1740
maker
Meissen Manufactory
ID Number
1987.0896.16ab
catalog number
1987.0896.16ab
accession number
1987.0896
collector/donor number
183ab

Sugar bowl in the Egyptian style

TITLE: Wedgwood sugar bowl and coverMAKER: Wedgwood Manufactory, EtruriaPHYSICAL DESCRIPTION: StonewareMEASUREMENTS: 3 1/8 in x 5 3/16 in x 4 5/16 in; 7.9375 cm x 13.17625 cm x 10.95375 cmOBJECT NAME: Sugar bowl and coverPLACE MADE: Staffordshire, EnglandDATE MADE: 1800-1820SUBJE
Description
TITLE: Wedgwood sugar bowl and cover
MAKER: Wedgwood Manufactory, Etruria
PHYSICAL DESCRIPTION: Stoneware
MEASUREMENTS: 3 1/8 in x 5 3/16 in x 4 5/16 in; 7.9375 cm x 13.17625 cm x 10.95375 cm
OBJECT NAME: Sugar bowl and cover
PLACE MADE: Staffordshire, England
DATE MADE: 1800-1820
SUBJECT: Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE:
ID NUMBER: 65.92
COLLECTOR/ DONOR: National Museum of American History, Division of Home and Community Life
ACCESSION NUMBER: 272503
MARKS: WEDGWOOD (/) two inverted "V"s, impressed
This sugar bowl and cover made at the Wedgwood Manufactory, Etruria, is made in red stoneware (rosso antico) with a crocodile finial and Egyptianised hieroglyphic motifs applied in black basalt stoneware: a sphinx, the winged sun disk, the twin crocodiles, the canopus jar, the falcon god Horus, the Egyptian hunting dog, all adapted from sources of Roman and not of Egyptian origin. Josiah Wedgwood’s designers probably adapted the motifs from Bernard de Montfaucon's L'Antiquité expliquée et representée en figures (Antiquity explained and represented in illustrations), published in 1719. The original source Montfaucon used was a large bronze tablet inlaid with silver made in Rome, probably in about the 1st century CE, and known as the Mensa Isiaca of Turin. It can be seen today in the city of Turin’s Egyptian Museum.
Egypt fascinated the Greeks and Romans centuries before this sugar bowl was made in England. The Romans were great producers and consumers of things, and through their knowledge of Egyptian culture they “Egyptianized” their own villas, temples, and grand monuments with objects taken from Egypt itself, or made in imitation of Egyptian models. Through the centuries after the fall of the Roman Empire evidence of ancient Egypt slipped into obscurity, even in Rome itself as the city of imperial grandeur crumbled into ruin. Not until the European Renaissance, beginning in the fifteenth century, was the earlier fascination with Egypt revived, and by the late eighteenth century the process of rediscovering ancient Egypt was greatly enhanced by travelers from Europe documenting and publishing their experiences. Designers, artisans, and manufacturers were quick to pick up on the mystifying motifs, hieroglyphs, and iconic remains from Egyptian antiquity.
Antico rosso (old red) stoneware was the name Wedgwood gave to this vitrified red clay. It was mined locally with the addition of calcined flint to improve the strength of the clay body and achieve a superior exterior surface suitable for turning on an engine lathe.
Red stoneware was first introduced to the Staffordshire potteries in the late seventeenth century when two brothers, David and John Philip Elers, opened a pottery in Bradwell Wood where there was a deposit of a suitable iron rich red clay. Imported Chinese Yi-Hsing red stoneware tea wares inspired the introduction of this type of ceramic to Europe, and several Staffordshire potters imitated these products, especially the teapots. Josiah Wedgwood developed a red stoneware and used it for his tea wares in the Egyptian style made in the first quarter of the nineteenth century, and most often for his vases inspired by the ancient Greek examples excavated in Italy during the eighteenth century.
Further reading:
Bob Brier, Egyptomania: Our Three Thousand Year Obsession with the Land of the Pharaohs, New York: Palgrave Macmillan, 2013.
James Stevens Curl, Egyptomania, the Egyptian Revival: a Recurring Theme in the History of Taste, Manchester and New York: Manchester University Press, 1994.
Egyptomania: Egypt in Western Art 1730-1930, exhibition catalog, National Gallery of Canada with the Louvre, Paris, 1994.
Gordon Elliott, 2006, Aspects of Ceramic History, Vol. II, p. 78.
Frank L. Wood, 2014, The World of British Stoneware: Its History, manufacture and Wares.
date made
1800-1825
ID Number
CE.65.92ab
catalog number
65.92ab
accession number
272503

