Art

The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.

The Legend of Sleepy Hollow, a short story by celebrated American author Washington Irving, was first published in 1820 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving
Description
The Legend of Sleepy Hollow, a short story by celebrated American author Washington Irving, was first published in 1820 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving achieved acclaim in Europe and the U.S. over the course of his successful writing career. The Legend of Sleepy Hollow was included in “The Sketchbook of Geoffrey Crayon, Gent” while Irving was living in Europe. Thus, he was one of the earliest American authors to survive merely on his writing. Irving’s stories have remained an emblem of American culture as they were some of the first short stories that aimed to entertain rather than educate. The Legend of Sleepy Hollow story inspired artists to create beautiful illustrations like the one included in this print.
The gothic story The Legend of Sleepy Hollow tells of a man named Ichabod Crane who comes to Tarrytown, New York, known in the story as Sleepy Hollow, as a teacher. As he tries to win the heart of the beautiful Katrina Van Tassel, he ultimately finds himself being chased by the village’s feared legend, the Headless Horsemen. The story ends with a smashed pumpkin being found in the place where Ichabon disappeared, never to be seen again. This story is particularly popular around Halloween.
This lithograph from the artist’s 1848-1849 engraving, shows Ichabod Crane, the protagonist of Irving’s legend, as a schoolteacher sitting on a stool in the middle of the classroom. He is surrounded by his students as he sharpens a quill pen. The illustration coincides with the description in the story of Ichabod as a reasonable teacher, not too strict with his students. He rests calmly atop his stool as the children murmur their reading and lessons.
Sarony, Major, & Knapp was one of the largest lithographic firms at the end of the 19th and the early of the 20th centuries. However, before it achieved this success it started out small in 1843 when Napoleon Sarony and James P. Major joined together to start a business. Later in 1857, Joseph F. Knapp joined the company making it Sarony, Major, & Knapp. At the time that this was printed, Knapp was not a part of the business, so it was just Sarony & Major.
Felix O. C. Darley (1822-1888), the artist behind the twelve best-known illustrations for The Legend of the Sleepy Hollow, is considered one of America’s best illustrators. The publisher was the American Art Union, (1839-1857) a subscription organization created to educate the public about American art and artists while providing support for American artists. For $5.00 members would receive admissions to the gallery showing, a yearly report, and an engraving of an original work, as well as any benefits each chapter might provide. Two special editions of the story, each with a set of six of Darley’s illustrations were published; the special edition including this illustration was published in 1850. This print has been rebound with the five others at the back of the book and the cover is incorrectly from the earlier Rip Van Winkle edition published for the American Art Union, however the title page and text are of Washington Irving’s The Legend of Sleepy Hollow.
Location
Currently not on view
date made
1849
copyright holder, publisher
American Art Union
artist
Darley, Felix Octavius Carr
maker
Sarony & Major
ID Number
DL.60.2424
catalog number
60.2424
accession number
228146
Colored print of a basket of fruit on a marble tabletop.Currently not on view
Description (Brief)
Colored print of a basket of fruit on a marble tabletop.
Location
Currently not on view
date made
ca 1850
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.2655
catalog number
60.2655
accession number
228146
Color print; half length portrait of a seated man (President Millard Fillmore) holding a document. He is seated in a chair that has a crest ornately decorated with symbols of liberty. In the background is a green drape and column.Currently not on view
Description (Brief)
Color print; half length portrait of a seated man (President Millard Fillmore) holding a document. He is seated in a chair that has a crest ornately decorated with symbols of liberty. In the background is a green drape and column.
Location
Currently not on view
Date made
n.d.
depicted
Fillmore, Millard
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.3175
catalog number
60.3175
accession number
228146
Color print; half length portrait of a man (Daniel Webster). In the midground is a rose colored drape and a column. In the far background is a city.Currently not on view
Description (Brief)
Color print; half length portrait of a man (Daniel Webster). In the midground is a rose colored drape and a column. In the far background is a city.
