This black and white tinted print depicts the fifth 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 is an interior scene of a family, now reduced to two children due to the starvation death of the toddler. Mother, father and son huddle near a meager fire, the mother holding a wine glass, the father holding a bottle. The daughter stands with her hand on the toddler's coffin. The mother and daughter are weeping.
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. These prints were 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
This black and white tinted print depicts seven 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 is an interior scene of a crowd gathered around the body of a dead woman. The weapon, a broken bottle, lies on the floor at her feet. The husband stands next to the fireplace and is being seized by a policeman. Another policeman consoles the crying daughter. The son, also crying, stands next to the fireplace.
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. These prints were 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
This black and white tinted print depicts the fourth 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 is an outdoor scene of a mother, father, and older daughter standing near a storefront while the son begs for alms in the street. The mother holds an ailing toddler while the father pockets a bottle of liquor.
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. These prints were 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
This colored print is an interior scene depicting three men around a table in a well-appointed study. They are dressed in tightly tailored blue or brown frock coats, britches, white shirts, cravats(sons) and ascots (father). One is standing and receiving money from his father. The other son is seated on a red chair and looks on disapprovingly.
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 originally produced by Amos Doolittle and later printed by the lithographic firm of D. W. Kellogg and Company. Amos Doolittle (1754-1832) was an American engraver who was trained as a jeweler and silversmith. He lived in Connecticut and was especially well known for his four engravings of the battles of Lexington and Concord. He also engraved Biblical scenes, bookplates and portraits. Daniel Wright Kellogg (1807-1874) founded D. W. Kellogg and Company in Hartford, Connecticut in 1830. Even before its first retail store opened in 1834, the D.W. Kellogg & Co. lithography firm was well established and popular in United States, particularly in the South and the Southwest. As the founding member of the family company, Daniel Wright Kellogg was responsible for the initial growth and popularity of the firm. After he left the company, it continued to flourish for decades under his younger brothers and other family members.
A nearly identical print (60.2921A) was made by the same principal publisher and another (60.2944) with a modified image was created about a decade later. Print (60.2938) depicts the same theme with a different illustration and a different publisher.
This black and white tinted print depicts the second 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 is an interior scene of a man, a woman, and three children. The father sits despondently next to the fire while the daughter hands a new bottle to the mother. The cat walks across the table that is now pushed against the wall. Two younger children huddle together on a small table or footstool.
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. These prints were 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
This black and white tinted print depicts the last 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 is an interior scene of a man in a cell huddling in a corner before a caged fire. He is being visited by his grown children, now a thief and a woman of shame. A guard is visible through an open doorway 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. These prints were 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
This black and white print depicts Jesus Christ with four little children, three men and three women. All of the figures are wearing stylized flowing robes. Christ is shown placing his right hand on a boy’s head in blessing, while his left arm is gently around a young girl. Two of the mothers are kneeling and looking reverently at the figure of Christ. The apostle Matthew recounts an occasion when families brought their children to Jesus for his blessing, only to be rebuked by his disciples. In response, Christ said: "Let the little children come to me, and do not hinder them, for the kingdom of heaven belongs to such as these" (Chapter 19:13-14).
The print is titled in pencil script below the image as “Christ Blessing Little Children.” The image is of an 1866 Currier & Ives print entitled Jesus Blessing Little Children. This print could be a proof before letters print or a copy of the Currier & Ives print, but it is unsigned with no indication of the original artist, lithographer, or publisher.
Nathaniel Currier (1813-1888) was born in Roxbury, Massachusetts, and after serving an apprenticeship in Boston, he moved to New York City in 1834. In New York, he briefly partnered with Adam Stodart, but their firm dissolved within a year, and Currier went into business on his own until 1857. James M. Ives (1824-1895) was a native New York lithographer who was hired as a bookkeeper by Currier in 1852. In 1857, the two men partnered, forming the famous lithography firm of Currier and Ives, which continued under their sons until 1907.
