Clothing & Accessories

Women's Gown (cheong sam) ca. 1930

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.

Resource Type: Lithographs

Fearnaught Stallions

A color print of two chestnut horses (Lancet and Fearnaught Boy) with light manes pulling a cutter on a country road. They are joined by a T-shaped tongue, and their harnesses are light and handsome.
Description
A color print of two chestnut horses (Lancet and Fearnaught Boy) with light manes pulling a cutter on a country road. They are joined by a T-shaped tongue, and their harnesses are light and handsome. The driver is wearing a black coat with lapels, gloves, a boat-shaped hat, and a beaver rug over his knees. He is probably their owner David Nevins, Jr. A split rail fence borders the road. Mountains are in the distance, and the landscape is covered with snow.
Lancet and Fearnaught Boy were owned by David Nevins Jr. of Framingham, Massachusetts.
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
Eaton, L. G.
original artist
Leighton, Scott
ID Number
DL.60.3555
catalog number
60.3555

The Wedding Night

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This colored print depicts an indoor scene of a man kneeling behind a woman untying the stays of her corset. He wears a high-collared shirt, lace bowtie and striped trousers. Both are wearing slippers and earrings. The man’s expression is somewhat cartoonish. The fireplace has a carved mantle upon which sits a candle holder and lit candle. There is a chair with clothing draped over it. Heavy drapery and a bed are in the background. The rug is patterned.
This lithograph was made by J Shutz, a lithographer who worked for Currier & Ives from 1849-1850. He was the firm’s primary letterer, and was responsible for lettering a large quantity of prints.
Location
Currently not on view
date made
ca 1850
maker
Schutz, J
ID Number
DL.60.2281
catalog number
60.2281
accession number
228146

What Is Love ?

Black and white print of a black man and woman who carry burlap bags of trash? lean across a trash barrel to kiss. Their clothes are in tatters. Two little boys observe from a doorway. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white print of a black man and woman who carry burlap bags of trash? lean across a trash barrel to kiss. Their clothes are in tatters. Two little boys observe from a doorway. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
Date made
1875
maker
Vance, Parsloe and Company
ID Number
DL.60.3437
catalog number
60.3437

Winter Pleasure in the Country

Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.Currently not on view
Description (Brief)
Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.
Location
Currently not on view
date made
ca 1865
maker
Kimmel and Forster
ID Number
DL.60.2645
catalog number
60.2645
accession number
228146

Executive Mercy and the Bambers

This 1838 print depicts Governor of New York, Democrat, William L. Marcy seated on a throne with his foot on the U.S. Constitution handing a warrant for the arrest of two Irish citizens to British Consul, Buchanan. The two Irish citizens are father and son, John Bamber Sr.
Description (Brief)
This 1838 print depicts Governor of New York, Democrat, William L. Marcy seated on a throne with his foot on the U.S. Constitution handing a warrant for the arrest of two Irish citizens to British Consul, Buchanan. The two Irish citizens are father and son, John Bamber Sr. and James Bamber, accused of killing an Irish constable. They escaped Ireland to seek asylum in the United States, but Marcy decided to return them to Great Britain for trial. To the right of Marcy is Recorder of the City of New York, Richard Riker, who is holding a “Writ of Habeas Corpus” and stating that “the Constitution and laws of the United States will protect the adopted citizen!!” Riker was sympathetic to the Whig Party and against the pro-immigration Tammany Hall faction of the Democratic Party that supported Marcy, so his protest represents the Whig’s changing stance towards Irish immigrants in the 1838 gubernatorial race. The Irish had long been ignored by the Whig party, but Whig candidate, William Seward along with political boss, Thurlow Weed mobilized new Irish immigrants who hadn’t been indoctrinated into the Tammany Hall political machine to secure votes for the Whigs. The Irish were previously only tapped by the Tammany Hall Democrats, so the Whigs entering the scene marked an important moment in New York political history. Marcy ultimately denied the Bamber’s trial and sent them back to Ireland, angering both the city’s large Irish population and Whig faction. Marcy lost the election to Seward, and this decision can be pointed to as one of the reasons why.
The lithographer of this print is 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 was active 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
n.d.
depicted
Marcy, William L.
Acker, Jacob
Ricker, Richard
Bamber, John
Bamber, James
maker
Clay, Edward Williams
Robinson, Henry R.
ID Number
DL.60.3339
catalog number
60.3339

