Search results

(34,251 - 34,300 of 34,588)

Title: Life in New York. "Blakey I say, can't you by the powers of your stame engine..?"
Description: Racist caricature depicting a conversation between a middle-class African American merchant and a working-class Irish man. Depicts the well-dressed man "merchant" of a "Patent Steam" laundry and his well-dressed woman companion being approached by a white Irish man outside the doorway to his “Patent Steam Scouring Establishment. Clothes of all kinds, etc.” He wears a top hat, green waistcoat, a white ruffled shirt and stiff collar, white pants, and black shoes. He holds a walking stick. His companion wears a yellow, wide-brimmed hat adorned with feathers and ribbons, a blue and yellow, long-sleeved dress with lace details, white stockings and slipper shoes. She holds up a monocle toward the Irish man who is in bare feet and attired in worn and torn clothing. He holds a stained and patched waistcoat. The Irish man asks the merchant to "shift" his coat for a new one, as by the appearance of the merchant's coat, he is just the man for whom he has been looking since leaving "Kilarney." The merchant and his companion are "salted" by the notion that they are of the same nature as the "ruffian" and will "larn" him better by telling him to "ply to the office." The African American figures are portrayed with oversized features and their 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 dialect and the vernacular below the image: What you mean sir! I’m a merchant, I larn you better! cant you rid dat dere Sign, ply to the Office./Aint it too gusting for a lady of quality to be salted so in Street by Ruffians./Blakey I say! Can’t you by the powers of your Stame Engine Shift me this coat for a new one! I trust by the looks of yours youre the very man I have been looking for since I left Kilarney., Inscribed: Pl. 2., Charles Ingrey was a premier London lithographic printer of the 1830s., LCP AR [Annual Report] 1972 p. 60., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1972.
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in New York (London Set)[8025.F.2]

Title: Lincoln Monument, Phila. Park
Description: View showing the Lincoln Monument at the entrance (Kelly and Lemon Hill Drives) of Fairmount Park surrounded by men who stand and look at the viewer, including white men spectators and three men guards, one possibly African American, attired in caps with insignia pinned to their lapels, and holding swords. In the right, two white men sit within a horse-drawn carriage. Sculpted by Randolph Rogers, Abraham Lincoln is depicted seated with a quill in his hand after just signing the Emancipation Proclamation. The statue rests upon a pedestal adorned with sculpted garland, bronze eagles, and the City of Philadelphia's Coat of Arms. The granite base is adorned with four panels inscribed with a dedication to and quotes from Lincoln of which two are visible. Unveiled in September 1871, the monument was commissioned by the Lincoln Monument Association, one of the first such associations formed in the country to raise funds for a city monument in memory of Lincoln. City Park Hotel is seen in the background., Manuscript note written on verso: K. Duefor? Oct. 21, 1871., Photographer's imprint stamped on verso., Distributor's label on verso: E. Borhek & Son, Opticians, No. 628 Chestnut St., Monument described in Fairmount Park Association's Sculpture of a City: Philadelphia's treasures in bronze and stone (New York: Walker Publishing Company, 1974) p. 46-52. (LCP Print Room Uy 8, 3208.F)., Monument described in Penny Balkin Bach's Public art in Philadelphia. (Philadelphia: Temple University Press, 1992) p. 49-50, 198. (LCP Print Room Is 4, 9379.Q)., Purchase 1989., Description revised 2021., Access points revised 2021., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012.
Creator: R. Newell & Co., photographer
Date: [ca. 1871]
Location: Library Company of Philadelphia | Print Department stereo - Newell - Monuments and statues [P.9260.68]

Title: A view of Bassa Cove (in Liberia.)
Description: View "from a drawing made on the spot by Dr. Robert McDowall" of a village scene in Liberia, the African American colony established by the American Colonization Society in 1822. Also used as the illustration of a membership certificate of the Pennsylvania Colonization Society. In the left foreground, three bare-chested Black people, attired in white sarongs, stand at the West African cove across from the small village. The village is comprised of buildings and is surrounded by a fence. People and cattle stroll the grounds. Established in 1816, the controversial American Colonization Society promoted Black American emigration to resolve the problem of race inequality, and to dissolve the institution of slavery. Copies of the print were on view for sale at the colonization society office for over a decade. McDowall was an African Scottish physician sent by the society to provide medical care at the colony., Title from item., Advertised in Colonization herald, June 17, 1837, vol. III, no. 54, p. 214 and later issues., Purchase 1970., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Lehman & Duval was a Philadelphia partnership between painter, lithographer, and engraver George Lehman, and lithographer, Peter S. Duval, that lasted from 1835 until 1837.
Date: [ca. 1836]
Location: Library Company of Philadelphia | Print Department *GC-Views-Foreign-Africa [7930.F]

Title: Cornwallis is taken! The watchman's cry - Philadelphia 1781
Description: Print commemorating the surrender in 1781 of British General Cornwallis at Yorktown depicting the watchman's purported moonlit announcement of the event on October 22nd at the Philadelphia residence of Thomas McKean, the president of Congress. Near the "Geo. Washington" tavern, the white watchman, one hand raised, a lantern in the other, his mouth open and with a few teeth missing, cries the news to the crowd of men, women, and children surrounding him and McKean. McKean, wearing a silken robe, chin in hand listens. His face portrayed with a look of contemplation. The crowd, many in nightclothes hold candlesticks, pray, cheer, and listen solemnly. Included in the crowd are a white man veteran with a prosthetic wooden peg leg, an African American boy, an African American woman caregiver holding presumably McKean's baby in the doorway, a white man and woman couple facing each other and holding hands, white women in shawls and elegant robes, a seated Native American woman attired in moccasins, and a white man portrayed with a frowned expression near behind the watchman., Title from item., Date inferred from duplicate with variant imprint in the collections of the American Antiquarian Society.., Gift of Mrs. Francis P. Garvan, 1978., RVCDC, Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., For further desciption, see Erika Piola, "Creating The Watchman’s Cry: A spectrum of diversity in an historical popular print." Representations and uses of the American Revolution in past and present 25 (Heidelberg: Universitätsverlag Winter, 2025).
Creator: Doney, Thomas, engraver
Date: [ca. 1856]
Location: Library Company of Philadelphia | Print Department **GC-American Revolution [8384.F.23]

