Domestic Furnishings

Washboards, armchairs, lamps, and pots and pans may not seem to be museum pieces. But they are invaluable evidence of how most people lived day to day, last week or three centuries ago. The Museum's collections of domestic furnishings comprise more than 40,000 artifacts from American households. Large and small, they include four houses, roughly 800 pieces of furniture, fireplace equipment, spinning wheels, ceramics and glass, family portraits, and much more.

The Arthur and Edna Greenwood Collection contains more than 2,000 objects from New England households from colonial times to mid-1800s. From kitchens of the past, the collections hold some 3,300 artifacts, ranging from refrigerators to spatulas. The lighting devices alone number roughly 3,000 lamps, candleholders, and lanterns.

This hand-colored lithographic print, circa 1864, employs an optical illusion of Jefferson Davis’ profile to create an anti-Confederacy cartoon. The “War” viewing of the print reveals “Jeff.
Description
This hand-colored lithographic print, circa 1864, employs an optical illusion of Jefferson Davis’ profile to create an anti-Confederacy cartoon. The “War” viewing of the print reveals “Jeff. Rampant” with verses underneath the Confederate president telling of his eagerness to fight “For glory and his vaunted right.” Four vignettes depicting scenes of battle surround these verses. When the image is turned upside down, however, Davis metamorphoses into a donkey – his cap and mustache becoming the animal’s bridled snout and ears. A set of now-upright verses, entitled “Peace,” jests that “Jeff. Subdued” has lost his courage after actually witnessing battle and he now “homeward travels like an ass.” The corner vignettes around these verses contain three scenes of farm life and one of a battered, mustached Confederate, presumably Davis, returning home on a donkey.
The design for this colored lithograph was based on a similar 1861 cartoon, “Jeff. Davis going to War / Jeff. Returning from War An [Ass],” copyrighted by E. Rogers and published by S.C. Upham of Philadelphia. During the War, Upham famously printed millions of dollars’ worth of counterfeit Confederate currency, which, when taken into the South, further destabilized the already hyper-inflated Southern economy.
It was produced by the Hartford, Connecticut lithographic firm of 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 partnerships with Horace Thayer in 1845/1846, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting, credited on this print as Witing, 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
ca 1864
cartooned
Davis, Jefferson
distributor
Witing, George
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2282
catalog number
60.2282
accession number
228146
A color print of a carriage pulled by four horses in the town crossroads. It has knocked over a sign and part of a fence. One of the horses has fallen in his track and one straddles the watering trough.
Description
A color print of a carriage pulled by four horses in the town crossroads. It has knocked over a sign and part of a fence. One of the horses has fallen in his track and one straddles the watering trough. The carriage is about to turn over and the passengers and driver are falling out.
Location
Currently not on view
Date made
n.d.
distributor
Needham, D.
Kelloggs & Thayer
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3642
catalog number
60.3642
Colored print of a hunter on horseback with a crop in his raised hand. In the foreground a pack of hounds attack a fox. Two verses of a poem appear in the bottom margin on either side of the title.Currently not on view
Description (Brief)
Colored print of a hunter on horseback with a crop in his raised hand. In the foreground a pack of hounds attack a fox. Two verses of a poem appear in the bottom margin on either side of the title.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
Kelloggs & Thayer
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2672
catalog number
60.2672
accession number
228146
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital.
Description
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital. Although the Federal army achieved some early victories in the battle, Confederate reinforcements arrived, breaking the right flank of the Union lines. The Northern troops were routed as they tried to retreat. Although the Confederates had won the day, they were too disorganized to pursue the fleeing Union army, which limped back to the safety of Washington, D.C. Nearly 900 men from either side had been killed in the battle, and another 2,500 wounded. Lincoln and the members of his administration now realized that the war would be a much longer and costlier affair than they had first believed.
