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.
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 view of a woman lifting her skirt as she steps from a curb to the street. The woman is wearing a fancy bonnet with a veil, a loose fitting jacket, a long flowing skirt over a striped petticoat and hoop and high button shoes. A man is watching her over her right shoulder; over her left shoulder a man is driving a carriage or a wagon.
This lithograph was printed by John Henry Bufford (1810-1870), 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 Boston.
This colored print depicts a teacher named John Pounds repairing a shoe and listening to a boy standing next to him reading aloud from a book. Many other children line the schoolroom. Bird cages, shoe forms, books, shoes, boots, and a stack of slates decorate the wall. Two birds sit on the shelf and a cat stands by Pounds' feet. John Pounds (1766-1839) taught impoverished children in Portsmouth, England. His innovative teaching methods and philanthropic aims have been celebrated in publications, paintings, and memorials in his honor.
This print was created by William Sharp (artist) and produced by the lithographic firm of Bouve and Sharp. William Sharp (1803-1875) was an English-born lithographer and painter who arrived in Boston, Massachusetts around 1839-1840. He was credited with introducing chromolithography to America after his arrival. Sharp worked with the lithographer Francis Michelin (1809/10-1878) and with lithographer and engraver Ephraim Bouve (1817-1897) from 1843-44. He established his own business in New York in 1844. Ephraim W. Bouve (1817-1897) was a lithographer and engraver. The firm of Bouve and Sharp produced city scenes, book illustrations and portraits.
Single-reeded circular plate with flat well scored around perimeter; no foot ring. Underside struck once with the tombstone-shaped, eagle touch mark of Thomas Badger, above "BOSTON" in raised serif letters in a rectangle with scrolls below. One of three plates, DL*388308A-C; A-B are identical, C is slightly smaller in size and shows wear.
Maker is Thomas Badger (1764-1826) of Boston, MA; working 1787-1815.
Color print; full length portrait of a man in military uniform (Napoleon Bonaparte) mounted on horseback and holding a sword in his right hand. Troops are sketched 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.
The Copp family of Stonington, Connecticut used this pewter sundial around 1785. The dial has three holes to mount the sundial horizontally, with the initials “NM” cast at the clocks’ “6” position. Accurately aligning the tip of the sundial’s gnomon to true north allows the gnomon’s shadow to fall on the hour of the dial plate. The NM is possibly Nathan Miller from Rhode Island, the son of founder Josiah Miller, whose name appears on several similar sundials of the era.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Wrought iron staple. Flat bar with two parallel tapered points. Minimizes the movement of the latch bar as it engages with the keeper. No mark. Some rust spots. See DL*388811B latch bar.
Colored print of two men and two dogs cooking at a campfire in front of a crude wooden structure. A third man with game slung over his shoulder and a rifle in his hand approaches from the right. A canoe and body of water are visible behind him.
Black and white print on blue paper; billhead for the lithographic firm of Francis F. Oakley. Across the top are three small vignettes, one depicting a lithographer drawing on a lithographic stone, another depicting men inking a stone and printing a lithograph. The center view depicts an allegorical figure of a woman.
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 6. Catching a Tarpon. Fred S. Cozzens. It depicts a large tarpon jumping out of the water. Two men in a boat in the background are holding the line and attempting to pull the fish in. The scene was to have occurred in the Gulf of Mexico off the coast of Florida and the shoreline is depicted in the background.
The artist was Frederic Schiller Cozzens (1846-1928) who was known for maritime scenes.
Colored print of individual drawings of birds who share similar characteristics. The birds on the left are birds of prey. Those on the right are scratching birds. Specific information for each bird appears below each drawing along with detailed drawings of their beaks and claws. Title and publisher information are printed in eight different sections, indicating that the print is meant to be cut.
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.
Colored print of two ducks (green winged teal) in a marshy habitat beside a pond. The female appears ready for flight and the male lies dead or wounded.
Colored print of the landing at Plymouth Rock. A rowboat filled with men (Carver, Bradford, Wilson, Brewster and Standish, according to inscription written in the snow at right of image) makes its way to the rocky shore. On the right stands an Indian extending a welcoming hand. A three-masted ship is anchored in the background.
Colored print of a river. Cattle water on the right bank, a couple stroll along the left bank. Three small boats are moored on the right bank below a house and barn. A castle appears in the background.
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.