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.

Resource Type: Chromolithographs

My Protector

Colored print of a little boy wearing eyelet-trimmed shorts, vest and jacket. He holds the leash of a brown and white dog that is seated next to him. Toys are scattered on the rug at his feet and on a table in background.Currently not on view
Description (Brief)
Colored print of a little boy wearing eyelet-trimmed shorts, vest and jacket. He holds the leash of a brown and white dog that is seated next to him. Toys are scattered on the rug at his feet and on a table in background.
Location
Currently not on view
date made
1874
maker
Schile, Henry
ID Number
DL.60.2463
catalog number
60.2463
accession number
228146

Speech of Robert Emmet, Esq.

Colored lithographic print commemorating the death of Robert Emmet, for leading an 1803 uprising in Dublin. The Goddess of Liberty stands on a tomb holding the hearts of murdered patriots in her hand.
Description (Brief)
Colored lithographic print commemorating the death of Robert Emmet, for leading an 1803 uprising in Dublin. The Goddess of Liberty stands on a tomb holding the hearts of murdered patriots in her hand. To the right is the Figure of Death attacking Lord Norbury, the judge who sentenced Emmet for High Treason. The Scales of Justice lie broken by his side. To the left of the tomb is a representation of the Maid of Erin weeping over murdered Innocence (two children). Beneath the image is the text of Robert Emmet's speech delivered at trial.
Location
Currently not on view
date made
n.d.
depicted
Emmet, Robert
publisher; distributor
Smith, William
depicted
Norbury, Lord
maker
Schnabel & Finkeldey
ID Number
DL.60.2412
catalog number
60.2412
accession number
228146

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

Ye Gods! It's a Skunk

Colored print of two hunters, a black companion, and two dogs surprised by a skunk while hunting in the snow.Currently not on view
Description (Brief)
Colored print of two hunters, a black companion, and two dogs surprised by a skunk while hunting in the snow.
Location
Currently not on view
date made
1883
maker
Bruns, William
ID Number
DL.60.2683
catalog number
60.2683
accession number
228146

Washington As a Freemason by Strobridge and Company, 1870

Chromolithographic print depicting George Washington, standing, facing left as the central figure, wearing a Masonic apron and holding a trowel in his right hand and a mallet and parchment in his left.
Description
Chromolithographic print depicting George Washington, standing, facing left as the central figure, wearing a Masonic apron and holding a trowel in his right hand and a mallet and parchment in his left. He is standing in under a Gothic arch flanked by columns with capitals of different orders and quatrefoil windows with a staircase is in the background. Bust portraits of the Marquis de Lafayette and Andrew Jackson appear in upper left and right corners, respectively. Bordering the central image are Gothic niches containing biblical scenes, allegorical figures, numerous inscriptions, and Masonic symbols and rites. Washington's coffin appears below the central image and is surrounded by a commemorative poem.
Lithography company was founded in Cincinnati, Ohio about 1847 by lithographer Elijah C. Middleton. Middleton was known as one of the pioneers of chromolithography in the United States. By 1854 lithographer W. R. Wallace and bookseller Hines Strobridge (1823-1909) had joined the firm as partners. After the Civil War Strobridge acquired sole ownership of the company and renamed it after himself. Strobridge and Company was especially well known for circus, theater and movie posters. After leaving Strobridge and Company, Elijah Middleton became known as a portrait publisher, producing prints of George and Martha Washington, Daniel Webster and other American historical figures.
Location
Currently not on view
Date made
1870
depicted
Washington, George
publisher
J. Hale Powers & Company
depicted
Jackson, Andrew
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
maker
Strobridge and Company
ID Number
DL.60.2597
catalog number
60.2597
accession number
228146

Battle of Nashville

Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war.
Description
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1891 chromolithograph depicts the Battle of Nashville, fought on December 15 and 16, 1864. Part of the Franklin-Nashville Campaign, it was a major victory for the Union. General George H. Thomas soundly defeated the Confederate General John Bell Hood’s Army of Tennessee. In this print, Union troops overtake a Confederate artillery position during the battle. All soldiers’ uniforms are trimmed with different colors to represent their respective branch of service: light blue for infantry, red for artillery, and yellow for cavalry. The infantry regiment storming the hilltop in the upper portion of the illustration is composed of men from the United States Colored Troops. The retreating Confederate soldiers in the lower right corner wave white flags in surrender. A number of soldiers in the foreground of the scene lay either dead or dying.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Location
Currently not on view
Date made
1891
maker
Kurz & Allison-Art Studio
ID Number
DL.60.2635
catalog number
60.2635
accession number
228146

