A Union soldier looks into the firing end of a cannon, and a cannonball lies at his feet. Seeking "the bubble reputation at the cannon's mouth" means to search for military glory and is a reference to Shakespeare's "As You Like It." "Hog in armor" is a term for awkward, clumsy people., Text: Seeking, of course, "the bubble reputation / At the cannon's mouth," / To fight the righteous battles of the nation, / You go South. / Now, prithee, don't mistake your piece's muzzle / Madly, for its breech, / If the two ends should ever prove a puzzle, / Ask which is which! / You look at present like a "hog in armor;" / May you "live and learn," / And having done so, I'll be yours, my charmer, / When you return., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Shakespeare, William (1564-1616), As you like it.
A Union soldier holds his hand up and raises his pinky finger. In the background, two women watch him., Text: You are a gallant soldier, / With a splendid figure for parade; / The country is safe in your keeping, / So long as you fight in the shade. / I fancy mysefl your beloved! / Wouldn't you have a jolly good time? / I'd make you stand guard over a cradle, / And do double duty to Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier holds a pickaxe and wears a helmet. The valentine mocks his occupation as a miner before the war, and the sender rejects the recipient because of his social status., Text: You belong to the Sappers and Miners, 'tis said, / And you work in the trenches with pickaxe and spade; / An old spade and pitchfork you wielded at home, / And with ash-cart and blind horse the city did roam; / On 'taters and cabbage you daily did dine, / And you'll die in despair if you want to be mine., "517", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier runs admidst cannon balls. His cap has come off his head., Text: In every army, great and small, / There is a set of patent blowers, / Who of the work make out to shirk all, / And of their valiant deeds are crowers. / But let a battle once commence, / Away they travel for some tree or fence; / You find their brains too soon are addled, / And you've but to see that they've skedaddled., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier puts snuff in his nose and leans his rifle against his arm. Dead soldiers lie around him, and cannonballs are in the air and on the ground., Text: To make folks think you're bold and brave, / You swear your country you will save, / And fiercely charge upon her foes, / But first you'll stop to charge your nose; -- / Like the dog that lost the rabbit. / When taken short, -- as was his habit; / This application suits me fine, / That I can't be your Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The "shoddy" military contractor is handed a $50 bill and stands in front of a barrell marked "STINKING PORK FOR U.S. ARMY from SHODDY." He says "I CAN'T SEE THAT THE PORK STINKS A BIT," and there a sign behind him that reads "SHODDY INSPECTOR OFFICE.", Text: You can't see it? No wonder you can't, / With a fifty dollar green back in your eye; / The soldier may starve-- the sailor may want, / What cares Shoddy if even they die? / He's a curse to his kind -- his country's worst bane, / Deserving the noose on the hangman's line; / But, alas, you don't get it, and to publish your shame, / Is left alone for this poor Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A soldier runs. His jacket is red, but his belt buckle, marked "US," suggests that he is a Union soldier., Text: The man who would desert his country in her need, / Is so much lost to honor, honesty, and shame, / That after death his corpse should ravens feed -- / That all the world should e'en forget his name., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The man leans forwards and grins. He wears a blue coat and yellow plaid trousers. His hair and mutton chops are curly. Copperhead refers to northern sympathizers with Secession., Text: When, leaving the ranks of honest men, / 'Mid men of politics to snake it, / 'Twas well you chose a Copperhead, / For fear some loyal man should break it., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The soldier carries a rifle with a bayonet and wears a Union uniform with a blue coat with tails and epaulets, top hat, and scarf. Behind him, a small dog barks., Text: Bravest of soldiers in fine weather, / A monkey with a cap and feather, / You'd hardly dare to shoot a hog, / And scamper from a little dog., "114", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union foot soldier has very large feet., Text: When in action you are brought, / And the use of bayonets taught; / Then your feet sir, you will prize, / On account of their great size. / For with a pair of feet so large, / You could stand sir, any charge; / Except, perhaps, a cobbler's bill, / And then you'd run with a good will., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldiers stands with his chest puffed out and his hand on his hip., Text: Say! Song of Mars, / With lofty figure, / Did you ever pull a trigger? / I know you didn't invent powder, / Although you talk a great deal louder. / Shun men who're really brave-- / You couldn't fight your soul to save; / Go keep your tale of love untold, / For my affection's for the bold., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier wears baggy, short red pants, a cap with a red crest, and box-like shoes. The valentine mocks the Chasseur's drinking, flirting, and cowardice., Text: Farewell, my bold Chasseur-- / In every lass sir, / A flame, I've no doubt you inspire; / But when in the line / Of the skirmishers fine, / At the show of a flame you'll expire-- / Then take off each trunk. / And make you a bunk, / To lay your head in / When with glory you're drunk., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The Union sentinel holds a gun and wears a uniform that is too big for his frame, making him appear childish. The sender mocks the recipient and suggests that he will never marry., Ill. signed: B., Text: Say! Lonely Sentinel; when on thy beat, / Do'st ever long the one thou lovest to meet? / Do'st ever wish when though demand'st the pass, / That she that gave the countersign might be thy lass? / Oh! vain is thy hope, and grey will be thy hair, / Before she gives the watchword to "Who goes there?", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The Union recruit stands with his musket over his shoulder. His jacket is too large for him and makes him look childish., Text: A raw recruit my taste don't suit, / Althought he should make me a queen-- / And I see from your face, / And your unnatural grace, / That you are too awfully green., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A baby with a scrunched face and large ears is held aloft, by an unseen woman with lace cuffs on her sleeves. The valentine states that the soldier will be greeted by the child he fathered as he was going off to war., Text: Here's the boy, my soldier brave, / You left behind you in the dark; / When you victoriously return, / He'll chirp your "welcome" like a lark., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
