This colored print shows a female at different stages from infancy to old age. This was a popular and recurring theme of genteel society during the 19th Century. The figures are depicted in ascending steps to middle age and then descending, with old age being the lowest to the right. Each image portrays a well-dressed girl or woman in appropriate attire for her position in society (i.e., bride, mother, matron). There are verses beneath each figure and vignettes that symbolize various stages of life. A small vignette of two people standing beside a man digging three graves is in the center foreground.
This print was produced by James S. Baillie, who 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 1840s. He was a prolific lithographer and colorist for Currier & Ives, and his prints were extremely popular with a wide distribution. James Baillie spent his later years concentrating on painting instead of lithography.
This hand-colored print depicts an interior scene of an unmarried man opening a large basket that contains two infants. The man wears a long coat, vest, high collar, bow tie and plaid trousers. An unopened letter lies on the floor near the basket. He has a look of dismay as he peers down on the unruly infants and realizes his responsibilities for the babies. A family of four looks on gleefully through a door in the background. Also in the background are a picture on the wall of a man on horseback, flowered wallpaper, and a patterned rug.
Thomas W. Strong, a wood engraver and lithographer who worked in New York City from 1842-1851 produced this print. After 1851 he was listed as a publisher. Strong's prints included commentaries on social and moral themes as well as cartoons and funny valentines.
Patented on August 20, 1878, this lamp is the invention of lamp maker Charles F. Spencer. Until 1880 the U.S. Patent Office required both documentation and a three-dimensional working model to demonstrate every invention submitted for a patent. Although it now shows signs of rust and wear, this lamp once served as Spencer’s patent model for an innovative approach to lighting.
Black and white print of the lavishly decorated “Gem Saloon,” known for containing the city's largest mirror. The top of the mirror features a large eagle. The “Gem Saloon” was located in a hotel on the corner of Broadway and Anthony (now Worth Street) in New York City. Mayor Fernando Wood and eleven male politicians and businessmen are depicted drinking and conversing along with two bartenders and a dog. The title refers to the debate that was raging over the regulation of alcohol and a temperance movement that was launched in 1850 by the mayor of Portland, Maine in 1850. The Maine state bill forbid all alcoholic purchases except for "medicinal, mechanical or manufacturing purposes", resulting in an increase of alcoholic “quackery” medicines. Several other cities and states followed Maine’s example in legislation. In New York liquor law was passed in 1854 but vetoed by Governor Horatio Seymour. Then in 1855, with a new administration, the "Maine Law" was passed in New York, though it was never strictly enforced.
Augustus Fay was an engraver, lithographer and illustrator born in New York in 1824. He was active as an engraver in New York City 1848-1860, and as a lithographer in Hoboken, New Jersey and in New York in the 1850s.
This colored print depicts a mission school at the American Baptist Missionary Union in Moulmein (now Mawlamyine), British Burma. This former colony became an independent republic in 1948. The ruling military leadership changed the British name for the country to Myanmar in 1988. The scene includes dormitories, teachers' residences, and classroom buildings. A variety of palm trees and shrubs are scattered about the grounds and along a central dirt path.
This print was created by Mrs. H.B. Mason(artist) and produced by Sarony & Major. Ellen Huntly Bullard Mason was the wife of the missionary clergyman Frances Mason (1799-1874). Mrs. Mason wrote and illustrated works about her missionary activities in Burma, including efforts aimed at Burmese women.
Napoleon Sarony (1821–1896) was born in Quebec and trained under several lithography firms, including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, and he eventually developed a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major, and created Sarony & Major lithography firm. Joseph F. Knapp (1832-1891) 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. However, by the 1870s, the firm had shifted its 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 it was bought out by Consolidated Graphics.
