"[3] This was followed, among other works, by Dominie Sampson in 1837, the Penny Paper in 1839, Sparking in 1840, Stealing Milk in 1843, Vesuvius and Florence in 1844, Bargaining in 1858, and The New Bonnet in 1859.

[1] After about 1854, his genre painting, which continued throughout this period of his life, shifted in later years toward rural themes, a likely reflection of his increasing remove from day-to-day affairs in New York City.

A book in 1867 "credited Edmonds with popularizing "humorous every-day-life-scenes" whose "homely" subjects and "naïve literalness" appealed to "average taste.

Edmonds's "art consistently garnered positive critical commentary throughout the 1840s and 1850s, the decades during which he frequently exhibited paintings".

[5] His "genre paintings with contemporary settings and identifiably American narratives were instantly legible to the majority of viewers".

"Artists' organizations prized Edmonds' involvement because of his business acumen and his extensive network of contacts with individuals capable of providing significant financial patronage.

[2] After about 1854, he devoted much of the remainder of his life to developing a bank-note engraving company, improving his country estate in Bronxville, New York, and raising his large family; he had remarried after returning from Europe.