Pages

A Ku Klux Klan party in North Carolina.
Altered photograph depicting the "Plan of the Contemplated Murder of John Campbell." Shows nine Ku Klux Klansmen (comical faces drawn on their hoods) surrounding a kneeling noosed white man - John Campbell - holding his hat. A Klansman holds the noose. Campbell was a leading member of the Republican Party in Poplar, North Carolina whose political affiliation was adjudicated a crime by the Klan. On August 10, 1871, the Klan abducted and sentenced him to be hung in the woods near his residence. A secret serviceman Joseph G. Hester had infiltrated the North Carolina order and stopped the hanging and arrested the Klansmen. Soon thereafter Hester commissioned a photograph with Campbell reenacting the Klan tribunal with "actors" attired in the Klan's confiscated regalia. The actors have been purported to be the African American acquaintances of Campbell. The photograph was distributed to the Northern press and authorities in Washington D.C. Engravings with commentary after the photograph were later issued and circulated., Title from manuscript note on verso authored by Charles E. Smith., Manuscript note on verso: A Klu Klux Klan party captured in Western N. Carolina in 1871 by a company of the 4th artillery, Captain F.G. Smith & photographed on the Spot. Charles E. Smith., Manuscript note on verso: My nephew said that the prisoner would not stand still to be photographed, as he took off their disguises & put them on some of his own men. A crowd of the natives stood around watching the operation. One of them said- "I bet that them Yankees will send that picture up North" "& lie about it & say that it is took of we uns, while it is their own men insich, all the while-" "It's just like them mean yankees to do it", Charles Emory Smith (1842-1908), a United States Minister, was also a prominent political journalist and Republican delegate who as editor-in-chief of the Philadelphia newspaper, "The Press" cemented the journal's reputation as the leading Republican paper of Pennsylvania., 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., Variant photograph of the reenacted scene in the collections of Nelson-Atkins Museum of Art, Kansas City, MO., See research file - Campbell, John.
La Roche & Stahl florist shop, 1237 Chestnut Street, Philadelphia
Group portrait showing a line of eight men, including an African American employee and possibly co-owner Balthazar Stahl (third from right), standing in front of the flower store with large display windows marked "LaRoche & Stahl." Bouquets of flowers, floral wreathes, and other floral arrangements are displayed. A retracted awning with the name if the business adorns the building. A large garland of flowers is weaved across the awning frame. Potted plants line the base of the building and entryway near where the men stand. In the far left, the back of a horse traveling in the street near men patronizing a vendor's stand at the side of the flower store is visible. In the far right, signage for the adjacent business is partially visible. Florist Maximilian F. La Roche partnered with his brother-in-law Batlhazar Stahl in 1878. The partnership also managed several large greenhouses in Collingdale, Pa., which specialized in chrysanthemums and roses. Previously, La Roche had operated his own floral business in Philadelphia beginning circa 1876 when he purchased Brooker & Co. at 1319 Chestnut Street. La Roche removed his store to 1237 Chestnut in 1881. Stahl, who was in charge of the retail business, left the partnership circa 1898 when he started his own business at 27 South Eleventh Street., Title supplied by cataloguer., Date inferred from the attire of the men included in image.
Ladies...
Lantern slide formerly owned and probably used in art lessons by Philadelphia painter, photographer, and art teacher, Xanthus Smith. Depicts a scene set in Roman antiquity of a white woman, attired in a white gown, dancing before upper-class Romans. In the center is a marble veranda with a roof comprised of a red drape with yellow fringe held up by columns. In the veranda, around a table filled with food and drink, a Roman woman and three men lounge and watch the dancer. Behind them, three enslaved Black men and a woman carry wine flasks, pour drinks, and fan. In the left, white men and women musicians play flutes and tambourines. In the background, a peacock and other birds stand and fly on the palatial building decorated with columns, sculpture, and flowers., Title from partially legible label on mount., Number 19 in "Old Roman World" series., Gift of Edna Andrade, 1994., 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.
Learning is wealth. Wilson, Charley, Rebecca & Rosa, slaves from New Orleans.
