Domestic Furnishings

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.

Colored print; landscape scene showing small town on a harbor with two steam ships on the water. Large mountain looms in right background. Several people stroll on a dirt road in right and left foreground. Palm trees at left and in foreground indicate a tropical climate.
Description (Brief)
Colored print; landscape scene showing small town on a harbor with two steam ships on the water. Large mountain looms in right background. Several people stroll on a dirt road in right and left foreground. Palm trees at left and in foreground indicate a tropical climate. Proof before letters.
Location
Currently not on view
date made
ca 1870
maker
Schile, Henry
ID Number
DL.60.2468
catalog number
60.2468
accession number
228146
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
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
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
This colored print is a bust portrait of Florence Stover. She is wearing a pink dress with a white lace collar and golden pearls and earrings.
Description
This colored print is a bust portrait of Florence Stover. She is wearing a pink dress with a white lace collar and golden pearls and earrings. The print advertises on the top of the poster that she will be appearing at the Newark Opera House, which was built in 1885 in New Castle County, Delaware.
Florence Stover was an actress who, in 1880, married the vocalist, dancer, and comedian Harry G. Richmond (1847-1885). Harry Richmond was born Augustus Van Boyle in Brooklyn, New York and performed with the Haverly Minstrels in 1878. The following year he produced The Candidate with his brother Aeland Von Boyle. A Florence Stover’s later performed in early film roles including Santa Claus vs. Cupid (1915), A Broth of a Boy (1915), and The Last Sentence (1917).
This chromolithograph was produced by Strobridge Lithographing Company and Matt Morgan. The Strobridge firm was founded in Cincinnati, Ohio ca 1847 by lithographer Elijah J. Middleton (cited in some sources as Elijah C. Middleton). Middleton was known as one of the pioneers of chromolithography in the United States. By 1854 another lithographer, W. R. Wallace, along with the 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 became especially well known for circus, theater, and movie posters. After leaving the company, Elijah Middleton established a reputation as a portrait publisher, producing prints of George and Martha Washington, Daniel Webster, and other American historical figures.
Matthew Somerville Morgan (1837-1890) was a British-born artist and cartoonist. As a young man, Morgan studied scene painting in London and worked as an artist and war correspondent in Western Europe and Africa. He also established a London humor magazine, becoming especially well known for his attacks on the British royal family. He immigrated to the United States in 1870 and continued to work as a caricaturist and New York theater stage manager. His works included political cartoons drawn on behalf of liberal Republicans who opposed President Ulysses S. Grant. From 1880-1885 he was manager of the Strobridge Lithograph Company where he worked to improve theatrical lithography. In his later years he painted large panoramic scenes of the American Civil War.
Location
Currently not on view
Date made
n.d.
depicted
Stover, Florence
maker
Strobridge Lithographing Company
Morgan, Matt
ID Number
DL.60.3056
catalog number
60.3056
accession number
228146
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 7. Mallard Shooting. S.F. Denton. It depicts two men in a boat in a marsh. One man is shooting at mallard ducks while the other is paddling.
The artist was Sherman Foote Denton (1856-1937), a naturalist and noted illustrator of drawings of fish. Denton also invented a method of mounting fish that preserved their colors as in life. His work was frequently commissioned by the U.S. Fish Commision, forerunner of the U.S. Fish and Wildlife Service.
Location
Currently not on view
date made
1890
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Denton, Sherman Foote
ID Number
DL.60.2722
catalog number
60.2722
accession number
228146
George Washington and five of his officers are featured in a scenic, snowy landscape.
Description
George Washington and five of his officers are featured in a scenic, snowy landscape. Valley Forge was headquarters for the Continental Army in 1777 and 1778 during the Revolutionary War, and is infamous as the place where 2,500 American soldiers died during the winter from exposure and starvation. Based on the artist Veron Fletcher’s painting, which was exhibited at the Smithsonian in February 1855, the print was drawn on stone by Edward Moran, brother of noted artist Thomas Moran. The print came with a two page key that included a biography on each of the soldiers.
Revolutionary War scenes often are used to convey patriotism. This scene highlights the heroic officers rather than depicting the gruesome hardships of war. The officers on horseback are the Marquis de Lafayette, Nathaniel Greene, Anthony Wayne, and Henry Knox. Standing in the background on the right is Col. John Brooks. It should be noted that Alexander Hamilton is not depicted. The building on the viewer's left was the headquarters which was still standing at the time the print was drawn according to the key on the original sketch. Thousands of Americans had prints of Washington in their homes prior to the Civil War. But given the size and $15.00 cost- based on the advertisement by Hensel & Urwiler of Philadelphia- this chromolithograph would have been purchased for a public building, well off school, college, library, or a business such as an eating establishment, or by a wealthy individual.
