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.

Topic: Children

The Bottle: Plate VI. Fearful Quarrels and Brutal Violence...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. This print depicts an interior scene of a man attacking his wife.
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 interior scene of a man attacking his wife. Their son and daughter are trying to intervene. Another woman is entering the room in the background.
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.60.2899
catalog number
60.2899
accession number
228146

Fidelity

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 dog watching over a baby in a wicker cradle. The window behind the cradle is partially covered by the heavy drapery. Standing next to the window is a table with a brocade-edged tablecloth, five books and a vase with flowers. Above the table is a mirror with an ornate gold frame hanging on the wall. The room is carpeted with a patterned green rug on the floor.
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.60.2349
catalog number
60.2349
accession number
228146

Grandpapa's Pet

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 lithotint; interior scene of a seated older man with his cane and a dog sleeping near his feet. A standing child, presumably the man's granddaughter, is facing him. Simple furnishings include a bench, chest or bureau, and a chair. A plant, shovel and saw are also depicted.
The inscription indicates that the print was drawn specifically for Miss Leslie's Magazine and published in April 1843, in the year the periodical debuted. This print was considered the first true lithotint produced in the US, the result of a partnership and experiments between artist/ draftsman/engraver John H. Richard (b. 1807) and printer/lithographer Peter S. Duval in 1841/1842. The print was described in Miss Leslie's as a product of both art and technology and considered a great breakthrough in publishing. It was printed in color from one stone. Peters S. Duval was a French immigrant, who worked in Philadelphia, originally for Cephas G. Childs. He founded his own firm eventually and a family of lithographers.
Location
Currently not on view
date made
1843
artist
Richard, John H.
lithographer
Duval, Peter S.
ID Number
DL.60.2226
catalog number
60.2226
accession number
228146

The Wild Waves Are Saying Scoot! Brother Scoot!

Black and white comic print of a small boy and girl running from the waves crashing behind them on a beach. The girl is carrying a small doll. 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 small boy and girl running from the waves crashing behind them on a beach. The girl is carrying a small doll. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Fred T.
Vance, Parsloe and Company
ID Number
DL.60.2859
catalog number
60.2859
accession number
228146

The Effect of Loco Foco Pledges

Currently not on view
Location
Currently not on view
Date made
n.d.
depicted
Van Buren, Martin
Jackson, Andrew
maker
Robinson, Henry R.
artist attribution
Dacre, Henry
ID Number
DL.60.3366
catalog number
60.3366

Wyoming

Currently not on view
Location
Currently not on view
Date made
1852
publisher
Holbrooke, W. H.
artist
Darley, Felix Octavius Carr
engraver
McRae, M. C.
printer
Ashton, W. H.
ID Number
DL.60.2619
catalog number
60.2619
accession number
228146

Marine Pavillion Rockaway, L.I.

Black and white print depicting a large Greek Revival style building with a central dome and architrave on a hill. The grounds in front of it are filled with people strolling and reclining on the lawn and carriages and riders on horseback.Currently not on view
Description (Brief)
Black and white print depicting a large Greek Revival style building with a central dome and architrave on a hill. The grounds in front of it are filled with people strolling and reclining on the lawn and carriages and riders on horseback.
Location
Currently not on view
Date made
n.d.
maker
Pendleton's Lithography
Blake, Horatio
designer
Reed, Alonzo
ID Number
DL.60.3716
catalog number
60.3716

