Military

The Museum's superb military collections document the history of the men and women of the armed forces of the United States. The collections include ordnance, firearms, and swords; uniforms and insignia; national and military flags and banners; and many other objects.

The strength of the collections lies in their enormous depth. Some 3,000 military small arms and 2,400 civilian firearms document the mechanical and technological history of the infantryman's weapons from the beginning of the gunpowder era to the present. Among the 4,000 swords and knives in the collection are many spectacular presentation pieces. The collections also include Civil War era telegraph equipment, home front artifacts from both world wars, early computers such as ENIAC, Whirlwind, and Sage, and materials carried at antiwar demonstrations.

This snare drum was made by Rose, Morris & Co. in London, England, around 1968-1970. It is a Clansman model with a black lacquer wood shell, chrome-plated metal flange hoops, a white vinyl top head and a clear vinyl bottom head, and a metal snare.
Description

This snare drum was made by Rose, Morris & Co. in London, England, around 1968-1970. It is a Clansman model with a black lacquer wood shell, chrome-plated metal flange hoops, a white vinyl top head and a clear vinyl bottom head, and a metal snare. There are 6 chrome-plated metal ribs attached to the shell covering the metal tensioning rods. The maker’s medallion around the vent hole is inscribed:

CLANSMAN
ROSE, MORRIS & CO.
MADE IN ENGLAND

This drum was used by a member of the United States Air Force Pipe Band. In 1950, the band was formed as part of the United States Air Force Drum and Bugle Corps. A separate Air Force Pipe Band was formed in 1960, and by 1970, the pipe band was disbanded.