This 1861 print shows a moment during the battle in which men of the 11th New York Infantry, known as the Fire Zouaves, fend off a regiment of mounted Confederates belonging to the Black Horse Cavalry. On the right, a group of Zouaves exchange fire with incoming Confederate cavalrymen. On the left, the Zouaves and Confederates engage in hand-to-hand combat. The Zouaves are dressed in red jackets and baggy grey pants, their uniform design copied from those of the French Zouaves, colonial soldiers in Algeria. Soldiers on the battlefield often became confused as to who was friend or foe, as the Confederate cavalry men were themselves wearing blue uniforms. Furthermore, this print reveals the similarities between the two sides’ flags, since the Confederate Stars and Bars was similar in design to the American flag. This resemblance of flags led to further confusion among those fighting upon the smoke-filled battlefield and resulted in the adoption of the Confederate battle flag. Although the Confederacy won the battle, this print emphasizes a momentary Union victory to appeal to Northern buyers.
The work was produced by the Hartford, Connecticut lithographic firm of 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 partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting 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 Whiting took over the firm, selling prints until his death two years later.
Location
Currently not on view
Date made
1861
publisher; distributor
Whiting, George
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3316
catalog number
60.3316
This hand colored memorial print depicts two gentlemen standing on each side of a tombstone. Behind the monument is a weeping willow tree and a white rosebush.
Description
This hand colored memorial print depicts two gentlemen standing on each side of a tombstone. Behind the monument is a weeping willow tree and a white rosebush. The monument is inscribed "To the memory of {blank}” and contains the comforting words of Psalm 91:2 and Psalm 49:15, which profess a belief in the resurrection and salvation of the faithful. On the monument are the words: I will say of the Lord, he is my refuge, my God, in him will I trust. But God will redeem my soul from the power of the grave, for he shall receive me." Memorial prints depicting gave monuments were common during the antebellum or Victorian period and the Kellogg family produced several similar prints.
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
1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
lithographers
Kellogg, E.B. and E.C.
ID Number
DL.60.2981
catalog number
60.2981
accession number
228146
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital.
Description
The First Battle of Bull’s Run (also known as First Manassas) was the first major land battle of the Civil War. On July 21, 1861, the Union army, commanded by General Irvin McDowell engaged the forces of Confederate general, P.G.T. Beauregard, 25 miles southwest of the Capital. Although the Federal army achieved some early victories in the battle, Confederate reinforcements arrived, breaking the right flank of the Union lines. The Northern troops were routed as they tried to retreat. Although the Confederates won the day, they were too disorganized to pursue the fleeing Union army, which limped back to the safety of Washington, D.C. Nearly 900 men from either side had been killed in the battle, and another 2,500 wounded. Lincoln and the members of his administration now realized that the war would be a much longer and costlier affair than they had first believed.
This 1861 print depicts Colonel Michael Corcoran (1827-1863) leading the 69th New York Militia of Irish Volunteers during an assault on Confederate batteries. Corcoran, who was later captured during the battle, spent time in four Confederate prison camps before being paroled for a Confederate officer. Upon his release, he organized and led a new brigade, Corcoran’s Irish Legion, composed mainly of irish immigrants, but was soon after killed by a fall from his horse. In this print, he sits upon a dappled grey horse and points towards the enemy with his sabre, urging on his men. His troops wear red and blue uniforms and carry both an American flag and their distinctive regimental flag, which features a gold harp encircled by a wreath on a green background. Although the Irish militiamen appear to be gaining the upper hand, they were quickly pushed back by a large Confederate force and Corcoran was taken prisoner. The battle was marked by confusion, as the standard blue and grey uniforms had not yet been adopted, and soldiers were uncertain as to who was friend or foe. Contributing to this ambiguity was the similarity of the American flag to the Confederate Stars and Bars, leading to the South’s adoption of the more recognizable battle flag. Although the Union lost this first major confrontation of the war, the print emphasizes a temporary moment of Union success in order to appeal to Northern buyers.
