Burns Moore - 1941 WFL Print Ad

1941 J. Burns Moore photo WFL parade drum print ad.

 

SET OF FOUR "ROPE-ROD" TENSION SNARE DRUM STOOLS

I found these on eBay and spoke with the seller, a by-appointment-only private retailer of professional percussion equipment. To say the least, the drums are interesting and different.


SET OF FOUR "ROPE-ROD" TENSION SNARE DRUM STOOLS

Authentic custom-made 16X16" Ludwig 1976 Rope-Rod Snare Drums, featuring wood hoops, decorative rope & leather tension similation and Ludwig PA Parade white plastic heads, top and bottom. These are identical drums designed from 1976 Ludwig production of their USA 200 Year Centennial, limited edition series.

Mahogany shells are covered in Black Cortex.

These four drums come with detachable white padded cushions, therefore allowing the drums to be used as comfortable decorative drum stools ... or actual snare drums [but you'd need to install snares and snare mechanisms].

Snare mechanisms have intentionally never been mounted on these drums, as they have been used exclusively as decorative drum stools. The drums have never been played.

Shells, wood hoops, rope and leather are in very good condition. There is a little corrosion on the tension rods and a few plating pimples on the lugs.

This is more than a conversation piece, these are real Ludwig Bi-Centennial 1976 drums made in Chicago.

ASKING PRICE: $1,000.00; Can be picked up in Cleveland, Ohio or UPS-Ground Shipping charges to be determined based upon geographic location of customer.

ALSO AVAILABLE: Matching Ludwig Vistalite Conference Table/Game Table. 48" diameter multi-color transparent table top, mounted on 30" diameter black & white Vistalite bass drum with chrome lugs. Table also includes internal lighting to illuminate the entire drum sides and top. This is a custom made one-of-a-kind table.

QUESTIONS AND INQUIRIES TO: Direct contact to: perclady1@aol.com.

1863 New York Civil War on PBS' Antiques Roadshow

Appraised on: August 4, 2007
Appraised in: Spokane, Washington
Appraised by: Christopher Mitchell
Category: Arms & Militaria
Episode Info: Spokane, Hour 2 (#1211)
Originally Aired: April 7, 2008
Appraised By: Christopher Mitchell

Appraisal Video: (2:48)

Appraisal Transcript:
GUEST: It's been in my family for probably more than 70 years. My grandfather bought it in Maryland, along with some other military items, mostly Civil War-- letters, a sword—and he bought it in the '30s, so I probably have had this drum, maybe, going on 40 years.

APPRAISER: Okay. So he was a very early collector.

GUEST: Yes, he loved...

APPRAISER: Very early interest.

GUEST: Yes, he loved history.

APPRAISER: It's called a regimental drum. You have this nice kind of iconic, folky, American eagle on here. It's the type of thing that a collector really loves, with its wonderful colors and paint. You'll see where it says R-E-G for "regiment," and then it goes on and it says "infantry."

GUEST: Mm-hmm.

APPRAISER: And, sometimes, they could actually paint the number of the regiment in front of this R-E-G. But we do know the regiment that this drum was in because after the war, the owner took the time to write down his full name, the regiment he was in and the battles that he fought in. This is a really unique aspect. And it's something that collectors enjoy because it takes this away from just being an object and it actually puts it in a place, and it puts it in a person's hands, so we can really kind of get our fingers around it and understand it. And that's what collectors love. It says: "Through The Civil War, Justus N. Williams."

GUEST: Mm-hmm.

APPRAISER: He shows this date of enlistment and the date he's discharged. He lists his regiment-- he's in Company F of the 122nd New York State Volunteers, and he's in the Second Division of the Sixth Corps.

GUEST: Wow.

APPRAISER: You have to imagine this is probably a very young man, he's carrying this drum, and he comes and he says "Under fire in..." And that means he's actually in the thick of battle with his friends, his brothers, the people that he lives with. They become almost like a family to him. One of the really great aspects is he is at the three pivotal days in the American Civil War. He's at the Battle of Antietam, which is the bloodiest day in American military history. He is at the Battle of Gettysburg, which is the high watermark for the Confederacy. It's the true beginning of the end.

GUEST: Mm-hmm.

APPRAISER: And then he's at Appomattox, when it's all summed up and the war's over and it's come to a close. He's playing a part in these things that are happening in our country's history and then, after the war, he's taken it and written it all down, so it tells us a story.

GUEST: That's great.

APPRAISER: And that's what a collector likes. It's in its original untouched condition. That's a big thing for a collector, too. We have all the original paint; the ropes are original, the leathers are original. That's something that a collector looks for. I think, retail, this drum is probably worth somewhere between $8,000 and $9,000.

GUEST: Oh, wow.

APPRAISER: No, it's a nice drum, and it's the history that really drives the value.

GUEST: Geez! Uh-huh.

APPRAISER: If it did not have that writing, then you would be thinking more along $4,500.

GUEST: Really?

APPRAISER: Yeah.

-----
About J. Christopher Mitchell
(source: http://www.jcamericana.com/about.php)
J. Christopher Mitchell American Antiques & Militaria

J. Christopher Mitchell (Daphne, Alabama) is one of the nation's leading arms and militaria authorities. His areas of expertise in American and foreign military items span more than three centuries, from 1600 to 1945. Mr. Mitchell has purchased military artifacts belonging to some of America's greatest heroes, including Presidents Lincoln, Jefferson, Monroe, Adams, and Madison, and Confederate General Robert E. Lee, as well as many others. He holds a bachelor of arts degree in history from Springhill College in Mobile, Alabama, and has also completed the core requirement courses for the International Society of Appraisers.

A consultant to auction houses, museums, and the nation's leading collectors of militaria from all wars, Mr. Mitchell is noted for his unique passion for American antique militaria, and highly regarded for his more than 25 years of experience and extensive knowledge of the period from the American Revolution through the American Civil War. He specializes in Colt pistols, Civil War presentation pieces, and Confederate items, which he also collects.

Mr. Mitchell is an active member of several antique military organizations, including the Southeastern Antique Arms Collector Association, the Pennsylvania Antique Gun Collectors Association, and the Alabama Gun Collectors Association, and is also a lifetime member of the Antique Bowie Knife Association. His numerous lectures and television appearances include nine seasons of participation as an appraiser on the highly acclaimed Antiques Roadshow. He is currently conducting research for a book about historical weapons of the American military, as well as writing articles for the Antiques Roadshow Insider newsletter.

