Visual and textual materials from the Library Company's Asian American and Pacific Islander History Collection.

Pages

Porcelain ware, Japanese Court. [graphic] / Centennial Photographic Co., International Exhibition, Philadelphia. Edward L. Wilson, W. Irving Adams, proprietors.
View showing porcelain ware, mostly vases, in a stall in the Japanese Court within the Main Building designed by Henry Pettit and Joseph M. Wilson at the Centennial Exhibition in Philadelphia. Vases, bowls, and jars of various sizes are displayed on tiered tables and on the carpeted floor. Framed artwork hangs on the walls. There is a small decorative table and partial view of a screen in the right. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Title on negative., Date from item., Photographer's imprint printed on mount and on verso. Imprint on verso contains initials "CPC" in decorative border surmounted by date range 1776-1876., White curved mount with rounded corners., Gift of Raymond Holstein., See related: stereo - Centennial Photographic Co. [P.9022.5]; Holstein stereo - Centennial Photo. Co. [P.2011.47.513].
Pretty Hula Girls, Honolulu, Hawaii. [graphic].
Photograph showing four Hawaiian women playing musical instruments and dancing outside at Punch Bowl Mountain in Honolulu. The women wear their long hair down and are attired in flower leis around the crown of their heads and around their necks, white chemise shirts, and skirts. Two women sit holding a gourd and a guitar. Behind them, two women stand with their left arms out as they dance the hula., Title from item., Date from copyright statement: Copyright 1901, by B. L. Singley., Text printed on verso: We here see a group of hula dancers, with leis of fragrant leaves and flowers crowning their heads and cast about their necks, a very pretty custom of the Hawaiians, especially worn on festive occasions. The hula hula has always been a feature of court festivities and also a common entertainment of the islanders, often danced in the lanai or open parlor of the home. The ancient hula was not danced to the accompaniment of musical instruments but rhythmic measures muttered by old men who kept time by striking a gourd; in the modern version of the dance, the lissom dancers, trained from childhood to delight the senses, sway their graceful figures to the music of the flute, guitar and other stringed instuments and the beat of the tom-tom. The white chemise and airy skirt with garlands about head and shoulders and sometimes ankle decorations form the dress of the dusky hula girls. This view was taken in the crater of Punch Bowl Mountain, an extinct volcano., Keystone View Company was founded in 1892 by B.L. Singley, an amateur photographer from Meadville, Pennsylvania. Keystone View Company was the leader in promoting stereographs for educational purposes. In 1912 the company purchased rights to some Underwood & Underwood negatives for use in educational sets, and in 1922 purchased the remaining stock of Underwood materials. The company remained in business until 1970.
Pundita Ramabai and her little girl [graphic] / F. Gutekunst, 712 Arch St., Philadelphia.
Full-length portrait of Pandita Ramabai Sarasvati, the Indian social reformer, educator, and Bible translator, with her daughter Manorama Medhavi. Ramabai wears her dark hair parted in the middle and tied back and is attired in a light-colored dress and a long shawl draped over her shoulder and lap. Her daughter Manorama wears her dark hair parted in the middle and curled with a headband and is attired in a long-sleeved dress with embroidered leaves decorating the collar, chest, cuffs, waist, and hem; dark-colored stockings; and button-up boots. Ramabai is seated, and Manorama stands in the left and leans and places her hands on her mother's lap. Ramabai's left hand holds Manorama's left wrist. Both look slightly to the left. Pandita Ramabai Sarasvati was born into a Brahmin family in India. She became a Sanskrit scholar, and in 1878, Calcutta University conferred on her the titles of Pandita and Sarasvati in recognition of her knowledge of various Sanskrit works. She married Bipin Behari Medhvi, a Bengali lawyer, who died in 1882. She traveled to Britain and converted to Christianity. She toured and lectured in the United States and Canada raising money for destitute Indian women. She advocated for women's rights and opened Mukti Mission, a school for child-widows. Manorama Medhavi was educated at the Community of St. Mary the Virgin, Chesbrough Seminary, and earned a degree from Bombay University. She assisted her mother at the Mukti Mission until her death in 1921., Title and date from manuscript note written on verso., Photographer's imprint printed on mount under the image and on verso., Printed label on verso: Ramabai's Daughter. Manorama, the daughter of Pundita Ramabai, who returned to India last fall, has become her mother's prime minister. Manorama has graduated in June 1900, at the A.M. Chessborough Seminary, North Chili, N.Y. She was at the head of her class, received honors, and was awarded the prize by the board of regents of New York University. Professor and Mrs. Roberts, principals of the seminary, speak with unqualified praise of her ability, strength of character, good judgment, and devotion to her chosen work. Her self-poise and yet utter unconsciousness of self charmed all who met her. She has joined in her mother's work for child-widows with a spirit of consecration and a degree of energy remarkable in a girl not yet out of her teens. -- Woman's Journal.
Purgen, Japan’s superiority over other oriental countries is indicated by the enlightenment of its medical profession, which prescribes in habitual constipation the pleasant and certain hydragogue laxative Purgen [graphic] / Lehn & Fink, manufacturing ch
Advertisement for Lehn & Fink's patent medicine and depicting a group of Japanese men and women. In the left, shows the man, attired in a wicker Kasa hat, black-striped kimono with a red obi, and geta shoes, playing the samisen as he looks down at two small dogs. A woman, attired in a white hat and red and purple kimono, walks behind him. Next is the woman attired in a gray kimono. Two young men control the strings to a puppet at her feet. In the right, the Japanese man, wearing a chonmage hairstyle and with a sword at his waist, walks carrying a bundle and staff. In the left is the building decorated with red paper lanterns and with a counter holding a plate of food, possibly rice balls. A tree branch of red flowers arches across the top. Five black boxes for stamps are in the top of the print. Library Company copy has four Imperial Japanese Post stamps. Louis Lehn (1838-1915) and Frederick W. Fink (1846-1925) founded Lehn & Fink in New York in 1874., Title from item., Date inferred from active dates of the advertised business., Gift of William H. Helfand., See related: Graphic Popular Medicine Ephemera Collection - Series II - Advertisements [P.2010.37.72]; Helfand Graphic Popular Medicine Print Collection - Advertisements [P.2012.29.58].
Purgen, Japan’s superiority over other oriental countries is indicated by the enlightenment of its medical profession, which prescribes in habitual constipation the pleasant and certain hydragogue laxative Purgen [graphic] / Lehn & Fink, manufacturing ch
Advertisement for Lehn & Fink's patent medicine and depicting a group of Japanese men, women, and boys. In the left, shows the man, attired in a blue-striped kimono and sandals, holding a wooden tray and blowing colorful bubbles that float up. A young boy runs and looks up at the bubbles. A woman, attired in a white hat, purple patterned kimono with a red obi, and sandals, walks with a boy who carries a branch of cherry blossoms. Next two women, attired in white hats and a gray kimono with a black obi and a purple kimono with a red obi, walk and talk together. In the right, the Japanese man, wearing a chonmage hairstyle and attired in a gray kimono and sandals, walks carrying a red bundle and a branch of cherry blossoms. A cherry tree, with a red-and-white striped banner tied to it, has a flowering branch that extends across the top of the print. Library Company copy has five Imperial Japanese Post stamps. Louis Lehn (1838-1915) and Frederick W. Fink (1846-1925) founded Lehn & Fink in New York in 1874., Title from item., Date inferred from active dates of the advertised business., Gift of William H. Helfand., See related: Graphic Popular Medicine Ephemera Collection - Series II - Advertisements [P.2010.37.71]; Helfand Graphic Popular Medicine Print Collection - Advertisements [P.2012.29.58].
