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The DeWitt Wallace Decorative Arts Museum www.history.org/museums Hours Admission The following ticket options are also available for access to the museums only:
About the DeWitt Wallace Decorative Arts Museum The DeWitt Wallace Decorative Arts Museum, opened in 1985 and features 15 galleries in 25,000 square feet of exhibition space as well as an auditorium and a café. Featured Exhibits "A True North Britain": The Furniture of John Shearer, 1790-1820 Fashion Accessories from Head to Toe Dollars, Farthings & Fables: Money and Medals from the Colonial Williamsburg Collection Rebuilding Charlton's Coffeehouse Conservation: Where Art and Science Meet Treasure Quest: Great Silver Collections from Colonial Williamsburg Identifying Ceramics: The Who, What and Ware Selections from the Henry H. Weldon Collection
The fire engine was originally constructed by Newsham & Ragg of London between 1744 and 1765 under the specifications of Richard Newsham’s patents of 1721 and 1725. His design was the first to discharge water in a very powerful continuous stream. A Newsham broadside, printed in 1727, claims that the engine could hold 125 gallons of water, discharge at the rate of 125 gallons per minute and spray effectively at a distance of 45 yards. “Richard Newsham’s fire engines became the clear choice for anyone in England or America who was serious about combating fires,” said Erik Goldstein, Colonial Williamsburg’s curator of mechanical arts and numismatics. “So effective were Newsham’s engines that some were used for more than a century. Many survive today in museum collections on both sides of the Atlantic as a testament to their popularity, quality and usefulness.” Based on the size of its water cistern, or reservoir, this engine appears to be the fourth largest of six available sizes. Its estimated weight is 700 pounds empty and 2,000 pounds fully loaded and equipped. It is constructed of wood, iron, various copper alloys, leather, oil and paint. The fire engine was refurbished and updated around 1830 by Hadley, Simpkin & Lott, also of London, probably in conjunction with the engine’s sale at that time. The company’s cast plaque remains on the engine and is thought to have been placed over a painted signature of Newsham & Ragg. Sir Thomas Crawley-Boevey purchased the refurbished used fire engine in 1830 for slightly more than £53 to be used on his estate at Flaxley Abbey in Gloucestershire. It was used there until well into the 20th century. Colonial Williamsburg purchased it in 1960 from a British dealer. In addition to the fire engine itself, the related equipment includes buckets, a coil of hose and other ancillary equipment. “Richard Newsham’s Fire Engine” will be on view through 2013. A Colonial Williamsburg admission ticket or Museum ticket is required. The DeWitt Wallace Decorative Arts Museum is located at 324 West Francis St. and is open daily throughout the year. Colonial Williamsburg’s Historic Trades artisans reproduced the fire engine in the early 1980s. The reproduction fire engine can be seen in the shed at the Guard House next to the Magazine in the Historic Area.
This ground-breaking traveling exhibition organized by the Daughters of the American Revolution Museum in Washington, DC., examines the furniture of John Shearer, a joiner who worked in the backcountry of Virginia and Maryland from ca. 1790-1820. Through the use of inlay and inscriptions, Shearer's furniture demonstrated his loyalty to Great Britain. Shearer's continued allegiance to Great Britain and her Royal Navy after the American Revolution underscored the evolving political landscape of the new United States.
This exhibition explores how maps and prints aided colonial expansionists by conveying attitudes and values that swayed public opinion. Portraits depicted Native Americans as deferential subjects of the king. Maps, regarded as scientific and authoritative documents, were designed to impart a perception of power and control over the environment, claim land, and establish boundaries. The exhibition features maps and prints from the Foundation's nationally important collection, as well as important pieces borrowed from other institutions and private collectors. A few of the maps and prints have rarely been on view, including the so called "Frenchman's Map" from the collections of Swem Library at the College of William and Mary, which illustrates the 18th-century town of Williamsburg. This exhibition is made possible by the Nicholas and Eleanor Chabraja Foundation.
This exhibition features costume accessories from the late seventeenth through the early nineteenth century. Women and men enhanced their appearance with the addition of hats, purses, jewelry, shoes, and more. These objects kept pace with change in fashion and present a visually rich overview of the period. The exhibition is made possible by Mary and Clinton Gilliland of Menlo Park, California, and the Turner-Gilliland Family Fund of the Sillicon Valley Community Foundation.
This exhibition showcases some wonderful treasures from the numismatics collection. See the smallest and largest coins in the collection as well as the prettiest and ugliest. Find out about the first dollar bill, the medals that were produced to honor George Washington, and the first coins made in the New World. One of our newest acquisitions is an amazing collection of paper money that was amassed in the late 18th-century by Samuel Cornell of North Carolina. Like other pieces in the exhibition, it has an interesting story to tell. Colonial Williamsburg’s recent reconstruction of Charlton’s Coffeehouse is the first ground-up reconstruction along Duke of Gloucester Street in several decades. It involved the work of every department and trade in the Foundation. The exhibition explores how such a building could be so accurately constructed and furnished when seemingly very little was left of the original structure. It will use archaeological, architectural, archival, decorative arts and trades components to show visitors the process of rebuilding the history, structure, and interiors of the coffeehouse. Through video, graphics, original objects, and touchable reproductions, visitors will learn firsthand what it took to bring the project to completion. This exhibition presents a different way of looking at museum objects. Visitors will discover what is harmful to objects and what preserves them. Before an object is shown, conservators investigate each piece with a variety of fascinating techniques to understand the object and ensure its preservation for the future. This exhibition was made possible in part by: The Stone Family Fund, Los Angeles, Calif., and The Friends of Heritage Preservation, Los Angeles, Calif. This exhibition in the Mary Jewett Gaiser Gallery displays selections from the Foundation’s vast collection of 18th-century British silver. The collection has grown through generous gifts from collectors of everything from lavish silver-plated dining wares to striking Scottish tea wares. . This exhibition takes a closer look at the production and decoration of ceramic wares of the eighteenth century. Find out the difference between stoneware, earthenware and porcelain and discover how ornament was created or applied. Musical Instruments An exhibition of two types of keyboard musical instruments. The 1762 harpsichord made by Jacob Kirckman of London makes its sound by plucking the strings. An 1806 grand piano by John Broadwood and Sons, also of London, sounds by means of hammers that strike the strings. These makers were the most celebrated in England and America when these two superlative instruments were made. Both instruments are in good playing order and are used for programs in the Hennage Auditorium. This exhibition in the Henry H. Weldon Gallery features a few select pieces from the collection of more than 725 pieces of 18th-century British pottery donated to Colonial Williamsburg by Mr. and Mrs. Henry H. Weldon. This exhibition is an outstanding display of military and civilian weapons exploring muzzle-loading firearms, ignition systems, and the evolution of the standing British infantry musket before 1800. This exhibition looks at colonial kitchen equipment from an aesthetic and practical viewpoint, highlighting its beauty and utility. This exhibition dazzles with rich and colorful choices in table and tea wares available to 18th-century British and American consumers. Expanding world trade and strengthening industry put a teapot on every table -- until tea became a symbol of protest in the American Revolution. This exhibition features splendid examples of British and American antiques from 1660 to 1820, including a sterling silver chandelier made for King William III and Charles Willson Peale's portrait of George Washington as commander of the American forces during the Revolution. |
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