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Chesnut Street Theatre, Philadelphia.
Exterior view of the third building of the popular theater, known as "Old Drury," at Chestnut Street above Sixth. White men and women pedestrians, a white newspaper boy, and laborers stroll the sidewalk. An African American huckster sells his wares to a customer in the street. The building, designed by William Strickland, was erected in 1822 after fire claimed the second building at Sixth and Chestnut Streets. It was demolished in 1855., Title from item., Published in John Howard Hinton's The history and topography of the United States (London: I.T. Hinton, & Simpkin & Marshall, 1830-1832), vol. 2, aft. p. 502. (LCP Am 1830 Hinto (2231.Q))., Printed in upper right corner: 47., Originally part of a Poulson scrapbook of Philadelphia illustrations., 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.
Chew House Germantown [graphic].
Exterior view of the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. Shows the facade of the two-story stone building with a pediment over the front door, shuttered windows, and dormers and chimneys on the roof. View includes the west wing of the estate house. Chew House, also known as Cliveden, was the site of the turning point in the Battle of Germantown in 1777. The Chew family enslaved people of African descent in the city of Philadelphia and in Germantown during the 18th and 19th centuries. The estate was the Chew family residence until 1972 when it was acquired by the National Trust for Historic Preservation., Title from manuscript note on verso: Chew House Germantown. [43?] Ross. [#H.B.?] Pencil., Date inferred from aesthetic style of drawing., Gift of David Doret and Linda G. Mitchell, 2018., Description revised 2022., Access points revised 2022.
Chew mansion, Germantown. [graphic].
Exterior view of the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. Shows a white woman and girl standing on the front steps before the doorway. A white man stands on the walkway in front of the house. On the grounds are two sculptures, a portrait bust on a pedestal and a classical female nude without a head and arms. Chew House, also known as Cliveden, was the site of the turning point in the Battle of Germantown in 1777. The Chew family enslaved people of African descent in the city of Philadelphia and in Germantown during the 18th and 19th centuries. The estate was the Chew family residence until 1972 when it was acquired by the National Trust for Historic Preservation., Title from item., Originally part of a McAllister scrapbook of views of Philadelphia. McAllister Collection, gift, 1886., Description revised 2022., Access points revised 2022., Retrospective conversion record: original entry, edited.
Chew Mansion postcards. [graphic].
Exterior views of front and side facades of the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. Also depicts the entrance drive to the Chew grounds. Chew House, also known as Cliveden, was the site of the turning point in the Battle of Germantown in 1777. The Chew family enslaved people of African descent in the city of Philadelphia and in Germantown during the 18th and 19th centuries. The estate was the Chew family residence until 1972 when it was acquired by the National Trust for Historic Preservation., Contains 11 postcards printed in color and 1 printed in black and white., Accession numbers: P.9048.66, P.9048.70, P.9048.186, P.9048.200, P.9048.221, P.9048.239, P.9048.369, P.9048.374, P.9048.381, P.9049.68 - 69 and P.9526.3., Purchase 1984; Gift of Laura L Robb, 1997., Description revised 2022., Access points revised 2022.
Chew's House, Germantown [graphic].
Exterior view of the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. In the foreground, a white man and two white women stand and converse on the walkway in front of the house. Chew House, also known as Cliveden, was the site of the turning point in the Battle of Germantown in 1777. The Chew family enslaved people of African descent in the city of Philadelphia and in Germantown during the 18th and 19th centuries. The estate was the Chew family residence until 1972 when it was acquired by the National Trust for Historic Preservation., Title from item., Published in Ballou's pictorial drawing - room companion, Jan. 27, 1855, vol. 8, no. 4, p. 57., Originally part of a McAllister scrapbook of views of Philadelphia. McAllister Collection, gift, 1886., Description revised 2022., Access points revised 2022., Retrospective conversion record: original entry, edited.
Chew's house, Germantown [graphic] / C.H. Wells, pt.
Watercolor view of the colonial residence built 1763-1767 by master carpenter Jacob Knor for Philadelphia attorney Benjamin Chew at 6401 Germantown Avenue. Shows the exterior of the mansion surrounded by trees and shrubbery. In front of the residence is a circular dirt pathway. Two busts on pedestals are visible on the left and right sides of the house. Chew House, also known as Cliveden, was the site of the turning point in the Battle of Germantown in 1777. The Chew family enslaved people of African descent in the city of Philadelphia and in Germantown during the 18th and 19th centuries. The estate was the Chew family residence until 1972 when it was acquired by the National Trust for Historic Preservation., Title from item., Date from manuscript note on mount: Nov. 1856., Retrospective conversion record: original entry, with corrections., Description revised 2022., Access points revised 2022., Inscribed in lower right corner of drawing: vol. 5, 2526.F.6., Originally part of a Poulson scrapbook of illustrations of Philadelphia.
Chief-Justice Chase. Portrait of the dead Chief Justice.
Bust-length portrait of the abolition leader, Ohio Senator, statesman, Lincoln's Secretary of the Treasury, and Chief Justice of the Supreme Court. Chase, wearing a beard and attired in a white collared shirt, a black bowtie, and a black jacket, faces slightly right. Includes accompanying obituary., Title from item., Published in The Daily graphic, May 1873., Originally part of a McAllister scrapbook of portraits. McAllister, gift, 1886., 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.
Cinque
Bust portrait of the enslaved leader after a painting by New Haven, Connecticut artist, Nathaniel Jocelyn, engraved by Philadelphia artist and Pennsylvania Anti-Slavery Society member, John Sartain, to raise funds for the enslaved ship mutineers' defense before the Supreme Court. Sartain reproduced the painting, commissioned in 1841 by Philadelphia African American abolitionist and Amistad Committee defense fund member, Robert Purvis, following the refusal of the Artist Fund Society to display the original at the society's 1841 exhibit. Depicts the West African, attired in a toga, walking cane in hand, slightly facing left, in front of a background of African landscape., Title from printed signature of sitter below image., Date inferred from content., Printed on recto: fac simile of the original autograph., Original painting in the collections of the New Haven Colony Historical Society, New Haven, CT., LCP exhibition catalogue: Negro history, p. 34., LCP exhibition catalogue: Made in America, #61., See Ann Katherine Martinez's The Life and career of John Sartain (1808-1897): A nineteenth century Philadelphia printmaker (Ph.D dissertation, The George Washington University, 1986), p. 75-78., See Hugh Honour's The Image of the Black in western Art (Cambridge: Harvard University Press, 1989), part 2, vol. IV, p. 159-161., See Katherine Martinez's and Page Talbott's, eds. The Sartain family legacy (Philadelphia: Temple University Press, 2000), p. 66-67., Originally part of a McAllister scrapbook of engravings. McAllister collection, gift, 1886., 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.
