Pages

1888-1889 third supplement to catalogue of electrotypes from A. Blanc, Horticultural Engraver, No. 314 N. Eleventh St. Philada., Pa., U.S.A. [graphic] : Registered Cable Address, "Blanc, Philadelphia."
Catalog, including section “New Electros of Vegetables for 1889,” of electrotype specimens for the premier Philadelphia horticultural engraver and lithographer containing images of flowers, plants, fruits, and vegetables. Varieties of flowers, plants, fruits, and vegetables represented include begonias, carnations, chrysanthemums, ferns, pansies, poppies, roses, verbena, corn, melons, lettuces, onions, peppers, pumpkins, squashes, and tomatoes. Illustrations include specimen numbers and prices (ranging from $.50-$10), and most include titles. Images predominantly depict sentimental and genre views of women, children, and animals containing or bordered by flowers; baskets of fruit or flowers; wilderness scenes; insects; single letters and words embellished with floral details; potted plants and flowers; flower bushes; residential views containing flowers; flower and vegetable vignettes; bean pods; single, fields, patches, and bushels of fruits and vegetables; and gardening tools and agricultural implements and equipment., Other specimens depict reproductions of lithographs; female representations of months of the year; “Bulbs grown in Bamboo rod”; a montage, including a crate with packages of bulbs; "Craig’s New Chrysanthemum, Mrs. A. Blanc"; "The Philadelphia Prize Chrysanthemum of 1888"; "Cornfield"; "Insect Destroyers" (i.e., insect destroying insects); and "Odds and Ends" showing bottles of herbs. Also includes a photomechanical studio portrait of an African American boy and girl attired in winter coats and hats, a racist metamorphic montage showing a melon morph into a caricaturized African American figure; and an illustrated advertisement with testimonials promoting W. M. Giradeau’s Seminole Watermelon. Contents also include statements describing the flowers depicted; promoting made to order cuts and the possibility for the addition of text (mortised); noting possible alterations, including “each cut separate” and reductions in price; and indicating "3/4 natural size.", Cover annotated in pencil with date: 1890., Some leaves contain page numbers: 58-134., Cover contains photomechanical illustrations of a studio portrait showing a seated, barefoot girl in simple attire, holding a basket of roses under her arm, and holding a flower to her nose with the other. Attire includes a wide-brimmed hat adorned with several flowers. Grass and flowers rest at her feet. Portrait bordered by a large pictorial detail depicting two stemmed roses. Portrait is specimen 4817 in catalog., Contains promotional text to "Dear Sir" and dated Philadelphia, September 1, 1888 on inside front cover. Text advertises "list of new electrotypes, issued since last year’s supplement … that will enable you to give your catalogue an entirely different appearance" and references how it’s "an important item to the Horticultural trade" and Blanc’s stocks of electros are a “trifling expense” compared to original cuts. Text also explains the deferment of the reprinting of an entirely new catalog due to his addition of a large number of new electros, as well as ordering information including the necessity of a signed order sheet in which purchaser agrees not to sell or loan the electros; ability to make to order any cut for exclusive use; no discounts excepting for orders amounting to over $100; terms strictly cash with order; and cuts ordered to be mailed require a 10% additional fee for postage. Text also advertises "List of My Catalogues," including "Catalogue of Fruit and Tree Cuts"; "Cuts for Catalogue Covers'; "Lawn Views"; and "Sheets of Potato Cuts, Oats, Wheat, Grasses, etc."; their prices of 15 to 20 cents each or $1 for set, which is deductible from orders amounting to $5; and note about "Correspondence en Francais.", Several specimens include Blanc's copyright statement or name., Includes order sheet inscribed with addition equations., Back cover and end pages missing, RVCDC, Description revised 2022., Access points revised 2022., Purchased with funds for the Visual Culture Program., See the Albert Blanc entry in the Philadelphia on Stone Biographical Dictionary of Lithographers., See the Edward Stern & Co. entry in the Philadelphia on Stone Biographical Dictionary of Lithographers., William M. Giradeau (b. 1852), owner of Girardeau Seed Company in Monticello, Fla., developed the first commercial machine for separating seeds from watermelons, making Jefferson county, the top watermelon seed supplier in the world by 1884.