Title: Washington's triumphal entry into New York, Nov. 25th, 1783
Description: Historic scene from the close of the American Revolution depicting General Washington, carrying his hat in his right hand and holding the reins in his left hand, on horseback and triumphantly parading his troops through a crowded New York City street on November 25, 1783. Following him closely on horseback are his principal officers: Governor George Clinton, General Frederick William Augustus, Baron von Steuben, General Thaddeus Kosciusko, General Gilbert Motier De La Fayette, Alexander Hamilton, General Henry Knox, General Israel Putnam, General Nathaniel Greene, and General Horatio Gates. Army personnel in the back carry the St. George cross flag, the New England Pine Tree flag, and the Washington life banner. The exuberant spectators, comprised of prominent figures and everyday citizens, line both sides of the thoroughfare and cheer from the street, balconies, and windows and include: Martha Washington; the society ladies of the Republican Court including Mrs. Cornelia [Tappan] Clinton, Mrs. Anne Willing Bingham, Mrs. Elizabeth [Schuyler] Hamilton, Mrs. Sarah [Livingston] Jay, Mrs. Polly Caton, and Mrs. Abigail Adams; Native Americans of the Six Nations including Chief Thayendanegea (Joseph Brant); General Benjamin Lincoln; Thomas Mifflin; John Marshall; Reverend David Jones; Stephen Hopkins; Miss Bingham; Miss J. Marshall; Mrs. Hamlin; the personification of a free press as an older white man reporter; continental guards; an African American woman peddler seated and holding a basket of grapes; and an older white man veteran with a crutch., Title from item., Date from copyright statement: Entered according to Act of Congress in the Year 1860 by Geo T. Perry in the Clerk’s Office of the District Court of the Eastern District of Pennsylvania., Copyrighted by George T. Perry., Pamphlet titled Description of the print entitled Washington's triumphal entry, New York, November 25th, 1783 (Philadelphia: George T. Perry, 1861) describes and provides a key to figures in the engraving. Copy of Library of Congress original housed with print. Link to digital version below in Koha Catalog., Peter C. Marzio's Chromolithography 1840-1900: The democratic art, pictures for 19th-century America (Boston: David R. Grodine, 1979), p. 27 and 283., Lib. Company. Annual report, 1973, p. 44-45., Accessioned 1979., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014.
Creator: Inger, Christian, lithographer
Date: 1860
Location: Library Company of Philadelphia | Print Department ***GC-American Revolution [P.2279], https://www.loc.gov/item/10031942/

Title: Jim Steward and his celebrated rocky mountain cat
Description: Full-length portrait of Jim Steward, an African American man ventriloquist, seated on a wooden chair. Steward, attired in a disheveled sack coat, holds his cat puppet in his lap and looks at the viewer., Date from manuscript note., Fifteen cent Civil War revenue stamp lower right corner of mount with manuscript note: W.L. April 1st, 1865., Purchase 1993., Description revised 2021., Access points revised 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., See Graphic Arts Department Langeheim research file for 1860s-1890s newspaper columns referencing tale about Jim Steward and/or Rocky Mountain cat., Langenheim was a premier early Philadelphia photographer who with his brother and partner Frederick (1809-1879) introduced lantern slides (glass transparencies) to the United States in 1849.
Creator: Langenheim, William, 1807-1874, photographer
Date: [ca. 1865]
Location: Library Company of Philadelphia | Print Department Lantern slides - Langenheim [P.9439]

Title: [Allegorical cartoon with pixies, cherubs, architecture, and an execution]
Description: Dreamlike scene of Black and white pixies creating mayhem around a white man's execution by hanging. Pixies hold the hangman's noose and break blocks upon a dismembered man's head. In the background, stands a large majestic building with an American flag and other architecture including a pyramid, monument, steeple, and dome., Title supplied by cataloguer., Date inferred from possible artist., Manuscript note on verso: Woodside?, Possibly by John Archibald Woodside, Sr., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., Description revised 2021., Access points revised 2021., Accessoined 1893.
Date: [ca. 1835]
Location: Library Company of Philadelphia | Print Department drawings & watercolors - unid. - Cartoon [5656.F.30]

Title: Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.4]

Title: Life in Philadelphia. "How you like de Waltz, Mr. Lorenzo..."
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7645.F]

Title: Life in Philadelphia. A black ball. La pastorelle
Description: Racist caricature ridiculing the manners and dress displayed at an African American dance ball by depicting attendees making malapropisms as they flirt with one another. A male attendee promenades with "Miss Zephyrina," on his left, dressed in a yellow gown with green pantalettes and another woman dressed in a pink gown on his right. He is impressed with Miss Zephyrina's "Rotations" from the poet "Joe Miller" who from which she quotes, "Grace in all he teps...in all him action, dignity, and lub." In front of them, in the right, "Brudder Brutus" gestures toward Miss Zephyrina and states that he feels the same "Ting." Brutus, who is "cutting him capers by himself" has impressed the lady in the pink dress who looks with rounded eyes upon his pointed toe. To the far right, a man depicted with bow-legs and attired in a large yellow tie, and accompanied by a short-statured lady in a green gown, is shown with his eyes looking to the left toward the "elegum Wenus in de trousers," Miss Zephrina. She makes his "heart tump about." Several other men and women attendees are seen in the background. Figures are depicted with oversize and exaggerated features. The men are depicted attired in coats with tails, pantaloons, stockings, and slipper shoes adorned with bows., Title from item., Date inferred from content and name of publisher., Contains five dialogue bubbles above the image: What a figure Broder Brutus look cutting him capers dare by himself./ What fine Rotations Miss Zephyrina make from de poets./ Grace in all he teps – heaben in he eye in all him action dignity and lub as de poet Joe Miller say/ If I didn’t feel jist de Ting how bery frit I should be afore such quizzes./ How dat elegum Wenus in de trousers make my heart tump about., 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 1958.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [6253.F]

Title: Life in Philadelphia. "What you tink of my new poke bonnet...?"
Description: 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 pink calico dress with a white collar that covers her shoulders, white gloves, patterned stockings, and white 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, 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 other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and pink 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., Charles Hunt was a respected 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.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [P.9709.1]

Title: Life in Philadelphia. A black tea party
Description: Racist caricature satirizing the African American guests and hosts, "Mr. Ludovico" and "Miss Rosabella," of a tea party. To the far right of the table, "Miss Rosabella," attired in a cap sleeve dress, pours steaming hot tea into a cup which tips over and spills onto a startled black cat on the floor. To her right, "Mr. Ludovico," attired in a waistcoat, passes a plate of sandwiches to "Miss Araminta,” attired in a puff sleeved dress and who protests his taking the trouble. Next to them, a frowning, woman guest, attired in a puff sleeved dress asks “Miss Rosabella” for "anoder cup" of tea after she helps the other guests. An African American man servant (in the right) and the other guests (in the left), a mother holding her baby and resting her feet on an ottoman and her young son seated on a small chair, observe and comment about the spilled tea on the cat and the flirtatious behavior of "Mr. Ludovico." The man servant wears a jacket with epaulets. He holds a cloth. The mother wears a dress with puffed sleeves. The boy wears a smock shirt and pants. He drinks a cup of tea. The scene is set in a parlor decorated with a carpet with an ornate pattern. Figures are depicted with oversize and exaggerated features. The women figures wear their hair in top knots, except the mother who wears a round, soft brimmed hat adorned with bows., Title from item., Date inferred by content and name of publisher., Contains six bubbles of dialogue in the vernacular within the image: I bery glad I ain’t the cat./I begin to see which way de cat jumps/When you have helped all de company Miss Rosabella, I’ll tank you for anoder cup/No trouble Miss Araminta none but de brave deserve de Fair/You take too mush trouble Mr. Ludovico./Mass cat tink him tea to hot., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022., Purchase 1967.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [7647.F]