Salt Dish

Small circular bowl or cup with everted rim, tapered sides and low-domed dottom; no foot ring. From a group of four salts, DL*388326A-D; C and D appear to match, A and B do not.Currently not on view
Description
Small circular bowl or cup with everted rim, tapered sides and low-domed dottom; no foot ring. From a group of four salts, DL*388326A-D; C and D appear to match, A and B do not.
Location
Currently not on view
ID Number
DL.388326C
catalog number
388326C
accession number
182022

Psyche

Currently not on view
Location
Currently not on view
date made
1875 - 1880
Associated Date
ca 1860 - 1964
ID Number
DL.65.1314A
catalog number
65.1314A
accession number
255605

Cover

Currently not on view
Location
Currently not on view
maker
Meigh, Charles
ID Number
CE.62.949Gb
catalog number
62.949Gb
accession number
171126

Meissen cup and saucer: one of a pair

TITLE: Meissen: Pair of cups and saucers (Hausmaler)MAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)MEASUREMENTS: Cups: 1¾" 4.5 cmSaucers: D.
Description
TITLE: Meissen: Pair of cups and saucers (Hausmaler)
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)
MEASUREMENTS: Cups: 1¾" 4.5 cm
Saucers: D. 5" 12.8 cm
OBJECT NAME: Pair of cups and saucers
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1735-1740, Meissen
SUBJECT: The Hans Syz Collection
Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1979.0120.10/11 Aab,Bab
COLLECTOR/ DONOR: 59 Aab,Bab
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue; “11” impressed on cup A; five-pointed star impressed on foot ring of saucers (former’s mark, possibly Gottfried Bergmann ca. 1709, d.1753).
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1941.
This pair of cups and saucers are 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 cups and saucers were 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 two cups and saucers belong to the same tea service pattern as the rinsing bowl (ID number 1979.0120.12). The exteriors of the two cups have enamel painted flowers in the style of botanical illustration (Holzschnittblumen) placed between prunus blossoms in relief. The saucers contain images of a musician playing a harp and a woman with a shepherd’s crook held in her right hand and a wreath in her left, both in pastoral settings and painted in the mid-eighteenth century in the workshop of Franz Ferdinand Mayer of Pressnitz Bohemia (now Přísečnice in the Czech Republic).
The images painted on the saucers have an archaic style belonging to the seventeenth rather than the eighteenth century and may come from emblematic personifications representing contentment and care of the land. Like the manufactory painters Hausmaler used printed material as a source for their subjects, and it is not unusual to see images that originated in the print workshops of the previous century. In an age before copyright laws numerous pirated editions of prints, print series, and printed books circulated through the hands of artisans who depended on the printed image for ornamental patterns, and for subjects of interest to collectors and consumers.
Tea, coffee, chocolate, and sugar were luxury products for early eighteenth-century consumers. Only the wealthy could afford to drink these beverages sweetened with sugar from silver or porcelain tea and coffee services. Many of the Meissen services were little used and have survived three hundred years because they were kept as items for decorative display in whole or in part. City dwellers drank coffee in the coffee-houses that first appeared in Europe in the 1650s. Lively institutions for generating commercial activity on local and global scales, they were also meeting points for intellectual debate and intrigue, but open only to a male clientele. Coffee was served in bowls imported from the port of Canton in China, or from much cheaper, locally made imitations made from tin-glazed earthenware.
The cups and saucers have the same raised prunus relief from the Meissen Manufactory, the same gold scrollwork and woodcut flowers as the rinsing bowl (ID # 1979.0120.12).
On Hausmaler see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from The Cummer Museum of Art and Gardens, pp. 43-46.
Maureen Cassidy-Geiger, ‘Graphic Sources for Meissen Porcelain: Origins of the Print Collection in the Meissen Archives’ Metropolitan Museum Journal, Vol 31(1996) pp.99-126.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 538-539.
Location
Currently not on view
date made
1735-1740
maker
Meissen Manufactory
ID Number
1979.0120.10ab
accession number
1979.0120
catalog number
1979.0120.10ab
collector/donor number
59A

