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Title: [Letter to Alexander C. Hart from Augustus J. Pleasonton]
Description: Manuscript letter from Augustus J. Pleasonton appointing Dr. Alexander C. Hart as a surgeon in the first regiment of artillery of the Pennsylvania militia in 1843. Alexander Chambers Hart (1811-1884) was a physician and surgeon. He helped found the Charity Hospital of Philadelphia and served during the Civil War., Title supplied by cataloger., Date from item., Manuscript written on recto: Head Quarters. 1st Regt of Artillery, Philadelphia, June 1st, 1843.To Surgeon Alexander C. Hart, 1st Regt of Artillery, Sir, You are hereby appointed to be the Surgeon of the First Regiment of Artillery in the First Brigade of the First Division of Pennsylvania Militia. Your uniform and equipment will be similar to those of a surgeon in the Army of the United States. Be pleased to inform me at your earliest convenience of your acceptance or non-acceptance of this appointment. Very Respectfully your obedt servant, A.J. Pleasonton, Colonel., Gift of David Doret, 2017.
Date: [ca. 1843]
Location: Library Company of Philadelphia | Print Department *Phila Certificates - Military - Hart Collection [P.2010.21.5.5]

Title: United States Pension Surgeon. Dr. Alexander C. Hart, N.W. cor. Sixth and Spring Garden Sts. Philadelphia. Office Hours: 8 to 9 A.M., 1 to 2 P.M., 6 to 7 P.M
Description: Broadside announcing Dr. Alexander C. Hart's office hours as U.S. Pension Surgeon. Alexander Chambers Hart (1811-1884) was a physician and surgeon. He helped found the Charity Hospital of Philadelphia and served during the Civil War., Title from item., Date inferred from content., Manuscript note written on verso: "Extract from Moore Genealogy....", Gift of David Doret, 2017.
Date: [ca. 1865]
Location: Library Company of Philadelphia | Print Department *Phila Certificates - Military - Hart Collection [P.2010.21.5.6]

Title: [Genealogical information about Alexander C. Hart]
Description: Typewritten and manuscript letter containing genealogical information about Dr. Alexander C. Hart. Alexander Chambers Hart (1811-1884) was a physician and surgeon. He helped found the Charity Hospital of Philadelphia and served during the Civil War., Title supplied by cataloger., Date inferred from content., Verso of manuscript letter has signature in ink: Alex. C. Hart., Gift of David Doret, 2017.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department *Phila Certificates - Military - Hart Collection [P.2010.21.5.7; P.2010.21.8]

Title: The Mikado
Description: Racist trade card promoting thread manufacturer J. & P. Coats and depicting a character from The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan. Shows the white man actor in character as the Mikado, or Emperor. He stands holding a closed fan and smiles at the viewer attired in a headpiece, a blue kimono decorated with gold birds and flowers and red trim, with a sword at his waist. An oversized spool of thread labeled, "J & P. Coats 200 yds 50 best six cord," is in the right. Brothers James Coats, Jr. (1803-1845) and Peter Coats (1808-1890) established the firm J.&P. Coats, a thread manufactory. Their brother Thomas Coats (1809-1883) joined the firm soon after. By 1840, three quarters of the British company’s business was with the United States. In 1896, the firm merged with thread manufacturer Clark & Co. and formed J. & P. Coats, Ltd. In 2015, the firm was renamed, “Coats Group.”, Title from item., Date deduced from the history of the advertised business., Text printed on recto: My object all sublime! Shall attain in time. To let the punishment fit the crime, the punishment fit the crime. All people who have to do sewing and don't use Coats' six cord thread, will be punished with cotton that's snarly and rotten and kinks, till they wish they were dead., Advertising text printed on verso: White, black and colors for hand and machine. J & P. Coats' Best Six Cord Thread.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Trade Cards - J. & P. Coats [P.2024.38.1]

Title: Nanki-Poo
Description: Racist trade card promoting thread manufacturer J. & P. Coats and depicting a character from The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan. Shows the white man actor in character as Nanki-Poo. He stands holding an open fan with his hands up. He wears a blue decoration in his hair and is attired in a blue-striped coat, red shirt, blue and white obi, red tunic, and sandals. A branch of pink flowers is overhead. An oversized spool of thread labeled, "J & P. Coats 200 yds 50 best six cord," is in the left. Brothers James Coats, Jr. (1803-1845) and Peter Coats (1808-1890) established the firm J.&P. Coats, a thread manufactory. Their brother Thomas Coats (1809-1883) joined the firm soon after. By 1840, three quarters of the British company’s business was with the United States. In 1896, the firm merged with thread manufacturer Clark & Co. and formed J. & P. Coats, Ltd. In 2015, the firm was renamed, “Coats Group.”, Title from item., Date deduced from the history of the advertised business., Text printed on recto: The flowers that bloom in the spring, tra la. breathe promise of merry sunshine, as we merrily dance and we sing, tra la, we welcome the hope that they bring, tra la, of a summer of roses and wine. And so, Coats' spool cotton is always a thing as welcome as flowers that bloom in the spring., Advertising text printed on verso: White, black and colors for hand and machine. J & P. Coats' Best Six Cord Thread.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Trade Cards - J. & P. Coats [P.2024.38.2]

Title: Pooh-Bah
Description: Racist trade card promoting thread manufacturer J. & P. Coats and depicting a character from The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan. Shows the white man actor in character as Pooh-Bah. He stands holding a closed fan and frowns. He wears his hair in a chonmage hairstyle and is attired in a blue and white patterned kimono with birds with a red obi and has a sword at his waist. An oversized spool of thread labeled, "J & P. Coats 200 yds 50 best six cord," is in the right. Brothers James Coats, Jr. (1803-1845) and Peter Coats (1808-1890) established the firm J.&P. Coats, a thread manufactory. Their brother Thomas Coats (1809-1883) joined the firm soon after. By 1840, three quarters of the British company’s business was with the United States. In 1896, the firm merged with thread manufacturer Clark & Co. and formed J. & P. Coats, Ltd. In 2015, the firm was renamed, “Coats Group.”, Title from item., Date deduced from the history of the advertised business., Text printed on recto: I'am so proud, if I allowed, my family pride, to be my guide, you'd never hear, within your ear, Coats six cord thread, stand at the head, but family pride, must be denied, and set aside, and mortified, and so you hear, within your ear, Coats six cord thread, stands at the head., Advertising text printed on verso: White, black and colors for hand and machine. J & P. Coats' Best Six Cord Thread., Stamped on verso: W. Otis Hall, Retail Fancy Goods, Washington Street. Boston, Mass.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Trade Cards - J. & P. Coats [P.2024.38.3]

Title: Yum-Yum
Description: Racist trade card promoting thread manufacturer J. & P. Coats and depicting a character from The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan. Shows the white woman actress in character as Yum-Yum. She sits on an oversized spool of thread labeled, "J & P. Coats 200 yds 50 best six cord," and holds a white spool of thread in her left hand. She wears her hair up and decorated with small red, blue, and yellow fans and is attired in a blue, yellow, and white patterned kimono. A building and some palm trees by the water are in the background. The moon reads, " J & P. Coats best six cord." Brothers James Coats, Jr. (1803-1845) and Peter Coats (1808-1890) established the firm J.&P. Coats, a thread manufactory. Their brother Thomas Coats (1809-1883) joined the firm soon after. By 1840, three quarters of the British company’s business was with the United States. In 1896, the firm merged with thread manufacturer Clark & Co. and formed J. & P. Coats, Ltd. In 2015, the firm was renamed, “Coats Group.”, Title from item., Date deduced from the history of the advertised business., Text printed on recto: "We've Coats' spool cotton, that's the reason why we're very wide awake, the moon and I.", Advertising text printed on verso: White, black and colors for hand and machine. J & P. Coats' Best Six Cord Thread.
Date: [ca. 1880]
Location: Library Company of Philadelphia | Print Department Trade Cards - J. & P. Coats [P.2024.38.4]

Title: Mrs. Clinton
Description: Photographic reproduction of the 1797 portrait engraving made by St. Memin of Cornelia Tappen Clinton. Bust-length, left profile portrait of Clinton attired in a ruffled bonnet and a fichu shawl over her dress. Cornelia Tappen Clinton was born in Kingston, New York to Petrus Stoffelse Tappen (ie. Peter Tappen) and Tjaatje Cornelise Wynkoop. She married George Clinton, Vice President of the United States under Jefferson and Madison., Title from manuscript note written under image: Mrs. Clinton., Date inferred from photographic medium., Gift of David Doret.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department misc. photo - portraits - miscellaneous [P.2010.6.34]