The work was produced by the Hartford, Connecticut lithographic firm of 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 partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting 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
1861
publisher; distributor
Whiting, George
depicted (sitter)
Corcoran, Michael
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3314
catalog number
60.3314
A color print of a collision of a horse gig and a four-horse carriage, both going in the same direction. Men, hats, carriages, and horses are all in the process of falling.Currently not on view
Description
A color print of a collision of a horse gig and a four-horse carriage, both going in the same direction. Men, hats, carriages, and horses are all in the process of falling.
Location
Currently not on view
Date made
n.d.
distributor
Needham, D.
Kelloggs & Thayer
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3644
catalog number
60.3644
Colored comic print; outdoor scene of man falling into creek because the tree limb from which he was fishing has broken. Man wears street clothes: striped vest, jacket and trousers. A creel is slung over his shoulder.
Description (Brief)
Colored comic print; outdoor scene of man falling into creek because the tree limb from which he was fishing has broken. Man wears street clothes: striped vest, jacket and trousers. A creel is slung over his shoulder. A high silk hat, fishing pole with fish and can of bait are falling into water. Another fisherman looks on from the background. Classical revival building also in the background.
Location
Currently not on view
date made
ca 1859
distributors
Phelps & Watson
distributor
Whiting, George
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2292
catalog number
60.2292
accession number
228146
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 three-quarter length portrait of a man standing outdoors, letter in one hand, cane in the other. Dressed in a fitted jacket, bow tie and patterned vest. In the left background is a stone monument with gothic arches that is topped by a two handled covered metal cup decoated with a pierced pattern.
The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman and Edmund Burke Kellogg after they took over the family firm from their brother Daniel Wright Kellogg. Horace Thayer was a map dealer. In 1845 or 1846, the partnership opened a shop in New York. The partnership was short-lived however and appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock.
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
publisher
Kelloggs & Thayer
lithographer
E.B. and E.C. Kellogg
ID Number
DL.60.2279
catalog number
60.2279
accession number
228146
Hand colored print depicts the capture of the British spy Major John Andre (1750-1780) by three American militia men identified as Pauling, Van Wart, and Williams below the image.
Description (Brief)
Hand colored print depicts the capture of the British spy Major John Andre (1750-1780) by three American militia men identified as Pauling, Van Wart, and Williams below the image. They are depicted discovering the incriminating papers concerning the surrender of West Point, written by Benedict Arnold in Andre's boots. Andre, who was head of the British Secret Service in America, was captured outside Fort Saint-Jean near Haverstraw, New York. While Isaac Van Wart and David Williams were suspicious, they were illiterate, however, John Pauling could read, and recognized the papers carried by Andre identified him as a spy. Andre was popular with his captors, however after a trial, the Americans hung him as a spy on October 2, 1780.
This print was produced by the Hartford, Connecticut lithographic firm of 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 partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Dwight Needham of Buffalo was the co-publisher/ distributor or agent for this print.
Location
Currently not on view
date made
ca 1847
1846-1847
distributor
Needham, D.
depicted
Andre, John
Pauling, John
Williams, David
Van Wart, Isaac
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
ID Number
DL.60.2569
catalog number
60.2569
accession number
228146
Currently not on view
Location
Currently not on view
Date made
n.d.
maker
E.B. and E.C. Kellogg
Ward, Joseph
ID Number
DL.60.3311
catalog number
60.3311
During the war, Atlanta, Georgia, served as a major hub on the railroads supplying the Confederacy. Following a victory at Chattanooga, the Union Army began an invasion of Georgia, commanded by General William Tecumseh Sherman.
Description
During the war, Atlanta, Georgia, served as a major hub on the railroads supplying the Confederacy. Following a victory at Chattanooga, the Union Army began an invasion of Georgia, commanded by General William Tecumseh Sherman. Several battles outside of Atlanta were followed by a four-month-long siege of the Confederate army there. On September 1, 1864, Confederate General John Bell Hood decided to withdraw his men from the city, and the mayor surrendered to Sherman the next day. This print shows the Union general’s men entering the city. Two horse drawn covered wagons process through the city. To the right of these, two mounted Union officers gaze upon the urban center. A train is situated among the buildings in the background, referencing the city’s strategic importance to the Confederacy.