Location
Currently not on view
Date made
n.d.
depicted
Webster, Daniel
distributor
Horace Thayer and Company
maker
E.C. Kellogg and Company
ID Number
DL.60.3177
catalog number
60.3177
accession number
228146
This print depicts General Ulysses S. Grant handing his rival, General Robert E. Lee, the terms of surrender under an apple tree on April 9, 1865, after the Battle of Appomattox. The men’s officers stand behind them on either side.
Description
This print depicts General Ulysses S. Grant handing his rival, General Robert E. Lee, the terms of surrender under an apple tree on April 9, 1865, after the Battle of Appomattox. The men’s officers stand behind them on either side. Ranks of troops and the outline of Appomattox Courthouse are visible in the background. The entire scene is a fabrication by the lithographer, however, as the two generals discussed terms of surrender solely at the McLean house. Instead, a story that Lee had waited under an apple tree for Grant’s reply to his request for surrender morphed into the myth that the leaders had met under the tree. This confusion unfortunately led soldiers to indiscriminately cut apart several apple trees in the vicinity, desiring souvenirs of this historic event.
The print was drawn by Edward Valois, who was a lithographer based in New York City during the 1840s through the 1860s. It was printed by William Robertson, another New York lithographer. The work was published by Thomas Kelly, a successful Irish-born lithographer who had learned the craft in Philadelphia from his father. He moved to New York, where he established a print and frame dealership and continued to publish picturesque scenes of American life. He is possibly the same Thomas Kelly who printed Catholic Bibles and prayer-books in New York, winning an award for these at the 1876 Centennial Exposition.
Location
Currently not on view
Date made
ca 1866
depicted
Lee, Robert E.
Grant, Ulysses S. (Ulysses Simpson)
artist
Valois, Edward
maker
Robertson, William C.
Kelly, Thomas
ID Number
DL.60.2613
catalog number
60.2613
accession number
228146
Black and white print of a wood frame hotel and out-buildings in a clearing surrounded by trees. A circular drive leads to the hotel and encloses a formal garden. A caravan of camels and several ox-drawn wagon are on the drive.Currently not on view
Description (Brief)
Black and white print of a wood frame hotel and out-buildings in a clearing surrounded by trees. A circular drive leads to the hotel and encloses a formal garden. A caravan of camels and several ox-drawn wagon are on the drive.
Location
Currently not on view
Date made
1862
maker
Vischer, Edward
ID Number
DL.60.3840
catalog number
60.3840
This colored print depicts a large genealogical tree depicting the early history of the world, with a table showing the lineage of the Biblical patriarchs, from the creation of Adam to the Deluge.
Description
This colored print depicts a large genealogical tree depicting the early history of the world, with a table showing the lineage of the Biblical patriarchs, from the creation of Adam to the Deluge. “Antediluvian” means “before the flood” and refers to the period before the Deluge as described in Genesis 6:11-9.19 of the Bible.
This print was produced by Endicott and Company, the successor to the New York firm of Geo. & Wm. Endicott Lithographers. George (1802-1848) and William Endicott (1816-1851) were born in Canton, Massachusetts. George Endicott began working as a lithographer in New York in 1828. He partnered with Moses Swett in the company Endicott & Swett from 1830 to 1834. William Endicott joined the company in 1841. Following George Endicott's death in 1848, the firm continued operating as William Endicott & Co. Francis Endicott (born ca. 1834) worked at the company from 1852 to 1886, and George Endicott, Jr. ran the firm from 1887 to 1891.
Location
Currently not on view
date made
1873
designer
Doxsee, A.
maker
Endicott and Company
ID Number
DL.60.2400
catalog number
60.2400
accession number
228146
Currently not on view
Location
Currently not on view
date made
1867
maker
Currier & Ives
ID Number
GA.06474
accession number
70138
catalog number
6474
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 w
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 three-quarter length hand colored print is of two young women with arms around one another. Both wear dresses with lace collars, long sleeves, tight bodices and full skirts. The woman on the left has light hair and wears a blue dress with a brooch and a double strand of beads. She holds in her right hand a rose. The woman on the right has much darker hair. She wears a red dress and a crown of flowers in her hair.
