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.

Topic: Children

The Sisters

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is a full length portrait of two young girls, one with short hair, one with long hair, standing outdoors in an affectionate pose. Both are wearing fancy costume which includes fringe sash, bloomers, lace, embroidered apron and brocade dress.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in Hartford, Connecticut in 1830. Before the opening of its first retail store in 1834, the D.W. Kellogg & Co. lithography firm was well established and popular in United States, particularly in the South and the Southwest. As the founding member of the family company, Daniel Wright Kellogg established the initial growth and popularity of the firm. After he left the company, it continued to flourish for decades under his younger brothers and other family members.
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2231
catalog number
60.2231
accession number
228146

Brother & Sister

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This full length hand colored portrait print is of a little boy and girl standing outdoors while holding hands. There is grape arbor in the background that is supporting vines that surround the pair. There are roses in the background. Both the boy and the girl are in simple clothing: the girl is wearing a red and white dress while the boy is wearing a blue shirt with white pants; both their outfits have a bow on the chest.
This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
date made
ca 1846
maker
Baillie, James S.
ID Number
DL.60.2262
catalog number
60.2262
accession number
228146

New-Year's Present to a Bachelor by Thomas Strong

This hand-colored print depicts an interior scene of an unmarried man opening a large basket that contains two infants. The man wears a long coat, vest, high collar, bow tie and plaid trousers. An unopened letter lies on the floor near the basket.
Description
This hand-colored print depicts an interior scene of an unmarried man opening a large basket that contains two infants. The man wears a long coat, vest, high collar, bow tie and plaid trousers. An unopened letter lies on the floor near the basket. He has a look of dismay as he peers down on the unruly infants and realizes his responsibilities for the babies. A family of four looks on gleefully through a door in the background. Also in the background are a picture on the wall of a man on horseback, flowered wallpaper, and a patterned rug.
Thomas W. Strong, a wood engraver and lithographer who worked in New York City from 1842-1851 produced this print. After 1851 he was listed as a publisher. Strong's prints included commentaries on social and moral themes as well as cartoons and funny valentines.
Location
Currently not on view
date made
ca 1843
maker
Strong, Thomas W.
ID Number
DL.60.2300
catalog number
60.2300
accession number
228146

Sing-Sing Camp Meeting, 1838

Color print depicting numerous tents in a wooded area. The tents are arranged in a rough semi-circle around rows of benches facing a stage. Men, women and children are in the foreground and in various places in the background. A food tent is on the right.Currently not on view
Description (Brief)
Color print depicting numerous tents in a wooded area. The tents are arranged in a rough semi-circle around rows of benches facing a stage. Men, women and children are in the foreground and in various places in the background. A food tent is on the right.
Location
Currently not on view
Date made
1847
1839
maker
Endicott, George
original artist
Smith, Joseph B.
ID Number
DL.60.3747
catalog number
60.3747

Views of Slavery

This abolitionist broadsides depicts six scenes revealing the cruelty and injustice of American slavery.
Description
This abolitionist broadsides depicts six scenes revealing the cruelty and injustice of American slavery. These scenes include: enslaved women working in the field while their children are left alone; a freedwoman and her child watching as their free papers are destroyed by a man who has kidnapped them from the street; enslaved men being whipped and beaten; an enslaved woman watching as her child is taken away from her and sold; a slave auction; and a shipment of slaves being loading onto a ship at Baltimore bound for New Orleans. Above the images, the broadside challenges how slaveholders could see their slaves as people but not adhere to the rule of “Whatsoever ye would that men should do unto you, do ye even so to them.” Below the images, a quote from Unitarian preacher William Ellery Channing argues that keeping a man enslaved is just as much a crime as reducing him to slavery.
The print was produced and distributed by the Emancipator, a weekly newspaper published by the American Anti-Slavery Society. The Society was an abolitionist activist group founded by William Lloyd Garrison and Arthur Tappan in 1833, which had gained between 150,000 and 200,000 members by 1840. The Society held public meetings, printed vast quantities of anti-slavery propaganda (such as this piece), petitioned Congress, and sponsored lecturers to further the cause of the Abolition Movement in the North. Its membership was composed of white Northerners with religious and/or philanthropic convictions, but also free black citizens, including Frederick Douglass, who often delivered first-hand accounts of his life as a slave during the Society’s public meetings.
Location
Currently not on view
Date made
ca 1835
date made
ca 1836
maker
unknown
ID Number
DL.60.3489
catalog number
60.3489