Abolitionist
A man, one half of his body shown as a white man and the other half as an African American man, lectures in front of a small table. He holds an umbrella with his African American hand, as well as wears no shoe on his African American foot., Text: Whew! don't you know that you're played out? That your occupation's gone? Why do you make such fuss about that poor old well-pick'd bone? Or are you lost, so far corrupted, You can't improve 'till re-constructed?
Abraham Lincoln
Proof of a bust-length portrait of the sixteenth president of the United States. Lincoln, attired in a white collared shirt, a black bowtie, waistcoat, and jacket, faces right. Also contains a color bar., Title and date from duplicate in the special collections of the Grand Valley State University, Allendale, Michigan., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., Created postfreeze., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Abraham Lincoln
Half-length portrait of the sixteenth president of the United States. Lincoln, attired in a white collared shirt, a black bowtie, a black waistcoat with a gold pocket-watch chain, and a black jacket, faces slightly right., Title from item., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., Created postfreeze., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Abraham Lincoln
Bust-length portrait of the sixteenth president. Lincoln, attired in a white collared shirt, a black bowtie, waistcoat, and jacket, faces slightly right., Title from item., Date based on presented age of the sitter., Facsimile of signature of sitter printed below image: A. Lincoln., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., Created postfreeze., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Abraham Lincoln
Three-quarter length portrait of the president and author of the Emancipation Proclamation of 1863 after the Cooper Union portrait made by New York photographer, Mathew Brady, in February 1859. A clean-shaven Lincoln, attired in a white collared shirt, a black bowtie, and a black suit with a black waistcoat, stands beside a table covered in a red cloth. He rests his left hand on a stack of books on the table. In the background is a window that has a red curtain pinned back to the right revealing a landscape of trees., Title from item., Printed below title: No. 29., Published in Frank Leslie's Illustrated weekly, October 1860., Accessioned 1998., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Abraham Lincoln
Bust-length portrait of the president and author of the Emancipation Proclamation of 1863. Lincoln, attired in a white collared shirt, a black bowtie, a black waistcoat with a pocket watch chain, and a black jacket, faces right., Title from item., Dated based on the presented age of the sitter., Purchase 1997., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Sartain, son of prominent Philadelphia engraver John Sartain, engraved a series of popular sentimental Civil War prints from around 1864 to 1868.
Abraham Lincoln, late president of the U.S. assassinated April 14th, 1865.
Bust-length portrait of the sixteenth president. Lincoln, attired in a white collared shirt, a black bowtie, waistcoat, and jacket, faces the viewer., Title from item., Date inferred from content., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., Created postfreeze., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Abraham Lincoln, late president of the U.S. assassinated April 14th, 1865.
Bust-length portrait of the deceased sixteenth president Lincoln, attired in a white collared shirt, a black bowtie, waistcoat, and jacket, faces slightly right., Title from item., Publication information from duplicate in the collections of the Library of Congress, Washington, D.C., Printed signature of sitter below image., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., Created postfreeze., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
[Abraham Lincoln miscellany] [graphic].
Collection of miscellaneous Lincoln prints and ephemera, including a circa 1880 right-profile, photo mechanical portrait print of the president; 1909 souvenirs from the Military Order of the Loyal Legion of the United States (MOLUS) and the Philadelphia Electric Company in honor of the 100th Anniversary of the birth of Lincoln; and a series of ca. 1890 illustrations of medals commemorating and memorializing him. Imagery on souvenirs includes a portrait of Lincoln bordered by an American and MOLUS flag and the reproduced Jean Leon Gerome Ferris painting "Lincoln and the Contrabands" depicting Lincoln greeting an African American woman freedom seeker with her two children. Scene also shows African American men and women freedom seekers near a Union soldier, including a woman sitting with her head in her hands and an older man who takes his hat off., Title supplied by cataloger., Artists, printers, and publishers include Jean Leon Gerome Ferris and Wolf & Co., 5792.F.94c contains copyright statement: painting only copyrighted, Wolf & Co, Philada, 1908., During the Civil War, the U.S. government declared African American freedom seekers as "contraband of war.", RVCDC, Description revised 2021., Access points 2021., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886.
