Domestic Furnishings - Overview
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.
"Domestic Furnishings - Overview" showing 521 items.
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1784 Overshot Coverlet
- Description
- The weaver and original owner of this very complex, well worn, single-woven, linen, cotton and wool, overshot coverlet, dated 1784, are unknown. The letters “E M” and the date are woven into the coverlet on the lower right hand side, using a hand technique. We do not know if
- “E M” stands for name of the owner or the weaver. In the 18th century it was not unusual for textiles to be marked with the initials of the owner, but it was usually done with embroidery. The initials identified the coverlet as the woman's property. Women could own and inherit "moveable" property.
- The overall patterns used in this coverlet are “Rose” and “Tables,” and there are two shades of indigo blue used in a band effect. The coverlet was woven in two sections, and then sewn together. The original size of the sections and the coverlet as a whole are unknown, as there are no original edges present. This coverlet was found in Massachusetts. In the18th century, a young woman might commission the weaving of a coverlet or receive one as a gift, and put it in her dowry (hope chest) saving it for use after marriage.
- Location
- Currently not on view
- date made
- 1784
- maker
- unknown
- ID Number
- 1979.0723.1
- accession number
- 1979.0723
- catalog number
- 1979.0723.1
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Overshot Coverlet 1787
- Description
- The date 1787 and the letters “M S” are woven into a corner of this cotton, linen, and wool, single-woven overshot coverlet. The center seam indicates the coverlet was woven in two sections that were sewn together. One section is an inch smaller than the other. The pattern could be a variation of “Kings Flower” pattern or “Roses and Tables.” This Coverlet was found in New York State. It is not known if “M S” are the initials of the weaver or the owner, both of whom are unknown. In the 18th century, household textiles were prized possessions, and it was not unusual for them to be marked with the owner’s initials and the date. However, the marking was usually done with embroidery.
- Location
- Currently not on view
- date made
- 1787
- maker
- unknown
- ID Number
- 1979.0723.2
- accession number
- 1979.0723
- catalog number
- 1979.0723.2
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Cradle
- Description
- Few of us today would look at the cradle and think of death as well as life. But 18th-century families had to expect many children to die in infancy, and for them a cradle may have evoked feelings of both joy and loss. A Virginian wrote in 1786, "Our Dear babey just lived with us long Anuf to make us love him and began to play and be company for us and them was taken from us."
- Location
- Currently not on view
- Date made
- 1775-1800
- ID Number
- 1980.0026.08
- accession number
- 1980.0026
- catalog number
- 1980.0026.08
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1840 - 1860 Catherine Byer's Pieced and Appliqued Quilt
- Description
- Inked leaves and a bird frame the inscription: “Eby – Byers Catherine Byers” and the place, “Chambersburg.” Below Chambersburg is noted "1837," but in a different color ink---possibly a later addition? Did Catherine make this quilt?
- Catherine Byers, born in 1805, was the daughter of Frederick Byers and Anna Eby of Pa. Catherine married James Crawford (1799-1872). They raised their children and lived on the family homestead in Franklin County, Pa. Catherine died in 1892. Both came from families who were early settlers of Pennsylvania, some of whom had fought in the Revolutionary War.
- Thirty-six pieced blocks, each with a center square of dark blue printed cotton and three appliquéd leaves at each corner create a unique pattern. The central focus is the 9 ¾-inch-block with the inked drawing and inscription. The quilt is framed by a 6-inch border and is quilted at 10 stitches per inch. As no information was included with the quilt, it is difficult to know who made the quilt and the significance of the date.
- Location
- Currently not on view
- date made
- 1840-1860
- maker
- Byers, Catherine
- ID Number
- 1980.0253.01
- catalog number
- 1980.0253.01
- accession number
- 1980.0253
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Linen Overshot Coverlet 1790
- Description
- Elizabeth Deuel is said to have made this single-woven, all linen coverlet in1790, in the Saratoga region of New York State. Her name and the date are cross-stitched into the lower edge of the coverlet just above the fringe. A search of the 1790 census of the area produced no one with the surname Deuel. More research is needed to determine where Miss Deuel lived, and if she was the weaver or the owner of this coverlet. In the 18th century, it was common for household textiles to be marked with the initials or name of the owner and the date. The average colonial home did not have a great number of household textiles, and they were considered important possessions. This coverlet was woven in two sections that were then sewn together.
