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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Meissen: two vases
- Description
- TITLE: Meissen: Pair of vases
- MAKER: Meissen Manufactory
- PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
- MEASUREMENTS: H. 11⅝" 29.6cm
- OBJECT NAME: Pair of vases
- PLACE MADE: Meissen, Saxony, Germany
- DATE MADE: 1725-1735
- SUBJECT: Art
- Domestic Furnishing
- Industry and Manufacturing
- CREDIT LINE: Hans C. Syz Collection
- ID NUMBER: 64.428 AB
- COLLECTOR/ DONOR: 735 AB
- ACCESSION NUMBER:
- (DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
- MARKS: Crossed swords in underglaze blue.
- PURCHASED FROM: Hans E. Backer, London, England, 1947.
- This pair of vases 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 two vases are not an identical pair, and the form is similar to earlier Meissen vessels made in Johann Friedrich Böttger’s red stoneware. The onglaze enamel painting is in the so-called Indian flowers style (indianische Blumen), a Meissen genre developed from Chinese and Japanese prototypes that typically features heavy growth of stylized chrysanthemums and peonies emerging from a rocky garden with birds and insects flying above or sheltering under the blossoms. Many of the vases with this type of pattern were made for Augustus II, Elector of Saxony and King of Poland, and delivered to the Japanese Palace, but these two vases do not have the customary AR (Augustus Rex) mark that usually identifies such pieces, some of which are impressive and made in groups of seven as garnitures for installation in the Palace or sent to other European courts as diplomatic gifts.
- In early eighteenth-century Europe “Indian” referred to imported luxury goods that came from India and the Far East principally through the Dutch and English East India Companies, but with no specific reference to the Indian subcontinent. For the Dutch and English East India Companies the trade in spices, tea, and textiles was much larger and more profitable than in porcelain or other luxuries like laquer goods, furniture made from exotic woods, and gemstones. European trade with the East was complex and fluid, achieved through several international trading ports in the South China Sea, the Indonesian Archipelago, and the Indian subcontinent, with the Dutch in particular engaging in inter-Asian trade of commodities like copper that did not reach European shores in large quantities.
- For other examples of Meissen porcelain in the Indian flowers style see Weber, J., 2013, Meissener Porzellane mit Dekoren nach ostasiatischen Vorbildern: Stiftung Ernst Schneider in Schloss Lustheim, pp. 436-444 Vasen mit indianischen Blumen ; den Blaauwen, A. L., 2000, Meissen Porcelain in the Rijksmuseum, pp.50-61.
- On the English East India Company see for example, Lawson, P., 2014, The East India Company: A History; on the Dutch East India Company and its trade with Japan in commodities like copper see Yasuko Suzuki, 2012, Japan-Netherlands Trade 1600-1800: the Dutch East India Company and Beyond. On the impact of Chinese porcelain on a global scale see Finlay, R., 2010, The Pilgrim Art: Cultures of Porcelain in World History.
- Hans Syz, J. Jefferson Miller II, Rainer Rückert, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 184-185.
- Location
- Currently not on view
- date made
- ca 1725-1735
- 1725-1735
- maker
- Meissen Manufactory
- ID Number
- CE.64.428B
- catalog number
- 64.428B
- collector/donor number
- 735B
- accession number
- 257835
- Data Source
- National Museum of American History
-
Meissen plate
- Description
- TITLE: Meissen plate
- MAKER: Meissen Manufactory
- PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
- MEASUREMENTS: D. 9¼" 23.5cm
- OBJECT NAME: Plate
- PLACE MADE: Meissen, Saxony, Germany
- DATE MADE: 1750-1760
- SUBJECT: The Hans Syz Collection
- Art
- Domestic Furnishing
- Industry and Manufacturing
- CREDIT LINE: Hans C. Syz Collection
- ID NUMBER: 63.243
- COLLECTOR/ DONOR: 211
- ACCESSION NUMBER:
- (DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
- MARKS: Crossed swords in underglaze blue; “E” impressed.
- PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1942.
- This plate 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 naturalistic flowers in overglaze enamels this plate has a basket weave relief border, the earliest of its type produced at Meissen called the Sulkowsky pattern, and named after Alexander Joseph von Sulkowsky (1695-1762) who was a favorite at the Saxon court rising to a position of considerable power before falling from grace in 1738. The Sulkowsky service was the first private commission for an armorial table service for which Johann Joachim Kaendler (1706-1775) introduced this particular basket weave design. Following Kaendler’s appointment to the manufactory in 1733 modeling techniques became more sophisticated, and the process of creating shallow relief patterns for table services was laborious and required considerable skill. The Sulkowsky pattern was followed by many more designs in relief for tablewares.