This hand-colored allegorical print displays hopes for reconciliation through the federal program of Reconstruction. The nation and government are symbolized by an enormous canopy-like structure, upon which is emblazoned with a map of the United States. An eagle holding a crest and American flag sits atop the map. A frieze that encircles the structure’s dome displays depictions of the Senate, House of Representatives, Supreme Court, and Cabinet. Pillars representing each of the state governments support the dome. However, the pillars and bases symbolizing the Confederate states are in the process of being replaced, providing for the viewer a pictorial representation of the process of Reconstruction. Under the shelter of the canopy, the leaders of the Union and the Confederacy come to terms: Ulysses S. Grant shakes hands with Robert E. Lee and Horace Greeley embraces Jefferson Davis. At the bottom of the illustration, a black and white baby sleep under an eagle holding a banner reading, “All men are born free and equal.” In the lower left, intermixed gathering of black and white voters gather near two plaques labeled “Universal Suffrage.” In the lower right, white officials meet with Native American chiefs in a tent to discuss terms of “Indian Reconstruction.” Nearby, black and white children play together in the yard of a school marked as “Universal Education.” Above the landscape of the print, the faces of various American statesmen and historical figures look down from a cloud upon Reconstruction. Near the center of this array of profiles, John C. Calhoun and Daniel Webster feature prominently. In the center, a robed figure of Jesus wearing a crown of peace is accompanied by the words, “Do to others as you would have others do to you.” In the upper right corners float the female personifications of Liberty and Justice. Below the faces, two disembodied hands are clasped, followed by the words, “Union & Liberty Forever.” Although idealistic, many of the elements depicted in this print would not become realities during Reconstruction: universal suffrage and education for all races would not come into practice until the 20th century, westward expansion would result in continuing bloodshed and further mar U.S. - Native Americans relations, and the country would continue to face deep regional sectionalism throughout the 19th century.
The print was illustrated by John L. Giles, a New York artist and lithographer active between 1876 and 1882. It was printed by Francis Ratellier, a New York lithographer active from 1859 to 1869. The print was published by Horatio Bateman of New York. Three years after the creation of this print, Bateman published Reconstruction Illustrated and Explained: Biographies of 250 Distinguished National Men, which identified all of the people depicted in the work.
This full length, hand-colored portrait print depicts a man wearing a badge on a ribbon. He is leaning on a pillar inscribed with a triangle labeled "PURITY","FIDELITY","LOVE", a temperance pledge and a list of founders. A swan fountain is depicted in the left background.
This print was produced by John H. Hall and Elisha Forbes. A native of Cooperstown, New York, John H. Hall worked as an engraving apprentice in Albany in 1825. Then he spent a year in New York City with Dr. Alexander Anderson learning wood engraving. He returned to Albany after a year and trained Nathaniel Orr in engraving. He worked until 1848 in Albany as a partner at Hall, Packard, and Cushman (1838) and Hall & Cushman (1839). He also was active in Lancaster, Massachusetts and Boston. He was a founder of the Boston Bewick Company in 1834 and is better known as an engraver and for his illustrations in Manual of Ornithology. He moved to California in 1849 to join the Gold Rush and died there. Elisha Forbes was a wood engraver who worked in New Orleans in 1830 before moving to New York City and working there from 1833-1846.
This hand colored print depicts a male from infancy to old age in decade-long spans. This was a popular and recurring theme of genteel society during the 19th Century. The figures are shown on ascending steps up to age 50 and then descending, with age 100 being the lowest to the right. Each image portrays a well-dressed youth or man in appropriate attire for his position in society (i.e., gentleman, soldier, elder). Verses beneath each figure associate a depicted animal with that stage of life. A small vignette of two people standing near a monument in a cemetery is in the center foreground. A flag waves at the top of the pyramid.
This print was produced by James S. Baillie, who 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-1840s. He was a prolific lithographer and colorist for Currier & Ives, and his prints were extremely popular with a wide distribution. James Baillie spent his later years concentrating on painting instead of lithography.
This colored print is an outdoor scene of a young man in tattered clothing on his knee asking forgiveness from his father. The father is weeping tears of joy at his return. Behind them a small band plays while a dozen people dance in celebration. The setting is the courtyard of a grand white country mansion.
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 Henry R. Robinson, who was a caricaturist and lithographer in New York City. He was listed as a carver and gilder from 1833-34, as a caricaturist from 1836-43 and as a lithographer and print publisher from 1843-51. Henry Robinson was known for political prints that championed the causes of the Whig Party (which later merged with the Republican Party) and satirized the opposing Democratic Party. Historian Peter C. Welsh has called Henry Robinson the "Printmaker to the Whig Party."