Title: Governor Clinton
Description: Photographic reproduction of the 1797 portrait engraving made by St. Memin of George Clinton. Bust-length, right profile portrait of Clinton attired in a neckerchief, waistcoat, and jacket. George Clinton was governor of New York from 1777 to 1795 and 1801 to 1804. He served as Vice President from 1805 to 1812., Title from manuscript note written under image: Governor Clinton., Date inferred from photographic medium., Gift of David Doret.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department misc. photo - portraits - miscellaneous [P.2010.6.35]

Title: Mrs. Kemper
Description: Photographic reproduction of the 1797 portrait engraving made by St. Memin of Elizabeth Marius Kemper. Bust-length, left profile portrait of Kemper attired in a ruffled bonnet, earrings, necklace, and a fichu shawl over her dress. She was married to Daniel Kemper (1749-1847,) who served as a Colonel during the American Revolution and later was the customs receiver for the port of New York., Title from manuscript note written under image: Identified. Mrs. Daniel Kemper., Date inferred from photographic medium., Gift of David Doret.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department misc. photo - portraits - miscellaneous [P.2010.6.36]

Title: [Christina Livingston Macomb]
Description: Photographic reproduction of the 1797 portrait engraving made by St. Memin of Christina Livingston Macomb. Bust-length, left profile portrait of Macomb wearing her curly hair up with a headband and attired in a dress with a ruffled collar. Christina Livingston Macomb was the daughter of Philip P. and Sarah Johnson Livingston of New York. She married merchant John Navarre Maccomb (1774-1810) in 1797., Title from manuscript note written under image: Identified. Mrs. John Navane Maccomb [sic]., Date inferred from photographic medium., Gift of David Doret.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department misc. photo - portraits - miscellaneous [P.2010.6.37]

Title: [Miss Rogers]
Description: Photographic reproduction of the 1797 portrait engraving made by St. Memin possibly of Sarah Elizabeth Rogers. Bust-length, left profile portrait of Rogers wearing her curly hair up with a headband and attired in a dress with a ruffled collar. Portrait identified by descendants as Sarah Elizabeth Rogers, daughter of New York merchant Moses Rogers and Sarah Woolsey Rogers. Sarah Elizabeth Rogers would have been twenty years old, and the sitter appears older. Inscription also reads, Mrs. Rodgers, which is crossed out. [See Elaine Mile. Saint-Memin and the neoclassical profile portrait. Washington, D.C.: National Portrait Gallery, 1994, p.382-383.], Title from manuscript note written under image: Identified. Mrs.[crossed out] Rodgers. Miss Rogers., Date inferred from photographic medium., Gift of David Doret.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department misc. photo - portraits - miscellaneous [P.2010.6.38]

Title: [Edward William Laight]
Description: Photographic reproduction of the 1797 portrait engraving made by St. Memin of Edward William Laight. Bust-length, left profile portrait of Laight wearing his hair tied back in a bow and attired in a neckerchief and jacket. Edward William Laight graduated from Columbia University and studied law in the office of Aaron Burr. He served as a Major General in the New York militia and was president of the Eagle Fire Insurance Company., Title supplied by cataloger based on entry in Mile. St. Memin. (Washington, D.C.: National Portrait Gallery, 1994)., Date inferred from photographic medium., Gift of David Doret.
Date: [ca. 1900]
Location: Library Company of Philadelphia | Print Department misc. photo - portraits - miscellaneous [P.2010.6.39]

Title: [Full-length studio portrait of an unidentified African American clergyman]
Description: Full-length portrait of an African American clergyman, standing, looking slightly right. He wears slicked back hair and a mustache. He is attired in a clergyman's robe and laced shoes. He holds a small book, possibly a Bible, up to his side with his right hand. He stands next to an armless chair with padded seat and draped in a patterned afghan. Potrait also includes a backdrop depicting a palatial window setting., Title supplied by cataloger., Date inferred from dates of operation of photographer at addressed listed in imprint., Photographer's imprint stamped on mount., William C. Withers operated from 814 Chestnut Street 1896-1900.
Creator: Withers, William C., photographer
Date: [ca. 1898]
Location: Library Company of Philadelphia | Print Department cabinet card portraits - photographer - Withers [P.2024.68]

Title: The Dancing Chinaman. An amusing cut-out
Description: Racist caricature of a Chinese man printed as a paper toy marionette. Depicts the man wearing a queue hairstyle, attired in a green tunic with yellow trim, red pants with green trim, yellow socks, and black cloth slip-on shoes, and with long fingernails. He smiles broadly and holds two fingers up on each hand. Printed in segments of head, torso, and separate arms and legs with instructions on how to cut the pieces out and attach them with strings to sticks to make a puppet. In the right, shows a diagram with the constructed toy and two white hands holding the sticks to make him dance., Title from item., Date from copyright statement: Copyright 1909, by the North American Company., Published in the September 12, 1909 Sunday supplement of the North American newspaper., Text printed on recto: Directions: Paste this sheet upon a sheet of heavy cardboard: let it dry thoroughly, and cut out pieces around heavy black lines. Join parts together by knotting a piece of string on either side, as in diagram. (A to A, B to B, C to C, D to D and E to E.) Then take two sticks about eight inches long (two pencils will do), cut two pieces of black thread about twenty-four inches long: fasten them at either side of figure’s head (1 and 2) and at each end of one stick, as in diagram. Cut two pieces of black thread about six inches long, make them fast at bottom of arm and knee (Nos. 3, 4, 5 and 6), as in diagram. Cut then at either end of other stick, as in diagram. Hold stick No. 1 in left hand and No. 2 in right hand, let feet of figure touch floor and tilt stick No. 2 up and down in a seesaw manner. With a little practice you will be able to work your marionette in first-class order., RVCDC, Larry Semon (1889-1928) worked as a cartoonist for Philadelphia and New York newspapers before becoming an actor, director, producer, and screenwriter during the silent film era.
Creator: Semon, Larry, 1889-1928
Date: 1909
Location: Library Company of Philadelphia | Print Department *GC- Paper toys - Dancing [P.2024.71.1

Title: A Japanese family. A pretty and interesting cut-out
Description: Print depicting a Japanese man, boy, and two women, which could be cut out and made into a paper toy. In the left, shows a Japanese woman attired in a red kimono with green trim tied with a black and yellow obi and wearing her hair up and adorned with a kanzashi hair ornament. She looks left with her left hand at her waist and holds a fan in her right hand. In the right at her feet are white flowers. The Japanese man wears a chonmage hairstyle, which is shaved in the front with a top knot, and is attired in a blue, green, and white kimono and slip on shoes, and has a sword in a scabbard at his waist. He stands with his face in right profile. In the top right, the boy, attired in a white and red kimono and socks, sits on the ground beside a white flower. In the bottom right, a Japanese woman, attired in a blue kimono with gray trim tied with a black obi and wearing her hair up and adorned with a kanzashi hair ornament, sits on the floor with her left hand resting on her leg and her right hand up. She is surrounded by two vases, a black stand with a teapot on top, and a decorative screen depicting a bird. In the top center, shows a diagram depicting how the figures could be cut out and flaps used to stand them upright., Title from item., Date from copyright statement: Copyright 1910, by the North American Company., Published in the March 6, 1910 Sunday supplement of the North American newspaper., Text printed on recto: Directions: Paste this sheet upon a sheet of heavy cardboard: let it dry thoroughly, and cut out pieces around heavy black lines. To make figures stand, bend the flabs backward at the dotted lines, A, B, C, D, E, F, as in the diagram. When ready, stand the figures up and arrange to suit yourself., RVCDC, Larry Semon (1889-1928) worked as a cartoonist for Philadelphia and New York newspapers before becoming an actor, director, producer, and screenwriter during the silent film era.
Creator: Semon, Larry, 1889-1928
Date: 1910
Location: Library Company of Philadelphia | Print Department *GC- Paper toys - Japanese [P.2024.71.2]