R. Totani, importer of Japanese goods, 127 S. Eleventh Street, Philadelphia, PA. [graphic].
Envelope for Reachero Totani's Japanese goods business located at 127 South 11th Street, Philadelphia. Envelope for Totani's business with decorative lines bordering the left corner. Addressed to Mrs. Alfred G. Baker, 1818 Spruce St., City [ie. Philadelphia]. Postmarked Philadelphia, PA, 1893 and has a one-cent stamp with a portrait of Benjamin Franklin. Reachero Totani married a white woman named Elizabeth in 1889 in New York City and is listed in the 1891 New York directory as a clerk. He is listed in the Philadelphia directories from 1893 to 1895 with his business as "Japanese goods" and "china." In Philadelphia, he was also an active member of the Japanese Club, a dinner club comprised of Japanese men that met monthly. Henrietta Rush Fales Baker (1838-1897) married Alfred Gustavus Baker (1831-1892) in 1862. Alfred was president of the Franklin Fire Insurance Company and then became the director of the Southwark National Bank. When Henrietta died, she left an estate of two million dollars., Title from item., Date inferred postmark date.
Race Street in Philadelphia's Chinatown.
View looking down Race Street in Chinatown. Includes storefronts adorned with buntings, awnings, and flags. Pedestrians, horse-drawn carts and carriages, and cyclists crowd the thoroughfare. Probably taken during Chinese diplomat and statesmen Li Hongzhang's visit to Philadelphia on September 3, 1896., Publisher's imprint printed on mount., Title printed on mount., Curved gray mount with rounded corners., Date inferred from type of mount., Gift of Raymond Holstein.
[Ralston family cased photograph collection] [graphic].
Collection of daguerreotype and ambrotype portraits, several by Norristown daguerreotypist William Stroud, portraying clergyman and founder of Oakland Female Institute James Grier Ralston, his wife Mary Anderson Larimore Ralston, their daughters, and his and his wife’s female siblings, and women teachers at the Institute. Contains bust-, half-, three-quarter, and full-length portraits of individual and pairs of sitters. Sitters are often seated, but a number of the portrait depicts sitters in a standing pose. The women’s and girl’s attire includes bonnets; off-the-shoulder bateau neckline dresses; high-neck, long-sleeved dresses with lace collars and cuffs; brooch and belt chatelaines; and earrings. Dresses worn by the female sitters are often a solid dark color, but occasionally are of a pattern design or light color. James Grier Ralston’s attire included broad bow ties, vests, jackets, and suits. Many of the images also contain props, including covered side tables, chairs, flowers, possibly an ambrotype, and a crumpled piece of cloth., Sitters in addition to James Grier Ralston and Mary Anderson Larimore Ralston include their daughters Anna Larimore Ralston, Ella Grier Ralston, Lilly Grier Ralston (who died at 11 months old), and Cora (Cara) Ralston; Institute music teacher Mrs. John Hunsicker, i.e., Fannie Henry Hunsicker (married by James G. Ralston); Mary’s sister and Institute graduate, Hetty Clark Larimore; and Institute teacher and sister of James, Agnes Caldwell Ralston; Institute graduate Martha (Mattie) Divine (Mrs. Fleming); and an unidentified woman., Posed portrait pairs include images of Mary Anderson Larimore Ralston and daughter Anna Larimore Ralston (P.2012.5.6) in which Anna sits in Mary’s lap with her mother’s hand on her head; and Anna Larimore Ralston and Ella Grier Ralston (P.2012.5.8) which Anna stands next to Ella who sits on a chair, while she rests her arm on a covered side table adorned with a basket of flowers; Anna Larimore Ralston and Fanny Hunsicker (P.2012.5.16) in which Fanny, seated, has her one hand at her hip and her other hand and arm around the waist of Anna who stands; and Hetty Clark Larimore and Mary Larimore Ralston (p.2012.5.17) in which the women are seated, side by side, and Hetty holds a bound object, possibly an ambrotype and Mary holds a crumpled white cloth., Title supplied by cataloger., Date inferred from photographic medium and age and attire of sitters., Photographers include William Stroud (Norristown, Pa.) and Theodore L. Chase (Philadelphia, Pa.)., Various-shaped mats, including oval, elliptical, double elliptical, and non pareil., Various colored pads, including blue, red, and maroon velvet or silk, several with embossing. Embossings include photographer’s imprints and/or imagery. Imagery includes floral and geometric designs, scroll work, and eagles., Primarily leather cases, and one thermoplastic case. Case designs vary, but are predominantly rose and mixed flower designs, in addition to geometric, scroll, and quatrefoil designs. Designs also include Pressed Flower, plate 154; The Delicate Roses, variant, plate 123; A Spray of Roses, plate 131; Mixed Garden Flowers, plate 133; Two Lilies, variant, see plate 112 and 113 in American miniature case art by Floyd and Marion Rinhart (Cranbury, New Jersey: A.S. Barnes and Co., Inc., 1969)., Majority of sitters identified by accompanying slips of paper with manuscript notes., Several of the images contain pink tinting on the cheeks of the sitters., P.2012.5.4, P.2012.5.8, P.2012.5.11-15, P.2012.5.21 contains daguerrean's imprint on pad or inside rim of case. Various imprints include: William Stroud, Norristown; William Stroud's Skylight Gallery, Norristown, Pa.; Stroud’s Ambrotypes Norristown, Pa., P.2012.5.6 contains dagurrean's imprint on pad: Theodore L. Chase, N.E. cor. Chestnut & Fifth Sts., Fannie Henry Hunsicker was a woman of Chinese descent. Official records are conflicting as to whether she was born in China, at sea, or in Connecticut., Several of the images contain weeping glass deterioration, tarnished plates, or other damage., Inventory of collection available at repository., See Sarah Weatherwax, "Revealing the Ralston Family," The Daguerreian Society Quarterly (July-September 2021), p. 3-6., Clergyman James Grier Ralston (1815-1880) founded Oakland Female Institute in 1845 in Norristown, Pa. Ralston studied at the Theological Seminary at Princeton and headed the Female Seminary at Oxford, Chester Country, PA before establishing Oakland. He married Mary A. Larimore (1822-1891) in 1842 and they had four children Anna L. (1848-1902), Ella M.(1847-1924), Lillie G. (1852-1853) and Cara G. (1856-1928), with Lillie dying in infancy. Ralston’s children were educated and/or taught at Oakland, as did his sister Agnes C. Ralston. The Institute operated until 1880 and the death of Ralston
R.C. Howe, apothecary, Elm Corner, (successor to E.G. Frothingham and late of Emerson & Howe,) a full stock of medicines, fancy goods, cigars, &c., choice teas a specialty, the original 35 c. tea, Haverhill, Mass. [graphic].
