Military

• 

  Indian Trade Musket

  Description (Brief)

  This .60 caliber smoothbore flintlock musket was manufactured in Pennsylvania about 1820 for trade with American Indians. The lockplate, stamped "Ketland & Co." and "UNITED STATES" was manufactured in Britain for use by U.S. military contract manufacturers.

  maker

  Ketland & Co.

  ID Number

  1985.0783.24

  accession number

  1985.0783

  catalog number

  1985.0783.24

  collector/donor number

  M11

  Data Source

  National Museum of American History

• 

  Grenadier

  Location

  Currently not on view

  ID Number

  1978.2215.01

  accession number

  1978.2215

  catalog number

  1978.2215.01

  84817M

  Data Source

  National Museum of American History

• 

  Short Musket, East India Company

  Description

  This short musket was manufactured by Griffin and Tow in 1779 for the British East India Company. Started in 1600, the publicly-owned firm traded with the East Indies, China and India until the late 19th century. EIC merchant vessels were prime targets for American privateers, because of the large and valuable cargoes they transported worldwide.

  This musket is an 80-cal. Brown Bess flintlock, with a short 39-in. barrel instead of the standard 46- or 42-in. barrels. Bearing the East India Company emblem, it was a perfect short-range firearm for a fighting privateer. Guns fired at close quarters, like on the decks of an enemy vessel, did not require the accuracy provided by longer barrels. Short-barreled guns also were quicker and easier to point in hand-to-hand combat.

  Date made

  1779

  associated date

  1779

  associated institution

  East India Company

  maker

  Griffin & Tow

  ID Number

  1980.0399.0822

  collector/donor number

  SA049

  catalog number

  1980.0399.0822

  accession number

  1980.0399

  Data Source

  National Museum of American History

• 

  Model 1797 Ship's Pistol

  Description

  Physical Description:

  This .64 caliber smoothbore flintlock Model 1797 Ship’s Pistol was made by Robert McCormick. The lock, made by the British Ketland & Co., is completely flat. It has a pin fastened full walnut stock, brass mountings with a brass reinforcing band, and a wooden ramrod with swelled tip.

  It is stamped “KETLAND & CO’ in script and “UNITED STATES” on the lockplate. The barrel is stamped “P” with an eagle head and “US” is stamped on the top of the barrel near the breech. The stock is stamped “US” under the side plate

  History:

  Robert McCormick was an Irishman who came to America and leased the Globe Mills in 1798 to produce firearms. He was contracted by the U.S. government to produce muskets that same year. In 1799, he had another contract, but did not finish it because he was thrown in debtor’s prison in 1801. That contract was finished by an employee named James Haslett – who would move on to run the Virginia Manufactory.

  The Model 1797 Navy Pistol is one of the rarest early U.S. military handguns. Not much is known about their date of manufacture but it likely predates the Model 1799 North and Cheney pistols. The British locks are probably part of rifle locks purchased by the U.S. government in 1799. McCormick pistols often have Ketland & Co. locks.

  References:

  Flayderman, Norm. Flayderman’s Guide to Antique American Firearms…and their Values, Gun Digest Books, Iola, 2007. 9th edition.

  Gardner, Robert E. Col. Small Arms Makers: A Directory of Fabricators of Firearms, Edged Weapons, Crossbows and Polearms, Crown Publishers Inc, New York: 1963, p. 122.

  Smith, Samuel E. and Edwin W. Bitter. Historic Pistols: The American Martial Flintlock 1760-1845, Scalamandre Publications, New York: 1986, p. 96.

  Location

  Currently not on view

  date made

  ca 1799

  maker

  McCormick, Robert

  ID Number

  1987.0014.26

  accession number

  1987.0014

  catalog number

  1987.0014.26

  collector/donor number

  P124L

  Data Source

  National Museum of American History

• 

  Boarding Axe

  Description

  Physical Description

  Forged steel blade on wooden handle.

  General History

  The compact boarding axe was an effective weapon in close combat. While an effective in hand-to-hand combat, it was more effective as a tool. The boarding axe was used to clear the decks of lines and broken timbers. It was invaluable at removing hot shot which caused devastating fires on board ships. The hook of the axe was used to drag debris across the decks and over the side.

