Domestic Furnishings

Washboards, armchairs, lamps, and pots and pans may not seem to be museum pieces. But they are invaluable evidence of how most people lived day to day, last week or three centuries ago. The Museum's collections of domestic furnishings comprise more than 40,000 artifacts from American households. Large and small, they include four houses, roughly 800 pieces of furniture, fireplace equipment, spinning wheels, ceramics and glass, family portraits, and much more.

The Arthur and Edna Greenwood Collection contains more than 2,000 objects from New England households from colonial times to mid-1800s. From kitchens of the past, the collections hold some 3,300 artifacts, ranging from refrigerators to spatulas. The lighting devices alone number roughly 3,000 lamps, candleholders, and lanterns.

This transfer printed creamware pitcher is decorated on one side by a compass pattern and a commemoration to George Washington on the other.
Description
This transfer printed creamware pitcher is decorated on one side by a compass pattern and a commemoration to George Washington on the other. The compass design is headed by a scroll that reads “Come Box the Compass” while below is the text “Invented by Murphy a Dutchman AD 1229 first exhibited at Venice 1260 Improved by Giora of Naples 1309 its declination discovered by Hartman 1538.” The other side features an inset portrait of George Washington flanked by the allegorical figures of Liberty and Freedom. A twisting scroll around the portrait bears the names of 15 states, including misspellings of “Tenassee” and “Masachusett.”
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.133
catalog number
63.133
accession number
248619
collector/donor number
45-365
This earthenware pitcher is decorated with a transfer printed design of a sailing ship flying on one side with the Great Seal of the United States encircled by a chain of sixteen links.
Description
This earthenware pitcher is decorated with a transfer printed design of a sailing ship flying on one side with the Great Seal of the United States encircled by a chain of sixteen links. Each link has a different state’s name on it, with several state names misspelled due to its British origin. Under the spout is a medallion and the script initials “SW” within it. Under the handle is a print of a flower and around the lip of the jug is a floral pattern. Remnants of gilding can be seen around the pitcher, and certain aspects of the ship scene have been hand-colored. Robert H. McCauley purchased this jug from Edward C. Ford of Marshfield, MA on October 21, 1938 for $60.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.082
catalog number
63.082
accession number
248881
collector/donor number
310
The transfer printed creamware pitcher is decorated with a print based on the painting The Death of General Wolfe by Benjamin West. Under the spout are the script initials “SV.” On the reverse is a pastoral scene with ancient ruins in the background.
Description
The transfer printed creamware pitcher is decorated with a print based on the painting The Death of General Wolfe by Benjamin West. Under the spout are the script initials “SV.” On the reverse is a pastoral scene with ancient ruins in the background. On the bottom of the pitcher is the mark of Josiah Wedgwood, the famous Staffordshire County pottery owner. This pitcher likely dates to the late 1790s. Robert H. McCauley purchased this jug from Ginsberg and Levy of New York, NY on June 17, 1939 for $75.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.098
catalog number
63.098
accession number
248881
collector/donor number
355
The “Plan of the City of Washington” depicts the figures of Britannia and America examining the street plan of the District of Columbia. Britannia is shown pointing to the site of the Capitol building.
Description
The “Plan of the City of Washington” depicts the figures of Britannia and America examining the street plan of the District of Columbia. Britannia is shown pointing to the site of the Capitol building. The print is based on the street plan designed by Pierre Charles L’Enfant and completed by Andrew Ellicott in 1792. Finally, under the spout is a transfer printed medallion with the words, “A MAN / without example / A PATRIOT / without reproach” drawn from Thomas Paine’s “An Eulogy on the Life of General George Washington.” This jug was part of the George Horace Lorimer Collection and was purchased by Robert H. McCauley from Parke Bernet Galleries in New York on March 31, 1944 for $75.00. Lorimer was an editor of The Saturday Evening Post from 1899 to 1936.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
date made
1800
ID Number
CE.63.165
catalog number
63.165
accession number
248619
collector/donor number
44-346
This large creamware pitcher features both hand painted and printed decoration. On the front, hand painted in black and gold, is a scene of a ship being loaded with barrels.