Trade card promoting druggist Richard Cranch Howe and depicting a caricature of an Asian woman carrying a parasol walking down a path. Shows an Asian woman, attired in a patterned dress and hat or headdress, holding a flower in her left hand and a parasol in her right hand. She walks down a path and looks at a planter full of flowers that hangs from an arch attached to a decorative column., Title from item., Date finferred from active dates of the pharmacist., Gift of William H. Helfand., RVCDC
Reformed Mission School, Sendai, Japan. [graphic].
Group portrait of Elizabeth R. Poorbaugh, Mary Ault, and over forty students from Miyagi Jogakko, a school for girls, in Sendai, Japan. Shows the young women and girl students, attired in kimonos, and sitting and standing in rows. In the left, Mary Ault sits with the youngest girls. In the center, Elizabeth Poorbaugh sits with her young niece Kitty, attired in a white apron, on her lap. Shrubs and potted plants are in the foreground. The school building and trees are visible in the background. Elizabeth R. Poorbaugh Cort (1854-1927) was born in Berlin, Pennsylvania. She traveled to Japan with her niece, whom she raised following the death of her sister-in-law. She founded Miyagi Jogakko, a school for girls, with Mary Ault in 1886 in Sendai, Japan. She served as principal for seven years. She married Rev. Cyrus Cort in 1893. Mary Ault Hoy (1863-1937) was born in Mechanicsburg, Pennsylvania. She served as a teacher at Miyagi Jogakko. She married Rev. William Edwin Hoy. She died in Hankou, China., Title from item., Date inferred from content., Text printed on recto: Founded in September 1886, by Miss Lizzie R. Poorbaugh and Miss Mary B. Ault, Missionaries of the Reformed Church in the United States. Miss Ault is on the left side of the picture among the smaller girls. Miss Poorbaugh is seated near the centre, with her niece Kitty on her lap. Kitty is known by her white apron.
[Return of 28th Division parade in Philadelphia, welcome home, passing Independence Hall May 15, 1919] [graphic].
Photograph depicting soldiers of the 28th Division of the Army marching past Independence Hall at 520 Chestnut Street, Philadelphia at the homecoming parade on May 15, 1919. Shows the soldiers carrying rifles and marching in formation down the street. In the right, spectators sit in bleachers and watch the parade. A banner on the post of the bleachers reads, "Boureuilles." American and Allied flags, including a Japanese flag, decorate the buildings. Police officers stand flanking the parade route. A photographer takes photographs standing on a stone urn on the sidewalk in the left. The 28th Infantry Division represents the Pennsylvania National Guard and was also called the "Iron Division" and “Keystone Division.” The Division served in World War I, including at the Battle of Chateau-Thierry., Title and date from manuscript note written on verso., See related: photo - unidentified - events - World War I [7066.Q.44-51].
Roland S. Morris, new ambassador to Japan, given farewell luncheon [graphic].
Portrait photograph showing the newly appointed United States Ambassador to Japan Roland S. Morris with Japanese and American guests at a luncheon before his trip to Japan at the Hotel Astor in New York on September 20, 1917. The seven men sit and stand outside in front of stones, shrubs, and flowers. Seated in the front are Japanese Consul General Yudo, Ambassador Roland Morris, and Hamilton Holt. Standing in a row behind them are Alcan Hirsch, Toyokichi Iyenaga, Sidney Gulick, and Jōkichi Takamine. Roland S. Morris (1874-1945) founded the Philadelphia-based law firm Duane Morris and served as the Ambassador to Japan from 1917 to 1920., Title and date from label on verso., Photographer's imprint stamped on verso mostly covered by label pasted on top of it. [Underwood & Und]erwood, N.Y. [illegible] rented or loaned [illegible] use only [illegible] used for advertising [illegible] written permission., Distributor's imprint stamped on verso: Central Press Ass'n, Reference Dept., Sept. 23 1917. No. [A-949]., Series no. on negative: S.226596., Typewritten label pasted on verso: Roland S. Morris, new ambassador to Japan, given farewell luncheon. Mr. Roland S. Morris, recently appointed Ambassador to Japan, was tendered a farewell luncheon by prominent Japanese and friends at the Hotel Astor, New York City on the eve of his departure for his new post. In the group are from left to right (sitting) Consul General Yudo, Mr. Roland S. Morris, and Mr. Hamilton Holt, (standing) Dr. Alcon(sic) Hirsch, Dr. Iyenaga and Mr. Tokonino (sic). Ambassador Morris succeeds the late George W. Guthrie who died at his post. His body was brought back to America on a Japanese warship. Ambassador Morris is a distinguished Philadelphia lawyer.
Ruins of museum building. Ninth below Chestnut Street. [graphic].
Photograph depicting the fire ruins of the Philadelphia Museum known as the Chinese Museum built circa 1836-1838 after the designs of Isaac Holden at Ninth and Sansom Streets. Shows partial fragments of the brick walls left standing. Bricks and debris are visible on the ground. The Museum served as an exhibition space, including the display of Nathan Dunn's Chinese artifact collection, and as a concert, public meeting, and lecture space until razed by fire on July 5, 1854., Title from Poulson inscription., Date inferred from content., Attributed to Richards & Betts., Originally part of a series of eleven scrapbooks compiled by Philadelphia antiquarian Charles A. Poulson in the late 1850s entitled "Illustrations of Philadelphia" unidentified volume, page 13b. The scrapbooks contained approximately 120 photographs by Philadelphia painter and pioneer photographer Richards of 18th-century public, commercial, and residential buildings in the city of Philadelphia commissioned by Poulson to document the vanishing architectural landscape, Retrospective conversion record: original entry, edited., Reproduced in Kenneth Finkel's Nineteenth century photography in Philadelphia (New York: Dover Publications, Inc. in cooperation with the Library Company of Philadelphia, 1980), entry #158., Reproduced in The Print and Photograph Department of the Library Company of Philadelphia's Center City Philadelphia in the 19th century (Portsmouth, N.H.: Arcadia Publishing, 2006), p. 14., Arcadia caption text: The Chinese Museum, built 1836-1838 after the designs of English architect Isaac Holden, was a veritable multi-use venue. The two-story marble building exhibited Nathan Dunn’s impressive collection of wax figures dressed in authentic Chinese clothing set amidst Chinese furniture, decorations, and rooms along with the Philadelphia Museum Company’s holdings of artist Charles Willson Peale’s collection of paintings, bones, stuffed animals, and curiosities. Between 1842 and 1844 both museums left the building due to decreased attendance and profits, but the space at the northeast corner of Ninth and Sansom streets capable of holding 8,000 people continued to host balls, political conventions, plays, lectures, public meetings, and exhibitions, such as the Exhibition of American Manufactures sponsored by the Franklin Institute, pictured above in October 1844. The smoldered remains of the building are shown below, after a devastating fire destroyed it on July 5, 1854., Richards & Betts was a partnership between Frederick DeBourg Richards and John Betts circa 1854-1857.