Title: Life in Philadelphia. A black tea party
Description: Racist caricature satirizing the African American guests and hosts, "Mr. Ludovico" and "Miss Rosabella," of a tea party. To the far right of the table, "Miss Rosabella," attired in a blue cap sleeve dress, pours steaming hot tea into a cup which tips over and spills onto a startled black cat on the floor. To her right, "Mr. Ludovico," attired in a blue waistcoat, passes a plate of sandwiches to "Miss Araminta,” attired in a pink, puff sleeved dress and who protests his taking the trouble. Next to them, a frowning, woman guest, attired in an orange puff sleeved dress asks “Miss Rosabella” for "anoder cup" of tea after she helps the other guests. An African American man servant (in the right) and the other guests (in the left), a mother holding her baby and resting her feet on an ottoman and her young son seated on a small chair, observe and comment about the spilled tea on the cat and the flirtatious behavior of "Mr. Ludovico." The man servant wears a jacket with epaulets. He holds a cloth. The mother wears a green dress with puffed sleeves. The boy wears a red smock shirt and striped pants. He drinks a cup of tea. The scene is set in a parlor decorated with a carpet with an ornate pattern. Figures are depicted with oversize and exaggerated features. Their skin tone is depicted with black hand coloring. The women figures wear their hair in top knots, except the mother who wears a round, soft brimmed hat adorned with bows., Title from item., Date inferred by content and name of publisher., Contains six dialogue bubbles above the image: I bery glad I ain’t the cat./I begin to see which way de cat jumps/When you have helped all de company Miss Rosabella, I’ll tank you for anoder cup/No trouble Miss Araminta none but de brave deserve de Fair/You take too mush trouble Mr. Ludovico./Mass cat tink him tea to hot., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Summers, William, delineator
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [P.9709.2]

Title: Life in Philadelphia. Grand celebration ob de bobalition ob African slabery
Description: Racist caricature about free African Americans' celebratory response to the abolition of the African slave trade by the United States, an act passed in 1807 that took effect in 1808. Depicts a group of over fifteen well-dressed men sitting and standing and drinking, smoking, and making toasts around a large dinner table. A number of the men raise goblets and/or pipes in the air. Soup tureens are visible on the table. One man, standing, drinks from a rum bottle. In the far right, an attendee, in a wide-brimmed hat, carries away another who is unconscious, his tongue out, and holding a pipe. The men are attired in waistcoats with tails, pants and pantaloons, some striped, vests, and cravats. Some wear their hair in pompadour styles and one man has white hair. The biting toasts address "De Orator ob de day," William Wilberforce, a prominent British abolitionist; William Eustis, Governor of Massachusetts and the disgraced former Secretary of War under Madison; "De Sun" which should shine at night; Joseph Gales, a publisher and secretary of the American Colonization Society who believed that only states had the right to emancipate enslaved persons; "Ning Edwards;" "De Genius ob Merica;" the "White man" who wants to colonize blacks "now he got no furder use for him;" and "De day we Celembrate" and why it did not come sooner. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in black hand coloring. During the early 19th century, summer celebratory processions commemorating the anniversary of the abolition of the slave trade occurred annually in major Northern cities like Boston, New York, and Philadelphia., Title from item., Date inferred from content and name of publisher., Contains eight bubbles of dialogue in the vernacular within image: De Orator ob de day_When I jus hear him begin he discourse, tink he no great ting, but when he come to end ob um, I tink he like to scorch cat more better dan he took_Moosick_Possum up de Gum tree/Gubner Eustas Cleber old sole as eber wore nee buckle in de shoe_99 cheer and tree quarter/De Sun _Wonder why he no shine in de night putting nigger to dispense ob de candle./De day we Celumbrate! who he no come sooner? Guess de hard fros & de backward spring put um back. 29 pop gun v. 2 grin. White man _ mighty anxious to send nigger, to de place dey stole him from, now he got no furder use for him./De Genius de Merica _ He invent great many curious ting: wonder who just invent eating & drinking. 30 cheer & ober./Joe Gales _ He ax Massa Adams “if he be in health my brudder” and den he cut he guts out./Ning Edwards_ Guess he no great Angs no more nor udder people all he cut such a swell., P.2016.45.2 trimmed and lacking imprint., See LCP AR (Annual Report) 2003, p. 40-42., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 111. (LCP Ii 4, A2880.O)., Digital image shown is P.9709.3., P.2016.45.1 gift of Dr. Richard Dunn & Dr. Mary Maples Dunn., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Harris, I., engraver
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [P.9709.3 & P.2016.45.2]

Title: Life in Philadelphia. A crier extraordinary
Description: Racist caricature of an African American town crier performing his duties in front of a storefront on a busy Philadelphia street. The crier, attired in worn clothing and a yellow straw hat, holds up his bell in his right hand and the sheet of news down with the other. He calls out the upcoming events, including sales of merchandise, a "sarmont on Temperance," and a "Colored Ball at Mrs. Johnsons." His attire includes a blue jacket, striped shirt with patches, a red cravat, white pants with patches, and black shoes. Several spectators listen, including an African American belle, attired in a striped, hooded cape over a dress with floral details; an African American street boy, attired in a worn jacket, vest, and pants and holding a broken mug; a white boy peddler, attired in a smock and boots and with his wares on a tray over his shoulder; and a white shopkeeper holding a cloth work in his hands as his stands in his store's doorway. The peddler boy walks a dog that has torn the crier's copy of the news. Drapery hangs in the store’s display window. Black figures are depicted with oversize and exaggerated features. White figures are depicted with exaggerated features., Signed W.S. for William Summers in lower right corner., Title from item., Date inferred from content and name of publisher., Contains five lines of dialogue in the vernacular below the image: Sale dis nite_Frying Pans_Grid Irons_Book_Oyster Knives and odder kinds of Medicines_Joe Williams will hab some fresh oysters at his stablishment_by tickler design, Mr. Hewlet will gib Imitations ober again_two or tree damaged Discussion Locks, and Rebd. Mr. P.Q. will deliver a sarmont on Temperance, half past 6 o’Clock precise, dats not all! Widout Money or Price _ de great Bull Phillip will be station at Squire S__s & dats not all nudder! dare will be a perlite & Colored Ball at Mr. Johnsons jus arter dis is bin done”_, 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., Purchase 1968.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [7689.F]

Title: Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?"
Description: 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 green waistcoat, a blue vest, pink cravat, yellow pants, blue 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 pink, puff-sleeved, ankle-length dress with red neckerchief and blue belt, grey wide-brimmed hat with a long veil and adorned with several flowers and blue and yellow ribbon, gloves, and white slipper shoes. She also wears earrings, a necklace, and a hair adornment. She holds a blue purse and green 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 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: No. 8., 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 London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.8]

Title: A joyous Christmas and a happy New Year Geo. Remsen Jr. & Co., Stationers & engravers, 815 Arch St. Phila
Description: Trade card promoting engraver and stationer Geo. Remsen Jr. & Co. and depicting racist caricatures of a Chinese woman and two Chinese men. In the right, a Chinese woman, wearing her hair up with decorative pins and a flower and attired in a blue, off-the-shoulder dress, sits in a red chair and holds a bouquet of pink flowers. In the center, the Chinese man, wearing a beard and a queue hairstyle and attired in a purple tunic and green pants, stands with his arms folded. In the left, the Chinese man, wearing a goatee and queue hairstyle and attired in a red tunic, pink-and-white striped pants, and black cloth slip-on shoes, stands in front of the woman with his hands out. Also in the scene are a small dog and a red dragon., Title from item., Date inferred from calendar printed on verso., Text printed on verso: "Geo. Remsen Jr. & Co., Stationers & engravers, 815 Arch St., Philadelphia" with a monthly calendar for 1880., RVCDC.
Date: [1879]
Location: Library Company of Philadelphia | Print Department Berman Trade Card Collection - Geo. Remsen Jr. & Co. [P.2015.56.299]

