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: 1850s

Bloomerism in Practice

Currently not on view
Location
Currently not on view
Date made
ca. 1851
maker
unknown
ID Number
DL.60.2364
catalog number
60.2364
accession number
228146

The Art of Making Money Plenty by E. B. & E. C. Kellogg

This hand colored print is a small oval portrait of Benjamin Franklin with a “rhebus,” where pictures are used to represent various sounds and words to explain as well as illustrate The art of making money plenty in every man's pocket by Doctor Franklin.
Description
This hand colored print is a small oval portrait of Benjamin Franklin with a “rhebus,” where pictures are used to represent various sounds and words to explain as well as illustrate The art of making money plenty in every man's pocket by Doctor Franklin. Franklin (1706-1790), the American statesman, Founding Father and inventor, adopted a philosophy of self-improvement that espoused 13 virtues including frugality, industry and moderation.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). 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 younger two of the four Kellogg brothers, they 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 (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867.
Location
Currently not on view
date made
1843-1852
distributor
Needham, D.
depicted
Franklin, Benjamin
maker
E. B. & E. C. Kellogg
ID Number
DL.60.2532
catalog number
60.2532
accession number
228146
maker number
187

The First Appearance

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 three ladies in an outdoor setting. One is full front in the foreground, while the other two are looking and smelling the roses in the background. All of the women are wearing wide straw hats with ribbons, tight fitting bodices and sleeves, short full skirts, bloomers stopping at ankles and high button shoes. There are two columns on the left that are home to more roses. The floor is patterned.
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 1852
distributors
Ensign, Thayer and Company
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2276
catalog number
60.2276
accession number
228146
maker number
431

Fashions, Fall & Winter, 1850-1 by S.A. & A.F. Ward...Philadelphia

Color print, two horizontal panels depicting twenty one figures: fifteen men, three women, and three children in fashions from 1850. The upper panel depicts an indoor scene; the bottom panel depicts an outdoor scene with a snow covered park.
Description (Brief)
Color print, two horizontal panels depicting twenty one figures: fifteen men, three women, and three children in fashions from 1850. The upper panel depicts an indoor scene; the bottom panel depicts an outdoor scene with a snow covered park. Numbers below the figures are keyed to a separately printed descriptive text.
Location
Currently not on view
Date made
1850
maker
Sinclair, Thomas
ID Number
DL.60.3074
catalog number
60.3074
accession number
228146

John Brown, Leader of the Harper's Ferry Insurrection.

In 1859, John Brown launched his infamous raid on the federal arsenal at Harper’s Ferry, which he hoped would trigger a widespread slave revolt. His attempts at seizing the arsenal were quickly thwarted by U.S. Marines led by the future Confederate general, Robert E. Lee.
Description
In 1859, John Brown launched his infamous raid on the federal arsenal at Harper’s Ferry, which he hoped would trigger a widespread slave revolt. His attempts at seizing the arsenal were quickly thwarted by U.S. Marines led by the future Confederate general, Robert E. Lee. After his capture, Brown was tried and executed by hanging on December 2, 1859.
This print from around the time of Brown’s execution presents the imposing figure of the abolitionist, seated cross-legged in a chair, gazing out of the image towards the viewer. In his right hand, the he clutches a copy of the New York Tribune, the newspaper that had provided constant coverage of Brown’s exploits, trial, and death. Hanging above his right shoulder is a map of Kansas, signifying Brown’s connection to the Bleeding Kansas crisis, which erupted after the Kansas-Nebraska Act of 1854.
Designed to open the western territories to settlement, the Kansas-Nebraska Act employed the doctrine of popular sovereignty to allow the people living in Kansas and Nebraska to vote these states into the Union as either slave or free. This resulted in the outbreak of violence between pro-slavery and anti-slavery factions in the Kansas Territory, earning it the nickname “Bleeding Kansas.” This print depicts scenes of violence by pro-slavery “border ruffians” from Missouri who have crossed into Kansas against the free-soil settlers living there. John Brown himself traveled to Kansas to protect anti-slavery settlers there. After pro-slavery militants ransacked the town of Lawrence, Kansas, followers of Brown murdered five supporters of slavery in the Pottawattamie Massacre.
A polarizing figure, the American public saw him as either a patriot or a terrorist. As the nation neared closer to war, however. Many in the North fashioned Brown into a hero and martyr, celebrating his anti-slavery convictions in prints, poems, and songs. One popular tune, “John Brown’s Body,” was later adapted by Julia Ward Howe into the “Battle Hymn of the Republic.”
Although a nearly-identical version of this print was produced by the Kellogg brothers of Hartford, Connecticut, the print in the National Museum of American History’s collection was created by Currier & Ives. Nathaniel Currier (1813-1888) was born in Roxbury, Massachusetts, and after serving an apprenticeship in Boston, he moved to New York City in 1834. In New York, he briefly partnered with Adam Stodart, but their firm dissolved within a year, and Currier went into business on his own until 1857. James M. Ives (1824-1895) was a native New York lithographer who was hired as a bookkeeper by Currier in 1852. In 1857, the two men partnered, forming the famous lithography firm of Currier and Ives, which continued under their sons until 1907.
Location
Currently not on view
Date made
1859
depicted
Brown, John
maker
Currier & Ives
ID Number
DL.60.3211
catalog number
60.3211

