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Your search found 54 records from all Smithsonian Institution collections.
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- Description
- This colored print depicts Adam and Eve, downcast beside a small lake. A distraught Eve is naked and kneeling on the ground. Adam is standing and fashioning a covering of branches to hide his nakedness and shame. A sylvan setting of trees and gentle hills forms the background.
- The Expulsion represents the passage from the book of Genesis (3:22-24) after the Fall. That is, after Adam and Eve have eaten of the fruit which God has forbidden them to eat, they are cast out of the Garden of Eden and into the world where they are forced to labor and suffer the consequences of their sin. This scene encapsulates the central tenet of Christianity: only by repenting and following the teachings of Christ, can mankind obtain salvation.
- 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.
- Location
- Currently not on view
- Date made
- ca 1846
- depicted
- Adam
- Eve
- maker
- Baillie, James S.
- ID Number
- DL.60.2972
- catalog number
- 60.2972
- accession number
- 228146
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- Description
- 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.
- Location
- Currently not on view
- Date made
- 1840
- dedicated to
- Washington, George
- Washington, Martha
- publisher
- Sullivan, T.
- lithographer
- Duval, Peter S.
- artist; lithographer
- Hoffy, Alfred M.
- ID Number
- DL.60.2930
- catalog number
- 60.2930
- accession number
- 228146
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- Description
- This colored print shows a large “tree of life.” This natural tree also symbolizes the wooden cross of the crucifixion, as its trunk holds an image of Christ. The branches contain about two dozen words which denote Christian sacraments, practices, and virtues. Above the tree, is a triangle symbolizing the Holy Trinity.
- The idealized city of "New Jerusalem" is depicted in the background behind the tree. In the foreground, is a crowd of people representing this present "Evil World.” Men and women are portrayed as searching for salvation amidst a world full of vices such as drunkenness, prostitution, and violence. Two quotations from Scripture appear beneath the title.
- There is no information available about the lithographer of this print.
- Location
- Currently not on view
- Date made
- n.d.
- maker
- unknown
- ID Number
- DL.60.2943
- catalog number
- 60.2943
- accession number
- 228146
-
- Description
- This 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.
- 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.
- Location
- Currently not on view
- Date made
- ca 1847
- distributors
- Sowle & Shaw
- maker
- Baillie, James S.
- ID Number
- DL.60.2935
- catalog number
- 60.2935
- accession number
- 228146
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- Description
- This colored print depicts the Christ child in a manger surrounded by Mary, Joseph, and four shepherds. The shepherds are presenting gifts of a lamb and two doves. The Nativity scene is one of the most recognizable and popular images in Western art. The Bible contains two narratives of the birth of Jesus: Matthew 1:18-25 and Luke 2:1-7. Of these, only Luke offers the details of Jesus' humble birth in a manger in Bethlehem. There is no information available about the artist, lithographer, or the publisher, however there appears to be a tiny indecipherable signature on the lower right.
- Location
- Currently not on view
- Date made
- n.d.
- depicted
- Jesus Christ
- Joseph
- Mary
- maker
- unknown
- ID Number
- DL.60.2967
- catalog number
- 60.2967
- accession number
- 228146
-
- Description
- 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."
- Location
- Currently not on view
- Date made
- 1840
- maker
- Robinson, Henry R.
- ID Number
- DL.60.2938
- catalog number
- 60.2938
- accession number
- 228146
-
- Description
- This hand-colored print is a full-length portrait of General George Washington in military uniform. He is kneeling on one knee on a small, fringed rug on grass, inside his campaign tent. His hand rests on a Bible, which is on a small table beside him, along with a battlefield map, inkstand, and his hat. His folding camp stool is behind him. Next to him on the rug is a sword and a telescope. Perhaps he is praying for victory prior to an American Revolutionary War battle or as legend has it, he was praying for souls of men lost at Valley Forge. This print is typical of the commemoration or adoration prints of the first president, highlighting Washington’s faith and moral fortitude. The camp stool, tent, sword, and telescope depicted are all objects owned by the museum.
- This print was produced by Amos Doolittle; E.B. Kellogg and E.C. Kellogg; and Kelloggs & Thayer. An earlier version of this print was produced by Kelloggs and Thayer 1846-1847. 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. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867.
- Location
- Currently not on view
- Date made
- 1856-1857
- depicted
- Washington, George
- maker
- E.B. and E.C. Kellogg
- Kellogg, E.B. and E.C.