This black and white print contains thirteen labeled, oval bust portraits of ten men and three women, which surround a larger, three-quarter length portrait of two young men. The seated man on the left depicts Harry Miner; the man standing on the right is vaudeville performer Pat Rooney. The words “Harry Miner Manager” are printed below the bust portraits. All except Miner were variety entertainers, who performed at Miner’s Bowery Theater and belonged to Pat Rooney's Combination, a traveling variety/vaudeville/burlesque troupe. At the bottom of the poster are remnants of a datebill indicating the location of the performance was the Opera House, though not enough remains to determine whether a specific location and date had been included.
Henry Clay “Harry” Miner (1842-1900) was the proprietor and manager of Miner’s Bowery Theater when Pat Rooney performed there beginning circa 1878. Miner was a Civil War pharmacist, policeman, volunteer fireman, and businessman. He partnered with Rooney in the late 1870's and 1880's but mostly concentrated on developing a chain of theaters. He also produced a theater publication and owned a lithography company that specialized in theater posters. His Miner's Bowery Theater was home to amateur night and introduced "The Hook", a cane used to yank unpopular acts off the stage. He also became a U.S. Congressman from New York 1895-1897.
Pat Rooney known as Sr, the elder, and Pat Rooney I (ca 1844-1892) was a performer/dancer/song writer. He was an Irish immigrant, who became a patriarch of a vaudeville family that included his five children: son Patrick Rooney, II (1880-1962), daughters Kate, Mattie (Matilda), Julia, Josie, and his grandson Patrick Rooney III (1909-1979). His wife, Josie Granger (1853-1934), is depicted on the print in the portrait below the vignette of Rooney and Miner. She was a dancer and mother to the dynasty of performers. Patrick Rooney, Sr. began his song and dance career in the New York Bowery. He approached Harry Miner, owner/manager of Miner’s Bowery Theater, convincing him to give him a chance to perform. He was so popular that he became Miner’s partner for several years. He later took his show on the road, performing in workman's clothes, doing clog dancing, and singing comic songs. His son Patrick Rooney, Jr. began performing in a brother-sister act at age ten and later joined with his wife, Marion Bent (1880-1940) to become one of America's most popular vaudeville teams. He was especially well-known for a song and clog dance called "The Daughter of Rosie O'Grady," which he performed with his hands in his pockets. Later in life he appeared in musical comedies and revues, including the original Broadway production of Guys and Dolls in 1950. His son Patrick Rooney III sometimes performed with him and also did solo acts.
Fannie Peake Delano (1850-1935) was born Annie May Sutter, adopted by the bell ringing family of William H. Peake, and married to Jeppe (Jephtha III) Delano (1845-1925). She was a singer and he was a character actor, both were comedians and variety performers.
Mollie Wilson was billed as a petite, lyrical, serio-comic star.
Billie Carter (1834-1912) was a banjo minstrel/ blackface performer. He was known as the "King of the Banjo Players," a member of the Louisiana Minstrels in the mid 1860's, and played at various times with Hooley's Minstrels, Harrigan and Hart, and Tony Pastor's Company
S.G. Beasley and William Wood were musicians who performed as "King Music Makers," each mastering numerous instruments.
Harry Morris and Frank Fields were billed as German Burlesque Comedians.
T. G. Ducrow and Joe C. Lamont performed as Happy Hottentots, Jungle Abborigines, and various comedic skits.
Lithographer Henry Atwell Thomas (1834-1904), an artist and portrait painter especially well known for his theatrical portraits. His New York firm was called H. A. Thomas Lith. Studio until 1887, when it became H. A. Thomas & Wylie Lithographic (sometimes cited as Lithography or Lithographing) Company
This black and white print contains twenty-nine small oval portraits of leaders of American Methodists and five vignettes. The vignettes are of John Wesley rescued from a burning building; Wesley preaching on the tombstone of his father; Old John Street Church, New York; Tremont Street Methodist Church, Boston; and Pioneer Preacher (the central vignette).
John Wesley (1703-1791) was the founding founder of the Methodist faith. One of England's greatest spiritual leaders, he played a major role in the revival of religion in 18th Century English and Scottish life. He graduated from Christ Church College, Oxford University, in 1720 and later became a fellow. While at Oxford, he became active in a religious club nicknamed the “methodists” by its critics because of their methodical study and devotion. Finding the Anglican bishops unsympathetic and unwilling to open their churches to him, Wesley began an itinerant ministry that lasted more than 50 years. Methodism had a significant impact on society. It brought religion to masses of people who, through the shifts of population brought about by the industrial revolution, were not being reached by the Anglican Church.
