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 520 items.
Page 41 of 52
The Fishermans Daughter
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This hand colored print is a full length portrait of a young woman leaning on an oar. She is wearing a blue sash with fringe, blue slippers, a chain and anchor around her waist, a net on her hair and an apron with a striped underskirt. In the background is the shoreline with a boat, trees and a house with gothic windows.
- Kellogg & Bulkeley was the lithography firm formed from the partnership between Elijah Chapman Kellogg, Edmund Burke Kellogg and William Henry Bulkeley. The firm was formed in 1867, and shortly after both Elijah Chapman Kellogg and his brother Edmund Burke Chapman retired. After their retirement the only Kellogg remaining in the business was Edmund’s son Charles Kellogg. By1871 the partnership between the Kellogg family and Bulkeley had been reorganized as an incorporated stock company. The company came to an end when is merged with Case, Lockwood, & Brainard to become Connecticut Printers in 1947. Connecticut Printers remained open until 1990 when the Kellogg lithography firm finally ended after 160 years.
- Location
- Currently not on view
- date made
- ca 1860
- maker
- Kellogg & Bulkeley
- ID Number
- DL*60.2255
- catalog number
- 60.2255
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Don't Say Nay
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This hand colored print is a full length portrait of a man and woman standing arm in arm outdoors. A church with a tall steeple is in the left background. The man is wearing a formal, long, fitted coat, double-breasted, velvet collar, vest, bow tie and striped trousers. The woman is wearing a long pink dress with lace collar and cuffs. The man is carrying a book, and the woman is carrying a lace handkerchief.
- This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
- Location
- Currently not on view
- date made
- 1852-1860
- maker
- E.B. and E.C. Kellogg
- ID Number
- DL*60.2256
- catalog number
- 60.2256
- accession number
- 228146
- maker number
- 208
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Brother & Sister
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This full length hand colored portrait print is of a little boy and girl standing outdoors while holding hands. There is grape arbor in the background that is supporting vines that surround the pair. There are roses in the background. Both the boy and the girl are in simple clothing: the girl is wearing a red and white dress while the boy is wearing a blue shirt with white pants; both their outfits have a bow on the chest.
- This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
- Location
- Currently not on view
- date made
- ca 1846
- maker
- Baillie, James S.
- ID Number
- DL*60.2262
- catalog number
- 60.2262
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Love Among the Roses
- 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 a three-quarter length portrait of a young woman with a basket on her head containing cupid and roses. She is dressed in a peasant type costume with loose sleeves, small simple shawl and stayed bodice. An urn filled with roses is in the left background.
- This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s Lithography firm.
- Location
- Currently not on view
- date made
- ca 1850
- distributor
- Needham, D.
- maker
- Kelloggs & Comstock
- ID Number
- DL*60.2263
- catalog number
- 60.2263
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Bud and the Blossom
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This hand colored print is a three-quarter length portrait of two girls, the older girl with her arm around the shoulder of the younger girl. They wear simple dress; one pink and the other blue. Rose bushes and a balustrade are in the background. The younger girls hold some flowers in one hand.
- This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
- Location
- Currently not on view
- date made
- ca 1846
- distributor
- Needham, D.
- maker
- E.B. and E.C. Kellogg
- ID Number
- DL*60.2265
- catalog number
- 60.2265
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Charles
- 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 a full length 3/4 pose of young man standing in parlor. He is in formal dress:a long fitted coat, embroidered vest and shirt, bow tie, high silk hat in hand. The background includes an ornate sofa,a fireplace with painted seascape on the a firescreen, a framed picture of six masted sailing ship on the wall, a fringed throw rug and a patterned carpet. A vase with portrait image, bust length of a young woman contains a floral arrangement and sits on the mantle.
- The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, eventually developing a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major and created Sarony & Major Lithography firm. 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.
- Location
- Currently not on view
- date made
- ca 1848
- distributors
- Sowle & Shaw
- maker
- Sarony & Major
- ID Number
- DL*60.2275
- catalog number
- 60.2275
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The First Appearance
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This hand colored print is of three ladies in an outdoor setting. One is full front in the foreground, while the other two are looking and smelling the roses in the background. All of the women are wearing wide straw hats with ribbons, tight fitting bodices and sleeves, short full skirts, bloomers stopping at ankles and high button shoes. There are two columns on the left that are home to more roses. The floor is patterned.
- This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
- Location
- Currently not on view
- date made
- ca 1852
- distributors
- Ensign, Thayer and Company
- maker
- E.B. and E.C. Kellogg
- ID Number
- DL*60.2276
- catalog number
- 60.2276
- accession number
- 228146
- maker number
- 431
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mary Jane
- Description
- Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
- These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
- This hand colored print is an outdoor scene of a dark haired woman riding sidesaddle on a dapple gray horse. The woman is wearing a high silk hat, weskit, fitted jacket and long flowing skirt.
- This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
- Location
- Currently not on view
- date made
- 1843-1852
- distributor
- Needham, D.
- maker
- E.B. and E.C. Kellogg
- ID Number
- DL*60.2278
- catalog number
- 60.2278
- accession number
- 228146
- maker number
- 105
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Sailing for Bluefish
- 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 10. Sailing for Bluefish. Fred. S. Cozzens. It depicts three men in a sailboat. Two of the men are fishing and the third is steering the rudder. Other sailboats and a lighthouse are in background.
- The artist was Frederic Schiller Cozzens (1846-1928) who was known for maritime scenes.
- Location
- Currently not on view
- date made
- 1890
- publisher; copywriter
- Bradlee Whidden
- artist
- Forbes Lithograph Manufacturing Company
- maker
- Cozzens, Frederic Schiller
- ID Number
- DL*60.2719
- catalog number
- 60.2719
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Catching a Mascalonge
- 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 8. Catching a Mascalonge. Frank H. Taylor. It depicts three men in a boat pulling in a fish identified as a mascalong or musky.
- The artist, Frank H. Taylor (1846-1927), was an illustrator, author, and photographer based in Philadelphia.
- Location
- Currently not on view
- date made
- 1890
- publisher; copywriter
- Bradlee Whidden
- lithographer
- Forbes Lithograph Manufacturing Company
- artist
- Taylor, Frank Hamilton
- ID Number
- DL*60.2724
- catalog number
- 60.2724
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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