Cinque
Bust portrait of the enslaved leader after a painting by New Haven, Connecticut artist, Nathaniel Jocelyn, engraved by Philadelphia artist and Pennsylvania Anti-Slavery Society member, John Sartain, to raise funds for the enslaved ship mutineers' defense before the Supreme Court. Sartain reproduced the painting, commissioned in 1841 by Philadelphia African American abolitionist and Amistad Committee defense fund member, Robert Purvis, following the refusal of the Artist Fund Society to display the original at the society's 1841 exhibit. Depicts the West African, attired in a toga, walking cane in hand, slightly facing left, in front of a background of African landscape., Title from printed signature of sitter below image., Date inferred from content., Printed on recto: fac simile of the original autograph., Original painting in the collections of the New Haven Colony Historical Society, New Haven, CT., LCP exhibition catalogue: Negro history, p. 34., LCP exhibition catalogue: Made in America, #61., See Ann Katherine Martinez's The Life and career of John Sartain (1808-1897): A nineteenth century Philadelphia printmaker (Ph.D dissertation, The George Washington University, 1986), p. 75-78., See Hugh Honour's The Image of the Black in western Art (Cambridge: Harvard University Press, 1989), part 2, vol. IV, p. 159-161., See Katherine Martinez's and Page Talbott's, eds. The Sartain family legacy (Philadelphia: Temple University Press, 2000), p. 66-67., Originally part of a McAllister scrapbook of engravings. McAllister collection, gift, 1886., 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.
City Marble Works and Steam Mantel Factory. Corner Tenth and Vine Streets Philadelphia. J.E. & B. Schell.
Advertisement depicting a corner view of the three-building showroom and factory operated by the Schells from 1853 until 1856. J.E. Schell continued the business as J.E. Schell & Company starting in 1857. On Tenth Street, patrons enter the four-story storefront and mantle room adorned with signage and statuary displayed on a second floor veranda. At the corner, a coach waits, the disembarked African American man driver standing at the ready. On Vine Street, behind the showroom, a family of passerby admire the marble statuary, monuments, and headstones in the factory's fenced-in yard. White men factory laborers load a headstone onto a horse-drawn cart, inspect open crates lining the street, and review slabs of marble outside the factory's storage building. Partial views of adjacent buildings and the "10th" Street carriage are visible., Title from item., Although Wainwright suggests date of publication as circa 1855, date of circa 1854 is used since Rease relocated to the new business address of 97 Chestnut Street as of 1855., Text printed on recto: Having greatly improved their facilities for the Manufacture of every variety of Marble Works embracing the best styles of Mantels, Table Tops, Flooring, Tombs and Monuments, are prepared to supply all orders upon reasonable terms., Philadelphia on Stone, POS 134, Accessioned 1982., Description revised 2021., Access points revised 2021., Rease, a prominent mid-19th century Philadelphia trade card lithographer known to highlight details of human interest in his advertisements, partnered with Francis H. Schell in the 1850s and eventually operated his own press until around 1872.
[Civil War drawings and cartes de visite reproductions of drawings by Henry Louis Stephens] [graphic].
Series of caricatures predominately satirizing the effects of the presidential policies of Abraham Lincoln on his re-election and the candidacy of Democratic nominee and former Commander of the U.S. Army, George McClellan, in the presidential election of 1864. Lincoln caricatures depict racist scenes and themes of election loss and show the president as a comic stage performer; a feeding open-mouthed tool of the abolitionists; as a defeated Robin Hood with his "Band of Brothers," (i.e. cabinet members Edwin Stanton, William Seward, and Gideon Welles); as weighed down by the "Old Keystone", a visual metaphor for the large number of Pennsylvania soldiers lost in the war; as a buffoon tripped up by his large boots of "military necessity"; as patronizing a miniature McClellan propped up on the "Chicago Platform"; as McClellan's puppeteer; and as "loved little and long" for his emancipation of the enslaved. McClellan caricatures primarily use the themes of McClellan, known as "The Young Napoleon," as a "MacNapoleon" and his contradictory personal and party platforms in relation to the war. Caricatures show "MacNapoleon" searching for the White House, childishly whining about his quest for the White house, and singing a "doleful ditty" about himself. Platform caricatures show McClellan as a squeeze doll who speaks two words - war and peace, and in a "Quandary" to choose between a ballerina representing war and another representing peace. Collection also contains caricatures of Edward Stanton making a "Soliloquy" as an allusion to a Republican loss in the presidential election; of Peace Democrat Clement Vallandigham satirizing his sentence of banishment to the South for anti-war sentiments as well as a racist caricature of the "The American Eagle.1864. A likely young bird" showing an eagle with the head of an African American resting on the American shield marked "E. Pluribus. U-No-Um.", Title supplied by cataloger., Date from copyright., Created postfreeze., Originally part of McAllister scrapbooks of materials related to Abraham Lincoln and of humorous caricatures and photographs. McAlister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021.