Title: Porcelain ware, Japanese Court
Description: View showing porcelain ware, mostly vases, in a stall in the Japanese Court within the Main Building designed by Henry Pettit and Joseph M. Wilson at the Centennial Exhibition in Philadelphia. Vases, bowls, and jars of various sizes are displayed on tiered tables and on the carpeted floor. Framed artwork hangs on the walls. A small decorative table is in the left. The Centennial Exhibition celebrated the centennial of the United States through an international exhibition of industry, agriculture, and art., Title on negative., Date from item., Photographer's imprint printed on mount and on verso. Imprint on verso contains initials "CPC" in decorative border surmounted by date range 1776-1876., White curved mount with rounded corners., Gift of Raymond Holstein., See related: stereo - Centennial Photographic Co. [P.9022.5]; Holstein stereo - Centennial Photo. Co. [P.2011.47.512].
Creator: Centennial Photographic Co.
Date: 1876
Location: Library Company of Philadelphia | Print Department Holstein stereo - Centennial Photo. Co. [P.2011.47.513]

Title: The model of a Republican president
Description: Anti-Jackson cartoon concerning Jackson's misuse of federal authority during the Bank War depicting the president as an autocrat emulating Napoleon Bonaparte. Standing beside a statue of the Emperor, Jackson puts on a Napoleon hat in front of a mirror, boasts of his resemblance to Bonaparte, and declares, "Down with the Senate." Attorney General Roger B. Taney, who squats by Jackson's side, places a pillow inscribed "Treasury" on the president's stomach to make him more "pursey" in order to complete his transformation if he "can bear the weight." Nearby compliant Jackson advisor Martin Van Buren states he deserves the purse as a reward for his war service. To the right, in front of the Senate archway, Treasury auditor Amos Kendall and a second figure of Taney discuss the "Protest to the Senate" and "Counter Protest" they have written for Jackson, probably an allusion to the controversial message written by Kendall and Taney about Jackson's veto of the bill to recharter the Bank of the United States., Title from item., Date supplied by Weitenkampf., Printed to right of title: ("I have taken your brother for my model") General Jackson to Joseph Bonaparte, Globe.", Retrospective conversion record: original entry, edited.
Date: [1832?]
Location: Library Company of Philadelphia | Print Department political cartoons - 1832-8 [5760.F.52]

Title: Free Quakers meeting house. On the southwest corner of Fifth Street. Benjm. Tucker's schools, for many years, were kept in upper portion of this building
Description: Shows the former meeting house built 1783 after the designs of Free Quakers Timothy Matlack and Samuel Price Wetherill at 500 Arch Street. Building tenanted by the Apprentice's Library 1841-1897. View includes a vendor's stand in front of the library and slabs of stone laying in the street. Building served as the Free Quakers' meetinghouse until circa 1838. Second floor added 1788. Free Quakers were excommunicated from the Society of Friends because of their violent resistance during the American Revolution., Date inscribed on photograph., Title and photographer's imprint from Poulson inscription on mount of 3599.Q.110., One of images originally part of a Philadelphia scrapbook directory for 1768 compiled by John McAllister, Jr., Charles Massey, Jr. and Charles Poulson., One of images originally part of a series of eight scrapbooks compiled by Philadelphia antiquarian Charles A. Poulson entitled " A collection of Miscellaneous Scraps: Illuminating the history of the city of Philadelphia in the 'olden time,'" volume 4, page 36a., Retrospective conversion record: original entry, edited.
Creator: Richards, F. De B. (Frederick De Bourg), photographer
Date: March 1859
Location: Library Company of Philadelphia | Print Department photo - Richards - Churches and meetinghouses [3599.Q.110 (Poulson); (4)3602.F.36a (Poulson)]

Title: Political quixotism. Shewing the consequences of sleeping in patent magic spectacles The diplomatic hercules, attacking the political hydra
Description: Anti-Jackson cartoon alleging that irrational motives influenced the President's decision to destroy the Bank of the United States. Depicts a terrified Jackson, in his bedroom, fighting the hydra, "U.S. Bank," during a nightmare. References to the corruption of the Bank are inscribed on the creature's many heads, including "deposits," "pension," and "bribery." Jackson, sword in hand, screams "Stamp the horrid Monster!!! Crush it!!! Nick Biddle!!! Hell & the Devil!!! Bribery & Corruption!!! Assasination [sic]!! Fire!! Murder. Murder!! Where are you Major?" Jackson is being restrained by "Major" Jack Downing, who pulls on his suspenders and implores him to return to bed, "Cum along to Bed agin, Jineral, I tell you Biddle aint here, nor the devil nother as I no on." In the right background is a bed and a chair with a candle on it., Zek Downing was a pseudonym used by various artists on several cartoons, predominately published by Ezra Bisbee, which satirized the Bank War., Retrospective conversion record: original entry, edited.
Date: [1833]
Location: Library Company of Philadelphia | Print Department political cartoons - 1833-12 [5760.F.76]

Title: Old Nick's new patent plan to make Nova Scotia tories, federals coodies, Hartford conventioners, nullifiers, national republican bankites &c
Description: Cartoon issued during the Bank War attacking Nicholas Biddle, president of the Bank of the United States, and his allegedly bribed New York newspaper editors for propagating an artificial financial crisis to sway public opinion in favor of the Bank. Depicts editors James W. Webb, Mordecai Manuel Noah, and probably Charles King using large screw presses to crush masses of working men ("workies"), including sailors, laborers, and butchers. Noah, fearing the strength of the "workies," loses control of his press from the shifting weight of his men; King twists his press and talks of the "division of the spoils"; and Webb urges a "good screwing" to gain the workers's suport and Biddle's fees. From below, the "workies" criticize the Bank as an institution of the aristocracy; allude favorably to Jackson and his veto of the Bank's recharter; scream their refusal to bow to a "golden calf"; and exclaim that they vote for liberty, not their "merchants breeches pockets." To the far right, Biddle hollers support to his "cousins"; "Jack Downing" questions the success of the presses; and a man with a monocle declares that the "workies" will not vote in the next election if they fail., Retrospective conversion record: original entry, edited.
Date: [1834]
Location: Library Company of Philadelphia | Print Department political cartoons - 1834-5 [5760.F.59]

Title: [Bust-length portrait of Li Hongzhang]
Description: Bust-length portrait of Chinese statesmen Li Hongzhang, also known as Li Hung Chang. He wears a mustache and is attired in a beaded Chinese court necklace and a shirt with a Mandarin collar and decorated with an image of a crane., Title supplied by the cataloger., Date inferred from active dates of the photographer., Photographer's imprint printed on verso: F. Gutekunst, 712 Arch St., Philadelphia., Distributor's label on verso: 816 Chestnut Street, Earles' Galleries, Philadelphia., Gift of Dr. Milton and Joan Wohl, 1991.
Creator: Gutekunst, Frederick, 1831-1917, photographer
Date: [ca. 1885]
Location: Library Company of Philadelphia | PRINT PRINT cabinet card portraits - sitter - Hung [P.9363.21]

