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.

Topic: Art

Lincoln and Cabinet

After Lincoln’s assassination, printmakers faced a sudden demand from the Northern public for illustrations of the man that many perceived to be the savior of their nation.
Description
After Lincoln’s assassination, printmakers faced a sudden demand from the Northern public for illustrations of the man that many perceived to be the savior of their nation. Prints often made reference to the Emancipation Proclamation, fostering an emerging image of Lincoln as a steadfast supporter of human freedom. This commemorative print of Lincoln reading the Proclamation before his Cabinet shares many similarities with a variety of other popular wartime and postwar prints depicting the same event. On July 22, 1863, Lincoln first revealed his plans to issue the Proclamation to his Cabinet. They were hesitant at first, but ultimately gave them his support, provided that he wait to announce it until after a Union victory. Five days after the Union Army repelled the Southern invasion of Maryland at Antietam, his Cabinet met again to revise the initial draft of the Proclamation. It was issued on January 1, 1863, and freed all slaves living in areas of the nation under rebellion. This freedom ultimately relied on a Northern military victory and the Proclamation did not affect the millions of slaves living in the Border States that had not seceded. It did, however, recognize the abolition of American slavery as a stated objective of the war and allowed Africa-American men to serve as soldiers in the Union Army.
Little is known about the work’s artist, D. Wust, or its printer, the firm of Miechel & Plumly. Beneath the illustration, a caption reads, “Annual Greeting of the Carriers to the Patrons of ‘The Press’ / For January 1st, 1866.” It was therefore likely published in late 1865 by John W. Forney, the founder of the Philadelphia Press, for distribution to subscribers sometime around New Year’s Day.
Location
Currently not on view
Date made
1865
distribution date
1866-01-01
depicted
Lincoln, Abraham
Chase, Salmon Portland
Seward, William Henry
Blair, Montgomery
Welles, Gideon
Stanton, Edwin McMasters
Smith, Caleb Blood
Bates, Edward
maker
Meichel & Plumly
artist
Wust, D.
ID Number
DL.60.2549
catalog number
60.2549
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

Dexter, Ethan Allen and Mate

Color print of a race between three trotting horses; Dexter, pulling one sulky, and Ethan Allen and his mate pulling a second sulky, at Fashion Course, Long Island, on June 21,1867.A color print of a race in progress between Ethan Allen and a stable mate pulling one sulky and Dex
Description (Brief)
Color print of a race between three trotting horses; Dexter, pulling one sulky, and Ethan Allen and his mate pulling a second sulky, at Fashion Course, Long Island, on June 21,1867.
Description
A color print of a race in progress between Ethan Allen and a stable mate pulling one sulky and Dexter pulling the other. The team is ahead. The jockeys wear jackets, bow ties, close fitting pants, and caps. A line of trees and billowy clouds against a blue sky are in the background. It takes place at Fashion Course, LI on June 21, 1867.
Dexter was foaled in Walden, Orange County, New York in 1858 by Jonathan Hawkins. His sire was Hambletonian and his dam was Clara. Dexter had four white stockings, which was traditionally considered unlucky in a racing horse, but it was superstition he proved to be worthless. In 1862 he was sold for $400 to George B. Alley, who broke him into racing. In 1863 he was sent to Hiram Woodruff and showed 2:42 pulling a wagon. George Trussel paid $14,000 for him in 1866 and placed him in the hands of Budd Doble. Dexter followed Flora Temple as the world’s premier trotter, dominating races between 1864 and 1867. His fastest time was 2:17 1/2, recorded in Buffalo on August 14, 1867. Following this record, he was purchased by Robert Bonner for $35,000. His versatility made him very desired, as Dexter could trot under saddle, in harness, and hitched to a wagon. Dexter’s main rival was Ethan Allen, and on June 21, 1867 on Long Island he raced Ethan Allen and his mate, Charlotte, F. Dexter lost the race but his performance was still considered impressive since he raced the pair alone. Dexter died in 1888 at thirty years old and was inducted into the Harness Racing Hall of Fame as an “Immortal” in 1956,
Ethan Allen was foaled on June 18, 1849 by Joel W.Holcomb of Ticonderoga, NY. He was sired by Vermont Black Hawk, a distant descendant of the thoroughbred Messenger, and birthed by Poll. On the Holcomb farm, he was treated as a family pet, admiration that continued through his public career. Orville S. Roe of Shoreham, Vermont, bought half an interest in the colt, so during his earlier years, he was owned jointly by Holcomb and Roe. That was the beginning of his many owners. In 1862 he was sold to Frank Baker, who, after a time, sold him to Dan Mace and I. D. Walton. In 1866 he was purchased by J. E. Maynard of Boston, who sold him to Eph. Simmons, but afterwards bought him back, and again sold him, November 5th, 1868, to Wesley P. Balch of Boston, who in turn sold him to Col. H. S. Russell of Milton, Massachusetts. Ethan Allen was known for being the most handsome trotter in the races and had one of the longest racing careers, spanning 18 seasons. In 1853 he set the 4-year-old record of 2:36. In 1858 he reduced the stallion record to 2:28 for the mile. The great achievement of his life occurred on June 21, 1867, when, at age eighteen, and hitched with a running mate, he defeated Dexter, at the Fashion Course in Long Island in 2:15, 2:16 and 2:19. He won a total of 33 races, 22 in a single harness. His titles included Champion Trotting Stallion of the World, Champion of the World at Four Years of Age, and Champion of the World to Pole, with a best time of 2:25 ½. Ethan Allen was highly popular at stud, with his fees reaching $500. He produced six under 2:30 trotters. Ethan Allen died at Sprague and Akers Farm, owned by Colonel Amasa in Lawrence Kansas on September 10, 1876 at age 27 and was buried at the entrance of the trotting course in Kansas, with a monument to commemorate his career. Later, his skeleton was exhumed and displayed at the Museum of Natural History in Lawrence. He was inducted into the Harness Racing Hall of Fame in 1999 as an “Immortal.” The popular trotting horse weather vane was based upon his silhouette.
Charlotte F., Ethan Allen’s running mate, was the thoroughbred progeny of Scythian and Sally Polk.
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
1872
maker
Haskell & Allen
ID Number
DL.60.3530
catalog number
60.3530

