Clothing & Accessories

Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.

The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.

This colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century.
Description
This colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century. The figures are shown on ascending steps up to age 50 and then descending, with age 100 being the lowest to the right. Each image portrays a well-dressed youth or man in appropriate attire for his position in society (i.e., gentleman, soldier, elder). Verses beneath each figure associate a depicted animal with that stage of life. A small vignette of two people standing near a monument in a cemetery is in the center foreground.
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 1840s. He was a prolific lithographer and colorist for Currier & Ives, and his prints were extremely popular with a wide distribution. James Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
Date made
ca 1847
distributors
Sowle & Shaw
maker
Baillie, James S.
ID Number
DL.60.2935
catalog number
60.2935
accession number
228146
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 full length colored portrait is of a young woman standing by a window. Behind the woman is a table with a vase of flowers framed by floral drapery and on a patterned carpet. The woman is wearing a pink and white dress with flowing sleeves, a bracelet on both arms and a necklace. The scene through the window depicts a fenced in house and a sailboat on a river.
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
1846
maker
Baillie, James S.
ID Number
DL.60.2493
catalog number
60.2493
accession number
228146
These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
Description
These happy family scenes were meant to contrast with the restless, discontented bachelor prints. 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 a young man lounging in an ornate chair with his feet elevated up on footstool in front of a fire place. He is wearing an embroidered fitted coat, ascot, plaid pants and is holding a cigar in his left hand, and a sheet of paper in his right. There is an ornate clock above the decorative coal burning fireplace, a tall bookcase just behind him and there is a stringed musical instrument (guitar?) hanging on the side of the bookshelf. There is fringed drapery just behind his chair, a table with a fringed table cloth, and a fringed rug on top of a patterned carpet. There is sporting equipment on the wall including a rifle, boxing gloves, fencing rapiers, powder horns, saddle bag, and a sword. Prints depicting a bachelor in his quarters and titled Single were common during this period and were often part of a series the included Married.
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
1848
maker
Baillie, James S.
ID Number
DL.60.2271
catalog number
60.2271
accession number
228146
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 full length hand colored portrait is of a young woman standing by a window wearing a bonnet and heavy shawl over a red dress. Behind her is blue drapery with fringe, and she stands on a patterned carpet. A sailboat and a windmill can be seen through the window.
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
1846
maker
Baillie, James S.
ID Number
DL.60.2495
catalog number
60.2495
accession number
228146
This hand colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century.
Description
This hand colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century. The figures are shown on ascending steps up to age 50 and then descending, with age 100 being the lowest to the right. Each image portrays a well-dressed youth or man in appropriate attire for his position in society (i.e., gentleman, soldier, elder). Verses beneath each figure associate a depicted animal with that stage of life. A small vignette of two people standing near a monument in a cemetery is in the center foreground. A flag waves at the top of the pyramid.
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-1840s. He was a prolific lithographer and colorist for Currier & Ives, and his prints were extremely popular with a wide distribution. James Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
Date made
1848
maker
Baillie, James S.
ID Number
DL.60.2931
catalog number
60.2931
accession number
228146
maker number
131
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
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 is a full length portrait of a man and woman standing, outdoors, with arms about each other. A riderless horse is tied to the wrought iron fence in background. The man is dressed in a blue military uniform with gold trim and epaulets and a belt buckle marked "US." The woman is in a simple dress, wearing a portrait miniature that hangs from a chain around her neck. A portion of the house is in the background. This is a companion print to "Soldier's Adieu."
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
1847
maker
Baillie, James S.
ID Number
DL.60.2254
catalog number
60.2254
accession number
228146
This colored print shows a female at different stages from infancy to old age. This was a popular and recurring theme of genteel society during the 19th Century.
Description
This colored print shows a female at different stages from infancy to old age. This was a popular and recurring theme of genteel society during the 19th Century. The figures are depicted in ascending steps to middle age and then descending, with old age being the lowest to the right. Each image portrays a well-dressed girl or woman in appropriate attire for her position in society (i.e., bride, mother, matron). There are verses beneath each figure and vignettes that symbolize various stages of life. A small vignette of two people standing beside a man digging three graves is in the center foreground.
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 1840s. He was a prolific lithographer and colorist for Currier & Ives, and his prints were extremely popular with a wide distribution. James Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
Date made
1848
maker
Baillie, James S.