  ID Number

  1980.0399.0323

  collector/donor number

  M-0016

  accession number

  1980.0399

  catalog number

  1980.0399.0323

  Data Source

  National Museum of American History

• 

  Three Soldiers

  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

  Data Source

  National Museum of American History

• 

  Pitcher, "Commodore Prebles"

  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

  Data Source

  National Museum of American History

• 

  Pitcher, "American Eagle"

  Description

  This earthenware pitcher is decorated with a transfer printed design of a sailing ship flying on one side with the Great Seal of the United States encircled by a chain of sixteen links. Each link has a different state’s name on it, with several state names misspelled due to its British origin. Under the spout is a medallion and the script initials “SW” within it. Under the handle is a print of a flower and around the lip of the jug is a floral pattern. Remnants of gilding can be seen around the pitcher, and certain aspects of the ship scene have been hand-colored. Robert H. McCauley purchased this jug from Edward C. Ford of Marshfield, MA on October 21, 1938 for $60.00.

  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.63.082

  catalog number

  63.082

  accession number

  248881

  collector/donor number

  310

  Data Source

  National Museum of American History

• 

  Mug

  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

  Data Source

  National Museum of American History

• 

  P1853 Bayonet

  ID Number

  ZZ.RSN81782W43

  Data Source

  National Museum of American History

• 

  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

  Data Source

  National Museum of American History

• 

  Pitcher, "Admiral Lord Nelson"

  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

  Data Source

  National Museum of American History

• 

  Pitcher, "Citizen Soldier"

  Description

  Before the Revolutionary War the American colonies imported a large proportion of their fine ceramic wares from Britain. The trade between the colonies and England more or less collapsed between 1776 and 1783, but resumed with renewed vigor until relations between the two countries again deteriorated badly in 1808. This large baluster-shaped pitcher was made in England in or after 1804, and probably before the British imposed a trade embargo on the United States in 1808.

  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 1808. 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.

  On this pitcher we see an officer of the militia of the late 1790s, a member of the forces usually recruited from home towns or villages, either by draft or by volunteering. The militias were often the first line of defense in the colonies and also reinforced their regional Continental Army unit. In this print a cannon stands behind the officer, and ammunition is piled at his feet, suggesting his readiness for action, probably at one of the seacoast defenses manned by militias, in this case against French ships in the Quasi-War with France of 1798-1800. Two ships lie at anchor, and onshore we see cargo, perhaps the produce of the farmer who ploughs the land in the background. The officer’s forces may have had the task of protecting American merchant ships from seizure by the French. The inscription at the top of the print reads: “Success to AMERICA whose MILITIA is better than Standing ARMIES,” a jibe at the British standing army who lost to the small semi-professional Continental army in the Revolutionary War, albeit with substantial help from the French. Underneath the officer’s feet is another inscription: “May its Citizens Emulate Soldiers And its Soldiers HEROES.” Below that there is a text that affirms America’s readiness to defend its Constitution and Bill of Rights:

  “While justice is the throne to which we’are bound to bend /Our Country’s Rights and Laws we ever will defend.”

  Under the spout on this pitcher there is a transfer print of the American Spread Eagle, with the quote “Peace, Commerce and honest Friendship with all Nations, Entangling Alliances with none,” from Thomas Jefferson’s inaugural speech of 1801, and appropriate to the unfortunate “entanglement” with France. On the other side of the pitcher there is a print of a three-masted ship flying the American flag, a generalized image common to many other pottery vessels made in England at this time.

  When this pitcher arrived in the United States, Liverpool was the main port for the export of English manufactured goods to North America. Until 1807, it was also heavily involved in the slave trade, and Liverpool merchants controlled most of the British African-bound trade that formed part of the triangular transport of slaves to the West Indian and North American plantations. The ships returned to Liverpool with cargoes of sugar, cotton, and tobacco, or they shipped the slaves to French or Dutch vessels off the coast of West Africa, returning directly to Liverpool with cargoes of African palm oil, dyewoods, hardwoods, and spices. Liverpool maintained this trade, valuable to English manufacturing towns, after the abolition of the slave trade in 1807.

