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.

Colored print; interior scene depicting Polk in his death bed surrounded by three men (One is probably a clergyman, one a doctor) and two women (his mother and wife). There is a cloth covered table beside the bed and heavy drapery in the background.
Description (Brief)
Colored print; interior scene depicting Polk in his death bed surrounded by three men (One is probably a clergyman, one a doctor) and two women (his mother and wife). There is a cloth covered table beside the bed and heavy drapery in the background. Polk died of cholera.
Location
Currently not on view
date made
1849
distributor
Needham, D.
depicted
Polk, James K.
Polk, Sarah Childress
Polk, Jane Knox
maker
Kelloggs & Comstock
ID Number
DL.60.2553
catalog number
60.2553
accession number
228146
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
This hand colored memorial print depicts two gentlemen standing on each side of a tombstone. Behind the monument is a weeping willow tree and a white rosebush.
Description
This hand colored memorial print depicts two gentlemen standing on each side of a tombstone. Behind the monument is a weeping willow tree and a white rosebush. The monument is inscribed "To the memory of {blank}” and contains the comforting words of Psalm 91:2 and Psalm 49:15, which profess a belief in the resurrection and salvation of the faithful. On the monument are the words: I will say of the Lord, he is my refuge, my God, in him will I trust. But God will redeem my soul from the power of the grave, for he shall receive me." Memorial prints depicting gave monuments were common during the antebellum or Victorian period and the Kellogg family produced several similar prints.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867.
Location
Currently not on view
date made
1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
lithographers
Kellogg, E.B. and E.C.
ID Number
DL.60.2981
catalog number
60.2981
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 outdoors, letter in one hand, cane in the other. Dressed in a fitted jacket, bow tie and patterned vest. In the left background is a stone monument with gothic arches that is topped by a two handled covered metal cup decoated with a pierced pattern.
The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman and Edmund Burke Kellogg after they took over the family firm from their brother Daniel Wright Kellogg. Horace Thayer was a map dealer. In 1845 or 1846, the partnership opened a shop in New York. The partnership was short-lived however and appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
publisher
Kelloggs & Thayer
lithographer
E.B. and E.C. Kellogg
ID Number
DL.60.2279
catalog number
60.2279
accession number
228146
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 three-quarter length portrait of two girls, the older girl with her arm around the shoulder of the younger girl. They wear simple dress; one pink and the other blue. Rose bushes and a balustrade are in the background. The younger girls hold some flowers in one hand.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2265
catalog number
60.2265
accession number
228146
This hand colored print is a small oval portrait of Benjamin Franklin with a “rhebus,” where pictures are used to represent various sounds and words to explain as well as illustrate The art of making money plenty in every man's pocket by Doctor Franklin.
Description
This hand colored print is a small oval portrait of Benjamin Franklin with a “rhebus,” where pictures are used to represent various sounds and words to explain as well as illustrate The art of making money plenty in every man's pocket by Doctor Franklin. Franklin (1706-1790), the American statesman, Founding Father and inventor, adopted a philosophy of self-improvement that espoused 13 virtues including frugality, industry and moderation.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867.
Location
Currently not on view
date made
1843-1852
distributor
Needham, D.
depicted
Franklin, Benjamin
maker
E. B. & E. C. Kellogg
ID Number
DL.60.2532
catalog number
60.2532
accession number
228146
maker number
187
This colored print is an interior scene depicting three men around a table in a well-appointed study. They are dressed in tightly tailored blue or brown frock coats with white shirts, ties and britches. One is standing and receiving money from his father.
Description
This colored print is an interior scene depicting three men around a table in a well-appointed study. They are dressed in tightly tailored blue or brown frock coats with white shirts, ties and britches. One is standing and receiving money from his father. The other son is seated on a red chair and looks on disapprovingly.
The parable of the Prodigal Son or the Lost Son is among the best-known Christian morality tales and is found in Luke 15:11-32. The youngest of the two sons demands his share of his father’s estate which the father gives him. Shortly after, he runs off and squanders the wealth “in wild living”. Finding himself destitute, he returns to his father, repents his ways, and begs to be allowed to serve as a hired servant. The father rejoices at the return of his son “who was lost and is found.” Meanwhile, the obedient, older son is angry and refuses to join the celebration. His father pleads with him to forgive and to understand his joy.
