Collection of primarily racist social caricatures lampooning the etiquette and conventions of early 19th-century, middle-class Philadelphians, particularly the growing community of free African American persons. Eliciting the heightened racism in the antebellum North, the African American men, women, and children characters are depicted with exaggerated features, wearing boldly-patterned and colored clothes, and speaking in a vernacular to be portrayed and denigrated as illegitimate elite society. Caricatures address courtship, consumerism, society balls, fashion, freemasonry, and the election of Andrew Jackson. Some caricatures also represent the sexism of the era.

Originally published in Philadelphia as a set of fourteen prints; the first eleven were issued in 1828 and 1829 by William Simpson, a proprietor of a "fancy store." Sarah Hart and Son, stationers, published plates 12 and 13 in 1829. The last plate was issued by Sarah Hart alone in 1830. Probably in 1830 Sarah Hart reprinted the entire series. Additional African American caricatures by Clay, "Sketches of Character. At Home. Abroad," "The Dead Cut," "Back to Back," and "Philadelphia Fashions" published between 1829 and 1837 have generally been accepted and are identified as a part of the series., LCP holds entire series. Ten of the fourteen are first editions and four are reprints.

LCP AR [Annual Report] 1967 p. 51-53; 1968 p. 18-20.

Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era. (PhD. diss., The University of Michigan, 1980), p. 85-100.
Nancy R. Davison, ‘E.W Clay’s Life in Philadelphia: A Moment in Time,’ Imprint: Journal of the American Historical Print Collector’s Society (Autumn 2018), p. 2-29.

Jean Fagen Yellin and John Van Horne, eds. The Abolitionist Sisterhood (Ithaca: Cornell University Press in cooperation with the Library Company of Philadelphia, 1994), p. 218-222.

Jasmine Cobb, Picture freedom: Remaking Black visuality in the 19th century (New York: New York University Press, 2015), p. 148-220.

Bulk of collection was accessioned in 1999. One print (5656.F.39) accessioned in 1893. Several of the prints were acquired and/or accessioned between 1968 and 1971.

Added to African Americana Digital Collection 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.

Pages

Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?" [graphic] / Engd. by Chas. Hunt.
Racist caricature mocking the ambitions of free Blacks depicting, "Mr. Cesar," an African American dandy asking an African American belle how she finds herself in "dis hot weader?" "Miss Chloe," responds that she is doing well, but "aspires too much!" In the left, the man stands and faces the woman, in the right, and whose back is to the viewer. The man is attired in a blue waistcoat, a white vest, pink cravat, white pants, yellow gloves, and black slipper shoes. He holds a walking stick perpendicular to the ground in his right hand and a hat in his left hand. The woman is attired in a yellow, puff-sleeved, ankle-length dress, wide-brimmed yellow hat with a long veil and adorned with several pink flowers and blue ribbon, gloves, and white slipper shoes. She also wears earrings, a necklace, and a hair adornment. She holds a purse and fan in her left hand and a parasol in her right hand. The man and woman stand on a grassy knoll. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black-brown hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: Pl. 3., Contains three lines of dialogue in the vernacular and dialect below the image: “How you find yourself dis hot weader Miss Chloe?” “Pretty well I tank you Mr. Cesar only I aspire too much!”, Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic].
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a brown waistcoat with tails, a red vest, a blue-striped shirt, black cravat, tan pants, yellow gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red and yellow headpiece over her hair that is in a top knot. She is attired in a yellow calf-length, cap sleeved dress with floral details, red and white trim, and décolleté neckline; white opera gloves; ankle-laced slippers; flower-detailed stockings; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand on a patch of grass. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring., Title from item., Date inferred from content., After the work of Edward W. Clay., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / [Clay], fecit.
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a green waistcoat with tails, a red vest, a blue-striped shirt, black cravat, blue pants, yellow gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red and green headpiece over her hair that is in a top knot. She is attired in a yellow calf-length, cap sleeved dress with floral details, red trim, and décolleté neckline; white opera gloves; ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand on a patch of dirt. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content., Plate 9 of the series., The symbol of a key is used in place of the name Clay., Name of the artist, faint lower right corner., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / [Clay], fec.