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

Burns and Highland 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 colored print is a rustic outdoor scene of man and woman seated and cuddling in a romantic, intimate pose. The man is dressed in knee socks, tight knee britches, short jacket, shirt, ascot and beret. The woman wears a long dress, plaid shawl, ribbon and bow in hair. A women's hat lies at their feet. The title and prose refer to a longer popular poem by Scottish poet Robert Burns (1759-1796) entitled Highland Mary. A similar image was created a year after this print by Currier & Ives and colored by Sarony & Major.
The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec 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 and 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.
Location
Currently not on view
date made
1846
maker
Sarony & Major
ID Number
DL.60.2267
catalog number
60.2267
accession number
228146

Trotting Cracks of Philadelphia Returning from the Race at Point Breeze Park

Color print of a large number of horse-drawn carriages on the road in front of a two-story brick road house (Turner"s Hotel).
Description (Brief)
Color print of a large number of horse-drawn carriages on the road in front of a two-story brick road house (Turner"s Hotel). Eighteen of the horses are numbered and indentified in a key below the image.
Description
A color print of a crowded road in front of a large roadhouse (Turner Hotel, Rape Ferry Rd.) filled with carriages and spirited horses. All of the carriages are occupied by fashionably dressed men. The buggies are without tops – they have flat floors and straight footboards. The roadhouse is in the colonial style. A two story structure stands with a large ring in the rear, three dormer windows above, and a veranda across the front. Here guests stand and watch. Stable boys wait outside the barn in the background. The grounds are well-kept with trees, shrubbery, and picket fences.
Point Breeze Park in Philadelphia was founded in 1855 and raced thoroughbreds for the first time in 1860. It was eventually converted into an automobile race course in the 1900s after trotting faded as a popular sport.
Pharazyn was a Philadelphia lithographer and colorist. He was born 1822 and died in 1902. He had offices at 103 South Street in 1856 and at 1725 Lombard Street in 1870. Made prints for different magazines, as well as fine prints for patrons. Created a large colored folio “Trotting Cracks of Philadelphia Returning from the Race at Point Breeze Park” in 1870. The horses are all named as usual in the subtitle, but the artists name isn’t given; this was normal as the horses were more important than the actual artists.
Location
Currently not on view
Date made
1870
maker
Pharazyn, H.
ID Number
DL.60.3557
catalog number
60.3557

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 Prodigal Son Receiving His Patrimony by E.B. and E.C. Kellogg