- Location
- Currently not on view
- date made
- late 18th century
- 1790
- weaver or owner
- Deuel, Elizabeth
- maker or owner of coverlet
- Deuel, Elizabeth
- ID Number
- 1981.0274.005
- accession number
- 1981.0274
- catalog number
- 1981.0274.05
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Rose of Sharon Coverlet
- Description
- The weaver of this single-woven overshot coverlet is unknown. It is made entirely of wool, and was probably woven in the late 18th or early 19th century. The pattern used is similar to the patterns known as “Rose of Sharon” and “Freeman’s Felicity.” It was woven in two sections and sewn together. The lower edge has an applied fringe, while the one on the side is a self fringe. In the 18th and early 19th centuries, it was common for women to spin fiber into yarn, and take the yarn to a professional weaver for use in a coverlet. In the late 18th and early 19th centuries, household textiles were precious belongings, frequently listed in household inventories right along with furniture and tools.
- Location
- Currently not on view
- date made
- 1790-1810
- late 18th century
- early 19th century
- maker
- unknown
- ID Number
- 1981.0274.008
- accession number
- 1981.0274
- catalog number
- 1981.0274.08
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Face Vessel
- Description
- The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
- The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen the slave-made vessels and taken the idea with them as they moved out of South Carolina.
- Like many southern pottery families, the Brown family encompasses a line of potters generations long. The Browns began making pottery in west-central Georgia by the mid-1800s before migrating east to the Atlanta area after the Civil War. The family spread from there to North and South Carolina, Mississippi, Alabama, and Texas.
- Starting in the 1960s, a growing interest in southern face vessels as examples of 20th-century folk art prompted collectors, historians, and cultural institutions to seek out and encourage the potters who produce them. This piece, in the middle, was made by a member of the Brown family in North Carolina, and donated to the Smithsonian by Ralph Rinzler and his wife. Working for the Smithsonian's Office of Folklife Programs, Rinzler was instrumental in the rediscovery and popularization of face vessels.
- Location
- Currently not on view
- date made
- 1967-1968
- maker
- Brown Pottery
- ID Number
- 1981.0287.5
- accession number
- 1981.0287
- catalog number
- 1981.287.5
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Face Vessel
- Description
- The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
- The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen the slave-made vessels and taken the idea with them as they moved out of South Carolina.
- Like many southern pottery families, the Brown family encompasses a line of potters generations long. The Browns began making pottery in west-central Georgia by the mid-1800s before migrating east to the Atlanta area after the Civil War. The family spread from there to North and South Carolina, Mississippi, Alabama, and Texas.
- Starting in the 1960s, a growing interest in southern face vessels as examples of 20th-century folk art prompted collectors, historians, and cultural institutions to seek out and encourage the potters who produce them. This piece, on the left, was made by a member of the Brown family in North Carolina, and donated to the Smithsonian by Ralph Rinzler and his wife. Working for the Smithsonian's Office of Folklife Programs, Rinzler was instrumental in the rediscovery and popularization of face vessels.
- Location
- Currently not on view
- date made
- 1967-1968
- maker
- Brown Pottery
- ID Number
- 1981.0287.6
- accession number
- 1981.0287
- catalog number
- 1981.287.6
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Face Vessel
- Description
- The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
- The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen the slave-made vessels and taken the idea with them as they moved out of South Carolina.
- This jug, on the right, was made by Georgia potter Cheever Meaders (1887-1967) who produced a small number of face vessels. Although they were popular, Meaders felt that they were too much trouble to make. Meaders used pieces of broken, glazed plates for the eyes and teeth on this piece.
- Starting in the 1960s, a growing interest in southern face vessels as examples of 20th-century folk art prompted collectors, historians, and cultural institutions to seek out and encourage the potters who produce them. This piece was donated to the Smithsonian by Ralph Rinzler and his wife. Working for the Smithsonian's Office of Folklife Programs, Rinzler was instrumental in the rediscovery and popularization of face vessels.
- Location
- Currently not on view
- date made
- ca 1967
- maker
- Meaders, Cheever
- ID Number
- 1981.0287.7
- accession number
- 1981.0287
- catalog number
- 1981.287.7
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Pitcher Honoring Frederick Douglass
- Description
- This hand-modeled and molded, unglazed red earthenware pitcher honors Frederick Douglass, "Slave Orator/ United States Marshall, Recorder of Deeds D.C./ Diplomat."
- Although the maker is unknown, we do know that the design for the pitcher was copyrighted by a J. E. Bruce of Albany, New York, in 1896, one year after Douglass's death.
- Location
- Currently not on view
- Date made
- ca 1895
- designer
- Bruce, J. E.
- maker
- unknown
- ID Number
- 1981.0353.1
- catalog number
- 1981.353.1
- accession number
- 1981.0353
- Data Source
- National Museum of American History, Kenneth E. Behring Center