Clothing & Accessories

Women's Gown (cheong sam) ca. 1930

Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.

The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.

Resource Type: Lithographs

Close up in the Rear

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 print is a rear view of a young woman lifting her skirt as she climbs into a coach. She wears a long dress and shawl. Her petticoat and hoop are both visible beneath her dress. A small dog watches her climb into the coach. The coach driver carries a crop and wears a top hat.
This lithograph was printed by John Henry Bufford (1810-1870), from Portsmouth, Massachusetts. Prior to moving to New York in 1835, Bufford apprenticed under William S. Pendleton. In New York, he worked for George Endicott and later Nathaniel Currier. In 1840, Bufford moved back to Boston and started work for another lithography firm. By 1844 the firm and shop name had changed to J.H. Bufford & Co. In 1867, Bufford became the manager of the New England Steam Lithographic Printing Company. He died three years later Boston.
Location
Currently not on view
date made
1856-1864
maker
Bufford, John Henry
ID Number
DL.60.2288
catalog number
60.2288
accession number
228146

The Mother's Grave

Colored memorial print of two children and a dog beside a gravestone which is inscribed "Sacred to the memory of an affectionate mother" and followed by a verse.
Description (Brief)
Colored memorial print of two children and a dog beside a gravestone which is inscribed "Sacred to the memory of an affectionate mother" and followed by a verse. A weeping willow tree is behind the gravestone and a spire of a church is in the distant background.
Location
Currently not on view
Date made
1848
maker
Baillie, James S.
ID Number
DL.60.2979
catalog number
60.2979
accession number
228146

One of the Fancies

Colored print; full length caricature of a gambler leaning on a stone post and smoking a cigar. He wears a high silk hat, long fitted coat, broad flashy tie, patterned vest, tight-fitting plaid pants, watch fob. Park setting and iron fence in background.Currently not on view
Description (Brief)
Colored print; full length caricature of a gambler leaning on a stone post and smoking a cigar. He wears a high silk hat, long fitted coat, broad flashy tie, patterned vest, tight-fitting plaid pants, watch fob. Park setting and iron fence in background.
Location
Currently not on view
date made
1846
maker
Sarony & Major
publisher
Strong, Thomas W.
ID Number
DL.60.2293
catalog number
60.2293
accession number
228146

Mr. Gus Williams the American Star Comique by Forbes Lithograph Manufacturing Company

This black and white print is a three-quarter length portrait of Gus Williams wearing a dress coat and hat and carrying a walking stick. Beneath the portrait are the words “American Star Comique.” The left side of the poster appears to have been cut off.
Description
This black and white print is a three-quarter length portrait of Gus Williams wearing a dress coat and hat and carrying a walking stick. Beneath the portrait are the words “American Star Comique.” The left side of the poster appears to have been cut off. A portion of the title (the letter "S") and the edge of another image are still visible. The Opera House performance dates are advertised on an affixed datebill that is pasted on the bottom margin. A torn fragment of a small oval portrait of Williams is affixed to the upper right corner.
Gus Williams (1848-1915) was an American comedian and songwriter. He was born Gustave Wilhelm Leweck, Jr., in New York City, the son of a German American furrier. Leweck set out for the American West in his early teens but got only as far as Indiana, where he went to work as a farmhand. In 1862, Leweck joined Union troops fighting the Civil War as part of the 48th Indiana Infantry. He apparently got his start as an entertainer putting on shows as a drummer boy for his fellow soldiers. He first appeared on stage in 1864 during the Union Army’s occupation of Huntsville, Alabama, where he performed in The Pirate’s Legacy: The Wrecker’s Fate by Charles H. Saunders. After the war, Leweck toured with Tony Pastor's vaudeville group and became known for singing and performing comic skits with a German accent. He appeared in a number of German farce comedies, including Our German Senator and One of the Finest . He was known for writing his own songs, both comic and sentimental. In 1885 Leweck took the stage name Gus Williams. He also worked to secure better wages for vaudeville performers and was said to have been the first to earn 500 dollars a week for doing stage monologues. Williams committed suicide in his sixties, possibly because of health concerns and his declining career.
This lithograph was produced by Forbes Lithograph Manufacturing Company. The Forbes Lithograph Manufacturing Company was founded by William H. Forbes (ca 1836-1915), who immigrated to the United States from Liverpool, England in 1848. Forbes became an apprentice in the lithography business while still a boy and established William H. Forbes and Company in Boston in 1861. The firm expanded to become Forbes Lithograph Manufacturing Company in 1875 with hundreds of employees and offices in Boston, New York, Chicago, and London. During World War II, the company became a major printer of allied military currency but went out of business later in the 20th Century.
Location
Currently not on view
Date made
n.d.
depicted
Williams, Gus
maker
Forbes Lithograph Manufacturing Company
ID Number
DL.60.3059
catalog number
60.3059
accession number
228146

