(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: None on porcelain; on knife blade “CGI” and “14” stamped in oval.
PURCHASED FROM: S. Berges, New York, 1944.
This knife and fork 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.
Painted with Indian flowers (indianische Blumen) and a lambrequin pattern the handles on the knife and fork follow the Japanese Imari style. The silver knife blade and fork tines are contemporary with the porcelain handles.
Japanese Imari wares came from kilns near the town of Arita in the north-western region of Kyushu, Japan’s southernmost island, and were exported to Europe by the Dutch through the port of Imari. Decorated in the Aka-e-machi, the enameling center in Arita, Imari wares are generally distinguished from those made in the Kakiemon style by the darker palette of enamel colors and densely patterned surfaces, some of which are clearly derived from Japanese and South-East Asian textiles and known in Japan as brocade ware (nishiki-de), but there are considerable variations within this broad outline. Unlike the Kakiemon style a high proportion of Japanese Imari wares combined underglaze blue painting with overglaze enamel colors.
While the knife has an ancient history as a tool for butchering and cutting food, the table fork is a much later invention. Large two-pronged forks existed in antiquity to assist in the handling of large cuts of meat, but the custom of using a small fork for dining appeared in the cultures of the Middle East and Byzantium in the fifth to seventh century CE. When introduced to Venice in the tenth century by a Byzantine bride at her wedding feast to the Doge’s son, the Venetian court considered the implement a decadent affectation. Nevertheless, forks were adopted slowly in Italy, at first in elite society, and then spread to other parts of Europe reaching England with the traveler Thomas Coryote in the early seventeenth century. Forks arrived with European settlers at a later date in the American colonies, but their use was not wholeheartedly accepted even in the 1800s.
For a detailed account of the Imari style and its European imitators see Ayers, J., Impey, O., Mallet, J.V.G., 1990, Porcelain for Palaces: the fashion for Japan in Europe 1650-1750.
Rotondo-McCord, L., 1997, Imari: Japanese Porcelain for European Palaces: The Freda and Ralph Lupin Collection.
For two examples of full sets of flatware with Meissen handles in the Imari style and with Augsburg metalwork see Weber, J., 2013, Meissener Porzellane mit Dekoren nach ostasiatischen Vorbildern: Stiftung Ernst Schneider in Schloss Lustheim, Band II, S. 50-51.
For histories of the fork see http://leitesculinaria.com/1157/writings-the-uncommon-origins-of-the-common-fork.html
MEASUREMENTS: Cup: H.2⅝" 6.7cm; Saucer: D. 5¼" 13.3cm
OBJECT NAME: Cup and saucer
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1745-1750
SUBJECT:
Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1987.0896.27 a,b
COLLECTOR/ DONOR: 1179 a,b
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue; “36” in gold; “64” impressed on saucer.
PURCHASED FROM: The Art Exchange, New York, 1961.
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 cup and saucer have purple ground color on their exterior surfaces with so-called “Watteau scenes” painted in the exterior of the cup and interior of the saucer depicting elegant figures in pastoral settings.
In the work of French artist Jean Antoine Watteau (1684-1721) we see the development of the fêtes galantes based on the outdoor entertainments in private and public pleasure parks that represent youthful elite society removed from the conventions of court protocol. Watteau’s works depicted conversational, theatrical, and amorous encounters set in idealized pastoral surroundings where the fleeting nature of temporal pleasures hangs over the delicately poised gatherings, and they struck a chord with living protagonists.
In the early 1740s Meissen began to acquire a collection of copperplate engravings on which the painters based their “Watteauszenen” (Watteau scenes), and they became so much in demand that eleven painters were appointed to specialize in work on this theme.
The Meissen manufactory operated under a system of division of labor. Enamel painters specializing in landscapes and subjects with figures 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.
Ornamental gold painting was the work of another specialist in the painting division.
