Art

Panorama of the Army of the Cumberland

The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.

Place: Massachusetts

Fearnaught Stallions

A color print of two chestnut horses (Lancet and Fearnaught Boy) with light manes pulling a cutter on a country road. They are joined by a T-shaped tongue, and their harnesses are light and handsome.
Description
A color print of two chestnut horses (Lancet and Fearnaught Boy) with light manes pulling a cutter on a country road. They are joined by a T-shaped tongue, and their harnesses are light and handsome. The driver is wearing a black coat with lapels, gloves, a boat-shaped hat, and a beaver rug over his knees. He is probably their owner David Nevins, Jr. A split rail fence borders the road. Mountains are in the distance, and the landscape is covered with snow.
Lancet and Fearnaught Boy were owned by David Nevins Jr. of Framingham, Massachusetts.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Location
Currently not on view
Date made
1875
maker
Haskell & Allen
artist
Eaton, L. G.
original artist
Leighton, Scott
ID Number
DL.60.3555
catalog number
60.3555

Boston Common

Color print of a tree-lined path in a park (Boston Common) with pedestrians strolling and people seated on benches. An iron fence lines a bank on the left side with a large building visible on the other side of the fence.Currently not on view
Description (Brief)
Color print of a tree-lined path in a park (Boston Common) with pedestrians strolling and people seated on benches. An iron fence lines a bank on the left side with a large building visible on the other side of the fence.
Location
Currently not on view
Date made
n.d.
maker
Haskell & Allen
ID Number
DL.60.3686
catalog number
60.3686

Illustrated Catalogue of Fine Art Studies

Currently not on view
Location
Currently not on view
Date made
1890
printer
L. Prang & Company
maker
L. Prang & Company
ID Number
GA.06947
catalog number
06947
accession number
-

The Army of the Potomac

This print by John Henry Bufford shows the Army of the Potomac at the conclusion of the 1862 Peninsula Campaign. General McClellan had intended to capture the Confederate capital of Richmond in the summer of 1862, but after a series of engagements with Robert E.
Description
This print by John Henry Bufford shows the Army of the Potomac at the conclusion of the 1862 Peninsula Campaign. General McClellan had intended to capture the Confederate capital of Richmond in the summer of 1862, but after a series of engagements with Robert E. Lee’s Army of Northern Virginia in the Seven Days Battle, he withdrew to the James River, 20 miles from Richmond. Lincoln then called for the Army of the Potomac to return to Washington, D.C. The failure of the Peninsula Campaign crushed the morale of Union forces, who believed the capture of the Confederate capital would bring about an end to the fighting.
In the background of this print, long trains of covered wagons and troops of the Army of the Potomac retreat from Chickahominy to the James River. In the foreground, some soldiers cross Bear Creek while others rest on its banks. General George McClellan is visible at the bottom of the print on a white horse, looking out upon the withdrawal of his forces. This print is identical to another by Bufford, which has the more cynical title – “The Retreat.”
This print was published by the lithographer John Henry Bufford. The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he had a good reputation for printing and publishing popular framing prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
John Badger Bachelder (1825-1894) was born in New Hampshire and began his career as a portrait and landscape painter. During the Civil War, he accompanied the Union Army and made sketches from 1861 to 1863, and worked as a print publisher in Boston from 1863 to 1865. Union officers often commented on the accuracy of his artwork. He documented scenes of the War, particularly at Gettysburg and created a guidebook to the battle in 1873. From 1883 to 1887 he served as Superintendent of Tablets and Legends for the Gettysburg Battlefield Memorial Association, during which time he wrote a detailed history of Gettysburg from the Union perspective.
Location
Currently not on view
Date made
1863
maker
Bachelder, John Badger
lithographer
Bufford, John Henry
ID Number
DL.60.2604
catalog number
60.2604
accession number
228146

Abandonment of the Whalers in the Arctic Ocean Sept 1871. Plate 3.