Title: Bank-ometer Truths for the producers of wealth the banking system unmasked or the true causes of pressure panic and distress
Description: Cartoon designed by radical labor activist Seth Luther to promote the dissolution of the United States banking system. Depicts the U.S Bank as operated by the industrial turbine "Currency Reservoir." The "Bank of England Tube," "State Bank Tube," and "Expansion and Contraction Tube" extend from the reservoir and power meters labeled "Paperometer," "Stockometer," Flourometer," and "Wageometer," which flank the bank and measure the system. Meters measure the benefits to industry and the disadvantages to the artisan of the banking system from 1816 to 1840, including: the expansion and contraction of paper money; the prices and amounts of import and export commodities; the economic effects from the monetary fluctuations on manufacturers and mechanics; the price of stocks and flour; and the wages (lower in 1840 than 1816) and cost of living of New York carpenters. Also contains seventeen boxed quotations from prominent political figures criticizing paper money and banks, including statements by Washington, Jefferson, Adams, Jackson, Van Buren, Samuel Young, John Tyler, and Bank of the United States supporter Henry Clay; a chart containing figures indicating an increase in the number of banks from 1774 to 1840, the amount of hard and paper currency in circulation, and the "aggregate receipts" from public land sales; as well as references to Jackson's 1832 veto of the Bank of the United States and Van Buren's 1840 Independent Treasury Bill. Dedicated to Andrew Jackson for his "righteous" veto of the Bank of the United States on July 4, 1840., Title from item., Date from copyright statement: Entered according to act of Congress July 22, 1840 Seth Luther Author and Proprietor in the Clerks Office of the District Court of the So. District of N.Y., Retrospective conversion record: original entry, edited., Library Company Annual Report, 2001, p. 30., Advertised in Public Ledger, October 8, 1840. Price listed as 25 cents.
Creator: Lawton, Stephen, lithographer
Date: designed Nov. 1833, drawn 1840, cJuly 22, 1840
Location: Library Company of Philadelphia | Print Department *political cartoons - 1840-Ban [5760.F.84]

Title: A Correct chart of Salt River
Description: "Salt River," the fictitious river of political doom, is charted here as a meandering stream of Democratic misfortunes. The chart was purportedly "prepared by Father Ritchie," i.e., Democratic editor and Polk administration spokesman Thomas Ritchie. Swipes are taken at the Tariff of 1846, Polk's Vice President George M. Dallas, Martin Van Buren, and 1848 Democratic presidential nominee Lewis Cass. The river winds upward from the Ohio River (Ohio was a Democratic stronghold in 1848) to the Lake of Oblivion with an island on which sits the "Mansion of Despair." The "Fast Sailing Steamer Free Trade," captained by Lewis Cass and piloted by Ritchie, sets out on the "Slough of Despond" below (one of the landmarks in John Bunyan's "Pilgrim's Progress). The ship approaches a fork, from which the "Old Fox Branch" on the right leads to "Cabbage Point" and the home of Martin Van Buren. Van Buren can be seen sitting in a rowboat on the river complaining, "Hard work this all; your fault 'John, ' with your D--d Free Trade." His son John, a Free Soil party leader and campaigner, encouraged Van Buren's bid for the party's presidential nomination in 1848. On the left Salt River continues past the "Sub Treasury Bluffs," "Noise and Confusion Shoals," "Two Face Points," and "Irish Relief Shoal" (a reference to Democratic support for anti-British insurgents in Ireland), to another fork, "Prince John's Creek." Here John Van Buren walks along the shore and calls, "Good bye Dad! We could not Gull the People." The main branch of the river continues to "Pillow's Cemetery" (named after Gen. Gideon Pillow, conspirator against popular Mexican War commander Winfield Scott and a friend of James K. Polk), "One Seal Island", "Casting Vote Point," and "St Anna Pass." The last is named after Mexican president and commander Santa Anna, whom the Polk administration returned from exile only to see him lead the war against the Americans. On Lake Oblivion is a small ferry boat heads toward the shore at upper right where it will connect with a train named "Tariff [of 18]42," bound for Washington. On the left is a funerary monument "In Memory of Dallas," a memorial to Vice President and former Pennsylvania senator George M. Dallas. Many of Dallas's fellow Pennsylvanians viewed him as a traitor to the state's interests in his support of the Tariff of 1846, which supplanted the popular 1842 tariff., Title from item., Date inferred from content., Library copy has manuscript written on lower right recto: March 5th, 1849., Retrospective conversion record: original entry.
Date: [1848]
Location: Library Company of Philadelphia | Print Department political cartoons - 1848-50 [P.2275.28]

Title: Beauties of the Sunday Law
Description: Cartoon mocking Philadelphia's Sunday Law depicting an absurd street scene where citizens are barred from patronizing several closed businesses and public facilities, except for church. Renewed enforcement of the unpopular law proceeded the election of Sabbatarian Mayor Robert T. Conrad in 1854. Police patrol the street enforcing the law, including preventing a downed horse from dying; a "segars" store chimney from "smoking"; and a mourner from hiring a carriage to travel to a funeral "20 miles away." Other citizens angrily mob the church and plead to patronize the businesses and public services, including: a mother unable to purchase medicine from an "Apothecary" for her sick child; a fire victim unable to request a fire engine; a man with a "bellyache" prevented from using a locked "Public Water Closet"; and a wife barred from purchasing provisions as a result of her husband's tardily received wages. Also contains: a clock, a dog, and a rooster padlocked to prevent them from making noise. In the background, the steamship John "Stevens" remains docked at the pier near signs stating, "This river is stopped from running on Sundays" and "No fish allowed to swim on Sunday.", Title from item., Date inferred from content., Artist's monogram lower right corner., Probably drawn by Philadelphia and New York lithographer John L. Magee., Retrospective conversion record: original entry, edited.
Date: [ca. 1855]
Location: Library Company of Philadelphia | Print Department political cartoons - [1855]-Beau [8365.F]

Title: The True peace commissioners
Description: Cartoon depicting an angered response of Democrats in support of war to what many considered to be false Confederate peace overtures and to the push for reconciliation with the South advanced by the Peace Democrats in 1864. In the center, Confederate general Robert E. Lee and president Jefferson Davis stand back-to-back trying to ward off an attack by Union officers (from left to right) Philip H. Sheridan, Ulysses S. Grant, David G. Farragut, and William T. Sherman. Sheridan points his sword at Lee, saying, "You commenced the war by taking up arms against the Government and you can have peace only on the condition of your laying them down again." Grant, also holding a sword, insists, "I demand your unconditional surrender, and intend to fight on this line until that is accomplished." Lee tries to placate them, "Cant think of surrendering Gentlemen but allow me through the Chicago platform to propose an armistice and a suspension of hostilities . . . " The 1864 Democratic national convention in Chicago advocated "a cessation of hostilities with a view to an ultimate convention of the states, or other peaceable means" to restore the Union. Davis, unarmed with his hands up, agrees, " . . . if we can get out of this tight place by an armistice, it will enable us to recruit up and get supplies to carry on the war four years longer." Farragut threatens with a harpoon, snarling, "Armistice! and suspension of hostilities'.--Tell that to the Marines, but sailors dont understand that hail from a sinking enemy." Sherman, with raised sword, informs Davis, "We dont want your negores or anything you have; but we do want and will have a just obedience to the laws of the United States.", Title from item., Date inferred from content., Probably drawn by John Cameron., Retrospective conversion record: original entry edited.
Date: [1864]
Location: Library Company of Philadelphia | Print Department political cartoons - 1864-6 [P.2275.5]