On Antoine Watteau see Thomas Crow, 1985, Painters and Public Life in Eighteenth-Century Paris, chapter II, ‘Fêtes Galantes and Fêtes Publiques’, pp. 55-75. See also Sheriff, M. D., (ed.) 2006, Antoine Watteau: Perspectives on the Artist and the Culture of His Time.
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. 340-341.
MARKS: Crossed swords and “R” in underglaze blue; “4” impressed on cup; “E” impressed on saucer (former’s numbers).
PURCHASED FROM: N. Sakiel & Son, New York, 1963.
This tea bowl 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 collector and 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.
Early in Meissen’s history Johann Friedrich Böttger’s team searched for success in underglaze blue painting in imitation of the Chinese and Japanese prototypes in the Dresden collections. Böttger’s porcelain, however, was fired at a temperature higher than Chinese porcelain or German stoneware. As in China, the underglaze blue pigment was painted on the clay surface before firing, but when glazed and fired the cobalt sank into the porcelain body and ran into the glaze instead of maintaining a sharp image like the Chinese originals. The Elector of Saxony and King of Poland Augustus II was not satisfied with the inferior product. Success in underglaze blue painting eluded Böttger’s team until Johann Gregor Höroldt (1696-1775) appropriated a workable formula developed by the metallurgist David Köhler (1673-1723). Success required adjustment to the porcelain paste by replacing the alabaster flux with feldspar and adding a percentage of porcelain clay (kaolin) to the cobalt pigment. Underglaze blue painting became a reliable and substantial part of the manufactory’s output in the 1730s.
The tea bowl and saucer have a simple floral pattern distributed regularly on their interiors. On the exterior the surface is fluted with ribs in the so-called “broken reed” pattern (gebrochener Stab), and covered with a straw-colored celadon type glaze. Meissen produced more utilitarian services like this in order to appeal to the growth of an affluent middle-class market. The fashion for oriental designs began to decrease in the 1740s in favor of European subjects, but the demand for patterns like the “onion”, “rock and bird” and the “little blue flowers” endures in various forms down to the present day.
Underglaze blue painting requires skills similar to a watercolor artist. There are no second chances, and once the pigment touches the clay or biscuit-fired surface it cannot be eradicated easily. Many of Meissen’s underglaze blue designs were, and still are, “pounced” onto the surface of the vessel before painting. Pouncing is a long used technique in which finely powdered charcoal or graphite is allowed to fall through small holes pierced through the outlines of a paper design, thereby serving as a guide for the painter and maintaining a relative standard in the component parts of Meissen table services.
On underglaze blue painting at Meissen see Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 22-23.
J. Carswell, 1985, Blue and White: Chinese Porcelain and its impact on the Western World.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 262-263.
MARKS: In underglaze blue the caduceus on saucer; large crossed swords on cup.
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1950.
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 collector and 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.
Early in Meissen’s history Johann Friedrich Böttger’s team searched for success in underglaze blue painting in imitation of the Chinese and Japanese prototypes in the Dresden collections. Böttger’s porcelain, however, was fired at a temperature higher than Chinese porcelain or German stoneware. As in China, the underglaze blue was painted on the clay surface before firing, but when glazed and fired the cobalt sank into the porcelain body and ran into the glaze instead of maintaining a sharp image like the Chinese cobalt blue painted porcelains. The Elector of Saxony and King of Poland Augustus II was not satisfied with the inferior product. Success in underglaze blue painting eluded Böttger’s team until Johann Gregor Höroldt (1696-1775) appropriated a workable formula developed by the metallurgist David Köhler (1673-1723). Success required adjustment to the porcelain paste by replacing the alabaster flux with feldspar and adding a percentage of porcelain clay (kaolin) to the cobalt pigment. Underglaze blue painting became a reliable and substantial part of the manufactory’s output in the 1730s.