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a green waistcoat with tails, a red vest, a blue-striped shirt, black cravat, blue pants, yellow gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red and green headpiece over her hair that is in a top knot. She is attired in a yellow calf-length, cap sleeved dress with floral details, red trim, and décolleté neckline; white opera gloves; ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand on a patch of dirt. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., Plate 9 of the series., The symbol of a key is used in place of the name Clay., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed publication of the "Life in Philadelphia" series in 1829. She alone reprinted the entire series of 14 prints in 1830., LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room UZ, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a blue waistcoat with tails, a bronze vest, a green shirt with red striped collar, green cravat, tan pants, white gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a red headpiece over her hair that is in a top knot. She is attired in an orange calf-length, cap sleeved dress with floral details, red trim, and décolleté neckline; white opera gloves; red ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand in a parlor with patterned carpeting and in front of three framed pictures on the wall, including portraits of a Black man and woman and a landscape view. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, Inscribed: Plate 9., LCP exhibit catalogue: Made in America p. 29., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting a well-dressed African American couple discussing the "new fashion shirt" that he is wearing, seen from under his large yellow tie. "Miss Florinda," who wears a purple headpiece, and a low-cut rose colored dress, holds her fan coquettishly near her face and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" Contains five lines of dialogue above the image., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue, Made in America p.29., Nancy Reynolds Davison. E.W. Clay: American Political Caricaturist in Jacksonian America. (PhD. diss., The University of Michigan, 1980), p.88-89., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de new fashion shirt...?" [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting an African American man-woman couple discussing the "new fashion shirt" that he is wearing. In the right, the man stands slightly turned and hands on hips. He is attired in a waistcoat with tails, a vest, a shirt, cravat, pants, gloves, black shoes, and a neck fob. He holds a black top hat in his left hand. In the left, "Miss Florinda," stands, forward facing, and holding a fan near the right side of her face. She wears a headpiece over her hair that is in a top knot. She is attired in a calf-length, cap sleeved dress with floral details, trim, and décolleté neckline; opera gloves; ankle-laced slippers; and jewelry, including earrings, necklace, and bracelets. She holds a handkerchief in her left hand and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" They stand in a parlor with ornamented carpeting and in front of three framed pictures on the wall, including portraits of a Black man and woman and a landscape view. In classical mythology, Pluto is also the god of the underworld and wealth. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue: Made in America p. 29., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist in Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 88-89. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1967.
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo?" [graphic] / Clay, fecit.
Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a pink, large, oval-shaped headpiece with several feathers, an ankle-length blue and yellow dress with pink trim, puff sleeves and a pink rope belt with tasseled ends, white gloves, white ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in white pantaloons, a green coat with tails, white vest, white shirt with turned up collar, white bow tie, white gloves, white stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring., Title from item., Date from item., Inscribed: Plate 13., Copy right secured., Contains five lines of dialogue in the vernacular and dialect above the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, S. Hart and Son was a partnership between Sarah and Abraham Hart, Jewish owners of a Philadelphia stationery store who assumed the publishing of the "Life in Philadelphia" series in 1829. She alone reprinted the entire series of 14 prints in 1830., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo..." [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a large, oval-shaped headpiece with several feathers, an ankle-length dress with trim, puff sleeves and a rope belt with tasseled ends, gloves, ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in pantaloons, coat with tails, vest, shirt with turned up collar, bow tie, gloves, stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Setting of scene also includes a wooden floor.., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 13 of the original series published in Philadelphia., Contains five lines of dialogue in the vernacular and dialect below the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1967.
Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo?" [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the social pretentions of attendees of an African American dance ball depicting "Mr. Lorenzo" and his woman dance partner hand in hand as they waltz. In the left, Mr. Lorenzo’s woman partner wears a pink, large, oval-shaped headpiece with several feathers, an ankle-length yellow dress with pink trim, puff sleeves and a rope belt with tasseled ends, white gloves, white ankle-tied slipper shoes, and jewelry, including earrings and a necklace. She looks toward her dance partner and points her left foot and has her right perpendicular to it. She asks how he likes the waltz. "Mr. Lorenzo," looks down toward her and responds that he believes the waltz is "for de common people." He is attired in white pantaloons, a brown coat with tails, white vest, white shirt with turned up collar, white bow tie, white gloves, white stockings, and black slipper shoes. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a wooden floor., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to Willam Summers., Plate 13 of the original series published in Philadelphia., Inscribed: Plate 13., Contains five lines of dialogue in the vernacular and dialect below the image: How you like de waltz, Mr. Lorenzo? ‘Pon de honour ob a gentleman I tink it vastly indelicate, _ Only fit for de common people!!, Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Is Miss Dinah at home?" [graphic].
Racist caricature depicting a well-dressed, middle-class African American dandy, his right side toward the viewer, calling upon "Miss Dinah" on the outside of her basement apartment. He wears a black top hat, bright green waistcoat, tan pants, yellow gloves, and black slipper shoes adorned with bows. He holds a walking stick perpendicular to his thigh and a fob hangs away from his coat. An African American woman servant, wearing short-cropped hair and earrings, and attired in a red, short-sleeved dress and blue apron, stands at the open cellar doors and informs the suitor that Miss Dinah "is bery pertickly engaged in washing de dishes." She holds out a silver tray to collect the dandy's calling card. The dandy states that he is sorry that he "cant have the honour to pay [his] devours to her" and slightly crouches to place his card on the tray. The figures are portrayed with oversized and exaggerated features. Scene also shows an adjacent basement cellar with open doors and views of shuttered windows on the first floor to "Dinah's" residence and those adjoining, Title from item., Date inferred from content., Inscribed: No. 5., After the work of Edward W. Clay., Probably printed and published by Anthony Imbert of New York., Contains three lines of dialogue in the vernacular and dialect below the image: "Is Miss Dinah at home?""Yes sir but she bery pertickly engaged in washing de dishes.""Ah! I'm sorry I can't have the honour to pay my devours to her. Give her my card.", Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 108. (LCP Ii 4, A2880.O)., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., the University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O), Purchase 1968., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Is Miss Dinah at home?" [graphic] / C[lay], fecit.