-----

Note: the list of battles and appearances on the drum head is substantially consistent with, but not exactly the same as the information concerning the 122nd Regiment, NYI, appearing on the Civil War Soldiers and Sailors System maintained by the National Park Service:

UNION NEW YORK VOLUNTEERS
122nd Regiment, New York Infantry
Organized at Syracuse, N. Y., and mustered in August 28, 1862. Left State for Washington, D. C., August 31, 1862. Attached to 3rd Brigade, 1st Division, 4th Army Corps, Army of the Potomac, to September, 1862. 2nd Brigade, 3rd Division, 6th Army Corps, to October, 1862. 1st Brigade, 3rd Division, 6th Army Corps, to January, 1864. Johnson's Island, Ohio, to March, 1864. 4th Brigade, 1st Division, 6th Army Corps, to July, 1864. 3rd Brigade, 2nd Division, 6th Army Corps, Army of the Potomac and Army of the Shenandoah, to June, 1865.

SERVICE.-Maryland Campaign September 6-22, 1862. Battle of Antietam, Md., September 16-17. Duty in Maryland till October 20. Moved to Stafford Court House, Va., October 20-November 18, and to Belle Plains December 5. Battle of Fredericksburg, Va., December 12-15. At Falmouth, Va., till April, 1863. "Mud March" January 20-24. Chancellorsville Campaign April 27-May 6. Operations at Franklin's Crossing April 29-May 2. Battle of Maryes Heights, Fredericksburg, May 3. Salem Heights May 3-4. Banks' FordMay 4. Gettysburg (Pa.) Campaign June 11-July 24. Battle of Gettysburg July 2-4. Pursuit of Lee to Manassas Gap, Va., July 5-24. Duty on line of the Rappanannock and Rapidan till October. Bristoe Campaign October 9-22. Advance to line of the Rappahannock November 7-8. Rappahannock Station November 7. Mine Run Campaign November 26-December 2. Duty at and near Brandy Station till January, 1864. On detached duty at Johnson's Island, Lake Erie, till March. Campaign from the Rapidan to the James May 3-June 15. Battles of the Wilderness May 5-7; Spottsylvania May 8-12; Spottsylvania Court House May 12-21. Assault on the Salient, "Bloody Angle," May 12. North Anna River May 23-26. On line of the Pamunkey May 26-28. Totopotomoy May 28-31. Cold Harbor June 1-12. Before Petersburg June 17-18. Jerusalem Plank Road, Weldon Railroad, June 22-23. Siege of Petersburg till July 9. Moved to Washington, D. C., July 9-11. Repulse of Early's attack on Fort Stevens and the Northern Defences of Washington July 11-12. Expedition to Snicker's Gap, Va., July 14-23. Sheridan's Shenandoah Valley Campaign August 7-November 28. Gilbert's Ford, Opequan Creek, September 13. Battle of Winchester September 19. Fisher's Hill September 22. Battle of Cedar Creek October 19. Duty in the Shenandoah Valley till December. Moved to Petersburg, Va., December 9-12. Siege of Petersburg December 12, 1864, to April 2, 1865. Fort Fisher, Petersburg, March 25. Appomattox Campaign March 28-April 9. Assault on and fall of Petersburg April 2. Sailor's Creek April 6. Appomattox Court House April 9. Surrender of Lee and his army. At Farmville and Burkesville till April 23. March to Danville, Va., April 23-27, and duty there till May 24. March to Richmond, thence to Washington, D. C., May 24-June 3. Corps Review June 8. Mustered out June 28, 1865.

Regiment lost during service 6 Officers and 85 Enlisted men killed and mortally wounded and 3 Officers and 85 Enlisted men by disease. Total 179.

1862 Rhode Island Civil War Drum and Discharge Papers on PBS' Antiques Roadshow

Appraised on: June 30, 2007
Appraised in: Orlando
Appraised by: Rafael Eledge
Category: Arms & Militaria
Episode Info: Orlando, Hour 3 (#1206)
Originally Aired: February 11, 2008

Appraisal Video: (3:00)

Appraisal Transcript:
GUEST: I brought this Civil War drum. It's from my great-grandfather, from the Rhode Island area, and a certificate that shows that he was actually the drummer in the Civil War.

APPRAISER: Right. And, if you notice, it mentions that he is a drummer of Company L in the Ninth Regiment of Rhode Island Infantry. And it's an interesting regiment that he was in. The Ninth was raised because they were afraid that Washington, D.C., would be occupied by the Confederacy. In May of 1862, General Stonewall Jackson had had decisive battle victories at Winchester and in the Shenandoah Valley. The next step, they were right at Washington, D.C. And so President Lincoln says, "We've got to have regiments to defend the city." He sends a letter to the governor of Rhode Island, and they call up the Ninth Infantry. They're sent there to guard Washington, D.C. And if you notice, the drum also has the matching Ninth Regiment, "RI" for Rhode Island Infantry, and Company L. It has everything on it that you would expect. They were only in service for three months, which is why the drum is in such beautiful condition as far as the paint. It has bright colors. It's a beautiful drum. The heads do come off. It's in need of some restoration.

GUEST: Right.

APPRAISER: If you notice right here, we have the maker's label-- from Horsman of Philadelphia, one of the premier makers during the Civil War. They made things, and they also retailed items for military use. We have both of the original heads. All we're missing is, basically, the tension ropes. We have the snare on the bottom. The discharge... Has it been in the family the whole time?

GUEST: Yeah. Actually, I was going through a trunk, finding things to maybe bring, and I found this only, like, a week ago.

APPRAISER: Really?

GUEST: And connected it to the drum.

APPRAISER: That's great, because it mentions in there that he is a drummer boy in the discharge. The discharges you do encounter, because every Union soldier that survived would have gotten one, and that was their ticket, in later years, to be able to draw a pension.

GUEST: Right.

APPRAISER: A lot of drums were surplus, meaning they never saw service. And they'll actually come out, and you won't have the regiment, you won't have the state, and you won't have the company. They would paint the basic drum, and then, once it made it into the field, the drummer boy himself, or somebody in the regiment, would add that information on it. Which personalizes the drum, so it's not only do we have his discharge, we've got his input on the drum. And it brings everything together.

GUEST: Yeah.

APPRAISER: It's a fantastic piece. I can tell by that look in your eye it's something you'd never part with.

GUEST: Oh...

APPRAISER: So what we'd be looking for is an insurance appraisal.

GUEST: Right.

APPRAISER: Right. And, on a discharge, most of the time they're $100 to $200. The drum itself would need to be insured for $7,500.

GUEST: Wow. Wow.

-----
About Rafael Eledge:
(source: http://www.pbs.org/wgbh/roadshow/appraisers/eledge_rafael.html)Shiloh Relics

Rafael Eledge is one of the country's most active and knowledgeable experts of Civil War and 19th-century militaria. Mr. Eledge's career began at the ripe age of 11, when he received his first metal detector and began searching around his home state of Tennessee for Civil War artifacts. He continued to gain knowledge and expertise as he attended trade shows, buying and selling pieces to support himself through college.