John Wesley, along with his brother Charles, first brought an evangelical brand of Anglicanism to colonial Georgia from 1735 to 1737. Years later, in February 1784, he chartered the first Methodist Church in the United States. Despite the fact that he was an Anglican, Wesley saw the need to provide church structure for his followers after the Anglican Church abandoned its American believers during the American Revolution. The Methodist church expanded rapidly across the American continent. The traditions of open-air services and circuit-riding preachers fit perfectly with the American frontier. By 1830, Methodists formed the largest denomination in the U.S.
This print was produced by the artist L. Hollis and lithographer John Chester Buttre. John Chester Buttre (1821-1893) was an American steel-plate engraver, lithographer and publisher. He was first studied drawing in his hometown of Auburn, New York, and moved to New York City in 1841. He produced thousands of engraved portraits of American political and military figures, which he published in a three-volume work entitled The American Portrait Gallery.
Missionary Society of the Methodist Episcopal Church
maker
Currier, Nathaniel
ID Number
DL.60.2929
catalog number
60.2929
accession number
228146
Description
This black and white print is of a life membership to a Mr. Philip J.A. Harper issued by the Missionary Society of the Methodist Episcopal Church. The Society, begun in 1820 and headquartered in New York City, was among the earliest organizations that focused on mission within and outside the United States. It initially worked to convert Native Americans and slaves before extending its activities to inhabitants of West Africa and elsewhere overseas.
A vignette depicting missionary activity appears above the text that was inspired by the Society’s proselytizing during the 19th Century. On the right side is a depiction of Native Americans and Africans who were “saved” due to the preaching of a missionary. The left side shows the damnation that comes to those who fail to hear God’s word. Above the scene floats a triumphant angel sent by God who is blowing a trumpet, Bible in hand.
This print was produced by Nathaniel Currier (1813-1888). Currier was the founder of the company that eventually became the Currier & Ives lithography firm. At the age of fifteen Currier apprenticed with the Pendleton lithography firm in New York City. Five years later he moved to Philadelphia to work with the lithographer M.E.D. Brown (1810-1896). After a year Currier moved back to New York, where he intended on going into business with one of the Pendleton brothers. Instead he formed a partnership in 1834 with Adam Stodart who was in the sheet music business. Within a year he opened his own lithography company on Wall Street and then moved to Nassau and Spruce. In 1852 a bookkeeper named James Merritt Ives joined the firm. He married Charles Currier’s sister-in-law and brought to the firm a critical eye and business acumen. In five years he had become a partner. Currier & Ives would become arguably the most successful and prodigious lithography firm of the 19th century. Although especially well known for prints celebrating American landscapes and pastimes like sailing and ice skating, Currier & Ives also produced lithographs that featured current events, social issues and political controversies
This colored print is an interior scene depicting a well-dressed young man walking away from a table with his hand over his eyes, apparently in disbelief and shame. Two women (of easy virtue) and three men remain at the table playing cards. A waiter or servant stands in a corner opening a bottle, while a fifth man is standing above the table with a glass in one hand and a bottle of wine or liquor in the other. Thus, the scene depicts all of the worldly vices that Victorian-era gentlemen were taught to shun: gambling, drinking, and engaging in riotous behavior.
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 Henry R. Robinson, who was a caricaturist and lithographer in New York City. He was listed as a carver and gilder from 1833-34, as a caricaturist from 1836-43 and as a lithographer and print publisher from 1843-51. Henry Robinson was known for political prints that championed the causes of the Whig Party (which later merged with the Republican Party) and satirized the opposing Democratic Party. Historian Peter C. Welsh has called Henry Robinson the "Printmaker to the Whig Party."
This colored print is an interior scene depicting an older man, seated in an armchair with his foot on a foot stool handing a bag of money to his son standing before him. The room is well-appointed with three framed paintings on the wall. The men are wearing tightly tailored coats and trousers as was the fashion of the era. A servant carries a trunk to a doorway outside of which a carriage awaits.
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 Henry R. Robinson, who was a caricaturist and lithographer in New York City. He was listed as a carver and gilder from 1833-34, as a caricaturist from 1836-43 and as a lithographer and print publisher from 1843-51. Henry Robinson was known for political prints that championed the causes of the Whig Party (which later merged with the Republican Party) and satirized the opposing Democratic Party. Historian Peter C. Welsh has called Henry Robinson the "Printmaker to the Whig Party."