This post-war print depicts an allegorical vision of change that could accompany Reconstruction. At the left, Union soldiers are shown beating swords and weapons into farming implements. On the right, a general holds a pickaxe and stands next to a cannon that has been converted into a mill. American-British philanthropist George Peabody, stands at the center of the print, in front of an American flag held aloft by an eagle. He holds open a book that reads, “2,000,000 for Education,” referring to the Peabody Education Fund, which he established to raise the standard of education in the South for those of all races. Beneath him are gathered a group of young white children. One girl looks at a group of four freed slaves, holding a poster that says, “Come Uncle / Learn to Be a Citizen.” In the background, a crowd of 300,000 mechanics, farmers, and laborers carry tools that they will use to facilitate the “Reconstruction of the Union.” On the right, a sailor prepares to sink a barrel labeled, “Extremes,” into the sea. This idealized vision of Reconstruction is one led by the North, which will feature educational and economic development throughout the country, but will be absent of any radicalism. While women's charities had long funded children's orphanages and schooling, George Peabody is considered the "Father of Modern Philanthropy" and his generosity inspired other wealthy individuals to gifting and developing lasting charitable trusts for social causes, particularly in the field of education.
The artist of this print was Augustus Tholey, a German immigrant born in Alsace-Loraine. He moved to Philadelphia in 1848, where he worked as a painter, pastel artist, engraver, and lithographer. It was published by John Smith, who was active in Philadelphia between 1860 and 1870. Besides publishing prints by Tholey and Anton Hohenstein, Smith was also an accomplished gilder, painter, and looking glass and frame manufacturer.
This colored broadside advertises “The Great Moving Mirror of Slavery,” a travelling panoramic painting exhibited in New England in 1858. According to the inscription, it was on display in the Methodist Church. Purported to reveal “Slavery As It Is,” this poster contains two preview illustrations. One shows a young girl lying in a canopied bed attended by a doctor, as her mother and a black man sit nearby. The other image depicts a white man riding a bucking horse as three black men and a black woman watch. Headings on the poster advertise, “Scenes in Africa,” an “Auction Sale of Slaves,” and “Life-Like Scenes!” The exhibit also promises a personal appearance by Anthony Burns.
Burns (1834-1862) was born a slave in Stafford County, Virginia in 1834, became a Baptist preacher,and escaped to Boston in 1853/1854. The next year, he was captured and put on public trial, inspiring protest by thousands of abolitionists. Several people were arrested and wounded, while they attempted to free Burns and a U.S. Marshall was fatally stabbed. Under the terms of the Fugitive Slave Act, Burns was returned to his "owner" in Virginia. In 1855, Leonard Grimes, a free black Baptist minister bought Burns’ freedom. Burns then travelled north and studied theology at Oberlin College in Ohio and emigrated to Canada and worked as a non-ordained minister . In 1858, he toured with “The Great Moving Mirror,” using the opportunity to sell copies of narrative of his life to sympathetic anti-slavery Northerners. He died in 1862 of tuberculosis at the age of 28, having never regained his health after enduring several months in a Richmond slave jail.
The print was created by the firm of J.H. & F.F. Farwell & Gordon Forrest. The three men founded a Boston lithographic firm active around the middle of the 19th century. Gordon Forrest enlisted in Company G of the First Massachusetts Infantry during the Civil War. He was killed on July 18, 1861, during a skirmish at Blackburn’s Ford, Virginia, one of the first engagements of the conflict. Little is known about J.H. and F.F. Farwell. The printers were also known as Farwells & Forest.
This 1850 print offers a defense of slavery in America by satirically comparing it with a perceived system of “wage slavery” in England. In the top panel, two Northern men and two Southern men look upon a group of seemingly content slaves who are shown dancing, playing music, and smiling. The Northerners are surprised at this scene, amazed to find that popular assumptions at home about slavery were unfounded. The Southerners hope that the Northerners will return home with a new perspective on slavery, but demonstrate their readiness to fight for their rights if necessary. The lower panel shows a gathering of people outside of a cloth factory in England. On the side of the factory, a sign reads, “Sale / A Wife to be Sold.” On the left, a young farmer talks to his childhood friend, who appears as an old man. The older figure explains that life in a British factory producing cloth ages one more quickly, and that the workers die of old age at 40. To their right, a mother looks down upon her three children, lamenting “What wretched slaves, this factory life makes me & my children. Continuing right, two factory workers contemplate running away to the coal mines, where they would only work for 14 hours instead of their current 17. On the far right, two rotund men, a priest and a tax collector, approach the workers with books labeled “Tythes” and “Taxes.” In the right corner, a man thanks God that he will soon die and be free of his “factory slavery.” Below the panels is included a portrait of the bust of George Thompson, a Scottish abolitionist. An accompanying quote from Thompson reads, “I am proud to boast that Slavery does not breathe in England,” although the creators of this print would argue otherwise. It was printed by British born John Haven ( born ca 1817), who was active in New York City at 3 Broad Street 1846-1848. He then moved to 86 State Street, Boston where he was active 1848-1850. He is known for designing maps as well as for prints on Manifest Destiny and prints with political commentary.
