Art
The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.
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Studies for San Salvador, 1492
- Description
- Unsigned sheet of pencil drawings listing names of men who accompanied Christopher Columbus on his first expedition to the New World and shows some armor they might have worn. About 1930 Gerome Ferris painted San Salvador, 1492 in which Columbus claims the island of present-day San Salvador for Spain.
- Location
- Currently not on view
- date made
- ca 1920s
- maker
- Ferris, Jean Leon Gerome
- ID Number
- 1985.0650.004
- accession number
- 1985.0650
- catalog number
- 85.0650.004
- Data Source
- National Museum of American History
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Feed a Fighter
- Location
- Currently not on view
- Date made
- 1917 - 1921
- artist
- Morgan, Wallace
- ID Number
- 1986.3051.12
- catalog number
- 1986.3051.12
- nonaccession number
- 1986.3051
- Data Source
- National Museum of American History
-
Water Carrier
- Description
- Henrietta Shore (1880-1963) began working in the Los Angeles lithography workshop of master printer Lynton Kistler in 1928. She was one of the few women working in the medium at the time. Shore's paintings and prints of the Mexican people and landscape were influenced by her visits there beginning in the 1920s.
- Location
- Currently not on view
- Date made
- ca 1928
- original artist
- Shore, Henrietta
- graphic artist
- Kistler, Lynton R.
- ID Number
- 1978.0650.1746
- accession number
- 1978.0650
- catalog number
- 1978.0650.1746
- 78.0650.1746
- Data Source
- National Museum of American History
-
"Enlist in a Proud Profession ... U.S. Cadet Nurse Corps" Poster
- Description
- Physical Description
- Four-color print on paper.
- Specific History
- The Division of Military History and Diplomacy has been collecting recruiting posters for more than fifty years. Recruiting as an activity of the military is important to the understanding of who serves in uniform during both war and peace and the visual materials used to market military service. The collection contains examples of early Civil War broadsides; World War I posters, including the original artwork for Uncle Sam as drawn by Montgomery Flagg; and World War II posters, which show the recruiting of men and women for all services and auxiliary organizations. The collection contains primarily Civil War, Spanish-American War, World War I, and World War II recruiting posters for the army, navy and some marines. More modern-day recruiting materials are also contained in the collection, and cover a broad range of army recruiting slogans.
- General History
- Posters during World War II were designed to instill in people a positive outlook, a sense of patriotism and confidence. They linked the war in trenches with the war at home. From a practical point, they were used to encourage all Americans to help with the war effort. The posters called on every man, woman, and child to endure the personal sacrifice and domestic adjustments to further the national agenda. They encouraged rationing, conservation, and sacrifice. In addition, the posters were used for recruitment, productivity, and motivation as well as for financing the war effort. The stark, colorful graphic designs elicited strong emotions. The posters played to the fears, frustrations, and faith in freedoms that lingered in people's minds during the war.
- Location
- Currently not on view
- Date made
- 1942
- associated dates
- 1942
- distributor
- United States. Office of War Information
- printer
- US Government Printing Office
- issuing authority
- U.S. Public Health Service
- ID Number
- 1977.0020.041
- catalog number
- 1977.0020.041
- accession number
- 1977.0020
- Data Source
- National Museum of American History
-
The Girl on the Land Serves the Nation's Need
- Description
- The Girl on the Land Serves the Nation's Need. American World War I poster by artist Edward Penfield for the Y.W.C.A. Land Service Committee. Depicted are four women in uniform walking through a field, carrying tools and a basket of produce while leading a team of horses.
- Location
- Currently not on view
- Date made
- 1917 - 1921
- ID Number
- 1986.3051.01
- catalog number
- 1986.3051.01
- nonaccession number
- 1986.3051
- Data Source
- National Museum of American History
-
Studies for San Salvador, 1492
- Description (Brief)
- Unsigned sheet; Gerome Ferris explores in pencil a possibility for the central group in his painting, San Salvador, 1492. Here Columbus flourishes his sword above his head whereas in the painting he gestures forward with it. There is also a preliminary study for the crossbowman at left front in the painting.