Zykes and His Show

This black and white print with tint shows a center tent with banners and a pennant which reads "Zykes." A barker holds the tent flap open as he urges the crowd to come inside. Other people are watching a magician in the foreground.
Description
This black and white print with tint shows a center tent with banners and a pennant which reads "Zykes." A barker holds the tent flap open as he urges the crowd to come inside. Other people are watching a magician in the foreground. On the left side of the print is a tavern with “…boken” painted on the sign above the door. The background contains a waterfall and buildings on top of a cliff. No information is known about Zykes, the show proprietor.
This lithograph was produced by the Metropolitan Printing Company and E. Rothengatter. Emil Rothengatter (1848-1939) was a German-born artist and designer of circus posters who worked in cities including Philadelphia, Pennsylvania, and Cincinnati, Ohio. In 1896 he won a contest to design the flag of Cincinnati for a work he called “Zero of Burnet Woods.” However, controversy over whether Cincinnati should have a flag delayed the design’s formal adoption until 1940. Emil Rothengatter also wrote a book entitled Art of Poster Making in the United States, published in 1911. He died in New York.
Location
Currently not on view
Date made
n.d.
maker
Metropolitan Printing Company
Rothengatter
ID Number
DL.60.3018
catalog number
60.3018
accession number
228146

The Miraculous Deliverance, or The Dog and The Wolf

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 wolf on top two young children who are huddled in bed. One child is awake and horrified while the other child is still sleeping. The wolf is being attacked from behind by a dog with a gold collar. A window in the background shows a woman looking on in horror. Behind the woman is a boat sailing on a river.
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.60.2348
catalog number
60.2348
accession number
228146
maker number
158

Peace

Colored print of a young girl holding a kitten in a yellow shawl that is also wrapped around her shoulders. A dove sits on her right forefinger.Currently not on view
Description (Brief)
Colored print of a young girl holding a kitten in a yellow shawl that is also wrapped around her shoulders. A dove sits on her right forefinger.
Location
Currently not on view
date made
ca 1871
maker
Schile, Henry
ID Number
DL.60.2479
catalog number
60.2479
accession number
228146

Shepherdess of the Alps

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 young girl and two goats standing near a stream in a forested area. The girl is wearing a knee-length dress with short puffed sleeves and long stockings. She is holding plants in her apron and one of the goats eats from her apron while the other goat stands beside her.
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.60.2347
catalog number
60.2347
accession number
228146

table, child's

Currently not on view
Location
Currently not on view
date made
early 20th century
ID Number
DL.63.0242
catalog number
63.0242
accession number
243124

Washington & Family by Kellogg & Bulkeley after Edward Savage

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 landscape in background.
Description (Brief)
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 landscape 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 Kellogg & Bulkeley. 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 in partnership with Frank Bulkeley,1867-1873, and William Henry Bulkeley in 1867-1878.
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
ca 1867
depicted
Washington, George
Washington, Martha
Custis, Eleanor Parke
Custis, George Washington Parke
maker
Kellogg & Bulkeley
ID Number
DL.60.2546
catalog number
60.2546
accession number
228146