Abolitionist group portrait of propagandized people emancipated enslavement in New Orleans by General Benjamin Butler. Fair-skinned children Charles Taylor, Rebecca Huger, Rosina Downs, and dark-skinned adult Wilson Chinn, his forehead branded with the initials of his former enslaver, all hold books and read together. The emancipated people were touring the North to raise funds for the Louisiana schools for formerly enslaved people established by Assistant Superintendent of Freedmen, Phillip Bacon., Title from item., Date from copyright information. Copyright by S. Tackaberry., Photographer's imprint stamped on verso., Distributor's imprint stamped on verso: N.B.- All orders must be addressed to H.N. Bent,[National Freedmen's Relief Association], No. 1 Mercer Street, New York., Stamped on verso: No. 6., Stamped on verso: The nett proceeds from the sale of these Photographs will be devoted to the education of the Colored People in the Department of the Gulf, now under the command of Maj. Gen'l Banks., See Harper's weekly, January 30, 1864, p. 71. (LCP **Per H, 1864)., See Kathleen Collin's "Portraits of slave children," History of photography 9 (July-September 19855), p. 187-210., Purchase 2001., 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.
Libby Prison
Exterior view of the notoriously inhumane Confederate Prison, previously a warehouse. Depicts Turner, the former commandant of the prison, standing with a small group of white people including a child, in front of rows of tents. African Americans look on from a nearby hill., Title from label mounted on verso., Date from copyright statement: Entered according to Act of Congress in the year 1865, by Levy & Cohen in the Clerk's Office, of the District Court, for the Eastern District of Pennsylvania., Gift of Elinor Solis-Cohen, 1980., Forms part of small Civil War Photograph Collection, 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., Levy & Cohen was a partnership between two Jewish Philadelphia photographers who in 1865 published a series of views of occupied Richmond at the end of the Civil War. The partnership dissolved in 1865 after the unexpected death of Cornelius Levy.
Lillie Showell
Full-length studio portrait showing Showell, seated in a chair containing an ornate back. The young woman wears glasses and is attired in a shirtwaist and long skirt. She rests one hand on the arm of the chair and the other on her knee. A studio backdrop is visible in the background. Family lore suggests Showell, born in Philadelphia, died from the flu during the 1917-1918 pandemic following World War I. Showell, younger sister of Arthur Showell (1894-1943), resided in Maryland as a child and young adult., Title supplied by cataloger., Gift of Brice C. Showell.
Lincoln Monument, foot of Lemon Hill.
View showing the Lincoln Monument at the entrance (Kelly and Lemon Hill Drives) of Fairmount Park surrounded by men who stand and look at the viewer, including white men spectators and three men guards, one possibly African American, attired in caps with insignia pinned to their lapels, and holding swords. In the right, two white men sit within a horse-drawn carriage. Sculpted by Randolph Rogers, Abraham Lincoln is depicted seated with a quill in his hand after just signing the Emancipation Proclamation. The statue rests upon a pedestal adorned with sculpted garland, bronze eagles, and the City of Philadelphia’s Coat of Arms. The granite base is adorned with four panels inscribed with a dedication to and quotes from Lincoln of which two are visible. Unveiled in September 1871, the monument was commissioned by the Lincoln Monument Association, one of the first such associations formed in the country to raise funds for a city monument in memory of Lincoln. City Park Hotel is seen in the background., Artist from duplicate print., Title from manuscript note on mount., Stamped on verso: Copyrighted by Kiralfy Bros., Phila., 1876., P.9299.100 on pink mount with rounded corners., P.2011.47.932 on orange mount with rounded corners., Monument described in Fairmount Park Association's Sculpture of a city: Philadelphia's treasures in bronze and stone (New York: Walker Publishing Company, 1974) p. 46-52. (LCP Print Room Uy 8, 3208.F)., Monument described in Penny Balkin Bach's Public art in Philadelphia (Philadelphia: Temple University Press, 1992) p. 49-50, 198. (LCP Print Room Is 4, 9379.Q)., Description revised 2021., Access points revised 2021., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of Jane Carson James, 1990 [P.9299.100]; gift of Raymond Holstein [P.2011.47.932].
Lincoln Monument, Phila. Park
View showing the Lincoln Monument at the entrance (Kelly and Lemon Hill Drives) of Fairmount Park surrounded by men who stand and look at the viewer, including white men spectators and three men guards, one possibly African American, attired in caps with insignia pinned to their lapels, and holding swords. In the right, two white men sit within a horse-drawn carriage. Sculpted by Randolph Rogers, Abraham Lincoln is depicted seated with a quill in his hand after just signing the Emancipation Proclamation. The statue rests upon a pedestal adorned with sculpted garland, bronze eagles, and the City of Philadelphia's Coat of Arms. The granite base is adorned with four panels inscribed with a dedication to and quotes from Lincoln of which two are visible. Unveiled in September 1871, the monument was commissioned by the Lincoln Monument Association, one of the first such associations formed in the country to raise funds for a city monument in memory of Lincoln. City Park Hotel is seen in the background., Manuscript note written on verso: K. Duefor? Oct. 21, 1871., Photographer's imprint stamped on verso., Distributor's label on verso: E. Borhek & Son, Opticians, No. 628 Chestnut St., Monument described in Fairmount Park Association's Sculpture of a City: Philadelphia's treasures in bronze and stone (New York: Walker Publishing Company, 1974) p. 46-52. (LCP Print Room Uy 8, 3208.F)., Monument described in Penny Balkin Bach's Public art in Philadelphia. (Philadelphia: Temple University Press, 1992) p. 49-50, 198. (LCP Print Room Is 4, 9379.Q)., Purchase 1989., Description revised 2021., Access points revised 2021., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Link-Belt "D" loader handling coal from R.R. car to wagon in yard of Hamilton Coal Co., Wilmington, Del.