The original artist for this image was Veron Fletcher, a portrait painter, active in Philadelphia between 1848 and 1870. The lithographer, Edward Moran, was an English immigrant who came to the United States with his family in 1844. Trained by John Hamilton, he is most recognized for a set of 13 paintings which represented the history of marine life in the United States. The publisher was Herline, a company base out of Philadelphia, Pennsylvania. Lithographer/engraver Edward Herline, was born in 1825 in what is now in Bavaria, and immigrated to the United States with his brother Gustav in the 1840s. They settled in Philadelphia, and founded Herline & Company, a lithography firm. In 1857, lithographer Daniel Hensel joined the company and the name of the company changed to Herline & Hensel until 1964 when the company obtained another partner and became known as Thurston, Herline & Company.
Location
Currently not on view
date made
1855
depicted
Washington, George
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
Greene, Nathanael
Wayne, Anthony
original artist
Fletcher, Veron
lithographer; graphic artist
Moran, Edward
publisher
Herline and Company
ID Number
DL.60.2582
catalog number
60.2582
accession number
228146
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
Colored print of a little girl seated on a pillow which is on a rug. Next to her is a toy sheep, around which she is placing a garland of flowers.Currently not on view
Description (Brief)
Colored print of a little girl seated on a pillow which is on a rug. Next to her is a toy sheep, around which she is placing a garland of flowers.
Location
Currently not on view
date made
ca 1870
maker
Schile, Henry
ID Number
DL.60.2477
catalog number
60.2477
accession number
228146
Currently not on view
Location
Currently not on view
Date made
1875
maker
Schile, Henry
ID Number
DL.60.2384
catalog number
60.2384
accession number
228146
Color print of a wagon train descending a mountain road to a central level area beside a river. A wooden fenced structure is located to the left with tents and a number of parked wagons across from it.
Description (Brief)
Color print of a wagon train descending a mountain road to a central level area beside a river. A wooden fenced structure is located to the left with tents and a number of parked wagons across from it. This is an advertisement for Peter Schuttler, a prominent manufacturer of the wagons out of Chicago. Peter Schuttler was a German immigrant who learned his craft by working for a wagon maker in Sandusky, Ohio. In 1843 he moved to Chicago to start his own business by producing wagons for both the city and for Western travellers. By the 1850's, he had become a leading manufacturer of wagons partially due to the California Gold Rush, producing up to 1800 wagons a year. His son Peter took over the business when he died in 1865.
This image was a copy of a 1875-1880 stereo viewby Thurlow of Manitou Springs.
Location
Currently not on view
Date made
n.d.
date made
ca 1885
maker
Clay & Company
ID Number
DL.60.3753
catalog number
60.3753
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
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
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
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
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
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
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
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
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
Currently not on view
Location
Currently not on view
Date made
n.d.
ID Number
DL.60.2711
catalog number
60.2711
accession number
228146
Chromolithographed print; a bust portrait of Noah Webster superimposed on a manuscript page for his dictionary surrounded by various copies of the dictionary.
Description (Brief)
Chromolithographed print; a bust portrait of Noah Webster superimposed on a manuscript page for his dictionary surrounded by various copies of the dictionary. A copy of, "The Elementary Spelling Book by Noah Webster," an ink well, quill pens, and a sander in right foreground.
Location
Currently not on view
date made
before 1885
depicted
Webster, Noah
maker
Root & Tinker
ID Number
DL.60.2383
catalog number
60.2383
accession number
228146
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 1. Killing Salmon. Henry Sandham. Two fishermen are depicted standing on a boulder beside a stream. They are bringing in a large salmon on a fishing line and a metal hook. A large fish lies behind them, already landed.
The artist was Henry Sandham (1842-1910), a Canadian born illustrator and artist of hunting and fishing scenes.
Location
Currently not on view
date made
1889
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Sandham, Henry
ID Number
DL.60.2733
catalog number
60.2733
accession number
228146
Colored print of a family of quail, a male and female and ten baby chicks. They are surrounded by high weeds and grasses with a white country house in the far background.Currently not on view
Description (Brief)
Colored print of a family of quail, a male and female and ten baby chicks. They are surrounded by high weeds and grasses with a white country house in the far background.
Location
Currently not on view
date made
1878
artist
Pope, Jr., Alexander
lithographer
Armstrong and Company
ID Number
DL.60.2718
catalog number
60.2718
accession number
228146

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