- ID Number
- DL.60.3187
- catalog number
- 60.3187
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- Description
- This hand colored print depicts a man dressed in ragged clothes seated in a farmyard tending four pigs that are eating. As the subtitle explains, “He would have filled his belly with the Husks that the swine did not eat.”
- 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 as an engraving 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 (60.2946) was made by the Kellogg family about a decade later. Print (60.2940 depicts the same theme with a different image by a different publisher
- Location
- Currently not on view
- Date made
- ca 1838
- maker
- D.W. Kellogg and Company
- ID Number
- DL.60.2923
- catalog number
- 60.2923
- accession number
- 228146
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- Description
- This black and white print is an allegorical representation of the path to eternal damnation. It depicts a city, "The City of Corruption," surrounded by erupting volcanoes, with a fiery, roiling lake in the foreground. The path of damnation is crowded with people walking toward the lake, while some are tumbling into it. A placid river, calm ocean and setting (rising?) sun are in the background, representing God's love and salvation. The image is keyed, with numbers corresponding to the text below.
- 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.
- Location
- Currently not on view
- date made
- 1857
- copyright holder
- Fuller, George L.
- maker
- Endicott and Company
- ID Number
- DL.60.2489
- catalog number
- 60.2489
- accession number
- 228146
-
- Description
- This colored print depicts Anglican minister, theologian and Methodist Church founder John Wesley as a child, being rescued from a fire. At left, a man stands on the shoulders of another taking Wesley from a second story window. At right, another man, Wesley's father, kneels giving thanks for his son's safety. Surrounding men and women assist with putting out the fire and rescuing animals, while others huddle in fear.
- This dramatic story is not apocryphal. The parishioners of Epworth, England, strongly disliked the vicar, Samuel Wesley. An angry mob set fire to the rectory on February 9, 1709. His young son, John, actually was saved through the intervention of neighbors.
- 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 methodical 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 William Smith who was a picture frame manufacturer in Philadelphia from 1856-60. By 1860, he was selling pictures and soon afterwards began selling prints. His products included previously published and original works.
- Location
- Currently not on view
- date made
- n.d.
- depicted
- Wesley, John
- Wesley, Samuel
- publisher
- Smith, William
- ID Number
- DL.60.2484
- catalog number
- 60.2484
- 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
- Location
- Currently on loan
- Date made
- 1848
- issuer
- Missionary Society of the Methodist Episcopal Church
- maker
- Currier, Nathaniel
- ID Number
- DL.60.2929
- catalog number
- 60.2929
- accession number
- 228146
-
- Description
- This colored print depicts a man preaching to a large group of men and women, who are seated separately by gender on benches. In the background and on the side are tents with women seated at their openings. Eight men are seated on the platform behind the preacher. The tents are labeled with initials, with the exception of one that says "4 St". Two Biblical verses (Ezekiel 34:25 and Isaiah 35:1) are printed below the image on each side of the title, which celebrate the purity and sanctity of nature. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer. Hundreds and even thousands came from miles around for preaching and worship, and to enjoy the festival-like atmosphere.
- This print was produced by the lithographic firm of Kelloggs & Comstock in Hartford, Connecticut. In 1848, John Chenevard Comstock (1818-1862) formed a partnership with E.B. and E.C. Kellogg. In 1850, Edmund Burke Kellogg (1809-1872) left the firm, leaving his brother Elijah Chapman Kellogg (1811-1881) and J.C. Comstock to run the lithography firm as Kellogg and Comstock. The short-lived partnership disbanded in 1851. It was not until 1855 that Edmund Burke Kellogg rejoined his brother E.C. Kellogg and continued the successful operation of the family’s lithography firm. The print was distributed by D. Needham of New York City.
- Location
- Currently not on view
- Date made
- 1848-1849
- distributor
- Needham, D.
- maker
- Kelloggs & Comstock
- ID Number
- DL.60.2964
- catalog number
- 60.2964
- accession number
- 228146
-
- Description
- This colored print depicts a large revival meeting, with tents in the background and a large wooden pulpit in the foreground. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer. Hundreds and even thousands came from miles around for preaching and worship, and to enjoy the festival-like atmosphere. A large crowd is depicted in the foreground. Some people are sitting on benches, while others kneel on the ground or stand listening to a preacher.
- This print was produced by Kennedy & Lucas and Hugh Bridport from a drawing by Alexander Rider,
- Alexander Rider was a German or Swiss born artist, colorist and engraver. He is believed to have arrived in the United States in the early 1800s and worked for the next two decades in Philadelphia as a book illustrator, miniature and portrait artist and painter specializing in historical themes. By 1830 he had begun doing lithographic prints for Kennedy and Lucas. He continued working in printing in the 1840s and produced plates for a book on American natural history.