Title: The Walnut Street Theatre, 119th and 120th season
Description: Program for performance of The Mikado or, The town of Titipu, the opera by W. S. Gilbert and Arthur Sullivan at the Walnut Street Theater, Philadelphia in January, 1928. Includes a list of the cast of the two act opera; history of the Mikado; article on the upcoming performance of the musical Chicago; and an article on Winthrop Ames. Cover image shows a decorative stone structure with sphinx, satyr, women, and urns against a red background. Advertisements include: Chinese restaurants, King Joy, Mandarin Cafe, Cathay Tea Garden; Mirador restaurant; Frigidaire; Bonschur & Holmes, opticians; Locust Laundry; Joseph Rieder, money lender; and Stetson Hats., Title from item., Date inferred from dates of the stage production., Cast of performers include: John Barclay, William Williams, Fred Wright, William C. Gordon, J. Humbird Duffey, Lois Bennett, S. Russell Sterling, Bettina Hall, Vera Ross, George C. Lehrian, Paula Langlen. Settings & costumes: Raymond Sovey. Dances: Michio Ito. Stage Manager: John Clements. Winthrop Ames: Managerial sponsor of the Gilbert and Sullivan Opera Company., Advertisements for Philadelphia Chinese restaurants include: King Joy “Leading Chinese-American Restaurant, S.E. Corner 12th and Chestnut Streets. Art Coogan and His Orchestra, Broadcasting Nightly Thru W.I.P. The city’s most delightful Restaurant to dine and dance” and depicting a Chinese woman, attired in a tunic and pants, holding a parasol; Mandarin Café “1016-18 Chestnut St. Smartest Café in Town, Announcing Ruth Bott and Her Studio Girl Orchestra, First Girl’s Most Unique Orchestra in Philadelphia, Dancing”; and Cathay Tea Garden “Chinese-American Restaurant, 1223 Chestnut Street, Billy Hays, Popular Song Writer and His Cathay Tea Garden Dance Orchestra, Dancing” and depicting a Chinese woman, wearing her hair up and attired in a tunic, pants, and slip on shoes, holding a fan in each hand.
Date: 1928
Location: Library Company of Philadelphia | Print Department *ephemera -- Misc. - Walnut [P.2024.37]

Title: Our cottage [Avocado], Sea Girt, [NJ], from S.E. Mother in bathroom window
Description: Glass negative showing the Morris family home Avocado, a multi-story Victorian-style home with a wide porch and a prominent tower. Marriott C. Morris' mother Martha Canby Morris is visible sitting in a window on the second floor. Dune grass grows in front of the house and trees behind. Elliston Perot Morris bought property in Sea Girt, N.J. in 1875, where he built the summer home Avocado after designs by Quaker architect Hibberd Yarnall. Morris left Avocado, named after a Perot family estate in Bermuda, to his daughter Elizabeth Canby Morris in his will. It was sold in 1947 after her death. By 1958 the house had been demolished., Photographer remarks: Swing back not straight. Very fair neg.This must be intensified., Time: 9:20, Light: Good sun., Digitization and cataloging has been made possible through the generosity of David Marriott Morris, Eleanor Rhoads Morris Cox, and William Perot Morris in memory of Marriott Canby Morris and his children: Elliston Perot Morris, Marriott Canby Morris Jr., and Janet Morris and in acknowledgment of his grandchildren: William Perot Morris, Eleanor Rhoads Morris Cox, Jonathan White Morris, and David Marriott Morris., Edited.
Creator: Morris, Marriott Canby, 1863-1948, photographer
Date: September 4, 1885
Location: Library Company of Philadelphia | Print Department Marriott C. Morris Collection [P.9895.736]

Title: [Steven-Cogdell/Sanders-Venning Hinkson family group portrait collection]
Description: Collection of group portrait photographs, including members of the Hinkson line of the African American middle-class Stevens-Cogdell and Sanders-Venning family. Portraits depict a 1929 group portrait photograph of the Christian Street Y.M.C.A. volleyball team, including Dehaven Hinkson; a 1932 portrait photograph of a “Bon Voyage” children’s party for sisters Cordelia Hinkson (Brown) and Mary Hinkson (Jackson) (daughters of Dehaven and Cordelia Chew Hinkson)(P.2015.46.1); a ca. 1950 photograph of a group of several woman, during a dinner party, posed around a large formally-set dining table, including Dorothy Abele Gatling, Mary Venning, Martha Venning Bowie, Agnes Chew Upshur, Cordelia Chew Hinkson, Julia Capps Venning, and Georgine Saunders Chew; ca. 1950 group portraits of members of the men’ organization the Boulé, including Dehaven Hinkson, Richard J. Warwick, and Eugene T. Hinson; and a 1950 Theresa Studio photograph of the men's social club Commissioners of Philadelphia annual June dinner and dance at the Theresa Hotel (Harlem, N.Y.C.) (P.2015.46.7), including William Warrick, Mabel Lawson Warrick, Dehaven Hinkson, Cordelia Chew Hinkson, William G. Upshur, and Agnes Chew Upshur; and a ca. 1955 group portrait of the women’s social group the Geace (P.2015.46.2), possibly during their golden anniversary, including Mary Venning, Martha Venning Bowie, Agnes Chew Upshur, Dorothy Abele Gatling, Mabel Lawson Warrick, and Cordelia Chew Hinkson., The "Bon Voyage" party was a farewell party before Dehaven Hinkson and his family relocated to Europe for his post-graduate studies. The Geace Club evolved from the women meeting as adolescents as members of the Sunshine Club. The Sigma Pi Phi Fraternity, also known as the Boulé, is the first Greek-letter fraternity founded by African Americans in 1904. Members have already received their college and professional degrees at the time of inclusion. Richard J. Warwick and Eugene T. Hinson were founding members. The Commissioners was founded in 1933 by prominent African American Philadelphians as a men's social club "to promote social involvement among members of the community.", Title supplied by cataloger., Date inferred from content., Photographers include Frank W. Harris, G. Marshall Wilson, and the Theresa Studio., See Lib. Company. Annual Report, 1991, p. 26-31., Gift of descendants Cordelia H. Brown, Lillie V. Dickerson, Mary Hinkson Jackson, and Georgine E. Willis in honor of Phil Lapsansky., See LCP exhibit catalogue: African American Miscellany p. 45., Genealogical charts available at repository., Several of the sitters of the photographs were identified by the donor. Photocopies with the identified sitters housed at the repository., Housed with Stevens-Cogdell and Sanders-Venning and Chew Families Miscellaneous Portraits Collection [P.2013.14]., RVCDC, Description revised 2022., Access points revised 2022.
Date: [1929-ca. 1950]
Location: Library Company of Philadelphia | Print Department Stevens-Cogdell/Sanders Venning Collection [P.2015.46]

Title: Photographing the baby
Description: Trade card after an 1870 Sol Eytinge Harper's Weekly illustration with white figures depicting a racist, caricaturized genre scene to promote the coach varnish firm Clarence Brooks & Co. Scene shows a white photographer taking the portrait of an African American toddler in hi studio. The African American figures are portrayed with caricatured and exagerrated features. In the right, the white photographer stands next to his camera and tripod. He holds a cloth in his right hand, at his side, and a yellow-colored, monkey-like string puppet in his raised left hand. He wears a beard and is attired in a long brown jacket and blue striped pants. Between him and his young sitter is a framed advertisement above maroon paneling on an olive-colored wall. The advertisement reads: "Clarence Brooks & Co., Fine Coach Varnishes, Cor. West & West 12th Sts." In the left, the African American girl sits stiffly on a plush, green arm chair. Her eyes are opened wide in a surprised expression. She wears a sleeveless pink dress with blue bows at the shoulders. Behind her, in the doorway, are two African American women. The younger woman, likely to be perceived as the girl's mother, peers around from the left of the doorway. She wears a stylish hat, white blouse, and red bow at her neck. An older woman, likely to be perceived as the girl's grandmother, stands in the right of the doorway. She wears a brown-colored bonnet with a large bow around her chin and a brown-colored dress and shawl. Clarence Brooks established his varnish business in 1859 as Brooks and Fitzgerald, later Clarence Brooks & Co. In the early 1880s the firm issued calendars illustrated with African American caricatures in genre scenes, often after Sol Eytinge Harper's Weekly illustrations., Title from item., Publication date inferred from dates of activity of publisher (1888-1892) as cited in Jay Last, The Color Explosion (Santa Ana: Hillcrest Press, 2005)., Purchased with funds for the Visual Culture Program (Junto 2015)., Housed with the Emily Phillips Advertising Card Collection., RVCDC, Description revised 2022., Access points revised 2022.
Creator: National Bank Note Co.
Date: [ca. 1890]
Location: Library Company of Philadelphia | Print Department trade card - Brooks [P.2016.17.1]

