Military

Frank Brownell's Medal of Honor

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.

Place: England

Liberty Queen's Ware Cup and Saucer

Ivory-colored ceramic cup and saucer with the "Liberty" motif consisting of a center shield with the American Stars and Stripes surrounded by eleven Allied flags from World War I, including (from left to right) Cuba, Romania, Montenegro, Italy, Great Britain, Belgium, France, Rus
Description (Brief)
Ivory-colored ceramic cup and saucer with the "Liberty" motif consisting of a center shield with the American Stars and Stripes surrounded by eleven Allied flags from World War I, including (from left to right) Cuba, Romania, Montenegro, Italy, Great Britain, Belgium, France, Russia, Japan, Portugal, and Serbia. Lillian Gary Taylor designed and sold Liberty China and Queen's Ware to raise funds to support charitable relief organizations during WWI.
Location
Currently not on view
date made
April 6, 1917 - November 11, 1918
commissioner
Taylor, Lillian Gary
maker
Josiah Wedgwood & Sons
ID Number
1980.0790.01ab
accession number
1980.0790
catalog number
1980.0790.01ab

Tea Caddy

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

Musket and Bayonet

Physical DescriptionBritish Short Land Pattern musket with socket bayonet.General HistoryThe British Short Land Pattern Musket was the standard arm of the British infantry soldier during the American Revolution.
Description
Physical Description
British Short Land Pattern musket with socket bayonet.
General History
The British Short Land Pattern Musket was the standard arm of the British infantry soldier during the American Revolution. The muzzle-loading musket was slow to load, inaccurate, and often unreliable. It fired round lead balls, some the diameter of a nickel. The smooth interior of the barrel made it an inaccurate gun, so soldiers were massed tightly together, firing a volley of lead balls at the enemy. For charges and fighting at close quarters, soldiers fixed deadly, spear-like bayonets to the ends of their muskets. The musket was known as a “Brown Bess,” and there is much conjecture as to how she came by her nickname. The walnut stock may be an explanation for the brown. Another explanation is the browning of the barrel, a process used to prevent corrosion which also gave it a rich brown color. The origins of “Bess” are more varied. Some believe it was a reference to Queen Elizabeth I, though she had been dead more than 100 years before the musket was standard issue. Some believe it is an allusion to a notorious highwayman whose horse was named “Black Bess.” It may have been the mispronunciation of two foreign words. The Dutch word for gun barrel is “buss” while the German for gun is “Buchse.” It could be a simple case of poetic alliteration. In the 1785 Dictionary of Vulgar Tongue--a vernacular dictionary of the time--the following entry appears: “Brown Bess, a soldier’s firelock”.
date made
1762
Associated Date
1762
maker
Jordan, Edward
ID Number
1980.0399.0881
accession number
1980.0399
catalog number
1980.0399.0881

Pitcher, "Commodore Perry"

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

Pitcher, "New York State Arms"

This transfer printed creamware pitcher is decorated with the Arms of New York on one side and the arms of the United States of America on the other.
Description
This transfer printed creamware pitcher is decorated with the Arms of New York on one side and the arms of the United States of America on the other. The arms of New York state is a shield depicting a sun rising over the Hudson River valley with a spread-winged eagle perched at the top of the shield. The shield is flanked by the allegorical figure of Justice holding her sword and scales and Liberty holding her staff topped with a Liberty cap. Beneath is a scroll that reads “Excelsior.” Above the arms is the text “New York State Arms” and below “The people of the Western part of the State of New York, Wealthy, Populous, and Independent, ready at the call of their country to convert their peaceable ploughshares into Instruments of War.” The arms of the United States features a spread-winged eagle with the U.S. shield at its breast clutching arrows in one talon and a laurel branch in the other, in its beak is a scroll that reads “E PLURIBUS UNUM” while 16 stars are above its head. Under the arms is the text “May success attend our Agriculture, Trade, and Manufactures.”
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.63.153
catalog number
63.153
accession number
252565
collector/donor number
41-316

The Man-at-Arms

Currently not on view
Location
Currently not on view
Date made
1884
original artist
Meissonier, Jean Louis Ernest
graphic artist
Toussaint, Charles Henri
publisher
British and Foreign Artists' Association, The
Knoedler & Co.
ID Number
GA.14649
catalog number
14649
accession number
94830

Pitcher, "Admiral Lord Nelson"

