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.

Black and white print; half length portrait of a man (R. Walsh Jr.) with his head resting on his hand and his elbow resting on an open book.Currently not on view
Description (Brief)
Black and white print; half length portrait of a man (R. Walsh Jr.) with his head resting on his hand and his elbow resting on an open book.
Location
Currently not on view
Date made
n.d.
maker
Sully, Thomas
Childs, Cephas Grier
ID Number
DL.60.3135
catalog number
60.3135
accession number
228146
Black and white print; bust portrait of a man (Henry Inman). Facsimile of sitter's signature is below the image.Currently not on view
Description (Brief)
Black and white print; bust portrait of a man (Henry Inman). Facsimile of sitter's signature is below the image.
Location
Currently not on view
Date made
n.d.
depicted
Inman, Henry
maker
Prevost, Victor
Nagel, Louis
original artist
Lazarus
ID Number
DL.60.3127
catalog number
60.3127
accession number
228146
Black and white print; oval bust portrait of a man (Alois Senefelder).Currently not on view
Description (Brief)
Black and white print; oval bust portrait of a man (Alois Senefelder).
Location
Currently not on view
Date made
n.d.
depicted
Senefelder, Alois
maker
Waldeck, Franz
ID Number
DL.60.3124
catalog number
60.3124
accession number
228146
Black and white print; bust portrait of a man (James Fenimore Cooper).Currently not on view
Description (Brief)
Black and white print; bust portrait of a man (James Fenimore Cooper).
Location
Currently not on view
Date made
n.d.
depicted
Cooper, James Fenimore
publisher
Peabody & Co.
Childs & Inman
maker
Pendleton's Lithography
ID Number
DL.60.3130
catalog number
60.3130
accession number
228146
Black and white print; oval bust portrait of a man (Daniel Griffith,1803-1878, a pioneer and founder of Springport Township, Michigan)Currently not on view
Description (Brief)
Black and white print; oval bust portrait of a man (Daniel Griffith,1803-1878, a pioneer and founder of Springport Township, Michigan)
Location
Currently not on view
Date made
n.d.
depicted
Griffith, Daniel
maker
unknown
ID Number
DL.60.3137
catalog number
60.3137
accession number
228146
Black and white print; bust portrait of a man (William Bradford Reed). Facsimile of sitter's signature is below the image.Currently not on view
Description (Brief)
Black and white print; bust portrait of a man (William Bradford Reed). Facsimile of sitter's signature is below the image.
Location
Currently not on view
Date made
ca 1855
depicted
Reed, William Bradford
maker
Wagner & McGuigan
Traubel, Morris H.
ID Number
DL.60.3128
catalog number
60.3128
accession number
228146
Black and white print, half length portrait of a man (Timothy Cole) at a pulpit. He has one hand raised and another on a book, which is resting on the pulpit.Currently not on view
Description (Brief)
Black and white print, half length portrait of a man (Timothy Cole) at a pulpit. He has one hand raised and another on a book, which is resting on the pulpit.
Location
Currently not on view
Date made
n.d.
depicted
Cole, Timothy
maker
Moore, Thomas
original artist
Howes, S.P.
ID Number
DL.60.3206
catalog number
60.3206
Color print of three men seated around a campfire while a fourth man tends donkeys. Rocky hill formations in the background. Plate from "U.S.P.R.R. Exp. & Surveys, 35th Parellel."Currently not on view
Description (Brief)
Color print of three men seated around a campfire while a fourth man tends donkeys. Rocky hill formations in the background. Plate from "U.S.P.R.R. Exp. & Surveys, 35th Parellel."
Location
Currently not on view
Date made
n.d.
maker
Sinclair, Thomas
artist
Tidball, J. C.
ID Number
DL.60.3868
catalog number
60.3868
Black and white print; bust portrait of a man in clerical garb (the Reverend Edward Sprague).Currently not on view
Description (Brief)
Black and white print; bust portrait of a man in clerical garb (the Reverend Edward Sprague).
Location
Currently not on view
Date made
n.d.
depicted
Sprague, Edward
maker
Pendleton's Lithography
original artist
Belknap, Zedekiah
ID Number
DL.60.3129
catalog number
60.3129
accession number
228146
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This half length hand colored portrait print depicts a young woman wearing a velvet hat accented with an ostrich feather. Her dark red dress is accented with a high white collar. Around her waist is a belt with a gold buckle. She wears a long necklace around her neck and gold drop earrings.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in 1830 Hartford, Connecticut. Before the opening of its first retail store in 1834, D.W. Kellogg & Co. lithography firm was well established and popular in United States, particularly in the South and the Southwest. As the founding member of the family company, Daniel Wright Kellogg established the initial growth and popularity of the firm. After he left the company it continued to flourish for decades under his younger brothers and other family members.
