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 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 an interior scene of four children with an adult dog and four puppies. One child is seated in an ornate chair; the others are gathered around the chair and footstool. The furnishings depicted include an elaborate carpet, a floral arrangement and rich drapery. A ball, doll and book are in the foreground. The children wear fancy dress.
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
1852-1856
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2247
catalog number
60.2247
accession number
228146
This color lithograph is a half-length portrait of John Camel Heenan, dressed formally in a three-piece suit and tie. An eagle with a banner in its mouth is depicted beneath the portrait.
Description
This color lithograph is a half-length portrait of John Camel Heenan, dressed formally in a three-piece suit and tie. An eagle with a banner in its mouth is depicted beneath the portrait. The banner reads "Champion of America." Beneath it is a declaration of his height (6’ ½”) and his fighting weight (192-195 pounds).
John Camel Heenan (1833/34-1873) was an American bare-knuckle prizefighter, who was born in West Troy, New York, the son of Irish immigrants. At the age of 17, he headed west to the Gold Rush town of Benecia, California, where he worked as a strong man and enforcer in labor and political disputes. His reputation for informal brawling earned him the nickname the “Benecia Boy” and captured the attention of an English trainer named Jim Cusick, who moved with Heenan back to New York. Because fighting was illegal in the United States at that time, Heenan participated in his first national heavyweight bout in Canada in 1858. He lost the match to reigning champion John Morrissey in what some claimed to be an unfair fight because of crowd interference. After Morrissey retired from the ring, Heenan became national champion by default. He fought his second match—this time against Tom Sayers in 1860—in a field in Farnborough, Hampshire, England. Bare knuckle fighting was also illegal in England, and the confrontation attracted widespread public attention. It quickly turned brutal and chaotic, and ended in a draw after five rounds when the police threatened to intervene.
The match has been described as the first world title fight, and it led to the establishment of a boxing code of conduct that included three-minute rounds, mandatory gloves, and ten-second counts after knockdowns. Heenan lost his third and final world title match, also in England, to a fighter named Tom King in 1863. Again, there were charges that the fight had been unfair, this time because of biased calls by the referee. Heenan also later claimed he’d been drugged. He devoted his final years to the gambling business. He died at the age of 38 after contracting tuberculosis in what was then the Wyoming territory. Heavy press coverage turned Heenan into a superstar, celebrated not only in prints, but in advertisements, poems, ballads, and theatrical productions.
This lithograph was produced by the lithographic firm of E. B. & E. C Kellogg and published and sold by George Whiting. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
This print was published by George Whiting, who worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office and Whiting took over the firm, selling prints until his death two years later.
Location
Currently not on view
Date made
n.d.
distributor
Whiting, George
depicted
Heenan, John Camel
maker
E.B. and E.C. Kellogg
Kellogg, E.B. and E.C.
ID Number
DL.60.3125
catalog number
60.3125
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
Colored print of a man on horseback and a bull confronting each other from opposite sides of a jump. In the background are four other men on horses.Currently not on view
Description (Brief)
Colored print of a man on horseback and a bull confronting each other from opposite sides of a jump. In the background are four other men on horses.
Location
Currently not on view
date made
ca 1860
distributor
Phelps & Watson
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2673
catalog number
60.2673
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 three ladies in an outdoor setting. One is full front in the foreground, while the other two are looking and smelling the roses in the background. All of the women are wearing wide straw hats with ribbons, tight fitting bodices and sleeves, short full skirts, bloomers stopping at ankles and high button shoes. There are two columns on the left that are home to more roses. The floor is patterned.
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 1852
distributors
Ensign, Thayer and Company
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2276
catalog number
60.2276
accession number
228146
maker number
431
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 hand colored print is of a dark haired woman riding side-saddle on a dapple gray horse. The woman is wearing a long skirt, a vest, a jacket, a bowtie, a large collar and a cavalier hat with bows and feathers. She carries a riding crop in one hand and holds reins of the horse with the other. The bridle and saddle harness on the horse are decorated with fringe.
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 1859
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2313
catalog number
60.2313
accession number
228146
maker number
75
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 pleasant bucolic outdoor scene of eleven people gathered in the country. A girl on a swing is pushed by two boys, a young girl is collecting flowers while three children are looking on, a young couple is seated by a tree while an older woman and a young boy are looking on from the left. All are wearing fancy clothing consisting of feathers, lace, embroidery, large hats, and short stockings.
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
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2236
catalog number
60.2236
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 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
Colored print. Schoolroom scene with four boys engaged in various activites: two drawing caricature of their teacher upon a blackboard, a third watching the fourth thumb his nose at the drawing.
Description (Brief)
Colored print. Schoolroom scene with four boys engaged in various activites: two drawing caricature of their teacher upon a blackboard, a third watching the fourth thumb his nose at the drawing. The school master is entering the room on the right, switch in hand and wearing small round glasses. Long table and map on wall in background.
Location
Currently not on view
date made
1843-1860
distributor
Phelps & Watson
distributor?
Whiting, F. P.
lithographer
E.B. and E.C. Kellogg
publisher
Golden & Sammons
ID Number
DL.60.2298
catalog number
60.2298
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 a lady seated at the table drinking tea. She is holding a decorative tea cup which appears to be Chinese export porcelain; the matching saucer and spoon are on the table. Tea drinking was an established social custom from the previous century with recognized etiquette and distinctive equipment. The lady is wearing a striped dressing gown.
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 1854
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2259
catalog number
60.2259
accession number
228146
maker number
190
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 a full length portrait of a man and woman standing arm in arm outdoors. A church with a tall steeple is in the left background. The man is wearing a formal, long, fitted coat, double-breasted, velvet collar, vest, bow tie and striped trousers. The woman is wearing a long pink dress with lace collar and cuffs. The man is carrying a book, and the woman is carrying a lace handkerchief.
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
1852-1860
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2256
catalog number
60.2256
accession number
228146
maker number
208
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
Colored print of a pack of hounds and a hunter standing beside a horse. In the background appears a large structure resembling a castle.Currently not on view
Description (Brief)
Colored print of a pack of hounds and a hunter standing beside a horse. In the background appears a large structure resembling a castle.
Location
Currently not on view
date made
1858-1860
distributor
Whiting, F. P.
Phelps & Watson
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2671
catalog number
60.2671
accession number
228146
Color print; half length portrait of a man (Tom Sayers). Beneath the portrait is the depiction of a lion with a banner in it's mouth. The banner reads "Champion of England".Currently not on view
Description (Brief)
Color print; half length portrait of a man (Tom Sayers). Beneath the portrait is the depiction of a lion with a banner in it's mouth. The banner reads "Champion of England".
Location
Currently not on view
Date made
n.d.
depicted
Whiting, George
Sayers, Tom
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3126
catalog number
60.3126
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 with full length portraits of grandmother, mother and two children, one of whom is an infant being nursed by the mother. The older child holds a basket of kittens and mother cat is grabbing at her apron. All are wearing simple, everyday dress. Depicted furnishings include chairs with wicker bottoms, a chest, a tray and a two shelf bookcase is hung on the wall with wire. Vase and sewing accessories are on the window sill, while toys are scattered on the floor.
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 1860
distributor?
Whiting, F. P.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2245
catalog number
60.2245
accession number
228146

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