Domestic Furnishings

Tiffany Floor Lamp

Washboards, armchairs, lamps, and pots and pans may not seem to be museum pieces. But they are invaluable evidence of how most people lived day to day, last week or three centuries ago. The Museum's collections of domestic furnishings comprise more than 40,000 artifacts from American households. Large and small, they include four houses, roughly 800 pieces of furniture, fireplace equipment, spinning wheels, ceramics and glass, family portraits, and much more.

The Arthur and Edna Greenwood Collection contains more than 2,000 objects from New England households from colonial times to mid-1800s. From kitchens of the past, the collections hold some 3,300 artifacts, ranging from refrigerators to spatulas. The lighting devices alone number roughly 3,000 lamps, candleholders, and lanterns.

Date: 1860s

hook, latch

Wrought iron hasp or hook latch. Flattened shaft with oblong opening at bottom to allow for staple to protrude, circular opening at top, and attached J-shaped latch to hook into staple. No mark. Rusted.Currently not on view
Description
Wrought iron hasp or hook latch. Flattened shaft with oblong opening at bottom to allow for staple to protrude, circular opening at top, and attached J-shaped latch to hook into staple. No mark. Rusted.
Location
Currently not on view
date made
c. 1800-1860
ID Number
DL.388997
catalog number
388997
accession number
182022

Teakettle

Pit-bottom teakettle with bellied gooseneck spout and cast-in arched ears above its high, rounded shoulder for the mushroom-shaped strap bail handle, concave in section; no feet. Removable, pivoting, double-stepped lid swings on bearing next to back ear.
Description
Pit-bottom teakettle with bellied gooseneck spout and cast-in arched ears above its high, rounded shoulder for the mushroom-shaped strap bail handle, concave in section; no feet. Removable, pivoting, double-stepped lid swings on bearing next to back ear. Both pieces are hollow cast: body has a pronounced horizontal seam that extends to top of spout and a single gate mark and raised "8" on bottom exterior; cover bordered by "B & S. 272 PEARL ST.N.Y." and "PATENTED DEC.18.1866", both cast in raised serif letters.
"B & S." appears to stand for Benham & Stoutenborough, a housewares merchant and manufacturer at 272 Pearl Street, run by Darius Benham and Xenophon Stoutenborough. William Hailes of Albany, NY, received U.S. Patent No. 60,508 for his "mode of attaching covers to kettles, boilers, stoves, etc." on December 18, 1866.
Location
Currently not on view
date patented
1866-12-18
date made
ca 1870
patent date
1866-12-18
ID Number
1982.0090.17
accession number
1982.0090
catalog number
1982.0090.17

Artificial Berry

Life-size, pale yellow berry, probably a strawberry; truncated cone shape with dimpled top surface and rough underside.Currently not on view
Description
Life-size, pale yellow berry, probably a strawberry; truncated cone shape with dimpled top surface and rough underside.
Location
Currently not on view
date made
1864 - 1865
ID Number
DL.60.0252.19
catalog number
60.0252.19
accession number
67038

spoon

Currently not on view
Location
Currently not on view
date made
1868 - 1869
ID Number
DL.66.0586I
catalog number
66.0586I
accession number
265238

St. Louis 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.
Glass production at Saint Louis was authorized by Louis XV in 1767. By 1782 the firm was creating high quality glass crystal, progressing into pressed glass in the 1800s. St. Louis produced paperweights from 1845 to about 1867.
A blue, double Clematis is suspended over a ground formed by an overlay of amber-colored glass in this faceted St. Louis paperweight.
date made
1845-1867
maker
St. Louis
ID Number
CE.60.111
catalog number
60.111
accession number
211475

San Francisco in 1848

Color print of a city (San Francisco) beside a bay. Hills rise sharply from the shore. Sailing vessels and row boats are on the water.Currently not on view
Description (Brief)
Color print of a city (San Francisco) beside a bay. Hills rise sharply from the shore. Sailing vessels and row boats are on the water.
Location
Currently not on view
Date made
n.d.
maker
Maclure, Macdonald & Macgregor
ID Number
DL.60.3870
catalog number
60.3870

Spoon Bowl

Pointed oval spoon bowl, broken off at shaft just abouve ogee-curve shoulders; struck once on back of bowl with a symmetrical, opposing scroll motif. No other marks. One of two broken-off spoon bowls with identical decoration, DL*60.1096-.1097.Currently not on view
Description
Pointed oval spoon bowl, broken off at shaft just abouve ogee-curve shoulders; struck once on back of bowl with a symmetrical, opposing scroll motif. No other marks. One of two broken-off spoon bowls with identical decoration, DL*60.1096-.1097.
Location
Currently not on view
date made
1810-1860
ID Number
DL.60.1097
catalog number
60.1097
accession number
115031

