This colored print shows three people, two women and a man, standing by a memorial urn depicting busts of George and Martha Washington. Mount Vernon is seen in the background with deer depicted on the grounds. It is one of many prints created as commemoratives created after the death of George Washington. This image also pays tribute to Martha Washington, who died in 1802.
This lithograph was produced by Peter S. Duval and Alfred M. Hoffy after an image by engraver/landscape painter Samuel Seymour (active 1796-1823) published in Philadelphia January 1, 1804 by John Savage. Numerous copies of this image were made into needlework pictures, other prints and supposedly a painting by John Trumbull were made based on this image. This print has minor changes from the original including more deer in the background. This print was published by T. O’Sullivan in 1840.
Peter Duval (ca. 1804/05-1886) was a French lithographer who immigrated to Philadelphia in 1831 to work for the lithographic firm of Childs & Inman. In 1837 he established his own lithographic firm in Philadelphia. During the 1840s, the firm's products included advertisements, book and periodical illustrations, sheet music covers, maps and portraits. By the end of that decade, Duval was winning awards for his work in chromolithography. He was also among the first to introduce steam power to the process of lithography. His son Stephen Orr Duval joined the company in 1858. The company headquarters suffered a disastrous fire in 1856 and Duval declared financial insolvency in 1859. However, he was able to reestablish his business, and he continued working till his retirement in 1869. Alfred M. Hoffy (ca. 1796-1892) was a British army officer who fought in the Battle of Waterloo before immigrating to New York in the 1830s. He worked in Philadelphia as an author, lithographic artist and publisher of lithographic periodicals between 1838 and 1868. Huffy issued the first illustrated American journal on fruit cultivation and was also designed plates for the military fashion periodical U.S. Military Magazine, which he published together with Peter Duval. Duval also produced Huffy's portraits, sheet music and advertising designs.
Pencil and ink wash sketch on paper. Scene of a village from across a river. Trees line the opposite bank; a large chateau or house is in the right background. On the left of the drawing is a church.
Charcoal sketch on heavy white card stock. The work depicts a chateau in the area of Grandpré, France. The entrance is a large archway surmounted by a hipped roof with dormers.
Charcoal sketch on illustration board of a ruined chateau in the village of Eix in France. The house is shell-torn, with several large holes in the roof and walls. The chateau is surrounded by shell damaged trees and a ruined brick wall. According to the title card affixed to the drawing, the chateau was once the headquarters of the Crown Prince.
Ink wash and pencil sketch on paper. The work depicts a large, stately home in Langres, France which was converted to the Headquarters of the American Army Schools during World War I. An automobile is in the drive and a man is walking up stairs to the entrance of the building.
This copy of an earlier lithograph depicts Benjamin Franklin, the American Minister at the Court of France, receiving a laurel wreath from Countess Diana Polignac. Amid the elegant finery of the French aristocracy, Franklin is easily identifiable, clothed simply in a brown suit.
The image of a frugal, industrious, unpretentious republican American was something Franklin cultivated. He owned more than one of these “Quaker” or “ditto” suits, made of plum-colored silk. The Museum owns one of these suits (2012.0187.001), which Franklin wore in Paris during the year of the signing of the Treaty of Alliance.
The event depicted is a celebration after the signing of the Treaty of Amity and Commerce and the Treaty of Alliance, which was signed February 6, 1778, in Paris. These agreements established a commercial alliance that provided financial aid and authorized military support for the American colonies during the Revolutionary War. The celebration of the treaties took place ten days later at Versailles Palace.
The flatly drawn members of the French court (from left to right) include: Duchesse Jules de Polignac, Princesse Marie Therese Louise de Savoie-Carignan Lamballe (holding flowers), Comtesse Diana Polignac (holding wreath), Comte de Vergennes, Mme. Campan, Comtesse de Neuilly, Marie-Antoinette, Queen Consort of Louis XVI (seated), King Louis XVI, and Princesse Elizabeth. As a popular celebrity diplomat, Franklin was a favorite with the ladies and spent much of his time with the socially and intellectually elite. This large print was probably produced for municipal buildings, upper -class homes, or businesses, and perhaps the more affluent academies or schools.
Colored print; bust portraits of Franklin Pierce and William R. King. Each portrait is surrounded by an oval laurel leaf cartouche. The Capitol and the President's House appear in views beneath the portraits. American flags, an eagle, and drapery decorate the space above the portraits.
This commemorative black and white print from 1865 was created in the period of high public demand for Lincoln images after his assassination, during which many Northerners felt a desire to display a representation of the man they believed to be the savior of the nation. The print depicts Lincoln on horseback in front of his Springfield, Illinois, after returning home against his successful campaign against the Democratic presidential candidate, Sen. Stephen Douglas. It employs the popular image of Lincoln at home to portray him as both a family man and an approachable representative of the people. Although he would have been clean shaven at this time, the printmakers included Abe’s later, characteristic beard.
