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Catalog Data

Physical Description:
blue (saucer color)
blue (tea bowl color)
gold (saucer color)
gold (tea bowl color)
polychrome (component surface decoration color name)
harbor scenes (joint piece description of decoration)
harbor scenes (overall description of decoration)
ceramic, porcelain, hard-paste (saucer material)
ceramic, porcelain, hard-paste (tea bowl material)
Measurements:
overall tea bowl: 1 3/4 in x 3 in; 4.445 cm x 7.62 cm
overall saucer: 1 in x 4 3/4 in; 2.54 cm x 12.065 cm
Object Name:
bowl, tea
saucer
Date made:
1735
Description:
MARKS: Crossed swords in underglaze blue and “13” in gold (gold painter’s number).
PURCHASED FROM: Julius Carlebach, New York, 1944.
This pair of tea bowls and saucers is from the Smithsonian’s Hans Syz Collection of European 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 tea bowls and saucers form part of a richly decorated tea service with the tea caddy (ID number 1982.0796.08). Elaborate leaf and strapwork (Laub- und Bandelwerk)frames contain overglaze enamel painted Kauffahrtei scenes in which merchants of European and foreign origin conduct business, direct the handling of cargo, and observe shipping activity offshore.
Sources for harbor scenes came from the large number of prints after paintings by Dutch and Flemish masters of the seventeenth century that formed a major part of Meissen’s output from the early 1720s until the 1750s. The Meissen manufactory accumulated folios of prints, about six to twelve in a set, as well as illustrated books and individual prints after the work of many European artists, especially the work of Jan van Goyen (1596-1656), Jan van de Velde (1593-1641), and Johann Wilhelm Baur (d.1640). Many of these harbor and waterside scenes were imaginary, and paintings of existing locations were often altered by the artist. Meissen painters were encouraged to use their imagination in enamel painting using the prints as a guide. Printed images enriched people’s lives and a series of prints might take the viewer on a journey, real or imaginary. Prints performed a role in European visual culture later extended by photography and film, and they provided artisans and artists with images, motifs, and patterns applied in many branches of the applied arts.
The Meissen manufactory operated under a system of division of labor. Enamel painters specializing in landscapes, harbor, and river scenes with staffage (figures and animals) were paid more than those who painted flowers, fruits and underglaze blue patterns. Most painters received pay by the piece rather than a regular wage or salary. Decorative scrollwork was the responsibility of another painter specializing in this form of decoration.
Tea, coffee, chocolate, and sugar were luxury products for early eighteenth-century consumers, and the equipage for these hot beverages, made in silver and new ceramic materials like Meissen’s red stoneware and porcelain, was affordable only to the aristocratic and business elites of European society.
On graphic sources for Meissen’s painters see Möller, K. A., “’…fine copper pieces for the factory…’ Meissen Pieces Based on graphic originals” in Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 84-93.
On Dutch prints see Goddard, S.H., 1984, Sets and Series: Scenes from the Low Countries; Schloss, C. S., 1982, Travel, Trade, and Temptation: The Dutch Italianate Harbor Scene.
On the painting division at Meissen see Rückert, R., 1990, Biographische Daten der Meissener Manufakturisten des 18. Jahrhunderts, pp. 134-136.
On tea, coffee, and chocolate equipage see Bowman, P.B., 1995, In Praise of Hot Liquors: The Study of Chocolate, Coffee and Tea-drinking 1600-1850
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection, pp. 116-117.
Location:
Currently not on view
Credit Line:
Dr. Hans Syz
ID Number:
1982.0796.09Aab
Catalog number:
1982.0796.09Aab
Accession number:
1982.0796
Collector/donor number:
479Aab
See more items in:
Cultural and Community Life: Ceramics and Glass
Domestic Furnishings
Art
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a3-c904-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_572969