The Ferris Collection of Prints

The Museum’s Graphic Arts Collection, the oldest print-collecting unit in the Smithsonian, focuses on the technical and social history of printmaking to document how prints are made and used. Smithsonian art museums collect works on paper selected for aesthetic reasons, but the National Museum of American History (formerly the Museum of History and Technology) takes a broad view of visual culture.

Our prints illustrate technical developments and cultural changes. They represent all kinds of graphic works that have influenced American society. The collection has always included examples from many periods and countries, fine-art prints as well as popular and commercial graphic art, together with the plates, blocks, and tools used to produce prints. In 1996 the Museum presented an exhibition on 150 years of Smithsonian print collecting, Building a National Collection.

One of the largest print collections ever received by the Smithsonian was donated by the Ferris family between 1927 and 1932. Stephen James Ferris (1835–1915), a Philadelphia painter and etcher, collected over 2,000 European and American prints, both reproductive and original, representing old master and contemporary printmakers. The collection incorporated a variety of artistic subjects, compositions, and styles. Ferris may well have mined it for inspiration for his own work, but he was also deeply interested in art for its own sake. He and his family and friends would have simply enjoyed studying the images.

More about the collection
More about the artists

Stephen James Ferris etched this self-portrait in October of 1880, probably as one of the prints exchanged by members of the Philadelphia Society of Etchers.
Description
Stephen James Ferris etched this self-portrait in October of 1880, probably as one of the prints exchanged by members of the Philadelphia Society of Etchers. Ferris was a founding member of the society, which formed earlier that year, three years after the establishment of the New York Etching Club, the first in the United States. Ferris had seen the etching process demonstrated in 1860 by John Sartain, an engraver. In 1875 Ferris produced one of his earliest etchings to be commercially published in the United States, a portrait of Mariano Fortuny (1838–1874).
Location
Currently not on view
Date made
1880
graphic artist
Ferris, Stephen James
ID Number
GA.14388.02
accession number
94830
catalog number
14388
Stephen James Ferris etched this group portrait The Barbizon School: Seven French Artists as a frontispiece for the auction catalog of works from the J. C. Runkle collection, sold in New York in March 1883.
Description
Stephen James Ferris etched this group portrait The Barbizon School: Seven French Artists as a frontispiece for the auction catalog of works from the J. C. Runkle collection, sold in New York in March 1883. Artists of the Barbizon School, named after a rural village in France near which many of them worked outdoors, specialized in realistic landscapes and animal paintings. Samuel P. Avery had arranged the sale and the catalog, which was illustrated with fifteen etchings by four American etchers. This print marks the first time that an auction catalog contained an original etching, as opposed to the usual reproductive etchings. The New York Times gave a favorable review of Ferris’s print.
Location
Currently not on view
Date made
1883
publisher
Avery, Samuel Putnam
graphic artist
Ferris, Stephen James
ID Number
GA.14508
accession number
94830
catalog number
14508
Samuel Putnam Avery (1818–1904), a New York-based art dealer and print collector, made annual buying excursions to Europe from 1867 to 1882 to look for decorative arts and paintings, some of which he commissioned directly from the artists.
Description
Samuel Putnam Avery (1818–1904), a New York-based art dealer and print collector, made annual buying excursions to Europe from 1867 to 1882 to look for decorative arts and paintings, some of which he commissioned directly from the artists. He also searched for prints to add to his own collection, seeking not just the original etchings valued today but also reproductive works by artists like Flameng, Jacquemart, and Rajon. French prints made up the core of his collection, almost 18,000 of which are now in the New York Public Library. Léopold Flameng etched this portrait of Avery in 1876 after a painting by Raimundo de Madrazo y Garreta. The Avery family gave the painting to the Metropolitan Museum in 1904. Madrazo (1841–1920) was a fashionable portrait and genre painter, resident in New York and Paris, who was promoted by Avery.
Location
Currently not on view
Date made
1876
original artist
Madrazo y Garreta, Raimundo de
graphic artist
Flameng, Léopold
ID Number
GA.14576
catalog number
14576
accession number
94830
Paul Rajon etched the portrait of Lawrence Alma-Tadema (1836–1912) during one of his annual six-month visits to England. Rajon first visited England in 1873 to execute a commission.