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2510
catalog number
60.2510
accession number
228146
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This half length hand colored portrait print depicts a young woman with a rose adorning her dark upswept hair. She wears a red dress with huge puffy sleeves, a gold striped shawl and gold drop earrings on her right ear.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in 1830 Hartford, Connecticut. Before the opening of its first retail store in 1834, D.W. Kellogg & Co. lithography firm was well established and popular in United States, particularly in the South and the Southwest. As the founding member of the family company, Daniel Wright Kellogg established the initial growth and popularity of the firm. After he left the company it continued to flourish for decades under his younger brothers and other family members.
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2509
catalog number
60.2509
accession number
228146
Black and white print, bust length self-portrait of a man (Napoleon Sarony) wearing a coonskin hat.Currently not on view
Description (Brief)
Black and white print, bust length self-portrait of a man (Napoleon Sarony) wearing a coonskin hat.
Location
Currently not on view
Date made
n.d.
depicted
Sarony, Napoleon
maker
Sarony, Napoleon
ID Number
DL.60.3204
catalog number
60.3204
Black & white print; three quarter portrait of minister standing in clerical garb (Thomas De Witt) with his hand on an open book on a table beside him.Currently not on view
Description (Brief)
Black & white print; three quarter portrait of minister standing in clerical garb (Thomas De Witt) with his hand on an open book on a table beside him.
Location
Currently not on view
Date made
n.d.
maker
Endicott, George
original artist
Waldo and Jewett
ID Number
DL.60.3145
catalog number
60.3145
accession number
228146
This 1836 caricature of Andrew Jackson symbolizes his fight to revoke the charter of the Second National Bank. Long distrusting of banking systems and a strong advocate for specie –silver and gold, Jackson made neutralizing the National Bank a top priority of his administration.
Description (Brief)
This 1836 caricature of Andrew Jackson symbolizes his fight to revoke the charter of the Second National Bank. Long distrusting of banking systems and a strong advocate for specie –silver and gold, Jackson made neutralizing the National Bank a top priority of his administration. In this image the twenty four heads on the snake represent the twenty four state branches of the National Bank, with the largest head belonging to bank president and Jackson foe, Nicholas Biddle of Pennsylvania. Jackson’s weapon of choice to defeat the snake is a cane labeled “Veto,” symbolizing his unprecedented use of the presidential veto power. Jackson used that executive power more than any other president, and it is ultimately what afforded him the opportunity to shut down the National Bank. Aiding Jackson in his fight against the snake is Vice President Martin Van Buren depicted holding the head of political rival and former president, John Quincy Adams, and fictional character, Major Jack Downing. Created by journalist Seba Smith, the allegorical persona of Downing symbolized the common man and came to typify the New England Yankee as full of common sense.
The lithographer of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
Location
Currently not on view
Date made
1836, March
depicted
Van Buren, Martin
Jackson, Andrew
Adams, John Quincy
originated character
Smith, Seba
depicted
Biddle, Nicholas
artist
Hoffy, Alfred M.
maker
Robinson, Henry R.
ID Number
DL.60.3333
catalog number
60.3333
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 colored portrait print is of a young woman standing at a railing. The girl is looking back over her right shoulder. She is wearing a large hat with feathers and dress with large billowing sleeves. To her left there is heavy drapery with a tassel.
This lithograph was done by Anthony Imbert, a lithographer and marine painter based in New York. He was active as an artist from 1825 until his death in around 1838. He was born in France and became a French naval officer. He learned to paint after he was imprisoned by the British. When he was released, he came to the United States and developed a career as a lithographer and marine painter. He pioneered many new forms of lithography including a folding lithograph by joining two stories to create a larger print. The artist Dominico Canova was born in Milan, Italy. He immigrated to New York City in 1825, where he began his work as a lithographer under Anthony Imbert. He was primarily known in Louisiana as a teacher of painting and drawing, a muralist and painter. After a few years working under Anthony Imbert he accepted a teaching position in Convent Louisiana, at the College of Jefferson. Throughout the rest of his career, he held various teaching positions at different colleges and schools throughout Louisiana. He died in New Orleans in 1868.
Location
Currently not on view
date made
ca 1830
maker
Imbert, Anthony
artist
Canova, Dominico
Roberts, J. M.
ID Number
DL.60.2491
catalog number
60.2491
accession number
228146
This 1850 print offers a defense of slavery in America by satirically comparing it with a perceived system of “wage slavery” in England.