Title: The destruction of Pharaoh and his host. Moses is safe; let Pharaoh sink and where he goes he'll get his drink "The Lord delivered the people."
Description: Cartoon analogizing the victory of 1866 Radical Republican Pennsylvania gubernatorial candidate John W. Geary with the Biblical story of Moses's passage of the Red Sea (Exodus) to signify the election result as a moral and political conquest over the Conservative Republicans who supported the policies of President Andrew Johnson. Shows Johnson as "Pharaoh," riding a chariot labeled "My Policy." His crown has been knocked off his head, and the sea rushes around the horse-drawn chariot. Conservative Republicans, including William Seward, are washed away around him. In the distance, "the people" trek across the land of "Pennsylvania" holding a "Geary and Victory" flag., Retrospective conversion record: original entry, edited., Originally part of a McAllister scrapbook of views of Philadelphia.
Creator: Magee, John L.
Date: [ca. 1866]
Location: Library Company of Philadelphia | Print Department political cartoons - 1866 Des [(2) 1322.F.20]

Title: Life in Philadelphia. "Dat is bery fine, Mr. Mortimer..."
Description: Racist caricature of an African American couple singing and playing guitar in a parlor. In the right, "Mr Mortimer," stands with his right hand over his heart and with his other holding a sheet of music. He wears mutton chops and is attired in a blue coat with tails, white bow tie, black pants, black stockings, black slipper shoes, and white gloves. His eyes look up and his mouth is open. He sings a love song while the woman seated in the left plays a guitar decorated with pink ribbons. Her head is turned toward the man and she sits on a bench with a pink cushion. She wears a large white bonnet adorned with pink bows and with ribbons tied into a bow under her chin. She is also attired in a yellow dress with long puff sleeves, blue trim, and a laced bodice, blue ankle-tied slipper shoes, as well as rings on her fingers. She comments that he sings "con a moor as de Italians say!!" The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Setting of scene also includes a carpet with a decorative pattern and framed portraits of an African American man and woman hanging on the wall behind the couple., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 12 of the original series published in Philadelphia., Contains eight lines of dialogue in the vernacular and dialect below the image: Dat is bery fine, Mr. Mortimer, _ you sing quite con a moor, as de Italians say!! “Take away, take away dos rosy lips, “Rich, rich in balmy treasure!_”Turn away, turn away dose eyes o blub, “Less I die wid pleasure!!!”, Inscribed: Plate 2., Charles Hunt was a respected 19th-century London engraver and etcher known mostly for his prints of sporting subjects., Copy published in Philadelphia described in Daily Chronicle, December 10, 1829, p. 2., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9705.1]

Title: Life in Philadelphia. "How you find yourself dis hot weader Miss Chloe?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9705.2]

Title: Life in Philadelphia. "What de debil you hurrah for General Jackson for?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.1]

Title: Life in Philadelphia. "What de debil you hurrah for General Jackson for?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7659.F]

Title: Life in Philadelphia. "Shall I hab de honour to dance de next quadrille...?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7658.F]

Title: Life in Philadelphia. "Good evening Miss..."
Description: Sexist caricature satirizing middle-class mores and depicting a white man dandy sexually harassing a well-to-do white woman as she traverses a Philadelphia street. The man stands next to her, in the right, and the woman has an aghast expression. She has a bouffant hairstyle adorned with yellow flowers and ribbons. She wears a long red cape with a blue hood over her hourglass shape and large hair. The dandy is dressed in a corset, a black top hat, blue coat with tails, pink vest, yellow gloves, and large yellow bow tie. He holds a walking stick toward the ground in his right hand. A yellow handkerchief hangs out of his right coat pocket. Cityscape, a lamp post, and two men pedestrians are seen on the street in the background., Title from item., Date inferred from content and name of publisher., Attributed to William Summers., Inscribed: Plate 8., Contains five lines of dialogue above the image: “Good evening Miss, shall I have the pleasure of walking with you?” _ Me sir!! for whom do you take me, sir? __”Come, come that’s a good one!__ for whom do I take you? Why for myself to be sure!”__, Charles Hunt was a respected 19th-century London engraver who was most known for his aquatints of sporting subjects., LCP copy has left side mended., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1968.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7706.F]

Title: Life in Philadelphia. "How you like de new fashion shirt...?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9707.2]

Title: Life in Philadelphia. "How you like de new fashion shirt...?"
Description: 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7646.F]

Title: Life in Philadelphia. "Have you any flesh coloured silk stockings...?"
Description: Racist caricature of an African American woman shopping for a pair of "flesh coloured silk stockings" in a hosiery store with a white male sales clerk speaking with a French dialect. Depicts, in the center left, the woman standing at the blue counter in front of the clerk who holds up a pair of black-colored stockings from out of a rectangular box. She is attired in a yellow floral patterned dress, as well as tall, wide-brimmed floral-patterned hat adorned with yellow flowers, greenery, and a veil and long floral-patterned ribbon, white gloves, earrings, and white button-up boots. She rests her pink, polka-dot-patterned purse on the counter and holds up a monocle from the end of her neck fob to inspect the stockings that the clerk declares are of "de first qualite!" Her brown parasol rests against the counter. Rows of red, blue, brown, black, and yellow stockings and fashion accessories hang on the wall behind the clerk. The clerk is attired in a green waistcoat with tails, a blue vest, white cravat, and white pants. In the left, an African American woman attired in a pink polka dot dress and tall, wide brimmed hat adorned with a veil and green ribbons is seen in the doorway of the shop in which curtains hang and are pushed to the side. A shelf lined with bolts of textiles hangs above the doorway. The wheel of a carriage is seen behind the woman. The figures are portrayed with oversized and exaggerated features. The central woman figure’s skin tone is depicted with black hand coloring and the woman figure in the doorway’s skin tone is depicted with brown hand coloring. The man is depicted with rosy cheeks and brown, curled hair., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 11 of the original series of Life in Philadelphia., Contains five lines of dialogue in the vernacular and dialect above the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, 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.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London) [P.9707.3]