Product advertisement, probably from a trade portfolio, showing a Link-Belt loader removing coal from beneath a Philadelphia & Reading Railway car to a horse-drawn wagon. A laborer shovels the coal on the wagon bed. An African American laborer, attired in a brimmed hat, stands near the loader and looks at the viewer. Loader displays a manufacturer's plate labeled "Made by Link-Belt Company, Phila. Chicago New York." Link-Belt Engineering Co. was founded by William Dana Ewart, inventor of the link-belt, in 1874., Title typed on recto., Inscribed in negative: 8945., Contains four hole punches., Contains pencil marking on recto., Retrospective conversion record: original entry, edited., Purchase 1990., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Link-Belt type "CF" loader furnished to Baugh & Sons Company, Philadelphia, for handling acid phosphate to power operated buggies.
Product advertisement, probably from a trade portfolio, showing an African American man laborer near a Link-Belt loader inside the Philadelphia warehouse at 20 South Delaware Avenue. An African American man laborer, with debris covering his hat and clothes, stands behind the machine and looks at the viewer. Loader displays a manufacturer's plate for the Philadelphia branch of the company. Link-Belt Engineering Co. was founded by William Dana Erwat, inventor of the link-belt, in 1874., Title and date typed on recto., Inscribed in negative: Link-Belt 17061., Contains four hole punches., Retrospective conversion record: original entry, edited., Purchase 1990., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Lippincott Mansion
Exterior view of the Dundas-Lippincott mansion at the busy northeast corner of Broad and Walnut Streets, Philadelphia. Shows the mansion surrounded by a wall with wrought iron. Steps lead to ionic columns, which hold up the pediment over the front door. Several trees grow on either side of the house. Numerous pedestrians, including an African American boy, as well as a car, carriage, and trolley travel in front of and around the residence. Designed by Thomas U. Walter, the Dundas-Lippincott Mansion was built around 1838 for Philadelphia banker James Dundas on the old grounds of the amusement center Vauxhall Gardens. Nicknamed the "Yellow Mansion," due to its buff color, the residence was known for its impressive garden and as a place for lavish entertainment. The mansion passed to Dundas' niece, Agnes Dundas-Lippincott, upon his death in 1865, and stayed in the family until razed around 1905., Title from negative sleeve., Inscribed in negative: 152., Note on negative sleeve: Historical 170., Purchase 1981., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
A little rural scene in Frankford
Exterior view showing a quaint area of the Frankford section of Philadelphia including Campbell African Methodist Episcopal Church on the 1600 block of Oxford Avenue (that is Kinsey Street). In the right, is a two-story, colonial-style home with shuttered windows situated behind a fence. In the left is the African American church, founded in 1804, with its door open. Several trees line the property. A fire hydrant is visible in the left foreground., Title from descriptive manuscript note by photographer on verso., Photographer's manuscript note on verso: One block away the Frankford El rumbles past - the trolleys clang, and general traffic rolls along., Gift of Margaret Odewalt Sweeney, 1979., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Loading a Mississippi steamer, New Orleans U.S.A.
Scene showing a steamship, named New Orleans, pulled up to a wooden dock covered with barrels and sacks. African American men carry sacks up gangplanks to the ship. In the foreground, an African American man lies on his stomach across a pile of sacks. Several men stand near him., Title from item., Date inferred from content and photographic medium., View is numbered 188 in a series., Purchase 1998., Description revised 2022., Access points revised 2022., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Lobby, Hotel Walton, Phila, Pa. Lukes & Zahn, prop[rietor]s.