An Attack upon China

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description (Brief)
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class, and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This is a black and white print; domestic interior scene of boy at play in front of a tall cabinet. The boy is holding a shield and attacking with a sword objects that include an oriental vase with two gloves on poles sitting on an ornate side chair to make up his main adversary. A broken oriental figurine lies at his feet while another is standing on the other side of the chair. A woman, dressed in a simple costume, is coming from the background and looks upset at the scene of destruction. A brief prose narrative is below the print.
The print was produced by Nathaniel Hickman, a lithographer/publisher active in Baltimore 1835-1867.
Location
Currently not on view
date made
n.d.
maker
Hickman, Nathaniel
ID Number
DL.60.2228
catalog number
60.2228
accession number
228146

The Bud and the Blossom

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is a three-quarter length portrait of two girls, the older girl with her arm around the shoulder of the younger girl. They wear simple dress; one pink and the other blue. Rose bushes and a balustrade are in the background. The younger girls hold some flowers in one hand.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2265
catalog number
60.2265
accession number
228146

Married

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is an interior scene of a family of five seated in the parlor. The father is seated on an ornate red upolstered sofa, his young son leaning against his knee holding a ball or piece of fruit, perhaps an apple. An infant sits in the mother's lap, while the eldest child, a daughter stands alongside the mother, entertaining the baby with her doll. The mother is seated in an upholstered red chair. Heavy drapes, a partial view of a landscape picture in a fancy frame, a patterned rug and foot pillow on floor complete this domestic scene. The couple gaze at each other and compositionally depict a balanced and equal family unit. This is one of several prints with the same title, depicting a contented family. These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s Lithography firm.
date made
1850
distributors
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2261
catalog number
60.2261
accession number
228146
maker number
266

The Bottle: V. In Their Now Miserable Home...by lithographer George Gebbie

This black and white tinted print depicts the fifth of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking.
Description
This black and white tinted print depicts the fifth of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an interior scene of a family, now reduced to two children due to the starvation death of the toddler. Mother, father and son huddle near a meager fire, the mother holding a wine glass, the father holding a bottle. The daughter stands with her hand on the toddler's coffin. The mother and daughter are weeping. A fork is stuck in the wall and holds up a piece of fabric that is covering the window, and a candle is stuck in the wine bottle on the mantle.
This series of prints is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottleand The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics and he himself drank heavily until he took a vow of abstinence in 1847. These prints were originally published by David Bogue, who published most of Cruikshank’s other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. Bogue began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottle series in 1847. Bogue suffered from heart disease and died in 1856 at the age of 48.
This print was produced by the lithographer George Gebbie. Gebbie immigrated to the United States from Scotland in 1862. He settled in Philadelphia and became a fine art printer and publisher. He died in 1892.
Location
Currently not on view
Date made
1871
maker
Gebbie, George
original artist
Cruikshank, George
ID Number
DL.60.2906
catalog number
60.2906
accession number
228146

Child's Knife

Currently not on view
Location
Currently not on view
date made
ca 1900
ID Number
DL.310555.0001
catalog number
310555.0001
accession number
310555

Preparing for a Drive

Colored print of a woman watching a young girl harness a large dog to a small open carriage. The woman is seated on a stone ledge. A lake and mountains appear in the background. A large ornamental urn sits on stone balustrade near the carriage.Currently not on view
Description (Brief)
Colored print of a woman watching a young girl harness a large dog to a small open carriage. The woman is seated on a stone ledge. A lake and mountains appear in the background. A large ornamental urn sits on stone balustrade near the carriage.
Location
Currently not on view
date made
ca 1870
maker
Edmund Foerster and Company
Silber, F.
ID Number
DL.60.2473
catalog number
60.2473
accession number
228146