- Introduced in about 1740, European flowers became a significant feature as a decorative element in Meissen’s production. At first the flower painters focused mainly on floral species native to Germany and referred to Johann Wilhelm Weinmann’s publication, the Phytantoza Iconographia (Nuremberg 1737-1745), in which many of the plates were engraved after drawings by the outstanding botanical illustrator Georg Dionys Ehret (1708-1770). Depicted on this plate are European flowers both native and naturalized – the tulip is a wild flower of Central Asian origin cultivated in Turkey as early as 1000 AD and in Europe from the sixteenth century. The more formally correct German flowers were superseded by mannered flowers (manier Blumen), depicted in this looser and somewhat overblown style based on the work of still-life flower painters and interior designers like Jean-Baptiste Monnoyer (1636-1699) and Louis Tessier (1719?-1781), later referred to as “naturalistic” flowers.
- The plate has design elements from different periods in Meissen’s production: the Sulkowsky relief pattern originally modeled by Johann Joachim Kaendler in 1733, and the naturalistic flowers of fifteen to twenty years later. The basket weave relief was based on Japanese examples of woven designs imitated on imported porcelain vessels and depicted in engravings by European travelers to the Far East.
- The Meissen manufactory operated under a system of division of labor. Flower and fruit painters were paid less than workers who specialized in figures and landscapes, and most painters received pay by the piece rather than a regular wage. In the late eighteenth century flower painters were even busier and consumer taste for floral decoration on domestic “china” has endured into our own time, but with the exception of a manufactory like Meissen most floral patterns are now applied by transfers and are not hand-painted directly onto the porcelain.
- On the Sulkowsky relief pattern see Reinheckel, G., 1968, ‘Plastiche Dekorationsformen im Meissner Porzellan des 18 Jahrhunderts’ in Keramos, 41/42, Juli/Oktober, pp. 52-55.
- On graphic sources for Meissen porcelain see Möller, K. A., “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.85-93; Cassidy-Geiger, M., 1996, ‘Graphic Sources for Meissen Porcelain’ in Metropolitan Museum Journal, 31, pp.99-126.
- 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. 384-385.
- Location
- Currently not on view
- date made
- 1740-1745
- 1750-1760
- maker
- Meissen Manufactory
- ID Number
- CE.63.243
- catalog number
- 63.243
- accession number
- 250446
- collector/donor number
- 211
- 211a
- Data Source
- National Museum of American History
-
Stoneware cooler
- Description
- Thompson Harrington took over management of Nathan Clark’s Lyons, New York stoneware manufactory in 1852 when Clark left to establish new potteries elsewhere in western New York. Located along the Erie Canal, the Lyons pottery flourished under Harrington and subsequent ownership until it closed in 1902.
- Location
- Currently not on view
- date made
- 1852-1872
- maker
- Harrington, Thompson
- ID Number
- 1977.0803.81
- accession number
- 1977.0803
- catalog number
- 1977.0803.81
- Data Source
- National Museum of American History
-
Meissen lemon basket (from a plat de ménage)
- Description
- TITLE: Meissen lemon basket from a Plat de Ménage
- MAKER: Meissen Manufactory
- PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
- MEASUREMENTS: H. 10¾" 27.3cm
- OBJECT NAME: Lemon basket
- PLACE MADE: Meissen, Saxony, Germany
- DATE MADE: 1735-1740
- SUBJECT: Art
- Domestic Furnishing
- Industry and Manufacturing
- CREDIT LINE: Hans C. Syz Collection
- ID NUMBER: 63.263
- COLLECTOR/ DONOR: 53
- ACCESSION NUMBER:
- (DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
- MARKS: None
- PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1941.
- This lemon basket 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 lemon basket was part of a ‘plat de ménage’ that served as a centerpiece on the dining or banqueting table, also known as an ‘Epargne’ from the French épargner’ meaning to serve and often made in silver or silver gilt. The ‘plat de ménage’ held cruet sets containing various condiments like oil and vinegar, mustard, salt, spices, and sugar for guests to season their food during service in the French style of three main savory courses before the often spectacular dessert. Lemon baskets stood higher than the cruets, supported by figures like the two wrestling putti seen here were designed to attract the eye to the fruit piled within the basket or ‘shell.’ Lemons were a luxury in the eighteenth century and were meant to impress the diners. Imported from the Mediterranean countries or grown further north in conservatories and greenhouses, they were an important culinary item and flavoring for fish, meat and salads then as they are today.