Abby

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

Whalebone

Black and white print of a trotting horse (Whalebone) pulling a sulky and driver.
Description (Brief)
Black and white print of a trotting horse (Whalebone) pulling a sulky and driver. Inscription beneath image gives details of the horse's breeding and record.
Description
A black and white print of a light horse with dark mane pulling a road sulky and jockey on flat stretch of ground in the open country. The jockey wears a heavily padded suit and a cap tied under his chin. The horse’s equipment includes blinders, a bit, and a harness with attachments for draft poles of sulky.
Whalebone was foaled in New York in 1821, bred by General Coles of Long Island through Bishops Hambletonian and a descendant of Coffins Messenger. He stood out from the other trotters of his day because he focused on stamina instead of speed. In 1827, Whalebone was able to trot 15 miles in 58 minutes and, in 1831, trotted 32 miles in an hour and 58 minutes. He and Top Gallant were hailed as the greatest trotters and rivals of their day. In addition, Whalebone had only one eye.
Kennedy and Lucas was a lithography firm based in Philadelphia from 1829-1835. This firm illustrated work for the “Floral Magazine and Botanical Repository” as well as other contemporary works. David Kennedy and William Lucas were the firm’s partners though the firm itself was listed as a looking glass store, where they retailed prints, mirrors, and frames. Kennedy and Lucas was possibly the first commercial lithographic establishment in the city of Philadelphia.
Location
Currently not on view
Date made
n.d.
maker
Kennedy & Lucas
artist
Hillman, Richard S.
ID Number
DL.60.3564
catalog number
60.3564

James Monroe 5th President of the United States

Color print, half length portrait of a seated man (James Monroe). Column and green drapery in right background. He is seated with his hands on documents resting on a table in front of him.Currently not on view
Description (Brief)
Color print, half length portrait of a seated man (James Monroe). Column and green drapery in right background. He is seated with his hands on documents resting on a table in front of him.
Location
Currently not on view
Date made
n.d.
depicted
Monroe, James
maker
unknown
ID Number
DL.60.3189
catalog number
60.3189

Austin Blair. Governor of Michigan

Black and white print, half length portrait of a man (Austin Blair). A facsimille of his signature appears below the image and serves as part of the title.Currently not on view
Description (Brief)
Black and white print, half length portrait of a man (Austin Blair). A facsimille of his signature appears below the image and serves as part of the title.
Location
Currently not on view
Date made
n.d.
depicted
Blair, Austin
maker
Gibson, John
ID Number
DL.60.3220
catalog number
60.3220

Good Night

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 girl holding a chamberstick with a lit candle. She is wearing a simple dress with lace collar and cuffs. Drapery and a glass vase containing cut flowers can be seen in the background.
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
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2258
catalog number
60.2258
accession number
228146

Seventh Ward Beggars.