Description
This 1850 print offers a defense of slavery in America by satirically comparing it with a perceived system of “wage slavery” in England. In the top panel, two Northern men and two Southern men look upon a group of seemingly content slaves who are shown dancing, playing music, and smiling. The Northerners are surprised at this scene, amazed to find that popular assumptions at home about slavery were unfounded. The Southerners hope that the Northerners will return home with a new perspective on slavery, but demonstrate their readiness to fight for their rights if necessary. The lower panel shows a gathering of people outside of a cloth factory in England. On the side of the factory, a sign reads, “Sale / A Wife to be Sold.” On the left, a young farmer talks to his childhood friend, who appears as an old man. The older figure explains that life in a British factory producing cloth ages one more quickly, and that the workers die of old age at 40. To their right, a mother looks down upon her three children, lamenting “What wretched slaves, this factory life makes me & my children. Continuing right, two factory workers contemplate running away to the coal mines, where they would only work for 14 hours instead of their current 17. On the far right, two rotund men, a priest and a tax collector, approach the workers with books labeled “Tythes” and “Taxes.” In the right corner, a man thanks God that he will soon die and be free of his “factory slavery.” Below the panels is included a portrait of the bust of George Thompson, a Scottish abolitionist. An accompanying quote from Thompson reads, “I am proud to boast that Slavery does not breathe in England,” although the creators of this print would argue otherwise. It was printed by British born John Haven ( born ca 1817), who was active in New York City at 3 Broad Street 1846-1848. He then moved to 86 State Street, Boston where he was active 1848-1850. He is known for designing maps as well as for prints on Manifest Destiny and prints with political commentary.
Location
Currently not on view
Date made
1850
depicted
Thompson, George
maker
Haven, Joshua P.
ID Number
DL.60.3490
catalog number
60.3490
This colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century.
Description
This colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century. The figures are shown on ascending steps up to age 50 and then descending, with age 100 being the lowest to the right. Each image portrays a well-dressed youth or man in appropriate attire for his position in society (i.e., gentleman, soldier, elder). Verses beneath each figure associate a depicted animal with that stage of life. A small vignette of two people standing near a monument in a cemetery is in the center foreground.
This print was produced by James S. Baillie, who was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840s. He was a prolific lithographer and colorist for Currier & Ives, and his prints were extremely popular with a wide distribution. James Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
Date made
ca 1847
distributors
Sowle & Shaw
maker
Baillie, James S.
ID Number
DL.60.2935
catalog number
60.2935
accession number
228146
Black and white print depicting four views of life in the California mining business: "Going into it" shows two miners with prospecting gear; "Making Something" shows them discovering gold in a pan; "Making Nothing" depicts them beside a large empty hole; "Going out of it" depict
Description (Brief)
Black and white print depicting four views of life in the California mining business: "Going into it" shows two miners with prospecting gear; "Making Something" shows them discovering gold in a pan; "Making Nothing" depicts them beside a large empty hole; "Going out of it" depicts them walking toward town.
Location
Currently not on view
Date made
n.d.
maker
Britton & Rey
ID Number
DL.60.3878
catalog number
60.3878
This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station".
Description
This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station". The train is leaving a tranquil valley and heading toward doom with skeletons and snakes in the background. The print has a considerable amount of descriptive and interpretive text.
This print was created by the artist Emil F. Ackermann, who was born in Dresden, Germany in 1840 and came to the United States in 1848. Ackermann eventually went to work for the lithography firm of J.H. Bufford and Sons, which produced the lithograph in the 1860s.
It was issued by the Massachusetts Temperance Alliance and published by Reverend Steadman Wright Hanks in his book The Crystal River Turned Upon the Black Valley Railroad and Black Valley Country -- A Temperance Allegory (also known as The Black Valley: The Railroad and the Country). Hanks called the print "probably the most successful temperance lecture in the country." Stedman Wright Hanks (1811-1889) was a Congregational minister in Lowell, Massachusetts, as well as an author, artist, and fervent supporter of both the temperance and anti-slavery movements. Hanks spoke to audiences around the United States about the evils of overindulging in alcohol. In addition to his book about the Black Valley Railroad, his published works included Sailor Boys, or, Light on the Seaand Mutineers of the "Bounty and compiled a temperance song book and served as a representative in the Massachusetts General Court. He is also noted for performing the sermon commemorating John Quincy Adams death at the St. John Street Congregational Church.
This print was produced by J. Mayer and Company. Julius Mayer was a lithographer in Boston from 1857-1872. He was associated with Prang & Mayer (1857-1860), Mayer & Stetfield (1861-1862), and J. Mayer & Co. (1863-1872). His prints included scenes of Boston and Portland, Maine.
Location
Currently not on view
Date made
1863
copyright holder
Hanks, S. W.
artist; engraver
Ackermann, Emil
lithographer
J. Mayer and Company
ID Number
DL.60.2890
catalog number
60.2890
accession number
228146
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This full length colored portrait is of a young woman standing by a window. Behind the woman is a table with a vase of flowers framed by floral drapery and on a patterned carpet. The woman is wearing a pink and white dress with flowing sleeves, a bracelet on both arms and a necklace. The scene through the window depicts a fenced in house and a sailboat on a river.
