door-yard, with a broad-brimmed Quaker and a cow in foreground. Mark,
“Richard Jordan’s House. J. S. & Co.” This house was in Burlington, N.
J. The design is printed in pink or black on tea-services, and appears
to have been a popular one in New Jersey and Pennsylvania.
Cadmus.
See No. 74.
Cambridge. Harvard College.
See No. 179 _et seq._
Capitol at Washington.
See No. 259 _et seq._
160. Catskills. Pine Orchard House.
This is a pretty landscape in dark blue, with hotel in the distance, and
a man on horseback in the foreground. Mark on back, “Pine Orchard House,
Catskills.” It is doubtless made by E. Wood & Sons.
161. Catskills.
Print in rich dark blue of a mountain-scene with cliffs, peaks, and
pines, and a solitary figure. A confused shell border. Mark on the back,
of eagle with E Pluribus Unum, and an oblong stamp with the words, “In
the Catskills;” also a confused impressed stamp, probably E. Wood &
Sons.
162. Centennial.
Various pieces of ornamental and useful nature were made of a clear
white china for the Centennial of 1876. The stamp on the bottom was,
“Manufactured solely for J. H. Shaw & Co., New York. Trade Mark,
Philadelphia, 1876.” Each piece bore the words, “A Memorial of the
Centennial, 1876;” also in high colors a medallion with portrait of
Washington and two United States flags surmounted by an eagle. These
modern pieces deserve mention among the historical china, since a single
piece is usually desired by collectors. Views also were made of the
different buildings at the Centennial Exhibition of 1876, on porcelain
plates, with ugly purple and brown border.
163. Charleston. Exchange. J. & W. Ridgway.
This is one of the few Southern views. Dark blue print, with medallion
border shown on page 319. Stamp on back, “Exchange, Charleston. J. & W.
Ridgway. Beauties of America.” This historical building was erected in
1767, at a cost of £60,000. It was used as a “provost” during the
occupation of Charleston by the British during the Revolution. Prisoners
were confined in the cellars. Colonel Isaac Haynes, an American officer,
spent, in 1781, the last few months of his life in confinement within
its walls, and from thence he was taken to his execution amid the
protests of the entire populace. His death so enraged the officers of
the American army that they joined in a memorial to General Greene,
proposing measures of retaliation on captive British soldiers and
officers, thus subjecting themselves to a certainty of like death in
case they were captured by the enemy. After the Revolution the Exchange
was used as a Custom-House and Post-Office, and is now used in the
latter capacity. It is still standing. The cupola has been removed.
164. Charlestown, Mass.
A view in black of Bunker Hill Monument at Charlestown, Mass.
Chief Justice Marshall. Steamboat.
See No. 185.
City Hall. New York.
See No. 211 _et seq._
City Hotel. New York.
See No. 218.
Columbus. Landing of.
See No. 186.
Constitution of United States.
See No. 136.
165. Conway. New Hampshire.
A pink or red print. In the centre a view of dwellings, including a
log-cabin with sheds; mountains, highway, pine-trees, and people. Marked
on the back “View near Conway N. Hampshire.” A plate bearing this design
is usually considered to be worth about a dollar and a half.
Deaf and Dumb Asylum.
See No. 178.
166. Erie Canal. A. Stevenson.
This print is in dark blue on plates. In the centre of the plate is a
view of buildings, among them a church with a high fence. These are said
to be intended to represent the Capitol grounds and surroundings at
Albany. The border is of oak leaves and acorns, broken by five designs,
four being the portraits of Jefferson, Washington, Lafayette, and
Governor Clinton, with their respective legends, “Jefferson,” “President
Washington,” “Welcome Lafayette The Nations Guest,” and “Governor
Clinton.” The fifth design, at the bottom of the plate, is the picture
of an aqueduct with the words, “View of the Aqueduct Bridge at
Rochester.” Mark, impressed, “A. Stevenson warranted Staffordshire,” in
circle, with crown in centre. Another mark printed in blue is of an urn,
wreath, and the words “Faulkner Ware.” This plate is in the possession
of A. G. Richmond, Esq., of Canajoharie.
167. Erie Canal. Utica.
The plate bearing this design is usually known as the “Utica Plate.” In
the centre is printed these words, “Utica, a village in the State of New
York, thirty years since a wilderness, now (1824) inferior to none in
the western section of the state in population, wealth, commercial
enterprise, active industry, and civil improvement.” This inscription is
inclosed in a laurel wreath. The border of this plate has two views of a
canal lock and aqueduct, and two of a canal-boat. The print is also seen
on pitchers.