Rachel

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 is of a young dark haired woman standing indoors. She is looking over her left shoulder as she leafs through a book which rests on an ornate table along with a vase of flowers. The woman is wearing a white dress, a necklace and three gold bracelets. In the background is red drapery with gold fringe and patterned wallpaper.
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
ca 1846
distributors
Sowle & Shaw
maker
Baillie, James S.
ID Number
DL.60.2497
catalog number
60.2497
accession number
228146

Distribution of the American Art - Union Prizes

Black and white print of a large, domed, circular hall filled with spectators observing the distribution of prizes. In the background is a large pipe organ and a variety of gas lighting devices.Currently not on view
Description (Brief)
Black and white print of a large, domed, circular hall filled with spectators observing the distribution of prizes. In the background is a large pipe organ and a variety of gas lighting devices.
Location
Currently not on view
date made
1848
publisher
Ridner, John P.
distributor
American Art Union
artist
Matteson, Tompkins Harrison
maker
Matteson, Tompkins Harrison
Sarony & Major
ID Number
DL.60.2406
catalog number
60.2406
accession number
228146

Torchlight Procession Around The World

Colored print celebrating the laying of the Transatlantic cable on September 1, 1858.
Description (Brief)
Colored print celebrating the laying of the Transatlantic cable on September 1, 1858. Depicts torchlight procession spanning the continents in the central image, with portrait vingettes of Cyrus Field, Benjamin Franklin, Samuel Morse, and Captain Hudson in each of the four corners.
Location
Currently not on view
date made
1858
depicted
Franklin, Benjamin
Morse, Samuel Finley Breese
Field, Cyrus W.
maker
Weingartner, Adam
ID Number
DL.60.2490
catalog number
60.2490
accession number
228146

The Girl I Left Behind Me

Black and white comic print of a young boy and girl. The boy is running down a hill pulling a sled. The girl is sitting at the top of the hill having slid off the sled. Children ice skate in the background.
Description (Brief)
Black and white comic print of a young boy and girl. The boy is running down a hill pulling a sled. The girl is sitting at the top of the hill having slid off the sled. Children ice skate in the background. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Fred T.
Vance, Parsloe and Company
ID Number
DL.60.2861
catalog number
60.2861
accession number
228146

Miss F.A. Kemble

Black and white print; half portrait of Miss Frances Anne Kemble, otherwise known as Fanny. She wears a dress with large puffy sleeves and her hair is upswept.Currently not on view
Description (Brief)
Black and white print; half portrait of Miss Frances Anne Kemble, otherwise known as Fanny. She wears a dress with large puffy sleeves and her hair is upswept.
Location
Currently not on view
date made
1832
publisher
Stewart, S. M.
depicted
Kemble, Frances Anne
lithographer
Childs & Inman
artist
Newsam, Albert
Lawrence, Sir Thomas
ID Number
DL.60.2530
catalog number
60.2530
accession number
228146

The Seven Stages of Matrimony by E.C. Kellogg and Company

This colored print shows a couple in various stages of a relationship. The figures are depicted on ascending steps, from "Quizzing" on the lower left to the top center, titled "The Marriage", and then descending to the last step at bottom right, titled "The Divorce".
Description
This colored print shows a couple in various stages of a relationship. The figures are depicted on ascending steps, from "Quizzing" on the lower left to the top center, titled "The Marriage", and then descending to the last step at bottom right, titled "The Divorce". Allegorical vignettes below the figures also depict each stage. In the center are verses that corresponded with each scene. This comic print presents an image similar to the popular ladders or stairs of life prints which first appeared in the 16th Century but were popular as 19th Century prints.
This print was produced by the lithography company, E. C. Kellogg and Company. The company was a continuation of the Kellogg family firm. In 1851, after the brief partnership of Kellogg & Comstock disbanded, E.C. Kellogg continued running the business under the name E.C. Kellogg & Co. His brother, E.B. Kellogg, rejoined the firm in 1855, and it became known as E.B. & E.C. Kellogg and Company.
Location
Currently not on view
Date made
ca 1852
distributor
Horace Thayer & Company
maker
E.C. Kellogg and Company
ID Number
DL.60.2934
catalog number
60.2934
accession number
228146

Children's Retreat. - Norwalk, Connt.