This print was produced by James S Baillie, who was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
date made
1846
maker
Baillie, James S.
ID Number
DL.60.2493
catalog number
60.2493
accession number
228146
Color print of a dark brown trotting horse pulling a sulky and driver. White picket fence in background.A color print of a dark brown stallion pulling a sulky and driver on a race track. The equipment is streamlined and colorful.
Description (Brief)
Color print of a dark brown trotting horse pulling a sulky and driver. White picket fence in background.
Description
A color print of a dark brown stallion pulling a sulky and driver on a race track. The equipment is streamlined and colorful. The driver wears a maroon jacket, white shirt, purple pants, a blue cap and yellow gloves. The track is enclosed by a white picket fence.
Ben Morrill was foaled in 1868 from Winthrop Morrill and the Harrison Ames Mare in Winthrop, Maine. He was owned by T.B. Williams. His career ran from 1872-79. Ben Morrill never reached the level of the Grand Circuit horses, but he was well loved throughout New England and Canada and a particular favorite in Boston. On October 29, 1874 Ben Morrill, driven by J.J. Bowen, won two out of nine heats at Prospect Park Fairgrounds in a race for trotters that had never raced under 2:30. Ben Morrill sired seven trotters that reached the under 2:30 achievement.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Location
Currently not on view
Date made
1875
maker
Haskell & Allen
artist
Howe, E.R.
original artist
Leighton, Scott
ID Number
DL.60.3538
catalog number
60.3538
This 1838 print depicts New York Senator Silas Wright standing in the center holding in his right hand the tail of a donkey, and in his left, the tail of a horse. Mounted on the donkey is Democratic New York Senator, Churchill C.
Description (Brief)
This 1838 print depicts New York Senator Silas Wright standing in the center holding in his right hand the tail of a donkey, and in his left, the tail of a horse. Mounted on the donkey is Democratic New York Senator, Churchill C. Cambreleng, wearing a wide brimmed hat with a ribbon reading, “Loco Foco Victory,” heading towards Albany. Seated on the horse, is New York City Comptroller (at the time of this print), William L. Marcy in uniform, and also sporting a “Loco Foco Victory” ribbon on his hat, heading towards Washington. The Loco Foco faction of the Democratic Party was prominent in New York City politics, and desired an independent treasury and a break from monopolies. Both men on horseback are posed as if they are about to gallop away towards their respective destinations, but Wright is holding them back stating, “Stop my good fellows, you are going on a fool’s errand. You are counting your chickens before they have hatched!” Both men are expressing what they hope will happen with a Loco Foco victory, with hopes of being Collector (Marcy) and Governor of New York (Cambreleng), but Wright knows that a Loco Foco victory might not be a reality. Ultimately Wright was correct, and a large scale Loco Foco victory never happened. Their biggest success was in 1840 when President Martin Van Buren took their financial policies into consideration and passed the Independent Treasury Act that separated banking from the Federal government. Following 1840 though, the Loco Foco party was only relevant in New York City and had very limited power.
The artist of this print is Sheepshanks, who is most likely a pseudonym for the artist Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
Location
Currently not on view
Date made
1838
depicted
Marcy, William L.
depicted (probably)
Cambreleng, Churchill C.
depicted (possibly)
Wright, Silas
maker
Robinson, Henry R.
ID Number
DL.60.3347
catalog number
60.3347
These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
Description
These happy family scenes were meant to contrast with the restless, discontented bachelor prints. Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is of a young man lounging in an ornate chair with his feet elevated up on footstool in front of a fire place. He is wearing an embroidered fitted coat, ascot, plaid pants and is holding a cigar in his left hand, and a sheet of paper in his right. There is an ornate clock above the decorative coal burning fireplace, a tall bookcase just behind him and there is a stringed musical instrument (guitar?) hanging on the side of the bookshelf. There is fringed drapery just behind his chair, a table with a fringed table cloth, and a fringed rug on top of a patterned carpet. There is sporting equipment on the wall including a rifle, boxing gloves, fencing rapiers, powder horns, saddle bag, and a sword. Prints depicting a bachelor in his quarters and titled Single were common during this period and were often part of a series the included Married.
This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
date made
1848
maker
Baillie, James S.
ID Number
DL.60.2271
catalog number
60.2271
accession number
228146
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This full length hand colored portrait is of a young woman standing by a window wearing a bonnet and heavy shawl over a red dress. Behind her is blue drapery with fringe, and she stands on a patterned carpet. A sailboat and a windmill can be seen through the window.
This print was produced by James S Baillie, who was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
date made
1846
maker
Baillie, James S.
ID Number
DL.60.2495
catalog number
60.2495
accession number
228146

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