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

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

Fashions for Fall and Winter 1848-9 by S.A. & A.F. Ward

Color print, two horizontal panels depicting twenty figures: fourteen men, two women, and four children in fashions from 1848. The upper panel depicts an indoor scene; the bottom panel depicts an outdoor scene with large buildings in the background.
Description (Brief)
Color print, two horizontal panels depicting twenty figures: fourteen men, two women, and four children in fashions from 1848. The upper panel depicts an indoor scene; the bottom panel depicts an outdoor scene with large buildings in the background. Numbers below the figures are keyed to a separately printed descriptive text.
Location
Currently not on view (1998-01-01)
Date made
1848
maker
Sinclair, Thomas
French, John T.
ID Number
DL.60.3073
catalog number
60.3073
accession number
228146

chair, rocking, child's

Currently not on view
Location
Currently not on view
date made
ca 1870
ID Number
DL.66.0194
catalog number
66.0194
accession number
263340

The Departure

Colored print of a family watching from the shore as a small boat filled with people heads out to a larger vessel that waits on the horizon. Crude cottages with thatched roofs in background.Currently not on view
Description (Brief)
Colored print of a family watching from the shore as a small boat filled with people heads out to a larger vessel that waits on the horizon. Crude cottages with thatched roofs in background.
Location
Currently not on view
date made
1866
publisher
Kelley, R.
artist
Brennan, J.
maker
Henneberger, J.
ID Number
DL.60.2408
catalog number
60.2408
accession number
228146

highchair

Currently not on view
Location
Currently not on view
Date made
18th century
ID Number
DL.388025
catalog number
388025
accession number
182022

The Bottle: IV. The Father and Mother are Become Habitual Drunkards...by lithographer George Gebbie

This black and white tinted print depicts the fourth 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 fourth 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 outdoor scene of a mother, father and older daughter standing outside a wine and spirits shop while the son begs for alms in the street. The mother holds an ailing toddler while the father pockets a bottle of liquor.
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.60.2905
catalog number
60.2905
accession number
228146

O! Brother Do Behold the Glory of Yon Descending Sun.

Black and white comic print of a boy with a fishing pole and a young girl are standing on the beach, watching the sunset. 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 with a fishing pole and a young girl are standing on the beach, watching the sunset. 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.60.2878
catalog number
60.2878
accession number
228146

Napkin Ring

Flat piece of wood sawn in the shape of a sitting rabbit holding a circular ring; painted white on both sides with the rabbit dressed in blue and detailed in black. No marks.Currently not on view
Description
Flat piece of wood sawn in the shape of a sitting rabbit holding a circular ring; painted white on both sides with the rabbit dressed in blue and detailed in black. No marks.
Location
Currently not on view
date made
1900 - 1930
ID Number
DL.314637.0035
catalog number
314637.00035
accession number
314637

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

The Young Widow

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 three-quarter length hand colored print is of a young dark haired mother seated with a child on her lap. The mother and child are sitting on a large green chair. The mother is wearing a simple red dress adorned by a rose on her bodice, five bead bracelets on her right wrist and a ring on her right pinky. She has gold jewels in her dress sleeve and in her hair. The little girl has much lighter hair and is wearing a simple blue dress with a sash. The child is resting her hand on a table which is partially seen in the lower right corner of the print.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in 1830 Hartford, Connecticut. Before the opening of its first retail store in 1834, 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
ca 1840
maker
D.W. Kellogg and Company
ID Number
DL.60.2311
catalog number
60.2311
accession number
228146

The Bottle: Plate III. An Execution Sweeps Off The Greater Part of Their Furniture...designed and etched by George Cruikshank and published by David Bogue

This black and white etching is the third of eight scenes drawn by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking.
Description
This black and white etching is the third of eight scenes drawn by George Cruikshank depicting 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, while the three children linger nearby. The mother holds the bottle and looks sadly at her possessions being taken, including the clock, the empty chest, the table with the tea chest and Bible, and the painting of the church. This series is a folio edition. On the reverse of Plate I. is the title page of the series and an inscription from the artist, including the cost of one shilling or six shillings for prints block tinted for shading on finer paper. The series is contained in a portfolio.
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 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.
Location
Currently not on view
Date made
1847
maker
Cruikshank, George
publisher
Bogue, David
ID Number
DL.60.2912
catalog number
60.2912
accession number
228146

