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
Mary Nimmo Moran chose The Goose Pond, Easthampton as her diploma work when the recently formed Royal Society of Painter-Etchers in London elected her a Fellow in 1881, the only woman among the sixty-five original Fellows.
Description
Mary Nimmo Moran chose The Goose Pond, Easthampton as her diploma work when the recently formed Royal Society of Painter-Etchers in London elected her a Fellow in 1881, the only woman among the sixty-five original Fellows. When she exhibited four etchings in the Society’s show, the New York Herald commented on a review in a London paper, ‘“Mrs. Moran’s work is so masculine [sic] that the Daily News critic takes it for that of a man.”’ Her vigorous etching style has been frequently noted along with her preference for working outdoors directly on a prepared plate, before the subject.
The print shows a pond, now known as Town Pond, and Gardiner’s Mill, which still stands in the town of East Hampton, where the Morans spent many summers. Landscape and in particular the landscape around East Hampton was the subject of many of Mary Nimmo Moran’s etchings.
Location
Currently not on view
Date made
1881
graphic artist
Moran, Mary Nimmo
ID Number
GA.14566
catalog number
14566
accession number
94830
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
This signed and titled print, Prés Houlgate (Calvados) by Maxime Lalanne, was published in a portfolio of etchings titled Divertissements sur cuivre, 12 croquis (Entertainments on Copper, Twelve Sketches) in 1869. Houlgate is in Normandy in northwestern France.
Description
This signed and titled print, Prés Houlgate (Calvados) by Maxime Lalanne, was published in a portfolio of etchings titled Divertissements sur cuivre, 12 croquis (Entertainments on Copper, Twelve Sketches) in 1869. Houlgate is in Normandy in northwestern France. While Lalanne etched many views of the countryside, it was his city views that made his reputation.
Location
Currently not on view
Date made
1869
graphic artist
Lalanne, Maxime
publisher
Cadart et Luce
ID Number
GA.14595
catalog number
14595
accession number
94830
Maxime Lalanne’s etching Le Chambre de Victor Hugo shows Hugo’s bedroom in Hauteville House on the Isle of Guernsey. The distinguished French author of works such as Les Misérables left Paris for political exile after a coup brought to power Louis Napoleon, later Napoleon III.
Description
Maxime Lalanne’s etching Le Chambre de Victor Hugo shows Hugo’s bedroom in Hauteville House on the Isle of Guernsey. The distinguished French author of works such as Les Misérables left Paris for political exile after a coup brought to power Louis Napoleon, later Napoleon III. The print was originally published as one of a suite of twelve to accompany a book titled Chez Victor Hugo par un Passant (At Victor Hugo’s House by a Passer-by). Hugo’s son Charles based his book on the reporting of Edmond Bacot, who visited Hugo in 1862. Lalanne etched this scene after one of the photographs Bacot took.
Location
Currently not on view
Date made
1864
publisher
Cadart, A.
graphic artist
Lalanne, Maxime
photographer
Bacot, Edmond
ID Number
GA.14597
catalog number
14597
accession number
94830
Le Soldat et la Fillette Qui Rit is the only painting by Johannes Vermeer (1632–1675) that Jules Jacquemart etched. His first attempt to etch a painting in 1861 was a failure, as apparently he had been unable to work directly from the subject.
Description
Le Soldat et la Fillette Qui Rit is the only painting by Johannes Vermeer (1632–1675) that Jules Jacquemart etched. His first attempt to etch a painting in 1861 was a failure, as apparently he had been unable to work directly from the subject. Not until five years later in 1866 did he make a second attempt at etching a painting, this print after Vermeer. It was considered to be one of the best reproductive etchings of the time. The Vermeer painting now hangs in the Frick Collection, New York. But when Jacquemart etched it for the Gazette des Beaux-Arts, it was in the collection of Léopold Double, a French artillery officer, bibliophile, and art collector.
