Using Artwork in Historic Furnishings Research

Author: Patrick Fuller

The dream of researchers hoping to refurnish an interior space is always to find photographs of the space from the period of interpretation. The medium of photography first arrived in the United States in 1839 but saw only limited use through the 1840s, most often utilized in landscape and portraiture. As photographic methods improved, the medium became more widely available, and by the late-1850s, photographers were able to capture images on extremely light sensitive glass plate negatives. From these negatives, photographers could produce an infinite number of prints on light sensitive paper. Still, photographs of home interiors remained rare until the latter decades of the 19^th-century. All this to say that without photographs, researchers must refer to paintings and prints, in addition to written and archeological evidence from a site, to determine what objects should be included in a furnished space.

Paintings that depict seemingly mundane activities can lend themselves to researchers who wish to study both the prominent and inconspicuous objects represented. The painting A Maid Ladling Soup from a Kettle by Pehr Hilleström is an excellent example. As the title suggests, the most prominent features in this painting are the woman, the bowl she is holding in her left hand, the spoon she is holding in her right hand, and the large kettle on the fire. These features alone can support the presence of a large stoneware bowl with a hand-painted floral design, a large carved wooden spoon, and a large copper kettle with a bail handle in an 18^th-century kitchen.

The more inconspicuous objects, however, are just as important, if not more important to note. In the fire beside the large kettle is a smaller copper kettle, as well as an iron cooking trivet. On the fireplace mantle sits a mortar and pestle (probably made of brass, but it is difficult to determine the material based on the image), a tall redware jar without a lid, and a coffee grinder. On the wall to the right of the fireplace hangs another cooking vessel, the material of which is difficult to determine due to its placement in a dimly lit corner. Leaning against an adjacent wall is a push broom with a long, turned wood handle. In the lower left corner of the painting lies on its side, another metal pot, probably made of copper like the other two in the image. Behind it stands a very large redware pot with handles, approximately the height of the subject’s thigh. An easily accessible supply of wood to fuel the fire is stored in a space beneath the fireplace.

While we might refer to the painting by Hilleström to justify the presence of any of the objects listed above in a refurnished space at a historic site, it is important to make sure that none of the objects depicted are exceptions to common practices. To do this, we must find other depictions of kitchens or cooking spaces from the period. The painting Kitchen Scene, 1771 by John Atkinson supports the findings from the Hilleström painting. In the Atkinson painting, we see two large pots, one of which is made of copper and features a large bail handle, several pieces of redware and stoneware, and a large spoon, along with many more objects that were not featured in the Hilleström painting, such as baskets, a large redware pitcher, hanging metal hooks, glass bottles, a bench, a table, a chair with black leather upholstery, and two pieces of cooperage. The common presence of these new objects can be supported by studying even more contemporary images.

Although we cannot be completely certain of what objects and other furnishings might have occupied a space during a certain period, we can make a well-informed conjecture through the use of contemporary artwork. If the dream of finding photographs of a space at a historic site is not a reality, researchers must be creative. Ultimately, a well-researched and thoughtful historic furnishings plan will shine above one that is conjured up with only limited evidence for support.