After graduation, Mr. Eledge fulfilled his childhood dream of owning a Civil War relic shop and museum. Shiloh Civil War Relics was opened in 1995 just to the north of the main entrance to Shiloh National Military Park in west Tennessee. Shortly thereafter, Shiloh Relics Online was born, and Mr. Eledge moved military antiques and arms collecting into the 21st century. Today the business is a 2,400-square-foot retail shop and one of the Internet's most visited Civil War Web sites. Shiloh Relics has active inventory that rivals some of the nation's best museums.

Having such success with Shiloh Relics has afforded Mr. Eledge the opportunity to do consultations for museums and national parks, as well as for books and magazines. He is highly regarded by his peers for his knowledge of artifacts of the American Civil War.

Even though Mr. Eledge's knowledge covers all aspects of pre-1900 militaria, his current passion is Civil War cannons, implements and ammunition. Having owned 15 original Civil War cannons and more than 1,000 projectiles, he is currently in the process of developing a manuscript on cannons used in the Battle of Shiloh during the American Civil War. Aside from his dedication to his business and family, he is also concerned with the preservation of our nation's artifacts and supports many such efforts.

1848 Zachary Taylor Campaign Eagle Drum on PBS' Antiques Roadshow

Appraised on: August 9, 2003
Appraised in: Oklahoma City, Oklahoma
Appraised By: William Guthman, Musical Instruments

Appraisal Video: (2:06)

Category: Musical Instruments
Episode Info: Oklahoma City, Hour 3 (#809)
Politically Collect, Hour 3 (#1219)
Originally Aired: November 3, 2008

GUEST: I know that it came from the Kentucky-Tennessee area and that it was given to me by a friend, and it was given to him by an uncle around 1950. That's all I know.

APPRAISER: It was the presidential campaign drum. It's from the campaign of Zachary Taylor and Lewis Cass of 1848. It's really rare. It's 155 years old, and it's survived beautifully. And you can see the stars, 13 stars, and an American eagle. And Zachary Taylor was an officer, a hero, during the Mexican War. "Rough and ready" was his slogan then, and he ran a presidential campaign with that slogan.

GUEST: Oh, okay.

APPRAISER: Later drums had little iron attachments for the ropes, and a drum of this period has holes, and the ropes went through the holes. And these tightened the drum. These are leather tighteners, and these are the original hand-carved wooden drumsticks, and it's wonderful that they stayed with the drum.

GUEST: You know, actually, if you can see this paint right here, we actually have used those to stir paint with and then kind of thought about it and then cleaned them off.

APPRAISER: Well, don't stir paint with them anymore. It really survived in great shape. If I had this drum, I think I'd want between $10,000 and $15,000 for it.

GUEST: No!

APPRAISER: Yes.

GUEST: Well, it's a wonderful thing, 155...

APPRAISER: Well, you know, it's very historically important.

GUEST: Would these be original ropes on here?

APPRAISER: They could have been replaced.

GUEST: Could have been replaced, okay.

APPRAISER: But they're old. They've been there a long time.

GUEST: I saw you looking in this hole.

APPRAISER: That's a percussion hole. When they beat the drum--

GUEST: Okay.

APPRAISER: --the air came out that hole. But opposite that hole would have been the maker's label, and you can see where it was, but it's long gone. So even looking like this, this is great condition.

GUEST: Oh, it's wonderful.

APPRAISER: I wouldn't touch it.

GUEST: Okay.

APPRAISER: It's a wonderful, wonderful memento.

GUEST: Thank you so much.

Field Music History

Ed. Note: Inspired, clean, crisp and the ultimate authentic old school drum & bugle corps. That's all I could think of when I heard the U.S.M.A.'s Hellcats last Saturday night playing in the Old Guard's 50th Anniversary Tatto (yet to hit YouTube but available on the OG's website as Part 1 and Part 2).

So, I decided that the material on the Hellcats' website should be here for blog viewers to read.

For free recordings of The Hellcats (mp3), visit the website.

--------------

1923 Field Music Group

2004 Field Music Group

FIELD MUSIC HISTORY
by MSG Donald Trefethen
DOUGLAS MACARTHUR, “I listen vainly, but with thirsty ear, for the witching melody of faint bugles blowing reveille, of far drums beating the long roll.”

Since the earliest days of the American Revolution, commanders of the Continental militia realized the importance field musicians held in the order, morale and discipline of their troops. The practice of mustering a fifer and drummer into each company began with the earliest regiments of the Revolution and continued through the end of the Civil War. In camp, the sounds of the fife and drum regulated the daily activities of soldiers using a set series of daily duty calls. By commands of music, soldiers were notified when to wake, drill and eat, when to collect wood or water and when to go to bed at night. The drum served as the primary source of battlefield communication between an officer and his men on the field. Additionally, the steady beat of the drums together with the fifes kept soldier morale high by providing lively tunes on the march. The fife and drum predominated until after the Civil War, but bugles sounded signals in some units as early as Revolutionary times. Easily played with one hand, the bugle became the unofficial instrument of the cavalry. The bugle served an increasingly important role later in the 1800's as the introduction of rapid-fire weapons and larger caliber artillery made the drum a less effective instrument for signaling. Army field commanders grew more dependent on the bugle's bold brilliant sound to relay commands both in camp and over the din of battle.

The Hellcats field music group at West Point has a heritage that dates back to those Continental fifers and drummers. Their legend began early in the American Revolution, when elements of General Samuel Holden Parsons' brigade, including fifers and drummers, crossed the frozen Hudson River to establish the garrison of West Point in January of 1778. This field music connection gives the Military Academy Band the distinction of being the oldest active band in the U.S. Army and the oldest unit at West Point. Within a few years of those first few field musicians arriving at West Point, inspection records show there were literally hundreds of fifers and drummers on site. Following the Revolution, troops were mustered out and there remained “fifty-five men at West Point” including one fife and one drum.

With the establishment of the Academy in 1802 came an increased demand for military music. As the Academy grew, it needed fifers, drummers and buglers to drill the new cadets and provide an audible order to their duty day. Throughout the 1800's there seems to be an average of fifteen field musicians on site at any one time. “Drummer boys” were still being used in field music to play all the cadet calls until around 1880. Keyed bugles were the original brass band instruments and were introduced to the U.S. from Europe by West Point's bandmaster Richard Willis. The band's first bugler, Frederick Lewis, arrived in 1815 and served until 1821. By 1853, the Academy Band was using two assigned buglers to perform cadet calls. Complicating the matter, attached cavalry buglers (such as Louis Benz) were used for United States Corps of Cadet duty. This “Duty Bugler” position remained active until 1942 when it was eliminated and the company bugler duties were transferred to the Hellcats. The field music bugles do not appear to have been used in massed formations until perhaps WWI. By 1918, records show the field music instrumentation included fifes, drums and bugles with a strength of twenty-nine men. This basic configuration would remain the field music standard through the end of WWII. At the end of WWII, band strength was in a free fall as “end of war” discharges and a general reduction in force continued to remove personnel. By 1946 all that remained of the Hellcats was three drummers and two buglers. Field music support for reveille and meal formations was halted indefinitely and could not resume until 1949 when field music regained sufficient strength.