Location
Currently not on view
Date made
1866
original artist
Vermeer, Jan
graphic artist
Jacquemart, Jules
printer
Delâtre
publisher
Gazette des Beaux-Arts
ID Number
GA.14601
catalog number
14601
accession number
94830
Jules Jacquemart reproduced these jewels in Bijoux Antiques (Musée Campana), working directly from the objects. He started by making detailed drawings or watercolors of the objects, but sometimes he etched them directly on the plate.
Description
Jules Jacquemart reproduced these jewels in Bijoux Antiques (Musée Campana), working directly from the objects. He started by making detailed drawings or watercolors of the objects, but sometimes he etched them directly on the plate. This print was considered a still life by Jacquemart’s contemporaries. One enthusiastic author even praised him as “the most marvellous etcher of still-life who ever existed in the world. In the power of imitating an object set before him he has distanced all past work and no living rival can approach him.” This etching originally appeared in 1863 in the Gazette des Beaux-Arts, which first published one of his etchings in 1859. Of the almost 400 prints Jacquemart made, about two-thirds reproduce objects.
The Museo Campana housed the art collection of the Marchese Giovanni Pietro Campana in Rome. When the collection was disbursed in 1861, France acquired a large part of the jewelry, which comprised mainly Etruscan, Greek, and Roman pieces, as well as some 19th-century work. The jewels were exhibited in Paris from 1862 and helped start a fashion for archeological jewelry. They can be viewed today in the Musée du Louvre, Paris.
Location
Currently not on view
Date made
1863
graphic artist
Jacquemart, Jules
printer
Delâtre
publisher
Gazette des Beaux-Arts
ID Number
GA.14602.01
catalog number
14602.01
accession number
94830
This impression of La Recureuse by Charles Jacque is neither signed nor dated. The print shows a farm girl washing a large tub, which has been propped up on a rustic stool or wooden chopping block.
Description
This impression of La Recureuse by Charles Jacque is neither signed nor dated. The print shows a farm girl washing a large tub, which has been propped up on a rustic stool or wooden chopping block. The young boy, standing and carrying a shield, originally was shown relieving himself. A later hand, possibly Stephen Ferris’s or Gerome Ferris’s, censored the artist’s composition by whiting out the original activity and inking in a shield. Printed on chine colle.
Location
Currently not on view
Date made
1845
graphic artist
Jacque, Charles Émile
ID Number
GA.14705
catalog number
14705
accession number
94830
Thomas Moran etched this view of a mission church in New Mexico in 1881 after a photograph by friend and traveling companion William Henry Jackson (1843–1942). Moran had met Jackson in 1871 on Ferdinand V.
Description
Thomas Moran etched this view of a mission church in New Mexico in 1881 after a photograph by friend and traveling companion William Henry Jackson (1843–1942). Moran had met Jackson in 1871 on Ferdinand V. Hayden’s Yellowstone expedition, the first government-sponsored survey of that area. Jackson and Moran worked side by side recording views. While Moran’s paintings of the West made his reputation, fewer than one-fifth of his etchings depict Western or Mexican scenes. His signature “TYM” at lower left stands for Thomas “Yellowstone” Moran.
The church shown in this print was replaced by a stone building in the early 20th century, and the San Juan Pueblo recently changed its name to Ohkay Owingeh Pueblo. It lies twenty-five miles north of Santa Fe.
Location
Currently not on view
Date made
1881
Associated Date
1881
graphic artist
Moran, Thomas
photographer
Jackson, William Henry
ID Number
GA.14750
catalog number
14750
accession number
94830
This print, On the Neshimaney, which shows cows on a still, warm afternoon standing by a creek, is typical of the views of rural Pennsylvania that were the specialty of Peter Moran. He took pains to make the landscape details appear natural.
Description
This print, On the Neshimaney, which shows cows on a still, warm afternoon standing by a creek, is typical of the views of rural Pennsylvania that were the specialty of Peter Moran. He took pains to make the landscape details appear natural. French artists who depicted the rural landscape, such as Constant Tryon (1810–1865) and Charles Jacque (1813–1894), were important to Moran’s artistic development.