Description
Paul Rajon etched the portrait of Lawrence Alma-Tadema (1836–1912) during one of his annual six-month visits to England. Rajon first visited England in 1873 to execute a commission. He etched some original portraits, but most of his prints reproduced paintings by contemporary artists and old masters for publications. Alma-Tadema, a Dutch-born painter of neoclassical pictures, enjoyed a considerable success on the Continent and decided to move to London where his work was enthusiastically appreciated from the 1860s to 1890s. This print was intended not only for the European market but also for the United States, and it carries a U.S. copyright line. Rajon etched Alma-Tadema’s paintings as well as his portrait.
Location
Currently not on view
Date made
1883
graphic artist
Rajon, Paul-Adolphe
publisher
Knoedler & Co.
British and Foreign Artists' Association
ID Number
GA.14592
catalog number
14592
accession number
94830
Louis-Pierre Henriquel-Dupont’s etching reproduces an 1825 drawing by J. A. D. Ingres (1780–1867) of Pierre-Alexandre Tardieu (1756–1844). The print appeared in the Gazette des Beaux-Arts in 1860.
Description
Louis-Pierre Henriquel-Dupont’s etching reproduces an 1825 drawing by J. A. D. Ingres (1780–1867) of Pierre-Alexandre Tardieu (1756–1844). The print appeared in the Gazette des Beaux-Arts in 1860. Tardieu came from a dynasty of distinguished graphic artists, which dated back to the beginning of the 18th century. He was especially known for his engraved portraits. Henriquel-Dupont, like the subject of his print, also was famous for his engravings and was considered by some the most celebrated engraver of 19th-century France.
Location
Currently not on view
Date made
1860
original artist
Ingres, Jean-Auguste-Dominique
graphic artist
Henriquel-Dupont, Louis-Pierre
printer
Drouart
publisher
Gazette des Beaux-Arts
ID Number
GA.14902
catalog number
14902
accession number
94830
In 1879 William Unger, a Vienna-based artist, etched this reproduction of William Merritt Chase’s 1876 portrait of friend and fellow painter Frank Duveneck, titled The Smoker.
Description
In 1879 William Unger, a Vienna-based artist, etched this reproduction of William Merritt Chase’s 1876 portrait of friend and fellow painter Frank Duveneck, titled The Smoker. Duveneck is wearing a Dutch-style hat and smoking a long Dutch clay pipe as he holds a portrait print after Frans Hals. Unger etched many prints after Hals and other old masters as well as after contemporary artists like Chase. His etchings were published widely in both Europe and the United States. Some appeared loose in portfolios so that they could be framed or set up on an easel for study.
Frank Duveneck (1848–1919), son of German immigrants, began his art studies in the United States. Dissatisfied with the experience, he went to Munich in 1870 to attend classes at the Bavarian Royal Academy, where he met William Merritt Chase in 1872. He and Chase became close friends and Chase made several portraits of Duveneck during their years in Munich.
Location
Currently not on view
Date made
1879
original artist
Chase, William Merritt
graphic artist
Unger, William
ID Number
GA.14974
catalog number
14974
accession number
94830
This etching by Léopold Flameng is known as either Un Rabbin or Un Vieux (An Old Man). The painting by Rembrandt hangs in the Musée Bonat, Bayonne, France.
Description
This etching by Léopold Flameng is known as either Un Rabbin or Un Vieux (An Old Man). The painting by Rembrandt hangs in the Musée Bonat, Bayonne, France. The print was etched for the Gazette des Beaux-Arts, a publication started in Paris by Charles Blanc in 1859, which ceased only recently. Flameng had met Blanc in the studio of a well-known engraver, Luigi Calamatta, and became one of two graphic artists on the new publication. He etched no fewer than 100 plates for the Gazette and some forty plates for Blanc’s book on Rembrandt’s work, published in 1859. Flameng’s etchings after Rembrandt were highly regarded by collectors in this period.
Location
Currently not on view
Date made
19th century
original artist
Rembrandt van Rijn
graphic artist
Flameng, Léopold
publisher
Gazette des Beaux-Arts
ID Number
GA.14958
catalog number
14958
accession number
94830
Les Deux Frères by Louise Girard after a drawing by Paul Delaroche (1797–1856) of the children of Monsieur de la Villestreux is executed in the crayon manner, a process invented in France.
