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 525 items.
Page 48 of 53
Married
- 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 portrait of man, woman and four young children, one an infant in mother's lap in a richly furnished interior setting. The family is clothed in fancy antebellum dress. The room contains an elaborate sofa, foot stools, two heavily framed bust portraits of the husband and wife, heavy blue drapes, an ornate rug, patterned wallpaper and an intricately carved chair rail. The children and father all face the mother as if seeking her guidance. This is one of several prints with the same title, depicting a contented family. These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
- 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.
- date made
- ca 1850
- distributors
- Sowle & Shaw
- artist
- Sarony, Napoleon
- maker
- Sarony & Major
- ID Number
- DL*60.2266
- catalog number
- 60.2266
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Burns and Highland Mary
- 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 rustic outdoor scene of man and woman seated and cuddling in a romantic, intimate pose. The man is dressed in knee socks, tight knee britches, short jacket, shirt, ascot and beret. The woman wears a long dress, plaid shawl, ribbon and bow in hair. A women's hat lies at their feet. The title and prose refer to a longer popular poem by Scottish poet Robert Burns (1759-1796) entitled Highland Mary. A similar image was created a year after this print by Currier & Ives and colored by Sarony & Major.
- 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
- 1846
- maker
- Sarony & Major
- ID Number
- DL*60.2267
- catalog number
- 60.2267
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Angler
- 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 an outdoor scene of a man and woman seated by a creek. She is reading and he is fishing. Monument and urn, church spires and two cows are in the background. A fishing creel is at the man's feet.
- 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 1852
- distributors
- Ensign, Thayer and Company
- maker
- Kelloggs & Comstock
- ID Number
- DL*60.2272
- catalog number
- 60.2272
- accession number
- 228146
- maker number
- 403
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Lovers
- 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.
- Colored print; full length portrait of man and woman walking arm in arm near a river's edge. Both appear to be in fine ridding costumes and carry riding crops. The man wears a fitted coat, brocade vest, ascot, plaid trousers and a high silk hat. The woman wears a long skirt with train, fitted bodice, high stiff collar with bow tie, and a high silk hat. Several small sailboats and a canoe are on the river in background. Homes and a church or large municipal building also in background..
- 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 1850
- artist
- Sarony, Napoleon
- maker
- Sarony & Major
- ID Number
- DL*60.2274
- catalog number
- 60.2274
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Popping the Question
- 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 man and woman seated indoors. The woman is dressd in a long dress with lace trim, gloves, and a jewel on her forehead. The gentleman wears a dress coat and plaid trousers. Room furnishings include: an ornate table and side chairs,an open jewelry box and vase on a table and a guitar under table. Fancy lace curtains, draperies, and a carved mirror decorate the room.
- 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
- 1846
- maker
- Sarony & Major
- ID Number
- DL*60.2277
- catalog number
- 60.2277
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Thomas D. Smith
- 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 man standing outdoors, letter in one hand, cane in the other. Dressed in a fitted jacket, bow tie and patterned vest. In the left background is a stone monument with gothic arches that is topped by a two handled covered metal cup decoated with a pierced pattern.
- The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman and Edmund Burke Kellogg after they took over the family firm from their brother Daniel Wright Kellogg. Horace Thayer was a map dealer. In 1845 or 1846, the partnership opened a shop in New York. The partnership was short-lived however and appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock.
- Location
- Currently not on view
- date made
- ca 1846
- distributor
- Needham, D.
- publisher
- Kelloggs & Thayer
- lithographer
- E.B. and E.C. Kellogg
- ID Number
- DL*60.2279
- catalog number
- 60.2279
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
"Guerrilleros Mexicanos"
- Description
- This lithograph illustrates the chaos and conflict engulfing northern Mexico during the years of the Mexican-American War from 1846-1848. In these years the United States organized an Army of Occupation, initially led by General Zachary Taylor, to capture cities like Monterrey in preparation for a later assault on the Mexican heartland. The figure on horseback is a Mexican guerilla fighter. These skilled horsemen, often doubling as both patriots and bandits, had an established role in Mexican military tradition, and were actively recruited to combat the U.S. invaders. To understand his limited appeal to the Mexican public, note that the dead figures over whom the guerrillero is triumphantly galloping appear to be Mexican citizens, not invading American soldiers.
- The lithographer is unknown.
- Location
- Currently not on view
- Date made
- ca 1848
- maker
- unknown
- ID Number
- DL*60.2559
- catalog number
- 60.2559
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Hunting the Deer
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mallard Shooting
- 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 7. Mallard Shooting. S.F. Denton. It depicts two men in a boat in a marsh. One man is shooting at mallard ducks while the other is paddling.
- The artist was Sherman Foote Denton (1856-1937), a naturalist and noted illustrator of drawings of fish. Denton also invented a method of mounting fish that preserved their colors as in life. His work was frequently commissioned by the U.S. Fish Commision, forerunner of the U.S. Fish and Wildlife Service.
- Location
- Currently not on view
- date made
- 1890
- publisher; copywriter
- Bradlee Whidden
- lithographer
- Forbes Lithograph Manufacturing Company
- artist
- Denton, Sherman Foote
- ID Number
- DL*60.2722
- catalog number
- 60.2722
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center
A Wild Turkey Hunt
- 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 9. A wild Turkey hunt. R.F. Zogbaum. It depicts a young man lying in the grass aiming his rifle at four turkeys. A young Indian guide is crouched behind him.
- The artist was Rufus Fairchild Zogbaum (1849-1925), known for his images of horses, cowboys, and battle scenes.
- Location
- Currently not on view
- date made
- 1890
- publisher; copywriter
- Bradlee Whidden
- lithographer
- Forbes Lithograph Manufacturing Company
- artist
- Zogbaum, Rufas Fairchild
- ID Number
- DL*60.2723
- catalog number
- 60.2723
- accession number
- 228146
- Data Source
- National Museum of American History, Kenneth E. Behring Center