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.
Missionary Society of the Methodist Episcopal Church
maker
Currier, Nathaniel
ID Number
DL.60.2929
catalog number
60.2929
accession number
228146
Description
This black and white print is of a life membership to a Mr. Philip J.A. Harper issued by the Missionary Society of the Methodist Episcopal Church. The Society, begun in 1820 and headquartered in New York City, was among the earliest organizations that focused on mission within and outside the United States. It initially worked to convert Native Americans and slaves before extending its activities to inhabitants of West Africa and elsewhere overseas.
A vignette depicting missionary activity appears above the text that was inspired by the Society’s proselytizing during the 19th Century. On the right side is a depiction of Native Americans and Africans who were “saved” due to the preaching of a missionary. The left side shows the damnation that comes to those who fail to hear God’s word. Above the scene floats a triumphant angel sent by God who is blowing a trumpet, Bible in hand.
This print was produced by Nathaniel Currier (1813-1888). Currier was the founder of the company that eventually became the Currier & Ives lithography firm. At the age of fifteen Currier apprenticed with the Pendleton lithography firm in New York City. Five years later he moved to Philadelphia to work with the lithographer M.E.D. Brown (1810-1896). After a year Currier moved back to New York, where he intended on going into business with one of the Pendleton brothers. Instead he formed a partnership in 1834 with Adam Stodart who was in the sheet music business. Within a year he opened his own lithography company on Wall Street and then moved to Nassau and Spruce. In 1852 a bookkeeper named James Merritt Ives joined the firm. He married Charles Currier’s sister-in-law and brought to the firm a critical eye and business acumen. In five years he had become a partner. Currier & Ives would become arguably the most successful and prodigious lithography firm of the 19th century. Although especially well known for prints celebrating American landscapes and pastimes like sailing and ice skating, Currier & Ives also produced lithographs that featured current events, social issues and political controversies
Japanned speaking trumpet, painted black with red, green and yellow leaflets alternating with red-dotted flowers where the bell joins the shaft, and a yellow rickrack border around the bell. Mouthpiece, shaft and bell all have soft-soldered lapped-seams; bell with folded edge. No marks.
Raised circular urn-shape bowl engraved with a large shaded foliate script "G" on a flared or trumpet-shape circular pedestal atop a square base with applied sides; double-flared or -trumpeted cover is topped by a large cast ball. Beading at edges of cover, rim, and top and bottom of pedestal. Outside of base to left of monogram is struck "I•M\c/.Mullin" in raised italic roman letters in a rectangle. Underside of pedestal incised "oz 13=5". No centerpunch. Part of a six-piece coffee and tea service, DL*037807-DL*037812.
Punch ladle with a horizontal oval, trumpet-shape or flared bowl attached to a long handle with a slender, square, twisted shank and an upturned wavy fiddle terminal bordered by C and S scrolls with additional clusters of grapes and leaves on the front. No marks.
Plain, baluster-shaped syrup pitcher on domed base with low-domed, hinged lid topped by trumpet flower knop; S-curve, D- or ear-shaped strap handle with short terminal; and applied, curved, U-shaped spout.
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".
Trumpet-shaped cup or container with a flat, narrow rim on a circular flared foot; interior possibly gilt-washed. Very faint wrigglework engraved bands of scrolling flowers are on upper part of body and of festoons between bowknots with pendant diamond tassels around foot. Body made as one piece, struck on underside of flat bottom "P.R" in raised letters in a rectangle.
This undated print is a reference to the so-called “Bank War” following President Andrew Jackson’s decision to remove the deposits from the Second National Bank of the United States. The print depicts Andrew Jackson in a theatrical costume, portraying Richard III in front of a crowd at the base of the US Capitol. The title of the print refers viewers to Act Four, Scene Four of the Shakespeare Play, Richard the Third. In this scene, Queen Elizabeth mourns the death of her sons at the hands of Richard III. She is devastated and enraged, and calls upon Richard’s mother and her mother in law, the Duchess of York, to curse the troubled King. The two women confront Richard, and he is enraged in his denial saying, “blow the trumpets! Sound the alarm drums! Don’t let the heavens hear these tell-tale women insulting the Lord’s anointed. Sound I say!” While Jackson greatly differed from Richard III, he was similarly manipulative and dismissive of his political wrong doings. On the right of the print, stands robed female figures representing “Liberty” and “Justice,” who are asking him where their “children… public confidence, honor, reputation, and credit” are. In Richard the Third, Richard murders the children who are supposed to be leading the country. The implication is that Jackson did the same to the aforementioned American values by removing the deposits from the Second National Bank of the United States. Jackson almost directly quotes the character of Richard when confronting “Liberty” and “Justice” stating, “A flourish trumpets strike alarm drums, let not the Heavens hear those tell tall women rail on the Lords anointed. Strike I say.” Behind Jackson stands fictional character Major Jack Downing (created by journalist Seba Smith to symbolize the common man) and Vice President Martin Van Buren both dressed in similar period garb to Jackson, perhaps filling the roles of Richard III’s friends, Ratcliffe and Catesby.