Description
Les Deux Frères by Louise Girard after a drawing by Paul Delaroche (1797–1856) of the children of Monsieur de la Villestreux is executed in the crayon manner, a process invented in France. Using special tools on a plate covered with an etching ground, the artist reproduces a drawing. When printed on the appropriate paper with the right kinds of inks, the reproduction closely resembles the original chalk drawing. The French firm Rittner & Goupil published this print on August 22, 1835. The original artist, Paul Delaroche, painted history subjects and portraits. In his day, he was a popular artist in the academic tradition, and engravings after his paintings sold very well in Britain and the United States.
Location
Currently not on view
Date made
1835
graphic artist
Girard, Louise
original artist
Delaroche, Paul
publisher
Rittner & Goupil
ID Number
GA.15249
catalog number
15249
accession number
94830
The 1876 Centennial Exposition brought people and exhibits from around the world to Philadelphia’s Fairmount Park. Stephen Ferris, a resident of the city, visited the site on August 7 and recorded in pencil the face of this man, whom he called Maure [Moor].
Description
The 1876 Centennial Exposition brought people and exhibits from around the world to Philadelphia’s Fairmount Park. Stephen Ferris, a resident of the city, visited the site on August 7 and recorded in pencil the face of this man, whom he called Maure [Moor]. The man may have been one of the workers associated with an exhibit from Tunisia or Morocco. Ferris was very interested in North African subject matter at this time, due to his fondness for the works of Mariano Fortuny.
Location
Currently not on view
date made
1876
original artist
Ferris, Stephen James
ID Number
GA.16664
catalog number
GA*16664
accession number
119,780
Stephen Ferris etched a dapper J. L. Gérôme (1824–1904) in 1899, near the end of Gérôme’s very successful career as painter and sculptor. Ferris had admired the French artist’s work for many years, at least since 1863 when he named his son after him.
Description
Stephen Ferris etched a dapper J. L. Gérôme (1824–1904) in 1899, near the end of Gérôme’s very successful career as painter and sculptor. Ferris had admired the French artist’s work for many years, at least since 1863 when he named his son after him. Although Ferris never actually met Gérôme, the two artists had corresponded. For this print Ferris used a photograph he had received from Gérôme. He then sent Gérôme trial proofs for comments and requested a signature to include in the final impressions, which appears here at lower left.
Gérôme congratulated Ferris on the portrait as “work done with great care and great talent—the effect is very good and very firm. If I had any criticism to make, I would reserve it for the background, which is a little too even, and for the clothing, which has a little softness in the execution.” Gérôme also suggested that the highlight on the order which appears on his left breast and is not particularly noticeable in the photograph, be less bright. The order remains brightly lit, possibly Ferris’s tribute to Gérôme.
Location
Currently not on view
Date made
1879
date made
1899
graphic artist
Ferris, Stephen James
ID Number
GA.14396.01
accession number
94830
catalog number
14396.01
Stephen Ferris etched the portrait of distinguished Philadelphian William Spohn Baker in 1882. Baker (1824–1897), a critic and author, wrote several books, including American Engravers and Their Works and The Origin and Antiquity of Engraving.
Description
Stephen Ferris etched the portrait of distinguished Philadelphian William Spohn Baker in 1882. Baker (1824–1897), a critic and author, wrote several books, including American Engravers and Their Works and The Origin and Antiquity of Engraving. An antiquarian who specialized in George Washington, he collected medals, biographies, and engraved portraits of the first president, and wrote about these subjects. Baker was an active member of the Historical Society of Pennsylvania, serving as a vice president from 1892 and also as a director of the Pennsylvania Academy of the Fine Arts.
Location
Currently not on view
Date made
1882
graphic artist
Ferris, Stephen James
ID Number
GA.14536.16
catalog number
14536.16
accession number
94830
This profile portrait of Spanish painter and graphic artist Mariano Fortuny is one of two in the NMAH collection that Stephen Ferris made in 1875, soon after Fortuny’s untimely death at age thirty-six in Rome, Italy, on November 21, 1874.Gerome Ferris, in a note on the mount, ref
Description
This profile portrait of Spanish painter and graphic artist Mariano Fortuny is one of two in the NMAH collection that Stephen Ferris made in 1875, soon after Fortuny’s untimely death at age thirty-six in Rome, Italy, on November 21, 1874.