168. Erie Canal.
Same border, with designs of canal-boats and locks as No. 167. In the
centre the words, “The Grand Erie Canal, a splendid monument of the
enterprise and resources of the State of New York. Indebted for its
early commencement and rapid completion to the active energies,
pre-eminent talents, and enlightened policy of DeWitt Clinton, Late
Governor of the State.” I have seen pitchers bearing this design and the
design described in No. 167.
169. Erie Canal at Buffalo, N. Y.
This print is in black upon a plate marked “R. S.” (Robert Stevenson.)
Erie Canal.
This entry might properly come under the head of either No. 166 or No.
167, since it describes a pitcher which had both of those decorations in
blue, and also an American eagle with the words “E Pluribus Unum.”
170. Erie Canal.
Black print upon a pitcher. On the right of the handle is a large view
of an aqueduct, river, hills, and buildings, and the words, “View of the
Aqueduct Bridge at Little Falls.” At the left of the handle a building,
with the words “Albany Theatre 1824.” Below the spout a front view of
the head of Washington, and words, “President Washington.” This piece is
not marked with maker’s name.
171. Erie Canal. Clews.
Entrance of the Erie Canal into the Hudson at Albany. Marked “Clews.” It
is a pretty view of a canal lock with boats, and with high-wooded hill
in the background. In foreground, groups of men fishing. This design is
seen on dinner and toilet services. The border is of roses. The color is
rich and dark.
172. Erie Canal.
Oval platter of Oriental china of greenish tint, decorated in gay
colors, with a gold edge, and the monogram D. W. M. C. (DeWitt and Maria
Clinton). In the centre a landscape with the Erie Canal. This odd and
interesting piece sold at the Governor Lyon sale for $10.
Fairmount Park.
See No. 227 _et seq._
173. Fishkill.
This is one of the sets of Clews Picturesque Views. Marks are described
on page 327. Printed in red, green, black, and brown. The name on back,
“Nr Fishkill Hudson River.” This is a pretty view of an old Dutch house
and kitchen on a high bank. In the background, poplar-trees and a
manor-house. By the side of the water fishermen are stretching nets.
Fort Gansevoort, New York.
See No. 215.
Gilpin’s Mills.
See No. 158.
Girard’s Bank.
See No. 231.
174. Harper’s Ferry. W. Ridgway.
Print of landscape view in black or sepia. Mark on back, “Harper’s Ferry
from the Potomac side. W. Ridgway.”
175. Hartford, Conn. State-House.
Print in dark blue of the old State-House, with two stiff poplar-trees
on either side.
176. Hartford, Conn. Mount Video.
Print in dark blue of Mount Video, now known as Wadsworth Tower.
177. Hartford, Conn. Mount Video. Jackson.
Print in black of view similar to No. 176. Mark, “Jackson Ware.”
178. Hartford, Conn. Asylum. J. & W. Ridgway.
Print in dark blue on enormous soup-tureen and other pieces of a dinner
service, of a view of the Deaf and Dumb Asylum at Hartford which was
established by Dr. Gallaudet. Same medallion border as shown on page
319. Mark on back, “Deaf and Dumb Asylum, Hartford. J. & W. Ridgway.
Beauties of America.”
179. Harvard College. R. S. W.
A very finely printed plate in dark blue of the College buildings. Only
three halls are shown. The trees in foreground are unusually well drawn.
The clear border of oak leaves and acorns is on a stippled background.
Mark on back, in scroll with rose branch, “Harvard College,” and some
specimens also R. S. W. A plate is here shown.
[Illustration: Harvard College Plate.]
180. Harvard College. E. Wood & Sons.
Black print with flower border marked “E. Wood & Sons.”
181. Harvard College. E. W. S.
A clear and beautiful print in medium shade of blue on white ground. The
edge has a white beading. The border is a most artistic design of
flowers and fruit, with a pretty spray of blackberries. In the centre a
well-drawn view of four college buildings. A pond is in the foreground,
with tree at right and left. By tradition this platter once formed part
of the table-furnishing of the College dining-hall. Mark on back,
“Harvard College. E. W. S.”
182. Hoboken. New Jersey.
A view of the old Stevens mansion, marked on the back “View at Hoboken
New Jersey.”
183. Hudson, N. Y. Clews.
View of the town of Hudson as it looked in 1823, printed in black, with
rose and vine border. On the back or underside of this dish are views of
Stockport, a few miles above Hudson. It is said that engravings were
sent abroad by Hudson residents, from which these views were copied.
184. Hudson River. Baker’s Falls.
Black print of view of Baker’s Falls.
Hudson River, near Fishkill.
See No. 173.
Independence of Texas.