On the front of this creamware pitcher is a transfer print of a monument commemorating Washington’s death surrounded by a chain of states which omits Vermont and Rhode Island, but includes Kentucky.
Description
On the front of this creamware pitcher is a transfer 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. On the reverse is a portrait of “Admiral Lord Nelson” flanked by two cherubs. Below the portrait is a plan of the “Battle of the Nile.” Under the spout is the name “Mary Worthen” and the Great Seal of the United States. Black ink accents the base, lip, spout, and handle of the jug. British Admiral Horatio Nelson won a victory at the Battle of the Nile on August 1, 1798. The battle took place near Alexandria, Egypt. It is unclear which portrait of nelson this transfer print is based on. Robert H. McCauley purchased this jug from Howe’s House of Antiques of Boston, MA on November 3, 1938 for $70.00.
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.63.121
catalog number
63.121
accession number
248881
collector/donor number
320

Three Soldiers

Engraving after painting by Salvator Rosa once in the Cabinet at Houghton Hall, Norfolk, England. Sold to Russia in 1779; first in the Hermitage Palace, later in the Gatchina Palace. Disappeared during World War II; present location unknown. Print removed from George P.
Description
Engraving after painting by Salvator Rosa once in the Cabinet at Houghton Hall, Norfolk, England. Sold to Russia in 1779; first in the Hermitage Palace, later in the Gatchina Palace. Disappeared during World War II; present location unknown. Print removed from George P. Marsh’s copy of The Houghton Gallery, vol. 2. Marsh probably wrote the numeral 60 in pencil in the lower right corner.
Location
Currently not on view
date made
1778
1788
publisher
Boydell, John
Boydell, Josiah
engraver
Heath, James
original artist
Rosa, Salvator
ID Number
1978.0534.03.62
accession number
1978.0534
catalog number
1978.0534.03.62

Matched Pair of Tow Pistols

This matched pair of pistols was manufactured in the late 1700s for sea service at close range. The barrels were made of bronze, on account of that metal’s resistance to corrosion. The pistol’s wide bore enabled easy loading.
Description
This matched pair of pistols was manufactured in the late 1700s for sea service at close range. The barrels were made of bronze, on account of that metal’s resistance to corrosion. The pistol’s wide bore enabled easy loading. The pair was manufactured by John Tow, of Griffin and Tow, who made weapons for the British East India Company. Started in 1600, the publicly-owned EIC traded with the East Indies, China and India until the late 19th century.
Date made
late 18th C.
ID Number
AF.289492B
catalog number
289492B
accession number
59166

Telescope (Spyglass)

The tube of this telescope consists of two threaded wooden (mahogany) sections screwed together that measure 113 cm (closed) or 117.5 cm (fully extended). The achromatic objective lens measures 3.5 cm in diameter (or 3.4 cm clear diameter).
Description
The tube of this telescope consists of two threaded wooden (mahogany) sections screwed together that measure 113 cm (closed) or 117.5 cm (fully extended). The achromatic objective lens measures 3.5 cm in diameter (or 3.4 cm clear diameter). The eyepiece consists of four lenses in a brass cylinder (5 separate brass cylinders, screwed together) with a sliding brass cover. The instrument gives gives an erect (terrestrial) image.
The "Nairne, London" inscription on the sliding brass lens cover refers to the important instrument maker, Edward Nairne (1726-1806).
Ref: D.J. Warner, "Edwarne Nairne: Scientist and Instrument Maker," Rittenhouse 12 (1998): 65-93.
Location
Currently not on view
maker
Nairne, Edward
ID Number
PH.325412
accession number
256202
catalog number
325412

Pitcher, "Commodore Prebles"

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

Rigged Model, Massachusetts Privateer Rhodes

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

Pitcher, "Stephen Decatur"

This small creamware pitcher is decorated with two prints related to the War of 1812. On one side is a portrait of Stephen Decatur, with “Stephen Decatur Esq.e of the United States Navy” written underneath. On the reverse is a sailing ship flying an American flag.
Description
This small creamware pitcher is decorated with two prints related to the War of 1812. On one side is a portrait of Stephen Decatur, with “Stephen Decatur Esq.e of the United States Navy” written underneath. On the reverse is a sailing ship flying an American flag. This print is titled “The True Blooded Yankee.” Stephen Decatur rose to national fame for his daring actions as a Lieutenant during the War with Tripoli (1803-1804) and his service as a Commodore during the War of 1812. The print of Decatur on this jug is based on an engraving by Philadelphian David Edwin. Edwin based his engraving on a portrait of Decatur by Gilbert Stuart. The True Blooded Yankee was a French built privateer commanded by Captain Joshua Hailey during the War of 1812. During the War, the American government authorized private ships to attack enemy ships to disrupt communications and shipping. Both patriotism and profit motivated privateers. Captain Hailey sailed out of Brest on March 1, 1813 and recorded a successful career as a privateer, capturing or destroying numerous enemy vessels. However, in late 1814, The True Blooded Yankee was captured by the British. Robert H. McCauley purchased this jug from Henry Lee Worth of Fredonia, NY on June 13, 1941 for $25.00.
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.63.159
catalog number
63.159
accession number
252565
collector/donor number
41-304