Interior view of the ornate lobby of the Hotel Walton located at Broad and Locust Streets, Philadelphia, Pa. The lobby, decorated with ornamental plaster moldings, marbles, and two mural paintings, is furnished with leather chairs and benches. Shows white men hotel guests who sit, read, converse together, and stand at the desks. Hotel staff stand behind the desks, and two African American men hotel porters wait in the right. Designed by Angus S. Wade, the hotel (formerly part of the Hotel Metropole building), was completed in 1895 and considered one of the most elegant in the city with its multiple dining rooms, reception rooms, and salons., Photographer's imprint inscribed in negative., Date from copyright statement: Copyright 1908 by The Rotograph Co. N.Y., The Rotograph Co. was a prolific postcard publisher that also issued this view as a postcard., Gift of Joan Bonner Conway, 1991., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Logan Circle
Scene depicting two African American women walking past the Swann Memorial Fountain at Logan Square in Philadelphia before the installation of Alexander Stirling Calder's sculpted naiad figures in 1924. In the foreground, two women walk side-by-side on the sidewalk in front of the active fountain. Walking on the inside, the woman is attired in a black dress, stockings, and shoes, and the woman walking on the outside closer to the viewer is attired in a patterned dress, black stockings, and shoes., Title from photographer's manuscript note on verso., Date inferred from content., Duplicate print P.8513.109., Digital file shows P.8513.109., Gift of Mrs. Margaret Odewalt Sweeney, 1979., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Logan Square, Park Boulevard, Philadelphia
Scene depicting two African American women walking past the Swann Memorial Fountain at Logan Square in Philadelphia before the installation of Alexander Stirling Calder's sculpted naiad figures in 1924. In the foreground, two women walk side-by-side on the sidewalk in front of the active fountain. Walking on the inside, the woman is attired in a black dress, stockings, and shoes, and the woman walking on the outside closer to the viewer is attired in a patterned dress, black stockings, and shoes., Title from manuscript note on verso., Date inferred from content., Duplicate print of P.8513.9., Gift of Mrs. Margaret Odewalt Sweeney, 1979., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
[Lombard Street Central Presbyterian Church, Philadelphia]
Exterior view of the Philadelphia African American church at 834 Lombard Street completed in 1848 after designs by Philadelphia architect, William L. Johnston. Shows the front entrance to the two-story building with pediment. In front of the building is a wrought iron fence and gate and a lamppost. In the foreground is the sidewalk and a partial view of the street. Established in 1844 under Rev. Stephen H. Gloucester, the church formed from dissenting members of the Second African Presbyterian Church following Gloucester's loss of that church's pulpit., Title supplied by cataloger., Date inferred from content., Gift of Mrs. S. Marguerite Brenner., 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.
Looking east on Market St. from above 8th St., Philadelphia.
View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway on the 700 block of Market Street. Shows the very active street with several trolleys, horse-drawn vehicles, and men and women pedestrians hurrying on the street near the sidewalk mobbed with people. African American construction workers work under a "Danger" sign. Nearby, a man carries a sign advertising "Dr. Hyman" who "will fix your teeth." Several businesses line the street, including Lit Brothers department store (701-739 Market); "Dr. Wyeth's Painless Modern Dentistry" covered with signage; Hanscom's, grocery and lunch room (734 Market); Hertfelder's, tailor and clothiers; Wick Narrow Fabric Co.; and Asam Brothers, wall paper., Title from manuscript note on verso., Date inscribed in negative., Inscribed in negative: 4396., Purchase 1989., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
[Looking east on the 1600 block of Market Street, Philadelphia] [graphic].
View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway across from the Broad Street Station (built 1879-1882). In the foreground, a number of African American construction workers stand in a pit. In the background is another pit with more construction workers. Pedestrians and spectators look on at the scene. Several businesses on the south side of the 1600 block of Market Street, including "Cronin's," are visible. Also shows several horse-drawn wagons traveling past the rail station, and theater advertisements adorning construction equipment., Title supplied by cataloger., Date inferred from a closely-numbered photograph in the series with an inscribed date., Inscribed in negative: 555., Gift of Steven Dorfman, 2013., Description revised 2022., Access points revised 2022.
[Looking east on the 2100 block of Market Street, Philadelphia] [graphic].
View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway in a large, deep pit on the 2100 block of Market Street. The construction workers include white and African American men. Shows men spectators looking down at the pit. Men fill horse-drawn carts with dirt, and theater advertisements for the "Famous Ithaca Band" at Willow Grove Park adorn construction equipment., Title supplied by cataloger., Date inscribed in negative: 9-17-04., Inscribed in negative: 579., Gift of Steven Dorfman, 2013., Description revised 2022., Access points revised 2022.
[Looking west on the 2100 block of Market Street, Philadelphia] [graphic].