Gerome Ferris, in a note on the mount, refers to the print as an etching on glass. According to a contemporary, Stephen Ferris “was one of the first artists to practice etching on glass as it was miscalled at the time.” The cliché-verre process, as it known today, originated in France in the nineteenth century. The artist coats a glass plate with an opaque substance and then draws an image on it with a pointed instrument such as an etching needle. He then lays the plate image-side down on a sheet of photosensitized paper and exposes it to light.
This print and a second portrait of Fortuny by Ferris were the only two American etched portraits shown in the 1876 Philadelphia Centennial Exhibition. The revival of interest in etching that began in Europe during the 1860s did not really take off in the United States until about 1880, but visitors to the exhibition saw a modest number of American etchings at the beginning of the movement.
Location
Currently not on view
date made
1873
1875
graphic artist
Ferris, Stephen James
ID Number
GA.14552
catalog number
14552
accession number
94830
Deeply impressed by the art of Mariano Fortuny, Stephen Ferris etched reproductions of Fortuny’s paintings and a few of his prints. Ferris made this etching, Riff Pirate, after a painting dated 1871. These pirates preyed on shipping off the North African coast.
Description
Deeply impressed by the art of Mariano Fortuny, Stephen Ferris etched reproductions of Fortuny’s paintings and a few of his prints. Ferris made this etching, Riff Pirate, after a painting dated 1871. These pirates preyed on shipping off the North African coast. The Philadelphia Museum of Art owns a related painting, which may be seen on its website.
Location
Currently not on view
Date made
1871
original artist
Fortuny y Carbo, Mariano
graphic artist
Ferris, Stephen James
ID Number
GA.14379.01
accession number
94830
catalog number
14379.01
Stephen Ferris made this pencil portrait of his mother from memory in 1890. She had died in 1848 near Yorkville, Illinois, after the birth of her fourteenth child, when Ferris was a boy of thirteen.
Description
Stephen Ferris made this pencil portrait of his mother from memory in 1890. She had died in 1848 near Yorkville, Illinois, after the birth of her fourteenth child, when Ferris was a boy of thirteen. Contrary to a contemporary biography’s claim that he was orphaned at ten, Ferris belonged to a large family which became even larger with his father’s remarriage. As a boy Ferris lived with a maternal uncle who offered him a chance to study at the Pennsylvania Academy of the Fine Arts in Philadelphia from the age of seventeen.
date made
1898
original artist
Ferris, Stephen James
ID Number
GA.16646
catalog number
16646
accession number
119780
Stephen Ferris drew this pencil portrait of his wife, Elizabeth Anastasia Moran Ferris, in 1878. Ferris probably met Elizabeth through his friendship with her brothers, artists Thomas and Peter Moran. The couple married in 1862.
Description
Stephen Ferris drew this pencil portrait of his wife, Elizabeth Anastasia Moran Ferris, in 1878. Ferris probably met Elizabeth through his friendship with her brothers, artists Thomas and Peter Moran. The couple married in 1862. Their son, Jean Leon Gerome Ferris, a history painter and etcher, was born in 1863 and their daughter, May Electa Ferris, a landscape painter and etcher, in 1871.
Location
Currently not on view
date made
1878
original artist
Ferris, Stephen James
ID Number
GA.16649
catalog number
GA*16649
accession number
119,780
Stephen Ferris made this pencil portrait of his son Gerome’s new wife, Annette Ryder Ferris, in 1894. They were married in May of that year. Mrs.
Description
Stephen Ferris made this pencil portrait of his son Gerome’s new wife, Annette Ryder Ferris, in 1894. They were married in May of that year. Mrs. Ferris later donated prints, drawings, and photographs that had belonged to her father-in-law and her husband to the Smithsonian in 1932. Gerome Ferris had made an initial donation in 1927.
Location
Currently not on view
date made
1894
original artist
Ferris, Stephen James
ID Number
GA.16651
catalog number
GA*16651
accession number
119,780
Stephen Ferris drew this pencil portrait of his son Gerome as a Christmas present for his new daughter-in-law, Annette Ryder Ferris, in 1894.
