Boston and Sandwich Glass Company, American, 1825-1887
Colorless lead glass, pressed in the “Princess Feather” pattern
10 3/4 x 8 3/4 x 6 in.
Purchased through the Katharine T. and Merrill G. Beede 1929 Fund and the Hood Museum of Art Acquisitions Fund; 2009.1
Although the earliest pressed glass made in the United States aimed to imitate expensive cut glass from abroad, after about 1835 various glass factories in New England and the Midwest began to produce pressed glass with a stippled, or “lacy,” background. Stippling added brilliance to glass that often contained impurities and helped to mask the wrinkling and dullness of the glass’s surface caused by contact with the metal mold. This compote in the “Princess Feather” pattern is attributed to the Boston and Sandwich Glass Company, with offices in Boston and a factory in Sandwich, on Cape Cod. The attribution is based on the discovery of related fragments in an archaeological dig at the Sandwich site. The pattern’s scrolls, acanthus leaves, and baskets of fruit were motifs popular in interiors during the same period.
Unknown, American, probably New Jersey
Cream Jug (Lily Pad), about 1840-65
Greenish-aqua lead glass, free blown and tooled with applied “lily-pad” decoration
Height: 4 3/4 in.
Purchased through the Florence and Lansing Porter Moore 1937 Fund; 2009.2.1
This cream jug is free blown, meaning no molds were used to create its shape. Its “lily-pad” decoration is formed by applying an outer layer of glass to the body and tooling it into the desired form. This type of decoration has no known European prototypes and is considered an American stylistic innovation. The greenish glass is the same used for windows (the color would have been less apparent in thinly blown window glass). Such fancifully decorated tableware was thought to have been made after hours by the craftsmen who worked in the window glass factories in southern New Jersey and upstate New York. Until more recent times, glassmakers were allowed to make objects on their own time at no cost.
English, Liverpool or Staffordshire
Pitcher, about 1802-10
Transfer-printed with polychrome on creamware
Height: 8 in.; diameter rim: 4 1/8 in.; width (spout to handle): 8 1/8 in.
Purchased through the Florence and Lansing Porter Moore 1937 Fund; 2009.2.2
England had long been the primary source for ceramics for the American Colonies and this mercantile relationship continued to flourish after the American Revolution. Capitalizing on the patriotic fervor that swept the new republic, English potteries exported large quantities of commemorative wares decorated with historical and political imagery—despite the fact that such texts and images were often critical of the former mother country. The political quotations and slogans that cover this pitcher give special prominence to New England revolutionary heroes Samuel Adams and John Hancock, suggesting that the vessel was marketed especially to that region. Its multi-generational history of ownership in a Dedham, Massachusetts, reinforces that theory.
The transfer-printing process, which evolved in England in the 1750s, greatly facilitated the production of decorated ceramics for the mass market. Each design that decorates this pitcher was first engraved on a metal plate that was inked and printed on paper. While the ink was still wet, the paper was laid on the body of the pitcher. Each side is decorated from a different engraved plate and the various designs could be combined in a wide range of configurations, lending variety to these popular wares.
Unknown artist, British Columbia, Queen Charlotte Islands, Haida
Ship pipe, about 1840-60
3 3/4 x 12 1/2 x 15/16 in.
Purchased through the Mrs. Harvey P. Hood W’18 Fund and the Hood Museum of Art Acquisitions Fund; 2009.3
Unknown artist, Iroquois
Beaded pouch, about 1835-40
Velvet, silk, glazed cotton, glass beads, silk thread
Pouch closed: 6 1/4 x 6 3/4 (irregular) x 1/4 in.
Purchased through the Mrs. Harvey P. Hood W’18 Fund and the Hood Museum of Art Acquisitions Fund; 2009.4
Virginia Beahan, American, born 1946
Panaderia (Bakery) Rene Avila Reyes, Martier de la Revolucion, Holguin, 2004
Chromogenic color photograph print, mounted and framed
40 x 50 in.
Purchased through the Virginia and Preston T. Kelsey ’58 Fund; 2009.5
Tucker Factories, American, active 1827-38; William Ellis Tucker, American, 1800-1832; Joseph Hemphill, American, 1770-1842
Pair of pitchers, 1827-38
Porcelain with polychrome enamel and gilding
Height: 9 7/16 in.
Purchased through the Katharine T. and Merrill G. Beede 1929 Fund; 2009.8.1-2
In order to complement the Hood’s extensive collection of American silver, the museum is making a concerted effort to build comparable collections of American glass and ceramics. The acquisition of this pair of pitchers represents a significant advance toward this goal. The Philadelphia factories associated with William Ellis Tucker were the first moderately successful manufacturers of porcelain in the United States. Pitchers are among the earliest and most popular forms associated with Tucker. A published advertisement from 1827 mentions “a Few pair of American China Pitchers . . . being a part of his first kiln.” Other references, and a large number of surviving pairs, suggest that the factories frequently produced pitchers in twos. The quality and complexity of the painted and gilded decoration of Tucker wares varied considerably, depending on the intended market. Skillfully painted, naturalistic floral bouquets adorn this pair, along with an elaborate scheme of gilded laurel wreaths and borders of stars, leaves, and musical trophies that reflects the neoclassical taste of the period.
Pablo Picasso, Spanish, 1881-1973
Dream and Lie of Franco (Sueno y Mentira de Franco), 1937
Portfolio: title page and two etchings with aquatint on Montval laid paper
Sheet: 15 1/4 x 22 5/16 in.
Purchased through the Julia L. Whittier Fund; 2009.9.1-3
The Spanish Civil War that started in 1936 had a tremendous impact on Picasso and his work. Ideologically, the artist supported the Republicans (those promoting democracy and progressive movements). They were opposed by the Nationalists, who represented the interests of the former monarchists and certain extremists (such as the fascists), especially the dictator General Francisco Franco (1892-1975). Beginning in January 1937, Picasso made two large format prints, each divided into three rows of three scenes for a total of eighteen vignettes to create a viciously satirical, cartoon-like series. It was originally intended that each scene would be sold separately for the benefit of Republicans. However, the sheets were so impressive that it was decided to sell them intact with additional pages reproducing the artist’s manuscript of a long, vitriolic poem in Spanish, Catalan, French, and English. The set of prints and texts were assembled in a specially designed folder. Although Picasso worked on the images from left to right, the final printed versions appeared in reverse—from right to left.
To personify the dictator, Picasso created a monstrously deformed figure wearing armor and crowned with headgear symbolizing Franco’s pretensions as a hero of Christianity, the savior of Spanish tradition, and a friend of the Moors. The monster was depicted as a buffoon engaged in mock battles and other images representing the devastating effects of the fascist regime. The last four scenes were added on June 7, weeks after the Basque town of Guernica was leveled by bombs and at the same time that Picasso was completing his famous painting protesting the atrocity. Three of the last four frames of this print relate to specific studies for the huge mural.
In Dream and Lie of Franco, Picasso relied on visual codes that closely referenced Spanish culture to create a powerful representation of fascism. At the same time, he produced a compelling, deeply felt evocation of authentic, enduring Spanish traditions.
Unknown artist, Standing Rock, North Dakota, Lakota
Tipi liner, about 1900-1930
Irregular: 35 1/2 x 144 in.
Purchased through the Mrs. Harvey P. Hood W’18 Fund; 2009.10
Suzuki Harunobu, Japanese, 1724-1770
Two Women in Snow Storm, 1768
Color woodblock print (chuban tate-e)
10 7/8 x 7 7/8 in.
Purchased through a gift from the E. Rhodes and Leona B. Carpenter Foundation; 2009.11
Last Updated: 11/23/09