This candlestick was owned in the Copp family home in Stonington, Connecticut during the 18th and 19th century. The oval candlestick has an oval, single-reeded, removable nozzle with rolled edge and flared candle cup or socket atop a plain, single-seamed stem with single bead at top and molded band at bottom above the oval, trumpet-shaped, molded base with grooved border.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
This candlestick was owned in the Copp family home in Stonington, Connecticut during the 18th and 19th century. The oval candlestick has an oval, single-reeded, removable nozzle with rolled edge and flared candle cup or socket atop a plain, single-seamed stem with single bead at top and molded band at bottom above the oval, trumpet-shaped, molded base with grooved border.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
This trumpet was made by an unknown maker in England, around 1833 to 1837. It is a G trumpet made of brass with two ivory topped Stölzel model piston valves and accessioned with four crooks, in E-flat, F, D, and C.
Heinrich David Stölzel (1777-1844) was born in Scheeberg, Germany and was a horn player who developed some of the first valves for brass instruments. Stölzel developed this type of valve around 1814.
This trumpet was made by an unknown maker in England around 1825 to 1827. It is an F slide trumpet made of copper and brass with silver garnishes and a heavily chased silver ball. The trumpet features a double clock slide spring mechanism.
This trumpet was previously owned by Philadelphia composer and musician John T. Norton, a Professor of Trumpet at the Royal Academy of Music, who emigrated from London to the United States in 1827. W.G. Armstrong in his book, A Record of Opera in Philadelphia, indicates Norton’s first appearance in Philadelphia was at the King’s Theatre. Norton also performed with traveling opera troupes in New Orleans and New York.
This trumpet was made by Charles Pace in London, England, around 1834-1849. It is an F slide trumpet made of copper with brass trim, with double clock springs. The garnishes and bell garland are decorated with repoussé designs with trumpet and drum designs on the garnishes. Accessioned with six tuning bits and four crooks. This trumpet is engraved:
C. Pace Maker London
Charles Pace (1803-1867) started a brass instrument firm with his brother Frederick at 2 Lower Crown Street as musical instrument makers “to her Majesty’s Guards,” in 1820. From 1833 until 1854 Charles Pace’s shop was at 49 King Street, Westminster.
This slide trumpet case was made by an unknown maker in England, mid-19th century. It is made of dark-stained wood, with metal fittings and handle, and green fabric interior. Accessioned with Pace slide trumpet (MI.76.25).
King Oliver and his Orchestra. side 1: Call of the Freaks; side 2: The Trumpet's Prayer (Victor J.F. 36). 78 rpm. Both tracks were originally recorded in 1929 and released on Victor V-38039.
Conversation tube with horn and earpiece made of black rubber, and tubing made of fabric over a metal coil. The inscription on the horn reads “F.C. Rein and Son.” Frederick Charles Rein (ca. 1812-1896) was born in Leipzig, moved to London in the 1830s, opened an acoustic instrument shop on the Strand which he termed “Paradise for the Deaf,” and won a prize medal, the first of many, at the London Crystal Palace Exhibition of 1851. The firm became C. Rein & Son Rein in 1867 and remained in business until the early 1960s.
Swan-shaped ear trumpet made of metal with an ivory tip. The form was sometimes termed a London hearing dome and sometimes a grand opera dome.
Ref: Irving Wilson Voorhees, “Mechanical Aids to Hearing” in Thomas Lathrop Steadman, ed., A Reference Handbook of the Medical Sciences (New York, 1915), vol. 5, p. 45.
Patented silver ear trumpet made by F. C. Rein & Son, 108 The Strand, London, England. Frederick Charles Rein (ca. 1812-1896) was born in Leipzig, moved to London in the 1830s, opened an acoustic instrument shop on the Strand which he termed “Paradise for the Deaf,” and won a prize medal, the first of many, at the London Crystal Palace Exhibition of 1851. The firm became C. Rein & Son Rein in 1867 and remained in business until the early 1960s. This ear trumpet belonged to James A. Bayard, Jr. (1799-1880), a conservative lawyer who served as a Senator from Delaware.
Circular bell- or trumpet-shaped caster cover with ball-and-urn finial that is pierced with ogival arches and small circular holes. Inward curved collar is struck on one side with a lion passant facing left and a raised "g" in clipped-corner shields, and on the other with a small incuse "4".
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.
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.
This creamware pitcher was likely made by the Herculaneum Pottery in Liverpool, England between 1805 and 1810. The pitcher is transfer-printed with a map of the “Newburyport Harbour” in Massachusetts and the statement “Success to the Commerce of Newburyport.” The map includes nautical information about the harbor and includes the location of a lighthouse. Above the map is an eagle with its wings spread behind a liberty cap and wreath. The eagle is flanked by two flags: an American flag with 15 stars and 16 stripes and a flag with 16 stripes and no stars. Below the map is a small depiction of a sailor holding a sextant. Under the spout is a transfer-print of the classical figure Columbia. Under the handle is a transfer-print of the seal of the United States. On the reserve is a transfer-print of the ship “Massachusetts.” Images of flowers and a sailor blowing a horn or using a speaking trumpet are printed on opposite sides of the ship.
Newburyport was established in 1764 and its economy thrived based on maritime trade. However, a fire in 1811 and the War of 1812 caused economic decline. The merchant ship “Massachusetts” was built at Newburyport in 1805 with Captain Thomas Buntin as its master. In 1806, the ship was detained by the British in the Mediterranean before its release in 1807. Buntin continued to use this ship as a facilitator of trade between Europe and the United States.
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.
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.