ID Number
DL.60.2936
catalog number
60.2936
accession number
228146
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 half length hand colored portrait is of a dark haired young woman seated with her hands folded on a book resting on the arm of the chair. The portrait is in a rectangular frame with decorative oval cartouche featuring flowers in four corners. The woman is wearing a simple red dress, two necklaces and a bracelet.
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
ca 1846
maker
Baillie, James S.
ID Number
DL.60.2498
catalog number
60.2498
accession number
228146
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 portrait is of a young woman on a balcony reading a book and holding a handkerchief. She is standing in front of a railing and flowers. In the background a river flows along side of a willow tree.
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
1848
maker
Baillie, James S.
ID Number
DL.60.2494
catalog number
60.2494
accession number
228146
Colored memorial print of two children and a dog beside a gravestone which is inscribed "Sacred to the memory of an affectionate mother" and followed by a verse.
Description (Brief)
Colored memorial print of two children and a dog beside a gravestone which is inscribed "Sacred to the memory of an affectionate mother" and followed by a verse. A weeping willow tree is behind the gravestone and a spire of a church is in the distant background.
Location
Currently not on view
Date made
1848
maker
Baillie, James S.
ID Number
DL.60.2979
catalog number
60.2979
accession number
228146
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 portrait is of a young dark haired woman standing indoors. She is looking over her left shoulder as she leafs through a book which rests on an ornate table along with a vase of flowers. The woman is wearing a white dress, a necklace and three gold bracelets. In the background is red drapery with gold fringe and patterned wallpaper.
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
ca 1846
distributors
Sowle & Shaw
maker
Baillie, James S.
ID Number
DL.60.2497
catalog number
60.2497
accession number
228146
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 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
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 is a full length portrait of a man and woman standing, outdoors, with their arms about each other. In the background, a soldier on horseback awaits, holding the reins of a riderless horse. The man is dressed in a blue military uniform with gold trim and epaulets, belt buckle marked "US," and holding a plumed hat. The woman is in a simple dress, holding a portrait miniature that hangs from a chain around her neck. The miniature is indistict but could be of the solier or possibly the artist. A portion of the house and wrought iron fence are in the background. This is a companion picture to "Soldier's Return."
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
1847
maker
Baillie, James S.
ID Number
DL.60.2253
catalog number
60.2253
accession number
228146
Color print, half length portrait of a man (James G. Birney) seated in a chair with his arm resting on document on a table in front of him. On a bracketed shelf to his left is a bust labeled "Wilberforce", indicating his interest in the abolition movement.
Description (Brief)
Color print, half length portrait of a man (James G. Birney) seated in a chair with his arm resting on document on a table in front of him. On a bracketed shelf to his left is a bust labeled "Wilberforce", indicating his interest in the abolition movement. In the far left background out a window are two black men hoeing a field. A column with green drapery is on the right behind him.
Location
Currently not on view
Date made
n.d.
depicted
Birney, James Gillespie
Wilberforce, William
maker
Sowle, John
Baillie, James S.
ID Number
DL.60.3182
catalog number
60.3182
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, comic print depicts a man and woman seated on a sofa. The woman wears a long full skirt, tight bodice, ruffles on sleeves and an amulet around neck. The woman is displaying a simpering expression toward the man and is either putting a ring on the man’s finger or taking it off. The man is wearing a tuxedo with shirt pin. A high silk hat rests on the sofa beside him. The pair is sitting on a sofa of ornate upholstery, drapery and patterned carpet. On the wall behind the couch is an ornately framed picture of Cupid, who appears to be shooting an arrow at the man, who is perched on the edge of the sofa and appears ready to leave.
Also known as H. Bucholaer, H. Bucholzer was a cartoonist who lived and worked in New York City. His work was published by James S. Baillie from 1843 – 1847.
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
1848
maker
Baillie, James S.
artist
Bucholzer, H.