Black and white print of a large wood-frame country house with a smaller house next to it. A picket fence runs from the front of the large house to the side of the smaller one. Children play in the road in front,one with a hoop and two with jump ropes.Currently not on view
Description (Brief)
Black and white print of a large wood-frame country house with a smaller house next to it. A picket fence runs from the front of the large house to the side of the smaller one. Children play in the road in front,one with a hoop and two with jump ropes.
Location
Currently not on view
Date made
n.d.
date made
ca 1848
maker
Jones & Newman
ID Number
DL.60.3698
catalog number
60.3698

The Return

Black and white comic print of a heavy set man, his plaid trousers covered in mud, his vest climbing up over his stomach, and his hat brim pulled down. He is walking along, dragging his rifle behind him. A farmer in the background calls to him.
Description (Brief)
Black and white comic print of a heavy set man, his plaid trousers covered in mud, his vest climbing up over his stomach, and his hat brim pulled down. He is walking along, dragging his rifle behind him. A farmer in the background calls to him. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Parsloe and Company
ID Number
DL.60.2844
catalog number
60.2844
accession number
228146

The Buckeye Blacksmith of Ohio Working on Sub Treasury Metal

This undated black and white print is most likely a commentary on the Election of 1840. In this race, Democratic President Martin Van Buren faced off against Whig opponent, William Henry Harrison.
Description (Brief)
This undated black and white print is most likely a commentary on the Election of 1840. In this race, Democratic President Martin Van Buren faced off against Whig opponent, William Henry Harrison. Harrison was a longtime political figure, serving as a Representative for the Northwest Territories, a Major in the US Army, and as both a Representative and Senator for the state of Ohio. He ran against then Vice President Van Buren in the Election of 1836, but failed to secure the necessary electoral votes. In 1840 Harrison tried again, and found a stable political platform in attacking Van Buren for the financial crisis that marred his presidency. Under Van Buren’s watch the United States fell into a widespread economic depression known as the Panic of 1837; his desire to change the financial system of the country was not shared by the majority of the country. One of Van Buren’s ideas to change the financial system, was the implementation of an Independent Treasury to remove politics from the country’s financial system. His policies were not popular with the Whigs, as alluded to by the title of this print referencing “working on Sub Treasury metal.” This print depicts President Van Buren laying stretched across an anvil on his stomach, while Harrison (depicted as a heavily muscled man) holds him by his ankle and beats him with a hammer while saying, “I’ll convince any man, I am the best Blacksmith in all Ohio.” Van Buren is actively resisting the blows, shouting, “this horrid battering will surely undo me.” He was correct, and Harrison easily secured the presidency for the Whig Party.
The artist for this print is unknown.
Location
Currently not on view
Date made
n.d.
depicted
Van Buren, Martin
depicted (possibly)
Harrison, William Henry
maker
unknown
ID Number
DL.60.3372
catalog number
60.3372

The Star of My Pathway

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This three-quarter length hand colored print is of young woman apparently floating in space. She holds a red shawl in both hands, which is billowing behind and above her head. She is wearing a simple long sleeved green dress and above her head is a glowing six-pointed star.
This lithograph was published by the D.W. Kellogg & Co and Willis Thrall (1800-1884). Willis Thrall was born in Connecticut and died in Hartford, Ct. He was a publisher of maps, prints and engravings. He published many early D.W. Kellogg lithographs in Hartford in the 1830’s. He left the publishing business to become a rule and hardware manufacturer and owned a hardware manufacturing firm with his son, Edward B. Thrall, called Willis Thrall & Sons.
Location
Currently not on view
date made
1833-1852
publisher
Thrall, Willis
lithographer
D.W. Kellogg and Company
ID Number
DL.60.2316
catalog number
60.2316
accession number
228146

The Love Letter

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 young girl standing at the foot of stairs in a garden holding a letter. She is leaning against a masonry post which supports a large urn and is wearing a dress of two layers with a sash.
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.60.2314
catalog number
60.2314
accession number
228146

Childhood

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is an interior scene of four children with an adult dog and four puppies. One child is seated in an ornate chair; the others are gathered around the chair and footstool. The furnishings depicted include an elaborate carpet, a floral arrangement and rich drapery. A ball, doll and book are in the foreground. The children wear fancy dress.
This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The youngest of the four Kellogg brothers, these two were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
date made
1852-1856
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2247
catalog number
60.2247
accession number
228146

