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.

Date: 1840s

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

Fire Helmet, "Eagle Lynn V.F.A."

The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T.
Description
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
This leather fire helmet has sixty four combs, and is painted white with a metal eagle frontpiece holder mounted on the crown of the hat. The white leather frontpiece has a black monogram of “VFA” in the center of the frontpiece which stands for the Veteran Fire Association. A red banner above the monogram reads “EAGLE” and a red banner below reads “Lynn.” There was an Eagle Veteran Fire Association in Lynn, Massachusetts that operated during the late 19th century.
Location
Currently not on view
date made
ca 1840
referenced
Veteran Firemen's Association
maker
unknown
ID Number
2005.0233.0151
accession number
2005.0233
catalog number
2005.0233.0151

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 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

Blonde Bobbin Lace Silk Flounce

This flounce of stylized floral motifs is executed in Blonde bobbin lace. The flounce is made of cream colored silk thread in three sizes. The ground is point ground, with the motifs made in dense linen stitches and lighter half stitches outlined with a heavy gimp thread.
Description
This flounce of stylized floral motifs is executed in Blonde bobbin lace. The flounce is made of cream colored silk thread in three sizes. The ground is point ground, with the motifs made in dense linen stitches and lighter half stitches outlined with a heavy gimp thread. Honeycomb ground is used as decorative fillings. The flounce is edged with a narrow machine made picot edge on both sides.
Location
Currently not on view
date made
1830-1845
maker
unknown
ID Number
1984.0111.243
accession number
1984.0111
catalog number
1984.0111.243

Fire Helmet, "Trenton Hose Co. 1 EW"

The traditional American leather firefighter’s helmet with its distinctive long rear brim, front shield, and crest adornment was first developed around 1821-1836 in New York City. Henry T.
Description
The traditional American leather firefighter’s helmet with its distinctive long rear brim, front shield, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and front shield were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
Though most work hats from 1836 on were shaped in the familiar Gratacap style with a prominent rear brim, some companies like Trenton wore hats that deviated from this standard. This leather fire helmet was made by Cairns & Brother of New York, New York around 1840. Reminiscent of British “bobby” or pith helmets this helmet has a rounded “bowl” shape. The helmet is painted white overall, with eight combs painted gold and a black diamond pattern painted in between the combs. It has a metal eagle shield holder, and a leather shield that reads "Trenton 1 Hose Co./THC/EW.” The interlocking “THC” initials in the center of the shield stand for the “Trenton Hose Company.”
Location
Currently not on view
date made
1840
maker
Cairns & Brother
ID Number
2005.0233.0193
catalog number
2005.0233.0193
accession number
2005.0233

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

The Bottle: Plate V. Cold, Misery and Want...by lithographers Francis Michelin and David William Moody

This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking.
Description
This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an interior scene of a family, now reduced to two children due to the starvation death of the toddler. Mother, father and son huddle near a meager fire, the mother holding a wine glass, the father holding a bottle. The daughter stands with her hand on the toddler's coffin. The mother and daughter are weeping. A fork is stuck in the wall and holds up a piece of fabric that is covering the window, and a candle is stuck in the wine bottle on the mantle.
This series of prints 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 other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. He 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 Almanack 1835-53. David Bogue published The Bottle series in 1847. He suffered from heart disease and died in 1856 at the age of 48.
This print was produced by Francis Michelin (1809/10-1878) and David William Moody. Francis Michelin was a lithographer who was active in Boston from 1840-1841 and soon after moved to New York City, where he continued to make lithographs with various partners. His partners included Michelin & Cuipers (1844-1845), Michelin & Leefe (1852-1853), Michelin & Shattuck (1853-1854) and Boel & Michelin (1856-1858). David William Moody was also a lithographer. He was active in New York City from 1844-1851. He lived in Williamsburg, New York.
Location
Currently not on view
Date made
ca 1847
maker
Michelin, Francis
Moody, David William
original artist
Cruikshank, George
ID Number
DL.60.2898
catalog number
60.2898
accession number
228146

Capt Sir. John Franklin. F.R.S.K.C.H.