Battle of Wilson's Creek

Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war.
Description
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1893 chromolithograph depicts the Battle of Wilson’s Creek, fought on August 10, 1861, as part of the larger struggle over control of the state of Missouri, which was officially neutral at the start of the war. The Confederacy won the battle, but ultimately failed to establish dominance in Missouri. In the print, General Nathaniel Lyon leads the men of the First Iowa out of a forest to engage the Confederate Army in a clearing. At center, General Lyon’s horse rears as he falls back mortally wound from a gunshot to the heart. Several wounded men lie in the foreground amongst the charging troops.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Location
Currently not on view
Date made
1893
Associated Name
Lyon, Nathaniel
maker
Kurz & Allison-Art Studio
Kurz & Allison
ID Number
DL.60.2626
catalog number
60.2626
accession number
228146

Hazard's Chemical & Liquid Bluing

Color advertising print depicting five women and a child doing laundry.Currently not on view
Description (Brief)
Color advertising print depicting five women and a child doing laundry.
Location
Currently not on view
Date made
1860
maker
Sarony, Major, & Knapp
ID Number
DL.60.3088
catalog number
60.3088
accession number
228146

Rome

Colored print; view of Rome showing the Castellos with Angelo at right, the Ponte S. Angelo spanning the Tiber River, and the Theatre di Appollo on the left bank. St. Peter's Cathedral, the Vatican, and other buildings appear in background.
Description (Brief)
Colored print; view of Rome showing the Castellos with Angelo at right, the Ponte S. Angelo spanning the Tiber River, and the Theatre di Appollo on the left bank. St. Peter's Cathedral, the Vatican, and other buildings appear in background. A variety of people stroll along the river and ride in gondolas and carriages.
Location
Currently not on view
date made
1870
maker
Schile, Henry
ID Number
DL.60.2470
catalog number
60.2470
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

Come and Join Us Brothers.

Besides freeing all slaves held in areas of the United States under rebellion, the Emancipation Proclamation also allowed for black men to enlist in the United States Army. Around 190,000 African-Americans fought for the Union and made up one tenth of the entire Federal Army.
Description
Besides freeing all slaves held in areas of the United States under rebellion, the Emancipation Proclamation also allowed for black men to enlist in the United States Army. Around 190,000 African-Americans fought for the Union and made up one tenth of the entire Federal Army. Their successes in battle dispelled existing arguments that black men could not be trusted to bear arms. Despite this, they were only paid half as much a white soldiers, were often assigned menial tasks, and provided inferior clothing and medical care. The U.S.C.T. suffered an extremely high casualty rate, and 40,000 perished by the war’s end.
This print, published by the Supervisory Committee for Recruiting Colored Regiments, served as a recruitment poster for the U.S.C.T. In the illustration, 18 African American soldiers look out at potential black volunteers, calling upon them to join the fight in liberating those who remained enslaved. A black drummer boy plays in the lower right. The soldiers’ white commanding officer stands on the left, since black men could not become commissioned officers until the final months of the war. The men are stationed near Philadelphia at Camp Penn, the largest camp that exclusively trained U.S. Colored Troops. This image was based on a photograph taken in Philadelphia, in February 1864, of either Company C or G of the U.S.C.T.’s 25th Regiment.
Peter S. Duval, a French-born lithographer, was hired by Cephas G. Childs in 1831 to work for the firm of Childs & Inman in Philadelphia. Duval formed a partnership with George Lehman, and Lehman & Duval took over the business of Childs & Inman in 1835. From 1839 to 1843, Duval was part of the lithography and publishing house, Huddy & Duval. He established his own lithography firm in 1843, and was joined by his son, Stephen Orr Duval, in 1858.
Location
Currently not on view
Date made
1863 -1865
maker
P.S. Duval & Son Lith.
ID Number
DL.60.3320
catalog number
60.3320