Description
Stephen Ferris drew this pencil portrait of his son Gerome as a Christmas present for his new daughter-in-law, Annette Ryder Ferris, in 1894. Gerome and Annette were married in May of that year.
In 1927 Gerome Ferris made the first donation to the Smithsonian of prints, drawings, and photographs that he and his father had collected, and his widow made a second donation in 1932.
Location
Currently not on view
date made
Christmas, 1894
1894
original artist
Ferris, Stephen James
ID Number
GA.16656
catalog number
GA*16656
accession number
119780
In 1876 Stephen Ferris made several pencil studies, showing his brother-in-law, artist Thomas Moran. The two men had known each other before Ferris’s marriage to Moran’s sister, Elizabeth Anastasia Moran, in 1862.
Description
In 1876 Stephen Ferris made several pencil studies, showing his brother-in-law, artist Thomas Moran. The two men had known each other before Ferris’s marriage to Moran’s sister, Elizabeth Anastasia Moran, in 1862. Ferris had arrived in Philadelphia in 1856 and was recorded in 1861 as sharing a studio with Thomas Moran and Samuel Sartain, whose father, John Sartain, demonstrated the technique of etching for Moran and Ferris.
Thomas Moran’s etched work and that of his wife, Mary Nimmo Moran, is well represented in the NMAH Graphic Arts collection. A number of their prints came as gifts from the Ferris family.
Location
Currently not on view
date made
1876
original artist
Ferris, Stephen James
ID Number
GA.16662
catalog number
GA*16662
accession number
119,780
In 1875 on a visit to Rock Island, Illinois, Stephen Ferris sketched his niece Abigail (or Abbie) in pencil. Abbie was one of five siblings in the family of Ferris’s sister, Althea Ferris Dean. Abbie continued to live in Rock Island, remained single, and taught school.
Description
In 1875 on a visit to Rock Island, Illinois, Stephen Ferris sketched his niece Abigail (or Abbie) in pencil. Abbie was one of five siblings in the family of Ferris’s sister, Althea Ferris Dean. Abbie continued to live in Rock Island, remained single, and taught school. In one census, she was listed as a drawing teacher. Ferris himself taught for many years at the Philadelphia School of Design for Women (now Moore College of Art and Design).
Location
Currently not on view
date made
1875-08-05
1875
original artist
Ferris, Stephen James
ID Number
GA.16684
catalog number
GA*16684
accession number
119,780
In 1881 Stephen Ferris and his son, Gerome, sailed to Spain aboard the S. S.Washington to visit places associated with Spanish painter Mariano Fortuny. During the journey, Stephen Ferris, a portrait artist by profession, claimed he had sketched everyone on board.
Description
In 1881 Stephen Ferris and his son, Gerome, sailed to Spain aboard the S. S.Washington to visit places associated with Spanish painter Mariano Fortuny. During the journey, Stephen Ferris, a portrait artist by profession, claimed he had sketched everyone on board. Although many of these drawings had been pronounced “excellent,” he discarded all but this one in pencil of Srta. Delores Arrojo de Mexico, “a Mexican Indian girl, a real picturesque subject which I intend to paint sometime with fruit and flowers and a good size in oil then etch it.” We do not know whether Ferris ever etched or painted her.
Location
Currently not on view
date made
1881-05-16
1881
original artist
Ferris, Stephen James
ID Number
GA.16685
catalog number
GA*16685
accession number
119,780
Gerome Ferris thought enough of this etching, Grandma Moran, of his maternal grandmother, Mary Higson Moran, that he exhibited it in 1880 at the annual show of the Pennsylvania Academy of the Fine Arts, where he was enrolled as a student.
Description
Gerome Ferris thought enough of this etching, Grandma Moran, of his maternal grandmother, Mary Higson Moran, that he exhibited it in 1880 at the annual show of the Pennsylvania Academy of the Fine Arts, where he was enrolled as a student. He made the print in 1879 after an 1876 pencil sketch by his father, Stephen Ferris, who had taught him to etch.
Mary Moran was the mother of artists Peter, Edward, John, and Thomas Moran, brothers of Elizabeth Moran Ferris.
Location
Currently not on view
Date made
1879
graphic artist
Ferris, Jean Leon Gerome
ID Number
GA.14435.01
accession number
94830
catalog number
14435.01

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