"The Army Contractor" shows a bearded man in a fur hat and coat, with his hands in his pocket. He stands near a chest with drawers. The valentine criticizes contractors for their dishonest practices. Camphene is a mixture of oils used for lamp fuel and explosives., Text: For whiskyy [i.e. whiskey] ou [i.e. you] sell bad camphene toddy,/ And clothe poor soldiers with flimsy shoddy;/ Its not after glory you pant,/ Its only after dollars and cents you want., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
Two Zouave Union soldiers run among rifles, pistols, cannons, and cannonballs, one of which is marked rum., Text: Zu-Zu, you made a splendid run, / From Bull-Run fight, to Washington. / By Bully Runners e'er so fleet; / Your feats of legs such wonders/ raised, / That every one has stood amazed. / So, Coward Recreant, Renegade, / Your Valentine I'll not be made., Cf. Valentine 11.50 and Valentine 12.1., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier wearing a rucksack holds a large musket and smokes while he adjusts his glove., Text: Head up, eyes right, every inch a soldier, / Pity that your uniform did not make you bolder; / In the rank of soldier boys, then you'd proudly shine / Terror of your Secesh foes, lord of this heart of mine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine shows a Union captain in uniform. He stands in front of a row of tents, and his sword is in its scabbard., Text: When duty calls, I hope you'll be / Not hid behind some friendly tree / But leading on the gallant line / To win the fight and a Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts two soldiers in Union uniforms, one holding a rifle with a bayonet with which he prods the other over a fence., Text: I was tired of the ranks, and promoted I'd be, / I tho't the shoulder straps would look finely on me, / But when I applied, it was only to find, / The promotion before just hurt me behind., Cf. 10.3., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The cavalry dandy has his face turned upward. His facial hair consists of sideburns and a moustache. He wears large star-shaped spurs and carries a large sword., Text: When mounded [sic] on your blooded steed, / You look both bold and fine indeed; / But when your foremost in the fray, / Be sure you do not run away., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts a man in a sailor's uniform holding a glass in one hand and a "greenback," or a paper dollar bill, in the other. The sender rejects the recipient because of his promiscuity and drinking, which it connects with his love of money, specifically paper currency., Text: Loves nothing as well as a good greenback / Except it be his grog: / And the first he'll waste on the sauciest back, / On the second get drunk as a hog / Alack, Jolly Jack! / Why can't you leave off both women and wine? / Then I'd give you a kiss full of true love's bliss, / And ever call you my own Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The border shows cupids and hearts; one cupid shoots a heart out of a thimble cannon labeled "Love"; another cupid travels with a heart in a hot-air balloon; and another cupid hammers at a cracked heart below a heart on a fishhook labeled "Caught.", Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.29 and Valentine 12.30., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The valentine has an embossed border., Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.30 and Valentine 12.31., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Union soldier rests on crutches, has his left arm in a sling, and is missing his right hand and left leg. His rucksack is on the crutches. Chickahominy is a Virginia river near where the Battle of Gaines' Mill took place. The border features matches, a heart-shaped beet, and cherubs playing tennis and tug o' war. The label on the matchbox reads "Red-headed matches go off easy," and the beet is marked "D.B." [i.e. "dead beat" or "dead beet"]., Text: Come up to the bar, old boy-- / Come up to the bar and drink: / Did you leave your leg and arms / On Chickahominy's brink? / There's lots of your sort around-- / Young heroes in a war grown old-- / And out on the niggardly hound / Who'd leave them "out in the cold.", Variant of Valentine 12.29 and Valentine 12.31., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A soldier smokes a pipe. He holds a gun and rucksack. The valentine mocks his appearance and unwarrented vanity. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You don't look handsome in your regimentals, / Although your doubtless think you're very fine. / You'll ne'er belong unto the sentimentals, / And ne'er can hope to be my valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A Confederate soldier runs away from bullets and cannonballs. He has a fearful expression. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You doubtless think that prudence is a virtue, / And therefore dangerous favors you decline. / Run swiftly when you fear that aught will hurt you. / But never hope to be my Valentine., "12", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
"That human face divine" refers to Milton's "Paradise Lost." The title refers to the Second Battle of Bull Run, which occurred August 28 and 30, 1862.The valentine shows a Union soldier running from cannon balls. He wears a blue coat and red trousers and cap. He carries a sack on his back., Text: His eye-balls glare--- / Oh! what a stare / Is on that human face divine; / He runs! he's running back to me-- / Oh! Hurry up! my Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector., Provenance: Milton, John, 1608-1674. Paradise lost.