- William B. Lucas was a Philadelphia gilder who owned a looking glass and print shop. He established what was said to be the first commercial lithography firm in Philadelphia in 1828. Within a few months another gilder, David Kennedy, became a partner in the firm. The company continued until Lucas died in 1833. Alexander Rider was a German or Swiss born artist, colorist and engraver. He is believed to have arrived in the United States in the early 1800s and worked for the next two decades in Philadelphia as a book illustrator, miniature and portrait artist and painter specializing in historical themes. By 1830 he had begun doing lithographic prints for Kennedy and Lucas. He continued working in printing in the 1840s and produced plates for a book on American natural history.
- Hugh Bridport (1794-1870) was a London-born engraver, lithographer, portrait painter and architect. He began his artistic career in England, where he exhibited miniatures at the Royal Academy in 1813. He followed his brother George to Philadelphia around 1816, and the two brothers went on to establish a drawing academy and became successful artists. Hugh Bridport was a founding member of the Franklin Institute, where he taught architectural drawing for six years. He worked in the lithography trade with Kennedy & Lucas and other Philadelphia firms. Although mainly a portrait lithographer, he drew the lithograph for "Camp-Meeting" from Alexander Rider's painting, and exhibited paintings at the Pennsylvania Academy of Fine Art and Artist's Fund Society. In the 1860 census he is listed as a "gentleman" with a personal estate worth $15,000 and in the 1870 census, before he died, he was listed as a merchant.
- Date made
- ca 1832
- maker
- Kennedy & Lucas
- Rider, Alexander
- Bridport, Hugh
- ID Number
- DL.60.2961
- catalog number
- 60.2961
- accession number
- 228146
-
- Description
- This hand-colored print, retouched with watercolors, is of 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 by a different publisher.
- Location
- Currently not on view
- Date made
- ca 1838
- maker
- D.W. Kellogg and Company
- original artist
- Doolittle, Amos
- ID Number
- DL.60.2921
- catalog number
- 60.2921
- accession number
- 228146
- maker number
- 758
-
- Description
- This hand-colored print depicts a barren tree growing from the soil of “Unbelief.” Its trunk is labeled "Pride" and "Self Will." Its main branches are "Lust of the Flesh," "Pride of Life," and "Lust of the Eye". It bears fruits representing various evils labeled "Love of the World" "Love of Pleasure" "Blindness of Heart" "Love of Praise" "Love of Honor" "Lasciviousness" "Vain glory" "Selflove" "Evil Desires" "A Wanton Eye" "Fornication" "Indulgence" "Uncleanness" Unprofitable Conversation" "Lightness of Spirit" "Discontent" "Mistrusting" "Love of Money" "Envy" "Unmercifulness" "Mistrust" "Mistrusting" "Foolish Jesting" "Resisting the / truth" "Boasting" "High mindedness" "Idleness" "Adultery" "Incest" "Reveling" "Drunkeness" "Gluttnoy [sic]" "Surmising" "Prejudice" "Scoffing at Religion" "Despising Good Men" "Unthankfulness" "Theft" "Deceit" "Sabbath breaking" "Cursing" "Swearing" "Despite / fulness" "Judging" "Anger" "Sodomy" "Bestiality" "Hatred" "Strife" "Wrath" "Blasphemy" "Backbiting" "Denying the Lord" "Disbelieving the Word" "Extortion" "Oppression" "Sacrilege" "Arianism" "Socinia nism" "Deism" "Disobedient to Parents" "Heresyscism" "Slandering" "Lying" "Murder" "Despair" "Rebellion" "Atheism" "Presumtion [sic]" "Antinomianism" "Witchcraft". There are no leaves or birds on its branches; the fire of Hell approaches from below as a burning bush. "Wrath," in the form of a storm, is approaching from above. A black bird flies off from the left side of the tree.
- The stump of another tree that has been cut down is in the right foreground. Below the image is an inscription inspired by the prophet Matthew 7:18-19 “A good tree cannot bear bad fruit, and a bad tree cannot bear good fruit. Every tree that does not bear good fruit is cut down and thrown into the fire.”
- No artist or lithographer is listed on the print however this print may be an earlier version in reverse or mirror image of the 1830-1840 print by Daniel Wright Kellogg. It appears to be based on the composition by John Hagerty. A reverse or mirror image print is in the collections at the Connecticut Historical Society with the exact same placement of the letters and words but minus the serpent in the center lower branches of the tree.
