Collections Database

Description:
Set of four hand-colored lithographs of the "Prodigal Son" depicting the biblical story of The Prodigal Son found in St. Luke 15, which are in the original four-part painted wooden frame. Each lithograph is issued as "Lith. of D.W. Kellogg & Co. Hartford, Ct." and include: "THE PRODIGAL SON RECEIVING HIS PATRIMONY / He gathered all together and took his Jouney into a far Country."; "THE PRODIGAL SON REVELLING WITH HARLOTS. / He wasted his Substance with Riotious Living."; "THE PRODIGAL SON IN MISERY. / He would fain have filled his belly with the Husks that the swine would eat."; and "THE PRODIGAL SON RETURNED TO HIS FATHER. / Father I have Sinned against Heaven in in thy Sight, and am no more worthy to be called thy Son." Prints such as these were used to illustrate the dramatic importance of good conduct and character; they stress personal restraint and temperance as well as parental guidance and forgiveness in order to check temptation and the loss of assets or reputation. Revealing the pitfalls in transferring wealth from one generation to the next, the theme assumed new meaning in a new country with many opportunities that might distract young men. D. W. Kellogg & Co. took these scenes from a work by Amos Doolittle (1754-1832) of New Haven, Conn. Initially apprenticed to a jeweler and silversmith, Doolittle taught himself engraving (and is considered one of the earliest American copperplate engravers), and became a prolific producer of historical and satirical engravings, bookplates, portraits and biblical illustrations. Doolittle transposed these scenes into early 19th century America with contemporary dress and settings. Although the interiors were not completely typical of Connecticut homes in 1814, Doolittle used background elements to those used by his friend, historical and portrait painter Ralph Earl (1751-1801), in portraits of several prominent area residences. HD has an early set of these four Prodigal Son scenes (HD 86.003.1-.4) engraved by Doolittle, and published and sold by Shelton & Kensett of Cheshire, Connecticut, in 1814. These Kellogg versions are simpler in appearance, and the first two scenes (Partrimony and Harlots) are reversed. In 1830, Daniel Wright Kellogg (1807-1874) opened a shop on Main Street in Hartford to manufacture and sell lithographic prints. He as soon joined by his brothers, Elijah Chapman Kellogg (1811-1881) and Edmund Burke Kellogg (1809-1872), who together dominated printmaking in Harford for the next 40 yrs. Although they employed other lithographers as their business prospered, both Daniel Wright Kellogg and Elijah Chapman Kellogg were talented artists who executed many of the drawings on stone themselves. Around 1842, Daniel Wright Kellogg moved west, leaving his brothers in charge; the firm had several, subsequent unsuccessful partnerships and corresponding name changes, but Elijah Chapman Kellogg and Edmund Burke Kellogg were associated with the business until 1867. Kellogg lithographs were colorful, uncomplicated treatments of popular subjects designed to please a large audience, which were very popular in Victorian America. A distinctive Kellogg style is evident in their prints: Figures, buildings and landscape elements are frequently reduced to geometric shapes such as cylindrical arms, triangular torsos and conical skirts; and often simplified backgrounds are set within vertical and horizontal plans. The Prodigal Son parable appealed to the English and Americans, and many engravers issued similar sets of prints.

Tags:
biblical

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