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.

Place: Boston

Home of Abraham Lincoln

Black and white print of a two-story wooden house on a street corner. A man (Abraham Lincoln?) and a child are standing inside the fence in front of the house.
Description (Brief)
Black and white print of a two-story wooden house on a street corner. A man (Abraham Lincoln?) and a child are standing inside the fence in front of the house. A carriage and men on horseback are in the street in the foreground and pedestrians walk along the street.
Description
This undated, black and white print of Lincoln’s residence in Springfield, Illinois, was most likely created in the period of high public demand for Lincoln images around the time of his assassination, during which many Northerners felt a desire to display a representation of the man they believed to be the savior of their nation. Lincoln lived in this two-story, twelve-room home from 1844 to 1861. In the print, men on horseback, women with parasols, and a horse-drawn buggy pass all by the residence on the road. A beardless Abraham Lincoln and one his sons stand near the entrance to the home.
On February 6, 1861, about 700 friends, neighbors, and well-wishers came to his residence to bid him farewell before he left for Washington. Lincoln departed Springfield on February 11, 1861, for his inauguration, but would never return to this home alive. His oldest son, Robert Todd Lincoln, donated the family home to the state of Illinois in 1887 and it was designated a National Historic Landmark in 1960.
Louis Prang (1824-1910) was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil war battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints. The print was published by S.G. Lane at 21 Cornhill.
Location
Currently not on view
Date made
n.d.
depicted?
Lincoln, Abraham
maker
L. Prang & Company
ID Number
DL.60.3710
catalog number
60.3710

Grandpa's Watch

Currently not on view
Location
Currently not on view
Date made
1873
maker
Armstrong and Company
artist
Baker, Joseph E.
ID Number
DL.60.2377
catalog number
60.2377
accession number
228146

The Sailor's Farewell

Colored print of sailor with his arm around a young crying woman holding a handkerchief to her face. He wears a seaman's uniform of the period; she is in a simple white laced trimmed dress. They both wear rings. The print is from a daguerreotype by Ives.Currently not on view
Description (Brief)
Colored print of sailor with his arm around a young crying woman holding a handkerchief to her face. He wears a seaman's uniform of the period; she is in a simple white laced trimmed dress. They both wear rings. The print is from a daguerreotype by Ives.
Location
Currently not on view
date made
1856
artist
Grozelier, Leopold
printer
S. W. Chandler & Bro.
ID Number
DL.60.2394
catalog number
60.2394
accession number
228146

The Arkansas Traveller

Colored print depicting the famous folktale of the Arkansas Traveler, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle.
Description (Brief)
Colored print depicting the famous folktale of the Arkansas Traveler, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle. Other family members are gathered in the doorway, with one boy sitting outside.
Location
Currently not on view
date made
1859
depicted
Faulkner, S. C.
printer
J. H. Bufford and Company
artist
Washbourne, E. P.
lithographer
Grozelier, Leopold
ID Number
DL.60.2432
catalog number
60.2432
accession number
228146

Democracy

As the Civil War dragged into 1864, many Republicans worried that the unpopularity of the conflict would cause Lincoln to lose his bid for reelection.
Description
As the Civil War dragged into 1864, many Republicans worried that the unpopularity of the conflict would cause Lincoln to lose his bid for reelection. Those in the North tired with the war hoped that his opponent and former general, Democratic candidate, George McClellan, would attempt to broker a peace with the Confederacy. These peace Democrats were referred to as Copperheads by Republicans, who believed they resembled venomous serpents. This pro-Republican cartoon rebukes both McClellan and, by extension, the supporters of the Northern Democratic Party.
In the left panel, representing 1832, an enraged Andrew Jackson, the founder of the modern Democratic Party raises a fist into the air as he denounces his Vice President, John C. Calhoun. Calhoun, an ardent supporter of states’ rights believed that state governments had the power to nullify, or veto, any federal laws of which they did not approve. This led to a clash with Jackson, who, although also a proponent of states’ rights, believed in the preservation of the Union. Jackson’s response to Calhoun is contrasted with the behavior of Northern Democrats in 1864. George McClellan and his running mate, George Pendleton, prostrate themselves in front of a shoddily dressed Jefferson Davis, offering him an olive branch and promises of a “friendly separation.” Davis, holding a whip and armed with a pistol and dagger in his belt, stands tall and orders McClellan to call back “those fellows Grant, Sherman, and Sheridan also that old sea dog Farragut. Behind him, a Confederate soldier eating a corncob laughs at the Northern “fools,” who beg for peace even though the Confederacy is “in the last ditch.”
Louis Prang (1824-1910) was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil war battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints.
Location
Currently not on view
Date made
1864
depicted
Jackson, Andrew
Pendleton, George Hunt
Calhoun, John Caldwell
Davis, Jefferson
McClellan, George B.
maker
L. Prang & Company
ID Number
DL.60.3459
catalog number
60.3459