This colored print is an interior scene depicting three men around a table in a well-appointed study. They are dressed in tightly tailored blue or brown frock coats with white shirts, ties and britches. One is standing and receiving money from his father.
Description
This colored print is an interior scene depicting three men around a table in a well-appointed study. They are dressed in tightly tailored blue or brown frock coats with white shirts, ties and britches. One is standing and receiving money from his father. The other son is seated on a red chair and looks on disapprovingly.
The parable of the Prodigal Son or the Lost Son is among the best-known Christian morality tales and is found in Luke 15:11-32. The youngest of the two sons demands his share of his father’s estate which the father gives him. Shortly after, he runs off and squanders the wealth “in wild living”. Finding himself destitute, he returns to his father, repents his ways, and begs to be allowed to serve as a hired servant. The father rejoices at the return of his son “who was lost and is found.” Meanwhile, the obedient, older son is angry and refuses to join the celebration. His father pleads with him to forgive and to understand his joy.
This print was produced by E.B. Kellogg and E.C. Kellogg and Kelloggs & Thayer after an engraving by Amos Doolittle. 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. The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872) after they took over the family firm from their brother Daniel Wright Kellogg (1807-1874). Horace Thayer (1811-c. 1874) was a map dealer and in 1845 or 1846 the men opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock (1818-1862).
Location
Currently not on view
Date made
ca 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
original artist
Doolittle, Amos
lithographers
Kellogg, E. B. and E. C.
ID Number
DL.60.2944
catalog number
60.2944
accession number
228146

The Bottle: Plate I. The Bottle Is Brought Out for the First Time...designed and etched by George Cruikshank and published by David Bogue

This black and white print is the first of eight scenes drawn by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking. The print depicts an interior scene of a man, a woman, and three children.
Description
This black and white print is the first of eight scenes drawn by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking. The print depicts an interior scene of a man, a woman, and three children. The family is depicted as happy and healthy in an orderly home. The man and woman are seated at a table; the man is pouring a drink for the woman. They are surrounded by comfortable, middle-class furnishings that include a fireplace with stove insert, pictures on the wall including one depicting a church and china figurines above the mantle. The tall case clock indicates the passing of the mid-day meal. A cat and a kitten play by the fire near the two younger children. This series is a folio edition. On the reverse of Plate I. is the title page of the series and an inscription from the artist, including the cost of one shilling or six shillings for prints block tinted for shading on finer paper. The series is contained in a portfolio.
This series of prints is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle series and The Drunkard’s Children series, designed, and etched by Cruikshank to show the wickedness of alcohol. Following in the tradition of earlier artists, like the 18th century painter William Hogarth, Cruikshank used storytelling techniques to create these works, which contained plots, recurring characters, and symbolic background details. Cruikshank's father and brother were both alcoholics and he himself drank heavily until he took a vow of abstinence in 1847. These prints were published by David Bogue, who published most of Cruikshank’s works in the 1850s. David Bogue (1807–1856) was born in Scotland and moved to London in 1836. Bogue began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottleseries in 1847. Bogue suffered from heart disease and died in 1856 at the age of 48.
Location
Currently not on view
Date made
1847
maker
Cruikshank, George
publisher
Bogue, David
ID Number
DL.60.2910
catalog number
60.2910
accession number
228146

The Pride of the Harbor

Colored print of a little boy in a sailor suit and wide-brimmed hat, carrying a large net in one hand and a ring with fresh fish in the other, standing on a dock. A dog at his feet leaps toward him. A sailing ship, the "Columbia," flying an American flag is in left background.
Description (Brief)
Colored print of a little boy in a sailor suit and wide-brimmed hat, carrying a large net in one hand and a ring with fresh fish in the other, standing on a dock. A dog at his feet leaps toward him. A sailing ship, the "Columbia," flying an American flag is in left background. A bucket of fish is in left foreground.
Location
Currently not on view
date made
1874
maker
Schile, Henry
Breul, H.
ID Number
DL.60.2476
catalog number
60.2476
accession number
228146

The Playful Pets

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 a young girl seated with a dog and three puppies. The girl is wearing a pink dress that includes lace, bows, a sash and short stockings. The background includes roses hanging over the young girl.
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 1845
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2234
catalog number
60.2234
accession number
228146
maker number
303

Which of Us Will You Marry?

Currently not on view
Location
Currently not on view
date made
1846
maker
Sarony & Major
ID Number
DL.60.2523
catalog number
60.2523
accession number
228146

Grand Virginia Reel & Scamperdown at the White House Washington.