Black and white print of whaling ships; seventeen whaling vessels are on the edge of an ice field. All the ships names are listed below the image and above the title.Currently not on view
Description (Brief)
Black and white print of whaling ships; seventeen whaling vessels are on the edge of an ice field. All the ships names are listed below the image and above the title.
Location
Currently not on view
Date made
1872
maker
Bufford, John Henry
Newell, J.P.
original artist
Russell, Benjamin
ID Number
DL.60.3258
catalog number
60.3258

Assassination of President Lincoln

After Lincoln’s assassination, Northern families often displayed in their homes lithographic prints of the man they believed to be the savior of their nation.
Description
After Lincoln’s assassination, Northern families often displayed in their homes lithographic prints of the man they believed to be the savior of their nation. This colored print from shortly after Lincoln’s death depicts an interior scene of his assassination at Ford’s Theater on April 14, 1865. John Wilkes Booth wields a blood stained knife and jumps from the box where Lincoln sits slumped in his chair. Mary Todd Lincoln attends to her husband while the surrounding spectators exhibit hysteria and alarm. The Lincolns’ box, depicted as extremely small and overcrowded, contains their guests, Major Henry R. Rathbone and his fiancée, Clara Harris, although another unidentified female onlooker also occupies the box. Lincoln's guard had earlier left his post, so he is not depicted. On the top of the box railing rest a pair of opera glasses and a program, inscribed, “Ford's Theat../ American Cousin,” which is the name of the play being performed that night. Oddly, the audience on the first floor of Ford's Theater appears to be viewing the events from the same level as the box, which makes Booth's leap one story down to the stage seem like a short hop over the box parapet to the floor. Prints of the assassination were in such demand immediately after the event that printmakers paid little attention to the accuracy of the depictions.
The artist of this work, James E Baker (1837-1914), began as an apprentice at J. H. Bufford & Co. in 1857. He eventually became John Bufford’s principal draftsman and illustrator of sheet music. He worked in NYC in 1860-1867 and specialized in portrait prints. During the Civil War he produced, for Bufford, political cartoons and lithographs relating the national drama. He later worked for Armstrong & Company, remaining active until 1888.
Location
Currently not on view
Date made
ca. 1865
ca 1865
depicted
Lincoln, Abraham
Booth, John Wilkes
Lincoln, Mary Todd
Harris, Clara
Rathbone, Henry Reed
maker
Baker, Joseph E.
ID Number
DL.60.2547
catalog number
60.2547
accession number
228146

Daniel O'Connell

Color print; full length portrait of man (Daniel O'Connell) standing by a tree with a dog at his side. A large country house is in the right background.Currently not on view
Description (Brief)
Color print; full length portrait of man (Daniel O'Connell) standing by a tree with a dog at his side. A large country house is in the right background.
Location
Currently not on view
Date made
n.d.
depicted
O'Connell, Daniel
maker
Haskell & Allen
ID Number
DL.60.3142
catalog number
60.3142
accession number
228146

Independence Declared 1776. The Union Must Be Preserved

Black and white print; central figure of George Washington surrounded by one representative from each of the thirteen states. Washington is holding a scroll upon which is printed, "We declare ourselves free and independent. Behind him is a depiction of the Battle of Bunker Hill.
Description (Brief)
Black and white print; central figure of George Washington surrounded by one representative from each of the thirteen states. Washington is holding a scroll upon which is printed, "We declare ourselves free and independent. Behind him is a depiction of the Battle of Bunker Hill. Above him are bust portraits of the first eight presidents of the U.S. The print is flanked by two columns intended to represent New England rising out of Old England surmounted by Hope and Liberty. This print was an example of a commemorative created about 50 years after the American Revolution.
Location
Currently not on view
date made
1839
depicted
Madison, James
Monroe, James
Adams, John Quincy
Jackson, Andrew
Van Buren, Martin
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
Warren, Joseph
Jefferson, Thomas
Washington, George
Adams, John
maker
Moore, Thomas
Arnold, Joseph A.
ID Number
DL.60.2579
catalog number
60.2579
accession number
228146