Somewhat confusingly, Peter Moran exhibited three etchings with the title On the Neshaminey in his one-man show in 1887 and 1888 at Frederick Keppel’s New York gallery. This print is the largest and last of the Neshaminey series. Philadelphia book dealer Robert M. Lindsay commissioned the print from Moran and published it in an edition of 100 in late October 1886.
This print is signed in the image and in pencil at lower left below the image, “P Moran.” It also has a remarque (small design) of a cow’s head at left in the lower margin. Remarques are of special interest to collectors as they are used on prepublication prints and then removed from the plate before the edition is printed.
The Neshaminey Creek in Bucks County, Pennsylvania, runs north of Philadelphia through what are today mostly suburban areas, although some farmland does remain. The area shown in the print is probably near either New Britain or Edison. Peter Moran and his family spent some summers in the area.
Location
Currently not on view
Date made
1886
graphic artist
Moran, Peter
publisher
Lindsay, Robert
ID Number
GA.14769
catalog number
14769
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
Paul Rajon’s print of Le Serment de Vargas is made after a watercolor of the subject by Louis Gallait (1810–1887), not from the oil painting that is now in the Wallace Collection in London.
Description
Paul Rajon’s print of Le Serment de Vargas is made after a watercolor of the subject by Louis Gallait (1810–1887), not from the oil painting that is now in the Wallace Collection in London. Juan de Vargas is swearing an oath before the Duke of Alva, who was a governor of the Netherlands in the 16th century during the long struggle by the Dutch for independence from Spain, achieved at last in 1648. He pursued a bloody campaign against the Dutch Protestants. Louis Gallait was a Belgian painter of history, portraits, and genre.
Location
Currently not on view
Date made
19th century
original artist
Gallait, Louis
graphic artist
Rajon, Paul-Adolphe
printer
Salmon, A.
publisher
Gazette des Beaux-Arts
ID Number
GA.14912
catalog number
14912
accession number
94830
Christian Adolf Schreyer (1828–1899) painted this dramatic scene of galloping horses pulling a wagon through the Wallachian countryside (now part of Romania).
Description
Christian Adolf Schreyer (1828–1899) painted this dramatic scene of galloping horses pulling a wagon through the Wallachian countryside (now part of Romania). William Unger’s etching, made about 1880, was selected for exhibition at the Cincinnati Exposition in 1888 in an enormous display of past and present graphic art curated by Sylvester R. Koehler, the Smithsonian’s Graphic Arts Curator. Koehler was also a prolific author, editor, and advocate of contemporary etching. He published Unger’s etchings in Foreign Etchings (1887) and in his journal, The American Art Review.
Schreyer’s paintings of horses and peasant life remain popular today. The Chase, his painting showing Arab horsemen dashing through a field, sold for $464,000 in 2005.
Location
Currently not on view
date made
ca 1880
original artist
Schreyer, Adolf
graphic artist
Unger, William
publisher
Kaeser, P.
printer
Kargl, F.
ID Number
GA.14981
catalog number
14981
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
This lithograph, Passage de l’armé française à; l’hospice du Mont Saint-Bernard 15 Mai 1800 by Hippolyte Bellangé, shows Napoleon’s daring crossing of the Alps via the Great St. Bernard Pass on the Italian-Swiss border with his army of 40,000 men.
Description
This lithograph, Passage de l’armé française à; l’hospice du Mont Saint-Bernard 15 Mai 1800 by Hippolyte Bellangé, shows Napoleon’s daring crossing of the Alps via the Great St. Bernard Pass on the Italian-Swiss border with his army of 40,000 men. It was published with eleven other military views, including the Battle of Marengo, in a portfolio. Entitled Souvenirs militaires de la Republique, du Consulat et de l’Empire (Military Memories of the Republic, the Consulate, and the Empire), the firm of Gihaut introduced the album in 1834. It was the last but one in an annual series that Bellangé inaugurated in 1823. The prints in these portfolios included military views and some genre scenes.