- The ‘plat de ménage’ gave Meissen modelers great scope for creating impressive centerpieces for major table services, but this lemon basket belongs to a less imposing model that was, nevertheless, in regular production through several versions in or even before 1735, and which continued into the early twentieth century with many variations. In August of 1735 Johann Joachim Kaendler recorded renewing and making higher a lemon ‘shell’ with two children standing on a rock (Die Arbeitsberichte des Meissener Porzellanmodelleurs Johann Joachim Kaendler 1706-1775, 2002, p.33).
- This lemon basket has a quatrefoil shape with a band of relief-molded scrolls and strapwork on its exterior. The interior has East Asian flora painted in onglaze enamel with a bird perched on a stem. The coat of arms may belong to minor gentry or an entrepreneurial family with the name of Hopfner or Höpfner indicated by the entwined vines suggestive of hops.
- Not many Meissen pieces from a table service with this pattern exist: a sugar box can be seen online at the Victoria and Albert Museum, London, # C92&A-1929; see also Weber, J., 2013, Meissener Pozellane mit Dekoren nach ostasiatischen Vorbildern: Stiftung Ernst Schneider in Schloss Lustheim, p. 465.
- On the ‘plat de ménage’ see Katherina Hantschmann, “The ‘Plat de Ménage’: The Centrepiece on the Banqueting Table” in Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 106-119
- Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 288-289.
- Location
- Currently not on view
- date made
- c.1737-1740
- 19th century
- 1737-1740
- 91737-1740
- maker
- Meissen Manufactory
- ID Number
- CE.63.263
- catalog number
- 63.263
- accession number
- 250446
- collector/donor number
- 53
- Data Source
- National Museum of American History
-
Meissen milk pot
- Description
- TITLE: Meissen milk pot and cover
- MAKER: Meissen Manufactory
- PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
- MEASUREMENTS: H. 6⅛" 15.6cm
- OBJECT NAME: Milk pot
- PLACE MADE: Meissen, Saxony, Germany
- DATE MADE: 1750-1760
- SUBJECT:
- Art
- Domestic Furnishing
- Industry and Manufacturing
- CREDIT LINE: Hans C. Syz Collection
- ID NUMBER: 67.1043.a,b
- COLLECTOR/ DONOR: 1180
- ACCESSION NUMBER:
- (DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
- MARKS: Crossed swords in underglaze blue; “63” impressed.
- PURCHASED FROM: The Art Exchange, New York, 1961.
- This milk pot 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 pear-shaped milk pot has a scene of a leopard attacking a horse ridden by a man in oriental apparel. A cub lies to the right foreground of the scene and the body of a man lies on the left. Scenes of animals fighting one another are on the reverse side. On the cover we can see a stag and a hunting dog. Painted for the most part in overglaze purple enamel there are a few accents in other colors with gold decoration on the handle, spout, and rim.
- Animal subjects, especially hunting scenes, were specialist genres for many artists in the seventeenth and eighteenth centuries. Since the sixteenth century European infiltration into distant continents brought awareness of animal species that fed the desire to collect wild creatures, alive or dead, for the menageries and cabinets of curiosities of the educated and ruling elites. In Dresden, court entertainment included the bloody spectacle of watching wild animals fight until death, not at all unlike the spectacles of the ancient Roman world. Artists like Peter Paul Rubens (1577-1640) began to focus on the drama of animal and human encounters in which viewers could engage with the psychological pressure of danger through imagination. The images on this milk jug represent the struggle between predatory animals, a lion and a leopard on the reverse and an imminent struggle between the man on horseback and the leopard that perhaps killed a man in an attempt to protect her cub.
- To present day sensibilities the grisly subjects represented here may seem out of place on a tea and coffee service associated with polite social rituals, but eighteenth-century sensibilities and interests were different in many respects from those of today. People of all classes took a full-bloodied interest in violent events, from the military battle to the public execution, and vicarious engagement took place through the visual arts, storytelling, popular theater and street spectacles. For the intellectually curious animals were objects of study in attempts to understand better the nature of human beings in relation to the wild.
- The Meissen manufactory operated under a system of division of labor. Enamel painters specializing in landscapes, 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 responsibility of another specialist worker.