Racist caricature depicting a well-dressed, middle-class African American dandy, his right side toward the viewer, calling upon "Miss Dinah" on the outside of her basement apartment. He wears a tan top hat, bright green waistcoat, a yellow cravat with polka dots, tan pants, yellow gloves, and black slipper shoes adorned with bows. He holds a walking stick perpendicular to his thigh and a fob hangs away from his coat. An African American woman servant, wearing short-cropped hair and earrings, and attired in a red, short-sleeved dress and blue apron, stands at the open cellar doors and informs the suitor that Miss Dinah "is bery pertickly engaged in washing de dishes." She holds out a silver tray to collect the dandy's calling card. The dandy states that he is sorry that he "cant have the honour to pay [his] devours to her" and slightly crouches to place his card on the tray. The figures are portrayed with oversized and exaggerated features. Scene also shows an adjacent basement cellar with open doors and views of shuttered windows on the first floor to "Dinah's" residence and those adjoining., Inscribed: Plate 3., Title and date from item., William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository" and possibly helped finance the cost of production., Shane White and Graham White's Stylin': African American expressive culture ... (Ithaca: Cornell University Press, 1998), p. 108. (LCP Ii 4, A2880.O)., Nancy Reynolds Davison's E.W. Clay: American political caricaturist of the Jacksonian Era. (Phd. diss., The University of Michigan, 1980), p.88. (Print Room Uz, A423.O)., Accessioned 1999., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Is Miss Dinah at home?" [graphic] / Chas. Hunt, Sc.
Racist caricature depicting a well-dressed, middle-class African American dandy, his right side toward the viewer, calling upon "Miss Dinah" on the outside of her basement apartment. He wears a top hat, blue waistcoat, a pink cravat with polka dots, white pants, yellow gloves, and black slipper shoes adorned with bows. He holds a walking stick perpendicular to his thigh and a fob hangs away from his coat. An African American woman servant, wearing short-cropped hair and earrings, and attired in a pink, short-sleeved dress and apron, stands at the open cellar doors and informs the suitor that Miss Dinah "is bery pertickly engaged in washing de dishes." She holds out a silver tray to collect the dandy’s calling card. The dandy states that he is sorry that he "cant have the honour to pay [his] devours to her" and slightly crouches to place his card on the tray. The figures are portrayed with oversized and exaggerated features. Scene also shows an adjacent basement cellar with open doors and views of shuttered windows on the first floor to "Dinah’s" residence and those adjoining., Title from item., Date inferred from content and publisher., Inscribed: No. 17., Contains three lines of dialogue in the vernacular and dialect below the image: "Is Miss Dinah at home?""Yes sir but she bery pertickly engaged in washing de dishes.""Ah! I'm sorry I can't have the honour to pay my devours to her. Give her my card.", Shane White and Graham White's Stylin': African American Expressive Culture.... (Ithaca: Cornell University Press, 1998), p. 108. (LCP Ii 4, A2880.O)., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O)., LCP AR (Annual Report) 1966, p. 20., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1966.
Life in Philadelphia (London).
Life in Philadelphia (London).
Collection of social caricatures lampooning the pretensions of early 19th-century middle-class Philadelphians, mainly the city's growing community of free African Americans. Influenced by an increasing fascination with American culture and a growing racism stemming from the abolition of slavery in England, the African American characters are depicted with grotesque features and manners, wearing outlandish clothes, and speaking in patois and malapropisms to be portrayed as ineptly attempting to mimic white high society. Subject matter of the caricatures include absurd scenes of courtship and displays of etiquette on the street, at residences, at society balls, and in allegory; fashion; promenades; the abolition of slavery; the election of President Andrew Jackson; tea parties; and depictions of African Americans at work., British reprint of E.W. Clay's "Life in Philadelphia" series with ten of the original fourteen prints redrawn by William Summers, etched with aquatint by Charles Hunt, and published by Harrison Isaacs in London in the early 1830s. W.H. Isaacs continued issuing the prints altering the original content of the series by adding new subjects and removing the white caricatures. Around 1833 engraver and print seller, Gabriel Shire Treager assumed the publication of the series and added six new subjects creating a series of twenty. In 1834, Tregear published a similar series of caricatures in book form without the "Life in Philadelphia" moniker entitled, "Tregear's Black Jokes, being a Series of Laughable Caricatures in the March of Manners amongst Blacks." In 1860, London publisher T. C. Lewis reissued the series of twenty prints. Variants of prints from the series and additional caricatures with similar content; "The Cut Direct," "Sketches of Character. At Home and Abroad," "Philadelphia Dandies," and "The Lay Patroness of Alblacks" have been included as a part of the series., LCP AR [Annual Report] 1967 p. 51-53., LCP AR [Annual Report] 1968 p. 18-20., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 85-100. (LCP Print Room Uz, A423.O)
[Life in Philadelphia miniatures] [graphic].