"A Child of the State" by George Hoey

This colored theater print depicts a scene from a play A Child of the State in which a young woman stands outside a doorway at the top of the stairs. She is surrounded by nuns, and men in plain dress stand guard on each side of the doorway.
Description
This colored theater print depicts a scene from a play A Child of the State in which a young woman stands outside a doorway at the top of the stairs. She is surrounded by nuns, and men in plain dress stand guard on each side of the doorway. Four men and three women in elaborate clothing are in the foreground. The play was adapted by George Curtis Hoey (1852-1907), New York City playright/actor, from French melodrama called Les Orphelines de la Charite. There is a datebill or pasted on label indicating the play was performed: Park Theater, Dec 28, 29, & 30. The year is not included bit it was circa 1880, and George Hoey played the part of the character Gros- Rene.
The Park Theater was built in 1798 on Park Row in Manhattan and was New York City’s premiere performance space in the early 19th Century. It attracted a diverse audience with each class sitting in its preferred section. Working class men sat in the pit; members of the upper class and women in the boxes, while the less affluent including immigrants, people of color, and prostitutes sat in the balcony.
This chromolithograph was produced by the Forbes Lithograph Manufacturing Company. The Forbes Lithograph Manufacturing Company was founded by William H. Forbes (ca 1836-1915), who immigrated to the United States from Liverpool, England in 1848. Forbes became an apprentice in the lithography business while still a boy and established William H. Forbes and Company in Boston in 1861. The firm expanded to become Forbes Lithograph Manufacturing Company in 1875 with hundreds of employees and offices in Boston, New York, Chicago, and London. During World War II the company became a major printer of allied military currency but went out of business later in the twentieth century.
Location
Currently not on view
date made
ca 1880
ca 1880
maker
Forbes Lithograph Manufacturing Company
ID Number
DL.60.3013
catalog number
60.3013
accession number
228146

View from Ruggle's House Newburgh

Color print of a verandah and a rose-covered arbor lining a path down to a river (Hudson). Sail boats are visible on the river.Currently not on view
Description (Brief)
Color print of a verandah and a rose-covered arbor lining a path down to a river (Hudson). Sail boats are visible on the river.
Location
Currently not on view
Date made
n.d.
maker
Sowle & Shaw
ID Number
DL.60.3652
catalog number
60.3652

The Black Valley Railroad by artist Emile Ackerman and lithographed by J. Mayer and Company

This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station".
Description
This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station". The train is leaving a tranquil valley and heading toward doom with skeletons and snakes in the background. The print has a considerable amount of descriptive and interpretive text.
This print was created by the artist Emil F. Ackermann, who was born in Dresden, Germany in 1840 and came to the United States in 1848. Ackermann eventually went to work for the lithography firm of J.H. Bufford and Sons, which produced the lithograph in the 1860s.
It was issued by the Massachusetts Temperance Alliance and published by Reverend Steadman Wright Hanks in his book The Crystal River Turned Upon the Black Valley Railroad and Black Valley Country -- A Temperance Allegory (also known as The Black Valley: The Railroad and the Country). Hanks called the print "probably the most successful temperance lecture in the country." Stedman Wright Hanks (1811-1889) was a Congregational minister in Lowell, Massachusetts, as well as an author, artist, and fervent supporter of both the temperance and anti-slavery movements. Hanks spoke to audiences around the United States about the evils of overindulging in alcohol. In addition to his book about the Black Valley Railroad, his published works included Sailor Boys, or, Light on the Seaand Mutineers of the "Bounty and compiled a temperance song book and served as a representative in the Massachusetts General Court. He is also noted for performing the sermon commemorating John Quincy Adams death at the St. John Street Congregational Church.
This print was produced by J. Mayer and Company. Julius Mayer was a lithographer in Boston from 1857-1872. He was associated with Prang & Mayer (1857-1860), Mayer & Stetfield (1861-1862), and J. Mayer & Co. (1863-1872). His prints included scenes of Boston and Portland, Maine.
Location
Currently not on view
Date made
1863
copyright holder
Hanks, S. W.
artist; engraver
Ackermann, Emil
lithographer
J. Mayer and Company
ID Number
DL.60.2890
catalog number
60.2890
accession number
228146