Both Sherman and Grant believed the Union Army would only be victorious if it could completely break the Confederacy both economically and psychologically. From Atlanta, Sherman launched his famous march to the sea, commanding the Army of the Tennessee and the Army of Georgia on a scorched earth campaign through Georgia during the winter of 1864, destroying Southern railroads, telegraph lines, and farms. Upon leaving the city of Atlanta on November 15, he ordered that the city be burnt to the ground, sparing only its churches and hospitals.
This colored lithograph was produced by the Hartford, Connecticut firm of 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 partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Location
Currently not on view
Date made
n.d.
After 1864-09-02
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3647
catalog number
60.3647
Color print; half length portrait of a seated man (President George Washington) holding a book which rests on documents. The hilt of his sword rests on his left arm. In the background is a green drape and column.Currently not on view
Description (Brief)
Color print; half length portrait of a seated man (President George Washington) holding a book which rests on documents. The hilt of his sword rests on his left arm. In the background is a green drape and column.
Location
Currently not on view
Date made
n.d.
depicted
Washington, George
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3174
catalog number
60.3174
accession number
228146
Hand colored print; interior scene of George and Martha Washington seated at a table. A girl (Eleanor Parke Custis) stands beside Martha, a boy (George Washington Parke Custis) stands near George with his hand resting on a globe. Heavy drapery and framed portrait in background.
Description (Brief)
Hand colored print; interior scene of George and Martha Washington seated at a table. A girl (Eleanor Parke Custis) stands beside Martha, a boy (George Washington Parke Custis) stands near George with his hand resting on a globe. Heavy drapery and framed portrait in background. The scene is based on the painting by Edward Savage, though notably the African American enslaved servant is missing in the Kellogg print.
This print was produced by the Hartford, Connecticut lithographic firm of 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 partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
Dwight Needham of Buffalo was the co-publisher/ distributor or agent for this print.
The original artist, Edward Savage (1761-1817), a native of Massachusetts, was originally a goldsmith and an engraver. He was self taught in painting at the time he created the Washington Family, but due to its popularity, he was able to spend some time in London training under Benjamin West. When he returned to America he painted in Philadelphia and New York City.
Location
Currently not on view
date made
1843-1852
depicted
Washington, George
Washington, Martha
Custis, George Washington Parke
Custis, Eleanor Parke
maker
E.B. and E.C. Kellogg
originator
Savage, Edward
ID Number
DL.60.2540
catalog number
60.2540
accession number
228146
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
After Lincoln’s assassination, Northern families often displayed in their homes lithographic prints of the man they believed to be the savior of their nation. This print depicts one of the most popular scenes commemorating the late President – his deathbed in the Petersen House.
Description
After Lincoln’s assassination, Northern families often displayed in their homes lithographic prints of the man they believed to be the savior of their nation. This print depicts one of the most popular scenes commemorating the late President – his deathbed in the Petersen House. Around 90 people came throughout to pay their respects to Lincoln before he passed on the morning of April 15, 1865. Although the room only measured about 10 by 17 feet, the lithographer has taken the artistic liberty of distorting the space to include 18 mourners gathered around Lincoln for his final moments, including Edwin Stanton and Charles Sumner. The stretching of the bedroom in prints to accommodate as many prominent figures as possible has been referred to as the “rubber room phenomenon.” A key at the bottom of the illustration identifies each person in the room, including a young boy listed as “Young Petersen,” who was not actually present at the event. Deathbed scenes of Lincoln became so desired in the years after his assassination that printers became more concerned with meeting popular demand than depicting the reality of the President’s final moments.