Miniature Spoon

Currently not on view
Location
Currently not on view
date made
1875 - 1915
ID Number
DL.263901.0099
catalog number
263901.0099
accession number
263901

Mug

Spun cylindrical child's cup or mug with a hollow, flattened C-shape handle and a machine-stamped band of oak leaves and acorns above the reeded and flared base; body has matte surface, while molded rim, handle and base are shiny. Engraved on front "W" in script.
Description
Spun cylindrical child's cup or mug with a hollow, flattened C-shape handle and a machine-stamped band of oak leaves and acorns above the reeded and flared base; body has matte surface, while molded rim, handle and base are shiny. Engraved on front "W" in script. Underside of flat bottom is struck with three marks: a lion passant facing right in clipped-corner surround, an anchor in a shield, and the raised Old English or gothic letter "G" in a clipped-corner surround; "[S]TERLING" in incuse serif letters; and "O"; incised between marks are "XIV" and "3103" with "S.L.K" at lower right.
Location
Currently not on view
date made
1882
owner; user
Washington, Mary Anne Hammond
maker
Gorham Manufacturing Company
ID Number
DL.60.0992
catalog number
60.0992
accession number
71656

Little Voices Sweetly Calling

Black and white comic print of a boy and girl holding hoops and sticks and calling out with their mouths wide open. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white comic print of a boy and girl holding hoops and sticks and calling out with their mouths wide open. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Fred T.
Vance, Parsloe and Company
ID Number
DL.60.2860
catalog number
60.2860
accession number
228146

The Old Clock

Currently not on view
Location
Currently not on view
Date made
1839
maker
Childs, John
Clay, Edward Williams
ID Number
DL.60.3329
catalog number
60.3329

The Bottle: II. The First Result of the Introduction of the Bottle...by lithographer George Gebbie

This black and white tinted print depicts the second of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an interior scene of a man, a woman, and three children.
Description
This black and white tinted print depicts the second of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an interior scene of a man, a woman, and three children. The father sits despondently next to the fire while the daughter hands a new bottle to the mother and the mother hands the daughter what appears to be a bundle of clothes. The cat walks across the table that is now pushed against the wall. Two younger children huddle together on a small table or footstool.
This series of prints is based on the Bottle series by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle and The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics and he himself drank heavily until he took a vow of abstinence in 1847. These prints were originally published by David Bogue, who published most of Cruikshank’s other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. Bogue began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottle series in 1847. Bogue suffered from heart disease and died in 1856 at the age of 48.
This print was produced by the lithographer George Gebbie. Gebbie immigrated to the United States from Scotland in 1862. He settled in Philadelphia and became a fine art printer and publisher. He died in 1892.
Location
Currently not on view
Date made
1871
maker
Gebbie, George
original artist
Cruikshank, George
ID Number
DL.60.2903
catalog number
60.2903
accession number
228146