View showing street construction by the Philadelphia Rapid Transit Company of the Market Street Subway in a shallow pit on the 2100 block of Market Street. The construction workers include white and African American men. Also shows cityscape, trollies traveling in the street, spectators, and construction equipment., Title supplied by cataloger., Date inscribed in negative: 7-22-04., Inscribed in negative: 563., Gift of Steven Dorfman, 2013., Description revised 2022., Access points revised 2022.
[Lucretia Mott]
Three-quarter length portraits of the Quaker abolitionist and reformer. Mott, attired in a white cap, a dark-colored, long-sleeved dress, and a white shawl, is seated on a wooden chair with an ornate back beside a drape with tassels., Title supplied by cataloger., Date based on presented age of sitter., Accessioned 1999., 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.
[Lucretia Mott]
Three-quarter length portraits of the Quaker abolitionist and reformer. Mott, attired in a white cap, a dark-colored, long-sleeved dress, and a white shawl, is seated on a wooden chair with an ornate back beside a drape with tassels., Contains third partial photographic print upper left corner., Title supplied by cataloger., Date based on presented age of the sitter., Probably from 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
[Lucretia Mott]
Three-quarter length portrait of the Quaker abolitionist and reformer. Mott, attired in a white cap, a dark-colored, long-sleeved dress, and a white shawl, sits on a carved wooden chair with her left elbow on a side table covered in a patterned cloth., Photographer's imprint and advertisement stamped on verso., Title supplied by cataloger., Gift of Manuel Kean, 1982., 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.
Lucretia Mott.
Three-quarter length portrait of the Quaker abolitionist and reformer. Mott, attired in a white cap, a dark-colored, long-sleeved dress, and a white shawl, sits holding a book, her elbow resting on a side table, a drape with tassels in the background., Title from manuscript note on mount., Date from duplicate in private collection., Attributed to Wenderoth, Taylor & Brown from inscription in modern hand on verso., 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 Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Frederick A. Wenderoth, William Curtis Taylor, and Frederick Brown, a Philadelphia photographic firm established in 1865, operated until around 1884. Wenderoth, a technician in the studio of Samuel Broadbent starting around 1860, assumed the business of his employer, with his first partner Taylor, around 1863.
Lucretia Mott's home. [graphic] / J. W. Hurn, 1319 Chestnut St., Philadelphia.
View showing Roadside, the three-story stone residence with an ivy-covered porch of Quaker abolitionist and reformer Lucretia Mott, in Cheltenham Township. Mott sits in a chair on the front lawn. A woman, attired in a dark-colored dress, possibly her daughter Marie Mott Davis or Elizabeth Mott Cavender, stands to her right and touches the back of her chair. Another woman, possibly her daugher Marie Mott Davis or Elizabeth Mott Cavender, attired in a dark-colored dress sits on the grass to her left. A child sits to the left of the seated woman. A child's hand cart lies in the grass next to them. Trees, mostly free of foliage, line the property. Mott and her husband James moved from their Philadelphia city residence to Roadside in 1857. The residence was used for the Underground Railroad and was part of an estate acquired by Mott's daughter Marie and her real estate developer husband Edward M. Davis known as Old Farm. Old Farm comprised land between Old York Road, Penrose Avenue, Cheltenham Avenue (City Line Avenue), and Beech Avenue. Mott's daughter Elizabeth lived at Roadside in 1865 before passing away from cancer., Title from manuscript note on verso., Photographer's imprint printed on verso. Illustrated with an ornament shaped as a circular frame and surrounding the imprint. Garland and ribbon adorns the outer edge of the frame., Date inferred from format, active dates of photographer, and attire of sitters., Description and access points reviewed 2022., John W. Hurn (182-1887) was born in England and worked as a book keeper in upstate New York by 1850. A radical abolitionist, he worked as a photographer in Philadelphia by 1860 and operated a studio at 1319 Chestnut Street through the 1870s.
Market St. Ferry.
Busy Philadelphia street scene depicting the Market Street Ferry terminal at the foot of Market Street at Delaware Avenue near the Ridgway Hotel. Horse-drawn cars, trolleys, and pedestrians, including an African American man leaning on a lamppost, crowd the street, markets, and sidewalks. The Market Street Ferry was established about 1800 and was a principal form of transportation from Philadelphia to Camden, New Jersey through the early 20th century., Title inscribed in negative., Inscribed in negative: 429., Attributed to Philadelphia photographer Robert Newell., Reproduced in the Philadelphia evening public ledger, January 1, 1922., Gift of William E. Conner, 2000., Description revised 2022., Access points revised 2022., Reproduced in The Print and Photograph Department of the Library Company of Philadelphia's Center City Philadelphia in the 19th century (Portsmouth, N.H.: Arcadia Publishing, 2006), p. 69., Arcadia caption text: Ferries transported passengers from Philadelphia to various New Jersey towns along the Delaware River until 1952, long after the completion of the Benjamin Franklin Bridge in 1926. Prior to the opening of the Pennsylvania Railroad’s service to New York City in 1867, travelers relied on the ferries from Philadelphia to connect with the Camden & Amboy Railroad in New Jersey. The custom of naming a ferry service after its owner changed when the ferries were adopted by the railroads, such as the Pennsylvania Railroad’s Market Street ferry terminal, depicted here in 1889, nine years before the railroad reconstructed the slips and station., 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.
