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: New York

Helmet Frontpiece, "Neptune Hose 2"

The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This leather frontpiece was made by Cairns & Brother of New York, New York during the 19th century. The frontpiece is made of brown leather, with stitched red leather lettering on a white background that reads “NEPTUNE/HOSE/2.”
Location
Currently not on view
date made
19th century
maker
Cairns & Brother
ID Number
2005.0233.1464
accession number
2005.0233
catalog number
2005.0233.1464

Untitled (Landscape with harbor and town)

Colored print; landscape scene showing small town on a harbor with two steam ships on the water. Large mountain looms in right background. Several people stroll on a dirt road in right and left foreground. Palm trees at left and in foreground indicate a tropical climate.
Description (Brief)
Colored print; landscape scene showing small town on a harbor with two steam ships on the water. Large mountain looms in right background. Several people stroll on a dirt road in right and left foreground. Palm trees at left and in foreground indicate a tropical climate. Proof before letters.
Location
Currently not on view
date made
ca 1870
maker
Schile, Henry
ID Number
DL.60.2468
catalog number
60.2468
accession number
228146

Untitled Napoleon Sarony

Black and white print, bust length self-portrait of a man (Napoleon Sarony) wearing a coonskin hat.Currently not on view
Description (Brief)
Black and white print, bust length self-portrait of a man (Napoleon Sarony) wearing a coonskin hat.
Location
Currently not on view
Date made
n.d.
depicted
Sarony, Napoleon
maker
Sarony, Napoleon
ID Number
DL.60.3204
catalog number
60.3204

1919 Button

Round 1919 button. The button is white with a blue border. A red cross is in the center of the button.
Description (Brief)
Round 1919 button. The button is white with a blue border. A red cross is in the center of the button. Blue print reads “1919.”
The American Red Cross was one of the major organizations that conducted relief work during World War I.
Much like the use of military insignia to identify its wearer (by association with an organization) and his/her achievements, these pins and buttons were meant to be worn by Americans on the home front during World War I to show their membership in an organization and/or their contribution to a particular war effort, such as the United War Work Campaign. The pins and buttons displayed the wearer’s patriotism and generosity and undoubtedly also served to prompt others to become similarly involved in the various war efforts.
Location
Currently not on view
date made
1919
maker
American Art Sign Company
ID Number
2006.0098.0308
accession number
2006.0098
catalog number
2006.0098.0308

Fire Helmet, "Moyamensing 1"

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 helmet was made by Cairns & Brother of New York, New York in 1837, and has been paired with a leather frontpiece manufactured by John M. Migeod & Son. The helmet has a metal ring on its rear brim as well as a metal reinforcement band inside its crown. The frontpiece from “Moyamensing 1” bears a crossed hook and ladder and may belong to Chester, Pennsylvania’s Moyamensing Hook and Ladder Company No. 1, instituted in April of 1868 and incorporated in February of 1870. The word “JOKER” is painted at the bottom of the frontpiece.
Location
Currently not on view
date made
mid 19th century
producer
Migeod Company
maker
Cairns & Brother
ID Number
2005.0233.0173
accession number
2005.0233
catalog number
2005.0233.0173