The Legend of Sleepy Hollow, a short story by celebrated American author Washington Irving, was first published in 1820 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving achieved acclaim in Europe and the U.S. over the course of his successful writing career. The Legend of Sleepy Hollow was included in “The Sketchbook of Geoffrey Crayon, Gent” while Irving was living in Europe. Thus, he was one of the earliest American authors to survive merely on his writing. Irving’s stories have remained an emblem of American culture as they were some of the first short stories that aimed to entertain rather than educate. The Legend of Sleepy Hollow story inspired artists to create beautiful illustrations like the one included in this print.
The gothic story The Legend of Sleepy Hollow tells of a man named Ichabod Crane who comes to Tarrytown, New York, known in the story as Sleepy Hollow, as a teacher. As he tries to win the heart of the beautiful Katrina Van Tassel, he ultimately finds himself being chased by the village’s feared legend, the Headless Horsemen. The story ends with a smashed pumpkin being found in the place where Ichabon disappeared, never to be seen again. This story is particularly popular around Halloween.
This lithograph from the artist’s 1848-1849 engraving, shows Ichabod Crane, the protagonist of Irving’s legend, as a schoolteacher sitting on a stool in the middle of the classroom. He is surrounded by his students as he sharpens a quill pen. The illustration coincides with the description in the story of Ichabod as a reasonable teacher, not too strict with his students. He rests calmly atop his stool as the children murmur their reading and lessons.
Sarony, Major, & Knapp was one of the largest lithographic firms at the end of the 19th and the early of the 20th centuries. However, before it achieved this success it started out small in 1843 when Napoleon Sarony and James P. Major joined together to start a business. Later in 1857, Joseph F. Knapp joined the company making it Sarony, Major, & Knapp. At the time that this was printed, Knapp was not a part of the business, so it was just Sarony & Major.
Felix O. C. Darley (1822-1888), the artist behind the twelve best-known illustrations for The Legend of the Sleepy Hollow, is considered one of America’s best illustrators. The publisher was the American Art Union, (1839-1857) a subscription organization created to educate the public about American art and artists while providing support for American artists. For $5.00 members would receive admissions to the gallery showing, a yearly report, and an engraving of an original work, as well as any benefits each chapter might provide. Two special editions of the story, each with a set of six of Darley’s illustrations were published; the special edition including this illustration was published in 1850. This print has been rebound with the five others at the back of the book and the cover is incorrectly from the earlier Rip Van Winkle edition published for the American Art Union, however the title page and text are of Washington Irving’s The Legend of Sleepy Hollow.
This colored print depicts a large genealogical tree depicting the early history of the world, with a table showing the lineage of the Biblical patriarchs, from the creation of Adam to the Deluge. “Antediluvian” means “before the flood” and refers to the period before the Deluge as described in Genesis 6:11-9.19 of the Bible.
This print was produced by Endicott and Company, the successor to the New York firm of Geo. & Wm. Endicott Lithographers. George (1802-1848) and William Endicott (1816-1851) were born in Canton, Massachusetts. George Endicott began working as a lithographer in New York in 1828. He partnered with Moses Swett in the company Endicott & Swett from 1830 to 1834. William Endicott joined the company in 1841. Following George Endicott's death in 1848, the firm continued operating as William Endicott & Co. Francis Endicott (born ca. 1834) worked at the company from 1852 to 1886, and George Endicott, Jr. ran the firm from 1887 to 1891.
Missionary Society of the Methodist Episcopal Church
maker
Major & Knapp Engraving, Manufacturing & Lithographic Company
ID Number
DL.60.2925
catalog number
60.2925
accession number
228146
Description
This black and white print is of a life membership certificate issued to a Miss Emely Chamberlain by the Black River Conference, an Auxiliary to the Missionary Society of the Methodist Episcopal Church. The Black River Conference was organized in Watertown, N. Y. in September 1836, by Bishop Beverly Waugh and later incorporated in 1841. The Missionary Society of the Methodist Episcopal Church, begun in 1820 and headquartered in New York City, was among the earliest organizations that focused on mission within and outside the United States. Miss Emely Chamberlain could be one of several individuals living in New York with the name of Emely Chamberlin or Chamberlain during this period. The certificate indicates a monetary charge for the membership.