In this undated caricature, President Andrew Jackson is depicted holding a scepter and a sack of $100,000, while seated upon sacks of money labeled “Surplus Fund.” A horde of bankers are shown kissing his feet and begging for “a portion of your fiscal patronage,” because they are
Description (Brief)
In this undated caricature, President Andrew Jackson is depicted holding a scepter and a sack of $100,000, while seated upon sacks of money labeled “Surplus Fund.” A horde of bankers are shown kissing his feet and begging for “a portion of your fiscal patronage,” because they are “friends of the administration.” This is in reference to Jackson’s decision to redistribute the money from the Second National Bank to smaller local banks. The Seventh Ward Bank pictured in the back of the image was one of those local banks hoping to receive Federal funds, and additional dialog and phrases appear in the print in reference to the thousands of shares that were distributed to over 100 NY office holders to obtain the Seventh Ward Bank Charter. This cartoon is a critique of Jackson’s distribution methods—seen as undemocratic by his critics, as he favored those who supported him and his interests. Jackson tells the bankers, “such beggars should have their share, but first go and pay honest Reuben M. Whitney.” Whitney was the former U.S. Bank Director and a member of Jackson’s “Kitchen Cabinet” of favored personal advisors. He was known for helping distribute funds to pet banks during the so called Bank War, and for testifying against President of the Second National Bank, Nicolas Biddle and chartered banks. In the background of the print is a reporter from the “Courier and Enquirer,” a Whig aligned newspaper, labeled as a “Spy in Washington,” thus solidifying this print as Whig aligned.
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
n.d.
depicted
Jackson, Andrew
maker
Robinson, Henry R.
ID Number
DL.60.3342
catalog number
60.3342

The Bride and Bride's-Maid

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 colored print is of a bride seated. The bridesmaid stands behind her adjusting her pink veil. Each woman wears a bracelet and necklace, and the bride wears one glove.
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.60.2317
catalog number
60.2317
accession number
228146

Andrew Jackson Seventh President of the United States

Color print, half length portrait of a man (Andrew Jackson) seated in a chair, his right hand resting on documents on a table in front of him. A sword with an eagle on the hilt rests in his lap and across his left arm. A column with red drapery is behind him.
Description (Brief)
Color print, half length portrait of a man (Andrew Jackson) seated in a chair, his right hand resting on documents on a table in front of him. A sword with an eagle on the hilt rests in his lap and across his left arm. A column with red drapery is behind him. A slip of paper with his signature has been pasted over the title.
Location
Currently not on view
Date made
n.d.
depicted
Jackson, Andrew
maker
unknown
ID Number
DL.60.3185
catalog number
60.3185

The Proposal

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 seated woman with a man standing in front of her. The woman is wearing simple farm clothing, a yellow bonnet and apron over a red long sleeved dress. The man is wearing tan pants with a white shirt and blue vest and he is holding a straw hat. Beside the woman is a watering trough overflowing with water. A jug is between the trough and the woman; behind the man are two baskets. Multiple buildings can be seen in the background.
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
ca 1835
maker
D.W. Kellogg and Company
ID Number
DL.60.2280
catalog number
60.2280
accession number
228146

The Riddle

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This colored print is an interior scene of a man and woman seated on either side of a bed in which a woman in bedclothes reclines. Furnishings include a bed with pillows and skirt, stool with twisted legs, drapery, patterned carpet, wallpaper and a dresser with a mirror.
Henry R. Robinson was a caricaturist, lithographer, print publisher and retailer active in New York City from 1833 until 1851. He was well known as a political cartoonist and was politically affiliated with the anti-Jackson Whig party. He advertised his affiliation with a wig silhouette which he used as an advertising logo for his shop in New York City. Like many of his contemporaries, he mentored other lithographers, including Napoleon Sarony. In 1842 he was arrested for selling obscene pictures and books. His Sept 29, 1842 court case of People vs. H.R. Robinson in New York City can be found in the District Attorney Indictment Papers in the Municipal Archives.
Location
Currently not on view
date made
ca 1843
maker
Robinson, Henry R.
ID Number
DL.60.2248
catalog number
60.2248
accession number
228146