Rip Van Winkle

Rip Van Winkle, a short story by celebrated American author Washington Irving, was first published in 1819 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving achieved acc
Description
Rip Van Winkle, a short story by celebrated American author Washington Irving, was first published in 1819 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving achieved acclaim in Europe and the U.S. over the course of his successful writing career. Rip Van Winkle was included in “The Sketchbook of Geoffrey Crayon, Gent” while Irving was living in Europe. Thus, he was one of the earliest American authors to survive merely on his writing. Irving’s stories have remained an emblem of American culture as they were some of the first short stories that aimed to entertain rather than educate. The two best known Irving stories- Rip Van Winkle and The Legend of Sleepy Hollow have inspired artists to create beautiful illustrations like the one included in this print.
The gothic story Rip Van Winkle tells of an ordinary 19th century man who lives in the Dutch Kaatskills (currently the Catskills of New York). He struggles with his nagging wife, Dame Van Winkle, and in an effort to escape her on an especially bad day, he flees to the woods with his dog and his gun. While in the woods, he meets a stranger who is a representation of the spirits of Hendrick Hudson, and is instructed to serve these spirits a precious drink. Tempted, he tries the drink as well and ultimately becomes so drunk that he falls into a deep sleep. When he wakes, he thinks that it is merely the next morning, but it becomes clear that 20 years have passed. He is now an old widow with Loyalist sentiments that show he is living in the past, prior to the American Revolution. The story ends with Rip Van Winkle living a peaceful life in the home of his daughter, finally free from his wife’s nagging.
In this lithographic print, the aged Rip Van Winkle sits outside the door of the inn just as he used to, except now, he is seen as one of the village patriarchs. Three other men congregate around Rip Van Winkle and discuss the Revolutionary War, which took place during the time of Rip’s disappearance and is hinted at by the American flag that hangs in the background. Also depicted are woman and child, presumably Rip Van Winkle’s daughter, Judith Gardenier, and his grandson who was named after him. This illustration shows the resolution to the story, in that Rip Van Winkle is now an old man, but free of his nagging wife’s punitiveness, so he can finally be lazy.
Sarony, Major, & Knapp was one of the largest lithographic firms at the end of the 19th and the early of the 20th centuries. However, before it achieved this success it started out small in 1843 when Napoleon Sarony and James P. Major joined together to start a business. Later in 1857, Joseph F. Knapp joined the company making it Sarony, Major, & Knapp. At the time that this was printed, Knapp was not a part of the business, so it was just Sarony & Major.
Felix O. C. Darley (1822-1888), the artist behind the twelve best-known illustrations for The Legend of the Sleepy Hollow, is considered one of America’s best illustrators. The publisher was the American Art Union, (1839-1857) a subscription organization created to educate the public about American art and artists while providing support for American artists. For $5.00 members would receive admissions to the gallery showing, a yearly report, and an engraving of an original work, as well as any benefits each chapter might provide. Two special editions of the story, each with a set of six of Darley’s illustrations were published; the special edition including this illustration was published in 1850. This print is bound with five others at the back of a rebound book. The cover is of the earlier Rip Van Winkle edition published for the American Art Union but the title page and text are of Washington Irving’s The Legend of Sleepy Hollow.
Location
Currently not on view
date made
1848
maker
Sarony & Major
Darley, Felix Octavius Carr
ID Number
DL.60.2447
catalog number
60.2447
accession number
228146

Drilling

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 an outdoor scene of a naked child with a drum on his back facing a dog seated on a large rock. A toy gun is propped against the dog.
This print was produced by the lithography firm of Risso & Browne. The firm was founded in New York City by Charles Risso and William R Browne in 1832. The firm produced portrait prints, satirical prints, city views, sheet music, technical prints of silk worms and sentimental images. In 1837 Charles Risso left New York for the city of New Orleans and continued to make prints. He returned to New York in 1846. Browne continued to use the company’s name through 1839.
Location
Currently not on view
date made
ca 1833
maker
Risso & Browne
ID Number
DL.60.2233
catalog number
60.2233
accession number
228146

Shooting Turkeys for Thanksgiving - Day

Colored print of an outdoor scene of a group of men and children with long rifles standing together in front of a large building and under a tree, preparing to shoot turkeys in the distant snow-covered field.
Description (Brief)
Colored print of an outdoor scene of a group of men and children with long rifles standing together in front of a large building and under a tree, preparing to shoot turkeys in the distant snow-covered field. Another group of similar men engage in the same activity in the background. Everyone is wearing tall bots and dressed in mid 19th Century outdoor clothing.
John Childs, was an engraver, lithographer, artist, and print colorist active in New York between the years 1836 to 1844, and in Philadelphia from 1848 through the 1860's . For a brief period while in New York, he published a quantity of political cartoons.
Location
Currently not on view
date made
after 1862
maker
Childs, John
ID Number
DL.60.2416
catalog number
60.2416
accession number
228146

chair, child's

Currently not on view
Location
Currently not on view
date made
ca 1880
ID Number
DL.60.1633
catalog number
60.1633
accession number
70138

chair, rocking, child's

Currently not on view
Location
Currently not on view
date made
late 19th century
ID Number
DL.67.0024
catalog number
67.0024
accession number
214039

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

Child's Fork

Currently not on view
Location
Currently not on view
date made
ca 1850
ID Number
DL.65.1437A
catalog number
65.1437A
accession number
70138

Child's Fork

Currently not on view
Location
Currently not on view
date made
1850
ID Number
DL.300504A
catalog number
300504A
accession number
61510

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