1860 - 1880 Child's Bathtub

This tub is similar in shape and size to those advertised for a child’s use in the 1869 Dover Stamping Company’s catalog.
Description
This tub is similar in shape and size to those advertised for a child’s use in the 1869 Dover Stamping Company’s catalog. Mid to later–19th century advice books encouraged more frequent bathing for children.
Julia McNair Wright’s 1879 Complete Home: An Encyclopaedia of Domestic Life and Affairs recommended “If you want your child to be vigorous in play and exercise, give it an abundance of baths: bathe it every day, using warm or cold water—never hot, never freezing, but warm or cold water as best agrees with your child’s constitution.”* Parents likely bathed their children in the kitchen near the warmth of the fire and near a ready source of heated water. The Saturday night bath became a ritual in many households.
For more information on bathing and bathtubs in the 19th and early 20th centuries, please see the introduction to this online exhibition.
*Julia McNair Wright, Complete Home: An Encyclopaedia of Domestic Life and Affairs, (Philadelphia, Pa.: J. C. McCurdy & Co., [1879]), 136.
Location
Currently not on view
date made
1860-1880
maker
unknown
ID Number
DL.238049.0087
catalog number
238049.0087
accession number
238049

Child's Fork

Currently not on view
Location
Currently not on view
date made
1885 - 1915
ID Number
DL.292636.2
catalog number
292636.2
accession number
292636

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

Capture of Harrold and the Shooting of Booth in the Barn of Garatt's Farm/ by a detachment of the 16th New York Cavalry under the Order of Col. Baker.

After shooting Lincoln in Ford’s Theater, John Wilkes Booth fled south into Virginia with co-conspirator, David Herold, who had been involved in the unsuccessful attempt to assassinate Secretary of State William Seward.
Description
After shooting Lincoln in Ford’s Theater, John Wilkes Booth fled south into Virginia with co-conspirator, David Herold, who had been involved in the unsuccessful attempt to assassinate Secretary of State William Seward. They hid in a barn on the property of Richard Henry Garrett. Discovered and surrounded by federal troops on the early morning of April 26, 1865, Herold surrendered but Booth refused to leave the barn, prompting the Union soldiers to set it on fire. In this print, Herold is led away by soldiers while Booth can be seen through a cutaway in the structure’s wall. He hobbles on crutches, having broken his leg during his flight, and is armed with a rifle and a pistol. Sergeant Boston Corbett takes aims through the barn doors, firing the shot that will mortally wound the assassin. The man on horseback behind the Union soldiers is Lieutenant Edward Doherty who led the detachment of troops to pursue Booth. He looks surprised as he had not given the order for his men to fire at Booth, as his instructions were to bring him back alive. Colonel LaFayette Baker, the Union spymaster who had discovered the fugitives’ location, was not actually present at the scene, having issued Doherty his orders in Washington. Herold was convicted for his role in the plot to assassinate Lincoln and was hanged on July 7, 1865, with his co-conspirators. Images depicting Lincoln, his assassination, and those convicted of his conspiring to murder him were popular print subjects in the years after Lincoln’s death.
The artist of the print, Feodor Fuchs, was a German-American painter and lithographer who was active in Philadelphia, where he contributed to several Kimmel & Forster prints during the Civil War. By 1876, he had relocated to Milwaukee, Wisconsin. Christopher Kimmel was born in Germany around 1850 and after immigrating to the United States, was active in New York City from 1850 to 1876. He was part of Capewell & Kimmel from 1853 to 1860, and then partnered with Thomas Forster in 1865, forming the lithography firm of Kimmel & Forster, which was active until 1871.
Location
Currently not on view
date made
ca 1865
depicted
Booth, John Wilkes
Corbett, Boston
referenced
Baker, Luther C.
depicted (probably)
Doherty, Edward P.
depicted
Herold, David E.
maker
Kimmel and Forster
Fuchs, Feodor
ID Number
DL.60.3325
catalog number
60.3325

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

Untitled (Mule with Bay and Dog)

A black and white print of a mule with a sack of “Oats for Cameron” on its back and drinking from a pond. A boy sits on a log and eats while his dog looks on and begs.Currently not on view
Description
A black and white print of a mule with a sack of “Oats for Cameron” on its back and drinking from a pond. A boy sits on a log and eats while his dog looks on and begs.
Location
Currently not on view
Date made
n.d.
maker
Cameron, John
ID Number
DL.60.3615
catalog number
60.3615