Through the 1950's and 60's, modern Hellcat techniques began to develop. As young men with new visions moved into leadership positions, the Hellcats took on a new look and sound. Captain Resta, the Commander of the USMA Band in 1953, asked a young Sergeant Richard Pelletier if he could turn the Hellcats into something special. The answer was “yes” and with matching drum parts penned by Sergeant Jack Pratt, Pelletier researched, compiled, wrote and arranged bugle tunes at a dizzying pace. With improved techniques, higher standards and a library of groundbreaking original arrangements, the group began transforming into what would become a truly distinctive “showcase unit.” By 1972, The Hellcats reached an all time high of sixty-one men and became a fully autonomous group consisting of bugles, drums, piccolos, tenor drums and a Scotch bass drum. The group now had its own drum major, NCOIC and three Section Leaders. A major reduction hit the USMA Band in 1974 and changed the Hellcats forever. Within a one-year span, field music was reduced to nine buglers and seven drummers and had completely lost its piccolo section. A second cut in 1993 brought the group to its current authorized strength of six bugles and four drums.

The importance of field musicians has waxed and waned with the ever changing needs and requirements of the U.S. Army. But today at West Point, their need is just as great as ever and the Hellcats proudly perform their duty as the last functioning field music group in the United States Army. It is still the mission of today’s Hellcats to provide daily musical support to the United States Corps of Cadets. In addition to sounding Reveille, Retreat and To The Color each day at the garrison flagpole, the Hellcats play for cadet drills, military reviews and parades. Each weekday they provide a diverse selection of lively tunes as the cadets march into the mess hall. The Cadets of West Point have a definite love/hate relationship with the field music group. It has been said, one winter night members of the cadet class of 1833 captured all the fifes and drums used for reveille, tied them to the halyard and ran them up the flagpole. Since early in the twentieth century, the West Point Cadets have affectionately referred to the field music group as “The Hellcats” because that is exactly what they sounded like at reveille. Many reunion classes request the Hellcats to perform for their class parties. Many old grads laugh and cheer, some wipe away tears and smile at that memorable sound from long ago. There is always one who relates how much the Hellcats were hated by the cadets back then, but how fondly they are remembered after a few years absence. Hellcat buglers and drummers also have the sad task of performing muffled drum rolls and Taps for West Point funerals. We are ever aware of General Daniel Butterfield's role in the writing of the bugle call Taps as he closely attends each sad ceremony with his presence in the West Point cemetery.

The field music drummers had been playing traditional rope tension drums at West Point since the Revolution. This continued unchanged until the late 1930s when rod tension drums first appeared in the band at West Point. Rope drums reappeared in 1965 as a new set were purchased from the Gretsch Drum Company for use on special occasions. The tradition of rope tension drums returned full time to West Point in 1990 when the Cooperman Fife and Drum Company produced a set of custom rope tension drums. These drums are used for parades and shows while the old Gretsch are still serving faithfully as the every-day work drums. Around 1933, the fifes were totally dropped due to pitch problems but were shortly replaced by piccolos that blended much better with the bugle. The standard army issue bugles became chrome plated in 1923 making them unique to West Point. From 1932 forward, custom chromed bugles with one valve in Bb/F became the new standard field music horn. Around 1946 new single valve Bb/F bugles designed by Vincent Bach were doing duty at West Point followed in the 1960s by a set of bugles produced by Donald E. Getzen. In 1998 the newest set of custom bugles made their debut at West Point. Mr. Clifford Blackburn of Blackburn Trumpets made improvements on the old design, creating new horns that play freely throughout the entire register, while retaining a dark, characteristic bugle sound. With this new line of custom-made instruments in their hands, the Hellcats continue the legacy of musical tradition at the Academy with an improved level of excellence.

Pride, intense esprit de corps and a sense of historical continuity inspire the distinguished service of today's Hellcats. With their precise marching, embellished by the twirls of silver bugles and intricate rudimental drumming, the group delights many thousands of spectators each year. The Hellcats function as a completely independent group with a full show package and are capable of adapting their production to any performance venue. In 1994, the Hellcats were honored to participate in the deactivation parade of the Allied Strike Force as it made its final departure from the city of Berlin. The Hellcats have been featured on every major television network morning show and they have been warmly received at military tattoos in Atlanta, Georgia and Hamilton, Ontario. In 2002 the group was invited by Skitch Henderson to perform in Carnegie Hall with the New York Pops Orchestra. The Hellcats also were requested by Keith Lockhart and the Boston Pops Orchestra to spice up the 1812 Overture in their Fourth of July celebration at the Hatch Shell.

The Hellcats of the twenty-first century are staffed by highly talented musicians, professionally trained and equipped with custom instruments designed and hand-made specifically for them. Today's Hellcats enable the United States Military Academy Band to maintain faithful renditions of traditional American military music and to daily provide the Corps of Cadets with a unique piece of living history.

“A bugler in the army is the luckiest of men; he wakes the boys at five and then goes back to bed again; He doesn't have to blow again until the afternoon; if every thing goes well with me I'll be a bugler soon.”

- Second Verse; Oh How I Hate To Get Up In the Morning. Irving Berlin 1918 -
Source: The Hellcats History

A Day in the Life of The Hellcats

A DAY IN THE LIFE OF THE HELLCATS

Salute cannon/Reveille
SSG Eric Miller, bugle

Breakfast Formation Reveille Routine
Bugle Tune #1
Piccolo Tune Irish Reel
Bugle Tune #2
Piccolo Tune Caledonia
Bugle Tune #3
Bugle Tune #4
Piccolo Tune Jig I
Bugle Tune #5
Piccolo Tune Old Lassie
Mess Call / Assembly

Hellcat Show drum & bugle demonstration
SSG Charles Hooke, drum SFC Deric Milligan, bugle
Drum & Bugle calls

Hellcat Show with narration
SGM Rick Gerard, narrator
Oh How I Hate to Get Up In The Morning, Berlin/arr. Trefethen
There's Something About a Soldier, arr. Pelletier
This is the Army Mr. Jones, Berlin/arr. Pelletier
Green Berets, Moore, Sadler/arr. Newton
Wooden Legged Warrior, Benson British Grenadiers, arr. Bennet
Bugle Chase, Leonard/arr. Leonard
American Patrol, Meacham/arr. Leonard
Apple Tree, Brown, Tobias, Stept/arr. Leonard
Over There, Cohen/arr. Leonard
Know How (drum solo), G. Cuccia
My Country ‘Tis of Thee, arr. Leonard