See No. 254.
Jordan, House of Richard.
See No. 159.
185. Hudson River. Steamboat. E. Wood & Sons.
This is a view in dark blue of a steamboat on the Hudson River taking
passengers from the shore in a small boat attached to a rope which is
wound around the steamer’s wheel. Accidents became so frequent from this
means of transfer that the method was quickly abandoned. There are two
of these sets of plates, precisely alike, save that on one on the
wheel-house of the boat is the name “Chief Justice Marshal Troy,” and on
the other the words “Union Line.” On another flag, which is seen on both
plates, are the words “Troy Line.” They are marked “E. Wood & Sons.” I
have seen three sizes of plates bearing these designs. One is here
shown.
[Illustration: Steamboat Plate.]
186. Landing of Columbus. Adams.
A plate stamped in pink or black with a pretty design of the landing of
Columbus. He stands with his two captains dressed in Spanish costume;
Indians peer out from behind the trees; the three Spanish ships lie
anchored off the shore. A scroll and flower border inclosing four
medallions of quadrupeds. The stamp is “Adams.” The name “Columbus” is
on an anchor.
Landing of the Fathers.
See No. 240.
Landing of Mayflower.
See No. 240.
187. Lake George.
A beautiful view printed in dark blue on platters and plates, with shell
border. Mark on back “Lake George, State of N. Y.” This is doubtless by
E. Wood & Sons.
188. Lake Champlain. Macdonough’s Victory. Wood.
This is a rather confused view of a naval encounter representing the
battle of Lake Champlain. It has the clear, beautiful shell border, and
the color is invariably rich and dark. It appears on all the pieces of
tea and dinner services, and must have been sent to America in large
numbers. On a rock in the foreground are the words “Commodore
MacDonough’s Victory.” On the back, the impress mark “Wood.” A plate is
here shown.
[Illustration: MacDonough’s Victory Plate.]
Lawrence Mansion.
See No. 153.
189. Lexington. Transylvania University. E. Wood & Sons.
A plate with a view of Transylvania University in the centre. On either
side are rows of stiff poplar-trees, and in the foreground a man and
woman walking. The print is in a good shade of dark blue, and has the
poor shell border. It is marked on the back with an eagle, shield, and
“E Pluribus Unum,” and words “Transylvania University Lexington.” Also
the impressed mark of E. Wood & Sons. I have rarely seen this plate—one
lot of three only, and all three were rather indistinctly and poorly
printed; still they may be plentiful in the South or in the neighborhood
of the University.
190. Lexington. Transylvania University.
Transylvania University. A print in black or light blue of a smaller
representation of the University and grounds. Apparently quite modern.
Little Falls. Erie Canal.
See No. 170.
191. Louisville. Marine Hospital.
A rich dark blue plate with shell border. Stamp on back, “Marine
Hospital, Louisville, Kentucky.” This is doubtless by E. Wood & Sons.
Macdonough Victory.
See No. 188.
Marine Hospital. Louisville.
See No. 191.
192. Maryland. Arms of State. T. Mayer.
A large oval soup-tureen and plates, printed in dark blue, with a
handsome and spirited version of the arms of the State of Maryland. The
stamp of T. Mayer and the blue mark of an eagle that appear on these
pieces are fully described on page 324. The border is a beautiful design
of trumpet flowers and roses, while the extreme edge of the plates is
ornamented with a conventionalized laurel wreath broken at intervals of
about six inches with a star.
Mayflower. Landing of The.
See No. 240.
193. Mendenhall Ferry. Stubbs.
A print in clear dark blue of a landscape with cattle in the foreground
and a comfortable house, a story and a half high, a Lombardy poplar and
an elm-tree, and a narrow river. In the background, on the opposite side
of the river, hills with several dwelling-houses. The main point is the
ferry—a cable stretching across the river, and by which boats were taken
from side to side. The ferry-boat is shown. The border is a scroll, with
eagles with half-spread wings and flowers, such as is shown on page 354.
Though these pieces have no maker’s stamp, the impressed mark on pieces
bearing the same border is “Stubbs.” The only mark on this piece is the
name Mendenhall Ferry in an oval medallion. Mendenhall is an old
Pennsylvania name, but I do not know where the ferry was located. Joseph
Mendenhall owned a farm of a thousand acres on the Brandywine, below
Shadd’s Ford, in Chester County, and it is very probable that the ferry
was there.
Merchants’ Exchange. New York.
See No. 204.
194. Millennium.
A plate printed in blue, plum, green, black, and pink. In the centre a
design of a lion led by a child, while lions and lambs lie peacefully at
their feet. Above, the words, “Peace on Earth,” surmounted by a dove
with olive branch. Below, the words, “Give us this day our daily Bread.”
