Part of: Albertine Monroe-Brown Study-Storage Gallery (80 resources )
![This jar has a long and upright mouth with a robust shoulder that give way to a body tapering toward the base. The crane, cloud, pine tree and rock are painted with blue and red copper pigment.<br />
<br />
This jar was produced at a kiln in Bunwon-ri, Gwangju-si, Gyeonggi-do after the privatization of official court kilns in 1883. Ten longevity symbols, including pine trees, rocks, lingzhi fungus, deer, cranes, clouds and bamboo, are decorated in cobalt-blue and copper-oxide pigment was used in parts to decorate the jar. Such jars featuring the ten longevity symbols were often used at events such as elder statesmen’s gathering (giroyeon) and 60th birthday parties (hoegabyeon). Crackles were formed on the mouth and body, which are contaminated with impurities, but it remains intact overall. The foot retains traces of coarse sand supports, but lots of cracks were formed.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.169]](/media/W1siZiIsIjIwMjIvMDUvMjUvNjdqd3QzZzEybV9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=fecc2783f3328016 "This jar has a long and upright mouth with a robust shoulder that give way to a body tapering toward the base. The crane, cloud, pine tree and rock are painted with blue and red copper pigment.<br />
<br />
This jar was produced at a kiln in Bunwon-ri, Gwangju-si, Gyeonggi-do after the privatization of official court kilns in 1883. Ten longevity symbols, including pine trees, rocks, lingzhi fungus, deer, cranes, clouds and bamboo, are decorated in cobalt-blue and copper-oxide pigment was used in parts to decorate the jar. Such jars featuring the ten longevity symbols were often used at events such as elder statesmen’s gathering (giroyeon) and 60th birthday parties (hoegabyeon). Crackles were formed on the mouth and body, which are contaminated with impurities, but it remains intact overall. The foot retains traces of coarse sand supports, but lots of cracks were formed.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.169]")
![It has a long, thin neck and flat oval body. The wide foot is rather shallow but deeply recessed on the underside. The entire of surface is decorated with peony blossom design printed in cobalt blue sigment.<br />
<br />
This is a long-necked white porcelain bottle with peony sprays wrapping around the entire body. The white porcelain background is bright in colour, while the light and dark contrasts of the peony pattern give its flowers a three-dimensional appearance. There are sand spur marks on the foot, and on the outer base are incised symbols. Such marks are found in the waste deposits of kilns in Bunwonri, Gwangju-gun, Gyeonggi-do at the end of the 19th century. The mouth has been severed lost. This is a high-quality white porcelain bottle, with well sintered clay and glaze, but the rim has been severed and lost.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.179]](/media/W1siZiIsIjIwMjIvMDUvMjUvNm53OGhsdGg5cl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=b31b27d59eab8bb0 "It has a long, thin neck and flat oval body. The wide foot is rather shallow but deeply recessed on the underside. The entire of surface is decorated with peony blossom design printed in cobalt blue sigment.<br />
<br />
This is a long-necked white porcelain bottle with peony sprays wrapping around the entire body. The white porcelain background is bright in colour, while the light and dark contrasts of the peony pattern give its flowers a three-dimensional appearance. There are sand spur marks on the foot, and on the outer base are incised symbols. Such marks are found in the waste deposits of kilns in Bunwonri, Gwangju-gun, Gyeonggi-do at the end of the 19th century. The mouth has been severed lost. This is a high-quality white porcelain bottle, with well sintered clay and glaze, but the rim has been severed and lost.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.179]")
![<p>The inner base and walls of this celadon dish are mold-impressed with a peony and peony scrolls, respectively. The low foot retains traces of quartzite supports in three places. The glaze is poorly fused, showing traces of its running, while partial oxidization has given the dish a yellow-green hue in parts.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.114]</p>
The rim of this celadon saucer is outward flared. Fine crackles are present throughout the surface of the saucer, coated with a dark bluish green glaze. It has glazed short foot with 3 spur marks and is molded peony design on wall and bottom. The exterior glaze color change due to over heating, fired in sagger that was not tightly closed.](/media/W1siZiIsIjIwMjIvMDkvMjQvM2I3YWQ3MmZ2OF9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=43157896c18036d2 "<p>The inner base and walls of this celadon dish are mold-impressed with a peony and peony scrolls, respectively. The low foot retains traces of quartzite supports in three places. The glaze is poorly fused, showing traces of its running, while partial oxidization has given the dish a yellow-green hue in parts.<br />
[<em>Korean Collection, University of Michigan Museum of Art </em>(2014) p.114]</p>
The rim of this celadon saucer is outward flared. Fine crackles are present throughout the surface of the saucer, coated with a dark bluish green glaze. It has glazed short foot with 3 spur marks and is molded peony design on wall and bottom. The exterior glaze color change due to over heating, fired in sagger that was not tightly closed.")