ID Number
DL.60.2291
catalog number
60.2291
accession number
228146
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 is an indoor scene of a young man seated on an ornate upholstered armchair with one foot resting on a side chair. The bachelor is dressed in a double breasted, plaid weskit, plaid pants, a large silk tie and fitted coat. He is smoking a cigar and has the newspaper "Spirit of the Times" resting in his lap. The headline reads "War/10,000/Recruits/for Mexic/Great/Foot Race/President's Message. The lithographer also promotes himself by including his own advertisement with a list of his retailer. It reads: "Cheap Prints/Cheapest in the World/at J. Baillie's/ New York and sond by/Sowle & Shaw/52 Cornhill/Boston/A.H. Stillwell/Providence/R.I./A.J. Loomis/9 Washington/St.... J. Bar.../ 39 Fourth St./ Philadelphia." Room furnishings include a pedestal table with a marble top, another table with a fringed tablecloth, a clock and candleabrum on the marble fireplace mantle. On the pedestal table there is a basket of fruit, wine bottle and glass, a container of cigars, a can of sardines and a knife. Patterned wallpaper, patterned carpet and heavy fringed drapery complete the scene. Prints depicting a bachelor in his quarters and titled Single were common during this period and were often part of a series the included Married.
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.
This print was inscribed "presented by Henry Lyman Chamberlain to the only man in the Junior Class or '48 & 9 not engaged. Bath April 9, 1849" W. L. Gardner .
Location
Currently not on view
date made
1845
recipient
Chamberlain, Henry Lyman
presenter
Gardner, W. H.
maker
Baillie, James S.
ID Number
DL.60.2273
catalog number
60.2273
accession number
228146
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 is a sentimental, outdoor scene depicting a young girl standing at water's edge. Next to her is a dog leaning over the water, sniffing a floating black hat. She is wearing a plain clothing. A thatched-roof clapboard house and rocky coastline is in the background. The reference to the fisherman in the title, and the black hat floating in the water may allude to a fisherman lost at sea-perhaps the girl's father.
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 1850
maker
Baillie, James S.
ID Number
DL.60.2235
catalog number
60.2235
accession number
228146
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 hand colored print is a full length portrait of a young dark haired woman. She is seated indoors in a blue upholstered chair, holding a handkerchief in one hand and looking at an oval miniature in her other hand. Behind her is a window with a blue drape,a patterned wall and carpet, and a vase of flowers on the table with a patterned tablecloth.
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
ca 1846
maker
Baillie, James S.
ID Number
DL.60.2499
catalog number
60.2499
accession number
228146
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 is a three-quarter length portrait of a man standing behind a seated woman. Each are holding the other's portrait miniatures. The man is in full dress, black tie and tails, while the woman is in a simple white dress with blue sash and gold jewelry. A patterned drapery and window blind with tasseled pull are in the background.
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 1848
maker
Baillie, James S.
ID Number
DL.60.2251
catalog number
60.2251
accession number
228146
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 is an interior scene of a mother and child looking at the mother's portrait. The portrait is in an ornate, gold frame. Red drapery and a floral wallpaper are in the background. Both mother and daughter are wearing elegant dresses with ribbons, bows and lace ruffles.
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 1845
distributors
Sowle & Shaw
maker
Baillie, James S.
ID Number
DL.60.2240
catalog number
60.2240
accession number
228146
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 is a full length portrait of a man and woman standing together, outdoors, holding hands. The man is wearing a long, fitted coat, fancy vest, high collar, bow tie and shirt pin. The woman is wearing a long, floor length dress, with lace around the sleeve, gold bracelet and beaded necklace. The are standing in front of a stone wall topped with a vase or urn. Flowering bushes line the base of the wall.
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.60.2252
catalog number
60.2252
accession number
228146
Color print of a large multi-storied resort on a hill overlooking the water. Trees cover the hillside below the building. A steamboat, two sail boats and a row boat are on the water in the foreground.
Description (Brief)
Color print of a large multi-storied resort on a hill overlooking the water. Trees cover the hillside below the building. A steamboat, two sail boats and a row boat are on the water in the foreground. People and carrriages are on the dock near a building with a sign reading "C.F. Rice's Store" to the right of the resort.
Location
Currently not on view
Date made
n.d.
maker
Baillie, James S.
ID Number
DL.60.3689
catalog number
60.3689
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 full length hand colored portrait print is of a young woman in a bridal gown that includes a two tiered skirt with eyelet lace trim and a long lace trimmed veil. She holds a book, probably a Bible, in one hand, and in the other she holds her veil. Behind the bride is a round, three-legged table with a vase of flowers. Patterned drapery partially blocks the window; the wall and carpet have decorative patterns.
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
1845
maker
Baillie, James S.
ID Number
DL.60.2308
catalog number
60.2308
accession number
228146

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