Market St. Ferry
Busy Philadelphia street scene depicting the Market Street Ferry terminal at the foot of Market Street at Delaware Avenue near the Ridgway Hotel. Horse-drawn cars, trolleys, and pedestrians, including an African American man leaning on a lamppost, crowd the street, markets, and sidewalks. The Market Street Ferry was established about 1800 and was a principal form of transportation from Philadelphia to Camden, N.J. through the early 20th century., Title inscribed in negative., Inscribed in negative: 429., Attributed to Philadelphia photographer Robert Newell., Published in the Philadelphia evening public ledger, January 1, 1922., Upper half of photograph discolored., Gift of William E. Conner, 2000., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Market St. Ferry
Busy Philadelphia street scene depicting the Pennsylvania Railroad Market Street Ferry terminal at the foot of Market Street at Delaware Avenue near the Ridgway Hotel. Horse-drawn cars, trolleys, and pedestrians, including an African American man leaning on a lamppost, crowd the street, markets, and sidewalks. The Market Street Ferry was established about 1800 and was a principal form of transportation from Philadelphia to Camden, N.J. through the early 20th century., Title inscribed in negative., Inscribed in negative: 429., Attributed to Philadelphia photographer Robert Newell., Published in the Philadelphia evening public ledger, January 1, 1922., Gift of William E. Conner, 2000., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Market St. Ferry
Busy Philadelphia street scene depicting the Pennsylvania Railroad Market Street Ferry terminal at the foot of Market Street at Delaware Avenue near the Ridgway Hotel. Horse-drawn cars, trolleys, and pedestrians, including an African American man leaning on a lamppost, crowd the street, markets, and sidewalks. The Market Street Ferry was established about 1800 and was a principal form of transportation from Philadelphia to Camden, N.J. through the early 20th century., Title inscribed in negative., Inscribed in negative: 429., Attributed to Philadelphia photographer Robert Newell., Published in the Philadelphia evening public ledger, January 1, 1922., Gift of William E. Conner, 2000., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Marriage certificate. This certifies that [Washington C. Young/of Philadelphia/state of Pennsylvania] [Amanda L. West/of Goshen/state of New Jersey] were by me united in marriage according to the ordinance of God and the laws of the state of [Pennsylvania
Marriage certificate with gold touches and containing the bust-length, carte-de-visite studio portrait photographs of Washington C. Young and Amanda L. West, who are African American, surrounded by text, pictorial details, and an ornate border. Young's portrait depicts the young man, looking to the left, and attired in a jacket with a notch lapel, a dark-colored tie, and white, straight shirt collar. He also has a mustache and wears his hair short and with a side part. West's portrait depicts the young woman, looking to the right, and attired in a garment with small puffs at the shoulder and a high-collar neckline adorned with a fabric flower. She wears her wavy hair pulled back, parted in the middle and with side bangs. She also wears earrings. Between the portraits are ornaments with text reading, "It Is Not Good That Man Should Be Alone, Gen 2.18" and "I Will Make Him An Help Meet For Him Gen 2.18." The certificate also contains pictorial details of flowers and vinery, a bell, doves, and a banner. The border is composed of scrollwork, floral shapes, and cornice ornaments. At the time of their marriage, Washington C. Young was a clerk. He would continue in this profession throughout his life. Amanda (West) Young worked as a dressmaker by 1910 and was later listed as a housekeeper in census records. The couple had four children, including a daughter who worked as a dressmaker., Title from item., Date of printing inferred from printed and manuscript date., Completed in manuscript to Washington C. Young and Amanda L. West on May 24, 1883. Signed Philip L. [Sanborn?], Sarah A. Ross, and Rev. W.H. Ross, Officiating Minister., RVCDC
[Marshal Joffre coming down steps at Independence Hall. Phila., Pa.] [graphic].