Look at Mama

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 an interior scene of a mother and child looking at the mother's portrait. The portrait is in an ornate, gold frame. Red drapery and a floral wallpaper are in the background. Both mother and daughter are wearing elegant dresses with ribbons, bows and lace ruffles.
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 1845
distributors
Sowle & Shaw
maker
Baillie, James S.
ID Number
DL.60.2240
catalog number
60.2240
accession number
228146

The Botanists

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 of a young woman seated on a bench with a young boy beside her and a toddler at her feet. She has a basket of flowers on her lap and another beside her. The title of the print indicates the interest in botany and the natural world.
The print was produced by the lithographic firm of D. W. Kellogg & Co. of Hartford, Connecticut. Daniel Wright Kellogg, established this family business that would flourish for decades under his younger brothers and other family members.
Location
Currently not on view
date made
1830-1840
maker
D. W. Kellogg and Company
ID Number
DL.60.2222
catalog number
60.2222
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

chair, child's

Currently not on view
Location
Currently not on view
date made
1775 - 1825
ID Number
DL.317865.0001
catalog number
317865.0001
accession number
317865

Mug

Cylindrical child's cup or mug symmetrically engraved with curved leafy sprigs forming a wreath at front containing the stamped letters "J.H.C."; a perched bird and flowers extend around sides.
Description
Cylindrical child's cup or mug symmetrically engraved with curved leafy sprigs forming a wreath at front containing the stamped letters "J.H.C."; a perched bird and flowers extend around sides. Bracket handle with beaded vertical bar, square in section, topped by a closed-leaf finial and C scroll terminals attached to shaped plates; applied cabled rim and foot ring; and flat bottom. Bottom underside struck with four marks, a five-petaled flower; the Old English or gothic letters "W", "W", and "H", in separate shaped surrounds; the raised serif letter "S" in a rounded-corner surround; and the raised serif letters "EP" crowned in a shield.
Maker is W. W. Harrison (William Wheatcroft) of Sheffield, England; in business, 1871-1905. Not known when he used these marks.
Location
Currently not on view
date made
ca 1900
1880 - 1890
ID Number
DL.66.0544
catalog number
66.0544
accession number
265238

Reconstruction of the South

This post-war print depicts an allegorical vision of change that could accompany Reconstruction. At the left, Union soldiers are shown beating swords and weapons into farming implements.
Description
This post-war print depicts an allegorical vision of change that could accompany Reconstruction. At the left, Union soldiers are shown beating swords and weapons into farming implements. On the right, a general holds a pickaxe and stands next to a cannon that has been converted into a mill. American-British philanthropist George Peabody, stands at the center of the print, in front of an American flag held aloft by an eagle. He holds open a book that reads, “2,000,000 for Education,” referring to the Peabody Education Fund, which he established to raise the standard of education in the South for those of all races. Beneath him are gathered a group of young white children. One girl looks at a group of four freed slaves, holding a poster that says, “Come Uncle / Learn to Be a Citizen.” In the background, a crowd of 300,000 mechanics, farmers, and laborers carry tools that they will use to facilitate the “Reconstruction of the Union.” On the right, a sailor prepares to sink a barrel labeled, “Extremes,” into the sea. This idealized vision of Reconstruction is one led by the North, which will feature educational and economic development throughout the country, but will be absent of any radicalism. While women's charities had long funded children's orphanages and schooling, George Peabody is considered the "Father of Modern Philanthropy" and his generosity inspired other wealthy individuals to gifting and developing lasting charitable trusts for social causes, particularly in the field of education.
The artist of this print was Augustus Tholey, a German immigrant born in Alsace-Loraine. He moved to Philadelphia in 1848, where he worked as a painter, pastel artist, engraver, and lithographer. It was published by John Smith, who was active in Philadelphia between 1860 and 1870. Besides publishing prints by Tholey and Anton Hohenstein, Smith was also an accomplished gilder, painter, and looking glass and frame manufacturer.
Location
Currently not on view
Date made
1867
depicted
Peabody, George
maker
Tholey
Smith, John
ID Number
DL.60.2576
catalog number
60.2576
accession number
228146

Our collection database is a work in progress. We may update this record based on further research and review. Learn more about our approach to sharing our collection online.

If you would like to know how you can use content on this page, see the Smithsonian's Terms of Use. If you need to request an image for publication or other use, please visit Rights and Reproductions.