Domestic Furnishings

Tiffany Floor Lamp

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.

Place: Hartford

The Two Dogs

Colored print of two dogs lying in the grass. Barrel in right background. Basket with two bottles and apples in left background.Currently not on view
Description (Brief)
Colored print of two dogs lying in the grass. Barrel in right background. Basket with two bottles and apples in left background.
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2357
catalog number
60.2357
accession number
228146

pouch

Light brown flannel carrying pouch with individual pockets for each knife with set of six dinner knives (1986.531.162-.167). Fabric is discolored, darkened from use and age.Tag sewn onto inside flap is machine embroidered: “1847-Seventy Year Plate-1917 / 1847 ROGERS BROS.
Description
Light brown flannel carrying pouch with individual pockets for each knife with set of six dinner knives (1986.531.162-.167). Fabric is discolored, darkened from use and age.
Tag sewn onto inside flap is machine embroidered: “1847-Seventy Year Plate-1917 / 1847 ROGERS BROS. / SILVERWARE”
Location
Currently not on view
date made
ca 1847
ID Number
1986.0531.247
accession number
1986.0531
catalog number
1986.0531.247

Lady of the Lake

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 hand colored print; outdoor scene of a hunter standing in foliage on shore with dog. A maiden stands in a gondola-like vessel on a lake. The figures are dressed in elaborate, romantic costumes. This print is an illustration for the poem by Sir Walter Scott. An excerpt from the poem "Lady of the Lake" is beneath the title of the print.
The print was produced by the lithographic firm of Kelloggs & Comstock, which was the 1848-1850 partnership of Elijah and Edmund Kellogg with John Chenevard Comstock.
Location
Currently not on view
date made
1848-1849
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.2229
catalog number
60.2229
accession number
228146

Abby

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 depicts a young woman with brown hair standing indoors beside a table. Her feathered bonnet and a parasol rest on the table. She wears a blue dress with a ruffled red garment that may be an overdress or a small decorative wrap called a mantelet.
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.60.2504
catalog number
60.2504
accession number
228146

Plate

Small, single-reeded circular dish with flat well having a faint, partially visible incised line around perimeter; no foot ring. Partial sawtooth circle with eagle touch mark of Samuel Danforth stamped twice on underside.
Description
Small, single-reeded circular dish with flat well having a faint, partially visible incised line around perimeter; no foot ring. Partial sawtooth circle with eagle touch mark of Samuel Danforth stamped twice on underside. One of two plates, DL*391774-DL*391775.
Maker is Samuel Danforth of Hartford, CT; working 1795-1816.
Location
Currently not on view
date made
1795-1816
ID Number
DL.391775
catalog number
391775
accession number
71679

Flowers No 1

Colored print of an informal floral arrangement on a stone slab outdoors. A portion of a stone structure appears on the right. A bird (parrot?) perches on a branch in the upper left corner, with a nest containing four eggs below.Currently not on view
Description (Brief)
Colored print of an informal floral arrangement on a stone slab outdoors. A portion of a stone structure appears on the right. A bird (parrot?) perches on a branch in the upper left corner, with a nest containing four eggs below.
Location
Currently not on view
date made
ca 1850
distributor
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2654
catalog number
60.2654
accession number
228146

Cake Basket

Bail-handled, boat-shaped oval basket on flared oval pedestal base with overall grapevine decoration, including applied cast clusters of fruit and leaves at rim, four flat-chased and repousse clusters inside bowl, a cast continuous vine around foot, and two intertwined vines form
Description
Bail-handled, boat-shaped oval basket on flared oval pedestal base with overall grapevine decoration, including applied cast clusters of fruit and leaves at rim, four flat-chased and repousse clusters inside bowl, a cast continuous vine around foot, and two intertwined vines forming the U-shaped handle. Struck incuse on bowl underside with semicircular mark of "ROGERS.SMITH & C\o. (arched) / HARTFORD.CONN." in serif letters containing "1864" (overstruck by a line) inside.
Location
Currently not on view
date made
1856 - 1862
ID Number
DL.60.1151
catalog number
60.1151
accession number
113420

Good Night

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 girl holding a chamberstick with a lit candle. She is wearing a simple dress with lace collar and cuffs. Drapery and a glass vase containing cut flowers can be seen in the background.
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
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2258
catalog number
60.2258
accession number
228146