Sv Vaglav. Prag. Hlgr. Wenzelaus

Colored print; young man wearing a crown, red robes with white ermine trim, gold sword and onamental armor rides a white charger alongside a river. He carries a red banner with a coat of arms, and gestures toward a town on the opposite bank.
Description (Brief)
Colored print; young man wearing a crown, red robes with white ermine trim, gold sword and onamental armor rides a white charger alongside a river. He carries a red banner with a coat of arms, and gestures toward a town on the opposite bank. He is followed by a band of mounted men carrying swords and crossbows. Possibly a depiction of Wenceslas (Vaclav) IV (1361-1419), ruler of Germany and Bohemia.
Location
Currently not on view
date made
ca 1870
maker
Schile, Henry
ID Number
DL.60.2456
catalog number
60.2456
accession number
228146

Siege of Vicksburg

Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war.
Description
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1888 chromolithograph commemorates the 25th anniversary of the surrender of Vicksburg, which took place on July 4, 1863 after a 47-day siege by Union forces commanded by General Grant. Vicksburg was the last major Confederate stronghold on the Mississippi River, and its capture gave the Union control over the waterway, splitting the Confederacy in two. The Union victory at Vicksburg and General Lee’s surrender at Gettysburg on the same day are often considered the two most important turning points of the war. In this print, Union soldiers are stationed behind barricades at the base of a hill, looking up at entrenched Confederate troops. Artillery fire from ships commanded by Admiral Porter fall upon the Confederate positions. The Admiral’s ships are visible in the background on the right, sailing down the Mississippi. Grant, in the lower right, uses a telescope to survey the battle. An officer to his left guides his attention to a clump of trees, from which a group of Confederate soldiers are emerging, waving a white flag of surrender.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Location
Currently not on view
Date made
1888
depicted
Grant, Ulysses S. (Ulysses Simpson)
maker
Kurz & Allison-Art Studio
ID Number
DL.60.2625
catalog number
60.2625
accession number
228146

Sunday Sports

Colored print of a forest scene. Two hunters at right shoot at running deer at left, but, instead, hit another hunter who is standing between them and the deer. A dog strains at a leash that is tied to a tree.Currently not on view
Description (Brief)
Colored print of a forest scene. Two hunters at right shoot at running deer at left, but, instead, hit another hunter who is standing between them and the deer. A dog strains at a leash that is tied to a tree.
Location
Currently not on view
date made
1874
maker
Schile, Henry
ID Number
DL.60.2471
catalog number
60.2471
accession number
228146

Perry's Victory on Lake Erie

Color print of the Battle of Lake Erie, Sept 10th 1813, depicting a large row boat flying an American flag, contains eight sailors and a uniform officer standing and pointing to the right. American and British men of war fire on each other in the background.Currently not on view
Description (Brief)
Color print of the Battle of Lake Erie, Sept 10th 1813, depicting a large row boat flying an American flag, contains eight sailors and a uniform officer standing and pointing to the right. American and British men of war fire on each other in the background.
Location
Currently not on view
Date made
n.d.
maker
Kurz & Allison-Art Studio
ID Number
DL.60.3286
catalog number
60.3286

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

The Village School by Burrow-Giles Lithographic Company

Colored print of a 19th Century schoolroom scene.
Description (Brief)
Colored print of a 19th Century schoolroom scene. The schoolmaster is asleep at his desk while the students are engaged in a variety of misdeeds: fighting with each other, turning the clock ahead, drawing a caricature of the teacher, etc.
The lithograph was produced circa 1870 by Burrow-Giles Lithography Company in New York. The company is most noted as the defendant in a noted 1874 Supreme Court case, Burrow-Giles Lithographic Company v. Napoleon Sarony, concerning photographic copyright..
Location
Currently not on view
date made
ca 1870
maker
Burrow-Giles Lith. Company
ID Number
DL.60.2423
catalog number
60.2423
accession number
228146

Assault on Fort Sanders

Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war.
Description
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1891 chromolithograph depicts the Battle of Fort Sanders, fought on November 29, 1863. The fort had been renamed after Union General William P. Sanders, who had been killed in action 10 days prior to the battle. Commanded by General James Longstreet, Confederate forces launch an assault on the fortified Union position, held by General Ambrose Burnside. The Confederate forces needed to seize this stronghold in order to capture the city of Knoxville, currently occupied by the Union and situated on a crucial railroad hub linking the east and west parts of the Confederacy. The Confederates failed to take Fort Sanders, suffering much heavier losses than the Union soldiers.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Location
Currently not on view
Date made
1891
maker
Kurz & Allison-Art Studio
ID Number
DL.60.2628
catalog number
60.2628
accession number
228146