Coffeepot

Baluster- or pear-shaped, octagonal panel-sided coffeepot with conforming, bell-shaped, hinged lid and straight tapered foot; four panels are engraved with flowers and C scrolls while the two center panels have identical reserves, one bearing the monogram "MAW" in conjoined folia
Description
Baluster- or pear-shaped, octagonal panel-sided coffeepot with conforming, bell-shaped, hinged lid and straight tapered foot; four panels are engraved with flowers and C scrolls while the two center panels have identical reserves, one bearing the monogram "MAW" in conjoined foliate script and the other a crest of a left-facing bird atop a coronet and heraldic wreath with leaves. Spurred and faceted, S-curve handle pinned into thin insulators and conforming sockets. Faceted, S curve spout engraved on belly. Body perforated at spout. Bottom underside struck "TIFFANY & C\o." and "550 BROADWAY.N-Y" encircling "7833", "G & W" stamped twice, "ENGLISH STERLING / 925-1000", and "13", all in incuse serif letters.
Made by Grosjean & Woodward for Tiffany & Company of New York, NY, 1854-1865.
Location
Currently not on view
date made
1854 - 1865
owner; user
Washington, Mary Anne Hammond
ID Number
DL.60.1000
catalog number
60.1000
accession number
71656

Winter Pleasure in the Country

Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.Currently not on view
Description (Brief)
Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.
Location
Currently not on view
date made
ca 1865
maker
Kimmel and Forster
ID Number
DL.60.2645
catalog number
60.2645
accession number
228146

Overshot coverlet panel, Civil War era

Blue and white overshot coverlet panel or length. According to the donor, this coverlet was acquired whole during the Civil War by Union officer, Capt. Peter Stamats during General Sherman’s “March to the Sea.” Stamats took this coverlet from an evacuated enemy encampment.
Description
Blue and white overshot coverlet panel or length. According to the donor, this coverlet was acquired whole during the Civil War by Union officer, Capt. Peter Stamats during General Sherman’s “March to the Sea.” Stamats took this coverlet from an evacuated enemy encampment. Stamats is a grandfather of the donor. This blue and white overshot coverlet panel was woven in a pattern similar to “Seven Stars.” When Capt. Stamats returned home, he separated the coverlet into panels and gave them to his three children. The panel measures 93 inches by 26.25 inches. All of the yarns, both the cotton ground warp and weft and the wool supplementary weft yarns are Z-spun singles. It is possible that this coverlet was produced by enslaved weavers.
Location
Currently not on view
Date made
19th century
date made
mid 19th century
maker
unknown
ID Number
TE.T12724
catalog number
T12724.000
accession number
238999

1840 - 1860 Block-printed Cotton Quilt

The top of this quilt is cotton, block printed and painted in England or France in the late 18th century. The floral, tree, and bird motifs were popular for fabrics at that time.
Description
The top of this quilt is cotton, block printed and painted in England or France in the late 18th century. The floral, tree, and bird motifs were popular for fabrics at that time. Probably the fabric was originally used for bed furniture that included curtains at the sides, head, and foot, enclosing the whole bed. When these sets became worn, faded, or out-dated, the fabric was frequently recycled. The floral-designed, roller-printed fabric used for the lining is from the mid-19th century.
Location
Currently not on view
date made
1840-1860
maker
unknown
ID Number
TE.T16394.000
catalog number
T16394
accession number
303663
1973.303663

Broiler

Stationary broiler or gridiron with a grill of two slender rods and eight, concave, parallel bars held between a tall bracket at front and a shorter bracket at back.
Description
Stationary broiler or gridiron with a grill of two slender rods and eight, concave, parallel bars held between a tall bracket at front and a shorter bracket at back. Straight, flat handle with small circular terminal is secured to back of arched tab at top center of rear bracket with a square washer. Concave bars are pierced with a small hole at shorter end to collect grease and drippings. No marks.
Location
Currently not on view
date made
1830 - 1860
ID Number
DL.127283
catalog number
127283
accession number
18060

1840 - 1860 "Pineapple" Quilt

The pineapple motif, often associated with hospitality, was pieced-and-appliqued on sixteen 13-inch white blocks for this mid-19th century quilt. The blocks are framed by appliqued swags with small pineapples and buds, also of orange and green cottons.
Description
The pineapple motif, often associated with hospitality, was pieced-and-appliqued on sixteen 13-inch white blocks for this mid-19th century quilt. The blocks are framed by appliqued swags with small pineapples and buds, also of orange and green cottons. According to family information, it was made by the great-great-great aunt of the donor, unfortunately no name was given.
Location
Currently not on view
date made
1840-1860
maker
unknown
ID Number
TE.T12694
accession number
237884
catalog number
T12694

