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 black and white print; full length frontal view of a young boy seated outdoors with one leg folded under him, dressed in velvet and lace. The companion print is "Mother's Joy" (60.2224)
The drawing was produced by Napoleon Sarony and lithographed and published by his firm of Sarony & Major. Sarony and his partner Henry B. Major were former employees of Nathaniel Currier prior to establishing their firm in New York City in 1846.
These business cards belonged to Samuel Copp (born 1787) who owned the wholesale and retail dry goods store Samuel Copp and Company located at 197 Broadway in New York City. Samuel served in the war of 1812 and retired to Stonington, Connecticut around 1815.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Black and white print; bust portraits of 28 stage favorites: actors and actresses that include John Drew, Laura Keene, Edwin Forrest and Tyrone Power. Facsimilies of their signatures appear under the title.
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 sentimental, outdoor scene depicting a young girl standing at water's edge. Next to her is a dog leaning over the water, sniffing a floating black hat. She is wearing a plain clothing. A thatched-roof clapboard house and rocky coastline is in the background. The reference to the fisherman in the title, and the black hat floating in the water may allude to a fisherman lost at sea-perhaps the girl's father.
This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Colored print of a little boy in a blue sailor suit and yellow brimmed hat, hoisting an American flag from the deck of an ocean ship. An anchor and an axe lie at his feet.
Colored print of two hunters with rifles and a leashed dog at right. The hunters are shooting at a deer on the left but apparently hit a man who is between them and the deer.
Colored print of Christ kneeling in a garden. An angel comes to him with a cross with crown of thorns in one hand and a chalice in the other. Beneath the print is a quote of Christ's prayer.
Black and white comic print of a child carrying a pillow pushing a man towards a bed. The man is holding a chamberstick at an angle which causes the candle to drip on the floor and holds a hand up to his forehead. A picture on the wall bears the inscription "Page". This is one of over 100 in a series of comic parodies of popular songs.
Colored print of Cornwallis handing his sword to Washington. The American troops stand on the left, the British on the right. The French fleet and the wall of the fort at Yorktown are in the background. In the right foreground are a cannon and a drum.
This print was produced by James S Baillie, was active in New York from 1838 to 1855. James Baillie started as a framer in 1838, and then became an artist and lithographer in 1843 or 1844. He discovered how to color lithographs while working as an independent contractor for Currier & Ives in the mid 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
Colored print of a hunter aiming a rifle at birds (snipe) in flight while a hunting dog watches. On right, a dog presents a dead snipe to his master. There are miscellaneous farm buildings and another hunter with dogs in the left background.
Colored print of a group of hunters picnicing after the chase. The hounds wander about as the horses rest under the trees. A dead deer hangs from a tree branch.
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 a portrait of man, woman and four young children, one an infant in mother's lap in a richly furnished interior setting. The family is clothed in fancy antebellum dress. The room contains an elaborate sofa, foot stools, two heavily framed bust portraits of the husband and wife, heavy blue drapes, an ornate rug, patterned wallpaper and an intricately carved chair rail. The children and father all face the mother as if seeking her guidance. This is one of several prints with the same title, depicting a contented family. These happy family scenes were meant to contrast with the restless, discontented bachelor prints.
The print was produced by Sarony & Major. Napoleon Sarony (1821–1896) was born in Quebec, Canada, and trained under several lithography firms including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, eventually developing a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major. Together they created Sarony & Major Lithography firm. Joseph F. Knapp joined the firm in 1857. Sarony, Major & Knapp earned a solid reputation for lithography and the company was especially known for its fine art chromolithography. Unfortunately, by the 1870s, the firm shifted focus to the more profitable area of advertising. It also expanded to become the conglomerate known as the American Lithographic Company, successfully producing calendars, advertising cards, and posters. In 1930 they were bought out by Consolidated Graphics.
Black and white comic print of a hunter on his knees as his rifle discharges. Behind bushes are two pigs and a startled bird. This is one of over 100 in a series of comic parodies of popular songs.
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 interior scene dipicting a young girl of coquettish demeanor, seated on a chair. She is wearing everyday dress that includes lace, a ribbon sash, short stockings, and a straw hat with a bow on the floor in foreground. Rich fabric is draped over the arm of an ornately carved upholstered chair and the background is wallpapered.
Henry R. Robinson was a caricaturist, lithographer, print publisher and retailer active in New York City from 1833 until 1851. He was well known as a political cartoonist and was politically affiliated with the anti-Jackson Whig party. He advertised his affiliation with a wig silhouette which he used as an advertising logo for his shop in New York City. Like many of his contemporaries, he mentored other lithographers, including Napoleon Sarony. In 1842 he was arrested for selling obscene pictures and books. His Sept 29, 1842 court case of People vs. H.R. Robinson in New York City can be found in the District Attorney Indictment Papers in the Municipal Archives.
Black and white comic print of school master about to spank a young boy. He is holding the boy by his hair. There is a bar of music below the title and the staff has a face and hand. This is one of over 100 in a series of comic parodies of popular songs.
Colored print; country scene with Dutch-colonial farm houses along a country lane with picket and split rail fences, and a church with cupola in the background. Lane is filled with school children and some adults. Four children are swinging on a gate at right, a girl sits pensively under a tree at center. Text beginning "How dear to my heart are the scenes of my childhood," appears below the image on either side of the title.