Five cartes-de-visite size racist and sexist social caricatures derived from the series "Life in Philadelphia," including figures in brightly colored and ornately patterned fashion. Lines of dialogue are included below the images. Depicts a scene of a white man sexually harassing a white woman, their fashion caricatured (P.9717.1); a thwarted celebration of the election of Andrew Jackson centered on an African American man and boy portrayed in caricature (P.9717.2); a discussion of hot weather between an African American man and woman portrayed in caricature (P.9717.3); a dance ball centered on an African American man and woman portrayed in caricature ((P.9717.4); and the purchase of silk stockings by an African American woman portrayed in caricature (P.9717.5). The prints are captioned respectively: "Good Evening Miss..."; "Why for you hurrah for General Jackson?"; "How you find yourself dis hot weder Miss Chloe?"; "Shall I hab de honor to dance de next quadrille...?"; and "Have you any flesh colored silk stockings...?" The scenes also contain detailed backgrounds that include cityscape, pedestrian traffic, figures at celebration, bucolic scenery, the interior of a ballroom with white attendees, and the interior of a clothing store attended by a white man clerk speaking with a French dialect. The African American figures are portrayed with exaggerated features and stances. The white woman figure is portrayed with an exaggerated silhouette because of her fashion comprised of a bell-shaped overcoat and dress., Title supplied by cataloguer., Date inferred from content., P.9717.1 contains lines of dialogue below the image: Good evening Miss, shall I have the pleasure of walking with you._ Me Sir!! for whom do you take me, Sir?_ Come that’s a good one!-for whom do I take you? Why for myself to be sure., P.9717.2 contains lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson. Why for you hurrah for General Jackson – you black Nigger – I’ll larn you better – I’m a ministration man., P.9717.3 contains lines of dialogue in the vernacular and dialect below the image: How you find yourself dis hot weder Miss Chloe? Pretty well I tank you Mr. Cesar, only I aspire too much., P.9717.4 contains lines of dialogue in the vernacular and dialect below the image: Shall I habe de honour to dance next Quadrille wid you Miss Minta. Tank you Mr. Cato wid much pleasure only I’, engaged for de next nine Set!”, P.9717.5 contains lines of dialogue in the vernacular and dialect below the image: Have you any Flesh color’d Silk Stockings young Man? Oui Madame! Her is von pair of de first quality., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. Romeo and Juliet. [graphic] / W.S.; C. Hunt, Sc.
Racist caricature depicting an African American man-woman couple in the characters of Romeo and Juliet during the balcony scene from Shakespeare's "Romeo and Juliet." In the right, "Romeo" wearing an Elizabethan costume including a plumed white hat, red cape, and white sash, holds his right, gloved hand over his heart and his left, ungloved hand out and holding the edge of his cape. He recites, "How silver sweet sounds Lubbers Tongues by Night, like sorpest Music to attending Ears." In the left, from the balcony, "Juliet" responds with the self-derogatory remark that as her complexion is "de mark of night" it is impossible to see that "a maiden blush bepaint" on her cheek. She is attired in a pink puffed sleeve, décolleté dress, earrings, a necklace, and hair adornment. She holds a glove and fan in her right gloved hand at her side and her left hand rests on the balustrade of the balcony. A rose vine climbs up the balcony and the tops of trees and a balustrade are visible behind “Romeo.” Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains two lines of dialogue in the vernacular below image: Romeo: How silber sweet, sounds Lubbers Tongues by Night; like sorptest Music to attending Ears./Juliet: Dou know’st de mask ob night is on my face, else would a maiden blush bepaint my cheek., Signed W.S. for William Summers in lower right corner., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
[Life in Philadelphia scraps] [graphic].