Artificial Tomato

Small-scale, deeply lobed, bright yellow tomato with green cast around stem hole and on top of lobes.Currently not on view
Description
Small-scale, deeply lobed, bright yellow tomato with green cast around stem hole and on top of lobes.
Location
Currently not on view
date made
1864 - 1865
ID Number
DL.60.0252.41
catalog number
60.0252.41
accession number
67038

Rail Shooting on the Delaware

Colored print of two men in a boat amongst reeds and lily pads. One stands in the front of the boat firing at a bird, the other stands at the rear, poling.Currently not on view
Description (Brief)
Colored print of two men in a boat amongst reeds and lily pads. One stands in the front of the boat firing at a bird, the other stands at the rear, poling.
Location
Currently not on view
date made
1866
maker
Sinclair, Thomas
ID Number
DL.60.2797
catalog number
60.2797
accession number
228146

Artificial Pickle Half

Unpainted, dull pale yellow, life-size half of a pickle or pickling cucumber; solid interior with flat surface.Currently not on view
Description
Unpainted, dull pale yellow, life-size half of a pickle or pickling cucumber; solid interior with flat surface.
Location
Currently not on view
date made
1864 - 1865
ID Number
DL.60.0252.29A
catalog number
60.0252.29A
accession number
67038

The Old Flag Again, Waves Over Sumter

Although Charleston and its surrounding fortifications were often targets of Union bombardments and sieges, the city did not surrender until the final months of the war.
Description
Although Charleston and its surrounding fortifications were often targets of Union bombardments and sieges, the city did not surrender until the final months of the war. Finally, as General Sherman approached the city, the mayor surrendered it to Union forces on February 18, 1865. This print depicts a scene from that day, when Captain Bragg planted an American flag into the ground at the site of Fort Sumter, where the first shots of the war had been fired. Henry M. Bragg was the aid-de-camp of general Quincy Adams Gillmore, who decimated the fortification after its Confederate occupiers refused to surrender it in August of 1863. The remains of its artillery and barricades and defenses are strewn about the captain’s feet.
In his right hand, Brag grips an impromptu flagpole which appears to have been cobbled together from an oar and a gaff. The 35 stars on the captain’s flag are configured in the shape of a large five-pointed star on a blue background. This design differs from those of the two flags raised over Sumter on the 18th of February, indicating that the artist, Feodor Fuchs, employed artistic liberty when drafting the scene. Behind the captain stand two other soldiers, one holding a bayonet, and the other, possibly General Gillmore himself, carrying a sword. Behind them, the city of Charleston is on fire. The surrender on February 18th, was actually peaceful, although previous fires and bombardments had already destroyed much of the city.
The artist of the print, Feodor Fuchs, was a German-American painter and lithographer who was active in Philadelphia, where he contributed to several Kimmel & Forster prints during the Civil War. By 1876, he had relocated to Milwaukee, Wisconsin.
Christopher Kimmel was born in Germany around 1850 and after immigrating to the United States, was active in New York City from 1850 to 1876. He was part of Capewell & Kimmel from 1853 to 1860, and then partnered with Thomas Forster in 1865, forming the lithography firm of Kimmel & Forster, which was active until 1871.
Location
Currently not on view
Date made
1865
maker
Kimmel and Forster
Fuchs, Feodor
ID Number
DL.60.3323
catalog number
60.3323

spoon

Currently not on view
Location
Currently not on view
date made
1868 - 1869
ID Number
DL.66.0586A
catalog number
66.0586A
accession number
265238

Artificial Berry

Life-size, pale red berry, probably a strawberry; truncated cone shape with dimpled top surface and rough underside.Currently not on view
Description
Life-size, pale red berry, probably a strawberry; truncated cone shape with dimpled top surface and rough underside.
Location
Currently not on view
date made
1864 - 1865
ID Number
DL.60.0252.06
catalog number
60.0252.06
accession number
67038

Foot Warmer Patent Model

Full-size patent model (U.S. Patent No. 50,123) of a hot water- or sand-heated foot warmer or stove, made by Hermann Hock and Jacob Zilz of Philadelphia, PA, and patented on September 26, 1865.
Description
Full-size patent model (U.S. Patent No. 50,123) of a hot water- or sand-heated foot warmer or stove, made by Hermann Hock and Jacob Zilz of Philadelphia, PA, and patented on September 26, 1865. Consists of a wooden box with a red velvet-upholstered, hinged lid that contains a removable tinplate container or reservoir with brass ring-handled plug for the heat source. Off-white wool-lined interior. Rectangular silver plaque mounted below spring latch is engraved "H. Hock & J. Zilz / Phil\a." in script surrounded by flourishes.
This patent model is the protoype for foot warmer DL*311658.
Location
Currently not on view
patent date
1865-09-26
inventor
Hock, Hermann
Zilz, Jacob
ID Number
DL.251770
catalog number
251770
patent number
50,123
accession number
48890

The Mammoth Grove. Plate V. The Three Graces.

