Clothing & Accessories

Women's Gown (cheong sam) ca. 1930

Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.

The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.

Place: Massachusetts

Rarus, The Fastest Trotting Horse in The World.

Color print of a bay trotting horse pulling sulky and driver.A color print of a bay horse pulling a sulky and jockey on a track. His equipment is designed for speed. The jockey wears a jacket, white shirt, long pants, and billed cap.
Description (Brief)
Color print of a bay trotting horse pulling sulky and driver.
Description
A color print of a bay horse pulling a sulky and jockey on a track. His equipment is designed for speed. The jockey wears a jacket, white shirt, long pants, and billed cap. A grassy pasture with pond and trees borders the track, with low hills in the distance.
Rarus was bred by R.B. Conklin upon his retirement in New York in the early 1800s. His dam was called Nancy Awful because she had terrible tantrums, but Conklin bred her to Rysdyk’s Hambletonian to produce a stunning bay trotting prospect. Rarus was marked as a future champion from birth, and Conklin gave him an over-abundance of attention compared to the other horses on the farm. In his first practice race at age three, Rarus trotted the mile in three minutes. Rarus won his first scrub race at age six under the training of James Meade on August 21, 1874 in Long Island, winning a purse of $800. He was then transferred to Brooklyn to train under James Page and lowered his record to 2:28 ½ in one season. His early rival, Kansas Chief, was a former cowpony, and the two went back and forth in winnings for two seasons before Conklin changed Rarus’ driver to John Splan. Rarus was then entered in the Grand Circuit, where he won continuously for two years. Conklin continually turned down offers for the horse up to $45,000 because he believed the same amount of money could be won in purses. Rarus was hailed as “King of the Turf” for a short time after beating Goldsmith Maid’s on August 3, 1878 in Buffalo. His time, 2:13 1/4, was promoted as the “Greatest Achievement on Record.” Z.E. Simmons finally purchased Rarus for $36,000, but the sale was poorly timed. Because it was to take place before an exhibition, track officials were furious and banned both Rarus and Conklin from all tracks forever. With no choice, Simmons sent Rarus to Robert Bonner’s farm. Rarus was eventually inducted into the Harness Racing Hall of Fame in 1978 as an “Immortal.”
Location
Currently not on view
Date made
1878
maker
F. M. Haskell & Co.
ID Number
DL.60.3535
catalog number
60.3535

Dress up in Front

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This colored print is a full length view of a woman lifting her skirt as she steps from a curb to the street. The woman is wearing a fancy bonnet with a veil, a loose fitting jacket, a long flowing skirt over a striped petticoat and hoop and high button shoes. A man is watching her over her right shoulder; over her left shoulder a man is driving a carriage or a wagon.
This lithograph was printed by John Henry Bufford (1810-1870), from Portsmouth, Massachusetts. Prior to moving to New York in 1835, Bufford apprenticed under William S. Pendleton. In New York, he worked for George Endicott and later Nathaniel Currier. In 1840, Bufford moved back to Boston and started work for another lithography firm. By 1844 the firm and shop name had changed to J.H. Bufford & Co. In 1867, Bufford became the manager of the New England Steam Lithographic Printing Company. He died three years later Boston.
Location
Currently not on view
date made
1856-1864
maker
Bufford, John Henry
ID Number
DL.60.2287
catalog number
60.2287
accession number
228146

John Pounds by William Sharp and Ephraim Bouve

This colored print depicts a teacher named John Pounds repairing a shoe and listening to a boy standing next to him reading aloud from a book. Many other children line the schoolroom. Bird cages, shoe forms, books, shoes, boots, and a stack of slates decorate the wall.
Description
This colored print depicts a teacher named John Pounds repairing a shoe and listening to a boy standing next to him reading aloud from a book. Many other children line the schoolroom. Bird cages, shoe forms, books, shoes, boots, and a stack of slates decorate the wall. Two birds sit on the shelf and a cat stands by Pounds' feet. John Pounds (1766-1839) taught impoverished children in Portsmouth, England. His innovative teaching methods and philanthropic aims have been celebrated in publications, paintings, and memorials in his honor.
This print was created by William Sharp (artist) and produced by the lithographic firm of Bouve and Sharp. William Sharp (1803-1875) was an English-born lithographer and painter who arrived in Boston, Massachusetts around 1839-1840. He was credited with introducing chromolithography to America after his arrival. Sharp worked with the lithographer Francis Michelin (1809/10-1878) and with lithographer and engraver Ephraim Bouve (1817-1897) from 1843-44. He established his own business in New York in 1844. Ephraim W. Bouve (1817-1897) was a lithographer and engraver. The firm of Bouve and Sharp produced city scenes, book illustrations and portraits.
Location
Currently not on view
date made
1843-1844
depicted
Pounds, John
lithographer
Bouve & Sharp
artist
Sharp, William
ID Number
DL.60.2830
catalog number
60.2830
accession number
228146

