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 Prodigal Son Revelling with Harlots by E.B. and E.C. Kellogg

This colored print is an interior scene depicting three men and three women gathered around a table drinking and carousing. The table holds fruit, wine bottles and glasses.
Description
This colored print is an interior scene depicting three men and three women gathered around a table drinking and carousing. The table holds fruit, wine bottles and glasses. One woman is pouring a drink on the head of a man, another woman is seated together with a man with their arms around each other. As the subtitle explains, “He wasted his Substance with Riotous living.”
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
maker
Kellogg, E.B. and E.C.
ID Number
DL.60.2945
catalog number
60.2945
accession number
228146

The Incredulity of St. Thomas by D.W. Kellogg and Company

This colored print depicts Saint Thomas putting his finger in the wound on Christ's side. Seven of the apostles look on in astonishment and joy.
Description
This colored print depicts Saint Thomas putting his finger in the wound on Christ's side. Seven of the apostles look on in astonishment and joy. According to John (20:24 - 29), Thomas was not present when Christ first appeared before the apostles after his resurrection, and he refused to believe their account. Only when Christ appeared a second time and urged Thomas to touch his wounds, did the disciple profess his belief in Christ’s divinity. In response, Christ said: “Have you believed because you have seen me? Blessed are those who have not seen and yet have believed.” This theme has inspired many paintings in the Western art, as well as countless sermons.
This lithograph was produced by the lithographic firm of D. W. Kellogg and Company. Daniel Wright Kellogg (1807-1874) founded the 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.
Location
Currently not on view
Date made
ca 1840
depicted
Jesus Christ
Saint Thomas the Apostle
maker
D.W. Kellogg and Company
ID Number
DL.60.2968
catalog number
60.2968
accession number
228146

Scene in Vera Cruz During the Bombardment

Colored print depicting a street scene in Vera Cruz of ruin and carnage. Troops are in the streets as missiles fly in the air.Currently not on view
Description (Brief)
Colored print depicting a street scene in Vera Cruz of ruin and carnage. Troops are in the streets as missiles fly in the air.
Location
Currently not on view
date made
1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2566
catalog number
60.2566
accession number
228146

My Friend and I

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This colored print is a full length portrait of two young ladies standing arm in arm outdoors. One woman is wearing a straw bonnet with flowers and a red overdress with lace bodice and underskirt. The other woman is carrying a parasol and wears a dress with lace skirt, blue sash, and lace shawl collar worn off the shoulder. An ivy-covered column is in the left background.
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 1847
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2257
catalog number
60.2257
accession number
228146

The Pack of Hounds

Colored print of a pack of hounds and a hunter standing beside a horse. In the background appears a large structure resembling a castle.Currently not on view
Description (Brief)
Colored print of a pack of hounds and a hunter standing beside a horse. In the background appears a large structure resembling a castle.
Location
Currently not on view
date made
1858-1860
distributor
Whiting, F. P.
Phelps & Watson
maker
E.B. and E.C. Kellogg
ID Number
DL.60.2671
catalog number
60.2671
accession number
228146

A Map of The Open Country of Woman's Heart

Colored print of a heart shaped map depicting the artist's conception of a woman's heart. Large areas include: love of dress, love of display, sentimentality, selfishness, coquetry, deception, platonic affection, prudence, fickleness, etc.Currently not on view
Description (Brief)
Colored print of a heart shaped map depicting the artist's conception of a woman's heart. Large areas include: love of dress, love of display, sentimentality, selfishness, coquetry, deception, platonic affection, prudence, fickleness, etc.
Location
Currently not on view
Date made
1846
distributor
Needham, D.
maker
E.B. and E.C. Kellogg
Kelloggs & Thayer
ID Number
DL.60.2975
catalog number
60.2975
accession number
228146

The Fox Hunter

Colored print of a man in riding habit on horseback jumping a small stream. A fox and foxhounds can be seen in the right background. 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 man in riding habit on horseback jumping a small stream. A fox and foxhounds can be seen in the right background. Two verses of a poem appear in the bottom margin on either side of the title.
Location
Currently not on view
date made
1852-1860
distributor
Ensign, Thayer & Co.
lithographer
Kellogg, Elijah Chapman
ID Number
DL.60.2669
catalog number
60.2669
accession number
228146

The Christmas Tree

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 an outdoor winter scene. A full length view of a boy and girl. The boy is carrying a Christmas tree over his right shoulder, the girl is carrying a basket of greens. Both are wearing simple, every day outdoor dress topped with hats, the boy's with a tassel. German-Americans brought with them the tradition of the Christmas tree and by the middile of the 19th Century trees decorating trees had become popular in both England and the United States.
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.60.2246
catalog number
60.2246
accession number
228146
maker number
169