- Location
- Currently not on view
- Date made
- n.d.
- maker
- unknown
- ID Number
- DL.60.2920
- catalog number
- 60.2920
- accession number
- 228146
-
- Description
- 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.
- Location
- Currently not on view
- Date made
- 1848
- maker
- Baillie, James S.
- ID Number
- DL.60.2931
- catalog number
- 60.2931
- accession number
- 228146
- maker number
- 131
-
- Description
- 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.
- Location
- Currently not on view
- Date made
- 1848
- maker
- Baillie, James S.
- ID Number
- DL.60.2936
- catalog number
- 60.2936
- accession number
- 228146
-
- Description
- 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 with white shirts, ties and britches. 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 produced by E.B. Kellogg and E.C. Kellogg and Kelloggs & Thayer after an engraving by Amos Doolittle. Edmund Burke Kellogg (1809-1872) and Elijah Chapman Kellogg (1811-1881) were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg (1807-1874). After D.W. Kellogg moved west, his two brothers took over the family lithography firm in 1840 and changed the name to E.B. & E.C. Kellogg. The younger two of the four Kellogg brothers, they were responsible for the continued success of the family firm. These two brothers were also involved in the eventual partnerships between the company and Horace Thayer in 1845 or 1846, John Chenevard Comstock (1818-1862) in 1848 and William Henry Bulkeley (1840-1902) in 1867. The print was produced by the lithography firm of Kelloggs & Thayer. Kelloggs and Thayer was the first partnership formed by Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872) after they took over the family firm from their brother Daniel Wright Kellogg (1807-1874). Horace Thayer (1811-c. 1874) was a map dealer and in 1845 or 1846 the men opened a shop in New York. The partnership appears to have dissolved in 1847. In 1848, the Kellogg brothers formed a new partnership with John Chenevard Comstock (1818-1862).
- Location
- Currently not on view
- Date made
- ca 1847
- distributor
- Needham, D.
- maker
- E.B. and E.C. Kellogg
- Kelloggs & Thayer
- original artist
- Doolittle, Amos
- lithographers
- Kellogg, E. B. and E. C.
- ID Number
- DL.60.2944
- catalog number
- 60.2944
- accession number
- 228146
-
- Description
- This image is identical to the same titled print at the Connecticut Historical Society by D. W. Kellogg though it could also possibly by an unsigned copy by Currier & Ives. Hand colored print of a animals filing two by two onto the ark. Animals include zebra, cows, horses, sheep, pigs, giraffes, dogs, and cats. Birds are flying above.
- Noah’s Ark, an Old Testament story, appealed to 19th-century children as part of their Bible study. The animals also appeared in the form of games and toys. Prints of religious scenes and other uplifting subjects were recommended as encouraging moral improvement, especially for the benefit of children. In the Bible (Genesis, Chapters 6-9), the ark is described as a massive wooden ship built at God’s command that saved pious Noah, his family, and representatives of every kind of animal from the global flood that God wrought to punish humanity for its misdeeds. After the waters receded, Noah’s family, with all the animals that were saved, eventually spread throughout the world. The story of Noah is repeated with variations in the Quran.
- This print is attributed to D. W. Kellogg & Co. While it is unsigned, this image is identical to the same titled print at the Connecticut Historical Society by D. W. Kellogg. 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.
- Location
- Currently not on view
- date made
- 1830-1840
- maker
- D. W. Kellogg and Company
- ID Number
- DL.60.2962
- catalog number
- 60.2962
- accession number
- 228146
-
- Description
- This black and white drawing depicts a large revival meeting, with tents in the background and a large wooden pulpit in the foreground. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer. Hundreds and even thousands came from miles around for preaching and worship, and to enjoy the festival-like atmosphere. A large crowd is depicted as gathered in the foreground. Some people are sitting on benches, while others kneel on the ground or stand listening to a preacher.
- This drawing is not dated but was produced by Alexander Rider, Alexander Rider was a German or Swiss born artist, colorist and engraver. He is believed to have arrived in the United States in the early 1800s and worked for the next two decades in Philadelphia as a book illustrator, miniature and portrait artist and painter specializing in historical themes. By 1830 he had begun doing lithographic prints for Kennedy and Lucas. He continued working in printing in the 1840s and produced plates for a book on American natural history. This drawing was produced into lithographs which are in the collection (DL.60.2957 and Dl.60.2961).
- Location
- Currently not on view
- Date made
- ca 1832
- maker
- Rider, Alexander
- ID Number
- DL.60.2960
- catalog number
- 60.2960
- accession number
- 228146
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