Photograph depicting Marshal Joseph Joffre walking down the steps at Independence Hall during the French High Commission visit to Philadelphia on May 9, 1917. Shows Joffre, attired in uniform, holding his right hand up in a salute as he walks out of the doorway from Independence Hall and down the steps. A group of men walk in front of and behind Joffre, including several men attired in military caps. A police officer stands beside the doorway. In the left, an African American man, attired in a cap, a coat with buttons down the front, and pants, sits on the frame in the open window with his hands on his laps and looks on. Joseph Joffre was a French general who served as Commander-in-Chief of French forces from the start of World War I until the end of 1916. He accompanied the French High Commission's trip to the United States in 1917 and visited Washington D.C., Chicago, Kansas City, St. Louis, Springfield, Illinois, and Philadelphia. In Philadelphia, they went to Independence Hall, the Liberty Bell, Franklin's grave, and the University of Pennsylvania., Title based on manuscript note written on verso., Date inferred from event date., See related: photo - unidentified - events - World War I [7066.Q.2-3; 7066.5-16].
[Mary Ann C. Shadd?, Washington, D.C.] [graphic] / Henrici & Garns, photographers. No. 709 South Second Street, Philadelphia.
Bust-length portrait of an African American woman, possibly American-Canadian anti-slavery activist, journalist, publisher, teacher, and lawyer Mary Ann Shadd Cary. Sitter faces right and wears her long hair back and in a chignon and top knot. A head band with an ornament adorns her hair. She is attired in a dark-colored, V-neck garment with a white ruffled collar and dark-colored lace neckerchief. She also wears a cross necklace and drop earrings. Shad Cary, was born free in Delaware to parents active in the Underground Railroad, before relocating to Pennsylvania, then Canada in 1853. In later years, following the Civil War, Shad Cary resided in Washington, D.C. where she died in 1893. During her life, she founded a school for Black children in Pennsylvania and a racially integrated school in Ontario, Canada; was the first Black woman publisher in North America when she founded, in 1853, and edited the anti-slavery and civil rights advocacy newspaper "The Provincial Freeman,"; was the second Black woman to attend law school (Howard University) in the United States; and founded, in 1880, the women's rights advocacy organization the Colored Women's Progressive Franchise. Shad Cary also wrote for multiple newspapers, such as the National Era, served as a Civil War recruiter, and was the first African American woman to vote in a national election., Title from manuscript note on verso: Mariann [sic] C. Shadd, Washington, D.C., Photographer's imprint stamped on verso., Date inferred from active dates of photographer at address listed in imprint., Henrici & Garns operated from 709 South Second Street between 1874 and 1876.
Masonic Temple, Philadelphia.
View showing the front facade of the temple on 1 North Broad Street, designed by Freemason and Philadelphia architect, James H. Windrim, completed in 1874. Built to accommodate the local lodges increasing membership, the temple has been called the grandest in the country. Four African American boys walk in a lot in the foreground towards the viewer. Pedestrians walking on the sidewalks are visible in the background., Photographer's imprint stamped on verso., Title from manuscript note on verso., Date inferred from photographic medium and attire of the people., Purchase 1986., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Mason's challenge blacking Philadelphia [graphic] / National Bureau of Engrav[ing] Philada., 435 Chestnut Street.
Photographic reproduction of a racist and whimsically absurd advertisement, including an African American shoe shiner, to promote the premier manufactory of blacking established in 1832 by James S. Mason. Depicts the shoe-shiner "blacking" a boot near a white shoe-shine boy with a puppet and a dog. The shoe-shiner, portrayed with grotesque features, holds a brush overhead in his right hand and a boot over the hand of his other arm. He wears a button-down shirt with an open collar, suspenders, and breeches. To his right, is an oversize boot on which the boy has a propped a puppet. The puppet is an African American dandy-like character. The puppet attired in a jacket and high collar shirt holds an umbrella above his head. A dog, as he looks behind, flees from the puppet. The dog's face is reflected in the foot of the boot. The young shoe-shiner, attired in a cap, jacket, and breeches, smiles and points toward the dog. Scene also includes an oversize opened tin of blacking in the foreground. Following the death of Mason in 1888, his son Richard assumed the business which was in operation into the 20th century., Date inferred from address of engraving firm., Advertising text printed on verso: July 15th, Reduced prices Mason's Challenge Blacking. Net prices, ornamental cases, adapted for display in retail stores, or shipping, without re-packing, holding three dozen each. No. 1, or Small Size, per doz. 25 cts. " 2, or N. Medium Size, " 30 ." " 4, or Large Size, "50." To obtain this Blacking in the original Show Cases, not less than three dozen of a kind should be ordered. The American News Company, New York.
Maxwell's gypsum, prepared gypsum. Trade mark.