Abraham Lincoln, President of the United States signing the Emancipation Proclamation
Proof of a full-length portrait of the sixteenth president, seated, near a table, in front of a bookcase, stuffed eagle, and a bust of George Washington. He holds a quill in one hand, and rests the Emancipation on the table with his other. A Bible and ink stand lie on the table., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1864, by John Dainty in the Clerk's Office of the District Court of the United States for the Eastern District of Pennsylvania., Printed lower right corner: Proof., Originally part of a McAllister scrapbook of materials related to Abraham Lincoln. McAllister Collection, gift, 1886., Created postfreeze., Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Academy of Natural Sciences
Book illustration depicting an exterior of the museum building at Broad and George (i.e., Sansom) Streets built from 1839 to 1840 after designs by Philadelphia architect, John Notman. In the foreground, pedestrian traffic includes an African American man peddler carrying a rack of ducks. The Academy, incorporated in 1815 as a scientific association to disseminate and promote the knowledge of natural history, opened as a public museum in 1828., Title from item., Published in R.A. Smith's Philadelphia as it is in 1852 (Philadelphia: Lindsay & Blakiston, 1852), p. 203. (LCP Am 1852 Smith)., Originally part of a Poulson scrapbook of illustrations of Philadelphia., Poulson inscription: 1852., Description revised 2021., Access points revised 2021., 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.
Adams Tampico Chewing gum. Each wrapper has a different Picture and joke, from "The Judge." [graphic] / H Mitchell.
Gum wrapper for Adams & Co. depicting a cartoon originally published in the satiric magazine "The Judge" and showing two African American men (Mister Johnson and Brother Snow) portrayed in racist caricature conversing in the vernacular on a dirt path after church services. The man in the left has a beard and is attired in a long overcoat, pants, and a top hat. He holds a "prayer" book and umbrella under his left arm and gestures to the other gentleman with his right arm. The gentleman in the right has a beard, wears glasses, and is attired in an over coat, striped pants, and top hat. He holds an umbrella as a walking stick in his left hand and carries a book under his right arm. He looks toward the gesturing man. Part of a wooden fence and skyscape are also visible. The Brooklyn gum manufacturer Adams & Co. operated circa 1871-1899. In 1899 Adams merged with six other chewing gum companies to form American Chicle Company., Title from item., Date inferred from content reproduced from The Judge., Caption: A Miracle. "What wuz de tex' dis mornin', Mister Johnson? I wuz too late."/"It wuz about de meracles, Brother Snow. Whar de Lor' fed seven people on five t'ousand baskets of fish."/ "I don't see any meracle about dat."/"Oh, de meracle am, dey all didn't bust.", Purchased with the Davida T. Deutsch African American History Fund., RVCDC, Description revised 2021., Access points revised 2021.
The adventures of a conscript as told by himself. [graphic].