Title: [Man lying on a mechanical invalid bed]
Description: Documentary portrait, possibly a mendicant photograph, showing a man lying on an invalid bed. The bed is composed of a bed frame, the mattress on which the man lies, overhead vertical rails, side "rails" made of stretched cloth, and a hand crank. The man, possibly a Civil War veteran, has a dark bushy mustache and rests his head on a pillow in the left of the image. He looks toward the viewer. He rests his hand on one of the side slats. A jacquard blanket covers him. To the side of the bed, is a lower "ledge" covered in jacquard fabric. A basket of fruit and two books adorn it. In the left forefront is a side table on which a book rests. In the right background, a window with curtains is visible. The stereograph was possibly sold as a means to raise funds for the man portrayed in the photograph., Title supplied by cataloger., Date inferred from mount and content., Warped yellow mount with rounded corners., Purchased with funds for the Visual Culture Program (Junto 2015).
Date: [ca. 1870]
Location: Library Company of Philadelphia | Print Department stereo - unidentified photo - Genre [P.2016.26.1]

Title: William Russell Birch Collection
Description: Collection containing primarily engravings, watercolors, and drawings executed by English-born artist and engraver William Birch and his descendants between the 18th and later 19th century. Several of the graphic materials are by William Birch and represent engraved work he completed in Britain before 1794 and following his immigration to the United States that same year. His British work includes plates from his unpublished satiric volume “The Busy World, or London Dissected ...” (ca. 1792-ca. 1793) showing a charlatan at work, a fight between Richard Humphreys and Daniel Mendoza, a May Day procession, and rag dealers (P.2016.50.28-33); loose plates from his book of British landscapes “Les Delices de la Grande Bretagne” (1791) (P.2016.50.34, 36, 42); the rural and scenic “The Porcupine Inn Yard Rushmore Hill” (p.2016.50.38); the disaster print “The Great Fire of London in the Year 1666” (P.2016.50.55); and portraits of the poetical character Secander (P.2016.50.40) and his mentor “Sir Joshua Reynolds” (P.2016.50.22). His American work includes variant editions of plates from his “Views of Philadelphia” originally published as a series 1798-1800 (P.2016.62.21-37); variant editions of plates from his “Country Seats” originally published in 1808 (P.2016.62.38-45a); and the 1800 commemorative portrait “George Washington. Late President of the United States of America” (hand-colored and black and white [P.2016.50.59 & P.2016.62.55])., British and American work of Birch is also included in the collection in the form of watercolors, drawings, paintings, a sketchbook, and as photographic reproductions. These graphics depict portraits of family members (some photographed ca. 1910s by Charles W. Parker), including his children Priscilla, Thomas, George, and Albina while young as well as his purportedly his mother Anne (P.2016.50); ca. 1800s plan and views of his Bucks County country seat Springland (purchased in 1798) (P.2016.50.48-50); views of the Philadelphia country seat China Retreat, Gunpowder Falls near Hampton, MD, and the George Read estate in New Castle, DE (P.2016.50.43, 45-46); an annotated sketch of Westminster Bridge from the Adelphi Terrace (P.2016.50.51); a drawing of a group of boys (P.2016.62.2); and pencil sketches of male and female figures within an undated sketchbook (P.2016.62.59). Additionally, Birch’s work is represented by a preparatory sketch of an A. Sheffer portrait of Lafayette (P.2016.50.21); portrait drawings of unidentified sitters (P.2015.25 & 26); a ca. 1795 miniature enamel painting of his daughter Deborah (P.2016.50.67); a palette of his paint colors (P.2016.50.66); and an 1830s oil painting of an older Thomas Birch (1779-1851) attributed to William (P.2016.62.1)., Other original and reproduced material is attributed to William Birch or by Birch family members or by other artists and engravers. This includes a 1742 Thomas Worlidge pencil portrait of William’s father Thomas (P.2016.50.14), a Birch portrait of William King (father-in-law of son Thomas), and portraits and a "Museum" (i.e., Peale Museum) blind-stamped silhouette of Birch (P.2016.50.16); ca. 1785 Robert Freebairn watercolor of Hampstead Heath (Birch’s British county of residence); engravings by M. Marigot of “Mount Vernon ...” and “View of the City and Port of Philadelphia ...” from Janson's "Stranger in America" (London, 1807)(P.2016.50.37 & 41); Franklin Birch 1860s pencil sketches of a printing press and plows (P.2016.62.5-6)); Louise S. Birch's oil renderings of flowers (P.2016.62.12-13); sketches of a title page to the 1852 edition of Thomas Day’s “The History of Sanford and Merton” and of rural and landscape scenes and animal studies (Thomas Birch?; P.2016.62.3, 8-11); John McAllister, Jr. 1860 restrikes (some signed by Agnes McAllister) of Philadelphia views by Charles Willson Peale, Thomas Birch and William Strickland and the 1798 “Congressional Pugilists cartoon (P.2016.62.46-52; and engraved portraits of Major Genl. Brown (P.2016.62.53) and Edward Shippen (P.2016.62.54)., Collection also contains a unique ca. 1810 mockup by Birch for a revised and enlarged edition of his “Country Seats” (P.2016.62.59).The album includes plates from the first edition as well as a proof plate of the Devon view, three watercolors showing “Analostun, or Masons Island with one wing of the house at Georgetown and two of Mr. Custus’s in the distance”; “Point Breeze. The Residence of Joseph Bonapart – at Burdentown on the Delaware”;“The Mill & House of Mr. E. Esirel late sheriff of Phila., Near Christeen,” and a pencil sketch “Mr. Bells Buildings at Richmond.” Other unique items in the Birch Collection include his two variant volumes of manuscript copies of “The Life and Anecdotes of William Russell Birch ...”(bulk written after War of 1812 and into the 1820s), including accounts of his work and travels (P.2016.50.61 & 62); “Birch’s American Cottage. Volm. 2nd” of personal anecdotes, including discussion of Springland (P.2016.50.63); Birch’s “Book of Profitts” with entries dated 1813-1830 (P.2016.50.64); and probably his personal copy of “Les Delices de la Grande Bretagne” (P.2016.50.65). An imperfect copy of “Les Delices” formerly owned by original subscriber Francis Longe (and including his book plate) and a copy of “Transactions of the Society Instituted at London” (1785) referencing a Birch award (p.183) are also included with the materials (P.2016.50.65 & 60)., A small number of manuscripts written by William Birch comprise the collection as well. These materials include a ca. 1800-ca.1805 calligraphic and manuscript title page to "Views of and from The Country References of William Birch. Drawn by Himself wih a sett of Drawings of Springland"; a ca. 1818 letter to an unidentified granddaughter (P.2015.50.1); an undated letter addressed to the Duke of Grafton and Duke of Richmond about “forgetting their subscriptions” (possibly about subscription to Delices... [1791]) (P.2015.50.2); scraps with names of subscribers to “Busy World” (P.2015.50.3) as well as titles completed and to be completed (P.2015.50.4&5); ca. 1805 list of views of “Beautys of Springland not Pictured” (P.2015.50.6); and an 1811 receipt for 5 dollars issued to Ben Wilson for “Views.” (P.2015.50.7). Ephemera also forms the Birch Collection and includes Birch’s certificate of United States citizenship issued in 1808 (P.2016.50.52); a broadside advertising the 1789 titles to be issued by “J. Bell of the British Library” and addressed to Wm. Birch, Hampstead Heath (P.2016.50.53); the bookplate of historian and writer Thomas Birch (1705-1766) (P.2016.50.35 &P.2016.62.15); completed tags for William Birch miniatures on display at the 1911 The Pennsylvania Academy of the Fine Arts and The Pennsylvania Society of Miniature Painters Tenth Annual Exhibition (P.2016.62.17-20); early twentieth-century receipts and labels for works by Thomas and William Birch (P.2016.62.62-66); and an unused enamel plate (P.2016.50.27)., Various artists, engravers, printers, and photographers including William Russell Birch, Thomas Birch, Franklin Birch, Louise Birch, J. N. Gimbrede, Jan Griffier, Augustus Kollner, M. Marigot, Charles W. Parker, Charles Willson Peale, P. Roberts, J. Rogers, Julius F. Sacshe, Ary Sheffer, Samuel Shelley, Thomas T. Stiles, Gilbert Stuart, Benedictus Antonio Van Assen, E. Wellmore, J. Wood, and Thomas Worlidge., Various publishers and distributors including J. Bell, William Birch, R. Campbell & Co., James Cundee, E. Jeffrey, Edward J. Parker, R. Pollard, C. Taylor, and T. Thornton., Research files, genealogical reference files, and modern photographic reproductions of the artists' work that accompanied the collection when acquired are available at the repository., See Emily T. Cooperman and Lea Carson Sherk, Picturing the American Scene (Philadelphia: University of Pennsylvania Press, 2011)., See Emily T. Cooperman, ed., The Country Seats of the United States. William Russell Birch (Philadelphia: University of Pennsylvania Press, 2009)., See S. Robert Teitelman, Birch's Views of Philadelphia. (Philadelphia: The Free Library of Philadelphia, 1982, rev. 2000)., See Martin P. Snyder, "William Birch: His Philadelphia Views," The Pennsylvania Magazine of History and Biography 73 (July 1949), 271-315., See Martin Snyder, "Birch's Philadelphia Views: New Discoveries," The Pennsylvania Magazine of History and Biography 88 (April 1964), 164-173., See Martin P. Snyder, "William Birch: his ’Country seats of the United States,’" Pennsylvania magazine of History and Biography 81 (1957), 225-254., Lib. Company. Annual Report, 2017, p. 49 - 51., P.2018.55 photographic reproduction of Mrs. Robinson engraved by William Birch after Sir Joshua Reynolds housed with collection., William Russell Birch (1755-1834), trained in England under Sir Joshua Reynolds, was a respected Philadelphia engraver, miniaturist, and enamel painter. Birch was also one of the most important landscape artists in America’s Federal period. He engraved and published the first viewbook of an American city, "The City of Philadelphia in the Year… 1800" and the respected "The Country Seats of the United States of North America" in 1804. His son Thomas Birch (1779-1851) assisted him in the drawing and engraving of his viewbooks. He became a respected artist in his own right and specialized in marine paintings.
Date: [ca. 1742 - ca. 1913]
Location: Library Company of Philadelphia | Print Department Birch Collection [P.2016.50 & 62 and P.2017.54 and P.2018.55]