The Winning Brace, Nellie & Dan

Colored print of two dogs, the winning brace (a setter and a pointer?), followed by the judges on horseback and spectators in the background watching the dogs work.Currently not on view
Description (Brief)
Colored print of two dogs, the winning brace (a setter and a pointer?), followed by the judges on horseback and spectators in the background watching the dogs work.
Location
Currently not on view
date made
1879
maker
Clay & Richmond
ID Number
DL.60.2677
catalog number
60.2677
accession number
228146

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

Central Park, N.Y. Preparing for a Drive

Colored print; outdoor scene of a woman and two children near a lake. The boy is harnessing a goat to a small carriage in which the girl, who is holding a whip, is sitting. The woman, who is seated on a stone balustrade, supervises from the right.
Description (Brief)
Colored print; outdoor scene of a woman and two children near a lake. The boy is harnessing a goat to a small carriage in which the girl, who is holding a whip, is sitting. The woman, who is seated on a stone balustrade, supervises from the right. Swans and a boat appear on the lake in the background.
Location
Currently not on view
date made
1874
maker
Schile, Henry
ID Number
DL.60.2466
catalog number
60.2466
accession number
228146

Maggie Mitchell

This colored print is a signed oval bust portrait with a light green background on a red banner with gold fringe. The portrait depicts auburn haired actress Maggie Mitchell, wearing a white earring, a white dress and a matching hat. .
Description
This colored print is a signed oval bust portrait with a light green background on a red banner with gold fringe. The portrait depicts auburn haired actress Maggie Mitchell, wearing a white earring, a white dress and a matching hat. . The caption stamped at the top of the poster announces the location and date of the performance as “Park Theatre, Tuesday, March 14.”
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; the least affluent sat or stood in the balcony. These included immigrants, people of color, and prostitutes.
Maggie Mitchell (1832-1918) has been described as a pioneering example of "the personality actress," a performer whose onstage persona was almost indistinguishable from her image offstage. ( The History of North American Theater). She was born Margaret Julia Mitchell in New York City. As a young girl, she performed in silent roles before making her speaking debut as Julia in The Soldier's Daughter in 1851. Petite and curly haired, with a childlike energy, she was often cast in sentimental comedies and in male or “tomboy” roles, including the title role in a stage adaptation of Oliver Twist. Mitchell's sprightly charm sparked what would later be called a "Maggie Mitchell craze" in Cleveland, Ohio, and she eventually became one of the most celebrated actresses of her era. She appeared in Jane Eyre, Little Barefoot, The Pearl of Savoy, and other dramas, but her best-known role was as a simple country girl in a comedy called Fanchon, the Cricket, adapted from George Sand's story "La Petite Fadette." She made her debut as Fanchon in the early 1860s and continued to perform the part, along with her trademark “shadow dance,” until she was in her fifties. Abraham Lincoln, Ralph Waldo Emerson, and Henry Wadsworth Longfellow were said to be among her admirers. Maggie Mitchell retired from the theater in 1892.
This lithograph was produced by Henry Atwell Thomas. Henry Atwell Thomas (1834-1904) was an artist, portrait painter, and lithographer especially well known for his theatrical portraits. His New York firm was called H. A. Thomas Lith. Studio until 1887, when it became H. A. Thomas & Wylie Lithographic (sometimes cited as Lithography or Lithographing) Company.
The collection contains a duplicate of this same print.
Location
Currently not on view
Date made
n.d.
depicted
Mitchell, Margaret Julia
maker
Thomas, Henry Atwell
ID Number
DL.60.3049
catalog number
60.3049
accession number
228146

Untitled (Two hunters)

Colored print of two hunters. The one dressed in specialized hunting gear and without game is holding his double barreled rifle out to the other hunter who is dressed in plain work clothes and carries a single barrel rifle as well as a lot of game.Currently not on view
Description (Brief)
Colored print of two hunters. The one dressed in specialized hunting gear and without game is holding his double barreled rifle out to the other hunter who is dressed in plain work clothes and carries a single barrel rifle as well as a lot of game.
Location
Currently not on view
date made
1880
maker
Earle, L. C.
ID Number
DL.60.2679
catalog number
60.2679
accession number
228146

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