Dexter, Ethan Allen and Mate

Color print of a race between three trotting horses; Dexter, pulling one sulky, and Ethan Allen and his mate pulling a second sulky, at Fashion Course, Long Island, on June 21,1867.A color print of a race in progress between Ethan Allen and a stable mate pulling one sulky and Dex
Description (Brief)
Color print of a race between three trotting horses; Dexter, pulling one sulky, and Ethan Allen and his mate pulling a second sulky, at Fashion Course, Long Island, on June 21,1867.
Description
A color print of a race in progress between Ethan Allen and a stable mate pulling one sulky and Dexter pulling the other. The team is ahead. The jockeys wear jackets, bow ties, close fitting pants, and caps. A line of trees and billowy clouds against a blue sky are in the background. It takes place at Fashion Course, LI on June 21, 1867.
Dexter was foaled in Walden, Orange County, New York in 1858 by Jonathan Hawkins. His sire was Hambletonian and his dam was Clara. Dexter had four white stockings, which was traditionally considered unlucky in a racing horse, but it was superstition he proved to be worthless. In 1862 he was sold for $400 to George B. Alley, who broke him into racing. In 1863 he was sent to Hiram Woodruff and showed 2:42 pulling a wagon. George Trussel paid $14,000 for him in 1866 and placed him in the hands of Budd Doble. Dexter followed Flora Temple as the world’s premier trotter, dominating races between 1864 and 1867. His fastest time was 2:17 1/2, recorded in Buffalo on August 14, 1867. Following this record, he was purchased by Robert Bonner for $35,000. His versatility made him very desired, as Dexter could trot under saddle, in harness, and hitched to a wagon. Dexter’s main rival was Ethan Allen, and on June 21, 1867 on Long Island he raced Ethan Allen and his mate, Charlotte, F. Dexter lost the race but his performance was still considered impressive since he raced the pair alone. Dexter died in 1888 at thirty years old and was inducted into the Harness Racing Hall of Fame as an “Immortal” in 1956,
Ethan Allen was foaled on June 18, 1849 by Joel W.Holcomb of Ticonderoga, NY. He was sired by Vermont Black Hawk, a distant descendant of the thoroughbred Messenger, and birthed by Poll. On the Holcomb farm, he was treated as a family pet, admiration that continued through his public career. Orville S. Roe of Shoreham, Vermont, bought half an interest in the colt, so during his earlier years, he was owned jointly by Holcomb and Roe. That was the beginning of his many owners. In 1862 he was sold to Frank Baker, who, after a time, sold him to Dan Mace and I. D. Walton. In 1866 he was purchased by J. E. Maynard of Boston, who sold him to Eph. Simmons, but afterwards bought him back, and again sold him, November 5th, 1868, to Wesley P. Balch of Boston, who in turn sold him to Col. H. S. Russell of Milton, Massachusetts. Ethan Allen was known for being the most handsome trotter in the races and had one of the longest racing careers, spanning 18 seasons. In 1853 he set the 4-year-old record of 2:36. In 1858 he reduced the stallion record to 2:28 for the mile. The great achievement of his life occurred on June 21, 1867, when, at age eighteen, and hitched with a running mate, he defeated Dexter, at the Fashion Course in Long Island in 2:15, 2:16 and 2:19. He won a total of 33 races, 22 in a single harness. His titles included Champion Trotting Stallion of the World, Champion of the World at Four Years of Age, and Champion of the World to Pole, with a best time of 2:25 ½. Ethan Allen was highly popular at stud, with his fees reaching $500. He produced six under 2:30 trotters. Ethan Allen died at Sprague and Akers Farm, owned by Colonel Amasa in Lawrence Kansas on September 10, 1876 at age 27 and was buried at the entrance of the trotting course in Kansas, with a monument to commemorate his career. Later, his skeleton was exhumed and displayed at the Museum of Natural History in Lawrence. He was inducted into the Harness Racing Hall of Fame in 1999 as an “Immortal.” The popular trotting horse weather vane was based upon his silhouette.
Charlotte F., Ethan Allen’s running mate, was the thoroughbred progeny of Scythian and Sally Polk.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based lithograph publisher, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but a year later in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they did well until they went bankrupt in 1878.
Location
Currently not on view
Date made
1872
maker
Haskell & Allen
ID Number
DL.60.3530
catalog number
60.3530