The Old Oaken Bucket

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 boy using an oaken bucket to drink from a well. He is accompanied by two dogs. His hat, jacket, and fishing pole are strewn about on the ground and he is shoeless. A house with two figures on the porch, a fence and a wooded landscape are in the background.
The lithographer Elijah Chapman Kellogg (1811–1881) was the youngest of the four Kellogg brothers, all of whom were lithographers. The brothers were born in Tolland, Connecticut, a small town located near Hartford, where the family business was established. E.C. Kellogg was the only brother among the Kelloggs to receive his professional training in Hartford, Ct. In 1840, Elijah Chapman Kellogg, along with his brother Edmund Burke Kellogg, took over the D.W. Kellogg & Co. after older brother Daniel Wright Kellogg moved west. Elijah and Edmund were responsible for most of the company’s partnerships. Elijah Chapman Kellogg retired in 1867.
date made
ca 1854
distributor
Ensign, Thayer and Company
lithographer
Kellogg, Elijah Chapman
ID Number
DL.60.2368
catalog number
60.2368
accession number
228146
maker number
458

Merchant Ships

Color print of sailing ships anchored off shore. Smaller boats are in the water and one is up on shore. People are watching from shore.Currently not on view
Description (Brief)
Color print of sailing ships anchored off shore. Smaller boats are in the water and one is up on shore. People are watching from shore.
Location
Currently not on view
Date made
n.d.
distributor
Ensign, Thayer and Company
maker
E.C. Kellogg and Company
ID Number
DL.60.3276
catalog number
60.3276

knife

Currently not on view
Location
Currently not on view
date made
c. 1860-1870
ID Number
DL.60.1141C
catalog number
60.1141C
accession number
56985

The Bride and Bride's-Maid

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 colored print is of a bride seated. The bridesmaid stands behind her adjusting her pink veil. Each woman wears a bracelet and necklace, and the bride wears one glove.
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.60.2317
catalog number
60.2317
accession number
228146

The Proposal

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 seated woman with a man standing in front of her. The woman is wearing simple farm clothing, a yellow bonnet and apron over a red long sleeved dress. The man is wearing tan pants with a white shirt and blue vest and he is holding a straw hat. Beside the woman is a watering trough overflowing with water. A jug is between the trough and the woman; behind the man are two baskets. Multiple buildings can be seen in the background.
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
ca 1835
maker
D.W. Kellogg and Company
ID Number
DL.60.2280
catalog number
60.2280
accession number
228146

Increase in the Family

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 with full length portraits of grandmother, mother and two children, one of whom is an infant being nursed by the mother. The older child holds a basket of kittens and mother cat is grabbing at her apron. All are wearing simple, everyday dress. Depicted furnishings include chairs with wicker bottoms, a chest, a tray and a two shelf bookcase is hung on the wall with wire. Vase and sewing accessories are on the window sill, while toys are scattered on the floor.
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 1860
distributor?
Whiting, F. P.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2245
catalog number
60.2245
accession number
228146

The Canary Bird

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 a young woman standing on a balcony behind a balustrade. She is feeding a caged canary. Beneath the bird cage and behind the woman there are flowers in a flower pot. The background is decorated with red drapes and venetian blinds. The dark haired woman is wearing a simple dress with ornate lace shawl over it; she is not wearing jewelry.
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
1843-1852
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2319
catalog number
60.2319
accession number
228146

Cecelia

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 a young dark haired woman standing in front of a window. She is holding a letter in one hand and a sprig of flowers in the other. She is wearing a simple gold dress with a flower on her chest. Behind her is a window surrounded by heavy drapery and a scene of a man walking on a path.
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
1852-1860
distributors
Ensign, Thayer and Company
maker
Kelloggs & Comstock
ID Number
DL.60.2500
catalog number
60.2500
accession number
228146
maker number
295