This print was produced by James S Baillie, who 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
1849
maker
Baillie, James S.
ID Number
DL.60.2310
catalog number
60.2310
accession number
228146
Black and white print depicting a group of large evergreen trees. A couple stands on a mammoth tree stump in the foreground. Two of the trees have girdled half way up the trunk and inscribed "1855" and "1861".Currently not on view
Description (Brief)
Black and white print depicting a group of large evergreen trees. A couple stands on a mammoth tree stump in the foreground. Two of the trees have girdled half way up the trunk and inscribed "1855" and "1861".
Location
Currently not on view
Date made
1862
maker
Vischer, Edward
ID Number
DL.60.3835
catalog number
60.3835
Colored print of a hunter on horseback with a crop in his raised hand. In the foreground a pack of hounds attack a fox. Two verses of a poem appear in the bottom margin on either side of the title.Currently not on view
Description (Brief)
Colored print of a hunter on horseback with a crop in his raised hand. In the foreground a pack of hounds attack a fox. Two verses of a poem appear in the bottom margin on either side of the title.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
Kelloggs & Thayer
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2672
catalog number
60.2672
accession number
228146
Black and white print of men, children and horses outside a small wooden church in the woods. A dog and turtle are also depicted.Currently not on view
Description (Brief)
Black and white print of men, children and horses outside a small wooden church in the woods. A dog and turtle are also depicted.
Location
Currently not on view
Date made
n.d.
publisher
American Sunday School Union
maker
Kollner, August
ID Number
DL.60.2986
catalog number
60.2986
accession number
228146
George Washington and five of his officers are featured in a scenic, snowy landscape.
Description
George Washington and five of his officers are featured in a scenic, snowy landscape. Valley Forge was headquarters for the Continental Army in 1777 and 1778 during the Revolutionary War, and is infamous as the place where 2,500 American soldiers died during the winter from exposure and starvation. Based on the artist Veron Fletcher’s painting, which was exhibited at the Smithsonian in February 1855, the print was drawn on stone by Edward Moran, brother of noted artist Thomas Moran. The print came with a two page key that included a biography on each of the soldiers.
Revolutionary War scenes often are used to convey patriotism. This scene highlights the heroic officers rather than depicting the gruesome hardships of war. The officers on horseback are the Marquis de Lafayette, Nathaniel Greene, Anthony Wayne, and Henry Knox. Standing in the background on the right is Col. John Brooks. It should be noted that Alexander Hamilton is not depicted. The building on the viewer's left was the headquarters which was still standing at the time the print was drawn according to the key on the original sketch. Thousands of Americans had prints of Washington in their homes prior to the Civil War. But given the size and $15.00 cost- based on the advertisement by Hensel & Urwiler of Philadelphia- this chromolithograph would have been purchased for a public building, well off school, college, library, or a business such as an eating establishment, or by a wealthy individual.
The original artist for this image was Veron Fletcher, a portrait painter, active in Philadelphia between 1848 and 1870. The lithographer, Edward Moran, was an English immigrant who came to the United States with his family in 1844. Trained by John Hamilton, he is most recognized for a set of 13 paintings which represented the history of marine life in the United States. The publisher was Herline, a company base out of Philadelphia, Pennsylvania. Lithographer/engraver Edward Herline, was born in 1825 in what is now in Bavaria, and immigrated to the United States with his brother Gustav in the 1840s. They settled in Philadelphia, and founded Herline & Company, a lithography firm. In 1857, lithographer Daniel Hensel joined the company and the name of the company changed to Herline & Hensel until 1964 when the company obtained another partner and became known as Thurston, Herline & Company.