In the years following Lincoln’s assassination, lithographic prints depicting the Lincoln family became popular among the Northern American public, often produced as commemoratives during anniversary celebrations. Since the family never sat for a formal portrait, artists relied on earlier photographs of its members to create their compositions, portraying the family members as they would have appeared at the start of Lincoln’s presidency. This hand-colored print produced probably after the war, depicts the Lincolns seated around a table in a parlor room. On the right, Abraham Lincoln and his son Willie (who died in 1862) read from a large book on the President’s lap. On the left, Mary Todd Lincoln gazes out of the print as she holds the youngest Lincoln son, Tad. Robert Lincoln sits between his parents, next to a vase of flowers, resting his hand on a book placed on the table. To the right of Lincoln, a classical column represents the pillar of state, signifying Lincoln as a republican statesman. A small toy cannon in the lower left corner of the image is the only reference to the war that dominated Lincoln’s Presidency.
The lithograph was created by Hartford, Connecticut firm of E.C. Kellogg & Company, established in 1850, by Elijah Chapman Kellogg (1811–1881), after the dissolution of Kelloggs & Comstock. The business operated until Elijah again partnered with his brother, Edmund Burke Kellogg (1809-1872), changing the company name back to E.B. & E.C. Kellogg. The work was co-published by Thayer & Company, a lithography firm operated by Horace Thayer, who was born in 1811, in Hartwick, New York. Between 1846 and 1847, he was a partner in Kelloggs & Thayer in New York City. The partnership dissolved in 1847 and Thayer moved to Buffalo, New York, and became a map publisher. In Buffalo, he was involved in a variety of partnerships, most of which co-published Kelloggs prints. By 1859, he returned to New York City, remaining there until 1864, when he moved back to upstate New York.
The co-publisher and print distributor is Frank P. Whiting and he worked at the Fulton Street addressfrom 1863-1867.
After shooting Lincoln in Ford’s Theater, John Wilkes Booth fled south into Virginia with co-conspirator, David Herold, who had been involved in the unsuccessful attempt to assassinate Secretary of State William Seward. They hid in a barn on the property of Richard Henry Garrett. Discovered and surrounded by federal troops on the early morning of April 26, 1865, Herold surrendered but Booth refused to leave the barn, prompting the Union soldiers to set it on fire. In this print, Herold is led away by soldiers while Booth can be seen through a cutaway in the structure’s wall. He hobbles on crutches, having broken his leg during his flight, and is armed with a rifle and a pistol. Sergeant Boston Corbett takes aims through the barn doors, firing the shot that will mortally wound the assassin. The man on horseback behind the Union soldiers is Lieutenant Edward Doherty who led the detachment of troops to pursue Booth. He looks surprised as he had not given the order for his men to fire at Booth, as his instructions were to bring him back alive. Colonel LaFayette Baker, the Union spymaster who had discovered the fugitives’ location, was not actually present at the scene, having issued Doherty his orders in Washington. Herold was convicted for his role in the plot to assassinate Lincoln and was hanged on July 7, 1865, with his co-conspirators. Images depicting Lincoln, his assassination, and those convicted of his conspiring to murder him were popular print subjects in the years after Lincoln’s death.
The artist of the print, Feodor Fuchs, was a German-American painter and lithographer who was active in Philadelphia, where he contributed to several Kimmel & Forster prints during the Civil War. By 1876, he had relocated to Milwaukee, Wisconsin. Christopher Kimmel was born in Germany around 1850 and after immigrating to the United States, was active in New York City from 1850 to 1876. He was part of Capewell & Kimmel from 1853 to 1860, and then partnered with Thomas Forster in 1865, forming the lithography firm of Kimmel & Forster, which was active until 1871.