Title: Life in Philadelphia. "Behold thou art fair Deborah,..."
Description: Caricature satirizing the manners of Quakers and depicting a white Quaker couple, Deborah and Timothy, courting in front of a fireplace with a fire in a sitting room. In the right, Timothy, depicted in left profile sits stiffly in a wooden, straight back chair with his hat in his lap. He is portrayed with full lips, a pronounced nose, and large ears and with his brown hair in a bowl cut. He wears a blue long coat, blue pants, and tied shoes. He compliments Deborah by reciting verses from the biblical love poem Song of Solomon. In the right, Deborah, portrayed facing the viewer, sits stiffly in a wooden, straight back chair with her hands in her lap. She is attired in a brown plain, long-sleeved dress, and a white kerchief over her shoulders. She also wears a white cap out of which sprays of her brown hair are visible on her forehead. Dorothy replies she is overcome by him and recites that his hair is like a flock of goats "from Gilead." A pug-like dog sits between their feet. Also shows, in the background, wooden, straight back chairs flanking the mantelpiece of the fireplace on which objet d'arts and a mirror with an ornately decorated frame is placed. Two framed works of art hang on the wall on each side of the mirror., Title from items., Date inferred from content and name of publisher., Attributed to William Summers., Inscribed: Plate 11., 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)., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1968.
Creator: Summers, William, artist
Date: [ca. 1831]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [7707.F]

Title: The German bleeds & bears ye furs of Quaker lords & savage curs
Description: Political cartoon depicting Quakers and racist caricatures of Native Americans riding on the backs of German and Scots-Irish settlers surrounded by burning houses and the bodies of dead men, women, and children. In the left, Benjamin Franklin stands holding a paper reading, "Resolved/ ye Prop[riete]r/ a knave/ & tyrant/ NC D/ gov[erno]r D:o." A fox, representing Quaker Joseph Fox, stands between his legs. Quaker leader Israel Pemberton rides on the back of a Scots-Irish man, who holds a rifle. Pemberton stretches his right hand out to grasp Franklin's paper and holds a band of wampum in his left hand. A rope wrapped around his left arm is attached to the nose of a blindfolded German man who walks behind him carrying a Native American man on his back. The Native American man holds a tomahawk in his right hand and carries a pack on his back labeled, "I.P." In the foreground are bodies of a dead man, woman, and child with cut marks on their heads indicating scalping. Native American men burn houses in the background. Joseph Fox and Israel Pemberton were leaders in the Quaker "Friendly Association" that was often accused of supplying money secretly to the Native Americans., Title from item., Date inferred from content., Attributed to Claypoole., Text printed under image: "The German bleeds & bears ye furs/ Of Quaker Lords & savage Curs/ Th' Hibernian frets with new Disaster/ And kicks to fling his broad brim'd Master/ But help at hand Resolves to hold down/ Th' Hibernian's Head or tumble all down.", Retrospective conversion record: original entry, edited., See Philadelphia printmaking: American prints before 1860 (West Chester, Pa.: The Tinicum Press, 1977), p. 70-89., RVCDC
Creator: Claypoole, James, 1720-1784?, etcher
Date: [1764]
Location: Library Company of Philadelphia | PRINT PRINT political cartoons 1764 Ger [66984.O.9]

Title: The election, humbly inscrib'd to the Saturday-Nights Club, in Lodge Alley
Description: At the top, depicts the 1765 the election for the county and city of Philadelphia. In the left, shows Britannia, depicted as a white woman, with a shield with the Union Jack and a liberty cap and pole, saying "Oh my sons, my sons." America, depicted as a white woman, carries a sword and replies "Don't grieve too much sister." Treachery, depicted as a white women with two faces, stands behind Britannia with a dagger and says, "I hope that will do for you Madam." A large group of men stand in the foreground, including clergymen, and discuss the election. In the background, a line of men enter a building to vote., Title from item., Date from Evans., "About 150 lines of blank verse [in four columns] engraved on copper, with a picture of the election at the top."--Hildeburn., First line: Long with a Cruel, and perfidious Hand:, Manscript note by DuSimitiere: Published after the election of the members for the county and city of Philadelphia for the first of 8be 1765., Retrospective conversion record: original entry, edited.
Creator: Dawkins, Henry, d. 1786?
Date: [1765]
Location: Library Company of Philadelphia | PRINT political cartoons [1765] Ele [959.F.88 (DuSimitiere)]

Title: First plate of four subjects for Birch's Philadelphia
Description: Montage of four titled vignette views showing the Philadelphia landmarks: "Franklin Library in 1800" (Library Hall) at Fifth and Library streets; "Pennsylvania Hospital in 1800" on Pine Street between Eighth and Ninth streets; "Swedes Church Southwark" (Gloria Dei); and "High St. Market House in 1800" above Second Street. Depicts the exterior of the library, hospital, and church, and the interior of the busy market shed., Proof copy., Retrospective conversion record: original entry, edited., Part of the National Endowment for the Humanities: Democracy demands wisdom (PW-285234-22), 2023-2025.
Creator: Birch, William Russell, 1755-1834
Date: [1828]
Location: Library Company of Philadelphia | Print Department Birch's views [Sn 41a/P.2276.76]

Title: Franklin's statue, Philadelphia Library
Description: Detail of the front facade of the Library Company of Philadelphia's first building at Fifth and Library Streets, depicting the marble statue of Franklin by Francesco Lazzarini commissioned by William Bingham circa 1792 to occupy a niche on the second story of the building., Thin paper buff mount., Title printed on mount., Photographer's imprint stamped on mount., Retrospective conversion record: original entry, edited., Oringinally part of a McAllister scrapbook., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Part of the National Endowment for the Humanities: Democracy demands wisdom (PW-285234-22), 2023-2025.
Creator: W. & F. Langenheim (Firm), photographer
Date: ca. 1860
Location: Library Company of Philadelphia | Print Department stereo - Langenheim - libraries [(6)1322.F.20c]

Title: Franklin's statue, Philadelphia Library
Description: Detail of the front facade of the Library Company of Philadelphia's first building at Fifth and Library Streets, depicting the marble statue of Franklin by Francesco Lazzarini commissioned by William Bingham circa 1792 to occupy a niche on the second story of the building., Thin paper buff mount., Title printed on mount., Photographer's imprint stamped on mount., Retrospective conversion record: original entry, edited., Oringinally part of a McAllister scrapbook., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Part of the National Endowment for the Humanities: Democracy demands wisdom (PW-285234-22), 2023-2025.
Creator: W. & F. Langenheim (Firm), photographer
Date: ca. 1860
Location: Library Company of Philadelphia | Print Department stereo - Langenheim - libraries [(6)1322.F.20c]

Title: Franklin's statue, Philadelphia Library
Description: Detail of the front facade of the Library Company of Philadelphia's first building at Fifth and Library Streets, depicting the marble statue of Franklin by Francesco Lazzarini commissioned by William Bingham circa 1792 to occupy a niche on the second story of the building., Thin paper buff mount., Title printed on mount., Photographer's imprint stamped on mount., Retrospective conversion record: original entry, edited., Oringinally part of a McAllister scrapbook., Digitization funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Part of the National Endowment for the Humanities: Democracy demands wisdom (PW-285234-22), 2023-2025.
Creator: W. & F. Langenheim (Firm), photographer
Date: ca. 1860
Location: Library Company of Philadelphia | Print Department stereo - Langenheim - libraries [(6)1322.F.20c]