Description
This large creamware pitcher features both hand painted and printed decoration. On the front, hand painted in black and gold, is a scene of a ship being loaded with barrels. On the reverse is a transfer print of the ship “The Constitution” which has been painted over with gold paint. Under the spout, within a medallion is the name “W&N Clark.” Remnants of gilding remain all over this jug. Maritime designs are especially common on English-made transfer printed creamware meant for the American market. Often stock prints of ships were repeatedly used by English ceramics printers. Although this jug refers to a real ship, the print itself is probably generic. Sometimes color was added to the print to make it more appealing to the consumer. This pitcher was customized with the owner’s name, however it is unclear who “W&N Clark” is.
The USS Constitution was one of the most famous US Navy ships of the early 19th century. Built in Boston in 1797, the Constitution saw action in the Quasi War with France, the Barbary Wars and during the War of 1812. Robert H. McCauley purchased this jug from John Schwarz of Baltimore, MD on October 4, 1940 for $150.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.164
catalog number
63.164
accession number
252565
collector/donor number
391
This creamware pitcher is decorated with two transfer prints—one with a maritime print of a ship under sail, and the other depicting Masonic symbols in a similar fashion to the Masonic tracing board. Underneath is the text “Lodge No.25” Under the spout is the name “P.
Description
This creamware pitcher is decorated with two transfer prints—one with a maritime print of a ship under sail, and the other depicting Masonic symbols in a similar fashion to the Masonic tracing board. Underneath is the text “Lodge No.25” Under the spout is the name “P. Delano.” Unlike many of the pitchers in the collection, attribution of ownership in possible in this case. The pitcher likely belonged to Peleg Delano, captain of the ship Three Sisters from 1796-1797, and a member of the Masonic lodge in Sidney, Maine. Robert H. McCauley purchased this jug from H. Grossman of Boston, MA on September 16, 1940 for $115.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.117
catalog number
63.117
accession number
252565
collector/donor number
390
This large creamware pitcher is decorated a polychromed transfer print of an American sailing ship. On the reverse is a print of a monument commemorating Washington’s death surrounded by a chain of states which omits Vermont and Rhode Island, but includes Kentucky.
Description
This large creamware pitcher is decorated a polychromed transfer print of an American sailing ship. On the reverse is a print of a monument commemorating Washington’s death surrounded by a chain of states which omits Vermont and Rhode Island, but includes Kentucky. The monument is an obelisk decorated with the All Seeing Eye and the phrase “First in war, first in peace, first in fame, first in virtue.” Various figures are shown mourning at the monument. Under the spout is the statement, “A present to Capt.n Nath.l Gunnison.” Under the handle are two printed flowers and black ink accents the handle, spout, lip, and base of this jug. Maritime designs are especially common on English-made transfer printed creamware meant for the American market. Stock prints of ships, like the one on this example, were repeatedly used by English ceramics printers, and given as gifts to Captains of merchant ships like Nathaniel Gunnison. Aside from generic maritime themes, George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. Robert H. McCauley purchased this jug from Joseph Kindig, Jr. of York, PA on August 5, 1938 for $100.00 as part of the William Randolph Hearst Collection.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.120
catalog number
63.120
accession number
248881
collector/donor number
319
This transfer printed creamware pitcher was made by Herculaneum Pottery in Liverpool, England around 1800. The pitcher features transfer print decorations with two common themes. On the front is a polychromed transfer-print of an American sailing ship.
Description
This transfer printed creamware pitcher was made by Herculaneum Pottery in Liverpool, England around 1800. The pitcher features transfer print decorations with two common themes. On the front is a polychromed transfer-print of an American sailing ship. It features an American flag with its stars arranged in a circular pattern and is titled “The President, Commodore Berry.” On the reverse is a transfer-print of an obelisk capped with an urn commemorating the life of George Washington. Located at the center of the obelisk is a profile image of Washington. The General is wearing his military uniform and is faced to his right. Above him is a wreath and below him on the obelisk are his birth and death dates. His birthdate is listed as “Feb.y 11 1732” following the Old Style calendar. Also on the obelisk are a shield with stars and stripes and a sword crossed with a palmetto branch. At the base of the monument are a female figure weeping and an eagle with its head down and wings extended. Above and below the transfer print are banners proclaiming, “WASHINGTON IN GLORY / AMERICA IN TEARS.” Under the spout, within a medallion, is the name “R. Moncreafe.” Maritime designs are especially common on English-made transfer printed creamware meant for the American market. Stock prints of ships, like the one on this example, were repeatedly used by English ceramics printers. George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. This jug contains a possible misspelling of “Commodore Berry,” as it could refer to John Barry or Oliver Hazard Perry, both officers in the early US Navy. Neither of them commanded the ship “The President,” which was indeed a real ship. Robert H. McCauley purchased it from Parke Bernet Galleries of New York, NY on March 31, 1944 for $60.00.