Location
Currently not on view
date made
1968 - 1970
ID Number
MI.075303
accession number
295417
catalog number
75303
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
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 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
Physical DescriptionBlack felt, grosgrain ribbon, ostrich feathers, and gold cockade, which is a ribbon rose or knot.Specific HistoryAdmiral Dewey is often pictured wearing his chapeau bras.General HistoryA chapeau bras is a type of hat made to be compressed and carried under the
Description
Physical Description
Black felt, grosgrain ribbon, ostrich feathers, and gold cockade, which is a ribbon rose or knot.
Specific History
Admiral Dewey is often pictured wearing his chapeau bras.
General History
A chapeau bras is a type of hat made to be compressed and carried under the arm without injury. It translates literally as “hat arm.” Such hats were a popular style worn on dress occasions by gentlemen in the 18th century. Admiral (the Commodore) George Dewey was in command of the U.S. Navy’s Asiatic Squadron based in Hong Kong in 1898 when the United States declared war on Spain. Commanded to sail to Manila and capture or destroy the Spanish fleet based there, he engaged the fleet in Manila Bay early May 1 and completely destroyed it by noon, without a single loss of American life. The Battle of Manila Bay was one of two major American naval victories in the Spanish-American War. The complete and final victory ended any threat from the Spanish naval forces. All major Spanish ships were destroyed or captured, without any significant damage occurring to the American Forces. The battle is perhaps best known as the occasion when Dewey uttered one of the most famous statements in American naval history: “You may fire when you are ready, Gridley.” Captain Charles Gridley was commander of the USS Olympia.
user
Dewey, George
maker
Webb & Bonella
ID Number
1984.0834.08
accession number
1984.0834
catalog number
1984.0834.08
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 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
Currently on loan
Location
Currently on loan
Date made
c. 1770
unspecified
Hopkins, Alfred
ID Number
AF.35486
catalog number
35486
accession number
91731
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
This large creamware pitcher is decorated with a transfer-print commemorating George Washington on one side and a depiction of a naval battle on the other.
Description
This large creamware pitcher is decorated with a transfer-print commemorating George Washington on one side and a depiction of a naval battle on the other. The print depicts an obelisk capped with an urn that features 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.” The other print depicts a naval battle between the Macedonian and the United States took place on October 25, 1812, during the War of 1812. The United States, commanded by Captain Stephen Decatur defeated and captured the British ship HMS Macedonian and became a national hero. Robert H. McCauley purchased this jug from A. Grace Atkinson of Salem, MA on September 20, 1939 for $125.00.
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.63.110
catalog number
63.110
accession number
252565
collector/donor number
375
This pitcher was likely produced by Francis Morris of Shelton, Staffordshire County, England. The first image depicts a woman and child in a row boat bidding farewell to a sailor who has just set sail.
Description
This pitcher was likely produced by Francis Morris of Shelton, Staffordshire County, England. The first image depicts a woman and child in a row boat bidding farewell to a sailor who has just set sail. Below the images is the verse “her less’ning boat unwilling rows to land / Adieu she cry’d and wav’d her lilly hand.” Under the spout is a print of the Great Seal of the United States with the most famous line of Thomas Jefferson’s first inaugural address (1801) below it: “Peace, Commerce, and honest Friendship with all Nations. Entangling Alliances with none- JEFFERSON / Anno Domini 1804.” On the reverse of the pitcher is a stock print of an American sailing ship. Finally, below the handle is a small print of three sailors talking, perhaps about recruitment. The edges of the pitcher are hand decorated with dark red ink. 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.
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.63.105
catalog number
63.105
accession number
252565
collector/donor number
363
John Frederic Daniell, a young English natural philosopher, described this type of instrument in 1820. It consists of two glass balls, one partially filled with ether and the other covered with muslin, connected by a thin tube from which the air has been evacuated.
Description
John Frederic Daniell, a young English natural philosopher, described this type of instrument in 1820. It consists of two glass balls, one partially filled with ether and the other covered with muslin, connected by a thin tube from which the air has been evacuated. There is a thermometer in the tube above the ball with the ether, and another on the supporting stand. When a few drops of ether are poured on the muslin, their evaporation chills the covered ball; that in turn causes the ether vapor inside the instrument to condense, thereby cooling the other ball and causing dew to form on its surface. These instruments, Daniell said, were "accurately constructed, and packed in a box for the pocket, by Mr. Newman, Lisle-Street." The reference was to John Frederick Newman, a noted instrument maker in London.