Ruins of the National Theatre, s.e. cor. of Chestnut and Ninth St. [graphic] / Painted & presented to C.A.P. by R.H. Wells, Esq.
Watercolor showing a view of the ruins of the National Theatre built in 1837 at 824-836 Chestnut Street, which was razed by fire on July 5, 1854. Shows partial fragments of the brick walls left standing. A broadside or poster is pasted on a fragment of the brick wall in the center. Bricks and debris are visible on the ground. Partial view of unburnt adjacent building in the left and in the background. The fire also destroyed the neighboring Philadelphia Museum known as the Chinese Museum built circa 1836-1838 after the designs of Isaac Holden at Ninth and Sansom Streets. The museum served as an exhibition space including the display of Nathan Dunn's Chinese artifact collection, and as a concert, public meeting, and lecture space., Title and date from manuscript note on accompanying mount., Manuscript on the note reads "R.H. Wells" but is likely mistaken and probably should read "C.H. Wells" who created many sketches for Charles A. Poulson., Originally part of Poulson scrapbook of illustrations of Philadelphia.
The Savoy Co. 13th year producing Gilbert & Sullivan of era the Mikado [graphic] : at the Broad Street Theatre May 1913.
Program for performance of The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan at the Broad Street Theatre, Philadelphia from May 14 to 17, 1913 for the benefit of Philadelphia Lying-In Charity Hospital. Includes a list of the Savoy Company's previous performances from 1901; history of the Savoy Company; article on Gilbert and Sullivan's operas; list of members of the Savoy Company; cast of performers of the Mikado; article on the Philadelphia Lying-In Charity Hospital; and cast of performers of every previous Savoy Company production. Cover image by artist Franz de Merlier and depicts the Mikado, or Emperior standing attired in a red hat and patterned kimono. In the right, a Japanese man, wearing a chonmage hairstyle and red kimono, sits on the floor. A line of four men, wearing chonmage hairstyles and patterned kimonos, hold swords in their right hands., Title from item., Date inferred from dates of the stage production., Advertisements on the inside covers and 7 p. of ads at the back.
A scene in the Golden Dragon, 1526 Market Street, Philadelphia's most beautiful restaurant [graphic].
Interior view of the Golden Dragon restaurant located at 1526 Market Street, Philadelphia and depicting the dining room crowded with patrons. Shows the large room filled with diners sitting at white table-clothed tables and standing in a row. The men and women, finely attired in suits, dresses, hats, and jewelry, look at the viewer. Plates of food and cups and glasses are visible on the tables. In the left, a Chinese man waiter, attired in a tuxedo, stands with probably menus under his arm. In the background, musicians, attired in tuxedos, are seated with musical instruments in front of a backdrop of peacock feathers. The dining room ceiling is decorated with multiple-colored fabrics. Charlie Kerr (1890-1976) was a jazz drummer and orchestra leader in the 1920s to the late 1940s., Title from item., Date inferred from medium and content., Text printed on verso: Philadelphia, Pa., 19[blank], Dear [blank], Greetings from the beautiful Golden Dragon, where I dined today. "Charlie" Kerr's Orchestra is great., Series no. on verso: 2690 N., See related: Brightbill postcards [Hotels and Restaurants - Bingham through Green's - 112] - sheet number 112B04., Sheet number: 112A05., Divided backs.
A scene in the Golden Dragon, 1526 Market Street, Philadelphia's most beautiful restaurant [graphic].
Interior view of the Golden Dragon restaurant located at 1526 Market Street, Philadelphia and depicting the dining room crowded with patrons. Shows the large room filled with diners sitting at white table-clothed tables and standing in a row. The men and women, finely attired in suits, dresses, hats, and jewelry, look at the viewer. Plates of food and cups and glasses are visible on the tables. In the left, a Chinese man waiter, attired in a tuxedo, stands with probably menus under his arm. In the background, musicians, attired in tuxedos, are seated with musical instruments in front of a backdrop of peacock feathers. The dining room ceiling is decorated with fabrics. Charlie Kerr (1890-1976) was a jazz drummer and orchestra leader in the 1920s to the late 1940s., Title from item., Date inferred from medium and content., Text printed on verso: Philadelphia, Pa., 19[blank], Dear [blank], Greetings from the beautiful Golden Dragon, where I dined today. "Charlie" Kerr's Orchestra is great., See related: Brightbill postcards [Hotels and Restaurants - Bingham through Green's - 112] - sheet number 112A05., Sheet number: 112B04., Divided backs.
[Scene on Atlantic City boardwalk near Lindley's baths.]
Scene depicting the busy Atlantic City boardwalk with many promenaders. Several businesses line the boardwalk including a photographic studio, Adams Bath Houses, Lindley's Baths, and Shimamura & Company. Through the glass storefront window at Shimamura & Co., numerous vases and framed works are visible. Men, women, and children promenaders include two African American girls attired in white dresses and hats; three women attired in Japanese kimono carry parasols and one carries a fan; members of a band; and a white boy carrying a sign for "Cleveland's Iron Pier." In the left, a large American flag flies. An observation tower with people is seen in the background. Shingo Shimamura, along with several Japanese partners including Y. Mayebara, and Takemura, opened Shimamura and Co. in 1888 at Tennessee Avenue and the Boardwalk, Atlantic City. The store sold Japanese art and decorative arts. In 1906, Shimamura opened another store at 579 Broadway, New York City., Title supplied by cataloger., Date inferred from attire of the people., Purchase 1989., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Scrapbook
Scrapbook compiled by Philadelphia socialite Minnie Campbell Wilson (neé Harris) containing primarily place, greeting, holiday and calling cards predominantly issued in the United Kingdom and the Northeast United States. Majority of the cards are printed and or chromolithographs, with a small number illustrated with drawings by hand. Many cards also contain ornate border details, embossing, and adornments, including ribbons, fringe, lace, a wishbone, and overlays. Contents also include die-cuts of fans, horse shoes, a spoon, a flamingo, one-quarter moon, a woman’s leg, and a bird as a cover for a H. O. Neill & Co. illustrated hat catalog. Cards often depict sentimental and genre imagery including cupids, butterflies, flowers, vases and baskets; religious, historical and Asian-themed scenes, figures and/or decor; seasonal landscape views; women, children, and costumed figures; animals, including birds, chicks, dogs, and cats; and fruit. Other imagery includes two witches flying on brooms holding a "Merry Christmas and Happy New Year" banner; London printer William Dickes series of women in native costume from Switzerland, Russia, and Norway; a holiday card that opens to a sledding scene of children holding letters spelling "Merry Christmas"; and a Valentine Day card showing a letter slot filled with valentines. Scrapbook also contains watercolors and drawings, trade cards, programs, menus, invitations, ribbons, photographs, etchings, newspaper clippings, including an announcement of the wedding of Adelaide Watson, and a post card from "cousin Will." Trade cards advertise businesses, including