This pitcher is part of the McCauley collection of American-themed transfer-print pottery designs dating to the early 19th century. The creamware pitchers were imported from Staffordshire County, England when trade boomed between the newly independent United States and the British merchants of Liverpool after the War of 1812. Transfer printing involved placing a freshly inked print onto pottery, transferring the print’s design to the pottery which adhered to the ceramic when fired.
Location
Currently not on view
maker
Herculaneum Pottery
ID Number
CE.63.123
catalog number
63.123
accession number
248619
collector/donor number
44-345
This transfer printed creamware tea caddy was made by Josiah Wedgwood of Stoke-on-Trent, England during the 1780s or 1790s.
Description
This transfer printed creamware tea caddy was made by Josiah Wedgwood of Stoke-on-Trent, England during the 1780s or 1790s. The tea caddy (a small container used to hold loose tea) is decorated with a portrait of George Washington on one side and a Continental soldier on the other. In the portrait George Washington is in his uniform that he wore as Commander-in-Chief of the Continental Army. On both sides of the print are banners that read “HIS EXCELLENCY / GENERAL WASHINGTON.” Beneath the print is an additional descriptive statement, “Commander in Chief of the forces of the United States.”. On the other side of the tea caddy is a transfer-print of a uniformed soldier holding a musket. Behind him is a cannon, stack of cannon balls, and the cannon’s firing tools. The print of Washington included on this tea caddy is copied from an engraving based on Pierre Eugene Du Simitière’s portrait of Washington executed in black lead on February 1, 1779. Robert H. McCauley purchased this tea caddy from Edgar H. Sittig, an antiques dealer from Shawnee-on-Delaware, PA, on June 29, 1942 for $52.50.
Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
maker
Wedgwood, Josiah
ID Number
CE.63.145a
catalog number
63.145b
accession number
248619
collector/donor number
42-335
catalog number
63.145a
This creamware bowl is decorated with a number of transfer prints. The central inside this bowl is a polychromed print of an American sailing ship with the name “Zebedee Cook” below.
Description
This creamware bowl is decorated with a number of transfer prints. The central inside this bowl is a polychromed print of an American sailing ship with the name “Zebedee Cook” below. Zebedee Cook was born in 1760 and lived as a prominent citizen in Newburyport, Massachusetts for much of his life. He was an underwriter for insuring merchandise and ships at sea. The interior edge of the bowl is ringed by six images of naval and military instruments. On the outside of the bowl are four prints. One print features a portrait of John Adams “President of the United States” flanked the allegorical figures of Plenty and Justice. Another print depicts George Washington stepping on a lion, symbolizing the defeat of Great Britain during the American Revolution. Surrounding this image are the words “By virtue and valour, we have freed our country, extended our commerce, and laid the foundations of a great empire.” In the background are a few Continental soldiers and a ship flying an American flag. The other two prints are concerned with mythological scenes featuring mermaids and the god Neptune. Robert H. McCauley purchased the bowl from Parke Burnet Galleries in New York, NY on March 31, 1944 for $90.00. This bowl was formerly part of the George Horace Lorimer collection. Lorimer was an editor of The Saturday Evening Post from 1899 to 1936.
This bowl is part of the McCauley collection of American themed transfer print pottery. There is no mark on the bowl to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Ceramics of this style, with a cream colored glaze over a pale earthenware clay, known as Liverpool type commonly featured transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.166
catalog number
63.166
accession number
248619
collector/donor number
44-347
This earthenware pitcher is decorated with a transfer print portrait of Thomas Jefferson on one side and a poem to Liberty on the other. The portrait of Jefferson is surrounded by a laurel wreath entwined with ribbon bearing names of the first fifteen states.