Woman's Dress, 1936

Mrs. Bertrand Cohn purchased this "Delphos" dress in Paris in 1936. When she returned to New York, she wore it to the Metropolitan Opera with silver shoes and a diamond necklace.
Description
Mrs. Bertrand Cohn purchased this "Delphos" dress in Paris in 1936. When she returned to New York, she wore it to the Metropolitan Opera with silver shoes and a diamond necklace. She later donated the dress to the Smithsonian.
The designer, Mariano Fortuny, was born in Granada, Spain, in 1871 to a family of artists. After his father’s death in 1874, the Fortunys lived in Paris and Spain and eventually settled in Venice, Italy. Inspired by his surroundings and encouraged by his family, Mariano became a painter. Fortuny's artistic interest covered a range of creative endeavors, from sculpture, photography, and interior design to stage and set design and stage lighting. His interest in dyes and chemistry led him to textile and costume design, for which he is best known today.
Influenced by Orientalism and neoclassicism, Fortuny created lush and decorative fabrics. Using a mixture of hand and screen printing to decorate the fabrics allowed him the freedom to experiment and design. His most famous design was the "Delphos," a classic pleated tea gown he began making around 1907 and continued until his death. Named after a Greek classical sculpture, the Delphos dress was a simple column of vertical pleats permanently set in silk by a process never successfully duplicated. Fortuny considered his dress concepts to be inventions, and in 1909 he patented the pleating process and the machine he invented and copy-righted the design of the dress. These dresses were meant to be stored by rolling them lengthwise, twisting them into a ball and placing them in an oval miniature hat box (we have the one that came with this dress), thus preserving the pleats and keeping the shape of the dress.
Avant-garde American dancers Isadora Duncan and Ruth St. Denis wore Fortunys because of their interest in the body and movement. Originally made to be worn as teas gowns for entertaining at home, the gowns were seen outside the home by the 1930s.
This two-piece tubular cut tea gown is constructed of a finely pleated rose-colored silk. It is full length with openings at the side seams to form armholes. The wide scoop neckline has a drawstring encased along the inside edge, and there are two rows of stitching on either side of the shoulder seams. Silk cording evenly threaded with yellow glass beads with black and red stripes is stitched along the side seams and the armhole edges. The separate belt is made of rose-colored silk painted with a silver metallic pattern of trailing oak leaves and dots.
Location
Currently not on view
Date made
1936
user
Mrs. Bertrand W. Cohn
designer
Fortuny, Mariano
ID Number
CS.322625.002
catalog number
322625.002
accession number
322625
322625

Fire Helmet, "16 OFS"

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 was made by Cairns & Brother of New York, New York, during the first half of the 20th century. The helmet has eight combs and is painted red overall, with an ivy-vine scroll pattern stamped around the brim. A metal frontpiece holder extends from the crown with a white leather frontpiece that reads “16/OFS.” The frontpiece has been reused, and the number "11" can be seen in faded stitching at the center.
Location
Currently not on view
date made
after 1920
maker
Cairns & Brother
ID Number
2005.0233.0220
accession number
2005.0233
catalog number
2005.0233.0220

Straight Razor with Celluloid Handle

A carbon steel razor with a molded cream celluloid handle. The handle is designed to look like the bones of a finger (phalanges).The inscription on the blade reads “...BURKE / HAND MADE / SYRACUSE, N.Y.”Currently not on view
Description (Brief)
A carbon steel razor with a molded cream celluloid handle. The handle is designed to look like the bones of a finger (phalanges).
Description
The inscription on the blade reads “...BURKE / HAND MADE / SYRACUSE, N.Y.”
Location
Currently not on view
ID Number
2006.0098.1254
accession number
2006.0098
catalog number
2006.0098.1254

Thomas De Witt, D.D.

Black & white print; three quarter portrait of minister standing in clerical garb (Thomas De Witt) with his hand on an open book on a table beside him.Currently not on view
Description (Brief)
Black & white print; three quarter portrait of minister standing in clerical garb (Thomas De Witt) with his hand on an open book on a table beside him.
Location
Currently not on view
Date made
n.d.
maker
Endicott, George
original artist
Waldo and Jewett
ID Number
DL.60.3145
catalog number
60.3145
accession number
228146

Fire Helmet, "Good Will No. 20"

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 was manufactured by Cairns & Brother of New York, New York in the middle of the 19th century. The helmet has eight combs, with an ivy-vine pattern stamped around the helmet’s brim. A metal eagle’s head frontpiece holder is mounted on the crown of the helmet, with a leather frontpiece that reads “GOOD WILL / 20 / STEAM / FE Co” in pale letters. The Good Will Fire Engine Company No. 20, Philadelphia, Pennsylvania was founded in 1802 as a hand engine company. It acquired an Isaac P. Morris & Co. steam fire engine in 1859 and operated as the Good Will Steam Fire Engine Company No. 20 until 1871 when Philadelphia’s paid firefighting department was established. The steam engine was used by the Engine Company No. 17 of the paid city fire department from 1871 until 1888.
Location
Currently not on view
maker
Cairns & Brother
ID Number
2005.0233.0215
accession number
2005.0233
catalog number
2005.0233.0215