Charles Sumner

Black & white print; oval bust portrait of a man (Charles Sumner).On May 22, 1856, during the Bleeding Kansas crisis, Massachusetts Republican Senator, Charles Sumner, delivered a speech to Congress in which he denounced the Kansas-Nebraska Act of 1854 and demanded that Kansas be
Description (Brief)
Black & white print; oval bust portrait of a man (Charles Sumner).
Description
On May 22, 1856, during the Bleeding Kansas crisis, Massachusetts Republican Senator, Charles Sumner, delivered a speech to Congress in which he denounced the Kansas-Nebraska Act of 1854 and demanded that Kansas be admitted to the Union as a free state. In his oration, he verbally attacked the pro-slavery South Carolina Senator, Andrew Butler. Two days later, Preston Brooks, a South Carolina Congressman and also Butler’s cousin, nearly beat Sumner to death on the Senate floor with a cane. Responses to the attack in the North and the South further polarized the people of the nation, leading it further down the path to war. Even before he had gained renown as the victim of “Bleeding Sumner,” the Senator had been a strong proponent of abolition and civil rights for African Americans. In 1848, the city of Boston denied Sarah Robert, a five-year-old black girl, enrollment at a white-only school. Sumner represented the Roberts in front of the Massachusetts Supreme Court, challenging the racial segregation of Boston schools in the state. Although the Court ruled in favor of Boston, deeming that racial segregation was not unconstitutional, Sumner’s argument was cited in Brown v. Board of Education, which prohibited segregated schools nationwide.
This portrait of Sumner was produced sometime during the Civil War, between 1861 and 1863. It was drawn by Alfred A. Kipps, an English painter and photographer who settled in California in the mid-1860s. It was printed and published by L. Prang and Company. Louis Prang (1824-1910) was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil war battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints.
Location
Currently not on view
Date made
n.d.
depicted
Sumner, Charles
maker
L. Prang & Company
artist
Kipps, Alfred K.
ID Number
DL.60.3155
catalog number
60.3155
accession number
228146

Pussy's Family

Black and white print of a mother cat and three kittens sitting in a bed of straw. One kitten plays with a carrot, another drinks from a bowl of milk. Basket and shawl in right background. Mouse trap (?) in left background. Brick wall behind them.Currently not on view
Description (Brief)
Black and white print of a mother cat and three kittens sitting in a bed of straw. One kitten plays with a carrot, another drinks from a bowl of milk. Basket and shawl in right background. Mouse trap (?) in left background. Brick wall behind them.
Location
Currently not on view
date made
ca 1872
maker
Haskell & Allen
ID Number
DL.60.2338
catalog number
60.2338
accession number
228146

View of the Water Celebration, On Boston Common October 25th, 1848.