The cup and saucer have the glaze “dead-leaf” or “Capuchin brown” (Kapuzinerbraun) after the color of the habit in the order of Capuchin monks, on the exteriors - a color developed by Samuel Stölzel (1685-1737) using iron oxide. On their interiors the tea bowl and saucer have landscapes with a fisherman in his boat on a lake, and a house beside a willow tree. Scattered spays of flowers and a diaper pattern border complete the decoration.
The spout on the cup was used to pour tea into the saucer from which the beverage was then drunk, and this function was based on contemporary silver wares; tea cooled in the saucer more quickly. Other Meissen examples have two handles protruding like a pair of ears from opposite sides of the saucer.
The whip, or Asclepius, mark on the saucer is often called a “caduceus”, but that has two snakes entwined and is an emblem belonging to Hermes or Mercury. The emblem of Asclepius represents healing and has only one snake entwined around a staff. The mark was used at Meissen between 1721 and 1735.
Underglaze blue painting requires skills similar to a watercolor artist. There are no second chances, and once the pigment touches the clay or biscuit-fired surface it cannot be eradicated easily. Many of Meissen’s underglaze blue designs were, and still are, “pounced” onto the surface of the vessel before painting. Pouncing is a long used technique in which finely powdered charcoal or graphite is allowed to fall through small holes pierced through the outlines of a paper design, thereby standing as a guide for the painter and maintaining a relative standard in the design across all the components of a table service.
On underglaze blue painting at Meissen see Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 22-23.
J. Carswell, 1985, Blue and White: Chinese Porcelain and its impact on the Western World.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 232-233.
Leather belting produced from cowhide tanned in a solution with ground oak bark had been manufactured in New York City from the 19th century. By the end of the century, the firm of Fayerweather & Ladew in Glen Cove, N.Y., had developed methods of waterproofing leather belting so that it could be used in wet and humid conditions. After the death of Edward R. Ladew in 1905, the firm operated as Estate of Edward R. Ladew. It was renamed Edw. R. Ladew Co., Inc., about 1919, and in 1920 it was sold to Graton & Knight Manufacturing Co. of Worcester, Mass.
To publicize its products, the company began distributing the Ladew Belting Strength Computer in 1914. This tan circular slide rule was made by the Whitehead & Hoag Company of Newark, N.J., under a June 6, 1905, patent for printing on pyroxylin (celluloid). It has a rotating disc and another rotating circular segment, pivoted about a metal rivet and attached to a rectangular celluloid base. The logarithmic scales allow computation of the horsepower a leather belt of known quality will transmit, given the width of the belt, the diameter of the pulley, and the rate of revolution of the pulley. The scales also make it possible to calculate the working strain of the belt, according to the kind of belt used and the horsepower transmitted. Instructions are provided on the back of the instrument.
For a linear slide rule for computations relating to cloth belting, see the Computer for Belting and Computer for Shafting made by J. A. & W. Bird & Co. of Boston (1988.0323.02). For information on Whitehead & Hoag, see 1984.1080.01.
References: Frank R. Norkross, A History of the New York Swamp (New York: The Chiswick Press, 1901), 103–107; Richard E. Roehm, "Process of Printing Upon Pyroxylin Materials" (U.S. Patent 791,503 issued June 6, 1905); Library of Congress, Catalogue of Copyright Entries, part 1, group 2, n.s., vol. 11, no. 8 (Washington, D.C., 1914): 754; "Ladew Belt Mill Sold," New York Times (February 13, 1920), 23; "Business Changes," Steam 25, no. 4 (May 1920): 145; accession file.
MARKS: Crossed swords with dot and “H” in underglaze blue on handle, (possibly Johann Heinrich Hofmann first recorded as a blue painter (Blaumaler) in 1731).
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1947.
This teapot 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 collector and 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.
