Art
The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.
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Back-Support Belt
- Description
- Day laborers found plenty of work in New Orleans in the weeks and months following Hurricane Katrina in August 2005. Mammoth quantities of trash removal from devastated homes and businesses, clean-up, and reconstruction offered the promise of gainful employment to anyone willing and able to undertake heavy labor. The possession of technical skills was less important than pure muscle power and persistence.
- Mexican immigrant Francisco Zu&ntild;eiga, wearing this heavy, tooled leather back-support belt, was waiting in a downtown gas station in December 2005 for drive-up labor needs when he was approached instead by a Smithsonian team looking for something to acknowledge this aspect of the human response to Katrina. Much has been made of the outpouring of volunteerism after the hurricane, but another form of service was the individual with an aching back willing to labor under very adverse conditions for the hope of a small wage.
- Location
- Currently not on view
- Associated Date
- 2005
- user
- Zuniga, Francisco
- ID Number
- 2006.0018.01
- catalog number
- 2006.0018.01
- accession number
- 2006.0018
- Data Source
- National Museum of American History
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Whalebone and Bone Umbrella
- Description
- The bony substance from the mouths of whales known as baleen is formed of keratin, like human hair and nails. It hangs in long, parallel sheets from the upper jaws of the blue, right, and minke whales, as well as other lesser-known species. Its hairy fringe filters food from seawater.
- Dried out, baleen’s strength and flexibility made it ideal for buggy whips, corset busks, and umbrella ribs before the advent of plastic. A whale’s bone could actually be worth more than its oil. This man’s large umbrella has a wooden shaft, heavy hinged baleen ribs made in short sections, and an ivory handle. Marked “G. Hobbs, Barre,” it belonged to the donor’s grandfather, who lived in Barre, Massachusetts, until around the end of the Civil War.
- Date made
- ca 1835-1865
- user
- Hobbs, George
- ID Number
- AG.169283.01
- accession number
- 169283
- catalog number
- 169283.01
- Data Source
- National Museum of American History
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Friendship Fire Company Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This fire hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted black overall, with the text “Friendship/1796” painted in gold across the front. The owner’s initials “J.L.B.” are painted in white on the crown of the hat. The initials “F.A.” are painted in gold on the back of the hat. The Fire Association of Philadelphia was an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817, of which Friendship was a member. The Friendship Fire Engine Company No. 15 was founded on August 18th, 1796, in the Northern Liberties area of Philadelphia, Pennsylvania, and operated as a hand fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
- Location
- Currently not on view
- date made
- 1810-1860
- maker
- unknown
- ID Number
- 2005.0233.0044
- catalog number
- 2005.0233.0044
- accession number
- 2005.0233
- Data Source
- National Museum of American History
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Good Will Fire Company Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This fire hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. This black hat has been painted black overall, with the text “GOOD WILL/1802” painted in gold on the front of the hat. The back of the hat has the company’s initials “G.W.” painted in gold, and the owner’s initials “G.B.” on the top. The Good Will Fire Engine Company No. 20 was founded in the Northern Liberties area of Philadelphia in 1802, which at the time was a separate municipality. It acquired an Isaac P. Morris & Co. steam fire engine in 1859 and operated as the Good Will Steam Fire Engine Company No. 20 until 1871 when Philadelphia’s paid firefighting department was established. The steam engine was later used by the Engine Company No. 17 of the paid city fire department from 1871 until 1888.
- Location
- Currently not on view
- date made
- 1810-1860
- maker
- unknown
- ID Number
- 2005.0233.0049
- catalog number
- 2005.0233.0049
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Monroe Fire Company Fire Hat
- Description
- This fire hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted red overall, with a large illustration of a rising golden sun on the front of the hat. There is a black banner on the front with large golden letters that read “MONROE.” The back of the hat has the date “1823” painted in gold on the back of the hat between two patterned lines. The Monroe Fire Engine Company was established in Philadelphia, Pennsylvania on March 8th, 1823, and likely named after President James Monroe, who was in office at the time of its founding. The Monroe operated as a hand engine company until the company acquired a steam fire engine in 1863. It served as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
- Location
- Currently not on view
- date made
- 1823-1860
- associated
- Monroe Fire Company
- maker
- unknown
- ID Number
- 2005.0233.0068
- catalog number
- 2005.0233.0068
- accession number
- 2005.0233
- Data Source
- National Museum of American History
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Morris Hose Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This hat dates to the middle of the 19th century. The hat is painted black overall, with the text “MORRIS/HOSE” painted in gold with red shadowing over a painting of a rising sun and clouds. The date “1831” is painted in gold on the back of the hat, and the name “J Lee” is painted in gold on the crown of the hat. The Robert Morris Fire Hose Company No. 19 was founded on March 14, 1831 in Philadelphia, Pennsylvania and operated until 1871 when Philadelphia’s paid firefighting department was established. A successful Philadelphia merchant and Revolutionary leader, Robert Morris signed the Declaration of Independence, the U.S. Constitution, and played a major role in financing the American Revolutionary War.