The border is a design of wheat sheaves and fruit, broken at the top of
the plate by an eye and a Bible open at Isaiah. Mark on back,
“Millennium.” One is shown on page 24.
Mitchell & Freeman’s Warehouse.
See No. 154.
195. Mount Vernon.
This view of Mount Vernon is in black on a cup and saucer of white
china. It is the front view of the house, and in the foreground a negro
is leading a prancing white horse. At the top is this inscription,
“Mount Vernon, Seat of the late Gen’l Washington.” Inside the cup is a
dotted border. It has no stamp or mark of maker. I have also seen this
print upon a cup and saucer of cream-colored Liverpool ware.
196. Mount Vernon.
Landscape in dark blue. Marked “Mount Vernon nr Washington. J. & W.
Ridgway.”
197. Mount Vernon.
Dark blue plate with Mount Vernon in foreground and city of Washington
in background. Mark, “View of Washington from Mt. Vernon.” Geographical
and topographical laws were naught to English potters.
198. Mount Vernon.
Stamped in pink. In the centre a group of visitors at a monument; the
border a good floral design. On the back of plate the mark, “Virginia.”
Mount Video.
See No. 176 _et seq._
199. Nahant. No. 1. Stubbs.
[Illustration: Nahant Plate.]
This plate is ten inches in diameter, of a rich dark blue color, and is
very handsome—as are all the plates with its border, a scroll containing
alternate eagles and roses. In the centre is a view of the Nahant Hotel,
with the ocean and rocks in the foreground. On one rock are a dog, and a
man firing a gun; on a second, two women fishing; on a third, a man and
woman walking. On the right of the foreground is an old-fashioned
curricle with two horses harnessed tandem. On the back of the plate is
an oval blue stamp with the words, “Nahant Hotel near Boston.” One of
these plates is here shown. This hotel was built of stone in the year
1818, by the Hon. Edward H. Robbins, at a cost of sixty thousand
dollars. It was enlarged by a wooden addition until it contained three
hundred rooms. It was burnt on September 12, 1861, and has never been
rebuilt. The view on the plate shows only the old stone part of the
hotel. It has been suggested that these plates were decorated for and
used in the hotel. There is no evidence to prove this, nor is it
probable. I have never seen any pieces save plates with this design.
200. Nahant. No. 2. R. S. W.
Same view of the hotel at Nahant, with a large tree in the foreground at
the left, and no curricle. The border is the oak leaf and acorn design,
shown on page 361; the stamp on the back, “Nahant Hotel nr Boston R. S.
W.” The plates bearing this design are about an inch less in diameter
than the ones described in No. 199.
201. Natural Bridge. Virginia.
A poor and small view of the Natural Bridge, printed in light blue or
pink in the centre of a white plate. Sometimes the plate has a weakly
drawn flower border.
202. Newburgh, on the Hudson River. W. R.
This is a black print on a white china plate twelve inches in diameter.
On the back an impressed shield and eagle, and an oblong stamp
surmounted by an eagle and having a pendent festoon of flowers. The name
“View from Ruggles House in Newburgh Hudson River,” and the initials W.
R., are on the stamp. There is no border. In the centre of the plate is
a pretty view of the Hudson River with the familiar mountains in the
background. The water is dotted with sloops and little boats, and a
large tree is at the left of the foreground.
203. Newburgh, on the Hudson River.
Black print on dinner set of a view of Washington’s Headquarters at
Newburgh. Confused rose border.
204. New York Fire, or Ruins of Merchants’ Exchange.
This plate is ten inches in diameter, in a brown or dull blue print. A
view of the ruins of the Merchants’ Exchange, with the front still
standing, is in the centre of the plate. A safe and books and papers,
and a group of persons, are in the foreground, also a squad of four
soldiers with an officer. Sentries patrol in front of the Exchange;
groups of lookers-on are on either side; and flames and smoke in the
background. The border is divided by eight scrolls bearing alternately
the words “Great Fire” and “City of New York.” The spaces contain
alternate subjects; one a group of old fire-implements, a fire-engine,
fireman’s hat and trumpet, and underneath the date, 1833; the other
space contains a phœnix with flames behind, against a background of old
city buildings, and underneath the date, December 16th. On the back of
the plate, the same phœnix over the stamp “Ruins Merchants Exchange,”
and in fine letters the mark “Stone-Ware.”