shaker

Currently not on view
Location
Currently not on view
date made
c. 1930
maker
The Hazel-Atlas Glass Company
ID Number
CE.77.546Bab
accession number
1978.0006
catalog number
77.546Bab

Ale Jug

Double-dome lidded ale jug with an openwork thumb piece, engraved on front of body "J&CB" in foliate script letters. Plain, inverted-bulbous or -bellied body has a slightly flared neck with molded rim and flared foot; faint line visible at seam.
Description
Double-dome lidded ale jug with an openwork thumb piece, engraved on front of body "J&CB" in foliate script letters. Plain, inverted-bulbous or -bellied body has a slightly flared neck with molded rim and flared foot; faint line visible at seam. Compound-scroll handle with five-knuckle hinge, stepped thumbrest and short terminal; upper terminal attached below rim. Plain, inset, curved spout; no strainer. Pot touch of "[GER]ARDIN (arched) / & / WATSON (curved)", all in raised serif letters, on bottom inside.
Maker is Gerardin and Watson of London, England, c. 1805-1854.
Location
Currently not on view
date made
early 19th c.
c. 1805-1854
ID Number
DL.67.0154
catalog number
67.0154
accession number
250853

Tray

Flat oval tray with molded sides and large beaded rim on four applied oval boss feet. Well obverse is engraved with an oval band of trumpet-shaped leaves and flowers sprouting scrolls around a foliate script "W" at center.
Description
Flat oval tray with molded sides and large beaded rim on four applied oval boss feet. Well obverse is engraved with an oval band of trumpet-shaped leaves and flowers sprouting scrolls around a foliate script "W" at center. Circular tag affixed to underside of well at one end is embossed "* ROGERS BROS. MFG CO. * / HARTFORD CONN. (in outer circle)" and "****** / EXTRA / HEAVY / PLATE. / ******* (in inner circle)". Clipped-corner rectangular, red-bordered white paper label affixed at center of underside.
Maker is Rogers Brothers Manufacturing Co. (William, Asa H., and Simeon S. Rogers) of Hartford, CT; 1853-1861.
Location
Currently not on view
date made
1853 - 1861
owner; user
Washington, Mary Anne Hammond
ID Number
DL.60.1001
catalog number
60.1001
accession number
71656

Pot

Tall, cylindrical pot with two arched strap or lug handles and a molded cover with arched, molded strap handle.
Description
Tall, cylindrical pot with two arched strap or lug handles and a molded cover with arched, molded strap handle. Pot made in three pieces, the body has two vertical folded seams, and the flat bottom has a folded edge; lug handles are soft-soldered below the wire-rolled rim at seams. Cover has an overhanging folded edge and soft-soldered lapped-seam collar. No marks.
Location
Currently not on view
date made
late 19th or early 20th century
ID Number
DL.257491.0084
catalog number
257491.0084
accession number
257491

Gill Measure

Baluster measure with double-volute thumb piece; gill size. Fleur-de-lis extension is burnt to the flat lid, which has two, deep, concentric, incised lines. Body has a galleried rim and flared base; one incised line at center.
Description
Baluster measure with double-volute thumb piece; gill size. Fleur-de-lis extension is burnt to the flat lid, which has two, deep, concentric, incised lines. Body has a galleried rim and flared base; one incised line at center. Tapered, S-scroll handle with bud terminal; stepped diamond- or lozenge-shaped attachment, no strut. No marks.
Location
Currently not on view
date made
1720-1825
ID Number
DL.67.0113
catalog number
67.0113
accession number
250853

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