This print was produced by the Hartford, Connecticut lithographic firm of 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 partnerships with Horace Thayer in 1846-47, John Chenevard Comstock in 1848 and William Henry Bulkeley in 1867.
George Whiting 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
ca. 1865
date made
1865 - 1866
depicted
Lincoln, Abraham
Colfax, Schuyler
Dennison, William
Ulke, Julius
distributor
Whiting, F. P.
depicted
Chase, Salmon Portland
Sumner, Charles
Lincoln, Robert Todd
Andrews, Rufus F.
Meade, George Gordon
Stanton, Edwin McMasters
Welles, Gideon
Farnsworth, John Franklin
Halleck, Henry W.
Crane, Charles Henry
Safford, Henry
Petersen, William A.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2561
catalog number
60.2561
accession number
228146
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
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 two girls, the older girl with her arm around the shoulder of the younger girl. They wear simple dress; one pink and the other blue. Rose bushes and a balustrade are in the background. The younger girls hold some flowers in one hand.
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 1846
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2265
catalog number
60.2265
accession number
228146
This hand colored print depicts a tree labeled "Hope" and "Love" growing from soil marked "Faith" and "Repentance". Above the tree the word "Grace" appears. There are two angels at the foot of the tree.
Description
This hand colored print depicts a tree labeled "Hope" and "Love" growing from soil marked "Faith" and "Repentance". Above the tree the word "Grace" appears. There are two angels at the foot of the tree. One is pushing away the devil who carries an axe; the other is watering the tree from a watering can. The tree bears fruit labeled with various Christian virtues such as justice, chastity, goodness, industry, purity and so forth. The inscription below the image explains its Biblical inspiration is Psalm 1, Verse 3: “And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season.”
This print was based on a 1791 print, The Tree of Life by John Hagerty. It 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
ca 1846
agent
Needham, D.
distributor; publisher
Kelloggs & Thayer
lithographer
E.B. and E.C. Kellogg
maker
Kellogg, E.B. and E.C.
ID Number
DL.60.2919
catalog number
60.2919
accession number
228146
maker number
124
Color print; half length portrait of a seated man (President James Monroe) holding a document. In the background is a green drape and column.Currently not on view
Description (Brief)
Color print; half length portrait of a seated man (President James Monroe) holding a document. In the background is a green drape and column.
Location
Currently not on view
Date made
n.d.
depicted
Madison, James
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3169
catalog number
60.3169
accession number
228146
Colored print of a man on horseback and a bull confronting each other from opposite sides of a jump. In the background are four other men on horses.Currently not on view
Description (Brief)
Colored print of a man on horseback and a bull confronting each other from opposite sides of a jump. In the background are four other men on horses.
Location
Currently not on view
date made
ca 1860
distributor
Phelps & Watson
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2673
catalog number
60.2673
accession number
228146
Color print; half length portrait of a seated man (President William Henry Harrison) writing with a quill pen on a document. In his right hand is the hilt of an ornate sword. In the background is a green drape and column.Currently not on view
Description (Brief)
Color print; half length portrait of a seated man (President William Henry Harrison) writing with a quill pen on a document. In his right hand is the hilt of an ornate sword. In the background is a green drape and column.
Location
Currently not on view
Date made
n.d.
depicted
Harrison, William Henry
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3171
catalog number
60.3171
accession number
228146
A color print of a one-horse farmer’s cart and a four-horse carriage going in opposite directions colliding on the road. There is great upset – the rear wheel of the carriage is resting on the stomach of a man who has fallen from his seat.
Description
A color print of a one-horse farmer’s cart and a four-horse carriage going in opposite directions colliding on the road. There is great upset – the rear wheel of the carriage is resting on the stomach of a man who has fallen from his seat. One passenger, who has not been thrown from the coach, is making the comment recorded under “Marks.”
Location
Currently not on view
Date made
n.d.
distributor
Needham, D.
Kelloggs & Thayer
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3643
catalog number
60.3643
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

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