Black and white print of a woodland scene depicting a small house in front of a wide flowing stream. The stream runs below or up to a stone arched stone section of the house.
This print was produced from a drawing by Bass Otis. It was created on a lithographic stone made of limestone from Munich, Germany that had been presented to the American Philoophical Society by Thomas Dobson of Philadelphia. The stone had been signed out In May 1819 for the purpose of experimenting by Otis and scientist Dr. Samuel Brown. The printing was done by Otis and published in the July 1819 issue of The Analectic Magazine. It is generally accepted as the first American lithograph.
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 half-length portrait of a girl, circa 1840s, holding in her arms a fat golden brown hen sporting a red comb. The graphic artist and publisher are unknown.
Hand colored print of General Israel Putnam (1718-1790) on horseback escaping from British troops. While Putnam had several heroic episodes during the American Revolution, this print depicts "Old Put" narrowly escaping the British in Greenwich on February 26, 1779 while he escaped out a window on his saddled horse and galloping off the edge of a rocky embankment while waving his sword in warning as he is being fired upon.
The graphic artist or lithographer of this print is unknown though it may be James Baillie but Sowle and Shaw is identified as the publisher/distributor of this print. John Sowle and Albert Shaw were principals in the firm of Soule and Shaw, listed in the Boston city directory as dealers of pictures (prints and engravings). The company was in business from 1845-1850 until Shaw was replaced by Joseph Ward as an owner.
Black and white print; political cartoon depicting a map of the United States in 1828. A large turtle and alligator are featured at center with several caricatures riding or standing on each of them, expressing views regarding the John Quincy Adams administration. In the background is a mountain range with two groups of Indians commenting on American life.
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 10. Sailing for Bluefish. Fred. S. Cozzens. It depicts three men in a sailboat. Two of the men are fishing and the third is steering the rudder. Other sailboats and a lighthouse are in background.
The artist was Frederic Schiller Cozzens (1846-1928) who was known for maritime scenes.
This is a colored print of the 1856 eleven man United States cricket team. The players are dressed in assorted sports clothing, four holding cricket bats. This is the team that played September 11-12, 1856 when the United States won their match against Canada in Hoboken, New Jersey. The cricket match was attended by over 5,000 and the US won with 9 wickets to spare. The US success and North American interest inspired the All-England XI 6 city tour which occurred in 1859. In this print, umpire George Wheatcroft from Newark, New Jersey, stands dressed in a black suit and top hat. He stands at the one end of the row of players. The name of each man and his club is listed beneath his image. They are identified as Barlow, Marsh, (Henry) Sharpe, (Sam) Wright, Gibbes, Higham, Bingham, Cuyp, Waller, Willey, and Senior. Several were veterans of earlier matches and are from the St. George's Cricket Club in Manhattan, the New York Cricket Club, and the Philadelphia Cricket Club.
Allegorical colored print; bust view of a woman, encircled by a wreath that is wrapped with a tri-colored ribbon and incorporates a variety of patriotic symbols. The woman is Charlotte Corday, a heroine of the French Revolution. She is wearing a Liberty cap. The "Pearl of Peace" and "Level of Equality" hang from a ribbon around her neck. Below is a poem describing the wreath and a list of 25 senators and 76 congressmen who voted against the annexation of Texas on February 28, 1845, and to whom the print is dedicated .
Color advertising print depicting the building occupied by Joseph Laing & Co. (lithographers) and Edward Evans (clothiers). The image is surrounded by an elaborate decorative border contining a view of the original plan for the Washington Monument at the bottom, a steamship at the top, and four female allegorical figures on the sides.
Black and white print; bust portrait of George Washington surrounded by numerous calligraphy samples. Below the print is an advertisement for penmanship taught by Benjamin O. Tyler.
Colored print commemorating all aspects of American industrial progess. In the foreground three central figures stand holding different tools: a trowel, a leveling triangle, a mallet, a chisel, a saw, and a tri-square. They are surrounded by a collection of men performing a variety of tasks representing different industries. Behind them is a statue of Benjamin Franklin. The background shows a train, ships in a harbor, a factory with smokestacks, telegraph lines, and a construction site.
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 3. Trout Fishing. Henry Sandham. Depicted is a fisherman standing in a stream fishing. The scene is set in a forest.
The artist was Henry Sandham (1842-1910), a Canadian born illustrator and artist of hunting and fishing scenes.
This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals. It included 150 stone lithographs produced in three volumes of 50 prints per volume. The lithographs were based on watercolor drawings by John James Audubon and after 1846, son John Woodhouse Audubon, who completed the series due to the elder Audubon’s failing eyesight and declining health. Another son, Victor Gifford Audubon, assisted with the drawings backgrounds. The lithographs were printed on non-watermarked heavy white paper and coloring was applied by hand before the prints were bound. Reverend John Bachman was a naturalist of note, as well as John James Audubon’s friend and father of both daughter-in-laws, so he provided the accompanying letterpress narrative. It made the production truly a family affair. The slightly later Octavo edition contained 155 prints of smaller size.
This unbound lithographic plate depicts a hand-colored image of a brown hare with white underside and black markings, crouching beside a body of water.
This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals. It included 150 stone lithographs produced in three volumes of 50 prints per volume. The lithographs were based on watercolor drawings by John James Audubon and after 1846, son John Woodhouse Audubon, who completed the series due to the elder Audubon’s failing eyesight and declining health. Another son, Victor Gifford Audubon, assisted with the drawings backgrounds. The lithographs were printed on non-watermarked heavy white paper and coloring was applied by hand before the prints were bound. Reverend John Bachman was a naturalist of note, as well as John James Audubon’s friend and father of both daughter-in-laws, so he provided the accompanying letterpress narrative. It made the production truly a family affair. The slightly later Octavo edition contained 155 prints of smaller size.
This unbound lithographic plate depicts a hand-colored image of two weasels on decaying, fungus covered branches.
Colored print depicting scenes and maps commemorating the laying of the Transatlantic Cable from Trinity Bay to Valencia Bay. Includes flags of Great Britian and the United States; text of the Queen's message and of the President's message; two clipper ships, the "Niagara" and the "Agamemnon"; and a large "time indicator" showing the time at various cities throughout the world.
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.
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 outdoor scene of a young boy and girl seated with a book open on their laps. Both are wearing simple dresses. A straw hat and book are in the right foreground.
Colored print of a bearded Columbus wearing a long purple cape and kneeling before king and queen who stand on a throne. Behind Columbus are three Indians bearing gifts. Also in the room are soldiers, courtiers, monks and scholars observing the proceedings. The setting is a Gothic style audience room decorated with statues. Proof before letters.
This hand-colored lithograph was produced for “Viviparous Quadrupeds of North America,” the Imperial folio edition, published between 1845 and 1848. The work was a field study of North American mammals. It included 150 stone lithographs produced in three volumes of 50 prints per volume. The lithographs were based on watercolor drawings by John James Audubon and after 1846, son John Woodhouse Audubon, who completed the series due to the elder Audubon’s failing eyesight and declining health. Another son, Victor Gifford Audubon, assisted with the drawings backgrounds. The lithographs were printed on non-watermarked heavy white paper and coloring was applied by hand before the prints were bound. Reverend John Bachman was a naturalist of note, as well as John James Audubon’s friend and father of both daughter-in-laws, so he provided the accompanying letterpress narrative. It made the production truly a family affair. The slightly later Octavo edition contained 155 prints of smaller size.
This unbound lithographic plate depicts a hand-colored image of two rat-like animals, one brown and one grey on boulders.