  The Smithsonian purchased this pitcher in August 1938 from Joseph Kindig Jr. of York, PA. In May of the same year it was sold from the William Randolph Hearst collection. Hearst collected Liverpool and Staffordshire transfer-printed pottery featuring images commemorating the early history of the United States.

  Bibliography

  Arman, D. and Arman, L., Anglo-American Ceramics Part I: Transfer-printed Creamware and Pearlware for the American market 1760-1860. Portsmouth RI: Oakland Press, 1998.

  McCauley, R. H., Liverpool Transfer Designs on Anglo-American Pottery. Portland, ME: The Southworth- Anthoensen Press, 1942.

  Nelson, C. H., Transfer-printed Creamware and Pearlware for the American Market, in Winterthur Portfolio, Vol. 15. No.2, 1980, pp. 93-115.

  Richardson, D., Liverpool and the English Slave Trade, in Transatlantic Slavery: Against human dignity, ed. A. Tibbles. (London: HMSO, 1994), pp. 70-76.

  Location

  Currently not on view

  date made

  1804

  maker

  Liverpool

  ID Number

  CE.63.078

  accession number

  248881

  catalog number

  63.78

  collector/donor number

  305

  Data Source

  National Museum of American History

• 

  Bowl

  Description

  This bowl is decorated with a variety of transfer prints. The central image inside the bowl depicts the Coat of Arms for the Cabinet Markers guild. Below the crest is the motto “Join Truth with Trust.” The outside of the bowl is decorated with five different transfer prints. First is a depiction of George Washington on horseback on a background battle scene captioned “His excellency General George Washington Marshal of France /& commander in chief of all the North American continental forces.” The second print is a poetic stanza: “As he tills your rich glebe, the old peasant shall tell / While his bosom with Liberty glows / How your WARREN expired __ how MONTGOMERY fell / And how WASHINGTON humbled your foes.” Decorations surrounding this verse include a liberty cap, an American flag, a banner adorned with stars and stripes, and symbols of agriculture and academics. Below the poem is a banner proclaiming “INDEPENDENCE.” Third, the script initials “SS” accented with gold demonstrate customization on this bowl. Fourth, is a print of a map of the United States flanked by George Washington and the allegorical figure of Liberty on one side and Benjamin Franklin and the allegories of Justice and Wisdom on the other. Finally, the Great Seal of the United States is printed on the outside of the bowl. Remnants of hand painted gold gilding remain all over this bowl.

  The equestrian print of Washington on this bowl is based on a 1775 mezzotint published by C. Shepherd of London. The poetic verse included on this bowl was written by Edward Rushton and is included in his poem “American Independency” published in 1806 in his book of poems. The map transfer print is drawn from the legend of a map of the United States published by John Wallis of London in 1783. Robert H. McCauley purchased this bowl from Joseph Kindig, Jr. of York, PA on October 16, 1938 for $150.00.

  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.

  ID Number

  CE.63.089

  catalog number

  63.089

  accession number

  248881

  collector/donor number

  326

  Data Source

  National Museum of American History

• 

  Pitcher, "SB"

  Description

  This creamware pitcher is decorated with both maritime and Masonic transfer prints. On the front is a transfer printed Masonic motif featuring such symbols as the All Seeing Eye, the Checkered Floor, the Moon and Seven stars, and a Beehive. Under the spout is a medallion bordered by masonic symbols. Within the medallion are the script initials “SB.” On the reverse is a polychrome sailing ship flying an American flag. Finally, under the handle is a small print of the Great Seal of the United States.

  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. Masonic themes are often found on creamware of the period as well. Robert H. McCauley purchased it from H. Weiner of Boston, MA on July 31, 1939 for $40.00.

  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.63.102

  catalog number

  63.102

  accession number

  252565

  collector/donor number

  359

  Data Source

  National Museum of American History

• 

  Summer WAC Jacket

  Description

  Physical Description

  Khaki-colored tropical worsted material with a rolled collar with lapels, epaulets on the shoulders, two false horizontal breast pockets with small gold-colored metallic buttons, and two side pockets over the hips. The jacket is closed by four gold-colored metallic buttons. Staff sergeant chevrons are on the upper arm of both sleeves above the elbow, the Eighth Army Air Force patch is on the left shoulder, and four overseas bars indicate two years' service overseas. All buttons have the Great Seal of the United States on the front. The collar disk on the right lapel contains the letters "U.S." denoting United States; the collar disk on the left lapel contains the wings and propeller blade of an enlisted member of the Army Air Forces. Both disks are made from gold-colored metal. Ribbons over the left breast pocket represent the Army Good Conduct Medal, the Women's Army Corps Service Medal, and the European-African-Middle Eastern Campaign Medal.