This political cartoon satirizes the Presidential race of 1856, depicting it as a horse race. In the center, James Buchanan, dressed as a jockey, has been unseated from his mount, a buck with the head of his running mate, John C. Breckinridge. The presidential hopeful clutches his shin and curses at a young black man, claiming that if it had not been for the “Slavery Plank” upsetting his buck, he certainly would have won. The youth stands upon two planks of wood labeled “Slavery” and “Cuba,” a reference to a plot by pro-slavery Democrats to annex the island and add it to the Union as a slave state. These boards are themselves supported by a crate marked, “Democratic Platform.” From his elevated platform, the boy mocks Buchanan, reminding the Democrat that he did not want to do away with the plank of slavery. On the left, Millard Fillmore, the American Party candidate, rides a goose with the head of his running mate, Andrew Jackson Donelson. He holds a lantern labeled “Know Nothing,” the nickname for the American Party. Although he is jeered from the sidelines, Fillmore warns the spectators that “if I'm not the next President the Union Will Be Disolved, The South Wont Stand It.” In the lower right corner, a boy hoists a pro-Democratic sign containing the slogans, “We Po'ked em in 44, We Peirce'd em in 52 and We'll "Buck em" in 56.” The child has climbed upon the back of another man, who turns in disgust and sarcastically replies, “Hello there!! are you a Fre'mounter.” This refers to the Republican candidate John C. Fremont, who is included in the background of the scene, cheered on by the crowds. He rides towards victory on a horse with the head of William L. Dayton. Above him, stands Brother Jonathan, a personification of the United States predating Uncle Sam, holding a timer’s watch. Although Fremont’s victory seems secure in this print, tensions over slavery divided the nation, and Buchanan emerged victorious.
John L. Magee was born in New York around 1820. In New York, he was employed by the lithographic firms of James Baillie and Nathaniel Currier. He started his own business in New York in 1850, but moved to Philadelphia sometime shortly after 1852. He was known for his political cartoons, which he produced until the 1860s.
Uncle Tom’s Cabin, by American author Harriet Beecher Stowe was published in 1852, quickly becoming the nation’s bestselling book. It features a spirited, religious-minded enslaved black man named Tom, who is sold downriver by his financially-strapped owner in Kentucky to a plantation in Louisiana. There, his Christian beliefs spread hope to his fellow slaves and enable him to endure the harsh beatings of his cruel master. He is ultimately whipped to death after refusing to reveal the location of two runaway slaves. Published after the passage of the Fugitive Slave Act in 1850, the novel targeted Northern audiences, arguing against the injustice of slavery and spurring the abolition movement into action.
Although the bestselling novel of the 19th century, many American were exposed to Uncle Tom’s Cabin through play adaptations known as Tom shows. The immense popularity of both the novel and plays transformed Uncle Tom into a cultural phenomenon in America and Europe, and manufacturers quickly capitalized on the production of “Tomitudes,” everyday commodities that referenced scenes and characters from the novel. These included card games, jigsaw puzzles, chinaware, jars and vases, snuffboxes, ceramic figurines, and decorative prints. Although some of these Tomitudes employed racial stereotypes and the imagery of blackface minstrelsy, most chose to depict the enslaved characters of Beecher’s novel in a sympathetic light, often carrying an anti-slavery message.
In the novel, Tom’s owner in Kentucky, Arthur Shelby decides to sell two of his slaves, Tom and the child Harry, the young son of another slave named Eliza. In order to keep her son, Eliza determines to escape into the North across the Ohio River. Depicting Eliza’s dramatic flight from Chapter 7 of the novel, this print around 1853 presents the slave woman crossing the River in the winter, desperately leaping across ice floes, her son clutched in her arms. As Eliza steps forward, she turns her head back in the direction of Mr. Shelby, who has pursued her to the river’s bank. After her escape, Eliza is joined by her husband George, who is also on the run, and with the aid of sympathetic Northern Quakers, the trio escapes into Canada. In the novel, Harry is described as a young child of mixed race at about 4 or 5 years of age. Strong depicts him more as a child of 2 or 3 being carried though perhaps that was a deliberate infernce that the child was small due to malnutrition?
Thomas W. Strong was a New York-based printer and wood engraver who began his career around 1840. His shop specialized in comic literature and he employed many talented cartoonists and draftsmen who would go on to work for Harper’s Weekly and Vanity Fair. This print was the first in a series by Strong of scenes from Uncle Tom’s Cabin.
