Museum Porcelain

Josef Hoffmann for Vienna Porcelain Manufactory 
Melon-shaped Creamer from Mocha Set
1929
porcelain
Cooper Hewitt, Smithsonian Design Museum

Josef Hoffmann for Vienna Porcelain Manufactory
Melon-shaped Sugar Bowl from Mocha Set
1929
porcelain
Cooper Hewitt, Smithsonian Design Museum

Josef Hoffmann for Vienna Porcelain Manufactory
Melon-shaped Cup and Saucer from Mocha Set
1929
porcelain
Cooper Hewitt, Smithsonian Design Museum

Josef Hoffmann for Vienna Porcelain Manufactory
Melon-shaped Mocha Pot from Mocha Set
1929
porcelain
Cooper Hewitt, Smithsonian Design Museum

Anonymous Chinese Potter
Ewer
Qing Dynasty, 18th-19th centuries
porcelain
Asian Art Museum, San Francisco

Meissen Manufactory (Dresden)
Vinegar Pot
ca. 1730-35
porcelain
National Museum of American History, Washington DC

Meissen Manufactory (Dresden)
Tea Cup and Saucer
ca. 1730-40
porcelain
National Museum of American History, Washington DC

Nikolai Fyodorovich Lapshchin
Cup and Saucer
ca. 1921
porcelain
National Gallery of Australia, Canberra

Sergey Chekhonin for State Porcelain Manufactory, Petrograd
Teapot
(with text, We Are Hardworking - We Are Truthful)
1921
porcelain
National Gallery of Australia, Canberra

Lomonosov Porcelain Factory (Saint Petersburg)
Maxim Gorky
ca. 1950-60
bisque porcelain
Cooper Hewitt, Smithsonian Design Museum

Lomonosov Porcelain Factory (Saint Petersburg)
Chess Set with Whites versus Reds
ca. 1922-32
porcelain
Cooper Hewitt, Smithsonian Design Museum

Lomonosov Porcelain Factory (Saint Petersburg)
Chess Set - detail of Whites
ca. 1922-32
porcelain
Cooper Hewitt, Smithsonian Design Museum

Lomonosov Porcelain Factory (Saint Petersburg)
Chess Set - detail of Reds
ca. 1922-32
porcelain
Cooper Hewitt, Smithsonian Design Museum

Lomonosov Porcelain Factory (Saint Petersburg)
Red Army Cavalryman
ca. 1925
porcelain
Cooper Hewitt, Smithsonian Design Museum

Lomonosov Porcelain Factory (Saint Petersburg)
Red Army Soldier playing Accordion
ca. 1950
porcelain
Cooper Hewitt, Smithsonian Design Museum

Lomonosov Porcelain Factory (Saint Petersburg)
Woman embroidering Soviet Banner
1920
porcelain
Cooper Hewitt, Smithsonian Design Museum

Sèvres Manufactory
Bathing Nymph
(after a sculpture by Étienne-Maurice Falconet)
ca. 1765-75
porcelain
New Orleans Museum of Art

Niderviller Manufactory (Lorraine)
Nymphs garlanding Cupid
ca. 1750
bisque porcelain
Newport Mansions Preservation Society, Rhode Island

On Wenlock Edge the wood's in trouble;

    His forest fleece the Wrekin heaves;

The gale, it plies the saplings double,

    And thick on Severn snow the leaves.

'Twould blow like this through holt and hanger

    When Uricon the city stood:

'Tis the old wind in the old anger,

    But then it threshed another wood.

Then, 'twas before my time, the Roman

    At yonder heaving hill would stare:

The blood that warms an English yeoman,

    The thoughts that hurt him, they were there.

There, like the wind through woods in riot,

    Through him the gale of life blew high;

The tree of man was never quiet:

    Then 'twas the Roman, now 'tis I.

The gale, it plies the saplings double,

    It blows so hard, 'twill soon be gone:

To-day the Roman and his trouble

    Are ashes under Uricon.

– A.E. Housman (1896)

Vernacular

Anonymous American Designer
In Memory of Abraham Lincoln
ca. 1870
hand-colored lithograph
Smithsonian American Art Museum, Washington DC

Anonymous American Designer
Mitchell's Autumn Catalogue
1899
chromolithograph
Archives of American Gardens, Washington DC

Anonymous American Designer
Valentine
ca. 1905
chromolithograph
National Museum of American History, Washington DC

Anonymous American Designer
Old Sycamore
ca. 1910
halftone-print (postcard)
Amon Carter Museum of American Art, Fort Worth, Texas

Anonymous American Designer
Over the Top for You
1918
lithograph (poster)
National Museum of American History,
Washington DC

Anonymous American Designer
On Furlough - Bound for Keith's
1918
lithograph
(advertisement for B.F. Keith's Theatre, Philadelphia)
National Museum of American History, Washington DC

Anonymous American Designer
Anna Pavlowa - Metropolitan Opera House
1924
letterpress program cover
National Museum of American History,
Washington DC

Anonymous American Designer
Try To Serve These Foods
ca. 1942
offset-lithograph (poster)
National Museum of American History, Washington DC