Early in Meissen’s history Johann Friedrich Böttger’s team searched for success in underglaze blue painting in imitation of the Chinese and Japanese prototypes in the Dresden collections. Böttger’s porcelain, however, was fired at a temperature higher than Chinese porcelain or German stoneware. As in China, the underglaze blue pigment was painted on the clay surface before firing, but when glazed and fired the cobalt sank into the porcelain body and ran into the glaze instead of maintaining a clear image like the Chinese originals. The Elector of Saxony and King of Poland Augustus II was not satisfied with the inferior product. Success in underglaze blue painting eluded Böttger’s team until Johann Gregor Höroldt (1696-1775) appropriated a workable formula developed by the metallurgist David Köhler (1673-1723). Success required adjustment to the porcelain paste by replacing the alabaster flux with feldspar and adding a percentage of porcelain clay (kaolin) to the cobalt pigment. Underglaze blue painting became a reliable and substantial part of the manufactory’s output in the 1730s.
The “rock and bird” pattern seen on this small teapot was adapted by the Meissen manufactory from Japanese porcelain models made in Arita. Japanese potters imitated Chinese designs and trade in porcelain between the two countries was extensive until the fall of the Ming dynasty in 1644. Several European porcelain manufactories imitated Meissen’s imitation of the Japanese prototype of a flying bird and flowering tree beside a rock that represents a garden landscape. The double loops circling the opening of the teapot are common to many of the objects with the “rock and bird” pattern.
Underglaze blue painting requires skills similar to a watercolor artist. There are no second chances, and once the pigment touches the clay or biscuit-fired surface it cannot be eradicated easily. Many of Meissen’s underglaze blue designs were, and still are, “pounced” onto the surface of the vessel before painting. Pouncing is a long used technique in which finely powdered charcoal or graphite is allowed to fall through small holes pierced through the outlines of a paper design, thereby serving as a guide for the painter and maintaining a relative standard in the component parts of Meissen table services.
On underglaze blue painting at Meissen see Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 22-23.
J. Carswell, 1985, Blue and White: Chinese Porcelain and its impact on the Western World.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 252-253.
MEASUREMENTS: Cup: H. 2¼" 5.7cm; Saucer: D. 4⅝" 11.8cm
OBJECT NAME: Two-handled cup and saucer
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1730-1735
SUBJECT: Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1984.1140.39 ab
COLLECTOR/ DONOR: 1331 ab
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue; “//” incised on cup.
PURCHASED FROM: William H. Lautz, New York, 1963.
This two-handled 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 octagonal two-handled cup with saucer imitates a design on Japanese porcelain in the Kakiemon style. Reserved on iron-red grounds in alternating panels are foliate arabesques pinned with stylized flowers in gold, and on two of the white panels there are motifs of scholars’scrolls bound by ribbons resembling the Buddhist symbol for learning. The remaining white panels contain stylized lotus flowers that represent purity and perfection in Chinese Buddhist iconography, among many other meanings. Although usually identified as in the Kakiemon style the piece has elements of both Kakiemon and Imari designs.
Kakiemon is the name given to very white (nigoshida meaning milky-white) finely potted Japanese porcelain made in the Nangawara Valley near the town of Arita in the North-West of the island of Kyushu. The porcelain bears a characteristic style of enamel painting using a palette of translucent colors painted with refined assymetric designs attributed to a family of painters with the name Kakiemon. In the 1650s, when Chinese porcelain was in short supply due to civil unrest following the fall of the Ming Dynasty to the Manchu in 1644, Arita porcelain was at first exported to Europe through the Dutch East India Company’s base on the island of Dejima in the Bay of Nagasaki. The Japanese traded Arita porcelain only with Chinese, Korean, and Dutch merchants, and the Chinese resold Japanese porcelain to the Dutch in Batavia (present day Jakarta), to the English and French at the port of Canton (present day Guangzhou) and Amoy (present day Xiamen). Augustus II, Elector of Saxony and King of Poland, obtained Japanese porcelain through his agents operating in Amsterdam who purchased items from Dutch merchants, and from a Dutch dealer in Dresden, Elizabeth Bassetouche.