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

This color lithograph is a half-length portrait of John Camel Heenan, dressed formally in a three-piece suit and tie. An eagle with a banner in its mouth is depicted beneath the portrait.
Description
This color lithograph is a half-length portrait of John Camel Heenan, dressed formally in a three-piece suit and tie. An eagle with a banner in its mouth is depicted beneath the portrait. The banner reads "Champion of America." Beneath it is a declaration of his height (6’ ½”) and his fighting weight (192-195 pounds).
John Camel Heenan (1833/34-1873) was an American bare-knuckle prizefighter, who was born in West Troy, New York, the son of Irish immigrants. At the age of 17, he headed west to the Gold Rush town of Benecia, California, where he worked as a strong man and enforcer in labor and political disputes. His reputation for informal brawling earned him the nickname the “Benecia Boy” and captured the attention of an English trainer named Jim Cusick, who moved with Heenan back to New York. Because fighting was illegal in the United States at that time, Heenan participated in his first national heavyweight bout in Canada in 1858. He lost the match to reigning champion John Morrissey in what some claimed to be an unfair fight because of crowd interference. After Morrissey retired from the ring, Heenan became national champion by default. He fought his second match—this time against Tom Sayers in 1860—in a field in Farnborough, Hampshire, England. Bare knuckle fighting was also illegal in England, and the confrontation attracted widespread public attention. It quickly turned brutal and chaotic, and ended in a draw after five rounds when the police threatened to intervene.
The match has been described as the first world title fight, and it led to the establishment of a boxing code of conduct that included three-minute rounds, mandatory gloves, and ten-second counts after knockdowns. Heenan lost his third and final world title match, also in England, to a fighter named Tom King in 1863. Again, there were charges that the fight had been unfair, this time because of biased calls by the referee. Heenan also later claimed he’d been drugged. He devoted his final years to the gambling business. He died at the age of 38 after contracting tuberculosis in what was then the Wyoming territory. Heavy press coverage turned Heenan into a superstar, celebrated not only in prints, but in advertisements, poems, ballads, and theatrical productions.
This lithograph was produced by the lithographic firm of E. B. & E. C Kellogg and published and sold by George Whiting. Edmund Burke Kellogg and Elijah Chapman Kellogg were younger brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. After Daniel Wright Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. They were responsible for the continued success of the family firm and involved in partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
This print was published by George Whiting, who worked as the agent and distributor of the Kellogg brothers’ prints in New York from 1848 to 1860. In 1860, the Kelloggs closed their New York office and Whiting took over the firm, selling prints until his death two years later.
Location
Currently not on view
Date made
n.d.
distributor
Whiting, George
depicted
Heenan, John Camel
maker
E.B. and E.C. Kellogg
Kellogg, E.B. and E.C.
ID Number
DL.60.3125
catalog number
60.3125
accession number
228146

The Sisters

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is a full length portrait of two young girls, one with short hair, one with long hair, standing outdoors in an affectionate pose. Both are wearing fancy costume which includes fringe sash, bloomers, lace, embroidered apron and brocade dress.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in Hartford, Connecticut in 1830. Before the opening of its first retail store in 1834, the D.W. Kellogg & Co. lithography firm was well established and popular in United States, particularly in the South and the Southwest. As the founding member of the family company, Daniel Wright Kellogg established the initial growth and popularity of the firm. After he left the company, it continued to flourish for decades under his younger brothers and other family members.
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2231
catalog number
60.2231
accession number
228146

Longfellow

A color print of a galloping horse and jockey. It is black with a white nose and rear stockings.Longfellow was bred in 1867 by John Harper on Nantura Stock Farm in Midway, Kentucky. Harper also owned the famous sires Lexington and Glencoe.
Description
A color print of a galloping horse and jockey. It is black with a white nose and rear stockings.
Longfellow was bred in 1867 by John Harper on Nantura Stock Farm in Midway, Kentucky. Harper also owned the famous sires Lexington and Glencoe. Longfellow’s sire was Leamington and his dam was Nantura. At 17.0 hands, he was an above-average height for a racer, so Harper had to postpone his training until the colt grew into his size. Harper claimed he named the horse after his long legs. His racing career began when Longfellow turned 3. The beginning of Longfellow’s racing career was marked by several unfortunate events. He lost his first race, and then in 1871 before a match Harper’s siblings were murdered at his estate by a jealous nephew. Harper would have been killed as well, had he not been sleeping in Longfellow’s stall. After this event, Longfellow’s career began to accelerate, and he won 13 of his 16 starts in 1871, frequenting the tracks at Monmouth and Saratoga. Longfellow eventually earned the name “King of the Turf.” The match against Harry Bassett took place in Longfellow’s last season in the Monmouth Cup of 1872 where they were the only two horses entered. Longfellow beat Harry Bassett by over 100 yards. They met again in the Saratoga Cup, but at the start Longfellow twisted his foot. He managed to catch up to Harry Bassett and only lost by a length, but it was the last race of his racing career. His total earnings amounted to $11,200. At stud, Longfellow sired two Kentucky Derby winners and became the leading sire of 1891. Longfellow died on November 5, 1893 at age 26 and his grave was the second grave in Kentucky to be erected for a racehorse. Longfellow was inducted into the Racing Hall of Fame in 1971.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based lithograph publisher, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but a year later in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they did well until they went bankrupt in 1878.
Location
Currently not on view
Date made
n.d.
maker
Haskell & Allen
ID Number
DL.60.3612
catalog number
60.3612