Black and white print, bust length portrait of a man (Rear Admiral Sir John Franklin). Franklin (1786-1847) was an British Navy officer who began exploring the Canadian Arctic in 1818. His last expedition was begun in 1845 but became lost while charting the Northwest Passage.
Description (Brief)
Black and white print, bust length portrait of a man (Rear Admiral Sir John Franklin). Franklin (1786-1847) was an British Navy officer who began exploring the Canadian Arctic in 1818. His last expedition was begun in 1845 but became lost while charting the Northwest Passage. The expeditions's ships became trapped in the ice and Franklin perished with129 crew members on June 11, 1847.
This print advertised a 20,000 pound or $100,000 reward for locating the lost expedition.
Location
Currently not on view
Date made
1846
depicted
Franklin, John
maker
Risso & Leefe
ID Number
DL.60.3199
catalog number
60.3199

The Life & Age of Man by James Baille

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

Mary

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

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

The Bottle: Plate VIII. The Bottle Has Done Its Work...designed and etched by George Cruikshank and published by David Bogue

This black and white etching is the last of eight scenes designed and etched by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking. This print is an interior scene of a cell with a man huddling in a corner before a caged fire.
Description
This black and white etching is the last of eight scenes designed and etched by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking. This print is an interior scene of a cell with a man huddling in a corner before a caged fire. He is being visited by his grown children, now a thief and a woman of shame. A guard is visible through an open doorway in the background. This series is a folio edition. On the reverse of Plate I. is the title page of the series and an inscription from the artist, including the cost of one shilling or six shillings for prints block tinted for shading on finer paper. The series is contained in a portfolio.
This series of prints 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. These prints were 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 Almanack 1835-53. David Bogue published The Bottle series in 1847. Bogue suffered from heart disease and died in 1856 at the age of 48.
Location
Currently not on view
Date made
1847
maker
Cruikshank, George
publisher
Bogue, David
ID Number
DL.60.2917
catalog number
60.2917
accession number
228146

The Young American Sailor

Colored print of a young boy dressed in a white sailor suit with a brimmed hat, facing slightly left. He stands with his back to the ocean with two sailing vessels vessels in the background.
Description (Brief)
Colored print of a young boy dressed in a white sailor suit with a brimmed hat, facing slightly left. He stands with his back to the ocean with two sailing vessels vessels in the background. Ironically, this is probably a modified copy of the December 1846 portrait by Franz Xaver Winterhalter of a young Albert Edward, Prince of Wales and later King Edward VII of the United Kingdom. The original painting does not have the ships in the background, the prince faces in the opposite direction, and their are minor facial discrepancies and stylistic differences.
Location
Currently not on view
date made
ca 1847
depicted (sitter)
Edward VII King of the United Kingdom
lithographer
Nagel, Louis
graphic artist
Prevost, Victor
original artist
Winterhalter, Franz Xaver
ID Number
DL.60.2434
catalog number
60.2434
accession number
228146

Ringgold Hose Company Fire Hat

Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes.
Description
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat dates to the first half of the 19th century. The hat is painted black overall with a painted portrait of Samuel Ringgold in the center framed in gold. Red banners with gold trim flow around the portrait that read “RINGGOLD/HOSE Co.” in gold paint. The company’s initials “RHC” are painted in gold script on the back of the hat. The owner’s initials “H.M.” are inside an outline of a shield on the crown of the hat. This hat was likely used by a member of the Ringgold Hose Company No. 33 of Philadelphia, Pennsylvania, founded in 1847 and operated until 1871 when Philadelphia’s paid firefighting department was established. While many firefighting companies chose past heroes of the Revolution and Early Republic as their namesakes, others selected contemporary military and political figures. Samuel Ringgold was a hero of the Mexican-American War best known for his innovations in artillery deployment. He was mortally wounded at the Battle of Palo Alto in 1846.
Location
Currently not on view
date made
ca 1846
associated
Ringgold Hose Company
depicted (sitter)
Ringgold, Samuel
maker
unknown
ID Number
2005.0233.0115
catalog number
2005.0233.0115
accession number
2005.0233