Dinner Formation
Connecticut Halftime (drums)
Hellcats, arr. Pelletier
Road to Boston (drums)
Hip-a-Dipper, arr. Pelletier
Atlanta (drums)
Bugelicious, Leonard/arr. Leonard
Willie Weaver (drums)
Adjutants Call March, arr. Pelletier
Crazy Army (drums)
Strong Men, arr. Pelletier

Funeral/Taps
SSG Gino Villarreal, bugle MSG Donald Trefethen, drum

Retreat Review
Attention
Adjutant's Call
Gary Owen, arr. Leonard
Three Ruffles & Flourishes
General's March
Retreat
To the Color
Yankee Doodle, arr. Leonard
Left Foot (drums)
Hornpipe #One, arr. Leonard
Willie Weaver (drums)
Scotland the Brave, arr. Leonard
Burns Moore (drums)
On Brave Old Army Team, Egner/arr. Leonard
Paddy in a Handcart (drums)
Army Goes Rolling Along, Gruber

Hellcat Fanfare*
Leonard/arr. Leonard

March Medley with the USMA Band*
Bugles and Drums, Goldman
The Thunderer, Sousa
On Parade, Goldman
Riders for the Flag, Sousa

Bugers' Holiday*
Anderson
SSG John Manning, SSG Eric Miller SSG Gino Villarreal, trumpets

Benny Havens*
arr. Leonard

Blow the Bugle, Beat the Drum*
arr. Murtha

Lights Out/Tattoo
SFC Deric Milligan, bugle

* CPT Tod Addison, conducting

-----

1) 0630: Salute cannon/Reveille: A busy day at the Military Academy begins before dawn. At the flagpole, the cannon fires and the flag rises to the strains of Reveille. While most army posts perform this ceremony to a recorded bugle call, at West Point it is still performed live each morning by Hellcat buglers. Once this bombastic alarm clock has sounded, cadets spring to action to get washed, dressed and straighten up their rooms, for in less than thirty minutes they are expected to fall in for accountability and breakfast formation.

2) 0700: Breakfast formation: The Reveille Routine has gone through many incarnations over the years. In earlier times, this set of tunes was played by piccolo, bugle and drum as the cadets formed up. The tunes were carefully programmed and timed to coincide with a series of bells letting the cadets know how much time remained before Assembly. Traditionally, new cadets (Plebes) would fall in early to be drilled by upperclassmen on cadet knowledge. In recent years the bells and piccolos have been eliminated, but the bugles and drums still carry on the tradition each morning using these same tunes to march the cadets into the mess hall.

3-4) 0900: Hellcat Show: Mornings are spent in rehearsal preparing for performances on the road. Many mornings the group is out performing their show for veteran's groups, civic activities or school audiences. Segments of this show have been performed around the world, on major television networks, at international tattoos and on stage with such groups as the New York Pops and Boston Pops orchestras.

5) 1200: Morning classes behind them, the cadets form up once again for dinner formation. Presented here is a sample of typical bugle tunes and drum cadences used daily to march the corps into the mess hall. This same format is used for supper formation in summer months for support of the new cadets in beast barracks.

6) 1400: Funeral: A West Point grad gets his final tribute from a grateful nation at West Point from the Hellcats as the muffled drum rolls and the lone bugler plays Taps. In addition to on post funerals, Hellcat buglers log thousands of miles each year performing final honors for hundreds of veterans throughout the New York/New Jersey area.

7) 1700: Most afternoons the cadets are drilled around the Plain by a team of Hellcat drummers, but pomp and ceremony are in order, as the cadets take to the parade field in full dress uniform for a review on the Plain. We present a modified parade including the bugle calls Retreat and To The Color as the flag is lowered. This track features Field Music bugles and drums augmented by piccolo players from the concert band re-creating the old Hellcat’s instrumentation.

8-12) 1930: The Military Academy Band has a unique resource in the Hellcats. An evening concert at Trophy Point often features traditional marches and special arrangements written especially for the band to showcase the Hellcats and highlight their unique contribution to the ensemble.

13) 2300: Lights Out: Day is done, time for lights out as the bugle sounds Tattoo.


Source: The Hellcats History

Tonight on Internet: Old Guard's 50th Anniversary Tattoo

Webcast:
- Part 1
- Part 2

With Special Guests...

•The United States Military Academy Band Hellcats - West Point, NY
•The United States Marine Drum and Bugle Corps - Washington, D.C.
•The Fifes and Drums of Colonial Williamsburg - Williamsburg, VA
•City of Washington Pipe Band - Washington, D.C.
•1st Michigan Fifes and Drums -Sterling Heights, MI
•Federal City Brass Band - Baltimore, MD
•American Originals Fife and Drum Corps - Annapolis, MD
•3d U.S. Infantry Regiment (The Old Guard) Continental Color Guard - Fort Myer, VA
•and the United States Army Old Guard Fife and Drum Corps - Fort Myer, VA

You'll need to have Apple Quicktime running (download here).


Download Program here.

Memorial Day, nee Decoration Day

Memorial Day History
(from http://www.usmemorialday.org/backgrnd.html)

Memorial Day, originally called Decoration Day, is a day of remembrance for those who have died in our nation's service.

There are many stories as to its actual beginnings, with over two dozen cities and towns laying claim to being the birthplace of Memorial Day. There is also evidence that organized women's groups in the South were decorating graves before the end of the Civil War: a hymn published in 1867, "Kneel Where Our Loves are Sleeping" by Nella L. Sweet carried the dedication "To The Ladies of the South who are Decorating the Graves of the Confederate Dead" (Source: Duke University's Historic American Sheet Music, 1850-1920).

While Waterloo N.Y. was officially declared the birthplace of Memorial Day by President Lyndon Johnson in May 1966, it's difficult to prove conclusively the origins of the day. It is more likely that it had many separate beginnings; each of those towns and every planned or spontaneous gathering of people to honor the war dead in the 1860's tapped into the general human need to honor our dead, each contributed honorably to the growing movement that culminated in Gen Logan giving his official proclamation in 1868. It is not important who was the very first, what is important is that Memorial Day was established. Memorial Day is not about division. It is about reconciliation; it is about coming together to honor those who gave their all.

General John A. Logan
Library of Congress, Prints & Photographs Division, [LC-B8172- 6403 DLC (b&w film neg.)]

Memorial Day was officially proclaimed on 5 May 1868 by General John Logan, national commander of the Grand Army of the Republic, in his General Order No. 11, and was first observed on 30 May 1868, when flowers were placed on the graves of Union and Confederate soldiers at Arlington National Cemetery. The first state to officially recognize the holiday was New York in 1873. By 1890 it was recognized by all of the northern states. The South refused to acknowledge the day, honoring their dead on separate days until after World War I (when the holiday changed from honoring just those who died fighting in the Civil War to honoring Americans who died fighting in any war). It is now celebrated in almost every State on the last Monday in May (passed by Congress with the National Holiday Act of 1971 (P.L. 90 - 363) to ensure a three day weekend for Federal holidays), though several southern states have an additional separate day for honoring the Confederate war dead: January 19 in Texas, April 26 in Alabama, Florida, Georgia, and Mississippi; May 10 in South Carolina; and June 3 (Jefferson Davis' birthday) in Louisiana and Tennessee.