Civil War stationery collection
Collection of stationery containing patriotic designs often used on patriotic envelopes, with a majority including a title, slogan, and/or verse. Designs predominately include views of regiment camps; images of soldiers, including battle and camp life scenes; patriotic symbols including flags, eagles, bells, shields, stars and the figure of liberty; portraiture of historic and military figures; and basic designs including stripes, colored edges, and lined borders. Unique designs with assigned LCP numbers include an untitled regiment view showing the soldiers playing baseball, possibly at Abner Doubleday's camp (RE-LCP 35); a view of Poughkeepsie from 1854 (SC-NW-LCP-3); the New York funeral procession for Abraham Lincoln on April 25, 1865 (SC-NW-LCP-4); two designs published by J.W. Barber of New Haven showing bars of music from "My Country Tis of Thee" (O-M-LCP-8) and an allegorical scene of Liberty fighting treason, rebellion, tyranny, and oppression (F-P-LCP-1). Collection also contains a series of seven Charles Magnus hand-colored designs containing birds-eye views and military maps. Views show Fortress Monroe, Old Point Comfort and Hygeia Hotel, Va. and the Capitol. Military maps shows Maryland and Virginia; Virginia between Washington and Manassas Junction; Richmond and Alexandria; Fortress Monroe and Richmond; and the southern coast between Fortress Monroe and New Orleans. Collection also includes a small number of Confederate stationery. Confederates designs include a view of enslaved African American people driving a wagon of supplies to a battlefield and a satire of Abraham Lincoln as an Native American chief. Portraits include George Washington, George McClellan, and Elmer Ellsworth. Three uncut printed proof sheets of patriotic stationery used as ream wrappers and the first style of U.S. postcard (circa 1872) also included as part of the collection., Some copyrighted., Some contain manuscript notes., Various publishers including Philadelphia publishers James Magee and L. N. Rosenthal as well as New York publisher Charles Magnus., Title supplied by cataloger., See William R. Weiss, Jr.'s The catalog of Union Civil War patriotic covers (Bethleham, Pa.: William R. Weiss, 1995). LCP copy annotated to show collection holdings., See the George Walcott collection of used Civil War patriotic covers (New York: Robert Laurence, 1934)., Originally part of a McAllister scrapbook of materials related to the Civil War. McAlliser Collection, gift, 1886., Reproduced in Erika Piola, "For the millions: Civil War stationery for women and children in the McAllister Collection at The Library Company of Philadelphia," The Ephemera journal 13 (2010), [32]., 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.
Clarence Brooks & Co., manufacturers of fine coach varnishes, cor. West & West 12th Sts., New York.
Trade card employing an African American Oscar Wilde caricature. Wilde toured the United States in 1882. The Wilde figure, wearing long hair and attired in blue knee breeches with red bows, a red jacket with tails, black socks, and gold slippers lectures to an audience of well-attired African American men and women. He stands at a table adorned with a piece of paper, a candle in a bottle, and a water glass containing a sunflower. To his left, an older frowning man sits with an umbrella between his knees on the stage, while in the first row, two women (one wearing a sunflower on her hat) swoon in front of a lanky man, standing, and looking moonfaced. Clarence Brooks established his varnish business in 1859 as Brooks and Fitzgerald, later Clarence Brooks & Co. In 1881 the firm issued a calendar illustrated with African American caricatures in genre scenes., Publication date inferred from image content., Purchased with the Davida T. Deutsch African American History Fund.
Clark's mile-end 60 spool cotton [graphic].
Racist trade card promoting Clark Thread Company and depicting a genre scene of an African American man and woman in conversation on a country road. The man and woman are portrayed with exaggerated features and speaking in the vernacular. Shows, in the left, the man standing on a dirt road and holding a piece of thread attached to a giant spool labeled "Clark's mile-end 60 spool thread." He is attired in black boots; yellow striped pants with patches on the knees and rolled to his calves; a white shirt; a red vest; and a green jacket. His straw hat is upturned on the ground beside him. In the right, an African American woman sits in a horse-drawn wagon holding the reins to a white horse. She tells the man, "Ef dat mile end thread don't hold, dere ain't anything - lucky I got a spool to mend yer old clos' with." She is attired in a yellow head kerchief and a red dress with yellow trim at the neck. The George A. Clark & Brother Company, manufactory of embroidery and sewing thread, was founded in 1863 in Newark, N.J. The firm was renamed Clark & Co. in 1879, and in the 1880s created a six-cord, soft finished thread called "Our New Thread" or "O.N.T." The business merged with J. & P. Coats in 1896, which lead to a series of mergers with fourteen other companies. Into the 21st century, the company continues to manufacture thread under the name Coats & Clark., Title from item., Place of publication deduced from place of operation of advertised business., Date deduced from history of the advertised business., Text on recto: Ef dat mile end thread don't hold, dere ain't anything- lucky I got a spool to mend yer old clos' with., Advertising text printed on verso: Clark's Mile-End Spool Cotton is the best for hand and machine sewing. Clark's Mile-End Colors are made expressly to match the leading shades of dress goods, and are unsurpassed both in quality and color. Clark's Mile-End Spool Cotton is six-cord in all numbers to 100 inclusive., Stamp on the recto is illegible., See related copy: Goldman Trade Card Collection - Clark [P.2017.95.33]., Gift of George Allen, 2022., RVCDC
The colored beauty.
Bust-length portrait of a young African American woman facing slightly right. Sitter is attired in gold drop earrings with red stones, a three-strand gold necklace with a gold pendant, and a blue dress with a white lace collar., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1872 by Currier & Ives in the office of the Librarian of Congress at Washington., Purchase 2004., 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.
Colored man is no slacker [graphic].
Poster, possibly a modern reproduction, commemorating the service of African American men during World War I. Shows a young African American couple, including an infantry man in uniform, looking at each other, in a slight embrace, and holding their left hands. The woman wears a blue, calf-length frock with a white Puritan collar and white cuffs and black and white boots with heels. Her hair is pinned under. Her companion wears a tan uniform, including a campaign hat, jacket, jodhpurs, gaiters, and boots. They stand on a pathway lined with flower bushes and potted flowering plants that leads to a portico. In the background, a troop of African American soldiers, including a soldier bearing the American flag, marches. Rows of trees are visible in the distance., Title from item., Range in publication date inferred from medium and copyright statement: [copyright symbol of "c" in circle] 1918 By E. G. Renesch, Chicago., Name of publisher from copyright statement., Description revised 2022., Access points reviewed 2022.