There are three vignettes depicting religious scenes: a large one at the top and two smaller ones in the lower corners. The top of the print proclaims, “Come Over Into Macedonia And Help Us,” while below it appears a figure of Christ motioning to two reclining followers. The scene in the lower left corner appears to represent worshippers from the Old Testament, while the images in the lower right corner portray a figure of Christ preaching to the multitudes.
The region of Macedonia was ruled by the Ottoman Empire from the 14th to the early 20th Centuries. In the latter half of the 19th century, Greece and the neighboring Balkan countries all claimed rights in Ottoman Macedonia on historical, linguistic, and religious grounds. Thus, they all attempted to show the strength of their respective ethnic groups in this geographically ill-defined area. The steady decline of the Ottoman Empire encouraged the Christian population and its supporters in other countries to press their claims. This print was produced by Major & Knapp Engraving, Manufacturing & Lithographic Company. The firm was founded by Napoleon Sarony (1821–1896), who was born in Quebec and trained under several lithography firms, including Currier & Ives and H.R. Robinson. Sarony was also known for his successful experiments in early photography, and he eventually developed a cabinet-sized camera. In 1846, Sarony partnered with another former apprentice of Nathaniel Currier, Henry B. Major, and created Sarony & Major lithography firm. Joseph F. Knapp (1832-1891) 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. Sarony left the firm by 1867 and by the 1870s, the firm shifted had 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 it was bought out by Consolidated Graphics.
This color print is a full-length portrait of Joseph Smith (1805-1844) , standing in the woods preaching to a group of Native American Indians. Smith was the founder of The Church of Jesus Christ of Latter-day Saints (often referred to as Mormon Church) and translator of The Book of Mormon which he holds in his left hand. Joseph Smith believed that Native American Indians were descended from the Nephite and Lamanite peoples, whose stories are told in The Book of Mormon. There is little evidence that Smith himself preached to Native American tribes, however others did at his behest until government officials pushed missionaries off reservation land. Before Smith’s martyrdom and the subsequent migration of the Mormon peoples to Utah, Smith attempted unsuccessfully to obtain legal government licenses to share The Book of Mormon with Native American tribes forcefully removed to western territories.
This print was produced by Edward Williams Clay and Henry R. Robinson. Edward Williams Clay (1799-1857) was an American painter, illustrator, and printmaker born in Philadelphia. He attended law school but left the legal field to become an engraver. In the late 1820s, he worked on a series of stereotypical racist prints entitled Life in Philadelphia depicting African American life. He also created portraits and sheet music covers, but after 1831 he specialized in political cartoons. He moved from Philadelphia to New York City in 1837 and often worked with Henry R. Robinson. Failing eyesight eventually led Clay to give up art, and he again relocated, this time to Delaware, where he worked as a court clerk. He died of tuberculosis in New York in 1857.
Henry R. Robinson was a caricaturist and lithographer active in New York City from about 1831-1851. He was listed as a carver and gilder from 1833-34, as a caricaturist from 1836-43 and as a lithographer and print publisher from 1843-51. In 1842 he was arrested for selling obscene pictures and books in his print and book shop. He was politically affiliated with the anti-Jackson Whig party which was made obvious by the wig silhouette used in 1838 as an advertising logo for his shop.
Rennie described her only patented invention, for a “Dust Pan,” as having a “peculiar construction” which would assist with “Sweeping Stairs and Floors of Apartments.”
This black and white tinted print depicts one of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print depicts an interior scene of a man attacking his wife. Their son and daughter are trying to intervene. Another woman is entering the room in the background.
This series of prints is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle and The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics, and he himself drank heavily until he took a vow of abstinence in 1847. The prints were originally published by David Bogue, who published most of Cruikshank’s other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. He began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottle series in 1847. He suffered from heart disease and died in 1856 at the age of 48.
This print was produced by Francis Michelin (1809/10-1878) and David William Moody. Francis Michelin was a lithographer who was active in Boston from 1840-1841 and soon after moved to New York City, where he continued to make lithographs with various partners. His partners included Michelin & Cuipers (1844-1845), Michelin & Leefe (1852-1853), Michelin & Shattuck (1853-1854) and Boel & Michelin (1856-1858). David William Moody was also a lithographer. He was active in New York City from 1844-1851. He lived in Williamsburg, New York.