The lithographer of this print is E. Forbes. It is likely that this is artist Elisha Forbes who worked in New York City from approximately 1830 to 1846, but further information is not available at this time.
Circular stand with beaded rim and concave gutter rising to a flat-top, inverted trumpet-shaped extension at center. No marks. Used with syrup pitcher, DL.60.1146B, for catching drips; from same service as teapot, DL.60.1146A.
Small inverted trumpet shape lidded and spouted flagon, engraved "N.H" in wrigglework and "1710." below spout. Low-domed lid with pointed cover over the inset, V-shaped spout. Molded bead rim and quarter-round base; flat bottom. Plain strap handle with curved thumbpiece and short lower terminal; no strut. No other marks.
Large, raised, handleless calyx-shaped cup with hemispherical bottom on pedestal base with molded top, trumpet-shape stem, and applied square foot. Engraved on exterior of cup "Presented by the / Sisters of the New South Church / for its / Communion Service, Jan\y. 1\st, 1815." One side of foot is stamped "MOULTON" with traces of a surround, overstruck at an angle. Centerpoint on bottom underside of cup.
Maker is Ebenezer Moulton (1768-1824) of Boston and Newburyport (after 1820), MA; working, 1790-1824.
Color print of firemen pumping water from a fire engine. The foreman or chief engineer stands on the engine giving orders with a speaking trumpet while another fireman climbs a ladder against a burning building carrying the hose in the background.
Plain, raised hemispherical bowl on a flared or trumpet-shape pedestal atop a square base with applied sides. Applied beading at rim and at top and bottom of pedestal. One side of base is struck "C.Wiltberger" in raised roman letters in a conforming surround. Square piece of wood inserted into bottom of base is adhered with a large cloth label printed "SHIPP. / ACC." and a smaller paper label inscribed "345".
Maker is Christian Wiltberger (1766-1851) of Philadelphia, PA; working by 1793 (when partnership with Samuel Alexander dissolved) until 1817.
Tapered oval teapot with ribbed sides, tapered spout and low-domed, hinged lid topped by circular, pierced, leafy knop. Spurred, D- or ear-shaped handle has graduated dots below thumb piece, ivory-colored insulators and trumpet-shaped, gadrooned struts. Body perforated at spout. Underside of flat bottom is struck incuse "4 / A1 / 416". Part of teapot, sugar bowl and creamer set, 1991.0825.05-.07.
Ribbed, tapered oval creamer or cream pitcher with cast, inset, scroll-bordered spout and high, S-scroll handle with leaf decoration and bud terminals, the upper terminal attached to short, trumpet-shaped, leafy strut. Slightly concave bottom. No marks. Part of teapot, sugar bowl and creamer set, 1991.0825.05-.07.
Candlestick with an incurved cylindrical candle cup or socket on footed bowl-shaped base atop a tapered hexagonal stem with compressed-ball knop ending in a circular flared or trumpet-shaped drip pan on hexagonal stepped base. Molded rim and socket have one seam; hollow shaft cast in two vertical sections. Socket exterior struck "PR" in raised serif letters inside a crowned shield. One of two candlesticks, DL*383563A-B.
Oblong, Louis XV bombé tobacco box with reverse-curve corners, a cast rocaille or ruffled C-scroll base and four shell-and-volute feet; conforming cover is surmounted by a teardrop-shaped, shell-and-scroll finial or knop. Six marks stamped on box bottom underside, a crowned "X" (overstruck) above four shaped pseudo hallmarks (left to right), "N.K" between scrolls, a cherub with trumpet and palm branch (overstruck), a bird on branch, and a lion rampant, all over a symmetrical, scroll-bordered reserve with "ENGELS GE(????)LYST / HART TINN" in raised serif letters. No marks on cover.
Maker is Nicholas Kraan of Amsterdam, working circa 1750.
Three-arm candelabra consisting of a single candlestick with trumpet-shaped stem on an eight-lobed oval base that holds a double-branch insert with spiraling arms and central socket fitted with a bell-domed cover topped by a shell-and-flame finial. Relief-decorated bands of scrolls and roses at rims and bases of all four urn-shaped candle cups or sockets, top and knop of stem, and top of base. Flat bottom has two holes at ends and a central indented ring; struck incuse at center with combined mark of a horsehead in pointed shield, mirrored-angel motif in shaped shield, and three storks standing on one leg in pointed shield. One of two candelabra, DL*383690-DL*383691.