Illustrated trade card advertising George E. Maxwell's paint and depicting an African American man carrying a bucket of gypsum and a brush over his shoulder. He stands, attired in a white collared shirt, a tie, a red waistcoat, a black jacket, pants, and bowler hat, in front of a window displaying barrels of "Maxwell's gypsum.", Title from item., Date inferred from operating dates of advertised business., Advertising text promoting Maxwell's prepared gypsum for whitening and coloring walls, fences, barns printed on verso. Also notes awards (First Premium, Special Diploma) issued by the Pennsylvania State Agricultural Society in 1880., Imprint printed on verso: For sale by Geo. E. Maxwell, No. 528 South 16th Street, Philadelphia., Stamped in red ink twice on recto and once on verso: 1431 South St., Gift of Emily Phillips, 1883., 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.
[Men harvesting hay on the Stouton farm, Philadelphia, Pa.]
Depicts a group of men harvesting hay in the field behind Stouton. Three African American men stand on and near a horse-drawn cart overloaded with hay, while a white man and two boys stand near a horse-drawn plow, operated by a man neatly attired in a long shirt and tie. Stouton, the former country seat of William MacPherson, was inhabited by the Webster family beginning in 1805., William MacPherson was the son of Captain John MacPherson (1726-1792) from Edinburgh. William served as lieutenant for the British army during the first year of the Revolutionary War, but joined the Colonial army under the leadership of Lafayette. Appointed surveyor of the Port of Philadelphia in 1789 and commanded the Philadelphia battalion, the "MacPherson Blues", during the Whiskey Insurrection in 1794. Married Margaret Stout and resided at their country seat "Stouton". Site later named MacPherson Park., Attributed to John H. Webster but may have been taken by other Webster family members.
[Men husking corn]
Depicts men agricultural workers, including an African American man, sifting through and husking corn in the middle of a large mound of cobs. In the center, five men and two dogs sit and stand in a large amount of corn. In the left, an African American man, attired in a bowler hat, a white, long-sleeved shirt, a waistcoat, and pants, sits on a wooden crate as he husks corn into a wooden barrel. Another man stands and husks into the same barrel. Three other men bend and stand sorting the corn. Behind the mound of corn is a horse-drawn cart. In the background is a large barn with the doors removed., Title supplied by cataloger., Gift of Elsie Wood Harmon, 1982., Description revised 2022., Access points revised 2022., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Wood, a Philadelphia artist, turned to photography in the 1880s exhibiting his work, including genre studies of African Americans, at national and international photography exhibitions. His photographs won prizes.
Midsummer dinner [graphic] / F. A. Nowell, No. 263 King Street, Charleston, S.C.; E. Perry, print.
Racist, genre scene showing an African American boy eating watermelon for his dinner. He smiles, sits cross-legged on a wooden crate and has his right hand plunged into the flesh of one half of a watermelon. He looks slightly toward his right and wears a pork pie hat; long-sleeve, collarless shirt; and ragged pants. Seeds run along the side of his slightly outstretched right foot. The untouched second half of the watermelon rests next to him to his right. The crate contains writing that reads: #888/Stmp/Handle Carefully/Keeb Dry. A backdrop depicting panel molding along the bottom of a wall is visible in the background., Title from list of 70 titles printed on verso by printer E. Perry., Name of photographer printed on mount., Date inferred from style of mount and active dates of photographer/publisher., Printed on mount: Charleston & Vicinity., Yellow mount with rounded corners., Manuscript note written on verso, upper edge: Lukin., Gift of David Long., Frank A. Nowell began work as a photographer in Charleston in 1870. In 1880, he purchased the Charleston negatives and studio of Civil War photographer George N. Barnard. Nowell was active until 1890.
Midway Plaisance-Dahomans [graphic].
Lantern slide showing a group of barefooted Black men Dahomans carrying a man in a fabric litter during the World's Columbian Exposition in Chicago in 1893. The four men rest the wooden beams on top of their heads on head pads and hold their hands above their heads to support the beams. In the front left, the barechested man is attired in a necklace and a floral patterned sarong. In the front right, the man is attired in a sleeveless shirt with an American flag print, a belt with a pouch, and knee-length white shorts. In the right rear, the man is attired in a sleeveless white shirt, knee-length shorts, and an arm bracelet. In the background, white men and women spectators look on. The Kingdom of Dahomey was a West African kingdom located within present-day Benin that existed from approximately 1600 until 1904. Dahomey developed on the Abomey Plateau amongst the Fon people, a Gbe ethnic group., Contains MCM stamp. Title printed on label., Purchase 2001., Description revised 2022., Access points revised 2022., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.

Pages