Description
This earthenware pitcher is decorated with a transfer print portrait of Thomas Jefferson on one side and a poem to Liberty on the other. The portrait of Jefferson is surrounded by a laurel wreath entwined with ribbon bearing names of the first fifteen states. Over the portrait is “Thomas Jefferson” while “President of the United States of America” is underneath. The poem is encircled by a ribbon bearing the names of fifteen states scrolling around fifteen stars. The poem is a stanza borrowed from Joseph Addison’s “A Letter From Italy To The Right Honourable Charles Lord Halifax.” It reads: “O Liberty thou Goddess! / heav’nly bright, / Profuse of bliss / and pregnant with delight. / Eternal pleasures / in thy presence reign. / and smiling plenty leads / thy wanton train.” The pitcher is signed by F. Morris Shelton, a Staffordshire potter operating in the early 19th century. Robert H. McCauley purchased this pitcher from Ginsberg and Levy for $110.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.084
catalog number
63.084
accession number
248881
collector/donor number
314
This creamware pitcher is decorated with a transfer-print titled “The Memory of WASHINGTON and the Proscribed PATRIOTS of AMERICA / Liberty, Virtue, Peace, Justice, and Equity to ALL Mankind.” The print is a central medallion with a background of a monument honoring Washington, a
Description
This creamware pitcher is decorated with a transfer-print titled “The Memory of WASHINGTON and the Proscribed PATRIOTS of AMERICA / Liberty, Virtue, Peace, Justice, and Equity to ALL Mankind.” The print is a central medallion with a background of a monument honoring Washington, a beehive, and a cornucopia. Inset in the medal are two portraits of Samuel Adams and John Hancock, respectively labeled “S A” and “J H.” Under the medallion reads “Columbias Sons inspir’d by Freedoms Flame / Live in the Annals of immortal Fame.” The other side of the pitcher is decorated with a medallion transfer print with a background of the sea with ships in a harbor while an American soldier in Continental uniform stands under an American flag next to a cannon and cannonball stack in the foreground. The rim of the medallion reads “Success to AMERICA whose MILITIA is better than Standing ARMIES / May its Citizens Emulate Soldiers And its Soldiers HEROES.” Depicted under the spout is an American merchant ship under sail with a banner that “Success to Trade.” Under the handle is a print of the allegory of fame sounding a trumpet. This pitcher features brilliant polychrome images. According to Success to America: Creamware for the American Market, the pitcher can be attributed to Francis Shelton in Staffordshire County, England. Robert H. McCauley purchased this pitcher on August 5, 1938 for $100.00 from Joseph Kindig, Jr. of York, PA as part of the William Randolph Hearst Collection.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.087
catalog number
63.087
accession number
248881
collector/donor number
323
This pitcher is decorated with transfer prints a shipbuilding scene on one side and a spread-winged eagle on the other.
Description
This pitcher is decorated with transfer prints a shipbuilding scene on one side and a spread-winged eagle on the other. The shipbuilding scene portrays different stages of the shipbuilding process—trees being felled, logs carted to the building yard, logs turned into planks, and planks formed into ships. Below the scene is a verse from the song Adams and Liberty, “Our mountains are covered with imperial oak, Whose roots like our liberties ages have nourished / but long ere our nation submits to the yoke, Not a tree shall be left on the field where it flourish’d / Should invasion impend Every grove would descend, from the Hill tops they shaded our shores to defend / for ne’er shall the sons of Columbia be slaves, While the Earth bears a plant or the Sea Rolls its waves.” The opposite side of the jug features a spread-winged bald eagle similar to that from the Great Seal of the United States. Robert H. McCauley purchased this jug from A.T. Goodyear of Baltimore, MD on August 4, 1938 for $45.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.081
catalog number
63.81
accession number
248881
collector/donor number
309
This transfer printed creamware pitcher is decorated with two prints related to the death of George Washington.
Description
This transfer printed creamware pitcher is decorated with two prints related to the death of George Washington. On the front is a print of a portrait of Washington in profile titled “He in Glory America in Tears.” On the reverse is an urn marked with the initials “GW” surrounded by a list of Washington’s life achievements. It reads “GEORGE WASHINGTON born Feb. 11, 1732 Gen.l of the American Armies 1775 Resigned 1783 President of the United States 1789 Resigned 1796 / General of the American Armies 1798 Died universally regretted 14th . December 1799.” Finally, under the spout is a transfer printed medallion with the words, “A MAN / without example / A PATRIOT / without reproach.” This phrase3 is drawn from Thomas Paine’s “An Eulogy on the Life of General George Washington” delivered on January 2, 1800. Black ink accents the lip of the jug. George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. Robert H. McCauley purchased this pitcher from Washington Art Galleries in Washington, DC on October 15, 1951 for $80.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.126
catalog number
63.126
accession number
248619
collector/donor number
51-383
This creamware pitcher is decorated on each side by transfer prints. The first print is entitled “Poor Jack” and depicts a sailor bidding farewell to a woman, with an anchored ship offshore in the background. A cherub sits atop the ship’s mast.
