About the Artwork:

This advertisement card printed in the United States in 1887 is a chromolithograph that features one man and two women with the bodies of red radishes. The image is meant to be humorous and eye-catching, and served as a calling card for Rice's Seeds to promote a variety of globe radishes.

Image courtesy of Boston Public Library via the Digital Commonwealth Collection.

About the Artwork:

The artwork pictured isn't attributed to a specific artist, but rather to the print shop Clay & Richmond, operating in Buffalo, New York during the mid to late 19th century. This company was known for producing quirky and often humorous chromolithographs, a type of colorful lithograph print.

The chromolithograph itself depicts a curious sight: a woman with an elegant posture leans confidently towards the viewer. Her unique gown, however, is the real showstopper. Instead of luxurious fabrics, she is adorned in a dress entirely fashioned from a single, vibrant green cabbage. The artist renders the ruffled leaves, creating an elegant ensemble.

Image courtesy of Boston Public Library via the Digital Commonwealth Collection.

About the Artwork:

The Buffords Sons Lith. Co. was a prominent American lithography firm based in Boston, operating with influence throughout the 19th century. Founded by John Henry Bufford, a key figure in the development of American lithography, the company was known for its high-quality prints, illustrations, and posters. Their work often included vibrant and detailed images that catered to a wide range of commercial and artistic needs, capturing the cultural and social nuances of American life during that era. Their contribution to the lithographic arts is notable for both technical innovation and the popularization of artistic prints.

"Miss Shell and Mr. Lemon" features anthropomorphic representations of an oyster shell and a lemon in a playful, possibly romantic interaction. Miss Shell is elegantly and delicately detailed while Mr. Lemon is depicted with a zestful and bright appearance, enhancing his citrus character.

Public domain image courtesy of Cornell University Library Digital Collections, modified.

About the Artwork:

This satirical print, titled "Wonderful Effects of Morrisons Vegetable Pills" and published by O'Hodgson in London, offers a humorous critique of 19th-century patent medicines. This was a period when unregulated "cure-alls," often with dubious ingredients, were widely advertised and consumed with promises of extraordinary results.

The image presents a chaotic scene. A figure, overwhelmed after consuming an excessive quantity of "Morrisons Vegetable Pills," gazes into a mirror. To their horror, their body has sprouted a bizarre profusion of vegetables: carrots, turnips, radishes, and various greens.

"Wonderful Effects of Morrisons Vegetable Pills" exaggerates the outlandish claims often made by patent medicine manufacturers. The sprouting vegetables mock the idea that a simple pill could bring about drastic physical transformation. The print cleverly exploits the connection between food and medicine to highlight the potential dangers of unregulated substances and the gullibility of the public.

Image courtesy of the National Library of Medicine Digital Collections.

About the Artwork:

Thomas Rowlandson was an English artist and caricaturist noted for his colorful and satirical depictions of Georgian society and manners. Born in 1756 in London, Rowlandson's works were distinguished by their robust humor, lively characters, and often bawdy themes. He had a keen eye for the absurdities of human behavior and his drawings frequently featured the social and political scenarios of his time.

"The Last Drop" is an example of Rowlandson’s approach to caricature and social commentary. The artwork portrays a London tradesman overindulging on whiskey punch while having a skeletal representation of death looming over him as he imbibes. The character is depicted in an exaggerated, grotesque manner, emphasizing his inebriation and lack of decorum.

Image courtesy of the Met's Open Access Initiative.

About the Artwork:

Amédéé Varin (active mid-19th century) was a French caricaturist known for his witty and often bizarre illustrations. While details about his life remain scarce, his surviving works offer a glimpse into the playful and satirical artistic circles of 19th-century France. Varin's "Carotte conjugale" ("Married Carrot") is a prime example, using a common vegetable to deliver a humorous and thought-provoking commentary on marital relations.

The artwork features a woman's face and torso forming into a carrot. She is garbed in the greens of the vegetable and embraces, presumably, her husband who is also depicted in vegetable form. The couple appears to be situated in a shared home on a sofa, with artwork of another vegetable persona hung on the wall behind them.

Image courtesy of the Minneapolis Institute of Art (Mia) under a CC-PDM license.

About the Artwork:

Honoré Daumier, born in 1808 in Marseille, France, was a prolific painter, sculptor, and caricaturist renowned for his sharp critique of French society and politics during the 19th century. Daumier’s work is celebrated for its satire, often focusing on the lives of the Parisian working class, the foibles of the bourgeoisie, and the corruption within the judicial system. His approach made use of lithography to reach a broad audience.

"Le bon morceau" is a striking example of Honoré Daumier's keen eye for social commentary and human behavior. The artwork depicts a diner at a table greedily eyeing a cut of meat. This figure's exaggerated features and the intense focus on the piece of meat serve to emphasize the themes of gluttony and selfishness.

Image courtesy of the National Gallery of Art, Washington via its Open Access Initiative.

About the Artwork:

John Leech was an English caricaturist and illustrator, born in 1817 in London, known for his sharp wit and role in shaping British satirical art. Leech worked extensively for the magazine Punch, where he contributed drawings that highlighted the absurdities and contradictions within Victorian society. His work is celebrated for its humor, expressive characters, and ability to critique social norms while still engaging a broad audience. Leech’s illustrations not only entertained but also provided commentary on politics, culture, and everyday life, making him a key figure in the development of British cartoon and comic art.

"Vegetarian Odd Fellows" is an example of John Leech's humorous and satirical style, depicting two men as a carrot and parsnip. The man depicted as a parsnip appears to be elderly and is referred to by Leech as "Pa-Snip," potentially indicating a familial connection between the two figures or simply intending to highlight an age disparity. The other figure "Carrott" is aiding Pa-snip as the two engage in yard or farm labor.

Image courtesy of the Met's Open Access Initiative.

About the Artwork:

Hubert Morley, an American graphic artist active in the mid-20th century, was known for his vivid and motivational propaganda posters during World War II. Morley’s artwork typically featured strong, encouraging messages aimed at boosting home front morale and supporting the war effort through various means. His designs were characterized by bold colors and dynamic compositions, effectively communicating urgent messages to a wide audience. Morley’s posters not only served as functional wartime communications but also as lasting symbols of American resilience and unity during challenging times.

Created in 1945, "Your Victory Garden Counts More Than Ever" by Hubert Morley is a vibrant and compelling poster that was part of a broader national campaign to encourage the cultivation of home gardens during World War II. The artwork features a lush, bountiful garden teeming with a variety of vegetables, emphasizing the abundance that can be achieved through personal effort. At the forefront, freshly harvested produce underscores the tangible results of maintaining a victory garden.

Image courtesy of Boston Public Library Digital Commonwealth Collections.