Benjn. Randolph cabinet maker, at the golden eagle in Chesnut Street between Third and Fourth Streets, Philadelphia : [graphic] Makes all sorts of cabinet & chair work. Likewise carving, gildings &c. performed in the Chinese and modern tastes. / I. Smithe
Advertisement with a central text area surmounted by a large eagle and surrounded by an elaborate ornamental border containing images of Chippendale-style furniture including chairs, desks, fire screens, stools, a table, a sofa, a bed and a tall case clock, and architectural fragments including the entrance gate to Randolph's "ware room," columns and cornices., Reproduced and described in Edwin Wolf, 2nd and Marie Elena Korey, eds. Quarter of a Millennium (Philadelphia: The Library Company of Philadelphia, 1981) entry #172., LCP exhibit catalogue: Made in America #7., Reproduced and described in Fiske Kimball, "The Sources of the Philadelphia Chippendale II. Benjamin Randolph's Trade Card," Bulletin of the Pennsylvania Musuem 23 (October 1927), 4-8., Retrospective conversion record: original entry, edited.
[Cartoon depicting a Liberty Pole] [graphic].
Title from LCP exhibition catalogue: Pierre Eugene Du Simitière. His American Museum 200 years after, entry #8:8., Date inferred from content., Possibly by Pierre Eugene Du Simitière., Du Simitière, a Swiss-born historian, antiquarian, and artist, traveled and documented North America and the West Indies from the 1750s to 1770s. He settled in Philadelphia in 1774, and in 1782 opened the American Museum, which contained his collected antiquities., Purchase at auction, Du Simitière's American Museum, March 10, 1785., Described in Michael Wynn Jones’s The cartoon history of the American Revolution (New York: G.P Putnam’s Sons, 1975), p. 36., Minimal-level record.
An essay of a declaration of rights, : brought in by the committee appointed for that purpose, and now under the consideration of the Convention of the State of Pennsylvania..
Imprint supplied by Evans., Printed area measures: 32.9 x 17 cm., Library Company copy 962.F.92 annotated in the hand of Benjamin Franklin.
F[ire] and P[olice] Dept. Record. [certificate] [graphic].
Blank membership certificate for members of fire and police departments that contains eleven views, some montages, documenting the activities of life as a police officer and fireman. Views include call boxes in use by concerned citizens; scenes of rescue, including victims pulled from fires and the restraining of run-away horses and of crowd control, including police assistance during a fire alarm; police in a horse-drawn wagon in a shoot out with a mob throwing bricks; police manning and marching in a parade; racing fire engines and trucks; and a courtroom scene. Also includes a vignette showing a policeman and fireman shaking hands in front of a call box; pictorial details of a billy club, an ax, and flags of different nations; and a border containing cornices depicted as police and firemen helmets. Imagery surrounds a blank entry for genealogical, professional, and death information., Gift of David Doret., Vickroy, a prominent Indiana fine arts publisher, specialized in genealogical and fraternal order certificates.
[Fulton House, No. 121 South Second Street, Philadelphia] [graphic] / JMF 1861.
Busy view showing the early 1780s former residence of miniature painter and steamboat engineer Robert Fulton when tenanted by a lager beer saloon. Depicts two saloon workers moving barrels across from two men conversing near the entryway of the two-story, wooden building with display window and awning. One worker emerges with a barrel from the cellar in front of the window while the other rolls one of four barrels in his direction and away from a tilted telegraph pole. The pole extends up through the awning and leans into the roof of the adjoining building in the left. “Restaurant” is written on the display window and "Lager Beer Saloon" is written on the awning. A fire insurance marker and signage reading “121 Fulton House” and “ale” also adorn the building. Also shows partial views of adjacent brick buildings, and in the left, a woman attired in a hat, dress, and apron walking on the sidewalk and carrying a ceramic carafe. Building in right, likely a grocery store, is adorned with an awning frame on which a small round sign reading “L” hangs. Building is also adorned with signage that is partially visible and reads "Groc" and "Joh." Fulton lived and worked on South Second Street in the early 1780s. While in Philadelphia, he worked as an apprentice and miniature painter as well as began his experiments with the mechanics of steam power. In 1786 he relocated to Front Street. About 1787 he moved to London and studied painting with American-born artist Benjamin West., Artist and title from manuscript note on oil painting depicting similar scene and given in 1863 to Ferdinand Dreer by James L. Claghorn. Sold on liveauctioneers in 2019. Manuscript note: Ferdinand J. Dreer Esq. with Jas. l. Claghorn’s compliments, House No. 121 South Second Street Philadelphia PA in which Robert Fulton served his apprenticeship to an optician by John M. Falconer for NY Artists Fund Society, October 1863., Title supplied by cataloger., Drawing may be the watercolor listed as entry 291 and for sale by the artist in the United States Centennial Commission International Exhibition 1876 official catalogue, Art gallery and annexes. Department IV. Art. Tenth and Revised Edition (Philadelphia: John R. Nagle & Co., 1876), 14., Artist's initials written in lower right corner., Manuscript notes in modern hand on verso: Fasten title on backs, 132. From the collection of Samuel Castner, Jr. of Philadelphia., John Mackie Falconer (1820-1903), a Scottish-born New York artist, began his career as a painter and watercolorist before also specializing in etching starting in the mid 1860s. Known for works depicting older buildings and ruins, he was a treasurer of the Artist’s Fund Society, a member of the New York Etching Club, and an honorary member of the National Academy of Design.
Ghost River : the fall and rise of the Conestoga / story, Lee Francis 4 ; art, Weshoyot Alvitre ; editor, Will Fenton.
