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: Lithographs

Untitled (Outdoor scene with a mill and people)

Black and white print; outdoor scene of two men, two women and a child frolicking in a clearing between a house and a mill with a water wheel. Man carries child piggyback. There is a lake and mountains in the background.Currently not on view
Description (Brief)
Black and white print; outdoor scene of two men, two women and a child frolicking in a clearing between a house and a mill with a water wheel. Man carries child piggyback. There is a lake and mountains in the background.
Location
Currently not on view
Date made
n.d.
maker
unknown
ID Number
DL.60.3015
catalog number
60.3015
accession number
228146

T.W. Dorr

Color print, half length portrait of a man (Rhode Island Governor Thomas Wilson Dorr) seated in a chair holding a document labeled "Constitution of Rhode Island". A column and green fringed drapery is behind him.Currently not on view
Description (Brief)
Color print, half length portrait of a man (Rhode Island Governor Thomas Wilson Dorr) seated in a chair holding a document labeled "Constitution of Rhode Island". A column and green fringed drapery is behind him.
Location
Currently not on view
Date made
1844
depicted
Dorr, Thomas Wilson
maker
Baillie, James S.
ID Number
DL.60.3181
catalog number
60.3181

Union Prisoners at Salisbury, N.C.

One of the earliest images of baseball is this hand colored lithograph of Union prisoners at Salisbury Confederate Prison. It is part of the Harry T. Peters “America on Stone” Lithography Collection at the National Museum of American History.
Description
One of the earliest images of baseball is this hand colored lithograph of Union prisoners at Salisbury Confederate Prison. It is part of the Harry T. Peters “America on Stone” Lithography Collection at the National Museum of American History. Though various forms of baseball were played in England and America for over a century prior to the Civil War, modern rules of the game were not developed and employed until the 1850s. The evolving Knickerbocker Code or rules had its origins in metropolitan New York in 1845. Union soldiers, more familiar with the game, introduced others, including Southerners and Westerners to baseball throughout the Civil War, resulting in thousands of soldiers learning the game. Upon returning home, the game spread to friends and neighbors and soon the sport was played in every region of the country, solidifying its title as “The National Pastime."
The baseball game pictured in this print was played at Salisbury Confederate Prison in North Carolina. Between December 9, 1861 and February 17, 1865, the prison housed 10,000-15,000 Union prisoners of war and other assorted detainees. The compound was designed to temporarily hold Union officers until they could be exchanged for Confederate troops. The facility was constructed around an empty 20 year-old brick three story cotton factory on 16 acres of land near a railroad line and the town of Salisbury. For the first couple of years of its existence, the prison had wells of sweet water, adequate medical facilities and sufficient food.
Soldiers’ diaries document the detainees’ daily routines and pastimes. Prisoners from the first half of 1862 noted that baseball games were played nearly every day, weather permitting. For the first couple of years, prisoners were also permitted to whittle, read, write letters, attend lectures, perform “theatrics,” play cards such as poker, and go fishing. Prisoners also gambled as is evidenced by the dice game underway in the lower right corner of the print. Prisoners even published their own newspaper. Some prisoners were given town visitation privileges, so it was not uncommon for POWs to trade buttons and barter small personal items for fresh fruits and vegetables.
As the war continued, conditions began to deteriorate. After the summer of 1862, prisoner exchanges ceased. Records indicate that few Union prisoners were held in the prison in 1863 and early 1864, but the facility was used for Southern political prisoners, conscientious objectors, Confederate deserters and Southern civilians that ran afoul with the authorities. As the war dragged on, food and medicine became scarce for both prisoners and guards. By mid 1864, the prison filled up with Union POWs of every rank. Later that year, the camp exceeded its capacity and become overcrowded. Living conditions deteriorated further and life in Salisbury prison became as miserable as other prison camps. The mortality rate jumped from a low 2% to devastating 28%; an estimated four to five thousand men died. Finally, on February 17, 1865, the Confederate and Union governments announced a general POW exchange and more than five thousand prisoners left Salisbury.