Fire Helmet, "Newton 1"

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 was made by Cairns & Brother of New York, New York in the late 19th century. This helmet is similar to the pith helmet, deviating from the style of the standard fire helmets with an elongated rear brim. The hat is painted black, with eight combs and a metal ring on top. There is an embossed vine design on the rear brim, and a metal lion frontpiece holder mounted to the crown. The black leather frontpiece has the number “1” in the center in white, with a red banner below that reads “NEWTON” in white.
Location
Currently not on view
date made
19th century
maker
Cairns & Brother
ID Number
2005.0233.0176
accession number
2005.0233
catalog number
2005.0233.0176

Helmet Frontpiece, "Enterprise Hose"

The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This leather frontpiece was manufactured by Cairns & Brother of New York, New York around 1895. The black leather frontpiece has white lettering on a red background that reads “ENTERPRISE/HOSE/1.” There is a red banner at the bottom of the frontpiece with missing letters.
Location
Currently not on view
date made
ca 1895
maker
Cairns & Brother
ID Number
2005.0233.1431
accession number
2005.0233
catalog number
2005.0233.1431

Woman's right to vote...

A poster sponsored by the International Ladies Garment Workers Union.Currently not on view
Description
A poster sponsored by the International Ladies Garment Workers Union.
Location
Currently not on view
associated date
1920
1900
1970
maker
International Ladies' Garment Workers' Union
ID Number
1986.0710.0007
accession number
1986.0710

General Jackson, Slaying the Many Headed Monster

This 1836 caricature of Andrew Jackson symbolizes his fight to revoke the charter of the Second National Bank. Long distrusting of banking systems and a strong advocate for specie –silver and gold, Jackson made neutralizing the National Bank a top priority of his administration.
Description (Brief)
This 1836 caricature of Andrew Jackson symbolizes his fight to revoke the charter of the Second National Bank. Long distrusting of banking systems and a strong advocate for specie –silver and gold, Jackson made neutralizing the National Bank a top priority of his administration. In this image the twenty four heads on the snake represent the twenty four state branches of the National Bank, with the largest head belonging to bank president and Jackson foe, Nicholas Biddle of Pennsylvania. Jackson’s weapon of choice to defeat the snake is a cane labeled “Veto,” symbolizing his unprecedented use of the presidential veto power. Jackson used that executive power more than any other president, and it is ultimately what afforded him the opportunity to shut down the National Bank. Aiding Jackson in his fight against the snake is Vice President Martin Van Buren depicted holding the head of political rival and former president, John Quincy Adams, and fictional character, Major Jack Downing. Created by journalist Seba Smith, the allegorical persona of Downing symbolized the common man and came to typify the New England Yankee as full of common sense.
The lithographer of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
Location
Currently not on view
Date made
1836, March
depicted
Van Buren, Martin
Jackson, Andrew
Adams, John Quincy
originated character
Smith, Seba
depicted
Biddle, Nicholas
artist
Hoffy, Alfred M.
maker
Robinson, Henry R.
ID Number
DL.60.3333
catalog number
60.3333

Reverie

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This three-quarter length colored portrait print is of a young woman standing at a railing. The girl is looking back over her right shoulder. She is wearing a large hat with feathers and dress with large billowing sleeves. To her left there is heavy drapery with a tassel.
This lithograph was done by Anthony Imbert, a lithographer and marine painter based in New York. He was active as an artist from 1825 until his death in around 1838. He was born in France and became a French naval officer. He learned to paint after he was imprisoned by the British. When he was released, he came to the United States and developed a career as a lithographer and marine painter. He pioneered many new forms of lithography including a folding lithograph by joining two stories to create a larger print. The artist Dominico Canova was born in Milan, Italy. He immigrated to New York City in 1825, where he began his work as a lithographer under Anthony Imbert. He was primarily known in Louisiana as a teacher of painting and drawing, a muralist and painter. After a few years working under Anthony Imbert he accepted a teaching position in Convent Louisiana, at the College of Jefferson. Throughout the rest of his career, he held various teaching positions at different colleges and schools throughout Louisiana. He died in New Orleans in 1868.
Location
Currently not on view
date made
ca 1830
maker
Imbert, Anthony
artist
Canova, Dominico
Roberts, J. M.
ID Number
DL.60.2491
catalog number
60.2491
accession number
228146