Our Future President

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 baby boy seated in an ornate black and gold carriage with four large wheels, leather convertable hood and large tassel hanging from the side. The baby's gown has embroidery, and a velvet coat is draped on carriage. The carriage is depicted in a landscape setting.
Kellogg & Bulkeley was the lithography firm formed from the partnership between Elijah Chapman Kellogg, Edmund Burke Kellogg, and William Henry Bulkeley. The firm was formed in 1867, and shortly after both Elijah Chapman Kellogg and his brother Edmund Burke Chapman retired. After their retirement the only Kellogg remaining in the business was Edmund’s son Charles Kellogg. By1871 the partnership between the Kellogg family and Bulkeley had been reorganized as an incorporated stock company. The company came to an end when is merged with Case, Lockwood, & Brainard to become Connecticut Printers in 1947. Connecticut Printers remained open until 1990 when the Kellogg lithography firm finally ended after 160 years.
Location
Currently not on view
date made
1867
maker
Kellogg & Bulkeley
ID Number
DL.60.2241
catalog number
60.2241
accession number
228146

Presentation Pitcher Given to Daniel Woodward of Lowell, Massachusetts

Circular urn-shaped pitcher on a double-domed, circular pedestal base with large, thick scrolls of flat-chased and repousse grapevines on its ovoid body forming a symmetrical reserve at front engraved in script "Presented / to / Daniel Woodward Esq"r.
Description
Circular urn-shaped pitcher on a double-domed, circular pedestal base with large, thick scrolls of flat-chased and repousse grapevines on its ovoid body forming a symmetrical reserve at front engraved in script "Presented / to / Daniel Woodward Esq"r. / By the hands employed by him / in No 1 Basement Room Tremont Mill. / Lowell April 9\th/.. 1859." Applied beading at deeply curved rim with wide pouring lip, top of pedestal and bottom of base; large raised bead around shoulder. Cast and flat-chased, S-curve grapevine handle. Circular medallion or tag applied to underside of rounded bottom is embossed "* ROGERS, SMITH & C\o/. (arched) / (flourish) / N\o. / NEW HAVEN, C\T/. *" and struck incuse at center "1856".
Location
Currently not on view
date made
ca 1859
presentation date
1859-04-09
ID Number
1981.0988.01
accession number
1981.0988
catalog number
1981.0988.01

The Favorite

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 two young girls in an affectionate pose. Both are wearing simple dress. One girl wears a large feathered hat, gold bead necklace and bracelet, and carries a round object, possible a ball or an orange.
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
ca 1840
maker
D.W. Kellogg and Company
ID Number
DL.60.2238
catalog number
60.2238
accession number
228146

Battle of Bull's Run, Va. July 21. 1861

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

The Prodigal Son Receiving His Patrimony by D.W. Kellogg and Company

This hand-colored print, retouched with watercolors, is of 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, britches, white shirts, cravats(sons) and ascots (father).
Description
This hand-colored print, retouched with watercolors, is of 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, britches, white shirts, cravats(sons) and ascots (father). 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 originally produced by Amos Doolittle and later printed by the lithographic firm of D. W. Kellogg and Company. Amos Doolittle (1754-1832) was an American engraver who was trained as a jeweler and silversmith. He lived in Connecticut and was especially well known for his four engravings of the battles of Lexington and Concord. He also engraved Biblical scenes, bookplates and portraits.
Daniel Wright Kellogg (1807-1874) founded D. W. Kellogg and Company in Hartford, Connecticut in 1830. Even before its first retail store opened 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 was responsible for 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.
A nearly identical print (60.2921A) was made by the same principal publisher and another (60.2944) with a modified image was created about a decade later. Print (60.2938) depicts the same theme with a different illustration and by a different publisher.
Location
Currently not on view
Date made
ca 1838
maker
D.W. Kellogg and Company
original artist
Doolittle, Amos
ID Number
DL.60.2921
catalog number
60.2921
accession number
228146
maker number
758

Niagara Suspension Bridge

Color print of a large central image depicting a train crossing a suspension bridge over a river surrounded by smaller views of Niagara Falls, Brock's Monument, and Fort Ontario.
Description (Brief)
Color print of a large central image depicting a train crossing a suspension bridge over a river surrounded by smaller views of Niagara Falls, Brock's Monument, and Fort Ontario. Text beneath the images gives details of constuction and dimensions and other figures related to the bridge.
Location
Currently not on view
Date made
n.d.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3688
catalog number
60.3688

Just Arrived

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

Frances

Currently not on view
Location
Currently not on view
date made
1842-1848
maker
E. B. & E. C. Kellogg
ID Number
DL.60.2512
catalog number
60.2512
accession number
228146

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