Series of trimmed, captioned scraps containing racist African American imagery based on the “Life in Philadelphia” series after the designs of Edward W. Clay first published 1828-1830. The series of primarily racist social caricatures lampooned the etiquette and conventions of early 19th-century, middle-class Philadelphians, particularly the growing community of free African American persons. Caricatures depict scenes of courtship, society balls, fashion, freemasonry, and the election of Andrew Jackson, as well as sexism, sexual harassment, and sexual innuendo. The figures are portrayed with oversized and exaggerated features and often in the fashion of dandies and belles. Scenes include an African American man leaving his card for “Clotilda” at her basement apartment door within the dishcloth of her African American woman house servant before him (P.2021.28.1a); an African American man-woman couple stopped during their walk in a park to watch a man watching them (P.2021.28.1b); an African American ball at which an African American man attendee asks an African American woman attendee for a dance in front of other African American attendees in the background (P.2021.28.2a); an African American man sexually harassing an African American woman on a city street (P.2021.28.2b); an African American woman and man in conversation on a Sunday (“day of our lord”)(P.2021.28.3a);, African American couple “Mr. Lorenzo” and “Miss Chloe,” seated on a couch, by a window, in a parlor in conversation (P.2021.28.3b); an African American ball at which an African American woman attendee asks an African American man attendee if he likes the waltz in front of other African American attendees in the background (P.2021.28.4a); an African American woman in a dry goods store asking a white man sales clerk, who speaks with a French dialect, about stockings (P.2021.28.4b); an African American military volunteer chastising an African American boy drummer at a military encampment (P.2021.28.5a); an African American man-woman musical couple where she plays the guitar and he sings “Coal Black Rose”(P.2021.28.5b); two African American masons in conversation about “Gen’l Jackson” in front of an altar at a masonic hall (P.2021.28.6a); an African American woman, “Dinah,” being asked by an African American man, “Mr. Durang,” about his new checkered “fashion trousers” (P.2021.28.6b). Women figures are attired in wide-brimmed, and/or ornately adorned, wide-brimmed hats or headpieces, puff-sleeved dresses or a hooded cape in ornate patterns, as well as gloves, slipper shoes, jewelry, and monocles. Men figures are attired in top or wide-brimmed hats, waistcoats, vests, large bowties, trousers or pantaloons, military uniform, masonic regalia, gloves, and slipper shoes or boots. Accessories held by the figures include purses, umbrellas, fans, walking sticks., Scenes also include detailed backgrounds and interior and exterior settings including residential facades; dogs; a white man seated on a bench in a park; ballrooms with attendees and a band playing in a balcony; a section of a city street with a guardhouse; parlors; a counter at a dry goods store; a volunteer military encampment; a masonic hall; as well as pieces of furniture, such as chairs, mantles, and side tables., Title supplied by cataloguer., Date inferred from content., P.2021.28.1a contains three lines of dialogue in the vernacular and dialect below the image: Is Miss Clotilda at home? No sir she’s particularly ingaged in washing de dishes – Ah! give her my card!, P.2021.28.1b contains two lines of dialogue in the vernacular and dialect below the image: Vol is you looking at my dear? Vy I’m looking at dat imperent fellow vat’s laughing at us?, P.2021.28.2a contains three lines of dialogue in the vernacular and dialect below the image: Will you hona me wid your hand for de next codrille Miss Manda? Tank you sa’ but I’m ingaged for de nest ten set!, P.2021.28.2b contains two lines of dialogue in the vernacular and dialect below the image: What do you take me for? you black nigger? Why I take you for myself to be sure., P.2021.28.3a contains two lines of dialogue in the vernacular and dialect below the image: Bery hot dis day of our lord Mr. Cesa! Berry hot indeed Miss Juliet – de terometa is 96 degree above joho., P.2021.28.3b contains two lines of dialogue in the vernacular and dialect below the image: Mr. Lorenzo dat’s a nice dog you’ve got” Lord! Miss Chloe., P.2021.28.4a contains two lines of dialogue in the vernacular and dialect below the image: do you walse Mr. Wellington? No, my dear creta_ It’s to common. I go nothin but de Manourkey!, P.2021.28.4b contains two lines of dialogue in the vernacular and French dialect below the image: Have you any flesh coloured silk stockings, Sir? Oui Mamselle here is von pair of de last Parisian touch-, P.2021.28.5a contains two lines of dialogue in the vernacular and dialect below the image: You say I belong to de milishy you black varmont. I’ll let you know I’m a wolunteer., P.2021.28.5b contains two lines of dialogue in the vernacular and dialect below the image: How will your voice harmonize wid de sentiment. Mr. Cato you quite equal to Horn!, P.2021.28.6a contains three lines of dialogue in the vernacular and dialect below the image: Well brudder Jones what you tink of Genl Jackson now? Day say he’s gwang to be Anti Masonic! I don’t know, I tink dat depend on de new cabinet., P.2021.28.6b contains three lines of dialogue in the vernacular and dialect below the image: How you like de new fashion trousers Dinah. Oh quite lubly! You look like Mr. Durang when he play harlequin in de masqarade., Printed in upper left corner of P.2021.28.1a: [E?]dition., Printed in upper right corner of P.2021.28.2a and trimmed: 2nd E?[dition?], RVCDC
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic].
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails and a black collar, white pantaloons and stockings, ruffled white shirt, yellow gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a pink, cap-sleeved gown with an apron detail, a large pink headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." She also slightly holds up the lower right corner of her apron with her right hand. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes background imagery depicting other African American men and women ball attendees., Title from item., Date inferred from content., Inscribed: No. 6., Plate 5 of the original series published in Philadelphia., Probably published by Anthony Imbert of New York., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii4, A2880.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic] / [Clay], fec.
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails, white pantaloons and stockings, ruffled white shirt, white gloves, a neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a red, cap-sleeved gown with an apron detail, a large white headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." She also slightly holds up the lower right corner of her apron with her right hand. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes background imagery hand-colored yellow and depicting other African American men and women ball attendees., Title from item., Date inferred from content and name of publisher., Contains four lines of dialogue in the vernacular and dialect below the image: “Shall I hab de honour to dance de next quadrille wid you, Miss Minta?” “Tank you Mr. Cato, _ wid much pleasure, _ only I am engaged for de nine next set!_”, Inscribed: Plate 5., The symbol of a key is used in place of the name Clay., Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed publishing of the "Life in Philadelphia" series in 1829. She reprinted the entire series of 14 prints in 1830., Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4,A2880.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic] / [Clay], fec.