F.F. Oakley, Lithographic Drawing & Printing Establishment

Black and white print on blue paper; billhead for the lithographic firm of Francis F. Oakley. Across the top are three small vignettes, one depicting a lithographer drawing on a lithographic stone, another depicting men inking a stone and printing a lithograph.
Description (Brief)
Black and white print on blue paper; billhead for the lithographic firm of Francis F. Oakley. Across the top are three small vignettes, one depicting a lithographer drawing on a lithographic stone, another depicting men inking a stone and printing a lithograph. The center view depicts an allegorical figure of a woman.
Location
Currently not on view
Date made
before 1850
maker
Oakley, Francis F.
ID Number
DL.60.3098
catalog number
60.3098
accession number
228146

Little Charlie Ross, the Stolen Child

Black and white print, bust length portrait of a child.Currently not on view
Description (Brief)
Black and white print, bust length portrait of a child.
Location
Currently not on view
Date made
1874
copyright holder
Smith, Dexter
maker
Barnes, S.
ID Number
DL.60.3205
catalog number
60.3205

Catching a Mascalonge

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 8. Catching a Mascalonge. Frank H. Taylor. It depicts three men in a boat pulling in a fish identified as a mascalong or musky.
The artist, Frank H. Taylor (1846-1927), was an illustrator, author, and photographer based in Philadelphia.
Location
Currently not on view
date made
1890
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Taylor, Frank Hamilton
ID Number
DL.60.2724
catalog number
60.2724
accession number
228146

Sherman Black Hawk

A black and white print of a black stallion running on a hastily erected race track, pulling a sulky. The rider is in a vest, tight pants, a white shirt, and a Homberg hat. The horse’s neck is disproportionately wide.
Description
A black and white print of a black stallion running on a hastily erected race track, pulling a sulky. The rider is in a vest, tight pants, a white shirt, and a Homberg hat. The horse’s neck is disproportionately wide. The center of ring contains two center pole tents with banners which read M…RSHAL and PR…DENT. A judge’s stand is in a circular grandstand with cone-shaped roof and American flag. Spectators line the periphery. The flag in the center of grounds is labeled: US Cr… Society. The scene is the US Agricultural Fair held in West Philadelphia on October 8, 1856.
Sherman Black Hawk was foaled on May 30, 1845 in Bridport, Vermont. He was sired by Black Hawk and Smith Mare, both Morgans, and owned by B.J. Myrick. He was a direct descendent of the founding Sire of the Morgan breed, “Figure” owned by Justin Morgan. At 15.2 hands, Sherman Black Hawk was reputed to be spirited, compact, and well made, and he could trot a mile in 2:40. This enabled him to win first place at both the Vermont State Fair in 1854 and the US Agricultural Fair in Pennsylvania (pictured here) in 1856. The man in the picture is thought to be Hiram Woodruff, a well-known and successful driver of the time. 50,000 attended the race at the 1856 Agricultural Fair in West Philadelphia, PA. Temporary open stands were constructed to seat up to 8,000 people, but people also flooded the infield to watch the main racing attractions.
Location
Currently not on view
Date made
n.d.
maker
Bufford, John Henry
original artist
Humphrey, Charles S.
ID Number
DL.60.3529
catalog number
60.3529