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

The Life & Age of Woman by James S. Baillie

This colored print shows a female at different stages from infancy to old age. This was a popular and recurring theme of genteel society during the 19th Century.
Description
This colored print shows a female at different stages from infancy to old age. This was a popular and recurring theme of genteel society during the 19th Century. The figures are depicted in ascending steps to middle age and then descending, with old age being the lowest to the right. Each image portrays a well-dressed girl or woman in appropriate attire for her position in society (i.e., bride, mother, matron). There are verses beneath each figure and vignettes that symbolize various stages of life. A small vignette of two people standing beside a man digging three graves 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
1848
maker
Baillie, James S.
ID Number
DL.60.2936
catalog number
60.2936
accession number
228146

Black Beaver Hat

This stovepipe hat was worn around 1850 and is made of black beaver fur. Inside the hat bears a personal note, “Hat made for Uncle Abe.”Currently not on view
Description
This stovepipe hat was worn around 1850 and is made of black beaver fur. Inside the hat bears a personal note, “Hat made for Uncle Abe.”
Location
Currently not on view
date made
1837-1847
maker
Mugnier
ID Number
CS.015678
catalog number
015678
accession number
58845

The Prodigal Son Wastes His Patrimony by Henry R. Robinson

This colored print is an interior scene depicting a well-dressed young man walking away from a table with his hand over his eyes, apparently in disbelief and shame. Two women (of easy virtue) and three men remain at the table playing cards.
Description
This colored print is an interior scene depicting a well-dressed young man walking away from a table with his hand over his eyes, apparently in disbelief and shame. Two women (of easy virtue) and three men remain at the table playing cards. A waiter or servant stands in a corner opening a bottle, while a fifth man is standing above the table with a glass in one hand and a bottle of wine or liquor in the other. Thus, the scene depicts all of the worldly vices that Victorian-era gentlemen were taught to shun: gambling, drinking, and engaging in riotous behavior.
The parable of the Prodigal Son or the Lost Son is among the best-known Christian morality tales and is found in Luke 15:11-32. The youngest of the two sons demands his share of his father’s estate which the father gives him. Shortly after, he runs off and squanders the wealth “in wild living.” Finding himself destitute, he returns to his father, repents his ways, and begs to be allowed to serve as a hired servant. The father rejoices at the return of his son “who was lost and is found.” Meanwhile, the obedient, older son is angry and refuses to join the celebration. His father pleads with him to forgive and to understand his joy.
This print was produced by Henry R. Robinson, who was a caricaturist and lithographer in New York City. He was listed as a carver and gilder from 1833-34, as a caricaturist from 1836-43 and as a lithographer and print publisher from 1843-51. Henry Robinson was known for political prints that championed the causes of the Whig Party (which later merged with the Republican Party) and satirized the opposing Democratic Party. Historian Peter C. Welsh has called Henry Robinson the "Printmaker to the Whig Party."
Location
Currently not on view
Date made
1840
maker
Robinson, Henry R.
ID Number
DL.60.2939
catalog number
60.2939
accession number
228146

Untitled (Portrait of William Henry Harrison and a log cabin)

Black and white print with two vignettes. The left of a bust length portrait of William Henry Harrison wearing a coat with a heavy fur collar. The right of a log cabin with a barrel of hard cider beside the door. Two soldiers and frontiersmen relax beside a log and the barrel.
Description (Brief)
Black and white print with two vignettes. The left of a bust length portrait of William Henry Harrison wearing a coat with a heavy fur collar. The right of a log cabin with a barrel of hard cider beside the door. Two soldiers and frontiersmen relax beside a log and the barrel. Two mules are hitched to a plow on the left of side of the log cabin. Both images are encircled by an elaborate border of apples, wheat and corn.
Location
Currently not on view
Date made
1840-11-07
depicted
Harrison, William Henry
maker
Narine & Co.
ID Number
DL.60.3862A
catalog number
60.3862A

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

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