In Flanders Fields
John McCrae, 1915.

In Flanders fields the poppies blow
Between the crosses, row on row
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

In 1915, inspired by the poem "In Flanders Fields," Moina Michael replied with her own poem:

We cherish too, the Poppy red
That grows on fields where valor led,
It seems to signal to the skies
That blood of heroes never dies.

She then conceived of an idea to wear red poppies on Memorial day in honor of those who died serving the nation during war. She was the first to wear one, and sold poppies to her friends and co-workers with the money going to benefit servicemen in need. Later a Madam Guerin from France was visiting the United States and learned of this new custom started by Ms.Michael and when she returned to France, made artificial red poppies to raise money for war orphaned children and widowed women. This tradition spread to other countries. In 1921, the Franco-American Children's League sold poppies nationally to benefit war orphans of France and Belgium. The League disbanded a year later and Madam Guerin approached the VFW for help. Shortly before Memorial Day in 1922 the VFW became the first veterans' organization to nationally sell poppies. Two years later their "Buddy" Poppy program was selling artificial poppies made by disabled veterans.


In 1948 the US Post Office honored Ms. Michael for her role in founding the National Poppy movement by issuing a red 3 cent postage stamp with her likeness on it.

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Memorial Day - Origins
Memorial Day and the women behind its history
By Jone Johnson Lewis, About.com Guide

On April 25, 1866, in Columbus, Mississippi, a women's association decorated the graves of both Union and Confederate soldiers. In a nation trying to find a way to move on after a war that split the country, states, communities and even families, this gesture was welcomed as a way to lay the past to rest while honoring those who had fought on either side.

The first formal observance seems to have been on May 5, 1866, in Waterloo, New York -- President Lyndon Johnson recognized this as the "Birthplace of Memorial Day."

On May 30, 1870, General Logan gave an address in honor of the new commemorative holiday. In it he said: "This Memorial Day, on which we decorate their graves with the tokens of love and affection, is no idle ceremony with us, to pass away an hour; but it brings back to our minds in all their vividness the fearful conflicts of that terrible war in which they fell as victims.... Let us, then, all unite in the solemn feelings of the hour, and tender with our flowers the warmest sympathies of our souls! Let us revive our patriotism and love of country by this act, and strengthen our loyalty by the example of the noble dead around us...."

Elias Howe Drum, ca. 1861

Won yesterday on eBay (item no. 270580141924), sold by futurepast ( 640) for $461.78 is this remarkable piece of U.S. history:



Here’s some background on Elias Howe:

Chronological List of Fife Tutors after 1839
Compiled by Susan Cifaldi
http://www.colonialmusic.org/Resource/FifeDrum.htm

1851 Howe, Elias Jr. Howe's School for the Fife. Boston: Oliver Ditson & Co., 1851. Pp. 56.
Advertisement for same title in Howe's School for the Flute. (Boston: 1843). X(Cifaldi); photocopy at Company of Fifers and Drummers, Ivoryton, CT.

1861 Howe, Elias. The Army and Navy Fife Instructor. Boston: Elias Howe, 1861. Pp. 64.

1862 Howe, Elias. Howe's United States Regulation Drum and Fife Instructor. Boston: Elias Howe, 1862. Pp. 93.

1863 Howe, Elias. Howe's New Fife Without a Master. Boston: Elias Howe, 1863. [pp 3-198 from Howe, Elias. The Musician's Omnibus No. 1. (1864) and The Musician's Omnibus No. 2. ca 1864]. X(Cifaldi), photocopy at Company of Fifers and Drummers, Ivoryton, CT.

1870 Howe, Elias. Howe's United States Regulation Drum and Fife Instructor. Boston: Elias Howe, [1870]. Pp. 72. X(Camus)

And, from http://www.beafifer.com/howedrumandfifeinstructor.htm:

In 1851, Howe published his Howe's School for the Fife, a tutorial that also included over 150 tunes, many of which are commonly played today. Highly regarded in peacetime, this book was commonly used to teach fifers prior to the onset of hostilities in the War Between the States. It was also used to train fifers in the Civil War music schools at Newport Barracks, Kentucky and Governor's Island in New York harbor.

Howe is best known among our contemporaries for his United States Drum and Fife Instructor, published in 1862, which is often used by the various Civil War music schools conducted today. Unfortunately, the copies used were multi-generational photostatic copies from original manuscripts, significantly reduced in size, and of extremely poor quality. It has now been digitally restored to its original size (8 x 9-1/2 inches), distracting background removed, and has been digitally enhanced for clarity.



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BOSTON OF TO-DAY
RICHARD HERNDON, EDWIN MONROE BACON
POST PUBLISHING COMPANY, 1892.
US 13181.28A
PP. 265,6

ELIAS HOWE
HOWE, ELIAS, born in Framingham in 1820, is one of the oldest living music-publishers in the United States, having issued his first music-book over fifty-one years ago [1841].

His parents were in humble circumstances and he early went to work. His first outside work was riding a neighbor's horse during ploughing, for the munificent remuneration of two cents a day. As a boy he was naturally musical, and, having obtained an apology for a violin, used to spend his spare hours fiddling the old tunes then popular. At that time there were few or no collections of music that could be bought, as it was only published singly or in sheet-music form, and sold at a high price per sheet; and as it was beyond his means to have a collection of printed music, he was in the habit of copying in a blank book every tune he heard played or could get hold of. In this way, in the course of time, he had gathered a large collection of music in his book, and it was in great demand by all the musicians the country round, who used frequently to borrow it to use at dances.

Early in 1840, when nineteen years old and working on a farm, it occurred to him that he might make some money if he could but get his book published. Accordingly, obtaining from his employer a few days' leave of absence, he came up to Boston to try his fortune here. Submitting his manuscript to Albert J. Wright, of the firm of music printers Wright & Kidder, then doing business in Cornhill, he was told that it would cost five hundred dollars to issue the first edition of a few hundred copies. Asked if he had any friends in Boston or at home who could help him with funds, he replied that he had none with money, but that he would " work his legs off to make the book a success, if they would only print it for him."

Finally Wright & Kidder agreed to make the plates and print the books at their own expense, allowing him to take the copies as fast as he was able to pay for them. The book thus published was "The Musician's Companion," and afterwards, when issued in three volumes, it ran through many editions, and an immense number were sold. Mr. Howe bought his first small stock from his publishers in borrowed money, and soon accumulated a little capital by peddling his books from door to door.