A white man kneels before a racistly depicted African- American man. The African-American man stands on a pedestal and has wings. "Contraband" here means "slave," and the sender rejects the recipient because of his sympathy for slaves. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You love the contrabands too much / To have love left for me, / And therefore you my Valentine / Can never hope to be., "18", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A cavalry soldier rides a horse with his feet out of the stirrups. He carries a large sword. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: You think yourself both bold and brave, of course, / Whene'er you safely gallop down your line; / Yourself as jaded as your wretched horse, / Who'd have a scarecrow for a Valentine?, "11.", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man in a sailor's clothing stands by a pile of cannon balls and holds a sword. One meaning of "splice" is to marry, and the sender rejects the recipient. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: My friend, I vow that I'm not over nice, / Yet in a lover I want something fine; / So you and I can never hope to splice, / For you shall never be my Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man pours liquor out of a bottle which is positioned near his groin. The valentine suggests that the recipient's passion is for drinking and not for women. L. Prang & Co. first appeared in the Boston city directory in 1863., Text: Tis evident you're far to [i.e. too] fond of liquor / To have a passion for aught else than wine / I doubt if it or you can run the quicker. / I'll have no tippler for a Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The soldier stands in front of a cannon and wears a gray Confederate uniform. Vanity and inaction effeminize him. L. Prang & Co. first appeared in the Boston city directory for 1863., Text: As you stand there so quietly, in repose, / No doubt you think that you are very fine. / You'd rather slaughter ladies' hearts than foes. / I'd hate to love so vain a Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts a well-dressed white man gesturing to a seated African American man whose head, feet, and buttocks are disproportionately large. The "burs" suggest the seated man does field work, and his trousers are ragged., Text: O, massa Abolitionist! you're mighty fond of jokes, / And play em on de darkey as well as on white folks / But all your mighty promises dey neber come to pass, / And every we take your chair de burs stick in / our ---- trouserloons., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with a narrow skirt and train and neither a crinoline nor a bustle. "Rag and tag" refers to the damage done to the trains of the skirts from walking in the streets. Crinolines were out of fashion in the late 1860s, and then bustles were in vogue. Bustles went out of fashion between 1876 and 1883., Text: Devoid of useless crinoline. / She moves majestic as a queen, / In sweeping robe and drooping bonnet / With many a rag and tag upon it., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a tapered, bustled, ruffled skirt that forces her to bend forward in the Grecian Bend. She holds a small parasol and wears a hat. The valentine mocks the recipient for thinking her fashionable dress is attractive to men. The Grecian Bend style of bustle became popular after 1869., Text: A slave to Fashion's tyrant laws, / You court each silly fop's applause; / Did you but know what I can see, / How shocked, I fancy, you would be. / You will, I hope, leave off this style, / Your dress provokes a pitying smile., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with furbelows and a bustle. The valentine suggests that she is not a beauty, but attracts male attention when she is the only woman out at night. Bustles became popular after 1869., Text: O! you are the handsomest---all the beaux swear / That for beauty you top the heap; / I think you so too when you're taking the air, And all the rest are asleep., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman in gown with a bustle holds an umbrella and bouquet of flowers. "Three-balls" is slang for a pawnbroker. Bustles became popular after 1869., Text: A Mantilla from your shoulder falls / Just redeemed from the three-balls; / In the street you make a dash, / 'Tis strange how you obtain the cash. / You're too lazy, and fear to work / You dirty, nasty little flirt; / Stay at home-- not gad the street, / And speak to every loafer you meet., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wearing a dress with a bustle stands in front of a chest. Over it hangs a sign that says "Election Laws," and she holds a piece of paper over a pot, presumably to vote. A carriage is visible through the doorway. Bustles became popular after 1869., Text: Since, in this progressive age, / Woman's Suffrage is all the rage, / You strive in this to take the lead, / As if 'twere a case of vital need; / When you thus seek among the men to roam, / We're apt to think there's something wrong-- at home., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman bends forward in the Grecian Bend caused by fashionable bustles and restrictive skirts. She holds up her skirt revealing her ankles and petticoats. The Grecian bend style of bustle became popular after 1869., Text: Thou languishing young lady-bird, / Thou Angel quite untainted; / With ruby lips, and well formed hips, / Pray tell me, -- are you painted? / You're uglier than the Gorgon / That frightened folks to stone, / The Grecian Bend don't help you, / So ugly