Title: [Architectural drawing of the front elevation of Strawbridge & Clothier, 8th and Market Streets, Philadelphia]
Description: Shows the five-story, multi-section front facade of the department store (established in 1868) at the northwest corner of 8th and Market Streets. Sign at the top reads, "Strawbridge & Clothier." The expanded Strawbridge & Clothier building was completed circa 1897 after the designs of Philadelphia architect Addison Hutton. Justus Clayton Strawbridge (1838–1911) and Isaac Hallowell Clothier (1837–1921) founded Strawbridge & CLothier in Philadelphia in 1868., Title supplied by cataloger., Date inferred from manuscript note on related print. See related print **Architectural Drawings - unid. - Strawbridge [P.2010.35.9], Gift of David Doret.
Date: [ca. 1891]
Location: Library Company of Philadelphia | Print Department **architectural drawings - unidentified - Strawbridge [P.2010.35.8]

Title: [Stevens-Cogdell and Sanders-Venning and Chew families portrait collection]
Description: Collection of primarily professional portrait studio photographs depicting members of the Venning, Chew, Saunders, and Sanders lines of the African American middle-class Stevens-Cogdell and Sanders-Venning Family. Portraits show the sitters when children and/or when adults. Sitters include Sallie Venning Holden ( P.2014.51.16-17) and her nieces Lillie Venning and Mary Venning; Harriette Elizabeth Richardson Saunders and George Saunders (parents of Georgine Saunders Chew); Cordelia Sanders (Chew) and her sons Richard Sanders Chew (P.2014.51.4) and Charles Sanders Chew (“Papoo”) (P.2014.51.6); Georgine Saunders Chew (“Dama”), her daughters Cordelia Sanders Chew (Hinkson) and Agnes Saunders Chew (Upshur), and her siblings Joseph S. Saunders (dentist), Mary Saunders (Patterson) (soprano and music instructor), Charles Saunders, Susan Saunders (Williams), Agnes Saunders. Small number of portraits document school graduations, including those of Cordelia Chew (Hinkson), Agnes Chew (Upshur), and Joseph S. Saunders. Also contains an unidentified silhouette of a young man, probably a member of the Cogdell family, possibly Richard W. Cogdell., Title supplied by cataloger., Date inferred from content., One paper photograph (P.2014.51.1) mounted in daguerreotype brass mat., Silhouette (P.2014.51.3) mounted in daguerreotype case., Various photographers including Herbert Bridle (Philadelphia), Broadbent and Phillips (Philadelphia), H. D. Garns & Co. (Philadelphia), William Kuebler (Philadelphia), Snellenburg & Co. (Philadelphia), William C. Withers (Philadelphia), Keet & Gemmill (Harrisburg), Le Rue Lemer (Harrisburg), Arthur W. Sheppard (Brooklyn), W. E. Perry (Cresson, Pa.), and Abraham L. Myers (Atlantic City)., Sitters identified from manuscript notes on versos and/or accompanying photographic prints., See Lib. Company Annual Report, 1991, p. 26-31., Gift of descendants Cordelia H. Brown, Lillie V. Dickerson, Mary Hinkson Jackson, and Georgine E. Willis in honor of Phil Lapsansky., See LCP exhibit catalogue: African American Miscellany p. 45., Genealogical charts available at repository., P.2014.51.1-3 housed separately in phase box., RVCDC, Description revised 2023., Access points revised 2022.
Date: [ca. 1800-ca. 1925]
Location: Library Company of Philadelphia | Print Department Stevens-Cogdell/Sanders-Venning Collection [P.2014.51]

Title: [Stevens-Cogdell and Sanders-Venning and Chew families miscellaneous portraits collection]
Description: Collection of photographs, several unidentified, of members of the African American middle-class Steven-Cogdell and Sanders-Venning and Chew family of Philadelphia, as well as their extended families and friends. Includes predominantly studio portraiture, including a portrait of William H. Chew (P.2013.14.10), in addition to two miniatures (possibly members of the Cogdell family) and a casual group photograph. Also includes a small number of photographs representing the African American expatriate entertainers' community in Paris in the 1930s; a group portrait of the “Soap Box Minstrels, Musical Fund Hall, December 7, 1909”; and a group portrait with possibly George Washington Musgrave. Minstrel show photograph depicts performers in black face and African American musicians on a stage in front of which a row of African American performers, some in costume and some in tuxedoes, is seated. George Venning and his brother-in-law William Holden were founders of the Soap Box Social in 1908. The Soap Box Social performed an annual minstrel show in the aughts as a fundraiser for the Citizens Republican Club, a social and political club of African American elite men started in 1884. The club’s mission focused on the election of African Americans into public office., Blackface minstrelsy is a popular entertainment form, originating in the United States in the mid-19th century and remaining in American life through the 20th century. The form is based around stereotypical and racist portrayals of African Americans, including mocking dialect, parodic lyrics, and the application of Black face paint; all designed to portray African Americans as othered subjects of humor and disrespect. Blackface was a dominant form for theatrical and musical performances for decades, both on stage and in private homes., Identified sitters include Ivan H. Browning, William H. Chew, Edward W. Venning, Sallie Venning (Holden), Turner Layton, Clarence Johnstone, Thomas "Fats" Waller, and Ada "Bricktop" Smith., Title supplied by cataloger., Date from content., Various photographers, including L. Blaul, African American photographer G. W. Cheston, Flett, J. E. Forbert, O. B. De Morat, S. Georges Ltd, Studio di Art, Sol Young Studios, and Suddards & Fennemore., P.2013.14.12 contains manuscript note on verso: My Honey, My Wife, My All., P.2013.14.15 contains manuscript note on recto: To two regular fellows “Bill & Agnes” Ivan Browning, Paris, France, 1932., P.2013.14.16 contains manuscript note on recto: To The Agnes, Bill, Gene Upshur, With Warmest Wishes, Turner Layton. C.T. Johnstone., P.2013.14.17 contains manuscript note on recto: To Mr. & Mrs. Chew. With Tons of Good Wishes for Every Joy & Oceans of Happiness. Layton & Johnstone., P.2013.14.19 contains manuscript note on recto identifying the sitters: Unknown; [Us.?] Browning; Snow; Unknown; Fats Waller; Unknown; Bricktop., P.2013.14.20 contains manuscript note in ink on recto identifying the sitters: Unknown; Fats; [Mau?]; [Mask?]; Bricktop; Uncle John; Unknown; Ms. Chew; Susan Williams; Unknown; Maureen Browning; Mr. Anson; Ms. Hinkson; Dr. Hinkson; Mr. Chew; Mr. Browning; Unknown. Also contains manuscript note on recto: To Uncle John-Don’t get your derby knocked off. Thomas “Fats” Waller; Uncle John, I think your great & how. Bricktop., See Lib. Company Annual Report, 1991, p. 26-31., Gift of descendants Cordelia H. Brown, Lillie V. Dickerson, Mary Hinkson Jackson, and Georgine E. Willis in honor of Phil Lapsansky., See LCP exhibit catalogue: African American Miscellany p. 45., Genealogical charts available at repository., Description of blackface mintrelsy from Dorothy Berry, Descriptive Equity and Clarity around Blackface Minstrelsy in H(arvard) T(heater) C(ollection) Collections, 2021., Part of digital collections catalog through a grant from the Institute of Museum and Library Services as administered by the Pennsylvania Department of Education through the Office of the Commonwealth Libraries, and the Commonwealth of Pennsylvania, Tom Corbett, Governor, 2013-2014., RVCDC, Description revised 2022., Access points revised 2022.
Date: [ca. 1800-1932]
Location: Library Company of Philadelphia | Print Department Stevens-Cogdell/Sanders-Venning Collection [P.2013.14]