Whig Candidates for the Presidency

This 1837 print depicts the three leading Whig presidential candidates of 1836. While it was published after the election of Martin Van Buren as president, this print was most likely drawn on stone prior to the election.
Description (Brief)
This 1837 print depicts the three leading Whig presidential candidates of 1836. While it was published after the election of Martin Van Buren as president, this print was most likely drawn on stone prior to the election. This is evidenced by Kentucky Senator, Henry Clay’s presence in the print. Clay was not on the official Whig ticket for this election, but he was someone thought likely to run given his hatred of the outgoing president, Andrew Jackson. Seated on a box labeled “Military Chest” next to fellow Whig, Daniel Webster, Clay cites the reasons why he should be president, swearing both on “party consistency” and “Old Kentuck” that he would be the right choice. While Clay might have felt that he was the right choice for the Whig ticket, his party did not, instead choosing to back General William Henry Harrison, and Massachusetts Senator, Daniel Webster (pictured in the image), as well as Hugh L. White.
Harrison seated on the left of the print, is depicted sitting on a large cannon ball in full military regalia to highlight his campaign platform of being “the Hero of Tippecanoe.” He was seen as lacking in political experience, but his military heroism appealed to the American voting public. Next to Harrison in the center, is Massachusetts Senator, Daniel Webster with his foot on the Constitution. He is wearing a sign around his neck, reading “Hartford Convention,” and holding a document labeled "U. States Bank recharter'd” in one hand, and a bag labeled “Specie Circular” on the other, from which coins pour out into hands labeled “Lo” “Co” “Fo” “Co.” In a long monologue, Webster speaks to the Whig’s desire to maintain the National Bank and how no matter who the candidate is “Nicholas Biddle will play the fiddle.” Nicholas Biddle was the President of the Second National Bank of the United States, and he found a great ally in Daniel Webster who agreed that Andrew Jackson’s plan to revoke the bank’s charter was unconstitutional. In this print, Biddle is represented by the devil floating behind the three men wearing a crown labeled “NICK.”
The devil (Biddle) is holding a wig over Webster’s head saying, “I swear that the wig will fit, for it hath great powers of extension and contraction, and is much improved by pressure.” This again is an allusion to Biddle’s influence over the Whig party, but in particular Webster, who was a firm constitutionalist as well as an outspoken advocate for the Second National Bank, represented in the image by his foot on the Constitution and the rolled paper reading "U. States Bank recharter'd.” Harrison and Webster as well as the third candidate White all ran against Vice President Martin Van Buren in the Election of 1836 on an anti-Jackson and anti-Democrat platforms, but ultimately, the Whig’s strategy of loading the ballot with candidates to split the vote only hurt their chances, resulting in Martin Van Buren’s election and four more years of Jacksonian Democracy.
Location
Currently not on view
Date made
1837
depicted
Harrison, William Henry
Webster, Daniel
Clay, Henry
maker
Laurence, John
Perruquier
ID Number
DL.60.3360
catalog number
60.3360

No One to Love None to Caress

Black and white comic print of a young woman wearing a dress with a very large bustle. She stands on a stage, holding sheet music and singing. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white comic print of a young woman wearing a dress with a very large bustle. She stands on a stage, holding sheet music and singing. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Fred T.
Vance, Parsloe and Company
ID Number
DL.60.2845
catalog number
60.2845
accession number
228146

Red Lion Camp Meeting by Alfred Thompson Scott (artist) and P.S. Duval and Company (lithographers)