"Told from the Indian perspective, this graphic novel depicts the massacre of 20 unarmed Conestoga Indians in colonial Pennsylvania in December 1763 by a vigilante group of Scots-Irish frontiersmen known as the "Paxton Boys", first six Conestoga People at a settlement near what is now Millersville, and then fourteen remaining Indians -- six adults and eight children that were under protective custody -- days later in Lancaster. The graphic novel is half of the book. The other half contains interpretive materials and reproductions of historical documents. It also provides instructional guidelines supplied by the Gilder Lehrman Institute of American History."--, "Ghost River: The Fall and Rise of the Conestoga is part of Redrawing History: Indigenous Perspectives on Colonial America, a project of the Library Company of Philadelphia supported by The Pew Center for Arts & Heritage"-- Book's official website., Contents: Introduction / Will Fenton -- Artist statements / Lee Francis 4 & Weshoyot Alvitre -- Ghost River: graphic novel -- Indigenous representation in comics and graphic novels / Michael Sheyahshe -- Print and place in the Paxton crisis / Scott Paul Gordon -- Passion, politics, and portrayal in the Paxton debates / Judith Ridner -- Primary sources / Will Fenton -- Script and annotations -- Murder on the frontier: the Paxton massacre / Ron Nash & John McNamara.
The life & age of man. Stages of man's life from the cradle to the grave. [graphic].
Allegorical print containing a portrayal of a male figure aging from a baby to an older man on a pedestal of life. Includes rhymed couplets describing each age below the image corresponding to animal vignettes adorning the pedestal styled as up and down steps. Shows the figure, in the far left, as an infant as a "lamb like innocent" in the lap of his mother, her long dark hair loose down her back, and attired in a red dress; at the age of 10 with dark hair and attired in a blue pant suit and cap and holding a stick and hoop as he "goat like skips and joys"; at the age of 20 attired in a black top hat, black waistcoat, and blue striped pants when "love doth swell his veins and heifer like untamed remains"; at the age of 30 attired in a military uniform "with bull like strength he smites his foes"; at the age of 40 attired in a military uniform holding a sword and flag and "naught his courage quails but lion like by force prevails"; at the age of 50 with greying hair, attired in a black suit and top hat, and his "strength fails but with wit fox like he helps to manage it"; at the age of 60 with long white hair, attired in a black suit and top hat, and holding out a cane while "wolf like he tries his wealth to raise"; at the age of 70 with rounded shoulders and attired in a black long coat and top hat and cane in hand, "he'll hear and tell but dog like loves at home to dwell"; at the age of 80 slightly hunched and reaching out as "a cat keeps house and loves the fire" he has the same desire; at the age of 90, in the far right, severely hunched over and reliant on a cane that he must suffer everywhere as "weak asses backs were made to bare"; and at the age of 100, attired in a white night gown, seated in a chaise lounge, and tended by a young woman, attired in a red dress and holding a cup as "the sick of life the grave he fears.", Image also includes a tree in full leaf (left), a dead withered tree (right), and a vignette scene set in a tree-lined pasture behind a stone wall entitled "Resist the Devil and he will flee from you!" Scene shows bare-chested male figure attired in a loincloth and with their left hand up and right arm out between a couple, in the right, and a table of men drinking, in the left. A cross is seen in the distance behind the couple., Title from item., Date inferred from dates publisher Nathaniel Currier operated as sole proprietor of his firm., Printed on recto: 87., Currier operated as a sole proprietor at 152 Nassau Street from 1838 to 1857 before partnering with Frederick Ives.
The life & age of man. Stages of man's life from the cradle to the grave. [graphic].
Allegorical print containing a portrayal of a male figure aging from a baby to an older man on a pedestal of life. Includes rhymed couplets describing each age below the image corresponding to animal vignettes adorning the pedestal styled as up and down steps. Shows the figure, in the far left, as an infant as a "lamb like innocent" in the lap of his mother, her long dark hair loose down her back, and attired in a red dress; at the age of 10 with dark hair and attired in a blue pant suit and cap and holding a stick and hoop as he "goat like skips and joys"; at the age of 20 attired in a black top hat, black waistcoat, and blue striped pants when "love doth swell his veins and heifer like untamed remains"; at the age of 30 attired in a military uniform "with bull like strength he smites his foes"; at the age of 40 attired in a military uniform holding a sword and flag and "naught his courage quails but lion like by force prevails"; at the age of 50 with greying hair, attired in a black suit and top hat, and his "strength fails but with wit fox like he helps to manage it"; at the age of 60 with long white hair, attired in a black suit and top hat, and holding out a cane while "wolf like he tries his wealth to raise"; at the age of 70 with rounded shoulders and attired in a black long coat and top hat and cane in hand, "he'll hear and tell but dog like loves at home to dwell"; at the age of 80 slightly hunched and reaching out as "a cat keeps house and loves the fire" he has the same desire; at the age of 90, in the far right, severely hunched over and reliant on a cane that he must suffer everywhere as "weak asses backs were made to bare"; and at the age of 100, attired in a white night gown, seated in a chaise lounge, and tended by a young woman, attired in a red dress and holding a cup as "the sick of life the grave he fears.", Image also includes a tree in full leaf (left), a dead withered tree (right), and a vignette scene set in a tree-lined pasture behind a stone wall entitled "Resist the Devil and he will flee from you!" Scene shows bare-chested male figure attired in a loincloth and with their left hand up and right arm out between a couple, in the right, and a table of men drinking, in the left. A cross is seen in the distance behind the couple., Title from item., Date inferred from dates publisher Nathaniel Currier operated as sole proprietor of his firm., Printed on recto: 87., Currier operated as a sole proprietor at 152 Nassau Street from 1838 to 1857 before partnering with Frederick Ives.
[Schuylkill Navigation Company stock certificate]
Shows canal, lock, and bridge., Retrospective conversion record: original entry, with corrections., Philadelphia on Stone