From this beginning sprang the immense number of music books at a popular price which are published in the United States. In 1842 Mr. Howe opened his first store in Providence, R.I., at No. 98 Westminster street. Here he carried on a small music-business, besides repairing accordeons and umbrellas, until 1843, when he sold out.

Afterwards, moving back to Boston, he published " Howe's Accordeon Preceptor," with an entirely original system of instruction, which soon reached the sale of one hundred thousand.

This was followed by " Howe's Violin School," the first of the cheap, selfmastering books, containing a large collection of graded popular music, of which over five hundred thousand copies have been sold.

Mr. Howe's first store in Boston was in the old Scollay Building, where he was associated with Henry Tolman, the only partner in business he ever had. Afterwards he successively occupied Nos. 5, 9, and 11 Cornhill.

About 1850 he sold out his entire business to Oliver Ditson and retired, buying the large estate in South Framingham of Seth B. Howes of circus fame. There he lived quietly, meanwhile acting as manager of the South Reading Ice Company several years, until about 1861, when he again entered his old business. Establishing himself at No. 33 Court street, moving from there to No. 61 Cornhill, and then to No. 103 Court street, he began making drums, and during the early years of the war he sold drums and fifes to nearly all the Massachusetts regiments and to many of the Western States.

He also published music, especially military band and drum and fife, for use in the armies. Much of this music was sent to Louisville, Ky., and after the war he was informed that it all went into the Confederate army and was played there. Since the war days Mr. Howe has continued publishing music, steadily enlarging his catalogue and issuing many notable books. His series of instruction books for all instruments, still popular, have reached a sale of over a million copies.

About twelve years ago [1880] he moved to his present warerooms, Nos. 88 and 90 Court street. In 1871, foreseeing the present great popularity of violins, he determined to have his choice in old violins before they had been picked over; and with this in view he made his first trip to Europe. Since that time he has made many trips abroad. scouring the Continent for bargains in old and new violins, violas, violoncellos, and double basses, rare and curious instruments, and now he has the largest and finest collection of old violins in the world.

African American Civil War Drummer Boy in Watercolor

Appearing in Cowan's auction "2010, American History, Including the Civil War, June 11":

Folk art watercolor and graphite on board, 15.75 x 19.5 in. Artist Frederick Rolty in lower right. Above the right shoulder Negro Drummer Boy Willie Simpson and above left, 1863 Morristown N.J.V. Co. 42. We have been unable to locate this individual, apparently since he served New Jersey rather than the USCT. Musician records do not seem to have been as carefully kept as soldiers' records in any state, and as an African American, the record just may not exist. There was a 42nd USCT, but they were not organized until April 1864.

Condition: Indentations around edges and some paint missing at top where the painting was apparently matted or framed. Board is thin and has bowed slightly.

(EST $500-$700)

1886-87 Minnesota Militia Drummer

Appearing on Cowan's website without further description:

(EST $50-$100)
Price Realized: $998.75
Price includes buyer's premium.

Note, the print is reversed (not uncommon), the drum is held together by 8 rods rather than by ropes. And the drum has a bell strategically located to the drummer's left where it could be struck with the right hand reaching over the drum and remain conveniently out of reach when the drum was played normally. The bell strike must have looked pretty too as the drummer's right hand moved across the drum to strike the bell at the top of the upper counterhoop.

Finally, the drum looks to be reflecting light on the part of the shell facing the floor suggesting that it might have been made of metal. And, the drum appears to be relatively shallow which is consistent with its steep angle from the suspension point. A deeper drum would have hung more upright.

The card reads, "Overland & Holand, Fergus Falls, Minn. That photography shop is listed in the Minnesota Historical Society's "Directory of Minnesota Photographers" to have been in operation during 1886-1887.

Civil War Tintype of 8th Maine Drum Corps

Mislabeled "8th Main Drum and Bugle Corps", I believe that this is a drum corps only, no bugles. Also, Note that the print is reversed left to right (drummers wore their drums on their left knee, not the right as shown here). And, there might be one fifer in the front line next to the sergeant.

Appearing in Cowan's auction "2010, American History, Including the Civil War, June 11":

Lot of 2, including half-plate tintype, probably copied from an outdoor albumen showing the full Drum and Bugle Corps of the 8th Maine said to have been taken at the surrender of Gen. Lee at Appomattox. Drummer Weeks appears in the back row, dead center. This panoramic image captures the seven snare and one base drum of the corps together with the Bandmaster-Sergeant and his assistant who wear unusual non-regulation chevrons. The entire group stood for the photograph uniformed in shell jackets trimmed in white, rectangular belt plates, and kepis. All wear the regulation drum sling, except the base drummer. Several young black boys mill in the background, including one who is wearing a kepi and is probably informally attached to the corps. A brick building stands to the left rear while a tree in full bloom provides a canopy of shade suggesting that this could be Virginia in April. Lot also includes glass negative, 3.25 x 3.75 in., and modern silver gelatin print of a drummer boy from the 8th Maine.

Condition: Plate in very good condition with minor bends in corners; once probably framed, with oval mat line evident.

(EST $1000-$1500)

Pre-Civil War Militia Snare Drum

Appearing in Cowan's auction "2010, American History, Including the Civil War, June 11":

A pre-Civil War regimental militia drum with painted patriotic eagle and inscription E. Pluribus Unum on body, interior of drum features maker's label Binney & Ellis / Umbrella, Parasol, and Cane Manufacturers / Boston, which also includes a list of the various instruments Binney & Ellis manufacture; 16.5 in. dia., 17.5 in. tall.

Condition: Tear in bottom head; expected wear to surface; top and bottom rims have shifted.

(EST $3000-$4000)

Early-Mid 19th Century Snare Drum with ID'ed CW Soldier's Name

eBay seller jcmtin ( 2840) describes item no. 370374872052 as follows:

[G]reat early drum estate fresh, [k]no[w] very little on it, see pics, [I']m sure the rope was a replacement at some point, leather parts are still there, see pics, skin has some worm holes, see pics for overall condition, [I] googled [S]anford [B]ennett, he was in the 40th [W]isconsin [V]ol, [C]ivil [W]ar, and later wrote a song ["I]n the [S]weet [B]y and [B]y" after the [C]ivil [W]ar which was a big hit, maybe a [GAR] drum , [I] don['] know you be the judge approx, 15in tall and 16in across.

Drum Collection in Boston's Museum of Fine Arts

Last week I attended the opening reception for the new Musical Instrument Museum in Phoenix, Arizona (more on that later). There I met another guest, Darcy Kuronen, Curator of Musical Instruments at Boston's Museum of Fine Arts ("MFA"). Among other things, we discussed MFA's 1834 H. Prentiss drum (photo below).

Today I searched MFA's website and found the below images of interest to this blog's readers.