Location
Currently not on view
date made
1855
depicted
Washington, George
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
Greene, Nathanael
Wayne, Anthony
original artist
Fletcher, Veron
lithographer; graphic artist
Moran, Edward
publisher
Herline and Company
ID Number
DL.60.2582
catalog number
60.2582
accession number
228146
Colored print of two hunting dogs resting in foreground. A hunter stands behind them with his gun resting at his side. A second hunter with his dog are in the left background. Flat, marshy countryside with central grassy stretch bordered by woods.Currently not on view
Description (Brief)
Colored print of two hunting dogs resting in foreground. A hunter stands behind them with his gun resting at his side. A second hunter with his dog are in the left background. Flat, marshy countryside with central grassy stretch bordered by woods.
Location
Currently not on view
date made
1857
artist
Marsden, Theodore
publisher
Goupil and Company
Knoedler, M.
lithographer
Eug. Ciceri & LaFosse
printer
Lemercier & Cie
ID Number
DL.60.2765
catalog number
60.2765
accession number
228146
Currently not on view
Location
Currently not on view
date made
ca 1832
maker
Endicott & Swett
artist
Pages, A.
ID Number
DL.60.2527
catalog number
60.2527
accession number
228146
Colored print; depiction of Columbus landing on San Salvadore Island. He stands on the beach with a flag of Spain in one hand and a raised sword in the other. Beside him is a large crucifix set into the ground. He is surrounded by a group of kneeling and praying men.
Description (Brief)
Colored print; depiction of Columbus landing on San Salvadore Island. He stands on the beach with a flag of Spain in one hand and a raised sword in the other. Beside him is a large crucifix set into the ground. He is surrounded by a group of kneeling and praying men. Two sailing ships are in the right background and a group of Indians approaches in the left background.
Location
Currently not on view
date made
1846
depicted
Columbus, Christopher
maker
Baillie, James S.
ID Number
DL.60.2545
catalog number
60.2545
accession number
228146
Color print of formal military surrounder ceremony.
Description
Color print of formal military surrounder ceremony. Mounted American and French officers in blue uniforms with gold braid form lines on right and left, flanking General Benjamin Lincoln (originally the figure was painted as Cornwallis) who is mounted on a white horse to receive the sword of General Cornwallis from General Charles O'Hara. Cornwallis was sick and not actually present for the surrender ceremony. General O'Hara, his second in command, and two other British officers wear red coats with gold braids. General George Washington is depicted in the background on the right, mounted on the right beside the American flag. This print was copied from the original painting by John Trumbull, who while not present for the 1781 surrender, was familiar with several eye witnesses and served under Washington.
Date made
1852
associated date
1781 10 19
depicted
Lincoln, Benjamin
Washington, George
O'Hara, Charles
referenced
Cornwallis, Charles
lithographer
Currier, Nathaniel
original artist
Trumbull, John
ID Number
DL.63.0180
catalog number
63.0180
accession number
242030
Currently not on view
Location
Currently not on view
date made
nineteenth century
graphic artist
Boilly, Jules
original artist
Prud'hon, Pierre Paul
publisher
Alliance des Arts
printer
Bertauts
ID Number
GA.15323
catalog number
15323
accession number
94830
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 w
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 depicts a man in tattered clothing and hat trying to thread a needle. He is seated in a cluttered, decrepit cottage with exposed ceiling beams. Next to him is a candlestick holder and lantern. There are jugs, baskets, pots, cups, fruit and shoes scattered around the room. The English traslation of the German title is the "Joys of Matrimony."
Johann Friederich Hesse was an artist, lithographer & printer active in Berlin 1838-1870. He produced popular prints of Martin Luther and genre drawings and worked with publisher W. Zawitz.
W. Zawitz was a publisher of books, lithographs, and maps in Germany ca 1840-1870.
Location
Currently not on view
date made
n.d.
ca 1840
printer
Hesse, Johann Friederich
publisher
Zawitz, W.