Grandpa's Watch

Currently not on view
Location
Currently not on view
Date made
1873
maker
Armstrong and Company
artist
Baker, Joseph E.
ID Number
DL.60.2377
catalog number
60.2377
accession number
228146

The Sailor's Farewell

Colored print of sailor with his arm around a young crying woman holding a handkerchief to her face. He wears a seaman's uniform of the period; she is in a simple white laced trimmed dress. They both wear rings. The print is from a daguerreotype by Ives.Currently not on view
Description (Brief)
Colored print of sailor with his arm around a young crying woman holding a handkerchief to her face. He wears a seaman's uniform of the period; she is in a simple white laced trimmed dress. They both wear rings. The print is from a daguerreotype by Ives.
Location
Currently not on view
date made
1856
artist
Grozelier, Leopold
printer
S. W. Chandler & Bro.
ID Number
DL.60.2394
catalog number
60.2394
accession number
228146

The Arkansas Traveller

Colored print depicting the famous folktale of the Arkansas Traveler, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle.
Description (Brief)
Colored print depicting the famous folktale of the Arkansas Traveler, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle. Other family members are gathered in the doorway, with one boy sitting outside.
Location
Currently not on view
date made
1859
depicted
Faulkner, S. C.
printer
J. H. Bufford and Company
artist
Washbourne, E. P.
lithographer
Grozelier, Leopold
ID Number
DL.60.2432
catalog number
60.2432
accession number
228146

Democracy

As the Civil War dragged into 1864, many Republicans worried that the unpopularity of the conflict would cause Lincoln to lose his bid for reelection.
Description
As the Civil War dragged into 1864, many Republicans worried that the unpopularity of the conflict would cause Lincoln to lose his bid for reelection. Those in the North tired with the war hoped that his opponent and former general, Democratic candidate, George McClellan, would attempt to broker a peace with the Confederacy. These peace Democrats were referred to as Copperheads by Republicans, who believed they resembled venomous serpents. This pro-Republican cartoon rebukes both McClellan and, by extension, the supporters of the Northern Democratic Party.
In the left panel, representing 1832, an enraged Andrew Jackson, the founder of the modern Democratic Party raises a fist into the air as he denounces his Vice President, John C. Calhoun. Calhoun, an ardent supporter of states’ rights believed that state governments had the power to nullify, or veto, any federal laws of which they did not approve. This led to a clash with Jackson, who, although also a proponent of states’ rights, believed in the preservation of the Union. Jackson’s response to Calhoun is contrasted with the behavior of Northern Democrats in 1864. George McClellan and his running mate, George Pendleton, prostrate themselves in front of a shoddily dressed Jefferson Davis, offering him an olive branch and promises of a “friendly separation.” Davis, holding a whip and armed with a pistol and dagger in his belt, stands tall and orders McClellan to call back “those fellows Grant, Sherman, and Sheridan also that old sea dog Farragut. Behind him, a Confederate soldier eating a corncob laughs at the Northern “fools,” who beg for peace even though the Confederacy is “in the last ditch.”
Louis Prang (1824-1910) was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil war battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints.
Location
Currently not on view
Date made
1864
depicted
Jackson, Andrew
Pendleton, George Hunt
Calhoun, John Caldwell
Davis, Jefferson
McClellan, George B.
maker
L. Prang & Company
ID Number
DL.60.3459
catalog number
60.3459