Title: Moses Williams, cutter of profiles
Description: Silhouette of Peale's Museum premier African American silhouettist, facing left. Williams wears his hair in a ponytail adorned with a bow at the end. A bow adorns his collar as well. Williams was enslaved by Charles Willson Peale following the manumission of his parents in 1786. After his manumission in 1804, Williams began work as a silhouettist in Peale's Museum., Possibly by Moses Williams or possibly Raphaelle Peale., Title from manuscript note on recto., Manuscript note on verso: Moses Williams, the Cutter of Profiles. Peales Museum., 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 Gwendolyn DuBois Shaw, " 'Moses Williams, Cutter of Profiles': Silhouettes and African American Identity in the Early Republic," Proceedings of the American Philosophical Society 49 (March 2005), particularly p. 36., See Gwendolyn DuBois Shaw, "'Moses Williams, Cutter of Profiles,' Silhouettes and African American Identity in the Early Republic," in Portraits of a People. Picturing African Americans in the Nineteenth Century (Seattle & London: Addison Gallery of American Art in association with the University of Washington Press, 2006 ), pp. 45-55, 69., Williams's life dates supplied by researcher based on genealogical records. See Moses Williams research file., Originally part of a McAllister scrapbook of portraits., McAllister Collection, gift, 1886., Description revised 2021., Access points revised 2021.
Date: [ca. 1803]
Location: Library Company of Philadelphia | Print Department Silhouette Collection [(3)5750.F.153b]

Title: Emancipation
Description: Reproduction of a George Gardner Fish allegorical painting celebrating the Emancipation Proclamation (1863) originally photographed by Boston photographer J. P. Soule. Depicts the white female figure Columbia holding out the Emancipation Proclamation and standing between a kneeling enslaved African American man and woman (attired in a head wrap). The bare-chested man holds up the pole of an American flag, while the woman drapes the flag around her naked body. Columbia, attired in a tiara and drapey gown, also holds a bunch of sprigs of laurel, as well as stands on a whip. A partial view of a wagon wheel is visible in the left background., Title from item., Artist and photographer from copy in the collections of the Library of Congress. LC copy "Entered according to Act of Congress, in the year 1863, by John Sowle [sic], in clerk's office of the District Court for the District of Massachusetts.", George Gardner Fish was a Nantucket portrait painter who specialized in pastels. He exhibited at the National Academy of Design between 1858 and 1863., John P. Soule was a Boston photographer who also published stereographs and cartes de visite. He served in the Ancient and Honorable Artillery Company of Massachusetts at the end of the Civil War., Purchased with the Davida T. Deutsch African American History Fund., Description revised 2021., Access points revised 2021.
Date: [ca. 1863]
Location: Library Company of Philadelphia | Print Department cdv - misc. - Civil War - Genre & sentimental [P.2014.22]

Title: Near Gettisburg [sic] [Pa.]
Description: Lithograph showing a stream coursing through the landscape, finally flowing under a bridge in the background. In the foreground, there is an island in the middle of the stream with three trees. In the right, a horse lowers his head to drink. A horse-drawn covered wagon travels over the bridge in the background., Title from inscription lower right., Date based on publication date of series: North American Foliage and Trees., First word in title on print in lower case: near., Gift of David Doret., See Nicholas B. Wainwright, "Augustus Kollner, Artist" in Pennsylvania Magazine of History and Biography 84 (1960) 325-351.
Creator: Kollner, Augustus, 1812-1906, artist
Date: 1860
Location: Library Company of Philadelphia | Print Department GC-Views-United States-Pennsylvania [P.2010.35.3]

Title: On foot of Blue Ridge Mountains, Pa
Description: Lithograph showing a covered wagon hitched to four hourses. In the center, a man sits on horseback and talks to a man standing and holding a whip. A woman holds a baby and stands in front of a wooden home with a paddock. In the left is an empty cart. Trees and hills fill the background., Printed lower left: 13., Title from inscription lower right., Date based on publication date of series: North American Foliage and Trees., First word in title on print in lower case: on., Gift of David Doret., See Nicholas B. Wainwright, "Augustus Kollner, Artist" in Pennsylvania Magazine of History and Biography 84 (1960) 325-351.
Creator: Kollner, Augustus, 1812-1906, artist
Date: 1860
Location: Library Company of Philadelphia | Print Department GC-Views-United States-Pennsylvania [P.2010.35.4]

Title: Near Harrisburg Pa
Description: Lithograph showing a view of a river with a large tree in the foreground. To the left of the tree, two men push a raft away from shore. A house is visible on the far bank of the river and above it are a few wispy clouds., Printed lower left: 9., Title from inscription lower right., Date based on publication date of series: North American Foliage and Trees., First word in title on print in lower case: near., Gift of David Doret., See Nicholas B. Wainwright, "Augustus Kollner, Artist" in Pennsylvania Magazine of History and Biography 84 (1960) 325-351.
Creator: Kollner, Augustus, 1812-1906, artist
Date: 1860
Location: Library Company of Philadelphia | Print Department GC-Views-United States-Pennsylvania [P.2010.35.5]

Title: Below Lewistown, Pa
Description: Lithograph showing a view of a river. On the left is a rocky outcropping covered in foliage. On the right the river curves and disappears into the background while two men push a canoe away from shore., Printed lower left: 2., Title from inscription lower right., Date based on publication date of series: North American Foliage and Trees., First word in title on print in lower case: below., Gift of David Doret., See Nicholas B. Wainwright, "Augustus Kollner, Artist" in Pennsylvania Magazine of History and Biography 84 (1960) 325-351.
Creator: Kollner, Augustus, 1812-1906, artist
Date: 1860
Location: Library Company of Philadelphia | Print Department GC-Views-United States-Pennsylvania [P.2010.35.6]

Title: Residence for J. Monroe Shellenberger esq., Doylestown, Penna
Description: Architectural print showing the Queen Anne-Eastlake-style residence built for the notorious Doylestown attorney in 1887 after the designs of Charles Marquedent Burns on East Court Street. Residence, later known as Windemere, contains towers, Gothic windows, a gable roof, and covered porch. Print also shows landscaped lawns. In 1890, the former district-attorney and member of several boards was convicted of forgery and sentenced to Eastern State Penitentiary. The following year, his residence was sold to Dr. George C. Wheeler of Philadelphia., Title from item., Publication date from copyright statement: Copyright, 1886 W. T. Comstock., Possibly published in 1886 edition of Architecture and building (New York: W. T. Comstock, 1882-1899)., Gift of David Doret., Frank Burns, brother of architect Charles M. Burn, worked as a City of Philadelphia Bureau of Surveys draftsman from 1892 until 1912.
Creator: Burns, Frank, 1844-1913, artist
Date: 1886
Location: Library Company of Philadelphia | Print Department *GC - Residences [P.2010.21.3]