This particular design was much in demand in France late in the eighteenth century, and in England both the Bow and Chelsea manufactories produced versions of the pattern for tea and coffee services, possibly after Meissen’s imitations of Japanese prototypes. The foliate scroll or arabesque pattern is known in Japan as Karakusa (also called the octopus scroll and Chinese grass motif). It has its origins in plant patterns of considerable antiquity that reached Japan through China, but appear to have migrated to China from Central Asia and possibly from the eastern Mediterranean. In Japan the Karakusa pattern developed into a popular abstract motif derived from nature that is still in use today. The “octopus” connection comes from the idea that the little “feet” protruding from the stem resemble octopus suckers.
On the development of Japanese Kakiemon porcelain see Ayers, J., Impey, O., Mallet, J.V.G., 1990, Porcelain for Palaces: the fashion for Japan in Europe 1650-1750, and on Kakiemon see Impey, O., Jörg, J. A., Mason, C., 2009, Dragons, Tigers and Bamboo: Japanese Porcelain and its Impact in Europe, the Macdonald Collection. See also: Takeshi Nagataki, 2003, Classic Japanese Porcelain: Imari and Kakiemon; Goro Shimura, 2008, The Story of Imari: the Symbols and Mysteries of antique Japanese Porcelain For examples of other items in this pattern see Pietsch, U., 2011, Early Meissen Porcelain: the Wark Collection from the Cummer Museum of Art and Gardens, pp. 310-311; Weber, J., 2013, Meissener Porzellane mit Dekoren nach ostasiatischen Vorbildern: Stiftung Ernst Schneider in Schloss Lustheim, Band II, S. 145-148.
Jefferson Miller II, J., Rückert, R., Syz, H., 1979, Catalogue of the Hans Syz Collectio: Meissen Porcelain and Hausmalerei, pp. 200-201.
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: None
PURCHASED FROM: The Art Exchange, New York, 1961.
This tea caddy 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.
This rectangular tea caddy appears very similar to a milk pot (ID number 71.204) but the cartouches, with their elaborate foliage scrolls and drapery are not identical and the caddy belongs to another service. The cartouches frame waterside scenes on the front and back with similar subjects on the sides all painted in overglaze purple enamel with some gold highlights. Insects are depicted on the shoulders of the caddy, but the cover is missing.
Sources for enamel painted harbor scenes and landscapes came from the vast number of prints after paintings by Italian, Dutch, and Flemish masters of the seventeenth century that formed a major part of Meissen’s output from the mid - 1720s 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 European artists, especially the work of Jan van Goyen (1596-1656), Jan van de Velde (1593-1641), and Johann Wilhelm Baur (d. 1640).
The enduring popularity of landscape and waterside subjects, especially the tranquil rural scenes depicted in prints by artists like Jan van de Velde, held particular appeal for city dwellers and for the nobility fulfilling court duties. Long before Meissen began production Dutch artists realized the potential for a market in prints that led viewers into pleasant places real and imagined. In seventeenth-century Amsterdam there was a flourishing publishing industry to support the production of illustrated books and print series for buyers to view at their leisure. The production of luxury goods in the eighteenth century opened up further opportunities for adapting these subjects onto the surfaces two and three-dimensional objects.
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. Ornamental gold painting was 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 seventeenth-century Dutch art see Gibson, W.S., 2000, Pleasant Places: the rustic landscape from Bruegel to Ruisdael; Goddard, S.H., 1984, Sets and Series: prints from the Low Countries, exhibition catalog, Yale University Art Gallery.
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. 314-315.