Charles Sumner

Black & white print; oval bust portrait of a man (Charles Sumner).On May 22, 1856, during the Bleeding Kansas crisis, Massachusetts Republican Senator, Charles Sumner, delivered a speech to Congress in which he denounced the Kansas-Nebraska Act of 1854 and demanded that Kansas be
Description (Brief)
Black & white print; oval bust portrait of a man (Charles Sumner).
Description
On May 22, 1856, during the Bleeding Kansas crisis, Massachusetts Republican Senator, Charles Sumner, delivered a speech to Congress in which he denounced the Kansas-Nebraska Act of 1854 and demanded that Kansas be admitted to the Union as a free state. In his oration, he verbally attacked the pro-slavery South Carolina Senator, Andrew Butler. Two days later, Preston Brooks, a South Carolina Congressman and also Butler’s cousin, nearly beat Sumner to death on the Senate floor with a cane. Responses to the attack in the North and the South further polarized the people of the nation, leading it further down the path to war. Even before he had gained renown as the victim of “Bleeding Sumner,” the Senator had been a strong proponent of abolition and civil rights for African Americans. In 1848, the city of Boston denied Sarah Robert, a five-year-old black girl, enrollment at a white-only school. Sumner represented the Roberts in front of the Massachusetts Supreme Court, challenging the racial segregation of Boston schools in the state. Although the Court ruled in favor of Boston, deeming that racial segregation was not unconstitutional, Sumner’s argument was cited in Brown v. Board of Education, which prohibited segregated schools nationwide.
This portrait of Sumner was produced sometime during the Civil War, between 1861 and 1863. It was drawn by Alfred A. Kipps, an English painter and photographer who settled in California in the mid-1860s. It was printed and published by L. Prang and Company. Louis Prang (1824-1910) was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil war battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints.
Location
Currently not on view
Date made
n.d.
depicted
Sumner, Charles
maker
L. Prang & Company
artist
Kipps, Alfred K.
ID Number
DL.60.3155
catalog number
60.3155
accession number
228146

View of the Water Celebration, On Boston Common October 25th, 1848.

Black and white print of Boston Common filled with men, women and children around a pool of water with a fountain in the center.Currently not on view
Description (Brief)
Black and white print of Boston Common filled with men, women and children around a pool of water with a fountain in the center.
Location
Currently not on view
Date made
1849
maker
Tappan & Bradford
artist
Rowse, Samuel W.
original artist
Smith, Jr., B. F.
ID Number
DL.60.3750
catalog number
60.3750

Hunting the Deer

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 11. Hunting the [Virginia] Deer. A.B. Frost. It depicts a hunter crouched behind a log, aiming a rifle at a stag.
The artist was Arthur Burdette Frost (1851-1928), known for his wildlife and sporting scenes even though he had an aversion to deer hunting. Frost was a noted illustrator (Uncle Remus), even though he was color blind.
Location
Currently not on view
date made
1889
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Frost, Arthur Burdette
ID Number
DL.60.2720
catalog number
60.2720
accession number
228146

The Life and Age of Man: Stages of Man's Life from the Cradle to the Grave by Frederick Gleason

This colored print depicts a male from infancy to old age in decade-long spans, which was a popular and recurring theme of genteel society during the 19th Century.
Description
This colored print depicts a male from infancy to old age in decade-long spans, which was a popular and recurring theme of genteel society during the 19th Century. The figures are shown on ascending steps up to age 50 and then descending, with age 100 being the lowest to the right. Each image portrays a well-dressed youth or man in appropriate attire for his position in society (i.e., gentleman, soldier, elder). Verses beneath each figure associate a depicted animal with that stage of life. In the lower center is a small vignette of three men drinking at a table while a young man and women walk away. The devil gestures between the two groups.
This print was produced by Frederick Gleason (1814-1896). a lithographer and publisher in Boston, Massachusetts. Born in September 1814 in Germany, Gleason moved to the United States in October 1836, and began his career as a bookbinder. He became a citizen in June 1840. He is best known for establishing the popular illustrated weekly Gleason's Pictorial Drawing-Room Companion in 1851, modelled on the Illustrated London News. At the time an innovation in American publishing, it brought him considerable success. After the Pictorial, Gleason published Gleason's Literary Companion from 1860–70; Gleason's Home Circle from 1871–90; and Gleason's Monthly Companion from 1872–87. He was married a second time after his first wife died, and he died November 6, 1896 in Boston.
Location
Currently not on view
Date made
ca 1850
maker
Gleason, Frederick
ID Number
DL.60.2933
catalog number
60.2933
accession number
228146