J. E. Caldwell & Co., Stephen F. Whitman & Son, P. Fleischner & Co., Sharpless & Sons, F. T. Howell & Co., A. Ripka & Bro., J. H. Way & Bro., and Automatic Signal Telegraph Co. containing four scenes showing a robbery and fire and police and fire department., Scrapbook contains a number of items depicting Asian people or decorative themes, including a greeting card that reads, "A Happy New Year to You," and showing a Japanese woman, attired in a kimono, sitting and watering a potted plant [p. 9]; a card that reads, "Miss Harris," and depicting a Japanese woman, attired in a kimono made of fabric, standing and facing left [p. 18]; a card titled, "Bric a brac," and showing a blue and white porcelain bowl, vase, and pitcher bordered by hand fans and three flying cranes [p. 29]; and Asian men attired in kimonos having their noses pulled or pulling noses [p. 47]., Watercolors and drawings depict a woman attired in early 19th-century garb in a pumpkin patch, marinescapes, and an anthropomorphic frog. Photographs include a half stereograph showing a croquet match in front of a resort hotel and a photograph of Fifth and Walnut streets (Philadelphia) “taken by Chris in "88." Etchings include a portrait of an elderly man and one signed F. A. Stokes showing a man at a table. Other ephemera includes a hand-made tablet with a cover containing a watercolor depicting birds; a cloth padded bird figurine; a metamorphic playbill for the play "French Flats" at Union Square Theatre; a typewritten engagement announcement composed as a poem; a Christmas Hymnal booklet; handwritten word games, including 'Progressive Conversation"; a Pennsylvania Railroad "Old Point Comfort" tour schedule; and a train schedule scrap annotated with a doodle and inscribed text., Black binding, stamped on cover: Scrapbook., Label pasted on verso of cover: Patent Back Scrap Book. Pat. March 28, 1876., Inscribed on front free end paper: Minnie Campbell Harris Philadelphia. January 12, 1887., Provenance and date of majority of contents identified by brief inscriptions. Provenances include Nannie (i.e., Mary Jaudon) Harris, Lucy and Susan Jaudon, Mai Philler, Carrie (i.e., Caroline) Biddle, and Helen Morton., Printers include Philadelphia firms Craig, Finley & Co., Dreka, Rowley & Chew, and Sunshine Pub. Co.; Boston firm L. Prang & Co.; and British and Irish firms William Dickes, Marcus Ward & Co., and Eyre & Spottiswoode., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Housed in phase box., Gift of Elizabeth McLean., Inventory available at repository., Mary Campbell Harris (known as Minnie), daughter of U.S. Naval Commander Thomas Cadwalder Harris (1826-1875) and Mary Louisa Bainbridge Jaudon (1835-1914), was born in New York on December 27, 1862. Descended from Commodore William Bainbridge and Thomas Harris, the first surgeon-general of the United States Navy, Harris and her family resided in Philadelphia by 1866. In 1893, she married John L. Wilson (b. 1850), later treasurer of Coal Land Corporation and the couple resided in the Rittenhouse Square neighborhood. Harris was active in the Sedgely Club and often attended and held card parties, teas, and luncheons noted in the local press. Harris spent her later years residing in Bryn Mawr where she died circa 1948.
Sharpless & Sons, Philadelphia. [graphic].
Trade card promoting dry goods merchant Sharpless & Sons and depicting a Chinese boy sitting on an oversized fan. Shows the boy, wearing a queue hairstyle and attired in a blue robe with red trim and a green sash around the waist, green stockings, and slip-on shoes, sitting with his back to the viewer on a large fan. The gold hand fan is decorated with a bird and flowers. Chinese characters are written in the left. Sharpless & Sons were importers, jobbers, and retailers of dry goods that operated from 801, 803, 805, & 807 Chestnut Street, Philadelphia., Title from item., Date inferred from content., Purchased 2015., RVCDC
[Ships departing from California](Amerikashū Karuharunoyakō shuppan no zu) [graphic].
Left sheet of a triptych depicting an American ship leaving the “port of California,” (probably San Francisco) bound for Japan. Shows the ship sailing in the water. A number of sailors stand on the deck and three sailors climb on the ship’s rigs. An American flag flies on the mast. In the right foreground, two white men stand on rocks and watch the ship. The print was produced shortly after Japan’s first diplomatic embassy was sent to the United States in 1860., Title and date based on similar copies held at the Harvard Art Museum and Metropolitan Museum., Printed signature reading "Gountei Sadahide ga.", Gift of Davida Deutsch in memory of Molly Roth., Sadahide Hashimoto or Sadahide Utagawa (1807-1873) was a Japanese artist active in Yokohama and known for his renderings of foreigners, especially Westerners. He was selected as part of the Japanese delegation to the Paris International Exposition of 1867.
[The Siamese twins, Chang and Eng, aged eighteen] [graphic].
Full-length portrait of the conjoined twins Chang and Eng Bunker standing outdoors on grass. Shows the young men barefooted and attired in matching Thai clothing consisting of brown caps, brown tunics, and blue, striped pants. The tunics are open in the front revealing the band of skin and flesh that joined them at the chest. Chang has his right arm around Eng's shoulder, and Eng holds his hand. Eng has his left hand on Chang's waist, and Chang holds his hand. Chang and Eng Bunker were born as conjoined twins in Thailand (formerly known as Siam) to parents of Chinese descent. Chang was positioned on their left, and Eng was on their right. Merchant Robert Hunter and Sea Captain Abel Coffin brought them to the United States in 1829, where they were exhibited as curiosities. The Bunkers left their managers and later toured independently. They purchased an estate in North Carolina. Eng married Sarah Yates, and Chang married her sister Adelaide Yates and together had twenty-one children., Title from a similiar print in the Wellcome Collection., Date inferred from medium and content., Gift of David Doret., Created postfreeze.
The Heathen Chinee. [graphic].
Print depicting characters from Bret Harte’s 1870 poem “Plain Language from Truthful James” later reprinted as “The Heathen Chinee.” The narrative of the poem focuses on two white men, Bill Nye and “Truthful James,” and a Chinese man named Ah Sin playing the card game Euchre. Bill and James believe Ah Sin is “childlike” and does not comprehend how to play the game. The print shows Bill and James standing in the left on a dirt road and showing playing cards to Ah Sin, who looks on with his hands in his pockets. Ah Sin is depicted in racist caricature and wears a queue hairstyle, a conical hat, gold hoop earrings, a blue tunic and pants, and cloth, slip-on shoes. In the background are mountains and a partial view of a cabin. Later in the poem’s narrative, Bill cheats playing the game by having cards up his sleeve. When Ah Sin plays a card that James already has, it is discovered that Ah Sin is also cheating with decks of cards hidden in his sleeves. Bill proceeds to fight Ah Sin. Bret Harte’s poem “Plain Language from Truthful James,” satirizing anti-Chinese sentiment, was originally published in the Overland Monthly Magazine in September, 1870. It became widely popular and was reprinted and republished as “The Heathen Chinee” in several illustrated series in pamphlet and loose print form., Title from item., Date inferred from content., Print contains registrations marks., See related: GC-Genre [P.2007.39.24]., Gift of David Doret.