This colored print depicts a large camp meeting in a clearing in the forest. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer.
Description
This colored print depicts a large camp meeting in a clearing in the forest. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer. Hundreds and even thousands came from miles around for preaching and worship, and to enjoy the festival-like atmosphere. A circle of many tents surrounds a vast congregation with a pulpit in the center next to the preacher's tent. On the outskirts are many carriages and people.
The Red Lion camp meeting was held August 6-14, 1853, near Red Lion, New Castle County, Delaware. This religious revival was organized by the Methodist Episcopal Church and was presided over by several of their circuit preachers from the Philadelphia Conference. These included Reverend A. Atwood, P.F. Rev. Thomas Sumption, and Reverend R. Owen and Bishop Levy Scott. Given that the artist was the son of one of the sponsors of the event, this image can serve as a documented eyewitness account. The list of ministers is listed in the caption below the image.
Alfred Thompson Scott (1831-1914), son of Levi Scott, Methodist Episcopal Bishop of Delaware, was the original artist. This appears to be his earliest work. Scott partnered with daguerreotypist Nelson Carlisle, became a drawing and painting instructor for Wilmington’s Wesleyan Female College, and became a minister.
This print was produced by P.S. Duval and Company, A.T. Scott and Cyrus Stern. Peter S. Duval (ca. 1804/05-1886) was a French lithographer who immigrated to Philadelphia in 1831 to work for the lithographic firm of Childs & Inman. In 1837, he established his own lithographic firm in Philadelphia. During the 1840s, the firm's products included advertisements, book and periodical illustrations, sheet music covers, maps and portraits. By the end of that decade, Duval was winning awards for his work in chromolithography. He was also among the first to introduce steam power to the process of lithography. His son Stephen Orr Duval joined the company in 1858. The company headquarters suffered a disastrous fire in 1856 and Duval declared financial insolvency in 1859. However, he was able to reestablish his business, and he continued working till his retirement in 1869.
Cyrus Stern (1818-1891) was this print’s publisher/copyriter as well as an author and composer of other works. He was headquartered on Market Street in Wilmington, Delaware.
Location
Currently not on view
Date made
1853
lithographer
P. S. Duval and Company
artist
Scott, Alfred T.
publisher
Stern, Cyrus
ID Number
DL.60.2966
catalog number
60.2966
accession number
228146

Increase in the Family

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

Thou Art So Near, and Yet, So Far

Black and white comic print of a raggedly dressed man standing before a window of the "Exchange Window" and looks longingly at the money sitting in the window. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white comic print of a raggedly dressed man standing before a window of the "Exchange Window" and looks longingly at the money sitting in the window. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Fred T.
Vance, Parsloe and Company
ID Number
DL.60.2853
catalog number
60.2853
accession number
228146

Representative Journals & Journalists of America

Black and white print containing facsimiles of twelve leading newspapers, each of which frames a bust portrait of its owner or editor, except center portrait which has no newspaper "frame". Facsimiles of signatures appear below with printed titles of papers.Currently not on view
Description (Brief)
Black and white print containing facsimiles of twelve leading newspapers, each of which frames a bust portrait of its owner or editor, except center portrait which has no newspaper "frame". Facsimiles of signatures appear below with printed titles of papers.
Location
Currently not on view
date made
1882
depicted
Weed, Thurlow
lithographer
Buek & Lindner
publisher
Root & Tinker
ID Number
DL.60.2435
catalog number
60.2435
accession number
228146

I'm Not to Blame for Being White, Sir!

Currently not on view
Location
Currently not on view
Date made
n.d.
maker
unknown
ID Number
DL.60.3452
catalog number
60.3452

The Politician

Colored print of a young boy sitting on a stone bench in front of a tavern, reading "The Times." A mug rests on the bench beside him, and at his feet is a bag with a book and a slate. Other buildings and a church steeple in background.Currently not on view
Description (Brief)
Colored print of a young boy sitting on a stone bench in front of a tavern, reading "The Times." A mug rests on the bench beside him, and at his feet is a bag with a book and a slate. Other buildings and a church steeple in background.
Location
Currently not on view
date made
n.d.
maker
Altafulla, J.
ID Number
DL.60.2360
catalog number
60.2360
accession number
228146

Cecelia

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This three-quarter length hand colored print is of a young dark haired woman standing in front of a window. She is holding a letter in one hand and a sprig of flowers in the other. She is wearing a simple gold dress with a flower on her chest. Behind her is a window surrounded by heavy drapery and a scene of a man walking on a path.
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
1852-1860
distributors
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2500
catalog number
60.2500
accession number
228146
maker number
295

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