The baseball game pictured in the print was played during the late spring or summer of 1862, before living conditions deteriorated and when prisoners still had a good chance of leaving through a prisoner exchange. The baseball players on both teams are POWs, possibly men previously held in New Orleans and Tuscaloosa, as they were known to have played at the camp during this time. Although guards occasionally joined in the games, it is not reflected in this print. Spectators included townspeople as well as guards and one seated figure with a cigar that looks suspiciously like Grant. Two guards (center and center far left) are pictured with guns. The town is depicted in the background beyond the stockade or wooden fence. A red, white and blue flag flying overhead in the center of the print is probably a Confederate regimental flag, though it could possibly be an error on the artist’s part with a reversal in the colors of the North Carolina Confederate flag. The prison compound included small cottages, a meat packing plant for the Confederate Army, a blacksmith shop and a small hospital.
The artist of the original watercolor sketch used for the lithograph was Otto Botticher or Boetticher (1811-1886). Botticher was a Prussian immigrant and held the rank of a Union captain when he was captured on March 29, 1862 around Manassas, Virginia. Prior to the war, Botticher had been a portrait painter in New York and New Jersey. He produced several paintings and lithographic plates of military subjects with the aid of early photography using daguerreotypes and ambrotypes. His work displays precision and excellent attention to detail, indicating he likely had formal draftsmanship training. Botticher may also have attended a military school and/or been a member of the army in Prussia, according to his biographer, Seward R. Osborne. He was known as Major Otto Botticher prior to the Civil War. In July 1861, Botticher joined the 68th New York Volunteer Infantry, known as the Cameron Rifles and was given the rank of captain. After his capture, he was sent first to Libby Prison near Richmond, where he sketched “Libby Prison- Union Prisoners at Richmond, Va.,” also produced by Sarony, Major & Knapp and Goupil, Co.. When he was transferred to Salisbury Prison, he produced the watercolor that was used to create this lithograph. He was released as a result of a prisoner exchange on September 30, 1862 at Aiken's Landing, Virginia, when he was exchanged for a Confederate captain from Virginia’s 7th army. Botticher rejoined his regiment, serving as captain of Company B at the Battle of Chancellorsville. He was wounded at Gettysburg while serving with his regiment in the 11th Army Corps, and was discharged in June 1864, but achieved a brevet rank of lieutenant colonel with the New York State Volunteers in September 1865. After the war, Botticher continued as an artist, illustrator, and lithographer. He also worked as a consulate agent for the North German Union before dying in 1886.
Botticher’s watercolor sketch of the Salisbury Confederate Prison baseball game was used to create the lithographic print in 1863. The lithographic firm was Sarony, Major & Knapp of 449 Broadway, New York City. The firm was founded by Napoleon Sarony and Henry B. Major in 1846; Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards, and posters. In 1930 they were bought out by Consolidated Graphics.
This print was produced and promoted 1863 by Goupil & Co. or Gouipil & Cie, a leading international publisher, printer, and fine art dealer. The company was founded in Paris by Jean Baptiste Michel Adolphe Goupil (1806-1893) and his wife Victorine Brincard. The Goupils widely promoted art and owned exclusive galleries as well as common sales rooms in New York, Paris, London, The Hague, Brussels, Berlin, and Vienna. Through various partners they had considerable resources and were able to capitalize on the interest in the newly popular American game. This ready-made market proved lucrative as the print sold well overseas. While the print does picture a pro-Southern view of leisure in a Confederate prison camp, it was also popular in the North for the images of Union officers and of course for the depiction of a baseball game in progress.
Location
Currently not on view
Date made
1863
maker
Sarony, Major, & Knapp
artist
Botticher, Otto
ID Number
DL.60.3741
catalog number
60.3741