The stand of this example is metal. The interior thermometer is mounted on a white ivory plate, the front is graduated every degree Fahrenheit from +15 to +95, and the back is marked "5 x 31 J. NEWMAN LONDON." The exterior thermometer is missing, and the dry bulb is broken. The U.S. Military Academy purchased it sometime between 1831 and 1844.
Ref: J. F. Daniell, "On a New Hygrometer, which Measures the Force and Weight of Aqueous Vapour in the Atmosphere, and the Corresponding Degree of Evaporation," Quarterly Journal of Science 8 (1820): 298-336.
Location
Currently not on view
date made
ca 1831-1844
maker
J. Newman
ID Number
PH.315733
catalog number
315733
accession number
217544
Although the Salem, Massachusetts privateer Rhodes was less than 98 feet long, it had a crew of 90. Privateers needed large crews not only to intimidate their prey and hopefully make them surrender quickly, but also to overpower their enemies if a battle occurred.
Description
Although the Salem, Massachusetts privateer Rhodes was less than 98 feet long, it had a crew of 90. Privateers needed large crews not only to intimidate their prey and hopefully make them surrender quickly, but also to overpower their enemies if a battle occurred. After a fight, the winner also needed to put a “prize” crew aboard to sail the captured vessel into port, where the ship and contents could be inventoried and sold. The auction proceeds were then distributed among the owners, the ship officers and the crew.
The three-masted ship Rhodes was sharply built for speed and heavily armed, with 20 cannon. Despite these features, it was captured on a cruise in the West Indies by H.M.S. ship Prothé in February 1782. It was taken back to England, where its hull shape was drawn on paper to document how it might have obtained its speed. The Royal Navy then purchased it and renamed it H.M.S. Barbadoes.
Date made
1962
privateer captured
1782-02
ID Number
TR.320667
catalog number
320667
accession number
245900
This creamware pitcher is decorated with transfer prints related to Edward Preble of the United States Navy. Printed on the front is a portrait of “Commodore Preble” surrounded by an American flag, a shield, and an Native American.
Description
This creamware pitcher is decorated with transfer prints related to Edward Preble of the United States Navy. Printed on the front is a portrait of “Commodore Preble” surrounded by an American flag, a shield, and an Native American. A herald with a trumpet floats above the portrait. Printed under the spout is the Great Seal of the United States. Finally, on the reverse is a print of “Commodore Prebles Squadron attacking the city of Tripoli Aug 3 1804.” Below the scene is a description: “The American Squadron under Commodore Preble Consisting of the constitution of 44 guns 2 brigs 3 / schooners 2 bombs and 6 gun boats attacking the city and harbour of Tripoli Aug 3 1804 the city was defended / by batteries mounting 115 pieces of heavy cannon and the harbour by 19 gun boats 2 brigs 2 schooners 2 gallies / and a zebeck the city received great damage several of the tripolitan vessels were sunk 3 of their gun boats taken and a great / number of men killed.” The portrait of Preble on this pitcher is based on an engraving by Thomas Dixon of Liverpool done in 1805.
Edward Preble was born at Falmouth, Maine in 1761. He served as low level naval officer during the Revolutionary War. In 1799, during the Quasi-War with France, he was commissioned as a captain and given command of the frigate Essex. Preble became famous during the War with Tripoli. In 1803, with the USS Constitution as his flagship, Preble led a naval squadron to the Mediterranean. He planned Stephen Decatur’s heroic expedition to burn the Philadelphia and carried out five separate attacks on Tripoli in August and September of 1804. Lauded for his gallant service, Preble received a gold medal from Congress in 1806. Preble died in 1807.
Robert H. McCauley purchased this jug from Joseph Kindig, Jr. of York, PA on August 5, 1938 for $100.00. 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.63.122
catalog number
63.122
accession number
248881
collector/donor number
307
Currently not on view
Location
Currently not on view
date made
1863
graphic artist
Le Rat, Paul-Edme
original artist
Meissonier, Jean Louis Ernest
publisher
Magazine of Art
ID Number
GA.14646
catalog number
14646
accession number
94830
This small creamware pitcher features a polychromed transfer print of an American brigantine titled with its designation: “Mary and Nancy, Capt.n W.m York, Jun.e.” The other side of the pitcher features a memorial obelisk to Washington, capped with an urn and adorned with a profi
Description
This small creamware pitcher features a polychromed transfer print of an American brigantine titled with its designation: “Mary and Nancy, Capt.n W.m York, Jun.e.” The other 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.” Under the spout is a medallion containing the name “Rev.d W.m Mittimore.” Black ink accents decorate the base, handle, spout, and lip of this pitcher.
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. Similarly, the death of George Washington in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. The transfer-print on this pitcher mourning Washington’s death is based on an engraving designed and published by Philadelphians James Akin and William Harrison Jr. Robert H. McCauley purchased this pitcher from J. Grossman of Boston, MA on July 31, 1939 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.63.107
catalog number
63.107
accession number
252565
collector/donor number
365
This transfer printed creamware pitcher is decorated with a dramatic scene of a brig caught in a storm. Under the print is its title, “The Brig Elizabeth Wrecked 1.st December 1821.” Beneath the spout is a medallion with the name “S.