Anonymous American Designer
Loose Talk Can Cost Lives
1942
lithograph (poster)
National Museum of American History,
Washington DC

Anonymous American Designer
Someone Talked!
ca. 1943
lithograph (poster)
National Museum of American History,
Washington DC

Anonymous American Designer
The Lavernes wish you Christmas Joy
and a Glad New Year
1958
screenprint
Cooper Hewitt, Smithsonian Design Museum

Anonymous American Designer
Lowenstein - Congress
1968
offset-lithograph
(Allard Lowenstein was murdered in 1980 by a young follower)
National Museum of American History, Washington DC

Anonymous American Designer
Argus
1970
lithograph (booklet cover)
National Museum of American History, Washington DC

Anonymous American Designer
Withdrawal
1970
offset-lithograph (anti-war poster)
National Museum of American History,
Washington DC

Anonymous American Designer
7,120,000 Tons
1972
offset-lithograph (anti-war poster)
National Museum of American History, Washington DC

Anonymous American Designer
A Tribute to Ethel and Julius Rosenberg
1978
offset-lithograph (poster)
National Museum of American History, Washington DC

Anonymous American Designer
Shopping Bag from Mabel's, New York
1981
offset-print on paper bag
Cooper Hewitt, Smithsonian Design Museum

from Hell Gate

    Dully at the leaden sky

Staring, and with idle eye

Measuring the listless plain,

I began to think again.

Many things I thought of then,

Battle, and the loves of men,

Cities entered, oceans crossed,

Knowledge gained and virtue lost,

Cureless folly done and said, 

And the lovely way that led

To the slimepit and the mire

And the everlasting fire.

And against a smoulder dun

And a dawn without a sun

Did the nearing bastion loom,

And across the gate of gloom

Still one saw the sentry go,

Trim and burning, to and fro,

One for women to admire

In his finery of fire.

Something, as I watched him pace,

Minded me of time and place,

Soldiers of another corps

And a sentry known before.

    Ever darker hell on high

Reared its strength upon the sky,

And our footfall on the track

Fetched the daunting echo back.

But the soldier pacing still

The insuperable sill,

Nursing his tormented pride,

Turned his head to neither side,

Sunk into himself apart

And the hell-fire of his heart.

But against our entering in 

From the drawbridge Death and Sin

Rose to render key and sword

To their father and their lord.

And the portress foul to see

Lifted up her eyes on me

Smiling, and I made reply:

'Met again, my lass,' said I.

Then the sentry turned his head,

Looked, and knew me, and was Ned.

– A.E. Housman (1922)

Rupert Garcia

Rupert Garcia
Rubén Salazar
1970
acrylic on canvas
National Portrait Gallery, Washington DC

Rupert Garcia
The Sacred Well of Chichén Itzá
Art of Ancient Mexico, San Francisco State College
1971
screenprint (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Libertad para los Prisoneros Politicas
1971
screenprint (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
J.C. Orozco
1972
screenprint
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Anthony Russo on Crisis '73
College of Marin, Kentfield, California
1973
offset-lithograph (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
David Alfaro Siqueiros
1974
screenprint
National Portrait Gallery, Washington DC

Rupert Garcia
José G. Posada, Mexican Printmaker
Galería de La Raza, San Francisco
1974
offset-lithograph (exhibition poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Juan Fuentes y Rupert Garcia at Jackson Street Gallery, San Francisco
1975
offset-lithograph (exhibition flyer)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
The Mexican Museum, San Francisco
1975
screenprint (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
KPFA Marathon
(public radio station in Berkeley)
1977
offset-lithograph (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Mozambique Educational Fund
1977
offset-lithograph (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
The Mexican Museum, San Francisco
1978
offset-lithograph (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Chicano Week, University of Minnesota
1980
offset-lithograph (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
The Mexican Museum, San Francisco
1985
screenprint (poster)
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Mother Jones
1989
screenprint
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Frida Kahlo
1990
screenprint
Smithsonian American Art Museum, Washington DC

Rupert Garcia
Courbet and the Vendôme Column III
1991
lithograph
Smithsonian American Art Museum,
Washington DC

from The Consolation of Philosophy

The stock of man, the Root, the body, Boughs,

(Whose breadth or'e-spreads the earth, height tops the skies)

One Parent hath; he Sire, and Dam; he plowes,

Plants, waters: he our birth, growth, all supplies.

            He fills the Sun with Seas of flowing beams;

            Surrounds and drains the Moon with changing streames.

He peoples Seas with fish, the Heaven with Stars,

Plants ayer, and earth with living Colonies.

He pounds mans God-like Spirit in fleshly bars,

And by that spirit earth to himself allies.

            Men are of high descent: their Petigree

            Mortals derive from great Eternitie.

Boast ye of Sires? and Grandsires? search ye earth

For Heaven? Heavens Register will shew your race.

Heavens King your Sire: from Heaven, in Heaven your birth

A noble, royal line. No man is base

            But such, as for base earth Heavens birthright sell,

            By vice cut off from Heaven, and grafted into Hell.

– Boethius (AD 476-524), translated by Phineas Fletcher (before 1650)