The colored volunteer
Portrait of an African American man Union soldier, attired in a uniform, a "U.S." belt buckle, and a cap. He holds his rifle over his right shoulder and carries a sleeping mat on his back., Inscribed under title: 843., Title from item., Date inferred from content., Originally part of a McAllister, Hart, Phillips Civil War scrapbook. McAllister Collection, gift, 1886., 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.
Columbia trading with all the world.
Allegorical print depicting "Columbia" (i.e., the United States) as a white woman with brown hair, on the deck of a ship. She holds a caduceus and disperses treasures from a horn of plenty held by "Wisdom," who is portrayed as a white woman attired in a helmet, armor, a skirt, and sandals. Wisdom holds a spear in her left hand and gives the treasures to three male figures representing the country's international trade partners. Figures depicted are: Africa as a Black man attired in a headpiece shaped like an elephant's head and leaning on a tusk of ivory; Asia as a bearded man with a light-brown color skin tone attired in a turban; and South America as a man in a feathered headpiece carrying a bow., Title from item., Date inferred from content., Possibly published in London and not the United States., Revised state. Previous title and imprint faintly visible and illegible below image., Gift of Dr. Mary DeWitt Pettit, 1965., 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.
Commissioners Hall, Northern Liberties, Phila.
Exterior winter view of the hall as it looked on February 22, 1852, with adjoining fenced property, adorned with an American flag, and containing the district's police station and Mayor's office, on the busy, snow covered Third Street between Buttonwood and Green streets. Several warmly dressed white pedestrians, hall officials, and a policeman mill about and converse on the sidewalk; white children throw snowballs and play with a sled; horse-drawn sleighs pass by; white men shovel snow off the street and hall steps; and an African American man carrying a basket of celery and a dead goose stops in the street and looks behind him and toward the passing sled. A broadside inscribed, "Washington, 22nd Feb. 1852" adorns a nearby building. Prior to the city's consolidation with bordering townships in 1854, neighborhoods maintained and housed their own police stations, mayors, and other government officials in Commissioners Halls, including Northern Liberties. Built in 1814, the Northern Liberties' hall served as the quarters of the Northern Liberty Barracks until the American Revolution, and was torn down circa 1869 for the erection of Northern Liberties Grammar School., Title from item., Date of publication supplied by Wainwright., Reproduced in Edwin Wolf's Philadelphia: Portrait of an American city (Philadelphia: Camino Books in cooperation with the Library Company of Philadelphia, 1990), p. 199. Incorrectly identified as Commissioners Hall, Spring Garden., Philadelphia on Stone, POS 151, Print described in Public Ledger, July 1, 1853., Accessioned 1982., Description revised 2021., Access points revised 2021.
Compliments of J.C. Williams & Son, Central Pharmacy, 50 South Salina St., Syracuse, N.Y.
Series of illustrated trade cards promoting pharmacist J.C. Williams & Son and including "Surrender" depicting a white man winking as he puts his arms around a white woman from behind. The woman, attired in a hat with red feathers, a red dress with a white collar, and black, fingerless gloves, puts her head down as the man grasps her chin with his left hand and puts his right hand on her shoulder. They stand behind a picket fence. Also includes "Retribution" showing a dog chasing a cat and knocking a startled African American man off of his feet near a fence in a yard. The man, portrayed in racist caricature and attired in a white collared shirt with blue stripes and white pants with blue patches, flies into the air while his white hat falls to the ground., Title from item., Date from copyright statment on one print: Copyrighted 1882 by Onondaga Lith. Co., Syracuse, N.Y. [P.9828.7105]., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William H. Helfand., 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.
Concentrated leaven or bread powders.
Advertisement for baking powder depicting an African American woman cook, portrayed as a racist caricature, displaying her oversized bread to a white woman. In the right, the African American woman, attired in a yellow kerchief, hoop earrings, a red dress with the sleeves rolled up, a white apron, white stockings with red stripes, and yellow shoes, holds a shovel in her left hand and points to the bread with her right hand. The gargantuan bread in the pan rests on a table covered in a white tablecloth alongside other pans of baked goods. Behind the table, the brown-haired, white woman, attired in a white dress with blue stripes with lace at the neck and sleeves, holds her hands up in shock over the over-proved bread. Underneath the table, the cook’s young daughter, attired in a short-sleeved yellow dress, sits on a rug and makes bubbles with a bowl and stick to play with a cat. Image also includes an oven and a metal basin., Not in Wainwright, Title from item., Date from content., Philadelphia on Stone, POSP 40, Originally part of a McAllister scrapbook of engravings relating to Philadelphia. McAllister Collection, gift, 1886., RVCDC, Description revised 2021., Access points revised 2021.
The conflagration of the Masonic Hall Chesnut Street Philadelphia. Which occured on the night of the 9th of March 1819
Reissue of the print after a commemorative painting of the hall on fire by Samuel Jones at the request of the publishers with added figures by the prominent Philadelphia genre painter, John Lewis Krimmel. View depicts several volunteer firefighters hosing the flame-engulfed tower of the majestic hall, erected in 1811, purportedly after the design of William Strickland. A large frenzied crowd, including African Americans and well-dressed men and women couples, gather on the street. Spectators push, shove, are knocked down, and watch the fire in horror. Residents flee with their belongings as firefighters blow horns and transport a handpump. The fire started by a faulty flue destroyed the building, which after several successful masonic charity events was rebuilt, without a tower, in 1820 under the direction of Strickland., Title from item., Third state., Inscribed below image: Copy right secured., Samuel Kennedy and Samuel West were members and official print publishers for the Association of American Artists, later headed by Krimmel., Barber, a Philadelphia printer, artist, and engraver, was in business from 1867 until 1885., See Anneliese Harding's John Lewis Krimmel. Genre artist of the early Republic. (Winterthur, Delaware: The Henry Francis Dupont Winterthur Museum, 1997), p. 206-208., See Milo Naeve's John Lewis Krimmel: An artist in Federal America. (Newark: University of Delaware Press, 1987), p. 109., LCP exhibition catalogue: Made in America #30., 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.
Der Congress erklart die 13 vereingten Staaten von Nord-America fur independent. am 4ten July 1776.