This print was produced by E.B. Kellogg and E.C. Kellogg and Kelloggs & Thayer after an engraving by Amos Doolittle. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867. The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872) after they took over the family firm from their brother Daniel Wright Kellogg (1807-1874). Horace Thayer (1811-c. 1874) was a map dealer and in 1845 or 1846 the men opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock (1818-1862).
Location
Currently not on view
Date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
original artist
Doolittle, Amos
lithographers
Kellogg, E. B. and E. C.
ID Number
DL.60.2944
catalog number
60.2944
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 an interior scene of a young girl seated with a dog and three puppies. The girl is wearing a pink dress that includes lace, bows, a sash and short stockings. The background includes roses hanging over the young girl.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1845
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2234
catalog number
60.2234
accession number
228146
maker number
303
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 print depicts a young woman with brown hair standing with her hands on a balustrade outdoors, between blooming rose bushes. A bright red and gold fringed shawl is draped over the railing. She is wearing a pink dress with lace trim and bows on the sleeves. She is also wearing a double strand pearl necklace.
This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s lithography firm.
Location
Currently not on view
date made
ca 1850
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.2503
catalog number
60.2503
accession number
228146
maker number
18
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 an outdoor scene of a dark haired woman riding sidesaddle on a dapple gray horse. The woman is wearing a high silk hat, weskit, fitted jacket and long flowing skirt.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
1843-1852
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2278
catalog number
60.2278
accession number
228146
maker number
105
This colored print is an exterior scene depicting a man dressed in ragged clothes seated in a farmyard with four pigs that are eating.
Description
This colored print is an exterior scene depicting a man dressed in ragged clothes seated in a farmyard with four pigs that are eating. As the subtitle explains, “He would have filled his belly with the Husks that the swine did not eat.”
The parable of the Prodigal Son or the Lost Son is among the best-known Christian morality tales and is found in Luke 15:11-32. The youngest of the two sons demands his share of his father’s estate which the father gives him. Shortly after, he runs off and squanders the wealth “in wild living.” Finding himself destitute, he returns to his father, repents his ways, and begs to be allowed to serve as a hired servant. The father rejoices at the return of his son “who was lost and is found.” Meanwhile, the obedient, older son is angry and refuses to join the celebration. His father pleads with him to forgive and to understand his joy.
This print was produced by E.B. Kellogg and E.C. Kellogg and Kelloggs & Thayer after an engraving by Amos Doolittle. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867. The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872) after they took over the family firm from their brother Daniel Wright Kellogg (1807-1874). Horace Thayer (1811-c. 1874) was a map dealer and in 1845 or 1846 the men opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock (1818-1862).
Location
Currently not on view
Date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
original artist
Doolittle, Amos
maker
Kellogg, E. B. and E. C.
ID Number
DL.60.2946
catalog number
60.2946
accession number
228146
This colored print depicts the Prodigal Son on one knee pleading for his father’s forgiveness. There are two unidentified women looking on.
Description
This colored print depicts the Prodigal Son on one knee pleading for his father’s forgiveness. There are two unidentified women looking on. They are in the lavish garden of the family estate, with the great country house pictured in the background.
The parable of the Prodigal Son or the Lost Son is among the best-known Christian morality tales and is found in Luke 15:11-32. The youngest of the two sons demands his share of his father’s estate which the father gives him. Shortly after, he runs off and squanders the wealth “in wild living.” Finding himself destitute, he returns to his father, repents his ways, and begs to be allowed to serve as a hired servant. The father rejoices at the return of his son “who was lost and is found.” Meanwhile, the obedient, older son is angry and refuses to join the celebration. His father pleads with him to forgive and to understand his joy.
This print was produced by E.B. Kellogg and E.C. Kellogg and Kelloggs & Thayer after an engraving by Amos Doolittle. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867. The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872) after they took over the family firm from their brother Daniel Wright Kellogg (1807-1874). Horace Thayer (1811-c. 1874) was a map dealer and in 1845 or 1846 the men opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock (1818-1862).
Location
Currently not on view
Date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
original artist
Doolittle, Amos
maker
Kellogg, E.B. and E.C.