New England Glass Company Paperweight

In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter.
Description (Brief)
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
The New England Glass Company in Cambridge, Massachusetts was founded about 1818 by Deming Jarves along with three wealthy businessmen, and probably began producing paperweights by the mid 1850s. In 1888 the business moved to Ohio, under the name Libbey Glass Company.
This rare New England Glass Company paperweight features a triple posy on a red, white, and blue swirl over an opaque white ground.
Location
Currently not on view
date made
1852-1880
maker
New England Glass Company
ID Number
CE.60.121
catalog number
60.121
accession number
211475

Boston & Sandwich Company Paperweight

In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter.
Description (Brief)
In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
Deming Jarves found the Boston & Sandwich Glass Company in Sandwich, Massachusetts in 1825, after leaving the New England Glass Company. The wares of these two companies can be easily confused as they shared owners, employees and managers.
This Boston & Sandwich Company paperweight is decorated with a vase of pink and white Roses against a pink, red, and white swirl latticinio (latticework) ground.
Location
Currently not on view
date made
1852-1880
maker
Boston & Sandwich Glass Company
ID Number
CE.60.158
catalog number
60.158
accession number
211475

1831 World Map by Marianne S. Fernald, Student at Charlestown Female Academy

This hand drawn map, a cartography school assignment, was created Marianne S. Fernald who signed the work M.A.S. Fernald/1831. It depicts the eastern and western hemispheres as perceived at the time.
Description
This hand drawn map, a cartography school assignment, was created Marianne S. Fernald who signed the work M.A.S. Fernald/1831. It depicts the eastern and western hemispheres as perceived at the time. Included are geographic labels, including continents, regions, islands, and bodies of water. The bottom reads, Charlestown, Female Publick School..
Marianne S. Fernald (1816-1871), the daughter of William and Sarah Fernald, would have been a 14 year old student at the time she created this map as a student of the Charlestown Female Seminary.
The Charlestown Female Seminary was opened in 1830 at 30 Union Street and founded by 2 Baptist pastors, Dr. William Collier and Dr. Henry Jackson. For the citizens of Charlestown, one of the oldest neighborhoods in Boston, Massachusetts, this was the second school for girls. the first was Mount Benedict Academy, which was an Ursuline convent and finishing school. Both were tragically burned to the ground by a Nativist mob in 1834.
By May 9, 1831, the Charlestown Female Seminary was being run by Martha Whiting, one of the pioneers in female education. In her memoirs she states that there were about 40 pupils and 4 teachers; that later increased to 160 students.To prepare young ladies for "republican motherhood" or as teachers, they outfited the school with a telescope, a microscope with about 400 objects, and a set of transparent maps. They taught music, drawing, painting, penmanship, projection of maps, bookkeeping, English, American and ancient history, political economy, Latin and of course the scriptures. There were also special lectures of physiology and chemistry and philosophy. While the trustees were all men, Miss Whiting was appointed the first headmistress or Governess when she came from a school in Hingham, Ma She later became Director until her death in 1853.
Private female seminaries and academies catering to girls from wealthy and upper middle class families were common in the East and in urban areas of the United States during the first half of the 19th Century.
Location
Currently not on view
date made
1831
ID Number
2014.0244.004
accession number
2014.0244
catalog number
2014.0244.004

Genl Israel Putnam: The Iron Son of "76" Effecting his Escape from British Dragoons

Hand colored print of General Israel Putnam (1718-1790) on horseback escaping from British troops.
Description (Brief)
Hand colored print of General Israel Putnam (1718-1790) on horseback escaping from British troops. While Putnam had several heroic episodes during the American Revolution, this print depicts "Old Put" narrowly escaping the British in Greenwich on February 26, 1779 while he escaped out a window on his saddled horse and galloping off the edge of a rocky embankment while waving his sword in warning as he is being fired upon.
The graphic artist or lithographer of this print is unknown though it may be James Baillie but Sowle and Shaw is identified as the publisher/distributor of this print. John Sowle and Albert Shaw were principals in the firm of Soule and Shaw, listed in the Boston city directory as dealers of pictures (prints and engravings). The company was in business from 1845-1850 until Shaw was replaced by Joseph Ward as an owner.
Location
Currently not on view
date made
ca 1845
publisher
Sowle & Shaw
ID Number
DL.60.2536
catalog number
60.2536
accession number
228146