Pitcher, "The Three Sisters"

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

Mug

This small creamware mug is transfer printed in red ink. It is decorated with an image of an American ship with three masts. It is also decorated with an eagle holding arrows.
Description
This small creamware mug is transfer printed in red ink. It is decorated with an image of an American ship with three masts. It is also decorated with an eagle holding arrows. 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. Robert H. McCauley purchased this jug from Andrew L. Hanson of Dover, NH on August 5, 1939 for $15.00.
This mug 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.63.101
catalog number
63.101
accession number
252565
collector/donor number
358

The Vedette

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

Flintlock Brown Bess, India Pattern Musket

Currently not on view
Location
Currently not on view
date made
ca 1805
ID Number
AF.301532
catalog number
301532
accession number
61935

Bowl

This small creamware bowl is decorated with several transfer prints. The exterior of the bowl features four prints, the first two are portrait images of Benjamin Franklin and George Washington on opposite sides of the bowl.
Description
This small creamware bowl is decorated with several transfer prints. The exterior of the bowl features four prints, the first two are portrait images of Benjamin Franklin and George Washington on opposite sides of the bowl. The third print is a vignette of a lady and a sailor while the fourth print features a short ditty: “Long may we live./happy may we be./blest with content/ and from misfortunes free.”vThe bottom of the bowl features a transfer print of the battle between the French frigate L’Insurgent and the American frigate Constellation.
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.
Location
Currently not on view
ID Number
CE.63.085
catalog number
63.085
accession number
248881
collector/donor number
316

Bowl

This large creamware bowl is decorated with transfer prints on both its inside and outside. The interior center of the bowl features ship flying an American flag. Below the ship are the script initials “MC.” Near the inside edge of the bowl are floral prints.
Description
This large creamware bowl is decorated with transfer prints on both its inside and outside. The interior center of the bowl features ship flying an American flag. Below the ship are the script initials “MC.” Near the inside edge of the bowl are floral prints. Four prints decorate the outside surface of the bowl—Benjamin Franklin wearing his famous beaver cap, a mythological print involving mermaids, George Washington dressed in his Continental uniform, and an image of the Roman god Neptune. The portrait of Franklin on this bowl is based on the 1777 drawing by French artist Charles Nicolas Cochin. 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 black lead on February 1, 1779. 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. Sometimes color was added to the print to make it more appealing to the consumer. Robert H. McCauley purchased this bowl from Steele’s Pilgrim Shop owned by Mrs. Frank Steele in West Cummington, MA on August 8, 1939 for $175.00.
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.
Location
Currently not on view
ID Number
CE.63.099
catalog number
63.099
accession number
248881
collector/donor number
356

Pitcher, "L'Insurgente"

The front of this creamware pitcher is decorated with a transfer print design of the Constellation’s victory over the French ship L’Insurgente.
Description
The front of this creamware pitcher is decorated with a transfer print design of the Constellation’s victory over the French ship L’Insurgente. Beneath the print is a description of the battle: "L'Insurgent French Frigate of 44 guns & 411 men striking her colours to the American Frigate Constellation. Commodore Truxton of 40 Guns after an action of an hour & a half in which the former had 75 men killed & wounded & the latter one killed & three wounded Feb 10th 1799." The battle was one of the first victories for America’s young navy. On the reverse is a print celebrating American ship building with a song verse in the center. The verse is drawn 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.” Under the spout is the Great Seal of the United States and a medallion containing the phrase “Success to the Infant Navy of America.” Robert H. McCauley purchased this jug from H. Weiner of Boston, MA on July 31, 1939 for $10.00.
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.
possible maker
Herculaneum Pottery
ID Number
CE.63.106
catalog number
63.106
accession number
252565
collector/donor number
364

Pitcher, "By Virtue and Valour"