ID Number
DL.60.2296
catalog number
60.2296
accession number
228146
Black and white comic print of a thin man standing beside a fence and tree containing a bird. He plays a guitar and sings along with the bird. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white comic print of a thin man standing beside a fence and tree containing a bird. He plays a guitar and sings along with the bird. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Fred T.
Vance, Parsloe and Company
ID Number
DL.60.2841
catalog number
60.2841
accession number
228146
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital.
Description
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital. Although the Federal army achieved some early victories in the battle, Confederate reinforcements arrived, breaking the right flank of the Union lines. The Northern troops were routed as they tried to retreat. Although the Confederates had won the day, they were too disorganized to pursue the fleeing Union army, which limped back to the safety of Washington, D.C. Nearly 900 men from either side had been killed in the battle, and another 2,500 wounded. Lincoln and the members of his administration now realized that the war would be a much longer and costlier affair than they had first believed.
This 1861 print shows a moment during the battle in which men of the 11th New York Infantry, known as the Fire Zouaves, fend off a regiment of mounted Confederates belonging to the Black Horse Cavalry. On the right, a group of Zouaves exchange fire with incoming Confederate cavalrymen. On the left, the Zouaves and Confederates engage in hand-to-hand combat. The Zouaves are dressed in red jackets and baggy grey pants, their uniform design copied from those of the French Zouaves, colonial soldiers in Algeria. Soldiers on the battlefield often became confused as to who was friend or foe, as the Confederate cavalry men were themselves wearing blue uniforms. Furthermore, this print reveals the similarities between the two sides’ flags, since the Confederate Stars and Bars was similar in design to the American flag. This resemblance of flags led to further confusion among those fighting upon the smoke-filled battlefield and resulted in the adoption of the Confederate battle flag. Although the Confederacy won the battle, this print emphasizes a momentary Union victory to appeal to Northern buyers.
The work was produced by the Hartford, Connecticut lithographic firm of E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office Whiting took over the firm, selling prints until his death two years later.
Location
Currently not on view
Date made
1861
publisher; distributor
Whiting, George
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3316
catalog number
60.3316
Colored print of a hunter on horseback with a crop in his raised hand. In the foreground a pack of hounds attack a fox. Two verses of a poem appear in the bottom margin on either side of the title.Currently not on view
Description (Brief)
Colored print of a hunter on horseback with a crop in his raised hand. In the foreground a pack of hounds attack a fox. Two verses of a poem appear in the bottom margin on either side of the title.
Location
Currently not on view
date made
ca 1846
maker
Baillie, James S.
ID Number
DL.60.2670
catalog number
60.2670
accession number
228146
Colored print of two hunters and two dogs on the banks of a wooded stream. A hunter shoots at low flying birds (snipe) while one dog is retrieving a bird that he hit.Currently not on view
Description (Brief)
Colored print of two hunters and two dogs on the banks of a wooded stream. A hunter shoots at low flying birds (snipe) while one dog is retrieving a bird that he hit.
Location
Currently not on view
date made
1870
maker
J.E. Smart & Kahlmann
John Walsh and Company
ID Number
DL.60.2784
catalog number
60.2784
accession number
228146
Colored print of seven men on horseback and a pack of hounds chasing prey, which is not shown. One man's horse has stumbled and fallen.Currently not on view
Description (Brief)
Colored print of seven men on horseback and a pack of hounds chasing prey, which is not shown. One man's horse has stumbled and fallen.
Location
Currently not on view
date made
ca 1838
maker
Robinson, Henry R.
ID Number
DL.60.2674
catalog number
60.2674
accession number
228146

Our collection database is a work in progress. We may update this record based on further research and review. Learn more about our approach to sharing our collection online.

If you would like to know how you can use content on this page, see the Smithsonian's Terms of Use. If you need to request an image for publication or other use, please visit Rights and Reproductions.