These business cards belonged to Samuel Copp (born 1787) who owned the wholesale and retail dry goods store Samuel Copp and Company located at 197 Broadway in New York City. Samuel served in the war of 1812 and retired to Stonington, Connecticut around 1815.
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.
These business cards belonged to Samuel Copp (born 1787) who owned the wholesale and retail dry goods store Samuel Copp and Company located at 197 Broadway in New York City. Samuel served in the war of 1812 and retired to Stonington, Connecticut around 1815.
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 trade card advertised the real estate and mortgage company of John Brenton Copp located at 66 Broadway, New York. John Brenton Copp donated the Copp Collection to the United States National Museum in 1893.
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 framed watercolor of the Samuel and Dolley Copp’s family tree hung in the Copp family home in Stonington, Connecticut during the second half of the 18th century. The family tree is depicted as two intertwined branches sprouting from two overlapping hearts on a blue hill or base at bottom center. The names, birthdates and marriage date of parents Samuel Copp and Dolley Brown are in bottom segment of the tree. The names and birthdates of nine children (Sarah, Dolley, Jonathan, Betsey, Mary, John Brown, Esther, Nancy, and Samuel) are arranged above in three rows of three ovals suspended from flowering branches. The death date of Betsey is also given. Signed at bottom right by John Brown Copp (b. 1779), sixth oldest of the Copp children.
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.
Samuel Copp Jr. was a partner in the banking and exchange business of Allen, Copp, & Nisbet of St. Louis, Missouri during the 1860s. This trade card advertises the businesses as being located on the North-West corner of Second and Chesnut streets, and participating in sight exchange, bank notes, gold & silver coins, stocks, bonds, and mercantile papers, loans, and collections.
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.
Three block alphabets; two alphabets colored in pairs, one all black; no "J"; numbers 1 through 0. Simple geometric crossbands framed by flowering vine and rose bushes. At base of sampler, centered tree flanked by two framed inscriptions, with tulips and strawberries. Single row of cross stitch forms border on all four sides. Silk embroidery thread on linen ground. STITCHES: cross, petit point, Algerian eye, rice, queen. THREAD COUNT: warp 34, weft 38/in.
Inscriptions:
"Better it is to be of an humble Spi rit with the low ly than to divide the Spoil with the proud"
"Esther Copp her Sampler made in the eleventh year of her age august AD 1765"
Background:
Jonathan Copp was born on June 12, 1694, and married Mrs. Sarah (Dennis) Hobart as his second wife on June 30, 1742, in Stonington, Connecticut. Their daughter Esther was born on October 23, 1754, in New London, Connecticut, and she never married. She died September 21, 1829. (See sampler by Phebe Esther Copp, her grandniece. A tree, rose bush, and one text are the same on both samplers.) Esther's sampler is part of an extensive collection of 18th- and 19th- century household textiles, costume items, furniture, and other pieces belonging to the Copps, a prosperous but frugal Connecticut family. The collection was donated to the United State National Museum in the 1890s by John Brenton Copp, offering the nation the opportunity to preserve and study the everyday possessions of a New England family.
Three block alphabets of 26 letters and numbers to 13; simple geometric crossbands separate these rows. Below verse, centered tree flanked by rose bushes and two framed texts. In verse, words colored alternately with name and date worked in black; in two framed texts, all lettering worked in black. Width of sampler full fabric width, selvedge to selvedge. Border of geometric strawberry-vine and cross-stitched zig-zag, with single rows of cross-stitch on all four sides. Silk embroidery thread on linen ground. STITCHES: cross, Algerian eye, long-armed cross, petit point, rice. THREAD COUNT: warp 28, weft 30/in.
Inscriptions:
"Let the f[s]weet work of prayer and praif[s]e employ my Youngef[s]t breath Thuf[s] im prepared for longer dayf[s] or Fit for earlier death Phebe Ef[s]ther Copp aged 8 1822
Better it is to be of an humble Spirit with the lowly than to divide the Spoil with the proud
This work I did To let you See What care my Parents took of me"
Background:
Phebe Esther was born on November 9, 1813, to Samuel and Phoebe Haight Theall Copp in Stonington, Connecticut. The design of this sampler, made in 1822, when Phebe Esther was eight years old, is obviously based on a similar sampler made fifty-seven years earlier by her great-aunt Esther Copp. Phebe never married and died on February 3, 1837, in New York City. See Esther Copp's sampler.
This indigo wool quilt is one of three late-eighteenth-and-early nineteenth-century quilts that were donated in the 1890s by John Brenton Copp of Stonington, Connecticut. All are part of an extensive gift of household textiles, costume items, furniture, and other objects that belonged to his family from 1750 to 1850. The Copp Collection continues to provide insights into New England family life of that period.
Whole cloth quilts were most popular between 1775 and 1840, although before 1800 they were relatively rare and expensive. This eighteenth-century example from the Copp family is a glazed indigo wool quilt. The fabric was dyed blue with indigo, one of the oldest dyes used for textiles. Glazing, a process involving the use of a hot press on wool fabric, resulted in a smooth, lustrous surface. The lining, a butternut-colored wool, apparently was made from two different blankets.
It is quilted with a popular motif of the period, a large pineapple, using blue wool thread, 7 stitches per inch. A quilted flowering vine extends from a basket at the bottom edge of the quilt and frames the pineapple. A family member, John Brown Copp (b. 1779), was known to have drawn designs for white counterpanes for the young ladies in the Stonington area. The quilting pattern on this indigo wool quilt is similar to the embroidery pattern of a white counterpane, from about 1800, which also belonged to the Copp family.