Description
This creamware pitcher is decorated on each side by transfer prints. The first print is entitled “Poor Jack” and depicts a sailor bidding farewell to a woman, with an anchored ship offshore in the background. A cherub sits atop the ship’s mast. “Poor Jack” is a song written by British musician Charles Dibbin, telling the story of a sailor leaving his love Polly, the perils of a sailor’s life, and his survival thanks to Providence (the cherub on the mast) looking out for him. The second print on the reverse side depicts an American clipper ship under sail. Under the spout is a poetic verse by Edward Rushton referencing the deaths of Continental Army generals Joseph Warren and Richard Montgomery and Washington’s eventual victory. The verse is set in an oval cartouche adorned with iconography of America’s independence including a liberty cap, an American flag, a banner adorned with stars and stripes, and symbols of agriculture and academics. Finally, a river scene is printed under the handle. This jug dates to c.1806 and was made in either Liverpool or Staffordshire, England. Robert H. McCauley purchased this jug from Joseph Kindig, Jr. of York, PA on August 5, 1938 for $30.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.091
catalog number
63.091
accession number
248881
collector/donor number
328
This transfer printed creamware pitcher is decorated with a print of a ship under sail on one side and of the Apotheosis of George Washington on the other. Finally, under the spout is a floral oval with barrels at its base and the initials “PL” in the center.
Description
This transfer printed creamware pitcher is decorated with a print of a ship under sail on one side and of the Apotheosis of George Washington on the other. Finally, under the spout is a floral oval with barrels at its base and the initials “PL” in the center. Maritime designs are especially common on English-made transfer printed creamware meant for the American market. Stock prints of ships, like the one on this example, were repeatedly used by English ceramics printers. The ship on this pitcher is titled “The Mary.” It is possible the pitcher belonged to a man named John Lilley, who operated in Liverpool and had a wife named Mary. George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. The Apotheosis of Washington is a print done by John James Barralet. The print depicts Washington being raised from his tomb by two winged figures representing Immortality and Father Time. At the left are allegorical figures of Faith, Hope, and Charity above a spread winged bald eagle perched on the US shield with a banner reading “E Pluribus Unum” in its beak. Below Washington is an allegorical figure of Liberty and a Native American (representing the Western Hemisphere) seated among Washington’s armor, sword, and a fasces— iconography of his military and political career.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.151
catalog number
63.151
accession number
248619
collector/donor number
41-319
This creamware bowl is decorated with several transfer print designs. On the interior is a polychromed print of a ship under sail entitled “Sally Chandler, 1800.” The exterior has four prints.
Description
This creamware bowl is decorated with several transfer print designs. On the interior is a polychromed print of a ship under sail entitled “Sally Chandler, 1800.” The exterior has four prints. The first is a print of John Adams surrounded by the allegorical figures of Plenty, Justice, and Liberty. Next is a design of the Map of the United States at the start of the 19th century, with George Washington standing next to it. He is flanked by the allegorical figures of Liberty, Wisdom, Justice, and Fame. Next is a design showing a Continental soldier with his foot on the head of the British lion. In the background are soldiers and ships under sail. A scroll around the image reads “By Virtue and Valour we have freed our Country, extended our Commerce, and laid the Foundation of a Great Empire.” Finally, there is a print of a young woman holding a telescope looking out to sea after a ship.
This bowl is part of the McCauley collection of American themed transfer print pottery. There is no mark on the bowl to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.137
catalog number
63.137
accession number
248619
collector/donor number
48-378
This transfer printed creamware pitcher is decorated with a print of the Joiners' Arms on one side and a motif of "Washington's Tomb" on the other.