Continental Congress meeting in the Pennsylvania state house, later known as Independence Hall., Inscribed upper left corner: S. 99., Plate 5 from Matthias Sprengel. Historisch-genalogischer Calendar oder Jahrbuch... (Leipzig: bey Haude und Spener Von Berlin, 1783). (LCP Am 1783 Spre, Log 5059.D)., Chodowiecki was a prominent German engraver and painter who specialized in prints of historical subjects.
Congress Hall and New Theatre, in Chestnut Street Philadelphia [graphic] / Drawn Engraved & Published by W. Birch & Son Neshaminy Bridge.
Street scene showing Chestnut Street near Sixth Street, including views of Congress Hall and the New Theatre. Depicts white men and women and an African American woman holding an African American baby in her arms and with a white boy at her side, strolling or conversing near a wooden post in front of the hall. In front of the theatre a large crowd is gathered, a white female peddler sells her goods, and a coach travels up Chestnut Street. Congress Hall, completed in 1789 to house the Pennsylvania district and county courts, was the first quarters of the U.S. Congress from 1790 until 1800. Completed in 1793, the New Theatre, or the First Chestnut Street Theatre, was established by actor Thomas Wignell and musician Alexander Reinagle. Modeled after a lavish English theatre, it quickly became the fashionable theatre of the city., Title from item., Illustrated in Robert Teitelman's Birch's views of Philadelphia (Philadelphia: Free Library of Philadelphia, 1982, rev. 2000), pl. 20., Accessioned 1979., 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.
Cornwallis is taken!
Print commemorating the surrender in 1781 of British General Cornwallis at Yorktown depicting the watchman's purported moonlit announcement of the event on October 22nd at the Philadelphia residence of Thomas McKean, the president of Congress. Near the "Geo. Washington" tavern, the white watchman, one hand raised, a lantern in the other, his mouth open and with a few teeth missing, cries the news to the crowd of men, women, and children surrounding him and McKean. McKean, wearing a silken robe, chin in hand listens. His face portrayed with a look of contemplation. The crowd, many in nightclothes hold candlesticks, pray, cheer, and listen solemnly. Included in the crowd are a white man veteran with a prosthetic wooden peg leg, an African American boy, an African American woman caregiver holding presumably McKean's baby in the doorway, a white man and woman couple facing each other and holding hands, white women in shawls and elegant robes, a seated Native American woman attired in moccasins, and a white man portrayed with a frowned expression near behind the watchman., Title from item., Date inferred from duplicate with variant imprint in the collections of the American Antiquarian Society.., Gift of Mrs. Francis P. Garvan, 1978., 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.
[Country place of worship] [graphic] / Drawn & lithd. at Kollners Lithy. Philada.
Genre scene from a children's moral instruction book showing a man, children, and horses at leisure outside of a small church building within a grove of trees. In the right foreground, an African American man lies against a log, arms crossed, head down, and dozes near three, saddled horses bridled to a tree. Behind him, two white boys sit in the grass beside a dog and look over a book. In the right background, two, saddled horses are bridled to a tree near two white boys and a girl in conversation. In the left background, three, saddled horses are bridled within a cluster of trees. Scene also includes a small turtle passing the horses in the foreground. One appears to watch it. A white man stands near the church in the center background. Pastureland is visible in the distant, right background. All the male figures are attired in hats, jackets, and pants. The girl wears a bonnet and dress., Title from manuscript note on recto., Date from date of publication in which print is included., Published in Common sights on land and water (Philadelphia: American Sunday-School Union, 1852)., Gift of David Doret., Description revised 2022., Access points revised 2022.
Creditor of Johnsing & Skinner--"I'll hab a hundred and fifty cents on de dollar, or I'll lick de hul firm."
Racist trade card promoting the druggist J. Harley Compton and depicting a caricature of an older African American man reading a notice on a country grocery store. Shows the man with a white beard and attired in a yellow brimmed hat, a long-sleeved red shirt, yellow pants with patches and held up by suspenders, and black shoes. He bends forward to read the sign on the boarded up, dilapidated store. It states in the vernacular that the Johnsing & Skinner Grocery is out of business and that, “Dem as owes de firm, will settle wid me--dey de firm owes will settle wid Skinner. G.W. Johnsing." The African American man is labeled as a creditor who says in the vernacular, “I’ll hab a hundred and fifty cents on de dollar, or I’ll lick de hul firm.” Another sign on the building states, "10 miles to de post ofice (sic)." In the right, the man’s donkey is tied to an orange post behind him. In the background, fenced in fields and trees are visible. William Carroll purchased J. Harley Compton’s drugstore in New Egypt, New Jersey in 1895., Title from item., Text printed on recto: Johnsing & Skinner Grocery. Notis—De firm of Johnsing & Skinner am resolved. Dem as owes de firm, will settle wid me—dey de firm owes will settle wid Skinner. G.W. Johnsing. Creditor of Johnsing & Skinner—“I’ll hab a hundred and fifty cents on de dollar, or I’ll lick de hul firm.”, Advertising text printed on verso promotes items manufactured by J. Harley Compton, including Compton's concentrated flavoring extracts, liquid rennet, camphor ice with glycerine, cholera and dysentery drops, and Compton's tooth powder. Dated Oct. 9th, 1883., RVCDC, Description revised 2021., Access points revised 2021., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William Helfand., 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.
"Creme" oat meal toilet soap.
Trade card promoting soap manufacturer J.D. Larkin & Co. and depicting a racist caricature of an anthropomorphized chimpanzee as a man hunter. He stands in front of a section of tall grass and holds a clutch of birds in his left hand and a rifle under his right arm. He is attired in a hunting cap, red jacket, tan pants, and black high boots. Leather straps are criss-crossed over his chest. J.D. Larkin & Co. was founded in 1875. By 1881 the soap company included over 100 factory workers and sustained specialized departments for advertising and shipping, as well as solicited to door-to-door private residences in addition to shopkeepers. Trade cards with the company logo were included with each box of soap. By 1885 the firm only directly sold their products to residential customers and was known for their premiums. The company was sold in 1941 and continued as a mail-order business until 1962., Title from item., Date from copyright statement: Copyright, Clay & Richmond, Buffalo, N.Y., 1881., Printed in upper right corner on recto: J, D, L, & C. monogram (ie. J.D. Larkin & Co.) surmounting "Buffalo, N.Y.", Series no. printed on recto: II., Advertising text printed on verso promotes "Creme" toilet soap sold by A.E. Snow, dealer in drugs, medicines, etc. in Plainfield, Vt. Also promotes "six different designs" of cards by the People's Mfg. Co., Buffalo, N.Y., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of William H. Helfand., 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.