Ben Morrill

Color print of a dark brown trotting horse pulling a sulky and driver. White picket fence in background.A color print of a dark brown stallion pulling a sulky and driver on a race track. The equipment is streamlined and colorful.
Description (Brief)
Color print of a dark brown trotting horse pulling a sulky and driver. White picket fence in background.
Description
A color print of a dark brown stallion pulling a sulky and driver on a race track. The equipment is streamlined and colorful. The driver wears a maroon jacket, white shirt, purple pants, a blue cap and yellow gloves. The track is enclosed by a white picket fence.
Ben Morrill was foaled in 1868 from Winthrop Morrill and the Harrison Ames Mare in Winthrop, Maine. He was owned by T.B. Williams. His career ran from 1872-79. Ben Morrill never reached the level of the Grand Circuit horses, but he was well loved throughout New England and Canada and a particular favorite in Boston. On October 29, 1874 Ben Morrill, driven by J.J. Bowen, won two out of nine heats at Prospect Park Fairgrounds in a race for trotters that had never raced under 2:30. Ben Morrill sired seven trotters that reached the under 2:30 achievement.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Location
Currently not on view
Date made
1875
maker
Haskell & Allen
artist
Howe, E.R.
original artist
Leighton, Scott
ID Number
DL.60.3538
catalog number
60.3538

Slavery as it Exists in America./ Slavery as it Exists in England.

This 1850 print offers a defense of slavery in America by satirically comparing it with a perceived system of “wage slavery” in England.
Description
This 1850 print offers a defense of slavery in America by satirically comparing it with a perceived system of “wage slavery” in England. In the top panel, two Northern men and two Southern men look upon a group of seemingly content slaves who are shown dancing, playing music, and smiling. The Northerners are surprised at this scene, amazed to find that popular assumptions at home about slavery were unfounded. The Southerners hope that the Northerners will return home with a new perspective on slavery, but demonstrate their readiness to fight for their rights if necessary. The lower panel shows a gathering of people outside of a cloth factory in England. On the side of the factory, a sign reads, “Sale / A Wife to be Sold.” On the left, a young farmer talks to his childhood friend, who appears as an old man. The older figure explains that life in a British factory producing cloth ages one more quickly, and that the workers die of old age at 40. To their right, a mother looks down upon her three children, lamenting “What wretched slaves, this factory life makes me & my children. Continuing right, two factory workers contemplate running away to the coal mines, where they would only work for 14 hours instead of their current 17. On the far right, two rotund men, a priest and a tax collector, approach the workers with books labeled “Tythes” and “Taxes.” In the right corner, a man thanks God that he will soon die and be free of his “factory slavery.” Below the panels is included a portrait of the bust of George Thompson, a Scottish abolitionist. An accompanying quote from Thompson reads, “I am proud to boast that Slavery does not breathe in England,” although the creators of this print would argue otherwise. It was printed by British born John Haven ( born ca 1817), who was active in New York City at 3 Broad Street 1846-1848. He then moved to 86 State Street, Boston where he was active 1848-1850. He is known for designing maps as well as for prints on Manifest Destiny and prints with political commentary.
Location
Currently not on view
Date made
1850
depicted
Thompson, George
maker
Haven, Joshua P.
ID Number
DL.60.3490
catalog number
60.3490