Abolitionist Harriet Beecher Stowe (1811-1896) rose to fame in 1851 with the publication of Uncle Tom’s Cabin, which highlighted the evils of slavery, angered the slaveholding South, and inspired pro-slavery copy-cat works in defense of the institution of slavery. Stowe’s father was the famed Congregational minister Lyman Beecher and her brother, Henry Ward Beecher, was also a famous preacher and reformer. In 1824, she attended her sister Catherine Beecher’s Hartford Female Seminary, which exposed young women to many of the same courses available in men’s academies. Stowe became a teacher, working from 1829 to 1832 at the Seminary.
Harriet Beecher Stowe wrote numerous articles, some of which were published in the renowned women’s magazine of the times, Godey’s Lady’s Book. She also wrote 30 books, covering a wide range of topics from homemaking to religion, as well as several novels. The passage of the Fugitive Slave Act of 1850, which legally compelled Northerners to return runaway slaves, infuriated Stowe, and many in the North. She subsequently authored her most famous work, Uncle Tom’s Cabin. Originally serialized in the National Era, Stowe saw her tale as a call to arms for Northerners to defy the Fugitive Slave Act. It was released as a book in 1852 and later performed on stage and translated into dozens of languages. Stowe used her fame to petition to end slavery. She toured nationally and internationally, speaking about her book, and donating some of what she earned to help the antislavery cause.
This black and white etching is the last of eight scenes designed and etched by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking. This print is an interior scene of a cell with a man huddling in a corner before a caged fire. He is being visited by his grown children, now a thief and a woman of shame. A guard is visible through an open doorway in the background. This series is a folio edition. On the reverse of Plate I. is the title page of the series and an inscription from the artist, including the cost of one shilling or six shillings for prints block tinted for shading on finer paper. The series is contained in a portfolio.
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. These prints were published by David Bogue, who published most of Cruikshank’s works in the 1850s. David Bogue (1807–1856) was born in Scotland and moved to London in 1836. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48.
This black and white tinted print depicts the seventh 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 crowd gathered around the body of a dead woman. The weapon, a broken bottle, lies on the floor at her feet. The husband stands next the fireplace and is being seized by a policeman. Another policeman consoles the crying daughter. The son, also crying, stands next to the fireplace.
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. These 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48.
This print was produced by the lithographer George Gebbie. Gebbie immigrated to the United States from Scotland in 1862. He settled in Philadelphia and became a fine art printer and publisher. He died in 1892.
I. A Happy Home in Danger From the Bottle. This black and white tinted print depicts the first 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, a woman, and three children. The man and woman are seated at a table, where he is pouring a drink for her. They are surrounded by comfortable, middle-class furnishings that include a fireplace with a stove insert, pictures on the wall, and a tall case clock. A cat and a kitten play by the fire near the two younger children.
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. These 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48.
This print was produced by the lithographer George Gebbie. Gebbie immigrated to the United States from Scotland in 1862. He settled in Philadelphia and became a fine art printer and publisher. He died in 1892.
This black and white tinted print depicts the third 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 family whose furnishings are being removed by a sheriff and two men for failure to pay debts. The father and mother are seated near the fireplace, consoling themselves with drink. The three children linger nearby.
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. These 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48.
This print was produced by the lithographer George Gebbie. Gebbie immigrated to the United States from Scotland in 1862. He settled in Philadelphia and became a fine art printer and publisher. He died in 1892.
This black and white etching is fourth of eight scenes drawn by George Cruikshank depicting the progressive degeneration of a family due to the evils of drinking. This print depicts a mother, father and older daughter standing outside a wine and spirits shop while the barefoot son begs a mother with her two children for alms in the street. The grief-stricken mother holds an ailing baby while the father determinedly pockets a bottle of liquor and another little girl inside the store grabs for a bottle. In the background is a cemetery foretelling a sad future. This series is a folio edition. On the reverse of Plate I. is the title page of the series and an inscription from the artist, including the cost of one shilling or six shillings for prints block tinted for shading on finer paper. The series is contained in a portfolio.
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. These prints were published by David Bogue, who published most of Cruikshank’s works in the 1850s. David Bogue (1807–1856) was born in Scotland and moved to London in 1836. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48.
This black and white tinted print depicts the first 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 is an interior scene of a man, a woman, and three children. The man and woman are seated at a table, and he is pouring a drink for her. They are surrounded by comfortable middle-class furnishings that include a fireplace with stove insert, pictures on the wall, and a clock on the mantle. A cat and a kitten play by the fire near the two younger children.
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. These prints were 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. Bogue 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. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.