"Creme" oat meal toilet soap. [graphic]
Incomplete series of trade cards, including duplicate and variant imagery with the same series number, to promote "Crème" toilet soap manufactured by J.D. Larkin & Co. Depicts racist, anthropomorphic chimpanzee figures in social situations and leisure and cultural activities., Series no. I (variant 1) depicts a man and woman as well-dressed anthropomorphized chimpanzees greeting each other. In the left, the man attired in a black top hat, blue jacket, and checkered yellow pants, nods his head to the left and holds up his walking stick. In the right, the woman, her back to the viewer, is attired in a yellow bonnet adorned with flowers and a ribbon, and a long-sleeved green dress with a pink belt at the waist and a bow at the bustle. She lifts up her skirt and exposes her slip. Series no. I (variant 2) depicts an anthropomorphized chimpanzee as a man artist. He rests back on his chair, and holds a palette in one hand, and a paint brush in the other. He sits in front of an easel and canvas. He is attired in a green-colored smock shirt with collar and buttons, yellow pants, and brown laced shoes. His eyelids droop down and his mouth is slightly ajar., Series no. II depicts an anthropomorphized chimpanzee as a man hunter. He stands in front of a section of tall grass and holds a clutch of birds in his left hand and a shot gun under his right arm. He is attired in a hunting cap, red jacket, tan pants, and black high boots. Leather straps are criss-crossed over his chest. Series no. III depicts an anthropomorphized chimpanzee as a man fishing at a dock. The man hangs his legs over a pier and holds a pole into the water. A basket of fish lays beside him. He wears a wide-brimmed hat, a brown jacket with the collar turned up, and blue checkered pants. The backs of two other anglers are visible in the left background. Series no. IV (2 copies) depicts anthropomorphized chimpanzees as a man and woman couple on promenade. The woman, in the left, is attired in a yellow bonnet, a yellow, three-quarter length sleeved dress with ruffling down the front and ruching on the skirt, and white gloves. She holds a fan by her left cheek, looks to her left, and lifts up the skirt of her dress and shows the edge of her slip. To the right, the man smiles and looks over her shoulder. He is attired in a bowler, red jacket, and grey-striped pants and holds a walking stick up under his arm., Series no. VI depicts anthropomorphized chimpanzees as a man and woman couple getting married by a clergyman. The couple, their backs to the viewer, stand to the left of the clergyman attired in his ceremonial robes. The man wears a suit with a long jacket. The woman wears a white wedding dress with a veil adorned with floral ornaments. The dress is composed with ruched sleeves, and adorned with pink bows and ribbons. The figures all have solemn expressions. J.D. Larkin & Co. was founded in 1875. By 1881 the soap company included over 100 factory workers and sustained specialized departments for advertising and shipping, as well as solicited to door-to-door private residences in addition to shopkeepers. Trade cards with the company logo were included with each box of soap. By 1885 the firm only directly sold their products to residential customers and was known for their premiums. The company was sold in 1941 and continued as a mail-order business until 1962., Title from items., Date, publisher, and manufacturer (printer) from copyright statements on prints: Copyright J.D. Larkin & Co., Buffalo, N.Y. 1881 and Copyright Clay & Richmond, Buffalo, N.Y. 1881., Majority of prints (P.2020.3.1-4&7) distributed by J.D. Larkin & Co., P.2020.3.5&6 distributed by the People’s Manufacturing Co., Prints include the company logo “J.D. L. & Co., Buffalo, N.Y.” in two designs; one in cursive and the other as a monogram with a central block letter., Includes series numbers: I. (2 variant images); II.; III.; V. (2 copies, same image); and VI., Five of the prints contain variant advertising text on verso. All texts include statement: To Card Collectors.- There are six different designs in this set. We will mail the complete set to any address, on receipt of 3 c./three cent stamp., RVCDC, Description reviewed 2022., Access points revised 2022.
[Croft, Wilbur & Co. trade cards]
Series of illustrated trade cards promoting confectioners Croft, Wilbur & Co. and depicting children performing a variety of activities, including two white girls playing tug-of-war over a wrapped piece of candy; and boys and girls eating sweets, including a white boy eating a candy stick while holding his dog on a leash. Also shows flowers; a courting white boy and girl couple sitting on a log; two white boy clowns dancing, playing a drum, and strutting a homemade pitchfork; and a man in Colonial attire popping out of a large cracker or bon-bon and dumping candy to white woman who catches it in her skirt. Racist card depicting an African American boy, portrayed in caricature, and a white girl on a candy stick seesaw. In the left, shows the white girl attired in a large, white bonnet; a yellow dress with red polka dots; a blue and white checked smock; orange stockings; and brown shoes, sitting on a red and white striped candy stick. In the right, the barefooted African American boy, attired in an orange shirt and gray pants, sits on the other side of the candy see saw. The fulcrum is a piece of chocolate. Founded in Philadelphia in 1865 by Samuel Croft and Henry Oscar Wilbur, Croft, Wilbur & Co. divided into H.O. Wilbur & Sons and Croft and Allen in 1884., Title supplied by cataloger., Four prints printed by E. Ketterlinus & Co., Includes two prints [1975.F.120 and 1974.F.141] with advertising text printed on versos., Gift of Emily Phillips, 1883., RVCDC, Description revised 2021., Access points revised 2021., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
D. Wilmot [graphic].
Bust-length portrait of the young Pennsylvania legislator, best known as the author of the "Wilmot Proviso," the unpassed 1846 bill which would have prohibited the extension of slavery into the annexed territory of Mexico. Wilmot, attired in a white collared shirt, a black bowtie, and a black jacket, faces slightly left., Title from printed signature of sitter below image., Accessioned 1982., Description revised 2022., Access points revised 2022.