Black and white print of Boston Common filled with men, women and children around a pool of water with a fountain in the center.Currently not on view
Description (Brief)
Black and white print of Boston Common filled with men, women and children around a pool of water with a fountain in the center.
Location
Currently not on view
Date made
1849
maker
Tappan & Bradford
artist
Rowse, Samuel W.
original artist
Smith, Jr., B. F.
ID Number
DL.60.3750
catalog number
60.3750

The Little Contraband

Before Emancipation, the term “contraband” was used to refer to former slaves who had escaped and made their way to Union lines. This 1862 print depicts a young, previously-enslaved girl who has been intercepted by Federal troops.
Description
Before Emancipation, the term “contraband” was used to refer to former slaves who had escaped and made their way to Union lines. This 1862 print depicts a young, previously-enslaved girl who has been intercepted by Federal troops. She smiles as the Union officer on the right lifts her onto a gun carriage. A caption below the illustration explains, “And her little limbs had, perhaps, become strengthened by some vague dream of liberty, to be lost or won, in that hurried night march.” To the right of these lines, the print contains the facsimile signature of Nathaniel P. Banks, the officer depicted on horseback who points towards the girl. At the outbreak of the Civil War, Lincoln selected Banks as one of the first major generals of volunteers. Before the war, he had served as Speaker of the House of Representatives and then as the Governor of Massachusetts. He lacked prior military experience, however, and many of his military engagements resulted in defeat. Despite these failures, this print focuses on the general’s continuing commitment to the abolitionist cause.
This print was published by the lithographer John Henry Bufford. 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 had a good reputation for printing and publishing popular framing 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.
Location
Currently not on view
Date made
1862
maker
Bufford, John Henry
ID Number
DL.60.3319
catalog number
60.3319

Hunting the Deer

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 11. Hunting the [Virginia] Deer. A.B. Frost. It depicts a hunter crouched behind a log, aiming a rifle at a stag.
The artist was Arthur Burdette Frost (1851-1928), known for his wildlife and sporting scenes even though he had an aversion to deer hunting. Frost was a noted illustrator (Uncle Remus), even though he was color blind.
Location
Currently not on view
date made
1889
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Frost, Arthur Burdette
ID Number
DL.60.2720
catalog number
60.2720
accession number
228146

Fetching the Old Mare Home

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 colored print is of a woman with a child leading a white horse by its ear down a road. The woman carries a large pan or sieve and is wearing a jacket and apron over a simple dress and a kerchief on her head. The road they are walking on is bordered by a split rail fence.
John Henry Bufford produced the lithograph and published the print from the original painting by Friedrich Wilhelm Keyl. Frederick or Friedrich Wilhelm Keyl (1823-1873) was born in Frankfurt am Main, Germany. He trained in Brussels and England and became a well known painter of animal scene. He died December 5, 1873 in London and is buried in Kensal Green Cemetery. The printer/publisher John Henry Bufford (1810-1870), was from Portsmouth, Massachusetts. Prior to moving to New York in 1835, Bufford apprenticed under William S. Pendleton. In New York, he worked for George Endicott and later Nathaniel Currier. In 1840, Bufford moved back to Boston and started work for another lithography firm. By 1844 the firm and shop name had changed to J.H. Bufford & Co. In 1867 Bufford became the manager of the New England Steam Lithographic Printing Company. He died three years later in Boston.
Location
Currently not on view
date made
1856-1864
maker
Keyl, Friedrich Wilhelm
Bufford, John Henry
ID Number
DL.60.2369
catalog number
60.2369
accession number
228146

The March of Miles Standish

Colored print of nine white men led by an American Indian down a path away from the ocean where a ship is anchored. Two stanzas from Longfellow's, "The Courtship of Miles Standish" appear beneath the image on each side of the title.Currently not on view
Description (Brief)
Colored print of nine white men led by an American Indian down a path away from the ocean where a ship is anchored. Two stanzas from Longfellow's, "The Courtship of Miles Standish" appear beneath the image on each side of the title.
Location
Currently not on view
date made
1873
depicted
Standish, Miles
maker
Armstrong and Company
artist
Baker, Joseph E.
ID Number
DL.60.2572
catalog number
60.2572
accession number
228146

Cambridge in the "Centennial."