This plate was printed to commemorate the terrible fire which devastated
the business portion of New York in 1833, burning over thirteen acres in
extent and causing a loss of seventeen million dollars. The fire
extended from Coffee House Slip along South Street to Coenties Slip,
thence to Broad Street, along William Street to Wall Street, burning
down the south side to the East River, with the exception of the
buildings from Number 51 to 61. The Merchants’ Exchange was one of the
last buildings to yield to the flames.
This beautiful marble building had a front of one hundred and fifteen
feet on Wall Street, was three stories high above the basement, and was
considered at the time the handsomest building in the United States
except the New York City Hall. The Post-Office had been established in
its basement in 1827. The letters and mails were removed to a place of
safety, but the noble marble statue of Alexander Hamilton, which stood
in the Rotunda, was crushed by the falling sidewalls. The Seventh
Regiment (then called the National Guard) kept guard over the ruins, and
the funny fur-capped sentries shown on the plate are doubtless of this
regiment. A fine view of the front and rear of the ruins of the
Merchants’ Exchange is shown in William L. Stone’s “History of New
York;” but the old stone-ware plates form an equally faithful, and much
more curious and interesting, memorial of the great conflagration.
205. New York. Arms of State. T. Mayer.
The arms of New York with seated figures, instead of standing figures as
in the present coat of arms; also the motto “Excelsior” and name New
York. On the back is printed in blue the American eagle, with motto “E
Pluribus Unum,” also the impressed mark of “T. Mayer, Stone,
Staffordshire.” Both marks are described on page 324. There were
doubtless dinner services with the arms of all the existing States of
the Union, but I have seen only the plates and platters with arms of New
York, Rhode Island, Pennsylvania, and South Carolina, and the
soup-tureen with the arms of the State of Maryland.
206. New York. Arms of State.
I have seen in many collections, the Trumbull-Prime Collection being one
of the number, pieces of Lowestoft china bearing a poor and crude
rendering of the Arms of State of New York. These must have been
decorated in China in large numbers, to be so widespread and numerous.
207. New York Bay. Clews.
This view of the Bay is taken from Castle Garden. In the centre is the
fort on Governor’s Island. A side-wheel steamer and frigate are among
the shipping. The stamp on back is “View of New York Bay.”
208. New York. Stevenson.
A dark blue print of a view of New York from Brooklyn Heights. In the
foreground is a pretty old Dutch homestead view, low sheds, a well, and
a man on horseback. On the river is some shipping and a small steamboat.
In the background the lower portion of New York, showing Trinity Church
spire. The border is a rose pattern. On the back is the mark “View of
New York from Brooklyn Heights by (or for), Wm. C. Wall Esq.” Also the
impressed mark of “Stevenson Warranted.” A plate with this print is in
the rooms of the Long Island Historical Society, in Brooklyn.
209. New York. Jackson.
A view of Castle Garden, with a tree to the right, printed in brown.
Marked “Jackson’s Ware.”
210. New York. Scudder’s Museum. Richard Stevenson (?).
A dark blue plate with a design in the centre of the plate of a house
with the sign “American Museum,” and a garden in front. The border is a
pretty design of oak leaves. On the back, in a scroll, the mark
“Scudder’s American Museum R. S.” This museum stood in a garden on the
corner of Broadway, where now is the great _New York Herald_ building.
It was a famous place of amusement in its day, and afterward passed into
the possession of P. T. Barnum; there he laid the foundation of his fame
and fortune.
211. New York. City Hall. Jackson.
This is a black or brown print with a flower border. In the centre is
the City Hall with flag flying from the staff on the roof; in the
foreground a horse and wagon, men and boys. Stamped on the back “City
Hall New York;” and “Jackson Warranted.”
212. New York. City Hall. J. & W. Ridgway.
A plate printed in dark blue with a view of the New York City Hall. In
the foreground are large trees and a wondrouslyattired man, woman, and
child standing facing the building, to which the man points with his
cane. The border is the ugly set medallion border of flowers shown on
page 319. Mark in blue on the back, “City Hall New York. Beauties of
America. J. & W. Ridgway.” The corner-stone of this building was laid in
1803, and the edifice was completed in 1812. It stood with the bridewell
on the west, the almshouse behind it, and the jail on the other side. It
cost half a million dollars—a most reasonable expenditure when compared
with the twelve million dollars for its neighbor the Court-House—and was
at that time the handsomest structure in the United States. The “three
fronts,” as they were called, are of Stockbridge marble. It is still
standing, a good example of pure design and style. A very simple way of
dating the various City Hall prints is found in the presence in the
design of the clock in the cupola; this was placed in its position in
1830. Some prints show the dial very distinctly.
[Illustration: City Hall Pitcher.]
213. New York. City Hall. Stubbs.