An analysis of the household textile collection donated by John Brenton Copp can be found in the Copp Family Textiles by Grace Rogers Cooper (Smithsonian Institution Press, 1971). In the book the author summarizes the family background. “The first Copp to reach America was William, a 26-year-old London shoemaker who in 1635 set out for the Massachusetts Colony on the good ship Blessing. He landed east of Boston and became the first owner of Copp’s Hill in north Boston . . . . William’s son Jonathan established the Connecticut branch of the family around Stonington later in the seventeenth century. Many of his male descendents gained comfortable prosperity as merchants and businessmen, while their wives and daughters led full lives as mothers of the large families in which education and refinement were encouraged . . . . The long succession of Jonathans, Samuels, Catherines, Esters, Marys, and Sarahs makes it rather difficult to set in order the generations and their contributions to the collection.” The exact maker of this indigo wool quilt is unidentified, but it was probably made by one or more members of the Copp household.
This quilt is one of three late-eighteenth-and-early-nineteenth-century quilts that were donated in the 1890s by John Brenton Copp of Stonington, Connecticut. All are a part of an extensive gift of household textiles, costume items, furniture, and other objects that belonged to his family from 1750 to 1850. The Copp Collection continues to provide insights into New England family life of that period.
The pieced blocks on this quilt, a variation of the “Nine-patch” pattern, are each made of one of nine different block-printed cottons. These are symmetrically arranged according to the particular print, and alternate with plain white blocks. The quilting pattern consists of parallel diagonal lines on the pieced blocks contrasting with 1½-inch shells on the white blocks, all quilted at 7 stitches per inch.
An analysis of the household textile collection donated by John Brenton Copp can be found in the Copp Family Textiles by Grace Rogers Cooper (Smithsonian Institution Press, 1971). In the book the author summarizes the family background. “The first Copp to reach America was William, a 26-year-old London shoemaker who in 1635 set out for the Massachusetts Colony on the good ship Blessing. He landed east of Boston and became the first owner of Copp’s Hill in north Boston . . . . William’s son Jonathan established the Connecticut branch of the family around Stonington later in the seventeenth century. Many of his male descendents gained comfortable prosperity as merchants and businessmen, while their wives and daughters led full lives as mothers of the large families in which education and refinement were encouraged . . . . The long succession of Jonathans, Samuels, Catherines, Esters, Marys, and Sarahs makes it rather difficult to set in order the generations and their contributions to the collection.” The exact maker of this “Nine-patch” quilt is unidentified, but it was probably made by one or more members of the Copp household.
This pieced-work example is one of three late-eighteenth-and-early nineteenth-century quilts that were donated in the 1890s by John Brenton Copp of Stonington, Connecticut. All are a part of an extensive gift of household textiles, costume items, furniture and other objects that belonged to his family from 1750 to 1850. The Copp Collection continues to provide insights into New England family life of that period.
The arrangement of the pattern of this quilt is one found frequently in eighteenth-century and early-nineteenth-century quilts, a succession of borders framing a center panel of pieced work. A view of the pieced center of this quilt seen from the right side, suggests the shape of a tree, and the printed fabrics repeat in mirror fashion in each row about ninety percent of the time. Perhaps the center was erroneously placed in this direction, or it was meant to be viewed from the bedside. The lining is pieced of much-mended linen and cotton fabrics that originally were probably sheets. On one piece, the initials “HV” are cross-stitched in tan silk thread. It is quilted in an overall herringbone pattern, 5 or 6 stitches per inch.
The clothing and furnishing fabrics used in the quilt top span a period of about forty years. This, and the fact that the Copp family was in the dry goods business, may explain why the quilt includes more than one hundred and fifty different printed, woven-patterned, and plain fabrics of cotton, linen and silk. Although the array of fabrics is extravagant, economy is evident in the use of even the smallest scraps. Many blocks in the quilt pattern are composed of several smaller, irregularly shaped pieces. Two dresses, in the Copp Collection, one from about 1800 and the other from about 1815, are made of fabrics that appear in the quilt.
An analysis of the household textile collection donated by John Brenton Copp can be found in the Copp Family Textiles by Grace Rogers Cooper (Smithsonian Institution Press, 1971). In the book the author summarizes the family background. “The first Copp to reach America was William, a 26-year-old London shoemaker who in 1635 set out for the Massachusetts Colony on the good ship Blessing. He landed east of Boston and became the first owner of Copp’s Hill in north Boston . . . . William’s son Jonathan established the Connecticut branch of the family around Stonington later in the seventeenth century. Many of his male descendents gained comfortable prosperity as merchants and businessmen, while their wives and daughters led full lives as mothers of the large families in which education and refinement were encouraged . . . . The long succession of Jonathans, Samuels, Catherines, Esters, Marys, and Sarahs makes it rather difficult to set in order the generations and their contributions to the collection.” The exact maker of this quilt is unidentified, but it was probably made by one or more members of the Copp household.
This single-woven cotton and wool overshot coverlet was made in the early 19th century. It is part of the Copp Collection of costume and household textiles given to the Museum in the late 19th century. The coverlet was woven in two sections, which were sewn together. The patterns used are known as “Four Roses” and “Table,” and the coverlet is finished with a hand-woven wool fringe two and one-half inches deep. The center seam, fringe, and hems are all sewn with cotton thread. The weaver and the owner remain unknown. The Copps first arrived in America in 1635. By the 18th century, the descendents of the first Copps were living in Stonington, Connecticut, working as merchants and businessmen. They imported textiles for sale, and like other colonists, they engaged in some home production as well.