Currently not on view
Location
Currently not on view
date book published
1875
date of J.W. Black & Co. photograph
1875
date of Notman photographs
ca 1900
historical event
1775-07-03
associated event
1875-07-03
ID Number
DL.62.0021B
catalog number
62.0021B
accession number
237100

The Landing of Columbus in America 11th October, 1492

Colored print of Christopher Columbus standing in a rowboat that is moored near the shoreline. He holds a flag in his left hand, and a hat in his up-raised right hand. Various other figures are standing and/or kneeling around him.
Description (Brief)
Colored print of Christopher Columbus standing in a rowboat that is moored near the shoreline. He holds a flag in his left hand, and a hat in his up-raised right hand. Various other figures are standing and/or kneeling around him. A sailing ship is anchored in the waters in the background.
This print was produced by Frederick Gleason (1814-1896). a lithographer and publisher in Boston, Massachusetts. Born in September 1814 in Germany, Gleason moved to the United States in October 1836, and began his career as a bookbinder. He became a citizen in June 1840. He is best known for establishing the popular illustrated weekly Gleason's Pictorial Drawing-Room Companion in 1851, modelled on the Illustrated London News. At the time an innovation in American publishing, it brought him considerable success. After the Pictorial, Gleason published Gleason's Literary Companion from 1860–70; Gleason's Home Circle from 1871–90; and Gleason's Monthly Companion from 1872–87. He was married a second time after his first wife died, and he died November 6, 1896 in Boston.
Location
Currently not on view
date made
ca 1875
publisher
Gleason, Frederick
ID Number
DL.60.2538
catalog number
60.2538
accession number
228146

E.E. Ellsworth

This 1861 posthumous portrait of Colonel Elmer E. Ellsworth shows the Union colonel standing in uniform, arms folded, with his sword on his left hip.
Description
This 1861 posthumous portrait of Colonel Elmer E. Ellsworth shows the Union colonel standing in uniform, arms folded, with his sword on his left hip. Originally born New York in 1837, Ellsworth later moved to Illinois, where he found employment in Abraham Lincoln’s Springfield law office in 1860. He assisted Lincoln in his 1860 presidential campaign, accompanying the president-elect to Washington in 1861. Before the war, Ellsworth returned to his native New York City to raise the 11th New York Volunteer Infantry Regiment to put down the rebellion. A student of military history and science, Ellsworth was fascinated by the Zouaves, France’s colonial soldiers in Algeria. He emulated the drills and methods of this group when training his regiment and even based the design of his men’s uniforms on those of the Zouaves. Since many of the regiment’s enlistees came from New York’s volunteer fire departments, the unit earned the nickname, the “Fire Zouaves.”
On May 24th, 1861, the day after Virginia secession, Ellsworth entered Alexandria with soldiers from the 11th New York to aid in the city’s occupation, He was determined to remove a large rebel flag that had flown above one of the city’s inns for weeks and had even been visible through a spyglass from the White House. After removing the flag, he was shot by the inn’s pro-slavery owner, and became the first Union officer to be killed during the Civil War. In death, Ellsworth became a martyr for the Union cause and he was celebrated in printed illustrations, poems, and ballads. His legacy remained an inspiration for young Northern soldiers throughout the war, and “Remember Ellsworth!” quickly became a favorite rallying cry.
This print was published by the lithographer Jon Henry Bufford. 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 artist of this work, Joseph E. Baker (1837-1914), began as an apprentice at J. H. Bufford & Co. in 1857, eventually becoming John Bufford’s principal draftsman and illustrator of sheet music. He worked in NYC in 1860-1867 and specialized in portrait prints. During the Civil War he produced political cartoons and lithographs for Bufford. He later worked for Armstrong & Company, remaining active until 1888.
Location
Currently not on view
Date made
1861
depicted
Ellsworth, Elmer E.
maker
Bufford, John Henry
Baker, Joseph E.
ID Number
DL.60.3226
catalog number
60.3226