The Way of Good & Evil by John Hailer

This color print is a circular allegorical image labeled 'THE WORLD' depicting the divergent paths of good and evil while on life's journey.
Description
This color print is a circular allegorical image labeled 'THE WORLD' depicting the divergent paths of good and evil while on life's journey. The path splits as the child leaves the school house, turning left toward the on the lower center and then up the right side of the print that leads from the House of God to Eternal Life. Among the architectural structures portrayed on the Good side are a church, a schoolhouse, a peaceful home, and a college with an American flag flying above it. The key words for the path to Good and the Eternal Life through "The Word" are: OBEDIENCE TO PARENTS AND TEACHERS, TRUTH, WISDOM, INDUSTRY, HEALTH, AVOIDING EVIL, RIGHTEOUSNESS, PURE OF HEART, FAITH IN CHRIST, HUMILITY, .Every way of a man is right in his own eyes: but the LORD pondereth/ the heart. (Proverbs 21:2).toward THE WORD.
The other path has the child turning right up the left side of the print and starts with “disobedience to parents and teachers,” leads from the House of Sin to a tavern, a States Prison to Destruction and Everlasting Punishment. The path to destruction depicts a demon with a pitchfork among the fires of Hell and includes the words: DISOBEDIENCE TO PARENTS AND TEACHERS, DISEASE, SHAME, LUSTING, , DEATH, VANITY, PROFANE, IGNORANCE, LYING PRIDE, FALSE, GAMBLING, GAMING, RUM, INTEMPERANCE, FIGHTING, DUELING, HYPOCRISY, CHEATING, SWEARING, FORGERY, ADULTRY, ROBBERY, MURDER, GALLOWS, EVERLASTING PUNISHMENT, and DISTRUCTION.
This pictorial map for children vividly illustrates the moral choices in life, according to the teachings of Christianity. This genre had been popularized by two German-American printers in Pennsylvania, Gustav S. Peters of Harrisburg and Herman William Villee in Lancaster. Hailer’s distinctive map belongs to this local tradition.
John Hailer (1825-1906) was an artist and publisher, though he may also have had other professions as his Civil War draft record indicates in 1863 he was a currier. His firm was located in Bath, Northampton County, Pennsylvania.
Location
Currently not on view
Date made
1862
maker
Hailer, John
ID Number
DL.60.2955
catalog number
60.2955
accession number
228146

Bloomerism in Practice

Currently not on view
Location
Currently not on view
Date made
ca. 1851
maker
unknown
ID Number
DL.60.2364
catalog number
60.2364
accession number
228146

fork

Currently not on view
Location
Currently not on view
date made
ca 1914
ID Number
DL.65.2677A
catalog number
65.2677A
accession number
258259

The Bottle: Plate VIII. The Bottle Has Done Its Work...by lithographers Francis Michelin and David William Moody

This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking.
Description
This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an interior scene of a man in a cell huddling in a corner before a caged fire. He is being visited by his grown children, now a thief and a woman of shame. A guard is visible through an open doorway in the background.
This series of prints is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle and The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics, and he himself drank heavily until he took a vow of abstinence in 1847. The prints were originally published by David Bogue, who published most of Cruikshank’s other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. He began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottle series in 1847. He suffered from heart disease and died in 1856 at the age of 48.
This print was produced by Francis Michelin (1809/10-1878) and David William Moody. Francis Michelin was a lithographer who was active in Boston from 1840-1841 and soon after moved to New York City, where he continued to make lithographs with various partners. His partners included Michelin & Cuipers (1844-1845), Michelin & Leefe (1852-1853), Michelin & Shattuck (1853-1854) and Boel & Michelin (1856-1858). David William Moody was also a lithographer. He was active in New York City from 1844-1851. He lived in Williamsburg, New York.
Location
Currently not on view
Date made
ca 1847
maker
Michelin, Francis
Moody, David William
original artist
Cruikshank, George
ID Number
DL.60.2901
catalog number
60.2901
accession number
228146

chair, rocking, child's

Currently not on view
Location
Currently not on view
date made
1880s
ID Number
DL.65.0178
catalog number
65.0178

chair, child's

Currently not on view
Location
Currently not on view
date made
ca 1800
ID Number
DL.64.0790
catalog number
64.0790
accession number
253332

Central Park, N.Y. Feeding The Swans

Colored print; outdoor scene of a genteel lady with a little girl and boy feeding swans beside a lake. Beyond the lake, a formal fountain, a staircase, and colonade are visible in right background.Currently not on view
Description (Brief)
Colored print; outdoor scene of a genteel lady with a little girl and boy feeding swans beside a lake. Beyond the lake, a formal fountain, a staircase, and colonade are visible in right background.
Location
Currently not on view
date made
1874
maker
Schile, Henry
ID Number
DL.60.2467
catalog number
60.2467
accession number
228146

John Pounds by William Sharp and Ephraim Bouve

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

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