Location
Currently not on view
Date made
1833
graphic artist
Bellangé, Hippolyte
ID Number
GA.15317
catalog number
15317
accession number
94830
La Cruche Cassée etched by Charles Jacque shows a seated man with a broken pitcher in his left hand, at which he gestures with his right. Shards from the pitcher lie on the floor, and a basket tilts off the edge of the table, on which sits an empty glass.
Description
La Cruche Cassée etched by Charles Jacque shows a seated man with a broken pitcher in his left hand, at which he gestures with his right. Shards from the pitcher lie on the floor, and a basket tilts off the edge of the table, on which sits an empty glass. It appears that Jacque is chronicling the kind of mishap that can befall the drinking man. Before concentrating on depictions of rural life, Jacque made caricatures for a satiric magazine. In his prints, however, he presented the life of rural people sympathetically, not satirically.
Location
Currently not on view
Date made
1844
graphic artist
Jacque, Charles Émile
ID Number
GA.14706
catalog number
14706
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
Stephen Ferris etched Home of Mariano, Gypsy King in Granada, Spain, during his 1881 visit to sites associated with Mariano Fortuny, a Spanish artist he deeply admired. In a letter from Granada to art editor Sylvester R.
Description
Stephen Ferris etched Home of Mariano, Gypsy King in Granada, Spain, during his 1881 visit to sites associated with Mariano Fortuny, a Spanish artist he deeply admired. In a letter from Granada to art editor Sylvester R. Koehler, Ferris told of his fascination with gypsy cave dwellings. He described them as “most picturesque and weird, overgrown with vines, cactus, and aloes . . . . I have made several drawings of Gitanos [gypsy] caves and of one especially a favorite model of Fortunys [sic] a Gitano prince in splendid costume. We bought his dress and I intend to paint and etch my picture when I get time.” Ferris etched the gypsy’s portrait in costume separately and included it, slightly altered, on the right in this print showing the family and animals assembled in front of their cave. Ferris noted in pencil on the print that it was etched directly from life.
Gypsies or gitanos still live in caves in the Sacromonte(Holy Mountain) area of Granada. Today the number of cave dwellers has dwindled, but the area remains famous for flamenco singing and dancing.
Location
Currently not on view
Date made
1881
graphic artist
Ferris, Stephen James
ID Number
GA.14404.03
accession number
94830
catalog number
14404.03
Stephen James Ferris etched an undated portrait of his daughter, May, in the costume of a bull fighter, and dedicated this impression to her. May Electa Ferris was born in 1871, eight years after her brother, Jean Leon Gerome Ferris.
Description
Stephen James Ferris etched an undated portrait of his daughter, May, in the costume of a bull fighter, and dedicated this impression to her. May Electa Ferris was born in 1871, eight years after her brother, Jean Leon Gerome Ferris. Like her father and brother, she was an artist. She learned to etch from her father and became known as an etcher and landscape painter, exhibiting in the 1880s and 1890s. Her paintings were reproduced as calendar artwork into the 1920s under her married name, May Ferris Smith.
Location
Currently not on view
date made
c. 1890
graphic artist
Ferris, Stephen James
ID Number
GA.14405.01
accession number
94830
catalog number
14405.01
Stephen J. Ferris, a Philadelphia painter and etcher, specialized in portraiture. He etched this portrait of Abraham Lincoln in 1881, noting in pencil at the lower right that this print was the earliest proof he took from the plate.
Description
Stephen J. Ferris, a Philadelphia painter and etcher, specialized in portraiture. He etched this portrait of Abraham Lincoln in 1881, noting in pencil at the lower right that this print was the earliest proof he took from the plate. Ferris etched many subjects for a variety of publications, including art periodicals and special editions of etchings. He made both original prints and reproductive etchings after works by other artists in other media.
This image, like several other portrait prints of Lincoln, is based on the popular photograph made by the Mathew Brady studio in 1864. Ferris collected prints and photographs to aid him in his work, and his print collection came to the Smithsonian as a gift from the Ferris family.
Location
Currently not on view
Date made
1881
depicted
Lincoln, Abraham
graphic artist
Ferris, Stephen James
ID Number
GA.14531
catalog number
14531
accession number
94830

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