Lincoln lived in this two-story twelve-room home from 1844 to 1861. On February 6, 1861, about 700 friends, neighbors, and well-wishers came to his residence to bid him farewell before he left for Washington. Lincoln departed Springfield on February 11, 1861, for his inauguration, but would never return to this home alive. His oldest son, Robert Todd Lincoln, donated the family home to the state of Illinois in 1887 and it was designated a National Historic Landmark in 1960.
The creator of the print, Charles Shober, was born in Germany in 1831. In 1854, he immigrated to Philadelphia, where he worked as a lithographer. He partnered with Charles Reen in 1857, and by 1859, the firm of Reen & Shober relocated to Chicago. There, Shober began operating his own firm, Charles Shober & Co., until the fire of 1871, when he took over the Chicago Lithographing Company. He left this company in 1876 to partner with Edward Carqueville. Shober & Carqueville printed sheet music, posters, maps, and trade cards until Shober left in the early 1880s, after a fire at the firm. This print was copyrighted by Alfred Storey & Company.
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
Custis, George Washington Parke
Washington, George
Washington, Martha
Custis, Eleanor Parke
maker
Tholey, Charles P.
Smith, John
ID Number
DL.60.2588
catalog number
60.2588
accession number
228146
Description (Brief)
Colored print of Washington and Lafayette shaking hands on the piazza (veranda) at Mount Vernon. Martha and her grandchildren stand behind Washington. A view of the Potomac River is in the background. A coach waits in the background.
Colored print of George and Martha Washington on a veranda. In this popular image, he is seated and she stands behind him. A boy (George Washington Parke Custis) and girl (Eleanor Parke Custis) stand at the left. Older girl enters at left with tea service. A large standing globe is in the foreground. This is a copy of the family portrait by Edward Savage which was painted 1789-1796 and published from a mezzotint engraving March 10, 1798.
Color print of a corner view of a two-story wood frame house identified as the residence of Abraham Lincoln. A horse-drawn wagon, a man on horseback and pedestrians are on the streets in the foreground.
Description
This undated, hand-colored print of Lincoln’s residence in Springfield, Illinois, was most likely created in the period of high public demand for Lincoln images around the time of his assassination, during which many Northerners felt a desire to display a representation of the man they believed to be the savior of their nation. Lincoln lived in this two-story, twelve-room home from 1844 to 1861. In the print, a men on horseback, women with parasols, and a horse-drawn buggy all pass by the residence on the road. A beardless Abraham Lincoln and one his sons stand near the entrance to the home.
On February 6, 1861, about 700 friends, neighbors, and well-wishers came to his residence to bid him farewell before he left for Washington. Lincoln departed Springfield on February 11, 1861, for his inauguration, but would never return to this home alive. His oldest son, Robert Todd Lincoln, donated the family home to the state of Illinois in 1887 and it was designated a National Historic Landmark in 1960.
The publisher of the print, R.R. Landon, of Chicago, also published numerous engravings of Lincoln by American artist John Sartain. After Lincoln’s assassination, Landon produced and sold mourning badges featuring the likeness of the dead president to the grieving Chicago public. Landon’s print bears many similarities to another printed by L. Prang & Co, “Home of Abraham Lincoln,” also found in the “America on Stone” Collection.
Ink on paper. The sketch depicts the destruction of the Le Chateau de Hannoncelles Near Fresnes en Woevre. The artist focuses the work on the damage caused by the war to the property. The scene shows the destroyed architecture of the home by highlighting its missing roof, bombarded walls, and crumbled front gate. The artist has also depicted the home's forest area with fallen trees.
black and white stereograph mounted on orange cardstock; advertisements printed on verso for S.H. Kimball, Chester's Cure, The Yokohama Tea Co., William Bourne & Son Piano Forte Warerooms, Clifford Perfumery, Pool Brothers Hat & Bonnet Bleachery; printed on recto "Peoples' Series. / The Old Stone Chimney House, Pawtucket, R.I. 200 years old / American Views."; two (possibly three) level wooden clapboard and shingle home with steeply pitched roof, stone chimneys at both ends of the roof line; young girl standing on unpaved path in front of home pushing a (toy?) three-wheeled carriage
black and white stereograph mounted on yellow cardstock; printed on verso "Photographed and Published by / Kilburn Brothers, - - - - Littleton, N.H."; printed on recto "No. 1013. Trinity Square, Martha's Vineyard."; row of gingerbread style cottages along right side of image extending at angle through midground
black and white stereograph mounted on orange cardstock; printed on verso "Woodward & Son. / Taunton, / Mass."; group of men, women and children gathered on the lawn, both seated and standing, in front of the gingerbread cottages of Cottage City (Wesleyan Grove, Oak Bluffs, Martha's Vineyard)