Yankee Volunteers Marching into Dixie in 1862 by

This 1862 chromolithograph of Union soldiers in "Uncle Sam" costumes, parading down a road in formation, led by a uniformed Union officer with a raised sword.
Description
This 1862 chromolithograph of Union soldiers in "Uncle Sam" costumes, parading down a road in formation, led by a uniformed Union officer with a raised sword. The costumes include striped beige pantaloons, blue tailcoats, red vests, white top hats, and jack boots, and each man carries a rifles over his shoulder. A drummer and fife player proceed at the front of the group the men behind them fly several large American flags. This patriotic print portrays the confident and smiling volunteers as righteous heroes, marching for freedom. The unrecognizable topography of the land across the river suggests that this print depicts an imagined view of either Boston, where the lithographer and publisher resided, or Washington, D.C. Visible in the distance is either the domed Massachusetts State House with wings prior to their actual construction or an anticipated vision of the completed U.S. Capitol with dome. Perhaps the indistinct setting was meant to appeal to Union supporters both in New England and nationally. Initially published as a sheet music cover, this colorful print was also used as a recruitment wall print. The image highlights the shift from Brother Jonathan, an early character representing New England and the Northern states, to Uncle Sam, a symbol of the strength of the federal government. By the end of the Civil War, Brother Jonathan had been replaced by this new personification of the American nation.
The lithographer of this print was John Henry Bufford (1829-1870/71). The son of a sign painter and gilder, Bufford trained with Pendleton's Lithography in Boston, 1829-1831. He worked in New York with George Endicott and Nathaniel Currier (1835-1839) before returning to Boston where he developed a reputation for printing and publishing popular prints, commercial work, labels, and trade cards. The company went through several iterations and name changes until about 1865. He became the chief artist for Benjamin Thayer until buying out the firm to found J. H. Bufford & Co. (1844-1851). He continued to work in the lithography and publishing business for the remainder of his life. In 1865, his sons Frank and Henry John became partners in Bufford & Sons or J.H. Bufford’s Sons Litho. Co. After his death they continued the family business as Bufford Brothers and as Bufford Sons Engraving & Lithographing Company until 1911.
The work was copyrighted by Charles Fessenden Morse of Boston. Morse joined the Second Massachusetts Volunteer Infantry in 1861, and was a friend of Robert Gould Shaw, who commanded the 54th Massachusetts Infantry, one of the first all-black regiments formed during the Civil War. Morse fought at Cedar Mountain, Antietam, Chancellorsville, and Gettysburg. After the war, he became influential in Kansas City, Missouri, where he was president of the Kansas City Stockyards.
Location
Currently not on view
Date made
1862
publisher
Morse, Charles Fessenden
Morse, A. G.
lithographer
Bufford, John Henry
printer; publisher
Morse, Charles Fessenden
maker
Bufford, J. H.
ID Number
DL.60.3308
catalog number
60.3308
accession number
228146

Loretta Lynn

Loretta Lynn is a classic country singer whose life--from her autobiography, Coal Miner's Daughter--is a well-known story. She was one of the first stars to sing with a feminist point of view.
Description
Loretta Lynn is a classic country singer whose life--from her autobiography, Coal Miner's Daughter--is a well-known story. She was one of the first stars to sing with a feminist point of view. Her songs, like "Don't Come Home a-Drinkin' (with Lovin' on Your Mind)" and "The Pill," broke new ground in country music. Lynn (b. 1935) and Conway Twitty were named Vocal Duo of the Year by the Country Music Association for years in a row in the early 1970s.
Location
Currently not on view
negative
1971
print
2003
depicted (sitter)
Lynn, Loretta
maker
Horenstein, Henry
ID Number
2003.0169.011
accession number
2003.0169
catalog number
2003.0169.011

The Famous Roan Horse Capt Mc Gowan as He Appeared in His 20th Mile

Color print of a trotting horse (Capt. McGowan) pulling a sulky on a racetrack. A white picket fence borders the track. The caption indicates that this is River Side Park, Brighton, Mass. on Oct.
Description (Brief)
Color print of a trotting horse (Capt. McGowan) pulling a sulky on a racetrack. A white picket fence borders the track. The caption indicates that this is River Side Park, Brighton, Mass. on Oct. 31, 1865.
Description
A color print of a brown horse attached by a light harness to a sulky with a driver who is intent on holding the reins. The driver wears a heavy red sweater and beaked cap. The sulky is red and highly polished. A picket fence borders the track. Pretentious country homes are in the wooded area beyond the park. It is a scene of River Side Park, Brighton, Mass. on Oct. 31, 1865.
Captain McGowan was bred in 1857 by Sovereign and Sally Miller, but his pedigree is debated. It is believed that he was born in Kentucky and owned by Samuel Emerson of Boston. He set a record in 1865 of trotting 20 miles in one hour (56 minutes, 25 seconds).
Location
Currently not on view
Date made
1865
maker
J. H. Bufford and Sons
ID Number
DL.60.3595
catalog number
60.3595