- Location
- Currently not on view
- date made
- 1830-1860
- maker
- unknown
- ID Number
- 2005.0233.0114
- catalog number
- 2005.0233.0114
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Fire Hat, "Eagle Hose Company"
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted black, with a painted image on the front of the hat depicting a spread-winged eagle in front of a sunburst gripping a red banner in its talon that reads “EAGLE HOSE COMPANY” painted in gold. The company’s initials “EHC” (Eagle Hose Company) are painted in gold calligraphic script on the back of the hat. The owner’s initials “JW” are encircled by a golden wreath on the crown of the hat. Founded in 1851 and incorporated in 1852, the Eagle Fire Hose Company (Penn District) of Philadelphia, Pennsylvania operated until around 1855. The imagery on this hat is very similar to other fire hats in the collection—2005.0233.0029 and 2005.0233.0030—pointing to a common artist or local artistic style. The bald eagle was adopted by the Continental Congress as the national symbol of the United States in 1782. As a patriotic symbol of liberty and freedom, the eagle was a frequently used icon among early American volunteer fire departments.
- Location
- Currently not on view
- date made
- 1850-1860
- associated
- Eagle Hose Company
- maker
- unknown
- ID Number
- 2005.0233.0034
- catalog number
- 2005.0233.0034
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Hand-in-Hand Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This fire hat dates to the first half of the 19th century. The hat is painted red overall, with a painted image of two clasped hands with a sunburst in the background. The text “HAND IN HAND” is painted in gold above. The date “1741” is painted in gold on the back of the hat in between two golden lines. The owner’s initials “A.B.” are painted in gold on the crown of the hat. The Hand-in-Hand Fire Company was founded on March 1, 1741 in Philadelphia, Pennsylvania, and adopted the clasped hand symbol as a representation of the mutual nature of volunteer firefighting in early America. Due to lack of interest the company was no longer in service by about 1816. It was reformed in 1823 and operated as a hand engine company until 1863, when it acquired a steam fire engine. The Hand In Hand operated as a steam fire engine until 1871 when Philadelphia’s paid firefighting department was established.
- Location
- Currently not on view
- date made
- 1810-1860
- maker
- unknown
- ID Number
- 2005.0233.0113
- catalog number
- 2005.0233.0113
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Fairmount Fire Company Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This fire hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted red overall, with a central image of a fountain with a statue of a woman and long-necked bird in an oval frame flanked by aqua-colored banners with the gold text “Fair Mount.” William Rush created this statue “Nymph and Bittern” to commemorate the completion of the Centre Square Water Works, providing Philadelphia with public water that was a boon to the city’s fire fighters. The back of the hat features an image of a yellow fire hydrant on a brown background inside a golden oval, flanked by the letters “FA” in gold. This was the logo of the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817, of which Fairmount was a member. The Fairmount Fire Engine Company No. 32 was founded in 1823 and operated in the Spring Garden area of Philadelphia. Originally organized as a hand engine company, the company acquired a steam fire engine in 1860 and operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
- Location
- Currently not on view
- Currently not on view (labels)
- date made
- 1820-1860
- maker
- Shotwell & Garden
- original artist
- Rush, William
- ID Number
- 2005.0233.0036
- catalog number
- 2005.0233.0036
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Friendship Fire Company Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This fire hat was used in Baltimore, Maryland during the first half of the 19th century. The hat is painted red with the text “FRIENDSHIP/F. Co.” painted in gold on the front and the date “1839” painted in gold on the back. This hat deviates from the stove-pipe style prevalent among other fire hats of the period, as it has a peaked crown. The Friendship Fire Company of Baltimore, Maryland was organized in 1785, and chartered in 1839.