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

Sunday Sports

Colored print of a forest scene. Two hunters at right shoot at running deer at left, but, instead, hit another hunter who is standing between them and the deer. A dog strains at a leash that is tied to a tree.Currently not on view
Description (Brief)
Colored print of a forest scene. Two hunters at right shoot at running deer at left, but, instead, hit another hunter who is standing between them and the deer. A dog strains at a leash that is tied to a tree.
Location
Currently not on view
date made
1874
maker
Schile, Henry
ID Number
DL.60.2471
catalog number
60.2471
accession number
228146

Lucy

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This full length colored portrait is of a young woman standing by a window. Behind the woman is a table with a vase of flowers framed by floral drapery and on a patterned carpet. The woman is wearing a pink and white dress with flowing sleeves, a bracelet on both arms and a necklace. The scene through the window depicts a fenced in house and a sailboat on a river.
This print was produced by James S Baillie, who was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
date made
1846
maker
Baillie, James S.
ID Number
DL.60.2493
catalog number
60.2493
accession number
228146

Loco Foco Express

This 1838 print depicts New York Senator Silas Wright standing in the center holding in his right hand the tail of a donkey, and in his left, the tail of a horse. Mounted on the donkey is Democratic New York Senator, Churchill C.
Description (Brief)
This 1838 print depicts New York Senator Silas Wright standing in the center holding in his right hand the tail of a donkey, and in his left, the tail of a horse. Mounted on the donkey is Democratic New York Senator, Churchill C. Cambreleng, wearing a wide brimmed hat with a ribbon reading, “Loco Foco Victory,” heading towards Albany. Seated on the horse, is New York City Comptroller (at the time of this print), William L. Marcy in uniform, and also sporting a “Loco Foco Victory” ribbon on his hat, heading towards Washington. The Loco Foco faction of the Democratic Party was prominent in New York City politics, and desired an independent treasury and a break from monopolies. Both men on horseback are posed as if they are about to gallop away towards their respective destinations, but Wright is holding them back stating, “Stop my good fellows, you are going on a fool’s errand. You are counting your chickens before they have hatched!” Both men are expressing what they hope will happen with a Loco Foco victory, with hopes of being Collector (Marcy) and Governor of New York (Cambreleng), but Wright knows that a Loco Foco victory might not be a reality. Ultimately Wright was correct, and a large scale Loco Foco victory never happened. Their biggest success was in 1840 when President Martin Van Buren took their financial policies into consideration and passed the Independent Treasury Act that separated banking from the Federal government. Following 1840 though, the Loco Foco party was only relevant in New York City and had very limited power.
The artist of this print is Sheepshanks, who is most likely a pseudonym for the artist Edward Williams Clay (1799-1857). Clay was a caricaturist, engraver, lithographer, and etcher, as well as a portrait painter. Before his career as an artist, Clay was admitted to the Philadelphia Bar, but quickly left to pursue art in New York City. After losing his eyesight he retired from art and held minor office in Delaware before his death in December of 1857.
The publisher of this print is Henry R. Robinson (1827-1877). Robinson worked in New York, and had a store to sell his prints. In 1842, he was arrested for selling obscene pictures and books leading to the September 28, 1842 court case, People vs H. R. Robinson found in the District Attorney Indictment Papers, Municipal Archives. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
Location
Currently not on view
Date made
1838
depicted
Marcy, William L.
depicted (probably)
Cambreleng, Churchill C.
depicted (possibly)
Wright, Silas
maker
Robinson, Henry R.
ID Number
DL.60.3347
catalog number
60.3347