This 1836 print was created in response to President Andrew Jackson’s success in claiming monetary compensation for French spoliations dating to the Napoleonic Wars.
Description (Brief)
This 1836 print was created in response to President Andrew Jackson’s success in claiming monetary compensation for French spoliations dating to the Napoleonic Wars. During the Napoleonic Wars (1803 to 1815), France, ruled by Napoleon Bonaparte, and their allies, engaged in a series of major conflicts as an extension of the French Revolution. The main target of these conflicts was Great Britain and their allies, but American merchant ships were often damaged by the French Navy. Negotiations to ratify these marine losses began during the war, but rather than helping, they are partially to blame for starting the War of 1812. Dealings with France regarding this issue were at a stalemate, but early in his first term Jackson proposed the Franco-American Treaty of 1831, calling for France to pay twenty five million francs to the United States to cover the spoliation claims from American merchants. Following this, France led by King Louis Phillipe paid European claims, but ignored the United States’. This angered Jackson, and he threatened military intervention if France did not pay. The threats frustrated France, but they agreed to pay only if Jackson apologized. When he refused, payment was again taken off the table. In 1836, Jackson finally conceded, and with the help of Great Britain, negotiated to receive the payments. This print shows Jackson’s joyful glee upon receiving the sack of “$25,000,000 francs.” He kicks his feet up in a jig, holding the sack of money in one hand and his hat in the other. Sprawled at Jackson’s feet is the King Louis Phillipe of France who states, “Nom de Dieu [my god]! I try de double shuffle wis dis ole Jackson, and he put me on my back.” Above the King Martin Van Buren is playing a fiddle, alluding to his role in the negotiations as Secretary of State. In the background of the print are a myriad of world leaders, including the Czar of Russia, the Sultan of Turkey, and The Pope. All are expressing their approval of Jackson’s success with the French, and speak to his nonintrusive and understated foreign policy agenda and the overall global displeasure with France.
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.
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
1836-02
depicted
Van Buren, Martin
Jackson, Andrew
Louis Philippe King of France
artist
Clay, Edward Williams
maker
Robinson, Henry R.
ID Number
DL.60.3344
catalog number
60.3344

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

William C. Brownlee D.D.

Black & white print; half portrait of minister in clerical garb (William C. Brownlee) wearing glasses.Currently not on view
Description (Brief)
Black & white print; half portrait of minister in clerical garb (William C. Brownlee) wearing glasses.
Location
Currently not on view
Date made
n.d.
maker
Endicott & Swett
ID Number
DL.60.3144
catalog number
60.3144
accession number
228146

A Happy Party

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 pleasant bucolic outdoor scene of eleven people gathered in the country. A girl on a swing is pushed by two boys, a young girl is collecting flowers while three children are looking on, a young couple is seated by a tree while an older woman and a young boy are looking on from the left. All are wearing fancy clothing consisting of feathers, lace, embroidery, large hats, and short stockings.
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 1845
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2236
catalog number
60.2236
accession number
228146

The Bottle: Plate IV. Unable to Obtain Employment...by lithographers Francis Michelin and David William Moody

This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking.
Description
This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an outdoor scene of a mother, father and older daughter standing outside a wine and spirits shop while the son begs for alms in the street. The mother holds an ailing toddler while the father pockets a bottle of liquor.
This series of prints is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle and The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics, and he himself drank heavily until he took a vow of abstinence in 1847. The prints were originally published by David Bogue, who published most of Cruikshank’s other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. He began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottle series in 1847. He suffered from heart disease and died in 1856 at the age of 48.
This print was produced by Francis Michelin (1809/10-1878) and David William Moody. Francis Michelin was a lithographer who was active in Boston from 1840-1841 and soon after moved to New York City, where he continued to make lithographs with various partners. His partners included Michelin & Cuipers (1844-1845), Michelin & Leefe (1852-1853), Michelin & Shattuck (1853-1854) and Boel & Michelin (1856-1858). David William Moody was also a lithographer. He was active in New York City from 1844-1851. He lived in Williamsburg, New York.
Location
Currently not on view
Date made
ca 1847
maker
Michelin, Francis
Moody, David William
original artist
Cruikshank, George
ID Number
DL.60.2897
catalog number
60.2897
accession number
228146

Union Volunteer Refreshment Saloon of Philadelphia.