Massachusetts Senate

Black and white print of forty-two bust portraits; each is in an oval frame containing the person's name.
Description (Brief)
Black and white print of forty-two bust portraits; each is in an oval frame containing the person's name. The portraits are arranged in two concentric ovals around a title and a small scene of Boston across the Charles River with the state capitol building in the background.
Location
Currently not on view
date made
1856
lithographer
Homer, Winslow
artist
Bufford, John Henry
publisher
Usher, James M.
ID Number
DL.60.2583
catalog number
60.2583
accession number
228146

Summer

Colored print; rural scene of a farm during summer. At center two men load hay on a haywagon pulled by two oxen. A group of people nearby enjoy a picnic in the field. A body of water and hills are in the background.Currently not on view
Description (Brief)
Colored print; rural scene of a farm during summer. At center two men load hay on a haywagon pulled by two oxen. A group of people nearby enjoy a picnic in the field. A body of water and hills are in the background.
Location
Currently not on view
date made
1871-1875
maker
Haskell & Allen
artist
Howe, E.R.
ID Number
DL.60.2637
catalog number
60.2637
accession number
228146

Feles Concolor, Linn

This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals.
Description (Brief)
This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals. It included 150 stone lithographs produced in three volumes of 50 prints per volume. The lithographs were based on watercolor drawings by John James Audubon and after 1846, son John Woodhouse Audubon, who completed the series due to the elder Audubon’s failing eyesight and declining health. Another son, Victor Gifford Audubon, assisted with the drawings backgrounds. The lithographs were printed on non-watermarked heavy white paper and coloring was applied by hand before the prints were bound. Reverend John Bachman was a naturalist of note, as well as John James Audubon’s friend and father of both daughter-in-laws, so he provided the accompanying letterpress narrative. It made the production truly a family affair. The slightly later Octavo edition contained 155 prints of smaller size.
This unbound lithographic plate depicts a hand-colored image of a brown male cougar standing over his felled prey. Forested mountains in the background.
Location
Currently not on view
date made
1846
artist
Audubon, John Woodhouse
printer
Bowen, John T.
publisher
Audubon, John James
ID Number
DL.60.2736
catalog number
60.2736
accession number
228146

Quail Shooting

Colored print of a hunting dog presenting a retieved quail to his seated master. Another hunter and dog look on. Hilly countryside covered with lush forest and vegatation.Currently not on view
Description (Brief)
Colored print of a hunting dog presenting a retieved quail to his seated master. Another hunter and dog look on. Hilly countryside covered with lush forest and vegatation.
Location
Currently not on view
date made
1857
publisher
Goupil and Company
artist
Marsden, Theodore
publisher
Knoedler, M.
lithographer
Muller & LaFosse
printer
Lemercier & Cie
ID Number
DL.60.2767
catalog number
60.2767
accession number
228146

The Mammoth Grove. Plate XII. The Orphans.

Black and white print of two trees of approximately the same size standing slightly apart from the rest of the forest.Currently not on view
Description (Brief)
Black and white print of two trees of approximately the same size standing slightly apart from the rest of the forest.
Location
Currently not on view
Date made
1862
maker
Vischer, Edward
ID Number
DL.60.3843
catalog number
60.3843