Collection of twelve numbered and captioned comic cards using humanized animals to portray domestic and military scenes in the life of a conscripted rabbit. Includes cards showing the rabbit reviewing a "Draft" poster and declaring himself a patriot if drafted; the rabbit receiving the "agonizing fact" of his draft notice; his failed attempt to employ a substitute - a "Quack" of a duck rejected by a donkey of a surgeon (Dr. Donkey); his farewell to his love; his "fearful carnage" of the foe; his retreat to make "a sturdy rebel fly"; his successful "perilous duty" to deliver "despatches" to an owl general, including a confrontation by "a band of Gorillas," portrayed as racist caricatures, and his beheading of the Gorilla Chief; his promotion to Brigadier General; and his release from duty to "crown his glory with love" in wedded bliss., Attributed to James Queen after Henry Louis Stephens., Title from series title., Date from copyright statement by William A. Stephens., Originally part of a McAllister scrapbook of humorous caricatures and photographs. McAllister Collection, gift, 1886., Described in Gathering history: The Marian S. Carson Collection of Americana. (Washington, DC: Library of Congress, 1999), p. 91., RVCDC, Description revised 2021., Access points revised 2021., Queen, a Philadelphia lithographer and pioneer chromolithographer known for his attention to detail, served in the Civil War militia from 1862 until 1863, and created several lithographs with Civil War subjects.
Africa. America.
Abolition print juxtaposing two female allegorical figures in chariots representing Africa and America. In front of a backdrop of tropical trees and huts, "Africa," depicted as a Black woman, is attired in a feathered headpiece, an orange shawl covering one breast, and a pink sarong. She holds a flag inscribed "Slave Trade abolish'd in England 1806" and the reins of two lions pulling her chariot. In front of a waterfall, probably Niagara Falls, "America," depicted as a white woman, is dressed in Native American attire, including a feathered headpiece, a breast plate, an orange cape, a pink and blue sari, and an axe strapped to her back. She holds the American flag, decorated with a portrait of George Washington, and the reins of two tigers pulling her chariot. Near the wheels of her chariot, a rattlesnake is coiled., Title from item., Date inferred by content and medium., Name of publisher illegible., Lib. Company. Annual report, 1969, p. 56., Purchase 1969., RVCDC, Description revised 2021., Access points revised 2021., 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.
c-o-7
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-j-15
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-n-1
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-n-1a
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-o-14-1
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-o-14-2
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-s-2
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-b-8
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-10
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-11
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-12
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-13
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-t-3-1
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-p-t-3-2
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-a-r-18
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-b-5-1
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
m-t-34
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
o-3-adv-lcp-14-1
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
o-3-adv-lcp-14-2
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
o-3-adv-lcp-15
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-2a
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-5
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-54
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
c-bl-6a-1
Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
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Propaganda envelopes published by various publishers predominately utilizing racist caricatures and satires of African Americans in relation to Jefferson Davis, slavery, and secession to promote Union support of the Civil War. Satires utilize themes of inversion of social roles, retribution, and Northern superiority. Includes envelopes with same graphic and variant text or title; sexually explicit illustrations; images originally published in different media such as cartoons; and one Southern imprint promoting a united Confederacy as the safeguard of slavery. Some caricatures portray African Americans with exaggerated features and speaking in the vernacular., Includes images of enslaved people seeking freedom, as living "contraband of war," celebrating, or depicted as the shyster character Jim Crow; depictions of the "peculiar institution" of slavery showing a white enslaver in bed with an enslaved African American woman, her breast visible, and who is breastfeeding a white baby; secession equated to African American freedom seekers, economic destruction of the South, and the moral corruption of people emancipated from enslavement; Jefferson Davis caricatured as a traitor in execution and imprisonment scenes overseen by enslaved people; and views of enslaved people working on plantations with text declaring the end of "King Cotton." During the Civil War, the U.S. government declared African American freedom seekers as “contraband of war.”, Title supplied by cataloger., Date inferred from content., Some copyrighted by Magee and Harbach & Brother., Various publishers including: Philadelphia publishers John Magee, S.C. Upham, Harbarch & Bro., and King & Baird; New York publisher Charles Magnus; and Charleston, S.C. publisher G.W. Falen. Other publishers located in New York, Buffalo, Hartford, Cincinnati, and Lancaster, Pa., See Steven Berry's "When mail was armor: envelopes of the Great Rebellion," Southern culture (Fall 1998)., Probably originally part of a McAllister scrapbook of Civil War envelopes., RVCDC, Description revised 2021., Access points revised 2021., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.

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