Title: Sharples homestead
Description: Historical view showing the over 200-acre West Chester homestead, including a residence, barn, and outbuilding at 22 Dean Street. In the foreground, cows graze near a boy whittling while seated on a log. Lombardy poplars surround the residence in the background. The original log residence built before 1750 was removed and replaced about 1802, and the depicted barn was destroyed by lightning before the Civil War., Title from manuscript written on recto., Date inferred from content., Possibly printed by West Chester printer and younger brother to Martha Sharples Robert P. Sharples., Gift of David Doret., Library Company of Philadelphia Annual Report 2010, p. 73-74., Martha Sharples (b. 1852), daughter of coal and lumber dealer S. Emlen Sharples, worked as a teacher in 1870 and studied at the Philadelphia School of Design for Women 1877-1878. She also was a member of the Chester County Historical Society.
Creator: Sharples, Martha, b. 1852, artist
Date: [1876]
Location: Library Company of Philadelphia | Print Department *GC - Residences - Sharples [P.2010.21.1]

Title: Day's soap does it Washee, washee, see him rub on his washboard in the tub; see him wash and smile with glee for he's from hard labor free; with Day's soap his work is done when his rivals just begun
Description: Title from item., Date from copyright statement: Copyrighted 1887 by Day & Frick., Racist metamorphic trade card showing a caricaturized Chinese man laundry worker washing a sheet on a wash board in a washtub. Includes a tab that when pulled lifts the washer's arms up and down to reveal the text "Day Soap" on the wash board. The man wears his hair in a queue and is attired in a long-sleeved, blue collared shirt with buttons down the front, blue pants, and slip-on, cloth shoes. He smiles and looks to the right. The tub rests on a table beside a bar of soap, labeled “Day’s Soap.” On the ground behind the table is a basket of laundry. Sheets hang on a drying line. In the background, the wall has Chinese-stylized decorations including a gold wallpaper depicting birds and fish and a purple and gold wall hanging that reads, “Day’s Soap.” Peter Day founded the Day & Frick soap manufactory firm in 1886. He retired as president of the firm in 1917., Purchased with funds from the Walter J. Miller Trust for the Visual Culture Program., RVCDC, John D. Avil founded the Avil Printing Company (also known as John D. Avil & Co.) in West Philadelphia and managed it from the early 1860s until his death in 1918.
Date: [1887]
Location: Library Company of Philadelphia | Print Department trade card - Day's [P.2012.62.8]

Title: A " jam" on Dock Street, Philadelphia's produce market place
Description: View of street traffic at the produce market on the 200 block of Dock Street. Horse-drawn carts and wagons packed with sacks, barrels, and crates crowd the cobblestone street lined with storefronts, including C.G. Justice & Co. (123 Dock St.); Rosskam, Gerstley & Co. (133 & 135 Dock Street); Carstairs & McCall Co (139 Dock St.); and J. M. Morris & C. H. Peacock warehouse. Signs advertising "Carstairs & McCall Co. fine rye whiskies," "Rosskam, Gerstley & Co. fine whiskies," and "Fruits" adorn the buildings. Produce dealers C.G. Justice & Co. was established in 1871. Isaac Rosskam and Henry Gerstley founded the whiskey wholesale firm Rosskam, Gerstley & Co. in circa 1869 and continued until 1921. Brothers Charles and James Carstairs, Jr. and John C. McCall founded the whiskey company Carstairs & McCall Co. in 1868., Title printed on mount., Date from copyright statement: Copyrighted 1903 by William H. Rau., Curved buff mount with rounded corners., Distributor's imprint printed on mount: Sold only by Universal View Co., Publisher's imprint printed on mount., Gift of Raymond Holstein.
Creator: Rau, William Herman, 1855-1920, publisher
Date: 1903
Location: Library Company of Philadelphia | Print Department Holstein stereo - Streets - Chestnut Street [P.2011.47.1840]

Title: Porter & Coates' Bookstore, (interior view, from the front)
Description: View showing the interior of Porter & Coates' Bookstore (822 Chestnut) from the front. Book-filled cabinets and tables line the walls. There are three chairs for customers to sit. A grand staircase with a sign that reads, "Art Gallery," stained glass window, ornate moldings, and tile floor adorn the store. Robert Porter (1842-1899) and Henry T. Coates (1843-1910) formed Porter & Coates in 1867. They published over a hundred children's or juvenile libraries, series, and sets. The store at 822 Chestnut Street operated from 1869 to 1885. After Porter died in 1899, Coates renamed the firm Henry T. Coates & Co., Title printed on mount., Date inferred from content., Distributor's label pasted on verso., Photographer and publisher inferred from distributor's label pasted on verso., Stamped on recto: Henry T. Coates, Jr., Yellow mount with rounded corners., Gift of Raymond Holstein.
Creator: Cremer, James, 1821-1893
Date: [ca. 1875]
Location: Library Company of Philadelphia | Print Department Holstein stereo - Streets - Chestnut Street [P.2011.47.1857]

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 green 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 pink floral patterned dress, as well as yellow tall, wide-brimmed floral-patterned hat adorned with purple flowers, greenery, and a veil and long yellow floral-patterned ribbon, yellow gloves, earrings, and green and red button-up boots. She rests her white, 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 yellow parasol rests against the counter. Rows of brown, white, pink, black, and tan 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 blue polka dot dress with pink neckerchief and tall, wide brimmed hat adorned with a veil and yellow ribbons is seen in the doorway of the shop in which multi-color 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 woman’s skin tone is depicted with black 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!, Inscribed: No. 9., 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) [P.9710.9]

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 green ribbon. Her reflection is not visible in the mirror. She wears a pink and yellow calico dress with a white collar that covers her shoulders, blue gloves, patterned stockings, and red slipper shoes. She asks "Frederick Augustus" what he thinks. He stands behind her with his arms crossed and looks toward the mirror. He holds a walking stick under his left upper arm. A dog with a muzzle sits behind him. He responds that he does not like the style. He wears a beard and is attired in a top hat, long blue overcoat with collar, yellow striped pants, white gloves, and black slipper shoes. A white woman sales clerk, wearing a large top-knot hairstyle, and attired in a green waistshirt, watches the woman from behind a counter on which other Dunstable bonnet and a candlestick are displayed. Bonnets, hat boxes, and packages on shelving and green and yellow bunting is visible above the clerk’s head. The figures are portrayed with oversized and exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 14 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect below the image: What you tink of my new poke bonnet Frederick Augustus? I don’t like him no how, case dey hide you lubly face, so you can’t tell one she nigger from anoder., Inscribed: P.14., Charles Hunt was a respected 19th-century London engraver who was most well known for his aquatints of sporting subjects., Copy published in Philadelphia described in Pennsylvania Inquirer, 17 June 1830, p. 2 and ‘Life in Philadelphia, No. 14. The Dunstable Bonnet’, Pennsylvania Inquirer, 17 June 1830, p. 3., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.8442]

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 green waistcoat, blue vest, yellow and red polka-dot cravat, tan pants, and black slip on shoes holding a switch in his right hand and angrily grabbing the boy who has a frightened look on his face and is barefoot. The boy is dressed in patched blue pants, a red jacket with an elbow patch, a yellow vest and a hat made from the pro-Jackson paper "The Mercury." A sword lays beside the boy and a copy of the anti-Jackson paper "Democratic Press" lays in front of the man. In the background, cityscape is visible and a large crowd is seen celebrating Jackson’s election around a flag pole. The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Contains seven lines of dialogue in the vernacular and dialect below the image: Hurrah! Hurrah for General Jackson!! What de debil you hurrah for General Jackson for ? _ You black nigger!_ I’ll larn you better_I’m a ministration man!!”, Inscribed: No. 15., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980). p. 97. (LCP Print Room Uz, A423.O)., Charles Hunt was a respected London engraver who was most known for his aquatins of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.12]