View of a Military Post Cowan, Tennessee

On July 3, 1863, the Confederate Army of Tennessee retreated towards Chattanooga, after its defeat in the Tullahoma Campaign, leaving Middle Tennessee under the control of the Union Army of the Cumberland.
Description
On July 3, 1863, the Confederate Army of Tennessee retreated towards Chattanooga, after its defeat in the Tullahoma Campaign, leaving Middle Tennessee under the control of the Union Army of the Cumberland. A military post was maintained at Cowan by Federal forces throughout the remainder of the war. The town was strategically important to both sides due to its proximity to the Cumberland Mountain Tunnel, which linked the railroads in the Midwest to those in the Southeast. This print depicts the soldiers’ dormitories and a defensive fortification contracted by the Union Army. A transport train prepares to leave the post. The name “Rosencrans” is written on the side, in honor of General William Rosencrans, the leader of the Army of the Cumberland.
The artist of the print was Nathan B. Abbott, a Union soldier from Connecticut who served in the 20th Connecticut Volunteer Infantry. He was wounded at the Battle of Gettysburg and was promoted to first lieutenant when he rejoined his regiment. He most likely passed through Cowan while traveling to take part in Sherman’s campaigns in Georgia. The print was produced and published by Henry C. Eno, a New York City lithographer active for only a short period during the 1860s. Between 1862 and 1867, he was partnered with another New York lithographer, Henry A. Thomas.
Location
Currently not on view
Date made
1863
lithographer
Eno, Henry C.
artist
Abbott, N. B.
ID Number
DL.60.3662
catalog number
60.3662

The Mammoth Grove. Plate VI. Mother and Son.

Black and white print of the trunks of two prominent evergreen trees with other trees in the background.Currently not on view
Description (Brief)
Black and white print of the trunks of two prominent evergreen trees with other trees in the background.
Location
Currently not on view
Date made
1862
maker
Vischer, Edward
ID Number
DL.60.3837
catalog number
60.3837

The Tree of Life

This colored print shows a large “tree of life.” This natural tree also symbolizes the wooden cross of the crucifixion, as its trunk holds an image of Christ. The branches contain about two dozen words which denote Christian sacraments, practices, and virtues.
Description
This colored print shows a large “tree of life.” This natural tree also symbolizes the wooden cross of the crucifixion, as its trunk holds an image of Christ. The branches contain about two dozen words which denote Christian sacraments, practices, and virtues. Above the tree, is a triangle symbolizing the Holy Trinity.
The idealized city of "New Jerusalem" is depicted in the background behind the tree. In the foreground, is a crowd of people representing this present "Evil World.” Men and women are portrayed as searching for salvation amidst a world full of vices such as drunkenness, prostitution, and violence. Two quotations from Scripture appear beneath the title.
There is no information available about the lithographer of this print.
Location
Currently not on view
Date made
n.d.
maker
unknown
ID Number
DL.60.2943
catalog number
60.2943
accession number
228146

Flume / Elevating Water Wheel

Black and white print on blue paper of two views in the California mine fields. The upper view depicts a long flume with two water wheels along it. The lower view depicts a water wheel in a mountainous area.
Description (Brief)
Black and white print on blue paper of two views in the California mine fields. The upper view depicts a long flume with two water wheels along it. The lower view depicts a water wheel in a mountainous area. Prospectors work at a trough along side the water wheel.
Location
Currently not on view
Date made
n.d.
maker
Britton & Rey
ID Number
DL.60.3807
catalog number
60.3807

Battle of Bull's Run, Va. July 21st 1861 by E.B. and E.C. Kellogg

The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital.
Description
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital. Although the Federal army achieved some early victories in the battle, Confederate reinforcements arrived, breaking the right flank of the Union lines. The Northern troops were routed as they tried to retreat. Although the Confederates won the day, they were too disorganized to pursue the fleeing Union army, which limped back to the safety of Washington, D.C. Nearly 900 men from either side had been killed in the battle, and another 2,500 wounded. Lincoln and the members of his administration now realized that the war would be a much longer and costlier affair than they had first believed.
This 1861 print depicts Colonel Michael Corcoran (1827-1863) leading the 69th New York Militia of Irish Volunteers during an assault on Confederate batteries. Corcoran, who was later captured during the battle, spent time in four Confederate prison camps before being paroled for a Confederate officer. Upon his release, he organized and led a new brigade, Corcoran’s Irish Legion, composed mainly of irish immigrants, but was soon after killed by a fall from his horse. In this print, he sits upon a dappled grey horse and points towards the enemy with his sabre, urging on his men. His troops wear red and blue uniforms and carry both an American flag and their distinctive regimental flag, which features a gold harp encircled by a wreath on a green background. Although the Irish militiamen appear to be gaining the upper hand, they were quickly pushed back by a large Confederate force and Corcoran was taken prisoner. The battle was marked by confusion, as the standard blue and grey uniforms had not yet been adopted, and soldiers were uncertain as to who was friend or foe. Contributing to this ambiguity was the similarity of the American flag to the Confederate Stars and Bars, leading to the South’s adoption of the more recognizable battle flag. Although the Union lost this first major confrontation of the war, the print emphasizes a temporary moment of Union success in order to appeal to Northern buyers.
The work was produced by the Hartford, Connecticut lithographic firm of E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office and Whiting took over the firm, selling prints until his death two years later.
Location
Currently not on view
Date made
1861
publisher; distributor
Whiting, George
depicted (sitter)
Corcoran, Michael
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3314
catalog number
60.3314

