In the early 1900s hunters and anglers were some of the earliest contributors to new nonprofit conservation organizations in the United States. Today these enthusiasts contribute more than $1.1 billion in membership dues and contributions to conservation or wildlife-related organizations each year.
Ivory-colored ceramic plate 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.
Ivory-colored ceramic plate 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.
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.
This transfer printed creamware pitcher is decorated with a print of a ship under sail on one side and of the Apotheosis of George Washington on the other. Finally, under the spout is a floral oval with barrels at its base and the initials “PL” in the center. Maritime designs are especially common on English-made transfer printed creamware meant for the American market. Stock prints of ships, like the one on this example, were repeatedly used by English ceramics printers. The ship on this pitcher is titled “The Mary.” It is possible the pitcher belonged to a man named John Lilley, who operated in Liverpool and had a wife named Mary. George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. The Apotheosis of Washington is a print done by John James Barralet. The print depicts Washington being raised from his tomb by two winged figures representing Immortality and Father Time. At the left are allegorical figures of Faith, Hope, and Charity above a spread winged bald eagle perched on the US shield with a banner reading “E Pluribus Unum” in its beak. Below Washington is an allegorical figure of Liberty and a Native American (representing the Western Hemisphere) seated among Washington’s armor, sword, and a fasces— iconography of his military and political career.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
This transfer printed creamware pitcher is decorated with a large print of an American sailing ship. On the reverse is a print of the Apotheosis of George Washington, titled “Ascending in to Glory.” Finally, under the spout is a small print of Columbia saluting the ocean with a palmetto branch. 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 was another popular choice for creamware decorations. Since these types of pitchers were popular during the decades before and after the turn of the eighteenth century, it is not a surprise that the mourning of George Washington, following his death on December 14, 1799, is a major theme decorating these pitchers. The Apotheosis of Washington is a print done by John James Barralet. The print depicts Washington being raised from his tomb by two winged figures representing Immortality and Father Time. At the left are allegorical figures of Faith, Hope, and Charity above a spread winged bald eagle perched on the US shield with a banner reading “E Pluribus Unum” in its beak. Below Washington is an allegorical figure of Liberty and a Native American (representing the Western Hemisphere) seated among Washington’s armor, sword, and a fasces— iconography of his military and political career. Robert H. McCauley purchased this pitcher from Mrs. Frank Steele of West Cummington, MA on August 8, 1939 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.
This earthenware pitcher is decorated with a transfer print of the Apotheosis of Washington on one side and an American ship under sail on the other. The ship is labeled “Ship Sally of Newbury Port/Moses Wells/Master, 1805.” 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.”
George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. The Apotheosis of Washington is a print done by John James Barralet’s captioned “Ascending to Glory” on the pitcher. The print depicts Washington being raised from his tomb by two winged figures representing Immortality and Father Time. At the left are allegorical figures of Faith, Hope, and Charity above a spread winged bald eagle perched on the US shield with a banner reading “E Pluribus Unum” in its beak. Below Washington is an allegorical figure of Liberty and a Native American (representing the Western Hemisphere) seated among Washington’s armor, sword, and a fasces— iconography of his military and political career. Robert H. McCauley purchased this pitcher from Joseph Kindig of York, PA on August 5, 1938 for $90.00. This specific pitcher used to be part of William Randolph Hearst’s antique 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.
This particular paper dress was known as a “Poster Dress,” being the invention of Harvey Gordon, an American artist who was living in England. He thought that paper could be treated as if it were cloth. When these dresses were introduced in the United States in 1968 they sold for $3.00. This dress was purchased and worn by Jean Stuart, wife of the donor, in Washington, D.C. She liked the idea of paper dresses and was particularly drawn to this one because the cat depicted in the design resembled her own cat. This cat dress was featured, along with some of the other Poster Dresses, in Life magazine on April 5, 1968.
The disposable dress was a short-lived phenomenon from about 1966 to 1968. It started when the Scott Paper Company came up with an idea to sell its paper towels by demonstrating that the paper was attractive enough to be worn. With a mail-in promotion in magazines, the company invited consumers in 1966 to send a coupon from a Scott product, along with $1.25, in order to receive a paper dress of either a black and white Op Art pattern or a red bandana print. The campaign became an overnight sensation, with over 500,000 dresses shipped. The demand for the dresses spurred other companies to develop new textures, finishes, and colorful prints. The big appeal for these dresses was their eye-catching patterns and images. People hosted paper parties in their home and for charity balls, which were called “paper balls.” Some wore disposable paper wedding dresses, bathing suits, jewelry, and underwear. By 1968, however, paper dresses lost their appeal. Wearers found them to be ill-fitting and uncomfortable, the painted surfaces were often unstable, and there were concerns about flammability. Most importantly, their novelty had worn off due to overexposure.
This one-piece paper dress is a black and ecru print of a blown-up cat photo. The image of the cat’s face is off center and covers most of the upper portion of the dress. The same photo is positioned on both the front and the back. The dress is a sleeveless A-line cut with a scooped neckline in the front and the back. It is constructed with shoulder and side seams and darts for fitting. The neckline, armholes, and bottom edge are left raw with no finishing. The dress measures 34 inches at the center back.