  Specific History

  This jacket was worn by Staff Sergeant Margaret C. Frank, WAC, who was assigned to the Eighth Air Force in England as a telephone operator from 1943 to 1945.

  General History

  During World War II over 150,000 women served in the Women's Army Auxiliary Corps (WAAC) or Women's Army Corps (WAC). Special legislation was required before the women could serve in the army. The law authorizing the WAAC was signed by President Franklin Roosevelt in May 1942 and the first WAACs began training in July 1942. Initially WAACs were only assigned to duties in the continental United States. However, when General Dwight Eisenhower requested trained secretarial, clerical, and administrative personnel, a WAAC detachment was sent to his headquarters in North Africa in early 1943. A WAAC battalion was sent to England in spring 1943 to provide similar expertise to army and air forces units gathering for the invasion of Europe.

  The status of the WAAC as an auxiliary, serving with but not in the army, was confusing and made many routine activities difficult. In mid-1943, Congress authorized the Women's Army Corps as a full-fledged army organization. All WAACs were either converted to WAC status or discharged. Women served in many jobs in addition to the secretarial, clerical, and administrative fields. They were assigned as drivers, mechanics, cooks, ordnance specialists, and radio operators; they worked in communications, logistics, public affairs, medical, intelligence, and many other specialties. They served in the United States and in all overseas theaters. Because of their exemplary record, women were made a part of the regular military establishment in 1948.

  associated date

  1941 - 1945

  user

  Frank, Margaret C.

  ID Number

  AF.79105M

  designer number

  PQD 426

  55-J-569-243

  accession number

  317886

  catalog number

  79105M

  Data Source

  National Museum of American History

• 

  Pitcher, "New York State Arms"

  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

  Data Source

  National Museum of American History

• 

  Pitcher, "Commodore Perry"

  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

  Data Source

  National Museum of American History

• 

  Telescope (Spyglass)

  Description

  This spyglass was made Italian immigrants in England, and used by the Signal Corps of the Confederate Army during the American Civil War. One inscription at the eye end reads “Negretti & Zambra Instrument Makers to Her Majesty, London.” Another reads “Signal Service / C. S. A. / NO. 6.”

  date made

  ca 1860

  maker

  Negretti & Zambra

  ID Number

  1988.0739.01

  catalog number

  1988.0739.01

  accession number

  1988.0739

  Data Source

  National Museum of American History

• 

  Admiral Dewey's Chapeau Bras

  Description

  Physical Description

  Black felt, grosgrain ribbon, ostrich feathers, and gold cockade, which is a ribbon rose or knot.

  Specific History

  Admiral Dewey is often pictured wearing his chapeau bras.

  General History

  A chapeau bras is a type of hat made to be compressed and carried under the arm without injury. It translates literally as “hat arm.” Such hats were a popular style worn on dress occasions by gentlemen in the 18th century. Admiral (the Commodore) George Dewey was in command of the U.S. Navy’s Asiatic Squadron based in Hong Kong in 1898 when the United States declared war on Spain. Commanded to sail to Manila and capture or destroy the Spanish fleet based there, he engaged the fleet in Manila Bay early May 1 and completely destroyed it by noon, without a single loss of American life. The Battle of Manila Bay was one of two major American naval victories in the Spanish-American War. The complete and final victory ended any threat from the Spanish naval forces. All major Spanish ships were destroyed or captured, without any significant damage occurring to the American Forces. The battle is perhaps best known as the occasion when Dewey uttered one of the most famous statements in American naval history: “You may fire when you are ready, Gridley.” Captain Charles Gridley was commander of the USS Olympia.

  user

  Dewey, George

  maker

  Webb & Bonella

  ID Number

  1984.0834.08

  accession number

  1984.0834

  catalog number

  1984.0834.08

  Data Source

  National Museum of American History

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