- On the painting division at Meissen see Rückert, R., 1990, Biographische Daten der Meissener Manufakturisten des 18. Jahrhunderts, pp. 134-136.
- On animal imagery see Silver, L., "World of Wonder: Exotic Animals in European Imagery, 1515-1650", in Cuneo, P. F. (ed.), 2014, Animals and Early Modern Identity, pp.291-327.
- Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 316-317.
- Location
- Currently not on view
- date made
- ca 1750-1760
- 1750-1760
- maker
- Meissen Manufactory
- ID Number
- CE.67.1043ab
- catalog number
- 67.1043ab
- collector/donor number
- 1180
- accession number
- 276588
- Data Source
- National Museum of American History
-
Meissen vinegar pot
- Description
- TITLE: Meissen vinegar pot for a plat de ménage
- MAKER: Meissen Manufactory
- PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
- MEASUREMENTS: H. 6⅞" 17.5cm
- OBJECT NAME: Vinegar pot
- PLACE MADE: Meissen, Saxony, Germany
- DATE MADE: 1735
- SUBJECT: Art
- Domestic Furnishing
- Industry and Manufacturing
- CREDIT LINE: Hans C. Syz Collection
- ID NUMBER: 71.201 a,b
- COLLECTOR/ DONOR: 744 a,b
- ACCESSION NUMBER:
- (DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
- MARKS: Crossed swords in underglaze blue.
- PURCHASED FROM: S. Berges, New York, 1947.
- This vinegar pot 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 vinegar pot was part of a plat de ménage that served as a centerpiece on the dining or banqueting table, also known as an ‘Epargne’ from the French épargner’ meaning to serve and often made in silver or silver gilt. The plat de ménage held cruet sets containing various condiments like oil and vinegar, mustard, salt, spices, and sugar for guests to season their food during service in the French style of three main savory courses before the often spectacular dessert. The vinegar pot’s partner was the oil pot, and the Meissen modelers designed the vinegar pot with a grimacing mask at the base of the spout as can be seen here, whereas the oil pot sometimes has a mask that smiles affably. The two containers were used for dressing salads and vegetables in much the same way as some people choose to do today. The largest vessel on a plat de ménage was the lemon basket and in later models centerpieces were exploited by the Meissen modelers for their sculptural potential by introducing figures and elaborate ornamentation.
- The vinegar pot has a double scroll handle and the long thin spout allows for better control in pouring the liquid onto the food. The cover has a finial in the shape of an artichoke. A band of egg and dart raised molding separates flying phoenixes in the upper section of the pot (Ho-ho birds in Japanese mythology with different aspects to the Mediterranean and Middle Eastern phoenix). In the lower band are rice bundle straw fences and flowering tree peonies. Apart from the enamel painted pattern the oil pot is a product of the European baroque style and no such vessel existed in China or Japan unless copied for export after European models. This pot and the oil pot similar to it except for the painted subjects (ID# 71.202 a,b) derive their shape and ornament from contemporary European silver vessels for a plat de ménage.
- On the ‘plat de ménage’ see Hantschmann, K., “The ‘plat de ménage’: The Centrepiece on the Banqueting Table”, in Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 106-119.
- For a sugar caster with a similar onglaze enamel pattern see Pietsch, U., 2011, Early Meissen Porcelain: the Wark Collection from the Cummer Museum of Art and Gardens, p.282; see also Weber, J., 2013, Meissener Porzellane mit Dekoren nach ostasiatischen Vorbildern: Stiftung Ernst Schneider in Schloss Lustheim, Band II, p.229. Johann Joachim Kaendler’s work book records two occasions when he modeled oil and vinegar pots, in June 1733 and January 1734, but it is not clear to which version this pot belongs, see Die Arbeitsberichte des Meissener Porzellanmodelleurs Johann Joachim Kaendler 1706-1775, 2002 , pp.19-20, p. 22.
- Jefferson Miller II, J., Rückert, R., Syz, H., 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 158-159.