This creamware pitcher is decorated with two transfer print images.
Description
This creamware pitcher is decorated with two transfer print images. On one side is a scene of a military officer bidding farewell to a woman as the army marches off over the lyrics to the Scottish song “O bonny Lass will you lie in a Barrack.” The other side depicts George Washington stepping on a lion, symbolizing the defeat of Great Britain during the American Revolution. In the background are a few Continental soldiers and a ship flying an American flag. 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.” The image of Washington on this pitcher was designed by an Irishman named William Duke Moore. Under the spout are the script initials “DW,” which probably refer to the name of the owner of the pitcher. Robert H. McCauley purchased the jug from the Boston Antique Shop on October 29, 1938 for $50.00.
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.63.093
catalog number
63.093
accession number
248881
collector/donor number
342

Grand Army of the Republic hat worn by William T. Sherman

Black felt campaign-style hat worn by William Tecumseh Sherman as a member of the Grand Army of the Republic (GAR) veteran's organization. The hat has a black grosgrain ribbon band, gold cord and gold and silver pin "GAR" insignia.
Description
Black felt campaign-style hat worn by William Tecumseh Sherman as a member of the Grand Army of the Republic (GAR) veteran's organization. The hat has a black grosgrain ribbon band, gold cord and gold and silver pin "GAR" insignia. Interior has light brown leather band and gold "Dorsey & Co." printed logo.
Location
Currently not on view
date made
ca 1870s-1880s
wearer
Sherman, William Tecumseh
ID Number
AF.15936
accession number
59388
catalog number
15936

"Hunter" Double Barrel 12 Gauge Shotgun used by James W. Jackson

This "Hunter" 12 gauge double-barrel shotgun was used by James W. Jackson to kill Colonel Elmer Ellsworth on May 24, 1861.Col. Elmer E. Ellsworth, commander of the 11th New York Infantry, was killed on May 24, 1861.
Description (Brief)
This "Hunter" 12 gauge double-barrel shotgun was used by James W. Jackson to kill Colonel Elmer Ellsworth on May 24, 1861.
Col. Elmer E. Ellsworth, commander of the 11th New York Infantry, was killed on May 24, 1861. Ellsworth led a company of his men into Alexandria, VA where they saw a large Confederate flag flying over the roof of the Marshall House hotel on King Street. They went to the rooftop and lowered the flag. As they were descending they were surprised by the innkeeper, James W. Jackson. Jackson leveled this shotgun at Ellsworth and killed him instantly with a shot to the chest. Jackson was shot and bayoneted to death by Private Francis E. Brownell. Ellsworth was the first notable casualty of the Civil War and became a martyr of the Union cause.
Location
Currently not on view
associated person
Ellsworth, Elmer E.
Brownell
ID Number
AF.202728
catalog number
202728
accession number
22306

British Cannon

Physical DescriptionBronze barrel marked "SURRENDERED/BY THE/CONVENTION/OF/SARATOGA/OCTR 17 1777."Specific HistoryThis British cannon is marked "Surrendered by the Convention of Saratoga..."General HistoryFought in 1777 in northern New York state, the Battle of Saratoga was a maj
Description
Physical Description
Bronze barrel marked "SURRENDERED/BY THE/CONVENTION/OF/SARATOGA/OCTR 17 1777."
Specific History
This British cannon is marked "Surrendered by the Convention of Saratoga..."
General History
Fought in 1777 in northern New York state, the Battle of Saratoga was a major battle of the Revolutionary War. Benedict Arnold, who had not yet turned traitor, was a leader of the American offensive, which forced the surrender of British troops under General John Burgoyne. In the first battle at Saratoga, the British lost two men for every one American casualty. In terms of ground gained, however, both sides fought to a draw. In the second battle, British losses were four to one. The rebels' victory was overwhelming. After many negotiations, Burgoyne officially surrendered on October 17, 1777.
When news of the American victory reached Europe, France entered the war on the side of the patriots. Money and supplies flowed to the American cause, providing Washington's Continental army with the support necessary to continue its fight against Great Britain. Britain's loss at Saratoga proved disastrous. It signaled to the European powers that the rebels were capable of defeating the English on their own. More than any other single event, the Battle of Saratoga proved decisive in determining the eventual outcome of the war.
date made
1775
maker
Verbruggen, Jan
Verbruggen, Jan
ID Number
AF.32854
catalog number
32854
accession number
69413

Our collection database is a work in progress. We may update this record based on further research and review. Learn more about our approach to sharing our collection online.

If you would like to know how you can use content on this page, see the Smithsonian's Terms of Use. If you need to request an image for publication or other use, please visit Rights and Reproductions.