The Strife between an Old Hunker, a Barnburner and a No Party Man

This print references the election of 1848. In this image, Free Soil Party candidate and former Democratic president, Martin Van Buren is seated on a stool milking a cow while Whig candidate Zachery Taylor holds her tail and Democratic candidate Lewis Cass holds her horns.
Description (Brief)
This print references the election of 1848. In this image, Free Soil Party candidate and former Democratic president, Martin Van Buren is seated on a stool milking a cow while Whig candidate Zachery Taylor holds her tail and Democratic candidate Lewis Cass holds her horns. Published by Whig artist, Henry R. Robinson, this print serves as a warning of what will happen if the issue of slavery is continually held back by Democrats and Whigs while being “milked” by the Free Soil Party. Both Taylor and Cass hold firm to their party’s principles, while Van Buren says, “I go in for the Free Soil. Hold on Cass, don’t let go Taylor (that’s the cream of the joke).” Both Democrats and Whigs feared that Van Buren and the Free Soil Party would split the vote, ensuring a victory and second presidential for Van Buren and his radical new ideas.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
Location
Currently not on view
Date made
1848
depicted
Van Buren, Martin
Taylor, Zachary
Cass, Lewis
maker
Robinson, Henry R.
ID Number
DL.60.3362
catalog number
60.3362

Lepus Aquaticus, Bach.

This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals.
Description (Brief)
This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals. It included 150 stone lithographs produced in three volumes of 50 prints per volume. The lithographs were based on watercolor drawings by John James Audubon and after 1846, son John Woodhouse Audubon, who completed the series due to the elder Audubon’s failing eyesight and declining health. Another son, Victor Gifford Audubon, assisted with the drawings backgrounds. The lithographs were printed on non-watermarked heavy white paper and coloring was applied by hand before the prints were bound. Reverend John Bachman was a naturalist of note, as well as John James Audubon’s friend and father of both daughter-in-laws, so he provided the accompanying letterpress narrative. It made the production truly a family affair. The slightly later Octavo edition contained 155 prints of smaller size.
This unbound lithographic plate depicts a hand-colored image of a brown hare with white underside and black markings, crouching beside a body of water.
Location
Currently not on view
date made
1844
artist; publisher
Audubon, John James
printer
Bowen, John T.
ID Number
DL.60.2758
catalog number
60.2758
accession number
228146

The Bottle: Plate 3. Result of Laziness and Indulgence in Drinking...by an unknown lithographer

This black and white tinted print depicts the third 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 third 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 is an interior scene of a family whose furnishings are being removed by a sheriff and two men for failure to pay debts. The father and mother are seated near the fireplace, consoling themselves with drink. The three children linger nearby.
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. These prints were 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. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
Location
Currently not on view
date made
ca 1885
copyright holder
Marques, M.
maker
unknown
original artist
Cruikshank, George
ID Number
DL.60.2387
catalog number
60.2387
accession number
228146

The Bottle: VI. Crime...by lithographer George Gebbie

This black and white print depicts the sixth 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 attacking his wife.
Description
This black and white print depicts the sixth 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 attacking his wife. Their son and daughter are trying to intervene. Another woman is entering the room in the background. This series of prints is based on the George Cruikshank Bottle series.
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. 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.60.2907
catalog number
60.2907
accession number
228146

View of the House in New Utrecht L.I.