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails and a black collar, white pantaloons and stockings, ruffled white shirt, yellow gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a pink, cap-sleeved gown with an apron detail, a large pink headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." She also slightly holds up the lower right corner of her apron with her right hand. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring. Scene also includes background imagery depicting other African American men and women ball attendees., Title from item., Date printed on item., Inscribed: Plate 5., The symbol of a key is used in place of the name Clay., Contains four lines of dialogue in the vernacular and dialect below the image: “Shall I hab de honour to dance de next quadrille wid you, Miss Minta?” “Tank you Mr. Cato, _ wid much pleasure, _ only I am engaged for de nine next set!_”, William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository.", Shane White and Graham White's Stylin': African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails, yellow pantaloons and white stockings, ruffled white shirt, white cravat, yellow gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a yellow, cap-sleeved gown with blue trim and an apron detail, a large white and pink-striped headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: No. 16., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?" [graphic] / Chas. Hunt, Sc.
Racist caricature ridiculing the etiquette of attendees of an African American dance ball. Depicts, in the right and in profile, "Mr. Cato," an African American man dressed in a blue coat with tails, white pantaloons and stockings, ruffled white shirt, red cravat, white gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a yellow, cap-sleeved gown with an apron detail, a large pink headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and red earrings, declines his invitation because she is already "engaged for de nine next set." She also slightly holds up the lower right corner of her apron with her right hand. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: Plate 6., Shane White and Graham White's Stylin':African American Expressive Culture (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Life in Philadelphia. Sketches of character: At home. Abroad. [graphic] / Drawn on stone by H. Harrison; C. Ingrey, lithog. 310 Strand.
Racist caricature contrasting two scenes of the same African American couple "At Home" and "Abroad." The "At Home" scene depicts the couple in their kitchen with a wood floor washing dishes together. In the right, the woman, attired in a striped kerchief, short sleeves, apron, skirt, and slip on shoes, is bent over and washes the dishes in a tub on a stool. In the left, the man, barefoot and attired in a shirt with the sleeves rolled up, red vest, bow tie, and pants, sits on the edge of a butcherblock table on top of which a pile of dishes rests, and dries one. The man and woman look at each other. In the background, on the wall, cooking utensils, pots and pans, and a slab of bacon hang from hooks underneath a shelf lined with cook and dishware near a large woven basket, a cupboard, and a small shelf with two bottles. The "Abroad" scene depicts the pair well attired and about to promenade down a city street, possibly Philadelphia and from near Independence Hall. The woman wears a large plumed black and yellow bonnet with a veil and a ribbon tied under her chin, a blue cape over a red dress giving her the appearance of a bell, and gaiter-like shoes. Her husband wears spectacles, a top hat, red-striped shirt, vest, green waist coat, brown pants, and grey gloves. He holds a walking cane down toward the ground in his left hand and his other arm out to his companion. A guardhouse is seen in the right and the edge of a building (possibly Independence Hall) in the left. Cityscape is visible in the distant background. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Inscribed: Pl. 10., After plate by E.W. Clay originally printed by C.G. Childs and published by Clay in Philadelphia in 1830., Charles Ingrey was one of the premier London lithographic printers of the 1830s., RVCDC, Description revised 2022., Access points revised 2022.
Life in Philadelphia. The cut direct. or getting up in the world. [graphic] / Printed by C. Ingrey, 310 Strand.
Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his other hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O).
Life in Philadelphia. The cut direct. or getting up in the world. [graphic] / Printed by C. Ingrey, 310 Strand.
Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his other hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O)
Life in Philadelphia. The cut direct. or how to get up in the world. [graphic] / Printed by C. Ingrey, 310 Strand.
Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his free hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Uz, A423.O).
Life in Philadelphia. The lub letter. [graphic] / Designd & drawn by W. Summers; Hunt sculpt.
Racist caricature depicting an African American woman reading a love letter. Depicts "Angelica” seated on a couch across from an end table on which a stationery box, ribbon, and a jar of ink rest as she reads her "billet-doux" addressed to “Miss Lillywhite, Snow Blackfriars." The couch has a wood frame and blue cushions. “Angelica” is attired in a pink cap-sleeved dress with lace details at the bust-line, blue, ankle-laced, slip-on shoes, and jewelry, including a heart-shaped pendant choker necklace, gold drop earrings, and rings. She wears her hair in a top knot and with a hair adornment. In the letter, “Augustus Octavio Whiteman” proclaims he cannot think of anything but her "classic features" and he would be "de Blackest ob villains" if he could see such "lubliness without feeling its influence." Figure of “Angelica” is portrayed with oversized and exaggerated features and her skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Contains several lines of dialogue in the vernacular in the image: Ah! A billet-doux from my Charming Augustus/ My Fairest Angelica/Dy Slender form and Classic Features hab made sich an impression on my poor heart dat I cannot tink ob anything else. Indeed I must be de Blackest of Villains if I could see sich lubliness widout feeling its Influence as de Song says_”Eye ob fire lips ob Dew” “Cheeks dat shame the roses hue”/Tremain your Adorable Lubber Augustus Octavio Whiteman., Inscribed: No. 4., Charles Hunt was a respected 19th century London engraver and etcher known mostly for his prints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Life in Philadelphia. The new shoes. [graphic] / Designd & drawn by W. Summers; Hunt sculpt.