Description
This transfer printed creamware pitcher is decorated with a print of the Joiners' Arms on one side and a motif of "Washington's Tomb" on the other. The crest of “The Joiner’s Arms” features the motto “Join truth with trust,” a shield, and tools of the joiner’s or carpenter’s trade. The motif of Washington’s tomb depicts a monument commemorating Washington’s death surrounded by a chain of states which omits Vermont and Rhode Island, but includes Kentucky. The monument is an obelisk decorated with the All Seeing Eye and the phrase “First in war, first in peace, first in fame, first in virtue.” Various figures are shown mourning at the monument. Under the spout, included in a medallion, is the phrase “May America never want artillery to defend her rights,” a phrase wishing peace upon the new American republic. Below that is the name “Simeon Hall” and a flower. It is currently unclear who Simeon Hall is. George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. Robert H. McCauley purchased this pitcher from F.O. Bailey Co. of Portland, ME on May 3, 1939 for $37.50.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
date made
ca 1805
ID Number
CE.63.124
catalog number
63.124
accession number
248881
collector/donor number
351
This bowl is decorated with a variety of transfer prints. The central image inside the bowl depicts the Coat of Arms for the Cabinet Markers guild. Below the crest is the motto “Join Truth with Trust.” The outside of the bowl is decorated with five different transfer prints.
Description
This bowl is decorated with a variety of transfer prints. The central image inside the bowl depicts the Coat of Arms for the Cabinet Markers guild. Below the crest is the motto “Join Truth with Trust.” The outside of the bowl is decorated with five different transfer prints. First is a depiction of George Washington on horseback on a background battle scene captioned “His excellency General George Washington Marshal of France /& commander in chief of all the North American continental forces.” The second print is a poetic stanza: “As he tills your rich glebe, the old peasant shall tell / While his bosom with Liberty glows / How your WARREN expired __ how MONTGOMERY fell / And how WASHINGTON humbled your foes.” Decorations surrounding this verse include a liberty cap, an American flag, a banner adorned with stars and stripes, and symbols of agriculture and academics. Below the poem is a banner proclaiming “INDEPENDENCE.” Third, the script initials “SS” accented with gold demonstrate customization on this bowl. Fourth, is a print of a map of the United States flanked by George Washington and the allegorical figure of Liberty on one side and Benjamin Franklin and the allegories of Justice and Wisdom on the other. Finally, the Great Seal of the United States is printed on the outside of the bowl. Remnants of hand painted gold gilding remain all over this bowl.
The equestrian print of Washington on this bowl is based on a 1775 mezzotint published by C. Shepherd of London. The poetic verse included on this bowl was written by Edward Rushton and is included in his poem “American Independency” published in 1806 in his book of poems. The map transfer print is drawn from the legend of a map of the United States published by John Wallis of London in 1783. Robert H. McCauley purchased this bowl from Joseph Kindig, Jr. of York, PA on October 16, 1938 for $150.00.
This bowl is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
ID Number
CE.63.089
catalog number
63.089
accession number
248881
collector/donor number
326
This creamware pitcher is decorated with an image of Oliver Hazard Perry, famous for his defeat of a British naval squadron at the Battle of Lake Erie on September 10, 1813.
Description
This creamware pitcher is decorated with an image of Oliver Hazard Perry, famous for his defeat of a British naval squadron at the Battle of Lake Erie on September 10, 1813. “Commodore Perry” is written above the portrait, with a ribbon below “We have met the enemy and they are ours!” Below that, Perry has been granted the title “Hero of the Lakes.” On the reverse of the jug is a print of an American frigate. The image of Perry is based on an engraving by Philadelphian George Delleker, c.1813.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.173
catalog number
63.173
accession number
252565
collector/donor number
377
This transfer printed creamware pitcher was made by Josiah Wedgwood in Stoke-on-Trent, England around 1790. One transfer print depicts the winged figure of Liberty on a cloud blowing her trumpet.
Description
This transfer printed creamware pitcher was made by Josiah Wedgwood in Stoke-on-Trent, England around 1790. One transfer print depicts the winged figure of Liberty on a cloud blowing her trumpet. The other transfer print features a portrait of Benjamin Franklin wearing his famous beaver cap, with a scroll underneath that reads “Born at Boston in New England, 17 Jan. 1706/L.L.D.F.R.S.” The portrait of Franklin on this bowl is based on the 1777 drawing by French artist Charles Nicolas Cochin.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
maker
Josiah Wedgwood & Sons
ID Number
CE.63.140
catalog number
63.140
accession number
252565
collector/donor number
41-301
This large creamware pitcher features a transfer-print commemorating George Washington. One side of the pitcher features a memorial obelisk to Washington, capped with an urn and adorned with a profile image of Washington in his military regalia in the center of the obelisk.