The Smile that was childlike. [graphic].
Print depicting characters from Bret Harte’s 1870 poem “Plain Language from Truthful James” later reprinted as “The Heathen Chinee.” The narrative of the poem focuses on two white men, Bill Nye and “Truthful James,” and a Chinese man named Ah Sin playing the card game Euchre. Bill and James believe Ah Sin is “childlike” and does not comprehend how to play the game. The print shows Bill and James standing in the left on a dirt road and showing playing cards to Ah Sin, who looks on with his hands in his pockets. Ah Sin is depicted in racist caricature and wears a queue hairstyle, a conical hat, gold hoop earrings, a blue tunic and pants, and cloth, slip-on shoes. In the background are mountains and a partial view of a cabin. Later in the poem’s narrative, Bill cheats playing the game by having cards up his sleeve. When Ah Sin plays a card that James already has, it is discovered that Ah Sin is also cheating with decks of cards hidden in his sleeves. Bill proceeds to fight Ah Sin. Bret Harte’s poem “Plain Language from Truthful James,” satirizing anti-Chinese sentiment, was originally published in the Overland Monthly Magazine in September, 1870. It became widely popular and was reprinted and republished as “The Heathen Chinee” in several illustrated series in pamphlet and loose print form., Title from item., Date inferred from content., Print contains registrations marks., See related: GC-Genre [P.2007.39.24]., Gift of David Doret.
South China Restaurant [graphic].
Clipping from a serial advertising the South China Restaurant located at 913 Race Street, Philadelphia and containing typography and pictorial elements. Includes Chinese characters and text promoting lunch and dinner at the restaurant. A black border surrounds the text., Title from item., Date inferred from content., Text printed on recto: Authentic Delicious Oriental Dishes, Luncheon 35¢ Dinner 50¢, Facilities for Parties; Modern and Pleasant. Phone--Mar. 9140., Gift of Linda Kimiko August.
[Street decorations for Liberty Loan during the World War, Phila., Pa.] [graphic].
Photograph depicting buildings decorated and the Statue of Victory in front of City Hall, Philadelphia to promote the Victory Liberty loan. In front of City Hall is the Statue of Victory, which was unveiled on April 21, 1919 at the start of the Victory Loan drive. Drapes of fabric decorate City Hall. American flags and several flags from allies, including Great Britain and Japan, decorate the buildings on Broad Street, including the Girard Trust Corn Exchange Bank built in 1905 to 1907 after the designs of Furness, Evans & Co. with detailing by McKim, Mead and White. Pedestrians crowd the sidewalks and street. A bicylist stands in the left. Automobiles and a horse-drawn wagon travel down the street. Several artillery guns are along the the street. The United States Treasury in conjunction with the Federal Reserve issued Liberty Loans, also known as Liberty Bonds, to finance the cost of America’s participation in the war. Four Liberty Loans were issued on April 24, 1917, October 1, 1917, April 5, 1918, and September 28, 1918 raising a total of 17 billion dollars. A fifth bond called the Victory Liberty Loan was issued on April 21, 1919., Title from manuscript note written on verso., Date inferred from content., See related: photos - unidentified - events - World War I - [P.7066.Q.29]
[Street decorations in front of City Hall during Victory Loan, World War] [graphic].
Photograph depicting buildings decorated and the Statue of Victory in front of City Hall, Philadelphia to promote the Victory Liberty loan. In front of City Hall is the Statue of Victory, which was unveiled on April 21, 1919 at the start of the Victory Loan drive. Drapes of fabric decorate City Hall. On the street in front of the Victory Statue is a design of a large V and smaller v's flanking the sides. American flags and several flags from allies, including Great Britain and Japan, decorate the buildings on Broad Street, including the Girard Trust Corn Exchange Bank built in 1905 to 1907 after the designs of Furness, Evans & Co. with detailing by McKim, Mead and White. Pedestrians crowd the sidewalks. The United States Treasury in conjunction with the Federal Reserve issued Liberty Loans, also known as Liberty Bonds, to finance the cost of America’s participation in the war. Four Liberty Loans were issued on April 24, 1917, October 1, 1917, April 5, 1918, and September 28, 1918 raising a total of 17 billion dollars. A fifth bond called the Victory Liberty Loan was issued on April 21, 1919., Title from manuscript note written on verso., Date inferred from content., See related: photos - unidentified - events - World War I - [P.7066.Q.28]
Superstitious Chinese children covering their faces to avoid being photographed [graphic].
Photograph depicting a Chinese man and four Chinese children on a platform at the entrance of the Chinese Pavilion at the Louisiana Purchase Exposition in St. Louis. Shows a boy standing with his back to the viewer, wearing a queue hairstyle and attired in a red cap, a blue shirt and pants, and blue cloth slip-on shoes. In the left, the boy, attired in a blue cap, a pink shirt and pants, and blue cloth slip-on shoes, sits on a chair and looks to the left. Beside him, a seated young girl, wearing a pink bow in her hair and attired in a pink shirt and pants, and blue cloth slip-on shoes, covers her face with both of her hands. In the right, a child, attired in a dark blue shirt, blue pants, and blue cloth slip-on shoes, sits and raises their arm and hands to cover their face. In the left behind the children, a Chinese man, attired in a conical hat, a dark blue shirt and pants, and cloth slip-on shoes, stands and holds possibly a torch. A white man, wearing a mustache and attired in a white collared shirt and a gray suit, stands and faces the viewer. A green dragon with its mouth open decorates the platform. A decorative wooden railing is visible along the background. The Louisiana Purchase Exposition, also known as the St. Louis World's Fair, was held from April 30 to December 1, 1904 in commemoration of the centennial of the Purchase. More than 60 countries and 43 of the American states displayed exhibits at the fair, which was attended by 19.7 million people. The Chinese Pavilion included a theater, a temple, a tea house, a bazaar, and a reproduction of the summer home of Prince Pu Lun, the Imperial Commissioner. In the Chinese Village were Chinese merchants, mechanics, painters, waiters, silk weavers, musicians, performers, and children. The children were set at the entrance of the concession to attract visitors., Green mount with rounded corners., Title printed on mount., Date inferred from content and date of event., Text printed on verso: In the Chinese Village there were nine little Chinese children who were shrewdly employed at the entrance to the concession as a drawing feature and who attracted great crowds of people. The youngest child was but three years old. Both parents lived in the village as merchants. The favorite with the visitors was Fanny Moy, the seven-year old daughter of the village druggist. She possessed a sweet voice and spoke English almost without any foreign accent. The largest boy, nine years old, was an accomplished musician and took also a prominent part in the theatrical performances. The children were under government inspection, and physicians detailed from the army service looked after their physical welfare, while a returned missionary instructed them in English. Each child was under a bond of $500 to secure their safe return to China after the exposition., Gift of Linda Kimiko August.
The tables turned [graphic] : You sabe him! Kealney must go!