Black and white print of three prominent evergreen trees with other trees in the background.Currently not on view
Description (Brief)
Black and white print of three prominent evergreen trees with other trees in the background.
Location
Currently not on view
Date made
1862
maker
Vischer, Edward
ID Number
DL.60.3836
catalog number
60.3836

1840 - 1860 "Rose of Sharon" Quilt Block

The "Rose of Sharon" quilt block with scalloped edges is pieced of plain red, green and yellow cotton, pink and white roller printed cottons. The red and green buds and leaves on curved stems are appliqued. Part of a series of blocks intended for a quilt.Currently not on view
Description
The "Rose of Sharon" quilt block with scalloped edges is pieced of plain red, green and yellow cotton, pink and white roller printed cottons. The red and green buds and leaves on curved stems are appliqued. Part of a series of blocks intended for a quilt.
Location
Currently not on view
date made
1840-1860
maker
unknown
ID Number
TE.E387833.00B
accession number
188128
catalog number
E387833B

1867 Susan Rogers's Family Album Quilt

Embroidered in the lower left corner of this Brooklyn, New York, quilt is the quilter's name, "Susan Rogers," with the date "1867." Each of the twenty-five blocks has a different design and most of them contain an embroidered name or initials of a family member.
Description
Embroidered in the lower left corner of this Brooklyn, New York, quilt is the quilter's name, "Susan Rogers," with the date "1867." Each of the twenty-five blocks has a different design and most of them contain an embroidered name or initials of a family member. The quilt was donated to the Museum by the wife of Susan Rogers's great-great-grandson.
A tree filled with birds is the detailed design of the block containing Susan Rogers's name. On one of the branches there is a robin holding a worm in its beak, and a nest with three open-mouthed baby birds begging to be fed, while a seated cat waits patiently below. Other blocks contain appliquéd symbols of military service or membership in benevolent and fraternal organizations. Seven of the blocks contain tiny appliquéd United States flags as part of their patriotic designs. The majority of the blocks have floral motifs. The name "Nellie," Susan's thirteen-year-old granddaughter is embroidered under a basket of flowers. Another floral motif block has the initials "E L," probably for Emma Louise, Susan's ten-year-old granddaughter. A vase decorated with the image of a young boy, cut from printed cotton, and filled with flowers, has "Mother" embroidered underneath it.
The focus of the album quilt, the center block, is a decorated tree. The presents or decorations include baskets of fruit and flowers, oranges, stockings, a cane, a candy cane, a ladder, parasols, an umbrella, a bottle of bitters, a fish, a bird, a mitten, a slipper, a picture of a dog in an oval frame, a cat on a mat, a pipe, a watch, a bird in a cage, and other gifts. A few are marked with names or initials. Under the fenced-in base of the tree, Susan embroidered "Merry Christmas." Susan Rogers's quilt is a charming example of the mid-nineteenth-century album quilt, each block unique and personalized.
Location
Currently not on view
Date made
1867
quilter
Rogers, Susan
ID Number
TE.T15474
catalog number
T15474
accession number
293922

1860 - 1865 Matilda Whisler's "Whig Rose" Appliqued Quilt

Matilda Whisler appliquéd this variation of the “Whig Rose” pattern in the mid-19th century. She accentuated the pattern with outline quilting on all of the appliquéd motifs.
Description
Matilda Whisler appliquéd this variation of the “Whig Rose” pattern in the mid-19th century. She accentuated the pattern with outline quilting on all of the appliquéd motifs. Quilted feathered plumes (“Princess Feather”), diagonal lines ¼-inch apart, and clamshells on the outer edges further enhance the design. Finely quilted at 7-10 stitches per inch, hers is a typical example of the red and green quilts popular in that period.
Matilda Kramer was born in Frederick County, Va., on 18 March 1817. She married Henry Whisler, a native of Rockingham County, Va., in 1818. According to census information, they lived in Rockingham County and had three daughters and a son. Henry was a shoemaker. His son, Cambias (1846-1909) followed his father in the shoemaking trade. Henry died in 1885, and Matilda on 15 September 1898. Both are buried in Trissell’s Mennonite Church Cemetery in Rockingham County.
In 1942, the donor, one of Matilda’s daughters, wrote: “In 1861 my mother made a very beautiful quilt which is still in excellent condition. . . . I shall be glad to donate it.” Matilda’s carefully crafted quilt in the “Whig Rose” pattern was considered a “desirable specimen” by the Museum.
Location
Currently not on view
date made
1860-1865
maker
Whisler, Matilda Kramer
ID Number
TE.T08613
accession number
162596
catalog number
T08613

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