Sailor's Sea Chest

Dating to the 1790s, this sailor’s sea chest would have been one of the owner’s most important possessions. The crew on sailing ships typically owned little property—perhaps only what would fit into a chest like this one.
Description
Dating to the 1790s, this sailor’s sea chest would have been one of the owner’s most important possessions. The crew on sailing ships typically owned little property—perhaps only what would fit into a chest like this one. Not only did his chest store a sailor’s personal belongings, but it also served as his table, his chair, his bank and his bureau. These chests also gave a sailor an opportunity for personal expression through carvings, paintings, and decorations.
Carvings, a name “Jan Smart” inside a heart, and the date 1799 decorate this pine chest. It is unknown whether the name refers to the owner of the chest or someone else. The chest is broader at the base than at the top, giving it greater stability at sea. Fancy brass handles at each end provide lifting points. The top displays fancy carving around the edge, and inside there are small compartments on either end.
ID Number
DL.63.828
catalog number
63.828
accession number
245875

The Arkansas Traveller

Colored print depicting the famous folktale of the Arkansas Traveller, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle.
Description (Brief)
Colored print depicting the famous folktale of the Arkansas Traveller, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle. Other family members are gathered in the doorway, with one boy sitting outside.
Location
Currently not on view
date made
ca 1870
depicted
Faulkner, S. C.
maker
J. H. Bufford and Company
ID Number
DL.60.2431
catalog number
60.2431
accession number
228146

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

Her Majesty Victoria, Queen of Great Britian

Colored print; profile bust of a young Queen Victoria wearing a crown of flowers in her hair and long dangling earrings.Currently not on view
Description (Brief)
Colored print; profile bust of a young Queen Victoria wearing a crown of flowers in her hair and long dangling earrings.
Location
Currently not on view
date made
ca 1840
depicted
Victoria Queen of Great Britain and Ireland and Empress of India
maker
Moore, Thomas
ID Number
DL.60.2307
catalog number
60.2307
accession number
228146

Leaving Brighton Hotel for the Mill-Dam/ Summer

Color print of numerous carriages and horses on the road in front of a four-story white building identified as "Brighton Hotel"A color print of a four-story white frame hotel (Brighton Hotel) with shuttered windows and a veranda that extends around it.
Description (Brief)
Color print of numerous carriages and horses on the road in front of a four-story white building identified as "Brighton Hotel"
Description
A color print of a four-story white frame hotel (Brighton Hotel) with shuttered windows and a veranda that extends around it. Next to it is another hotel building, a covered breezeway to shelter horses, and a long horse shed. The large yard in front of the complex is filled with horses and carriages, some out of the driver’s control and threatening to collide. There are sulkys, box wagons, and a handsome coach for four and a driver. The people are quite fashionably dressed. This is part of a pair that includes a winter scene.
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.
Howe was a Boston lithographer in the 1870’s, having his business on School Street and then Hanover Street. He was an artist often listed as a lithographer.
Location
Currently not on view
Date made
1871
maker
Haskell & Allen
artist
Howe, E.R.
ID Number
DL.60.3552
catalog number
60.3552

A Day with the Chickens

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 12. A Day with the [Prairie] Chickens. R. F. Zogbaum. Depicted are two hunters shooting at prairie chickens. A dog stands at point flushing birds out of the brush. In the background a man sits in a horse-drawn wagon.
The artist was Rufus Fairchild Zogbaum (1849-1925) known for his images of horses, cowboys, and battle scenes.
Location
Currently not on view
date made
1890
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Zogbaum, Rufas Fairchild
ID Number
DL.60.2721
catalog number
60.2721
accession number
228146

Otis Patent Steam Excavator.

Color print of steam dredge designed to work under water.Currently not on view
Description (Brief)
Color print of steam dredge designed to work under water.
Location
Currently not on view
Date made
n.d.
maker
Bufford, John Henry
ID Number
DL.60.3288
catalog number
60.3288

S.E View of Portland in 1832, Taken from Fort Prebble, on Purpooduck Point.

Black and white print of the buildings of a city in the distance with a point of land jutting into a body of water in the foreground. A couple with a child and dog are on a grassy spot on the left.
Description (Brief)
Black and white print of the buildings of a city in the distance with a point of land jutting into a body of water in the foreground. A couple with a child and dog are on a grassy spot on the left. Sailing vessels are on the water to the right and in front of the city in the background.
Location
Currently not on view
Date made
1832 ca.
n.d.
artist
Bufford, John Henry
lithographer
Pendleton's Lithography
ID Number
DL.60.3677
catalog number
60.3677

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