Description
This transfer printed creamware pitcher is decorated with a dramatic scene of a brig caught in a storm. Under the print is its title, “The Brig Elizabeth Wrecked 1.st December 1821.” Beneath the spout is a medallion with the name “S. Davee.” On the reverse is the print titled “An Emblem for America.” It depicts the allegorical figure of Columbia holding a flag and showing two dark skinned Native Americans or Africans images of men involved in the discovery of North America and the founding of the United States. Christopher Columbus, “Americus” Vespucci, Sir Walter Raleigh, George Washington, Benjamin Franklin, and John Adams are depicted. There are black ink accents on the spout, lip, handle, and base of the jug. The brig Elizabeth, her cargo, and two men were lost in a storm on December 1, 1822. The print “An Emblem for America” is based on one engraving in a series by John Fairburn of London, published in 1798. Robert H. McCauley purchased this jug from Mrs. P. H. Safford of Fitchburg, MA on August 28, 1939 for $100.
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.63.104
catalog number
63.104
accession number
252565
collector/donor number
361
This transfer printed creamware pitcher is decorated with a portrait of Stephen Decatur on one side and a ship under sail on the other. Commodore Stephen Decatur is depicted in his full naval uniform facing left.
Description
This transfer printed creamware pitcher is decorated with a portrait of Stephen Decatur on one side and a ship under sail on the other. Commodore Stephen Decatur is depicted in his full naval uniform facing left. Script above his head reads “Commodore Decatur” while below a scroll reads “Free Trade and Sailors Rights.” Below that is the text “Destroyed the Frigate Philadelphia 1814/Captured and brought in the Macedonian 1812.” On the other side is a ship under sail, flying the United States flag, with a scroll underneath that reads “A Privateer on a Cruize.” This pitcher touches upon two of the main issues that led to the War of 1812—Free Trade and Sailor’s rights. Free trade was hindered due to the British blockades of France during the Napoleonic Wars. The blockades prevented the United States from selling its goods to most of continental Europe. Sailor’s right were hindered by the British policy of impressment—the forced recruitment of captured private sailors into the Royal Navy.
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.63.149
catalog number
63.149
accession number
248619
collector/donor number
41-323
This earthenware pitcher is decorated with a transfer print of a sailor with his wife and child on one side and an American ship under sail on the other. Both transfer prints have been colored.
Description
This earthenware pitcher is decorated with a transfer print of a sailor with his wife and child on one side and an American ship under sail on the other. Both transfer prints have been colored. The image of “The Sailors Return” is accompanied with the poem—“I now the joys of life renew and find wife who’s kin and true From care and trouble free to drive life cares away.” Under the spout is a print of the Great Seal of the United States with the most famous line of Thomas Jefferson’s first inaugural address (1801) below it: “Peace, Commerce, and honest Friendship with all Nations. Entangling Alliances with none- JEFFERSON / Anno Domini 1802.”
According to Success to America: Creamware for the American Market, the style of the pitcher can be attributed to Francis Morris of Shelton, Staffordshire County, England probably printed this pitcher. Robert H. McCauley purchased this pitcher from Joseph Kindig, Jr. of York, PA on August 5, 1938 for $100.
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.63.083
catalog number
63.083
accession number
248881
collector/donor number
311
This pitcher is one from a set of 100 that were specially ordered in 1790 by Samuel Jenks, a captain of the Boston Fusiliers. The pitcher features a print of a soldier of the Boston Fusiliers, wearing a red faced blue coat, bearskin cap, and white breeches.
Description
This pitcher is one from a set of 100 that were specially ordered in 1790 by Samuel Jenks, a captain of the Boston Fusiliers. The pitcher features a print of a soldier of the Boston Fusiliers, wearing a red faced blue coat, bearskin cap, and white breeches. He carries a sword and holds the flag of the Fusiliers. Above the soldier’s head is the motto of the Fusiliers: “AUT VINCERE AUT MORI,”—either to conquer or die. Below the soldier is the statement “Success to the Independent Boston Fusiliers, Incorporated July 4th 1787- America for ever.” Above the soldier is a collection of masonic icons. On the reverse is a smaller print of the Great Seal above a print depicting the allegorical figures of Peace, Liberty, and Justice. Below the print is an image of agriculture and commerce surrounded by the words “United we stand Divided we fall.” Below the spout is a generic transfer print of the Great Seal of the United States. Founded in 1787 by veterans of the Revolutionary War, the Boston Fusiliers served as an honor guard for patriotic and political events in and around the city. Jenks was a member of King Solomon’s Masonic Lodge in Charlestown, MA. Many of the other fusiliers were masons as well, hence the masonic imagery on this pitcher. Robert H. McCauley purchased this pitcher from Mrs. Breckenridge Long of Laurel, MD for $250 on May 25, 1940.
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.63.114
catalog number
63.114
accession number
252565
collector/donor number
384

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