Stoneware teabowl with dark green glaze coating the inside and outer top three-quarters of the dently curving sides. The green glaze drips off the side of the bowl near the base, frozen in suspension. At the rim of the bowl the color of the stoneware shows through a thin layer of glaze.
This orange/yellow iridescent decanter with a triangular-shapped stopper is pinched in the middle, dividing the vessel into several separate channels.
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Kuttrolf bottles and decanters were first introduced during the 14th century in northern Europe; such vessels had multiple-channel necks (often tilted at an angle) to facilitate a slow pouring of the liquor held in the containers.
Cylindrical, wood carved cup with geometric motifs and linear, interlocking surface designs that cover the entire surface of the object.
In the nineteenth and early twentieth centuries, palm wine cups carved elaborately from wood were high prestige objects, and were commissioned or purchased by individuals who could readily afford them. Such cups were public displays of personal success and accomplishment. This cylindrical cup features the Kuba aesthetic preference for geometric motifs and linear, interlocking surface designs that cover the entire surface of the object.
Buffalo horn with concentric circles, geometric shapes and beadlike bands carved in relief follow the natural contours of the horn to its pointed tip. Has a local repair—a metal suture sewn at the mouth to stabilize a crack. Has cord pierced through tip.
In the nineteenth and early twentieth centuries, palm wine drinking cups fashioned from the horns of the bush buffalo were used exclusively by Kuba warriors and soldiers as emblems of their ferocity and connection to the wilderness. The cord pierced through the tip of the horn allowed it to be worn by its owner as part of his regalia.
A tall glazed and speckled gray porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder which widens at the top into a shallow dish. At the bottom of the base as well as a circle on the top of the dish there is some discoloration and morphing of the ceramic, most likely through use.
A short glazed and speckled gray porcelain offering dish for an altar. The base is a small, tapered cylinder which then becomes the base of a slighlt deep dish. The gray glaze has some green coloration throughout the piece.
A tall glazed and speckled white-blue porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder. Where the base of the dish and the top of the base meet there is a bowl-shape ring as the bottom of the dish and a wide angled lip that surrounds it.
A tall glazed and speckled white-blue porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder. The dish a the top is quite wide and shallow until it reaches the point of the base, where there is a deep hole in the cylinder of the base.
A short glazed and speckled gray porcelain offering dish for an altar. The base is a wide, slightly tapered cylinder which at the top is attached to a shallow dish. At the bottom of the base as well as a circle on the top of the dish there is some discoloration and morphing of the ceramic.
This work shows a plate on which is placed a sandwich, a glass and drinking straws. These items are shown as white forms against a band of red in the upper area and a band of blue in the lower portion of the work that serve as a background. The image looks like a comic book page with the items created in outline form against contrasting colors.
This work is one of ten prints published within a portfolio, “Ten Works + Ten Painters”, commissioned by Samuel J. Wagstaff from the Wadsworth Atheneum Museum in 1964. This portfolio was one of the earliest to have several artists published together to make major American artists accessible to a wider audience and range of collectors. Each print in this portfolio was based on a painting the artists had previously created. Some of the artists represented, in addition to Roy Lichtenstein, are Frank Stella, Andy Warhol, Ellsworth Kelly and Robert Motherwell, who were associated with the Pop and Minimalism art movements in the 1960s.