Southern Chivalry Argument Versus Clubs

On May 22, 1856, during the Bleeding Kansas crisis, Massachusetts Republican Senator Charles Sumner delivered a speech to Congress in which he denounced the Kansas-Nebraska Act of 1854 and demanded that Kansas be admitted to the Union as a free state.
Description
On May 22, 1856, during the Bleeding Kansas crisis, Massachusetts Republican Senator Charles Sumner delivered a speech to Congress in which he denounced the Kansas-Nebraska Act of 1854 and demanded that Kansas be admitted to the Union as a free state. In his oration, he verbally attacked the pro-slavery South Carolina Senator, Andrew Butler, and called into question the man’s code of Southern chivalry, accusing him of taking slavery as his mistress. Two days later, Preston Brooks, a South Carolina Congressman and also Butler’s cousin, nearly beat Sumner to death on the Senate floor with a cane. Responses to the attack in the North and the South further polarized the people of the nation, leading it further down the path to war.
In the print, Brooks uses a bloody cane to strike the Massachusetts Senator, who has fallen out of his chair and lies on the ground below the Southerner, bleeding from gashes on his forehead. He holds in his right hand a quill he had been using to write on a document containing the word, “Kansas.” Behind the struggle, other Congressmen look on, appearing either disgusted or delighted. In the back left, Brooks’ fellow South Carolinian Representative, Laurence M. Keitt, prevents a bystander from interrupting.
The illustration is signed in the lower left hand corner by John L. Magee. Born in New York around 1820, Magee was initially employed by the lithographic firms of James Baillie and Nathaniel Currier. He started his own business in New York in 1850, but moved to Philadelphia sometime shortly after 1852. He was known for his political cartoons, which he produced until the 1860s.
Location
Currently not on view
Date made
n.d.
date made
ca 1856
depicted
Sumner, Charles
Brooks, Preston Smith
maker
Magee, John L.
ID Number
DL.60.3451
catalog number
60.3451

Louisa

Currently not on view
Location
Currently not on view
date made
ca 1850
maker
Sarony & Major
ID Number
DL.60.2522
catalog number
60.2522
accession number
228146

The Morning Ride

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 dark haired woman riding side-saddle on a dapple gray horse. The woman is wearing a long skirt, a vest, a jacket, a bowtie, a large collar and a cavalier hat with bows and feathers. She carries a riding crop in one hand and holds reins of the horse with the other. The bridle and saddle harness on the horse are decorated with fringe.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. 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 the partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
ca 1859
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2313
catalog number
60.2313
accession number
228146
maker number
75

Louisa

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 portrait print depicts a young woman with brown hair standing with her hands on a balustrade outdoors, between blooming rose bushes. A bright red and gold fringed shawl is draped over the railing. She is wearing a pink dress with lace trim and bows on the sleeves. She is also wearing a double strand pearl necklace.
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.60.2503
catalog number
60.2503
accession number
228146
maker number
18

Father's Pride

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 (Brief)
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 is a black and white print; full length frontal view of a young boy seated outdoors with one leg folded under him, dressed in velvet and lace. The companion print is "Mother's Joy" (60.2224)
The drawing was produced by Napoleon Sarony and lithographed and published by his firm of Sarony & Major. Sarony and his partner Henry B. Major were former employees of Nathaniel Currier prior to establishing their firm in New York City in 1846.
Location
Currently not on view
date made
ca 1850
artist
Sarony, Napoleon
maker
Sarony & Major
ID Number
DL.60.2223
catalog number
60.2223
accession number
228146

F.F. Oakley, Lithographic Drawing & Printing Establishment

Black and white print on blue paper; billhead for the lithographic firm of Francis F. Oakley. Across the top are three small vignettes, one depicting a lithographer drawing on a lithographic stone, another depicting men inking a stone and printing a lithograph.
Description (Brief)
Black and white print on blue paper; billhead for the lithographic firm of Francis F. Oakley. Across the top are three small vignettes, one depicting a lithographer drawing on a lithographic stone, another depicting men inking a stone and printing a lithograph. The center view depicts an allegorical figure of a woman.
Location
Currently not on view
Date made
before 1850
maker
Oakley, Francis F.
ID Number
DL.60.3098
catalog number
60.3098
accession number
228146

Halloo! Turks in Gotham!