ID Number
DL.60.2947
catalog number
60.2947
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 of man and woman standing in an entry way about to kiss. The man and woman are at a doorway with green drapery. Beneath the couples feet there is a patterned tile floor. Behind the couple stands a podium with flowers in a flower pot on top. The man wears a military uniform complete with sash, belt, epaulets, fringe and brass. There is a tall feathered hat in his hand. The woman opposite him wears a simple full length dress with a tight bodice and lace collar with a rose in her dark hair. The head of another soldier is visible in the back left of the print.
This print was produced by the lithographic firm 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 the partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2331
catalog number
60.2331
accession number
228146
maker number
79
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 an interior scene with a young man seated on an ornately carved and fringed chair warming his feet by the fire and contemplating a lithograph entitled "Married." The background includes: boots under the chair, tongs for the fireplace, smoking pipe and tobacco tin or trade card on the hearth which read Anderson & Co. Honey Dew tobacco... New-York. Also depicted is a glass-enclosed pendulum clock on mantle, a framed picture on wall, a small table with brocade edged table cloth, two books and a small astral lamp. Heavy red drapes at the window and a patterned carpet 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.
The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman and Edmund Burke Kellogg after they took over the family firm from their brother Daniel Wright Kellogg. Horace Thayer was a map dealer and in 1845 or 1846 the partnetship opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, he Kellogg brothers formed a new partnership with John Cheneyard Comstock.
Location
Currently not on view
date made
1846
distributor
Needham, D.
maker
Kelloggs & Thayer
ID Number
DL.60.2269
catalog number
60.2269
accession number
228146
maker number
265
Currently not on view
Location
Currently not on view
Date made
ca. 1850
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.2339
catalog number
60.2339
accession number
228146
This colored print is an interior scene depicting three men and three women gathered around a table drinking and carousing. The table holds fruit, wine bottles and glasses.
Description
This colored print is an interior scene depicting three men and three women gathered around a table drinking and carousing. The table holds fruit, wine bottles and glasses. One woman is pouring a drink on the head of a man, another woman is seated together with a man with their arms around each other. As the subtitle explains, “He wasted his Substance with Riotous living.”
The parable of the Prodigal Son or the Lost Son is among the best-known Christian morality tales and is found in Luke 15:11-32. The youngest of the two sons demands his share of his father’s estate which the father gives him. Shortly after, he runs off and squanders the wealth “in wild living.” Finding himself destitute, he returns to his father, repents his ways, and begs to be allowed to serve as a hired servant. The father rejoices at the return of his son “who was lost and is found.” Meanwhile, the obedient, older son is angry and refuses to join the celebration. His father pleads with him to forgive and to understand his joy.
This print was produced by E.B. Kellogg and E.C. Kellogg and Kelloggs & Thayer after an engraving by Amos Doolittle. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867. The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872) after they took over the family firm from their brother Daniel Wright Kellogg (1807-1874). Horace Thayer (1811-c. 1874) was a map dealer and in 1845 or 1846 the men opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock (1818-1862).
Location
Currently not on view
Date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
original artist
Doolittle, Amos
maker
Kellogg, E.B. and E.C.
ID Number
DL.60.2945
catalog number
60.2945
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 two young ladies standing arm in arm outdoors. One woman is wearing a straw bonnet with flowers and a red overdress with lace bodice and underskirt. The other woman is carrying a parasol and wears a dress with lace skirt, blue sash, and lace shawl collar worn off the shoulder. An ivy-covered column is in the left background.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2257
catalog number
60.2257
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 depicts a young woman with brown hair standing indoors beside a table. Her feathered bonnet and a parasol rest on the table. She wears a blue dress with a ruffled red garment that may be an overdress or a small decorative wrap called a mantelet.
This print was produced by the lithographic firm of Kelloggs & Comstock. In 1848, John Chenevard Comstock developed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg left the firm, leaving his brother Elijah Chapman Kellogg and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the success of the family’s lithography firm.
Location
Currently not on view
date made
ca 1850
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.2504
catalog number
60.2504
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 print depicts a young woman with brown hair standing indoors. She is looking over her left shoulder while leafing through a book which rests on an ornately carved table. A blue portrait vase containing flowers sits on top of the table. She is wearing a white dress with a sheer shoulder cape or a Bertha, rings, a gold bracelet and a headband. Heavy green fringed drapery hangs behind her and a corner of an ornate frame is visible in the right background.
This print was produced by the lithographic firm 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 the partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
maker
E. B. & E. C. Kellogg
ID Number
DL.60.2507
catalog number
60.2507
accession number
228146

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