Title: Congressional Pugilists He in a trice struck Lyon thrice
Description: Depicts a fight on the floor of Congress Hall between Vermont Representative Matthew Lyon and Connecticut Representative Roger Griswold. In the right, Griswold kicks Lyon and holds a cane up to strike him. Lyon grasps Griswold's right arm and raises a pair of fireplace tongs to hit him. Speaker Jonathan Dayton and Clerk Jonathan W. Condy (both seated), Chaplain Ashbel Green (in profile on the left), and several others look on. In the background on the wall is a framed picture with two roosters whose caption reads "Royal sport." The fight was originally prompted by an insulting reference to Lyon on Griswold's part., Title from item., Date inferred from content., 19th century restrike., Weitenkampf lists three states of this print: in the first only the title appears above the image and the four lines of verse in the center below the image and "Congress Hall, in Philada. Feb. 15, 1798" etched in the lower right corner; in the second the title, and keyed references in the (plate) margins of the second appear above the image and "Congress Hall, in Philada. Feb. 15.1798" is etched in the lower right corner; the third is identical to the second state but has "17" etched in the upper right hand corner and "Congress Hall, in Philada. Feb. 15, 1798. "S.E. Cor. 6th & Chesnut St." in the lower right corner; the images remain the same in all three states., Below image in lower right corner: Congress Hall, in Philada., Feb. 15, 1798, S.E. Cor. 6th & Chestnut St., Four lines of verse in two columns below image in center: He in a trice struck Lyon thrice, upon his head, enrag'd sir, who seized the tongs to ease his wrongs, and Griswold thus engag'd, sir., Three of the spectators are identified by numbered references etched on left and top of plate, outside image., Retrospective conversion record: original entry, edited.
Date: [1798]
Location: Library Company of Philadelphia | Print Department political cartoons - 1798-3b (second state) [2569.Q.17]

Title: An Au-Gust Convention
Description: Cartoon satirizing the National Union Convention, which met in Philadelphia in August of 1866, in an attempt to support President Andrew Johnson and his Reconstruction policies and elect a new Congress. Muzzled dogs, each representing a state, walk down a path towards a dog house labeled, “Wigwam,” which was the name of the structure in Philadelphia that was quickly erected for the convention. Outside the house, two guard dogs, representing Johnson supporters Edgar Cowen and James Rood Doolittle, each hold cats in their mouths, representing the two notorious Peace Democrats, or Copperheads, Clement Vallandigham and Fernando Wood, who were barred from the convention. At the head of the parade, the Massachusetts and South Carolina dogs march together, representing General Darius Nash Couch and Governor James Lawrence Oliver, the representatives from those states, respectively. These two men entered the Convention arm-in-arm to demonstrate the possibility for national reconciliation. The South Carolina dog, however, also has its genitals muzzled, as it was the first state to secede from the Union at the beginning of the war. In the left is a small, muzzled dog with a brush and bucket, labeled “N.Y. Times,” tied to its tail that represents Henry Raymond, co-founder of the New York Times and pro-Johnson Republican Congressman. Raymond organized the convention and was removed from his position as Chairman of the Republican National Committee because of it. In the left background, shows the White House with a Confederate flag, with “My Policy,” flying and a dead dog lying on the ground representing Johnson. Radical and moderate Republicans in Congress believed that his treatment of the Southern states under his Reconstruction plan was too lenient., Retrospective conversion record: original entry, edited.
Date: [1866]
Location: Library Company of Philadelphia | PRINT political cartoons - 1866-11 [5760.F.113]

Title: Interior of Phila; Library, Fifth and Library Streets, 1878
Description: Drawing depicting the reading room in the Library Company on Fifth and Library streets. Shows the interior of the first building for the Library constructed by William Thornton from 1789 to 1790. The building was demolished in 1887. Includes a view of the Librarian's desk (right) and visitors browsing the book shelves on the balcony and the main floor., Title from item., Retrospective conversion record: original entry, edited., LCP AR (Annual Report) 1975, p. 6-11., Forms part of the National Endowment for the Humanities: Democracy demands wisdom (PW-285234-22), 2023-2025.
Creator: Evans, B. R. (Benjamin Ridgway), 1834-1891, artist
Date: 1878
Location: Library Company of Philadelphia | Print Department Evans watercolors [P.2298.151]

Title: Philadelphia Library. On the northeast corner of Fifth and Library street
Description: View showing the Library Company of Philadelphia (organized by Benjamin Franklin and his Junto in 1731) built 1789-1790 after the designs of Dr. William Thornton on the 100 block of Fifth Street. A group of young men and boys stand near the entrance of the building. Also shows a horse-drawn carriage and lamppost in the foreground., Title and photographer's imprint from Poulson inscription on mount of (3)2526.F.105 (Poulson)/8339.F.5., Date inscribed on photograph (3)2526.F.105 (Poulson)/8339.F.5., Compass directions given in manuscript on mount., One of the images originally part of a McAllister scrapbook of views of Philadelphia., One of the images originally part of a series of eleven scrapbooks compiled by Philadelphia antiquarian Charles A. Poulson in the late 1850s entitled "Illustrations of Philadelphia" volume 3, page 105. The scrapbooks contained approximately 120 photographs by Philadelphia painter and pioneer photographer Richards of 18th-century public, commercial, and residential buildings in the city of Philadelphia commissioned by Poulson to document the vanishing architectural landscape., Retrospective conversion record: original entry, edited., (3)2526.F.105 reaccessioned as 8339.F.5., Part of the National Endowment for the Humanities: Democracy demands wisdom (PW-285234-22), 2023-2025.
Creator: Richards, F. De B. (Frederick De Bourg), photographer
Date: February 1859
Location: Library Company of Philadelphia | Print Department photo - Richards - Libraries - L [(6)1322.F.10e; (3)2526.F.105], http://www.brynmawr.edu/iconog/rcd/8339f5.jpg

Title: [Front facade to Lubin's nickeleon movie theater]
Description: Shows the front facade to one of the motion picture theaters built for Philadelphia motion picture entrepreneur Siegmund Lubin. The exterior of the theater is heavily decorated with architectural ornaments, predominately female figures. In the center, shows the ticket booth with a sign that reads, "Lubin's 5¢." There are four sets of double doors. Above the doors in the left is a sign reading, "Entrance to Theatre. Box Office" with a finger pointing left. An African American man, attired in a cap, a white collared shirt, tie, and suit jacket and pants, holds a broom and stands in between the first two sets of doors. A second broom leans against the wall beside him. In the left is a door that reads on the glass, "Filling's Wine Room." Adjacent building in the right has two visible signs, "Der Doo" and a partial view showing "Chinese" probably a Chinese restaurant. Der Doo (1874-1929?) emigrated from China to Baltimore in 1900. He opened Chinese restaurants in Baltimore and Washington, D.C. He served as president of the Chinese Reform Association, which sought to repress the opium trade., Title supplied by cataloger., Date inferred from content., Retrospective conversion record: original entry, with corrections.
Date: [ca. 1920]
Location: Library Company of Philadelphia | Print Department photo - unidentified - theatres [P.9260.450]

Title: Stephen Higginson Tyng Jr., 1839-1898
Description: Episcopal clergyman., American Celebrities Album., Retrospective conversion record: original entry.
Date: ca. 1870
Location: Library Company of Philadelphia | Print Department American Celebrities Album [(II)P.9100.18f]

Main menu

Pages