Black and white print of a man and woman {Mr and Mrs Turkey}, dressed in Turkish garb, walking along the streets of Gotham {New York}. The man is carrying a child. The child and woman are smoking.Currently not on view
Description (Brief)
Black and white print of a man and woman {Mr and Mrs Turkey}, dressed in Turkish garb, walking along the streets of Gotham {New York}. The man is carrying a child. The child and woman are smoking.
Location
Currently not on view
date made
ca 1850
maker
unknown
ID Number
DL.60.2884
catalog number
60.2884
accession number
228146

The Fisherman's Dog

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 sentimental, outdoor scene depicting a young girl standing at water's edge. Next to her is a dog leaning over the water, sniffing a floating black hat. She is wearing a plain clothing. A thatched-roof clapboard house and rocky coastline is in the background. The reference to the fisherman in the title, and the black hat floating in the water may allude to a fisherman lost at sea-perhaps the girl's father.
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
ca 1850
maker
Baillie, James S.
ID Number
DL.60.2235
catalog number
60.2235
accession number
228146

Mary Jane

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 outdoor scene of a dark haired woman riding sidesaddle on a dapple gray horse. The woman is wearing a high silk hat, weskit, fitted jacket and long flowing skirt.
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
1843-1852
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2278
catalog number
60.2278
accession number
228146
maker number
105

Married

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 portrait of man, woman and four young children, one an infant in mother's lap in a richly furnished interior setting. The family is clothed in fancy antebellum dress. The room contains an elaborate sofa, foot stools, two heavily framed bust portraits of the husband and wife, heavy blue drapes, an ornate rug, patterned wallpaper and an intricately carved chair rail. The children and father all face the mother as if seeking her guidance. This is one of several prints with the same title, depicting a contented family. These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec, Canada, and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, eventually developing a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major. Together they created Sarony & Major Lithography firm. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards, and posters. In 1930 they were bought out by Consolidated Graphics.
date made
ca 1850
distributors
Sowle & Shaw
artist
Sarony, Napoleon
maker
Sarony & Major
ID Number
DL.60.2266
catalog number
60.2266
accession number
228146

New York Crystal Palace for the Exhibition of the Industry of All Nations

Color print depicting a large crowd of visitors standing in front of the New York Crystal Palace, a glass and iron structure with a central dome.Currently not on view
Description (Brief)
Color print depicting a large crowd of visitors standing in front of the New York Crystal Palace, a glass and iron structure with a central dome.
Location
Currently not on view
Date made
1853
publisher
Seitz, Emil
printer
Ballin, M.
artist; printer
Fay, Augustus
ID Number
DL.60.3748
catalog number
60.3748

The Cup of Tea

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 three-quarter length portrait of a lady seated at the table drinking tea. She is holding a decorative tea cup which appears to be Chinese export porcelain; the matching saucer and spoon are on the table. Tea drinking was an established social custom from the previous century with recognized etiquette and distinctive equipment. The lady is wearing a striped dressing gown.
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 1854
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2259
catalog number
60.2259
accession number
228146
maker number
190

Temperance, but No Maine-Law by Augustus Fay

Black and white print of the lavishly decorated “Gem Saloon,” known for containing the city's largest mirror. The top of the mirror features a large eagle. The “Gem Saloon” was located in a hotel on the corner of Broadway and Anthony (now Worth Street) in New York City.
Description
Black and white print of the lavishly decorated “Gem Saloon,” known for containing the city's largest mirror. The top of the mirror features a large eagle. The “Gem Saloon” was located in a hotel on the corner of Broadway and Anthony (now Worth Street) in New York City. Mayor Fernando Wood and eleven male politicians and businessmen are depicted drinking and conversing along with two bartenders and a dog. The title refers to the debate that was raging over the regulation of alcohol and a temperance movement that was launched in 1850 by the mayor of Portland, Maine in 1850. The Maine state bill forbid all alcoholic purchases except for "medicinal, mechanical or manufacturing purposes", resulting in an increase of alcoholic “quackery” medicines. Several other cities and states followed Maine’s example in legislation. In New York liquor law was passed in 1854 but vetoed by Governor Horatio Seymour. Then in 1855, with a new administration, the "Maine Law" was passed in New York, though it was never strictly enforced.
Augustus Fay was an engraver, lithographer and illustrator born in New York in 1824. He was active as an engraver in New York City 1848-1860, and as a lithographer in Hoboken, New Jersey and in New York in the 1850s.
Location
Currently not on view
Date made
1854
maker
Fay, Augustus
ID Number
DL.60.3000
catalog number
60.3000
accession number
228146