Dancing for eels at Catharine [sic] Market N.Y.
Print after the theatrical advertisement published by Eliphalet Brown, Jr. and James Brown depicting the most popular scene from the mid-19th century play about the lives of the New York city lower classes. Shows an African American boy, attired in torn and worn clothes, street dancing while surrounded by a crowd of spectators. Spectators include an African American man, boy, and woman marketer with a basket; Mose, the central character of a fireman b'hoy, and a white man fish monger, attired in torn and worn clothes. Also shows a white woman vendor near a broadside titled "Mose" to the right of the image and the slip in the background. From the 18th century, Long Island enslave people would cross the East River to sell produce or to street dance to earn money, fish, or eels at the Catherine Slip Market. The performances transformed into impromptu dance contests paid for by market customers., Title from item., Date from copyright statement: Entered according to act of Congress in the year 1848 by J. Baillie in the Clerk's Office of the District Court of Southn Dist of N.Y., Created postfreeze., Purchase 2005., 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.
Daniel Webster addressing the United States Senate
Commemorative print depicting Daniel Webster's noted "Seventh of March Speech" delivered in support of Henry Clay's proposed legislation to prevent Southern secession and to address the extension of slavery, known as the Compromise of 1850. The amended compromise, passed in September 1850, included the admittance of California as a free state and the strengthening of the Fugitive Slave Law in favor of the South. Shows the U.S. Senate chamber with Webster, in the right, standing with his right hand raised. Each Senator from 1850 is depicted facing toward Webster and the viewer, including Stephen Douglas (to the right of Webster), John C. Calhoun (seated in the left), Vice President Millard Fillmore (presiding at center), Secretary of the Senate Asbury Dickins (below Fillmore), Henry Clay (to the right of Webster’s upraised hand), and Jefferson Davis. White men and women spectators fill the visitors' galleries above. Fillmore and Dickins sit at raised desks, and behind them is a draped curtain. Above the valance is an American flag crest with arrows and a bald eagle with outstretched wings. A framed portrait of George Washington hangs in the center. Also visible is the coffered, domed ceiling and a chandelier., Title from item., Date from copyright statement: Entered according to Act of Congress in the year 1860 by James M. Edney in the Clerk’s Office of the District Court of the Southern District of New York., Gift of David Doret, 2002., 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.
The darktown fire brigade - saved! [graphic] / Thos. Worth.
Comic print using racist imagery to satirize African American men firefighters. Shows a brigade of eight African American firefighters during a rescue of an African American family from a burning wooden house. Flames and smoke extend from the right side of the roof of a two-story residence. In the center foreground, two firefighters, one not wearing a helmet, hold open a striped blanket. A woman attired in a white nightgown and holding her gown down with one hand and a fan with the other is midair and about to drop, feet first, into it. In the left, another firefighter runs out of the doorway of the building and with a woman over his shoulder. She wears a white cap and night gown. In the right, a fourth firefighter sprays water from a hose into the body of a man in a white nightshirt stuck in a hole in the roof. His head and chest poke through the hole and his legs project out through an upper floor window. The firefighter uses a hose that extends from a fire engine marked "Niagara."It is being pumped by four other firefighters in the right background. The firefighters stand on barrels and push the lever of the water pump on the engine. In the far right distance, another firefighter attends to a donkey. The firefighters are attired in red shirts, blue pants, and black boots. Four men wear helmets, one man wears a top hat, and two men are bare-headed. The men and women figures are portrayed with wide eyes and lips, and large feet. The rescued family members are bare foot. The Darktown series of over 100 prints was originally issued mid 1870s-1890s. Thomas Worth was the artist of several of the prints in the reported popular and profitable series. Joseph Koehler reissued the prints in the early 1900s., Title from item., Reprint of number from "Darktown" comics series originally published in 1884. Joseph Koehler purchased over 200 lithographic stones, including the "Darktown" series, from the Currier & Ives firm following its dissolution in 1907., Contains copyright statement: Copyright 1884, By Currier & Ives, N. Y.
David Paul Brown
Half-length portrait of the Philadelphia lawyer, orator, dramatist, and president of the Philadelphia Anti-Slavery Society. Brown, attired in a white collared shirt, a black waistcoat, and a black jacket, sits holding papers in his left hand, which rests on top of a book with the spine labeled "Phillips' Evidence.", Title from printed signature of sitter below image., Printed lower left: Subscriber's Proof., Gift of Ken Lead, 1993., 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.
David Paul Brown [graphic] / Mumford.
Full-length portrait of the Philadelphia lawyer, orator, dramatist, and president of the Philadelphia Anti-Slavery Society standing near a side table. Brown is attired in a white collared shirt, a black tie, a black jacket with tails, and pants., Title from printed signature of sitter below image., Date inferred from the working dates of the engraver and the attire of sitter., Originally part of a McAllister scrapbook of portraits., McAllister Collection, gift, 1886., 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., Brothers Thomas Howland and Edward Mumford, Philadelphia engravers and electrotypists, provided subject illustrations for Philadelphia publishers during the 1850s and 1860s. Edward died in 1858, with Thomas continuing in business until the 1860s.