Political cartoon depicting racist caricatures of Chinese workers heckling Workingmen's Party of California leader Denis Kearney, who is in prison. In the right, shows Kearney, attired in a black-and-white-striped prison uniform with a ball and chain on his ankle, standing and grasping the bars of his cell, which is labeled, “House of Correction, 181.” In the left, a group of Chinese men workers, wearing queue hairstyles and attired in caps and hats, tunics, pants, and cloth slip-on shoes, sit and stand amongst baskets, including two filled with fish. They hold out to Kearney products associated with their employment, including a laundry worker carrying a washboard and offering socks with holes; a fishmonger holding crabs and a fish labeled, “Black Friday,” on a stick; and a man with a cigar in his mouth holding out a bundle of cigars. They mock him in pidgin English, “you sabe him? Kealney must go!” in reference to Kearney’s slogan that he ended every speech with: “The Chinese must go.” In the top left pinned to the wall is a depiction of a donkey and a cart, possibly alluding to Kearney’s draying business. Denis Kearney (1847-1907) was an Irish immigrant who lead the Workingmen’s Party of California on a platform of anti-Chinese hate, blaming the Chinese immigrants for low wages and job scarcity. He was imprisoned in 1877 for inciting a riot., Title from item., Date inferred from content., Text printed on recto: Copyright secured., RVCDC
Tommy polka. Dedicated to Tateish Onogero [or Tommy] of the Japanese Embassy / T. Sinclair's Lith., Phila.
Sheet music for a polka composed by Charles Grobe and depicting a full-length, seated portrait of Tateishi Onojirô, a member of the Japanese Embassy that traveled to the United States in 1860 to ratify the Treaty of Amity and Commerce, also known as the Harris Treaty. Shows the teenage Onojirô, wearing his hair tied back and attired in a kimono and shoes, sitting in a wooden chair and looking directly at the viewer. He holds a sword in its scabbard tied to his waist with his left hand and holds another sword in his right hand which points down to the floor. In the right is a side table covered in a floral print tablecloth and with a vase of flowers and a Japanese kasa (hat). Tateishi Onojirô, whom the media called “Tommy” was the youngest member of the ambassadorial delegation and served as an interpreter-in-training accompanying his adoptive father, formal interpreter Tateishi Tokujûrô., Composed by Charles Grobe., Copyright statement: Entered according to Act of Congress A.D. 1860 by Lee & Walker at the Clerk’s Office of the Dt. Ct. of the En. Dt. of Pa., Polka dance for piano., Dedication: To Tateish Onogero (or Tommy) of the Japanese Embassy., First line of text: Wives and maids by scores are flocking, Round that charming, little man, Known as Tommy, witty Tommy, Yellow Tommy, from Japan., Number 4 in 5 pointed star on lower right of the title page; Op: 1211; Publisher's Plate # 8085.4., Sold by: James E. Lent, Music Store, 359 Fulton St., Brooklyn, Stoddard Pianofortes for Sale or Rent., Retrospective conversion record: original entry.
Traymore House, Atlantic City, N.J.
Illustrated trade card promoting the Traymore hotel in Atlantic City, New Jersey and depicting two Japanese women walking in opposite directions. Shows the women, attired in kimonos and holding parasols, walking on the grass. In the right is a partial view of a fence and part of a roof with geometric designs along the side. A tree grows in the background. The Traymore began as a boarding house in Atlantic City in 1879 and expanded to become a large resort hotel. It was demolished in 1972., Title from item., Date inferred from dates of operation of the advertising business., Advertising text printed on verso: “The Traymore,” Sea end of Illinois Avenue, Atlantic City, N.J., Will re-open for the reception of guests June 1st. The House, situated at the sea end of Illinois Avenue, containing upwards of seventy apartments and being one of the nearest to the beach (which is within 100 yards), with nothing to obstruct the view, gives it the advantage of having more pleasant Ocean rooms than any other house of its capacity in Atlantic City., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Tsow Chaoong. Canton. [graphic].
Calling card for the Boston Chinese Museum "Writing Master" Tsow Chaoong. Includes a border containing flowers, birds, and cherubs. Chaoong's name also printed in Chinese characters. The Boston Chinese Museum, established following the first official trade agreement between the U.S. and China (Wanghsia Treaty of 1844), operated 1845-1847 in Boston before traveling to Philadelphia. The Museum operated in Philadelphia 1847-1849 and New York 1849-1850 before closing. Chaoong produced custom made cards for visitors that contained their names and places of birth in Chinese characters that were accompanied by his calling cards., Title from item., Date inferred from content., Originally part of a McAllister scrapbook of views of Philadelphia., Card described in Ronald J. Zboray's "Between "Crockery-dom" and Barnum: Boston's Chinese Museum, 1845-47" American Quarterly, June 2004, pp. 292.
Tuesday, August 15, 1905. The Ladies clothing emporium. She and I[?] take an umbrella to [the?] and get our first look at the heathen Chinee. [graphic].
Manuscript note with images from magazines of four women and a Chinese man pasted on the back of a Keystone Telephone Company order form. Handwritten note, presumably by a white woman, describes a trip to a women's clothing store and an encounter seeing a Chinese man. It reads, "Tuesday, August 15, 1905. The Ladies clothing emporium. She and I[?] take an umbrella to [the?] and get our first look at the heathen Chinee." Four fashion magazine prints depicting women attired in dresses have been cut out and pasted on each corner of the card. In the bottom center is a photomechanical print of a Chinese man, wearing a queue hairstyle and attired in a tunic, robe, a string of beads, and cloth slip-on shoes, standing with his hands at his waist and looking down. An arrow points from the word "Chinee" to the image. Robert H. Foerderer (1860-1903) founded the Keystone Telephone Company in 1900. Bell bought Keystone in 1944., Title and date from manuscript written on verso., Text printed on recto: Keystone Telephone Company, Equip. Dept., Detail Order Record. Detail order no.; File no.; Ordered; Supply order no.; Location and nature of work; [C]ompleted; Elapsed time; [?]st material; Cost labor; [T]otal cost; Acct. chgble; [?]reman; Men; Remarks., Library Company copy is torn on the left side., RVCDC
A typical scene in Hawaii. The hula-hula dance. [graphic].
Photograph depicting six Hawaiian women hula dancing in front of spectators during King Kalakaua's Silver Jubiliee celebrating his fiftieth birthday in 1886 in Honolulu. The women, barefooted and attired in flower leis around the crown of their heads and around their necks, anklets, white long-sleeved shirts, and fabric skirts, dance with their arms out to the left. Behind them a large crowd of spectators sit and stand and watch. Also visible are a palm tree and partial views of tents and a pavillion. In the right of the postcard is an advertisement for "Zenith Art Lusters" from N.Z. Graves Co., Philadelphia. Nelson Z. Graves (1849–1930) formed N.Z. Graves & Co., a manufacturer of varnish, japan, and pigments, in 1888., Text from item., Date inferred from postcard design., Text printed on recto: Put heavy accent on the syllables marked thus: -. Speak lightly the syllables marked thus: U. Zenith Art Lusters! Oh, come in and buy. They’ll brighten your home up and tickle the eye. There never was anything suited to please. Equal in quality, like unto these. Floors, chairs and tables, all shine at their touch, Old furniture scuffed, from using too much. Walls, ceilings and plaster and any such things, Wear better, look better, covered with stains. Step in and ask and the dealer will give a fine little booklet that helps you to live. Like artists, with comfort and beauty about. Costs you naught, aids you much, counsels you well. To learn more about “Zenith Art Lusters” ask the dealer from whom this card came or Dept. “R.”, Sheet number: 40B02A, Divided back.