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, yellow pantaloons and white stockings, ruffled white shirt, white cravat, yellow gloves, a gold neck fob, and black slipper shoes bowing with his hat in his hand to invite "Miss Minta" to dance. In the left, "Miss Minta," a curvaceous African American woman, forward facing, her head turned to the right, and dressed in a yellow, cap-sleeved gown with blue trim and an apron detail, a large white and pink-striped headpiece, white opera gloves, and several pieces of jewelry, including a neck fob, bracelets, armlets, and earrings, declines his invitation because she is already "engaged for de nine next set." The figures are portrayed with oversized and exaggerated features. Their skin tone is depicted with black hand coloring. Scene also includes a wooden chair with a red padded seat partially visible in the left foreground and background imagery depicting the interior of a ballroom with a large mirror and other African American men and women ball attendees portrayed with exaggerated features., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Inscribed: No. 16., Shane White and Graham White's Stylin': African American Expressive Culture... (Ithaca: Cornell University Press, 1998), p. 98. (LCP Ii 4, A2880.O)., Charles Hunt was a respected London engraver who was most known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.13]

Title: Life in Philadelphia. "Is Miss Dinah at home?"
Description: Racist caricature depicting a well-dressed, middle-class African American dandy, his right side toward the viewer, calling upon "Miss Dinah" on the outside of her basement apartment. He wears a top hat, blue waistcoat, a pink cravat with polka dots, white pants, yellow gloves, and black slipper shoes adorned with bows. He holds a walking stick perpendicular to his thigh and a fob hangs away from his coat. An African American woman servant, wearing short-cropped hair and earrings, and attired in a pink, short-sleeved dress and apron, stands at the open cellar doors and informs the suitor that Miss Dinah "is bery pertickly engaged in washing de dishes." She holds out a silver tray to collect the dandy’s calling card. The dandy states that he is sorry that he "cant have the honour to pay [his] devours to her" and slightly crouches to place his card on the tray. The figures are portrayed with oversized and exaggerated features. Scene also shows an adjacent basement cellar with open doors and views of shuttered windows on the first floor to "Dinah’s" residence and those adjoining., Title from item., Date inferred from content and publisher., Attribued to William Summers., Inscribed: No. 17., Contains three lines of dialogue in the vernacular and dialect below the image: "Is Miss Dinah at home?""Yes sir but she bery pertickly engaged in washing de dishes.""Ah! I'm sorry I can't have the honour to pay my devours to her. Give her my card.", Shane White and Graham White's Stylin': African American Expressive Culture.... (Ithaca: Cornell University Press, 1998), p. 108. (LCP Ii 4, A2880.O)., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of the Jacksonian Era (PhD. diss., The University of Michigan, 1980), p. 88. (LCP Print Room Uz, A423.O)., LCP AR (Annual Report) 1966, p. 20., Charles Hunt was a respected London engraver who was most well known for his aquatints of sporting subjects., RVCDC, Description revised 2021., Access points revised 2021., Purchase 1966.
Creator: Summers, William, artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.14]

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 brown coat with tails, white bow tie, black pants, black stockings, black slipper shoes, and yellow 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 red 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 red and green bows and with ribbons tied into a bow under her chin. She is also attired in a blue dress with long puff sleeves, trim, and a laced bodice, red 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: No. 19., Charles Hunt was a respected London engraver who is most well known for his aquatints 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: [1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9710.15]

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 brown 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 red floral patterned dress, as well as yellow tall, wide-brimmed floral-patterned hat adorned with tan flowers, greenery, and a veil and long yellow floral-patterned ribbon, white gloves, earrings, and brown button-up boots. She rests her white, 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 black parasol rests against the counter. Rows of black, white, pink, 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 white polka dot dress and tall, wide brimmed hat adorned with a veil and pink ribbons is seen in the doorway of the shop in which light blue 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 below the image: Have you any flesh coloured silk stockings, young man? Oui Madame! here is von pair of de first qualité!, Inscribed: No. 9., 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. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London) [P.9713.2]

Title: Life in Philadelphia. "How you like de new fashion shirt...?"
Description: Racist caricature ridiculing the 1829 male fashion fad of striped shirts depicting a well-dressed African American couple discussing the "new fashion shirt" that he is wearing, seen from under his large yellow tie. "Miss Florinda," who wears a purple headpiece, and a low-cut rose colored dress, holds her fan coquettishly near her face and states that she finds the fashion elegant and how his wearing it within the "Abolition siety" will make him look like "Pluto de God of War!" Contains five lines of dialogue above the image., Title from item., Date inferred from content and name of publisher., After the work of Edward W. Clay., Attributed to William Summers., Plate 9 of the original series published in Philadelphia., Contains seven lines of dialogue in the vernacular and dialect above the image: How you like de new fashion shirt, Miss Florinda? I tink dey mighty elegum_ I see you on New year day when you carry de colour in de Abolition ‘siety -You look just like Pluto de God of War!, LCP exhibit catalogue, Made in America p.29., Nancy Reynolds Davison. E.W. Clay: American Political Caricaturist in Jacksonian America. (PhD. diss., The University of Michigan, 1980), p.88-89., RVCDC, Description revised 2021., Access points revised 2021.
Creator: Summers, William, artist
Date: [ca. 1860]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) [P.9715]

Title: Life in Philadelphia. Sketches of character: At home. Abroad
Description: Racist caricature contrasting two scenes of the same African American couple "At Home" and "Abroad." The "At Home" scene depicts the couple in their kitchen with a wood floor washing dishes together. In the right, the woman, attired in a striped kerchief, short sleeves, apron, skirt, and slip on shoes, is bent over and washes the dishes in a tub on a stool. In the left, the man, barefoot and attired in a shirt with the sleeves rolled up, red vest, bow tie, and pants, sits on the edge of a butcherblock table on top of which a pile of dishes rests, and dries one. The man and woman look at each other. In the background, on the wall, cooking utensils, pots and pans, and a slab of bacon hang from hooks underneath a shelf lined with cook and dishware near a large woven basket, a cupboard, and a small shelf with two bottles. The "Abroad" scene depicts the pair well attired and about to promenade down a city street, possibly Philadelphia and from near Independence Hall. The woman wears a large plumed black and yellow bonnet with a veil and a ribbon tied under her chin, a blue cape over a red dress giving her the appearance of a bell, and gaiter-like shoes. Her husband wears spectacles, a top hat, red-striped shirt, vest, green waist coat, brown pants, and grey gloves. He holds a walking cane down toward the ground in his left hand and his other arm out to his companion. A guardhouse is seen in the right and the edge of a building (possibly Independence Hall) in the left. Cityscape is visible in the distant background. Figures are portrayed with oversized and exaggerated features and their skin tone is depicted in brown hand coloring., Title from item., Date inferred from content and name of publisher., Inscribed: Pl. 10., After plate by E.W. Clay originally printed by C.G. Childs and published by Clay in Philadelphia in 1830., Charles Ingrey was one of the premier London lithographic printers of the 1830s., RVCDC, Description revised 2022., Access points revised 2022.
Creator: Harrison, H., artist
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set)- publisher - Isaacs, W.H. [P.9716]

Title: Life in Philadelphia. The cut direct. or getting up in the world
Description: Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his other hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Reynolds Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Print Room Uz, A423.O).
Date: [ca. 1832]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [7893.F.2]

Title: Life in Philadelphia. The cut direct. or how to get up in the world
Description: Racist caricature portraying nouveau riche African Americans as prejudiced against lower class African Americans. Depicts an African American bootblack greeting an elegantly dressed African American couple who feign ignorance of the man's acquaintance after their return from New York. The raggedly dressed bootblack, while holding his rod of boots in one hand, uses his free hand to grab the hand of "Casar." "Casar" dressed in a hat and overcoat looks suspiciously at their joined hands. He states that the bootblack has mistaken his identity as his wife, dressed in a large bonnet with feathers and a veil and a dark overcoat, confirms the mistake and adds, "we are Guinea People, you Imperdent Nigger.", Charles Ingrey was one of the premier London lithographic printers of the 1830s., Nancy Davison's E.W. Clay: American Political Caricaturist of Jacksonian America (PhD. diss., The University of Michigan, 1980), p. 80-81. (LCP Uz, A423.O).
Date: [ca. 1833]
Location: Library Company of Philadelphia | Print Department Life in Philadelphia (London Set) - publisher - Isaacs, W.H. [P.9718b]

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: 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]

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