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.

Place: Connecticut

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

dress, 1-piece

Currently not on view
Location
Currently not on view
Date made
1830 - 1840
1830-1840
ID Number
CS.006614
catalog number
006614
accession number
28810

pocket

Currently not on view
Location
Currently not on view
Date made
1770 - 1830
ID Number
CS.006687A
catalog number
006687A
accession number
28810

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

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

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

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

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

Our Future President

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 baby boy seated in an ornate black and gold carriage with four large wheels, leather convertable hood and large tassel hanging from the side. The baby's gown has embroidery, and a velvet coat is draped on carriage. The carriage is depicted in a landscape setting.
Kellogg & Bulkeley was the lithography firm formed from the partnership between Elijah Chapman Kellogg, Edmund Burke Kellogg, and William Henry Bulkeley. The firm was formed in 1867, and shortly after both Elijah Chapman Kellogg and his brother Edmund Burke Chapman retired. After their retirement the only Kellogg remaining in the business was Edmund’s son Charles Kellogg. By1871 the partnership between the Kellogg family and Bulkeley had been reorganized as an incorporated stock company. The company came to an end when is merged with Case, Lockwood, & Brainard to become Connecticut Printers in 1947. Connecticut Printers remained open until 1990 when the Kellogg lithography firm finally ended after 160 years.
Location
Currently not on view
date made
1867
maker
Kellogg & Bulkeley
ID Number
DL.60.2241
catalog number
60.2241
accession number
228146

The Favorite

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 two young girls in an affectionate pose. Both are wearing simple dress. One girl wears a large feathered hat, gold bead necklace and bracelet, and carries a round object, possible a ball or an orange.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in Hartford, Connecticut in 1830. Before the opening of its first retail store in 1834, the 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 1840
maker
D.W. Kellogg and Company
ID Number
DL.60.2238
catalog number
60.2238
accession number
228146

Frances

Currently not on view
Location
Currently not on view
date made
1842-1848
maker
E. B. & E. C. Kellogg
ID Number
DL.60.2512
catalog number
60.2512
accession number
228146

Death of James Knox Polk

Colored print; interior scene depicting Polk in his death bed surrounded by three men (One is probably a clergyman, one a doctor) and two women (his mother and wife). There is a cloth covered table beside the bed and heavy drapery in the background.
Description (Brief)
Colored print; interior scene depicting Polk in his death bed surrounded by three men (One is probably a clergyman, one a doctor) and two women (his mother and wife). There is a cloth covered table beside the bed and heavy drapery in the background. Polk died of cholera.
Location
Currently not on view
date made
1849
distributor
Needham, D.
depicted
Polk, James K.
Polk, Sarah Childress
Polk, Jane Knox
maker
Kelloggs & Comstock
ID Number
DL.60.2553
catalog number
60.2553
accession number
228146

banyan

Currently not on view
Location
Currently not on view
Date made
1745 - 1769
ID Number
CS.006611
catalog number
006611
accession number
28810

Men's Gloves

This is a pair of early 1800s, men’s white leather gloves. Gloves were an integral part of men’s dress during the 1800s. Men could wear colored gloves during the day, but white gloves were the only color acceptable to wear with evening attire.
Description
This is a pair of early 1800s, men’s white leather gloves. Gloves were an integral part of men’s dress during the 1800s. Men could wear colored gloves during the day, but white gloves were the only color acceptable to wear with evening attire.
date made
1769
ID Number
CS.006740
catalog number
006740
accession number
28810

John Camel Heenan, (Benicia Boy.) by E.B. and E.C. Kellogg, circa 1859

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

The Bottle. It Is Brought Out For The First Time: The Husband Induces His Wife "Just to Take a Drop." by Elijah Chapman Kellogg

This hand-colored print depictsthe first of the eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. The print is an interior scene of a man, a woman, and three children.
Description
This hand-colored print depictsthe first of the eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. The print is an interior scene of a man, a woman, and three children. The man and woman are seated at a table where he's pouring a drink for her. They are surrounded by comfortable middle-class furnishings that include a fireplace with stove insert, pictures on the wall, and a tall case clock. A cat and a kitten play by the fire near the two younger children.
This print is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle and The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics and he himself drank heavily until he took a vow of abstinence in 1847. The prints were originally published by David Bogue, who published most of Cruikshank’s works in the 1850s. David Bogue (1807–1856) was born in Scotland and moved to London in 1836. Bogue began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack1835-53. David Bogue published The Bottle series in 1847. Bogue suffered from heart disease and died in 1856 at the age of 48.
This print was produced by lithographer Elijah Chapman Kellogg (1811-1881). He was the youngest of the four Kellogg brothers, all of whom were lithographers. The brothers were born in Tolland, Connecticut, a small town located near where the family business was established in Hartford. E.C. Kellogg was the only brother among the Kelloggs to receive his professional training in Hartford. In 1840, Elijah Chapman Kellogg, along with his brother Edmund Burke Kellogg (1809-1872), took over the D.W. Kellogg & Co. after Daniel Wright Kellogg (1807-1874), its founder, moved west. Elijah and Edmund Kellogg were responsible for most of the company’s future partnerships. Elijah Chapman Kellogg retired in 1867.
Harry T. Peters appears to have only acquired this one Kellogg version of the series.
Location
Currently not on view
Date made
ca 1854
distributor
Thayer, Horace
maker
Kellogg, Elijah Chapman
Maker
unknown
original artist
Cruikshank, George
ID Number
DL.60.2951
catalog number
60.2951
accession number
228146

The Albanian

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 upswept dark hair adorned with a large bow. She is wearing a pink patterned dress with a yellow belt and gold earrings.
The graphic artist was Austin Hall (1815 – 1886), a lithographic draftsman who worked for the Kellogg family lithography firm from 1833 until his death in1886. One of his sons, Charles H. Hall was also an artist. 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
1836
lithographer; publisher
D.W. Kellogg and Company
ID Number
DL.60.2505
catalog number
60.2505
accession number
228146

Flora

Currently not on view
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2514
catalog number
60.2514
accession number
228146

The Velvet Hat

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

Margaret

Currently not on view
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2513
catalog number
60.2513
accession number
228146

The Widow

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 of a woman seated in an ornate chair before a portrait of her deceased husband. A child stands in front of her gazing at the picture. The woman wears a simple everyday dress, a large collar, a bonnet and dangle earrings. The child is in a simple dress and a necklace.
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.60.2318
catalog number
60.2318
accession number
228146

The Wife

Currently not on view
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2526
catalog number
60.2526
accession number
228146

Childhood

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

The Sisters

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 two young girls, one with short hair, one with long hair, standing outdoors in an affectionate pose. Both are wearing fancy costume which includes fringe sash, bloomers, lace, embroidered apron and brocade dress.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in Hartford, Connecticut in 1830. Before the opening of its first retail store in 1834, the 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.60.2231
catalog number
60.2231
accession number
228146

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