The dawn of liberty [graphic] : General Gage said "The very children here draw on a love of liberty with the air they breathe. You may go my brave boys, and be assured if my troops trouble you again they shall be punished." / Max Rosenthal del.; L.N. Rose
Historical print based on lore depicting a 1774 meeting in Boston between British Massachusetts Royal Governor General Thomas Gage and a "committee" of boys about British troops infringing their rights by destroying their snow hills and skating ice when unprovoked. Depicts the rotund Gage seated in a palatial drawing room decorated with an ornate rug; damask-style, blue wallpaper; red drapery; a large painted portrait of King George III; a book case; and a fireplace with a mantle adorned with a gold sculpture of the British lion. Gage, in uniform, sits in an arm chair near two of his officers, in uniform. One is seated at a table, covered in a cloth with an ornate design and the other stands next to him. A ledger and sheets of paper rest on the table. A delegation of boys, in long jackets, pantaloons, and tri-corn hats, enters the room through an open door. The lead boy extends his hand toward Gage as the others look at the room, each other, and the royal governor. An African American male servant, attired in a blue jacket and pantaloons and depicted with simian-like features, tends to a fire in the fireplace behind Gage. Written about in children's history texts beginning with Samuel Griswold Goodrich's in the 1830s, the episode is likely based on a 1775 incident involving a servant of General Frederick Haldiman, Haldiman, and a group of Boston boys about which Gage heard and then commented they had "caught the spirit of the times.", Artist's signature in lower right corner of stone., Date from copyright statement: Entered according to act of Congress in the year 1864, by Wm. Smith in the Clerk's Office in the District Court of the United States for the Eastern District of Pennsylvania., Purchased with funds for the Visual Culture Progam (Junto Funds 2015).
"De breddren and sisters will now relate dere experience."
Set of five collecting cards depicting African Americans, portrayed in racist caricature with grotesque facial features and speaking in the vernacular, satirizing African American church life. Includes (1) "De Breddren and Sisters Will Now Relate Dere Experience" showing a white-haired African American minister at his pulpit before a small congregation of mostly African American women, attired in kerchiefs, and seated in pews; (2) Sister Hannibal. - "Oh Breddren and Sisters, Ise an Awful Sinner" showing Sister Hannibal standing up and confessing among the other congregants; (3) Sister Snowball. - "Yes, Breddren and Sisters, Dats So, I Kin Testify Dat Sister Hannibal is an Awful Sinner. I knows It" showing Sister Snowball standing, her hands clasped across her stomach, while Sister Hannibal, sits and frowns, and the minister rests his hand on his head; (4) "Sister Snowball, You Am a Liar" showing the "sisters" fighting among the other parishioners, who are in various states of commotion; (5) "De Congregation Am Dismissed" showing white men police officers escorting the congregation out of the church, including an unconscious Sister Hannibal in a handcart. Images also show the church interior and exterior, including windows, steps, and a tree., Title from item., Date of publication inferred from date of copyright, Series no. printed in upper left corner., Purchased with funds from the Albert M. Greenfield Foundation., RVCDC, 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., Sammis & Latham was a New York publishing firm active in 1882 that issued comic card sets and juvenile novelty items.
A dead cut. [graphic] / Clay.
Racist caricature portraying a middle-class African American man-woman couple as snobs who slight a working-class African American man shoeshiner and former acquaintance. Depicts the African American shoeshiner greeting the African American couple who feign ignorance of the man's acquaintance after their return from "de Springs." The laborer, attired in a rumpled top hat, torn overcoat with tails, and patched pants holds his rod of boots in his left hand, and uses his right one to grab the hand of "Cesa." "Cesa," dressed in a flat-top cap, and heavy, long overcoat with handkerchief in the pocket, and plaid pants, looks suspiciously at their joined hands. He holds a walking stick and his companion's parasol in his other hand. He states that the shoeshiner has mistaken his identity (You must be mistaking in de person black man!). His companion, her hand around his elbow, and dressed in a Dunstable bonnet, dark-colored overcoat, and button-down shirtwaist with a collar, agrees. With her hand placed on her hip and holding a purse, she declares, "What does the imperdent nigger mean?" Figures are depicted with oversize and exaggerated features., Title from item., Publication information from duplicate in collection and advertisement in the Philadelphia Inquirer, December 30, 1829, p. 3. Advertised as entitled "A Dead Cut, or an attempt to slight old Acquaintance.", Nancy Reynolds Davison's E.W. Clay: American political caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O)., Sarah Hart was a Jewish Philadelphia fancy goods store owner and printseller who with her son future Philadelphia publisher Abraham Hart, assumed publication of the "Life in Philadelphia" series in 1829. Sarah Hart solely reprinted the entire series of 14 prints in 1830. She also published complementary in subject lithographs after the work of Clay during the same period., Described in the Daily Chronicle, December 26, 1829, p. 2., Accessioned 1893., RVCDC, Description revised 2021., Access points revised 2021.
A dead cut. [graphic] / Drawn on stone by E.W. Clay; Pendleton, Kearny & Childs. Lithogy.
Racist caricature portraying a middle-class African American man-woman couple as snobs who slight a working-class African American man shoeshiner and former acquaintance. Depicts the African American shoeshiner greeting the African American couple who feign ignorance of the man's acquaintance after their return from "de Springs." The laborer, attired in a rumpled top hat, torn overcoat with tails, and patched pants holds his rod of boots in his left hand, and uses his right one to grab the hand of "Cesa." "Cesa," dressed in a flat-top cap, and heavy, long overcoat with handkerchief in the pocket, and plaid pants, looks suspiciously at their joined hands. He holds a walking stick and his companion's parasol in his other hand. He states that the shoeshiner has mistaken his identity (You must be mistaking in de person black man!). His companion, her hand around his elbow, and dressed in a Dunstable bonnet, dark-colored overcoat, and button-down shirtwaist with a collar, agrees. With her hand placed on her hip and holding a purse, she declares, "What does the imperdent nigger mean?" Figures are depicted with oversize and exaggerated features., Title from item., Publication information from duplicate in collection and advertisement in the Philadelphia Inquirer, December 30, 1829, p. 3. Advertised as entitled "A Dead Cut, or an attempt to slight old Acquaintance.", Nancy Reynolds Davison's E.W. Clay: American political caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O)., Sarah Hart was a Jewish Philadelphia fancy goods store owner and printseller who with her son future Philadelphia publisher Abraham Hart, assumed publication of the "Life in Philadelphia" series in 1829. Sarah Hart solely reprinted the entire series of 14 prints in 1830. She also published complementary in subject lithographs after the work of Clay during the same period., Described in the Daily Chronicle, December 26, 1829, p. 2., Accessioned 1893., RVCDC, Description revised 2021., Access points revised 2021.

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