- Location
- Currently not on view
- date made
- ca 1920s
- original artist
- Ferris, Jean Leon Gerome
- ID Number
- 1985.0650.007
- accession number
- 1985.0650
- catalog number
- 85.0650.007
- Data Source
- National Museum of American History
-
Studies for San Salvador, 1492
- Description (Brief)
- Gerome Ferris sketched these helmets in pencil for his 1930 historical painting of Christopher Columbus landing in the new world, San Salvador, 1492.
- Location
- Currently not on view
- date made
- ca 1920s
- original artist
- Ferris, Jean Leon Gerome
- ID Number
- 1985.0650.006
- accession number
- 1985.0650
- catalog number
- 85.0650.006
- Data Source
- National Museum of American History
-
plate
- 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.74.71F
- catalog number
- 74.71F
- accession number
- 314093
- Data Source
- National Museum of American History
-
candlestick
- 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
- Data Source
- National Museum of American History
-
cup
- Description
- This is a large commemerative cup with transfer printed images of the "Manufactures and Liberal Arts Building," possibly from the 1876 Philadelphia Centennial Exposition celebrating American acheivements in pottery.
- Location
- Currently not on view
- date made
- c.1882-1925
- ID Number
- CE.379761
- catalog number
- 379761
- accession number
- 150313
- Data Source
- National Museum of American History
-
plate
- 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 1903-1908
- painted, 1908-1929
- ID Number
- CE.74.74E
- catalog number
- 74.74E
- accession number
- 314093
- Data Source
- National Museum of American History
-
tray
- 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, such as this oval tray painted by the Washington, D.C. based china painter.
- Location
- Currently not on view
- date made
- c. 1909-1929
- maker
- Limousin and Company
- ID Number
- CE.74.72
- catalog number
- 74.72
- accession number
- 314093
- Data Source
- National Museum of American History
-
plate
- 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.74.74C
- catalog number
- 74.74C
- accession number
- 314093
- Data Source
- National Museum of American History
-
mug
- Location
- Currently not on view
- date made
- unknown
- c. 1903-1929
- maker
- Goodwin Pottery Company
- ID Number
- CE.237953
- catalog number
- 237953
- accession number
- 45698
- Data Source
- National Museum of American History
-
candlestick
- 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
- after 1891
- painted, 1908-1929
- after 1910
- ID Number
- CE.74.75A
- catalog number
- 74.75A
- accession number
- 314093
- Data Source
- National Museum of American History
-
box
- 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
- painted, 1908-1929
- ID Number
- CE.74.76Bab
- catalog number
- 74.76Bab
- accession number
- 314093
- Data Source
- National Museum of American History
-
plate
- 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, 1903-1908
- painted, 1909-1929
- ID Number
- CE.74.74B
- catalog number
- 74.74B
- accession number
- 314093
- Data Source
- National Museum of American History
-
plate
- 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
- c.1916
- ID Number
- CE.78.39
- catalog number
- 78.39
- accession number
- 1978.0546
- Data Source
- National Museum of American History
-
Brooklyn Bridge Plate
- Location
- Currently not on view
- date made
- unknown
- c.1903-1929
- ID Number
- CE.379415
- catalog number
- 379415
- accession number
- 150313
- Data Source
- National Museum of American History
-
Studies for San Salvador, 1492
- Description
- Unsigned sheet of pencil studies, showing swords and helmets, some of which can be linked to the figure of a crossbowman in Ferris’s painting in which Christopher Columbus takes possession of present-day San Salvador for Spain.
- Location
- Currently not on view
- date made
- ca 1920s
- original artist
- Ferris, Jean Leon Gerome
- ID Number
- 1985.0650.005
- accession number
- 1985.0650
- catalog number
- 85.0650.005
- Data Source
- National Museum of American History
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