Almira

Currently not on view
Location
Currently not on view
date made
ca 1846
distributor
Needham, D.
maker
Kelloggs & Thayer
ID Number
DL.60.2511
catalog number
60.2511
accession number
228146

Juno

Colored print of a dog (pointer) lying down with his head up on the alert. Dead birds, a rifle, and a game bag are lying on the ground in front of the dog.Currently not on view
Description (Brief)
Colored print of a dog (pointer) lying down with his head up on the alert. Dead birds, a rifle, and a game bag are lying on the ground in front of the dog.
Location
Currently not on view
date made
ca 1850
distributor
Needham, D.
maker
Kelloggs & Comstock
ID Number
DL.60.2681
catalog number
60.2681
accession number
228146

Beau-Inclin'd

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 print is of a young woman with a dog, a spaniel, on a ribbon leash. The woman is wearing an ankle length blue dress with a tight bodice, a low neckline and large billowing sleeves. She also wears a large hat with ribbon, a long veil, gloves, a bracelet on each wrist, a medallion on a long chain that is tucked into her sash and high button shoes.
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
lithographer
D.W. Kellogg and Company
ID Number
DL.60.2320
catalog number
60.2320
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

Clorinda

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 hand colored portrait print depicts a young woman with dark hair adjusting her veil. A rosary dangles from one arm. She is wearing a pink dress.
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.60.2508
catalog number
60.2508
accession number
228146

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

fork

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

Going to Church

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 holding a prayer book with both hands. Her blue dress features large puff sleeves, a red ribbon that reaches from shoulder to shoulder with bows on the bodice and shoulders. She also wears a red hat with a long veil flowing behind her medium length brown curls, a necklace with an amulet around her neck, and beads on her forehead.
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 1840
lithographer
D.W. Kellogg and Company
ID Number
DL.60.2325
catalog number
60.2325
accession number
228146

spoon

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

Josephine

Currently not on view
Location
Currently not on view
date made
1833-1842
maker
D.W. Kellogg and Company
ID Number
DL.60.2515
catalog number
60.2515
accession number
228146

La Bonne Mere

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This full length colored portrait print is of a mother feeding her young child. She is seated on an ornately carved bench in a garden next to a stone monument, which has a wreath on the front. On top of the monument are a bowl, a cat and two birds in a cage. On her other side is a wall with a flower pot. She is wearing a turban, necklace, bracelets on both wrists and a simple dress. One of her feet rests on a pillow. The baby is sitting on her mother's lap, swaddled in fringed cloth.
J. Belden Jr was a lithographer who worked in Hartford, Connecticut.
Location
Currently not on view
date made
n.d.
lithographer
Belden, Jr., J.
artist
Ball, W.
ID Number
DL.60.2322
catalog number
60.2322
accession number
228146

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

Puppies

Colored print of two puppies playing in the grass. Barrel in right background. Basket with fruit and bottle in left background.Currently not on view
Description (Brief)
Colored print of two puppies playing in the grass. Barrel in right background. Basket with fruit and bottle in left background.
Location
Currently not on view
date made
1846
distributor
Needham, D.
maker
Kelloggs & Thayer
E.B. and E.C. Kellogg
ID Number
DL.60.2352
catalog number
60.2352
accession number
228146