- Location
- Currently not on view
- date made
- 1810-1860
- associated
- Friendship Fire Company
- maker
- unknown
- ID Number
- 2005.0233.0041
- catalog number
- 2005.0233.0041
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Fairmount Fire Company Fire Hat
- Description
- The emblem painted on this Fairmount Fire Company's parade hat was inspired by William Rush's sculpture entitled "Nymph and Bittern." This somewhat feminine symbol seems unusual until the history of the sculpture is known. The artwork was part of a fountain commissioned to commemorate the completion of Philadelphia's new water system in 1822. The system was state-of-the-art, and the statue was considered the best piece of public art in America. Wearing these hats linked the Fairmount Company with Philadelphia's technological advancement, cultural supremacy, and proud fire fighting history.
- Location
- Currently not on view
- Date made
- 1820-1860
- associated
- Rush, William
- maker
- Shotwell & Garden
- ID Number
- 2005.0233.0037
- catalog number
- 2005.0233.0037
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Corset and Whalebone Scrimshaw Busk
- Description
- For much of the 19th century, ladies’ fashion required very small waists. The most common way to achieve this was to wear a tightly laced corset, which could be adjusted according to the specific dress it accompanied. Like this example, many corsets were handmade to fit an individual, although they were also available in shops.
- One of the most intimate pieces of scrimshaw a whaleman could produce was a bone or baleen busk, or corset stiffener. These were carved and given to a crewman’s loved one, who then inserted it into a matching sleeve on her corset as a unique memento of her beloved’s feelings.
- Each of these busks has a cityscape etched into one side. The other side of one has eight pictures, topped by a portrait of a beautiful young woman. The other has a plaintive love poem on the back.
- date made
- mid-1800s
- collected
- 1951-06-29
- fashion
- 19th century
- ID Number
- TR.388604
- catalog number
- TR*388604
- accession number
- 182022
- Data Source
- National Museum of American History
-
Diligent Hose Company Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- This fire hat belonged to a member of the Diligent Hose Company No. 13 of Philadelphia, Pennsylvania. Founded in 1820, the hose company operated until 1871 when Philadelphia’s paid firefighting department was established. The Diligent Hose Company chose a beehive as their primary icon. It has been a symbol of industry, hard work, and cooperation used by many different groups. The beehive, along with their name of Diligent, implies that the members persistently worked together to serve the community in their role as firemen. Although the beehive and five-pointed star are also Masonic symbols, that does not necessarily link company members to the society. Many Masonic emblems were well known and used by other organizations in the Early Republic.
- Date made
- 1820-1860
- maker
- unknown
- ID Number
- 2005.0233.0032
- catalog number
- 2005.0233.0032
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Angel/Fame Fire Hat
- Description
- Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
- The hat is painted blue overall, with a central image of a flying angel (or alternately an allegorical representation of Fame) blowing a trumpet with a sunburst in the background. The portrait is framed in gold, flanked with banners above and on each side. The name of the original company appears to have been obscured by blue paint in the banners, but there is a paper tag on the inside that reads “THE PROPERTY/HARRY NEEL.”
- Location
- Currently not on view
- date made
- 1810-1860
- associated, owner
- Neel, Harry
- maker
- unknown
- ID Number
- 2005.0233.0112
- catalog number
- 2005.0233.0112
- accession number
- 2005.0233
- Data Source
- National Museum of American History
-
Clothing (lettering in reverse)
- Location
- Currently not on view
- maker
- Grottenthaler, V.
- ID Number
- 1978.0822.33
- accession number
- 1978.0822
- catalog number
- 1978.0822.33
- Data Source
- National Museum of American History
-
Father's Pride
- Description (Brief)
- 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 is a black and white print; full length frontal view of a young boy seated outdoors with one leg folded under him, dressed in velvet and lace. The companion print is "Mother's Joy" (60.2224)
- The drawing was produced by Napoleon Sarony and lithographed and published by his firm of Sarony & Major. Sarony and his partner Henry B. Major were former employees of Nathaniel Currier prior to establishing their firm in New York City in 1846.
- Location
- Currently not on view
- date made
- ca 1850
- artist
- Sarony, Napoleon
- maker
- Sarony & Major
- ID Number
- DL.60.2223
- catalog number
- 60.2223
- accession number
- 228146
- Data Source
- National Museum of American History
-
Short & Sweet
- Description (Brief)
- 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 is a black and white print on pink paper of an outdoor scene depicting a young girl standing tip-toe on a pedestal reaching for two pieces of fruit hanging beyond her reach.