![<p>This vessel was produced in a form typical of 13th century celadon bottles with the beautifully curved form and inlaid decorations on the entire surface. The body is divided into six segments, each of which is inlaid with chrysanthemum stems rst then stamped with owers using the inhwa (stamping) technique. Glaze was wiped away from the base and sand supports were used during ring. Glaze on the lower part of the bottle was poorly fused, yielding an opaque surface, however the overall quality of sintering is fine. The mouth has been repaired and restored. This piece is assumed to have been produced at a kiln at Yucheon-ri, Buan-gun, Jeollabuk-do.<br />
[<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.136]</p>](/media/W1siZiIsIjIwMjIvMDkvMjQvOTlvajVlZGNtbl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=15576c14322f15fc "<p>This vessel was produced in a form typical of 13th century celadon bottles with the beautifully curved form and inlaid decorations on the entire surface. The body is divided into six segments, each of which is inlaid with chrysanthemum stems rst then stamped with owers using the inhwa (stamping) technique. Glaze was wiped away from the base and sand supports were used during ring. Glaze on the lower part of the bottle was poorly fused, yielding an opaque surface, however the overall quality of sintering is fine. The mouth has been repaired and restored. This piece is assumed to have been produced at a kiln at Yucheon-ri, Buan-gun, Jeollabuk-do.<br />
[<em>Korean Collection, University of Michigan Museum of Art</em> (2014) p.136]</p>")
![<p>The long neck, curvilinear body, and ared mouth of this vessel create a typical Goryeo celadon bottle. A band of lotus petals inlaid with black and white slips is wrapped around the lower part of the neck, below which is a yeoui-head band inlaid with white slip. Three places around the belly of the bottle are decorated with lotus sprays inlaid with black and white slips. The glaze on the lower part of the body has been oxidized, where it is also extensively cracked. The foot is low, with a wide rim, and has sand spur marks.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.143]</p>](/media/W1siZiIsIjIwMjIvMDkvMjQvMXFmdnRueTRuNl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=0ca4162fd5e5e61f "<p>The long neck, curvilinear body, and ared mouth of this vessel create a typical Goryeo celadon bottle. A band of lotus petals inlaid with black and white slips is wrapped around the lower part of the neck, below which is a yeoui-head band inlaid with white slip. Three places around the belly of the bottle are decorated with lotus sprays inlaid with black and white slips. The glaze on the lower part of the body has been oxidized, where it is also extensively cracked. The foot is low, with a wide rim, and has sand spur marks.<br />
[Korean Collection, University of Michigan Museum of Art (2014) p.143]</p>")
Cabinet S: Shelf 3
American Silver
In Colonial America luxury silver items were imported from Europe, but by the late seventeenth century American silversmiths had begun to produce domestic wares; many of these emulated the aesthetics of British and Northern European design and ornament. An increase in the demand for and production of elegant dining silverware was caused by both the Tariff of 1842, which imposed heavy taxes on imported goods such as silver, and the flourishing economy following the Civil War. As the industry grew from local workshops to large factories, manufacturers such as Kirk & Sons and Tiffany & Company were established.
Kirk & Sons, one of the oldest American silver manufacturers, was founded in 1815 in Baltimore, Maryland. Their work became renowned for its high-quality, durability, and ornate beauty. Kirk reintroduced to American silver-making the tradition of repoussé, in which a surface pattern is created by beating or applying force to the reverse side of the metal, producing a design in high relief. The popularity of Kirk & Sons’ work reflected the emergence of the Rococo Revival style in nineteenth-century America, which was characterized by elaborate decoration and ornamental opulence.
During the nineteenth century the role of the designer became more important in silversmithing. Tiffany & Company, founded in 1837 by Charles Louis Tiffany (the father of Louis Comfort Tiffany, renowned for his glasswork and jewelry) employed a succession of highly influential and skilled designers, and soon became well known for creating beautiful pieces, whose elegant and timeless designs remain popular even today.
Coffee pot from a tea service
silver
9 x 7 15/16 x 5 3/4 in. (22.8 x 20.1 x 14.6 cm)
Gift of Andrew Nevil Wise, Class of 1988 and Jeremy Henshaw Wise, Class of 1990
Pitcher from a tea service
silver
5 1/8 x 5 3/8 x 4 3/16 in. (13 x 13.5 x 10.5 cm)
Gift of Andrew Nevil Wise, Class of 1988 and Jeremy Henshaw Wise, Class of 1990
Spoon
14K gold
5 13/16 x 1 5/16 in. (14.76 x 3.3 cm)
Gift of Colonel and Mrs. Thomas M. Spaulding
Spoon
18K gold
5 13/16 x 1 5/16 in. (14.76 x 3.2 cm)
Gift of Colonel and Mrs. Thomas M. Spaulding
Sugar bowl with lid from a tea service
silver
5 1/4 x 7 9/16 x 5 7/16 in. (13.2 x 19.2 x 13.8 cm)
Gift of Andrew Nevil Wise, Class of 1988 and Jeremy Henshaw Wise, Class of 1990
Tea pot from a tea service
silver
6 5/16 x 8 15/16 x 6 in. (15.9 x 22.7 x 15.2 cm)
Gift of Andrew Nevil Wise, Class of 1988 and Jeremy Henshaw Wise, Class of 1990
Butter dish with lid from a tea service
silver
4 9/16 x 6 13/16 x 6 13/16 in. (11.5 x 17.2 x 17.2 cm)
Gift of Andrew Nevil Wise, Class of 1988 and Jeremy Henshaw Wise, Class of 1990
Slop jar from a tea service
silver
4 1/16 x 5 7/16 x 5 7/16 in. (10.2 x 13.8 x 13.8 cm)
Gift of Andrew Nevil Wise, Class of 1988 and Jeremy Henshaw Wise, Class of 1990
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