Color print of a one-story brick colonial Dutch house with casement windows, divided door and tile roof. There is a picket fence in the front and a rail fence in the back of the house.Currently not on view
Description (Brief)
Color print of a one-story brick colonial Dutch house with casement windows, divided door and tile roof. There is a picket fence in the front and a rail fence in the back of the house.
Location
Currently not on view
Date made
1866
maker
Brown, Arthur
ID Number
DL.60.3665
catalog number
60.3665

View of Agua Fria Town

Black and white print on blue paper of a small town at the foot of hills. Men work in fields in the foreground.Currently not on view
Description (Brief)
Black and white print on blue paper of a small town at the foot of hills. Men work in fields in the foreground.
Location
Currently not on view
Date made
n.d.
maker
Quirot & Company
ID Number
DL.60.3822
catalog number
60.3822

Full Speed

A color print of a collision of a horse gig and a four-horse carriage, both going in the same direction. Men, hats, carriages, and horses are all in the process of falling.Currently not on view
Description
A color print of a collision of a horse gig and a four-horse carriage, both going in the same direction. Men, hats, carriages, and horses are all in the process of falling.
Location
Currently not on view
Date made
n.d.
distributor
Needham, D.
Kelloggs & Thayer
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3644
catalog number
60.3644

Winfield Scott

Black and white print, oval half length portrait of a man (Winfield Scott) in military uniform. A facsimilie of the sitter's signature serves as the title and is below the image.Currently not on view
Description (Brief)
Black and white print, oval half length portrait of a man (Winfield Scott) in military uniform. A facsimilie of the sitter's signature serves as the title and is below the image.
Location
Currently not on view
Date made
1850
depicted
Scott, Winfield
lithographer
D'Avignon, Francis
publisher
Brady, D'Avignon & Co.
original artist
Brady, Mathew B.
ID Number
DL.60.3214
catalog number
60.3214

Untitled Benjamin Butler Lecturing

Currently not on view
Location
Currently not on view
Date made
n.d.
depicted
Butler, Benjamin Franklin
Fessenden, William Pitt
Wade, Benjamin
maker
unknown
ID Number
DL.60.3448
catalog number
60.3448

Head Quarters at Harrison's Landing

This print was produced sometime after the 1862 Peninsula Campaign. General McClellan had intended to capture the Confederate capital of Richmond in the summer of 1862, but after a series of engagements with Robert E.
Description
This print was produced sometime after the 1862 Peninsula Campaign. General McClellan had intended to capture the Confederate capital of Richmond in the summer of 1862, but after a series of engagements with Robert E. Lee’s Army of Northern Virginia in the Seven Days Battle, he withdrew to the James River, 20 miles from Richmond. Lincoln then called for the Army of the Potomac to return to Washington, D.C. The failure of the Peninsula Campaign crushed the morale of Union forces, who believed the capture of the Confederate capital would bring about and end to the fighting.
A critic of McClellan’s retreat, the artist of this print depicts the general reclining aboard a ship at the safety of his headquarters at Harrison’s landing. He sips on a drink while a bottle rests below him. In his left hand, he holds his sword below him and his hat lies on the ground. The illustration is signed in the lower left hand corner, simply as “Potomac.”
Location
Currently not on view
Date made
n.d.
depicted
McClellan, George B.
maker
unknown
ID Number
DL.60.3443
catalog number
60.3443

John Bull and Brother Jonathan

Currently not on view
Location
Currently not on view
Date made
1846
maker
Robinson, Henry R.
ID Number
DL.60.3446
catalog number
60.3446

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