The Sailor's Farewell

Colored print of sailor with his arm around a young crying woman holding a handkerchief to her face. He wears a seaman's uniform of the period; she is in a simple white laced trimmed dress. They both wear rings. The print is from a daguerreotype by Ives.Currently not on view
Description (Brief)
Colored print of sailor with his arm around a young crying woman holding a handkerchief to her face. He wears a seaman's uniform of the period; she is in a simple white laced trimmed dress. They both wear rings. The print is from a daguerreotype by Ives.
Location
Currently not on view
date made
1856
artist
Grozelier, Leopold
printer
S. W. Chandler & Bro.
ID Number
DL.60.2394
catalog number
60.2394
accession number
228146

The Arkansas Traveller

Colored print depicting the famous folktale of the Arkansas Traveler, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle.
Description (Brief)
Colored print depicting the famous folktale of the Arkansas Traveler, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle. Other family members are gathered in the doorway, with one boy sitting outside.
Location
Currently not on view
date made
1859
depicted
Faulkner, S. C.
printer
J. H. Bufford and Company
artist
Washbourne, E. P.
lithographer
Grozelier, Leopold
ID Number
DL.60.2432
catalog number
60.2432
accession number
228146

Fashions for Spring and Summer 1853 by S.A. & A.F. Ward,...Philadelphia

Black & white print, two horizontal panels depicting fifteen figures: twelve men, one woman, and two children in fashions from 1853. The center bottom panel depicts the "New York Crystal Palace" in the background.
Description (Brief)
Black & white print, two horizontal panels depicting fifteen figures: twelve men, one woman, and two children in fashions from 1853. The center bottom panel depicts the "New York Crystal Palace" in the background. Numbers below the figures are keyed to a separately printed descriptive text.
Location
Currently not on view
Date made
1853
maker
Sinclair, Thomas
ID Number
DL.60.3068
catalog number
60.3068
accession number
228146

Wagner & McGuigan's Lithographic Establishment

Black & white advertising print for a lithographic firm. The central view depicts a row of printing presses in Wagner & McGuigan's Lithographic Establishment. The typography is elaborate and varied, indicating what the company could produce.Currently not on view
Description (Brief)
Black & white advertising print for a lithographic firm. The central view depicts a row of printing presses in Wagner & McGuigan's Lithographic Establishment. The typography is elaborate and varied, indicating what the company could produce.
Location
Currently not on view
Date made
1847-1850
publisher
Wagner and McGuigan
maker
Queen, James
Wagner & McGuigan
ID Number
DL.60.3081
catalog number
60.3081
accession number
228146

Majorie Merriweather Post's Diamond Tiara

This tiara has a historic and illustrious background.
Description
This tiara has a historic and illustrious background. Documents show that it was owned by Her Imperial and Royal Highness, the Archduchess Anna of Austria (nee Anna Monika Pia of Saxony) and was the property of the Saxon royal family from the time it was created until it was sold in January of 1930. A Budapest jeweler, Emery Breitner, purchased it from the royal family. Its whereabouts were unknown for many years until the tiara resurfaced in the 1960s as part of the vast jewelry holdings of Marjorie Merriweather Post and her family. Post was known for her trained eye and impeccable taste in art, clothing, and jewelry.
The piece features a wonderfully naturalistic rose design created in diamonds, yellow gold and platinum or white gold. The flowers are designed to be en tremblant or ‘to tremble’ with the wearer’s movements. The diamond settings are on thin wires that allow the clusters to gently sway causing the gems to better catch the light. This movement not only makes the piece more visually interesting, but also permits the diamonds to demonstrate their brilliance. Portions of the tiara are removable so that the owner can reconfigure the piece and wear in several different ways
This tiara was donated to the National Museum of American History by Eleanor Close Barzin, the daughter of Marjorie Merriweather Post.
Location
Currently not on view
Date made
1800 - 1850
maker
unknown
ID Number
CS.254327.2
catalog number
254327.2
accession number
254327

Interior View of Independence Hall, Philadelphia

Black and white print of an interior view of Independence Hall decorated in Victorian style with portraits and prints covering the walls. The Liberty Bell with an eagle on top sits on an ornate pedistal on the right.
Description (Brief)
Black and white print of an interior view of Independence Hall decorated in Victorian style with portraits and prints covering the walls. The Liberty Bell with an eagle on top sits on an ornate pedistal on the right. A statue of George Washington is against the far wall.
Location
Currently not on view
Date made
1858
maker
Rosenthal, Louis N.
ID Number
DL.60.3734
catalog number
60.3734

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