Racist caricature depicting an African American woman trying on shoes at "Sambo Paley Boots & Shoe Manufacturer." In the left, the woman, seated on a chair, looks down at her slightly raised left foot on which an African American clerk has placed a black slip-on shoe. Her removed yellow shoe rests beside her feet. She is attired in a yellow bonnet adorned with feathers and with a white veil that frames her face like long straight hair, a red puff sleeve dress, and a yellow slip-on shoe. She slightly raises her dress with her left ungloved hand to appear at her shoe and holds a green parasol to the floor with her gloved right hand. A blue and yellow purse hangs from her right wrist. The clerk kneels in front of her and holds her left foot. He is attired in a striped shirt, neck tie, brown vest, brown pantaloons, white stocking and red slipper shoes. The woman states the shoe "is sich a bery dirty color" and does he not have any white or pink ones. The clerk replies that it may not be "handsome" to look at, but surely a "good color to wear." In the background, an African American man, attired in shirt sleeves and an apron, possibly the bootmaker, shines a boot behind a counter and in front of a row of boots and shoes on a cabinet. A brush and can of boot black rest on the counter. A sign reading “Sambo Paley Boots & Shoe Manufacturer. The Best Jet Blacking Sold Here" hangs above the man’s head. In the far left, shoes hang inside the store’s window and visible through the shop’s doorway, a well-dressed African American man and woman walk past in the street. The man wears a top hat and waistcoat and the woman wears a yellow bonnet and puff sleeve dress. Scene also shows pairs of boots resting on the floor across from the kneeling clerk in the right. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring., Title from item., Date inferred from content and name of publisher., Inscribed: No. 3., P.2016.45.1 trimmed., Charles Hunt was a respected 19th century London engraver and etcher known primarily for his prints of sporting subjects., P.2016.45.1 gift of Dr. Richard Dunn & Dr. Mary Maples Dunn., Digital image depicted is P.9710.3., RVCDC, Description revised 2022., Access points revised 2022.
Life in Philadelphia. "Well brudder what 'fect you tink Morgan's deduction...?" [graphic] / C[lay], fec.
Racist caricature depicting two African American masons in regalia, shaking hands, and discussing the abduction of William Morgan, a white New York mason who threatened to expose the organization's secrets. In the right, the one mason, a short, rotund man is attired in a long, blue waistcoat, black pants, a masonic apron, a red sash, yellow gloves and black slip on shoes. He holds a top hat in his left hand and shakes with his right. In the left, the other mason, a tall, thin man is attired in a long, brown waistcoat, a red cravat, brown stirrup pants over black shoes, and a masonic apron. He holds a top hat in his left hand and shakes with his right. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring. The men are shown standing on a patch of ground with greenery delineated by brown and green hand-coloring., Title from item., Date inferred from content., Plate 6 of the original series published in Philadelphia., After the work of Edward W. Clay., Probably published by Anthony Imbert., Contains four lines of dialogue in the vernacular and dialect below the image: “Well brudder what ‘fect you tink Morgan’s deduction gwang to hab on our siety of free masons?” “Pon honour I tink he look radder black, fraid we lose de ‘lection in New York!”, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era. (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Life in Philadelphia. "Well brudder what 'fect you tink Morgan's deduction...?" [graphic] / C[lay], fec.
Racist caricature depicting two African American masons in regalia, shaking hands, and discussing the abduction of William Morgan, a white New York mason who threatened to expose the organization's secrets. In the right, the one mason, a short, rotund man is attired in a long, green waistcoat, blue pants, a masonic apron, a red sash, yellow gloves and black slip on shoes. He holds a top hat in his left hand and shakes with his right. In the left, the other mason, a tall, thin man is attired in a long, green waistcoat with a blue collar, a tan cravat, blue stirrup pants over black shoes, and a masonic apron. He holds a top hat in his left hand and shakes with his right. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. The men are shown standing on a patch of ground hand-colored in blue watercolor., Inscribed: Plate 6., Title from item., Date inferred from content and name of publisher., Contains four lines of dialogue in the vernacular and dialect below the image: “Well brudder what ‘fect you tink Morgan’s deduction gwang to hab on our siety of free masons?” “Pon honour I tink he look radder black, fraid we lose de ‘lection in New York!”, Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed publication of the "Life in Philadelphia" series in 1829. She alone reissued the entire series of 14 prints in 1830., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "Well brudder what 'fect you tink Morgan's deduction...?" [graphic] / C[lay], fec.