Brother & Sister

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This full length hand colored portrait print is of a little boy and girl standing outdoors while holding hands. There is grape arbor in the background that is supporting vines that surround the pair. There are roses in the background. Both the boy and the girl are in simple clothing: the girl is wearing a red and white dress while the boy is wearing a blue shirt with white pants; both their outfits have a bow on the chest.
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 1846
maker
Baillie, James S.
ID Number
DL.60.2262
catalog number
60.2262
accession number
228146

New-Year's Present to a Bachelor by Thomas Strong

This hand-colored print depicts an interior scene of an unmarried man opening a large basket that contains two infants. The man wears a long coat, vest, high collar, bow tie and plaid trousers. An unopened letter lies on the floor near the basket.
Description
This hand-colored print depicts an interior scene of an unmarried man opening a large basket that contains two infants. The man wears a long coat, vest, high collar, bow tie and plaid trousers. An unopened letter lies on the floor near the basket. He has a look of dismay as he peers down on the unruly infants and realizes his responsibilities for the babies. A family of four looks on gleefully through a door in the background. Also in the background are a picture on the wall of a man on horseback, flowered wallpaper, and a patterned rug.
Thomas W. Strong, a wood engraver and lithographer who worked in New York City from 1842-1851 produced this print. After 1851 he was listed as a publisher. Strong's prints included commentaries on social and moral themes as well as cartoons and funny valentines.
Location
Currently not on view
date made
ca 1843
maker
Strong, Thomas W.
ID Number
DL.60.2300
catalog number
60.2300
accession number
228146

Soldier's Adieu

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 full length portrait of a man and woman standing, outdoors, with their arms about each other. In the background, a soldier on horseback awaits, holding the reins of a riderless horse. The man is dressed in a blue military uniform with gold trim and epaulets, belt buckle marked "US," and holding a plumed hat. The woman is in a simple dress, holding a portrait miniature that hangs from a chain around her neck. The miniature is indistict but could be of the solier or possibly the artist. A portion of the house and wrought iron fence are in the background. This is a companion picture to "Soldier's Return."
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
1847
maker
Baillie, James S.
ID Number
DL.60.2253
catalog number
60.2253
accession number
228146

The "Herald" in the Country

Colored print of two men dressed in sporting attire and standing in a wooded glen, confering across a fence about the news in the New York "Herald." One man holds a pitchfork, the other has a rifle that is leaning against the fence and a dead bird that is lying on the ground next
Description (Brief)
Colored print of two men dressed in sporting attire and standing in a wooded glen, confering across a fence about the news in the New York "Herald." One man holds a pitchfork, the other has a rifle that is leaning against the fence and a dead bird that is lying on the ground next to the rifle.
Location
Currently not on view
date made
1854
publisher
Knoedler, M.
lithographer
Thielley
artist
Mount, William Sidney
ID Number
DL.60.2437
catalog number
60.2437
accession number
228146

Sing-Sing Camp Meeting, 1838

Color print depicting numerous tents in a wooded area. The tents are arranged in a rough semi-circle around rows of benches facing a stage. Men, women and children are in the foreground and in various places in the background. A food tent is on the right.Currently not on view
Description (Brief)
Color print depicting numerous tents in a wooded area. The tents are arranged in a rough semi-circle around rows of benches facing a stage. Men, women and children are in the foreground and in various places in the background. A food tent is on the right.
Location
Currently not on view
Date made
1847
1839
maker
Endicott, George
original artist
Smith, Joseph B.
ID Number
DL.60.3747
catalog number
60.3747

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