- This lithograph was produced by John B. Pendleton (1798-1866), one of America’s earliest lithographers. Pendleton and his brother , established a printing house in Boston in 1825 and later moved it ti New York City. One of Pendleton’s apprentices was Nathaniel Currier, who would buy his mentor’s firm in 1834. With his brother-in-law/ partner James Merritt Ives, he would rename the business Currier & Ives.
- Location
- Currently not on view
- date made
- ca 1830
- maker
- Pendleton, John B.
- ID Number
- DL.60.2230
- catalog number
- 60.2230
- accession number
- 228146
- Data Source
- National Museum of American History
-
The Fisherman's Dog
- Description
- 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 a sentimental, outdoor scene depicting a young girl standing at water's edge. Next to her is a dog leaning over the water, sniffing a floating black hat. She is wearing a plain clothing. A thatched-roof clapboard house and rocky coastline is in the background. The reference to the fisherman in the title, and the black hat floating in the water may allude to a fisherman lost at sea-perhaps the girl's father.
- This print was produced by James S Baillie, 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 1840’s. A prolific lithographer and colorist for Currier & Ives; his prints were extremely popular with a wide distribution. J. Baillie spent his later years concentrating on painting instead of lithography.
- Location
- Currently not on view
- date made
- ca 1850
- maker
- Baillie, James S.
- ID Number
- DL.60.2235
- catalog number
- 60.2235
- accession number
- 228146
- Data Source
- National Museum of American History
-
A Happy Party
- Description
- 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 pleasant bucolic outdoor scene of eleven people gathered in the country. A girl on a swing is pushed by two boys, a young girl is collecting flowers while three children are looking on, a young couple is seated by a tree while an older woman and a young boy are looking on from the left. All are wearing fancy clothing consisting of feathers, lace, embroidery, large hats, and short stockings.
- This print was produced by the lithographic firm E.B. & E.C. Kellogg. Edmund Burke Kellogg and Elijah Chapman Kellogg were brothers of the founder of the Kellogg lithography firm, Daniel Wright Kellogg. 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 youngest of the four Kellogg brothers, these two 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 in 1848 and William Henry Bulkeley in 1867.
- Location
- Currently not on view
- date made
- ca 1845
- maker
- E.B. and E.C. Kellogg
- ID Number
- DL.60.2236
- catalog number
- 60.2236
- accession number
- 228146
- Data Source
- National Museum of American History
-
Wait Your Turn
- Description
- 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 a full length, three-quarter view of a young boy holding a spoon and facing a seated dog. Behind the boy, a plain chair and plate are partially visible. He is wearing everyday dress consisting of a small round hat with a ribbon, heavy sweater and trousers and fur jacket. The graphic artist and publisher are unknown.
- Location
- Currently not on view
- date made
- n.d.
- maker
- unknown
- ID Number
- DL.60.2242
- catalog number
- 60.2242
- accession number
- 228146
- Data Source
- National Museum of American History
Pages
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topic
- Clothing and dress 547
- Dress accessories 547
- Art 542
- Furnishings 454
- Peters Prints 355
- Children 138
- Animals 111
- Fire Fighting 87
- Fraternal Associations 86
- Firefighting Collection 78
- Fire Hats 76
- Horses 76
- Adornment 71
- Pets 67
- Marriage 64
- Flowers 61
- Chronology: 1870-1879 60
- Architecture 59
- Comic prints 57
- Chronology: 1840-1849 55
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object type
- Lithographs 405
- Fire hats 81
- Chromolithographs 33
- Etchings (prints) 11
- Engravings (prints) 5
- Swrimshaws 4
- Busks 2
- Prints 2
- Woodcut 2
- cape, fire uniform 2
- scrimshaw 2
- Baleen 1
- Belts (costume accessories) 1
- Billhead 1
- Bloomers 1
- Borders (ornament areas) 1
- Broadsides (notices) 1
- Communication Objects 1
- Drawings 1
- Etching On Chine Colle 1
- date
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- culture
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set name
- Domestic Furnishings 454
- Cultural and Community Life: Domestic Life 452
- Peters Prints 355
- Cultures & Communities 94
- Work 89
- Cultural and Community Life: Fire Fighting and Law Enforcement 83
- Firefighting Collection 78
- Fire Hats 76
- Family & Social Life 42
- Peters Political Prints 35
- Advertising 30
- Temperance Movement 30
- American Civil War Prints 27
- Horses 26
- Morality & Religious Prints 23
- National Museum of American History 8
- Natural Resources 7
- Religion 6