Racist caricature depicting two African American masons in regalia, shaking hands, and discussing the abduction of William Morgan, a white New York mason who threatened to expose the organization's secrets. In the right, the one mason, a short, rotund man is attired in a long, blue waistcoat, blue pants, a masonic apron, a red sash, yellow gloves and black slip on shoes. He holds a top hat in his left hand and shakes with his right. In the left, the other mason, a tall, thin man is attired in a long, brown waistcoat, a tan cravat, brown stirrup pants over black shoes, and a masonic apron. He holds a top hat in his left hand and shakes with his right. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring. The men are shown standing on a patch of ground and blue sky delineated in blue watercolor is visible behind them., Title from item., Date from item., Inscribed: Plate 6., Contains four lines of dialogue in the vernacular and dialect below the image: “Well brudder what ‘fect you tink Morgan’s deduction gwang to hab on our siety of free masons?” “Pon honour I tink he look radder black, fraid we lose de ‘lection in New York!”, William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository.", Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (Ph.D diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / [Clay], fec.
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a blue waistcoat, white vest, white cravat, tan pants, and tan slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched tan pants, a tan jacket with an elbow patch, a white vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content., Inscribed: Plate 7., The symbol of a key is used in place of the name Clay., Place of publication inferred from location of artist., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic].
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a blue waistcoat, white vest, red cravat, tan pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a green jacket with an elbow patch, a red vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content., Plate 7 of the original series published in Philadelphia., After the work of Edward W. Clay., Probably published by Anthony Imbert of New York., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1968.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / [Clay], fec.
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a blue waistcoat, green vest, red cravat, tan pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a blue jacket with an elbow patch, a red vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with brown hand coloring., Title from item., Date from item., Inscribed: Plate 7., Symbol of a key is used in place of the name Clay., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, William Simpson was a Philadelphia "fancy store" proprietor who published the first 11 prints of the "Life in Philadelphia" series. He also marketed the series as part of his "Artists' Repository.", Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (Phd. diss., the University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / [Clay], fec.
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a blue waistcoat, yellow vest, white cravat, blue pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched tan pants, a tan jacket with an elbow patch, a blue vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring, Title from item., Date inferred from content and from name of publisher., Inscribed: Plate 7., The symbol of a key is used in place of the name Clay., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed publishing of the "Life in Philadelphia" series in 1829. She, alone, reprinted the entire series of 14 prints in 1830., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz A423.O), RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / Chas. Hunt, Sc.
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a blue waistcoat, yellow vest, white cravat, blue pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a tan jacket with an elbow patch, a red vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Inscribed: Plate 5., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era.(PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / Chas. Hunt, Sc.
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a waistcoat, vest, cravat, pants, and slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched pants, a jacket with an elbow patch, a vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 97. (LCP Print Room Uz A423.O)., Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Acquired in 1968.
Life in Philadelphia. "What de debil you hurrah for General Jackson for?" [graphic] / Chas. Hunt, Sc.
Racist caricature of an African American "’ministration man" (supporter of incumbent John Quincy Adams) aggressively chastising an African American boy for his cheers of support for the new President, Andrew Jackson. Depicts, in the left, a man attired in a green waistcoat, blue vest, yellow and red polka-dot cravat, tan pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a red jacket with an elbow patch, a yellow vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Inscribed: No. 15., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980). p. 97. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected London engraver who was most known for his aquatins of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What you tink of my new poke bonnet...?" [graphic] / Clay.
Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a pink ribbon. Her reflection is not visible in the mirror. She wears a yellow calico dress with a white collar that covers her shoulders, black gloves, patterned stockings, and blue slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long green overcoat with collar, red-striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, watches the woman from behind a counter on which another Dunstable bonnet is displayed. Pink bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date from item., Inscribed: Plate 14., Inscribed: Copy right secured., Contains seven lines of dialogue in the vernacular and dialect above the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Sarah Hart was a Jewish Philadelphia stationer who with her son, Abraham Hart, a future eminent Philadelphia publisher, assumed the publishing of the "Life in Philadelphia" series in 1829. She, alone, reprinted the entire series of 14 prints in 1830., Described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Life in Philadelphia. "What you tink of my new poke bonnet...?" [graphic] / Hunt, Sc.
Racist caricature depicting an African American woman trying on a bonnet in the company of her African American companion, "Frederick Augustus." Depicts the woman in profile, in front of a standing mirror tilted toward her, trying on a yellow Dunstable bonnet so large that the side of her face is obscured. Her hand rests on the side of the hat adorned with a green ribbon. Her reflection is not visible in the mirror. She wears a pink and yellow calico dress with a white collar that covers her shoulders, blue gloves, patterned stockings, and red slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long blue overcoat with collar, yellow striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, and attired in a green waistshirt, watches the woman from behind a counter on which other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and green and yellow bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 14 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Inscribed: P.14., Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.

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