Cupid has appeared in art for centuries as a symbol of love, longing, and human connection. While his origins trace back to classical mythology, by the 19th century Cupid had taken on a softer, more sentimental role, one that felt perfectly at home in everyday life. Rather than grand mythological scenes, artists and publishers embraced intimate portrayals of Cupid that reflected emotion, innocence, and the quieter moments of love.
By the late 1800s, Cupid had become a fixture in decorative arts, especially in American homes. The versions many collectors cherish today-Cupid Awake, Cupid Asleep, and Cupid Interested- were not painted by traditional fine artists but created through photography. These images were taken by American photographer Morris Burke Parkinson (1847–1926), who was known for his carefully staged, painterly photographs.
Around 1897, Parkinson photographed a young child named Josephine Anderson, the daughter of a close friend he often babysat. With softly curled hair, delicate expressions, and simple props like a bow and arrow, Josephine became the face of Cupid for an entire generation. The images were later copyrighted and widely distributed by the Taber Prang Art Co. of Springfield, Massachusetts, a well-known publisher of fine art reproductions.
Each Cupid captured a different emotional state.
- Cupid Awake shows her alert, curious, and ready for mischief.
- Cupid Asleep portrays love at rest, peaceful and unguarded.
- Cupid Interested falls somewhere in between, quietly observant, as if love is just beginning to stir.
Parkinson’s work sits at the intersection of Pictorialism, a photographic movement that aimed to mimic the softness and mood of painting, and the Victorian love of sentimental imagery.
Because these prints were reproduced and sold through five-and-dime stores and department shops like Sears and Woolworth’s, they found their way into countless American homes in the early 1900s. People didn’t simply hang them; they collected them, often displaying them alongside other Victorian décor as symbols of love, innocence, and romance.
You may also notice that Cupid imagery sometimes appeared alongside religious themes, such as the Madonna and Child. This blending wasn’t unusual. In European art, classical mythology and Christian iconography often overlapped.
Cherubic figures, whether mythological or religious, had become visual symbols of purity, protection, and divine love. By the time these images reached Victorian homes, Cupid’s form was already deeply embedded in the language of tenderness and affection.
Cupid has always spoken to me for these reasons. Over the years, Cupid imagery has quietly woven its way into Fairy Dust and Rust through antique prints, chalk ware figures, graphic pots, and other collected pieces. These antique Cupid prints feel like a natural continuation of that story.
Which expression of love speaks to you; the awakened energy, the peaceful rest, or the curious interest?