This colorful chromolithograph contains an animated scene of the Union volunteer refreshment saloon located near the Navy Yard at Swanson and Washington Avenues in Philadelphia, as it appeared in November of 1863.
Description
This colorful chromolithograph contains an animated scene of the Union volunteer refreshment saloon located near the Navy Yard at Swanson and Washington Avenues in Philadelphia, as it appeared in November of 1863. Located on a railroad hub linking the North and the South, the saloon was staffed by volunteers and provided relief for Union troops to soldiers on their way to or returning from battlefields in the South. Its services included warm meals, temporary housing, medical services, and washing facilities. From its opening on May 27, 1861, to its closing on December 1, 1865, over 800,000 men were assisted in this saloon and served over 1,025,000 meals. In the print, a crowd of civilians and a few wounded soldiers line the street to welcome a formation of soldiers who parade down the road towards the saloon. At the right, men another unit depart the saloon and board a Philadelphia, Wilmington, & Baltimore railroad car, bound for the battlefront. A band dressed in road uniforms performs patriotic songs while American flags are waved in the crowd and dot the skyline of the scene. The names of men who were involved in collecting donations for the saloon are listed in the lower margin along with the names of its committee members.
The Philadelphia saloons received support from the United States Sanitary Commission, a relief agency approved by the War Department on June 18, 1861 to provide assistance to sick, wounded, and travelling Union soldiers. Although the leaders of the Commission were men, the agency depended on thousands of women, who collected donations, volunteered as nurses in hospitals, and offered assistance at rest stations and refreshment saloons. They also sponsored Sanitary Fairs in Northern cities, raising millions of dollars used to send food, clothing, and medicine to Union soldiers.
The print was created by James Fuller Queen, a pioneering chromolithographer active in Philadelphia, who served in a Civil War militia between 1862 and 1863. Its printer, Thomas S. Sinclair, was a Scottish immigrant to Philadelphia who worked in the lithographic shop of John Collins, before taking over the business the next year. His firm was profitable into the 1880s, producing maps, city views, certificates, book illustrations, political cartoons, sheet music covers, and fashion advertisements.
Location
Currently not on view
Date made
1861
lithographer
Sinclair, Thomas
artist
Queen, James
ID Number
DL.60.3799
catalog number
60.3799

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

Home Sweet Home

Black and white comic print of a woman seated at a piano, playing and singing. A man is creeping out the door in the background. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white comic print of a woman seated at a piano, playing and singing. A man is creeping out the door 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, Parsloe and Company
Vance, Fred T.
ID Number
DL.60.2856
catalog number
60.2856
accession number
228146

Short & Sweet

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 on pink paper of an outdoor scene depicting a young girl standing tip-toe on a pedestal reaching for two pieces of fruit hanging beyond her reach.
This lithograph was produced by John B. Pendleton (1798-1866), one of America’s earliest lithographers. Pendleton and his brother , established a printing house in Boston in 1825 and later moved it ti New York City. One of Pendleton’s apprentices was Nathaniel Currier, who would buy his mentor’s firm in 1834. With his brother-in-law/ partner James Merritt Ives, he would rename the business Currier & Ives.
Location
Currently not on view
date made
ca 1830
maker
Pendleton, John B.
ID Number
DL.60.2230
catalog number
60.2230
accession number
228146

Bass Otis' Portrait by Himself

Black and white print; bust oval portrait of man (Bass Otis), with glasses on the top of his head. This is a facsimilie of a self portrait, apparently from an auction catalog.Currently not on view
Description (Brief)
Black and white print; bust oval portrait of man (Bass Otis), with glasses on the top of his head. This is a facsimilie of a self portrait, apparently from an auction catalog.
Location
Currently not on view
Date made
n.d.
depicted
Otis, Bass
maker
unknown
original artist
Otis, Bass
ID Number
DL.60.3140
catalog number
60.3140
accession number
228146

The Great Conemaugh-Valley Diaster-Flood & Fire at Johnstown, Pa

Color print of a raging river filled with buildings, debris and people crashing into a bridge. Many of the buildings are on fire. Men on banks of the river attempt to pull people from the buildings and the water.Currently not on view
Description (Brief)
Color print of a raging river filled with buildings, debris and people crashing into a bridge. Many of the buildings are on fire. Men on banks of the river attempt to pull people from the buildings and the water.
Location
Currently not on view
Date made
1890
maker
Kurz & Allison-Art Studio
ID Number
DL.60.3763
catalog number
60.3763

Skating. Scene on the River Delaware at Philadelphia

Color print, comic scene of people ice skating, slipping and falling on a frozen river. A refreshment stand is visible in the lower right.Currently not on view
Description (Brief)
Color print, comic scene of people ice skating, slipping and falling on a frozen river. A refreshment stand is visible in the lower right.
Location
Currently not on view
Date made
1831
maker
Childs & Inman
artist
Clay, Edward Williams
ID Number
DL.60.3655
catalog number
60.3655

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