have you grown., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a gown with a tiered, tapered skirt over a Grecian Bend style of bustle. The Grecian Bend became popular after 1869., Text: "Pray, what's the matter," said a friend to me, / "With that young woman that I see?" / I stopped and looked and calmly said, / "The wits have surely left her head, / But where they're gone there's no telling / Unless you judge by large swelling.", Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a dress with a bustle and a hat with a small veil. The woman leans forward in the Grecian Bend, caused by fashionable restrictive, bustled gowns. The Grecian Bend style of bustle became popular after 1869., Text: You're not so bad looking as some I know, / You're not so ill mannered as others I know, / And you generally make a respectable show; / But you're deficient in brains, I'm sorry to say, / Because you dress in such a ridiculous way, / And consider the Bend such a gorgeous array., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman with a long, shaded nose looks in the mirror on a bureau. She wears a dress with a bustle. The image in the mirror has less shading and exaggeration, suggesting that the woman's admiration of herself is deluded. Bustles became popular after 1869., Text: There was never a woman old fashion or ugly, / But what thought she possessed every beauty and grace, / And you're no exception, but as none else can see them, / You're compelled to admire yourself in the glass., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman wears a tiered skirt of ruffles of decreasing size that tapers at the ankles. The style of skirt caused women to lean forward in a Grecian Bend; the Grecian Bend style of bustle became popular after 1869., Text: Dear, simpering, fascinating Miss, / It struck me that you looked like this / When last I met you on the street, / In skirt with Grecian Bend replete; / The sight which you present / Would throw the warmest lover off the scent., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman stands in profile. She wears a bonnet and a dress with a bustle. The valentine criticizes the recipient's artifice and pretensions. Bustles became popular after 1869., Text: No husband you will get, though fair, / To meet your expectations, / Unless you cease to put on airs, / And leave off affectation., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The valentine depicts a woman in a booth labeled "Vote the Ladies Union Ticket." The woman inside of the booth reaches out to a hesitant man. The text and image criticize woman's rights advocates for not recognizing their proper places and suggests that such women are not desirable sexually or socially. The woman appears to be wearing a bustle; bustles became popular after 1869., Text: Among the women who in history brightest have shone / Are those who have left the men's affairs alone, / Who in their homes have found their proper places, / And sought not in crowds to show their faces; / We see you seek a different line-- / You are too bold to be my Valentine., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A woman bends forward towards a crowd of women, in the "Grecian Bend" created by wearing fashionable restrictive gowns and bustles. Behind her are signs that read " The Original Grecian Bend for State Millener" and "The Pink of Fashion, Mme. Lecreme." The Grecian Bend style of bustle became popular after 1869. New York city directories for 1867-72 list Fisher and Denison at the same address, noting that Denison lived in Maryland., Text: You're all aflame with woman's right, / And hope thereby to see strange sights; / No place too bold for such a trump-- / You'd even go so far as mount the stump. / If you thus cast all social laws aside, / You'll never be a happy bride., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
The Proclamation is an advertisement for R. Magee's valentines and consists of the text. Inscribed: Apl 1872., Text: PROCLMATION! /RICHARD MAGEE, /No. 316 Chestnut St. / REMEMBER 316 CHESTNUT STREET / Call at the Headquarters Neat, / Of R. MAGEE, on Chestnut Street, / And purchase there, at Love's High Court, / Valentines of every Sort; / Valentines all Hearts to Move, / Valentines on happy Love; / Valentines of every Hue, / Valentines all Fresh and New; / Valentines for Friends who Roam, / Valentines for Friends at Home; / Valentines with Pictures Rare, / To please the Men and Charm the Fair; / Valentines on Fashion, Queer, / Valentines all Hearts to Cheer; / Valentines of each Device, / Valentines at every Price; / Valentines both Small and Large, / And directed Free of Charge. / All of which, quick, Call and See, / At the Famed Store of R. MAGEE. / [Signed.] CUPID. / Valentines at all Prices, Valentines Direct, / Valentines Delivered Free of Charge, / At R. MAGGE'S 316 Chestnut Street., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
A man stands between two women who wear restricted skirts that reveal their feet; they do not appear to be wearing bustles. He has a shocked expression as they both press leaflets to his chest. The valentine mocks women's involvement in politics and connects it with immodest and flirtatious behavior. Bustles were not in vogue between 1876 and 1883, as they were before and after those years., Text: You talk so much of what you'll do / When women have their proper show; / That for your country, in your zeal, / You would the men caress and feel; / Excuse me, if I here portray / A female politician's way., Provenance: McAllister, John A. (John Allister), 1822-1896, collector.