Uncle Tom and Little Eva

Uncle Tom’s Cabin, by American author Harriet Beecher Stowe was published in 1852, quickly becoming the nation’s bestselling book.
Description
Uncle Tom’s Cabin, by American author Harriet Beecher Stowe was published in 1852, quickly becoming the nation’s bestselling book. It features a spirited, religious-minded enslaved man named Tom, who is sold downriver by his financially-strapped owner in Kentucky to a plantation in Louisiana. There, his Christian beliefs spread hope to his fellow slaves and enable him to endure the harsh beatings of his cruel master. He is ultimately whipped to death after refusing to reveal the location of two runaway slaves. Published after the passage of the Fugitive Slave Act in 1850, the novel targeted Northern audiences, arguing against the injustice of slavery and spurring the abolition movement into action. Although the bestselling novel of the 19th century, many American were exposed to Uncle Tom’s Cabin through play adaptations known as Tom shows. The immense popularity of both the novel and plays transformed Uncle Tom into a cultural phenomenon in America and Europe, and manufacturers quickly capitalized on the production of “Tomitudes,” everyday commodities that referenced scenes and characters from the novel. These included card games, jigsaw puzzles, chinaware, jars and vases, snuffboxes, ceramic figurines, and decorative prints. Although some of these Tomitudes employed racial stereotypes and the imagery of blackface minstrelsy, most chose to depict the enslaved characters of Beecher’s novel in a sympathetic light, often carrying an anti-slavery message.
The most popular depictions of Uncle Tom were those in which he was accompanied by the young white girl, Eva St. Clare. Representations of their companionship conveyed a message of racial bonding, and celebrated the characters’ shared Christian faith, though undoubtly grabbed the attention of Victorian audiences viewing a very young white girl alone in the company of a mature black man. This print around 1853 depicts Tom sitting with Eva, whom he had had previously saved from drowning when she fell off the deck of a riverboat on the Mississippi. In return for saving his daughter, Eva’s father had purchases the enslaved Tom, and he moves with the St. Clare family into their New Orleans home as a house slave. In this illustration, from Chapter 22 of the novel, Eva reads to Tom from her Bible. Eva sits on a rock under an arbor and supposedly first points to the Bible in her lap, and then as depicted, she points up to the sky. Tom follows her gesture upwards with his eyes. They are having a conversation about Heaven, foreshadowing the untimely death of the terminally ill girl. Although Tom had gained much responsibility in the St. Clare household, even handling the family’s finances, he is portrayed in this print wearing the outfit of a field hand. In the 1852 illustrated Jon P. Jewett and Company edition of the book, with engravings by Hammett Billings, Eva is in a similar position with her hand pointing to the sky, but in that black and white engraving Uncle Tom is demicted in fancier attire of a house slave.
The lithograph was created by firm of E.C. Kellogg & Company, established in 1850, by Elijah Chapman Kellogg (1811–1881), after the dissolution of Kelloggs & Comstock. The business operated until Elijah again partnered with his brother, Edmund Burke Kellogg (1809-1872), changing the company name back to E.B. & E.C. Kellogg. The work was co-published by Thayer & Company, a lithography firm operated by Horace Thayer, who was born in 1811, in Hartwick, New York. Between 1846 and 1847, he was a partner in Kelloggs & Thayer in New York City. The partnership dissolved in 1847 and Thayer moved to Buffalo, New York, and became a map publisher. In Buffalo, he was involved in a variety of partnerships, most of which co-published Kelloggs prints. By 1859, he returned to New York City, remaining there until 1864, when he moved back to upstate New York.
Abolitionist Harriet Beecher Stowe (1811-1896) rose to fame in 1851 with the publication of Uncle Tom’s Cabin, which highlighted the evils of slavery, angered the slaveholding South, and inspired pro-slavery copy-cat works in defense of the institution of slavery. Stowe’s father was the famed Congregational minister Lyman Beecher and her brother, Henry Ward Beecher, was also a famous preacher and reformer. In 1824, she attended her sister Catherine Beecher’s Hartford Female Seminary, which exposed young women to many of the same courses available in men’s academies. Stowe became a teacher, working from 1829 to 1832 at the Seminary.
Harriet Beecher Stowe wrote numerous articles, some of which were published in the renowned women’s magazine of the times, Godey’s Lady’s Book. She also wrote 30 books, covering a wide range of topics from homemaking to religion, as well as several novels. The passage of the Fugitive Slave Act of 1850, which legally compelled Northerners to return runaway slaves, infuriated Stowe, and many in the North. She subsequently authored her most famous work, Uncle Tom’s Cabin. Originally serialized in the National Era, Stowe saw her tale as a call to arms for Northerners to defy the Fugitive Slave Act. It was released as a book in 1852 and later performed on stage and translated into dozens of languages. Stowe used her fame to petition to end slavery. She toured nationally and internationally, speaking about her book, and donating some of what she earned to help the antislavery cause.
Location
Currently not on view
Date made
1852-1856
date made
1852
distributor
Horace Thayer & Co.
originator of scene
Stowe, Harriet Beecher
maker
E.C. Kellogg and Company
ID Number
DL.60.2332
catalog number
60.2332
accession number
228146

Teaspoon

Currently not on view
Location
Currently not on view
date made
1895 - 1900
owner; user
Washington, Mary Anne Hammond
ID Number
DL.60.1007D
catalog number
60.1007D
accession number
71656

Tom Sayers

Color print; half length portrait of a man (Tom Sayers). Beneath the portrait is the depiction of a lion with a banner in it's mouth. The banner reads "Champion of England".Currently not on view
Description (Brief)
Color print; half length portrait of a man (Tom Sayers). Beneath the portrait is the depiction of a lion with a banner in it's mouth. The banner reads "Champion of England".
Location
Currently not on view
Date made
n.d.
depicted
Whiting, George
Sayers, Tom
maker
E.B. and E.C. Kellogg
ID Number
DL.60.3126
catalog number
60.3126
accession number
228146

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