A Hunt Above The Timber Line

This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould.
Description (Brief)
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 13. A hunt above the timber line [Big-horn]. Edward Knobel. Depicted are four big horn sheep running across boulders in the foreground. A fifth sheep falls, shot by one of two hunters visible in the left background.
The artist was Edward Knobel (1839-1908), noted for his illustrations of plants and animals.
Location
Currently not on view
date made
1890
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Knobel, Edward
ID Number
DL.60.2730
catalog number
60.2730
accession number
228146

The Colonel! Eric Bayley's The Colonel Comedy Company by Joseph E. Baker and published by Forbes Lithographic Manufacturing Company

This colored print depicts two scenes, one at the center and the other on the left, from the play The Colonel. The top corners each contain a circular portrait, one of Eric Bayley and the other of Mindha Bayley.
Description
This colored print depicts two scenes, one at the center and the other on the left, from the play The Colonel. The top corners each contain a circular portrait, one of Eric Bayley and the other of Mindha Bayley. Other characters are pictured down the right side and in an inset scene at the bottom, with a peacock and frogs in rushes in the light of a full moon. There are also several sunflowers in the design.
The Colonel tells the story of two imposters trying to get control of another family's fortune. It was written by F. C. Burnand (1836-1917), a British writer and editor of Punch, and based on an earlier drama called The Serious Family by Morris Barnett (1800-1856). It was first produced in London in 1881 and brought to the United States by Eric and Mindha Bayley in 1882. Eric Bayley played the role of Edward Langton and Mindha performed as a character named Olive.
This chromolithograph was produced by Forbes Lithograph Manufacturing Company and Joseph Edwin Baker. Baker (1837-1914) was a lithographer, cartoonist and pencil portraitist known for an 1860 portrait of Abraham Lincoln. He began his printing career as an apprentice at J. H. Bufford & Co. in 1857, and eventually became John Bufford’s principal draftsman and illustrator of sheet music. During the Civil War, Baker produced political cartoons and lithographs for Bufford. He also created playbills and advertisements for the Forbes Company and marine scenes. Baker later worked for Armstrong & Company, remaining active until 1888.
The Forbes Lithograph Manufacturing Company was founded by William H. Forbes (ca 1836-1915), who immigrated to the United States from Liverpool, England in 1848. Forbes became an apprentice in the lithography business while still a boy and established William H. Forbes and Company in Boston in 1861. The firm expanded to become Forbes Lithograph Manufacturing Company in 1875 with hundreds of employees and offices in Boston, New York, Chicago, and London. During World War II, the company became a major printer of allied military currency but went out of business later in the 20th century.
Location
Currently not on view
Date made
n.d.
date made
1882-1888
depicted
Bailey, Eric
maker
Forbes Lithograph Manufacturing Company
Baker, Joseph E.
ID Number
DL.60.3050
catalog number
60.3050
accession number
228146

Porter Wagoner

One of the most recognizable figures in country music, Porter Wagoner was known as the "Thin Man from West Plains, Missouri." He began recording music in 1954 after several years of singing on a local radio station. In 1961, Wagoner (b.
Description
One of the most recognizable figures in country music, Porter Wagoner was known as the "Thin Man from West Plains, Missouri." He began recording music in 1954 after several years of singing on a local radio station. In 1961, Wagoner (b. 1927) began to host his own country music television show, which was syndicated for 21 years.
Location
Currently not on view
negative
1972
print
2003
depicted (sitter)
Wagoner, Porter
maker
Horenstein, Henry
ID Number
2003.0169.022
accession number
2003.0169
catalog number
2003.0169.022

The Great Fire at Boston, November 9th & 10th 1872.

Color print of a large fire along the waterfront of Boston.Currently not on view
Description (Brief)
Color print of a large fire along the waterfront of Boston.
Location
Currently not on view
Date made
after 1872
maker
Haskell & Allen
ID Number
DL.60.3299
catalog number
60.3299

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