This is a vial of small bearing balls collected by the Anti-Friction Bearing Manufacturers Association for a public relations exhibit during the early 1950s that was donated to the museum in 1977.For optimum bearing performance, balls in a bearing must be perfect spheres of exactly uniform size. If not, the bearing’s load will focus on the irregular ball, leading to failure in the bearing. During the middle of the 20th century, balls were manufactured by the “cold heading” process. In cold heading a piece of cylindrical steel wire is cut and compressed by a spherical die. This forms rough balls with protrusions at the top and around the equator. The balls go into a grinder to remove these protrusions in a process called deflashing. Further heating, grinding, lapping, and cleaning leaves uniform balls ready to be added to its matching cage or raceway to make a fully assembled bearing.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
This is a caged nine-ball bearing made by New Departure of Bristol, Connecticut around 1950. New Departure was a division of the General Motors Corporation at this time. This bearing could handle light-weight radial and axial loads. The bearing is inscribed with the serial “ND 3203M 19447.” The Anti-Friction Bearing Manufacturers Association collected bearings for a public relations exhibit during the early 1950s, and donated them to the museum in 1977.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
This is a sealed ball bearing made by New Departure of Bristol, Connecticut around 1950. New Departure was a division of the General Motors Corporation at this time. This bearing could handle light-weight radial and axial loads, possibly used in a car. The bearing is inscribed with the serial “LR-10” The Anti-Friction Bearing Manufacturers Association collected bearings for a public relations exhibit during the early 1950s, and donated them to the museum in 1977.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
This is an outer race for a roller bearing manufactured by the Federal Bearings Company of Poughkeepsie, New York around 1950. The cone bears the inscription “1306 CG.” Roller bearings can support very heavy radial loads (as well as light axial loads) due to their wider surface area, but must operate at a slower speed when compared to ball bearings. The Anti-Friction Bearing Manufacturers Association collected bearings for a public relations exhibit during the early 1950s, and donated them to the museum in 1977.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
New Departure of Bristol, Connecticut manufactured this small caged six ball bearing around 1950. The bearing is inscribed with the part number “34.” The Anti Friction Bearing Manufacturers Association collected bearings for a public relations exhibit during the early 1950s, and donated them to the museum in 1977.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
This is a vial of small bearing balls collected by the Anti-Friction Bearing Manufacturers Association for a public relations exhibit during the early 1950s that was donated to the museum in 1977. For optimum bearing performance, balls in a bearing must be perfect spheres each of exactly uniform size. If not, the bearing’s load will focus on the irregular ball, leading to failure in the bearing. Balls are manufactured by a “cold heading” process. In cold heading piece of cylindrical steel wire is cut, then a die presses it together to make rough balls with protrusions at the top and around the equator. The balls go into a grinder to remove these protrusions created by the heading process. Further heating, grinding, and cleaning leaves uniform balls ready to be added to its matching cage or raceway to make a fully assembled bearing.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
Svenska Kullagerfabriken (Swedish Ball Bearing Factory, SKF) manufactured this large thin-ring ball bearing around 1950. Thin-ring bearings are those when the inner diameter is close in size to the outer diameter, which limits the bearing’s load but reduces the size and weight of the bearing. This bearing is inscribed “GCI I-71008.” The Anti-Friction Bearing Manufacturers Association collected bearings for a public relations exhibit during the early 1950s, and donated them to the museum in 1977.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
The Marlin Rockwell Corporation of Jamestown, New York manufactured this caged 10-ball bearing around 1950. The caged single row ball bearing was a common type of bearing, used in a variety of applications. The Anti-Friction Bearing Manufacturers Association collected bearings for a public relations exhibit during the early 1950s, and donated them to the museum in 1977.
Simple bearings have been used for thousands of years reducing friction on turning parts like the axles of carts. In the late 1800s and early 1900s advances in machining and production expanded bearing use in all types of machines greatly increasing their life and precision. Bearings reduce friction on turning surfaces and keep them running true. Bearings come in a variety of shapes and sizes (including ball, roller, tapered, and simple friction). Modern bearings are often set in an inner and outer ring (called a race) sometimes with cages (separators) spacing the bearings. Changes to the size, shape, alignment, race, and cage allow for bearings to be used in almost any industry—from industrial turbines and automobiles to household mixers and computer hard drives.