Use Muzzy's starch [graphic].
Trade card promoting Elkhart Starch Company and depicting a racist caricature of a Chinese man laundry worker holding up a shirt to a white family. Shows the family standing in the right, including the white man, attired in a brown bowler hat, a white collared shirt, a black bowtie, and a brown-checked suit, holding a walking stick; the white woman attired in a yellow and pink hat and a blue dress with a red bow; and the white girl, attired in a yellow hat and a red and blue dress, holding a small box. In the left, the Chinese man, wearing a queue hairstyle and attired in a blue tunic and blue pants with yellow accents, stands behind a table with an iron and ironing board on top of it. He holds up a white shirt, which shows the reflection of the white woman. A basket full of laundry is on the ground. In the background is a stove and a clothesline of white shirts and clothes. A.L. Muzzy built the Muzzy & Sage Mill in Elkhart, Indiana in 1870. Albert R. Beardsley (1847-1924) purchased the mill in 1878 and founded the Elkhart Starch Company. The Company was bought by the National Starch in 1893., Title from item., Date inferred from dates of operation of business advertised., Advertising text printed on verso: "Be sure to use Muzzy's Corn Starch." Includes six recipes, including for sponge pudding, creamy pudding sauce, Salem pudding, scolloped oysters, oyster pie, and butter scotch., Gift of Linda Kimiko August., RVCDC
Use the agate iron ware, as it never rusts or leaks, and loudly are its praises sung by every tongue that speaks. [graphic].
Trade card promoting Weber & Bro. and depicting a caricaturized Chinese man sailing in a pot and a duck sailing in a kettle. In the left, the man, wearing his hair in a queue and attired in a red cap and long-sleeved, yellow tunic with red polka dots, holds an oar as he sails in an oversized handled pot with a shirt as the sail. The pot reads, "For China." In the right, a yellow duck, attired in a red cap and shirt, looks through a telescope as it sails in a kettle that reads, "For Europe, Asia, Africa." A ship is visible in the left background. George and William Weber founded Weber & Bro. in 1881. They sold hardware, cutlery, and tools at their store located at 2230 North Front Street., Title from item., Date inferred from active dates of the advertised business., Advertising text printed on verso: Weber & Bro., 2230 North Front Street, Philadelphia, PA., RVCDC
A View of central section of British fortress city Singapore [graphic].
Drawing depicting a view of Singapore. Shows several streets with multi-storied buildings, including a domed-building and a church with a steeple. Numerous trees grow along the fence-lined streets and properties. In the background, the water is visible, probably the Singapore Strait. The British occupied Singapore from 1819 to 1942., Title from item., Date inferred from content and active dates of the artist., Gift of David Doret and Linda G. Mitchell, 2019.
[View of the Centennial Machinery Hall with people from all nations] [graphic].
Block-printed wallpaper depicting an exterior view of Machinery Hall designed by Henry Pettit and Joseph M. Wilson for the Centennial Exhibition of 1876, which celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art in West Fairmount Park, Philadelphia. Horse-drawn carriages bring visitors to and from the Hall. A large crowd of spectators walk on the grounds. In the foreground, people from various nationalities and ethnicities are represented including Native Americans attired in feather headdresses; two men, including a Black man, attired in fez hats; two Chinese men, one carrying a fan, attired in conical hats and robes; two Arab men in white headdresses and robes; and a Scottish man attired in a kilt. Other spectators include a man attired in a sailor’s uniform, men and women couples, and young boys., Title supplied by cataloger., Date inferred from content., Gift of David Doret., RVCDC
Virginia II, Phil. Women's College [graphic] / Sun Studio.
Full-length, forward-facing portrait of Virginia Vidal Llamas, crowned the Queen of the Manila Carnival in 1922. Llamas, attired in a white dress with sequin decorations, necklace, and crown, sits on a wooden throne with a carved crown. The train of her dress stretches out on the floor toward the viewer. She holds a staff decorated with ribbons in her right hand and rests her left hand on her lap. Virginia Vidal Llamas (1905-1968) was the eldest daughter of Laguna’s former governor, Vicente Llamas, and Feliza Vidal. She attended the Philippine Women’s College. She married Carlos P. Romulo, her consort at the carnival, in 1924, and they had four sons. The Manila Carnivals were two-week fairs organized by Americans during colonization from 1908 to 1939. They showcased commercial, industrial, and agricultural progress and included parades, shows, firework displays, and the crowning of the Manila Carnival Queen., Title from negative., Date from event date., Manuscript note written on verso: Queen of Manila carnival, 1921., Sheet number: 153B05., Undivided back.
The Walnut Street Theatre, 119th and 120th season [graphic].
Program for performance of The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan at the Walnut Street Theater, Philadelphia in January, 1928. Includes a list of the cast of the two act opera; history of the Mikado; article on the upcoming performance of the musical Chicago; and an article on Winthrop Ames. Cover image shows a decorative stone structure with sphinx, satyr, women, and urns against a red background. Advertisements include: Chinese restaurants, King Joy, Mandarin Cafe, Cathay Tea Garden; Mirador restaurant; Frigidaire; Bonschur & Holmes, opticians; Locust Laundry; Joseph Rieder, money lender; and Stetson Hats., Title from item., Date inferred from dates of the stage production., Cast of performers include: John Barclay, William Williams, Fred Wright, William C. Gordon, J. Humbird Duffey, Lois Bennett, S. Russell Sterling, Bettina Hall, Vera Ross, George C. Lehrian, Paula Langlen. Settings & costumes: Raymond Sovey. Dances: Michio Ito. Stage Manager: John Clements. Winthrop Ames: Managerial sponsor of the Gilbert and Sullivan Opera Company., Advertisements for Philadelphia Chinese restaurants include: King Joy “Leading Chinese-American Restaurant, S.E. Corner 12th and Chestnut Streets. Art Coogan and His Orchestra, Broadcasting Nightly Thru W.I.P. The city’s most delightful Restaurant to dine and dance” and depicting a Chinese woman, attired in a tunic and pants, holding a parasol; Mandarin Café “1016-18 Chestnut St. Smartest Café in Town, Announcing Ruth Bott and Her Studio Girl Orchestra, First Girl’s Most Unique Orchestra in Philadelphia, Dancing”; and Cathay Tea Garden “Chinese-American Restaurant, 1223 Chestnut Street, Billy Hays, Popular Song Writer and His Cathay Tea Garden Dance Orchestra, Dancing” and depicting a Chinese woman, wearing her hair up and attired in a tunic, pants, and slip on shoes, holding a fan in each hand.

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