The Retreat

This print by John Henry Bufford shows the Army of the Potomac at the conclusion of 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 by John Henry Bufford shows the Army of the Potomac at the conclusion of 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 an end to the fighting.
In the background of this print, long trains of covered wagons and troops of the Army of the Potomac retreat from Chickahominy to the James River. In the foreground, some soldiers cross Bear Creek while others rest on its banks. General George McClellan is visible at the bottom of the print on a white horse, looking out upon the withdrawal of his forces. This print is identical to another by Bufford, which has the less cynical title – “The Army of the Potomac.”
This print was published by the lithographer John Henry Bufford. 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 had a good reputation for printing and publishing popular framing 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.
John Badger Bachelder (1825-1894) was born in New Hampshire and began his career as a portrait and landscape painter. During the Civil War, he accompanied the Union Army and made sketches from 1861 to 1863, and worked as a print publisher in Boston from 1863 to 1865. Union officers often commented on the accuracy of his artwork. He documented scenes of the War, particularly at Gettysburg and created a guidebook to the battle in 1873. From 1883 to 1887 he served as Superintendent of Tablets and Legends for the Gettysburg Battlefield Memorial Association, during which time he wrote a detailed history of Gettysburg from the Union perspective.
Location
Currently not on view
Date made
1863
maker
Bachelder, John Badger
lithographer
Bufford, John Henry
ID Number
DL.60.2605
catalog number
60.2605
accession number
228146

Haying Time

Colored print of a haywagon drawn by a pair of horses preceded by a family of four on foot. Two figures ride atop the hay. A dog, a woman and a child appear in the center foreground.
Description (Brief)
Colored print of a haywagon drawn by a pair of horses preceded by a family of four on foot. Two figures ride atop the hay. A dog, a woman and a child appear in the center foreground. House with picket fence appears in right background, church with steeple in left background.
Location
Currently not on view
date made
1871-1875
maker
Haskell & Allen
ID Number
DL.60.2647
catalog number
60.2647
accession number
228146

The Rabbit

Colored print of a rabbit in a garden.Currently not on view
Description (Brief)
Colored print of a rabbit in a garden.
Location
Currently not on view
date made
1856-1864
maker
Bufford, John Henry
ID Number
DL.60.2351
catalog number
60.2351
accession number
228146

Autumn

Currently not on view
Location
Currently not on view
Date made
ca. 1875
maker
Haskell & Allen
ID Number
DL.60.2636
catalog number
60.2636
accession number
228146

Close Stool Pan (Commode Pot)

Tapered cylindrical, handleless pot with wide, everted, single-reeded rim on an applied, molded foot ring; made to be placed in a commode chair or stool. Sets of three and two incised lines around exterior.
Description
Tapered cylindrical, handleless pot with wide, everted, single-reeded rim on an applied, molded foot ring; made to be placed in a commode chair or stool. Sets of three and two incised lines around exterior. Bottom underside is engraved with a wrigglework semicircle containing "Abram Tuckerman" in script above "BOSTON" in shaded Roman letters and a shaded "I" or the Roman numeral "II" beneath the semicircle. No marks apparent.
Location
Currently not on view
date made
1770 - 1800
ID Number
DL.388641
catalog number
388641
accession number
182022

knife

Currently not on view
Location
Currently not on view
date made
after 1866
maker
Landers, Frary & Clark
ID Number
DL.66.0562C
catalog number
66.0562C
accession number
265238

chair, side

Currently not on view
Location
Currently not on view
date made
ca 1790
date reupholstered
ca 1923
ID Number
DL.64.0037
catalog number
64.0037
accession number
246243

John H. Bufford. Practical Lithographer

Black and white print; billhead for the lithographic firm of John Henry Bufford.Currently not on view
Description (Brief)
Black and white print; billhead for the lithographic firm of John Henry Bufford.
Location
Currently not on view
Date made
before October 1859
maker
Bufford, John Henry
ID Number
DL.60.3097
catalog number
60.3097
accession number
228146

Canada Grouse

Colored print of two Canada grouse, a male and female, in a wooded setting amid high grasses and leaves.Currently not on view
Description (Brief)
Colored print of two Canada grouse, a male and female, in a wooded setting amid high grasses and leaves.
Location
Currently not on view
date made
1878
artist
Pope, Jr., Alexander
lithographer
Armstrong and Company
ID Number
DL.60.2715
catalog number
60.2715
accession number
228146

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