Single

These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
Description
These happy family scenes were meant to contrast with the restless, discontented bachelor prints. Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is of a young man lounging in an ornate chair with his feet elevated up on footstool in front of a fire place. He is wearing an embroidered fitted coat, ascot, plaid pants and is holding a cigar in his left hand, and a sheet of paper in his right. There is an ornate clock above the decorative coal burning fireplace, a tall bookcase just behind him and there is a stringed musical instrument (guitar?) hanging on the side of the bookshelf. There is fringed drapery just behind his chair, a table with a fringed table cloth, and a fringed rug on top of a patterned carpet. There is sporting equipment on the wall including a rifle, boxing gloves, fencing rapiers, powder horns, saddle bag, and a sword. Prints depicting a bachelor in his quarters and titled Single were common during this period and were often part of a series the included Married.
This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Location
Currently not on view
date made
1848
maker
Baillie, James S.
ID Number
DL.60.2271
catalog number
60.2271
accession number
228146

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

The Life & Age of Man by James S. Baillie

This hand 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 hand 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. A flag waves at the top of the pyramid.
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.60.2931
catalog number
60.2931
accession number
228146
maker number
131

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

Uncle Sam Sick with La Grippe

In this undated color print, “Uncle Sam” is seated in a flowered, upholstered armchair, resting and holding a document labeled “Failures.” He is wearing a “Liberty” cap, vest, breeches, moccasins, and an American flag overcoat. Attending to the ill “Uncle Sam,” is “Dr.
Description (Brief)
In this undated color print, “Uncle Sam” is seated in a flowered, upholstered armchair, resting and holding a document labeled “Failures.” He is wearing a “Liberty” cap, vest, breeches, moccasins, and an American flag overcoat. Attending to the ill “Uncle Sam,” is “Dr. Hickory”-- Andrew Jackson (characterized as Benjamin Franklin), as well as Missouri Senator, Thomas Hart Benton, and Martin Van Buren dressed as a woman and referred to as “Aunt Matty.” This print is a satire on the state of the United States banking system under the Jackson administration, and employs an extended metaphor of the bank’s failure as an illness throughout the cartoon. Jackson, depicted standing next to a broken statue of “Pater Patriae” (father of the county), George Washington, tells “Uncle Sam” that he is sick because he has been overeating and deserves it. Next to Jackson, Benton holds a clyster enema syringe and suggests that more “mint drops” (coin currency) would cure him of his illness. “Uncle Sam” does not want “mint drops” or “gold pills” however, because they are tying up his bowels and ruining “his Constitution.” He scolds Jackson for ruining his formerly perfect health, and threatens to call on the President of the Second National Bank, Nicholas Biddle to be his Doctor if Jackson and his successor, Van Buren don’t fix the economy. Through the window, “Brother Jonathan,” the personification of New England, can be seen greeting Biddle who is carrying a trunk of “Post notes and bonds.” Brother Jonathan is relieved to see Biddle stating, “Oh Docr. Biddle I’m so glad you’re come. Uncle Sam is in a darned bad way.” The print is undated, but given that “Uncle Sam” is calling “Aunt Matty” his new nurse, holding the paper labeled “Failures” marked with a number of banks and their losses, and that Nicolas Biddle is arriving in the background, this print was most likely a response to the beginning of the Panic of 1837 that happened shortly after Van Buren’s election. Seated behind “Uncle Sam’s” chair, is an Eagle, who states, “I must fly to Texas, for I shall be starved out here.” At the time of this print, Texas was a newly independent nation led by President Sam Houston following the Battle of San Jacinto in April of 1836. Following their independence, the majority of Texans wanted to be annexed by the United States, but neither Jackson nor Van Buren allowed them into the Union. It was not until 1845 under President John Tyler that Texas became a state.
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.
Location
Currently not on view
Date made
n.d.
date made
ca 1837
depicted
Van Buren, Martin
Jackson, Andrew
Biddle, Nicholas
Benton, Thomas Hart
maker
Robinson, Henry R.
artist
Clay, Edward Williams
ID Number
DL.60.3364
catalog number
60.3364

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