Ellis Mirsky
Blogmaster@FieldDrums.com

Side drum about 1800, Belgium

Height 44 cm, diameter 45.5 cm (Height 17 5/16 in., diameter 17 15/16 in.) Brass
Classification: Musical instruments

Object is currently not on view

Brass barrel, two skin heads held by wooden loops laced with cord braces and tightened with leather tags. Two snares below.

Museum of Fine Arts, Boston

Leslie Lindsey Mason Collection, 1917
Accession number: 17.2020

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Bass drum and two mallets about 1810, England

Height 73.5 cm, diameter 65 cm (Height 28 15/16 in., diameter 25 9/16 in.) Wood

Classification: Musical instruments

Object is currently not on view

Wooden barrel, overlapped and riveted with three rows of flat- headed brass rivets. Painted white scroll, decorations, no inscriptions. Two painted wooden hoops held with cord braces and tightened with leather tags. One hoop braces with sheet iron patches (riveted on). Two drumsticks.

Museum of Fine Arts, Boston

Leslie Lindsey Mason Collection, 1917
Accession number: 17.2021a-c

Provenance/Ownership History: Ex. coll. Francis W. Galpin Ex. coll. Francis W. Galpin Ex. coll. Francis W. Galpin

This object is included in the following Selected Tour(s):
•Percussion Musical Instruments

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Bass drum about 1815, England

Height 80 cm, diameter 72 cm (Height 31 1/2 in., diameter 28 3/8 in.), Wood

Inscriptions: Painted on shell (on large red square): DARTMOUTH INDEPENDENT HARMONY BAND / (on a small scroll: Unity is strength)

Classification: Musical instruments

Object is currently not on view

Wooden barrel built up with two shells of equal height. Two wooden hoops, braced and tightened with cord and tags. Below inscription are white and blue ensigns with the flagstaffs crossed.

Museum of Fine Arts, Boston

Leslie Lindsey Mason Collection, 1917
Accession number: 17.2022

Provenance/Ownership History: Ex. coll. Francis W. Galpin

This object is included in the following Selected Tour(s):
•Percussion Musical Instruments

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The Drummer Boy about 1862
William Morris Hunt, American, 1824–1879

91.76 x 66.36 cm (36 1/8 x 26 1/8 in.)
Oil on canvas

Inscriptions: Lower right: WMHunt [WMH in monogram]

Classification: Paintings

Object is currently out on long-term loan

Following the election of anti-slavery president Abraham Lincoln, the southern states seceded and formed the Confederate States of America. When the war began, both sides believed it could be quickly won, and patriotic feeling surged. This image, painted early in the war, shows a barefooted boy beating the drum for volunteer soldiers.

Museum of Fine Arts, Boston

Gift of Mrs. Samuel H. Wolcott, 1966
Accession number: 66.1055

Provenance/Ownership History: The artist; to J.H. Wolcott, Boston, after 1862; Samuel H. Wolcott, his grandson, Boston, 1891; to Mrs. Samuel H. Wolcott, 1935; to MFA, 1966, gift of Mrs. Samuel H. Wolcott.

This object is included in the following Selected Tour(s):

•American Paintings
•MFA Images: American History

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Drummer Boy 1862–65
William Morris Hunt, American, 1824–1879

Sheet: 101.9 x 68.6 cm (40 1/8 x 27 in.)
Framed: 123.2 x 88.3 x 4.8 cm (48 1/2 x 34 3/4 x 1 7/8 in.)
Charcoal heightened with white chalk on gray-green paper

Inscriptions: L. r.: MH

Classification: Drawings

Object is currently not on view

Museum of Fine Arts, Boston

Ellen Kelleran Gardner Fund, 1967
Accession number: 67.789

Provenance/Ownership History: Vose Galleries, Boston, MA; purchased by MFA, September 13, 1967.

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Bass drum and mallet 1813–19
Frederick Lane, American, 1791–1865

Boston, Massachusetts, United States
Height 60 cm, diameter 62 cm (Height 23 5/8 in., diameter 24 7/16 in.), Ash

Classification: Musical instruments

On view in the: Musical Instruments Gallery

Ash (?) shell with painted decoration consisting of an American eagle with "E Pluribus Unum" on a fluttering banner over a shield. Skin heads held on by red-painted wood hoops laced with rope and leather tensioners. Includes old wooden mallet.

Museum of Fine Arts, Boston

Gift of the Family of Charles E. Black and Gale L. Perron, including Karen A. Black, Diane L. (Black) Conners, Emmie Perron Black and Katrina Perron-Black, 1986
Accession number: 1986.937a-b

Provenance/Ownership History: Donated by Charles E. Black of Hingham, Massachusetts. Black apparently inherited the instrument from his father, Clarence Edgar Black, originally from Waldoboro, Maine. It was supposedly handed down through several generations of the family, and is believed to have been used in the War of 1812 by Joseph Jewett (1780-1852) of Alna, Maine.

This object is included in the following Selected Tour(s):
•Percussion Musical Instruments

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Side drum probably 1834

Distributed by: Henry H. Prentiss, American, 1801–1860

[Blogmaster's Comment: I believe that the artwork is by Charles Hubbard based on other emblazonments on Prentiss drums of that era. See, e.g.
1. "More on the First Corps of Cadets and the 1834 Drum by H. Prentiss (Boston), Painting by Charles Hubbard,", this blog, Dec. 13, 2009;
2. "John Robbins' Bunker Hill Drum at Old State House, Boston ", this blog, March 20, 2009; and
3. "William H. Guthman's Incredible Drum Collection", Jan. 7, 2009.]

Boston, Massachusetts, United States
Height 35.5 cm, diameter 42 cm (Height 14 in., diameter 16 9/16 in.), Maple

Inscriptions: Extensive printed label (see photo):

Classification: Musical instruments

On view in the: Musical Instruments Gallery

Museum of Fine Arts, Boston

Gift of the Reed Family, 1993
Accession number: 1993.900

Provenance/Ownership History: Donated by Donald W. Reed of Bridgewater, Massachusetts. Reed inherited the instrument from William A. Reed of North Abington, Massachusetts.

This object is included in the following Selected Tour(s):
•Percussion Musical Instruments

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Henry Prentiss about 1830

[Blogmaster's Comment: Possibly the same H. Prentiss to whom the above drum is attributed?]

Attributed to: William Lewis, American, 1788–after 1838

6.98 x 5.46 cm (2 3/4 x 2 1/8 in.)
Watercolor on Ivory

Classification: Miniatures

Object is currently not on view

Museum of Fine Arts, Boston

Gift of Nellie Isabel Simpson, 1931
Accession number: 31.640

Provenance/Ownership History: The artist; Nellie Isabel Simpson; to MFA, 1931, gift of Nellie Isabel Simpson.

This object is included in the following Selected Tour(s):
•American Miniatures