- Location
- Currently not on view
- date made
- ca 1730-1735
- 1730-1735
- maker
- Meissen Manufactory
- ID Number
- CE.71.201ab
- catalog number
- 71.201ab
- collector/donor number
- 744ab
- accession number
- 297499
- Data Source
- National Museum of American History
-
Sèvres porcelain sauceboat and stand
- Location
- Currently not on view
- date made
- 1846
- 1864
- ID Number
- CE.P-117ab
- catalog number
- P-117ab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres porcelain covered pitcher
- Location
- Currently not on view
- date made
- 1856
- ID Number
- CE.P-376ab
- catalog number
- P-376ab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres porcelain teapot and cover
- Location
- Currently not on view
- date made
- 1830
- ID Number
- CE.P-380ab
- catalog number
- P-380ab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres sugar bowl (part of a service)
- Location
- Currently not on view
- date made
- 1838
- ID Number
- CE.P-125ab
- catalog number
- P-125ab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres teapot (part of a service)
- Location
- Currently not on view
- date made
- 1838
- ID Number
- CE.P-124ab
- catalog number
- P-124ab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres stand for a tête a tête tea service
- Location
- Currently not on view
- date made
- c.1838
- 1838
- ID Number
- CE.P-123
- catalog number
- P-123
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sevres porcelain plate
- Location
- Currently not on view
- date made
- 1834
- maker
- Sevres
- ID Number
- CE.P-1057
- catalog number
- P-1057
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres porcelain sugar bowl (part of a service)
- Location
- Currently not on view
- date made
- 1840
- ID Number
- CE.P-808Cab
- catalog number
- P-808Cab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres porcelain teapot (part of a service)
- Location
- Currently not on view
- date made
- 1840
- ID Number
- CE.P-808Aab
- catalog number
- P-808Aab
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sèvres porcelain pitcher (part of a service)
- Location
- Currently not on view
- date made
- 1840
- ID Number
- CE.P-808B
- catalog number
- P-808B
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sevres porcelain cup
- Location
- Currently not on view
- date made
- 1839
- ID Number
- CE.P-142
- catalog number
- P-142
- accession number
- 225282
- Data Source
- National Museum of American History
-
Sevres porcelain cup
- Location
- Currently not on view
- date made
- 1839
- ID Number
- CE.P-1062A
- catalog number
- P-1062A
- accession number
- 225282
- Data Source
- National Museum of American History
-
In The Stock Room
- Description
- Charcoal and watercolor drawing on white paper that has been mounted on beige card using glue adhesive. Two corners of the work have come unattached to the card in which the title of the work is seen, written in charcoal, when the corners of the object are lifted. The drawing depicts the storage room of a camouflage factory. Abstract rolls of green camoufage fabirc is seen within a room that is angled and shaded in dark colors. The artist's signature, in charcoal, is located on the lower right side of the painting.
- Location
- Currently not on view
- date made
- ca 1914-1919
- associated date
- 1914 - 1918
- ID Number
- ZZ.RSN82658T05
- Data Source
- National Museum of American History
-
Nyon porcelain teapot
- Location
- Currently not on view
- date made
- c.1800
- ID Number
- CE.P-490Aab
- catalog number
- P-490Aab
- accession number
- 225282
- Data Source
- National Museum of American History
Pages
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topic
- Industrialization 9032
- Waterbury Button Company Collection 4814
- Clothing and dress 1337
- Dress accessories 1337
- Buttons 1263
- Furnishings 739
- Art 725
- Scovill Manufacturing Collection 620
- Communications 425
- Ecology 421
- Patent Models, Graphic Arts 394
- Mining Lamps 347
- The Hans C. Syz Collection 327
- Meissen Porcelain: The Hans Syz Collection 291
- Engineering 249
- Architecture 247
- Politics 246
- Transportation 246
- Government 245
-
object type
- Hardware (components) 1897
- button 1534
- Models 562
- Patents 548
- buckle, slide 497
- hardware, decorative 399
- Tokens 358
- Fasteners 355
- mining lamp 319
- Buckles (strap accessories) 263
- medal, political 261
- Saucers (plates) 174
- buckle, one prong 155
- buckle frame 149
- Cups 145
- bearing 134
- lamp, safety, mining 128
- plate 83
- Pins (fasteners) 62
- Figurines 53
- date
- place
- culture
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set name
- Industry & Manufacturing 9032
- Work and Industry: Manufacturing 4815
- Waterbury Button Company Collection 4814
- Work and Industry: Production and Manufacturing 2173
- Clothing & Accessories 1335
- Buttons 1263
- Work 1227
- Domestic Furnishings 739
- Cultural and Community Life: Ceramics and Glass 727
- Art 723
- Scovill Manufacturing Collection 620
- Communications 425
- Work and Industry: Graphic Arts 425
- Patent Models 424
- Natural Resources 421
- Work and Industry: Mechanical and Civil Engineering 416
- Work and Industry: Mining 403
- Patent Models, Graphic Arts 394
- Mining Lamps 347
- The Hans C. Syz Collection 327