Description
This large creamware pitcher features a transfer-print commemorating George Washington. One side of the pitcher features a memorial obelisk to Washington, capped with an urn and adorned with a profile image of Washington in his military regalia in the center of the obelisk. At the base of the monument is a female figure weeping and an eagle with its head down and wings extended. Banners around the print read “WASHINGTON IN GLORY / AMERICA IN TEARS.” Below the spout is a transfer print image of the Great Seal of the United States. Printed on the reverse of the pitcher is a poetic verse: “As he tills your rich glebe, the old peasant shall tell / While his bosom with Liberty glows / How your WARREN expired __ how MONTGOMERY fell / And how WASHINGTON humbled your foes.” Decorations surrounding this verse include a liberty cap, an American flag, a banner adorned with stars and stripes, and symbols of agriculture and academics. Remnants of a decorative gilded edging surround the top, bottom, and spout of the pitcher.
George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. The transfer-print on this pitcher is based on an engraving by Philadelphians James Akin and William Harrison Jr. titled “America lamenting her loss at the Tomb of GENERAL WASHINGTON.” The poetic verse included on this pitcher was written by Edward Rushton and is included in his poem “American Independency” published in 1806 in his book of poems. The book was published in London. The verse on this pitcher refers to Continental Army generals Joseph Warren and Richard Montgomery, both of whom were killed in the early battles of the war. Robert H. McCauley purchased this pitcher from Fred J. Finnerty, a Boston antiques dealer, for $50.00 on October 26, 1938.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.080
catalog number
63.080
accession number
248881
collector/donor number
308
This creamware pitcher is decorated with two patriotic transfer prints. One print depicts the map of the United States flanked by George Washington and an allegorical figure of Liberty on one side with Benjamin Franklin and the allegories of Justice and Wisdom on the other.
Description
This creamware pitcher is decorated with two patriotic transfer prints. One print depicts the map of the United States flanked by George Washington and an allegorical figure of Liberty on one side with Benjamin Franklin and the allegories of Justice and Wisdom on the other. Also included in this print are a herald, a striped flag, and liberty cap. This print is drawn from the legend of a map of the United States published by John Wallis of London in 1783. On the reverse of the pitcher is a medallion containing a poetic verse: “O Liberty thou Goddess! / heav’nly bright, / Profuse of bliss / and pregnant with delight. / Eternal pleasures / in thy presence reign. / and smiling plenty leads / thy wanton train.” Surrounding that is a chain with each link labeled as one of the fifteen states of the United States. Above that is a print of the Great Seal of the United States. The poetic lines are taken from Joseph Addison’s 1701 poem “A Letter From Italy To The Right Honourable Charles Lord Halifax.” Robert H. McCauley purchased this pitcher from Charles L. Harris of New London, CT on April 19, 1940 for $5.00.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.112
catalog number
63.112
accession number
252565
collector/donor number
381
This creamware bowl is decorated with a variety of transfer prints. Printed on the inside of the bowl is a portrait (mis)labeled “Commodore Parry” surrounded by an American flag, a shield, and an Indian.
Description
This creamware bowl is decorated with a variety of transfer prints. Printed on the inside of the bowl is a portrait (mis)labeled “Commodore Parry” surrounded by an American flag, a shield, and an Indian. The interior edge of the bowl has 3five prints of naval and military instruments. Four prints decorate the outside of the bowl. The first print is a portrait of Benjamin Franklin wearing his famous beaver cap. Rococo flourishes flank the portrait with Franklin’s name and titles within the banners: “Benj.n Franklin LLD FRS.” The portrait of Franklin on this bowl is based on the 1777 drawing by French artist Charles Nicolas Cochin. Below the portrait is written, “Born at Boston in New England 17 Jan. 1706.” Second, is a portrait of George Washington dressed in his uniform that he wore as Commander-in-Chief of the Continental Army during the American Revolution. The print of Washington included on this bowl is copied from an engraving based on Pierre Eugene Du Simitière’s portrait of Washington executed in 1779. On both sides of the print are banners accented with Rococo-style flourishes. Included within the banners is the title “HIS EXCELLENCY / GENERAL WASHINGTON.” The other two prints are generic scenes of courtship. It is interesting to note that Commodore Perry is misidentified as “Parry.” The misspelling of certain names and states was a repeated error in creamware pitchers of this time period, likely due to their British origin. Robert H. McCauley received this bowl as a gift from Daisy D.D. Whipple on June 8, 1963.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
ID Number
CE.63.119
catalog number
63.119
accession number
248619
collector/donor number
63-385

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