Natural Resources
The natural resources collections offer centuries of evidence about how Americans have used the bounty of the American continent and coastal waters. Artifacts related to flood control, dam construction, and irrigation illustrate the nation's attempts to manage the natural world. Oil-drilling, iron-mining, and steel-making artifacts show the connection between natural resources and industrial strength.
Forestry is represented by saws, axes, a smokejumper's suit, and many other objects. Hooks, nets, and other gear from New England fisheries of the late 1800s are among the fishing artifacts, as well as more recent acquisitions from the Pacific Northwest and Chesapeake Bay. Whaling artifacts include harpoons, lances, scrimshaw etchings in whalebone, and several paintings of a whaler's work at sea. The modern environmental movement has contributed buttons and other protest artifacts on issues from scenic rivers to biodiversity.
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set of dishes (6)
- date made
- ca. 1909-1929
- ID Number
- CE.74.71a-f
- 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
- porcelain, after 1891
- painting, 1908-1929
- ID Number
- CE.74.71D
- catalog number
- 74.71D
- accession number
- 314093
- Data Source
- National Museum of American History
-
pitcher
- 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.
- While women china decorators were often referred to as “amateurs” with the men as the professionals in the field, the Healey sisters became an exception. Mary and Emily Healey were born into a wealthy family in Cumberland, Maryland and worked as china decorators, and likely teachers of china painting, from 1892 to the 1920s. Their interest in china painting began when they moved to Washington, D.C. where the arts were widely appreciated and supported. China painting was seen as genteel occupation for women, with its connection to domesticity while fulfilling the Victorian aesthetic of a variety and quantity of objects on display in the home. Most women who practiced china painting viewed it mainly as a leisurely activity, especially after the increased affluence after the Civil War. The Healey sisters, however, used china painting as means to support themselves. Differentiating themselves from the conventional naturalistic china painted scenes, the sisters became known for covering their porcelain blanks entirely with gold. “Cryso-Ceramics” as they were called, cryso meaning gold, was a process they developed using a mixture of gold and uranium that fired in a low-temperature kiln. Although less known today, the Healey sisters were a wide success during their lifetime. Not only were they able to sell their china painting locally through catalog orders and commissions, but they also received two Premium awards at the 1893 Chicago World’s Fair, and became an international sensation – reaching acclaim as far as Denmark.
- This unique pitcher, painted with brilliant gold by the Healey sisters, was a special commission by Ellen Knight Bradford, a regular Healey customer located in Washington, D.C. Made for the occasion of Ms. Bradford’s aunt and uncle’s “golden” wedding anniversary, the Healey sisters hand painted a poem composed by Ms. Bradford along the spiraling sides of the porcelain pitcher body.
- Location
- Currently not on view
- date made
- c. 1894-1900
- ID Number
- CE.62.1
- catalog number
- 62.1
- accession number
- 240743
- 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.74.71A
- catalog number
- 74.71A
- 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
-
Limoges 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
- c. 1882
- c. 1882-1896
- maker
- Martial Redon & Co.
- ID Number
- CE.393790
- catalog number
- 393790
- accession number
- 211929
- 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.74.71E
- catalog number
- 74.71E
- accession number
- 314093
- Data Source
- National Museum of American History
-
Cordial cup and saucer
- Description
- China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
- In 1890, at the age of 57, Edward Lycett left Faience Manufacturing when it was sold as an agent to a French porcelain company. This, however, was not a setback in Lycett’s ceramic venture. Although retired, Edward Lycett continued to follow his passion for new ceramic inventions. He soon moved to Atlanta, Georgia to work in his son’s studio where he and continued to experiment with clay and glaze materials as well as different firing techniques with William until he died in 1910 at the age of 77.
- Location
- Currently not on view
- date made
- 1903
- maker
- Lycett, Edward
- ID Number
- CE.75.155ab
- catalog number
- 75.155ab
- accession number
- 319030
- Data Source
- National Museum of American History
-
China painted 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.
- This plate represents the custom of European blanks being exported into America as blanks for china painters to decorate. Depicting two Victorian women reading a book or sheet of music, this plate was most likely painted for leisure and hung on the wall as a form of decoration, fulfilling the Victorian aesthetic of the home.
- Location
- Currently not on view
- date made
- c. 1880-1890
- ID Number
- CE.73.171
- catalog number
- 73.171
- Data Source
- National Museum of American History
-
pitcher
- 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. In other instances, such as with this decorated porcelain pitcher, china painting was used as a means of advertisement or commemoration. J.M. Shaw, a china decorator and retailer in New York would have purchased this pitcher as a blank from France then painted with minerals to sell in his shop. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
- Location
- Currently not on view
- date made
- c. 1850-1900
- ID Number
- CE.75.37
- catalog number
- 75.37
- accession number
- 315466
- 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.74.71C
- catalog number
- 74.71C
- 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, 1891-1908
- painted, 1908-1929
- ID Number
- CE.74.71F
- catalog number
- 74.71F
- accession number
- 314093
- Data Source
- National Museum of American History
-
Limoges 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
- c. 1880-1890
- c. 1893-1900
- maker
- Haviland & Company
- ID Number
- CE.393789
- catalog number
- 393789
- accession number
- 211929
- Data Source
- National Museum of American History
-
Cryso-Ceramic vase
- 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.
- While women china decorators were often referred to as “amateurs” with the men as the professionals in the field, the Healey sisters became an exception. Mary and Emily Healey were born into a wealthy family in Cumberland, Maryland and worked as china decorators, and likely teachers of china painting, from 1892 to the 1920s. Their interest in china painting began when they moved to Washington, D.C. where the arts were widely appreciated and supported. China painting was seen as genteel occupation for women, with its connection to domesticity while fulfilling the Victorian aesthetic of a variety and quantity of objects on display in the home. Most women who practiced china painting viewed it mainly as a leisurely activity, especially after the increased affluence after the Civil War. The Healey sisters, however, used china painting as means to support themselves. Differentiating themselves from the conventional naturalistic china painted scenes, the sisters became known for covering their porcelain blanks entirely with gold. “Cryso-Ceramics” (cryso meaning gold), was a process they developed using a mixture of gold and uranium that fired in a low-temperature kiln. Although less known today, the Healey sisters were a wide success during their lifetime. Not only were they able to sell their china painting locally through catalog orders and commissions, but they also received two Premium awards at the 1893 Chicago World’s Fair, and became an international sensation – reaching acclaim as far as Denmark.
- Two sisters, Mary and Emily Healey of Washington, D.C., exhibited this trombone¬–shaped vase, one of their finest works, at the 1893 World’s Columbian Exposition in Chicago. Commemorating the 400th anniversary of America, this World Fair presented the Healey sisters with the opportunity to introduce and advertise their china painting achievements through their brilliant gold “Cryso-Ceramics”. Even though gilding was not a new invention, Emily Healey discovered a new formula, which included a mixture of gold and uranium that was different than their eighteenth-century counterparts. This imported blank vase from France is representative of their vessels that painted entirely gold. The Healey sisters exhibited their work in two different stations at the 1893 World’s Columbian Exposition – the Women’s Building and the Manufacturers & Liberal Arts Building – both in the ceramics and mosaic department. Their gold china painted pieces, exhibited alongside Mary Louis McLaughlin and Rookwood Pottery, were very well-received, with Haviland Manufacturers even offering to purchase their formula. They did not take the deal, but rather went home proudly with two ribbons, awarding them for their premium “Gold Covered Porcelain” and “Decorated China”, both of which are located in the Smithsonian collection, and ultimately validation to continue with “Cryso-Ceramics”.
- Location
- Currently not on view
- Date made
- 1879 - 1914
- date made
- c.1893
- ID Number
- 1991.0017.05
- catalog number
- 1991.0017.05
- accession number
- 1991.0017
- 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.74.71B
- catalog number
- 74.71B
- accession number
- 314093
- Data Source
- National Museum of American History
-
Limoges porcelain cup and saucer
- Location
- Currently not on view
- date made
- 1880s
- ID Number
- CE.P-107ab
- catalog number
- P-107ab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Limoges 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.
- This shallow plate began as a porcelain blank made in Limoges, France and exported to America in the late nineteenth-century. The blanks would be ordered by china painters to use as a surface for their painting, mostly as a leisurely activity for woman. Often, women would take lessons in china painting under the tutelage of professional china painters. This plate in particular was painted by Mrs. Ida Gentry Phillips Wheless while studying china painting under Marshall Fry in New York in 1895. Putting Fry’s lectures to use, Mrs. Wheless captured the delicate wistfulness of flowers blowing in the wind with her atmospheric background and whimsical white blooms of Queen Anne's lace.
- Location
- Currently not on view
- date made
- c. 1895-1900
- c. 1880-1900
- maker
- Delinieres & Co.
- ID Number
- CE.393786
- catalog number
- 393786
- accession number
- 211929
- Data Source
- National Museum of American History
-
vase
- 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, 1901-1907
- painted, 1908-1929
- maker
- Delinieres & Co.
- ID Number
- CE.74.68
- catalog number
- 74.68
- accession number
- 314093
- Data Source
- National Museum of American History
-
Limoges ewer
- 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.
- This plain white porcelain ewer best exemplifies the imported French porcelain objects ordered by china painters in America. Known as a “blank”, this ewer was purchased with the intention of hand decorating it with mineral oxides or china paints. It would then be fired again in a low temperature muffle kiln that would melt the colors to the porcelain surface. The ewer’s Turkish-style form with its wide bottom and long, slender neck would have brought an exotic flair to the nineteenth-century American home.
- Location
- Currently not on view
- date made
- c. 1880-1890
- c. 1880-1900
- ID Number
- CE.393791ab
- catalog number
- 393791ab
- accession number
- 211929
- Data Source
- National Museum of American History
-
platter
- Description
- China painting swept across America in the late nineteenth century as one of the most prevalent decorative pottery techniques, especially among young women. Considered a respectable form of work and creative outlet for women, china painting incorporated the element of hand craft that helped elevate standards of design during a period of mass production and industrialism. The technique of china painting could be done conveniently at home or in large pottery settings. Also known as “mineral painting,” after its materials, a china painter used enamels, low firing colors produced from various mineral-oxides, as a “painting” medium on pre-fired porcelain white porcelain, also known as blanks. These blank porcelain pieces were often imported from European countries, France and Germany in particular, and came in a variety of dinner ware forms and vases. The china painting technique of decorating porcelain was popularized in America by the highly influential Englishman, Edward Lycett. Trained as a potter in the English tradition at Spode pottery in Staffordshire, England, Lycett moved to America in 1861, where he almost immediately gained prestigious commissions for the White House and Tiffany & Co. His devotion to experimenting with materials and teaching pottery techniques across the country established Edward Lycett as the “pioneer of china painting in America” during his own lifetime. Ultimately, the creativity fostered by the china painting movement and the influence of Edward Lycett launched the American ceramic industry towards new and exciting avenues of decorative pottery.
- Location
- Currently not on view
- date made
- c. 1911-1929 (made and painted)
- maker
- Limousin and Company
- ID Number
- CE.74.70
- catalog number
- 74.70
- accession number
- 314093
- Data Source
- National Museum of American History
